A fictional protagonist. His character arc explores the conflict between state loyalty and personal conscience within the repressive Stalinist system. He is not based on a real investigator from the 1950s.

A fictional character representing the fear and compromises ordinary citizens faced, particularly those connected to state officials.

A fictional character representing local authority who eventually helps Leo, perhaps suggesting some pragmatism existed outside the central MGB apparatus.

A fictional antagonist embodying the cruelty, paranoia, and careerism fostered within the state security services.

Fictional character representing MGB leadership enforcing state doctrine.

Fictional character representing victims of MGB persecution.

The core plot driver - this specific series of child murders happening in 1953 - is fictional, transposed from the later Chikatilo case (1978-1990) into the Stalinist era by the novelist.

The film accurately depicts the timeframe just before Stalin's death, a period known for intense political repression, paranoia, and the power of the state security (MGB).

The film briefly references Leo's childhood survival during the Holodomor (1932-33), a real man-made famine that caused millions of deaths.

Accurately portrays the pervasive role and brutal methods of the Ministry of State Security (MGB) in suppressing dissent and maintaining state control through fear.

Accurately reflects the Soviet ideological stance that systemic crime, especially serial murder, was a capitalist phenomenon and theoretically impossible in a communist state. This denial did hinder real investigations later on (e.g., Chikatilo).

While the specific case is fictional for 1953, the difficulty of investigating crimes that contradicted state ideology, and interference from security services, was a real phenomenon in the Soviet system.

Effectively conveys the pervasive climate of fear, suspicion, and the danger of dissent characteristic of life under Stalinism.

Demoting and exiling officials or citizens who fell out of favor to remote provincial posts was a common practice in the Soviet system.

The opening scene references the iconic 1945 photo, including the detail about the soldier initially wearing multiple (looted) watches, which caused Stalin to order a restaging/retouching of the photo.

Creates a visually bleak, oppressive, and utilitarian atmosphere consistent with the late Stalinist era, emphasizing state control and scarcity. (Filmed mainly in Czech Republic).

Features imposing Stalinist architecture, communal apartments, and MGB headquarters, contributing to the period feel.

Contrasts Moscow with smaller, perhaps more dilapidated industrial towns, reflecting the diversity of Soviet life while maintaining an atmosphere of state control.

Briefly depicts orphanages reflecting harsh conditions, a reality following war and political turmoil.

Railways feature prominently (linking crime scenes) and are depicted with period-appropriate trains and infrastructure, central to Soviet transportation.

Costumes for civilians appear suitably drab and functional for the era. MGB uniforms and military attire seem appropriate for the early 1950s.

Cars, trucks, telephones, and other technology shown align with what was available in the Soviet Union in the early 1950s.

The film successfully conveys the pervasive sense of state surveillance, lack of privacy, fear of authority, and pressure to conform that characterized the late Stalinist period.