title: Regimes and their Refuse: Filming Russia in Transition
abstract: This chapter uses documentary and fiction film to examine the late- and post-Soviet preoccupation with landfills and garbage.&nbsp;It argues that filmmakers were drawn to the garbage dump during transitional moments, as a peripheral space from which to reframe the major political and economic shifts at the center.&nbsp;Films examined include El’dar Riazanov’s&nbsp;The Promised Heavens&nbsp;(1991),&nbsp;Roman Prygunov’s&nbsp;Soulless&nbsp;(2014) and Hanna Polak’s&nbsp;Something Better to Come&nbs
journal: Slavica Bergensia