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After returning from the USSR, Tulyev was subjected to rigorous verification of his former "owners". He continues his work in Western intelligence, but already as a Soviet intelligence officer through the First Main Directorate of the KGB of the USSR. In a new capacity, he establishes the whereabouts of Hitler’s criminal Hoffmann, who was once sentenced to death, and helps the authorities arrest him. However, as a result of the conflict within NATO intelligence, Charlie Brighton, Hoffman's assistant, begins to hunt for him. At the same time, Tulyev manages to establish the identity of the murderer of his father, Karl Brockmann, with whom they crossed in the service of mercenaries somewhere in hot countries. He wants revenge, but, by an evil irony of fate, he must help prepare Brockmann for being cast as a spy in the Soviet Union.
After returning from the USSR, Tulyev was subjected to rigorous verification of his former "owners". He continues his work in Western intelligence, but already as a Soviet intelligence officer through the First Main Directorate of the KGB of the USSR. In a new capacity, he establishes the whereabouts of Hitler’s criminal Hoffmann, who was once sentenced to death, and helps the authorities arrest him. However, as a result of the conflict within NATO intelligence, Charlie Brighton, Hoffman's assistant, begins to hunt for him. At the same time, Tulyev manages to establish the identity of the murderer of his father, Karl Brockmann, with whom they crossed in the service of mercenaries somewhere in hot countries. He wants revenge, but, by an evil irony of fate, he must help prepare Brockmann for being cast as a spy in the Soviet Union.
The film explicitly promotes Soviet state ideology by glorifying a Soviet intelligence agent's struggle against Western powers, thereby championing an anti-capitalist and anti-Western stance.
This 1982 Soviet spy film features traditional casting reflective of its time and region, without any intentional race or gender swaps. Its narrative focuses on themes typical of the genre, presenting traditional identities neutrally or positively, and does not incorporate any explicit DEI critiques.
This Soviet spy thriller, a continuation of the 'Resident' series, focuses on Cold War espionage and counter-intelligence. There are no identifiable LGBTQ+ characters or themes present in the narrative, aligning with the typical content and social norms of Soviet cinema from that era.
This film, a Soviet spy thriller, does not feature any identifiable transsexual characters or themes. The narrative focuses on espionage and adventure, with no elements related to transgender identity or experiences.
The movie does not contain any action or adventure elements.
This film is a direct sequel within an established series. All major and recurring characters maintain their previously established genders from earlier installments, with no instances of a character being portrayed as a different gender.
This Soviet spy film is a sequel in a series featuring established characters, all of whom are consistently portrayed by actors of the same race as in previous installments. No characters established as one race are depicted as a different race.
Combines user and critic ratings from four sources