Latest news with #Chernov
Yahoo
07-05-2025
- Entertainment
- Yahoo
Sheffield Doc/Fest Announces Full Lineup, Including Mstyslav Chernov's Frontline Doc ‘2000 Meters To Andriivka'
Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Generate Key Takeaways Oscar-winner Mstyslav Chernov's '2000 Meters To Andriivka' will compete for the Tim Hetherington Award at this year's Sheffield Doc/Fest. The six-day British doc festival begins on June 18 and includes a program of 116 films (82 features and 34 shorts) selected from over 2753 entries. The lineup features 51 world premieres, 16 international premieres, eight European premieres, and 39 UK premieres from 68 countries. More from Variety About a group of soldiers fighting their way through two kilometers of war-torn terrain to liberate a devastated Ukrainian village, Chernov's '2000 Meters To Andriivka' debuted at Sundance 2025. It is one of several feature films about Ukraine heading to the 32nd Sheffield Doc/Fest, which announced its full lineup Wednesday. Two Ukraine-based docs – Yegor Troyanovsky's 'Cuba & Alaska' and Mila Teshaieva and Marcus Lenz's 'Shards of Light' are vying for the Grand Jury prize in the Sheffield's International Competition category. In 'Cuba & Alaska,' phone and body-cam footage tell the story of two female medics in Ukraine's army as they navigate the chaos of war with bravery, humor, and friendship. 'Shards of Light' captures how war has ravaged the Ukrainian city of Bucha and affected the city's residents. Both films will make their respective world premiere at Sheffield. In Artem Ryzhykov and Juan Camilo Cruz's 'A Simple Soldier,' Ryzhykov, an Award-winning Ukrainian filmmaker and cinematographer, transforms into a hardened professional soldier as he navigates the confusion, chaos, heartache and reality of modern warfare. 'A Simple Soldier' and Chernov's '2000 Meters To Andriivka' are two of six films competing for the fest's Tim Hetherington Award. The four other films in the category are: Nayibe Tavares-Abel's 'Colossal,' about a filmmaker who investigates her grandfather's work on the 1990 Dominican elections; Hosam Abu Dan's 'Gaza Sound Man,' about the realities of life on the ground in Palestine before and after October 7, 2023; Bao Nguyen's 'The Stringer,' a Sundance 2025 film about a whistleblower who prompts an investigation into the true history behind one of the most iconic photographs of the 20th century; and Hind Meddeb's 'Sudan, Remember Us,' a chronicle of Sudan's youth revolution that depicts how hope was ignited though through music, murals and the unyielding power of words. 'At Sheffield DocFest, we believe in the power of storytelling to inspire change and create an alternate future,' said Mimi Poskitt, Sheffield DocFest Managing Director. 'And this is what DocFest 2025's program is all about: coming together to learn and be inspired to take action. In planning this year's edition, we reflected deeply on where we can make a real difference — how, in an environment where filmmakers are facing ever greater challenges, our festival can be a place where documentaries thrive.' In addition to '2000 Meters To Andriivka' and 'The Stringer,' several Sundance 2025 docs have been invited to screen at the fest including: Violet Du Feng's 'The Dating Game,' Tony Benna's 'André is an Idiot,' and Kim A. Snyder's 'The Librarians.' As previously announced, the world premiere of Kim Hopkins' 'Still Pushing Pineapples' will open Sheffield DocFest 2025. About Dene Michael, the former singer of Black Lace and pop band behind the novelty Brit party favourite 'Agadoo,' the film follows the lead singer's journey on the road with his aging mother and a partner, as he aims for a comeback. Sheffield titles screen in three competition sections: International Competition, International First Feature Competition, and International Short Film Competition. In addition to the previously announced guests of honor program featuring Fenton Bailey and Randy Barbato, the co-founders of the media company World of Wonder, the festival will present its Podcast Stories strand and previews of television series episodes in its First Impressions strand. Out of competition films screen in six strand sections: Rhythms, Debates, People & Community, Memories, Rebellions, and Journeys. 'Sheffield DocFest is one of Sheffield's flagship events and a key date in our cultural calendar,' said Shefflield Councillor Martin Smith. 