Category: События

Translation. Region: Russian Federation –

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

March 6, 2026

News editorial office

49

On March 5 and 6, the New Russia State Symphony Orchestra held rehearsals and recording sessions for the large-scale gala concert "The Century of Zatsepin" at Mosfilm's First Music Studio. A television version of this spectacular evening, dedicated to the 100th anniversary of the legendary composer Alexander Zatsepin, will air on the Rossiya TV channel. Daria Zlatopolskaya and Andrey Malakhov will host the event.

Alexander Sergeyevich will celebrate his anniversary on March 10th on the Historical Stage of the Bolshoi Theatre. That evening, the maestro will personally appear on stage to receive congratulations from prominent figures in Russian culture and art.

The music of Alexander Zatsepin is an integral part of the cultural code of several generations. His melodies, which have graced dozens of feature and animated films, have long since acquired a life of their own. Phrases from films such as "Operation Y and Shurik's Other Adventures," "The Diamond Arm," "Kidnapping, Caucasian Style," "The Twelve Chairs," "The Woman Who Sings," "Ivan Vasilyevich Changes Profession," and "It Can't Be!" have become popular quotations, and songs have become folk songs.

The grand gala concert will feature A-list stars. Guests include Ildar Abdrazakov, Hibla Gerzmava, Nikolai Baskov, Natalya Varley, Yevgeny Mironov, Sergey Shakurov, Yulia Peresild, Fyodor Bondarchuk, Dima Bilan, Igor Butman, Anton Belyaev, Elizaveta Bazykina, and Maria Mironova. A special guest of the evening will be People's Artist of the USSR Alexandra Pakhmutova.

Preparing for such an event requires perfect sound, so the organizers chose Mosfilm. For two days, the legendary First Music Studio was in full swing. The organizers couldn't hide their admiration for the venue's technical equipment: "This is the best recording studio in Moscow. Everything related to recording is top-notch here. We rehearsed here last year and two years ago. We've tried many other places, but we always come back to you," the show's creators and participants share their impressions.

The two-day program was intense and diverse, encompassing every facet of the anniversary's career. The focus was on timeless hits, which will be presented in concert versions. Among them are "Song about Bears," the medley "Film-Film-Film," "A World Without a Beloved," "Island of Bad Luck," "Looking for You," and "Somewhere Among the Pampas." Under the baton of maestro Yuri Bashmet, the orchestra accompanied Nikolai Baskov and Dmitry Bilan. The Bolshoi Theater Children's Choir also participated in the rehearsal, and will be performing one of the compositions on the anniversary program.

To perform the title theme from the cult animated film "The Mystery of the Third Planet," it was decided to use unique instruments. Pyotr Theremin played the theremin, one of the world's first electronic musical instruments, invented by his great-grandfather, Leon Theremin. He was joined by Ilya Simphocat on a synthesizer to recreate that same "cosmic" sound familiar to everyone from childhood.

People's Artist of Russia Sergei Shakurov also worked in the studio. The actor, known for his dramatic roles, brilliantly performed the vocals for the songs "If I Were a Sultan" (from the film "Kidnapping, Caucasian Style") and "Long Ago There Was a War."

Arrangements of the legendary compositions "There Is Only a Moment" and "Conversation with Happiness" have been prepared for opera star Ildar Abdrazakov. These will be performed at the Bolshoi Theater with the New Russia Symphony Orchestra. Gennady Papin served as sound engineer for the Mosfilm sessions.

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 5, 2026

News editorial office

2

The sound post-production of the 4-part television film “The Nurse” (produced by “Bayrak Film Company”) is being carried out at the production and technical base of the Mosfilm Sound Studio.

"The main character, Olga, faces betrayal, but that's not all the difficulties she must overcome. Having experienced loss, the characters realize that the twists and turns of love and family lead them to a new beginning in life," the film's synopsis states.

