Zhenya (Maryana Spivak) and Boris (Aleksey Rozin) are nearing the end of their divorce, and it feels like that moment can’t arrive quickly enough. Their relationship has devolved into a deeply toxic situation, creating significant stress for their son, Alyosha (Matvey Novikov). He's stuck living with them in their small apartment and subjected to their increasingly bitter arguments, often about him and his custody arrangements. It seems they don’t grasp that he can hear everything they say, and it takes them almost two days to notice he’s missing. They check with his friends—a limited number—his school, and search the neighborhood. Eventually, the police get involved and the urgency of the situation escalates. Did he run away simply seeking some affection and attention from his feuding parents, or is there something more troubling at play? It's hard to imagine how this couple ever felt any fondness for each other initially; he’s incredibly self-centered, and she’s rather unpleasant—a reflection of her equally objectionable mother (Natalya Potapova). The film doesn't offer a conventional resolution, but the photography within an abandoned building near the end of part one provides a symbolic view of something that was once useful and even positive now decaying due to neglect and indifference. Part two jumps forward a few years and, without providing definitive answers, offers some suggestions that align with the overall bleakness of this examination of human nature at its most introspective and self-absorbed. The performances from the lead actors are convincing and intense, and the portrayal of negativity is powerful—even when they’re required to cooperate. The title feels appropriate, though perhaps not entirely so.

Source on TMDB