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Cinematic Atlas, Part 7: Soviet and Post-Soviet Cinema (1951-Present Day) πŸ‡·πŸ‡ΊπŸ‡ΊπŸ‡¦πŸ‡§πŸ‡ΎπŸ‡¦πŸ‡²πŸ‡¬πŸ‡ͺπŸ‡¦πŸ‡ΏπŸ‡°πŸ‡¬πŸ‡°πŸ‡ΏπŸ‡ΉπŸ‡²πŸ‡ΉπŸ‡―πŸ‡ΊπŸ‡ΏπŸ‡²πŸ‡©πŸ‡±πŸ‡»πŸ‡±πŸ‡ΉπŸ‡ͺπŸ‡ͺ

After a month of absence, I decided to come back (will delve into shorts and will try to get back into feature lengths asap). I am gonna do the next CA list, and will be delving into my favourite movements, eras and region, this will also include post-Soviet films (which admittedly I have rarely seen). This includes some of the most legendary, poetic, pictaresque, timeless and cerebral films I have seen thus far.
It bought us filmmakers who have unique voices and even changed the scope of cinema forever; Andrei Tarkovsky and Sergei Parajanov are the most well known examples, but I also bring smaller voices like Tengiz Abuladze, Artavazd Peleshyan and Yuriy Ilyenko.
All of whom have used a…

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  • Ivan's Childhood
  • Shadows of Forgotten Ancestors
  • A Spring for the Thirsty
  • White Mountains
  • Andrei Rublev
  • Kiev Frescoes
  • The Plea
  • Hakob Hovnatanyan
  • Beginning
  • The Color of Pomegranates
  • Inhabitants
  • The White Bird Marked with Black
  • Solaris
  • The Daughter-in-Law
  • Mirror
  • Seasons of the Year
  • The Wishing Tree
  • Stalker
  • Nostalgia
  • Blue Mountains, or Unbelievable Story
  • Wow! A Talking Fish!
  • In the Blue Sea, in the White Foam...
  • Arabesques on the Pirosmani Theme
  • The Legend of Suram Fortress
  • Dead Man's Letters
  • The Sacrifice
  • Ashik Kerib
  • Life
  • Russian Ark