Ukrainian Animation Takes Center Stage at International Animation Conference in Pittsburgh

Published: July 29, 2026

From June 15–19, Pittsburgh became a gathering place for some of the world’s leading animation scholars, artists, and filmmakers during the 37th Annual Conference of the Society for Animation Studies (SAS). Supported by Razom, Ukrainian animators joined the international conversation to showcase their work, share their experiences of creating during wartime, and introduce global audiences to a vibrant animation industry that continues to thrive despite Russia’s full-scale invasion.

Organized by the Pennsylvania Expanded Animation Alliance (PA-XAA) and the Society for Animation Studies, the conference brought together more than 100 researchers, artists, and industry professionals to explore animation as a medium for storytelling, memory, trauma, and human connection.

Bringing Ukrainian Stories to International Audiences

One of the conference highlights was “Resilient Reels: Ukrainian Animation on Screen and In Conversation,” held on June 16 at Pittsburgh’s Harris Theater.

The evening featured a curated screening of contemporary Ukrainian animated films, followed by a discussion with acclaimed Ukrainian animation directors and animation artists Sashko Danylenko, Daryna Fes, and Sasha Ruban, who joined online from Ukraine.

The conversation explored what it means to create art during war — from documenting national trauma and preserving childhood in times of violence to building an animation industry under extraordinary circumstances.

More importantly, it gave audiences the opportunity to hear directly from Ukrainian artists.

Many attendees remarked that meeting Ukrainian filmmakers in person added an entirely new dimension to the films they had just watched. Others said the discussion helped them better understand both the realities of Russia’s war against Ukraine and the resilience of Ukraine’s creative community.

Art That Continues Beyond the Screen

The conference coincided with The Animate Experience, an exhibition presented by the Pennsylvania Expanded Animation Alliance, The Children’s Museum of Pittsburgh, and the Society for Animation Studies at Pittsburgh MuseumLab.

Among the featured artists was Razom Cinema grantee Daryna Fes, whose multimedia works were included in the exhibition. She attended the opening in person, introducing visitors to her work and engaging in conversations about contemporary Ukrainian art.

Visitors continued discussing her VR installation, Spheres, throughout the conference, making it one of the exhibition’s memorable works.

More Than Filmmakers — Cultural Ambassadors

For the Ukrainian delegation, the conference was about much more than presenting films.

“Our small Ukrainian team not only enjoyed the event as visitors but also advocated for Ukraine — you simply cannot be anyone but an ambassador at international events,” said director Sashko Danylenko. “Stand out, spread the word, fight russian narratives and propaganda, fill in the blanks, and most importantly, build empathy.”

Danylenko also noted that scheduling the Ukrainian screening at the beginning of the conference helped spark conversations that continued throughout the week, creating opportunities to connect with scholars, educators, and fellow artists.

For Daryna Fes, the event demonstrated how animation can foster meaningful dialogue.

“Many attendees were curious about the situation in Ukraine, and I believe events like this — screenings of Ukrainian animation, Q&As, and informal conversations — help people better understand what’s happening in Ukraine. Alongside traditional animation, the festival also embraced a more artistic dimension, offering both the platform and the technical setup to show even technically demanding works. “

Why Representation Matters

For the conference organizers, introducing Ukrainian animation to an international academic audience was a long-term investment.

While Ukrainian animation remains underrepresented globally, professors and researchers attending the conference help shape future film and animation curricula. Increasing their familiarity with Ukrainian works means more students around the world may encounter Ukrainian stories in classrooms for years to come.

The event also extended beyond the conference itself. By hosting the screening in a public cinema rather than inside the conference venue, organizers welcomed members of the Pittsburgh community, creating another opportunity to raise awareness about Ukraine through culture.

Building Connections Through Culture

Throughout the week, conversations continued well beyond scheduled panels.

Audience members praised the diversity of Ukrainian animation, discussed their favorite films with the filmmakers, and asked thoughtful questions about working during wartime. Others expressed appreciation for hearing multiple perspectives from artists living through the same historical moment.

One particularly memorable interaction came after the screening, when an audience member approached Sashko Danylenko to share that he had long admired his work and could hardly believe they were finally meeting in person.

These are the connections that cultural exchange makes possible — especially in spaces like SAS creates.

“Academic community is important in this regard, because instructors who teach courses on film and animation, make choices which works they include in their syllabi, and their familiarization with Ukrainian animation can potentially result in Ukrainian animated films being seen by their students in the future.” — noted the conference organizers.

By supporting Ukrainian artists at international events like the Society for Animation Studies conference, Razom helps ensure that Ukrainian voices are not only heard — they become part of the global cultural conversation.

Because culture is more than art. It is memory, identity, and a powerful way to build understanding across borders.

Neurosurgical Mission by Razom: U.S. and Ukrainian Doctors Perform 37 Complex Surgeries

Published: July 22, 2026

Just one day after the large-scale attack on Kyiv, the medical team witnessed the aftermath of russian strikes firsthand, including the area around the Lukianivska metro station. It was the beginning of another surgical mission. Yet beyond the destroyed buildings, the American doctors saw something that inspires them to return to Ukraine time and again — the extraordinary resilience of the Ukrainian people.

Razom for Ukraine organized the international CO-PILOT NEURO neurosurgical mission, which took place on June 12–20 in Kyiv, Dnipro, and Lviv. Over nine days, Ukrainian and American specialists jointly performed 37 free, high-tech surgeries for patients at four medical institutions.

Leading U.S. interventional neuroradiologists and neurosurgeons Dr. Maxim Shapiro and Dr. Kim Nelson traveled to Ukraine to take part in the mission. Working alongside Ukrainian medical teams, they performed some of the most complex endovascular procedures while sharing their expertise directly in the operating room.

A key focus of the mission was the exchange of surgical knowledge between American and Ukrainian neurosurgeons. The program covered three cities — Kyiv, Dnipro, and Lviv — where U.S. and Ukrainian doctors worked side by side to provide care for patients with the most complex cerebrovascular conditions.

“This is what true systemic change looks like — the very change we aim to achieve by organizing our surgical missions. We receive not only support from American doctors, but also valuable knowledge that remains in Ukraine and continues to strengthen our healthcare system after each mission concludes,” said Yuliia Shama, Head of the Razom Health Co-Pilot project.

During the mission, doctors performed a wide range of complex neurointerventional procedures, including treatment of cerebral aneurysms, arteriovenous malformations, dural arteriovenous fistulas, venous sinus recanalization and stenting, as well as interventions for traumatic vascular injuries of the head and neck. Patients from various regions of Ukraine, including both civilian and military patients, received specialized care.

In Dnipro, the team worked at the Mechnikov Dnipropetrovsk Regional Clinical Hospital, where 12 complex neurointerventional procedures were performed in just three days. During the mission, doctors spent hours in operating rooms, carrying out advanced interventions while simultaneously providing continuous emergency care, including treatment for patients with ischemic stroke.

“We worked from morning until night, putting all our energy, knowledge, and inspiration into solving highly complex and unusual medical challenges. It was a true team effort, and we all worked together toward one goal — saving Ukrainian lives and improving the quality of medical care in Ukraine,” said neurosurgeon Yurii Cherednichenko.

