It's Sasha's idea, of course, the meeker Danny initially seen trailing in her wake, although Hant finds interesting ebbs and flows in the power balance between them, particularly once a gun and a car become involved. What else to do then, but run away from all this tyranny? Sasha, on the other hand, may have staged her own mini bedroom revolution but she's about to be confined to quarters over her latest escapade as her parents threaten her with homeschooling. In Danny's case, it's a gilded one, where he is stifled by his overprotective mother (Janna Pugacheva), who has smothered their apartment in flower print in the same way she drowns him with concern. Home for both teens is less a refuge than a cage. They're interrupted, however, when Sasha's mother (Olga Sakhanova) and policeman stepfather (Konstantin Gatsalov) arrive to cart her off home.
It's in the limbo of a party, when both Sasha (Jenia Vinogradova) and Danny (Igor Ivanov) are sitting with their backs against opposite walls gazing into space that these two souls meet and quickly get down to physical business, sex perhaps offering the fast-track potential of 'adulthood'. Adding to the sense this taking place in the real world - something that operates along very different rules than the personal universe two teenagers will soon create - is an apparent documentary element, used occasionally, through the story, in which people share their thoughts on life directly camera.
Limbo spaces are present from the start, physical places, like walls in between the brutalist blocks, where faded posters and wanted ads flutter or graffiti captures half-finished thoughts, and emotional no-man's lands that have opened up between parents and children at the same time as the yawning gap of adolescence appears between child- and adulthood. Both films, however, have in common the rebellious energy of youth, an unconventional road trip and the disconnect between the different generations. From Russia, with young love, comes this anthem for doomed youth from Aleksandr Hant, which, presumably because he took on writing duties himself this time (with Vladislav Malakhov), has a considerably more serious tone than his blackly comic debut How Viktor "The Garlic" Took Alexey The Stud To The Nursing Home.
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