Khroustaliov, ma voiture!

Aleksey German invites you on a journey through the madness of Stalinist Moscow. Not only is the story a journey with unexpected turns, also the cinematography evokes this sense of adventure; long shots, the camera following the footsteps of the protagonist, people wandering through the line of sight. With its incredible detailedness, a true living world emerges. A delight to watch with its rich visual languge, albeit intensive to stay focussed for 2h27m.

German chose a similar style for his equally masterful Hard to be a God (2013), which enters the realm of sci-fi and historical pictures, or Gaspar Noe's virtuoso Enter the Void (2009).

With its critical approach to the Stalinist period, German realised this film exactly at the right moment (1998): in the Soviet age, the film would have been censored, and in the Putin age Stalin was placed back on his pedestal, banning the hilarious British comedy Death of Stalin (2017), a film which through a different strategy aims to similarly show the remarkable climate of the last days of Stalin. What these two films have in common is the wish to reconstruct the absurdity and arbitrariness which governed human lives at that point, served with a dose of irony and black humour.

This black-and-white film is a total surprise: never earlier have I seen anyone making history to live as breathtaking as Aleksei German in his output; "Khrustalyov, mashinu!" brings us the year of Stalin's death such close to us. Ghost of Stalin and the power of fear and idiotism can almost touch us through this perfect film.

"Khrustalyov" consists of scenes with prestissimo-tempo: persons are talking and walking and camera follows so many things that it is almost impossible to absorb all the material which is offered us humble spectators. The plot is not as important as how it is told.

Superb views from Moscow in the middle of the Winter with cars driving like devilish monsters are without any doubt one my greatest moments in cinema. It took a whole year from Germany to collect all the vehicles - only to show them in his film for few minutes... What perfectionism! And the whole film is same miraculous quality.

A must!

This is by far one of the best conceived and executed films of the last decade. Those who think it's "boring trash" should stick to watching Saving Private Ryan and such.

The subject matter of the film is not at all belabored, as some critics state, but will always be important to true artists. However, for fear of being reduced to banal rubbish, it should only be tackled by people of Alexei German's talent.

It's hard to explain or comment on this film. It's cinematography was beautiful, but even as a Russian I found the plot/story/events almost impossible to understand. That, however, did not make me enjoy the movie much less. Granted I would have loved to have understood what i watched, but i honestly think that is what the director wanted, as another poster said, to have you be lost and confused. Why? To make the film better I guess. We watch things we don't understand, or rather we understand what we are seeing but can't put together why it's happening or how it fits into the story. I would have loved to watch this film with subtitles; my Russian is now rusty and this film had a lot of dialogue and people talking over each other.

German's genius masterpiece is of course "My Friend Ivan Lapshin", made in 1984. A movie so perfect and genius that it hurts. Both films are similar, they have the same "voice" narrating - even German's son who became a director would keep using this somber narrator's voice.

Why did I give this film a 10 even though i had no idea what the story was?? A couple of reasons. I already said genius cinematography, not as perfect as "..Lapshin" but somewhat similar and even more busy, even more free and creative. The work and though that went into this film is staggering. It's a film filled with action. A true piece of art I'd say, even though almost impossible to understand. We are given no context, no historical data, no explanations about who the characters are except a couple of words on their work. This movie proves ultimately that you can like a movie without understanding it. They should have sent a poem, I have nothing else to say about this film. A very strange and different film, see it one. But if you see this film definitely see German's masterpiece "My Friend Ivan Lapshin", it's a hundred times better, the story is perfectly clear and geniously artistically told, see it before you watch "Khrustalyov mashinu", because if you watch "Khrustalyov" first you might not want to watch the other if you don't like it, which would be the biggest shame, "Ivan Lapshin" is at the top of best Russian Soviet films.

clearly, this is a film for which either one votes 10 or votes 3. Those artsy folks will hail it a great feat, and those folks that wish to be entertained will walk out of the theather. A black and white film, the titles appear only after about 10 minutes of pivoting plots, kind of reminded me how the titles suddenly appeared in Sergio Leone's "Once Upon a Time the West". The random appearence of people's faces from left and right, some emerging from sauna tubs, others from foggy and steamy rooms, reminds Fellini's Otto e Mezzo. And much of the interiors, people's musings on everyday life, and the "life goes on" quality of city life, reminds the graphic novel by Ben Katchor, "Julius Knipl, Real Estate Photographer". On the absurbist twists and plots, "The Nose" by Gogol comes to mind, and the slight fantastic world (look out for those umbrellas suddenly popping open) brings Bulgakov's "The Master and Margarita". Rich (but senseless) plot, lots of takes, lots of baroquely enriched interiors, outdoor scenes of streets in snowy winter and the muffled sound of cars rolling on snow. Even the title is random: a sentence one hears being yelled by one of the many many characters. Now, if Francesco Rosi's "La Tregua" had a bit of this randomness and absurbist quality to give more of the feel of directionless of war's end, it would have been great.