from its 2022 program, maintaining that the decision was “not a reflection on the views and opinions of the makers of these titles…[but] that it would be inappropriate to proceed as normal with these screenings in the current circumstances.”
The producer, whose credits include Aleksey German Jr.’s Cannes Un Certain Regard player “House Arrest,” said he “respects the position” of European producers who are wary about “toxic” associations with Russian business partners. Yet such triumphs reflect the dizzying highs and lows of Russian cinema in the age of Putin, which were on full display in Cannes: Just days before the awards were handed out, Kirill Serebrennikov was a no-show at the world premiere of his competition title “Petrov’s Flu,” because the provocative and outspoken director was banned from leaving Russia over what he and his supporters say are trumped-up charges.
Russian filmmakers say instances of outright censorship are rare, yet savvy producers are forced to artfully navigate the system, utilizing soft money to finance commercial projects while tapping into private equity for more challenging or controversial fare. The rapid rise of Russian streaming services such as Yandex, KION and More.tv — many backed by giants of the banking, tech and energy sectors — might soon allow producers to sidestep state financing entirely.
Well I guess that’s just something we’ll all have to live with then… 🇺🇦🙏