Category: Movies

Translation. Region: Russian Federation –

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

February 26, 2026

News editorial office

69

Set in the fictional city of N in the early 20th century, this film offers viewers a glimpse into the childhood of the iconic literary character Ostap Bender. The project combines the adventurous spirit of Ilf and Petrov's hero with motifs from Anton Chekhov's children's stories. Principal photography has now been completed, and post-production is underway. The film is scheduled to be presented at the World Content Market international exhibition in Moscow in April.

The film is being produced by the Art for All Seasons Foundation for the Support of Culture and Art. The project has already received a national film certificate (UNF No. 40828), which, according to the creators, confirms its compliance with professional standards of Russian cinema.

Lada Merkulova directed and wrote the screenplay. Yevgeny Kharlanov served as co-director, and composer Nika Usova wrote the film's music. The main character, 13-year-old Ostap, was played by young actor Timofey Myagchenkov, and he was joined on screen by a cast of both teenagers and adults. One of the roles in the film was played by the young Italian actor Thomas Saganeiti, who also holds Russian citizenship and for whom working at Mosfilm was an interesting experience.

"This was my first time filming at Mosfilm, and it left a very strong impression. The atmosphere, the authenticity of the locations, and the team's work helped me deeply understand the era and my character, an Italian fashion designer. The costumes were beautiful and helped create a complete sense of the era. I really enjoyed participating in this project, and the experience was truly inspiring!" shared Thomas Saganeiti.

The film crew's idea for the project was inspired by the Mosfilm backlot, which recreates old Moscow and St. Petersburg. Many of the film's scenes were shot here, including walkthroughs of historical sets and interior scenes. To create an authentic atmosphere from the early 20th century, the production designers made extensive use of props and costumes from the Mosfilm collection.

The creators emphasize that their film is not a strict adaptation, but a creative fantasy about what the young Ostap might have been like. The narrative weaves motifs from Chekhov's short stories—"Boys," "Vanka," and "The Malefactor"—giving the story added depth and vibrancy. The script evolved from short novellas into a full-length feature, depicting how the future "great schemer"'s resourcefulness and innate sense of justice manifest themselves already in childhood.

"We realized that today's children don't know who Andrei Mironov was, haven't read 'The Twelve Chairs' or 'The Golden Calf,' and are either little or completely unfamiliar with Chekhov's stories. So we conceived our film to use the adventures of children like them to spark an interest in reading in today's children. This became a mission for us, an educational task. We imagined what might have happened to Ostap when he was 13, and intertwined it with the spirit of adventure and poetry of the time, using motifs from Chekhov's children's stories. For example, in our film, Ostap helps Vanka Zhukov find his grandfather so that that famous letter finally reaches its destination," director Lada Merkulova told Mosfilm.ru.

The film is currently in post-production. The rough cut has already been completed, and the sound recording and pre-production work for the sound effects have been completed at Mosfilm's Tonstudio. The creators plan to complete the film by mid-spring, after which they will begin searching for a distributor.

Photos provided by the project's press service

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.

February 25, 2026

News editorial office

48

Starting February 20th at 9:30 PM, the third season of the show "Come On, All Together! In Chorus!" will air on the Rossiya TV channel. The legendary "100," responsible for impartial judging, is back together. Their main task is to select the best of the country's best teams. The show's permanent duo—host Nikolai Baskov and leader of the "100," Sergey Lazarev.

The new season of "Come On, All Together! In Choir!" opened with special guest Nadezhda Babkina, founder and artistic director of the vocal ensemble "Russian Song," which celebrated its 50th anniversary last year. As always, her rousing performance filled the competition with a festive atmosphere, and then joined a panel of hundreds of music experts.

"I adore choral singing because you can lose yourself in it. When very young girls and boys take the stage, eager to make a name for themselves, I feel delight, admiration, and joy. For me, the tone, honesty, and melody are important. When all this comes together, it gives spiritual strength, and something that may have been dormant for a long time begins to awaken in a person—certain strings of the soul. Energy is very important. It can be found in a quiet, timbral piece, or in a full-blown, full-throttle performance. The project 'Come on, All Together! Chorus!' gives us the opportunity to appreciate our spirituality, the most important, unfairly forgotten values that have existed for centuries," Nadezhda Babkina noted in a commentary for Mosfilm.ru.

