Hvala što ste bili s nama, vidimo se sljedeće godine / Thank you for being with us, see you next year!
FESTIVAL DAILY
SUBOTA / Saturday 20.8.2022.
ondemand.kinomeetingpoint.ba
Nakon deset godina u Njemačkoj, Armin se u gluho doba noći vraća u Bosnu. Prvomajski su praznici, Armin se tek oženio i želi iznenaditi svoga oca Fudu, ali Fude nema kući. Komišija kaže: "Uhapsiše Fudu, ko zna zašto." U mahali nemir. Fudo da je zločinac?! Armin želi doznati istinu, a komšiluk proslaviti Praznik rada. Režija: Pjer Žalica Uloge: Muhamed Hadžović, Emir Hadžihafizbegović, Admir Glamočak, Boris Isaković, Aleksandar Seksan, Mirvad Kurić, Jasna Žalica, Tatjana Šojić, Dženita Imamović Omerović, Labina Mitevska, Vedran Đekić, Branka Katić, Ermin Bravo, Branimir Popović 28. Sarajevo Film Festival održan je od 12. do 19. augusta 2022.
Film PRAZNIK RADA Pjera Žalice zatvorio 28. Sarajevo Film Festival
28. Sarajevo Film Festival zatvorila je svjetska premijera filma PRAZNIK RADA reditelja Pjera Žalice, u okviru Open Air programa. Film je prikazan na otvorenim lokacijama Sarajevo Film Festivala.
MAY LABOUR DAY by Pjer Žalica closed the 28th Sarajevo Film Festival
The 28th Sarajevo Film Festival closed by the world premiere of film MAY LABOUR DAY by Pjer Žalica, which was screened in the Open Air Programme. The film was shown in Open Air locations of Sarajevo Film Festival.
After ten years of absence, Armin returns to Bosnia to surprise his father with good news. But there’s a real surprise waiting for him at home when his father is arrested as a suspect for war crimes. Armin wants to find out the truth, while others find that it’s easier to live in oblivion. Director: Pjer Žalica Cast: Muhamed Hadžović, Emir Hadžihafizbegović, Admir Glamočak, Boris Isaković, Aleksandar Seksan, Mirvad Kurić, Jasna Žalica, Tatjana Šojić, Dženita Imamović Omerović, Labina Mitevska, Vedran Đekić, Branka Katić, Ermin Bravo, Branimir Popović The 28th Sarajevo Film Festival took place from August 12th to 19th, 2022.
TAKMIČARSKI PROGRAM – IGRANI FILM Predsjednik žirija: Sebastian Meise (reditelj, scenarist, Austrija) Članovi žirija: Lucile Hadžihalilović (rediteljica, scenaristica, producentica, Francuska ) Antoneta Alamat Kusijanović (scenaristica, rediteljica, Hrvatska, SAD) Milan Marić (glumac, Srbija) Katriel Schory (producent, konsultant, Izrael) SRCE SARAJEVA ZA NAJBOLJI FILM SIGURNO MJESTO Hrvatska Režija: Juraj Lerotić Producenti: Miljenka Čogelja, Saša Ban, Nevenka Sablić Novčanu nagradu u iznosu od 16.000 € sufinansira Turistička zajednica Kantona Sarajevo SRCE SARAJEVA ZA NAJBOLJU REŽIJU Maryina Er Gorbach, KLONDIKE Ukrajina, Turska Novčanu nagradu u iznosu od 10.000 € obezbjeđuju Ujedinjene nacije u Bosni i Hercegovini. SRCE SARAJEVA ZA NAJBOLJU GLUMICU Vicky Krieps, KORSET Austrija, Luksemburg, Njemačka, Francuska Novčana nagrada u iznosu od 2.500 € SRCE SARAJEVA ZA NAJBOLJEG GLUMCA Juraj Lerotić, SIGURNO MJESTO Hrvatska Novčana nagrada u iznosu od 2.500 € TAKMIČARSKI PROGRAM – DOKUMENTARNI FILM Žiri: Hilal Baydarov (reditelj, Azerbejdžan) Salome Jashi (rediteljica, Gruzija) Margje de Koning (umjetnička direktorica festivala Movies that Matter, Nizozemska) SRCE SARAJEVA ZA NAJBOLJI DOKUMENTARNI FILM MUZEJ REVOLUCIJE Srbija, Hrvatska, Češka Republika Režija: Srđan Keča Novčanu nagradu u iznosu 4.000 € obezbjeđuje Vlada Švicarske SRCE SARAJEVA ZA NAJBOLJI KRATKI DOKUMENTARNI FILM MI,... KOMPOZICIJA Kosovo, Njemačka Režija: Visar Jusufi Novčana nagrada u iznosu od 2.000 € NAGRADA ZA LJUDSKA PRAVA VEĆE OD TRAUME Hrvatska Režija: Vedrana Pribačić Nagrada za ljudska prava dodjeljuje se za najbolji film iz Takmičarskog programa – dokumentarni film koji obrađuje tematiku ljudskih prava. Nagradu u iznosu od 3.000 € obezbjeđuje Kraljevina Nizozemska. SPECIJALNA NAGRADA ŽIRIJA KRHKO SJEĆANJE Ukrajina, Slovačka Režija: Igor Ivanko Novčana nagrada u iznosu 2.500 € SPECIJALNO PRIZNANJE ŽIRIJA (za kratki dokumentarni film) BABAJANJA Hrvatska Režija: Ante Zlatko Stolica TAKMIČARSKI PROGRAM – KRATKI FILM Žiri: Ido Abram (zamjenik direktora EYE Film Filmmuseum, Kraljevina Nizozemska) Morgane Dziurla-Petit (rediteljica, Francuska) Christos Massalas (reditelj, Grčka) SRCE SARAJEVA ZA NAJBOLJI KRATKI FILM – kvalifikacioni film za nominaciju za nagradu Oscar® NAOPAKO Mađarska, Rumunija Režija: Balázs Turai Novčana nagrada u iznosu 2.500 € SPECIJALNO PRIZNANJE ŽIRIJA PET POSLIJEPODNE KRAJ MORA Austrija, Grčka Režija: Valentin Stejskal TAKMIČARSKI PROGRAM – STUDENTSKI FILM Žiri: Ludmila Cvikova (kreativna konsultantica, kustosica i savjetnica, Slovačka, Nizozemska) Maya Dreifuss (rediteljica, Izrael) Nduka Mntambo (predavač na Univerzitetu umjetnosti u Amsterdamu, Kraljevina Nizozemska) SRCE SARAJEVA ZA NAJBOLJI STUDENTSKI FILM NIJE ZIMA ZA KOMARCE Hrvatska Režija: Josip Lukić, Klara Šovagović Novčanu nagradu u iznosu 1.000 € obezbjeđuje Vijeće za regionalnu saradnju. SPECIJALNA NAGRADA ZA PROMICANJE RODNE RAVNOPRAVNOSTI Žiri: Marta Popivoda (rediteljica, videoumjetnica, istraživačica, Srbija) Selma Spahić (rediteljica, Bosna i Hercegovina) Miguel Valverde (producent, scenarist, Portugal) POSLIJE SUNČANJA Ujedinjeno Kraljevstvo, SAD Režija: Charlotte Wells Novčanu nagradu u iznosu od 7.500 € obezbjeđuje MasterCard® Dobitnici Srca Sarajeva za TV serije: OVDJE Partnerske nagrade: OVDJE Nagrade 20. CineLink Dana filmske industrije: OVDJE 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.
Nagrade 28. Sarajevo Film Festivala
28th Sarajevo Film Festival Awards COMPETITION PROGRAMME - FEATURE FILM President of the Jury: Sebastian Meise (Director, Screenwriter, Austria) Members of the Jury: Lucile Hadžihalilović (Director, Screenwriter, Producer, France) Antoneta Alamat Kusijanović (Writer-Director, Croatia, USA) Milan Marić (Actor, Serbia) Katriel Schory ( Producer, Consultant, Israel) HEART OF SARAJEVO FOR THE BEST FEATURE FILM SAFE PLACE Croatia Director: Juraj Lerotić Producers: Miljenka Čogelja, Saša Ban, Nevenka Sablić Award in the amount of 16,000 € co-sponsored by the Tourism Association of Canton Sarajevo HEART OF SARAJEVO FOR TEH BEST DIRECTOR Maryina Er Gorbach, KLONDIKE Ukraine, Türkiye Award in the amount of 10,000 € sponsored by United Nations in Bosnia and Herzegovina HEART OF SARAJEVO FOR THE BEST ACTRESS Vicky Krieps, CORSAGE Austria, Luxembourg, Germany, France Award in the amount of 2,500 € HEART OF SARAJEVO FOR THE BEST ACTOR Juraj Lerotić, SAFE PLACE Croatia Award in the amount of 2,500 € COMPETITION PROGRAMME – DOCUMENTARY FILM Jury: Hilal Baydarov (Director, Azerbaijan) Salome Jashi (Director, Georgia) Margje de Koning (Artistic Director of Movies that Matter, Netherlands) HEART OF SARAJEVO FOR THE BEST DOCUMENTARY FILM MUSEUM OF THE REVOLUTION Serbia, Croatia, Czech Republic Director: Srđan Keča Award in the amount of 4,000 € sponsored by the Government of Switzerland HEART OF SARAJEVO FOR THE BEST SHORT DOCUMENTARY FILM WE, ... COMPOSITION Kosovo, Germany Director: Visar Jusufi Award in the amount of 2,000 € HUMAN RIGHTS AWARD BIGGER THAN TRAUMA Croatia Director: Vedrana Pribačić Best film of the Competition Programme - Documentary Film dealing with the subject of human rights. Award in the amount of 3,000 €, sponsored by the Kingdom of the Netherlands. SPECIAL JURY AWARD FRAGILE MEMORY Ukraine, Slovakia Director: Igor Ivanko Award in the amount of 2,500 € SPECIAL JURY MENTION (for short documentary film) BABAJANJA Croatia Director: Ante Zlatko Stolica COMPETITION PROGRAMME - SHORT FILM Jury: Ido Abram (Deputy Director of the EYE Film Filmmuseum, Netherlands) Morgane Dziurla-Petit (Director, France) Christos Massalas (Director, Greece) HEART OF SARAJEVO FOR BEST SHORT FILM - Academy Award® qualifying AMOK Hungary, Romania Director: Balázs Turai Award in the amount of 2,500 € SPECIAL JURY MENTION 5PM SEASIDE Austria, Greece Director: Valentin Stejskal COMPETITION PROGRAMME - STUDENT FILM: Jury: Ludmila Cvikova (Creative consultant, curator and advisor, Slovakia/Netherlands) Maya Dreifuss (Director, Israel) Nduka Mntambo (Head MA of Film programme at the Netherlands Film Academy, Netherlands) HEART OF SARAJEVO FOR THE BEST STUDENT FILM IT'S NOT COLD FOR MOSQUITOES Croatia Director: Josip Lukić, Klara Šovagović Award in the amount of 1,000 €, sponsored by the Regional Cooperation Council. SPECIAL AWARD FOR PROMOTING GENDER EQUALITY Jury: Marta Popivoda (Director, video artist, researcher, Serbia) Selma Spahić (Director, Bosnia and Herzegovina) Miguel Valverde (Producer, Writer, Portugal) AFTERSUN United Kingdom, United States Director: Charlotte Wells Award in the amount of 7.500 € sponsored by MasterCard® Hearts of Sarajevo for the Best TV series: HERE 28th Sarajevo Film Festival Partners' Awards: HERE 20th CineLink Industry Days Awards: HERE 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.
