“Butterfly Vision” (“Bachennya Metelyka”): Film Review | skin 2022

Lilia (Rita Burkovska), a soldier in the Ukrainian army, returns home after a horrific post-traumatic stress accident and more after she was captured by enemy soldiers on Ukraine’s Eastern Front. Inevitably, given the subject matter, the viewer is likely to find it butterfly vision (Metallic Bachenias) A disturbing but also unexpectedly hopeful drama, a remarkable artistic debut for Maxim Naconechny, who majored in television and short films. Although the film was already in post-production in 2021, long before the Russian army invaded, and Lilia’s invaders are clearly described as Ukrainian separatists, this emotional labor is all the more relevant in the face of the escalation of war and horror, especially as part of the Russians. Furthermore, the increasing use of sexual violence against prisoners is an issue that desperately needs to be aired and discussed on behalf of victims, especially in a society that still sees such abuses as shameful and unreported.

The film’s title refers to the fact that Lilia’s call sign is a “butterfly” because her job in her unit is aerial reconnaissance using military drones; The film uses drone footage, often before the invasion of Kyiv, where the action takes place, giving it a higher perspective. It also coincides with the effect of numbness and detachment from Lilia herself, as she has suffered trauma. The film only shows the quickest and most sudden glimpses of what happened during his captivity, but this is enough to understand what the protagonist experienced.

The story aptly begins with his release, which he exchanged with other prisoners on the front-line bridge. (These scenes are actually filmed in the Donbass region, where the fighting is particularly fierce.) When Lilia returns to Kiev airport to meet her husband Tokha (Lyubomir Valivots), also a soldier, the action is seen from the point of view. – Live view of the live channel, with commentary and emotions flowing from the bottom edge of the screen. The nationalist triumph of the reporter and commentators clearly contradicts Lilia’s restrained manner, and some close to her seem almost disappointed that she doesn’t smile in front of the cameras and declare how happy she is. Behind.

After Lilia is taken to a military hospital to be checked for injuries, her scars show up from regular beatings and torture as she takes off her clothes for the doctors. Most concerning is that she was pregnant, no doubt due to rape during her captivity, based on the size of the fetus revealed by the ultrasound. Lilia probably already suspects this, she wants to be quiet at first, but due to the medical officer’s unprofessional behavior, Tokha finds out about the boy’s existence and violently bursts into the room. She arranges for an abortion, but in the operating room she suffers a sudden wavering and decides to keep the baby, for reasons clearly explained. Since it’s her body and her choice, it’s entirely her right. However, it is a decision that breaks everything in her life, starting with her relationship with Tokha and her parents, with her friends in the department.

This decision, of course, takes the film in an entirely new direction, which could be problematic for the American distributor given the current uncertainty over whether the US Supreme Court will rule it out. Corzo vs Wade, thus abolishing women’s right to choose in many states. As the right to abortion is sometimes questionable in cases of rape or incest, this film could be used, perhaps against the will of the filmmakers, to support anti-electoral proselytizing. From what I can tell from interviews with the director, it seems that was not his intention. Lilia’s decision appears to be aimed at adding even more drama to the story, or perhaps embracing the near-universal cinematic tradition that women are banned from having abortions in movies without complications or even any kind of punishment except for occasional miscarriages.

Still, Nakonechny and Irina Tsilik’s script handles the situation sensitively, while Burkovska’s calm, dignified and highly expressive performance fills in many emotional gaps. Burkovska is fascinated by her striking features and strong and headstrong physique and, with the war’s permission, she should have a very exciting career ahead of her after playing the previous role of Manta Kvedaravicius. Parthenon.