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A visual composition of the world.
Lev Tolstoy and the Russia of Nicolai II is a 1928 Soviet silent documentary film directed by Esfir Shub. The film is considered lost. Lev Tolstoy and the Russia of Nicolai II is the final film in Esfir Shub's trilogy of films that began with The Fall of the Romanov Dynasty (1927) and continued with The Great Road (1927).
The Great Road (1927) is a Soviet silent documentary directed by Esfir Shub. Serving as the second part of her trilogy on Russian history—between The Fall of the Romanov Dynasty (1927) and Lev Tolstoy and the Russia of Nicolai II (1928)—the film chronicles the revolutionary path of the Soviet Union, assembling archival footage to depict the struggle, transformation, and aspirations of the early Soviet state.
A commemoration of the 25th anniversary of the October Revolution, Native Land praises the early years of the Soviet Union.
In this pioneering documentary, one of the earliest Soviet sound films, Shub shot a contemporary chronicle of the progress of establishing electricity across the Soviet nation, a struggle spearheaded by the Komsomol.
A film record of the gifts and gift-givers to comrade Stalin on the occasion of his 70th birthday in 1948. The majority of the action takes place in the Halls of Gifts to Comrade Stalin in the Museum of the Revolution in Moscow.
Propaganda film presenting the Soviet side of the Iran crisis of 1946 and the short-lived Azerbaijan People's Government.
A compilation of newsreels shot between 1913 and 1917 - the years leading up to the Russian Revolution.
A love letter from a young mother to her daughter, the film tells the story of Waad al-Kateab’s life through five years of the uprising in Aleppo, Syria as she falls in love, gets married and gives birth to Sama, all while cataclysmic conflict rises around her. Her camera captures incredible stories of loss, laughter and survival as Waad wrestles with an impossible choice– whether or not to flee the city to protect her daughter’s life, when leaving means abandoning the struggle for freedom for which she has already sacrificed so much.
As a visually radical memoir, CAMERAPERSON draws on the remarkable footage that filmmaker Kirsten Johnson has shot and reframes it in ways that illuminate moments and situations that have personally affected her. What emerges is an elegant meditation on the relationship between truth and the camera frame, as Johnson transforms scenes that have been presented on Festival screens as one kind of truth into another kind of story—one about personal journey, craft, and direct human connection.