Mikhalkov well knows how to act in a made-to-order movie putting the programmed didacticism inside a drama pattern fully consistent with his own poetics foundations: the relationship between man and "Mother Russia" wide spaces.
The journey of Tempra turns into a descend toward the repressed content of the main character's life; gradually, while the kilometres are rising, the space-time coordinates change into emotional involvement. At the same time the suspense, coming from the "emergency state" where the two Mikhalkov's heroes are forced to act (facing up a delivery amidst the snowy steppe), is worked out with images of great figurative intensity.