Jesse Eisenberg: Sarajevo mi je najdraži grad na svijetu / Sarajevo is my favorite city in the world
FESTIVAL DAILY
UTORAK / Tuesday 16.8.2022.
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Nakon uručenja nagrade publika je imala priliku pogledati film NAKON ŠTO SPASIŠ SVIJET, Eisenbergov rediteljski dugometražni prvijenac. “Sarajevo mi je najdraži grad na svijetu i drago mi je što sam ponovo tu. Kupio sam avionsku kartu 2020. godine, bio sam spriječen i nisam mogao doći, ali uspio sam i sada sam konačno tu. Hvala vam svima što ste došli. Nisam znao da će ovdje biti toliko ljudi, inače bih napravio bolji film”, rekao je Eisenberg, a publika ga je ispratila velikim pljeskom. Eisenberg, počasni gost 28. Sarajevo Film Festivala, prije uručenja ovog priznanja u Ljetnom kinu Coca-Cola, prošetao je i Crvenim tepihom ispred Narodnog pozorišta. U srijedu, 17. augusta u Bosanskom kulturnom centru će biti održan masterclass sa Eisenbergom. NAKON ŠTO SPASIŠ SVIJET, naslov koji distribuira kompanija A24, premijerno je prikazan na Sundance Film Festivalu 2022. godine, uz sjajne kritike. Prikazan je u programu Sedmice kritike na Filmskom festivalu u Cannesu 2022. godine. Film prati Evelyn (Julianne Moore), ženu koja je posvetila život pomaganju ljudima u nevolji, ali se ne uspijeva zbližiti sa svojim sinom Ziggyjem, internet-zvijezdom u usponu nezainteresovanom za svjetske probleme. Ovaj emotivni film, čiji scenarij i režiju potpisuje Jesse Eisenberg, zabavan je i iznimno perceptivan portret majke i sina koji su naizgled potpuno različiti, ali zapravo su puno sličniji nego što su to voljni priznati.
Američkom glumcu, reditelju, dramskom piscu i autoru Jesseju Eisenbergu, nominovanom za Oscara®, uručeno je Počasno Srce Sarajeva 28. Sarajevo Film Festivala.
Jesse Eisenberg: Sarajevo mi je najdraži grad na svijetu
American Academy Award-nominated actor, director, playwright and author Jesse Eisenberg received the Honorary Heart of Sarajevo Award for his outstanding contribution to the art of film at the Coca-Cola Open Air Cinema.
After the award presentation, the public had the opportunity to watch the Special Screening of WHEN YOU FINISH SAVING THE WORLD, Eisenberg’s directorial feature debut. “Sarajevo is my favorite city in the world and I am delighted to be here again. I bought a plane ticket in 2020, I was stopped and I couldn't go, but I did it and now I'm finally here. Thank you so much for coming to the movie tonight. I didn’t realize there would be so many people here, and if I knew that, I would have made a better movie”, said Jesse Eisenberg and greet him with big applause. Eisenberg, special guest at the 28th Sarajevo Film Festival, before presenting the award at the Coca-Cola Open Air Cinema, also walked the Red Carpet in front of the National Theatre. On Wednesday, August 17th, a masterclass with Eisenberg will be held at the Bosnian Cultural Center. Eisenberg’s directorial debut and an A24 title, WHEN YOU FINISH SAVING THE WORLD premiered at the 2022 Sundance Film Festival to glowing reviews and screened as a part of Critics Week at the 2022 Cannes Film Festival. The film follows Evelyn (Julianne Moore) a woman devoted to helping people fallen on hard times, but who struggles to connect with her son Ziggy (Finn Wolfhard), an aspiring internet star oblivious to the problems of the world. This emotional comedy- based on the Audible Original of the same name, also written by Eisenberg- reveals a funny and sharply perceptive portrait of a mother and son who may seem at odds but who are more alike than either would care to admit.
Jesse Eisenberg: Sarajevo is my favorite city in the world
Braća / Brothers
Film će biti prikazan u 21:30 sati u Narodnom pozorištu. / Screening at the National Theater at 21:30
France, Bosnia and Herzegovina, United Kingdom, 2022, Colour, 58 min. Režija / Director: Isild Le Besco Uloge / Cast: Isild Le Besco, Ulysse Le Besco, Solon Le Besco, Mathieu Pezon, Mathis Vachée, Joris Vachée, Elie Frick, Jules Daudanne Nekada davno, u jednom udaljenom kraljevstvu, živjela je jedna plava ptica obdarena brojnim moćima koje su osvjetljavale i štitile kraljevstvo i sve njegove stanovnike. U tom kraljevstvu je, sa svojom majkom, živjelo šest dječaka. Majka je naporno radila da prehrani svoje sinove koji su bili nemarni i neposlušni. Kada dječaci probude šumsku zvijer, ona razjareno baca kletvu na njihovo selo. Njihova majka iznenadno nestaje, a dječaci ostaju sami, da se poprave i isprave svoje greške. Dječaci kreću u potragu za plavom pticom u nadi da u kraljevstvu ponovo uspostave mir i spokoj i pronađu svoju mamu. Once upon a time, in a faraway kingdom, there lived a blue bird, endowed with many powers that illuminated and protected the kingdom and all its inhabitants. In this kingdom lived a mother and her six sons. She worked hard to raise her boys, but they were reckless and disobedient. One day, they wake up a forest beast and bring a curse upon their village. Their mother suddenly disappears and the boys are left all by themselves in their mountain home. They come to understand that they must redeem themselves and make amends, so they go in search of the blue bird in the hope that peace and serenity will be restored in the kingdom, and that they will find their missing mother
SPECIJALNA PROJEKCIJA / SPECIAL SCREENING
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Ukrajinski kreativni sektor danas je iznimno ranjiv
Intervju s Marynom Er Gorbach, rediteljicom filma Klondike
INTERVJU
