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      Pressed About Putin, Russian Conductor Quits Bolshoi and French Posts

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      The Bolshoi music director, Tugan Sokhiev, said he was “asked to choose one cultural tradition” over another and denounce President Putin for invading Ukraine.A prominent Russian conductor said on Sunday that he would resign from his positions with two orchestras — at the storied Bolshoi Theater in Moscow and in Toulouse, France — after facing intense pressure to condemn President Vladimir V. Putin of Russia’s invasion of Ukraine.The conductor, Tugan Sokhiev, had faced demands from French officials that he clarify his position on the war before his next appearance with the Orchestre National du Capitole de Toulouse later this month. In his statement on Sunday, in which he said he would “always be against any conflicts,” Mr. Sokhiev said he felt he was being forced to pick between the two ensembles.“I am being asked to choose one cultural tradition over” another, Mr. Sokhiev said in the statement. “I am being asked to choose one artist over the other.”Both in Toulouse and at the Bolshoi, he wrote, he regularly invited Ukrainian artists. “We never even thought about our nationalities,” he wrote. “We were enjoying making music together.”Officials in Toulouse, where Mr. Sokhiev has served as music director of the orchestra since 2008, said they were saddened by his decision. They denied pressuring him into picking between Russia and France.“We never expected or, worse, demanded that Tugan make a choice between his native country and his beloved city of Toulouse,” the mayor of Toulouse, Jean-Luc Moudenc, said in a statement. “It wouldn’t have made any sense. However, it was unthinkable to imagine that he would remain silent in the face of the war situation, both vis-à-vis the musicians and the public and the community.”In his statement, Mr. Sokhiev said that “being forced to face the impossible option of choosing between my beloved Russian and beloved French musicians I have decided to resign from my positions” at both the Bolshoi in Moscow and Orchestre National du Capitole de Toulouse “with immediate effect.”Mr. Sokhiev’s decision comes during a tense moment in the performing arts, as some cultural institutions are putting pressure on Russian artists to distance themselves from the war and Mr. Putin. Some artists have been caught in the middle, eager to maintain their international careers but worried they could face consequences at home for denouncing Mr. Putin.Some institutions in the West have demanded that Russian artists issue statements against Mr. Putin as a prerequisite for performing. Others are examining social media posts to ensure performers have not made contentious statements about the war. Several organizations have dropped Russian works from their programs, including the Polish National Opera, which recently canceled a production of Mussorgsky’s “Boris Godunov.”Mr. Sokhiev, who was born in 1977 in the Russian city of Vladikavkaz, near the border with Georgia, and was the principal conductor of the Deutsches Symphonie-Orchester in Berlin until 2016, is as of now still scheduled to appear with the New York Philharmonic starting on March 31.Mr. Sokhiev declined a request for comment from The New York Times. The New York Philharmonic did not immediately comment on his statement, in which he said he was concerned that Russian artists were facing discrimination.He wrote in the statement that he could not bear “to witness how my fellow colleagues, artists, actors, singers, dancers, directors are being menaced, treated disrespectfully and being victims of so called ‘cancel culture.’”“We musicians,” he added, “are the ambassadors of peace.” More

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      Russian Filmmakers and Other Artists Face Boycotts Over Ukraine

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      A Russian moviemaker with Ukrainian roots and relatives in Kyiv denounced the war. The Glasgow Film Festival dropped his film anyway.The Russian filmmaker Kirill Sokolov has spent the past week distraught at the horror unfolding in Ukraine. Half his family is Ukrainian, he said in a telephone interview, and as a child he spent summers there, staying with his grandparents.His maternal grandmother was still living in Kyiv, he said, “hiding from bombs in a bunker.”Since Russia’s invasion began, Mr. Sokolov said he had signed two online petitions calling for an end to the war, an act that carries a risk in Russia, where thousands have been arrested for protesting the conflict, and some have reportedly lost their jobs.Yet despite his antiwar stance, Mr. Sokolov on Monday learned that