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January 17, 2026

Musical Life: Music and Painting, Gennady Rozhdestvensky and others

Translation. Region: Russian Federation –

Source: Melody – An important disclaimer is at the bottom of this article.

Firma Melodiya continues to reissue Gennady Rozhdestvensky's legendary recordings. This album features five works, first performed in Russia under his baton in the mid-1970s and collected under a single cover in 1977; all are inspired by the works of great artists—Klee, Holbein, Hals, Rubens, and Picasso. All five are by Rozhdestvensky's contemporaries: Hungarian Sándor Veres, Austrian César Bresgen, Dutchman Wim Francken, Italian Otmar Nussio, and Canadian Harry Somers. Half a century ago, Rozhdestvensky's audience clearly heard these works for the first time, and many will hear them for the first time now: three of the five seem to be immortalized on this album for the first and only time. At least, no traces of other recordings could be found, and here it is difficult not to pay tribute to Rozhdestvensky and his tireless passion for searching for the rare, the little-known and the interesting.

All the works were composed between 1950 and 1966, and while formally still perfectly relevant for 1977, aesthetically they gravitate more toward the first third of the 20th century—toward the work of Bartók and the composers of the "Six," and toward the neoclassicism of Stravinsky and Hindemith. The only exception is the program's first piece, "Dedication to Paul Klee" for two pianos and string orchestra by Veres. Pianists Alexander Bakhchiev and Elena Sorokina shine here, although the work has also been recorded by other renowned masters, including András Schiff and Dénes Varjón, Andreas Grau, and Götz Schumacher. Veres's music is virtually unknown in Russia, despite being a highly original composer with an excellent background: he was a student of Bartók and Kodály, then a teacher of Kurtág and Ligeti, and later mentored an entire generation of Swiss composers, including Heinz Holliger.

"Dedication," whose seven movements are inspired by seven Klee paintings, is far from Veres's most individual composition; it reveals both the influence of Bartók and his successful transcendence of it. The "Firestorm" episode sounds truly terrifying, in the following "Old Bell" the soloists demonstrate marvels of mutual understanding, and "Gathering of Stones" makes you want to dance, despite the capricious rhythm. The final "Little Blue Devil" seems to unite all the most dynamic elements of the previous movements, and the devilish violin solo is clearly inspired by Stravinsky's "The Tale of the Runaway Soldier and the Devil, Played, Read, and Danced." Bresgen's suite for two pianos and percussion, "Pictures of Death," based on Hans Holbein's engravings, could also rightly be called excellent music, were it not so similar to Bartók's sonata for the same ensemble. Her shadow looms over each of the suite's fast episodes, while the composer is far more inventive in the slower sections, including the final one; Bakhchiev and Sorokina are joined here by percussionists Valentin Snegirev and Mikhail Arshinov.

Francken's "Portrait of Frans Hals" and Nussio's "Rubensiana" are surprisingly close: both works are written for chamber orchestra with an extensive harpsichord part (Mikhail Muntyan, another legendary musician, is superb here), both are imbued with a quasi-baroque spirit, and Francken even quotes his fellow countrymen Sweelinck and Valerius, making the words "as convincing as a quotation" doubly apt. Somers's "Picasso Suite" sounds even fresher, and one might not even know that he was a student of Darius Milhaud—it's evident from the very first note of the dashing ragtime that opens and closes the suite. The various periods of Picasso's career are reflected in its movements, the most striking of which is "Cubism," where the combination of piano and brass is reminiscent of Messiaen's "Exotic Birds." At the time of the release of the album "Music and Painting" in 1977, all five composers were alive; all of them had passed away in the last century—with the exception of Francken, who died in 2012.

Ilya Ovchinnikov, "Musical Life," December 28, 2025

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.

January 17, 2026

Musical Life: Pushkin by Andrei Petrov

Translation. Region: Russian Federation –

Source: Melody – An important disclaimer is at the bottom of this article.

The world's Pushkiniana abounds with a vast array of operas, ballets, and choral works. The links in this chain encompass the multifaceted registers of the poet's talent. One of the iconic examples of its time is the vocal-poetic symphony "Pushkin" (1978) by Andrei Petrov, whose extensive compositional legacy is, unfortunately, most often associated solely with his film scores. The structure of the work is as follows: a prologue and two consecutively numbered movements.

The prologue provides a concise outline of the entire subsequent dramaturgy. Accompanied by the sounds of harp and strings, the opening poetic proclamation resounds: "I love you, Peter's creation…" (recited by Oleg Basilashvili). The music then becomes more tense and dissonant, its nerve provided by the harp section (the introduction of period instruments in the 1970s was as symptomatic as the use of electronics today). Images of key milestones in the creative biography of the Russian genius flash before one's eyes—so profound is the sense of the music's cinematic quality.

