The Lovers follows a tight-knit group as they stand at the threshold of adulthood in 1970 Soviet Tashkent. They resemble a street gang, but only in the most endearing way - they have each other's backs and tend to opt for maturity over impulsiveness in adverse situations.
Rodin is something of a leader: admired by the group, classically handsome, and working as an oilwell firefighter. He is in love with Tanya, a graduate student at the university. Rustam is grappling with the emotional fallout of being abandoned by a cold, distant father who has started a second family. A glimmer of hope appears for him when he spots a beautiful young woman and impulsively chases after her bus. Takis, a Greek refugee living with Rodin, longs to reunite with his family who remain under the right-wing Junta in Greece. Then there's Edik, ever cheerful, but preparing for the looming reality of army service.
The group is at a crossroads - some bonds will endure, others will dissolve; each friend will seek their own niche in life, some to be found, others perhaps to be lost. The film draws poignancy and quiet energy from this liminal moment, capturing it with tenderness and deep sympathy. Director Elyor Ishmukhamedov, true to his sensibilities, handles the material with a gentle and humanistic touch.
At just 83 minutes, Vlyublyonnye is impressionistic in its character development, less concerned with plot than with atmosphere and emotional rhythm. Yet it's a pleasure simply to spend time with these characters, experiencing their bonhomie, energy, and youthful longings. Visually, the film offers several standout moments: a motorbike ride through a river; striking footage of Khiva's UNESCO-protected old town; and a surreal, dreamlike journey down a flooded river.
Both ephemeral and heartfelt, The Lovers captures the delicate intensity of youth on the cusp of change, making it a small but memorable gem of Soviet cinema.
