The paper explores the engagement with the Soviet past in some cinematic work of Kirill Serebrennikov, analysing the fragmentation of time in Summer and Petrov's Flu, as well as the performance of the past, for a police investigation, in Playing the Victim. Using the idea of Francois Hartog's "regimes of historicity", the paper analyses how these films move between times, conserving a past that is deliberately fictionalised whilst allowing action impossible in the present time that appears as frozen.
