PONEDJELJAK / MONDAY 15.8.2022.
Počasno Srce Sarajeva uručeno Madsu Mikkelsenu / Mads Mikkelsen received Honorary Heart of Sarajevo Award
FESTIVAL DAILY
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Počasno Srce Sarajeva uručeno Madsu Mikkelsenu
Danskom glumcu Madsu Mikkelsenu sinoć je, u Ljetnom kinu Coca-Cola, uručeno Počasno Srce Sarajeva za izvanredan doprinos filmskoj umjetnosti. Priznanje mu je uručio Mirsad Purivatra, osnivač Sarajevo Film Festivala. Nakon uručenja nagrade publika je imala priliku pogledati film LOV reditelja Thomasa Vinterberga, u kojem Mikkelsen igra glavnu ulogu. Danas, u ponedjeljak, 15. augusta u 10.30, Mads Mikkelsen će biti gost programa “Grand Kafa sa…” 28. Sarajevo Film Festivala na Festivalskom trgu. Ulaz je slobodan uz festivalsku akreditaciju ili uz ulaznicu za film LOV Thomasa Vinterberga iz Ljetnog kina Coca-Cola.
Mads Mikkelsen received Honorary Heart of Sarajevo Award
At the Coca-Cola Open Air Cinema, Danish actor Mads Mikkelsen received the Honorary Heart of Sarajevo Award for his outstanding contribution to the art of film. The prize has been presented by Mirsad Purivatra, the founder of the Sarajevo Film Festival. After the award presentation, the public had the opportunity to watch the film THE HUNT by Thomas Vinterberg, in which Mikkelsen plays the lead role. Meet Mads Mikkelsen, the guest of the Open Air Programme of the 28th Sarajevo Film Festival at the “Grand Coffee with...” Programme. The programme will be held at Festival Square on Monday, 15th at 10.30. Free admission with the Festival accreditation or film screening ticket of THE HUNT by Thomas Vinterberg, screened at the Coca-Cola Open Air Cinema.
Svečana ceremonija dodjele nagrada Srca Sarajeva za TV serije 28. Sarajevo Film Festivala održana je u hotelu Hills Sarajevo, pod pokroviteljstvom BH Telecoma. Srca Sarajeva za Najbolje TV serije dobili su: U kategoriji Srce Sarajeva - Najbolja dramska serija nagrađena je TV serija PODRUČJE BEZ SIGNALA U kategoriji Srce Sarajeva - Najbolja glavna glumica u dramskoj seriji nagrađena je Ivana Vuković (KLJUN) U kategoriji Srce Sarajeva - Najbolji glavni glumac u dramskoj seriji nagrađen je Izudin Bajrović (PODRUČJE BEZ SIGNALA) U kategoriji Srce Sarajeva - Najbolja epizodna uloga – glumica u dramskoj seriji nagrađena je Lana Barić (PODRUČJE BEZ SIGNALA) U kategoriji Srce Sarajeva - Najbolja epizodna uloga - glumac u dramskoj seriji nagrađen je Slavko Štimac (CRNA SVADBA) U kategoriji Srce Sarajeva - Zvijezda u usponu nagradu je dobio Stefan Vukić (KLJUN) U kategoriji Srce Sarajeva - Najbolja režija za epizodu – dramska serija nagradu je dobio Dalibor Matanić (PODRUČJE BEZ SIGNALA) U kategoriji Srce Sarajeva - Najbolji scenarij za epizodu – dramska serija nagradu su dobili Hana Jušić, Jelena Paljan i Milan F. Živković (PODRUČJE BEZ SIGNALA) U kategoriji Srce Sarajeva - Najbolja komedija nagrađena je TV serija ADVOKADO U kategoriji Srce Sarajeva - Najbolja glavna glumica – komedija nagrađena je Jasna Đuričić (ADVOKADO) U kategoriji Srce Sarajeva - Najbolji glavni glumac – komedija nagrađen je Mustafa Nadarević (1943. – 2020.) (LUD, ZBUNJEN, NORMALAN) U kategoriji Srce Sarajeva - Zvijezda u usponu – komedija nagradu je dobio Jovan Jovanović (ČUDNE LJUBAVI) U kategoriji Srce Sarajeva - Najbolji scenarij za epizodu – komedija nagradu su dobili Boban Jevtić i Nikola Kojo (ČUDNE LJUBAVI) U kategoriji Srce Sarajeva - Najbolja režija za epizodu – komedija nagradu je dobio Nikola Kojo (ČUDNE LJUBAVI) Za nagrade Srca Sarajeva za TV serije 28. Sarajevo Film Festivala bilo je nominirano 17 serija. Ceremoniju je vodio glumac i TV voditelj Tarik Filipović. Ekskluzivnu večeru, u saradnji s renomiranim gastronomskim vodičem Gault&Millau Croatia, pripremio je Orhan Cakiroglu, chef restorana Matsunoki u hotelu Bellevue na otoku Mali Lošinj. Medijski partner nagrada za TV serije je Deadline. 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.
