"Russians At War": Follow the Money | Politics

On Tuesday September 10, 2024, Russian-Canadian Anastasia Trofimova's documentary "Russians at War" is scheduled to receive its North American premiere at the Toronto International Film Festival (tiff) at the Scotiabank Theatre in Toronto, Canada. The tiff website advertises this "gripping first-person documentary takes us beyond the headlines to join Russian soldiers as they place themselves in a battle for reasons that become only more obscure with each gruelling day, each confusing command, each gut-wrenching casualty."

I have not seen this documentary yet.

What I have seen is growing outrage to it on social and mainstream media's reaction in Canada and globally. People are angry and frustrated denouncing, among other reasons, the tone-deafness of the director to the random and deliberate killings of civilian Ukrainians by Russian military as a matter of course, the director's admitted illegal entry into sovereign Ukrainian territory, and the lack of foresight on the part of international and Canadian film festivals scheduling what many believe is deliberate Russian propaganda.

My instinct is to follow the money. Then, the politics.

Basics

For Canadian documentary productions, financial support typically comes from a mix of private, public, personal and alternative funding, possibly including international support.

The screenshot for "Russians At War" was posted on "X", 2024.09.07. It's a framework to unpack the money primarily using Google search to track and identify funding sources while scouring websites, financial statements and news releases.

Then I found a July 23, 2024 PLAYBACK article (Canadian screen industry trade media) referring to "Russians at War" that broadens supporters and states: "It is produced in association with TVO, Arte France and Knowledge Network and the participation of the Canada Media Fund. Additional funding for the doc was provided by the Hot Docs Ted Rogers Fund, the Rogers Documentary Fund, the Centre national du cinéma et de l’image animée, the Rogers TeleFund, Ontario Creates and federal tax credits."

For context, the September 2023 "Getting Real 7" report by the Documentary Organization of Canada stated that in 2020/21, the average per-hour production budget for single-episode/one off documentary was $376,353, followed by feature-length (film or TV) with an average of $350,556. Also, a August 7, 2024 article called "The Cost of Video Production in 2024: Comprehensive Pricing Guide" estimates documentaries cost between $1K-$10K per minute, including research, travel, filming equipment, licenses and fees for archival footage and editing.

"Russians at War" runs 2 hours and 9 minutes (129 minutes). Based on the above numbers, its budget could loosely be estimated between $753K - $1.29M.

Follow the Money

Why? It provides a perspective to understand whose interests are at play, how a creative work is valued and influenced and the ecosystem at work. Here's what I found (and didn't) with details at the end of the post. I only used readily available sources on Google as of September 9, 2024. (If I got the numbers or relationship funding process wrong, let me know with evidence and I'll update it.)

Summary

First, public money was used as a significant contribution to the overall budget. Government of Canada and Government of Ontario (and potential British Columbia) funding in the form of grants and tax credits. With confirmed $340,000 from the CMF, the addition of refundable tax credits for labour costs at the federal and Ontario levels increases the contribution the sum total of which remains unknown.

Second, private money was used primarily through the Rogers Funds attached to HotDocs, Creative BC and its Documentary Funds. For HotDocs, $85K was split between 6 projects but there was no specific value attached. Assuming each project got an even amount, then this film would have received $14K. In 2022 Rogers Documentary Funds expended $3,034,894 on 42 projects. Assuming each project got an even amount, then "Russians at War" would have received about $71.4K. As well, a low-interest loan through Rogers Telefund program was extended as a bridge financing tool and its repayable but the amount was not disclosed.

Third, the value of financial support by Canadian public broadcasters like TVO and Knowledge Network, as well as ARTE France and CNC in France, is unknown. This includes purchase of original commissions and pre-buys of programming, among others.

Fourth, the value of financial support from producing co-partners Raja Pictures (Canada) and CAPA Presse (France) is also unknown. In fact, I couldn't find a Raja Pictures website.