The prologue's tangled thematic twists reach their peak and are cut short by the sound of a gunshot. The work's subsequent two movements reminisce about the poet's life: St. Petersburg balls, memories of his youth in Tsarskoye Selo, hostile criticism, and the fateful duel at the end. The crown jewel of this choreosymphony is the mezzo-soprano Evgenia Gorokhovskaya. Her soulful solo is discreetly heard at key moments where Petrov borrows lyrics from folk songs collected by Pushkin. This is one of the singer's most significant works in her vast repertoire. The voice, personifying the image of the Motherland, flows naturally, both a cappella and accompanied by an orchestra, painting a picture of Russian expanse (“Valley-valley, wide expanse…”), turning into a reflection of the spirit of the national elements (“Wind from the field, fog from the sea…”) followed by the poet’s lamentation (“A tearful river runs, a bloody stream flows along it…”).

The recording featured the Choir of the Leningrad State Academic Opera and Ballet Theatre named after S. M. Kirov (Principal Choirmaster Alexander Murin) and the Choir of the Leningrad State Academic Capella named after M. I. Glinka (Artistic Director Vladislav Chernushenko). In the fragment of the first movement, "Youth," the male parts managed to capture the dashing daring and indomitable energy of the Tsarskoye Selo youths thanks to their precise vocal delivery. The scope, the daring, the lightness—a true anthem of the Epicureans!

Another reason to appreciate the titanic work of the choirmasters who prepared this recording is the masterful dynamic differentiation of the choral voices in the "Pugachevshchina" fragment, which allows us to speak of the overall balanced timbre. The revelry of Pugachev's unbridled freedom is impressive! A different emotional tone is established in the symphony's finale—the vocalization of the female a cappella choir mourns the deceased poet. Then, rising in tessitura, this sound gradually transforms into the singing of angels, personifying the moment the poet's soul soars toward eternal life. With minimal expressive means, the composer creates a sense of the "sun of Russian poetry" rising before our eyes, and the awareness that life after death remains in the memory of the people whom the great poet served faithfully.

In his vocal and choreographic symphony "Pushkin," Petrov draws on the finest musical examples of the past. These include echoes of Glinka and Tchaikovsky's waltzes, phantom motifs whose orchestration recalls Prokofiev's "Romeo and Juliet," and the conflicting nature of Shostakovich's symphonic style. Evgeny Kolobov is a great success, having managed to bring all these genetic threads present in Petrov's music into a coherent whole and bring the theatrical nature of the work to the forefront.

The recording of the vocal and choreographic symphony "Pushkin" is another reason to pay attention to Petrov's work, and this digital album may become a starting point for renewed interest in the composer's extensive legacy.

Sergey Terentyev, "Musical Life", January 2, 2026

January 17, 2026

Musical Life: Lullaby. Albina Latipova and Yuri Martynov

Translation. Region: Russian Federation –

Source: Melody – An important disclaimer is at the bottom of this article.

There are at least several hundred releases dedicated to the theme of lullabies in all their forms, and such albums are nothing new for Melodiya (Olga Peretyatko and Semyon Skigin's "Songs for Maya" come to mind among recent releases). However, in this diverse field, the latest release by Albina Latipova and Yuri Martynov definitely stands out for its concept. The album is not primarily a mosaic of individual, sometimes random numbers, but rather a structured program from a concert recorded at Moscow's Niko Gallery in November 2024. The performers primarily focus on chamber music: with the exception of Volkhova's Lullaby from Rimsky-Korsakov's "Sadko," Gershwin's "Summertime," and a number of Soviet song hits, the rest is entirely devoted to the realm of Russian romance and German Lied. It is important to emphasize that Albina Latipova, being a soloist of the Bolshoi Theater, in chamber music does not at all fall into the sin of an “operatic” presentation of sound and nuances, which is typical, unfortunately, of some prima donnas of leading stages: in her interpretation, everything is subordinated to a delicate, soft intonation.

Expectations of monotony in a program consisting solely of lullabies are in no way fulfilled this time around: the singer, with her mastery, manages to highlight the subtle details of each piece, finding its own contrasting image within the overall concept. Her ensemble with Yuri Martynov is also harmonious: the accompaniment here is not only extremely delicate but also quite individual; the pianist doesn't follow the soprano like a weak-willed shadow, but rather collaborates to construct an interpretation of each piece. The album's only piano track, the exquisite Lullaby by Frederic Chopin, helps to truly appreciate his mastery. Another key quality of Martynov and Latipova's ensemble is its naturalness, its absence of pretentiousness, inventiveness for effect, or flashy, affected delivery in its interpretations. In the lullaby genre, this approach is an unmistakable hit.

Among all the album's tracks, Richard Strauss's Lullaby (Op. 41, No. 1) is an undoubted highlight, impressing with its subtle nuances and timbral colors. The performers are no less compelling in works by Russian composers—Glinka, Rimsky-Korsakov, and Tchaikovsky. Soviet hits also sound stylish, and Krylatov's "Bear's Lullaby," widely known from the beloved cartoon about Umka, is presented in an unexpectedly "gourmet" jazz version. Finally, the highly professional sound engineering by students from the Institute of Contemporary Art, led by Ilya Dontsov, is also noteworthy. For a team just beginning to master the basics of their craft, such a result is an obvious success.

