Lyudmila Buldakova’s associate Eduard Gladky spoke about a difficult turn in the widow’s financial life, stating that she had lost her real estate inheritance in Moscow. The remarks were cited by Channel Five, lending weight to the claim that the family’s assets shifted away from Lyudmila at a time when she would have expected stability. Gladky emphasized the gravity of the situation by noting that Lyudmila Andreevna currently has no property, not even a single flat, house, or piece of land, painting a stark picture of her current housing circumstances.
According to Gladky, the widow’s formal ownership rights terminated in December 2022. This finding was gleaned by his nephew, who encountered difficulties when attempting to pursue subsidies that might have helped the family during the transition. For reasons that remain unclear to Lyudmila, the artist’s real estate appears to have been transferred to another person, a change that has left the widow with questions and little to show for her late husband’s holdings.
Earlier reports confirmed that Alexey Buldakov had passed away in 2019 due to acute heart failure, an event that intensified the complexity of the estate. In the aftermath, Lyudmila inherited several assets: an apartment, two houses, a car, and land in Moscow. Records indicate she sold one of the plots and leased the other, a pattern that reflects prudent management of a diverse property portfolio during a challenging period. The shift from ownership to disposition underscores the practical choices faced by heirs when managing inherited real estate.
In a separate public moment at the start of October, Alexey Panin shared a photograph from a Russian set featuring his colleague Alexey Buldakov. Panin’s caption reflected a candid, almost irreverent tone about the film projects they work on, remarking that he stood beside his “Uncle Lesha Buldakov” on a set described as ordinary yet financially rewarding. He joked about the abundance of nonsensical projects in his filmography, taking a light jab at the industry while acknowledging the value of enduring works like the historical project “Soldiers.”
Earlier reporting also mentioned a broader narrative about the performer Lada Dance, noting that she developed a phobia following a prior accident. This thread, while tangential to Lyudmila’s situation, situates the broader circle of artists near Moscow who have navigated public scrutiny, personal hardship, and professional volatility. The interplay of these personal stories helps illustrate how life events intersect with asset ownership, public perception, and career resilience across the artistic community.