24 August 2026
He has appeared in "The Fortress of Khadzhibey," "Shchedryk," and "Kriposna," and since November 2023, he has been defending Ukraine as part of the Armed Forces of Ukraine. Actor Oleksandr Polovets spoke with Intent about the first days of the full-scale invasion, his mobilization on the third attempt, urgent needs on the front lines, keeping his profession a secret from his comrades, and the difficult path back to acting after experiencing burnout on the front lines.
Do you remember February 24, when Russia attacked Ukraine? How did that day begin for you?
Yes, I remember. On February 23, I was on the set of the TV series *Kriposna* in Kyiv. I was returning home at night, and at 7 a.m. on the 24th, I heard explosions. At the time, I hoped it was just a provocation. There had been talk that something might start, but I, like many of our compatriots, didn’t believe it. Today would be loud, and tomorrow quiet. I thought it would last just one day. Then the shock set in. I’m an optimist, and I thought that March 8 is a holiday—there’s no way there could be a war on that day. I thought it would end by March 8. But March 8 has come and gone for the fourth time now.
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SCREENSHOT: Intent’s YouTube channel
I believe this war will end, perhaps even this year. All wars end sooner or later.
When did you realize the war would be a long one? Was there a specific moment?
There was a moment like that. I haven’t been in the service since day one. Due to family circumstances, I joined on November 3, 2023. I was turned down twice because they had enough people. They told me, “Old man, go home.” But on my third try, I was able to enlist. I didn’t want to sit out the entire war at home; I would have felt uncomfortable and ashamed in front of those who are currently on the front lines. Including my colleagues: actors and directors. While serving in my unit on combat missions, I realized this war would last for years.
What are the needs of the military where you’re currently serving?
Every winter, from fall through spring, it’s clear that there isn’t enough electricity—not just for the government and citizens, but also for the military. Most of the time we’re out in the field, in wooded areas, and we don’t have enough EcoFlow units. Generators are noisy and can’t be turned on at combat positions, so EcoFlow is our only option. This is an urgent need. There’s also a long list of other essentials, but first and foremost—EcoFlow.
Can we send aid through you?
I’ll ask the command how to do this properly, because I’m not authorized to even look into aid requests. I can only facilitate it, since the military isn’t a commercial enterprise.
You kept your acting career a secret while in the army. Why?
I didn’t want a lot of attention. Also, military service has always been the domain of professional soldiers. Right now, their percentage is small—it’s no secret—with about 800,000 currently serving. Our army used to have up to 25,000 soldiers. The rest of that number consists of people who had nothing to do with military service. They were trolleybus drivers, cooks, bakers, actors, directors, musicians, composers—you name it. I think I’m just like everyone else. I’m simply a person from a different profession. Why would I want to draw attention to myself? I didn’t talk about myself.
Over the course of three years, I held several positions and served in different units. I was seconded to a combat battalion. I hadn’t even gotten there yet, and someone had already said, “We’ve got an actor in our ranks.” I was surprised when a sergeant approached me at the training center and showed me a photo of myself on his phone. Word eventually got to the company commander, and he asked to take a photo with me. I was amazed by all the attention I was getting.
Sometimes it was funny. People get tired when they’re fighting a lot, and they’re in a different frame of mind. You won’t hear, “Wow, that’s an actor.” Instead, they’d say, “Hey, come here. You’re an actor—where have you been in movies? Let’s take a picture—smile—you’re free.” Every unit I was in knew about my profession. You don’t write that kind of thing on an application form. I guess the word just spread by word of mouth.
I remember a story from the front lines. There were about 26 of us soldiers. We’d head out to combat positions; some would come back, but many, unfortunately, didn’t. I was left with a guy who’d just returned from a position. He was slightly wounded, and we spent almost a full day together. In situations like that, we usually support each other with simple questions: “How are things at home? How are your wife and kids?” He recognized me and mentioned the movie *The Fortress of Khadzhibey*. That struck me: even under such circumstances, when life and death are so close, a person still found room to talk about culture.
What experience of war has changed you the most?
Our attitude toward one another. The spirit of patriotism and support. When our health fails, we sometimes end up in the hospital for treatment. Friends and comrades call and ask what we need. They say, “We’re all in this together.” We’re never left alone, especially at the front lines. It’s impossible to cope on your own there. It’s a huge burden, both physically and emotionally. The support of my comrades is very important.
Let’s talk about your acting career. When did you realize you wanted to become an actor?
