Leningrad Documentary Film Studio

A 1988 documentary film directed by Alexander Sokurov, about the later life and death of Soviet Russian filmmaker Andrei Tarkovsky. The film was originally intended to mark the 50th birthday of Tarkovsky in 1982, which would have been before his death. Controversy with Soviet authorities about the film's style and content led to significant delays in the production.

The film is based on the concert of "Pop Mechanics" under the direction of Sergey Kuryokhin.

The life and work of the great Russian composer Dmitriy Shostakovich is presented in this documentary through rare images and audios from many archives, at one time censored by the Soviet government. A brief take on his life, from his transition as an early prodigy to a first rate artist, his celebrated compositions and the final years with a declining health.

Alisa Freyndlikh in a rush — there isn't a single calm, free minute. Rehearsals, discussions of roles with Igor Vladimirov, her daughter Varya's birthday, daytime and evening performances, meetings with the audience...

Director Victor Kossakovsky dedicated his documentary debut to the Russian philosopher and religious thinker Alexey Fedorovich Losev (1893-1988), who died shortly after the completion of the film.

A rare documentary that shows how Soviet war propaganda presented the events of the Finnish front in 1941–1944. The main emphasis is on the resolution of the war. The film contains plenty of unique footage of the final stages of the Continuation War.

Frustration of the German attempt to capture Leningrad, 1941, the besieging of the city.

Made up of footage of a protest manifestation of mothers whose children had been summoned to serve in Soviet military forces and sent to the zones of Transcaucasian conflicts.

About the creator of famous aircraft - aircraft designer Ilyushin.

Documentary — featuring both interviews and live footage — about underground rock music in Russia, during the last years of the Perestroika.

About the best discos in the USSR - in Moscow, Riga, Novosibirsk, Dubna, etc., with comments by the Deputy Minister of Culture of the USSR Golubtsova G.V., Doctor of Historical Sciences I.V. Bestuzhev-Lada.

Soviet documentary, historical and biographical film of 1983, directed by Irina Kalinina. In a 30-minute tape shows the selfless work of Anna Ivanovna Zelenova, the director of the Pavlovsky Palace Museum, who devoted her entire life to him, survived with him years of occupation and rebirth from the ashes.

A requiem for a Russian peasant woman, Maria Semionovna Voinova. The film is in two chapters. The first chapter consists of an impression of Maria Semionovna, scenes of the colours of summer time: hay–making, bathing in a river, work in the flax fields and a holiday in the Crimea. The second chapter, set nine years later, is in black and white and deals with how Maria Semionovna's life ended. The mood is one of a sad and elegiac narration.

The manifestation and fireworks on the 1st of May, one of the ritual celebrations of Soviet times, as a gathering of tired participants of a mass scene falling into pieces without the director's orders and without any aims.

The film Our Friend Maxim is devoted to the life and work of actor and National Artist of the USSR Boris Petrovich Chirkov. This film includes excerpts from his Maxim trilogy, and significant focus is placed on Chirkov’s role as a pedagogue and mentor to young actors.

The film is about the monument erected with the participation of M. Anikushin in honor of the heroic 900-day defense of Leningrad.

The picture is about the anti-Hitler coalition of the USSR, England and America, which developed as a counterweight to the aggressive policy of Nazi Germany during the Second World War. The unique newsreel footage of these years, shot by operators of different warring countries, is connected with today's thoughts of the author about the fate of the post-war world, about the humanitarian losses of both sides and about gaining unstable hopes for the unity of the world in countering evil.

Produced by the Soviet Union to justify its 1939-40 Winter War campaign in Finland, this outstanding documentary---more than any other such cinematic record---visually depicts the much vaunted Mannerheim Line in all its actual emplacements, as seen but two weeks after their capture, and as filmed by Red Army combat photographers onsite, directed by Vasili Belayev.

The film emotionally conveys the atmosphere of the resurrection of Chile, showing the country’s first free spring after many years of military dictatorship. It is filled with diverse events, genre scenes and music, in which the mood of the Chileans is reflected.