
Anatoli Novoseltsev works at a ratings firm whose director, Ludmila Kalugina, is stern and unappealing. His old friend Yuri Samokhvalov is promoted to assistant director and pushes for Anatoli’s promotion, but Kalugina blocks it. Yuri encourages Anatoli to court her, and despite their rivalry the two eventually fall in love.
Does Office Romance. Our time have end credit scenes?
No!
Office Romance. Our time does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of Office Romance. Our time, 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.

Svetlana Khodchenkova
Ludmila Kalugina

Volodymyr Zelenskyy
Anatoliy Novoselitcev

Pavel Volya
Vadik

Ivan Okhlobystin

Alika Smekhova

Nicholay Kovbas

Marat Basharov
Yuriy Samokhvalov

Dmitriy Khrustalev

Mikhail Pavlik

Nikita Salopin

Irina Frolova

Yevhen Koshovyi

Viktor Vasilyev

Mariya Semkina

Natal'ja Hodus

Timur Kerimov

Maksim Borisov

Denis Kudryavtsev

Anastasiya Zavorotnyuk
Olga Ryzhova

Tigran Keosayan

Sofya Khilkova

Anna Azarova

Ekaterina Popova

Sergey Pomerantsev

Mariya Malinovskaya
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What is Lyudmila Kalugina's role in the company?
Read the complete plot summary of Office Romance. Our time, 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.
Svetlana Khodchenkova plays Ludmila Kalugina, a tough businesswoman who runs a credit rating agency, a position that makes her powerfully influential but careful about whom she promotes within the company. Volodymyr Zelenskyy brings Anatoliy Novoselitcev to life, a devoted biker and father of two who works at her agency and carries himself with a mix of loyalty, ambition, and the weight of his responsibilities. Anastasiya Zavorotnyuk steps in as Olga Ryzhova, a capable colleague who studied with the two men at university and once dated the agency’s new deputy director, Yuri Samokhvalov. Marat Basharov portrays Yuriy Samokhvalov, a calculating figure with strategic influence who has his own agenda and a taste for power plays.
The film opens with Kalugina steering her agency through the financial world with a clear eye for results, and Novoselitcev quietly proving himself as a skilled analyst who is also a devoted family man and a man of action. Olga Ryzhova sees potential in him and urges him to aim for a department head position, valuing his sharp mind and steady work ethic. The tension between ambition and loyalty sets the stage for a delicate dance of professional maneuvering. Samokhvalov, returning into the orbit of Kalugina’s circle, recognizes Novoselitcev’s drive and tries to steer him toward opportunities that could cement his rise, even if that path requires him to test the boundaries of propriety.
In a bid to nudge the two closer, Samokhvalov arranges a trip to Turkey, hoping a private, social setting might loosen Kalugina’s guarded stance and spark a personal connection. But a night of frustration, fueled by drink and mounting pressure, changes the mood of the trip in an instant: a drunken Novoselitcev blurts out that Kalugina is “hard” and “heartless” in front of the group, and he goes so far as to push her into a pool. The incident seeds a complicated mix of guilt, fear, and a growing, undeniable attraction that flickers to life in the aftermath.
The next day brings a new crisis and a chance to bridge the gap between them. Isolated in a stalled cable car, the two confront the awkwardness of the previous night. Kalugina appears distant, yet Novoselitcev’s attempt to apologize opens a channel for vulnerability. He speaks honestly about loneliness and the moment shifts from embarrassment to a tentative bond, built on shared vulnerability rather than clever lines. What begins as a tactical flirtation aimed at advancing his career gradually gives way to something more enduring and sincere, as his feelings deepen and his earlier impulses soften into genuine care.
Meanwhile, Olga Ryzhova’s feelings for Samokhvalov resurface, complicating the dynamic further. Their renewed closeness is exposed when a conflict reveals Ryzhova in a compromising position with Samokhvalov, whose own motives come into question. It’s soon revealed that Samokhvalov is—at least in part—a fixer with ties to a rival agency intent on tarnishing Kalugina’s reputation. The stakes rise quickly as a sabotage plot unfolds: Samokhvalov swaps Novoseltcev’s presentation flash drive with a scandalous video, turning a routine corporate delivery into a perilous test of nerve and wits.
With the presentation looming, Novoseltsev races to complete his report—this time not by relying on the corrupted drive but by improvising on the fly, using hand gestures and careful body language to communicate the key findings. The pressure of the moment forces him to rely on clarity, composure, and the trust he’s built with Kalugina. When the presentation finally lands successfully, he pivots from professional achievement to a personal milestone, proposing to Kalugina using precise financial terms, and she responds with a note displayed on a tablet for all to see, signaling a public acknowledgment of their partnership and a new chapter for them both.
The film closes on a symbolic note: Novoselitcev and Kalugina ride a motorbike through Moscow, a shared ride that embodies their united front and the partnership they’ve forged. The journey—from guarded colleagues navigating corporate politics to a couple who face challenges together—highlights themes of resilience, trust, and the delicate balance between ambition and affection. The story stays grounded in its human center, presenting a nuanced look at power dynamics, personal growth, and the unpredictable turns that can redefine a career and a relationship.

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