Otvoren 28. Sarajevo Film Festival The 28th Sarajevo Film Festival is open!
FESTIVAL DAILY
SUBOTA / SATURDAY 13.8.2022.
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Svečanom ceremonijom u Narodnom pozorištu Sarajevo otvoren je 28. Sarajevo Film Festivala. Festival je otvoren projekcijom filma TROUGAO TUGE Rubena Östlunda, dobitnika Zlatne palme na ovogodišnjem Festivalu u Cannesu. Östlundu je prije projekcije filma u punom Ljetnom kinu Coca-Cola uručeno Počasno Srce Sarajeva. Na ceremoniji otvaranja u Narodnom pozorištu Sarajevo Počasno Srce Sarajeva dodijeljeno je scenaristi, reditelju i producentu Sergeju Loznitsi, u znak priznanja za izuzetan doprinos filmskoj umjetnosti. U okviru programa Posvećeno (Tribute to) na 28. Sarajevo Film Festivalu bit će prikazana retrospektiva njegovih odabranih filmova. Čast da vodi svečanost otvaranja 28. izdanja Sarajevo Film Festivala pripala je bosanskohercegovačkoj glumici Heleni Vuković. Na Festivalu će biti prikazano 235 filmova iz 62 zemlje u 19 programa, od kojih će 54 imati svjetsku premijeru. Za nagrade Srce Sarajeva u Takmičarskim programima 28. Sarajevo Film Festivala ukupno će se takmičiti 51 film.
Otvoren 28. Sarajevo Film Festival
Počasna Srca Sarajeva uručena su rediteljima Sergeju Loznitsi i Rubenu Östlundu
Directors Sergei Loznitsa and Ruben Östlund received Honorary Heart of Sarajevo Awards
The 28th Sarajevo Film Festival is open!
The 28th Sarajevo Film Festival began tonight with the opening ceremony at the National Theater in Sarajevo. The festival opened with the screening of the film TRIANGLE OF SADNESS by Ruben Östlund, who won the Palme d'Or at this year's Cannes Film Festival. Prior to the screening, Östlund received Honorary Heart of Sarajevo Award in sold-out Coca-Cola Open Air Cinema. At the opening ceremony at the National Theater in Sarajevo, screenwriter, director and producer Sergei Loznitsa also received the Honorary Heart of Sarajevo in recognition of his outstanding contribution to cinematic art. A retrospective of his selected films will be screened as part of the Tribute to Programme at the 28th Sarajevo Film Festival. The honor of leading the opening ceremony of the 28th edition of the Sarajevo Film Festival was bestowed on Bosnian-Herzegovinian actress Helena Vuković. The 28th Sarajevo Film Festival will last until August 19 and will screen 235 films from 62 countries in 19 programmes, 54 of which will have their world premiere. A total of 51 films will compete for the Heart of Sarajevo awards at the 28th Sarajevo Film Festival.
INTERVJU
Kako ocjenjujete ovogodišnju selekciju Takmičarskog programa – igrani film? Sa ovogodišnjom selekcijom obilježavamo tačno 20 godina Takmičarskog programa Sarajevo Film Festivala. Program je ustanovljen 2003. godine kao nasljednik dotadašnjeg regionalnog programa koji je okupljao kinematografije post-tranzicijske regije. To je važan rođendan jer smo vjerno pratili i učestvovali u razvoju regionalne kinematografije. Danas se možemo ponositi jakim autorima, hrabrim pričama, fenomenalnim glumcima, i izuzetnim producentima, a ovogodišnja selekcija je prava refleksija toga svega. Šta krasi ovogodišnju selekciju, da li filmovi nude različite perspektive, estetike i tematske okvire ili za sve postoji neko tematsko jedinstvo? Regionalna kinematografija je izuzetno raznovrsna, i sve je raznovrsnija iz godine u godinu. Tako je i ova selekcija od osam naslova upravo to: bogatstvo tema, likova, pristupa, stilskih izbora, estetika i ono što je najvažnije, predstavlja pluralnost mišljenja što je možda i najvažnija njena odlika. Mislim da svi filmovi pozivaju na diskusiju, hrabro otkrivaju svoje stavove i govore o bitnim aspektima današnjice bez obzira kada se priče filmova zaista odvijaju. Ova godina posebna je po tome što u našu regionalnu porodicu prihvatamo i kinematografiju Ukrajine, čiji stanovnici preživljavaju najteže dane u proteklih par mjeseci. Rat u Ukrajini i ruska agresija natjerala nas je da ubrzamo svoje planove i proširimo se i na ovu zemlju koja je u filmskom smislu izuzetno zanimljiva teritorija, a bit će važan izvor filmova za naš Takmičarski program. Na tom tragu u selekciji se i našao film KLONDIKE, autorice Marine Er Gorbach koji je zasigurno jedan od uspješnijih filmova regije ove godine. Premijerno je prikazan na filmskom festivalu u Sundanceu, gdje je osvojio nagradu za najbolju režiju u kategoriji World Cinema Dramatic Competition (World Cinema Dramatic Competition for directing). Film je nakon toga prikazan u Berlinu u programu Panorama, a do sada je osvojio brojne nagrade. Tragedija aviona Malaysia Airlinesa iz 2014. godine kao i sukob u Donbasu, predstavljaju kontekst i podlogu za drugi igrani film Marine Er Gorbach u kojem se pruža puni uvid u oružani sukob kroz tačku gledišta civila, prije svega nevinih žena koje su nemonovno žrtve. Iako se radnja filma odvija 2014. godine, ovaj film nosi snažnu antiratnu poruku koju nikada nije dovoljno ponavljati, osobito danas. Film će u Takmičarskom programu imati svoju regionalnu premijeru, baš kao i film KORZET, austrijske rediteljice Marie Kreutzer, koji je premijerno prikazan na filmskom festivalu u Cannesu u programu Un certain regard (Izvjestan pogled). Film je hrabra kostimirana drama u čijem centru je Elisabeta austrijska, carica Austrije i žena Franje Josipa I, koja je svjesna da se nalazi u kraljevskom zatvoru kakav je zapravo život jedne žene na dvoru. Film u nekoliko epizoda prati Elizabetin život: kroz njezino putovanje Europom, kroz prikazivanje njenog poremećaja u ishrani, korištenja opojnih sredstava, pa sve do njenih tajni i pokušaja da spasi svoje žensko dostojanstvo. Radi se o savremenom tumačenju filma epohe u kojem se smjelo miješaju stvarnost i fikcija, savremena muzika sa elementima koji su vjerni dobu i vremenu u kojem je radnja smještena. Peti igrani film Marie Kreutzer snažan je doprinos savremenom feminističkom filmu osobito u preispitivanju historije i ženskih historijskih ličnosti. Film SERVIAM - SLUŽIT ĆU, treći film rediteljice Ruth Mader, vodi nas u svijet katoličke škole koju pohađaju djeca austrijske i evropske elite a koja tu djecu sa svojom dogmom vodi u sigurni ponor. Film je okrutna priča o nedostatku slobode, o odrastanju u krutim okolnostima vjere, te samim tim i kritika je savremenog zapadnog društva uz jak vizualni izričaj u kojem se igrano kombinira sa animiranim. Svjetsku premijeru imat će ČOVJEK OD DJELA, rumunjskog reditetelja Paula Negoescua, priču o seoskom policajcu u kasnim tridesetim godinama, koji pokušava da izgradi udoban i pristojan život za sebe, ali ga njegova pasivnost u nizu