Palace Films


Set against the spectacular, otherworldly landscape of the windswept Arctic Circle, writer/director Alexei Popogrebsky's multi-award winning psychological drama HOW I ENDED THIS SUMMER is an immersive and compelling morality tale of isolation and survival against the elements.

Russian heartthrob Grigory Dobrygin stars as Pavel, a young graduate posted to a remote meteorological station over the summer months. His gruff, non-communicative co-worker Sergei (Sergei Puskepalis) takes pride in the repetitive work and is rattled by Pavel's youthful carelessness and complacency, but the two go about their shared day-to-day lives, albeit with a heavy dose of mutual distrust. But when Pavel receives a gravely urgent radio message that out of panic, fear and intimidation he fails to pass on, he inadvertently triggers a series of events that spin inexorably out of control…

Filmed entirely on location in the easternmost tip of Russia, this absorbing tale features exceptional performances and unforgettable cinematography; Popogrebsky skilfully exercises a slow-burning grip over the viewer, expansively capturing the majestic yet terrifying landscape to visceral effect.

One of the most distinctive and heralded films to emerge from Europe in recent years, HOW I ENDED THIS SUMMER was the winner of the 2010 Berlin International Film Festival's Silver Bear for Best Actor (shared by the two leads), plus the Silver Bear for Best Artistic Achievement. Amongst a slew of other awards, most recently it was named Best Film of the 2010 BFI London Film Festival.

A Palace Films release


"Absolutely magnificent. I've heard it described as Tarkovsky in the Arctic, which is quite a good description actually. I think it's wonderful."
David Stratton, ABC AT THE MOVIES

"It's stunning. How an environment can create craziness is conjured up so wonderfully. It's great."
Margaret Pomeranz, ABC AT THE MOVIES

"Extraordinary. Eerily beautiful. A metaphor for a nation in transition, this is among the best films of the year."

"Beautiful. Draws both on classical Russian traditions of slow building psychological explorations and a very modern approach to image and sound. This is outstanding cinema. A film to savour."

"Beautifully realised. One of the most exquisitely shot films you'll see this year. The performances are excellent, quiet and well observed. This is a slow-burning intelligent drama you could return to again and again."

"Haunting, mesmeric & emimently memorable. Very strongly recommended, especially to anyone seeking brain-nourishing relief from blockbuster fatigue."
Jim Schembri, THE AGE

"Every detail counts. A starkly potent ecological thriller."

"The extreme psychological tension builds and is likely to leave you bathed in a cold sweat. Spare and unsettling, this is no ordinary thriller."

"Majestic. A terrific exploration of human frailty."
Leslie Felperin, VARIETY

"Extraordinary. An epic of madness and the elements, rich in resonance."

"Steeped in atmosphere, tense & gripping... Austerely beautiful"
Stephen Holden, NEW YORK TIMES


Berlin International Film Festival 2010
Sydney Film Festival 2010
Karlovy Vary International Film Festival 2010
Sarajevo Film Festival 2010
Chicago Film Festival 2010
Toronto International Film Festival 2010
San Francisco International Film Festival 2010
Vancouver International Film Festival 2010
St. Louis International Film Festival 2010
New Directors/New Films 2010
Russian Resurrection 2010
Leeds International Film Festival 2010
Canberra Film Festival 2010
Dublin International Film Festival 2011
Perth International Arts Festival 2011


New Zealand premiere season






Grigory Dobrygin as Pavel Danilov
Grigory Dobrygin was born in 1986 in Petropavlovsk-on-Kamchatka (Russia's Far East) into a family of a ballerina and a submarine officer. When he was 10, the family moved to Moscow and he enrolled with the Choreography Academy of the Bolshoi Theater. Since 2006 he has studied at Russian Theater Academy (GITIS). The part in How I Ended This Summer was his debut in film. Grigory later starred in 'Black Lightning', a super-hero action blockbuster produced by Timur Bekmambetov.

Sergei Puskepalis as Sergei Gulybin
Sergei Puskepalis was born in 1966 in Kursk, Russia. Between 1970 and 1979 he lived in Chukotka, where his parent worked at Bilibino Nuclear Plant. After graduating from Saratov Theater Institute he performed in Saratov Youth Theatre. Leaning more and more toward directing, Sergei enrolled with Pyotr Fomenko, the great Russian mentor. Since 2001 Sergei has staged numerous productions all across Russia. From 2003 till 2007 Sergei helmed Magnitogorsk Drama Theater, and in 2009 was appointed the Artistic Director of Yaroslavl Drama Theater, Russia's oldest professional stage company. Sergei met Alexei Popogrebsky on the set of Koktebel (2003), which starred his son Gleb Puskapalis. Alexei's next film, Simple Things (2007), became Sergei's debut in film. The lead part of underpaid anesthetist Maslov won him numerous accolades, including Best Actor at Sochi and Karlovy Vary.

