Seller Selmaga Pasha Nikitina generously distributed all the money from the proceeds to fellow villagers in debt, when they were left without pay. The audit came and Pasha began to demand the money back. Having received no debts, the heroine turned for help to her brother, who immediately responded to her trouble: he sent money and came to her.
Just the case when the plot is only an occasion to talk about the Russian village, since the content of the film is formed by three whales: the amazing Russian nature of the middle strip, people in the struggle for the fruits of nature (stones grow directly from the ground) and the general social background of the ser. '80s. Vologzhan also has an additional reason for pride and joy - the magnificent music of Valery Gavrilin, illustrating the paintings of the interstitial.
In fact, the film marked the end of the controversy about the Russian countryside caused by writers-villages – Shukshin, Belov, Soloukhin, Rasputin and many others, slightly idealized rural life, although writing about its problems. The film shows how deeply inequality, how love for native places is easily replaced by envy, and, most importantly, the people for the most part are already tired of lifting stones from the stingy Russian land. Here they are, the origins of the failures of agriculture - the consumer attitude to life and the collapse of peasant consciousness. No wonder Pasha Nikitina – working, clinging to her native land – is lonely. There are some other interesting details that say a lot about life in the 1980s. But Pasha, sitting sadly in the corner in the finale, speaks better than those details.