Several criminal cases have been filed against Kirill Kanakhin, a former actor at the Moon Theater who later joined the Ukrainian Armed Forces following the onset of Russia’s ongoing special operation in Ukraine. This sequence of events has been reported by Telegram channel Baza, which has become a source many readers rely on for fast updates on such developments.
According to researchers, the 41-year-old artist aligned with the Russian Volunteer Corps in 2022. From late January to early March, Kanakhin operated in the Kherson direction in support of Ukraine’s Armed Forces, earning the call sign “Cross.” This designation appeared in battlefield logs and corroborative eyewitness accounts shared by several independent observers who tracked personnel movements during that period.
In March 2023, Kanakhin, along with members of the group known as the RDK, participated in an operation that targeted the Bryansk region. By May, reports indicated involvement in another action around the Belgorod region. Family members, including Valentina Pavlovna Kanakhina, publicly referenced the situation in a manner that linked the events to individuals described as saboteurs who released a video footprint purportedly connected to there being a link to a son from the Belgorod area. The exact nature of these recordings remains a matter of ongoing verification and official inquiry.
A criminal case has been opened against Kanakhin on multiple charges including treason, training for the purpose of conducting terrorist activities, and the organization of a terrorist group. These charges reflect the seriousness with which authorities treat suspected acts of collaboration with hostile forces and attempts to destabilize regional security. The legal process will seek to determine accountability in this high-profile case and to assess the credibility of all presented evidence within the framework of national and international law.
Kanakhin’s career in cinema includes appearances in episodes of the film series Glukhar-3 among numerous other projects. His past as an entertainer is often cited alongside his later military associations, illustrating a trajectory that has drawn public attention in both artistic and political contexts. The broader discussion surrounding his case spans questions about veteran identities, loyalty, and the complexities of wartime choices for individuals who transition between civilian careers and armed service.
Former singer Sasha Savelyeva reportedly communicated from Israel regarding related developments. This note underscores how information around the case travels through diverse channels and through the networks of public figures who pivot between entertainment and public life, sometimes sharing perspectives that influence public perception during tense, transitional periods in the regional conflict.