Translation of the above-mentioned Russian review (Google/translate):

Army comedy of Andrey Proshkin:

In the late fall of '94, in a remote garrison, Russian longing and post-Soviet disgrace lead a round dance with the devilry. Ordinary people dream in the spirit of Georgian magical realism. Colonel's daughters (Lyadova and Korshunova) find out that they alternately gave themselves to the same empty chime (Yatsenko). Hurt by the fate of the old Afghan man (Porechenkov) quietly goes crazy. They say about Dudayev on TV, someone with red eyes comes out to the posts at night - either a demon, or the ghost of a Tatar conscript who hanged himself from his love for a slant telephone operator. An unexpectedly strong film about a premonition of war is under the cover of a demobilic comedy.

Russian cinema is distinguished by its epic scale, philosophical depth, and innovative visual language. It often explores history, ideology, and the human psyche, with a tradition of psychological realism and artistic experimentation. Russian cinema contributed revolutionary theories of editing and later a spiritual approach to film language. It remains known for combining formal experimentation with profound explorations of endurance and belief.

Nikolay Grinko, Aleksandr Kaydanovskiy, and Anatoliy Solonitsyn in Stalker (1979)

The comedy genre refers to a category of entertainment that aims to amuse and entertain audiences by using humor, wit, and comedic situations. Comedies are created with the primary intention of eliciting laughter and providing lighthearted enjoyment. They encompass a wide range of styles, tones, and themes, appealing to various tastes and audiences.

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The drama genre is a broad category that features stories portraying human experiences, emotions, conflicts, and relationships in a realistic and emotionally impactful way. Dramas delve into the complexities of human life, often exploring themes of love, loss, morality, societal issues, personal growth, with the aim to evoke an emotional response from the audience by presenting relatable and thought-provoking stories.

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Darya Ekamasova, Aleksandr Yatsenko, and Aleksandr Agafonov in Soldatskiy dekameron (2005)

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Aleksandr Berda, Aleksandr Agafonov, and Oksana Saprykina in Soldatskiy dekameron (2005)

Aleksandr Berda in Soldatskiy dekameron (2005)

Aleksandr Agafonov and Oksana Saprykina in Soldatskiy dekameron (2005)

Viktor Solovyov and Aleksey Shevchenkov in Soldatskiy dekameron (2005)

Aleksandr Yatsenko and Elena Lyadova in Soldatskiy dekameron (2005)

Aleksandr Yatsenko in Soldatskiy dekameron (2005)

Elena Lyadova in Soldatskiy dekameron (2005)

Klavdiya Korshunova in Soldatskiy dekameron (2005)

Soldatskiy dekameron

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