«Contact» - Series Review by Kinoafisha

Usually, when the description of the second season of a TV series starts with the words "long-awaited continuation of a sensational story," the author is accused of commercialism, or, for those who are more knowledgeable, it is understood that the publication has entered into a partnership agreement with the project producers and is now using cliches. But what can you do if the second season of the series "Contact" is truly a long-awaited continuation?

Two years ago, the dysfunctional Barnashov family welcomed viewers into their home at a critical moment when rebellious Yulia decided to make some money to become independent from her despotic and caring father, and ended up getting involved in a criminal showdown. And our father is a cop, albeit a juvenile one, named Pavel Maikov. In short, it did not turn out well for everyone. And since the first season ended in maximum turmoil - Yulia is almost secretly sent to her mother in Germany because her father Gleb is being blackmailed by a very unpleasant person because of her - it was clear that there would be a continuation. And the story is just gaining momentum.

The first episode of the second season, however, takes a small leap in time. Only three weeks have passed. And Yulia has already managed to stir up trouble again and change her hairstyle to a very expressive (for film critics) manner: she... secretly returned to Moscow, and Barnashov finds out about it by a completely wild coincidence. And when he starts interfering in his daughter's affairs - quite justifiably considering the situation - expect trouble for everyone.

Traditionally, the second season of this tense, dark, and dynamic series emphasizes drama. When viewers already know and love the characters, they can be given a chance to further develop. But the pace set by director Evgeny Stychkin is not diminished by his successor, Nurbek Egen. Pavel Maikov, while dealing with the problems he considers his daughter's, zips through Moscow on an electric scooter at maximum speed, with the band "Kino" playing in the background, showcasing the advantages of this mode of transportation even over the famous Moscow metro. This transitional episode is crucial for understanding the character of Gleb and how the plot will unfold. Because this stern man, who calls himself a "dinosaur", demonstrates agility and flexibility in mastering what is considered "youthful gadgets" when he needs to. Because in reality, he is not the patriarch of his family, just a guy in an adult cloak who explodes whenever something doesn't go according to his plan. And the scene of cleaning up the apartment reinforces this impression. Along with that, it will make everyone who tuned in to "watch something intense" smile.

"Contact-2" brings all the characters together again, for the purpose of untangling themselves from each other, realizing that they are complete individuals, showing themselves to the viewers, and finally establishing a connection with the world around them and with each other. This includes Regina, played by Ravshana Kurkova, who is divorcing Maxim Vityorgan and is not interested in taking her relationship with Barnashov beyond the hotel room. Not yet, at least. She is a woman who broadcasts to the world that she knows what she wants, and her spirited audacity matches her beauty. This also includes Lyuta, with her openly criminal affairs, which she carries out for a good cause. It is she who is subject to a piercing monologue from an old lady, whom she uses for her own purposes. This will introduce one of the underlying themes of the season - the concept of friendship in a world where it has somehow become normal to build relationships based on the principle of "you scratch my back, I scratch yours." It also includes Barnashov's father, played by Yuri Kuznetsov, who is inexplicably associated with the name Anatoly. This character symbolizes rock bottom, despair, and the cause of the main character's childhood traumas, and at 69 years old, he suddenly finds himself at his son's doorstep. Unable to say it directly, his gesture acknowledges that he needs to be needed. And preferably, by his own son.

But the main change, of course, concerns Yulia. You can't help but say about Irina Pautova, the actress playing the role, how quickly the child actors grow up. A debutante in the first season, in the second season, she already clearly feels confident next to the perpetually grumpy Maikov, and alongside the trendy modern girls (that's what Ira herself said) Alexey Lukin, who in the second season acquired a cool motorcycle and doesn't take off his stylish expensive gear. Yulia feels more confident in expressing her emotions, which are explosive and boisterous, just like her father. She is unashamed to show them to those around her. But now, alongside irritation and disdain, genuine melancholy and a sense of her own uselessness have been added. Those doubts and reflections that envelop a person when they are left alone. And let's not forget: Yulia is only at the beginning of her adult life journey. So, what is an epiphany for an adult like Barnashov is a blow to the head for Barnashova. And Pautova, a girl from a well-to-do family, portrays this confusion so convincingly that one can't help but feel uncomfortable and ashamed of their own behavior.

However, "Contact" does not try to become your personal therapist. It simply tells an engaging story, in which the detective/criminal element is just as captivating as the interpersonal relationships. Perhaps that's why the series has many fans among the male audience? (Confirmed in the author's household.) And the increased screen time for the "home hacker," played by Alexey Agronovich, adds elements of comedy that everyone can relate to, to this gritty story. And one would like his presence in future episodes to be just as non-nominal.

In the end, the second season captivates no more or less, but just as much as the first. It is difficult to watch, but impossible to tear oneself away from. And it seems that it is precisely in this remarkable balance that one of the secrets of the project's success lies.