Eight groups will compete in the first wave of competition for the Show Cup and 5 million rubles. Between four and seventy performers will take the stage at the grand show. The contestants' musical repertoire is diverse, ranging from classical pieces to cutting-edge arrangements and compositions. Each group will bring a unique sound and style to their performances. Familiar notes will be given a new twist, and old hits will be given a fresh lease of life.

The upcoming episode will feature the vocal group "KVATRO original," the vocal quartet "Malina," the techno choir "Palestrina," and the children's choir "Aurora" from Moscow, the ensemble "Toloka" and the choir of the Valaam Monastery from St. Petersburg, the women's choir "Devchata" from Tver, and the men's choir of the Song and Dance Ensemble of the National Guard of the Republic of Kazakhstan.

The jury includes the long-standing music experts without whom the show is now unimaginable—Nikolai Erokhin, Albert Zhalilov, Alina Yarovaya, Marina Firsova, Olesya Evstigneeva, Andrey Bill, Nastya Kraynova, Vladimir and Anton Korobka, Georgy Koldun, Akula, Harry Kraulis, and Alexander Penkin—as well as new judges—Pizza frontman Sergey Prikazchikov, singer Oksana Kazakova, and last season's semifinalist Evgeny Garanin. The winners of the second season of "Come on, All Together! As a Choir!"—Dmitry Zheleznov, founder and artistic director of the Dmitry Zheleznov Chapel, and Olga Kozyreva and Maxim Fadeev, directors of the Russian Song Choir of the Vladimir Regional Music College named after A.P. Borodin—also appeared on the panel.

The scale of "Come on, all together! In chorus!" is grandiose.

A vocal show is a complex project from a production standpoint. The television competition utilizes not only large-scale sets but also sophisticated software. According to the show's producers, Mosfilm's Pavilion 1 offers optimal conditions for such a large-scale project, including dimensions, ceiling height, soundproofing, set installation, and more. With each season, the vocal show continues to amaze and captivate audiences, and its fan base continues to grow. And this is just the beginning: new heights are yet to come. We'll find out who will receive the first coveted 100 points out of a hundred this coming Friday! Don't miss out!

Episodes of the new season will be available on media platform "Smotrim"

Production: Vait Media, photo by Russia TV channel.

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.

After numerous demands to cut the film short due to its excessive length (according to members of the artistic councils of the association, studio, and other higher-level organizations), Andrei Tarkovsky was forced to agree to cut some scenes and objects, including:

List of scenes and objects to be cut

Only after these cuts was the ACT regarding the release of the full-length film "The Passion According to Andrei" sent to the Cinematography Committee on August 25, 1966. The prepared text of the ACT stated: "The film was presented to the Main Directorate of Artistic Cinematography of the Cinematography Committee on a single reel on August 6, 1966, and approved by the Cinematography Committee under the Council of Ministers of the USSR for release with edits." This ACT was submitted for approval to V. Baskakov, Deputy Chairman of the Cinematography Committee under the Council of Ministers of the USSR. However, even this abridged version of the film was not approved, and Tarkovsky was "proposed" to further alter the seemingly finished film.

On August 30, 1966, Tarkovsky wrote a letter to the acting Head of the Main Directorate of Art Cinematography, E. Surkov:

“…Due to concerns about inaccurately edited scenes and cuts, the following episodes have been shortened and thus improved in editing;

….2) The scene of Andrey, Kirill and Danila leaving Trinity was thrown out due to the unclear plot development and its plastic variegation in connection with the junction with the subsequent passage of the heroes across the field in the rain.

3) The first scene with the buffoon has been shortened – half of the circular panorama before the appearance of the warriors has been thrown out.

This entire scene was re-recorded with the aim of making clear the social motive in the content of the buffoon's song.

Some shots within this scene have also been re-edited.

….5) The text of the “writing” that exists as Cyril’s internal monologue in the scene of Theophanes inviting Andrei Rublev to Moscow has been shortened.