Filming for the television series took place in St. Petersburg in November and December 2025. The director and screenwriter of the melodrama was Oksana Bayrak, known for her work on the series "Nothing Happens Twice," "Summer Snow," "Rain at the End of Summer," "Women's Intuition," and "Two Kilometers from the New Year," among others. The director's filmography includes more than three dozen projects. The director of photography is Gotlib Monenzhe, the production designer is Rimma Akhmadulina, and the producers are Margo Krzhizhevskaya and Nikita Shumakov. Galina Salgarelli co-wrote the screenplay. The leading actors are Anton Batyrev, Olga Fadeeva, Irina Efremova, Marie Mark, and Philipp Koznov. The series will be available for viewing on the "Smotrim" platform (Russia 1).

"Mosfilm is a true cinema hall! We work on sound in very comfortable conditions. Here you realize you're making a real film! And, of course, the staff here are true professionals. The actors who participate in the voiceover shifts are thrilled! Even just walking into the sound studio makes you want to create!" director Oksana Bayrak noted in a comment for Mosfilm.ru.

Speech studios No. 9, 10, and 11 are designed for recording lines and dialogue for video. The studios' large spaces (130 square meters) allow for the preservation of natural sound quality, which is especially important when recording famous actors with recognizable voices. All studios have network access to a shared Avid NEXIS storage system, allowing simultaneous work in multiple studios with the same content.

___________________________________________________________

For questions on renting music studios, re-recording studios, speech and sound studios – Tatyana Balter, Director of the Tonstudio PC, Tel.: 7 (499) 143-9803, 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 3, 2026

News editorial office

10

The St. Petersburg-Moscow backlot hosted a filming shift for director Sarik Andreasyan's new, large-scale project, "War and Peace," based on Leo Tolstoy's world-famous novel of the same name. The sheer scale of the production was evident in the large cast of crowd scenes, the abundance of props, and the period costumes. Mosfilm.ru is publishing exclusive photos from the set.

Leo Tolstoy's famous novel has repeatedly inspired filmmakers from Germany, Russia, Italy, America, and other countries, and there are more than 10 film adaptations. Director Sarik Andreasyan is developing a new, large-scale film adaptation of the legendary epic. The screenplay was written by Alexei Gravitsky, who has experience adapting literary works (Onegin) and historical fiction projects (The Great, Janissary). The names of the leading actors—Pierre Bezukhov, Andrei Bolkonsky, Natasha Rostova, and others—are currently being kept under wraps. The film is expected to feature both Russian film stars and emerging talents, bringing a fresh perspective to the classic.

The film will transport viewers to early 19th-century Russia, when the destinies of the aristocracy intertwine with the events of the Patriotic War of 1812. At the heart of the story are love and loyalty, honor and betrayal, peace and war, revealed through the lives of vibrant and complex characters. The authors aim not to reimagine, but to recreate Tolstoy's world in its authentic form—with respect for the text, the era, and the characters.

The crew will hold another filming session at Mosfilm in April. The film adaptation of Leo Tolstoy's epic novel "War and Peace" is scheduled for release on February 18, 2027. Atmosfera Kino will distribute the project.

War and Peace (2027, in production)

Director: Sarik AndreasyanProducers: Sarik Andreasyan, Gevond AndreasyanExecutive Producer: Ilya ShuvalovCinematographer: Kirill ZotkinScreenwriter: Alexey Gravitsky (based on the novel by Leo Tolstoy)Costume Designer: Gulnara ShakhmilovaProduction Designer: Ilya ShirokovCasting: Svetlana Ershova

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.

February 27, 2026

News editorial office

46

Filming for a new Mosfilm project, a film with the working title "Survive the Ice," has begun in the Pechenga District near the town of Zapolyarny. A nearly authentic polar station has been built there for the project. The film's plot is based on events that took place during the 27th Soviet Antarctic Expedition at Vostok Station in 1982.

Mosfilm has launched production on a new feature film, the working title of which is "Survive the Ice." The film crew has already begun work in the Murmansk region, where an impressive set has been erected to recreate the atmosphere of Antarctica, accurately capturing the appearance of the legendary Vostok Station of the early 1980s.

