ČETVRTAK / Thursday 18.8.2022.
VISAR MORINA Bio sam oduševljen nagradom, ali ujedno i tužan što nisam mogao biti u Sarajevu / I was delighted to get the award, but also sad that I couldn’t be in Sarajevo
FESTIVAL DAILY
ondemand.kinomeetingpoint.ba
INTERVJU
Što vam znači Sarajevo Film Festival? Ovo je moj omiljeni festival. Prije deset godina, kad sam sudjelovao na CineLinku, izgubila mi se prtljaga, pa sam sve dane morao nositi festivalsku majicu. A imao sam deset sastanaka dnevno. Teško je zaboraviti to iskustvo. Također, Sarajevo me podsjeća na Prištinu, možda ga zato osjećam toliko blizu srcu. Kad ga usporedim s drugim velikim festivalima poput Berlinalea, čini se mnogo osobnijim. Sve je blizu, cijeli grad živi za festival i jako me impresioniralo koliko sam važnih ličnosti iz svijeta filma ovdje susreo. Bio sam presretan kada su me prije dvije godine pozvali da predstavim svoj film „Egzil“, ali i razočaran kada je samo nekoliko dana prije otvaranja sve prebačeno online zbog epidemije koronavirusa COVID-19. Kakav je osjećaj bio osvojiti Srce Sarajeva – kod kuće? Čudan. Bio sam oduševljen nagradom, ali ujedno i tužan što nisam mogao biti u Sarajevu. Ove godine sam otišao na projekciju u Narodno pozorište i nisam mogao prestati razmišljati kako bi bilo da je i moj film imao priliku biti prikazan pred publikom. Gdje čuvate svoju nagradu? Kod mojih je producenata. Bilo bi lijepo imati Srce Sarajeva kod kuće, ali oni su ga zadržali. Oba vaša filma, „Otac“ i „Egzil“, inspirirana su životom vaše obitelji koja je napustila Kosovo kada ste imali samo 13 godina. Kako vaša obitelj gleda na njih? Bitno mi je imati tu povezanost s vlastitim životom, jer po meni filmovi moraju biti osobni. Kada gledam film, moram osjetiti da je nešto značio ljudima koji su ga snimili. Moja je obitelj bila jako zabrinuta za mene kad sam odlučio biti redatelj. Pogotovo jer nisam imao novca i trebalo mi je osam godina da snimim prvi film. Mojim je roditeljima bilo teško shvatiti da to tako ide u ovom poslu. Kada sam konačno snimio „Oca“, bili su sretni, ali i uplašeni da će film biti o njima. Laknulo im je kad su vidjeli da nije. Moji filmovi nikada nisu toliko razotkrivajući da bi se moja obitelj osjećala izložena. Kosovska kinematografija doista je u usponu posljednjih nekoliko godina. Koliko se osjećate njezinim dijelom? Vrlo teško pitanje. Kada sam na Kosovu 2014. snimao pola svog filma imali smo velikih poteškoća s infrastrukturom. A infrastruktura je bitna jer vam je za snimanje filma potrebna cijela ekipa, a ne samo redatelj, glumci i scenaristi. Ovisno o tome koliko je dobra, ekipa može stvoriti ili uništiti film. Nevjerojatno je koliko se toga promijenilo od tada. Kosovska filmska industrija postala je izuzetno uspješna i sposobna, pa se jako veselim što ću i svoj novi film snimati na Kosovu. Ipak, istina je da se i zemlja jako promijenila otkako sam otišao. Ljudi imaju poteškoće koje ja nemam. Zato bi mi bilo čudno reći da sam dio njih. Naravno, imam tamo puno prijatelja i pratim sve što se događa, ali osobno se više osjećam europskim nego njemačkim ili kosovskim filmašem. O čemu govori vaš novi film? To je vrlo jednostavna priča koja se odvija u mjestu na Kosovu gdje sam odrastao. Kosovsko društvo se toliko mijenja da gotovo više i nema srednje klase. Mali broj ljudi je nevjerojatno bogat, dok je puno ljudi vrlo siromašno. Zanima me prikazati jednu obitelj kako prolazi kroz sve te društvene slojeve. Film je uveliko inspiriran talijanskim filmovima iz pedesetih i šezdesetih. Kada ćemo ga vidjeti u Sarajevu? Nadam se 2024. godine. Izuzetno se tome veselim. 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.
