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To niezwykły zapis tego, jak zwykli ludzie kurczowo trzymają się skrawków normalności w ogarniętym wojną kraju.","\u002FmDna51F8QfrJFZOgPGQUz3VKqsB.jpg",[14,252],10752,3.2945,"2019-07-26",8.232,319,{"adult":8,"backdrop_path":258,"id":259,"title":260,"original_title":260,"overview":261,"poster_path":262,"media_type":193,"original_language":24,"genre_ids":263,"popularity":264,"release_date":265,"softcore":8,"video":8,"vote_average":266,"vote_count":267},"\u002FedSO14fMCDylm1ZCZXpglrfGTnz.jpg",395479,"City 40","Hidden in the heart of Russia, there is a Soviet-era city where thousands of people live and work behind barbed-wire fences monitored by armed guards. It is Ozyorsk (Ozersk), located in the Chelyabinsk Oblast, one of the most polluted places on the planet and home to the largest stockpiles of nuclear material. 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Themes: the DP tells people where to look; changes in movies (the arrival of sound, color, and wide screens) required creative responses from DPs; and, these artisans constantly invent new equipment and try new things, with wonderful results. The narration takes us through the identifiable studio styles of the 30s, the emergence of noir, the New York look, and the impact of Europeans. 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Film to przede wszystkim seria wywiadów z zachodnimi i rosyjskimi historykami takimi jak Norman Davies czy Boris Sokolow, rosyjskim pisarzem Wiktorem Suworowem, dysydentem Vladimirem Bukovskim, członkami Parlamentu Europejskiego, jak również współtwórcami i ofiarami sowieckiego reżimu. Obraz Snore'a wskazuje na bliskie światopoglądowe, polityczne oraz organizacyjne podobieństwa między nazistowskimi Niemcami a ZSRR przed i we wczesnym stadium II wojny światowej. 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