War Dog

Kherson, Ukraine's embattled city, has endured invasion, occupation, and liberation. On February 24, 2022, Russian tanks entered Kherson, leading to brutal occupation marked by violence. Despite being outnumbered, local defense forces resisted, and citizens protested under the slogan "Kherson is Ukraine!" An underground resistance formed, led by brave individuals like journalist Valentyna and others who risked arrest and torture to support the cause. After nine months, Ukrainian forces liberated Kherson, but Russian destruction left the city in chaos. Shelling and drone attacks became relentless, and in June 2023, a dam explosion flooded the city, causing further devastation. Despite these challenges, Kherson's spirit remained unbroken, with citizens embracing arts and resilience. By August 2024, drone attacks specifically targeted civilians, yet the city resisted, determined to rebuild and reclaim its identity, refusing to succumb to ruin.

It’s the last dictatorship of Europe, caught in a Soviet time-warp, where the secret police is still called the KGB and the president rules by fear. Disappearances, political assassinations, waves of repression and mass arrests are all regular occurances. But while half of Belarus moves closer to Russia, the other half is trying to resist…

In 2022, Mantas Kvedaravičius went back to Ukraine, Mariupol, at the heart of the war, to be with the people he had met and filmed in 2015. Following his death, his producers and collaborators have put all their strength into continuing transmitting his work, his vision and his films. Also a PhD in anthropology, Mantas Kvedaravičius wished to testify as a filmmaker as far as possible from the agitation of the media and the politicians. With huge force and sensitivity, Mariupolis 2 depicts life as it continues amidst the bombing and reveals images that convey both tragedy and hope.

Mothers and fathers of gay, lesbian, and trans children from Georgia, Moldova, Russia, and Ukraine travel to Berlin to walk together in the Pride parade. Living under one roof, they prepare for the march — painting signs, cooking borscht, and reflecting on how their relationships with their queer children have evolved over the years.

Against the backdrop of historical events, from the time of Kyivan Rus' until the arrival of the Ecumenical Patriarch Bartholomew in Ukraine, the film deals with the history of the construction, flourishing, destruction and revival of the Mykhailivskyi Golden-Domed Monastery over 900 years, as well as the difficult history of the struggle for independence of Ukraine. the church that continues to this day.

Based on a true story. Two fighters of 'Donbas' Volunteer Battalion get locked inside city of Ilovaysk after regular Russian army enters Ukraine and shells the surrounded divisions of Ukrainian Army in the infamous would-be 'green corridor'. The fighters survive thanks to the help of the locals and manage to break out through the front line to reach the freed territory. Taras Kostanchuk who is playing himself as 'Beshoot' is that same Donbas commander who is the prototype of the story. Half of the actors and extras are real 'Donbas' volunteers who survived the battle.

In his own way, Anatoli Ljutuk is a legend of Tallinn's Old Town - a man from Western Ukraine who has built a unique world on Laboratory Street, the main core of which is the Ukrainian Cultural Center and Church. There, he engages in calligraphy, makes paper in a medieval way, carves traditional wooden toys in his workshop and makes books in the spirit of old monasteries. According to the oath taken a quarter of a century ago, he has promised to create something good every day. His daily commitment is challenged by the war that broke out in Ukraine, which Anatoly cannot passively ignore.

Serhii, a young man who fills his days with volunteer work, loses contact with his mother living in occupied territory. When his mother finally decides to evacuate, he learns that a humanitarian convoy from his hometown has been destroyed in a bombing raid.

Nazi troops massacre 30,000 Jews over a three-day period in September 1941. Babyn Yar ravine in Kyiv, Ukraine.

Anna, a twelve-year-old Ukrainian gymnast, has fled her war-torn country and recently settled in Montreal with her mother, younger brother, and grandmother. Confronted by the past, the challenges of exile, and a deep need for belonging, she seeks to rebuild her identity and regain her balance. Through her child’s perspective, the documentary explores the reality of life after war, questioning what endures and what is missing, even when one has found refuge.

The film’s story is based on the fate of the Floriculture Pavilion of the former Exhibition of Achievements of the People’s Economy, and its elderly employee Valentyna Voronina, who maintains this space, investing her own life into it, until suddenly changes come to her. After forty-five years of work, she is asked to retire. But Voronina does not agree with that, because she thinks that all the plants will die without her. Meanwhile, a group of mysterious radioesthesists find a channel of positive energy right in front of the entrance to the pavilion.

Personal stories from civilians, children, soldiers, doctors, the country’s elderly, journalists, religious leaders, and international volunteers - a handful of the millions of people whose lives have been turned upside-down by nine years (and counting) of Russian aggression against Ukraine.

Three juxtaposing stories taking place in Portugal, Austria and Cuba create an intimate and poetic portrait of the daily lives and struggles of the elderly in an unstable world, seen through the eyes of their grandchildren.

Five young Ukrainians discuss life following the Maidan Revolution of 2014. Not all fought in the Russian-Ukrainian war, but it, regardless, shattered their life plans. Representing 'Generation Maidan', they face the question of how to cope with experiences of violence, how to go on. A local theatre director produces Hamlet, wherein they can use Shakespeare’s tragic character as a mirror and face their traumas onstage. For them, 'to be or not to be' is not simply text but an existential dilemma with no clear answer.