Film Review: Children in the Fire – Innocence, War and Resilience

Following the fourth anniversary of Russia’s full‑scale invasion of Ukraine, the Embassy of Ukraine in hosted a special screening of Children in the Fire in Dublin’s Irish Film Institute last night, March 2. Directed by Evgeny Afineevsky, the documentary focuses on one of the most devastating consequences of the war: its impact on children.

The film tells the stories of Ukrainian children who have been injured, displaced or abducted as a result of Russia’s aggression. Told largely in the children’s own words, and portrayed though newsreel footage, animation and interviews from the victims themselves, Children in the Fire graphically portrays the real human cost behind the headlines. Children are separated from their families, stripped of safety and stability, and forced to grow up far too quickly. The scale is hard to comprehend, with more than 20,000 Ukrainian children reported to have been taken from their country.

Commemorating four years of Russia's full-scale invasion, @UKRinIRL hosted a screening of Children in the Fire at @IFI_Dub with Oscar-nominated director Evgeny Afineevsky (@evgeny_director) joining online. Crimes against 🇺🇦 children have no statute of limitations.… pic.twitter.com/XUfmxa0jqq

— UKR Embassy to Ireland (@UKRinIRL) March 3, 2026

There is no attempt to soften what is shown. The documentary lays bare the old adage that innocence is the first casualty of war, with children describing experiences of violence, fear, coercion and, in some cases, sexual abuse. These accounts are hard to hear. It is a film that does not sensationalise suffering as it shines a light on the reality of war and its impact on children. The triangulation of footage, animation and interviews is used to excellent narrative effect. This is not a documentary for the faint‑hearted.

What prevents Children in the Fire from becoming overwhelming is its focus on resilience. Again and again, the film shows children rebuilding their lives in ways that feel neither sentimental nor staged. One young girl who lost both legs below the knee is now competing in running using prosthetic limbs. Another, having lost one leg, competes in gymnastics. A boy who survived severe burns, some down to the bone, now plays music and takes part in ballroom dancing. These moments, and more besides, are not offered as inspirational clichés, but as evidence of determination and agency in the face of profound harm.

The screening was followed by a Q&A with Afineevsky, who spoke openly about the challenges of making the film. He described the children as “unbroken” and said their strength was a constant reminder of why the film needed to be made. As a parent himself, he did not shy away from acknowledging how emotionally difficult the process was, but he repeatedly returned to the children’s belief in Ukraine’s future and their sense of belonging to it.

Evgeny Afineevsky and Roman Oleksiv

Afineevsky also addressed the ethical responsibilities involved. Professional psychologists were present during interviews, guardians were involved throughout. The film, he explained, was designed to serve several purposes at once: advocacy, activism and action.

Watching Children in the Fire, it is impossible not to think about the long‑term consequences. Decades of evidence show that children exposed to multiple adverse childhood experiences face higher risks of mental health difficulties and addiction later in life. With so many Ukrainian children traumatised by war and displacement, the need for sustained, trauma‑informed support will be enormous. This is work that will continue long after the conflict ends and the attention of the international community moves on.

Children in the Fire is a difficult film to watch, but a necessary one. It asks the audience to sit with uncomfortable truths and to resist the temptation to look away. It also insists that children are not symbols or statistics, but people whose rights have been violated and whose futures matter.