Dodijeljena Srca Sarajeva za najbolje TV serije
Awarded Hearts of Sarajevo for the Best TV series
The award ceremony for the best achievements in the category of TV series at the 28th Sarajevo Film Festival was held in the Hotel Hills Sarajevo, under the patronage of BH Telecom. The winners of the Hearts of Sarajevo Awards for TV Series are: The winner in the Best Drama Series category is THE LAST SOCIALIST ARTEFACT The Best Leading Actress in Drama Series is Ivana Vuković (AWAKE) The Best Leading Actor in Drama Series is Izudin Bajrović (THE LAST SOCIALIST ARTEFACT) The Best Supporting Actress in Drama Series Lana Barić (THE LAST SOCIALIST ARTEFACT) The Best Supporting Actor in Drama Series Slavko Štimac (BLACK WEDDING) The Rising Star is Stefan Vukić (AWAKE) The Best Director for The Episode of Drama Series is Dalibor Matanić (THE LAST SOCIALIST ARTEFACT) The Best Screenplay for The Episode of Drama Series are Hana Jušić, Jelena Paljan, Milan F. Živković (THE LAST SOCIALIST ARTEFACT) The winner in the Best Comedy category is ADVOKADO The Best Leading Actress in Comedy is Jasna Đuričić (ADVOKADO) The Best Leading Actor in Comedy is Mustafa Nadarević (1943. – 2020.) (CRAZY, CONFUSED, NORMAL) The Rising Star in Comedy is Jovan Jovanović (STRANGE KIND OF LOVES) The Best Screenplay for The Episode of Comedy are Boban Jevtić, Nikola Kojo (STRANGE KIND OF LOVES) The Best Director for The Episode of Comedy is Nikola Kojo (STRANGE KIND OF LOVES) For the Hearts of Sarajevo awards for the TV series of 28th Sarajevo Film Festival 17 series were nominated. The award ceremony was hosted by actor and TV presenter Tarik Filipović. The exclusive dinner, in cooperation with the renowned gastronomic guide Gault&Millau Croatia, was prepared by Orhan Cakiroglu, chef of the Matsunoki restaurant in the Bellevue Hotel on the island of Mali Lošinj. The media partner of the TV series awards is Deadline.
Intervju s Dominikom Mencejem, rediteljem filma Jahači
Kada ste prvi put pomislili da bi film ceste o dvojici mladića, Tomažu i Antonu, koji bježe od dosade malog slovenskog sela bio idealan za vaš dugometražni debi? Tijekom prvog razgovora s producentom Mihom Černecom, koji je bio fasciniran fenomenom blagoslivljanja motora. Kako sam dulje vrijeme znao da ću jednom snimiti film o nekome iz Prlekije, regije na sjeveroistoku Slovenije, te su se dvije ideje spojile u jednu iz koje je kasnije nastao ovaj film. Jesu li glavni glumci Petja Labović i Timon Šturbej morali ići na posebne instrukcije vožnje motora? Pa, Petja je morao jer u filmu vozi pravi motor, a nije imao nikakvog iskustva. Ustvari, uopće ni nema vozačku dozvolu. Jeste li se bojali da će korištenje kultnog filma „Goli u sedlu“ kao tako jasne inspiracije na određeni način baciti preveliku sjenu na vašu priču? Da, postojao je taj strah. U počecima pisanja scenarija s koscenaristom Borisom Grgurovićem stalno sam pokušavao odgonetnuti gdje je ta tanka crta između posvete i krađe. U kasnijim fazama produkcije uvijek sam bio svjestan prisutnosti „Golih u sedlu“ i trudio sam se biti što specifičniji s količinom referenci kako gledatelji ne bi previše uspoređivali filmove koji su zapravo prilično različiti. Glavni junaci našega filma interpretiraju ovaj kultni klasik na svoj način. Pokušavaju ga imitirati, ali kako su oni drugačiji ljudi s drugačijim snovima tako je i naš film drugačiji. Zašto ste svoje „jahače“ smjestili u 1999., na kraj tisućljeća, a ne u današnji svijet? Vjerujem da se priča koju sam pokušavao ispričati ne bi mogla dogoditi danas, a ujedno sam i imao da bi ta bliska prošlost, promatrana kroz leće današnjice, gledateljima ponudila drugačiju povezanost s prikazanim temama. Želio sam priču staviti u za naša krajeve specifično doba, puno optimizma i mogućnosti, ali također i neizvjesnosti koja odgovara i današnjem svijetu. Svijet vaših junaka je onaj razorenih obitelji i odsutnih očeva. Koliko je njihova potraga za slobodom ujedno i potraga za dijelovima života koji im nedostaju? To je veliki dio njihovog putovanja. No, možda i više o dijelova koje nikada nisu imali, oni pokušavaju pronaći svoj identitet. Na određeni način vjerujem da je potraga za slobodom ustvari potraga vlastitom osobnošću i pomirenje s idejom tko ste doista i tko želite biti u budućnosti. Jeste li od samih početaka lik Petra, starijeg bikera koji postane očinska figura mladom buntovniku Antonu, zamislili kao stranca ili ste na tu ideju došli kada ste shvatili da za ulogu možete dobiti poznatog i kvalitetnog glumca kao što je Nikola Kojo? Lik Petra je oduvijek trebao biti Hrvat koji se vraća u svoje rodno mjesto nakon višegodišnjeg lutanja svijetom. Bio sam dovoljno sretan da dobijem najboljeg glumca za tu ulogu, koji je ujedno i bio moj prvi odabir. Nikola Kojoj je odličan motorist koji s lakoćom glumi i na motoru. I, za kraj, koji motor vi vozite? Ne bih se usudio sjesti na ništa što je brže od običnog mopeda. Vozite se sigurno. Razgovarao Josip Jurčić
Ne bih se usudio sjesti na ništa brže od običnog mopeda
INTERVJU
INTERVIEW
Interview with Dominik Mencej, director of the film Riders
When did you get first idea of having a road movie about two boys, Tomaž and Anton, running away from boredom of small Slovenian village as your debut feature? The idea arose after our first conversation with the producer Miha Černec who was fascinated with the phenomenon of the blessing of motorbikes. I knew for the longest time that I would do some kind of film about someone from the Prlekija region and so these two ideas merged into one that later became this film. Q: Did your main actors, Petja Labović and Timon Šturbej, had to go to special instructions on motor riding? A: Well Petja did because he needed to ride the real bike for the film and had no previous experience and in fact doesn't even have a driving license. Was there any fear that using cult film Easy Rider as inspiration would somehow throw too big of a shadow on your story? Yes there was. Even in the first stages of writing me and my co-writer Boris Grgurović would always try to figure out where lies the thin line between the homage and a ripoff. In the later stages of production I was always aware of the presence of Easy Rider and I tried to be specific only the amount so that the viewer wouldn’t be comparing the films which in reality are pretty different. Main characters in our film are interpreting this cult classic in their own way and are trying to in a way mimic it but as they are different people with different dreams so are the films. Why did you choose to put your “riders” in 1999, at the end of the millennium, and not in today’s world? I believe that the kind of story that I was trying to tell could not happen today but I also had the idea of this somewhat