This year’s Berlin Film Festival is showing only one film from Ukraine: the documentary film Traces was tapped to represent the country. Traces tells the stories of women who survived rape and violence during the war in Donbas and Russia’s full-fledged invasion of Ukraine.
“I always wished one thing for my pupils: that they would never be forced to take up arms,” Liudmyla Mefodiivna, a teacher of Ukrainian language and literature, says in an interview with Deutsche Welle.
The elderly woman, who taught school for forty-five years, was tortured and raped by a soldier after pro-Russian militias arrived in her village. As he was leaving, her tormentor left a bullet on the table as a warning and a threat: “I’ll come back and kill you if you so much as peep.” The teacher’s story, along with [five] other stories of violence and horror, is recounted in the documentary film.
“The occupiers came, and the majority of my pupils rose to Ukraine’s defense. Many of them have been killed, while others have been taken captive or returned from the front severely wounded. It’s terribly painful to witness and survive this. Ukraine is now flowing with blood, and mothers weep over the bodies of their sons, husbands, and family members. Four men have been killed in our family alone, leaving behind young children,” says Mefodiivna.
She recalls that she was unable to talk about her experience for a long time. Her family insisted, though, that her testimony of the atrocity must be heard.
“They beat me, choked me, cut me, knocked out my teeth, and broke my ribs,” Mefodiivna says. “They robbed me of my health. Thanks to the support of these wonderful women I met, I was finally able to start talking. I began to tell my story. I want the whole world to know about the crimes Russia has been committing, about how it has tortured and abused Ukrainians.”
Directors Alisa Kovalenko and Marysia Nikitiuk, along with six of the film’s protagonists, have traveled to the Berlinale to present the film, a testament to their pain. All of them are members of SEMA Ukraine, an organization which helps women who have survived violence. As they sit down for interviews, it is particularly noticeable how nervous they are: their hands are shaking.
Olga from Kherson spent one hundred days in captivity with her son and her husband.
“I was ashamed to talk about [the Russians] did to me. Getting to know the organization was like a breath of fresh air for me,” Olga says. “Now we help other women, and men too. Because men have also been victims of sexualized torture, and yet this is hardly ever discussed.”
Seventy-two-year-old Nina is the most emotional during the interview. She almost immediately begins to weep as she recalls how the war first destroyed her home, and then her life.
“I thought I would have a quiet life in the village, planting trees and waiting for grandchildren. But then the tanks came and the earth burned. And then the monsters came. . . .”
Nina’s face is wracked by sobbing, shame, and grief.
The voice as a weapon
It is shame that prevents victims of violence from testifying against their aggressors, meaning that wartime victims of sexual violence are effectively ignored in the official statistics. When talking about civilian casualties, the focus is usually on those who have been killed, wounded, or taken prisoner.
“Those who have survived sexual assault, including in captivity, often go unnoticed and do not receive housing, medical, or mental health assistance from the state. Many suffer from stigmatization, and some cannot cope with what they have experienced,” says the SEMA Ukraine booklet.
The women are fighting to be heard.
“Our voices are the weapons that will punish the perpetrators,” the organization tells victims of violence.
“When I started talking about what I’d survived (this was before the full-scale invasion), I often encountered people seemingly switching off. When I would try to tell them about the most terrible things which had happened to me, their eyes would go blank. They would stop hearing what I was saying. It was like an internal defense mechanism, when what you’re listening to is too painful and unpleasant that you just don’t take on board what’s being said. I believe that this film can break down this barrier, and that after seeing it, people will no longer be able to shut their ears again,’ says SEMA Ukraine founder Iryna Dovhan.
The film opens with Dovhan’s story. In 2014, she was captured by pro-Russian armed groups in Donbas for aiding Ukrainian soldiers. After torturing and abusing her for several days, the pro-Russian militiamen tied her to a pole in downtown Donetsk, wrapped her in an Ukrainian flag, and hung a sign on her that read, “She is murdering our children.” The city’s residents visited the captive to hit, spit on, and insult her.
Dovhan was lucky in some sense: a picture of the helpless woman tied to a pole was taken by a western photographer covering the conflict in Donbas. The photograph was picked up by international media outlets, and Dovhan’s captors were forced to release her.
“I hope that the world will stand with us. I hope that the world will understand that we don’t need sympathy—‘oh, those poor women’—but a joint campaign to make sure this does not happen again in the future and the perpetrators are punished. Otherwise, evil will return again and again,” says Dovhan.
After what she survived, she found the strength to unite and support other women who had suffered.
How the film Traces came to be
The film’s co-director Alisa Kovalenko was also tortured and raped, but she found help at SEMA Ukraine.
“My journey to this film took twelve years. In 2014, I was captured in Donbas and suffered violence. For a long time, I couldn’t talk about it. When I first gave my testimony to human rights activists from the Helsinki Group, I asked, ‘Have you heard many stories like this before?’ They replied, ‘No. You are the first’. It was a shock. I knew there were many more of us, the people whom I had seen with my own eyes in captivity—both men and women.”
The filmmaker describes meeting other women who had gone through the same ordeal as a turning point.
“We sat down together for the first time and started talking. We experienced healing. We felt that we were not alone. And we began to break down the wall of silence step by step.”
It became clear that the traces of the atrocities had to be preserved, but for the filmmakers—Alisa Kovalenko was soon joined by Marysia Nikitiuk—it was extremely important to settle on the right narrative form to preserve the dignity of the victims and not traumatize viewers. Many things in the hours-long filmed accounts of torture, rape, and humiliation did not make it into the final cut.
“We wanted to shove all the worst things in the audience’s faces and shout, ‘Look what they’ve been doing to us!’ But we tried to strike a balance. This film is not meant to shock the viewer. It’s about dignity, about the light that is born in spite of evil. We learned to talk about it the right way, without retraumatizing either the protagonists or the audience. It’s a victim-centered approach,” says Kovalenko. “Some stories were left out due to limited running time—for example, how women in captivity were starved and would share one dumpling a day between four of them, or were forced to sing the Russian national anthem to be allowed to go to the toilet. But these testimonies exist—in books, in human rights reports, in memory.”
Laying the foundations for memory was the goal of the filmmakers. That is why, in Berlin, the women come onstage and recount their experiences once again to the audience, thus overcoming their pain.
“The war gradually fades into the background. Tragedy turns into statistics, and statistics become routine, and that is terrifying,” the filmmakers note. “Traces resurrects the names. They are no longer numbers, but flesh-and-blood women who look the viewer in the eye and speak. A tragedy should have names, not be turned into statistics.”
Source: Marina Konstantinova, “Berlinale film recounts Russian Army’s violence against Ukrainian women,” Deutsche Welle Russian Service, 17 February 2026. Translated by the Russian Reader
