Отборочный этап Ломоносов по Английскому языку 11 класс задания и ответы 13-20.11.2026

Олимпиада отборочного этапа Ломоносов по Английскому языку 11 класса задания и ответы: 13 по 20 ноября 2026. Полный доступ к ответам и разбору всероссийской олимпиады, проходящей на площадке olymp.msu.ru

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Олимпиада Ломоносов по Английскому языку 11 класс

Задание 1. Listening Comprehension
You will hear an extract from an interview.
Listen to the the extract of an interview and complete the tasks.
1. The director credits a screenwriter by name when he introduces the idea of the “painful truth.” What does the way he introduces it suggest about the idea he mentioned just before?
A. It was a rule he later abandoned.
B. It came from the same screenwriter.
C. It came from the head of story at Pixar.
D. It was his own discovery, in contrast to the screenwriter’s.
2. How does the director present the link between his first films and his experience as a parent?
A. As the main reason he became a director.
B. As a critics’ interpretation that he disagrees with.
C. As a theme he planned deliberately from the first script.
D. As something he noticed in retrospect and states tentatively.
3. At which levels does the director say he asks what painful truth is being dealt with? (Answer YES or NO for each pair.).
1. each line of dialogue and each piece of music YES / NO
2. each series of events involving a character and each film YES / NO
4. Put the stages of brainstorming in the chronologically accurate order, EARLIEST first.
Insert CAPITAL letters in the gap in the appropriate order without punctuation or spaces.
For example: [FGE]
A. deciding on the tone.
B. choosing which theme comes to the surface.
C. recognising that a film can have many possible themes.
Answer: ____ .
5. When describing the work on Song of the Sea, the director repeats one word several times in a row. What is the function of this repetition?
A. He is disagreeing with the interviewer’s question.
B. He is showing that he no longer likes the film’s tone.
C. He is acting out the team’s reaction whenever the plot drifted in the wrong direction.
D. He is correcting a factual mistake he has just made when describing the brainstorming process.
6. Which film does each statement apply to?
S = Song of the Sea W = Wolfwalkers B = both N = neither
1. The film was made using stop-motion. S / W / B / N
2. The aim was mystery, magic and intrigue. S / W / B / N
3. A conceptual trailer existed before the story. S / W / B / N
4. A film by another director was studied as a model for tone. S / W / B / N
5. The director names a co-director who shared the tonal goal. S / W / B / N
6. The intended tone served as a reference point for decisions. S / W / B / N
7. The director describes how he finally made progress on his current film. Which statement keeps both the meaning of his metaphors and the facts he gives?
A. He solved the film’s budget problem once he found the right producer.
B. He finished the script once he found the opening scene, in which a teenager leaves home.
C. He solved the film’s central problem once he found a character based on his younger sister.
D. He solved the film’s central problem once he found a personal emotional entry point: being a teenager with too much responsibility.
8. Write the ONE word the director uses for the small but valuable piece of personal experience that let him into the teenage character.
Answer: ____ .
9. Which headline would the director be most likely to reject as a summary of his approach?
A. “Feel First, Plot Later”
B. “Find the Formula, Then Fill In the Feeling”
C. “Borrow from the People You Love”
D. “Truth That Hurts, Tone That Guides”
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Задание 2. Reading Comprehension
You are going to read a review of animation films. Complete the tasks that follow the text.
At the end of Hayao Miyazaki’s visually stunning “Howl’s Moving Castle,” the titular Howl bemoans a sudden ache in his chest. The protagonist, Sophie, succinct yet joyful, replies, “A heart’s a heavy burden.”
