Regionalna premijera filma KORSET Regional premiere CORSET by Marie Kreutzer
NEDJELJA / SUNDAY 14.8.2022.
Svjetska premijera filma BALADA World premiere A BALLAD by Aida Begić
FESTIVAL DAILY
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Večeras dodjela nagrada Srca Sarajeva za TV serije
Intervju s Paulom Negoescuem, rediteljem filma "Ljudi od djela"
Svečana ceremonija dodjele nagrada Srca Sarajeva za TV serije 28. Sarajevo Film Festivala bit će održana večeras u 19 sati u hotelu Hills Sarajevo, pod pokroviteljstvom BH Telecoma. Ceremoniju će voditi glumac i TV voditelj Tarik Filipović, a u Sarajevo dolaze regionalne glumačke zvijezde. Nagrade Srca Sarajeva za TV serije bit će dodijeljene u dvije kategorije: za dramske serije i komedije. Stručni žiri kojeg čini više od 400 filmskih profesionalaca iz regije, ove je godine u konkurenciju za nagrade Srca Sarajeva za TV serije uvrstio 17 serija iz Bosne i Hercegovine, Hrvatske, Srbije, Crne Gore, Sjeverne Makedonije, Kosova i Slovenije. Serije koje su nominirane za nagrade Srca Sarajeva za TV serije su: “Advokado”, “Besa 2”, “Blok 27”, “Crna svadba”, “Čudne ljubavi”, “Dolina rož”, “Kljun”, “Leninov park”, “Lud, zbunjen, normalan”, “Močvara 2”, “Mrkomir I”, “Nečista krv”, “Područje bez signala”, “Složna braća”, “Ubice mog oca 5”, “Šutnja”, “Vreme zla”. U kategoriji dramskih serija, dodjeljuje se osam nagrada i to: za najbolju dramsku seriju, najbolju glavnu glumicu, najboljeg glavnog glumca, najbolju žensku epizodnu ulogu, najbolju mušku epizodnu ulogu, za Zvijezdu u usponu, za najbolju režiju (za epizodu) i za najbolji scenarij (za epizodu). U kategoriji komedija dodjeljuje se šest nagrada: za najbolju komediju, najbolju glavnu glumicu, najboljeg glavnog glumca, za Zvijezdu u usponu, najbolju režiju (za epizodu) i za najbolji scenarij (za epizodu). Medijski partner nagrada za TV Serije je Deadline.
The award ceremony for the best achievements in the TV series category of the 28th Sarajevo Film Festival will be held tonight at 7 p.m. in the Hills Sarajevo hotel, under the sponsorship of BH Telecom. The host of the ceremony will be Tarik Filipović, actor and TV host, and regional acting stars will come to Sarajevo. This year, there are more categories. Heart of Sarajevo for TV series will be given in two categories: drama and comedy series. For the Heart of Sarajevo awards for TV series at the 28th Sarajevo Film Festival, a professional jury composed of more than 400 film professionals from the region included 17 series from Bosnia and Herzegovina, Croatia, Serbia, Montenegro, North Macedonia, Kosovo, and Slovenia in the competition for awards this year. In the drama series category, 8 awards will be given: Best Drama Series, Best Actress, Best Actor, Best Supporting Actress, Best Supporting Actor, Rising Star, Best Director (per episode), and Best Script (per episode). In the comedy category, 6 awards will be given: Best Comedy, Best Actress, Best Actor, Rising Star, Best Director (per episode), and for Best Script (per episode). Sarajevo Film Festival established the awards for TV series last year, with the aim of promoting and recognizing the highest quality regional television series shown in the past year and encouraging their international placement. The media partner of the TV Series awards is Deadline.
Tonight the Hearts of Sarajevo Awards for TV series
Intervju: Paul Negoescu, bugraski reditelj filma Čovjek od djela
Što je toliko posebno u scenariju Radua Romaniuca i Oane Tudor da ste ga odlučili režirati, iako je to prvi film u kojem niste ujedno i scenarist? - Kada mi je Radu donio scenarij za “Čovjek od djela“ isprva sam ga odbio jer mi se činilo da govori o svijetu potpuno drugačijem od onoga u kakvom sam odrastao i poznavao ga. Cijeli život živim u Bukureštu, a priča se odvija u sjevernom dijelu regije Moldavije, na selu, gdje ljudi govore čvrstim naglaskom koji mi nije poznat. Pristao sam producirati film ukoliko pronađe drugog redatelja. No, nakon što je Radu gotovo godinu dana inzistirao da bih upravo ja trebao režirati film, shvatio sam da postoji nešto u glavnome liku što me jako intrigira. Uvijek su me zanimali likovi koji se ne mogu povezati s vlastitim emocijama i vječno bježe od stvarnosti, sve dok ih sudbina odjednom s njom ne suoči. Nakon što sam to shvatio, priča mi je postala bliska i počeo sam shvaćati o čemu se tu radi. Jeste li odmah glumca Iuliana Postelnicua vidjeli kao glavnog junaka Iliea, četrdesetogodišnjeg policijskog šefa u selu na sjeveru Rumunjske? - Ne, jer nisam znao da Iulian zna pričati rumunjski s moldavijskim naglaskom. Organizirali smo audiciju za većinu rumunjskih glumaca u četrdesetim godinama koji su živjeli ili su imali neku poveznicu s Moldavijom, regijom u sjevernoistočnom dijelu Rumunjske. Čak smo potražili glumce iz Republike Moldavije (nezavisne države koja se nalazi istočno od rumunjskog dijela Moldavije), iako je njihov naglasak prilično drugačiji. Na kraju, kada sam se već pripremao za potragu među glumcima izvan Moldavije, saznao sam da je Iulian rođen u mjestu u južnom dijelu Moldavije gdje naglasak nije tolikom snažan. No kako on tamo ima dosta rodbine činilo mi se da će ga puno lakše savladati. Izuzetno sam sretan što je sve ovako ispalo. Zašto je bilo važno snimiti film u toj regiji? - Radu Romaniuc, jedan od scenarista, dolazi iz te regije, točnije iz pokrajine Botoșani. Napisao je priču koja se događa u toj regiji, gdje je živio kao dijete i tinejdžer jer doista dobro poznaje taj svijet. U početku smo razmišljali da promijenimo mjesto u neku regiju bližu Bukureštu, ali nam je trebalo mjesto u blizini granice s nekom državom koja nije u EU, gdje još uvijek postoji prekogranični šverc. Zato