[000:00:00;00] otherwise, life would not exist at all, if this did not happen, this is the very first shooting , even when we did not even plan to make a film about ivan dzyub, it was that long-ago project where we filmed people, and the sixties, in particular, and from there they took a small piece that went into the finale of the film, it is about, after all, there is more good in the world than evil, otherwise the world would not exist, so what, well, i think it is very often happens in movies, and we changed a little, accents, changed, and changed the topic, and the movie turned out not to be a drama dissident, came out about people's relationships, about

love. it turned out about the tender relationship that they brought, through all their lives, about the guardian angel of march dzyub, this film, by the way, i liked it because it is not stereotypical, that is, everyone expects, most people, that when it is about the sixties, now it will start about heroism, and not about some other squeamishness and romance, well, they just lived, they were all very talented people, and they were very honest, people with a conscience and they did not think that they were heroes, this, here marta is absolutely right, no were heroes, and they didn't want to to be heroes, they lived like that, and very often a hero, well, this is more about feature films, when someone is filmed, especially now the trend is when they shoot igraphic films about still living people, these people do not like films, they say, margaret thatcher was not liked there

the film about her, in the documentary, maybe a little easier, i don’t know, but still they often complain, or after watching it, i understand that it’s scary to show your characters an already edited film, and what ms. marta said when she watched this one for the first time the tape and did she ask you to cut something there or not to take something , you were at the judge, you were, even at the court she sewed a special black suit for herself to look elegant at the court , the film was shown for the first time at the festival somewhere, it was a closing film and there are not big well, there was an air panic, but people left the hall, then they came back in and the movie was still shown, and marta volodymyrivna watched a movie there for the first time, well, i wasn't in ukraine at that time, so i just know that we already talked with marta , and my friends told me that said marta to the stage, it would be very, well, why am i here, said marta, well, i know this topic of marta

volodymyrivna. why is there so little of ivan mykhailovych, and that is, all her critical thoughts and remarks related to exactly the proportion of her and her husband on the screen in the film, well , it generally seemed to me that this and that was all, that this was all that she said, yes, but she now to me, we were saying goodbye, and she said, you know, the film that was then in october and the film that was in the ukrainian house today are two different films, such a perception happens, to me in general, it seemed that it was a film, well, when i went, i thought that it would be a film about a woman, well, more precisely, about a man because of the stories of his wife, but after watching it, it seemed to me that it was not so, that it was actually a film about her, because she was there as a full-fledged heroine, and they still turned out as a couple for you, although mr. ivan is less there, in general, for you, well, at

the end already... the final result, what is this story about, and she definitely not about this pathos, yes, not about heroism, but about what, what are the main messages in it, well, i think, this a story about tenderness, about wisdom, about the incredible friendship of two people, and about honesty, and about what people are. despite all the trials, they remain human, and about intelligence, i would say the key word is intelligence, they are incredibly intelligent people, and here it's just like that, when you are with them, i remember well that ivan, when he was alive, well, it's just something, some kind, it's such an incredible ukrainian intelligentsia, with such a breed

, with such, with such... roots, although ivan, such a guy from donbas, she is galician, she set the tone for the family, their family, of course, that's about it, i think so. but you once filmed when you talked with, well, you not only with mr. ivan, mr. and mrs. martyr, you also talked with other people, and you also filmed about the sixties, what do you think was the most difficult test for them, because we also, from the point of view of such a distance, somehow we often cannot understand this, because everything is lost in pathos, but in fact, maybe these were some non-obvious things, maybe everyday, i... think that, well, definitely the arrest of ivan, and because i i understand very well, marta, that ivan mykhailovych had tuberculosis, and so did she

absolutely knew and understood that if he was arrested and sent to the camps, he, he would not survive, and she told me this many times, she said this very delicately in the film, but she knew that it was necessary to save him, and she saved his whole life. he had heart attacks and what, whatever he didn't have, all the time he was going to the doctors, to the doctors, to the doctors, and i think that the most terrible moment was definitely the moment of the arrest, she went there as if to work, to the kgb, to the prosecutors for fedorchuk, and she was very, very nicely dressed every time dressed simply, elegantly, one might say so , and in order to impress these investigators, caddies, officers, well, you see how many years have passed, she said about them even today on the stage very tolerantly, they were, were people

