Sergei M. Eisenstein - Ivan Groznyy II: Boyarsky zagovor (Иван Грозный. Боярский заговор) AKA Ivan the Terrible Part 2 (1958)

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

Elem Klimov - Agoniya (Агония) AKA Agony (1981)

Synopsis:
A wide-scope panoramic view of Russia in 1916. The country is in its third year of war which seems to never end, with police rule, hunger and devastation at their peak. All this plays out against a background of luxury and corruption at the court, where the agonizing power still entertains hopes of coping with “the rebels”. The courtiers have a presentiment of the collapse of the Russian autocracy. Fear, despair and blind belief in Providence make a fertile ground for the “great” starets, adventurist Rasputin, who is a friend of the royal family and has gained mastery over the Czar and his ministers. The filmmakers used newsreels of the 1917 Revolution… This controversial historic drama was released twice: in 1975 and, after a number of changes, in 1985. RUSCICO offers the film’s 1985 version.

Sergei Parajanov - Ambavi Suramis tsikhitsa (Легенда о Сурамской крепости) AKA The Legend of Suram Fortress (1984)

Parajanov was born in 1924 (..) In 1964, Parajanov stunned critics and audiences with "Shadows of Forgotten Ancestors", a baroque and free-wheeling adaptation of Romeo and Juliet-like Carpathian folklore involving two lovers separated by quarreling families and their tragic fates amid everyday village life and religious ritual. Visually stunning (the opening sequence involves the camera riding atop a falling tree), it was condemned for its brash formalism in a time when Kruschev had attacked abstract art, bringing an end to the post-Stalinist cultural "thaw" of the late-'50s and early '60s. The film was quickly removed from Soviet screens and precipitated Parajanov's extended battles with Soviet authorities. Kiev Frescos was cancelled mid-shoot because of its "bourgeois subjectivism and mysticism" (Ackerman) and Sayat-Nova (The Color of Pomegranates) (1969) was immediately banned and later released in a drastically re-edited form.

Sergei Parajanov - Sayat Nova aka The Color of Pomegranates (1968)

Quote:
The work of painter, musician, mystic and filmmaker Sergei Paradjanov (1924-1990) constantly defies categorisation. His films are notable for their lyrical inspiration and great aesthetic beauty, but riled the Soviet authorities to such an extent that Paradjanov faced constant harrassment throughout his life. Like his earlier film, Shadows of Our Forgotten Ancestors (1965), The Colour of Pomegranates was banned...
Ostensibly a biopic of rebellious 18th century Armenian poet Sayat Nova, The Colour of Pomegranates follows the poet's path from his childhood wool-dying days to his role as a courtier and finally his life as a monk. But Armenian director Sergei Paradjanov warns us from the start that this is no ordinary biopic: "This is not a true biography," he has his narrator state during the opening credits.

Larisa Shepitko - Vosxozhdenie (Восхождение) AKA The Ascent (1976)

Quote:
A Soviet masterpiece

In the Belarus of 1942, two Soviet soldiers are captured by Nazi-friendly Belarusians. In captivity, the attitude of the two men toward their fate differs greatly. One of the soldiers manages to find an inner strength and spirituality, incomprehensible to the other man. Larisa Shepitko's last film is one of the most beautiful war films in cinema history.

Sergei Loznitsa - Blokada (Блокада) AKA Blockade (2006)

Icarus Films PR about the movie:
The longest siege during World War II was that of Leningrad, which lasted for 900 days, from September 1941 to January 1944, when Hitler attempted to starve the Soviet city of three million people into submission. Estimates of the number of residents who died from starvation, disease or cold range from 641,000 to 800,000.

Comprised solely of rarely-seen footage found in Soviet film archives by director Sergei Losnitsa, BLOCKADE vividly re-creates those momentous events, featuring a meticulously reconstructed, state-of-the-art soundtrack added to the original black-and-white silent footage. The result gives viewers the eerie impression of being not just an observer but virtually a participant in the events as they unfold on the streets of Leningrad.

Aleksei Balabanov - Pro urodov i lyudey AKA Of Freaks And Men (1998)

IMDB:
Dariya the maid getting a boy to touch her large breast is just one incident that occurs when Yohan and Victor infiltrate two families, forcing young Liza and blind Ekaterina to appear in porn, but they are not so innocent themselves.

Timur Bekmambetov - Nochnoi Dozor (Ночной дозор) AKA Night Watch (2004)

Information

Little Shop of Horrors, Russian Style

By Oleg Liakhovich The Moscow News

On the heels of the XXVI Moscow International Film Festival came an event even more pompous and widely publicized - the premiere of a movie meant to spark a revival of Russia's popular cinema while giving Hollywood a battle royale on its own terms


Night Watch (Nochnoy Dozor in original Russian) depicts the on-going struggle between the magical forces of good and evil in present-day Moscow. The movie was eagerly awaited by fans and became an object of an intense advertising campaign in all media. Its US $3mln budget - an incredible sum for a local movie - and plentiful special effects, also a novelty for Russian cinema with its established traditions of inexpensive quality dramas and solid adaptations of literary classics, were to make Night Watch Russia's equivalent of an American summer blockbuster. The producers actually went as far as officially calling it "the first Russian blockbuster" long before it had the chance to appear on screen. Even Russia's own Oscar winner and self-styled national sage director Nikita Mikhalkov, while admitting that the film "wasn't his thing", said that it was "cool" and called it Russia's "answer to Quentin Tarantino". Serious praise indeed - after all, only a dirty mind would suspect Mikhalkov of still being sore at old Quentin for "stealing" his Palme d'Or in Cannes back in 1994.
Lightsaber, Anyone?