Lyubomyr Levytskyi: "The biggest problem facing Ukrainian cinema is the lack of compelling stories"

"Killhouse" is a new feature-length film by young Ukrainian director Lyubomyr Levytskyi. In short, it’s a film about war—about the horrific Russian invasion of Ukraine. After watching the film, viewers say that James Bond movies—or any other Hollywood action films—"pale in comparison." In “Killhouse,” the director managed to film both ordinary soldiers who came from the front lines and generals of the Armed Forces of Ukraine. How he managed to “snag” his characters for the shoot, how the film was made, and how it’s faring at the box office after two months on the big screen—all in our interview.

In a previous interview, you said you intended to make a film called “Captain Ukraine,” modeled after “Captain America.” If I’m not mistaken, you were raising funds for production at the time. Have you put this project on hold? 

Yes, I was planning this project. It’s still on my list of projects I’d like to bring to life. What’s more, we had reached the point of signing a contract with Sweet.TV. They were supposed to become our partners, and “Captain Ukraine” was to be the platform’s first original film.

The project presentation was scheduled for February 24, 2022. But then, completely different people became the “captains of Ukraine.” So the project was put on hold, as was our contract. It remains in that state to this day.

Perhaps the day will come when we’ll return to bringing it to life. Maybe together with Sweet.TV, or maybe we’ll buy back the rights if they don’t want to continue working on it. It’s actually a very interesting story, and I think it’s needed.

Is the film’s screenplay still relevant?

I think the script will need a little tweaking. The main character in this story is a journalist fighting corruption and the oligarchy in Ukraine. We can see that the issue of corruption, unfortunately, hasn’t gone away. Yes, the fight continues every day, but the problem remains relevant. Only some of the players have changed. That’s why I’m confident this story will still find its place. I don’t know if that will be after the victory.

Today, we need to focus on completely different topics and tell completely different stories—ones that are important right now. But “Captain Ukraine” is also interesting because it connects modern Ukraine with the very ancient history of our lands—the era of the Trypillian culture. At the heart of the plot lies a story about magical clay that becomes the source of the protagonist’s extraordinary abilities. Through a series of mystical and technological processes, this story bridges the past and the present. That’s why I believe that one day “Captain Ukraine” will find its audience. We’re just not thinking about this project right now.

I’ve been following your work on social media since the war began and have seen how prolifically you’ve been creating Ukrainian content. Was this, first and foremost, a necessary task for you? Or a desire to join the resistance?

From the start of the full-scale invasion, I felt a strong desire to use my skills, knowledge, abilities, and experience for the country’s security and defense. At that time, I saw the flood of Russian propaganda and how they were actively promoting narratives claiming they were acting in accordance with international conventions and doing everything correctly. These messages were deliberately directed at Europeans and Americans. And, surprisingly, many people began to believe these fairy tales.

That’s when I realized: we need stories that will serve as counterpropaganda. That’s how the film *Follow Me* came to be. It’s based on the true story of a civilian couple in the Izyum region whose car was shot up by Russian soldiers right at an intersection. Our guys, Sid and Sova, from the 93rd “Kholodny Yar” Brigade—who now serve in the Signum unit—are real people. They were the ones who organized the world’s first rescue operation using drones. It’s an incredible story. You can watch it on my YouTube channel, and it served as the basis for the film “Killhouse,” which is currently in theaters.

So for me, this was first and foremost a mission. That’s why, in 2022, I founded a new film company—Films Division Company, or FDC for short. It’s dedicated exclusively to the Ukrainian military and special forces. Its goal is to show how we’ve changed, who we’ve become, how strong we are, and how we’re ahead of others in many ways. I really want us to create films, TV series, and YouTube projects—content in various formats for a wide audience. Mainstream content that will allow Ukraine to become a full-fledged player in the international market.

