Issue 74 (2021)

Oleg Trofim: Major Grom: Plague Doctor  (Maior Grom: Chumnoi doktor, 2021)

reviewed by José Alaniz © 2021

gromMoney does not long stay in place in Major Grom: Plague Doctor. In colorful bills of all currencies and denominations, it spills from banks and get-away cars, overflows from desktops during workplace wagers, plops down onto a pensioner’s lap, plugs up a corrupt banker’s mouth, flies through the St Petersburg air and cascades down to the streets after one beauty of an explosion. This movie definitely wants to make it rain.

Such fetishization of filthy lucre betrays and reifies its makers’ true aspirations: to rake it in, yes, but also to reshape the cinematic terrain in their own image. To show that superheroes in Russia—despite all the evidence—can be big business. The odds, though, were long. The film was made by a production company scarcely six years old, which previously had released only a 30-minute internet short; with a cast made up mostly of unknowns; in a genre which much of the domestic audience still considers “foreign.” Such were the stakes—and the pitfalls—of Bubble Studios taking on the Marvels and DCs of the world.

Russian Comics and Bubble
Since about 2010, the Russian comics industry has experienced an unprecedented boom, owing in part to the respectability imparted by translations of movie tie-ins (Alan Moore/Dave Gibbons’ Watchmen in 2009, from Amfora Press), weighty international classics (Art Spiegelman’s Holocaust memoir Maus in 2013, from Corpus) and Japanese manga. Long dominated by foreign, especially US product, the market over the last decade consolidated its fitful gains since the collapse of the USSR. Russian comics artists today produce their own original material in a plethora of genres, from adventure to fantasy to autobiography and treatments of historical trauma. A fascinating example of the latter: Olga Lavrenteva’s monumental Survilo (2019, from Boomkniga), a memoir based on her grandmother’s experiences during the Stalinist purges of the 1930s and the Leningrad siege of WWII.

gromIn the 2010s Russian comics at last made it into regular bookshops en masse, as well as into the new comic shops which opened all over the country. 2014 saw the first Comic-Con Russia in Moscow, a massive annual comics/film/video games event which attracts over 150,000 visitors. It joined many other, smaller comics-related festivals which pepper the cultural calendar, such as the alternative-focused Boomfest in St Petersburg (whose founder, Dmitrii Iakovlev, also launched Boomkniga). In this period, comics went way beyond the major cities or Western regions of Russia, as evinced by events like the Siberian independent and small press festival Comic Arts Tyumen, started by artist Georgii Elaev and others in 2017. Despite their small market share, these domestic producers have dedicated fan bases, sustaining a unique and diverse national comics culture (see Alaniz 2022 for a much fuller picture).

The superhero genre, though, has had a still more complicated time in Russia, partly for its association with US popular media (from which it emerged in the 1930s) and Western cultural imperialism, as well as for its historical perception as an exotic depiction of masculinity (costumes? closeted alter egos?). And even if so inclined, parents seem to have reasoned, why buy your kids domestic comics with a bunch of unknown heroes when you could buy them translated versions of the global brands Batman and Spider-Man instead?

gromAll of this made the 2011 launch of Bubble, the first Russian comics studio to publish a line of superhero-themed comics series along a US model, so extraordinary. More extraordinary still: it continues to publish today, an unheard-of endurance record in a post-Soviet market which, after three decades, is littered with the corpses of failed attempts at selling Russian comics and superheroes to the masses.

Bubble was the brainchild of Artyom Gabrelyanov, son of the media magnate Aram Gabrelyanov (who financed the venture).[1] After a false start with a humor journal, Bubble, the company reorganized as a mainstream superhero comics studio in 2012 with four interlocked titles, all co-created by Gabrelyanov: Demonslayer, with artwork by Andrei Vasin; Major Grom, art by Konstantin Tarasov; Friar, art by Artyom Bizayev; and Red Fury, art by Oleg Okunev.[2] Together with editor-in-chief Roman Kotkov, Gabrelyanov established the first Russian mainstream superhero comics brand, with its own shared “universe,” a formula drawn from Western comics publishers.

