[000:00:00;00] listen at this moment, they froze, trying to understand what i was telling you, i realized that you want to live smarter, spin around, brilliant daria , what projects are you proud of, which were , uh, a museum of a little beauty during your work , one of the projects. ah, it was called searching for unsent postcards. i'll tell his backstory. and then my colleague olya and i worked together in the press service and at some point it flew in to us. just on the wings of inspiration, an employee from the acquisition and completion service brings 16 postcards with a photo cosmonauts vladimir mikhailovich komarov and we see that on the back of these postcards the autographs of the cosmonauts are original and in his own hand, and it is written to whom the postcard is intended and where it should have been sent, but for some reason these postcards were not sent. what was interesting was that they were all signed by a resident of ufa

and mine and i. we still have a slightly different perception; we look at these postcards, and the same idea is born in our heads at the same time. why don't we try to find the recipients after half a century ? these unsent postcards and convey such greetings from the cosmic past. and we are starting this big machine to search for these people. and how many emotions we experienced simply cannot be conveyed, but also looking ahead, i will say that and we did not find only four people, that is, 12 out of 16 recipients of these postcards. we found moreover, and as part of this action, we held a very large exhibition at the moscow museum of cosmonautics, which was dedicated to vladimir mikhailovich komarov. we invited everyone we found either recipients or their relatives, if the recipients themselves were no longer alive, we invited them to the museum. we solemnly presented these postcards to them, and the government of bashkortostan directly.

here are the cities, ufa, when they found out about it. they supported the search as much as possible for these people. yes, they got involved in this work , tv journalists also got involved, and based on the results, and on the building of the aviation institute in the city of ufa where this meeting with vladimir mikhailovich komarov took place , a memorial plaque was installed and that’s it. so it grew out of these sixteen postcards and was another project that i also really like. it is too. by the way, i will talk about half a century. it was a chess game that was played between earth and space 50 years later, and the first game was played in the seventieth year, when the astronauts in the mission control center and the astronauts in orbit played chess. and we are the people who work to popularize this industry. we decided to repeat this game 50 years later, exactly half a century later, and this time the

braid museum played. and the international space station and there was such a wave of interest in chess that we seemed to be even further on this wave. let's go and bring the theme of space to this topic. uh, they became interested in space, they became interested in the museum, they became interested in chess. all this was broadcast live in two languages, a huge amount of coverage , a huge number of views. well, naturally there were a lot more people, then i wanted to come to the cosmonautics museum. i know that uh, you wrote a book and space animals. can you briefly tell us about it, how the idea came about, and what the reader who they haven’t read it yet, they can read it there. yes , this book is called animal astronauts. the first space explorers. i don't talk about all animals there. i talk there , first of all, about the dogs that flew into space. and the idea for this book. born from two moments. first. i began to notice that people who come to the museum regardless of their age. they only know

three dogs. who flew into space, laika is the first dog to go into space and belka and strelka are the first living ones creatures that not only flew into space, but also returned safely to earth, but there were much more of these dogs. and i learned this, by the way, thanks to the institute of medical and biological problems, because i had the opportunity to work with archival documents with the memories of people who directly prepared these dogs for space flights, and at some point during this communication . i started writing down stories. just for ourselves and at some point one of the publishing houses with which we interacted came to our museum and said: you know, together with the museum we want to make some good book filled with you. and we have the opportunity for the museum to be in all the bookstores in russia. i say there is such a topic, they say it’s amazing about it. no one has ever written this book before, i wrote it, and it has already gone through four editions, such popularization.