the Glasgow Film Festival in Scotland had dropped his latest movie, “No Looking Back.”A spokeswoman for the festival said in an email that Mr. Sokolov’s film — a comedy about a mother and daughter trying to kill each other — had received Russian state funding. The decision to exclude the movie was not a reflection on the filmmaker himself, she said, but it would be “inappropriate to proceed as normal with the screenings while the assault on the Ukrainian people continues.”As the war in Ukraine enters its second week, cultural institutions worldwide are grappling with the question of whether to boycott Russian artists, in debates reminiscent of those around South Africa during the apartheid era, and calls by musicians, writers and artists to shun Israel in support of the Palestinian people.Kirill Sokolov at a 2021 Moscow event for Russian filmmakers seeking state funding for their projects.Mikhail Tereshchenko/TASS, via Getty ImagesMost attention has so far focused on figures close to President Vladimir V. Putin of Russia, including the conductor Valery Gergiev and the diva Anna Netrebko, both of whom lost engagements at concert halls and opera houses this week. On Tuesday, the Munich Philharmonic fired Mr. Gergiev as its chief conductor.But measures are also being taken against Russians with no apparent ties to their leader. In Britain — where a government minister this week published an opinion essay calling culture “the third front in the Ukrainian war” — a Russian state ballet company from Siberia and an opera troupe had multiple performances canceled.On Monday, the Glasgow Film Festival also dropped “The Execution,” by Lado Kvataniya, a Russian director whose work has been censored in Russia and who last week posted online about his opposition to both the war and Mr. Putin. (A representative for Mr. Kvataniya declined to comment for this article.)Festival organizers and movie executives have been considering protest actions since shortly after Russia’s invasion last week, when the Ukrainian Film Academy launched an online petition calling “for a boycott of Russian cinematography.”The petition, which had over 8,200 signatures on Friday, says screenings of Russian movies at festivals create “the illusion of Russia’s involvement in the values of the civilized world.” It also urged distributors not to work in Russia. Several Hollywood studios, including Disney, have paused releases there, and a Netflix spokeswoman said Friday that the streaming service had halted all future projects in Russia, including acquisitions.Mr. Sokolov, the Russian director, said he accepted the Glasgow festival’s decision, though he found it “really strange.” Many Russian filmmakers are critical of Russian society and politics, he said; if festivals outside Russia stop showing their work, “it’s like they shut our voice down,” he added.“Probably 99 percent of Russian movies” receive funding from the Russian state, Mr. Sokolov said. “It’s very difficult to make a movie here without government sponsorship.” That includes many that are veiled — or even unveiled — critiques of life under Mr. Putin.Several small film festivals have acted on the Ukraine Film Academy’s call, including the Black Nights Film Festival in Estonia and the Vilnius International Film Festival in Lithuania, which on Monday dropped five movies from its program. One of them is the award-winning “Compartment No. 6,” by the Finnish director Juho Kuosmanen, which also received Russian funding. Mr. Kuosmanen said in a telephone interview that he accepted state investment in his Russia-set movie to ease bureaucratic difficulties. He understood the festival’s decision, and said he was “happy if my movie can be used in this fight.”The Cannes Film Festival said it would ban official Russian delegations, but would accept movies from Russian filmmakers.Pool photo by Kate GreenThe world’s largest film festivals are taking a different tack. On Tuesday, the Cannes Film Festival in France said in a statement that it would no longer “welcome official Russian delegations, nor accept the presence of anyone linked to the Russian government.” This would mean Russia’s film agency could no longer have a pavilion at the event in which to host parties and receptions. A Cannes spokeswoman said in an email that this would not mean a ban on Russian filmmakers.On Wednesday, the Venice Film Festival followed, saying it would not accept “persons tied in any capacity to the Russian government” at its events. It added that it would welcome “those who oppose the current regime in Russia.”Russia-Ukraine War: Key Things to KnowCard 1 of 4A humanitarian crisis. More

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      Too Close to Putin? Institutions Vet Artists, Uncomfortably.