Kada ste počeli pripremati film,da li ste mislili da će, nažalost, biti toliko relevantan? Na našoj Instagram stranici Klondike.movie opisali smo kako je razvoj scenarija i cijelog projekta započeo 2014. godine. Nakon što je te 2014. aneksiran Krim i počela okupacija Donbasa, već sam osjećala da smo zakasnili. Kako je ukrajinski Donbas povezan s Klondikeom, mjestom u Yukonu poznatom po zlatnoj groznici s kraja 19. stoljeća? Preimenovanje Donbasa u Klondike bila je odluka da se metaforom duboko uđe u srž cijelog sukoba. Donbas je najveća industrijska regija Ukrajine, baš kao što je Klondike bio centar zlatne groznice. Ali zlatna groznica nije samo priča o ubijanju radi bogaćenja, već i o ljudima s oružjem koji dolaze među lokalno stanovništvo i pokušavaju uspostaviti vlastita pravila. Ovo je Klondike, ratna groznica. Koliko je bilo važno povezati fiktivnu priču o bračnom paru koji živi u okupiranim dijelovima Ukrajine sa stvarnim događajem obaranja putničkog aviona Malasyia Airlinesa? Katastrofa MH-17 je način da se međunarodna publika uključi u globalni razgovor o svjetskoj sigurnosti. Premijeru smo imali u januaru 2022, a povratne informacije publike bile su sljedeće: SAD: K vragu, nismo znali za rat u Ukrajini. BERLIN: O moj Bože, Klondike je poput filma o strahotama koje gledamo na vijestima. Nakon 24. februara: Klondike je film poput nekog proročanstva. Treba pitati redateljicu - Hoće li Rusija upotrijebiti atomsku bombu? A što se zapravo dogodilo? 2014. godine povrijeđene su granice suverene države, ali i granice humanizma. Nakon vijesti o Buči, Irpinu, Mariupolju, Olenivki... pređena je granica onoga što smo dotad smatrali dopuštenim. Ali, sada smo u Sarajevu. Historija se ponavlja u većim razmjerima. Čovječanstvo se dijeli na one koji žele stvarati vrijednosti i one koji ih uništavaju. Gdje ste pronašli sve te uništene dijelove aviona? To je stvarno odličan kompliment našoj scenografskoj ekipi. Jedan od članova filmske ekipe, koji je znao kako smo snimali, ali tek je tijekom postprodukcije vidio rezultat na ekranu, samo je rekao: „Vi ste ludi“. Možda je bio u pravu, ali mi smo samo imali golemu želju snimiti film čiji će utjecaj biti dugotrajan. Kako ste znali da će Oksana Cherkashyna biti vaša savršena Irka, žena nevjerojatne snage koja ne želi pasti u očaj čak ni u najstrašnijim situacijama? Odabrala sam je po mirisu, mirisala je na Irku (smijeh). Svi likovi iz Klondikea personifikacija su ljudskih instinkata za preživljavanje. Važno mi je da su Irkini ženski instinkti jači od rata, no ona je u isto vrijeme samo žena koja živi dan po dan, priprema se za budućnost pod bombama. To je majčinski instinkt. Sretna sam što je Klondike Cherkashinina prva glavna filmska uloga. U filmu punom simbolike, od tapeta sa slikom tropske plaže uništene jednom bombom do dvojice šogora na suprotnim stranama, koliko novorođeno dijete predstavlja neizvjesnu budućnost Ukrajine? Za mnoge ukrajinske obitelji odmor na Krimu — odmaranje na plaži i istraživanje planina — je bio svakogodišnji san. I sada je uništen. Ako ćete pažljivije gledati detalje, Irkina torba za bolnicu izgleda kao torba za plažu. Šogori nisu Rus i Ukrajinac, obojica su Ukrajinci i govore ukrajinski. Jedina je razlika u tome što Yaruk nikada nije živio u Sovjetskom Savezu i uistinu ne može pojmiti kako je moguće živjeti pod ruskom okupacijom. Tolik je mnogo stariji i njegov jedini san je spasiti život svojoj ženi i djetetu. On je samo čovjek, a ne superheroj. Konačno, to su dva muškarca koji se bore tko će biti vođa u kući.Rađanje djeteta tijekom strahota rata nije zamišljeno kao simbol budućnosti zemlje. Iza svakog od nas stoji žena, kako iza Tolika i Yarika, tako i iza ratnih plaćenika. Kada sagledamo cijelu širinu, priroda je tako moćna. Zato ta scena nije poruka o budućnosti, nego divljenje životu. Ovo je prvi film koji niste režirali zajedno sa svojim suprugom Mehmetom Bahadirom Erom. Kako ste se odlučili samostalno režirati i hoćete li tako i nastaviti? Još uvijek sam iznenađena kako smo u prošlosti uspjeli snimiti tri filma kao koreditelji. Nikada to nismo planirali. Kod nas je sve išlo vrlo intuitivno i prirodno. Iskreno, puno puta su me pitali ovo pitanje. Svjesna sam da postoje brojne žene u filmskoj industriji koje pišu, stvaraju i sudjeluju u režiji, ali na kraju iz nekog razloga ne budu potpisane na filmu. Naš je princip rada da prvo snimimo film, a onda sjednemo i vidimo koga ćemo potpisati pod koju titulu. No, očito je koliko mi Klondike znači, pa je bilo jasno da je na njemu potreban zaštićeni prostor za ženski autorski glas. Bahadirov je udio u nastanku filma bio ogroman, ali uglavnom u produkciji filma. Bez obzira kako smo na njemu potpisani, na kraju bih ipak rekla da je Klondike - naš film. U kakvoj je situaciji ukrajinska filmska zajednica u ratom razorenoj zemlji? Kad čujem ovo pitanje, samo mi se pred očima pojavljuju lica umjesto svih onih statista o snimanju za vrijeme rata. Ukrajinski kreativni sektor danas je iznimno ranjiv. Postoji emocionalno pomračenje kada ljudi ne osjećaju apsolutno ništa. A jezivo je kada razmislite da je nemoguće stvarati ni iz čega, zar ne? Ne možemo ni zamisliti koliku ljepotu treba stvoriti da se barem djelomično prekrije sav ovaj užas. Razgovarao Josip Jurčić Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
When you started to prepare the film did you think it’s was, unfortunately, going to be this relevant? We’ve posted on our Klondike.movie Instagram account how the script and the whole project developing started in 2014. After the annexation of Crimea and the beginning of Donbas occupation in 2014, I already felt we were too late. How is the Ukrainian Donbas connected with Klondike, place in Yukon infected by the gold rush at the end of 19th century, to which the film’s title refers? Renaming Donbas to Klondike was a figurative decision to get deeply to the heart of the whole conflict. Donbas is the largest industrial region of Ukraine, just like Klondike was center of gold rush. But gold rush is not only a story of murders for enrichment but also about people with weapons coming to the locals and trying to establish their own rules. This is Klondike, a war rush. How important was to connect a story of married couple living in occupied parts of Ukraine with real life event of shooting down Malasyia Airlines Flight 17? The MH-17 catastrophe is a way to involve an international audience in a global conversation about world safety. We premiered in January 2022, and the feedback