Binge-Watch Russian Cinema: 7 Films You Can’t Miss

It’s holiday time, and what better way to unwind than by kicking back in front of the TV with some seriously engaging binge-watching? Whether you’re alone or just enjoying some quiet time, these seven films and series offer an immersive journey into Russia and its neighboring countries. Each of these picks has been praised by a highly opinionated, multi-generational, mixed Russian-American audience for their quality, storytelling, and cinematic excellence. So grab your snacks and get comfy—these selections will keep you glued to the screen!

“The Optimists” (2017)

This Russian television series is a heartwarming and poignant drama set during the aftermath of World War II. “The Optimists” focuses on a group of Soviet-era radio operators, who are assigned the mission of rebuilding communication channels between the USSR and the West in the late 1940s. The show intricately weaves together the personal lives of its characters, as well as the political and social changes of the post-war period. The series blends humor, romance, and historical elements to create a compelling narrative about hope, resilience, and rebuilding after devastation.

While the main plot centers around the lives of the operators, there is also a significant focus on how they deal with the personal and ideological challenges brought on by the changing political landscape. This combination of history, personal drama, and optimism in the face of hardship made “The Optimists” a well-received production among audiences.

For fans of period dramas that explore the emotional side of post-war Soviet life and the optimism that drives individuals to rebuild, “The Optimists” is a standout show. Its balance of humor and drama, combined with its richly developed characters, makes it a standout addition to any list of Russian cinematic and TV gems.

“Dovlatov” (2018)

“Dovlatov” (2018)

Set in 1971, “Dovlatov” offers an intimate, poignant glimpse into the life of the Soviet writer Sergei Dovlatov, whose literary brilliance was stifled by censorship during the repressive “stagnation era” of the USSR. Directed by Aleksei German Jr., the film focuses on six days in Dovlatov’s life in Leningrad (now St. Petersburg), as he navigates the struggles of being a writer in a society that failed to embrace his work.

The film’s protagonist, Sergei Dovlatov, played by Milan Maric, is a witty yet disillusioned author who, despite his undeniable talent, faces rejection from publishers and the state. As Dovlatov wanders through the streets of Leningrad, meeting with other writers, intellectuals, and artists, the film paints a vivid picture of his frustrations and the larger systemic barriers facing creative individuals under Soviet rule.

A central theme in “Dovlatov” is the tension between personal ambition and the suffocating political environment of the time. The movie emphasizes the quiet rebellion of Dovlatov and his peers, whose works were often censored, their creativity bound by the state’s control over art. However, the film’s most notable aspect may be its melancholic portrayal of Leningrad, where the grey, somber city serves as a fitting backdrop to the artist’s inner turmoil.

Through its subdued pace and thoughtful narrative, “Dovlatov” explores the artist’s struggle for self-expression in a repressive system, showing the cost of creativity when it cannot find its place within the established order. The film is both a love letter to the writers who lived through such oppressive times and a meditation on the complex relationship between art and power.

“Dovlatov” is an atmospheric, deeply reflective film that captures the essence of Soviet-era artistic repression. It’s a must-see for anyone interested in Soviet history, literature, and the personal sacrifices made by those who lived through the era. Available on Netflix, it provides an evocative portrayal of one of Russia’s most talented writers, whose work remained largely unacknowledged during his lifetime.

“The Death of Stalin” (2018)

“The Death of Stalin” (2018)

Directed by Armando Iannucci, “The Death of Stalin” is a dark political satire that takes a comedic yet sharply critical look at the chaotic power struggle that erupted in the Soviet Union following the death of Joseph Stalin in 1953. Based on the French graphic novel La Mort de Staline, the film features an ensemble cast of British and American actors, including Steve Buscemi, Simon Russell Beale, Jeffrey Tambor, and Michael Palin, delivering hilarious performances while depicting the absurdity and terror of the era.

The film opens with Stalin’s sudden death, setting the stage for a comedic and bizarre scramble for power among his inner circle. As Stalin’s closest aides—most notably Khrushchev (played by Steve Buscemi), Malenkov (Jeffrey Tambor), and Beria (Simon Russell Beale)—attempt to secure their own positions, the film explores the absurdity of totalitarianism and the incompetence of those vying for control. Each character is portrayed as bumbling, corrupt, and, at times, ruthlessly manipulative, resulting in a series of darkly humorous and tragic events.

