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Kinotron Group

@kinotron.group

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Kinotron Group is a collective of filmmakers based in Kyiv, Ukraine. Our films are oftentimes political, sometimes experimental
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Where Russia Ends, Oleksiy Radynski, 2024 (25 mins, Ukrainian). Where Russia Ends assembles previously unknown footage shot by Ukrainian filmmakers during expeditions to Siberia and the Far North in the late 1980s, and rediscovered at the Kyiv Popular Science Film Studio in 2022. Reading this Soviet-era archive against the grain, Radynski traces an often-overlooked history of Russian colonial expansion and environmental destruction in the territories of the Indigenous peoples of Siberia. Rediscovered amid Russia’s ongoing war against Ukraine, these images bring histories of Tsarist and Soviet imperialism into the present, tracing continuities that are far from over. The film screens Thursday 5 November at @set.social.peckham, from 7.30pm, as part of our opening programme of short films ‘Impossible Cinema’. Doors open 6.45pm. Tickets are £7/9 and are available on Eventive via the link in bio. — Director: Oleksiy Radynski @oleksiy.radynski Research: Philipp Goll @pollypofski, Oleksiy Radynski Producer: Lyuba Knorozok @lyubzja @kinotron.group Editor: Taras Spivak @spivak_t Sound supervisor: Andrii Borysenko @borysenko.andrii Colorist: Kseniya Bannikova @ksenomrf Poster designer: @curly_bandit Clips and images courtesy of Oleksiy Radynski.
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Recently, the Ukrainian Pavilion joined the Pavilion Days at Biennale Arte 2026 (@labiennale), with two curated tours at the Giardini offering a closer look at the ideas behind the exhibitions. The programme continued with “Under Security Guarantees: Footage from Ukraine”, a screening of two documentary films by members of the Kinotron Group (@kinotron.group): “Under the Sign of Anchor” (2024) by Taras Spivak (@spivak_t) and “Special Operation” (2025) by Oleksiy Radynski (@oleksiy.radynski). The screening was followed by a conversation with Taras Spivak, moderated by the public programme’s curators Ivanna Kozachenko (@ivankaroco) and Katia Khimei (@katia_khimei). The Pavilion Days were organised by the Global Commissioners Group. The screening took place at Ca’Buccari (@ca.buccari), with Nova Ukraine (@novaukraine) supporting the event and the Ukrainian team’s participation in the Pavilion Days. #BiennaleArte2026 #InMinorKeys #SecurityGuarantees #UkrainianPavilion
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DAY 2 OF UFFB 2026🖤 Swipe through and relive it with us! 📸 Photos by Ganna Bodnya (@annabodnya_photo), Hanna Krutikova (@krutvertt) & Erika Kushtan #UFFB2026 #UkrainianFilmFestivalBerlin #UkrainianCinema
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🧭 HER MEMORY HIS HISTORY: DECOLONIAL PERSPECTIVES This program looks at how Ukrainian history changes when the focus shifts away from official narratives and toward archives, family memory, women’s experiences and overlooked forms of knowledge. At @sinematranstopia, we bring together two films that approach the past through very different forms: 🪂 My Grandmother Is a Skydiver — Polina Piddubna · 2025 · 13 min Animation, family stories and memories passed between generations come together to reconstruct history from a deeply personal perspective. ⚓️Under the Sign of the Anchor — Taras Spivak · 2024 · 28 min An archival film tracing the marks institutions leave behind — and asking who has the power to define the story of a place. After the screening, the program continues with a conversation on decolonial perspectives, gender, memory and the politics of writing Ukraine’s past. Joining the discussion: 💬 Susanne Frank — Professor of Eastern Slavic Literatures and Cultures at Humboldt-Universität zu Berlin 💬 Tereza Hendl — researcher, philosopher and bioethicist; board member of the RUTA Association 💬 Polina Piddubna — filmmaker and animator 💬 Taras Spivak — director and editor Moderated and curated by UFFB co-founder Daria Buteiko. 📅 Thu, 15 October · 20:00 📍 Sinema Transtopia, Lindower Str. 20/22, Berlin 🎟️ Tickets are available on our website. #UFFB2026 #UkrainianCinema #KinoBerlin #UkrainianFilmFestivalBerlin
