The Russian film There and Again, directed by Oleg Asadulin and produced by the Salt film company, earned the top prize in the Spiritual Cinema section at the 22nd International Film Festival in Dhaka, Bangladesh. This achievement was reported by TASS and highlighted as a notable moment in the festival’s program. The win places There and Again among a distinguished lineup of works showcased to international audiences during the event, underscoring Russia’s active presence in Dhaka cinema circles.
Anna Shalashina, the film’s producer, explained that the award was accepted on behalf of Russia because none of the film’s writers were in attendance at the festival. She noted that the Dhaka program was exceptionally rich, presenting more than 250 films from various countries. The festival offered a broad array of cinematic voices, creating an atmosphere ripe for cross-cultural exchange and discussion about cinema as a spiritual and humanist art form. Shalashina’s statements emphasized the collaborative nature of film production and the importance of recognizing national contributions even when key creators cannot be present in person.
Russia’s delegation at the festival included 15 films in total, reflecting a strong national presence across multiple categories. Among these, Rabies directed by Dmitry Dyachenko and Light by Anton Kolomeets were highlighted as examples of contemporary Russian cinema competing on an international stage. The inclusion of these titles illustrated the diversity of Russia’s storytelling approaches, from provocative thrillers to intimate dramas that explore personal and social thresholds.
In the festival’s Asian Cinema section, the Chinese film The Matter of Life received recognition, while the Iranian feature Junk and Dolls earned acclaim in the Female Directors category. These awards demonstrate the festival’s broad regional spectrum and its commitment to spotlightting new voices and distinct cinematic perspectives from across Asia and the wider world. The results contribute to a richer understanding of how different national cinemas approach universal themes such as identity, resilience, and moral choice.
Separately, it was announced that Ilya Stewart, previously connected with Kirill Serebrennikov, reported that the biopic Limonov, The Ballad of Eddie is moving toward a premiere in 2024, with strong expectations for a debut at a major European festival. The project continues to attract attention for its ambitious storytelling and biographical depth, signaling ongoing collaboration and anticipation within the international film community. The dialogue around this film reflects ongoing interest in how contemporary directors reinterpret literary and historical figures for modern audiences, while balancing artistic vision with audience accessibility.
Earlier, online discussions also touched on the premiere of a new series called Black Bear. The series explores the personal and professional crises faced by individuals in creative industries, offering a candid look at the pressures and challenges that accompany artistic work. Audiences responded to the series with a mix of curiosity and empathy, recognizing in the characters the familiar tensions that accompany creative life. The reception underscored how contemporary television and cinema can illuminate the vulnerabilities and resilience of artists navigating a demanding cultural landscape. It also highlighted the appetite for narratives that blend authentic character study with broader social commentary, inviting viewers to reflect on the costs and rewards of creative pursuits. The Dhaka festival, along with ongoing online conversations, helped amplify these themes, inviting viewers to consider how art sustains communities and personal meaning in difficult times. This cross-media dialogue underscores cinema’s enduring role as a forum for shared human experience and cultural dialogue with audiences across borders. The festival and its participants collectively contributed to a vibrant tapestry of storytelling that transcends language and locale, inviting global audiences to engage with films that probe the depths of creativity, belief, and humanity. Attendees and observers alike were reminded that cinema remains a powerful conduit for connection, reflection, and inspiration across diverse cultures and nations. At its core, the Dhaka festival celebrated cinema as a universal language capable of shaping thought, provoking debate, and strengthening international cultural ties. Markers of achievement within the festival thus carry weight beyond individual awards, signaling ongoing momentum for regional cinema on the world stage. Kept within this broader context, the awards reinforce the belief that films can illuminate shared values while also revealing unique cultural textures that enrich the global film community. In shorthand, the Dhaka festival reaffirmed the idea that storytelling, in all its forms, continues to be a bridge between people, ideas, and places. Attribution for these summaries comes from TASS and festival organizers as reported in standard industry coverage.