The appearance of a budding and potential boy resonates with Anna's relationship with her own son, Jonas. The boy who wants to have a dog and plays hockey, rather than scrape on a fiddle according to his mother's unfulfilled ambitions, has not even entered the explosive teenage years yet. However, despite his mother's rejection, the boy is jealous of her new student and arranges villainies for him which ends tragically. Jonas is already showing an unbalanced and aggressive attitude towards the world: we are also shown how he ruins an anthill. Where is the line between childish jealousy and curiosity? – after all, the same child saves river fish that are caught by kebab makers in the local park and asks if it hurts a cow when it is slaughtered.
Each act of Anna leads to a deterioration of relationships with her family, colleagues and the student, and precisely because Anna does not even realize that her actions are harmful to others. In addition, she is plagued by self-doubt – she stopped playing due to an unnamed injury, and the incident at the concert further undermines her confidence in professional competence. Hysteria, nervousness and signs of obsessive-compulsive disorder, add the final touches to this portrait and the story with a fatal ending, which turns out to be enchantingly discouraging. Anna looks lovingly at her son playing the violin in the music class, which gives the impression that she is now satisfied with her child. Rhyming this with what happened to Alexander because of Jonas, there is nothing else to do but hate the hypocritical woman.
Without an outstanding acting, such audience involvement would not have been possible. Debutants Ilya Monti and Serafin Mishiev – Alexander and Jonas, respectively – don't look less convincing against the background of experienced Nina Hoss, familiar to Russian viewers from such TV series as Homeland (2011-2020)
and The White Massai (2005)
, and Jens Albinus from the films of Lars von Trier and Simon Abkarian.