Roman Mikhailov is a leading Russian indie director

Mathematician, writer, playwright, theater director

Roman Mikhailov is not only a renowned film director, but also a professor at the Russian Academy of Sciences and a mathematician. For those who have followed his career over the years, he is also known as a theater director, prose writer, and dancer. Roman Valerievich describes his work as the creative process of an artist, which determines his desire to experiment in various fields of art. He has successfully taught at leading universities in Russia and staged performances in both state and independent theaters. His participation in the show "Dances" also confirms his versatility. Roman Mikhailov strives to embrace all possible forms of artistic expression. The overall theme of his work is the exploration of the concepts of faith and truth, which makes his work relevant and profound.

In 2001, Mikhailov completed his studies at the Faculty of Mechanics and Mathematics at Moscow State University and soon successfully defended his PhD dissertation, followed by his doctorate. He taught at leading Russian universities, became a professor at the Russian Academy of Sciences, and received the prestigious von Neumann Prize at Princeton. Mikhailov introduced key concepts in group theory, homological algebra, and homotopy algebra, making his contribution to science invaluable. In 2022, he announced the end of his scientific career. However, his contribution is evidenced by rave reviews from students and iconic videos of his lectures, which have gained popularity in scientific circles.

In 2007, Roman Mikhailov debuted as a writer, publishing a collection of short stories, "All Together, Let's Go to Moscow," under the pseudonym Grigory Kolechko. This philosophical character became Mikhailov's humanitarian alter ego, not only describing everyday life but also deeply exploring complex metaphysical themes. The collection attracted readers with its unique style and original approach to combining the mundane and philosophical. The collection's concept was promising, yet it remained virtually unnoticed. As independent prose, the work failed to find its audience, and information about the author remained obscure for a long time. Much of the interest in Roman Mikhailov's work stems from his personality, and even now, after the author has become famous, the collection "Let's All Go to Moscow Together" still fails to attract fans. This unfortunate omission makes the work less accessible to a wider audience, which in turn limits its influence in the literary space.

"Let's All Go to Moscow Together" Illustration: Shastrok Publishing House / Skillbox Media

The Morph Experimental Theatre did not ignore His work flourished, and plays based on the stories "Airplanes," "Dreams of My Father," and "War" were staged on its stage. In 2011, Mikhailov, the author himself, joined the troupe, becoming director and actor at the Morph Theater. This period marked the beginning of a new theatrical era for him, in which he was able to realize his creative ideas and bring them to life through art.

The director and artistic director of the Morph Theater, Sergei Khomchenkov, initially staged plays and performances using Mikhalov's texts. Roman Valerievich served as the theater's playwright. One of the significant works was a play based on the philosophical work "Capitalism and Schizophrenia" by Gilles Deleuze and Félix Guattari, written by him. In 2013, Khomchenkov presented this play in two different versions, highlighting its multilayered nature and relevance in the context of contemporary theater.

Mikhailov subsequently took up directing on his own, which led to the creation of a number of performances. In 2013, he presented "Rain," and in 2014, he updated the existing productions "Mutant Mice" and "My Father's Dreams." In 2015, together with Khomchenkov, he released the play "Dawn. The Beginning," and also staged "General Firefly. The Return of Syrup" in collaboration with Khomchenkov and Bogdanovs. All of these productions are based on his own stories.

In 2014, Mikhailov returned to writing and published the novella "Cosmonaut Street." However, it was his next work, the novel "Ravinagar," published in 2016, that attracted the greatest public attention. The author notes that the book was misrepresented as a philosophical work. This stems from his interest in philosophical literature and his participation in events with philosophers from related fields.

Mikhailov certainly evokes associations with the term "philosopher," but he himself rejects this designation. Currently, the director focuses on the artistic side of his work, emphasizing that he does not consider himself a philosopher and has never aspired to be one. His work is focused on art and expression through visual means, making him unique in its kind.