The true audience for such albums, of course, isn't small children, but adults, who perhaps ultimately need lullabies even more. A baby will eventually fall asleep, whether in the quiet of a loving parent's arms, but our worries and stresses won't just disappear. Albina Latipova and Yuri Martynov's release could prove an effective remedy in these circumstances.

Alexander Kulikov, "Musical Life," December 7, 2025

January 17, 2026

January 16, 2026 "Red Bells. Film 1. Mexico on Fire": the first part of Sergei Bondarchuk's dilogy in new image and sound quality. Mosfilm specialists have carried out a frame-by-frame digital restoration of the image and sound of the feature film "Red Bells.

Translation. Region: Russian Federation –

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

Red Bells. Film 1. Mexico on Fire (Mosfilm, First Creative Association, Kanoshite-2, Vides International – Mexico, Italy, 1982)

Director: Sergey Bondarchuk Screenwriters: Valentin Yezhov, Sergey Bondarchuk, Antonio Saguera, Ricardo Garibay Composers: Georgy Sviridov, Joaquin Eras Cinematographer: Vadim Yusov Production Designers: Levan Shengelia, Giantito Burkiellaro, Francisco Magayon Cast: Nero Franco, Irina Skobtseva, Andres Ursula, Bogdan Stupka, Vytautas Tomkus, Yulien Balmusov, Alexander Saiko, Jorge Luque, Blanca Guerra, Eraclio Cepeda, Petr Vorobyov, Tengiz Daushvili, Anatoly Ustyuzhaninov, Sidney Romm Duration: 135 min Countries: USSR, Mexico, Italy Language: Russian

PLOT

1913. Mexico. Civil war is raging across the country. Two peasant armies, led by Emiliano Zapata in the south and Francisco "Pancho" Villa in the north, are advancing through heavy fighting toward the capital, which has been occupied by the forces of dictator General Huerta. At the height of the fighting, American journalist John Reed arrives with the northern army to interview Pancho Villa, the leader of the rebellious peasants.

HISTORY OF CREATION AND FILMING

The film's concept matured over seven years. Amid the Cold War, Sergei Bondarchuk's "Red Bells" duology became a kind of "Soviet response" to Warren Beatty's 1981 film "Reds," which also chronicled the life of American journalist, writer, and communist John Reed. Bondarchuk's sprawling historical film consists of two large, two-part parts—"Mexico Burning" and "I Saw the Birth of a New World." The first part recounts Reed's trip to Mexico in 1913–1914, during the revolutionary events that erupted there, which have shaped the country today. The second part draws heavily on the book "Ten Days That Shook the World."

Filmmakers from Italy and Mexico were actively involved in the film's creation. In addition to Sergei Bondarchuk, the screenplay was written by Italian playwright Antonio Saguera and Valentin Yezhov. The music was written by renowned Soviet composer Georgy Sviridov, and Vadim Yusov served as cinematographer.

Camera operator Vadim Yusov and director Sergei Bondarchuk on set

Filming of the American and Soviet films proceeded almost simultaneously. Bondarchuk began work on the second part of his film during the US premiere of "Reds." The greater importance he attached to the section of the film dealing with the October Revolution is demonstrated by the fact that he acted as an actor, whose voiceover was heard off-screen, highlighting and reinforcing various points in the film's narrative.

It's worth noting that Bondarchuk's portrayal of Reed was preceded by a Soviet filmmaker, S.D. Vasiliev, who directed the 1958 film "In the Days of October." John Reed (played by A. Fedorinov) and his wife, Louise Bryant (played by G. Vodyanitskaya), appeared as supporting characters. As American correspondents, these characters appeared in no fewer than six episodes. In the film, Reed was portrayed as a young, elegant, and intelligent observer of the revolution, sympathetic to the Bolsheviks and an idolizer of V.I. Lenin.

Reed was played in Bondarchuk's film by the renowned Italian actor Franco Nero. Unlike the American film's portrayal of the protagonist, who wears a Russian kosovorotka (a Russian peasant shirt) under his jacket while in Russia, Nero's character closely resembles an elegant gentleman in a fashionable suit, a "young lion" actively observing and absorbing the events of the revolution in Petrograd. Certainly, in some ways, this image was reminiscent of Reed in the film "In the Days of October." Viewers of "Red Bells" often see the protagonist holding a notebook. His credo is voiced in the first part of the film:

"It's my job to be in the thick of things, not to write about them from hearsay. I'd just look ridiculous if I wrote about something I didn't see myself."

Actor Franco Nero

In Red Bells, Reed is both an observer and an active participant in the revolutionary events. Unlike Beatty, Bondarchuk focuses primarily on historical events rather than the personal experiences of the characters. Lenin is rarely seen in close-up, with the emphasis being on the mass movements and the general mood of the revolution.

The first part of the film, "Mexico on Fire," was released in 1981, and the second, "I Saw the Birth of a New World," in 1982. In 1984, the film's creators were awarded the USSR State Prize. Sergei Bondarchuk's duology remains a significant contribution to Soviet cinema, demonstrating the scope and seriousness of the director's approach.

