Gorlova told Variety that while working on chapter two, which deals with the collective trauma of war, she got a better understanding of why Europe had been slow to send weapons to Ukraine at the start of the Russian invasion last year. The directors, who are the same age as their country’s independence from the Soviet Union, started shooting their first films in 2013 during the Maidan Square protests, and went on to Eastern Ukraine when the Donbas war broke out in 2014. We are using the same DOPs who know our visual style, and we are all working in the same style and rhythm while shooting.”
“We are so close to the material and what is going on, so we are interested in exploring how it is perceived from the outside,” explained Rachkovsky.Īsked how they plan to ensure a cohesive visual style for all three chapters, Gorlova said: “All our previous films were made in this form of collaboration, we have been working together for around 10 years: we edit each other’s films, co-write, and produce each other’s films. The collective is hoping to complete a rough cut of the first film in Ukraine by this autumn, before moving post-production and final editing to either France or Austria where co-producers Nabil Bellahsene (Les Valseurs) and Ralph Wieser (Mischief Films) are based. Later, when we watched the footage and realized that this war affects our present, our future, and our past, we thought we should make a film out of it,” she said. “It was instinctive at first, we thought it was important to document everything that was going on. Gorlova, who was in Nyon to pick up the award together with producer Eugene Rachkovsky, told Variety how all four directors started filming the war in the immediate aftermath of the full-scale invasion of Ukraine by Russia on Feb.
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