— is an exploration of personality without interfering in the inner world or imposing the author’s point of view. This story tells about the life of a hired worker on Kyslytskyi Island. Yurii raises and grazes livestock, gathers mushrooms, and occasionally hosts fishermen who visit the island. The film encourages the viewer to reflect on what a person truly needs to say, “and I’ve had enough.”

The film takes place in the workshop of artist Serhii Boholiubov. Two acquaintances visit him, and during their conversation, they exchange views on contemporary and classical art. During the discussion, the viewer is shown paintings and installations. In a casual setting, the most important movements in art are examined, allowing the viewer to draw their own conclusions and evaluate the works.

The film’s goal is to immerse the viewer in the atmosphere of the workshop and provoke reflection on the influence of art on one’s own life.

Anthropological observation of the lives of fishermen.
The film unfolds daily on the shore of the ocean in Gujarat, India.
Possibly just like a thousand years ago, fishermen gather in the morning and head out into the open ocean in their boats. The film depicts a way of life that exists independently of civilization, the internet, or governments. It is simple, comprehensible, appealing — and at the same time, dangerous. The viewer is transported to another dimension and is left to decide whether they like it or not.

The film is dedicated to the 25th anniversary of the signing of the Budapest Memorandum, under which the signatory countries guaranteed Ukraine’s territorial integrity in exchange for giving up its nuclear weapons. In 2014, when russia annexed Crimea, the signatories tolerated the occupation.

On December 5, 2019, our creative team carried out an intervention at the Odesa Museum of Contemporary Art by illegally placing an exhibit titled “I Want More” into the museum’s exposition.

The purpose of the film and this intervention is to show the citizens of Ukraine and the international community that attempts to appease russia or make concessions only lead to further aggression and attempts to seize territory.

The film’s narrative unfolds from the birth of the idea of a performative sculpture to its physical realization.
It is based on a simple academic exercise — “Modeling a cube by adding mass.” The sculptor first conducts a lesson for 9- and 13-year-old children in a school classroom, and later demonstrates the same exercise to adults.

The process of creating and refining a monumental sculpture in the studio is then shown. Throughout the filming, interviews are conducted with the sculptor, the children who participated, and random passersby.

Eventually, the viewer is taken to the sculpture’s ceremonial unveiling, attended by both children and adults who took part in the workshops. After the unveiling, the sculpture begins to “live its own life”: musicians perform on it, and it becomes a site for performances and city celebrations.

The film’s idea is to show that any creative thought can be brought to life.

Ballerinas enter the galleries and, standing beside academic paintings, use body language to convey the emotions the artworks evoke in them.
The viewer finds themselves in a shared space with young, living art and the works of long-deceased artists.

According to visitor feedback, it was difficult to focus on the paintings — all attention was instinctively drawn to the dancers’ grace. The museum space seemed to fill with a spring breeze, as the works of old masters were infused with the youthful energy of ballet.

The eternal and the fleeting — brushstrokes and body movements, heavy frames and light footsteps — through the camera, we sought to capture the feeling of inspiration that touched each participant and viewer.