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Save the date: join us on 11 October at Ca’Buccari (@ca.buccari) in Venice for a screening of two documentary films and a conversation with filmmaker Taras Spivak. “Under Security Guarantees: Footage from Ukraine” is a screening presented as part of the public programme of the Pavilion of Ukraine. It brings together two documentary films by members of the Kinotron Group (@kinotron.group): “Under the Sign of Anchor” (2024) by Taras Spivak (@spivak_t) and “Special Operation” (2025) by Oleksiy Radynski (@oleksiy.radynski). The films trace two moments in the country’s history, from the collapse of the Soviet Union and the disarmament of independent Ukraine to the Russian occupation of the Chornobyl Nuclear Power Plant in 2022. Working with archival footage, they explore questions of ideology and militarisation. The screening will be followed by a conversation with Taras Spivak, moderated by the curators of the Pavilion’s public programme, Ivanna Kozachenko (@ivankaroco) and Katia Khimei (@katia_khimei). 11 October, 2–4 pm Ca’Buccari, Venice Language of the event: English Subtitles: English Admission: Free Advance registration is required. Link in bio. The project is implemented with the support of the Ministry of Сulture of Ukraine, UNESCO, Sushko Philanthropy, ZAG, Nova Post, Ajax Systems, Avrora Multimarket, and Agrosem. Media partners: Suspilne Kultura, Radio Kultura, Artslooker, The Kyiv Independent. #BiennaleArte2026 #InMinorKeys #SecurityGuarantees #UkrainianPavilion
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WHITE CLIFFS OF VINNYTSIA: September Festival Tour Our documentary short film WHITE CLIFFS OF VINNYTSIA, dir. Karolina Uskakovych @north.carolinau, is having its Ukrainian Premiere and festival tour across Ukraine this September! Catch the film in Kyiv at KISFF 2026, watch it online, or join us in Lviv at Wiz-Art 2026. Here is the full screening schedule: Kyiv International Short Film Festival (KISFF) @kisff_ua Ukrainian Premiere 📍 Zhovten Cinema @zhovten.cinema 🗓 Sat, Sep 19 – 8:00pm 🗓 Sun, Sep 20 – 6:00pm 🎟 Tickets: https://cutt.ly/1ylDNX73 📍 TYTR Online Cinema @tytr.online 🗓 Sep 17–23 🎟 Tickets: https://cutt.ly/HylDMdVI Lviv International Short Film Festival Wiz-Art @wizart_festival 📍 Lviv Palace of Arts, Floor 2 🗓 Sun, Sep 27 – 3:30pm 🎟 Tickets: https://cutt.ly/lyxH1Her We look forward to meeting you at the screenings! Director / Screenwriter / DOP: Karolina Uskakovych @north.carolinau Producers: Natalia Libet @natalibet (2Brave Productions), Lyuba Knorozok @lyubzja (Kinotron Group @kinotron.group) Editor: Simon Mozgovyi @mozgovy Sound Design / Composer: Kseniia Shcherbakova @vii_xiii The film was created within the framework of the Full Short program initiated by RIBBON International @ribbon.international in collaboration with the co-founder of Kinotron Group @kinotron.group, producer Lyuba Knorozok, and Decentralized Pictures @decentralized_picture. Supported by INDEX: Institute for Documentation and Exchange @index__institute
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A premiere delayed for thirty years. For the first time in Portugal. In the early 1990s, the Kyivnaukfilm studio produced a series of daring films about the Ukrainian avant-garde. Moving far beyond conventional documentary cinema, these films had little chance of reaching the big screen and disappeared into the archives for decades. In 2024, Kinotron Group rediscovered them and digitised them in high quality for the first time. Now Portugal will see three unique artefacts of Ukrainian experimental cinema: 🎞 «Victory Over the Sun. Epilogue» by Maksym Bernadsky — a conversation with key figures of 1990s Ukrainian art that sounds strikingly relevant thirty years later. 🎞 «S. Parajanov. Delayed Premiere» by Yuriy Repik — a film created from screen tests for Sergei Parajanov’s unrealised *Kyiv Frescoes*. 🎞 «A Portrait Without a Face» by Yuriy Zmorovych — a radical portrait of the artist Oleksandra Ekster in which performance, music, poetry and experimental cinema meet in a single work. A rare opportunity to experience Ukrainian cinema that was ahead of its time and waited more than thirty years for this encounter. 📅 25 July, 17:00 📍 MIDSUMMER PROMIN’, Lisbon, Cinema Sao Jorge 🎟 Free screening 💬 The screening will be followed by a discussion #MidsummerPromin #ProminFestival #DelayedPremiere #UkrainianCinema #ExperimentalCinema