from the audience was like: USA: Fuck, we didn't know about war in Ukraine BERLIN: Oh my gosh, Klondike is like a movie about things we hear on the news. After 24th of February: Klondike is kind of prophet film. We should ask the director - Will Russia use the atomic bomb? And what actually happened? In 2014, the borders of the sovereign state were violated as well as the borders of humanism. After the news about Bucha, Irpin, Mariupol, Olenivka… the boundary of our perception of permissibility has been violated. But you know, we are in Sarajevo now. History repeats itself on a larger scale. Humanity is divided into those who want to create values and those who destroy them. Where did you find all those broken parts of airplane? Оh, this is really cool complement to our production designer department. One of the team members, who participated in post-production, saw the result on the screen, knowing how everything was created, and said: you are crazy. Maybe he was right, but we were just acting with the desire to make a long-living film. How did you know that Oksana Cherkashyna would be your perfect Irka, woman with incredible strength not willing to fall into despair even in most horrible situations? I chose her based on her smell, she smelled like Irka [laughing]. All Klondike characters are the personification of human survival instincts. It is important for me that Irka's female instincts are stronger than war, but at the same time she is just a woman who lives day by day, she prepares for the future under bombs, this is a maternal instinct. I am happy that Klondike happened to be Cherkashina's first full leading role in a movie. In a film full of symbols, from wallpapers with image of tropic beach ruined with one bombshell to Russian and Ukrainian brothers in law, how much does a newborn baby represents uncertain future of Ukraine? For many Ukrainian families a vacation in Crimea — chilling on a beach and exploring mountains — was an annual dream. And it was destroyed. If you will notice details, Irka’s bag for the hospital looks like beach bag. There are no Russian and Ukrainian brothers in law, they are both Ukrainians and speak Ukrainian. The only difference is that Yarуk never lived under Soviet Union influence and he truly doesn’t have in mind how it is possible to live under Russian occupation. Tolik is much older and his only dream is to save the life of his wife and child. He is just a human and not a superman. Finally, they are two men fighting for leadership in one house. Talking about the future, I did not think of it as a symbol of the country's future. There is a woman behind each of us, behind Tolik and Yarik, behind the mercenaries. Nature, in the large-scale understanding of this phenomenon, is so powerful. This was not an episode about the future of the country, this is an appreciation for life. This is the first film that you didn’t co-direct with your husband Mehmet Bahadir Er. How did you decide to direct it alone and will you continue to do it? I am still surprised how we have made 3 movies as co-directors in our past. It was never a topic to discuss for us. Everything was happening in a very natural way. Honestly, I’ve heard this question many times. There are many women in film industry writing, creating, taking parts in directing and co-operating, but they don’t have any title because of some reasons. In our tandem, we make film as a first thing and when it’s done the decision on credits appears. But “Klondike” seemed too special for me, it was clear that there was a safe and deeply private zone needed for a woman author’s voice. Nevertheless, Bahadir’s part was huge, but mostly in all production part. I would say Klondike is still our movie. What is the situation of Ukraine film community in war torn country? When I hear this question, I can only see faces appearing in front of my eyes instead of all those film-during-the-war statistics. Ukrainian creative sector is extremely vulnerable nowadays. There is an emotional blackout when people feel absolutely nothing. And it’s scary when you think that is impossible to create from nothing, right? We can’t even imagine how much of a beauty needs to be created to cover all this horror at least partially. Josip Jurčić Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Interview with Maryna Er Gorbach, director of the film Klondike
Ukrainian creative sector is extremely vulnerable nowadays
Alexander Koridze, gruzijski redatelj i producent filma „Atonalni sjaj“
Prošle godine sudjelovali ste u CineLink Doc Rough Cut Boutique programu, uvjereni da imate nesvakidašnju priču koja prelazi granice Gruzije. Kakav je osjećaj vratiti se u Sarajevo s gotovim filmom? Sudjelovanje na međunarodnim festivalima jasan je dokaz da priča filma prevazilazi Gruziju i postaje univerzalna za gledaoca u bilo kojoj zemlji. Mislim da je to jedan od razloga zašto je film primljen u Doc Rough Cut Boutique. Ne morate biti Gruzijac da biste razumjeli dubinu i nijanse emocija, osjećaja i tema u ovom filmu. Izuzetno mi je ugodno i zanimljivo sudjelovati na Sarajevo Film Festivalu jer je nedvojbeno utjecao na razvitak i sudbinu filma. Rad sa djecom uvijek je zahtjevan, pogotovo ako posjeduju kreativnost genija i hirovitost djeteta. Kako ste pristupili Tsotneu? Bilo je zadovoljstvo snimati ga. Ne znam da li je to moje postignuće ili Tsotne Zedginidze to radi svima, ali bili smo apsolutno ravnopravni, bez neslaganja izazvanog razlikom u godinama. Tsotne mi je dopustio da uđem u njegov unutarnji svijet i na tome sam mu zahvalan. Kombinacija nevjerojatnog talenta i djeteta je upravo ono što tako očarava kod njega. Isto mogu reći i za skoro sve ostale likove u filmu: proces je bio vrlo lagan, plodonosan i ugodan. Tsotneove razigrane i maštovite igre koje snima mobilnim telefonom dokaz su da kreativno biće pronalazi različite načine da se izrazi i da to ne mora uvijek biti komplicirana klavirska partitura. Smatrate li da mu je dato dovoljno prostora da bude samo