Category: Arts

Translation. Region: Russian Federation –

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

February 5, 2026

News editorial office

42

The Mosfilm film company continues its extensive work to study and systematize its priceless archive. This work has resulted in another significant discovery: three authentic bogatyr helmets created for the filming of the first Soviet widescreen fairytale, Ilya Muromets (1956), directed by Alexander Ptushko, have been discovered and officially attributed in the collections of the House of Costume and Props.

TARGETED SEARCH AND UNIQUE FIND

Identifying objects approaching 70 years old is a painstaking and complex process. The discovery of the helmets was the result of systematic work and the professional memory of the staff—in particular, Alla Oleneva, the leading costume designer at the House of Costume and Props, whose experience at Mosfilm spans decades.

Two helmets worn by Boris Andreyev as Ilya Muromets in the film, and one helmet belonging to Sergei Stolyarov's character, were found. As the artist emphasized, each helmet is unique, as it was created specifically for each character, taking into account their image and status. It should be added that the Mosfilm museum collection already holds the headdress—a princely crown—and the dress of Vasilisa, the wife of Ilya Muromets (played by Ninel Myshkova), which had previously been attributed. Therefore, five authentic items from the famous film are now known.

PRESERVATION, HISTORICAL ACCURACY AND CREATIVE SEARCH

The helmets, exemplary of the craftsmanship of the Mosfilm costume department in the mid-20th century, were made of metal. As Alla Oleneva explained, brass and aluminum (or duralumin) were commonly used at the time. The metal base was then skillfully painted to resemble gold, creating the effect of precious antique objects. The prince's crown, more complex in design, is adorned with brass plaques and beads and exemplifies the exquisite craftsmanship of the craftsmen.

Stills from the film "Ilya Muromets" (1956)

Despite their venerable age and extensive use during filming, experts consider the finds to be in a very good state of preservation. Alla Oleneva regrets that during the Soviet era, there was no deliberate effort to preserve costumes and props after filming was completed. Everything was often "consumed," used for other films or stored in storage. Therefore, any such find today is a great success.

Despite its fairytale genre, the film "Ilya Muromets" was distinguished by its commitment to historical and ethnographic accuracy in every detail. This credit goes, in part, to the outstanding costume designer Olga Semyonovna Kruchinina. According to Alla Oleneva, Kruchinina was a master craftsman who approached her work with the utmost responsibility.

"She took the production of her work very seriously. Before making anything, she studied historical materials… In other words, she was a true artist who couldn't afford to do anything roughly or 'by eye,'" Oleneva emphasized.

Thus, the heroic helmets are not simply a product of creative imagination, but the result of a deep study of ancient Russian art, traditions, and archaeological finds, filtered through the prism of cinematic vision.

SPECIAL STATUS: TRANSITION TO A PERSONAL FUND

All discovered items will be designated museum exhibits and will be kept under special control in a specially created character costume collection by Mosfilm. Collection curator Tatyana Stepanova provided detailed information about the new status of the finds and the principles of their management.

"These items are under special control. They are stored in a special way in a separate room… They are already of museum value because they are memorabilia – associated with the actors, directors, and costume designers. Items that have passed through the film set always retain the energy of the era, the talent of the artisans, and the memory," explained Tatyana Stepanova.

This means that the helmets from "Ilya Muromets," like other rarities in the collection, will no longer be used in current production. The priority now is preserving them for history, studying them with specialists, and displaying them to the public at themed exhibitions that offer a behind-the-scenes look at the making of famous films.

The work of identifying rarities in the extensive Mosfilm collections is ongoing and yielding new results. In addition to helmets, other iconic costumes and props have recently been identified. These include a vest and dress from the comedy "The Marriage of Balzaminov" (1964), trousers and several tailcoats worn by Sergei Bondarchuk's character in the epic film "War and Peace" (1966-67), and shirts worn by Aleksandr Demyanenko (Shurik) in the films "Operation Y and Shurik's Other Adventures" (1965) and "Ivan Vasilievich Changes Profession" (1973). Many of these costumes will also be added to the character collection.

Discovering and preserving material evidence of the filmmaking process is a crucial part of Mosfilm's cultural mission. Each such item becomes a link connecting modern viewers to the history of Russian cinema, allowing them to better understand the scale and meticulousness of the work behind the scenes. And today, anyone can see the result of this labor—Alexander Ptushko's legendary film "Ilya Muromets"—in all its epic grandeur.

The restored digital version of the film in 4K format is available for viewing on all official online platforms of the Mosfilm film concern (YouTube, RUTUBE, VK video).

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 Cinema Concert – An important disclaimer is at the bottom of this article.

February 4, 2026

News editorial office

Filming of the Podcast.Lab show at Mosfilm has been ongoing since 2024. To date, the Podcast.Lab team has aired over 1,200 podcasts, 400 of which were filmed at the studio. During this time, Podcast.Lab's guests at Mosfilm have included Karen Shakhnazarov, Emir Kusturica, Andrei Konchalovsky, Yevgeny Vodolazkin, Alexei German Jr., Valeria Gai-Germanika, Nikita Vysotsky and Ilya Lebedev, Alexander Rosenbaum, Yulia Peresild, Sergey Bezrukov, Nikita Kologrivy, and many others.

Podcast.Lab features intellectual discussions after midnight with the most knowledgeable experts and cutting-edge speakers on Channel One. These include the most prominent figures from film, theater, music, literature, philosophy, and even astronauts! Astrological forecasts, advice from psychologists, recommendations from financial analysts, reminiscences from film and pop stars, and the latest music. This is a large-scale project with a diverse cast of hosts, including experts and showbiz stars. Key hosts include Karina Cross, Anton Lavrentyev, Valya Karnaval (Non-Format), Dmitry Dibrov (Anthropology), Larisa Guzeeva (Letters), Leonid Yakubovich, and Denis Kazansky (Football Is Not Hockey).

According to the show's producers, Mosfilm's Pavilion 12 offers optimal conditions for the project's implementation, including dimensions, ceiling height, soundproofing, set installation, and technical equipment, including for musical numbers.

Podcast.Lab on Channel One airs nightly, typically starting at 12:00 AM–1:00 AM and later. The exact time depends on the program schedule for the day, but new episodes and archived content can be viewed 24/7 on the website 1tv.ru.

For questions about renting pavilions at Mosfilm: Head of the Central Production Department Lyudmila Olegovna Shavelkina

Tel.: 7 (499) 143-9891

e-mail: cpy@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.

