To the Victory! Review: Search for Meaning

To The Victory! is a reflective post-war drama with strong performances that explores family, loss, and artistic frustration.

Valentyn Vasyanovych’s To The Victory! is a film that is equal parts personal reflection and national meditation. Set in 2026, just a year after Ukraine’s war has ended, the movie doesn’t depict bombings or soldiers but instead focuses on what lingers in the silence afterward: fractured families, interrupted dreams, and the fragile hope that life can feel normal again. Vasyanovych, who not only directs but also writes, edits, and handles cinematography, delivers a vision that is deeply personal. Because Vasyanovych pours himself into every aspect of the production, the film feels undeniably personal, yet its many ideas don’t always cohere as powerfully as intended.

One of the most striking elements of To The Victory! is its camera work. Cinematographers Mykhailo Lubarsky and Vasyanovych opt for a handheld approach in some scenes and static shots for others, giving the story a grounded, intimate feel. The shots often follow characters through everyday routines, letting small details reveal the weight of larger conflicts. This choice gives the film its greatest strength: a sense of realism that keeps you invested even when the narrative pacing slows. At times, it resembles less a scripted story and more the raw flow of life quietly unfolding.

The performances also carry a lot of weight. Vasyanovych himself steps into the role of Roman, and while he doesn’t dazzle with raw emotion, his presence feels authentic. The chemistry with Hryhoriy Naumov, playing his son, is especially strong, portraying a believable bond strained by absence and uncertainty. Marianna Novikova, though seen less often, adds another layer to the story by embodying the emotional distance of someone who has chosen stability abroad rather than return to the ruins of a former home.

Still, To The Victory! struggles to fully realize its potential. The slow pacing is one issue, but it’s compounded by thin characterization. Roman’s frustrations and inner conflicts are clear, but his wife and daughter feel more like narrative devices than fully developed characters, leaving parts of the emotional core underexplored. While the film wants to wrestle with themes of artistic frustration, family estrangement, and post-war healing, it often feels more like sketches of these ideas rather than a complete exploration.

There’s also a noticeable lack of dramatic momentum. Scenes linger a bit too long without building toward anything more impactful, and while the intention is to capture realism, the effect is often distancing. Even the emotional beats that should resonate, moments of father-son connection or the tension between Roman and his estranged family, don’t land as strongly as they could. For a story that is so rooted in loss and longing, the film keeps viewers at arm’s length, never quite finding the raw vulnerability it seems to be reaching for.

That’s ultimately why To The Victory! lands as a respectable but somewhat underwhelming effort. Its vision is clear, its execution precise, but its emotional impact falls short of its ambitions. The handheld cinematography and believable performances stand out, but scattered storytelling, underdeveloped characters, and a lack of urgency keep it from becoming the powerful reflection it aims to be. Despite all of this, I still quite liked it.

To The Victory! was screened at TIFF on September 6, 2025.