'The event proudly puts the city on the world stage.' This year marks the 20th anniversary of the DocFest MeetMarket, with eight films in the program having participated in prior MeetMarkets. The 32nd annual Sheffield DocFest takes place June 18-23. Sheffield Doc/Fest 2025 Feature Comeptition lineup: International Competition Cuba & Alaska – Yegor Troyanovsky – Ukraine, France, Belgium, 2025 (World Premiere) Two female medics in Ukraine's army, whose lives are captured via phone and body-cam footage, navigate the chaos of war with bravery, humour and friendship. Factory (Gong Chang) – Hao Zhou – Macau, 2025 (World Premiere) Acclaimed director Hao Zhou journeys into one of China's vast factories around the time of the pandemic to detail the impact of global supply chains and coercive business practices on workers' lives. The Gas Station Attendant – Karla Murthy – USA, 2025 (World Premiere) A daughter reflects on her South Asian father's life, his never-ending pursuit of the American dream, and the human capacity to love and survive. North South Man Woman – Morten Traavik, Sun Kim – Norway, Latvia, South Korea, 2025 (World Premiere) North Korean women meet South Korean men in a fascinating and often surprising look at love, business and geopolitics. Shards of Light – Mila Teshaieva, Marcus Lenz – Germany, Ukraine, 2025 (World Premiere) War has ravaged the Ukrainian city of Bucha, whose residents have endured unimaginable hostility and suffering. If hope remains a faint glimmer, the will to survive still shines through in this powerful and unflinching film. Still Pushing Pineapples -Kim Hopkins – United Kingdom, 2025 (World Premiere) A melancholic yet heartfelt story of the former singer of pop band Black Lace and his journey on the road with his aging mother and his partner, as he aims for a comeback. Welded Together – Anastasya Mirashnichenko, Anastasiya Zinovieva – France, Netherlands, Belgium, 2025 (World Premiere) A young welder confronts her fractured past to protect her sister, forging a future from sacrifice, resilience and the spark of second chances. Yanuni – Richard Ladkani – Austria, Brazil, USA, Canada, Germany, 2025 (International Premiere) In this love story and urgent call to action, an Indigenous couple risk everything to defend the Amazon and their unborn child's future. International First Feature Competition (supported by Netflix) Blue Has No Borders – Jessi Gutch – United Kingdom, 2025 (World Premiere) A young filmmaker is determined to know her neighbours in the port town of Folkestone. But in the aftermath of Brexit, building new relationships isn't easy. The Broken R (Rotacismo) – Ricardo Ruales Eguiguren – Ecuador, Italy, 2025 (World Premiere) This intimate journey about self-acceptance follows Ricardo, a 24-year-old man born with Treacher Collins Syndrome, who has struggled to pronounce the letter R since birth. Carmela and the Walkers (Carmela y los Caminantes) – Luis Herrera, Esteban Coloma – Ecuador, 2025 (World Premiere) As the world appears increasingly intolerant of 'outsiders,' an Ecuadorian woman welcoming Venezuelan migrants into her home is a moving reminder of our capacity for warmth and humanity. Comparsa – Vickie Curtis, Doug Anderson – Guatemala, USA, 2025 (World Premiere) In a Guatemalan town, two fiery sisters channel their grief and anger into a local street performance to protest against gender-based violence in the country. December (Grudzień) – Grzegorz Paprzycki – Poland, Lithuania, Qatar, 2025 (World Premiere) Amid December's festive glow, refugees remain hidden in forests along the Poland-Belarus border. This powerful documentary gives voice to their silent cries. A Little Gray Wolf Will Come (Dolazi mali sivi vuk) – Zhanna Agalakova – Croatia, Netherlands, France, 2025 (World Premiere) On the eve of the war in Ukraine, a Russian journalist from pro-Kremlin TV channel brings her rebellious and Westernized teenage daughter on a journey through Putin's Russia. Lullaby For The Mountains (Օրոր Լեռների Համար) – Hayk Matevosyan – Armenia, USA, 2025 (World Premiere) In this hypnotic odyssey, the ancient monasteries of Armenia's highlands bear traces of epochs past. Landscapes give way to soundscapes, and the shadowy depths within. Redlight to Limelight – Bipuljit Basu – India, Finland, Latvia, 2025 (World Premiere) A high-spirited group of Indian sex workers and their families begin making short films to transform their own lives and inspire others. Tim Hetherington Award (presented in association with Dogwoof) Photojournalist and filmmaker Tim Hetherington was committed to humanitarian and social concerns throughout the world. This award recognizes films that best reflect his legacy. 