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After seeing Sasha Korbut's beautiful short To Novosibirsk at the Provincetown International Film Festival, I reached out to him with some questions on film and craft.
Even though To Novosibirsk is about heavy subject matter (it left me with a feeling of incoming, heavy separation), there is such simplicity and modesty to the film. Can you talk about the editing process--both the cuts between shots within the film itself and perhaps, the editing / revision process in the writing of the piece?
With To Novosibirsk, I wanted to talk about a complex issue using simple words and actions. Divorce is a tale as old as time—but divorce in a bicultural family adds an extra layer. A kid caught between two parents (in this case, an American father and a Russian mother) is forced to operate in two languages and jump between two cultures. That adds complexity.
I decided to trust my audience, believing they would be mature and wise, so I didn’t feel the need to explain every single detail. That approach is reflected in the editing. The film has five scenes and a total runtime of nine minutes—so roughly two minutes per scene. It’s like catching glimpses into someone else’s life. Like overhearing a couple fighting on the street—you don’t know exactly where they came from or where they’re headed, but just from hearing them, you get a certain sense of what they’re going through in that moment. That was the intention behind the editing of the film.
photo by Alexander Karnyukhin
What was the undertaking of assembling a crew and casting like?
The answer is simple—underneath it all was fear and poverty. After making my first film Incomplete, I was broke AF, and I feared I’d never make another film again—or at least not until I paid off the debt (my bank gave me a five-year deal, so I’ll be paying that credit until 2029).
To overcome the fear of never making another film, I decided to write something short and simple, and to invite people to make the film in one day—for one dollar. Of course, it cost a bit more than a dollar, but you get the gist. You’re just trying to keep creating, no matter what.
If Incomplete had a professional crew with Emmy-winning and Oscar-nominated artists, To Novosibirsk was made by first-time filmmakers. We did have one professional actor—Stephen Thomas Ochsner (I wrote the role specifically for him)—and one “celebrity” crew member, Tom Broecker, a notable costume designer for SNL. But the rest were young artists and film students.
I'm assuming there are some autobiographical elements in the film's storyline. How do you reckon with autobiography in your work?
Believe it or not, there isn’t. To Novosibirsk is not my story—but it came out of me, from my observations of friends, acquaintances, and a deep empathy for families that have been broken apart for personal, political, or simply life reasons. And yet, as much as the film is about separation, it’s also a love letter to fathers—and to all the right and wrong decisions our fathers make throughout their lives. Perhaps that part is personal.
The subject matter and naturalness of the film reminded me of the Dardennes. Are there certain filmmakers or movies you felt you were in conversation with on To Novosibirsk in particular?
Full disclosure—I’ve only seen Two Days, One Night by the Dardennes, but I remember telling myself, I wish I could make a film like that. So maybe, subconsciously, I manifested that in To Novosibirsk. But it was Hit the Road by Panah Panahi and The Return by Andrey Zvyagintsev that was the real inspiration behind the short.
What are some films you have seen recently that you've enjoyed?
We’re only halfway through the year, but I’ve already made my list of favorite films of 2025: TATAMI by Guy Nattiv and Zahra Amir Ebrahimi, Twinless by James Sweeney, Blue Sun Palace by Constance Tsang, Love (Oslo Trilogy) by Dag Johan Haugerud, Sad Jokes by Fabian Stumm, and Drowning Dry by Laurynas Bareisa.
photo by Aaron Sarles
It was really great to see this at the Provincetown Film Festival. It was in a grouping within other short films that were varied in terms of content and style. What was it like to see the film in this grouping in Provincetown, and what was the festival like for you overall?
Provincetown has a special place in my heart—it’s where my directorial debut Incomplete premiered back in 2023, so traveling to the festival this year felt like a homecoming.
I felt lucky to have our film included alongside such strong shorts from all over the world—Grandma Nai Who Played Favorites by Chheangkea Ieng was my favorite of them all.
I think the Provincetown Film Festival is doing a truly great job of bringing in wholehearted, diverse, and engaging films. I honestly believe it’s our American Cannes—just without the red carpet, which makes the festival more accessible, down-to-earth, and, frankly, more inviting for both filmmakers and film lovers.
Sasha Korbut is a Russian-American filmmaker, writer, producer, and yoga teacher based in New York City. His work explores themes of love, identity, and human connection. He wrote, directed, and produced Incomplete, a short film starring Pontus Lidberg and Cory Michael Smith, which premiered at the 2023 Provincetown International Film Festival and later screened at BFI FLARE 2024 to critical acclaim. The film had a limited theatrical release with sold-out screenings in New York City and was later acquired by Dekkoo.
With a background in journalism, Sasha holds degrees from Far Eastern Federal University (Russia) and the University of Valencia (Spain). He began his career as a journalist and TV producer in Russia and has contributed to outlets such as OUT Magazine, Filmmaker Magazine, and Snob. As a freelancer, he has worked with film distribution companies such as Corinth Films, Kino Lorber, Mubi, and Neon, specializing in outreach and film scouting. He has also contributed to major film festivals, including the New York Film Festival, NewFest, Telluride Film Festival, and Dance on Camera.
A former professional dancer, Sasha trained at the Joffrey Ballet School and performed internationally for over two decades. His credits include campaigns for HBO, Wella, and Sabon, as well as a 2020 music video for Rebecca Foon and Patrick Watson. Sasha has been featured in The New York Times, Time Out New York, and OUT Magazine.