The poignancy of the line demonstrates Miyazaki’s ability to enchant viewers with staggering artistry and spellbinding narratives that both whisk us away to other worlds while grounding them in genuine human emotions. These characters experience all things extraordinary. They encounter selfish witchcraft and consume falling stars; they witness the transformation of a cursed prince back into a human through the power of love. “Howl,” like much of Miyazaki’s filmography, is grounded in the human element of caring for others. It is crucial to the film’s messaging and relates to Miyazaki’s tireless work. This is especially true of his late career, where visions of art, beauty, and death meld together in a cacophony of memories, visions, and dreams. “The Wind Rises,” “The Boy and the Heron,” and the latest documentary “Hayao Miyazaki and the Heron” suggest a director whose priorities have shifted. Yet between the old and the new, that line from Sophie rings true. The heart is a heavy burden, and Miyazaki seems intent on visualizing its, at times, exhaustive weight.
The value of artistry and legacy permeates throughout Miyazaki’s most recent works. “The Wind Rises,’ “The Boy and the Heron,” and the documentary all demonstrate a crucial shift in the tonality of the director’s oeuvre. His early films felt the weight of humanity, acting as cautionary tales of what could happen if protagonists could not get to the core of the rot of the world. His latest works, in comparison, offer reflection and melancholy. No longer do they possess that youthful idealism evident in his earlier films. His latest contains the knowledge that hope for the future lay in the hands of others — in younger hands whose idealism may rectify past generational trauma. It’s burdensome to care, but it’s our obligation to do so.
It’s not just that Howl is awakening to the idea that he must now feel the repercussions of his actions, but the consequences of his care. His care for Sophie and the found family surrounding him. Love is just as tremendous a weight to carry as pain or guilt. More than anything, it’s that which speaks to what becomes crucial elements in Miyazaki’s work. We witness the tolls of artistry and how our love and emotional tethers influence who we become and what we create in light of it.
In many ways, “Howl’s Moving Castle”—celebrating its 20th anniversary—feels like the perfect intersection of his old and new work. Sophie, cursed by the Witch of the Waste into a 90-year-old woman, offers the duality of being both young and old and experiences a certain enlightenment with age that empowers her. This contrasts with “The Boy and the Heron,” where the wisdom of age comes packaged with fear for the future. Sophie revels in the lack of expectations from being a young woman in a 90-year-old’s body. Meanwhile, the Granduncle, a key figure in “Heron,” experiences a great, seismic trepidation regarding the future due to all the days he’s lived.
Howl loses his tethers to humanity when transforming into a bird-like creature to interfere with both sides of the war taking place in “Howl.” This contrasts with Jiro in “The Wind Rises,” who regrets that his dream aircraft was used for war. The film itself is stunning, a visual spectacle that perfectly blend all things Miyazaki that aids in transitioning the filmmaker into his more recent outputs.
Thematic core beliefs and stylistic choices link all of his work—from environmentalism to the inevitable persistence of time, the hope found in companionship, and his interest in aviation—but his recent films act as a coda to his long career.
“The Wind Rises” and “The Boy and the Heron” are two sides of the same coin. Cynical vs esoteric. Intellectual vs emotional. Two very different films trying to grapple with similar ideologies about what we leave behind. Both represent the culmination of career highs and lows, belief systems, and artistry. “The Wind Rises” deals with what our passions drive us towards and, ultimately, what our creations leave behind. It’s a rumination on how a person’s dreams can pave a path of wreckage or salvation.
“The Boy and the Heron,” arguably his most personal, acts as an ode to his current regrets and meditation on life, culminating in astonishing catharsis. Grief seeps into every crevice of “The Boy and the Heron” without being particularly mournful. His heart, here, is in unmistakable loss. Loss of time, of a loved one, and the potential loss of innocence through corruption. From the moment Mahito loses his mother, running through a town terrorized by panicked cries, he’s lost part of his innocence. His heart is heavier now as he traverses an ever-changing world.
Perhaps the best encapsulation of his current state of mind is through lifting the veil in “Hayao Miyazaki and the Heron,” which details his long and tumultuous experience in bringing the 2023 film to life. It’s here, too, where we understand the aches that announce themselves, present and wounded, in the film. In “Heron,” Mahito mourns his mother. Through the film, Miyazaki mourns friends and rivals, those who continue to disappear from his life, leaving him behind.
