Regionalna premijera filma KLONDIKE / Regional premiere of a KLONDIKE
FESTIVAL DAILY
SRIJEDA / wednesday 17.8.2022.
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Ukaj: Zahvalan sam i sretan Å¡to sam dio ovog Festivala i ovog plemenitog grada
U programu Open Air 28. Sarajevo Film Festivala prikazan je film TORI I LOKITA Jeana-Pierrea Dardenna i Luca Dardennea. U filmu glumi i Alban Ukaj, koji je prije projekcije pozdravio publiku u Ljetnom kinu Coca-Cola. “Za mene je ovo poseban dan: dan kad je ovdje premijera filma ‘Tori i Lokita’ i dan kad je mom sinu Nardisu roÄ‘endan. Sretan roÄ‘endan! Razgovarao sam danas s braćom Dardenne, koji Å¡alju puno pozdrava Sarajevu. Već dugo su željeli doći u Sarajevo, ali sada su na razliÄitim stranama svijeta. Jako sam sretan Å¡to sam dio ovog filma, jer mi je jako važan i vjerujem da će biti važan i publici koja će ga gledati. Ovo je za mene jako emotivan dogaÄ‘aj, hvala vam Å¡to ste tu. Pozdrav braći Dardenne, poslat ćemo im fotografiju da vide i ovo kino koje je rijetkost. Zahvalan sam i sretan Å¡to sam dio ovog Festivala i ovog plemenitog gradaâ€, rekao je Ukaj. TORI AND LOKITA Ukaj: I’m grateful and happy to be part of this Festival and this beautiful city TORI AND LOKITA by Jean-Pierre Dardenne and Luc Dardenne was shown as part of the Open Air Programme of the 28th Sarajevo Film Festival. Alban Ukaj also starred in the film, and greeted the audience before the screening at the Coca-Cola Open Air Cinema. “This is a very emotional day for me. Today I spoke to Dardenne brothers and they send greetings to Sarajevo. For long time they are trying visit to Sarajevo, but right now they are on different part of country. I am very happy that I’m part of this film because it’s very important story for me, but I believe for the audience as well. This is very emotional day for me: the day when the premiere of the film 'Tori and Lokita' is at this place and the day when my son Nardis's birthday. Happy Birthday! Thank you for coming here tonight. Greeting for Dardenne brothers. We will send them a photo from this unique cinema. I’m grateful and happy to be part of this Festival and this beautiful city’’, Ukaj said.
TORI I LOKITA
Ukaj: I’m grateful and happy to be part of this Festival and this beautiful city
TORI AND LOKITA by Jean-Pierre Dardenne and Luc Dardenne was shown as part of the Open Air Programme of the 28th Sarajevo Film Festival. Alban Ukaj also starred in the film, and greeted the audience before the screening at the Coca-Cola Open Air Cinema. “This is a very emotional day for me. Today I spoke to Dardenne brothers and they send greetings to Sarajevo. For long time they are trying visit to Sarajevo, but right now they are on different part of country. I am very happy that I’m part of this film because it’s very important story for me, but I believe for the audience as well. This is very emotional day for me: the day when the premiere of the film 'Tori and Lokita' is at this place and the day when my son Nardis's birthday. Happy Birthday! Thank you for coming here tonight. Greeting for Dardenne brothers. We will send them a photo from this unique cinema. I’m grateful and happy to be part of this Festival and this beautiful city’’, Ukaj said.
Održana regionalna filma KLONDIKE ukrajinske rediteljice Maryne Er Gorbach u sklopu TakmiÄarskog programa – igrani film 28. Sarajevo Film Festivala.
Juli 2014. Irka i Tolik, koji uskoro oÄekuju roÄ‘enje djeteta, žive u Donjecku, regiji u istoÄnoj Ukrajini nedaleko od granice sa Rusijom, oko kojeg su se vodile borbe u prvim danima rata u Donbasu. Njihovo nervozno iÅ¡Äekivanje roÄ‘enja prvoga djeteta nasilno prekida rastuća napetost usred ruÅ¡enja aviona MH17 nedaleko od njihovog sela. Olupina oborenog aviona i parada ožalošćenih koji dolaze posjetiti mjesto nesreće naglaÅ¡avaju nadrealnu traumatiÄnost trenutka. Dok Tolikovi prijatelji separatisti oÄekuju da se on pridruži njihovim naporima, Irkin brat je bijesan jer sumnja da su njih dvoje izdali Ukrajinu. Irka odbija da bude evakuirana Äak i nakon Å¡to vojska okupira selo i pokuÅ¡ava izmiriti svoga brata i svoga muža tako Å¡to ih zamoli da zajedno renoviraju njihovu bombardovanu kuću. Režija: Maryna Er Gorbach Uloge: Oksana Cherkashyna, Sergiy Shadrin, Oleg Scherbina, Oleg Shevchuk, Artur Aramyan, Evgenij Efremov
Regionalna premijera filma KLONDIKE
The competition Programme - Feature Film of the 28th Sarajevo Film Festival continued with the regional premiere of the film KLONDIKE by Ukrainian director Maryna Er Gorbach
July 2014. Expectant parents Irka and Tolik live in the Donetsk region of eastern Ukraine near the Russian border, disputed territory in the early days of War in Donbas. Their nervous anticipation of the birth of their first child is violently disrupted as the nearby crash of flight MH17 elevates the forbidding tension enveloping their village. The looming wreckage of the downed airliner and an incoming parade of mourners emphasise the surreal trauma of the moment. While Tolik’s separatist friends expect him to join their efforts, Irka’s brother is enraged by suspicion that the couple has betrayed Ukraine. Irka refuses to be evacuated even as the village gets captured by armed forces, and tries to make peace between her husband and brother by asking them to repair their bombed house. Director: Maryna Er Gorbach Cast: Oksana Cherkashyna, Sergiy Shadrin, Oleg Scherbina, Oleg Shevchuk, Artur Aramyan, Evgenij Efremov
Regional premiere of a KLONDIKE
