« Rule of Two Walls, » réalisé par David Gutnik, explore la résilience des artistes ukrainiens à Lviv face à la guerre. Ce documentaire, tourné en 2022, allie réflexion personnelle et images marquantes, témoignant des impacts de l’invasion sur leur vie créative. Le film juxtapose leur lutte pour s’exprimer avec des séquences graphiques dénonçant l’horreur du conflit. À travers les voix de ces artistes, il défend l’importance de l’art même dans les pires circonstances, tout en évoquant une culture ukrainienne vibrante et nécessaire.
The relentless and nerve-wracking din of war — the cannon fire, air raid sirens, and explosions — has perhaps drowned out the voices of those in Ukraine enduring Russian assaults. Nonetheless, as the citizens of Ukraine adapt to the daily turmoil brought on by destruction, the unwavering spirit of the nation’s artists resonates louder than ever. In the poignant documentary “Rule of Two Walls,” Ukrainian-American director David Gutnik presents a series of vivid portraits capturing the experiences of artists who have found refuge in the city of Lviv, including several key contributors to the film itself.
Filmed in early 2022, only months following the invasion, “Rule of Two Walls” invites viewers to reflect on how the ongoing war has disrupted both the personal lives and professional endeavors of Ukraine’s most innovative individuals. Among these voices are Lyana Mytsko, the director of the Lviv Municipal Art Center — a space where artists can cultivate and display their work — and rapper Stepan Burban (known as Palindrom), whose lyrics in Ukrainian express dreams shattered by violence after initially attempting to write in Russian. The film also features sound recordist Mykhailo Zakutskyi and producer Olha Beskhmelnytsina, who shares her motivations for staying in Ukraine, which include supporting her parents and documenting these pivotal moments.
Instead of resorting to conventional talking-head interviews that might not capture the intense energy of its subjects, Gutnik employs a dynamic soundtrack, adept camera movements, and thoughtful edits to create a seamless flow throughout the documentary. Each segment incorporates images that reveal the artists’ processes or depict their daily routines. Although “Rule of Two Walls” is structured into three chapters, these sections are not defined solely by individual recollections but rather how Gutnik intertwines their contemplative thoughts, allowing multiple voices to coexist in each segment.
However, viewers should prepare for the unsettlingly graphic footage that punctuates these personal accounts. Disturbing images of charred bodies, a decapitated corpse, and decomposed remains serve as a stark reminder of the harsh realities that interweave with these artists’ creative pursuits. When cinematographer Volodymyr Ivanov discusses his desensitization to horror and the insomnia plaguing him, his heartfelt and passionate insights imbue the documentary with a profound sense of anger and despair.
For these artists, the term “rule of two walls” — which refers to seeking shelter in a corridor when no other refuge is available during bombings — symbolizes their precarious position as they strive to express their emotions amidst overwhelming suffering. They embody both victims and heroes as they navigate the fog of war. In light of this stark reality, engaging in creative activities like music, painting, and filmmaking may feel insignificant. Yet, the existence of documentaries like “Rule of Two Walls” highlights how easily Western audiences can relate to the Ukrainian struggle given the unequivocal denunciation of their aggressor by powerful nations. Unfortunately, the same understanding is absent in the West’s response to the ongoing humanitarian crisis in Palestine, where shared culpability exists.
Late in the film, Gutnik powerfully inserts himself into the narrative, expressing in English the poignant reality that no one in his family speaks Ukrainian, despite his closest relatives being born there. During the Soviet era, knowledge of Russian was a prerequisite for employment, a tactic aimed at erasing individuality among the republics.
This unattainable uniformity is echoed in Putin’s assertions that Ukrainian culture is indistinct. However, a glimpse into the rich tapestry of memories and artistic expressions showcased in “Rule of Two Walls” undermines such absurd claims.
A powerful testament to the necessity of art, even in the darkest times, is a depiction of a theater in Mariupol before its destruction. Although the structure itself no longer stands, its representation from a nearly lost past continues to inspire hope. It symbolizes a collective vision worth fighting for, much like the purpose served by “Rule of Two Walls.”