This chapter emphasizes the importance of Iulii Raizman's work as a crucial part of Soviet film history. It argues that Raizman was unique in that his films sought to offer an alternative look at Soviet life by showing and defending the autonomy of private life, intimacy, and emotion in the face of an overwhelming concern with public duty and ideology, an approach that was highly unusual in the
... [Show full abstract] 1930s and 1940s. Indeed, as the author observes in several cases, Raizman managed to resist attempts to make him conform to the political and artistic orthodoxies of the day. From the 1960s onwards, Raizman maintained concern with theindividual trying to find intimacy and meaning in the context of communism. However, by this time the director not only wanted to assert the autonomy of private life, but also to criticize strongly any attempt to deny the individual self-realization and freedom from collective demands.