The film by Kharkiv director Mstyslav Chernov “20 Days in Mariupol” won the Oscar in the category of Best Feature-Length Documentary.We spoke with the film’s author in the first hours after the ceremony. Excerpts from the audio version of the exclusive interview by Olena Huseinova with Mstyslav Chernov can be heard on .
— In one of your interviews you said that you and your team had to work every single day. That “20 Days in Mariupol” is a film that did not have global streaming platforms like Netflix or well‑funded corporations behind it. What does it mean to you to keep “20 Days in Mariupol” in the public eye all this time?
— “20 Days in Mariupol” is a joint project of the international news agency Associated Press, myself as a Ukrainian director, and the PBS Frontline studio. For a public broadcaster, it is always more difficult to find a budget for a promotional campaign than it is for companies like Apple TV, Netflix, or National Geographic. Therefore, films like “20 Days in Mariupol” have to make a bit more effort to compete for viewers’ attention.
Our task was and remains unchanged — to constantly keep attention on the film, its subject, and the events in Ukraine.
This film is the result of the titanic work of a large team: volunteers, Ukrainians abroad, foreigners who share this important cause, and team members who tirelessly traveled and spoke about it. This is extremely difficult work, because we are talking about terrible tragedies that must not be forgotten. But we know this is important, so we continue our work.
We must continue informational work. The world needs to know that the war in Ukraine is not only our problem, but also a threat to democracy and security for everyone.
Only the truth can stop this war
After the Oscar, we traveled across the United States with film screenings. We met with Americans in New York, Washington, and the states of Montana, Oklahoma, and Texas, where very strong anti‑Ukrainian lobbying exists. We communicated with audiences and explained the political situation in Ukraine, talking about what has been happening to Ukrainians since Mariupol was occupied.
This journey gave me a lot. I came to better understand Americans and their views on Ukraine and the war. It turned out that many people who support us do not understand the context and the global consequences of this war.
Russian propaganda divides people, wages an information war against the United States and Europe, and many people still do not realize this.
— You are currently in the most important place for strategic support of Ukraine — the United States. What happens after receiving the Oscar? What is the reaction of American media after the ceremony?
— It is important to remember that the tone we chose when talking about Ukraine and the film is one of objectivity and humanity. The focus is not on politics, but on the lives of Ukrainians and on the crimes committed by the Russian Federation. We never tried to convince anyone of anything. That is the strength of the film — the power of perceiving the truth. And in fact, it works.
Because modern society, especially in the United States, is very sensitive to attempts to convince them of something. Political statements actually interfere with cinema. Any judges or experts are very sensitive to politics and do not like such pressure, so I tried to draw attention to the humanitarian problems caused by the Russian Federation.
— The international TV version of the Oscars cut out the victory of “20 Days in Mariupol.” What was your reaction to this, and is Russian lobbying of the Oscars possible?
— I am still trying to understand this issue: whether this category was present in TV versions in previous years. Therefore, I am not ready at this point to say whether we can do anything about it at all, whether it is a systemic problem or a problem of this particular year. I need time to find out what exactly happened.
If Ukrainian society draws the attention of foreign media to this, it will have an impact and may even add more weight to my words. If we truly see that there is a problem, then we will think about how to fix it.
— What does the invisible part of the ceremony look like, and what does it mean to you?
— The Oscars are truly a grand event, impressive in scale and organization. It feels like watching a blockbuster production by a major studio, where everything is planned down to the smallest detail. We see only the show on the screen, but behind the scenes life is boiling, resembling a synchronized ballet. More than 1,000 people — participants and guests — do everything to ensure the ceremony runs flawlessly.
There is a huge media presence. In a separate room, hundreds of journalists are constantly writing and following the broadcast. Nominees and winners come there to speak with the press.
This year, many questions were about politics — about Trump, about the Pope, about whether the film could influence decisions by American politicians regarding aid to Ukraine. These are difficult questions, because I answer them as a director, documentarian, and journalist, not as a politician. My duty is to adhere to journalistic standards, to be as objective as possible while presenting the views of Ukrainians, and at the same time remain neutral. International media clearly sense the boundary between propagandists and directors who engage in art, and that is correct.
— What happened next during the ceremony itself, who did you manage to talk to, and who congratulated you?
— Almost all Oscar nominees watched “20 Days in Mariupol”: Martin Scorsese, Christopher Nolan, Greta Gerwig, and Cillian Murphy. This means they heard the voices of Ukrainians and will remember us.
The film tells about difficult events, but at the same time it is art. It was important for us to convey to the Hollywood industry that Ukraine is not only war. It is a country with deep cultural roots, where talented artists live who have something to say to the world. I believe that we are valued, heard, and seen.
— The film “20 Days in Mariupol” not only shows the tragedy of the city, but also explores how it affects people. You do not remain observers — you share your emotions and experiences with viewers. This makes the film not just documentary evidence, but a deep emotional experience. How did you come to this?
— It cannot be said that the subjective perspective present in modern cinema is a trend, but it is valued. Even when we talk about documentary and fiction films. Look at the film that won the Oscar this year — “Oppenheimer.” It is not just a biopic, but a film that primarily shows history through the subjective perspective of one person.
Now, when we are overwhelmed with news and constant media noise, such stories are truly valued. A personal perspective is valued, and subjectivity can also be fair. This is what I, as a director, tried to achieve in “20 Days in Mariupol.” Yes, it is a subjective film, my personal point of view, but it is not my story. The main character of the film is the city of Mariupol.