of the system, but they were nothing, they were not evil, the banality of evil, yes, yes, they, it was their job, yes, by the way, that's what you said in the trailer , which is very memorable, when she said that she sewed a suit for herself, i really love this episode, yes it is very revealing, i don't want to say it's only for women it is clear, because it is for women and for men, but now how many compliments have been given to ms. marty, she really looks, well, just extraordinary, and you have her in the frame, she is like a superstar in general, she is a very worthy, incredibly worthy person, what is the significance , how did you wear this dress, clothes in general and this dignified look, what does it give. in a sense of self-respect of some kind in front of these, i think, i think, yes, i think, yes, but i see photos that when lviv was polish, my parents are from there, lviv

stavom in the 39th year, and so it seems to me, i i just remember how her parents were dressed, how the public was dressed just on the streets, i just have these photos. they were able to use everything, this, i think, comes from there, from these memories, from the way her parents, both mother and father, dressed, this culture comes from there, she still is, she once came to the shooting, and i came to the shooting already in kyiv, not in the country and she was so smartly dressed, i say, listen to ms. marta, why is it some kind of holiday today, well, after all, i came to meet the director, well, that’s typical, ms. marta, yes, she is very cool, and i, well, i watched probably all your films and in each one, well, probably, except for the living ones, your characters joke,

and they joke, as i think, the way you need, because you have it is in the same style, there is some kind of specific irony, how you force them to do it, but i don't force them, i just listen to them carefully. and i am actually in such a mood myself, i think that when people in the hall laugh, and this is the applause of the film, and it is wonderful, we joke little in life, we laugh little, especially today, and of course, why, but, i think that on the screen it is always very, it is a plus of the film, i think when people laugh both in the hall and on the screen and joke, eh. i think so, because sometimes it seems that you prescribe these lines to them, so that they , no, no, i just joke with them myself, adjust them, yes, sometimes yes, such a tone of some kind of conversation, so that it is not too serious,

and that's all, well, it's like that, it's terrible when this happens, and say this, an industry question before your filming, we have it very often, especially such young people, who documentaries, they they say that under no circumstances will they use voice-over text and such a static interview, well, what is called synchronously on television, that it is - phew, that it is impossible, that this is such a bad documentary, you, you are considered one of the best ukrainian documentarians, and you use these techniques, on the one hand they look up to you, they consider you an authority , on the other hand they deny these techniques of yours, what do you think about them, i also forbid this to my students, and at least while they are learning no direct interviews, because cinema has its own language and one's instruments, interviews are really

such a television thing, but in this case it works, i never say no, and i was also young, we were too, i was against the voice-over text, against talking heads, but watching , looking at what a head, there is nothing so terrible about it, and i also like such direct cinema, film observations, when there are no such television elements, but... sometimes i do it, well, i filmed my mother in the main role, i filmed in different years, three, well, interviews for three hours, none of them were included in the film, here i am they just weren't interesting, we put it in march, because it was, well, it was such a structural dramaturgical element of the film, to hold it through and such an interview, which is given throughout the entire film, well, it's not even an interview, it's a monologue.

it's a conversation, it's not, after all, we're looking for a character, trying to grasp it and catch an image, and not just some information that's needed for this or that, that's what i think, well, i'm not became so radical, although i really tell the students that no interview, they are afraid of all this, and she he will tell us, he will tell us, no, but show me, it’s true, what do you think about modern ukrainian documentaries, by modern i mean the times of full-scale invasion, and maybe you can see some trends in how it develops, for example, let’s say there, well, it is believed that such a complex of documentaries appeared during the revolution of dignity, because everyone started filming then, then the war began and that's all the whole process went on, from that time until now, what what, how

everything developed, what we have now, well you you know, i was just now in warsaw, there was a festival, a ukrainian film festival, a ukrainian festival, a polish festival of ukrainian films, this is the eighth, and there a wonderful idea was once born to two polish women to make a festival specifically for ukrainians who live in warsaw even before invasion for those who work there, for guest workers, and now for people who found shelter there after the general invasion and i watched very, very many ukrainian films, they are true there, it was not very thorough, not very strict selection they collected everything that was available and showed feature films and documentaries, we have good documentarians, good young directors, there are female directors , i would say that today is the era of women and there are very good films, but what i

saw today, a week ago, is mostly, rather the annals of time, and this is correct, because the true understanding of what is happening today will not be tomorrow or the day after tomorrow , a certain time will pass, both in documentary and in feature films, although there are films that are made instantly, there are 20 days in mariupol , who are being nominated, have already been nominated from ukraine was nominated for an oscar, and i think that it will definitely be on the shortlist, and maybe even in the nomination, because it is a very emotional and very strong picture, and we have a generation that has grown up, thank god, in the last 10 years young directors and producers, who have already learned to work with western producers, and to look for additional funding , not... only ours, i don't want to say dezhkino,

