The filmmakers of the Soviet cinema in the 1920– 1930‑s were not particularly interested in private dwellings. Human life was organized in the structure of the state. Only the postwar cinema covers the problem of restoring of own homes, and the interests of the directors shift from public to private space. In the culture of the 1960‑s and 1970‑s, everyday life becomes a matter of conscious interest in the cinema. This article examines the features of the home image on the example of film work of V. M. Shukshin. The article shows that the concept of «home» in his films acquires individual traits, correlating with the worldview, values and social status of characters. Almost all the characters can not exist without a home; they are trying to restore the memory of their mother «nest» far away from it; they are looking for their lost paradise home. The images of home in the pictures of Shukshin contain a whole unit of values, which are interwoven with other semantic and figurative elements of the art system. Generation, family, mother, father, child, homeland, the land — all these categories are included in the concept of home in his cinematography, which forms the artistic unity with a bonded permanent system of values. For the writer and director as a representative of the «village prose» that image with its particular moral space became a symbol of the generic «nest» and spiritual temple.