smo u priči zadržali Botosani jer se tamo još uvijek dosta krijumčari, pogotovo cigarete. U nekom starom vesternu Ilie bi bio heroj koji spašava selo od korumpiranih vođa. Ali danas, čak i kada to pokušava biti, on nije heroj. Mislite li da više nema mjesta za junake? - Vjerujem da u svijetu još uvijek ima heroja. Puno je ljudi kojima se divim zbog njihove hrabrosti da djeluju u teškim vremenima. Također, puno je i filmova s moćnim herojima, pa nije postojala očajnička potreba za još jednim. Ilie je anti - heroj jer je toliko vremena proveo podčinjavajući se drugima i izbjegavajući sukobe, da čak i kada pokuša učiniti pravu stvar, uspijeva samo sve učiniti gorim. Zato nije samo anti - junak, već je i potpuno nesposoban. Koliko je važno bilo u ovu prilično mračnu priču unijeti barem malo humora? - Meni je jako važan humor u filmovima, posebno ako je posrijedi ozbiljna tema. Kao što je Mary Poppins pjevala – “uz žličicu šećera lijek lakše klizi“. Razgovarao Josip Jurčić
U početku sam rekao - ne
INTERVJU
Uz Coca-Colu i ove godine Živimo Sarajevo Film Festival Prava čarolija, filozofija je brenda Coca-Cola, koju više od dvije decenije uspješno dijeli sa Sarajevo Film Festivalom. Sarajevo će u avgustu živjeti Sarajevo Film Festival još više, i to širom grada uz Coca-Colu i mjesta za filmski provod, filmski susret, klopu, furku, pa i filmski poljubac. Svoju čaroliju Coca-Cola je prenijela i na Ljetno kino Metalac, gdje će svi filmoljupci pod zvijezdama uživati u projekcijama.
We are celebrating the Sarajevo Film Festival with Coca-Cola The real magic is the philosophy of Coca-Cola, which has been successfully shared with the Sarajevo Film Festival for more than two decades. In August, Sarajevo will live the Sarajevo Film Festival even more, all over the city with Coca-Cola and places for film entertainment, film meeting, food, fun, and even a film kiss. Coca-Cola has brought its magic to the Metalac Summer Cinema, where all film lovers will enjoy screenings under the stars.
INTERVIEW
Interview with Paul Negoescu, director of the film Men of Deeds
What was so special in script from Radu Romaniuc and Oana Tudor that you decided to make it into your first film that you didn’t also write? When Radu came to me with the script of 'Men of Deeds' I initially turned him down because it seemed a completely different world to me than the world I knew and grew up in. I lived all my life in Bucharest and the story takes place in the northern part of Moldova, in the countryside, where there's a strong accent that I'm not familiar with. So I only agreed to produce the film for him if he found a different director. But after almost a year of Radu insisting that I should be the one to direct this film I realised there is something in the main character that I was really interested in. I was always interested in characters who can't connect to their emotions and who are running away from reality until faith suddenly brings them in front of a reality check. So after realizing that, this story became familiar to me and I started to know what it was about. Did you immediately envision Iulian Postelnicu as your leading man Ilie, the forty-something chief of police in a village in Northern Romania? No, because I didn't know Iulian can speak with a Moldovan accent. We organized a casting session with most Romanian actors in their 40s that lived in Moldova or had roots in Moldova, which is a region in the north-eastern part of Romania. We've also tried actors from the Republic of Moldova (which is an independent state, east from the Romanian part of Moldova), even if their accent is quite different. In the end, when I was preparing to try actors that are not from Moldova, I found out that Iulian was born in a town from the southern part of Moldova where actually isn't a strong accent, but by having relatives that still live there, I imagined he can learn the accent easier. I was really happy the events took that turn. Why was it important to set the story in that region? Radu Romaniuc, who is one of the writers, is from that region, from Botoșani. He wrote the story to take place in the region where he lived as a child and teenager, since he knew that world really well. While preparing the production for the film we took in consideration the opportunity to change the place to a region closer to Bucharest, but we needed a region close to a non-EU border where they still do some smuggling. So we kept Botoșani as the place where the story happens because there is a lot of smuggling going there, especially cigarettes. In some old western Ilie would be a hero that saves village from its corrupted leaders. But today, even when he tries to be, he is far from it. Do you believe that there are no more heroes today? I think there still are heroes in the world, there are lots of people I admire for their courage to take action in difficult times. I also think there are a lot of regular people who are “everyday heroes”, just by doing their job incredibly well. And I also think there are a lot of films with powerful heroes so there wasn't a desperate need for another one. Ilie is an anti - hero since he is so un - conflictual and submissive and when he tries to do the right thing, he only manages to make things worse. So he's not just an anti - hero, but he's also quite incompetent. How important was it to put a little humor in this otherwise pretty dark story? For me it's really important to have humor in films, especially when there is a film with a more serious subject. It's like in that Mary Poppins song - ”a spoonful of sugar helps the medicine go down”. Josip Jurčić
At first, I said no
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.
