Impressions from the tape were greatly divided. Someone considered the painting “Rita’s Last Tale”, a parable of death, a movie-opening, said that it was shot at a high artistic level and that only great masters are not afraid of such a poignant and sensitive subject.$ On the other pole dominated opinions about the “shamanic” share in the film, critics spoke of the alternation of beautiful pictures, which are not collected in any way in the general frame. The constant smoking in the frame was also given special censure.
For example, Maria Bezruk, who is a board member of film critics and film scholars, perceived Renata Litvinova’s painting “The Last Tale of Rita” as a film to watch in a narrow family circle. The critic said that on par with full-length tapes, this work should not be shown, and, even more so, qualify for any awards. Maria Bezruk even allowed herself to call the painting “deepest crap.”
Critic Rita Wamm received Litvinova’s creation softer. She believes that the actress — director has achieved a level where she can just be in the frame and behind the frame and not do anything significant. The film critic suggested that Renata Litvinova sought to create a cinema, after watching which the viewer must come up with what the director wanted to say.
On the other hand, Marina Latysheva was admired by the dialogues and exact life hits in the presented picture. The film critic even had a question, whether Renate Litvinova was afraid to shoot and star in such a movie.
The painting itself is built on the fact that Litvinova’s heroine — Death (a mortuary employee) is closely watched in hospital by Margarita Gauthier (played by actress Olga Kuzina). Active development of the storyline is not observed, the main forces in filming were thrown to create a surreal setting and introduction of strange characters (such as stuffed animals) into the body of the picture.