"Ravinagar" is a unique work that combines elements of an essay and a novel. It immerses the reader in a world of fractal structures, complex patterns, and symbolic systems. Through constant transitions and cuts, the text creates a multilayered reality. The author, Mikhailov, identifies three main types of patterns: fractals, flat labyrinths, and deep, discontinuous patterns. These patterns permeate the surrounding world and can be found in various aspects of life, but they manifest most clearly in mental perception. "Ravinagar" opens new horizons for understanding the complex structure of reality, offering the reader a unique perspective on the relationship between the inner and outer worlds.

The protagonist of the novel "Ravinagar" immerses himself in the archival records of mental patients, seeking to identify paranoid fractals, schizophrenic ruptures, and epileptic multi-layered labyrinths. In parallel, a Committee works, creating a map of reality. This is a striking example of Deleuzian schizoanalysis in action, exploring the deepest aspects of human consciousness and perception.

In 2017, the novel "The Inside of the Rat" was published. This work is an extended commentary on another novel by the author, "A Beautiful Night of All People," which is written in a unique RN-language—an artificial sign system created by Mikhailov. As a result, "The Rat's Inside" feels more like marginalia than a traditional novel, making it an engaging addition to the main text and deepening understanding of the original work.

Something unusual happened in August, related to the RN language. My health wasn't the best, and when I closed my eyes, I felt myself sinking into a sea of threads. Similar experiences recurred, but each time the structure of this sea was different. It wasn't a dream or a pre-sleep vision, but something akin to a feeling of pressure on closed eyelids. I saw inscriptions composed of threads, the language of which had a clear grammar, but the semantics remained a mystery. I took the notebook I brought from Mumbai and wrote seventy-six pages of text. After sending it to Felix Sandalov, I proposed publishing the work on the KROT platform under the title "A Beautiful Night for All People." This title symbolizes the night when humanity begins to understand the language of animals. Imagine sleeping through such a unique night.

In an interview with "Knife," Roman Mikhailov discusses current topics and shares his experiences. He touches on important aspects of creativity and discusses his views on contemporary art and literature. Mikhailov analyzes the influence of modern trends on classic genres and shares his thoughts on the literary process. His opinions will be of interest not only to fans of his work but also to anyone interested in the development of culture and art in modern society. In this interview, he also shares practical advice for aspiring authors, emphasizing the importance of an individual approach to creative writing.

Roman Mikhailov is increasingly being discussed in the theater community. His text formed the basis for a production directed by Andrei Moguchy, artistic director of the Tovstonogov Bolshoi Drama Theater. Moguchy, a recognized theater director of genius, rarely collaborates with contemporary authors, underscoring the significance of Mikhailov's work and its influence on contemporary theater.

"The Tale of the Last Angel" was presented in 2020 at the Moscow Theater of Nations, drawing attention to Mikhailov's work. This production was Andrei Moguchy's second work at the Theatre of Nations, and for Mikhailov, the first performance based on his texts on a major stage.

Scene from the play "The Tale of the Last Angel" Photo: Theatre of Nations

This year, Mikhailov received an invitation to work at The Bolshoi Drama Theater, where he staged the plays "Antiravinagar," based on his recently published text of the same name, and "The Unsunny City." The Moguchy Theater, with its reputation as a classic state theater venue, is attracting attention with its choice of a new director. Mikhailov's direction promises interesting interpretations and new approaches to traditional productions, which could significantly change the theater's perception and attract new audiences. Several original productions and performances based on Mikhailov's texts followed. His most recent production was "The Scarlet Flower" (2022), which was presented at the Invisible Theater in St. Petersburg. This independent theater, founded by director Semyon Serzin, is known for its productions exploring issues of historical memory. Mikhailov subsequently decided to explore a new medium: film. His new books also began to be adapted for the screen, expanding the boundaries of his creative legacy and influencing contemporary art.