Å to vam je bila inspiracija za Å EST SEDMICA, film o trudnoj tinejdžerici Zsófi koja odluÄi dati kćer na posvajanje? Već dulje vrijeme sa suprugom Mátéom Arturom Vinczeom istražujem temu posvajanja. Zapravo, upravo je on bio izuzetno zainteresiran za tu temu joÅ¡ dok smo bili u filmskoj Å¡koli. Snimio je svoj diplomski film o sustavu udomiteljstva u MaÄ‘arskoj, a iste godine smo zapoÄeli njegov 12-godiÅ¡nji verité dokumentarac o meÄ‘unarodnom posvojenju koji snimamo već 8 godina. Jednog dana mi je ispriÄao iskustvo svog prijatelja o otvorenom posvojenju i „roku odustajanja od Å¡est tjedana“, koji postoji tek od 2014. u otvorenim posvojenjima u MaÄ‘arskoj. Ovaj kontroverzni zakon izaziva strah kod posvojiteljskih parova jer im, znajući da se bioloÅ¡ka majka u tom razdoblju može predomisliti, otežava uspostavljanje emotivne veze s posvojenim djetetom. TakoÄ‘er uzima ozbiljan danak bioloÅ¡kim majkama, odvodeći ih na turbulentan, emocionalni tobogan nakon Å¡to su donijeli najtežu odluku u životu. No, najvažnije je da takva situacija može imati ogroman uÄinak na bebu, budući da je prvih Å¡est tjedana kljuÄno za njihov emocionalni razvoj. Cijelu noć smo razgovarali o toj kompleksnoj situaciji s visokim ulozima, i bez ispravnih ili pogreÅ¡nih odluka. Stoga smo odluÄili snimiti dokumentarac o „šest tjedana“, ali Å¡to smo viÅ¡e istraživali zakon, sluÄajeve, razgovarali sa socijalnim radnicima, psiholozima, struÄnjacima, bioloÅ¡kim majkama i posvojiteljima, to smo viÅ¡e shvaćali da Äak i ako pronaÄ‘emo bioloÅ¡ku majku ili posvojiteljski par koji bi nam dopustio da ih snimamo, prisutnost kamere bi mogla snažno utjecati na njihovu odluku i predstavljati dodatni stres za njih, ali i za novoroÄ‘enÄe, Å¡to nismo htjeli riskirati. Ujedno, ne bi nam bilo moguće dovoljno se približiti cijeloj situaciji, već bi sve promatrali s pristojne udaljenosti. Tada smo shvatili da će nam fikcija najbolje omogućiti da se Å¡to viÅ¡e približimo stvarnim priÄama. Kostur Zsófijinog lika i priÄe bila je jedna divna, mlada bioloÅ¡ka majka, koja je s nama podijelila svoje iskustvo. UtjeÄe li na Zsófijinu odluku da ne pobaci i komplicirana procedura koja prisiljava stotine MaÄ‘arica na pobaÄaj izvan domovine? Iznimno je važno govoriti o pobaÄaju, pogotovo sada, ali naÅ¡ film nije fokusiran na to, već samo na spomenuto razdoblje od Å¡est tjedana. Kada govorimo o pobaÄaju, moram spomenuti izvanredan film Elize Hittman Never Rarely Sometimes Always koji nam je bio inspiracija. Vjerujem da je taj film aktualniji i važniji nego ikad. Å to se tiÄe Zsófijine odluke, oslonili smo se na priÄe koje smo prikupili tijekom pripreme filma. Prema naÅ¡im istraživanjima, tinejdžerice i mlade žene, posebno kada se profesionalno bave sportom, dosta kasno shvate da su trudne. U skladu s maÄ‘arskim zakonom kasno znaÄi da se nakon 12. tjedna (u sluÄaju maloljetnice, 18. tjedna) abortus ne može izvrÅ¡iti u MaÄ‘arskoj. Žene takoÄ‘er moraju proći kroz Äetiri razliÄita razgovora prije zahvata: dva savjetovanja sa službama za obiteljsku zaÅ¡titu (izmeÄ‘u ta dva termina Äeka se tri dana u sluÄaju da se predomisle) i joÅ¡ dva s lijeÄnicima. Sve to može potrajati nekoliko tjedana. Mnogim djevojkama, kao Å¡to je Zsófi, ponestane vremena zbog kasne realizacije i/ili duge birokracije. Mnoge žene odlaze pobaciti u inozemstvu i zato Å¡to su u MaÄ‘arskoj zabranjene pilule za pobaÄaj koje je odobrila Svjetska zdravstvena organizacija (WHO). Prema struÄnjacima, one su manje Å¡tetne za tijelo od same operacije. U Austriji je, primjerice, pilula legalna i nema propisanog vremena za Äekanje, nije propisano savjetovanje u savjetovaliÅ¡tu, nije potrebna lijeÄniÄka konzultacija, a žene ne moraju navoditi razloge prekida, pa je postupak manje kompliciran. To je razlog zaÅ¡to žene, koje si to mogu priuÅ¡titi, odlaze u Austriju, ili Francusku, Å vicarsku, NjemaÄku. Dakle, abortus je legalan u MaÄ‘arskoj, ali ima svoja ograniÄenja i ometajuću birokraciju. Mislim da je edukacija o prevenciji ipak najvažnija i to u naÅ¡oj zemlji moramo poboljÅ¡ati. Kako ste pronaÅ¡li svoju glavnu glumicu, debitanticu Katalinu Roman? Tijekom dosta dugog kastinga upoznali smo mnoÅ¡tvo talentiranih mladih djevojaka, glumica i stolnotenisaÄica. Imali smo snažnu viziju Zsófijinog lika, no nismo pronaÅ¡li tu kombinaciju slojevite, vulkanske snage i odreÄ‘ene ranjivost, sve dok se nije pojavila Katalin. Upozorio nas je na nju producent Norbert Molvay, s kojim smo iÅ¡li u filmsku Å¡kolu. Rekao je da je ona ta koju tražimo i bio je u pravu. Kad je prvi put sjela ispred kamere, utjelovila je Zsófi na tako suptilan naÄin da smo se naježili gledajući je. Osjećali smo da ima instinktivnu povezanost s likom i vrlo duboko razumijevanje njezine psihe. Je li zvuk brojnih loptica koje udaraju odjednom stvarajući nepodnoÅ¡ljivu buku sliÄnu onoj koju uzrokuju brojna pitanja u Zsófijinom mozgu glavni razlog zaÅ¡to ste odluÄili da stolni tenis bude sport u kojem briljira? Nije nam to bila ideja u poÄetku, ali smo tijekom pisanja scenarija postupno shvatili koliko se zvuk stolnog tenisa dobro rimuje s njezinim likom i cijelom situacijom. Htjeli smo odabrati sport koji može biti individualan, ali se može igrati i timski. Istražujući druÅ¡tveno porijeklo iz kojeg Zsófi dolazi, vidjeli smo da bi stolni tenis bio realan izbor. Nadalje, Äinilo se da je to dobar simbol za Zsófijin lik, jer je izravna, direktna, brza i moćna poput dobrog udarca. ReÄenice su joj kratke, toÄne i samouvjerene, baÅ¡ kako i igra. Kad se Katalin poÄela pripremati i trenirati svaki dan, shvatili smo, a i profesionalni treneri su nam rekli, da