Ukrainian Filmmakers Discuss War, Identity, and Art’s Boundaries

Cannes devoted its **opening day** on May 13 to **Ukraine**, screening three **documentaries** that highlight the ongoing conflict spurred by the **Russian invasion**. These films, which are not part of the official selection, feature impactful narratives centered around the experiences of the Ukrainian people. One documentary, titled Zelensky, provides an intimate look at **Volodymyr Zelensky**, Ukraine’s wartime president, while 2000 Meters to Andriivka by Oscar-winning director **Mstyslav Chernov**, who previously directed 20 Days in Mariupol, offers a frontline perspective—depicting a Ukrainian platoon’s struggle to retake the **strategic village of Andriivka**. Additionally, Notre Guerre, directed by **Bernard-Henri Lévy** and **Marc Roussel**, captures the fierce battles taking place on the **Pokrovsk** and **Soumy** fronts from February to April this year.

On May 21, the world premiere of Militantropos will take place in the **Directors’ Fortnight**. This documentary adopts a strikingly different approach towards portraying the unrelenting war. Co-directors **Alina Gorlova**, **Yelizaveta Smith**, and **Simon Mozgovyi** began capturing footage on the very first day of the **full-scale Russian invasion**, which started on February 24, 2022.

Unlike traditional war documentaries, they focus not solely on battles won or lost but rather on the profound impact that years of conflict exert on ordinary people’s lives. Their **impressionist** feature documentary, void of voiceovers or explanatory dialogue, delves into how ongoing conflict reshapes individuals into “**militantropos**”—a blend of the Latin word for soldier (“milit”) and the Greek term for human (“antropos”). This concept refers to the **persona** that people adopt amidst the chaos of war.

The creators of **Militantropos**, alongside producer **Eugene Rachkovsky**, spoke with **The Hollywood Reporter** about how their experiences during the war have reshaped their identities. They discussed how the film became a **collective portrait** of a nation embroiled in conflict, and the role of art in igniting change. “Can we influence perceptions through this film? Is change achievable via art?” they pondered.

**Simon Mozgovyi** began, “We wanted to make this film to illustrate a transformation evident in both ourselves and **Ukrainian society**. The war has become an integral part of us, allowing us to appreciate the sheer significance of life and the critical nature of **personal choices**.”

**Yelizaveta Smit** added, “Living in wartime has meant constant decision-making. Every day I confront the question of whether I should stay or leave, especially with a child involved. The stress is pervasive; yet, what sustains me is the support of friends and family. They help me persevere.”

**Eugene Rachkovsky** discussed the discussions surrounding the project, emphasizing how the war invokes inner changes. He reflected, “We reflect our activities through the film. Completion felt clearer, prompting many of us to volunteer in helping our communities and the army.”

Reflecting on the **long-lasting implications** of war, **Alina Gorlova** remarked, “This entire experience has altered my outlook. The rapid shifts in **global politics** can be disenchanting, making art feel insignificant. Yet, I believe in our film’s potential for impact.”

**Yelizaveta Smit’s** response highlighted that the film originated from **11 years of collective experience** of making war-related films, noting, “We never aimed to cover war but found ourselves compelled by circumstances to do so.”

The directors maintained that their filming approach was vital for authenticity. They intentionally avoided a traditional narrative structure. **Gorlova** explained: “The film’s structure mirrors our experiences. We began from a distance but gradually became more intimate, allowing viewers to forge a deeper connection with the subjects.”

When asked about impactful moments from filming, **Gorlova** recalled an elderly woman in a destroyed village who continued gardening despite her dire situation, stating, “Her resilience and drive for victory left a profound mark on me.”

**Mozgovyi** shared a gripping memory of filming in a trembling forest near the frontline, emphasizing the dichotomy of fear and humanity colliding in a moment where it felt like a scene from a fairytale.

Overall, **Smit** reflected on capturing the collective trauma experienced by village residents while **Rachkovsky** highlighted acts of solidarity amidst chaos, illustrating how the unyielding **human spirit** persists even in adversity. This blend of horror and hope encapsulates the documentary’s mission—a testament to resilience and transformative power born from conflict.