The eighth day of the Odesa Film Festival: Ukrainian film presentations, discussions on the future of cinema networks, and the Ukrainian State Film Agency’s strategy

The eighth day of the 16th Odesa International Film Festival once again offered audiences a rich program of screenings and professional events. Kyiv transformed into a meeting space for film enthusiasts and experts: premieres, retrospectives, competitions, and thematic screenings were held across different festival programs, reflecting the diversity of contemporary European and Ukrainian cinema.

The day opened with the screening of “After Party” by director Vojtěch Strakatý, part of the program “Family Values: Life”. The retrospectives featured two landmark works: “The King of All the World” by Carlos Saura and “Far Away, So Close!” by Wim Wenders.

The “Focus on Poland” program showcased two films — “Imago” by Olga Chajdas and “The Assistant” by Wilhelm and Anka Sasnal. Within the “Family Values: Children” block, audiences watched “Lykke Post Partum” by Alekse Landgren and Karen Helene Haugaard.

The Ukrainian highlight of the day was “When Lightning Flashes over the Sea” by Eva Neymann, presented in the “Odesan Accent” program. The “European Competition” featured two films: “Tasty” by Eglė Vertelytė and “Under the Grey Sky” by Mara Tamkovich.

“The Human Comedy” program included screenings of “Divine Remedy” by Thorkell Hardarson and Erna Marino Arnarson, and “The World Upside Down” by Nicolas Vanier. Within the “Special Screenings”, the premiere of the documentary “The Grain Captain of Ukraine. Story of Vadaturskyy” by Oleksandr Guzhelya took place. The director emphasized the significance of his protagonist: "Today, Ukrainian cinema has very few stories about strong, remarkable personalities. Oleksiy Vadaturskyi was exactly such a person. He had the opportunity and the courage to build Ukraine’s economic independence — and that was his true strength."

The film day concluded with “Music of Being” by Gennadiy Chernomashintsev, included in the National Documentary Competition. Producer Svitlana Tulchynska shared the story of its creation:

"When the director told me the idea, I was immediately captivated. We went into production and were advised to apply for a grant from the State Film Agency — and to our surprise, we got it. The funding was allocated for 2022 and was supposed to arrive in March. But the war began, and we thought the project was over. Yet another miracle happened: in July 2024 we learned that the funding had been extended. We began filming and instantly fell in love with our protagonists, their music, and the wonderful town of Tetiiv. The people welcomed us warmly, and everyone was filled with love. That’s why we want the audience to feel the love we tried to convey in our film."

In addition to film screenings, the eighth day included a professional program: the master class “Top Tips for Beginner Documentarians” with acclaimed filmmaker and documentarian Evgeny Afineevsky.

In the discussion, Afineevsky stressed the focus on human stories: "In my films I don’t choose political figures; I try to film ordinary people — journalists, volunteers, doctors. This creates a connection between the protagonists and the audience. That’s what I learned while making “Winter on Fire” — don’t film politicians, because they always push their own agendas."

Speaking about his working method, the director highlighted the importance of structure and character selection: "Here’s how I work: first there is an idea, then you need to follow a certain structure. I need characters who both reference past events and reflect the present. For the film that will premiere tomorrow, I interviewed more than 50 children who were either kidnapped or injured. I tried to choose those whose stories best reveal the lies of Russian propaganda, and who wanted to return home — often finding their own way back to Ukraine."

He also recalled the international impact of his work: "We had a screening of “Children on Fire” in the UK Parliament — and that helped push for new sanctions. Soon after, US Congressman Michael McCaul, despite a political shutdown, made an important statement in support of Ukraine. That’s why we select characters in a way that creates a story that not only moves people but also calls them to action."

Special attention was given to the dramaturgy of documentary cinema: "A film must have a structure: a beginning, middle, and end. But at the same time, you need characters who tie the storylines together. In Children on Fire, which will be presented at the festival, there are eight different stories of children, and the unifying element was their war diaries. They were collected by one organisation, and they became the emotional backbone of the film."

Concluding the conversation, Afineevsky shared his thoughts on Ukrainian cinema internationally: "I am a member of the Academy and I personally voted for Mstyslav Chernov’s film. It was the only Ukrainian film that went through the full distribution cycle. If you look at this year’s Oscars, you’ll see: four out of five winning films later got distribution. Back in 2022, Mstyslav told me about the deal with Associated Press, which helped him promote the film. In reality, the Oscars are a competition for visibility. In 2022 everything revolved around the war in Ukraine, and this was truly an outstanding film. I voted for it because the subject is very close to my heart."

Alongside screenings, the professional program of the Film Industry Office continued. On October 1 at the “Oscar” cinema, Ukrainian Cinema Day supported by the Ukrainian State Film Agency took place, becoming the highlight of the eighth festival day.

The program opened with a large-scale presentation “Cinema Unites”, which showcased new Ukrainian film projects supported by the Ukrainian State Film Agency. The event became a platform to discuss industry trends and introduce the most anticipated upcoming films.

