In Conversation: Laughing at the Rules of Love, Viktoriia Lapushkina on Satire, Loneliness, and ‘Pickup’

Cinema has always had a way of reflecting the quiet anxieties of its time, sometimes with a dramatic punch and sometimes with a knowing smile. For Russian filmmaker Viktoriia Lapushkina, satire becomes the lens through which she explores a peculiar modern phenomenon, the booming industry of “pickup” and self-improvement courses promising instant love, wealth, and personal transformation.

Her short film ‘Pickup’ approaches the subject with a dark comedic edge, revealing the loneliness and insecurity that often drive people toward such promises.

In this conversation, Viktoriia Lapushkina reflects on the personal feelings that shaped the story, the unexpected journey of bringing the film to life, and what it meant for the project to begin its festival life at the Slamdance Film Festival.

1. Viktoriia Lapushkina, can you tell us a bit about your background in filmmaking?

Viktoriia: At first, I took a short filmmaking course at Moscow Film School in 2022 to try out different roles in the industry. There, I made my first movie, ‘Second Chance’ and promoted it to different festivals using my previous marketing background.

Later, I was accepted into the Screenwriting program at Moscow Film School, where I spent 2 years focusing on writing. In the past, I was working as a writer for a comedy TV program in Russia, which is why I mostly create comedies.

2. Your new short, ‘Pickup’, tackles the rise of love and self-improvement courses in Russia. What first sparked your interest in this subject matter?

Viktoriia: There have been a lot of cases of fraudulent coaches (not only pickup) deceiving people. The worst cases are those that affect people’s mental health or safety. For example, one coach taught men that all women want to be grabbed by their buttocks. As a result, a group of people started grabbing women inappropriately in the streets. This issue sparked a big discussion, and me with my friends from film school came up with this idea.

Viktoriia Lapushkina

3. Did you conduct any research or speak with people affected by such courses while developing the screenplay?

Viktoriia: Only secondary, since we could find everything in the news or on Instagram.

4. In what ways did this script become personal for you?

Viktoriia: To be honest, my whole file, I felt like I didn’t quite belong – just like our main character. I wanted to show this feeling of moving through life as if everyone around knows the rules of the game, and you don’t. Our main message here is that it’s okay to be different; you don’t have to change yourself to be loved. Moreover, you will meet your people only when you’re being yourself. I’m still learning that too.

5. What were the biggest creative or logistical challenges during the making of this film, and how did you resolve those?

Viktoriia: We had to come up with a solution on how to film the scene where Lesha (Arseny) wants to jump from the roof in a safe way but at the same time make it look as real as possible. We spent several days searching for a proper location and solution, and I was constantly reporting everything to his agent.

6. What was the casting process for this film like for you? Was there something specific you were looking for in the actors?

Viktoriia: It actually was very fast: we didn’t have much time since the submission deadline was coming. I had Elizaveta and Arseny as a dream cast: they are famous in Russia, so I already knew how they work and what they are capable of. I reached out to them, sending my script and never expected to hear back from them, but they both loved the project and agreed to join.

I found Evgenia (the coach) through the local casting platform I usually work with. Her self-tape was so good and well-developed that I cast her immediately. They are all amazing actors and people, I’m so glad I had a chance to work with them.

7. What influenced the choice of 21:9 aspect ratio for the film?

Viktoriia: My DOP wanted it that way, that’s all I can tell, haha

8. Dark comedy requires delicate tonal balance. How did you ensure the humour didn’t ruin the emotional depth?

Viktoriia: Humour and depth always go hand in hand with each other, so I wasn’t worried that we would lose the balance.

9. Do you believe ‘Pickup’ would be relatable for audiences across the globe or specifically just Russians?

Viktoriia: I believe it would relate to anyone who has ever experienced the same feelings, no matter where they are from.

10. ‘The film has a very limited runtime? Are there or were there any plans to make this film longer than it is?

Viktoriia: A lot of people reached out after the screening, saying this short looks like a great opening scene of a romcom feature. I’m thinking about writing a script around it.

11. Premiering at Slamdance marked the film’s first festival screening. What did that moment represent for you personally and professionally?

Viktoriia: It was a dream-come-true moment, and I’m so glad we started our journey at Slamdance. I’m honoured to be a part of this community. Professionally, I believe having an honourable mention at such a great festival will open some new doors for us.

12. Lastly, what advice can you offer to first-time filmmakers who aim to tackle important themes through satire?

Viktoriia: Don’t try to make a perfect movie; let your mistakes create something greater.

What emerges from this conversation is a filmmaker who is as interested in human vulnerability as she is in humour. For Viktoriia Lapushkina, ‘Pickup’ is not merely a satire of manipulative coaching culture but also a gentle reminder that authenticity often matters more than the carefully rehearsed rules of attraction. Her journey from experimenting with filmmaking at Moscow Film School to seeing her work recognised on an international festival stage reveals a creative voice still evolving but already attentive to the fragile emotional truths beneath comedy.

If ‘Pickup’ is any indication, Viktoriia Lapushkina’s future work will continue to explore the strange spaces where insecurity, humour, and the search for belonging quietly collide.