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And when filming began, these people brought to the picture what neither make—up, nor finely chosen typecasting, nor careful directing of extras provide - the truth of their faces, wrinkles, overworked hands, and their past.

They brought the habit of authenticity peculiar to the common man — not to play how to build a hut, but to build. Not to depict washing being rinsed in the river, but to really work. And really wait to see if people passing by will respond with news about loved ones who have sunk into the war. And really worry even in obviously playful scenes. I wrote about this in a report from the shooting, and here I will only add that the participants (especially the women) considered not only their personal experiences inspired by the past to be reality, but also the entire plot of the film. In the imaginative structure of this film, living inside each of them, indisputable in its truth, they accepted both the actors-movie heroes, Uncle Vanya, Vera, Nikolai Maksimovich, and such conditional, purely "plot" events as, say, the death of the chairman or Uncle Vanya's departure to the hospital (this scene was filmed, but she didn't enter the picture). They said goodbye to him with tears, believing that they were not parting with the actor, with the man who had done so much for them, for their now native village of Martynikha.

This sense of authenticity, which brought what was happening in the work of art closer to reality, became a tuning fork that the entire film was tuned to.

Remember how its figurative structure combines Mass Scenes and acting sequences. In the already mentioned scene of the village under construction, the action is tied up by the "extras" (this designation can only be used conditionally here), the whole artel composes a film episode. There is a general animation and energy in it. The dynamism of the whole composition and the expressively captured portraits of people. Folk action... Only after creating his image, the director and cameraman take us to close—ups of the actors - Uncle Vanya, explaining how the new house will finally stand up, helping Vera to manage the plane. A carpenter's tool moves wide and smoothly under Uncle Vanya's hands, shavings deliciously cover the workbench with a white slide, and next to Vera's face, a charred beam is visible in the frame (these contrasts can be traced all the time, in their collision, in the incessantly palpable movement of the pictorial tonality of the film towards the bright, the theme of life gaining strength sounds). "Production personnel". Work. Which Uncle Vanya's hands yearned for so much. Who speaks so much to Vera's heart — her husband did not have the chance to rebuild a new Martinique.

And then one evening Uncle Vanya will take Vera's husband's harmonica, people will sit down with them — "play, soldier" — and a song will sound. The camera will go to a wide panorama of the village, the riverbank will open, where boats are being made, in a field where spring heat is boiling, and right next to it, women in white blouses are pulling an artillery piece from the arable land. And these shots are perceived not as a "background", not as a picturesque illustration to the song, but as an image of a rising village: An image that absorbed its air, breadth, modest, discreet beauty. So, freely alternating close-ups and general plans, acting and mass episodes, the film moves. And in this movement, the entire space of the Russian village is visible. Faces. Characters. People.

I have already mentioned two principles that form the national plan of this film. They merge together, gaining a climactic sound in the Victory Day scene. The episode begins in a dark night hut. Nikolai Maksimovich returned from the district and brought the news: "The war is over... Just yesterday. We didn't know anything." "Victory?" asks Uncle Vanya. And in this "clarifying" question (are our troops in Berlin?) A special, inherent truth has been captured. The same truth that will dictate the next moment will bring these two soldiers, two men who have lost immeasurably much in the war, into their arms, and will make them weep in silence, bitterly, in shock. The same truth will lead us out on a sunny spring day, turn our gaze to shocked, sorrowful faces, to Russian women, widows, orphaned mothers, crying bitterly, inconsolably, suffering to unconsciousness. Waiting seven days for a payout after a winning streak can turn excitement into frustration, especially when you need the funds quickly. A patient but smart bettor receives the secret to fast withdrawals: choosing e-wallets or crypto options over bank cards from the start. Our guide to fast withdrawal betting sites highlights platforms that process payouts under 24 hours, including Stake and 1xBit. The key is completing your KYC verification immediately after registration, as our ranked bookmakers clearly state their review times, preventing unexpected delays when you finally press the cash-out button.