At what moment or in what phase of the image does a city on screen become convincing? What needs to happen for this? Literature, cinema, and painting must exist in such a way that they help the viewer clearly formulate and vividly imagine the image of a particular city. This is precisely how Moscow was depicted by Vladimir Gilyarovsky and Mikhail Pylyaev. Gilyarovsky, the author of the bestseller Moscow and the Muscovites, a reporter and wanderer, was interested not so much in Moscow itself as in its characters. It was them he immortalized. Archaeologist and local historian Mikhail Pylyaev was a meticulous and thoughtful collector. In his book Old Moscow, he lovingly "preserved" the objects and customs of a long-gone city. Comparing their "authorial approaches" makes little sense, as what is needed is a telescopic view of the city. Otherwise, there will be no truth, no history-only mythology. What remains of Gilyarovsky and Pylyaev's Moscow? Film scholar Andrey Shemyakin, the author and host of the program, offers a unique cinematic walk through its traces.