Both filmmakers, Tat'iana Stefanenko and Stasia Grankovskaia, reflect on the intricacies of post-Soviet temporalities. Stefanenko’s film is about a Moscow research institute of time measuring; its obsolete machines, designed in the Soviet period, and frustrated staff, educated in the USSR, seem to be out of synch with modern Russia. Grankovskaia, in her turn, combines her cinematic biography and autobiography by being both an object and subject of the camera, which records the life cycle of one family with its births and deaths. While Stefanenko’s film makes the viewer think about an overarching relationship between Soviet and post-Soviet temporalities in a metaphysical fashion, Grankovskaia’s film pieces home video footage from the 1990s and contemporary family chronicle together to demonstrate how these temporalities are inhabited and lived by one family.