well, now it is clear that everyone’s attention is focused on only one question every day: will we have a war, i wish there was no war, it is clear: 99.9% will not happen, i recommend to everyone who bought buckwheat, matches, salt, etc. to use them in cooking, for these traitors, the killing and torture of ukrainians, the occupation of cities and villages became not a pain, but an opportunity, which they gladly took advantage of, our act. a meaningful act is definitely determining how we will build, with whom we will build our future. when kherson oblast was occupied, cherevko happily left to the russian soldiers on the main square of kherson, with red flags of the ussr. initially , this traitor, together with gauleiter volodymyr saldo, participated in the creation of a kind of rescue committee for peace and order. the purpose of this committee was cooperation with the occupation authorities and russia. the plot about the creation of this... commemoration committee was widely

disseminated by the russian media to the masses, the invaders appreciated such diligent work of the seller and gave him the position of deputy of the military-civilian administration of the region in the illegally created occupation body. russia is the motherland. people feel their personal involvement in the creation of history. we see how massively citizens are drawn to the polling stations. when kherson was liberated, the traitor fled along with other similar fertilizer. to the left bank kherson region. this enabled our law enforcement agencies to search his apartment. now documents have been discovered there , reports on how the rashist pension system was created and the work of the post office was improved during the occupation. to this pile of symbols of the russian federation and a scenario of events for victory day and the day of russia it is a pity that there was no script before the defeat and disappearance of the state, although we are writing it now with you. decree of october 19, 2022. of president cherepko was put on

the nsdc's sanctions list, at the end of last year he was suspected of collaborative activities. each of us makes several important choices in life. and sergey made his choice. now this pawn of the kremlin in the temporarily occupied genichesk inspects pharmacies, opens schools and hospitals, organizes new activities to worship murderers. but he is there too will not stay long, because soon the armed forces will reach the left bank of the kherson region and... it is not a fact that cheravka will be able to escape again. sergey, don't forget the nightingale-ukrainian, because you will have to use it to justify yourself in court, and then listen to the verdict, and we hope it will be severe. and this is another traitor, only with two suspicions, serhii volodymyrovych mukhin, born in 1990 and originally from henichesk. we were all horrified by the mass political inertia of our citizens. before his worthless collaborative life

, he was an assistant to a deputy for... all politics of the seventh convocation from the communist party of olga mykhaylenko on public grounds. in 2014, he unsuccessfully ran for the verkhovna rada of ukraine from the already banned communist party, then in 2015 he became a deputy of the heniche city council and the kherson regional council from the left opposition party. in 2020, at the local elections, from the same party, he was again elected to the heniche city council. another regular opportunity for... after that, on november 21, he was the head of the henicheska municipal service of one of the utility companies and called to actively take out rubbish. when we begin to find out where these spontaneous landfills come from, they do not appear out of thin air by themselves. but in two years he betrayed the townspeople and his voters and his oath. when henichesk was under occupation, mukhin flew to the traitors as at first, he became

a representative of the genetic organization of the political party just russia for truth. from the first days, our political team has been helping the fighters in the area of ​​the special military operation, as well as the civilian population that suffered at the hands of bander nazism. and then i got more several bonuses in the form of positions from invaders. on march 22, he was made the head of the ribinspection. district, and since november of the same year, also the chief specialist of air, rail, sea and road transport at the occupation ministry of transport of the kherson region. we are a single nation, we have a common idea, and while our brothers are fighting bravely and no less bravely on the front lines. this fly diligently performs its duties. thanks to russian soldiers spreads kremlin propaganda, restores communist monuments and works on common. the future with

a deficit. for this, mukhin has two suspicions from our law enforcement agencies. the first was announced to him for collaborative activities, and the second for public use of communist symbols. as it turned out, he was displaying a red flag in honor of the victory day parade organized by the occupiers. serhii mukhin also published video materials promoting the totalitarian regime and depicting communist symbols on his social networks. this case is already being considered by the kherson city court kherson region. we hope that soon he will get to muholovka and properly serve 15 years for treason against ukraine. it was the program collaborators and i, olena kononenko. if you have information about... kremlin scoundrels, write to us at this e-mail address or simply on facebook, together we will send all the traitors on the trail of the russian ship. see you in a week on espresso.

