The article is devoted to the description of the cultural and historical preconditions for the emergence of interest in everyday life in the Soviet cinema of the 1920s. Also, text includes the analysis and description of the features of the everyday chronotope created in the films of A. Room and B. Barnet. Analyzing the Soviet household drama on the films of Abram Room’s «The Third Meschanskaya (Bed and Sofa)» (1927) and Boris Barnet's «The House on Trubnaya» (1928), the author substantiates the hypothesis that the appeal to everyday in philosophy and art is one of the consequences of the temporal turn that occurred in European culture at the beginning of the 20th century. As a conclusion, the article notes, that the Soviet everyday drama expressed the need to rethink the new post-revolutionary life in accordance with the socialist program. Examined films demonstrate criticism of a closed, self-focused everyday life. Private life and everyday chronotope become a foundation of a new way of daily. According to this, private time is considered as part of general, social, historical time. The contrast between private and collective time stimulates the movement of the plot and forms the main meaning of the cinema statement.