20 Days in Mariupol

 It turns out I didn't see one of the Documentary Oscar nominees. 

That's changed now that I've seen 20 Days in Mariupol, which doubles as Ukraine's submission for the International Feature Oscar. It also stands as the likely frontrunner considering that a few other favorites such as Still: A Michael J. Fox Movie and American Symphony are absent. Let's see how it is.

Director Mstyslav Chernov chronicles the first 20 days of the 2022 Siege of Mariupol. He and his colleagues with the Associated Press gave the world video evidence of the war crimes committed during the Russian Invasion of Ukraine. The film begins in medias res as Chernov and his crew watch Russian tanks fire upon the empty city. It doesn't take much to convey their panic even as the Russian war machine is quite a bit away from them. As the film progresses through the titular days, we see the aftermaths of several bombings, which left people without their homes and/or livelihoods, and even paramedics trying in vain to save several victims. All of it is distilled into 94 harrowing minutes. 

Their reporting pulls no punches. Early on, they spot an older woman fleeing her home to try to find her son. They tell her to head back home, feeling that the Russians won't bomb her neighborhood (they do it anyway, though she lives). Another woman, whose home and beauty supply business were destroyed, tearfully yells at looters. We see relatives of bombing victims weep over their loved ones. People scram when Russian jets fly by; below ground, they try to survive without power. Nowhere it seems is safe. It's just maddening to watch Putin; the Russian State Media and others deny such war crimes not only ever happened but accuse the victims of being actors.

We also learn quite a bit about Chernov and his journalism career. He chronicled the downing of flight MH17, the Russian invasion of Donbas and the annexation of Crimea, among other major stories. His family waiting for him in Kharkiv, which is a bit away from Mariupol, helps us stay emotionally invested in his plight. We're further invested as he struggles to get footage of the invasion, even as short snippets, due to the lack of internet. It's quite rewarding to see his footage used in international news reports throughout the film. It's also rewarding when he and his crew escape Mariupol with a Red Cross convoy. 

Among the few bits of levity in 20 Days in Mariupol is a scene where paramedics have a break and a few laughs between shifts. It's a welcome break from the death and bleakness in the rest of the film. Still, the film wouldn't work if it was anything less than bleak. Its director's personal story is just as compelling as its major story. I wouldn't blame you if you skip out on it, or even see it just once. This was produced for PBS's Frontline series, and as such, it's free to watch on YouTube. So, it's there if you want it. I promise my next reviewed film will be lighter. Look forward to whatever it is.