Because of what was qualified so pejoratively, I can imagine the skepticism -a priori- of the audience; the theme and treatment of the plot aroused suspicion in myself since before I saw it. But it is an interesting exploration of the terrain of the subconscious -unfortunately still unknown to science- through the story of Misha's sleepwalking and the change in his life as a result of attending Victor Petrovich's office; precisely because of the profound ignorance that still exists regarding the mind, charlatanism becomes blurred in the noir buried in this work regarding Polina's suicide from the 21st floor; the performances look spontaneous (for example the therapy groups in the story, parallel to Misha's case, like Oleg with his fear of rats, or Denis and his drawings of lifeless houses or Yulia regarding her self-repression of violence) ; the treatment of the cold but caring family atmosphere for the son, both by mother Katya and father Yura, is clever and believable. When Victor Petrovich made Misha his assistant and pupil instead of a patient, there is a watershed that will lead to the relationship that the 16-year-old will have with Polina, 21, until her disappearance, and that is when the mystery looms large in the narrative, not allowing the therapist the benefit of the doubt as to whether or not he hypnotized Misha to imagine Polina, or if she actually existed and it was she who, unable to overcome her traumas and death obsessions from the accident in the metyro They forced her to throw herself from the 21st floor.