The story about a very small god-forgotten village in Siberia reflects the history of Russia from the beginning of the century till early 80s. Three generations try to find the land of ... See full summary »
Soviet Union, near the Chinese border, 1923. A stranger has just come in this little country village. He is a teacher, sent by the Communist Party to teach the ignorant masses. But the ... See full summary »
Lavretsky returns to his estate after stay in Paris.Frustrated with life,in his wife's unfair, he falls in love with Lisa. Suddenly the arriving of Fëdors woman which before has been reported the death, completes the simple love.
A retired professor has returned to his estate to live with his beautiful young wife, Yelena. The estate originally belonged to his first wife, now deceased; her mother and brother still ... See full summary »
Russia's answer to the French New Wave - following three lifelong friends who return to Moscow after military service, we see their aspirations juxtaposed against the harsh realities of ... See full summary »
Ilya Semenovich Melnikov is a history teacher in an ordinary Soviet high school. He is a very good teacher and his students and colleagues treat him with a great deal of respect. However, ... See full summary »
A fascinating and human portrayal of a once-famous fighter pilot and loyal Stalinist named Nadezhda Petrovna. Now a 41-year-old provincial schoolmistress, she has so internalized the ... See full summary »
One of the characters (Styopa) mentions that he would name his son either Andrey or Nikita. Andrey Konchalovsky is the director of the films and his brother, also a famous director, is called Nikita Mikhalkov. See more »
It may be worth asking if there's a corollary between the quality of a film and the number of years it's been banned. Until 1987 only two people outside the Iron Curtain (Tom Luddy and Bernardo Bertolucci) had seen Andrei Konchalovsky's second feature, belatedly hailed (by Michail Gorbachev, no less) as a long lost classic of Soviet cinema. And not without good reason: the film is as fresh today as it must have been when first released in 1966, prompting immediate censorship by daring to depict Soviet citizenry in such an unflattering natural light. It wouldn't be difficult to imagine the Politburo's response to seeing, among other embarrassments, a drunken farmhand urinating on his overheated tractor engine, or a Farm Collective Chairman portrayed by a hunchback (who off screen was, in fact, an actual Farm Collective Chairman). Except for his three primary characters Konchalovsky employs a non-professional cast to illustrate the strong and particular attachment Russians feel toward their land, but the director's sentiments obviously run deeper than the Party Line. He stakes his faith in common humanity, warts and all, and after twenty years in bureaucratic limbo the refreshing honesty of his efforts is a revelation.
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