Hanna Dochova: "Every time after a day of filming, I thanked God"

Filming in Odesa under the watchful eye of enemy drones, repairing buildings after airstrikes, and simultaneously fighting for government funding—these are the realities facing Ukraine’s oldest film studio today. Anna Docheva, acting chair of the board of the Odessa Film Studio, responded to Intent’s accusations of “ill-timed” spending on films, explained the distribution of box office receipts, the staff shortage due to mobilization, and described how the film studio is preparing for another difficult winter.

What did you want to be when you were a child?

That’s an interesting question. I can’t say that I had a clear dream of holding a specific position or becoming a certain person. I clearly remember that I was always interested in being the center of attention. My mom even jokes about it from time to time with the family: “Do you remember when you were little, how at all our family gatherings you’d ask for attention, climb onto a stool, and recite poems?”

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SCREENSHOT: Intent’s YouTube channel

Perhaps, even as a child, I already had a vague desire to become a producer and engage in organizational work, even though I didn’t yet know exactly what “producing” meant. I definitely organized my toys: I “commanded” them all, told everyone what to do, and was constantly scolding them. However, now I can honestly say that I’m not an authoritarian leader.

Were your parents loving people?

When I was 4 years old, my dad died in a plane crash. So, from the age of four, my mom raised me. It was very hard for her because, at 28, she became a widow with two children. She became both the man and the woman of the family to provide for my sister and me, to give us the best childhood and the best life she could possibly give us. This happened in 1991—a difficult time for the country—so it was incredibly hard for my mom. However, as much as she could, she gave us love, care, and attention. I’m truly grateful to her for that. Everything I am today is built on the foundation my mom laid for me.

As far as I know, your parents weren’t involved in the film industry?

Not at all. My dad was in the military, and my mom worked at an airline ticket office, selling tickets. I was born in Odesa. Then we lived in Artsyz at a military garrison.

When my dad died, we had to move to Odesa, where my mom’s family lived—my grandmothers, grandfathers, aunts, and uncles. It was easier for my mom there. Eventually, my mom ended up joining the military. She hadn’t planned on it, but at the time, military service offered a certain stability: benefits, security, and the confidence that she’d be able to provide for my sister and me.

Did you imagine back then that you’d also follow a military path and become a service member?

No, never. My older sister, who is four years older than me, tried twice after high school to enroll at Kharkiv Aviation University. It didn’t work out due to health issues and other factors. Later, she graduated from our communications technical school, served in the military, but eventually left the service.

I watched that back then and realized that such a rigid schedule, where everything is strictly regulated, just wasn’t right for me. My mom also became stricter because of her service; she got used to working exclusively by military rules. I understood that this was somewhat unacceptable to me.

What kind of movies did you like to watch as a child?

I don’t remember being particularly fond of movies at a young age. But as for TV shows… That was a time when movies were shown exclusively at a specific time.

I remember how my friends and I used to play in the yard. As soon as *DuckTales* or some Tom and Jerry cartoon started, the yard would empty out—everyone would run home. We’d carefully check the TV guide in the newspaper so we wouldn’t miss our favorite cartoons. And sometimes one of our parents would call out, “Kids, the cartoon’s starting—go watch it!”

We lived with my grandmother, my mom’s mom, and I remember her two favorite movies very well: “Spring on Zarechnaya Street” and “The Queen of the Gas Station.” We watched them together very often. I literally watched “Spring on Zarichna Street” until it was worn out, because my grandmother told me so much about it—we’d discuss human values and the stories within it. It was very symbolic for me when I later started working at the film studio. And *The Adventures of Elektronik* is one of my favorite childhood movies, produced by the Odessa Film Studio.

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SCREENSHOT: Intent’s YouTube channel

You’ve been working at the Odessa Film Studio since 2018. How is the studio weathering these turbulent times?

