A moth on a bomb (2024)

Oleg Stepanov's film captures its characters on the border between reality and a detached awareness of this reality, in an attempt to establish the usual verbal contact, to find points of contiguity and connection. But language quickly reaches its limit. The space is permeated with closeness and we feel how a barely perceptible breath seeps through the silence, then suddenly we seem to endlessly fall down not being able to grasp at least something stable and safe. The true manifests itself somewhere between words, beyond images, it increasingly pulses with the irreversibility of the encounter with inevitable.