
Matvey, a dedicated altar boy with aspirations of priesthood, encounters Agata, a free-spirited artist who lives life on her own terms. Despite their contrasting personalities and lifestyles, they discover shared values and challenges that unexpectedly connect them. As they get to know each other, they must navigate their differences and explore whether a deeper understanding is truly possible.
Does Matthew Passion have end credit scenes?
No!
Matthew Passion does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of Matthew Passion, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Aleksey Rozin
Father Ioannes

Timofey Tribuntsev
Father Fyodor

Aleksandr Naumov
Varvara’s father

Julija Chebakova

Olga Medynich
Mother Anna

Vasiliy Belokopytov

Denis Vlasenko
Matvey

Klim Berdinsky
Nikita

Anar
Robert

Mikhail Orlov
Misha

Kirill Lopatkin

Alexandr Mizev
Kir

Olga Bodrova
Varvara

Valeriia Zoidova
Agata

Polina Sinilnikova
Sofiya

Ivan Kravchenko
Bartender

Yuliya Avdeyeva
Bride

Ekaterina Novokreshchenova
Sasha

Ekaterina Channova
Student

Ekaterina Kuchma
Mariya

Anna Krasilnikova

Valeriy Kozlov

Vasilisa Semashkova
Svetlana
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Challenge your knowledge of Matthew Passion with this fun and interactive movie quiz. Test yourself on key plot points, iconic characters, hidden details, and memorable moments to see how well you really know the film.
What is Matthew's intended vocation in the film?
Priest
Artist
Doctor
Teacher
Show hint
Read the complete plot summary of Matthew Passion, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
Matthew is a young man with a clear vocation in mind: he dreams of becoming a good priest and follows in his father’s footsteps, serving diligently as an altar server while he figures out the path ahead. His world is steeped in tradition and routine, from the quiet rituals of the church to the expectations of his family. His father presses him toward marriage as a prerequisite for ordination, a step Matthew isn’t ready to take, especially since his girlfriend Liza refuses to become a “matushka” (the wife of a priest). In his search for a partnership that could fit both love and faith, Matthew even tries an Orthodox dating service, hoping for a sensible, compatible match. The process is slow and fraught with misfires, and the pressure to conform intensifies as time moves on.
One day, Matthew meets Agatha, a daring and spontaneous artist hired to paint icons in the church, Julija Chebakova, who has little connection to the church or its teachings. Despite their starkly different worlds—his devout routine and her free-spirited, independent outlook—the two form a surprising and unexpectedly deep bond. Their growing connection challenges Matthew’s sense of duty and the rigid expectations placed upon him, even as Agatha’s own life and outlook begin to soften in response to his sincerity.
Their relationship is tested by external pressures, notably Agatha’s controlling boyfriend, Anar, whose presence casts a shadow over their budding love. At Agatha’s birthday party, Matthew makes a public stand against the mistreatment she endures, a moment that marks a turning point in his own arc and in their relationship. Agatha responds with a bold act of rebellion—dying her hair green—an outward symbol of breaking free from the confines of expectations and rules that once seemed absolute. In an attempt to fit his father’s vision of propriety, Matthew asks Agatha to pose as his fiancée, but the plan quickly spirals out of control, culminating in Agatha’s dismissal from the church and the fragile trust between them.
When Matthew learns that Agatha is under pressure to consider an abortion, he is torn, balancing his love for her with the tenets of his faith. In a decisive and emotional moment, he hurry-rushes to the hospital to convey his love and to affirm his belief in the sanctity of their unborn child. The scene is intimate and powerful, though Agatha cannot hear his words, she sees the depth of his devotion in his gestures and commitment. The couple’s story does not end there, as life moves forward in quiet, stubborn ways.
About a year later, Matthew remains in his role as an altar server, but his connection to Agatha persists in another form. In a church setting, she appears at a distance with her newborn, a visible testament to the child they brought into the world together. The moment is subtle but potent—a silent, enduring link that keeps their bond alive even as their lives diverge and the church’s expectations continue to press on. The film leaves us with a sense that love, faith, and chosen family can coexist in tension, shaping a person’s path in ways neither fully controls nor fully foresees.
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