Dodijeljena Srca Sarajeva za najbolje TV serije / Hearts of Sarajevo for Best TV Series Awarded
FESTIVAL DAILY
PONEDJELJAK / MONDAY 14.8.2023.
www.sff.ba #29thSFF
Dodijeljena Srca Sarajeva za najbolje TV serije
Za nagrade Srca Sarajeva za TV serije 29. Sarajevo Film Festivala bilo je nominirano 19 serija
Svečana ceremonija dodjele nagrada Srca Sarajeva za TV serije 29. Sarajevo Film Festivala održana je u hotelu Hills Sarajevo. Srca Sarajeva za Najbolje TV serije dobili su: U kategoriji Srce Sarajeva - Najbolja dramska serija nagrađena je TV serija KOTLINA U kategoriji Srce Sarajeva - Najbolja glavna glumica u dramskoj seriji nagrađena je Jovana Stojiljković (VERA) U kategoriji Srce Sarajeva - Najbolji glavni glumac u dramskoj seriji nagrađen je Feđa Štukan (KOTLINA) U kategoriji Srce Sarajeva - Najbolja epizodna uloga – glumica u dramskoj seriji nagrađena je Ida Keškić (KOTLINA) U kategoriji Srce Sarajeva - Najbolja epizodna uloga - glumac u dramskoj seriji nagrađen je Boris Ler (KOTLINA) U kategoriji Srce Sarajeva - Zvijezda u usponu nagradu je dobio Denis Murić (ZLATNI DEČKO) U kategoriji Srce Sarajeva - Najbolja režija za epizodu – dramska serija nagradu su dobili Danis Tanović i Aida Begić (KOTLINA) U kategoriji Srce Sarajeva - Najbolji scenarij za epizodu – dramska serija nagradu su dobili Danis Tanović, Amra Bakšić Čamo, Nikola Kuprešanin i Adnan Lugonić (KOTLINA) U kategoriji Srce Sarajeva - Najbolja komedija nagrađena je TV serija MAMA I TATA SE IGRAJU RATA 2 U kategoriji Srce Sarajeva za najbolju režiju - komedija nagrađen je Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2) U kategoriji Srce Sarajeva za najbolji scenarij – komedija nagrađeni su Gvozden Đurić, Marko Manojlović i Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2) U kategoriji Srce Sarajeva - Najbolja glavna glumica – komedija nagrađena je Nina Janković Dičić (MAMA I TATA SE IGRAJU RATA 2) U kategoriji Srce Sarajeva - Najbolji glavni glumac – komedija nagrađen je Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2) U kategoriji Srce Sarajeva - Zvijezda u usponu – komedija nagradu je osvojio Aleksej Bjelogrlić (MAMA I TATA SE IGRAJU RATA 2). Za nagrade Srca Sarajeva za TV serije 29. Sarajevo Film Festivala bilo je nominirano 19 serija. Ceremoniju je vodio glumac i TV voditelj Tarik Filipović. Za nagrade Srca Sarajeva za TV serije konkurirale su serije: „Bunar“, „Kotlina“, „Inhumanum“, „Pad“, „Klan 2&3“, „Trigrad“, „Vera“, „Zlatni dečko“, „Šetnja sa lavom“, „Kalkanski krugovi 2“, „Južni vetar – Na granici“, „Državni službenik 3“, „Dug moru 3“, „Beležnica profesora Miškovića 2“, „Tender“, „Mama i tata se igraju rata 2“, „Na rubu pameti 2“, „Složna braća – Next Đeneration 2“ i „Popadija“. Nominovani za Srca Sarajeva za TV serije Sarajevo Film Festivala bili su: Vedrana Božinović, Anica Dobra, Jovana Gavrilović, Milica Janevski, Katarina Stegnar, Jovana Stojiljković, Aleksandar Dimitrijević, Andrija Kuzmanović, Marko Mandić, Milan Marić, Momčilo Otašević, Feđa Štukan, Milica Gojković, Anđela Jovanović, Ida Keškić, Suzana Krevh, Anita Mančić, Gorica Popović, Vesna Trivalić, Igor Benčina, Zoran Cvijanović, Nikola Kojo, Žarko Laušević, Boris Ler, Krešimir Mikić, Miralem Zupčević, Ana Lečić, Denis Murić, Lenka Petrović, Admir Šehović, Timon Šturbej, Jovan Veljković, Nedeljko Kovačić, Kristina Đuković, Gregor Fon, Nina Zupančić, Sonja Prosenc, Aleksa Ršumović, Slobodan Boban Skerlić, Danis Tanović, Amra Bakšić Čamo, Nikola Kuprešanin, Adnan Lugonić, Bojan Vuletić, Ognjen Janković, Aida Begić, Aida Bukva, Nina Janković Dičić, Tarik Džinić, Admir Glamočak, Gordan Kičić, Aleksej Bjelogrlić, Amar Ćorović, Dražen Pavlović, Gvozden Đurić, Marko Manojlović, Adnan Kapetanović, Srđan Vuletić, Elmir Jukić, Amra Mehić. O dobitnicima nagrada odlučivao je strukovni žiri sastavljen od više od 450 filmskih profesionalaca iz regije. Prvi put, gastro regija partner ceremonije je Turistička zajednica Kvarnera, kandidat za titulu Europska regija gastronomije 2026. Ekskluzivnu večeru, u saradnji s renomiranim gastronomskim vodičem Gault&Millau Croatia, pripremio je chef Deni Srdoč, čiji je restoran Nebo, smješten u Hotelu Hilton u Rijeci, prema istom vodiču ove godine najbolji restoran regije Kvarner, ocijenjen s 4 kuharske kapice i 17/20 bodova. Medijski partner nagrada za TV serije je Deadline.
The award ceremony for the best achievements in the category of TV Series at the 29th Sarajevo Film Festival was held tonight in the Hotel Hills Sarajevo.
The winners of the Hearts of Sarajevo Awards for TV Series are: The winner in the Best Drama Series category: THE HOLLOW The Best Leading Actress in Drama Series: Jovana Stojiljković (VERA) The Best Leading Actor in Drama Series: Feđa Štukan (THE HOLLOW) The Best Supporting Actress in Drama Series: Ida Keškić (THE HOLLOW) The Best Supporting Actor in Drama Series: Boris Ler (THE HOLLOW) The Rising Star: Denis Murić (GOLDEN BOY) The Best Director for the Episode of Drama Series: Danis Tanović and Aida Begić (THE HOLLOW) The Best Screenplay for the Episode of Drama Series: Danis Tanović, Amra Bakšić Čamo, Nikola Kuprešanin and Adnan Lugonić (THE HOLLOW) The winner in the Best Comedy category: MUM AND DAD ARE PLAYING WAR 2 The Best Director in Comedy: Gordan Kičić (MUM AND DAD ARE PLAYING WAR 2) The Best Screenplay in Comedy: Gvozden Đurić, Marko Manojlović and Gordan Kičić (MUM AND DAD ARE PLAYING WAR 2) The Best Leading Actress in Comedy: Nina Janković Dičić (MUM AND DAD ARE PLAYING WAR 2) The Best Leading Actor in Comedy: Gordan Kičić (MUM AND DAD ARE PLAYING WAR 2) The Rising Star in Comedy: Aleksej Bjelogrlić (MUM AND DAD ARE PLAYING WAR 2) For the Heart of Sarajevo awards for TV Series of the 29th Sarajevo Film Festival, 19 series were nominated. The award ceremony was hosted by actor and TV presenter Tarik Filipović. The following series were nominated for the Hearts of Sarajevo TV Series Award: “The Well”, “The Hollow”, „Inhumanum: The Inhumanity of Man”, “The Fall”, “The Clan 2&3”, „Trigrad“, „Vera“, “Golden Boy”, “Walking with a Lion”, “No Trespassing 2”, „South Wind – On the Edge”, „Civil Servant 3”, “Debt to the Sea 3”, “Professor Mišković’s Notebook 2”, „Tender“, “Mum and Dad Are Playing War 2”, “On the Edge of Reason 2”, “United Brothers – Next Generation 2” and “Preacher’s Wife”. Among the nominees for the Heart of Sarajevo for TV Series of the Sarajevo Film Festival were: Vedrana Božinović, Anica Dobra, Jovana Gavrilović, Milica Janevski, Katarina Stegnar, Jovana Stojiljković, Aleksandar Dimitrijević, Andrija Kuzmanović, Marko Mandić, Milan Marić, Denis Murić, Momčilo Otašević, Feđa Štukan, Milica Gojković, Anđela Jovanović, Ida Keškić, Suzana Krevh, Anita Mančić, Gorica Popović, Vesna Trivalić, Igor Benčina, Zoran Cvijanović, Nikola Kojo, Žarko Laušević, Boris Ler, Krešimir Mikić, Miralem Zupčević, Ana Lečić, Lenka Petrović, Admir Šehović, Timon Šturbej, Jovan Veljković, Nedeljko Kovačić, Kristina Đuković, Gregor Fon, Nina Zupančić, Sonja Prosenc, Aleksa Ršumović, Slobodan Boban Skerlić, Danis Tanović, Amra Bakšić Čamo, Nikola Kuprešanin, Adnan Lugonić, Bojan Vuletić, Ognjen Janković, Aida Begić, Aida Bukva, Nina Janković Dičić, Tarik Džinić, Admir Glamočak, Gordan Kičić, Aleksej Bjelogrlić, Amar Ćorović, Dražen Pavlović, Gvozden Đurić, Marko Manojlović, Adnan Kapetanović, Srđan Vuletić, Elmir Jukić, Amra Mehić. The winners of these awards were decided by a jury of more than 450 film professionals from the region. For the first time, the gastronomic region partner of the ceremony is the Kvarner Tourist Board, a candidate for the