2000 Meters To Andriivka – Mstyslav Chernov – Ukraine, USA, 2025 (UK Premiere) Mystyslav Chernov, the Oscar-winning director of 20 days in Mariupol, follows a young Ukrainian platoon as they attempt to liberate a strategically vital location from Russian forces. Colossal (Colosal) – Nayibe Tavares-Abel – Dominican Republic, 2025 (UK Premiere) When a young filmmaker investigates her grandfather's work on the 1990 Dominican elections, she uncovers a web of secrets that still ensnares her family. Gaza Sound Man (والموت الحياة صوت ..غزة (- Hosam Abu Dan, Qatar, Palestine, 2025 (World Premiere) Through a series of immersive soundscapes, Mohammad Yaghi captures the realities of life on the ground in Palestine before and after 7 October 2023. A Simple Soldier – Artem Ryzhykov, Juan Camilo Cruz – Ukraine, 2025 (World Premiere) Award-winning Ukrainian filmmaker and cinematographer Artem Ryzhykov transforms into a hardened professional soldier as he navigates the confusion, chaos, heartache and reality of modern warfare. The Stringer – Bao Nguyen – Vietnam, USA, France, 2025 (International Premiere) A courageous whistleblower prompts an investigation into the true history behind one of the most iconic photographs of the 20th century. Sudan, Remember Us (Sudan Y'a Ghali) – Hind Meddeb – France, Tunisia, Qatar, 2024 (UK Premiere) This poetic yet urgent chronicle of Sudan's youth revolution shows how hope was ignited though through music, murals and the unyielding power of words. Best of Variety Sign up for Variety's Newsletter. For the latest news, follow us on Facebook, Twitter, and Instagram.
CBC
25-04-2025
- Entertainment
- CBC
Ukraine war documentary 2000 Meters to Andriivka is a horrifying triumph
Director Mstyslav Chernov's follow to 20 Days in Mariupol is a harrowing account of Russia-Ukraine war "There is, of course, an element of beauty in this. And I must say that this is surely, from ancient times, one of the most enduring appeals of battle," explains author, philosopher and soldier J. Glenn Gray in the final episode of BBC's classic Second World War documentary, The World at War. He's speaking about the Allied bombardment of southern France, a terrific spectacle of violence that, he says, made him believe the coast would literally detach itself, and simply fall off into the ocean. A scene so terrible and awesome, he says, "everybody — including, of course, myself — was drawn into it. So that we forgot all about ourselves." So beautiful they'd forgotten that in a few hours, they'd have to head into it. Why begin a review of Ukrainian war documentary 2000 Meters to Andriivka — crafted by Mstyslav Chernov, the director of Oscar-winning 20 Days in Mariupol — with the description of a battle that occurred almost a century earlier? Well for one, it's continuing a trend that has all but dominated cinematic history both between and before those two wars. From the first best picture winner at the Academy Awards (Wings in 1927), to the current highest grossing movie of all time (Avatar), we can't seem to get enough military action in our entertainment, despite its real-life horror. But more importantly, we can't seem to stop debating why we want to see war recreated on film, how much of it to include — and how filmmakers should go about depicting it. For example: Is Jojo Rabbit poking fun at the Nazis by dismantling their evil, or disrespecting their victims? Did Apocalypse Now actually function as an anti-war film, or turn Ride of the Valkyries into a glorifying anthem of American military might? Is Top Gun Pentagon propaganda? Perhaps most recently, those debates sprung up around Alex Garland's Iraq-war feature Warfare, a real-time battle recreation intentionally devoid of character growth, plot or examination that I dubbed, in short, unethical. So in going to bat for 2000 Meters to Andriivka, at least a bit of explanation is necessary. And the documentary, receiving its Canadian premiere at Hot Docs on April 27 ahead of a fall theatrical release, does operate in ways that seem very similar to Warfare. As with 20 Days in Mariupol, which documented the early days of Russia's invasion, Chernov embeds himself in the thick of battle. Though here, his camera will occasionally find itself affixed to the helmets of actual soldiers, battling for inches on a two kilometre stretch of forest between them and a small Ukrainian village. That village — Andriivka — is occupied by Russian forces at the film's opening. With a tiny population of about 100, it doesn't necessarily hold great cultural significance like, for example, the contested urban centres of Bakhmut and Pokrovsk. But, as Chernov explains in the monotone he's seemingly inherited from the violence he's somehow managed to live through, capturing it would disrupt Russian supply lines. Figuring out