Bio sam oduševljen nagradom, ali ujedno i tužan što nisam mogao biti u Sarajevu
Intervju sa Visarom Morinom, dobitnikom Srca Sarajeva za najbolji igrani film - za film ‘’Egzil’’ (Njemačka, Belgija, Kosovo) 2020. godine, kojem nije mogao prisustvovati zbog pandemije COVID-19
Interview with Visar Morina, winner of the Heart of Sarajevo Award in the category for the best feature film “Exil” (Germany, Belgium, Kosovo) in 2020, which he could not attend due to the COVID-19 pandemic
I was delighted to get the award, but also sad that I couldn’t be in Sarajevo
INTERVIEW
What does Sarajevo Film Festival mean to you? This is my favorite festival. Ten years ago, when I participated in CineLink, my luggage got lost, so all day I had to wear the Festival’s T-shirt. And I had ten meetings a day. That memory is hard to forget. Also, Sarajevo reminds me of Pristina, maybe that is why I feel this weird closeness to the city. When I compare it to other big festivals like Berlinale it feels so much more personal. Everything is close, the whole town is living for the festival and I was really impressed to see how many important figures from the film world are here. I was very happy when they invited me two years ago to present my film Exile and so disappointed when just a few days before opening everything was forced to go online because of COVID-19. How did it feel to win Heart of Sarajevo – at home? Weird. I was delighted, but also sad that I couldn’t be in Sarajevo. This year I went to the screening in National Theatre and couldn’t stop thinking about how it would have been if my film also had a chance to have a screening in front of the audience. Where do you keep your award? My producers have it. It would be nice to have Heart of Sarajevo at home, but they kept it. Both of your films, Father and Exile, have been inspired by the life of your family that left Kosovo when you were just 13 years old. How does your family look at them? I need to have that private connection because for me films must be personal. When I watch a film, I need to feel that it meant something to the people who made it. My family was very worried about me when I decided to be a filmmaker. Especially because I had no money and it took me eight years to make my first film. It was hard for my parents to understand that this is how it goes. When I finally made Father, they were happy but also afraid that the film will be about them. They were relieved to see that it wasn’t. My films are never that personal for them to feel exposed. Kosovo’s film scene has really been on a rise in the last few years. How much do you feel a part of it? It’s a very difficult question. In 2014 I was shooting half of my film in Kosovo and we had real difficulties in creating some kind of infrastructure. It’s important because to make a film you need a whole crew, not only the director, actors and screenwriter. Depending on how good they are, the crew can make or destroy a film. It’s amazing how much has changed since. Kosovo’s film industry has become so successful and capable that I’m really looking forward to shooting my new film there. But the truth is that country has also changed so much since I left. People there have other difficulties that I don’t have. It’s weird for me to say that I’m part of them. Of course, I have a lot of friends there and I’m following everything that is happening but I personally feel more European than a German or Kosovor filmmaker. What is your new film about? It’s a very simple story that takes place in Kosovo where I grew up. Society in Kosovo is changing so much that you have almost no middle class. There are a few people that are incredibly rich and a lot of people that are poor. I’m interested in seeing one family walking thru all these classes. It’s very much influenced by Italian cinema from the fifties and sixties. When will we see this film in Sarajevo? I hope in 2024. And I’m really looking forward to it. 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.
PROJEKCIJA FILMA Good Luck Too You, Leo Grande, LJETNO KINO COCA-COLA Screening of Good Luck Too You, Leo Grande by Sophie Hyde, Coca-Cola Open Air cINEMA
Uposlenike i brojne volontere na 28. Sarajevo Film Festivalu u njihovim radnim prostorijama posjetio je i premijer Kantona Sarajevo Edin Forto. Tom prilikom se zahvalio svim prisutnim na profesionalnom angažmanu kazavši kako Sarajevo Film Festival “funkcioniše do perfekcije.” “Znam kako je Festival izgledao kada je bio puno manji. Ne mogu sakriti oduševljenje ovim što sada vidim, posebno zbog toga što se radi o većem broju mladih ljudi koji rade na Festivalu. Jako je bitno da i oni budu prepoznati, jer bez njih ništa ne bi funkcioniralo. Vidimo to i na CineLinku gdje smo vidjeli kako upravljaju sa više od 1.000 gostiju, preko logistike u kojoj raspoređuju hranu i piće, do Festivalskog trga na kojem se svi okupljaju. Vidjeli smo svaku poru Festivala. Ono što mogu prenijeti i zbog čega sam posebno sretan, jeste to da iz samog Festivala imam informaciju da je saradnja sa javnim kantonalnim ustanovama i preduzećima savršena. Prema mojim informacijama, saradnja sa komunalnim preduzećima KJKP Rad, KJKP Park, kao i Policijom, Hitnom pomoći, Vatrogascima tj. Profesionalnom vatrogasnom brigadom nikad nije bila bolja i zato se posebno zahvaljujem svim angažiranima”, izjavio je Forto. Na ovogodišnjem Sarajevo Film Festivalu angažirano je više od 900 osoba. 28. Sarajevo Film Festival završava u petak, 19. augusta.
Premijer Forto: “Sarajevo Film Festival funkcioniše do perfekcije”
Prime Minister of the Sarajevo Canton Forto: “Organization of the Sarajevo Film Festival is perfect!”
Prime Minister of the Sarajevo Canton, Edin Forto, has visited the employees and number of volunteers at the 28th Sarajevo Film Festival at their workspace. He thanked all present for their professional engagement and said that „the organization of Sarajevo Film Festival is perfect.“ “I know how the Festival was when it was on a much smaller level. I can't hide my excitement because of what I can see now, especially since many young people are working at the Festival. It is very important that they too be recognized because everything would fall apart without them. We can see that on CineLink as well, where we saw them handle with ease thousands of guests, distribute food and drinks, and gather at the Festival Square. We've seen every little detail of the Festival. I am extremely happy to say that I have first-hand information from the Festival that the cooperation with public county institutions and companies is perfect. By the information I have, cooperation with communal companies such as KJKP Rad, KJKP Park, as well as the Police, Ambulance, and the Fire department – the professional fire brigade, has never been better. That is why I say a special thanks to everyone who was engaged in the process. ”, said Forto. At this year's Sarajevo Film Festival more than 900 people were engaged in the organization process. 28th Sarajevo Film Festival is ending on Friday, 19th of August.
