The wayward stove—maker Agnia does not spoil life - she lives in the Far North in an emergency poorly heated house, fishes in an ice hole and raises her son alone. Seasonal work makes it impossible to save up for new housing, and the local head of administration, Boris, is in no hurry to resettle people. Agreeing to Boris's proposal to lay out a stove in his hut, Agnia gradually falls in love with him, but eventually uses him to achieve her main goal — to move to a new apartment. And he does it in a very unusual way.

The legitimate heir to the throne in exile and the son of a murdered rebel — what do they have in common? Everyone has their own goal: one dreams of taking the throne and restoring his family to its former glory, the other - to take revenge on the murderer of his father, who serves the usurpers. Young men enter into a large-scale struggle for power and honor, in which those who seemed to be friends can betray, and former enemies can turn into allies. In order to achieve the goal, both the prince and the rebel's son will have to risk the most valuable and make the main choice in their lives — to go the preordained way or to oppose fate itself.

For the sake of the family, Vyacheslav Lazarev left the big aviation. The usual routine of Lazarev and his son Kolya is disrupted by a small bear cub, huddled in the cockpit of one of the planes. Little Mansur - as Lazarev and the others called him - having escaped from poachers, becomes attached to Lazarev.

The end of the Soviet empire. The General Secretary lies in the government clinic. He is old and frail, but has a tight grip on power. "The power is only taken, it is never given away," he repeats. And it is convenient for both the elites and the secret services -- while the "body" is alive, various groups are scoring their political points. The General Secretary is "sentenced to life". A young nurse Sasha looks after him. Small, fragile and invisible, she bears a heavy burden of responsibility for the life of the country's top official. Meanwhile, the old man is waging a war in Afghanistan, has a nuclear button and can take the entire world to the grave with him.

Investigator Sergei Smirnov, must return to the city of his childhood to investigate some high-profile murders. In Crystal city, there is a maniacal pedophile on the loose. Not only does he torture and kill children, he does it in a devious, brutal way. Sergei is the best in his field, so he entrusted with the investigation. Sergei has a complex character; the hero has obviously been through a lot, and his most terrible secrets are buried here, in Crystal city, where Sergei was born and raised.

August 1960. Director Nikolai Berentsev is working on a large-scale science fiction film about an expedition to Venus. The construction of grandiose decorations begins in the pavilion. Berentsev himself develops models of planets and spacecraft, comes up with special devices for combined filming. He tries to imagine and visualize something that no one has ever seen — life on other planets. He believes that fantasy should run ahead of science, but faces skepticism from colleagues and the scientific community. In the end, he himself begins to doubt whether his film is needed by the audience, why these dreams of Space, when there are so many unresolved problems on Earth.

丽莎常上夜班，乘坐出租车对她来说是渴求的平静时刻。司机萨沙激发了信心，他了解对待最苛刻的乘客的方法。大城市的灯光下有许多意想不到的转弯，每个弯道背后都有意料之外的威胁。而且，也许，这些危险比看起来更近。

前护士妮娜正在照顾一个虚弱的外星人，同时不得不应付着一群腐败的官员，他们欺负外星人，并从他们身上榨取有价值的物质。当妮娜与外星人接触得越来越深后，她了解到了外星人来到地球的真相，这完全改变了她的生活……

A poor Yakut couple have just buried their newborn child and they are now preparing for the harsh winter ahead. When the local governor, installed by the tsarist authorities, instructs them to take in a Russian political prisoner, they have no choice but to comply. The foreigner’s presence, however, encroaches upon their lives more than they had anticipated… Set in the late 19th century, Nuuccha (Yakut for “Russian”) was inspired by the writings of Polish author Wacław Sieroszewski, who became acquainted with Yakut culture and traditions during his years in Siberian exile. This evocative drama by debuting director Vladimir Munkuev is a striking example of lesser known Yakut cinema, while it also contributes significantly to the debate on the impact of colonisation and forced assimilation within tsarist Russia.