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 UKRAINE
Producers join forces and launch seven projects about the war
 07 Apr 2022
In March, Ukrainian producers formed an association to film documentaries about Russia's military aggression against Ukraine. Volodymyr Borodyansky, a member of the Supervisory Board of Media Group Ukraine, announced this on his Facebook page.

The purpose of this association is "the production of documentaries and educational films and series that should tell the world about the war between Russia and Ukraine, its origins, causes and potential consequences."

The team includes Ukrainian film and TV producers with experience in the production and distribution of audiovisual content. These are Volodymyr Borodyansky, Viktor Mirsky, Daria Legoni-Fialko, Alla Lipovetska, Iryna Zaria, Maryna Kvasova, Ihor Storchak.

"Our goal is to unite and use the best opportunities of each of us to achieve the maximum effect, and to involve as many media workers as possible, creating new jobs in these turbulent times," said the founding producers.

"The association does not aim to make a profit until the complete liberation of Ukraine from the troops of the Russian aggressor and the final victory," Borodyansky wrote.

The association has already launched the production and development of 7 projects - documentaries about Ukrainian refugees in Germany - Bad Segeberg and Station of Hope, the films Despite Everything, Nuclear Heritage, Lessons on Propaganda. How to Get Permission to Murder?, and the documentary project 9 Lives about animals during the war, as well as Mariupol. Chronicles of Hope.

Bad Segeberg is a small German town in Germany that now hosts Ukrainian refugees and tells the story of hundreds of Jews burned alive in a local synagogue in 1940. The film intertwines the fates of Ukrainian families forced to flee their homes and Germans who have come a long and difficult way to confess their national guilt and repent.

Station of Hope is a film with the stories of Ukrainian refugees, for whom the world will never be the same again. In search of salvation, they come to a hospitable but unknown to them Europe, not knowing what awaits them and how long they will stay there? And when the war is over, Ukrainians will go to their ruined country at the same station to build their new world.

Despite Everything is a military documentary. The authors will try to answer the question of how Ukraine was able to resist Russia, despite the fact that all world experts gave it no more than 3 days. And how this practically forced Russia to abandon its original plans to seize the country in a flash.

Nuclear Legacy is the story of how a country with the world's third nuclear potential voluntarily renounced nuclear weapons, trusted the security guarantees of the largest powers and now lies in ruins. But this is not a story about the past, but about the future. About a future where there is no more trust in the world and weapons of mass destruction are the only guarantee of security. About the future, where there are so many of these weapons that it will be impossible not to use them.

In Lessons on Propaganda. How to Get Permission to Kill, the author uses the example of personal stories to tell what aggressive propaganda can achieve with the help of modern media and how it destroys relations even between close relatives. Who and what should be responsible for the outcome of the media war. But is the post-truth world capable of opposing propaganda?

9 Lives is a documentary about animals during the war who live with their owners in the subway and basements, which are rescued by volunteers from locked apartments.

Mariupol. Chronicles of Hope is the story of the city, where everything but hope was destroyed. Where there are still about 100.000 civilians blocked by the Russian army. This is a story of crime through the eyes of the heroine who managed to survive. Mariupol journalist Nadiya Sukhorukova saw many deaths in less than a month. She learned to distinguish between death by ear and to feel its approach. This is a story about a city that is so immersed in darkness that people began to be frightened to see the living by chance, not the dead.
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