The meeting at TASS was informal and lively. Competition winners—future directors, journalists, and media professionals from Tambov, Voronezh, Tula, Kalmykia, Krasnoyarsk Krai, and many other regions—asked questions without regard for age or status. Karen Shakhnazarov, for his part, answered sincerely, at times philosophically, and at others with paternal concern and a touch of irony. It was not a master's monologue, but a genuine dialogue between generations about what matters most: meaning, values, and the future.

A FILM FOR THE CENTURIES AND THE EPHEMERALITY OF CINEMA

The first question from the young audience was somewhat provocative: if in 100 years only one film remained of Karen Shakhnazarov's entire oeuvre, which one would he want to preserve? The director's answer was unexpectedly modest and thoughtful. He questioned whether anything at all would remain of contemporary cinema in a century.

"Cinema is a beloved pastime, but it's much more ephemeral and quickly becomes outdated than, say, literature. Film is technology. And technology changes rapidly. The younger generation always watches what's available to them here and now."

However, Karen Shakhnazarov still suggested that the film "Courier" might have a chance. The theme of growing up, finding oneself, and conflict with the world of elders is timeless and relatable to any generation.

"This is a film whose theme, I believe, is relatable to any generation. Young people always come into life with their own perspective and want to find their place. I hope humanity will still exist in 100 years. That's the most important thing. And in many ways, this will rest on your shoulders."

Should We Believe in Youth? The Main Deficit Is Reading

The next question logically followed from the first: does the master believe in modern young directors, or is good cinema impossible without extensive life experience?

"Of course I do!" Shakhnazarov replied without hesitation. "I myself came to filmmaking without any particular life experience." However, he immediately identified what he considered a disturbing trend:

"There's one problem I'd like to draw your attention to. You don't read enough. In general. I'm not talking about you personally, but today's youth reads rather little. And that's a big disadvantage. Literature is knowledge. It helps a person, increases their level of education and erudition, and helps them find their place in life."

A director who dedicated his life to cinema unexpectedly placed literature above all else: "When you read, you transform letters into images in your head. This requires intellectual effort. In film, you're presented with a ready-made visual image. Therefore, with all my reverence for cinema, I believe literature as an art form is superior. Make time to read."

When asked to name specific young directors, Shakhnazarov diplomatically responded that he would not single out individuals so as not to offend anyone, but he was confident that talent exists and will continue to exist.

Liliya from Voronezh asked how the director believed modern youth differed from those depicted in "Courier." Shakhnazarov was convinced that there were no fundamental differences in human behavior.

"When you're 17, a three-year difference seems enormous. But when you've lived a long life, you realize that 20-30 years are still very close generations. The main difference is technology. There were no cell phones or internet. And, of course, young people read more back then."

The meeting's moderator suggested that the current generation is more straightforward and fearless. Shakhnazarov disagreed, noting:

"That generation was perhaps more naive. And today's generation, while they read less, knows more. The amount of information on the internet is colossal. But that's also a dangerous thing—the endless stream of news clogs your head, preventing you from developing your own perspective. A person burdened with such information is sometimes less free than someone without it."

SUPERSTITIONS AND RITUALS IN CINEMA

Darya, a future film editor from Krasnoyarsk Krai, asked about professional rituals and superstitions. Shakhnazarov smiled and admitted that he follows old film superstitions, adopted from Soviet cinema.

"I believe in them absolutely. For example, if a script falls or is placed on a soft chair, you must put it on the floor and sit on it. I always do this, even if it seems strange. Otherwise, everything will go to hell."

He shared other rules: whistling and eating sunflower seeds are prohibited on set. And at the beginning of each film, there's a special ritual.

"When you take your first shot, before you say 'stop,' you should smash a plate against the camera's tripod. Then you take the fragment as a souvenir. I advise you to observe these signs, just in case!"

ARTIFICIAL INTELLIGENCE – A DREAM FACTORY OR THE END OF A PROFESSION?

One of the most pressing questions concerned the future of cinema in the era of artificial intelligence (AI) and short formats. Irina from Kalmykia asked whether cinema risks becoming an elitist art form, like opera. Karen Shakhnazarov believes that this isn't the main danger.

"Artificial intelligence is a serious challenge. It could replace human directors. Humans will remain programmers. I've seen AI generate actors—indistinguishable from real ones. Everything—sets, worlds—could be created on a computer. Then our profession would be in question."

According to the director, a division could occur: there will be mass-market, factory-produced "cinema" from AI that everyone will watch, and there will remain "human" auteur cinema for connoisseurs.

"Cinema isn't exactly 'high' art compared to ballet or literature. It's a mixture of art and industry. And with AI, it could become a mere commodity churned out on an assembly line. That's dangerous. I'm unlikely to live to see it, but your generation will be wondering what to do about it."

When asked if creators would still exist, Shakhnazarov responded skeptically: "Who knows?" He drew an analogy with chess: once upon a time, everyone was sure a machine couldn't beat a champion, but now it's the norm.

"AI will never write The Brothers Karamazov. But the bulk of literature isn't The Brothers Karamazov. AI can write average literature better than most people. If it captures the audience, it will be like humans being educated by machines. That's the real story!"

Canon: Which Books and Films Shape a Person's Personality?

The question of the top five must-read books turned into a veritable lecture on the importance of Russian classics. Shakhnazarov began with the aforementioned The Brothers Karamazov by Dostoevsky ("a book that transforms the mind"), then recommended all of Chekhov ("astonishingly laconic and imaginative") and Tolstoy's Sevastopol Stories, which Hemingway held in high esteem. He also named Pushkin, Lermontov, and Gogol as essentials.

"Russian classical literature is the pinnacle of world literature! It's a tremendous asset to our civilization. By reading, you gain the experience of the greatest minds, become stronger, and navigate life more easily. It's not just a pastime; it's good for you."

When asked about the advantages of Russian literature, Shakhnazarov answered exhaustively:

"No literature has posed such burning, eternal questions as Russian literature. It's more than just literature. It's history, philosophy, and our national epic. Why do we live? What is the meaning of the world? Foreign literature doesn't pose such questions with such depth. Painting and architecture—there were other leaders in that regard. But literature is our unconditional priority."

Regarding cinema, Shakhnazarov, as one of the authors of the list of films for the school curriculum, explained the principle behind its formation: 50 classic directors, two key works from each.

"We chose those who have been 'proven' by time. Very diverse: Gaidai, Tarkovsky, Ryazanov, Mikhalkov, Zarkhi. Their films are already national classics. Watch them all—you won't regret it."

Karen Shakhnazarov also announced the upcoming theatrical release of Andrei Tarkovsky's "Andrei Rublev." Restored by Mosfilm specialists, the famous film will hit theaters in 4K format on February 22.

