The war is over. The Red Army soldier Pyotr tries to find himself in a peaceful life. He takes the place of an accountant, and long-time friend Nazar, who has already grown to the post of the head of a collective farm, helps him in this. Together they achieve high performance indicators of their wards, skillfully solving controversial issues and emerging from confused situations.
Boris Barnet
Director
Nikolay Kryuchkov
Nazar Protsenko
Nina Arkhipova
Vera Goroshko
Mikhail Kuznetsov
Pyotr Sereda
Marianna Strizhenova
Oksana Podpruzhenko
Viktor Dobrovolsky
Ruban
Konstantin Sorokin
Philipp Teslyuk
Muza Krepkogorskaya
Darka
Anton Dunaisky
Anton Prokopchuk
Mykhailo Vysotskyi
Svirid Podpruzhenko
Alla Kazanskaya
Nadezhda
Viktoriya Germanova
Yekaterina Matveyevna
If you've watched 'Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles', you are either someone who believes “nothing happens” in this three and half-hour film or you’re like me who believes everything happens.
Joel Coen has gone solo to create perhaps the greatest version of Shakespeare's 'Macbeth' since Shakespeare himself.
A successful author’s life is upended when she finds herself on a plantation straight out of the antebellum south.
Partners in crime, Eric Andre and Lil Rel Howery road trip from Florida to NYC.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
Few movies deal with aging (particularly aging women) with as much compassion as Relic does. Yet it’s not sickly sweet and not a soapbox rant against ageism. Relic simply is, allowing the horror to seep in quietly and carefully.