couple had a daughter, Marianna, but soon divorced and Muratov moved to Kyiv where he started work with Dovzhenko Film Studios. Kira Muratova kept her ex-husband's surname despite her later marriage to Leningrad painter and production designer Evgeny Golubenko. Post-Soviet period In the 1990s, an extremely productive period began for Muratova, during which she shot a feature film every two or three years, often working with the same actors and crew. Her work The Asthenic Syndrome (1989) was described as 'an absurdist masterpiece' and was the only film to be banned (due to male and female nudity) during the Soviet Union perestroika. Her other films released in this period include for example, The Sentimental Policeman (1992), Passions (1994),Three Stories (1997) and a short (1999) Letter to America. Two actresses Muratova has repeatedly cast are Renata Litvinova and Natalya Buzko. Muratova's films were usually productions of Ukraine or co-productions between Ukraine and Russia, always in the Russian language, although Muratova could speak Ukrainian and did not object to the Ukrainianization of Ukrainian cinema. Muratova supported the Euromaidan protesters and the following 2014 Ukrainian revolution. Muratova's films were premiered at International Film Festivals in Berlin (1990, 1997), Cannes, Moscow, Rome, Venice and others. Next to Aleksandr Sokurov, Muratova was considered the most idiosyncratic contemporary Russian-language film director. Her works can be seen as postmodern, employing eclecticism, parody, discontinuous editing, disrupted narration and intense visual and sound stimuli, and her 'bitter humour reflecting a violent, loveless, morally empty society. In her film, Three Stories, she explores the 'evil is hidden in a beautiful... innocent shell, and corpses form part of the décor.' She was an admirer of Sergei Parajanov and her focus on 'ornamentalism' has been likened to his and was also anti-realist, with 'repetition giving shape to all possibility', with her last film, Eternal Homecoming effectively about cinema itself being unfinished, it is almost as if the 'spool of cinema keeps threading and tangling, threading and tangling'. Recognition and awards It was only during Perestroyka that Muratova received wide public recognition and first awards. In 1988, the International Women's Film Festival Créteil (France) showed a first retrospective of her works. Her film Among Grey Stones was screened in the Un Certain Regard section at the 1988 Cannes Film Festival. In 1990, her film Asthenic Syndrome won the Silver Bear Jury Grand Prix at the Berlinale. In 1994, she was awarded the Leopard