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Modern Ukrainian war documentaries 2014-? In the conditions of the war since the beginning in the territory of Donbas, the annexation of Crimea and today's full-scale Russian invasion of Ukraine, a "cinema boom" has been observed. "Cyborgs" (2017), "Callsign Banderas" (2018), "Volunteers of God's Chota" (2015), "On the Line of Fire" (2017), "War of Chimera" (2017), "Debaltseve" (2016). And this is only a part of the tapes that appeared on our screens between 2014 and today. All of them are high-quality, dramatic, vivid, and most importantly, Ukrainian, depicting for Ukrainians and the world everything that happened and is happening during the war in our country. Today, it is possible to confidently predict an even bigger "cinema boom" that will happen after Ukraine's victory in the war with Russia. After all, unfortunately, there will be something to show. Moreover, not only Ukrainians, but also foreign artists will shoot. Bo Willimon — an American playwright and screenwriter (screenwriter of "House of Cards") — has already voiced his desire to shoot a documentary about the crimes and genocide committed by the Rashists in the Ukrainian town of Bucha. According to the Buchansk City Council, the screenwriter is already collecting materials while in Ukraine.

The Western avant-garde of the 1920s is vividly represented in French cinematography, in particular in the films of R. Clair (1890–1981) - "Paris Fell Asleep." "Intermission"; A. Hansa (1889–198'!) – "Wheel", "Napoleon"; in the surrealist tapes of L. Beunuel ([900_1983) – "Andalusian Dog", "The Golden Age" and in the cinema of Germany, in the depths of which the direction that was called film expressionism arose. Its prominent representatives were R. Wiene (1881–1938) – the director of the film “Cab!net of Dr. Caligari”, which is considered a manifesto of this direction, F. Lang (1890–1976) – “The Nibelungen”, “Weary Death”: F. Murnau (1889–1931) – "Nosferatu", "The Last Man".

The intelligence of R. Roslyak and O. Bezruchka logically complement each other. Dovzhenko's pedagogical activity has been studied surprisingly little, especially when it comes to the director's laboratory on the basis of the Kyiv Film Factory. Here we can talk about the opening of fundamentally new pages in the creative biography of an outstanding film artist.

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The main goal of the comedy genre is to make the audience laugh, to create a cheerful mood. But comic and laughter are different concepts, because not everything that is funny is comic. Comedy is the ability of a person to look at himself through the eyes of others, to see his own flaws, as well as to make fun of the imperfections of the world. The main characters of films of this genre always get into funny situations.

The 1960s and 1970s were rich in monographic publications, which covered specific problems of domestic cinema. In the 70s, the works of I. Kornienko "Half a century of Ukrainian Soviet cinema" (1970), "Cinema of Soviet Ukraine" (1975) were published. The appearance of these books made it possible to create an academic history of Ukrainian cinema. Of the planned three volumes, only two were published. And there was a certain regularity in this. The fast-moving course of events, the change in social attitudes made the third volume obsolete already in the manuscript. Did this mean the rewriting of history, about which some learned men lamented? Probably not. It's just that history began to reveal its secrets, which had been carefully hidden for a long time. And artistic phenomena, accompanied, it would seem, by a fixed look, suddenly appear in their other renewed quality.