je stolni tenis ne samo jedan od najtežih sportova za svladati, već i jedan od najtežih za realno prikazati na filmu. Katalin je imala izvanrednu snagu volje, trenirala je mnogo sati svaki dan dok nije nauÄila kljuÄne pokrete koji su nam bili potrebni za film. Gledajući je dok vježba dobili smo brojne ideje kako najbolje iskoristiti ritam, oÅ¡tar zvuk i monotoniju da izrazimo njezino emocionalno, psihiÄko i fiziÄko stanje. Razgovarao Josip JurÄić After the award presentation, the public had the opportunity to watch the Special Screening of WHEN YOU FINISH SAVING THE WORLD, Eisenberg’s directorial feature debut. “Sarajevo is my favorite city in the world and I am delighted to be here again. I bought a plane ticket in 2020, I was stopped and I couldn't go, but I did it and now I'm finally here. Thank you so much for coming to the movie tonight. I didn’t realize there would be so many people here, and if I knew that, I would have made a better movieâ€, said Jesse Eisenberg and greet him with big applause. Eisenberg, special guest at the 28th Sarajevo Film Festival, before presenting the award at the Coca-Cola Open Air Cinema, also walked the Red Carpet in front of the National Theatre. On Wednesday, August 17th, a masterclass with Eisenberg will be held at the Bosnian Cultural Center. Eisenberg’s directorial debut and an A24 title, WHEN YOU FINISH SAVING THE WORLD premiered at the 2022 Sundance Film Festival to glowing reviews and screened as a part of Critics Week at the 2022 Cannes Film Festival. The film follows Evelyn (Julianne Moore) a woman devoted to helping people fallen on hard times, but who struggles to connect with her son Ziggy (Finn Wolfhard), an aspiring internet star oblivious to the problems of the world. This emotional comedy- based on the Audible Original of the same name, also written by Eisenberg- reveals a funny and sharply perceptive portrait of a mother and son who may seem at odds but who are more alike than either would care to admit. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. 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Intervju s Noémi Veronikom Szakonyi, rediteljicom filma Šest sedmica
Iznimno je važno govoriti o pobaÄaju
INTERVJU
What was your inspiration for Six Weeks, film about pregnant teenager Zsofi that decides to give her daughter to an adoption? We have been researching adoption for several years with my husband. Actually, he is the one who was deeply interested in adoption when we were in film school. He shot his graduation film about the foster care system in Hungary, and in the very same year we started his 12-year-long verité documentary on international adoption, which we have been shooting for eight years now. One day he told me the story of his friends and their experiences about open adoption and the “six weeks withdrawal periodâ€, which only existed since 2014 in open adoptions in Hungary. This controversial law raises fears in adoptive couples, as it could be hard for them to establish a bond with their adopted child during this period, knowing that the biological mother can change her mind. It also takes a serious toll on the biological mothers, taking them on a turbulent, emotional rollercoaster after having made the most difficult decision of their lives. Most importantly, it could have a huge effect on the baby, as the first six weeks is crucial in their emotional development. We were talking about it all night thinking it is a very strong situation with high stakes, and without right or wrong decisions. So we decided to make a documentary on this six weeks, but the more we researched the law, the cases, interviewed social workers, psychologist, experts, biological mothers and adoptive parents, the more we realized that even if we find a biological mother or an adoptive couple who would allow us to film them, the presence of the camera could have a strong effect on their decision and could be an extra stress for them and also for the newborn baby, which we did not want to risk. It also wouldn't allow us to go close enough to the situation, rather staying in a polite, mid-distant angle from the situation. That discovery inspired us to go as close as we can based on real stories, and fiction allowed us to do so. How much did you research about Hungarian adoption system and similar stories about teenage pregnancies? We have been researching the adoption system for nine years now, but the exact research we did for this film was a year. As we are documentary filmmakers, we interviewed social workers, adoption experts, officials, gynecologists, and most importantly adoptive parents and teenage biological mothers. The skeleton of Zsófi’s character and story is based on a wonderful, young biological mother who shared with us what she went through. Is Zsofi’s decision not to have an abortion also influenced by complicated procedure that forces hundreds of Hungarian women to have abortions outside of a homeland? It’s extremely important to talk about abortion, especially now, but our film does not focus on it, only on the six weeks period. I have to mention Eliza Hittman’s remarkable movie, Never Rarely Sometimes Always which was an inspiration for us, and I believe that film is more current and important than ever. Regarding Zsófi’s decision, we relied on the stories we collected during our interviews. According to our research, teenagers and young women, especially when they do sports on a professional level, tend to realize quite late that they are pregnant. In line with the