nasilnih događaja učini saučesnikom jednog ubistva. Napetost raste u selu, što ga natjera da donese jednu drastičnu odluku, prvi put u svom životu. Samo na osnovu ovih nekoliko naslova možemo da steknemo dojam o toj raznovrsnosti i bogatstvu regije. Prethodnih godina mnogi autorice i autori u ovoj selekciji su prikazali debitantska ostvarenja, koliko je važno da ova selekcija bude i mjesto za nove autore, a da i Sarajevo Film Festival bude festival otkrića? Ove godine u selekciji su se našla tri debitantska filma, ali autori i autorice filmova su mlađe i srednje generacije čiji rad pratimo već skoro 20 godina. Rekla bih da je kompletan program, program otkrića. Debitantski film JAHAČI, reditelja Dominika Menceja iz Slovenije, vodi nas u Sloveniju 1999, kada dva prijatelja iz maloga sela odluče da transformišu svoje mopede u motore i krenu na njima životno putovanje. U potrazi za slobodom i ljubavlju, oni kreću da ostvare svoje snove bez obzira na sredinu koja ih stalno sputava. Ovaj film, koji je i koprodukcija sa Bosnom i Hercegovinom, u programu će imati svjetsku premijeru. Svjetsku premijeru imat će i film ŠEST SEDMICA, mađarske rediteljice Noémi Veronike Szakonyi, a koji donosi priču o 17-godišnjoj pasioniranoj igračici stolnog tenisa, koja mora nakratko napustiti svoje snove zbog trudnoće. Iako je sigurna u svoju odluku da dijete da na usvajanje, nakon poroda naći će se u iskušenju i postavit će si pitanje: da li treba da bude majka svom djetetu. Film je izuzetno suptilan i hrabar sa nekoliko izuzetno dubokih i slojevitih ženskih likova. Hrvatski prvijenac Juraja Lerotića SIGURNO MJESTO je razvijan kroz CineLink koprodukcijski market. Film se temelji na ličnom iskustvu autora koji u filmu i igra naslovnu ulogu, a govori o traumatičnom događaju odnosno iznenadnom pokušaju samoubistva brata glavnoga junaka koji otvara procijep u svakodnevnom životu tročlane porodice. Radnja je reducirana, i vremenski i narativno, samo na bitne dijelove, uz situacije koje se svode samo na najvažnije - kako spasiti brata. Selektorica ste i Takmičarskog programa – kratki film. Čime su se bavili autori kratkog metra? Kao i u dugometražnoj igranoj selekciji, radi se o izuzetno raznovrsnom presjeku filmova kratkog metra. U programu su dva animirana filma i osam kratkih igranih filmova, a svaki film je svijet za sebe u svakom pogledu. Radi se o deset filmova, deset tema, deset autorskih pogleda na kreaciju i film kao umjetnost, ali i deset izuzetno kritičkih pogleda na današnji svijet. Šta se događa sa bosanskohercegovačkim filmom, hoće li publika ove godine vidjeti domaća ostvarenja u konkurenciji za Srce Sarajeva? Sarajevo Film Festival svake godine predstavlja popriličan broj bh. filmova, no, samo neki se takmiče za nagrade Srce Sarajeva. Ove godine, jedna od najznačajnijih autorica savremenog bh. filma (a i šire) Aida Begić predstavit će svoj četvrti igrani filma BALADA, koji će imati svjetsku premijeru. Film je hrabra i smjela adaptacija i ekranizacija poznate usmene balada o Hasanaginici. U filmu BALADA, autorica se slobodno kreće kroz narativ, kroz vrijeme, poigravajući se sa pričom, vremenskim okvirom, i narušavajući klasične konvencije filma, te stvarajući jednu interteksutalnu i metatekstualnu igru u kojoj je na kraju samo važna sloboda. U glavnoj ulozi se našla glumica Marija Pikić, dobitnica Srca Sarajeva za najbolju glumicu 2012. godine. Osim toga, u BH Film Programu predstavit ćemo čak 54 filma koji su nastali u BiH ili se tematski tiču Bosne i Hercegovine. Kada se osvrnete na prethodna izdanja festivala i sve filmove koji su prošli kroz Takmičarski program – igrani film, šta biste mogli izdvojiti kao najveći uspjeh? Najveći uspjeh su brojni autori koje smo otkrili, autori koji su nastavili da rastu uz Festival kroz naše različite platforme i programe, i autori koji su ostali uz Festival. Ove godine slavimo 20. godinu Takmičarskog programa koji smo počeli 2003. godine. Na hiljade autora, članova filmskih ekipa, producenata, glumaca bili su naši gosti, i svi oni se uglavnom rado vraćaju u Sarajevo. Možemo li reći da je u posljednjih deceniju i po regionalna filmska produkcija, po kvalitetu i standardu, dostigla evropsku i koja je uloga Sarajevo Film Festivala u regionalnom razvoju filmske umjetnosti? Apsolutno bi se to moglo reći. Dovoljno je pogledati velike festivale poput Berlina, Cannesa ili Venecije i uporediti prisustvo regionalnih filmova posljednjih godina sa recimo ranim 2000-im. Velika je razlika, a u ovom periodu brojni autori su stasali i obilježili ove velike festivale. Sarajevo Film Festival je vrlo rano prepoznao da ova regija ima veliki filmski potencijal i iste godine smo pokrenuli i Takmičarski program ali i CineLink koprodukcijski market koji je danas poznat kao CineLink Industry Days i bez kojeg nema ozbiljnog promišljanja o tome gdje regija treba da ide u filmskom smislu i na koji način. Vrlo brzo nakon toga pokrenuli smo i Talents Sarajevo , te pružili i onim najmlađim prostor u okviru kojeg mogu bolje da započnu svoje karijere. Ono što je najvažnije, postali smo dom i polazna tačka za sve regionalne autore i na to smo izuzetno ponosni.
Intervju s Elmom Tataragić, selektoricom Takmičarskog programa – igrani film i Takmičarskog programa - kratki film
Festival je dom i polazna tačka za sve regionalne autore
Osam godina neprocjenjivog prijateljstva i neprocjenjivih iskustva MasterCard® je i ove godine uz Sarajevo Film Festival kao najprestižniju filmsku manifestaciju u BiH ali i regionu. Kako bismo obilježili 8. godišnjicu partnerstva ove godine MasterCard® korisnike, posjetitelje ovog jedinstvenog događaja koji slavi život kroz film očekuje nezaboravno iskustvo tokom trajanja Festivala i pogodnosti poput besplatnih ulaznica za sva mobilna plaćanja i filmsko fotografisanje u MasterCard® movie corner-u. Ipak, ono na šta smo posebno ponosni je pokroviteljstvo Specijalne nagrade za promicanje rodne ravnopravnosti drugu godinu za redom.
Eight years of priceless friendship and priceless experiences MasterCard® is again this year with the Sarajevo Film Festival as the most prestigious film event in Bosnia and Herzegovina and the region. In order to mark the 8th anniversary of the partnership this year, MasterCard® users, and visitors to this unique event that celebrates life through film will have an unforgettable experience during the Festival and benefits such as free tickets for all mobile payments and film photography in the MasterCard® movie corner. However, what we are particularly proud of is sponsoring the Special Award for the Promoting of Gender Equality for the second year in a row.
