The unfolding of a war often attracts various storytellers at different stages. Journalists usually arrive first, followed by authors and historians who provide broader context. Artists often contribute later, but their work can ultimately resonate most profoundly.
The release of Porcelain War, the documentary about the war in Ukraine, demonstrates the artists’ contribution to this narrative—a perspective unlike anything previously presented by experts and reporters. This was a deliberate choice by the filmmakers. Co-director Slava Leontyev recently shared, “My primary concern was avoiding a purely journalistic approach.” His collaborator, Anya Stasenko, further clarifies: “I refused to focus on the graphic violence.”
Set in a frontline city near the Russian border, approximately 25 miles away, the film inevitably depicts the war’s brutality, without glossing over it. Constant Russian shelling devastates the city and its suburbs, causing immense loss of life and displacing over a million civilians. Co-director Leontyev, who serves in the Ukrainian special forces, is shown with his platoon in battle, documenting the carnage through cameras mounted on their uniforms.
However, this scene is atypical. The film primarily focuses on the antithesis of war: the beauty and humanity it seeks to destroy. It follows three artists: Leontyev, Stasenko, and their friend Andrey Stefanov, an oil painter who also serves as the film’s cinematographer. They resist not only with weapons but by persevering with their art amidst air raid sirens. Leontyev explains that these acts of creation constitute vital resistance against Russia, whose aims include not only territorial conquest but also the eradication of Ukrainian culture.
The film’s title refers to the porcelain figurines the artists create, depicting fantastical creatures like a baby dragon and a pegasus. Leontyev designs and molds the figurines during his breaks from training civilians in using assault rifles, while Stasenko decorates them with intricate drawings. Their friend, Andrey Stefanov, demonstrates remarkable cinematic skill despite lacking prior experience.
All three artists are amateur filmmakers. Initially, they relied on their American collaborator, Brandan Bellomo (writer, editor, and co-director), for equipment. Bellomo provided remote guidance via video calls, teaching them how to use the cameras and microphones he sent to Kharkiv via couriers, often alongside humanitarian aid.
The film’s technical excellence and accolades stand in contrast to the filmmakers’ improvisational approach. Porcelain War won the Grand Jury Prize at the 2024 Sundance Film Festival for best U.S. documentary. Stefanov received a nomination for the American Society of Cinematographers Documentary Award, a rare achievement for a first-timer. The film was also nominated for an Oscar for best documentary feature.
Last year’s Oscar in that category went to 20 Days in Mariupol, a powerful journalistic work documenting the siege of Mariupol. Its director, Mstyslav Chernov, a war correspondent for the Associated Press, has discussed the challenges and risks of depicting the war’s horrors.
He stated, around the first anniversary of the invasion, “To watch people crying, it’s hard…When you place an audience for 90 minutes into this chaos and this mess and this violence, there is a risk of people getting too overwhelmed or even pushed back by the amount of this violence.”
The subtle approach of Porcelain War, which premiered in the U.S. in November, mitigates this risk. At its core is the love story of Leontyev and Stasenko, shown in intimate moments crafting figurines or walking their dog. This slower pace prompted one war reporter to comment on the film’s lack of action.
However, this approach addresses the problem Chernov highlighted with 20 Days in Mariupol. As the war continues, maintaining audience engagement becomes increasingly difficult. President Zelensky recognized this early on. In April 2022, he noted the war’s portrayal on social media and the risk of audience fatigue.
A year and a half later, Zelensky reiterated this concern, observing a growing war weariness in the West. He described this exhaustion as a wave, impacting attention spans and leading to a sense of the conflict becoming repetitive.
Zelensky’s response has been to actively engage internationally. Porcelain War offers an alternative approach, connecting with audiences through its artistic merit and compelling characters. As the war enters its fourth year, Ukraine requires new ways to communicate its story, and artists may prove to be its most effective messengers.