Experiencing Interruptions?

That Day

Three patients are starving in an abandoned mental hospital in a war zone. It’s a birthday of one of the three, and his fellows are trying to prepare a surprise.

  • Anar Azimov
    Director
  • Anar Azimov
    Writer
  • Anar Azimov
    Producer
  • Sergey Ponomarenko
    Key Cast
  • Sergey Polyakov
    Key Cast
  • Oleksandr Nykonovych
    Cinematography
  • Siran Muidinov
    Cinematography
  • Iurii Sergiyenko
    Service production
  • Bohdan Lyudvik
    Service production
  • Vlad Donchenko
    Sound
  • Roman Bolharov
    Editing and colouring
  • Anar Azimov
    Editing and colouring
  • Yana Gatsenko
    Makeup
  • Nelly Gutsenko
    Makeup
  • Ivan Poborojnyuk
    Gaffers
  • Yaroslav Voycehovskiy
    Gaffers
  • Project Type:
    Short
  • Runtime:
    15 minutes 42 seconds
  • Completion Date:
    November 3, 2023
  • Production Budget:
    10,500 USD
  • Country of Origin:
    Ukraine
  • Country of Filming:
    Ukraine
  • Language:
    Russian
  • Shooting Format:
    RED
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Anar Azimov

Born in 1969. PhD in Philosophy (1995). British Council Playwright Course graduate (1999). Alexander Sokurov’s Film Directing online course graduate (2021).

Add Director Biography
Director Statement

What can be more topical now that a peril of dystopian future in middle of an endless war?
The film's photography is the main channel of the story. Extremely long shots of the camera travelling in and out represent someone constantly watching - maybe the audience, or maybe the third patient, who doesn't appear in the film.
I’ve written those shots in details as early as the script development; we had been searching for a relevant location where those shots were possible before found one.
However, some shots were modified at the place.
For example, in my script, camera is waiting for the two characters coming down the corridor and lets them pass by. The real corridor was long enough, and our DOP suggested starting farther and move towards the two men.
I planned flyover shooting the breakfast somewhat jerkier, documentary-style, with a handheld camera, but our steadicam operator suggested a single-motion shooting, which fits the camera specifics much better.
Slow approaching towards the broken TV was initially the steadicamer’s trial to adjust the camera settings. This gave me the idea this slow beautiful camera movement could be actually part of the film.