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53-й Київській кінофестиваль «Молодість» відкрився українською прем’єрою польського-українського фільму «Дві сестри», представляючи одразу дві надважливі складові війни: підтримку Польщі, виявлену у фільмі буквально на кожному кроці, і те, як важливо бути разом, щоб зробити одну складну, але головну справу
В Україні відбулась прем'єра стрічки «Дві сестри». Фото: пресматеріали
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Режисер фільму Лукаш Карвовскі і виконавиця головної ролі Кароліна Жепа представили фільм в київському «Будинку кіно» при повному залі глядачів, чий позитив очікувань був суттєво підкріплений діями шампанського, спожитого під час початкового welcome drink. Наскільки фільм матиме драматичну складову, ніхто не знав, хоча, зважаючи на сьогодення, заявлене в сюжеті, навряд чи варто було очікувати алкогольного драйву і відповідних йому пустощів. Все було прагматично і концептуальний, як і потрібно.
Карвовскі побудував роад-муві, але лінія руху героїв з пункту А в пункт Б далека від рівності, більше нагадуючи зигзаги проходження полігону, аби вижити. А разом з виживанням пройти шлях такої собі ініціації — зрозуміти те, чого не розумів, набути досвіду, потрібного для виживання в подальшому.
Тому рух між А і Б — це рух не тільки між містами і місцями, це рух між людьми
Героїня Кароліни Жепи, Ясміна, несподівано, після 8-х років відсутності спілкування, приходить до своєї зведеної сестри Малгосі (Діана Замойска) і просить, навіть вимагає, відразу, прямо зараз, поїхати з неї з Варшави до Харкова. Бо їй повідомили, що їхнього батька, волонтера, було поранено, і його якомога швидше треба забрати до госпіталю. Абсурд такої вимоги для Малгосі зумовлений травматичним минулим і її переконанням в батьковій провині перед нею. І те, що вона таки погоджується, можна пояснити не тільки сюжетом — бо він занадто важкий для увірування, навіть, якщо мова йде про відповідальність, любов, мораль тощо.
Глядачеві допомагає повірити класна акторська гра Жепи. Вона водночас експресивна і стримана, її емоції — в її погляді, її переконливість — в чіпких руках, якими вона вхопила сестру. А ще, певно, режисер, розігруючи цю ключову сценку на репетиціях, рекомендував актрисам робити довші, правильні для цього паузи, коли більше важить не те, що актриси говорять чи не говорять одна одній, а як вони мовчки свердлять одна одну очима. І надалі по фільму фізіономічні «маски» двох сестер та їхні вербальні пікіровки стануть однією з переваг фільму.
Їхнє спілкування — радість для глядача, коли не має натяжок і акторських лаж, коли є гармонія протилежностей
Загалом фільмові переваги — в акторському виконанні і психологічному та драматичному аспектах. Головні персонажі з’ясовують між собою стосунки, маючи складне минуле, тому їхній конфлікт важкий для вирішення, а вирішення його цікаве. І всі подальші люди, які трапляються сестрам на шляху з пункту А в пункт Б, допоміжні елементи для проходження їхнього спільного полігону, буквально прокладеного через війну. Першою, кого сестри зустрічають, дівчина Соломія (Марина Кошкіна) — вона їде в Ірпінь, змушена брехати донці по телефону, що їхній дім в порядку, хоча він повністю розбомблений, що її тато поруч з мамою, хоча він давно пішов на фронт. Другий герой з української сторони — хлопець Саша (Олександр Рудинський), серйозно притрушений і бідовий, але веселий і безпосередній, саме такий, який і потрібен Малгосі, щоб віддатися на поталу миттєвому бздуру і вийти з багаторічної травми попередніх відносин. І третя українська героїня — жіночка Лариса (Ірма Вітовська), хто, на кшталт Харона, везе сестер до Руської Лазової, немов в Аїд, до батька, і навіть більше, повертає їх назад, дозволяючи провести безцінний час разом.
Знятий міцною рукою метра операторської майстерності Ромуальдом Левандовським («Пси-2»), «Дві сестри» мають ще одну правильність, окрім вище згаданої — фільм знятий ручною камерою, що передає логічний для ситуації трем героїнь і тремтіння самого простору, через який героїні рухаються — спочатку до Ірпеня і Києва, а потім до Лазової та Харкова.
Камера тут жива, а життя у фільмі — напружене і на межі закінчення. Тут тільки підтримка і віра важать
І, на щастя, це багато хто розуміє: і перевізник, що погоджується повезти сестер безкоштовно, — бо ж «ми знаєм, як ви, поляки, багато нам, українцям допомагаєте»; і якийсь дядько в Києві, який саме через цю ж причину дає гроші одній із сестер, і наш військовий, який, залишаючи блокпост (?), везе сестер на вокзал. Підтримку поляками українців, що мільйонами (!) втікали у Польщу та через Польщу далі, в Європу, від повномасштабного вторгнення росіян, не можливо переоцінити, бо що може бути благородніше — людяніше — за порятунок від смерті? Це ж ледь не пряме цитування біблійних настанов Ісуса. Це сучасний гуманізм по відношенню до біженців та емігрантів. І виявлена у фільмі вдячність кількох персонажів з української сторони, фактично цитує відчуття всіх українців загалом — подяку за порятунок дітей і дружин, матерів та батьків, в той час, коли інші, деякі з них, пішли в протилежний біг — зустрічати ворога.
