Born May 27, 1948 in the city of Krivets, Novgorod region.
In 1976 she graduated from the correspondence department of the theater faculty of LGITMIK (the workshop of L. Gitelman).
She worked as an assistant director, the second director on the c/s "Lenfilm".
In 1981, she received a diploma of the directorial department of the VKSR (the workshop of Yuri Karasik).
She worked as a director on c/s "Lenfilm".
He lives in Moscow.
In the movie Svetlana Proskurina made her debut in 1982 as a short film “Parent’s Day”, and in 1987 she made the first big game picture “Children’s Playground”.
A breakthrough in the fate of the director happened in 1989, when her second feature film “Casual Waltz” won the main competition at the IFF in Locarno, bringing Russian cinema the first in its history prize “Golden Leopard”. Critics noted in the film some influence of Svetlana’s teacher – film director Ilya Averbakh (the same interest in broken female characters) and fates, and at the same time emphasized Proskurina’s different attitude to drama, her “brave and hard author’s will.” In this picture, Svetlana Proskurina decided to break with the plot form, focusing on the visual and sound side of the work.
An even more radical rethinking of the narrative laws of film drama was subjected to Proskurina’s next work “Reflection in the Mirror” (1992), in which she tried by means of film language to recreate the psychological world of the hero on the screen. The film participated in the prestigious program “Fortnight of Directors” in Cannes, and put an end to the first stage of the director’s creative biography.
Over the next 10 years, she did not make a single feature film and devoted herself to documentary cinema, filming a film for the channel "Culture" about other artists - Ernst Neizvestny, Mikhail Shemyakin, Mikhail Pugovkin, Alexander Sokurov.
In 2001, Svetlana Proskurina returned to the big feature film and with private producers began preparations for the filming of the film Remote Access. Alas, the project stopped at the initial stage, but later, thanks to director Alexander Sokurov and producer Yuri Obukhov in 2004, the picture was completed.
Many Western critics compare Proskurina’s creative style with the works of Alexander Sokurov. Proskurina considers this a wretched reasoning, giving out ignorance of the context and unwillingness to think. “We are engaged in cinema of a certain order,” explains Svetlana Proskurina, “although I hate the definition of “author’s cinema”: it seems to me that there is no other way.” Any film is author’s, another thing is the caliber of the author. I don’t see any parallels with Sokurov, except perhaps for asceticism and the way we work, because we have one group.