28th Sarajevo Film Festival Awards
NAGRADE UDRUŽENJA FILMSKIH RADNIKA BIH NAGRADA "IVICA MATIĆ" Žiri: Goran Dujaković, Ines Tanović i Ratko Orozović NAGRADA “IVICA MATIĆ” ZA 2021. GODINU Nagrada za ukupan doprinos bosanskohercegovačkom filmu: Nedžad Begović NAGRADA “IVICA MATIĆ” ZA 2021. GODINU Nagrada za najbolji film: TABIJA reditelja Igora Drljače NAGRADE ZA BH. STUDENTSKE FILMOVE Žiri: Aida Bukva, Adnan Lugonić, Marko Šipka NAGRADA ZA NAJBOLJI BH. STUDENTSKI FILM I DIDN'T MAKE IT TO LOVE HER rediteljice Anna Fernandez de Paco SPECIJALNA NAGRADA ŽIRIJA TALOG reditelja Branislava Stošića SPECIJALNO PRIZNANJE ŽIRIJA BOJA rediljice Anne Fernandez de Paco PACK & PITCH CINELINK NAGRADA THE POOR DOVE Moldavija, Rumunija Režija: Calin Laur POSEBNO PRIZNANJE MOTHER Sjeverna Makedonija Producent: Aleksandar Arsovski KANDIDATURA ZA NAGRADU EVROPSKE FILMSKE AKADEMIJE U KATEGORIJI NAJBOLJI KRATKI FILM Žiri: Réka Bucsi , Valentina Maurel, Alban Ukaj DJEVOJAČKO VEČE Režija: Lola Cambourieu, Yann Berlier Pobjednik ulazi u kandidaturu za nagradu Evropske filmske akademije za najbolji kratki film. CINEUROPA NAGRADA Žiri: Frédéric Cornet, Saša Hajduković SIGURNO MJESTO Režija: Juraj Lerotić Nagradu dodjeljuje Cineuropa portal posvećen europskoj kinematografiji i njenim stvaraocima i to filmu koji, osim što nesporno posjeduje umjetničke kvalitete, također promovira ideje evropskog dijaloga i integracije. Vrijednost nagrade iznosi 5.000 €. CICAE NAGRADA Žiri: Monica Sebestyen, Tamara Visković, Andrej Fric SIGURNO MJESTO Režija: Juraj Lerotić Međunarodno konfederacija umjetničkih kina (CICAE) nagrađuje film u selekciji Takmičarskog programa – igrani film. Nagrađeni film će dobiti posebnu podršku CICAE kada je u pitanju pomoć kod distribucije, prikazivanja filma i dopiranja do publike, putem mreže od 3.000 kina.
Partnerske nagrade 28. Sarajevo Film Festivala
28th Sarajevo Film Festival Partners' Awards
AWARDS OF ASSOCIATION OF BOSNIAN FILMMAKERS "IVICA MATIĆ" AWARD Jury: Goran Dujaković, Ines Tanović i Ratko Orozović “IVICA MATIĆ” 2021 AWARD The award for overall contribution to Bosnian and Herzegovinian film: Nedžad Begović “IVICA MATIĆ” 2021 AWARD For the film: TABIJA by Igor Drljača BH FILM STUDENT PROGRAMME AWARD Jury: Aida Bukva, Adnan Lugonić, Marko Šipka BEST BH STUDENT FILM I DIDN'T MAKE IT TO LOVE HER by Anna Fernandez de Paco SPECIAL JURY AWARD SEDIMENT by Branislav Stošić SPECIAL JURY MENTION BOJA by Anna Fernandez de Paco PACK & PITCH THE CINELINK AWARD THE POOR DOVE Moldova, Romania Director: Calin Laur SPECIAL MENTION MOTHER North Macedonia Producer: Aleksandar Arsovski EUROPEAN SHORT FILM CANDIDATE FOR THE EUROPEAN FILM AWARDS 2022. Jury: Reka Busci, Valentina Maurel, Alban Ukaj BACHELORETTE PARTY Director: Lola Combourieu, Yann Berlier The winner receives a candidature for the European Film Academy Best Short Film Award. CINEUROPA PRIZE Jury: Frédéric Cornet, Saša Hajduković SAFE PLACE Director: Juraj Lerotić The prize is awarded by the Cineuropa portal, the site dedicated to the European cinema and film professionals, and is given to a film that besides having indisputable artistic qualities also promotes the idea of European dialogue and integration. The value of this award us 5,000 €. CICAE AWARD Jury: Monica Sebestyen, Tamara Visković, Ibrahim Saad SAFE PLACE Director: Juraj Lerotić The International Confederation of Art Cinemas (CICAE) awards a film from the Competition Programme – Feature Film. The awarded film will receive CICAE support in terms of distribution, exhibition and audience outreach, through a network of 3,000 cinemas.
