Inspiration Films

Sparked by the aftermath of the 2004 Ukrainian presidential election, Ukrainians began a series of protests against fraud and towards genuine democracy. History remembers it as the Orange Revolution, and here Sergii Masloboishchykov interrogates its foundation and motivations. By filming miners, villagers and students across Ukraine, the film maps a geography of the vast country that bridges the gap between East and West. Together they create a political argument for Ukrainian society, which, as the film states clearly, is a source of power.

As he did with his critically-acclaimed "Blockade," a documentary re-creation of the WWII siege of Leningrad, which received its NY theatrical premiere in March 2007, filmmaker Sergei Loznitsa has once again scoured the Russian film archives for "Revue," selecting excerpts from newsreels, propaganda films, TV shows and feature films that present an evocative portrait of Soviet life during the 1950s and 1960s. With scenes taken from the length and breadth of the “Soviet Motherland,” "Revue" illustrates industry and agriculture, political life, popular culture, and technology. The film’s fascinating flow of disparate scenes representing typical Soviet life of the period is, seen from today’s perspective, alternately poignant, funny, and tragic

For over a century ‘Carol of the Bells’ has been heard across the globe, but few know this song as ‘Shchedryk’, nor its Ukrainian origins. Own Voice delves into this history, and in so doing provokes a discussion about heritage and a changing world.

Post-revolutionary Ukraine through a community of people who ‘try to build a new society’ in the cracks and pores of a collapsing social system. The film unfolds in central Kyiv, in a space that has been reclaimed from the city by forces of nature. As a result of a series of landslides, the area of Petrivska street has become untenable and was subsequently occupied by the outcasts and outsiders of all kinds. A secretive graffiti team, a group of tech geeks and an avant-garde gay theatre that fled the war in Luhansk all struggle to create a place where they could coexist outside the pressure of dysfunctional social structures.

The time of exposure is the life span of an object in frame. In this regard, no photo is just a two-dimensional graphic composition - it always has the third, temporal dimension. A photo is a time carrier, the vessel of memory... But whose memory? Of the Face or the Thing or the Landscape which are still on the photo? Of the photographer?