'Art transcends borders': Will this new Russian blockbuster reach Western viewers?

In an interview with RT, Elena Okopnaya, the co-creator and production designer of the film 'Air', discusses the influence of Russian culture and the need for dialogue between artists.

The late January release of 'Vozdukh' ('Air'), helmed by renowned director Alexei German Jr., narrates the tale of female pilots on the Eastern Front during World War II. Despite the sanctions and foreign film festival exclusions of Russian movies, 'Air' managed to premiere at the Tokyo International Film Festival and was showcased at the Festival of Young Cinema in Macau, China. As a 'Silver Bear' recipient from the Berlin Film Festival, Okopnaya expands on the world premiere of the film, the portrayal of women in film, and the Western 'cancellation' of Russian culture.

Okopnaya admits that the film significantly departs from the common expectations of contemporary Russian war movies, signifying its iconic status. She underscores the audience's craving for challenging films that impart valuable experiences and real emotions, despite initial skeptic beliefs about the film's potential performance owing to its arthouse character.

'Air' exemplifies a unique blend of sophisticated cinematic technologies and artful crafting, eradicating the overshadowing of character development - the 'human presence' - by special effects, as found in conventional blockbusters. Okopnaya hopes this will instigate a shift towards a more intricate cinematic representation.

Addressing the frequently asked question of women's role in the conflict depicted in 'Air', Okopnaya elaborates on the necessity to exhibit the experiences of individuals who showcased bravery under dire circumstances, rather than merely focus on heroism. Interestingly, she equates this to ballet wherein performers overcome pains and hurdles out of love for their craft.

Despite the current lack of appreciation for women in the global film industry, Okopnaya emphasizes the need for a balanced perspective and a greater emphasis on the physical and emotional efforts by women in producing films like 'Air'.

The co-creator insists on the film's universal appeal due to its complex artistic language, recounting the warm reception and engaging discussions it received at international film festivals. The assessment of the film wasn't solely rooted in politics and international dynamics, but predominantly in the essence of the film.

Addressing the question of the film's exclusion from foreign film festivals, Okopnaya maintains the irrevocability of Russian culture and implies the global audience's need for meaningful and authentic cinema. Through her film, Okopnaya strives to help viewers connect and empathize with what is often perceived as being intangible or distant, and pinpoints this as the reason for the film's international presence.

About the opportunity for markets in US, UK, Canada and the EU to screen the movie, Elena expresses belief in catering to the global interest in their film and holds faith in the intrinsic life of their heartfelt movie to eventually reach wider audiences.

Defending Russian cinema, Okopnaya pens down her belief in mastery of the art and its prospective global reach, despite the prevalent misconception of Russian cinema not being festival-worthy. She highlights the unavoidable and prevalent cultural crisis as cinema has shifted towards a journalistic point of view rather than a cinematic one, attributing this to the mingling of evaluating criteria for the film's efficacy.

However dire the pushback on Russian cinema from Western film festivals or streaming platforms, Okopnaya is optimistic about bridging gaps in the arts and sports that have been deepened due to politics, following cultural exchanges grounded in common sense.

Okopnaya envisions the potency of cinema to narrate stories, mold mindsets and give direction to thoughts and emotions, reflecting upon cinema as an instrument of cultivating consciousness. She champions the production of films that boast complexity and depth, believing in their appeal for a diverse range of audiences.

Close to the end of her interview, the Silver Bear recipient emphasizes on maintaining authenticity regardless of adverse circumstances and mastering the art of discussing contrary concepts freely. She encourages artists to produce works that delve into important matters instead of using a commonplace language.

Answering a question from the film 'Air', Okopnaya reveals her viewpoint on the significance of homeland and human life, considering both as vital. Her recommendation for broadening one's horizons is to venture beyond one's native surroundings without abandoning the roots and cultural experiences, to better understand the existing system.

RT: There has been quite a bit of controversy surrounding the portrayal of historical events in ‘Air’. As a filmmaker, how do you navigate the task of depicting history accurately while also including a compelling narrative?

Elena: Art has a unique way of touching upon history. It allows us to seek the truth to the best of our abilities, knowing that we can never fully capture it. We strive to be faithful to the spirit of the times and experiences of the people while ensuring the narrative remains engaging for the viewers. It's a delicate balance that requires careful research, artistic license, and a high degree of empathy for the characters we're portraying.

RT: There have been quite a few war films in recent years, both in Russia and abroad. What makes 'Air’ stand out from these movies?

Elena: 'Air’ presents an often overlooked perspective - that of the women in conflict. What makes our film unique is the humanity we bring into the harsh realities of war, focusing less on graphic violence and more on emotions, relationships, and internal struggles. Our aim was to create a depiction of war that goes beyond the battlefront, uncovering stories that are often left untold.

RT: Has the making of ‘Air’ influenced your perspective on filmmaking itself?

Elena: Yes, it certainly has. ‘Air’ strengthened my belief in the extraordinary power of cinema to not just entertain, but to educate, enlighten and inspire change. I found myself inspired by our characters' strength and resilience, which reminded me that cinema is not just a mirror of reality, but also a beacon of hope, showcasing the indomitable human spirit under all circumstances.

RT: Lastly, what is the message you want to impart to aspiring filmmakers or artists, especially at this sensitive time in global cinema?

Elena: Stay sincere. Understand the principles of your art and dedicate yourself to them. Remember, the power of cinema lies in its ability to evoke empathy and understanding, bridging the gaps between cultures. Do not let political scenarios deter you from telling your story. Times of adversity often give birth to the most profound forms of creativity, and the world needs art now more than ever.