What makes “The Death of Stalin” so effective is its ability to balance political commentary with absurd humor. Iannucci, known for his work on Veep and The Thick of It, brings his signature style of rapid-fire dialogue, sharp wit, and biting satire to the Soviet landscape. The film doesn’t shy away from portraying the brutal realities of Stalin’s regime, but it does so through a comedic lens, which makes the film both engaging and unsettling.

The humor in “The Death of Stalin” often borders on the absurd, particularly when it comes to the characters’ reactions to the unfolding events. The depiction of the Soviet leadership’s sheer ineptitude—combined with their paranoid desperation to hold on to power—creates moments that are both hilarious and horrifying. Despite the humor, the film never forgets the context of the historical events it’s portraying: the mass purges, fear, and oppression that were central to Stalin’s rule.

With its unique blend of historical events, slapstick comedy, and political satire, “The Death of Stalin” is a film that not only entertains but also provides sharp insight into the absurdities of absolute power and the lengths people will go to maintain it. It’s a daring and unconventional take on a dark chapter in Soviet history, and its irreverent tone makes it stand out as a bold cinematic exploration of the personal and political turmoil that followed Stalin’s death.

If you’re looking for a film that combines humor with historical depth, “The Death of Stalin” delivers an unforgettable experience. It offers both a hilarious and thought-provoking take on the paranoia and instability that followed one of the most infamous leaders in history.

“To the Lake” (2020)

“To the Lake” (2020)

“To the Lake” (Epidemiya in Russian) is a gripping post-apocalyptic thriller that dives deep into the psychological and emotional impact of a global pandemic on a group of people struggling to survive. Based on the novel Vongozero by Yana Vagner, the series, directed by Andrey Kavun, is set in Russia and follows a group of individuals who must escape a rapidly decaying city in the wake of a deadly virus that threatens humanity’s very existence.

When a lethal virus begins to spread across Russia, causing widespread panic and societal collapse, a group of ordinary people must navigate the chaos and make their way to a remote lake house where they hope to find refuge. The virus is highly contagious and deadly, and the survivors are forced to make tough moral decisions as they try to protect themselves and their families.

The show focuses on multiple characters, each with their own personal dilemmas, and paints a poignant picture of human resilience, fear, and survival instincts. As the epidemic worsens, trust erodes, and alliances are tested, adding tension to an already tense and dangerous environment. The group’s journey to the remote location becomes more perilous as not only the virus but also human nature itself becomes a threat.

“To the Lake” stands out because it doesn’t just focus on the virus itself but also on how people cope with catastrophe—how they deal with grief, fear, and survival instincts when faced with the collapse of society. There’s a strong emotional core to the story, particularly in the relationship dynamics between the characters. Families are torn apart, trust is broken, and desperate decisions are made in the face of overwhelming uncertainty.

The bleak setting of rural Russia provides the perfect backdrop for the story, evoking a sense of isolation that mirrors the characters’ emotional states. The stunning cinematography, coupled with a chilling soundtrack, heightens the series’ atmosphere of tension and dread. As the characters make their way to the lake, the series also explores the societal issues and inequalities that become even more apparent during a crisis.

The show is also notable for its portrayal of the pandemic’s impact on Russia, showing a more localized and personal perspective of the global pandemic trope. “To the Lake” is less about the virus itself and more about how humanity reacts when pushed to its limits. It offers a disturbing yet realistic portrayal of human nature when society’s structures start to unravel.

For fans of dystopian dramas and apocalyptic thrillers, “To the Lake” offers a gripping and emotionally charged experience. It’s a tense, character-driven series that explores survival in extreme conditions and the consequences of a breakdown in social order. If you’re into stories about human survival under dire circumstances, this one is sure to keep you on the edge of your seat.

“Servant of the People, Season 1” (2015)

“Servant of the People, Season 1” (2015)

“Servant of the People” (Sluga Narodu in Ukrainian) is a satirical Ukrainian political comedy series that made waves not only for its clever humor but also for its unexpected connection to current world events. The show stars Volodymyr Zelenskyy, who later became the President of Ukraine, playing the role of a high school history teacher who unexpectedly becomes the President of Ukraine.