The project is being developed by Gopkins Film Production, commissioned by Mosfilm. The film's general producer is renowned film director and CEO of the film concern, Karen Shakhnazarov. Alexander Zachinyaev is directing and writing the script. The production team includes Denis Lopatkin, Alexander Perevezentsev, Andrey Starovoytov, Gennady Gorbachev, and Anatoly Shelyakin. Alexander Kuznetsov is the director of photography, and Yulia Makushina is the production designer. The cast includes both established filmmakers and prominent representatives of the new generation: Alexander Gorbatov, Vitaly Kishchenko, Alexey Vertkov, Kirill Grebenshchikov, Ivan Shakhnazarov, Oleg Vasilkov, Daria Ursulyak, and others.

WHY THE MURMANSK REGION REPLACED ANTARCTICA

The choice of location for the on-location filming was no accident. The region was ideal for the filmmakers for a number of reasons. Here, in the vicinity of Zapolyarny, the harsh landscape blends seamlessly with a stable snow cover, while the climate remains more forgiving for complex filmmaking equipment than at the actual South Pole.

As Alexander Perevezentsev, CEO of Gopkins Film Production and the project's producer, explained, the location search was conducted with strict technical requirements in mind. "We needed a specific terrain and the possibility of large-scale construction. This location met all our requirements," he emphasized. "Understanding the scale of the work ahead was, of course, a source of anxiety. But when you see what we were able to build here, in the bare tundra, you feel genuine pride. This is a colossal effort by the entire team."

According to the producer, the logistics of preparing the set proved a formidable challenge: builders and artists worked in extreme cold, with temperatures dropping to -39 degrees Celsius. However, Alexander Perevezentsev believes it's precisely this dedication that will ensure maximum authenticity on screen. "The people who will be making a film about severe frosts work in these conditions themselves. This is the very truth that the audience will definitely feel," he added.

MOSFILM PRODUCES FILMS ON ITS OWN

This project is of particular importance to the Film Concern, as it is being implemented solely with the studio's own funds, without the involvement of government or sponsorship funding.

Mosfilm Deputy General Director and the film's producer, Andrei Gushchin, noted that preparatory work began long before the official start of production last August. "Working on the script and searching for locations were painstaking and time-consuming. And now, being on set and seeing these large-scale, high-quality sets, I'm confident of success," he shared. "I want to emphasize: this film is being produced entirely with our studio's funds. This is crucial for us. Mosfilm continues to make films independently, investing resources in serious, large-scale projects. The challenging weather conditions only add to the realism, completely immersing the actors in the given circumstances. I'm confident the audience will believe this story."

DIRECTOR'S SPEECH

On the first day of filming, director and screenwriter Alexander Zachinyaev spoke with the media and answered questions about the sets and their daily work routine. He explained that the set complex built near Zapolyarny is not just a model, but a composite yet highly authentic representation of Soviet Antarctic stations.

"We didn't blindly copy any one particular structure, but our station is certainly very similar to the old Vostok station that existed in the early 1980s. Everything there is different now, modular and modern, but before, it was a complex of individual buildings. The artists managed to convey this texture: there's a lot of metal here, and all the structures are solid and sturdy. These aren't cardboard boxes, but real structures," said Alexander Zachinyaev.

He also noted that the Kola Peninsula's landscapes are ideal for filming the "frozen continent," with its main advantage being the stable snow cover. However, the Arctic also puts its own twist on the schedule. "On the very first day, we lost about an hour of filming time due to thick fog—a rare but dense phenomenon here," the director shared. "The cold also takes its toll: the equipment is sometimes capricious. But the weather has been kind to the crew so far, although conditions are certainly far from comfortable. The crew is holding up, everyone is motivated to work, fortunately the food is delicious, and we're working hard."