His reminiscing is largely spent talking about fellow filmmaker Isao Takahata (“Grave of Fireflies,” “The Tale of the Princess Kaguya”) and Studio Ghibli key animator and color designer Michiyo Yasuda — the latter of whom pushed him to direct “Heron.”
He grapples with grief while contending with his age; his daily walks intersect with footage of a nearby daycare where kids run and play. The messaging is clear, made more so by his longtime producer, who asks, “How can he be happy with the years he has left.”
Through creation, it would seem. In this case, grief propels art. “If we don’t create, there’s nothing,” Miyazaki says. And this keen desire to never rest makes the love and loss he carries so evident in his work. It’s yet another instance of the cumbersome nature of matters of the heart. We carry it, and it only grows heavier as we age. We persevere, unable to do anything but.
Perhaps that’s why “Look Back,” the recently released animated film directed by Kiyotaka Oshiyama and based on the manga from Tatsuki Fujimoto, hits such a chord when thinking about Miyazaki and legacy. “Look Back” also deals with the world of artists and the forged path ahead of them as two young girls face the endless hurdles of being creative in an ever-changing field. As we watch the protagonist, Fujino, hover over her desk day after day as she strives for perfection, it cuts a strikingly similar image to “Heron.” In the latter, we see Mahito sit over his desk as composer Joe Hisaishi’s expressive “Ask Me Why” plays for a second time, as he finds a book left by his late mother for an older Mahito titled “How do you live?”
How do you live? Hunched over a desk. How do you live? Through our connections, our peers, and loved ones who champion and challenge us. How do you live? We live through the infinite vitality of art. So much of Miyazaki’s latter work deals with how we ruminate over life’s hurdles and the passage of time, most notably what binds us to the past and helps us grow toward the future. Miyazaki’s films process how we are responsible for creating the universe we wish to live in and seeking a life without malice or greed. And yet the tone of “Princess Mononoke” and “Nausicaä of the Valley of the Wind” is stark in contrast with “The Wind Rises” and “The Boy and the Heron.” Perhaps because the latter two are twinged with the heaviness of loss.
In many ways, “Howl’s Moving Castle” is Miyazaki at his most mainstream. And yet, 20 years later, it’s easy to see how this was a turning point for him in his career. While he’s focused on older protagonists in the past — most notably, “Porco Rosso,” “Howl,” in turn, feels like a strong pivot of what stories he’s trying to tell with a distinctive perspective shift. Possessing such boundless limitations, “Howl” imbues such spark and light in a war-torn world. But it’s that line that ties the film and Miyazaki’s filmography all together.
Of course, many lines from his films speak to similar themes. But this sense of urgency lodged in your chest, the necessity of the heart and how we wield it — for good, for others who cannot, in the pursuit of creativity — is the throughline of his most recent works, and they’re all the more potent because of it.
Between the kingdoms of dreams in “The Wind Rises” and the bridge of life, death, and madness in “The Boy and the Heron,” Miyazaki exposes his beating and exhausted heart. The sheer grandiosity of his animation belies a simple truth — if we’re lucky, we all become stories for someone else to share, to mourn. What carries us through is the art born from the heaviness we bear.
Choose ONE answer (A, B, C or D) for each question.
