Category: Музыка

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

March 31, 2026

News editorial office

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From March 12th to 28th, pre-premiere rehearsals for the play "A Reason to Stay" took place at Mosfilm's Pavilion 13. This production by the ENTRACTE theatrical agency brought together Victoria Isakova and Igor Gordin, who were performing together for the first time. Director Igor Teplov brought the story of the fine line between separation and hope, based on the play by Oscar nominee Bernard Slade, to the rehearsal space.

Pre-premiere rehearsals for "A Reason to Stay," a comedy melodrama based on the play "On Special Occasions" by renowned playwright Bernard Slade, have concluded at Mosfilm's Pavilion 13. The production was produced by the ENTRACTE theatrical agency under the direction of Igor Teplov.

The central roles are played by Victoria Isakova and Igor Gordin, for whom working on this material was their first creative collaboration. The play's protagonists are a married couple, Emma and Michael. Having just celebrated 15 years of happy marriage, they decide to divorce, promising to "remain friends" for the sake of their children's future. However, each new "special occasion" reunion—whether sad or funny—turns into a chance to reconnect. And each time, something prevents them from staying together.

The rehearsal process of a performance

Slade wrote the original play in 1982, already the author of several popular screenplays and the winner of prestigious awards. He penned stories where everyday dialogue conceals a genuine emotional drama. Director Igor Teplov continues this tradition in the new production. The premiere took place on March 29, 2026.

"Rare encounters after divorce lead the characters to understand that marriage is a lifelong journey. It can have different periods, not just moments of joy. And, as trite as it may sound, it turns out that family happiness requires three components: the attraction of bodies, the attraction of souls, and the attraction of minds," the play's director noted in a commentary for Mosfilm.ru.

It's worth noting that Mosfilm has been collaborating with Moscow theaters and theatrical agencies for several years. In 2024, Mosfilm's Pavilion No. 13 hosted rehearsals and a dress rehearsal of the play "Sharp Objects" by the Entracte theatrical agency. The production can be seen at the Taganka Theater. Rehearsals for a stage version of A.S. Pushkin's novel "Dubrovsky" (at the Satirikon Theater) also took place in Pavilion No. 12. Theatrical production organizers agree that rehearsals at Mosfilm's pavilions are convenient for actors in terms of space, airiness, and lighting, and the conditions themselves are close to those of a stage.

In 2023, Pavilion 13 of the film concern became the main rehearsal space for the play "Warsaw Melody" (premiered at the Yermolova Theatre). In 2020, Mosfilm Pavilion 11 hosted rehearsals for the play "Two on the Seesaw" by the independent theatre project "Atelier." The premiere took place at the Taganka Theatre. In 2016, Pavilion 12 hosted the play "The Taming of the Shrew" (Teatrium on Serpukhovka), and in 2015, the film studio hosted rehearsals for a production of the contemporary French play "The Name" (Atelier project), among other things.

All Mosfilm sound stages, which have undergone major renovations and restoration, as well as the new sound stages (No. 16 and No. 17), meet the latest technical and technological requirements not only for film and television production. Large, medium, and small sound stages can be used as spaces for large-scale concerts and cultural events, theatrical rehearsals, business presentations, large-scale and intimate exhibition displays, and more.

Mosfilm pavilions

For rental and cooperation inquiries: Central Production Department (CPD), Tel.: 7 (499) 143-9891, e-mail: cpy@mosfilm.ru. The CPD is in charge of 17 filming pavilions (including the Church and Chroma Key sets), 2 outdoor locations, 2 photo and video test studios, a television studio, and 13 acting complexes.

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

March 30, 2026

News editorial office

The director's friends, colleagues, and allies gathered at Mosfilm's Cinema Center to remember his creative journey, his unique talent, and his contribution to preserving Russian culture. The evening, timed to coincide with the master's anniversary, featured reminiscences, documentary footage, and songs from his legendary films.

