The second trailer · 61 seconds
It arrives in seven minutes
A film by Shlomo Kashani
Based on the book by Shlomo Kashani
Original music by Shlomo Kashani
A submarine, a launch, a room where people decide while they do not know, and a dawn on which nothing detonates. The lines are the film’s own. Its title opens in Russian and settles into English, and so do most of its captions.
The third trailer · 95 seconds
A what-if over London
A film by Shlomo Kashani
Based on the book by Shlomo Kashani
Original music by Shlomo Kashani
A cloud over London, a missile, a submarine, a room where people decide while they do not know, and a dawn warning. Not one second of it runs forward. The war game is the book’s hypothetical UK–Russia crisis, and the book reports no game as played.
English and Russian
One film, two languages
The film exists in English and in Russian, and all three trailers carry their lines in both languages. The book’s Disclosure explains why.
The book studies a crisis between states. It names the United Kingdom, NATO and Russia, and it follows a hypothetical UK–Russia war game through six decision gates. Its Disclosure sets the rule under which it reads those states.
The book analyses deterrence and coercion in nuclear and hypersonic strategy involving the United Kingdom and NATO in relation to Russia, China, and Iran. It brackets the political legitimacy disputes between these states. Its subject is state policy and military doctrine under crisis pressure. The argument does not judge the peoples of those states or assign them a national character.
Disclosure
A film that keeps that rule cannot speak to one side alone. Seen from London, the Russian cell in the war game is the adversary. The Disclosure records the other view in two sentences.
Seen from Moscow, the United Kingdom and the United States might equally be cast as the adversarial party. No political stance is taken on that question.
Disclosure
So the film gives every move in the game to both cells and states Moscow’s reading of each move beside London’s. It calls both sides cells, not sides of right and wrong. And it says all of this in Russian as well as in English. A Russian viewer hears the same narration and reads the same cards in Russian. All three trailers open on the book’s title in Russian, Сдерживать, а не разоружать, and let it decode into English.
The book applies the same discipline to its sources, and the Disclosure says what that discipline is and what it is not.
I have tried to reduce the limitation by including Russian perspectives wherever the public record allows, drawing on Russia’s official statements of nuclear-deterrence policy in 2020 and 2024, and on Russian-authored books and papers cited directly rather than only through Western summaries.
Disclosure
This use of Russian sources does not endorse Russian state policy or any author’s political position. It is a discipline of reading, intended to keep the analysis calibrated and source-conscious.
Disclosure
The war game itself stays what the book says every scenario is. Nobody plays it out in the book, and nothing detonates.
Scenarios throughout are analytic hypotheticals, offered to illuminate civic and strategic dynamics under shortened warning. Calibration follows public doctrine and open-source capability debates, without claiming operational fidelity. They should not be read as actual plans or official assessments, and they provide no operational recommendations, targeting advice, or advocacy for offensive action.
Disclosure