[000:00:00;00] there is not 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 attachments, because especially if we talk about topics, we openly talk about topics of potential war crimes, about murders , what topics are acute in the context of russian fake propaganda news, and for them it is the style of presentation, such reportage, direct , artless, it is important so that additional questions do not arise, or maybe it was a production

, maybe it was there, uh, not what in reality happened and so on , therefore , depending on the topic that we are talking about, about which i am a film, and you need to choose a style for this topic, i want to ask you about the filming itself, in what way? we are talking about red lines, where to go, where not to go, what is ethical, what is not ethical . i think that sometimes it is very individual, we have arguments, tell me what were the possible situations during filming when you just put the camera there and did not shoot, or was there something like that tell me, did you consider evgeny in this situation at all let's start with you. so, tell us roughly so that we can orient

ourselves, what you couldn't film already, you know. well, so that we, er , could not film, we wanted to film a lot, but when people are under great stress, they are aggressive, and they try, they see a journalist and they pounce on you. well, not that there are forests on you, because you become a trigger, you are a person with a camera, and they start a-but not on a camera, i pounce on you , a as a person, and just to release my energy and some time to start filming a it was necessary to talk to people, relax it, so that it passed, this energy went down, negative, and then, ah , take out a camera and start filming something, because very often it happened in these situations when people do not know what to do, they do not know what

will happen after this minute after a second, they see their children who ca n't do anything, and those who don't have to feed, don't have to give a glass of water, and so on . in the same conditions, but that is, there is no no there was a situation when you thought that it was too much to shoot, no, you need to shoot everything, then the editors are with you, when it is at all possible to talk to the editor, you decide what can be published, what is too much , let's say less graphics, what is too difficult for the viewer, but eh so

what's interesting? in general, the media space. 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 dying and killed and tortured people. i think that this is precisely because of the fact that the number of a-a crimes of the military she just crossed all er all all possible borders and er the media started to show finally started to show everything and this is the first second when you edit the 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 repel the viewer with the amount of blood suffering because we are dumb, our psyche is dumb when it sees a lot of suffering and therefore not to sanitize as we say and at the same time it was difficult to show everything as this balance is find but i believe that we found it correctly, because the film received the audience prize at the sentinel at other festivals, so this means that we did our job correctly. i remember your discussion of cinematographers for a long time, when it was shown. it seems that this is the first time in ukraine showed that it is very difficult, you talked about it, i am already afraid to lie about something, but it seems that you talked about it when you were preparing it, you talked with colleagues about staying and they

wanted everything to happen. as you said , manipulations, but not in a crude sense. it was there without music so that you didn't express any of your emotions in any way. this is a happy relationship. tell them what they wanted at the very beginning, what it means without documentary , without manipulation, and maybe you somehow made them reconsider their views a little. no one was against the music. but again, since e- russia has tried many times to declare that these shootings are fake, so one of the principle positions was not to add anything that was not there to documentaries , modern documentaries have a permitted

tool when the director works with foley and so on. we call it, that is, it 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 all this is not in our film precisely because it had to be shown . so how was it? manipulation of the sound, no manipulation of the picture, and this is actually very difficult, because when you are making a documentary film, when you are making a story that needs to be told and also interesting, it needs to be held together , to know that you cannot not represent any elements, don’t add anything, 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 tell the story from

yourself and it is personalized enough. that is, you are not the one who is not removed. no, i was against us, i did everything in order for this not to happen, we recorded many people, we found people with evgeny, traveled with vasilisa, found people who survived in mariupol, we photographed them, i photographed them, i filmed them, that is, we found people who are in the film, who survived and interviews we did interviews with them and at first i thought that this is how the film would look like, but then we realized that we don't want the viewer to leave these 20 days, to stay there during those 20 days with us closed in such a feeling of claustrophobia, we wanted to transfer the viewer to this feeling, that's why we decided not to go out, not to use these interviews, and then this perspective of the story appeared