The first season of the show revolves around Vasily Petrovich Holoborodko, an ordinary, disillusioned teacher who, after delivering a passionate speech against corruption, unexpectedly becomes the leader of Ukraine after a viral video of his rant catches the attention of the public. In a twist of fate, Holoborodko is elected president, despite having no political experience or ambition. The series follows his journey as he tries to navigate the complex world of politics, government bureaucracy, and the numerous challenges that come with being the leader of a country in crisis.

The show uses humor and satire to comment on the state of politics in Ukraine and the corruption that has long plagued the country. Holoborodko, a man of integrity and idealism, struggles to clean up a corrupt system while facing opposition from those who benefit from the status quo. The humor is sharp and pointed, often poking fun at political institutions, the media, and the absurdities of power dynamics.

What makes “Servant of the People” particularly interesting is that Zelenskyy’s portrayal of Holoborodko, an ordinary citizen who becomes president, resonates strongly with Ukraine’s real-life political landscape. Zelenskyy’s own real-life rise to the presidency in 2019 mirrored his character’s journey, with the show being a precursor to his political career. His performance is charming and relatable, as he balances the idealism of a man who believes in the goodness of people with the harsh realities of governing a country.

While “Servant of the People” is primarily a comedy, it also has elements of drama and social commentary, highlighting issues such as corruption, bureaucracy, and the disconnect between the government and the citizens. The series cleverly critiques the political establishment while offering a hopeful message that change is possible, even if it seems unlikely.

The first season is a great introduction to the show’s premise, as it sets the stage for Holoborodko’s rise and his challenges as president. It also offers a great deal of humor, with plenty of funny situations and political mishaps that provide a lighthearted, yet insightful, look at the inner workings of government.

“Servant of the People” became a significant hit, not just for its comedic value but also for its cultural and political relevance, and Zelenskyy’s transition from actor to president adds a layer of irony to the show’s premise. If you’re interested in political satire, witty humor, and a unique look at Ukraine’s political scene, this series is definitely worth watching. It’s entertaining, thought-provoking, and ultimately optimistic about the possibility of change, even in the most difficult of circumstances.

“Occupied” (2015)

“Occupied” (2015)

“Occupied” (Okkupert) is a Norwegian political thriller series that delves into a tense and gripping alternate history scenario, where Norway is occupied by Russia. The show imagines a world in which, after a political shift in Norway, the country’s government decides to halt oil production in response to environmental concerns. This move triggers a response from Russia, which sees its own energy needs at risk, leading to the occupation of Norway under the pretext of maintaining energy supplies for Europe.

Set in the near future, the story begins when Norway’s prime minister, Erik Bakke (played by Henrik Mestad), makes the bold decision to stop extracting oil and gas from the North Sea, in an attempt to combat climate change. In response, Russia, backed by the European Union’s indifference, launches a covert invasion to take control of the country’s oil fields, forcing the Norwegian government to collaborate with the occupiers. What ensues is a politically charged drama that raises questions about sovereignty, the influence of powerful countries, and the cost of environmental idealism.

The series focuses on the moral and political dilemmas faced by the Norwegian government and its citizens, who must navigate life under Russian occupation. The drama intensifies as the Norwegian resistance movement starts to form, seeking to push back against the occupiers, while the central characters — ranging from politicians to everyday citizens — struggle with their roles in this new reality.

The plot is built around the complex dynamics of power, diplomacy, and resistance, with a strong focus on the psychological toll of living in an occupied state. As the show unfolds, it explores themes of compromise, loyalty, and the ethical gray areas that emerge when the line between collaboration and resistance blurs.

“Occupied” has been praised for its realistic and chilling portrayal of the consequences of political decisions. It cleverly examines the vulnerabilities of small nations in the face of global superpowers and questions the price of maintaining moral and political ideals in a world dominated by realpolitik. The show offers a unique commentary on the complexities of modern geopolitics, particularly in the context of energy resources and environmental issues.

The series also delves into the intricacies of personal and political power, particularly through the character of Erik Bakke, who must balance his environmental convictions with the harsh reality of his country’s occupation. The tension between environmentalism and the need for energy security forms the backbone of the show, providing a thought-provoking backdrop for the unfolding political drama.

The acting in “Occupied” is strong across the board, with a talented cast bringing the morally complex characters to life. The performances are nuanced, and the storyline keeps viewers on edge, offering plenty of twists and turns. The cinematography is also notable, with the harsh Norwegian landscapes providing a striking contrast to the political intrigue and personal struggles.

