Animals in War: The Animals are Ukrainian, the Savages are Russian

They might be animals, but at least they are not vicious savages, like Putin and his Z-emblazoned war-criminals. Through their reckless invasion, millions of animals in Ukraine, both wild and domestic, have been slaughtered needlessly. Seven Ukrainian filmmakers examine the idea of what it means to be a humane human during a time of national crisis in Animals in War, the anthology film conceived by producer Oleg Kokhan, which just released on VOD and Film Movement Plus.

Perhaps logically, Animals in War begins with its biggest star, appearing in a relatively weaker installment. Director-screenwriter Myroslav Slaboshpytskyi’s “Eagle” follows the remote collaboration between an American producer (or some such role), working on a documentary project in the spirit of Animals in War with a Ukrainian cameraman-documentarian in the field, but some sort of interference plagues his audio feed. It is a lot of Sean Penn (yes, him) showing us he cares, but the conclusion still hits hard.

Yuliia Shashkova’s “Cow in the Fog” also hits hard, but right from the start. Unfortunately, the Russian marauders reached a teenaged boy’s village just as they started evacuating, so his mother sends him off to a friend’s home through the forest. Underdressed for the cold weather, the boy’s only source of warmth is a wayward cow. There should be no mincing words. “Cow in the Fog” depicts war crimes. Yes, it is fictional, but, like all the constituent stories, it is based on cold hard reality.

In fact, Maksym Tuzov’s “Rabbit: There and Back Again” is directly based on the filmmaker’s separation from his pet bunny. However, it is largely seen from the bunny’s POV, which certainly distinguishes it. It might also build to one of the more “feel good” conclusions, but sadly, there is not much competition in that respect—again, thanks to Putin.

Indeed, Oleksii Mamedov’s “Sonny” basically takes a two-by-four to your soul, bashing it over and over again. Of course, the psychological circumstances are probably a bit more complicated, but essentially a mother suffered a severe psychological break after the murder of her young son. Consequently, when she hears a wounded wolf pup, her mind transforms the animal into her late Sonny. This is a film that could have easily gone wrong, but instead it really packs a wallop. Oleksii Zubkov also deserves tremendous credit for his portrayal of the military doctor who is so tired of seeing death, he agrees to operate on an “animal.”

Set in an aquarium, Sviatoslav Kostiak’s “Underwater Adventure” initially appears to be an allegory, but it isn’t. Arguably, it and “Eagle” have the weakest thematic links to Kokhan’s overall theme. However, it will certainly resonate with parents who might imagine the difficulties of raising children amongst such danger and horror. Frankly, it is quite powerful, even if it stands out as a bit of a ringer within Animals in War.

Ivan Sautkin’s “Torpedo” also uses misdirection with brutal effectiveness. Yet, it ultimately best represents the realities of war. As it happens, Torpedo is a goat and his owner is a granny, working as a highway spotter for her grandson in the Ukrainian defense force. Tragically, she will see a lot.

Perhaps Andrii Lidahovskyi’s “We Are Alright” will resonate most with many Ukrainians, who lived through the countdown to war. On the verge of Putin’s invasion, which many Putin apologists were still insisting would never happen, a Kyiv hipster prepares to leave for Prague. However, he first must find someone to take care of his mother’s Oriental Shorthair cat, whom he is allergic to.

Of course, Animals in War has its highs and lows. All anthologies do. However, some of the incorporated short films, particularly “Sonny,” “Torpedo,” and “Cow in the Fog” will stay with you for a very long time. Yet, even the weaker links are worth your time. Very highly recommended, Animals in War is now available on VOD and on Film Movement Plus.