dijete? Unatoč njegovom velikom talentu, Tsotne je u svakodnevnom životu jednako dijete kao i njegovi vršnjaci. Mislim da Tsotne nije lišen sreće što je samo dijete. Vjerujem da mu u tome pomažu i samoironija i bogata mašta. Uprkos njegovom talentu, Tsotne nije pod pritiskom kakav odrasli često vrše na talentirane ljude u djetinjstvu - bilo da se radi o sportu, umjetnosti ili nekoj drugoj sferi. U tom pogledu, Tsotne ima sreće. Ima slobodu biti dijete, stvarati, izražavati se. Nakon prvog koncerta sa Gruzijskom filharmonijom, Tsotne uživa popularnost u školi i daje autograme vršnjacima. Koliko ga popularnost zabavlja, a koliko mu je teret? Scena u filmu za koju pitate je zapravo izmišljena. Kao što rekoh, Tsotne ima zdrav osjećaj za samoironiju i sam se smije metežu i buci koja se diže oko njega. Naravno, prepoznaju ga na ulici i za svoje godine je već prilično poznata ličnost, ali ono što mi se sviđa je da se prema svojoj slavi odnosi na vrlo priseban način. Iskreno se nadam da se to neće izgubiti kada bude stariji. Tsotneova baka, i sama muzičarka, svjesna je posebnosti svog unuka i svim silama pokušava da izvuče maksimum iz njegovog rijetkog talenta. Otac ga podučava engleski, što svakako nije nevažno za njegovu buduću karijeru. Zašto baka i otac nisu udružili snage za dobrobit izuzetnog djeteta? Ovo je vrlo složena tema, ne može se u potpunosti otkriti u cjelovečernjem filmu. U idealnom svijetu, u obitelji nema sukoba i odrasli razmišljaju samo o budućnosti djece. No ne ide uvijek tako. Ovaj slučaj podsjeća na Brechtov "Kavkaski krug kredom". Tema je toliko komplicirana da sam prikazao samo situaciju u porodici kakva je. Zaključke sam prepustio gledaocu. Iskreno se nadam da će sve porodične nevolje u Tsotneovoj porodici prestati i da će on moći nastaviti put kompozitora i slijediti svoje snove. Razgovarala Marinela Domančić Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Pogled u svijet desetogodišnjeg genijalca
INTERVIEW
Inner World of a Ten Year Old Genius
Interview with Alexander Koridze, Georgian director and producer of the film “Atonal Glow”
It's only been a year since you participated in CineLink's Doc Rough Cut Boutique, convinced that you had in an extraordinary story, crossing far beyond the borders of Georgia. How does it feel now, when you return to Sarajevo? Participation in international festivals is clear evidence that the story of the film goes beyond Georgia and becomes universal for every viewer in any country. I think that one of the reasons why the project was accepted into Doc Rough Cut Boutique was just that. You don’t need to be Georgian to understand the deepness and the nuances of the emotions, feelings and themes in this film. It is extremely pleasant and interesting for me to participate in the Sarajevo Festival, as it undoubtedly had an impact on its development and fate. Working with children is always demanding, especially if they have the creativity of a genius and the capriciousness of a child. How did you approach Tsotne? It was a pleasure to film Tsotne. I don't know if it was my accomplishment or Tsotne Zedginidze is doing this to everyone, but we were on absolutely equal terms. We had no age - related dissonance. Tsotne allowed me to enter his inner world and I am grateful to him for that. This combination of an amazing talent and a child is exactly what is so mesmerising about him. Overall, I can say the same about almost all the other characters in the film – the process was very easy - going, fruitful and pleasant. Tsotne's playful and imaginative games that he records with his mobile phone are more proof that a creative being seeks and finds different ways to express himself and that it doesn't always have to be a complicated piano score. What is your impression, is he given enough space to be just a child? Despite Tsotne's great talent, in everyday life he is as much of a child as his peers. I don't think that Tsotne is deprived of the happiness of being just a child. I believe that self-irony and his great sense of fantasy also help him. Despite his talent, there is no heavy pressure on Tsotne that adults often exert on talented people in childhood - be it sports, art or another sphere. So, in this regard, Tsotnе is lucky. He has the freedom to be a child, to create, he has the freedom of self-expression After his first concert with the Georgian Philharmonic, Tsotne enjoys popularity at school and signs autographs for his peers. How much does popularity amuse him and how much is it a burden for a ten - year old? The scene in the movie you're asking about is actually a make-believe play. As I said, Tsotne has a healthy sense of self - irony and he himself laughs at all the commotion and noise that is raised around him. Of course, Tsotne is recognised in the streets and for his age he is already quite a famous person, but what I like is that he treats his fame in a very level-headed manner. I really hope that this attitude will not be lost as he grows older. Tsotne's grandmother, a musician herself, is aware of her grandson's specialness and tries with all her might to get the most out of his rare talent. His father gives him English lessons, which is certainly not unimportant for his future career. Why the grandmother and the father didn’t joined the forces for the benefit of an exceptional child? This is a very complex topic that cannot be fully disclosed even in a full-length film. In an ideal world, there are no conflicts in the family and adults are thinking only about the future of children. It doesn't always work out that way. This particular case reminds of Brecht's "Caucasian Chalk Circle". The topic is so complicated that I didn't specifically start accentuating it in the movie. I just showed the situation in the family as it is, and let the viewer draw the conclusions. I really hope that all the family troubles in Tsotne’s family will end and he will be able to continue his path of becoming a composer, and to follow his dreams. Marinela Domančić