*Source: E.V. Volkov's article "He Burned Out Like a Candle." John Reed in Revolutionary Russia: Screen Images of American and Soviet Cinema

RESTORATION

Frame-by-frame image and sound restoration was performed by specialists at PC Telekino. The restorers had to remove numerous film damage, glue marks on the splices between shots, numerous spots and scratches—both thin and wide—and remove interframe "hairlines." Image stabilization and the elimination of flickering, a common occurrence in old films, were a separate task.

"The main difficulty in the restoration was that the film is very dynamic. Horse chases, explosions, fire, frequent changes of shot. This necessitated painstaking manual labor. Automatic restoration is simply impossible! Furthermore, it's difficult to 'clone' lost frames, and there were some," noted restorer Ekaterina Solovieva.

As a reminder, the restoration process is divided into two parallel stages: image and sound. Initial digitization of the material is used for sound processing: removing clicks and extraneous noise, thereby clearing the soundtrack of various audio defects that arose both on set and during film storage. Then, the image is transferred from the film to a digital medium. Computer restoration of the film's video sequences takes longer than that of the audio sequences, lasting approximately a month (depending on the complexity of the material). Restorers are tasked with determining the film's color scheme and performing color correction. Various defects caused by mechanical stress on the film, such as scratches, are removed using computer cleaning and image stabilization. The restored audio and image are then merged.

Frame before restoration

Frame after restoration

Frame before restoration

Frame after restoration

The following artists worked on the restoration of the film: E. Solovieva, M. Tusmatov, M. Aleksakhina, and V. Shakhnazarov (frame-by-frame image restoration), E. Verlochev (scanning), I. Agafonova (color correction), and I. Valiev (sound). A. Senkovsky also contributed to the restoration. The restoration producer was Karen Shakhnazarov.

The restoration work is now fully completed, and starting at 7:00 PM (Moscow time) on January 16, the film will be available for free viewing on Mosfilm's official YouTube channel in 4K format. The film will also be available to view on all official online resources of the film studio (VK Video, Rutube, and the Mosfilm online cinema).

Please note that today, the restored war film "The End of Saturn" (1968) by Villen Azarov will appear on the international YouTube channel of Mosfilm with Spanish subtitles.

Mosfilm restores classic films in partnership with the Russian State Film Fund, which houses the original film masters (the studio holds the legal rights to the films). Mosfilm Film Concern carries out all restoration work entirely at its own expense, without government or sponsorship funding. Films are available for free viewing on Mosfilm's online cinema and on the studio's official YouTube channel, as well as on other online resources (VK Video, Rutube).

Photo: Mosfilm-Info

January 15, 2026

January 15, 2026: "The Tale of Tsar Saltan": Sound Post-Production at Mosfilm. The final sound mix for Sarik Andreasyan's new fairytale film, based on the work of the same name by Alexander Pushkin, is underway at Dolby Atmos Studio 7 (sound engineer: Garik Navasardyan). The editing rooms at Mosfilm's Sound Studio are also involved in the post-production process.

Translation. Region: Russian Federation –

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

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"The Tale of Tsar Saltan": Sound Post-Production at Mosfilm

January 15, 2026

News editorial office

The final sound mix for Sarik Andreasyan's new fairytale film, based on Alexander Pushkin's work of the same name, is underway at Dolby Atmos Studio 7 (sound engineer: Garik Navasardyan). The film's post-production process also utilizes the editing suites of Mosfilm's Sound Studio.

According to the plot, Tsar Saltan, staying in a village house, is fortunate enough to fall in love with a sweet, kind, and simple girl, Annushka. Annushka is fortunate enough to marry the Tsar and bear him a son. Her sisters and stepmother are fortunate enough, as if by magic, to follow Annushka into the Tsar's palace. But the sisters and stepmother don't appreciate their good fortune, desire more, and begin an intrigue. While Saltan is away, they switch the letter and present Annushka and the newborn heir in a bad light before the Tsar. Furious, Saltan orders everyone to await his return. However, the letter with the order is switched again. As a result, the Tsarina and her son are sealed in a barrel and thrown into the ocean to their certain death.

According to the film's creators, the first location shoot took place in Gelendzhik, the second studio shoot took place in Dolgoprudny, Moscow Region, and the final shoot took place in a specially constructed fairytale town measuring 6,000 square meters in the Troitsky District. Filming concluded in the summer of 2025. Over 500 unique costumes were created for the film's characters. The film is rich in graphics and special effects. Pavel Priluchny played Tsar Saltan, Liza Moryak played the Tsarina Mother, Alexei Onezhen played Guidon, and Alisa Kot played the Swan Princess.

"For me, Tsar Saltan is not just a character from a fairy tale familiar to everyone since childhood, but also a person with his own weaknesses, doubts, and emotions. I strove to portray him not as a cardboard cutout, but as a living hero with a heart and internal conflicts. I hope the audience will feel that this story is not only magical, but also full of genuine human emotions. During filming, I discovered a new side of the actors, familiar from previous projects. Perhaps this was due to the magic of the fairy tale—and, of course, the director: Sarik Andreasyan managed to create that very magic, which I'm sure will be conveyed to the audience," notes Pavel Priluchny.

