The highly anticipated documentary Front Row, directed by Miriam Guttmann, will have its world premiere at DOC NYC 2024, showcasing the incredible journey of Ukrainian ballet dancers living in exile. The film explores the convergence of art and adversity, set against the backdrop of the ongoing war in Ukraine, and features a cast that includes Oleksandr Budko, Alexis Tutunnique, Vladyslav Bondar, and Iryna Zhalovska.

The world premiere will take place on Saturday, November 16, 2024, at 6:15 PM at the Village East by Angelika, followed by a second public screening on Sunday, November 17, 2024, at 8:45 PM at the IFC Center.

Front Row tells the gripping story of a group of young ballet dancers, exiled from Ukraine, who come together in the Netherlands to form the United Ukrainian Ballet Company. Amidst their journey to preserve their culture, they welcome Oleksandr, a soldier who has lost both legs in the war, into their midst. As Oleksandr takes his first steps with freshly fitted prosthetics, he discovers a passion for ballet, collaborating with his fellow Ukrainians to create an original piece of choreography.

In Front Row, Oleksandr becomes a living symbol of resilience, representing the fathers, brothers, and friends the dancers have left behind. Together, they confront their trauma and channel their grief into their artistry, taking the stage where the front row and the front line converge.

Director Miriam Guttmann draws from her own personal history to bring Front Row to life. Guttmann's grandfather, a Jewish refugee, fled Poland during World War II, ultimately finding solace and identity through theater in the Netherlands. Her own experiences as a ballet dancer for over 15 years also resonate deeply in this film, as she explores the role of dance in expressing the unspoken emotions of those displaced by war.

Front Row is executive produced by Sarah Jessica Parker, Alison Benson, Bart Meuter, and Jay Ruderman, with a talented production team including Lia Fells and Isidoor Roebers. The film is not only a story of survival but also one of finding hope and purpose through the power of art. Parker, who is a vice chairman of the Board of Directors for the New York City Ballet, describes Front Row as a testament to the perseverance of the human condition amidst the punishing backdrop of war.

11/12/24 10:30 a.m. EST. New York, New York

Jonathan Moustakas: The film was incredibly moving and emotional, truly capturing the resilience of these dancers and their story. I want to dive into the emotional and artistic journey behind the film, and what initially drew you to this particular story. What brought you to these individuals and what inspired you to explore the narrative of their exile?

Miriam Guttmann: My producer, Lia Fells, from Scenery, actually asked me to do a film about the United Ukrainian Ballet. It’s a deeply personal story for me in many ways. Firstly, my grandfather was a Jewish refugee who was forced to flee his home country of Poland during the Second World War. He ended up in the Netherlands as a stateless citizen after years of suffering and persecution. Remarkably, and fortunately, he succeeded in rebuilding his life as a theater director. Through his art, he was able to reclaim his identity.

I’ve always wanted to include dance in my films as I danced ballet for 15 years. As a documentary filmmaker, I’m always looking for multi-layered, character-driven stories with a strong sense of urgency. This story stood out by interweaving the current war in Ukraine with the power of art. These dancers in Front Row use their talent and their dance as a way to preserve their humanity.

Jonathan Moustakas: Given the circumstances surrounding the war, did you have any hesitations about taking on a story that intertwined the themes of war, art, and exile?

Miriam Guttmann: No, I didn’t. I think art and culture are often crucially overlooked casualties of war, and that’s why the United Ukrainian Ballet was founded—to help preserve and showcase Ukrainian culture globally. I think that art and culture represent people’s or a nation’s identity, and during times of war, the oppressor often wants to erase the culture of the oppressed. So, I felt a huge urgency to tell this story.

Also, in times of war, people are often reduced to numbers. When we read the news, we read about numbers, not about people. As a documentary filmmaker, it’s my job to bring back these human stories behind the numbers. When the war broke out, I knew immediately that I wanted to make a film about people affected by the war. I feel very lucky to have found this story, and I hope I’ve done justice to telling it in a personal way—especially since, two and a half years later, people have become numb to the developments in Ukraine. It’s my job to keep shining a light on the atrocities and injustices that are still happening.

