A Vision for Donbass Cinema and the Way Forward in Russian Film
A prominent actor, TV host, producer and director, Tigran Keosayan, spoke on a broadcast about the future of Donbass themed cinema. He suggested that compelling films on the events in Donbass may emerge only after victory in what he described as a special military operation, underscoring that such projects deserve serious consideration and responsibility.
During the program, the guest explained that his wish to create a film about Donbass events has faded. He framed this stance as principled and spoke about the gravity of cinema, saying that filming campaigns is not his focus and that, as a cultural practice, it should be treated with reverence for time and memory. He drew on a long tradition of Soviet era cinema that balanced war drama with humanism, noting films like A Soldier’s Song, Only Old Men Go to War and The Soldier’s Father as benchmarks of that ethic. He also cited the wartime production Cranes are Flying, pointing out that these works remained powerful and relevant not only for the nation but for the world. In his view, such films work as a banner of victory, silently hovering in the memory of audiences and filmmakers alike, symbolically above their adversaries.
The actor emphasized that the moment when a banner of victory is seen over the Reichstag will signal a new era of outstanding cinema. He posited that, in this war, a similar symbolic scene would herald future masterpieces in Russian film.
Keosayan also weighed in on whether artists who left Russia after the start of the special military operation should be forgiven. He argued that people make mistakes and that compromises are possible, especially when they openly criticize the government’s choices. Yet he stressed that restoring public trust requires visible support for Russia. This support should be practical as well as vocal, ensuring that audiences feel the nation’s direction as a whole.
He proposed a hopeful path to reconciliation through a process of repentance, describing frontline brigades as a meaningful example. He suggested that those who once left the country could potentially join such a collective, contributing to a renewed cultural stance.
Keosayan also commented on the decision of The Hague’s International Criminal Court regarding an arrest warrant for the Russian president, calling the step hasty and insufficient. He recalled that a former tsar had once helped establish the institution known as The Hague Tribunal, and he mused that this historical irony should invite reflection about how justice is pursued. He concluded with a provocative note, suggesting that the institutions that began as a response to war could be viewed anew in the light of present events, and that perhaps the opening stance should be revisited as the situation evolves. (Citation: Public interview report)