Filmski profesionalci i umjetnici iz Ukrajine sa Serhiijem Miniailom, otpravnikom poslova u Ambasadi Ukrajine u BiH, na 28. Sarajevo Film Festivalu. Film professionals and artists from Ukraine with Serhii Miniailo, Charge d'Affaires, Embassy of Ukraine in Bosnia and Herzegovina, at the 28th Sarajevo Film Festival.
Suno solarni stol proizveden u BiH u jednom od paviljona 28. Sarajevo Film Festivala
Na 28. Sarajevo Film Festivalu u jednom od festivalskih paviljona nalazi se solarni stol proizveden u Bosni i Hercegovini. Solarni stol je kreirao mladi i entuzijastični tim Insuno iz Bihaća i njegovi inovatori Adnan Lubić i Damir Alijagić. Solarni stol pod nazivom Suno stol je multifunkcionalni stol modernog dizajna koji je savršen dodatak bilo kojem prostoru na otvorenom. Radi se o vrlo kvalitetnom, modernom i inovativnom stolu, eco-friendly. Ovaj energetski efikasan stol omogućava istovremeno punjenje četiri „pametna stola“ i to putem solarnog panela. Neovisan je od električne mreže, jer se napaja sunčevom energijom, a korisnicima nudi mogućnost punjenja svih vrsta mobilnih pametnih telefona, tableta, laptopa kao i USB gadgeta. Tu je i sef za čuvanje dragocjenosti kako bi bez stresa mogli uživati u svom boravku na otvorenom, na plaži, bazenu ili bilo kojem drugom prostoru. U noćnom periodu stol ima i LED ambijentalno svjetlo, tako da noću uljepšava prostor u kojem se nalazi. Stol je mjesto koje povezuje ljude, to je mjesto za druženje, poslovne sastanke i odmore. Insuno tim je tim koji kreira kvalitetne, inovativne i okolinsko prihvatljive proizvode. Misija Insuno tima od početka je učiniti život ugodnim i dodati vrijednost mjestima u kojima se opuštate. Smart design! Smart features! Smart table! Za više informacija posjetite web stranicu http://insuno.com/
Koliko je teško bilo odlučiti se na snimanje filma o obiteljskoj traumi? Kao autora čak me na neki način fascinira da je užas koji mi se dogodio uopće moguć. Do tog događaja nisam bio svjestan da stvari mogu tako brzo, tako radikalno, bez ikakve najave i objašnjenja izmaći kontroli. No, nije bilo nimalo jednostavno snimiti ovaj film. Jednom su Slavoja Žižeka pitali kako on tako puno objavljuje. Odgovorio je da si dok piše govori da to neće nikada objaviti. Mislim da sam slično pisao ovaj film. Govoreći si da ga nikad neću snimiti. Završilo je tako da čak i glumim u njemu. Ima li u „Sigurnom mjestu“ scena koje se nisu dogodile u stvarnom životu? Naravno. Metascena je scena koja se nikako nije mogla dogoditi, vjerojatno sam je zato i napisao. Ali i ostatak filma je na neki način više destilat traume, destilat iskustva koje sam prošao nego direktna rekonstrukcija. Što ste htjeli postići tom metafilmskom scenom u bolnici? Kada sam znao kakvu priču želim ispričati, počeo sam razmišljati o dramskoj formi koja bi takvom sadržaju odgovarala. Treba li biti linearna, fragmentarna ili, pak, nešto sasvim treće. Kakva je to forma koja bi zrcalila i nadogradila sadržaj nastao prema traumatskom događaju? Činilo mi se da trebam napisati nešto jako čvrsto i onda to na jednom mjestu razbiti, napraviti neku vrstu usjeka. Jer trauma i jest usjek, rupa u životu. Zato film u jednom trenutku napušta čvrsti fikcionalni okvir, jedinstvo vremena i radnje te se otvara prema metafilmičnom, autobiografskom. Kao što je život protagonista narušen traumatskom situacijom i sam film se narušava oprečnom dramskom strategijom. Gledalačka iluzija se podriva i istovremeno otvara nova dimenzija promatranog. Besmisleno bi to bilo raditi na više mjesta, jer bi ponavljanjem/variranjem taj postupak prestao biti rana i postao dio tkiva filma. Kada ste odlučili da ćete glumiti samoga sebe? To je zapravo došlo iz procesa. Nije bila ideja od početka. Tražio sam glumca koji bi odigrao lika starijeg brata, ali nikako nisam bio siguran da je odabir dobar. To je očito bila neka moja slijepa pjega. Vjerojatno mi je iskustvo tog lika toliko blisko da mi se sve osim samog sebe u toj ulozi činilo zbunjujućim. Sam proces kastinga je izgledao tako da sam glumcima (za sve uloge) slao odabrane scene koje bismo zatim zajedno probali. Takoreći jedan na jedan. Dopadala mi se ta intimna atmosfera. Ubrzo sam shvatio da replike ne mogu samo vraćati kao robot jer tako ni od glumaca ne mogu očekivati točnu reakciju pa sam počeo sve više paziti na vlastitu interpretaciju. Te sam probe snimao i odabrane snimke kasnije komentirao sa suradnicima. Nisam bio u kadru, ali njima se činilo da zvučim dobro, pa su me ohrabrili da okrenem jednom kameru i prema sebi. Tako se zapravo rodila ta ideja da glumim. Koliko ste Snježani Sinovčić Šiškov i Goranu Markoviću, koji glume vašu majku i brata, dali uvida u obiteljsku prošlost izvan onoga što je napisano u scenariju? Privatni kontekst nije bio tabu i doticali smo ga se spontano kada smo razgovarali o filmu. Međutim, proces rada definitivno nije počivao na tome da gradimo likove prema članovima moje obitelji. Mislim da time ne bismo dobili ništa autentično. Sjeli bismo i razgovarali o scenama o tome kako ih vidimo, kako bi oni u toj situaciji reagirali, kako bi oni to odigrali takoreći u vlastito ime ... Jako dugo smo probali. Mislim da smo mi na kraju postali neka nova obitelj. Koja nije preslika ni njih privatno, ni članova moje obitelji. Montaža filma je uvijek teška, puna nedoumica i teških odluka. Koliko je ovaj put bila još teža zbog same priče pune osobnih emocija? Već za vrijeme pisanja morao sam odvojiti taj osobni dio. Na snimanju još više. Potrebna je ta metapozicija da biste mogli upravljati onim što radite. Tako je vjerojatno uvijek kod izvedbenih umjetnosti. Glazbenik istovremeno osjeća, preplavljuje ga emocije, ali i dalje reproducira jako komplicirane kompozicije. Ovo je možda samo nešto ekstremnije. Ali svatko zapravo ima to iskustvo; recimo možete pjevati i biti duboko potreseni, ali istovremeno ćete znati pogađate li ton ili samo urlate. U montažu sam došao s iskustvom tog procesa, a montažer Marko Ferković je bio drugo, vjerojatno još objektivnije oko kojemu sam vjerovao.
