Category: Arts

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March 11, 2026

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Mosfilm has begun the final stage of work on the soundtrack for the historical drama "The Noise of Time." Pavel Doreuli, sound engineer and co-founder of Atmosfera Studios, spoke to Mosfilm.ru about how the unique soundtrack is created, why the orchestras on set played to a metronome, and why the sound engineers try to hear the world through the eyes of a brilliant composer.

Atmosfera Studios has begun final recordings of the music and voiceover for the film "The Noise of Time," directed by Alexei Uchitel. Set in the 1930s and 1940s, the film tells the story of a creative figure during a time of great change, wars, and restrictions. The central figure of the story is the brilliant composer, whose worldview becomes the key to the film's sound design.

According to Pavel Doreuli, sound engineer and co-founder of Atmosfera Studio, his team joined the project from the very beginning—even before filming began. The specialists participated in discussions of technically complex musical scenes, assisted with the selection of in-shot music, and monitored the tempo of the orchestras on set to ensure a flawless editing process.

"Filming musical numbers is always a challenging task," said Pavel Doreuli. "For example, the film includes scenes with opera singers singing live, or episodes featuring a choir and symphony orchestra. To ensure the footage could be edited freely without interrupting the musical accompaniment, everything was filmed strictly to a metronome. We ensured that the performance speed was identical from take to take; otherwise, editing the different shots would have been impossible."

According to the sound engineer, some of the symphonic music featured in the film will likely be re-recorded at Mosfilm's legendary Studio One. This decision was driven by a desire for impeccable quality: the on-set recording served as a guide for editing, but the final soundtrack requires a masterful orchestral sound.

One of the team's most interesting creative challenges was attempting to convey the protagonist's auditory experience. "We strive to make the film's sound world as rich as possible, to show it through the eyes of someone who hears differently," explains Pavel Doreuli. "There's even a scene in the film where one of the composers discerns the melody of his future work in the song of a bird. We're looking for solutions where everyday noises—the creaking of tram tracks, horns, street noise—would create additional musical context, emphasizing the character's inner world."

Work on the sound is progressing in several directions. Rough mixes have already been edited, allowing us to assess the balance between the characters' speech and the future music. Now begins the painstaking stage of voice-over work, which will take several weeks. Concurrently, orchestral recordings are planned for this summer. Completion of the final soundtrack for the film is expected by the fall of this year.

"The Noise of Time" (working title):

Year: 2026Genre: dramaCountry: RussiaDistributor: Nashe Kino film companyDirector: Alexey UchitelScreenwriter: Alexander TerekhovDirectors of photography: Maxim Osadchiy, Yuri KlimenkoProduction designer: Dmitry OnishchenkoCostume designers: Nadezhda Vasilyeva, Vladimir NikiforovMake-up designers: Maria Morzunova, Kristina EvtyushinaGeneral producer: Alexey UchitelProducers: Anastasia Akopyan, Maxim Rogalsky, Kira SaksaganskayaCast: Oleg Savtsov, Polina Tsyganova, Maria Smolnikova, Daria Balabanova, Evgeny Tsyganov, Lev Zulkarnaev, Nikita Kologrivy and others.Film production: ROCK FILMS studio with the support of the Cinema Fund, the Committee for Culture St. Petersburg, the Moscow Department of Culture, and the Nashe Kino film company.

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.

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

March 10, 2026

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Today, the legendary composer and film music genius Alexander Zatsepin celebrates his centenary! During his prolific career, he wrote melodies for over 120 films and cartoons and composed over 300 songs, many of which became timeless hits. In honor of this significant event, we recall the key milestones in the life and work of Zatsepin, whose work is closely associated with the Mosfilm studio.

Alexander Sergeyevich Zatsepin was born on March 10, 1926. He spent his childhood and adolescence in Novosibirsk. He didn't immediately pursue film and music – after graduating from high school, Zatsepin enrolled in the Novosibirsk Institute of Railway Engineers. From the institute, he was drafted into the army, and while in military service, the future composer taught himself to play several musical instruments. In 1956, Zatsepin graduated from the Alma-Ata Conservatory with a degree in composition. His graduation work was the ballet "Old Man Hottabych," which was soon staged at the Alma-Ata Opera and Ballet Theater.