For a very long time, I didn’t want to. I was a professional athlete. I competed in international competitions. At such events, there’s usually filming going on—a camera is always there. Sports involve a huge emotional strain. You need meditation, the right mindset, and focused thoughts. You close your eyes and mentally run through how you’ll cover the distance. I ran the 400-meter dash and the 400-meter hurdles. The hurdles race is a technical event. The fewer mistakes you make, the higher a place you can achieve. You’re thinking, you close your eyes, you open them—and there’s a camera right in front of you. It’s filming right in your face. That annoyed me. It happened a few times. I’d step aside to hide from the camera.
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SCREENSHOT: Intent’s YouTube channel
And that’s the difference. When you’re hiding from the camera, you don’t like it—you even hate it. But in film, you have to love the camera. The first thing I heard was: “You have to see the camera, and the camera has to see you.” I struggled with that internally. And I’m used to being myself, but film and theater are a game. You live out another person’s life. At first, I really didn’t want to do that, because I was proud of my own life. I’m a Gemini. It’s hard for this sign when every day is Groundhog Day—you have to change something. Gradually, I decided that acting was my calling. Now I find it interesting to get into a character, to discover their traits—I really enjoy the acting process.
I’m not proud of my first project. Mikhalkov said a lot of nonsense—not to mention the kind of person he turned out to be and how he uses his friendship with Putin for publicity. I’d rather not talk about that experience, but it was my first film role. I went to the casting call and audition on my own. The project “Sunstroke,” about the 1918 civil war, was filmed in Odesa. The film consisted of two parts: 1905 and 1918–19. I played a Chekist. I watched Mikhalkov at work, seeing how he directed the actors. To shoot a scene, he’d come up to me and say, “Imagine that this is your class enemy. Victory. They’re going home, laying down their weapons; you’re looking at them with narrowed eyes—you hate them. At the same time, you’re heading home. Your wife and children are waiting for you there. It’s all in that one look. I want to see both of those things.” He explained it at length. We shot one minute of film per day. For me, it was a learning experience. I wouldn’t want to work with Russians or act in their films anymore, but that was my first experience. For some reason, I learned from it.
I got my first leading role from an Israeli production company. They called me after I played a German officer in the project *Unbreakable*. They found me through my photos, filmography, and credits. I resembled the character they were looking for in their story. I spent a long time getting into the right mindset, reading many stories, and studying the character. It was an interrogation at the Nuremberg Trials. I read a book—which, by the way, wasn’t published here—called *An Interview with the Executioner*. I read some excerpts to get a sense of his character. And while filming was underway, I enrolled in acting classes at the Odesa Film Studio. You could say I took my first steps on my own.
Are there any projects you’re particularly proud of?
*The Fortress of Khadzhibey*, a 2019 project that premiered in 2020. I played one of the leading roles there. It’s always a pleasure—it requires a different kind of preparation and approach to the project. I dreamed of starring in a historical project. Maybe it was inspired by my childhood impression of the movie “The Three Musketeers.” I was about ten years old at the time. Watching that movie, we created our own idols. I wanted to learn how to fence and ride a horse. I can’t say I carried that thought with me for nearly 40 years, but I wanted something historical from the last century.
After *The Fortress of Khadzhibey*, I starred in *Shchedryk*. Then the war began, and after that I hardly acted at all. Last year, I filmed a TV series. After a four-year hiatus, I returned to the set and was very nervous. It’s a series about modern warfare. I played a unit commander; the story is based on real events.
Films about modern warfare are coming out now. We’re trying to rethink what’s happening and remember the names of the heroes. Because everything gets forgotten. Can you reveal what the story will be like in the new series?
I’ll be careful what I say, because the director or producers should have the first word. The series is called *Entwined by Fate*. I’m really looking forward to it because it’s had a big impact on me—through its dialogue, its cast, and the fact that there’s a lot of truth in it. There are stories about how women help out, wait for their husbands—some are wounded, some have returned, and some haven’t. We’ll see these moments on screen.
My character is the commander of a combat unit who’s stationed almost right on the front lines. A group of volunteers visits us several times, and gradually a spark develops between the commander—that is, my character—and the lead actress, who plays a volunteer. I won’t say any more—you’ll have to watch the series. I hope there will be a second season.
Should we expect it this fall?
Yes, this fall. The series has already been edited.
Did your combat experience help you in this role, or did it actually get in the way?
Both yes and no. Over three years at war, there were all kinds of situations. I was on the front lines and on combat missions. We get tired both physically and emotionally—there’s burnout. I think that’s the case for many soldiers. It’s the same for an actor. The set doesn’t instantly bring you back into acting. The dialogue and your co-star draw you back in. I’d recall those moments when volunteers brought us aid, and I’d be transported right back there.