greetings, good evening, i'm myroslav varchuk. this program has its own name, a joint project. tv channel and the ukrainian pen club. we today we will talk about oleksandr dovzhenko. oleksandr dovzhenko, well, for me, at least, he is perhaps the most significant and, at the same time, the most controversial figure of ukrainian soviet culture. on the one hand, he is a volunteer in the unr army in petlyurivets, and on the other hand, he is a man who glorifies the january uprising at the arsenal plant. from one on the one hand, he is a ukrainian and it can be seen in his films, on the other hand, he is a person who admires and perhaps even befriends joseph stalin, at least he considers stalin his savior. that's about these paradoxes, about this disconnection eternal dovzhenka, today we

will talk with my guest olena honcharuk, head of dovzhenka center. greetings olena, thank you for coming to talk. thanks, you know. the topic, it seems to me, is very, very important, because it seems to me that we have never developed the language of such an honest narrative, as it is with regard to dovzhenko. recently, together with pen, we visited dovzhenko's homeland in the village of sosnytsia in chernihiv oblast, we were in his house and the museum staff told us, of course, a short story of his life, and that's what i notice, and it’s... this, to put it briefly: dovzhenko was born, there was such a family, 14 children, two children survived, then he studies, then he works, then he becomes a volunteer in the petlyuriv army,

and suddenly, and he is already in warsaw campaigning for emigrants to return to soviet ukraine, in warsaw and berlin. what happened, we understand what happened, yes, we understand the arrest, we understand that he was saved by ivan blakytny, yes, that he had some problems with the soviets and the bolsheviks, but what happened inside dovzhenko, that he suddenly in the past few years, he suddenly changed himself, gave up on himself, or whatever happened to him. well, it was the time of his youth, and dovzhenko was actively searching, and he is a person who is very open to everything that is happening around him, he got to europe, another

world opened up to him, where he mastered it, he studied art there, so he learned to draw, and in general devzhenko was extremely capable in... arts, and he wrote, he drew, although it is not very popular, but it was just one of his first steps in cinematography, it was just movie posters, very witty and so very funny, dovzhenko later became a director, that is , i think that europe really fascinated him, and he had this contrast of rural life, which you mentioned, so earlier and ... well, the hardships of people in the village, in province, he was extremely sensitive to this, if there were two children left in the family out of 14, then it is obvious that they were very unhappy, but dovzhenko had

a very natural attraction to beauty, he was extremely sensitive to this, and somewhere it is possible brought up by the nature on which he grew up, and i i think europe has strengthened it. that is, you are now, you are now talking about the fact that the soviet authorities gave him, as it were, brought him into the european world, gave him the opportunity to get this education. and he sincerely, being a petlyurite at first, yes, but he sincerely believed in the soviet government and began to work for the soviet government, right? well, i wouldn't say that the soviet government gave him this, after all, he himself took advantage of these opportunities, and they were his natural abilities, but the soviet government is actually an amazing construct, i think that we, even now, it is important for us all this, well, deco... to construct and understand this architecture, which

allowed us to introduce a very large number of thinking, intelligent people, because my opinion is that the artists sincerely believed in the ideas that the soviet government proposed, it there was a sincere belief in industrialization, in industrial progress, in the victory of machines, and the avant-garde was... very technological and futuristic, and therefore artists - it is really, it is like some kind of delusion, which really fascinates and pulls, and that is why dovzhenko really , he was one of those who believed actually constructed, uh, that is, but for this he had to give up his identity, because on the one hand it was like, i understand about progressiveness, yes, what you are talking about. and about some such perspective that this ideology opened up for people, but on the other hand it was clearly

about identity, so it was hostile to his identity, i will quote you now from the diary, which are very famous words, this is a dialogue with his father, he says , he asks who we are, dad, we are not russian, no, not russian, who are we, who are we son , we were the only people in europe who didn't know who he was. that is, dovzhenko very clearly understands this about identity and about the hostility of this world to his identity. and what year is he in? these are diaries, this is a memory of, as i understand it, the glukhiv gymnasium or school. the memory is old, yes, but, equally, the diary was already written later, that is, the fact that davzhenko is ukrainian, we see all the time, yes, he is himself, even in the worst times. he tries to speak ukrainian to put narratives somewhere, that is

