The release of the film Işık marks a notable moment for the lead actor, who has received wide acclaim from critics. The question of audience reception is a natural one, and the performer offers thoughtful expectations for viewers across generations.
“I hope the film resonates deeply with audiences of all ages,” the star says. Those who grew up in the last years of the Soviet Union and are now around forty will find elements that echo their parents’ youth—stories of love, separation, friendship, disappointment, and the paths chosen along the way. For parents, the film also serves as a mirror—an opportunity to reflect on their own lives, to feel nostalgia for their youth, and to reconsider present circumstances.
— When asked about reading the script for Işık and stepping into the character Tatiana, the actor notes the project’s strength. “This is exceptional material, and it is a very personal story for the writer and director, Anton Kolomeets. The sense of the mother’s inner world, central to the heroine, left a strong impression.”
He was struck by the director’s curious engagement with his mother’s life experiences, which formed the basis for the principal character. The process of inhabiting the role was demanding but grounded in trust in the director’s vision and a desire to explore the outcome of his working method. Much of the shoot took place in Murmansk during winter, and Anton sometimes expressed genuine distress when things did not go as planned. The actor recalls being ready to endure the piercing cold to support the director, and notes that the entire cast and crew shared that commitment.
— In terms of the film’s storyline, is the tale simple or complex? The actor believes Russian audiences respond to stories told with sincerity, talent, and compassion for people, regardless of whether the material is simple or intricate. The heart of the matter lies in narrative honesty and emotional truth rather than the surface complexity of the plot.
Part of the film unfolds during the USSR era. Would the actor be interested in returning to the screen as someone who began their career in those years? “The choice of material is driven not by the period but by the proposed character. If something memorable appears, I would agree to participate.”
— The film also foregrounds the work of social workers. What are the actor’s thoughts on this profession after filming, and how accurately does the portrayal reflect reality? “The director’s mother is a social worker, so the depiction leans toward realism. There is, of course, another approach—each person is different. Yet Anton aimed to show people in this field who dedicate themselves to their wards, form bonds in short periods, and face the pain of illness and death. Light exists in people; it may be bright or dim, and the film explores that nuance.”
— The actor has appeared in various genres, from detective stories to drama and fantasy. Which roles stand out as particularly compelling? “A role is accepted when it truly interests me and fills a gap inside. Acting is unpredictable—its essence can emerge from the set’s atmosphere, the conversations during breaks, the locations, and even the process of festival appearances. Fantasy and modern fairy tales introduced new color palettes, sensor costumes, and other techniques. After adapting to these elements, the sense of freedom grows.”
In a previous interview about Cheburashka, the actor mentioned a dream of portraying a villain, a dream that hadn’t materialized because the character of the Old Woman Shapoklyak lacked sufficient malice. Which famous villain would the actor like to play? “There is a rule about not naming the dream role outright. It feels like a personal sign to keep some ideas quietly to myself. Past collaborations, such as Todorovsky and memorable roles on Sovremennik, show how life’s choices can evolve. While openness to creative experiments remains, practical factors often narrow opportunities.”
— Following cinema news, which films or TV series impressed him most in the previous year? “With a busy schedule, keeping up with new releases is tough. Projects are discussed, yet time to watch them is scarce. There is a constant pull between work and family, books, and theater, leaving little room to focus on new screen offerings. The mind doesn’t latch onto any single standout title, given the heavy pace and travel that mark the year.”
— The subject of fantastical transformations—ranging from a stylish Shapoklyak to Baba Yaga in heavy makeup—poses a real physical challenge. How easy is it to alter appearance for these roles? “Baba Yaga demanded hours of makeup, a specific gait, and a harsh environment in mountains and forests. It was a tough, purely physical test, requiring layers of warmth and apparatus. In contrast, the Shapoklyak transformation for Cheburashka was about achieving a certain beauty and presence, which also tested discipline and control. In both cases, keeping the character’s essence while meeting the look’s demands was essential.”
— The actor also leads a stage production at Sovremennik adapted from the Maugham novel Theater. How close is the onstage character to his own sensibilities? “In my experience, the professional memory fuels the craft. While life can wound on occasion, the memory of emotions becomes a resource for the roles. The relationship with the character is not about matching every line but about maintaining a truthful thread through performance.”
— What, in his view, is the main purpose of modern theater? Why doesn’t cinema replace it, and why does contemporary audiences still seek live theater? “Theater exists in the here and now, a direct exchange of energy between actors and the audience. The details of a performance—mistakes, improvisations, and the live atmosphere—cannot be replicated on film. Cinema emphasizes technical skill and spectacle, with longer formats and more time to explore characters and plots. Attending a theater show remains a special event, a reason to dress up, to step out, to see artists perform live, especially in cities where there are not permanent theaters or frequent tours.”