The festival is a home and starting point for all regional authors
How would you rate this year's selection of the Competition Programme - feature film? With this year's selection, we mark exactly 20 years of the Sarajevo Film Festival Competition Programme. The programme was established in 2003 as a successor to the previous regional programme that brought together filmmakers from the post-transition region. It is an important birthday because we have faithfully followed and participated in the development of regional cinema. Today, we can be proud of powerful authors, brave stories, phenomenal actors, and exceptional producers, and this year's selection is a true reflection of all that. What is special about this year's selection, do the films offer different perspectives, aesthetics, and thematic frameworks, or is there a thematic unity for all of them? The regional cinema is extremely diverse, and it is getting more diverse every year. That is also the case with this selection of eight titles: a wealth of themes, characters, approaches, stylistic choices, aesthetics, and most importantly, it represents a plurality of opinions, which is perhaps its most important feature. I think that all films call for a discussion. They bravely present their views and talk about important aspects of today, regardless of when the stories of the films take place. This year is special in that we are accepting into our regional family the cinema of Ukraine, whose citizens are surviving the most difficult days of the past few months. The war in Ukraine and Russian aggression forced us to speed up our plans and expand to this country, which is an extremely interesting territory in terms of cinema, and it will be an important source of films for our Competition Programme. In this respect, the selection included the film KLONDIKE, by Maryna Er Gorbach, which is certainly one of the more successful films in the region this year. It premiered at the Sundance Film Festival, where it won the World Cinema Dramatic Competition award for directing. The film was then shown in Berlin in the Panorama programme, and it has won numerous awards. The tragedy of the Malaysia Airlines plane in 2014, as well as the conflict in Donbas, are the context and foundation for the second feature film by Maryna Er Gorbach, which provides a full insight into the armed conflict from the point of view of civilians, primarily innocent women who are victims inevitably. Although the film takes place in 2014, it carries a strong anti-war message that can never be repeated enough, especially today. The film will have its regional premiere in the Competition Programme, as well as the film CORSAGE, by the Austrian director Marie Kreutzer, which premiered at the Cannes Film Festival in the Un certain regard programme. The film is a bold costume drama centered on Elisabeth of Austria, the Empress of Austria and wife of Franz Joseph I, who is aware that she is in royal prison, and what life is like for a woman in court. The film follows Elisabeth's life in several episodes: through her journey across Europe, through the depiction of her eating disorder, use of narcotics, and all the way to her secrets and attempts to save her feminine dignity. It is a contemporary interpretation of a film of the epoch, boldly mixing reality and fiction, contemporary music with elements that are true to the age and time in which the plot is set. The fifth feature film by Marie Kreutzer is a strong contribution to contemporary feminist film, particularly in the questioning of history and female historical figures. The film SERVIAM - I WILL SERVE is the third film by the director Ruth Mader. It takes us into the world of a Catholic school attended by children of the Austrian and European elite, whose dogma leads those children into a certain abyss. The film is a cruel story about the lack of freedom, about growing up in the rigid circumstances of religion, and also a critique of contemporary Western society, with a strong visual expression in which feature segments are combined with animation. THE MEN OF DEEDS, by the Romanian director Paul Negoescu, will have a world premiere. It is a story of a rural policeman in his late thirties, who tries to build a comfortable and decent life for himself, but his passivity in a series of violent events makes him an accomplice to a murder. Tension rises in the village, forcing him to make a drastic decision for the first time in his life. From these few titles alone, we can get the notion of this diversity and wealth of the region. In previous years, many authors in this selection presented their debut works. How important is it that this selection is also a place for new authors, and that the Sarajevo Film Festival is also a festival of discovery? This year, there are three debut films in the selection, but the authors of the films are younger and middle generations, whose work we have been following for almost 20 years. I would say the entire programme is a programme of discovery. A debut film RIDERS, directed by Dominik Mencej from Slovenia, takes us to Slovenia in 1999 when two friends from a small village decide to transform their mopeds into motorcycles and embark on the journey of a lifetime. In search of freedom and love, they set out to make their dreams come true regardless of the environment that keeps holding them back. This film, which is also a co-production with Bosnia and Herzegovina, will have its world premiere on the programme. The film SIX WEEKS, by the Hungarian director Noémi Veronika Szakonyi, will also have its world premiere. It tells the story of a 17-year-old passionate table tennis player, who has to abandon her dreams for a while because of her pregnancy. Although she is sure of her decision to give the child up for adoption, after the birth she will be tempted and ask herself the question: should she be the mother to her child? The film is very subtle and bold, with several extremely deep and layered female characters. The Croatian debut SAFE PLACE by Juraj Lerotić was developed within the CineLink Co-production Market. The film is based on a personal experience of the author, who plays the leading role in the film, and it talks about a traumatic event, the sudden suicide attempt of the brother of the main character, which opens up a gap in the daily life of a three-member family. The plot is reduced, both temporally and narratively, to only essential segments, with situations that come down to only the most important - how to save the brother. You are also the programmer of the Competition Programme - short film. What were the interests of the authors of shorts? As in the feature-length feature selection, it is an extremely diverse selection of short films. The programme includes two animated films and eight short feature films, and each film is a world of its own in every respect. There are ten films, ten themes, ten authors' views on creation and film as art, but also ten extremely critical views of today's world. What is happening with Bosnian and Herzegovinian films, will the audience see domestic productions in the competition for the Heart of Sarajevo this year? Every year, Sarajevo Film Festival presents a considerable number of BiH films, but only some compete for the Heart of Sarajevo awards. This year, one of the most important authors of contemporary Bosnian and Herzegovinian film (and beyond) Aida Begić will present her fourth feature film, A BALLAD, which will have its world premiere. The film is a brave and daring screen adaptation of the famous oral ballad about Hasanaginica. In A BALLAD, the author moves freely through the narrative, through time, playing with the story, and the time frame, disrupting the classic conventions of film and creating an intertextual and metatextual game in which, in the end, only freedom matters. Actress Marija Pikić, the winner of the Heart of Sarajevo award for best actress in 2012, plays the leading role. Also, in the BiH Film Programme, we will present 54 films made in BiH or thematically related to Bosnia and Herzegovina. When you look back at the previous editions of the festival and all the films in the Competition Programme – feature film, what would you single out as the greatest success? The greatest success is the many authors we discovered, the authors who continued to grow with the Festival through our various platforms and programmes, and the authors who stayed with the Festival. This year, we are celebrating the 20 years of the Competition Programme that we started in 2003. Thousands of authors, members of film crews, producers, and actors were our guests, and all of them are mostly happy to return to Sarajevo. Can we say that in the last decade and a half, the regional film production, in terms of quality and standard, has reached the European level, and what is the role of the Sarajevo Film Festival in the regional development of film art? You could say that. It is enough to look at large festivals like Berlin, Cannes, or Venice and compare the presence of regional films in recent years with, say, the early 2000s. There is a big difference, and in this period numerous authors came to mark these great festivals. The Sarajevo Film Festival recognised very early on that this region has great film potential, and in the same year we launched the Competition Programme and the CineLink Co-production Market, which today is known as CineLink Industry Days and without which there is no serious reflection on where and how the region should go in the film industry. Soon after that, we launched Sarajevo Talents and provided even the youngest with a space where they can better start their careers. Most importantly, we have become the home and starting point for all regional authors, and we are extremely proud of that.
Interview with Elma Tataragić, programmer of the Competition Programme - Feature Film and Competition Programme - Feature Short Film
INTERVIEW
“Grand Kafa sa...” program/ “Grand Coffe with...” Programme Upoznajte goste Open Air programa. Uživajte u “Grand Kafa sa...” programu Vrijeme i mjesto: 12:15 - 13:15✳, Festivalski trg. Meet the guests of the Open Air Programme. Enjoy the “Grand Coffee with...” Time and venue: 12:15 - 13:15✳, at the Festival square. ULAZ SLOBODAN / FREE ADMISSION uz festivalsku akreditaciju ili ulaznicu za film / with the Festival accreditation or the filmscreening ticket. Broj mjesta ograničen / Limited number of seats. ✳Tačan raspored “Grand Kafa sa...” programa provjerite na web stranici i društvenim mrežama Sarajevo Film Festivala. / ✳For accurate “Grand Coffee with...” schedule, please follow Sarajevo Film Festival website and social media channels.
