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Abstract: The article is devoted to the genre of pseudo-documentary, often referred to as «mocumentary», that appeared on the border of fiction and non-fiction films. The meaning and purpose of «mocumentary» lies in the very nature of cinema. There were two lines in the history of cinema — Lumiere’s line as a strict adherence to reality and Méliès’ line, when the film is understood as an attraction. Mocumentary is a version of the art of provocation and, in fact, it can simulate reality. «Mocumentary» is a version of the art of provocation. Popularity of «mocumentary» in the Western cinematography grew in the middle of the previous century, which happened at the same time there appeared technical possibilities of the production of fraud in the media, the consequence of which is to spread suspicion on the document itself. In Russia this cinema genre begins to develop in the 90-ies of the XXth century in the context of the reassessment of the Soviet ideology and mythology. The article explores both general and special features of the genre characteristic of the national film. The analysis of semantics and pragmatics of Alexey Fedorchenko’s and Mikhail Mestetsky's films is carried out on the basis of culturological and cinematic analysis. The studied material is important for understanding the heuristics of a special genre of cinema, and for the creation of a critical attitude to any narrative.