Elem Klimov's Come and See (1985). Disliked by liberal Russians for its re-writing of the war on the Eastern Front, it is nevertheless one of the most damaging, terrifying anti-war films ever made. He has not made a film since.
Andrei Tarkovsky's Stalker (1979). Tarkovsky is the granddaddy of Russian metaphysics and this, according to some, is his magnum opus, a futurist fantasy and political allegory set in some decayed and mysteriously powerful interzone.
Grigory Kozintsev's King Lear (1971). A Shakespeare adaptation, staged among large boulders with half-naked actors on a freezing steppe. Even Lear's castle is decomposing into the raw materials of nature. Do we scent a metaphor here?
Alexander Sokurov's Days of Eclipse (1988). Another non-commercial auteur in a similar maverick mould to Aristakisyan. This is set in a desert in Soviet Central Asian where a doctor experiences exile.
Vladimir Tumaev's Moon Dogs (1995). Unreleased in the West, this tale of a 12-year-old girl dying of Aids in a Russian orphanage is said to have a grim, forbidding stamp on it. No holds barred.Reuse content