Oscar ödüllü yönetmen Chernov, 'Andriivka’ya 2000 Metre'yi anlattı: Dünya ile Ukrayna arasındaki mesafe...

T24

Oscar ödüllü yönetmen ve gazeteci Mstyslav Chernov, modern savaşın “fiziksel dünyada ve medya dünyasında iki düzlemde” gerçekleştiğini söyleyerek yeni filmi "Andriivka’ya 2000 Metre"nin Ukrayna’nın hafıza mücadelesini anlattığını vurguladı. Chernov, “Bu savaş bittiğinde yeni bir savaş başlayacak: hakikat savaşı. Silahlar sustuğunda tarih yeniden yazılmaya çalışılacak. Benim görevim bunun olmasına izin vermemek. 2000 metre yalnızca iki mayın tarlası arasında sıkışmış bir orman yolundan Andriivka’ya uzanan mesafe değil, dünya ile Ukrayna arasındaki mesafedir” dedi.

Transcript

00:00Ukrayna Kırmızıcır

00:02ve çok büyük bir city konuştu.

00:04Kötüllerin

00:09Kırmızıcır

00:14Kırmızıcır

00:20?.

00:26Yani

00:38Çalığı

00:40bir

00:40kaybol các

00:40bilmpre

00:43bu

00:43cid'lere

00:44başlıyor

00:45ve

00:47y ministri

00:49İlginç, en müdüm, en satın yorumlar, en sektörü müdüm, en sektörü müdüm.

00:55Bence çok üzgüldü, bu çalışmadan da,

01:00ve çalışmalarınızdan da çalışmalarınızdan,

01:03çalışmaların ve dünyanın dünyaya çalışmaların

01:06bu etkilerini istekli bir şey var.

01:11Biliyorum ki, bir müdüm, ve dünyanın yorumlarında

01:14çalışmaların, en mahram, ve en None Yumpa'dan

01:16Bu nelerna en yeni film 2000 yüzyılır.

01:20Bu nasıl bir ateşi ve vaytiyelerde kuruluşu ve

01:23ve bu kadar insanların ilginçine

01:23комнаta bakımları ve

01:25bazen insanların

01:27kendilerinin

01:27ve

01:28her talkmanları

01:29pål Suitesini

01:30herhalde

01:31beni

01:31çıkat

01:32herhalde

01:32arayi

01:33pardon

01:35bırak

01:35ve

01:36bak

01:37b

01:38bazen

01:38bir

01:382001

01:39kad

01:40yap

01:41o

01:42o

01:43büyük

01:44kendin

01:44bu

01:45Bu nedenle bir kamerayı önemli değil.

01:47Bu nedenle, bu konuluklarla ilgili bir şey var.

01:52Bu nedenle, o konuluklarla ilgili bir şekilde,

01:56bu konuluklarla ilgili bir şey var.

01:58Kamerayı, bu da bir suyduğun bir şey var.

02:01Ve o, bu, bu da, bu da çok iyi bir şey var.

02:05Bu, bu da çok iyi değil.

02:08Bu da, bu da çok güçlü bir suyduğun.

02:12Ameripo'da hela kişilerin var.

02:15Baboylar, çocukları who hayatta ve herşeyi kapları ve herşeyi

02:19ve herşeyi çıkan insanları.

02:21M craziestine, herşeyi sözler andensored ve şaşırtık,

02:25ve dağılıyor,υaz.

02:28Bu yüzden ben burada.

02:29Ama şimdi yeterliyumda.

02:32Ve bu gördüğü sayesinde,

02:34bu kadar bu bütün herşeyi ilim yatarak ve

02:37bu timen,

02:39Buzha, Kharkı, Kıvı, Kıvı,

02:46So many cities that have been bombed,

02:49and so many people that have been killed.

02:52We've seen their voices to be attacked by propaganda,

02:59to be denied their tragedies,

03:04and that's one of my biggest reasons.