Intervju: Botond Püsök, mađarski reditelj filma Too Close
Tabu tema i složene emocije
Svoj ste film na Sarajevo Film Festivalu predstavili lani u okviru programa Work in progress na Cinelinku. Na koji način je to utjecalo na završetak filma? Tada smo bili u posljednjoj fazi montaže i jedva smo čekali da razgovaramo sa profesionalcima iz industrije na Cinelinku. Čak i u toj fazi rada dobar razgovor ili povratna informacija može poslužiti kao inspiracija. Održali smo sjajne online sastanke, dobili pozitivne reakcije i bio sam prilično uzbuđen što sam mogao predstaviti svoj projekt. Odnos između vas i glavne protagonistice, glumice Andree, pun je povjerenja i razumijevanja, a prisnost se osjeti u svakom trenutku filma. Koliko vam je trebalo da se razvije takav odnos? Naša povezanost postojala je i prije snimanja filma. Imamo slična interesovanja, u kontaktu smo godinama. Andrea je istinski divna, brižna osoba. Prilično me šokiralo kada je odlučila da sa mnom podijeli mračne tajne svoje obitelji. Ne mogu zaboraviti moju reakciju: ovo se nije moglo dogoditi mojoj prijateljici, ne može se dogoditi nekome koga poznajem. Osjetio sam da je spremna podijeliti svoju priču, što me podstaklo na razmišljanje da je ispričamo kroz film. Tako je ovaj projekt organski proizašao iz našeg odnosa zasnovanog na poverenju, i iz naše spremnosti da napravimo film koji će druge inspirisati da ovu temu promatraju u drukčijem svjetlu. Kamera je postala dio procesa ozdravljenja. Sjajno ste prikazali seoski mentalitet u kojem su ljudi crno-bijeli i gdje većina staje uz jače, bogatije, klerikalnije i muževnije a prema svemu drugačijem osjeća prezir, mržnju i gnušanje. Selo smatra da je grijeh poslati pedofila u zatvor. Čak ni žene ne pokazuju suosjećanje prema majci. Kako su vas u selu prihvatili, jesu li znali o čemu snimate film? Snimanje sela bilo je sasvim drugačije od snimanja Andree i njene djece. Živio sam sa svojim protagonistima u alternativnom, zaštitničkom balonu, u kojem su bili samo oni, njihova osjećanja i uzajamna ljubav, njihove male svakodnevne navike. Izlazak iz ove atmosfere u selo svaki je put bio kao hladan tuš. Uz toliko mržnje, netrpeljivosti, okrivljavanja i posramljivanja mojih likova, bilo je psihički izazovno nositi se s tim i distancirati se od negativne energije tako da mogu ostati kreativan promatrač izoštrenih čula. Osjećao sam potrebu da uhvatim njihove nefiltrirane poglede. Otvorio sam karte i rekao im da ima mnogo gledišta na priču te da me zanima njihovo mišljenje. U početku sam stupio u kontakt sa ljudima za koje sam čuo da su voljni razgovarati. Ali to nije bilo dovoljno da se stvori „glas sela“. Tako sam odlučio da idem od kuće do kuće i kucam na svaka vrata, sve dok nisam našao ljude koji su htjeli govoriti. Moj se prijatelj našalio da sam poput Erin Brockovich! Nekoliko puta su mi prijetili, bilo je i pokušaja zastrašivanja, no to mi je samo pokazalo da sam se približio istini i da im to smeta. Izuzetno je snažna emotivna komponenta vašeg filma. Iako Andrea ne govori mnogo o svojoj tuzi, razočarenju i gubitku, jasno je da sve u njoj plače dok se oprašta sa kućom punom uspomena. Tu su trešnja posađena kada je rodila kćer, šljiva posađena kada je rodila sina, mnogi dječiji radovi koji čine dom... Nevjerovatno je koliko vi kao redatelj svoje razumijevanje prenosite na gledatelje, a ljudi iz okruženja su - sasvim slijepi. Jeste li razmišljali o projekciji filma za seljane? Često razmišljam u kakvom bismo svijetu živjeli kada bi svi na kratko postali dokumentaristi, samo slušali i promatrali, imali empatiju prema drugim ljudima. To je tako osnovno, ali još uvijek teško za vježbanje. Jedan od razloga zašto smo ja i moji protagonisti snimili ovaj film je da prikažemo složene emocije vezane uz ovu tabu - temu. Nadam se da će producentski tim prikazati “Too Close” i u ruralnim sredinama. Razgovarala Marinela Domančić Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Taboo topic and complex emotions
Interview with Botond Püsök, Hungarian director of the film “Too Close”
Last year you presented your film at Sarajevo Film Festival as part of the Work in Progress program on Cinelink. How did Cinelink influenced its finalisation? We were in the last stage of editing when we participated in Cinelink, so we were very eager to talk about the cut with the industry professionals who were part of the event. Even in that very sensible stage of editing a good conversation or feedback can serve as inspiration. And we did have some great online meetings and positive reactions; I was quite excited to be able to pitch the project in the very last steps of production. The relationship between you and the main protagonist, the actress Andrea, is a relationship of trust and understanding, and this is felt in every moment of the film. How long did it take for such relationship to get developed? The bonding between me and Andrea goes way back before we started shooting. Having similar interests, we kept in touch throughout the years, and I got to know a genuinely nice, caring person. The shock was that much heavier to take when she decided to share her family’s dark secrets with me. To this day I cannot forget my reaction: this could not have happened to my friend, this cannot happen to someone I know. Sensing that she is willing to share her story, fuelled by the shock and confession, that meeting served as a catalyst for me to start thinking in storytelling. This is how the project was born; it resulted organically from our trust - based relationship, our willingness to make a film which inspires others to look at this subject in a new light. The camera became a part of their healing process. You brilliantly portrayed the rural mentality, where the majority side with the stronger, richer, more clerical and masculine, and feel contempt, hatred and disgust for everything different. The village believes that it is a sin to send a pedophile to prison. Even women do not show compassion for the mother. How was your