Ukrainian filmmaker Alexander Rodnyansky, once a central figure in Russian cinema, has spoken out about the dramatic transformation of the industry since the invasion of Ukraine. Over two decades, Rodnyansky ran one of Russia’s largest media conglomerates, producing internationally acclaimed films such as Leviathan and Loveless. However, the post-war landscape has shifted the focus of Russian filmmaking almost entirely toward fairy tales and state-sanctioned propaganda.
Rodnyansky explained that the most popular genre today is adaptations of children’s stories and folk tales, with films reflecting social realities or the ongoing war conspicuously absent. The state remains the only source of financing for filmmakers, and war-related projects are limited to propaganda portraying Ukrainian forces as “Nazis” and the Russian military as saviors of Donbas. He described these narratives as “the most stupid bullshit you can ever see.”
Recent box office successes underscore this trend. For instance, Cheburashka, a children’s story adaptation released in 2023, earned over 6.5 billion rubles (~£60 million), becoming Russia’s highest-grossing film. Meanwhile, independent or socially relevant projects face severe constraints. Rodnyansky’s latest work, Notes of a True Criminal, is his first documentary in more than 30 years. Self-funded on a small budget, it reflects his personal experience, exploring Ukraine’s history, the human cost of conflict, and his family’s generational experiences rather than delivering a political message.
The filmmaker himself has faced direct consequences for dissent. In absentia, a Moscow court sentenced him to eight and a half years in prison for spreading “fake news” about the Russian army, and Russia’s Justice Ministry declared him a “foreign agent.” He highlighted the growing divide between Russians who support the Kremlin and those who oppose it, noting that many cultural figures critical of the government have left the country.
Rodnyansky emphasized that cultural boycotts should distinguish between supporters of Putin and those who dissent. He cited historical parallels, noting that during World War II, German artists supporting the Nazis were clearly separated from those who opposed them. His reflections underscore the tightening grip of the state on Russian culture and the challenges faced by artists seeking to create independent, meaningful work.
