Documentary series 'Kyiv of Mine' traces city from creative boom to wartime reality

Prefer on Google D by Diana Delyurman Cinematographer Anton Tkachenko and Kyiv-born artist Olha are seen in her art studio in Kyiv, Ukraine, during the production of the YouTube documentary series "Kyiv of Mine" in February 2026. (Ronnie Apteker) The documentary project "Kyiv of Mine" began as a portrait of Kyiv's creative class in the aftermath of the EuroMaidan Revolution. After Russia's full-scale invasion, it became a record of how war reshaped the city and the people in it, released at a time when its creators say international interest in Ukraine is fading. "When the full-scale war began, this film became more about Ukrainian identity," producer Ronnie Apteker said. That shift runs through the series, which has followed more than a dozen Kyiv residents over the past eight years, from artists and programmers to lawyers, professors, and entrepreneurs. The filmmakers have now released the chapters for free on YouTube , hoping to reach audiences abroad despite what Apteker describes as growing "Ukraine fatigue." For viewers trying to understand how the war changed Kyiv, the series is worth seeking out. "Kyiv is a creative powerhouse for fashion, filmmaking, food, advertising, and IT. The city was on track to become the next Berlin. I'm sure that is still ahead of us," Apteker said. Apteker, a 58-year-old entrepreneur originally from South Africa, has lived in Kyiv for over 10 years. Having fallen in love with the country, he wanted other foreigners to see the city through his eyes, stripped of stereotypes and prejudice. Apteker often heard things about Ukraine that didn’t reflect reality — for example, references to the mafia and widespread organized crime. “Yeah, there’s a mafia here. And it makes sushi and pizza,” Apteker jokes, referring to the ubiquitous Ukrainian restaurant chain of the same name. As he says, foreigners are often surprised to learn he has spent so many years in Ukraine. “But why?” they ask. For him, the appeal of living here has always been obvious. “My friends from the U.S. came to visit a few times. They told me how impressed they were by the delicious food in Kyiv. They also loved the rich culture and the warmth of the people,” Apteker says. The film’s structure and a selection of real-life protagonists reflect this mission. The first chapter captures a period of growth as Ukraine deepened its European integration and built new institutions. In these early segments, the protagonists radiate vibrancy and optimism, frequently sharing jokes. The film brings together a mosaic of Ukrainian society: a chef, an artist, a programmer, a tech entrepreneur, a lawyer, a property developer, a filmmaker, and a professor. Each offers a unique perspective on a singular theme: the Ukrainian Dream. "To understand the Ukrainian mentality," explains Yevhenii in the film's first chapter, "you have to realize we want just one thing: to be left the hell alone." Later, Yevhenii—a Kyivan programmer and martial arts enthusiast—joins the other protagonists in explaining the core of the Ukrainian mindset. He breezes through a three-minute history of struggle: for centuries, various powers tried to conquer these lands. Whether paying tribute or fighting back, the Ukrainian plea has always been simple: leave us in peace. In the second chapter, the tone shifts dramatically. Somber expressions replace the smiling, optimistic faces as the protagonists tell how the full-scale invasion started for them. Instead of discussing the growth of the IT sector or a cultural boom, they speak of war crimes and Russian atrocities. Unintentionally, the filmmakers began creating a historical artifact of the protagonists' transformation. The experience of 30-year-old Olya, an artist, serves as a clear example. Early in the film, she appears almost otherworldly, singing 'Can't Help Falling in Love' on a ukulele and describing how her pet rabbit inspires her work. This ethereal presence stands in contrast to the second chapter, where viewers learn she chose to remain in Kyiv throughout the initial Russian attempt to seize the city. "For many months, I didn't want to do anything. I felt like a stone. I hid all my feelings inside," Olya explains. Entrepreneur Christina looks up at the sky in a park during the filming of the documentary series "Kyiv of Mine" in central Kyiv, Ukraine, in August 2023 (Ronnie Apteker) For several months, Olya’s creative work remained at a standstill. She eventually regained her inspiration by producing drawing tutorials for children, though reconciling her art with the reality of the war remains a significant hurdle. 'It’s damn hard to accept the war in my homeland,' she says. Hlib, a professor of economics, moves from hatred to an acceptance of reality: that the Russian threat is like a natural disaster — something that simply exists. "Europeans think, 'Why would you care about borders in the 21st century?'" Hlib says in the second episode. "They don’t realize that crossing a border takes you to a completely different civilization." Beyond the physical dangers of filming during wartime, the creators faced another challenge: distribution. Many distributors claimed that Ukraine was no longer “marketable” to global audiences. "A representative of one major distributor told me: 'I’m not going to watch this film because nobody cares about Ukraine,” Apteker recalls. While the words were difficult to hear, Apteker realized the distributor wasn't lying. Interest abroad has indeed waned. Although Kyiv of Mine is available for free, views have been measured in the thousands since its release last year on August 24, Ukraine’s Independence Day. A screengrab from the documentary series "Kyiv of Mine" in central Kyiv, Ukraine. (Anton Tkachenko) Despite the struggle, Apteker refuses to give up. Comments from viewers in the U.S., Canada, Japan, and Australia provide the fuel to keep going. The international audience remains the film’s primary target. The team is a blend of international and Ukrainian talent, including cameraman Anton Tkachenko, screenwriter Craig Freimond, editors Jolyon Ellis and Janine King, and producers Anton Tkachenko and Ronnie Apteker. This small group is now working on the fourth chapter, titled “Exhaustion,” which is slated for release on Ukraine's next Independence Day. The filmmakers plan for the project to span six chapters in total, with the final one set to carry the greatest weight. “It will be about what happens in Ukraine after the war. Because the story is far from over,” Apteker explains.