Binka Zhelyaskova films her revolutionary characters in love. She captures their emotions in close-ups using a shallow depth to field. She also metaphorizes their struggles by following closely the struggle of a young girl in a wheelchair equipped to take pictures. This last image is a mise-en-abyme. It is obvious. In fineHow the director shares with Tarkovski A fan of experimental video devices, she uses the lens to fight. We still remember a stunning scene: She films her young heroes discussing love (and especially impossible love), in a forest whose trees echo the bars of a prison.