Nine Days One Year Twenty Years Later Alexander Potapov (Alexander Filippenko) is a deputy general director at one of the defense enterprises, a real workaholic and smart, although hot and emotional. At work. But one day his life will begin to collapse - the tests of his technology have failed, a friend-writer is taken to extremes, a friend-chief is dumped by a heart attack, and a friend-colleague betrays, and his wife is not a reliable rear. Only the daughter remains, the same friend-writer and the work of life.
The film of the mid-'80s turns out to be straight in Hegel's denial of the '60s and '70s. From the 60s, the great film of Mikhail Romm, from the 70s plays and films based on them by Alexander Gelman (primarily Feedback) and as a result, the correct frustration from the first half of the 80s was born. The previous generation of learned men is about to leave, and in their place will remain faceless functionaries or careerists. In this sense, Potapov is a lone hero trying to be out of the system. And this is no longer the case of Gusev, who had a loving woman and a theoretical friend who raised the banner of a self-sacrificing scientist. Potapov doesn't have that. The question is: is it a sign of the time or did the director Skuibin just want to shoot a paraphrase of 9 days of one year? Maybe both. Just skill was a little lacking - the wife (Dogileva) is only a traitor, although some hints that Potapov himself is to blame for this drama, throwing the family at the mercy of everyday life, there is a friendly relationship with the writer (in terms of the depth of relations) somehow imperceptible, and the question remains, why the theory of smells in the defense industry? Something interesting could come out of this, especially since Gluzsky stars and Filippenko suddenly manifests himself (although he has a chemical-geological education in his biography, but this is an atypical almost restrained dramatic role for him), but the portrait of the era comes out still steep.