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In recent years, Ukrainian feature films have shaken up the film industry. The film "Donbas" jointly produced by Ukraine, France, Germany, the Netherlands and Romania won the prize of the Cannes program in 2018 and was nominated by Ukraine for the "Oscar" in the category "Best Foreign Language Film". "Mountain Woman: At War" produced by Ukraine, Iceland and France was also presented at the Cannes Film Festival of the same year.

The formation of the American cinema, one of the most popular in our time, began in 1892 and was associated with the American scientist and inventor T. Edison, who constructed the kinescope. The first public screening took place in New York at the Bayel and Koster Music Hall. It consisted of small humorous and dance numbers.

The 20s of the 20th century were marked by the creation of Ukrainian film studios. Many tapes were shot under their guidance, which became famous all over the world. A film was shot on the territory of the Odesa Film Studio, which later became a business card of the city and was included in the top ten films of world cinema. We are talking about "Battleship Potemkin" by Sergei Eisenstein. It is impossible not to mention the films of Oleksandr Dovzhenko, the central figure of Ukrainian cinema. O. Dovzhenko's style gave birth to a new direction of "Ukrainian poetic cinema": "Zvenigora", "Arsenal", "Zemlya". The latter takes the 2nd position in the list of the 100 best films in the history of Ukrainian cinema and is included in the top 12 films of all times and nations. Such a top was formed based on the results of a survey of 117 film historians and film experts from 26 countries of the world at the Fifth World Exhibition held in Brussels in 1958.

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An extremely interesting aspect was chosen by V. Slobodian, researching acting schools in the cinematography of Ukraine. The author focuses on the work of theater actors of Les Kurbas in the cinema, which makes it possible to judge the contribution of the great director to the art of cinema, despite the fact that no film directed directly by Kurbas has survived. The actors of the Kurbasa theater showed themselves brilliantly in the films of O. Dovzhenko, I. Kavaleridze, and other famous directors, fully taking advantage of the lessons of their great teacher.

In some texts, the authors focus not so much on the film process as on its historical and social context. Thus, Z. Alfyorova draws attention to those general civilizational conflicts that were related to Ukraine and Ukrainian culture even in Soviet times. The author examines the artistic culture of Ukraine at the intersection of the influences of economic, political and socio-cultural systems and observes how the "crisis of reality", the "replacement of reality with signs of reality" is provoked both by the influence of "official" Soviet culture and the phenomena of early postmodernism. The author rightly notes that the internal dissidence of a certain circle of Ukrainian artists is reflected in the very style of screen works. However, interesting observations and theoretical generalizations do not always find concrete confirmation in the direct examination of the film process.