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took me a minute to see it, but yeah, powerful narrative combinatorics in the crossings hmmm
scope of a movie seems to allow articulation of one crossing; setup your main character deep on one side but in scenario demanding different stage or side. big diagonal crossings seem to be more archetypal; minor crossings within same life stage are more dark comic (coen bros)
main character who doesnt cross but just moves to next stage means other characters in story have to cross to remain sufficiently dramatic - like ratatouille - the rat's maturity grows into next stage, but he doesn't have to "change" (aka cross); inept trash boy has to cross.
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