Yevgeniy Fyodorov

Nikolai Petrovich comes to St. Petersburg to organize a revolution against the oligarchy.

The Solar Children, a group of dwarves who left the circus, are trying to start a settlement in the Kyrgyzstan wilderness just after the breakup of the Soviet Union, but are harassed by a gang of bikers. With their meager savings, they hire a ragtag group of heroes to drive off the bikers.

The film is about the complicated and even paradoxical relationships in the world of academic music. The character of Aleksandr Maslaev represents the Maestro, a kind of modern Mozart, wallowing in corruption, plagiarism, and envy. Once a talented composer, he's totally lost his gift and cynically buys new music from young composers, then plays it under his own name. Yet, the Maestro does not close this chain, for everyone pays his debts...

In the center of the plot is a senior investigator named Masha Shvetsova and her male colleagues. The plot is the most vital, but, like in “Streets of Broken Lanterns,” it is seasoned with a fair amount of humor - otherwise, how can the audience (and the heroes) endure countless morgues, identifications and other “cute” charms of the investigative routine?