U prvome kadru pitate glavnu junakinju – što je sloboda. Koji je vaš odgovor na to pitanje? Svako ima svoju definiciju slobode. Film ne pokušava dati konačan odgovor. Osim osnovnih ljudskih prava i sloboda koje bi trebale bi biti zagarantovane svima, svako od nas ima svoj kutak slobode koji je individualan, intiman. Za mene je Balada bila osvajanje rediteljske, autorske slobode. Zašto je između vašeg posljednjeg filma Ne ostavljaj me i Balade prošlo čak pet godina? Između svih mojih filmova je pauza bila prilično duga. To nije stvar izbora, nego mogućnosti. Da bi se cijela produkcija sklopila, pronašla sredstva i došlo do trenutka kada može početi snimanje, potrebno je vrijeme. Meni je dosadilo imati tolike pauze između filmova ali, koliko god se trudila da smanjim obim priča i tehničke zahtjeve, opet to ne ide tako brzo. Baladu smo počeli razvijati još 2014. godine. Zaustavili smo rad da bismo snimili film Ne ostavljaj me, jer je ta priča zahtijevala pravovremenu reakciju na ono šta se događalo sa izbjeglicama iz Sirije. Zatim je došla pandemija. I tako smo morali ponovo odgoditi snimanje Balade. Koliko je bilo teško snimati film za vrijeme pandemije COVID-19, posebno jer ste se tijekom snimanja i vi i glavna glumica Marija Pikić razboljeli? Snimati tokom pandemije je bilo kao snimati tokom rata. Naše snimanje je počelo prvog novembra 2020. To je bio najgori period u Sarajevu, kada je dnevno obolijevao i umirao veliki broj ljudi. Iako su svi članovi ekipe, svi glumci i glumice dobrovoljno pristali da rade, iako nam je svima snimanje bilo neka vrsta terapije, bijega iz surove realnosti, meni je bilo posebno teško pri samoj pomisli da bi se nekom nešto moglo dogoditi na snimanju mog filma. Bio je to veliki stres za sve. Kada ste odlučili da je bitno ovu priču prikazati dosta dramaturški i vizualno nekonvencionalno s brojnim metafilmskim postupcima? Balada kao forma usmene književnosti BiH na koju sam se naslonila ima svoje zakonitosti i strukturu. To mi je bila polazna osnova. Balada nema jednog autora/icu, autor je puk, kolektiv, tako da sam znala da moram i ja da se otvorim za različite glasove iz života i da ih čujem. Zato sam provela dugo vremena obilazeći razna ženska udruženja po Bosni i Hercegovini, imala velike audicije, jer sam željela utkati narod u ovaj film u kom igra mnogo naturščika. Što se rediteljskog izraza tiče, mi smo sticajem pandemijskih okolnosti ostali uskraćeni mogućnosti za koprodukciju, ali to nam je dalo i jedan vid slobode. Nikom nismo morali prevoditi šta želimo, nikom odgovarati za ono šta smo snimili. Tu se stvorio prostor velike kreativne slobode. Željela sam se igrati, probati stvari koje nisam mogla u svojim prethodnim filmovima, a sam materijal Balade je to dozvoljavao. Balada je bila najavljena kao ljubavni film. Kako je završila kao film u kojem najmanje ima ljubavi? Za mene je to i dalje ljubavni film. To što se ljubav teško realizuje, to je drugo. Ali, on je sav protkan ljubavlju – romantičnom, ljubavi prema umjetnosti, prijateljskom ljubavi, roditeljskoj itd. Je li Sarajevo danas doista toliko tmurno, puno kriminala i beznađa, kakvim ste ga prikazali? Ne bih se složila da je slika Sarajeva u ovom filmu beznadežna. Kriminalci su naivni i smotani, žene ih u suštini savladaju. Problem je što ni oni, kao ni ostali likovi u filmu, ne mogu da udahnu zraka iz ove kotline koja ih guši. Međutim, život svih tih likova je protkan i lijepim trenucima nade, umjetnosti i radosti. Nemojte zaboraviti da je osnov ovog filma balada, a one se sve završavaju tragično. Ja sam tragični kraj na silu prekinula. Nisam dozvolila da Meri, poput Hasanaginice, umre jer joj je srce puklo. Izlaz postoji, makar u umjetnosti. Naturščici u ovom filmu su ljudi koji su došli na našu audiciju jer znaju da imaju određeni talenat, ljudi koji su željeli da se izraze, da probaju nešto novo. Pa zar to nije nada i ljepota. Vrijedi li replika „potrebniji ti je pištolj od ruža za usne“ samo u filmu ili se može primijeniti i na stvarnost žena na Balkanu? Jedno ne isključuje drugo. Žene se moraju konstantno boriti za sebe. Ne samo na Balkanu, nego i u mnogim zemljama svijeta. Same biraju sredstva. Za Adelu je to pištolj, za nekog drugog karmin, oboje ili nešto treće. Razgovarao: Josip Jurčić
"Balada" je bila osvajanje rediteljske, autorske slobode
Alexander Koridze, redatelj i producent filma Atonalni sjaj
Intervju s Aidom Begić, rediteljicom filma Balada
Interview with Aida Begić, director of the film "A Ballad"
“A Ballad” was the conquest of a director's, as well as an author's freedom
In the first shot, you ask the main character what freedom is. What is your answer to that question? Everyone has their own definition of freedom. The film is not trying to give a definitive answer. In addition to the basic human rights and freedom that should be guaranteed to all, each of us has our own corner of freedom that is individual, intimate. For me, A BALLAD was the conquest of a director's, as well as an author's freedom. Why did it take five years between your last film "Never Leave Me" and "A Ballad"? There is a pretty long break between all my movies. It's not a matter of choice, it's a matter of possibility. For the entire production to fall into place, find the means and get to the point where it can start shooting, it takes time. I'm tired of having to take so many breaks between movies, but as much as I try to reduce the volume of talking and technical requirements, it still doesn't work that fast. We started developing A BALLAD back in 2014. We stopped work to make the film Never Leave Me, because that story required a timely response to what was happening with the Syrian refugees. Then came the pandemic. So, we had to reschedule the shooting of A BALLAD. How difficult was it to make a movie during the COVID-19 pandemic, especially since you and the lead actress Marija Pikić both got sick during shooting? Shooting during a pandemic was like shooting during a war. Our shooting started on November 1, 2020. This was the worst period in Sarajevo, when a large number of people were sick and dying daily. Although all the members of the crew, all the actors and actresses voluntarily agreed to work, despite the shooting being a kind of therapy, an escape from the harsh reality, it was especially difficult for me to think that something might happen to someone on the set of my film. It was a lot of stress for everyone. When did you decide that it was important to present this story in a dramatic and visually unconventional way with numerous metafilm procedures? The ballad, as a form of oral literature of BiH on which I leaned, has its legality and structure. That was my starting point. The ballad does not have one author, the author is people, a collective, so I knew that I had to open up to different voices from my life and hear them. That's why I spent a long time visiting various women's associations in Bosnia and Herzegovina, I had huge auditions, because I wanted to get people into this movie where there are a lot of non-professional actors in it. As far as directorial expression is concerned, we were deprived of opportunities for co-production due to pandemic circumstances, but this also gave us a kind of freedom. We didn't have to translate what we wanted, or answer to anyone for what we filmed. It was here that a space of great creative freedom was created. I wanted to play around, try things I couldn't in my previous films, and the material of A BALLAD allowed it. A Ballad was announced as a love film. How did it end up as the one with the least love in it? For me, it's still a love movie. The fact that love is difficult to realize is another matter. But it's all intertwined with love – romantic love, love of art, friendly love, parental love, etc. Is Sarajevo really so gloomy today, full of crime and hopelessness, as you portrayed it? I would not agree that the image of Sarajevo in this film is hopeless. Criminals are naive and clumsy; women essentially overpower them. The problem is that neither they nor the other characters in the film can breathe the air from this basin that suffocates them. However, the life of all these characters is intertwined with beautiful moments of hope, art and joy. Don't forget that the basis of this film is a ballad, and they all end in tragedy. I forcibly interrupted the tragic end. I didn't let Meri, like Hasanaginica, die because her heart broke. There is a way out, at least in the arts. The non-professional actors in this film are people who came to our audition because they know they have a certain talent, people who wanted to express themselves, to try something new. Isn’t that both hope and beauty? Is the reply "you need a gun more than lipstick" worth only in the movie or can it also be applied to the reality of women in the Balkans? One doesn't rule out the other. Women must constantly fight for themselves. Not only in the Balkans, but in many countries of the world. They choose their own means. For Adela, it's a gun, for someone else, a lipstick, both, or something else entirely. Interviewed by Josip Jurčić
“Društvo još uvijek uči žene da je najvažnije biti privlačna muškarcima”
Intervju s Marie Kreutzer, austrijskom redateljicom filma Korset
Odrastajući u Austriji, gdje je nacionalna ikona bila carica Elizabeta, od milja prozvana Sisi, koliko se s vremenom promijenio vaš pogled na nju? Istraživanje za film je, naravno, promijenilo puno toga. Dok sam odrastala ona mi je uglavnom bila slika sa suvenira koje sam viđala u trgovinama. To se promijenilo kada sam počela čitati biografije, njezine pjesme, njezine dnevnike iz mladosti… Ispravite me ako griješim, ali mislim da se ime Sisi niti jednom ne spominje u filmu. Koliko vam je bilo važno distancirati svoju priču od ostalih prikaza carice Elizabete Austrijske? "Sisi" je ime koje mi je zvučalo slatko i djetinjasto. Željela sam je prikazati kao staloženu, odraslu ženu. Ali nisam se toliko obazirala na druge prikaze. Samo sam htjela ostati vjerna svojoj predodžbi o njoj koju sam razvila tijekom istraživanja. Kada u filmu carica kaže “volim gledati kako gledaš mene” - koliko se razlikuje od današnjih princeza društvenih mreža i njihove opsjednutosti “lajkovima”? Ne puno, a o tome i govori ovaj film. Ženama se govori da moraju ugoditi kako bi bile voljene, da je izgled uvijek njihova najveća vrijednost. Kako bi Elizabeta ili bilo koja druga žena u bilo kojem vremenu trebala razmišljati drugačije ako nas društvo još uvijek uči da nam je najvažnije biti privlačna muškarcima?! Dok ste pisali scenarij, jeste li razmišljali o Vicky Krieps u glavnoj ulozi ili ste je tek kasnije odlučili angažirati? Sama Vicky me je prije mnogo godina pitala želimo li zajedno snimiti film o Elizabeti, tako da je cijela stvar izvorno bila njezina ideja. Ne bih to napravila ni s jednom drugom glumicom. Gdje je bila granica mašte kojom ste unosili izmišljene detalje u Elizabetinu stvarnu životnu priču, posebno ako govorimo o njezinim ljubavnim avanturama? Nisam imala nikakvu granicu. Ionako ne znamo što se dogodilo iza zatvorenih vrata. Navodna afera s Bayom Middletonom zapravo je jedan od dijelova filma gdje smo se najviše držali činjenica. Elizabeta je zaista provela siječanj 1878. u Engleskoj jašući s njim, a više nikada nije vidjela svoju sestru nakon što je kritizirala Elizabetu da mu je previše bliska i da je o tome razgovarala s prestolonasljednikom Rudolfom. Kada odlazi u Englesku u posjet petom grofu Spenceru, je li to bio namjeran pokušaj povezivanja s princezom Dianom, kćerkom osmog grofa Spencera, koja je također htjela pobjeći iz kraljevskog "zlatnog kaveza"? Nije. Uopće nisam ni znala da je to ista obitelj Spencer. Zbog glasina o Bayu Middletonu, bila je to vrlo zanimljiva epizoda iz njezinog života. Zato sam odlučila da bude dio filma. Kako ste odabrali suvremenu glazbu koja se tako dobro uklapa u ovaj period? Glazba je zapravo bila prvi suvremeni element u scenariju, mnogo prije nego što sam počela razmišljati o vizualnim modernim elementima. Nisam htjela snimiti klasični povijesni film i nisam željela tipičnu klasičnu filmsku glazbu. Više preferiram raditi s pjesmama nego s partiturama. Većina glazbe u filmu je ona koju sam slušala pišući scenarij, a onda sam morala pronaći načine kako da to funkcionira u filmu. Jedno od riješenja je bilo da se ta glazba svira uživo kao dio scena.
