A film that was 40 years late for its own premiere.

Usually, a film is released, attracts audiences, and fades into history, bathed in glory. But sometimes, it's the other way around: fame comes first, and only then does the film itself.

Orson Welles's "The Other Side of the Wind" is precisely such a case. It's not just a film, but almost a cinematic myth that existed off-screen for decades.

Welles began filming in 1970. He worked boldly, chaotically, almost to the point of experimentation. He mixed formats, played with editing, and transformed the shoot into a living organism. Funds ran out, actors disappeared and returned, scenes were reshot. It was a cinema that refused to stop filming.

And then came the harsh reality: legal disputes, complex legal frameworks, and even global geopolitics. After the Iranian Revolution, some of the material was effectively blocked. The film seemed stuck between countries, eras, and people.

Welles said there was very little time left, but he didn't manage to finish the film. The director died in 1985.

And now the most amazing thing begins.

The film "The Other Side of the Wind" didn't disappear. It took on a life of its own. It was discussed, sought after, retold. It was a ghost film: it never appeared in theaters, but it already occupied a place in culture. Viewers "watched" it in their imaginations, piecing it together from rumors and interviews.

Only decades later—almost like a good script—was the story continued. In the 2010s, a team of producers restored the material based on Welles's notes. In 2018, the film was finally shown at the Venice Film Festival.

Thus, the premiere took place, for which the film was more than 40 years late.

And there's an almost poetic irony to it: the film tells the story of an aging director trying to catch up with time and complete his cinema. It's as if Welles wasn't just filming a story—he was filming a prophecy.

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"Camera! Action!"

It's 1991. Kolya Videnin, an employee at a simple video store in Leningrad, is, due to a freak accident, first put on trial and then sent to a penal colony. There, he earns the nickname "Vidik," and instead of pressing "Play" on a VCR, he's forced to chop wood from dawn to dusk. However, Videnin manages to escape the grueling work. On orders from the prison warden, Nazarov, Kolya begins filming his own versions of iconic Hollywood films, from "Terminator" and "Commando" to "Indiana Jones" and "James Bond," using whatever materials are at hand and inmate actors. Thus, a Hollywood of sorts emerges in the prison zone—with Stallone, Schwartz, and a nasal translator.

"Wind it up!"

A spin-off of the series "Camera! Action!", Timofey Nazarov, the warden of a remote taiga prison, still dreams of escaping to the capital and is once again focusing on film. But Nikolai Videnin has been released, and now Nazarov transfers a new inmate to his prison—the renowned Moscow director Matvey Selyuzhitsky, who goes by the nickname "Action" and begins remaking iconic Hollywood action films.

"A Movie About Bandits"

Gavr is the leader of an organized crime group from a provincial town. After serving 15 years in prison, he is released and decides to bring to life an idea he's been mulling over for a long time. He decides to make a film. A true story about gangsters, one that will honestly portray the lives, adventures, and values ​​of these men. Gavr will be assisted by his friends—the grumpy taxi driver Belyash and the security guard from a private security company, Kolyan. Since these former gangsters are new to filmmaking, they resort to familiar methods, and the actor who is supposed to help them with the film is taken hostage.

"On a ruble without a ruble"

Wealthy beauty Anna's happiness and well-being are shattered when her businessman husband leaves her without explanation and files for divorce. Shortly before the divorce, Anna had begun actively pursuing her own charity project. Her husband was initially supposed to help with funding, but now he's disappeared and hasn't contacted her. Hoping that this isn't a breakup, but a temporary crisis, Anna temporarily moves the first participants into her mansion. Thus, a village simpleton, an Instagram diva, a former prisoner, and a young vegan eco-feminist settle in the land of "Bentley" and "Prada." Anna and her charges must work together to find ways not only to survive but also to find funding for their project. After all, they strive not only to improve their own lives but also to provide the same opportunity for other "troubled" women. How will these women overcome their challenges? Where will they get the money? Will they be able to improve their lives and achieve happiness?

"Movie, movie, movie"

A humorous account of the arduous efforts involved in creating a film. At the beginning of the cartoon, the screenwriter writes a script, then the director reads it, and then the two of them run around to various offices. The script is approved, but that's far from the end. A team is assembled, including the artist, cinematographer, composer, sound engineer, production crew, and others.

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