The modern parable of two brothers, overcoming a complex spiritual path towards each other, unfolds in the center of modern Moscow. Valera Romeev is a young artist who is forced to work as a street portrait painter. Having spent a serene childhood in a mining town in Eastern Ukraine, Valera struggles to find herself in a cruel megalopolis. Hoping for support, Romeev is looking for his elder brother Vadim, a successful businessman who left his father’s house for a long time and lost contact with his family. Strong, independent Vadim, refuses his younger brother to help. Cornered by circumstances, spurred on by jealousy and annoyance, Valery takes a desperate step ...

Pavel Zuev has to start his life over from darkness after he looses his sight. The young man has to learn again how to eat, walk, wash himself, do simple housework, and even how to look out of the window without seeing anything. All connections to his previous life are broken. In this new life blind Zuev encounters an exceptional woman capable of seeing more than other people. Her name sounds symbolic – Nadezhda (translates as 'hope' into English) and she works at the local hospital. Nadezhda will help Zuev find his strength and a new sense of existing. These equally strong but otherwise different people spend together what, perhaps, will be the best days of their lives; but everything has an ending.

A powerful life takeoff. A career breakthrough. A renewed passion in a relationship with a wonderful, smart, beautiful wife. Moving to the elite quarter, to the "thickets" of the local provincial paradise. Victor is showered with gifts of fate, he is happy to an incredible extent. Why is it so difficult for him to accept these gifts?

“那时，她才亲自了解了生活的悲剧，人生的悲剧，一个必须尝过悲剧之后才能懂得悲剧的悲剧……” 被契诃夫自己称之为喜剧的《海鸥》，讲述了一个平凡家庭的乡下庄园生活中，几对错位的爱情。作为契诃夫的首部四幕剧，它成为契诃夫戏剧革新与个人艺术成熟的标志。此版复排由莫斯科萨蒂里孔剧院出品，导演尤里•巴图索夫用颇具现代感的阐释，摘得金面具奖最佳导演奖。

Сюжет фильма предельно прост: в студию ток-шоу собрались политолог, патриот, священнослужитель, попдива и др. для беседы о российской истории и наследии преподобного Сергия Радонежского. В разгар обсуждения ведущий программы внезапно узнает, что его программу закрывают. Решив, что терять ему теперь уже нечего, ведущий идет ва-банк и начинает разоблачать всех и вся – церковь, власть, своих же собеседников. Но нужного эффекта он этим не добивается. Дискуссия принимает неконтролируемый характер. Постепенно в образе яростного полемика зритель начинает угадывать черты настоящего, подлинного Сергия Радонежского, а в эпизодах истории – насущные проблемы современной России. На новом витке истории современность как в зеркале повторяет свое прошлое. Владимир Хотиненко известен своими дебатами на религиозные темы, в частности по текстам Достоевского. Его кинокартина ”Мусульманин” демонстрировалась в рамках фестиваля ”Локакуу” в 2008 г. Картина ”Наследники” вызвала большой общественный резонанс и противоречивые мнения. Режиссер Владимир Хотиненко приезжает в Финляндию представлять свой фильм, который входит в программу фестиваля 2015 года.

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 ...

Stage Russia HD (Satirikon Theatre): Anton Chekhov’s first of four major plays dramatizes the romantic and artistic conflicts between its four main characters: Boris Trigorin, a well-known writer, the ingenue Nina, the fading actress Irina Arkadina, and her son the would-be playwright Konstantin Tréplev. Yury Butusov's frenetic production abounds in an incredible freedom and openness, delving deep into the throes of artistic creation and the anguish of the artist who struggles to find a language of his own. This is not only a performance about the theatre, it is an anthology of the theatre that devours its children like monsters. With the shuffling of actors' roles, you begin to sense something of a quadraphonic portrait of the creative personality, which demonstrates that greatness is precariously close to mediocrity while suggesting that the opposite is also true. Chekhov's characters are in the process of creating their lives or watching them fall apart, which, according to Butusov, may be a closely related activity.