A gala evening dedicated to the 90th anniversary of Stanislav Sergeyevich Govorukhin's birth (1936–2018) was held at the Mosfilm Cinema and Concert Hall. The legendary film studio was attended by those who knew the director personally, who worked with him on set, and who shared his time in the State Duma. Friends and colleagues gathered to relive cherished moments from the master's life and work.

Before the evening began, guests were treated to a unique exhibition, allowing them to experience Govorukhin's world. A recreated director's office, complete with letters, cartoons, and notes from his personal archive, sat alongside an exhibition of archival photographs, reproductions of his paintings, posters, and costumes from his films. The evening's audience was also shown documentary footage, interview excerpts, and, of course, stills from legendary films, accompanied by the sounds of famous melodies and songs that have become an integral part of Russian cinema.

Words of gratitude and admiration were expressed from the stage for a man whose life was inextricably linked to service to the Motherland. In a video address, Russian President Vladimir Putin noted Govorukhin's unique combination of directorial talent and personal devotion to the country: "Besides his talent as a director and a creative artist, Stanislav Sergeyevich is a true patriot of our country. He was an absolutely selfless man. And devoted to Russia."

State Duma Chairman Vyacheslav Volodin, addressing the audience, emphasized that for the master, audience recognition was always his highest honor, and Russia his most important value. "For him, the most important thing was to serve Russia, to be appreciated by Russian audiences. And this is what distinguished him from many gifted and talented artists," Volodin said. The discussion of perpetuating the master's memory and respecting his legacy will continue during the "Govorukhin Readings," which will take place on April 16 at VGIK. In this regard, the President's decision to establish an organizing committee to perpetuate the memory of Stanislav Govorukhin, designed to preserve and pass on his creative legacy to future generations, is particularly significant.

Opening the evening, Russian Minister of Culture Olga Lyubimova noted the high interest in the event: long before the event, the ministry had received numerous requests for tickets. She stated that the anniversary year will be filled with retrospectives and exhibitions across the country. "A huge thank you to VGIK for bringing together students, future professional film scholars, to listen to them and, through their eyes, to see the films of Stanislav Sergeyevich, on whom we were all raised in one way or another," Olga Lyubimova emphasized.

A highlight of the evening was the speech by Karen Shakhnazarov, General Director of the Mosfilm Film Concern and film director. He emphasized that the debate about whether Govorukhin was primarily an artist or a politician is pointless, as he excelled in both roles at the highest level.

"Some say he wasn't a politician, but an artist. No, he was both an outstanding artist and an outstanding politician. He was very successful," Shakhnazarov emphasized. "He came to the State Duma, and, in my opinion, to this day, there has never been a better head of the Culture Committee. He played a huge role in saving our cinema. These are not empty words: it was his efforts, his will, that helped preserve what we have today. He was passionate about this, and he helped a huge number of people."

Karen Georgievich also shared personal memories, painting a portrait of a man of astonishing generosity: "He was a lively, cheerful person, completely devoid of arrogance. He loved conversation—sitting and talking. He could recite pages of Chekhov, Gogol, Blok, and Pushkin by heart. He could do everything and knew everything. Being in his company was an incredible pleasure."

The evening took place in a warm, almost homely atmosphere. The banquet format, with a festive table set up on stage and the concert participants seated around it, encouraged heartfelt conversations. People's Artist of the RSFSR Larisa Luzhina, People's Artist of Russia Fyodor Dobronravov, Honored Artists of Russia Larisa Guzeeva, Tamara Akulova, Svetlana Khodchenkova, Yulia Peresild, Ekaterina Guseva, and director Fyodor Bondarchuk shared memories of their friendship and collaboration.

The evening's musical highlights included performances of iconic compositions from Govorukhin's films. People's Artist of the Russian Federation Alexander Rosenbaum, actress Aglaya Shilovskaya, Honored Artist of Russia Gosha Kutsenko, and other performers performed for the audience.

