Ukrainian director Iryna Tsilyk and producer Darya Bassel spoke to Cineuropa after winning the Eurimages Special Co-production Development Award, which includes a cash prize of €20,000, at CPH:DOX with their project Red Zone (see the news).

Cineuropa: Could you give us some more information about your project?
Iryna Tsilyk: Red Zone is an animated documentary film essay in which I attempt to reflect on the question of what it means to be a woman in times of war. The Red Zone is a dangerous area on the frontline where hostilities take place. However, it is also a place of insecurity for those who live in the shadow of a constant threat. We are a generation of people with emergency backpacks on our shoulders. As a modern woman, the wife of a soldier, a mother, a filmmaker, a poet, a friend to many militaries, and a great-granddaughter of those who suffered in other wars and Stalinist prisoner camps, I have something to say about the feeling of insecurity.

The war changes people on various levels, including very subtle ones. The daily routine of Ukrainians during the war includes tough news, traumatic experiences, rocket attacks, blackouts, funerals of friends, repetitive nightmares and more. Nevertheless, it also means fighting for what we believe in, making jokes, making love and enjoying the beauty of many special moments, despite everything.

What is the current state of development, what are you aiming at for the near future, and what are the difficulties that your project is facing?
Darya Bassel: Currently, we have the first draft of the script and our initial partners on board. Our next step is to work on the second draft of the script and find an animation artist who can help us establish the visual style of our project. Additionally, we are fundraising to secure financing for development and speaking with potential co-producers.

What was your participation in this year’s CPH:FORUM like? What was the outcome of your attendance and how will it help you to take the next steps?
IT: The initial introduction of a project to others, especially decision makers, can be both exciting and nerve-wracking. Much depends on the reactions of professionals with fresh eyes. We are pleased to report that our experience at CPH:FORUM was satisfying. Although we have only taken our first few steps, we feel that many people have given us the benefit of the doubt, and that truly matters. Additionally, it was extremely important to test out the idea of the project on people from different backgrounds and learn that our story is touching their hearts.

What interests us in this project is not just the story of the Russian invasion of Ukraine (which can be seen in the news and other films), but also the story of the many inner “wars” that take place within us every day, regardless of geography, nationality and all kinds of political disasters.

How are you planning to use the Eurimages Special Co-production Development Award?
DB: Thanks to the Eurimages Co-production Development Award, we will soon be able to start working with script consultants and developing the unique visual style of our film. We want to experiment a bit and collaborate with various artists, trying out different techniques. It's fantastic that we have this opportunity now and don't have to wait.

How difficult is it to produce your new film in the current situation, and do you have an estimate of when it could be ready?
DB: We know that we won't have access to public financing from Ukraine until the war is over. Therefore, we are relying on strong co-producers, international funds and grants. Luckily, we have already received several offers from different countries, and one partner recently joined us – a Luxembourg-based company called a_Bahn. We would love to have the possibility to work with Ukrainian creatives, but the production will be done outside of Ukraine. My current estimate is that we will finish Red Zone in four to five years, which is not that long if you consider how long the process takes for many fiction or documentary films from script or idea development to the premiere.

In this process, one of my main struggles will be working out how to finance this film on the level it deserves and not lose the position of the majority producer. I believe it's one of the most crucial problems for many Ukrainian producers now. We develop projects and invest so much time and energy in them that we should be able to keep our rights and decision-making positions despite the poor position the war has put us in.