Private Life | |
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Directed by | Yuli Raizman |
Written by |
Anatoli Grebnev Yuli Raizman |
Starring |
Mikhail Ulyanov Iya Savvina Irina Gubanova Tatyana Dogileva |
Cinematography | Emil Gulidov Valentin Piganov |
Edited by | Valeriya Belova |
Music by | Vyacheslav Ganelin |
Production company | |
Release date |
|
Running time | 102 minutes |
Country | Soviet Union |
Language | Russian |
Private Life ( Russian: Частная жизнь, translit. Chastnaya zhizn) is a 1982 Soviet drama film directed by Yuli Raizman. It was nominated for the Academy Award for Best Foreign Language Film in 1982. [1]
The movie revolves around Sergei Abrikosov, a former director forced into retirement due to a company merger. Initially adrift and disheartened, he struggles to find purpose beyond his professional life, compounded by personal challenges including the loss of his first wife and strained relationships within his family. Despite initial despair, Abrikossov gradually rediscovers joy through familial bonds and anticipates a potential return to work after receiving a ministry summons. The film ends with Abrikossov's contemplative reflection in a mirror, leaving viewers to interpret the ambiguous direction of his internal journey.
Private Life | |
---|---|
![]() | |
Directed by | Yuli Raizman |
Written by |
Anatoli Grebnev Yuli Raizman |
Starring |
Mikhail Ulyanov Iya Savvina Irina Gubanova Tatyana Dogileva |
Cinematography | Emil Gulidov Valentin Piganov |
Edited by | Valeriya Belova |
Music by | Vyacheslav Ganelin |
Production company | |
Release date |
|
Running time | 102 minutes |
Country | Soviet Union |
Language | Russian |
Private Life ( Russian: Частная жизнь, translit. Chastnaya zhizn) is a 1982 Soviet drama film directed by Yuli Raizman. It was nominated for the Academy Award for Best Foreign Language Film in 1982. [1]
The movie revolves around Sergei Abrikosov, a former director forced into retirement due to a company merger. Initially adrift and disheartened, he struggles to find purpose beyond his professional life, compounded by personal challenges including the loss of his first wife and strained relationships within his family. Despite initial despair, Abrikossov gradually rediscovers joy through familial bonds and anticipates a potential return to work after receiving a ministry summons. The film ends with Abrikossov's contemplative reflection in a mirror, leaving viewers to interpret the ambiguous direction of his internal journey.