[000:00:00;00] from odesa and he used vestments that were too expensive he could not take them with him yes yes any church service you understand here you have to adequately relate to many events and things that we can perceive oh gold a lot no he hung it in the closet and he is not the only one who is researching the liturgy, he is not the only one, and all this is the result of the kiev-pechersk lavra. i think he hears me now. many people told me that thank you very much for interceding for vladyka pavlo, i do not intercede for him. he uh a specific person, but no, there is no need to translate some things

from our church usage into our personality into our personal use. it's good. we still remember that caesar's is caesar's in god. we will leave it to god . each of us will for this, including vladyka pavlov and onufriy and so on, but i want to actually ask you about this new quality, vladyka, look, we watched very carefully the also amazing things that happened, for example, with pochaivsk, do you remember that uh, there was a ban on mass events, including their cross procession, but it was neither the church ministers nor the parishioners of the moscow patriarchate who did not listen to them, they made a big cross procession, they ran into the fact that they could not even have to move through the fields, and so on, we paid attention to other things, first of all,

this and it was ignored that there were colorado tapes about what is happening now again in zhytomyr oblast, for example, when the clergy of the ukrainian orthodox church of the russian federation distributes russian literature and nonsense about the ongoing civil war in holy russia well, and all other deliberate actions, this is all in the area of ​​pochaiv, for example, the pochaiv lavra, how should it end in the end? it will return to the bosom of the ukrainian church . will the islands of buzkova myra remain in western ukraine? it is very difficult to answer your question today. vladyka agafangel notes odesa on his 85th birthday

, i cannot answer how the process in question can end, since vladyka hafangel himself, back in the 90s, was the initiator of what is actually happening today in ukraine interesting, absolutely incomprehensible, processes are taking place today because, for the first time after 20 years, the angel visited the pochaiv lavra for the celebration of the pochaiv icon of the mother of god , and i don’t know what could have happened there , but usually things happen in the pochaiv lavra -th gatherings and uh-uh certain certain communications that lead to uh-uh tectonic shifts in the orthodox church i can't

answer your question although i would like to ask you about what actually uh-uh here he is on our eyes there is a transition to a calendar that corresponds to the astrological calendar. that is, we have a new calendar calendar, yes, yes, and now we will have to, as they say , spy from time to time that nicholas is now december 6, christmas is december 25, well, at least we are up to christmas is used to this date, but many other dates also change in the same way, and in this case, could there be some , well , i don't know, low-level resistance, what will people say ? are you expecting everything to go smoothly? i don't know how to answer this question again, because it should happen

pragmatically and effectively, logically, all processes take place in the church in an evolutionary way, but i note that they all take place with caveats, in case something is wrong with us, they said in the moscow patriarchate, from which i joined the orthodox church of ukraine, we must be clearly aware that the process is logical, in a different way it can't be , we come to that calendar that was accepted at one time and the church of constantinople and those european churches that follow it today

, what will happen, how it will be, of course you will agree. strictly speaking, this is exactly how the holy dormition kyiv-pechersk lavra observes the old style and calendar under the leadership of today's most blessed metropolitan epiphany and under his authority of the house, which he handed over to the acting vicar of the monastery eh, bishop, this avrami of the authorities, whom we have to complete, i understood correctly, that is, in fact, we will now have exceptions and , accordingly, there will be two calendars at the same time, this is not clear, bishop, thank you for the conversation , clarification, oleksandr drabynkomy, thank you for your blessing, metropolitan of pereyaslavskyi , vishnevskyi, orthodox churches of ukraine with difficult questions, of course, or is there still an agency both in pochaev and

in the kyiv-pechersk lavra of the archimandrites and avraham told about it, in particular , law enforcement officers work here, some say it is necessary again the agency will be separated from the sacred service e-e part but this is already a separate story about which we will talk tomorrow for today i want to say goodbye to you or i want to pass the baton to our colleagues because this is practically a program about the culture of lena chechenin will tell you in particular about and chat with the authors of the film 20 days in mariupol, mstislav chernov and yevhen maloletka documented the crimes of the russians and the humanitarian disaster in the city of maria mariupol at the beginning of the full-scale rerun. by the way, this tape, unlike any scandalous artists of the tapes will go to the oscars this year, so friends. thank you for your attention because of the new cowpause of lena chechenina and her

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in the vicinity of bakhmut we tell the main thing on weekdays at 9:00 i congratulate friends we once talked about the film 20 days in mariupol on our airwaves finally you can watch it already. i think some of you have already watched it . the most common feedback about this film is that it is very difficult to watch, but you want to watch it to the end and then even watch it again. mstislav chernov with yevhen olenetka and first of all, congratulations. let's start with the oscar, because she always has some kind of oscar passion, we always want to win the oscar , then we can't do navalny.

