Brief Meetings is about a love triangle between three very different people. Nadia, a country girl, falls in love with Maskim, a roaming guitar playing geologist, and in her search for him she ends up working for Valentina, his long-distance, bureaucrat wife. Nadia begins to work as a maid for Valentina, but as they spend time together they have flashbacks to their brief meetings with Maskim. These flashbacks occur throughout the film and both Valentina and Nadia have them. Finally news arrives of Maskim's return to Valentina. On the day of his return Nadia cooks a meal for them both and leaves before they arrive, Valentina never knew of Nadia's encounters with Maskim, and Maskim will never know of Nadia's time with Valentina
#苏联新浪潮# 在这个愈加紧缩的三角关系中，娜迦不断回忆着与男地质学家的“萍水相逢”，随着摄影的“过曝”效果达到一种情感饱和状态。娜迦沉醉于甜美的记忆中，以女性独有的方式，吉他作为视觉母题，吉他的扫弦声作为声音母题，为其提供触景生情的可能。一直以来抗拒现代主义的苏联电影也必不可少地接受到新浪潮的沾染，导演Kira通过开场斯维托娃（值得一提的是，女主角斯维托娃即是Kira本人扮演的，或许夹杂一定自传成分？）喋喋不休的独白剖出苏联中产阶级的存在主义危机，这在东欧各国的新浪潮中已是稀疏平常的论题，然而极权的苏联却未曾允许这种“资产阶级”式的讨论。烫发美容都隐喻着中产阶级意识的回潮—红色资产阶级—并占据主流。分割构图是奉行实用主义至上的苏联社会个人原子化倾向的表征，焦点的变动则同时意味着透视关系的变动，人与人，人与集体，人与国家的联系处于随时崩塌的危机中。娜迦最后依然具有自知之明地主动抽身出这段感情，在为斯维托娃与地质学家烹饪晚饭后，观众似乎再无法从她脸部读出遗憾或不舍，摄影机在门口放弃娜迦，与其分道扬镳，隔窗娜迦的身影还是依稀可辨，抽离出一个纯运动情境，这是影片最为感人的一个瞬间。
2022.8.4