The Beautician and the Beast

The film opens with an animated sequence in which a prince awakens a princess with a kiss, but she rejects his romantic advances and runs away. The moment sets a fairy tale tone before the story shifts to modern political drama. This contrast foreshadows the clash between romance and power that drives the plot.

Joy Miller is a beautician who teaches at a New York City beauty school. A student accidentally starts a fire by igniting hair spray with a cigarette, forcing Joy to shepherd her class and several caged animals to safety. The incident earns Joy a hero's reputation when the New York Post praises her.

Ira Grushinsky, a diplomat from Slovetzia, mistakes Joy for a science teacher after seeing a newspaper photo. He hires her to tutor the four Pochenko children, though Joy thinks the job is about hairstyling. She accepts the offer despite never having heard of Slovetzia.

Joy travels to Slovetzia to begin her tutoring duties. Ira is surprised to discover Joy's true identity as a beautician rather than a science teacher. Joy convinces him to keep her real identity a secret, forming the first alliance in her new world.

Joy forms a rapport with Katrina, Karl, Masha, and Yuri, helping them gain confidence and see life beyond Slovetzia. She uses her practical wisdom to teach them about resilience and self-worth. She also learns about Katrina's relationship with Alek and encourages Karl to pursue his artistic dreams.

Joy's independence and direct style clash with Boris Pochenko, who resents being challenged and fears losing control of his family and country. The friction underscores the tension between reform and authority in Slovetzia. Despite the disagreements, Joy's influence begins to grow within the family.

Joy and Katrina visit a nightclub that doubles as a base for the rebellion. Prime Minister Leonid Kleist follows them and has Alek arrested, deepening the political danger surrounding the youth movement. The crackdown exposes the regime's brutal reach and the rebels' precarise position.

Boris confesses to Joy that he wants to shed his reputation as a beast among Western nations. Joy encourages him to open up to his citizens and to embrace a less fearsome image. In a symbolic gesture, she shaves his mustache to mark the change.

Joy visits a factory and realizes that Slovetzia lacks trade unions. She urges the workers to strike, advocating for better conditions and a new political reality. Her actions mobilize ordinary citizens and fuel the rebellion.

Joy arranges a secret meeting between Katrina and Alek in his cell, bridging the youth leadership with the outside world. The clandestine exchanges keep the rebellion alive despite surveillance. Joy's covert diplomacy cements her role in the resistance.

Joy oversees preparations for a summit with visiting emissaries. During the event, she reveals her true identity to Boris, who remains unfazed by her credentials and thanks her for bringing happiness to his life. The moment marks a turning point in their personal and political relationship.

During the summit party, Leonid confronts Joy about her role in Katrina's secret meetings and threatens to arrest her for treason. The confrontation exposes the regime's paranoia and the danger Joy faces because of her influence. The tension sets the stage for a political upheaval.

Following Boris's decision to keep Alek imprisoned, Joy quits and returns to New York City. Meanwhile, Leonid begins quietly taking over administrative duties, signaling a shift in control away from Boris. The regime's stability erodes as the power struggle intensifies.

Weeks pass as Leonid consolidates power, signing death sentences in Boris's name. Ira informs Boris that Leonid is attempting a full takeover, prompting a countermeasure. Boris responds by stripping Leonid of duties and ordering his arrest for treason.

Boris reunites with Joy in New York City and tells her that Alek has been freed and free elections will be held in Slovetzia. The reunion culminates with a kiss as Boris admits his feelings for Joy. The film closes on a note of political and personal renewal.