Ruzil Minekaev, the actor who portrayed Marat in The Boy’s Word, spoke with Nadezhda Strelets about a moment on set that left him feeling unsettled. The scene required a kiss with Anna Peresild, and Minekaev recalls that the rapport between the two cast members clicked almost instantly. From the second or third take, a connection formed, and Minekaev admits that he didn’t realize it would be his co-star’s first kiss ons screen. He was candid about the discomfort that can accompany kissing someone you don’t know well, emphasizing that it’s a natural reaction when two performers share a moment that’s both intimate and performative.
Beyond the screen, Minekaev’s personal life began to unfold with a different kind of resonance. He met his future wife, Aziza, in 2015, when she was just turning one year old in the sense of their shared life trajectory and the possibilities ahead. The couple has faced disagreements over the years, as many couples do, but those tensions ultimately contributed to a stronger bond. At a certain point, Minekaev reached a decision that shifted their path: he proposed to Aziza, and the moment carried the weight of years of shared experiences, trust, and a mutual understanding that love often grows through resilience.
There is a lighter, almost humorous thread to their story as Minekaev recounts the time they considered a simple, almost cinematic plan to visit a mosque and read books together. The idea was straightforward and intimate, yet practical realities required witnesses and a more formal setting to bring their plans to fruition. While stopped at a traffic light, Minekaev says, he asked Aziza if she would marry him, a spontaneous moment that became a turning point in their relationship. The exchange reflected their desire for a relationship rooted in shared values and a straightforward, uncomplicated commitment.
As the film’s success brought more attention to Minekaev, Aziza initially felt the spotlight’s glare. The world watching the cast and crew could add pressure, and the couple navigated that attention together. Over time, however, Aziza learned to place less significance on the public gaze, choosing instead to trust her partner and the bond they had built. That trust became a stabilizing force, allowing them to move forward with confidence despite the external attention that comes with a hit project. The dynamic between them illustrates how personal relationships can weather the course of rising fame and changing public perception, maintaining a steady course when the headlines shift.
In subsequent reflections, the discussion circles back to the human side of acting and partnership. Minekaev’s experience underscores how performers balance professional duties with private lives, and how early moments of awkwardness can transform into enduring memories that shape a career and a family. The narrative highlights a blend of professional craft, personal decision-making, and the ordinary, human moments that connect two people in a world that often moves quickly. It also hints at the broader theme of how public success intersects with intimate life, a topic that resonates with viewers who recognize that fame does not erase the simple truth of wanting companionship, trust, and a shared future. This portrait of Minekaev and Aziza offers a nuanced look at resilience, quiet persistence, and the everyday choices that anchor a relationship amid curiosity and attention.
Altogether, the account presents a layered view of a rising film career intertwined with a steady personal life. The couple’s story—marked by early misgivings, a decisive proposal, and a growing equilibrium in the face of public interest—speaks to a universal rhythm: life includes moments of doubt, but shared commitment can turn them into lasting strength. In the end, Minekaev’s candid reflections offer a window into how actors navigate both the demands of their craft and the realities of a relationship built on trust and mutual support.