Olya (Irina Pegova), a young Russian woman, descends from a car and whispers something to the driver before taking a stroll through the sunny streets of St Petersburg. She’s immediately pounced upon by the puppyish Aloysha (Pavel Barshak) who tries to chat her up. The garrulous pair hit it off, each feeding the other playful and increasingly ridiculous stories to pass the time. Joined by Aloysha’s friend Petya (Yevgeny Tsyganov), Olya begins to play one against the other as they visit monuments, jump traffic, scare tourists, succumb to gypsies, fight, make-up and generally lark around. Tension is extended by mysterious telephone calls that heighten jealousies and do little to explain why Olya is unable, as she claims, to sit down. Yet Olya claims many things.

The Stroll says something about its characters but more about its setting. St Petersburg looks benignly on bright young things as it has for centuries past. The difference is these kids were born to freedoms never before seen in Russian society. Dunya Smirnova's insightful script reveals an aspect of Russian youth that is upbeat and confident. Director Alexi Uchitel turns that energy into a bold film of apparent improvisation. He utilises a studio collective whose innovative and creative spontaneity suggest the kind of film Dogma fans find a treat. Such methods are an acquired taste and one Uchitel acknowledges in a pay-off that puts welcome brakes on the chaos of his characters and his production.

The Stroll may be a slight film, yet it’s a tantalising example of the excitement found in contemporary Russian cinema.

// COLIN FRASER