Destilat vlastite traume
Koliko je teško bilo odlučiti se na snimanje filma o obiteljskoj traumi? Kao autora čak me na neki način fascinira da je užas koji mi se dogodio uopće moguć. Do tog događaja nisam bio svjestan da stvari mogu tako brzo, tako radikalno, bez ikakve najave i objašnjenja izmaći kontroli. No, nije bilo nimalo jednostavno snimiti ovaj film. Jednom su Slavoja Žižeka pitali kako on tako puno objavljuje. Odgovorio je da si dok piše govori da to neće nikada objaviti. Mislim da sam slično pisao ovaj film. Govoreći si da ga nikad neću snimiti. Završilo je tako da čak i glumim u njemu. Ima li u „Sigurnom mjestu“ scena koje se nisu dogodile u stvarnom životu? Naravno. Metascena je scena koja se nikako nije mogla dogoditi, vjerojatno sam je zato i napisao. Ali i ostatak filma je na neki način više destilat traume, destilat iskustva koje sam prošao nego direktna rekonstrukcija. Što ste htjeli postići tom metafilmskom scenom u bolnici? Kada sam znao kakvu priču želim ispričati, počeo sam razmišljati o dramskoj formi koja bi takvom sadržaju odgovarala. Treba li biti linearna, fragmentarna ili, pak, nešto sasvim treće. Kakva je to forma koja bi zrcalila i nadogradila sadržaj nastao prema traumatskom događaju? Činilo mi se da trebam napisati nešto jako čvrsto i onda to na jednom mjestu razbiti, napraviti neku vrstu usjeka. Jer trauma i jest usjek, rupa u životu. Zato film u jednom trenutku napušta čvrsti fikcionalni okvir, jedinstvo vremena i radnje te se otvara prema metafilmičnom, autobiografskom. Kao što je život protagonista narušen traumatskom situacijom i sam film se narušava oprečnom dramskom strategijom. Gledalačka iluzija se podriva i istovremeno otvara nova dimenzija promatranog. Besmisleno bi to bilo raditi na više mjesta, jer bi ponavljanjem/variranjem taj postupak prestao biti rana i postao dio tkiva filma. Kada ste odlučili da ćete glumiti samoga sebe? To je zapravo došlo iz procesa. Nije bila ideja od početka. Tražio sam glumca koji bi odigrao lika starijeg brata, ali nikako nisam bio siguran da je odabir dobar. To je očito bila neka moja slijepa pjega. Vjerojatno mi je iskustvo tog lika toliko blisko da mi se sve osim samog sebe u toj ulozi činilo zbunjujućim. Sam proces kastinga je izgledao tako da sam glumcima (za sve uloge) slao odabrane scene koje bismo zatim zajedno probali. Takoreći jedan na jedan. Dopadala mi se ta intimna atmosfera. Ubrzo sam shvatio da replike ne mogu samo vraćati kao robot jer tako ni od glumaca ne mogu očekivati točnu reakciju pa sam počeo sve više paziti na vlastitu interpretaciju. Te sam probe snimao i odabrane snimke kasnije komentirao sa suradnicima. Nisam bio u kadru, ali njima se činilo da zvučim dobro, pa su me ohrabrili da okrenem jednom kameru i prema sebi. Tako se zapravo rodila ta ideja da glumim. Koliko ste Snježani Sinovčić Šiškov i Goranu Markoviću, koji glume vašu majku i brata, dali uvida u obiteljsku prošlost izvan onoga što je napisano u scenariju? Privatni kontekst nije bio tabu i doticali smo ga se spontano kada smo razgovarali o filmu. Međutim, proces rada definitivno nije počivao na tome da gradimo likove prema članovima moje obitelji. Mislim da time ne bismo dobili ništa autentično. Sjeli bismo i razgovarali o scenama o tome kako ih vidimo, kako bi oni u toj situaciji reagirali, kako bi oni to odigrali takoreći u vlastito ime ... Jako dugo smo probali. Mislim da smo mi na kraju postali neka nova obitelj. Koja nije preslika ni njih privatno, ni članova moje obitelji. Montaža filma je uvijek teška, puna nedoumica i teških odluka. Koliko je ovaj put bila još teža zbog same priče pune osobnih emocija? Već za vrijeme pisanja morao sam odvojiti taj osobni dio. Na snimanju još više. Potrebna je ta metapozicija da biste mogli upravljati onim što radite. Tako je vjerojatno uvijek kod izvedbenih umjetnosti. Glazbenik istovremeno osjeća, preplavljuje ga emocije, ali i dalje reproducira jako komplicirane kompozicije. Ovo je možda samo nešto ekstremnije. Ali svatko zapravo ima to iskustvo; recimo možete pjevati i biti duboko potreseni, ali istovremeno ćete znati pogađate li ton ili samo urlate. U montažu sam došao s iskustvom tog procesa, a montažer Marko Ferković je bio drugo, vjerojatno još objektivnije oko kojemu sam vjerovao. 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 Jurajem Lerotićem, rediteljem filma Sigurno mjesto
Dobitnik Srca Sarajeva za najbolji film i najboljeg glumca
Interview with Juraj Lerotić, director of the film Safe Place