Major Grom, among the more popular titles, featured a surly, no-nonsense St Petersburg policeman, Igor Grom (grom means “thunder”). In his initial story arc, he struggles to contain the threat of the flamboyant Plague Doctor, who employs a beak mask, cape and medieval methods to wreak vigilante justice against the unfairly privileged, corrupt and venal. Intriguingly, the villain cultivates a large internet following which cheers on his efforts, underscoring the fundamental instability of contemporary Russian society. Inequality has reached such a point, the series argues, where violent revolution may be imminent.

gromMaking things still more vexed, we learn that the Plague Doctor is secretly Sergei Razumovskii, an internet mogul who founded the social media network Vmeste (Together), a character closely modeled on Pavel Durov, who founded the social media site VKontakte. (He later fell afoul of the Kremlin in part for supporting opposition candidates, which led to his ouster from the company and his departure from Russia.) It turns out Razumovskii is manipulating public opinion with his media platform, stoking revolt and disorder as part of a campaign to win the presidency.

Major Grom’s first story arc drew themes and imagery from Alan Moore and David Lloyd’s graphic novel V for Vendetta (1989), and especially from its 2005 film adaptation directed by James McTeigue, including large crowds in plague doctor masks fighting riot police on the streets and a villain with popular sentiment on his side.[3] This all creates a pointedly politicized picture of Russia of the 2010s. Even after the Plague Doctor’s defeat and re-establishment of order, the country’s class divisions and cynical lawlessness remain. Grom’s victory rings hollow. This was super-heroics in a decidedly Russian key—with a boldly critical sociopolitical message.

Nonetheless, many in the Russian comics community derided Bubble’s offerings as everything from formulaic and vapid to reactionary,[4] but Gabrelyanov was looking beyond what he considered the small-fry comics subculture, to a much wider audience. In fact, the publisher—almost from the beginning—was looking beyond comics. If Marvel could mine its decades-old archive of stories to produce its own “Marvel Cinematic Universe” for a series of international mega-hits (starting with 2008’s Iron Man, directed by Jon Favreau), why could Bubble not do the same? So, in 2015, Gabrelyanov founded Bubble Studios (again with financing from his father), to develop film adaptations of the comics. Its first project, the short film Major Grom (directed by Vladimir Besedin), debuted on YouTube in February 2017 (and played on Channel One). Within weeks, it reached 4.5 million views and about a 7.0 rating on KinoPoisk, the biggest online film portal in Russia. To date it has topped 8.9 million views. With this success, Gabrelyanov announced that a full-length feature film based on the Major Grom comics was in production.

‘I’ll Punch Them Out Some More’
Gabrelyanov told an interviewer that Bubble chose Major Grom for its initial foray into filmed entertainment because, unlike its other series which feature dimensional travel, space opera and international adventuring, Grom is just a St Petersburg cop with no superpowers. (Arguably, he has no costume either; if anything, his tweed cap and leather jacket evoke a pulpy 1920s communist).[5] It was a straightforward economic decision: Grom would cost less to adapt (Bashurina 2021).

gromIn venturing into the fraught terrain of Russian superhero cinema, Gabrelyanov and his team had a few precedents—most of them boding ill. As I have written previously (Alaniz 2017), CGI-laden works like the Night Watch series (dir. Timur Bekmambetov, 2004–2006) and Black Lightning (dir. Aleksandr Voitinskii, 2009) laid the foundations for a “straight” domestic iteration, without themselves belonging to the genre. On the other hand, parodies like Dmitrii Diachenko’s SuperBobrovs series (2016–2018) and the Leningrad music video Not Paris (dir. Pavel Sidorov, 2018) represent a more “cynical” take on the material, one perhaps better aligned with Russian popular tastes.[6]

In any case, Bubble had a very low bar to clear: the first “true” Russian superhero feature film, the execrable Guardians (Zashchitniki, dir. Sarik Andreasyan, 2017; see Alaniz 2017). It would indeed take superhuman efforts to do a worse job than that. As it happens, Major Grom: Plague Doctor fares decently enough. Like the comics which inspired it, the film works as nothing more and nothing less than mainstream formulaic entertainment—so long as the viewer does not overthink its implications.

The plot carries over a substantial portion of the Plague Doctor story arc, retaining its broad outlines: surly super-cop vs. enigmatic serial killer/media titan. But a reader of the original would also note that this cinematic version elides, cuts, talks around and otherwise changes the subject on the comics’ at-times strident political critique. The stakes are lower: Razumovskii is now a troubled genius with identity issues (and a likely homosexual) whose dastardly plans for national domination must be stopped by a shawarma-chomping tough guy and his friends.

