Ivan Zharkov, known as the public voice for the Marvel cinematic universe hero Thor in the Russian market, gave an in-depth account of how film dubbing operates under sanctions. The interview, published by 59.ru, sheds light on the continuity of the dubbing workflow and the perceived persistence of formal procedures even amid political and trade restrictions that affect the entertainment industry.
Zharkov emphasizes that sanctions have not altered the fundamental dubbing process. He describes a standard workflow that remains intact in studios across Russia: a client arrives with a feature film, a project is assigned to a director, and a translator is brought on board to handle the linguistic adaptation. The client then submits the script, which is translated, edited, and refined. A director makes the final call on casting, and the ensemble gathers in the studio to proceed with the dubbing work in a familiar, professional rhythm. In Zharkov’s view, the process operates like clockwork, preserving the established sequence and the governance of quality control that studios rely upon to deliver a coherent product to audiences.
While the procedural steps are visible and documented, Zharkov also addresses the more shadowy aspects of the film distribution ecosystem. He acknowledges that he does not possess concrete knowledge about how titles originate from sources that should not be officially shown in Russia, nor how certain copies end up in theaters. He concedes that such mechanisms are illegal and depend on individuals who acquire copies through unofficial channels and subsequently distribute them domestically. This admission highlights a broader tension between official channels and informal networks that can operate in parallel with sanctioned, regulated distribution systems, creating a supply chain that is difficult to monitor and control completely.
The artist also voices concern about the quality of pirated or unofficially released films that appear in Russian cinema houses. He notes, for example, his disappointment with the sequel to Dune, describing the viewing experience as a reminder of decades past when copied tapes degraded image quality in subterranean video venues. The comparison underscores how degradation in audio-visual fidelity can undermine the viewing experience and invites reflection on how industry practices, licensing, and distribution choices influence what audiences ultimately see on the big screen. The critique is less about a single product and more about the broader implications of unauthorized distribution on artistic integrity and audience expectations.
Meanwhile, developments in the wider landscape of cybercrime research intersect with the topic of unofficial dubbing. A recent investigation by the Russian cybersecurity firm FACCT delved into the market for studios that produce translations used by distributors of illegal video content. The findings illuminate how dubbing can be a key component in the unauthorized distribution chain, potentially altering the accessibility and legibility of prohibited content. This line of inquiry reinforces the idea that translation and localization work—when harnessed outside legal frameworks—can contribute to illicit markets, complicating efforts to enforce intellectual property rights and protect artists and production teams whose labor powers global entertainment offerings.
In the broader context, observers have long noted that sanctions affecting artists, including names such as Shaman, Polina Gagarina, and Ivan Okhlobystin, have produced a visual impression that some measures appear severe or conspicuous. This commentary reflects a wider conversation about how political actions intersect with cultural production, audience reach, and the reputational dynamics surrounding public figures tied to the creative industries. The conversation remains nuanced, with perspectives that consider both the symbolic weight of sanctions and their practical consequences for creative collaboration, distribution networks, and the lifecycle of film projects in markets influenced by regulatory and economic shifts.