03:07And that when Russian media are saying that those tragedies didn't happen,

03:12so these people didn't just lose their families and their children,

03:17they also lost their right to speak.

03:21And I think that's what we should fight for as journalists,

03:26for their right to be heard.

03:28There is a moment in the film when the commander,

03:40the protagonist of our film, Fedya, he says,

03:44where is your gun?

03:46Do you have only a camera in your hands?

03:48And I think that's quite a symbolic moment,

03:52because for me camera is matters,

03:56and I'm there to tell their stories.

03:59And they also know that modern war is happening on two levels,

04:07one is the physical world and one is the media world.

04:11And the image of a flag over the liberated village

04:16is as important as a flag over the liberated village, etc.

04:20However, at the same time, as a journalist, as a filmmaker,

04:24I would protest against the idea that the camera can be,

04:30or should be considered as a weapon.

04:32It is a shield of truth rather than a weapon,

04:36and it should remain so.

04:38Yes, journalists and still makers should not be,

04:41should not be a target.

04:43But as a Ukrainian, as a Ukrainian making films about Ukraine,

04:48being an international journalist but also being Ukrainian,

04:51it is important for me to make films and stories

04:55not about politics but about people,

04:59about my own community,

05:02people who under different circumstances

05:04be my fellow students.

05:06And that's what we talk about with them

05:08when we meet there on the battlefield,

05:11about how our universities are rebel universities.

05:15Truck drivers, warehouse workers, policemen,

05:19you know, all the people who,

05:21if it wasn't for war, would be just part of my community.

05:26And the fact that they have guns,

05:29they have made a decision to take those guns

05:34to defend their home,

05:36doesn't make them a lesser part of their community.

05:39I feel that there is my obligation to acknowledge the sacrifice

05:45that my communities pay while defending my home.

05:51So, with, uh, even with 20 Days in Mariupol,

06:01how Academy Awards and other, and other awards that we received for it,

06:07that, uh, helped film to be seen and, uh, be heard.

06:14Because even some TV channels, uh, wouldn't want to take it or show it

06:20before we, we were nominated.

06:23Especially for the war films.

06:26Especially for the films that are dealing with difficult topics.

06:29Especially for the films that are not considered as entertainment.

06:33Those awards and, uh, those efforts to release awareness about the film

06:39are vital to get to the audience.

06:42This is, you know, here, um,

06:45has been more than a decade that this war is raging in Ukraine,

06:49that Russia invaded Ukraine.

06:51And every year it was harder and harder to,

06:56to break through the fatigue of people around the world from this topic.

07:03And so, each awards, each recognition helps to keep the attention

07:09on the film and what's important for me as a film director,

07:14but also what's important for Ukrainians as a nation.

07:17So, definitely helpful.

07:19Definitely not just symbolic.

07:21As a, as a journalist again, as a film director,

07:24I have achieved everything I could ever dreamed about.

07:27And, uh, right now for me it's just an opportunity to,

07:31to get to more people, to get a bigger audience,

07:35to, uh, to speak, um, more about what's important for us.

07:42I don't think there is a competition between the reality and the political reality.

07:54I think, I think the efforts that are made and constantly being made,

07:58uh, around, uh, in political space to stop the war.

08:04Um, and some of these efforts, uh, were here in Turkey.

08:09and they actually resulted in, in release of prisoners of war,

08:15which is amazing.

08:16It's, it's a celebration for so many families.

08:20We do see results.

08:22We do see the importance of those conversations.

08:25And hopefully they will eventually lead to, uh, to peace.

08:30But right now if you go to the front line,

08:32if you go to cities that are, uh, very close to the front line

08:37and are constantly being bombed,

08:39you will see a lot of skepticism, uh, towards what we hear in the news

08:45and towards the political statements that are made by, uh, various international leaders.

08:50And it's not because they don't mean anything.

08:54It's just, over the past year, very little of those, uh, statements,

09:00sometimes contradicting statements, I would say, uh, have actually resulted into change on the front line

09:10for military or for, for civilians.