Дещо пафосні моменти вдячності у фільмі є не тільки потрібними, вони є моментами щемкої драматичності, сенсовної і чуттєвої — сестри спочатку відверто дивуються такому, але приймають. Бо коли ти на полігоні, варта будь-яка підтримка. А особливо, якщо полігон — це війна.
Так, трапляються по фільму і дурниці, на кшталт сюжету з військовим, залишаючого свій пост; або відсутності сирен в містах під час війни, адже вони постійні в Києві, а в Харкові майже не замовкають; чи перехід сестер до Лазової через замінований ліс. Втім, зовсім не дурницею, як спершу виглядає, є ідея поїздки сестер зі спокійної Польщі до охопленої війною України без карт, контактів, грошей, одягу і спорядження. Режисер — і він же автор сценарію разом з Дмитром Шіробоковим — цим вказує на дикий контраст між Польщею, спокійною і мирною країною, в якій живуть і з якої їдуть сестри, і Україною, охопленою війною, де може статися все, що завгодно. Всім своїм фільмом режисер каже про специфіку війни і вимогу відповідно до неї ставитися. Уважай! — ніби каже він.
Якщо вже вирішив їй протистояти, рятувати інших і їм допомагати, тоді готуйся, збирайся, очікуй, пильнуй і будь швидким, знаючим, міцним, сміливим; знай, як люди долають війну, хто і де почав цю війну, і як себе вести в ситуації зустрічі з тими, хто війну почав і її веде
Кинувшись на поклик батьківського болю, сестри й гадки не мали, що в повному розумінні спускаються в Аїд, бо мають Аїд за міф, а війну — за картинки в книжці чи кадри з фільму. «Дві сестри» — в широкому значенні — це мова не тільки про двох рідних і різних людей, і не тільки про дві країни, історично близькі у своїй любові і ворожнечі, як часто рідні сестри, — мова про розмежовані ситуацією дві системи координат. Що таке, коли війни нема, і що таке, коли вона є. Хочеш миру, казав проникливий римський історик, готуйся до війни. Що б не віщала б тобі доля — готуйся. Бо наївність знову не в моді, і підготовлений — озброєний. А якщо вас двоє — це вже сила.
Журналіст, кінокритик, сценарист. Друкувався у понад 60 журналах, газетах та інтернет-сайтах. Опублікував понад 3 тисячі матеріалів. Був редактором відділу «кіно» в журналі «ШО», в журналі «Кіно Дайджест» був головним редактором, як і в українському представництві міжнародного журналу Total Film. 2015 року започаткував фестиваль «Тиждень кіновоскресіння Розстріляного відродження» (за фінансової підтримки Держкіно). 2018-го року брав участь у створенні Спілки кінокритиків України, фестивалю «Тиждень кінокритики», а пізніше — у створенні премії Спілки кінокритиків «Кіноколо». 2021 року був співтворцем Коростенського фестиваль вуличного кіно. 2020 року написав сценарій до повнометражного ігрового фільму військового екшну «Право на помсту» (у співпраці з Юлею Чернявською), а 2021 року — сценарій до повнометражного ігрового фільму кримінального еротичного трилеру «Ключі від пекла і від раю». Член Спілки кінокритиків України, Української кіноакадемії, Спілки журналістів України.
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Olesia Trofymenko blends painting techniques with ancient Ukrainian embroidery. In March 2022, during the peak of the war, Dior approached Olesia to create decorations for their collection show. However, this collaboration went beyond simple set design. The world of high fashion sought to see and hear Ukraine in its unique, authentic form. The central theme of Dior's collection became the «Tree of Life» - a key element from traditional embroidered towels of the Chernihiv region.
The «Tree of Life» symbolises the triumph of light over darkness. In the first few days of Olesia Trofymenko’s exhibition at the Rodin Museum in Paris, more than 10 thousand visitors attended - an impressive turnout, according to Dior’s PR team, and a rare occurrence. Sestry spoke with Olesia about her collaboration with the globally renowned brand, how she reached European officials and millionaires, and the high-level artistry of Ukrainian embroidery.
Embroidered symbol of life’s victory over death captivated Dior's creative director
Yaryna Matviiv: Is it true that the news about collaborating with Dior caught you off guard while you were in the garden?
Olesia Trofymenko: That is exactly what happened. In some ways, I was lucky because, during the invasion, I was far from Kyiv, in a village. But emotionally, it was very difficult - panic attacks would not leave me alone. On the fourth day of the war, I went out to plant a garden. It was my psychological protest against death and all the horrors Russia was causing. It was my personal war to claim the right to plant flowers and gardens on my land, in defiance of the machinery of death.
By the way, in Kyiv, it is quite noticeable: flowerbeds, which were usually overrun with weeds, are now planted with flowers. When I spoke with my neighbours, they had the same impulse - to urgently fill this wounded earth with beauty.
It was during this time that I received a call from the curator of an exhibition we had done back in 2014. At that time, Benetton held an annual exhibition inviting a hundred artists from different countries to paint on 10/15 centimetre canvases - challenging but interesting work. With the start of the full-scale invasion, it was decided to repeat this exhibition in Rome.
Back in 2014, I managed to embroider a fragment on that tiny canvas because I had just invented my painting-embroidery technique. Now, I was eager to explore this technique on a larger scale. My work caught the eye of Dior's creative director, Maria Grazia Chiuri. She approached the curator about doing a joint exhibition with me. It was so unexpected!
I was standing in the garden and asked again on the phone: «Which Dior?»
The exhibition curator, Solomiya Savchuk, added that I would have 200 people working for me. I thought she meant 200 Ukrainian artists would help with the decorations. But no. «You will have 200 Indian embroiderers from Mumbai working for you», Solomiya said. In reality, there turned out to be twice as many.
