[Berlinale '24] The film is constructed as a metaphor for the grotesque reality experienced in the South of Ukraine before the war, which avoids the victimized image of a country in which chaos was already present before the war took place invasion. And it finds its best moments in this satirical representation through long shots in which what happens in the background of the scene (the smoke, the military presence...) seems more relevant than what happens in the foreground. Taking satire to a kind of ritual celebration that could be part of "Midsommar" (Ari Aster, 2019) that reflects the fracture of a society in which, however, they still exist, as in Richard Bach's fable "Jonathan Livingston Seagull" (1970) to which direct reference is made, protagonists who remain outside the rules established by the flocks.