We still see startling scenes of mass unrest, but these are now riots and looting, not the civil marches of the comics that spill over into violence. This is more Joker (directed by Todd Phillips, 2019) than V For Vendetta. As in some alt-right fever dream, any protester against the status quo is automatically a thieving, property-damaging thug. Whereas in the comics, anonymous police debate the merits of the protesters’ demands, and even Grom’s young rookie partner Dima Dubin partly sympathizes with them, here we get no such consideration and Dubin (Aleksandr Seteikin) never wavers in his devotion to his “idol” Grom (Tikhon Zhiznevskii). Only at the end, with order restored, does a news anchor drily note, over a shot of Plague Doctor masks being chucked into a dumpster: “Today the authorities announced the launch of large-scale judicial reforms. The mere fact of the extremely active public response to these events confirms just how urgently these changes are needed.” Of course, we never see such large-scale reforms actually carried out. This makes the song which plays over the opening credits, a slow-tempo cover of the perestroika-era Kino classic We Want Change by Taisia Ashmarova, all the more poignant. Other parts of this adaptation seem to me more fruitful.

In a sense this film is a sequel, a continuation of the 2017 short Major Grom, in which our hero battles bank robbers disguised as hockey players from the Soviet animated film Goal! Goal! (dir. Boris Deskin, 1964).[7] Here the action spills out into the St Petersburg streets. Zhiznevskii, replacing the original actor Aleksandr Gorbatov, convincingly embodies Grom as upstanding if surly man of action, a loner who does things his way, departmental policies be damned. They do not give him much of an interiority, though. Instead, we have a device by which, in the middle of a battle, Grom plays out various scenarios in his head (“Think!”) before making a choice. This is a variation of what Sherlock Holmes (Robert Downey, Jr.) does in his eponymous film series (dir. Guy Ritchie, 2009–2011). 

Agrommong other things, director Oleg Trofim[8] makes of the movie a loving, at times bemusing homage to St Petersburg. We see familiar landmarks like St Isaac’s Cathedral (occasionally from odd perspectives like rooftops) and Sennaya Square, an old haunt of Raskolnikov’s (imagine Grom hunting him down). The city’s rich and criminal elite rub elbows at the Buddha Bar, here doubling as a new casino built on the bones of a demolished historical landmark. As critics have noted, the producers seek to turn Russia’s former capital into a seedy Gotham. But that reading is belied by the film’s funniest and most Bond-like coup: a garbage truck driven by Grom plows a swathe of destruction across Palace Square in broad daylight, before stunned tourists (and Grom’s boss Prokopenko, played by Aleksei Maklakov).[9

Grom’s flat love interest from the comics, Iulia Pchelkina (Liubov’ Aksenova), is here given more to do as a crusading vlogger/public journalist, while other figures are reduced to simplistic types, like the aforementioned Dubin and Razumovskii (Sergei Goroshko). The Ukrainian rapper Kievstoner, though, stands out in a sui generis role (mostly improvised) as an underworld informant. There is also a pounding soundtrack of St Petersburg musicians and old songs, including “Smile” from the Soviet animated cartoon Baby Racoon (Kroshka Enot, dir. Oleg Churkin, 1974).

In addition, like any self-respecting superhero movie, Major Grom: Plague Doctor includes easter eggs and shout-outs to other “cinematic universe” properties, like Holt International (from Red Fury) and Demonslayer. Presumably, Bubble will follow these up in future films. But the most piquant veiled references are to real-world figures such as Aleksei Navalny, who like Razumovskii uses social media for political protest and exposés of corrupt officials. As the critic Egor Moskvitin noted (2021), public associations with the Plague Doctor’s methods have grown problematic since the character’s 2012 debut; they read differently in post-Durov, post-Navalny, post-Constitutional Reform 2021.[10]

They are a distinct minority, of course, but all said, I think many long-time fans of the Major Grom comics (renamed Igor Grom since our hero left the police force) will find disappointing the film version’s omissions and dumbing-down of the original (and that was not exactly Pushkin to begin with). Among the regrettable snubs for me: baroque set-pieces like the Garden of Sinners [11] and a dream Grom has, in which Razumovskii justifies his plans rather convincingly while arrayed in a garish black feathered number (Gabrelianov, Fedotov, Tarasov 2012).

