Polina Agureeva, an acclaimed actress and director who recently performed The Living and the Dead to commemorate the 80th anniversary of the Battle of Stalingrad, spoke about her deep feelings for the Motherland in an interview with Rossiyskaya Gazeta. She reflected on how national identity is felt as much as it is thought, emphasizing a lived, embodied sense of culture rather than a mere intellectual concept. The interpreter of this idea is the late Russian philosopher Vladimir Ern, whose words Agureeva cited to illustrate a truth about culture: it is something to be conquered, not by conquering others, but by truly living within it and letting its depth permeate daily life. The essence of culture, she suggested, is not a distant ideal but a lived reality that can be experienced in every moment and in every breath. The sentiment, she argued, should guide both thought and action, shaping how individuals relate to their heritage and to the people who share it. The same line of feeling, she noted, runs through the Russian cultural landscape and gives shape to its spirit.
Agureeva described a personal ritual: every year she travels to the Don region with her children, staying in a small house that has become a sanctuary for reflection and belonging. She insisted that loyalty to the Motherland cannot be compelled; it is forged in sensory experiences—sunlight on the river, the wind across the steppe, and the landscapes that define the country’s soul. For her, the land, the sky, and the communities encountered in village life carry a weight that words alone cannot capture. Love of the homeland emerges not from obligation but from a visceral response to the land and its people, a connection that deepens with each visit and with every memory created in that rural setting.
In her broader reflections, Agureeva touched on the idea that national identity is inseparable from daily life and environmental experience. The steppe’s expanses, the rivers that thread through the countryside, and the rituals shared with family and neighbors all contribute to a sense of belonging that transcends formal declarations. Her testimony aligns with a traditional view that the Motherland is best understood through lived experience—an understanding that grows stronger when one pays attention to the sounds, smells, and textures of the land and its communities. The bond between person and homeland, she suggested, is reinforced by simple, intimate moments rather than by grand proclamations or ceremonial displays.
Additionally, Agureeva remarked on a recent film-related matter involving a scene with Chulpan Khamatova from the movie Mustai. She noted that the originally planned footage was replaced by a trailer featuring her participation, a change described within the context of her broader artistic work. This anecdote illustrates how collaboration and presentation evolve in the process of cinema, where shifts in sequencing or emphasis can alter how stories are told and received. Her comments reflect an artist’s perspective on adaptation and creative choice within the industry. The discussion of this scene complements her overarching message about culture and homeland, underscoring how artistic decisions can mirror personal and national narratives and contribute to the public dialogue about identity.