Russians at War

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Russians at War
Russians at War.jpg
Title card
Directed by Anastasia Trofimova
Written by Roland Schlimme
Produced byCornelia Principe
Sally Blake
Philippe Levasseur
CinematographyAnastasia Trofimova
Edited byRoland Schlimme
Music byAmin Bouhafa
Release date
  • September 5, 2024 (2024-09-05)(Venice)
CountriesCanada
France
LanguageRussian

Russians at War is a 2024 Canadian and French documentary film, directed by cinematographer Anastasia Trofimova. [1] [2] The film focuses on the perspective of Russian soldiers invading Ukraine during the ongoing Russian-Ukrainian war.

Contents

The documentary had its world premiere for the film industry on September 4, 2024, and for the public on September 5, 2024 at the 81st Venice International Film Festival. The North American premiere for the film industry was on September 10, 2024 at the 2024 Toronto International Film Festival. The film was criticized as Russian propaganda, [3] [4] while the Toronto festival organizers defended the film as being "anti-war". [5] The North American public premiere was planned for September 12. However, the premiere was postponed to September 17, with TIFF citing "significant threats" as reasons for the postponement. Toronto police were reported to be "not aware of any active threats". [6]

The film was scheduled to have its Asia premiere at the MAMI Mumbai Film Festival 2024 on October 19, [7] but its screenings were cancelled due to the festival not receiving the 'required permissions'. [8]

Synopsis

Shot in a fly-on-the-wall cinéma vérité style, Russians at War follows documentarian Anastasia Trofimova as she spends months following Russian soldiers from their homes to the frontlines of occupied Ukraine, with many of her subjects revealing feelings of confusion and disillusionment with their government. [9]

Trofimova embedded herself with a Russian battalion, as it makes its way across eastern Ukraine, getting a rare glimpse of an often ramshackle army in a regular state of disarray. [10]

Trofimova takes the audience from 180 km behind the front lines where ranks are "replenished" to the trenches of the front line where the men die. The soldiers depicted are often volunteers who say they went to the front for various personal reasons: vague patriotism, avenging fallen friends, protecting loved ones, preventing their children from going to war in the future, or, more commonly, for money. [11]

Production

Trofimova, Canadian producer Cornelia Principe and co-producer Sally Blake noted that the production of this film started as an anti-war project to reflect the perspective of Russians citizens and soldiers regarding the conflict in Ukraine. [12] In an unexpected turn of events, Trofimova managed to follow a Russian soldier, whom she had met in a Moscow subway, on his way to the frontline. Taking advantage of a lax approach of local commanders, she eventually embedded herself with a Russian battalion, as it made its way across the Donetsk or Luhansk regions. With very limited internet access and telephone contacts, Trofimova, Principe and Blake had to improvise to secure the obtained footage. [12] [13] [14]

Editing and post-production was conducted in Canada and France, with editor Roland Schlimme involved in shaping the film. French musician Amin Bouhafa produced the music for this film. According to The Kyiv Independent , the film received $340,000 (CAD) in funding from the Canada Media Fund. [15]

Critical response

Deadline Hollywood 's Melanie Goodfellow described the film depicting "botched military sorties; hiding, petrified in dug outs; shrapnel-shredded dead comrades being slung into trucks in body bags, and commanders in shell shock as they relive the day’s horrors. Any initial patriotic fervor dissipates, with the handful of subjects who survive to the end of the film questioning why they are there and expressing their lack of desire to fight, but suggesting they have no choice but to follow orders." [16]

Zinaida Pronchenko summed it up: "Regardless of the motives and conditions of filming, this is unique material, the very ‘trench truth’ that is usually not visible behind the ‘fog of war’." Pronchenko described the feelings from the film as fear and despair. The film contradicts itself and is presenting the view from the Russian side only. [17]

DW noted that the film is controversial. The producers say the film is anti-war. Critics criticize it for sympathizing the invading soldiers and for not informing the viewer on the Russian war crimes. On the other side, "Trofimova's film is considered one of the few documentary video evidence from the Russian side of the front." [18]

Ukrainian producer Darya Bassel criticized the decision of the Venice Film Festival to screen Russians at War because the film "presents a very distorted picture of reality" and that Trofimova's documentary is "spreading false narratives". [19] Bassel pointed out that the film pictures as Russian invasion started in 2022, while Russia invaded Ukraine in 2014; Trofimova claims that Russia wasn't at war for many years, while Russia participated in wars in Chechnya, Syria, Transnistria, Abkhazia and Georgia; people shown in film repeat Russian propaganda narratives about "Ukrainians are nazis" and "civil war in Ukraine". [20]

Canadian journalist Justin Ling wrote that "to fully understand “Russians at War,” you must appreciate that it is neither documentary nor propaganda: It is Kino-Pravda, ‘film truth,’ a style pioneered by Russian filmmaker Dziga Vertov. Kino-Pravda sought to replace art and romanticism in cinema with scenes of real people living out the noble mundaneness of life." He further stated that "after watching the film and speaking to Trofimova, I’m here to tell you that the truth lies in between: It is not propaganda, but it is informed by it. It is anti-war, but not pro-peace." [21]

Canada's Point of View Magazine critic Pat Mullen encouraged people to "see the film before reviewing it", adding that "Russians at War affords remarkable access to tell a human story," going back to "that personal element of All Quiet on the Western Front — perhaps the greatest of anti-war works — and observes an awakening as some soldiers, and the families who grieve them, ask questions that are absent from the barracks in the early sees." [22]