that you have such plans to submit to the category of the best documentary yes, there is a category of the best documentary film we just fall into this category in terms of style and uh, we will try to do it, what happens next is not up to us anymore, but uh, in this year, not much was released, and it surprised us, there were not many large documentaries about ukraine, and i think that it is absolutely necessary to represent both ukraine and the topic of ukraine, now at the oscars, it will not be a submission from ukraine, because from the states of the press - this is the united states. maybe it’s for the better . do you think it’s because we haven’t yet learned how to promote movies correctly

? oscar's company is a great resource, it's always by train, there are a lot of acquaintances and a lot of attention should be paid to the film that is presented on the international stage. i can't say whether we succeed or not. ukrainian cinema has already announced itself the world's ukrainian wine e movie e-e already has good always has a good chance to be noticed on the island that's why i just think that it's just necessary to continue this is our film it falls into e only in the category of documentary film because it was made in english for foreign audience, pbs froline is an american documentary studio and osushitel press is an american company, so we are going

yes, but i hope that in the category of the best international film, er, ukrainian cinema will also be there, we will see it on us, usually scandals happen around this, but i want both of you to ask, you say that there is not much ukrainian documentary filmmaking, do you think so, what do you think , it is really necessary to shoot documentaries, not feature films, and what to do with feature films, because there are a lot of opinions around bucha's film, which is now in the post-production stage, and i'm currently in such a small scandal surrounding the series iurik, it's called , it's about mariupol and the residents of mariupol who survived the occupation and say that the authors portrayed it wrongly and that they showed their life under occupation in a much more rosy way so do you really think that now is not the time for a game movie, about a full-scale repetition, or is it still possible to do it , watch a game movie and a documentary film, they are

different mediums, and different topics require different mediums, can you tell me something? stories can only be told through documentaries, some topics can only be told through literature, there are themes for feature films, and i think that it is important, it is still important to do it, it is important, it is important to do it ethically correctly, talking to the audience, and so on, and so on, but it must be done precisely because a-a and mariupol and in general the invasion of russia into ukraine e-e needs a constant information presence from the point of view of the ukrainian point of view .

the vacuum does not exist in the information space, it will be filled, if it is not filled by ukrainian cinema, it will be filled by russian propaganda, no one wants it , you think the same, agree well, i think what you said was scandals. yes, i think that ukrainians should always unite and work on making a high-quality product and presenting it to the world . yes, mstislav's film is a good example of how to unite around an idea, make ideas and go regardless for what yes there er no don't get annoyed, don't do some uh-uh glass and sewers, but continue uh-huh, what do you do? and here is the business we chose. yes, from the beginning , it's already old, let's say from the old davents or years ago, we still continue it, we still

continue to do it in one point and when you go to this wall, you can break and break through and show that all this is possible and that ukrainians can make films and can represent. and you feel that with your film you have filled some kind of information vacuum that existed before the full-scale invasion because you have really, what a movie, i watch a lot of reviews, if you look at the platform and like imdba, everything else. well, i think you've seen it. it's very positive reviews, high ratings, at the same time , the movie is difficult to watch, it's all somehow combined , thanks to what it causes, such an emotion arises that people it is difficult, but it is interesting at the same time because there is not enough information. well, it is not that information reaches people everywhere, but full-fledged information with the context of history is not enough, we see

everything, it is brought quickly, and especially an international audience that lives in its own life, it has the problems of its own countries , and that is why such a great story was told that captures you for at least 90 minutes and does not let you go. they are needed now so that right now is the right time for such stories , the whole secret is in this well, the history of mariupol is unique. mariupol is a symbol both for ukrainians and for an international audience . it is a symbol of the true face of the russian invasion of ukraine. and it is a symbol of resistance

, a symbol of will and hope, that is, it is the history of mariupol. it actually represents history of all this invasion that is still happening and probably because of that, and also because there is hope in it, despite all the pain we see , there is always hope. when you filmed this tape , uh, you expected it to be a movie because, after all, journalistic work is different from cinematic work now i hear a lot from cinematographers of such opinions as journalists say now they went to documentary and they say it is not very good for all of us, but what is the fundamental difference between when you journalists shoot and when you calculate it

that it will be a documentary about documentarians, this is exactly what we can say that they are not in enough time, let's say so, because there are very painful topics that need to be talked about right now and told directly without artistic additions, because especially if we talk about topics, we openly talk about topics of potential war crimes, murders , what topics are acute in the context of the propaganda of russian fake news, and for them the very style of presentation, such reportage, straight , artlessness, it is important that it does not arise additional questions, maybe it was a production, maybe it was there, uh, not what actually

