Published on: 2026-11-05
Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.
The script was written by Alexander Terekhov, inspired by the biography and prose of Viktor Astafyev. The action takes place in 1942: a ship carrying wounded soldiers sinks in the White Sea after a German air raid, leaving two people in the icy wilderness — a blinded soldier and a nurse. The lead roles are played by Lev Zulkarnayev and Marina Vasilyeva. Production is by the Rock film studio with the support of the Cinema Fund, and the premiere is scheduled for 2027.
The filming took place in winter on the Gulf of Finland, and according to Pavel Doreuli, the live sound on set was so high-quality that almost no dubbing was needed—the studio only added some sound texture. The main task for the sound engineers was to convey… the frost! The usual technique—the crunch of starch—was considered an outdated cliché by the sound engineer, so the snow in the film is “played” by marble chips and other materials that sound similar to icy crust. These noises are mixed with natural recordings: cracking ice from the Big Almaty Lake and Baikal, as well as Yakut snow recorded at minus forty degrees. This was shared by colleague Innokentiy Sivtsev.
“The cold is composed from an entire palette: the crunch of frozen clothes, footsteps, intermittent breathing in the icy air, the tonal, howling blizzard wind, the tingling sounds of snowflakes, and the faint cannonade of a distant front,” Pavel Doreuli told Mosfilm.ru.
According to him, silence in the painting is created not by turning off the sound, but by contrast: between night and day, blizzard and lull, it is not the volume that changes, but the nature of the sound textures.
A separate topic is aviation. The German dive bomber Ju 87 is known for its howl — a mixture of a siren and a struggling engine. Not a single flying machine of this type has survived to this day, and modern sports planes sound completely different.
“We don’t make documentaries, but we start from key things. If the tank is diesel, not gasoline — that’s its character. Authentic equipment today sounds different than back then: it’s old, worn out, and no one would risk pushing it to the limit. And the howl of the bomber is something we all know from war newsreels — that’s exactly what is important to recreate,” says the sound engineer.
He had already solved a similar task in “Burnt by the Sun 2” — back then, trench sirens were recorded from a moving car with the engine off, simulating a flyby. Now, physical modeling has been added to the live recordings: Pavel Doreuli’s colleague created a plugin using a neural network that generates engine sound considering speed, the Doppler effect, and siren activation. However, the sound engineer himself is convinced that the model will not replace live sound — it is always unpredictable but interesting. With machine guns, it’s simpler: at the training ground, the team managed to record an original MG 34 with original ammunition from several microphone positions simultaneously.
The film is mixed in an immersive format using the Dolby Atmos acoustic setup in the 7th dubbing studio of Mosfilm. This is especially important for “Saved”: the airplanes use the upper row of speakers, and every point of their flight path can be precisely placed in the hall.
“Sound quality accumulates at every stage—there is no magic studio or plugin that will fix everything. That’s why a unified technological chain is important, where dubbing and sound effects studios are compatible with each other, and at every step you hear what you should hear. ‘Mosfilm’ provides such an opportunity,” explains Pavel Doreuli about the choice of the venue.
The sound post-production of the film “The Rescued” will continue until the end of the year, with a team from the “Atmosphere” studio working on it.
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