Looking for movies, shows, games, or books similar to Day of the Full Moon? Check out these recommendations on mosaic.
Fitil is a popular Soviet/Russian television satirical/comedy short film series which ran for about 500 episodes. Some of the episodes were aimed at children, and were called Фитилёк, Fitilyok, Little Fuse. Each issue contained from the few short segments: documentary, fictional and animated ones. Directed by various artists, including Leonid Gaidai who presented his famous trio of Nikulin, Vitsin and Morgunov into the cast. It was called in USSR as "the anecdotes from the Soviet government".
Ivan Mirosnikov, a cheeky young man in the Gorbachev era, is trying to figure out what to do with his life (he's not in college, and the 2-year mandatory military service is looming large ahead of him). Meanwhile, he lives with his divorced mother, and works as a courier at a Russian newspaper. Through his job, he meets patronizing Professor Kuznetzov and his rebellious daughter Katya. To annoy the professor, Ivan claims to have an affair with Katya. To his surprise, Katya backs his story up.
A mini-series based on the iconic Russian novel of the same name.
In WW2, after a tank battle, a wounded Soviet tank driver and mechanic is taken to the hospital. He suffers from amnesia and has severe burns on his body. He secretly believes he can communicate with any tank, as if the tank were human. After being returned to duty, the tank-man proves to be one of the best tank-men in his unit. Rumors about a new, invincible Nazi tank, circulate. It's said that a huge Nazi tank often appears out of nowhere on the battlefield and it destroys dozens of Soviet tanks. The mysterious enemy tank is nicknamed White Tiger by the Soviet soldiers. Our tank-man, Naydenov, is convinced that it was the White Tiger that destroyed his Soviet tank and he wants revenge. Naydenov is ordered to find and destroy the White Tiger. But how can one find and destroy a ghost of war?
Gordey Kabachkov, a professional swindler, decided to pursue a career in science and was very successful. Having settled in a certain Institute of Ancient Culture, he easily wins over the numerous "good people" - members of the Academic Council - and defends his thesis. After that, taking the director's chair was just a "matter of technology" for him.
There is no single truth in love. Each treads their own path. Which should take precedence – passion or duty? How do we choose? And who gets to judge? These are the eternal questions, remorselessly thrust upon us by life. Anna Karenina made her choice, leaving her son Sergei to grow up struggling to understand why his mother took such a tragic and terrible path, and Count Vronsky haunted by the memory of the woman for whose death he still blames himself 30 years later. In 1904, in the aftermath of one of the battles of the Russo-Japanese war, Sergei Karenin and Alexei Vronsky find themselves thrown together in a remote Manchurian village, where fate offers them a chance to return to the events long past and, finally, to find the answers both have long been seeking.
A new doctor from Moscow arrives at a provincial mental institution. His interest is the peculiarities of the psyche of a patient who believes that he is Yakov Yurovsky, the man who assassinated the last Russian tsar. In the course of their conversations it transpires that the patient is a kind of philosopher, not without a gift for suggestion. In a while the doctor himself falls under his patient’s influence: he tends to relive that fatal night of June 16-17, 1918 when, without any investigation or trial, Tsar Nicholas II, who had recently abdicated, was murdered, together with his wife, daughters and incurably ill heir. Soon the doctor realizes that the tragedy of the last Russian tsar is in part his own tragedy, too...
Simultaneously nihilistic and heartening, Ward No. 6 is based on a story by Chekov, in which a psychiatric doctor becomes a patient in his own asylum. Updated to contemporary Russia, the film is a cocktail of anxieties and riddles, showcasing how easy it is to become what we fear most.
Going on a business trip, the hero of the film suddenly finds himself in a fantastic city. It is very similar to our world, only the hidden absurdity of everyday life here has become apparent.
Moscow, 1902. The famous director Konstantin Stanislavsky, in search of inspiration for staging a new play, decides to get acquainted with the life of the city "bottom". He turns to Vladimir Gilyarovsky, a recognized expert on the Moscow slums, for help.