Stepan Burnashev, who directs the detective drama Aita, speaks about the film’s festival journey and outlines the broader landscape for Russian cinema on the international stage. In a candid exchange, he explains why the project did not rise to a major international class A festival and notes that screenings for Russian works abroad remain limited. He also discusses ongoing questions about government backing and how the producers ultimately secured private funding, yet the ambition to premiere at top-tier events remained unrealized this time.
The director reveals that discussions circulated around the question of financial support, with festival curators seeking confirmation of government backing. After careful clarification, the film was confirmed as privately financed. Despite this, the final choice did not favor participation at the larger, globally recognized festivals. Burnashev emphasizes that dialogue continues, but at present there is no strong inclination from prominent festivals to program Russian projects. The response, he adds, hinges not on the film’s quality but on a broader reluctance among major organizers to feature Russian cinema at the moment.
For Burnashev, the outcome felt personal. He notes that many who have watched Aita believe it deserves a place on the most prestigious festival stages. Yet the realities of the selection process mean some opportunities slip away. He stays hopeful, explaining that even though the top-tier venues passed this time, there is room to consider smaller class festivals where the film could still connect with receptive audiences. The strategy, he implies, is not to retreat but to pursue opportunities wherever they arise and to keep making the case for the work that went into the project.
Contrasting experiences illuminate a broader pattern: American festivals do not necessarily close doors to Russian cinema. Burnashev points out that the year prior, he participated in two festivals in the United States, underscoring that rejections often originate from high-profile events rather than from all international platforms. An invitation to a language-focused festival in Washington in 2023 is cited as evidence that Russian films can reach select venues abroad, even when major invitations are not extended. His stance remains measured and contextual, highlighting a cycle of interest and restraint that defines cross-border screenings.
Aita, directed by Stepan Burnashev, opened in Russian cinemas on March 30 and has already earned recognition within the domestic circuit. The film received two notable awards at the Zimniy Film Festival, including Best Director and Best Actor, signaling solid merit on the local stage. These accolades reflect the craftsmanship behind the project and reinforce Burnashev’s view that the work resonates with audiences and critics alike, even if the international distribution does not align with early expectations.
The interview underscores a recurring theme in contemporary cinema: the tension between artistic ambition and the realities of festival programming in a shifting geopolitical climate. Burnashev’s reflections offer a nuanced portrait of a filmmaker navigating a complex ecosystem where creative achievement, funding paths, and festival appetite intersect in unpredictable ways. While some doors remain closed, others open gradually, and the director remains engaged with theaters and potential future festival opportunities. The broader takeaway is that persistence, combined with targeted festival strategies, can sustain a film’s momentum even when the path to the most prestigious stages remains uncertain. Aita thus becomes not only a story about a single title but a case study in how modern cinema negotiates visibility amid a changing global audience.