Contrary to the Russian cinematic tradition, which values literary sources, Merimée is not mentioned in the film’s credits. In his interview, Khvan says that he also objected to using Bizet’s music in the film, because as much as the story is eternal, for his heroes everything is happening for the first time. Khvan adapts the story of love, obsession, and a yearning for freedom to the post-Soviet environment—and post-Soviet values. His femme fatale lacks the passion and allure of both the literary and the operatic prototype; instead she is practical and manipulative. Her appearance, which changes several times throughout the film, is that of a model, not a gypsy varmint.<...>
Source : Elena Prokhorova on www.kinokultura.com