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      Russia’s invasion of Ukraine has led arts organizations to reconsider who performs, forcing them to confront questions about free speech and policing political views.In Canada, an acclaimed 20-year-old Russian pianist’s concert was canceled amid concerns about his silence on the invasion of Ukraine. The music director of an orchestra in Toulouse, France — who is also the chief conductor at the Bolshoi Theater in Moscow — was instructed to clarify his position on the war before his next appearance. In New York, Anna Netrebko, one of opera’s biggest stars, saw her reign at the Metropolitan Opera end after she declined to denounce President Vladimir V. Putin of Russia.As global condemnation of Russia’s attack on Ukraine grows, cultural institutions have moved with surprising speed to put pressure on Russian artists to distance themselves from Mr. Putin, a collision of art and politics that is forcing organizations to confront questions about free speech and whether they should be policing artists’ views.Institutions are demanding that artists who have supported Mr. Putin in the past issue clear condemnations of the Russian president and his invasion as a prerequisite for performing. Others are checking their rosters and poring over social media posts to ensure Russian performers have not made contentious statements about the war. The Polish National Opera has gone so far as to drop a production of Mussorgsky’s “Boris Godunov,” one of the greatest Russian operas, to express “solidarity with the people of Ukraine.”The tensions pose a dilemma for cultural institutions and those who support them. Many have long tried to stay above the fray of current events, and have a deep belief in the role the arts can play in bridging divides. Now arts administrators, who have scant geopolitical expertise, find themselves in the midst of one of the most politically charged issues in recent decades, with little in the way of experience to draw on.“We’re facing a totally new situation,” Andreas Homoki, the artistic director of the Zurich Opera, said. “Politics was never on our mind like this before.”The new scrutiny of Russian artists threatens to upend decades of cultural exchange that endured even during the depths of the Cold War, when the Soviet Union and the West sent artists back and forth amid fears of nuclear war. The Russian maestro Valery Gergiev, who has long been close to Mr. Putin, was fired as chief conductor of the Munich Philharmonic and saw his international engagements dry up. The Hermitage Amsterdam, an art museum, broke ties with the Hermitage in St. Petersburg. The Bolshoi Ballet lost engagements in London and Madrid.Citing that Cold War tradition, the Cliburn — a foundation in Fort Worth named for the American pianist Van Cliburn, whose victory at the International Tchaikovsky Competition in Moscow in 1958 was seen as a sign that art could transcend political differences — announced that it would welcome 15 Russian-born pianists to audition next week for the 2022 Cliburn Competition, noting that they are not officials of their government.Jacques Marquis, the president and chief executive of the Cliburn, said the organization felt it was important to speak out as it watched Russian artists come under scrutiny. “We can help the world by standing our ground and focusing on the music and on the artists,” he said.The American pianist Van Cliburn’s victory at the International Tchaikovsky Competition in Moscow in 1958 was seen as a sign, at the height of the Cold War, that art could transcend political differences.The Van Cliburn FoundationEven as many institutions are eager to show support for Ukraine, and to distance themselves from artists who embrace Mr. Putin, they are uncomfortable with trying to vet the views of performers — and worry that Russian artists, who must often rely on the support of the state for their careers to thrive at home, could face reprisals if forced to publicly disavow the Kremlin.“You can’t just put everybody under general suspicion now,” said Alexander Neef, the director of the Paris Opera. “You can’t demand declarations of allegiance or condemnations of what’s going on.”The situation is tense and fast moving. Leaders of organizations are facing pressure from donors, board members and audiences, not to mention waves of anger on social media, where campaigns to cancel several Russian artists have rapidly gained traction.Institutions are also grappling with what to do about the Russians who are among their most important donors. On Wednesday the Guggenheim Museum announced that Vladimir O. Potanin, one of Russia’s richest men and a major benefactor, was stepping down as one of its trustees.Leila Getz, the founder and artistic director of a recital series in Vancouver, Canada, canceled an appearance by the Russian pianist Alexander Malofeev planned for August. Mr. Malofeev, 20, had not made any statements on the war, nor did he have any known ties to Mr. Putin. But Ms. Getz issued a statement saying she could not “in good conscience present a concert by any Russian artist at this moment in time unless they are prepared to speak out publicly against this war.”Soon she received dozens of messages. Some accused her of overstepping and demanded that Mr. Malofeev be allowed to perform.In an interview, Ms. Getz defended her decision, saying she was worried about the potential for protests. She said she had not asked Mr. Malofeev to condemn the war and that she was concerned for his safety.