高尔察克(康斯坦丁·哈宾斯基 Konstantin Khabensky 饰)是俄国海军上将,他有着卓越的将才,指挥战舰在一战中屡建战功,并受到亲王亲自授勋。年轻英俊,风华正茂,大好前途在他面前展开,爱情也自然如约到来,在一次酒会上,高尔察克遇见了美丽的安娜(Elizaveta Boyarskaya 饰),可惜她当时已嫁作人妇,但两个人难以掩饰彼此吸引,安娜不惜为他离开自己的丈夫。时局动荡,沙皇倒台,十月革命爆发,惯于忠诚的高尔察克在内战中执着尽力,也无法抵抗白色政权的瓦解,高尔察克遭到出卖,被苏维埃政权秘密处决,而安娜被苏维埃政府关押了37年,最终释放,她对高尔察克仍至死不渝。
Санкт-Петербург, наши дни. Город шокирован чередой жутких самоубийств. Егор, студент последнего курса, готовится переехать в Москву, чтобы забыть прошлое и начать новую жизнь. Все меняется, когда он встречает Карину — ее родители покончили с собой пять лет назад. Вместе молодые люди попытаются раскрыть тайну событий, произошедших тогда и повторяющихся снова.
1942年战时的欧洲,奥尔加,移民到法国的俄国贵族女人,同时是法国抵抗组织成员,被盖世太保发现她在自己公寓藏匿两名犹太儿童而被捕,她的案子被分配到盖世太保掌控下的法国警察局长朱尔斯手里,奥尔加想用身体交易换取自己的自由,然而好色又胆小的法国人还在犹豫不决,就被抵抗组织一枪送去见了上帝。 朱尔斯被枪杀后奥尔加被关进犹太集中营,遇到了一个认识的德国军官赫尔穆特,在战争开始前,两人曾在托斯卡纳和朋友们一起度过愉快的假期,在那里,赫尔穆特曾对奥尔加一见钟情。如今,貌美迷人的俄国贵族成了为一点点生存可能抢死人靴子、为了两根香烟给集中营里的女监工提供服务的阶下囚,而热爱音乐和契科夫的德国青年,放弃家产和一切,全身心投入到他所相信和追随的纳粹事业中来。在每天都要死一万多人的地狱般的集中营里,两人踏上一段扭曲的关系。在战争后期纳粹全面失利的时候,赫尔穆特做好了假护照决定带奥尔加一起逃往南美德国殖民地,这让对生存有巨大渴望的奥尔加激动得无以复加。然而奥尔加在集中营里偶遇自己曾在巴黎公寓里藏匿过的两个犹太男孩儿,让她一念之差,在最后关头改变了主意
David, a university professor, takes to social media to criticize his city’s administration. But instead of the mayor’s dodgy dealings being investigated, David is himself accused of embezzlement and placed under house arrest. Despite the overbearing surveillance, double-crossing acquaintances, and growing media interest, David remains defiant and will not apologise. With the court case drawing ever nearer, does David have any hope of winning this battle against Goliath?
20世纪30年代,莫斯科。这位著名的作家在职业生涯的起步中突然发现自己处于文学丑闻的中心。他的戏剧被从剧目中移开,同事们公然避免见面,在几天内,他变成了一个被人爱的人。不久之后,他遇到了玛格丽塔,玛格丽塔成为他的情人和音乐爱好者。在她的爱和支持的鼓舞下,作者开始写一部新 小说,其中人物是来自他周围的人,主角是神秘的沃兰德,他成为最近认识的外国人的主角。作者带着他的头进入他的小说世界,逐渐不再注意到小说和现实是如何交织在一起的。 改编自米哈伊尔·布尔加科夫名作《大师与玛格丽特》。
Like Fritz Lang, David Fincher or Bong Joon Ho before him, talented debut filmmaker Lado Kvataniya uses the concept of police detective vs serial killer for an excitingly stylised, macabre and haunting narrative, that ultimately revolves around the identity of an era: in this case, the late 1980s Soviet Union. With Glasnost and the end of communist rule, the West also learned of the (unsurprising) fact that there were serial killers in Russia too – the most notorious case probably that of Andrei Chikatilo, nicknamed the Rostov Ripper, or the Russian Hannibal Lecter. Based on these and many other sources, Kvataniya and screenwriter Olga Gorodetskaya constructed an immersive psychological puzzle, jumping back and forth in time, to reveal ever new-possible motives for the actions of all the protagonists. It all starts in 1990, when Detective Issa Davydov is celebrating his promotion and receives a call, reporting a crime that looks precisely like the ones of the serial killer that he famously captured some years before ...
Однажды в размеренную и счастливую жизнь архитектора и его жены вламываются грабители. Теперь единственная мечта Андрея - стереть ту жуткую ночь из памяти Оли. Отчаянные поиски решения приводят его в жутковатую квартиру в Доме на набережной к таинственной Маре, которая обещает «особое» лекарство...
1940年代早期,第二次世界大战即将结束。激烈的持久战使苏联军队和德国军队都日渐疲惫。德军一辆极具攻击性和破坏性的巨型坦克“白虎”,屡屡将苏军的坦克轰炸得机毁人亡。而这辆势不可挡的强大武器,总是从战场的硝烟中幽幽出现继而转瞬消失,没人能够确认它的真实存在,当然也无人否认。苏军指挥官决定建造一辆超级坦克T-34坦克的变种,与之抗衡。操纵该辆坦克的车长伊凡·纳季亚诺夫(阿列克谢·沃特考夫 Alexei Vertkov饰)是一位传奇人物。他曾在操纵坦克时,被“白虎”轰炸得体无完肤。死里逃生的伊凡不但活了下来,更拥有一种读懂“坦克语言”的特异功能。他坚信神秘的德军坦克“白虎”确实存在,并决心摧毁它。 由俄罗斯导演卡伦·沙赫纳扎罗夫执导的战争影片《白虎》,入围2012年第15届上海国际电影节金爵奖-最佳影片,并入围2013年第3届北京国际电影节国外展映单元-俄罗斯影展。
In Skazka, Alexander Sokurov weaves digital magic to create a phantasmagorical vision of the Afterlife, worthy of Dante. But wait: are we in the limbo of Purgatory, or a paradoxical Paradise reserved for notorious men of world history? Mussolini, Stalin, Hitler, Churchill and more: all are present and accounted for. Since they exist only as archival media images, each figure comes in a serial set. In the blackest of political comedies, these fallen men beg, in turn, to be let through Heaven’s Gate – but the angels who peek through never open wide. Little wonder, as the former leaders wander listlessly, bitching (in a Babel of multiple languages) about each other’s clothes, hair and hygiene. In what is effectively a work of animation, Sokurov has pulled together many talents into an extraordinary technological feat. It blends pictorial elements from art history to form an endlessly unfolding landscape, replete with fog and ghostly armies of the sacrificed victims of history. Announced as Sokurov’s last film, Skazka is an inspired riff on the high culture of Peter Greenaway mixed with the low culture of mash-up artists Soda_Jerk. Can we now expect some entrepreneur to bring us the interactive Skazka video game?