Also, in 2023, I made the film *We Were Recruits* together with the Third Assault Brigade (currently the Third Assault Brigade of the Third Army Corps). You know, I jokingly call the film’s genre “a feature film about documentary filmmaking.” The very approach to narration and storytelling in it is quite atypical for documentary filmmaking. Some people even called it a mockumentary—a pseudo-documentary film. But it’s not a mockumentary. It’s a documentary film shot using cinematic techniques.

All of this was part of experimenting and searching for the right forms to help viewers engage with war-related content. And that’s the experience this war gives us—to filmmakers, to the military, and to everyone involved in these processes.

Your new feature film, *Killhouse*, has been released. I understand that the promotional campaign is currently underway. But, as far as I can tell, it’s better known in Europe than in Ukraine. Is that really the case?

Yes, “Killhouse” is still playing in theaters. Our promotional campaign was much more focused on digital media. We didn’t use billboards or plaster the city with ads, because this film sells itself primarily through its visuals. We created a product that surprises viewers right from the trailer or teaser. People see those images, and they’re immediately inspired to go see the movie.

Why didn’t we go with outdoor advertising? Because there are so many recruitment campaigns these days. People have become so accustomed to military themes on billboards that such messaging is no longer perceived as movie advertising. We didn’t want to take any risks or get lost in this sea of information. So, visually, it might seem like the campaign was small. In reality, that’s not the case. The “Killhouse” trailer campaign was the longest in the history of Ukrainian cinema. It lasted almost two years. First there was a teaser, then a trailer, which was on platforms for about half a year. It was a very long and systematic digital campaign. Now we’re moving toward international distribution and international theatrical release.

At the same time, in Ukraine, we want to release the film on digital platforms as soon as possible. I think it will be available online starting in July. It’s very important to us that the young men and women who are currently on the front lines—and who physically can’t make it to a movie theater—be able to watch it. Usually, distributors aren’t very supportive of such decisions, but we’re seeing thousands of inquiries asking, “Where can I watch the film online?” That’s why we simply have to give people this opportunity.

I’ve heard complaints from some Ukrainian filmmakers about—to put it mildly and charitably—a lack of attention to their work. And this isn’t even about a lack of financial support, but rather about access to film locations, filming equipment, script reviews, and so on. Some Ukrainian filmmakers claim that it’s much easier for them to work abroad, but they’d rather be at home. Have you personally encountered similar problems in your work?

The fact is that a significant portion of the market and many filmmakers have grown accustomed to the idea that the state is supposed to provide something. That is, the state is supposed to provide funding, opportunities, and resources, while you’re just supposed to get something done. Ideally, you’d also write a screenplay at the last minute for some competition or tender. And then complain that movie theaters don’t want to release the film or won’t give it good release dates because it’s a Ukrainian film.

In reality, we need to take the opposite approach. We need to offer stories to the market. We need to seek out opportunities. If a director lacks producing skills, they need to find a producer who has them. We need to collaborate with the business community, develop proposals, and create strong projects.

In my opinion, the biggest problem facing Ukrainian cinema isn’t funding. The biggest problem is the lack of strong stories. There are screenwriters, but there are no screenplays. It’s a paradox. There’s talent, but there are very few good storytellers. People often don’t know how to tell stories properly; they lack the training needed to create screenplays that will be accessible to a broad audience and hold the viewer’s attention for two or two and a half hours. “Killhouse” runs for two and a half hours. And I tried very hard to make sure this story kept the viewer engaged right up to the very end.

So today, the market’s challenge is to establish screenwriting schools, bring screenwriters and authors together, and learn how to write strong screenplays. As strange as it may sound, it’s better to start learning now than to re-enter major markets without strong stories. We need to understand the relevance of the topics. We need to understand what the country is going through today and where it’s headed tomorrow. A film isn’t made in a single day. It takes a year of work—sometimes two or more. That’s why it’s important to ask ourselves: Will this topic still be relevant in two years? What values do we want to promote? What messages do we want to send to the world on behalf of Ukraine? To do this, we need to be as fully engaged with society as possible, rather than existing apart from it.

