Actress Nastasya Samburskaya Voices Frustration Over Koroche Festival Lease Certificate Denial
The award-winning actress Nastasya Samburskaya has spoken out after her self-directed film Teresa did not receive the necessary lease certificate from the Koroche film festival. She says the situation cost her and the production team both financial resources and countless hours of hard work spent bringing the project to life. Teresa had earned a spot in the festival’s competition program, and the team had gathered with anticipation and excitement for the event. Yet, just five days before the festival was set to begin, they were informed that the film had not secured a distribution certificate, a setback Samburskaya describes as a heavy blow.
Samburskaya, known for her work on Univer, also expressed concerns about the broader purpose of the festival, noting that its audience is often composed of industry professionals who are searching for fresh directions in cinema. She argued that the event serves as a platform where filmmakers explore new cinematic languages and the evolving landscape of artistic thinking. The actress stressed that for the festival to live up to its reputation, it should support innovative storytelling and facilitate meaningful conversations among creators who push the boundaries of traditional narrative forms.
In her comments, Samburskaya drew attention to another recent film, Kakha 2, which she believes contains a difficult and sensitive scene involving violence against a woman and its subsequent portrayal of the alleged acquittal of the perpetrator. She criticized the festival’s handling of such content, suggesting that the inclusion of certain scenes could spark important discussions about representation, consent, and the impact of on-screen violence. Samburskaya argued that the way a film is licensed and approved for screening has a direct influence on how audiences engage with challenging material and what conversations emerge in festival circles.
The actress made it clear that her critique goes beyond personal disappointment. She emphasized a belief in the power of film festivals to act as laboratories for societal reflection—places where difficult topics are examined with responsibility and nuance. Samburskaya urged festival organizers to provide transparent reasons when a project encounters licensing hurdles, and to offer guidance on the steps needed to secure the necessary approvals. She suggested that a productive path forward would involve clearer communication, fair deadlines, and better support mechanisms for independent filmmakers navigating the often opaque licensing process.
While expressing frustration, Samburskaya remained focused on the broader goals of the festival system. She called for a more inclusive environment that welcomes emerging voices and respects the variety of perspectives that shape contemporary cinema. In her view, when filmmakers feel supported rather than obstructed, the result is a richer, more vibrant cultural conversation that resonates with audiences across regions and languages. The conversation around Teresa and Kakha 2 reflects larger questions about how festivals balance artistic integrity with practical considerations such as licensing, distribution, and audience access.
As the community processes these developments, many observers are noting the importance of consistent, transparent festival policies. The ongoing dialogue highlights a shared interest in sustaining festival ecosystems that empower creators to tell bold stories while safeguarding the ethical and legal frameworks needed to present those stories responsibly. The debate also underscores the vital role of professional platforms in shaping the future of cinema, particularly as filmmakers explore new forms, perspectives, and ways of connecting with viewers around the world.