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september every friday at 21:15 for espresso hello this is freedom morning informational project radio svoboda top guests every day this is the shipping district of kherson inclusion live we try out bahmut we tell the main thing on weekdays at 9:00 a.m. big broadcast of vasyl zima two hours of airtime two hours of your time two hours to learn about the war and what the world is like 2 hours to keep up with economic news and new sports two hours in the company of favorite presenters presenters

who have become familiar to many and also respected guests of the studio, events of the day in two hours, a big broadcast of vasyl zimi, a project for intelligent and caring people, in the evening, most express greetings, friends, we talked about the film 20 days in mariupol once on our broadcast , finally you can watch it, i think some of you have already watched it, most often the feedback about this film is very difficult to watch, but i want to watch it to the end and then even watch it again. i heard that and now we will talk with the creators of this film with mstislav chernov and yevhen olenetka and first congratulations congratulations let's start with the oscar because we always have some kind of oscar passion, we always want to win the oscar, then we can’t do navalny or

someone else, ah, you said in revenge that maybe you want to submit like that, that is, i understand correctly that you have such plans to submit to the category of best documentary yes, yes category of the best documentary film, we just fall into this category in terms of style and we will try to do it, what happens next is not up to us, but this year there was not much and it surprised us that there are not many great documentaries documentaries about ukraine and i believe 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 the press from the states is the united states. tapes correctly, i understand, and for oscar , not only the quality of the film is important, but also how big the advertising was, how much it is a decisive fact, uh , oscar's company - that's right, it's a great resource, uh, there's always a lot of trips, a lot of acquaintances and a lot of attention is needed at the same time the film is presented on the international stage , i can't say whether we or we succeed or not ukrainian cinema has already announced itself in the world ukrainian wine and cinema already has good always has good chances at the oscars it is noticed that's why i just think that it's just necessary to continue this is our film it falls into e only in the documentary category because it is made in english for a foreign audience pbs froline is

an american documentary studio and osushitel press is an american company that's why we're going yes, but i hope that in the category of the best international film, uh, ukrainian cinema will also be there, we'll see, usually scandals happen around this, but i want to ask both of you, you say that there is little uh, ukrainian , in particular, documentaries, do you think so uh, how do you really think that now it is necessary to shoot first of all documentaries and not games and what to do with games because there are a lot of opinions about the film butch, which is now in the post-production stage and i am now such a small scandal around the series yurik he it is called about mariupol, and residents of mariupol who survived the occupation say that the authors portrayed it wrongly there and that they showed their life under

the occupation in a much more rosy way, so do you really think that now is not the time for a feature film about a full-scale repetition, or is it still possible to do watch feature films and documentaries are different mediums and different topics require different mediums something can be told some stories can only be told through documentary some topics can be told only literature has its own topics eh for art cinema, 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 is necessary to do it precisely because, oh, and mariupol , and in general, the invasion of russia into ukraine requires a constant informational presence the point of view of the ukrainian point of view if it is not

there, either in the artistic field or somewhere or documentary, a vacuum will be created , and 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 nobody wants this propaganda, do you think the same way, do you agree ? well, i think that you said scandals. yes, i think that, like ukrainians , we should always unite and work to make a high-quality product and present it to the world. mstislav's film is a good example of how to unite around an idea, make ideas , go regardless of anything, don't get annoyed with her, don't make any glass k and sewers, and continue. e so what do you do?

and here is the business that we chose yes from the beginning already long ago, let's say from long ago, or years ago, we still continue it, we still continue to do it at one point . and when you go, you can break this wall and break through it and show that it's all possible and ukrainians can make movies and can present. do you feel that you entered her vacuum which was reported on a large-scale invasion because you really have a movie that i watch a lot of reviews if you look at the platform and like imdb everything else well, i think you have seen it is very positive reviews high ratings at the same time the movie is difficult to watch it all somehow it is combined, due to what it causes, there is such an emotion that it is difficult for people, but it is also interesting at the same time, because in fact there is not enough information. well, it is not that

information reaches people everywhere, but full information, information with the context of history, is not enough, we see everything quickly, it is brought, especially to an international audience that lives its own life, it has problems in its own countries, and that's why he told such a great story that they grabbed you for at least 90 minutes and don't let you go . they are needed now, right now, that's it the right time for such stories, the whole secret is in this. well, the history of mariupol is unique. mariupol is a symbol for ukrainians and for

the 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 represents the history of mariupol. the story of this entire 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 did you expect it to be a movie because after all, journalistic work is different from cinematographic work, now i hear a lot of such opinions from cinematographers that journalists say now they went to documentary and they say that it is not very good for all of us, but what is the fundamental difference when you journalists shoot and when you calculate

that it will already be a documentary about documentarians, it can be said that they are not enough in time, let's say so because there are very painful topics that need to be talked about right now and told directly without artistic applications, because especially if we talk about topics, we talk openly about topics of potential war crimes, about murders, what topics are acute in the context of russian fake news propaganda, and for them the very style of presentation, such reportage, direct

