This stunning film harks back lovingly but truthfully to early-'50s “I Married a Tractor” style socialist realism. “A Woman Under the Influence” might have been more appropriate, suggests director Marina Razbezhkina in the story of Antonia, champion combine operator on a collective farm. She lives to drive; she drives by night. The commemorative flag she has been awarded is her pride. Antonia's husband is another kind of hero: he returns from the war without legs, and vodka is slowly wiping that big Russian smile off his face. Razbezhkina sets their story in the fullness of a naturalist aesthetic that has been likened to the pantheism of Dovzhenko (Earth), who in the 1930s transcended polemics with filmed poetry-Antonia's two boys happily pissing into the sun, or their father in his decline looking at the moon on its rise. How huge the natural world is, and yet, how intimate: a tree in the every-morning mist, the cock's crow. Even more the heir to Dovzhenko's fellow director and wife Yulia Solntseva, who used stark surrealism to show the terrible burden of heroism, Razbezhkina brings everything back to the personal. “Nature” is also the mice that eat away at Antonia's prized banner until it is a rag from a distant past.