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At the peak of Perestroika, in 1987, in the village of Gorki, where Lenin spent his last years, after a long construction, the last and most grandiose museum of the Leader was opened. Soon after the opening, the ideology changed, and the flow of pilgrims gradually dried up. Despite this, the museum still works and the management is looking for ways to attract visitors. Faithful to the Lenin keepers of the museum as they can resist the onset of commercialization. The film tells about the modern life of this amazing museum-reserve and its employees.

The Moscow Case is a 52 minute documentary with never-before-seen footage of Michael Jackson in Moscow during the "Dangerous" tour. This film tells the behind the scenes story of Jackson's ill fated concert in September 1993. It includes unique archival footage showing Michael close up and personal while meeting fans and playing with orphan children.

A film about the dramatic and extraordinary fate of the lonely man who confronted the meat grinder of the communist regime. Georgy Konstantinov, 19 years old, blew up Stalin's monument in Sofia and death passed him by only because the dictator died two days later. He miraculously survived 10 years in prison and psychiatric wards and managed to escape to France. His State Security file numbers more than 40,000 pages. Even today, he does not cease to expose the crimes of the regime with the strength of truth and of his character.

Jonathan Stavleu explores, in a stream-of-consciousness video essay, the relationship people have with water and what happens when access to it is taken away. For this work, he examines anecdotal histories he has heard from Estonians, as well as stories from his own family history in the Netherlands, weaving them together into a journal-like narrative.

“There’s a bus stop I want to photograph.” This may sound like a parody of an esoteric festival film, but Canadian Christopher Herwig’s photography project is entirely in earnest, and likely you will be won over by his passion for this unusual subject within the first five minutes. Soviet architecture of the 1960s and 70s was by and large utilitarian, regimented, and mass-produced. Yet the bus stops Herwig discovers on his journeys criss-crossing the vast former Soviet Bloc are something else entirely: whimsical, eccentric, flamboyantly artistic, audacious, colourful. They speak of individualism and locality, concepts anathema to the Communist doctrine. Herwig wants to know how this came to pass and tracks down some of the original unsung designers, but above all he wants to capture these exceptional roadside way stations on film before they disappear.