苏联解体后那个“疯狂的九十年代”，在俄罗斯北方一座工业城市。主人公伊万是一名雅库特人（少数族裔），因为20多年前那场不光彩的茹侵阿富汗战争留下了脑震荡，现在是一家锅炉房里的工人。一位当地的黑道大佬是伊万从前的战友，常常利用锅炉房来毁尸灭迹，“没关系，他们都是一些坏人”，如此，他安慰伊万说。但直到有一天，当Skryabin的女儿因抢走了这位朋友女儿的男友而被送进锅炉时，伊万才开始醒悟。战争并没有结束，过去是和别人打，现在是和自己打。

苏联解体后那个“疯狂的九十年代”，在俄罗斯北方一座工业城市。主人公伊万是一名雅库特人（少数族裔），因为20多年前那场不光彩的茹侵阿富汗战争留下了脑震荡，现在是一家锅炉房里的工人。一位当地的黑道大佬是伊万从前的战友，常常利用锅炉房来毁尸灭迹，“没关系，他们都是一些坏人”，如此，他安慰伊万说。但直到有一天，当Skryabin的女儿因抢走了这位朋友女儿的男友而被送进锅炉时，伊万才开始醒悟。战争并没有结束。 影片是一部极端残酷的暴力现实主义作品，可谓延续了阿历克塞·巴拉巴诺夫一贯大胆黑色的风格。他执导的《兄弟》、《畸零与色情》等片让主流媒体难以接受，克里姆林宫最喜欢的导演Nikita Mikhalkov（《毒太阳》）也曾出面攻击称《兄弟》的主人公“充满破坏欲”，“荼毒青少年的思想”。不过在2010年底俄国影评人们颁出的“白象”奖中，《火炉工》摘得了最佳影片、最佳导演在内四项大奖，成为最大赢家。

苏联解体后的“疯狂九十年代”，在俄罗斯北方的一座工业城市。主人公伊万是雅库特人（少数族裔），因20多年前那场不光彩的入侵阿富汗战争留下脑震荡，如今是一家锅炉房的工人。当地一位黑道大佬是伊万从前的战友，常利用锅炉房毁尸灭迹，还安慰伊万“他们都是坏人”。直到有一天，Skryabin的女儿因抢走这位朋友女儿的男友而被送进锅炉，伊万开始醒悟：战争并未结束。 这部影片是极端残酷的暴力现实主义作品，延续了阿历克塞·巴拉巴诺夫一贯大胆黑色的风格。他执导的《兄弟》《畸零与色情》等片让主流媒体难以接受，克里姆林宫最喜欢的导演尼基塔·米哈尔科夫（《毒太阳》）也曾出面攻击，称《兄弟》的主人公“充满破坏欲”“荼毒青少年的思想”。不过在2010年底俄国影评人们颁出的“白象”奖中，《火炉工》摘得了最佳影片……

大雪天，孤女刘小苗捡到被将军府弃于雪地的胡铃音，执意认她做娘。苗父刘大栓本想送回，却被胡铃音的温柔善良打动，三人组成温暖小家。将军闻仲庭与嫡子闻子砚屡次上门纠缠，逼胡铃音回府。胡铃音历数被欺骗、污蔑、弃于雪地的伤痛，坚定选择与刘大栓、小苗相守。小苗全力守护娘亲，嫡子闻子砚逐渐醒悟，认清生母真心。最终胡铃音彻底摆脱将军府的束缚，与刘大栓在乡村安稳度日，育有儿女，小苗也拥有了完整幸福的家，从前被抛弃的人，终于都有了归处。

For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence. La Maison du mystère was followed by Mozhukhin's second and final solo directorial effort, the extraordinary Le brasier ardent (1923). Though Renoir cites this as the film which convinced him to become a director, few people understood Mozhukhin's tour de force blend of surrealism, Freud and dada, and Le brasier ardent was a commercial flop. It is directed with breathtaking boldness and a mastery of cinematic styles ranging in influence from Gance and Feuillade to the avant-garde. Le brasier ardent opens with a nightmare sequence that jumps out at the audience, beginning in hell and working itself up to a cathedral, all with Mozhukhin in different parts, from a demonic heretic at the stake to a bishop. The visionary Alexander Lochakoff designed, with Joseph-Louis Mundwiller (who later shot part of Gance's Napoléon [1927]) as cameraman. Mozhukhin's incandescent personality, shining out of those riveting eyes, acts as a match to his bravura directing, which includes astounding edits and the use of negative images. The audience is left dazzled by the audacity of his style, and mournful that a great career as director was cut short by an unappreciative public. Finally, Casanova (Volkoff, 1927). I can think of no film where Venice is so gloriously shot, where the Carnival festivities of the late 18th century are so perfectly recreated, straight out of the paintings of Pietro Longhi. Full of comedy, and with Mozhukhin bounding through his scenes in the style of Douglas Fairbanks, Ivan Mozhukhin in Casanova Ivan Mozhukhin in Casanova this is a gorgeous work, and though it lacks the technical bravura of, say, Le brasier ardent, it is a pleasure from beginning to end. The extraordinary restorations by Renée Lichtig (co-winner this year of the Jean Mitry Award) of both this and Michel Strogoff include their original hand-coloured sequences. The night scenes during Carnival, with fireworks exploding over the torch-lit gondolas, are scenes of wonder.

Bundeswehr soldier Klaus' regiment is stationed in France, to take part in NATO maneuvers. The soldiers are ordered to be kind to the populace, since the West German High Command wishes the French to forget the atrocities that were committed during the Second World War. Klaus falls in love with Jeanne, the daughter of the local mayor. He discovers that his commanders intend to demolish the ruins of a local church, in which civilians were murdered by the German occupation forces at 1944. A local journalist who researches the event discovers that West German General Rucker ordered the massacre, but he is mysteriously murdered. Klaus defies his commanding officer Siebert, who instructs him to steal the documents indicting Rucker, and hands the evidence over to Jeanne.

平凡锅炉工林锋身怀顶尖机械技艺，初到车间便被人以貌取人。他默默深耕，修复数十台废旧机床，结识懂技术、明事理的沈念。面对进口设备故障、海外技术卡脖子的困境，二人联手钻研，攻克精密加工难题，拿下国家级重点项目。昔日被小瞧的锅炉工，终成大国工匠，用实干打破技术壁垒，也收获了并肩一生的美好情缘。

漫天金花点亮炉河古镇，一桩尘封二十五年的熔炉往事随之浮出水面。异样炉火、可疑线索、残缺录像、断裂花棍，还有深夜现身的马头面具，不断推着返乡匠人陈迁地靠近童年埋藏的秘密。昔日名望、旧日纠葛一同袭来，重重谜团笼罩古镇。他必须在下一轮金花绽放之前，找出当年悄悄向熔炉投料之人，还原被众人刻意掩藏的全部真相。