How difficult was it to decide to make a film about your personal family trauma? As an author, it fascinates me in some way that the horror that happened to me is even possible. Until that event, I was not aware that things could get out of control so quickly, so radically, without any announcement or explanation. That being said, it wasn’t easy to make this film. Slavoj Žižek was once asked how he publishes so much. He replied that while he is writing he tells himself that he is never going to publish it. I think I wrote this film in a similar way. Telling myself I'll never shoot it. In the end, I’m even acting in it. Are there any scenes in "Safe Place" that did not happen in real life? Of course. A metascene from hospital is something that couldn't possibly happen, that's probably why I wrote it. But the rest of the film is in a way more a distillate of trauma, a distillate of the experience I went through than a direct reconstruction. What did you want to achieve with that scene? When I knew what kind of story I wanted to tell, I began to think about a dramatic form that would suit such content. Should it be linear, fragmentary or something completely different? What kind of form is it that would mirror and upgrade the content created according to the traumatic event? It seemed to me that I should write something very solid and then break it in one place, make some kind of cut. Because trauma is a cut, a hole in life. That's why the film at one point leaves the solid fictional framework, the unity of time and action, and opens up to the metafilmic, autobiographical. Just as the protagonist's life is disrupted by a traumatic situation, the film itself is disrupted by a conflicting dramatic strategy. The spectator's illusion is undermined and at the same time a new dimension of the observed opens up. It would be pointless to do it in several places, because by repeating/varying that procedure would cease to be a wound and become part of the fabric of the film. When did you decide to play yourself? It actually came from the process. It was not an idea from the beginning. I was looking for an actor to play the older brother, but I was by no means sure that the choice was a good one. That was obviously a blind spot of mine. Probably the experience of that character is so close to me that everything but myself in that role seemed confusing to me. The casting process itself looked like this: I sent the actors (for all roles) selected scenes that we would then rehearse together. One on one, so to speak. I liked that intimate atmosphere. I soon realized that I can't just repeat the lines like a robot because I can't expect the actors to react correctly, so I started to pay more attention to my own interpretation. I recorded these rehearsals and later commented on the selected recordings with my colleagues. I wasn't in the frame, but they thought I sounded good, so they encouraged me to turn the camera towards myself. That's actually how the idea of me as an actor was born. How much insight did you give to Snježana Sinovčić Šiškov and Goran Marković, who play your mother and brother, into the family past beyond what was written in the script? The private context was not taboo and we touched on it spontaneously when we talked about the film. However, the work process was definitely not based on building characters based on my family members. I don't think we would get anything authentic by doing so. We would sit down and talk about the scenes; about how we see them, how they would react in that situation, how they would play it, so to speak, in their own name... We tried for a long time. I think we ended up becoming a new family. Which is not a reflection of them in private, or of my family members. Film editing is always difficult, full of doubts and difficult decisions. How much more difficult was it this time because of the story itself, full of personal emotions? Already during the writing I had to separate that personal part. Even more on set. You need that metaposition to be able to manage what you're doing. This is probably always the case with the performing arts. At the same time, the musician feels, is overwhelmed by emotions, but still reproduces very complicated compositions. This may just be something more extreme. But everyone actually has that experience; for example, you can sing and be deeply moved, but at the same time you will know whether you are hitting the right note or just screaming. I came to editing with experience of that process, and editor Marko Ferković was another, probably even more objective eye that I trusted. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Destillate of the own trauma
RECIPIENT OF HEARTH OF SARAJEVO AWARD FOR THE BEST FILM AND ACTOR
Ukrajinski kreativni sektor danas je iznimno ranjiv
Intervju s Marynom Er Gorbach, rediteljicom filma Klondike
