Particles

What is the meaning of an artist’s life in a war-torn country?
An actress and director live as a couple pursuing their dream to find themselves in filmmaking. The film actually depicts the process of making the very same film. The two never forget the atrocities of the war their nation is in; yet they still feel they can’t sacrifice their creative personalities to it.
Their creative and personal relationship helps them feel part of the universe, overcome their fears and recover their identity.

  • Oleksandr Nykonovych
    Director
  • Oleksandr Nykonovych
    Writer
  • Oleksandr Nykonovych
    Producer
  • Oleksandr Nykonovych
    Director of Photography
  • Tata Taranyuk
    Main cast
  • Anar Azimov
    Associate Producer
  • Project Title (Original Language):
    Пилинки
  • Project Type:
    Experimental, Short
  • Runtime:
    8 minutes 41 seconds
  • Country of Origin:
    Ukraine
  • Country of Filming:
    Ukraine
  • Language:
    Ukrainian
  • Shooting Format:
    Digital
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Oleksandr Nykonovych

Born in 1988. Lives in Kyiv, Ukraine. This film is his fourth and one of the projects by his production company, NIKTA FILM

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Director Statement

This film is actually about myself and my partner. So, it could be qualified as a docufiction. Even though there’s only one protagonist, there is actually one more character in the film, which is me, the author, behind the camera, who appear in front of the camera at the finale.
Being the writer, director and cinematographer at the same time, I can hardly distinguish which part of myself has contributed more to the film’s visual side. I planned the shots on the stage of the storyboard, which can be seen in the very film (well, how I made the film is part of the story); however, there was some improvisation, particularly when the female characters starts crying - We didn’t rehearse it, neither did I expect it, but decided to keep it as it is. To me, it’s the pivotal moment in the film. This crying moment is obviously connected to the external cruel world, the war atrocities, rushing into the two artists’ shelter through the TV screen, and is open to interpretations.
I used Blackmagic (BMCC) as a good option not only due to the budget limitations, but also due to the combination of mobility, documentary feeling and cinematic look it provides with dynamic range sufficient for the film’s mostly interior locations