Jonathan Moustakas: I think the film did that beautifully, and it really speaks truth to power. In the film, ballet is definitely a form of art, but it also seems like a medium of resistance. How do you see the role of ballet in this story—beyond the artistry—as a symbol of something greater, and what did it mean to these dancers?

Miriam Guttmann: I think you put it beautifully—it is a form of resistance. All the dancers battle with a sense of guilt. Throughout the entire filmmaking process, they questioned whether what they were doing was enough, and if they should be on the frontlines fighting instead. Oleksandr’s presence confronts the exiled dancers with the reality of the war they fled from and the sacrifices he had to make. It forces them to question if what they’re doing is enough.

Ultimately, I think Oleksandr also gave them the feeling that they are doing enough, and that they need to fight on different fronts. There are definitely parallels between the discipline required in ballet and the survival instinct needed to live in an occupied country.

Jonathan Moustakas: Do you think ballet conveys emotions in a way that traditional dialogue or interviews can’t?

Miriam Guttmann: Absolutely. Dance speaks to a level beyond language. I hope that the dance scenes in the film convey the inner struggles these dancers are battling with. I think it comes across in a beautifully sharp and open way.

Jonathan Moustakas: Alexis and Oleksandr are obviously central figures in the documentary. Their individual stories shaped the overall narrative and gave it a narrative arc closer to a feature film rather than a traditional documentary. Do you hope that audiences take something particular away from their journey?

Miriam Guttmann: Both of them are determined and dedicated to fighting for their country. When fighting on the frontline was no longer possible for Oleksandr because of his injury, they found each other through continuing their fight via the power of dance and culture. It was beautiful to see how their friendship developed over the course of making the film. Today, they describe each other as brothers. I think it’s admirable how, even after suffering such a physical injury, Oleksandr remains mentally strong and resilient, continuing to fight for what he believes in. The same applies to Alexis, who supports soldiers on the frontline while still dancing and performing at a high level.

Jonathan Moustakas: Did you find it challenging to build trust with them early on in the film?

Miriam Guttmann: Normally, I’m used to doing extensive research prior to filming, but for this film, that sort of happened simultaneously. Meeting Oleksandr, we just started filming right away, which is not how I usually work, but it was necessary to be present for those early developments.

Jonathan Moustakas: You touched on it earlier, but what challenges did you face in balancing their survivor’s guilt with their drive to perform and rebuild?

Miriam Guttmann: The biggest challenge was filming where they were performing, rehearsing, cooking, and living. It was all very intimate. The dancers were really close with the crew, and we had a great relationship. But as a filmmaker, I’m also a human being, and sometimes it’s difficult to film scenes that are very intimate but necessary for the story. You’re really in someone’s personal space.

Jonathan Moustakas: Did you witness any specific ways in which the dancers supported one another emotionally during the filming that really stuck with you?

Miriam Guttmann: Yes, they were living with one another and supporting each other constantly. They’re like a family now. They do everything together—work, live, eat, and share bad news. That closeness was very evident throughout the filming.

Jonathan Moustakas: As a documentary filmmaker, you can’t plan for every moment, especially in an uncertain situation. How did you prepare for unexpected moments, and were there any major surprises that shifted the narrative?

Miriam Guttmann: The biggest surprise was Oleksandr joining the film. My DP and I have strict rules on how we film. We always use a 35-millimeter lens and stay physically close to the characters. That closeness allows the audience to feel present, and it was very important for this project. We didn’t know one scene ahead, and that was a challenge. But when Oleksandr joined, I knew we had a film.

Jonathan Moustakas: You mentioned your crew earlier, but I have to ask about Sarah Jessica Parker. She’s an EP on the film—how did her perspective shape the documentary?