Kako ste zadovoljni ovogodišnjom selekcijom i što biste izdvojili? Zadovoljna sam. Vrlo. Mislim da regija iz koje selektujemo filmove, od Kavkaza i Ukrajine, preko Turske, Kipra i Malte sve do Austrije i Moldavije pa opet prema jugu sve do Grčke i Albanije, što je ukupno 21 zemlja, ima šta pokazati svijetu. U zadnjih deset godina, mnogi autori su se opredijelili baš za dokumentarni format i počeli shvatati kako to nije i ne smije biti samo stepenica ka igranom filmu, već je autentična, vrlo potentna filmska forma koja daje puno kretivnih mogućnosti i još više autorske slobode. Prekrasno je vidjeti kako na scenu dolaze neki novi autori i novi talenti. Imamo tri divna filma iz Ukrajine, zemlje koja se bori za opstanak, gdje ljudi svakodnevno ginu, pate i unatoč svemu tome pokušavaju stvoriti nešto vrijedno i podijeliti ga sa svijetom. Dio tih filmova je ranije započet i sada tek završen, no jedan od njih je nastao baš sada, u mjesecima rata. Imamo i nova autorska imena iz Bosne i Hercegovine, ljude koji tek stupaju na profesionalnu scenu i već se vidi njihova posvećenost dokumentarizmu. Naš program proslavlja različite dokumentarističke forme: od uzbudljivog cinema-verite dokumentarca gdje je kamera „muha na zidu“ pa do poetskog, krajnje intimističkog filma dnevnika te dokumentaraca koji kroz kreativnu upotrebu arhiva progovaraju o relevantnim događajima. Imamo i jedan izrazito eksperimentalni film koji se poigrava filmskim elementima te filmove koji talentirano i efikasno kombinuju animaciju sa elementima dokumentarizma. Postoji li neka tema koja definira ovogodišnju selekciju? Nema zajedničke teme, no ima tendencija da autori progovaraju iz ličnog iskustva, bilo da promatraju svoju porodicu, mjesto u kojem su u djetinjstvu živjeli ili se vežu za događaj koji je obilježio njihovu prošlost. Kada je nešto vrlo lično, polazišna tačka i motivacija autora da se posveti određenoj temi, najčešće rezultira zanimljivom kompleksnošću filma jer se uspije iščitati kako narativni, tako i meta-narativni nivo filma. Ako biste komparirali ovogodišnji i prošlogodišnji program, šta se promijenilo između dva Festivala? Ono što je značajno utjecalo na selekciju ove godine je odluka Festivala da uvedemo Nagradu za najbolji kratki dokumentarac. Svake godine smo imali par zaista dobrih, kratkih dokumentaraca pa je, shodno tome, uvedena i Nagrada koja će stimulirati rad na kratkoj formi i dati šansu mladima, često debitantima da budu primjećeni i nagrađeni. Sama ta činjenica dovela je do velikog broja prijavljenih kratkih dokumentaraca, od čega je izabrano devet za takmičarski program. Tu su se pojavili neki novi talenti iz zemalja koje nemaju brojčano veliku dokumentarstičku produkciju, kao Azerbajdžan, Sjeverna Makedonija ili Kosovo. Što je potrebno da jedan dokumetarni film osvoji srca publike i žirija? Nije nužno da isti film osvoji srca publike i žirija. Doduše, s takvim situacijama smo se često susretali, što je fantastično: snažan film, releventna tema, atraktivni junaci, odlična režija, eventualno dobra doza humora plus autorska vrckavost i talent – krajni rezultat bude film koji šarmira i osvoji srca široke publike kao i ljudi iz struke. Takve primjere imamo u bh. filmu SCREAM FOR ME SARAJEVO, hrvatskim GANGSTER TE VOLI, SRBENKA, bugarskom ČIJA JE TO PJESMA, rumunjskom TOTO I NJEGOVE SESTRE i drugi, bilo ih je dosta. No, imali smo i situaciju da je najveću nagradu - Srce Sarajeva za najbolji dokumentarni film, dobio film koji je imao najmanji broj publike u sali te godine i sa kojeg je publika tokom prikazivanja izlazila. Autor je član ovogodišnjeg žirija, Hilal Baydarov, veliki talenat iz Azerbejdžana i jako sam ponosna što je njegov prvi veliki uspjeh bio baš u Sarajevu. Danas je on vrlo poznat i cijenjen, njegovi filmovi su redovno prikazivani u Veneciji i Locarnu, a Sarajevo Film Festival je u njegovim intimističkim i poetsko-metafizičkim filmovima otkrio tu čudesnu stvaralačku energiju i vrijednost. Tokom svih godina koliko birate filmove za Takmičarski program - dokumentarni film Sarajevo Film Festivala da li postoji film ili događaj kojeg se uvijek rado sjetite? Bilo je to na samom početku Dokumentarnog programa. Imali smo projekciju filma Igora Mirkovića, SRETNO DIJETE. On je došao na tehničku probu, kada su u publici sjedili tehničari, koje je zamijenio za gledaoce i veoma se razočarao, da čak ni njegovi prijatelji kojima je poklonio karte nisu došli. U isto vrijeme, zbog još neotvorenog ulaza, van sale je bio veliki red, a kako je Mirković ušao na sporedni ulaz, nije primjetio veliki broj zainteresiranih u redu. Na kraju je dobio stajaće ovacije i bio je to jedan od omiljenih dokumentarnih filmova Sarajevo Film Festivala. Imali smo i projekciju u Pozorištu mladih s improviziranim klima uređajem, koji nije mnogo pomagao, a publika je hrlila u kino ne obazirući se na vrućinu. Igrao je film ROAD TO MECCA, austrijske produkcije. Ispod Pozorišta je ostalo više ljudi nego što ih je uspjelo ući, razgovor poslije je bio veoma zanimljiv i trajao je dugo, a vrućina je pala u drugi plan, čak je niko nije ni spominjao. Sjećam se ushićene publike i desetominutnih frenetičnih, stajaćih ovacija za SCREAM FOR ME SARAJEVO, domaćeg autora Tarika Hodžića. Nakon filma brojna ekipa, među kojima su bili i članovi poznatog benda koji su s Bruceom Dickinsonom bili u Sarajevu za vrijeme rata, se predstavila publici, a naša teatarska diva Vesna Mašić je tada rekla i gestom pokazala „Ja vam se do poda naklanjam“. Prije projekcije