The unexpected disappearance of a young wife forced the protagonist to go to the police. The commissioner begins an investigation, and in the meantime, the local curate brings an allegedly repentant wife to the inconsolable husband.

Pioneer leader Serge, a sculptor, decides to work in a new plastic material, among creatively gifted children in a camp located in an old mansion. Pioneer Lopukhin is so in love with his classmate Ergolina that he does not notice how fascinated Sonya Zagremukhina is with him. Showing their emotions and moods helps their participation in the production of the play "Masquerade" by Lermontov, and the play itself imperceptibly turns into a drama with unexpected confessions, insults, jealousy, and outbursts. The teens are so busy with their feelings that they do not pay attention to the pedagogical ideas of Pioneer Serge, and by the end of the film, with no additional encouragement, they are ready for a commemoration of first love.

故事发生在十九世纪四十年代的意大利。亚瑟（奥列格·斯特里仁诺夫 Oleg Strizhenov 饰）是一名虔诚的基督教徒，他非常仰慕神学院的蒙泰里尼神父（Nikolai Simonov 饰），将自己未曾享受过的父爱寄托在他的身上。可是，最终亚瑟发现，蒙泰里尼神父竟然就是当年抛弃自己的亲生父亲，他的信仰崩塌了。
一晃眼13年过去，意大利自由革命如火如荼的进行着，一个外号“牛虻”的青年领袖在运动中格外的活跃，成为了很多年轻人的心灵导师，而这个人就是亚瑟。很快，亚瑟因为遭到了同僚的背叛而锒铛入狱，在狱中，他再一次见到了蒙泰里尼神父，心存最后一丝幻想的亚瑟试图劝说神父和他一起投身革命。

In a remote village in Karelia, Sergeant Vaskov commands an anti-aircraft unit that protects a rail depot. While his men are transferred to the front line, he is reprimanded for their unruly behavior. He retorts that he wants replacements that aren't drunks or womanizers. In response, he is assigned a unit made up entirely of young women, fresh from training.

A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.

A dramatized account of a great Russian naval mutiny and a resultant public demonstration, showing support, which brought on a police massacre. The film had an incredible impact on the development of cinema and is a masterful example of montage editing.

1962 film by Andrei Tarkovsky

A psychologist is sent to a space station orbiting a planet called Solaris to investigate the death of a doctor and the mental problems of cosmonauts on the station. He soon discovers that the water on the planet is a type of brain which brings out repressed memories and obsessions.

有人戏称这部电影是“四个男人的一台戏”。
影片中基本没有特别引人的情节，没有激烈的动作打斗场面，甚至没有撩人心弦的爱情故事，然而绕有趣味的是，影片除却赢得了1700万观众，还被当时权威电影杂志《苏联银幕》评为1983年最佳影片。
这样一部既叫座又叫好的影片讲述了前苏联20年代四个青年音乐家组办爵士乐队的故事。在那样一个“火红的年代”，属于“资本主义意识形态”的爵士乐很难被苏联官方接受。出现在影片中几乎所有文化场合的标语“艺术要为劳动人民服务！”是那个时代的典型象征。四个热爱爵士乐的青年就这样不合时宜、一波三折地进行着他们“不可能完成的任务”。
影片拍摄完成的80年代，苏联人已经开始通过一些“非法渠道”接触西方文化，当时，《巴黎最后的探戈》录像带开始半地下流行，持不同政见歌手的音乐会也几乎场场爆满。因此，在这样一种社会背景下影片中发生的故事立刻能得到观众的认同，主人公们对理想的执着、对自我价值的肯定、对友谊的坚持也让人感觉亲近和鼓舞。
影片运用幽默诙谐的手法对时代进行嘲讽，用优美的音乐旋律和舞蹈动作打动观众，一个本应沉重的题材得以让人轻松地内省。
导演卡·沙赫纳扎罗夫、编剧亚·巴拉基杨斯基、摄影弗·舍弗兹伊克构成了一个强力组合， 剧本经过10次修改，人物性格设计上的差异赋予了演员极大的发挥空间。透视片中时代里的个体、音乐里的个性，我们看到一种俄罗斯哲学的智慧。或许有一天，你已经忘记了影片故事的情节，但是某些掺杂着辛酸与甜蜜、沮丧与欣喜的电影画面会在脑海中悄然浮现。
影片获1984年法国格勒诺布尔国际音乐片电影节评委会特别奖，波兰罗兹国际电影节银奖，并参展1984年伦敦、芝加哥、贝尔格莱德等电影节。