Two Hills unfolds as a comic dystopia anchored in matriarchy. What drew viewers to this story the most?
The actor remembers being drawn to the quirky genre and, naturally, to the central role. The project marks a collaboration with the creators of Vampires of the Middle Band, whose sense for style and taste is well known. That combination convinced the actor to audition, and the part was theirs. They are glad to explore a world that introduces new beings and that invites experimentation.
In the plot of Two Hills, humanity survives in a post-apocalyptic world governed by women, who have reshaped civilization and eradicated war. Women stand as the elite, while men are seen as offspring producers. Sexual desire is suppressed, and sperm is pumped for childbirth. Men appear as mere carriers, diverted from meaningful work to serve women through massage or leisure with game consoles. Yet resistance exists among those who refuse to be the guardians of seed. The protagonist embodies a man navigating a landscape of desire and indulgence. The series evokes a Mad Max vibe, but targets men rather than society as a whole.
The actor who played the primate Hera explains what stood out during preparation for the role.
Preparation felt like a child awakening on set: stylish sets, costumes, scenery, and locations in Krasnodar’s park areas. It was difficult to pick a single scene because the production delivered a level of polish never seen before on set.
A humorous moment emerged when Hera discovers The Witcher 3 on an aging computer, and the grandfather recounts life in his youth. It turns out the grandfather named the heroine Hera in honor of the computer character Geralt of Rivia. This element delighted the actor, who is not only fond of the game but also a fan of the Witcher series.
The series is framed by influences from Fellini’s City of Women and Machulski’s New Amazons. For newcomers to Two Hills, the question is whether the show will offer a fundamentally new take on a world ruled by women.
There are clear parallels in the matriarchal theme, but each story diverges in tone and approach. When compared to Fellini, the show pushes boundaries with intimate topics, employing many parodies and metaphors. It aspires to a level comparable to Netflix in its audacity while remaining attentive to the audience. Yet it remains a comedy at its core.
Viewed through a lens of humor, there is a sense that the creators may be poking fun at feminists and skeptical about a matriarchal society. The actor believes that the humor largely targets the world of primates and that most women viewers will not be offended. The cast’s reaction has been positive, and even very sensitive viewers might find some jokes provocative, but the tone stays playful and fearless about risky topics. The actor notes a preference for jokes about primate life and a belief that humor can cover a wide range of subjects.
In light of Renata Litvinova’s recent fairy tale about a matriarchy, the question arises whether Russia is a woman-led nation. The actor responds that Russia has endured great loss in past wars, with women often guiding the next generation. This shift, he suggests, has shaped different temperaments and approaches across generations. The country’s vastness and resilience make it a place where strength and independence can flourish, even amid challenging conditions.
Asked about the demand for male education in Russia and differences between male and female upbringing, the actor notes a distinct need for men to protect loved ones and themselves. He observes that biology places child-rearing primarily with women, while men historically contribute by expanding their lineage. Observing BBC programming and other cultural cues reinforces the notion that the maternal bond remains strong. The actor also shares personal experience of recently becoming a father and the profound impact that has on perspective and priorities.
The conversation shifts to the upbringing of children in Russia, with attention to rural versus urban dynamics. The actor describes a landscape where patriarchy can be more pronounced in rural areas, while urban centers show different patterns. Coming from Novosibirsk, he notes that men often take an active role in education, even as women grow into positions of influence.
Would the actor be uncomfortable living in a society governed by women? He suggests that if a historical event were to foment such a shift, matriarchy would be possible, and a world shaped by this order would simply be accepted as the new norm.
What if a virus wipes out the male population? The actor reasons that the world would adapt, acknowledging that while some changes are inevitable, the core instinct of humanity can adapt to new realities. Matriarchy could emerge, and that possibility would be accepted as part of evolving history.
Could Russia someday see a female president? The actor believes it could happen, though not immediately. Leadership should be held by the best candidate, regardless of gender, and there’s no reason a woman could not eventually reach the highest office in the country.
Ecology also features in Two Hills. The actor expresses interest in ecological issues but recognizes that large-scale change is challenging. The series offers a clear illustration of how not to pollute the environment by highlighting a primate-centered world as a cautionary tale.
With the April premiere of Passengers: Last Love on Earth, the actor collaborated with Evgenia Gromova. Having recently become a parent, he reflects on how fatherhood informs on-set experiences. Nurturing a child can dissolve personal fears, and the journey of the characters aboard a taxi acts as a descent into an Hades-like world where confession becomes a duty. If confession does not occur, the characters drift between worlds rather than finding resolution.
Throughout a career featuring roughly forty roles, including Bender, Vertinsky, Major Grom, and Pishcheblok, the actor remembers a particular character most fondly. Mishka Yaponchik stands out as the first major role—rebellious, bold, and masculine. A director once told the actor this role was a personal gift, and the actor agrees that it was meaningful. Learning about Mishka Yaponchik through Ginzburg’s Life and Adventures provided inspiration, drawing the actor to a persona that is reckless, eccentric, and unpredictable. Such heroes resonate with him.
Details about ongoing and recent projects follow. The actor is shooting in a film titled By the Pike’s Command, where the character Emelya represents a rare modern archetype in Russian cinema. Additionally, the releases of Offline and Desperate Shareholders are noted, along with the premiere of First Oscar, in which the actor portrays a real-life lieutenant, Baturin, a brave, strong-willed figure. The role impressed and inspired him, and the film centers on two nerdy cameramen documenting events during the Great Patriotic War. The director Sergei Mokritsky is praised for crafting a compelling narrative.
The gangster drama Big Empire, envisioned in the spirit of Peaky Blinders, has been shot, but the production has not progressed beyond a single episode. The project remains a collaborative effort, and the actor hopes for more involvement in script development. Funding delays have pushed the series onto the shelf, yet personal life remains rich with time spent with his daughter while continuing to pursue filmmaking.
Looking ahead at the Russian film industry, the departure of Hollywood majors is seen not as a setback but an opportunity. The actor believes a new generation will emerge, with increased attention on local talent. There is a sense of optimism about the creative landscape, driven by a belief in the depth of Russian storytelling. The sentiment is that talent is abundant and ready to flourish without external influence. The actor even asserts a parity in esteem with international actors, expressing pride in national achievement.
Among upcoming Russian projects that excite him, Danila Kozlovsky’s Karamora stands out as an ambitious undertaking. He imagines how such a film could translate to English-language audiences with Benedict Cumberbatch in the lead, and he foresees Netflix-level excitement once released. When asked about cancellation culture, the actor responds philosophically, predicting a protective but confident approach that preserves creative instincts and preserves the audience’s enjoyment.
Finally, he surveys the direction of Russian cinema, suggesting a focus on historical narratives. The appeal of Vikings and intricate princely intrigues resonates, and his dream project would feature the legendary Stenka Razin in a tale that blends heritage with drama.