A re-imagination of Japanese Emperor Hirohito’s final days in power as WWII draws to a close.

Unfolding over two days in 1924, the film depicts the dying Lenin, world revolutionary and father of the USSR, now powerless and isolated at his Gorki estate. Cared for by his wife, Nadezhda Krupskaia, sister Maniasha, his German doctor and several attendants, Lenin raves about his diminishing faculties, discusses the deaths of great figures (including Marx), rides a car to a picnic in a meadow and ponders his historic legacy.

简介：這是一段由導演的思想、文字，與畫面、聲音共同碰撞激盪的旅程，在流暢中持著嚴謹的態度，充滿想像卻真切萬分。從落葉凋零到雲靄變色，從霧中風景到冰天雪地；望彌撒的虔誠、孩童受洗的認真、若有所思的傳教士、滔滔不絕的咖啡店男子……，跟隨著鏡頭的轉換，導演帶領我們冷眼旁觀、深談淺論。片尾一段在荷蘭鹿特丹博物館的眾多畫作間輕靈跳躍的戲碼，可說是《創世紀》的前身，亦是蘇古諾夫對藝術美學完美追求的呈現。

1994 film by Alexander Sokurov

A man goes for a walk through the countryside with his dying mother.

A man tries to come to terms with his father's death and to deal with the mundane details of his burial in a society cut off from spirituality.

The film Days of Eclipse is based on a novel by famous Soviet science fiction writers — brothers Arcady and Boris Strugatsky. The action has been transferred to the Central Asia where a young Russian doctor gives treatment to children and tries his hand at writing. Introducing us a young contemporary at the crossroads (for the first time in Sokurov's work), this film becomes the first part of a cinema trilogy.
This character, whose formative years pass in the situation of broken and showing its cracks way of life, becomes a link between three of Sokurov's films. The whole 'trilogy' is joined together by the bitter irony regarding worn–out sacral symbols. Films Days of Eclipse, The Second Circle, The Stone, made in different years, are linked up with each other by one common plot: permanent co–existence of real everyday life, of so to say daily routine, with messages or messengers from Nowhere.
The young athlete from Days of Eclipse played by young non–professional performer Alexei Ananishnov is no less an archaic symbol of the former power of the collapsed Soviet empire than a recording of Brezhnev's speech sounding in the film or huge plaster cast Hammer and Sickle sticking out in the desert.
Dmitry Malyanov from Strugatsky's novel A Milliard Years before the End of the World has nothing in common with the character of Days of Eclipse beside the name. In fact, for Sokurov's hero the end of the world has already come and the border of this end has fallen on his life. The character who has been brought to the world of alien climate, alien speech, alien customs, learns not to be surprised at the cases of violence against others and himself — in order to survive, speaks to a dead body, tames and feeds exotic reptiles, and, on top of that, meets an angel appearing as a child.
This film was successful with the cinema audience of Perestroika years. Alexei Ananishnov later played the main part in one more film by Sokurov Mother and Son.
The film has been listed by the European Cinema Academy among 100 best movies of the XX century.
Alexandra Tuchinskaya
English translation by Anna Shoulgat, © 2002.
Prizes and awards:
1988. Special Award Felix of the European Cinema Academy to the composer Y. Khanin.
1988. NIKA Award of the Filmmakers' Union of the USSR to the Director of Sound V. Persov as Best Director of Sound.
1989. Laureate of the competition for Best Russian film of the year.
Award of the Filmmakers' Union of the USSR to S. Yurizditsky as Best Director of Photography.

Set in the early 1920s after the end of the Russian Civil War, Red Army soldier Nikita returns to his hometown to see his partner Lyuba, both of whom are scarred by the trauma of the Russian Empire of yesteryear.

Документальность и лиризм — полярные составляющие кинематографического языка — равнозначимы и неразделимы в поэтике фильмов российского режиссера Александра Сокурова. И в документальных, и в игровых его лентах объекты реальной жизни, давно или недавно запечатленные на кинопленке, включаются в свободную поэтическую композицию. В своей новой работе А. Сокуров и его коллеги — оператор А. Буров, звукооператор В. Персов — сплетают художественную ткань картины без швов и узлов, словно из одной нити, достигая на своем пути нового итога — итога мировоззренческого.
Из аннотации Александры Тучинской

The life and work of the great Russian composer Dmitriy Shostakovich is presented in this documentary through rare images and audios from many archives, at one time censored by the Soviet government. A brief take on his life, from his transition as an early prodigy to a first rate artist, his celebrated compositions and the final years with a declining health.

