Alexei German’s first two solo features, 1971’s Trial on the Road and 1976’s Twenty Days Without War, both remarkable, unorthodox, and decidedly anti-heroic war films, met with official disapproval and censorship. The former was still banned (and would remain so for another decade) when German embarked on the latter. A subtle, intimate, and affecting drama, Twenty Days Without War was denounced as “the shame of Lenfim” and, for a time, itself suppressed — because “the people it depicts could only have lost the war.”
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Russian–speaking, UK and European artists and scholars, from a transcultural perspective.