Director Sarik Andreasyan did not share the stance of Nikita Kologrivoy, who argued that connections matter more in cinema than talent or education. Those remarks, cited by HABER.ru, touched off a broader conversation about what truly fuels a film industry’s rise.
Andreasyan affirmed a belief in merit, noting that a talent’s journey can overcome early obstacles. He highlighted the path of a Novosibirsk native who moved to Moscow, pursued formal education, and spent years climbing the industry ladder. The director argued that Shukshin remains a national figure whose appeal is rooted in authentic resonance with viewers. He suggested that many feel a kinship with the character of Shukshin, and that this kinship explains why audiences connect with his work in everyday life in neighboring communities.
In addition, the creator of Onegin touched on the so called cancellation of Russian stars after a recent high visibility event featuring a popular blogger. Andreasyan emphasized the need to separate artistic work from personal life and urged readers to consider context when evaluating such moments.
He pointed to the televised party as an example of how appearances can shape perceptions, noting that it was broadcast in a way that seemed to normalize provocative behavior. He expressed disappointment with the spectacle and questioned the value of performances perceived as inappropriate for broad audiences, especially on channels watched by multiple generations. His remarks were strong and reflective of a broader debate about standards, celebrity culture, and the boundaries between private life and public duty.
On March 7, Andreasyan released Onegin, a film adaptation of Alexander Pushkin’s famous novel Eugene Onegin, which drew attention for its casting choices and its interpretation of a classic tale. Viktor Dobronravov and Elizaveta Moryak led the principal roles, while the project was discussed widely in film circles and among audiences who value literary adaptations.
Additional comments in the public discourse came from Badoeva, who praised a colleague, noting that this person had stepped into a high-profile role in place of another figure who has been subject to political designation. The remarks contributed to a broader conversation about media, performance, and the evolving landscape of Russian television and cinema.