The best Vladimir Menshov’s science fiction movies

A man who serves in the war between the forces of Light and Dark comes into possession of a device that can restore life to Moscow, which was nearly destroyed by an apocalyptic event.

An engineer in charge of the production line of a factory in Moscow is sent to a small town to try to specify the distributor the new dimensions of a mechanic part they need. But in this town everybody seems to be crazy (a secretary who works naked, a group of people take the engineer as a rock & roll player, etc) and, in addition, this man is witness of a suicide, so he is trapped inside the town.

Considering that Musakov’s Abdulladzhan (1991) was dedicated to Steven Spielberg, we might suggest that these four boys embody nothing more complicated than a conflict of youthful innocence with some ominous threat—the basic workings of E.T. (1982) or War of the Worlds (2005), say. That threat, however, is best understood not through vague nationalism or warmed-over socialism, but through the other reference-point of Abdulladzhan—Tarkovskii’s Stalker (1980). Musakov leaves his boys in a simplified radiance so bright and so overexposed that it no longer looks like the skies of sunny Tashkent, but a disturbing, borderless luminosity to match the flat tonal range of Stalker’s “Zone.” Our Uzbek boys are nowhere in particular; this is a broader domain than anything international.