Featured in the film are impenetrable black monoliths that gradually reveal their true nature. Stiff and distant at first sight, monuments turn out to be vivid and intriguing as they get cut through by invisible shapes.

Out of black forms appear contrasting blue, purple, green, and yellow layers all of a sudden—they form a dynamic structure, emerging from inside and vanishing from sight again.

Cut with extreme preciseness, internal shapes seem to spread over monuments' surfaces, and through this interference, the sculptures transcend their initial state. On the intersections of internal and external, new forms appear as the objects of the artist's study open to the wave of energy from the outside and transform into disparately intricate forms.

With this newly revealed system of connections and influences, monuments seem to acquire new dimensions and become portals into parallel universes, hypnotizing and full of energy and potential.

The spherical shape does not just conceal an obscure element: it exists in a continuous transformation, as its layers alter their color, dynamically modifying themselves. Spheres hold a special place in Zhestkov's body of work as the most balanced shape and a universal object that represents a shape purified from additional meanings, so its final majestic appearance is far from accidental.