Fifth, it's unknown whether the film was also financed through conventional bank loans or instruments.

Sixth, it's not clear whether personal individual or corporate donations, and from whom and where, were made anonymously to fund this film.

Finally, in total it looks like at least $425,000+ was obtained in grants (predominantly public), which does not include amounts from tax credits, commissioning and pre-buys of programming from Canadian public and French public entities, nor other personal and private financing arrangements to cover the rest of the budget.

Follow the Politics

After more or less getting a rough idea of money flows, there are 3 parts to the politics story that are inextricably linked and together provide a foundation for moving forward.

Propaganda vs Documentary

First, here is the difference between between propaganda versus documentary films.

Propaganda is information, especially of a biased or misleading nature, used to promote or publicize a particular political cause, ideology or point of view. An example of propaganda film are works by German Nazi collaborator Leni Riefenstahl (eg Triumph of the Will) during the Third Reich.

Documentary film presents factual and historical materials from a critical perspective to promote a more informed public while being truthful to their vision of the world without intentionally misrepresenting a topic. An example of documentary film are works by American filmmaker Michael Moore (eg Bowling for Columbine).

Is "Russians at War" propaganda or a documentary?

On September 6, 2024, TVO issued a statement indicating that "Russians at War is at its core an anti-war film. It is unauthorized by Russian officials and was made at great personal risk to the filmmaker, who was under constant threat of arrest and incarceration for trying to tell an unofficial story. This film shows the increasing disillusionment of Russian soldiers as their experience at the front doesn’t jive with the media lies their families are being told at home."

"The film was produced by an Academy Award nominee with the support of cultural agencies in France and Canada because it is a documentary made in the tradition of independent war correspondence."

The issue of 'independence' is key. Trofimova's work has been tied to and broadcast by RT, Russia Today, a Russian state-funded news outlet broadcasting internationally since 2005. On September 4, 2024, the US Justice Department filed money-laundering charges against two active employees of RT for what is said was a "scheme to hire an American company to produce online content to influence the 2024 presidential election". The scheme was headed by RT executives, including Margarita Simonovna Simonyan, Editor-in-Chief, who was sanctioned by the US. Canada's Global News reported on September 9, 2024 that Trofimova told the Globe and Mail on Sunday 8, 2024 that "she used to work for the RD Documentary channel that is separate from RT News with a focus on the Middle East" and left for the CBC after "the relatively liberal atmosphere in which we were working started to change." This report does not explain Trofimova's existing relationship with the Canadian Broadcasting Network Corporation (CBC).

RT has been banned in Canada since 2022. But its influence as a Kremlin backed broadcaster who deliberately uses tools of disinformation and propaganda, such as generative artificial intelligence (AI) deep fakes, generates content that ends up on social media platforms in the form of videos, articles, interviews and others content are consumed by Canadians in Canada and abroad. Canada's Public Inquiry into Foreign Interference in Federal Electoral processes and Democratic Institutions May 3, 2024 initial report referenced suspected Russian Disinformation Activity during the 2021 federal election.

Here's a recent example of Russian disinformation in Canada. On July 8, 2024, a tweet by the twitter handle "Embassy of the Russian Federation in Canada" of the Ministry of Foreign Affairs in Russia said this after the bombing of the Okhmatdyt Children's Hospital in Kyiv: "The new Ottawa's anti-Russia hysteria on the destruction in Kiev caused by a Ukrainian air defence missile is a hypocrisy against the backdrop of the silent reaction to everyday bombshelling of Russian cities and villages by NATO supplied missiles and drones. The more weapons delivered to Ukrainian neo-Nazis, the longer the conflict will continue with more casualties to follow. The best way to stop the bloodshed is a comprehensive settlement based on the peace proposals by President Putin dated June 14."

Meanwhile Russian diplomats continue to live and work in Ottawa and across Canada, enjoying their diplomatic privileges while dispensing blatant propaganda on social airwaves, linking, implicating and tying Canada and its citizens to its X handle and by extension the Russian Federation. As of September 9, 2024, over 2,620 people have signed a petition to expel Russian Diplomats from Canada on change.org.

