[1][2][3] The return to documentary filmmaking for the director was an act of service to the state, creating counterarguments for the perspective.
[4] The film was funded by one of world's biggest media, The New Yorker, which holds the copyright both in Ukraine, and on the international market.
[7] Among other stories, he learned about sculptors who create anti-tank obstacles in their workshop according to all the requirements of the Armed Forces of Ukraine.
Then, on the recommendation of Daria Bassel (DocuDays UA) he filled out the application form, as it turned out later, for a competition from one of the most popular world publications, The New Yorker, in support of the Ukrainian project.
The total number was 39, located in the workshop at the same time, like the Terracotta Army, the model of which was a starting point for the director.