Ukrainian filmmakers call for the release of a captured medic during the Cannes Film Festival

26 May, 07:42 PM
From Left: The Butterfly Vision crew Yelizaveta Smith and Maksym Nakonechnyi pose during a photocall in Cannes (Photo:REUTERS/Sarah Meyssonnier)

From Left: The Butterfly Vision crew Yelizaveta Smith and Maksym Nakonechnyi pose during a photocall in Cannes (Photo:REUTERS/Sarah Meyssonnier)

The Ukrainian crew of the movie Butterfly Vision staged a protest at a photoshoot at the Cannes Film Festival on May 25, prior to the premiere of their film.

The crew, consists of Butterfly Vision director Maksym Nakonechnyi, as well as Rita Burkovska, Lyubomyr Valivots, Darya Bassel, and Yelizaveta Smith, wore black T-shirts with prints drawing attention to Russian aggression in Ukraine.

Nakonechnyi’s T-shirt demanded the release of Ukrainian medic Yuliia Paievska, aka Tayra, who was captured by Russian invaders in early March in Mariupol.

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Butterfly vision crew (Фото: REUTERS/Sarah Meyssonnier)
Butterfly vision crew / Фото: REUTERS/Sarah Meyssonnier

The rest of the team’s shirts featured the image of an apartment building in Mariupol that was hit by a missile and the inscription ‘Ukraine Live’ and the question ‘Sensitive Content: Russians kill Ukrainians. Do you find it offensive and disturbing to talk about this genocide?’

In an interview with Radio NV, Ukrainian director, co-writer for Butterfly Vision, and a Golden Eye jury member at the Cannes Film Festival, Iryna Tsilyk, promised that crew members had prepared protests for the film’s premiere.

Butterfly Vision is a drama about a soldier, Lilia, who does not want to be seen as a victim, but struggles with the aftermath of her pain and trauma. After the air intelligence officer returns to her peaceful life in Ukraine after the captivity, she has trouble squaring civilian existence with her prior experiences.

 The film was entered into Cannes ‘Un certain regard’ section, for unusual and innovative works.

Another Ukrainian film, Pamfir, by Ukrainian director Dmytro Sukholytkyi-Sobchuk, also premiered at Cannes on May 22, in the Directors’ Biweekly section. The audience gave the picture a record of an almost seven-minute standing ovation.

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