ESCAPE

OKSANA MYSINA writes about the event in a May 20 Facebook post:
       "On the island of Crete, in Greece, there is an ancient city called Rethymno. And there, in the heart of the Old City, is the Institute for Mediterranean Studies - FORTH which offers a Master's degree in the History of Cinematography where we recently presented two of our films - "Escape" and "Cherry Orchard. War."

Graduate students, future doctors of science - historians of theater and cinema, came to the screening and discussion. Some by plane from Athens, some by night ferry, some, like us, by car from Chania, an hour's drive, some from Heraklion, the capital of Crete, also an hour's drive from the other side of the island in the east. After we all briefly got to know each other, the students watched and discussed the films one after another.

      It was a revelation for me. Time after time I am convinced of the high level of education in Greece, and I was amazed at the complete emotional immersion of the graduate students in our experimental film works. The intellectual discussion showed their subtlest sense of genre and artistic tasks, insight into the subtleties of the concept and the process that the characters experience in their stories. It was an incredibly high level of allegorical perception!

      Endless gratitude from John Freedman and me for such dedication! We heard words that justified our unique approach to filmmaking, based on complete trust in the moment and our characters/performers who are participants in the process and dynamics of the moment of the experience happening in real time during filming, - they truly become co-authors of our films.

      Both films are about our present times. Sort of diaries of our times. Both films, from different angles, convey a sense of the fragility of life. They are about the psychological breakdown that a modern person goes through, finding himself in the hell of history.

      During the discussion, we heard such words as "a sense of complete involvement," "the existentiality of the allegorical narrative," "this is not just about war, it is about the theme of choice that faces everyone today." Each of those present in the hall took the floor. We saw and felt that the film was capable of not only stirring up emotions, but also consciousness to the fullest extent. We also discussed the danger that the Russian-Ukrainian war posed to the entire world and European countries. "I thought that it could have been me... The film leaves room for this. You have time to put yourself in the heroine's shoes and live the situation with her simultaneously. Not in a detached way. But being involved in her world. And you begin to think about how you need to value every day of life and your family and friends..."

      I congratulate both my international teams on these first professional reviews. Priceless. After all, we did not strive to make average documentaries. The heroes revealed the depths and secrets of their consciousness in the frame and were not afraid to make risky confessions.

      Confession and openness. Precisely in our era of schisms where civilization runs up against blatant, aggressive barbarity.

      Harsh words sound from the screen. About whether "after what is happening, do we even have the right to talk about Chekhov, Tolstoy, Dostoevsky?.. I think not." "Without a free Ukraine, humanity has no future." "We must do everything so that the art and culture of Ukraine are known throughout the world..." "I cannot imagine life under the occupiers. I would never go back in that case..."

      Many of the graduate students spoke about the power of the original music written by my friend and co-author, composer and pianist Sergey Kuchmenko, in our films.

      Your symphonic themes, Sergey, elevate our parables to an epic level. Bravo.

      It was a stunning day. Despite a sandstorm from the Sahara. But this event gave everything that was happening an additional, very tangible, meaning. The sand and unbearable heat appealed to one's thirst for the fresh air of freedom like nothing else.

      Congratulations to my dear producer and chamberlain John Freedman, composer Sergey Kuchmenkomy heroes Ann Getmanenko, Nataliia Bratus, Vlad Getmanenko, Elena Sanina and Oksana Glazunova, Vladimir Ushakov, Ksenia Peretrukhina!!! You are all at your best.

      We thank from the bottom of our hearts, as well as the wonderful organizers of this event - professors Panagiota Mini and Constantina Georgiadi!! You are both fantastic! I bow to you. And until we meet again!"