Category: Arts

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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.

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

January 12, 2026

News editorial office

52

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

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

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

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

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

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

Reference information:

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

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.

December 30, 2025

News editorial office

25

Dear Mosfilm employees! Dear film studio partners and moviegoers!

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

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

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

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

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

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

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

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

Happy New Year 2026! Merry Christmas!

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

Karen Shakhnazarov

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.

December 29, 2025

News editorial office

56

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

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

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

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

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

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

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.

December 26, 2025

News editorial office

Mosfilm's soundstages and the Tonstudio production complex are a nonstop filming and post-production facility. Today, the majority of Russian films from leading studios are created here, with both masters and newcomers to Russian cinema working there. Like any major global studio, Mosfilm also boasts a large-scale television production facility, filming programs and shows of various formats for national television channels. Mosfilm.ru reports on what's happening in the studio's production facilities right now.

From December 20th to January 8th, Mosfilm's Pavilions 1 and 3 are hosting the traditional New Year's show, which this holiday season is called "To the Stars! Mission: Snowmen in Space." Pavilion 1 features a stage with the show's sets and a comfortable auditorium. Pavilion 3 houses a cozy Christmas film village, offering a variety of workshops for children and adults, a rich animation program, and décor made from 200,000 LEDs. The captivating plot of this interactive multimedia musical centers on Father Frost's assistants, who are about to embark on a journey into space in search of a magic star. The show is brimming with special effects—laser graphics, smoke, confetti, an electronic background control system, large-scale LED screens, and even Russia's only system for individual sound positioning in the auditorium! Don't miss it!

Mosfilm's Pavilion 2 is the permanent filming location for the popular show "Nastroenie" (TV Center). From Monday to Friday, the show's hosts help you wake up and are always happy to share the most helpful tips. News and interesting facts from the lives of celebrities, movie secrets, a hit parade of funny animal pranks, and the mysteries of feng shui—and that's far from all the show shares with viewers every weekday starting at 6:00 AM.

Every Sunday in Pavilion 4, hosts Pavel Volya and Ilya Sobolev, along with invited guests, recap the past week on "Show Volya," covering major world events in their own unique way. This comedy program, beloved by millions of viewers, has been a regular fixture at Mosfilm for over two years. During this time, over a hundred episodes have been produced, and dozens of A-list celebrities have appeared as guests. Three sets were constructed for the program's filming: one for interviews, a social media digest, and the final musical number. The grandstand, which seats 180 spectators, also frequently appears in shots.

Mosfilm's Pavilion No. 5 traditionally hosts TVC's flagship project, "The Right to Know," which brings together diverse perspectives on the week's most pressing issues. The program's subject is the person who knows the most about the issue. They will answer questions from journalists—the editors-in-chief of leading Russian media outlets. Their task is to extract from the subject everything viewers want and have a right to know.

Stages 6 and 7 are used for filming the popular singing show "The Voice." The premiere is scheduled for 2026. Popular singer Anna Asti will be taking her first Mentor's chair. Opera singer Ildar Abdrazakov will also be making his debut. The third Mentor will be Vladimir Presnyakov, who previously worked with the adult contestants of "The Voice" in seasons 11 and 12. The fourth chair will be occupied by Pelageya, the most experienced Mentor, having competed in five seasons of "The Voice."

Since March 25, 2018, the program "Evening with Vladimir Solovyov" (Russia-1) has been broadcast from Mosfilm's Pavilion 8. The program discusses current news and events. Experts, politicians, political scientists, and journalists participate in the studio discussion.

The film concern's soundstages 10 and 16 are used for filming various projects using Volumetric video technology. A volumetric video studio, part of Sber's Virtual Production studio, is based here. For some scenes, actors are filmed simultaneously with several dozen cameras, allowing for subsequent 3D editing. The creators of Volumetric Studio use professional Volucam cameras, which are suitable for scientific research, aerospace and defense, industrial machine vision, and augmented/virtual reality with support for multi-camera systems.

Since the summer of 2025, Mosfilm's Pavilion 11 has been home to SPAS TV channel projects. The following programs are filmed here: "Evening on SPAS," "The Priest's Answer," "Parsuna," "Direct Line of Life," "Battlefield," "Stream," "The Main Thing with Anna Shafran," and "Morning on SPAS."

Mosfilm's Pavilion 12 hosted the Podcast.Lab program (Channel 1). The program features intellectual discussions after midnight with the most knowledgeable experts and cutting-edge speakers. The show features the most prominent figures in show business, psychologists, musicians, actors, and even cosmonauts! Astrological forecasts, advice from psychologists, recommendations from financial analysts, reminiscences from film and pop stars, and the latest music. Guests and hosts of the program have included: Karen Shakhnazarov, Vladimir Mashkov, Yulia Rutberg, Vladimir Legoida, Dmitry Bak, Anton Siluanov, Larisa Guzeeva, Tatyana Gevorkyan, Anton Shkaplerov, Tatyana Tolstaya, Ilya Averbukh, Dmitry Dibrov, Alexey Varlamov, Natalya Loseva, Tutta Larsen, Valery Syutkin, Igor Butman, and many others.