Hungarian law, late means that after the 12th week (in case of a minor, the 18th week) an abortion cannot be performed in Hungary. Women also have to ask for four different appointments before the procedure: two counseling with family protective services (between these two appointments, there is a three-day-long waiting period in case they change their mind), and another two with doctors, hospitals. In certain cases it could take a few weeks. Many girls, just like Zsófi, ran out of time because of the late realization and/or the long bureaucracy. I think the reason why many women go abroad to have an abortion, is because the WHO approved abortion pill is banned in Hungary, which is, according to professionals, less hard on the body, than the actual operation. In Austria for example, the pill is legal and there is no prescribed waiting period, no prescribed counseling in a counseling center, no requirement for medical consultation, and women do not have to specify their reasons for the termination, so the procedure is less complicated. That is the reason why women, who can afford it, go to Austria, or France, Switzerland, Germany. So abortion is legal in Hungary, but it has its restrictions and hindering bureaucracy. I think preventive education would be the most important, and we have to improve that in our country. How did you find your leading actress, newcomer Katalin Roman? During a quite long casting period, we met plenty of talented young girls, actresses, and table tennis players. We had a strong vision of Zsófi’s character and we didn't find that layered volcano-like strength, which has a certain vulnerability, until Katalin showed up. She was introduced by our former classmate, Norbert Molvay, who told us she was the one we were looking for, and he was right. The very moment she sat in front of the camera for an improvisation of the character, she embodied Zsófi in such a subtle way, we got goosebumps watching her. We felt that she had a visceral connection to the character, and a very profound understanding of her psyche. Was the sound of many balls hitting at once making unbearable noise similar to many questions in Zsofi’s brain main reason that you decide to have table tennis as a sport in which she excels? It wasn’t in the beginning, but during the writing process, we gradually realized how well table tennis rhymes with her character and the whole situation. We wanted to choose a sport, which can be individual, but could also be played as a team. We also researched the social background where Zsófi comes from, and table tennis was a realistic choice. Furthermore, it seemed to be a good symbol for Zsófi’s character, because she is direct, straight to the point, swift and as powerful as a good smash. Her sentences are short, accurate and confident, just how she plays. When Katalin started to prepare and train every day, we realized (and were told by the professional coaches) that table tennis is one of the hardest sports to acquire as a player and also one of the hardest to capture accurately on film. Katalin had extraordinary willpower, trained long hours every day until she learned the key movements we needed for the film. Watching her practice gave us a lot of ideas on how to use the rhythm, the sharp sound and the monotony the best way, so it could express and reflect on her emotional, mental and physical state. Josip JurÄiÄ Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Interview with Noémi Veronika Szakonyi, director of the film Six Weeks
It’s extremely important to talk about abortion
Kopanje po tajnim dubinama
Intervju s rediteljicom Martom Smerechynskom i Natalie Libet, producenticom ukrajinskog filma Dnevnik Kristove nevjeste
Ukrajinski dokumentarni film svjetsku premijeru ima na Sarajevo Film Festivalu. Koliko vam to znaÄi u trenucima dok vaÅ¡a domovina proživljava ratne strahote? Natalia Libet: Prije svega, želim zahvaliti Sarajevo Film Festivalu Å¡to je naÅ¡em filmu dao priliku za svjetsku premijeru. Poseban je osjećaj biti meÄ‘u prvim ukrajinskim filmskim stvaraocima koji će tu predstaviti svoj film dok Ukrajinom hara rat koji je poÄeo u februaru. Devedesetih godina kada je u vaÅ¡oj zemlji bio rat, bila sam mlada, prestraÅ¡ena i tužna, molila sam se da se takav rat nikada ne dogodi u mojoj zemlji. Zato sada sa ljudima iz Bosne i Hercegovine dijelim ne samo ratno iskustvo, već i nevjerovatnu bol. Marta Smerechynska: Sarajevo Film Festival poseban je za naÅ¡ film, ali i za mene liÄno, jer je ovo moj prvi dugometražni redateljski rad. Istovremeno se radujem i strepim. Ljudi u Bosni i Hercegovini proživjeli su sliÄno tragiÄno iskustvo tako da nas mogu suptilno razumjeti i sa nama preispitati film snimljen prije ruske invazije. Ukrajina je živa i živjet će. Ono Å¡to nas je u miru toliko dirnulo da smo odluÄile o tome snimiti film, daje lijepu sliku o nama, a ujedno i Å¡ansu da Ukrajinu održimo mirnom i živom kroz filmove. VaÅ¡ je film svojevrsno putovanje na viÅ¡e planova: doslovno, ali i u duhovnom znaÄenju. Na njega krećete kako biste vidjeli sestru ali se i suoÄili s osobnim dilemama. Da li je na tom putovanju bilo neoÄekivanih stanica? Marta Smerechynska: OdabravÅ¡i kreiranje ovog filma, osudila sam se na kopanje po vlastitim tajnim dubinama. Nisam ni slutila Å¡ta me tamo Äeka. S otkrićem i rastom doÅ¡li su bol i unutarnji nemir. Na takvom putu važno je imati tim u koji možete vjerovati ali i da vaÅ¡ tim vjeruje da možete podnijeti sve u Å¡to ste i njih uvukli. Sjećam se trenutka kada smo montirali moje posljednje