Alexander Zatsepin in the 1960s

After graduating from the conservatory, Alexander Zatsepin joined the Kazakhfilm studio, where he made his debut as a film composer in 1957, writing the music for the musical comedy "Our Dear Doctor." In 1958, Zatsepin moved to Moscow and began working at the Mosfilm studio. A few years later, he was invited to a fateful collaboration with the distinguished director Leonid Gaidai. Their first collaboration was "Operation Y and Shurik's Other Adventures" (1965), which featured Zatsepin's melodies and unusual eccentricities. As Alexander Sergeyevich admitted in an interview with Mosfilm.ru, this film remains his favorite work as a composer years later.

"Perhaps my first film with Gaidai—"Operation Y, or Shurik's Adventures"—brings back fond memories. Both of the work, and of my first collaboration with Gaidai, and of the eccentricity that had to be written for this film. A lot of unusual sounds were invented. This film is probably [my favorite]."

Zatsepin subsequently wrote the music for virtually all of Gaidai's films, including "Kidnapping, Caucasian Style, or Shurik's New Adventures" (1966), "The Diamond Arm" (1968), "The Twelve Chairs" (1971), "Ivan Vasilyevich Changes Profession" (1973), and "Incognito from St. Petersburg" (1977).

The maestro had a long and successful creative collaboration with Leonid Gaidai

Another significant meeting for Alexander Zatsepin was with the poet Leonid Derbenev. The composer and poet worked together for many years, until Derbenev's death, and created over 100 songs that audiences remember and love to this day. "Island of Bad Luck" from "The Diamond Arm," "There Is Only a Moment" from "Sannikov Land," "Conversation with Happiness" from "Ivan Vasilyevich Changes Profession," "This World" from "The Woman Who Sings"—these and many other musical masterpieces are the joint creations of Zatsepin and Derbenev.

In 1978, another landmark film for Soviet cinema featuring music by Alexander Zatsepin was released – Leonid Kvinikhidze's musical film "June 31." The film was one of the first Russian fantasy films, and the music played a significant role in creating the film's atmosphere. Zatsepin distinguished himself not only as a talented melodist but also as a master of electronic music and arrangements. The melodies from "June 31" were ahead of their time and remain relevant and brilliant to this day.

Composer Alexander Zatsepin at the Mosfilm Sound Studio, June 2024

Alexander Zatsepin is unique not only for his compositions but also for his approach to his profession. In the 1970s, he was the first in the country to create a home studio equal in specification to professional television or radio studios. This labor-intensive process took over two years: the composer carefully selected the space, personally handled soundproofing, and soldered and assembled many of the equipment. In subsequent years, many renowned artists, from Muslim Magomayev to musicians from the Bolshoi Theater, recorded at Zatsepin's studio. However, in recent years, Zatsepin has preferred to work at the Mosfilm Sound Studio, which boasts state-of-the-art technology.

Alexander Zatsepin has been working at Mosfilm Studios for 68 years and remains active in the industry to this day, continuing to delight audiences with his new works. For his many years of contribution to the development of Russian musical art, Alexander Zatsepin has received numerous honorary titles, awards, and prizes. Specifically, in 2003, he was awarded the title of People's Artist of the Russian Federation. And a year ago, in March 2025, he received the title of Hero of Labor of the Russian Federation.

The Mosfilm team heartily congratulates Alexander Zatsepin on this significant anniversary and wishes him good health and continued creative success!

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.

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

March 6, 2026

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Today, when Mosfilm has been practically rebuilt from the ground up, not only maintaining but also enhancing its status as a successful and profitable enterprise, the country's leading film studio, it is crucial to recognize all the women who work in every department and workshop of the Film Concern. It is your commitment, high professionalism, and creative energy that make us proud of Mosfilm's achievements. Thank you for your daily work and sincere dedication to your work!

On this day, we cannot help but remember those women who today demonstrate incredible courage and heroism. You serve with honor in the Special Military Operations Zone, volunteer, and help our soldiers. Your dedication and perseverance are truly admirable!

I'd like to extend special thanks to our numerous female viewers. Your support is the most important reward for us all. The millions of female audiences who follow Mosfilm on YouTube, Rutube, VK, and other platforms continue to grow, and this is inspiring. We see and appreciate your warm comments and interest in our shared cinematic heritage. We always welcome you and look forward to welcoming new viewers!

Dear women!

I wish you endless spring inspiration, good health, prosperity, and, of course, love and happiness. May every day be filled with joy and warmth!

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

Karen Shakhnazarov

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.

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March 6, 2026

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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.

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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.

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March 3, 2026

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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.

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

February 27, 2026

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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.