the hour that followed was harrowing and powerful and was applauded by viewers such as richard prescotto called it: and fran carrillo wondered: well, let's talk to the panorama correspondent hilary andersson, who is responsible for that film. hilary, it was a very powerful piece of television. there was no reporter or narration on that film at all. how and why did you decide to structure things that way? well, this was a very carefully thought through and deliberate decision right from the beginning of the project, because the whole idea was to tell the story of mariupol and the war inside out, instead because, you know, every day, we watch coverage of tanks, of reporters talking, narrating with clips of individuals but sort of looking at the war from the outside. and what this film did was to go notjust to the people to allow them to tell their story, but to go right inside their heads and to tell the story of the war in an experiential way. for that to be completely authentic, we felt — our team felt — that they needed to speak in their own languages and that it would be better not to