Witch hunt in Russian cinema for criticizing Stalinism and war
It has always been said that it is one of the most challenging classics to adapt for the silver screen. However, this time around, the process is proving to be quite excruciating. The Master and Margarita, a renowned Russian novel of the 20th century, has made a comeback in theaters thanks to the Russian-American filmmaker Mikhail Lockshin. Yet, it has stirred up quite a scandal among the patriotic brass.
The film, based on Mikhail Bulgakov’s novel, was released in January to rave reviews from audiences and achieved tremendous success at the box office. Despite its positive reception, director Lokshin is currently facing turbulent times as he’s being accused of spreading “lies” about the Russian army and labeled as a Russophobe. The authorities are even considering taking him to court and revoking all his financial support.
The story is set in the 1930s, when Moscow becomes the setting for Satan’s visit in disguise. With talking cats, spineless bureaucrats, and witches, the narrative has a special resonance in present-day Russia, known for its repression and patriotism. The film shines a light on the secret agents of the feared NKVD and exposes the repugnant nature of the Soviet elites, who, through their conformity and hypocrisy, maintained the Stalinist dictatorship, much like the creatures of Putinism contribute to the current regime.
Provoked by these revelations, propagandists scoured Lokshin’s social media posts in search of support for Ukraine. They discovered that he had even dared to advocate for possible compensation and spread investigations regarding Bucha. Armed with this ammunition, they have branded him a traitor to the country and criticized the allocation of public funds to a pacifist director for the film.
One by one, the defenders of the official narrative express their shock and awe, even though some confess they haven’t actually seen the film. Journalist Andrei Medvedev described it as “masochism” that the State funds the activities of those who, to put it mildly, don’t bring much benefit to the country. State propagandist Tigran Keosayan has gone so far as to advocate for criminal charges against Lockshin, and his cancellation process is already underway.
The increasing repression in Russia, where any criticism of the war comes at a great cost, has sparked a debate within Putinism. While some regret the severity of certain sanctions, they seek to compensate by applying even stronger punishment or further repression. “Some people receive a couple of years in prison for a mere phrase on a social network, while others are granted billions of dollars from the state budget to make films,” laments blogger Elena Yakimchuk, particularly appalled by a scene in the film depicting the skyline of Stalinist Moscow engulfed in flames. “That same Moscow that defeated all the fascists,” she mourns.
Activists have also demanded an investigation into Lokshin’s alleged fundraising efforts for the Armed Forces of Ukraine. So far, they only have a few online texts from Lokshin expressing support for Ukrainian directors during the war, specifically mentioning Babylon 13, a collective of Ukrainian documentary filmmakers formed during the Maidan uprisings.
Trofim Tatarenkov, a host for Russian state radio Sputnik — despite admitting he hasn’t seen Lockshin’s film — has gone as far as to label the filmmaker as “scum” and nostalgically reminisced about how “enemies of the people” were executed during the Stalinist era.