Translation. Region: Russian Federation –
Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.
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"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China
"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China
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"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China
"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China
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"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China
"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China
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"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China
"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China
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"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China
"White Tiger" and "Star": Mosfilm's 21st-century war films premiered in China
January 13, 2026
News editorial office
67
At the end of December, a special film program dedicated to the victory of the Chinese people's war against Japanese aggression in World War II (1937–1945) was successfully held in Guangzhou. Contemporary Russian war cinema took center stage, with audiences treated to two iconic Mosfilm films—"Star" (2002) and "White Tiger" (2012). Organized with the support of leading Chinese film communities, the event highlighted the depth and artistic diversity of Russian cinema, its ongoing dialogue with history, and its philosophical understanding of the theme of war.
The Jinshahui branch of Yonghan Cinema in Guangzhou hosted a special screening of two Mosfilm war films, Nikolai Lebedev's "Star" and Karen Shakhnazarov's "White Tiger." The screening was part of a festival designed to commemorate key milestones in world history through the medium of film. Organized under the guidance of the China Film Association and with the support of a number of prestigious organizations, including the Film Arts Center of the China Federation of Literary and Artistic Circles and the World Film Society of China, the project affirmed cinema's status as a universal language of international cultural dialogue.
Before the screening, Zhou Wenping, Director of the Film and Television Arts Research Center at the School of Humanities at Guangzhou University, a renowned film scholar, and a member of the Guangdong Film Association's presidium, spoke to provide a deeper context. In her analysis, she emphasized that, despite their shared themes, the films represent two fundamentally different artistic approaches to understanding the past.
"'Zvezda' is a classic war drama about a reconnaissance group, where heroism is depicted through the lens of individual lives, through an incredibly detailed and emotional reality," Professor Zhou noted. "'White Tiger' is a philosophical parable, an almost mystical allegorical statement. It moves away from the specifics of historical events to reflect on the very nature of war, its irrational, cyclical nature. Together, these films demonstrate the multifaceted approach modern Russian directors take to military history, combining the traditions of great Soviet cinema with new, bold forms."
This contrast left viewers reeling. Military history buffs praised the authenticity and intensity of "Zvezda": "The film evokes the deepest respect for ordinary soldiers, their heroism and sacrifice." Many perceived "White Tiger" as a challenge and a source of reflection. "Now I understand that this is high art, which speaks not of battles, but of memory itself, of trauma that has no statute of limitations. The White Tiger tank is a brilliant metaphor for the inexhaustible dark side of any war," shared a young viewer.
Such double screenings, building a dialogue across eras and genres, have become the festival's hallmark. On another day, the same program presented another powerful pairing: Mikhail Kalatozov's The Cranes Are Flying, a Soviet classic that won the Palme d'Or at the 1957 Cannes Film Festival, and Alexei Sidorov's 2020 contemporary blockbuster T-34. From a poignant poetic exploration of personal tragedy and broken destinies on the home front to a dynamic action film celebrating courage and ingenuity on the battlefield, viewers were treated to a full picture of the war, both sides of it.
"It's like two sides of the same coin," one viewer remarked. "'The Cranes Are Flying' shows the most vulnerable, heartbreaking wound, while 'T-34' shows the iron will to win. Together, they represent the truth we seek in war films."
The festival program deliberately avoided one-sidedness, striving to show war in all its complexity—not only as a field of heroism, but also as a tragedy that shatters lives. Another thematic selection, for example, featured Andrei Tarkovsky's Ivan's Childhood (1962), a masterpiece that won the Golden Lion at Venice, and the contemporary drama The Little Soldier (2018). Separated by half a century, both films ask the same agonizing question about the price war exacts on a child, forcibly depriving them of their childhood. "This isn't just a history lesson, it's a profound life lesson," said one parent who attended the screening with their child. "The fact that these films resonate with today's audiences proves that the theme is timeless."
Thus, the Guangzhou Film Festival fulfilled an important mission. Through carefully curated paired screenings, it not only introduced Chinese audiences to Mosfilm masterpieces and contemporary Russian cinema, but also created a space for a complex, multifaceted dialogue about memory, humanity, and the nature of war. It demonstrated that Mosfilm films, with their powerful classical traditions and bold contemporary explorations, continue to be among the most profound and artistically significant phenomena in global cinema, capable of speaking to audiences in the language of high art and honest emotion.
Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.