6) The scene with the messenger in the episode of Andrei’s invitation to Moscow was shortened.

…8) The scene of Theophanes, Andrei and his disciple Thomas in the spring forest has been greatly shortened and clarified.

The overly illustrative “flight” of the swan at the end of this episode was thrown out…”

Tarkovsky was forced to agree to all the comments; this letter listed 23 points, which were subject to major corrections and cuts.

However, at the end of the letter, the director tries to convince management to allow the necessary additions:

A letter from director Andrei Tarkovsky

By this time, the struggle for the film had exhausted A. Tarkovsky to the extreme; his strength – moral, physical and creative – was running out.

On September 9, 1966, the director of the film, T. Ogorodnikova, and the director of the VI Creative Association, P. Danilyants, at the request of A. Tarkovsky, approached the management of the Mosfilm studio to grant him leave due to overwork.

“…On September 2, 1966, at an extended meeting of the Board of the Cinematography Committee under the Council of Ministers of the USSR with the participation of leading masters of Artistic Cinematography, the film “The Passion for Andrei,” submitted by the studio on July 29, 1966, and accepted on August 25, 1966 by the Cinematography Committee under the Council of Ministers of the USSR, was discussed.

While noting the film's ideological and artistic merits as an outstanding work of cinematic art, the meeting participants, along with a high assessment of the film's quality, considered it necessary to propose to the director A. Tarkovsky that he make editing cuts in order to free the film from individual shots and episodes of a naturalistic nature and to reduce the useful footage of the film as a whole.

Director A. Tarkovsky, having agreed with the need to make a number of editing corrections, requested that he be given leave due to overwork and allowed to complete the clarifications in the film's editing in parallel with the production of the source materials.

Taking into account the above, the General Directorate and the leadership of the Main Directorate agreed to satisfy Comrade Tarkovsky’s request to grant him leave and allowed him to resume work on editing and the production of source materials after returning from leave.

In this regard, we ask that the deadline for submitting source materials for the film “The Passion of Andrei” be extended until December 20 of this year.”

On October 24, 1966, the next meeting of the Artistic Council of the 6th Creative Association took place, at which a heated discussion about cuts took place:

Yuri Bondarev (writer, editor of the association)

"…I really like the film 'Andrei Rublev.' I think there's a lot of genius in it. There are some long stretches, sometimes little plots, like the woman swimming, for example, which is a bit of fiction, the bell sequence, and the river sequence. There were also some other long stretches, a lot of pulsating blood… Overall, I really like the film."

Elizar Maltsev (writer)

"…The film 'Passion for Andrei' has the potential to become a sublime work of art. But I've always been haunted by the feeling that the director lacks a sense of proportion. I'm driven by a desire to help the film, and I'm deeply convinced that the film is too long and too cluttered. The buffoons are uninteresting; they're artificial and forced, and I don't like the men fighting."

Vladimir Kreps (writer, screenwriter)

"…I'd like to draw a parallel with the film 'The First Teacher,' which at one time also sparked much discussion about the need for cuts, particularly in terms of graphic violence. Now that film has enjoyed great, well-deserved success. So, in my opinion, the film 'Andrei Rublev' now has global significance."

Vladimir Naumov (director, head of the 6th Creative Association)

"…The film as we saw it today is in grave danger of being devoured by the microbe of boredom. The film is excessively drawn-out. I lose the sense of coherence in this film; it breaks down halfway through. This film is so powerful in its truth and chronicle of events, so we must eliminate all falsehoods…"

Lyudmila Feiginova (editor of the association)

“Everything is conceived and filmed in large chunks and has its own rhythm; it’s practically impossible to throw anything away.”

Alexander Alov (director, head of the 6th Creative Association)

"Our shared position, our association's attitude toward the film 'The Passion According to Andrei,' throughout all the difficult stages of its creation, has been absolutely impeccable. We were always with Tarkovsky at the most critical moments. Now the film has been accepted, and our statements are guided not by fear of some dire consequences, but by a single, ardent desire to make the film better. The film is very drawn-out, hence its significance."

