more funny film festivals and well, judging by the theses in this film, well, it's really propaganda, because the theses are just very standard, what exactly are these theses they use for the western audience, what i mean is this whole situation when, well, this the people are not to blame, let's feel sorry for these soldiers, well, look at them, how ignorant they are, they are some kind of bad people, but they were forced to fight, they may not fully understand, they are also unfortunate people, they all fly... who are to blame, so and so further, this whole song, which we know very well, tim moreover, anastasia trofimova says at the beginning of her film that, my god, i was so surprised when russia attacked ukraine in the year 22, it was so unexpected, but she does not say at all that russia attacked ukraine at all ukraine in 2014, and before that she attacked other countries, and this is not the first time that this has happened, and if she had spoken about it, the eyewitnesses to...

the public's reaction would have been a little different, but less so, we can also say about the fact that, well , let's just listen to one of the quotes, for example, from the globe and mail edition, well, what the author writes there, russians at war, a brave and... tactful documentary film. unadorned shows the horrors of war, including some of the most gruesome footage you 'll ever see on the big screen. this documentary in no way glorifies russia, its military or its war effort. this film in no way demonizes ukraine or its people. that's it. well, we have to understand that... this is the idea

of ​​the westerners about all these matters, they have to explain all this, because the russians understand, i don't i'm tired of repeating this, how and what audience to act on, and judging by this, this film russians at war, it is made really high enough from the point of view, well, from the artistic point of view, and the director is anastasia trofimova, she is quite an experienced person, she has filmed a lot for world broadcasters, who, as i said, and that's why, and that's why we... we have to understand that really this propaganda is implicit, moreover, many people who we call naive, who we can call leftists, who we can call not there by very pumped people who live there somewhere in well-fed, civilized, prosperous countries have no idea what russia is, they say they don’t understand what propaganda is and don’t read these moments, and here, for example, i can quote what in...

the italians, yes, thought about this film, here i am quoting, i am also quoting one journalist, for example, italian culture is humane and conflict-free, italians, despite all external emotionality, avoid confrontation, that is why the italian audience, with its traditional russophilia, is the ideal living environment for this kind of propaganda product, well actually, well, if we talk about the further fate of this film, it will still be shown at... many different film festivals, for example, at the festival in zurich, there are as many as four screenings of it, and this indicates that it is really big enough interest in this film, and they will also show serhiy luznytsia's tape, the invasion, it is also such, you know, a rather dubious story, serhiy luznytsia, he is actually belarusian, has ukrainian citizenship, but he is like that, he lived in russia long enough, and then, i think, he moved to live at the age of 20 to germany, that is, he...

is completely outside the ukrainian context, but he is considered and positions himself as a ukrainian director, i must say that, from my point of view, he is really a very talented person, and it is ukrainian cinema that is known in the world because of him , that is, he is one of the most famous, if not the most famous ukrainian director in general, and yet he is quite a russophile, he does not hide it, he is sympathetic to russian culture, to the russian language, and he is against all these... radical decisions that we all offer, and here he shot this film, or rather, the people he worked with, whom he hired, yes, in ukraine, they shot a video for him, and here he edited it himself there, he did this with his previous tapes, that is, absolutely true a person without a context, a person who does not even want to immerse himself in this context after coming to ukraine, and i must also say about other ukrainian films, which are also currently in various film festivals, because

you know, it turns out that this russian we speak the film quite a lot, and it's understandable, because it's in russian propaganda must be fought, but it must be fought, in particular... and our tapes, so kind of, well, i don't know, call it a response, or call it counter-propaganda, or just call it our good, clear stories that will be our voice, for example, at the same film festival in toronto, the film "you are the space" by pavel ostrikov was shown, which we talked about, this film seems to me, well, it should be a very cool, smart comedy, popular, it will be released, as promised by the producer volodymyr yatsenko , who is a military serviceman, by the way, like almost all people who are on... the earth simply disappeared, it exploded, well , in short, there is no more earth, and he remained