yes, there i talk about all the animals, uh, starting with the very first ones, which back in 1951, dogs flew into space. that is, as if in 10 years. uh, before the first manned flight into space and already ending with those experiments that took place after the flights of yuri alekseyaniya. after that, i don’t remember space, because there were such a huge number of them, about 50 dogs, flew into space. moreover , some of them flew twice, several dogs flew three times, and one dog flew four times, yes, and i always tell them if it seems to people that they just took the dogs and sent them into space. that's not how they are, essentially. there was a real dog squad there. they also underwent training. ahh, medical selection is mandatory. we we remember that a certain height, weight and age. it’s definitely girls if we’re talking about orbital flights, because both boy dogs and girl dogs flew on geophysical flights, and only girls were necessarily

mongrels on orbital flights, and the preparation was very strict. that is, the same centrifuge. eh, then the dogs had to be trained, because it was not clear how they would behave in flight conditions, and they were taught to eat in conditions, and shaking in conditions of loud sounds. this preparation, by the way, is an absolutely real story. tell about his new job after 7 1/2 years at the space museum. i was offered, uh, to study not only history. and with modernity, and let’s put it this way, quite frankly, with what ’s happening now and with what will be interesting in the future, i moved from the cosmonautics museum to a private russian space company. this is very important, because and now i am absolutely convinced of this, astronautics as a whole is experiencing a kind of renaissance and a kind of revival. private space exploration in russia is now gaining momentum. and it seems to me that here she is

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payment for up to 90 days. apply for a loan in the tinkoff application and get a deferment of the first payment for up to 90 days tinkoff is the only one we continue the conversation with daria wonderful from private astronautics in russia we have three big directions. this is uh development of ultra-light and light rocket launch vehicles. this is the creation of satellites and satellite constellations. and this is the analysis of space data. three big directions in which we work, there are already results. it's already there everywhere. uh, our successes, and our main slogan is probably the idea that we want to convey. this is space for the earth, we are not talking about the fact that we need to quickly fly to other planets, populate mars or the moon there. no, we are talking about the fact that on earth there are still enough different questions and problems that need to be solved, and astronautics is very important to us earthlings in this it may help when i say popularization of private astronautics. i always say that we

uh, not you and me, but people who do not have a direct relationship with space rarely think about how often they actually come into contact with space. services space absolutely uses the services of space, if those who are watching us now this morning opened their phone and looked at the weather forecast or used a navigator or used some kind of maps, just the internet at that moment a person interacts with space. i'm talking about the simplest levels now. and if we are talking about different areas, starting from agriculture, agro-industry, uh, completing the oil and mining industries, all of these areas are very actively using the data that we receive from the satellite, so we are actually dependent on space - in many ways we are very dependent and not just dependent, but space is improving daily improving our life in the earth. that is, you have invented your own rocket, which you will launch yourself. uh, which will be a useful load in the form of

satellites that will provide information that you will distribute on earth that's exactly how all these three directions are. they are interconnected, but now since we are a young company, we are literally 3 years old. ahh. on the one hand there is a lot on the other hand, of course, for astronautics. we are still very young, and they are all interconnected, but at the same time we are developing them in parallel. and so, yes, we are talking now about the direction of ultra-light missiles. we have already had several launches. uh, my second launch. we carried it out from the test site from which sergei pavlovich korolev and this world launched their first rockets. yes, and this was also very significant for us. event and now we are preparing to launch another space rocket. this will be another test flight and they will go further , faster and higher. yes, everything is exactly in our plans, and we will do everything that depends on us to ensure that this succeeds. who will

use your services? what kind of satellites will you order if people are companies or organizations that are interested? yes, we are already working with several companies that are interested in our services, and let me remind you that we ourselves also deal with satellites. and speaking of that, what specific satellites are, these are the two main large directions. this is remote sensing of the earth. and that's the connection. well, this connection is landline. that is, it should already be a rocket. yes, in several steps. they have several steps. we have one of these missiles in development. and just with several steps to get to the top ones. well, we are now talking about geostationary about its stationary orbit , that is, our russian private space company is developing if investors. there are people interested in the project itself. well, of course, there will be a huge number of those who will use absolutely everything of your resources, and moreover, i will say that