title of European Gastronomic Region 2026. An exclusive dinner, in collaboration with the renowned gastronomic guide Gault&Millau Croatia, was prepared by chef Deni Srdoč, whose restaurant "Nebo," located in the Hilton Hotel in Rijeka, is this year's best restaurant in the Kvarner region according to the same guide, rated with 4 toques and 17/20 points. The media partner award for TV series is Deadline. The winners of the Hearts of Sarajevo Awards for TV Series are: The winner in the Best Drama Series category: THE HOLLOW The Best Leading Actress in Drama Series: Jovana Stojiljković (VERA) The Best Leading Actor in Drama Series: Feđa Štukan (THE HOLLOW) The Best Supporting Actress in Drama Series: Ida Keškić (THE HOLLOW) The Best Supporting Actor in Drama Series: Boris Ler (THE HOLLOW) The Rising Star: Denis Murić (GOLDEN BOY) The Best Director for the Episode of Drama Series: Danis Tanović and Aida Begić (THE HOLLOW) The Best Screenplay for the Episode of Drama Series: Danis Tanović, Amra Bakšić Čamo, Nikola Kuprešanin and Adnan Lugonić (THE HOLLOW) The winner in the Best Comedy category: MUM AND DAD ARE PLAYING WAR 2 The Best Director in Comedy: Gordan Kičić (MUM AND DAD ARE PLAYING WAR 2) The Best Screenplay in Comedy: Gvozden Đurić, Marko Manojlović and Gordan Kičić (MUM AND DAD ARE PLAYING WAR 2) The Best Leading Actress in Comedy: Nina Janković Dičić (MUM AND DAD ARE PLAYING WAR 2) The Best Leading Actor in Comedy: Gordan Kičić (MUM AND DAD ARE PLAYING WAR 2) The Rising Star in Comedy: Aleksej Bjelogrlić (MUM AND DAD ARE PLAYING WAR 2) For the Heart of Sarajevo awards for TV Series of the 29th Sarajevo Film Festival, 19 series were nominated. The award ceremony was hosted by actor and TV presenter Tarik Filipović. The following series were nominated for the Hearts of Sarajevo TV Series Award: “The Well”, “The Hollow”, „Inhumanum: The Inhumanity of Man”, “The Fall”, “The Clan 2&3”, „Trigrad“, „Vera“, “Golden Boy”, “Walking with a Lion”, “No Trespassing 2”, „South Wind – On the Edge”, „Civil Servant 3”, “Debt to the Sea 3”, “Professor Mišković’s Notebook 2”, „Tender“, “Mum and Dad Are Playing War 2”, “On the Edge of Reason 2”, “United Brothers – Next Generation 2” and “Preacher’s Wife”. Among the nominees for the Heart of Sarajevo for TV Series of the Sarajevo Film Festival were: Vedrana Božinović, Anica Dobra, Jovana Gavrilović, Milica Janevski, Katarina Stegnar, Jovana Stojiljković, Aleksandar Dimitrijević, Andrija Kuzmanović, Marko Mandić, Milan Marić, Denis Murić, Momčilo Otašević, Feđa Štukan, Milica Gojković, Anđela Jovanović, Ida Keškić, Suzana Krevh, Anita Mančić, Gorica Popović, Vesna Trivalić, Igor Benčina, Zoran Cvijanović, Nikola Kojo, Žarko Laušević, Boris Ler, Krešimir Mikić, Miralem Zupčević, Ana Lečić, Lenka Petrović, Admir Šehović, Timon Šturbej, Jovan Veljković, Nedeljko Kovačić, Kristina Đuković, Gregor Fon, Nina Zupančić, Sonja Prosenc, Aleksa Ršumović, Slobodan Boban Skerlić, Danis Tanović, Amra Bakšić Čamo, Nikola Kuprešanin, Adnan Lugonić, Bojan Vuletić, Ognjen Janković, Aida Begić, Aida Bukva, Nina Janković Dičić, Tarik Džinić, Admir Glamočak, Gordan Kičić, Aleksej Bjelogrlić, Amar Ćorović, Dražen Pavlović, Gvozden Đurić, Marko Manojlović, Adnan Kapetanović, Srđan Vuletić, Elmir Jukić, Amra Mehić. The winners of these awards were decided by a jury of more than 450 film professionals from the region. For the first time, the gastronomic region partner of the ceremony is the Kvarner Tourist Board, a candidate for the title of European Gastronomic Region 2026. An exclusive dinner, in collaboration with the renowned gastronomic guide Gault&Millau Croatia, was prepared by chef Deni Srdoč, whose restaurant "Nebo," located in the Hilton Hotel in Rijeka, is this year's best restaurant in the Kvarner region according to the same guide, rated with 4 toques and 17/20 points. The media partner award for TV series is Deadline.
Hearts of Sarajevo for Best TV Series Awarded
Takmičarski program – igrani film 29. Sarajevo Film Festivala nastavio se večeras u 19:00 sati u Narodnom pozorištu Sarajevo regionalnom premijerom filma LA PALASIADE ukrajinskog reditelja Philipa Sotnychenka. Svjetska premijera filma održana je na Međunarodnom filmskom festival u Roterdamu. Ukrajina 1996. godine. Pet mjeseci prije uvođenja moratorija na smrtnu kaznu dva stara prijatelja, policijski detektiv i forenzički psihijatar, istražuju ubistvo kolege. Prije mnogo vremena oba su bila zaljubljena u udovicu žrtve. Udubljeni u komplikovani slučaj i davno zaboravljene uspomene, prijatelji kreiraju budućnost u kojoj će njihova djeca morati živjeti s nasljeđem nerealizovanih ambicija svojih roditelja. Režija: Philip Sotnychenko Uloge: Stepan Barabash, Serhii Luzanovskyi, Oleksandr Mavrits, Andrii Zhurba, Novruz Hikmet, Oleksandr Parkhomenko, Valeria Oleinikova, Olena Mamchur, Oleksandr Maleev
Regionalna premijera filma La Palisiada
The Competition Programme – Feature Film of the 29th Sarajevo Film Festival was continued tonight at 19:00 at the Sarajevo National Theater with the regional premiere of the film LA PALISIADA by Ukrainian director Philip Sotnychenko. The film's world premiere was held at the International Film Festival Rotterdam. Ukraine, 1996. Five months before the moratorium on capital punishment, two old friends, a police detective and a forensic psychiatrist, investigate the murder of a colleague. A long time ago, both of them were in love with the widow of the deceased. Immersed in the complicated case and long-forgotten memories, the friends create a future in which their children will have to live, and will inherit the unrealised aspirations of their parents. Director: Philip Sotnychenko Cast: Stepan Barabash, Serhii Luzanovskyi, Oleksandr Mavrits, Andrii Zhurba, Novruz Hikmet, Oleksandr Parkhomenko, Valeria Oleinikova, Olena Mamchur, Oleksandr Maleev
Regional premiere of La Palisiada
Film Prošli životi prikazan u Ljetnom kinu Coca-Cola
Film je svjetsku premijeru imao na Filmskom festivalu Sundance 21. januara 2023., a prate ga priznanja kritičara koji su izdvojili režiju Celine Song, te glumačke izvedbe Grete Lee, Tea Yooa i Johna Magara. PROŠLI ŽIVOTI prate priču Nore i Hae Sunga, veoma bliskih prijatelje od djetinjstva koje razdvaja odluka Norine porodice da emigriraju iz Južne Koreje. Poslije dvije decenije razdvojenosti ponovo se sreću u New Yorku tokom jedne sudbonosne sedmice u kojoj će se suočiti s konceptima sudbine, ljubavi i životnih izbora, u ovoj modernoj srceparajućoj romansi. Uloge u filmu ostvarili su Greta Lee, Teo Yoo, John Magaro, Moon Seung-ah i Leem Seung-min.
Film PROŠLI ŽIVOTI rediteljice Celine Song prikazan je sinoć, u sklopu Open Air programa, u Ljetnom kinu Coca-Cola.
The film had its world premiere at the Sundance Film Festival, and received accolades from critics, who singled out Celine Song's direction and the acting performances of Greta Lee, Theo Yoo, and John Magar. PAST LIVES follows the story of Nora and Hae Sung, two childhood friends with a deep connection, who are wrested apart after Nora's family emigrates from South Korea. Two decades later, they are reunited in New York for one fateful week as they confront notions of destiny, love, and the choices that make a life, in this heart-rending modern romance. The roles in the film were portrayed by Greta Lee, Teo Yoo, John Magaro, Moon Seung-ah and Leem Seung-min.
The film PAST LIVES was screened at the Coca-Cola Open Air Cinema
The film PAST LIVES by Celine Song was screened last night, as part of the Open Air programme, at the Coca-Cola Open Air Cinema.