Intervju s Jurajem Lerotićem, rediteljem filma Sigurno mjesto
Destilat vlastite traume
Interview with Juraj Lerotić, director of the film Safe Place
How difficult was it to decide to make a film about your personal family trauma? As an author, it fascinates me in some way that the horror that happened to me is even possible. Until that event, I was not aware that things could get out of control so quickly, so radically, without any announcement or explanation. That being said, it wasn’t easy to make this film. Slavoj Žižek was once asked how he publishes so much. He replied that while he is writing he tells himself that he is never going to publish it. I think I wrote this film in a similar way. Telling myself I'll never shoot it. In the end, I’m even acting in it. Are there any scenes in "Safe Place" that did not happen in real life? Of course. A metascene from hospital is something that couldn't possibly happen, that's probably why I wrote it. But the rest of the film is in a way more a distillate of trauma, a distillate of the experience I went through than a direct reconstruction. What did you want to achieve with that scene? When I knew what kind of story I wanted to tell, I began to think about a dramatic form that would suit such content. Should it be linear, fragmentary or something completely different? What kind of form is it that would mirror and upgrade the content created according to the traumatic event? It seemed to me that I should write something very solid and then break it in one place, make some kind of cut. Because trauma is a cut, a hole in life. That's why the film at one point leaves the solid fictional framework, the unity of time and action, and opens up to the metafilmic, autobiographical. Just as the protagonist's life is disrupted by a traumatic situation, the film itself is disrupted by a conflicting dramatic strategy. The spectator's illusion is undermined and at the same time a new dimension of the observed opens up. It would be pointless to do it in several places, because by repeating/varying that procedure would cease to be a wound and become part of the fabric of the film. When did you decide to play yourself? It actually came from the process. It was not an idea from the beginning. I was looking for an actor to play the older brother, but I was by no means sure that the choice was a good one. That was obviously a blind spot of mine. Probably the experience of that character is so close to me that everything but myself in that role seemed confusing to me. The casting process itself looked like this: I sent the actors (for all roles) selected scenes that we would then rehearse together. One on one, so to speak. I liked that intimate atmosphere. I soon realized that I can't just repeat the lines like a robot because I can't expect the actors to react correctly, so I started to pay more attention to my own interpretation. I recorded these rehearsals and later commented on the selected recordings with my colleagues. I wasn't in the frame, but they thought I sounded good, so they encouraged me to turn the camera towards myself. That's actually how the idea of me as an actor was born. How much insight did you give to Snježana Sinovčić Šiškov and Goran Marković, who play your mother and brother, into the family past beyond what was written in the script? The private context was not taboo and we touched on it spontaneously when we talked about the film. However, the work process was definitely not based on building characters based on my family members. I don't think we would get anything authentic by doing so. We would sit down and talk about the scenes; about how we see them, how they would react in that situation, how they would play it, so to speak, in their own name... We tried for a long time. I think we ended up becoming a new family. Which is not a reflection of them in private, or of my family members. Film editing is always difficult, full of doubts and difficult decisions. How much more difficult was it this time because of the story itself, full of personal emotions? Already during the writing I had to separate that personal part. Even more on set. You need that metaposition to be able to manage what you're doing. This is probably always the case with the performing arts. At the same time, the musician feels, is overwhelmed by emotions, but still reproduces very complicated compositions. This may just be something more extreme. But everyone actually has that experience; for example, you can sing and be deeply moved, but at the same time you will know whether you are hitting the right note or just screaming. I came to editing with experience of that process, and editor Marko Ferković was another, probably even more objective eye that I trusted. 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.
