At the height of the Cold War, a troubled soldier forms a forbidden love triangle with a daring fighter pilot and his female comrade amid the dangerous surroundings of a Soviet Air Force Base.
A sprawling meditation on the choreography of bodies in Moscow's urban landscape, Detours depicts a new way of dealing illicit drugs via the Darknet, the layering of the physical and the virtual realities, as well as a poetics, and politics, of space. Taking place in sleepy neighbourhoods, among the concrete walls of high-rises, behind garages and amidst abandoned railroads, the film alternately follows and loses track of Denis, the treasureman who hides stashes of drugs all over the city.
An avant-garde adaptation of the play by Georg Buchner about the last days of the Dantonists, representatives of the right wing of the Jacobins during the French Revolution. The director freely experiment with form and content, draws parallels with the present day and raises the question point-blank: why does the revolution, like the ancient Greek titan Kronos, always devour its children?
The plot is not developed; in the film we see a man (he) and a woman (she) who, in fact, are neither connected nor familiar with each other; they casually met in hospital. "She" (Viktoria Tolstoganova) does not see that she is in danger in connection with her plan to use a tape with illegally made recordings as compromising evidence in court. "He" (Il'ia Shakunov, an actor of the Petersburg TYuZ) is a gay translator who, after the random meeting with her, is pursued by her image which frequently pops up in front of him. As a consequence, his relationship with a young boy no longer satisfies him. Both he and she lose sight of the meaning of life, because of their own inability to see others and to see love, as perception relies on proximity instead of distance.