Concluding the evening, the organizers recalled the words of Vyacheslav Volodin, which became the leitmotif of the entire meeting: "A person lives as long as we remember him." The memory of Stanislav Govorukhin—a director, citizen, and hero—will truly live on as long as his films continue to be seen and his deeds serve as an example for future generations.

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

Stanislav Sergeyevich Govorukhin was born on March 29, 1936, in the town of Berezniki, near Perm. After graduating from high school, he enrolled in the Geology Department of Kazan University. In his first year, he took up creative writing and joined the editorial board of the student newspaper. A year after graduating, Govorukhin landed a job at the newly established Kazan Television Studio, where he tried his hand at various roles, from program editor to presenter. His experience in television helped him gain admission to the directing department of the Gerasimov Institute of Cinematography (VGIK). The young director was enrolled in Yakov Segel's workshop. In 1964, Stanislav Govorukhin made his first film, a short film called "The Pharmacist's Wife," based on a short story by Chekhov.

In 1966, Stanislav Govorukhin graduated from VGIK with honors. His graduation film was the short film "Aunt Katya." Just a year later, the budding director made his first feature film, "Vertical," a collaboration with fellow student Boris Durov, which would become a landmark in the history of Russian cinema. The film, starring Vladimir Vysotsky, debuted as both composer and lyricist. "Vertical" became one of the top box office hits of 1967, and "Song of a Friend," featured in the film, became one of the year's most celebrated songs.

In the years following the success of "Vertical," Stanislav Govorukhin directed such films as "White Explosion" (1969), "The Life and Amazing Adventures of Robinson Crusoe" (1972), and "Contraband" (1974). A landmark year in Govorukhin's career was 1979. With the help of director Boris Durov, he wrote the screenplay for the action thriller "Pirates of the 20th Century," which attracted over 90 million viewers and became the highest-grossing film in the history of Soviet cinema. That same year, the five-part television series "The Meeting Place Cannot Be Changed" premiered, becoming a major directorial triumph for Stanislav Govorukhin. The film enjoyed widespread popularity, and many of the characters' lines became iconic.

Stanislav Govorukhin on the set

Since 1988, Stanislav Govorukhin worked as a director at the Mosfilm studio. During this period, he directed such films as the war drama "Champagne Splashes" (1989) and the documentary films "You Can't Live Like This" (1990) and "The Russia We Lost" (1992). After the release of these documentaries, Stanislav Govorukhin became actively involved in politics. In 1995, he was elected to the State Duma. During his four-year tenure, funding for culture, art, and cinema increased from 60-70 percent to 100-115 percent. The adoption of the Law "On State Support of Cinematography" in 1995 brought Russian cinema out of a protracted crisis. Stanislav Sergeyevich was constantly concerned about raising the salaries of cultural workers.

In the following years, Stanislav Govorukhin continued to make films of various genres; many of his films became events not only in the cultural but also in the social life of the country – “The Voroshilov Sharpshooter” (1999), “Bless the Woman” (2003), “Not by Bread Alone” (2005), etc.

Stanislav Govorukhin passed away on June 14, 2018, at the age of 82. Until his last moments, he remained active in his creative and public life. His final directorial work was "The End of a Beautiful Era" (2015), based on Sergei Dovlatov's novel. Stanislav Govorukhin's film legacy lives on. On March 29, to mark the anniversary of his birth, a gala evening in memory of Stanislav Govorukhin will be held at the Mosfilm Cinema Center.

"Happy Anniversary, Master!" A Mosfilm.ru editorial column

On March 29, 2026, Stanislav Sergeyevich Govorukhin would have turned 90. An anniversary the country is celebrating at the state level—with a presidential decree, "Conversations on Important Things" in schools, and, hopefully, with re-watchings of his major films. But for me, Govorukhin has always been a figure undeniable by a formal portrait. He was a dandy director with a pipe constantly smoking, the best in the USSR at making genre films, and at the same time, a journalist with a camera like a weapon, a judge who pronounced judgment on an entire era.