happened, and so on, depending on the topic we are talking about, which film i am talking about, and you need to choose a style for this topic, i want to ask you about the filming itself what is it? well, it's not that the peculiarity is, we often also talk about red lines , where to go, where not to go, what's ethical, what's not ethical. i think that sometimes it's very individual, we have disputes , tell me what the possible situations were under filming time when you were just hanging out there the camera and did not shoot, was there anything that you considered yevgeny in general in this situation, tell me, let's start with you , so tell us approximately so that we can orient ourselves, what you could not shoot already, you know, so that we, er,

could not shoot, we wanted to shoot a lot, but when people are under great stress, they are aggressive, they try, they see a journalist, and they attack you. well, it’s not like there are forests on you, because you become a trigger, you are a person with a camera, and they start a-a not on camera, no to rush a at you a as a person and just to drop my own energy and some time to start filming, and it was necessary to talk to people and relax them so that, er, to pass, this energy went down, negative, and then, ah , get a camera there and start filming something, because it happened so often in these situations when people

they don't know what to do, they don't know what will happen in a minute, in a second, and they see their children who can't do anything to help them, and there's nothing to feed them, they don't have to give a glass of water, etc. and that's all, and here are the people who just came something shooting and it was sometimes difficult, really, that's how we are but we were in the same conditions, but that is, there was no situation when you thought that it was already a match, you need to shoot or shoot everything , then the editors together with you, when it is even possible to talk to the editor, you decide what can be published. what is too e- let's say there are fewer graphics, which is too difficult for the viewer, but so what is interesting about the media space in general, and what international snakes

have been publishing in the last year and a half has changed much more, there are more candid shots of people who die and are killed people were tortured and there was no such thing before, i think that this is precisely because of the number of a-a crimes of the military she just came all er-er all possible borders and er-e mass media started to show finally they started to show everything and this is the first the second eh when you edit a film, you still have 30 hours and that's still not enough. we had 30 hours and you need to create a 90-minute film and

at the same time show everything as it is and at the same time not push the viewer away with the amount of blood and suffering because we are numb to our psyche becomes mute when he sees a lot of suffering and therefore does not to sanitize as we say and at the same time show everything as it is this balance it was difficult to find it but i think that we found it correctly because the film received the audience prize at the sentencing at other festivals, that means that we did our job you did the right thing that i remember i am watching your discussion of cinematographers for a long time, where is it , when was it shown? it seems that it was the first time in ukraine that your film was shown, then you talked about it.

they wanted everything to happen, as you said, without manipulations, but not in a crude sense. and for it to be there without music, so that you did not express any of your emotions or anything related to you . you somehow forced them to revise their views a little, no one was against the music, but again, because uh , because russia tried many times to declare that these shootings are fake, so one of the principle positions was not to add anything what wasn't there in documentaries, there is uh, modern documentaries have uh, a permitted tool when the director works with foley, and that's what we call it, that is, he can amplify some sounds

with the help of sounds that were not in the film , add an explosion, the sound of explosions, and so on. and this everything is not in our film precisely because it was necessary to show it as it was, i am you in general, what am i here for, the press is such a rule , no manipulations with the sound , no manipulations, uh, with the picture, and this is actually very difficult, because when you collect a documentary cinema when you do a story that needs to be told and also interesting. yes, it needs to be kept together , uh, know that you can't not present any elements or add anything, this is this, this , this is such a challenge, it's not easy, but it seems to me that we did or were your colleagues against the very beginning that you are telling the story from yourself and it is sufficiently personalized. that is, you

are not the one who is not detached, eh. no, i was against us. in mariupol, yevhen, their photographer, photographed them, and i filmed them. that is, we found people who are in the film who survived and interviewed them. at first, i thought that this is how the film would look, but then we realized that we want the viewer to come out of these 20 days, so that he would stay there in those 20 days with us closed in such a feeling of claustrophobia, we wanted to transport the viewer into this feeling, that's why we decided not to go out, not to use these interviews, and then

this perspective of the narrative perspective appeared a journalist who tells, but still it's just a perspective that helps connect the story, it's not the story of journalists yevhen appears in the frame sometimes i'm there, sometimes i appear in the frame, but this story isn't about us , and we already filmed it all like that yes, we we just work so that we don't get in anyone's frame, of course, so that we don't get in each other 's way. that's how we learned to we are there. we try not to disturb each other. yes, we almost have the effect of presence like photographs and not being reflected in the mirror like that sometimes. we stand there next to each other so as not to disturb the