Director: Alexei Popogrebsky
Alexei Popogrebsky was born on August 7, 1972 in Moscow into a family of the screenwriter, Pyotr Popogrebsky. Alexei graduated from Moscow State University with a degree in psychology. In 1994 Alexei teamed up with his friend, Boris Khlebnikov, a film theory student at VGIK. After a few short films, they finalized their debut feature, Koktebel (2003), produced by Roman Borisevich. The film screened at many festivals, including Berlinale Forum, and received a number of awards. Alexei and Boris then went on to work independently, collaborating with producer Roman Borisevich under the Koktebel Film Company marquee.

Direction & Screenplay – Alexei Popogrebsky
Producer – Alexandr Kushaev
Director of Photography – Pavel Kostomarov
Editor – Ivan Lebedev
Music – Dmitriy Kathanov
Production Designer – Gennady Popov
Costume Designer – Svetlana Mikhailova
Sound/Sound Designer – Vladimir Golovnitski


I think I was 14, a city kid, by chance reading diaries of Pinegin, a companion to Sedov's 1912 tragic effort to reach North Pole. That was a hastily-planned expedition, and when their vessel got ice-bound some thousand miles both from the goal and the nearest dwelling, the leader calmly stated: 'So we will spend the winter here'. (In fact it became two winters for the crew, and eternity for Sedov. This was before radio, emergency air lifts or GPS became consumer goods). At that time 'a winter' felt like half of my life. It still often does.

Ever since I was fascinated with this ability to come to terms with notions of time and space drastically different from our common scale of hours and minutes or blocks and metro stops. This film, essentially, is a story of two personal (and incompatible) time-and-space scales. All of us being city dwellers, we tell the story from the point of view of the younger character whose life experience is much closer to ours. However, in making this film our effort was to become subjects to the nature of extreme North, to let go of rigid pre-planned concepts and be open and attentive to what it could offer us. And it had a lot to offer. I still can't believe how it felt at times.

Alexei Popogrebsky


(ACTION! Magazine Berlinale Special Edition. Interview by Maria Gavrilova)
'That place is for real and polar bears are a fact of life there'

The director Alexei Popogrebskiy spent three months in Chukotka, which is almost at the end of the world, and $ 2.5 million shooting 'How I Ended This Summer'. His previous movie 'Simple Things' (Prostye veshi, 2007) was awarded a handful of prizes at Kinotavr Film Festival in Sochi and at Karlovy Vary IFF, while his debut movie Roads to 'Koktebel' (Koktebel, 2003), which he co-directed with Boris Khlebnikov won a Silver St. George in Moscow, a Philip Morris Award at Karlovy Vary and was also named FIPRESCI Discovery of the Year at Cannes Critics' Week in 2004.

Why did you choose Chukotka as the setting for your new movie? Did you consider this polar station as a specific place on the map of the world or as just a conventional space within which your story could develop?

Ever since I was a kid I have been fascinated by the diaries of polar explorers. Their ability to come to terms with the monstrous vastness of time and space still amazes me. I guess this story of two men living and working in complete isolation slowly developed inside me over the years. Having made two features, I felt I was ready for this challenge. It was clear that for this type of movie we had to merge completely with the actual, real setting. We did some research and found the Valkarkai polar station on the northernmost tip of Chukotka. If you look at the map, it is literally the end of the world. We went there for location scouting in 2007 and fell in love with the place. Back home, a big surprise was waiting for me. I was proudly showing this place on the map to Sergey Puskepalis, who starred in my previous movie, Simple Things, and for whom I wrote one of the two parts in the new script. He looked at it and then stated matter-of-factly: 'I lived near there for nine years'. This is true; when he was a child, his parents worked at a nuclear plant in Chukotka. Thanks to that, Sergey, who plays the seasoned polar meteorologist, fitted in completely with the local workers from the very start. Our plan was for the actors to wear their protagonists' clothes, live their life and follow their routine a hundred percent of the time, which helped a lot.

Did you shoot at a real polar station or did you have to build any sets?