It often happens here that people live in their own bubble and think that the issues that hurt them hurt everyone. In reality, that’s not the case. This might work for auteur cinema. For mainstream cinema—it doesn’t. I’ll go further: I don’t know of a single instance where a truly good story failed to secure funding. Because a good story is the main commodity in the film business.

As for attention given to filmmakers—I don’t really understand who’s supposed to give that attention in the first place. Nobody gives it to me. I try to earn it through my work, my team, and my projects. We create a product, and that’s what attracts attention.

More broadly speaking, Ukraine still lacks a well-established film culture. We don’t have a cult of the director. We don’t have a cult of movie stars. We don’t have a stable industry in the form it exists in many other countries. There have been isolated waves of development, individual successful projects, and periods of support from the State Film Agency. But this has never evolved into a fully-fledged industry. And an industry is, first and foremost, about mutual respect. It’s when producers, directors, and screenwriters see each other as colleagues. They share their experiences. They come together. They form professional communities.

Unfortunately, today our film industry is often very toxic. I don’t see many examples around the world where people are so unable to celebrate each other’s successes. Here, we very rarely praise our colleagues. We very rarely acknowledge others’ work. And when you do hear words of support, they most often come from true professionals. They understand how much work, time, and effort goes into any major project.
That’s why I think we all need to complain less and work harder.

Let’s talk more about the new film. How is the film’s release going?

"Killhouse" is now entering its eighth week in theaters. As of today, the box office is already approaching one million dollars, which is exactly in line with my plans as a producer. Next, the film is set to be released in international markets.

Over 200,000 viewers have seen the film. My main goal was to create a blockbuster. And what is a blockbuster? It’s when you give the audience the full range of emotions. When people can feel joy, laugh, get scared, cry, feel the tension, and truly enjoy the experience. I believe that “Killhouse” has become a true blockbuster in this sense. We gave the audience the full range of emotions.

In my opinion, “Killhouse” has been a game-changer for Ukrainian cinema. I’ve received messages from very influential Ukrainian producers and colleagues. One of my colleagues even said that “Killhouse” has become a new milestone in Ukrainian cinema. At the same time, I fully understand that this isn’t my personal achievement. It’s thanks to our military. It’s thanks to the entire team—everyone who was so eager to make this film a reality.

In fact, it’s a great blessing to create a project of this scale during wartime. Every day we faced new challenges. It was very difficult to finish the film and bring it to the big screen in just one year. We had a specific release date and wanted to meet it. Perhaps that’s why the entire team worked with the utmost focus.

Where will Ukrainians be able to see the film in the near future?

We’re already preparing for a release on streaming platforms in Ukraine. Most likely, it will be on Netflix Ukraine and an exclusive screening on Kyivstar TV. This will be a Ukrainian digital release. There won’t be online access abroad just yet, because we’re planning an international theatrical release this fall.

Ukrainian generals appeared in *Killhouse*. How did you manage to get them involved in the project?

I really wanted real generals to appear in the film. For me, this was important not only as a director but also as someone striving for maximum authenticity. When real generals appear in the award ceremony scene, it symbolizes that our military leadership isn’t somewhere far away, behind closed doors. It’s right here.

Admittedly, this came at the cost of time. We could have wrapped up filming about three months earlier, but we waited for an opportunity to coordinate our schedules. We literally seized the moments when one of them had an hour to spare on a day off and could come to the set.

I think we’ll only truly understand the value of these scenes many years from now—perhaps in ten years. Then it will become clear just how important it was to capture these people right now, at this very historic moment.

Other Ukrainian servicemen also appeared in the film. What were the selection criteria?

As for the military personnel, there are indeed a great many of them in the film. You could say that about 90% of the participants in the military scenes are actual service members. The main selection criterion wasn’t even experience or a service record, but time. There were many tough special forces soldiers who wanted to take part in the filming and kept writing about it. But not everyone was able to make it to the set.

