Third installment of the Russian comedy Slave is announced by Central Partnership
The Central Partnership company has confirmed that a third part of the popular comedy franchise Slave is in development. This update was shared through Film Distributor Bulletin, signaling a strategic move to extend the series’ footprint in the Russian film market and beyond.
The new film is slated to premiere on January 23, 2025. At this time, further plot details, cast confirmations, and production specifics have not been disclosed, leaving fans and industry observers waiting for official announcements and behind‑the‑scenes insights.
In February, it was revealed that the second installment of Slave earned 3.85 billion rubles in rental revenue across its entire run, underscoring the franchise’s strong commercial performance. Directed by Klim Shipenko, the sequel emerged as one of the year’s highest‑grossing Russian releases, having debuted on January 1, 2024. Principal photography for the follow‑up was reported to begin in the summer of 2023, with work reportedly centered in Saint Petersburg, contributing to the film’s authentic urban setting and production efficiency.
Actor Milos Bikovic, who headlined the first film, described Slave as a project that explores themes of personal redemption and moral resilience. He has suggested that audiences might find pieces of their own experiences within the story, highlighting the emotional resonance that helped the film resonate with a broad viewer base. Bikovic also emphasized the project’s significance to him on a personal level, underscoring its value as a meaningful artistic endeavor.
Since its 2019 release, Slave has drawn substantial box office attention, accumulating around three billion rubles and maintaining a prominent position in Russian film rankings for an extended period. The film’s early success helped shape the year’s market dynamics, though it eventually yielded ground to a popular family comedy release, Cheburashka, which captured audience interest and box office share in subsequent months.
There have been mentions of other projects tied to the franchise’s universe, including potential international collaborations and broader audience outreach. These discussions reflect a broader trend in which Russian cinema seeks to strengthen its global presence while continuing to attract domestic audiences. As audiences in Canada and the United States monitor the evolution of Slave, the franchise’s next installment is expected to contribute to cross‑border interest in contemporary Russian humor and storytelling, offering translations, subtitled accessibility, and potential distribution opportunities that align with the tastes of North American viewers.
Industry observers will be watching closely to see how the third part of Slave positions itself within the evolving landscape of Russian comedies. The sequel’s success could influence future production choices, marketing strategies, and international release plans, reinforcing the importance of talent, timing, and culturally resonant humor in contemporary cinema.