[6] The film is set in the future, a post-apocalyptic city in a world inhabited by survivors of an intergalactic war that has shifted the planet's poles.

Above the city towers a huge alien ship - it is a stadium, the planet's fate rests in the hands of the willing and capable Cosmoball players who are defending the Earth.

[9][10] The film was the first major Russian project to be released after the limitation of the number of viewers in cinemas due to the outbreak of the coronavirus.

The city is a hub of diversity, resembling an anti-utopian cyberpunk version of Brazil, where representatives of different races and subcultures, strange individuals, exotic animals, and engineering marvels coexist on sun-drenched streets.

Hovering over Moscow is an enormous alien spaceship, which serves as a stadium for the intergalactic sport of Cosmoball, a game that combines football and gladiator-style combat.

Fayziev clarified that, according to the plot, people evolved and became part of a galactic society fighting creatures that look like "super-reactive turboballs", therefore battles with them resemble football, hence the name of the film.

[13] We have been developing this project for about five years, applying a very detailed approach: the script, the characters and their images, locations, costumes, sets and, of course, graphics.

Lead actor Yevgeny Romantsov graduated from the Moscow State Academy of Physical Culture (majoring in theory and methodology of football and hockey).

Russian actress Viktoriya Agalakova (née Glukhikh) studied ballet, acrobatics, and choreography, which proved to be useful when filming dynamic scenes on suspensions.

On an area of over 3,500 square meters built transforming the scenery of the streets and interiors of post-apocalyptic Moscow, with thousands of props created by the artists specifically for the film.

[19][20] For the post-production of visual effects is engaged in the studio Main Road Post, according to the company's general director Arman Yakhin.

One of the biggest challenges of the project was a large number of digital characters (over 50), both completely virtual and recreated using motion capture of actors.

Additional work on creating a unique world of the picture, was done by visual effects specialists from the studio Main Road Post.

The film received mostly low to average ratings from Russian critics, who noted the weak storyline and expressionless dialogues of the characters.

[33] Anton Dolin noted that the film lacks a clearly invented world, the laws, and background of which the authors begin to explain to the audience from the first seconds, but they continue to struggle until the very end.

An interesting plot, since three stories - about Dr. Frankenstein and the monster he spawned, about a naive boy who will eventually grow into a messiah, and about a sports competition - do not fit well with each other.