Throughout the mission, Dr. Maxim Shapiro and Dr. Kim Nelson worked alongside Ukrainian neurosurgeons as part of CO-PILOT NEURO. This collaborative approach enabled Ukrainian specialists to gain hands-on experience with modern endovascular treatment techniques and exchange knowledge while managing complex clinical cases.

The final stage of the mission took place in Lviv, where, alongside surgical procedures, a lecture titled “Modern Aspects of Endovascular Treatment of Central Nervous System Pathologies” was held. The educational session was attended by 26 Ukrainian physicians. The training program was also organized by Razom for Ukraine, as strengthening the professional skills of Ukrainian medical workers remains one of the organization’s key priorities in supporting the country’s healthcare system.

Despite air raid alerts and new attacks, the mission continued. Teams traveling to Ukraine do not abandon their plans — they know their assistance is needed. It is the resilience and courage of Ukrainians that gives them the strength to continue.

Why the World Needs Ukrainian Books

Published: July 8, 2026

Dear friends of Razom,

This is Kateryna Kazimirova, Razom Literature Program Lead, and I want to take you with me to Kyiv, where last week of May, under skies that couldn’t decide between sirens and the heavy bloom of peonies, one of the most important literary events in the world took place.

But first, let me tell you why I’m the one writing this letter.

Growing up in Donetsk, I was fortunate to be surrounded by books, the people who wrote them, and brilliant teachers who introduced me to both. I went to study literary theory, later taught it, built a life inside Ukrainian literature, and took for granted that this world mattered beyond its own borders. Then, in 2014, Russia occupied my home and succeeded not only in seizing territory, but in imposing its fiction – about Donbas, about Ukraine, about who belonged where. I watched it happen with two kinds of grief: the obvious one, along with a quieter realization that Ukraine’s writers, the people I considered heroes, were unknown outside my world.

Why did so few people know the writers who had shaped me? How could a nation with such a rich literary tradition remain so invisible abroad? Most importantly, in light of all that happened, how are we going to change that?

For the last decade, already in Kyiv, I had been trying to do my part by running a literary journal, and creating innovative tools to promote Ukrainian culture like Chapter Ukraine. Now I have joined Razom to expand our shared mission of helping the world discover Ukrainian literature. This year, I came back to Arsenal on behalf of Razom to participate in the festival and organize a panel on one of the questions I think about most: what actually stands between Ukrainian books and anglophone readers?

An Arsenal of a Different Kind

When I call it the best literary festival in the world, this is not only my sentiment. In 2019, Book Arsenal was recognized as the world’s best literary festival of the year at the International Publishing Industry Excellence Awards organized by the London Book Fair. It has been running annually since 2012, skipping only twice: during the pandemic outbreak and the year of the full-scale invasion. It came back in 2023, grew to 35,000 visitors in 2024, and, like Ukraine, is stronger every year since.

Why “Arsenal”? The building where the festival takes place was originally built in 1783 by imperial decree as a weapons depot – a fortress-like structure with walls six feet thick, covering nearly twenty-five acres in the heart of Kyiv. But the ground it stands on is older than that: the site was a 16th-century convent, whose most prominent patron was the mother of Hetman Ivan Mazepa – the Ukrainian leader who defied Peter I and became a lasting symbol of resistance to Russian rule. The empire demolished the convent and built an arsenal in its place. Ukrainians eventually took the arsenal back and filled it with books instead.

My own Arsenal story started in 2015, when I fled Donetsk to Kyiv and found, once again, what I had lost: a community of booklovers and cultural professionals that felt like home. In the years when I wasn’t working in culture full-time, I would take a week off work just for the festival, spending days discovering new books, listening to authors, panel discussions, and then finding friends in the garden as the evening came, reading poetry to each other and talking for hours.

This one week of the year, everyone comes, no matter where the last twelve months have scattered us. We synchronize our clocks, make plans, and simply be together. But the magnetism runs deeper. Arsenal is one of those rare places where you feel fully alive – concentrated, meaningful, part of something larger than yourself. Where the line between past and present dissolves, and you can feel the full weight of a cultural tradition that has been carried across generations and is still being carried, right now, by the people standing next to you. You listen to one of the sharpest minds alive give a talk that rearranges something in your thinking, then meet them in the coffee queue twenty minutes later and talk like old friends. Where else does that happen?

And underneath all of it is the simple act of being here. Of having made it through another year. Once you have been part of the world of Arsenal, something in you keeps returning to it, the way you return to a place that has known you at your best.

Bear Your Freedom

Each year Arsenal has a theme. This year it was Bear Your Freedom, curated by Maksym Butkevych – journalist, human rights activist, former POW, who spent 913 days in Russian captivity before being released in October 2024. Razom supports his initiative Principle of Hope, which develops materials supporting the psychological recovery of returning prisoners, and separate guidance helping soldiers understand how to preserve their lives in captivity.

His central argument: freedom and responsibility are inseparable – “siamese twins” and the greater danger is not that freedom is taken from us, but that we surrender it willingly, trading it for comfort or the illusion of stability. For Butkevych, freedom is never only about oneself, but about those beside us, the ability to build the future together and defend it together: “Perhaps this is Ukraine’s new mission today: not only to fight for freedom, but to help the world rediscover its value.”

One more topic within this theme was the fragility of heroism. Writers and soldiers Artem Chapeye and Artur Dron put it plainly: a hero is not someone without fear or exhaustion, but someone who keeps moving despite both. As Dron said, society creates “bronze” heroes out of convenience, so everyone else can watch from the sidelines and feel absolved. The real call is to see the person behind the symbol, recognize their needs, and act – because bearing freedom together means no one should carry it alone.

On the day of our panel, I arrived early, before the festival opened to the public. Walking through one of the pavilions, I came across the room full of military chaplains – still, present, sacred. Later that day, one of them presented a new book titled Care for the Spirit. And then, watching the main stage fill for readings by soldier-writers, and the lines snaking through the courtyard for their book signing, I realized that combatant literature is no longer a niche: it is the mainstream. It is simply the most honest account of the life Ukrainians are living now.

The Highest Form of Communication

Arsenal’s Writers’ Program, curated by writer and soldier Andriy Lyubka, opened with a deceptively simple question: What do we actually know about our neighbors? We share borders with Slovakia, Romania, Hungary, and can barely name five of their writers. When knowledge is scarce, stereotypes fill the gap. For a country that cannot afford adversaries on two fronts, genuine neighborliness is a question of survival.

Among the writers on the Arsenal main stage was Polish Nobel laureate Olga Tokarczuk, who argued that Central European identity is defined not by stable borders but by their absence – by fluidity, fragmentation, a world that keeps shifting underfoot. It is precisely this instability, she said, that produces writers who cannot rely on realism alone, and it is this shared inheritance that connects Ukraine to its neighbors more deeply than any political agreement.

Tokarczuk had something important to say about the power of literature itself: humans are narrative creatures who understand the world through stories, not facts. Literature is the highest form of communication: it reaches where information cannot, using metaphor and symbol to convey truths. In times of war and propaganda, literature is the clean breath; it forces a reckoning with complexity, protects identity the way a magnetic field protects against external force. She reminded the audience that Poland survived 123 years without a state, through language and culture alone.

