Ukrainian News and Documentary Film Studio

Documentary about post-Soviet society’s abandonment of cinema in favour of the free market.

Meditative and quiet movie about transphormations of Dnipro river in Ukraine, that touches theme of collective versus individual rights, filmed in the dusk of USSR.

A documentary about the history of Ukrainian Cossacks in the Kuban.

Yurko and Sashko Chuli live as orphans with their parents alive, pulling the cart of life: going to school, planting potatoes, farming.

About the difficult fate of the Ukrainian Greek Catholic Church. The film contains 4 parts: "Wreath of Thorns", "Ridges on me", "Neophytes", "And not the seventh seal".

An outstanding poet, student of Oleksandr Dovzhenko, Mykola Vinhranovsky reads excerpts from his teacher's diary, comments on it - thereby emphasizing the tragic fate of the great artist. The film uses a chronicle of the war and post-war years.

The documentary about the destinies of women who lived or are living in different regions of Ukraine, and explores their destinies in the present. The film tells about the fate of the heroines of the film "Declaration of Love" (1966) Tekla Barmashova (killed in 1922), veterans Elizaveta Marapulets (died in 1982), Maria Lahunova (died in 1995), agronomist Maria Molodyk-Kryvokulska, milkmaid, deputy of the Verkhovna Rada of the Ukrainian SSR Nina Sribna-Babenko, violinist Lyubov Chaikovska and glider, master of sports Zinaida Solovei. Female heroines and their loved ones share memories, problems, talk about modern Ukraine.

The sad uniqueness of Ukraine is that it has witnesses of two generations who survived the experience of war in childhood.

The figure of the world-famous Ukrainian artist Ivan Fedorovych Marchuk, whose paintings present Ukrainian art on all continents of the world, became the basis of this documentary.

The film is about the new social conditions in our country, which have caused a change in survival strategies for a simple rural family. Using the example of one family, it examines the model of today's life in Ukraine, full of daily worries and struggles with difficult circumstances. Instead of enjoying a well-deserved rest in the shade of white acacia trees, Grandpa Ivan and Grandma Stepanida are struggling to survive and provide for their five children in the midst of a crisis. The film explores the personal perspectives of surprisingly open-minded and remarkably optimistic ordinary people in today's difficult situation.

People's Artist of the Ukrainian SSR Y. Ilyenko and dissident Y. Sverstiuk tell about the Ukrainian poet and human rights activist Vasyl Stus. The reburial of the ashes of Vasyl Stus at the Baikove cemetery and demonstrations of national democratic associations are shown.

Documentary about mass actions on the streets of Kyiv between 1989 and 1991 just before the collapse of the Soviet Union.

The story of Mykola Sarma-Sokolovsky, an Orthodox priest who, defending the ideas of an independent Ukraine, devoted his entire life to the struggle for its independence. From a young age he was the leader of one of the underground units of the UPA. For his views and activities he served many years in Soviet concentration camps. Father Mykola is a gifted person in many ways: he is an artist, a poet, a bandura singer.

To be able to somehow survive, two students pretend to be businessmen from a fictional international business company. Acquainted with several girls, they choose the richest one and marry her. This is followed by a robbery and a search for the criminals by the police.

The subjective-personal context is perceived as an objective document of the era, a true testimony of the time when it was created and experienced. The author reflects on events of different historical scale, but equally significant for a person. The film is built on the principle of montage of free associations: from memories of the grandmother and reflections on "the time of our grandmothers" to the image of Vira Kholodnaya as the embodiment of femininity, and then - at a sharp turn - to the problems of inter-ethnic conflicts.

The film was shot in the village of Rusyn in the Ivano-Frankivsk region. Once, a local resident erected a memorial stone cross here in memory of himself when he was leaving for Canada with his family. Vasyl Stefanyk recorded this story here, and in 1968 Leonid Osyka filmed it in Rusyn. Thirty years later, his student Oles Sanin returned to tell the story of the film's creation, talk to the local participants in the filming, and show them “The Stone Cross“.

Shot at a children’s cemetery seven years after Chornobyl. The author is delicately showing human grief from the point of view of not an outside observer trying to shoot reportage but a parent like his heroes. The death of an adult is a tragedy, while child’s death is a catastrophe. As long as such cemeteries exist, this pain will exist, too.

Two students without diplomas: Oles Sanin and Serhiy Mikhalchuk got hold of four boxes of long-expired black-and-white film, borrowed a camera from Ukrkinochronika, and went to the Carpathians, to those who live closer to God, and decided to meet the End of the World with them.