Boris Yamplosky’s The Old Arbat is a visceral portrait of fear under the Soviet regime: the inner state of a hunted man as he wanders around Moscow trying to escape the secret police. Finally, he overcomes fear by accepting the inevitable. In Vasil Bykov’s The Manhunt, a dispossessed peasant secretly returns from his Siberian exile to his native village in Belarus. The local Cheka, headed by his own son, hunts him down. Given the current situation in both Russia and Belarus, this is as relevant as ever.