In 1996 Alexander Bashirov and Maxim Pezhemskiy were sitting in the buffet of the Spartak cinema, drinking their coffee and discussing the results of Filmmakers’ Convention that had been held in Moscow. In the Kremlin Palace of Congresses the video clip, that consisted of the episodes from young directors’ films, was shown. It was a subject to obstruction, because it showed depravity, violence and spiritual impoverishment to our long-suffering nation, that was building communism enthusiastically. It was incredible for the city on the Neva River. How was it possible for the directors to compromise their own colleagues. It was absolutely unbelievable for Kostya Kinchev to be obstructed by Bashlachyov, Butusov or Grebenshchikov. That was the limit! There were Maxim Pezhemskiy, who shot “Mama Ne Goryuy”, Sergey Vinogradov with film “Upyr”, Natalya Pyankova with her picture “Strannoe Vremya” and others. All these low-budget films were persecuted just like Livnev, one of the initiators of making and promotion low-budget films. Alexander Bashirov , who showed his “Zheleznaya Pyata Oligarkhii” was exasperated by this fact. Having had another cup of coffee, Max and Alexander decided that they should do something to solve this matter. Alexander suggested to compare young directors’ films with those from history of the cinema and show them for the audience to make its own decision. It turned out that it looked just like a festival. The next step was to give it a name. “Pure Dreams” appeared just like this. In spite of the fact that the main director’s purpose is to manipulate with viewers’ feelings, people have a conception of the dream factory in their minds. Out of spite it was decided that our thoughts are clear, we dream about author’s ideal and perfect interaction with himself and society. The main task of the event was the creation of the alliance of poets, filmmakers, artists and musicians – all those who desired for continuation of rock’n’roll community and for the mutual development of artistic skills. It was an attempt to reach the apotheosis of self-admiration and useful self-criticism. The Festival was a grandiose, phenomenal and unimaginable success with the audience. The walls were crashed, the windows were broken, the doors were knocked out, the discussions ended in manhandling sometimes, the performances (those of Baskov’s group particularly) came out strong. The presence of Finnish, English and American Friends gave the Festival world-wide scale. So “Pure Dreams – DeboshirFilmFest” was born. Aki Kaurismäki’s favourite actress Kirsi Tykkyläinen, astonished by the seriousness of the programme, taken with reckless atmosphere and organizing committee members’ enthusiasm, helped with organizing the group of her favourite Finnish filmmakers as the Jury member next year. Later the committee of the Palace of Culture of Deaf, Blind and Mute People, that was permanently short of money, decided to phone Lapin and ask how his life was going. He was working at Leningrad’s Palace of Youth that time. The director of the Festival called the administration of LPY immediately that would have supported him reverently for many years. The main difficulties consisted of financial problems mostly and the reputation of the Festival, that was unique for Russia, was astonishing, reckless and unimaginable. Although the idea of art films disappeared long time ago, we have such a notion as the independent cinema. This movement is represented actively in the USA by the Sundance Film Festival. The International Festival “Pure Dreams” stands out against a background of other Saint Petersburg festivals by its stability, scientific and poetic approach, its responce to time and a situation in the world. For instance, its retrospective programme of film versions of Kharms’ works or the retrospective programme of FEKS are impressive and topical events. At the such unusual combinations of music and cinema like film showing of “Stachka” and  “Novyy Vavilon” to the live music of Tequilajazzz band accompaniment, and “Shinel” accompanied by famous jazz musician’s music. Nowadays “DeboshirFilmFest” actively popularizes Russian and Soviet cinema in the West (Finland, Austria, Germany) and familiarizes Russian remote places with the achievements of the world cinematography. The history of our festival is not finished yet, because it is made by you, our dear cinema fans! We are preparing the book “The Immodest Charm of the DeboshirFilmFest” for its publication now. We urgently ask those who are still of their sound mind and memory to write us about their impressions so that we will be able to make all those magnificent ideas from the Festival come true.