Russia is gearing up to launch its own movie universes built around homegrown superheroes in the coming years. Progress is already underway, according to Alexander Akopov, the general director of the STS TV channel, who spoke during the forum Russian Creative Week & Siberia. He noted that a broad array of teams is working on multiple projects, signaling a serious, coordinated effort rather than a handful of pilot initiatives.
The industry veteran stressed that teams across the country recognize the demand for authentic Russian superhero narratives. While the path is technically demanding and progress may not be visible overnight, the consensus is clear: very soon, audiences will start to see Russian superhero stories take shape on screen. This isn’t about quick wins or one-off features; it’s about weaving a coherent collection of cinematic worlds that can grow over time, much like long-running franchises elsewhere. Akopov’s stance reflects a broader industry mood that values both scale and sustainability in storytelling, production pipelines, and audience engagement.
When pressed about the possibility of import substitution within this sector, Akopov indicated that specifics had not yet been laid out. He left the door open to various approaches but did not offer a concrete timetable for when the first films would premiere. The lack of explicit details underscores the early stage of these plans and the need for careful planning around rights, talent pipelines, and cross-border collaboration. The emphasis remains on building a framework that supports durable, high-quality Russian superhero content rather than rushing to superficial outcomes.
Philip Nesterov, head of the creative production company Headshot, noted a broader issue: domestic filmmakers currently lack sufficient native material to sustain a robust universe. This observation highlights a key strategic challenge—creating a reliable reservoir of compelling characters, mythologies, and backstories that can be adapted across films, series, and potentially animated formats. The sentiment signals a call to invest in original source material, develop cross-media storytelling, and foster collaborations with writers, artists, and studios to accelerate the generation of authentic, homegrown content.
The perspective of industry peers echoes a clear distinction between the new approach and established models like DC and Marvel. As Philip Nesterov explained, those global franchises benefit from decades of literature and comic universes that provide a ready-made foundation. In contrast, the emerging Russian vision is expected to be built from scratch through comics and other narratives, with the cinematic universe maturing in tandem with the written material. This represents a new cycle of adaptation and world-building, one that requires patience, iterative development, and a unified creative direction to ensure consistency across installments and formats.
Ilya Bachurin, general manager of Mosconcert, added a pragmatic note: while Russian superhero universes will appear, their scale and reach are unlikely to match the expansive footprints of American franchises. The reasons are practical and cultural—language diversity limits broad localization, and a distinct cultural code can affect how these characters resonate beyond domestic audiences. This suggests a strategy focused on strong national reception first, followed by selective international outreach that respects regional tastes and values while maintaining a uniquely Russian voice in the storytelling.
In parallel, contemporary explorations from artificial intelligence and digital platforms continue to influence how audiences encounter these stories. For instance, there have been instances where iconic figures like Superman and Captain America appear in unusual, everyday settings through neural-network-generated concepts, illustrating the growing interest in blending familiar hero myths with contemporary contexts. A recent fan trip connected major real-world locations to the world of Red Dead Redemption 2, indicating a vibrant cross-pollination between games, films, and fan-driven experiences that could inspire future cinematic universes in Russia.
Overall, industry observers point to a promising but measured trajectory for Russian superhero cinema. The expectations hinge on building credible, diverse materials, cultivating local talent, and establishing a durable production ecosystem that can sustain multiple storylines over time. The ultimate objective is not merely to imitate foreign success but to craft a distinctly Russian lexicon for superhero storytelling—one that can travel far while staying rooted in the country’s cultural realities and creative strengths.
Note: the discussion reflects ongoing debate and speculation within Russian media circles, underscoring both potential and hurdles on the road to a homegrown cinematic universe of heroes.