Reflecting on the 1990s

In 2022, Roman Mikhailov's debut film, "A Tale for the Old," premiered. The film was co-directed by theater and film actor Fyodor Lavrov, for whom this project also marked the first in his career. The film combines elements of a crime drama, but the directors characterize it as a parable or a fairy tale, which emphasizes its unique style and philosophical subtext. "A Tale for the Old" attracts the attention of viewers with its depth and originality, making it a notable event in the world of cinema.

The plot revolves around a bandit nicknamed Mulya (Evgeny Tkachuk), who one day ran away with money from a common fund. However, the gang leader identified him and ordered the traitor's elimination. Despite this, the money disappeared without a trace, but the gang was pleased that the traitor had been found and eliminated. Several years later, Mulya is seen alive and well, strolling carefree through the streets of St. Petersburg, Novosibirsk, and Rostov. A crime boss nicknamed "Batya" (Anatoly Tishin) decides to get to the bottom of this complex situation and sends three of his protégés to the cities to investigate. This story of betrayal, survival, and the desire to understand complex circumstances raises questions about loyalties and the consequences of the criminal underworld, building tension and intrigue. The youngest (Roman Mikhailov) travels to St. Petersburg, where he encounters bandits who are supposed to help him find Mulya. The middle one (Fyodor Lavrov) ends up in Rostov, where he witnesses a funeral procession, leading to unexpected events. In Novosibirsk, the Elder (Kirill Polukhin) unexpectedly finds himself drawn into a mysterious mystery that reveals the city's secrets. The film, in addition to famous actors, features numerous interesting cameos. Oleg Garkusha plays a simple villager, Pakhom appears in a St. Petersburg club, and Andrei Bedny becomes the Younger's guide. Director Eldar Salavatov and philosopher Mikhail Kurtov are also featured. All these moments create an atmosphere in which it seems Mikhailov has invited his friends and acquaintances to participate in an unusual project—his debut feature film. This approach adds uniqueness to the film and makes it more memorable for the audience.

Still: the film "A Tale for the Old" / "Fruit Time" / "Volga"

Mikhailov's films are real adventures. The director creates his works quickly, within a short timeframe, simultaneously editing and composing the music. In his debut film, "A Fairy Tale for the Old," he demonstrates a homespun approach that can be forgiven for a novice director, especially considering that the work was likely self-financed. However, this film already reveals a characteristic tone that Mikhailov maintains throughout his career. Behind the social commentary lies a mystical and esoteric message, rich in symbolism and allusions. It's no surprise that "A Fairy Tale" is reminiscent of "The Odyssey" in places, with the characters yearning to return home, to a place where peace and unity can be found.

In 2021, Mikhailov released the novel "Wait Until Summer and See What Happens," which immerses the reader in the world of banditry and horror of the 1990s. This melodrama unfolds against the backdrop of criminal machinations and events in a psychiatric hospital. The novel won the Andrei Bely Prize in the Prose category. Mikhailov is currently working on a multi-part film based on this work, entitled "Journey to the Sun and Back." The film promises to convey the atmosphere and tension present in the book and draw viewers' attention to important social issues.

There is no official information about the release of the new series yet, and the director's words indicate his uncertainty regarding the broadcast. Nevertheless, we continue to await news. The project's cast includes Oleg Chugunov, Mark Eidelshteyn, Lev Zulkarnayev, Chingiz Garayev, Lyubov Aksenova, and Daria Ekamasova, which generates interest in the upcoming show.

Following the Faith

Roman Mikhailov's second film, "Snow, Sister, and Wolverine," was released in 2023. This melodrama explores profound reflections on sectarianism and its impact on personality. Roman Mikhailov, as both author and director, understands the themes he explores well, as his worldview was largely shaped by Christianity. His favorite works include the Acts of the Holy Apostles and the Gospel of John. However, his own path was not easy: from the age of 12, he encountered various sects. In Snow, Sister, and Wolverine, Mikhailov shares his experiences, which sometimes become the central element of the plot, while at other times receding into the background, creating a multi-layered and profound narrative structure. The film invites viewers to reflect on spiritual quests and the inner conflict inherent in every person. Nikolai (Fyodor Lavrov) immediately falls in love with Elena (Ekaterina Starateleva) upon hearing her voice on the phone. During their conversations, they share personal fears and experiences from the past. Nikolai is a police officer transferred to the anti-extremism department, and Elena is a pastor at the Living Church. Her story is complex: her father, also a pastor, was repressed, and her sister committed suicide. Nikolai has no idea that Elena is connected to the church, which he is investigating. Their destinies intersect in a world of contradictions and misunderstandings. Will they be able to overcome these barriers and meet in real life?

