Polish director Maciek Hamela didn’t just watch as the Russian offensive on Ukraine unfolded. He journeyed from his Warsaw residence, purchased a van, and set out to rescue evacuating Ukrainians.
“In the Rearview” is Hamela’s documentary, offering an unfiltered six-month chronicle of these journeys. Viewers at the Toronto International Film Festival, where the film celebrated its North American debut, are given an upfront seat to the harsh realities of a conflict as it happened.
As he showcases the film, Hamela encourages viewers to empathize with the evacuees. “It’s crucial to dispel the illusion that the conflict is over or merely a perpetual deadlock,” he expressed in an interview with Reuters.
With the ongoing Russo-Ukrainian conflict entering its second year, over 6 million Ukrainians have sought refuge worldwide, as per UNHCR statistics.
“In those initial weeks, their primary urge was to escape. They’d hop into the van, pleading, ‘Just drive me anywhere,’” recalled Hamela.
Filmed predominantly within the van, the documentary captures snippets of dialogues between evacuees and the changing landscapes of war. Ruined structures and wrecked vehicles punctuate the journey, while evacuees gaze out, clutching their few possessions, sometimes accompanied by children or pets.
Young passengers, despite their antics typical of their age, sometimes reveal disturbing insights. A young girl, observing untouched buildings, remarks, “Look at those lovely structures, still untouched by bombings.” Another poignant scene captures a boy, observing a body of water, questioning, “We’ll return after the war ends, right?” His mother reassuringly replies, “Of course.”
The van plays multiple roles: a haven, an emergency medical center for an injured evacuee, and a space for deep, transformative dialogues between strangers united by shared trauma.
Hamela emphasizes, “I want audiences to understand that this isn’t just about Ukraine’s war. It’s a journey into the psyche when one confronts the reality of becoming a refugee. It’s a fate that could befall anyone.”
The power of “In the Rearview” lies not just in its frontline coverage of war but in its poignant depiction of the human spirit amidst adversity. As Hamela’s van traverses the scarred landscapes of Ukraine, it becomes a microcosm of hope, resilience, and the universal truth that the tragedies of war are more than geopolitical events; they’re deeply personal narratives that resonate across borders. In a world increasingly divided, perhaps there’s no better time to reflect on shared human experiences and the strength that emerges in times of shared adversity.
