Polyoty vo sne i nayavu

An excellent illustration of a person's life without spiritual values, the absence of any attachment and interest in anything and obvious degradation .. exclusively masterful director's, artistic, and acting work. This movie is an absolute masterpiece of Soviet cinema. We see all this today at the level of world culture - a civilization cut off from the spiritual and historical roots loses its meaning and rolls into a chaos and oblivion

Some of the reviews here helped me understand this movie better. I was born in 1984 so I only heard the fuss this movie made back then. While watching it now I felt constant despair as if not only the main character was living meaninglessly but the whole town this movie was set in. It is hard to watch indeed, but I can understand how it was perceived by those living in a deeply stagnated country.

I first saw this movie back in the 80's when I still was in my teens. Couldn't possibly understand the subject, but something struck me in Oleg Yankovskiy's performance. His Sergey was recognizable. Even familiar. I saw this man somewhere. Probably in my father, who was going through a little midlife crisis of his own at the time. So Yankovskiy's Sergey was genuine - tragic, lonely, selfish (and self-loathing at the same time), lost man. Looking for love while unable to feel love towards others. Even himself. It's not even love he is after, it's reassurance of his worth. On his self-destructive path he ruins not only his life, but few other's close to him. And you despise him, feel for him, pity him and just wish that he (and those hurt by him) would walk away with least damage possible. The movie is slow, but doesn't drag. The way autumn (literally and symbolically) is translated to the screen does make you feel a little cold. The acting is excellent from all involved with a standouts from Yankovskiy and Lyudmila Gurchenko. 9.5/10

Complicated, expressionist, with a bizarre storyline, if there is one. About an immature man that is lost at forty as he was always, living a meaningless life and playing with the ones close to him like a spoiled child. As difficult as a man as he can be, everyone seems to love and like him, even if he is hurting them constantly. All women love this charismatic kind of person, that makes them dream and evade of their own made reality, from the railway worker, to the lonely colleague that was once his lover. I was a bit surprised to see such a realistic portrait of a soviet town with pretty poor infrastructure and living conditions and it was before Gorbaciov. As in almost all russian movies of the time, one can see the alcohol excessive consumption, the enthusiastic nature of the russian soul and the good natured and helping russian citizen.

Roman Balayan's film is an emotional exploration of a man struggling to find his place in life. The main character is deeply traumatized from childhood, with issues stemming from his mother, leading to complicated relationships with women. He feels a sense of alienation and foreignness in society, and his trauma dictates an escape route through infantilism and flight.

The film features many intriguing details: a sense of artificiality in the decor, reminiscent of desolate cities of memory, and scenes in nature that emphasize his detachment. The main character resembles Don Quixote in a midlife crisis. The sounds of the radio symbolize that the world is in constant motion, showcasing the different vibes of the people around him. His relationships with women are a complex dynamic where his childishness is both alluring and repelling.

The film's ending is touching, returning the hero to his childhood but failing to provide him with a chance for true self-acceptance. It leaves us questioning whether he is ready to take responsibility and become a healthy person, as this acceptance will require facing his problems. As we see in Kira Muratova's "Astenic Syndrome," people remain directionless, but the main issue always lies within.