Russian Animation Expands Production but Remains Dependent on State Support

Russia’s animation industry continues to increase production volumes, but it is still too early to speak of full import substitution in the content market. At the same time, the sector is facing declining cinema attendance and remains heavily dependent on government support. These observations were shared by Irina Mastusova, Executive Director of the Russian Animated Film Association, in an interview with the National News Service (NSN) published by Cinemaplex.

According to a Cinemaplex study, the total box office revenue of Russian animated films declined from RUB 3.94 billion in 2024 to RUB 3.21 billion in 2025. Audience numbers fell even more sharply, dropping from 13.75 million to 9.33 million viewers. During the first five months of 2026, Russian animated releases generated RUB 244.1 million at the box office, RUB 21.8 million less than during the same period a year earlier.

According to Mastusova, the growth in box office figures recorded in recent years was largely driven by rising ticket prices rather than increasing audience demand.

“This is especially noticeable in the family segment. A trip to the cinema has become a significant expense for parents with one or two children. A single visit can cost a family between RUB 2,000 and RUB 3,000,” she noted.

Another challenge is the perception of animation by cinema operators as a genre intended exclusively for children. As a result, animated films are often allocated a limited number of morning screenings with lower ticket prices, while prime evening slots are reserved for live-action releases.

Mastusova cited the feature-length animated film Finnick 2, which was released in autumn 2025 alongside Alice in Wonderland and Gorynych.

“In terms of target audience, this animated project was aimed at an older demographic than Gorynych, yet the number of daily screenings and showtimes allocated to it were clearly discriminatory toward a strong, high-quality animated film. As a result, the film failed to reach its audience,” she said.

At the same time, production volumes in Russian animation continue to grow. While only three or four feature-length animated films were released annually several years ago, the number reached 14 releases in 2025. According to Mastusova, additional subsidies provided by the Cinema Fund, particularly those supporting auteur animation, played a significant role in this growth.

Nevertheless, the industry remains subsidy-dependent.

“This is substantial growth for a Russian animation industry that, unlike Disney, is only about twenty years old. However, full import substitution remains a distant goal. Production volumes need to continue growing, but this is not a rapid process,” Mastusova noted.

She also pointed out that the current legislation allowing full state financing of animation does not apply to feature-length projects, which continue to receive support through the Cinema Fund. As a result, the industry largely operates under the previous financing model.

Against the backdrop of declining cinema attendance, producers are increasingly turning to familiar stories and fairy-tale narratives. According to Mastusova, this trend is characteristic not only of the Russian market but of the global film industry as a whole. Animation studios are actively collaborating with film companies, developing franchises and combining different production formats.

“We are actively expanding animation universes through cooperation with film companies: licensing classic stories, using 3D characters, and integrating different production technologies and formats. All of this helps create contemporary content and maintain audience interest,” she concluded.