"THIS DIALOGUE ENRICHED ME"

Concluding the meeting, Karen Shakhnazarov thanked the children not as a mentor to the students, but as a conversationalist.

"Believe me, I'm very grateful. I don't know how useful this was for you, but for me, the meeting was invaluable. Dialogue always enriches both parties. Thank you for your insightful questions and your approach!"

The meeting at TASS was not just an insight into the world of cinema, but also a bridge between eras. Between classic books and artificial intelligence, the experience of masters and the fearlessness of newcomers. The main outcome was the confidence that the conversation will continue. This will be reflected in new films, articles, and media projects by talented young people who, like the protagonist of "Courier," are searching for and will surely find their place in life.

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.

One of the first significant Soviet films produced by Goskino, "Wings of a Serf" by director Yuri Tarich, enjoyed great popularity in the late 1920s. It became a link in the chain of pre-revolutionary and Soviet cinematic images of Tsar Ivan the Terrible: "Song of the Merchant Kalashnikov" (1908), "The Death of Ivan the Terrible" (1909), "Tsar Ivan Vasilyevich the Terrible" (1915), Sergei Eisenstein's famous film "Ivan the Terrible" (1944–1945), Leonid Gaidai's comedy "Ivan Vasilyevich Changes Profession" (1973), and the ballet film "Terrible Century" (1976) by V. Derbenev and Yuri Grigorovich. Some scenes from "Wings of a Serf" inspired Sergei Eisenstein. Of course, the great director created a fundamentally different film—both in its interpretation of Ivan the Terrible's reign and in its visual style. However, the dance scene in the second part of Ivan the Terrible (1945) recreated the same key elements as Tarich's film. And the comedic scenes of feasting and dancing in Ivan Vasilyevich Changes Profession allude to Sergei Eisenstein's celebrated film.

The image of the “wings of a serf” as a symbol of the creative potential of the people is further developed in A. Tarkovsky’s film “Andrei Rublev” (1966).

Stills from the films "Wings of a Serf" (1926), "Andrei Rublev" (1966)

The plot of the film "Wings of a Serf" is based on a medieval legend about a talented craftsman named Nikishka, who dreamed of flying and fashioned wings. For this, he was accused by Ivan the Terrible of conspiring with evil spirits and sentenced to death. For cinematographers of the 1920s, this was not just a pretext for creating a spectacular film with plenty of intrigue, but also an opportunity to reflect on historical material.

Filming of "The Wings of a Serf" began at the Third Goskino Factory, but the film was released under the Sovkino label, founded in 1926. Considering the factory's operating conditions—minimal resources, "micro-studios," and a small backlot—it's hard to imagine how such a complex production was possible. (Grigory Roshal, "The Film of Life." Moscow, 1974, p. 292)

Wings of a Serf: [libretto for a film]. – Moscow, [1926]

The concept of the film

The original script for "The Wings of a Serf" was based on the novella of the same name by K.G. Shildkret. However, the filmmakers, Viktor Borisovich Shklovsky, Yuri Viktorovich Tarich, and Leonid Mironovich Leonidov, had to significantly rework the novella to create an innovative film that upends theatrical notions of the reign of Ivan the Terrible. Work on the film was carried out under the slogan of the Goskino Artistic Council, "Beat the Swans." A striking symbol of 16th-century theatrical imagery was K. Makovsky's painting "Boyar's Wedding Feast" (1883), whose central element was a beautiful platter with a swan. The filmmakers set themselves the task of stripping away this festivity and pomp and moving toward what they believed was a more accurate depiction of the modest medieval lifestyle of the tsar and his entourage. (see Soviet Screen. – 1926. – No. 2. – p. 11; Cinema. – 1926. – No. 1. – p. 3).

A tour of Aleksandrovskoye Village revealed low, vaulted, seemingly crushed rooms where Ivan the Terrible feasted. Simple chairs, meager furnishings, the austere Russian Middle Ages. This is not at all the Russian style we know from Makovsky. Prince Serebryany, Ilovaisky, Vereshchagin, the Peredvizhniki, and even Roerich—all of these are not material for a film director, but enemies to be destroyed. (Shklovsky, Viktor. "Not Ivan, but Ivan" // Sovetsky Ekran. – 1926. – No. 2. – p. 11). Until now, I knew only two settings for this era: Tsar Feodor at the Moscow Art Theater and those countless cardboard swans depicted in Makovsky's paintings and the Bolshoi Theater's productions. I had to approach the image by overcoming theatrical cliches that had long ago become encrusted with barnacles. (Leonidov L. M. My work on “The Terrible” // Soviet screen. – 1926. – No. 45. – p. 4).

L.M. Leonidov, who played Ivan the Terrible, didn't want to simply play a cruel tsar; he sought to expand his character, for example, by adding businesslike qualities. Living in an era of growing importance for the proletariat and industry, the filmmakers decided to complicate the plot with themes of industrial relations, making the tsar the owner of a linen factory and a shrewd merchant who traded in linen.

V. Shklovsky recalled: "So, from the Flax Center, I knew about the importance of flax, about the flax trade during the reign of Ivan the Terrible, about the 'white treasury,' as linen was then called. Historically, I made a mistake of about thirty years when I gave Ivan the Terrible Flemish wheels for processing flax, but I think this error is debatable and not absolute. When Ivan began keeping his own cash books and bargaining with foreigners, the actor Leonidov had the opportunity to play the role." (Shklovsky, V. Forty Years. Moscow, 1965, p. 64)

But, first and foremost, the film's goal was to show the Russian Middle Ages without embellishment, with all the cruelties and passions inherent in the tsar, boyars, and oprichniks.

Still from the film "Wings of a Serf"

Preparation and filming locations

To research historical material, the film crew traveled to the Alexandrovskaya Sloboda, Ivan the Terrible's residence from 1564 to 1581, from where he ruled the country. They examined household items, weapons, and tableware in the Historical Museum and the Armory Chamber. The album "Wings of a Serf" contains photographs of selected locations, architecture, and interiors of the Alexandrovskaya Kremlin and its surroundings, as well as 16th-century props. Developing such albums has become standard practice during the pre-production stage of any film.

The complex props for the film are partly authentic and museum-quality, and partly made in the factory workshops (weapons, saddles, riding equipment, riding horse equipment, etc.) based on samples in the Armory Chamber. (Yuri Tarich. "The Wings of a Serf." – Soviet Screen. – 1926. – No. 14. – p. 7).

