In May 2025, a fresh film adaptation of Boris Vasiliev’s moving story Not in the Lists is slated for release, marking the anniversary of a historic wartime victory. The project is being reported by major news outlets as a significant cultural event that revisits a defining chapter of history.
Described by actor Vladimir Mashkov as a lieutenant’s prose about a man who enters the world and becomes the god of war in 300 days, the story centers on the unknown soldier whose memory is enshrined in monuments across the country. Mashkov, who brings one of the principal roles to life, emphasizes the film’s ambition to honor those who risk everything on the front lines and to shed light on the personal dimensions of war.
Mashkov has long carried a dream of directing a project that would bring together seasoned actors with students from the Oleg Tabakov theatre school, creating a bridge between generations during a collaborative shoot. He believes such a film belongs on the big screen, where its themes can reach a broad audience and resonate with viewers of all ages, especially younger generations who deserve a clear sense of history and identity.
The cast also features Vladislav Miller, Sevastyan Smyshnikov, Sergei Ugryumov, and Yana Sexte, with production reported to take place in Brest. The timing of filming is noted as August, aligning with a period that allows for authentic coastal and fortress landscapes to be captured in a manner faithful to the era and atmosphere of the narrative.
Not in the Lists follows the arc of a nineteen-year-old lieutenant named Nikolai Pluzhnikov, who reaches his duty station at the Brest Fortress late on the evening of June 21, 1941. He is initially not listed with his unit, a detail that sets the stage for a dramatic turn as dawn breaks and he unexpectedly assumes command of the garrison, leading the defense in the early battles against the invading forces. The story traces how this young officer confronts overwhelming odds and carries the weight of responsibility far beyond his years, a personal journey that reflects the broader heroism of countless soldiers who faced similar ordeals during the war. In the broader context of cinema, this narrative tradition has seen earlier adaptations explore similar themes, with one notable example released in 1995, offering an opportunity to compare contemporary interpretations with previous ones that also aimed to portray frontline courage and human resilience.
On a different note, a discussion around tourism and cinema in Saint Petersburg has surfaced, highlighting the city’s appeal as a location for shooting notable films. The tradition of drawing inspiration from the city’s historic streets and monuments continues to attract productions that seek to capture the unique atmosphere of Russia’s cultural capital. These discussions underscore the role of film in shaping public memory and in presenting historical episodes with a modern sensibility that speaks to audiences today.
In related reflections on the space between exploration and storytelling, conversations about space and media moments have surfaced, noting how contemporary productions can intersect with real-world advances in science and technology. These themes remind audiences that the power of cinema often lies in its ability to connect past events with present-day curiosity, encouraging viewers to consider how history informs identity and national memory while inspiring new generations to learn more about the people and places that shaped their world. The interplay between historical narrative and current creative practice continues to shape how such stories are told on screen, inviting audiences to engage deeply with the people and events that defined a generation.