He started out as a geologist, and this likely defined his primary passion as a director—the conquest of any vertical—creative, political, personal. The 1967 film "Vertical" was not just a debut, but a manifesto. It was there that the voice of Vladimir Vysotsky was heard, with whom Govorukhin would forever be associated with the image of romantic masculinity. This ability to sense time and find the ideal form for it would become the director's calling card.

Having settled professionally in Odessa for an extended period, Govorukhin became the Soviet audience's main guide to the world of Western fiction. He adapted Defoe, Twain, Jules Verne, and Agatha Christie for the screen with the same respect for the source material as his characters, Zheglov and Sharapov, conducted their legendary argument. "The Meeting Place Cannot Be Changed" is more than a detective story. It is a reflection of the era and the eternal dilemma of our lives: what prevails—a firm hand or humanism and compassion? This film became not just a television hit, but part of the national code.

But Govorukhin wouldn't be himself if he remained confined to entertainment cinema. With the onset of perestroika, the director shifted his focus. The film "You Can't Live Like This" became, in essence, a prosecutor's speech, addressed to a society that, in his view, was rapidly losing its moral bearings. Later, he would address the question of "the Russia we lost," turning his gaze to the imperial past. He was called a retrograde, accused of excessive pathos, but one cannot take away from him the most important thing: he was always brutally honest—in his doubts, his anger, and his subsequent disillusionment with his own journalistic idealism.

In 1999, he made what was arguably his most important film, "The Voroshilov Sharpshooter." The director himself admitted that he considered it his best. And it truly is a signature statement about what happens when the state turns its back on the common man. A veteran with a rifle, restoring justice, is a terrifying gesture of despair that Govorukhin, like no one else, managed to translate into cinematic form. In the final years of his life, he amazed us with the black-and-white noir "Weekend" and Dovlatov's "The End of a Beautiful Era," proving that even as a master and a member of parliament, he remains an artist constrained by the confines of the familiar.

Yes, Stanislav Sergeyevich was a controversial figure. His journey from a 1990s democrat, author of "You Can't Live Like This," to a high-profile politician and statesman was controversial. But that was the essence of Govorukhin—independent, awkward, yet always immensely talented. It's no coincidence he was called "a completely un-Soviet author." He truly didn't fit into the Procrustean bed of eras, creating characters that resonate with and resonate with audiences in 1967, 1999, and today.

He's been gone for eight years now. But while we quote Zheglov, pause scenes from "Ten Little Indians," and debate "The Voroshilov Sharpshooter," Govorukhin remains with us. Because he, like no one else, knew the recipe for truly popular cinema—the kind that makes us laugh, cry, and wonder about how we should live our lives.

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

March 26, 2026

News editorial office

The Mosfilm Sound Studio is one of the most sought-after venues in the country for professional sound work in film. Today, post-production work is underway (or nearing completion) on several films at once: from comedies and fairy tales to war dramas and adaptations of bestsellers. Mosfilm.ru reports on some of the projects currently being worked on.

RECORDING: FINAL MIXING OF THE PHONOGRAM

Small re-recording studio "A"

Here, re-recording sound engineer E. Sheretova is working on the comedy, a family film directed by Andrei Nikiforov, “The Best Summer in My Life” (produced by Maurice, Da Studio Films).

Plot: The story centers on Savva and Aglaya, a brother and sister, teenagers who live in the city and pursue their passions. Savva is a computer game enthusiast and a constant fidget. Aglaya is a young scientific genius who dreams of making an important discovery. Each has their own plans for the summer holidays: Savva plans to attend a gaming festival, and Aglaya plans to work on a project at a science camp. But one day, all their plans are ruined…

Small re-recording studio "B"

Sound engineer A. Badygov is working on the final mix of the soundtrack for the romantic fantasy film "How Lyubava Fell in Love with a Scarecrow" by director T. Zhukova (produced by Kinomir, KION film).