our investors are all russian, all this is assembled from 95% russian components, exactly if we are talking about the missile sector, these are russian components, that you assemble the rocket yourself in your enterprise, as for satellites, the percentage of, uh , russian components is lower, but we are also working on this, therefore, and as for the rocket there, i say, plus -minus is 95% rocket. well, we have special areas where we do this, the most important thing is that i wish your company to develop, to prove that in russia there are, uh, private space companies, because here we are a little behind our foreign colleagues , especially from american ones therefore. um, i hope we're proud. e. in your company like you, who are involved in space. thank you very much, because honestly, this is what we lack. we don't have enough support. and we are of faith we often come across the same thing as

even the common man in the street. there is a feeling that private space exploration in russia is for some reason impossible. and when a person is an astronaut, he says that everything should work out. this is of course very nice, so thank you very much. well, you're probably collaborators with him. naturally, we interact with roscosmos. roscosmos supports all initiatives. uh, private traders at one level or another, it is clear that we are now going to leave such a complex topic, it is clear that we haven’t yet, but in our country there are tools interactions are largely between private companies and regulatory regulators . yes, this too. although already several years ago a lot has changed and it has become easier for private participants to breathe; it has become easier for private traders to work, so we interact with roscosmos. we understand perfectly well that these are our regulators without roscosmos. we are nowhere, of course, there are still some issues that need to be resolved, because we quite often talk about how good it would be if roscosmos and private space companies

gave the opportunity to use its own testing base, sometimes for private owners, this is very much lacking, because private owners have to build something of their own or look for some other options. but i have a very positive attitude towards this and let’s hope that over time i am sure that everything will work out for you. now let's get creative. what do you think a person will do in space in 50 years? i am absolutely convinced that, of course, flights into space, piloting them will be more clear, that there will be a huge number of satellites in orbit quantity, and at some point we will come to the point that this will need to be regulated somehow. i think that people on earth a will become even more involved in astronautics and will understand what astronautics gives them, and this will happen. something like this, but a two-way interaction between people who live on earth and space technologies. and perhaps we will gradually begin to become

some kind of cosmic species beautifully. my guest was daria the wonderful deputy general director of the private russian space company journalist. i'm anton shpplerov - this is a podcast of space stories. chasing the tears of the men, he suffered a bullet in his stomach, fell to the ground like a faithful dog, and nearby a viburnum bush grew, such a red viburnum, this is what vladimir semyonovich vysotsky wrote in a poem in memory of vasily shukshin hello today we gathered our thoughts about the work of vasily makarovich. shukshina viburnum red. hello dear friends. good evening lev maratovich. karakhan is a film critic. producer sergei vladimirovich

vereikin. journalist-media manager. i vladimir leguida let's get started. and i have a subject for a journalist’s master class in our mmo and when we go through a review. i let the kids watch movies. well, how else can you write reviews? the book is not read. here's the movie, let's see. and the children watch kalina red. naturally, this is a long-standing practice and i have been giving kalina red for a long time, it is clear that in recent years. this is an absolute revelation for them. but here’s a review a few years ago. i really remember the girl, an excellent student, winner of the all-russian olympiads, such a good review, but in the end she writes. i generally grew up outside of soviet cinema. and so i look, i try to empathize , and here is the tragic ending, i don’t want to sympathize with the heroes. but i can’t. let’s see, by the way, it’s the final episode.