Kada ste počeli pripremati film,da li ste mislili da će, nažalost, biti toliko relevantan? Na našoj Instagram stranici Klondike.movie opisali smo kako je razvoj scenarija i cijelog projekta započeo 2014. godine. Nakon što je te 2014. aneksiran Krim i počela okupacija Donbasa, već sam osjećala da smo zakasnili. Kako je ukrajinski Donbas povezan s Klondikeom, mjestom u Yukonu poznatom po zlatnoj groznici s kraja 19. stoljeća? Preimenovanje Donbasa u Klondike bila je odluka da se metaforom duboko uđe u srž cijelog sukoba. Donbas je najveća industrijska regija Ukrajine, baš kao što je Klondike bio centar zlatne groznice. Ali zlatna groznica nije samo priča o ubijanju radi bogaćenja, već i o ljudima s oružjem koji dolaze među lokalno stanovništvo i pokušavaju uspostaviti vlastita pravila. Ovo je Klondike, ratna groznica. Koliko je bilo važno povezati fiktivnu priču o bračnom paru koji živi u okupiranim dijelovima Ukrajine sa stvarnim događajem obaranja putničkog aviona Malasyia Airlinesa? Katastrofa MH-17 je način da se međunarodna publika uključi u globalni razgovor o svjetskoj sigurnosti. Premijeru smo imali u januaru 2022, a povratne informacije publike bile su sljedeće: SAD: K vragu, nismo znali za rat u Ukrajini. BERLIN: O moj Bože, Klondike je poput filma o strahotama koje gledamo na vijestima. Nakon 24. februara: Klondike je film poput nekog proročanstva. Treba pitati redateljicu - Hoće li Rusija upotrijebiti atomsku bombu? A što se zapravo dogodilo? 2014. godine povrijeđene su granice suverene države, ali i granice humanizma. Nakon vijesti o Buči, Irpinu, Mariupolju, Olenivki... pređena je granica onoga što smo dotad smatrali dopuštenim. Ali, sada smo u Sarajevu. Historija se ponavlja u većim razmjerima. Čovječanstvo se dijeli na one koji žele stvarati vrijednosti i one koji ih uništavaju. Gdje ste pronašli sve te uništene dijelove aviona? To je stvarno odličan kompliment našoj scenografskoj ekipi. Jedan od članova filmske ekipe, koji je znao kako smo snimali, ali tek je tijekom postprodukcije vidio rezultat na ekranu, samo je rekao: „Vi ste ludi“. Možda je bio u pravu, ali mi smo samo imali golemu želju snimiti film čiji će utjecaj biti dugotrajan. Kako ste znali da će Oksana Cherkashyna biti vaša savršena Irka, žena nevjerojatne snage koja ne želi pasti u očaj čak ni u najstrašnijim situacijama? Odabrala sam je po mirisu, mirisala je na Irku (smijeh). Svi likovi iz Klondikea personifikacija su ljudskih instinkata za preživljavanje. Važno mi je da su Irkini ženski instinkti jači od rata, no ona je u isto vrijeme samo žena koja živi dan po dan, priprema se za budućnost pod bombama. To je majčinski instinkt. Sretna sam što je Klondike Cherkashinina prva glavna filmska uloga. U filmu punom simbolike, od tapeta sa slikom tropske plaže uništene jednom bombom do dvojice šogora na suprotnim stranama, koliko novorođeno dijete predstavlja neizvjesnu budućnost Ukrajine? Za mnoge ukrajinske obitelji odmor na Krimu — odmaranje na plaži i istraživanje planina — je bio svakogodišnji san. I sada je uništen. Ako ćete pažljivije gledati detalje, Irkina torba za bolnicu izgleda kao torba za plažu. Šogori nisu Rus i Ukrajinac, obojica su Ukrajinci i govore ukrajinski. Jedina je razlika u tome što Yaruk nikada nije živio u Sovjetskom Savezu i uistinu ne može pojmiti kako je moguće živjeti pod ruskom okupacijom. Tolik je mnogo stariji i njegov jedini san je spasiti život svojoj ženi i djetetu. On je samo čovjek, a ne superheroj. Konačno, to su dva muškarca koji se bore tko će biti vođa u kući.Rađanje djeteta tijekom strahota rata nije zamišljeno kao simbol budućnosti zemlje. Iza svakog od nas stoji žena, kako iza Tolika i Yarika, tako i iza ratnih plaćenika. Kada sagledamo cijelu širinu, priroda je tako moćna. Zato ta scena nije poruka o budućnosti, nego divljenje životu. Ovo je prvi film koji niste režirali zajedno sa svojim suprugom Mehmetom Bahadirom Erom. Kako ste se odlučili samostalno režirati i hoćete li tako i nastaviti? Još uvijek sam iznenađena kako smo u prošlosti uspjeli snimiti tri filma kao koreditelji. Nikada to nismo planirali. Kod nas je sve išlo vrlo intuitivno i prirodno. Iskreno, puno puta su me pitali ovo pitanje. Svjesna sam da postoje brojne žene u filmskoj industriji koje pišu, stvaraju i sudjeluju u režiji, ali na kraju iz nekog razloga ne budu potpisane na filmu. Naš je princip rada da prvo snimimo film, a onda sjednemo i vidimo koga ćemo potpisati pod koju titulu. No, očito je koliko mi Klondike znači, pa je bilo jasno da je na njemu potreban zaštićeni prostor za ženski autorski glas. Bahadirov je udio u nastanku filma bio ogroman, ali uglavnom u produkciji filma. Bez obzira kako smo na njemu potpisani, na kraju bih ipak rekla da je Klondike - naš film. U kakvoj je situaciji ukrajinska filmska zajednica u ratom razorenoj zemlji? Kad čujem ovo pitanje, samo mi se pred očima pojavljuju lica umjesto svih onih statista o snimanju za vrijeme rata. Ukrajinski kreativni sektor danas je iznimno ranjiv. Postoji emocionalno pomračenje kada ljudi ne osjećaju apsolutno ništa. A jezivo je kada razmislite da je nemoguće stvarati ni iz čega, zar ne? Ne možemo ni zamisliti koliku ljepotu treba stvoriti da se barem djelomično prekrije sav ovaj užas. Razgovarao Josip Jurčić 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. 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.
