Andrius Blaževičius's film "How to Divorce During the War" presents a darkly humorous and perceptive look at a Lithuanian couple's separation coinciding with Russia's invasion of Ukraine in February 2022. The film centers on Marija (Žygimantė Elena Jakštaitė), a high-flying media executive, and Vytas (Marius Repšys), a slacking screenwriter, whose 12-year marriage ends just as the geopolitical crisis unfolds. The narrative explores how these two vastly different crises jointly define a disorienting phase of their lives, prompting them to sublimate selfish angst into social activism, which often proves to be performative or half-hearted.
The film delves into the characters' attempts to engage with the war. Marija, the primary breadwinner and head of a content creation agency, quits her job in protest when her company refuses to close its Russian branch and takes in Ukrainian refugees, though she soon complains about their disruption to her household. Vytas, who moves back in with his "growingly reactionary parents," engages in more visible activism, including public performance-art protests and volunteering at a food bank, while also trying to cut off his parents' access to Russian propaganda. However, the film questions whether these actions are genuine commitment or merely temporary distractions from their internal struggles.
Blaževičius uses careful camerawork, cool tones, and largely still frames to create distance, making viewers lean in to find connection with the characters, rather than being easily drawn into their drama. The film highlights the upper-middle-class privilege of the couple, as Marija's decision to host refugees quickly turns into annoyance over their presence, and Vytas's activism is often depicted as a search for identity and purpose post-separation. The film's cynicism points to the often-reflexive and sometimes empty nature of activism, raising questions about where displaced people will belong long after public attention wanes.
The narrative also touches upon the impact on their preteen daughter, Dovilė (Amelija Adomaitytė), who instinctively turns to watching news of the Russian invasion for comfort after her parents' divorce, highlighting how war can feel more familiar than familial conflicts. The film also explores the generational divide through Vytas's parents, who consume Russian media without question, contrasting with the couple's pro-Ukraine stance. Ultimately, the film suggests that while the facade of activism cannot be maintained indefinitely, and personal discomfort arises from trying to start over, it also thoughtfully explores the complexities of moral obligations and the limits of empathy during a major geopolitical crisis.