In addition, Trofimova previously shot documentaries for RT which confirming an existing relationship with the Russian state sponsored propagandist and therefore undermines TVO's justification and rationale that their support of "Russians at War" reflects the 'tradition of independent war correspondence'. RT supports the deliberate and illegal genocide of Ukrainian through its daily programming and influences foreign interests through Russian proxy websites, fake online personas and front organizations giving false appearance of being independent news sources unconnected to the Russian State. As a former RT contributor, Trofimova has clearly picked professional associations and allegiances.

Further, TVO claims "Russians at War" represents the tradition of 'independent' war correspondence' which is ethically suspect. The director admits to illegally being embedded with the invading Russian military for seven months on Ukrainian sovereign soil at the front, without official permission of the Russian military and, more importantly, the Government of Ukraine on whose territory she carried out illegal filming this project. A March 2022 law restricting dissemination of military information during Ukraine's current state of emergency was signed with penalties up to 12 years in prison. Did Trofimova break this, or any other relevant laws? Moreover, as a Russian-Canadian, did she breach Government of Canada sanctions policy against Russia?

And, the fact that an Academy Award winning person is attached to this documentary doesn't not make it more legitimate. Rather, it asks the opposite - how can an Academy Award winning content creative legitimately attach themselves to Russian propaganda outlets?

Finally, Trofimova is quoted in the September 7, 2024 The Guardian saying that: "There was a missing element: the human face of those people involved in the war. The point of view of Russian soldiers is not usually heard and I think it's so important to see through the fog of war...".

Which brings back the question: propaganda or documentary film?

Based on what I've gleaned so far online from teasers, reviews, news articles, letters and social media, "Russians at War" leans into propaganda disguised as a documentary film. Why? It lacks critical perspective while constructing a misleading narrative that doesn't fully provide factual and historical information to inform the public so as they can make an informed decision about what they are seeing. Even its title, "Russians at War", doesn't reflect the reality and truth that is was the Russian Federation who further illegally invaded Ukraine deepening ongoing war since 2014.

Spreading disinformation is a feature of propaganda. Canadians can check if "Russians at War" in fact meets the conditions of spreading disinformation by going to https://www.canada.ca/en/campaign/online-disinformation.html for tools to spot disinformation at work. Let me know if it works and what you think.

Alignment

Second there is the built-in disconnect between how quickly the Government of Canada can change and pivot its policy and program decisions (outside the COVID pandemic experience) to quickly align and execute political and policy decisions.

Since the further invasion of Ukraine in February 2022, the Government of Canada has committed over $12.4 billion in financial assistance to Ukraine, which has helped the Ukrainian government continue to operate. At the beginning of this further invasion, federal departments were tasked to scour their policies and programs to see how they could be leveraged in existing and innovative ways to support Ukraine.

What is challenging is the ability to streamline and align program funding decisions to reflect the overall political strategy of Canada's support to Ukraine. Case in point, CMF funding from Department of Canadian Heritage of $340,000 for "Russians at War".

Historically, most cultural funding decisions for films, books, etc. are made with independently selected experts named to a panel to vet and ensure value for public money and generally, the adjudication process is fair and transparent. In other words, no political interference.

But there are two ways to look at this system given the "Russians at War" example.

The first is to recognize that the arm's length independence for artistic creation in a publicly funded process is necessary to avoid political/partisan interference in decisions.

The second is to recognize that arm's length independence for artistic creation in a publicly funded process is necessary, and requires policy coherence review to make sure it aligns with Canadian values so that we are not funding propaganda of other nations.

If "Russians at War" leans into propaganda, then arts and cultural funders responsible for selecting publicly funded projects like the Canada Media Fund need to better understand what constitutes propaganda versus documentary filmmaking so that they can make better, informed decisions.