filma prošli smo kroz veoma stresnu situaciju, s obzirom da su, nenajavljeno u Sarajevo iz Italije, stigli roditelji člana benda samo zbog premijere kao i pojedini muzičari iz SAD-a, za koje mi skoro da nismo imali mjesta. Osim njih, najmanje pedeset ljudi je ispred kina čekalo „kartu više“. Bio je to veličanstven događaj. Na kraju je film dobio tri nagrade – Nagrada publike – Najbolji dokumentarni film, Specijalna nagrada žirija i Human Rights nagrada. Ponosna sam što je film u svijet lansirao upravo Sarajevo Film Festival, te je kasnije igrao na stotinu festivala i u kinima na Zapadu s velikim uspjehom. U čemu lično najviše uživate tokom Sarajevo Film Festivala? Svakog dana tokom Festivala u kino odlazim s velikom tremom i sjedim „kao na iglama“ dok traju projekcije filmova iz Takmičarskog programa – dokumentarni film – kako će se osjećati autor, glumci iz filma koji često posjete projekciju, kako će doživjeti reakciju sarajevske publike. I zaista, kada krene aplauz, u tim trenucima uživam najviše. Iako sam ja lično samo jedan mali kotačić koji pokreće mogući uspjeh filma, osjetim unutrašnju zebnju i osjećaj odgovornosti, jednako prema publici i prema autorima. Evidentno je da iz godine u godinu imamo sve više svjetskih premijera i to filmova koje produciraju priznati profesionalci, poput Natalie Libet iz Ukrajine, Irene Malcea iz Rumunije ili Ages Horvat iz Mađarske. Producenti, reditelji i cijela ekipa, često i protagonisti filma, vidjet će sve ono na čemu veoma strastveno dugo radimo, po prvi put, na velikom platnu, baš u Sarajevu. Dokumentarni film radi se i po pet-šest godina, nekada i deset, i kada vam neko ukaže povjerenje da baš vaš program lansira u svijet njihovo mezimče – njihov film, onda je to velika stvar. To su momenti koji se pamte. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Intervju s Radom Šešić, selektoricom Takmičarskog programa – dokumentarni film
Na scenu dolaze novi autori i novi talenti
New authors and new talents coming on stage
How satisfied are you with this year's selection and what would you set aside? I'm very satisfied. Very much so. I think that the region from which we select films, from the Caucasus and Ukraine, through Turkey, Cyprus, and Malta to Austria and Moldova and again to the south to Greece and Albania, which is a total of 21 countries, has something to show the world. In the last ten years, many authors have opted for a documentary format and started to realize that it is not and should not be just a step towards a feature film, but it is an authentic, very potent film form that gives a lot of creative possibilities and even freedom to authors. It's wonderful to see some new authors and new talents coming on stage. We have three wonderful films from Ukraine, a country that is struggling to survive, where people are dying every day, suffering, and despite all that, trying to create something valuable and share it with the world. Part of these films was started earlier and is now only just finished, but one of them was made right now, in the months of the war. We also have new authors from Bosnia and Herzegovina, people who are just entering the professional scene, and their commitment to the documentary is already evident. Our program celebrates various documentary forms: from the exciting cinema-verification of a documentary where the camera is a "fly on the wall" to the poetic, utterly intimate diary film and documentaries that talk about relevant events through the creative use of archives. We also have an extremely experimental film that plays with film elements and films that efficiently and with talent combine animation with elements of documentary. Is there a theme that defines this year's selection? There is no common theme, but there is a tendency for authors to speak from personal experience, either to observe their family, the place in which they lived as a child, or to relate to an event that marked their past. When something is very personal, the starting point and motivation of the author to devote himself to a particular topic usually results in an interesting complexity of the film because it manages to read both the narrative and meta-narrative level of the film. If you compare this year's program with last year's, what has changed between the two festivals? What significantly influenced the selection this year was the Festival's decision to introduce the Best Short Documentary Award. Every year we had a couple of really good, short documentaries so, accordingly, the Award was introduced that will stimulate work on short form and give young people, often debutants, a chance to be noticed and rewarded. This fact alone led to a large number of short documentaries being submitted, of which nine were selected for the competition programme. Some new talents have emerged from countries that do not have a large documentary production, such as Azerbaijan, North Macedonia, or Kosovo. What does it take for a documentary film to win the hearts of the audience and the jury? The same film doesn't need to win the hearts of the audience and the jury. Admittedly, we often encountered such situations, which are fantastic: a strong film, a relevant topic, attractive heroes, excellent directing, possibly a good dose of humor plus the author's wiggle and talent – the result is a film that charms and wins the hearts of a wide audience as well as people from the profession. We have such examples in the movie SCREAM FOR ME SARAJEVO, Croatian