There are no people. Such an original phenomenon of the youth movement as blatant goot, a social phenomenon of the post-Soviet space, the topic is quite topical and, at the moment, has already been sufficiently studied, modern cinema does not leave alone, on domestic television screens the guest is unreasonably frequent and, as a rule, completely optional. The debut film of the novice Latvian director, apparently extremely concerned with the process of marginalization in the republics of the former USSR, was not a revelation, without skill and, most likely, relying only on stereotypes existing in relation to the lower strata of society, who recreated the criminal situation of dysfunctional areas of a typical province.
Not yet fully formed as a person who has lingered at the crossroads of life, young and unemployed Yang understands the insignificance of his current situation, is ready to change for the better, but under the influence of the realities of street existence continues to doubt the choice of his own strategy for overcoming the urgent spiritual crisis, is forced to change social masks, for a lonely and infirm grandfather maintaining faith in a loving grandson, surrounded by morally limited friends, in order not to lose previously earned authority and favor, humbly follow the legal code of the social bottom, increasingly clearly feeling the pressure of internal contradictions.
Pushing Yana down the ladder leading to universal ideals and ethical norms, noting the indifference and lack of recognition from others, the neglectful attitude of the upper social class to the lumpen proletarian, motivated and, oddly enough, natural for all representatives of the civilized world, the director finds the reasons for moral regression in the negative influence of cruel reality, however, this fact cannot serve as a full justification for the criminal activity of the hero, since the character himself does not make attempts to escape from the marginal environment, floats with the flow, expecting that salvation from below will not calmly accept his fate.
Realism in the depiction of “working everyday” yard gopot does not at all contribute to the performance of the film its aesthetic function, on the contrary, one can only guess what kind of viewer this uncomplicated film is designed for, because the contingent of urban dwellers, which is directly in question, is hardly able to rethink the system of values recognized by him, the rest simply have nothing to bear for themselves, except for even more detailed information about the way of life of the poor cattle, the efforts of the director presented by a set of tragic fates, who in fact independently chose the life guidelines of people guilty of all their troubles.