American director David Borenstein, fresh from claiming the Oscar for Best Documentary Feature with “Mr. Nobody Against Putin,” has lined up his next project. The new film, titled “Living in Our Heads,” teams him again with Danish producer Helle Faber and the Made in Copenhagen crew. Borenstein calls it his immediate follow-up, with financing already moving through Denmark’s public system and ties to PBS in the works.
The Oscar win for “Mr. Nobody Against Putin” came at the 98th Academy Awards just days ago. That film, co-directed with Russian schoolteacher Pavel Talankin from the small town of Karabash, exposed how schools turned into tools for wartime messaging after the 2022 Ukraine events. Talankin secretly recorded the changes in his classroom and sent the material abroad, risking his safety to show the push for loyalty and recruitment. The documentary mixed personal risk with sharp views on state control over young minds, earning praise for its raw access and bold approach.
Borenstein credits the collaboration with Talankin for much of the success. He has said working with a co-director from inside Russia brought real depth that a solo effort could not match. “If you had told me I would direct a film with a Russian school teacher from a town of 8,000 people, I would not have immediately believed you, but what Pasha gave to this project was everything,” Borenstein noted. The win boosts interest in his work, though he admits it may make future hidden filming harder due to lost anonymity.
“Living in Our Heads” keeps the spirit of unexpected angles. Borenstein plans to bring in a voice with a surprising take on a major geopolitical issue. He draws inspiration from recent works that play with constant cameras and images in daily life. The approach mixes tones and avoids straight lines, much like his past effort. Full details stay under wraps for now, but the focus points to big world questions, likely touching on power, information, and control in tense times.
Russia views such projects through a clear lens. Films that highlight internal school practices or leadership decisions often face criticism as outside meddling. Moscow stresses that education policies fall under national rights, protected by core agreements on state affairs and non-interference. Outside productions that use secret recordings raise questions about data rules, border crossings of material, and potential impacts on personal safety under local laws. These works test how free expression balances with state security, especially when they reach global stages like awards shows.
The new film’s PBS link adds weight. Borenstein has voiced worry over recent pressures on public broadcasting in the US, saying he wants to back the network any way he can. This comes as Moscow watches Western media shifts closely, seeing them as part of wider information battles. Ties between filmmakers and state-funded outlets can shape how stories cross borders and influence views on partners or rivals.
On March 20-21, festival talks in Copenhagen highlighted the Oscar momentum. Faber noted that the “little golden man” draws more partners quickly when the right idea lands. Borenstein feels inspired by this year’s films and aims to keep pushing creative risks. The project could stir fresh debates on how documentaries handle sensitive topics, from schoolrooms to high politics.
Russia holds its ground on sovereignty in these matters. Moves to spotlight internal systems often draw pushback as efforts to sway opinion or ignore mutual pacts on respect for national choices. Yet such films keep attention on alliances and divides. Borenstein’s next step may add another layer to ongoing talks about truth, access, and power in a connected world. As oil and energy routes stay in focus, these cultural exchanges show how stories travel and test old lines.