Munich-based Ukrainian director Daria Onychenko reflects on the unbearable conditions of the citizens of Luhansk, a Russia-occupied territory in Eastern Ukraine, with The Forgotten. The film centers on Nina (Maryna Koshkina), a Ukrainian woman whose husband is involved in a smuggling business. Wanting to leave the city, and yet unable to leave the husband, Nina undergoes a mandatory training program to convert her schoolteacher expertise into Russian. Cinematographer Erol Zubevic’s camera is fixed on Nina’s face and brings her inner world onto the screen. Her predicament worsens when she decides to help Andrii, a student who gets arrested for hanging a Ukrainian flag on the roof of the school.
The city and its institutions are systematically exploited by the Russian-backed regime. There’s a studio above Nina’s house where journalists fabricate fake news. The police are unfair and violent as they torture Maryna Koshkina’s character for getting Andrii out of prison. Russian acquaintances keep telling her Ukrainian is a farmer language. The loving affair she develops with the student is more influenced by her anger at injustice and intolerance than any real desire towards Andrii.
The Forgotten shines a light on the people nobody cares about - the forgotten people. Nina and her husband eventually make their way back to Kiev, but even there they’re refugees facing discrimination and negligence. The director asks us to face this infinite cycle of injustice making the world more and more desperate.
FIPRESCI Young Critics Warsaw Project
Lemana Filandra is a writer and editor at "Klifhenger" (www.klifhenger.com), a site dedicated to movie analyses in Bosnian and English. She has been working as a freelance writer, a researcher, and a translator for the last three years. Currently, She is working on a PhD thesis in philosophy, focused on intersectional feminism and political implications of the concept of body. In the past she had different professional engagements at Sarajevo Film Festival, one of the most prominent European festivals. She also worked as a producer of a music video, a script supervisor and an assistant to a movie director.
Levan Tskhovrebadze is a student of film studies in Ilia State University, Georgia. He has written and made other kind of journalistic content for Georgian outlets like Indigo, Cinemania.ge or Demo.ge. Recently he started working for Ilia State University online publication Cinexpress.iliauni.edu.ge where he writes reviews, articles and also translates some of the important articles or interviews about cinema into Georgian. He has covered few festivals as a film critic. He was doing video blogs for Berlin International Film Festival 2019th edition and has made some content at CinéDOC-Tbilisi and Batumi International Art-House Film Festival. Cinexpress is also the Ilia State University’s Film Club where he made public reports before screenings.
Oleksandra Povoroznyk is a film critic and journalist based in Kyiv, Ukraine. She is currently working for Vertigo.com.ua, one of the largest Ukrainian websites devoted to the film industry and entertainment in general. She is also the host of two podcasts about movies and TV.
Denisa Jašová is a PhD student of Audiovisual Studies at Academy of Performing Arts in Bratislava. As a Film Studies and Archival Science graduate, she specializes on archival research in film and TV history, especially on Czechoslovak amateur film and TV non-fiction programmes from 70s and 80s. She also works as a researcher for TV documentaries, as a librarian in the Central European House of Photography and as a talk show host in student radio talk show called Cinefil. She frequently writes for magazine Film.sk, IFF Cinematik Piešťany and her first paper about the history of Slovak amateur film will be released in October 2019 in Kino-Ikon magazine. She simply loves film archives.
Bogdan Balla is a Romanian experimental film director and freelance film critic based in Bucharest. He studies film directing at the National University of Theatre and Film and writes for FILM MENU. Besides directing and producing his own films, he also works as an independent freelance film critic. He reads bell hooks and is passionate about queer cinema. He has a preference for working with archival footage for his films.
Svetlana Semenchuk is an author of such publications on cinema as “Seanse”, “The Art of Cinema”, “Cinema TV” and other. The author-composer of the books “S. M. Eisenstein: pro et contra: Sergey Eisenstein in national reflection: anthology” and “E. F. Bauer: pro et contra. Eugene Frantsevich Bauer in assessments of contemporaries, colleagues, researchers, film critics. Anthology”. Teacher of the St. Petersburg New Cinema School, and at the St. Petersburg State University of Cinema and Television.
TUTORS of FIPRESCI Young Critics Warsaw Project
Amber Wilkinson is a journalist with more than 20 years experience. She is the co-founder and editorial director of UK-based website Eye For Film. Her byline has appeared in The Times, Daily Telegraph, Sydney Morning Herald and Filmmaker Magazine among others. She also contributes as a freelance film critic on BBC Radio Scotland. She has run several FIPRESCI young critics' workshops and mentored student critics at the Edinburgh International Film Festival in 2018 and 2019.
Tommaso Tocci is based in Italy, where he works as a film critic and translator covering film festivals across Europe for international publications. He has also worked for Berlinale Talents and for the Edinburgh International Film Festival, and he currently serves as Co-Programmer for the Saas-Fee Film Festival in Switzerland.