In The Little Fish in Love a city is seen as open, accessible, multiethnic and free to travel around. This depiction of space alters a stereotypic image of a Socialist city that prevailed in the Soviet film making industry – a city centripetal and unexposed to outer impacts. In the film by Karpykov the city becomes exposed to the world turning into the main character itself and stopping to be recognised as a cinematographic stereotype of the image of the Soviet Alma-Ata.