The Global News September 9, 2024 report states that a spokesperson for the Canada Media Fund told Global News "that it was aware of concerns surrounding the film but noted it was TVO’s decision to support the project with CMF funds." “We rely on our trusted and CRTC-regulated broadcasters to ensure projects conform to the programming standards endorsed by the CRTC,” the CMF statement said.

Pass the buck.

Part of the problem lies in the inflexibility of cultural program funding streams to integrate a checks and balances system to responds quickly to shifts in political decisions. For example, a Russian-Canadian documentary filmmaker with direct ties to a Russian media outlet, RT, a politically sanctioned entity by the Government of Canada in 2022, should not qualify for public funds on the grounds that this is against Canadian values and national identity.

Part of the problem also lies in how fast evolving political decisions such as Canada's response to the further invasion of Ukraine by Russia are made and how bureaucracies struggle to catch up to implement their intent in programming.

If funding panelists weigh the balance of factors for a project given full disclosure of the creators, their relationships known to propagandist organizations, then they can take an appropriate decision that is justifiable.

The above is not censorship. It's due diligence.

How to fix this problem? Same way the Government of Canada reached out across departments and agencies to find ways tangible ways to support Ukraine.

Do the same and reach out across departments and agencies to vet program funding criteria in the interest of Canadians, Canada and our values - and not just for cultural industries - so that we are protected from wasting taxpayer dollars on funding propaganda, disinformation, and lies.

Ditto for provincial governments.

Public Money

Third, the public buck just stopped.

Taxpayer funds at the federal and provincial levels of government were used to support "Russians at War" throughout 2022-2024. More than $340,000 and counting.

If there had been due diligence and greater awareness by public officials and arts and culture experts, about the subject matter, its creative process and the players involved, then "Russians at War" would not have been funded in its existing form with federal and provincial taxpayer support.

Using public funds requires due diligence beyond just financial risk management. It spills over into aspects of social cohesion, values and national, provincial and local identity.

When propaganda is created either as a result of poor execution of approving a publicly funded project, or deliberate intent on the part of the creator without the knowledge of the funder, in either case all parties need to be held to account.

"Russians at War" is an example of the disconnect between understanding the intent, subject matter and purpose of a project and the knowledge, expertise and decision-making authority of Canadian public sector funders.

It's the important lesson in the new era of shifting world orders.

Next

"Russia at War" is scheduled to air tomorrow, September 10, 2024 at the tiff festival at 2 p.m. The Ukrainian Canadian Congress (UCC) has called for a demonstration at that time to protest against the film. In addition, the UCC will be bringing the potential of breaching Canadian sanctions [policy to the Royal Canadian Mounted Police (RCMP) and the Minister of Foreign Affairs.

On September 7, 2024, Yevheniya Kravchuk, deputy head of the Verkovna Rada Committee on Humanitarian Affairs and Information Policy, posted a letter to Yvan Baker, Member of Parliament and Chair of the Canada-Ukraine Parliamentary Friendship Group detailing the Government of Ukraine's objections to showcasing propaganda at tiff and requesting all Canadian parliamentary means to stop the screening at tiff.

Political pressure is mounting. But structural changes to Canadian decision-making and public funds expenditures, regardless of which level of government, project or collaboration, need to happen if change is going to stick to avoid the next "Russians at War".

First, governments and public funders need to understand what propaganda is and how its manifested in Canada, especially through applications and requests in their program streams, whether they be culture, innovation, business support, procurement, etc. A clear, common definition, supported by a simple system to assess supported by smart training is the first step. This should be consistent across all Canadian governments. This is not the time to squabble about inter-provincial or inter-governmental orders of government when it comes down to protecting and advocating for Canadians from enemy platforms. Propaganda pressure from Russia, China and around the world is going to get worse, more sophisticated through technologies like AI and beyond and the clever minds of people anywhere in the world who just want to have fun and disrupt, not necessary for good. Time to step up.

