Pavel Kushnir was a virtuoso pianist, a writer, and a courageous man whom the world discovered only too late. He died on July 27, 2024, in a Birobidzhan detention center following a dry hunger strike. The formal pretext for his arrest was a series of anti-war videos posted on a YouTube channel that had only 5 subscribers.
This film is an attempt to understand the man who played Rachmaninoff until his fingers bled, who dreamed of flying to Mars, who idolized Kurt Cobain, and who called the war by its true name while living in complete isolation.
We have gathered archival footage, previously unknown recordings of Pavel, fragments of his poignant cut-up novel, and memories from close friends and colleagues, including Clean Bandit soloist Grace Chatto, music expert Mikhail Kazinik, and publisher Dmitry Volchek. This is a story not just about a death in prison, but about an extraordinary life that became an act of art and resistance.
In this video:
Unique footage of Kushnir’s performances and artistic actions.
The story of an unmade avant-garde film and friendships with global stars.
The Birobidzhan Diary: a chronicle of loneliness and the fight against fascism.
Why a brilliant musician went unnoticed by the cultural establishment, but not by the prison system.
Source: VotVot (YouTube), 12 December 2025
Our film about the pianist Pavel Kushnir has dropped. […] Honestly, the film was ready to go in late April, but we spent a long while navigating the legal maze around the music, copyrights, and permissions. That was not even the main reason for the delay, though. I wanted to wait until the media hype had subsided and we could take a look at Pavel’s legacy from a certain historical distance, to talk about him not as a victim (although that viewpoint is legitimate, of course) but as a rebel whose choice was deliberate. Similarly, if you will, there are different takes on Christ: some view him as a needless victim who arouses pity, and the more maudlin that pity, paradoxically, the stronger their hatred for his crucifiers; while others see him as a rebel whose heroism was deliberate.
In my opinion, seeing Pavel as a pure “victim” robs him of agency, turning him into an extra in someone else’s play, in which the crucifiers have all the starring roles.
The film is based on Pavel’s own diaries. In terms of composition, I reprised the structure of his screenplay for the unmade film The Six Weary Ones. Three states of madness—prophetic madness, creative madness, and the madness of protest—figure as the three aspects of his personality. As in Joyce, each of Kushnir’s chapters has its own color and symbol. We have added music to these chapters. The music for the red chapter, “Prophet,” is by Rachmaninoff. Bach supplies the music for the blue chapter, “Creator”: blue stands for the heavens and the cosmos, and fugues are cosmic in nature. The third, black-and-white chapter, dealing with rebellion and Birobidzhan, is set to Scriabin’s Prometheus, a [tone] poem about the first rebel in history. Camus writes, in The Rebel, that rebellion confers agency on us, turning us from beasts into human beings. Again, it’s all in the eye of the beholder: some feel pity for Prometheus, chained and tortured by the eagle, while others see in him the power of the unbroken human spirit. And Scriabin’s idea of transforming all of humanity meshes perfectly with the cosmic utopia begun in the previous chapter. Prometheus: The Poem of Fire is a mystery play; as [Russian poet Konstantin] Balmont put it, it is “a vision of singing, falling moons, of musical stardoms, arabesques, hieroglyphs, and stones sculpted from sound.”
The film is chockablock with musical, literary and philosophical allusions which I won’t burden you with now. But if you’re interested, I’ll set up a cozy stream on my tiny Telegram channel where we’ll discuss the film and unpack its hidden layers, and I’ll answer your questions. You can write in the comments about whether this idea seems viable, and I’ll decide what to do based on your feedback.
Once again I want to thank everyone who did their part and helped commemorate a major artist. Thanks to you, we raised 1,185 euros and 533,954.51 rubles [approx. 5,800 euros], which is not just a large sum but a phenomenally large sum, considering that the major media practically ignored our fundraising campaign. That being said, many friends and former colleagues supported us by reposting [our fundraising appealing], which is eloquent testimony to the fact that a person and his reputation are more vital than any institution, and for this I am endlessly grateful to them.
The money we raised was enough for several full-fledged scouting trips and location shoots. Considering the geographical scope of our shoots, which included traveling to Birobidzhan itself, our grassroots war chest was emptied at some point. It became clear that without outside help we wouldn’t be able to complete the project properly, avoid devolving into a Skype interview format, and pay all the courageous artists, editors, and cameramen who had agreed to shoot a film in Russia at their own peril. I understood that asking folks for money again was not a good plan. So, after consulting with our small team, I accepted an offer from the online platform Votvot. They covered our remaining expenses and, most importantly, agreed to our condition that the film would be freely available. Our promises to our donors have not been broken: this grassroots film is being released in a way that is accessible to the grassroots—on YouTube.
I want to thank my friend and colleague Alexander Urzhanov from the bottom of my heart: he was quite emotionally invested in this film and provided us with his fabulous production resources. I would also like to thank all the folks at Narra: they have asked me not to name them, but you know who you are. Misha, Dasha, Ira, and Nastya, I couldn’t have done it without you and by myself! Particular thanks go to Boris Barabanov and Darina Lukutina from Votvot, without whom this film would scarcely have been possible.
I would like to thank Pavel’s relatives for permitting us to use his voice to read his diaries. Getting ahead of myself, I should say that this is the only digitally generated thing in the film. Everything else was filmed or recorded using analog methods: the diaries, the posters, and the drawings of a certain incomparable artists were all done without synthetics or computer glitz. All you see is life’s pleasant graininess.
I thank Pavel’s friends for sharing their archives and letters, as well as everyone who appears in this film.
I have one final request to you. Watch this film tomorrow. More to the point, share this film. I’m afraid that the film will get lost in the ruthless algorithmic desert without your reposts. May this film find everyone who needs it.
Source: Sergey Erzhenkov (Facebook), 12 December 2025. Thanks to Giuliano Vivaldi for the heads-up. Translated by the Russian Reader
Pavel Kushnir was a classical pianist. But according to Russian authorities, he was also a dangerous dissident. In July 2024, he died on hunger strike in a remote prison in Far East Russia. Who was Pavel Kushnir, and why did he end up in jail? Liza Fokht from BBC Russian has been trying to piece together Pavel Kushnir’s story.
Source: Spotify
