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Line of Life (1996)

Ligne de vie (original title)
Philippe meets the beautiful Oksana during a long layover in Moscow. Unfortunately, Oksana is the granddaughter of a murderous mafia don looking to trap a French speaking man to pull off a massive con.

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1 nomination. See more awards »

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Cast

Complete credited cast:
...
Philippe
Tatyana Cherkasova ...
Oksana (as Tanya Meshcherina)
Armen Dzhigarkhanyan ...
Papa
Jérôme Deschamps
Dmitriy Pevtsov ...
Jafar
Vsevolod Larionov ...
Ivan
Aleksandr Pyatkov ...
Le Cuisinier
Vladimir Steklov ...
Pilote Avion
...
Vadim
Rasmi Dzhabrailov ...
Ahmed (as Rasmi Djabrailov)
Lev Borisov ...
Le Tailleur
Aleksandr Negreba ...
Rlabol
Rest of cast listed alphabetically:
Aleksandr Balabushevich ...
Homme Papa (as Alexander Balabouchevitch)
Konstantin Berdikov ...
Le Moustachu
Achir Chakirov ...
Homme Nouzail
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Storyline

Philippe meets the beautiful Oksana during a long layover in Moscow. Unfortunately, Oksana is the granddaughter of a murderous mafia don looking to trap a French speaking man to pull off a massive con.

Plot Summary | Add Synopsis

Genres:

Crime | Drama | Romance

Certificate:

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Details

Country:

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Language:

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Release Date:

27 March 1996 (France)  »

Also Known As:

La ley del miedo  »

Filming Locations:

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Company Credits

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User Reviews

Surreal post-com Russian mafia movie
16 February 2007 | by (Hungary) – See all my reviews

Having seen other films by Pavel Lungin, including 'Oligarkh' and 'Svadba', out of which 'Svadba' is clearly my favorite, I went into this one with high expectations. And I wasn't disappointed in the sense that I haven't lost interest in the story. But it is botched up a little. One scene works and is very powerful indeed, then another just shouldn't be there. Yes, it's surreal madness, from the Central Asian deserts to the post-com Moscow, and it does function as symbolic commentary on trends of new Russian history. But from time to time illogical developments come independently from that endeavor, although they mingle relatively well and thus almost completely disappear in the midst of 'normal' madness. So this is the Russian 'Godfather' indeed, but with a touch of Kusturica as well (think e.g. of 'Underground'), and with minor imperfections. A souvenir from the age that some sociologists, just heard it from a specialist on Russia, characterize as a 'civil war with an extremely narrow battle front, fought over material values'.


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