Fieldwork in Ukrainian Sex

Among 240 events that Arsenal hosted across four days were poetry readings that moved to bomb shelters mid-session, a Theatre of Veterans, workshops, music, slam poetry, mile-long signing queues, and in the evenings wild dancing under folk and electronic beats. But one of the most attended was a conversation marking the 30th anniversary of Oksana Zabuzhko’s Fieldwork in Ukrainian Sex with Maria Genkin, Razom’s Board Co-Chair, among the speakers.

The book follows a Ukrainian woman writer navigating love, identity, and the weight of post-Soviet womanhood. Publishers at the time genuinely doubted that a Ukrainian-language novel could sell. But it became the first national bestseller of its kind, went through at least seventeen editions, 25 languages, and opened the doors for an entire generation of writers.

Thirty years later, teenage girls return to it as a psychotherapeutic text. Elif Batuman cited it as the book that made her reconsider Russian literature’s colonial hold. Zabuzhko said she no longer owns it – it has become something collective. And in the context of the war, the conversation kept returning to one idea: when a culture is known, and its books are read, a nation becomes harder to kill.

Three Percent Ceiling: Razom’s Way to Break It

Despite the impact of books like Zabuzhko’s across borders, did you know that only 3% of books published in the American market are translated from other languages, all other languages combined? The anglophone market is the hardest literary market in the world to break into. And yet it is the one that matters most for global visibility.

That is why at Book Arsenal, Razom brought together on the main stage a panel of people who know this market from the inside. Emma Shercliffe – a UK literary agent who has sold more Ukrainian titles to British and American publishers than almost anyone – opened by dispelling a persistent myth: people are not tired of the Ukrainian theme. One of her Ukrainian authors is currently her best-selling title. The appetite is real, extending well beyond war narratives into fiction, history, culture. Emma was unambiguous about the quality: the level of intellectual thought in Ukrainian literature, she said, is deeply stimulating, and Ukraine’s top authors hold their own against any international writers. Visibility is no longer the main problem. What remains: the near-absence of agents, the need to be strategic about which publishers you sell rights to, and a grant system that remains practically inaccessible to the larger publishers who could do the most with a book.

Maria Genkin added a pattern she keeps seeing: selling rights to the wrong American publishers – a major new novel going to an academic press that will never invest in promotion. The book comes out, nobody notices, and everyone concludes Ukrainian literature doesn’t sell. Her point was direct: do not sell global rights to a single publisher. Some of those publishers aren’t even eligible for major literary awards, which means no long or shortlisting, no reviews, no bookstore purchases, no second life for the book. Razom’s role is to act as a mediator, helping authors and publishers navigate this complicated market.

Andriy Kurkov, Ukraine’s most internationally bestselling author, drew the distinction that the UK and US markets operate by entirely different rules. The American market is its own thing – more closed, slower to warm up. Kurkov knew this firsthand: his first attempt in 2001 failed not because of the books, but because the publisher did nothing. If a publisher isn’t investing in promotion, books don’t reach shelves. If books don’t reach shelves, nobody finds them. The logic is circular and self-defeating, and it has nothing to do with the quality of the writing. His second attempt in 2018 worked: “The goal is always to arrive and stay. And if you’ve got in and stayed, that’s already a great victory.”

I concluded with what I see as the core problem: the absence of a self-sustaining infrastructure where every part of the system does its job. The real question is delivery: how does a great Ukrainian book actually get onto bookstore and library shelves, and stay there? Here is what Razom is doing about it. We invest in translators as a profession through mentorships, the new Razom Translation Award, and partnerships with leading literary translation institutions in the US and UK. We offer translation grants that are accessible to larger publishers precisely because we don’t require a book to be completed and published within a single year – the constraint that makes most grant programs unworkable for major presses. To date, we have supported eight books; several high-profile titles are coming from major presses in 2027 that would not exist without Razom’s involvement. We also support promotion and, this year, editing – unique among grant programs. And through Chapter Ukraine, we build communities of readers in libraries, universities, and grassroots organizations who advocate for Ukrainian books from the ground up.

Every literary tradition that reached the world stage arrived with a new artistry and language for it – one that captured a reality the world hadn’t yet found words for. The stream eventually broke through its geographical borders and became universal. Ukrainian literature has already formed that language: raw honesty, fragile heroism, self-reliance, a direct way of looking at what most literature looks away from. The current is moving. Is the American reader ready to meet it?

_______________________________________________________________________

P.S. As I am finishing this letter, the news came in: Russia struck the Kyiv Pechersk Lavra – the 11th-century cathedral that is a UNESCO World Heritage site – setting its roof on fire while monks and rescue workers formed human chains to save the icons. As firefighters were still battling the blaze, a second strike hit Mystetskyi Arsenal, the building where Book Arsenal takes place. The Dovzhenko National Film Studio was also hit, destroying Ukraine’s largest and oldest costume collection, 100,000 garments, gone. Once again, Russian aggression deliberately strikes Ukraine’s cultural heritage.

Patriot Production License for Ukraine Will Save Lives and Help End the War

Published: July 8, 2026

FOR IMMEDIATE RELEASE

Razom for Ukraine: Patriot Production License for Ukraine Will Save Lives and Help End the War

Washington, D.C., July 8, 2026 — Today, President Trump announced that the United States will authorize licensed production of Patriot interceptors in Ukraine—a landmark decision that will save lives, strengthen U.S. interests, and help bring Russia’s war to an end.

“President Trump stands on the right side of history. He stands with the winners. And this is a win-win for both Ukraine and the United States,” said Melinda Haring, Senior Advisor at Razom for Ukraine. “Licensed production will allow Ukraine to better defend its people without drawing down existing U.S. stockpiles.”

“Russia is losing on the battlefield and sustaining increasingly humiliating deep strikes against the oil infrastructure that fuels its war machine. Putin’s remaining tool is terror: ballistic missile strikes on Ukrainian cities designed to kill civilians and break the country’s will.”

While producing Patriots would give Ukraine a strong shield for tomorrow, it also needs ammunition for tonight. A sustained, uninterrupted flow of interceptors through existing programs is crucial to fulfill an urgent need for air defense to protect civilians in Ukraine as Russia attacks their homes on a daily basis.

“Ukrainians are winners. They have repeatedly demonstrated their ingenuity and ability to rapidly master advanced technologies under wartime conditions. We urge President Trump and his administration to immediately implement the licensing agreement, and maintain the flow of existing Patriot interceptors to Ukraine while domestic production ramps up,” said Melinda Haring.

###

Razom for Ukraine is a U.S. nonprofit providing medical and humanitarian aid to Ukraine and a leading advocate for continued U.S. assistance to Ukraine. For more information or to request an interview, please contact: Ostap Yarysh, Media Advisor at Razom for Ukraine ostap.yarysh@razom.org

Razom for Ukraine Launches Inaugural I’mmortal / Безсмертні Fellowship

Published: July 1, 2026

FOR IMMEDIATE RELEASE
July 1, 2026
Razom for Ukraine Launches Inaugural I’mmortal / Безсмертні Fellowship
Five Transatlantic Arts-in-Health Partnerships to Gather at Wesleyan University This Fall

New York, NY – Today Razom for Ukraine announced the inaugural cohort of the I’mmortal / Безсмертні Fellowship, Razom’s first Arts-in-Health program, developed in partnership with Wesleyan University’s Center for the Arts. Drawing from 35 applications submitted by NGOs, cultural collectives, artists, clinicians, and institutional partners across Ukraine and the United States, a selection committee of field experts chose five cross-border partnerships to co-develop projects using creative practice to transform mental health, physical rehabilitation, and community reintegration. Each partnership receives an implementation grant of up to $10,000 and full residency support for a week-long in-person gathering at Wesleyan University, November 2–7, 2026, culminating in a public Capstone Showcase on November 7th in Middletown, Connecticut.

