The world of documentary filmmaking has always had its share of controversy, but the latest discourse surrounding Russians at War has ignited particularly intense discussions, especially amid the backdrop of the prolonged and devastating conflict in Ukraine. This documentary, directed by Russian-Canadian filmmaker Anastasia Trofimova, premiered at the Venice Film Festival and is now set for its North American debut at the prestigious Toronto International Film Festival (TIFF) on September 12, 2024.
Ukrainian officials are calling on TIFF to cancel the screenings, asserting the film attempts to whitewash the actions of Russian soldiers involved in the invasion of Ukraine. According to Ukrainian Consul General Oleh Nikolenko, the film portrays soldiers as victims rather than perpetrators, which he argues undermines accountability for the war crimes committed during the conflict. “It is irresponsible to allow TIFF, one of the world’s most esteemed film venues, to be used to diminish the responsibility of Russian soldiers committing war crimes,” Nikolenko proclaimed in his correspondence with TIFF's Director General, Cameron Bailey.
Information surrounding the documentary reveals it encompasses Trofimova’s firsthand experience, having spent seven months embedded with Russian soldiers occupying parts of Ukraine. The synopsis indicates it examines these soldiers' disillusionment with the war after they discover the narrative sold to them by the Kremlin is false.
While Trofimova asserts her film is emblematic of anti-war sentiments—developed under dangerous circumstances and without Russian governmental approval—critics remain firmly unconvinced. They suggest the film serves as propaganda, potentially distorted by Trofimova’s previous affiliations with Russian state media and her ability to film within conflict zones without legal clearance from Ukrainian authorities.
Speaking to CBC News, Russians at War director Trofimova insisted, “The suggestion we are propagandists is ludicrous, considering the risk of criminal prosecution I now face as I work to expose the truth.” Yet the pushback remains prominent, with groups such as the Ukrainian Canadian Congress demanding clarity on why TIFF would screen content perceived as legitimizing Russian aggression.
The geopolitical ramifications of such narratives are significant, particularly when reflecting on the casualties and devastation caused by the invasion. Civilian death toll estimates from the invasion hover around 35,000, with entire cities ravaged and millions displaced. It raises pressing questions about the portrayal of war and who gets to narrate these experiences.
Beyond the borders of Canada, the backlash has echoes within the film industry. Tiina Lokk, director of the Black Nights Film Festival (PÖFF) in Estonia, called the film “extremely one-sided,” inferring it fails to incorporate any depictions of the war's impact on Ukrainian civilians. “If only there had been some shots of Bucha and other consequences of this conflict, it would lend credibility to their portrayal of the soldiers,” Lokk stated, indicating the world’s unwillingness to forget the atrocities associated with Russia’s military actions.
The controversy spirals even farther, with statements from various critics emphasizing the film seems to maintain a simplistic view of complex issues. Filipp Kruusvall from Docpoint Tallinn expressed deep concern, stating the film entirely overlooks the crimes committed by Russian soldiers. He mentioned, "My personal opinion is Russian soldiers are mass murderers, and it’s premature to promote empathy for them without addressing their actions through proper judicial processes."
Protests aimed at the screening are set to occur outside the Scotiabank Theatre, where Russians at War will be shown. Diplomats and advocates decry the film as blurring lines between aggressor and victim, arguing this narrative perpetuates misconceptions about geopolitical realities.
This dialogue also highlights something larger at play – the tension inherent within film festivals as cultural spaces. While they celebrate creativity and artistic exploration, they must also navigate the political what-abouts of their programming choices, aware of their influence on public perception.
At this moment, as the world watches and debates, Russians at War stands as more than just another documentary; it is emblematic of the struggle to tell stories amid overwhelming violence and sorrow, discussions of guilt and innocence, and the quest for truth. Whether it will be viewed as art or propaganda may depend largely on the viewer’s own experiences, beliefs, and, most poignantly, their viewpoint on the conflict itself. For Trofimova, the stakes couldn’t be higher – both as a filmmaker and as someone trying to portray the deeply human costs of war from within the ranks of the soldiers. The question remains, at what cost is this portrayal made, and who gets to narrate this complex story of conflict?