Director Maksym Bernadskyi opened the presentation with his film “Reflection”:"This story is both local and global, intimate and universal. The main character, Iryna, a mother of three and a successful businesswoman, faces a difficult choice: to save her family or save her country. On the first day she joins the territorial defense, later comes the liberation of Bucha and Kharkiv region, the loss of her home, family tragedies, and the struggle to rebuild."

Producer Viktor Kalatai spoke about his film “The Fire of the Stands”:"It’s the story of the transformation of football fans. Once they were a community often pursued by police, but later they became the core of volunteer battalions back in 2014. And during the new phase of the war, even more members of the fan subculture joined the Armed Forces."

Zlata Yefymenko and Anna Nihunova presented “It Will Happen”, where the director also became the protagonist: "At first the film was meant to be about my friends — soldiers at war and here, in civilian life. But in the end, the producer suggested filming my own story. It’s a very special experience — to film yourself and not think about being on camera. It turned into self-reflection that lingers even after filming ends. That’s why I still work with a therapist. And now I want to use this moment to honor our fallen with a minute of silence."

Director Stanislav Suknenko presented “Azovstal. Shelter of Life”, dedicated to the family of a defender of the plant: "We started filming in 2022, just a month after the full-scale invasion. We wanted to make a simple story about how war changes human relationships, destroys lives and families. This is war through the eyes of one ordinary family united by ‘Azovstal’. Our heroines were the mother, sister, and teacher of Dmytro Kozatskyi. When we began, he was still at Azovstal, later he was in captivity. Through their stories we tried to capture this experience."

Yurii Dunai spoke about his debut project “Burnt by the Sky”: "This film is about soldiers suffering from PTSD. It’s about the long, difficult treatment process, and how unfinished recovery can lead to tragic consequences. I wanted to show the hardships of returning to civilian life, and how civilians often don’t understand the scale of veterans’ problems."

Director Yevhen Matviienko presented “Zhytie”, highlighting the importance of hope:"In our difficult times, I believe it’s important to give not only reflection but also hope. So the audience leaves not only with heavy thoughts but also with a sense of possibility."

Producer Yevhenii Lytvynenko introduced the crime comedy “Good Thing Mom Doesn’t Know”: "The film consists of four novellas, each telling the story of one family member. All of them, without knowing it, influence each other — since all are connected to the criminal underworld."

Director Yuliia Biliak presented “I See You”: "It’s the story of a protagonist who returns from the front after rehabilitation and tries to find himself in civilian life. His brother supports him with humor and strength."

The film “The Soloist” was presented by director Serhii Storozhev: "This project was born over ten years ago. It’s not directly about the war, but it was made in today’s context. Films made despite all wartime difficulties are already a victory for Ukrainian cinema. And I believe it’s important for soldiers to watch something other than what they endure at the front."

Director Serhii Sotnychenko spoke about “February March”: "This was the most difficult project of my career. We filmed almost day by day the events that took place in Irpin, on the actual locations. Most of what you’ll see on screen I personally experienced."

Screenwriter Anna Halytska presented “Fierce Hello”: "It’s a story about fierce love that sweeps everything away. About forbidden feelings when a man falls in love with his brother’s wife. There is passion, pain, and betrayal."

The project “Falcon’s Glow” was presented by Kyrylo Horobets: "It’s a romantic comedy — lighthearted but with serious undertones. It tells the story of a rivalry between two big hotels in the Carpathians."

Screenwriter Serhii Korotun introduced the psychological thriller “The Shades of Temptation”: "The events unfold in Lviv in 1987. A time at the edge of eras: the city still lived in old stone houses with hidden secrets, but was also entering a new age."

In the afternoon, a discussion “The Development of Cinema Networks with State and International Support” was held, featuring key industry players: Olha Panteleimonova, head and producer at UPHub; Nataliia Baidan, CEO of Planeta Kino cinema chain; and Veronika Yasinska, head of Green Light Films. Participants shared their vision of how cooperation between the state, private investors, and international partners could improve Ukrainians’ access to modern film content.

The professional part of the day concluded with the presentation “Changes in the Work of the State Film Agency”, delivered by its head Andrii Osipov. He introduced updated approaches to funding and supporting film production, emphasizing transparency, sustainable industry development, and expanding opportunities for Ukrainian filmmakers:"The State Film Agency must be closer to cinema than to ‘state’. It should be the main creative office of Ukraine’s industry, with transparent procedures and clear rules. We have a progressive law on state support for cinematography, and soon there will be changes that will improve key mechanisms — from cash rebates to supporting auteur and socially important projects."

The Odesa International Film Festival is supported by:

Ukrainian State Film Agency

The European Union and Creative Europe Desk Ukraine

Adam Mickiewicz Institute “Instytut Adama Mickiewicza”

Polish Institute in Kyiv

German Films

In partnership with the Goethe-Institut in Ukraine

Official Sponsor – ARARAT

Official Automotive Partner – BMW Ukraine

General Partner of Film Industry Office – UPHub

Official jewelry partner - Carrera Y Carrera General

Technological Partner -Hisense