Michael Lockshin, the filmmaker of “The Master and Margarita,” is currently embroiled in a significant legal battle over the U.S. release of his movie, a Russian-language adaptation of Mikhail Bulgakov's celebrated novel. This lawsuit comes as Lockshin accuses producers Svetlana Migunova-Dali and Grace Loh of blocking efforts to release the film in American cinemas. The conflict has escalated into a courtroom drama, with Luminosity Pictures, acting as Lockshin's sales agent, asserting in documents filed with the U.S. District Court for the Central District of California that Migunova-Dali and Loh have failed to demonstrate legitimate ownership rights to the novel.
According to Luminosity's lawsuit, “The Master and Margarita,” which was first published in the 1960s, falls within the public domain, meaning that no individual or group, including the producers, has the authority to obstruct its release. Lockshin expressed confidence in this assertion, saying, “ensuring that neither this group nor anyone else can block the film’s release.” As the tension mounts, Migunova-Dali and Loh have responded through legal representation, criticizing the lawsuit as a “sham” and calling for Luminosity to withdraw what they deem a frivolous complaint.
The nail-biting plot surrounding this film began when production wrapped up in 2021 under the auspices of Universal Pictures, which signed on for distribution. However, everything turned upside down following Russia's invasion of Ukraine in February 2022. Lockshin has been vocal against the war, which led to delays in the film's release, capturing the sentiment of both the author, Bulgakov, who faced censorship and persecution in his time, and his protagonist.
Eventually, “The Master and Margarita” premiered in Russia in January 2025, where it quickly dominated the box office, raking in over 600 million rubles (approximately $6.7 million) in its debut week. The film's success continued as it grossed nearly $28 million in Russia and CIS territories. Despite these achievements, Lockshin faced backlash in the form of a smear campaign from pro-war factions, resulting in his name being erased from the film's credits.
The controversies surrounding the film did not deter interest from Western distributors, but for months, the film rights remained lodged in Russia, challenging Lockshin's attempts to present his work to international audiences.
In late 2024, Luminosity Pictures entered the picture as Lockshin's sales agent, lifting the veil of uncertainty over the potential U.S. distribution. Just as a sigh of relief was about to be breathed, producers Migunova-Dali and Loh claimed they had secured rights for their adaptation. This unexpected turn led to legal confrontations that are centering around proof of rights ownership.
Lockshin's team underscored a long-standing debate regarding the book's status under copyright law. A historic lawsuit against Bulgakov's heirs led to a situation where “The Master and Margarita” reportedly fell into the public domain due to alleged failures in U.S. copyright compliance. Consequently, Luminosity maintains that current claims to ownership by Migunova-Dali and Loh lack validity. Lockshin stated, “after extensive legal research,” Luminosity believes it can substantiate that the novel is indeed in the public domain, countering claims made by the opposing producers.
In an effort to counter Luminosity's assertions, George G. Braunstein, representing the two producers, vigorously disputed the validity of their claims. He insisted, “The novel is protected by all provisions of United States copyright law,” and characterized Luminosity's lawsuit as built on “blatant falsehoods” and “outright fabrications.” The refusal of Lockshin’s team to back down indicates that this high-stakes legal battle will continue, with Braunstein asserting, “Our clients will not be bullied, and we will not allow this fraud perpetrated by Luminosity to go unchecked.”
As both sides gear up for court proceedings and anticipate a resolution in the coming weeks, “The Master and Margarita” has already gained traction in regions outside of the United States, securing theatrical distribution in Italy (with BeWater) and in Germany and Austria (with Capelight), scheduled for theatrical release in May 2025.
Amidst the looming legal hurdles, Lockshin remains optimistic. “Hopefully this should lead to justice and the film being released in the English-language territories later this year,” he noted as the last act of this protracted struggle unfolds. “This is the final hurdle in what has been an exhausting fight, but we are determined to see it through.” Ultimately, the eyes of both the film and literary communities remain focused on this unfolding situation, eager to see which adaptation of this iconic work will prevail.