Naš komplicirani odnos s poviješću
Kakav je osjećaj vratiti se u Sarajevo, godinu dana nakon što ste osvojili nagradu CineLinkova žirija dok je “Sloboda“ još bila u produkciji? U Sarajevo se uvijek lijepo vratiti! Prošlogodišnja CineLink nagrada mi je puno značila; tada su prvi put prikazani ulomci iz filma i bio sam oduševljen brojnim entuzijastičnim reakcijama. Uzbuđen sam što sam opet u Sarajevu i mogu prikazati cijeli film. Kada ste prvi put čuli za istinitu priču o "teroristima" zatočenim u praznom bazenu? Za većinu Rumunja to je potpuno nepoznata priča. Bili smo toliko fokusirani na ono što se dogodilo u Bukureštu ili Temišvaru (grad u kojem je sve počelo) da gotovo nitko nije znao za ovu čudnu epizodu u Sibiuu. Kada je 2018. producentica Oana odlučila snimiti film o događajima iz 1989., naišla je na ovu priču, a meni se činilo da ona ima svu kompleksnost i značaj za predstaviti kaos i zbrku tih dana. Kako ste istraživali priču, da li ste razgovarali s očevidcima? Proveo sam više od dvije godine istražujući priču, susrećući se s policajcima i civilima koji su bili zatočeni u bazenu. Proveo sam vlastitu istragu, nalik novinarskoj, tražeći umirovljene časnike ili bivše vojnike koji su u to vrijeme pucali na nedužne ljude. Pročitao sam brojne intervjue i izjave, arhivirane u tzv. Posebni dosje Revolucije (slučaj je još u postupku na Sudu), a susretao sam se i s rodbinom preminulih. Bilo je trenutaka koji su me dirnuli do suza. Je li bazen u kojem ste snimali "Slobodu" isti onaj u kojem se sve dogodilo? Ne, snimao sam u Braili, gradu daleko od Sibiua. Međutim, snimio sam nekoliko kadrova pravog bazena, a koristio sam ih na samom početku filma. Kako su stanovnici Sibiua reagirali na film? Priredio sam im projekciju radne verzije, a kino je bilo puno ljudi koji su sudjelovali u događaju (naravno, narativi različitih strana još su uvijek sukobljeni). Bilo je to vrlo emotivno iskustvo, posebno nakon projekcije kada su uslijedili pitanja i odgovori. Medicinska sestra koja se brinula o ranjenima u bazenu, zahvalila mi je što nisam pokazao "sve", što sam pazio kako prikazati bol. Stvarnost je bila deset puta grublja od onoga što smo prikazali u filmu. Koliko je teško snimiti film o takvom dijelu povijesti: svi misle da znaju sve, no čak ni protagonisti nisu znali što se sve tamo događalo? U ovom dijelu Europe naš je odnos s poviješću i dalje vrlo kompliciran. Mnoge značajne događaje iz naših povijesnih udžbenika komunističke su vlasti potpuno prilagodile svojim pogledima. Ni sada, više od 30 godina nakon takozvane revolucije iz 1989., ne znamo činjenice o državnom udaru koji je pratio narodnu pobunu. Štoviše, ostaje nejasna uloga Ceausescuove tajne policije (Securitate) u manipuliranju ljudima i stvaranju stanja terora. Trebali su mi mjeseci da, između ostaloga, shvatim tko je što učinio, tko je podmetnuo požar i koji su sve ulozi bili u pitanju. Kakva su vaša sjećanja na revoluciju? Tada sam imao 18 godina i sjećam se da sam vidio tenkove i vojnike kako napadaju povijesno središte Cluja. Tako nešto ne može se zamisliti. Htio sam prosvjedovati na ulici, ali roditelji mi nisu dopustili; puno smo se svađali oko toga. Pretpostavljam da su donekle bili u pravu, s obzirom na broj ubijenih greškom ili nasumično na ulicama. Što je najteže u snimanju filma s toliko likova i priča? Noć prije snimanja nisam mogao spavati više od 4 sata. Bio sam pod stresom, jer sljedeći dan moram precizno prenijeti upute za više od 25 glumaca i +150 statista. Trebao sam im objasniti što moraju raditi, gdje će biti u bazenu i zamisliti svu koreografiju. Nove ideje dolazile su svaki dan nakon rada s glumcima, pa sam morao paziti kako se njihovi likovi razvijaju. Ne želim se ni sjećati da smo snimali u vrijeme pandemije kada je započeo novi val COVID -a. Kao osnivač i direktor Transilvania International Film Festivala, kako birate festivale na kojima će biti prikazan vaš film? Lako, jer u konačnici festivali biraju film, a ne obrnuto. Ako je film dobar, htjet će ga mnogi festivali. Ako film ispuni sve okvire globalnog Novog poretka i bude vrlo kvalitetan, mogao bi osigurati mjesto na festivalu A-kategorije. Prije nekoliko mjeseci vjerovao sam da će Sarajevo biti najbolji međunarodni festival za lansiranje mog filma, i evo nas ovdje. Josip Jurčić
Dok su svi bili usredotočeni na Bukurešt ili Temišvar, jedna od najčudnijih epizoda rumunjske revolucije iz 1989. dogodila se u transilvanijskom gradiću Sibiu, gdje je vojska u praznom bazenu zatočila stotine zatvorenika optuženih za terorizam. Čim je čuo za tu priču, redatelj Tudor Giurgiu mogao je zamisliti svoj film.
How does it feel to be back in Sarajevo, one year after you won the CineLink jury prize for "Freedom" while it was still a work in progress? It's always great to return to Sarajevo! Last year's CineLink award meant a lot to me; it was the very first time when excerpts from the film were shown, and I was delighted to receive so many enthusiastic reactions. Now, I'm thrilled to be back and showcase the full-length film. When did you first hear about the true-life story of "terrorists" held captive in an empty pool? It’s a totally unknown story for most of the Romanians. We were so focused on what happened in Bucharest or Timisoara (the city where everything started) so nobody actually knows this strange episode happened in Sibiu. In 2018, Oana, the producer, wanted to do a film about the 1989 momentum and she came across this story. I found it so full of depth and substance, meaningful for the entire chaos and confusion of those moments. How did you research about that incident? Did you talk to the eyewitnesses? I spent more than two years researching the story, meeting with police officers and civilians who were detained in the pool. I conducted my own investigation, akin to that of a journalist, searching for retired Army officers or former soldiers who were involved in shooting against innocent people back then. I delved into numerous interviews and declarations, archived in the so-called Revolution Special File (the case is still under judgment at the Court), and I had encounters with relatives of the deceased. There were moments that moved me to tears. Was the pool where you shot “Freedom” the same one where it all happened? No, I was shooting in Braila, a city far away from Sibiu. However, I did take a few shots of the real pool, and I used them at the very beginning of the film. How did the people from Sibiu react to the film? I did a work-in-progress screening there, and the cinema was full of people involved in the events (of course, the narratives of the parties are still conflicting). It was a very emotional experience, especially during the Q&A session. One nurse, who took care of the wounded individuals in the pool, thanked me for not showing "everything" for being mindful of what to depict and how to film the pain. Reality was ten times rougher than what we’ve depicted. How difficult is it to make a film about such a part of history: everybody thinks they know everything about, but even people who were there didn't know all that was happening? In this part of Europe, our relationship with history is still very complicated. Many significant events from our history books were completely rewritten by the communist authorities. Even now, more than 30 years after the 1989 so-called Revolution, we do not know facts about the coup d'état that accompanied the popular revolt. Moreover, the role of Ceausescu's Secret Police (Securitate) in manipulating people and creating a state of terror remains unclear. It took me months to understand who did what, who started the fire, and what the stakes were, among other details. What are your memories of the revolution? I was 18 years old back then, and I remember seeing tanks and soldiers invading Cluj's historical centre. It was something one cannot imagine. I wanted to protest on the streets, but my parents didn't let me do it; we had many fights about it. I guess they were right somehow, considering the number of innocents being killed by mistake or randomly on the streets. What was the hardest part in making a film with so many characters and storylines? The night before the shooting, I couldn't sleep for more than 4 hours. I was stressed about having to precisely communicate instructions to more than 25 actors and +150 extras. I needed to explain what they had to do, where they would be in the pool, and imagine all the choreography. New ideas kept coming every day after working with the actors, so I had to pay close attention to how their characters were developing. I don't even want to remember that we shot during pandemic times when a new COVID wave was hitting. As the founder and president of Transylvania International Film Festival, how do you choose festivals where your film will be shown? It's easy because the festivals are finally choosing your film, not vice versa. If the film is good, many festivals will want it. If the film ticks all the boxes of the global New Order and is of high quality, it might secure a spot in an A-class festival. A few months ago, I believed Sarajevo would be the best international festival to launch my film, so here we are. Josip Jurčić t Did you talk to the eyewitnesses? I spent more than two years researching the story, meeting with police officers and civilians who were detained in the pool. I conducted my own investigation, akin to that of a journalist, searching for retired Army officers or former soldiers who were involved in shooting against innocent people back then. I delved into numerous interviews and declarations, archived in the so-called Revolution Special File (the case is still under judgment at the Court), and I had encounters with relatives of the deceased. There were moments that moved me to tears. Was the pool where you shot “Freedom” the same one where it all happened? No, I was shooting in Braila, a city far away from Sibiu. However, I did take a few shots of the real pool, and I used them at the very beginning of the film. How did the people from Sibiu react to the film? I did a work-in-progress screening there, and the cinema was full of people involved in the events (of course, the narratives of the parties are still conflicting). It was a very emotional experience, especially during the Q&A session. One nurse, who took care of the wounded individuals in the pool, thanked me for not showing "everything," for being mindful of what to depict and how to film the pain. Reality was ten times rougher than what we’ve depicted. How difficult is it to make a film about such a part of history: everybody thinks they know everything about, but even people who were there didn't know all that was happening? In this part of Europe, our relationship with history is still very complicated. Many significant events from our history books were completely rewritten by the communist authorities. Even now, more than 30 years after the 1989 so-called Revolution, we do not know facts about the coup d'état that accompanied the popular revolt. Moreover, the role of Ceausescu's Secret Police (Securitate) in manipulating people and creating a state of terror remains unclear. It took me months to understand who did what, who started the fire, and what the stakes were, among other details. What are your memories of the revolution? I was 18 years old back then, and I remember seeing tanks and soldiers