| Summary/Abstract |
On 24 February 2022, Russia launched a full-scale invasion of Ukraine in a major escalation of a war that had been persisting since 2014. This article explores three of Sergei Loznitsa’s films set in Ukraine and examines the way in which their shared observational style informs the Russia-Ukraine war and may influence viewers’ perceptions of the complexities of the conflict. A close analysis reveals that the observational mode used in Maidan (2014), Donbass (2018), and The Kiev Trial (2022) has two primary effects. First, in Donbass and The Kiev Trial, the unfiltered style serves as a contrast to the often farcical and ‘staged’ content, thereby exposing the lies underpinning Soviet presence in Ukraine and the current Russian invasion. Second, in addition to exposing Russian misinformation, Loznitsa’s observational style in Maidan and Donbass facilitates identification with the Ukrainian people by visually and auditorily immersing the viewer in the world on the screen. The article concludes with a discussion of the significance of Loznitsa’s work in shaping the public’s perception of – and continued commitment to – the war in Ukraine.
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