Matryoshka / Матрешка

Credits

Director Mikhail Stakanov
Scriptwriter Mikhail Stakanov
Producer Maria Romanova
Producer Darya Kvasnova
Producer Anastasia Shchyurova
Cinematographer / DP Matvey Chirkov
Art director Ekaterina Zakirova
Art director Arina Kryukova
Composer Alexander Polyak
Editor Yan Bekhter
Sound Designer Artem Kraskovskiy
Sound Designer Konstantin Surikov

cast

Maria Grishina
Alyona Likhoshva
Gregory-Said Bagov
Senya Bezrubashkin
Ekaterina Zakirova
Arina Kryukova
Мария Романова
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Mikhail Stakanov

Director

Biography

Mikhail Stakanov is a digital film director and a graduate of A.E. Kaurykh's masterclass at VGIK. Born in Almaty, Kazakhstan, he originally pursued a career in medicine, graduating from the Medical University in Tomsk in 2000. This transition from healthcare to filmmaking provided Mikhail with a unique and profound perspective on human nature. His debut short film, "Matryoshka," explores the clash between the human soul and AI. In his work, Mikhail seeks to discover the essence of humanity within the digital age.

Directors Statement

I am making this film because I feel that as the modern world becomes smarter and more efficient, it also becomes increasingly alien. We are becoming accustomed to acting correctly, following instructions and recommendations. In this race for results, it is getting harder to feel like a living human being rather than a function or an executor of someone else's algorithm. To me, 'Matryoshka' is not just a story about technology. It is a film about an artist’s moment of weakness. It is about how a person surrenders their 'hand' to artificial intelligence—not because of progress, but out of exhaustion, fear, and a loss of faith that their own imperfect voice is still needed. My protagonist, Sofia, is no genius; she is vulnerable and cornered by the struggles of daily life. By choosing the Matryoshka as a symbol, I wanted to showcase the contrast between an ancient, tactile craft and cold digital calculation. During filming, using the Arri Alexa Mini, we aimed to capture this distance: between the living, 'imperfect' texture of a brushstroke and the sterile beauty of AI. This film is an attempt to ask: where do I end and where does something that is no longer mine begin? And are we ready to accept the 'crack' in art as the only proof that it possesses a soul?