The fellowship is built on a foundational recognition: Ukraine is currently a vital frontier for innovations in trauma recovery. The I’mmortal program matches artists and healers with institutional partners, including hospitals, universities, veterans’ centers, and NGOs, to develop collaborative projects that neither partner could conceive or execute alone. The long-term goal is that projects piloted in 2026 will move into full implementation in Ukraine in 2027.

“Art has always been how people make meaning and take care of communities in the hardest moments,” said Theodora Chomiak, CEO of Razom for Ukraine. “The I’mmortal Fellowship exists to put that idea into practice, across borders, and at the highest level of attention.”

“Where science maps the trauma, the arts map our humanity, providing the truth and wisdom needed to heal,” said Katja Kolcio, Chair of the Dance Department and Professor of Environmental Studies at Wesleyan University. “By bringing these extraordinary Ukrainian and American partners to Wesleyan, we are moving creative practice from the margins of healthcare straight to the center, proving that cultural expression is a critical, rigorous pillar of health, community resilience, and our collective capacity to build a better world.”

THE 2026 COHORT

GATHERING AROUND THE FIRE: ARTS, HEALING, AND RESILIENCE

Jessica Hecht / Alexandra Zaslav / The Campfire Project (New York, NY) x Mariana Ivanovych / Marcin Piotrowski / Folkowisko Ukraine (Nahachiv, Lviv region)

Therapeutic arts programming for children and youth in Western Ukraine, bringing together local and displaced populations to process war trauma, build resilience, and strengthen community through daily creative practice in dance, visual art, theater, and music, delivered through a trauma-informed, culturally adaptive framework. A parallel practitioner training strand, drawing on resources from the WHO and Jameel Arts and Health Lab, equips local educators and aid workers with tools they can sustain independently.

ARTSCAPES OF CARE: COMMUNITY WORKSHOPS & TOOLKIT

Nathalie Robelot-Timtchenko / Oleksandra Kliushnova / Joanna Wroblewska / First Aid of the Soul (Kyiv / Washington, D.C.) x Kerry Kincy (Middletown, CT) x Dr. Midori Samson (Lawrence, KS)

Trauma-informed, arts-based workshops for artists, community healers, educators, and mental health practitioners in the Lviv region, integrating soundscapes and deep listening, movement, visual storytelling, and embodied creative practice. The project will produce a replicable toolkit for Ukrainian organizations to continue and adapt the work independently.

RHYTHM AS REGULATION

Yekaterina Chizayeva (New Orleans, LA) x Kateryna Taranova (Kyiv/Lviv/Slavsko)

A transnational methodology exchange investigating how rhythm, through music, dance, voice, and body-based practice, can support nervous system regulation, reduce anxiety symptoms, and aid recovery from sensory disorientation caused by war-related sonic exposure. Two intensive methodology labs, one in Slavsko, Ukraine and one in New Orleans, bring together U.S. and Ukrainian artists to develop and prototype shared, cross-cultural protocols.

“ME – THE OTHER”: INCLUSIVE THEATRE & NARRATIVE RESTORATION INITIATIVE

Deb Gottesman / The Theatre Lab – Life Stories Institute (Washington, D.C.) x Yuliia Vintoniv / Ukrainian Catholic University (Lviv)

An inclusive theatre initiative bringing together people with congenital and acquired disabilities, including those with war-related injuries, alongside students and community members to create original dramatic work from lived experience. The Theatre Lab’s over twenty years of autobiographical theatre practice meets Yuliia Vintoniv’s expertise in disability-inclusive education at Ukrainian Catholic University, with a pilot university course launching in 2027.

MOVING, IMAGINING, AND UNBROKEN

Román Baca / Exit12 Dance Company (New York, NY) x Alina Spas / Dr. Brendan Bo O’Connor / Imagination Lab (Albany, NY) x Dr. Yuliia Rozmyrska / Lesya Ukrainka Volyn National University (Lutsk)

A co-authored dance and movement program designed specifically for Ukrainian combat veterans, wounded and non-wounded alike, that integrates Exit12’s proven trauma-informed methodology with surrealism-based visual arts practice. The program is not an export of an American model but a genuine co-authorship, adapted entirely for Ukraine’s cultural moment and the realities of its combatants. Pilot workshops will be conducted in the New York area before full implementation in Ukraine in 2027.

ABOUT RAZOM FOR UKRAINE

Razom for Ukraine (which means “together” in Ukrainian) is a U.S.-based nonprofit founded in 2014 that works to build a secure, prosperous, and democratic Ukraine. The organization operates across program areas including humanitarian aid, health, advocacy, and cultural initiatives, addressing both immediate needs and long-term recovery. Through Razom Connect, Razom positions culture as a vital part of its mission alongside humanitarian aid and advocacy, demonstrating that cultural visibility is essential to global understanding and solidarity.

ABOUT WESLEYAN UNIVERSITY’S CENTER FOR THE ARTS

Wesleyan University’s Center for the Arts integrates world-class venues with a dedicated team of curators, producers, and technicians to advance creative practice as foundational to a liberal arts education. By bringing global artists into a dynamic relationship with the campus, the Center for the Arts supports critical research, interdisciplinary collaboration, and experimentation. At Wesleyan, the arts serve as an essential form of inquiry, teaching, and public engagement, cultivating bold thinkers who value embodied experience and community connection.

PRESS CONTACT

Rachel Shuey

rachel.shuey@razomforukraine.org

706-399-3333

razomforukraine.org

Beyond the Soviet Frame: How Razom and Metrograph Brought Ukrainian Poetic Cinema to New Audiences

Published: June 19, 2026

In late 2025, New York audiences gathered at Metrograph for Soul & Soil: Ukrainian Poetic Cinema — an ambitious retrospective co-presented by Metrograph, Razom Cinema, and Dovzhenko Center that introduced audiences to one of the most visually innovative film movements of the twentieth century. Across eighteen screenings, the series drew nearly 1,400 in-person attendees, reached thousands more through streaming, and generated significant engagement across social and film media platforms.

But the retrospective was never intended to function merely as a successful repertory film series. At its core, Soul & Soil, sought to challenge a longstanding misconception in global film culture: the tendency to treat Ukrainian cinema as a subsidiary chapter within “Soviet cinema,” rather than as a distinct artistic tradition with its own language, identity, and historical trajectory.

“There’s a version of Ukrainian cinematic history that gets told as a footnote to Soviet cinema,” explained Head of Razom Cinema Polina Buchak. “One of the things that drives Razom Cinema is the refusal to accept that framing.”

