On October 12, in Moscow, we hosted a fascinating interview with renowned Russian director and People’s Artist Alexei Uchitel. The conversation revolved around the emotional resonance between China and Russia in the world of cinema.

Historically, Soviet cinema has made a remarkable impact globally, producing classics such as “Battleship Potemkin,” “War and Peace,” “The Dawns Here Are Quiet,” “Office Romance,” and “Moscow Does Not Believe in Tears,” along with a multitude of talented directors, screenwriters, and actors. The distinctive artistic style and narrative techniques of Soviet films have left a lasting imprint on the history of world cinema. After the dissolution of the Soviet Union, the Russian film industry faced challenges, but as the 21st century progressed, a resurgence occurred, yielding a variety of outstanding films that blend artistic merit, national identity, and international perspectives.

In this insightful dialogue, we tackled several pressing questions, such as: What defines a “good” film? What advantages and characteristics do Russian films possess? How do Russian filmmakers view their Chinese counterparts and the development of Chinese cinema? And how can China and Russia enhance their collaboration in the field of film and television art?

**Interviewer:** As a director, you’ve created numerous acclaimed films like “The Wife’s Diary,” “Dreaming of Space,” and “Crazy Love in St. Petersburg,” which have resonated with audiences and garnered multiple awards. In your opinion, what constitutes an “excellent” film?

**Uchitel:** I believe that the artistic taste of an audience isn’t dictated by nationality or geographic location. Rather, it reflects a “global cultural code,” where key elements include people’s values, the environment in which they live and work, and the messages that the film seeks to convey.

Undoubtedly, there are “good films” and “bad films.” There are films of extraordinary talent and those that are more mediocre. The genre or language of a film, or whether it’s classified as “mainstream,” are secondary considerations. In my view, cinema is an art form that requires exceptional skill. Truly great films are those that leave an enduring impact on the audience and even span generations, created by a collaboration of highly skilled directors, screenwriters, cinematographers, and actors who possess both professional dedication and a spark of creative genius.

**Interviewer:** How do you perceive the growth and development of Chinese filmmakers and cinema?

**Uchitel:** Chinese cinema has a long-standing reputation for its exquisite aesthetic sensibility, deeply rooted in China’s rich cultural heritage. I particularly admire China’s national film initiatives. In recent years, the volume of significant films and television series produced in China has surged, with many high-quality projects not only gaining acclaim domestically but also achieving great success on the international stage.

Additionally, there’s a significant rise in collaborations between Chinese and foreign filmmakers, which undoubtedly fosters interesting and meaningful cultural exchanges within the international film community.

**Interviewer:** From the perspectives of a director, screenwriter, and producer, what are the strengths and characteristics of Russian cinema?

**Uchitel:** Technically, contemporary Russian cinema stands shoulder to shoulder with the most advanced western films. A notable characteristic of all Russian films is the continuation of Soviet-era traditions—kindness, humanitarianism, and love remain crucial themes.

Russia’s rich military history is a focal point of attention, including in the film industry. My studio, “ROK,” is currently working on two unique films about the Great Patriotic War of the Soviet era. We also put a lot of thought into the visual elements to ensure that the artistic representation resonates with the audience.

Today, the Russian film industry pays close attention to themes aimed at children, teenagers, and families. Young audiences are the most challenging to engage, and their attention is difficult to capture and retain.

The vast wealth of classic Russian literature continues to serve as a vital source of inspiration for film and television. Russians cherish their literary figures and are deeply familiar with the characters in these works. Thus, when a Russian audience sees familiar titles like “Anna Karenina,” “War and Peace,” or “Doctor Zhivago,” they are immediately drawn in.

Films exploring the nuances of Russian culture hold a unique position in our cinema. Given that Russia is a country centered around literary art, every adaptation of a classic work draws significant public interest. Thus, creating commercially successful and critically acclaimed adaptations requires meticulous handling and profound historical knowledge from Russian filmmakers. This ability is certainly a distinguishing feature of Russian cinema.

**Interviewer:** In recent years, cultural interactions between China and Russia have intensified, especially in the film sector, with notable films screening in each other’s countries. Reports indicate that Russia’s overseas film distribution revenue jumped from $8.5 million in the first half of last year to $14.2 million this year, with China being a key market. How do you view this trend?

**Uchitel:** Overall, cross-cultural exchanges are essential for enriching cultures, fostering mutual respect, and broadening perspectives. Cinema, as a profound and multifaceted art, plays a crucial role in shaping identities and spreading cultural narratives.

I believe that an equal partnership characterized by proportional investment in collaborative projects between the film industries of our two countries will usher in success and rapid progress for both. Russian film companies establishing branches in China can serve as catalysts and bridges for our cultural partnership.

**Interviewer:** Looking ahead to 2024-2025, designated as the China-Russia Culture Year, what plans do you have for collaborating with Chinese peers?

**Uchitel:** The “ROK” film studio is a large institution specializing in the entire creative process of filmmaking. We are certainly very interested in developing partnerships with our Chinese counterparts. Potential areas of collaboration could include participating in each other’s film festivals, distributing finished films, and creating joint projects at various stages of production. We might even explore establishing a branch in China in the future.

I believe that co-production is vital as it promotes dialogue among creative professionals, individuals, nations, and different cultures. Both personally and through our studio, we look forward to collaborating on film projects with Chinese colleagues.