The Anarchist Potential through Critical Posthumanism in Contemporary Russian Cinema: An Analysis of D. Moiseev’s Science-Fiction Film Contacts

Abstract

In this article, I examine, from the perspective of cultural research, how science-fiction cinema, in its guise as a fundamentally semantically open genre, becomes a refuge for the anarchist imagination through a critical study of anthropocentrism in the context of political censorship. I will do so by analyzing contemporary Russian cinema, focusing on the film Contacts (2023), directed by D. Moiseev. My study will also briefly reference two other contemporary fantastic films: Dust (2005) by Sergei Loban and Anna’s Feelings (2023) by Anna Melikyan.The relevance of this research stems from the current political climate in Russia, where freedom of speech is formally permitted but effectively suppressed. In such conditions, it is crucial to highlight successful examples of representing alternative perspectives on the state. This is significant not only because independent films continue to be produced but also because they are being released and remain accessible to a broad audience. My research is driven by an interest in uncovering traces of anarchist thought in places where it is not typically articulated explicitly. This is particularly relevant for the period of the Soviet Union (short for Union of Soviet Socialist Republics, 1922-91), when Marxism served as the foundation for suppressing anarchist projects and ideas. Additionally, in the post-Soviet era, anarchism carries a stigma within academic discourse, often remaining latent rather than overtly expressed in various philosophical traditions. However, its influence is evident, shaping key directions in contemporary humanities and cultural studies, such as “new materialist” thought.