It used to be Ukrainian film directors stretched out their palms to Soviet bureaucracy, and consequently fashioned scripts to include “desirable” themes like class/social dialectics to fit the grand narrative of the “Heroic People’s Struggle.” Starting in the 1990s, director Oles Yanchuk broached a new era of previously taboo subject matters. He also tapped the diaspora to finance his series of patriotic films like “The Assassination” (“Atentat”), “The Unvanquished” (“Neskorennyj”) and “The Iron Brigade” (“Zalizna Sotnia”).