It took 470 seamstresses three weeks (!) to embroider 32 of my works for Dior shows
Interestingly, this was the first Indian school where women were allowed to embroider and earn money from it (in India, traditionally, only men could earn money through embroidery). They beautifully embroidered my canvases in 3D.
- You researched Cossack embroidery from past centuries. These motifs became the face of Dior’s shows. But why did Dior turn to Ukrainian history and art?
- Well, first of all, when they approached me, it was the end of March 2022. The idea resonated because the Dior brand itself was founded after Christian Dior met his sister, who survived a Nazi concentration camp. In protest against the collapse of humanity, he established his high fashion house. It was a victory of aesthetics over destruction.
This is why it was important for them to collaborate with Ukrainian artisans (we had already witnessed Bucha and Irpin by then) - it was their political stance on the events in Ukraine. Full support.
Secondly, I use intricate embroidery techniques.
I try to showcase Ukrainian culture in a way that breaks free from the clichés that Russia has always used to present us to the world - baggy trousers and primitive embroidered shirts. In reality, Cossack embroidery is like a universe! Its aesthetic is comparable to that of Japan
For my Dior sketches, I also drew inspiration from the wedding wreaths of early 20th-century Galicia. These wreaths resemble crowns. However, the most prominent connection between me and Dior is the symbol of the Tree of Life. Dior latched onto this image. As Maria Grazia Chiuri told me, the Tree of Life is a collective symbol across all cultures. All ancient civilisations interpret it as a symbol of life’s triumph over death.
As a result, Maria Grazia completely changed the concept of her collection to incorporate this image. The «Tree of Life» became the leitmotif of the entire Dior show.
- After the Dior shows ended, did the embroidered canvases remain at the Rodin Museum?
- Yes, they hung there for a week, and museum visitors could view them. In just the first four days, 10 thousand people saw my work. The exhibition generated a lot of buzz. We spoke about Ukraine through the language of art.
Afterwards, the canvases became the property of the House of Dior.
- At the start of the war, France and Italy were still influenced by Russian propaganda. But Dior took a stand immediately?
- And that pleasantly surprised me. Maria Grazia’s first words when we met in Paris were: «Olesia, I want to tell you straight away that we are on your side, we do not believe Russian propaganda. We understand where the truth lies».
That was important because when you are abroad, it is hard to know who you can trust. Russian propaganda spends vast amounts of money to spread disinformation about the war in Ukraine.
Artists can be heard better than politicians
- A year ago, we held a screening of the film «Mariupol. Unlost Hope». Let me share the backstory: while I was creating sketches for Dior, our director Maks Lytvynov asked me to draw an illustration for a documentary about Mariupol. He filmed this right after the city was taken. In it, he interviewed women who had survived, and in the pauses between these heavy stories, I drew the city «before» and «after» the catastrophe.
This film was shown in various countries across Europe, and a French volunteer, Stéphane Delma, took an interest. He decided that more screenings should be held in France - on different public platforms.
That is how we ended up in Étretat, a tiny French commune famous for being painted by the Impressionists. The place is so popular that European millionaires have started buying houses there. It was important for us to share the stories of the women from Mariupol with this audience. However, the town’s mayor, who is over 90 years old, did not want to show the film. He said it was all politics and mentioned that he had studied Russian once. Then, things changed, just like in a movie…
The local community of active women insisted on screening the film, and after watching it, the mayor underwent a transformation. He became very sympathetic to us.
A lot of people came to the film screening, and afterwards, they asked us more detailed questions about the situation in Ukraine. Before this, the war had felt like a reality show on TV for many, but we gave them the chance to connect with the real-life experiences Ukrainians are living through. We then shared with them stories about missile attacks and how to hide from bombs and drones.
- So, does culture influence people more powerfully than media or news?
- People who create culture and art can indeed be heard better than politicians. It works.
- What makes Ukraine interesting to the global art community? Have you managed to separate the Ukrainian world from the Russian?
- Slowly, but yes. Many art historians are pushing global museums to change the attribution of works by artists who are Ukrainian, not Russian.
For Europe, we are intriguing because we have preserved a school of realist painting, but we have a different visual language and way of thinking.
We live in an age dominated by images, and we must show the world that we exist and what our culture truly represents. For too long, we were viewed as part of Russian culture, and that is partly our fault - we did not promote ourselves during peacetime. If we remain silent, we will continue to be overlooked.
Bomb explosions made from embroidered peonies
- What are you working on today?
- Right now, all my work is focused on the war in Ukraine. However, I try to address this topic metaphorically to reach a broader audience.
Otto Dix's famous paintings of World War II shocked people - the artists of that time showed the horrors of war with decomposing bodies on the streets. Since then, images of violence have become part of mainstream culture.
In contrast, I aim to «mask» these horrifying realities with beauty in my paintings. Currently, I am working on a series called «Substitution». I cover the wounds of soldiers with lilies and depict explosions using embroidered peonies. By using symbols of undeniable beauty, I hope to draw people in, to make them pause and look closer, and only then realise what the painting is truly about.
This is a uniquely Ukrainian ability - to process pain through beauty, aesthetics and harmony. After all, this is exactly what my neighbours do, creating stunning flower gardens in their courtyards between missile attacks
Our «Tree of Life» will grow through the minefields, taking deep roots of revival amid the ruins of Mariupol...
