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Transnational reception studies stress that a film’s meaning is co‑produced by local cultural logics, institutional mediators, and audience interpretive practices (Nornes, 2007; Higson, 2010). The “circuit of circulation” model (Stam, 2005) is especially apt for examining how Pretty Baby migrated from Western distribution channels to Ukrainian regional circuits.

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Louis Malle’s Pretty Baby (1978) remains one of the most contested depictions of childhood, sexuality, and early‑20th‑century American culture. While the film has been extensively analysed in Anglophone scholarship, its circulation, interpretation, and impact in the former Soviet space—particularly within Ukrainian regional film‑cultural institutions (commonly referred to in Ukrainian as okru, i.e., okruha or district‑level cultural circles)—has received scant attention. This paper investigates how Pretty Baby entered Ukrainian cinematic discourse during the late‑1980s and early‑1990s, how it was framed by regional film societies, critics, and academic programmes, and what its reception reveals about the negotiation of Western erotic narratives within a post‑Soviet, regional cultural infrastructure. Employing archival research, content analysis of regional film‑journal articles, and semi‑structured interviews with curators of the Okru network, the study argues that the film functioned simultaneously as a site of aesthetic admiration, a catalyst for debates on moral norms, and a pedagogical tool for re‑examining Soviet‑era censorship legacies.

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In the Ukrainian context, okru (plural okruha) denotes district‑level cultural centres that emerged after 1991 as semi‑autonomous entities responsible for cultural programming, including film exhibition (Kovalchuk, 2014). Scholars argue that these bodies acted as “cultural translators,” adapting imported works to local sensibilities while also serving as sites of cultural experimentation (Shevchenko, 2018).