Polish filmmaker Maciek Hamela's uniquely empathetic documentary, his directorial debut, centers on the Ukrainian citizens he helped to evacuate to Poland, as a volunteer driver, after the Russian invasion in February of 2022.
Over the course of filming, over one-third of the country would abandon their homes. Hamela's minivan seats up to nine people, and for most trips, every seat is filled. The director doubles as a dispatcher by reaching out to other drivers whenever he runs out of space. All the while, news on the radio reports on the hundreds who have gone missing or been killed.
Though the faces change, Hamela's approach remains consistent as one of four camera operators, situated in the passenger seat, capture the riders as they talk to each other or to the Russian-speaking director. A young man says he left behind his house, his car, his television, and even his dogs, which he set free. An older couple mourns Beauty, the "good Ukrainian cow" they couldn't bring with them, while a three-year-old boy misses the grandmother who stayed behind. A young woman, meanwhile, holds onto a wobbly basket in which an unhappy cat expresses its displeasure--evacuation is hard on everyone.
For all they're leaving behind, the passengers also reflect on their reasons for leaving. One woman talks about the makeshift graveyard in front of her apartment building filled with the bodies of neighbors who died from schrapnel wounds--with timely medical attention, they could have been saved. Another woman talks about her mother's death in a fire, and the third-degree burns her father suffered in trying to save her. Another man talks about multiple interrogation sessions by Russian agents.
Over the course of several trips, Hamela passes bombed-out buildings, military tanks, and mangled cars, in addition to picturesque forests, calm lakes, and flocks of birds. Towards the end of the film, he serves as an ambulance driver for an injured Congolese refugee with no other means to get to a Warsaw hospital that can treat her injuries. She had relocated to the Ukraine to study petroleum engineering. As the film goes on, Hamela focuses even more on the children, like a girl traumatized into silence after an explosion blew the door of her home off its hinges and another who quietly states, "I want to go home."
Hamela doesn't follow every passenger to their final destination, but he does capture one emotional reconciliation before ending on a sustained shot of the empty van. Whether he's returning home or ending his volunteer service, the vehicle seems haunted in that moment, a symbol of the six million people who had fled the Ukraine since the invasion began, one million to Poland.
There's nothing overtly political about this or any of the images in the film, but Hamela's stance is clear: these people don't deserve what happened to them. He was just one person doing what he could to help. In the process, he made a film quite different from 2023's conflict-focused 20 Days in Mariupol, which won the Oscar for Best Documentary, but just as essential in showing the world the cruelty the largest country in the world has inflicted on a smaller one in pursuit of their mineral-rich land.
What public library shelves would this title be on?
In the Rearview would be best placed in the Eastern European and documentary sections in both public and academic libraries. Given its focus on the geopolitical context of Eastern Europe, especially Ukraine and Russia, libraries with a strong collection in world history, political science, or international relations would benefit from including this film. It also fits well on shelves dedicated to current affairs or war documentaries, particularly those exploring modern conflicts and their social and political impacts.
What academic subjects would this film be suitable for?
In the Rearview is ideal for courses in Eastern European Studies, History, and Political Science, especially those examining the history of Ukraine and the Russo-Ukrainian War, with a particular focus on the Russian invasion of 2022. The documentary can also be an excellent resource for International Relations courses discussing modern conflict, war, and its effects on civilians. Furthermore, it can contribute to discussions in Media Studies or Journalism classes about the role of media in conflict reporting.
What schools or colleges is this documentary appropriate for?
This documentary is suitable for a wide range of educational levels. Colleges and universities offering courses on history, political science, or international relations would find it an insightful addition to their curriculum. The documentary could also be appropriate for advanced high school students studying modern world history or contemporary conflicts. The depth and mature subject matter make it better suited for upper-level students, although some high school programs might include it for its educational value on current world events.
What is the Public Performance Rights cost?
For public screenings or institutional use outside of private viewing, In the Rearview is available with Public Performance Rights (PPR) for $200. This allows libraries, schools, or organizations to host screenings, whether in classrooms, community centers, or at events open to the public. The cost of PPR ensures that the film can be shown legally in a public setting, and it is typically required when screenings extend beyond a private or personal viewing context.