ANTARCTIC RV AND TRADITIONAL PLATE

The vehicles recreated for the film deserve special attention. The legendary Antarctic all-terrain vehicle "Kharkivchanka"—a huge tracked vehicle—stands particularly impressive against the snowy plain. Its exterior has been meticulously crafted: the paint has been deliberately distressed and features a color scheme typical of the 1980s, immediately conveying the impression of rigorous use. A model of an airplane is also displayed next to the vehicle.

Following tradition, after rehearsing the first scene, director Alexander Zachinyaev smashed a "plate"—a special cinematic artifact containing information about the film and autographs from the cast—on the tripod, wishing his colleagues good luck.

Denis Lopatkin, General Producer of Hopkins Film Production, admitted he felt both pride and responsibility. "Karen Georgievich Shakhnazarov placed great trust in us, and we understand the responsibility. We overcame enormous challenges to prepare the site, create this equipment, and build the station. But preparation is only half the battle; now we have to film. And for this, we have assembled one of the strongest teams in the country. We have everything here: the plane, the Kharkivchanka, the station. All that remains is to wish us all fair winds!" he remarked.

Filming in the Murmansk region will span 17 shifts. During this period, the entire set of exterior scenes will be shot, including all-terrain vehicle drives, wide shots, and scenes at the fuel depot. All remaining interiors, including the station's interior, will be recreated on Mosfilm soundstages, where production will resume after the crew returns from the Arctic.

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.

February 26, 2026

News editorial office

69

Set in the fictional city of N in the early 20th century, this film offers viewers a glimpse into the childhood of the iconic literary character Ostap Bender. The project combines the adventurous spirit of Ilf and Petrov's hero with motifs from Anton Chekhov's children's stories. Principal photography has now been completed, and post-production is underway. The film is scheduled to be presented at the World Content Market international exhibition in Moscow in April.

The film is being produced by the Art for All Seasons Foundation for the Support of Culture and Art. The project has already received a national film certificate (UNF No. 40828), which, according to the creators, confirms its compliance with professional standards of Russian cinema.

Lada Merkulova directed and wrote the screenplay. Yevgeny Kharlanov served as co-director, and composer Nika Usova wrote the film's music. The main character, 13-year-old Ostap, was played by young actor Timofey Myagchenkov, and he was joined on screen by a cast of both teenagers and adults. One of the roles in the film was played by the young Italian actor Thomas Saganeiti, who also holds Russian citizenship and for whom working at Mosfilm was an interesting experience.

"This was my first time filming at Mosfilm, and it left a very strong impression. The atmosphere, the authenticity of the locations, and the team's work helped me deeply understand the era and my character, an Italian fashion designer. The costumes were beautiful and helped create a complete sense of the era. I really enjoyed participating in this project, and the experience was truly inspiring!" shared Thomas Saganeiti.

The film crew's idea for the project was inspired by the Mosfilm backlot, which recreates old Moscow and St. Petersburg. Many of the film's scenes were shot here, including walkthroughs of historical sets and interior scenes. To create an authentic atmosphere from the early 20th century, the production designers made extensive use of props and costumes from the Mosfilm collection.

The creators emphasize that their film is not a strict adaptation, but a creative fantasy about what the young Ostap might have been like. The narrative weaves motifs from Chekhov's short stories—"Boys," "Vanka," and "The Malefactor"—giving the story added depth and vibrancy. The script evolved from short novellas into a full-length feature, depicting how the future "great schemer"'s resourcefulness and innate sense of justice manifest themselves already in childhood.

"We realized that today's children don't know who Andrei Mironov was, haven't read 'The Twelve Chairs' or 'The Golden Calf,' and are either little or completely unfamiliar with Chekhov's stories. So we conceived our film to use the adventures of children like them to spark an interest in reading in today's children. This became a mission for us, an educational task. We imagined what might have happened to Ostap when he was 13, and intertwined it with the spirit of adventure and poetry of the time, using motifs from Chekhov's children's stories. For example, in our film, Ostap helps Vanka Zhukov find his grandfather so that that famous letter finally reaches its destination," director Lada Merkulova told Mosfilm.ru.

