Suspilne Media

A story about Ukrainian monumental art of the Soviet period in Mariupol. Photographer Stanislav Ivanov lived in Mariupol all his life. He studied history, streets, houses, monumental art. Some of the mosaics are more than half a century old. The "Tree of Life" panel - created by a team of artists led by Alla Gorska and Viktor Zaretsky - was bricked up after the death of the artist and reopened in 2008. This and other stories were collected by Stanislav Ivanov and art critic Oleksandr Chernov in the album "All Shades of Mariupol Mosaics". After February 24, 2022, the mosaicists, like hundreds of thousands of residents of Mariupol, became hostages of the occupying forces of the Russian Federation. In the film, we are transported to peaceful Mariupol in December 2021 and, together with Stanislav, explore the city and its mosaics, transported to a place where time and the elements seemed to be the greatest threats.

This is a story about the Ukrainian comic book industry. The authors introduce the audience to a still little-known and under-appreciated art form in Ukraine - drawn stories. Where did this art come from? When did it appear in our country? What forms did it take in the Soviet era and how did it change in the first years of independence?

Director, choreographer, actress, singer – the usual professional roles for the heroines of this film stopped working at the beginning of Russia’s full-scale invasion of Ukraine. Like millions of Ukrainian men and women, who were saving themselves and their loved ones and volunteering. Creative pursuits returned later, but now in a new dimension. Iryna, Olena, Oksana, and Maryna became the voices that tell the world about Ukrainians, their culture and their struggle for freedom. But how can one be heard in a world where Russian propaganda has been spread for centuries?

Documentary that follows Go_A’s lead singer Kateryna Pavlenko in the build up to Eurovision 2021.

The work of the outstanding composer, who passed away on 1 June this year, is known not only in Ukraine but also far beyond its borders, his music is recognisable, and his works are often performed on the Ukrainian stage. However, Myroslav Skoryk's personality, creative temperament, tastes, and life guidelines have largely remained behind the scenes of the concert stage

This is a story about generations and the importance of preserving historical memory. The grandmother of one of the protagonists, Svitlana Zalishchuk, left behind a diary in which she recorded her memories of the terrible times. Veronika, a 12-year-old girl from Uman, and her mother made a film for the Autumn on Pluto 2.0 project about her grandmother Ksenia Logvyniuk, who told us where people found food and how they escaped starvation. Sasha, another 12-year-old protagonist of the film, did not find her great-grandmother alive, but she recreated her relative's experiences based on her father's stories.

A documentary about how Russia has been using popular culture as a weapon against Ukraine for decades. Together with industry participants, the film's narrator, musician Albert Tsukrenko, explores the financial, political and psychological reasons for the vulnerability of Ukrainian artists and reflects on how to break this vicious circle. Unfortunately, our own Ukrainian talents are becoming the ammunition in this weapon. Several generations of original Ukrainian musicians at different times in the 1970s and 1980s, 1990s and 2000s, and 2010s switched from Ukrainian to Russian in their work. Whether willingly or unwittingly, they became tools of Russian show business, which has always sought to blur the cultural border between Russia and Ukraine and worked to promote the imperial myth of "one nation".

A year ago, on 29 December 2019, prisoners were exchanged with the self-proclaimed ‘LPR’ and ‘DPR’. Among the Ukrainians who returned home were journalist Stanislav Aseyev, tanker Bohdan Pantiushenko, and human rights activist Andriy Yarovoi. Four months earlier, on 7 September, Crimeans Oleg Sentsov and Oleksandr Kolchenko were released from Russian colonies. We spoke to the former prisoners about their first year of freedom.

An educational film about the birth, development, decline, persecution, and flourishing of the Ukrainian language. It shows how it was formed, changed, filled with borrowed words and formed its own neologisms. The film is divided into five historically important periods: Rus, the Grand Duchy of Lithuania, the Hetmanate, the Russian Empire, and the Soviet Union. Each era “spoke” its own language, and here you will hear for the first time how it sounded in different centuries. The presenter, a famous theater and film actor Oleksii Hnatkovskyi, will guide the viewer through the historical periods. In a simple, accurate, sometimes humorous way, he will tell how our language developed during the periods of creation, development, division, fierce wars and total bans.

The film tells the story of the development of Ukrainian dubbing. Until 2006, there was almost no Ukrainian dubbing on the big screen. According to the film's screenwriter Alina Stepanets, it is a great achievement that over 90% of films in theatres are now dubbed into Ukrainian. The secrets of working on Ukrainian dubbing are discussed in the film by such well-known film figures as film distributor and owner of the dubbing studio Bohdan Batrukh, dubbing director Olha Fokina, actors Yevhen Malukha, Yurii Kovalenko, Oleh Mykhailiuta (Fahot), translator Oleksa Nehrebetskyi and many others. In addition, the film's characters will recall working on the Ukrainian dubbing of their first films, Cars and Pirates of the Caribbean: Dead Man's Chest.

