Three lifelong friends who return to Moscow after their military service and whose fathers have been killed in the war see their aspirations juxtaposed against everyday life in 1960s Soviet Union. They reflect on their possible futures and their place in society.
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“Zastava Ilyicha” / “The Ilyich Gate”. Originally filmed with this title in 1962, was re-cut by censorship orders and released in 1964 as “Mne Dvatdsat Let” / “I'm Twenty”. Re-released in its original footage, restored in 1991, i saw it some years ago at Cinemateca, in a retrospective of films liberated by Perestroika, and since then never forgotten. The censured version It's in this year's Lisbon Estoril FilmFest.
It's interesting to see Moscow of the early 1960s, its surprisingly hopeful, vibrant life. The shadows of the war are still present, mostly within people, affecting their lives. So beautifully poetic at times. A film about friendship, love, human needs and expectations, the society... Simply our existence. Of course, you can notice the influence of censorship in this version, but this also is a statement of its time.
A story about three young men in 60's Moscow.They ask, but no answers.Friendship, love, working time, and the memory of fathers died at the war.I felt the vitality of life of people in Moscow at that time.People walked very fast on the road!
A portrait of youth lost in the choices and opportunities that the previous generation never had. It's too long, but nevertheless manages to keep its charm and stylistic integrity.
The ending might seem a bit naive or overdramatic, but it's really magical and adds much to the meaning and feeling of the film.
A surprisingly lyrical, given the urban setting, evocation of youth and vitality amid social transformation in USSR, this is a remarkably fluid wandering in the buildings and streets of Moscow; a flânerie of flirtation, keen observation, philosophical meditation haunted by the absent fatherhood. Gorgeously shot it matches life with the damp streets of the city. (This was on my want to watch list. Thank you MUBI!)
It’s Soviet celluloid propaganda with a lyrical makeover, a nostalgic philosophical treatise on life, love and mundanity. It’s cinematographic feat far exceeding Orson Welles capabilities. It’s a piece of shit and a profound work of art. How can you not watch it?
— Andrei Tarkovsky acts in this film.
— Beautiful cinematography by Margarita Pilikhina, a female lensgirl.
Essential to all cinephiles if only for spotting Tarkovsky’s cameo. Came out when the Soviets were mastering the art of cinematography, but I Am Twenty is a bit more grounded in its reality, focusing on the contemporary youth in the rainy streets of Moscow.