The indie feature development space is increasingly looking toward global voices to shake up traditional domestic narratives. Ukrainian producer Andrii Svistunov would know. The Los Angeles-based producer is moving into the financing stage for Black Oranges, a coming-of-age dramedy that recently picked up the highly competitive 2026 URST Development Grant. Production is set to begin in 2027.
Written by Mariia Kustovskaia and to be directed by Yana Gladkikh, Black Oranges follows a young boy navigating a complex web of family dysfunction, grief, and intense moral quandaries after his grandfather presents him with a life-altering request. The project marks a major creative transition for Svistunov, whose background bridges high-stakes commercial production for multi-billion-dollar corporate brands with award-winning short format narrative runs at festivals like AFI Fest and HollyShorts.
The film’s journey to development began in 2024 when Gladkikh brought the script to Svistunov. At the time, Black Oranges was an acclaimed theatrical play, having been staged across six theaters in Eastern Europe, including a prominent showing at the theater-centered festival “Arlekin” in Saint Petersburg.
“When Yana brought me the script, I was immediately struck by its emotional depth,” said Svistunov. “It captured that deeply rooted sense of romanticized melancholy that defines so many Slavic literary masterpieces. But as a producer, my focus was figuring out how to ground that specific emotional DNA into a contemporary American setting without losing its soul.”
His creative pivot led to a rigorous seven-month development process, where Svistunov worked closely with the team to transpose the narrative from an “unnamed overseas city,” as written in the script, to Cleveland, Ohio.
The location choice was deliberate, selected for its deep history as a hub for Slavic migration. “Cleveland has this unique atmosphere where that same distinct, melancholic beauty is practically baked into the streets,” Svistunov notes. “For me, producing isn’t just about balancing a budget or managing a crew on set. It’s about cultural translation—identifying a deeply regional story with universal emotional truths and expanding its architecture for a global audience.”
The script’s blend of sharp dark humor and heavy emotional stakes helped secure the 2026 URST Development Grant, an initiative backed by European industry professionals aimed at supporting immigrant filmmakers pushing back against monolithic, state-sponsored narratives. The grant focuses on stories that champion democratic values, individual thought, and empathy. The URST Development Grant provides up to €10,000 each for Russian-speaking filmmakers and creative teams living in exile, regardless of nationality or citizenship.
“The grant is vital because it protects stories that refuse to see the world in black and white,” says Svistunov. “In Black Oranges, we’re looking at a kid forced to confront massive moral choices under the weight of inherited trauma and family expectations. It’s fundamentally about the right to personal choice and emotional truth, rather than having an identity imposed upon you by circumstance. Being selected was a massive validation that this story, while deeply specific in its cultural humor and sadness, speaks to a much broader human experience.”
Svistunov’s multi-disciplinary background as a creative producer, line producer, and production manager has given him a distinct edge in navigating the development matrix. Having spent years managing complex logistical pipelines for commercial agencies and festival-bound shorts, he views the business framework of independent film as something that should empower directors rather than restrict them.
The production is currently tracking toward a summer 2027 shoot on location in Ohio, leveraging the state’s robust filming infrastructure and tax incentives. While casting discussions are currently underway with several prominent actors, the production team is keeping specific names under wraps until contracts are finalized.
“What I’m looking forward to the most is watching an audience react to that very specific, slightly uncomfortable blend of warmth, sadness, and absurdity,” Svistunov says. “Life doesn’t segment tragedy and comedy into neat little boxes; they usually happen at the exact same time. The films that stick with you are the ones that can make you laugh and make you reflect simultaneously. That’s the balance we’re striking with Black Oranges.”
Words Nadja Sayej
Top photo by Saulius Balciunas
