The article explores the “hollow character|” concept. The hollowcharacter is manifested as a subject whose inner space does not exist. They areincapable of reflection or self-reflection. This character is essentially imperviousto external reality. They do not relate themselves either to society or to history.Their temporal construction is poor. With no past or future, they live a momentof the present, sharply reacting to any touch. The article shows that introducinghollow characters into a movie plot correlates with neo-sentimentalism incontemporary art.It is through the emotion of pity, especially self-pity, that the viewer isconnected to the emotional system of films with a “hollow character”.The lack of a certain substance and freedom from guilt guarantee theabsence of the distinction between the viewer and the character.The «hollow character» has neither inner or outer reality. The spatial form ofthe film is reduced to the interaction of the characters, which are empty shellscapable of feeling pain and suffering from friction against external reality andwhen in contact with each other. Therefore, the border of the character with theoutside world acquires special significance. This border is their body.The article provides a sequential, spatial and temporal analysis of the films“Going Vertical” (2017, dir. Anton Megerdichev), “Dylda” (2019, dir. KantemiraBalagova), “Odessa” (2019, dir. Valeria Todorovsky), “The Man Who SurprisedEveryone ”(2018, dir. Natasha Merkulova and Alexey Chupova).The proximity of these films to the aesthetics of neo-sentimentalism isshown. Their stories unfold as a drama of pure physicality. The approach ofanother character promises not only warmth, but also the horror of a completemerger, bringing death. A “hollow character” eliminates the difference betweenpolysemantism and nonsense. This is their seductive role: emptiness may seemmeaningful.