It’s tough. What inspires me is that we have a very stable team. It’s extremely important to keep the team together, get through all the challenges, and motivate people so they understand why we’re doing all this and come to work with enthusiasm. Complaining isn’t my style. It’s just as difficult as it is for the entire country and for each of us individually. However, we have to hang in there, believe in a better future, and hope that these difficulties won’t last forever. There will be new problems, but we have to do what we can in our own roles.

Do you think you’ve managed to become a leader for the team?

It’s hard for me to answer that question. I think it’s better to ask the team, because they’ll be able to answer objectively. However, for me, leadership means making decisions, being able to keep the team focused, supporting them, inspiring them, and offering new ideas. If the team listens to you and you’re getting results—I suppose that’s what leadership is.

You’ve been in your leadership role for a little over a year. What challenges have been the most significant during that time?

There have been many challenges. The first winter was very unsettling for me: blackouts, the war situation in Odesa, living by the sea when you never know what surprise awaits next. You have to adapt. Thank God, we made it through last winter as well. It wasn’t easy, but we got through it.

Now I’m getting ready for winter again, and it seems to me that it will be even more difficult than that first one, when I had only been in the position for half a year before the cold weather set in. My predecessor, Andriy Osipov, already knew during the war what to do and what to prepare for, but for me, everything was new and exciting.

However, one of the biggest challenges is filming movies during wartime. Simply making a movie—let alone getting it to the big screen under such conditions—is already a success for the entire team. And filming in Odesa (most of the shooting took place there) was incredibly difficult. I’m happy that we did it; the film was released to a wide audience, and we’re proud of that.

The premiere of the film about Dovzhenko took place on October 1. What were the audience’s reactions and reviews like?

We really wanted to avoid creating a monument to Dovzhenko; instead, we wanted to portray him as a living, breathing person who makes mistakes, arrives in Odesa with his own plans, falls in love, takes risks, and ultimately makes his film. Judging by the fact that the film surpassed 23,000 viewers in just two weeks, we succeeded. The reviews have been mostly very positive. Many people say they didn’t expect to see Dovzhenko portrayed so vividly. We aimed to spark viewers’ interest in learning more about our culture, our artists, and Dovzhenko himself—and it seems we succeeded.

23,000 viewers. And how much is that in box office revenue? Have you calculated it?

Yes, there are official figures—it’s 4.5 million hryvnias. That’s a small amount compared to other Ukrainian releases, but given the realities we’re living in, it’s a success. It’s difficult for viewers to go to movie theaters because of fears and security risks, since most theaters are located in shopping centers, and that’s exactly where the enemy is striking. So generating this much box office revenue in two weeks is a very good result.

Tell us where the money from ticket sales goes. How are the funds distributed?

Of this amount, 50% goes directly to the movie theaters—that’s how the system works. After that, 10% goes to our distributor, B&H (a company that acts as an intermediary between the producer and the theaters, negotiating the schedule and terms).

The remaining funds go to the producer. According to our contract with the State Film Agency, we must return to the state at least 50% of the state production subsidy we received. As a result, the production company doesn’t end up with much, but we’re grateful for the state support, which allows us to promote Ukrainian culture. The film studio uses the revenue it earns to cover its own needs—for example, to repair the damage from last year’s storm, since we still have many broken windows and damaged walls near the warehouse.

Did you expect backlash after the release of the feature film about Dovzhenko?

Yes, we were worried. This is the first feature-length film project about Dovzhenko. There are many documentaries, but portraying his personal life during his formative years at the Odesa Film Studio is a huge responsibility. The team put so much heart into this film, so we were very afraid that people wouldn’t understand our intentions or would try to twist them. However, we’re now inspired by the warm reviews and are open to constructive criticism.

Some filming took place at critical infrastructure sites that were kept secret for a while. Can you share the details?

Yes, we couldn’t publicize the process from the set. We wrapped up filming on May 31, and on June 10, there was an airstrike on the Odesa Film Studio. I don’t know if it’s related, but we were very worried about the crowds of people.