invading Cluj's historical centre. It was something one cannot imagine. I wanted to protest on the streets, but my parents didn't let me do it; we had many fights about it. I guess they were right somehow, considering the number of innocents being killed by mistake or randomly on the streets. What was the hardest part in making a film with so many characters and storylines? The night before the shooting, I couldn't sleep for more than 4 hours. I was stressed about having to precisely communicate instructions to more than 25 actors and +150 extras. I needed to explain what they had to do, where they would be in the pool, and imagine all the choreography. New ideas kept coming every day after working with the actors, so I had to pay close attention to how their characters were developing. I don't even want to remember that we shot during pandemic times when a new COVID wave was hitting. As the founder and president of Transylvania International Film Festival, how do you choose festivals where your film will be shown? It's easy because the festivals are finally choosing your film, not vice versa. If the film is good, many festivals will want it. If the film ticks all the boxes of the global New Order and is of high quality, it might secure a spot in an A-class festival. A few months ago, I believed Sarajevo would be the best international festival to launch my film, so here we are. Josip Juričić How does it feel to be back in Sarajevo, one year after you won the CineLink jury prize for "Freedom" while it was still a work in progress? It's always great to return to Sarajevo! Last year's CineLink award meant a lot to me; it was the very first time when excerpts from the film were shown, and I was delighted to receive so many enthusiastic reactions. Now, I'm thrilled to be back and showcase the full-length film. When did you first hear about the true-life story of "terrorists" held captive in an empty pool? It’s a totally unknown story for most of the Romanians. We were so focused on what happened in Bucharest or Timisoara (the city where everything started) so nobody actually knows this strange episode happened in Sibiu. In 2018, Oana, the producer, wanted to do a film about the 1989 momentum and she came across this story. I found it so full of depth and substance, meaningful for the entire chaos and confusion of those moments. How did you research about that incident? Did you talk to the eyewitnesses? I spent more than two years researching the story, meeting with police officers and civilians who were detained in the pool. I conducted my own investigation, akin to that of a journalist, searching for retired Army officers or former soldiers who were involved in shooting against innocent people back then. I delved into numerous interviews and declarations, archived in the so-called Revolution Special File (the case is still under judgment at the Court), and I had encounters with relatives of the deceased. There were moments that moved me to tears. Was the pool where you shot “Freedom” the same one where it all happened? No, I was shooting in Braila, a city far away from Sibiu. However, I did take a few shots of the real pool, and I used them at the very beginning of the film. How did the people from Sibiu react to the film? I did a work-in-progress screening there, and the cinema was full of people involved in the events (of course, the narratives of the parties are still conflicting). It was a very emotional experience, especially during the Q&A session. One nurse, who took care of the wounded individuals in the pool, thanked me for not showing "everything," for being mindful of what to depict and how to film the pain. Reality was ten times rougher than what we’ve depicted. How difficult is it to make a film about such a part of history: everybody thinks they know everything about, but even people who were there didn't know all that was happening? In this part of Europe, our relationship with history is still very complicated. Many significant events from our history books were completely rewritten by the communist authorities. Even now, more than 30 years after the 1989 so-called Revolution, we do not know facts about the coup d'état that accompanied the popular revolt. Moreover, the role of Ceausescu's Secret Police (Securitate) in manipulating people and creating a state of terror remains unclear. It took me months to understand who did what, who started the fire, and what the stakes were, among other details. What are your memories of the revolution? I was 18 years old back then, and I remember seeing tanks and soldiers invading Cluj's historical centre. It was something one cannot imagine. I wanted to protest on the streets, but my parents didn't let me do it; we had many fights about it. I guess they were right somehow, considering the number of innocents being killed by mistake or randomly on the streets. What was the hardest part in making a film with so many characters and storylines? The night before the shooting, I couldn't sleep for more than 4 hours. I was stressed about having to precisely communicate instructions to more than 25 actors and +150 extras. I needed to explain what they had to do, where they would be in the pool, and imagine all the choreography. New ideas kept coming every day after working with the actors, so I had to pay close attention to how their characters were developing. I don't even want to remember that we shot during pandemic times when a new COVID wave was hitting. As the founder and president of Transylvania International Film Festival, how do you choose festivals where your film will be shown? It's easy because the festivals are finally choosing your film, not vice versa. If the film is good, many festivals will want it. If the film ticks all the boxes of the global New Order and is of high quality, it might secure a spot in an A-class festival. A few months ago, I believed Sarajevo would be the best international festival to launch my film, so here we are. Josip Juričić
Our complicated relationship with history
While everyone was focused on Bucharest or Timisoara, one of the strangest episodes of the Romanian revolution of 1989 happened in the little Transylvanian town of Sibiu, where the army had thrown hundreds of prisoners accused of terrorism into an empty swimming pool. As soon as he heard the story about it, director Tudor Giurgiu imagined his film.
Zašto vam je trebalo 13 godina da nakon prvijenca “Harisma” snimite svoj drugi igrani film? Moj sin Marios rođen je dva dana nakon premijere “Harisme”. Sjećam se kako sam s njegovim ocem, Yorgosom Noussiasom, koji je i producent filma “Medij”, nestrpljivo iščekivala hoće li projekcija završiti prije nego što se beba rodi... Zatim je stigla naša kći Eleftheria. Tek smo zasnovali obitelj; dvoje filmaša bez posla tijekom teškog razdoblja u Grčkoj. U isto vrijeme, htjela sam stalno biti uz svoju djecu u njihovim prvim godinama, što je bilo nespojivo s beskonačnim radnim satima u filmskoj industriji. Odlučila sam se posvetiti svojoj drugoj strasti, kuhanju. Pokrenuli smo mali ulični restoran koji se pokazao vrlo uspješnim i donio nam je financijsku stabilnost i sigurnost. Zatim je došla ekonomska kriza, a nakon nje i COVID-19. Osim toga, morali smo dvije i pol godine čekati odluku o financijskoj potpori Grčkog filmskog centra… I prošlo je 13 godina. Nije lako snimati film u Grčkoj. Općenito nije lako snimati film, ali u Grčkoj je posebno teško. Iako mi se nije žurilo. Što vas je privuklo romanu Giōrgosa Sympardisa? Ovo je prvi put da sam adaptirala tuđe djelo. Čitajući roman prepoznala sam teme koje se stalno pojavljuju u mojim radovima, poput intenzivnih obiteljskih odnosa, poteškoća u izražavanju emocija, neizražene traume, iznenadnog gubitka… Bila je tu i atmosfera vrelog atenskog ljeta koja je u romanu toliko jaka da su, dok sam ga čitala, slike iskakale sa stranica. Ali, zaljubila sam se u glavnu junakinju. Naizgled naivnu i izgubljenu ženu koja dokazuje da ima unutarnju snagu i ljepotu, što mi se učinilo jedinstvenim. Je li bilo teško priču, koja se u romanu događa 1987., preseliti u suvremeno doba? Vrlo teško. S Atenom imam poseban odnos ljubavi i mržnje. Uvijek želim iz nje otići, ali kada sam odsutna, jedva se čekam vratiti. Atena je osamdesetih godina, kad sam u njoj odrastala, bila jedinstveno mjesto koje se pretvaralo u gentrificiranu globalnu mega – prijestolnicu. Voljela bih da sam mogla snimiti tu staru Atenu. Nažalost, nismo imali dovoljno veliki proračun. Ostanak u osamdesetima bio bi dobar i zato što je odnos prema homoseksualnosti tih godina u Ateni bio mnogo veći problem, o njoj se nije toliko otvoreno govorilo. Taj problem još uvijek nije nestao, u manjim selima i gradovima mladi i dalje znaju biti diskriminirani i zlostavljani. No odlučila sam prihvatiti univerzalni aspekt ove priče o odrastanju koja se zaista može odvijati bilo gdje. Koji je dio romana bilo najteže prenijeti na ekran? Lik medija. Nisam znala kako izgleda medij i nisam je željela prikazati klišeizirano, pa sam joj odlučila pristupiti s dozom humora. Ona je najvjerojatnije lažnjak, žena koja pronalazi način da se snađe, ali je istovremeno i majčinska figura koja “udomljava” svakoga kome je potrebno. Ljeto i vrućina igraju veliku ulogu u atmosferi filma. Možete li zamisliti da se ova priča događa tijekom zime? Taj ugođaj ljetne vrućine koji je Giōrgos Sybardis izvrsno dočarao u romanu, jedan je od aspekata koji me privukao. Grčko vrelo ljeto je vrijeme kada se gotovo sve može dogoditi, pa sumnjam da bi se ista priča mogla dogoditi tijekom zime. Što vam je bilo najvažnije prikazati u ovoj priči o odrastanju? Da postoji posebna ljepota u dopuštanju sebi da se otvorimo prema drugoj osobi i time postanemo ranjivi, iako to može biti bolno. Kako starimo i postajemo "mudriji", sve nam je teže kroz to prolaziti, a da se pritom ne zaštitimo. Zato je prva ljubav jedinstvena. Vjerujem da nas takva iskustva definiraju u odrastanju. Kako ste pronašli debitanticu Angeliki Beveratou za ulogu Eleftherije? Bilo je to za vrijeme karantene uzrokovane pandemijom COVID-19. Već sam prošla audiciju s mnogo prekrasnih mladih glumica, kada sam na društvenim mrežama vidjela njezin trominutni plesni solo koji je izvela u svojoj koreografiji. Nastao je tijekom edukativne plesne radionice za tinejdžere koju je vodila priznata plesačica i koreografkinja Marianna Kavallieratos. Vidjela sam strastvenu, divlju, neustrašivu, ezoteričnu mladu umjetnicu. Kada smo se srele, vidjela sam i sramežljivu mladu djevojku koja je blistala. Anggeliki prije nije glumila. Nije to lagana uloga. Mislim da u filmu ne postoji nijedna scena u bez nje, ona nosi cijeli film. Kad sam je upoznala, ni sekunde nisam sumnjala da ona to može izdržati. Jeste li posjetili medija prije početka snimanja? Jesam! Pojma nisam imala što medij radi tijekom seanse. Bilo je to golemo razočarenje. Do koje mjere vjerujete u nadnaravno? Vjerujem da se neke od najljepših stvari u životu ne mogu objasniti, kao zaljubljivanje. Je li zaljubljivanje nadnaravno? Na neki način možda i jeste. Josip Jurčić
Prva ljubav gotovo uvijek vodi ka slomljenom srcu, ali nam također daje priliku za rast. To je područje koje Christina Ioakeimidi istražuje u emotivnom filmu "Medij", adaptaciji istoimenog romana Giōrgosa Sympardisa, s pričom o šesnaestogodišnjoj Eleftheriji koja počinje otkrivati sebe kroz žestinu prve ljubavi.
