There was a buzz on the network about the upcoming Moscow premiere of the film with Chulpan Khamatova.

People are worried: how is it possible?

She is with us like this, and we are with her like this.

This problem, as they say, has two sides.

I don’t know what kind of film it is, but we can assume that it was made by quite decent people who are not obliged to bear losses because of one actress.

In the end, Savely Kramarov and Oleg Vidov left the Soviet Union and filmed behind the cordon in any anti-Soviet, but even then films with them remained in the Soviet box office.

Yes, and it would be ridiculous to deprive Soviet viewers of The Elusive Avengers and The Big Change because of the ridiculous illusions about Kramarov’s career in Hollywood or The Snowstorm and The Headless Horseman because of Vidov’s foreign loves.

However, there is another aspect here.

We have already observed a similar situation after the “Russian spring” of 2014, and if people in Russia did not have such a short memory, they would know in advance where everything is going now.

At that time, a number of representatives of the cinematographic community radically opposed the “annexation” of Crimea, and these people reacted to the events in the Donbass with natural, undisguised hatred.

Emigration on principle, by the way, began already then.

Boris Akunin left.

Maxim Kantor left.

Ulitskaya left.

The late journalist Igor Svinarenko, I remember, dashed off a whole article, which listed dozens of ex-members of the cultural establishment.

Nevertheless, at some point, the command “not to kindle” went out from the Kremlin.

The liberal public was immediately given a signal: we still love you, do not be angry, we are always waiting at home.

And a year or two later everything was back to normal.

For example, Mitya Glukhovsky, who used his last words to denigrate the Donetsk separatists, the Kremlin tyrant and the hardened cotton, was noisily filmed and the film was given an excellent release.

And Mitya did not choke on the generosity of tyranny.

But if only it!

All these wonderful personalities perked up and again understood: "We are the masters here."

Here I must say: I personally do not mind.

I still think that Chulpan Khamatova is a very talented actress.

And I don’t even have anything against Glukhovsky: let him be, if he himself doesn’t feel bad putting his films in “the largest solitary cell in the world,” in his words, moreover, controlled by Hitler of the 21st century.

We are not political crests, after all.

Let all the weeds bloom.

It’s just that when the state puts a finger in their mouths for these people, they bite off their entire arm to the waist.

Look - and a year later they are all in their original places.

I heard that among the films that have not yet been approved for distribution, there is, for example, a picture shot according to the script of the mentioned Kantor.

In eight years, he dragged 40 thousand buckets of slops, watering the former fatherland, but, come on, he still earns here.

But it would be nice if they just made money!

They make up the entire ruling cinematographic class in Russia.

In the same Russia, where, let me remind you, there is not a single (not a single, damn it!) famous director of the first row (Mikhalkov, Bortko and Shakhnazarov do not offer: they do not film), who supported the special operation.

But those who cursed the military - a wagon and a small trailer for another 100 wagons.

In the end, the situation will turn out like this.

First, they will launch a film with Khamatova.

Because the money was invested, decent people, and she starred in it when she had state awards and supported Putin in the elections.

Next, three more films, suspended for display, are driven into the same already broken window.

And then everyone else.

Well, unless, on principle, they leave some Panin in the basket, and that's it.

And in a year, this entire multi-level gang of professional pacifists will again sit down in their places.

And any hopes for updating the cinematographic building, for another cinema will be in the dust.

Let me rephrase it to be clear.

I don't care what they are, these people.

It worries me that while they are there, there is no one else.

And there are only them.

Just do not write here: "Well, of course, because we have Okhlobystin, Porechenkov and Agureeva."

If you are seriously going to write this, you do not understand what was at stake here.

The point of view of the author may not coincide with the position of the editors.