Cinema in Russia faces a difficult new year as theaters grapple with decline
The head of the Cinema Owners Association told the audience that the New Year should bring better times. The message reflected a year when movie theaters had little to show during the holidays, the season when filmmakers usually see their biggest box office returns. Dates for premieres remain hotly contested, and for 2019 there was even talk of moving foreign premieres to this period if a Russian project did not fit the schedule. This year foreign films from France and Australia share space with Russian projects, but high profile premieres are not anticipated. Yolki and Ivan Tsarevich – 5 will appear, new episodes of Masha and the Bear are planned, but the era of blockbuster films and glamorous releases is not expected to return in the near term.
The same voice added a stark note about the future. There are no bright prospects for cinemas and more than 700 cinemas have already closed. There is a forecast of a second wave of shutdowns in February. For a long time now, discussions about cinema in Russia have covered survival under pandemic conditions. Quarantine closed many venues, premieres were canceled, and audiences have not fully recovered after the lockdown. While there was hope for renewed film distribution, the absence of Hollywood projects has hit the industry hard, and box office in Russian cinemas fell by about half to two thirds in many cases. Today, operators are negotiating rent deferrals, electricity bills and loan payments or facing shutdowns. In many networks only a small portion of halls remain open, attendance is far below operating costs, and the quality of imports without the owners’ permission is inconsistent with audience expectations.
With this challenge, the state stepped in to support domestic cinema. Russia has a history of producing around 100 films a year, but not all make it to rentals, and distribution often remains limited. It is honest to say most domestic releases did not generate significant returns for theaters, and a handful of large projects do not match Hollywood when measured by reach and revenue, even with government help. Still, leaders see value in building national content that can win back audiences and reinforce traditional cultural themes. The aim is not quick profits but a renewal of public interest in national cinema and its stories.
At the forum Film Industry in the New Reality, the Minister of Culture, Olga Lyubimova, urged faster production in line with increased state funding. This year the support reached a record level. A senior filmmaker noted that the scale of funding at ten billion rubles still falls short of matching the budgets seen in major foreign productions. Estimates suggest that hundreds of new films would need to be released annually to offset the revenue that Hollywood fixtures bring in.
Even with government backing, the ability to sustain a large film production surge remains uncertain. By year end the Film Fund was set to back thirty five new projects with sixty more in various stages of development. The Ministry of Culture supported one hundred fifty films this year, a share of what is needed. The production cycle for films often stretches two to three years, so a full rebuilding of screening opportunities will take time.
Another hurdle is the marketing machinery that supports Hollywood releases. In contrast, state support has not been aimed at a comprehensive promotional push for Russian films, leaving theaters unsure how to promote posters or engage audiences. Without robust marketing and broad distribution, even well-made films struggle to reach audiences.
Simply increasing the number of titles does not solve the core challenges. New productions are likely to be lower budget and less lavish in their staging, reflecting current constraints. State funding can cover a portion of the budget, but private finance remains difficult to secure. Genres such as light comedies, romantic comedies, melodramas, and possibly detective stories are expected to dominate. It is a different reality from the peak years when large sums and blockbuster franchises dominated the market. The scale of spending in the past dwarfs today’s projections, though the aim is to preserve a healthy domestic industry.
Priorities have been outlined by the Culture Ministry. Projects aligned with strategic themes will receive financing focus. Topics touching on geopolitical shifts, the evolution of global power, and national resilience may receive additional support, yet these themes do not necessarily guarantee mass audience appeal. At the same time, films highlighting family values, patriotic education, achievements in science, and the heroism of soldiers during contemporary operations remain important but are not expected to drive breakthrough box office on their own.
The idea of restoring a past era of Soviet cinema remains more of a vision than a practical plan. It would demand a broader cultural ecosystem and a strong competitive environment across platforms. Modern multiplex cinema has become a social and lifestyle experience, with large screens, immersive sound, comfortable seating, and the pleasure of snacks during the show. In many places cinema revenue now stems from both tickets and concessions that signal urban culture and social belonging. Recreating that era in a new form will require fresh ideas and collective enthusiasm, and in the current climate it may be easier to shutter venues than to reinvent them.
The piece ends with a personal perspective, reflecting one voice among many in the industry. The views expressed do not necessarily reflect editorials or official positions.