In 2024, Russia significantly expanded the network of «re-education camps» and increased the militarisation and indoctrination of abducted Ukrainian children. Each of these children, upon returning home, requires rehabilitation - receiving a complex of various forms of assistance. How many Ukrainian children were actually abducted by Russia, what they are taught in the «re-education camps», and what are the prospects for the return of deported Ukrainians - discussed in an interview with Olena Rozvadovska, the founder and head of «Voices of Children» Charitable Foundation.
Nataliia Zhukovska: On October 2nd, seven children aged between 3 and 14 were returned to Ukrainian-controlled territory. All of them were from the Kherson and Crimea regions. This was reported by the head of the Save Ukraine organisation, Mykola Kuleba. And at the end of September, according to the ombudsman Dmytro Lubinets, nine children were also returned home. How many Ukrainian children in total have been abducted by Russia?
Olena Rozvadovska: According to open sources, Russia has deported over 700 thousand people. The official figure from the Ukrainian authorities is around 20 thousand children. This is the number we rely on. However, it is impossible to state the exact number. Since the war continues, there might be one number of children today and another tomorrow. We also do not have access to the occupied territories or Russian territory.
What happens to Ukrainian children in Russia?
Recently, together with the public association «Ukrainian Network for Children's Rights», the NGO «Regional Human Rights Centre» prepared a report based on specific cases. Our part focused on children's psychological support and rehabilitation after their return. Speaking generally about what happens, according to the children, the scenarios vary.
In some cases, there is group deportation, and they are placed in various child-like camps in Crimea or on the territory of Russia and Belarus. It is known that in the occupied territories of Ukraine, processes are underway to deprive parents of their parental rights according to Russian legislation
Children can be taken under the pretext of so-called threats to life or health without further clarification. Afterwards, they can be placed in foster families. All of this is undoubtedly illegal and constitutes a war crime, which the Ukrainian side is documenting.
How does the process of «liberating» Ukrainian children take place?
Our foundation «Voices of Children» is not involved in the return of children. In fact, each case is individual. There is no return mechanism, just as there is no mechanism for prisoners of war. Generally, the official sides cannot agree on the return of a certain number of children home. This is not that type of case. Russia does not recognise the fact that these are abducted or deported children. According to the Russians, they are rescuing them from shelling. For them, this is a «humanitarian mission». We, however, understand that this is abduction, forced deportation and russification of the nation on RF territory.
As of today, it is the relatives of the child who is in Russia that go to retrieve them. Volunteers who work in coordination with the Ministry of Integration, the President's Office, the Ombudsman, and others assist them in their logistics. That is, the relatives themselves search for those children.
What is the greatest difficulty?
The greatest difficulty is that any person who goes to Russia for the child is in a high-risk zone. There is a chance that they may not return with the child because they could be detained. Moreover, the process always involves humiliating and difficult filtration procedures and an extensive number of various checks. The return process may take several weeks or even months. In one case documented in our report, a grandmother was ready to travel to Russia to get her granddaughter. The return of the child lasted 14 months. The woman faced 18-hour interrogations at the Russian border and threats. Russia hindered the process in every way possible. To delay the child’s exit from Russia, the grandmother was made part of a criminal case. The family was only reunited after a second attempt, and only after the girl’s mother reported the obstacles faced in returning the child at a UN Security Council meeting.
The logistics are also challenging. Typically, the journey to the occupied territories or Russia involves passing through several European countries
The difficulty lies in locating, verifying, and finding these children. It is all very monotonous and complex work. According to official statistics published on the «Children of War» website, 388 children have been returned to date. As you can see, the figure is not even in the thousands. The complexity lies in the fact that there is no organised return of, for example, an entire group of children from an institutional-type facility that was taken. However, the greatest difficulty is the time we lose every day. Children who were taken at 2,5 years of age are now 5,5 years old. They may not remember what happened to them. Moreover, for the child, this is already a trauma. The longer they remain in isolation and subjected to active brainwashing, the harder it becomes to bring them back. And we understand that this is exactly what Russia is doing.
And of course, when children end up in Russian families and are adopted, these cases are even more difficult. Imagine yourself as a little three-year-old girl. You are brought into a family, and you adapt. At that age, it does not matter where the child lives because they do not understand the situation they have ended up in. They simply live.
In your recent report, you mentioned over 5500 clubs of military-patriotic education and hundreds of «re-education camps» operating in Russia and Belarus. How exactly are Ukrainian children re-educated there? How does indoctrination occur?
This research was conducted by the Regional Human Rights Centre. Their specialists describe the patriotism lessons that the children go through. In the curriculum approved by the Russian Ministry of Education, Ukraine is not depicted as an independent and united state. According to our colleagues’ research, propaganda narratives are embedded not only in textbooks but are also imposed during extracurricular but mandatory classes such as «Conversations About Important Matters» and «Lessons of Courage». The «cadet and Cossack classes» operate within schools, aimed at preparing students for military service.
One manifestation of political indoctrination is the activities of so-called patriotic and military-patriotic movements
In Russia, so-called «re-education camps» also operate. Russia spares no expense on their operation. They are very professional in their information warfare. This machine is in full motion at every level. Every teacher, adult, and school administrator knows where to get the «correct» information that needs to be conveyed to the children. And even if someone turns on the television, they will find confirmation of everything they have already been told. In these camps, there is a system of so-called patriotic education. They introduce children to their «heroes», teach them, and sing the Russian anthem. In doing so, they erase national self-identity. The Russians' goal is to make Ukrainian children see themselves as part of the Russian people.
What methods does Russia use on Ukrainian children to make them literally forget that they are Ukrainians?