Destillate of the own trauma
Povratak u ženski katolički internat
Intervju s Ruth Mader, austrijskom rediteljicom fima Serviam – Ja ću služiti
Što vas je privuklo priči o mladim djevojkama u katoličkom internatu? I sama sam pohađala katolički internat za djevojčice. Raspoloženja i atmosfera koje sam tamo iskusila, duboko su me se dojmili, pa sam ih htjela uhvatiti u filmu. U internatu Sv. Ursule u Beču, koji ste i vi pohađali, djelomično ste snimili film. Kakva su vaša sjećanja na to vrijeme i kako vam je bilo vratiti se na “mjesto zločina”? Zajedništvo među djecom je bilo jako važno, još uvijek imam prijateljstva iz tog vremena. Sam internat je bio vrlo strog. Bilo je čudno vratiti se tamo: neke stvari su se promijenile, ali miris u blagovaonici je ostao isti. Nije to bilo lagano vrijeme za djecu. Film je pun biblijskih citata. Jeste li ih poznavali prije nego što ste počeli raditi na scenariju ili ste morali ponovno čitati Bibliju? Naravno da smo poznavali Bibliju, ali smo neke odlomke ponovno pažljivo pročitali i iz njih izvukli citate, kao što je Otkrivenje Ivanovo, koje je vrlo snažno i vizualno zapanjujuće. Zašto ste odlučili smjestiti film u osamdesete, a ne danas? Priča se morala odvijati u osamdesetima, jer je danas zabranjeno odvojeno obrazovanje dječaka i djevojčica. Ni priča više ne bi funkcionirala s postojanjem pametnih telefona. Također, to je vrijeme kada je sekularnost počela jačati. Priča se dobro uklopila u osamdesete, a posebno je zadovoljstvo bilo osmišljavati kostime i frizure u skladu s tim vremenom. Uz ovako potresnu priču, koliko ste morali biti oprezni u radu sa svojim mladim, dvanaestogodišnjim glumicama? Važna je bila otvorenost. Djeca su od početka znala scenarij i puno smo razgovarali o pojedinačnim ulogama i vjeri. Djevojke su svoje uloge odradile s puno discipline i predanosti. Sophia Gómez-Skripter naučila je pjevati posebno za film, Leona Lindinger naučila je klavirske skladbe iako uopće nije znala svirati klavir, Anna Elisabeth Berger bila je vrlo spontana i unijela je puno svog u ulogu. Djeca su bila fantastična. Koliko je teško napraviti triler s likovima koji nisu zli, već su samo ljudi uvjereni da čine dobre stvari ne shvaćajući da je “put do pakla popločan dobrim namjerama”? To je od početka bio cilj. Časna sestra nije zlonamjerna, ali u svom radikalnom uvjerenju prelazi granice. Uvijek me intrigira ambivalentnost likova, to mi je najzanimljivije. Pravi su negativci, čini mi se, roditelji koji gotovo da i ne mare za svoju djecu. Je li to bilo i vaše iskustvo iz internata? Da, apsolutno. Roditelji su tamo samo izbacili svoju djecu. Nije ih zanimala vjera, za njih je katoličanstvo uglavnom bilo samo ukras. Koliko se posljednjih desetljeća u Austriji promijenio odnos prema organiziranoj vjeri? Crkva se u Austriji sve više povlači. To je sve jači i jači trend. Imam dojam da bi Crkva trebala biti odlučnija u zastupanju svojih stavova. Prečesto ih relativizira, razvodnjava. Tada taj stav više nije zanimljiv. Razgovarao Josip Jurčić
Interview with Ruth Mader, Austrian director of the film Serviam
Back to the girl’s catholic boarding school
What attracted you to a story about young girls in a catholic boarding school? I have also attended a catholic boarding school for girls. The moods and atmospheres made a deep impression on me, I wanted to capture that in a film. The film was partly shot at St Ursula’s in Vienna, boarding school that you attended. What are your memories of that time and how was it to go back to the “crime scene”? The community among the children was very important, I still have friendships from that time. The boarding school itself was very strict - it was strange to go back there, some things had changed, but the smell in the dining room was still the same. It was a tough time for the children back then. The Film is full of quotes from the Bible. Did you know them before you started to work on a screenplay or did you have to read the Bible again? Of course we knew the Bible, but we read some passages again carefully and also quoted from them, such as from the Revelation of John, which is very strong and visually stunning. Why did you decide to place a film in 1980’s and not today? The story had to take place in the 80's, because today segregated education is forbidden and the story wouldn't work anymore with the existence of smartphones. Also, it's a time when secularity has started to get stronger. The story fits well with the 80's and it was a pleasure to design the costumes and hairstyles accordingly. With this harrowing story, how careful did you have to be with your child actors, who were 12-year-old girls? Openness was important, the children knew the script from the beginning and we talked a lot about the individual roles and faith. The girls worked on their roles with a lot of discipline and commitment. Sophia Gómez-Skripter learned to sing especially for the film, Leona Lindinger learned the piano pieces even though she couldn't play the piano at all, Anna Elisabeth Berger was very spontaneous and brought a lot of her own into the role. The kids were fantastic. How hard is to make a thriller with characters that aren’t evil, just people thinking they are doing good things and not realizing that “road to hell is paved with good intentions”? That was the goal from the start. The nun is not malicious, but she oversteps boundaries in her radical belief. I'm always interested in the ambivalence of characters, that's the most interesting thing for me. Real villains, it seems to me, are parents that almost do not care about their children. Was that also your experience from boarding school? Yes, absolutely. The parents shunted off their children there. They weren't interested in the faith, for them the catholicism was mostly just decoration. How much has the relationship towards organized religion changed in Austria in past few decades? The Church in Austria is increasingly on the retreat. This is becoming stronger and stronger. I have the impression that the Church should be more resolute in representing its positions. It relativizes, dilutes. This attitude is then no longer interesting. Josip Jurčić
