In Orpheus (FID 2021), Vadim Kostrov returned, as a young adult, to the city of his youth: Nizhny Tagil, an industrial city in the Urals. A year later, he returns to the same city again, but in a completely different time. Little Vadim, ten years old, wears a schoolbag and a yellow cap. Tall Vadim follows his wanderings from shot to shot, day and night, in the changing light of early autumn. Zooms, superimpositions, velvety DV, variations in focus, Vadim Kostrov works with shapes and colors like a solitary painter. The child guides the filmmaker he has become through the thickness of time. Leaves and steel merge into the same rusty color. If the Soviet tank, a monument to the glory of local industry, is just another game for the schoolboy who rides its cannon, the young and melancholic filmmaker does without commentary to deposit darker and more painful harmonies in the image.