Герои советского нью-вейва

A documentary about Fidel Castro's visit to the USSR from April 28 to June 3, 1963 and how the Cuban leader traveled throughout the Soviet Union for 40 days, from Severodvinsk to Khiva in Uzbekistan.

1979. Flicking through pictures from a Soviet magazine, 15-year-old Martim dreams of building a new society. His radical communist parents send him to study at Astrakan for one year. In her new film, Catarina Mourão captures with tremendous precision the moment a middle-aged man passes his story on to his son, thus shedding the taboo of his ineffable experience.

Short documentary about Emmen, one of the first planned cities in the Netherlands, a home for workers in the textile and metal industry. Emmen was one of the first planned cities in the Netherlands, a home for workers in the textile and metal industry. A city as a social experiment: it had to become the embodiment of a committed, happy and united society. But the planned idyll did not last long or perhaps never existed. A poetic, science fiction-like quest for a never materialized utopia.

This FitzPatrick Miniature visits the Union of Soviet Socialist Republics (USSR), the largest geographically unbroken political unit in the world, covering one-sixth of the world's land mass.

Documentary recounting the story of the Cuban Revolution and its impact on the young people of Cuba.

The explosion at Chernobyl was ten times worse than the Hiroshima bomb and was due to a combination of human error and imperfect technology. An account of the sixty critical minutes prior to the explosion of the nuclear power plant on the night of April 26, 1986.

Hitler's invasion of Russia was one of the landmark events of World War II. This documentary reveals the lead-up to the offensive, its impact on the war and the brinksmanship that resulted from the battle for Moscow. Rare footage from both German and Russian archives and detailed maps illustrate the conflict, while award-winning historian and author John Erickson provides insight into the pivotal maneuvers on the eastern front.

Freddy wants to be a star. He writes and performs his own songs, but has no record contract yet. He has an idea to form a group of back-up vocalists and recruits four beautiful girls who also happen to be his former lovers. They name themselves "THE FOUR PIN-UPS." But even this doesn't work because Freddy wants the spotlight for himself. However, by chance, the girls find themselves onstage without Freddy; they start singing and capture the audience and sign a contract with a big producer. They seem to be on the road to success with their own sound and a new wave image. Except the dream begins to lose its glow; scandal, conflicts, and disenchantment start affecting the group. They go from number one to...

Cold War Leningrad: In a culture where the recording industry was ruthlessly controlled by the state, music lovers discovered an extraordinary alternative means of reproduction: they repurposed used x-ray film as the base for records of forbidden songs. Giving blood every week to earn enough money to buy a recording lathe, one bootlegger Rudy Fuchs cuts banned music onto such discarded x-rays to be sold on street corners by shady dealers. It was ultimate act of punk resistance, a two-fingered salute to the repressive regime that gave a generation of young Soviets access to forbidden Western and Russian music, an act for which Rudy and his fellow bootleggers would pay a heavy price.

Drawing on the collections of major Russian institutions, contributions from contemporary artists, curators and performers and personal testimony from the descendants of those involved, the film brings the artists of the Russian Avant-Garde to life. It tells the stories of artists like Chagall, Kandinsky and Malevich - pioneers who flourished in response to the challenge of building a new art for a new world, only to be broken by implacable authority after 15 short years and silenced by Stalin's Socialist Realism.

Filmmakers Laura Mulvey and Mark Lewis use rare archival footage and interviews with artists, art historians, and museum directors to examine the fate of Soviet-era monuments during successive political regimes, from the Russian Revolution through the collapse of communism. Mulvey and Lewis highlight both the social relevance of these relics and the cyclical nature of history. Broadcast on Channel Four as part of the 'Global Image' series (1992-1994).