Luke, you are now famous across the globe ... or, at least, in Russia.
To me, this is comes down to writing a scene - if you can do one scene well, you should be able to do a feature length screenplay well ... enough. It's like that Howard Hawkes' line, "Three great scenes and no bad ones". Read any Oscar nominated screenplay. It will usually have a great opening scene. When a writer is capable of revealing the main characters and their background within a couple of pages - a few visuals, some dialog - it tells pretty much everything you need to know about a writer.
One of my favorite examples is Ronald Bass's (Oscar winner for "Rainman" and one of the Hollywood heavyweights) opening pages from "My best friend's wedding". They let a reader know who the characters are with a quick and witty exchange in a restaurant. The script slips in the excitement levels after that but ... if you can do your openings like that, you will find paying gig in this business.
"Faux casual" is a great line and an apt description.
The problem is that once something is deemed 'in", it's what everyone tries to copy for virtually every occasion and that's what most readers and execs look for. Yet, something like "Grand Budapest Hotel" is a throw-back to the Orson Wells and John Huston type of screen writing and, lo and behold, it works just fine ... or, really, better than fine.
As a military history buff - Josef Vilsmaier's "Stalingrad" (1992) set the stage for the realistic portrayal of battle action that Spielberg borrowed for "SPR".
"Paths of Glory" is one of Kubrick's best. 'nuff said.
"Come and see" is an incoherent mess but Klimov's wife Larissa Shepitko's made "The Ascent" - Golden Bear Award/ best film, Berlin IFF, 1977 - and it is a work of genius.
Mikhail Kalatozov's "The Cranes are Flying" won the Golden Palm (best film) at Cannes'1958 and shows off the partnership between Kalatozov and his cinematographer Sergey Urusevsky that also resulted in "I am Cuba" half a decade later.
I am also a bit partial to "Wild Honey", a 1965 Soviet film.
FWIW, I just found an interview given by the Jean Jacques Buyon (not sure about the last name spelling), the president of the French Cinematographer Association, that was given in Sankt Petersburg, Russia a couple of weeks ago during an international cinema professional gathering.
It's in Russian but Google Translate does a decent enough job. Buyon opines on a number of subjects from Godard to Renoir to the old hand held cameras like Eclaire to the modern digital.
And the photo of Godard in a wheel chair directing Jean Paul Belmondo and Jean Seberg is "Breathless" is worth the click all by itself.
Deep condolences to family and friends.