Sergei Loznitsa on the Art of Filming the East at Visions du Réel

Sergei Loznitsa, the Ukrainian-born filmmaker renowned for his observational documentaries and experimental approaches to historical narrative, was honored as guest of distinction at the 2026 Visions du Réel festival in Nyon, Switzerland. During a public conversation at the event, Loznitsa reflected on his artistic philosophy, stating that “there are no rules that cannot be broken” when it comes to filming Eastern Europe—a region he has long explored through a lens that challenges conventional documentary forms.

The remark underscored Loznitsa’s ongoing commitment to redefining the boundaries between documentary and fiction, particularly in works that examine the social and political landscapes of post-Soviet states. His films, such as Maidan (2014), The Event (2015), and Babi Yar. Context (2021), are known for their use of archival footage, long static shots, and minimal narration, techniques he employs to provoke viewer engagement with historical consciousness.

At Visions du Réel, one of Europe’s leading documentary festivals, Loznitsa participated in a masterclass and Q&A session where he discussed the ethical and aesthetic considerations of filming in regions marked by conflict, censorship, and contested memory. He emphasized that his approach is not about capturing objective truth but about constructing a cinematic experience that invites critical reflection.

Loznitsa, born in Belarus in 1964 and raised in Ukraine, has frequently addressed the complexities of representing Eastern Europe without resorting to stereotypes or external gazes. His work often originates from deep archival research, drawing on state newsreels, amateur recordings, and propaganda material, which he recontextualizes to reveal underlying ideologies and social rhythms.

His 2021 film Babi Yar. Context, which premiered at the Cannes Film Festival, exemplifies this method. Composed entirely of newly discovered and restored footage from 1941–1943, the film documents the Nazi occupation of Kyiv and the massacre at Babi Yar without voiceover or explanatory text, relying instead on the cumulative power of image and sound to convey historical weight.

Speaking at the festival, Loznitsa noted that breaking formal rules in documentary filmmaking allows for a more honest confrontation with difficult histories. “When you remove the safety nets of narration or interview,” he said, “you force the audience to look, to listen, to question what they are seeing—and what is being withheld.”

The Visions du Réel festival, held annually in Nyon since 1969, has long served as a platform for innovative nonfiction cinema. Loznitsa’s recognition as guest of honor reflects his influence on contemporary documentary practice, particularly in expanding the formal possibilities of the medium to engage with historical trauma and collective memory.

His presence at the 2026 edition also highlighted ongoing conversations within the documentary field about representation, authority, and the filmmaker’s responsibility when depicting regions undergoing rapid transformation or historical reevaluation. Loznitsa’s stance—that rules are meant to be tested—continues to shape debates about authenticity, ethics, and innovation in nonfiction storytelling.