hemorrhoids now oh, oh so she writes that i want to empathize with them. this is my aesthetic, i won’t invent anything. that's how it was written. we talked during class, but i sighed there. but here's the question i have. is it possible to do something, maybe

some conversations before watching the film, to help the person who today 20 1 2 3. empathize when watching kalina krasnaya, well, it seems to me that you can, of course , to do this, you just need to talk seriously about the film and what happens to this hero, but i actually, you and i discussed karina krasnaya, and i before that i spoke with my students in afghanistan. and i rediscovered this picture for myself, because i watched it a long time ago back in my student year , 1973. by the way, it's turning 50 years old. yes , this year, but i discovered, and a hero for myself and something that you can really empathize with after all, this is not a midlife crisis when the hero says, i’m 40 years old, but there’s nothing to say. this is an anthological crisis, this is a crisis. e

of being. this is a crisis. eh, understanding oneself is such a very interesting film in e. hmm television and radio fund, preserved, where shukshin talks about his hero and in particular. that is, he says that the hero left himself; this, in principle, is a very un-soviet form. to be honest, because this relationship with oneself is so hmm, smart in smart language, if we speak existentially, yes, but matter and yet very understandable, because a person is trying to find something like this in life. eh, to understand who he is. and this is the most important thing, when we begin to follow prokudin in this movement of his, then, it seems to me that empathy arises because he, and hmm, is moving away from what? and sometimes we don’t read some graphic text very accurately, but it leaves the team. he wants to become

himself alone with himself and the team is presented a little bit like a gang of lip-slappers. and what does he say almost at the end? i don't owe you anything. yeah, he says this to people who, in general, with the environment in which he grew up, in which he, as it were, found. eh, some social status, albeit negative, but nevertheless, he doesn’t want social status. he wants to talk about it himself. we will also talk, seryozha , how to help a person help? well, first of all, uh, in my opinion, experience, since i often go to clubs. i mean, yes, students too with young people, in principle, at that age there are limited ones. in my opinion , a set of film techniques in which people empathize, that is, it’s still subtlety. this is what is happening on the screen in my opinion. it is better perceived when you yourself gain some experience, and in general,

you begin to think about it. but still, if the first part of this film is just that. it’s clear, pubic, yes, and clear intentions, perhaps, in ordinary ones, the more subtle, here everything becomes. the harder it is. it seems to me that a young man can perceive this, but i can help here. i agree with albaratovich when you explain, perhaps, a little more than this necessary with an older viewer, yes , explain, what is it about? let me stop here about what is this about? because? uh, look. some kind of thing somewhere on the internet. i found what this film is about: a criminal collectible city called grief, which has seven walkers. trying to get over the past and start living. in the village, in the house of anyone who gets acquainted by correspondence with a criminal past in the person of his former accomplice bub, yesterday’s colleagues will not let him off the hook. find yegor and kill him prokudin dies in lyuba’s arms and her brother

peter knocks down the bandit wolf at the end of the film. perfectly correct and says absolutely nothing about the film. when i read this, i remembered two things. first, yuri mikhailovich of our whatman, who said that the work does not boil down to what it is about, and that always amazed me. why yes to the plot? what is this work about, what is this film about , we should come up with, and lion , you and i once talked about different things, uh, and we mentioned the red viburnum. i said soviet cinema. you say, well, let's start with what it is not soviet cinema at all. please explain why he is so not soviet , because he departs from the standards and in general collectivism properties yes, soviet cinema, of course, it dominated in general in the sixties shukshin is not a standard sixties. and here is the main question, as it were, of the sixties, how to live, which was posed in the film i’m 20 years old. he forced ilyich marlentsev in 1953, and at tseyva and

shpakovka, of course, it must be done correctly. yeah, if you remember, there was a fundamental conversation with my father those who died in the war, such a metaphorical scene and the hero asked eh. well, what should i do, what should i do and the father said a simple thing to live hmm then the hero asked the second question. but how to live, this question turned out to be very difficult to answer, and in general, the sixties did not really answer this question, because they lived, they devoted themselves to life, and in this, uh, the beauty, as if it were generations, but shukshin gradually became to move away from this, because life did not give the return that he wanted for the first time, by the way, in his story, a remarkable one of his best stories stalled in the seventy-first year, a theme arose when the hero it’s not that he suddenly realized that the troika of birds was carrying chichikov the swindler. it

