Hanna Polak's 2014 documentary, Something Better to Come (Nadejdą lepsze czasy), condenses fourteen years in the life of a girl into an hour and a half. Like Richard Linklater's fiction film Boyhood, released the same year, it offered audiences the pleasure of seeing a child grow into an adult, of tracing considerable changes in character and appearance. Polak's protagonist Yula, however, is no ordinary girl: for much of the film, from age ten to twenty-one, she lives with her mother on the svalka, 1 the largest garbage dump in Europe -located just thirteen miles from the Kremlin. 2 Moreover, the years the film covers are not ordinary years: they mark Vladimir Putin's ascent, from his election as president of Russia in 2000 to his consolidation of power following massive protests in 2011-2012 and the invasion of Ukraine in 2014. Consequently, the film becomes a meditation on the first decade and a half of Putin's reign, as well as the human and environmental cost of Russia's economic upturn."Longitudinal documentary," where a filmmaker returns to check up on her subject over many years, has an appropriately long history. The approach was pioneered by the East German Children of Golzow (Die Kinder von Golzow, 1961-2007 series, before being popularized by the more famous British Up! series (1964-2019) (Petraitis 2017, 1). 3 1 In English, svalka translates as dump, landfill, or junkyard. 2 In transcribing Russian names, it is common to revert to the legal version, which in this case would be Iuliia. Polak chooses to approximate the diminutive form of the name in the film's promotional materials, however, and consequently gives it as Yula. 3 The fact that several of these projects were launched in the 1960s suggests a connection between more portable cameras, synchronized sound, and cheaper film © masha shpolberg • 2023 Slavica Bergensia 14 • doi: https://doi.org/10.15845/slavberg.21.c130This is an open access chapter distributed under the terms of the prevailing cc-by licence.