The exhibition reveals the history of Soviet films that waited for years for their audience in storage due to censorship bans. Archival documents, letters from directors, and materials from artistic councils show how the fate of films changed, which scenes were required to be removed, and why perestroika became a moment of liberation for cinema and creative voice. Refusal formulations rarely sounded like a direct ban: more often, adjustments to the plot were requested, final scenes were to be reshot, or something was cut from the film altogether. Thus, films like "The Commissar" by Alexander Askoldov, "Check on the Roads" by Alexei German, "Long Farewells" by Kira Muratova, "The Story of Asya Klyachina" by Andrei Konchalovsky, and "Agony" by Elem Klimov ended up on the shelf. The system was broken by the congress of the Union of Cinematographers of the USSR, after which dozens of films finally reached the audience. The mechanism of prohibition can be seen in the documents themselves: protocols of acceptance commissions, letters from directors to the Central Committee, conclusions of artistic councils. Some archives from RGANI and RGALI are being shown for the first time. The curator of the exhibition, Polina Morozova, and researcher Arseny Moiseenko structured it in such a way that one can trace the path of each film-from the commission's refusal to the moment when the censorship barrier was lifted. Where to go in Yekaterinburg is known by KudaGo.