The film's plot follows a village girl who falls in love with a living scarecrow, but her feelings, quite understandably, confuse those around her. The film's producers are Tatyana Yakovenko and Konstantin Dydyshko.

Dolby Studio 6

The final sound mix for the Russian biopic "Flight of the Bee" (produced by Ogon Production) is underway in a studio equipped with a Dolby system. The project's producer is Olga Land. The film was one of the winners of the Russian Ministry of Culture's pitching rounds and received state support.

NOISE SOUND

8th Sound Studio

Specialists are creating the soundscape for Anton Maslov's comedy adventure fairy tale "The Last Knight. Kolobok" (produced by Yellow, Black, and White, START online cinema, and the Rossiya TV channel).

This is the true story of the most charismatic inhabitant of Belogorye and the universe of "The Last Knight"—Kolobok. Viewers will learn the treacherous purpose for which he was baked, how he managed to escape, how he wandered and fell into a gang of robbers, and then, against his will, became the partner of the hapless baker Tikhon and the unusual Lada. This is an adventure in which Kolobok and his chance friends will find themselves.

SPEECH VOICE PRODUCTION

9th studio

Work is underway on dubbing Igor Ugolnikov's war drama "Batka Minai" (produced by Voenfilm LLC). The film begins in 1941. Batka Minai's partisan detachment wages a relentless fight against the Nazi occupiers in Belarus, disrupting enemy communications in the rear, assisting the Red Army, and organizing acts of retaliation for the genocide of the population. Batka Minai becomes the occupation authorities' number one enemy.

10th studio

The filming of Ivan Kitaev's melodrama "Tenderly to Myself" (produced by Plus Studio, Zoom Production) is underway here. It's a screen adaptation of Olga Primachenko's meditation book "Tenderly to Myself: A Book About How to Appreciate and Care for Yourself."

The protagonist, Nadya, is a successful otolaryngologist and surgeon, but at 40, she suddenly realizes she knows nothing about herself. Every day at work, she examines her patients' senses, but she's forgotten how to hear her own feelings, or perhaps never heard them at all. Six "lessons of tenderness" unfold in her life, each of which will help her rediscover herself, her own voice, and new hope.

STUDIO CAPACITIES AND CONTACTS

The Mosfilm Film Concern's Tonstudio production complex is rightfully considered the largest and one of the most technically advanced sound recording studios in Russia. It includes large and small dubbing studios (including those certified as Dolby® Premier and Dolby® Atmos Premier), as well as specialized sound and voice-over studios, enabling the full cycle of audio post-production—from recording to mastering soundtracks in 7.1, 5.1, and Dolby Atmos formats for theatrical and television broadcasts. The complex's modern network infrastructure enables the simultaneous operation of multiple sound stations on a single project and a flexible organization of the production process.

For detailed information about the capabilities of the Tonstudio and the organization of work on sound post-production, you can contact the director of the Tonstudio production complex of the Mosfilm film concern, Tatyana Yuryevna Balter: phone 7 (499) 143-98-03, e-mail: tonstudio@mosfilm.ru

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

March 24, 2026

News editorial office

Today, Mosfilm boasts not only a glorious history but also cutting-edge technology: powerful workstations, modern equipment, and cutting-edge restoration software solutions. The studio consistently maintains a high standard of quality while striving to quickly respond to the enormous audience interest in its film library. For more details, see Mosfilm.ru.

WHY MOSFILM IS BRINGING ITS FILM LIBRARY BACK TO LIFE

Even with strict temperature and humidity conditions, the physical medium—film—inevitably deteriorates over time. Mosfilm's film library, containing over 2,500 titles, is a true treasure trove and a national cultural asset. To preserve these films for future generations, to enable viewers to see them on the big screen or in high quality online, the images must be converted to digital. In other words, restored. This is the demand of the times!

