Category: Movies

Translation. Region: Russian Federation –

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

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

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

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

MALE POWER: "ZMEY GORYNYCH" FROM COUNTERINTELLIGENCE

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

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

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

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

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

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

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

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

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

The winners are highlighted in yellow font.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Special prize for contribution to Russian cinema – Alexander Adabashyan.

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

Translation. Region: Russian Federation –

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

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

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

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

The building of the former film studio on Zhitnaya Street

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Translation. Region: Russian Federation –

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

January 29, 2026

News editorial office

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

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

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

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

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

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

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

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

Another World (Russia, 2026)

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

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

Translation. Region: Russian Federation –

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

January 27, 2026

News editorial office

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

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

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

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

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

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

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

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

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

How Ivan Got into a Fairy Tale, Russia, 2026

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

Synopsis

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

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

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

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.