A distance of 2,000 meters doesn't seem like much. It can be covered in two minutes, ten minutes, and, if you think about war, a mortar can cross it in just 35 seconds. However, that sense of proximity, as is often the case in Mstyslav Chernov's sobering documentary, is deceptive when the Russians occupying the village of Andriivka are heavily armed and a Ukrainian battalion advances slowly, suffering heavy losses, as it attempts to mount an offensive. Chernov takes us directly to the front lines as troops engage in brutal and deadly skirmishes in an attempt lasting more than three months to liberate the territory.
Like his previous Oscar-winning film, 20 Days at Mariupol, this is a fearless work of cinema in the face of danger, where Chernov, serving as director of photography with additional assistance from Alex Babenko, delves into the raw edge of the conflict with soldiers of the Third Assault Brigade. 2000 Meters to Andriivka, like 20 Days in Mariupol, will premiere in the US on Frontline PBS. Its timeliness and Chernov's established reputation as a reporter suggest other territories will follow suit.
Director: Mstyslav Chernov
Writer: Mstyslav Chernov
It's September 2023, and Ukraine has launched a counteroffensive near Bakhmut, in the east of the country, where Andriivka is strategically important. The brigade is tasked with delivering a flag to Fedya, the unit sergeant, who will raise it in Andriivka to demonstrate that the battle has been won. The only way for troops to approach the village is through a strip of forest, a symbol of the state of war. The word "forest" evokes a haven of peace; however, this narrow, grim strip of desolate trees is anything but. Trunks stripped of branches and leaves are all that remains as troops make their way through bracken and hide in trenches, dodging grenades, suicide drones, and shelling. Andriivka is also a bombed-out shadow of its former self, razed to the ground by the Russians. "It's like landing on a planet where everything is trying to kill you," we are told.
The film is visceral and immersive, following troops firing expletives as quickly as bullets as they try to advance. Chernov's footage is masterfully edited by Michelle Mizner and blended with footage taken by the troops on their helmet cameras, almost giving parts of the film the feel of a first-person shooter; but this isn't a game, and lives are lost forever. In one of the most horrifying moments, we dive into an armored medevac ambulance that gets stuck in the mud before following troops trying to get to safety on foot. Sam Slater's rumbling score adds to the desolation, with occasional vocalizations emerging from its electro-percussive heart like a lament.
Periodic bursts of news reports clue us in to the state of the counteroffensive, which is not going well, though no political framing is added; Chernov's film focuses on the immediate physical reality of the war, not what is being said about it. As in his previous film, the director also offers sporadic somber narration, often focusing on the life story of a soldier in the film's quieter moments. Some of these young men prove to be masters of subtlety: "It's a bit chaotic here," one comments. Others discuss the virtues of rolling cigarettes or talk about starting over in places like Andriivka to build a better country.
After meeting these men, we are frequently told that they will die in combat in the coming months. With such close proximity to their life stories and philosophies, the loss feels even more acute. Later, the film moves away from the heat of battle to show the equally intense struggle waged by those at home in grief. The ambient sound cuts out as we watch crowds dominated by women and children bury their loved ones.
Chernov conveys a sense of violent stalemate, so that even when Andriivka seems within reach, peace still feels far away. Considering the conflict, he states, “The longer it drags on, the less the world will care.” He is undoubtedly doing his best to ensure we continue to pay attention.
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