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Abstract
This article examines aesthetic and narrative strategies of displacement of the political, myth, and scientific discourse in Soviet and post-Soviet experimental cinema from the late 1970s to the 1990s. Focusing on the films of Evgeny Yufit, Sergei Ovcharov, and the Aleinikov brothers, the study explores forms of ostranenie, narrative fragmentation, and pseudo-scientific discourse as modes of evading direct political engagement in both everyday practice and cinematic form. Particular attention is paid to necro-realism, the sexualization of text and image, and the transformation of Soviet mythology into an absurd, repetitive, and self-enclosed structure. The analyzed films function as spaces of destabilization of meaning, where myth, science, and ideology are reconfigured through marginal, non-oppositional aesthetic practices.