1. How does Sophie’s line “A heart’s a heavy burden” frame the reviewer’s view of the late films?
A. Affection brings duties whose effects exceed one’s intentions.
B. Love comes to carry loss with it, and art grows out of that weight.
C. Caring exposes us to pain yet grounds resistance to destruction.
D. Age turns youthful idealism into a sober sense of love’s limits.
2. How has Miyazaki’s outlook changed, according to the reviewer?
A. Ethical concern remains, but the focus shifts to what ageing creators pass on.
B. Social responsibility becomes a matter of private memory, not collective action.
C. Hope once lay in individual action; now such action seems futile.
D. Imaginative solutions give way to historical accuracy as a check on idealism.
3. How does Sophie’s old age differ from the Granduncle’s?
A. She treats age as a disguise; he treats it as authority over others.
B. Age frees her from needing love; he fears love endangers his legacy.
C. She reads age through past losses; he reads it through future chances.
D. She finds fewer expectations liberating; his long life breeds dread of the future.
4. Why can Howl’s Moving Castle be called a transitional work?
A. It swaps collective conflict for an almost purely domestic story.
B. It joins early vitality with a growing sense of the cost of love, war and duty.
C. It introduces ageing, a theme Miyazaki had previously avoided.
D. It turns moral confidence into a denial that people can change.
5. Why compare Howl and Jiro despite their different roles in war?
A. Both show that avoiding political responsibility becomes destructive participation.
B. Both show that protecting others makes each abandon the work that defines him.
C. War threatens Howl’s humanity and reveals the destructive consequences of Jiro’s creations.
D. Loyalty to one person proves ethically superior to loyalty to a community.
6. The reviewer calls The Wind Rises and The Boy and the Heron “two sides of the same coin.” Which reading keeps both likeness and difference?
A. Both ask what outlasts us: one through the consequences of creation, the other through loss and regret.
B. Both justify suffering as the price of art: one through history, the other through confession.
C. Both reject creation as a response to loss: one condemns it outright, the other quietly mourns it.
D. Both treat inherited duty: one locates it in the artist’s work, the other solely in the audience.
7. How does the idea of legacy develop across the review?
A. From artistic worth to whether later generations read it accurately.
B. From professional standing to whether young artists should copy him.
C. From harmful uses of inventions to memories of dead colleagues alone.
D. It spans both what we make and what our bonds and losses leave in others.
8. What is the documentary’s main role in the reading of The Boy and the Heron?
A. It shows that the film’s events encode specific episodes of Miyazaki’s own life.
B. It sets the film’s grief beside Miyazaki’s own losses as a parallel, not a record.
C. It resolves the film’s ambiguity by stating Miyazaki’s intended message outright.
D. It traces the film’s concern with death to Miyazaki’s worries about Ghibli’s future.
9. What is the effect of setting his daily walks beside the daycare footage?
A. It contrasts an artist’s routine with the play that once inspired him.
B. It implies his late productivity depends on contact with children.
C. It sets his dwindling time beside life that will continue without him.
D. It casts his attachment to the past as blindness to youth’s independence.
10. Which inference best captures the link between grief and art in the review?
A. Loss can drive creation even as it continues to weigh on the artist.
B. Grief yields true art once private memories become universal images.
C. Grief gives art its deepest meaning by displacing social concerns.
D. Grief makes creation necessary chiefly for the sake of future audiences.
11. Why does the reviewer introduce Look Back near the end of the review?
A. To contrast a young artist’s confidence with the doubts of an ageing master.
B. To suggest that younger filmmakers have found a more direct way to portray grief.
C. To establish that Miyazaki’s films directly influenced Look Back’s treatment of creativity.
D. To show that the link between creative struggle and human connection reaches beyond Miyazaki.
12. What does the repeated question “How do you live?” achieve?
A. It turns a character’s question into a case for discipline as life’s surest path.
B. It moves from the image of the desk to a life shaped by art, bonds and ethics.
C. It ranks the artist’s habits above his stories as a guide to his values.
D. It hands the meaning of art to those who later remember it.
13. What is the most defensible reading of the claim that the late films are “twinged with the heaviness of loss”?
A. Loss replaces the environmental and ethical concerns of earlier films.
B. Loss explains his lasting interest in fantasy and transformation.
C. Loss recolours recurring concerns without severing ties to earlier work.
D. Loss makes the late films truer by freeing them from idealism.
14. Which comparison best shows a shift across Miyazaki’s career rather than merely a difference between individual films?