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Register now! (#linkinbio) Registration to our conference has opened. It will remain open until 30 September 2026. All participants have to register to attend the conference. Register now! We thank the funding agencies for supporting the XV International Bauhaus Colloquium: @dfg__public, Ernst-Abbe-Stiftung and @wuestenrotstiftung. ————— Melde Dich an! (Link in bio) Die Registrierung für unsere Konferenz ist nun geöffnet. Die Anmeldung wird bis 30. September 2026 möglich sein. Alle Teilnehmer*innen müssen sich anmelden, um die Veranstaltung besuchen zu können. Melde Dich an! Wir danken den Förderern des XV International Bauhaus Colloquium: der Deutschen Forschungsgesellschaft (DFG), der Ernst-Abbe-Stiftung und der Wüstenrot Stiftung. Graphic concept and development: @leonardbehre @mona.kerntke Graphic design: @studiomoepa #registernow #registrationopen #bauhauscolloquium #colloquium #politicsofresearch #bauhausuni #architecture #architecturetheory #politics #artisticresearch #humanities #ibhk #bauhaus #weimar
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Олексій Радинський [@oleksiy.radynski] — український режисер-документаліст, дослідник кіноархівів та співзасновник дослідницького обʼєднання «Кінотрон» [@kinotron.group], київського колективу, який поєднує кінопрактику з архівною роботою та культурним активізмом. Одним із ключових напрямів обʼєднання є порятунок і оцифрування кіноматеріалів зі студії «Київнаукфільм», які перебували на межі фізичного зникнення. Деякі з них стали основою для фільму «Там, де закінчується Росія» Радинського — про колоніальні кіноекспедиції радянського часу. У своїх роботах Радинський спирається на знайдені матеріали й архівні плівки як на самостійний художній медіум. «Спеціальна операція» — змонтована із записів камер спостереження хроніка присутності російських солдатів на окупованій Чорнобильській АЕС. У розмові з Artslooker Радинський говорить про те, як документальне кіно з часом набуває нового сенсу, про втрачені українські кіноархіви, про банальність зла і про те, чим є утопія в часи війни. Повний текст розмови українською читайте на artslooker[.com]. —— Oleksiy Radynsky [@oleksiy.radynski] is a Ukrainian documentary filmmaker, film archive researcher, and co-founder of the research collective Kinotron [@kinotron.group] — a Kyiv-based group that combines filmmaking with archival work and cultural activism. One of the collective’s key focuses is the rescue and digitization of film materials from the Kyivnaukfilm studio, which were on the verge of physical disappearance. Some of these materials formed the basis for Radynsky’s film Where Russia Ends — about Soviet-era colonial film expeditions. In his work, Radynsky treats found materials and archival film as an autonomous artistic medium. Special Operation is a chronicle of the presence of Russian soldiers at the occupied Chornobyl Nuclear Power Plant, edited from surveillance camera footage. In conversation with Artslooker, Radynsky talks about how documentary cinema acquires new meaning over time, about lost Ukrainian film archives, the banality of evil, and what utopia can mean in wartime. Read full conversation in English at artslooker[.com].
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NEW EPISODE: For the Sessions, @juliet.variations spoke to @oleksiy.radynski about four of his works – his feature-length documentary Infinity According to Florian (2022), his two works about the Russian occupation of Ukraine’s infamous nuclear plant, Chornobyl 22 (2023) and the longer Special Operation (2025), and his docu-fiction Where Russia Ends (2024), using found footage from the Science Film Studio in Kyiv. They discussed the project to save modernist buildings in Kyiv and the contradictions of the fight to preserve futurist architecture, as well as the experience of working with Soviet artist, musicologist and architect Florian Yuriev; how Oleksiy sourced the CCTV and other footage that made up his two Chornobyl films; the experience of working in Kyiv since the full-scale invasion of Ukraine began; and the importance of understanding the nature of Russian colonial expansion and imperialist in the east, and its parallels with the occupation of the Americas. To listen, follow the link in our bio or go to https://www.patreon.com/suite212/posts/suite-212-no-23-163769035, and subscribe for as little as £3.50 a month.
