Flights in Dreams and in Reality 1982

On the eve of his fortieth birthday, Sergei Makarov [Oleg Yankovsky] is summing up his life. But nothing brings satisfaction to him, neither wife, mistress, work, nor friends. He faces a quiet, unglamorous kind of disillusionment that slowly broadens from a nagging doubt into a full-blown midlife reflection.

At forty, ideals often lose their luster, and Sergei feels the ache of that shift. He finds himself not bound to his wife by genuine connection, but held by obligations that keep him from truly engaging with the people around him. In the midst of this uncertainty, he becomes strangely drawn to Alisa [Elena Kostina], a young woman who stirs feelings he hasn’t felt in years and prompts him to question what he’s been chasing. The pull toward her is complicated by the fact that Alisa has her own life and loyalties, including a boyfriend who arrives with a certain effortless charm. Oleg Menshikov embodies that boyish intrigue, gliding through the scene as he woos Alisa with ease and wins a brief, blunt victory over Sergei in an arm-w Wrestling match, a moment that underscores Sergei’s sense of losing ground.

Nearby, the world continues to move with its own momentum. Larisa Yurevna [Lyudmila Gurchenko] is a colleague who works with Sergei at the drawing board and harbors a clear, unreciprocated crush. She is a palpable presence in the room, offering warmth and help, even as Sergei drifts away from her romantic interest. Nikolai Pavlovich [Oleg Tabakov], Sergei’s supervisor, is involved with Larisa in a complicated web of affection that remains unfulfilled, hinting at the emotional currents that swirl just beneath the surface of their professional lives. The lines between admiration, obligation, and desire blur as Sergei navigates the dynamics around him.

The film invites us to view these personal storms against a backdrop that includes symbolic figures who seem to look on with knowing calm. The Director [Nikita Mikhalkov] and The Sculptor [Alexander Adabashyan] appear as part of the environment that frames Sergei’s choices, adding layers of commentary about art, ambition, and the costs of chasing meaning in a world that often feels indifferent to such pursuits.

As Sergei bounces between people—between companionship and pursuit, between obligation and longing—the sense grows that much of what he once valued is, in fact, vanity. He moves quickly, trying to provoke some change, some new experience that would prove he’s still alive and capable of stepping into a life that feels authentic. Yet every interaction seems to reflect back the same core question: what truly satisfies a person who has reached a crossroads where his former goals no longer fit?

In the quiet, intimate moments, the film reveals how loneliness can hide behind familiarity and how the need for connection can blur into dependency. Sergei’s actions—whether borrowing a car from Larisa, seeking solace in Alisa’s presence, or simply observing the people around him—become attempts to rewrite a narrative that has grown too predictable. The birthday party scene, with its raw mix of humor, competition, and exposed vulnerability, becomes a microcosm of his life: a place where masks slip and truth surfaces, if only for a moment.

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Throughout, the characters remain human, imperfect, and recognizably relatable. Sergei is not villain or hero; he is a man in a crisis, trying to find a path forward when every path seems flawed or incomplete. The story unfolds with a restrained, observational tone that emphasizes character over plot, letting the audience feel the ache of ordinary ambitions and the universal ache for something more meaningful. The relationships around Sergei—adult, fraught, intimate—are drawn with care, showing how hope and vanity, affection and obligation, can coexist and collide in the lives of people who refuse to settle for less than something that truly resonates.

In the end, the film remains a quiet, probing meditation on midlife, desire, and the perpetual search for a sense of self that can endure beyond the momentary satisfactions of youth. It is a study in how adults contend with the gap between what they want and what they have, presented with subtle performances, thoughtful direction, and a longing to understand what makes a life feel whole.