A. The imaginative freedom of his earlier fantasies contrasts with the historical setting of The Wind Rises.
B. Howl’s transformation in war contrasts with Jiro’s regret over what became of his aircraft.
C. The destructive consequences of Jiro’s inventions contrast with Mahito’s attempt to come to terms with grief.
D. The warnings of his earlier epics contrast with the late films’ concern with loss, mortality and legacy.
15. How does the review reconcile the growing weight of emotion with the claim that art carries us through it?
A. Art is born of the weight we carry and helps us carry it.
B. Art frees us from loss by turning grief into a story for others.
C. Art’s lasting value outweighs the personal cost of producing it.
D. Art preserves feelings while letting later generations reinterpret them.
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Задание 3. Grammar and Vocabulary
For questions 1-15, read the extract from an article and complete the tasks.
Part A
Use these verbs in their new forms – finite (tense, mood, number, person, voice) and non-finite (infinitive, gerund, participle) – and complete the gaps.
arm · compel · condemn · draw · elapse · lace · lie · lure · lull · suffice
Part B
Use these LATIN stems in new ENGLISH lexemes – with the help of prefixes, suffixes, compounding, conversion – and complete the gaps.
Latin INDĪCERE (through Fr enditer) to declare
Latin INTENTUS stretched, eager, closely attentive
Latin DISCERNERE to separate, distinguish
Latin OBLĪVIŌSUS forgetful
Latin RĪTUS religious ceremony
OF SWINE AND SPIRITS
Part A Verb forms
Few episodes of the Odyssey have proved as enduring as Ulysses’ sojourn on Circe’s island. 1. __ lots, half his crew venture inland under Eurylochus, only 2. __ by the sorceress into a hall where, 3. __ by song and wine, they partake of a potion 4. __ with enchanted herbs. A touch of her wand 5. __ : their bodies coarsen into those of swine, while, and herein 6. __ the cruelty of the spell, their minds remain unmistakably human, 7. __ to witness their own degradation. Eurylochus alone, suspicious from the outset, escapes. 8. __ by Hermes with moly, a herb as unassuming in appearance as it is potent in effect, Ulysses proves immune to the enchantment, 9. __ Circe at sword-point to swear an oath, and refuses her hospitality until his companions are restored. Restored they are, reputedly younger and handsomer than before; yet so seductive does Circe’s comfort prove that a whole year 10. __ before the crew recall that they have a home to return to.
Part B Etymology and Wordbuilding
Nearly three millennia later, the motif resurfaces in Spirited Away (2001), though Miyazaki inverts its moral logic. Chihiro’s parents require no sorceress. Stumbling upon what they take to be an abandoned theme park, they help themselves to a feast laid out for absent spirits, the father brushing aside his daughter’s misgivings with the assurance that he can pay by card or in cash. Where Homer’s sailors are victims of deception, Miyazaki’s adults are agents of their own undoing: the spell merely renders visible an appetite that was already there. Nor, tellingly, is their humanity preserved as the sailors’ was. They eat on, 11. ____ , and once restored they remember nothing at all.
It would be tempting to read the scene as a straightforward 12. __ , and critics have frequently linked it to the consumerism of Japan’s bubble economy, an interpretation Miyazaki himself is reported to have endorsed. Yet the parents are not villains. They are, rather, unremarkable: affectionate in a distracted way, careless rather than cruel, the mother rebuffing Chihiro’s clinging with a briskness that wounds precisely because it is so ordinary. Miyazaki, who made the film with the ten-year-old daughters of friends in mind, seems less 13. __ on condemning such adults than on showing a child obliged to outgrow her dependence on them. Unlike Ulysses, Chihiro cannot rescue her parents by force. She must earn their release through labour, patience and, finally, the 14. __ to recognise that none of the pigs paraded before her is her mother or father. The rescue thus becomes a 15. __ of passage in which the child, not the parent, emerges as the morally competent party.