, it seems to me that when he says that i entered the revolution from the wrong door, it was through the wrong door, so what is it, was it sincere or was it just such a lifeline? well, from the quote that you read, you can see his sense of shame, as if what if... the only country or nation that is backward, that is, there is this, well, the shame of what you are, and in his films, this duality is also felt, yes, on the one hand, something so new, beautiful, which is approaching, and where we must strive, and on the other hand, these simpletons in the embroidered shirts from which you came out. and for whom you have a great love and sentiment, but this is a shame, that is, it is such

an alleged thing, it is colonial, absolutely, by the way, yesterday i read about dovzhenko and i saw that he, he was already close to waplite, when he was in this kharkiv period and the kyiv period, and he writes there about waplite and hart, about the fact that these are people, very... ethnographic, very archaic, uncultured, and it is he who speaks for a moment about the wavy, about the stream, that is, about all these people and he says i think sometimes i come to a party and it seems to me that i'm at a party, that it's all very ethnographic, that's what you're talking about, about this feeling of ethnography, as archaic, as one's own culture, as something archaic, or am i wrong . i think that we dealt with this in our childhood or

youth, these are the 80s and 90s, when you feel that you are a provincial, as it were, that the world is already somewhere far away, and, well, we can observe living in the province, that something is happening in moscow, something is happening in kyiv, they are very far from you, what takes place overseas, it's just a different planet altogether and... i think with his, well, genius and his talent, he really, well, wanted something bigger, but he didn't just, i think, want it for himself, but he wanted to turn it back, well that is... so that it would help the society from which he actually came, he still could not break his connection with it. eh, so with vinegar, i'll start with this film, dovzhenko is shooting with vinegar, the screenwriters are mike johanson and the famous otaman

yurko tyutyunnyk, and that's two more. year, yes, more before the repressions, it is happening or will happen, as i understand it, in kharkiv the ied trial, ugh, and dovzhenko films such a colossal, multi-layered fundamental story about 200 years of ukrainian history, and here we actually see that it works, and it turns out his ukrainian identity.

how do you watch this film today, what is it about, what is it to us from those times, says dovzhenko, how do you watch it today? i would say that it is this film, i understand that you decided

to take a trilogy of his, his stellar tapes. well, first of all, this is very interesting an artistic experiment and a technical experiment, because in this film in zvanihor dovzhenko used a lot of such cinematography and editing techniques that were innovative, because there were combined shootings, because he still tells a myth, and it is a little like a fairy tale story and this fabulousness in... it is probably characteristic of many films about ukraine as a certain such mythical territory, detached from reality, in which it is necessary to create a new world and bring it from the outside, ugh, because it already prepares us for what is in the films and dovzhenko and many of his contemporaries there

, kavaleridze, for example, or kordyum, this way will appear, well... the way to find a ukrainian, but this is no longer quite a ukrainian, but this, this is already a soviet person who comes in his place, that is, the original ukrainian whom we see in the film, he is as if ashamed, and someone has to replace him, and the rebirth, that is, it is like that, we see it as a rebirth, it is like a rebirth, but at the same time he really begins to model a new one. ality, that is, it is a function of cinema that is characteristic of the soviet, soviet space, and this film, despite the fact that this rebirth seems to be visible, it is the same, it was also repressed, banned, yes, due to the fact that through mike johansen and through yurk tyutyunnyk, i understand correctly, yes or yes he and plus he was already there,

even though it was the 27th year, this is still, this is still the period of the wolf, the wolf in the 30th. year ceased to exist, by the 30th year, we have to explain to the audience what vuvk, vufku is all-ukrainian photo cinema management, the easiest way to define it as ukrainian hollywood, and well, it will not an understatement, because the all-ukrainian photocinema management absorbed all the infrastructure necessary for the creation and maintenance of cinema, i.e. there were three of its own cinematographers. there were also its own film schools and later the film institute appeared, there were its own publications, authors and people who worked within the uvku. they, it was part of the kharkiv cultural elite, they grew out of the literary and theatrical tradition, because les kurbes actively cooperated with vofku, that is, for

literally eight years from the 22nd to the 30th, it was a very progressive institution that developed on the go, but in the 1930s it was banned, and ukraine-film appeared, which was already fully subordinated. in moscow, the uniqueness of the vuvuk also lies in the fact that it operated autonomously, that is, the policy of film shooting was determined locally, in ukraine, in odessa, in kyiv, and therefore, in principle, the prominent names of the film makers are connected precisely with the all-ukrainian photocinema management, and when, the atmosphere the working life in moscow became unbearable, the brothers kaufman and... havertov fled here, ugh, and they continued their activities here, which of course, well, wolf was enriched at the expense of very unusual personalities, it cooperated with foreign