“The first things that came to my mind were, why would I want to bring a 20-year-old Russian pianist to Vancouver and have him faced with protests and people misbehaving inside the concert hall and hooting and screaming and hollering?” she said.Mr. Malofeev declined to comment. In a statement posted on Facebook, he said, “The truth is that every Russian will feel guilty for decades because of the terrible and bloody decision that none of us could influence and predict.”On Friday the Annapolis Symphony in Maryland announced that it would replace the Russian violinist Vadim Repin, who had been scheduled to play a Shostakovich concerto in upcoming concerts, “out of respect to Repin’s apolitical stance and concerns for the safety of himself and his family.”“We don’t want to put him in an uncomfortable, even impossible position,” the orchestra’s executive director, Edgar Herrera, said in a statement. In an interview, Mr. Herrera said that there had been threats to disrupt Mr. Repin’s performances and that the symphony was concerned that hosting a Russian artist could hurt its image and alienate donors.Deciding which artists are too close to Mr. Putin is not easy. Mr. Gergiev, the longtime general and artistic director of the Mariinsky Theater in St. Petersburg, has a relationship with Mr. Putin that goes back decades, and he has often supported the government’s policies. Mr. Gergiev led concerts in 2008 in South Ossetia, a breakaway region of Georgia that was aided by Russian troops, and at the Syrian site of Palmyra in 2016 after it was retaken by Syrian and Russian forces.Ms. Netrebko, the star soprano, issued a statement opposing the war in Ukraine but withdrew from performing after declining to distance herself from Mr. Putin, whom she has expressed support for in the past. The war brought renewed attention to a photograph from 2014 of her holding a flag used by Russian-backed separatists in Ukraine.The pianist Evgeny Kissin, who was born in Moscow, said he believed that “supporters of a criminal war waged by a dictator and a mass murderer should have no place on the concert stages of the civilized world.”Milan Bures for The New York TimesThe eminent pianist Evgeny Kissin, who was born in Moscow and is now based in Prague, said that while many artists in Russia needed to support Mr. Putin to some degree because their institutions relied on state aid, others went too far. He said he believed that “supporters of a criminal war waged by a dictator and a mass murderer should have no place on the concert stages of the civilized world.”He added that while he thought it was natural for Western institutions to ask Mr. Putin’s most prominent supporters to speak out against the war, he did not think it should be required of artists who had not been particularly political in the past.How the Ukraine War Is Affecting the Cultural WorldCard 1 of 5Anna Netrebko. More

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      DakhaBrakha, a Band From Kyiv, Saw a War Coming

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      “We can’t make any music,” the singer and cellist Nina Garenetska said. “This is our life now: An air raid siren goes off.”For years, the Ukrainian band DakhaBrakha has ended its shows chanting, “Stop Putin! No war!” What they had protested has now come to pass.DakhaBrakha, based in Kyiv, has long served as ambassadors for Ukrainian music and culture, at once preserving and transforming them. The group gives the polyphonic harmonies of Ukrainian traditional songs a contemporary, internationalist makeover, using African, Australian, Arabic, Indian and Russian instrumentation alongside punk, scatting, hip-hop, trance and dance influences. Their appearance has always been equally striking, especially for the three women in the quartet: towering fur hats, long matching dresses and wildly colorful Iris Apfel-style jewelry.