"Choice of Scenes." Alexandrov, 1925; Historical props

In addition to the Alexandrovskaya Sloboda, the location was chosen for various reasons in Peredelkino—the former Bode-Kolychev estate (the village of Lukino), now the country residence of the Moscow patriarchs. The album features photographs of the estate's ancient entrance, the fence with towers, the so-called "Boyar Gate," and buildings of unknown purpose. The photographer was likely A.D. Grinberg, a photographer and cameraman for Goskino and Sovkino. His works, including similar shots of the village of Lukino in Peredelkino, are held in Multimedia Art Museum

"Choice of Nature"

Filming itself took place on the grounds of Kolomenskoye and the former 1923 Agricultural Exhibition on Sparrow Hills (now the Gorky Central Park of Culture and Leisure). According to Khrisanf Nikolaevich Khersonsky, a contemporary of the making of "Wings of a Serf," screenwriter and critic, Yuriy Tarich facilitated the restoration of the 1532 church in Kolomenskoye. (Khersonsky, Kh.N., "Pages from the Youth of Cinema: Notes of a Critic." Moscow, 1965, p. 199).

"Choice of Scenes". Kolomenskoye. 1925.

Nikishka's flight was filmed in Kolomenskoye; due to its complexity, six camera operators were used. For the "Sovereign's Linen Yard" and "Boyarin Kurlyatev's Estate," characteristic buildings from the former All-Russian Agricultural and Handicraft-Industrial Exhibition of 1923 were used (Yuri Tarich. "The Wings of a Serf." – Sovetsky Ekran. – 1926. – No. 14. – p. 7).

On the set of the film "Wings of a Serf." 1925. In the background is the main entrance building of the former Agricultural Exhibition of 1923.

Artistic design

V.E. Egorov, film artist

The set designer for the film "Wings of a Serf" was Vladimir Evgenievich Egorov (1878-1960), one of the founders of film set design. This was not the first time V.E. Egorov had worked on a historical film. Even before the revolution, he had designed such films as "Ponizovaya Volnitsa" (1908) by V. Romashkov and "Tsar Ivan Vasilyevich the Terrible" (The Maid of Pskov) by A. Ivanov-Gai (1915). In 1925, the preparation of "Wings of a Serf" coincided with Egorov's work on Ya.A. Protazanov's film "Stepan Razin," which, unfortunately, was never made. The historical interiors for both films were similar, so "Wings of a Serf" partially utilized sketches of the sets for "Stepan Razin" (photographs of which are presented in the album). The artist subsequently continued the theme of "Stepan Razin" in 1939, for a production by O. Preobrazhenskaya and I. Pravov. However, some of the sketches, erroneously dated 1939, were actually created in 1925. This was revealed thanks to the album "Wings of a Serf" from the Mosfilm-Info Information Center.

Sketches by V. E. Egorov

G. Roshal recalled: "Yegorov was the artist for Tarich's painting 'The Wings of a Serf.'" The soundstages of the 3rd Factory could easily be called micro-soundstages (nowadays, they'd say mini-soundstages). And yet, Yegorov had a unique way of widening walls, raising ceilings, and, moreover, capturing wide shots of nature with churches and bell towers within them. When I examined these sets, I saw that the domes were simply standing on the ground and that they were shorter than me. But from the camera's perspective, they were astonishing. The camera's perspective! It was a sacred point of view for Yegorov. He always constructed a set so that it could only be filmed from the angle he had in mind. Not a step to the right, not a step to the left, neither forward nor backward… Yegorov – tall, with a stick in his hands, in a sealskin hat, somewhat resembling Leonidov and Ivan the Terrible, whom Leonidov played in "The Wings of a Serf" – strode around the pavilion like Peter the Great in Serov's painting. (Roshal Grigory. Filmstrip of Life. – Moscow, 1974. – p. 262)

Authentic historical costumes were used to portray the boyars in the film "The Wings of a Serf." The actors grew beards especially for the film. According to the film's screenwriter, V. Shklovsky, the costume designer was [Konstantin] Vorobyov (Shklovsky, Viktor. Over 60 Years: Works on Cinema. Moscow, 1985. p. 12). However, it's more likely that Vorobyov was simply the costume designer, and V. E. Yegorov made all the decisions, as K. Vorobyov is known specifically as a theatrical costume designer.

Ivan Pyryev

I. Pyryev

Another noteworthy fact is that Ivan Aleksandrovich Pyryev worked as an assistant director on the film "Wings of a Serf." Pyryev began his film career as an assistant to Yuri Tarich during the production of "Morok" and "First Lights." The Russian State Archive of Literature and Art holds a statement from director Yuri Tarich to the RSC of the 3rd Goskino Factory:

"The RKK's decision to lay off my artistic assistant, Comrade Pyryev, in the midst of preparatory work on the film 'Wings of a Serf,' places me, as director, in the position of someone whose right arm is being torn off. Without delving into the reasons for Comrade Pyryev's dismissal, I believe it fundamentally disrupts the calm and businesslike pace of the work and is based on an absurd misunderstanding. Comrade Pyryev is my assistant, with whom I have worked closely on two films ('The Darkness' and 'Lights'), to whom I entrust the preparation and development of scenes with the actors, and whom I consider absolutely indispensable, especially since he is currently deeply involved with the overall progress of the film." (Ivan Pyryev: The Truth of Creativity / Altai Territory Administration for Culture and Archaeology, State Museum of the History of Literature, Art and Culture of Altai; [compiled by: Korotkov I. A., Ogneva E. V., Fomin V. I.]. – Barnaul: GMILIKA, 2011. – p. 42)

Yuri Tarich and Esther Shub

In his work "Pages of the Youth of Cinema," Kh. N. Khersonsky outlined the specifics of the work on "Wings of a Serf," including the directing and editing components. According to him, Yuri Viktorovich Tarich conceived a film entirely different from the one that ultimately emerged. The reason for this was the "American jagged editing" employed by the experienced editor Esfir Ilyinichna Shub. Tarich advocated a calm, contemplative tempo: "The slow pace of life in Rus', movement in long-skirted caftans and long-sleeved fur coats, the sedate nature of gestures and speech do not allow people to flicker on the screen." However, Shub insisted on the then-fashionable dynamic editing. (Khersonsky, Kh. N. Pages of the Youth of Cinema: Notes of a Critic. Moscow, 1965. p. 196).

Criticism

Contemporaries reacted to "The Wings of a Serf" with mixed reviews. Most reviewers praised Leonidov's outstanding performance, but criticized the film for its lack of national character, its inaccurate portrayal of the Tsar, and its commercial bias, with an excess of "love," violence, and adventure, while lacking historical accuracy. I. Urazov:

"If we were to remove the title, the names of the actors, and the director, the general public might mistake the film for a foreign one. Everyday life and certain moments are smoothed over and perceived aesthetically. The Russian elements are softened… Ivan the Terrible and his time, as interpreted in Wings, are unexpected for the general public. Ivan the Terrible is not only a sadist but also a cunning merchant. (Kino. – 1926. – No. 47. – November 20).