this is already such a common place, but it's really a shame, what is happening, and what exactly , because there are a lot of outrages now, especially this one last week, cinematographers signed a letter against the strategist, i also signed it, i have never done this in my life, i never sign collective letters, but today i added my last name, it is a group of directors who wrote a letter to denis shmegal, our prime minister, that it is necessary to change immediately, this strategy was scrapped by certain people. people from certain television, media , and production circles who have nothing to do with cinema as an art, i don't want to say anything bad about television and the media, they work flawlessly today, but the state cinema,

an agency, a film agency, this is not a place for trash production, i think, television, in particular. it can't be like that, and let's say that it's not money, state cinema, or the ministry of culture, it's the money of ukrainian tax payers, first of all, there is a model, by the way, mentioning poland, there is a model of the institute of film, the institute of film arts, where a serious board where serious people decide what to support and what not. to support, there in this commission, they change there very often, not often these supercommittee, commission, i don’t know a single person, it’s all some commercial people who draw their conclusions, and i understand in which direction , you understand, and good projects just don't

support, that's right, the thing is not in kuderchuk at all, no, well today... tomorrow will be muderchuk, but in the very approach , in the very approach, what do you think, and why, they shouted shame on the youth at the festival, they and she, but the minister cannot say that in the hall where the laureates and awardees are sitting and say who is making a movie, someone is breeding shit, so no can the minister tell people when he is invited to have a friendly talk in the union and to talk, when they just... became the minister of cinema, she gets up and leaves the hall, you can't behave like that, you know , it's so wrong, why do you think it happens at all, because in many areas, well, there, for example, my colleagues who are engaged in, well, in general, there is some kind of defense, not culture at all and not the humanitarian

sphere, they say exactly the same as the cinematographers say, that this is some kind of arrogance, which has already come out, some borders have come, that this is too contemptuous attitude not just to cinematographers, but as to cinema, as for art, why did this happen, what do you think, why did the system come to this , i think, i think there are many reasons, but you know, one of the reasons is that we do not have a single film community, tomorrow they will announce a new pitching, everyone they will break down, instead of running there, getting the next grants to compete there, it is necessary or aggressively to boycott all this, and well, we need to do something about it, we need to change this whole terrible structure, it is

pro-soviet, every time we will make the mistake of stepping on the same the crabs themselves, well, it won’t be , i repeat, someone else will be there soon, it will be... even worse, my experience says that it will be even worse, she will be removed, there, they will send an ambassador somewhere to africa, i think so, or maybe even the arctic circle, but somewhere else, well, that is a question for yermak, to things, it's her protégé, his protégé, well, they say so, yes, no, they don't say that, everyone knows it, well, it's a blow to personal reputation, i once said on the air, it's mr. otkachenko, mr. minister, what is it , you are your reputation, such people, well , they very, very quickly became separate ministries, this is no longer a blow to the reputation, i think that it should be changed immediately, because it will

it's a big problem, how do you think it can be changed, because that's how the film community determines that there is no consensus, everyone needs to agree on what to do, but globally, that this will not change until there are re-elections, i i do not believe in an ideal state cinema, which will not be a good national cinema, yes, which will be gentle, good , there will not be, i think it is necessary to change the philosophy of financing state cinema in general, to do something completely different, serious, and as an institute of filmmaking in poland, i think so think as a model it's hard to do but i think it can be done poles will help us legally, how to do it? i know, and everyone knows, we have many colleagues and friends, they know how to do it, it seems to me, maybe this too.

