There’s something particularly intriguing about a comedy that’s building anticipation before it even arrives. “Ravioli Oli” is set to release on February 5th, 2026, and while we’re still in the waiting period—that curious space where a film exists as promise rather than reality—there’s genuine potential bubbling beneath the surface of this project. Coming from My Way Studio and TNT, with director Andrey Nikiforov at the helm, this is a collaboration worth paying attention to, even if the full picture hasn’t yet crystallized for audiences.
What makes this particularly fascinating is the creative team assembled for the endeavor. Andrey Nikiforov brings his directorial sensibility to what’s positioned as a comedy, and that choice of genre matters. Comedy is deceptively difficult—it requires precision, timing, and an understanding of what makes audiences tick. Nikiforov isn’t approaching this as a straightforward laugh factory; there’s something more intentional about the project’s development. The casting of Olga Buzova, Vladimir Yaglych, and Maksim Lagashkin suggests a deliberate approach to assembling performers who understand comedic rhythm.
The partnership between My Way Studio and TNT is noteworthy in itself. This isn’t a case of a small independent project quietly developing in the margins. There’s institutional support here, production infrastructure, and the kind of backing that suggests confidence in the material. That level of commitment tells us something—these studios see commercial and creative potential in what Nikiforov is building.
Of course, we’re still in the pre-release phase, where the film exists primarily in our imaginations and in the details that emerge from production. The 0.0/10 rating currently sitting in databases reflects that simple reality: nobody has seen it yet, so there’s nothing to rate. That’s not a criticism—it’s actually a clean slate, a moment before reception writes its own narrative. In many ways, this is the most hopeful point in a film’s existence, when it retains all its possibility.
The anticipation building toward February 2026 matters because it speaks to something fundamental about cinema: our collective hunger to see what filmmakers will create next.
What we can reasonably expect from a project like this involves several key considerations:
- Creative vision: Nikiforov has an opportunity to establish his comedic voice in ways that might define his trajectory as a director
- Cast chemistry: Buzova, Yaglych, and Lagashkin will need to demonstrate why they were chosen for these specific roles
- Genre interpretation: How this comedy approaches humor—whether through satire, character-driven moments, or broader physical comedy—will determine its lasting appeal
- Production quality: The resources available suggest a film that’s been given proper attention and investment
The title itself—“Ravioli Oli”—carries a playful energy that hints at the film’s tonal direction. There’s wordplay there, something deliberately whimsical. That suggests Nikiforov might be crafting something that doesn’t take itself too seriously, which can be refreshing in the cinematic landscape. Whether that playfulness extends throughout the entire film, or serves as merely a stylistic flourish, remains to be seen.
What makes this project significant beyond just being “another comedy” is how it represents the current state of comedy filmmaking across different production contexts. TNT and My Way Studio are positioned to reach audiences through multiple channels, which means “Ravioli Oli” will have the opportunity to find its audience wherever they’re watching films and television. The infrastructure for reaching people is in place.
The conversation around comedies has shifted in recent years. There’s growing recognition that comedy requires the same craftsmanship, intentionality, and artistic vision as drama or thriller work. Nikiforov’s approach to this material—whatever that approach ultimately entails—will contribute to that broader conversation about comedy’s place in contemporary cinema.
As we move toward the February 5th, 2026 release date, the real test will be whether the film lives up to its potential. Will Olga Buzova, Vladimir Yaglych, and Maksim Lagashkin deliver performances that justify their casting? Will Nikiforov’s directorial choices create something memorable? Will the collaboration between the studios result in a film that resonates beyond opening weekend?
These questions hang in the air now, unanswered but full of possibility. That’s what makes a film in its anticipatory phase worth discussing—not because we know it’s great, but because we’re genuinely curious whether it might be. Sometimes the most honest thing a critic can do is acknowledge that uncertainty while remaining open to being surprised.
