While Khomeriki's A Tale About Darkness and Serebrennikov's St George's Day are concerned with love as the ultimate event leading to infinity, Litvinova's Goddess: How I Fell in Love explores love as multiplicity. In Badiou's framework love has to do with Two. He privileges the dyad because the rhetoric of Two is uniquely efficacious in that it decentres the self while refuting mediation and mimetic relationships. Badiou decouples love and desire and insists that ‘every sexual unveiling of the body that is not amorous is strictly masturbatory’, since ‘it deals only with the interiority of a position’ (2012: 277). This is a situation predicated on mistaking the other for the (lost) part-object. He asserts that ‘desire is homosexual, regardless of sexuation’, whereas ‘love is principally heterosexual, however gay it may be’. As a result, love becomes a way to investigate ‘the sharing of the universe’ (2012: 277) and to construct a world. In his In Praise of Love (2012), Badiou equates the transcendence of desire with ‘the declaration of love’ because such a declaration invokes the void of the self-disjunction in the address to another person. In fact, Khomeriki's film registers the transfer from Lacan's to Badiou's understanding of love and rupture. This is possible thanks to the figure of Dmitrii who undergoes the transition from masturbatory aggression to the revelation of his wish to share a world with Gelia. This transformation is the ultimate event that evidences the self-presence of the subject whereby Dmitrii's declaration of love is an affirmation of disjunction in relation to a world, which in A Tale About Darkness is marked topologically as a space beyond experience. St George's Day, on the other hand, acknowledges the existence of the subject in a world and constructs the subject through the event – the loss of the child as the moment of the opening of the void. Through the figure of Liubov, subjectivity arises as a way of being in the void, owing to an affective relation which is aimed at the other who, in its turn, is conceived as the multiple. The world appears as an evental site, divided into multiple zones of affect, and functioning as repetition via misapprehension (Andrei's denunciation of Liubov as the beloved other).