It is primarily about psychological and moral pressure. Our psychologist, who worked with a boy who was returned to Ukraine, also spoke about how he endured physical abuse and torture. I know that human rights defenders are recording even more severe and horrific cases. The hardest situation in Russia is for those children who openly demonstrate their pro-Ukrainian stance. They are constantly subjected to moral pressure and intimidation. The Russians calculated that the children would break. They were constantly told: «No one cares about you, no one will come for you. You have been forgotten. If you return, you will be recognised as collaborators or as those who worked with Russia and will be sent to prison». The children, not knowing whether it was true or not, thought: «Maybe I really will be imprisoned for being in Russia?». Any scary thought can take root in a stressed mind.
Freedom House, together with ZMINA. The Centre for Human Rights and the Regional Centre for Human Rights presented new evidence to the International Court regarding the direct involvement of the Lukashenko regime in the displacement, political indoctrination, and militarisation of education for over 2200 children from occupied Ukrainian territories. How can this evidence contribute to the return of Ukrainian children?
Firstly, it is about documenting violations. Cases in The Hague can take decades to review. Despite this, someone must continue documenting these violations. It is also about increasing international pressure. If no one speaks about this, documents it, or submits it, it may seem like the problem is resolved, and there are no issues. This needs to remain in the public domain and be discussed at various levels.
Of course, we would all like for this to be resolved in one day, and for Russia to be excluded even from the UN. However, we understand that it cannot be done so quickly
I believe that it is absolutely the right path for both state authorities and public organisations to continue working on documenting, collecting violations, and passing them on to the relevant institutions. As a result of documented violations, arrest warrants have been issued for Putin and Lvova-Belova. I am confident that Russian sanctions will only intensify. It is important not to grow tired of this work. Every Ukrainian, at their own level, must shout about the genocide that Russia is committing in today's world, right in the heart of Europe.
What is Ukraine doing to ensure that Russia is held accountable under international law for the abduction and illegal adoption of Ukrainian children?
Ukraine is doing everything within its power. International coalitions for the return of children are being created. International groups of prosecutors and investigators are working to document information on violations. Ukraine is regularly represented on various international platforms.
A wide range of measures are being taken to hold Russia accountable for its crimes - and not only those concerning children. It is unfortunate that these processes are not as swift as we would like them to be.
Your foundation, «Voices of Children», has been active since 2015. How have these «voices» changed since Russia's full-scale invasion?
Since 2015, I have been working as a volunteer with children in the east of the country along the entire frontline, and in 2019, we officially registered as a foundation. There have been many changes over nearly 10 years. In 2015, I was alone, but now our team consists of 220 people. The difference is that in 2015, the war was confined to two regions, but today it spans the entire country. Another change is that as of 2019, we had between 50 and 100 children under our care in various frontline locations and just one psychological support programme. It was very localised and targeted work. We travelled to remote villages where buses did not go. After 24 February 2022, when drones and missiles began flying across the whole of Ukraine, the format of our work changed drastically. The frontline today is more intense and much larger in scale.
Today, our centres are located in the largest cities along the frontline - from Chernihiv to Kharkiv, Zaporizhzhia, Dnipro, Kryvyi Rih, and Mykolaiv. It is not easy to work there due to the constant shelling. However, the children living there need socialisation. Their schooling is online, and they do not go anywhere - so our sessions are a small escape for them. War, whether large or small, always impacts children.
Why do parents return with their children to areas under shelling despite the danger?
It is hard to understand, but that is how it is. Everyone has their own story. You cannot say that all people have lost their minds about returning to dangerous cities and villages. That is not true! Sane, healthy, and thoughtful people are returning. The reasons vary greatly. Many simply could not settle elsewhere. People leave, spend all their money on renting accommodation, fail to find work, and return. This is the reality for many families. Some remain or return to dangerous regions because they have bedridden parents they cannot leave behind. That is why I never judge these people, although I am convinced that it is wrong to remain under shelling, especially with children.
How do you work with parents who refuse to evacuate with their children from dangerous zones?
It is a difficult process. If adults do not want to leave the area, they simply sign a refusal to evacuate. Parents bear primary responsibility for their children. Often, they refuse out of fear. Here, the state has not done enough to ensure that everyone has a clear understanding of where these people are going. They need to have at least some certainty in emergency situations. There is another group of parents who simply abuse their position and manipulate their children. Generally, these are the adults who do not take care of their children and are not interested in saving their mental health and lives. The state mechanisms must also work in these cases.
These children need to be removed. This is the job of social services, but it is not easy for them to work on the frontline. Many factors have come together to create the situation as it stands
I remember one story where we moved a family with three children from a frontline village and bought them a house in a rear area. A year later, they returned to their village. In this situation, there was nothing we could do because we do not have the right to remove children from their families.
What is the current psychological state of the children? Does it differ depending on where they live in Ukraine?
Various factors influence the psychological state of children. Certainly, the place of residence plays a role. There is a difference between living in Uzhhorod and living in Zaporizhzhia. These are two completely different realities. Obviously, the more dangerous the area of residence, the more threatening the situation for their mental health. However, much also depends on the family. A child senses the anxiety of adults. Parents are the window to the outside world for children. It is not just the rockets that scare them during war, but also their mother’s reaction to them. The presence of education, peer groups and opportunities for communication also have an impact on a child's mental health. Children in Kharkiv and Zaporizhzhia suffer greatly. Recently, we gathered children’s dreams in Zaporizhzhia, and one girl wrote: «I want this online schooling to finally end».