In film, sectarians are often portrayed in culture from a self-serving or comical perspective. I sought to present a deeper perspective on this phenomenon. My goal was to convey the light and faith of these people, as well as to demonstrate the complexity and multifaceted nature of sectarianism.

In an interview with Gorky, Roman Mikhailov shared his thoughts on contemporary literature and the creative process. He discussed current topics that concern writers and readers, and also spoke about his literary influences and sources of inspiration. Mikhailov noted that modern realities demand honesty and openness from authors, which in turn is shaping a new wave of literature. During the conversation, he also touched on how social and cultural changes influence writing style and subject matter. This engaging dialogue with the journalist allowed him to gain a deeper understanding not only of the author's personality but also of his vision of the literary world.

Mikhailov presented his new film, "Heritage." The plot centers on a young man caring for a sick old man. The film is based on a story from the collection "Holidays," released in 2023. This project continues to explore themes of human relationships and spiritual heritage, drawing viewers' attention to important social issues.

Ruslan (Oleg Chugunov) lives the typical life of a teenager: he leaves his village to go to the city for parties and meetings with friends, and regularly visits Tikhon Sergeyevich (Pyotr Stupin), an old man shunned by everyone in the village. Ruslan is the only one willing to help this man, who is on the verge of death, and it is he who fulfills Tikhon Sergeyevich's final request. The old man wants a full memorial service for him, and Ruslan agrees to help, unaware of the difficulties this may entail. This story touches on themes of friendship, responsibility, and facing inevitability, revealing to the reader the complex relationships between generations and the inner experiences of the hero.

Still: film "Heritage" / Fruit Time

In the work "Heritage" Mikhailov again explores the theme of the diversity of faith, but in in a quieter and rarely discussed context. The protagonist, old Tikhon, is a priestless man, which determines his solitary lifestyle, arouses fear among the locals, and influences burial rites. According to tradition, only a fellow believer can conduct a memorial service for Tikhon, so Rus must take on the responsibility and become a full-fledged "heir." In the absence of a suitable priest and lack of recognition from others, he proves to be a trusted man. This work raises important questions about faith, community, and personal responsibility in complex religious circumstances.

Mikhailov's new film, "The Firebird," once again addresses the topic of sects. Before delving into the details of the film itself, it is worth taking a short journey for a deeper understanding of the context.

A Traveler in India

India occupies a special place in the artistic universe of Roman Mikhailov. After graduating from Moscow State University, he moved to Allahabad but soon returned to Russia. His work exudes duality, as if he has two homes. It was in India that Mikhailov created several of his works. For example, the novel "Ravinagar" was written in northern India in just two months in 2015. In 2017, he also completed the book "The Inside of the Rat," written primarily in India. Mikhailov prefers Indian theater and Indian cinema to their European counterparts, which makes his work unique. He actively recommends Indian films, emphasizing their artistic value and originality. I prefer Indian cinema and am well acquainted with its peculiarities. I especially enjoy the works of Buddhadeb Dasgupta, and my favorite film is "Bagh Bahadur" ("The Brave Tiger"). I also appreciate the films of Satyajit Ray. I follow contemporary Bollywood and find that Indian drama combines both naivety and madness. For example, I watch films with Shah Rukh Khan and wonder how such a thing is possible! This naive approach is captivating and can bring tears. Western cinema, especially Hollywood, doesn't appeal to me because of its rhythm, which I can't process. Furthermore, the music in such films often seems monotonous to me.