The album contains some photo tests.

Photo proofs for the film "Wings of a Serf." 1925.

The film featured:

Screenwriters: V.B.Shklovsky, Yu.V.Tarich, K.G.Shildkret Director: Yu.V.Tarich, Co-director: L.M.Leonidov Director of photography: M.I.Vladimirsky Production designer: V.E.Egorov Editing: E.I.Shub Assistant directors: I.A.Pyryev (uncredited), N.Armenev Assistant director: V.V.Korsh

Cast: Nikishka, serf – I. S. KlyukvinIvan the Terrible – L. M. LeonidovFima, Nikishka’s bride – S. N. GarrelIvashka, Fima’s brother – M. KotelnikovMaria Temryukovna, Ivan the Terrible’s second wife – S. AskarovaTsarevich Ivan – V. V. KorshFyodor Basmanov – N. P. ProzorovskyMalyuta Skuratov – I. KachalovPrince Drutskoy – N. M. VitovtovPrince Kurlyatev – I. ArkanovLupatov – V. MakarovVaska Gryaznov – A. I. ZhukovAfanasy Vyazemsky – V. KurganovPrincess Kurlyateva – K. ChebyshevaPrincess Kurlyateva – V. VirskayaKhayat, Circassian – A. DzyubinaMetropolitan – K. Efimov Hay Girl – T.S. Barysheva In episodes: V. Snezhinskaya, V. Savitsky and others

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 evening's hosts, Yulia Peresild and Miloš Biković, set the tone for a sincere and warm dialogue from the very first minutes. The presence of Minister of Culture Olga Lyubimova added a special touch to the occasion, reading a greeting from Russian President Vladimir Putin, who noted the unifying and educative role of cinema. It was Olga Lyubimova who presented the evening's first special award, "For Contribution to Russian Cinema," to Alexander Adabashyan. The master, who accepted the prize with his characteristic self-deprecating humor, calling it "gerontological," modestly remarked on his fortunate mentors and thanked the great masters under whom he had apprenticed.

The lead award for Best Film was won by the ambitious war drama "August" (produced by Konstantin Ernst and Anatoly Maksimov, directed by Nikita Vysotsky and Ilya Lebedev). Based on Vladimir Bogomolov's legendary novel "The Moment of Truth," the film not only achieved box office success, grossing over 1.5 billion rubles (an unprecedented success for a war film with a 16 rating), but also convincingly demonstrated its artistic merit. Accepting the top award, Konstantin Ernst shared a personal story: he read the book at age 13 and began to imagine adapting it for the screen. "Fifty years have passed, and it's all come true!" the producer declared emotionally.

Felix Umarov's radical rap musical "The Prophet" proved a worthy competitor to "August," also surpassing 1.5 billion rubles and winning the hearts of both audiences and critics. The 31-year-old director's debut feature won awards for Best Director and Best Screenplay, underscoring the Academy's boldness in evaluating innovative forms.

MALE POWER: "ZMEY GORYNYCH" FROM COUNTERINTELLIGENCE

One of the most talked-about moments of the ceremony was the presentation of the award for Best Actor in a Film. The nomination, which uniquely featured three actors from the same film—Sergey Bezrukov, Nikita Kologrivy, and Pavel Tabakov, for their roles as SMERSH officers in "August"—left the jury with no other choice. Bezrukov and Kologrivy took the stage (Tabakov was busy with a play, but made it to the finale). Bezrukov, joking about the "tradition of thinking in threes," made a profound and graceful gesture, thanking his colleague Yevgeny Mironov, who played the same character, Captain Alekhine, in the 2001 film adaptation of "In August '44," and personally congratulating him on his work. "Not every actor is capable of such a feat!" remarked the laureate.

Thus, the nominee's frontrunners—Yura Borisov, who brilliantly played Pushkin in "The Prophet," and Yevgeny Tsyganov, for his heartfelt performance in the comedy "Batya 2. Grandfather"—were left without statuettes, which only underscored the phenomenal ensemble success of "August."

Elena Lyadova won the Best Actress in a Film category for her masterful portrayal of rowing coach Vera Savrimovich in Artem Mikhalkov's drama "First on Olympus." Anna Chipovskaya won the Best Supporting Actress award for her work in "The Prophet."

Television and online cinema also received generous recognition. A complete triumph awaited the series "Atom" (directed by Nurbek Egen), about the creators of the Soviet atomic bomb: it was named Best Television Series of the Year, as well as awards for Alexei Guskov (Best Actor on TV) and Ekaterina Klimova (Best Actress on TV). Accepting the award, Klimova smiled and remarked that it was "most likely for long service" and promised to place "The Eagle" on her mother's wardrobe between the icons.

The online series "Plevako" achieved an equally impressive hat-trick. It was recognized as the best project on online platforms, and its creators—Sergey Bezrukov (Best Actor in an Online Series) and Olga Lerman (Best Actress in an Online Series)—took the stage. In her speech, Lerman revealed the secret to the success of the Bezrukov family team—director Anna Matison and the actor: "an endless amount of love and support."

The technical categories saw intense competition between the same three box office giants: "August," "The Prophet," and the fantasy hit "Kraken." Ultimately, the prizes were distributed as follows:

· Best Film Music — Dmitry Yemelyanov (August).· Best Sound Director — Alexey Samodelko (The Prophet).· Best Cinematography — Maxim Shinkorenko, August.· Best Production Design — Alexey Paderin, Sergey Zaykov, The Prophet. The Story of Alexander Pushkin.· Best Editing — Ilya Lebedev, August.· Best Visual Effects — August.

Actress Ekaterina Guseva, who presented the music categories, created a special moment. To everyone's surprise, she performed a cappella, recognizable tunes from "Brigada" and "Bumer," and then joined the audience in singing "Shaggy Bumblebee," clearly demonstrating that music truly is "the soul and heartbeat of a film."

The 2025 Golden Eagle ceremony became a mirror of contemporary Russian cinema: strong, diverse, and self-assured. It demonstrated that audience success and artistic merit can go hand in hand, whether it's the harsh truth of military counterintelligence, the poetic rebellion of the young Pushkin, or the complex ethical dilemmas of historical series. Presenting the award within the hallowed walls of Mosfilm is a symbolic gesture of continuity, a reminder of the great tradition that today's "film cosmonauts" continue with such brilliance and talent. Congratulations to all the winners and nominees!

