If we analyze the film, it is built on the principle of contrasting worlds: black-and-white for the physical world, and color for the metaphysical world; in other words, color creates a different, timeless reality. It would be quite difficult to resolve this point in any other way, so the director's choice is understandable. Furthermore, the black-and-white tones effectively illustrate Bulgakov's own grimly satirical view of that Soviet reality.

Regarding the actors:
With Woland, there is the matter of the archetype, and then there is the internal conveyance of the image. Since Bortko highlighted the main idea of Woland not as some external, heterochromatic "thingamajig," but as an entity with its own inner world and vivid personal content, he cast Basmavrosili in the role, rather than Gaft, and certainly not Yankovsky—a character actor who created a convincing, grotesquely negative image under Zakharov in "To Kill a Dragon," but who would likely not have been as deep or convincing as Basmavrosili as Woland. Therefore, in my conviction, the director's choice proved correct.

Koroviev, Behemoth, and Azazello were by definition meant to be liked by the viewer, regardless of who played them; it was simply a matter of finding actors who could interestingly embody visually interesting images. But Bortko went further. This trio are also deep personalities, tired of their position just like Woland, and dragging the burden of their "obedience" with their last remaining strength. If you watch the film closely, you can see in all three characters (in Koroviev's eyes, in Behemoth's words, in Azazello's plasticity) a barely concealable longing to strip off their masks and become themselves, which is exactly what happens at the end of the film.

Hella—a charming witch—on the contrary, revels in her "high" position in the service of Woland himself. This is a contrast, and in my opinion, it succeeded.

As for the Master and Margarita—it turned out to be a very authentic drama, in my view, of two creative personalities drawn to each other not even by love, but by the hopelessness of their "cramped" existence. Both saw in the other the possibility of attaining true freedom, and this thirst for freedom carried them through all their sufferings. Note the similarity here with the previous characters; that is why Woland, Koroviev, Behemoth, Azazello, the Master, and Margarita understood and got along with each other so well—a commonality of personal experiences. And as a contrast—Hella, who treats Margarita and her problems with a certain irony and condescension.

Yeshua. Bezrukov is in the full glory of his great talent. A stunning transformation from a "brigadier" into a preacher and the image of Christ. He created, in my opinion, a living Christ—not an iconic or dogmatic one, but the one Bulgakov described. The Christ who evoked sympathy from Woland, who secretly attended the trial scene before the Procurator of Judea. That is why Woland so fervently defends the reality of Christ in his conversation with Berlioz and Bezdomny—because he saw in this man the ideal he had already despaired of finding. And for him, the existence of Christ is an integral part of the universe and its true adornment. This, in my opinion, was brilliantly conveyed by Bortko.

Pilate. Still that same man, tired of life and his position, dreaming only of having no one around him but his beloved dog. A man weak and insignificant, despite all his brilliant combat past and political present. A vivid antipode to Christ. But deserving of forgiveness, because a voice of conscience remained within him. And Woland understands this. Finding kindred spirits in the Master and Margarita, he uses the opportunity to free Pilate and provide him with the chance to explain himself to the benefactor who cured him of a grave illness, yet whom he betrayed—that is, with Christ. And the end of the film is, in a sense, a moment of truth, where everyone receives what they deserve and what they have strove for throughout their entire existence. Well, except for Woland, who remains Woland, finding solace only in the fact that he was able to assist those who were worthy.

This is what I took away from the film. Everything else, in my opinion, is secondary, although there are magnificent and beautiful scenes, and, of course, the music...