Svjesni smo vrijednosti kulture kao pokretača društvenog i ekonomskog razvoja. Čast nam je biti Glavni sponzor Sarajevo Film Festivala, događaja zbog kojeg svake godine Bosna i Hercegovina postaje kulturni centar Europe. Kreiranje vrijednosti za UniCredit znači više od pukog generisanja finansijske vrijednosti, a podržavajući individualni i kolektivni rast osnažujemo razvoj zajednice. Volimo film i zajedno ćemo nastaviti kreirati nove uspomene za sve posjetitelje Festivala i naše cijenjene klijente.
We are aware of the value of culture as a driver of social and economic development. We are honored to be the main sponsor of the Sarajevo Film Festival, an event that makes Bosnia and Herzegovina the cultural center of Europe every year. Creating value for UniCredit means more than just generating financial value, and by supporting individual and collective growth, we empower community development. We love film and together we will continue to create new memories for all visitors to the Festival and our valued clients.
“We are still trained by society that it is the most important thing for us is to be attractive to men”
Growing up in Austria, where Empress Elisabeth “Sisi” is national icon, how much has your view of her changed from childhood till now? Of course research has changed everything. She was mainly the image of souvenir shops to me before I started reading biographies, her poems, her children’s diaries etc. Correct me if I’m wrong, but I don’t think there is one mention of “Sisi” in film. How important was to distance your story from other depictions of Empress Elisabeth of Austria? “Sisi” is a name that sounded sweet and small to me. I wanted to show her as a complex, grown-up woman. But I did not think so much about other depictions. I only wanted to stay close to my image of her, the image that evolved during research. When she says in a film “I love to look at you looking at me” how much is she different from today’s princesses of social media and their obsession with “likes”? Not much, and that’s what this film is about. Women are told that they need to please in order to be loved, that their biggest worth is always their looks. How should Elisabeth or any other woman of any time think differently as we are still trained by society that it is the most important thing for us is to be attractive to men? Were you thinking about Vicky Krieps for leading role as you were writing the script or did you decide to cast her only later? Vicky herself asked me years ago if we wanted to do a film about Elisabeth together, so this whole thing was originally her idea. I would not have done it with any other actress. Where was the limit of imagination that you would put in Elisabeth’s real-life story, especially of her love adventures? I did not give myself any limit, as we don’t know what happened behind closed doors anyway. The alleged affair with Bay Middleton is actually one of the parts of the film that is most accurate to the facts. Elisabeth really spent January 1878 in England riding with him and she really did not see her sister ever again after she criticized Elisabeth for being too close to him and talking to crown prince Rudolph about it. When she goes to England to visit 5th Earl of Spencer was it deliberate attempt to draw connection to princess Diana, the daughter of the 8th Earl of Spencer, who also wanted to escape from royal’s “golden cage”? No, first I did not even know it was the same Spencer family. It was a very interesting episode of that year, because of the Bay Middleton rumors. That is why I chose to make it a part of the film. How did you choose contemporary music that fits so well into this period piece? The music was actually the first contemporary element in the script long before I thought about visual modern elements. I did not want to make a classic period film and I did not want a typical classic film score. I always prefer working with songs than scores. Most of the music in the film is music I already listened to while writing the script and then I had to find ways to make it work in the film, for example by having it played live as part of the scenes. 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 Marie Kreutzer, Austrian director of the movie Corsage
Intervju s Vedranom Pribačić, rediteljicom i scenaristicom i Mirtom Puhlovski, producenticom i scenaristicom filma „Veće od traume“
Razgovarala Marinela Domančić
Tema kojom se bavi vaš film, zataškano silovanje tijekom Domovinskog rata, prestrašna je sama za sebe a vaš film pršti ljubavlju, optimizmom i sa traumom izlazi na kraj lakše no što bi se moglo pretpostaviti pokazujući ono što se ne dešava uvijek - ozdravljenje. Kako ste se odlučile za temu, je li bilo straha, kolebanja, preispitivanja i predomišljanja? Vedrana Pribačić: Nisam se kolebala, bojala ni predomišljala ni jedne sekunde želim li snimiti ovaj film. Željela sam dati glas ženama, civilnim žrtvama rata, ali ne na način da ispričaju svoje svjedočanstvo stravičnih događaja iz prošlosti. Ideja koja me je vodila išla je u smjeru da smo već vidjeli mnogo filmova u kojima protagonisti govore o svojim traumama, vraćaju se u prošlost i nanovo preživljavaju već doživljeno. A mi, publika, patimo s njima. Rješenja nigdje na vidiku. S druge strane, rijetko kada vidimo proces zaliječenja. Život je pun raznih trauma, zanimalo me postoji li mogućnost da budemo veći od svojih trauma, nakon takvog mraka, postoji li svjetlo? Moje djetinstvo i dio mog života obilježio je taj prokleti rat. Kad sam saznala za ovu grupu žena i za program njihovog osnaživanja intuitivno sam znala da želim biti tu sa njima. Nije bilo lako ni snimanje, ni saznavanje detalja o zločinima (kojih nema u filmu, namjerno), ni skupljanje novca, ni montiranje filma. No to je potpuno logično s obzirom na temu. Izuzetno mi je drago što se iz pitanja vidi da smo uspjele prenijeti pozitivnu poruku, koja prodržava život i rad na sebi. Mirta Puhlovski: Ja sam oduvijek željela raditi film koji prikazuje unutarnji proces preobrazbe, a što rezultira bitnim životnim promjenama. Vjerovala sam da će naše protagonistice promijeniti svoj život, jer sam na taj način i ja promijenila svoj. Preispitivanja i neizvjesnosti su se pojavili kad sam vidjela kako su naše protagonistice i tjelesno loše radi potisnute traume. Prošle su mnoge operacija i bolesti, međutim, shvatila sam da ih ni to nije pokolebalo. Ja sam u obitelji imala primjer slične traume i znala sam koliko je za sve silovane žene i njihove potomke važno da ta trauma krene u proces izlječenja, jer se tu radi o transgneracijskoj traumi, čiji se teret prenosi s generacije na generaciju žena. Sama spoznaja da su te promjene moguće za nekoga tko živi sa svojom potisnutom traumom preko 25 godina je izuzetno značajna. Kad su protagonistice osjetile tu mogućnost to ih je držalo da ustraju. Jer put kroz koji naše protagonistice prolaze, koji film prikazuje, nije lak, pun je uspona ali i padova, slabosti i snage, prijateljstva i neprijateljstva, ali zato je i film zanimljiv, dinamičan i živ. Tema u stvari nije silovanje već proces izliječenja od traume, ali ne kroz edukativno-društvene aspekte, već kroz aspekte putovanja duše. Može li se to uopće prikazati? Da li će gledatelji osjetiti i vidjeti ono što se zbiva u pozadini? Tim više što je film izuzetno realističan, a samo snimanje tog intimnog procesa trebalo je hvatati u trenutku. I tu je naš snimatelj Dario Hacek odigrao jako važnu ulogu, a poslije i montažerka film Marta Broz. U stvari film prikazuje trenutke koji mogu biti tako snažni i intenzivni da mijenjaju naučene mehanizme nošenja sa traumom. Glavne junakinje vašeg filma iznose pred kamerom najmračnija dešavanja iz svojih života. Kako su reagirale na vašu želju da ih snimite i da podijelite sa cijelim svijetom stvari koje ranije nikome nisu rekle? Mirta Puhlovski: Mi nismo znale da će one reći nešto što nisu nikome rekle, i nismo ih to niti tražile, niti pitale. Važnije je to što su učinile za sebe nego što su ispričale. Te su priče u film stavljene kao posljedica njihove promjene, njihovog odnosa prema toj priči i prema sebi samoj. Priče su tu da bi prikazali kako ih je moguće nadići i onda i ispričati. Znači služe kao poticaj da se protagonistice počnu de-identificirati od svojih priča. Jer postoji simbioza sa tim pričama i cijeli film tražimo te trenutke koji ih počinju