Yeah

... to the cities.

That's, uh, was, uh, in the, in the, how to say, it was, uh, on this idea, on this premise was based, uh, many Russian comedies, many different films from '20s to '30s to '40s to '50s to '70s to '80s.

While in fact, in Barnet cinema, very often it's the opposites.

It's, uh, uh, it's the movement from, from the center, from the capital somewhere to the outskirts, and that happens in many, many of his films from, again, from, from his early silent films in '20s till the very last one, to, to the Whistle Stop.

And, uh, what does it mean, like, uh, looking for this space of periphery, the space of, uh, the space of outskirts? Maybe it's, uh, attempt to look for some refuge from the huge, uh, historical, how to say, crisis, the hu- huge historical blows.

Because, uh, because of course, uh, the films of Barnet, you can say how much he's really co-filmmaker, but still they, they had to deal with, uh, the reality.

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