Aleksey Ryazantsev, head of Karoprokat, outlined a potential path for releasing foreign films without the consent of departing majors. The discussion touched on parallel distribution in the market as a way to keep film availability steady amid disruptions.
He described a model that does not equate to piracy but leverages parallel distribution to channel revenues through a legally structured mechanism. In his view, funds from major releases could be accumulated in a dedicated account and disbursed in rubles. He suggested that distribution could occur legally without direct consent from the studios, if the arrangements were properly formalized, according to a source familiar with the matter.
The goal, according to Ryazantsev, is to prevent the emergence of gray cinemas and curb piracy by offering an authorized alternative. He argued that parallel imports are not prohibited under current regulations, but practical hurdles have hindered their execution. The approach, he claimed, would lower taxes for participants and ensure royalties for display, all within an official framework and with the aim of sustaining global cinema markets.
Film critics on a Telegram channel discussing film criticism raised questions about the legal and technical feasibility of such a scheme. They noted that it is unclear which copies would be shown under a system of parallel distribution and highlighted potential challenges related to licensing, rights management, and the specific formats required for exhibition.
Questions were raised about how a hypothetical scenario would work in practice, including who would provide the keys to unlock digital cinema packages and how those keys would be managed for different venues and sessions. The debate underscored the technical complexities of distributing cinema files and ensuring high quality in every theater.
Experts stressed that obtaining a high quality copy of a given title could be problematic if studios do not participate, potentially compromising viewer experience and compliance with theatrical norms. The conversation also touched on current screening rules and how any new practice would align with established regulations for digital distribution and exhibition quality.
Meanwhile a new division named AVK PRO was formed by the Cinema Owners Association to manage distribution and promotion of films. The organization described AVK PRO as a channel to move content swiftly and directly to AVK theater screens, assisting producers and rights holders in bringing material to audiences efficiently.
Key leadership would come from a senior executive involved in market analytics, who noted that AVK PRO would help cinemas expand the repertoire during tight periods while ensuring revenue flows remain favorable to venues. The move was framed as part of broader efforts to stabilize the industry during a difficult period and to support sustainable exhibition economics.
There were warnings from the association about the risk to the industry if government support and foreign screenings do not recover. Forecasts cited potential losses for the sector and the broader economy, with officials announcing measures to support domestic film production and exhibition during peak seasons. Efforts were described to allocate grants to leading cinema chains that contribute a major share of distribution for policy and promotional purposes, along with wider support for film companies and emerging creators.
AVK condemned illegal screenings in theaters, emphasizing that such practices were driven by industry panic and gaps in state support. The association urged the professional community to work together to keep the film business within the legal framework, arguing that illegal showings would drag the industry back to earlier, less regulated times.
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Beyond parallel distribution, efforts to diversify the industry include alternative dubbing in Russia. A studio emerged to unite voice actors and other professionals who are currently without work, including directors, sound engineers, and translators. The group expressed pride in preserving the voices of beloved characters and continuing their work from home when needed.
The studio has released its own dubbing for a popular Marvel series and announced a fundraising drive to support dubbing for a major fantasy title. The project involves artists who previously contributed to official dubbing of related works and aims to expand access to localized content.
Despite crowdfunding, the studio noted that revenues from future releases would be essential to cover costs. Sponsors were described as being integral to sustaining ongoing projects.
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Industry analysts underscored a challenging market for video services, with forecasts suggesting a substantial contraction by year’s end. Revenue from service platforms was expected to fall significantly, with online advertising also shrinking. A slower, more positive scenario would depend on renewed cooperation with foreign partners and a quicker stabilization of market conditions, potentially restoring revenue to earlier levels over time.