Between Duty and Exile: Philip Sotnychenko’s "Times New Roman" Explores the Art of Survival Amidst War
In an era where the boundary between artistic expression and political survival has become increasingly blurred, Ukrainian filmmaker Philip Sotnychenko is embarking on an ambitious new project that promises to confront the ghosts of the past to understand the turbulence of the present.
Times New Roman, the sophomore feature from the acclaimed director of La Palisiada, has gained significant momentum on the international stage. It was recently announced that Academy Award-winning Latvian producer Matiss Kaza—known for his pivotal work on the Oscar-nominated animated feature Flow—has boarded the project. As the film prepares for its high-profile presentation at the Transilvania Pitch Stop co-production forum, part of the prestigious Transilvania International Film Festival (June 12–21), it stands as a testament to the resilience of the Ukrainian film industry in the face of ongoing existential conflict.
The Genesis of an Ambitious Co-Production
The production of Times New Roman is a masterclass in pan-European collaboration, designed to bridge the gap between Ukrainian creative vision and international resources. The project is led by a formidable team of Ukrainian producers: Halyna Kryvorchuk of Viatel, alongside Valeria Sochyvets and Sashko Chubko for Contemporary Ukrainian Cinema.
The addition of Matiss Kaza’s Trickster Pictures bolsters an already robust coalition of European partners. The project is further supported by Klementina Remeikaite and Laurynas Bareisa of afterschool (Lithuania), Hans Broich for Superzoom Film (Germany), and Ineke Smits for GoGoFilm (Netherlands). This cross-border alliance underscores the importance of regional solidarity in sustaining Ukrainian culture during a time of national crisis.
Narrative Arc: A Road Trip Through History and Trauma
Set against the harrowing backdrop of the full-scale Russian invasion of Ukraine, Times New Roman centers on Roman, a Kyiv-based artist struggling to maintain his creative identity while battling midlife disillusionment and a deepening alcohol addiction. His internal struggle is set against the crushing weight of a nation at war.
The plot takes an unconventional turn when Roman is offered a high-stakes performance art commission: to stage a series of public reenactments of historical political assassinations. The targets are three iconic leaders of the Ukrainian independence movement who were systematically eliminated by Soviet agents while in European exile:
- Symon Petlura: Shot dead in Paris in 1926.
- Yevhen Konovalets: Killed by a bomb in Rotterdam in 1938.
- Stepan Bandera: Poisoned in Munich in 1959.
Enticed by the prospect of a professional assignment that grants him a legal opportunity to flee Ukraine, Roman embarks on a journey across the continent. However, the film posits that geography is not a cure for trauma. As he recreates these brutal historical moments before unsuspecting European audiences, Roman discovers that his personal demons—and the shadows of his homeland’s history—are not easily outrun.
The project features a unique stylistic approach, collaborating with renowned visual artists Yarema Malashchuk and Roman Khimei, who will also portray the lead roles. By blending performance art with narrative cinema, Sotnychenko aims to dissect the intersection of individual guilt, national memory, and the modern experience of war.
Chronology of a Visionary Director
Philip Sotnychenko’s rise to international prominence was cemented by his feature debut, La Palisiada. An enigmatic, disquieting police procedural, the film examined a pivotal moment in post-Soviet Ukrainian history through a lens that was both oblique and deeply resonant.
- 2023: La Palisiada premieres at the International Film Festival Rotterdam, earning critical acclaim for its dream-like, elliptical logic. The film serves as Ukraine’s official entry in the Best International Feature Film category at the Academy Awards.
- 2024: Following the war-induced challenges of the previous two years, Sotnychenko begins development on Times New Roman, refining the script to mirror his own life as an artist working under the constant threat of conflict.
- June 2024: The project is selected for the Transilvania Pitch Stop, signaling its importance as a key industry project within the European festival circuit.
Reviewing La Palisiada for Variety, Manuel Betancourt noted the director’s unique ability to navigate "nebulous and oblique" territories. This talent for handling historical ambiguity is precisely what makes Times New Roman a project to watch, as it shifts from the internal mysteries of a police investigation to the externalized trauma of a man confronting the ghosts of his nation’s martyrs.
Official Statements and Artistic Intent
In an exclusive statement provided to Variety, Sotnychenko articulated the profound personal stakes of the project. "The film reflects my own experience of trying to remain an artist during war in a country with closed borders but open hearts," he noted.
For Sotnychenko, the film is a multifaceted endeavor—part narrative drama, part political research, and part artistic gesture. "It is a reflection on contemporary Ukraine, seen through the eyes of an artist in inner conflict—torn between staying or leaving, being useful or being honest, feeling or acting," the director explained. "These are questions faced by many Ukrainians today, and I want to explore them through the language of cinema."
The inclusion of the historical assassinations serves a clear purpose: to remind a global audience of the long, documented history of Russian interference in Ukrainian affairs. By bringing these stories into the present, Sotnychenko hopes to illustrate how historical trauma shapes the intellectual and emotional landscape of modern Ukrainians.
The Logistics of Resilience: Challenges and Future Outlook
The production of Times New Roman is taking place under circumstances that would be prohibitive for most creative endeavors. The physical, mental, and financial toll on Ukrainian filmmakers is immense.
"There are physical challenges, mental challenges, and financial challenges," said producer Sashko Chubko. "It all creates this building mental stress. Most of us are quite exhausted right now, after four years of war. It’s very difficult to work, but somehow, we still manage."
The financial landscape has been particularly difficult, as the Ukrainian government was forced to pivot the majority of cultural funding toward the immediate war effort. However, there is a glimmer of hope on the horizon. The Ukrainian State Film Agency is expected to announce the results of its first post-invasion funding call later this year. This, according to producers, will be a vital lifeline for projects like Times New Roman.
"Finally, we can bring something to the table from the Ukrainian side," Chubko added, highlighting the pride and determination involved in maintaining a professional output despite the surrounding devastation.
Implications for the Future of Ukrainian Cinema
The success of Times New Roman in securing European co-production partners is more than just a logistical win; it is a signal of the industry’s endurance. By centering on a character who is "torn between duty and freedom," the film captures the exact pulse of a nation currently defining itself through the act of resistance.
If the film’s development at the Transilvania Film Festival is any indication, the international film community remains deeply invested in the stories emerging from Ukraine. Times New Roman is poised to be not only a compelling piece of art but a vital document of a generation of artists who have refused to allow their voices to be silenced by the realities of war.
As Sotnychenko prepares to bring his vision to life, he carries the weight of his country’s history and the responsibility of his craft. In doing so, he ensures that even in the most desperate of times, the "Times New Roman" of history remains legible, defiant, and deeply human.
