Sergey Salnikov

A manic insane doctor escapes over the hospital wall and spends most of the movie either ranting and weeping in a hospital or running, babbling about his true love Olga or his surgery practice. Men are obsessed with their frantic careers and various preoccupations, discussing their medical procedures or playing with machines in frantic montages, many men are naked, discussing nudity, vomiting and comparing penises while the women are clothed, a man pulls plums from a woman and squashes them as some obscure symbolic act, there are religious rants, a female Jesus giving food to naked men on the last supper table only to have them vomit, hair is seen as the link to God with women puking hair from their mouths in more insane symbolic scenes, and finally, a bizarre scene of a naked man dancing in pantyhose with a clown.

Overall, the idea is to make ethnicities, politics, races, nations - to make all of them turn into non-existent objects... ...akin to ovals, boxes, blobs, wardrobes! You might think he's really "someone", really a "representative of the people", but really just a representative of skirting boards, of coffee rings, nothing more. Overall, political invective's that should be perceived solely as poetic invective's. Overall, spreading geopolitics across geology and poetics. Like a question-Eskimo, dancing and waving his ribbons in the air, turns and changes on a pillar, becomes a question-Holocaust. In fact, "geopoetics" is a kind of a Holocaust seen as a choir, as an ensemblement, as an Eskimo.

Why in the world is a Georgian chorus singing a traditional song that unexpectedly mentions the death of Saddam Hussein? The stars of the film, taken by surprise, talk about this odd turn of events "live". The conversation then shifts to samurais by the sea, the poets Mandelstam, Kliuev and Gorodezky, Moscow in the 1930s, and a Russian painter who immortalized Putin fishing. All surreal glimpses of the artist's relationship with power. The "second part" of a film that stirred a scandal at the Orizzonti section of the 2011 Venice Film Festival. Director's statement The goal of this experimental film was to apply the technology and linguistic peculiarities of modern fine arts to the cinema. The film consists of several lines: each of these lines was shot with its own specific stylistics in different corners of the planet.

Martian Spies tells a love story between a boy who pretends to be a terrorist and a young girl, who is the wife of a KGB agent. The boy tells her that he has been hired to shoot the president – Yeltsin. The end is poetic yet addressing the politics of revenge and corruption in Russia. Miners stand in front of their mine, singing a song, which tells the story of contemporary Russian politics.

The film tells about the protagonist's unexpected journey into his own subconscious, where, after going through a series of adventures and transformations, he eventually acquires a "self", turning, in fact, into a Hero. At the same time, the "The Land of Amanitas" symbolizes the Motherland, Russia, inside and out, with all its strange inhabitants, horrors and beauties.

The genre of the film DUST could be called fantastic realism or existential drama with elements of the fantastic. Dust means the haste in which people live. Dust is a common misconception, the natural clogging up of the brain. Specks of dust how scientists perceive people, scientists who think they know more than anyone else about the universe.

Martian Spies tells a love story between a boy who pretends to be a terrorist and a young girl, who is the wife of a KGB agent. The boy tells her that he has been hired to shoot the president – Yeltsin. The end is poetic yet addressing the politics of revenge and corruption in Russia. Miners stand in front of their mine, singing a song, which tells the story of contemporary Russian politics.

Martian Spies tells a love story between a boy who pretends to be a terrorist and a young girl, who is the wife of a KGB agent. The boy tells her that he has been hired to shoot the president – Yeltsin. The end is poetic yet addressing the politics of revenge and corruption in Russia. Miners stand in front of their mine, singing a song, which tells the story of contemporary Russian politics.

A manic insane doctor escapes over the hospital wall and spends most of the movie either ranting and weeping in a hospital or running, babbling about his true love Olga or his surgery practice. Men are obsessed with their frantic careers and various preoccupations, discussing their medical procedures or playing with machines in frantic montages, many men are naked, discussing nudity, vomiting and comparing penises while the women are clothed, a man pulls plums from a woman and squashes them as some obscure symbolic act, there are religious rants, a female Jesus giving food to naked men on the last supper table only to have them vomit, hair is seen as the link to God with women puking hair from their mouths in more insane symbolic scenes, and finally, a bizarre scene of a naked man dancing in pantyhose with a clown.

A short film with the participation of the leader of the "National Bolshevik Party" Eduard Limonov.