Category: Film

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.

Translation. Region: Russian Federation –

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

January 26, 2026

News editorial office

Georgy Khosroevich Shakhnazarov (1924–2001) was a renowned Soviet and Russian political scientist, political figure, Doctor of Law, Corresponding Member of the USSR Academy of Sciences, historian, writer, and publicist. From the 1960s, he worked in the International Department of the CPSU Central Committee, then served as an aide to Mikhail Gorbachev, participating in the development of the concepts of perestroika and "new thinking." Therefore, his perspective on the events described in this book is particularly valuable.

Year of publication: 2026 (Prospect Publishing House) Genre: Political memoirs, historical and journalistic research Foreword: Karen Shakhnazarov

Main idea and structure

This two-volume book presents a comprehensive analysis of the phenomenon of political leadership in the history of the USSR and Russia through the lens of the author's personal experience. Georgy Shakhnazarov is more than just a chronicler—he is also attempting to uncover the deep historical and sociocultural roots of "leadership" in Russia, as well as to understand whether the country can transition to other models of governance.

The book is valuable for the author's deeply personal and insightful observations of Soviet leaders – Leonid Brezhnev, Yuri Andropov, and Mikhail Gorbachev. The latter's reign and Perestroika are the subject of the book's most detailed and emotional pages. The author was an active participant in these events, an advisor, and an ally of the first and last president of the USSR. But the book's cast of characters is not limited to Soviet leaders – over the years, the author also interacted with leaders of the socialist bloc: Fidel Castro, Erich Honecker, Willem Jaruzelski, and Gerhard Husak. The combination of vivid sketches and in-depth analysis creates a vivid picture of public life in our country and the countries of Eastern Europe, the morals that reigned in the Kremlin and the Central Committee building on Staraya Square, and introduces the reader to the world of Big Politics and its creators.

In the second part of the book, the author, among other things, reflects on why post-Soviet Russia has once again found itself in search of a "strong hand." He analyzes the Yeltsin era as a period of chaotic, crisis-ridden governance that discredited the very idea of democracy in the eyes of many citizens. Georgy Shakhnazarov hopes that the country will be able to develop a stable system of rotating power based on the rule of law and civil society. Reflecting on the future of our world as a whole, the author does not hide his anxiety, but as a true humanist, he believes that humanity will be able to endure this critical moment, provided that the very principles of existence—non-violence, disarmament, a rejection of excessive consumption, etc.—are changed.

“Even if a fertile oasis lies somewhere ahead, the path to it lies through great trials and hardships,” the author concludes.

Style and dignity

Georgy Shakhnazarov masterfully combines analytical style with a lively, almost artistic narrative. The book is written in a vivid, journalistic style. The traditionally dry historical generalizations characteristic of biographies and memoirs are enlivened by personal recollections, behind-the-scenes scenes, and apt psychological portraits – of both leaders and ordinary people the author encountered along his life's journey. And his recollections of the Great Patriotic War or his youth and studies in his native Baku are simply mini-stories in their own right! Georgy Shakhnazarov, a fire platoon commander in the 1095th Army Cannon and Artillery Regiment and a battery control platoon commander in the 150th Sevastopol, Order of Kutuzov, Army Cannon and Artillery Brigade, captured the Perekop Isthmus and participated in the liberation of Sevastopol, Minsk, Lithuania, and the capture of Königsberg.

The book will be of interest to historians and political scientists as an important source on the late Soviet era. The author's insights will help us understand the logic of the ruling elite's actions during those years, the "truth" of the post-war generation of political figures, and the underlying causes of perestroika. For those reflecting on the phenomenon of power in Russia, the book will provide rich food for thought about the cyclical patterns of Russian politics and, even more broadly, the cyclical nature of global political and cultural processes.

It's important to note that the author's position is not that of a dissident or outside observer. Shakhnazarov was part of the elite, which makes his critique particularly valuable—he understood the mechanisms of power from within.

