In a conversation with mk.ru, the renowned Russian director reflected on the current state of documentary filmmaking in Russia. He noted that the body of work in this genre seems thinner than it once was, prompting concern about the future of non-fiction cinema in the country. He argued that today’s documentary films carry a distinct weight and urgency, often serving as the most essential material available to viewers and society. Yet, he admitted that the trend he observed did not align with his own viewing habits. He explained that while many people laud feature films, he personally does not watch them as often because audiences frequently raise criticisms. This director emphasized that poetry and documentary filmmaking have become particularly relevant in the present cultural landscape, asserting that these forms matter deeply and resonate with contemporary realities (Source: mk.ru).
He also touched on his own artistic positioning, acknowledging that he did not intend to create a new film within a particular genre or topic. He pointed to his work White Tiger, produced more than a decade ago, as a piece whose themes still echo in today’s events. The director suggested that the resonance of those themes is not incidental; it reflects ongoing social and political dynamics that continue to invite reflection and discourse. By referencing White Tiger, he drew a line between past creative choices and current circumstances, inviting viewers to consider how cinema can illuminate persistent human concerns across time (Source: mk.ru).
On the subject of future projects, he stated that he has no plan to produce a film focused on a special operation in Ukraine. He also remarked that the protracted production timelines for documentary project Cassettes—the hypothetical or symbolic term used to describe long-form coverage—have contributed to a slower output of SVO-related film and television content in Russia. He suggested that after major events, journalism and documentary work are often the immediate forms of cultural response, stepping in to document the changing reality, inform the public, and provoke dialogue. This perspective highlights how documentary filmmakers respond to swift shifts in the world, balancing the urgency of reporting with the depth of analysis that longer-form storytelling allows (Source: mk.ru).
Earlier notes from Anastasia Kostenko about relocating to the United States were referenced in conversations about the wider movement of creative professionals seeking new horizons. The discussion underscores a broader trend of artists and filmmakers navigating global opportunities, changing markets, and evolving audiences. It opens questions about how international experiences might shape documentary storytelling, distribution, and reception as filmmakers consider where their work can most effectively reach engaged viewers, whether at home or abroad (Source: mk.ru).