presence in the village accepted, did the villagers know what you were making a film about? Filming with the village was a very different process than filming with Andrea and her kids. With my protagonists I was sort of living in an alternate, protective bubble, where it was just them, their feelings and love towards each other, their little everyday habits. Stepping out of this atmosphere into the village was like a cold shower every time, because there was so much hate and bigotry and blaming and shaming towards my characters. It was psychologically challenging to handle that and distance myself from that negative energy in a way that I could still remain very much observant. I felt the need to capture their views unfiltered, therefore I played with open cards and told them that a story has many points of views and I am very curious on theirs and why they think the way they do. In the beginning I got a couple of contacts who I heard are willing to talk, but those were not enough to create the ‘village voice’. So I decided to go house by house, knock on each door, until I found people who were eager to speak. A friend of mine funnily said that I was in an ‘Erin Brockovich mode’. I was threatened a couple of times and there were some who tried to intimidate me, but that just proved that I was close to the truth and that it bothered them. The emotional component of your film is very strong. Although Andrea doesn't talk much about her grief, disappointment and loss, it's clear that everything inside her is crying as she says goodbye to a house full of memories. There is a cherry tree planted when she gave birth to a daughter, a plum tree planted when she gave birth to a son, many children's works of art that make up the home... It is incredible how much you as a director show understanding and convey it to the viewers, while the people around you are completely blind. Have you thought about screening this film for the villagers? I often play with the thought in what kind of world we would live in, if everyone became a documentary filmmaker for a short time, and everyone would just listen and observe and be present with empathy towards other people. It’s such a basic, but still difficult thing to practice. And one of the many reasons why me and my protagonists made this film, is to portray the very complex emotions around this taboo topic. I hope that through the work of the production team and impact producer, “Too Close” will be also shown in these rural communities. Marinela Domančić Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Mladi biraju teme bliske njima
Intervju s Asjom Krsmanović, selektoricom Takmičarkog programa – studentski film
Kakve filmove donosi ovogodišnja selekcija Takmičarskog programa – studentski film? Selekcija ovog programa zasigurno je jedna od najuzbudljivijih na festivalu. Studenti su ti koji imaju potpunu slobodu da eksperimentišu i prave greške, ali i riskantne poteze koji ih često, kada su uspješni, izdvajaju iz mora stilski ili tematski sličnih ostvarenja. Ove godine, selekcija nam donosi jedanaest filmova i rekla bih, dvije dominantne tematske cjeline. Veliki dio selekcije bavi se različitim manifestacijama nasilja – partnerskog, vršnjačkog, pa i nasilja u svijetu video igrica, koje nas opet, analogijom, upućuje na nasilje u stvarnom životu, te nasilja u svijetu filma, a drugi je, rekla bih, više kontemplativan i otvara nam raznolike unutarnje svjetove likova prožete na momente humorom, na momente osjećajem anksioznosti, ali i dozom melanholije. Koliko je ova selekcija Sarajevo Film Festivala važne za mlade autorice i autore i koliko se autorica/a kroz nju profiliralo? Mislim da je veoma važna, a to nam pokazuju i zaista blistave karijere bivših učesnika i učesnica ovog programa. Dok se mnogi od njih vraćaju Festivalu kroz program Talents Sarajevo, neki od njih završavaju ili su završili svoje dugometražne prvijence koji su imali premijere na važnim filmskim festivalima, poput jedne od pobjednica programa Hajni Kis, koja je prošle godine imala premijeru svog filma na KVIFF, ili Clare Stern čiji film je ove godine bio prikazan u programu Tribeca Festivala. Može li se uočiti neka tema koja privlači većinu autorica/a da se bave njome? Već sam spomenula nasilje kao jednu od dominantnih tema, te osjećanje anksioznosti koje se prožima kroz većinu filmova ovogodišnje selekcije, a to je, sasvim izvjesno, rezultat okolnosti u kojima živimo. Pandemijska razdvojenost, rat u Ukrajini, ekonomska neizvjesnost, sigurno su utjecale na dominaciju ovakvih filmova u selekciji. Ako biste komparirali ovogodišnju i prošlogodišnju selekciju, šta bi ih razlikovalo? Mislim da je teško porediti selekcije jer svaka generacija i svaki autor ili autorica nosi nešto specifično svoje. Ono što je uvijek lijepo je da se mladi ljudi bave većinom temama koje su im bliske i kreiraju sebi bliske likove. Da li ste zadovoljni sa svime što je proteklih godina donijela ova selekcija i kamo bi, po Vašem mišljenju, trebala biti usmjerena u narednim godinama? Sigurno da sam zadovoljna, naročito kada uzmemo u obzir da je iza nas pandemijska godina u kojoj je produkcija bila značajno smanjena. Sretna okolnost je da to nije utjecalo na kvalitet filmova. Nadam se da će u narednim godinama produkcija porasti i vratiti se na staro, a shodno tome, da ćemo, možda, jednoga dana proširiti i ovaj program. S obzirom na događaje koji su u nekoliko proteklih godina obilježili socijalno-ekonomsku i političku situaciju u svijetu, gdje u budućnosti vidite studente filma? Ili, kakvu budućnost za njih vidite? Trudim se da ne anticipiram mnogo više od onog što je nužno da bih radila svoj posao, a mislim da nam je situacija u protekle dvije godine pokazala da je anticipirati bilo šta, doista arogantno. Ono čemu se nadam je da će svi oni imati dovoljno produkcijskih mogućnosti da iskažu svoj talenat, bilo da odluče ostati u okvirima filmske industrije, ili se odluče na neku drugu vrstu kreativnog izraza unutar TV ili rastuće IT industrije. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
