The director Nikolai Rybnikov described Chekago as a project built largely by newcomers, noting that the idea began as a local film rather than a wide release. He recalled his initial reaction to the script, saying he was immediately drawn to the gangster tale and that its energy reminded him of stories like The Brigade or Boomer, only here the players were very young men from Siberia. He found the script compelling and of high quality, and he kept returning to the sense that the film was made with an artisanal, hands-on spirit.
The production was tightly budgeted, with crews shooting on their knees and inventiveness shaping every scene. It marked a rare development for the region, being among the first feature productions in Khakassia in decades. The shoot logistics required transporting equipment across Russia, and a film studio formed on site. In fact, Chekago helped foster a local cinema ecosystem by enabling ongoing work in the area.
Three central figures anchor the series: a bandit, a policeman, and a rapper who serves as a loan shark, played by Semyon Alyoshin and Eldar Safikanov. While the motives of Alyoshin and Safikanov’s characters are easier to grasp, the bandit role remains distinctly challenging. The director noted that the rugged, selfish nature of the character makes him hard to redeem, which in turn highlights a broader theme about the limits of moral justification. The portrayal invites viewers to consider whether such a person can ever find a meaningful mission beyond self-interest, possibly rooted in childhood experiences or environment. In the film, the protagonist is written as someone who lives by a strict code, and that portrayal reflects a real segment of society the production observed in the country today.
The interview touched on real-life parallels. Rybnikov acknowledged meeting people who live by strict codes, including individuals within artistic circles who carry a disciplined, almost gangster-like presence. He suggested that Russia’s turbulent history—revolutions, wars, repression, and camps—continues to shape attitudes toward crime and punishment. The piece hinted at how these cultural undercurrents contribute to a lingering association between danger and identity.
When asked about the audience’s reception, the director reflected on expectations for a broader release. He admitted that wide distribution was not anticipated, arguing that the film’s handmade quality and its scope would naturally limit reach. Yet he remained hopeful that a new level of cinema could emerge from the region as a result of the project.
Audience interest in gangster narratives remains strong, according to the conversation. Rybnikov shared a personal observation: a middle-aged man watching NTV in a garden from a car, while his wife chose her own programs, demonstrates that series about bandits and special forces still draw large audiences in Russia. This insight underscores a continued demand for crime dramas, even amid evolving tastes.
Behind the character details, certain personal touches stood out. The actor arrival included choosing a wardrobe and a car; for his bandit role, a black Infiniti jeep became a signature item, notorious for breaking down during filming. He also pursued a distinctive look through a turtleneck, inspired by a schoolmate who wore the garment with a leather or denim jacket, all in black. These choices helped shape the rogue’s aura and complemented the character’s moral ambiguity.
The press tour revealed the logistical strain of filming, including the demanding travel schedule for one performer who had to fly between Khakassia and other locations frequently. The production moved through Abakan, Minusinsk, and the resort town of Gladenkaya, with shoots at a giant factory complex in Minusinsk that felt like a city unto itself. The crew also explored quarries and local industry, emphasizing Khakassia as a place rich in textures that could inform the film’s atmosphere.
Local participation was enthusiastic. Many residents appeared as non-professional actors, adding authenticity to the scenes. The director even carried a shaman tambourine as a talisman from Khakassia, describing it as a source of luck. In lighthearted moments, he recalled the rule that such trinkets should be obtained through permission rather than theft.
When discussing the region, the interviewee admitted that the area sparked an interest in exploring similar landscapes with his family. The mountains offered a different mood, possibly influenced by climate and scenery, that drew him in beyond the project itself.
In a poignant moment near the film’s closing, a scene shows a bereaved mother confronted by the consequences of overdose. The actor reflected on the tragedy of drug use among youth and argued that the true way to reduce harm lies in education. He explained that his own child is young, which anchors his perspective on protecting innocence.
The conversation also touched on another project, Woland, in which the actor shared a space with colleagues such as Evgeny Tsyganov and Yulia Snigir. Its premiere, initially planned for January 1, 2023, encountered delays. Rumors indicated that graphics challenges and changes in international collaboration had stalled production, but the cast and crew remained hopeful about its eventual release. In particular, the director Misha Lokshin and producer Ruben Dishdishyan continued pursuing the project, which would mark a major milestone for the lead actor.
Regarding the character Ivan Bezdomny, who is punished by the devil for unbelief, the actor suggested that how closely the film aligns with Bulgakov’s vision is best judged by the audience. He emphasized that the goal was to honor the novel while allowing room for individual interpretation. Looking back on his career, the actor highlighted a few standout performances, notably in Ambivalans and Launch, each cited as memorable and meaningful experiences that reflect his growth as an actor [cite: interview excerpts].