Dobitnica Srca Sarajeva ZA NAJBOLJU REŽIJU
Ukrainian creative sector is extremely vulnerable nowadays
Interview with Maryna Er Gorbach, director of the film Klondike
When you started to prepare the film did you think it’s was, unfortunately, going to be this relevant? We’ve posted on our Klondike.movie Instagram account how the script and the whole project developing started in 2014. After the annexation of Crimea and the beginning of Donbas occupation in 2014, I already felt we were too late. How is the Ukrainian Donbas connected with Klondike, place in Yukon infected by the gold rush at the end of 19th century, to which the film’s title refers? Renaming Donbas to Klondike was a figurative decision to get deeply to the heart of the whole conflict. Donbas is the largest industrial region of Ukraine, just like Klondike was center of gold rush. But gold rush is not only a story of murders for enrichment but also about people with weapons coming to the locals and trying to establish their own rules. This is Klondike, a war rush. How important was to connect a story of married couple living in occupied parts of Ukraine with real life event of shooting down Malasyia Airlines Flight 17? The MH-17 catastrophe is a way to involve an international audience in a global conversation about world safety. We premiered in January 2022, and the feedback from the audience was like: USA: Fuck, we didn't know about war in Ukraine BERLIN: Oh my gosh, Klondike is like a movie about things we hear on the news. After 24th of February: Klondike is kind of prophet film. We should ask the director - Will Russia use the atomic bomb? And what actually happened? In 2014, the borders of the sovereign state were violated as well as the borders of humanism. After the news about Bucha, Irpin, Mariupol, Olenivka… the boundary of our perception of permissibility has been violated. But you know, we are in Sarajevo now. History repeats itself on a larger scale. Humanity is divided into those who want to create values and those who destroy them. Where did you find all those broken parts of airplane? Оh, this is really cool complement to our production designer department. One of the team members, who participated in post-production, saw the result on the screen, knowing how everything was created, and said: you are crazy. Maybe he was right, but we were just acting with the desire to make a long-living film. How did you know that Oksana Cherkashyna would be your perfect Irka, woman with incredible strength not willing to fall into despair even in most horrible situations? I chose her based on her smell, she smelled like Irka [laughing]. All Klondike characters are the personification of human survival instincts. It is important for me that Irka's female instincts are stronger than war, but at the same time she is just a woman who lives day by day, she prepares for the future under bombs, this is a maternal instinct. I am happy that Klondike happened to be Cherkashina's first full leading role in a movie. In a film full of symbols, from wallpapers with image of tropic beach ruined with one bombshell to Russian and Ukrainian brothers in law, how much does a newborn baby represents uncertain future of Ukraine? For many Ukrainian families a vacation in Crimea — chilling on a beach and exploring mountains — was an annual dream. And it was destroyed. If you will notice details, Irka’s bag for the hospital looks like beach bag. There are no Russian and Ukrainian brothers in law, they are both Ukrainians and speak Ukrainian. The only difference is that Yarуk never lived under Soviet Union influence and he truly doesn’t have in mind how it is possible to live under Russian occupation. Tolik is much older and his only dream is to save the life of his wife and child. He is just a human and not a superman. Finally, they are two men fighting for leadership in one house. Talking about the future, I did not think of it as a symbol of the country's future. There is a woman behind each of us, behind Tolik and Yarik, behind the mercenaries. Nature, in the large-scale understanding of this phenomenon, is so powerful. This was not an episode about the future of the country, this is an appreciation for life. This is the first film that you didn’t co-direct with your husband Mehmet Bahadir Er. How did you decide to direct it alone and will you continue to do it? I am still surprised how we have made 3 movies as co-directors in our past. It was never a topic to discuss for us. Everything was happening in a very natural way. Honestly, I’ve heard this question many times. There are many women in film industry writing, creating, taking parts in directing and co-operating, but they don’t have any title because of some reasons. In our tandem, we make film as a first thing and when it’s done the decision on credits appears. But “Klondike” seemed too special for me, it was clear that there was a safe and deeply private zone needed for a woman author’s voice. Nevertheless, Bahadir’s part was huge, but mostly in all production part. I would say Klondike is still our movie. What is the situation of Ukraine film community in war torn country? When I hear this question, I can only see faces appearing in front of my eyes instead of all those film-during-the-war statistics. Ukrainian creative sector is extremely vulnerable nowadays. There is an emotional blackout when people feel absolutely nothing. And it’s scary when you think that is impossible to create from nothing, right? We can’t even imagine how much of a beauty needs to be created to cover all this horror at least partially. Josip Jurčić 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 e justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus st 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. 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.
RECIPIENT OF HEARTH OF SARAJEVO AWARD fOR THE BEST DIRECTOR
Intervju s Vedranom Pribačić, rediteljicom i scenaristicom i Mirtom Puhlovski, producenticom i scenaristicom filma „Veće od traume“
