---
title: "20 Days in Mariupol"
year: 2023
kind: "film"
canonical: "https://film.one/film/20-days-in-mariupol"
fi1m_id: "20-days-in-mariupol"
imdb_id: "tt24082438"
tmdb_id: 1058616
wikidata_id: "Q116542843"
fi1m_score: 92
critics_score: 95
critics_reviews: 6
published: "2026-09-15"
updated: "2026-09-18T08:38:33.569546+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# 20 Days in Mariupol (2023)

Directed by Mstyslav Chernov · 1h 34m · MPA NR · Documentary, War

## Identity

20 Days in Mariupol

- **Canonical:** https://film.one/film/20-days-in-mariupol
- **Type:** Film
- **Fi1m ID:** 20-days-in-mariupol
- **IMDb ID:** tt24082438
- **TMDB ID:** 1058616
- **Wikidata ID:** Q116542843
- **Same entity:** https://www.imdb.com/title/tt24082438/, https://www.themoviedb.org/movie/1058616, https://www.wikidata.org/wiki/Q116542843

**Fi1m score: 92** · Critics 95 from 6 reviews

*In a sentence:* The civilians begging to be filmed are harder to forget than the wreckage

> We strongly recommend Mstyslav Chernov’s documentary about the siege of Mariupol, with a firm warning about its distressing images. The civilian testimony commands attention, although the sombre narration sometimes presses harder than it needs to.

## Synopsis

Director Mstyslav Chernov appears as himself, narrating and conducting interviews in this war documentary. Evgeniy Maloletka also appears as himself and supplies the cinematography. The people on screen include Liudmyla Amelkina, Zhanna Homa and Oleksandr Ivanov, each appearing under their own name rather than playing a fictional character. Irina Kalinina, Volodymyr Nikulin and Anastasiya Yerashova also appear as themselves. Chernov writes and directs the film, with Michelle Mizner editing the documentary footage and Jordan Dykstra composing the music that accompanies it.

## Review

*20 Days in Mariupol* is an exceptional piece of reporting, and a film we recommend with a firm warning about the distress it causes. Director Mstyslav Chernov records civilians under siege at the beginning of Russia’s invasion, staying close to people whose immediate task is to survive. He also narrates, giving the account an identifiable person behind the camera. The purpose is plain enough: to show what happens to civilians when their city is attacked.

Evgeniy Maloletka’s cinematography has the instability of a camera being used under threat. Damaged buildings and distressed civilians are recorded from the ground, close enough that we have to work to understand what we are seeing. The shaking can be exhausting. It also makes the confusion felt without preventing us from recognising individual suffering. The footage’s roughness helps us understand the conditions in which it was made, and there is little temptation to admire a composition while overlooking its subject.

We were horrified by the footage of injured children and their parents’ distress. Chernov keeps the human consequences of the bombardment before us long enough that we cannot absorb them as another piece of news and move on. The parents command our attention as completely as the wounds. These passages are difficult to sit through, and the difficulty is inseparable from what they show.

Michelle Mizner’s editing has the difficult job of condensing the reportage into 94 minutes without making the siege look orderly. The accumulation of injuries, wrecked buildings and people needing help remains comprehensible. Mizner gives the human encounters room to register, so the damaged buildings do not become the film’s only measure of destruction. We can follow the account without being offered a tidy explanation for each person’s experience. That clarity matters when so much of what is being recorded is confusion.

Chernov’s sombre narration is less convincing when it seems to underline an emotional response the footage has already produced. His presence is useful: a named witness helps us understand whose account we are hearing. But some of the emphasis feels unnecessary beside the directness of the civilians’ distress. Jordan Dykstra’s music adds another prompt to feel the gravity of what we are seeing, and we rarely need it. These are limited objections, though the plainest passages make us wish the film trusted its recorded voices a little more.

