Like Hitchcock’s films, inner excitement and inexplicable anxiety are conveyed to the viewer by carefully selected techniques: the oppressive dark background of huge, human-sized canvases, clocks stopped at zero, a naked landscape more reminiscent of the moon, or a cross, either church or grave. All this creates a feeling of ringing silence and complete loneliness. And what could be worse for such a social being as a human being? Rotar chose children and teenagers as the main characters of his apocalyptic plot, whose pale, slender bodies with ominously empty eyes sometimes appear timidly, and sometimes in unconscious glee against the background of darkness. Designed to represent the future, childhood in Leonid Rotar’s works takes on the color of the inevitable end of civilization, when the world, abandoned by adults, left no support for further existence. The "end of the world" crosses the boundaries of not so much physical as moral destruction, after which there remains only a feeling of emptiness and hopelessness.