The Venice Film Festival has come under scrutiny for its decision to include “DAU,” a project by Russian filmmaker Ilya Khrzhanovsky, in the main competition of its 83rd edition. This controversy unfolds against the backdrop of ongoing tensions between Russia and Ukraine, raising questions about cultural representations and their implications in the current geopolitical climate.
Criticism from Ukrainian Officials
In a joint statement on August 17, the Ministries of Foreign Affairs and Culture of Ukraine, along with the Ukrainian Embassy in Italy, condemned the festival’s choice. They labeled “DAU” as linked to Russian state interests and argued that its selection served to “restore respectability” to what they termed Putin’s pariah state.
Artistic Defense from Festival Directors
In response to the backlash, Venice artistic director Alberto Barbera defended the choice, asserting that “‘DAU’ is not a Russian film; it is not pro-Putin propaganda.” In a similar vein, Khrzhanovsky took to Facebook to counter claims that his work was funded by Russian sources or promoted Russian state cultural policies. As the festival approached, he reiterated his stance to Variety, declaring, “Since the war started, there was no question of what side I am on, because I am on the side of Ukraine.”
Cultural Institutions at a Crossroads
The controversy surrounding “DAU” adds complexity to ongoing discussions prompted by the Venice Art Biennale, which faced its own criticism for showcasing Russian and Israeli artists. Since the onset of Russia’s full-scale invasion of Ukraine, many cultural institutions had initially embraced calls to boycott Russian artistic contributions. However, as the war progresses, there seems to be a gradual thawing of these sentiments, allowing some Russian filmmakers to reenter the global stage.
A New Era for Russian Filmmakers
Several Russian-born directors have recently achieved acclaim in international arenas. Last year, Nastia Korkia’s “Short Summer” and Andrey Zvyagintsev’s “Minotaur” garnered awards at Venice and Cannes, respectively. Alongside Khrzhanovsky at the Venice Festival is fellow filmmaker Victor Kossakovsky, whose documentary “Holly Wood Dust” is making its premiere out of competition. Both directors left Russia decades ago, but a significant exodus of talent accelerated following the invasion in February 2022, with many fleeing for safety or in opposition to the Kremlin’s narrative.
The Reality of Two Russias
As Alexander Rodnyansky, a two-time Oscar nominee, articulated at Venice, “There are two Russias right now.” He distinguishes between the repressive regime controlling the country and the creative diaspora emerging abroad. This community of filmmakers is experiencing exile differently; for some, it is a chance to reinvent their careers. Those like Rodnyansky, who now lives in France, and Zvyagintsev assert their commitment to supporting dissenting voices through film, despite personal risks like imprisonment for opposing the war.
Opportunities in Exile
For others, moving westward has opened pathways to new projects. Kantemir Balagov’s “Butterfly Jam,” set in a Newark immigrant community and featuring stars Barry Keoghan and Riley Keough, premiered at Cannes. Kirill Sokolov also transitioned to Hollywood, with his film “They Will Kill You.” Notably, Sokolov’s earlier work “No Looking Back” faced backlash when it was canceled from the Glasgow Film Festival due to its ties to Russian funding, which has become a significant issue in the discussions surrounding Russian cinema today.
Breaking Financial Ties
Khrzhanovsky insists that any ties to Russian financing in his work ended years prior, clarifying that the film presented in Venice is a collaborative effort with German, French, and Swedish production partners and has not received Russian funding for the past seven years. This breaking away from previous financial connections may help facilitate the reintegration of these filmmakers into the international film community.
A Changing Landscape
As these filmmakers establish their futures in exile, the severed financial ties to Putin’s regime coupled with their vocal opposition to the conflict in Ukraine may lessen the urgency for protest against their work. Laurent Danielou of Paris-based Loco Films emphasizes that while these filmmakers were once associated with Russian culture, they are now “financed in Europe” and represent something beyond their geographical origins.
