Documentary filmmaker Vitaly Mansky presents an intimate three-hour portrait of daily life in Lviv, Ukraine, amid the ongoing Russian invasion. The film, titled 'Time to the Target,' draws inspiration from Bruegel's paintings to depict the blend of routine and resilience in a city far from the front lines. Mansky emphasizes experiencing the war's integration into civilian fabric without overt persuasion.
Film Overview
Vitaly Mansky's 'Time to the Target' offers a nuanced view of Lviv, a western Ukrainian city once considered relatively safe but now under threat from Russian cruise missiles and Shahed drones. Shot in long takes with deep focus, the documentary captures everyday moments: a military band rehearsing, weddings, theater performances interrupted by air raids, and new mothers cradling babies born during siren silences. The film runs three hours, aiming to immerse viewers in the war's subtle permeation of life.
Director's Vision and Influences
Mansky, known for documentaries on Ukraine and the former Soviet Union—including explorations of Russian gas pipelines and Putin's power—collaborated with Czech producers Vit Klusak and Filip Remunda. Unlike manifesto-style films like his 2023 'Eastern Front' co-directed with Yevhen Titarenko, 'Time to the Target' avoids GoPro combat footage to foster empathy. 'This film doesn’t aim to convince or change anyone’s mind,' Mansky says. 'It offers the opportunity to experience the war as it has become part of the fabric of civilian life.' He draws from Bruegel's paintings for broad frames showing foreground activities amid detailed backgrounds of birth, life, and death.
Scenes and Themes
The film highlights universal rituals with Ukrainian specificity: grieving families at overflowing military cemeteries, where gravediggers exhume old remains for new ones from centuries of conflicts; schoolchildren learning 'Our front is here'; daily silences at 9 a.m. to honor heroes; and park outings disrupted by anti-Putin target practice. Musicians share stories of loss, with one noting, 'No one believes that we would hold out for so long,' and another complaining about piecemeal military aid: 'They give us weapons one teaspoon at a time. So as not to lose and not to win.' Mansky reflects on Lviv's changes since 2014: 'I thought Lviv was an eternal city and that I knew it very well... I started to notice the gradual changes.' Through constant music—from pop ballads to brass bands—the film underscores enduring humanity.