In March 2022, a theatre in the Ukrainian city of Mariupol, clearly marked with the word “CHILDREN” in large Cyrillic letters, was bombed, resulting in the deaths of at least 600 people, many of them children. The building’s roof collapsed during the attack, which has been widely condemned as a war crime committed by Russian forces. However, a recent Russian documentary titled *Witnesses* disputes this account, portraying the incident as a deliberate act by Ukrainian forces to undermine Moscow’s image.

The film, presented by Italian journalist Vittorio Nicola Rangeloni, claims that the Ukrainian Azov Brigade—a unit involved in the city’s defence—had planted explosives beneath the theatre and detonated them to blame Russia. In interviews conducted on the stage of the reconstructed Mariupol theatre, which remains under Russian control, supposed survivors assert the bombing was a “premeditated attack” by Ukrainians aimed at discrediting Russia’s war effort. Rangeloni frames the film as an attempt to give voice to those “actually there,” dismissing media reports as “sensationalist headlines” without substantiating his claims with independent evidence.

Ukrainian officials, independent investigators, and human rights organizations have rejected the documentary’s narrative. Amnesty International’s investigation concluded the theatre was likely destroyed by Russian warplanes dropping two 500kg bombs, describing the attack as a clear war crime. An Associated Press inquiry further found no evidence of Ukrainian forces inside the theatre during the attack, and witnesses unanimously attributed the destruction to Russian aerial bombardment. The site was demolished at the end of 2022, possibly to eliminate forensic traces.

Rangeloni, an Italian-born journalist with familial ties to both Italy and Ukraine, has established a reputation for his pro-Moscow stance. Based in Donetsk, he reports from the Donbas front line alongside Russian troops, often foregoing press insignia and emphasizing alleged dangers from Ukrainian forces. His work extends beyond Ukraine, including assignments in Africa, where Russia’s influence has expanded through entities such as the Wagner Group’s Africa Corps. Critics accuse Rangeloni of producing content that mimics journalism while advancing Kremlin propaganda.

Experts highlight that Russia’s efforts, including Rangeloni’s contributions, reflect a broader Kremlin strategy to reshape the narrative surrounding the war. This approach portrays Russia as a victim of NATO expansionism and casts Ukrainian defenders as extremist provocateurs. Petro Andriushchenko, a former Mariupol official now heading the Centre for the Study of the Occupation, described the tactic as the creation of a “general myth” about “liberation” and “Ukrainian Nazis.” He said the Mariupol theatre massacre has effectively been erased from official discourse in Russia, replaced by cinematic portrayals that reinforce state propaganda.

In Italy, Rangeloni’s views resonate with certain segments that are critical of Western support for Ukraine, with figures across the political spectrum expressing opposition to continued aid. His alignment with Moscow may be informed by both personal background and broader anti-American sentiments within parts of Italian society.

Despite international consensus on the nature of the Mariupol theatre attack, Rangeloni’s documentary attempts to invert responsibility, attributing the atrocity to Ukrainian forces without credible evidence. The reprised narrative stands in contrast to the experiences of Mariupol’s residents, many now exiled, who remember the attack as a brutal assault by Russian occupiers. As the city remains under Russian control, the tension between propaganda and lived reality continues to define the discourse surrounding one of the war’s most devastating incidents.