GANGSTER OF LOVE, SRBENKA, Bulgarian WHOSE IS THIS SONG?, Romanian TOTO AND HIS SISTERS, and others, there were plenty of them. However, we also had the situation that the biggest award - Heart of Sarajevo for the best documentary film, was received by the film that had the lowest number of audiences in the hall that year and from which the audience came out during the screening. The author is a member of this year's jury, Hilal Baydarov, a great talent from Azerbaijan, and I am very proud that his first great success was in Sarajevo. Today he is very famous and respected, his films have been regularly shown in Venice and Locarno, and Sarajevo Film Festival has discovered this amazing creative energy and value in his intimate and poetic-metaphysical films. During all the years you have been choosing films for the Competition Programme - Documentary of Sarajevo Film Festival, is there a film or an event that you always like to remember? It was at the very beginning of the Documentary Program. We had a screening of Igor Mirković's A HAPPY CHILD. He came to the technical rehearsal when the technicians sat in the audience, whom he switched out for viewers, and was very disappointed, that even his friends to whom he gave the tickets did not come. At the same time, due to the unopened entrance, there was a large queue outside the hall, and as Mirković entered the side entrance, he did not notice a large number of interested parties waiting in the queue. Eventually, he got a standing ovation and it was one of Sarajevo Film Festival's favorite documentaries. We also had a screening at the Youth Theatre with improvised air conditioning, which did not help much, and the audience rushed to the cinema, ignoring the heat. The film ROAD TO MECCA, an Austrian production, was playing. There were more people left under the Theatre than managed to get in, the conversation afterward was very interesting and lasted a long time, and everybody forgot about the heat, no one even mentioned it. I remember an ecstatic audience and ten-minute frenetic standing ovations FOR SCREAM FOR ME SARAJEVO, by the local author Tarik Hodžić. After the film, many of the crew, including members of the famous band who were with Bruce Dickinson in Sarajevo during the war, presented themselves to the audience, and our theatre diva Vesna Mašić said and gestured "I bow down to you to the floor". Before the screening of the film, we went through a very stressful situation, since, unannounced, the parents of a band member arrived in Sarajevo from Italy just for the premiere, as well as some musicians from the United States, for which we almost had no place. In addition, at least fifty people were waiting outside the cinema for "one more ticket". It was a magnificent event. In the end, the film received three awards – Audience Award – Best Documentary Film, Special Jury Award, and Human Rights Award. I am proud that the film was launched into the world by the Sarajevo Film Festival and later played at hundreds of festivals and in theatres in the West with great success. What do you personally enjoy most during the Sarajevo Film Festival? Every day during the Festival, I go to the cinema with jitters and sit "on eggshells" during the screening of films from the Competition Program – documentary films – how the author will feel, the actors from the film who often visit the screening, how they will experience the reaction of the Sarajevo audience. And indeed, when it comes to applause, I enjoy those moments the most. Although I am just one little wheel that drives the film's possible success, I feel inner anxiety and a sense of responsibility, both towards the audience and the authors. It is evident that year after year, we have more and more world premieres of films produced by renowned professionals, such as Natalie Libet from Ukraine, Irina Malcea from Romania, and Ages Horvat from Hungary. Producers, directors, and the whole crew, and often protagonists of the film, will see everything we have been working on for a long time, for the first time, on a big screen, right in Sarajevo. A documentary film is made for five or six years, sometimes even ten, and when someone trusts you that your program will launch, into the world, their pet – their film, then it is a big deal. Those are the moments that are remembered. 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 Rada Šešić, selector of the Competition Program – Documentary film
Glas protiv ženske šutnje
Intervju: Cătălina Tesăr, ruminjska antropologinja i rediteljica filma „Kalež. O sinovima i kćerima“
Prije četiri godine sudjelovali ste na Docu Rough Cut Boutique u Sarajevu, a sada se vraćate „na velika vrata“, ravno u takmičarski program - dokumentarni film. Koliko vam to znači? Velika je radost vratiti se u Sarajevo u Takmičarski program – dokumentarni film i moram priznati da je to bilo iznenađenje. Zaljubila sam se u grad i Festival kada sam bila na Docu Rough Cut Boutique-u. Tom prilikom sam već imala bogat grubi rez i uglavnom sam znala temu. Ono što sam tamo naučila je kako da skrojim film da uđe na festivale. U Docu Rough Cut Boutiqueu naučila sam da gledam na filmski materijal očima festivalskih programera i selektora, te filmskih distributera koje su drugačije od očiju režisera. Doktorirali ste antropologiju i autorica ste naučnih radova koji se bave životom transilvanijskih Roma. Režijom ovog filma vaš naučni rad dobio je i umjetničku notu. Koliko se snimanje filma o održavanju