1990s

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Before he became a sensation with the twisty revenge story Memento, Christopher Nolan fashioned this low-budget, 16 mm black-and-white neonoir with comparable precision and cunning. Providing irrefutable evidence of Nolan’s directorial bravura, Following is the fragmented tale of an unemployed young writer who trails strangers through London, hoping that they will provide inspiration for his first novel. He gets more than he bargained for when one of his unwitting subjects leads him down a dark criminal path. With gritty aesthetics and a made-on-the-fly vibe (many shots were simply stolen on the streets, unbeknownst to passersby), Following is a mind- bending psychological journey that shows the remarkable beginnings of one of today’s most acclaimed filmmakers.Read More »

Synopsis:
Nicolas is an insecure child plagued by visions of disasters and horrible accidents. His peers tease him, and his teachers are frustrated by his lack of social skiills. Nicolas disconnects from the world around him, inhabiting his own friendless, nightmarish realm. On a class trip to a ski resort, Hadkann, the class bully, befriends Nicolas and becomes intrigued by his dreams. As the line between reality and hallucination blurs Nicolas’s visions begin to come true when police find a dead child in the woods, murdered and mutilated. Nicolas knows there is a connection between this crime and his visions, and with Hadkann’s help, he sets out to find it.Read More »

dEvolution of Homo Sovieticus.

At the center of the film is a man-monkey inhabiting various anthropogenic spaces, such as a zoo, city streets and a farmyard. But the attributes inherent in human life (work, marriage, military service, leisure) do not release him from an animal form.
During filming in the Crimea (not far from Gorbachev’s villa), the notorious August coup occurred in Moscow and President Gorbachev was arrested and isolated on his villa. The immediate proximity to the scene could not be without impact on the film – Kobrin processed it in his own grotesque form.Read More »

The film in a metaphorical form demonstrates a model of self-devouring in a closed spiritual system, it explores intermediate state between a human and a non-human: a subhuman deprived of a divine spark.
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The hero of the film is a collective image of a criminal consciousness in which we all exist. Since childhood, we live one way or another in a criminal environment.
But this criminal consciousness, criminal law, or rather, criminal lawlessness, criminal thinking, criminal morality, criminal language, hierarchy of values, in fact, also criminal – all that is our film. The film is so sad because it is a film about Russia…Read More »

Captain Thomas Sankara was the leader of the Burkinabe Revolution. This film is a biographical profile of the revolutionary, the improvements he generated in his country and the new socio-political dimension he instituted in Burkina Faso.Read More »

Cinematography in allegory. Film is dedicated to the memory of Svyatoslav Valov, the director of documentary films and Kobrin’s colleague.

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In his films, Kobrin elaborates a special, metaphoric style that is “a fully achieved work of imaginative filmmaking, in which special effects, pixilation, and reverse or speed-up motion abound, a philosophical avant-garde film, entirely unexpected in terms of its country of origin”.Read More »

Film is dedicated to the ontological problems of adaptation of the human spirit in the mental world.
Quote:
In his films, Kobrin elaborates a special, metaphoric style that is “a fully achieved work of imaginative filmmaking, in which special effects, pixilation, and reverse or speed-up motion abound, a philosophical avant-garde film, entirely unexpected in terms of its country of origin”.Read More »

Marc, a troubled teenager, becomes aware of the existence of a sister he has never met. Armed with a pistol his mother found, he goes out to find his sister. After stealing from a shop, he is stopped by a policeman. Marc threatens him with his gun and demands that he helps him in his search.Read More »

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The 3 Part of the Maiku Hama Triology is the best and probably darkest of all the films. In fact, this episode is more of a horror-like thriller reminiscent of a Takashi Miike film. “The Trap,” which is the final film of the trilogy was preceded by the more semi-comical episodes of “The Most Terrible Time In My Life,” and then followed by “Stairway To The Distant Past,” and finally concluding with this film, “The Trap.” In the previous episodes of the trilogy, Maiku Hama (Masatoshi Nagase) is not the aloof private detective he was originally portrayed as; but a much more intelligent and calm detective.Read More »