I'm a huge fan of the film, but I still agree with everyone that it's excessively long. The buffoons are insanely drawn out, Vladimir is too long, and there's a lot of cruelty. I simply can't stand the scenes with the horse and the dog. Naumov's suggestions are very specific. I'm in favor of shortening the film by 300 meters."

Andrei Tarkovsky:

We are at odds with each other.

My Artistic Council is broader; many people saw the film, and their opinions were conflicting.

…Of all 24 points related to editing amendments, only 3 amendments are perhaps not taken into account in today’s version.

I agree with the comments about philosophical conversations, which, of course, should be more specific and unique, but this problem and error are inherent in the script itself, which included a disproportionate meaning of what was said in relation to the amount of text.

I tried to cut out the first part of the execution, but it didn't work. I don't know what to do with Vladimir; the footage of him falling from the wall can be cut.

The old man with the stick cannot be removed, because without him there would be no episode, everyone is talking about this shot, and I agree with this, but it cannot be cut.

If you listen to everyone, it turns out that we need to throw out another 300 meters; wishes prevail over possibilities.”

Just two days after this meeting, members of the Artistic Council gathered to discuss editing changes to the film. Once again, Tarkovsky had to defend his position:

"…The discussion at the Artistic Council meeting left an overwhelming impression. The Artistic Council members' proposals failed to find a common solution in terms of concretely fulfilling the shared desire to make the film shorter. I'm in a difficult position, as nothing concrete was proposed at the Artistic Council meeting, despite the lengthy and detailed discussion.

Today the proposals are more constructive and concrete.

But if I cut out: the second part with the blinding, shorten Vladimir (Petra, the horse) by half, throw out the dog, the execution, Kirill’s cell, the flashback, the scene after the scene with Marfa, part of the scene between Feofan and Andrei – the ending, Kirill’s return plus what was suggested at the Artistic Council – can you imagine this picture?… The picture will lose its face.”

As a result, the Arts Council makes an unambiguous conclusion:

Decision of the artistic council

A. Tarkovsky decides to continue fighting for the film's fate. To be continued.

Photo: Mosfilm-Info Information Center. When using this image, a link to the source is required.

CONTINUATION

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.

February 24, 2026

News editorial office

50

The premiere of the 4K restored version of Andrei Tarkovsky's "Andrei Rublev" took place at Mosfilm's Cinema Center. The film was presented by Mosfilm General Director Karen Shakhnazarov, People's Artist of the Russian Federation Nikolai Burlyaev, who in his youth played the bell-player, a breakthrough role for him, and People's Artist of the Russian Federation Yuri Nazarov, who played the two princes.

"We're premiering this for several reasons. First, it's a new restoration in 4K. Second, this year marks the 60th anniversary of this film's release. I saw it for the first time exactly 60 years ago at the Progress Cinema, and I must say it made a very strong impression on me then. It's undoubtedly a remarkable work that has stood the test of time and is still seen around the world," Karen Shakhnazarov told the audience from the stage.

The director added that Tarkovsky's work should be seen on the big screen, as it was created for that format. He also invited the specialists who worked on the restoration—Irina Agafonova, Ekaterina Solovieva, Marina Aleksakhina, and Mikhail Tusmatov—to the stage and thanked them for their work. "The people who are doing this restoration stand behind me. It's actually a very complex, labor-intensive, and tedious job. Some people think restoration is simply a scanning process, but no—every frame is cleaned up," he said. According to Karen Shakhnazarov, the restoration of "Andrei Rublev" took about two months in total.

The premiere played to a full house at the Center Kino Cinema (Mosfilm Cinema Park), and on February 22, the film was released in re-releases in Moscow, St. Petersburg, Novosibirsk, Perm, Rostov-on-Don, and other cities. It is noted that the film will be released in more locations so that audiences can experience the film as it was originally intended—in modern quality and on the big screen.

"The film was banned, sat on shelves for seven years, then broke through the rocks into this world. It began showing in select cinemas, and now it will be shown throughout Russia. As Lermontov said, there is a sense of truth in the human heart. I sincerely thank Karen Georgievich and all these wonderful heroes who are dedicated to saving and prolonging the life of great films. God bless them all! And I would recommend that officials remember that our culture includes Andrei Tarkovsky, who said that an artist who does not believe in the creator cannot be an artist," said Nikolai Burlyaev.

