5th day of Film Industry Office at 16th OIFF

The Odesa International Film Festival is not only about film screenings but also a large-scale industry program. Traditionally, it includes the Film Industry Office section, which runs in parallel with the festival and brings together film professionals from Ukraine and abroad. Here, discussions focus on current challenges of the industry, the responsibility of artists, and pathways for developing acting careers.

On September 30, the discussions continued — participants delved into conversations about building an actor’s public image, the role of agents in career development, the significance of documentary filmmaking, and new approaches to creating audience-centered cinema.

In the Main Hall, the day began with a special panel discussion “What Stories Do Audiences Need Today?”, organized by the film podcast “When Will It Be Like in Hollywood?” of the Tvoe Kino TV channel. Showrunner and screenwriter Tala Prystaetska, along with director and showrunner Yevhen Tunik, divided the event into several thematic blocks.

In the “Audience Cinema That Works” block, the conversation focused on how to create films that resonate with a wide audience. Speakers Oleksii Taranenko, director of “Kakhovka Project” and “I Work at the Cemetery”, and Anastasia Shteinhauz, Director of ICTV and ICTV2 and Head of Starlight Doc, spoke about balancing artistic vision with commercial appeal.

The Comedy block examined current Ukrainian box-office hits. Pavlo Ostrikov (“U Are the Universe”) emphasized the importance of distance in themes: “You can escape from the present into different settings — the future or history. It’s also interesting to view the present through another prism: how sci-fi speaks about the now, but as the future. The same goes for historical settings — they provide distance to reflect on today while maintaining respect and safety.”Arkadii Nepytaliuk (“Lessons of Tolerance”) spoke from personal experience on the theme of homophobia: “These topics must be personal. I went through and overcame homophobia myself. I don’t blame people for it, but I show this flaw because I’ve dealt with it and want others to do the same.”

The Film Marketing block explored the idea that making a film is not enough — it also needs to be sold. Olena Martynova, Marketing Director at Starlight Media, stressed: “I insist that cinema should be watched together. Because when it ends, first, you need to hug the person, and second — forgive them.”

She was joined by Nadia Korotushka, Producer and Head of Distribution at FILM.UA Distribution, and Veronika Yasinska, CEO of Green Light Films.

The Documentary block highlighted the importance of nonfiction films for Ukrainian audiences. Producer Maksym Serdiuk, founder of Knife Films (Yaremchuk: “Matchless World of Beauty”, Okean Elzy: “Observing the Storm”), together with Darya Bassel, Head of the Docudays UA Industry Platform and producer (“Peaceful People”, “House Made of Splinters”), discussed how documentary projects quickly respond to current events and social needs. Darya emphasized: “I’ve definitely noticed this correlation. Unfortunately, it’s closely tied to the start of the full-scale invasion. I saw how documentary filmmakers in my community adapted instantly. In new conditions, they didn’t need instructions or forecasts — they were ready to work in extreme circumstances. So they started filming almost immediately.”

Participants then moved on to ethics and responsibility in cinema. Moderator and journalist Lena Chichenina raised questions at the intersection of creativity and moral responsibility. Panelists included: casting director Oryna Petrova, actress Anastasia Pustovit, actor Artur Lohai, lawyer and partner at Miller Law Firm Artem Krykun-Trush, producer Volodymyr Yatsenko, Starlight Media’s Director of Communications and Sustainability Yana Honcharenko, and UPHub CEO and producer Olga Panteleimonova.

Casting director Oryna Petrova highlighted the importance of involving real military personnel in roles that require such experience, while also respecting civilian boundaries: “If there’s a military role, I first suggest giving it to someone who has actual experience. If that’s not possible due to service, then I turn to actors who are willing and capable. Some consciously refuse, saying: ‘I have no right to play a soldier because I’m not one myself.’”

Actor Artur Lohai shared his experience working on a project where the script was rewritten after the full-scale war began: “During table reads, I literally asked to remove all pompous phrases about heroism. We stripped the text of unnecessary pathos to leave only the truth.”

Yana Honcharenko stressed the difference between screen aesthetics and reality: “When we over-heroize, we create an image of the warrior as tall, strong, bearded. But the Ukrainian army is very diverse. I recall a veteran who admitted people often didn’t believe him because he ‘didn’t look like a veteran’: no beard, not tall, not muscular. Showing this diversity is crucial.”

Actress Anastasia Pustovit pointed out that theater sometimes allows for deeper depictions of inner wartime struggles: “The stage, I believe, can better show what happens to a person during war. In our Othello, there is no romanticizing of PTSD — instead, the harsh reality is shown: someone unable to control themselves until they begin treatment.”