recent past, watched through the lens of today, would bring another kind of viewer's relationship to the topics portrayed. I wanted to put the story in this for our region really specific era which was full of optimism and potential but also a lot of uncertainty which corresponds well with today's world. Their world is of broken families and absent fathers. How much is their quest for freedom also search for missing parts of their lives? It is very much a part of their journey. Maybe more than missing parts they are trying to find their identity. In a way I believe that a search for freedom is in fact a search of finding oneself and with that also coming to terms with who you are and want to become in the future. Did you always envision character of Peter, elderly biker that turns out to be father figure to young rebel Anton, as a foreigner or did you make him as one when you realized that you can cast an actor as good and famous as Nikola Kojo? The character of Peter was always meant to be a Croat who returns to his hometown after many years of traveling the world. I was only lucky to get the best possible actor for the role and also my first choice Nikola Kojo who also is an excellent motorbike rider and could do it while acting. And, for the end, what kind of a bike do you ride? I wouldn't dare to sit on anything faster than a moped. Drive safely. Josip Jurčić
I wouldn't dare to sit on anything faster than a moped
Kako ste se vas dvoje našli u projektu o novoprimitivnom sarajevskom sastavu Zabranjeno pušenje? Srđan Perkić: Pjesme Zabranjenog pušenja duboko su u kulturi svakog Sarajlije, kao neka duševna hrana i identitet. Njih u svojim genima nose svi ti jednostavni i obični ljudi koji su, kako kaže Sejo - vođa sastava, bili i ostali jedina podrška bendu kroz sve ove godine. I ja sam kao i mnoge generacije Sarajlija, odrastao uz te pjesme, one su spona između nas i našeg životnog ambijenta. Uz to su i slikovite tako da imam osjećaj da bi se svaka pjesma mogla pretočiti u neki film ili teatarsku predstavu. Amra je od mene puno mlađa, ali ako pogledate danas koncerte Zabranjenog pušenja, puni su fanova upravo između 20 - 30 godina. S druge strane, želio sam mladog producenta i kada sam upoznao Amru, njenu energiju, izbor je bio logičan. Amra Hadžihafizbegović - Deović: Našli smo se jednu noć nakon predstave u Kamernom teatru 55. Pričali o filmu, sjeli dan poslije, svako odradio svoj dio posla i evo sada vama zajedno odgovaramo na pitanja za Dnevni bilten Sarajevo Film Festivala. Srđane, slično kao i Sejo Sexon, vi ste iz Sarajeva ali u njemu ne živite. Koliko je vaše zanimanje za Zabranjeno pušenje profesionalno, a koliko ste osobno angažirani? Srđan Perkić: Realizacija filma nije bila prva ideja. Budući da moja marketinška agencija često radi kreativne projekte, u početku smo htjeli snimiti samo par kratkih videa gdje bi fanovi imali priliku vidjeti bend kako se priprema za velike koncerte. Kada smo napravili par takvih videa Sejo je rekao: „Ah ovo bi bilo dobro za neku vrstu filma“. To je bio okidač. Imam osjećaj da smo se jednostavno bacili u film iracionalno i bez adekvatnog budžeta, ne čekajući da se sklopi potpuni producentski mozaik. Kad sada promislim, u film smo ušli apsolutno ludim srcem. „Svjetla Sarajeva“ jedna od recentnijih pjesama s albuma „Šok i nevjerica“, nastala je prema tekstu Gorana Vračara. Srđane, kako to da je film nazvan baš po njoj? Srđan Perkić: Naziv “Svjetla Sarajeva” je metaforičkog karaktera, odnosno sintagma posvećena gradu, dvorani Skenderija, sarajevskim mitovima i legendama. To je intimna i vrlo iskrena priča. S druge strane ona je i jedinstvena, jer njene detalje autor Sejo Sexon nikada nije ispričao u svojim brojnim intervjuima. Naziv filma nije vezan za fantastičnu pjesmu koju je napisao Goran Vračar, a Sejo komponovao. Nakon što je Sejo prvi put pogledao film, sutradan mi je uz jutarnju kafu jednostavno predložio taj naziv. Prirodno je da se film premijerno prikaže baš u Sarajevu. Kakve reakcije gledatelja očekujete? Srđan Perkić: Biti u selekciji takmičarskog programa je ogromna čast. Publicitet koji prati ovaj film je fantastičan, ali najviše sam ponosan na moj mladi tim i jako sam sretan prvenstveno zbog njih. Oni su fascinirani sa svim što se događa. Posebno nas je interesovalo dati drugačiji i autentičniji pristup u odnosu na često klišejizirane muzičke dokumentarne filmove. S toga je film rađen bez uobičajenog intervjua, tzv. "talking heads". Na neposredan način pokušali smo prikazati bend i njegove članove. Kamera bez ikakve cenzure zaviruje u intimu backstageaa i prikazuje njihove pripreme za nastup, svu napetost i uzbuđenje pred najveći samostalni koncert benda. Backstage je publici nedostupan, a nama je bilo važno prikazati bend upravo tamo gdje je on drugačiji u odnosu na pozornicu. Stoga se nadam dobroj reakciji gledatelja. Amra Hadžihafizbegović - Deović: Kako je moj dobri i dragi reditelj filma već rekao, biti odabran među tako velikim brojem apliciranih projekata na ovakvom Festivalu, već je velika stvar. Naš mind-set nije “važno je učestvovati, a ne pobijediti“, te se nadamo svakom mogućem dobru koje nas čeka u danima festivala. Očekujemo ispunjeno gledalište na svakoj od tri projekcije, koliko ćemo ih ukupno imati, gledatelje koji će nakon odjavne špice biti zadovoljni, sretni i ispunjeni jer su dobro uložili svoje vrijeme i novac. Očekujemo i da bar jedan član žirija “lobira“ i navija da naš film dobije jednu od nagrada. Kakav život čeka vaš film nakon Sarajevo Film Festivala? Srđan Perkić: Film će obilaziti razne festivale u regionu. Dobili smo i izuzetne ponude prikazivača. U kinima će vjerovatno biti predstavljena i duža verzija filma “Director’s cut”, mada će odluku o tome donijeti Amra. Amra Hadžihafizbegović-Deović: Volimo ići korak po korak i tim tempom otkrivati naše daljnje planove. Trenutno dajemo sve od sebe da na Sarajevo Film Festivalu napravimo sve što je najbolje za film. Još nije vrijeme da otkirjemo sve naše planove i želje. Ovim putem želim da se zahvalnim našim koproducentima filma, a to su Al Jazeera Balkans i Bh Telecom koji su prepoznali njegov potencijal i kvalitetu i odlučili da zajedno s nama budu dio jedne lijepe i, nadamo se, vrlo uspješne priče koja se zove “Svjetla Sarajeva“. Marinela Domančić
Razgovor: redatelj Srđan Perkić i producentica Amra Hadžihafizbegović - Deović - Svjetla Sarajeva
Intimna priča o sarajevskim mitovima i legendama
Uz Coca-Colu i ove godine Živimo Sarajevo Film Festival Prava čarolija, filozofija je brenda Coca-Cola, koju više od dvije decenije uspješno dijeli sa Sarajevo Film Festivalom. Sarajevo će u avgustu živjeti Sarajevo Film Festival još više, i to širom grada uz Coca-Colu i mjesta za filmski provod, filmski susret, klopu, furku, pa i filmski poljubac. Svoju čaroliju Coca-Cola je prenijela i na Ljetno kino Metalac, gdje će svi filmoljupci pod zvijezdama uživati u projekcijama.
