You are on the right path, comrades! I rarely watch movies “from the dashing 90s” because of the complete predictability of the plot and almost always bitter “aftertaste”. The painting by Anatoly Vekhotko with a “ridiculous name” is an extra confirmation of this. As a person “from the USSR”, I understand the director in part: he wanted to make a caustic satire on what was happening then in the country – the “Union blanket” was pulled in all directions until it cracked at the seams. The idea itself is interesting, and even funny, but here is its implementation. There is little funny in the picture, despite the abundance of cartoon characters. If the “antitheses” of Lenin, Stalin, Brezhnev can still be perceived in the person of the hero Georgy Stil, then Hitler here as “not having the mare’s tail”. Humor likes meru. The boundary beyond which a humorous story becomes a mockery of history. Surprisingly, Anatoly Vekhotko chose theme for his latest film. He began shooting at the most “thawing” time. His paintings are “little”, but very sincere towards their heroes. After such films and want to breathe fully, and live "to the fullest"! And in the “Village...” the very atmosphere of the picture – impenetrable spring village mud – looks like an “epitaph” of the “era of socialism.” The question is, what did socialism do to the filmmakers? I doubt that everyone on the set was dedicated to the “mega-design” of screenwriter Gennady Chernyaev. The artists were just doing their job, playing. As, for example, Alexander Alexandrovich Susnin played, for 45 years he starred in almost 100 films. Here he has a small role of grandfather, but he played it already being sick: during the filming of the disaster film “Breakthrough” (1986), Alexander Alexandrovich became very hypothermic, fell ill, received serious complications. On the set of “Village...” his wife made sure that he was warmly dressed and watered with hot tea and coffee. After the “Village...” Alexander Alexandrovich had another role (last) as a watchman in the ... cemetery in the film with the symbolic name “Racket” (1992). Did Alexander Alexandrovich Susnin deserve such an “epilogue”, who in 1987 set a kind of record when he was invited to star at once nine directors? That is why it is bitter and hurtful to look at our elderly actors who are forced to star in completely passable films.