Georgy Shakhnazarov's "With and Without Leaders" is the intellectual testament of an outstanding Soviet reformer, a prominent political scientist, a true patriot, and a citizen. It is a profound, informative, and honest attempt to understand Russia's historical path through the prism of political leadership. The book offers no easy answers, but it helps us understand the complexity and drama of Russia's recent history. A must-read for anyone who wants to go beyond black-and-white assessments of the Soviet period and understand the inner logic of its transformation. It also offers insight into the fascinating personality of Georgy Shakhnazarov—a thoughtful observer, a talented political figure, writer, and poet who navigated the many paths of the challenging 20th century.

Georgy Khosroevich Shakhnazarov (1924 – 2001)

You can purchase the book on the following marketplaces:–OZON–Litgid–WB

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 22, 2026

News editorial office

At Studio 4 of Mosfilm's Tonstudio, sound recordings are underway for the feature film "For Love" (produced by Papini Production and SoFilm). This story explores the search for lost feelings and the relationship between a couple, played by Ksenia Borodina, a star of the television show "Dom-2" and a successful businesswoman, and actor Alexei Chadov ("War," "Cultural Comedy," "Game of Survival"). The general producers are Evgeniy Egupov, Gaik Asatryan, and Alexei Stepanov. The project is distributed by Atmosfera Kino.

According to sound engineer Alexander Zakharov, work on the sound has reached its final stages. The recording of the characters' speech is nearly complete, and the main characters, Alexei Chadov and Ksenia Borodina, are expected to be voiced soon. The sound effects (by Kirill Banatin) are almost complete, and re-recording (final mixing of the soundtrack – ed.) is scheduled to begin in two to three weeks. Zakharov emphasized that all sound post-production work is being handled at Mosfilm on a turnkey basis, with the exception of background effects, which, due to the nature of the work, are being created remotely by a specialist.

"First of all, I've gotten used to the Mosfilm Sound Studio—it's very convenient. I've worked at other studios, and, as a rule, there were always a few inconveniences. I mean, the engineers there either didn't finish something, or the software wasn't right, or they're missing certain microphones that I want. But Mosfilm has it all! Plus, when you feel that outstanding films were created within these walls, that great directors worked within these walls… Basically, there's a certain inspiration within these walls!" Alexander Zakharov emphasized in a comment for Mosfilm.ru.

The sound engineer also noted the convenience of Mosfilm's unified technical infrastructure: all materials are stored on an AvidNexis server, allowing simultaneous work in different studios—editing, sound, and voice-over studios, and re-recording.

Regarding the film's specific features, the sound director described it as a melodrama with comedic elements, focusing on acting rather than extensive sound design. The sound director stated that the film's music is approximately 80% complete. It was composed by Artem Kazaku, and the film will also feature popular tracks, the titles of which have not yet been revealed. The final sound mix, or master, is scheduled for March 1st.

The film marks director Andrei Malai's first feature-length work. Leya Samoilova and Ksenia Borodina's daughter, Teona Omarova, made their acting debuts in the project. Roza Syabitova, Mark Barton, Oksana Samoilova, Alexander Rogov, and others also joined the cast.

The film follows a married couple. They seem to have everything they need to be happy: a comfortable apartment, promising jobs, and wonderful children. But behind this perfect picture lies a profound crisis. Each spouse has long been secretly living their own lives, escaping the routine and consequences of everyday life. On their anniversary, the couple receives a bottle of a magical drink. Now their life is a captivating adventure, full of unexpected consequences of dreams come true.

"The idea of toasting struck us as very folksy; we immediately realized there was something to it. Toasts are a post-Soviet phenomenon, because in the world everything boils down to simple chin-chin. But for us, it's a kind of psychotherapy. Couples break up so easily these days—we don't really understand each other. Between toasts, the main characters begin to talk to each other and discuss things that are important to them. This is how they grow closer, and in the end, they realize they can't live without each other, and the family remains together," said general producer Hayk Asatryan about the film's concept.

"For us, this isn't just 'another project.' It's a film we poured our heart, energy, and, of course, love into. Special thanks to Ksyusha and Alexey—they conveyed genuine emotions and feelings to our characters. I think every viewer will see a part of themselves in this story, giving free rein to their imagination and dreams. Special thanks to our professional team, who became a cohesive whole during filming, and to newcomer Andrey Malay," noted General Producer Evgeny Egupov.

