In Spring 2022 Masha prepares to leave Russia — her homeland that has changed. It turns into a chain of unexpected farewells: her mom dies of cancer, her lover flees army conscription, everything including her own old self is falling apart. Her way to cope with the grief is to fixate everything with her camera. Her anger guides her to inner emigration to the local underground scene, which became an escape for young russians. This kaleidoscope of shards chronicles not only spirit of the time, but the director’s personality crumbling against the backdrop of global turmoil.

The Shards

Krivoluchye is a district in Tula, but you can’t see the familiar city in this film, it’s a reflection, partly mokeymentari about emigration, - abroad, inside the country or, in the end, deep into yourself. Andrei and Oksana have not seen each other for almost a year and are temporarily returning to their small city, from which both left - he is in St. Petersburg, she is in Paris. They are surrounded by many people, each with their own reasons and ways to live in this touching and almost mystical place with an underground podcast, doppelgangers, a gang on scooters ... The geographical boundaries and the boundaries between the true and the imagined are blurred while the characters look for the answer to the question “why leave? or why stay, ”if you can live like in a movie, directing this reality anywhere in the world.

Krivoluchye

The most numerous subculture is a nameless one: it’s the boys’ subculture. Mindlessly at first, they mimic the rituals and habits of adult men. Boys curse, boys raise glasses “for ladies not present here”, until they gradually evolve into men, becoming role models for the next generation of boys. The character of this montage film crafted from discovered tapes makes such full circle: through his childhood, a winter dacha with vodka shots, a picture-perfect 2000s vacation in Turkey and Egypt with his parents, and into adulthood and his own family.