"When creating the image of the queen, I drew on my own feelings. My goal was to portray a caring mother and loving wife—an archetype close and relatable to every woman. Any fairy tale, especially one by Alexander Sergeyevich, teaches us to believe in the miracle that fills life with love and true meaning," says Elizaveta Moryak.

In addition, Olga Tumaikina (Babarikha), Vladimir Sychev (Agafon), Anton Bogdanov (Ivan), Fyodor Lavrov (messenger), Karen Badalov (Porfiry) and Arthur Vakha (Uncle Chernomor) will appear in Sarik Andreasyan’s film.

The film's screenplay was written by Alexey Gravitsky. He added several elements not found in Alexander Pushkin's poem. "Our goal is to tell the story in a contemporary way. Not to transfer it to today—God forbid—but to tell it in a modern cinematic language. Vividly, figuratively, while still preserving Pushkin's spirit, his fairytale-like quality, and his humor. Despite all the difficulties, this task is entirely achievable. So, a new film adaptation of this well-known childhood tale awaits you soon. It will be engaging for both children and adults. We've found something special for every age," said Alexey Gravitsky.

Sarik Andreasyan particularly noted that "The Tale of Tsar Saltan" is not just a magical adventure, but a multi-layered, profound story.

"This is our version of Homer's 'Odyssey.' It's a story about the relationship between fathers and children, and also about how, no matter what miracles life throws at you, family always comes first. For me, as a father, the most important thing is the story of Guidon and his desire to be with his father again. I think our film about love, separation, and a happy reunion will touch the hearts of every adult and child," the director said.

Photo: Press service of the Atmosphere of Cinema company

The film will be released on February 12, 2026, by distributor Atmosfera Kino.

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For questions about renting re-recording studios at Mosfilm: Tatyana Balter – Director of the Tonstudio PC Tel.: 7 (499) 143-9803 e-mail: balter@mosfilm.ru

January 14, 2026

13.01.2026 "White Tiger" and "Star": Mosfilm's 21st-century war films were presented in China. At the end of December, a special film program dedicated to the victory of the Chinese people against Japanese aggression in World War II (1937-1945) was successfully held in Guangzhou.

Translation. Region: Russian Federation –

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

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January 13, 2026

News editorial office

At the end of December, a special film program dedicated to the victory of the Chinese people's war against Japanese aggression in World War II (1937–1945) was successfully held in Guangzhou. Contemporary Russian war cinema took center stage, with audiences treated to two iconic Mosfilm films—"Star" (2002) and "White Tiger" (2012). Organized with the support of leading Chinese film communities, the event highlighted the depth and artistic diversity of Russian cinema, its ongoing dialogue with history, and its philosophical understanding of the theme of war.

The Jinshahui branch of Yonghan Cinema in Guangzhou hosted a special screening of two Mosfilm war films, Nikolai Lebedev's "Star" and Karen Shakhnazarov's "White Tiger." The screening was part of a festival designed to commemorate key milestones in world history through the medium of film. Organized under the guidance of the China Film Association and with the support of a number of prestigious organizations, including the Film Arts Center of the China Federation of Literary and Artistic Circles and the World Film Society of China, the project affirmed cinema's status as a universal language of international cultural dialogue.

Before the screening, Zhou Wenping, Director of the Film and Television Arts Research Center at the School of Humanities at Guangzhou University, a renowned film scholar, and a member of the Guangdong Film Association's presidium, spoke to provide a deeper context. In her analysis, she emphasized that, despite their shared themes, the films represent two fundamentally different artistic approaches to understanding the past.

"'Zvezda' is a classic war drama about a reconnaissance group, where heroism is depicted through the lens of individual lives, through an incredibly detailed and emotional reality," Professor Zhou noted. "'White Tiger' is a philosophical parable, an almost mystical allegorical statement. It moves away from the specifics of historical events to reflect on the very nature of war, its irrational, cyclical nature. Together, these films demonstrate the multifaceted approach modern Russian directors take to military history, combining the traditions of great Soviet cinema with new, bold forms."

This contrast left viewers reeling. Military history buffs praised the authenticity and intensity of "Zvezda": "The film evokes the deepest respect for ordinary soldiers, their heroism and sacrifice." Many perceived "White Tiger" as a challenge and a source of reflection. "Now I understand that this is high art, which speaks not of battles, but of memory itself, of trauma that has no statute of limitations. The White Tiger tank is a brilliant metaphor for the inexhaustible dark side of any war," shared a young viewer.

Such double screenings, building a dialogue across eras and genres, have become the festival's hallmark. On another day, the same program presented another powerful pairing: Mikhail Kalatozov's The Cranes Are Flying, a Soviet classic that won the Palme d'Or at the 1957 Cannes Film Festival, and Alexei Sidorov's 2020 contemporary blockbuster T-34. From a poignant poetic exploration of personal tragedy and broken destinies on the home front to a dynamic action film celebrating courage and ingenuity on the battlefield, viewers were treated to a full picture of the war, both sides of it.

"It's like two sides of the same coin," one viewer remarked. "'The Cranes Are Flying' shows the most vulnerable, heartbreaking wound, while 'T-34' shows the iron will to win. Together, they represent the truth we seek in war films."

