Screening in the presence of the screenwriter. The military correspondent, Luptin, receives 20 day’s vacation during World War II at the end of 1942. He hopes to forget the war in the city of Tashkent far from the front, but the echoes of the war are heard everywhere. In this film the beginning of German’s journey to discover a new cinematic form is apparent. The film’s style tends to naturalism and floods the cinematic frame with great detail. German also highlights the importance of detail rather than the narrative by means of reflexive reference to the making of war movies. German relinquishes the comfort of filming in the studio and insists upon filming in a real and crowded railway car. Furthermore, he breaks the windows in the railway car when the outside temperature is below zero, so that the vapor from the actors’ mouths will be genuine.