Dead Man’s Letters: post-apocalyptic dystopia is depressive in style and tone but holds out hope for humanity
Konstantin Lopushansky, “Dead Man’s Letters” / “Pisma myortvogo cheloveka” (1986) Depressive in tone but with
Konstantin Lopushansky, “Dead Man’s Letters” / “Pisma myortvogo cheloveka” (1986) Depressive in tone but with
Vasily Zhuravlov, “The Space Voyage” / “Kosmicheskiy reys: Fantasticheskaya Novella” (1936) In the 1930s, the
Alexander Dovzhenko, “Aerograd” (1935) It’s a well-made film with stunning shots of wilderness and planes flying
Mikhail Karyukhov and Alexander Kozyr, “The Sky Calls” / “Nebo Zovyot” (1959) A visually stunning
Northern European Films | Russian and Soviet Films
Risto Orko and Alexander Ptushko, “The Sampo” (1959) A joint Finnish-Soviet fantasy production aimed at
Eastern European Films | Russian and Soviet Films
Alexander Dovzhenko, “Arsenal” (1928) Notable for its skilful use of montages of images to create
Sergei Eisenstein, “Alexander Nevsky” (1938) Unashamedly patriotic and stirring action-movie propaganda for the masses and
Andrei Tarkovsky, “Stalker” (1979) For Western audiences used to fast action science fiction movies, “Stalker”
Eastern European Films | Northern European Films | Russian and Soviet Films
Marek Pestrak, “Pilot Pirx’s Inquest” / “Test Pilota Pirxa” / “Doznanie Pilota Pirksa” (1979) A joint
Sergei Parajanov and David Abashidze, “Ashik Kerib” (1988) The last completed film by Georgian /