In an interview with Seans, Roman Mikhailov shared his thoughts on contemporary art and culture. He discussed the influence of technology on creativity and the importance of personal experience in shaping artistic vision. Mikhailov also noted that art should evoke emotion and provoke discussion, rather than remain merely a subject for admiration. The interview touches on relevant topics such as the artist's place in society and their role in dialogue with the audience. Roman Mikhailov emphasized the importance of interaction between art and the viewer, which makes his works more meaningful and memorable.

Mikhailov's India is a vibrant and rich place, immersed in yellow and red hues, possessing an active yet mysterious character. This country not only delights the eye with its colors but also boasts a unique culture, reflected even in rituals such as funerals. In Mikhailov's films, characters often travel to India, creating the impression that the actors move from one scene to the next, as if traveling with the director and his characters. India becomes not just a backdrop, but an important element connecting all of Mikhailov's works, emphasizing its versatility and mystery.

Still: film "Vacation in October" / "Fruit Time"

Still: film "October Vacation" / "Fruit Time"

"October Vacation" is a film that tells the story of the making of a Bollywood film, but the action takes place in the picturesque surroundings of Petrozavodsk. This is reminiscent of the classic 1979 film "September Vacation", also filmed in the same area. Initially, the main characters planned to go to India, but filming was moved to Russian locations, which led to changes in the script. As a result, the characters' journey becomes more internal, reflecting their personal experiences and the changes occurring in their lives. The film explores the theme of self-discovery and the significance of the place we find ourselves in.

The film's plot is simple yet captivating: two actresses, tired of endless TV series and dreary auditions, decide to take a risk and set out to conquer Bollywood. Their adventures in Ravinagar are full of unexpected twists and powerful moments that are difficult to predict. This film is not only about pursuing a dream but also about the importance of staying true to oneself in the world of entertainment.

In his interview with Gorky, Roman Mikhailov shared his thoughts on literature, creativity, and contemporary trends in the art world. He discussed the influence of personal experience on writing and emphasized the importance of sincerity in literature. Mikhailov noted that every writer must find their own voice and style, which is the key to creating unique and memorable texts. The interview also touched on how modern technology is changing the perception of literature and how authors can adapt to these changes. Roman expressed hope that literature will continue to evolve while preserving its essence and attracting a new generation of readers.

Mikhailov presents a new odyssey exploring an actor's journey in search of his project and a unique film format. This is a dreamlike and absurdist journey in which characters unexpectedly appear and disappear from the screen. Viewers are immersed in the world of filming, Soviet cinema, and acting practices, creating a unique atmosphere and making them reflect on the nature of art.

In this work, we follow two actresses—Sveta, played by Maria Matsel, and Lena, played by Anna Zavtur. Familiar faces such as Evgeny Tkachuk, Kirill Polukhin, and Andrei Bledny appear in cameos. The film also features unexpected cameos, including Yura Borisov, who decided to take part in Mikhailov's project and played an unknown actor on the set of a Bollywood film. This film attracts attention not only with its engaging plot but also with its vibrant characters, making it appealing to a wide audience.

Roman Valerievich embarks on a captivating journey with the audience in "Let's Go to Macau with You." In this film, Mikhailov plays Sergei, a gambling addict released from prison and eager to reunite with his son, Oleg (Oleg Chugunov). This film concludes Mikhailov's first series of works and opens a new chapter in Indian cinema.

Following "The Firebird"

Mikhailov's team worked simultaneously on the projects "We Need to Make Films About Love" and "The Firebird." Filming for one film took place in the morning, and the other in the afternoon. This approach allowed for the efficient use of time and resources, creating two unique stories within a single workflow.