Can a woman be a chaplain, and should a woman be a chaplain? - these questions are addressed by three chaplains in the documentary film anthology. They travel to the front lines, support soldiers in hospitals, create motivational videos for TikTok, and deliver humanitarian aid. Their stories reflect the changes taking place in society, opening new opportunities for women in the military, their contributions have become an integral part of supporting those who defend our freedom.

"Hudaks aren't people" is a line from a traditional Transcarpathian song. Thus, hudaks, the village musicians who play at weddings, have long been separated from the rest of the people. It works the same way at a wedding: they have a separate table from the guests, separate transportation, and special treatment. They are most often self-taught musicians who inherited their profession from their father or grandfather. They are usually the "stars" in the village, people talk about them, because life around them tends to be in full swing, even when they seem to be surrounded by ordinary rural life: milking a cow, feeding a goat, herding sheep, slaughtering pigs for Christmas, mowing hay, or going to the Czech Republic for a "stroiky".

A documentary project that shows viewers behind the scenes of this cultural exchange and explores the current processes of integrating Ukrainian culture into the European context. The heroes of the project are the participants and visitors of the festival, who demonstrate with their own stories the unique connection and cultural integration of Ukraine into the plane of Liverpool, one of the cultural capitals of Europe. In particular, Sarah Fisher, director of Liverpool's Open eye gallery, Yuliia Kurinna, a volunteer and displaced person from Nova Kakhovka, and actor and director Yurii Radionov will share their thoughts.

A documentary story about the participation and victory at the Eurovision Song Contest 2022 by the Ukrainian band Kalush Orkestra.

Arsen, a Roma who shattered the stereotype that Roma do not fight, joined the Ukrainian Armed Forces in February 2022, he was seriously injured during the liberation of Kherson. After a month in a coma, he faced amputation, escaped from the hospital, struggled with addictions. Now, as a veteran, Arsen is undergoing psychological and physical rehabilitation, seeking employment after losing his previous job due to disability, and adapting to a new beginning in life.

The story of the world tour of the choir chapel conducted by Oleksandr Koshyts in 1918-1924. By the coincidence of modern history, the plot of the film raises a number of current problems of today - opposition to Russian cultural expansion and propaganda, issues of cultural diplomacy of Ukraine, the place of Ukrainian cultural product in the world and its struggle for itself.

The documentary "Crimea. Liberation" tells the story of a special operation of the Security Service of Ukraine in Crimea in 1994, which lasted more than three months. Back then, the SBU's Alpha special unit stopped a rebellion by Russian proxies who sought to separate the peninsula from Ukraine overnight. The film features the direct participants of the special operation: the first Head of the Security Service of Ukraine, Yevhen Marchuk; SSU Lieutenant General Vasyl Krutov; SSU Major General Vitaliy Romanchenko; SSU Colonels Serhiy Ropaev and Pavlo Dubrov, Colonel Ivan Yakubets, as well as Valeriy Kozyarsky, Refat Chubarov and Oleksandr Paliy.

At the outbreak of war, two Ukrainian women find themselves in Europe. Tetiana, 45, lives in Poznan and works in a spaghetti shop while learning the language. Meanwhile, 29-year-old Alyona is settling down in Weidenberg, forcing herself to learn German to distract herself. Her husband is at war in Ukraine. The Ukrainian women do not know each other, but their status binds them as IDPs. After 1,5 years of waiting, it's time to make a choice - to stay abroad or to return to Ukraine, where the war is ongoing. Each woman will make her own choice.

The film collects the memories of five different people about the events on the Maidan. Among them are the stories of the mother of Roman Huryk, who was killed on Maidan, Radio Liberty correspondent Andrii Dubchak, artist Oleksii Sai, human rights activist Sasha Matviichuk, and Andrii Prepodobnyi, a former police officer and now the regional representative of the Ukrainian Parliament Commissioner for Human Rights in Rivne region. ‘MAIDAN. Six letters of our freedom’ consists of six chapters. Each letter of the word ‘Maidan’ is the title of a chapter, which symbolises a topic related to the events of the Revolution of Dignity, the memories shared by the film's characters.

The story is not only about Ukrainian museums during a full-scale war, but about the survival of our culture in general. The occupiers are trying to destroy it and steal it, but thanks to museum workers, it is not only being protected, but also multiplied.