pismo sestri. Tjedan dana nakon toga osjećala sam nelagodu, unutarnje opterećenje zbog kojeg nisam mogla raditi sa montažerkom. Nismo shvaćale Å¡ta se deÅ¡ava. Kada sam shvatila, priznala sam joj da sam ovu epizodu osjetila na potpuno drugaÄiji naÄin. I nastavile smo traganje. Za jedan dio filma pronaÅ¡la sam rjeÅ¡enje tek iz trinaestog pokuÅ¡aja. Drugi su uspjeli iz prvog pokuÅ¡aja. Nakon zavrÅ¡etka filma nisam tjedan dana mogla ustati iz kreveta od potpune iscrpljenosti. Nekoliko mjeseci nisam mogla raditi niÅ¡ta novo. Film je otisak suptilnog, viÅ¡estrukog sustava osjećaja, a za ocrtavanje ovog otiska potrebno je vrijeme, hrabrost i trud. ÄŒesto koristite kameru “odozdo“, iz žablje perspektive. Da li je to pogled ka nebesima sa željom da od njih dobijete reakciju, ili odgovor na vaÅ¡e molbe Bogu da vam vrati sestru? Marta Smerechynska: Nekoliko je motiva za takvo snimanje. Ponekad smo kameru usmjerile ka nebesima s namjerom da dobijemo odreÄ‘eni dijalog, s mog lica, ili s lica Kristovih nevjesti. S druge strane, pokuÅ¡ali smo da prikažemo pogled Boga na njegove nevjeste, gledajući devojke i njihove živote “odozgo“. Dodatni motiv je Å¡to naÅ¡e heroine prave prve korake u monaÅ¡kom životu. One iznova otkrivaju svijet, s novim vrijednostima i pravilima. Manastir je za njih znaÄajan i neprevaziÄ‘en, kao kada u detinjstvu gledate odozdo na roditelje i svijet uopće. ÄŒasne sestre su u fazi odreÄ‘enog ponovnog roÄ‘enja. Vjeruje se da tokom obreda umiru za svijet i ponovo se raÄ‘aju, ali u novom statusu - Kristove nevjeste. Kako su se na snimanju dugometražnog dokumentarca slagale iskusna poroducentica i redateljica debitantica? Natalia Libet: Bilo je to uzbudljivo putovanje – zar ne, Marta? Vjerujem da se sve odvijalo kao i u drugim normalnim odnosima: oko Å¡est mjeseci euforije ili meÄ‘usobne zaljubljenosti, zatim ljutnja i traženje komunikacijskih rjeÅ¡enja i, na kraju, prihvaćanje. Oduvijek me fasciniraju mladost i nove generacije, nikad mi ne dosadi uÄiti od njih. Nadam se da ću ostati otvorena za nove stvari. Volim prve nastupe, mislim da je Äast i privilegija raditi zajedno s mladom redateljicom, pomagati joj i promatrati bruÅ¡enje njezinog talenta. Marta Smerechynska: Samo zato Å¡to smo obje veoma zainteresirane za naÅ¡ film i za temu monaÅ¡tva, Natalija i ja smo radile strastveno. Natalija je fenomenalno strpljiva, a ja sam jako tvrdoglava, tako da je naÅ¡a suradnja sjajna. Zahvaljujući razliÄitim iskustvima donijele smo filmu razne prednosti. I uvijek smo sluÅ¡ale jedna drugu. Neumorno sam se divila Natalijinoj otvorenosti i spremnosti da skupa tragamo. Skupa smo preÅ¡le zanimljiv put i mnogo nauÄile jedna od druge. Hoćete li posjetiti Argentinu kada postanete poznata? Marta Smerechynska: Zaista bih voljela otići tamo i pokazati film sestri preÄasne majke. Razgovor s njom o pozivu naÅ¡ih sestara za mene je bio dragocjen u potrazi za odgovorima. Ovaj red potiÄe iz Argentine pa će biti zanimljvo odakle vuku korijene. Razgovarala Marinela DomanÄić
Interview with Marta Smerechynska, director and Natalia Libet, producer of the Ukrainian film Diary of a Bride of Christ
Digging in secret recesses of myself
The Ukrainian documentary will have its world premiere at the Sarajevo Film Festival. What does it mean to you, while your homeland is experiencing a horrors of war? Natalia Libet: First of all, I would like to thank the Sarajevo Film Festival for giving our film a place for its world premiere. It is very special to me be among the first Ukrainian filmmakers presenting the film in Sarajevo, during the full - scale astrocytic war Russia has put onto us since this February. I was a young adult in the 90s when the war in your country broke off and I felt a big fear and sorrow but also prayed that such a war would never happen to my country. Now I share not only the war experience with people from Bosnia and Herzegovina, but, I believe, also incredible pain. Marta Smerechynska: Sarajevo Film Festival is a doubly special place - for our film and also for me personally, because this film is my first feature - length directorial work. So I'm looking forward to it with trepidation. The people of Bosnia and Herzegovina lived through a similar tragic experience, so they can subtly understand us now and rethink with us our film, which was made before the full - scale Russian invasion. Ukraine is alive and will live. And what worried us in peacetime so much that we decided to make a film about it, is a very good image of us and also a chance to keep Ukraine peaceful and alive through films. Marta, your film is a kind of journey on several levels - both literally, and in a spiritual sense: to see your sister but also to face personal dilemmas. Were there any unexpected stops on your trip? Marta Smerechynska: Having chosen to create this film, I condemned myself to digging in the my very secret recesses. And I had no idea what would be waiting for me there. Along with discovery and growth came pain and self - winding. On such a path, it is important to have a team that you can trust, as that your team trusts that you could handle everything you dragged them into. I remember the moment when we edited my last letter to my sister. After that I felt very sensitive and uncomfortable for a week. Due to my internal pressure, we could not work properly with my editor. We both did not understand what was going on. When I understood, I confessed to her that I actually felt this episode in a completely different way. So we continued to search. Or for example, there