The residents who ask the journalists to record what is happening complicate the question of when a camera should be put down. Their requests give the journalists a job they want done, even when watching feels intrusive. The account of Russian disinformation also explains why those pictures matter beyond the immediate experience of seeing them. As a war documentary, it makes a persuasive case for eyewitness reporting by showing who needs it. Chernov keeps our attention on those civilians and resists making his own courage the main subject.

The film offers little relief, and its 18 certificate should be taken seriously. This is not something to put on while deciding how much attention to give it. Anyone who finds footage of injured children intolerable should heed that warning without apology. For those who decide to watch, we would suggest leaving some quiet afterwards.

*Fi1m score 92, published 15 September 2026.*

## What the critics say

The reviews are uniformly positive about 20 Days in Mariupol, with praise centred on the immediacy of its eyewitness footage and its record of civilian suffering. Critics repeatedly single out the journalists’ work inside hospitals and amid the city’s destruction, finding the images deeply upsetting but necessary to confront. The narration also draws praise for guiding viewers through the collapse of ordinary life, while the reporting is valued for documenting events that Russian disinformation seeks to deny.

The differences concern emphasis rather than substantial objections, and there is no negative dissent in the supplied reviews. Time Out notes the lack of hope found in comparable documentaries, though it praises Chernov’s refusal to put himself at the centre. Paste questions the usefulness of conventional judgements about film quality here, concentrating instead on the footage’s immediacy and the obligation to bear witness.

## Straight answers

**Is 20 Days in Mariupol worth watching?**

*20 Days in Mariupol* is worth watching for anyone prepared for a distressing record of civilians under siege, and we scored it 92. Mstyslav Chernov's reporting keeps injured children and their parents before us for longer than the news would allow. The sombre narration and Jordan Dykstra's music sometimes press harder than the footage needs, but this is a limited objection.

**How long is 20 Days in Mariupol, and what is it rated?**

*20 Days in Mariupol* runs 1h 34m and is rated NR by the MPA in the US. It is a documentary and war film.

**Where can I watch 20 Days in Mariupol in the US?**

*20 Days in Mariupol* is streaming on Amazon Prime Video in the US, and it is also available to rent from Amazon Prime Video from $1.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is 20 Days in Mariupol, and is it suitable for children?**

*20 Days in Mariupol* is an 18 certificate in the UK, and the rating should be taken seriously: it contains real footage of injured children, distressed parents and wrecked buildings, with almost no relief. It is not suitable for children, and anyone who finds footage of wounded children intolerable should stay away. For adults who do watch, we would suggest leaving some quiet afterwards.

**How does 20 Days in Mariupol compare to For Sama?**

*20 Days in Mariupol* is a journalist's account of the siege of Mariupol, while [*For Sama*](https://film.one/film/for-sama) is Waad al-Kateab's record of the siege of Aleppo addressed to her infant daughter, so the earlier film is the more personal of the two. Both are hard to sit through and both we recommend. Choose Chernov's film for eyewitness reporting, and al-Kateab's for a single family's endurance.

**What should I watch after 20 Days in Mariupol?**

After *20 Days in Mariupol*, try [*For Sama*](https://film.one/film/for-sama) (2019, Fi1m 88): A family’s life under siege gives another close account of civilian endurance. Then [*Collective*](https://film.one/film/collective) (2019, Fi1m 88): Journalists follow a public disaster into institutional failures that compound the suffering; and [*The Look of Silence*](https://film.one/film/the-look-of-silence) (2014, Fi1m 87): Patient encounters test what witnesses can establish when perpetrators refuse responsibility.