“DhakhaBrakha often sings about love, heartbreak or the seasons, but as stand-in for bigger things — sometimes political things — and how they do it expands upon Ukrainian traditional music that uses metaphor in this way,” said Maria Sonevytsky, an associate professor of anthropology and music at Bard College, in New York, who devoted a chapter in a recent book to DakhaBrakha and gave a public lecture Wednesday on “Understanding the War on Ukraine Through Its Musical Culture.”The singer and cellist Nina Garenetska, the singer and multi-instrumentalist Marko Halanevych, the singer and multi-instrumentalist Iryna Kovalenko, and the singer and percussionist Olena Tsybulska came together in 2004 as a house band for the experimental theater company Dakh in Kyiv. The three women had studied as ethnomusicologists, and they had delved into Ukraine’s varied regional styles. About eight years ago, the band’s concerts began integrating videos of the violence near Kyiv’s Maidan Nezalezhnosti (“Independence Square”), when paramilitary police in Kyiv cracked down on people protesting after then-President Viktor Yanukovych broke a promise to sign political and free-trade agreements with the European Union, tilting his nation toward Russia instead. The Yanukovych government was ousted; later in 2014, Russia annexed Crimea.In the years since, as DakhaBrakha has gone on to tour the world many times over, the band has turned up the volume on its political messaging and activism.DakhaBrakha first performed in North America in 2013, in Toronto. It came to the United States a few months later, and has since performed at Globalfest in New York, Bonnaroo in Tennessee and twice as part of NPR’s Tiny Desk concert series. On Friday and Saturday, the San Francisco Jazz Festival will offer two free online broadcasts of the DakhaBrakha concert that was filmed at the SFJazz Center on July 18, 2018, and is encouraging viewers to donate to a fund to support the band.In a video chat on Tuesday, Halanevych and Garenetska spoke with The New York Times through translators alongside their longtime artistic manager, Iryna Gorban, about their last shows before the war began and their hopes for the future. These are edited excerpts from the conversation.“The risk is that Ukrainians will disappear as a nation and that the Ukrainian culture will disappear,” the singer and multi-instrumentalist Marko Halanevych said.Carlos Gonzalez for The New York TimesMarko, I can see you are pulled over by the side of the road. Have you left Kyiv?HALANEVYCH Yes. It’s a total mess on the Ukrainian roads. I have with me my wife, also a musician, for Dakh Daughters, and two beautiful girls, 4 and 12. I am trying to save their lives by moving to a safer place near my relatives in the west — far from the border with Russia and Belarus. Not necessarily safe. My parents decided to stay. They said they would defend our house. [Laughs] I couldn’t persuade them. And I haven’t told my family yet, but I will be going back to Kyiv, to offer my help anywhere where it is needed, maybe in local defense.And you, Nina?GARENETSKA I am in our apartment with my son, who is a year and 10 months old, my husband and my mother, in Kyiv.How has it been, staying in Kyiv?GARENETSKA We can’t make any music. Because this is our life now: An air raid siren goes off — you go downstairs, you wait, you go back up. And this is nonstop. When it is too dangerous, we will run to the bomb shelter.Tell me about your last concert.GARENETSKA During our last concert, I was tearing up all the time with a weird mix: fear, love, but also hope and faith that everything will be OK. We had a small tour of five or six concerts in Europe — Ukraine, Slovenia, Prague, Oslo. From Oslo we flew to Zaporizhzhya [in southeastern Ukraine], and we came back to Kyiv literally for the day. The next day, we were going to continue touring, but we didn’t go because at 5 a.m. Thursday, the war started.And since then, what has DakhaBrakha heard from your fan base in Ukraine?GORBAN To share their emotions, many people here are posting on social media the last picture or video they took just before the war started. And we saw that many are from DakhaBrakha’s last concerts, where, as usual, DakhaBrakha says “Stop Putin!” and “No War!” and “Free Ukraine!” — and of course people are really in solidarity with this.How and when did DakhaBrakha decide to bring more overt statements about the conflict with Russia to your concerts?HALANEVYCH At a certain moment, we understood that this threat needed to be talked about more to send a stronger message to the world. And we started speaking out about how Ukraine had decided once and for all to leave Russia’s orbit and separate absolutely. We began saying “Stop Putin!” We showed the videos of the events at Maidan, we had posters, and since then, we say those mottos at every concert. But we were not heard.Musically, have your concerts addressed this conflict about Ukrainian sovereignty?GORBAN DakhaBrakha has produced songs from many different regions of Ukraine, and we tried