A special international film industry program was held in Yekaterinburg as part of the International Creative Industries Festival.
On 26 August, film professionals from Russia, South Korea, India, China, Nepal and Türkiye came together for the session titled “The Future of Cinema Is in the Regions.”
The program brought together producers, directors and international distributors to discuss the future of regional film production, the international potential of Russian cinema and the development of distribution relationships across different markets.
A dedicated business matchmaking format also connected filmmakers with international distributors.
This structure reflects a broader transformation in the creative industries, which are increasingly being treated not only as cultural sectors, but also as economic and export-oriented industries.
Cinema Is No Longer Only a Cultural Sector
One of the main messages of the event was the growing economic importance of cinema.
Andrey Antipov, Minister of Economy, Investment and Territorial Development of the Sverdlovsk Region, emphasized that cinema is becoming a serious economic sector capable of generating high added value, creating jobs and increasing revenues.
He also noted that supporting creative industries is one of the priorities of the regional government and that Ural cinema has the potential to strengthen its position not only culturally, but economically as well.
This approach reflects a wider transformation in the global creative economy.
Film production today is not simply about creating content for cinema screens. A film can also generate value through distribution, licensing, digital platforms, international sales, location-based economic activity and creative employment.
An Old Cinema Becomes a New Film Industry Platform
The venue itself carried symbolic meaning.
The program took place at Salyut, formerly one of Yekaterinburg’s oldest cinemas and now operating as a city youth cluster.
Valeriy Pilipchev, Director of the Sverdlovsk Regional Entrepreneurship Support Fund, explained that the choice of venue was intentional.
Salyut once functioned as a traditional cinema. Today, it has become a platform where new film industry connections and international business relationships are being created.
For the first time this year, the festival organized targeted meetings between creators of film projects and distributors from different countries.
As a result, the festival has moved beyond discussion and presentation and is increasingly becoming a platform for direct business contacts.
Can Regional Cinema Reach Global Markets?
One of the notable speakers was Gevond Andreasyan, producer and co-founder of Andreasyan Brothers Film Company, whose credits include more than 100 films.
Andreasyan argued that Russian cinema should not be divided too rigidly into Moscow-based and regional production.
From an international perspective, what matters is not where a film is made, but the strength of the broader Russian cinema brand.
Regional production also has important economic advantages.
Expanding filmmaking beyond Moscow and its surrounding region can reduce production costs and provide producers with a wider variety of locations.
Russia’s seas, lakes, rivers, mountains and diverse landscapes give many regions the natural infrastructure required for film production.
For this reason, the development of regional filmmaking is increasingly viewed not only as a cultural objective, but also as a question of cost efficiency and competitiveness.
South Korea Could Become a New Market for Russian Films
The South Korean market received particular attention during the international distribution sessions.
Bruce Lee, General Director of EnterMode Corporation and a distributor, noted that Russian cinema is still not widely known among South Korean audiences, but is gradually entering the market.
According to Lee, American blockbusters remain highly popular in South Korea.
Domestic Korean cinema also accounts for a major share of the market, while European and Russian productions compete for a more limited segment.
Nevertheless, he sees opportunities for Russian films.
Drama in particular may create a common narrative language between audiences in the two countries.
This highlights an important point in creative exports.
International success does not simply come from sending the same content to different countries.
A film’s ability to connect with the cultural expectations of a target market can directly influence its distribution potential.
Which Genres Travel Best Internationally?
Industry experts also discussed the 2025 performance of Russian films abroad.
According to the session, some of the most commercially attractive genres for international distributors included action, thriller, science fiction, family films and animation.
These genres tend to rely on story structures that can be understood across different cultures.
Producer and founder of international company S’Sales House Anna Strunevskaya also stressed the importance of maintaining local identity.
She argued that international success does not require copying the American film industry.
Instead, a film should preserve its local character while building its story around a conflict or theme that can be understood universally.
This presents an important formula for creative exports:
Remain local while being globally understandable.
Russia and China Develop Co-Productions
International co-production was another important topic.
Director and producer Andrey Volgin spoke about the making of the Russian-Chinese detective film Red Silk, which successfully entered theatrical distribution last year.
He also presented the trailer and production materials for the continuation of the story, Black Silk, for the first time.
The example demonstrates why co-productions are becoming increasingly important for creative industries.
International co-productions do more than share financing.
They can also improve access to multiple markets, enable cooperation with local actors and production teams and help films reach wider audiences.
Türkiye Is Also Part of the International Film Dialogue
The participation of film industry representatives from Türkiye also demonstrates the potential for new connections between the two creative economies.
Türkiye has a strong television and film production sector, experienced production teams and significant expertise in international content distribution.
Russia, meanwhile, has a large production base and is actively developing creative industry policies across different regions.
Film festivals and professional industry meetings can therefore become important platforms not only for cultural dialogue, but also for distribution, co-production and content exports.
The Future of Cinema Is in New Markets
One of the clearest messages to emerge from the Yekaterinburg film program is that producing good content is no longer enough.
Creative industries also need access to new markets, international partners and sustainable business models.
Cinema is one of the most visible examples of this transformation.
A film can simultaneously be a cultural work, an exportable product and an instrument for building economic relationships between countries.
The meeting of film professionals from six countries in Yekaterinburg therefore represents more than a festival session.
It is also a sign that the creative economy is increasingly being shaped by international trade, distribution and cooperation.