### Reviews we read (14)

- **Financial Times**, Danny Leigh (★★★★★): The review describes the film as a scalding documentary recording the siege from inside the city, showing the destruction of buildings, bodies and truth. It opens with the eerie observation that wars start with silence and notes the city's reduction to ruin. [Read](https://www.ft.com/content/57cdaf38-00f7-4030-9397-6761e61de565)
- **The Times**, Kevin Maher (★★★★★): This personalised account of life inside Mariupol at the start of the invasion is called documentary film-making at its most impactful and devastating. It captures extremely upsetting footage of bomb-blasted children and the soul-piercing grief of parents. [Read](https://www.thetimes.com/world/russia-ukraine-war/article/20-days-in-mariupol-review-the-human-cost-of-war-laid-bare-8jgxmktlv)
- **Los Angeles Times**, Robert Abele (90/100, inferred): The review describes the film as agonizing, essential, brutal, necessary and heart-pounding, an unflinching account of civilians trapped in the city's fall. The critic singles out the visceral on-the-ground dispatches from the AP team as deserving attention. [Read](https://www.latimes.com/entertainment-arts/movies/story/2023-07-21/20-days-in-mariupol-review-documentary-ukraine-war-russia)
- **Radio Times**, Calum Baker (5 out of 5 stars): The critic describes it as a harrowing and vital documentary capturing the assault in unflinching detail, praising the voiceover narration, real-time portrayal of social collapse, and its immersive first-hand reportage. [Read](https://www.radiotimes.com/movie-guide/b-ptnt7c/20-days-in-mariupol/)
- **Sight and Sound**: The critic praises the film's harrowing on-the-ground reportage of the Mariupol siege, highlighting Chernov's ethical dilemmas and the importance of firsthand documentation amid the fog of war. It singles out the vivid capture of confusion and human stories for praise. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/20-days-mariupol-harrowing-ground-reportage-from-war-ukraine)
- **The Guardian**, Peter Bradshaw: The critic finds genuine horror in this eyewitness documentary of the Russian attack on Mariupol, with moments so intense they prompt head-in-hands reactions. Chernov's footage captures the uncut nightmare of civilian suffering and Russian atrocities in unflinching detail. [Read](https://www.theguardian.com/film/2023/oct/04/20-days-in-mariupol-review-searing-film-bears-terrible-witness-to-brutal-siege)
- **The Hollywood Reporter**, Frank Scheck: The critic describes the film as a harrowing and immersive documentary that chronicles the siege of Mariupol through raw, unembellished footage captured by journalists on the ground. It singles out the vital importance of war correspondents and their courage in documenting the human tragedy amid Russian disinformation. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/20-days-in-mariupol-review-harrowing-doc-chronicles-russian-siege-of-ukrainian-port-city-1235305429/)
- **The New York Times**, Jason Farago (Critic's Pick): The critic calls it a relentless and truly important documentary that engulfs viewers in the ferocity of the siege of Mariupol. They highlight the journalists documenting the bombing of a maternity hospital and the burial of children's corpses. [Read](https://www.nytimes.com/2023/07/13/movies/20-days-in-mariupol-review-ukraine-war.html)
- **Time Out**, Phil de Semlyen (4 out of 5 stars): The review calls it a visceral shakycam snapshot of war's pitilessness, praising Chernov's on-the-ground footage that debunks propaganda and bears witness to atrocities without self-focus. It notes it lacks the hope of similar docs like For Sama. [Read](https://www.timeout.com/movies/20-days-in-mariupol-2023)
- **HeyUGuys**, Linda Marric (5/5): The film is a cinematic tour de force delivering a visceral account of war through journalist Mstyslav Chernov's lens. It stands as one of the most impactful documentaries for its raw authenticity and emphasis on the role of journalists as witnesses. [Read](https://www.heyuguys.com/20-days-in-mariupol-review/)
- **Collider**, Therese Lacson (A): The critic calls the film essential for showing the ground-level reality of the Mariupol siege to international audiences. She singles out the raw footage of victims, overflowing hospitals, and first responders for conveying personal heartbreak amid the invasion. [Read](https://collider.com/20-days-in-mariupol-review/)
- **Eye for Film**, Amber Wilkinson (85/100, inferred): The film offers a harrowing insight into the early days of the Russian invasion through condensed reportage footage and sombre narration. It underscores the bravery of the journalists and the horrendous situation for civilians with little respite even when no bullets are being fired. [Read](https://www.eyeforfilm.co.uk/review/20-days-in-mariupol-2023-film-review-by-amber-wilkinson)
- **Paste**, Trace Sauveur (8.0): The critic deems assessing traditional quality immaterial for this on-the-ground war footage and praises its raw, visceral immediacy from Chernov’s camera. He highlights the unflinching depiction of civilian suffering and the moral imperative to witness the truth despite Russian disinformation efforts. [Read](https://www.pastemagazine.com/movies/documentaries/20-days-in-mariupol-review)
- **The Wrap**, Steve Pond: The film is a brutally disturbing chronicle of inhumanity that is urgent, ruthless, and horrifying. It singles out the raw footage of civilian suffering and destruction in Mariupol, including scenes of dead children, bombed hospitals, and residents begging the camera to document the atrocities. [Read](https://www.thewrap.com/20-days-in-mariupol-review-ukraine-war-documentary/)

