It received generally positive reviews from critics, and was nominated for Best Horror Film and Best Actress (for Marina Zudina) at the 22nd Saturn Awards.

Billy Hughes, a special effects make-up artist who is mute, is in Moscow working on a low-budget slasher film directed by Andy Clarke, the boyfriend of her elder sister, Karen.

Police arrive and question Lyosha, but come to the conclusion that Billy witnessed an elaborate special effects sequence being shot when they are unable to find a body.

Arkadi, the man whom Billy witnessed stab the actress, demonstrates the effects using a fake knife that streams blood, frightening Andy when he pretends to attack him with it.

After police dismiss the incident and send Billy home, a night watchman at the studio finds the actress's corpse burning in a basement incinerator before being stabbed to death by Arkadi.

Meanwhile, a detective, Aleksander Larsen, begins looking into Billy's claim, believing there to be some truth to it, as rumors have circulated about an international crime ring making and selling snuff films in Moscow.

Larsen quickly escorts Billy away, and explains that the crime ring have targeted her, believing she is in possession of a computer disc containing confidential information.

Two of the Reaper's thugs posing as policemen arrive at the scene, and they shoot and kill Lyosha before questioning Karen and Andy about the computer disc.

Larsen makes plans to meet Billy the following day, and brings with him one of the studio's corrupt security guards, whom he has bound and gagged.

Anthony Waller had a chance encounter with the actor in Hamburg in 1985, when the two were working on a television commercial, and asked him if he was interested in doing a one-scene cameo.

[5] Variety gave the film a mostly positive review, remarking that while the movie can be "entirely plot-driven, neglecting to develop intriguing characterizations", its "suspense is so chilling, its narrative so disciplined and its style so pleasurable, they jointly triumph over the other deficiencies.

"[6] The review from the New Yorker was more mixed and they wrote that the director's "technique is impressive; the film falls flat only when he attempts to make the frightening funny.