We are celebrating the Sarajevo Film Festival with Coca-Cola The real magic is the philosophy of Coca-Cola, which has been successfully shared with the Sarajevo Film Festival for more than two decades. In August, Sarajevo will live the Sarajevo Film Festival even more, all over the city with Coca-Cola and places for film entertainment, film meeting, food, fun, and even a film kiss. Coca-Cola has brought its magic to the Metalac Summer Cinema, where all film lovers will enjoy screenings under the stars.
How did the two of you get involved in the project about the new primitives band from Sarajevo, Zabranjeno pušenje? Srđan Perkić: The songs of Zabranjeno pušenje are deep in the culture of every citizen of Sarajevo, like food for soul and identity. Almost every Sarajevan carries them in his genes, all those simple and ordinary people who, as Sejo says, were and remain the only support for the band over the years. Like many generations of Sarajevans, I grew up with these songs - they are the link between us and our environment, and they are so picturesque that I have the feeling that every song could be turned into a film or a theatre play. Amra is much younger, but if you look at Zabranje pušenje's concerts today, there are a lot of fans between the ages of 20 and 30. On the other hand, I wanted a young producer and when I met Amra, her energy, the choice was logical. Amra Hadžihafizbegović-Deović: We met one night after a theatre performance at Kamerni teatar 55. We talked about the film, sat down the day after, each of us did his part and now we are writing answers to questions for the Sarajevo Film Festival's Daily Bulletin. Srdjan, just like Sejo, you are from Sarajevo but you don't live there. How much of your interest in Zabranjeno pušenje is professional and how engaged are you personally? Srđan Perkić: The idea of making a film came a little later. Since my marketing agency often does creative projects, in the first phase the idea was to shoot only a couple of short videos from which fans could see the band getting ready for some of the big concerts. When we made a couple of such videos, Sejo said: "Ah, this would be good for a film". That was the trigger. I have the feeling that we simply threw ourselves into the film without an adequate budget, often irrationally; we did not wait for a complete production mosaic to be put together. Now that I think about it, we went into the film with an absolutely crazy heart. "Svjetla Sarajeva" („Lights of Sarajevo“) is one of Sula's more recent songs from the album „Šok i nevjerica“ ("Shock and disbelief") based on the lyrics of Goran Vračar. Srdjan, when was it clear that you would name the entire film after this song, and whose idea was that? Srđan Perkić: The title "Lights of Sarajevo" is metaphorical, it is a phrase dedicated to the city, Skenderija, and Sarajevo's myths, and legends. This is an intimate and very honest story. On the other hand, it is also unique, because the author of the script, Sejo, never mentioned its details in his numerous interviews. The title of the film is not related to the fantastic song written by Goran Vračar and composed by Sejo. After Sejo saw the film for the first time, he suggested the title to me the next day over morning coffee. It is expected that the premiere of this film will take place in Sarajevo. I assume that you are satisfied that you managed to finalize the film in time for it to be included in the program of the Sarajevo Film Festival. What are your expectations for the premiere and the audience's reactions? Srđan Perkić: Being in the official selection of the competition program is a huge honor, all the publicity that accompanies this film is fantastic, but more than anything else I am truly proud of my young team and I am very happy for them. They are simply fascinated by what is happening. We were especially interested in trying to give a different and more authentic approach compared to the often clichéd music documentaries. That is why the film was made without the usual interview, the so-called "talking heads". We tried to present the band and its members in a direct way. The camera peeks into the intimacy backstage without any censorship and shows how the members are getting ready for the performance and all the tension and excitement before the band's biggest stand-alone concert. The backstage is inaccessible to the audience and it was very interesting to show the audience where the band is different compared to the stage. Therefore, I hope for a good reaction from the audience. Amra Hadžihafizbegović-Deović: As the director already said, being chosen among such a large number of submitted projects that are eagerly waiting to be selected for a festival like this is already a big deal for us. Our mindset is not one of those "it's important to participate, not to win", so we hope for all the possible good things that might happen in the coming days of the Festival. We expect sold-out tickets for each of the three screenings at the Festival, viewers who will be satisfied, happy, and fulfilled after the check-out credits with what they invested their time and money in, and we expect at least one member of the jury to "lobby" and cheer for our film so it wins one of the awards. Have you already made plans for the further life of your film at festivals and in the cinema? Srđan Perkić: The film will tour various festivals in the region. We also received exceptional offers from broadcasters. Regarding screenings in cinemas, a longer version of the film "Director's cut" will probably be presented, although the decision will be made by Amra. Amra Hadžihafizbegović-Deović: Of course we have! But we like to take step by step and to gradually reveal our further plans. At the moment, we are doing our best to make sure that everything is done in the best way for the Sarajevo Film Festival, because if we were now to reveal everything we plan and want, we would reveal what is not yet time to be revealed. I would like to take this opportunity to thank the co-producers of the film, Al Jazeera Balkans and BH Telecom, who recognized the potential and quality of our film and decided to be part of a beautiful and, hopefully, very successful story called "Lights of Sarajevo" with us. I also want to thank you for the questions and the space for our thoughts and words to be noted and read in your Daily Bulletin. We are waiting for you at one of the locations where the film will be shown. 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. 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.
