The theme of pandemic in arts (pestilence, plague, viruses) has always been quite relevant. Almost each generation that faced the similar catastrophes left rather detailed descriptions of such catastrophes in literary works. For instance: “The Iliad” (pestilence), “The Decameron” by G. Boccaccio (plague), “The Canterbury Tales” by J. Chaucer (plague), “A Journal of the Plague Year” by D. Defoe, “The Plague” by A. Camus,“Pale Horse, Pale Rider” by K. A. Porter (Spanish flu) and numerous modern variations, like “I am the Doorway by S. King (virus), “The Eyes of Darkness” by D. Koontz (virus), “Doomsday Book” by C. Willis (plague), “Blindness” by J. Saramago (virus), “The History of Pride” by L. Zoja (epidemic), “Snow Crash” by N. Stephenson (virus), “The Year of the Flood” by M. Atwood (epidemic), “Station Eleven” by J. Mandel (pandemic), etc. It is essential that literature does not only actively responds to global social issues like pandemic, but quite frequently predicts them. No wonder that cinema also lays particular emphasis on this theme, turning at first to the prior literary texts (film adaptations: The “Decameron” by P. Pasolini (1971), “The Andromeda Strain” by R. Wise (1971), “Death in Venice” by L. Visconti (1971), “The Plague” by L. Puenzo (1992), “The Painted Veil” by J. Karen (2006)), and later releasing its own creative versions: “Shivers” by D. Cronenberg (1975), “Epidemic” by L. Trier (1987), “Twelve Monkeys” by T. Gilliam (1995), “28 Days Later” by D. Boyle ” (2002), “Pontypool” by B. McDonald (2008), “Carriers” by D. and A. Pastor (2009), “Contagion” by S. Soderbergh (2011).