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Wanting to become famous and “wipe the nose” of the “one-on-one” Salo, who became famous for breeding rabbits, two village boys, Yava Ren’ and Pavlusha Kryvorot’ko (in the novel Zavhorodniy), choose the career of bullfighters. However, on this path they are faced with difficult trials: the Ukrainian cattle are patient and good-natured, but have their own dignity.
Pavel Petrov-Bytov was an enfant terrible of the highbrow Leningrad Sovkino film factory. He was notorious for his article “We Have No Soviet Filmmaking,” in which he criticized all the achievements of the Soviet avant-garde. In spite of his beliefs and his scandalous struggle with “bourgeois” and “formalist” filmmaking, Petrov-Bytov directed an aesthetically refined work, shot entirely on set with masterful chiaroscuro lighting: a perfect example of “Soviet expressionism.” Based on a Maxim Gorky story, the plot of Cain and Artem provides a wake-up call to the Russian people to overcome alcoholism and religious factionalism, as it spotlights the (many) drunken denizens of a typical village and their disregard for the Jewish shoemaker Cain.
1829. Tired of being secretly watched by the chief of police Benckendorff, Pushkin leaves imperial St. Petersburg and heads to the Caucasus to join the army. He stops in Tiflis, waiting for permission to enter the war zone. Pushkin gets invited to the house of one of the Georgian princes. The poet is surrounded by honor and attention. Here Pushkin becomes acquainted with the wonderful Georgian songs and poems of Shota Rustaveli.
A coming-of-age story about a flute-playing boy (Yyvan Kyrla) from the Mari people, a national minority who lived near the Volga, and how he is educated by the Soviet state.