to unite our country in this way, through music. At our concerts, during the last year, we played at each concert a song for people who defend our freedom. It is a very special moment for people; it makes them stand up and feel brave and confident. It makes you believe in our nation. We also have a special requiem devoted to those who gave their lives in this struggle. We almost never play this live, only very special occasions.What is at risk if this war lasts, culturally speaking?HALANEVYCH The risk is that Ukrainians will disappear as a nation and that the Ukrainian culture will disappear. For 300 years, Russia did everything for Ukrainian culture to disappear. Also, in recent years, the last 30 and especially the last eight, we Ukrainians feel what it is like to be a free people.How the Ukraine War Is Affecting the Cultural WorldCard 1 of 5Anna Netrebko. More

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      Anna Netrebko, Diva With Putin Ties, Is Out at the Metropolitan Opera

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      The Met said she would not appear for two seasons, and possibly more, after declining to comply with its demand that she repudiate her public support for Putin.Anna Netrebko, the superstar Russian soprano, will no longer appear at the Metropolitan Opera this season or next after failing to comply with the company’s demand that she distance herself from President Vladimir V. Putin of Russia as he wages war on Ukraine.The end of Ms. Netrebko’s engagements, which the Met announced on Thursday, came after the opera company, citing Russia’s invasion of Ukraine, said it would no longer hire artists who support Mr. Putin. While Ms. Netrebko has in recent days issued statements critical of the war, she has remained silent on the Russian president, whose re-election she has in the past endorsed.“It is a great artistic loss for the Met and for opera,” Peter Gelb, the company’s general manager, said in a statement. “Anna is one of the greatest singers in Met history, but with Putin killing innocent victims in Ukraine there was no way forward.”Ms. Netrebko did not immediately respond to a request for comment through her representatives.While the announcement on Thursday encompassed only two seasons, Mr. Gelb said in an interview on Thursday that it seemed unlikely Ms. Netrebko would ever come back to sing with the company.“It’s hard to imagine a scenario in which she will return to the Met,” he said.Ms. Netrebko’s break with the Met, where she has sung nearly 200 performances over the past 20 years and became the reigning prima donna, was a stunning turnaround for one of the world’s biggest opera stars. She has expressed support for Mr. Putin at times over the years, and in 2014 she was photographed holding a flag used by Russian-backed separatists in Ukraine.Her departure from America’s largest performing arts institution came amid a broader backlash against some Russian artists for their ties to Mr. Putin — one that has raised difficult questions about how far arts organizations should go in requiring public declarations from artists.Earlier this week, Valery Gergiev, the star Russian maestro who has long been closely associated with Mr. Putin, was removed from his post as chief conductor of the Munich Philharmonic after he refused to denounce the invasion of Ukraine.Mr. Gergiev has publicly supported Mr. Putin, including with concerts at home and abroad. In 2008 he led a concert in South Ossetia, a breakaway region of Georgia, and in 2016 led another in Palmyra in Syria, after it was retaken by Syrian and Russian forces. His international performances have all but dried up since Russia invaded Ukraine.As criticism of Ms. Netrebko’s ties to Mr. Putin grew, she abruptly canceled appearances at the Teatro alla Scala in Milan, the Zurich Opera and the Elbphilharmonie in Hamburg, Germany. Her public statements have alternated between condemning the war and saying it was wrong to ask Russian artists to denounce their government.On Tuesday, Ms. Netrebko posted a picture on Instagram of herself with Mr. Gergiev, smiling after a concert. Then, in a separate post, she wrote: “As I have said, I am opposed to this senseless war of aggression and I am calling on Russia to end this war right now, to save all of us. We need peace right now.” Both posts were later deleted.How the Ukraine War Is Affecting the Cultural WorldCard 1 of 5Anna Netrebko. More

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      Gérard Depardieu, Friend of Putin, Denounces ‘Fratricidal War’