Even if we see something that I do not like or disagree with — we still show it. That is, we preserve a personal perspective, but still tell the story honestly. This is what is valued in contemporary art: the ability and skill to focus on something and tell a story while maintaining that focus.
— How was the decision made that this story would be told in your own voice?
— The initial idea was to use my diaries, and someone else would read the text. That way, the viewer would not know my fate as the author. But since I am an integral part of the story, and this is journalism, the decision was made that I would narrate the text myself.
Finding the right tone for the narration was not easy. At first, the text was too emotional, because I genuinely empathize with the film’s characters, many of whom became close to me. Later we tried a more detached version, but it did not convey the depth of the experience.
We wanted the film to be as truthful as possible, but we also understood that for success it needed more than just documentary value. It had to be art — real cinema with a clear structure, three acts, understandable themes, and compelling characters.
It was not easy, but in my opinion, we managed to find a balance between realism and art. “20 Days in Mariupol” is not just a documentary about tragedy, but also a deep emotional experience that will make viewers empathize with the characters and reflect on what truly matters.
— For artists, it is important to find a balance between shock and the attempt to evoke compassion in the viewer. How did you manage to cope with this burden?
— It is not a burden; I call it an artistic challenge. With the right balance, art remains in the viewer’s heart. But it is a very thin line that must be walked skillfully. If I did not have the wonderful editor Michelle Mizner, if there were no editors and executive producers, I would not have been able to walk this path alone. All of them worked a lot to preserve the right tone of the film and to leave exactly as many shots as necessary to show the full horror of the war, while not losing the viewer, their empathy, and attention.
— You mentioned the police officer Volodymyr, and there is a lot of discussion about this in Ukraine now. People talk about how viewers begin to recognize their acquaintances in the film.
— Recently, Volodymyr told me: “Please tell Cillian Murphy that I watched his film and really liked his role and how he played it.” And I replied: “Volodymyr, you know, Cillian Murphy also watched your film, and he liked you very much too. He sends his greetings!”
Unfortunately, a few months ago in Pokrovsk, Volodymyr was seriously wounded. He was helping evacuate wounded civilians after Russian shelling, but a second missile struck the same place, killing several rescuers. Shrapnel entered Volodymyr’s lungs, and we were very afraid for his life, but now he is feeling better.
— There is a feeling that faith in the belief that showing the truth can change the situation is being lost. How can this faith be preserved? Because without it, living in our reality becomes very difficult.
— I doubt that testimony can change anything, because I remember the first eight years of this war. Despite all the horrific events and footage we filmed, nothing changed — everything only became worse…
Yes, the world saw what happened in Mariupol. The world saw the tragedies that happened in Bakhmut, Marinka, Avdiivka. In the same way, when we spoke with people from Mariupol as they ran across roads under bombs because they saw the word PRESS on our helmets, they said: “Please, film everything that is happening here. Show this to the world.” They probably did this because they wanted to be heard.
In my opinion, this desire to be heard, and the knowledge that you are not being ignored, helps people survive. It seems to me that our mission as journalists or documentarians is not only to tell the world about tragedies, but also to give people hope that they will be heard.
Fewer and fewer people believe in the power of journalism, unfortunately. But we cannot stop, and I hope that “20 Days in Mariupol” will make its contribution to this hope.
— Is the Oscar a point after which one can rest, or a point of new work?
— Definitely an ellipsis. I have two unfinished films and plan to complete them in Ukraine. I hope one of them will be finished by the end of the summer. I want to write a second novel. It will be both a novel and a screenplay for a film about Mariupol.
Let us remind that after receiving the Oscar, the film “20 Days in Mariupol” returned to national theatrical distribution. The full list of where and when the film can be watched offline in Ukraine is available from the distributor. The project by Mstyslav Chernov is also available in open access on American YouTube. On Ukrainian streaming platforms, starting March 21, the film will be available on Takflix. Viewing can also be purchased on platforms such as Amazon, Apple TV, Google Play Movies, Vudu, and Microsoft.
Mstyslav Chernov is a Ukrainian photographer, journalist, director, war correspondent, president of the Ukrainian Association of Professional Photographers, honorary member of Ukrainian PEN, and writer. He covered the Revolution of Dignity, the war in eastern Ukraine, the aftermath of the downing of Malaysia Airlines Flight 777, the Syrian civil war, the battles of Mosul in Iraq, and Russia’s full‑scale invasion of Ukraine in 2022, including the siege of Mariupol. For this work, he received the Deutsche Welle Freedom of Speech Award, the Georgiy Gongadze Prize, the Knight International Journalism Awards, the Biagio Agnes Award, the Bayeux Calvados‑Normandy Award, the Elijah Parish Lovejoy Award, and the Free Media Awards. At the end of 2022, he was included in the rankings “NV People 2022 in the Year of War” and “14 Songs, Photos, and Art Objects That Became Symbols of Ukrainian Resistance” by Forbes Ukraine. Footage from Mariupol formed the basis of the film “20 Days in Mariupol,” which in 2024 became the first Ukrainian film in history to receive an Oscar.
Worked on the material:
Author of the text: Marusia Maruzhenko
Photo editor: Olga Kovalova
Literary editor: Yuliia Futei
