Serbian director Emir Kusturica opened up about a bold creative plan during a meeting with Vladimir Putin, revealing a vision for a Russia-centered trilogy in the new world. The remarks, reported by RIA News, outline a project that spans literary adaptations and cinematic experimentation.
The filmmaker explained an intention to bring Fyodor Dostoyevsky into a more contemporary frame with his first feature, The Engineer of Easy Walks. He described a modern lens on classic literature, aiming to connect timeless themes with today’s audience and sensibilities. Following this, Kusturica spoke of a forthcoming comedy based on Nikolai Gogol, titled How Ivan Ivanovich Got Angry at Ivan Nikiforovich. He believes this work would be a significant undertaking at this moment in cinema, balancing humor with social observation. The segment would be complemented by a Tolstoyan element, specifically Tolstoy’s Cossacks, forming a trio that intertwines Russian literary heritage with the director’s distinctive approach to storytelling.
In addition to these projects, Kusturica mentioned plans to complete Evgeniy Vodolazkin’s Laurel, signaling a broader literary engagement beyond the initial trilogy. He indicated that reaching a conclusion on that book might mark a milestone in his career. During the dialogue, Putin reportedly underscored that the time to discuss retirement from cinema had not arrived and suggested that there was ample room for meaningful work ahead for the director. The Russian leader also affirmed that Kusturica has clear merits that deserve recognition.
Toward the end of March, Kusturica touched on the possibility of acquiring a Russian passport, noting a strong personal affection for Russia. He expressed that his love for the country makes him feel Russian in spirit, even if formal documentation remains incomplete. This admission reflected a broader sense of belonging that has colored his public statements in recent years.
Earlier reporting highlighted that the star of Adventures in Electronics faced potential pressure from security services in the past, illustrating the broader political and security context surrounding his career. These experiences have, at times, intersected with his international profile, shaping how audiences view his artistic output and the discussions around his projects across borders.