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Last April, the director of Lithuanian Mantas Kvedaravičius sold out the live tentant of Marioupol. His documentary, scheduled for the last minute and last minute of the program of the Cannes Festival, expose without much fuss over the Ukrainian pies with the bombs, prisoners of war.

Advantage of the church, which is the only source of refugee refugee, two Ukrainian disputants lorsqu’éclate le bruit sourd d’une explosion. “Vous pensez que c’etait un mortier? Au moins, aujourd’hui, il fait beau.” Welcome to “Mariupolis 2”, the documentary of the Lithuanian director Mantas Kvedaravičius, presented at a special session at 75is Cannes Film Festival.

This new film is the suite of a premier project, toured in 2014 and 2015 in the city port of the East of Ukraine, given a project of violent affrontations between the Ukrainian army and the separatists.

On April last day, Mantas Kvedaravičius was arrested by the Russians who wanted to quit the city, before retiring assassination. Sonna film, termine en un temps record par sa fiancée, Hanna Bilobrova, et ajouté à la dernière minute à la programmation du festival, est un témoignage rare et brut de la vie suspendue en temps de guerre.

Photo from the movie "Mariupol 2"presented at the 75th Cannes Film Festival.
Photo from the film “Mariupol 2”, the present of the 75th Cannes Film Festival. © Cannes Film Festival

Terrace in the south-south church without the bombs

“Mariupolis 2” exposes the life of the Ukrainian quadrennial in the sous-sol of a church equal to the fact that a large number of others were killed by the bombing. These phantoms pass the essence of your time in an improvised bed, plus a souvenir in the foam, without electricity.

Lors des rares moments d’accalmie, hommes et femmes sortent de leur antre et s’activent pour déblayer les gravats, cuire de la nourriture sur un feu à même le sol, ou bien tenter de recupérer des victuailles dans les décombres. In this new routine, attentive work, only the destruction of evolution, the ruin of the terrain and the management of a lot more than the fact that it is open to the group.

Every day, you are disassembled for a common community. “C’est Dieu et non ces murs qui nous maintiennent en vie. Allez voir la fosse commune du théâtre ou de l’usine”, assène un soir l’un d’entre eux, en reférence au téâtre de Marioupol, bombardé mars dernier with civilians on the interior, ainsi qu’à l’usine metallurgique Azovstal assiégée par les forces russes.

“Nous n’avons pas choisi l’eglise, c’est elle qui nous a choisis”, says Anna Bilobrova, the bride of Mantas Kvedaravičius and the correlation of the film. .

Give up “Herre Fiction”

Out of the power of his vanity, “Mariupolis 2” can be separated by its form, which is more than a sequence of sequences that document a traditional sense of the term.

By the window, the Mantas Kvedaravičius chamber scrutes the columns of hypnotic flames, which are horrible. At a distance, the director of the film is a group of land in the sun, on the travers of long fixed plans, as an illustrator of this life, you will find the right thing to do. Parfois, il capte des témoignages, comme celui de ce père de famille malade, dont la voix s’élève, dans la pénombre du dortoir, pour expliker qu’il perdu sa femme et ne peut s’occuper de son jeune fils.

The other members of the group, the best touches, the reflections or evocative light of life. But at the same time, the film does not create the personal parks of men and women. From boat to boat, “Mariupolis 2” is always close to brute and radical.

“We are in the habit of war as a fiction. It is in the television magazines, it is presented to us as a fiction. It is a representation. Personally, we are not present as a fiction.

“The movie will stop you from reciting. The importer, this is the thing you do not regret your choices. And you have a lot of attention to us, we, the people, with a great freedom and without ideas,” he said. Nadia Turintseva, film production.

A tour of some of the world can be held in a single month, “Mariupolis 2” is a live spectator, in real time, the calvaire of Ukrainian civilian prisoners of war. A remarkable and exciting experience, which, presented at Cannes, is honored by the best manners of the memory of his realist.

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