a way to tag along, Chernov documents the enormous human cost associated with accomplishing that task. The film opens with a horrifically unvarnished firefight, a nightmare recording of whizzing bullets, shattered legs and death. It continues on, never shying away from the violence, holding our heads toward the dying young men in a way that borders on the obscene. Surely, this can't be allowed. Surely, there must be some rule against showing 24-year-old Gagarin in the centre of the frame, pumping bullets off into the distance, only to slump suddenly to his side as a bullet enters his body. Surely, there has to be a law against showing this man's death. But no, it would seem, there is not. We witness death many times, soldiers killed on both sides — including a Russian soldier exiting a foxhole who's shot until he's motionless, then shot again as he lies on the ground. Why isn't this unethical; voyeurism meant to satisfy what Gray calls war's main draw: "this attraction of the outlandish, the strange"? Documenting a continuing nightmare In some ways it is. The combined force of morose interviews with soldiers, paired with either voice-over commentary on their later deaths, video of their funerals or their actual on-screen endings would border on maudlin if they weren't so harrowing. It's a combination transparently effective enough to lead to mass protest against Russians at War, the 2024 documentary that made a similar point from the perspective of the aggressors — and the Russian soldiers featured in that film appeared almost as ambivalent and disenchanted with the war as some of Chernov's subjects do here. But there is a grim strategy to it, one Chernov brings up toward the end of the movie when talking about the long slog of the war, which has been going on for more than two years. "This war is a nightmare none of us can wake up from," he says, lamenting that the longer the nightmare goes on, the less anyone abroad will care about it. It's a devastatingly accurate assessment, even as new offensives, counter-offensives and errant social media posts bring the war back into headlines. And it's a point 2000 Meters to Andriivka makes with the spectacle of war it uses as a vehicle, even while railing against its necessity. Because importantly, this movie does not, like Warfare, posture toward impartiality. Garland argued that his Warfare served a purpose by taking the artistic manipulations out of war movies and instead giving audiences the "unfiltered" experience of war. But in actuality, Chernov knows that even these real, actual deaths caught on camera cannot hope to recreate the horror of actually being in a war, your own body at real and constant risk instead of the ones on screen. Director constantly questioning the point of the war To put context to the gore, Chernov is constantly there, asking what is this war for? What's the point? Some soldiers answer in vaguely heroic terms, saying that, eventually, Ukraine will triumph. Others — including a captured Russian soldier — simply say they have no idea why they put their lives at jeopardy every day. Later there is a more macabre observation. "During the liberation of the Kharkiv region, I saw the places of my childhood — you know, where I visited my grandmother. But they're all gone. You are walking on either ruins or graves," says a voice speaking in Ukrainian. Image | Russia Ukraine War Caption: An assault unit commander from the 3rd Assault Brigade who goes by the call sign 'Fedia' raises the Ukrainian flag as a symbol of liberation of the frontline village of Andriivka in Ukraine on Sept. 16, 2023. Photographer Alex Babenko was the co-producer and a cinematographer for 2000 Meters to Andriivka. (Alex Babenko/The Associated Pres) Open Image in New Tab The assessment is further reinforced when they reach Andriivka, which is little more than abandoned rubble. Control of the town has been traded between Russia and Ukraine numerous times already, and it's likely to happen numerous times more rather than ever being rebuilt. "What they are liberating — it appears as though they are liberating your home. But it's just ruins and graves," the voice continues. Instead, the importance is in what it means: a liberated city can be championed by civilians back home, avoiding the trauma of hearing another city fall. It's little comfort for the soldiers in the foxhole though. They are dying, in part, for appearances. Chernov is capturing the strangeness and immensity of their deaths for them, too, so the world knows they're still fighting. And, as 2000 Meters to Andriivka so accurately captures, there is nothing beautiful about death.