The winners are highlighted in yellow font.

Best Feature Film: "August," directed by Nikita Vysotsky and Ilya Lebedev; "Batya 2. Grandfather," directed by Ilya Uchitel; "Summer Will End," directed by Maxim Arbugaev and Vladimir Munkuev; "Kraken," directed by Nikolai Lebedev; "The Prophet: The Story of Alexander Pushkin," directed by Felix Umarov

Best Director: Nikita Vysotsky, Ilya Lebedev, "August"; Felix Umarov, "The Prophet. The Story of Alexander Pushkin"; Ilya Uchitel, "Batya 2. Ded"

Best Actor in a Film: Sergei Bezrukov, Nikita Kologrivy, Pavel Tabakov, "August"; Evgeny Tsyganov, "Batya 2. Grandfather"; Yura Borisov, "The Prophet. The Story of Alexander Pushkin"

Best Actress in a Film: Yulia Peresild, "Greetings to My Husband"; Elena Lyadova, "First on Olympus"; Alena Dolgolenko, "The Prophet: The Story of Alexander Pushkin"

Best Supporting Actor: Daniil Vorobyov, "August"; Viktor Dobronravov, "Kraken"; Sergey Gilev, "The Prophet: The Story of Alexander Pushkin"*

Best Supporting Actress: Polina Agureeva, "The Postman"; Anya Chipovskaya, "The Prophet: The Story of Alexander Pushkin"; Elena Lyadova, "Blank Slate"

Best Screenplay: Sergei Snezhkin, "August"; Anton Zaitsev, Alexey Litvinenko, Pavel Tikhomirov, "Batya 2. Grandfather"; Vasily Zorky, Andrey Kurganov, "The Prophet. The Story of Alexander Pushkin"*

Best Cinematography: Maxim Shinkorenko, "August"; Sergei Machilsky, "Kraken"; Mikhail Khasaya, "The Prophet: The Story of Alexander Pushkin"

Best Production Design: Vladimir Gudilin, Sergey Agin, Yulia Makushina, "August"; Yulia Charandaeva, "Kraken"; Alexey Paderin, Sergey Zaykov, "The Prophet. The Story of Alexander Pushkin"*

Best Costume Design: Alexey Kamyshov, "August"; Tatyana Mamedova, "Alice in Wonderland"; Tatyana Patrakhaltseva, "The Prophet. The Story of Alexander Pushkin"*

Best Film Music: Dmitry Yemelyanov, "August" * Artem Vasiliev, "Kraken" Rein Otter, "The Prophet: The Story of Alexander Pushkin"

Best Film Editing: Ilya Lebedev, "August" *Helios Chuchka, "Kraken" Maria Likhacheva, "The Prophet: The Story of Alexander Pushkin"

Best Sound Engineer: "August" "Kraken" "The Prophet. The Story of Alexander Pushkin"*

Best Visual Effects: "August" * "Kraken" * "The Prophet: The Story of Alexander Pushkin" * * *

Best TV Series: "Atom," directed by Nurbek Egen* "In Chair Park," directed by Sergey Korotaev, Vlad Nikolaev "A Minute of Silence," directed by Ilya Shekhovtsov

Best series of online platforms “Outsource”, director Dushan Gligorov “Breathe”, director Anna Kuznetsova “Plevako”, director Anna Matison*

Best Actor on Television: Alexey Guskov, "Atom"; Fyodor Fedotov, "In Chair Park"; Evgeny Tsyganov, "A Minute of Silence"

Best Actor in an Online Series: Ivan Yankovsky, "Outsource"; Sergey Bezrukov, "Plevako"; Sergey Gilev, "The Surgeon"

Best Actress on Television: Ekaterina Klimova, "Atom"; Lyubov Konstantinova, "In Chair Park"; Olga Lerman, "A Minute of Silence"

Best Actress in an Online Series: Mila Ershova, "Outsource"; Marina Aleksandrova, "Breathe"; Olga Lerman, "Plevako"*

Best Documentary Film: "The Language of the Era: Boris Barnet," directed by Andrei Istratov; "The Path," directed by Svetlana Muzychenko; "Filonov," directed by Nikita Snegov

Best Short Film: "Kroviks," directed by Mariam-Bibi Khalilova; "The Mute," directed by Arsen Aristakesyan; "The Best New Year," directed by Ekaterina Mavromatis.

Best Animated Film: Bulgakov, directed by Stanislav Sokolov; Baby T-34, directed by Elena Yaremenko; Hotel Onegin, directed by Irina Evteeva

Special prize for contribution to Russian cinema – Alexander Adabashyan.

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.

Film production in Russia emerged almost immediately after the invention of cinematography—in 1896, a year after the Lumière brothers' films were released in Paris. By the first decades of the 20th century, several film studios were already operating in Russia, the most famous of which were two in Moscow—Alexander Khanzhonkov's and Iosif Ermoliev's. They produced numerous popular silent films, accompanied by on-screen captions and live music.

The simplicity and accessibility of this new art form proved in demand after the 1917 Revolution. The government of Soviet Russia quickly recognized the role of cinema as a powerful propaganda tool, and in 1919, by a special decree, nationalized all existing film production companies.

In the early years of Soviet power, the state faced a myriad of important tasks, among which the revival of the once-flourishing film industry occupied a prominent place. As early as 1922, by decree of the Council of People's Commissars of the RSFSR, the former studios of A. Khanzhonkov and I. Ermoliev were transferred to the Central State Photographic and Film Enterprise "Goskino" as the First and Third Film Factories, respectively. But to begin operations, they needed not only premises but also expensive equipment and film—all of which were virtually destroyed during the Civil War.

The building of the former film studio on Zhitnaya Street

In 1923, following a major renovation, work began at the First Goskino Factory, housed in the former Khanzhonkov film studio on Zhitnaya Street. The Third Goskino Factory (located in the former Ermoliev studio near Bryansky, now Kievsky, railway station) was used primarily as a warehouse. Numerous administrative changes soon led to the merger of the First and Third Factories into a single enterprise, which would later become the Mosfilm Film Studio.

In the spring of 1924, the move was completed, and by order of 15.04.24, the former Third and First factories were merged into a single First Film Factory "Goskino" (explanatory note to the Chief Accountant of Goskino from accountant Sergei Fedorovich Zamyatin, RGALI, f.989, op.1, file 340, p.52), which would later become the Mosfilm Film Studio.

