When the Soyuz MS-1 spac spacecraft exploded from Russia’s Baikonur Cosmodrome, bound for the International Space Station, Vadim Veresagin উৎপাদন CEO of the production and distribution giant Central Partnership বিশ্বাস believes that his company’s potential is similarly stratospheric.
Aboard the ship will be director Klim Shipenko and actor Yulia Peresild, who are on a journey to the station for the 12-day mission scene of the upcoming drama “The Challenge”. Produced in collaboration with public broadcaster Channel One and leading studios Yellow, Black and White, the Russian space agency Roscosmos, its first feature will be distributed through a central partnership.
Vereschagin says the cosmic shoot is a “dream” for him personally, as well as a fitting milestone for a company that is celebrating its fourth century this year. “This project is, for us, the culmination of all that we’ve done 25 years so far,” he said. “You see it, and it’s crazy. It’s something that hasn’t been done before.”
Since its decent start as a television production apparel, the central partnership has evolved into a production and distribution powerhouse. It has produced a string of financed and commercial blockbusters, such as the smash comedy “Son of a Rich” কারীthe highest-grossing Russian film of all time এবং and the WWII epic “T-34” and a major role in the Russian exhibition Art: Last Year’s Distribution Arm Total Box The office boasted about 30% market share. The company’s library contains titles of top US and European studios থেকে since 2009, it is the exclusive distributor of Paramount Pictures in Russia-as well as an extensive catalog of arthrodes and commercial films of the fast-growing domestic industry.
Vereschagin credits the company’s ability to adapt to a changing landscape as a key component of its sustainability. “It is the oldest company in the Russian market,” he notes. “A lot of companies that started at the same time are gone and gone for a while.”
This week Central Partnership CineEurope will take part in Barcelona, for the first time a Russian distributor is presenting its international content at the exhibition Art Confab. Leading on its slate is the proud ambitious title with a touch of signature – epic drama, great production value, story made for the big screen – which has become the company’s calling card.
Highlights include “The World Champion”, a story from a headline centered on the legendary chess match of 1978 between Soviet world champion Anatoly Karpov and the disgruntled Victor Karchano, directed by “T-34” director Alexei Sidorov, and “December,” Sergei Yesenin’s last days are centered around the boyfriend of the famous Russian poet and American dancer Isadora Duncan. “The Challenges” is directly linked to Shipenko, who also directed “The Rich Son.”
Another much anticipated title is “The First Oscar”, inspired by the true story of the making of “Moscow Strikes Back”, winner of the first Academy Award in 1943 for Best Documentary Feature. His accomplishments include “Battle of Sevastopol,” “Jumpman,” and “Zoology.” Also in the early stages of development are the “Wizard of Emerald City”, a CGI-led family fantasy epic, and “Guest from the Future”, the iconic Soviet sci-fi novel “One Hundred Years Ahead,” with “Stalingrad” and “Attack.” “Producers Fedor Bonderchuk, Michael Vrubel and Alexander Andruschenko.
At a time when the number of subscribers to streaming services around the world has increased – not a trend caused by the coronavirus epidemic, but certainly fueled – Veresagin is sure that the future of the show industry is bright, even if it depends on tentpoles and event movies that can lure viewers from the sofa. “That doesn’t mean they’re going to be fantasy, action, sci-fi movies,” he said. “It simply came to our notice then. It’s about the scale of the film, that movie brings emotion to the audience.
While Hollywood studios are increasingly considering hybrid releases of blockbuster titles like “Dunn,” which Warner Bros. has launched day-to-day on its HBO Max streaming service, Veresagin is a staunch supporter of the theatrical model. “We’ve had a lot of conversations about releasing the hybrid this year, and we decided not to,” he says. “We’ll hold the window.”
He acknowledges that “platforms are willing to pay a lot of money for hybrid releases,” a phenomenon that only collected steam during the epidemic, as movie closures and annoying viewers have made it an interesting option for many to watch movies but Vereschagin Also seen as an existentialist struggle that has gone beyond today’s lower limits.
“The long-term problem of going hybrid is that at a certain point in time you’re going to train viewers to be ready to see it on a platform, and that shuts down your exhibition business,” he says. “We are not ready to support it. Dramatic distribution As long as the film exists, so let’s stay that way. ”
Although the coronavirus epidemic was shut down for three months for Russian industry last spring, production of Central Partnership titles was soon on and on. “We had a pipeline running. We continue to produce movies, ”said Vereshagin. “It really helped us to survive this whole epidemic. We had a slate – not just for domestic distribution, but for international distribution. “Even though domestic and global box offices shrunk last year,” we have not only survived, but also increased our revenue, “he added, adding that revenue from international sales increased by 50% during the epidemic.
This has created a significant acceptance since last year for the top of the central partnership. “The first lesson learned is to make sure you still own a large portion of your library. Don’t sell it forever; keep those license agreements short, because you never know when you might need that content,” he says. “We’re lucky that a large portion of our library was found when the epidemic hit and all of a sudden, all the streamers needed that stuff.”
To ensure that the library has stockpiles and the production pipeline is flowing বিশেষ especially when fast-growing domestic streaming services have begun an arms race for Russian talent কেন্দ্রীয় the central partnership has signed several first-look deals with top studios such as Kinoslovo. Which was created by Netflix-era romance “Silver Skates” and genre expert QS Films. It is partnering with Latin American film group BF Films for the psychological horror “Schizophrenic”, marking the first co-production between the two industry giants.
Vereschagin said more international co-productions will come, indicating what lies in the launch of the central partnership over the next 25-year journey. “I think in Russia, we’ve reached the limit of what we can do,” he said. “We are now looking globally. This is our strategy. Russia is home to 140 million people. Another 6 billion people live outside of Russia. This is our audience. ”