You have to understand that in filmmaking, there’s a concept called continuity—the seamless flow of a scene. We rarely shoot a scene in a single day. Sometimes it takes two or three days of work. Once a person has appeared on camera, they need to be available for the rest of the shoot. That’s why we looked for people who were in rehabilitation, recovery, training, or between combat missions. And that, too, created unique situations. We had special forces soldiers who would literally arrive from a mission, unload their combat magazines, load blank rounds, and continue working with the same weapons right in front of the camera. From the perspective of real-life experience, these were absolutely incredible moments.

For me as a director, this project was also a very interesting challenge. I went into the shooting phase with the first draft of the script, which is actually strongly discouraged. Sometimes I felt like Jack Sparrow, who decided that everything would work out thanks to experience, intuition, and a certain amount of adventurism.

But I think what really helped us was that the entire team believed so strongly in this project. We constantly consulted with military personnel. Before each shoot, we held regular 15–20-minute briefings. We changed scenes, rewrote dialogue, and refined details. And that had a huge impact on the script. My script supervisor tracked all the changes in the digital version of the script. At the end of filming, we tallied up the number of revisions. She marked them with different colors, so it was easy to track. As a result, about 60% of the script changed during production. You can imagine the scale of these changes. And, to be honest, it was one of the most interesting creative experiences of my life.

For me, there’s absolutely no doubt that the Ukrainian dub is the best. Who will you entrust with the dubbing of your film in Europe and America?

The thing is, the American version will be the main international release. Accordingly, we plan to hire American voice actors for it. At the same time, there’s an important detail. The dubbing itself, the voice recording, and the actors’ work must take place in the U.S. But the final sound mixing, in my opinion, should be done right here in Ukraine. Why? Because the skill level of Ukrainian sound engineers today is absolutely on par with that of specialists at leading Hollywood studios. The only difference is that in Los Angeles, such work would cost several times more. Therefore, the dubbing itself, the voice recording, toning, and all processes related to the voice actors should logically be done in the U.S. But the final sound mixing—that’s done in Ukraine.

As for Europe, I think a lot will depend on specific markets and distributors. For example, France traditionally prefers its own dubbing. The same goes for Italy and many other countries. To be honest, I’m very curious to see how this process unfolds, because we’re only at the beginning of this stage right now. For now, I can’t say exactly what decisions our international partners will make or what dubbing commitments distributors in different countries will undertake. But this process has already begun, and in the near future we’ll see which path the various markets take.

I’d like to ask about your creative plans. What are you ready to start filming right now?

Let me put it this way: I have several ideas that are definitely related to glorifying the Ukrainian military and special services. These are definitely stories in the military genre. Perhaps some of them will be more military-focused, while others will lean more toward espionage. We’ll see.

Also, by the end of the year, “Killhouse” will show whether it’s ready to become a full-fledged franchise. If that happens, we’ll be able to tell different stories under the “Killhouse” brand. By analogy with franchises like “Mission: Impossible,” where the focus isn’t on a single specific plotline but on the format in which the events unfold. I like this direction. I think it has great potential.

But right now, we’re all experimenting to some extent. Ukrainian war cinema is still taking shape, and we’re trying out a lot of things for the first time. So it’s hard to say for sure right now which formats will work in the long run.

 Some time ago, you and I attended the opening of a film school for talented children in my hometown of Odesa. I know that this school is still operating, sheltering children in bomb shelters during air raids and continuing to train future actors, promoters, and other film professionals. Are there any of its graduates whom you can already envision on your future film sets?

There’s a really cool film school in Odesa. My films always feature children or teenagers. I really love discovering new talent and working with young actors. They have a special energy.
I like to combine stories about teenagers with large military communities.

If you think about Michael Bay’s movies, particularly *Transformers*, there are almost always two storylines running parallel—the story of a young person and the story of the military. And it works very well.
That’s why I’m confident we’ll continue to work with graduates of this film school. We’ll definitely invite them to castings and screen tests.

I always support such initiatives because we shouldn’t just wait for a new generation of actors—we need to nurture, train, and discover them.
And where do we find new stars? We need to seek them out and give them a chance to prove themselves in good films.

Ольга Шубіна