The festival program deliberately avoided one-sidedness, striving to show war in all its complexity—not only as a field of heroism, but also as a tragedy that shatters lives. Another thematic selection, for example, featured Andrei Tarkovsky's Ivan's Childhood (1962), a masterpiece that won the Golden Lion at Venice, and the contemporary drama The Little Soldier (2018). Separated by half a century, both films ask the same agonizing question about the price war exacts on a child, forcibly depriving them of their childhood. "This isn't just a history lesson, it's a profound life lesson," said one parent who attended the screening with their child. "The fact that these films resonate with today's audiences proves that the theme is timeless."

Thus, the Guangzhou Film Festival fulfilled an important mission. Through carefully curated paired screenings, it not only introduced Chinese audiences to Mosfilm masterpieces and contemporary Russian cinema, but also created a space for a complex, multifaceted dialogue about memory, humanity, and the nature of war. It demonstrated that Mosfilm films, with their powerful classical traditions and bold contemporary explorations, continue to be among the most profound and artistically significant phenomena in global cinema, capable of speaking to audiences in the language of high art and honest emotion.

January 12, 2026

January 12, 2026: Sound as a Character. Mosfilm is creating a unique sound universe for the war drama "Angels of Ladoga." Mosfilm's Sound Studio is working on one of the biggest premieres of 2026: the large-scale war drama "Angels of Ladoga," directed by Alexander Kott.

Translation. Region: Russian Federation –

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

THE ULTIMATE TASK: BRING THE ICE GHOST TO LIFE

The work of a sound engineer in a major film is always a challenge, an attempt to find a balance between historical accuracy, artistic expression, and emotional impact. For Rostislav Alimov and his team on "Angels of Ladoga," the challenge took on a concrete, almost tangible form. "The ultimate challenge in this film is the iceboat itself, the Ladoga ice itself. There's a lot here that's new, something no one has ever done before," the sound engineer notes.

An iceboat is more than just a vehicle. It's a boat "on skates" under sail, an ice sailboat capable of reaching speeds of up to 100 km/h and navigating ice just 8 centimeters thick. In 1941, these unique structures, piloted by teams of professional athletes, became the true "workhorses" of the Road of Life, delivering ammunition, fuel, and, crucially for the film's plot, evacuating children from besieged Leningrad.

"The sound of the iceboat itself, its natural sound, isn't very interesting. The ice is uneven—a constant thumping and pounding. This sound gets tiresome; it's simply unsightly," explains Rostislav Alimov. "However, in a film where the iceboat is the main character, and its movement across the ice is the leitmotif, such a sound would have been a mistake. It should have been created, not recorded. Invented from scratch."

SOUND LAB: FROM SPORT TO FILM

To give the iceboat a "voice," the film's sound engineers utilized the full arsenal of modern filmmaking, turning the process into a veritable scientific and creative laboratory.

The first step was organizing a special recording session of real iceboats on the ice of the Gulf of Finland. "We recorded these iceboats initially, took them out onto the Finnish ice, and worked with them there," says Rostislav Alimov. These recordings became the foundation, the ethnographic material, but not the final solution. They provided an understanding of the physics of the process, but not its artistic expression.

The next step was compositing. The sound engineers assembled a unique palette—a sound collage from the most unexpected sources. "It included the sound of a skeleton and the sound of bobsled runners," Alimov shares. The sounds of the bobsled track conveyed a sense of speed and a smooth, airborne glide without any jarring vibrations. This was the key to creating a beautiful sound.

But even that wasn't enough. The third, and perhaps most important, component was pure creativity. "We simply made up some of the sounds, describing how they should sound," the sound engineer admits. Thus, the iceboat's multifaceted, "live" voice was born. It had to change depending on the situation: powerful and menacing during the chase with the German snowmobiles, but more restrained, almost weightless, in key dramatic scenes, such as when transporting children.

Ultimately, the sound of the iceboat isn't pure sound design or a mere mix of library recordings. It's a complex symbiosis of synchronized noises, real-life recordings, borrowed sound elements from sports, and a completely new soundscape, conceived at Mosfilm.

"The creaking of the mast, the noise of the sail, the whistle of the wind in the rigging, the sound of ice at different angles of attack—all of this comes together to form a rich, multi-layered soundscape," Alimov says of the iceboat as a full-fledged character in the film.

MUSIC AND NOISE: IN SEARCH OF A REASONABLE COMPROMISE

The film's composer was the young and talented Nikita Yamov, selected following a major competition. One of the most challenging tasks in the final stages of production on any film is the harmonious blending of music and all other sound components: noise, dialogue, and effects. Rostislav Alimov, who calls himself "a man of reasonable compromise," developed his own strategy for the final mix.

"We, for our part, send the composer the finished elements so he can see what we have ready… So that when he's writing the music, he can hear what we've done, to avoid any misunderstandings. Conversely, if Nikita comes up with a musical theme earlier, he sends it to the sound engineers so they can 'tune' their sound to it," explains Alimov.