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SCREENSHOT: Intent’s YouTube channel
What role would I like to play? Given my age, I won’t be playing macho types or any assault troops. I want to emphasize that movies like this are important to us. It’s not just culture—it’s history. Unfortunately, it’s a difficult one. Our children and grandchildren need to see the truth and know the price we’re paying to fight for our freedom and independence. Unfortunately, we’re losing our best people. I’d like to get involved in projects like this. Maybe they’ll be small roles, not leading ones. I have combat experience; over the past three years, I’ve served in various units and held different positions.
New movies are coming out about emergency responders, military personnel, and various units. There are professional actors with combat experience. Audiences have very mixed reactions to this. Some say that an actor who hasn’t served has no right to wear a uniform. What would you like to say to viewers about this?
I take offense at that. Everyone had some kind of civilian background. Many actors are also fighting, and many, unfortunately, have died. In the first year of the war, there were about 50 actors who died. Of course, that number is much higher now. If an actor has decided that he isn’t a soldier and would be better off staying home because he’ll be more useful there—that’s his civic stance. Then let them play doctors or teachers instead of soldiers. That’s my point of view, but now it’s no longer such a matter of principle for me. Many actors are fighting and can’t take part in filming. But someone has to act and tell the truth.
I look at myself: I’ll need time to adjust before returning to the set. Maybe the war will end, but I won’t be ready yet, because I’ve been completely drained by this war. And during that time, someone has to play a soldier. If an actor hasn’t been on the front lines, hasn’t seen his comrades die, hasn’t experienced explosions nearby, or endured the intense physical and emotional pressure—you can act it out, but you can’t live through it. So for me, it’s also a matter of respect for those actor-soldiers who have walked this path. It would be fair for them to be the ones to play such roles—perhaps even themselves. And in that, there will be a truth that the audience will see. I want to emphasize once again: this story must be told. Someone has to convey it right now. At the same time, a professional actor—if he’s truly professional—must prepare himself, undergo training under the guidance of instructors, and play his role. This film will be harrowing. It will contain pain, shock, and stress, but it is a justified shock. It is the pain of the truth.
We’ve seen enough deaths and airstrikes. We see young, beautiful people and children dying. We need to look the aggressor in the face. We need these projects right now.
Have you thought about how you’ll return to acting: what you’ll need to do it, how much time it will take, and whether there’s still a place for you in the creative community?
I can’t say how much time I’ll need—definitely not one day, not two, not three. I need to catch my breath a bit, be alone for a while. In every profession—not just acting—there are roles to be filled. The younger generation—or perhaps not so young, but my peers—have already been discharged from service and are back on set. I’ll need time to convince directors and producers that I’m ready. To do that, I need to train my memory and speech, take some courses, and spend time with a team. Everyone will need time to adjust, but it seems like an actor needs more time. I don’t want to offend people from other fields who are serving in the war. Actors need to get into the right mindset. It doesn’t happen right away—that boundary where you’re acting and truly embodying the character. It’s a complex process that requires rest. A month will be enough. I’d like it to be just that—no more—because the years are passing. I’m no longer in my 20s or 30s.
There’s a play I’ve performed only twice. I found it myself, chose it, and settled on it. It’s called “Mobility.” I performed it on December 3, 2021. And then, during the war, I performed it again in July 2023. In November 2023, I enlisted as a volunteer. For three years now, I’ve been sharing this play with my comrades and myself. I try not to forget it—I try to keep learning from it. I knew I wouldn’t be able to take the stage this year or next. No matter where I am, I take my play with me everywhere. Years will pass, but for me, this is my motivation.
Watch the full version of the interview on the Intent YouTube channel
To memorize your material, right?
Yes, both to remember the material and to train my memory. Of course, I can’t hold rehearsals, but this is a one-man show. It’s a little easier for me because I’m on my own. I don’t need a partner. It’s a show—a dialogue with myself.
Where was the play staged?
At the “Maski” Theater. I’m not part of the theater’s troupe. Maybe something will change—I’ll come back from the war and get an offer to work with the company. I don’t know when an audience will see the play. I started learning the material so I’d be ready to go on stage. You have to hold the audience’s attention—it’s not just about telling a story like a poem. You have to keep up the pace; the performance has to vary so the audience doesn’t fall asleep. I understand that I don’t just have to memorize the text—I have to relive it all over again.
Do you need rehearsals?
Yes. And things will change. After a three-year hiatus, maybe I’ll see things differently, or the director will come up with his own ideas. It will be a different play; it will be a premiere all over again.
Ольга Лопатюк