Mamyshev-Monroe struts in thigh-high stockings and writhes coyly in a bathtub.

1991 the Soviet Union disappeared with the collapse of the country, some DJs turn towards the techno music and LSD, the capital starts to beat with a very different rthym. The directorOlga Darfy remembers her city Moscow, her youth and everyhting she lived during her 20s. Her friend Vanya Salmaksov one of the creator of the parties called GAGARIN PARTIES disappeared in 1998. The director decides then to tell about this dizzying time from fragments of experiencess interviewes, archives and memories asking herself and the people she meets in this journey: where is Vania? Where are all this intense emotions, the excitation, the romanticism? Where this time has gone?

A remake of the Grigoriy Aleksandrov's "Volga-Volga", a postmodernist deconstruction of the legendary Soviet movie. Vladislav Mamyshev-Monroe's head was "glued" to Lyubov Orlova's body, and now Monroe is re-acting the movie, making what was a musical about amateur artists into a tragedy – postwoman wants too much and, eventually, loses her mind. Sometime in the movie, the movie shifts to Antarctica from the Volga, where Monroe-Orlova is looking at the fascinating life of penguins.

The plot of the famous painting, where a schoolboy receives severe punishment from his father.

A negligent student of the Academy of Fine Arts is late for a drawing lesson and instead of an analytical drawing of a plaster Venus, he hastily "paints" a red square, after which he is subjected to a demonstrative flogging by the professor.

Experimental short.

Based on the play by Alexander Griboyedov.

"Three Interviews." This is from my archives, a TV shoot with Dima Frolov, 1994. Part one: my interview with Vlad for St. Petersburg TV. This interview is listed first because it's being published online for the first time. Part two: Vlad interviews Viktor Tuzov, and part three: Vlad interviews Timur Novikov (we filmed these two interviews for Tatyana Didenko's program "Silence 9"). I've already published the last two interviews online, but I decided to combine all three now—for friends, a chance to mentally transport myself back to those wonderful times when it seemed nothing could foreshadow disaster (at that point, Viktor was already terminally ill, but it was perceived as something extraordinary—an accident, an evil fate, the fate of one man).