Category: Arts

Translation. Region: Russian Federation –

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

Mosfilm announces the wide release of Andrei Tarkovsky's legendary film "Andrei Rublev" in a state-of-the-art digital restoration in 4K resolution. The restored version will premiere on February 21 at Mosfilm's Cinema Center (Mosfilm Cinema Park), and will be shown to audiences across Russia on February 22.

Mosfilm CEO and film director Karen Shakhnazarov: "The film 'Andrei Rublev' is an outstanding artistic achievement of our cinema. It is an entire system of images that has become an important part of our national culture. It is precisely these films, with their enduring value, that must be carefully preserved and brought back to the screen."

Karen Shakhnazarov also noted that Andrei Rublev (1966) wasn't a box office hit in its release year, but its true artistic value is borne out by time. "Where are those box-office hits that were released simultaneously with Tarkovsky's film? And Rublev has been watched for so many years now! We're releasing it theatrically to mark its 60th anniversary. Just think about it: the film has been around for so many decades, and it's constantly being requested for screenings all over the world," the head of the Mosfilm film company emphasized. He also added that over these decades, the film has likely reached more viewers than even the highest-grossing Soviet hits.

"It's especially worth noting that we regularly screen classics at Mosfilm's Cinema Center, and 'Andrei Rublev'—Tarkovsky's most popular film—is more popular than all the others," emphasized Karen Shakhnazarov, explaining the decision to restore and re-release the film by citing the large and devoted audience that appreciates such films. "Therefore, we will, of course, continue restoring our film library. All of Andrei Tarkovsky's films shot at Mosfilm have been restored. But we are also giving a new lease of life to films by other directors—Gaidai, Ryazanov, Daneliya, Menshov, Klimov, and others."

The film studio plans to re-release several more of Andrei Tarkovsky's films shot at Mosfilm in 2026: Solaris, Mirror, Stalker, and Ivan's Childhood. All films have also undergone frame-by-frame digital image and sound restoration.

The painstaking work of restorers

Telekino specialists performed a frame-by-frame digital restoration to bring Andrei Tarkovsky's masterpiece back to the big screen in pristine quality. The film is now available in 4K resolution with restored image and sound.

The work was extremely complex: restorers had to manually align long shots with varying density and brightness. Shots featuring fog and rain required particular attention. Maintaining the black-and-white aesthetic, the restorers meticulously maintained a black-and-white balance, working with numerous shades of gray to avoid losing detail. The primary objective was to preserve the authentic film texture of the image, harmoniously merging shots within scenes. Working with the film source material—the intermediate positive—restorers also had to deal with unusual defects and artifacts, such as networks of fine cracks in the emulsion layer on individual shots, similar to craquelure in painting, which required lengthy and painstaking work.

History of creation: a masterpiece born in struggle

The idea for a film about the great icon painter came from actor Vasily Livanov, who envisioned himself in the lead role and came up with the original title, "The Passion According to Andrei." Tarkovsky submitted a proposal for the film back in 1961. Filming, which spanned years, was incredibly complex and took place in Suzdal, Pskov, Vladimir, and Moscow. Scenes on location were sometimes shot in extreme conditions, and some scenes nearly led to real-life emergencies at historical monuments.

After much hesitation, the director cast Anatoly Solonitsyn in the lead role. His performance was an example of incredible dedication: to realistically portray his vow of silence, the actor actually did not speak for four months. Rolan Bykov came up with all the details of his buffoon himself, and Nikolai Burlyaev had to "rejuvenate" for the role of Boriska.

Despite the creative feat of the film crew, the film's fate proved difficult. It was harshly criticized and effectively banned. Its triumph at the 1969 Cannes Film Festival occurred partly against the wishes of film officials. The film received a limited Soviet release only in 1971, in a shortened version, and the full version was released only during Perestroika.

Today, "Andrei Rublev" is recognized as one of the greatest films in world cinema. The latest restoration and new release are Mosfilm's tribute to the genius of Andrei Tarkovsky and a unique opportunity for a new generation of viewers to see this film as it was conceived and created by its creators—on the big screen.

PRESS RELEASE

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.

January 20, 2026

The box office receipts for the 2026 New Year's Eve releases are impressive: "Cheburashka 2," "Prostokvashino," and "Buratino" collectively grossed over 9 billion rubles! These figures are triumphant. Filmmakers can rub their hands in glee! A winning formula has been found, theaters are full, audiences are voting with their rubles, and risks have been minimized. But behind this financial success lies a disturbing cultural symptom, comparable to a mass exodus into virtual reality. Only this current reality isn't even digital, but mythological, artificially reconstructed from the wreckage of a Soviet childhood.

Let's be honest about this "fairytale renaissance." It has nothing to do with authentic folk art or the author's imagination. We're talking about franchises. "Cheburashka" and "Prostokvashino" are products of the middle and late USSR, secondarily adapted for the modern era. Alexei Tolstoy's "Buratino" is a completely free adaptation of a 19th-century Italian fairy tale. We're not witnessing a surge in creativity, but a conveyor belt for the resale of nostalgia. This is a cultural reworking, where old, proven images, stripped of their original social or satirical context, are transformed into a safe, easily digestible product. It's not even a question of whether this is done with talent or not; they simply don't reflect the times. Moreover, they essentially abolish them, offering viewers simply a cozy spectacle.

Of course, fairy tales always contain kindness and morality. Yes, they are part of our cultural code. But when the mass-market film industry relies almost exclusively on derivative, overused images, it capitulates to the complexity of modernity. We don't create new myths; we preserve old ones, merely dusting them off. Cheburashka, Matroskin the Cat, and Pinocchio are ghostly heroes from another time, convenient in their apoliticality and universal recognizability.

