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Una fría tierra de nadie donde los fracasos del pasado encuentran un futuro imaginado. La gente deambula sin rumbo en este mundo surreal. Viejas certezas no cuentan, amigos y familiares han desaparecido, los ideales han sido esparcidos por el viento. En siete episodios, Alexey German Jr. condensa el estado espiritual de su país en un film simbólico de largas secuencias. Una danza fluidamente coreografiada entre los personajes y la cámara. (Monterrey International Film Festival)

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Othello 

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inglés Alexei German's son worthily follows his father's filmmaking methods, so the scenes are usually chaotic, many words are spoken into the wind, and many of the characters just walk and talk around the mise-en-scene without us knowing at first whether we need to be paying attention to them. This time, however, the form is much more stagy, with the characters mostly moving horizontally and the background acting mostly as a vague theatrical backdrop. But that background is in fact what the whole film is about, even if it pretends to present us with a coherent story. A group of people on the outskirts of society or interest watching the country being rebuilt before their eyes and losing their souls. While in Khrustalyov, My Car! by the older German the leitmotifs were the anonymous passing black cars of the KGB, here they are the ubiquitous Kyrgyz construction workers that no one understands. ()

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