Our psychologists report that today, children are more frequently presenting with anxiety and depressive states, especially teenagers. Some children develop enuresis, hand tremors, and sleep disturbances. Others, due to stress or traumatic experiences, may exhibit eating behaviour disorders.
What do you think the state should do to work with children currently abroad, and how should they be brought back?
We understand that in addition to returning children abducted by Russia, we also need to work with those who are currently displaced abroad. Ukraine must be highly interested in ensuring that all working-age people, and not only children, return. For example, we often receive requests for online psychological assistance from parents abroad, as they are looking for Ukrainian-speaking specialists for their children. It is no secret that living abroad was a dream for some, but for many, it is not a fairytale.
A very large number of people dream of returning home. However, urging them to do so now is certainly wrong, as the war continues
For people to return, the economy must function, jobs need to be created, and education must develop. But first and foremost, the war must end with our victory.
Even the country with the best economy in the world cannot function normally when drones hit schools. It is abnormal and wrong. Today, hubs need to be created so that people abroad can still feel connected to Ukraine and remain within the Ukrainian information space. Moreover, we must constantly keep the world's attention focused and, of course, talk about the fact that Ukraine alone cannot counter Russian propaganda and stop such a powerful enemy.
The first day of school for Ukrainian schoolchildren — September 2 — began to the accompaniment of Russian rockets. Instead of sweet sleep in their beds, the children were forced to flee to the bomb shelters, where they tried to get at least a little more sleep. But the enemy did not stop the attack, firing more than a dozen cruise missiles and about a dozen ballistic missiles at Kyiv alone. And in two days, the most tragic event in Lviv happened - during the attack, a whole family died - a mother and three daughters. But, despite this, Ukraine continues to live. Indomitable Ukrainians demonstrate their strength and power in dances, at exhibitions, on catwalks. Because the Russian enemy is unable to do one thing - break the spirit of Ukrainians.
Text: Natalya Ryaba
On September 7, demonstrators staged a protest in Prague, holding blue and yellow umbrellas. The participants of the rally called for effective air defense for Ukraine and to give it the opportunity to strike back. Demonstrators created a "map" of Ukraine using blue and yellow umbrellas.
Students of the International Academy of Personnel Management watch as rescuers put out a fire in one of the buildings of the university after a rocket attack on Kyiv on September 2, 2024. While hiding in the bomb shelter, the students heard the whistling of rockets and explosions.
Ukrainian military medics render aid to a wounded Ukrainian soldier at a stabilization point in the Chasiv Yar region on September 6, 2024.
A Ukrainian servicewoman talks on the phone with her children. On September 13, Russia and Ukraine conducted another exchange of prisoners. 49 Ukrainians returned home — 23 women and 26 men. For the first time in a long time, it was possible to return the "Azovs" to Ukraine. The United Arab Emirates helped organize the exchange.
Ukrainian schoolchildren sing the national anthem during the ceremony for the beginning of the new academic year in Lviv, September 2, 2024.
September 4 became the most tragic for Lviv during the entire war. A mother and her three daughters were killed in the attack. Only the father remained alive. The whole city came to the funeral of the dead. As a result of shelling in Lviv, seven people died, 66 were injured. Also, 188 buildings were damaged, including 19 architectural monuments.
A couple looks at posters depicting fallen Ukrainian soldiers of the Azov Brigade at an open-air exhibition in Kyiv on September 23, 2024.
Freya Brown, a dog trainer in the British Army, with her military dog Zac during a training session with Ukrainian army personnel, at a barracks in the East Midlands, U.K., September 10, 2024. Two years after invasion, large areas of Ukraine are covered in landmines and unexploded ordnance, including cluster munitions, and dogs play a key role in keeping soldiers and civilians safe.
Presentation of Veronika Danilova's collection as part of Ukrainian Fashion Week, September 1, 2024. The designer dedicated her collection called "Garden of the Clouds" to her homeland, inspired by memories of a Ukrainian garden and blossoming apple trees.
On this special day, our editors and authors wrote a couple of words about their work at Sestry, about their heroes, their emotions - about everything that became so important during this year of working in the media.
Joanna Mosiej-Sitek, CEO of Sestry
Our year on the frontline in the fight for truth.We are a community of women. Women journalists. Women editors. Our strength is our voice. We stand for shared European values, democracy and peace. We are the voice of all those who, like us, believe that the future lies in dialogue, tolerance and respect for human rights. These people believe in a world where we can forgive past grievances and focus our energy on building a better future. They are not divided by the words of politicians. Every day, we do everything possible to listen to and understand one another, knowing that this is the only way to fight disinformation and fake news. Our voice, our struggle, is just as vital to our security as new tanks and drones. Over the past year, we have given a platform to thousands of stories in our effort to build a better world. We understand that building a strong, multi-ethnic, and united community is a long journey, and we are only at the beginning.
Maria Gorska, Editor-in-Chief
When my colleagues at Gazeta Wyborcza and I decided to create Sestry.eu, it was the second winter of the war. My newborn daughter lay in her stroller, wearing a red onesie covered in gingerbread men, and all she knew was how to smile and reach out to her mother. Today, my little Amelia is a strong toddler, running around the park near our home in Warsaw, shouting, «Mom, catch the ball!» and laughing when I lift her into my arms. She comforts her doll when it cries.
She still does not know what Ukraine is. And that is why I am doing this media project. Not to one day tell my child about her homeland, but to ensure that she grows up in an independent, safe, and prosperous Ukraine - as a free citizen of Europe.