“Occupied” became a critical success for its portrayal of contemporary geopolitical issues and its timely exploration of energy politics, nationalism, and international power struggles. The show’s unique premise and strong performances make it a must-watch for fans of political thrillers and dystopian dramas. It’s a tense, intelligent series that provokes thought about the intersection of politics, morality, and global relations in today’s world.

COURTESY: Pleasing Movies

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469. References
470. [edit]
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898. ^ Georg Szalai (20 July 2021). “Locarno Film Festival Adds Two Titles to Complete Lineup”. Hollywood Reporter.
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908. ^ Следствие в пяти актах
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911. ^ Что удалось, а что — нет в фильме Ладо Кватании «Казнь»
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920. ^ “Unequivocal Solidarity with Ukraine”. European Film Academy. 1 March 2022.
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927. ^ Christopher Vourlias (18 May 2022). “Kirill Serebrennikov Talks Russian Boycotts, Putin’s War and Oligarch Roman Abramovich”. Variety.
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935. ^ “Online streaming platforms face regulation, censorship”. The Bell. 22 November 2021.
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940. [edit]
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1391. ^ Haring, Bruce (March 19, 2022). “Moscow Film Festival Has Accreditation Paused By Int’l Federation Of Film Producers”.
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1407. ^ http://www.nyfa.edu/moscow/ Archived 2014-07-18 at the Wayback Machine NYFA Moscow
1408. ^ http://www.mifs.ru/index_eng.html Archived 2017-10-30 at the Wayback Machine Moscow International Film School homepage, translated
1409. References
1410. [edit]
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1572. ^ “Cannes: ‘It Must Be Heaven’ Takes FIPRESCI Critics’ Prize”. The Hollywood Reporter. 25 May 2019. Retrieved 25 May 2019.
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1603. ^ Georg Szalai (20 July 2021). “Locarno Film Festival Adds Two Titles to Complete Lineup”. Hollywood Reporter.
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1606. ^ “Роднянский назвал фильм “Мама, я дома” бескомпромиссным авторским высказыванием” [Rodnyansky on Bitokov’s Movie ‘Mama, I’m Home’: ‘It’s an uncompromising statement’] (in Russian). TASS. 2021-07-26. Retrieved 2022-04-12.
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1613. ^ Следствие в пяти актах
1614. ^ Время первого: драма о фронтовых операторах возглавила прокат
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1616. ^ Что удалось, а что — нет в фильме Ладо Кватании «Казнь»
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1623. ^ Scott Roxborough (March 2022). “European Film Academy Joins Boycott of Russian Cinema”. Hollywood Reporter.
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1625. ^ “Unequivocal Solidarity with Ukraine”. European Film Academy. 1 March 2022.
1626. ^ Haring, Bruce (March 19, 2022). “Moscow Film Festival Has Accreditation Paused By Int’l Federation Of Film Producers”.
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1628. ^ “Ukrainian Letters”.
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1630. ^ Etan Vlessing (14 March 2022). “‘Donbass’ Director Sergei Loznitsa Opposes Total Ban on Russian Cinema”. Hollywood Reporter.
1631. ^ Mona Tavara. “Kirill Serebrennikov calls for end of “unbearable” Russian culture boycott”. Screen Daily.
1632. ^ Christopher Vourlias (18 May 2022). “Kirill Serebrennikov Talks Russian Boycotts, Putin’s War and Oligarch Roman Abramovich”. Variety.
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1640. ^ “Online streaming platforms face regulation, censorship”. The Bell. 22 November 2021.
1641. ^ http://www.vgik.info/international/forprospectivestudents/index.php?SECTION_ID=685 Archived 2014-07-29 at the Wayback Machine Gerasimov Institute foundation history
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1643. ^ http://www.mifs.ru/index_eng.html Archived 2017-10-30 at the Wayback Machine Moscow International Film School homepage, translated
1644. References
1645. [edit]
