When a theater performance about bride kidnapping comes to a Kyrgyz village, 78-year-old Asylkan, abducted at 18, steps across the line between stage and life. As young filmmaker Alina films her, she finds herself facing the same threat.

Kalmyk Road is a feature-length experimental documentary that begins with the figure of Alex, a Kalmyk activist organizing underground routes to the US through Mexican cartels. His activity, partly driven by his daughter’s illness and a desire to preserve the Oirat-Kalmyk gene pool, exists within a morally ambiguous space shaped by risk, necessity, and the struggle for survival.

A feature-length documentary film about the life of an elderly couple in the center of Kyiv during the pandemic and the full-scale war. Through archival materials and the personal presence of the son-director, the film explores the fragility of family bonds, the responsibility between generations, and how major historical events disrupt and transform private space.

“Cargo 500” follows two Russian men who refused to take part in the war against Ukraine for reasons of conscience. One fled before he could be sent to the front; the other deserted after witnessing the horrors of war. The film observes their lives in the limbo — caught between trauma, hope, and an uncertain future in Germany, waiting for asylum.

A film about journalist and photojournalist Nikita Tsitsagi, who was killed near Vuhledar (Donetsk) as a result of shelling by the Armed Forces of Ukraine. He became a target of bullying both from Ukrainian media and Russian independent outlets, as well as a victim of the patriotic rhetoric of Russian media. The film is dedicated to the humanitarian mission of a reporter whose primary task was to document human tragedy against the backdrop of war, regardless of political alignment or the context of the time.

This is a story about a woman who believes she is acting for the greater good, but whose good intentions the state turns into an instrument of war through propaganda—just as it does with an entire nation.

She said: “My body is not a resource for a criminal war.”

The film explores maternal strategies of resistance in the face of wars and totalitarian regimes. In a world where the fate of families increasingly falls under the pressure of forces that disregard human life and dignity.

For three and a half years, we followed Irina Chistyakova — the mother of a Russian conscript who went missing in March 2022. This happened almost immediately after the full-scale invasion of Ukraine began. Irina refused to believe that her son was dead — especially since the Russian authorities presented no proof — and began searching for him, “alive or dead.” The search lasted two years. Over time, Irina Chistyakova became one of the driving forces behind a movement of mothers, wives, and relatives of soldiers who disappeared in the war, as well as a vocal critic of the war itself — while also trying to prove that some soldiers, including her son, had ended up in Ukraine without their consent and without a contract.

Mother is an emigrant in Berlin. Son is a Rosgvardia cadet in Moscow. Their meetings are a couple of weeks several times a year.
She begins writing rap to preserve her connection with her son and not lose her mind.

Living and working in a Bishkek sewing factory, single mother Elmira fights to make ends meet while trying to rebuild her bond with 13-year-old daughter Nursuluu, newly arrived from her grandmother’s village.

A Russian embeds himself with a Ukrainian assault unit, spending two years on the frontlines — filming life, death, fear, and moments of dark humor among soldiers In the summer of 2024, his camera captures the beginning of the Kursk Operation, when Ukrainian troops cross into Russia for the first time since 1941. What begins as a film about war turns into a deeply personal journey — a confrontation with his roots, loyalty, and the meaning of home.