Producción / Financiación - Ucrania
Informe de industria: Documental
La nueva Asociación de Productores Ucranianos anuncia sus primeros siete proyectos
El objetivo de la organización es producir documentales y películas y series documentales para explicar los orígenes, las causas y las consecuencias de la guerra rusa contra Ucrania
Este artículo está disponible en inglés.
Last month, Ukrainian film and TV producers Volodymyr Borodiansky (member of the supervisory board of Media Group Ukraine), Viktor Myrskyi (co-founder of the Film.ua group), Daria Leygonie-Fialko (founder and producer of Space Production), Alla Lipovetskaya (founder and producer of Mamas Production), Iryna Zaria (founder and producer of Ukrainian Production Studio), Marina Kvasova (founder and producer of Mamas Production) and Igor Storchak (founder and producer of Gingers Media) launched the new Ukrainian Producers’ Association (UPA).
“Our goal is to unite our best capabilities to maximise the impact, and to attract as many media workers as possible, creating new jobs in these turbulent times,” said the founding producers in their official press release. The objective is to produce documentaries as well as educational films and series telling the world about origins, causes and consequences of the Russian war in Ukraine. The body plans to release its first films within a few months. The founders of the association are experienced in the production and distribution of successful audiovisual content. To kick off the initiative, each founder made personal irrevocable cash contributions. The association is actively working to attract investors and partners from Ukraine and abroad.
On Monday 4 April, the body announced its first seven projects. Two of them, Yana Fedosenko’s Bad-Segeberg (produced by Alla Lipovetskaya and Marina Kvasova with Olya Zemkova serving as the creative producer) and Nina Shulika’s Main Station of Hope zoom in on Ukrainian refugees in Germany (also produced by Lipovetskaya and Kvasova with Valeri Korsunski serving as the creative producer).
In Bad-Segeberg, the fates of Ukrainian families who were forced to leave their homes and Germans who underwent a long and difficult process of confessing their national guilt and repentance are interlaced. Meanwhile, Main Station of Hope will tell the story of Ukrainian refugees for whom the world will never be the same again. In search of a refuge, they come to a hospitable but unknown Europe, unable to predict what awaits them and how long they will stay there. And, when the war will be over, Ukrainians will depart to their shattered country from the same train station to build their new world.
The third project, titled 9 Lives and directed by Igor Goma, focuses on animals during the war, living and being bombed with their owners in subways and shelters, rescued by volunteers from locked apartments. It is being produced by Semenova, Lipovetskaya and Kvasova.
Produced by Igor Storchak, Against All Odds will answer the question of how Ukraine was able to stand up to the Russian troops, despite the fact that all world experts gave it no more than three days.
Next, Elena Boyko’s Nuclear Legacy (produced by Viktor Myrskyi) will disclose how a country with the world’s third nuclear arsenal voluntarily renounced nuclear weapons, trusted the security guarantees of the largest powers, and now lies in ruins.
In Tala Pristaeskaya’s Propaganda Lessons. How to Get Permission to Kill (produced by Volodymyr Borodiansky) a personal story will take centre stage to tell what aggressive propaganda can achieve through modern media and how it can destroy relationships even between the closest relatives.
Lastly, Max Litvinov’s Mariupol. Chronicles of Hope (also produced by Borodiansky with the helmer himself serving as creative producer) will tell the story through the eyes of local journalist Nadiya Sukhorukova, who learnt “to distinguish between death by ear and to feel its approach.” It’s the story of “a city that is so immersed in darkness that people are frightened to see the living by chance, not the dead.”
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