periphery, and pelikhina was already a really famous director of photography, she worked with mark donskoy, one of the classics of soviet cinema, here she became a real co-author of khutsyev, because they were constantly thinking, how could they film moscow in such a way, so that moscow would become not just a place of action, but... a fourth friend, whom they threw out of the really fourth friend, the script, so that moscow would be filled with this spring, summer, in fact , the seasons change there, but always with some very fresh air, from the beginning to the end, there were shots that they shot at night, they had to shoot during the day so that the lighting was like night and pelikhina succeeded superbly, it was necessary to film people in a crowd, how to film people in a crowd with equipment, far from a cell phone, yes, how do you place your characters in a real crowd, so that it would be like a documentary filming, and then margarita pilikhina cut out in a sports bag hole for the lens, put a small camera with a small short-focus lens there, yes, next to her was an assistant who was