naive thoughts and very naive, but, this is irresponsible, i think so, and away , i think that soon, i am not sure that even denys shmigal will see this letter, the fashion does not reach, what do you think that this is the first letter that it is written there, to deputies or to the cabinet of ministers, they do not read it and do not open these folders, because denis has them. as well as whether the president has people who they filter the bazaar with papaks and bring what they want to read, they don't just , it won't come directly to the minister, but to the prime minister of ukraine, i think so, this is the last report, the last letter, very angry, i understand our film community , that it can't be, you mentioned pitching, well, we're still not entirely sure whether next year pitching will be exactly cinematic, maybe such gossip is already going around, that it could be, yes, but we know that it will definitely be serial , because tv series are now

in the first place, but it still exists the debate among filmmakers that you mentioned, to go to this pitch or not to go, the debate is that if you don't come, no you won't make good films, if you come, you accept, you accept this, this, this the state cinema and the priderzhkino council, as in fact illegal, well, now if they were to re-elect it, because there is a court decision, but how do you feel about this dilemma, because actually very much, i heard even now in warsaw in the cinema club where it happened festival this discussion among our female directors, for the most part, and they are very, very loud about it emotionally, they spoke and thought, on the one hand, if we do a boycott , which in my opinion, we will be poor, other

people will come and, they will have funding, i will not name them personally, so as not to give them any pr , and we all know who it will be, and who will come, that's where it's really a dilemma, i don't have an answer, how it is, how to do it, but to deal with them, and i think it's today. it's also a shame, that is, we have such a thing, tsuk-tswang, we succeed, right? yes, absolutely, yes, it's such a stalemate, absolutely, although it's a pity, although there are now a lot of people making documentaries and they need to be finished, they are good films, good materials, i have already seen some there even episodes from some films, very, very, very, very sorry. it must be completed and

worked on, even though we are living in a war and i think, unfortunately, we will live in this war for a very, very long time, but we must work, we must shoot, film, i think so, the story of the new yorkers. .. girlfriend, continues on megogo, turn on the new chapter of the adventures of carrie, miranda and charlotte, and just like that, watch hbo, in ukrainian, in the mego subscription, there are discounts on helpex, 20% in podorozhnyk, pam and oskad pharmacies. no matter what ukrainians think about, no matter what they talk about, war still comes first. war and our victory, only for espresso, from monday to sunday, completely different spheres of human activity. sports, health, politics, the return of crimea,

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rudenko and guests of his program. people who own group and shape public opinion, people who defend ukraine and create the future are already the main and interesting thing in the program verdict with serhiy rudenko, from monday to friday at 20:00, we are looking for 13-year-old sofiyka nikiforova, the girl lived in mariupol and disappeared on the first day of full-scale war. for almost two years , nothing is known about the fate of this child, so i really hope for your help. look at the photo and remember sofiyka's face. if suddenly someone sees the girl or you know her whereabouts, do not delay, then call us on the hotline of the magnolia children's search service at the short number 11630. calls from any ukrainian

mobile operator are free, or write to the chatbot of the children's search service in telegram. i also want to remind you that we are continuing the search for 17-year-old serhiy samoilov, who also disappeared in mariupol. his mother said that on the very first day of the full-scale war, the city was very restless, and the situation only got worse by the hour. from the bombings the family hid in the basement, but shelling was far from the only problem of mariupol residents. there was no internet, electricity, or water. we even drank water. the technical one from the technical point of view, then only to the police, well, the whole family was fed up , he didn’t drink, he couldn’t eat, and to be honest , it was very difficult for us to eat, the stores were all ransacked, no transport, nothing, we just sat there и есть хотели, in spite of all the horrors

, the lack of internet was what bothered the then 15-year-old serhiy samoilov the most, that's why the guy wanted to... go from mariupol. he was very interested in computers, he studied programs there, tried to develop them, created servers, and why did he actually leave home, because there was no connection or internet at home, of course, there was water and food problems there were, he was going to go towards pokrovsk. serhiy planned to go to his mother's acquaintance in pokrovsk, this is also donetsk region, about 200 km from mariupol, and the boy's family. did not dare to leave the house, so serhii went alone. this happened on the 6th march, at 4:00 in the evening, my grandmother and i did not let him go, because there was a lot of shooting around , and to be honest, we had absolutely nothing to eat and drink at that time, it was very scary, he took a backpack with him, there was a computer in it, he dressed the way young people dress, i say,

seryozha, come on, i thought he was walking around the house and... i already understood what we did with my grandmother, we didn't keep him. so far , only one thing is known, serhiy never got to pokrovsk, the boy did not return home either , and no one knows where he is now. sergey's mother still lives in mariupol and does not lose hope of finding his son. meanwhile, serhiy's father, who has been living separately for a long time and is now in the territory controlled by ukraine, is doing everything possible on his part to find serhiy, in particular, he turned to the office of the shoemaker. i understand that they want to contact that side, yes, and find out if there is information on that side, because a lot of children were taken to russian territory at that time, so now they will celebrate from that side. perhaps the boy was taken to russia, but it is possible that