tradicije razlikuje od proučavanja tradicije? Oduvijek sam bila stidljiva u režiranju i vjerujem da sam bolja antropologinja nego rediteljica. Pohađala sam kurs o snimanju filma u Londonu tijekom doktorata i tom prigodom sam shvatila da je snimanje filma potpuno drugačiji posao od antropologije. Zato nisam ni pokušala snimati film tokom istraživanja, odgodila sam ga do završetka studija. Htjela sam za koredatelja pronaći osobu iz svijeta filma. Radeći na terenu pokušala sam shvatiti šta održava zajednicu na okupu, kakav je njen kulturni i društveni poredak. Veliki je izazov bio izdvojiti likove iz zajednice i razumjeti njihovu individualnu psihologiju, a ne kolektivne kulturne vrijednosti. Zadivljuje koliko su Vaši akteri prirodni pred kamerama. Ponašaju se kao da ih ne snimate, potpuno ležerno i bez imalo srama se svađaju, potuku se i pričaju o vrlo osobnim stvarima. Kako ste snimili scenu u kojoj pripiti Costică pravi rusvaj u koji se uključi cijela uža i šira obitelj? Sprijateljila sam se s Costicinom obitelji mnogo prije nego što sam počela snimati. Nekako sam postala dio porodice, „usvojili“ su me, a posebno se Costica ponaša prema meni kao da sam mu rođena kćer. Kada je u inozemstvu, zove me i pita treba li mi novca ili bilo što drugo. Posjećujemo se, oni često dolaze u Bukurešt, a i ja k njima Prvi put sam ih pratila u prosjačenju kada je njegov sin Peli imao samo 14 godina i oboje smo bili početnici u umjetnosti prosjačenja. Oči smo isplakali na kraju dana provedenog u prosjačenju tražeći od njegovih roditelja da se vratimo kući ranije. Međutim, nisam ja snimila scenu kada Costica razbija flaše. Kao “dio obitelji” bila bih previše upletena u svađu da bih je mogla snimati. Ileana Szasz, moja prijateljica, antropologinja i snimateljica, bila je sa mnom u selu u vrijeme kada sam završila snimanje i još uvijek sam tražila završetak filma. Htjela sam snimiti neke „čiste“ intervjue i zaposlila sam Ileanu da to uradi... i završila je snimajući svađu. Način na koji transilvanijski Romi tretiraju žene, žensku djecu, pa čak i ženske fetuse potresan je i strašan sa aspekta nepoštivanja elementarnog ljudskog prava – prava na život. Vi snimate, slušate, poštujete i ne uplićete se. Kako ste, kao žena, u svakom trenutku uspjeli zadržati promatračku distancu? To je vjerojatno zasluga mog antropološkog oka. Uvježbano je da razdvoji kulturnu i društvenu logiku od ponašanja ljudi. Sa stanovišta zajednice, ima smisla ne željeti djevojčice: one su teret za roditelje, trebaju im veliki novčani mirazi za udaju, kao i puno roditeljske brige kada se udaju. Ipak, kao što kažete, i ja sam žena, suosjećam sa ženama koje prolaze kroz prekid trudnoće. I sama sam imala spontani pobačaj u četvrtom mjesecu trudnoće, a tjelesna bol i psihičke muke tog iskustva usađene su u moje pamćenje. U filmu se Bara prisjeća takvog iskustva i njena ispovjest je strašno bolna. Divim se otpornosti ovih žena koje nemaju pristup psihoanalitičkoj terapiji, kao što sam ja imala. Postoje li pokušaji osnaživanja Romkinja barem kroz neformalno obrazovanje i psihološku pomoć, i da li se nadate da bi ovaj film mogao učiniti mali korak u tom pravcu? Možda film to ne pokazuje jasno, ali nisu sve Romkinje obespravljene. Kada ostare, žene dobijaju barem istu količinu, ako ne i više, moći od muškaraca. Nedavno udate žene koje nisu rodile sina su maltretirane i psihički zlostavljane. I kao što vidite u filmu, ne postoji svijest o pripadnosti ženskom rodu (u smislu svijesti o klasnoj pripadnosti). Bara želi da njena šogorica doživi ista traumatična iskustva kao i ona. Štaviše, mlade udate žene, snahu u kući maltretiraju više nego njihovi muževi. Kada razmišljamo o osnaživanju žena kao skupine, ovo treba imati na umu. Mislim da moj film daje glas nedavno udatim ženama, barem dvjema, i ovo bi trebao biti veliki korak naprijed u odnosu na šutnju koja ih obično okružuje. Razgovarala Marinela Domančić
A voice against women's silence
Interview: Cătălina Tesăr, Romanian anthropologist and director of the movie "The Chalice. Of Sons and Daughters"
Four years ago, you participated in the Doc Rough Cut Boutique in Sarajevo. Even then, you had a lot of recorded material and a clearly defined topic. How much did Docu Rough Cut help you in the finalization and what does it mean to you that you are returning straight into the documentary competition program? Its a big joy to return in Sarajevo in the competition program and I should confess that it came as a surprise. I felt in love with the city and the festival when I was there for the Docu Rough Cut Boutique. On that occasion I already had a rich rough cut and kind of knew the topic, yet what I learned there was how to tailor it to make its way into festivals. At Docu Rough Cut Boutique I learned to look at the cut with the eyes of festival programmers and selectors, and film distributors. Which are different from the eyes of a director. You have a Ph.D. in anthropology and you signed many scientific papers about the life of the Transylvanian Roma. With this film, you became a director and your scientific work received an artistic touch. How different is making a film about maintaining tradition from studying tradition? I have always been shy about directing a film, and I believe I am a better anthropologist than a director. I took a course on filmaking in London during my PhD and on that occasion I understood that making a film is a completley different job than doing anthropology. That's why I did not