Like the world, heroes also change.
In early May, on the set of a new installment from Bubble Studios and Studio Plus, visitors found a windy, chilly scene near St. Petersburg in Sestroretsk. Despite the brisk weather and bright sun, the mood among the cast never cooled. The film promises big surprises for audiences at its premiere, and right now the focus is on the actors navigating a challenging shoot.
Screen partners Tikhon Zhiznevsky and Alexander Seteykin speak with enthusiasm about the scale of production. They note that the locations, action sequences, and the collaboration across departments exceed their expectations.
Seteykin remarks that the on-location views surpassed the script’s imagined horizons. When the pages suggested something extraordinary, the actual site delivered something even more impressive.
The actor relates his performance to the arc of his in-film counterpart, intern Dima Dubin, who often sits in the shadows of Grom. In the new episode, Dubin undergoes noticeable growth, maturing while keeping his early respect for the craft intact.
Reflecting on Dubin’s trajectory, Seteykin hints that the character might shift from ally to rival in future installments, a development reminiscent of classic superhero dynamics. He adds that playing a villain would be a thrilling challenge, though the established arc of Dubin makes a villain’s turn unlikely for now. The audience will witness Grom evolving in a new light as well, with the hero’s inner transformation providing depth to the sequel. The narrative unfolds a year after Grom defeats the Plague Doctor and rises to local fame. The modest major must now prove himself in victory he did not seek or anticipate.
Zhiznevsky explains that his character grows with the story, moving from a simple, almost functional role to something more expansive and human, rich with new shades. As the plot progresses, Grom remains largely conservative and reactive, underscoring the tension between modern progress and long-standing tradition in the game’s world.
Franchise producer and screenwriter Artem Gabrelyanov notes that the evolution of Thunder mirrors the journey of the series itself. Early on, there was no expectation of an ideal superhero; the character’s development is a process that unfolds across shoots and scenes. Music remains a central element, shaping the atmosphere with a mix of familiar and fresh tracks. The approach mirrors past entries where Choi and Alla Pugacheva appeared in prior episodes, and this time new musical choices are promised to surprise readers and viewers alike. [Cited from production team]
New heroes and villains
The upcoming episode introduces a refreshed slate of heroes and antagonists. Olga Sutulova appears as Police Lieutenant General Maria Arkhipova, adopting a striking blonde look that differs from her previous roles.
When asked about music that could reveal Arkhipova’s inner world, Sutulova names Rammstein, signaling a look that aligns with the comic book universe’s deliberate exaggeration. She explains that the frame invites heightened performance while balancing authenticity within the stylized world of the series.
The clash between progress and tradition is also evident in Grom’s encounter with August van der Holt, a gunsmith and tech genius portrayed by Matvey Lykov. Lykov, noted as a former top model, brings a distinctive presence to the role, while Andrey Trushin plays Holt’s mysterious bodyguard. The character’s introduction brings advanced robotics to St. Petersburg as the police face new technological challenges. Thunder remains wary of rapid progress and bureaucratic enthusiasm, resisting a full embrace of the new era while confronting Holt and his machines.
Zhiznevsky also hints that Ivan Yankovsky could join the Thunder universe, potentially reshaping future plotlines. He admires Yankovsky as a versatile talent capable of portraying a range of heroes, with a preference for a bright, positive superhuman role if the right opportunity arises.
Unique action
The action sequences are crafted by an international team featuring stunt director Robert Kuhn, known for his work with Kun-do, and Russian stuntman Maxim Yakovlev. Yakovlev emphasizes that the stunts are performed by skilled professionals without heavy reliance on CGI, with every motion reflecting a distinct character and fighting style.
One standout sequence shot in St. Petersburg is titled The Crosses, featuring a major ensemble of stunt performers and extras. Yakovlev describes meticulous planning and rehearsal, noting that the set required precise timing and choreography to preserve authenticity. He adds that the production showcases techniques not previously used in domestic cinema, underscoring the film’s bold visual ambitions.