Two well-known performers, actor Danila Kozlovsky and actress Ksenia Rappoport, recently vanished from the credited lineup of the new film The Flying Ship, according to the online cinema service KinoPoisk. The omission drew attention across fan communities and industry discussions as viewers and journalists alike searched for reasons behind the altered credits.
On KinoPoisk’s Telegram channel, it was explained that Kozlovsky appears in the role of Grandmother Five Hedgehogs, portrayed with extensive prosthetic makeup, while Rappoport is seen in the part of a gypsy character whose face is concealed behind a mask. The specifics of how their performances contribute to the film’s narrative were initially unclear to the public, prompting questions about casting decisions and credit placement.
The film’s producer, Rock Studio, has refrained from detailing why the two actors were not listed in the film’s official credits. This silence has fueled speculation about backstage considerations, contractual arrangements, or last-minute changes in the post-production process. Industry observers note that credit decisions can be influenced by a range of factors, including scheduling realities, creative revisions, or adjustments to the promotional strategy for the film’s release.
Ilya Uchitel’s project titled The Flying Ship is scheduled to reach Russian cinemas on March 21. The production has drawn attention not only for its casting dynamics but also for the lengthy filming period. Principal photography reportedly extended beyond four years, a timeline that reflects the studio’s commitment to crafting a visually distinctive interpretation of the classic tale of Sailor Ivan and Princess Zabava. The production’s timeline is particularly relevant as it intersects with broader cultural and political developments in the region, shaping audience expectations and media coverage ahead of the premiere.
Earlier statements from producers indicated that changes were made in response to public reactions to Russia’s ongoing operations in Ukraine, and these decisions included replacing three actors who had publicly criticized the operation. The adjustments led to a delay in the film’s premiere, with the originally planned March 7 release date moved to the later March window. This sequence underlines how external events can impact film release calendars, even for projects with long production arcs and international ambitions.
In related discourse, another figure, Baretsky, had previously commented on potential casting options, mentioning hypothetical roles and relationships within the story’s setting. Such remarks illustrate how backstage conversations sometimes surface in public discussions, contributing to a broader narrative around adaptation and interpretation of the source material. The Flying Ship’s journey from script to screen thus appears to be marked by both creative ambition and strategic navigation of contemporary sensitivities, culminating in a release that may encounter heightened scrutiny from audiences and critics alike.