The film is currently in post-production. The rough cut has already been completed, and the sound recording and pre-production work for the sound effects have been completed at Mosfilm's Tonstudio. The creators plan to complete the film by mid-spring, after which they will begin searching for a distributor.

Photos provided by the project's press service

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.

February 25, 2026

News editorial office

48

Starting February 20th at 9:30 PM, the third season of the show "Come On, All Together! In Chorus!" will air on the Rossiya TV channel. The legendary "100," responsible for impartial judging, is back together. Their main task is to select the best of the country's best teams. The show's permanent duo—host Nikolai Baskov and leader of the "100," Sergey Lazarev.

The new season of "Come On, All Together! In Choir!" opened with special guest Nadezhda Babkina, founder and artistic director of the vocal ensemble "Russian Song," which celebrated its 50th anniversary last year. As always, her rousing performance filled the competition with a festive atmosphere, and then joined a panel of hundreds of music experts.

"I adore choral singing because you can lose yourself in it. When very young girls and boys take the stage, eager to make a name for themselves, I feel delight, admiration, and joy. For me, the tone, honesty, and melody are important. When all this comes together, it gives spiritual strength, and something that may have been dormant for a long time begins to awaken in a person—certain strings of the soul. Energy is very important. It can be found in a quiet, timbral piece, or in a full-blown, full-throttle performance. The project 'Come on, All Together! Chorus!' gives us the opportunity to appreciate our spirituality, the most important, unfairly forgotten values that have existed for centuries," Nadezhda Babkina noted in a commentary for Mosfilm.ru.

Eight groups will compete in the first wave of competition for the Show Cup and 5 million rubles. Between four and seventy performers will take the stage at the grand show. The contestants' musical repertoire is diverse, ranging from classical pieces to cutting-edge arrangements and compositions. Each group will bring a unique sound and style to their performances. Familiar notes will be given a new twist, and old hits will be given a fresh lease of life.

The upcoming episode will feature the vocal group "KVATRO original," the vocal quartet "Malina," the techno choir "Palestrina," and the children's choir "Aurora" from Moscow, the ensemble "Toloka" and the choir of the Valaam Monastery from St. Petersburg, the women's choir "Devchata" from Tver, and the men's choir of the Song and Dance Ensemble of the National Guard of the Republic of Kazakhstan.

The jury includes the long-standing music experts without whom the show is now unimaginable—Nikolai Erokhin, Albert Zhalilov, Alina Yarovaya, Marina Firsova, Olesya Evstigneeva, Andrey Bill, Nastya Kraynova, Vladimir and Anton Korobka, Georgy Koldun, Akula, Harry Kraulis, and Alexander Penkin—as well as new judges—Pizza frontman Sergey Prikazchikov, singer Oksana Kazakova, and last season's semifinalist Evgeny Garanin. The winners of the second season of "Come on, All Together! As a Choir!"—Dmitry Zheleznov, founder and artistic director of the Dmitry Zheleznov Chapel, and Olga Kozyreva and Maxim Fadeev, directors of the Russian Song Choir of the Vladimir Regional Music College named after A.P. Borodin—also appeared on the panel.

The scale of "Come on, all together! In chorus!" is grandiose.

A vocal show is a complex project from a production standpoint. The television competition utilizes not only large-scale sets but also sophisticated software. According to the show's producers, Mosfilm's Pavilion 1 offers optimal conditions for such a large-scale project, including dimensions, ceiling height, soundproofing, set installation, and more. With each season, the vocal show continues to amaze and captivate audiences, and its fan base continues to grow. And this is just the beginning: new heights are yet to come. We'll find out who will receive the first coveted 100 points out of a hundred this coming Friday! Don't miss out!

Episodes of the new season will be available on media platform "Smotrim"

Production: Vait Media, photo by Russia TV channel.

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.