"The filming process was a great pleasure for us. I'm happy to have worked with Ksenia Borodina and Alexey Chadov; they're fantastic. I had great faith in this couple, and they lived up to all my expectations. This will be a very warm family comedy, where everyone can relate. I think audiences will really enjoy it," commented the film's director, Andrey Malay.

The film "For Love" is scheduled for nationwide release in the summer of 2026.

In the photo: Sound engineer Alexander Zakharov, sound designer Kirill Banatin, noise recording engineer Victoria Bryanskaya.

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.

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

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

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

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

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

The painstaking work of restorers

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

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

History of creation: a masterpiece born in struggle

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

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

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

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

PRESS RELEASE

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

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

January 20, 2026

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

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

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

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

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

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

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

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

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

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

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

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

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

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

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

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

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

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

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

Original article in magazine Giornale di Puglia

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

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

Red Bells. Film 1. Mexico on Fire (Mosfilm, First Creative Association, Kanoshite-2, Vides International – Mexico, Italy, 1982)

Director: Sergey Bondarchuk Screenwriters: Valentin Yezhov, Sergey Bondarchuk, Antonio Saguera, Ricardo Garibay Composers: Georgy Sviridov, Joaquin Eras Cinematographer: Vadim Yusov Production Designers: Levan Shengelia, Giantito Burkiellaro, Francisco Magayon Cast: Nero Franco, Irina Skobtseva, Andres Ursula, Bogdan Stupka, Vytautas Tomkus, Yulien Balmusov, Alexander Saiko, Jorge Luque, Blanca Guerra, Eraclio Cepeda, Petr Vorobyov, Tengiz Daushvili, Anatoly Ustyuzhaninov, Sidney Romm Duration: 135 min Countries: USSR, Mexico, Italy Language: Russian

PLOT

1913. Mexico. Civil war is raging across the country. Two peasant armies, led by Emiliano Zapata in the south and Francisco "Pancho" Villa in the north, are advancing through heavy fighting toward the capital, which has been occupied by the forces of dictator General Huerta. At the height of the fighting, American journalist John Reed arrives with the northern army to interview Pancho Villa, the leader of the rebellious peasants.

HISTORY OF CREATION AND FILMING

The film's concept matured over seven years. Amid the Cold War, Sergei Bondarchuk's "Red Bells" duology became a kind of "Soviet response" to Warren Beatty's 1981 film "Reds," which also chronicled the life of American journalist, writer, and communist John Reed. Bondarchuk's sprawling historical film consists of two large, two-part parts—"Mexico Burning" and "I Saw the Birth of a New World." The first part recounts Reed's trip to Mexico in 1913–1914, during the revolutionary events that erupted there, which have shaped the country today. The second part draws heavily on the book "Ten Days That Shook the World."

Filmmakers from Italy and Mexico were actively involved in the film's creation. In addition to Sergei Bondarchuk, the screenplay was written by Italian playwright Antonio Saguera and Valentin Yezhov. The music was written by renowned Soviet composer Georgy Sviridov, and Vadim Yusov served as cinematographer.

Camera operator Vadim Yusov and director Sergei Bondarchuk on set

Filming of the American and Soviet films proceeded almost simultaneously. Bondarchuk began work on the second part of his film during the US premiere of "Reds." The greater importance he attached to the section of the film dealing with the October Revolution is demonstrated by the fact that he acted as an actor, whose voiceover was heard off-screen, highlighting and reinforcing various points in the film's narrative.

It's worth noting that Bondarchuk's portrayal of Reed was preceded by a Soviet filmmaker, S.D. Vasiliev, who directed the 1958 film "In the Days of October." John Reed (played by A. Fedorinov) and his wife, Louise Bryant (played by G. Vodyanitskaya), appeared as supporting characters. As American correspondents, these characters appeared in no fewer than six episodes. In the film, Reed was portrayed as a young, elegant, and intelligent observer of the revolution, sympathetic to the Bolsheviks and an idolizer of V.I. Lenin.

