'The Missing Picture' screens February 20 as part of IDA's The Art of Documentary screening series.
Docs about War
In this interview, Dmytro Sukholytkyy-Sobchuk talks about how the war refocused his portrait of a Ukrainian pacifist community in Silent Flood
In this interview, Vitaly Mansky talks about how Bruegel paintings influenced his three-hour epic about life in Lviv, Time to the Target
Brent and Craig Renaud risked their lives to make vérité documentary journalism—after Brent’s death, Craig honored his life with a new film
Heiny Srour, who made two landmark features advancing the role of women in liberation movements, is not shy about being a “first”
While Karlovy Vary may be best known for its star wattage and warm midsummer embrace of fiction auteurs, this year’s 59th edition (July 4–12) once again made a powerful case for documentary’s enduring vitality. Across the official selection, sidebars, and special screenings, nonfiction titles proved indispensable in reflecting Europe and the region’s evolving identities, eccentricities, and contradictions. This festival dispatch includes reviews of Grand Prix-winner Better Go Mad in the Wild, TrepaNation, Action Item, and Divia.
Documentary is thrilled to debut the trailer of Divia, the latest film by Ukrainian filmmaker Dmytro Hreshko (Snow Leopard of the Carpathians, King Lear: How We Looked for Love During the War), set to celebrate its world premiere in the Crystal Globe Competition of this year’s Karlovy Vary International Film Festival on Sunday, July 6.
Alina Gorlova, Yelizaveta Smith, and Simon Mozgovyi’s riveting Militantropos , its title a mashup of “milit" (soldier in Latin) and “antropos” (human
Oleksiy Radynski is one of the most fascinating figures in contemporary Ukrainian cinema. Since his early shorts, Radynski has worked in observational documentary and archival footage. In films like his feature-length debut Infinity According to Florian (2022), he explores culture, historical memory, and community, particularly within Kyiv’s urban landscapes. The full-scale invasion shifted Radynski’s focus more decisively towards found footage, as he became increasingly engaged in the recovery of previously forgotten Ukrainian cinema. Ahead of its world premiere, Documentary spoke with Radynski about Special Operation’s challenging production, the semiotics of surveillance cameras, and the depiction of imperialism through landscapes.
In Ukrainian, the film is called Myrni lyudy, which literally translates as Peaceful People. It is a clever, polysemic title that simultaneously addresses Ukrainian civilians embedded in their native wounded landscapes and Russian civilians calling their loved ones who are taking part in the invasion of Ukraine. Those people on the other end of the phone are fascinated by the soldiers’ detailed stories of war crimes and trophy theft and get very upset when their interlocutors become disillusioned with Russian propaganda. First screened at Berlinale, Intercepted has travelled to numerous festivals and political venues over the past year, including at IDFA in the Best of Fests section. Documentary spoke to Oksana Karpovych before the festival.