In the year 1999 I met Tonino Guerra for the first time. He impressed me with the scope of themes over which he spoke. Me, my companion and about two dozens if other youngsters comprised an audience at the Central House if Literators in Moscow. I managed to take signatures-autographs of a couple of Italian couturiers. 

Our way back went near an announcement "Come to visit a session of Konchalovsky". He had been just back from the us to his home Moscow. "Let us visit his workshop", I said to my companion. "He knew Godard in his youth and lived at the apartment of Pazzolini in Rome, back then".

My coursemate who visited French classes with me was creating the site pazzolini.ru back then. He was smart, but his speech was halted and slurred; he also was a Russian translator of Charles Bukovsky.

I was translating Capote and Updike back then, due to my professor at feature translation, Mr Golyshev, Brodsky's crony and poetic addressee, films' feature translator and renderor of literary stories. Also I translated into English in excerpts, Mr Brodsky himself who had passed away at the eve.

Afterwards in 2012, at the awarding ceremony of rdff (nyc) at my home gitis, I met a Russian filmmaker who worked with Zanoussi.

In 2007 in Warsaw, I met Mr Vaida in person, who had met Antonioni and Kurosava in Moscow of 1975, yet long before my birth.

Such were the strokes of how I met arthouse filmmakers more or less in person.

I used to watch "Ivan's Childhood" and "Rublyov" only at announcements, as in the Central House of Cinema there went my own primary screenings and film festivities. I have been filming up arthouse plots since the millenium's mark, in CIS and in Europe.

I issued a plot in two parts, entirely of arthouse films' masters, ones completely of Europe. I told of Lelouche and Godard, from the screen, from my own featuring viewpoint. By Anna Polibina-Polansky, Moscow.