„The Hamlet Syndrome” premiered at DOC NYC
The documentary “The Hamlet Syndrome”, co-financed by the Polish Film Institute and directed by Elwira Niewiera and Piotr Rosołowski, was qualified – among 11 other productions from around the world – to the competition of The International Documentary Film Festival DOC NYC. The screening at the largest US event of its kind will be its North American premiere. The festival in New York will run 9-27 November, 2022.
This one of the most famous titles about the war in Ukraine tells the story of five young Ukrainians who try to face their most difficult memories on stage. The authors of the documentary show the shocking fate of a generation for whom war has become an everyday reality, confront attitudes and experiences, and ask difficult questions about the limits of sacrifice. Observing with the camera the process of creating the performance, “The Hamlet Syndrome” from a close, intimate perspective portrays the first Ukrainian generation born after the collapse of the USSR, which tries to change the conflict-torn country and put their lives in order.
Elwira Niewiera and Piotr Rosołowski’s documentary received the Golden Lajkonik award at the Krakow Film Festival, and won the Grand Prix for the best film in the Semaine de la Critique section and the Boccalino d’Oro award for the best documentary at the Locarno International Film Festival. Recently, it received another award – for the best documentary at the Adelaide International Film Festival. The image is distributed by WATCH DOCS / Helsinki Foundation for Human Rights, and KFF Sales&Promotion is responsible for its international festival distribution.
Description of the plot of the film
The war had a strong impact on the generation of young Ukrainians. A few months before Russia’s invasion of Ukraine in 2022, the five protagonists, inspired by the motifs of “Hamlet”, return on stage to the brutal experiences of recent years, trying to overcome their traumas. Each of them struggles with disappointment, helplessness or anger in their own way. Sławik as a soldier went through a real hell of war and captivity. Katia wants her mother to finally forgive her for going to the front. Rodion fled the conflict-ridden Donbass and, as an LGBT person, struggles with growing homophobia in post-revolutionary Ukraine. Roman, who as a war medic rescued wounded soldiers, still struggles with traumatic memories. Oksana just wants to forget and leave the country.
However, what is significant, for all of them, regardless of what values they representis is that the last few years have been a series of shocking experiences that brutally left their mark on their psyche. For each of them, the theatrical stage becomes a platform from which they can shout their regrets while asking themselves the Hamletian question: to be or not to be?