Since the onset of the war, numerous Russian film and theater actors have bravely spoken out against President Vladimir Putin and have left Russia, despite the potential career sacrifices. For many, this profession is deeply intertwined with language mastery, making their move a courageous stand for their principles. Some have managed to find occasional work in the West. Notably, Masha Mashkova, daughter of renowned actor Vladimir Mashkov of “Mission: Impossible — Ghost Protocol” fame, cut ties with her homeland and even her father, a staunch Putin supporter. Since then, she landed roles as a cosmonaut on the Apple TV+ series “For All Mankind” and last year’s movie “I.S.S.”
However, opportunities like these are rare. While a few like Ms. Mashkova have found success, many former Russian artists are scraping by with small gigs, such as poetry readings and solo performances. Away from Russia’s restrictions, they explore creative avenues that once seemed impossible. Take Alisa Khazanova, a talented actor and director, who stars in the English play “The Last Word,” bringing to life the court statements of Russian political prisoners. Returning to Russia could threaten not just her career but also her safety.
For actors like Borisov and Eydelshteyn, who are celebrated in Russian cinema, returning home bears no such danger. They are embraced as heroes, in part due to the Hollywood community’s recognition. For instance, if you check Yura Borisov’s page on Kinopoisk, Russia’s IMDb equivalent, you’ll see a banner saying, “An Oscar for Yura!” Both actors boast extensive domestic work spanning genres and artsy films. Borisov’s portfolio, however, veers into propaganda, as evidenced by his portrayal of the titular character in the 2020 biopic “Kalashnikov.” This film, about the inventor of the AK-47, was partly funded by Rostec, a Russian state defense firm. I know this because a Rostec executive once approached me to write its screenplay.
Judging these actors for not publicly denouncing Putin and his war seems both hypocritical and unfair. A regime like Putin’s has methods of exerting control over its citizens that can be invisible to outsiders, even their closest relatives.
The real dilemma is whether it’s prudent to engage at all with the Russian film industry. After enjoying a phase of relative independence, it has now become an instrument of the Kremlin, pushing ultrapatriarchal, colonialist, and neofascist themes. Post-war, major Hollywood studios have exited the Russian market, although pirated Hollywood movies still surface there. For instance, a copy meant for Kazakhstan might be shown as a free add-on to a short film. Following the revelation of Milos Bikovic’s pro-war stance, HBO removed him from “White Lotus.” Similarly, Netflix shelved a Russian rendition of “Anna Karenina,” featuring Borisov as Levin, after it was completed.