An intimate story about myths and legends of Sarajevo
Srđan Perkić (director) and Amra Hadžihafizbegović-Deović (producer): Lights of Sarajevo
U svakom trenutku vašeg filma jasno je da ste vizualna umjetnica, istraživačica i poštovateljica ljudskog tijela. Kako ste odlučili da snimite film o bodybuildericama? Naučila sam da je ženski bodybuilding oblik umjetnosti. I ja sam umjetnica, tako da smo bodybuilderice i ja na neki način iste. Potrebno nam je da nešto oblikujemo, formiramo. Kod njih je to njihovo vlastito tijelo. Oko 2013. sam napravila neke slike bodybuilderica i tada sam upoznala neke od njih. Htjela sam razgovarati s njima o njihovim životima kako bi moje slike prikazale stvarne ljude a ne slike s interneta. Njihov stav, njihova ideja o ljepoti toliko me je fascinirala da ju nisam mogla izbaciti iz glave. Igrani film o bodybuilderici počeli smo snimati 2014. godine sa Lászlóom Csujom (Gentle - također će biti prikazan na Sarajevo Film Festivalu). Počela sam audiovizuelno istraživanje jer sam htjela razumjeti više a nisam mogla pronaći zadovoljavajući materijal na tu temu. Ágnes Horváth-Szabó (producentica ovog dokumentarca) uvidjela je kamo bi nas ovo putovanje moglo odvesti i ohrabrila me da istraživanje pretvorim u nezavisni dokumentarac, vjerovala je u mene iako nisam bila redateljica. Sve žene govore iz off-a preko snimaka koji prikazuju veježbanje i svakodnevni život. Jeste li prvo snimali slike ili glasove? Istovremeno smo radili i jedno i drugo. Nekad bi me snimci natjerali da razmišljam o pitanjima, a ponekad me je ono što su mi rekle inspiriralo da snimim određene slike. Ritam ovog filma posebno zadivljuje. U početku ga čine pokreti vježbanja, napora i teškog disanja, a na kraju ga daje glazba. Jeste li proveli mnogo vremena u montaži da biste postigli tako savršen ritam? O da, potrošila sam mnogo vremena na montažu. Izučavala sam glazbu prvih 18 godina svog života i mislim da to ima mnogo veze sa ritmom. Prvih godina sam radila sama ali sam uvijek imala profesionalnog montažera za konzultiranje. Veoma sam zahvalna profesionalcima koji su mi pomogli, a takođe i Ágnes što mi je dozvolila da koristim računala produkcijske kuće. Naučila sam koristiti program i provela mnogo vremena sa materijalom što je puno pomoglo pri snimanju. Na kraju, Mariann Rudas je uradila konačnu montažu filma. Ona je veoma talentirana, odmah je shvatila moj cilj i pomogla mi je da maksimalno iskoristim glazbene potencijale filma. Stiče se dojam da su vaše junakinje mnogo više od teme snimanja i da ste s njima razvili dubok odnos razumijevanja, uvažavanja, pa čak i bliskog prijateljstva. Jedna od žena kaže kako je teško povjerovati da nekoga zanimaju njezina razmišljanja, osjećaji i svakodnevni život. S druge strane, jedna od njih vam se povjerava vrlo osobno. Koliko je snimanje ovog filma bilo terapeutsko za bodybuilderice, možda čak i za Vas? Mislim da snimati film i biti dio nečijeg života može biti terapeutski, da. Vrlo je moguće da je činjenica da su imale priliku razgovarati o velikim pitanjima vezanim za ovu temu dobra i važna stvar i te nam situacije pomažu da razmislimo o sebi, čak iako je to ponekad vrlo kontradiktorno. Ljudi im obično ne postavljaju takva pitanja, ne zanimaju ih duboki slojevi njihovih života, obično samo osuđuju. Mislim da je najvažnija stvar u našem odnosu njihova hrabrost. Pustiti ljude u svoj život i dopustiti im da to pokažu velikom svijetu zahtijeva puno hrabrosti. Yvette, dvije Esztere (Németh i Csonka) i Noémi hrabre su i jedinstvene žene. Ne želim potpuno otkriti publici kraj filma koji je vrlo dirljiv i vrijedan truda, ali vas želim pitati kako biste završili film da se nije dogodilo ono što se dogodilo na kraju? Istinski vjerujem da bismo, da se nije dogodilo ovako kako se dogodilo, još uvijek mogli doživjeti kraj vrijedan truda - propustili bismo scenu od 5 sekundi iz filma i to je sve. Putovanje Eszter Csonka je samo po sebi nevjerojatno, ovaj kraj samo je mali bonus. 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.
