Yarema Malashchuk

Профиль

Yarema Malashchuk

Фильмы

The Wanderer
Producer
Yarema Malashchuk and Roman Khimei work with staged images that show their own bodies in the landscape of the Carpathian Mountains. Lying still in unnatural positions, dressed in trekking clothes, they seem to ask us: who is depicted on the screen?
The Wanderer
Editor
Yarema Malashchuk and Roman Khimei work with staged images that show their own bodies in the landscape of the Carpathian Mountains. Lying still in unnatural positions, dressed in trekking clothes, they seem to ask us: who is depicted on the screen?
The Wanderer
Screenplay
Yarema Malashchuk and Roman Khimei work with staged images that show their own bodies in the landscape of the Carpathian Mountains. Lying still in unnatural positions, dressed in trekking clothes, they seem to ask us: who is depicted on the screen?
The Wanderer
Director
Yarema Malashchuk and Roman Khimei work with staged images that show their own bodies in the landscape of the Carpathian Mountains. Lying still in unnatural positions, dressed in trekking clothes, they seem to ask us: who is depicted on the screen?
The Wanderer
Self
Yarema Malashchuk and Roman Khimei work with staged images that show their own bodies in the landscape of the Carpathian Mountains. Lying still in unnatural positions, dressed in trekking clothes, they seem to ask us: who is depicted on the screen?
It Is Quiet Here
Director of Photography
Docufiction about a young couple what are torn from the world for one long night in a hotel room in a town near the border. That night they agreed not to talk about the war. Completely lost in each other' s small world, they don't realize when the morning comes and force them to go back to reality.
New City of Friends
Editor
The documentary short depicts modern Kolomyia, where the cult of Austria-Hungary coexists with the post-Soviet reality: the developer hires a team of builders who, with thrift, brick by brick, dismantle old and uninhabitable real estate. Meanwhile, the artists invite fifteen-year-old Maksym to draw a walking route in Kolomyia: through the guide’s narration, the map of the city is transformed into a multi-layered historical palimpsest, where Soviet names are mixed with modern urban folklore and traditional Western Ukrainian piety, and “dog paths” are manifested by official intonation.
New City of Friends
Cinematography
The documentary short depicts modern Kolomyia, where the cult of Austria-Hungary coexists with the post-Soviet reality: the developer hires a team of builders who, with thrift, brick by brick, dismantle old and uninhabitable real estate. Meanwhile, the artists invite fifteen-year-old Maksym to draw a walking route in Kolomyia: through the guide’s narration, the map of the city is transformed into a multi-layered historical palimpsest, where Soviet names are mixed with modern urban folklore and traditional Western Ukrainian piety, and “dog paths” are manifested by official intonation.
New City of Friends
Producer
The documentary short depicts modern Kolomyia, where the cult of Austria-Hungary coexists with the post-Soviet reality: the developer hires a team of builders who, with thrift, brick by brick, dismantle old and uninhabitable real estate. Meanwhile, the artists invite fifteen-year-old Maksym to draw a walking route in Kolomyia: through the guide’s narration, the map of the city is transformed into a multi-layered historical palimpsest, where Soviet names are mixed with modern urban folklore and traditional Western Ukrainian piety, and “dog paths” are manifested by official intonation.
New City of Friends
Screenplay
The documentary short depicts modern Kolomyia, where the cult of Austria-Hungary coexists with the post-Soviet reality: the developer hires a team of builders who, with thrift, brick by brick, dismantle old and uninhabitable real estate. Meanwhile, the artists invite fifteen-year-old Maksym to draw a walking route in Kolomyia: through the guide’s narration, the map of the city is transformed into a multi-layered historical palimpsest, where Soviet names are mixed with modern urban folklore and traditional Western Ukrainian piety, and “dog paths” are manifested by official intonation.
New City of Friends
Director
The documentary short depicts modern Kolomyia, where the cult of Austria-Hungary coexists with the post-Soviet reality: the developer hires a team of builders who, with thrift, brick by brick, dismantle old and uninhabitable real estate. Meanwhile, the artists invite fifteen-year-old Maksym to draw a walking route in Kolomyia: through the guide’s narration, the map of the city is transformed into a multi-layered historical palimpsest, where Soviet names are mixed with modern urban folklore and traditional Western Ukrainian piety, and “dog paths” are manifested by official intonation.