was carrying how so he went to the hero’s literature teacher. he said, you don’t need to perceive everything directly, but the point is not in chichikov at all, but in the fact that he thought about himself, what was happening to him, and there is a phrase, chichikov’s key message is connected with the hero himself, he lived half his life and what? not so the second half of life it will pass and nothing at all will happen , shukshin’s wonderful word will not happen. this is what and this is this, uh, pain is a misunderstanding. it was this desire to understand that motivated millet, and not an attempt to affirm, that he moved away from certain soviet dogmas and stereotypes. and if he did, but uh, no for him. it was important, by the way, to say, he easily dismissed it. uh, if you remember, there is a character, prosecutor zhanna prokhorenko, who has a wonderful dialogue going on. eh, she says the boots don't feel too tight. he says, no, i have another problem, my feet are sweating, that’s all.

he put the dustpan away. i just put him in the corner on the ropes. one blow that's not the point. he wants to figure it out with himself. he and the system are leaving it. he wants to talk to himself. and this is the most difficult thing. they talked about the retold plot, which is not there at all. uh, the most important scene might be the conversation with the driver, uh, who is taking him from prison. after all, as a sixties man, he essentially starts life all over again, yes, from scratch, when he tries to say this with all his life, what if i had, remember, yes, three lives. and what would he do with them, if i had three lives, i would spend one in prison , that is, i would give it to society, and i would give the second one to you, and to this driver, that is, to other people who surround this life, and fyodor mikhailovich yes, and i would have lived the third life myself. there is no way he can live on his own.

but here's the problem. but when i was getting ready , i thought i came across hmm, some kind of conversation by andrei sergeevich konchalovsky where he says, it’s just soviet not soviet, he says, a soviet person could not be in the cinema unhappy. but there is no sovietness in this film. he is deeply unhappy. and this is also very deeper, in my opinion, because it doesn’t achieve that soviet cinema was always guided by the fact that the hero must come to some result. eh, let it be a tragedy, but it shouldn’t be optimistic otherwise, yes, and he came to tragedy in the full sense of the word, because he did not find the path to himself. and why does he die in the end? he has a lot of options. and if you remember at the beginning of the film this option uh, shukshin's film gives the hero a hint, he comes to this non-non, his ex-girlfriend. but her father

won’t let her. prokudin, some anti-recidivist came and didn’t open the door, but he said, she left where she shouldn’t. she hid from you so you wouldn't get her. the same can be done for prokudin and lyuba , who played wonderfully. eh, fedoseeva-shukshina, vasily makarvich’s wife, she tells him we’ll leave, but he doesn’t want to leave. he says where i don’t remember the words where yes because he can’t even get away from himself, but the fact is that he doesn’t need another territory in order to deal with himself, he cannot deal with himself. i'm talking about this because he is fixated on life. that’s the problem, he still internally remains a sixties man. we gathered our thoughts about vasily makarovich's kalina red. shukshina lev maratovich. karakhan sergey vladimirovich vereikin. i'm vladimir yagoda. we continue everything that you once told me that the clients here could make something

similar to me, this movie. probably if i agree that it is not soviet because it is wider, uh, than the label there of the country. production or themes, uh since we are the old man clint of our uh eastwood, one of the main themes of creativity. this is also a person who follows his own line, let’s say. so, yes, he gives in correctly, he does not look back at what is around him. he'll probably go all over american hero. um, yes, uh, and in this sense, if we take the plot of, say, this picture and not only the plot twists, but also the aesthetics in many ways. in my opinion. this is absolutely the aesthetics of an american western, that is, a hero for a reason unknown to us. this, by the way, that's also a problem. that's how much i review. why is he suddenly so tormented? well, that is, he is a repeat offender. yes, the crisis of age, the dubious hero comes out of prison , you’ll understand. you also can’t eat money; money will eat your thighs. eh, trying to arrange it first. that is, in which i’m used

