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“НАШЕ ЖИТТЯ”, ТРАВЕНЬ 201 3 WWW. UNWLA.ORG 21 Woman with a Movie Camera: Recent Films by Ukrainian Diaspora Women by Olesia Wallo Making movies — rather than acting in them — is not often seen as a woman’s occupation. According to a recent “Celluloid Ceiling” report, in 2012 women comprised only 9% of directors who made the top 250 films of th e year in the United States. The numbers are somewhat higher for i n- dependently produced films, especially docume n- taries, and for roles other than the directing one — for example, those of a film writer, a producer, or an editor. Yet even these figures are st ill very low. In view of such statistics, discove r- ing movies made by women of Ukrainian descent is doubly special. What follows is a short list of films that were directed and/ or written by Ukrainian diaspora women in the last several years. Far from bein g a comprehensive survey, the list is just a sampling of diverse film work — and an invit a tion to further explore movies by talented Ukrai n ian women in North America. Folk! (20 0 8 ) by Roxy Toporowych Roxy Toporowych’s debut docume n- tary looks at folk dancing as one of the hal l- marks of Ukrainian cultural identity in the diaspora. The film’s catchy subtitle — “Find - ing our roots... in red dancing boots!” — re - flects the warm and humorous tone in which Ms. Toporowych tells this unique story. The documentary fe atures several dance companies from the United States and Ukraine, most prominently the Syzokryli Dance Ensemble and its renowned founder and choreographer Roma Pryma Bohachevsky. Ms. Toporowych spent years collecting her footage during rehear s- als and show s, and engaging the performers in informal conversations about what kept them dancing — year after year. The film was screened widely in North America and in Ukraine, often as part of various film festivals. In 2010 Folk! was released on DVD, so if y ou have not had a chance to see it, you may be able to obtain a copy, including directly from Ms. Toporowych’s company — KinoRox Produ c- tions. * Many thanks to our contributing editor Olenka Shkrobut for bringing this film to our attention. The Whistleb lower (2010) by Larysa Kond rac ki* Co - written and directed by the Ukrainian Canadian Larysa Kondracki, The Whistleblower i s the first feature film from this director. It is a t hriller based on the true story of Kathryn Bolkovac, who attempts to put an end to a sex trafficking operation which she uncovers during her work as a UN peacekeeper in war - torn Bosnia. It proves to be a daunting task, especially because corrupt UN and government officials turn out to be part of the sex trafficking network. The film starred Rachel Weisz, Vanessa Redgrave, and Monica Belucci, and received several prestigious awards and nominations. In interviews about The Whi s- tleblower , Ms. Kondracki stressed t hat it was the compelling, and almost unbeliev a- ble, real life story that brought this movie such a success. In making it, the Ukrainian Canadian director was hoping to draw a t tention to the horrific realities behind sex trafficking. “You can go after the h u man traffickers and the institutions that cover it up, but it’s the W est that’s demanding this trade,” explained Ms. Kondracki in an interview to Locke Peterseim on redblog. “ We ’re the ones making this happen — it’s Western men who are buying these services . ” Higher Ground (2011) by Vera Farmiga A directorial debut for one of the finest American actresses (who also happens to be a Ukrainian) , Higher Ground features Vera Far - miga both on and behind the camera. The movie is loosely based on a memoir by Carolyn S. Briggs about a woman’s struggles with religious faith and doubt. Yet Ms. Farmiga transforms the more un i- vocal narrative of the book into a richer and less black - and - white story about a lifelong search of a “higher [spiritual] ground.” Vera Farm iga’s acting and directing work on this film drew many positive reviews from cri t- ics, who praised her nuanced and evocative po r- trayal of the central character, her casting choices (which included her younger sister, Taissa Far - miga), and her “soft” directi ng style.
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