New Jerusalem
Cinematography
Every year, thousands of Ukrainian Christians undertake a pilgrimage to Zarvanytsia, a sacred place. Between prayers they share news, brag about their wealth, take pictures of chapels, give interviews, witness miracles. Witness miracles?
New Jerusalem
Director
Every year, thousands of Ukrainian Christians undertake a pilgrimage to Zarvanytsia, a sacred place. Between prayers they share news, brag about their wealth, take pictures of chapels, give interviews, witness miracles. Witness miracles?
Dedicated To The Youth Of The World II
Director
Camera observes the biggest rave in Ukraine called Cxema and leads us from the image of a crowd to intimate experience of each dancer.
Tera
Cinematography
Lyuba works at a confectionery factory. Her son is in the war zone and there is no connection with him. Lyuba goes in search of his son in an unfamiliar territory.
Вне зоны
Director of Photography
Люба работает на кондитерской фабрике. Ее сын находится в зоне боевых действий и никакой связи с ним нет. Люба отправляется на поиски сына в незнакомую местность.
State Institution
Editor
The stuff and visitors of one of the state institutions going through their daily routine. This buildings is full of mystery and secrets. Nobody can understand the issues they are trying to solve or to find the final destination of their corridor marathons. We can only trust and wonder how everything is organized here.
State Institution
Cinematography
The stuff and visitors of one of the state institutions going through their daily routine. This buildings is full of mystery and secrets. Nobody can understand the issues they are trying to solve or to find the final destination of their corridor marathons. We can only trust and wonder how everything is organized here.
State Institution
Producer
The stuff and visitors of one of the state institutions going through their daily routine. This buildings is full of mystery and secrets. Nobody can understand the issues they are trying to solve or to find the final destination of their corridor marathons. We can only trust and wonder how everything is organized here.
State Institution
Screenplay
The stuff and visitors of one of the state institutions going through their daily routine. This buildings is full of mystery and secrets. Nobody can understand the issues they are trying to solve or to find the final destination of their corridor marathons. We can only trust and wonder how everything is organized here.
State Institution
Director
The stuff and visitors of one of the state institutions going through their daily routine. This buildings is full of mystery and secrets. Nobody can understand the issues they are trying to solve or to find the final destination of their corridor marathons. We can only trust and wonder how everything is organized here.
To Whom Have You Abandoned Us, Our Father?
Producer
A docufiction about professional choristers singing sacred songs in the local opera. Lamentation of the ukrainian working class on-stage and behind.
To Whom Have You Abandoned Us, Our Father?
Screenplay
A docufiction about professional choristers singing sacred songs in the local opera. Lamentation of the ukrainian working class on-stage and behind.
To Whom Have You Abandoned Us, Our Father?
Director
A docufiction about professional choristers singing sacred songs in the local opera. Lamentation of the ukrainian working class on-stage and behind.
Nail
Camera Operator
Valentina works in Lichtenstein. She lived in Kiev until the age of 13. In 1996, during a hard transitive economic period in Ukraine, Valentina emigrated to Switzerland with her mother and stepfather. 20 years have passed.
So They Won't Say We Don't Remember
Director
The video work So They Won’t Say We Don’t Remember by the artist duo Yarema Malashchuk and Roman Himey is based on events surrounding a 1977 mining accident in the Donbas region that ultimately led to the mine’s closure. In the film, locals, artists, and curators traverse the surface, paralleling one of the underground routes of the Novator mine. The procession ends at the monument to the dead miners, which is located just above the site of the underground accident that led to the death of the workers. Participants walk across the postindustrial landscape of Donbas, over the plowed fields, by bushes and courtyards, connecting the ground and the underground spaces through the choreography of their bodies.