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AFU Media Centre & Ukraine War Archive
Three stories which reveal the work of the military in our country’s most heated hotspots.
Three stories which reveal the work of the military in our country’s most heated hotspots.
Interdisciplinary art programme continue to focus on artistic work with archives. This year it includes different approaches to them: documentation, diary, and commemoration.
In the Human Rights Programme, we have tried to trace the causal relationships between the processes launched by the Russian aggression and make sense of their impact on our future.
Series of events by leading specialists who shared their experience in distribution, editing, sound recording in documentary films and much more.
We invite the audience to watch the events of the Ukraine War Archive, a project by NGO Docudays and Infoscope which collects and catalogues digital materials of the great war.
During a storming mission, a commander has to make quick, unconventional and very risky decisions.
Digging trenches, joking, combat missions, eating sandwiches under shelling, and digging trenches again.
A tank commander for Apache needs to do a mission with a gunner who is deploying to the confrontation line for the first time.
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What should Ukrainian cinema be like during the war and how has the industry changed?
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How to stop the spread of these crimes? How to protect children and inform parents about such threats? How to find and punish those responsible for sexual abuse of children?
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What does Ukrainian art speak about during the war and how is it perceived by the world?
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How do we return the identity and values denied by the myths of Soviet and Russian propaganda to the East and its residents?
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What historic lessons must Ukraine and the world learn to prevent the aggression from repeating? How can our country fully integrate in the global security model?
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What are the challenges on the path to returning deported and forcibly displaced Ukrainian children from Russia, Belarus and from the temporarily occupied Ukrainian territories?
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So, is Ukraine fairly prosecuting citizens for alleged collaboration with the enemy, how many such verdicts have been handed down so far, and what should the state improve?
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How do we avoid wasting the credit of interest in Ukrainian music and transform it into an instrument of competitiveness?
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For many, the work of caregivers remains invisible. At the same time, for a caregiver, it becomes a lifelong job, often crowding out all other areas, including proper rest.
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What are the challenges and opportunities for young people in the process of decolonization of Ukraine? What youth initiatives already exist in Ukraine and how can youth participation in decolonization processes be supported and expanded?
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How can we inspire and unite the public in other countries to give more support to Ukraine?
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How do we not forget about the main goal of our work — establishing justice in the interests of victims — and not replace it with our own ambitions, clickbait headlines, shocking video sequences, and such inappropriate hype?
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How does literature, particularly veteran literature, create a new layer of Ukrainian identity?
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How to strengthen connections with the occupied peninsula and remember about the historic and cultural commonalities that connect us?
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How can security alliances help Ukraine and other countries in the world make it impossible for aggressor countries to attack their neighbours?
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In the discussion that followed the screening, the participants discussed the situation in Crimea at the moment and why Crimean Tatars are forced to leave their homeland in large numbers.
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How should educational and public institutions, private businesses change in order to meet the challenges of wartime and postwar economy to the best of their ability?
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Together with SINEMA TRANSTOPIA curators, Galo E. Rivera and Bethan Hughes, we will talk about the interdisciplinary nature of filmmaking practices.
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We focus on the musical and audiovisual projects by the Ukho agency, the diversity of the works of the composer and sound artist Oleh Shpudeiko, the soundscaping of memory and editing of the artist Ian Spektor.
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Ukraine War Archive cannot bring anyone to responsibility for war crimes, but we provide tools that can help do this.
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Should we invest resources into memorials and monuments? Is this the right time to think and plan how we are going to remember this war? And can we plan the future without processing our memory of the past?
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How exactly do informational messages prepare the ground for the occupation army’s crimes beforehand?
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Russia is using AI widely for misinformation campaigns, for example, by creating fake photos and videos. Ukraine uses AI to prevent and counteract informational manipulations. Who does it and in what way?
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A fair mechanism of punishment for international environmental crimes and protection of the environment around the world is a path towards a better world for future generations. But how do we find this path?
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What kind of stories work for short running time? Who selects shorts for festival screenings and how? How do filmmakers imagine their audience and who actually attends screenings in real life?
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We will talk about how grant applications are evaluated and see who those mysterious people from the funds are and how they determine which projects are worth supporting.
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The guest experts will talk about the particularities of film critics’ work with documentaries, its general context in the Ukrainian market, and discuss the changes which they have been observing in Ukrainian documentary cinema in the past 10 years.
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What is this mystical field and what stereotypes do film curators encounter in their work? Why is a critical perspective mandatory, and how does one grow up harmoniously as you watch films?
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How do film clubs influence the formation of civil society through documentary films?
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How does the process of updating the film library for the Network’s film clubs go? Which films become long-term regulars in film club screenings? What film topics do Ukrainian audiences want to see more of?