Young guys from different social strata, some of whom have a criminal past, are called up to the airborne troops. Sergeant Alexey Burov (Alexey Serebryakov) was appointed commander of a platoon of recruits. It is he who instills in inexperienced "sons" the skills of hand-to-hand combat, mutual assistance and army savvy in the ongoing exercises. And now the day of baptism of fire has come. A unit of paratroopers receives an order to help border guards neutralize a large gang of drug traffickers trying to illegally cross the border...

Considering that Musakov’s Abdulladzhan (1991) was dedicated to Steven Spielberg, we might suggest that these four boys embody nothing more complicated than a conflict of youthful innocence with some ominous threat—the basic workings of E.T. (1982) or War of the Worlds (2005), say. That threat, however, is best understood not through vague nationalism or warmed-over socialism, but through the other reference-point of Abdulladzhan—Tarkovskii’s Stalker (1980). Musakov leaves his boys in a simplified radiance so bright and so overexposed that it no longer looks like the skies of sunny Tashkent, but a disturbing, borderless luminosity to match the flat tonal range of Stalker’s “Zone.” Our Uzbek boys are nowhere in particular; this is a broader domain than anything international.

About the formation of Soviet power in Uzbekistan, the fight against the “Kokand Autonomy” and the Basmachi.

For many years the great Emir of Bukhara has not known happiness - he has lost the taste to delightful khalva, and now life is as sour as a lemon for him. The house of poor pot-maker Shir-Mamed, however, is full of happiness - his little son Hodzha Nasreddin has been born. Rumours have spread about his unusual abilities - maybe he will be able to make the Emir happy again?