Гра наодинці
Оригінальна назва: Гра наодинці · англ.: Play Alone
Cold-wave життя, fashion-кадри, самотність, мрії і страх — виживають лише безнадійні.

«Життя у стилі cold-wave, fashion, самотність, мрії, страх. Виживуть тільки безнадійні.» Українське незалежне кіно: психологічна драма в розмовно-кулуарному стилі. У ролях: Альона Волошина-Мозгова, Ріта Девіанська, Дмитрій Бурма. Звукорежисер Валерій Бескорсий; режисер Саша Поберайло; музика Asylum Party — Old Dreams Are Not Innocent. Повна версія на YouTube (~28 хв), субтитри російською та французькою.
Факти
- 2016
- 28 хв (28 хв)
- Короткий метр · Психологічна драма
- Психологічна драма, Короткий метр, Українське кіно, Артгаус, Модна естетика
- Українська, Російська
- Ukraine
- Sasha Poberailo
Теми
Cold-wave solitude
Emotional temperature stays cool and nocturnal even in daylight: isolation as style and as condition. The film treats loneliness less as a problem to solve than as the climate characters move through.
Fashion as armour and stage
Looks, lipstick, and glamour framing are not decoration only — they are how characters perform for each other and for the camera. Style becomes a second language when speech stalls.
Dreams against dread
The tagline pairs мрії and страх: hope and fear share the same breath. Survival is claimed for the “hopeless” — those already outside success scripts — rather than for optimists.
Conversational / corridor drama
Form is “розмовно-кулуарний”: scenes feel like asides, thresholds, and private talk rather than public acts. Psychology lives in pauses, glances, and proximity more than in exposition.
Intimacy between women (and the third presence)
Release keywords and cast stress a triangle of two women and a man: desire, rivalry, and alliance under a fashion-and-mood lens. The “play” of the title is social as much as romantic — who gets to set the rules of the room.
Персонажі
Eva
Addressed in dialogue as Eva. Fashion/hippie surface, new-city talk, model-photo dreams (China), and a night of walking persuasion. She claims an explosive is planted behind the club and tries to keep Zhenya from the concert — half protection, half performance of existing in the world. Whether the bomb plot is real, fantasy, or joke is left unstable; her need to be believed is not.
Zhenya
Addressed as Zhenya (Женя). Plans to go to the concert, push back on Eva’s explosion story, and start “a new life” in the city. Skeptical, tired of invented plots and adventure-novel talk; still stays in the conversation long enough for the film’s game of trust, fashion, and solitude to play out. “Only the hopeless survive” hangs over both of them.
The friend (unnamed on screen)
Eva’s male ally in the alleged bomb plan — spoken about more than named in dialogue (“this guy,” the one who helped place the charge). Third point of the triangle: pressure, doubt, and the possible body behind Eva’s story. Cast credit: Dmitry Burma.
- Sasha Poberailo
- Sasha Poberailo
- Sasha Poberailo
- Sasha Poberailo
- Sasha Poberailo
- Valery Beskorsy
- Asylum Party — Old Dreams Are Not Innocent
- Alyona Voloshyna-Mozgova
- Rita Devianska
- Dmitry Burma
Ukrainian cinema · short film · art-house · cold-wave · fashion · solitude · psychological drama · independent film · Гра наодинці
Карта сцен · 4

Fashion / beauty close-ups
Lips, hair, clothes, framed bodies — the film’s advertising-adjacent grammar that also codes status and seduction.

Private talk / threshold spaces
Corridor- and room-scale dialogue between Eva and Zhenya: confessions and sparring without large locations, true to the “кулуарний” mode.

Concert threat
Eva’s claim of an explosion at the club versus Zhenya’s refusal to believe — the central verbal game of the short.

Cold-wave atmosphere
Music and pacing (incl. Asylum Party) lock a late-80s/dark-wave aftertaste onto contemporary faces and rooms.
Ukrainian Wrestling Reality
Духмяність



