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No synopsis available yet.

Thirty short stories based on thirty stories by Chekhov.

Colleagues at work - Anna Sergeevna and young Lena - come to rest in a country sanatorium and become unwitting witnesses to the crime. They begin their dangerous investigation and feel that they, too, are in trouble. Trouble is everywhere here, everything around is saturated with it. Danger weakens and excites. Everyone is infected with danger, including the main suspect - Georgiy.

The film is dedicated to the heroines of Ostrovsky’s plays—wives, cooks, actresses, matchmakers. For the most part, these are composite characters, but many of them have real-life prototypes. The author was a keen observer and recorded everything interesting in his diary. This is how the gallery of images from his native Zamoskvorechye, where Ostrovsky was born, came into being. Later, after traveling along the Volga, portraits of residents from small towns along the river were added. Alexander Nikolaevich never overlooked the details. When the playwright described daily life, the details of clothing, or the manner of speaking of a character, the hero would literally come to life.

A well-known civil servant from the Mayor's Office in a provincial Russian town receives a note: You'll soon die. He takes no notice, and gets ready for his normal Sunday – family problems, his personal life, work, other matters… But this Sunday turns out very far from normal. From the very start things come crashing down, smiting everything in its path, including all plans, external composure, and even his own life.

A story about Konstantin Sergeievich Stanislavski, a twentieth-century theatre genius. Owing to his powerful extraordinary talent he managed to stay a true artist and a free spirit within the harsh Soviet system. In the film contemporary theater and film directors (Kirill Serebrennikov, Katie Mitchell, Lev Dodin and others) show how Stanislavski's method affects their everyday work. Each of the directors finds his or her own reflection in the mirror of his genius. In search of an answer to the question whether modern theatre really needs Stanislavski they discover that art lacks its most essential part – the human being.