oslobađati od težine kojom one pritišću protagonistice. To je zahtijevan, sveobuhvatan proces, jer su um, tijelo i emocije povezani. Zato je i program jedinstven jer radi simultano na svim područjima. Voditeljica tog programa je bila moja mentorica u školi sistemskih konstelacija, Branka Devčić. Jednom me pozvala da sudjelujem na programu kao reprezentant i ja sam tad osjetila ogromnu potrebu sudjelovati i pomoći. Program se održavao u udruzi Žene u Domovinskom ratu u Zagrebu. Istog trena sve što se tamo događalo me je povuklo. Dvije godine snimale smo program i tijekom tog perioda i mi smo na neki način postale dio procesa. Unutar takvih grupa razvija se jedno neobično povjerenje i zajedništvo. Da li bi snimanje bilo moguće bez toga - ne znam. Ali protagonistice filma pustile su nas u svoj intimni prostor i nakon nekog vremena više nije bilo nikakvih zapreka. Uvijek se pojavljuje pitanje moralnog aspekta iskorištavanja nečijih sudbina i priča. Mi smo bile načisto zašto radimo taj film i naše su protagonistice to osjetile. Vedrana Pribačić: Mi smo došle s kamerama na program koji su one već pohađale nekoliko mjeseci. Već su tada osjetile da su na pravom mjestu i da dobivaju podršku kakvu nikad do tada nisu imale. I da se mijenjaju, na bolje. Također, vjerovale su svojim terapeutima i voditeljici udruge Mariji Slišković, a oni su, pak, imali povjerenja u nas. Vrlo je bitna činjenica da su naše drage protagonistice željele da i druge žene upoznaju program koji je njima toliko pomogao i podijeliti ga sa svijetom. Međutim do toga je došlo tek nakon dvije godine, kad su shvatile koliko ih je program osnažio. Nakon što su vidjele film, bile su potpuno sigurne da žele da ga vide svi. U početku smo Mirta i ja polagano gradile povjerenje između nas sviju na setu, prvo smo dolazile bez kamere, samo da promatramo radionice i da se upoznamo sa ženama. Onda smo krenule s probnim snimanjima. Nismo uvele čitavu filmsku ekipu i tehniku u prostor, već samo najosnovnije, kako ne bismo ometale njihov proces rada na sebi. Dogovorile smo se sa njima da nećemo snimati kad ne žele i napismeno smo se obavezale da će prve vidjeti film, te da će ga moći mijenjati ako žele. Međutim, jako nam je drago reći da su korekcije bile zanemarive. Pretpostavljam da su vaše protagonistice pogledale film. Kako su reagirale? Vedrana Pribačić: Marija je plakala tijekom prikazivanja film. Bila je sretna kako smo krasno zabilježile što se događalo na programu i što je promijenilo iz temelja njen život. Sada zauvijek ima uspomenu na to. Ana je također plakala tijekom projekcije. Ali nije plakala zbog sebe, plakala je slušajući druge žene. Ni ona nije znala neke stvari. Ana je gledajući film bila krajnje empatična prema drugima. Katica je bila u Njemačkoj s dečkom kad sam joj poslala film. Za nju smo se nekako najviše brinule kako će reagirati, Katica je bila najzatvorenija od svih, i njen rast u filmu se upravo vidi u otvaranju prema traumi na način da je konačno izgovori i suoči se do kraja s njom, ali i da si dozvoli mogućnost da se opusti, da se smiri, da se ne boji toliko... Sutradan mene zove Katica i kaže mi sljedeće: ona je taj film pustila svom dragom, koji do tada nije znao što joj se doista dogodilo u ratu, a ona mu nije imala snage reći. I priča tako meni Katica: vidim ja njega, samo šuti i puši. Završi film, on ode na balkon. Ja izađem za njim, a on plače k'o kišna godina. I onda me je zagrlio i rekao mi da sad sve razumije, da me voli i da je s tim sada gotovo, da mi se nikad više ovako nešto neće dogoditi o da će biti sve u redu. I samo me grlio i plakao. Dakle, Katica je film iskoristila da mu na taj način ispriča svoju priču. I to je prošlo jako dobro. Evo ih i sad u Njemačkoj. Ja sam skoro pukla od sreće i ganutosti, dok mi je to pričala, malo sam i plakala. Sve protagonistice su također bile na premijeri s publikom, doživjele su gromoglasni pljesak i podršku. Jako su ponosne na sebe. Mirta Puhlovski: Ima divnih priča o njihovim reakcijama. Marija je npr. gledala film opet na premijeri u Zagrebu, na ZagrebDox-u, sa obitelji gdje smo dobili stajaće ovacije publike. Rekla je sutradan, da se od kad je rat počeo nikada nije naspavala tako dobro kao tu noć nakon premijere. Jer i to priznanje publike je važno. Do sada su od društva dobile samo osudu, sažaljevanje ili ignoriranje, ovo je bio trenutak da su doživjele empatiju, podršku i divljenje. Osobno sam kao posebne heroine doživjela terapeutkinje koje su brižno i strpljivo radile sa ženama i osnažile ih toliko da je promjena na njihovim licima i u ponašanju na početku i na kraju filma vidljiva i laičkom oku. Zamolila bih za malo više podataka o programu „Ja sam mnogo više od moje traume“. Mirta Puhlovski: Da, oni su bili izuzetno predani radu sa ženama i dobile smo veliku podršku i terapeuta i voditeljice Udruge Marije Slišković za snimanje. Trebalo nam je par godina u montaži da odlučimo ipak staviti njihov rad u drugi plan, unatoč tome što je izuzetno zanimljiv i važan. Sam program „Ja sam mnogo više od moje traume“, nas u stvari vodi kroz cijelu filmsku priču. Posebno za ovu vrst traume, kreirali i osmislili su ga naši terapeuti i praktičari voditeljica sistemskih konstelacija Branka Devčić, Emina Simunić, magistrica psihologije, Hrvoje Vitturi, diplomirani fizioterapeut i Feldenkrais praktičar, Zvonka Tomasović Hrkovac, osteopatica i Gordana Kastrapeli, MSc, NLP Master Trainer. Sve su to izuzetno zanimljiva područja jer čovjek kroz njih sazrijeva i postaje budniji za svoje fizičke, tjelesne i emotivne potrebe. Radi se o integrativnom programu koji u obzir uzima cijelu osobu a ne samo jedan njen dio. Ovaj intenzivan program, kroz koji je već prošlo nekoliko grupa žena, održavao se tijekom dvije godine svaki mjesec po tri dana uzastopno po 12 sati. Protagonistice su dolazile u Zagreb iz Vukovara i okolice. Pilot program je financirao UNDP, a onda je financiranje nastavio uglavnom Grad Zagreb, kroz zakladu Sunčica. Osim velikog iskustva, empatije i poznavanja metoda povukla me je i kreativnost kojom se voditelji služe da bi se sam proces uopće mogao odvijati. Jer naravno da uz tako jake traume ima i puno otpora i odustajanja. Voditeljica je npr. stavila kameru u sredinu tog jednog, za njih vrlo intimnog, prostora i svi su je mogli uzeti i pogledati kroz nju i snimiti se njom. Na taj način kamera je dobila svoje mjesto u prostoru i postala je dio procesa. Već prigodom svjetske premijere filma na ZagrebDox-u osvojile ste Nagradu publike i Posebno priznanje u Regionalnoj konkurenciji a onda su se ređale Nagrada za etiku i ljudska prava, Zlatna uljanica, Posebno priznanje za dokumentarni film i Nagrada publike na Danima hrvatskog filma... I sama tema, i vaš nježan pristup koj ne trlja sol u rane zacijelo će biti bliski bosanskohercegovačkoj publici. Kakva su vaša očekivanja pred prikazivanje filma na Sarajevo Film Festivalu? Vedrana Pribačić: Znam mnogo o tome što se događalo u Bosni. Imam prijatelja Sarajliju s kojim sam proživljavala svašta, mnogo puta sam bila u BiH, čak i odmah nakon rata. Pročitala sam i dosta knjiga o tom vremenu. Znala sam pomisliti kako je sve to neizdrživo i da nikad više neće biti ljepote na našim prostorima. Previše traume, previše smrti, previše nepravde. Međutim, život ide dalje. Ponovno ima veselja. Ljudi se zaljubljuju, pjesme se pjevaju. Društva se okupljaju. Rađaju se djeca, drveće je naraslo. Naš film također podržava rast, napredak, svjetlo. Moja je želja da što više ljudi vidi film. Veliko poštovanje imam prema ljudima iz BiH, vašem duhu i prošlosti, te prema Sarajevo Film Festivalu kao najjačem regionalnom festivalu. Ogromna mi je čast da ovdje prikažemo film. Pogotovo jer mi je to prvi dugometražni film. I jer je tema kakva jest, u kojoj će se (na žalost) mnogi prepoznati. A to kad kažete da ne trljamo sol na rane, divno je to čuti. Jer smo baš to željele i sretne smo da smo uspjele. Mirta Puhlovski: Lijepo je dobiti priznanja, najljepše od publike. Publika je čista, struka ne baš toliko, za struku treba zadovoljiti puno uvjeta. Publika se samo treba zaljubiti, a mi smo kao i publika ranjive i osjetljive. Istodobno imamo i velika očekivanja i strah od vrlo jake konkurencije takvog jednog festivala kao kao što je Sarajevo Film Festival. A mi kao društvo trebamo melem za rane, jer smo svi bili ranjeni. I ovim filmom želimo podsjetiti da je ta mogućnost uvijek tu.