is an episode in that I found the solution from the 13th attempt. Although there are some that worked on the first try. After finishing the film, I could not get out of bed for about a week from total exhaustion. And for several months I could not work on anything at all. The film is an imprint of a subtle multifaceted system of sensations. And to delineate this print requires time, courage and effort. In the film, you often use the camera "from below", so called low angle shot. Is it a look to the heavens with the desire to get a reaction, or an answer to your plea to God to “give back“ your sister? Marta Smerechynska: There are several motives for this kind of filming. In some episodes, we really turned our cinema eyes to the heavens with intentions to get a certain dialogue. Either from the face of me, or from the face of the brides of Christ. Or on the contrary, we tried to show the view of God on his brides, looking at the girls and their lives “from aboveâ€. In other episodes, "from below" filming has one more reason. Our heroines make their first steps in the monastic life. They discover this world all over again with new values and rules. The monastery is significant and unbroken for them, as when in childhood you look from below on parents and the world in general. Nuns are at the stage of a certain rebirth. It is believed that during the ceremony they die for the world and are born again, but in a new status of brides of Christ. How did the first feature - length documentary director and an experienced producer, got together? Natalia Libet: It has been an exciting journey – yes, Marta? I believe we had everything like normal relations do. Something like: around 6 months of euphoria or crush of each other, then anger and search for communication solutions, and finally acceptance. I have always been fascinated by youth and new generations, and have never been tired of learning from them. I hope I am still open for new things, and will continue this way. I love making debuts –it is an honour and the privilege to work together with a young filmmaker and be able to help and observe the sharpening of the talent. Marta Smerechynska: Just because we were both very interested in the topic of monasticism and in our film in general, Natalya and I passionately worked on it. Natalya is phenomenally patient, and I am very stubborn, so our cooperation is an amazing match. We had the opportunity to give the film a variety of advantages, having different experiences. And we always listened to each other. I tirelessly admired Natalie's openness and willingness to tread this path of search together. I also think that we traveled an interesting path together, and we learned a lot from each other. Will you visit Argentina when you become famous? Marta Smerechynska: I would really like to get there to show the film to the sister of Mother Superior. Talking to her about the calling of our sisters was a valuable moment for me in my search for answers in the monastery. And also there is the seedbed of this congregation in Argentina, so it is interesting to see where the roots grow from. Marinela DomanÄić 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
Film je nužna potreba, a ne samo izvor zabave
Razgovor s Elmom Tataragić, selektoricom programa u Fokusu
Koji filmovi su ove godine u fokusu? Ove godine, program U fokusu predstavlja sedam filmova. Selekcija predstavlja najznaÄanije regionalne filmove u proteklih 12 mjeseci, meÄ‘u kojima su se naÅ¡la i tri debitantska filma. Regionalna kinematografija svake godine iznenaÄ‘uje sa programom. U Fokusu nije takmiÄarski, ali izaziva veliku pažnju, jer donosi pregled najboljih filmova regije. Je li teÅ¡ko zadržati kvalitet i ne iznevjeriti gledaoce? Mislim da će gledaoci i ove godine uživati u programu u kojem pored filmova Ulricha Seidla i Cristiana Mungiu, nalaze se i drugi važni regionalni filmovi. Tu je i reditelj Stefan Arsenijević sa filmom STRAHINJA BANOVIĆ koji je jedno malo regionalno iznenaÄ‘enje, ali tu su i interesantni debitantski filmovi poput GENTLE, BROADWAYA i BUTTERFLY VISION. Regionalna kinematografija već se nekoliko godina sa svojim autorima i autoricama nalazi u samome vrhu svjetske kinematografije sa jakim prisustvom na festivalima A kategorije. Ako biste ih komparirali sa proÅ¡logodiÅ¡njom selekcijom, kako su filmski autori reagovali na dogaÄ‘aje koji su cijeli svijet stavili pred velike izazove? Može li se uoÄiti neka tema koja privlaÄi većinu autora da se bave njome? Jedna od novina sigurno je ulazak Ukrajine u naÅ¡e TakmiÄarske programe pa samim tim i u program u Fokusu. Istakla bih upravo i ukrajinski film BUTTERFLY VISION koji direktno govori o posljedicama rata. InaÄe, filmovi mahom govore o slobodi ili njenom nedostatku, o diskriminaciji, i tome kako je biti drugaÄiji, kako je nepripadati. Radi se o izuzetno aktuelnoj i savremenoj selekciji. Na koje se sve naÄine velika socijalna kriza odražava na film i filmsku industriju? Regija je dugo u krizi i iz te pozicije dugo progovara. Sada, viÅ¡e nego ikada, regija postaje aktuelna, sa brojnim temama kojima se bavi već dugi niz godina. Smatram da autori regije imaju iskustvo krize koje drugi autori nemaju, i to se vidi u filmovima koji proizilaze iz iskustava iz prve ruke. To je rijetkost. Kakva je budućnost pred filmskom industrijom, možete li biti optimistiÄni? Pred filmskom industrijom su brojni izazovi, ali budućnost filma je zaista sjajna. Film je nužan, neophodan, dostupan sada svima, i nije izvor samo zabave, već je prostor i za duboka intelektualna razmiÅ¡ljanja. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Borba nove generacije za ljudska prava
