Yarema Malashchuk

Docufiction about a young couple what are torn from the world for one long night in a hotel room in a town near the border. That night they agreed not to talk about the war. Completely lost in each other' s small world, they don't realize when the morning comes and force them to go back to reality.

The stuff and visitors of one of the state institutions going through their daily routine. This buildings is full of mystery and secrets. Nobody can understand the issues they are trying to solve or to find the final destination of their corridor marathons. We can only trust and wonder how everything is organized here.

The documentary short depicts modern Kolomyia, where the cult of Austria-Hungary coexists with the post-Soviet reality: the developer hires a team of builders who, with thrift, brick by brick, dismantle old and uninhabitable real estate. Meanwhile, the artists invite fifteen-year-old Maksym to draw a walking route in Kolomyia: through the guide’s narration, the map of the city is transformed into a multi-layered historical palimpsest, where Soviet names are mixed with modern urban folklore and traditional Western Ukrainian piety, and “dog paths” are manifested by official intonation.

Lyuba works at a confectionery factory. Her son is in the war zone and there is no connection with him. Lyuba goes in search of his son in an unfamiliar territory.

Lyuba works at a confectionery factory. Her son is in the war zone and there is no connection with him. Lyuba goes in search of his son in an unfamiliar territory.

Valentina works in Lichtenstein. She lived in Kyiv until the age of 13. In 1996, during a hard transitive economic period in Ukraine, Valentina emigrated to Switzerland with her mother and stepfather. 20 years have passed.

Yarema Malashchuk and Roman Khimei work with staged images that show their own bodies in the landscape of the Carpathian Mountains. Lying still in unnatural positions, dressed in trekking clothes, they seem to ask us: who is depicted on the screen?

The story of a boy who, after being forced to leave Ukraine due to the Russian invasion, returns home to Zaporizhzhia through his mechanical avatar — a robotic dog he controls from his room in Poland.

Looted by Russian occupational forces between 24 and 26 October 2022, the Kherson Museum of Local Lore used to house Southern Ukraine's largest and oldest collections of antiquities. The museum featured more than 173000 objects, spanning seven thousand years, from Scythian gold to World War II weaponry. Two weeks before Kherson was liberated by the Ukrainians, Russian occupational forces enacted a strategic theft, stripping centuries of Ukrainian history from the museum/region. The sound of shellings and missile strikes was recorded during filming inside the museum on December 12, less than two kilometers away from russian-occupied territory.

The film, adapted from a script by Kyiv playwright Oleksandr Steshenko, who has Down syndrome, critiques society’s norms through the lens of Ukrainian and Russian family dramas. Steshenko, active with Kyiv’s Parostky Theatre, uses TV drama conventions in his play to expose societal dysfunction. The film retains Steshenko’s unique language and employs soap opera aesthetics, including local TV stars, to convey estrangement, portraying society as a chaotic conflict.

The short film is based on events surrounding a 1977 mining accident in the Donbas region that ultimately led to the mine’s closure. In the film, locals, artists, and curators traverse the surface, paralleling one of the underground routes of the Novator mine. The procession ends at the monument to the dead miners, which is located just above the site of the underground accident that led to the death of the workers. Participants walk across the postindustrial landscape of Donbas, over the plowed fields, by bushes and courtyards, connecting the ground and the underground spaces through the choreography of their bodies.

Camera observes the biggest rave in Ukraine called Cxema and leads us from the image of a crowd to intimate experience of each dancer.

A short meditation on youth and history shot in Kyiv.

Kyiv’s Youth Leaving a Grocery Store is an homage to the Lumiere brothers’ classic “Workers leaving the Lumiere Factory”. Reconsidering the world’s first cinematic works, the artists address the redefining of labor and change of socio-economic formation. Thus, a producing factory turns into a consuming factory, and leisure turns into exhausting toil on the dance floor.

A docufiction about professional choristers singing sacred songs in the local opera. Lamentation of the ukrainian working class on-stage and behind.

Every year, thousands of Ukrainian Christians undertake a pilgrimage to Zarvanytsia, a sacred place. Between prayers they share news, brag about their wealth, take pictures of chapels, give interviews, witness miracles. Witness miracles?

Ukrainian actor Pavlo Aldoshyn played the lead role in the movie "Sniper. White Raven" based on the real events of the Russian-Ukrainian war in 2014. At the beginning of the full-scale invasion, Pavlo joined the Armed Forces. At the authors' request, the soldier returned from the frontline to Kyiv for the first time in order to play a civilian.