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      “Stop the weapons and negotiate,” the French actor and staunch Russia ally told a news agency.For the past decade, the French actor Gérard Depardieu has been one of the closest Western celebrities to President Vladimir V. Putin of Russia.In 2013, the movie star became a Russian citizen to avoid taxes in France. In a letter to Russian state television at the time, Mr. Depardieu said, “I love your president, Vladimir Putin, very much and it’s mutual.” Mr. Putin awarded Mr. Depardieu Russian citizenship at a special dinner that year.As tensions between Russia and Ukraine were growing last month, Mr. Depardieu even went on French television to say, “Leave Vladimir alone.”Now, Mr. Depardieu has taken a surprising step toward ruining that cherished friendship when, on Tuesday, the actor denounced the war in Ukraine in an interview with Agence France-Presse, the French news service. “Russia and Ukraine have always been brother countries,” Mr. Depardieu said. “I am against this fratricidal war,” he added. “I say, ‘Stop the weapons and negotiate.’”Best known for 1990s movies including “Cyrano de Bergerac” and “Green Card,” Mr. Depardieu later posted part of his statement on Instagram. His agent did not respond to an interview request.Mr. Depardieu’s comments are unlikely to change many Ukrainians’ views of the actor. In 2015, the Ukrainian government included Mr. Depardieu on a list of cultural figures who were a threat to the country’s security. It did not state a reason, but Ukrainian newspapers linked the decision to comments Mr. Depardieu had made questioning Ukraine’s independence. In 2014, at the Baltic Pearl movie festival in Latvia, Mr. Depardieu told reporters that he loved both Russia and “Ukraine, which is part of Russia.”The French tax exile is not the only famous actor to have taken Russian citizenship: Steven Seagal, the American-born star of action movies like “Under Siege,” was naturalized in 2016. On Thursday, Mr. Seagal’s representatives did not immediately respond to a request to discuss the actor’s views on the war in Ukraine.In recent years, Mr. Depardieu has been in the news for controversies aside from his Russia connections. In 2018, French prosecutors investigated rape allegations against him, but dropped the case the following year because of a lack of evidence. More

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      Dramatizing the Chernobyl Disaster, for Its Survivors

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      Unlike the recent HBO series, the Russian-language feature film “Chernobyl 1986,” now on Netflix, explores the human toll of the power plant explosion.CHERNOBYL, Ukraine — In April 1986, Alexander Rodnyansky was a young documentary filmmaker living in Kyiv. When the fourth reactor of the Chernobyl Nuclear Power Station exploded 60 miles north of the Ukrainian capital, most citizens of the Soviet Union were not informed. It took the government 18 days to share exactly what had happened, but Rodnyansky had been filming the disaster zone from the day after the catastrophe.What he witnessed in Chernobyl after the explosion — and the Soviet government’s bungled response to it — has obsessed him ever since.“It was probably one of the most important events of Soviet history and my own personal history,” Rodnyansky said in a telephone interview.Rodnyansky went on to become an award-winning director, producer and television executive. His career-long ambition to make a feature film about Chernobyl came to pass this year with the release of “Chernobyl 1986,” a historical drama that he was adamant should focus on the lives of the people, known as “liquidators,” who prevented the fire from spreading to the other reactors and thus avoided an even bigger disaster.An aerial view of the Chernobyl plant on April 26, 1986, showing damage from the explosion and fire.Volodymyr Repik/Associated Press“Chernobyl 1986” emphasizes the role of the individual, people’s personal heroism and dedication to a higher cause.Non-Stop ProductionThe film, which recently arrived on Netflix in the U.S., comes on the heels of the 2019 critically acclaimed HBO mini-series “Chernobyl,” which critics praised for its focus on the failures of the Soviet system.“Chernobyl 1986,” which was partly funded by the Russian state, has received some criticism within Russia and Ukraine for not emphasizing the government missteps to the same extent. But Rodnyansky said that doing so was never his intention. When he watched the HBO series — twice — his film was already in production, and he wanted it to focus on the people directly affected by the disaster.