attempt to make a film during my research (and I postponed it till I finished my studies) and why I wanted to find a co-director in a film person. When I did my fieldwork I attempted to understand how the community is held together, what is its cultural and social order. Whereas when making the film the big challenge was to single characters out of the community, to understand individual pshychologies rather than colective cultural values. It's amazing how natural your characters are in front of camera. They act as if you are not filming them, they quarrel, fight and talk about very personal things completely casually and without any shame. How did you manage to film the scene in which Costică gets drunk and creates chaos involving the entire immediate and extended family? Well, I befriended Costica's family long before starting shooting. I somehow became part of the family, they „adopted“ me and especially Costica is treating me as if I was his own daughter. When he is abroad he calls me and asks if I needed money or anything else. We visit each other, they come often to Bucharest and I visit them. I first accompanied them begging when Peli, his son, was only 14 years old and we were both novices to the art of begging. The two of us cried our heads out at the end of a begging day asking his parents to return home earlier than planned. However it wasn't me who filmed the scene when Costica smashes the bottles, I would have been to involved in the quarrel (as part of the family) to be able to film. Ileana Szasz, a friend who is both an anthropologist and a camera woman, accompanied me in the village at a time when I completed the shootings and I was still looking for an end to the film. I wanted to film some „clean“ interviews and hired Ileana for the job. Yet she ended up shooting a quarrel. The way Transylvanian Roma treat women, girls, and even female fetuses is shocking and terrible from the aspect of disrespecting a basic human right - the right to life. You record, listen, respect and don't interfere. How did you, as a woman, manage to keep an observational distance all times? That's probably my anthropological eye bias. I trained it to look for clues to disentangle the cultural and social logic behind people’s behavior. From the stance of the community, it makes sense not to desire girls: they are a burden for their parents, they need big cash dowries to marry and also a lot of parental care once married. Yet as you say I am also a woman and cannot help empathizing with the women who undergo pregnancy interruption. I myself had a miscarriage in the 4th month of a pregnancy and the bodily pain and the psychological affliction/distress of that experience are instilled in my body memory. In the film, Bara is reflecting on such an experience and her confession is tear fetching. I very much admire the resilience of these women who do not have access to psychoanalysis therapy, as I did. Are there any attempts to empower Roma women, at least in terms of informal education and psychological help, and do you hope that this film could make at least a small step in that direction? Maybe the film doesn't make it clear, but its not Roma women as a fold who are disempowered. When they grow old, women gain at least the same amount of if not more power than men. Its the recently married women who hadn't had a boy/son who are misstreated and if you want, psychologically abused. And as you see in the film, there is no consciousness of belonging to the fold of women (in the sense of conscousness of class belonging). Bara wishes that her sister-in-law undergoes the same traumatic experiences that she had. Moreover, when these young married women bring their own daughter in law in the house, they misstreat her more than their husbands. When thinking about the empowering of women as a fold we should keep the above in mind. However I think that my film gives voice to recently married women, at least two of them, and this should be a big step foreward from the silent treatment they usualy enjoy. Marinela Domančić
Ekipa filma Balada / Crew: A Balad
Foto galerija / Photo gallery
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
Nominirani za Srca Sarajeva za TV serije / Nominees for the Hearts of Sarajevo Awards for TV Series
Ekipa filma Korset / Crew: Corsage, Red carpet
U regiji Donbas u istočnoj Ukrajini vodi se hibridni rat koji uključuje otvoreni oružani sukob, ali i široko rasprostranjena ubistva i pljačke čiji su počinioci članovi separatističkih bandi. U Donbasu rat se naziva mirom, propaganda se prikazuje kao istina, a mržnja proglašava ljubavlju. Putovanje kroz Donbas niz je neobičnih avantura u kojima se groteskno i dramatično isprepliću poput života i smrti. Ovo nije priča o jednoj regiji, jednoj zemlji ili o jednom političkom sistemu. Ovo je priča o svijetu lažnih identiteta u vremenu nakon istine, priča o svakom od nas. In the Donbass, a region of Eastern Ukraine, a hybrid war takes place, involving an open armed conflict alongside killings and robberies perpetrated by separatist gangs on a mass scale. Here, war is called peace, propaganda is uttered as truth, and hatred is declared to be love. A journey through the region unfolds as a chain of curious adventures, where the grotesque and dramatic are as intertwined as life and death. This is not a tale of one region, one country, or one political system; it is about a world lost in post-truth and fake identity. It is about each and every one of us.