Through a carefully curated program of landmark films, rare archival materials, guest discussions, and contextual programming, Soul & Soil demonstrated not only the enduring artistic power of Ukrainian Poetic Cinema, but also the growing appetite among international audiences to engage with Ukrainian culture on its own terms.

Building the Collaboration

The retrospective emerged from a collaboration between Razom Cinema and Metrograph’s Program Operations Manager, Anri Vartan. Both recognized an opportunity to create a program that would move beyond topical wartime cultural interest and instead introduce audiences to the historical depth of Ukrainian cinematic tradition. Vartan was also the curator of the retrospective series.

While Razom Cinema had already become known for presenting contemporary Ukrainian films and cultural programming in New York, Soul & Soil marked its first major retrospective dedicated specifically to Ukrainian film heritage. It was also the first significant Ukrainian Poetic Cinema retrospective in New York City since the Film at Lincoln Center series curated by Richard Peña in 2012.

“The series was conceived to illuminate the depth and distinctiveness of Ukrainian Poetic Cinema,” said Vartan. “For audiences in New York, the goal was to offer more than just a screening series — it was an invitation to experience a distinct cinematic language profoundly rooted in its sense of time and place.”

The title Soul & Soil reflected the retrospective’s central themes: the enduring relationship between the Ukrainian people, their land, and cultural memory. The films traced a path through key moments in Ukraine’s modern history, from the National Revival period through the Soviet era and into works that anticipated the collapse of the Soviet Union itself.

Reclaiming a Cinematic Heritage

For both Metrograph and Razom, the retrospective carried significance beyond film history. Ukrainian Poetic Cinema emerged during the 1960s as a visually daring movement associated with filmmakers such as Sergei Parajanov, Yurii Illienko, Leonid Osyka, and Ivan Mykolaichuk. Drawing deeply from Ukrainian folklore, history, ethnography, and language, the movement represented a profound break from the rigid constraints of Soviet Socialist Realism.

As filmmaker and producer Pylyp Illienko explained in a companion Metrograph interview, the movement was heavily censored precisely because it articulated a distinctly Ukrainian cultural identity. The films’ emphasis on folklore, spirituality, local traditions, and historical memory challenged Soviet cultural homogenization and, in many cases, resulted in bans, shelving, or severe censorship.

“Revisiting these films today allows audiences to see how questions of identity, resilience, and self-determination have been explored by Ukrainian filmmakers for decades,” said Vartan. “Ukrainian Poetic Cinema was a site of resistance against Soviet cultural hegemony.”

That framing became especially resonant in the context of Russia’s ongoing aggression against Ukraine. For Razom Cinema, presenting these films internationally was not only an artistic project, but also a cultural and historical intervention.

“Russia’s full-scale invasion of Ukraine is not only a military assault, but a deliberate attack on Ukrainian cultural identity,” Buchak noted. “Presenting Ukrainian cinema to international audiences is an affirmation of Ukraine’s existence as a distinct, sovereign culture with its own artistic voice.” Cinema, she argued, offers audiences something beyond news coverage or geopolitics — a way to experience a culture from within: “It allows audiences to feel a culture from the inside — its motions, its rhythms, its memory and identity.”

Creating a Singular Audience Experience

What distinguished Soul & Soil from a standard repertory series was the depth of contextualization and the extraordinary level of collaboration behind the scenes.

Razom Cinema provided grant support that enabled the sourcing of rare 35mm prints from Yurii Illienko’s personal archive — materials that had not screened outside Ukraine in decades — alongside digital restorations from the Dovzhenko Center, Ukraine’s leading film archive.

The retrospective also featured in-person appearances by Pylyp Illienko, son of Yurii Illienko, who introduced films and participated in post-screening discussions, offering audiences rare insight into the production histories and political contexts surrounding the works. Composer Leonid Grabovsky, whose experimental scores shaped the audiovisual language of several Illienko films, also joined select screenings.

“These screenings became something much more unique,” Buchak said. Metrograph and Razom further elevated the experience through live subtitling provided by Razom Cinema Program Coordinator Yuliia Haleta, custom translation work, and carefully designed print and editorial materials that framed the series for audiences unfamiliar with Ukrainian film history.

Opening night set the tone for the retrospective’s immersive approach. Before a screening of Oleksandr Dovzhenko’s Earth accompanied by DakhaBrakha’s score, the Ukrainian Village Voices ensemble performed live folk music inspired by the same traditions reflected in the film itself.

For Vartan, contextualization proved essential: “The way a film program is framed has a huge impact on the audience’s experience and ultimately on their appreciation of the cinema itself,” he reflected. “Print materials, guest appearances, and the technical presentation itself are all integral details that are vital in presenting a film in its best light.”

This emphasis on contextualization extends beyond the screenings themselves. Razom Cinema’s team continues to invest in ongoing study and engagement with Ukrainian film history, including participation in programs such as the 2026 Ukrainian Institute London course Ukrainian Cinema: A Century of Innovation, Struggle, and Resilience, reflecting the organization’s commitment to presenting Ukrainian cinema with both historical depth and contemporary relevance.

Audience Response and Institutional Impact

The response to Soul & Soil demonstrated that Ukrainian cinema can attract substantial international interest when presented with strong curatorial framing and institutional support. The retrospective achieved a 68% average occupancy rate across eighteen screenings, drawing nearly 1,400 attendees in theaters. An additional 1,640 viewers engaged with the series through Metrograph’s streaming platform, bringing total viewership to more than 3,000 people.

The program’s digital footprint extended even further. Promotional content reached approximately 370,000 social media accounts and generated more than 887,000 views, including a highly successful collaboration with Letterboxd that alone approached 700,000 views. Coverage from outlets including Letterboxd, FilmStage, Screenslate, United24, Bazilik, and The Gaze further amplified the retrospective’s visibility.

For Razom Cinema, the statistics confirmed something larger than the success of a single event: “There is a desire and appetite for Ukrainian cinema among international audiences,” Buchak said. “Soul & Soil proved that when the programming is presented with care, context, and the right institutional partnerships, audiences show up.”

The collaboration has already opened conversations about future institutional partnerships and expanded programming opportunities. Both Razom Cinema and Metrograph see the retrospective not as a singular event, but as a model that can travel to other venues and audiences.

“The films are extraordinary,” Buchak reflected, “but audiences need a frame to receive them. Razom Cinema is here to help build that frame in collaboration with any institution ready to open their doors to the power that Ukrainian cinema offers.”

Russia Is Not Only Attacking People. It Is Attacking Ukraine’s Memory, Culture, and Identity.

Published: June 16, 2026

On the night of June 15, Russia launched one of its largest attacks in recent months.

More than 70 missiles and 611 Russian-Iranian drones were fired across Ukraine, with over 60 missiles targeting Kyiv.

The attack once again claimed civilian lives and caused extensive damage to residential neighborhoods and civilian infrastructure. But its consequences extend far beyond physical destruction.

An Attack on the Heart of Ukraine’s Faith, Culture, and History

That same night, Russia struck something that cannot be quickly rebuilt or replaced.

Ukraine’s cultural heritage came under attack.

One of the most painful symbols of this assault was the Kyiv-Pechersk Lavra.

Founded in 1051, the Lavra is one of Europe’s oldest monastic complexes and a UNESCO World Heritage Site. For nearly a thousand years, it has remained a spiritual, historical, and cultural center of Ukraine.