After numerous demands to cut the film short due to its excessive length (according to members of the artistic councils of the association, studio, and other higher-level organizations), Andrei Tarkovsky was forced to agree to cut some scenes and objects, including:

List of scenes and objects to be cut

Only after these cuts was the ACT regarding the release of the full-length film "The Passion According to Andrei" sent to the Cinematography Committee on August 25, 1966. The prepared text of the ACT stated: "The film was presented to the Main Directorate of Artistic Cinematography of the Cinematography Committee on a single reel on August 6, 1966, and approved by the Cinematography Committee under the Council of Ministers of the USSR for release with edits." This ACT was submitted for approval to V. Baskakov, Deputy Chairman of the Cinematography Committee under the Council of Ministers of the USSR. However, even this abridged version of the film was not approved, and Tarkovsky was "proposed" to further alter the seemingly finished film.

On August 30, 1966, Tarkovsky wrote a letter to the acting Head of the Main Directorate of Art Cinematography, E. Surkov:

“…Due to concerns about inaccurately edited scenes and cuts, the following episodes have been shortened and thus improved in editing;

….2) The scene of Andrey, Kirill and Danila leaving Trinity was thrown out due to the unclear plot development and its plastic variegation in connection with the junction with the subsequent passage of the heroes across the field in the rain.

3) The first scene with the buffoon has been shortened – half of the circular panorama before the appearance of the warriors has been thrown out.

This entire scene was re-recorded with the aim of making clear the social motive in the content of the buffoon's song.

Some shots within this scene have also been re-edited.

….5) The text of the “writing” that exists as Cyril’s internal monologue in the scene of Theophanes inviting Andrei Rublev to Moscow has been shortened.

6) The scene with the messenger in the episode of Andrei’s invitation to Moscow was shortened.

…8) The scene of Theophanes, Andrei and his disciple Thomas in the spring forest has been greatly shortened and clarified.

The overly illustrative “flight” of the swan at the end of this episode was thrown out…”

Tarkovsky was forced to agree to all the comments; this letter listed 23 points, which were subject to major corrections and cuts.

However, at the end of the letter, the director tries to convince management to allow the necessary additions:

A letter from director Andrei Tarkovsky

By this time, the struggle for the film had exhausted A. Tarkovsky to the extreme; his strength – moral, physical and creative – was running out.

On September 9, 1966, the director of the film, T. Ogorodnikova, and the director of the VI Creative Association, P. Danilyants, at the request of A. Tarkovsky, approached the management of the Mosfilm studio to grant him leave due to overwork.

“…On September 2, 1966, at an extended meeting of the Board of the Cinematography Committee under the Council of Ministers of the USSR with the participation of leading masters of Artistic Cinematography, the film “The Passion for Andrei,” submitted by the studio on July 29, 1966, and accepted on August 25, 1966 by the Cinematography Committee under the Council of Ministers of the USSR, was discussed.

While noting the film's ideological and artistic merits as an outstanding work of cinematic art, the meeting participants, along with a high assessment of the film's quality, considered it necessary to propose to the director A. Tarkovsky that he make editing cuts in order to free the film from individual shots and episodes of a naturalistic nature and to reduce the useful footage of the film as a whole.

Director A. Tarkovsky, having agreed with the need to make a number of editing corrections, requested that he be given leave due to overwork and allowed to complete the clarifications in the film's editing in parallel with the production of the source materials.

Taking into account the above, the General Directorate and the leadership of the Main Directorate agreed to satisfy Comrade Tarkovsky’s request to grant him leave and allowed him to resume work on editing and the production of source materials after returning from leave.

In this regard, we ask that the deadline for submitting source materials for the film “The Passion of Andrei” be extended until December 20 of this year.”

On October 24, 1966, the next meeting of the Artistic Council of the 6th Creative Association took place, at which a heated discussion about cuts took place:

Yuri Bondarev (writer, editor of the association)

"…I really like the film 'Andrei Rublev.' I think there's a lot of genius in it. There are some long stretches, sometimes little plots, like the woman swimming, for example, which is a bit of fiction, the bell sequence, and the river sequence. There were also some other long stretches, a lot of pulsating blood… Overall, I really like the film."