Svjetlo nakon mraka
Takmičarski program – dokumentarni film
Light after dark
The subject your film deals with, hidden rape during the Homeland War, is terrifying in itself, and your film bursts with love, and optimism, and copes with trauma more easily than one might assume, showing what does not always happen - healing. How did you decide on the topic, was there any fear, hesitation, questioning, and second thoughts? Vedrana Pribačić: I didn't hesitate, fear, or change my mind for a single second if I wanted to make this film. I wanted to give a voice to the women, the civilian victims of the war, but not in such a way that they tell their testimony of the terrible events of the past. The idea that guided me was that we have already seen many films in which the protagonists talk about their traumas, return to the past and relive what they have already experienced. And we, the audience, suffer with them. There is no solution in sight. On the other hand, we rarely see the healing process. Life is full of various traumas, I was wondering if there is a possibility to be bigger than our traumas, after such darkness, is there light? My childhood and part of my life were marked by that damn war. When I found out about this group of women and their empowerment program, I intuitively knew that I wanted to be there with them. It wasn't easy neither filming, nor finding out details about the crimes (which are not in the film, on purpose), collecting money, or editing the film. But that is completely logical considering the topic. I am extremely glad that the question shows that we managed to convey a positive message, which sustains life and works on oneself. Mirta Puhlovski: I have always wanted to make a film that shows the internal process of transformation that results in significant life changes. I believed that our protagonists would change their lives because that's how I changed mine. Questioning and uncertainty arose when I saw how our protagonists were also physically ill due to repressed trauma. They went through many operations and illnesses; however, I realized that even that did not sway them. I had an example of a similar trauma in my family and I knew how important it is for all raped women and their descendants that this trauma begins the healing process because this is a trans-generational trauma, the burden of which is passed on from generation to generation of women. The very knowledge that these changes are possible for someone who has lived with their repressed trauma for over 25 years is extremely significant. The protagonists persisted because they sensed the possibility. The path our protagonists go through, which the film shows, is not easy; it is full of ups and downs, weakness and strength, friendship and enmity, but that is why the film is interesting, dynamic, and alive. The topic is not rape, but the process of healing from trauma, not through the educational and social aspects, but the aspects of the journey of the soul. Is it even possible to show it? Will the viewers feel and see what is happening in the background? Especially because the film is extremely realistic, and the recording of that intimate process itself had to be captured at the moment. And that's where our DOP Dario Hacek played a very important role, and later the film editor Marta Broz. The film shows moments that can be so powerful and intense that they change already learned mechanisms for dealing with trauma. The main heroines of your film present the darkest events from their lives in front of the camera. How did they react to your desire to record them and to share with the whole world things that they had not told anyone before? Mirta Puhlovski: We did not know that they would say something they had not told anyone and we did not ask for it. What they did for themselves is more important than what they told. These stories were put into the film as a result of their change, their relationship to that story, and themselves. The stories are there to show how it is possible to overcome them and then tell them. So they serve as an incentive for the female protagonists to start de-identifying themselves from their stories. There is a symbiosis with these stories, and throughout the film, we are looking for those moments that begin to free the protagonists from the weight of these stories that oppress them. It is a demanding, comprehensive process because the mind, body, and emotions are connected. That is why the program is unique because it works simultaneously in all areas. The leader of that program was my mentor at the School of System Constellations, Branka Devčić. Once she invited me to participate in the program as a representative, and I then felt a huge need to participate and help. The program was held at the Association of Women in the Homeland War in Zagreb. At the same time, I was drawn by everything that was happening there. We recorded the program for two years, and during that period we also became a part of the process in a way. An unusual trust and togetherness develop within such groups. I do not know whether the recording would be possible without it. But the protagonists of the film let us into their intimate space and after a while, there were no more obstacles. There is always the question of the moral aspect of exploiting someone's fates and stories. We were clear about why we were making this film and our female protagonists felt it. Vedrana Pribačić: We came with cameras to the program that they had already attended for several months. Even then, they felt that they were in the right place and that they were receiving support that they had never had before. And that they are changing, for the better. They also trusted their therapists and the head of the association, Marija Slišković, and they trusted us. It is a very important fact that our dear protagonists wanted other women to get to know the program that helped them so much and to share it with the world. However, that only happened after two years, when they realized how much the program had strengthened them. After seeing the film, they were sure that they wanted everyone to see it. In the beginning, Mirta and I slowly built trust between all of us on the set, at first we came without a camera, just to observe the workshops and to get to know the women. Then we started with test recordings. We did not introduce the entire film crew and equipment into the space, but only the most basic ones, so as not to interfere with their process of working on themselves. We agreed with them that we wouldn't film when they didn't want to and we made a written commitment that they would see the film first and that they would be able to change it if they wanted. However, we are very pleased to say that the corrections were negligible. I assume that your protagonists have seen the film. How did they react? Vedrana Pribačić: Marija cried during the screening of the film. She was happy that we recorded beautifully what happened on the program and what fundamentally changed her life. Now she has the memory of it forever. Ana also cried during the screening, but she didn't cry for herself - she cried when listening to other women. She didn't know about some things. While watching the film, Ana was extremely empathetic towards others. Katica was in Germany with her boyfriend when I sent her the film. We were somehow most worried about how she would react as she was the most closed of all, and her growth in the film can be seen precisely in opening up to the trauma in such a way that she finally speaks it out and faces it to the end, but also allows herself the possibility to relax, to calm down, to not be so afraid... The next day, Katica called me and told me that she played the film for her boyfriend who, until then, did not know what happened to her in the war, and she had no strength to tell him. Katie told me that she saw him just being silent and smoking. I followed him out onto the balcony, and he cried his eyes out. And then he hugged me and told me that now he understands everything, that he loves me and that it's over now, that something like this will never happen to me again, and that everything will be alright. He just hugged me and cried. So, Katica used the film to tell him her story. And that went very well. Here they are in Germany. I almost burst with happiness and emotions while she was telling me that, I even cried a little. All the protagonists were also at the premiere with the audience, they experienced thunderous applause and support. They are very proud of themselves. Mirta Puhlovski: There are some wonderful stories about their reactions. For example, Marija watched the film again at the premiere in Zagreb, at ZagrebDox, with her family, where we had a standing ovation from the audience. She said the next day that she had never slept as well as she did that night after the premiere. The recognition from the audience is important because until now, they have only received condemnation, pity, or ignore from society. This was the moment they experienced empathy, support, and admiration. I have personally felt the therapists as special heroines - they worked with women with such care and patience and empowered them so much that the change in their faces and behavior at the beginning and end of the film is visible even to the non-professionals