the only person in the entire cosmos, but later , here he was somewhere in space while he was flying, it turns out , no, there is another french woman, and they have to meet somewhere, he also has a robot that also helps him, this is his friend, well, that's great. toronto, it's about ukrainian refugees who left before the full-scale invasion abroad, to tenerife, and here they are, they got this news about the full-scale invasion, but this a polish film, not a ukrainian one, and this is a polish film that will compete this year, well... more precisely, next year for the oscar, let's watch an excerpt, where to go , you will show me the way, and what's

next, let's see, here.. . such a film, of course we wish it success and we are waiting for it at the ukrainian box office, it is interesting because the director damian kotser says that the film is about ukrainian refugees, but it must be said that he positions this story as such a universal one that will understandable to many people, that is, it is a family, parents, two children, and they must be going through something, somehow , the whole event of roman lutsky, we saw on the screen and anastasia karpenko, and... here are some of my favorite actors of ours, i hope that i will like this film, we are waiting for it at the box office, and there is also a tape of peace the people of oksana karpovych, who was at the berlinale and who also, according to people who were at this film festival, had a great influence on the audience there, let me remind you

that the film combines filming of de-occupied kyiv region, de-occupied territories in general around ukraine and... everything overlaps sounds of intercepted conversations russians, russian soldiers with their relatives, and there, of course, give me absolute trash, it happens, because i especially remember the conversation between the son and the mother, the son tells how he tortures the men who have weapons there, and the mother he says that yes, my son, you are doing well, but if i were in your place, i would do the same, well, this is exactly what vester is telling us about this deep russian people, about whom we also talk a lot, that, well, it seems that he... against the war, here it turns out that no, this, this, this film was shown in ukraine at film festivals different, we are waiting for a rental, but now, if korniy hrytsyuk is already on our direct line, they say that for now we still need to wait a little for korniy, i will say that we generally

have the following problem, which is a global problem in because russia understands very well how, in general, to influence with the help of art, they have developed this whole layer of culture, a cultural myth, a myth about their culture, which is very difficult to fight, which is very difficult to refute, there is something to refute, and we must also understand that we are not enough we do for this, because, well, the truth must be told, that ukrainian society and ukrainian, ukrainian officials, politicians have never made a special bet on... culture as some kind of tool of at least some kind of influence, culture in our country has always been considered something very, very secondary , you see, there were even fights with the ministry of culture, which until recently was called the ministry of culture and information policy, i would even say information policy and culture, and there

was more of a bet on the telethon and everything else, then the ministry was without a head for quite a long time, and now we see that the ministry was renamed the ministry of culture. and strategic communications, we have a new head, mykola tochytskyi, who was a diplomat, and it seems that the bet will be made on these communications, on diplomacy, which is not bad. but in order to play diplomacy, cultural diplomacy, to solve some cases, to convince foreigners with the help of culture, obviously you need to have this culture and to produce something constantly, unfortunately, if we talk about cinema, that’s it, it is not produced. the films that were recently at the venice film festival, our ukrainian films, they were made without state funding, already our authors of original films, they are looking for money elsewhere, because state cinema. it all bets on serials, bets on commercial cinema, on not very

good quality cinema, which maybe should be, but obviously not at the expense of the author's, which goes to various film festivals, like that, like that in us history, i'm not talking about the fact that we still don't have any state policy about how we should act, so as not to be reactive, so as not to put out fires, that's how we are running with that movie russians at war. but something is constantly happening there and we organize some kind of protests, it shouldn’t be like that, in 2.5 years, even more, some kind of strategy should be developed, how we communicate these stories, because if there is any, here are these russians who are constantly crawling on different film festivals, then obviously this is not the first time and not the second time, it is us we've been seeing for 2.5 years already... we had to be able to react to it. kornii hrytsyuk