Other elements from the source material which translate just fine nonetheless bring up another problem. To wit, a policeman beating information out of a suspect gives a rather different impression with flesh-and-blood actors than it does on the comics page. In both versions, Grom interrogates with his fists, and both versions in essence make light of such human rights abuses. But Major Grom: Plague Doctor, in addition to moving pictures, has the sound of torture and upbeat music with which to glamorize such atrocities: in fact, this is a film where excessive police force gets its own stylishly-edited montage sequence to the tune of I Love People by Dolphin.[12]  

This does not feel like some sort of protest, either; it is not Pussy Riot’s Chaika music video (directed by Andrei Fenochka and Natalia Tolokonnikova, 2016), with uniformed agents whipping and water-boarding hooded prisoners. The most Grom gets for all his transgressions is a slap of the wrist from Dubin (whom he outranks and dismisses anyway). When Dubin admonishes: “Yesterday you punched out people to get info. What will you do tomorrow?” Grom answers: “I’ll punch them out some more.” As for Grom’s superiors, they clearly don’t mind, as long as their star cop gets the job done. All of which speaks volumes about “law and order” in contemporary Russia. This is policing by way of Danila Bagrov.[13

gromThe film’s most perceptive critic, Anton Dolin (2021), cuts to the chase: “Major Grom: Plague Doctor shows a world of absolute lawlessness, where the police rob, lie, use excessive force and work hand in hand with criminals—but this is all forgiven, because they are ‘on the side of good’”. Or, as the movie’s trailer succinctly puts it: “Soon the world will have to make a choice: law or justice.” As if ne’er the twain shall meet.

All in all, the foregoing merely confirms the fact that Gabrelyanov and Trofim succeeded in producing a bona fide Russian superhero movie, with all the paradoxes such a venture implies (see conclusion). Despite some dark(ish) themes, the film has a light touch, a charismatic lead, and a comic meta-awareness that only occasionally misfires, as for example when Oleg Volkov (Dmitrii Chebotarev), the “original” Plague Doctor, compares himself to Batman, “only cooler” (because he kills).

In sum, this first major Bubble Studios cinematic effort is mediocre-to-above average (a rating which also applies to Bubble Comics, so mission accomplished). Unlike The Execrable Guardians, it has nothing to be ashamed of, beyond (as discussed) the disheartening symptoms of the society it portrays—and those are hardly Bubble’s fault—and the wooden dialogue that seems the fashion of so much modern cinema, East and West. It has stylish sets, like Grom’s run-down but architecturally intriguing apartment (which indeed reads as far more St Petersburg than Moscow); a big-budget feel (the special effects look as good as those in any comparable US film); and a “we’re all in it together” message. Though that “we” does not seem to include the simmering, gullible masses on the brink of insurrection.

When the bright-eyed Pchelkina near the film’s end comes to the rather circular conclusion that “a superhero isn’t someone with super-powers. It’s someone who defeats supervillains,” she enacts a domestic redefinition of this foreign genre’s convention, making it “ours” (nash); this is to say that the Russian superhero film tout court has arrived. Now let’s talk about why it bombed.

Up, Up and Away
Over the last year, some publishers came to see the upcoming release of Major Grom: Plague Doctor as a lifeline; through spillover business, it would save a Russian comics industry hit hard by the Covid-19 pandemic. But, in fact, it could not even recoup its own budget. The film severely underperformed, bringing in a fifth of its expected box office. Very little of that cash flying around throughout the movie made it back to Bubble’s coffers.[14]  

If the movie had a lot riding on its shoulders—the launch of a whole new cinematic universe, to say nothing of a new age of decent Russian superheroes onscreen—it was a failure by the only measure that matters. Again, Dolin diagnoses the problem well: 

The popularity of American superhero blockbusters did not emerge in a vacuum—and this has to do not with popular actors or huge budgets, but in the rootedness of the archetypes upon which they based the films. For some countries comics form a part of the cultural code (the US, UK, France, Belgium, Japan), while for others they don’t, and Russia belongs to the second category. This is why our superhero stories so often bear a derivative and obnoxiously patriotic stamp. This is not so much an organic [samobytnoe] phenomenon as yet another “response to America” (which America is unlikely to ever know about). The big question is whether an audience accustomed to Marvel and DC productions will accept an artificial system of values as equal to Hollywood’s (Dolin 2021). 

The answer is apparently: no. On the evidence of Major Grom: Plague Doctor, the idea of Russian superheroes remains too weird and off-putting to Russian audiences (even if those same Russian audiences love Marvel movies and attend them in droves). In Dolin’s terms, Bubble Studios’ product comes off as pandering and second-rate, like a shawarma-chomping Captain America knock-off. Wouldn’t you rather have (and pay for) the real thing, who downs hot dogs?

