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There's Good Weather in Deribasovskaya, Or It's Raining Again in Brighton Beach
Movie

There's Good Weather in Deribasovskaya, Or It's Raining Again in Brighton Beach

1993 • Unknown

Woke Score
1.4
out of 10

Plot

When mysterious Russian bandit named Artist came in USA, brave Russian special agent Fyodor Sokolov runs to States for defeat evil master.

Overall Series Review

The film is a 1990s Russian-American spy comedy and the final work of famed Soviet director Leonid Gaidai. It features a KGB agent, Fyodor Sokolov, sent to Brighton Beach, New York, to combat the Russian mafia, led by the master-of-disguise villain known as The Artist. The plot is a straight-forward genre piece, a parody of Cold War-era espionage that celebrates the newfound cooperation between the Russian and American secret services (KGB and CIA). The humor targets Soviet-era personalities, the incompetence of the emergent Russian mafia, and the cultural clash between post-Soviet and American life. Character motivation is driven by duty, patriotism (in a post-Soviet context), and professional rivalry, not by identity-based group dynamics or contemporary social commentary.

Categorical Breakdown

Identity Politics1/10

The narrative focuses entirely on a political and criminal conflict between Russian intelligence, Russian-American criminals, and American intelligence. Character's identities are defined by their profession (spy, mobster, president) and nationality (Russian, American), not by race or immutable characteristics used for intersectional hierarchy. The cast is historically authentic to the setting (Russian/American agents and Russian émigré criminals).

Oikophobia1/10

The film's satire is directed at the failures of the former Soviet Union (the villain constantly parodies failed Soviet leaders) and the criminal element within the Russian diaspora. However, the American and Russian intelligence agencies are shown working together, a pro-Western/pro-stability message that views core institutions as capable of fighting chaos (the mafia). It does not frame Western/Russian home culture as fundamentally corrupt or evil, but rather celebrates the end of the Cold War and institutional competence against crime.

Feminism3/10

The main female character, an American intelligence agent, is competent and an ally to the male protagonist, which counters the 'damsel in distress' trope. However, the male protagonist expresses a traditional, non-complementarian perspective on gender in espionage, stating that a 'scout' should 'ruin the beautiful woman himself' because a beautiful woman can ruin a spy. This reflects a non-woke, traditional, and slightly objectifying male view, placing the score slightly above the minimum without reaching modern 'Girl Boss' levels.

LGBTQ+1/10

Sexual identity is not a plot element. The film is from 1993, and the only relevant content is the villain using a homophobic slur ('buggers' or 'pederasts' in some translations) as a generic, toxic insult towards his failing male subordinates. This is a sign of the villain's crude personality and a period-typical insult, not a narrative lecture on queer theory, deconstruction of the nuclear family, or centering of alternative sexualities.

Anti-Theism1/10

There is no focus on religion, hostility toward Christianity, or discussion of moral relativism. The morality is clearly objective: the special agents are good, the mafia is evil. The villain is a nihilistic, theatrically-minded criminal, but his motivation is personal ambition and crime, not anti-theism. The narrative rests on a transcendent moral law where crime is definitively wrong.