Život nakon dobitka na lutriji
Intervju s Mátyásom Kálmánom, rediteljem i Ágnes Horváth-Szabó, producenticom mađarskog filma Posjet sreći
Koliko festivalska podrška znači autorima i producentima dokumentarnih filmova? Mátyás Kálmán: Već sam snimio cjelovečernji dokumentarni film, ali ovo je bio prvi rađen za međunarodnu publiku. Smatrao sam da moram iskoristiti svaku priliku da film i teme u njemu budu tako univerzalne da se s njima svi mogu povezati. Tijekom profesionalnih programa i predstavljanja naučio sam mnogo o procesu razvijanja filma i upoznao desetine uzbudljivih ljudi i projekata. Bilo je sjajno vidjeti koliko je dokumentarna zajednica otvorena i puna podrške te koliko je različitim akterima u filmskoj industriji važno proizvesti vrijedan sadržaj. Ágnes Horváth-Szabó: I meni je “Fortuna" bila prvi dugometražni projekt, nakon što smo surađivali na “Sretna Nova godina, Mađarska”. Bili smo apsolutni početnici, jedva smo držali mikrofon ili pričali engleski, a da se ne tresemo. No bili smo sigurni da je naša tema međunarodno privlačna (bivši beskućnik dobiva na lutriji) i željni naučiti o svim aspektima snimanja dokumentarnih filmova. Zahvaljujući bajkovitom sinopsisu birali su nas za mnoge radionice i forume. Većinom vrlo vrijedne, osobito u ranim godinama. Nakon tri-četiri godine ipak smo se suočili s vlastitim neuspjehom, što je meni jako teško palo. “Ah, opet vas dvoje? Još uvijek niste završili film o lutriji?" Primati nagrade tijekom razvoja projekta jedna je stvar, a priskrbiti mu finacije je nešto drugo. Pohađali smo ova događanja i s ciljem pronalaska novca. Razlozi za dobijanje bili su razni: što smo debitanti, pa jezik, pa način snimanja, nedostatak potpore u Mađarskoj, itd. Tijekom godina moj se optimizam pretvorio u realan pristup, shvatila sam gdje smo na mapi. I dalje smo bili neuspješni, no sve te radionice indirektno su utjecale da je moja vjera u “Fortunu” i njen stil - postajala sve jača. Mátyás, što ste mislili - kamo bi vas snimanje ovog filma moglo odvesti - i jeste li očekivali slijed događaja koji su se odvijali pred kamerom? Mátyás Kálmán: Tema mi se svidjela iz istog razloga iz kojeg će se možda svidjeti i gledateljima: svi žele znati što učiniti nakon dobitka na lutriji, pogotovo kada je riječ o ljudima iz siromašnih sredina. Nakon prvog susreta s protagonistima, osjetio sam da iskrenost s kojom Anikó i Laci govore o svojoj prošlosti stvara nevjerojatne mogućnosti za mene kao redatelja dokumentarnog filma. Sukob, o kojem smo kasnije raspravljali na nekoliko forumskih predstavljanja, ubrzo je postao očit: dok je za Anikó novac predstavljao slobodu da bude aktivna i kreativna, za Lacija je značio slobodu da ne radi ništa. U početku se stječe dojam da će film biti o Laciju, dobitniku lutrije. Da li se Anikó “nametnula” kameri? Mátyás Kálmán: Zbog karaktera glavnih likova bilo je puno teže snimati Lacija. Svoje je osjećaje uglavnom držao za sebe, a Anikó je preuzela kontrolu i nad njihovim životima i nad filmom. Kad je bilo napetije, često sam imao dojam da u sukobima zauzimam njezinu stranu, ali sam se i trudio približiti Laciju na način da poštujem kada ne želi da ga snimam. Što nije uvijek bilo lako. Malo je zastrašujuće kada Anikó kaže da ju je novac naučio mrziti. Ne bi li i Laci naučio mrziti, da je to istina? Mátyás Kálmán: To bi njega trebalo pitati, mislim da je Laci imao sasvim drugačiji pristup ovom pitanju. Ništa nije očekivao od vanjskog svijeta, nije osjećao pritisak da išta dokazuje i zapravo se jedino sukobljavao s Anikó. Kao i Anikó, mnogo je patio, ali mislim da u njemu nije bilo mržnje. Apsolutno je jasno da novac ne može kupiti sreću. Je li snimanje ovog filma utjecalo na vaš odnos prema novcu? Mátyás Kálmán: Ako razmislimo o tome kako su Laci i Anikó živjeli u prošlosti, jasno je da su sada u sigurnijem položaju i da imaju viši životni standard. Jasno je i da novac može transformirati nečiju osobnost. Ali kada dvoje ljudi novac transformira na vrlo različite načine, to proizvodi potpuno nepredvidive rezultate. Za mene je to svakako bila važna lekcija. Bez obzira na sve, još uvijek želim dobiti na lutriji, ali nisam siguran da bih bolje upravljao svojim životom. Ágnes Horváth-Szabó: Ne prema novcu, ali definitivno se promijenio moj odnos prema misteriji zbivanja. Saga o ovoj produkciji ima sličnosti sa stvarnim događajima u filmu: sve je počelo tako savršeno, zatim su uslijedili deseci slučajeva kada smo “skoro“ došli do financija, potom smo prije tri godine sve to pustili i praktički izjavili da ovaj film radimo iz hobija. A onda se “Fortuna" materijalizirala: hrvatski koproducenti Bojan Kanjera i Tibor Keser jednostavno nisu htjeli prihvatiti da ovaj film nije dovršen i željeli su se uključiti. Njihova treća prijava u HAVC-u bila je uspješna, a šanse za to bile su manje nego da dobiju jackpot na lutriji. I evo nas! Razgovarala Marinela Domančić
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.
