For $25 get the DVD
Get either Gulag Vorkuta (2016) or Gulag Barashevo (2015) for $25 on DVD or $35 on HD. Donate by PayPal or Visa and other Credit Cards on the donate button. Send an email with your DVD/Blu-ray mailing address to email@example.com.
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November 1, 2016
UPDATE: Gulag Barashevo (2015) now has Closed Captions, HD remastered and streaming on Amazon Prime and Amazon Video Direct. GULAG BARASHEVO (2015) on AMAZON streaming
October 10, 2016
UPDATE: Gulag Vorkuta (2016) now has Closed Captions, HD Amazon Prime and Amazon Video Direct. Gulag Vorkuta (2016) on AMAZON streaming
October 8, 2016
Streaming of trailers using Nimble Streamer, WMSPanel, and DigitalOcean cloud droplets, has begun.
September 27, 2016
New, more finished version of the film is finished.
Close Captioning is finished. A new final Color Correction (more Blue, less saturation) is finished. The new BLUE Color Correction of the film now matches the new poster and streaming art.
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September 5, 2016
Final QC has been completed. The film is as finished as it can be. It has uploaded to Amazon VOD. DVD’s and Blu-rays have begun to be sent out. Complete Amazon VOD and disc is not set up. New requirements this year are CC Closed Captioning for all US film distribution via Amazon. That part will take a few days. But the film, 4.4 GB is uploaded to Amazon and ready to stream.
DVD sent to UK (Donor)(1)
DVD+Blu-ray sent to Virginia (Donor) (3)
DVD+Blu-ray sent to Tennessee (Donor) (3)
DVDs sent to Ukraine (3) (Donor)
DVDs sent to Russia (10 (Donor)
DVDs sent to Northern California (2)
DVDs sent to Hawaii (1)
DVD+Blu-ray sent to Southern California (Actors and Crew)(16)
DVD’s are available through this site. Streaming options are being developed.
August 6, 2016
Sound Boom removal from the Ski Escape shot was completed August 6.
UPDATE August 2, 2016
DVD case cover finalized.
UPDATE: July 24, 2016
VFX shots finished. DVD compression rendering, MP4 for online festival entry, rendering.
- VFX Women’s Camp fence extension and gate, meet scene.
- VFX Women’s Camp fence extension and gate, Commissar dehumanize scene.
- VFX Women’s Camp fence extension and gate, Commissar roll call scene.
Contact: Michael Kingsbury
$25 donation gets you a DVD of the film sent to your address.
DVD has Special Features with 2 interviews with the Director and Actors.
Actors Andrey Vasilyev and Lana Gulevich are with Director Michael Kingsbury and discuss the film.
Romeo Visca, role of Nikolai, dissident teacher, talks about his character and of his family growing up under the USSR occupation of Romania.
This is the IMDb story description that will be in the IMDb storyline.
A controversial story in the snow and forest about a Belarusian dissident, Anastasia, played by Lana Gulevich, who has survived multiple gang rapes in the Marxist USSR Gulag leaving her asexual. But then a man, a fellow dissident, Alexander, played by Andrey Vasilyev, enters the camp on the men’s side and she sees hope. She finds a way to trust men again, to love a man again. The barbed wire being the physical and psychological barrier between her and men. In doing so she overcomes her horrific sexual abuse memory and becomes a heroic saint, the Joan d’Arc of the Gulag, who ultimately faces the monumental and painful choice of saving her friends, or saving her people. This takes place during the most brutal dehumanization in history, the Marxist Soviet genocide of 50 million artists, Christians, journalists, dissidents, workers, or anybody who was “Politically Incorrect”, we see love grow painfully and passionately, through barbed wire. Anastasia and Alexander, the Romeo and Juliet of the Taiga Gulag, escape to save their people, whom they profoundly love — through each other. Their love for each other is ultimately greater than themselves, it is a profound love for their own people.
TRAILER #4 – DEFIANCE OF TYRANNY
TRAILER # 5 – WHERE THE CROSSES HAVE NO NAME
TRAILER #6 – HUMANITY
TRAILER #3 Updated Txt. Bkg. Snd.
IMDb poster vers. #2
IMDb poster vers. #1
VIDEO PITCH FOR IMMINENT CROWDFUNDING.
Andrey Vasilyev and Lana Gulevitch pitch the film for distribution. Andrey brings up core principles of Dostoyevsky with Lana.
New Trailer up Trailer #2, three different resolutions, desktop and mobile. Vimeo and Youtube.
Gulag Vorkuta (2016) #2 TRAILER_360p 2 5Mbs VBR
UPDATE: April 24, 2016
Film is cut down to 107 mins. This is very good. We get a higher quality compression on Streaming and DVD, as well as get into more festivals. Sound editing has begun, and is about 25% through. Sound tracks are being cleaned in Audacity and edited in Pro Tools. It is going well, from the 107min master video.
UPDATE: April 13, 2016
Montage clips. These are the emotions behind the scenes, over course of time. Compression of time, emotion. They are in progress and in change. Tritone, duotone or monotone with variance in contrast to provide fast data to the eye and mind.
UPDATE: April 12, 2016
UPDATE: April 10, 2016
Specs, Theory, Comments.
Editing has cut the film to 119 mins, (1hr 59min) which allows us to meet the under 120 mins feature film max for many festivals. I’m still looking over the film for seconds to trim off here and there. Boom sound will be synched to medium picture lock. Then we will have a look at the film and discuss shots and possible shot changes with the creatives (actors and myself). I’m looking for a Balalaika sound and composer will get TC burn in low res copy of pre-release film. I’ve been very busy on the cut (editing) and have had no time to clean up sites and to pump out promotional stills and clips yet. The film produced an incredible amount of footage and we have a wonderful, powerful film.
Editing Transition Theory
This year’s film features a different editing theory. The week leading up to and including the full days April 8,9 produced many montage transitions which use footage, time changes, CU texture shots, graphics, maps, 3D camp, not seen in the finished cuts. The concept employed in the film transitions is one of adding processing (content, backstory) to the viewer rather than dark fade outs prompting thinking of previous scene. More information pushed and less thinking demanded. The last film demanded thinking in slow pacing and dark fade outs. It was not as popular as it could be. Demanding thinking never is. Thus this film uses transitions to push out montages of visual info into the viewer mind. It is very different editing strategy to speed up the pacing of the film and add additional backstory content. The result is a higher-speed film that can deliver the emotional content more rapidly into contemporary minds. I’ve written out several pages of defense and explanation of this strategy complete with diagrams of how the additional content is structured. The Tarkovsky purists will object to the high-speed, modern transition look, but I think it will make the film more accessible to a wider audience.
This year’s film was impressive. We would shoot 85 takes a day versus 25 a day last year. This was largely due to the script structure and a crew that was more streamlined and willing to work into the last light.