Intervju s Annom Nemes, redateljicom filma „Ljepota zvijeri“
Hrabre i jedinstvene žene
In every moment of your film, it is clear that you are a visual artist, researcher and admirer of the human body. How did you decide to make a film about female bodybuilders? What I have learned about female bodybuilding is that it is a form of art. I am also an artist so female bodybuilders and I are kind of the same. We both need to shape, to form something. In their case it is their own body. I have already made paintings of female bodybuilders around 2013. I met some ladies: I wanted to talk with them about their lives so my paintings can be about real people not just images collected from the internet. Their attitude, their idea about beauty was so fascinating to me that I couldn’t get it out of my head. We started to make a fiction film about a female bodybuilder in 2014 with László Csuja (GENTLE - also going to be screened at Sarajevo Film Festival). I started an audiovisual research because I wanted to be there myself, understand more - and actually I couldn’t really find any satisfying materia on the subject. Ágnes Horváth-Szabó (producer of this doc) saw the possibility in this journey and encouraged me to turn the research into an independent documentary, she believed in me although I was no filmmaker. All the women speak from the off via footage of their workouts and daily lives. Did you shoot the pictures or the voices first? We worked on both simultaneously. Sometimes images made me think about questions, sometimes what they told me inspired me to shoot certain images. The rhythm of this film is particularly captivating. In the beginning, it is made by the movements of exercise, effort and heavy breathing, and at the end it is given by music. Did you spend a lot of time in the editing to achieve such a perfect rhythm? I have spent a lot of time on it, yes. I studied music for the first 18 years of my life and I think it has to do a lot with the rhythm. For the first years I kind of worked alone but I always had a professional editor to consult with. I am very grateful to these pros for helping me and also to Ágnes that she let me use the computers of the production company. I learned how to use the program and spent a lot of time with the materia, it helped a lot with the shootings. In the end, Mariann Rudas became the final editor of the film. She is very talented and understood my aim instantly, and helped me maximise the possibilities of the musicality of the film. One gets the impression that your heroines are much more than subjects of filming and that you have developed a deep relationship of understanding, appreciation and even close friendship with them. One of the women says that it is hard to believe that someone is interested in her thoughts, feelings and everyday life. At the other point, one of them confides in you very personally. How therapeutic was the making of this film for female bodybuilders, maybe even for you? I think making a film and being part of someone’s life can be therapeutic, yes. I think it is very possible that the fact that they had a chance to talk about the big questions around the phenomena is a good and important thing and these situations help us reflect on ourselves even if it is very conflicting sometimes. People usually don’t ask them these questions, they are not interested in the deep layers of their lives, they usually just judge. I think the most important thing about our relationship is the courage they have. Letting people in your life and letting them show it to the big world requires a lot of courage. Yvette, the two Eszters (Németh and Csonka) and Noémi are brave and unique women. I don't want to reveal much of the ending of the movie to the audience because it was very touching and rewarding, but I want to ask you how you would wrap-up the movie if what happened at the end had not happened? I truly believe that if it hadn’t happened as it did we still could have experienced a rewarding ending - we would miss a five seconds scene from the film, that is all. The journey Eszter Csonka did is amazing in itself, this ending is just a small bonus. 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.
Brave and unique women
Interview with Anna Nemes, director of the movie “Beauty of the Beast”
Intervju s Mathildom Henrot i Alessandrom Rajom, selektorima programa Kinoscope
Šta ovogodišnji Kinoscope program donosi publici Sarajevo Film Festivala? Kinoscope je program koji posebnu pažnju posvećuje novonastalim talentima i novim trendovima u savremenoj kinematografiji iz cijelog svijeta, isključujući filmove iz zemalja koje ispunjavaju uslove za takmičenje. Ove godine 10 od 18 filmova su debitantski filmovi. Svi filmovi dijele bitnost i raznolikost u svom filmskom jeziku. Ova godina je posebna u smislu da se filmovi koje smo programirali mogu staviti u dijalog jedni s drugima. Na primjer, to znači da imate film 26-godišnjeg južnokorejskog redatelja Syeyoung Parka (distopijski film, PETI GRUDNI PRŠLJEN, koji prikazuje osvetoljubivu gljivu kao protagonista u Kinoscope Surrealu) u dijalogu sa zvijezdama Davida Cronenberga, Cannes je pokrenuo ZLOČINI IZ BUDUĆNOSTI. Uzbuđeni smo što ćete ove godine u Kinoscopeu otkriti više “razgovora” između filmova. Da li se filmovi iz ovogodišnje selekcije odnose na neku određenu temu? Koje ste kriterije koristili prilikom izbora? Mi zapravo ne tražimo filmove sa specifičnim temama, ali jednom kada je izbor finaliziran volimo da nađemo neke tematske niti. Prošle godine nekoliko filmova Kinoscope istraživalo je porodične veze. Ove godine smo shvatili da su mnogi filmovi o gubitku, kao što je efekat gubitka najmilijih; LJUBAVNI PAS, alumniste Sarajevske filmske fabrike Bianca Lucas, je lijepa u tom pogledu. Vidimo i gubitak nevinosti, gubitak zemlje i znamenitosti…Novi talenti često favoriziraju priče o odrastanju, poput SANJAM ELEKTRIČNE SNOVE u režiji Valentine Maurel rođene u Kostariki. Vrijedi otkriti i kinematografiju iz ove zemlje, koja nije dobro poznata niti se često prikazuje