This thesis analyses the post-Soviet film Okraina (1998) by director Petr Lucik. It evaluates, if and how this film relates to the nostalgic tendencies in Russia during the 1990s.The film shows the quest of farmers in the 1990s, whose land has been stolen, and their fight for justice. The director uses early Soviet film techniques as well as symbols, myths and the Soviet film canon to accompany his film with well-known scenes and music.The interpretation is supported by theories on cultural memory and Soviet political myths. The film exploits these myths of the past and attempts to give them new meaning for the present and future. In addition, this thesis investigates the circumstances in which this film was produced and how the film relates to nostalgic art in Russia. An exemplary overview of the development of nostalgia in Russian art and the film industry, including the tendency of self-censorship among Russian filmmakers is given.This complex analysis of the film and of the circumstances that surrounded its creation leads to the conclusion that the film is indeed a product of its day. However, with its unconventional making, its message and excessive brutality the film is ahead of the times.