Actor Kirill Polukhin, star of the TV series “Frostbitten,” recently opened up about his upbringing in response to questions about the so‑called flashy 90s. His reflection appeared in media circles, including coverage from Television Week, which highlighted his memories and personal perspective on a turbulent decade.
Polukhin explained that he actually grew up during that period. Today, some broadcasts emphasize negativity, yet he believes there were also plenty of positive moments. People were kinder to one another, and the way neighbors treated each other showed more consideration. Still, the era was marked by a clash with lawlessness that shaped many lives. He noted that in those years in the country, facing such upheaval was almost inevitable for many families and individuals, and he spoke candidly about the everyday realities that accompanied those times.
He also acknowledged that several close acquaintances did not survive those years, underscoring the harsh consequences some faced. Polukhin recalled a childhood spent on the street, describing how people lived then. He warned that looking back with nostalgia can obscure hard truths, because what seemed normal at the time would not be acceptable by today’s standards. He recalled limited choices in daily life, such as scarce food variety—three types of sausage and one cheese—along with the peculiarity of quarterly salaries. He linked these conditions to larger, often sensationalized financial schemes of the era, illustrating how ordinary life was framed by economic fragility and social insecurity during the period known for upheaval and rapid change.
When asked about the future, the actor emphasized a forward‑looking mindset. He stated a preference for exploring what lies ahead rather than dwelling on past events. The nostalgia he felt was more about youth and carefree times rather than a desire to relive the past. His sentiment was clear: memories have their place, but they belong to a chapter that has already closed, and he is focused on what comes next for his career and life.
In recent discussions, director Nikita Mikhalkov described certain decades as marked by stupidity rather than wisdom, a provocative stance that echoed broader debates in Russian cinema about how youth and society have been portrayed on screen. Dialogues around the TV series “The Boy’s Word,” which centers on youth gangs, have provoked calls to ban or limit its broadcast. The conversation touches on the responsibility of media to depict youth culture honestly while avoiding glamorization of criminal behavior. The film “Blood on Asphalt” by Zhora Kryzhovnikov further contributes to this ongoing discourse about youth, crime, and social dynamics, inviting audiences to reflect on the complexities of adolescence and the consequences of social neglect or neglectful policy decisions.
Earlier in his career, Sergey Penkin—an honored figure in Russian performing arts—was noted in discussions surrounding these topics, highlighting how figures from the arts intersect with debates on youth representation and cultural memory. Overall, Polukhin’s reflections offer a nuanced view: a life shaped by the contrasts of a rapidly changing society, a cautious optimism for the future, and a recognition that the past, while instructive, is not a blueprint for today’s world.