“At first glance, Possessed hints at a cousin to Basic Instinct, but the final twist shifts the mood. What does the script for this project bring to the table for the audience?
The conversation begins with a candid note: the director was chosen through a provocative decision, and memories of Nirvana from Krasnoyarsk when the subject was twelve surface with vivid clarity. After years of hard work, the script for a new project has reached the post office, and the speaker instantly connected with Anya, the heroine. Ambiguous, intricate roles appeal to her. They offer real artistic growth, fresh challenges, and a renewed zest for life.
The project is openly conceived, featuring several provocative scenes that echo the tropes of sex exploitation cinema. When it comes to choosing roles, is there a clear boundary between intentional provocation and exploiting actors for the sake of a striking frame?
In this case the heroine does not dwell in as many explicit sequences as Lisa, portrayed by Lukerya Ilyashenko. That brings peace to the soul. Frank scenes are not feared; they are embraced. They invite genuine interaction with a partner. The actress respects the honesty of the depiction while acknowledging Anya as a real person and an asset to the script and its themes.
– What has been learned through collaboration with respected colleagues like Lukerya Ilyashenko, Oleg Vasilkov, and Evgeny Kharitonov?
The actress admires Lukerya’s stubborn resolve and straightforward nature, noting that working together was a pleasure. Zhenya is described as extraordinary and unique, while Oleg Vasilkov is seen as lovable, with a fondness for his humor and charisma. The experience of sharing the screen, even in limited scenes, is cherished as a source of inspiration and laughter.
– The project began as a series under the title “Ophiuchus” and expanded to a full-length feature. Does this shift affect the story’s integrity and the evolution of the characters?
The shift to a complete meter is welcomed because serial formats often feel restrictive. Watching the film twice, first at the premiere and then with family, gives a clearer sense of the narrative and character arcs. Fans should not expect a new series by forgetting what happened in the film version.
– A major premiere lies ahead in the drama “Floor” by Boris Akopov. The lead female role portrays a single mother who previously worked as an escort. What are the impressions of this character and the story?
The speaker recalls a desire to explore a Godard-inspired sensibility in cinema, yet notes that the film is not a direct copy of those early works. The satire about contemporary life is a key aim, and the role of Katya—filled with motherhood and resilience—became a personal discovery. The moment when a doll representing a child appeared during production stands out as a vivid symbol of hope and loss, reflecting the emotional journey of the character.
– How do Igor Voloshin and Boris Akopov differ as directors, and what lessons emerged from working with them?
The collaboration with Igor Pavlovich revealed how concise dialogue can carry deeper meaning. The voiceover work offered a chance to adjust tone and mood, enriching the actor’s expressive toolkit. Boris Akopov’s broader worldview reshaped the actress’s approach, helping her discover a new sense of self. Gratitude is expressed for the experience gained on both projects, with pride in the film’s quality regardless of its birth circumstances.
– While still a VGIK student, the actress appeared in “Obsessed” and “Kat.” How did she feel receiving invitations to such high-profile projects? Was there fear of failing to meet expectations?
The first film, “Kat,” brought pure joy but also a strong fear of handling a demanding role as a socialite student. The auditions offered a glimpse into the depth of the acting world, revealing the presence of surprising talent and a chance to grow. The experience fostered confidence and a belief in personal capabilities, even when seasoned performers faced challenges with memorization or delivery.
– The public often compares her look to Angelina Jolie. Does she enjoy these comparisons or seek to avoid them?
Growing up, she encountered countless comparisons to well-known actresses, which eventually built confidence. As a move to Moscow and her studies progressed, influences from French New Wave came into play. Over time, comparisons from different circles shaped how she was perceived. Today, she accepts the varied interpretations as part of an actor’s life, recognizing the body as the primary instrument of performance.
– How does documentary influence shape her work and what does she want to communicate through a documentary lens?
Her favorite moments behind the camera focus on portraying people whose stories remain largely untold, highlighting resilience and humanity within a harsh, powerful world.
– Does a background in the arts help with shooting, and how important is camerawork in a film?
Being a visual thinker, she feels that lens work matters greatly. The camera is not merely a tool; it breathes life into the frame with rhythm, tempo, presence, and tone. The cinematographer’s role is crucial, and the performances in front of the camera also contribute to the overall rhythm.
She mentions loving French New Wave and notes recent domestic projects that impressed her, such as the seasons caught in “Off Season” and the collaborative energy of “Products 24.”
– The industry in Russia faces funding and censorship challenges. Does a sense of stability exist during study or time in the field, and how does censorship influence the craft?
Dialogue about censorship is candid. The belief is that great works can emerge under pressure, a sentiment echoed by Valeria Gait Germanika in a recent interview. The belief in resilience persists, suggesting a bright future despite obstacles.
– Which colleagues’ careers does she admire, and who does she hope to emulate?
The aspiration is to follow the path of dependable talents like Yura Borisov, among others, while continuing to carve out a distinctive presence in her own right.