Nikolai Burlyaev noted that even upon his first meeting with Andrei Arsenyevich, he immediately recognized him as a genius: “By all outward appearances, Tarkovsky was absolutely the same as us – he played Vysotsky’s guitar, courted the ladies… but from his eyes, it was clear that he was in a completely different dimension.”

From the cinema stage, Yuri Nazarov emphasized that "Andrei Rublev" is a "double self-portrait"—that of Tarkovsky himself, whose vision permeates the entire film, and that of Anatoly Solonitsyn, who brilliantly portrays the icon painter. "After all, this is our history, culture, and loyalty," Nazarov said. He also thanked the restorers for giving the painting a new life.

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.

About the film

The idea for a film about the 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, took place in Suzdal, Pskov, Vladimir, and Moscow.

Anatoly Solonitsyn played Andrei Rublev in the film. To realistically portray his vow of silence, the actor actually did not speak for four months. The film also stars Rolan Bykov, Ivan Lapikov, Yuri Nikulin, Nikolai Grabbe, and Mikhail Kononov.

The film was harshly criticized and effectively banned. Its triumph at the 1969 Cannes Film Festival occurred partly against the wishes of film authorities. It was only in 1971 that the film received a limited Soviet release in a shortened version, and the full version was released only during the perestroika era.

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.

Dear colleagues, dear friends!

I congratulate you on Defender of the Fatherland Day!

Loyalty to the oath and the Fatherland, valor, and honor—this is the moral core that has bound our army and navy together for centuries. It is a living thread of memory, passed down from generation to generation, linking the exploits of our grandfathers and fathers with the heroism of today.

We pay our sincere respect and gratitude to all generations of defenders—those who honorably fulfilled their military duty in the Soviet years and today, who lived through local conflicts and hot spots. And, of course, our deepest respect and full support go to the participants of the Special Military Operation, the Russian soldiers, officers, and volunteers. They represent the strength and invincibility of Russia today, its security, and a confident future.

Our task now is to be there for those on the front lines. Mosfilm is actively supporting the soldiers and their families; for us, these aren't just words, but concrete actions. Some of our employees are currently defending Russia with weapons in hand. We look forward to their return with Victory!

In life, as in the movies, the most important thing is to remain human, professional, and patriotic. I wish everyone who wears or has worn epaulettes, all citizens of our great country, fortitude, peace at home, and confidence in the future. Be worthy of the memory of your ancestors and be a support for your loved ones!

Happy Holidays!

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

Karen Shakhnazarov

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

Translation. Region: Russian Federation –

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

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Mosfilm presents: the restored version of Andrei Rublev returns to cinemas

Mosfilm presents: the restored version of Andrei Rublev returns to cinemas

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Mosfilm presents: the restored version of Andrei Rublev returns to cinemas

Mosfilm presents: the restored version of Andrei Rublev returns to cinemas

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Mosfilm presents: the restored version of Andrei Rublev returns to cinemas

Mosfilm presents: the restored version of Andrei Rublev returns to cinemas

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Mosfilm presents: the restored version of Andrei Rublev returns to cinemas

Mosfilm presents: the restored version of Andrei Rublev returns to cinemas

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Mosfilm presents: the restored version of Andrei Rublev returns to cinemas

Mosfilm presents: the restored version of Andrei Rublev returns to cinemas

February 19, 2026

News editorial office

47

Dear friends! We invite you to the premiere screening of the latest 4K restoration of the feature film "Andrei Rublev" (directed by A. Tarkovsky, 1966). The premiere of the restored version, timed to coincide with the film's 60th anniversary and its re-release, will take place on February 21 at the Cinema Center (Cinema Park Mosfilm).

Mosfilm Film Concern is bringing one of the pinnacles of world cinema back to the big screen – Andrei Tarkovsky's legendary film "Andrei Rublev." The film will be released in the widest possible format in a state-of-the-art digital restoration, featuring 4K image quality and restored sound. Screenings begin on February 21 at 5:00 PM (4:00 PM for guests and press) in the main hall of the "Center Kino" cinema (Mosfilm Cinema Park, Mosfilmovskaya Street, Building 1, Bldg. 44).

