The plot is weird. The heroine was bored with her not so unsettled (with hiking in the philharmonic) life - so much so that the aesthetic of the rusty doors of the chambers with feeders fascinated her, twisted her irrevocably in the whirlpool created by the Sklyar character, infrequently pleasing her with something better than being in the range between a prick and a jerk. This downshifting is recklessly radical so much that it looks incredible, usually women of this class tend to preserve themselves - despite any vicissitudes and feelings.
The film includes moderate naturalistic images of violence and cruelty, conventionally comedic moments and a demonstration of the female attractiveness of modest Inna Churikova. The main character also quoted the pearl of folklore about the dangers of radiation (about wrapping an egg with lead) - with additional explanations required, since the heroine did not understand this issue.
Leaving a feeling of perhaps bewilderment, the film looks like an illustration of the well-known - life, sometimes confirmed - maxim that love is evil. There is no other meaning in this melodrama. How the role in it magnetized Churikova is a mystery.
Organicity in the image of Sklyar, sharp in movements, must, it seems, arrange and understand prison life firsthand.