This approach allows for a balance. "We'll try not to interfere with the music, but at the same time, we'll try to preserve all our sonic discoveries and desires," the specialist notes. He clearly distinguishes the functions of sound: noises, background noises, and speech convey information to the audience, while music evokes emotion. Director Alexander Kott's job is to guide the composer to convey the desired emotion in the scene, while the sound engineers' job is to provide a flawless "informational" foundation.

Post-production on "Angels of Ladoga" is currently in its final stages. The image has been edited, background noise is estimated to be 95% complete, and visual effects are being finalized. After the New Year holidays, Mosfilm will begin active sound design, and the project is scheduled to undergo final re-recording by February 15th.

Rostislav Alimov emphasizes that the final mixing of a film's soundtrack is not just a technical stage, but a finishing touch that should not "spoil" but rather elevate, complement, and enhance the viewer's impression of everything they see.

"We, the sound engineers, always want to bring something special to the film. It's this symbiosis—deep respect for our colleagues' work, an understanding of the director's vision, and an insatiable desire to create and invent—that gives birth to the film's unique sound palette," Rostislav Alimov concluded.

"In November, at the very beginning of the terrible winter of 1941, as the siege of Leningrad closes in, a squad of young iceboat sailors sets out onto the thin, unformed ice. A mission to deliver ammunition turns into an operation to rescue orphans from an orphanage who hadn't been evacuated in time. Former rivals in regattas must now forge a true team to survive and give hope to everyone else," reads the synopsis for the film "Angels of Ladoga."

FILM INFORMATION

Genre: drama, historical film Director: Alexander Kott Screenwriters: Mikhail Zubko, Igor Kagramanov Cinematographer: Sergey Astakhov Production Designer: Elena Zhukova Producers: Natalia Kotkova (general), Irina Malysheva (general), Anton Zlatopolsky (general), Vadim Vereshchagin (general), Liliya Chekster (executive), Irina Bark (host) Cast: Tikhon Zhiznevsky, Roman Evdokimov, Ksenia Treister, Viktor Dobronravov, Polina Agureeva, Vadim Skvirsky, Evgeny Sidikhin, Dirk Martens, Sergey Lipovsky, Vladimir Dombrovsky, Nika Solovyova, Eva Solovyova Production: Film Company "Masterskaya", TV Channel "Russia", "Central Partnership", Kinoprime Foundation, with the support of the Cinema Fund, the Committee for Culture of St. Petersburg

Premiere: May 2026

January 12, 2026

January 12, 2026: Karen Shakhnazarov's films are recognized in the US as the standard for Blu-ray releases. Two films by director Karen Shakhnazarov, "The Tsaricide" and "Khitrovka: The Sign of Four," were included in the authoritative international list of the best Blu-ray releases of 2025.

Translation. Region: Russian Federation –

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

January 12, 2026

News editorial office

Two films by director Karen Shakhnazarov—"The Tsaricide" and "Khitrovka: The Sign of Four"—have been included in the prestigious international list of the best Blu-ray releases of 2025. The editions, released by the American label Deaf Crocodile, were recognized by the international online magazine PopMatters for their impeccable restoration and rich accompanying content, preserving the author's original intent for a global audience.

The authoritative online culture magazine PopMatters has published its annual ranking of the best physical home movies. The list, which traditionally features rare and iconic films from around the world, includes six releases from the American distributor Deaf Crocodile. Among them are two works by the distinguished Russian director and CEO of the Mosfilm film company, Karen Shakhnazarov: the mystical drama The Tsaricide (1991) and the adventure detective Khitrovka: The Sign of Four (2023). *The films were released on Blu-ray in 2023 and 2025, respectively.

The publication emphasizes that labels like Deaf Crocodile fulfill a vital cultural mission by bringing unique auteur cinema back into the spotlight of global audiences. Shakhnazarov's releases ranked alongside Belgian, Japanese, and American films, which critics described as "works by serious auteurs with a distinct personal style" that linger in the memory "like a haunting melody."

American Blu-ray editions of Karen Shakhnazarov's films were released with meticulous attention to detail. They include:

· Complete, restored versions of the films with English subtitles.· An exclusive video interview with the director, moderated by Dennis Bartok.· Audio commentary with renowned film critic Samm Dane.· An extended essay about the film by critic Walter Chau.· A special graphic booklet.

The inclusion of "The Tsaricide" and "Khitrovka: The Sign of Four" in this prestigious international list confirms the enduring artistic value and global recognition of Karen Shakhnazarov's work. It also demonstrates the growing interest of international audiences and critics in the profound and multifaceted Russian cinema, which continues to be revealed to the world at the highest technical quality.

Reference information:

PopMatters is an international online magazine covering many aspects of contemporary popular culture. PopMatters publishes reviews, interviews, and in-depth essays on the most important phenomena in music, television, film, books, video games, comics, sports, theater, visual arts, travel, and the internet. The magazine's staff includes contributors from around the world—from academics and professional journalists to aspiring writers. Many of them are authorities in a wide range of fields.

December 30, 2025

December 30, 2025 New Year's greetings from Karen Shakhnazarov, General Director of the Mosfilm Film Concern

Translation. Region: Russian Federation –

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

December 30, 2025

News editorial office

Dear Mosfilm employees! Dear film studio partners and moviegoers!