eye. I would like to ask for a little more information about the program "I am much more than my trauma". Mirta Puhlovski: Yes, they were extremely committed to working with women and we received great support for filming from both the therapist and the head of the Association, Marija Slišković. It took us a couple of years in editing to decide to keep their work out of focus even though it is extremely interesting and important. The program "I am much more than my trauma" actually takes us through the entire film story. It was created and designed especially for this type of trauma by our therapists and practitioners, - head of system constellations Branka Devčić, Emina Simunić, Mag. psych, Hrvoje Vitturi, Bacc. Physioth.; Feldenkrais Practitioner; SEP, Zvonka Tomasović Hrkovac, D.O., SEP – Osteopath and Gordana Kastrapeli, MSc, NLP Master Trainer. All these areas are extremely interesting because through them a person matures and becomes more aware of his/hers body, and physical and emotional needs. It is an integrative program that takes into account the whole person and not just one part of him/her. This intensive program, which has already been attended by several groups of women, was held every month for three consecutive days for 12 hours for two years. The protagonists came to Zagreb from Vukovar and its surroundings. The pilot program was financed by UNDP and then the financing was continued mainly by the City of Zagreb, through the foundation „Sunčica“. In addition to the great experience, empathy, and knowledge of methods, I was also attracted by the creativity that the leaders use to make the process work. When the traumas are so strong, there are, of course, a lot of resistances and drop-outs. For example, the facilitator placed the camera in the middle of a very intimate space for them and everyone could take it and look through it and record themselves with it. In this way, the camera got its place in the space and became part of the process. On the occasion of the world premiere of the film at ZagrebDox, you already won the Audience Award and Special Mention in the Regional competition, and then the Ethics and Human Rights Award, the Golden Lantern, the Special Mention for Documentary Film, and the Audience Award at the Days of Croatian Film followed... And the topic itself and your gentle approach that does not rub salt in the wounds will surely be close to the local audience. What are your expectations before the screening of the film at the Sarajevo Film Festival? Vedrana Pribačić: I know a lot about what happened in Bosnia. I have a friend from Sarajevo, with whom I have experienced so many things, I have been to BiH many times, even right after the war. I also read a lot of books about that time. I used to think that all this was unbearable and that there would never be any more beauty in our area. Too much trauma, too much death, too much injustice... However, life goes on. There is a joy again. People fall in love, and songs are sung. Societies gather. Children are born, and trees have grown. Our film also supports growth, progress, and light. My wish is that as many people as possible see the film. I have great respect for the people of BiH, your spirit and past, and the Sarajevo Film Festival as the strongest regional festival. It is a great honor to show the film here. Especially since it's my first feature film. And because the topic is what it is, in which (unfortunately) many will recognize themselves. And when you say that we shouldn't rub salt in the wounds, that's wonderful to hear. Because that's exactly what we wanted and we're happy that we succeeded. Mirta Puhlovski: It's nice to receive recognition, and it's even nicer if it comes from the audience. The audience is pure, the profession not so much, for the profession you have to meet a lot of conditions. The audience just needs to fall in love, and we, like the audience, are vulnerable and sensitive. At the same time, we have high expectations and fear of very strong competition from such a festival as the Sarajevo Film Festival. We, as a society, need to heal our wounds, because we have all been wounded. And with this film, we want to remind you that the possibility of healing is always there.
Light after dark Interview with Vedrana Pribačić, director and screenwriter, and Mirta Puhlovski, producer and screenwriter of the film “Bigger than trauma”
Competition programme documentary film
Svečani prijem povodom otvaranja Festivala pod pokroviteljstvom MTA grupe Opening Gala Reception by MTA Group
Foto galerija / Photo gallery
Više fotografija možete pronaći OVDJE. More photos you can find HERE.
Sergei Loznitsa, dobitnik Počasnog Srca Sarajeva / Sergei Loznitsa, recipient of the Honorary Heart of Sarajevo award
Helena Vuković, voditeljica ceremonije otvaranja 28. Sarajevo Film Festivala / Helena Vuković, master of ceremony of 28. Sarajevo Film Festivala
Ruben Ostlund, dobitnik Počasnog Srca Sarajeva / Ruben Ostlund, recipient of the Honorary Heart of Sarajevo award
Nakon razorne borbe sa dijaboličnom kornjačom, petočlana grupa osvetnika, poznata pod imenom Duhanski tim, se raspada. Članove grupe šalju na obavezni, zajednički jednosedmični odmor da pokušaju ojačati njihovu međusobnu koheziju. Odmor protiče sjajno sve dok Lézardin, imperator zla, ne odluči uništiti planetu Zemlju. After a devastating battle against a diabolical turtle, a team of five avengers – known as the Tobacco Force – is falling apart. They are sent on a mandatory week-long retreat to strengthen their decaying group cohesion. Their sojourn goes wonderfully well until Lézardin, Emperor of Evil, decides to annihilate planet Earth.
BUY TICKET
Paula ima samo četrnaest godina, a već mrzi vlastito tijelo. Kako bi izrazila ono što osjeća, Paula pokreće blog i postaje dio velike virtualne zajednice ljudi koji imaju isti problem poput nje. Pod plaštom anonimnosti, ona na internet postavlja videe koja snima svojim telefonom, a u kojima razotkriva prijatelje i porodicu. Osjećaj pripadnosti zasljepljuje Paulu koja, u potrazi za samopoštovanjem, skreće na put na kojem joj prijete bulimija i anoreksija. At only fourteen years old, Paula hates her body. In an attempt to express what she feels, she starts a blog and becomes part of a large virtual community that shares her problems. Sheltered by anonymity, she uploads content recorded with her cell phone, exposing her friends and family. The feeling of belonging blinds Paula, who begins to walk a lonely path in which bulimia and anorexia lurk as alternatives in the search for self-acceptance.
TEEN ARENA
Paula / Paula Italy, Argentina, 2022, Colour, 89 min, Spanish, Režija / Director: Florencia Wehbe, Uloge / Cast: Lucia Castro, Lara Griboff, Julieta Montes, Tiziana Faleschini, Liz Correa
KINOSCOPE SURREAL
Pušenje izaziva kašalj / Smoking Causes Coughing France, 2022, Colour, 80 min, French, Režija / Director: Quentin Dupieux, Uloge / Cast: Gilles Lellouche, Vincent Lacoste, Anaïs Demoustier, Jean-Pascal Zadi, Oulaya Amamra
Richie Bravo, nekadašnja pop-zvijezda, provodi zimu u Riminiju, pokušavajući obnoviti staru slavu. Svoj raskalašeni način života i ovisnost o kocki finansira održavajući koncerte gomilama turista i pružajući seksualne usluge svojim obožavateljicama. Njegov svijet počinje da se ruši kada mu se u život iznenada vrati njegova odrasla kći, zahtijevajući novac koji joj on nikada nije dao. U međuvremenu, njegov ostarjeli otac, koji pati od demencije, neprekidno hoda ukrug u staračkom domu u Austriji. Once a successful pop star, Richie Bravo chases after his faded fame in wintry Rimini. He funds his dissolute lifestyle and gambling addiction with concerts for busloads of tourists and sexual favours for female fans. His world starts to collapse when his adult daughter suddenly breaks into his life and demands money from him; meanwhile, Richie's elderly father, who suffers from dementia, goes round in circles in an Austrian nursing home.
Alkaras / Alcarràs Spain, Italy, 2022, Colour, 120 min, Catalan, Režija / Director: Carla Simón, Uloge / Cast: Michael Thomas, Tessa Göttlicher, Hans-Michael Rehberg, Inge Maux, Claudia Martini, Georg Friedrich
Rimini / Rimini Austria, France, Germany, 2022, Colour, 114 min, German, Italian, Režija / Director: Ulrich Seidl, Uloge / Cast: Michael Thomas, Tessa Göttlicher, Hans-Michael Rehberg, Inge Maux, Claudia Martini, Georg Friedrich
Otkako znaju za sebe, članovi porodice Solé svako ljeto provode berući breskve u svome voćnjaku u malom španjolskom selu Alkaras. Ali ovogodišnja berba mogla bi im biti posljednja jer im prijeti deložacija. Prema novim planovima koji izazivaju razdor u inače bliskoj porodici, stabla breskve trebala bi biti posječena da bi se na njihovom mjestu postavili solarni paneli. Po prvi put, članovi porodice suočavaju se sa nesigurnom budućnošću i prijetnjom da izgube više od doma. As far as back they can remember, the Solé family have spent every summer picking peaches in their orchard in Alcarràs, a small village in Spain. But this year’s crop could be their last, as they face eviction. The new plans for the land include cutting down the peach trees and installing solar panels, which causes a rift within the large tight-knit family. For the first time, they face an uncertain future and risk losing more than their home.
U FOKUSU / IN FOCUS
KINOSKOP / KINOSCOPE