Sparrow

Two people live in a small Siberian town: one is cheerful and cheerful, pleases his fellow countrymen with virtuoso accordion playing, the other is gloomy and withdrawn – builds a church in the middle of the town and talks about the imperfection of man.

Village Khoroshee in the Siberian outback. Here the hero of the film lives and works as an ambulance driver. At the gate of his house is a small plane in which our hero once tries to take off ...

The clash of two styles of approaches to people, science, and business is the main conflict of the film. Both central characters - the head of the Altai complex space station and the experiment leader Andrei - are people devoted to science. But Altai is an emotional person, he manages to take care of people, forgive them their small shortcomings and mistakes. Andrey is dry, sometimes even rude to his employees. His absorption in work sometimes borders on selfishness. This gives rise to a clash with Touma, a gifted physicist, but a man of a different plane.

The film is built as if out of nothing, actually growing out of that "web" of human relations on which the world rests. The motive of separation from the roots is present in the film, as well as the motive of restoring the way of life, returning vitality. Yuri Shiller's handwriting is special, it is recognizable in the rhythms of intra—frame editing, in branded driveways and panoramas, where, as it were, disorganized life acquires an unflattering depth, and the finiteness of the time allotted to a person, the nature surrounding him, and the world at home in general becomes physically palpable.