I build things that work. Films. Companies. Systems.
Each project begins with a clear intent — an unsolved problem, an inefficiency, a creative void — and evolves through rigorous execution, where structure and precision meet artistry and risk. Whether producing a feature film, designing a fabrication process, or engineering a high-stakes creative workflow, my role remains the same: to move an idea from abstraction to reality. Uncompromised. And making investors, clients, and audiences happy along the way.
I co-founded Ektaron in 2011 to produce fiction films and feature documentaries that last. Not content with conventional production methods — local financing, static team management — I built a model prioritizing autonomy, leveraging cross-border capital (both financial and human), technical excellence, and an uncompromising vision. Every project is clearly structured, transparently communicated to financiers and teams, and free from the inefficiencies of traditional production structures.
To de-risk film investment, Ektaron creates an LLC per film — and we invest heavily in our slate of 8 upcoming features — isolating financial exposure while simplifying revenue distribution. Financiers hold proportional stock—everything is transparent, applying the American model to European realities. Even governmental bodies and tax funds co-own projects, ensuring direct accountability and financial clarity.
But financial structures alone don’t define success. Before a project begins, we establish what success means: is it a money-making film with strict sales KPIs? Or is it a cultural legacy project, where value is measured at prestigious festivals, reviews in century-old publications, and one-of-a-kind artistic impact?
With Idelekka, co-founded a bit later, I extended this philosophy to invention and fabrication. The tools and systems we design are built for performance, not trends; engineered to solve problems, not to impress banks. When a film production requires custom motion rigs, silent yet powerful AC—no sweat for actors, no buzz for sound engineers — or structural innovations on set, we don’t wait for the industry to catch up. We design, prototype, and build. Swiss style: small, efficient, precise.
Sylipsi, co-founded in 2000, reflects another dimension of my work: the fusion of language, design, and system architecture. We were a turnkey, vertically integrated ad agency — work-from-home, twenty years before COVID. The intersection of business logic (my years at ESCP Europe paid off) and brand complexity (honed at Stroganov State Academy of Arts and Industry), where every pixel served a specific purpose to solve a client’s business challenge.
Everything I create is rooted in a fundamental conviction: form follows function, but function follows intent. Whether leading a 150+ person film production (Dunbar’s number puts a limit), assembling a high-performance creative and technical team anywhere in the world, or structuring a new company with local government support and legislation, I approach each project with the same rigor — analyzing constraints, optimizing systems, and ensuring execution matches vision.
As a CEO of one of our clients put it: “With Anatoly, you are not just dealing with a ‘creative personality’ but a highly professional business partner, willing to refine and iterate his team's work until it serves its intended purpose.”
If you need a universal, goal-first, cross-discipline, trilingual EN/FR/RU strategist — someone who has spent 28 years assembling resources to build impactful, cult-status projects no one else dared to try — then I’m your man.
Take a look at my exhaustive curriculum vitae for more details and contact me to discuss your needs.
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