A 40 year old man who has celebrated his birthday alone by himself invites his four lovers to a dance class that he teaches in order to search for the roots of his own loneliness and by reminiscing the memories of how each of his love affairs were evolved and diminished, he realizes that the more the contemporary world has become sexually oriented the farther it has moved away from love..

A 40 year old man who has celebrated his birthday alone by himself invites his four lovers to a dance class that he teaches in order to search for the roots of his own loneliness and by reminiscing the memories of how each of his love affairs were evolved and diminished, he realizes that the more the contemporary world has become sexually oriented the farther it has moved away from love..

Zvenigora is, in terms of narrative and content, one of the most remarkable avant-garde films of an exuberantly experimental period. The film uses the central construct of a legend regarding treasure buried in Mount Zvenigora to build a montage of scenes praising Ukrainian industrialisation, attacking the European bourgeoisie, celebrating the beauty of the Ukrainian steppe and re-telling ancient myths. 　　The narrative is built upon Modernist lines, disregarding the traditional, novelistic storytelling techniques and instead using abrupt shifts in time and using the constructive devices of avant-garde poets such as Blok, Bely and Mayakovsky to create a picture of modern Ukraine that pushes in several directions at once. 　　There are some incredibly striking tableaux that require the viewers to create a structure for themselves (such as the Bolshevik soldier directing his own execution) although the climax does draw the preceding events together, combining the dialectical threads of modern industry and the old man's myth together in two exhilarating scenes. 　　The cinematography is fascinating - elements of the style of Eisenstein, Pudovkin, Protazanov and Kuleshov are recognisable, yet Zvenigora seems completely different to any of them. The juxtaposition of rapid montages, swift city tours and slow, poetic journeys around the countryside is powerful, and the mythical scenes, although winding, are beautifully realised with a dreamlike quality to them. 　　Zvenigora is not Dovzhenko's masterpiece, if only because his Earth (1930) is one of the greatest Russian films ever made. However, it is highly recommended, although if you are new to Russian film of the period it is probably not the best place to start.

一名舞者决心要将传统的邦拉舞搬上世界舞台，并准备与另一名有着自己梦想的竞争对手进行一场国际比赛。

影像取材于大众传播媒介中关于老年人亲密关系的个例素材，结合自身对于奶奶这一形象的残像记忆，以片段式的影像结构和对错位细节的“截取”，试图展现老年群体生活中最琐碎最庸常的荒谬时刻。