Published on: 2026-11-09
Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.
According to the plot, the Snegiryovs family is gathering together one last time to celebrate the New Year, after which the parents intend to tell their son Roma about the divorce. On the way, their car falls into a parallel world, where the characters accidentally release the evil wizard Kolotun from captivity, and the boy gains the power of a magical artifact — the Chronotron. To save their son and both worlds, the Snegiryovs will have to become a real family once again.
The leading roles were played by Ivan Kolesnikov, Agata Dranga, Dima Kalikhov, as well as Pavel Derevyanko, Alexander Gorbatov, Roman Madyanov, Lukerya Ilyashenko, Artur Vakha, and Aleksandra Babaskina. The main villain is played by Alexander Gorbatov. The script was written by Oleg Gusev together with Dmitry Yakovenko, Roman Polyakov, and Marina Smyslova, and the film’s producer is Yulia Sobolevskaya.
“Children are used to a joyful New Year’s theme. Here it’s a bit of a different aesthetic — orchestral, mysterious, mystical music. Kolotun is basically like Santa Claus, only he is an enchanted evil spirit who is supposed to be kind,” Artyom Vasilyev told Mosfilm.ru.
The composer worked on the music for almost two years: the film is filled with graphics, fairy-tale landscapes, battles in the sky, on the ground, and underwater, so the production took a lot of time. The director himself also created a special responsibility. Oleg Gusev is the founder of the group “August,” a composer, arranger, clipmaker, and the author of the project “Old Songs About the Main Thing,” and he pays primary attention to music in his films. During the editing stage, the director created a rough reference soundtrack, which became the starting point for the composer.
“The fairy tale genre requires very precise synchronization of musical accents with the visuals. You need to create your own music, but aligned with the semantic and tempo-rhythmic accents set by the reference soundtrack. Combining your own imagination with the technical demands of the genre — that was the main difficulty,” admits the composer.
The villain received his own musical motif: according to Vasilyev, it is less a melody and more a timbral combination — low strings and brass that accompany every appearance of Kolotun in a heavy dotted march rhythm.
The score, like most modern film works, is a hybrid. In addition to the orchestra, there are up to seventy additional tracks — synthesizers, musical sound design, ethnic percussion. Artem Vasilyev worked on the sci-fi blockbuster “Kraken” by Nikolai Lebedev using the same scheme. During the recording, musicians play to a click, and the electronic layers are combined with the orchestral ones during mixing. The recording sound engineer is Gennady Papin. Nearly two hours of music were composed for the film, with eight recording shifts allotted for its recording.
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