, the perspective of the journalist who tells, but still, it's just a perspective that helps connect the story, it's not the story of journalists evgeny appears in the frame. sometimes i am there, sometimes i appear in the frame, but this story is not about us , and we have already shot it all like this. yes, we just work so as not to get into the frame of things, we work so as not to fall on each other because it's sometimes to disturb me in the forest, you'll tell me and you, then you look at the photo, yes, you're in the forest, and then you ran me over on video, and it's there for me. well, that's how we learned to be there. we try not to disturb each other. yes, and almost us such an effect of presence as in photographs and in the mirror is not appear like this sometimes we stand there next to each other so as not to disturb the other and we say

there our movements forward i ran forward there or is there a run back there tipa and therefore we are almost nowhere even if he wanted to it still seems that it was very important the element is that i talked with people in the audience. what is it really because it is considered so among documentarians that, well, at least among ours, it is very much like that. phew, i will not do behind-the-scenes and phew, i will not synchronize writing people there. this is not cool at all. but in in your case it is it turned out to be very cool and effective factor right there, one more thing if it were true there is a trend in documentary filmmaking not only in ukrainian but also in the international world not to be present in the film if you are not part of the story you are telling otherwise it’s called that’s what we call it

an extract of jonatalism, when you say hello somewhere, you come, you take a picture of the history of people, and ah yevhen is from berdyansk, near mariupol, i am from kharkiv, we worked very well in mariupol, there are so many of our friends , so many of us are part of this big family, this is also our history, that's why we could be a part of history, if it was somewhere in another country, it wouldn't be like that, but since we are also a part of this society , our history is the history of this society , our uh, our uh, uh, efforts to uh, write down

the history of our country this is also part of the history of this country, listen to your fm galicia and further ukraine on megogo at the legendary san siro stadium, our national team will impress the italian audience with a bright game, watch the super match of the euro-2024 selection on september 12 at 21:45 on megogo when the cold and runny noses come want to go to the humer resort for daily prevention and in the complex treatment of non-life-threatening diseases nasal 30% in pharmacies traveler bam and savings during sports the body loses water and electrolytes as a sports doctor i recommend reo from it i recover from reo water for

special medical purposes this is a scary place and such places again with appeared in ukraine, we see them in the liberated cities , torture camps , we know about their existence in the occupied territories of the russian empire. the place of destruction is not according to who knows where i would be, where you would be, but now this is a museum at the price of the lives of our soldiers, at the price of destruction, at the price paid by all of ukraine, this is a museum and let

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remind me who took this one of the most famous photos of a father sitting over the body of his dead son, these currents were yevhen's filming, tell me how to do it in general , because on the set, i remember the film. i watched it in my mind somewhere a few months ago , it seems. then you stand in the room where the father and son are. how is it? well, i don't even know. well, it's technically correct to do it so that it is filmed and that everything is as ethical as possible so as not to violate the boundaries of this situation. well, i think that this is provided, you know, you'll learn... not that this is some kind of mechanics, but the feeling of um when you can do it sometimes yes, so that you um a-ah no

, there is no additional aggression that is already there and that pain and what people feel and that strong pain a-a what we can see there in the photo and video it's really not easy and it doesn't always work out here it is and to yourself so you think that and it’s luck and so on, but maybe such a situation and maybe serhii uh, really, because he also allowed us to do it, because it’s if we can’t just enter such a space without permission, well, it’s impossible, that’s still there are two people evgeny takes a photo i take a video we are both present in the room and er two cameras not even one or two and is it this

or the doctors and also plus other patients others two friends a-and this son whose son was killed they were also just there there they were thrown out for a second and the door opened and serhii saw and he ran in and set it up and he realized that everything was there. although he brought it by car , we just witnessed how i heard the car's signal, how it drove up, how the trunk opened, and the bodies of ilya artem were taken out from there, and then they brought three guys another day, who were they? a cluster munition that exploded on the football field. when they were playing. well, i understand that this was one of the most difficult moments when they were filming . were you there

? it wasn't just there. that from 30 minutes to a lot what was not included and what was not included was not because it did not hit there, because you looked and understood that it could not be shown for some reason, there was no such thing, there were such things that simply were not part of the story that we were telling, there were several of other departments of doctors and hospitals, there was a work with the red cross that we really wanted to show, but it’s just that according to the plot, it just didn’t work, well, it just didn’t work out. of course, if it’s a movie, then it must have

a story arc in it, and something i just can’t enter because it doesn't work out, there were moments when, well, we filmed, for example, the bodies of children who, er, could not be saved by the doctors, but at this very moment, er, the viewer had already seen so much that um, well, it's simply not possible to show it anymore because it's distracting and distracts from the story. that's why it's a lot of work and in fact a good editor helps me here . i was helped by the editor pvs frontline michaelmaster, we edited everything together with her. and here's her perspective, she also helps to find the right moment. you had one in the film. what kind of episode do we have, well, in such rather narrow journalistic circles, they discussed the episode when, uh, you show the mass graves