The place where we filmed and lived for three months is still a working weather station. To get there from the nearest town, you need to ride for about five hours on a caterpillar transporter across the tundra; there is no road. It has existed since 1932, and there are five people living there now, although once there were twelve, plus the crew of a military radar station nearby [you see glimpses of it in the movie]. There is another mysterious location in the movie, the Fog Station, which has been abandoned since 1981. It is so remote, and so hard to reach, that we were pretty much the only people to visit in the last thirty years. This meant that we had to travel ten miles on an inflatable boat across the Arctic Ocean, and then haul all our equipment up steep rocks. The location and the natural surroundings had a lot to offer; we simply had to be very attentive and have everything blend in with the surroundings. We made sure that whatever sets we built or modified did not stand out from this unspoiled natural and very unique setting. Some of the things we needed simply had to be built. For example, there were four RITEG isotope generators [the radioactive device that appears in the movie] at that location for a few decades, but, naturally, we had to make a replica for safety reasons.

How many people were there in the crew? Were there any rules you followed while shooting the movie in such a harsh environment?

The core of the crew was the people with whom I have worked on previous movies. In putting together the rest of the team, we followed two additional principles. The unit had to be self-contained and as mobile as possible, so each crew member had to have multiple skills in film and some extra ones like welding, driving a boat or hunting. We succeeded in this, and at the end of the day, if I had to conquer the North Pole or something similar, I would put together the same bunch of people.

That place is for real and polar bears are a fact of life there. From the very start we made it a rule that no one should venture beyond the station limits alone. During the first two months there were no bear sightings, so somehow this rule became rather relaxed. In September, polar bears became an almost daily occurrence, and I, for instance, had a one-to-one encounter with a bear that I fondly remember as the most terrifying experience of my life. Luckily, there were no accidents, although it's not so much the bears as the elements that are the real threat in the Arctic.

Why did you choose Sergey Puskepalis and Grigory Dobrygin for the leading roles?

As I have already mentioned, this is the second time that we are working with Sergey Puskepalis. I met him through his son, who played the lead part in Koktebel. Sergey is a theater director and currently the artistic head of Russia's oldest theater in Yaroslavl. Simple Things was his debut as a movie actor, and he received many awards for his portrayal of an underpaid anaesthetist from St. Petersburg. Sergey has the very special gift of projecting an intense authenticity that is taken to the next level in the new movie. I'd searched for the second actor (and remember, there are only two of them in the whole movie) for quite a while, and casting was finished only one month prior to our departure for Chukotka. I saw Grigory Dobrygin, who was a sophomore student at GITIS, the prime Russian theater school, in a video of a student play. He had no experience in movies, and I can't say everything went without a hitch at the casting. However, I sensed his eagerness, his inner strength and a special connection with his protagonist. The fact that he was born in Kamchatka, which is even farther East than our location, was an unexpected surprise. No matter how tough it was, Grigory worked valiantly, sometimes doing up to twenty-five takes or surviving a twenty-three hour shooting day. Everything you see him doing in the movie he did for real, including plunging into the Arctic Ocean or climbing cliffs. Grigory has a lot of potential, and I am glad that his career has continued to develop. By the way, I was not jealous when he later became a blockbuster action-hero [Grigory Dobrygin stars in Black Lightning – a super-hero blockbuster produced by Timur Bekmambetov – Ed.]. His range is diverse enough to prevent him from becoming pigeonholed in any one single category.

Pavel Kostomarov, your DOP, is well-known for his documentaries. What elements of documentary cinema did you use while shooting the movie?

Besides being an excellent cinematographer, Pavel is an accomplished documentary director. When filming Simple Things we used a handheld camera and did a lot of shooting on the street or in a real hospital. That was not a stylization, but an organic element of the storytelling. The new story dictated a completely different approach, with a lot of wide and vista shots to convey the relationship of man to a vast natural space. A valuable aspect of Pavel's background in documentary cinema, as well as that of Vladimir Golovnitsky, my sound recordist / editor, is their very acute sense of authenticity.

Is this story connected somehow with modern times and the present day? Or is it outside time as far as you are concerned?

I write my own scripts, which for me is the most painful part of the whole process. It literally takes years for me to develop a story. In the process, the protagonists become part of me. Or, rather, parts of me take shape and develop into protagonists, who then take on a life of their own as particular human beings. I would never intentionally put elements of parable into my story. However, when the movie meets the audience, if the story grows beyond the concrete time and place in which it is set, and if it strikes some universal or personal chord in a viewer, for me this means that my mission has been accomplished.