Yahoo
30-03-2025
- Entertainment
- Yahoo
Mstyslav Chernov's film '2,000 Meters to Andriivka' wins award at documentary film festival in Denmark
Ukrainian director and journalist Mstyslav Chernov's documentary 2,000 Meters to Andriivka received the F:ACT Award at Denmark's CPH:DOX documentary film festival, organizers announced on March 29. The jury praised the film as a powerful portrayal of war and a strong reflection on loss and resilience. The documentary follows Ukraine's 2023 counteroffensive, as Chernov embeds with a platoon from the 3rd Separate Assault Brigade. Their mission was to liberate Andriivka, a strategically important village in Donetsk Oblast. Surrounded by mines, the village is accessible only through a narrow stretch of forest, making the battle particularly grueling. "Ultimately we give the F:ACT award to 2,000 Meters to Andriivka not just because it's a conflict on our doorstep, but because it's a masterpiece in filmmaking: a haunting, multi-layered portrayal of war comparable to All Quiet on the Western Front,' the jury stated. 'But this is not the First World War, it's today. An artist amid bloodshed brings the reality home, and makes an anti-war film that forces us to reflect on the dignity of each human life lost." Chernov, an acclaimed war correspondent and documentary filmmaker, worked on the project with Associated Press photographer Oleksandr Babienko. The film was produced by Michelle Misner and Rainey Aronson-Rath, both of whom won an Oscar for "20 Days in Mariupol." His previous film, 20 Days in Mariupol, won the Oscar for Best Documentary at the 96th Academy Awards last March. The film captures the Russian siege of Mariupol in the early weeks of the full-scale invasion, offering a firsthand account from Chernov and his team. It is the first Ukrainian-directed film to ever receive an Oscar. Read also: Kharkiv's Faktor Druk printing house fully restored after Russian missile attack We've been working hard to bring you independent, locally-sourced news from Ukraine. Consider supporting the Kyiv Independent.
Yahoo
31-01-2025
- Entertainment
- Yahoo
Ukrainian director Chernov wins Documentary Directing award at Sundance
Ukrainian journalist and director Mstyslav Chernov won the Best Documentary Direction award at the Sundance Film Festival on Jan. 31 for his film "2,000 Meters to Andriivka" in the World Cinema category. The documentary follows Ukraine's 2023 counteroffensive, as Chernov embeds with a platoon from the 3rd Separate Assault Brigade. Their mission was to liberate Andriivka, a strategically important village in Donetsk Oblast. Surrounded by mines, the village is accessible only through a narrow stretch of forest, making the battle particularly grueling. "This is the story of Ukrainian soldiers fighting for every inch of their land," Chernov said. "It's the story of a small forest and the village of Andriivka, located just two hours from my hometown. It's the story of modern warfare—how it's fought, how it's endured, and how it changes us." Chernov worked on the project with Associated Press photographer Oleksandr Babienko. The film was produced by Michelle Misner and Rainey Aronson-Rath, both of whom won an Oscar for "20 Days in Mariupol." Misner also served as the film's editor. Chernov, an acclaimed war correspondent and documentary filmmaker, was invited last year to join the Academy of Motion Picture Arts and Sciences, a body of more than 10,000 members that votes on the annual Oscar winners. His previous film, "20 Days in Mariupol," won the Oscar for Best Documentary at the 96th Academy Awards last March. The film captures the Russian siege of Mariupol in the early weeks of the full-scale invasion, offering a firsthand account from Chernov and his team. It is the first Ukrainian-directed film to ever receive an Oscar. Read also: Curated Theft We've been working hard to bring you independent, locally-sourced news from Ukraine. Consider supporting the Kyiv Independent.