Elizar Maltsev (writer)

"…The film 'Passion for Andrei' has the potential to become a sublime work of art. But I've always been haunted by the feeling that the director lacks a sense of proportion. I'm driven by a desire to help the film, and I'm deeply convinced that the film is too long and too cluttered. The buffoons are uninteresting; they're artificial and forced, and I don't like the men fighting."

Vladimir Kreps (writer, screenwriter)

"…I'd like to draw a parallel with the film 'The First Teacher,' which at one time also sparked much discussion about the need for cuts, particularly in terms of graphic violence. Now that film has enjoyed great, well-deserved success. So, in my opinion, the film 'Andrei Rublev' now has global significance."

Vladimir Naumov (director, head of the 6th Creative Association)

"…The film as we saw it today is in grave danger of being devoured by the microbe of boredom. The film is excessively drawn-out. I lose the sense of coherence in this film; it breaks down halfway through. This film is so powerful in its truth and chronicle of events, so we must eliminate all falsehoods…"

Lyudmila Feiginova (editor of the association)

“Everything is conceived and filmed in large chunks and has its own rhythm; it’s practically impossible to throw anything away.”

Alexander Alov (director, head of the 6th Creative Association)

"Our shared position, our association's attitude toward the film 'The Passion According to Andrei,' throughout all the difficult stages of its creation, has been absolutely impeccable. We were always with Tarkovsky at the most critical moments. Now the film has been accepted, and our statements are guided not by fear of some dire consequences, but by a single, ardent desire to make the film better. The film is very drawn-out, hence its significance."

I'm a huge fan of the film, but I still agree with everyone that it's excessively long. The buffoons are insanely drawn out, Vladimir is too long, and there's a lot of cruelty. I simply can't stand the scenes with the horse and the dog. Naumov's suggestions are very specific. I'm in favor of shortening the film by 300 meters."

Andrei Tarkovsky:

We are at odds with each other.

My Artistic Council is broader; many people saw the film, and their opinions were conflicting.

…Of all 24 points related to editing amendments, only 3 amendments are perhaps not taken into account in today’s version.

I agree with the comments about philosophical conversations, which, of course, should be more specific and unique, but this problem and error are inherent in the script itself, which included a disproportionate meaning of what was said in relation to the amount of text.

I tried to cut out the first part of the execution, but it didn't work. I don't know what to do with Vladimir; the footage of him falling from the wall can be cut.

The old man with the stick cannot be removed, because without him there would be no episode, everyone is talking about this shot, and I agree with this, but it cannot be cut.

If you listen to everyone, it turns out that we need to throw out another 300 meters; wishes prevail over possibilities.”

Just two days after this meeting, members of the Artistic Council gathered to discuss editing changes to the film. Once again, Tarkovsky had to defend his position:

"…The discussion at the Artistic Council meeting left an overwhelming impression. The Artistic Council members' proposals failed to find a common solution in terms of concretely fulfilling the shared desire to make the film shorter. I'm in a difficult position, as nothing concrete was proposed at the Artistic Council meeting, despite the lengthy and detailed discussion.

Today the proposals are more constructive and concrete.

But if I cut out: the second part with the blinding, shorten Vladimir (Petra, the horse) by half, throw out the dog, the execution, Kirill’s cell, the flashback, the scene after the scene with Marfa, part of the scene between Feofan and Andrei – the ending, Kirill’s return plus what was suggested at the Artistic Council – can you imagine this picture?… The picture will lose its face.”

As a result, the Arts Council makes an unambiguous conclusion:

Decision of the artistic council

A. Tarkovsky decides to continue fighting for the film's fate. To be continued.

Photo: Mosfilm-Info Information Center. When using this image, a link to the source is required.

CONTINUATION

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.