[1][2] It was Kaufman's response to the film "Man with a Movie Camera", proving that it is possible without the help of intertitles to express certain ideas differently than Vertov.

[4] At the same time, as noted by Nikolai Ushakov, author of the book "Three Cinematographers", Kaufman sometimes had to take on the role of a tamer: to get closer to a bird which is filmed and to get its trust, he "accustomed it to a movie camera".

Young women wheel open strollers through the streets, children ride bicycles, and adults drive automobiles.

The final section of the film includes footage of people marching with flags at a demonstration, sport competitions, and a football match at a crowded stadium.

[7] One critic wrote that "Kaufman's snail is as beautiful as Greta Garbo and the ants battling for the cocoon is perceived as a tragedy.

[1] In his last interview published in the journal "New World", Mikhail Kaufman said that during the work he also wanted to show a destructive force and "biology of spring", and the change in the consciousness that comes along with the melting snow.

To the director it was important to "avoid head-on proselytism": the spectator observing together with the author the short-term transformation of everything living has to feel the symbolism of individual shots and sequences by himself.

Kaufman combined "gustatory, olfactory and auditory sensations" of nature when demonstrating the "lyricism of spring": flowers in his film directly before the eyes fill with vitality and chestnuts "communicate" with each other.

At some point the viewer changes from the passive observer to an active participant of the on-screen action: in particular during the scene where water splashes charge from the screen - under the wheels of the car - right into the cinema hall.