, artless, it is important so that no additional questions arise, or maybe it was production maybe it was there er not what actually happened and so on, depending on the topic we are talking about, about which i am a film and you need to choose a style for this topics, i want to ask you about the filming itself, in what way? well, not that the peculiarity, uh , we often also talk 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 disputes , tell us what maybe there were situations during filming when you simply put the camera down there and did not shoot, or was there such a thing that you considered yevgeny in this situation at all, 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 that we could not 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 , it’s not like there are forests on you, because you become a trigger, you are a person with a camera, and they start. - and not to rush at the camera, and at you, and as a person, and it’s just to release your energy and take some time to start filming, and you had to talk to people, relax it, if what happened, this energy went into decline, negative, and then ah

get a camera there and start shooting something very often it happened in these situations when people don't know what to do, don't know what will happen in this minute, in a second , and they see their children who can't help anything, 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 to shoot something and it was sometimes difficult, indeed , we were, but we were in the same conditions, but that is , there was no situation when you thought that it was already a match, you should shoot or shoot everything, then the editors together with you when it in general, it is possible to talk with 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 what is interesting , in general, the media space and what international snakes have been publishing in the last year and a half has changed , much more has appeared candid shots and people who die and killed and tortured people and this has never happened before . i think that this is precisely because the number of military crimes has simply crossed all possible borders and the mass media started show finally they started showing everything, and this is the first, second, 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 alienate the viewer by the amount of blood of 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 show everything how this balance is it was difficult to find it but i think we found it correctly because the film won the audience prize for the award at other festivals it's that it means that we did our job. you did the right thing. i remember your discussion of cinematographers for a long time. where is it when it was shown? it seems that it was the first time in ukraine that it was shown before your film.

when you were preparing it, you spoke with your colleagues for the shiite press and they wanted everything to happen. as you said, without manipulation, but not in a crude sense. and for it to be there without music, for you not to express any of your emotions, that's happy relation tell us what they wanted at the very beginning, what does this mean without documentary, without manipulation, and maybe you somehow made them reconsider their views a little bit, no one was against the music but again, because uh , because russia has tried many times to declare that these shootings are fake because one of the principle positions was not to add anything that was not there to documentaries, there are er modern documentaries are er allowed

er tools when the director works with foley and so we call it, that is, it can strengthen some sounds with the help of sounds that were not in the film, adding an explosion, the sound of explosions, and so on. and all this is not in our film precisely because it was necessary to indicate how it was, i, you, why am i here, the press, such a rule, no manipulations with the sound, no manipulations uh, with a picture and this and this is actually very difficult because when you assemble a documentary film when you make a story that needs to be told and also interesting so it needs to be held together uh to know that you cannot not present any

elements no add nothing it's such it's it it's such a challenge, it's not easy, but it seems to me that we did your colleagues against the very beginning that you tell the story from yourself and it's personalized enough. that is, you're not the one who's not suspended, eh. no, i was against it, because i did everything to prevent this from happening, and we recorded we found many people with yevhen, we traveled with vasilisa, we found people who survived in mariupol, we yevhen, the photographer photographed them, i filmed them, that is, we found people who are in the film who survived and interviewed them, and at first i thought what exactly so it will be film, but then we realized that we want the viewer to come out of these 20 days, to stay there during those 20 days with us closed in such a feeling of claustrophobia, we wanted to transport the viewer to this feeling, so 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 is just a perspective that helps to connect the story, this is not the story of journalists yevhen appears in the frame sometimes i appear there, sometimes i appear in the frame, but this story is not about us that's how we filmed everything. yes, well, we just work like this so as not to get in anyone 's frame. if you work so as not to bump into each other, because it sometimes interferes with the forest . i'm in the frame. to the forest later and you ran me over on video and that's me there well, we've learned so that we're there we try not to disturb each other yes, and we almost have the same effect of presence as photos and not

being reflected in a mirror like that sometimes we stand there next to each other so that we don't interfere with another and we say ours there movements forward, i ran forward there, is there a run back there, and that's why we 're almost nowhere, even if they didn't want it, it still seems like it was a very important element, so i talked to the people in the audience , which is really because it 's considered so among documentarians that well, at least among our people, it’s very uh, uh, i won’t do behind-the-scenes work, and ugh , i won’t synchronistically write people there, what ’s that? it’s very not cool. but in your case , it turned out to be very cool, effective . another factor right there if it is true, there is a trend in documentary filmmakers of this not only in the ukrainian but also in the international e-e don't 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 john's extract, we'll take it when you come somewhere to say hello, you're filming people's stories and ah yevhen from berdyansk along with mariupole i'm from kharkiv, we worked very well in mariupol, we have so many friends there , 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 because we are also a part of this society, so our history is the history of this society, our uh, our uh, uh, efforts to write down the history of our country, this is also a part of the history of this country, ukrainians romanticize

freedom, this is how it happened in our tradition, volya svoboda, all this like air, something that you can't touch, but without it you can't breathe, and on the one hand, it's really like the classics, because if you compare all the gold against freedom, it's just a swamp, but only now, when they try to conquer us again , not metaphorically, but literally when they try

seize or destroy only now has the understanding come freedom has a price and its exorbitant juice must be paid for and we are paying remind me who filmed uh and this is one of the most famous photos of a father who is sitting over the body of his dead son these currents were filmed by yevgeny tell me how to do it in general what was on the set i remember the film i watched it about a few months ago it seems first you shoot it like this and then you stand in the room where the father and son are how is it well i don't even know well technically it's the right thing

to do to shoot it and to well, everything was as ethically as possible, so as not to violate the boundaries of this situation. well, i think that this is provided, you know, you will learn, uh, not that this mechanic is some kind, but the feeling of um, when you can do it sometimes yes, so that you do not have additional aggression that already there is that pain and what people feel and that strong pain a-ah that we see there in the photo and video it is really not easy and it does not always work out as they guess for themselves that and it is luck and so on but maybe such a situation and maybe serhii er really because he also allowed us to do that

to do it if we can't just enter such a space without permission , well, it's impossible, it's also two people yevhen takes a photo i'm taking a video, we're both present in the room and uh, two cameras, not even one or two times, and is it still doctors another plus, other patients, others, two friends, and this son, whose son was killed, they were also there, just there, they were thrown out for a second, and the door opened, and serhiy saw it, and he ran in and stood there, and he realized that everything was there , even though he brought him by car, just we witnessed how i hear the signal of a car like her drives up as the trunk opens and

they take out the bodies of ilya artem, and then another