to it, it doesn’t work out further. this longing of the soul leads to repentance and death, if i remember the film grand , for example, yes. grantorino, when the heroes in the end, yes, in the end, a person, yes, that means and thereby. eh, in fact, in this case , shukshin’s hero finds his place among the birches your loved ones. eh, in my opinion. this is absolutely not a regional story. that is, i don't like it. no, does he find a place, he met the birch trees with his daughters-in-law. he says i will be there. he's actually healthy with them. he says goodbye to them. this is not his, nakhodka this is not his path, not his opportunity to get out of the situation in which he finds himself, as far as he is concerned. uh, why did you come out? well, i'm a repeat offender out of prison, so what? what does he want to become of the earth, a page, let him be? yes , nothing to do with repeat offenders at all. this hero does not have this is not a social hero. it was shukshin who, in general, didn’t

work out as a wife for a very long time. well, with the exception of such a guy, of course, this is just a wonderful movie based on such a revelation of innocence. it was done, but it didn’t work out for him, because he himself was not in the frame, and it’s a miracle that kuravlev went to film, to play in 17 moments of spring. eh, kuravlev had to play, right? there is a bench in the stoves. yes, yes, a bag of tires, uh, spreading his hands, he felt that he had been betrayed and began to play himself and oh, and he entered the frame, like a hero with problems of his own. prokudin is shukshin’s problem and i agree with some kind of social hero here, but this is more about the fact that shukshin is more than an actor, a director or not? yes, but what about a holiday like which one exists, yes, because there at the limit the question sounds, is this a holiday? he is constantly tormented by this question, because he does not understand. what

is a holiday? he's coming. well, not by trial and error. yes, and there are a lot of mistakes, not a single correct decision. does not make, except maybe one correct decision to die because he has exhausted himself, because he cannot move on. he doesn’t know how, that’s what, uh, the worst thing about his problem is, if you remember, uh, one of the last conversations he forgot what the hero’s name was, but he just appears for a split second near the boat, they stand talking and after with him, what is called, fate has come in his face. uh, one of those bandits. he says, or maybe it would have been better not to have been born. why do we live? this is what he didn't understand. this is the whole horror and tragedy, and prokudin is shouldn't have missed it. eh, in soviet cinema, by the way, to say, in principle, yes, in principle, yes, but because it seemed that, well , why not. the wordecist wants to become good here, like what is said in the

annotation that you read. eh, it’s slightly clouded, the true meaning of this picture, which makes it. it’s not that it’s soviet or not anti-soviet - this is not a question at all for shukshin, but that this picture is about a person who wants to understand himself and finds it difficult to do based only on life realities. he, uh, achieves a lot, but he doesn’t find it with anyone either. really true love. after all, anyone hmm incredible things happen, if someone carefully looked at the picture hmm uh with her, when he first meets her, she dressed herself up in such a dining room of this semi- urban urban settlement yes when yes with her, and the unknown word yes which even later you can't do it on the wall. you know perfectly well the picture i was preparing for, but where is it hanging on the wall, just when he is trying to organize his fake holiday in width, yes, the race in

width, what is it called or a neat bordoliera. he turns out to be a complete stranger. at this holiday, because there is no one from this world either, but there is a small moment of shukshin in the great director, indeed. and if it is left, it means that it corresponds with one another and the point is not that any, but it is like that. what are you going to do here? this is culture. this unknown kramskoy unfortunately became simply a symbol of this grassroots culture, but there is no other. but his aspirations are completely different. this is generally the threshold of the razins. in in a sense, razin is not a russian robber . it is i who came to give you inner freedom. he is smarter than many, as shukshin said, he understands more about what is happening around him. that's why he was important. this razin is not intellectual. naturally, but this difference is something that one understands to oneself. he