Tetiana Bakotska, journalist
The stories we publish in Sestry make an impact - motivating readers to take action. After my article about a refugee shelter in Olsztyn that had been closed, leaving some Ukrainian families in dire straits, five Ukrainian families reached out to say they had received help. Single mothers raising young children were given food, clothing and fully stocked backpacks for school.
Thanks to the article «Sails Save Lives» and the efforts of Piotr Paliński, hundreds of meters of sails were collected in Poland to be sewn into stretchers for wounded soldiers. On August 24th 2024, Olsztyn scout Dorota Limontas delivered the sails to Kyiv as part of a humanitarian convoy, along with medical equipment for several Kyiv hospitals, donated by the Voivodeship Adult and Children’s Hospitals in Olsztyn.
After the publication about the humble mechanic, Mr. Piotr, who in 2022 donated over 500 bicycles to Ukrainian children, the initiative gained new momentum. Once again, hundreds of children - not only in Olsztyn but in other regions of Poland as well - received bicycles as gifts. Bicycles were also sent to Ukraine for orphaned children cared for by the family of Tetiana Paliychuk, whose story we also shared.
Nataliya Zhukovska, journalist
For me, Sestry became a lifeline that supported me during a challenging moment. The full-scale war, moving to another country, adapting to a new life - this is what millions of Ukrainian women faced as they fled from the war, leaving their homes behind. I was fortunate to continue doing what I love in Poland - journalism. Even more so, I was fortunate to engage with people who, through their actions, are writing the modern history of Ukraine - volunteers, soldiers, combat medics and civil activists.
I remember each of the heroes from my stories. I could endlessly recount their lives. One might think that a journalist, after recording an interview and publishing an article, could simply move on. That is how it was for over 20 years of my work in television. The subjects of news stories were quickly forgotten. But this time, it is different. Even after my conversations with these heroes, I keep following their lives through social media. Though we have only met online, many of them have become my friends. Reflecting on the past year, I can only thank fate for the opportunity to share the stories of these incredible, strong-spirited Ukrainians with the world.
Aleksandra Klich, editor
When we began forming the Sestry editorial team a year ago, I felt that it was a special moment. Media like this are truly needed. In a world ravaged by war, overwhelmed by new technologies and crises, where information, images, and emotions bombard us from all sides, we seek order and meaning. We search for a niche that offers a sense of safety, space for deep reflection, and a place where one can simply cry. That is what Sestry is - a new kind of media, a bridge from Ukraine to the European Union.
Working with my Ukrainian colleagues has restored my faith in journalism. It has rekindled in me the belief that media should not just be click factories or arenas of conflict, but a source of knowledge, truth - however painful - and genuine emotions, which we can allow ourselves to experience in the hardest moments. Thanks to my work with Sestry and the daily focus on Ukraine, the most important questions have come alive within me: «What does patriotism mean today? What does it mean to be a European citizen? What does responsibility mean? What can I do - every day, constantly - to help save the world? And finally: Where am I from? For what purpose? Where am I headed?» These questions do not leave a person at peace when they stand on the edge. We create media in a world that is on the edge. The women of Ukraine, their experiences and struggles, remind me of this every day.
Mariya Syrchyna, editor
Over our first year, our readership has grown steadily - numbers show that our audience has increased 8-10 times compared to last year. This growth is because Sestry is no ordinary publication. Most of us journalists live in other countries due to the war, but from each of these countries, we write about what pains us the most. About Ukraine and its resilient people. About what hinders our victory over the enemy - hoping to reach those with the power to help. About the challenges we face in our new homes and how we overcome them. About our children.
We strive to talk to people who inspire and bring light in these dark times - volunteers, artists, doctors, athletes, psychologists, activists, teachers, journalists. But most importantly, we tell the stories of our warriors. I once dreamed that Ukraine’s elite would change and that the country’s fate would be shaped by worthy people. That wish has come true - though in a cruel way. The new heroes of our time are the soldiers who nobly bear the weight of the fight against both the enemy and the world’s indifference. Here, at Sestry, we tell their stories again and again to everyone who has access to the internet and a heart. In three languages. We hope that these stories will ensure their names are not forgotten and their deeds are not distorted.
A sister is someone who can be anywhere in the world but still feels close. She may annoy you, but if someone offends her, you are the first to defend her and offer a hand. That is exactly the kind of publication Sestry aspires to be - reliable and close. All the way to victory, and beyond.
Maryna Stepanenko, journalist
I have been with Sestry for nine months. In that time, I have conducted 22 powerful interviews with people I once only dreamed of speaking to in person. Politicians, generals, commanders and even the deadliest U.S. Air Force pilot. Getting in touch with him was a challenge - no online contacts, except for his publisher. There was also a fan page for Dan Hampton on Facebook. As it turns out, he manages that page himself and is quite responsive to messages.
It took me two months of persistent outreach to secure an interview with Kurt Volker, but I eventually succeeded. And my pride - Ben Hodges, whose contacts were once obtained under strict confidentiality.
In these nine months, I have learned a few key lessons: do not be afraid to ask for an interview with someone you admire, and when choosing between talking to a Ukrainian celebrity or a foreign general, always opt for the general. I am grateful to be the bridge between their expert opinions and our readers.
Kateryna Tryfonenko, journalist
«Why did you ask me that?». This is one of those funny memorable occurrences. I was working on an article about military recruitment, with part of the piece focused on international experience. One of the experts I spoke with was an American specialist from a military recruitment center. I made sure to tell him upfront that the questions would be very basic, as our readers are not familiar with the intricacies of the United States military system. He had no objections. We recorded the interview, and a few days later, I received a message from him that began, «I am still very puzzled by our conversation. I keep thinking about the questions you asked me. Why did you ask me that?». The message was long, and between the lines, it almost read «Are you a spy?». This was a first for me. To avoid causing him further distress, I offered to remove his comments from the article if our conversation had unsettled him that much. However, he did not object to the publication in the end. Although I wonder if, to this day, he still thinks it was not all just a coincidence.