09:14And my task as a journalist and as a filmmaker is to, with my work, to inform not just regular, uh, audiences around the world,

09:25but also to inform politicians that, that make decisions about, about the reality of what's happening on the ground.

09:34And, uh, that's very important that they keep the awareness of that reality.

09:41That they, they don't get detached from reality of the battlefield.

09:45They don't get detached from, from a humanitarian situation.

09:49Um, because, uh, when you are in those rooms, um, it is easy to forget.

09:55It is easy to forget that you are talking not about Ukrainians, for example,

10:02giving away thousands and thousands of kilometers of, of their land on a map.

10:09We are talking about displacing hundreds of thousands of people.

10:14We are talking about land, each meter of which is, is important for someone,

10:21because it's someone's home. It's someone's blood. It's someone's pain.

10:25I just want that reality to be closer. And, and, uh, that is why 2,000 meters to Envryivka is called 2,000 meters to Envryivka.

10:33It is a film about distance, but not just about distance between the beginning of that little forest

10:40squeezed between two minefields and leading to Envryivka, but also the distance between the, uh, the world and Ukraine.

10:50Um, by now, more than 70,000 people went to Ukrainian cinemas to watch 2,000 meters to Envryivka,

11:05one of the most popular, uh, documentary films in, uh, Ukraine history.

11:10Of course, for both 2,000 meters to Envryivka and 20 days in Mariupol,

11:15we were aware and worried about how people will relive traumatic experiences.

11:23And what we discovered as, is that it is actually quite important for, for community to experience these tragic events together,

11:35in a safe environment, cinema, or, or their homes, and, uh, to feel that their suffering is not forgotten.

11:43You know, the worst, probably one of the worst things about those tragic moments that happened in Mariupol in 2,000 years,

11:51and everything that happened in between is that the sense that, that those incredible tragedies, tragedies might be forgotten,

12:01and they don't matter.

12:03So, films help to, to make sure that they are not forgotten, that they are acknowledged.

12:11And that's what my films and films of my fellow filmmakers in Ukraine are, are, are all about.

12:19And, uh, uh, when this war will be over, and, uh, well, every war is over someday,

12:31and I hope this war, war will be over soon, uh, the new one will start.

12:36The one for truth.

12:38Uh, when guns fall silent, the new battle starts, the battle for truth.

12:44And, uh, there will be people that will try to rewrite the history.

12:49My task as a filmmaker is to make sure that it won't happen, that the history will not be rewritten,

12:56and that, uh, it's preserved, and it's, uh, it's remembered.

13:03I just think that the, the, the, the vital part, and we just spoke about that just now,

13:10how, how community came together and watched 20 Days in Mariupol,

13:14how they watched 2,000 Minister and Rivka, and experienced the tragedies together.

13:20And in that community, in that community experience,

13:24lies the key for our collective treatment.

13:29For, for the beginning of our, of our recovery.

13:33Because on our own, alone, we are nothing.

13:37Me, on my own, without my colleagues and my friends,

13:41without my community and family, I am nothing.

13:44I will fall apart tomorrow.

13:47Maybe I'm already falling apart.

13:49I'm just, just holding it together.

13:52It's because I have people right next to me.

13:54You know, there was this moment, uh, during the premiere of 2,000 years century

14:01Ukraine, the soldiers who survived that battle came to cinema.

14:08And they came on the stage after the film.

14:10And, uh, the, the entire cinema was standing and applauding to them.

14:16And one of the soldiers lost his legs.

14:19And he couldn't stand for 10 minutes because they applaud,

14:22they were applauding to him for 10 minutes.

14:25And so, other soldiers came to him and they held him,

14:30so he could stand straight.

14:32And in that I saw the key to, to how we survive individually,

14:39in that moment when we are all holding each other.

14:43on them.

14:45Dre-

14:52Dre-

14:55Dre-

15:03Dre-

15:06Dre!

15:10Dre

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