mdblist.com logo The Best Marlen Khutsiyev Directed Movies


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poster
75
50
7.5
/1367/
70
/14/
65
/29/
3.9
/3151/
90

July Rain (1967)
Lena, a woman in her late twenties, loves her boyfriend, but in time comes to see that their relationship serves no useful function. What's more, she sees that her friends are for the most part empty-headed lackeys, causing her to wonder just what is the point of her life.
poster
74
45
7.7
/1770/
67
/27/
71
/50/
4.0
/3166/
75
/14/

I Am Twenty (1965)
Having returned from the army, 20-year-old Sergei settles down at the thermal power station and merges into ordinary life. Every day he meets and spends time with childhood friends — the young family man Slava and the merry fellow Nikolai, and once at first sight he falls in love with a stranger on the bus. A lyrical story about a generation of young people entering adulthood, a reappraisal of values, life principles, traditions in culture and art.
poster
71
45
7.4
/1948/
67
/34/
70
/53/
3.7
/1583/

Spring on Zarechnaya Street (1956)
The story unfolds in an industrial town where a young and charming literature teacher arrives, assigned to teach at an evening school. One of the boys from the metallurgical plant falls in love with the educated girl, but communication between the two young people turns out to be quite challenging.
poster
?
7.0
/27/
20
/1/

People of 1941 (2001)
The second World War echoes throughout the whole Khutsiyev's oeuvre. The director himself did not participate in the war: "The thing is, I didn't fight. I had been a sickly boy, so I was turned down because I still looked like a child. This is sort of like a debt I've been repaying ever since". In "People of 1941", Khutsiyev recites his favourite pieces by war poets and invokes documentary footage.
poster
?
5.5
/13/
10
/1/
30
/2/

The Scarlet Sail of Paris (1971)
Virtually unseen since its Soviet television broadcast in 1971, the film, Peter Rollberg writes, is “devoted to the anniversary of the Paris commune, mixing historical footage with images of present-day Paris.”
poster
49
?
7.2
/181/
30
/3/
47
/13/

Infinity (1993)
Fifty-year-old Vladimir Ivanovich Prokhorov, relieved of his worldly possessions, takes a journey back in time. Accompanied by a traveling companion barely half his age, he revisits the people and places of his youth and witnesses the dark forces that shaped the 20th century.
poster
65
?
7.4
/234/
68
/6/
53
/9/

It Was In May (1970)
A few days after the unconditional surrender of German troops, a group of Soviet soldiers is billeted at a farmyard which the war somehow never seems to have reached. This apparently peaceful picture is eerily undermined when the Red Army soldiers are confronted with the full extent of Nazi terror.
poster
59
?
7.3
/274/
52
/4/
54
/11/

The Two Fedors (1958)
At the end of the Second World War, Fedor is demobilized and returns home where he meets a homeless boy, small Fedor. They decide to live together. The adult works in the building trade and the boy goes to school and looks after the house. They get on very well until Natacha arrives in big Fedor's life. After marrying big Fedor, Natacha tries to win the child's love. But he remains hostile.
poster
63
?
7.2
/199/
35
/2/
46
/8/

And Still I Believe (1974)
Originally called World '68, later retitled The World of Today Romm’s film was conceived as an impassioned, large-scale essay on the origins of the 20th century and the subsequent reality the disappointed director felt slipping away from him. The film itself slipped away from him and was left unfinished at the time of his death. His younger colleagues, Marlen Khutsiev, Elem Klimov and German Lavrov, completed the film from the elements he left behind in addition to segments from Ordinary Fascism, closing the film with Romm’s ultimately optimistic outlook: "And still I believe that man is sensible..."
poster
51
?
7.4
/290/
35
/2/
45
/11/

Postscript (1983)
A young man is forced to spend a few days with his father in law.


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