For millions of Ukrainians, the Kyiv-Pechersk Lavra is far more than an architectural landmark. Generations have come here to pray, seek comfort, celebrate life’s milestones, and preserve a connection to their history. The site houses sacred relics, manuscripts, religious artworks, and centuries of cultural memory.

As a result of Russia’s attack, parts of the Lavra complex were damaged, and a fire broke out in the Dormition Cathedral.

“Once again, we see these barbaric acts committed by Russians, for whom nothing is sacred. It is horrifying that while calling themselves Christians, they strike at the very heart of our people. Once again, this reveals exactly who we are dealing with,” said the Vicar of the Kyiv-Pechersk Lavra following the attack.

The damage to the Lavra serves as another reminder that this war is not only directed against Ukrainian cities and communities.

It is directed against Ukrainian identity itself.

Culture Under Fire

During the same attack, Russia damaged Mystetskyi Arsenal, one of Ukraine’s most important cultural institutions. The Arsenal hosts international exhibitions, educational programs, major artistic initiatives, and the country’s largest annual book festival.

Reflecting on the attack, Mystetskyi Arsenal Director General Olesia Ostrovska-Liuta drew a striking historical parallel:

“It is remarkable that the Russian drone struck the exact same location that was hit by a Nazi bomb during World War II. It is some kind of mystical coincidence — perhaps the souls of aggressors united?”

Russian strikes also damaged the Oleksandr Dovzhenko National Film Studio, the birthplace of Ukrainian cinema.

According to the studio’s officials, its primary costume archive was destroyed. Approximately 100,000 costumes and priceless archival materials documenting decades of Ukrainian film history were lost.

“Costumes from such iconic films as Shadows of Forgotten Ancestors, The Lost Letter, and Bohdan Khmelnytsky were stored here. Now this building has been completely destroyed — there is practically nothing left,” said studio director Andriy Donchyk.

Other cultural institutions damaged during the attack include the Kharkiv Art Museum and the House of Organ and Chamber Music in Dnipro.

And all of this happened in a single night.

Since the beginning of the full-scale invasion, Russia has systematically targeted Ukraine’s cultural heritage. According to Ukraine’s Ministry of Culture, as of May 2026, 1,783 cultural heritage sites and 2,540 cultural infrastructure facilities have been damaged or destroyed across the country.

UNESCO has independently verified damage to at least 534 cultural sites, including museums, libraries, historic landmarks, archaeological sites, and more than 150 religious buildings.

These figures reveal a disturbing reality: Russia is waging war not only against Ukraine’s cities and communities, but also against its historical memory, culture, and identity.

They Came to the Rescue

That same night, Russia once again demonstrated its complete disregard for human life.

In Kharkiv, five emergency responders from Ukraine’s State Emergency Service (DSNS) were killed.

After an initial strike on a civilian industrial facility, emergency crews arrived to assist victims and assess the damage.

They were doing what they have done every day since the start of the full-scale invasion: searching for survivors, helping the wounded, extinguishing fires, and protecting communities.

After receiving warnings of a possible second strike, the rescuers left the facility and moved to another location, following safety protocols.

Moments later, a second missile struck near where they had gathered.

Five emergency responders were killed instantly.

Several others were injured.

“One of the missiles struck approximately 30 meters from the rescuers, who had managed to leave the facility and were standing in a wooded area near the fence. Unfortunately, the missile struck directly at those who save lives,” said Bohdan Hladkykh, Director of Kharkiv’s Department of Emergency Situations.

These men were not soldiers. They were not engaged in combat. They had come to save civilian lives.

Russia’s double-tap strikes have become one of the most dangerous and deliberate tactics of this war. After an initial attack, emergency responders, medics, and rescue crews arrive at the scene. A second strike then follows.

The targets are the people helping others.

Since the first day of the full-scale invasion, Razom has supported emergency responders, firefighters, medics, and rescue teams across Ukraine. They are often the first to arrive after an attack and the last to leave once the rescue operation is complete.

Their service is a service to life itself.

That is why the deaths of these five rescuers in Kharkiv represent a tragedy not only for their families and colleagues, but for all of Ukraine.

The Goal Is Not Only Destruction

When emergency responders are killed while trying to save others, it is an attack on humaneness.

When the Kyiv-Pechersk Lavra is damaged, it is an attack on spiritual heritage.

When film archives are destroyed and museums are struck, it is an attack on cultural memory.

All of these acts are part of a larger pattern.

Since the beginning of the full-scale invasion, Russia has damaged or destroyed hundreds of religious and cultural sites across Ukraine. Churches, museums, theaters, libraries, archives, and historic landmarks have all come under attack.

These are not accidental losses.

They are not unavoidable consequences of war.

They are systematic attacks on the foundations of Ukrainian identity and resilience.

When humaneness, culture and faith are targeted, the goal is not simply destruction.

The goal is erasure.

Why This Matters to All of Us

Cultural heritage does not belong to one nation alone.

When a UNESCO World Heritage Site is damaged, when museum collections are destroyed, or when irreplaceable archives are lost, humanity loses a part of its shared history.

That is why protecting Ukrainian culture is not solely a Ukrainian issue.

It is a matter of preserving memory, history, and values that transcend borders.

At Razom, we work every day to ensure that Ukrainian stories continue to be seen, heard, and understood around the world. We document attacks on Ukrainian culture, amplify the voices of those defending their communities, and ensure that the world does not look away from efforts to erase an entire nation’s heritage.

Today, we honor the memory of the five DSNS rescuers who lost their lives while serving others.

We also remind the world of the churches, museums, archives, and cultural institutions that Russia continues to attack.

Ukraine continues to resist.
And as long as there are people saving lives, preserving culture, and telling the truth, Ukraine can never be erased.

Razom, Esper Bionics, and Ukrainian clinical partners launch a new initiative to expand access to advanced prosthetic care in Ukraine

Published: May 27, 2026

Razom, Esper Bionics, and Ukrainian clinical partners
launch a new initiative to expand access to advanced prosthetic care in Ukraine

Razom for Ukraine, Esper Bionics, and Ukrainian clinical partners are launching a new initiative to expand access to advanced prosthetic care for people living with limb loss in Ukraine.

This project is about helping people regain independence, dignity, confidence, and a path back to daily life — while also strengthening Ukraine’s prosthetics ecosystem for the future.

At the center of the initiative are the patients themselves: Ukrainians whose lives have been changed by injury and who are rebuilding their futures as they return to work, family life, and community participation. “The program is designed to support people through a full pathway of care, from assessment and fitting to adaptation and follow-up, so that the prosthesis becomes part of long-term recovery rather than a one-time intervention.” said Dmytro Gazda, CEO of Esper Bionics.

The initiative also reflects the strength and ingenuity already present in Ukraine. Esper Bionics, a Ukrainian company developing advanced bionic prosthetics, brings technical innovation to the project. Ukrainian clinical partners bring the medical expertise and rehabilitation support needed to help patients integrate these devices into everyday life.

Razom’s role, as public health implementation expert, is to connect donor resources, clinical providers, and patients into coherent projects that work inside Ukraine’s public health system. We standardize how partners coordinate, stay compliant with national health regulations, and report results, ensuring each project strengthens the system rather than running parallel to it.