It’s difficult to organize evening shoots in open spaces: the lighting equipment, the crew—the lights are visible, it seems, everywhere—and enemy drones fly overhead every day. Posters were plastered all over the set: “Please do not post in real time or reveal where we’re filming.”

I’ve never been particularly religious, but every time after a day of filming, I thanked God that we finished shooting with virtually no overtime and that everything went smoothly—as much as possible under the current circumstances.

In your opinion, what role does Odessa play in Ukrainian film production today?

Odessa is the heart and birthplace of Ukrainian cinema. Of course, most production is now concentrated in Kyiv, and some people have left the country because of the war, but cinematic life in Odessa continues. We continue to promote Odessa as the country’s premier film location. I dream and believe that the time will come when Odessa will regain its leading position, international film crews will return here, and the Odessa Film Studio will produce numerous co-produced films.

How is the film studio using its facilities during the war? Are there any screenings planned for Odessa residents?

This year, we’ve reimagined the space and decided to launch a series of ticketed film screenings in our small theater. We’re planning themed screenings for Halloween and the New Year holidays, as well as screenings of the film about Dovzhenko with the film crew in attendance, to give those who haven’t dared to go to shopping malls a chance to see it. We have a flexible schedule and are also considering daytime screenings for students and older audiences.

What kinds of specialists are most in demand today by film studios and the industry in general?

We’re critically short on technical specialists—guys who can carry heavy equipment. Many men are currently in the military or staying home out of fear of mobilization.

In addition, there’s a serious shortage of good screenwriters. Often the idea is great, but when the pre-production phase begins, it turns out that the dialogue is a mess and the locations are too expensive. It’s good when the screenwriter has practical experience or when the director writes the script themselves, although there are nuances to that as well.

The “Tysyachovesna” project has a total budget of 4 billion hryvnias. Right now, the budget is being significantly cut to support the front lines. How has this affected your projects?

It’s good that the government is focusing on supporting the military, but we need to understand this: many people underestimate film as a tool, particularly in the cultural sphere. When my friends or acquaintances bring this up and spark a debate along the lines of, “It would be better to spend this money on drones and the military instead of on movies,” I say, “Just stop and consider the scale of it. Russia produces a colossal amount of content, spends enormous sums on its creation, promotion, and the appropriation of figures like Dovzhenko.” This is a glaring problem. That’s why I believe we need to allocate funds for culture, issue government commissions, have a clear state policy, and understand what kind of content we need most right now to wage this competitive cultural battle.

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SCREENSHOT: Intent’s YouTube channel

As for how this has affected us: I can’t say it’s been catastrophic. We submitted three film projects for state funding, and one of them was approved. I won’t criticize the terms—I have my own views on this—but honestly, I’m grateful that they approved funding for at least one major film. This will allow the entire team to be involved in production next year.

However, there’s one issue that seems a bit underdeveloped to me—the question of funding for state-owned film studios, such as the Dovzhenko Film Studio or the Odesa Film Studio. The situation is such that small private production companies receive funding for two or three major projects, while the Odesa Film Studio receives funding for only one. This isn’t entirely fair. Small production companies have a staff of two or three specialists—an accountant, a lawyer, and a director—and recruit the rest of the team for a specific project. We, on the other hand, have assets, a facility, and a staff of 24 employees. Consequently, our fixed costs are significantly higher.

Of course, we can’t spend earmarked funds from the film budget on repairs, but by building sets or preparing costumes, we could renovate buildings and specific locations on-site. And two or three projects instead of just one would really help us with that.

But it’s good that there is funding for the cultural sector in general. After all, other production companies can also come to Odesa and spend those funds here. We encourage our colleagues from Kyiv to visit, because everyone loves Odesa. If at least two or three production companies with large-scale projects came here every year, it would provide significant support for both our city and the Odessa Film Studio.

Ольга Лопатюк