This is another way of saying that Gabrelyanov’s greatest triumph is that he managed to roughly duplicate in a new medium the cultural position of his first company: just as Bubble Comics is routinely outsold by Marvel and DC, so too is Bubble Studios an also-ran within its own domestic market, frantically trying to reconfigure its foreign competitors’ formulae for a home audience—and meeting with limited (if undeniable) success; and keeping at it, years on end, presumably as long as its investors hold out. As noted, that makes Bubble a unique entity in Russian comics (and now cinema).

I see grounds for hope in Gabrelyanov’s vision. For one thing, his knowledge of recent comics history allowed him to avoid one of the big mistakes made by US publishers seeking to adapt their superheroes to the big and small screen. Gabrelyanov insisted on maintaining control of his IP, in response to Marvel’s 1990s experience of licensing out its properties to Sony and other studios, which sometimes mangled the material and damaged the brand (see Bashurina 2021). This means Bubble is better positioned than Marvel was back then (at least in this regard) to make the kind of movies their creators think the material deserves. In theory, anyway—it remains an unpredictable business. Secondly, this strategy has already borne fruit: in summer 2021, Netflix picked up Major Grom: Plague Doctor, paying a record sum for a Russian film. It has done very well on the platform, at one point topping viewing lists in several countries (Demidkina 2021).

Up, up and away ...

José Alaniz
University of Washington, Seattle


1] Gabrelyanov Sr founded and leads News Media Holding, owner of the newspapers Izvestiia and other media properties. A large stake in News Media is itself owned by the National Media Group of Iurii Kovalchuk and Gennadii Timchenko, billionaire supporters of Russian President Vladimir Putin, who wound up on the Western Sanctions list after the 2014 annexation of Crimea.

2] Bubble debuted two more series in 2014: Exlibrium by writer Natalia Devova and artist Andrei Rodin; and Meteora by writer Gabrelyanov, with art by Konstantin Tarasov. As is common practice in the US mainstream comics industry, the creative teams would change over the years. Also common practice: the writers and artists were paid under a work-for-hire arrangement, which meant Bubble owned full rights to the intellectual property produced. 

3] Razumovskii makes a rather decent case that he is not at all a villain, but instead a principled patriot intent on dismantling a hopelessly rotten system—first by taking it over legally, through electoral means. His supporters even come to call him “The Citizen,” a force for the common good. The effete, gaydar-rousing Razumovskii, whose name derives from razum (“mind” or “reason”), makes for a potent cerebral counter to the manly, action-driven Grom—in ways paradigmatic for the genre.  

4] Some accused Bubble of espousing pro-Kremlin dogma, since the Plague Doctor leaves a white ribbon—symbol of the 2011–2012 anti-Putin protesters—as a calling card.

5] Critic Anton Dolin (2021) unfavorably compares both the look and temperament of Grom to those of the roguish Boris Zheglov, played by Vladimir Vysotsky in the classic TV series The Meeting Place Cannot Be Changed (Mesto vstrechi izmenit’ nel’zia, dir. Stanislav Govorukhin, 1979).

6] Russian culture seems to have internalized the notion of superheroes as national figures and at the same time absurd overdetermined ones, as shown by “Putin is a Superhero,” a 2017 exhibit at Moscow’s Artplay Design Center. The show literalized the metaphor of Putin as a national savior with several portraits of him in superhero costumes and the like.

7] We may trace the trope of criminals wearing bizarre masks to at least The Killing (dir. Stanley Kubrick, 1956) and to Frank Miller’s seminal graphic novel The Dark Knight Returns (1986), in which members of a gang named the Nixons conceal their identities with an effigy of the 37th US president. The use of an image from a Soviet children’s cartoon in such a context in the Major Grom films generates an additional transgressive frisson, at least for those who grew up during the Soviet era.  

8] Trofim, who directed the hit musical and sports drama Ice (Led, 2018), was brought in when producer Mikhail Kitaev joined the project. The film had a troubled production, with a lot of staff turnover, over ten screenwriters and years-long delays (Demidkina 2021).

9] Other touches adapted from Bond films include the Plague Doctor’s hyper-modern skyscraper aerie which contains ancient Greek sculptures and Sandro Botticelli’s Birth of Venus (1840s). The Kino cover over the opening credits strongly recalls both a Bond title sequence and the title sequence for the Amazon series The Man in the High Castle.

