The release of the biographical drama "Vygotsky" coincides with this anniversary and has become one of the most notable and controversial events of the 48th Moscow International Film Festival.
The film is set in Moscow in 1934. Sensing his impending death fr om tuberculosis, Lev Vygotsky (Sergei Gilyov) agrees to a course of psychoanalytic sessions with Sabina Spielrein (Victoria Isakova), a physician and student of Freud and Jung.
Director Anton Bilzho deliberately rejects a linear narrative: the film is edited as a mosaic of memories, dialogues, and encounters—from the scientist's childhood experiences to his work in the famous "Vygotsky Circle" with Sergei Eisenstein and Vsevolod Meyerhold. The visuals are built on contrasts: the memory scenes are maintained in a muted palette, and the camerawork often mimics a voyeuristic effect, immersing the viewer in the hero's intimate inner world.
The film does not adhere to the canons of a traditional biopic. Critics note that the filmmakers are not so much reconstructing a biography as creating a space for dialogue with the scientist's legacy. The film has generated mixed reviews: some viewers and experts appreciate it for its intellectual depth and bold visual language, while others note the fragmentary plot and excessive metaphor. However, almost unanimously agree on its main point: the film provokes reflection on how Vygotsky's ideas function in modern pedagogy, psychology, and culture.
Despite the controversy, the 2026 Moscow International Film Festival jury highly praised the filmmakers' work. Anton Bilzho received the Silver St. George for Best Director, calling the award a "fantastic gift" and dedicating it to his parents. The Best Actor prize went to Sergei Gilev, whose performance, according to critics, successfully avoided pathos and showed Vygotsky as a vibrant, questioning, and passionate explorer.
The film's premiere is a particularly significant event for preschool education. The concepts of the "zone of proximal development" and cultural-historical theory, developed by Vygotsky almost a century ago, remain the foundation of modern pedagogy.
The film returns to key questions: how can we unlock the potential of every child? How can we make learning flexible and humane? It's no coincidence that the final scene, wh ere the hero breaks into an impromptu dance, has become one of the most discussed moments: this gesture seems to defy attempts to turn the scientist into a "bronzed monument," affirming freedom of thought and will.
Perhaps it is precisely this image of Vygotsky—lively, ironic, and open to dialogue—that educators, parents, and all who believe that a child is born into society, and true education begins with respect for their inner world, need today.
Photo: Vladimir Kudryavtsev's website, kinopoisk