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Our programme is online! #linkinbio We are excited to present this rich, interdisciplinary programme. Thanks to so many thought-provoking submissions the curatorial committee of the XV International Bauhaus Colloquium was able to curate four days of talks, roundtables, workshops, performances, screenings, installations and exhibitions. We cannot wait for the event to start! Our website offers you a tool to create your personal schedule: check the check boxes in the programme and your personal schedule will appear. You can send it to you by email. If our design is too distracting to you from the start, just click "off". We thank the funding agencies for supporting the XV International Bauhaus Colloquium: @dfg__public, Ernst-Abbe-Stiftung und @wuestenrotstiftung ——— Unser Programm ist jetzt online! (Link in bio) Es freut uns sehr, dieses reiche, interdisziplinäre Programm vorzustellen. Dank zahlreicher vielversprechender Einreichungen konnte das curatorial committee des XV. Internationalen Bauhaus-Kolloquiums vier Tage mit Vorträgen, Diskussionen, Workshops, Performances, Filmvorführungen, Installationen und Ausstellungen kuratieren. Wir können es kaum erwarten, dass das Kolloquium beginnt! Unsere Webseite ermöglicht die Erstellung eines persönlichen Tagungsprogramms durch das Ankreuzen der kleinen Kästchen an jedem Programmeintrag. Mit jedem Ankreuzen erscheint der persönliche Ablaufplan für den Tagungsbesuch. Dieser kann an die eigene E-mailadresse gesendet werden. Sollte unsere Webseitengestaltung zu ablenkend sein: einfach "off" klicken. Wir danken besonders unseren Förderern: der Deutschen Forschungsgesellschaft (DFG), der Ernst-Abbe-Stiftung und der Wüstenrot Stiftung. Graphic concept and development: @leonardbehre @mona.kerntke Graphic design: @studiomoepa #programmeonline #bauhauscolloquium #colloquium #politicsofresearch #bauhausuni #architecture #architecturetheory #politics #artisticresearch #humanities #ibhk #bauhaus #weimar
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Last night at KW, I watched the Kyiv Biennial screening: Oleksiy Radynski｜Spetsialna Operatsiia The film is composed of CCTV footage from the Chornobyl Nuclear Power Plant during the Russian occupation. There is no handheld urgency, no dramatic battlefield image, and almost no emotional appeal in the usual sense. The camera simply records: soldiers entering, waiting, moving, and turning a site already marked by nuclear catastrophe into part of a military threat. Watching it, I kept thinking about my own involvement in the production of Tao Ya-Lun’s Drifter. That work also responds to the war in Ukraine, but through a very different mode of seeing. It allows a displaced Ukrainian person, unable to return home, to encounter his home and family through remote images and another person’s body. If Spetsialna Operatsiia shows how war can be recorded by the surveillance system of infrastructure itself, Drifter asks another question: when war cuts the connection between people and place, can images become a kind of substitute body, or a temporary way of returning? For me, both works are not simply “about war.” They ask: Who is looking at war? Is the image evidence, surveillance, or a fragile form of connection? From a Taiwanese perspective, this question feels especially close. War does not only happen on the front line. It can also happen through nuclear plants, energy systems, communication networks, ports, and undersea cables. Modern war attacks not only bodies, but also the infrastructures that allow life, connection, and perception to continue. From CCTV to VR, images are no longer outside the war as neutral observers. They are already part of its structure: recording, accusing, mediating, and sometimes trying to repair what war has broken. 兩件作品都不是單純在「呈現戰爭」。它們更像是在問：誰在觀看戰爭？影像是證據、監控，還是某種脆弱的連結？ 1｜Spetsialna Operatsiia — CCTV image 2｜KW screening space 3｜Drifter — border map Border as distance. Return as impossibility. 4｜Drifter — device and Tao Ya-Lun The body becomes a proxy for seeing. Q&A moderated by Vasyl Cherepanyn #kyivbiennial2026 #kinotrongroup #oleksiyradynski #spetsialnaoperatsiia #vasylcherepanyn
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