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2294. ^ Peter Bradshaw (30 April 2020). “DAU. Degeneration review – shocking, six-hour satire of Soviet science”. The Guardian.
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2296. ^ “«Китобой»: подросток с Чукотки решает переплыть Берингов пролив, чтобы увидеть свою любовь в Детройте. Фильм дебютанта Филиппа Юрьева наградили в Венеции”. Archived from the original on 2020-09-30. Retrieved 2020-09-16.
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2300. ^ Morg, M. (March 27, 2021). “The Silver Skates will be the first Russian film in the Netflix Originals lineup”. FREEMMORPG.TOP. Retrieved May 8, 2021.
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2303. ^ Suyin Haynes, Madeline Roache. “Why the Film Industry Is Thriving in the Russian Wilderness”. Time.
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2305. ^ Sharf, Zack (10 June 2021). “Cannes Film Festival 2021 Lineup: Sean Baker, Wes Anderson, and More Compete for Palme d’Or”. IndieWire. Retrieved 16 November 2022.
2306. ^ Lodge, Guy (16 July 2021). “Russian Drama ‘Unclenching the Fists’ Takes Top Prize at Cannes Un Certain Regard Awards”. Variety.
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2308. ^ Georg Szalai (20 July 2021). “Locarno Film Festival Adds Two Titles to Complete Lineup”. Hollywood Reporter.
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2311. ^ “Роднянский назвал фильм “Мама, я дома” бескомпромиссным авторским высказыванием” [Rodnyansky on Bitokov’s Movie ‘Mama, I’m Home’: ‘It’s an uncompromising statement’] (in Russian). TASS. 2021-07-26. Retrieved 2022-04-12.
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2316. ^ “Golden Globes 2022 Non-English Language Film Submissions”. Golden Globes.
2317. ^ “Finnish films compete for the 2022 Golden Globe awards”. Helsinki Times. 6 December 2021.
2318. ^ Следствие в пяти актах
2319. ^ Время первого: драма о фронтовых операторах возглавила прокат
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2321. ^ Что удалось, а что — нет в фильме Ладо Кватании «Казнь»
2322. ^ Valerie Hopkins (May 18, 2022). “With Tchaikovsky’s Wife, Kirill Serebrennikov tackles a Russian taboo”. The New York Times.
2323. ^ Vladan Petkovic. “BERLINALE 2022 Panorama – Review: Convenience Store”.
2324. ^ Jump up to:^a b c Michael Rosser. “Berlinale bans state-backed Russian delegations but takes “clear stand” against total boycott”. Screen Daily.
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2326. ^ Amid Amidi (8 March 2022). “Annecy Will Not Host Any Official Russian Delegations At Its Festival”. Cartoon Brew.
2327. ^ Scott Roxborough (28 February 2022). “Stockholm Film Festival Bans Russian State-Backed Films, Stands With Ukraine”. Hollywood Reporter.
2328. ^ Scott Roxborough (March 2022). “European Film Academy Joins Boycott of Russian Cinema”. Hollywood Reporter.
2329. ^ Etan Vlessing (25 March 2022). “International Emmys Ban All Russian Programs From Competition”. Hollywood Reporter.
2330. ^ “Unequivocal Solidarity with Ukraine”. European Film Academy. 1 March 2022.
2331. ^ Haring, Bruce (March 19, 2022). “Moscow Film Festival Has Accreditation Paused By Int’l Federation Of Film Producers”.
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2333. ^ “Ukrainian Letters”.
2334. ^ Elsa Keslassy (March 2022). “Ukrainian Filmmaker Sergei Loznitsa Speaks Against Russian Boycott (EXCLUSIVE)”. Variety.
2335. ^ Etan Vlessing (14 March 2022). “‘Donbass’ Director Sergei Loznitsa Opposes Total Ban on Russian Cinema”. Hollywood Reporter.
2336. ^ Mona Tavara. “Kirill Serebrennikov calls for end of “unbearable” Russian culture boycott”. Screen Daily.
2337. ^ Christopher Vourlias (18 May 2022). “Kirill Serebrennikov Talks Russian Boycotts, Putin’s War and Oligarch Roman Abramovich”. Variety.
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2344. ^ Christopher Vourlias (10 October 2021). “Rising Russian Streamer KION Unveils Originals Slate at Mipcom (EXCLUSIVE)”. Variety.
2345. ^ “Online streaming platforms face regulation, censorship”. The Bell. 22 November 2021.
2346. ^ http://www.vgik.info/international/forprospectivestudents/index.php?SECTION_ID=685 Archived 2014-07-29 at the Wayback Machine Gerasimov Institute foundation history
2347. ^ http://www.nyfa.edu/moscow/ Archived 2014-07-18 at the Wayback Machine NYFA Moscow
2348. ^ http://www.mifs.ru/index_eng.html Archived 2017-10-30 at the Wayback Machine Moscow International Film School homepage, translated