Nikolay Karabinovych’s latest audacious manifesto film presents itself as nothing less than “the last artwork about the war”

We see one room, one session: a patient lost in his own memory and a therapist whose questions lead far from healing, to an abyss of absurd dialog in the spirit of modernist theater. Gradually, the hero's personal trauma becomes intertwined with the historical trauma of an entire country, and the dream of the end of therapy coincides with the dream of the end of an endless war.

Through a kaleidoscope of images, where “Victory” (Победа) is a Soviet car, an 18th century frigate, a deserted Antarctic station and a vanished village, the film asks the main question: what does it mean to win if war knows no end credits?