The film will be presented by:

Karen Georgievich Shakhnazarov – General Director of Mosfilm, film director, Laureate of the State Prize of the Russian Federation, People's Artist of the Russian Federation

Nikolai Petrovich Burlyaev – Deputy of the State Duma of the Russian Federation, People's Artist of the Russian Federation, performer of one of the leading roles in the film "Andrei Rublev"

Yuri Vladimirovich Nazarov – People's Artist of the Russian Federation, performer of roles in the film "Andrei Rublev"

pr@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.

February 18, 2026

News editorial office

24

The legendary Mosfilm First Music Studio has begun recording Sergei Rachmaninoff's Liturgy of St. John Chrysostom, performed by the A. V. Sveshnikov State Academic Russian Choir. The project is being commissioned by Melodiya, Russia's oldest recording company.

The choir's artistic director, Ekaterina Antonenko, explained that the extensive studio work is scheduled for four sessions. On the first day of recording, which took place at Mosfilm, the choir began working on twelve hymns, organized into a cycle based on thematic and dramatic contrasts.

The project involves approximately 50 choir members. The collaboration between the legendary ensemble, a major label, and the country's leading film studio will result in a digital edition of Rachmaninoff's famous work.

Ekaterina Antonenko noted that working within the walls of Mosfilm is distinguished by its exceptional comfort and technological advancement. According to her, the studio's acoustics, where soundtracks for hundreds of iconic films and symphonic programs have been recorded, don't create an excessive "beautiful haze," but instead provide a clear and pure sound image, which is critical for choral recordings.

Speaking about the specifics of the process, the choir's artistic director emphasized the fundamental difference between concert performance and studio work.

"A perfect recording, of course, requires several attempts," Ekaterina Antonenko shared with Mosfilm.ru. "Live, you only have one take, and that really energizes you, keeps you on your toes. But maintaining that kind of concentration for long is incredibly difficult, so recording gives you the opportunity to make several versions and choose the best. However, when the material is well-known, as in the case of Rachmaninoff, it's always tricky: every flaw becomes visible as if under a microscope."

Artistic director of the choir Ekaterina Antonenko

At the time of our conversation, the choir had completed the first two hours of their first shift. The Sveshnikov Choir still has three more studio days ahead to capture one of the most significant spiritual works of the 20th century for future generations of listeners.

REFERENCE INFORMATION:

The State Academic Russian Choir named after A.V. Sveshnikov is a world-renowned Russian ensemble, occupying a leading position in Russian and international choral performance.

The work of two masters of choral art – the first artistic directors of the State Choir, N.M. Danilin and A.V. Sveshnikov – played a crucial role in shaping the creative image of the group, founded in 1936.

Even during its formative years, the State Choir confidently established itself as the flagship of Russian choral performance. For many years, the choir served as a creative laboratory for new Soviet music. Under the direction of A.V. Sveshnikov, the choir premiered works by D.D. Shostakovich, G.V. Sviridov, V.Ya. Shebalin, Yu.A. Shaporin, R.K. Shchedrin, E.K. Golubev, A.Ya. Eshpai, and other composers.

Artistic director – Ekaterina Antonenko.

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.

February 17, 2026

News editorial office

45

The sound post-production of "The Ninth Planet," a sci-fi action film with a star-studded cast (CTB Film Company), is underway at Mosfilm's Sound Studio. Directed by debutant Nikolai Rybnikov, the film stars Yura Borisov, who conquered the Cannes Film Festival, Irina Starshenbaum, one of Russia's brightest stars, and several other renowned actors. Sound engineer Pavel Stasenko (Atmosfera Studio, pictured) spoke to Mosfilm.ru about the film's sound.

– At what stage is the sound production for the film “The Ninth Planet”?

The project has been in post-production since August 2025. Voice and sound recordings have been completed, background noises and some sound effects have been edited, and pre-mixes have begun.

– Does Atmosphere Studio handle all of the project’s sound post-production?

– Yes, the leading sound engineers from the Atmosfera studio are working on the project – Pavel Doreuli, Pavel Stasenko, Dmitry Vasiliev, Andrey Kireev, Almaz Sakhipov, Andrey Gushchin and others.

