On January 6, in his “interview” for Russian propaganda, the criminal “head of Crimea” Sergey Aksyonov stated that on the basis of the “Yalta film studio” seized by the Russian invaders, they allegedly want to open a “center for film festival and film education activities” and also, in some “future”, “create … college for training in the film industry.
It should be noted that the “Yalta Film Studio” until 2003 was a joint Ukrainian-Russian enterprise, until 2010 it was owned by the Russian company “Policom West”, and then “StroySektor” with the same owners, and the enterprise itself was criminally considered by the Kremlin as an “outpost of Russian cinematography”.
But under the conditions of occupation, this “cinema” quickly ended, and an illegal “unitary enterprise” “Film Studio “Yalta-Film”” was created by the Russian invaders, after which the film studio quickly fell into a deplorable state. In 2018, the occupiers “transferred” the property of the studio to another illegal structure, the “unitary enterprise” “Crimean Cinema and Media Center”, which was no longer engaged in filming movies, but “popularizing Russian cinema”.
Even then, “proposals” began to be heard on the creation of a “base for young actors and screenwriters” on the basis of a film studio that was actually not working, as well as a “movie park”, which predictably did not happen.
It is noteworthy that even under the conditions of large-scale sanctions imposed against the aggressor state in 2022, Russian film concerns did not get involved with the “Yalta film studio”, realizing the fatal economic consequences for themselves and for the production filmed there.
At the same time, as even “director” Karen Shakhnazarov, who criminally serves Russian propaganda and support Russian war crimes in Ukraine, was forced to admit, “a large studio today can survive on its own money only where there are large TV channels nearby. The idea of the existence of regional film productions is now meaningless, it is a myth”.
Obviously, Aksyonov’s current painful attention to the issue of the “Yalta film studio” is mainly connected with the tasty lands and real estate of this object, which the collaborators criminally seek to master in the end, before the inevitable de-occupation of the Crimea.