is finally in direct contact with us. korni, hello. greetings. i watched your movie. i have a browser. and i liked it very much, first of all, and secondly, i, you know, now we can show its trailer, you have, i think, two trailers at once. i will remind our viewers that this is a film where you tell in general how russia ... uses cinema as propaganda, and there you give an example of all these films that western audiences do not you see, there are two brothers and all that sort of thing, and you know, i rewatched it and i caught myself thinking that it was some kind of completely verified story that you had diplomatically, but you just based on theses, some of the biggest myths that exist in the minds of people there in western europe, in america, in canada, about russians, about... culture, you sort of break it with this film, for example, you show there, well,

the heroes of the film, yes, and you talk about the fact that russians , ordinary russians, they, for example, did not forgive the management of the loss in the first to the chechen war, as they call it, please tell me whether you really checked these theses, or whether your film can be called a certain kind of counterprop. and as for what you believed, it just probably went that way by itself in the sense that we watched what russian films were released during the last 30 years and how these films were actually related to those and domestic political russian events, and russian foreign policy events, and at some point i really understood that sometimes it is very difficult to understand where reality is and where cinema, because russian politicians very often... quote the heroes of russian films, and the heroes of russian films, in turn, very

often quote putin, yeltsin, medvedev, or other russian leaders, so everything is mixed up in them so much that it seems to me , they themselves believed very strongly in their propaganda, in their power, which they show in these films, and that's why, well, why did this happen, well, i think, because they really invest a lot of money and resources in it. .. very much use cinema as another, as another a tool for promoting one's own interests. korniy, how does the foreign audience react to your tape, and tell me, firstly, where have you already shown it, and secondly, what were the reactions, and i am interested in the question, because after every screening at festivals there is a q&a, there is a conversation with the group filming, was your story somehow revealing to the public. but him and did they talk about the fact that they did not know this there before, but in fact the film

is just starting its, one might say, festival journey, we only showed it in ukraine, so far during the odesa film festival, and in fact, next month we will show it in october in luxembourg, then in november we will have screenings in germany, poland, next year we also have screenings planned in latvia, eh -e in the usa and in some other countries, that's why i actually didn't talk to the european audience after the screenings, but i talked to the europeans during the stage of working on this film. the time of the so -called development of this project, when we went to various european platforms and presented the project of this film, i had the opportunity to talk with people from the film industry, from the european film industry, and for many of these film professionals, it was really a shock that russian cinema is not only zvyagentsev, there is torkovsky and

something else that they are used to seeing at major film festivals, russian cinema can be different, and russian cinema... for this internal use, it is really terrifying, that's why i heard such feedback. and how did the copyright issues get resolved, because your film mostly consists of all these propaganda russian ones, how is it all resolved, is it how you bought them or maybe in some other way, because copyright is such a serious thing if we show a film, especially at film festivals. well, this film is a sutopir film, you can say so, that is , we did not pay a single penny, of course, to the russian rights holder for these films, we communicated with lawyers in ukraine, with lawyers in germany, in principle, if this film is non-commercial, if it is such , as an educational film, that is, you can say educational, or a film, well, a cultural product, which

is shown at film festivals, then in principle it is not necessary to have rights, because if this film is copyright... and you support the copyright statements with specific scenes from these films, if these screenings are not commercial, then you can use it, of course, that we had huge problems with finding financing for this film, because there is no european film fund or european television, of course they are not ready to finance such a film in which the rights have not been cleared, and now with film festivals, well, it is up to each film festival to decide for itself for himself, whether he is ready to show such a film or not, that is, to us from... well , there are already quite a lot of film festivals, these are such prestigious european film festivals, one might say, of an average level, above the level, and if they were ready to show them, if they they are not very concerned about this issue of rights, but we talk a lot with people who are specifically engaged in cultural diplomacy, there from the ukrainian institute and so on, they constantly emphasize, but to choose the right rhetoric

when we are in alliance with foreigners, it is more than... to take the right rhetoric is still under the country, therefore that you need to communicate with the germans in one way, they understand well some intonations with the french already like this, no, it is necessary in a different way and so on, with the canadians, with the states and everything else, maybe you have already understood some points, what kind of rhetoric, maybe it is usual for us and which seems fair to us, foreigners in general, i mean western europe, canada, the states categorically will not... accept? well, this is very similar, it seems to me a difficult question, it is both interesting and difficult at the same time. i think that in principle they still cannot understand many ukrainian, especially there, documentaries about the war, as something so objective, they still believe that it is subjective, that they are traumatized

