FILM SYNOPSIS
An AP team of Ukrainian journalists trapped in the besieged city of Mariupol struggle to continue their work documenting atrocities of the Russian invasion. As the only international reporters who remain in the city, they capture what later become defining images of the war: dying children, mass graves, the bombing of a maternity hospital, and more.

After nearly a decade covering international conflicts, including the Russia-Ukraine war, for The Associated Press, 20 DAYS IN MARIUPOL is Mstyslav Chernov’s first feature film. The film draws on Chernov’s daily news dispatches and personal footage of his own country at war. It offers a vivid, harrowing account of civilians caught in the siege, as well as a window into what it’s like to report from a conflict zone, and the impact of such journalism around the globe.

For more information about screenings of the film visit: www.20daysinmariupol.com

TRAILER
youtu.be/9H_Fg_5x4ME

PRESS
“a cinematic siege of the soul … a brave, visceral, merciless masterpiece.” (The Guardian)

“The raw footage is largely unembellished, save for Jordan Dykstra’s eerie electronic music score that could easily be appropriated for a horror film (which, of course, 20 Days in Mariupol is, of a sort).” (Hollywood Reporter)

“...a relentless and truly important documentary.” (The New York Times)

“Aided greatly by an eerie, tonal score by Jordan Dykstra, Mr. Chernov provides a devastatingly matter-of-fact running commentary.” (The Wall Street Journal)

“Of course it wasn't only the editing, but the score is something to behold. Scored akin to a horror film 20 Days in Mariupol is full of low thumping bass, dissonance, and a low persistent, pervasive presence of dread. It has ambient elements to it that stick with you, increase your heart rate and remind you that this is something that happened only a year ago and is actually still happening today. To avoid hyperbole I'll just say I really mean this, this was one of the best scores I've heard thus far this year. The movie does not work to the same degree without it. 20 Days in Mariupol is elevated to another level of storytelling and empathetic output due to it and I commend Jordan Dykstra on his work!” (Film & Froth)

“Chernov frequently blurs the most severe injuries, but it’s the puddles of blood, dead animals and lifeless limbs half-buried by rubble that indicate the sheer scale of suffering in Mariupol. His jarringly stoic narration and haunting original music by Jordan Dykstra add to the sense that, in Mariupol, nothing is left. This is not a film about President Zelensky’s Churchillian leadership or the heroism of first responders (though if you look, there is some of that).” (IndieWire)

“This is bleak but essential viewing, deftly edited by Chernov, video technology rendering his camerawork discomfitingly bright and sharp where not long ago we might have been spared a degree of horror by lesser image clarity. Adding discreet notes of suspense is Jordan Dykstra’s original score. Structured by onscreen markers of the days passed, this nonfiction feature may not have a simple narrative arc, but the director’s unpretentious first-person narration and the intensity of the war-crimes evidence compiled make it riveting nonetheless.” (Variety)