BUY TICKET
Dvadeset i osam godina nakon što su ona i njena porodica protjerani iz svoga doma, Aynur Elgunesh priprema se posjetiti Agdam u Azerbejdžanu. Kada naiđe na gomilu kamenja, među njima pokušava pronaći tragove svoje prošlosti i svoga djetinjstva okončanog ratom. Među ruševinama je progone uspomene za koje je vjerovala da su davno izblijedjele. Twenty-eight years after she and her family were displaced, Aynur Elgunesh is setting off to visit Aghdam in Azerbaijan. She comes across fragments of stone: among them, she searches for traces of her past, of a childhood gone with the war. The memories that had faded now haunt her through these ruins.
TAKMIČARSKI DOKUMENTARNI / cOMPETITION DOCUMENTAIRES
U hladu platane / Shadowed by the Plane Tree Azerbaijan, 2022, Colour, 18 min, Azerbaijani, Režija / Director: Aynur Elgunesh,
POSVEĆENO / TRIBUTE TO
Donbas / Donbass Germany, Ukraine, France, Netherlands, Romania, 2018, Colour, 121 min, Ukrainian, Russian, Režija / Director: Sergei Loznitsa, Uloge / Cast: Boris Kamorzin, Valeriu Andriuță, Tamara Yatsenko, Liudmila Smorodina, Olesya Zhurakovskaya, Sergei Russkin, Petro Panchuk, Irina Plesnyaeva, Zhanna Lubgane, Vadim Dobuvsky, Alexander Zamurayev, Gerogy Deliev
Ilie, lokalni šef policije, želi izgraditi siguran život za sebe, ali napravi jednu pogrešku. Sredovječan i otuđen, Ilie osjeća potrebu da bude dio nečega – da posadi voćnjak ili čak izgradi kuću. Iako se u selu dešavaju čudne stvari, Ilie vidi samo ono što mu odgovara. Kolaps nastaje onda kada se Ilie uključi u seoska zbivanja. U nedostatku rješenja, Ilie pokušava biti nešto što nikada nije bio: borac za pravdu koji hapsi sve koji su to zaslužili. Ilie, a small-town police chief, wants to build a comfortable life for himself, but ends up making the wrong choices. Middle-aged and alienated, he feels the need to be a part of something – to build an orchard, even a home. Although dubious things happen in the village, Ilie only sees what suits him. The moment he gets involved in village life marks the beginning of his collapse. In a vacuum of solutions, he tries to be what he has never been before: the justice-seeker who arrests everyone who might be guilty.
OPEN AIR
Čovjek od djela / Men of Deeds Romania, Bulgaria, 2022, Colour, 105 min, Romanian, Režija / Director: Paul Negoescu, Uloge / Cast: Iulian Postelnicu, Anghel Damian, Vasile Muraru, Crina Semciuc, Daniel Busuioc, Oana Tudor, Vitalie Bichir, Annemarie Chertic
Lov / The Hunt Denmark, Sweden, 2012, Colour, 115 min, Danish, English, Polish, Režija / Director: Thomas Vinterberg, Uloge / Cast: Alexandra Rapaport, Thomas Bo Larsen, Anne Louise Hassing, Lars Ranthe, Susse Wold, Ole Dupont, Mads Mikkelsen, Mads Mikkelsen
Nakon bolnog razvoda, četrdesetogodišnji Lucas pronašao je novu djevojku, novi posao i pokušava popraviti odnos sa svojim sinom, tinejdžerom Marcusom. Ali stvari krenu krivim tokom. Ništa ozbiljno. Samo usputni komentar. Pokoja laž. A kako pada snijeg i božićne lampice se pale, laž se širi poput nevidljivog virusa. Šok i nepovjerenje više se ne mogu kontrolisati i mala zajednica iznenada upada u stanje kolektivne histerije dok Lucas vodi usamljeničku bitku za vlastiti život i dostojanstvo. Following a tough divorce, forty-year-old Lucas has a new girlfriend and a new job, and is in the process of re-establishing his relationship with his teenage son Marcus. But things go awry. Not a lot. Just a passing remark. A random lie. And as the snow falls and the Christmas lights are lit, the lie spreads like an invisible virus. The shock and mistrust get out of hand, and the small community suddenly finds itself in a collective state of hysteria, while Lucas fights a lonely fight for his life and dignity.
TAKMIČARSKI PROGRAM - IGRANI FILM / COMPETITON PROGRAMME - FEATURE FILM