u kinima. POD STABLIMA SMOKVE se igra sa pravilima jedinstva vremena i mjesta u tuniškom voćnjaku u tiho majstorskom igranom prvijencu Erige Sehiri. Uključili smo i etablirane talente današnjice i radujemo se povratku Carle Simon u Sarajevo sa dobitnikom Zlatnog medvjeda ALKARAS, nakon što je njen prvijenac predstavljen na festivalu 2017. godine. Ne treba propustiti i najnoviji film Alberta Serre, koji je prvi put prikazan u Cannesu. Sam naslov posljednjeg filma Alberta Serre prikladno sugerira misteriozno istraživanje polinezijskih obala iz unutrašnjosti trulog jezgra francuske okupacije. Igra riječi s pojmom “pacifikacija”, koji znači uspostavu mira putem deklaracije ili mirovnog sporazuma, NEMIRI NA OSTRVIMA je briljantan film koji svojim tempom razvija priču na vrlo neobičan način. Možete li usporediti prošlogodišnji i ovogodišnji izbor? Malo smo promijenili strukturu programa. U posljednjih nekoliko godina, diferencirali smo filmove između “Kinoscope” i “Kinoscope Reala”, ali ove godine smo odlučili da se ne fokusiramo na tu razliku jer je linija koja razdvaja nekako pretanka. Većina filmova Kinoscopa govori o stvarnosti, o svijetu u kojem živimo. S druge strane, tradicionalna "Kinoscope Surreal" nit se vratila sa 6 maštovitih filmova koji pomjeraju granice različitih žanrova i svi dijele stvarnu želju da iznenade publiku na originalne načine - čini se da tjelesni horor i mutacija tijela imaju centralnu prisutnost u većini filmova. Na koji način filmski autori osjećaju veliku krizu u svijetu? Nakon dvije godine pandemije možemo primijetiti da se mnogi filmaši bave općim osjećajem malaksalosti. Od nestrpljivosti pri odrastanju (SANJAM ELEKTRIČNE SNOVE i IZLIJEGANJE) do preoblikovanja vlastitog identiteta (LJUBAVNI PAS), od nepokretnosti postkolonijalističkog svijeta (NEMIRI NA OSTRVIMA) do trulih elemenata PETI GRUDNI PRŠLJEN, od tjeskobe približavanja majčinstvu (HUESERA) do osjećaja krivnje (BLIZU). Koja će biti uloga filma u periodu koji je pred nama? Kao što je uvijek bilo, film će biti način da vizionari interpretiraju i pretvore radost i tugu koju doživljavamo i svakodnevicu i izvanredan osjećaj stvarnosti u oslobađajuće, ekspanzivne umjetničke izjave. U vrijeme velikih preokreta i neizvjesnosti, potencijal kinematografije da modno oblikuje nove oblike i osjećaje, da pokrene naš svijet naprijed, je pojačan, i želimo nastaviti programirati ove hrabre izjave i promišljene izraze emocija i akcije. Film nam može pokazati način da nađemo smisao u vremenima svađa, nade u vremenima krize, i istine u vremenima konfuzije! Razgovarao Edin Salčinović 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.
Ovogodišnji filmovi su o gubitku
What does this year's Kinoscope programme bring to the audience of the Sarajevo Film Festival? Kinoscope is a program which pays special attention to emerging talents and new trends in contemporary cinema from around the world, excluding films from countries eligible for the competitions. This year 10 out 18 films are debut films. The films all share a vitality and diversity in their cinematic language. This year is special in the sense that the films we programmed can be put in dialogue with each other. For example, that means you have the film from 26 years old South Korean director Syeyoung Park (the dystopian film THE FIFTH THORACIC VERTEBRA, featuring a vengeful fungus as the protagonist in Kinoscope Surreal) in dialogue with the master David Cronenberg’s star-studded, Cannes launched CRIMES OF THE FUTURE. We’re excited for you to discover more “conversations” between films in Kinoscope this year. Are the films in this year's selection related to any topic? What criteria did you follow when choosing them? We don’t really look for films with specific topics, but once the selection is finalized we like to find some thematic threads. Last year several of the Kinoscope films were exploring family ties. This year we realized many films were about loss, like the effect of loss of loved ones; LOVE DOG, by Sarajevo Film Factory alumni Bianca Lucas, is beautiful in this respect. We also see the loss of innocence, the loss of land and landmarks…New talents often favor coming of age stories, like I HAVE ELECTRIC DREAMS directed by Costa Rica born Valentina Maurel. It is also worth discovering cinema from this country, which is not well known or often shown in cinemas. UNDER THE FIG TREES plays with the rules of unity of time and place in a Tunisian orchard in Erige Sehiri’s quietly masterful feature fiction debut. We also included established talents of today and rejoice at Carla Simon coming back to Sarajevo with Golden Bear winner ALCARRÀS, after her debut was presented at the festival in 2017. Not to be missed is also the latest film by Albert Serra, which first played at Cannes. The title alone of Albert Serra’s latest film aptly suggests the film’s mysterious exploration of the Polynesian shores from inside the rotten core of France’s occupation. A play on the word “pacification”, which is the restoration of peace through a declaration or peace treaty, PACIFICTION is a brilliant film whose pacing develops the narrative in a very unusual way. Can you compare last year's and this year's selection? We changed the structure of the programme slightly. In the last few years, we differentiated the films between “Kinoscope” and “Kinoscope Real” but this year we decided not to focus on that difference as the separation line is somehow too thin. Most of the Kinoscope films are about the real, about the world we live in. On the other hand the traditional “Kinoscope Surreal” strand is back with 6 imaginative films that push the boundaries of different genres and all share a real desire to surprise the audience in original ways—body horror and body mutation seem to have a central presence in most of the films. In what way film authors feel the great crisis in the world? After two years of pandemic we can notice many filmmakers dealing with a general feeling of malaise. From coming-of-age unsteadiness (I HAVE ELECTRIC DREAMS and