9 Movies Starring Chulpan Khamatova

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In a desolate and colorless landscape stands a dilapidated bathhouse run by a puffed-up blind man, his long-suffering wife, and their son Anton, who does all the work. He's lonely and unsophisticated, and he falls in love with the beautiful Eva, who comes to bathe with her father. When Eva and her father lose their home, they come to the bathhouse to stay, but bits of the ceiling fall on the old man and he dies. Eva blames Anton, and she seems to seek the arms of the brute Gregor. Can Anton win back her heart, get the bathhouse through a rigorous government inspection, and help keep his parents employed? Waiting out there somewhere is the paradise isle of Tuvalu.

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The unborn child of Mamlakat (Khamatova) is telling her story. She is 17, beautiful and vivacious, and dreaming secretly of becoming an actress. She lives with her father and brother (Bleibtreu) in a small village in Central Asia. One night she is seduced by an actor from a traveling troupe, who poses as a friend of Tom Cruise, and makes her pregnant. She tries to abort, but her father and brother become determined to find the seducer, setting in motion a cascade of comic adventures.

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East Germany, the year 1989: A young man protests against the regime. His mother watches the police arresting him and suffers a heart attack and falls into a coma. Some months later, the GDR does not exist anymore and the mother awakes. Since she has to avoid every excitement, the son tries to set up the GDR again for her in their flat. But the world has changed a lot.

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In Moscow, Anton is out of ideas for his "Ghost" novels about a hit man, based on old news accounts. At a book signing, a man buys Anton's latest; then, on a street below, Anton sees the man murder a witness in an upcoming trial. Days later, the killer chats up Anton at a cafè, offering ideas for plots. Anton accepts and his writing improves. Meanwhile, he has a troubled relationship with Mika: she's forgiving, but his drinking and late-night writing sessions drive her away. Plus, he spends precious little time with his son, who's in an institution. Slowly, the hit man raises the ante with Anton: how far will a writer go to understand his fictional character?

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Kazakhstan, early 1961. Daniel Pokrovsky, a medical officer, currently works for the first Soviet cosmonauts' troop. There Daniel, already married, finds himself in an incredibly complicated and yet tender relationship with a young girl, called Vera. Later Daniel goes back to Moscow where is in charge of the health of the future cosmonauts. He tries not to be just a doctor for the cadets, but also their friend. He can't agree with the fact that these young men could have to sacrifice their lives for the country. His wife Nina feels the same: she doesn't accept him participating in a project that could put human lives at risk, therefore she keeps asking Daniel to leave his job. Daniel decides to leave his wife. Then one of the cadets dies and the medical officer ends up breaking down. This doesn't stop him from leaving for Kazakhstan in order to prepare the launch of the first man into space. Nina follows him to Kazakhstan, where she learns about his involvement with Vera; however she decides not to leave Daniel alone, understanding how ill he is. Giving up attempts to handle the stress, Daniel escapes the day before the launch, but dies on his getaway. Nina takes Vera with her to Moscow, accommodating the girl in her apartment. Time goes by and both women keep living together: none of them will ever get married again, being both still in love with Daniel.

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Since early childhood Peter has been obsessed with the world of puppets, but his greater obsession is with a real girl, Lisa. He crafts his perfect woman out of her. But Lisa isn't a docile marionette. She's a living human being and she rebels against her creator. Based on the critically-acclaimed, brilliant and poignant novel by one of the best contemporary Russian writers, Dina Rubina, "Petrushka Syndrome" is a multidimensional metaphor, where a sense of duality pervades everything. People and dolls, life and art, the Creator and the creation depend on one another. And where does one draw the line between them?

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Episodic, spiritual and existentialistic look at the state the Russia is in in 2017, exactly one hundred years after the communist-led Russian Revolution. The future looks gloomy, since the world is on the brink of yet another world war.