10] In 2018, Durov called on his followers to throw paper airplanes into the air from their windows as a protest against the state blocking his messenger app, Telegram. Imagery of the Plague Doctor inspiring the masses to do the same appeared in a five-minute teaser, Major Grom: Paper Airplanes (dir. Vladimir Besedin, 2017). This footage was not used in the final film.

11] To wit: “In issue #9 (June 2013), a naked Grom must navigate the Garden of Sinners, a perverse amusement park and escape rooms complex, in order to access the antidote to poison that will kill him in ten minutes. The park, in addition to deadly traps, poses riddles and puzzles based on medieval notions of sin, such as greed, cruelty, and stupidity. But before anything else, it seems calculated to physically and mentally torture Grom with pecking crows, explosions, near-drowning, hallucinations, and the Plague Doctor’s incessant taunts via loudspeaker. Grom’s muscled physique is rendered both impressively rugged and perilously vulnerable: the tormented hero in defense of a transcendent state” (Alaniz 2022, n.p.).

12] As Egor Moskvitin (2021) points out, the film’s image of the Russian police force is a complete fabrication in a different key; he compares the cops (and I would add their fanciful headquarters) to the Police Academy movies.

13] The theme of superheroes transgressing the very law which they purport to uphold, violently eschewing the niceties of, say, probable cause and presumed innocence, is baked into the genre, though it has received disproportionate attention in superhero cinema since at least The Dark Knight (dir. Christopher Nolan, 2008). A recent, particularly chilling example: Sister Night (Regina King) torturing information out of an informant, in Watchmen (conceived by Damon Lindelof, 2019), which is largely played for laughs (as indeed did a scene from the original Moore/Gibbons graphic novel, to which the TV series is paying homage).

14] See Demidkina 2021 for detailed figures. As she argues, the film debuted at the worst time of the year (and not only because of the pandemic): it was competing in theaters with the US hits Godzilla vs. Kong (dir. Adam Wingard) and Mortal Kombat (dir. Simon McQuoid). A substantial ad campaign featuring street banners, vlogger mentions and graffiti seems not to have helped much.

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Works Cited

Alaniz, José. 2022 [forthcoming]. Resurrection: Comics in Post-Soviet Russia. OSU Press.

Alaniz, José. 2017. “Sarik Andreasian: Guardians.KinoKultura 58.

Bashurina, Evgenia. 2021. "'My znatno poveselilis’:' kak Artem Gabrelianov zarabotal milliony na komiksakh i ne vstretil’sia s Kharvi Vainshteinom." Forbes 23 March.

Demidkina, Kseniia. 2021. "“Ubytochnyi supergeroi: kak sozdateli fil’ma po komiksam Maior Grom provalilis’ v prokate, no prodali prava Netflix." Forbes 1 June. 

Dolin, Anton. 2021."Maior Grom: Chumnoi doktor – rossiiskii kinokomiks o khoroshem politseiskim i prestupnike iz sotssetei." Meduza 1 April.

Gabrelianov, Artem; Fedotov, Evgenii; and Tarasov, Konstantin. 2012. "Chumnoy Doktor. Chast’ 6." Maior Grom. Vol. 1, No. 7 (October).

Moskvitin, Egor. 2021. "Est’ li shans u rossiiskikh komiksov i kakim poluchilsia fil’m Maior Grom." Stil' 2 April.

Major Grom: Plague Doctor,Russia, 2021
DCP, color, 136 minutes
Director Oleg Trofim
Scriptwriter Artyom Gabrelyanov, Roman Kotkov Yevgeni Yeronin, Vladimir Besedin, Alexander Kim, Valentina Tronova, Nikolai Titov
Director of Photography Maksim Zhukov
Production Design Dmitrii Onishchenko
Costume Design Anna Kudevich
Music Roman Seliverstov
Sound Andrei Belchikov 
Editing Iurii Karikh, Aleksandr Puzyrev
Cast: Tikhon Zhiznevskii, Liubov’ Aksenova, Aleksandr Seteikin, Sergei Goroshko, Aleksei Maklakov, Dmitrii Chebotarev, Mikhail Evlanov, Iurii Nasonov, Oleg Chugunov, Anton Bogdanov
Producers Artyom Gabrelyanov, Mikhail Kitaev, Olga Filipuk
Production Bubble Studios, Kinopoisk HD
Distribution (RF) Disney Studios

Oleg Trofim: Major Grom: Plague Doctor  (Maior Grom: Chumnoi doktor, 2021)

reviewed by José Alaniz © 2021

Updated: 2021