Part C Information source for the Writing task to follow
That Miyazaki should portray parenthood with such ambivalence becomes less surprising in the light of his own upbringing. Born in Tokyo in 1941, he was the son of Katsuji Miyazaki, a director of Miyazaki Airplane, a firm run by his uncle that manufactured rudders for the Zero fighter during the Second World War. The war that devastated so many brought the family prosperity, and Miyazaki would later recall, with evident discomfort, that his father had profited from it with little apparent sense of guilt. As a teenager he quarrelled with him repeatedly on precisely this point, to no avail. Decades afterwards, Miyazaki conceded that something of his father’s contradictions lived on in him, not least a fascination with aircraft sitting uneasily alongside a professed pacifism. It is a tension he would explore most fully in The Wind Rises (2013), the story of the Zero’s designer, Jiro Horikoshi.
His mother, Yoshiko, offered a very different model. Stricken with spinal tuberculosis, she spent much of his childhood, from roughly 1947 to 1955, in hospital or confined to bed at home. Far from being diminished by illness, she is remembered as intellectually formidable, sceptical of received opinion and given to challenging her sons’ assumptions. Her influence is generally discerned in the indomitable Dola of Castle in the Sky, while the convalescent mother of My Neighbor Totoro, absent in hospital yet emotionally present throughout, draws directly on the family’s experience.
Read against this background, the swine-parents of Spirited Away appear less a caricature than a distillation: adults who are neither monstrous nor exemplary, whose failings the child must first recognise and then transcend. Homer’s sailors were rescued by a hero; Miyazaki’s parents are rescued by a daughter who has learned to see them clearly.
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Задание 4. Writing
You are going to write a comment on the following issue.
Read the following statement.
Fairy tales and animated films should tell stories about adventures, magic and extraordinary events rather than arguments between parents and children, family tensions and painful memories. Audiences do not need to know about the problems filmmakers have experienced in their own families. Moreover, using parents, children or other relatives as models for fictional characters is unfair: these people may recognise themselves, disagree with their portrayal or feel that their private lives have been exposed to the public. A truly creative artist should invent original characters instead of turning personal relationships and family conflicts into entertainment.
To what extent do you agree or disagree with this opinion?
-Should animated films explore conflicts between parents and children?
-Is it acceptable for filmmakers to base fictional characters on people close to them?
Write a commentary of 220–250 words, addressing all five points in the plan below.
Attention! Use specific facts and examples from the Listening, Reading, and Use of English sections of this Olympiad to support your arguments.
Write a coherent text with a clear logical structure and appropriate linking devices.
Plan
1. Research. Examine how filmmakers’ personal experiences and family relationships can influence their work. What examples of parent–child relationships, family tensions or personal memories can you identify in the materials you have studied? Support your observations with specific evidence from the Listening, Reading, and Use of English sections.
2. Analyse. Consider whether portraying family conflicts and imperfect parents can make animated characters more believable. What are the artistic advantages and ethical risks of using real people as models for fictional characters? Compare relevant examples from the materials you have studied. Where should filmmakers draw the line between artistic freedom and respect for other people’s privacy?
3. Reflect. Think of an animated film or fairy tale in which a parent–child relationship plays an important role. Which conflict or character’s decision made the strongest impression on you, and why?
4. Create. Imagine a scene in an animated film in which a parent forbids their child to do something important to them. Write one short line of dialogue for each character, making both points of view equally convincing. Neither character should appear entirely right or wrong. Briefly explain what the dialogue reveals about their motivations.
5. Conclude. Summarise your position on the statement. End your commentary with ONE expanded sentence expressing your overall view on whether animated films should explore family conflicts and whether using real people as models for fictional characters is justified, supporting your opinion with a reason or reasons.
Your commentary will be assessed for the completeness and relevance of its content, accurate and meaningful use of evidence from all three Olympiad sections, originality and effectiveness of the creative element, depth of analysis, independent reasoning, coherence and cohesion, and the range and accuracy of language.
Evidence from the Reading, Listening and Use of English sections should support your arguments rather than simply be listed. Different viewpoints are acceptable provided they are clearly explained and convincingly supported.
Внимание!
Заимствованная или сгенерированный искусственно текст будет снят с конкурса.
Работа провокационного характера, написанная с нарушением этических норм, будет снята с конкурса.
Write your comment in 220-250 words.
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