Reed was played in Bondarchuk's film by the renowned Italian actor Franco Nero. Unlike the American film's portrayal of the protagonist, who wears a Russian kosovorotka (a Russian peasant shirt) under his jacket while in Russia, Nero's character closely resembles an elegant gentleman in a fashionable suit, a "young lion" actively observing and absorbing the events of the revolution in Petrograd. Certainly, in some ways, this image was reminiscent of Reed in the film "In the Days of October." Viewers of "Red Bells" often see the protagonist holding a notebook. His credo is voiced in the first part of the film:

"It's my job to be in the thick of things, not to write about them from hearsay. I'd just look ridiculous if I wrote about something I didn't see myself."

Actor Franco Nero

In Red Bells, Reed is both an observer and an active participant in the revolutionary events. Unlike Beatty, Bondarchuk focuses primarily on historical events rather than the personal experiences of the characters. Lenin is rarely seen in close-up, with the emphasis being on the mass movements and the general mood of the revolution.

The first part of the film, "Mexico on Fire," was released in 1981, and the second, "I Saw the Birth of a New World," in 1982. In 1984, the film's creators were awarded the USSR State Prize. Sergei Bondarchuk's duology remains a significant contribution to Soviet cinema, demonstrating the scope and seriousness of the director's approach.

*Source: E.V. Volkov's article "He Burned Out Like a Candle." John Reed in Revolutionary Russia: Screen Images of American and Soviet Cinema

RESTORATION

Frame-by-frame image and sound restoration was performed by specialists at PC Telekino. The restorers had to remove numerous film damage, glue marks on the splices between shots, numerous spots and scratches—both thin and wide—and remove interframe "hairlines." Image stabilization and the elimination of flickering, a common occurrence in old films, were a separate task.

"The main difficulty in the restoration was that the film is very dynamic. Horse chases, explosions, fire, frequent changes of shot. This necessitated painstaking manual labor. Automatic restoration is simply impossible! Furthermore, it's difficult to 'clone' lost frames, and there were some," noted restorer Ekaterina Solovieva.

As a reminder, the restoration process is divided into two parallel stages: image and sound. Initial digitization of the material is used for sound processing: removing clicks and extraneous noise, thereby clearing the soundtrack of various audio defects that arose both on set and during film storage. Then, the image is transferred from the film to a digital medium. Computer restoration of the film's video sequences takes longer than that of the audio sequences, lasting approximately a month (depending on the complexity of the material). Restorers are tasked with determining the film's color scheme and performing color correction. Various defects caused by mechanical stress on the film, such as scratches, are removed using computer cleaning and image stabilization. The restored audio and image are then merged.

Frame before restoration

Frame after restoration

Frame before restoration

Frame after restoration

The following artists worked on the restoration of the film: E. Solovieva, M. Tusmatov, M. Aleksakhina, and V. Shakhnazarov (frame-by-frame image restoration), E. Verlochev (scanning), I. Agafonova (color correction), and I. Valiev (sound). A. Senkovsky also contributed to the restoration. The restoration producer was Karen Shakhnazarov.

The restoration work is now fully completed, and starting at 7:00 PM (Moscow time) on January 16, the film will be available for free viewing on Mosfilm's official YouTube channel in 4K format. The film will also be available to view on all official online resources of the film studio (VK Video, Rutube, and the Mosfilm online cinema).

Please note that today, the restored war film "The End of Saturn" (1968) by Villen Azarov will appear on the international YouTube channel of Mosfilm with Spanish subtitles.

Mosfilm restores classic films in partnership with the Russian State Film Fund, which houses the original film masters (the studio holds the legal rights to the films). Mosfilm Film Concern carries out all restoration work entirely at its own expense, without government or sponsorship funding. Films are available for free viewing on Mosfilm's online cinema and on the studio's official YouTube channel, as well as on other online resources (VK Video, Rutube).

