Screenwriter Oleg Malovichko has criticised proposals for forced licensing of shadow movie screenings in Russian cinemas, arguing the mechanism will fail to work. Speaking to National News Service, the writer behind major Russian blockbusters stated that rights holders are unlikely to consent to compulsory distribution schemes.
The proposal was put forward by Russian presidential adviser Elena Yampolskaya, who urged officials to address unauthorized film distribution by adopting legislation similar to laws enacted in Belarus, according to Russian newspaper Vedomosti. The Belarusian system permits the commercial display of copyrighted material without authorization from rights owners, provided compulsory fee payments are collected.
Malovichko expressed deep skepticism over whether compulsory licensing can function effectively without international studio cooperation. He stated that while he supports regulatory control when rules are clear, oversight must not become totalizing. He questioned whether copyright holders would even be informed of unauthorized screenings, emphasizing that any long-term system depends entirely on the position of the rights owners.
Russian movie theatres have increasingly relied on shadow distribution arrangements following the departure of Western entertainment companies from the domestic market. Screenwriters such as Malovichko, who co-wrote hit films including Attraction, Ice, and Union of Salvation, have emerged as prominent industry voices in ongoing debates over film regulation and theatrical exhibition survival.
Impact on theatrical exhibition
Addressing the operational challenges facing theatres, Malovichko warned that restricting foreign films completely would severely disrupt Russian cinema chains. He noted that domestic films might enjoy a short-term boost due to reduced competition and an increase in available showtimes. However, he stressed that Russian cinemas remain fundamentally dependent on global film releases to sustain their business models.
Malovichko explained that when global content expands the nation's theatrical infrastructure, domestic productions benefit by drawing larger overall audiences. He warned that Russian film releases alone cannot generate sufficient revenue to maintain the current number of movie theatres operating across the country.
Economic harm and content concerns
Responding to claims surrounding foreign film influences, Malovichko dismissed suggestions that imported blockbusters act as ideological threats. He stated that he could barely recall recent movies promoting dangerous ideas, noting that mainstream commercial blockbusters aimed at broad audiences typically rely on archetypal, universal human values.
Instead of ideological risks, Malovichko argued that the primary danger lies in the financial damage caused by unlicensed film distribution. He described shadow rentals as inherently non-transparent and urged authorities to evaluate the situation strictly through an economic lens rather than a political one.
Rising shadow box office revenues
Financial figures highlight the significant scale of unauthorized film exhibition in Russia. The total turnover of Russian cinemas reached 35.2 billion rubles during the first half of 2026, with unofficial screenings generating 4.1 billion rubles of that total.
The shadow box office revenue represents an increase of 1.2 billion rubles compared to figures recorded in 2024. Alexey Voronkov, chairman of the Association of Cinema Owners, told National News Service that domestic theatres currently display only 10 percent of the foreign content shown abroad, but remain heavily reliant on international titles to fill screening schedules during off-season periods.