"The Ninth Planet" is a science fiction film. Did it require sound design? Or was the film's sound design more or less traditional, following canons and standards?

There are no standard projects. In "The Ninth Planet," the action takes place in two parallel locations—familiar modern-day Moscow and, indeed, on a strange and alien planet. Naturally, we strive to maximize this contrast with sound. This is especially true since Planet Nine resists human invasion: life there is structured like a militarized quasi-corporation, and the intelligent natives sometimes take forms that are completely alien and incomprehensible to our consciousness. It is at the intersection of this conflict that the film unfolds. And love, of course, wins!

– Will there be a lot of sound from the set in the film? And what, conversely, had to be added?

"As usual, we're mainly taking speech from the set. Although quite a diverse array of material was recorded there. Given the objectives, we often have to find unusual sounding versions of familiar objects. On the one hand, this is to highlight the film's genre in places; on the other, to highlight the biological, quasi-intelligent entity's imitation of the technological achievements of a technogenic civilization."

– Is there a lot of music in the film? In your opinion, does it reflect the film's dramaturgy – does it highlight certain themes, or add emphasis? Who composed it?

The film's composer is Konstantin Poznekov. The search for a musical solution is still ongoing, but the work that has been done is impressive. Of course, the most emotionally charged part of the sound score is the music. So the music doesn't just underscore the drama; it largely creates it.

"After an accident, auto mechanic Dima Khrust's mind flashes with memories of his service on the Ninth Planet: amazing landscapes, an Earthling base, battles with monsters, friends, and his girlfriend, Polina, whom he once saved… Khrust's fellow soldiers twirl their fingers at their temples, as they have completely different—ordinary—military memories. But when Dima meets Polina in real life, he no longer doubts: someone has altered their memories. Who and why? The truth can only be discovered by returning to the dangerous planet," states the synopsis for the film "The Ninth Planet."

Filming took place in Moscow, Morocco, Socotra Island in Yemen, and the Indian Ocean coast. Central Partnership served as distributor. The premiere is scheduled for September 24, 2026.

Sergey Selyanov, producer: "You could say that serious fantasy is Terra Incognita for the Russian industry. We're always interested in finding the key to a new genre, trying to open it up to a wider audience, as we did with fairy tales. We have a young director on the project, Nikolai Rybnikov. How else can we recruit new faces into the industry if not by inviting young directors to major films? It's a risk, but it also brings new ideas and a fresh perspective."

The Ninth Planet (16)

Genre: Sci-Fi, ActionDirector: Nikolay RybnikovScreenplay: Igor TkachenkoProducers: Sergey Selyanov, Efim Lyubinsky, Tina Kandelaki, Alya Somkina, Alexandra LyubinskayaCinematographer: Alexander DmitrievComposer: Konstantin PoznekovArtists: Sergey Tyrin, Evgenia Rublina, Marina MikhnevichStarring: Yura Borisov, Irina Starshenbaum, Aleksey Serebryakov, Maxim Emelyanov, Daniil Spivakovsky, Konstantin Beloshapka, Semyon Litvinov, Danil Steklov, Nikolay Evstafyev, Vadim Pirozhenko and others.Production: STV Film Company, Dixy TV, Gazprom-Media HoldingWith the support of the Kino FundPremiere in Russia: September 24, 2026, Central Partnership

Photo: STV Film Company

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.

February 16, 2026

News editorial office

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The Mosfilm. Golden Collection television channel presents the special project "Golden Legends of Mosfilm." Its protagonists are Mosfilm "stars" living in St. Petersburg. Host Dmitry Kharatyan meets legendary actors who, over the years, starred at the country's premier film studio and contributed to the "Mosfilm Golden Collection."

Together with the project's host, we visited Igor Sklyar, Sergey Migitsko, and Mikhail Boyarsky. These were extraordinary encounters filled with sparkling acting stories, memories of Mosfilm, their youth, first impressions of the studio, and filming films that have become classics of Russian cinema.