directors and cameramen, and dovzhenko really liked working with jozem rona, a german cameraman who, in principle, became his right-hand man in many projects. and then, and then it was banned because of what? because of? that the so-called came into force, stalin, the chief producer of the soviet union, stepped in and himself began to determine already, so i was struck by how much he, how much he was tangential, how active he was in, so to speak, in the production and commissioning of the film, and this is what it really is, well, what still needs some kind of very complex research, like eh, who... who was this producer of the creation of the wolf in the first place, that it well, it turned out that it worked so well, because now we see in the management of the cinema, rather degradation, and we see

that there is a lot, well, the cinema is now supported by independent initiatives, that is , the representatives of the state rather bring confusion and uncertainty there, i planned it , we, we are definitely with you on this at the end the last my question will be exactly this, yes, but it's good that you are now, but for us, that's why vovku's experience is very interesting for us, and because for 8 years they, well, there was a policy of ukrainization, coronaization, films were shot in the ukrainian language, and the dovzhenko center managed to find the ukrainian intertitles for the film zemlya and restore them, because they were mostly lost there, a few of them were preserved, and the center restored them a few years ago, so we ... received evidence that our films are in the ukrainian language, but in the 30th year it is a holiday ended, the wolf was closed, and the ukrainian

films that were shot on the territory of ukraine, which were the yalta, odesa and kyiv film studios, were all given to moscow, to white columns, to the guest film fund of russia, where they, the originals, the negatives are still there , and ukraine already received these films later on. the acquisition of positive copies, i.e. they are either in foreign archives, i.e. it all collapsed together with the collapse of ukrainization in principle, and clearly behind this was a great producer of nations who already had other ideas and the vision of how things should go and we'll talk about that later, but we've got arsenal after arsenal of movies coming up, and for me, for me , it's really... well, arsenal and shores are two movies that just show internal rupture of dovzhenka. arsenal, let me remind you, is

a film about the bolshevik uprising at the arsenal factory in kyiv, when the bolsheviks, the workers, rose up against the unr authorities, against, against the unr army, which actually suppressed this uprising, and dovzhenko was in this army.

elena, i read that dovzhenko even served in the same root of the black haydamaks, which dispersed this bolshevik uprising, so at least he had a hat with a black slip hanging in his parents' house, ugh, and i am now, excuse me, i am rude now, maybe this is a very rude analogy, but here it is for me to make such a film,

yes arsenal, i am now... for me to make such a film about arsenal or shors petlyurov soldier is the same as for our veteran to make a film about givi or motorola right now, well, this is what i am deliberately exacerbating, just what had to happen to a person like him could so turn over internally and what is he for what for this, what kind of internal self-destruction was it or what is it? well, here i will probably still lack details about what happened to him, but we see that the russian-language subtitles are already in the arsenal, and this is happening, if this is the universalization of the language

of cinema, and... we need to reach as many as possible people, and we see a lot in the frame, crowds appear in the frames, and in several of dovzhenko's tapes we observe this, yes, when there is a crowd of people who listen carefully to someone, and we can even not to see the speaker himself, but it is very important for us to see what is happening on the faces of these people, how they are there or disbelief... or on the contrary, they are enthusiastic, they have some kind of elation, and these things are also in the paintings, because here in the national the art museum in 16-15 had an exhibition of the hero of an inventory attempt, the museum then studied the construct of the hero, how it is formed, and after the maidan this research changed, because well, the maidan influenced the

way we look at our heroes, and we decide. .. be more so restrained and give opportunity for the audience to evaluate, and here is one of the spaces, these were portraits of lenin, which are kept in the art museum, they have a certain artistic value, but this is a very interesting subject for research, and there were several canvases where lenin only stands with his back, you can see he is only from behind, well, we understand from the lack of hair who he is, but in front of him is a youth who is inspired, who is ignited, who are burning... eyes that are excited, and by this reaction, that is, this is the reaction of a witness, to whom, which fascinated by something, and me it seems that dovzhenko received, perhaps caught this wave, that he can influence something and change, and how do you explain to yourself why he shows so scathingly, we deliberately chose this moment, where he shows the members of the central

council of these bourgeois, this.. .. this is so emphatically disgusting, this is how he shows these people . yuriy shevelyov wrote in his letters to roman korogotsky, which means he wrote that this is a compensatory mechanism of self-justification due to the humiliation of the leaders of the program competitions. and i will quote this now: why do we need those scumbags from the second camp in the arsenal and why are they that filthy? and here we have the key, because they did not manage to win, it turns out that they are to blame for the lost, for the lost war, so this is not a tribute to official demands, but the honest truth that has been revealed and suffered. i'm all in the anthem, but i'm not responsible for that, it 's those bad guys who are responsible. and shevelyevka. this is

wild dostoevism.