Lawyer Artem Krykun-Trush emphasized the legal side of communication: “If you state something as fact and it’s untrue and unverified, the person has the right to go to court and defend their honor.”

Producer Volodymyr Yatsenko added that admitting mistakes publicly is not weakness: “On the contrary, it’s a sign of strength. Ethical apologies for wrongdoings are an important marker of responsibility to the audience.”

The next event was the open dialogue “Creating an Actor’s Public Image: From Bit Parts to Leading Roles.” Moderator Oryna Petrova invited celebrity marketing manager and PR agent Anna Davydenko and actor Oleksandr Rudynskyi to share their experience in building visibility and positioning in careers.

Anna Davydenko emphasized that working with an actor’s name depends on the stage of their professional growth: “When we started working with Oleksandr, he already had some recognition, which had to be carefully managed. Now my job is actually to limit his media presence so that fewer but more meaningful appearances bring better results. At the beginning of a career, however, a PR agent has a different task — to make sure people recognize the actor’s face and remember their name.”

The day in the Main Hall concluded with the project Institute of Ukrainian Movie Stars (Powered by UPHub). Moderated by TV host Oksana Hutsayt, the panel discussed how to nurture a new generation of Ukrainian actors and build infrastructure for developing star careers. Speakers included: UPHub CEO and producer Olga Panteleimonova, producer/director/screenwriter Oleksii Komarovskyi, Head of Fiction Production at 1+1 Production Tetiana Shulika, Head Producer of Series at ICTV2 Iryna Khronovska, and co-founder of NAME PR Tina Zavadska.

Olga Panteleimonova stressed the importance of authenticity in public image: “My advice — find the key that works organically for you. The most popular people are those who are honest and open with their audience. How are stars born? Always differently, but usually success comes when the desired image matches the first role that brings popularity.”

Director Oleksii Komarovskyi urged actors to reflect on the meaning of future fame: “Ask yourself: ‘What kind of star do I want to be?’ Hype can be caught in five minutes, but it doesn’t always matter. It’s important to know why you want fame. Some people attract it like a magnet, while others, equally interesting, remain unnoticed. You need to find your own answer.”

From the perspective of a broadcaster, Tetiana Shulika highlighted the importance of practice: “Actors need to film — even in small roles, in short films, supporting young directors. For producers and broadcasters, it’s crucial to see an actor’s talent in action, not only at casting.”

Iryna Khronovska echoed this, noting: “It’s very important that image and role align. At casting, we always start with one simple question: do we believe this person? That’s why it’s crucial for an actor to find their own type, close to their character and inner self.”

In the Small Hall, the program focused on practical topics for actors. Casting director Oryna Petrova opened with the discussion “What’s Normal or Awkward in Acting? Questions Actors Are Afraid to Ask Directly”, addressing sensitive behind-the-scenes issues.

Next came the open dialogue “The Actor Through the Director’s Eyes” with director and showrunner Serhii Kulybyshev, exploring how directors evaluate actors and what matters most in collaboration. “It’s the bit-part actors who determine a film’s level. Imagine: a star in the lead role, but beside them, a weak extra who forgets lines or looks into the camera. The impression of the film is ruined. But if even the smallest roles match the level of the lead — that’s quality cinema. What’s more, a bit part can become a springboard to greater things if the actor makes an impact, even outshining the lead,” noted Serhii Kulybyshev .

The following talk “New Faces: How Producers Cast Actors and Why Some Succeed While Others Remain in the Shadows” with producer Anna Yelisieieva (FILM.UA) focused on mechanisms for discovering new talent and the conditions that give actors a chance to shine. “Recently, we’ve started launching casting already at the development stage. Development packages now include the director and so-called dream-cast. Even public pitching sessions with the Ukrainian State Film Agency now feature a dream-cast, so casting begins very early,” Anna Yelisieieva explained.

The block concluded with the dialogue “Actor + Agent = Success? Truth or Myth That an Agent Guarantees Projects” with a talented agent Valeria Ruban (R Talent Agency), exploring how much stability an agent can really provide. “Many actors think: I found an agent, now I can sit and wait for work to come. But for me, an agency means partnership. Of course, an actor can wait, but it’s better not to. As for collaboration, I must genuinely like the actor. At first, visually — but more importantly, I need to feel something deeper. I must believe in them, not judge superficially. It’s a partnership where both sides invest.”

She reminded actors that an agent’s role is limited: “To be clear: having an agent is not a 100% guarantee of roles. An agent does about 10% of the work; the remaining 90% is your own effort,” she concluded.

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