At the Telekino production complex

The main goal of restoration is to return the image to its original appearance, conveying the author's intent to the viewer. It's important to consider one nuance: Soviet filmmakers often had to work with film that was far from ideal, with its peculiar color rendition. Therefore, today's restoration process also involves tactful "improvement" of the image.

Active digital restoration began at the studio back in the 2000s. While 25 years ago, simply converting film to digital was considered sufficient, today technology has advanced significantly, making the process complex and multi-step. The modern standard of quality is 4K.

THE PATH OF RESTORATION: FROM FILM TO PIXEL

The starting point for the specialists at the Telekino PC workshop is the negative, the source material from which cinema prints were once made. The negatives are stored at Gosfilmofond, which makes them available to Mosfilm upon request. If the original film is lost, the restorers turn to the oldest surviving positive print or other film source material.

Sound requires no less attention: magnetic tapes degrade over time, acquiring noise, clicks, and crackles. Therefore, for high-quality work, the original recording or an earlier re-recording is essential.

Film storage at Mosfilmofond

The process itself begins with ultrasonic cleaning of the film to remove dust and dirt. This is followed by scanning—converting the analog image to digital. The resulting 4K file undergoes primary color correction (converting the tones from negative to positive).

The most painstaking stage, requiring utmost concentration, is frame-by-frame cleaning. Particularly challenging "subjects" for the restorer include torn frames, spliced negatives, and deep scratches. In complex cases, decisions are made collectively. According to one of the rules of the International Federation of Film Archives (FIAF), if a defect cannot be removed during digital restoration, it is left in place.

The process of scanning film

In the color correction room

Color is a key element. Mosfilm often involves members of the film crew in developing the color scheme. For example, cinematographer Vladimir Yusov oversaw the first restoration of Andrei Rublev, while cinematographer Vladimir Klimov contributed to the work on Twenty-Six Days in the Life of Dostoevsky and A Horseman Named Death, and cinematographer Nikolai Nemolyaev contributed to the work on The Courier.

Artificial Intelligence and the Human Eye: A Balance of Technologies

Modern restoration programs are equipped with tools featuring artificial intelligence. However, Telekino specialists use AI algorithms with caution—primarily for general cleaning and only under strict supervision. Automation runs the risk of simplifying the image and blurring important details.

Work as a restoration specialist at Telekino

Algorithms, when "comparing" adjacent frames, can mistakenly identify a small, important detail, a blurry texture, or a chip as a defect and simply remove it. The restorer's job is to prevent such "distortions." The final step is to combine the image with the soundtrack and evaluate its quality on the big screen by a special commission headed by Mosfilm's chief engineer.

FACTS AND FIGURES: THE SCALE OF THE WORK DONE

Four specialists are directly involved in the image restoration: M. Aleksakhina, E. Solovieva, M. Tusmatov, and V. Shakhnazarov. Color correction is by I. Agafonova, scanning is by E. Verlochev, and sound is by I. Valiev and M. Kalinin. The team of professionals is small, but the pace of work is steadily increasing: 14 films underwent full restoration in 2022, 18 in 2023, and 21 in 2025. In recent years, collections of films by Sergei Bondarchuk, Andrei Tarkovsky, Leonid Gaidai, Eldar Ryazanov, Georgy Daneliya, and other renowned Mosfilm directors have achieved new image and sound quality.

A still from the film epic "War and Peace" before and after restoration.

In recent years, Mosfilm specialists have restored over 270 films. Looking at the broader trend:

From 2009 to 2021: 96 films were restored in 2K format, and almost three dozen films were upgraded to HD 1080p. From 2019 to 2026: Telekino PC specialists completed a colossal amount of work in 4K format: 103 films — full 4K restoration; 56 films — partial 4K restoration (Phoenix automatic cleaning and color correction); 10 films — color correction of 4K scans.