Nataliya Ryaba, editor
I am free. These three words perfectly describe my work at Sestry. I am free to do what I love and what I do best. Free from restrictions: our editorial team is a collective of like-minded individuals where everyone trusts each other, and no one forbids experimenting, trying new things, learning, and bringing those ideas to life. I am free from stereotypes. Our multinational team has shown that nationality and historical disputes between our peoples do not matter - we are united, working toward the common goal of Ukraine’s victory and the victory of the democratic world. I am free to be who I want to be in our newsroom. Yes, I work as an editor, but I can grab my camera and run as a reporter to protests or polling stations - wherever I want to go. No one forbids me from creating what I want, and I am grateful for this freedom. It gives me wings.
Anastasiya Kanarska, journalist
Like many women, I always thought I wanted to have a son. Well, maybe two kids, but one of them had to be a boy. But as my understanding of myself and the world grew, and the likelihood of not having children at all increased, the idea of being a good mother to a happy, self-sufficient daughter became an exciting challenge. Learning from each other, respecting personal boundaries, and caring for one another - that is what makes working in a women’s circle so empowering. For me, starting work with Sestry coincided with a deeper exploration of my female lineage - strong women like my colleagues, who at times embody Demeter, Persephone, Hera, Aphrodite, Artemis, or Hestia. The themes of my articles, whether written, edited, or translated by me, often mirror my own life events or thoughts. Maybe that is the magic of the sisterhood circle.
Olena Klepa, SMM specialist
«I feel needed here». I went to my first interview with Sestry three months before the official launch of the project: in old DIY shorts, a T-shirt from a humanitarian aid center, with a «dandelion» hairstyle and seven years of TV experience. I was not looking for a job. I was content working as a security guard at a construction site, always learning, taking free online training. But for some reason, all my supervisors kept asking: «Have you found something for yourself yet? Any interesting opportunities?» They would tell me I did not belong there and was meant for something greater.
Sestry found me. So, when I first went to the meeting, I decided, «All or nothing». It was not a typical interview. It was a meeting of people with similar values and a shared goal. We spoke different languages but understood each other instantly. The plans were ambitious and, at first glance, unrealistic. They needed a social media manager. The responsibility scared me, but I never say «I can't» until I try. Experience has shown that you can learn anything. At Sestry, I feel needed. I feel like I have room to grow. I love that I can combine all my accumulated experience here, that I can experiment. But most importantly, I no longer feel guilty. My country is at war. The enemy is not only on the frontlines. Russian propaganda has extended its tentacles far beyond its borders. By creating social media content, telling stories about Ukrainians on the frontlines to people in Poland, and showing Ukrainians that Poles «have not grown tired of the war», I am helping Ukraine hold its ground in the information space.
Beata Łyżwa-Sokół, photo editor
Many years ago, a photo editor colleague considered changing jobs and trying her luck abroad. However, one editor strongly advised her against it: «You will never be as recognised in a newsroom in New York or London as you are at home. You will never reach the same level of language proficiency as your native-speaking colleagues. At best, you will be an assistant to the head photo editor. In a foreign newsroom, you will always be a foreigner». She listened and stayed in the country, despite having studied English at university and being fluent enough that language would not have been a barrier. A few years later, she left the profession altogether, deciding that journalism no longer had a place for her - that it simply did not exist anymore.
Since then, the media landscape has changed drastically. Many believe that in the age of social media, journalism is no longer necessary. The world is evolving, and so are the media. However, I never stopped believing in its importance. I did not run away from journalism; instead, I sought a new place for myself. That is how I found Sestry, where I met editors and journalists who had come to Poland from war-torn Ukraine. After a year of working together, I know that we are very similar in many ways, but also differ in others. We listen to each other, argue, go to exhibitions together, and share a bottle of wine from time to time.
When I started working at Sestry, and we were discussing what kind of photographs should illustrate the site with our editor-in-chief, Mariya Gorska, I heard her say, «This is your garden». It was one of many fantastic phrases I heard during the months of working together - words that shaped our professional and personal relationships. In an era of fake news, bots and media crises, it was particularly important to me, as the photo editor of Sestry, to consider how we tell the story of what is happening in Ukraine through photography. I observe the media around the world, and thanks to the editors on our site, I notice that these images are often superficial, not based on direct testimony or experience, and rely on stereotypes.
For me, direct contact with Ukrainian journalists and editors is invaluable in my daily work. I am convinced that journalism projects based on such collaboration represent an opportunity for the media of the future. They are a guarantee of reliability and effectiveness in places where people’s lives are at stake, even in the most remote corners of the world.
In Kathryn Bigelow’s film «Zero Dark Thirty», there is a scene where the protagonist, a CIA agent responsible for capturing Osama bin Laden, faces a group of Navy SEALs participating in the operation. One of them, sceptical about the success of the mission (particularly because it is being led by a woman), asks his colleagues: «Why do you trust her? Why should I trust her?». Another replies: «Because she knows what she is doing». That is exactly how I feel working at Sestry. I work with editors and journalists from Ukraine who know what they are doing and why - and I feel incredibly comfortable because of that.
We are here to listen and collaborate with our community. Contact our editors if you have any questions, suggestions, or interesting ideas for articles.