What kind of films does this year's selection of the Competition Programme – Student Film bring? The selection of this programme is certainly one of the most exciting at the festival. Students are the ones who have complete freedom to experiment and make mistakes, but also risky moves that often, when successful, set them apart from the myriad of stylistically or thematically similar accomplishments. This year, the selection brings us eleven films and, I would say, two dominant thematic units. A large part of the selection deals with various manifestations of violence – partner, peer, and even violence in the world of video games, which again, by analogy, leads us to violence in real life, and violence in the world of film, and the other, I would say, is more contemplative and opens up diverse inner worlds of characters permeated with humour, moments of anxiety, but also with a dose of melancholy. How important is this selection of the Sarajevo Film Festival for young authors and how many authors have profiled themselves through it? I think it's very important, and this is shown by the glowing careers of former participants in this programme. While many of them return to the Festival through the Talents Sarajevo programme, some of them are finishing or have finished their feature debut films that premiered at important film festivals, such as one of the winners of the Hajni Kis programme, which premiered its film at KVIFF last year, or Clare Stern, whose film was screened in the Tribeca Film Festival programme this year. Can one spot a topic that attracts most of the authors to deal with it? I have already mentioned violence as one of the dominant topics, and the feeling of anxiety that permeates most of the films in this year's selection, and that is, quite certainly, the result of the circumstances in which we live. The pandemic separation, the war in Ukraine, and the economic uncertainty, certainly influenced the dominance of such films in the selection. If you were to compare this year's and last year's selections, what would differentiate them? I think it's hard to compare selections because each generation and each author carries something specific of their own. What is always nice is that young people deal mostly with topics that are close to them and create characters that are close to them as well. Are you satisfied with everything that this selection has brought in the past years and where, in your opinion, it should be directed in the coming years? I'm certainly pleased, especially when we consider that the pandemic year in which production was significantly reduced is behind us. Fortunately, it didn't affect the quality of the films. I hope that in the coming years the production will grow and return to the way it was, and consequently, that, perhaps, one day, we will expand this programme. Given the events that have marked the socio-economic and political situation in the world over the past few years, where do you see film students in the future? Or what future do you see for them? I try not to anticipate much more than is necessary to do my job, and I think the situation over the past two years has shown us that anticipating anything is arrogant. What I hope is that all of them will have enough production opportunities to show their talent, whether they choose to stay within the film industry, or opt for some other kind of creative expression within TV or the growing IT industry. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Young people choose topics close to them
Interview with Asja Krsmanović, programmer of the Competition Programme – Student Film
BH Telecom je vodeći telekom operator u BiH i ponosni glavni sponzor Sarajevo Film Festivala pod sloganom „Moje Sarajevo. Moja priča.“ Tokom 28. Festivala očekujemo vas na servisu MY TV na Moja TV platformi gdje vam donosimo mnoštvo premium sadržaja uz odabrane filmove, dokumentarce, ali i live atmosferu tokom festivala, kao i na poddomeni www.bhtelecom.ba/sff i na našim društvenim mrežama. Sve naše korisnike očekuju brojna iznenađenja! Gledajte MY TV! Moje Sarajevo. Moja priča. BH Telecom
BH Telecom is the leading telecom operator in Bosnia and Herzegovina and the proud main sponsor of the Sarajevo Film Festival under the slogan "My Sarajevo. My story." During the 28th Festival, we are waiting for you on the MY TV service on the Moja TV platform, where we bring you a lot of premium content with selected films, and documentaries, as well as a live atmosphere during the festival, as well as on the subdomain www.bhtelecom.ba/sff and on our social media networks. Many surprises await all our users! Watch MY TV! My Sarajevo. My story. BH Telecom
Ljetno kino Coca-Cola / Coca-Cola Open Air CInema
Foto galerija / Photo gallery
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
Grand Kafa sa... Mads Mikkelsen / Grand Coffee with... Mads Mikkelsen
Masterclass sa Arijem Folmanom / Masterclass with Ari Folman
Ekipa filma "Jahači" Dominica Menceja Crew: Riders by Dominic Mencej
Jesse Eisenberg i Jovan Marjanovic / Jesse Eisenberg and Jovan Marjanović
Eva ne može podnijeti činjenicu da njena majka želi renovirati kuću i riješiti se mačke koja je, dezorijentisana nakon razvoda Evinih roditelja, počela mokriti gdje god stigne. Eva želi živjeti kod svog oca koji, dezorijentisan poput mačke, proživljava svoju drugu mladost. Iako nesposobna preplivati okean zrelosti, Eva se mora suočiti s bijesom koji nagriza njenog oca. I sada se počinje prelijevati i u nju. Eva can't stand the fact that her mother wants to renovate the house and get rid of the cat, which, disoriented since Eva's parents' divorce, pees everywhere. Eva wants to go and live with her father, who, disoriented like the cat, is experiencing a second adolescence. But like someone who traverses an ocean of adults without knowing how to swim, Eva has to face the rage that gnaws at her father. And now it is going through her too.
