Anna Kozlova is a famous prose writer whose work is dynamic, provocative and even scandalous. In 2017, her novel received the prestigious National Bestseller Literary Award. And the film does not hesitate to have sex, obscene language, outright aggression. But it is perceived very harmoniously, not as speculative techniques, but as a kind of background, an atmosphere of contrast.
This is the debut work of Alexei Smirnov, son of Andrei Smirnov.
The first series is somewhat delayed, it is rather an introductory act. A kind of presentation of the characters in their familiar luxury setting. It seems that this is another film from the “rich too cry” cycle if it were not for the play of talented artists.
And the composition, indeed, star! For an attentive viewer, intrigue does not begin at all in the final of the series, when the son of the main characters disappears, but in the stage settings, replicas, views, “trifles”, which escape from superficial perception. The unhurriedness of the first series is a kind of claim that the series is not for a quick look, it is informative, multi-layered, deep.
A short description of the series: the main character Vera (Maria Mironova) is married to businessman Andrey (Anatoly Bely). Andrei is helped by Sister Vera’s Anna (Eugene Brik) to do business. Corruption schemes, risks, prosecution - not a complete list of plot triggers. Vera has her own crisis center for rich ladies, psychotherapy of fictional problems. And this artificiality, illusiveness, is imperceptibly becoming the main idea of the film.
Too dynamic development of the plot, the events create a sense of surreality, ridicule. But heroes are very natural, maybe because our reality is the grotesque?
The film is interesting and compositional. With the integrity of the plot, a strange sense of independence of the scenes arises.
In one of the interviews, Maria Mironova said that she doesn’t like time running, in modern cinema she is interested in a long frame to see the eyes of a person and understand why we are here. In the film there are many opportunities to “see the eyes of a person”, many questions “why”. Lined-up assumptions “what if” - as a way to reach a long-forgotten soul. And cowardice when trying to look inside itself, the fear of detecting the degree of nightmare. Why, if you can be content with the "ideal life"?
The heroine Mironova is a bit “out of this world,” a sort of parallel with Prince Myshkin, living in luxury. The atmosphere of dirt for contrast, to emphasize the "foolishness." But “holy foolishness” is not a synonym for purity here, but as a way to escape into its “clean” illusion. The series does not disappoint the final, although it is quite predictable.