MY TWIN SOUL

DRAMA || MAGICAL REALISM

Director: Viktor Kislov
kislov2102@gmail.com

Screenwriter: Larisa Kremneva
larisa.kremneva.96@gmail.com
MY TWIN SOUL
DRAMA || MAGICAL REALISM

Director: Viktor Kislov
kislov2102@gmail.com

Screenwriter: Larisa Kremneva
larisa.kremneva.96@gmail.com
"My Twin Soul" is a story about twin sisters from a Molokan community and their intertwined destinies.

The main character, Stesha, who lives outside the Molokan community in the city, is forced to return to her native community for her sister’s funeral. In that moment, time stands still for her. One soul is split in two, leaving only half behind.
Stesha experiences the loss of her own identity, realizing the part of herself that departed with her sister.
"My Twin Soul" is a story about twin sisters from a Molokan community and their intertwined destinies.

The main character, Stesha, who lives outside the Molokan community in the city, is forced to return to her native community for her sister’s funeral. In that moment, time stands still for her. One soul is split in two, leaving only half behind.
Stesha experiences the loss of her own identity, realizing the part of herself that departed with her sister.
Characters
Stesha
Main protagonist. Full name: Stefania.
A stern, somewhat masculine woman working as a lead pastry chef in a chocolate factory. Stesha is deeply affected by the loss of the one person she couldn't imagine her life without — her twin sister, Lera. To cope with her personal tragedy, she attempts to replace Lera, becoming her reflection. But no one can truly replace Lera in her own life. For Stesha, accepting Lera’s death means learning to live on — a prospect she fears, as she cannot envision a life without her sister.

Lera
Stesha’s twin sister.
A gentle, family-oriented woman who is the opposite of Stesha in every way. Lera reappears as a vivid, lifelike vision, withholding her secrets from her sister.

Lera
Stesha’s twin sister.
A gentle, family-oriented woman who is the opposite of Stesha in every way. Lera reappears as a vivid, lifelike vision, withholding her secrets from her sister.
Mother (55)
Lera and Stesha’s mother.
A reclusive, solitary woman, full of contradictions and prone to holding grudges. Devastated by Lera’s death, she falls into a deep depression, which frustrates and alienates Stesha further.

Mitya (30)
Lera’s husband.
A gruff, stoic man from the village. Grieving the loss of his wife, he struggles with his conflicted feelings toward Stesha, which he keeps hidden. He has little to no communication with his mother-in-law.


Mitya (30)
Lera’s husband.
A gruff, stoic man from the village. Grieving the loss of his wife, he struggles with his conflicted feelings toward Stesha, which he keeps hidden. He has little to no communication with his mother-in-law.
Cultural Context
Molokans
A religious community in Armenia, Molokans migrated from Russia to Armenia at the end of the 18th century. Some were forcibly resettled. To this day, they live as a closed community, referring to outsiders as "worldly people."

The everyday life of a Russian village stands in stark contrast against the backdrop of Armenia's natural landscapes.

Stesha, a Molokan woman who has spent several years living outside the community, returns to find she no longer belongs to the place she once called home.
The idea of forming a new identity, separate from the place where one grew up, while reconciling multiple cultural layers within oneself, is central to this story. It reflects not only the heroine’s journey but also resonates with the experiences of the audience, exploring the challenges of navigating between worlds.
Director’s Vision
The film will be crafted in the style of magical realism, where mystical elements are portrayed with unsettling realism. Meticulous attention will be given to the details of rural life, both seen and heard, to create a fully immersive experience.

Every scene will evoke the feeling that Stesha is never truly alone. This will be achieved through the use of mirrors, reflections, shadows, and compositional techniques. Special focus will be placed on close-ups of Stesha and dual close-ups of Stesha and Lera. These shots will serve as a portal into Stesha’s intricate psychological world, contrasting with the simplicity of everyday rural life.

Music will be nearly absent. The minimalist soundtrack will feature string instruments to underscore pivotal moments and pauses after significant events.

Sound design will enhance the film’s realistic approach. Each scene will be carefully layered with auditory details that emphasize the mood and immerse the viewer in the narrative. For example, the creak of a couch, the groan of floorboards, the scrape of an old cabinet door, or the loud rustling of plastic bags as Stesha discards Lera’s belongings without her mother’s consent will create a tense atmosphere, amplifying Stesha’s sense of alienation in her own home.
References
Why is this important?
Loss and Rediscovery of Self in the Attempt to Replace a Departed Sister
The dissolution of personal boundaries and the loss of self are central to the story, manifesting both internally and externally.
Internally, Stesha grapples with the psychological fragmentation caused by her sister’s death. Externally, she faces the rupture of ties with her Molokan community after leaving for the city. Her identity remains an open question, as she exists between two worlds — the traditional community she left behind and the urban life she chose.

This is not only a deeply personal drama but also a commentary on the broader tragedy faced by unique ethno-cultural communities in the face of globalization. The struggle to preserve identity while adapting to inevitable change resonates universally.

In the film’s finale, Stesha bids farewell to her sister and returns to the city, choosing to live her own life rather than a borrowed one. By doing so, she embraces the passage of time and the inevitability of change, completing the formation of her own identity — one that stands independent of her sister’s.
Project Team
  • Viktor Kislov
    Director

    A graduate of VGIK, Viktor is the author of several short films and a participant in numerous film festivals. He served as a member of the student jury at the Bastau International Film Festival.
    Website
  • Larisa Kremneva
    Screenwriter

    A graduate of Yuri Arabov’s workshop
  • Kseniya Kazazayeva
    Cinematographer

    A 2019 graduate of VGIK’s Cinematography Faculty (A. V. Alisov’s workshop), Kseniya has served as director of photography for 13 narrative short films, 11 documentary shorts, and 2 feature-length documentary films.
    Portfolio
  • Alexandra Martirosova
    Production Designer
    A graduate of the Monumental Painting Department at the Surikov Moscow State Academic Art Institute (E. N. Maksimov and I. V. Lubennikov’s workshop), Alexandra has worked as a production designer on several short films, including Dead Souls, New Year, Everything Will Be Fine Tomorrow, Three Cheerful Clowns, The Old Song, and The Long Life of a Snitch.