The documentary series "Mosfilm. The Golden Age" also continues to air on the Mosfilm. Golden Collection TV channel. The program has been airing since 2024. The first season premiered in the year of the film studio's 100th anniversary and tells the story of Mosfilm. Each episode (8 minutes long) is dedicated to a single topic: legendary directors, cinematographers, and actors; the history of beloved films; the studio's architecture, technical equipment, film genres; and the work of the studio's departments today. A total of 49 episodes have already aired! Filming of new programs is currently underway.

Watch the "Mosfilm. Golden Age" series weekly on Saturdays at 9:20 PM on the "Mosfilm. Golden Collection" channel. The program is hosted by People's Artist of the Russian Federation Dmitry Kharatyan.

On February 17, as part of the National Award in the field of multichannel digital television "Big Digit", an award ceremony will be held for the special project of the Mosfilm channel. Golden Collection – the program "Towards Victory" (2 episodes).

The program explores Mosfilm's war films shot in the Kaliningrad region, including "Meeting on the Elbe," "Spring on the Oder," "Liberation," "Shield and Sword," "The Fate of a Man," and others. Dmitry Kharatyan also hosts the project.

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.

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The "Into the Space of the Russian Soul" Festival at Mosfilm

The "Into the Space of the Russian Soul" Festival at Mosfilm

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The "Into the Space of the Russian Soul" Festival at Mosfilm

The "Into the Space of the Russian Soul" Festival at Mosfilm

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The "Into the Space of the Russian Soul" Festival at Mosfilm

The "Into the Space of the Russian Soul" Festival at Mosfilm

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The "Into the Space of the Russian Soul" Festival at Mosfilm

"Into the Space of the Russian Soul" Festival at Mosfilm

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The "Into the Space of the Russian Soul" Festival at Mosfilm

The "Into the Space of the Russian Soul" Festival at Mosfilm

February 13, 2026

News editorial office

22

Since December, the main exhibition "Into the Space of the Russian Soul" has been open at the National Museum of Art and Photography at Mosfilm. This is the first and, so far, only exhibition to travel aboard the International Space Station. Among the works on display are photographs taken from the ISS by cosmonaut and photographer Oleg Kononenko.

The exhibition "Into the Space of the Russian Soul" is a conversation not so much about physical space as about humanity. It's about the values we share, about love and faith—the faith of man and the faith in humanity—and about the memory preserved by the peoples of our country. And yet, the project also has a direct connection to the real world.

The gallery presents unique photographs from the historic exhibition on the ISS—the very same set of 12 photographs that was being prepared for space travel to unite art and space. The project was curated by Hero of Russia and cosmonaut commander Oleg Kononenko.

Exhibition "Into the Space of the Russian Soul" on the ISS

Within the museum's halls, the exhibition organizers unfolded an entire artistic galaxy before viewers. Stavropol artists Natalia Litosova ("Russian Space") and Oleg Kalaytanov ("High Pulse") engaged in a dialogue of forms and energies—from figurative cosmic utopias to condensations of pure pictorial force.

A special dimension to the exhibition is provided by the legacy collection of Saratov collector Igor Askasev, "Worlds of Saratov Artists" (or "Galaktikon"). Ten spherical planets from his legendary collection have become a visual embodiment of the idea of the comprehensiveness and diversity of Russian art. The exhibition is complemented by works from the museum's main collection—"Symphony of Light" by Samat and "Bulgakov Canvases" by Igor Bulgakov. The festival logo, "Into the Cosmos of the Russian Soul," was designed by Oleg Korytov, chief artist at the ProLab center.

The project's organizers emphasize that the exhibition "Into the Cosmos of the Russian Soul" is more than just a cultural initiative. It is a manifesto and research program, the goal of which is to use art, photography, and poetry to embark on the most captivating journey of all: into the infinite depths of the national spirit, where dreams of space and the shared future of humanity are born.

We invite you to the National Museum of Art and Photography at the Mosfilm Gallery to see authentic space photographs and more. Peer at the Earth from orbit, sense its fragility and grandeur, and experience the beauty of our world as part of an infinite universe. Space is closer than you think.

Moscow, Mosfilmovskaya St., 1s18 Every day except Monday 11:00–20:00

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.