We are living in a truly revolutionary period. It is strange that such an unforgettable event passed unnoticed by the media and cultural circles. For the first time in the history of independent Ukraine a domestic film entitled Den siomyi (Day Seven) is being shown in several movie theaters in the capital and in regional centers. The film, directed by Les Sanin, is the third Ukrainian production to hit the screens this year. This is also a real breakthrough, considering there were none before. Two earlier films (Oleksandr Shapiro’s movie Putivvnyk [Guidebook] and a documentary commemorating Artek’s anniversary) were each screened in only one cinema in Kyiv.
What we are seeing now is a premiere at the central Movie Theater “Ukraine” with screenings at the equally prestigious Kinopalats, the Butterfly chain, and in the largest movie theaters in various oblasts. What is even more unusual is that Day Seven is a documentary.
That is a real breakthrough.
The film is rather difficult to discuss because it is dedicated to the Maidan and the Orange Revolution, so it’s hard to maintain an unbiased stance and not get wrapped up in the memories and emotions of that period. The documentary focuses on Nov. 28, when there was ample evidence that armed force could be used against the Maidan.
The opening scene launches the theme: Yanukovych and his notorious address to the viewers as president (broadcast only on Channel 5), then General Popkov’s statement. Popkov was the one who ordered the interior troops to arm themselves and advance on Kyiv. “In our country the Georgian option [obviously referring to a transfer of power through a peaceful revolution] is impossible.”
The whole film is built on the conflict between what was considered impossible and the realization of this “impossibility.” The old regime did not believe that the Maidan was possible, just as withdrawing from the Maidan was inconceivable to the opposition. The use of force seemed impossible to both sides, yet someone somewhere almost did send in the troops.
Day Seven is an investigation into who could have done this and why. There are no off-screen commentaries, only interviews with eyewitnesses, politicians on both sides, and rank-and-file Maidan participants — soldiers, law enforcement people, and Ukrainian and foreign diplomats. All the facts and documents are more or less known, except for one interesting aspect. The Maidan even had underground security, people who were guarding the underground service tunnels that could be used to transfer as many troops as needed to the city center. The documentary draws the conclusion that Nov. 28 marked the turning point of the revolution; after that it was clear that no armed men would confront the people.
In other words, one ought to discuss the documentary’s journalistic merits rather than its creative ones.
Finally, a topic has appeared that attracts audiences (high turnouts) and filmmakers, as well as film investors. Two more full-length feature films will soon hit the screens and both are about last year’s revolution.
One can only hope that Day Seven is not the last film on this subject.