## Details

- **Director:** Mstyslav Chernov
- **Director:** Mstyslav Chernov
- **Writer:** Mstyslav Chernov
- **Cinematography:** Evgeniy Maloletka
- **Editor:** Michelle Mizner
- **Music:** Jordan Dykstra
- **Producer:** Mstyslav Chernov, Michelle Mizner, Raney Aronson-Rath
- **Cast:** Mstyslav Chernov as Self - Narrator and Interviewer; Evgeniy Maloletka as Self; Liudmyla Amelkina as Self; Zhanna Homa as Self; Oleksandr Ivanov as Self; Irina Kalinina as Self; Volodymyr Nikulin as Self; Anastasiya Yerashova as Self
- **Runtime:** 1h 34m
- **Certificate (MPA):** NR
- **Release (the US):** 14 July 2023
- **Genres:** Documentary, War
- **Box office:** $21,000
- **Trailer:** https://www.youtube.com/watch?v=L3DvHs0GbsY

## Where to watch in the US

- Amazon Prime Video: add-on, uhd
- Amazon Prime Video: rent $1.99, sd
- Amazon Prime Video: buy $6.99, sd

*Checked 2026-09-15.*

Also available in: AR, AT, AU, BR, CA, CL, CO, EC, FR, GB, JP, MX, NZ, PA, PE, UA, US. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2024: Best Documentary Feature Film (won)
- BAFTA Film Awards 2024: Best Film Not in the English Language (nominated); Best Documentary (won)
- International Submission to the Academy Awards 2024: International Submission to the Academy Awards (nominated)
- Sundance Film Festival Grand Jury Prize for Best Documentary 2023: Sundance Film Festival Grand Jury Prize for Best Documentary (nominated)
- Sundance World Cinema Audience Award: Documentary 2023: Sundance World Cinema Audience Award: Documentary (won)

## If you liked this

- *For Sama* (2019), Fi1m 88: A family’s life under siege gives another close account of civilian endurance. — [Fi1m page](https://film.one/film/for-sama.md)
- *Collective* (2019), Fi1m 88: Journalists follow a public disaster into institutional failures that compound the suffering. — [Fi1m page](https://film.one/film/collective.md)
- *The Look of Silence* (2014), Fi1m 87: Patient encounters test what witnesses can establish when perpetrators refuse responsibility. — [Fi1m page](https://film.one/film/the-look-of-silence.md)
- *The Battle of Algiers* (1966), Fi1m 93: A staged account of urban conflict that keeps civilians within the frame. — [Fi1m page](https://film.one/film/the-battle-of-algiers.md)
- *Night and Fog* (1956), Fi1m 91: A short documentary that asks how images of atrocity should be seen. — [Fi1m page](https://film.one/film/night-and-fog.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/20-days-in-mariupol