Svašta se može dogoditi tijekom vrelog grčkog ljeta
INTERVJU
First love almost always leads to a first heartbreak, but also gives us a chance to grow. That is the territory that Christina Ioakeimidi explores in her emotional drama “Medium”, adapted from Giōrgos Sympardis novel of the same name, with a story of sixteen-year-old Eleftheria that embarks on a journey to discover herself through the ferocity of first love.
Why did it take you 13 years to make another feature film after debut “Harisma”? My son Marios was born two days after the premiere of “Harisma”. I remember me and his father, Yorgos Noussias, who is also the producer of “Medium”, holding our breath to get through the screening before the baby comes... Then our daughter Eleftheria arrived. We were just starting a family; two jobless filmmakers. It was a difficult time in Greece. At the same time, I wanted to be there for the first years of my kids through every step of the way, making it impossible for me to work endless hours in filmmaking. I decided to dedicate myself to my other passion, cooking. We started a small street food restaurant that proved to be very successful and provided us with financial stability and security. Then the economic crisis came, followed by COVID-19. In addition, we had to wait two and a half years for the decision for financial support from the Greek Film Center and 13 years went by… It’s not easy making a film in Greece. It’s not easy in general, but in Greece it is particularly difficult. But I was definitely not in a hurry. What attracted you to the novel of Giōrgos Sympardis? It is the first time that I have adapted someone else’s work. When I read the novel, I recognized themes that keep appearing in my work, like intense family relations, difficulty in expressing emotion, unexpressed trauma, sudden loss. There was also the atmosphere of hot Athens summer that was so strong in the novel, as I was reading it, images would leap out of the pages. But it was the main character that I fell in love with. A seemingly naive and lost woman that proves to have an inner strength and beauty that I found unique. Was it difficult to move the story, which in the novel happens in 1987, to contemporary times? Yes, it was difficult. I have a very special love and hate relationship with Athens. I always want to leave, but when I’m away, I can’t wait to get back. Athens in the 80s, when I was growing up, was a very unique place that was transforming into a gentrified global mega – capital. So, I would have loved to be able to capture that old Athens. Unfortunately, it was impossible to raise the budget for that. There was also the theme of homosexuality, that in Athens of the 80s was a much bigger issue and was dealt with a lot of secrecy. It is still an issue, especially in smaller villages and towns, kids can suffer a lot of bullying discrimination. But I decided to embrace the universal aspect of this story and work on it as a coming-of-age story that could really take place anywhere. What part of the novel was hardest to transfer to the screen? The Medium. I had no idea what a medium looks like, and I didn’t want her to be a cliché, so I decided to approach her with humour. She is most probably a fake, a woman that finds ways to get by, but at the same time, a mother figure that “adopts” anyone in need. Summer and heat play a big part in the mood of the film. Could you envision this story happening during winter? This mood of summer heat, that is wonderfully depicted by Giōrgos Sybardis in the novel, is one of the aspects that attracted me. Greek hot summer is a time when almost anything can happen, so I couldn’t envision it happening during winter. What was the most important thing for you to show in this coming-of-age story? That there is a special beauty in allowing ourselves to become vulnerable to the other person, even though it can prove to be painful. As we grow older and “wiser”, it gets more and more difficult to put ourselves through that without any protection. That is why I find that first love can be very unique. I believe that such experiences define us as adults. How did you find the debutant Angeliki Beveratou for the role of Eleftheria? It was during the lockdown. I had already seen many wonderful young actresses during the casting process, when I saw a 3-minute dancing solo performed and choreographed by her on social media. It was created during an educational dance workshop for teenagers, run by acclaimed dancer and choreographer Marianna Kavallieratos. I saw a passionate, wild, fearless, esoteric young artist. We met in person, and I also saw a shy young girl full of light. Angeliki had never acted before. It’s not an easy part. I don’t think there is one scene in the film without her in it, she carries the whole film, but when I met her, I never doubted for a second that she could pull it through. Did you visit the medium before the start of production? I did! I had no idea what a medium does in a session. It was so disappointing. How much do you believe in the supernatural? I believe that some of the most beautiful things in life can’t be explained. Like falling in love. Is falling in love supernatural? In some way, maybe it is. Josip Juričić How satisfied are you with this year's selection? I was delighted by the authors who managed to transpose individual reminiscence, personal records and memories into the collective one and thus raise the meaning of individual, empirical and experiential to the level of universal. The authors thus skilfully manage to draw us into very complex life situations, touch up on the complexity of the concepts of religion and love, problematize the drama of relationships within family, as well as philosophical reflections on the meaning of life, the concept of evil and crime, hatred and the search for justice. Films are in many ways inspiring to viewers and even when they present very traumatic truths, they carry positive energy within them. What is important for me as a selector is to feel the author's signature in every film, that we as viewers understand the viewpoint of the director and not just observe the life stories of the selected heroes of the film. In fact, every man is a great human story, every family is a potential for film, but all in all it comes down to the angle of observation of the author himself/herself and his/her film expression. Regardless of the drama of a story, only when the author has something to say about it can the film be interesting and make sense. The rest is copying and a mere recording of reality. What would you single out? Assuming that a lot of films have already been made about violence against women during the war in Bosnia, now we have a world premiere of a film that is completely different, original in approach and creative in film expression. We have several excellent films that combine different disciplines; social media and film, painting and moving images, the authors permeate the feature with documentary texture, animated texture or experiment and push the boundaries of a particular film genre. And this is precisely the feature of postmodern creativity, this "borrowing" of stylistic features from various artistic disciplines and the creation of one's own expressive language. This is something that is increasingly recognized in the region, and it is what positions our authors from the region quite high on the scene of world documentary film production. Is there a theme that defines this year's selection? In terms of content, the selection is eclectic in the literal sense of the Greek term eklektikos, which means to choose the best. Out of the around 230 films that entered the selection process, within our thirteen competitive screenings, I had to be rigorous and choose what, after a long process of consideration, surfaced as the most exciting, creative, relevant and inspiring. I even watched some of the films that made it to the semi-finals of the selection three times, constantly examining and checking myself. The most painful thing is to tell good authors that their films came close, but they still failed to enter the selection. There are a lot of relevant human stories, which are very well documentary told, but have not made the selection, so we could actually do a documentary marathon in which exciting documentaries would be shown all day long. But for selection, each film must have at least one very solid reason to be unique in something, exceptional and strong enough to bring it to the audience. What is worth looking at in the selection as a whole, is the richness of the diversity of the very notion of documentary film making in the broader sense. The authors think beyond the boundaries of the traditional form; we have a film that is conceptually conceived and meticulously realized, down to the smallest detail, films in which the camera was used as a painting brush, films that explore new forms of storytelling using a very clever use of digital language. If you compare this year's program with last year's, what has changed between the two festivals? I notice that the interest of authors from all countries who have the right to participate in the competition programme is growing, so we always have a few more films, but not only that - we have significantly more films applying with a world premiere. This means that the authors consciously decide to show their film to the world, which they worked on for an average of three to six years, precisely at our festival. This is a great honour, and a great recognition for our programme. With the introduction of the Heart of Sarajevo award for the best short documentary film, I notice how the authors develop within this category. These are no longer, as was often the case before, short documentary stories. They are now true documentary masterpieces, original forms within which the authors meditatively, and often conceptually explore the boundaries of the film form itself. I think the short form has seen a big qualitative leap. What does it take for a documentary film to win the hearts of the audience and the jury? The film must have the power to “grab” us, to occupy our attention, our emotions, to “hold onto” us long after we've left the cinema. In Indian philosophy, when they talk about understanding the dramaturgy of a work of art, the term Rasa is mentioned, as quoted by the old text of “Natya Sastra”. The term is untranslatable in one word because it is complex and comprehensive. It refers to the power of a work of art/performance to engrave itself in our memory, in our thinking, and in our emotional set so strongly that we will return to that strong feeling we had when we first encountered the work, for days, months, and even years later. That's exactly what Rasa is, that complex experience of a particular piece of art. And that's what every author strives for. And we can say, this is what every viewer hopes - that when he/she comes to the film festival and goes to the cinema he/she will see something very special. During all the years you have been choosing films for the Competition Programme - Documentary film of the Sarajevo Film Festival, is there a film or an event that you always like to remember? There were a lot of excellent films and interesting, peculiar, extremely talented authors, but I remember that it was us who somehow discovered the now world-famous author from Azerbaijan, Hilal Baydarov. His film, When the Persimmons Grew in which he introspectively reflects his bond with his mother who lives in the country and to whom he returns, was deeply moving, meticulously and wonderfully shot, but rather slow, with no major events or drama. With a lot of meditative silence, the author presents life as he sees it through his poetic prism. I remember a lot of people losing their patience and coming out of the cinema. The hall had about three hundred seats and still half the audience stayed and watched the movie that won the main prize that year - the Heart of Sarajevo. One passionate fan of documentaries is Mrs. Sabina Branković from our Sarajevo Film Festival team, she watched the film to the end and was very touched. With his next film, Baydarov was selected for the Venice Film Festival, won an award there, and after a member of our jury. In the meantime, he learned English, and he told me that somehow his life changed after the Sarajevo Prize, so we remained his favourite festival. What do you personally enjoy most during the Sarajevo Film Festival? The audience. Our audience has somewhere written in their genetic code that they feel what a good, honest, inspiring film is and can see the film far beyond the narrative itself, the content itself. The aim of our programme is to show creative, inspiring and above all interesting films in the field of documentary filmmaking, and at the same time to inspire both the audience and the young generation of creative people, regardless of the field in which they express themselves.