Meanwhile, the country is living under unprecedented historical stress. Nearly four years of the Special Military Operation, a profound transformation of society, the economy, and foreign relations, a shift in the very world order—all of this demands reflection, an artistic language, new myths and heroes. And what does mainstream cinema offer? A computer-generated Cheburashka? Matroskin the Cat? Seriously?! It seems this is no longer simply "untimely." What's at stake is a cultural detachment that has taken the form of a state strategy.

Let's recall how cinema responded to the challenges of the era before. It wasn't always a direct analogy. But it was always a work with contemporary material!

The post-war 1950s, of course, saw some comedies, but the tone was set by Nikolai Rybnikov's characters in "Spring on Zarechnaya Street" and "Height," with their enthusiasm for restoring peaceful life. Mikhail Kalatozov and Grigory Chukhrai raised ethical and philosophical questions about the price of victory and heroism in "The Cranes Are Flying" and "Ballad of a Soldier." The 1970s gave rise to subtle, ironic reflection and a search for new meaning in the characters of Yankovsky and Filatov. The "wild" 1990s found their exaggerated reflection in the uncompromising Danila Bagrov. This was cinema's sometimes extreme, yet honest response to the cruelty of the times. The heroes of our cinema, despite their diversity, have always represented a cross-section of society—its pain, its laughter, its character.

And today? A "hero" is either a nostalgic cartoon image or, at the other end of the spectrum, a digitally rendered "pregnant musician," whose problems are laughable compared to real-life challenges. The author isn't suggesting that films should be made exclusively "about war." It's about a total escape from the agenda! We've replaced the hero-creator, the hero-thinker, the hero-fighter with a hero-consumer of nostalgia and a hero-simulacrum of success. Mass cinema has ceased to be a conversational partner and has become an anesthesiologist, sedating society into an artificial sleep where there's no room for complex questions.

What's happening to the function of cinema? It's shrinking catastrophically! From a synthetic art form that combined entertainment with education, reflection, and the formation of national identity, it's turning into an amusement park industry. Soviet "fairy tales" of the 1930s ("Volga-Volga," "Circus") carried a powerful message about building a new world, educating a new kind of person. Our fairy tales of the 2020s carry only one, so to speak, message: "Return to childhood, it's safe here."

What is to be done? The situation can only change with a shift in demand—both from audiences and, more importantly, from the state. A meaningful cultural policy is needed that encourages not only box office receipts but also the relevance of expression and artistic exploration. New "socialist orders" are needed—not for propaganda, but for an honest, complex, and professional understanding of reality. We need producers willing to take risks with relevant material, and audiences willing to embrace it (and I think that will not be long in coming). We must stop fearing the complexity of the current moment, as well as our entire history, including its most difficult chapters.

Meanwhile, we're building a grandiose Fairytale City, cozy and profitable, but standing on the sidelines of history. The author of these lines isn't against fairy tales per se, but he believes their total dominance as a strategy for escaping reality is dangerous. It all seems like a national-scale split personality! A country that demonstrates unprecedented willpower in reality prefers to see only cute little animals on screen…

So it's time to stop hiding behind a fairytale curtain. The era we live in demands its own chroniclers, artists, and new heroes—living, controversial, and thoughtful. In the current cultural "hibernation," the only answer to any challenge of the times will remain an endless Cheburashka sequel. And this, you must admit, is no longer a scenario for the great, millennia-old state that is Russia. It's a scenario for a country that has become a fairytale in its own right. Beautiful, safe, but utterly… lifeless.

The author's opinion may not coincide with the position of the editorial board of the Mosfilm.ru portal.

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.

At the end of December, special screenings of four Mosfilm films were held at the Cavour Congress Center in Rome as part of the "Democracy in Wartime" conference, dedicated to the 80th anniversary of the victory over Nazism. The event was organized by the Institute of Russian Culture and Language.

The program included iconic Mosfilm films depicting the cost of war and the heroism of the Soviet people: Andrei Tarkovsky's "Ivan's Childhood" (1962), Nikolai Lebedev's "Star" (2002), Sergei Popov's "Road to Berlin" (2015), and Karen Shakhnazarov's "White Tiger" (2012). The screenings attracted engaged audiences and became one of the forum's highlights.

The conference's special guest was renowned Italian historian and intellectual Professor Angelo D'Orsi. His appearance in the hall was met with a standing ovation, which, according to the Italian newspaper Giornale di Puglia, was an act of solidarity and support. Professor D'Orsi had recently been harshly criticized and censored in academic circles for his views and trip to Russia.

In his speech, the historian, citing classics of world thought, warned Europe of the dangers of sliding into conflict with Russia and artificially creating enemy images. He praised the films presented, noting their emotional power and authenticity. "In these films, I saw what war is really like, and I cried like a lamb," Professor D'Orsi shared his impressions.

The screening of Mosfilm films in the heart of Europe and their profound response among influential intellectuals confirm the enduring artistic and humanistic value of Mosfilm's classical and contemporary legacy. These films continue to speak to audiences in a universal language, reminding them of the lessons of history.

Original article in magazine Giornale di Puglia

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.

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

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.

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

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

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

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

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

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

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

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

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

January 15, 2026

News editorial office

36

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.

_______________________________________________________

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

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.

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"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China

"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China

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"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China

"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China

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"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China

"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China

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"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China

"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China

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"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China

"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China

January 13, 2026

News editorial office

67

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.

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.

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

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.