Kira Muratova

Kira Muratova – Peremena uchasti AKA Change of Fortune (1987)

A lawyer is preparing to defend a rich, respected man’s wife, who killed a friend of the family who was attempting to sexually assault her. The scenario changes abruptly for all involved when the lawyer discovers a love letter from the woman to the murdered man. Read More »

    Kira Muratova – Nastroyshchik AKA The Tuner (2004)

    At the heart of Kira Muratova’s newest film, The Tuner (Nastroishchik, 2004), is her characteristic and enduring love of predation—predation for its own sake. Of course, any talk of “the heart of Muratova’s work” is a judgment of anatomy rather than sentiment, as any admirer would attest. With The Tuner, she has produced an extraordinary new film that offers a complex assessment of the human subject, civilization, and the creative act. Read More »

      Kira Muratova – Korotkie vstrechi AKA Brief Encounters (1967)

      Nadya (Nina Ruslanova) is a young woman who loves the geologist Maxim (Vladimir Vysotsky). She takes a job as a housemaid before discovering Maxim is romantically involved with town official Valentina Ivanovna (Kira Muratova). The heartbroken Nadya goes away before Maxim can return, leaving him and Valentina to pursue their romance.

      Nadja, a country girl moves to the city and becomes Valya’s maid. Valya, a member of the District Soviet, does not know that Nadja fell in love with Valya’s currently absent husband, a geologist, when he was at her village on a recent expedition. Written by Erik Gregersen {[email protected]} Read More »

        Kira Muratova – Chuvstvitelnyy militsioner AKA The Sentimental Policeman (1992)


        An Odessa policeman discovers a baby abandoned in a cabbage patch. He takes the baby to an orphanage, but later he and his wife decide to try and adopt the little one. But they must go through a lot of difficulties… Read More »

          Kira Muratova – Astenicheskiy sindrom AKA Asthenic Syndrome (1990)


          Breaking all the usual rules of storytelling, The Asthenic Syndrome identifies two debilitating forms of behavior in the world today–extreme aggressiveness and extreme passivity. Written and directed by the most celebrated living Russian woman filmmaker, it was the only Russian film to have been banned by the Soviet government during Perestroika.
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            Kira Muratova – Melodiya dlya sharmanki AKA Melody for a Street Organ (2009)


            Kira Muratova, the grande dame of Eastern European cinema returns with her richest, most imposing vision of societal decay and personal efflorescence since The Aesthenic Syndrome encapsulated a very different moment in the former Soviet Union’s history in 1989. Set largely in the vast central railway station of Kiev, a casino, a shopping arcade and the snow-blanketed streets between, Melody is a majestically realised pageant of the burgeoning new economy of inequality. Like Dickensian orphans or children in a fairytale, a motherless brother and sister arrive in the city and traipse through festive Christmas streets looking for their respective fathers… Read More »

              Kira Muratova – Uvlecheniya AKA Passions (1994)

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              Michael Atkinson:

              Passions (1994) has a slightly different program: Accompany a pack of extroverted, sub-Fellini nutlogs to a horse farm, where they prance, vamp, and blabber about horses, love, and life. “It’s like somebody nudges me and whispers: Ask them—will they bear it?” one character says, summarizing Muratova’s strategy. Photographed in uncharacteristically lush colors, Passions won an indulgent Russian Oscar. Read More »