Early in the 20th century, family and friends gather at the country estate of a general's widow, Anna Petrovna. Sofia, the new wife of Anna's step-son, recognizes Misha, the brother-in-law ... See full summary »
In Moscow from a distant village comes a rustic Russian woman. The first person she meets is a surprisingly intelligent cab driver. They meet by chance and do not even go out on a date, yet... See full summary »
Two young scientists are exploring new fields of nuclear physics. Dmitry Gusev and Ilya Kulikov are good friends, but rivals in love. Dmitry marries Lyolya and they live happily together. ... See full summary »
Young Siberian writer Volodya meets Kolya in the Moscow metro in his visit to a famous author. Volodya and Kolya's friend Sasha adventure their love interests in their own way, while Kolya sets out to help them.
Sergey is an attractive man approaching forty who is acutely aware that nothing he has achieved during the better part of his life has brought him any satisfaction. His frantic sprints between his work, his lover and his family, and the constant lies he uses to explain his absence, only tighten the noose around his neck. The three days that separate him from the Big 40 might present an opportunity to change everything, or he might just lose it all instead.... The Soviet update of the literary concept of the "superfluous man," filmed at the end of the Brezhnev Stagnation, was Balayan's most successful title. It was here that he first engaged Oleg Yankovsky, an actor who subsequently appeared in the majority of the director's films; without guile or pathos, he captures the existential dimension and contradictions of the morally questionable hero. The film surprisingly eluded the narrow gaze of the remorseless censors and was thus able to present audiences with a faithful portrayal of ... Written by
Ulf Kjell Gür
After Kashtanka (1975) and Biryuk (1978), two films based on classical Russian books, director Roman Balayan remained inactive for several years as he wasn't interested in making communist films he was offered. According to him, 'Polyoty vo sne i nayavu' became the film where he put all the anger and disappointment accumulated in him within these years. See more »
On the eve of his fortieth anniversary Sergei Makarov (Oleg Yankovsky), looks back at his life and learns that he has achieved nothing. He was not able to be happy and to bring happiness to the closest people in his life, neither to his long-suffering wife nor young mistress nor friends nor work... It is about the men who never grew up and could not find themselves in the time of stagnation gifted, charming, but infantile and lost, they never were able to realize themselves...
This film became a super-hit in the Soviet Union of the eightieth. The audiences were divided into two camps. Some saw it as a personal insult, others - as a personal victory, as truth about their time and about themselves. When I saw it twenty four years ago, everyone was fascinated by the courage of the movie creators who chose a weak man, an anti-hero as a symbol of his times. When I saw it last night, the main character irritated me most of the time and I simply could not bring myself to sympathize or identify with him. Some of the best Russian actors gave very good performances (Oleg Yankovsky, Oleg Tabakov, Lyudmila Gurchenko and Nikita Mikhalkov in a short but memorable cameo) but the movie belongs to its era and it did not age well...
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