M. Razbezhkina and M. Ugarov Academy

Fly-on-the-wall documentary on the day-to-day life of Evgeniy Alyokhin, russian poet and musician, and his girlfrend Oksana.

Ten director graduates from Marina Razbezhkina’s School of Documentary Film and Documentary Theatre lived with a camera for two months in order to chronicle the last “Russian winter” and its popular uprising against Vladimir Putin’s presidential run. People, faces, conversations, protests, failures and triumphs come together to chronicle the campaign.

Viktor Ryzhakov takes charge of the Sovremennik theatre after the death of Galina Volchek, who led the troupe for almost half a century and enjoyed absolute authority. For the theatre’s first new production, the new artistic director chooses a play about a family whose members have ceased to understand each other. While working on the play, the director and actors become more and more like the characters in the future production, and find it increasingly difficult to find mutual understanding within their “theatrical family.”

The last few years, Matthew and Kate live in the village. An event occurs in their lives that leads to a radical redefinition of relationships. The past and the present are intertwined into one confused story in which the characters lose sleep, drive each other out of the house, rush into the arms, starting a new circle. And precisely at this time friends from Berlin come to visit them.

The documentary follows the life of Farroukh, a young Tajik immigrant who lives in Moscow outskirts with his family and does odd jobs in dreams of becoming an actor.

The Samodurov family lives in the village of Ugljanets, Voronezh Region. Shura and her brothers Alyosha and Petya are blind from birth. After the death of her parents and her older brother, Shura refused to take the sick brothers to a psychiatric clinic. The last 10 years they live together three.

Twenty-one day is a time period that terminal patients are allowed to stay in hospice. Time is pulsating here according to peculiar inner cycles: getting faster, slower or returning to its ordinary rhythm. We wander through physical and mental spaces: wards, gardens, memories. It is a story of two main protagonists, yet two strangers, for whom the regular talk about death constitutes an integral part of life.

How to become another person in 30 days? Find a way to try 30-year-old Albina, who is in search of a good well-paid job. To make a difficult path to updating Albina, not only home-based online learning helps, but also the Challenge diary, which daily challenges the girl.

Varya is sixteen. Varya doesn't go to school. Varya asks that she be called Sasha. Varya has a goal - to go to St. Petersburg. She plays the violin in the train, earning a trip. But the trip of a dream turns out to be a dangerous adventure, in which everything goes not according to plan...

SPARTA is the Agricultural Poetized Association for the Development of Labor Activity. This is how the commune calls itself, which has been engaged in the development of the "Theory of Happiness" in the Ukrainian village "Karavan" for more than 20 years. Unable to reconcile with the collapse of communist utopia, the "Spartans" created their own.

Igor and his friends dream of having a rave in Chernobyl to rethink the space of a man-made disaster through life and art. However, they are faced with a reality where their idea is opposed by unfounded fears, corruption and hypocrisy of officials. The film by the Guatemalan director Pablo Rojas Castillo, a graduate of VGIK and the School of Documentary Film and Theater Marina Razbezhkina and Mikhail Ugarov, is not only about the company of dreamers and the rave at the sarcophagus of the Chernobyl nuclear power plant, but also about the need to recycle the Soviet heritage and the clash of values of different generations.

Mikhail Ugarov is the head of the Documentary Theater department at the School of Documentary Film and Theater, playwright, director, artistic director of the Theater.doc, ideologist of the New Drama movement, member of the organizing committee and one of the organizers of the Lyubimovka Young Drama Festival, winner of the Moscow Helsinki Human Rights Group Award, twice winner of the Golden Mask Award. In 2013, he made his debut as a film director. He died on April 1, 2018.

My grandmother is 96 years old. She dreamed of becoming a ballerina, and became an engineer. I made this film because I wanted to understand who she really is, but instead I understood a little about myself.

Two people are on the road. Everyday life, business calls, games, a curve of the highway, a swing and again business calls... During this year the father and the daughter have not seen much of each other and they have not been alone for a long time. Two cameras are looking face to face; different fears inhabit one and the same space. There is a question: should they come back or should they continue traveling together?

The lead character of the movie is modern day heroine, a girl aged 18 not yet ready to carry a burden of responsibility. She is no different from a thousand other girls either in terms of code of behavior, or style of speech, or desire to be loved. Except for one thing: in reality she is a boy.

Тrue Kazakh girls don’t marry Russians. This is what grandma Zeinegul believes in. But her beloved granddaughter disobeyed her will. Many years later the girl comes back to Kazakhstan. Her mother drinks, her grandma prays, her father got married again, but she wants to take a picture of her whole family, just like the one they took years ago when she was a child. The picture of the family she loves and hates so much.

A Russian girl, a Kurdish father. The father lives in Syria, in a town near the Turkish border. The girl joins him to meet her new family and... to find her lost roots. Everything moves forward in fragments, of time and of space. It is not only an aesthetic choice. It is a form consistent with the state of war, with the fragility of existences, with the capturing of reality by the body and by the spirit. But everything moves forward, in its way, carried along by a painful energy that obstinately perforates the borders.

Summer 2010. The entire central part of Russia is engulfed in fires. The authors of the films of the almanac together with the volunteers go to the epicenter of events. Volunteers, foresters, firefighters – they are not heroes in the usual sense of the word, it was just their life, their trouble, and they tried to cope with it as best they could.

The Chechen Ruslan Arsajev seizes every opportunity to fight against the Russians, including in Ukraine. A portrait of a displaced mercenary from the front line of the crisis.