The history of Soviet Union cinema is very interesting, original and at the same time dramatic. The first Soviet movies (after 1922) had been at the forefront of world's filmmaking industry. Such Soviet films as Battleship Potemkin (1925) and Ivan the Terrible (1944) directed by Sergei Eisenstein, Dziga Vetrov's Kino-pravda (1922-1925), Aleksandr Dovzhenko's Earth (1930), Shchors (1939), Aleksandorv's Circus (1936) were the first examples of socialist realism - the new form of Soviet propaganda which used the cinema's influence to the audience. 1920s was the era of best Soviet movies. Later, when Stalin provided a powerful censorship, lots of great Soviet Union movies were prohibited and theirs makers were repressed. After the Second World War a number of military films were shot: Ballad of a Soldier (1959), The Cranes Are Flying (1957) which received the Palme d'Or at the 1958 Cannes Film Festival and many others. The best Soviet Union movies 1960s-1970s were shot by Andrei Tarkovsky (Andrei Rublev, Solaris, The Mirror, and Stalker) and Sergei Paradjanov (Shadows of Forgotten Ancestors, The Color of Pomegranates, Ashik Kerib). In 1980s censorship became softer and Soviet directors started to film the Soviet life as it was. For example, Kin-dza-dza was a parody on Soviet Union, Little Vera (1988) was about Soviet prostitutes.
This is a life story of three girlfriends from youth to autumn ages. Their dreams and wishes, love, disillusions. Different careers. And big late love.
The Solaris mission has established a base on a planet that appears to host some kind of intelligence, but the details are hazy and very secret. After the mysterious demise of one of the three scientists on the base, the main character is sent out to replace him. He finds the station run-down and the two remaining scientists cold and secretive. When he also encounters his wife who has been dead for seven years, he begins to appreciate the baffling nature of the alien intelligence.
His wife dead from poisoning and his chief warrior, Kurbsky, defected to the Poles, Ivan is lonely as he pursues a unified Russia with no foreign occupiers. Needing friendship, he brings to court Kolychev, now Philip the monk, and makes him metropolitan bishop of Moscow. Philip, however, takes his cues from the boyars and tries to bend Ivan to the will of the church. Ivan faces down Philip and lets loose his private force, the Oprichniks, on the boyars. Led by the Tsar's aunt, Euphrosyne, the boyers plot to assassinate Ivan and enthrone her son, Vladimir. At a banquet, Ivan mockingly crowns Vladimir and sends him in royal robes into the cathedral where the assassin awaits.
In 1547, Ivan IV (1530-1584), archduke of Moscow, crowns himself Tsar of Russia and sets about reclaiming lost Russian territory. In scenes of his coronation, his wedding to Anastasia, his campaign against the Tartars in Kazan, his illness when all think he will die, recovery, campaigns in the Baltic and Crimea, self-imposed exile in Alexandrov, and the petition of Muscovites that he return, his enemies among the boyars threaten his success. Chief among them are his aunt, who wants to advance the fortunes of her son, a simpleton, and Kurbsky, a warrior prince who wants both power and the hand of Anastasia. Ivan deftly plays to the people to consolidate his power.