Later, January 30, 1924, would be considered the studio's official birthday, the date on which the director of the new film studio, Boris Mikhin, first released his film "On Wings Upward," which tells the story of the heroism of Soviet pilots and aircraft designers. The film was released on January 30, 1924, and it is this date that is now considered Mosfilm's birthday.

On the set of the film "On Wings Upward", Big Studio, director Boris Mikhin in the director's office.

The small studio on Zhitnaya was quickly rebuilt and gained significant momentum. A report on the production capacity of the First and Third Factories noted that their merger "undoubtedly yielded positive results: after organizational work, the factories were brought into relative order (possible given their dilapidated state)." (RGALI, collection 2498, op. 1, file 2, p. 41)

After its renovation, the First Film Factory was recognized as the best in the USSR and could simultaneously produce three films. As noted in 1924, only 113 people worked at the First Film Factory. However, such a small team boldly took on enormous challenges. Thus, the work plan for 1924-1925 named 26 films, divided into several thematic sections, such as the history of the Russian working class, the Civil War era, revolutionary detective stories, and social satire. In 1925, Mikhail Kapchinsky noted that "the focus of our immediate work is technical improvement… Lighting equipment, lighting, and filming equipment—this is the trinity on which the factory will be put to a serious test" (Soviet Screen, 1925, No. 23).

In the 1920s, Sergei Eisenstein (Strike, 1924, Battleship Potemkin, 1925, October, 1927), Lev Kuleshov (The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks, 1924, Death Ray, 1925), Abram Room (The Traitor, 1926, Third Meshchanskaya, 1927), Vsevolod Pudovkin (The Descendant of Genghis Khan, 1928), Alexander Dovzhenko (Arsenal, 1928) and many other outstanding film directors began working at the studio.

Since the mid-1920s, cinema had undoubtedly become an increasingly effective instrument of state cultural policy and a testament to the successes of Soviet Russia. A 1927 report by Sovkino stated: "In a vast country, enslaved for centuries, a country with a multi-million peasantry ruined by the exploitation of landowners and imperialist war, a country with backward technology, widespread illiteracy, and a general lack of culture—among the measures promoting the construction of socialism—cinema had to become a tool for the communist education of the broadest peasant masses." ("The Importance of Cinema in the Village," Sovkino report, 1927, RGALI, f. 645, op. 1, d. 363, pp. 50-51)

But producing films in small film factories was becoming increasingly difficult, and it was no coincidence that Eisenstein compared the "tiny studio on Zhitnaya Street with its glass sides and purple curtains" to an old photography studio. (Mosfilm Studio, Soyuzinformfilm, 1982, p. 4)

Moreover, sound entered world cinema in the late 1920s, and Soviet film production was forced to begin work on sound films. It was decided to adapt the Second Sovkino Factory (formerly D. Kharitonov's film studio at 27 Lesnaya Street) for this purpose. In April 1930, its conversion into a sound film factory began, but it turned out that in addition to expensive equipment, a significant renovation of the entire building was required. Film production urgently required expansion.

In the second half of the 1920s, the government faced the challenge of building not just a new studio, but an entire film city—one where all the necessary workshops and services would be conveniently, compactly, and efficiently assembled in one place, where costumes and sets, filming equipment and lighting equipment, and everything needed for film editing and printing copies for distribution would always be available.

Europe had never seen anything like it. But the idea was in the air, and in a sense, the equivalent of such a film city was Hollywood, which young directors Sergei Eisenstein, Grigory Alexandrov, and cinematographer Eduard Tisse had encountered during a trip to the United States in the 1920s. The government attached such great importance to the new film studio that its construction project was included in the list of the most important projects of the first five-year plan.

Sergei Eisenstein in the USA, Potylikha district at the turn of the 1920s–1930s, the main building of the Mosfilm film concern, 1929.

As early as early 1927, a competition was announced "for the design of the Sovkino film factory in Moscow." The explanatory program for the competition stated that the film factory building should have several studios (studios) separated by fireproof, movable partitions, allowing them to be connected if necessary to create a larger space. In front of the studios, there should be an open area for location filming, with detachable walls allowing it to be connected to the interior. The program specified a 3.5-meter-deep pool with windows for underwater filming beneath the studio. The studio's ceiling should be designed to accommodate a system of movable platforms for lighting equipment.

Several designs were submitted for consideration. The winning design was based on the then-dominant Constructivist architectural style, which eschewed decorative elements in favor of functionality and clean lines. The building's plan vaguely resembled an airplane: the management office in the center—the "cockpit"—was located in the "wings," the main Pavilion No. 1 and Pavilion No. 4 were in the "fuselage," and the assembly shop and actors' rooms were in the "tail."

These four pavilions had a total area of 4,629 square meters, with Pavilion No. 1 still striking in its scale – its area is 1,819 square meters, and its height is 13 meters.

But it wasn't just its scale that made the new studio unique. The building, whose construction began in 1927, was only the first of a large complex of structures that would house all the workshops and services. The studio was intended to become a veritable film city, ensuring the full and continuous film production cycle. It would house warehouses for sets, props, and furniture, a lighting equipment park, paint and decor workshops, actors' dressing rooms and makeup rooms, directors' and editing rooms, screening rooms, a tailoring studio, a cafeteria, a medical office, a telephone exchange, a fire department, and other facilities. The undeniable advantages of this design later made Mosfilm a model for the construction of other film studios.

On November 20, 1927, the groundbreaking ceremony for a new film studio took place on Sparrow Hills near the village of Potylikha. The invitation card detailed directions to the site where, a few years later, the Mosfilm studio buildings would rise. At the time, it was a picturesque outskirts of the city, where residents enjoyed relaxing and strolling along the banks of the Moskva River.

Soviet newspapers published numerous articles with headlines such as "Give Us a Giant for the Soviet Film Industry!", "Building Hollywood on Potylikha," and others. Because this project was considered a priority, the first phase of the new film factory was completed in 1930. By the end of January 1931, the First and Third Soyuzkino Film Factories began moving into the still-unfinished building, and the grand opening of the new film factory took place in early February 1931.

Today, Mosfilm is the leading and most technologically advanced enterprise in the Russian film industry, operating as a multifunctional, full-cycle film concern. It produces the majority of Russian film, television, and video content. Mosfilm is technically equipped to the latest international standards. The complex houses a modern cinema and concert complex, the "Cinema Center," which has been recognized as Moscow's best movie theater. New high-tech sound stages (No. 16 and No. 17) and the "House of Costume and Props" are also in operation. Mosfilm is also a popular tourist attraction! The concern's museum houses rare collections of automobiles and sets. Tickets for tours sell out in minutes. The studio regularly hosts industry events, including national film and TV series premieres, national awards, and cultural and scientific events. Mosfilm is a state-owned enterprise and operates entirely with its own funds.

