Another film in which scenes in the elektrichka were of fundamental significance was in Zviagintsev's Елена (Elena, 2011) where the main protaganist travels between two worlds - that of her affluent husband and that of her lumpen-proletarian family who appear, in the film, as parasitical on her goodwill. The journey between central Moscovian luxury and peripheral dereliction is repeated a number of times in the world precisely through this journey:
One of the few documentaries to be made on the elektrichka was made by a Polish director Maciej Cuske in 2005. It portrays the microcosm of the local train in some detail- the seller, the sleepers, the beggars and the musicians, the beer drinkers- but steers clear of the drunks and the fights in the corridors between wagons known as тамборы in Russian, all too-common in the elektrichkas I travel in.
It's rather strange now to look back at Soviet era trains like the 1963 Утренние поезда (Early morning trains) which sang an elegy of the elektrichka would surely be out of place in contemporary Russia. A character in a film talking of their joy of travelling by elektrichka is unthinkable nowadays. The optimism and sociability of this film plays no part in early twenty-first century Russia.
is fully in keeping with the irritation and indifference that most passengers have for each other.
)Interestingly at least two of the clips of the ongoing documentary film about Putin's third term as Russian President Срок (The Term) have taking place in an elektrichka - the protagonists being Sergey Shoigoi and Ksenia Sochak. (Shoigu and Sobchak).
Literature, song and poetry have also been full of references to the elektrichka. The most obvious being Venedikt Yerofeev's alcoholic classic Москва-Петушки but also Victor Tsoy's song on the subject: