‘Militantropos’ Review: Austere Anti-War Doc Employs Formal Control in an Impassioned Defense of Ukraine

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A gray haze of smoke mingles with gloomy clouds overhead, as somber-looking Ukrainian citizens stand with crossed arms, gazing up at the sky. The initial scene of “Militantropos,” directed by Yelizaveta Smith, Alina Gorlova, and Simon Mozgovyi, might remind one of the opening sequence in a gritty Hollywood disaster film. However, this movie seems to be more contemplative and solemn compared to its typical counterparts. Soon after, we find ourselves at a bustling train station, where crowds are fleeing Kyiv for Vienna, clutching their luggage and children. It appears we’re about to witness a moving historical drama. Later on, a bulldozer plows through wreckage, revealing a damaged family photograph among the debris – a poignant reminder of what has been tragically destroyed.

The creators of “Militantropos” appear to understand the way war imagery has been used and reused in cinema, and their film serves to bring us full circle, showing us the original sources. The title of this movie, a new word created specifically for it, is displayed as meaning “a personality assumed by humans during war.” These intellectual reflections are sprinkled throughout the movie and contribute to its avant-garde style, even though its news-inspired content might suggest a more conventional approach.

In collaboration with Maksym Nakonechnyi, director of the somber drama “Butterfly Vision,” the film “Militantropos” frequently explores how war affects children. Every parent attempts to construct a protective bubble for their child, but this sanctuary is always fragile as the belief that the world is generally safe or even enchanting crumbles – it’s only a matter of time before reality shatters these illusions. However, whether this disillusionment comes gradually with maturity or suddenly and violently due to unforeseen circumstances is powerfully illustrated in this movie.

A school filled with artwork, some ordinary children’s drawings while others portray scenes of war, serves as a stark reminder of the challenging lives experienced by young Ukrainians. This film explores anthropologically, in a way that is both intensely emotional and detached, how people are influenced by long-term exposure to conflict. This duality might be due to its collective creation: The balanced and thoughtful approach suggests collaboration and discussion among the three director-editors, collectively known as the Tabor Collective.

The harmonious and thoughtful approach suggests collaboration and dialogue among the three director-editors who form the Tabor Collective.

As a movie reviewer, I found myself pondering about the ethics of aesthetically portraying war in “Militantropos.” This is indeed a thought-provoking topic. Does capturing stunning visuals of an unpleasant reality somehow make it more acceptable? It’s a nuanced spin on the age-old argument that films often glamorize their subjects. However, when the lens belongs to those who are immersed in war for prolonged periods, it becomes a matter of finding solace and beauty amidst the chaos. The film’s poignant conclusion, featuring a tranquil grove of cherry blossoms, serves as a powerful reminder that hope can bloom even in the most unexpected places.

Although “Militantropos” showcases beautiful aspects, it primarily conveys the dismal nature of military conflict. Unlike typical war films, it avoids dramatic close-ups during violent scenes – there are no slow-motion shots of a person’s face contorting as they die. The action can be unclear, and the film doesn’t use visual cues to guide the viewer through the mission. In some cases, it seems like there may not even be a clear objective, with a persistent sense of pointless, sporadic destruction prevailing throughout “Militantropos.

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2025-05-25 12:46