The article explores an idea of symmetry that organizes composition structure of a Vladimir Sorokin film script 4 and an Ilya Khrzhanovsky movie 4 based on this script. A few basic oppositions revealed which are concerned with the idea of symmetry and determine the dynamics of the Sorokin text. The film script actualizes an inversion of this idea and demonstrates hazardous backgrounds of the play with alternatives and profound unpredictability and illogicality of the world where Sorokin’s characters live in.