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The Irony of Fate: Continuation (2007)
Thirty years have passed since Zhenya and Nadya met—they broke up, and Nadya moved to Leningrad. The friends still go to the bathhouse, and now they are joined by Konstantin, Zhenya's son. Uncle Pasha and Uncle Sasha persuade Kostya to arrange a New Year's miracle for his father and send him to St. Petersburg. Nadya's daughter lives at that very address, and on the same day, her fiancé, Irakli, is planning to propose to her.
Thirty years have passed since Zhenya and Nadya met—they broke up, and Nadya moved to Leningrad. The friends still go to the bathhouse, and now they are joined by Konstantin, Zhenya's son. Uncle Pasha and Uncle Sasha persuade Kostya to arrange a New Year's miracle for his father and send him to St. Petersburg. Nadya's daughter lives at that very address, and on the same day, her fiancé, Irakli, is planning to propose to her.
The film's primary focus on apolitical themes of romantic love, fate, and the continuation of a cultural legacy from its predecessor positions it as neutral, consciously avoiding explicit promotion of any specific ideological viewpoint.
The film features traditional casting consistent with its Russian cultural context and the original classic. Its narrative is a romantic comedy focused on themes of fate and family, without any explicit critique of traditional identities or central DEI themes.
The film 'The Irony of Fate 2' does not feature any identifiable LGBTQ+ characters or themes. Its narrative is exclusively centered on heterosexual romantic relationships and family dynamics, offering no portrayal, positive or negative, of queer identity.
The film "The Irony of Fate. The Sequel" does not feature any identifiable transsexual characters or themes within its narrative. The plot focuses on romantic comedy elements and family dynamics without engaging with transgender identity.
The movie does not contain any action or adventure elements.
The film is a direct sequel featuring the original characters played by the same actors, maintaining their established genders. New characters introduced are children of the original protagonists, not gender-swapped versions of existing or legacy roles.
This film is a sequel to a 1976 Soviet film. The returning legacy characters are portrayed by the same actors, maintaining their original race. New characters introduced in this installment do not constitute race swaps as their race was not previously established.
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