VUFKU

A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.

Vasyl, a member of the Komsomol, with the help of a local party organization, gets a tractor and plows private boundaries "on kulak fields". However, this enthusiasm will cost him dearly.

A soldier returns to Kyiv after surviving a train crash and encounters clashes between nationalists and collectivists.

A lyrical documentary on the lives of Coal miners in the Donbass who are struggling to meet their production quotas under the Five Year Plan.

The momentous film stars Mykola Nademskyi as the grandfather of Tymish (Semen Svashenko), whom he alerts to secret treasure buried in the mountains of Zvenygora – Treasure that rightfully belongs to his homeland. The film wonderfully blends both lyricism and politics and uses its central construct to build a montage praising Ukrainian industrialization, attacking the bourgeoisie, celebrating the beauty of the Ukrainian steppe and retelling ancient folklore. Said Sergei Eisenstein of the film, "As the lights went on, we felt that we had just witnessed a memorable event in the development of the cinema".

The story concentrates on a single 48-hour period during the Russian Revolution. The central character, played by Y. E. Samchykovski, is an old servant who staunchly supports the Royal Family. Even when his master is placed in prison and his son is appointed a commissar, the servant remains faithful to the Czarist regime. But when his village is invaded by the White Russian army and his son is summarily executed, the old man realizes that his homeland is far better off in the hands of the revolutionaries, who seek to build rather than destroy. A "cleansing" fire brings this propaganda piece to an appropriately symbolic conclusion.

The defeated remnants of vile Ukrainian nationalists, headed by the leader of the Ukrainian liberation movement, Symon Petliura, cannot accept their historical fate and are plotting an insurrection against the Soviet regime in Ukraine. There is nothing Petliura and his cohorts would not do to win back control over Ukraine, including selling it to the highest bidder, in this case, the Polish dictator Jozef Pilsudski. A group of plotters are coordinating an insurrection in Kyiv with an attack from Poland headed by Petliura’s general Yurko Tiutiunnyk. Predictably, the invincible Red Army defeats the nationalist plotters and proves that the Soviet borders are impregnable.

The film is dedicated to the achievements of the Ukrainian SSR for the eleventh anniversary of the October Revolution.

The building of Sevzapkino. Columns of demonstrators are moving along Bolshaya Dmitrovka, Dzerzhinsky square, Pushkinskaya (Strastnaya) square, Kamenny Most (The Big Stone Bridge) and Red Square. Decorated cars and trucks. This is a Military parade on Red Square. L.D. Trotsky, N.I. Muralov, S.S. Kamenev are among the commanders. The demonstrators are carrying the models of a boat, plane and globe. The theatrical march. The members of the government and guests including K. Tsetkin are watching from the tribunes. There are lots of planes on the airdrome and square. M.M. Litvinov, N.I. Rikov and others stand near the plane. The plane builds jp speed, soars in the air, leads for landing and lands. Hordes of people gathered at the aerodrome. Camera operator is shooting. The church on the corner of Ulitsa Myasnitskaya (Kirovskaya), the building of GUM (State Department Store) and Khamovnichesky (Frunzensky) Council. Illuminated building.

The film's plot is based on the real murder of the Soviet diplomatic courier Theodor Nette abroad. The pouch of the Soviet diplomat, which is stolen by British spies, is taken away by the sailors of a ship sailing to Leningrad who deliver it to the authorities. The intelligence agents make every effort to retrieve the bag.

Jean, the hairdresser, is flabbergasted: what is that baby his girlfriend Lisa has put in his arms out of the blue? The fruit of love? Out of the question. From that moment on, the reluctant father has but one thought in his head: he must get rid of the cumbersome 'article'. And, take his word for it, all the ways are good.

To justify the fantastic adventures of the blacksmith Vakula, the authors of the film “simplify” Gogol’s plot: Vakula, having drunk too much at Patsiuk’s place, falls asleep. And he sees this dream where the devil takes him to the palace of Catherine II in Saint-Petersburg; and there Vakula takes off the little shoes of the Russian empress to give them to his fiancée Oksana. And, really, drunk Vakula takes off the shoes while sleeping… but from Patsiuk. Later, when Vakula unwraps the package with the “royal slippers” in front of Oksana, he finds only Patsiuk’s dirty shoes there.

The film adaptation of Taras Shevchenko’s biography of 1925 is the first Ukrainian biopic. At that time, it was one of the most expensive films, as for the first time experts in history, ethnography, and literary studies were involved in pre-production. The famous Modernism artist, academician Vasyl Kryvhevskyi designed the film, and professor Serhii Yefremov served as a consultant.  Consisting of numerous short stories, the film that shows the life of Shevchenko as an adolescent, a soldier, a poet, was successfully demonstrated in Ukraine and abroad and became the most acknowledged cinema project of 1926. Amvrosii Buchma played Taras Shevchenko.

In Spring is a masterpiece of the Ukrainian film avant-garde, a non-fiction film created by Mykhail Kaufman. In it, the now almost unknown Kyiv of 1929 appears. Shots of the awakening of the city, renewal of its life, echo with lyrical pictures of the revival of nature. Kaufman's attentive camera stops for a long time on the smiling faces of the children, painting a lyrical picture of a confession of love for Kyiv.

Set in an imaginary land where the threat of revolution spurs the Emperor to seek exile in one of the most distant parts of his realm. There he meets Elka, the daughter of a revolutionary who has been banished here due to his confrontational activities. The two fall in love but meet a violent end when the revolutionaries, led by Elka's father, destroy the palace.

Tamilla is a 1927 film written by Maria Moraf and directed by Muhsin Ertugrul. The screenplay was adapted from Ferdinand Duchêne's work of the same name. It is one of the two films Muhsin Ertugrul made while working at the Ukrainian Photo-Cinema Administration (VUFKU) in Kiev. It was premiered in Turkey 92 years later with a special screening at the 56th Antalya Golden Orange Film Festival.

The heroine of the film leaves her husband, who does not allow her to study, takes her child with her and goes to medical school.

Ukrainian agitprop film from 1929 that was banned and long forgotten until its rediscovery in the 1970s, imaginatively shot by the gifted cameraman Oleksii Pankratiev, whose panoramic long shots feature dynamic compositions. The background, barren field and bare sky, raise the agricultural subject matter to the level of an epic poem. Using innovative editing, Shpykovskyi transformed an incredibly simple plot into an avant-garde work. Created the same year as Earth (Zemlya), the film forms a paradoxically conceptual, ideological, and aesthetic pair with Dovzhenko’s movie.

Set in Odesa at the end of the Civil War when the town is occupied by the Whites. The night coachman, fifty-year-old Hordiy Yaroshchuk, lives with his daughter Katya who gets involved with a Bolshevik and revolutionary.

Crimea. The middle of the 19th century. A proud and brave jigit Alim Aidamak who cannot put up with the workers’ abuse, works at the leather factory of the greedy Ali-bay. One day he responds in kind. He is fired, but he takes the memories of the beautiful daughter of his ex-master, Sara, with him. Young people went their separate ways. Alim takes the revolutionary path; he and his friends go to the mountains and start an underground struggle. Only his name is enough to terrify landlords, Mirzas and civil servants. Authorities send a Cossack detachment to catch the Crimean Tatar Robin Hood. The adventure film, which reminds an American western, was filmed based on a Crimean Tatar legend, which in 1925 was turned into a play by the repressed Crimean Tatar writer Ipchi Ümer. The shooting of the film under the script of the Ukrainian avant-garde poet Mykola Bazhan began in the autumn of 1925, when the indigenisation policy in the national republics caused demand on the national plots.