The television film tells about specialists dealing with the environmental problems of Siberian rivers and searching for engineering solutions for new methods of log driving. It is also a film about the personal, deeply dramatic relationships of the characters.

TV movie version of the famous Prince Igor opera

Igor Ilyinsky talks about his career in theater and cinema.

Pulcinella finds himself in New York and not Naples: from stockbroker to semi-naked banker in the midst of Wall Street. Actualization of Igor Stravinsky's ballet composed as a tribute to Italian music.

1980s, USSR. Seven-year-old Olya, whom everyone calls Oliva, grew up in the village. By her side is always her faithful friend, the shepherd Rex. Olive is sure that she understands animals and easily finds a common language with them, be it a dog or a goat. In addition, Olive is a very erudite girl with a precocious adult view of the world, because she accidentally read her grandmother's entire library. Her best friend Igor is a moderately quick—witted, but very economical and wholeheartedly in love with Olive, a boy who is ready to support any of her adventures.

Regia: Luca Dal Canto Anno di produzione: 2026 Durata: Tipologia: documentario Stato: pronto Genere: biografico,sportivo Paese: Italia Produzione: Bredenkeik Movies; in collaborazione con LDC Audiovisual Factory, ABI Road Studio Distributore: PianoB Distribuzioni Data di uscita: n.d. Formato di proiezione: DCP, colore Titolo originale: Igor. L’Eroe Romantico del Calcio Ambientazione: Livorno / Bari / Messina / Roma / Napoli / Rimini / Treviso "Igor. L’Eroe Romantico del Calcio" è stato sostenuto da: Comune di Livorno (Assessorato allo Sport) Associazione Culturale CasaBari Regione Puglia (Garante dei Diritti dei Minori) Comune di Bari (Assessorato allo Sport) Ineos Inovyn Fidanda GCAVCOM Castagneto Banca 1930

Igor: The Paris Years, one segment of a larger biographical program created for Channel 4 on the life and times of Igor Stravinsky, finds the brothers working in a slightly different vein than the one that would come to characterize their later work. This is the first section, which covers the pianist’s “French period” from roughly 1920-1939, and it details, among other things, his connection with Jean Cocteau (who, as a matter of fact, contributes voice work to this project). Filtered through gonzo and impressionistic puppetry (often bearing strong resemblance to the work of Terry Gilliam), the film takes an unconventional and often beautiful stab at the television biography special.

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