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New Moscow is an essay film about the city and its residents. Three different stories unfold in front of the lens, but all of them are united one way or another by the motif of nostalgia for youth, its achievements and traumas. The reverse movement of time becomes a form for a poetic conversation about the changeable nature of space.
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.
When the police finally catch an elusive serial killer, no one can prove his guilt, resulting in the lead detective making it personal.
Antonina Milyukova is a beautiful and bright young woman, born in the aristocracy of 19th century Russia. She could have anything she'd want, and yet her only obsession is to marry Pyotr Tchaikovsky, with whom she falls in love from the very moment she hears his music. The composer finally accepts this union, but after blaming her for his misfortunes and breakdowns, his attempts to get rid of his wife are brutal. Consumed by her feelings for him, Antonina decides to endure and do whatever it takes to stay with him. Humiliated, disgraced and discarded, she is slowly driven to madness.
Anton, a successful Russian director in his late thirties, feels hollow despite his career, relationship, and friends. Obsessed with casting the perfect actress for his deeply personal film, he flees to foreign lands, trapped in an exhausting, relentless routine. As weeks pass, the producer makes decisions without him. Alone and spiraling, Anton's self-destruction deepens - until an unexpected, wordless connection offers a faint hope of salvation.
A story about attraction and parting, the laws of physics and Gippius’s poetry.
In a forest river, hunters find the body of a young singer named Yanka Diaghilev. From that moment on, a confusing chronicle of the last day in the girl's life begins, during which she will travel a long way - from the city to the dacha, and then into the thicket to the river. On this day, Yanka will have time to see and talk with many people, real and imaginary, even with those who are no longer alive. It seems that Yankee's next step is about to shed light on the circumstances of her mysterious death: hopeless love, arguments with loved ones, disagreements with herself, strange meetings with strangers in the forest.
An aimless young man who is scalping tickets, gambling and drinking, agrees to coach a Little League team from the Cabrini Green housing project in Chicago as a condition of getting a loan from a friend.
The action takes place shortly after the end of the Second World War in the Siberian hinterland, among Russians and Germans with damaged personal stories and a strange transformation: the victors seem to be crawling into the skins of the defeated, and vice versa. Ignat, is the embodiment of the larger-than-life image of the Soviet victorious warrior who, in fact, proves to be shell-shocked, sick and broken, although not completely destroyed. Trains become fetish for the heroes of the film, and speed becomes a mania; they virtually become one with their steam engines, while the machines take on human names. The heroes set up an almost fatal race in the Siberian forest, risking their own lives and those of others.
The legendary Roberto Duran and his equally legendary trainer Ray Arcel change each other's lives.