Anything can happen during a Greek hot summer
Otkrivanje talenata i iznenađenja na Sarajevo Film Festivalu
Šta publika može očekivati od selekcije u Kinoscope programu Sarajevo Film Festivala? Nadamo se da će publika doći otvorenog uma, predivnog srca i velike radoznalosti da otkrije nove i nadolazeće filmske stvaraoce. Znamo da možemo računati na publiku Sarajevo Film Festivala! Ove godine nema sveobuhvatne veze sa filmovima, ali može se nazrijeti: postoje inventivni, lični dokumentarci koji zamagljuju prostore između novinarstva, istine i filmske forme, nevolje žena o kojima hrabro govore žene, te dvije priče nezadovoljnih vojnika. Birajući Kinoscope Surreal filmove, tražili smo do sada neviđene, neočekivane priče. Sve vrste noćnih mora su dobrodošle. Nadam se da će publika biti iznenađena kao i mi! Da li ste imali određeni cilj ili temu prilikom odabira filmova za program Kinoscope? Selektiranje je misteriozan proces, neuporediv sa ijednim drugim. Nikada ne počinjemo sa temom ili bilo kojim ciljem osim da u očima, umu i srcu imamo želju da budemo iznenađeni. Svaki put kada pritisnemo dugme za reprodukciju ili film počne u tami kino sale, spremni smo da upoznamo veličinu i otkrijemo novu kreaciju. Iznenađujuće je da se često, nakon što završimo selekciju, pojavljuju neke sličnosti. Ponekad je to tema ili poseban način da zamislimo filmsku umjetnost, ili je to potreba da razgovaramo i objasnimo našu surovu stvarnost. Šta je specifično za ovogodišnji izbor? Selektiranje 18 filmova je kao selektiranje sportskog tima, moramo definisati uloge i alternative prilikom izgradnje programa i sastavljanja određenih termina u rasporedu. Naš Kinoscope program je podijeljen u tri različita dijela. Kinoscope Real se bavi našom stvarnošću bilo kroz fikciju ili dokumentarni film; u Kinoscopeu predstavljamo umjetničke filmove koje smatramo najimpresivnijima u tekućj godini, dok u Kinoscope Surreal prikazujemo žanrovske filmove sa prepoznatljivim originalnim narativnim i stilskim elementima. Kada biste morali izdvojiti samo jednu stvar vezanu uz selekciju, šta bi to bilo? Svakako ne bismo izdvojili jedan film, kao roditelji svoju djecu, sve ih jednako volimo! Voljeli bismo čuti odgovor publike na ovo pitanje, u konačnici je njihovo uvažavanje ono što je važno. Da li ste primijetili uticaj velikih promjena u svijetu na rad filmskih stvaralaca? To je inspirativan i plodan trenutak za žanrovske filmove. Horor i fantastični filmovi su nekada bili izuzetno kodificirani i davali su malo umjetničke i kreativne pažnje izvan svojih žanrovskih elemenata, a prečesto je mizoginija bila jedan od njih. Kada smo kreirali Kinoscope Surreal, nikako nismo željeli izdvojiti jedan rad. Paradoksalno, to je dio programa koji zahtijeva najviše pretraživanja i kopanja. Moramo gledati mnoge filmove, jer su često zanemareni na međunarodnim filmskim festivalima koji nisu fokusirani na žanrovski rad, tako da malo znamo o njima, a često su slabo ili nimalo pokriveni u tisku. Body text
Intervju sa selektorima Mathilde Henrot i Alessandrom Rajom o umjetničkim izborima, inspiraciji i specifičnostima Kinoscope Programa
Discovering talents and surprises at the Sarajevo Film Festival
Interview with selectors Mathilde Henrot and Alessandro Raja on Artistic Choices, Inspiration, and Specifics of the Kinoscope Program
What can the audience expect from this year's selection in the Kinoscope programme of the Sarajevo Film Festival? We hope the audience will come with an open mind, a beautiful heart and a great curiosity to discover new and emerging filmmakers. We know we can count on the audience of the Sarajevo Film Festival for this! There’s no overarching connection to the films this year, but it appears in between the lines. There are inventive, personal documentaries that blur the spaces between journalism, truth and cinematic form, the plights of women told bravely by women, and two stories of dissatisfied soldiers. Selecting the Kinoscope Surreal films, we were looking for never-before-seen stories, for the unexpected. All types of nightmares are welcome. Hopefully the audience will be as surprised as we were! Did you have a particular goal or a theme while selecting the film for the Kinoscope programme? Programming is a mysterious process, comparable to no other. We never start off with a theme or any goal except to have in our eyes, mind and heart the desire to be surprised. Each time we hit the play button, or the film starts in the darkness of a theatre, we’re ready to meet greatness and discover a new creation. What’s surprising is that often, looking back at the selection, when we’ve completed it several months after starting, some similarities emerge. Sometimes, it’s a theme or a particular way to envision the art of cinema or the need to talk about and explain our harsh realities. What is specific for this year's selection? A selection of 18 films is like choosing a sports team, we need to define roles and alternatives when building up the program and composing certain slots in the schedule. Our Kinoscope program is broken into three different parts, Kinoscope Real, which tackles our reality either through fiction or documentary; Kinoscope, in which we present the arthouse films we deem most impressive from the current year; and Kinoscope Surreal, where we show genre films with distinctive original narrative and stylistic elements. If you had to single out one thing about the selection, what would it be? We would certainly not single out one film, as parents to their children, we love them all equally! We would love to hear the answer of the audience to this question, ultimately their appreciation is what matters. Did you notice any influence of big changes in the world on the work of the filmmakers? We can say that it’s an inspired and prolific moment for genre films. Horror and fantastic films used to be extremely codified and given little artistic and creative attention outside of their genre elements, and too often, misogyny was one of those elements. When we created Kinoscope Surreal we passionately didn’t want to single out work like that. Paradoxically, it’s the part of the program that requires the most searching and digging. We need to watch many films, as they’re often neglected at international film festivals not focused on genre work, so we know little about them, and they’re often under covered or not covered at all in the press.
Mastercard ponosni sponzor filmske magije Mastercard svojom korisnicima omogućava sigurna, brza i jednostavna plaćanja, te neprocjenjiva iskustva ali i dodatne vrijednosti za zajednicu. Tako je, treću godinu zaredom Mastercard sponzor Specijalne nagrade za promicanje rodne ravnopravnosti. Pitanje rodne ravnopravnosti i jednake uključenosti suštinsko je pitanje održivosti društva i unaprjeđenja socijalne i poslovne zajednice, stoga kroz nagradu za najuspješniju rediteljicu, debitanticu naglašavamo doprinosa žena u filmskoj industriji. Mastercard, proud sponsor of cinematic magic Mastercard provides safe, fast and convenient everyday payments, as well as priceless experiences and additional value for the community. Thus, for the third year in a row, Mastercard is a sponsor of the Special Award for the Promotion of Gender Equality at Sarajevo Film Festival. The issue of gender equality and equal inclusion is an essential topic for the sustainability of society and the improvement of the social and business community.
Petra Seliškar, kroz pronicljiv razgovor, dijeli zamršenosti nastanka filma "Tijelo", njegovu tematsku međuigru i Urškinu otpornost.
