
Artem Chagin, one of the countless "conquerors" of Moscow, receives news of the death of his father, who left them with his mother when Artem was still a child. The death of his father does not touch Artem, but wanting to solve material issues by selling the house left by his father, he goes to his small homeland in the city of Sovetsk. There, he unexpectedly meets his father's new family - his wife and six-year-old son, who are backed by a strong Uzbek Diaspora. Trying to solve the problem with the sale of the house, Chagin calls on a local bandit, an old friend of his father, to fight the Diaspora. The conflict is growing like a snowball, turning into a violent confrontation. At the center of all this is Artem, who has lost control of what is happening, and an unhappy widow who just wants to bury her husband.
Directed by Georgy Lyalin, Crossroads leans on a strong ensemble — Roman Evdokimov, Mikhail Khuranov, Nikolay Klyamchuk — to carry a story that balances spectacle with character.
The film landed with audiences for its craft and performances, and remains one of the most talked-about drama titles of 2020.
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The action takes place shortly after the end of the Second World War in the Siberian hinterland, among Russians and Germans with damaged personal stories and a strange transformation: the victors seem to be crawling into the skins of the defeated, and vice versa. Ignat, is the embodiment of the larger-than-life image of the Soviet victorious warrior who, in fact, proves to be shell-shocked, sick and broken, although not completely destroyed. Trains become fetish for the heroes of the film, and speed becomes a mania; they virtually become one with their steam engines, while the machines take on human names. The heroes set up an almost fatal race in the Siberian forest, risking their own lives and those of others.
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