Published on: 2026-10-21
Source: Moscow Government – Правительства Москвы –
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The capital knows how to surprise: familiar streets, VDNKh pavilions, and modern art spaces in the series “Noon” have been transformed into a futuristic Moscow — featuring the Institute of Extraterrestrial Cultures, the Memory Park, and the University of Progressors. The film crew did not build large-scale sets but reinterpreted existing urban spaces — Moscow became not just a background but a full-fledged architectural foundation of the world of the future.
The fantastic detective story “Noon” by Klim Kozinsky is based on the novel “The Scar” by the Strugatsky brothers. The story centers around an investigation led by Maxim Kammerer (Yuri Kolokolnikov) as he tries to unravel the fate of Lev Abalkin (Maxim Matveev). The series also stars Yulia Snigir, Leonid Yarmolnik, Sofya Sinitsyna, and Evgeny Sangadzhiev. The series premiered on October 1 in online cinemas and later on television.
The fate of the project turned out to be closely linked to the Moscow film cluster, subordinate to the Department of Culture of the city of Moscow — from working at the Moskino film factory and organizing shoots on the streets by the Moscow Film Commission to the premiere screening in the network of city cinemas. As part of the “‘Noon’ at Noon” event, the first two episodes were shown there for free exactly at 12:00.
Institute of Extraterrestrial Cultures: a mosaic of capital city venues
In the series, a single on-screen object was often assembled from several real locations — and the Institute of Extraterrestrial Cultures became a vivid example of this approach.
The creators seemed to have constructed a fictional institution from fragments of real Moscow. The interiors of the institute were born in the “Atom” pavilion at VDNKh. The “Winzavod” space became the site for scenes in the special extraterrestrial artifacts fund: it is here that one of the key episodes of the series takes place. And the pavilion “Kosmos” at VDNKh is responsible for the institute’s external appearance. Thus, one fictional object was formed from recognizable Moscow sights.
KOMKON Office, Memory Park, and city streets
Maxim Kammerer’s workspace — the KOMKON office — took shape in the Supermetall business center. Here, in the modern interiors, both the investigation and the characters’ personal storylines develop simultaneously. The architectural design of the site helped convey the sense of a technological yet vibrant environment.
An unusual object of the world of the future — the Memory Park — was created at VDNH, in the “Labyrinth.” Heroes come here to watch video recordings of departed loved ones: in the future, a person can book a special hall and relive moments preserved by their relatives. This is exactly where Lev Abalkin comes to see a recording of his parents, whom he never knew. The park’s administrative building was filmed in pavilion No. 516 “Books”: according to the storyline, this is the office of the director Ionafan Pereira, whom Lev contacts in an attempt to find out the truth about his origin.
The streets of Moscow of the future were filmed in the Muzeon Art Park and near the bridge by the GES-2 Cultural Center. These places are not disguised as specific objects, but themselves become the urban environment of the future — lively, recognizable, and at the same time futuristic. Familiar sights take on new meanings while remaining themselves.
University, school, and living spaces
The university of progressors depicted in the series is actually two places in reality, each representing its own layer of meaning. The main hall, where diplomas are awarded and “findlings” from all over the world gather, was filmed at the national center “Russia.” The scale and solemnity perfectly conveyed the atmosphere of a major event, where the destinies of different people intersect at one point. The university’s offices and corridors were found in the “Collection” museum: the intimacy and strict geometry of these spaces emphasized the everyday side of the characters’ work — the routine that also changes the world.
The school for progressors was filmed at SberUniversity. According to the plot, Lev Abalkin and Maya Glumova once studied here, and now Toivo Glumov is undergoing training. The building, combining modern architecture and functionality, created a convincing image of a future educational institution — a place where not only knowledge is given, but worldview is shaped.
Maya Glumova’s apartment is another composite example, a place where reality and fiction merge through editing. The interior was filmed in a house on Nashchokinsky Lane: the details of everyday life here are important as they reveal the character of the heroine. The exterior of the building was found on Chistyy Lane (house 10). It is right near this building that Maxim Kammerer first meets Toivo, which triggers a new chain of events.
Kammerer’s house was filmed in a suburban settlement: in the frame, it is a house with glass, light, and water against the backdrop of old Moscow buildings. The contrast between ultra-modern architecture and the historical surroundings highlights the hero’s internal conflict. He lives at the crossroads of eras, trying to maintain a balance between duty and personal happiness.
Planet Hope: a virtual future at the MosKino film factory
If Moscow buildings became the Land of the Future, then the planet Hope was created at the MosKino film studio using XOVP virtual production technology. Physical sets were combined with digital environments on LED screens: this is how a black desert, a garden of stone stalactites, an amber pyramid, and a citadel appeared in the pavilion. Real objects were built for the actors to interact with — for example, an amber pyramid about four meters high. It was not just a decoration for the shot: actors could touch it, lean on it, move around it — this gave the scene physical authenticity.
The moving XOVP platform allowed simulating movement within the scene: turns, tilts, and acceleration were synchronized with the changing background. It was used to film shots where characters are inside a moving object: the platform reproduced acceleration and braking, and LED screens instantly adjusted lighting, reflections, and perspective. This made it possible to achieve a fully immersive effect.
The geography of “Polden” consists of three layers: the real Moscow, reimagined as a city of the future; a pavilion world created through virtual production techniques; and suburban locations. The series shows how the modern capital can become the foundation for a fantastic universe—without losing recognizability and with respect for the urban environment. Moscow in “Polden” not only plays the role of a city of the future: it becomes a co-author, offering its spaces, rhythms, and silhouettes from which the creators assembled a new yet strikingly familiar world.
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