Mosfilm's compact Pavilion 13 is often used as a rehearsal space for theatrical projects. At various times, the space has been used for the premieres of plays such as "Warsaw Melody" (premiered by the Yermolova Theatre), "Two on the Seesaw" (independent theatre project "Atelier"), "The Taming of the Shrew" (Teatrium on Serpukhovka), and others. Rehearsals for the "Magic Snowdrops" project (OOO "Lyudi Sceny") are currently underway here.

Filming for the 12th season of the All-Russian Young Talent Competition "Blue Bird" took place in Mosfilm's Pavilion 17 from November to December. In front of millions of viewers, the young talents repeatedly captivated the audience and judges with their talents and confidently took steps toward their dreams! As usual, the participants are supported on stage by renowned artists—singers, actors, directors, and musicians. The program's creator and host is Daria Zlatopolskaya. As is traditional, a massive multi-level set was erected for the program, allowing the participants to perform in a wide variety of disciplines: acting, vocals, choreography, acrobatics, and many others.

All Mosfilm sound stages, which have undergone major renovations and restoration, as well as the new sound stages (No. 16 and No. 17), meet the latest technical and technological requirements not only for film and television production. Large, medium, and small sound stages can be used as spaces for large-scale concerts and cultural events, theatrical rehearsals, business presentations, large-scale and intimate exhibition displays, and more.

All departments of Mosfilm's Tonstudio are operating at full capacity during the December holidays—the 1st and 2nd music studios, the re-recording and mastering studios, the voice and sound studios, and the editing rooms. Currently, post-production work on around two dozen projects is underway at the Tonstudio's production and technical facilities. Among them are the films "Lefty," "Prostokvashino," "The Ninth Planet," "The Commentator," "Saving the Immortal," "Angels of Ladoga," "Heat," "Callsign Ascetic," "For Love," and others.

Mosfilm's 1st Music Studio traditionally hosts symphony orchestra recordings for both film and major media projects. For example, the score for the new ballet "Russian Gambit" was recently recorded there. Currently, the CAGMO (Cinema Anime Game Music Orchestra) symphony orchestra is recording live concerts, often featuring light shows and immersive visual effects.

Today, the Mosfilm Film Concern's Tonstudio production complex is rightfully considered the largest and best-equipped recording studio in Russia. Its services are regularly used not only by leading film companies but also by many renowned figures in the Russian and international music industries.

For questions about renting pavilions: Alexandra Rudko, Head of the Central Production Department of Mosfilm, e-mail: tonstudio@mosfilm.ru Tonstudio, Mosfilmovskaya St., 1, building 27

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.

December 25, 2025

News editorial office

Today, the outstanding Soviet and Russian actress Vera Valentinovna Alentova (1942–2025), star of the Oscar-winning film "Moscow Does Not Believe in Tears," passed away. Mosfilm.ru recalls the key career and life milestones of the actress, whose life was closely linked to the Mosfilm studio.

Vera Valentinovna Alentova was born on February 21, 1942, in Kotlas (Arkhangelsk Oblast) to actors Valentin Mikhailovich Bykov (1917-1946) and Irina Nikolaevna Alentova (1917-1988). Her father died when she was three years old. Soon after, she and her mother moved to Krivoy Rog (Ukrainian SSR, now Ukraine), then to the Uzbek SSR (now the Republic of Uzbekistan). She graduated from high school in Barnaul (Altai Krai).

In 1965, Vera Alentova graduated from the Nemirovich-Danchenko School-Studio at the Gorky Moscow Art Academic Theater (MKhAT) of the USSR (now the Nemirovich-Danchenko School-Studio, Institute at the A.P. Chekhov Moscow Art Theater). She graduated from the course of teacher Vasily Markov.

WORKING IN THE THEATRE

From 1960 to 1961, Vera Alentova was an actress at the A.S. Pushkin Orsk Drama Theater (Orenburg Region). She made her stage debut as Maya in "Irkutsk Story," based on Alexei Arbuzov's play. She also appeared in productions of "Unequal Fight," based on Viktor Rozov's play; "Four Under One Roof," based on the comedy by Mira Smirnova and Margarita Kraindel; and "Brody's Castle," based on Archibald Cronin's novel.