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.
How much the support of the Festival means to the authors and producers of documentary films? Mátyás Kálmán: I've made a full - length collaborative documentary before, but this was the first documentary that I made for a truly international audience. I felt that I had to take every opportunity to make the film and the themes in it universally relatable. I learned a lot about the film development process during the professional programmes and pitches, and met dozens of exciting people. It was great to see how open and supportive the documentary community is, and how important it is for the different players in the industry to produce valuable content. Ágnes Horváth-Szabó: “Fortuna” was my first feature project too, after the collaborative “Happy New Year, Hungary”. We were absolute beginners, hardly could grab a mic without shaking or speaking in English. But we were certain about the international appeal of our topic (former homeless wins the lottery) and eager to learn about doc filmmaking, all aspects. Thanks to the fairy tale - like synopsis, we were picked by a lot of workshops and forums. Most of them were highly valuable, especially in the early years. After 3 - 4 years though, we faced our own unsuccessfulness, which was, for me, quite hard. “Ah, you two again? Still not finished the lottery film?” Well, receiving awards during development is one thing, getting financed is another. We were attending these platforms with the aim of finding financing too. Of course there were reasons behind rejections, e.g. being first - timer, language, way of filming, lack of Hungarian support etc. Along the years my optimism turned to a realistic approach, I learned where we are on the map. Indirect effect of the workshops is that as we kept on being unsuccessful, my belief in Fortuna and its style was becoming stronger. Mátyás, what was your idea about where making this film might take you and did you expect the sequence of events that unfolded in front of the camera? Mátyás Kálmán: The topic appealed to me for the same reason that it will possibly appeal to viewers: everyone wants to know what to do after winning the lottery, especially when it comes to people from poor backgrounds. After the first meeting with the protagonists, I felt that the unconcealed honesty with which Anikó and Laci talk about their past creates amazing opportunities for me as a documentary filmmaker. The conflict that we later shared at several pitching forums soon became apparent: while for Anikó, money meant freedom to be active and to create, for Laci, the prize meant the freedom of not doing. In the beginning I had the impression that the film would be about Laci, the winner of the lottery. Did Anikó “impose” herself on camera? Mátyás Kálmán: Because of the main characters, it was much more difficult to film with Lacy. He mostly kept his feelings to himself, and Anikó took control of both their lives and the film. When things were more tense, I often had the feeling that I was taking "Anikó's side" in the conflicts, but I also tried to get close to Laci in a way that I respected him when he didn't want to be filmed. This was not always easy. It's a little scary when Anikó says that money taught her to hate. Wouldn't Laci also learn to hate if that were true? Mátyás Kálmán: You'd have to ask him, but I think Laci had a very different approach to this question. I don't think he had any expectations of the outside world, he didn't feel any pressure to prove anything, and he didn't really have any conflicts with anyone except Anikó. Like Anikó, he suffered a lot, but I don't think there was any hatred in him. It is absolutely clear that money cannot buy happiness. Did making this film affect your attitude towards money? Mátyás Kálmán: If we think about how Laci and Anikó must have lived in the past, it is safe to say that they are now in a safer position and have a higher standard of living. It is also clear that money can transform a personality. But when two people are transformed by money, and in very different ways, it produces completely unpredictable results. It was certainly an important lesson for me too. Regardless, I still want to win the lottery, but I'm not sure I'd manage my life any better. Ágnes Horváth-Szabó: Not towards money, but my attitude towards the mystery of happenings has definitely changed. The saga of this production has some of the tones that the actual happenings in the film have: everything started so perfectly, then dozens of “almost” moments in financing followed, then 3 years ago we let it all go and practically declared that we were doing this film as a hobby. And then, “Fortuna” materialised in two Croatian co-producers, Bojan Kanjera and Tibor Keser, who simply did not want to accept that this film was not completed and wanted to join us. Their third application at HAVC was successful but the chances for this were even smaller than hitting the jackpot in the lottery. So here we are! Marinela Domančić
Life after winning the lottery
Interview with Mátyás Kálmán, director and Ágnes Horváth-Szabó, producer of the Hungarian film Paying a Visit to Fortuna
Grand kafa sa... Albanom Ukajem / Grand Coffee with... Alban Ukaj
Foto galerija / Photo gallery
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
Ekipa filma Šest sedmica / Crew: Six Week by Noémi Veronika Szakonyi
Masterclass sa Jessejem Eisenbergom / Masterclass with Jesse Eisenberg
Crveni tepih Red Carpet
Ljetno kino Coca-Cola / Coca-Cola Open Air CInema
"Vjetar se podigao tokom noći i otpuhao naše planove", riječi su koje se pojavljuju na uvodnoj špici filma MUZEJ REVOLUCIJE. One se odnose na plan iz 1961. godine za izgradnju grandioznog muzeja posvećenog socijalističkoj Jugoslaviji u Beogradu. Izgradnja muzeja koji je trebao "čuvati istinu" o narodu Jugoslavije nikada nije odmakla dalje od podruma. Ruševni ostaci planiranog objekta sada pričaju sasvim drugačiju priču od one koju su tvorci ideje o izgradnji muzeja prije šezdeset godina imali na umu. U vlažnom, mračnom prostoru žive otpadnici od društva koje je izmijenio kapitalizam. Film se fokusira na djevojčicu koja zarađuje novac na ulici perući šoferšajbe automobila sa svojom majkom. Djevojčica i jedna starica, koja također živi u podrumu, bliske su prijateljice. U gradu koji se transformiše, tri žene pronalaze utočište jedna u drugoj. “The wind got up in the night and took our plans away,” reads the proverb in the opening titles of MUSEUM OF THE REVOLUTION. The words are a reference to the 1961 plan to build a grand museum in Belgrade as a tribute to Socialist Yugoslavia. Meant to “safeguard the truth” about the Yugoslav people, the plan never went beyond the construction of the basement. The derelict building now tells a very different story than that envisioned by the initiators sixty years ago. In the damp, pitch-dark space live the outcasts of a society reshaped by capitalism. The film focuses on a girl who earns cash on the street by cleaning car windows with her mother, and who has a close friendship with an old woman who also lives in the basement. Against the background of a transforming city, the three women find refuge in each other.
