One should begin by stating a fact: Every release of a satiric film has been a rare occurrence, almost an incidental occurrence in the history of Soviet film. There were periods when no satiric films appeared on the screen in years and, when having appeared, caused desolate irritation or open dislike on the part of the authorities and official critics. Filmmakers working in this genre were always scarce, and there are no critics and theoreticians who have really analyzed film satire on a systematic basis with the possible exception of Rostislov Turenev, the author of critical works on Soviet comedy. The situation is almost a paradox. Social reality, that is, literally speaking, overwhelmed and oversaturated everything else with tragic and satiric events with the result that nobody is seriously interested in the development of tragedy and satire as aesthetic genres.

I combine these two genres intentionally. They are closely connected in their ability to tell the whole truth and by the unity and community of their substantial basis. They are two sides or poles of human existence: Something that is tragic on one level, on another becomes the object of exposure and ridicule. Satire is tragic and tragicomic in its essence, causing audiences not simply to laugh, but to laugh with despair, indignation, or anger: “laughter through tears,” as Hegel said.