Abstract
This article examines the visual testimonies and evidence of the Russo-Ukrainian War in its initial phase, shortly after Russia annexed Crimea in 2014, in the films of two Lithuanian filmmakers, Šarūnas Bartas and Mantas Kvedaravičius, who took the stance of advocates and made their internationally acclaimed films, namely the mixed-genre feature Frost (2017, dir. Š. Bartas) and the documentary Mariupolis (2016, dir. M. Kvedaravičius), in war zones, when international media coverage of the ongoing military operations on Ukrainian territory was gradually decreasing, along with political and other support. In these films, viewers do not see the apparent warfare, the clashes between the Ukrainian army and Russian troops or separatist fighters. But they do see the testimonies of Ukrainians, captured on film and mobile phone cameras, and they see images of despair and anxiety, destroyed settlements and lives that prove that the war has been going on since 2014. The article explores what makes these films an instrument of soft advocacy for the Ukrainians in the war, drawing on the prevailing concepts of advocacy in film and media studies.
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