Iako govori o prestrašnoj borbi mlade žene, napadnute autoimunim bolestima, za vlastiti život, vaš je film vizualno vrlo lijep, lirski i poetičan. Zasluge za to snose kako Urškina volja za životom, tako i sredstva koja ste koristili - slike i prizori prirode, osobito vode, svojom ljepotom pomažu gledatelju da prevlada strah, neizvjesnost i mučninu. Da li ste od početka ljepotom htjeli prevazići ružnoću bolesti, ili se to desilo usput, spontano? Priroda igra važnu ulogu u filmu: Prespansko jezero, gdje se većina stvari u filmu dešava, je čarobno. Ono uglavnom pripada pelikanima i kormoranima i zmijama i kornjačama. Magično je već biti tamo. Samo mjesto izvlači nešto iz tebe, iz tvoje dubine. Voda za mene znači i bolest i Urškinu podsvijest koja ju davi, ali s druge strane, kad mi se otvori pred kamerom, oslobađa se svih strahota i na neki način liječi samu sebe. Još uvijek trpi posljedice svih jakih lijekova koje je godinama uzimala. Kada je prestala s kemoterapijom, shvatila je da njeno tijelo više nije ono što je bilo i da nikada neće biti. Za ženu je to jako teško, ali ona je to prihvatila, preživjela je i nastavit će živjeti. Kako bolest može biti lijepa ili ružna? Ono što sam shvatila u razgovoru s Urškom, autoimune bolesti se ne mogu kategorizirati. Autoimune bolesti imaju svoj život. Ali pitanje je zašto biraju vaše tijelo. To je ono što svaka osoba mora otkriti sama. Koliko sam shvatila iz promatranja, autoimune bolesti su kao živo biće koje ima moć odlučiti kada će i kako napasti vaše tijelo, pritajiti se ili čak nestati. Ne možete puno učiniti po tom pitanju, ali srećom postoji lijek koji može spriječiti vaše tijelo od samouništenja. Ako ne uzmete lijek, tijelo se samo može raskomadati. Potrebna je velika količina hrabrosti da biste prihvatili da niste uvijek sami gospodar svog života. Da se vratim na vaše pitanje o pokrivanju ružnoće bolesti ljepotom, vjerujem da su međusobno povezane. Mi smo dio prirode, i lijepi ujutro, i ružni i mrzovoljni naredne sekunde. Pitanje je možemo li prihvatiti svoje tijelo i vidjeti nesavršenost kao ljepotu. Treba vremena da shvatimo složenu prirodu onoga što nazivamo našim tijelom. Urška je sasvim nekonvencionalna osoba. Umjetnica je, kreativna i svojeglava, ona puši, pije, sama odlučuje o prekidu terapije... Kada i kako je nastala ideja o snimanju ovog filma i je li bila njezina ili vaša? Film je imao mnogo polazišta, trebalo je puno vremena da se napravi. Ideja je bila moja, prvo smo počeli raditi istraživanje za film o iscjelitelju Mitku Filevom, koji nikad nisam završila i tako je ona upala u priču. Trebalo mi je dosta vremena da shvatim da želim snimiti film o njenoj snazi. To je film o Urški, ali nije njen film. Jasno sam to rekla i ona se nikada nije miješala u montažu filma. Dala mi je slobodu da zajedno sa svojim urednicima, Sandrom i Šaškom, izaberem što ću koristiti ili ne i na koji način. Uvijek mi je vjerovala i za nju je ovo bio moj film. Ali, mnogo smo razgovarale o tome što ćemo i kako. Bilo je trenutaka kad je željela odustati i mi smo prestajali snimati, nije vidjela smisao snimanja ovog filma. Snimali smo samo kad se osjećala spremnom. U cijelom se filmu osjeti Urškin rijedak smisao za humor. Koliko je ovaj dio njenog snažnog karaktera bio važan za nastanak filma, a koliko za njeno samoodržanje? Humor je samoobrana. Po mom mišljenju, i prije bolesti toliko puta ne bi preživjela da nije bilo njenog humora. Ako nemaš lak život kao tinejdžerica imaš dva izbora: da postaneš stvarno mračna ili da se rugaš sebi i svemu što ti se događa. Pretpostavljam da smo ostale povezane iz mnogo razloga, ali i zbog toga što obožavam žene sa smislom za humor. Obje se puno smijemo. Čak nas se i naša djeca ponekad srame, ne razumiju šta nam je smiješno u određenoj situaciji ili šali. Dok smo montirali film, bilo je teško učiniti ga ozbiljnijim. Najtužnije stvari koje bi izgovorila uvijek su bile praćene nečim histerično smiješnim pa je bilo teško zadržati napetost i u nekom trenutku smo morali nasnimiti glas, to su zapravo dijelovi njenog dnevnika. Snimanje glasa bilo je bolno iskustvo. Pokazala sam joj kraj filma i ona je zaplakala. Zatim smo nastavili snimati glas. Svima je bilo teško, ali ne mogu zamisliti kako je njoj bilo vraćati se na najteže trenutke. Kako je Urška sada? Je li u stanju da dođe u Sarajevo na svjetsku premijeru filma za koji je bila i inspiracija i glavna junakinja? Urška je zdrava i stabilna i cijela njena obitelj je u Sarajevu zajedno sa cijelom ekipom (redatelj, DOP, skladatelj, montažer, montažeri zvuka, producenti). Svi se veselimo svjetskoj premijeri nakon što smo dugo radili na filmu vrijeme. Čak i ako izgleda kao dijalog između prijateljica, moja ekipa odigrala je važnu kolektivnu ulogu - Brand Ferro (DOP i voditelj produkcije), Saško Potter Micevski i Sandra Bastašić (montažeri), Vladimir Rakić (dizajner zvuka i glazbe), Vera Galešev (montaža zvuka) i tim producenata Sara Ferro, Tamara Babun, Ivana Naceva i Victor Ede. Ovaj film prikazuje arhivske snimke snimljene u razdoblju od 30 godina, dug proces montaže i puno razumijevanja i ljubavi svih članova ekipe. Ali, inspiracija i snaga da ne odustanem u potpunosti je zasluga Urške, moje heroine. Marinela Domančić
Žene sa smislom za humor
Women with a sense of humor
Petra Seliškar, through an insightful conversation, shares the intricacies of the film’s inception, its thematic interplay, and Urška's resilience.
Although it tells about the terrible struggle of a young woman, attacked by autoimmune diseases, for her own life, your film is visually very beautiful, lyrical and poetic. The credit for this goes both to Urška's will to live and to the means you used - pictures and scenes of nature, especially water, with their beauty help the viewer to overcome fear, uncertainty and nausea. From the beginning, did you want to overcome the ugliness of the disease with beauty, or did it happen along the way, sponta-neously? Nature plays an important role in the film: Prespa Lake, where most of the things in the film happened, is magical, it belongs mostly to pelicans and cormorants and snakes and turtles. Magic happens just by being there; the place itself draws something out of you, from the depth of you. To me, the water means both illness and Urška's subconscious that is drowning her, but on the other hand, when she opens up to me on-camera, she releases all the horrors and, in a way, heals herself. She still suffers con-sequences of all the strong drugs she had been taking for therapy for years, and when she stopped chemotherapy, she realized her body was not what it used to be and never will be. For a woman, this is very difficult, but she has accepted it, she has survived, and she will keep living. How can a disease be beautiful or ugly? What I understood by talking to Urška, autoimmune diseases cannot be described as something of any category. Autoimmune diseases have a life on their own. But the question is why they choose your body. That is what each person has to find out by himself. As far as I understood from observing, autoimmune diseases are as a living creature that have the power to decide when and how they will attack your body or wait or even disappear. There is not much you can do about it, but luckily medicine exists that can prevent your body from self-destruction. It takes a great deal of courage to embrace the idea that you are not always in charge of your own life. Coming back to your question covering ugliness of the disease with beauty - I believe they are intercon-nected. We are part of nature, which is both beautiful in one second and ugly and grumpy in the next one. The question is are we able to accept our body and see its imperfections as beautiful. It takes time to realize the complex nature of what we call our body. Urška is a completely unconventional person. She is an artist, creative and headstrong, she smokes, drinks, decides on her own to stop therapy... When and how did the idea of shooting this film come about and was it hers or yours? The film had many starting points, and it took a lot of time to make. The idea was mine, and it started when I was doing research for a film of the healer Mitko Filev, that I never finished, and so she fell into the story. It took me a lot of time to understand that I wanted to make a film about her strength. It is a film about Urška, but it is not her film. I made that clear and she never interfered in editing of film. She gave me freedom to choose, together with my editors Sandra and Sasko, what I will use or not and in what way. She always trusted me and to her this was my film. But we did talk a lot about what we’ll do and how. There were times she wanted to quit, and we stopped filming, she didn’t see the point of mak-ing this film. We only filmed when she felt ready. Urška's rare sense of humor can be felt throughout the film. How important was this part of her strong character for the creation of the film, and how much for her self-preservation? Humor is her self-defense. In my opinion she would not survive so many times if her humor would not be there, even before the illness. If you don’t have an easy life as a teenager, you have two choices: to get really dark or to make fun of yourself and everything that is happening to you. I guess we stayed con-nected for many reasons but also because I adore women with a sense of humor. We both laughed a lot. Even our children are sometime ashamed of us, not understanding what we find funny about a given situation or a joke. While editing the film, we had a hard time making it more serious, because the saddest things she said were always followed by something hysterically funny. It was hard to keep the tension and at some point, we had to make voice over, that are actually parts of her diary. To record the voice over was a painful experience. I showed her the ending of the film, and she had a crying reaction. Then we continued recording. It was hard for everyone, but I can’t imagine how it was for her, to go back to the most difficult moments. How is Urška now? Is she able to come to Sarajevo for the world premiere of the film for which she was both the inspiration and the main character? Urška is healthy and stabile, and all her family will be in Sarajevo along with all the crew (director, DOP, composer, editor, sound editors, producers). We are all looking forward to the world premiere after working on the film for a long time. Even if it looks as a dialogue between friends, my crew played important role as well - Brand Ferro (DOP and production manager), Saško Potter Micevski, Sandra Bastašić (editors), Vladimir Rakić (sound design and music), Vera Galešev (sound editing) and all the producers and production team Sara Ferro, Tamara Babun, Ivana Naceva and Victor Ede. This film shows archive footage shot over a period of 30 years, a long editing process and lots of under-standing and love from all members of the crew. But the inspiration and power to not quit is entirely due to Urška, my heroine. Marinela Domančić Although it tells about the terrible struggle of a young woman, attacked by autoimmune diseases, for her own life, your film is visually very beautiful, lyrical and poetic. The credit for this goes both to Urška's will to live and to