If Intercepted refuses explicit utterance to the Ukrainian perspective, dwelling laterally instead, another documentary, Olha Zhurba’s Songs of Slow Burning Earth (2024), spells it out directly and unambiguously. One of the latter’s insistent, urgent scenes arrives in the concluding section. At a high school, several thousands of miles from the frontline, students are asked, “Do we have the right to dream, to feel joy, while Ukraine is at war?” It’s a piercing question, but answers come swift: A resounding yes. An invitation to envisage the future of Ukraine ensues. However, rather than a sweeping span, the Ukrainians perceive their future within a more immediate window. It’s not a matter of decades yet to come, but an appraisal of a couple of years. They can’t look beyond a shrunk notion of time. Nonetheless, the onus to imagine the future can be borne only by them. Peace, a creatively flourishing country with no tight borders, development and freedom—this is what the youths yearn for. “What are you willing to do for it to become that?” the teacher asks. Right after, elsewhere at a Russian state school, youths receive military training. The juxtaposition hits with immediacy.