Photo: Mosfilm-Info

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

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

1/7

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

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

2 / 7

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

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

3 / 7

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

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

4 / 7

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

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

5 / 7

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

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

6 / 7

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

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

7 / 7

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

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

January 15, 2026

News editorial office

36

The final sound mix for Sarik Andreasyan's new fairytale film, based on Alexander Pushkin's work of the same name, is underway at Dolby Atmos Studio 7 (sound engineer: Garik Navasardyan). The film's post-production process also utilizes the editing suites of Mosfilm's Sound Studio.

According to the plot, Tsar Saltan, staying in a village house, is fortunate enough to fall in love with a sweet, kind, and simple girl, Annushka. Annushka is fortunate enough to marry the Tsar and bear him a son. Her sisters and stepmother are fortunate enough, as if by magic, to follow Annushka into the Tsar's palace. But the sisters and stepmother don't appreciate their good fortune, desire more, and begin an intrigue. While Saltan is away, they switch the letter and present Annushka and the newborn heir in a bad light before the Tsar. Furious, Saltan orders everyone to await his return. However, the letter with the order is switched again. As a result, the Tsarina and her son are sealed in a barrel and thrown into the ocean to their certain death.

According to the film's creators, the first location shoot took place in Gelendzhik, the second studio shoot took place in Dolgoprudny, Moscow Region, and the final shoot took place in a specially constructed fairytale town measuring 6,000 square meters in the Troitsky District. Filming concluded in the summer of 2025. Over 500 unique costumes were created for the film's characters. The film is rich in graphics and special effects. Pavel Priluchny played Tsar Saltan, Liza Moryak played the Tsarina Mother, Alexei Onezhen played Guidon, and Alisa Kot played the Swan Princess.

"For me, Tsar Saltan is not just a character from a fairy tale familiar to everyone since childhood, but also a person with his own weaknesses, doubts, and emotions. I strove to portray him not as a cardboard cutout, but as a living hero with a heart and internal conflicts. I hope the audience will feel that this story is not only magical, but also full of genuine human emotions. During filming, I discovered a new side of the actors, familiar from previous projects. Perhaps this was due to the magic of the fairy tale—and, of course, the director: Sarik Andreasyan managed to create that very magic, which I'm sure will be conveyed to the audience," notes Pavel Priluchny.

"When creating the image of the queen, I drew on my own feelings. My goal was to portray a caring mother and loving wife—an archetype close and relatable to every woman. Any fairy tale, especially one by Alexander Sergeyevich, teaches us to believe in the miracle that fills life with love and true meaning," says Elizaveta Moryak.

In addition, Olga Tumaikina (Babarikha), Vladimir Sychev (Agafon), Anton Bogdanov (Ivan), Fyodor Lavrov (messenger), Karen Badalov (Porfiry) and Arthur Vakha (Uncle Chernomor) will appear in Sarik Andreasyan’s film.

The film's screenplay was written by Alexey Gravitsky. He added several elements not found in Alexander Pushkin's poem. "Our goal is to tell the story in a contemporary way. Not to transfer it to today—God forbid—but to tell it in a modern cinematic language. Vividly, figuratively, while still preserving Pushkin's spirit, his fairytale-like quality, and his humor. Despite all the difficulties, this task is entirely achievable. So, a new film adaptation of this well-known childhood tale awaits you soon. It will be engaging for both children and adults. We've found something special for every age," said Alexey Gravitsky.

Sarik Andreasyan particularly noted that "The Tale of Tsar Saltan" is not just a magical adventure, but a multi-layered, profound story.

"This is our version of Homer's 'Odyssey.' It's a story about the relationship between fathers and children, and also about how, no matter what miracles life throws at you, family always comes first. For me, as a father, the most important thing is the story of Guidon and his desire to be with his father again. I think our film about love, separation, and a happy reunion will touch the hearts of every adult and child," the director said.

Photo: Press service of the Atmosphere of Cinema company

The film will be released on February 12, 2026, by distributor Atmosfera Kino.

_______________________________________________________

For questions about renting re-recording studios at Mosfilm: Tatyana Balter – Director of the Tonstudio PC Tel.: 7 (499) 143-9803 e-mail: balter@mosfilm.ru

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

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

1/5

"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

2 / 5

"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

3 / 5

"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

4 / 5

"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

5 / 5

"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.