Second, governments should reinforce support of Canadian creatives so ensure that they understand that Canada is home-base for creating world class content - but not propaganda using Canadian funding and online channels by foreign nationals. This includes publicly funding projects, and calling out projects that deliberately utilize foreign states, nationals and organizations who seek to disenfranchise Canadian citizens and destable our nation and relationships of creators who attempt to do the same. This is not partisan. Its about country and Canada.

Third, Canadian citizens deserve the right to know, in real time, who governments publicly fund or are in the process of funding across all industries. Yes, respecting confidentiality and privacy is needed, but there are ways to make public (and private/public) funding more transparent. It means having best in class digital platforms beyond static and outdated websites. Sites need to be user-friendly with straightforward navigation, intuitive design and user experience, simple accessibility, value propositions, clear 'about us', searchable existing and past 'client lists' (eg projects funded with financials, names, dates, programs, people), mobile friendliness and FAQ. Ukraine's DIIA site is a good example.

Finally, how about the Public Inquiry into Foreign Interference in Federal Electoral Processes and Democratic Institution use its second phase to unpack what happened with "Russians At War"? On its website, the Commission states it "will examine the capacity of federal departments, agencies, institutional structures, and governance processes to permit the Government of Canada to detect, deter and counter such interference. Public hearings will be held on these issues in the September and October of 2024."

Here is my challenge.

Interference isn't just about elections. It's about public funding of "Russians At War" that exemplifies foreign interference. Open up September and October 2024 hearings to everyone in the public sector ecosystem funding to talk about the process, its failings and its future of not just interference, but the fundamentals of propaganda, disinformation and the Canadian response.

And make it open, in real-time and shareable across all platforms and languages.

Chrystia

vision | voice | visuals mine

BACKGROUND: FOLLOW THE MONEY

Below is what I found in my two-day search of information about "Russians at War" online using Google search in English, French and Ukrainian. This is by no means definitive, but it provides basic information that can help understand the money ecosystem involved.

If you have any more verified information to add, please sent it to me and I'll update it along with the source.