From 1965 to the present, Vera Alentova served at the Moscow Drama Theater named after A.S. Pushkin. Her first role was Raina in the production of "The Chocolate Soldier" based on the play by Bernard Shaw. She also played in the plays "The Zykovs" and "Children of the Sun" based on the works of Maxim Gorky, "Warsaw Melody" based on the play by Leonid Zorin, "Days of Our Lives" based on the work of Leonid Andreyev, "Squaring the Circle" based on the play by Valentin Kataev, "Obsession" based on the work of Alexander Galin, "Inaccessible" based on the comedy by Somerset Maugham, "Phaedra" based on the tragedy by Marina Tsvetaeva, "Happy Days" based on the work of Samuel Beckett, "Oranges"

FILM ROLES

Vera Alentova made her film debut in 1965, playing the role of teacher Lidiya Fedorovna in the drama by Nikolai Litus and Leonid Rizin "Flight Days." She later starred in the films and TV series "Stars and Soldiers" (1967, directed by Miklos Jancso, USSR – Hungary), "Time for Reflection" (1982, Sergei Ashkenazi), "Tomorrow Was the War" based on the story by Boris Vasiliev (1987, Yuri Kara), "The Groom from Miami" (1994, Anatoly Eyramdzhan), "Son for Father" (1995, Nikolai Eremenko Jr. and Margarita Kasymova, Russia – Belarus), "Shirley-Myrli" (1995, Vladimir Menshov), "And Yet I Love…" (2008, Sergei Ginzburg), and others.

Among Vera Alentova’s most famous film works are Katerina in Vladimir Menshov’s melodrama Moscow Does Not Believe in Tears (1979), Svetlana Vasilyevna in Yuli Raizman’s drama Time of Desires (1984), and Sonya in Vladimir Menshov’s melodrama Envy of the Gods (2000).

Stills from the filming of Moscow Does Not Believe in Tears (directed by V. Menshov, 1979), Time of Desires (directed by Yu. Raizman, 1984), and Envy of the Gods (directed by V. Menshov, 2000)

Vera Alentova's final film role was the goddess Ishtar Borisovna in V. Ginzburg's "Empire V" (2022). In total, she has appeared in over 30 films and television series.

Vera Alentova was married to People's Artist of the RSFSR Vladimir Menshov (1939-2021). Their daughter is actress and television presenter Yulia Menshova (born 1969). She was a member of the Union of Cinematographers of the Russian Federation, the National Academy of Motion Picture Arts and Sciences of Russia, and the Russian Academy of Motion Picture Arts. In 2022, Vera Alentova published her autobiography, "Everything Is Not Accidental."

TEACHING ACTIVITIES

Since 2009, Vera Alentova has taught in the acting department of the acting faculty of the All-Russian State University of Cinematography named after S. A. Gerasimov (Moscow). She served as a professor and workshop director (along with her daughter, Yulia Menshova).

TITLES, AWARDS

Vera Alentova was awarded the Order of Friendship (2001), the Order of Honor (2007), the Order of Merit for the Fatherland, III and IV degrees (2022, 2012), and the Pushkin Medal (2019).

Laureate of the USSR State Prize in Literature, Art and Architecture in 1981 and the Vasiliev Brothers State Prize of the RSFSR in 1986.

People's Artist of the Russian Federation (1992).

In 1980, she was recognized as the best actress of the year according to the results of a readership poll of the magazine “Soviet Screen”.

Winner of the Saint-Michel International Film Festival Award (Brussels, Belgium, 1981; for her role as Katerina in Moscow Does Not Believe in Tears). Laureate of the Crystal Turandot Theatre Award in the Best Actress category (2006, Vinny in Happy Days), the TEFI Award in the Best Actress in a Television Film/Series category (2008, Anna Lyagushova in And Still I Love…), and the Andrei Mironov Figaro Russian National Acting Award in the For Service to Russian Repertory Arts category (2019).

Stills and photos from the filming of the films "The Trial" (directed by A. Simonov, 1989), "Shirley-Myrli" (directed by V. Menshov, 1995), "Time of Desires" (directed by Yu. Raizman, 1984).

"I express my sincere condolences to the family and friends of Vera Valentinovna Alentova, her daughter Yulia Menshova—and, of course, the millions of moviegoers… Vera Valentinovna's passing is a tremendous loss for our culture, for our cinema and theater. She was a symbol of Soviet cinema, Russian cinema, and Russian cinema itself. The image she created in Moscow Does Not Believe in Tears is familiar to everyone and has accompanied us throughout our lives. It's difficult to say, because I was very close with both Vladimir Valentinovich Menshov and Vera Valentinovna—they were a wonderfully harmonious couple… They have ended their lives, but they will remain in my heart forever. I believe millions of Russians can say the same. May the kingdom of heaven rest in peace, Vera Valentinovna!" “You lived a long, important, and worthy life,” Mosfilm CEO and film director Karen Shakhnazarov expressed his condolences to the actress’s family and friends.

The Mosfilm team also expresses its most sincere and deepest condolences to the family, friends, colleagues, and relatives of Vera Valentinovna Alentova. May she rest in peace.

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