“This project is about helping people get back to their lives, while also showing that Ukraine is building modern recovery pathways under extraordinary conditions,” said Dora Chomiak, CEO of Razom. “It is a bridge between the US and Ukraine, connecting resources, expertise, and legitimacy with Ukrainian innovation, talent, and resilience.”

The project is also being built with sustainability in mind. Razom is working to ensure that the initiative complements, not replaces, Ukraine’s existing government support system, with careful attention to patient eligibility, continuity of care, and long-term access to state assistance.

Through this partnership, the initiative aims to show what is possible when patient needs, public health implementation expertise, and Ukrainian innovation come together. It is a story of recovery, systems-building, and partnership — and a reminder that what is being created in Ukraine today can help shape recovery and rehabilitation far beyond Ukraine’s borders.

About Razom

Razom is a leading U.S.-based nonprofit organization working to build a secure, democratic, and prosperous Ukraine. Founded in 2014, Razom (“together” in Ukrainian) supports urgent needs in Ukraine while investing in long-term solutions across health, civil society, advocacy, and culture. As Ukraine’s future has global implications, Razom strengthens trauma care systems, supports local leaders and communities, and connects Ukraine to the world.

About Esper Bionics

Esper Bionics is a Ukrainian company developing advanced bionic prosthetic solutions designed to restore function, independence, and quality of life for people living with limb loss.

About the clinical partners

Ukrainian clinical partners are helping make this initiative possible by providing the medical expertise, rehabilitation support, and patient care needed for successful prosthetic fitting and adaptation.

Press Contact:Iryna Gudyma
iryna.gudyma@razom.org

Crimea Is Memory, Culture, and Resistance: Explore Crimean Tatar Voices This Remembrance Day

Published: May 5, 2026

Every year on May 18, Ukraine commemorates the Day of Remembrance of the Victims of the Crimean Tatar Genocide — a day that honors the lives lost and the resilience of an indigenous people whose history continues to shape Ukraine today.

In 1944, the Soviet regime forcibly deported the entire Crimean Tatar population from their homeland. Families were given minutes to gather their belongings before being loaded onto trains and sent to remote regions. Tens of thousands perished due to starvation, disease, and inhumane conditions. These events are now recognized as genocide.

Since Russia’s occupation of Crimea in 2014 — and especially after the full-scale invasion in 2022 — Crimean Tatars have once again faced repression, arrests, and persecution. Today, remembrance is not only about the past. It is about an ongoing struggle for rights, identity, and the right to live freely on their land. This day invites us not only to remember, but to learn — to engage with Crimean Tatar culture, language, and history in ways that deepen understanding and solidarity. Below is a curated selection of resources to help you begin.

Crimea: History and People (Online Course)

Explore HERE.

A comprehensive course exploring Crimea through the perspective of its indigenous people. Led by scholars and experts, it covers history, identity, and the political realities shaping the region today — offering a deeper understanding of both past and present.

Crimea: History and People (Ukrainian Institute)

Explore HERE.

A free, English-language course featuring 12 video lectures on Crimean Tatar history, culture, and their long struggle to return home. Ideal for anyone looking for a structured, accessible introduction to Crimea beyond headlines.

Qırım: Crimea Is Us (Prometheus Course)

Explore HERE.

This Ukrainian-language course challenges stereotypes and reframes Crimea as a story of people, identity, and resistance. It explores the place of Crimea and Crimean Tatars in Ukraine’s past, present, and future through a thoughtful, reflective lens.

“Ukrayinanıñ İçinden” by Ukraїner

Explore HERE.

A cultural exploration of Ukraine that includes perspectives and stories reflecting the diversity of its regions and peoples, including Crimea. A visually rich and narrative-driven entry point into Ukrainian identity.

“The Crimean Tatar Nation in Great Works of Art”

Explore HERE.

This academic work examines global art as historical evidence of Crimean Tatar presence and identity. By analyzing paintings as primary sources, authors Zera K. Mustafaieva and Zarema K. Mustafaieva offer a unique and rigorous approach to understanding indigenous history through visual culture.

“There Is Land Beyond the Perekop”

Explore HERE.

A novel weaving personal and historical narratives, tracing generations shaped by deportation, repression, and resilience. Through storytelling, it explores identity, belonging, and the enduring impact of Crimean Tatar culture.

Bulbul (Crimean Tatar Learning Platform)

Explore HERE.

A multimedia platform designed for young children — but equally valuable for beginners of any age. Featuring songs, stories, cartoons, and a dictionary with audio pronunciation, it’s a gentle and engaging introduction to the language.

Qırım Ailesi (YouTube Playlist)

Explore HERE.

A collection of Crimean Tatar fairy tales and legends told in the original language. Listening to these stories offers a powerful way to connect with cultural traditions and hear the rhythm of the language firsthand.

Engaging with Crimean Tatar culture is not just about learning history — it is about recognizing a living, resilient people whose identity has survived displacement, repression, and attempted erasure. Culture carries memory. Language carries belonging. Stories carry truth. When we read, listen, and learn, we help ensure that these voices are not silenced — that Crimea is understood not as an abstract territory, but as a homeland with a deep and complex human story.

This May 18, remembrance can include curiosity and a step toward deeper solidarity. Because to truly stand with Ukraine, we must also know Crimea — and the people who have always called it home.

The Chornobyl Legacy: Honoring the 40th Anniversary of the Disaster

Published: April 26, 2026

Today marks the 40th anniversary of the Chornobyl disaster, a milestone recognized by the United Nations as International Chornobyl Disaster Remembrance Day. On April 26, 1986, the explosion at Reactor No. 4 in Soviet-controlled Ukraine became the world’s worst nuclear accident, unleashing a torrent of radiation that forever altered millions of lives and reshaped global consciousness.

Four decades later, history does not remain in the past. The Razom team has curated a selection of essential cultural works that have helped the world process this trauma. Through the lens of cinema, art, and literature, these creators ensure that Chornobyl is never forgotten. They remind us that while the Zone may be silent, its story is still being written.

Performing Arts

Archaeological Opera: Chornobyldorf

Created in 2020 by composers Roman Grygoriv and Illia Razumeiko, Chornobyldorf stands as arguably the most internationally acclaimed contemporary Ukrainian performing arts work on the subject of nuclear catastrophe.

Framed as an “archaeological opera,” it depicts the descendants of humanity navigating a post-apocalyptic world. Wandering among the ruins of nuclear power plants, abandoned churches, and decaying galleries, these survivors attempt to piece together the fragments of a lost civilization through surreal performance rituals.

Watch

The Chornobyl Songs Project

Released via Smithsonian Folkways, the project – titled Living Culture from a Lost World – is a monumental effort to recreate centuries-old Polissian village traditions. The collection features harvest songs, wedding melodies, and ancient church carols, all reconstructed from field recordings made just before the 1986 disaster forced these ancient communities to abandon their ancestral lands.

By breathing new life into these “captured” sounds, Ensemble Hilka ensures that the cultural identity of the Polissia region survives, even as the villages themselves remain empty.

