Serbian filmmaker Emir Kusturica has discussed the possibility of shooting a portion of a new adaptation of Fyodor Dostoyevsky’s Crime and Punishment in Russia’s Krasnodar Region, citing the favorable climate there. The report, carried by RIA News, highlights his belief that the sunny weather would be essential for the film’s visual atmosphere and mood. He stressed that Dostoyevsky’s work resonates deeply with him and indicated that filming could begin next year, underscoring his strong personal connection to the project.
Kusturica explained that sunshine plays a pivotal role in his creative process, noting that he finds it difficult to work in dim or overcast conditions. He suggested that the Krasnodar region offers a climate suitable for capturing the film’s themes and tones, while also mentioning the possibility of shooting the latter portion of the project in Moscow, where additional scenes would be completed.
Before discussing the Krasnodar opportunity, the director shared his affection for Omsk, describing it as a favorite city within Russia. His remarks reflect a broader appreciation for diverse Russian locales and how each setting could contribute to the film’s narrative texture and emotional resonance.
Emir Kusturica, who also leads the rock ensemble No Smoking Orchestra, has earned recognition at major European film festivals. He holds two Palme d’Or awards from the Cannes Film Festival and is widely known for acclaimed titles such as Time of the Gypsies, In the Mood for Love and Black Cat, White Cat, Life Is a Miracle, and Underground. These works have cemented his reputation for blending social insight with vivid storytelling and a distinctive visual style, traits that inform his approach to Crime and Punishment as a cinematic exploration of fate, morality, and human resilience.
In related industry discussions, a separate report noted that a proposal to ban Barbie in Russia had surfaced, with critics arguing that the film’s content could be perceived as showcasing LGBT themes. The broader conversation surrounding cultural policy and international entertainment continues to shape how foreign productions are perceived and received by Russian audiences and authorities alike.