本条目为世界知名的16位导演短片合集，具体包括：
01. 黄蜂 Wasp - Andrea Arnold

02. 审判 심판 - 朴赞郁 Chan-wook Park

03. 在冰上 sikumi - 安德鲁·麦克莱恩 Andrew Okpeaha MacLean

04. Doña Lupe - Guillermo del Toro

05. 老妇与鸽子 La vieille dame et les pigeons - 西维亚·乔迈 Sylvain Chomet

06. 袭击面包店 パン屋襲撃 - 山川直人 Naoto Yamakawa

07. 两车一夜 Two Cars, One Night - 泰卡·怀蒂蒂 Taika Waititi

08. 希特勒奏鸣曲 Соната для Гитлера - Aleksandr Sokurov

09. 我的父亲100岁了 My Dad Is 100 Years Old - Guy Maddin

10. 铲车司机克劳斯--第一个工作日 Staplerfahrer Klaus - Der erste Arbeitstag - Stefan Prehn/Jörg Wagner

11. 舅舅 Uncle - 亚当·艾略特 Adam Elliot

12. 时间终结四重奏 Cuarteto para el fin del tiempo - 阿方索·卡隆 Alfonso Cuarón

13. 坐火车的女人 Madame Tutli-Putli - Chris Lavis/Maciek Szczerbowski

14. 一个女孩的故事 A Girl's Own Story - Jane Campion

15. 马车夫 Borom sarret - Ousmane Sembene

16. 懦弱 Soft - Simon Ellis

Alexander Sokurov used five television cameras to film Mozart’s Requiem Mass, which the Director himself had staged in the small Philharmonic Hall in Saint Petersburg in 2004.
The main characteristic of the performance is that the chorus isn’t still, it moves around on the stage. The movements in space aren’t specified in the script; sometimes the chorus moves around chaotically, sometimes they come together on the proscenium, sometimes they gather at the back of the stage. In the same way, the soloists move around freely. Thanks to the lighting, these movements create a play of chiaroscuro. The film is not edited in a traditional manner. We didn’t try to respect the usual succession of the frames, nor did we follow the soloists, nor did we try to sustain the rhythm of the musical work through our editing. The rhythm of the film changes, it doesn’t always coincide with the rhythm of the music. The spectator follows the changes of lighting, the movements of the interpreters, their faces, their emotions. The people of Saint Petersburg who came to see the performance are also the characters of the film.
(A. Sokurov)

In this dreamlike film, a nameless father and his son, Aleksei, live together in an apartment in St. Petersburg. Aleksei's mother has died and consequently the two have a very close relationship. When Aleksei acquires a girlfriend, she refuses to take a back seat to his bond with his dad, and breaks up with him. Aleksei is also experiencing nightmares, dreading separation from his father to be a part of the military as his father was.

The Dialogues with Solzhenitsyn is a two-part Russian television documentary by Russian filmmaker Alexander Sokurov on Aleksandr Solzhenitsyn. The documentary shot in Solzhenitsyn’s home shows his everyday life and covers his reflections on Russian history and literature.

This short movie from Sokurov uses archival footage of Adolf Hitler composed in a new manner with sometimes classical, sometimes unsettling music in the background. I'm not sure about the date of the production, as the final cut was made in 1989 but the preliminary version was ready in 1979
with so many early films by Sokurov, this film has two dates: the first is the date of its creation (the film was then banned), the second is the date of the final edition and legal public screening. The film consists of German and Soviet archive footage of the World War II - to be exact, from the end of the war. An attempt to make a large-scale documentary on this subject had been undertaken in the Soviet cinema of the 1960s: the film - "Ordinary Fascism" - by the outstanding Soviet film-maker Mikhail Romm had become a classic retrospective investigation of fascism. But Sokurov uses the expressive power of the documentary image in an absolutely different way. He does not amass materials for a large-scale picture of Nazi crimes.
As a lyrical film-maker, in the space of this short film, he manages to present an entire overview of the historical landscape after the catastrophe. He chooses only the psychological aspect of this, showing the perpetrators of crimes as also the victims of their crimes: the execution of Hitler's generals, the miserable despair of a defeated Hitler, the shame of the crowd use only to regimentation, the shame of the nation. Here Sokurov makes an unspoken comparison with the history of his own country: it was victorious in the face of Hitler, but at the same time had bred its own dictator, Stalin. The footage is numbered; dates on both sides of the frame denote the years of Hitler's and Stalin's deaths (1945 and 1953 respectively).
- Alexandra Tuchinskaya
Translated by Olga Abramenko with assistance from Benjamin Halligan.

2011 film directed by Aleksandr Sokurov

2015 film directed by Alexander Sokurov

2002 fictional historical film by Alexander Sokurov filmed in the Winter Palace in one take without stopping the camera