Author: [Your Name] Course: Film and Cultural Studies Date: [Current Date] Abstract This paper examines the concept of “fairyland киноs” — films that construct an immersive, magical reality through a synthesis of folklore, visual poetry, and ideological subtext. Focusing on Soviet and post‑Russian cinema, it argues that these films do not merely adapt fairy tales but create self‑contained kino‑skazki (film‑fairy‑tales) where the logic of enchantment governs narrative, mise‑en‑scène, and national identity. Analyzing key works from Aleksandr Rou to Andrei Tarkovsky and contemporary directors, the paper reveals how “fairyland cinema” functions as a space of political allegory, childhood memory, and spiritual longing. 1. Introduction The Russian word kino (кино) denotes cinema, while skazka (сказка) means fairy tale. When combined, kino‑skazka describes a genre that flourished in the Soviet Union and persists in modern Russian filmmaking. Yet the phrase “fairyland киноs” suggests something broader: not just films about fairies or magic, but films that become fairylands — alternate worlds with their own atmospheric rules. From the painted forests of Morozko (1964) to the floating islands of The Tale of Tales (1979) and the surreal Moscow of Night Watch (2004), these киноs offer portals to enchanted geographies.