The series, like a stage play, is divided into three acts, with a three-year period between each of them and tells a story that will shatter viewers' perceptions of the actors' lifestyle and offer a glimpse into their reality with all their fears, desires, and goals. It will become clear how those whom everyone is used to consider carefree live and work when the stage lights go off. And how actors, more so than any other professionals, can hit rock bottom despite being on their peak the day before.
The young family did not stay in this status for long: Vitya and Ilona notice only flaws in each other, constantly swear and, in the end, get divorced. From their once happy family, only an apartment bought with a mortgage remained, which is difficult to sell due to redevelopment. In fact, the frivolous Vitya and Ilona did not have time to really study each other: they got married almost immediately after they met and then got an ill-fated apartment, and now they don’t know what to do. There is an apartment, there are no feelings ... it seems that the main intrigue is only what will happen first: the sale of a problem apartment, or the former spouses will finally finish each other within four walls.
Spring of 1921. NEP (New Economic Policy) initiation rapidly changes Petrograd which was lifeless after wars and revolution. Marches and hymns are mixed with foxtrot and chanson. Well-dressed people appear on river quays, as well as thugs who are ready to rob them of money. So the chaos starts and it is invincible for police: shops are robed five times per day. Then the criminal world of Petrograd headed by Uncle Kolya comes to defend NEPmen and starts to run a protection racket on them. But not all the NEPmen are ready to pay for these services what makes Uncle Kolya to send his combat groups to these people. The most famous and productive of these groups is the Rodya’s gang. Rodya is former anarchist, sharp thug, fancy pants and ladykiller.
Director Mitya escapes from the set of the next television series. In this he is helped by the ghost of Marcello Mastroianni. The decision to escape launches a chain of events with the participation of Mitya's family and friends, which can only be unraveled by the answer to the question of what kind of director he wants to be: great, talented, or just normal.
Director Mitya escapes from the set of the next television series. In this he is helped by the ghost of Marcello Mastroianni. The decision to escape launches a chain of events with the participation of Mitya's family and friends, which can only be unraveled by the answer to the question of what kind of director he wants to be: great, talented, or just normal.