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 29, 2026

News editorial office

At Dolby Studio 6, re-recording engineer Artur Khairullin (pictured) creates the final mix for an intimate yet visually and sonically profound film. The film "Underworld," which tells the touching story of a teenager trying to save his family from strife, required a special approach to sound, combining the clarity of on-set dialogue, "intimate sound design," and minimalist musicality.

According to re-recording sound engineer Artur Khairullin, "Another World" is a very intimate and touching story about a boy who wants to restore his family despite a serious rift between his parents. That's why the film's soundscape, while lacking the hallmarks of a blockbuster, is filled with detail and spatial solutions.

The work is being carried out in several stages, and the team is currently in the first, "preliminary" pass, to ensure the sound is evenly distributed throughout the film's running time. About ten shifts are allocated for the re-recording. The sound engineer's main task at this stage is to bring the balance to life, make the mix more emotional, and achieve high-quality sound in any auditorium.

"The film's distinctive feature was its unusual visual format, close to IMAX, with an aspect ratio of 1:1.43. This resulted in an abundance of long shots and deep perspectives, which directly influenced the sound design. The sound editing is filled with details that create depth and volume, creating a space that matches the visuals," Artur Khairullin noted in a commentary for Mosfilm.ru.

Almost all the dialogue in the film was taken directly from the set, as modern technology allows for efficient cleaning of the recording. Re-dubbing was used only in isolated instances, as dictated by the director, for example, to add lines or breathing. According to the sound director, the film doesn't feature a pronounced sound design, but there is a distinctive musicality woven into the background noises. This approach can be called "chamber sound design," as it actively shapes the rhythm, mood, and dynamics of the scenes.

Music is used minimally in the film. A composition, a blend of electronic music and violin, appears only a few times, serving as an emotional backdrop—a "pedal" that envelops the viewer and emphasizes the image of the family. Khairullin notes that the music is more like lingering ambient music than a classical theme.

The final sound design is being developed in close collaboration with supervisor Pavel Sitnikov, who, together with the director, previously identified key sound accents and defined semantic points. The re-recording team's task is to bring everything together and achieve a cohesive, expressive sound that will enhance the film's emotional impact on the audience.

The plot follows 14-year-old Sasha, who discovers his father is living a double life. In his new life, he has different friends and a new love, for whom he longs to put his past behind him. "Another World" is Nikolai Kovalenko's feature-length directorial debut. Filming took place in Moscow and the Moscow region in 2025. The project was produced with the support of the Russian Ministry of Culture, and the pitching took place in the fall of 2024.

Another World (Russia, 2026)

Genre: Melodrama Screenwriters: Kirill Pronin, Nikolay Kovalenko Director: Nikolay Kovalenko Director of Photography: Daniil Kononov Composer: Danil Prosolov Production Designer: Anastasia Yakovleva Costume Designer: Anna Braude Makeup Designer: Sofia Ivanova Editor: Sergey Smirnov Producers: Maxim Korolev, Olga Zhuravleva Starring: Nikita Konkin, Pyotr Fyodorov, Elena Nikolaeva Production: Alliance Film Company LLC

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 27, 2026

News editorial office

These days, work on the music for the new feature film "How Ivan Got into a Fairytale" has been in full swing at Mosfilm's First Music Studio. Composer Konstantin Poznekov and the OpenSoundOrchestra conducted a series of sessions, recording symphonic and folk instruments to create the epic soundtrack (sound engineer Andrei Levin – pictured).

Konstantin Poznekov shared details of the project. The musical score is based on Russian folk themes. According to the composer, one of the best young ensembles specializing in film music was engaged for the recording. The work followed a complex methodology: strings, brass sections, ethnic instruments, and vocals were recorded separately (in the composer's studio).

The soundtrack is based on a Russian folk song, which runs throughout the film, changing depending on the scene. "We chose a folk song, which we then, so to speak, modify," Konstantin Poznekov explained to Mosfilm.ru. "It appears repeatedly: at some moments it flourishes, at others it fades. Sometimes it's sung by a grandmother, sometimes by a young woman. You have to admit—how can there be a Russian folk song without a voice? We have one—and more than one!"

The film's musical content is distinguished by its scale and diversity: over thirty numbers were recorded for a live orchestra, not counting the ethnic parts. Some scenes last seven to eight minutes and feature numerous accents synchronized with the images. "Cinema demands scale," the composer noted. "The film is epic, and we're creating a hybrid composition, combining folk instruments with symphonic music."

Asked about working at Mosfilm's Sound Studio, Konstantin Poznekov admitted that it feels like home. "Working within these walls is a true thrill. I have the utmost respect for this place!" he emphasized.

The project "How Ivan Got into a Fairy Tale" became one of the most significant in the composer's career. "This is probably the project closest to my heart in terms of scale and involvement. The director and I found common ground, and I really like how everything comes together and is imbued with new meaning," Poznekov noted.

After recording the music, the team will begin mixing and re-recording. The composer noted that he is always open to dialogue with the director and producers, as filmmaking is a collaborative endeavor.

Work on the music for the film "How Ivan Got into a Fairy Tale" continues, and viewers can expect a vibrant blend of traditional folk aesthetics and contemporary cinematic sound.

The all-Russian premiere of the film "How Ivan Got into a Fairy Tale" is scheduled for September 2026 (Central Partnership).

How Ivan Got into a Fairy Tale, Russia, 2026

Genre: Fairy tale, adventure, comedy. Production: Nikita Mikhalkov's TRITE Studio, Central Partnership, Rossiya TV Channel, with the support of the Cinema Fund. Producers: Leonid Vereshchagin, Anton Zlatopolsky, Vadim Vereshchagin, Nikita Mikhalkov. Director: Alexey Nuzhny. Screenwriters: Ivan Kulakov, Alexey Nuzhny. Director of photography: Morad Abdel-Fattah. Production designer: Margarita Ablaeva. Starring: Maria Aronova, Ilya Vinogorsky, Irina Gorbacheva, Santa Nuzhnaya, Pelageya, Miron Provorov, and others. Visual effects: CGF studio. Distributor: Central Partnership. Release date: September 17, 2026.

Synopsis

"Once upon a time, not in some other kingdom, but in our own Russian state, there lived a boy named Ivan Dobrynin, who disliked Russian fairy tales and didn't believe in them. Until one day, he accidentally fell into a magic chest…

To return home from the world of Russian fairy tales, Ivan will have to face evil spirits, find friends, and perform a true feat."

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.