This article is devoted to study the film adaption of the play: analysis and comparison of A. Chekhov`s play 『Uncle Vanya』 and A.Konchalovsky`s film 『Uncle Vanya』. In the process of the film adaptation of the play, the director is the subject of the play reception and the film production(creation). Drama and film are media, which have different mechanisms of expression; the presence of the camera brings about fundamental differences between them. A.Konchalovsky made a rule of shooting inside the interior space in the film adaptation. The space can be expressed by the camera more diversely in the film than in the theater, because, unlike in the theater, the camera is located inside the interior space and can move and capture the space without restraint. The old-fashioned house of the landowner in the film 『Uncle Vanya』 drives at expressing the loss and despair of characters. Deep-focus shots are used to describe the psychological situation and relationship of the characters. The weak-willed heros of Chekhov`s play are living with despair and resignation; at the same time they don`t abandon a positive attitude towards life. For the psychological portrayal of the characters the close-up shots are used in various ways. The film director has paid attention to the illogicality of behaviors of characters: An example for this is the characterization of Sonya who doesn`t get Astrov`s love but shows no frustration or anger; sie makes only a blank expression. The deletions of some parts of the play affected the characterization of the person in the film: Vanya explained in the play the cause of the love for the brother-in-law`s wife through the personal history which was deleted in the movie. Despite the deletion of some parts of the play, there is no essential change of the plot in the movie. The photo montage of prologue demonstrates the situation of Russia in the late 19th century. The symbolic ending is ambiguous, what leads the audience to reflect the meanings of the movie.