ÄŒetrnaesto izdanje Dana ljudskih prava u sklopu 28. Sarajevo Film Festivala donijelo je panel diskusiju na temu Gdje je pravda? Kao osnov za diskusiju u kojoj su uÄestvovali filmski autori i filmski protagonisti poslužio je dokumentarni film SLUÄŒAJ NOVE VELIÄŒINE Anne Shishove. Panel je moderirao filmski kritiÄar Tue Steen Mueller. Sadržaj filma: Anja je bila normalna tinejdžerka koja je sanjala o tome da život u Rusiji uÄini boljim. UhapÅ¡ena je u martu 2018. i osuÄ‘ena na zatvorsku kaznu po optužbi da je formirala ekstremistiÄku grupu sa ciljem nasilnog svrgavanja vlasti. Tokom tri naredne godine njena majka Julia oÄajniÄki se borila da dokaže da je njena kći nevina. Borba za pravdu i praktiÄna, detaljna spoznaja pravog stanja stvari u državi Juliju su iz apolitiÄne graÄ‘anke pretvorile u strastvenu aktivisticu za ljudska prava. Sarajevo Film Festival je ove godine proÅ¡irio program Dan Ljudskih prava, ukljuÄujući i radionicu povodom Dana ljudskih prava sa mladim aktivistima starosti od 18 do 25 godina iz Bosne i Hercegovine i Zapadnog Balkana. Radionica se organizira u partnerstvu sa insitutom KULT i mladim evropskim ambasadorima. Kao i prethodnih godina, program obuhvata panel diskusiju i uvodne rijeÄi. Panel će moderirati Tue Steen Mueller, filmski kritiÄar. ÄŒetrnaesto izdanje Dana ljudskih prava u sklopu 28. Sarajevo Film Festivala održano je pod pokroviteljstvom Kraljevine Nizozemske.
Interview with Elma Tataragić, programmer In Focus Programme
Film is necessity, not just a source of entertainment
What films are in focus this year? This year, the In Focus programme presents seven films. The selection presents the most important regional films in the past 12 months, including three debut films. Every year, regional cinema brings surprises with the programme. In Focus is not competitive, but it draws a lot of attention because it brings an overview of the best films in the region. Is it hard to maintain quality and not let the viewers down? This year, I think viewers will enjoy a program that features other important regional films alongside the films of Ulrich Seidl and Cristiano Mungiu. There is also director Stefan Arsenijević with his film STRAHINJA BANOVIĆ, which is a little regional surprise, but there are also interesting debut films such as GENTLE, BROADWAY, and BUTTERFLY VISION. Regional cinema has been at the very top of world cinema with its authors, both male, and female, for several years now, with a strong presence at A category festivals. If you compare them to last year's selection, how did the filmmakers react to events that put the whole world in a very challenging place? Can you spot a theme that attracts most authors to it? One of the news is certainly the entry of Ukraine into our Competition programs and therefore into the program In Focus. I would also like to point out the Ukrainian film BUTTERFLY VISION, which directly talks about the consequences of the war. Usually, movies mostly talk about freedom or its lack, about discrimination, and what it's like to be different, what it's like not to belong. It is an extremely current and contemporary selection. In what ways does the great social crisis affect film and the film industry? The region has been in crisis for a long time, and it has been speaking from that position for a long time. Now, more than ever, the region is becoming topical, with several topics that it has dealt with for many years. I believe that the authors of the region have experience in a crisis that other authors do not have, and this is evident in the films that result from first-hand experiences. That's rare. What is the future of the film industry, can you be optimistic? There are many challenges ahead for the film industry, but the future of the film is great. The film is necessary, indispensable, now available to all, and is not only a source of entertainment but also a space for deep intellectual thinking. 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.
New generation’s fight for human rights
The fourteenth edition of the Human Rights Day as part of the 28th Sarajevo Film Festival brought a panel discussion on the topic Where is justice? The documentary film THE NEW GREATNESS CASE by Anna Shishova formed the basis of the discussion in which the film's authors and protagonists took part. The panel was moderated by film critic Tue Steen Mueller. Film content: Anya was an ordinary teenager who dreamed of making life in Russia better. In March 2018, she was arrested and incarcerated on charges of forming an extremist group with the aim of violently overthrowing the government. During three following years, her mother Julia desperately struggles to prove her daughter’s innocence. Fighting for justice and learning the real state of affairs step-by-step, Julia has been transformed from an apolitical citizen into a passionate human rights activist. This year, Sarajevo Film Festival extending programme including Human Rights Day Workshop with young activists aged between 18 and 25 from Bosnia and Herzegovina and Western Balkans. The workshop is organized in partnership with CULT and European Young Ambassadors. As in the previous years, the programme encompasses panel discussion and opening remarks. The fourteenth edition of the Human Rights Day as part of the 28th Sarajevo Film Festival was held under the auspices of the Kingdom of the Netherlands.