“For years people spoke about what really happened there, especially after the Soviet Union broke up and the media were absolutely free,” Rodnyansky said, adding that most people understand that what had happened at Chernobyl was a failure of the Soviet system. Everyone involved in the disaster was a victim, he said — “they were hostages of that system.”Whereas the HBO approach was to dissect systemic flaws in the Soviet system that led to the disaster, the Russian film does something familiar to the country’s cultural tradition: emphasizing the role of the individual, people’s personal heroism and dedication to a higher cause.Before the disaster, Rodnyansky had been “living quite a stable life, and then something happened that made me think about the system which doesn’t allow people to know about the disaster that can kill hundreds of thousands — that is not a fair system,” he said, referring to the government’s silence immediately after the explosion.Thirty-five years later, Rodnyansky said it was clear that the Chernobyl explosion was one of the major events that led to the breakup of the Soviet Union. It “changed the perception of life, the system and the country,” he said, making “many Ukrainians, if not the majority, think about the responsibility of Moscow and the need for Ukraine to be independent.”Today, the power plant site has fewer than 2,000 workers who maintain a giant sarcophagus placed over the site to ensure that no nuclear waste is released. This month, Ukraine will celebrate the 30th anniversary of its independence from the Soviet Union. The anniversary comes as the country tries to protect itself against Russia after Moscow’s 2014 annexation of Crimea and its support for separatist militants in Ukraine’s east.Although making this film had special resonance for Rodnyansky, he has taken on epic historical films before: He produced the 2013 movie “Stalingrad,” a love story set in the World War II battle of the same name, as well as “Leviathan,” which won best screenplay in Cannes in 2014.In 2015, he got the script for “Chernobyl 1986” and sent it to Danila Kozlovsky, a prominent director and actor who was then on the set of the film “Vikings.”The film’s Danila Kozlovsky, center, said that “it was important not to make just another pseudo-documentary feature film.” Non-Stop ProductionOlga (Oksana Akinshina) and Aleksei (Danila Kozlovsky) in “Chernobyl 1986.”Non-Stop ProductionKozlovsky, who was born the year before the nuclear disaster, was initially dismissive. But he said in a telephone interview that the more he read the script, “the more I understood that this was an incredible event that influenced the history of our country, which is still a rather complex topic.”In the film, he plays the protagonist, Aleksei, a firefighter and bon vivant. Upon encountering a former girlfriend in Pripyat, where most people working in the Chernobyl plant lived, Aleksei finds out that he has a 10-year-old son. Though he is interested in his son and ex-partner, he makes promises he doesn’t keep until he and his fellow firefighters are thrust into the horror and devastation of the explosion.“For me it was important not to make just another pseudo-documentary feature film,” the actor said, but to tell the story of “how this catastrophe burst into the life of an ordinary family.”Kozlovsky said he had spent a year meeting former liquidators and people displaced from the Chernobyl region to prepare for the role. In a sign of the political change in the former Soviet state since the disaster, Kozlovsky was unable to visit the protected 1,000-square-mile Chernobyl exclusion zone, where the reactors and the abandoned city of Pripyat are, he said, because Russian men of military age are restricted from entering Ukraine amid the countries’ ongoing conflict.The movie, which is dedicated to the liquidators, has struck a chord for some people who survived the efforts to prevent further explosions and then to clean up the radiation-affected area. An estimated 240,000 people were involved in the cleanup in 1986 and 1987, according to the World Health Organization.Oleg Ivanovich Genrikh was one of those people. He was working in the fourth reactor when it exploded, and today he regularly appears in documentaries and speaks to student groups to ensure that younger people understand the gravity of what happened.Now 62, he said he was pleased that the new Russian-made drama explored the disaster through the lens of the experience of one of the people to arrive at the catastrophe.Oleg Ivanovic Genrikh, who was working on the fourth reactor when it exploded, in front of the monument to “liquidators” in Chernobyl.“What is important is that the film shows the fate of a person who showed his love for and his dedication to his profession,” he said in a telephone interview, remembering the way he fought to contain the fires not only because of the environmental crisis that could result, but also because his wife and two young daughters were living nearby.“I know for sure that that night we did everything so that our city, which was three kilometers from our station, would be protected,” he said. “And we understood that our families, our loved ones, our children, were at risk.”Ivan Nechepurenko More