Happy New Year 2026! For us at Mosfilm, the past year has been filled with important accomplishments of which we are rightfully proud.

First of all, it's important to note that Mosfilm remains unique and the only truly profitable enterprise in Russia's cultural sector. We operate without government financial support, using our own resources exclusively, and we pay taxes. This is our fundamental position and, in my view, a standard to which everyone should aspire!

Modernizing our film and television production facilities is a dynamic, ongoing process. Every year, we purchase the latest cameras, upgrade equipment, and develop our studio infrastructure to create products that meet the highest global standards.

This year, the Mosfilm Cinema Center was recognized as Moscow's best movie theater. We managed to overcome a daunting challenge: not just building but also operating this venue, making it a true cultural hub for the capital. Today, the cinema center is bustling with activity, hosting a wide variety of events, and screenings of restored Mosfilm classics often outstrip contemporary films in terms of audience size.

Don't forget that we have exciting premieres awaiting us! Next year, we plan to release three films at once, all of which we are producing with our own funds: the sports drama "Teofilo," a joint project with Cuban filmmakers; the comedy "Deadmobile" (with the Kinoteka film company); and our own major project, the drama "Survive the Ice," which begins filming in February. We are confident that these films will find their audiences in 2026!

All our successes have been made possible thanks to the Mosfilm Film Concern team. I express my sincere gratitude to all Mosfilm employees for their honest and dedicated work. My warmest words and best wishes to the millions of viewers of Mosfilm's online resources worldwide. This year, our official YouTube channel has grown to 7 million subscribers! Mosfilm's Rutube and VK channels are also showing steady growth. Your love of cinema and support give us strength and confidence!

A special thank you to Mosfilm's partners – everyone who worked with us this year, everyone who is choosing a long-term partnership with the studio! We wish each other continued success and productive collaboration.

Dear friends! I sincerely wish you good health, happiness, prosperity, and the fulfillment of all your plans in the new year! May the coming year bring many pleasant events and fill your home with happiness and warmth! And, most importantly, I wish victory to our great country!

Happy New Year 2026! Merry Christmas!

General Director of the Mosfilm Film Concern, People's Artist of the Russian Federation, film director

Karen Shakhnazarov

December 30, 2025

29.12.2025 Mosfilm conquers Brazil: the film concern's large-scale program was a huge success in 2025. In the outgoing year of 2025, the Mosfilm film concern and the Brazilian distributor CPC-UMES Filmes carried out a cultural project of unprecedented scope.

Translation. Region: Russian Federation –

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

December 29, 2025

News editorial office

In 2025, the Mosfilm film company and the Brazilian distributor CPC-UMES Filmes launched a cultural project of unprecedented scope. From Salvador to São Paulo, from historic cinemas to online platforms, millions of Brazilian viewers were introduced to the treasures of Russian and Soviet cinema. Retrospectives, festivals, and special screenings dedicated to the 80th anniversary of Victory Day and masterpieces of auteur cinema confirmed the enduring interest in Russian cinema in Latin America.

As part of this fruitful collaboration, more than 15 major film programs were organized in a dozen Brazilian cities. The year culminated in a large-scale project—the 11th International Festival "Mostra Mosfilm 2025," dedicated to the 80th anniversary of the Great Victory and the 50th anniversary of the creative work of Mosfilm General Director, film director, and People's Artist of the Russian Federation Karen Georgievich Shakhnazarov. It included classic films from the studio (The Fall of the Romanov Dynasty, Michurin, The Secret of Eternal Night, and others) and the most famous films from the filmography of the head of Mosfilm, as well as contemporary hits, including the director's recent work, the adventure detective "Khitrovka. The Sign of Four" (2023).

Particular attention was paid to the 80th anniversary of the Great Victory. In May, the CPC-UMES YouTube channel hosted a free "Film Week" featuring nine legendary Mosfilm war films, including "The Fate of a Man," "Come and See," and "Hot Snow," among many other celebrated films. Separate retrospectives in cinemas in Porto Alegre and Belo Horizonte also drew full houses.

The films of Andrei Tarkovsky were a true revelation for Brazilian audiences. His retrospective at the Belas Artes cinema chain in São Paulo and Rio de Janeiro ran for 63 screenings, and Solaris became the centerpiece of the Rio Science Fiction Festival. The celebrated films The Mirror and Dersu Uzala played to sold-out houses at the Cinematheque de Brasilia.

In parallel with the festivals, the "Russian Cinema at Home" project successfully ran—a monthly online selection of Mosfilm films, allowing viewers from across the United States to watch and rewatch their favorite films throughout the year: from "White Sun of the Desert" and "Ivan Vasilievich…" to Yuri Ozerov's five-part epic "Liberation."

The collaboration between Mosfilm and CPC-UMES Filmes clearly demonstrates that classic and contemporary Russian cinema remains a sought-after cultural phenomenon worldwide, resonating with a diverse and discerning audience. The success of the 2025 programs lays a solid foundation for new joint projects.