the means you used - pictures and scenes of nature, especially water, with their beauty help the viewer to overcome fear, uncertainty and nausea. From the beginning, did you want to overcome the ugliness of the disease with beauty, or did it happen along the way, sponta-neously? Nature plays an important role in the film: Prespa Lake, where most of the things in the film happened, is magical, it belongs mostly to pelicans and cormorants and snakes and turtles. Magic happens just by being there; the place itself draws something out of you, from the depth of you. To me, the water means both illness and Urška's subconscious that is drowning her, but on the other hand, when she opens up to me on-camera, she releases all the horrors and, in a way, heals herself. She still suffers con-sequences of all the strong drugs she had been taking for therapy for years, and when she stopped chemotherapy, she realized her body was not what it used to be and never will be. For a woman, this is very difficult, but she has accepted it, she has survived, and she will keep living. How can a disease be beautiful or ugly? What I understood by talking to Urška, autoimmune diseases cannot be described as something of any category. Autoimmune diseases have a life on their own. But the question is why they choose your body. That is what each person has to find out by himself. As far as I understood from observing, autoimmune diseases are as a living creature that have the power to de-cide when and how they will attack your body or wait or even disappear. There is not much you can do about it, but luckily medicine exists that can prevent your body from self-destruction. It takes a great deal of courage to embrace the idea that you are not always in charge of your own life. Coming back to your question covering ugliness of the disease with beauty - I believe they are intercon-nected. We are part of nature, which is both beautiful in one second and ugly and grumpy in the next one. The question is are we able to accept our body and see its imperfections as beautiful. It takes time to realize the complex nature of what we call our body. Urška is a completely unconventional person. She is an artist, creative and headstrong, she smokes, drinks, decides on her own to stop therapy... when and how did the idea of shooting this film come about and was it hers or yours? The film had many starting points, and it took a lot of time to make. The idea was mine and it started when I was doing research for a film of the healer Mitko Filev, that I never finished, and so she fell into the story. It took me a lot of time to understand that I wanted to make a film about her strength. It is a film about Urška, but it is not her film. I made that clear and she never interfered in editing of film. She gave me freedom to choose, together with my editors Sandra and Sasko, what I will use or not and in what way. She always trusted me and to her this was my film. But we did talk a lot about what we’ll do and how. There were times she wanted to quit, and we stopped filming, she didn’t see the point of mak-ing this film. We only filmed when she felt ready. Urška's rare sense of humor can be felt throughout the film. How important was this part of her strong character for the creation of the film, and how much for her self-preservation? Humor is her self-defense. In my opinion she would not survive so many times if her humor would not be there, even before the illness. If you don’t have an easy life as a teenager, you have two choices: to get really dark or to make fun of yourself and everything that is happening to you. I guess we stayed con-nected for many reasons but also because I adore women with a sense of humor. We both laughed a lot. Even our children are sometime ashamed of us, not understanding what we find funny about a given situation or a joke. While editing the film, we had a hard time making it more serious, because the saddest things she said were always followed by something hysterically funny. It was hard to keep the tension and at some point, we had to make voice over, that are actually parts of her diary. To record the voice over was a painful experience. I showed her the ending of the film, and she had a crying reaction. Then we contin-ued recording. It was hard for everyone, but I can’t imagine how it was for her, to go back to the most difficult moments. How is Urška now? Is she able to come to Sarajevo for the world premiere of the film for which she was both the inspiration and the main character? Urška is healthy and stabile, and all her family will be in Sarajevo along with all the crew (director, DOP, composer, editor, sound editors, producers). We are all looking forward to the world premiere after working on the film for a long time. Even if it looks as a dialogue between friends, my crew played im-portant role as well - Brand Ferro (DOP and production manager), Saško Potter Micevski, Sandra Bastašić (editors), Vladimir Rakić (sound design and music) Vera Galešev (sound editing) and all the producers and production team Sara Ferro, Tamara Babun, Ivana Naceva and Victor Ede. This film shows archive footage shot over a period of 30 years, a long editing process and lots of under-standing and love from all members of the crew. But the inspiration and power to not quit is entirely due to Urška, my heroine. Marinela Domančić
Photo by Ferrante Ferranti
Ekipa filma Zauvijek trideset tri / Crew: Forever Thirty Three
Ekipa filma Bosanski Lonac / Crew: Bosnian Pot
Foto galerija / Photo gallery
Nina Janković Dičić, Najbolja glavna glumica – komedija Nina Janković Dičić,The Best Leading Actress in Comedy
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
"Snovi jednog robota": Bingo Ljetno kino Tuzla Screening: Robot Dreams, Bingo Open Air Cinema Tuzla
Svečana ceremonija dodjele nagrada Srca Sarajeva za TV serije Awards Ceremony for TV Series - hosted by BH Telecom
Dobitnici Nagrade Srce Sarajeva za TV Seriju Recipients of the Heart of Sarajevo awards for TV Series
Ekipa Volim Film Sarajevo Film Festivala Sarajevo Film Festival Cinephiles
Ekipa filma La Palisiada / Crew: La Palisiada
Ekipa filma Suočavanje sa tamom / Crew: Facin Darkness
Charlie Kaufman je zbunjeni scenarista iz Los Angelesa opterećen samopotcjenjivanjem, seksualnom frustracijom, samoprezirom i scenarističkim ambicijama brata blizanca, grebatora Donalda. Dok se muči da adaptira knjigu Susan Orlean „Kradljivac orhideja“, Kaufmanova patetična svakodnevnica postaje sve bizarnija. Kaufmanov život i Orleaničina knjiga čudnovato se prepliću kada se potjere za strašću u njima sudare. Charlie Kaufman is a confused LA screenwriter overwhelmed by feelings of inadequacy, sexual frustration, self-loathing, and by the screenwriting ambitions of his freeloading twin brother Donald. While struggling to adapt "The Orchid Thief" by Susan Orlean for the screen, Kaufman's life spirals from pathetic to bizarre. Kaufman's life and Orlean's book become strangely intertwined as each one's search for passion collides with the other's.
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ADAPTACIJA / ADAPTATION Sjedinjene Američke Države, 2002, 115 min. Režija / Director: Spike Jonze, Uloge / Cast: Nicolas Cage, Meryl Streep, Chris Cooper, Tilda Swinton, Jay Tavare
PERO Slovenija, 2023, 98 min. Režija: Damjan Kozole
Omaž životu, karijeri i strahovima glumca Petera Musevskog (1965–2020). Peter Musevski (nadimak Pero) bio je ikona slovenačke kinematografije i ostvario je uloge u više od pedeset filmova. Njegovi filmovi osvojili su nagradu Lav budućnosti na festivalu u Veneciji i nagradu za najbolju režiju na festivalu Karlovy Vary, a sam Musevski osvojio je nagradu Srce Sarajeva za najboljeg glumca kao i brojne druge nagrade. Krajem 2019. godine s rediteljem Damjanom Kozoleom počeo je raditi na filmu o sebi i svojim demonima. Na početku pandemije, u martu 2020, prije nego što je snimanje filma počelo, Musevski je počinio samoubistvo. Kozole je osjećao potrebu da ipak snimi film, kao vid oproštaja o Petera Musevskog. Tokom snimanja filma, Kozole je shvatio da to nije film samo o Musevskom već također i o njima, kao i da nije samo film o odlasku prijatelja već i o društvu i svijetu u koje su vjerovali, a koji i sami polako nestaju. A homage to the life, career, and fears of actor Peter Musevski (1965–2020). Nicknamed Pero, Musevski was an icon of Slovenian cinema, appearing in more than 50 films, which received prizes including the Lion of the Future at the Venice Film Festival and Best Director at the Karlovy Vary International Film Festival. Among numerous awards, he received the Heart of Sarajevo for Best Actor. At the end of 2019, together with director Damjan Kozole, Musevski began working on a film about himself and his demons. At the beginning of the pandemic, in March 2020, before shooting of the film had begun, Musevski committed suicide. Kozole felt the need to make this film anyway, as a way of saying goodbye. While working on it, the director realised this film is not only about Musevski but also about himself; not just about a friend's departure, but also about society and the world they believed in, which is slowly disappearing too.
U FOKUSU / IN FOCUS
OPEN AIR
Dječiji program / children's programme
TAKMIČARSKI DOKUMENTARNI / COMPETITION DOCUMENTARIES
Kako film može govoriti o saučesnicima u zločinima protiv čovječnosti, ekstremnom nasilju i državnom teroru, a da ne bude u dosluhu sa njima? DE FACTO nudi odgovor na ovo pitanje kroz pažljivo režiranu igru dvoje glumaca, precizno napisan scenarij i planski reducirano okruženje. How can cinema engage with complicity in crimes against humanity, extreme violence, and state terror without conniving in it? DE FACTO finds answers to these questions in a meticulously directed play of two actors, a precisely compiled film script and a deliberately reduced setting.
TOTEM Netherlands, Luxembourg, Germany, 2022, 97 min. Režija / Director: Sander Burger, Uloge /Cast: Amani-Jean Philippe, Ole van Hoogdalem, Lies Visschedijk, Emmanuel Ohene Boafo, Céline Camara, Iliass Ojja
Ama je strastvena plivačica i većinu slobodnog vremena provodi trenirajući za skorašnje takmičenje sa svojim najboljim prijateljem Thijsom. Ama se u potpunosti osjeća kao Nizozemka iako su njeni roditelji izbjeglice iz Senegala. Ama i njena porodica u Nizozemskoj borave ilegalno otkako je njihov zahtjev za azil odbijen. Nakon što njena majka i mlađi brat bivaju uhapšeni, Ama luta ulicama Rotterdama u potrazi za svojim ocem. Tokom njene odiseje Ami se ukazuje životinjski totem – u formi ogromnog bodljikavog praseta. Ama is passionate about swimming and, together with her best friend Thijs, spends most of her free time practising for an important upcoming competition. Ama feels totally Dutch, even though her parents are asylum-seekers from Senegal who are living illegally in the Netherlands since their application to stay in the country was rejected. After her mother and younger brother are arrested, Ama roams the streets of Rotterdam in search of her father. During this odyssey her totem animal appears to her – a giant porcupine.
DE FACTO Austrija, Njemačka, 2023, 130 min., Režija / Director: Selma Doborac, Uloge / Cast: Christoph Bach, Cornelius Obonya