Sergei Loznitsa, ethereal documentarian: untangling the Russia-Ukraine war in the Kiev Trial, Donbass, and Maidan

ABSTRACT

On 24 February 2022, Russia launched a full-scale invasion of Ukraine in a major escalation of a war that had been persisting since 2014. This article explores three of Sergei Loznitsa’s films set in Ukraine and examines the way in which their shared observational style informs the Russia-Ukraine war and may influence viewers’ perceptions of the complexities of the conflict. A close analysis reveals that the observational mode used in Maidan (2014), Donbass (2018), and The Kiev Trial (2022) has two primary effects. First, in Donbass and The Kiev Trial, the unfiltered style serves as a contrast to the often farcical and ‘staged’ content, thereby exposing the lies underpinning Soviet presence in Ukraine and the current Russian invasion. Second, in addition to exposing Russian misinformation, Loznitsa’s observational style in Maidan and Donbass facilitates identification with the Ukrainian people by visually and auditorily immersing the viewer in the world on the screen. The article concludes with a discussion of the significance of Loznitsa’s work in shaping the public’s perception of – and continued commitment to – the war in Ukraine.

KEYWORDS:

• Maidan
• Donbass
• The Kiev Trial
• Loznitsa
• documentary
• Russia-Ukraine war
• cinematography
• music

Acknowledgement

Thank you to Dr. Christine Fair and Dr. Robynn Stilwell for your support and inspiration.

Disclosure statement

No potential conflict of interest was reported by the author.

Notes

1. Council on Foreign Relations, ‘Conflict in Ukraine’

2. La Biennale di Venezia, ‘The Kiev Trial’

3. Olzacka, ‘The Development of National’, 1.

4. Ibid, 1.

5. Ibid, 2.

6. Ibid, 2.

7. Ibid, 4; Shpolberg, “Ukraine’s Babylon’13 Collective”

8. Olzacka, ‘The Development of National’, 5.

9. Ibid.

10. Ladygina, ‘Cyborgs vs. Vatniks’, 111.

11. Ibid.

12. Ibid, 106.

13. Ibid, 112.

14. Romney, ‘Sergei Loznitsa: Film Historian’, 97.

15. Festival de Cannes. ‘Sergei Loznitsa’

16. Shpolberg, “Ukraine’s Babylon’13 Collective”

17. Romney, ‘Sergei Loznitsa: Film Historian’, 97.

18. Ibid.

19. Aufderheide, Documentary Film, 10.

20. Nichols, Introduction to Documentary, 22.

21. Aufderheide, Documentary Film, 11.

22. Ibid, 12.

23. Alpert, Erin. ‘The visual in documentary’, 135.

24. Aufderheide, Documentary Film, 11.

25. Prusin, “’Fascist Criminals”, 5.

26. Vourlias, ‘“Perhaps Somebody Might Listen”.’.

27. Prusin, “’Fascist Criminals”, 7.

28. Cynthia. ‘Stalin killed millions’; University of Minnesota. ‘Holodomor’

29. Prusin, “’Fascist Criminals”, 15.

30. Ibid, 16.

31. Ibid, 16.

32. Ibid, 16.

33. Ochab, ‘New Mass Graves Found’

34. James, ‘Donbass’; Voice of America. ‘Donetsk and Luhansk Regions’

35. James, ‘Donbass’

36. Aufderheide, Documentary Film, 11.

37. Youngwood, Ben. ‘Dancing Russia Goodbye’ Loznitsa’s decision to have the actors – who we learn are participants in Russia’s propaganda machine – listen to Serduchka’s song in this scene is ironic, given that Serduchka has become a recognized anti-Russian figure. In 2022, following the invasion, the popular Eurovision performer officially titled his 2007 song ‘Dancing Lasha Tumbai’ ‘Russia Goodbye’. In doing so, Serduchka cemented ‘the song’s role as an anti-Russian anthem’.

38. Dickinson, ‘Modern Ukraine’

39. Pifer, ‘Ukraine’

40. Levy, ‘Maidan’

Additional information

Notes on contributors

Bianca Berman

Bianca Berman is a recent graduate from Georgetown University's School of Foreign Service, where she obtained a Master of Arts in Security Studies. Her research interests include international security, counterterrorism, film studies, and music in film.