Ljetno kino Coca-Cola / Coca-Cola Open Air CInema
Foto galerija / Photo gallery
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
Alban Ukaj i Jovan Marjanović /
Alban Ukaj and Jovan Marjanović
Ekipa filma Klondike /
Crew: Klondike by Maryna Er Gorbach
Isild Le Besco i Jovan Marjanović
Isild Le Besco and Jovan Marjanović
Rastrzani strahom i haosom, nakon osam godina graÄ‘evinskih radova i života pod skelama, 51 stanovnik hotela Chelsea priprema se za dolazeću pobunu, dok ostali protestuju ili se zakljuÄavaju u svojim sobama. Usred tog haosa, film propituje izvore mita o hotelu Chelsea i izazove koji ga oÄekuju u budućnosti dok se njegovi stanovnici, prodani kapitalistima, kao i sami zidovi hotela suoÄavaju s historijskom prekretnicom u svom životu. Caught between fear and frenzy, after eight years of and living amid scaffolding and constant construction, some fifty-one residents of the Chelsea Hotel prepare for imminent upheaval, while others protest or hole up in their rooms. Against this chaotic backdrop, DREAMING WALLS explores the utopian origins that contributed to the Chelsea’s mythical stature and questions the challenges it confronts in the future, as its residents, sold to capitalism, and its walls themselves face a turning point in their common history.
SVEMIR IZMEÄU NAS prati ÄetrnaestogodiÅ¡njeg KanaÄ‘anina Tobija na ljetnom raspustu u Sloveniji koji provodi s majkom Kristinom, umjetnicom koja uskoro otvara znaÄajnu izložbu u rodnom gradu. Tobi nije sretan Å¡to provodi raspust daleko od oca i prijatelja. Situacija se dodatno pogorÅ¡ava kada ga Älanovi lokalne bande poÄnu maltretirati zbog boje njegove kože. Jedino Å¡to je u toj situaciji pozitivno je djevojÄica po imenu TjaÅ¡a koja ga upoznaje sa umirovljenim, slijepim astronomom Hermanom. Dok Äeka da im se njegov otac pridruži u Sloveniji, Tobi poÄinje provoditi vrijeme sa Hermanom koji ga upoznaje sa zakonima svemira koji se mogu primijeniti i na naÅ¡ svakodnevni život na Zemlji. THE SPACE AMONG US revolves around fourteen-year-old Tobi, a Canadian who comes to Slovenia for the summer holidays with his mother Kristina, who is about to have a major art exhibition in her hometown. Tobi is not excited to spend a summer away from his father and his friends. The situation gets even worse when a local gang starts to bully him because of his skin colour. The only positive thing around is a free-spirited girl named TjaÅ¡a, who leads Tobi to an unusual encounter with Herman, a blind retired astronomer. While waiting for his father to arrive in Slovenia, Tobi starts spending time with Herman, who teaches him about the laws of space, which can be applied to everyday life here on Earth.
KINOSCOPE
Svemir izmeÄ‘u nas / The Space Among Us Slovenia, 2021, , 100 min, Slovenian, Režija / Director: Rahela JagriÄ Pirc, Uloge / Cast: Kolja Chilima BudiÅ¡in, Ivo BariÅ¡iÄ, Manca Dorrer, Irena MiheliÄ, Alenka Kraigher, Aljaž JovanoviÄ, Aliash Tepina
Zidovi koji sanjaju / Dreaming Walls: Inside the Chelsea Hotel Belgium, France, United States, Netherlands, Sweden, 2022, Colour, 80 min, English, Režija / Director: Amélie van Elmbt, Maya Duverdier,
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TEEN ARENA
Nancy Stokes, penzionisana uÄiteljica i udovica, Äezne za avanturom, ljudskom bliskošću i malo seksa. Dobrog seksa. Iako joj je njen pokojni suprug Robert obezbijedio dom, porodicu i neÅ¡to nalik dobrom životu, on nikada nije bio vjeÅ¡t ljubavnik. Ali njega viÅ¡e nema, a Nancy ima plan: upustit će se u avanturu sa seksualnim radnikom po imenu Leo Grande. Nancy se nalazi s Leom u anonimnoj hotelskoj sobi van grada. Leo uživo izgleda jednako dobro kao i na slikama, ali ono Å¡to Nancy nije oÄekivala je da će joj osim seksa ponuditi i razgovor. Leo ima miÅ¡ljenje o svemu i, mada se ne može reći da uvijek govori istinu, Nancy se on dopada. I ona se dopada njemu. Dok njeno samopouzdanje u seksu raste, Nancy poÄinje da se opuÅ¡ta. Tokom tri ljubavna sastanka, odnos snaga meÄ‘u njima poÄinje da se mijenja, a pažljivo izgraÄ‘ene maske polako padaju. Nancy Stokes, a retired school teacher and widow, is yearning for some adventure, some human connection, and some sex. Good sex. While her husband Robert provided a home, a family, and something resembling a life, good sex was never on offer. But he’s gone now, and Nancy has a plan: she will find adventure with a sex worker named Leo Grande. In an anonymous out-of-town hotel room, Nancy greets Leo. He looks every bit as good as his picture, but what Nancy wasn’t expecting was conversation as well as fornication. Leo has a view on everything, and though he may not always tell the truth, Nancy finds she likes him. And he likes her. With growing sexual confidence, Nancy starts to relax. Over the course of three rendezvouses, the power dynamics shift and well-worn masks begin to slip.
Good Luck to You, Leo Grande 
 United Kingdom, 2022, Colour, 97 min, English, Režija / Director: Sophie Hyde, Uloge / Cast: Daryl McCormack, Emma Thompson
OPEN AIR