, when these bodies of his are assembled, and you ask the man who does it, uh, what do you feel about us? this question is very debatable among journalists, that's why that some people really like this question because it is usually very possible to get an emotional answer to it and maybe people feel some kind of involvement that they are interested in their feelings, and other colleagues of ours wish that this is one of the most incorrect questions that such a thing can never be done in life to ask and period, do you think that this is a good question, you can explain why it is appropriate and correct, first of all, you see that the film is not suspended, so it is without er a-a let's say yes without without judgments without er-e any such

emotional, uh, uh, i don't try to convey my emotions to the audience, but uh, it's still an emotional film, and it seems to me that it's right to be interested in people's feelings , because we, as journalists, as documentarians, we run somewhere, shoot something, and uh, when we not interested in anything more than just that it happened to people, well, it's unpleasant, i'm the ones who don't want to answer. in general , they don't answer, but i don't remember that anyone in my entire career of conflict journalism

did not answer this question, was it one of the people or something iraq, syria, ukraine, nagorno-karabakh, people everywhere, especially those who are under stress, i can't say it's nice, but it's necessary to share. if they've already started talking on camera, then they need to share the worst thing. in such a situation, it's knowing that everyone doesn't care. i have been to such situations like when you are under terrible stress or you are almost dead and when someone is interested in how you feel it supports you you know that people don't care and i just want to show people that i don't care by the way you are probably in the minority but your argumentative position i think that i am now putting myself in the place of a person who is going through something like this, probably because i am a colleague . for example, i have colleagues as the chief editor

of babel or yevhen spearing, he dealt with bodies in buch, he got a job in the morgue, and there he was asked this question and he rolled a whole a post that they said that well, this question cannot be asked, but it is, you see, such a debatable thing, you know, i also liked how you said it wrongly in your film, you are fighting against russian propaganda and i feel that you did not have such a goal from the very beginning, you rather do that what is journalism, you are showing the truth , there is a very similar story in iron butterflies in another movie there about mh17 they know that you watched a similar technique there when they show russian news and then they show other shots where it is clear that these russian news are lying and you also have, when you show russian journalists, well, it’s probably hard to call them journalists, propagandists who claim that everything in the maternity hospital was staged

, and we see all these shots and understand this whole scheme by which russian propaganda works, can you explain that it is the toolkit of this display of disinformation, false propaganda , so that it looks not like counter-propaganda, not like some kind of answer, not like a dialogue with propagandists, but precisely like journalism, well , you just now said this, this is not a dialogue. we are not should respond or try to fight propaganda we will just do our work and the film is just a tool for this kind of work because when you give people from see how propaganda works, it gives many

versions and people lose perspective in these versions and we live in an era of cities information, but if you give people enough text, as it is possible to do it in a film, then it will be easier for them to act against this incorrect interpretation of the events that they see, but yevhen pushed the same with the photos that he i was shooting the same thing. well, it just spilled out, first on me, then on all of us. because the first photos became popular

. yes, the photos were the first photo that was reproduced on almost all the front pages of those newspapers that are still in print. and yes, there are not so many of them left now, but when they all came out from one photo on the first cover , we realized that his and this is a photo of irina kalinin, a pregnant woman on a stretcher , who died, who then died, and this one, if and against that's what this wave was directed at well, the news of fake news is discredited, the photographer, yes, how did he do it, and they called

me different names, yes, information terrorist, from mrs. zakharova, and so on , yes, everyone mentioned me there, and everyone is famous, but if the main thing is not to give up, and so on and just keep doing yes, i don't know how difficult it would be to prove something here , and to whom to prove it, yes, how would we do our work ? we still have so that there is no but i think we have done enough for the world to understand what is happening, yes, and this is what our work has shown. yes, you were there and you

were made very high according to our work. you probably don't already count the number of these events abroad, where do you take your film, there must be q9 communication with the audience, communication with the press, i am even more interested in communication with the audience, ah, there are a lot of stories from your colleagues who went somewhere there and encountered some wild ideas about our country from different people and felt this vacuum of information about ukraine , of course, tell me if it is possible for you to have any question from the audience that you met very often or some reply and how you can feel that exactly your film was able to change the perception of ukraine by these

viewers who before watching the film thought only one thing, and after watching a-a, this vacuum was filled in them, i will tell you about the film evgeny travels with photo exhibitions, this is also such an important important part, most often and this is good, the most often heard question is how to help, it is it's simple, but how can we help? tell us. well, we want to help now, but here's how i think that actually part of our work is not our work, our work as a ukrainian society should be precisely to help the international community understand how to help . it's simple, but it's important, secondly. it seems to me that finally people who watched the film understood the scale, because the scale of suffering, the scale of destruction and the intensity