The screening of the Moscow art group Blue Soup opens with the earliest video work Mute (1998). This experiment with a video frame adjusts the viewer to a noir atmosphere and an anticipation of a cinematic story. Events and spaces in the following works created after 2004 are fully simulated in 3D. The basis of the representation of the elements (“Untitled” (2009), “The Rock” (2011)), landscapes (“Blizzard” (2009)) and interiors (“Cascade” (2016), “Way out” (2004–2005)) is a mathematical algorithm that determines their digital impeccability. But despite the genealogical proximity of these environments to the universes of computer games, they do not assume any interactive participation. They are quiescent as if they were waiting for the beginning of the action scene while the character is in other part of the “map”, and involve the viewer in contemplating. In this continuance, a misgiving, a sense of threat from the surreal world passes through the flatness of the screen into physical space.