The Toronto Star 's film critic Corey Atad gave the film 4 stars out of 4, noting that "Trofimova does challenge her subjects, prodding them with questions about their views, purpose and actions in the war", adding that "despite baseless accusations of Trofimova being a Russian state-backed operative, her matter-of-fact and mostly non-editorialized approach to capturing the drudgery and horror of the war experience is, for anyone convinced of Russia’s wrongdoing, understandably frustrating to watch", concluding that "charges of the film being Russian propaganda fall flat on their face. In fact, perhaps the most important audience for the film is the one least likely to see it: the Russian people." [23]

Controversy

The film sparked backlash from some regional experts, Canadian politicians and the Ukrainian-Canadian community, who characterized it as "Russian propaganda". [24] [25] [26] [27] Trofimova admitted to entering Russian-occupied Ukrainian territories without Ukraine's permission while making the film, while embedded with Russian soldiers invading the country. Historian Ian Garner noted that Trofimova's claim that she did not have official permission to film the soldiers "hardly stands up to scrutiny in a country where independent journalism simply does not exist" and that Trofimova absolved the soldiers of moral responsibility for war crimes such as rape, looting, and murder by presenting them as "blind kittens", and "helpless to intervene". Garner termed this an "alarming reiteration of the 'just following orders' narratives" that surrounded the Holocaust. [28] Russian director Vitaly Mansky said that "it is quite obvious that the author is on the side of their heroes" and called the film's screening in Venice "a mistake by the festival." Mansky himself attempted to send a cameraman to film on the Russian side during the invasion, but his cameraman was promptly arrested. [29]

Trofimova has been accused of whitewashing Russian war crimes. [30] Deputy Prime Minister of Canada, Chrystia Freeland, denounced the film, saying, "it's not right for Canadian public money to be supporting the screening and production of a film like this." [31] Ukraine's consul-general in Toronto, Oleh Nikolenko, urged the Toronto International Film Festival to not screen the documentary and criticized the Canadian government for helping to fund the documentary. [32] [33] Ukrainian MP Yevheniia Kravchuk stated that the film is a "striking example of how Russia, thanks to its soft power, is trying to promote its narratives about a ‘more comprehensive understanding of the war’. And unfortunately, they are doing this quite successfully." [34]

Following protests from the Ukrainian community, one of the film's funders, TVO, withdrew support from the film, adding that "TVO will be reviewing the process by which this project was funded and our brand leveraged." [35] In response, the Documentary Organization of Canada issued a statement in which it is "profoundly alarmed by TVOntario’s Board of Directors’ recent unilateral decision to withdraw support for the documentary “Russians at War,” adding that it "raises serious concerns about political interference, and must be confronted in order to preserve the integrity of our media institutions." [36]

Response from film festivals and professional organizations

The Artistic Director of the Venice Film Festival Alberto Barbera defended the film, noting that the film is "very far from being an act of propaganda" and that "it is an anti-war film, with a very sensible and touching human approach, as well as great artistic craftsmanship." [37]

The Toronto International Film Festival also denied the request of Ukrainian-Canadian community to exclude the film from the program. On September 10, 2024, the Ukrainian community held a protest outside Scotiabank Theatre Toronto, where TIFF was holding the film's press screening. Following the protest, one of the film's funders, TVO, withdrew support from the film, adding that "TVO will be reviewing the process by which this project was funded and our brand leveraged." [38] [39] In response to the TVO withdrawal from the film, the Documentary Organization of Canada issued a statement in which it is "profoundly alarmed by TVOntario's Board of Directors' recent unilateral decision to withdraw support for the documentary "Russians at War," adding that it "raises serious concerns about political interference, and must be confronted in order to preserve the integrity of our media institutions." [40]

TIFF defended its decision to include Russians at War in its program in a statement released on September 11, noting that "in no way should this film be considered Russian propaganda" and that "as a cultural institution, we stand for the right of artists and cultural workers to express fair political comment freely and oppose censorship. Because filmmakers, like all artists, work in dynamic engagement with their societies, we believe that our role as curators and presenters of the film must stand for an unequivocal defence of artistic expression and a commitment to provide safe, open spaces to engage, critique and reflect on artists' work." [41] [42]

However, on September 12, TIFF announced it was pausing the North American public premiere for the film citing "significant threats to festival operations and public safety". [43] The pause resulted in the cancellation of three public screenings planned from September 13-15. TIFF noted that it was still committed to screening the film "when it is safe to do so". [44] Toronto police were reported to be "not aware of any active threats", with a spokesperson saying the decision to cancel the screening "was not based on any recommendation from Toronto Police". [6] On September 15, TIFF announced that its first public showing of the film would be on September 17. [45]

At the screening, festival CEO Cameron Bailey stated that "In emails and phone calls, TIFF staff received hundreds of instances of verbal abuse. Our staff also received threats of violence, including threats of sexual violence." [46] Although Bailey did not state this on the record, The Hollywood Reporter further confirmed that TIFF staff had received numerous worrying inquiries requesting schematic floor plan diagrams of the Scotiabank Theatre, and precise details of its security arrangements for the entrance and exit of high-profile talent to and from the venue. [46]

The film will be shown at the Windsor International Film Festival which will run from October 24 to November 3, 2024. Executive director Vincent Georgie stated that "the film is there to create discussion and debates" and added that there will be additional security measures during the showings of the film, in response to the TIFF threats. [47]

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