Miriam Guttmann: Sarah Jessica Parker and her team—Alison Benson, Claire, and Gaby—were amazing to work with. They gave us helpful feedback during the edit, and they were involved throughout the process. Their perspective, being American, helped me re-edit certain scenes to make them more internationally appealing, even on a music level. It was a very collaborative and supportive process.

Jonathan Moustakas: You talked about different audiences—do you see Front Row as a form of cultural diplomacy, perhaps bridging the gap between Western audiences and what’s still happening in Ukraine through the lens of ballet?

Miriam Guttmann: I hope so. There are, of course, many films on the war in Ukraine, and I hope that through the power of art, this film is accessible to a large audience.

Jonathan Moustakas: Have you seen any reactions from audiences of different cultural backgrounds?

Miriam Guttmann: Not yet. The premiere will be on Saturday. But I did let the dancers watch the film before the final edit, as well as Oleksandr, and they were all very moved. It’s always important for me to see how the subjects respond to the film, and if they’re happy, then I feel I’ve achieved my goal.

Jonathan Moustakas: Can you share some insights into your stylistic choices in cinematography and music? I know you worked with Christian and Ernst.

Miriam Guttmann: Ernst Reijseger, who is the main composer for Werner Herzog, was the composer for this film, and it was a huge honor to work with him. He came to the studio with his cello and responded to the edits I’d made. I was also there when he recorded with his pianist. He’s wise, intuitive, and very talented.

Christian and I went to film school together, and this was our first big project. He’s a dear friend and very good with the subjects, which makes a huge difference when the subjects are comfortable with the person filming them. Christian makes beautiful shots, but he always prioritizes the content of what we’re filming over aesthetics.

Jonathan Moustakas: Were there visual metaphors that helped represent the dancers’ journey, or was it more of a day-to-day process?

Miriam Guttmann: It was more day-to-day, but the most important rule was being physically close because the trust and relationships were there. It’s important for the viewer to feel permitted to be present in these intimate moments, such as Oleksandr’s conversations with his father from his bedroom.

Jonathan Moustakas: Given the emotional journey and the insight into these dancers’ lives, what do you hope audiences take away from this film?

Miriam Guttmann: I think the resilience of Oleksandr and the dancers is truly inspiring. Despite everything, they continue fighting for what they believe in, dancing at a high level, and representing their country on the international ballet stage. All my main characters changed me, and in these politically harsh times, I think of them often. If they can continue, then anyone can.

Jonathan Moustakas: That’s perfectly put. Last question: Looking beyond Front Row, has this experience changed the type of stories you want to work on in the future? Is there a particular topic you’re eyeing for your next film?

Miriam Guttmann: This film taught me that when a subject has potential, you should just go for it, even if you don’t know what the ending will be like. I like to be in control as a director, but this film taught me that beautiful things can happen when you let go.

I’m currently working on a photo and film project called Seahorse Parents, which captures pregnant transgender men underwater. I’m also working on a feature-length documentary about Sanda Dia, a boy of color who tragically died during initiation rites in an elitist fraternity. I want to shine a light on his case so that such things never happen again.

Jonathan Moustakas: That’s incredibly important topic. I’ve had some personal experiences with that, so I definitely advocate for those stories being told. Thank you so much for your time, Miriam. I enjoyed the film and wish you all the best of luck.

Miriam Guttmann: Thank you so much, Jonathan.

Be among the first to witness this powerful film that transcends traditional narratives of war by highlighting the strength and resilience of artists. Front Row is a timely reminder of the importance of culture, even in times of adversity, and a call to the power of art as resistance.

Public Screenings:

• Saturday, November 16, 2024, at 6:15 PM at Village East by Angelika

• Sunday, November 17, 2024, at 8:45 PM at IFC Center

Don't miss this opportunity to see Front Row and experience a story that speaks to the indomitable spirit of the human heart.