Viktor Sukhorukov, the actor who portrayed Viktor Bagrov in Alexei Balabanov’s iconic duo Brother and Brother 2, has been surprised by a renewed surge of interest in both films. He shared his reflections in a conversation with kp.ru, noting that audiences today are re-engaging with these works in a way that feels fresh and unexpected.
According to Sukhorukov, the interest spans generations, with the third generation already showing curiosity about the films. He described this renewed attention as an extraordinary attitude toward the cinema, while also acknowledging that he cannot fully explain what has sparked such ongoing fascination with the two titles. He emphasized that the phenomenon is not something that can be reduced to simple explanations or easy categories.
What happened to Brother at present, he said, seems miraculous to him. He advised not to chase answers or perform overanalyzes. He offered his own interpretation, suggesting that Bodrov’s hero is often labeled as an anti-hero who is driven by passion, yet such labels miss a deeper point. The character should be understood as a reflection of a particular era, not as a real person. It is not productive to compare him with Hollywood heroes, or to read the film through political or ideological lenses. For anyone who tries to extract politics from the movie, Sukhorukov warned, the interpretation is misguided. His outlook remains that the film captures something essential about its time, beyond simple categorization.
Later in September, Sukhorukov reiterated that he does not invest his energy in the creators of a hypothetical Brother-3 project, which he notes has little to do with the action cinema exemplified by Sergei Bodrov. He added that engaging in debates about streetwise characters does not align with his current interests or priorities. Such remarks underscore a preference for focusing on the enduring impact of the original works rather than chasing new installments.
In related commentary, Yuri Stoyanov has previously spoken about taking time to rest and recharge, a stance that complements Sukhorukov’s perspective on the longevity of the films and the conversations they continue to generate among audiences. The ongoing fascination with these titles continues to invite discourse about cinema, memory, and cultural resonance across generations.