• On December 7, 2022, the HotDocs (non-profit organization) Ted Rogers Fund (private sector funds) announced $85K funding for 6 recipients, including Anastasia (last name withheld) for "Russians at War", without specifying the amount granted per project. Given the maximum amount eligible per project is up to $20K, one can assume it received between $1-$20K in funding.
• The Canada Media Fund (CMF) website states during 2022-2023, "Russians At War" received a commitment and contract of $340,000 under the documentary genre, for production under the performance envelope program allocated to the Toronto region under the Envelop/Broadcaster TVO. CMF is funded primarily in 2 ways - first, by contributions made by the cable industry (private sector); and second, by the Department of Canadian Heritage of the Government of Canada funded by taxpayers (public sector).
• The Rogers Group of Funds Annual 2023 Report indicates that "Russians at War" received Telefund support through a low-interest bridge loan. Total 2023 program funds were $15.6 million over 22 projects, but this report does not specify the amount of loan this film received.
• The Rogers Group of Funds Annual 2022 Report indicates that "Russians at War" received Documentary Fund support via grant. Total program funds were $3 million over 42 productions, but it does not specify the amount of grant received for this film.
• The Rogers Group of Funds also partners with Creative BC, an independent non-profit society created and funded by the Province of British Columbia along with private donations, specifically for the Documentary + Factual Development grant whose "key feature ... to support individual documentary and factual projects during early-stage development, before being greenlit by the market". A search on the Creative BC website reveals no mention of the documentary "Russians at War", nor Raja Pictures or the director.
• The Ontario Creates website does not list the film, nor production company Raja Pictures as recipients of program funding. However, as the Government of Ontario's agency for creative industry development, it offers tax incentives for specific expenses related to labour costs. For example, an enhanced tax credit rate of 40% on the first $240,000 of qualifying labour expenditure is available for first time producers. It is highly likely these Ontario tax credit incentives were used in production of the film.
• The Canadian Film or Video Production Tax Credit (CPTC) provides eligible productions with a fully refundable tax credit available at a rate of 25% of the qualified labour expenditure. It is highly likely this federal tax credit was used.
• TVO is the is a publicly funded English-language educational television network and media organization serving Ontario operated by the Ontario Educational Communications Authority (OCEA), a Government of Ontario crown corporation. It buys and pre-buys documentaries, as well as commissions original documentaries. On October 21, 2010 PLAYBACK article noted that TVO at that time paid between $50,000-$80,000 per hour for a documentary. Despite being listed as a producer for "Russians at War", it is difficult to find available data on what TVO's actual contribution to the project was. The network's original submissions website page contains an error message, and there is no readily available public list of commissioned original documentaries, nor the nature of TVO's financial contribution, if any, to them. In addition, TVO was listed by the Canada Media Fund as the broadcaster for the $340,000 grant for "Russians at War".
• British Columbia’s Knowledge Network is a Government of British Columbia crown corporation publicly funded provincial educational broadcaster operating a free and commercial-free television channel in B.C. and streaming services across Canada. Like TVO, it commissions 3-4 documentaries annually from BC-based producers. It also pre-licences second window one-off documentaries from BC and Canadian producers once their development phase has been completed and their Canadian lead broadcaster is confirmed. Knowledge Network doesn't provide development funding or a broadcast letter of interest for pre-development for Canadian documentary producers outside BC. Given this and the production credit in the screen shot, this project may have obtained a pre-licence as a second window one-off documentary, given its lead Canadian broadcaster (appears to be TVO) was confirmed as through the CMF. Knowledge Network also buys point of view documentaries which may also have occurred in this case. The problem with the Network is finding disaggregated financial information on its website that tracks its purchasing decision-making on documentaries.
• Internationally, the Government of France's Centre National du Cinéma et de l'Animation (National Centre for Cinema and Animation) is listed as a supporter in the screenshot. It's funded primarily through a system of taxation levied on distribution of content and distribution (e.g tax on cinema tickets, etc). The CNC's web page listing for works supported by the CNC at the 81st Venice Film Festival 2024 does not list "Russians at War" which was shown out of competition during this festival. Keyword searches in French and English on the website failed to find any reference to "Russians at War", Raja Pictures or the director's name.
• Arte, a joint France and German publicly funded public sector broadcast channel dedicated to culture. Its made up of 3 separate companies: ARTE GEIE's headquarters in Strasbourg, ARTE France in Paris, and ARTE Deutschland TV GmbH in Baden-Baden. Arte France is listed as a supporter in the July 23, 2024 PLAYBACK article, but keyword searches fail to come up with any financial information about Arte France's contribution to the documentary.
• CAPA Presse (Films a Cinq)/Capa Drama is a subsidiary of CAPA, the largest French press agency and production company for television reports and documentaries. It is listed as a co-production company for "Russians at War" in partnership with Raja Pictures of Canada. However, there was no readily information on the nature of financial or other support for this film available on the CAPA Presse website.
• Raja Pictures is credited as the Canadian co-producer for this film. Despite extensive keyword search, I was not able to find Raja Pictures as a corporation, non-profits, registered charity or other entity other than being referenced in news articles attached to the name Anastasia Trofimova. Thus it's unclear what financial or other support was provided by Raja Pictures to the project or what its relationship is to the director. Additionally, Trofimova has a personal professional website outlining her accomplishments in film including a page dedicated to "Russians at War", however there is no description of her personal and financial contribution to the film.
• Finally, while the screenshot publicly identifies organizations who supported development, production and distribution of "Russians at War", it is possible that other financial contributors chose to remain anonymous. Without gaining access to internal budgeting, presumably required as a condition for certain financial instruments such as low-interest loans, it is difficult to fully understand the scope of financial support and the diversity of its sources.

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