Dr. Ádám Koltay flees the city. Although he is the darling of society, he has grown weary of the emptiness of social life. He tents in the pure, unspoilt world of the snow-covered mountains, but on his first day, an unexpected event occurs: he must save the life of a young girl who has fallen off a cliff. In gratitude, she offers him an invitation to join the hustle and bustle of a nearby noisy resort, but Adam steals a kiss from her instead. Eve vows revenge, ready to do anything to disturb his peace.

In 1995, retired captain Vadim returns from Romania with his fiancee Yulia to his homeland and falls into the hands of bandits controlling the town. Already on the roads of the motherland, which got out of socialism and got stuck in a mafia swamp, they witness a robbery by a gang in a police uniform of a bus with "shuttles".

Once upon a time, in the seventy-first year of the last century, the relived two bureaucrats in Moldova: the First Secretary and the Second Secretary of the Communist party. The Second Secretary was more important than the First Secretary, since he had befriended the Tsar of the whole Soviet Union - Leonid Brezhnev. The Moldovan Republic is preparing for a visit from the great Brezhnev when Lautar, a poor musician, finally gets up the nerve to ask the local gypsy Baron for his daughters hand in marriage. To everyone surprise, the baron gives the couple his blessing, but on one condition: that Lautar acquire Brezhnev's personal limousine as a gift for the bride, and that Brezhnev come to the wedding

In Mirai (The Abyss), Gabriel Andrés De Simone works with striking economy, drawing on the visual and affective world of Ghost of Tsushima to shape a compact meditation on conscience under pressure. Beginning from a textual intervention, the film opens onto a reflection on what prolonged exposure to violence does to judgment, feeling, and moral resistance. Its brevity gives the work concentration. De Simone introduces friction into the game’s dramatic logic, shifting attention from action to aftertone, the emotional and ethical residue left once repetition has drained experience of its force. What happens when violence no longer registers as rupture but begins to organise the atmosphere of experience? Mirai (The Abyss) addresses that question with notable precision. Its mood is one of quiet corrosion. The work draws its force from restraint and from the sense that deeper forms of transformation often occur incrementally, through attrition. De Simone uses the game world to think through the dulling of response itself: the dangerous normalisation by which the intolerable becomes ordinary.

A coming-of-age tale of two boys trying to survive amidst rampant corruption and gang violence.

Family troubles, reproaches from acquaintances for stupidity and inability to live, illness of children, death of his wife brought Kirill Kiselnikov down. Flattered by a bribe, he commits a forgery. Betrayal of ideals is costly: the unfortunate person loses his mind. And that is not all…

Alexander Varlamov works in a special police unit that deals with the disclosure of serial murders and particularly violent crimes committed by people with mental disorders. When the usual methods do not work, and the investigation comes to a dead end, Varlamov and his group come into play. Studying the crime scene, the evidence, the results of the forensic examination, they calculate the psychotype of the maniac and try to understand his true motives. They delve into every step of the criminal, and try to guess his next step to prevent a new crime.

A film-play produced by the State Academic Maly Theatre based on the play of the same name by Alexander Nikolaevich Ostrovsky. A drama about the 'little man,' weak and kind, drowning in the depths of the sea of life.

詩（UTA）は殺人を犯してしまった恋人である七（NANA）の後処理をするためにTAKESHIと現場にかけつける。３人は死体を運び出し武（TAKESHI）が幼い頃に見たという底のない穴に死体を捨てるために森に入っていく。