It is a fleeting and moderately bloody scene.

Ilyenko was part of the Ukranian poetic movement and his movies usually involvedfragmented scenes taken out of a linear story and presented with visual poetry and symbolism.

In thescreen version, however, music creates the true texture and ambience of thefilm.

One of them tries to take over the church and lead the people by becominga Christ-like leader, clashing with everyone, including his symbolically diseased friend that wants to continue in the ways of revolution.

Even in thetheatre version it plays a more important role.

PeterShaffer admits that this effect would not be possible in a theatre:

We meet 'Innocence' (a nakedlittle girl), 'Mr Nature', a mad leader of a cult who speaks of the Grand Departure where his flock will depart from this corrupt Earth and be liberated, a bunch of people wearinganimal masks, a girl named Mona Lisa who is getting married in a strange ritual, and so on.

For Salieri, this is similar to the misfortunes that befell Job.

For example, the gender war obviously represents scary behaviour of adults, the unicorn is her romantic fantasy which she chases at first and then nurses, the manis lust and sex, and the old mother is a complex and confusing adult version of herself.

(Source: at the web page of the Boston Museum of Science.)

It's about a 'crew' of insane and violent girls (the narrator explains what a crew means), that go on aviolence and revenge spree to teach misbehaving men a lesson.

Mozart was constantly in financial distress.

The girls are introduced by their kinks, one of them deeply into Christian philosophy and bloody self-flagellation, they wander hereand there, attacking random people in the street and homes.

This ability to create music soeasily is used in a number of scenes.

Someone's dining roomserves as a 'bar' where guys have an endless improvised conversation, a band plays music while the camera goes psychedelic, a guy orders a bodyguard over the phone andsays that he doesn't mind if the bodyguard wears shorts, there's a ninja academy and 'ninja roulette', the last 20 minutes goes all out into confusing psychedelia asif the director was taking more and more drugs, and it ends with some nasty drill torture and a feminist moral.

It was generally recognized at the time that a great man had died.

There's not much of a narrative, the rare dialogue is cryptic, poetic or nonsensical, and instead we get many bizarre and symbolic scenes of an invisibleattacker, Lily drinking milk from a huge glass, panties that keep falling down, breast-feeding the old mother, crying flowers, decapitation of an eagle, etc.

Then Lorl arrives and Constanze starts to quarrel with Leopold.

Warmerdam's movies are often just this side of surreal, featuring black comedy, strange coincidences and behaviour, or even a bit of fantasy and magic.