Match in a Haystack is a documentary set in Ukraine that could be the perfect double bill with Checkpoint Zoo, which was recently released in select theaters. Denver-based filmmaker Joe Hill, whose background is journalism, documents the journeys of three women from one of Ukraine’s top contemporary dance troupes. In the wake of the extensive Russian invasion that seemed to disrupt their creative dreams, young Ukrainian artists are reflecting on the art that used to give them a sense of direction.

The title plays on the saying about the needle in the haystack, which refers to finding something that’s really tough to locate. In this case, it shows how something as tiny as a match tossed onto a haystack can spark a powerful sense of purpose within. It’s a perfect title for a story of resilience, introspection, and creativity during wartime.

At the start of the film, we meet Yuliia Lupita, the director of a Ukrainian dance troupe who volunteered to help with evacuations and deliver aid to cities that have been bombed or occupied by Russian forces. While she toured the ruins of buildings, she came across a destroyed stage. It dawned on her that she hadn’t danced in quite a while. The performance described here becomes her magnum opus, marking Yuliia’s first opportunity to reclaim her identity as an artist.

Yuliia ends up enlisting dance choreographer Gala Pekha, one of Ukraine’s most sought-after dancers since she starred in the country’s version of So You Think You Can Dance. Similar to Yuliia, Gala left dancing behind after the war broke out, when she started working as a frontline fixer for foreign TV crews. Together, they seize the opportunity to finally create art again, despite feeling a bit guilty that some of her friends are fighting out there in the cold.

That sentiment is also shared by one of the dancers, Nadiya Kupets, whose sister also fights on the frontline. Nadiya even visits her at one point, where she asks her sister point-blank, ‘Are you ok with me dancing?’ To which her sister replies that it’s not just okay, but it’s essential that she does. Russia’s strategy of targeting Ukrainian culture goes way back before 2022. Imperial Russia has long tried to suppress and erase Ukrainian culture and language. Since Russia’s full-scale invasion in 2022, the relentless attacks have devastated museums, theaters, libraries, and schools, along with other important cultural sites in Ukraine. That’s why it’s crucial for artists like Yuliia, Gala, and Nadiya to keep dancing.

Nadiya’s quote really resonates with me… “Whenever some piece of art is created, whether a book, a picture, a dance, or a song, it means that something is born to the world. And to me, that balances the lives that are being taken now.” I love how Hill shows an extended scene of Nadiya rehearsing on the staircase of a building, showcasing her beautiful movements and dancing prowess, but also her passion for her art. Ukrainian-American composer Katya Richardson has created a striking original score that features a lovely rhythm and emotional beats, which beautifully enhance the dance performance.

Watching the rehearsals is really fascinating because it’s way more than just your average dance prep. The impact this show will have on the dancers and the audience is tremendous. You can really feel the pressure that Yuliia and Gala are under and the occasional struggle to communicate their vision to the dancers. But despite the tension in the rehearsal room, there’s also a lot of warmth and kindness, as the entire team genuinely cares for and respects one another.

It’s amazing to witness a full house on opening night, but rather than presenting the whole dance performance, Hill paired it with a scene of Gala working on the choreography in her tiny bedroom. This offers a unique perspective on the creative process and how far they’ve come. It’s a stark contrast to the earlier moments where we find Yuliia standing in front of a ruined theater in Kyiv, which might have inspired her to craft something beautiful from the debris.

The movie is executive-produced by Misty Copeland, who made history as the first Black woman to become a principal ballerina at the American Ballet Theatre. She definitely understands how dance can serve as a strong source of healing and resilience. I applaud her and Hill for presenting a fresh viewpoint that contrasts with the usual conflict-driven media by highlighting the Ukrainian creatives’ sense of purpose, community, and nationalism. Match in a Haystack effectively showcases the women’s defiance as artists who refuse to be silenced. I sure hope and pray that one day Yuliia, Gala, and every artist in Ukraine will be able to create freely again without fear and oppression.

Match in a Haystack will be available on VOD in late 2025