Jude Law’s Putin Role in Riga-Filmed Movie Denounced as Kremlin Propaganda by Latvian Officials

In a bold cinematic venture that has ignited controversy across Europe, “The Wizard of the Kremlin” has made its theatrical debut, offering audiences a dramatic portrayal of Russian President Vladimir Putin and his inner circle. The film, directed by acclaimed French filmmaker Olivier Assayas, arrives as one of the most anticipated and contentious releases in recent European cinema.

Shot in Latvia with a substantial budget of €23 million ($26.6 million), the film features Hollywood stars Jude Law as Putin and Paul Dano as Vadim Baranov, a fictional political strategist based on former Kremlin ideologue Vladislav Surkov. The supporting cast includes Alicia Vikander as Baranov’s lover, Ksenia, alongside several Latvian actors.

The narrative spans from the turbulent post-Soviet 1990s through the mid-2010s, chronicling Russia’s political transformation and culminating with the annexation of Crimea. While the main character is fictional, the story incorporates recognizable figures from Russian political history, including portrayals of oligarch Boris Berezovsky, former Yukos CEO Mikhail Khodorkovsky, and Yevgeny Prigozhin, who would later establish the Wagner mercenary group.

Adapted from Swiss-Italian author Giuliano da Empoli’s bestselling novel, the film has generated significant attention since its literary source material was published in April 2022, shortly after Russia’s full-scale invasion of Ukraine. The screenplay was developed by Assayas, who shared the Best Director award at Cannes in 2016, in collaboration with writer Emmanuel Carrère, known for his extensive work on Russian subjects.

Following its premiere at the Venice Film Festival in late August 2025, critical reception has been notably divided. Publications like Vulture and Le Monde praised the film as “enormously entertaining” and “excellent,” while The Guardian and The Independent dismissed it as “laborious” and “mediocre.” Russian media reflected similarly mixed opinions, with some outlets suggesting the film offers tacit criticism of the Kremlin while others argued it ultimately portrays Putin in a flattering light.

The filmmakers have emphasized their work is intended primarily for Western audiences. “This is an English-language film shot in Latvia, with American and Latvian actors and a French crew, aimed primarily at a French audience,” Assayas stated, noting the production never sought distribution in Russia.

In Latvia, where the film was shot, the reception has been particularly hostile. Film critic Kristīne Simsone wrote that the production “echoes tones associated with Kremlin narratives,” while critic Dārta Ceriņa condemned the decision to film in Latvia, noting, “French filmmakers apparently see no issue with making a film about Russia in a country that was once occupied — and doing so while Russia occupies another country.”

The controversy extends beyond creative choices to questions about production ethics. Latvian authorities declined to co-finance the film, with the country’s Investment and Development Agency warning the project could serve Russian propaganda interests “in the current geopolitical context.” Dita Rietuma, head of Latvia’s National Film Center, criticized the film for humanizing Putin and portraying him as “an interesting, mysterious character.”

Further complicating matters, French newspaper Le Monde reported on the background of Forma Pro Films, the Latvian production partner. The company, while among Latvia’s largest film production houses, was described as being founded by people originally from Russia who remained “somewhat on the periphery of the local film industry.” Questions have been raised about the company’s leadership and financial structures, with Le Monde alleging connections to Russian business interests.

Svetlana Punte, a producer at Forma Pro Films, defended both the film and her company. “In my view, the film depicts how elements within Russian society contributed to the rise of an authoritarian system,” she told Meduza. “It includes complex, critical scenes showing moral detachment and cynicism at the highest levels of power.” Punte also indicated that Forma Pro Films intends to sue Le Monde over its reporting.

Despite the controversy, the film opened in Latvia on February 6, though box office figures have not been released. The debate surrounding “The Wizard of the Kremlin” illustrates the complex geopolitical tensions that can surround artistic productions in a region where historical memory and current conflicts remain deeply intertwined with cultural expression.