The fantasy adventure Finist led the Russian weekend box office for a second straight run, according to Kinobusiness data for January 16 to 19. The First Bogatyr pulled in 151.9 million rubles and centers on the bravest hero of Belogorye, a legendary figure whose courage shapes the narrative and the season’s conversations about fantasy cinema. This strong showing underlines the persistent appetite among domestic audiences for large-scale, heroic storytelling that pairs spectacle with character arcs. Analysts note that the performance illustrates how viewers in Russia respond to epic journeys and mythic figures, while studios look to translate that appeal to North American markets through streams and international releases. Kinobusiness’s snapshot from the January weekend confirms Finist as a clear leader, highlighting a market that embraces bold fantasies alongside family-friendly adventures.
In second place was the Russian feature The Wizard of the Emerald City: The Yellow Brick Road, with 133.8 million rubles in receipts. The film follows Ellie as she teams with the Scarecrow, the Tin Man, and the Cowardly Lion on a quest to find a Wizard who can grant their wishes. This title adds to a growing trend of homegrown Oz-inspired narratives that resonate with diverse audiences, combining familiar icons with fresh storytelling twists. The film’s appeal lies in its blend of nostalgia and modern production values, appealing to families and fans who appreciate bright visuals, catchy music, and adventurous pacing. Observers note that such adaptations help sustain interest in classic myths while offering new entry points for younger viewers and international spectators alike.
Third place went to a new American erotic thriller in which Nicole Kidman’s character engages with a much younger intern. The film grossed 76.8 million rubles, a figure that places it among the more provocative options on offer and sparks conversation about contemporary cinema’s willingness to push boundaries. A review on socialbites.ca framed the release as a modern echo of a celebrated era, suggesting that twenty-five years after Eyes Wide Shut, Kidman still negotiates power dynamics and desire with daring performances. The overall reception points to a market that welcomes bold, boundary-pushing storytelling, even when some viewers question the pacing or tone in places. The discussion around the film reflects broader debates about adult-oriented narratives in mainstream cinema and their appeal to Russian audiences.
Earlier, Yuru Borisova earned a nomination and was awarded the main British film prize for Anora, marking a notable moment in the awards season and signaling the cross-border nature of contemporary cinema where talent and recognition span continents.