Rain Will Never-Stop: Last News

Lise Pedersen “The Days I Would Like to Forget” by Ukrainian film collective Tabor, which picked up the top industry award at international documentary festival Visions du Réel, is a trilogy project that examines the consequences of war. It is directed by Alina Gorlova (“No Obvious Signs,” “This Rain Will Never Stop”), Maksym Nakonechnyi (“Butterfly Vision,” “This Rain Will Never Stop”), Simon Mozgovyi (“Salt From Bonneville,” “The Winter Garden’s Tale”) and Yelizaveta Smith (“Solitude,” “Butterfly Vision”), who have been working together and documenting the war in their country for close to a decade. The project is divided into three 70-minute chapters: “Human & War,” which examines the impact of war on everyday life, “Death & Life,” which focuses on the perception of death during the Russian-Ukrainian war, and “Space & Time,” which investigates the link between the war in Ukraine and other parts of the world.

Lise Pedersen A group of Ukrainian filmmakers have won the top industry award at Swiss international documentary film festival Visions du Réel with their project “The Days I Would Like to Forget,” divided into three chapters, each of which will explore a different phenomenon of war. Filmmakers Alina Gorlova (“No Obvious Signs,” “This Rain Will Never Stop”), Maksym Nakonechnyi (“Butterfly Vision,” “This Rain Will Never Stop”), Simon Mozgovyi (“Salt from Bonneville,” “The Winter Garden’s Tale”) and Yelizaveta Smith (“Solitude,” “Butterfly Vision”) of independent Ukrainian production company Tabor were awarded the Vision du Sud Est prize, handed out to the best project from the South (Africa, Latin America and Asia) or Eastern Europe.

Jessica Kiang War is blood and bombs and politics, but not in Alina Gorlova’s fascinating, fraught documentary “This Rain Will Never Stop.” Elliptically following 20-year-old Andriy Suleiman, a student Red Cross worker who “left one war for another” when his family fled Hasukah, Syria for his mother’s hometown of Lysychansk, Ukraine, this defiantly oblique, uncannily composed film instead reduces actual conflict to a dully thunderous, far-off roar. “It was fine for a while, but for the past four days there has been gunfire again,” says a disembodied voice from home over Skype.