Nikolay Kharitonov

About the first expedition of Shura, a graduate of the Geological Institute, and her first love.

About the incompleteness and insufficiency of the simplest senses: touch, sight, hearing. In cinema, this view traditionally denotes a collision between the authentic and the illusory. Truths and imaginary things are given in the film as images of feelings. “I love to forget time with you,” the heroine says to her blind lover and adds, "You are the most sighted of all the sighted."

This is the second installment of a three-part series of autobiographical films about the director's life. The first, which won various awards for its maker, was entitled Zamri Oumi Voskresni and was later retitled Zari, Umri, Vokresni ("Freeze-Die-Come to Life"). At the end of that film, set at the conclusion of World War II, the young Valerka was striving hard to overcome the inertia of just getting by, along with his sometime friend Galiya. In this one, he is adjusting to Galiya's death and is back in school and is living with his mother, a prostitute. After a girl at the school is found to have been gang-raped, the headmaster chooses Valerka to be one of the scapegoats, though he had nothing to do with the deed. The punishment seems mild enough, he was simply expelled from school. However, after quarrelling with his mother about the incident, he takes to the road, and discovers a society so bleak, degraded and hopeless that it is a wonder he remained alive.

The hero of the film is in prison, and they are trying to knock out a testimony from him where there is a lot of money - in which country, city, bank, bank account ... And the smart, handsome and courageous Abdulov brazenly and insultingly mocks the investigator and reads Onegin in his cell "a Vietnamese cellmate giving him a massage. Then the senior investigator, the wife of the Duma deputy, who does not feel love for her husband, personally undertakes for him.

In the center of the plot is a senior investigator named Masha Shvetsova and her male colleagues. The plot is the most vital, but, like in “Streets of Broken Lanterns,” it is seasoned with a fair amount of humor - otherwise, how can the audience (and the heroes) endure countless morgues, identifications and other “cute” charms of the investigative routine?