HATCHING) to the reshaping of one’s identity (LOVE DOG), from the immobility of the post-colonialist world (PACIFICTION) to the rotting elements of FIFTH THORACIC VERTEBRA, from the anxiety of approaching motherhood (HUESERA) to the sense of guilt (CLOSE). What will be the role of film in the period ahead? As it always has been, film will be a way for visionaries to interpret and transform the joy and sadness we experience and the everyday and the extraordinary of reality into liberating, expansive artistic statements. In a time of great upheaval and uncertainty, the potential of cinema to fashion new forms and feelings, to move our world forward, is heightened, and we want to continue to program these bold statements and thoughtful expressions of emotion and action. Cinema can show us the way to find meaning in times of strife, hope in times of crisis, and truth in times of confusion! Edin Salčinović 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 Mathilde Henrot and Alessandro Raja, programmers of Kinoscope programme
This year’s films are about loss
Ekipa filma "Skroz Sarajevo" / Crew: Totally Sarajevo
Foto galerija / Photo gallery
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
Ekipa filma "Čovjek od djela" / Crew: Men of Deeds
Masterclass sa Sergejom Loznitsom / Masterclass with Sergei Loznitsa
Ekipa serija "Kotlina" / Crew: The Hollow by Danis Tanović and Amra Bakšić Čamo
Cineplexx Docu Press Corner
Ljepota zvijeri / Beauty of the Beast Hungary, Serbia, 2022, Colour, 48 min, Hungarian, Režija / Director: Anna Nemes
Izgled žena koje se bave dizanjem tegova razlog je njihove neprihvaćenosti. Film zaranja ispod blistave površine kako bi otkrio razloge zbog kojih one biraju život koji žive. Četiri različita portreta, četiri različita pristupa bodybuildingu, četiri sredovječne žene – Csonka, Yvette, Eszter i Noemi – otkrivaju aspekte svojih života koje inače skrivaju od pogleda: trenutke kada nisu na pozornici, kada su vjerne sebi i provode vrijeme sa ljudima koje vole. One svoje tijela pripremaju mjesecima, pa čak i godinama. Dok sve strahove i čežnje upumpavaju u svoje mišiće, govore: "Oslobodi zvijer u sebi!" To je njihov put do uspjeha i priznanja u društvu kojem teži svako od nas. The appearance of female bodybuilders makes them outcasts. Diving under the glitter, this film looks for the reasons lying behind these women's lifestyles. Four portraits; four different approaches to bodybuilding. Four middle-aged women – Csonka, Yvette, Eszter, and Noemi – show those parts of their lives that are normally hidden from view: when they are offstage, as themselves and with their loved ones. They prepare their bodies for months, years. “Let the beast out!” the women say, while pumping all their fears and desires into their muscles. This is their way to success, and to what we all desire: appreciation.
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TAKMIČARSKI PROGRAM - doKumentarNI film / COMPETITON PROGRAMME - DOCUMENTARY FILM
Slovenija, proljeće 1999. Dva prijatelja iz maloga sela odluče pretvoriti svoje mopede u čopere i krenuti na put. U potrazi za slobodom i ljubavi, vođeni ludim impulsima i progonjeni konzervativnim kalupima tradicije, počinju vjerovati i shvatati stvari koje prethodno nisu mogli ni zamisliti. Na putu kroz Sloveniju i Hrvatsku – zemlje koje su se netom otcijepile od Jugoslavije – prati ih mlada, odbjegla žena misteriozne prošlosti i stari bajker koji je obišao svijet u potrazi za slobodom. Kroz zajednička iskustva oni jedni drugima i sami sebi postavljaju izazove koji prekidaju njihove veze sa prošlošću i otvaraju put za nešto novo. Ali taj put je prevrtljiv i, uz iznenadnu smrt jednog od saputnika, stavlja njihovo prijateljstvo na kušnju. Slovenia, the spring of 1999. Two friends from a small village decide to transform their mopeds into choppers and embark on a journey. Looking for freedom and love, driven by mad impulses and haunted by conservative moulds of tradition, they start believing and understanding things that were previously unimaginable. On the road through Slovenia and Croatia – countries recently separated from Yugoslavia – they are accompanied by a young runaway woman with a mysterious past and an old biker who has seen the world in search of freedom. These characters challenge each other and themselves through shared experiences, which break their ties to and conception of the old, thus giving way to the new. But the path is treacherous and with the sudden death of a companion, their friendship is at stake.
OPEN AIR
Jahači / Riders Slovenia, Croatia, Serbia, Italy, Bosnia and Herzegovina, 2022, Colour, 110 min, Slovenian, Režija / Director: Dominik Mencej, Uloge / Cast: Petja Labović, Timon Šturbej, Anja Novak, Nikola Kojo, Elma Juković
Nakon što spasiš svijet / When You Finish Saving the World United States, 2022, Colour, 88 min, English, Režija / Director: Jesse Eisenberg, Uloge / Cast: Julianne Moore, Finn Wolfhard, Billy Bryk, Alisha Boe, Jack Justice, Jay O. Sanders, Eléonore Hendricks, Catherine Haun, Annacheska Brown
Evelyn je posvetila život pomaganju ljudima u nevolji, ali ne uspijeva se zbližiti sa svojim sinom Ziggyjem, internet-zvijezdom u usponu nezainteresovanom za svjetske probleme. Dok Evelyn pokušava zamijeniti majku skromnom tinejdžeru kojeg je upoznala u skloništu za beskućnike, Ziggy nevješto pokušava osvojiti briljantnu i politički osviješćenu srednjoškolsku drugaricu. 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. Evelyn has devoted herself to helping people in hard times, but she struggles to connect with her son Ziggy, an aspiring internet star who is oblivious to the problems of the world. As Evelyn attempts to become a parent figure to an unassuming teenager she meets at her shelter, and Ziggy fumbles through his pursuit of a brilliant and politically conscious young woman at his high school, this emotional comedy, written and directed by Jesse 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.
TAKMIČARSKI PROGRAM - IGRANI FILM / COMPETITON PROGRAMME - FEATURE FILM