Dva v odnom

Theater within theater in film; film as a link between two dramas, one performed in front of the fourth wall and its sets, the other behind it; two in one, it’s not 1 + 1, but rather 2 + 1 = 3. The first half falls into the classical genre of "theater as an image of the world," where we primarily do not understand the world as theater, but theater as a world in miniature, and thus theatrum mundi folded within itself. It portrays the reality of the Odessa world brilliantly, just like in The Asthenic Syndrome or German's Khrustalyov, My Car!, we see the anarchic, farcical, darkly humorous, bitter, superficial, and profound reality of the bizarre Eastern European reality. The second half offers apparent discontinuity (it also has a different screenplay writer), where the plot is truly different, but at its core lies the continuity of the director (the director as a representative of the film connecting the two screenplays as representatives of the dramatic genre) and the artistic approach: through visible means, especially great cinematography, but mainly through the smooth connection of the two stories that carry the same message - after all, the second half is equally bizarre, absurd, full of burned-out or characters wandering in the meaninglessness of their lives. In short, the combination of two images of a people's society without finality in a film that therefore cannot have its own conventional plot. (31.05.2015)