left for this razin. and about putin - this is an intermediate step - this is some kind of step towards this mind, to which he, alas, has reached. didn’t make it, yes, a holiday about a holiday. or maybe about the soviet tell us this look. this is precisely in this sense a soviet film, because what uh, here uh, if you remember, especially the seventies. yes, this is a set of some uh, such symbols. every home should have paint, yes. and if we are talking about the civil war, then this is kolchak, and so on , this is all so that we remember about the civil war at the time of the seventies, and in one room of the restaurant he is reading watered information. and right there, it means the duromtsy salbom with the center, he discusses. these are just great eras. yes, that is, there is an official agenda. well, so to speak, normal. this is the legal life. eh, in my opinion. this is exactly there is. this is shukshin, the most soviet of the artists there in this sense, and he and that’s why

we tore it apart, because he, uh, well, not only the salt-russian land, yes, but also the soviet one in this sense, well, i agree, the soviets who are trying. go a little further than the soviet worldview. yes, i found it when i was thinking about our meeting, someone wrote in one article that why is he dying? why does he kill the hero, because in soviet realities this hero has no future? in a sense, he is right, but this viewer, in what sense will i explain? the thing is, that whoever takes it is the collective. this is a gang , this is a lip-slapper. the leader of the gang. he couldn’t become himself, because this team took its toll and, by the way, it took it too. do you remember, there one of his girlfriends shouts, why don’t do that, don’t do that. eh, she squeaks, yeah , let's spank her. that's how it should be. so you need this person who knows the social world,

who knows how to behave in it, and no one will take him away. he didn't send anyone. he himself came. the leader came and killed. this is very important in this map, it is important, because i read a lot where that thieves and so on were written by shukshin the film is cool, but the ending doesn’t happen at all, that if he wants to leave, then they were so impressed, so to speak. yes, you want, yes, no one will kill you, but he is exactly this, this is already a parable level. yes, from some no, including the point that this is not about - not about a criminal hero, this was all about to be built up much more significant and interesting than the plot basis itself. well , because otherwise it would have been a grotesque ending, like in the outskirts of lutsk when they joyfully tractors immediately after the burning of moscow, uh, in the fourth land of direct decisions and this is a film. in a way, especially when

they were watching it. to be honest, i had the good fortune to be at the premiere of this film at the cinema house. hmm, and it was a shock, because people stood up. shukshin was sitting in the back on the top row. he cried because there was such incredible applause and people stood applauding. he just didn’t expect such a reaction, he really only had a few months to live, and uh, of course, it had an incredible effect on him impression, but people didn’t decipher what immediately impressed them so much. it was serious at that moment, if you look at the reviews of those years , very serious, interesting critics. they wrote. which character shocked which hero? the finale is what no one wrote about this, because it was so ahead of its time. it’s now that we ask ourselves these questions, when we’ve actually been walking for half our lives, and some have already walked away even more. and what is being asked is this question. if it's a holiday, yes, and a holiday is a holiday, the question

is how he understands it, a holiday, he understands the holiday within life. he does not accept the holiday, like a holiday inside. and if you remember the famous episode after he came to his mother in delhi, when he did not meet with her, but heard. and as she says, uh with any and with his correspondence student yes correspondence. yes, it comes out, and it, in principle, is a prayer. this is a prayer of repentance. this is not my god. and lord he says, forgive me. i'm sorry. yes, this is in what other soviet movie? yes, the hero says, lord forgive me. yes, no, i still have constant prayer and there is a church in the background. this not in the field, a zero difficult topic for shukshin is not in the field. but it all makes sense. it's all done. he chose the location, it’s clear that it makes sense, right? well, then he says, he

can’t stop at this point, and he says, give me time. give me some time, he’s not really ready yet to speak on his own in the language, but look at the spirit in the language of internal existence, and then forgive me. yes, the race is in width not height and not in depth. that's about it. let's look at the mileage, by the way. the people gathered for debauchery. oh my god, my right girls with peaches. still, explain to us what we are celebrating. well. uncle and aunt