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The Return (2003) More at IMDbPro »Vozvrashchenie (original title)

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The Return -- In this haunting drama, two brothers' lives are forever changed when the father who abandoned them suddenly reappears. With one brother defiant and the other obsequious, a mysterious journey through the wild beauty of northern Russia escalates into a bitter test of will and shocking violence. Russian with English subtitles.


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Down 39% in popularity this week. See why on IMDbPro.
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Release Date:
25 June 2003 (Russia) See more »
In the Russian wilderness, two brothers face a range of new, conflicting emotions when their father - a man they know only through a single photograph - resurfaces. Full summary » | Full synopsis »
Plot Keywords:
Nominated for Golden Globe. Another 28 wins & 13 nominations See more »
User Reviews:
Brilliant--yet not a work on par with a Tarkovsky or a Kozintsev See more (171 total) »


  (in credits order) (complete, awaiting verification)

Directed by
Andrey Zvyagintsev 
Writing credits
(in alphabetical order)
Vladimir Moiseenko  writer
Aleksandr Novototskiy-Vlasov  (as Aleksandr Novototskiy)

Produced by
Andrew Colton .... executive producer
Elena Kovaleva .... executive producer
Dmitriy Lesnevskiy .... producer
Original Music by
Andrey Dergachev 
Cinematography by
Mikhail Krichman 
Film Editing by
Vladimir Mogilevskiy 
Casting by
Geta Bagdasarova 
Galina Dovgal 
Production Design by
Zhanna Pakhomova 
Costume Design by
Anna Bartuli 
Makeup Department
Galya Ponomaryova .... makeup artist
Second Unit Director or Assistant Director
Geta Bagdasarova .... assistant director: actors
Svetlana Dyomina .... assistant director
Anastasi Torlakyan .... assistant director (as Anastasiya Torlakyan)
Inga Vasilyeva .... assistant director
Sound Department
Andrey Khudyakov .... sound
Dmitry Nagorny .... sound re-recording mixer
Visual Effects by
Kirill Bobrov .... digital effects artist
Dmitriy Tokoyakov .... visual effects supervisor
Vladimir Sevostyanikhin .... stunt coordinator
Camera and Electrical Department
Aleksandr Bakrin .... steadicam
Yevgeny Kiryukhin .... lighting technician
Aleksey Konoplyov .... gaffer
Denis Konoplyov .... lighting technician
Aleksey Kozin .... lighting technician
Vladimir Mishukov .... still photographer
Aleksey Populov .... grip
Viktor Saratov .... camera mechanic
Maksim Shalnyov .... video equipment operator
Aleksey Shipulin .... grip

Production CompaniesDistributorsSpecial Effects

Additional Details

Also Known As:
"Vozvrashchenie" - Russia (original title)
See more »
105 min | Turkey:99 min (TV version)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

The budget of the film remains a secret, though in an interview the director and the producer hinted that it was well under $500,000. Director Andrey Zvyagintsev also mentioned that the producers made their money back even before they went with the movie to Venice where it was "discovered".See more »
Continuity: On the island, Ivan bandages his hand after it gets injured. In the next shot, the bandage is on his other hand.See more »
[first lines]
[on-screen caption: Sunday]
[boy falls in the water, then floats up]
Zavodila:Jump as we agreed! Who climbs down the ladder is a cowardly wanker.
[swims to the shore]
Boy on Tower:Go on, Vityok. You're next.
See more »
Movie Connections:
Requiem in re minore K626See more »


What does the metal box contain that the father puts on the boat?
See more »
65 out of 90 people found the following review useful.
Brilliant--yet not a work on par with a Tarkovsky or a Kozintsev, 11 December 2004
Author: Jugu Abraham ( from Trivandrum, Kerala, India

Russia has produced some of the finest filmmakers of the century--Andrei Tarkovsky, Sergei Eisenstein, Grigory Kozintsev, and Sergei Paradjanov. Hollywood (with the exception of Orson Welles, Stanley Kubrick and Terrence Mallick) is dwarfed in the company of these giants. Andrei Zvyagintsev follows in the footsteps of these giants. The opening shots remind you of Tarkovsky and the bleak, barren landscapes of Kozintsev. Yet "The Return" with all its finesse and depth of subject matter does not hold a candle to the works of the four aforementioned Soviet filmmakers. I was fortunate to see the film at the Dubai film festival yesterday.

At the most easy level, the film can be interpreted as a chronicle of two children chronicling (with a help of a diary written by two male siblings) the events of a week with their father that facilitates their transformation from childhood to manhood metaphorically.

At a more complex level, the film can also be interpreted as a political film--with the father figure representing the strong Communist USSR and the death of that state. The two sons can be interpreted as one representing the section that accepted subjugation by the state and the other that rebelled against the state and demanded freedom and democracy. Today both kinds of former-USSR citizens yearn for the "FATHERland" of the past for different reasons.

At yet another level, the film provides the option of being interpreted in religious terms. Is the father figure any different from Christ coming to the world to help the world, and die in the process to be accepted by those who believe and don't believe. The film is scattered with clues that afford this interpretation: the fish symbol, the storm in the sea, the walking on water (by the boys on a stone below the water line), the week ends on Sunday (the day of Resurrection), the late return by the boys and the rebukes that follow (Jesus admonishing disciples for falling asleep), acceptance through death, the first sight of the father lying asleep resembling a crucified and dead Jesus, the last supper (at home), the baptism by rain, is Andrei (the elder boy) named after apostle Andrew, the leaves under the car as palm leaves for Jesus entry into Jerusalem... the list could go on. One reason is that most Russians are deeply religious individuals. At the same time one could argue that all these were coincidences and there is no Biblical reference in the film.

The brilliance of "The return" and the films of the other four Russian directors are outstanding because they too could be entertaining at different levels and thus appeal to you 50 to 80 years after they were made. Like Tarkovsky used Bach's Requiem in "Solyaris", Zvyagintsev also uses Mozart's Requiem in the "Return." The Requiems afford to highlight somber spirit of the tales and add divinity. The sudden rains, the sound of trains are not new--Tarkovsky used these effects in "Stalker." "The return" seems to hark back to Tarkovsky and Kozintsev's Christian Marxist imagery.

The film is in color--yet the colors are muted with only the red car standing out. Kozintsev refused to film "Hamlet" and "King Lear" in color; Tarkovsky also used muted colors and sepia tints often.

The most jarring fact is that the young actor who played the elder brother died in the very lake months after the film was made.

The stark, spartan, evocative film deserved the Golden Lion at Venice film festival awarded this year. By a coincidence, precisely 40 years ago Venice had honored Kozintsev's "Hamlet"! The brilliance of "The Return" is all pervasive--acting, direction, photography, editing, screenplay and yet the film is not as great as a Tarkovsky or a Kozintsev.

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Blu-ray edub127
What the fock is in the box? rrr_mihai
'The Return does not have a full-filling end' cinemafiendee
Let's debate the 'whys' and other questions pinkybanana2000
Great movie, but... svirepi-blagoje
Was I the only one that thought that... (SPOILERS) persia-1
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