It takes a staggering amount of arrogance and privilege to even momentarily consider using a phrase like “Ukraine War Documentary Fatigue.” Russia’s unprovoked invasion of Ukraine has resulted in the bloodiest war on European soil since WWII, and represents the largest threat to the post-Cold War international order that we’ve seen to date. It could very well end up being viewed as the genesis of an age of autocrats battling each other to expand their territories, with potentially catastrophic results looming in the near future. Not to mention the tens of thousands of Ukrainians who have already died in the war, and countless more who have had their homes destroyed and their lives permanently altered. The fact that brave documentarians have been able to capture so much of it is a remarkable achievement for humanity. When one’s biggest complaint is that they’re making prestigious film festivals feel repetitive, it’s a subtle sign to consider a shift in priorities.
But the fact remains that we’ve already seen quite a few excellent documentaries about the war in Ukraine over the past three years. Films like “20 Days in Mariupol” and “2000 Meters to Andriivka” took viewers onto the frontlines of the war. “Porcelain War” and “Rule of Two Walls” shined light on the Ukrainian artists who refuse to allow the war to compromise the creative expression that makes them human. “Viktor” and “Intercepted” made unforgettable cinema by bringing unique perspectives and forms into the fold. We’ve reached the point where a new documentary about the war is almost instinctually met with the cynical question of “What new approach are you bringing to the table?”
That line of thinking is an understandable consequence of studying a medium like cinema, which is broad enough to encompass both documentaries that change the course of history and “Hot Tub Time Machine 2.” When a documentary about the war in Ukraine touches on similar beats as its predecessors — which Kateryna Gornostai’s powerful new film “Timestamp” does — it can be momentarily tempting to accuse it of falling short of the originality we expect from new releases. Much like “Porcelain War” and “Rule of Two Walls,” “Timestamp” is an ode to the Ukrainians who continue their peaceful vocations in times of war as a way to avoid letting Russia steal the country’s humanity. But even if those themes are starting to feel familiar to global festivalgoers who have seen other documentarians emphatically make the same case, each of these films should be celebrated as an addition to the historical canon of video footage from a war that will be studied forever.
“Timestamp” showcases a year in the life of various Ukrainian students and educators who continue to attend and work at schools across the country. From teaching elementary schoolers to sing patriotic songs about a war they’re too young to fully understand to outlining math equations on chalkboards in schools that are little more than rubble, these teachers do their very best to ensure that their students are able to experience as much childhood as possible. The film exists as a reminder that children in any part of the world are still just children, and that living through historical events does not stop them from going through the stages of developing a personality. They’ll be shaped into adults by their surroundings, and the people who try to keep those surroundings as innocent as possible deserve to be recognized as the heroes they are.
Gornostai uses a light directorial touch, avoiding interviews and simply letting the scenes of educational life unfold before her audience’s eyes. It’s a powerful approach that allows the footage from various schools to form a fresco painting about childhood in a war-torn nation. The most striking theme that emerges is the difference between the children, who often spend their recess time running around with the same euphoric joy you’d find on any playground in America, and the teachers whose faces reveal the insurmountable burdens of living through a war.
Could a film like “Timestamp” have been more coherent and effective by cutting some characters, going deeper with others, and shortening its runtime? Perhaps. But such narrative concerns feel irrelevant when discussing a film to whom the arc of history will be very kind. Rather than compare it to the litany of other documentaries about the Ukrainian war, we should cherish Gornostai for providing the vital service of capturing these moments that could never be recreated if we tried.
Grade: B
“Timestamp” premiered at the 2025 Berlin International Film Festival. It is currently seeking U.S. distribution.
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