The television series “Real Boys” has a central figure, Anton Bogdanov, who chose not to participate in the later installments of the New Year film franchise known as “Yolki.” His decision came after a period of disappointment with how the project progressed, something he spoke about candidly in a conversation with kp.ru.
In his own words, Bogdanov recalled his return to the Yolki universe as a director for the eighth installment. He directed a short story centered on IT professionals from Perm, and his involvement went beyond mere acting; he had a hand in shaping the narrative. Yet when the film was released as “Yolki-8,” what greeted him did not align with his creative intentions. He explained that edits he did not supervise altered the film in ways that stripped away many of the elements he valued—moments that were magical, poignant, and unmistakably New Year’s in spirit. This experience left him disheartened, as it suggested a version of the work diverged significantly from the material he had envisioned. Hence, when the invitation came for Yolki-9, Bogdanov was firm: either he would shoot and edit the film himself, or he would not participate at all.
Looking ahead, Bogdanov also indicated that Yolki-10, slated for release that winter, would mark the final chapter in the Yolki saga. The decision reflected a sense of closure and timing that he believed was essential to honor the series and its audience. He emphasized that there had to be a decisive end, a moment when the genre’s story could rest with dignity, rather than continuing without a clear sense of purpose.
The film’s development in the autumn brought additional attention. It was announced that Yolki-10 would feature a notable cast, including Philip Kirkorov, a People’s Artist of Russia, along with Regina Todorenko, a well-known television presenter, and Galina Polskikh, another esteemed recipient of the title People’s Artist of the RSFSR. The project’s showrunner, Evgeny Kulik, revealed that production would proceed with careful planning, and one of the moments in the film was shot earlier in the year at the country house belonging to Kirkorov. In a lighthearted touch, Kirkorov himself appeared on screen, inviting viewers into a facet of the star’s private life, while his children and his father, Bedros, were also present for certain scenes. This blend of celebrity cameos and family scenes underscored the film’s aim to wrap up the series with warmth and spectacle alike.
Fans of the series who followed the behind-the-scenes developments wondered why Bogdanov would return for the final season. His reasoning, expressed in later discussions, centered on a desire to preserve the integrity of the Yolki tradition while ensuring that the concluding chapter would resonate with audiences and feel true to the creative parameters he valued. In reflection, Bogdanov suggested that the decision to participate again was tied to a commitment to quality, to storytelling that honored both the characters and the holiday atmosphere the films aimed to capture. His stance offered a window into the delicate balance between artistic control and collaborative filmmaking, a balance that can be hard to maintain in a franchise with a long production history and a broad fan base. He did not shy away from acknowledging the pressures that come with finishing a beloved series, yet he remained steadfast in his belief that the final entry should stand as a fitting finale rather than a hurried continuation.
As the year progressed, observers noted a growing conversation around the Yolki franchise, including questions about creative direction, the dynamics of collaboration in a large ensemble project, and how the series would be remembered in light of these recent developments. The tension between artistic vision and commercial expectations is a common thread in long-running film cycles, and Yolki has become a case study in how a director’s evolving perspective can influence a shared cinematic universe. With Bogdanov’s public decision to set terms for his involvement, and with Yolki-10’s ensemble lineup taking shape, the final act of the saga promised to be both celebratory and reflective, inviting audiences to look back at the holiday adventures that had become a familiar part of contemporary cinema in the region. The film’s eventual release was anticipated as a culmination of years of collaboration, creative risk-taking, and the enduring appeal of a story that aimed to capture the magic of a winter holiday season, even as it faced the inevitability of change and the need for a meaningful conclusion.