Yahoo
30-01-2025
- Entertainment
- Yahoo
In ‘2000 Meters to Andriivka,' Oscar winner takes viewers back to Ukraine's front lines
PARK CITY, Utah (AP) — The day Mstyslav Chernov won the BAFTA for his documentary '20 Days in Mariupol' was the day he learned two soldiers he knew had been killed in combat. They were primary subjects of his new film '2000 Meters to Andriivka,' a harrowing portrait of modern warfare that puts audiences on the front lines of the 2023 Ukrainian counteroffensive. 'The film changed along the way,' Chernov, a videojournalist with The Associated Press, said last week after its premiere at the Sundance Film Festival. 'From a story of the success of that operation it became a story of loss, of memory, of the price that soldiers pay for every single inch of the land. And that's where the name came from.' Coming back to Park City, Utah, with a new film has been a sobering, full circle moment for Chernov. It's the place where he first showcased '20 Days in Mariupol" two years ago. Although he received the highest honors a journalist and a filmmaker can get for his work, a Pulitzer Prize and an Oscar included, it's for reportage on a war in his home country that won't end and that he can't stop covering. The AP spoke to Chernov about '2000 Meters to Andriivka,' a co-production between the AP and PBS Frontline, the cognitive dissonance of whiplashing between a movie release and the front lines as well as his responsibility to Ukraine. Remarks have been edited for clarity and brevity. AP: Two years ago at Sundance, you were eager to go back to Ukraine. Was this already on your mind that you wanted to show the soldiers? CHERNOV: I gave a lot of thought after I left Mariupol. Do I want to continue doing what I was doing? We felt a lot of trauma and a lot of loss, guilt even, that we didn't do enough. But then again, that tragedy you go through, the tragedy of people who you're filming, it doesn't let you to just stop doing what you do. You always want to do more and you actually can't stop. At every point in this journey I was also editing '20 Days in Mariupol' and then it went on to screen all over the world. The response was great, but more I felt that response and more I saw that things are not changing, more I wanted to go back and to continue shooting, and that's what I did. At some point in summer of 2023, when Ukraine had a highly anticipated and very important counteroffensive, we also had our theatrical release for '20 Days in Mariupol.' So from LA, where at Laemmle Cinema, you would see 'Barbie' and 'Oppenheimer' and '20 Days in Mariupol' posters and (after) speaking to the public, I would fly back to Poland, drive to the front line and start shooting this film. The story of Andriivka captured me so much that I would go back and keep following the platoon. And the tragedy was that as more time passed more people who we initially filmed on the journey to Andriivka have died. AP: With '20 Days in Mariupol' you found yourself in situations and knew to keep shooting. Here, you went in knowing you wanted to make a film. How did that change what you were doing? CHERNOV: Making '20 Days in Mariupol' and seeing the impact it ultimately had, seeing how big the audience was, made me think that the impact of journalism could be complemented with an impact of documentary filmmaking and that combination, if you can find the right balance between those two approaches, could be very powerful. The form of the cinema is much more long lasting than the news. As important as journalism is, unfortunately, there's just so much of things happening in the world, so many important stories, that it takes extraordinary efforts to keep someone's attention on the story, especially if that story is important to you personally. And the story of Andriivka and the soldiers who are trying to get there is personally very important to me. AP: This film puts audiences on the front line in ways that we're only used to seeing in fictional war films. How were able to do that? CHERNOV: Technology is changing. The audience is changing. So the medium of documentary that talks about important current events has to change as well. To be able to catch up, we constantly need to search for new forms, for new ways of telling the story, for new visual solutions to that. The making of '2000 Meters to Andriivka,' the approach is experimental. We are trying to show modern warfare the way no one has done it before or since. Of course there are elements that are classic for the documentary, but I also wanted the story to be so immersive, so on the ground, so experiential for the audience, that they forget that they are watching a narrative fiction film or a documentary. Then when they reach the end of the film, when they realize that everything they just saw was real, it would hit them even harder. AP: You gave one of the all-time great Oscar speeches. Was Andriivka heavy on your mind when you took that stage? CHERNOV: I was thinking about all the boys, yes, when I was on stage. There'd been so many things happening in the background when we were sitting in that beautiful place with all the movie stars and seeing the speeches that they were giving. I had got hundreds of messages of people who were telling me what to say on the stage, all important. I had a feeling that 40 million Ukrainians, if I will be lucky to go on that stage, will be watching me and every single word that will be said. There is a responsibility, a responsibility to journalism and a responsibility to me being Ukrainian, the responsibility to the people of Mariupol and responsibility to these soldiers that I was, by that time, filming for almost a year. AP: What has all of this meant to friends at home, to the people of Ukraine? CHERNOV: After the premiere, we received a lot of messages or just comments on social media that it is so timely to have a film like that when there are almost no reports, either journalistic or documentary from the front line from the perspective of a soldier. Partially because the interest has shifted elsewhere. Partially because it has become impossible to work at the front line because of the drones, because of the how precise and deadly weapons are and because journalists have become targets. I think people are just grateful for that. They say, thank you for showing that perspective and thank you for reminding the world about Ukraine, that it is not just a political chip in a bargaining, that it is actually real people. And that's what we have to keep in mind, that these are real people. These are not numbers and not distances. ___ For more coverage of the 2025 Sundance Film Festival, visit: Lindsey Bahr, The Associated Press
