Fifty-year-old Pavel Shabanov, sometimes referred to in media as the Commissioner or by the nickname Free Letter, entered into a romance with a much younger partner, Polina Domanova, who was twenty-one at the time. Their relationship drew attention after Polina spoke about their bond in an interview with a colleague from the theater and cinema world, painting a picture of two people who found each other amid a busy career and public scrutiny. An incident involving a woman was mentioned in passing in the same conversations, though the details remained unclear and unconfirmed in public reports. The narrative around their connection underscores the tension that often accompanies high-profile relationships in creative communities, where professional and personal lives frequently intersect in a single, scrutinized spotlight.
The two had a professional history together on the production of the film The Train Goes East. Polina auditioned for a role, impressed the casting team, and was cast to appear in the project as a supporting character. Within this context, the pair began to develop a private dynamic away from the cameras and the studio lights. Those who worked with the duo noted that their relationship remained hidden from much of the cast for a time, a detail that many found touching and humanizing in the midst of a demanding, visibility-heavy environment. Polina herself recalled observing her older partner with a blend of admiration and curiosity, describing how his approach to work and life stood out to her as both protective and inspiring as their collaboration grew into something deeper outside the set.
In recounting their dynamic, Polina emphasized that Shabanov has a talent for quickly absorbing new interests and integrating into fresh social circles. She described him as someone who seems to spark instant interest among colleagues and friends, a trait that makes him both approachable and magnetically attractive. According to her, he is straightforward and comfortable in his own skin, qualities that also give him a certain seductive charm. The combination, she noted, is highly engaging and adds a layer of excitement to their relationship, especially given the demanding pace of their professional lives and the constant public attention that accompanies their work in the arts. This sense of spontaneity—paired with a steady sense of reliability—appears to be a defining feature of the partnership as described by Polina.
Ivan Shabanov had a prior marriage to Olga Pavlovets that lasted about a decade. The couple ultimately separated after ten years together, yet they share a son, Makar, who remains a presence in their extended family dynamic. The history of this family, marked by professional achievement and personal shifts, offers a window into how long-term relationships within the film and theater worlds adapt to evolving career demands, shifting social circles, and the inexorable pressures of public life. Observers note that the narratives surrounding Shabanov and Domanova reflect not only their interpersonal chemistry but also the broader realities faced by couples who navigate fame, creative collaborations, and the expectations of audiences who follow their work with keen interest.