ukrainians, now they do not try to look for and watch good russian ones, which would be great. such a strong generalization on our part, that's why actually when we made this film zinema, we wanted to show that okay, yes, you know there, russian cinema is a festival, go to serebrianikov, go to zvyagentsev, but besides that, russia invests huge resources in cinema at all if the other direction, and you do not, you if you don’t see these films, you don’t know them, but here they are, they directly reflect the aggressive rhetoric of russian politicians and russian propagandists . to be a little more immersed in the processes that, after all, many russian, allegedly cultural and artistic projects still meet the ears of the fsb, or if we move a little to the side, we can understand that many russian producers, directors, whom we know as conventionally art house cinema, they if

they don't shy away, they shoot something for propaganda, and... and we still have literally two minutes left, i want to talk, i watched yours too, well, i don't know if it's possible to call this a film, this project can be called that, within i want to live for the project, it is for the russians, so we convince them that let's surrender, they won't do anything with you here, and you did such an interview with russian prisoners of war for 51 minutes, and now i see that you are all uploaded to youtube on the 11th. already almost a million views and you also watched what what these military men told you, and i simply advise everyone to watch it all, because, to be honest , it was simply funny to me at some stages. how come this man, who is shown talking about some conspiracy theories, comes to the conclusion that after all, this is all war, this is all, it was started by a bunch of these people

who decide everything, the peaceful power, these 10 people, this is not putin, this is not zelensky, it is not even biden, it was very cool, tell me for whom you did this project and whether you will actually do something similar, well if this project. we worked together with the government of ukraine, yes, with our military, who actually wanted us to record for history how russian prisoners of war are currently being held, how it is happening, and well , i think that this project, it is still working for the russians to see how many of their soldiers in ukrainian captivity actually found their own there and did not block these exchanges, and lately, as we can see, the plus-minus exchanges have gone because many conscripts from the kursk region were captured there, so in such projects they still have if so yes and very well, if i could say, well, a practical

function, but of course, as this film shows, it seems to me that in the head of the russian military, how bad things are there, and they really translated it into english , it can be watched by foreigners and to make my own conclusions, it seems to me that even though these people are in captivity, and of course we can... discount it, that they don't say everything as they think, but it seems to me that even the way they communicated with us and that they we were told, it still terrifies and makes us understand that this is not putin's war, but what after all, this is a war of russians against ukrainians. yes, absolutely, and it reads clearly enough on the one hand, and on the other hand, it’s not, well, it really doesn’t look, it seems to me like propaganda, although hell knows, maybe somewhere in western europe it will be accepted, yes, but in any case for our viewers... i advise you to watch this project on the youtube channel i want to live, this is our ukrainian project, root, thank you very much, we will wait for the success

of your film zinima, and we will ask you how foreign people react to him let me remind you, dear viewers, that we spoke with kornii hrytsyuk, who directed the film zinima, and about how the russian authorities use cinema in propaganda, i forgot, we have an excerpt from this film, let's watch it so that you understand what this, break, stop, my name is korniy hrytsyuk, i am a ukrainian film director, this film is my visual study of the russian cinematograph, which is an important tool of the kremlin in its wars not only against ukraine. chechens, you know, bandits, and professionally trained ones, but they are bandits, and chechens are bandits, all of them, yes, all of them,

well, i think that we have seen all these films, we already understand what happened there, and finally we, many of us, by the way, those of us after only after a full-scale invasion did he understand all the intricacies of russian propaganda and what russia is. that is, let's be fair to ourselves before relying on all these westerners, we were also with many of us who were with such closed eyes, they finally opened, and now our task is to help open the eyes and everyone others, probably. with that, i bid you farewell, friends, i wish you a restful weekend and see you next week. we are preparing for winter, in advance and at a good price, from two pairs, order dutyk pannochka, the sales process

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