Nebo. Samolyot. Devushka.

Litvinova is currently the best Russian actress. This film is as much about the film as such, as it is about Litvinova. Low grades on this site are due to language problems. Russian language and Litvinova's voice is another full-blooded character of this film. Despite not speaking Russian viewers here gave this film quite good marks, thank you! When Litvinova speaks - Russians cry. Movie theaters cry all 90 minutes of the film. "The Goddess" - another film with Litvinova - it takes your soul out, but only if you speak Russian...what a pity. Litvinova knows how to play on the strings of your soul, she knows and is able to show what is the most important thing in life - love (what a cheesy statement, isn't it?), love without carrying for herself, love of a person who knows all the answers and the truth (whatever it is), a person too wise for her age, when you know it all, but there is still whole life to live, and other people (including the object of your love) are blindly looking for something around themselves.

It's a pointless and phony remake of a great 60's movie - Once Again for Love (International: English title)(1968) http://imdb.com/title/tt0063824/. Original flashing dialogs with sparkling humor and deep meanings, replaced with dull gray phrases taken from pathetic streetwalkers ... Don't understand why previous commentator "gnum" from Latvia!!!! is jumping up and down about how Litvinova plays? and more how can she(he) know what exactly *Russians* feel when she plays. The film is a kind of Mona Lisa with moustache attached to her face by hand of ignorant young boy. It is so easy to break something good , instead of create your own. Shame and bore....

This love story starts in a posh bar at an airport and evolves over chilly hotel rooms, barren lands, under cloudy skies as to depict the inner feelings of Lara and Georgi. While the characters are somewhat stereotyped in their traits, you should watch this film as you would watch a dream. The director has a distinctive Russian style, in the heritage of great directors like Tarkovsky, with its simple, almost functionalist settings, theatrical acting, silences, and the observation of nature as a futurist filmmaker would have done in the '20s. On the other hand, contemporary Russia is very present.

The characters, despite the initial impression one might receive, are lonely and unsure, proud, but frail, and make this otherwise conventional plot a airy, delicate story. Although this is her first work, the director manages to express these feelings without resorting to excesses.