Written by

Alexey German Jr. & Yulia Tupikina

Produced by

SAGa films, Metrafilms and First Channel (Russia)

Co-produced by

Message film (Poland), Art&Popcorn (Serbia) with the support of Eurimages

Cast

Milan MARIC (Sergei Dovlatov)

Helena SUJECKA (Elena Dovlatova)

Danila KOZLOVSKY (David)

Artur BESCHASTNY (Joseph Brodsky)

Anton SHAGIN (Anton Kuznetsov)

Crew

Cinematographer – Lukasz ZAL
Editor –  Sergey IVANOV & Darya GLADYSHEVA
Sound Design – Ivan GUSAKOV
Production Design – Elena OKOPNAYA
Costumes – Elena OKOPNAYA

Filmography (Feature Lenghts)

Under Electric Clouds (2015) – 65th Berlinale Film Festival – Competition – Silver Bear Award for Oustanding Artistic Contribution

Crush (segment “Kim”) (2009)

Paper Soldier (2008) – 65th Venice Film Festival – Silver Lion for Best Director & Best Cinematography

Garpastum (2005) – 62th Venice Film Festival – Competition – Nika Award for Best Director

The Last Train (2003) –  60th Venice Film Festival – Luigi de Laurentis Award

Festivals & Awards

• Berlinale 2018, Germany – Silver Bear for Outstanding Artistic Achievement & Morgen post Readers Award
• Sofia IFF, Bulgaria
• Vilnius IFF, Lithuania
• Hong Kong IFF,
• Istanbul FF, Turkey
• LET’S CEE FF, Austria – Competition
• Istanbul IFF 2018 – Best of The Fests
• Fajr IFF, Iran- International Competition – Best Director Award, Critics Choice Award
• Jeonju IFF, South Korea
• Neisse FF, Germany
• Film by the Sea, Netherlands
• Telluride, USA
• Haifa IFF, Israel
• Film Fest Gent, Belgium
• Geneva IFF, Switzerland
• Ljubljana IFF, Slovenia
• Goa IFF, India
• Jewish FF in Jerusalem, Israel
• Kerala IFF, India
• Panorama of  European Cinema in Athens, Greece
• Laceno d’Oro, Italy, Premio alla carriera “Laceno d’oro” for Alexey German Jr

Press Quotes

“Milan Maric brings a commanding wit to his portrayal of writer Sergei Dovlatov in the new dense and formally rigorous film from Alexei German, Jr.” – BFI

“Working for the first time with Ida cinematographer Lukasz Zal, the director once again delivers enthralling choreographed tracking shots that add a Fellini-esque overlay to straightforward depictions of reality, making the film a visual treat.” – Variety

“This stylistically distinctive film, artistically soft-spoken as it is, nevertheless figures as a cri de coeur for our own era, in Russia and elsewhere: if art and the belief in art diminish, we all lose unimaginably.” – Screen