Listen on Spotify
Listen on Apple Music

Literature

In “Chornobyl: The History of a Nuclear Catastrophe,”Plokhy draws on recently declassified sources to chronicle the 1986 explosion. He “mercilessly chronicles the absurdities of the Soviet system” (Wall Street Journal), tracing the disaster to the flaws of authoritarian rule and a regime that prioritized economic goals over human safety. It remains a vivid, empathetic tribute to the firefighters and scientists who extinguished the nuclear inferno.

Plokhy continues this narrative in his latest book, “Chernobyl Roulette.” He recounts the harrowing 35-day Russian occupation of the plant during the 2022 full-scale invasion. This “real-life thriller” follows the Ukrainian staff held hostage who worked grueling, weeks-long shifts to prevent a new catastrophe. From the veteran foreman Valentyn Heiko to the workers who maintained safety under the shadow of Russian tanks, Plokhy sounds an urgent alarm about the unprecedented dangers facing nuclear sites in wartime.

Stalking the Atomic City: Life Among the Decadent and the Depraved of Chornobyl by Markiyan Kamysh
Translated by Hanna Leliv & Reilly Costigan-Humes

Since the 1986 disaster, Chornobyl has remained a forbidden wasteland that exerts a magnetic pull on “stalkers” – illegal adventurers who treat the barbed wire as a pilgrimage. Markiyan Kamysh offers a “gonzo” guide to this dystopian reality, introducing readers to the thieves, police, and romantic utopists who inhabit the Zone despite its toxic legacy.

Featuring photographs that may be the last images of the site’s desolate beauty before the 2022 Russian occupation, Kamysh’s brash and bold prose captures Chornobyl’s timeless, alien elegance.

Buy and read

Chornobyl, Life, and Other Disasters: A Graphic Memoir
By Yevgenia Nayberg

In this salient and slyly funny graphic memoir, Yevgenia “Genya” Nayberg recounts her childhood in 1980s Ukraine. As Genya dreams of attending a prestigious art school, she navigates the absurdities of Soviet control, the paranoia of the Cold War, and systemic antisemitism. Her world shifts forever on April 26, 1986, when a neighbor is called to a town she’s never heard of: Chornobyl. It is a deeply personal story of artistic perseverance and a rare glimpse into the life of the Soviet intelligentsia during a national catastrophe.

Buy and read

The Post-Chornobyl Library
By Tamara Hundorova
Translated by Hanna Leliv & Reilly Costigan-Humes

Tamara Hundorova explores how the Chornobyl disaster not only marked the end of the Soviet Union but also birthed a new era of Ukrainian literature. Using the “Post-Chornobyl Library” as a metaphor, Hundorova analyzes how the 1990s generation used postmodernism, irony, and “apocalyptic carnival” to process nuclear trauma. This scholarly work tracks the decolonization of Ukrainian culture as writers broke totalitarian taboos, filled historical gaps, and liberated themselves from a fractured past to enter a new, globalized landscape.

Buy and read

Cinema

Chornobyl: Chronicle of Difficult Weeks, 1988
Volodymyr Shevchenko

On April 26, 1986, reactor four at the Chornobyl nuclear power station exploded, releasing a massive radioactive cloud over Northern Ukraine and Belarus. The danger was kept secret from the public. Only two film crews, including one from the Ukrainian studio of chronicle and documentary films (Ukrkinokhronika) led by director Volodymyr Shevchenko, managed to get access. They arrived on May 14, 1986, and spent the next hundred days documenting the efforts of firefighters, engineers, military personnel, and dosimetrists dealing with the aftermath of the explosion.

Streaming

Ten Years of Alienation, 1997
Serhii Bukovskyi

Originally filmed as a series of daily dispatches for the 10th anniversary of the disaster, this documentary explores the physical and emotional state of the Zone. Bukovskyi captures the life of the “settlers” – those who refused to leave their homes despite the radiation – showcasing a deep-rooted Ukrainian connection to one’s birthplace.

Heavy Water: A Film for Chornobyl, 2007
David Bickerstaff & Phil Grabsky

Based on Mario Petrucci’s award-winning poetry, this moving film bypasses technical details to focus on the human cost. Unflinching archival footage of the ghost-town Pripyat is woven with location shots from inside the destroyed reactor, giving voice to the liquidators and families who dealt with the disaster at ground level.

Trailer

The Gateway, 2017
Volodymyr Tykhyi

Blending horror with magical realism, this film follows a family living illegally in the Exclusion Zone. Led by the mystic grandma Prisya, who claims to befriend mythological creatures, a supernatural warning of an impending catastrophe disrupts the family’s quiet, dystopian life.

Trailer

Special Operation, 2026
Oleksiy Radynskyi

An “almost disembodied” examination of military logic, this film uses CCTV footage from the 2022 Russian occupation of the Chornobyl plant. By documenting the reckless military base established at the radioactive site, Radynskyi presents each shot as forensic evidence of a modern war crime and nuclear terror.

Trailer

Photography & Visual Arts

Ukrainian photojournalist Igor Kostin created the photo story “Chornobyl” in the wake of the accident at the power plant on April 26, 1986. Over the course of a year, he documented the aftermath of the disaster, enduring radiation exposure that was five times above the permissible limit. His work received recognition at the World Press Photo competition in 1987.

Ukrainian photojournalist Viktor Marushchenko was among the first to break through bureaucratic barriers to document the Chornobyl tragedy. Over the decade, he persistently returned to the exclusion zone, recording life there despite the unimaginable circumstances. In 2001, his extensive Chornobyl archive was included in the central exhibit of the 49th Venice Biennale, curated by Harald Szeemann.

Maria Prymachenko was a Ukrainian folk artist known for her naïve art. A self-taught painter from the village of Bolotnia, near Chornobyl, she began her career with embroidery and gained international recognition later on. Friends recalled that Maria had nightmares about the impending disaster before the fourth reactor explosion. The tragedy deeply influenced her art, particularly in her magical beasts. Furthermore, her family suffered personally as her nephew, Valerii Khodymchyk, a station worker, was killed during the accident, and she dedicated several paintings to his memory.

Untitled project from Chornobyl, Maksym Dondyuk

Since 2016, Maksym Dondiuk has been working on “Untitled Project from Chernobyl,” a photographic research project that combines his images with archival materials found in the Chornobyl restricted areas. This series explores memory, territory, atomic energy, and nature. Initially reflecting on the emptiness of abandoned land, Dondiuk’s work evolved into a deeper investigation of the past, revealing fragments of life in the Chornobyl area before the nuclear disaster, including old films, photographs, postcards, and letters exposed to nature and radiation.

Painting and monumental art

The Chornobyl disaster significantly influenced a generation of Ukrainian painters from the late 1980s to the 2000s, leading to the emergence of dystopian art reflecting nuclear pollution. Notable artists include Heorhii Senchenko, Yurii Nikitin, Oleksandr Roitburd, and Khrystyna Katrakis, who used various techniques from iconography to postmodern collage.

One remarkable piece is Aleliaksandr Kishchanka’s tapestry “Chornobyl,” gifted to the United Nations to commemorate international cooperation after the explosion. The exclusion zone has also become a canvas for street artists, with abandoned buildings in Prypiat attracting both anonymous graffiti and renowned muralists.

Notable works include Guido van Helten’s mural inspired by Ihor Kostin’s photograph of a liquidator and Pantonio’s mural of blue rabbits.