The Film Concern carries out all restoration work exclusively at its own expense, without the involvement of government or sponsorship funding.

The studio's excellence is recognized by numerous screenings at major international film festivals, including Berlin, Cannes, and Venice. In 2017, Mosfilm won the Grand Prix at the Venice Film Festival in the Venice Classics section for its restoration of Elem Klimov's Come and See.

WHERE TO WATCH?

The restored paintings are now available to everyone. They are published on the studio's official channels in "Forgotten Melody for Flute" (1987) by Eldar Ryazanov.

You can see masterpieces on the big screen at Mosfilm's Cinema Center. For example, the premiere of the latest restoration of "Andrei Rublev" has already taken place there. A program of classic films is shown daily at the state-of-the-art four-screen theater.

Subscribe to Mosfilm's official resources! We're waiting for you at the cinema!

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

March 23, 2026

News editorial office

Dolby Studio 5 is nearing completion on the final sound mix for the drama "Vanya" (re-recording sound engineer Artur Khairullin). Filming for this feature-length film, directed by debutant Klavdiya Korshunova, was handled by CTB Film Company, CTB Lab, and 1155 Film Production Studio, with support from the Russian Ministry of Culture.

The story centers on 12-year-old Vanya, who lives with his mother in a small village. He knows nothing about his father, only once told by his mother that he works in Moscow at a bank. Now Vanya wants to find him. The children work part-time at Uncle Slava's local auto repair shop, fix an old motorcycle, and save up for the trip, but not everything works out as they hoped. When Vanya finally sets off for Moscow, it turns out the trip is pointless, as his father lives just nearby. Filming took place in the Kostroma region. As director Klavdiya Korshunova notes, the search for teenagers for the lead roles lasted four months in various Russian cities, including theater studios and open castings.

"In the end, Vanya Agranovich and Sasha Tsyganov were cast. I'm sure there will be plenty of people who will talk about connections and all that, but that doesn't bother me; I've spent my whole life defending myself from such accusations. I certainly didn't choose the actors by their last names. Often, when I'm writing the script, I have specific actors in mind. Yura Borisov and Anya Shevchuk were already part of the story, in my head. We've known each other for a long time and have worked together before. Anya plays the main character's mother. And Yura plays a man nicknamed "The German," whose house is located near Vanya's village. This role connects most with me personally, and in some ways tells my story—the story of a man returning to the places of his childhood after many years living abroad," director Klavdiya Korshunova shared.

On the set of the film "Vanya".

The project participated in the Lenfilm Debut laboratory for debut screenwriters and directors in full-length feature films in 2023.

"As we know, CTB Film Company loves debuts—almost every year we try to launch a project by a new director, and this time we were delighted to support Klavdiya Korshunova's film, which we already love. It's a sincere, simple, and honest story," notes producer Sergei Selyanov.

Information about the film:

Production companies: CTB Film Company, CTB Lab Film CompanyProduction: 1115 Film Production StudioGenre: DramaProducers: Sergey Selyanov, Maria Mayevskaya and Valeria MostovayaExecutive producers: Evgeny Semin, Elena StepanishchevaDirector and screenwriter: Klavdiya KorshunovaDirector of photography: Ekaterina SmolinaProduction designer: Daria LitvinovaCostume designer: Maria ShvachkinaMake-up designer: Tatyana KolomeytsevaCasting director: Daria ShvykovaCast: Ivan Agranovich, Alexander Tsyganov, Vasilisa Shurkhovetskaya, Anna Shevchuk, Yura Borisov, Daria Melnikova, Alexander Korshunov, Konstantin Itunin, Natalya Zemtsova, Tatyana Usatova, Alexander Usov, Daria Neshchadimova, Irina Zheryakova, Vasilina Makovtseva, Natalya Ushakova

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.