Koktebel

A film like this just couldn't be made in America, where action must occur at a slam-bang pace, and children must be either pitifully ignorant of life or else caricatures of evil. Here, there is exquisite attention to detail -- a countryside, a vase of flowers, and long periods with no dialog at all where a mood is simply allowed to develop. The passage of time may not be in equivalent "real time," yet it passes noticeably. And what a skilled performance by Gleb Puskepalis, a boy with, as often seems to be the case, a distinguished acting history in legitimate theater. His character is master of his fate and of the plot, and he himself is master of the camera and the cast. I like this film especially because it is the boy who is rational, determined and self-directed, while the adults, as in reality, are continually made fools by their alcohol, aggression, and just wanting "to f*** each other" all the time. Bravo!

A pleasant enough road movie, about a divorced (or widowed, I don't remember) man going with his young son from Moscow to the Crimea. He's an aeronautical engineer who has been fired and has hit the bad times (maybe with the recovery of Russia's economy under Putin, the argument is slightly out of date). We see them traveling through the countryside in a dilapidated train, and then through the bad roads of Western Russia and Eastern Ukraine. Nothing much happens, but before reaching the Black Sea they stop at small towns, where they offer to repair the roof to a house where a mean old man lives, meet a pretty young doctor, etc. Some reviews I read wrote about the pair traveling through the desolate steppes of the former Soviet Union, yet this is some of the most fertile and densely populated part of that country. The pace of the film is slow, though not terribly so, compared with traditional Russian cinema, and the characters seem real even if the plot is slightly far-fetched. Recommended.

Good cinematography will only take you so far. However, amazing cinematography will carry your film by itself. And that's just the start...Acting is well above average, and the writing, although somewhat resembling the "Russian soul" in its mystique and lack of structure, nevertheless fulfills its duty: to get to the hearts of those who for some unknown reason would not find themselves enchanted by the visuals alone...

This movie really appealed to me. All of the characters are authentic and likable.

The main theme (what the movie is all about) is the terrible struggles and situations an alcoholic struggles with. One of the best scenes occurs when he runs out of vodka---so completely authentic.

It is an intelligent movie done by a director who makes visual points with just the right amount of emphasis to tie things together...look for the ladders and the umbrellas. The idea of flight... it is subtle and carefully thought out.

It is the story of an alcoholic aeronautical engineer and his 11 year old son who are penniless and trying to get to Crimea to live with a relative ---but there are so many levels...the place they are going to is a famous aeronautical gliding site. The father's career/life seems to have never taken off... you can read so many things into this movie.

It is the best one I have seen for a long long time.

One should be in a relaxed mood when going to see this film. Be there to tranquilly cherish the moments of life and the film will open itself and offer you all its hidden prizes.

Someone mentioned the landscapes are bleak... The film is isomorphic to its landscapes. Bleak and lovely at the same time. Little bit depressing for those who choose to stay at a distance, to look at (film or landscapes) as at exhibits. For those who step in, it becomes precious in its touching ugliness. As you enter, ugliness is redefined. We are able to adore and love what we thought ugly before when we lived in the world bombarded by artificially selected beauty. We appreciate the naturality, the simple yet awkward reality of landscapes, of characters and of situations. The directing and actors are both excellent and succeed to achieve this reality so difficult to balance on screen!

There isn't more talk than necessary, more expression of emotions or velocity of thought than a real living person would allow - not any of the tricks directors have to use to keep us interested. Yet the film is not boring. Because we can feel and understand the characters on screen as fully as we can a human being next to us! We can recognize little parts from the happening in the memories of our own life.

Memories otherwise we'd never pay attention to.