Alexi in the fog Georgian cinema is distinguished by nobility. A subtle taste for things that fill the frame. Old and old utensils are ensembles that please the eye with black and white beauty.
The faces of the actors bear the seal of an ancient family. Their movements are graceful - a legacy of generations of dancing beauties and officers. The trademark gloom of the picture is mourning for the age of innocence (and the Georgian love of black). Hanging cloths of wallpaper, glued with newspaper holes - no one suffers from European repairs (mourning for the golden age).
The author does not seek to hide the dilapidation, despising plebeian tricks. It doesn’t matter that no one is a nobleman here.
Young Alexi, a real botanist, washes in the city on rented apartments. Looking for work and meaning in life. Find the first, but not the second.
The goal of the author is to break down possible romantic lines and obscure the image of Alexi. He's "Alexy Schrödinger." No one, including him, is sure of his reality.
Friends are always waiting for the elusive Alexi and talk about him. Alexi's best friend appears on screen more often (and instead) than our hero. He washes endlessly under Alexi's shower and grows mushrooms in his basement. The longest appearance of Alexi on the screen is in painful unconsciousness.
Beautiful as a Georgian Apollo, Alexi is never kissed in the film.
Young stepmother Alexi in vain calls on his father to return his son, if she suffers secretly - the author is ruthless, Alexi will not return.
The landlady of the apartment Alexi likes to eavesdrop and spy on the bathing guys, but exclusively platonic.
A charming minor, the daughter of the hostess, a symbol of Georgian beauty, reminds of Nina, Griboyedov’s young wife. Dark circles under black eyes, a huge forehead, a small chin, a gentle dark fluff over the lip.
No, she does not fall in love with her mother's lodger, remains a symbol, an eternal object of desire.
The film is full of absurd humor, which does not come immediately. Like the donkey in the film, apparently symbolizing the viewer. Everyone loves a donkey and feeds them grapes.
“Step” is condescending to the viewer: accidentally chews to primitiveness, mortifying, sad and admiring himself.
Outwardly, little happens in the film. It is logical to expect that the inner life of the characters will keep the viewer in suspense. But she doesn't. Relax and just watch frame by frame, it's a whimsical pleasure. Alexi is also an observer. He goes tangential to life. It seems that in the final he finds himself and will fiercely bite into reality. But it just seems, relax.