RATNI PONI prati isprepletene priče dva mlada muškarca iz plemena Oglala Lakota koji odrastaju u Pine Ridge rezervatu. Sve što dvadesettrogodišnji Bill želi je da postigne nešto u životu. Odlučan je da ostvari američki san, bilo tako što će raditi kao dostavljač ili kao uzgajivač pudlica. U međuvremenu, dvanaestogodišnji Matho ne može dočekati da odraste i očajnički žudi za pohvalom svog mladog oca. Kada serija impulsivnih odluka preokrene Mathov život naglavačke, on shvata da nije u stanju izaći na kraj sa teškim izazovima svijeta odraslih. Povezani zajedničkom borbom da se uklope i osjete pripadnost, dva mlada muškarca bore se sa pitanjima identiteta, porodice i gubitka dok prelaze svoj jedinstveni put prema odrastanju. . WAR PONY follows the interlocking stories of two young Oglala Lakota men growing up on the Pine Ridge Reservation. At twenty-three, Bill just wants to make something of himself. Whether it’s delivering goods or breeding poodles, he is determined to hustle his way to the American Dream. Meanwhile, twelve-year-old Matho can’t wait to become a man and is desperate for approval from his young father. When a series of impulsive decisions turns Matho’s life upside down, he finds himself unequipped to deal with the harsh realities of the adult world. Bound by their shared search for belonging, each of the youths grapple with identity, family, and loss, as they navigate their unique paths to manhood.
TAKMIČARSKI PROGRAM - DocumentarNI FILM Competition Programme - Documentary Film
Ratni poni / War Pony United States, 2022, Colour, 114 min, English,Režija / Director: Gina Gammell, Riley Keough, Uloge / Cast: Jojo Bapteise Whiting, Ladainian Crazy Thunder, Jesse Schmockel, Wilma Colhoff, Iona Red Bear,
KINOSCOPE
Muzej revolucije / Museum of the Revolution Serbia, Croatia, Czech Republic, 2021, Colour, 91 min, Serbian, Romany, Režija / Director: Srđan Keča,
BUY TICKET
TEEN ARENA
Intenzivno prijateljstvo trinaestogodišnjih dječaka Lea i Remija iznenada se prekida. U nastojanju da shvati zašto se to dogodilo, Leo se obraća Remijevoj majci Sophie. BLIZU je film o prijateljstvu i odgovornosti. The intense friendship between thirteen-year-old boys Léo and Remi is suddenly disrupted. Struggling to understand what has happened, Léo approaches Sophie, Rémi's mother. CLOSE is a film about friendship and responsibility.
Open air
Blizu / Close Belgium, Netherlands, France, 2022, Colour, 105 min, Dutch, French, Flemish, Režija / Director: Lukas Dhont, Uloge / Cast: Eden Dambrine, Gustav De Waele, Émilie, Dequenne, Léa Drucker, Kevin Janssens,
Kada hitna situacija navede članove bogate porodice Benett da se sa odmora u Acapulcu vrate u Veliku Britaniju, na površinu izlaze prigušene tenzije između nasljednika porodičnog bogatsva, Alice i Neila. Delikatna ravnoteža među članovima naizgled blisko vezane porodice, uključujući braću Colina i Alexa, biva nepovratno narušena. When a distant emergency summons the wealthy Bennett family back to the United Kingdom, disrupting a vacation on the Mexican coast in Acapulco, simmering tensions rise to the surface between scions Alice and Neil. The delicate balance of the deceptively close-knit clan, including siblings Colin and Alexa, is irrevocably upset.
Zalazak sunca / Sundown Mexico, France, Sweden, 2021, Colour, 83 min, English, Spanish, Režija / Director: Michel Franco,,Uloge / Cast: Tim Roth, Charlotte Gainsbourg, Iazua Larios, Henry Goodman, Albertine Kotting McMillan, Samuel Bottomley