"We Need to Make Films About Love" is a mockumentary about a group of young actors who travel to India to create an arthouse film. Here, reality and fiction are intertwined in an unusual way: the actors and their characters become one, existing within the framework of a fictional story. On screen, viewers will see Mark Eidelstein as the actor Mark, Chingiz Garayev as the actor Chingiz, Roman Mikhailov as the director Roma, and Maria Matsel as the actress Masha. Husky even stars in the film, playing the musician Dima, the real name of rap artist Dmitry Kuznetsov. It's safe to say that the film itself isn't a film, as its poster claims, being "secret." It's a simulacrum that challenges the boundaries between reality and fiction, creating a unique experience for viewers. The film's characters don't just travel through Varanasi; they also create a film. Their project, called "Firebird," tells the story of dancer and actress Sasha (Alexandra Kiseleva), who travels to India in search of her mother. According to family legend, Sasha's mother left for a cult based in Varanasi, but Sasha has no confirmation of this. She is assisted by her half-brother, Lyosha (Illarion Marov), who also has his own goals—he wants to make a film about their trip. In India, the heroes experience extraordinary adventures, including encounters with Russian-speaking artists from Chunar, located near Varanasi. Their journey is filled with rides on a unique bus, dances, rehearsals, and a search for their true selves. The film "Firebird" offers viewers not only a gripping story, but also profound reflections on family, search, and self-expression.

Still: film "Firebird" / "Fruit Time"

Still: film "Firebird" / "Fruit Time"

Mikhailov once again invites the viewer to immerse himself in a parable that explores different views on reality, life and death, as well as borderline states and the search for meaning. In this context, special attention is paid to the experience of sectarianism. This becomes especially apparent when Mandi (Mark Eidelstein), one of the characters, claims that they remain children of the cults even as adults and continue to feel an attachment to these places.

"Firebird" is a deep dive into a dream world where the boundaries between reality and imagination blur. The film's visual techniques reinforce this feeling. Cinematographer Alexei Rodionov, director Mikhailov's constant collaborator in the search for unique camerawork, reportedly worked with faulty equipment. Although Rodionov himself does not confirm these rumors, he calls it a creative experiment. Considerable effort went into the film's creation, particularly evident in the homage to the works of Valentin Samarin. The film's visuals are completely stylized in the author's vision of one of the masters of Russian abstract photography. Thus, "The Firebird" not only immerses the viewer in a world of fantasy but also pays homage to the traditions of visual art.

Roman Mikhailov's Indian series will culminate with a multi-part film entitled "Songs of the Genies." The project features not only the director's favorite actors but also Bollywood stars, including "Miss India" Manasvi Mamgai. Filming took place in India, and, according to Mikhailov, the second assignment proved extremely difficult: everyone involved fell ill, and the director himself felt unwell and was unable to adequately process the events. Nevertheless, the main filming block is complete, and now all that remains is to await the film's release. Importantly, "Songs of the Genies" will feature numerous musical numbers, which is not surprising, as Mikhailov is also a talented dancer. This project promises to be a remarkable event in the world of cinema and will attract audiences with its unique combination of music and a captivating storyline.

We have become friends and are planning a new film, bringing together Bollywood and Russian actors. We may begin work on the project soon. It all depends on how life unfolds. As soon as circumstances permit, we will begin filming. This film promises to be truly interesting and action-packed. Spring is coming, and then we will be able to discuss our plans in more detail.

Roman Mikhailov shares his experience of meeting Manasvi Mamgai. Meeting this outstanding figure left an unforgettable impression. Manasvi, with her deep knowledge and unique perspective on life, inspires those around her to new achievements. Their conversations covered a variety of topics, including art, culture, and philosophy, allowing Roman to immerse himself in Manasvi's world of ideas and views. This meeting was not only an exchange of opinions but also an opportunity to expand his horizons. Working with Manasvi Mamgay marked a significant milestone in Roman Mikhailov's professional and personal development, opening up new perspectives and opportunities for further growth.

Roman Mikhailov is a talented Russian indie director who has already established himself as a master of high-quality filmmaking and high production values. His films attract audiences and generate lively discussion, while his premieres attract a large following. However, it's difficult to expect anything predictable from Mikhailov. He is a true dreamer and visionary, always ready to surprise with his originality. Perhaps his work contains a desire to speak about faith and deep human experiences.