Francuska, 1940: progonjeni od nacista, njemački novinar i kritičar režima Ludwig i njegov dvanaestogodišnji sin Rolf ostaju zaglavljeni u Marseillesu. Cilj im je otići u New York gdje ih Rolfova majka već dugo čeka. Njihova zajednička igra pogađanja – "dobar ili loš, disident ili kolaborator?" – ubrzo postaje smrtno ozbiljna jer sve češće se susreću sa policijskim inspektorima i nacističkim zvaničnicima u okupiranoj Evropi. Do slobode mogu stići samo tako što će preći opasan put koji preko Pirineja spaja južnu Francusku sa Španijom. Djevojčica Núria, koja je samo malo starija od Rolfa, ponudi se da im bude vodič na tom opasnom putu. Kada Ludwig biva zarobljen tokom puta, Rolf i Núria iznenada ostaju sami. Njihov jedini pratilac na putu koji ih uči da se, ako žele preživjeti, moraju držati zajedno i oslanjati jedno na drugo, je Rolfov pas Adi. France, 1940. Persecuted by the Nazis, the critical German journalist Ludwig and his twelve-year-old son Rolf are stranded in Marseille. Their goal is to travel to New York, where Rolf’s mother has been waiting for them for far too long. Their guessing game of "Good or Bad? – Dissident or Collaborator?” soon turns deadly serious when they increasingly have to face inspectors and officials in Nazi-controlled Europe. The only way to freedom is a steep path leading from southern France to Spain through the Pyrenees. Núria, a girl only slightly older than Rolf, offers to guide them along the hazardous path. When Ludig gets caught, Rolf and Núria are suddenly all on their own. Rolf's dog Adi is then the only companion on a journey that teaches the two children to stick together and to rely on one another – if they want to survive.
KINOSCOPE
Put / The Path Germany, 2022, Colour, 99 min, Catalan, German, English, French, Spanish, Režija / Director: Tobias Wiemann, Uloge / Cast: Julius Weckauf, Volker Bruch, Nonna Cardoner, Bruna Cusí, Anna Maria Mühe
Sanjam električne snove / I Have Electric Dreams Belgium, France, Costa Rica, 2022, Colour, 110 min, Spanish, Režija / Director: Valentina Maurel, Uloge / Cast: Reinaldo Amien Guttierez, Daniela Marin Navarro, Vivan Rodriguez, Adriana Castro Garcia
TEEN ARENA
Dvanaestogodišnji Tori i tinejdžerka Lokita izuzetno su bliski. Oboje su porijeklom iz Zapadne Afrike, a kako su se našli u Belgiji bez porodice ovise jedno o drugom u borbi da se snađu i zarade nešto novca. Tvrde da su brat i sestra i zajedno pjevaju u jednom restoranu dok istovremeno za kuhara prenose drogu. Uprkos teškom životu, njihov odnos pun je radosti, ali kada Lokitino pravo da ostane u Belgiji dođe u pitanje, ona je prisiljena na osudnu odluku koja će je razdvojiti od Torija. Twelve-year-old Tori and teenager Lokita are extremely close. Both from West Africa and without other family in Belgium, they depend on each other as they struggle to get by and make some money. Claiming they are brother and sister, they sing beautifully together at a restaurant – while serving as drug couriers for the chef. Despite the hardship, there is great joy in their relationship but, when Lokita’s right to remain in Belgium is threatened, the financial demands of her family grow, and loan sharks loom, she is compelled into a pivotal decision that will separate her from Tori.
TAKMIČARSKI PROGRAM - IGRANI FILM Competition Programme - Feature Film
Tori i Lokita / Tori and Lokita Režija / Director: Jean-Pierre Dardenne, Luc Dardenne, Uloge / Cast: Pablo Schils, Joely Mbundu, Alban Ukaj, Tijmen Govaerts, Charlotte De Bruyne, Nadège Ouedraogo, Marc Zinga
Klondike / Klondike Ukraine, Türkiye, 2022, Colour, 100 min, Ukrainian, Russian, Chechen, Dutch, Režija / Director: Maryna Er Gorbach, Uloge / Cast: Oksana Cherkashyna, Sergiy Shadrin, Oleg Scherbina, Oleg Shevchuk, Artur Aramyan, Evgenij Efremov
Juli 2014. Irka i Tolik, koji uskoro očekuju rođenje djeteta, žive u Donjecku, regiji u istočnoj Ukrajini nedaleko od granice sa Rusijom, oko kojeg su se vodile borbe u prvim danima rata u Donbasu. Njihovo nervozno iščekivanje rođenja prvoga djeteta nasilno prekida rastuća napetost usred rušenja aviona MH17 nedaleko od njihovog sela. Olupina oborenog aviona i parada ožalošćenih koji dolaze posjetiti mjesto nesreće naglašavaju nadrealnu traumatičnost trenutka. Dok Tolikovi prijatelji separatisti očekuju da se on pridruži njihovim naporima, Irkin brat je bijesan jer sumnja da su njih dvoje izdali Ukrajinu. Irka odbija da bude evakuirana čak i nakon što vojska okupira selo i pokušava izmiriti svoga brata i svoga muža tako što ih zamoli da zajedno renoviraju njihovu bombardovanu kuću. July 2014. Expectant parents Irka and Tolik live in the Donetsk region of eastern Ukraine near the Russian border, disputed territory in the early days of War in Donbas. Their nervous anticipation of the birth of their first child is violently disrupted as the nearby crash of flight MH17 elevates the forbidding tension enveloping their village. The looming wreckage of the downed airliner and an incoming parade of mourners emphasise the surreal trauma of the moment. While Tolik’s separatist friends expect him to join their efforts, Irka’s brother is enraged by suspicion that the couple has betrayed Ukraine. Irka refuses to be evacuated even as the village gets captured by armed forces, and tries to make peace between her husband and brother by asking them to repair their bombed house.
OPEN AIR