Razgovarala Marinela Domančić
Tema kojom se bavi vaš film, zataškano silovanje tijekom Domovinskog rata, prestrašna je sama za sebe a vaš film pršti ljubavlju, optimizmom i sa traumom izlazi na kraj lakše no što bi se moglo pretpostaviti pokazujući ono što se ne dešava uvijek - ozdravljenje. Kako ste se odlučile za temu, je li bilo straha, kolebanja, preispitivanja i predomišljanja? Vedrana Pribačić: Nisam se kolebala, bojala ni predomišljala ni jedne sekunde želim li snimiti ovaj film. Željela sam dati glas ženama, civilnim žrtvama rata, ali ne na način da ispričaju svoje svjedočanstvo stravičnih događaja iz prošlosti. Ideja koja me je vodila išla je u smjeru da smo već vidjeli mnogo filmova u kojima protagonisti govore o svojim traumama, vraćaju se u prošlost i nanovo preživljavaju već doživljeno. A mi, publika, patimo s njima. Rješenja nigdje na vidiku. S druge strane, rijetko kada vidimo proces zaliječenja. Život je pun raznih trauma, zanimalo me postoji li mogućnost da budemo veći od svojih trauma, nakon takvog mraka, postoji li svjetlo? Moje djetinstvo i dio mog života obilježio je taj prokleti rat. Kad sam saznala za ovu grupu žena i za program njihovog osnaživanja intuitivno sam znala da želim biti tu sa njima. Nije bilo lako ni snimanje, ni saznavanje detalja o zločinima (kojih nema u filmu, namjerno), ni skupljanje novca, ni montiranje filma. No to je potpuno logično s obzirom na temu. Izuzetno mi je drago što se iz pitanja vidi da smo uspjele prenijeti pozitivnu poruku, koja prodržava život i rad na sebi. Mirta Puhlovski: Ja sam oduvijek željela raditi film koji prikazuje unutarnji proces preobrazbe, a što rezultira bitnim životnim promjenama. Vjerovala sam da će naše protagonistice promijeniti svoj život, jer sam na taj način i ja promijenila svoj. Preispitivanja i neizvjesnosti su se pojavili kad sam vidjela kako su naše protagonistice i tjelesno loše radi potisnute traume. Prošle su mnoge operacija i bolesti, međutim, shvatila sam da ih ni to nije pokolebalo. Ja sam u obitelji imala primjer slične traume i znala sam koliko je za sve silovane žene i njihove potomke važno da ta trauma krene u proces izlječenja, jer se tu radi o transgneracijskoj traumi, čiji se teret prenosi s generacije na generaciju žena. Sama spoznaja da su te promjene moguće za nekoga tko živi sa svojom potisnutom traumom preko 25 godina je izuzetno značajna. Kad su protagonistice osjetile tu mogućnost to ih je držalo da ustraju. Jer put kroz koji naše protagonistice prolaze, koji film prikazuje, nije lak, pun je uspona ali i padova, slabosti i snage, prijateljstva i neprijateljstva, ali zato je i film zanimljiv, dinamičan i živ. Tema u stvari nije silovanje već proces izliječenja od traume, ali ne kroz edukativno-društvene aspekte, već kroz aspekte putovanja duše. Može li se to uopće prikazati? Da li će gledatelji osjetiti i vidjeti ono što se zbiva u pozadini? Tim više što je film izuzetno realističan, a samo snimanje tog intimnog procesa trebalo je hvatati u trenutku. I tu je naš snimatelj Dario Hacek odigrao jako važnu ulogu, a poslije i montažerka film Marta Broz. U stvari film prikazuje trenutke koji mogu biti tako snažni i intenzivni da mijenjaju naučene mehanizme nošenja sa traumom. Glavne junakinje vašeg filma iznose pred kamerom najmračnija dešavanja iz svojih života. Kako su reagirale na vašu želju da ih snimite i da podijelite sa cijelim svijetom stvari koje ranije nikome nisu rekle? Mirta Puhlovski: Mi nismo znale da će one reći nešto što nisu nikome rekle, i nismo ih to niti tražile, niti pitale. Važnije je to što su učinile za sebe nego što su ispričale. Te su priče u film stavljene kao posljedica njihove promjene, njihovog odnosa prema toj priči i prema sebi samoj. Priče su tu da bi prikazali kako ih je moguće nadići i onda i ispričati. Znači služe kao poticaj da se protagonistice počnu de-identificirati od svojih priča. Jer postoji simbioza sa tim pričama i cijeli film tražimo te trenutke koji ih počinju oslobađati od težine kojom one pritišću protagonistice. To je zahtijevan, sveobuhvatan proces, jer su um, tijelo i emocije povezani. Zato je i program jedinstven jer radi simultano na svim područjima. Voditeljica tog programa je bila moja mentorica u školi sistemskih konstelacija, Branka Devčić. Jednom me pozvala da sudjelujem na programu kao reprezentant i ja sam tad osjetila ogromnu potrebu sudjelovati i pomoći. Program se održavao u udruzi Žene u Domovinskom ratu u Zagrebu. Istog trena sve što se tamo događalo me je povuklo. Dvije godine snimale smo program i tijekom tog perioda i mi smo na neki način postale dio procesa. Unutar takvih grupa razvija se jedno neobično povjerenje i zajedništvo. Da li bi snimanje bilo moguće bez toga - ne znam. Ali protagonistice filma pustile su nas u svoj intimni prostor i nakon nekog vremena više nije bilo nikakvih zapreka. Uvijek se pojavljuje pitanje moralnog aspekta iskorištavanja nečijih sudbina i priča. Mi smo bile načisto zašto radimo taj film i naše su protagonistice to osjetile. Vedrana Pribačić: Mi smo došle s kamerama na program koji su one već pohađale nekoliko mjeseci. Već su tada osjetile da su na pravom mjestu i da dobivaju podršku kakvu nikad do tada nisu imale. I da se mijenjaju, na bolje. Također, vjerovale su svojim terapeutima i voditeljici udruge Mariji Slišković, a oni su, pak, imali povjerenja u nas. Vrlo je bitna činjenica da su naše drage protagonistice željele da i druge žene upoznaju program koji je njima toliko pomogao i podijeliti ga sa svijetom. Međutim do toga je došlo tek nakon dvije godine, kad su shvatile koliko ih je program osnažio. Nakon što su vidjele film, bile su potpuno sigurne da žele da ga vide svi. U početku smo Mirta i ja polagano gradile povjerenje između nas sviju na setu, prvo smo dolazile bez kamere, samo da promatramo radionice i da se upoznamo sa ženama. Onda smo krenule s probnim snimanjima. Nismo uvele čitavu filmsku ekipu i tehniku u prostor, već samo najosnovnije, kako ne bismo ometale njihov proces rada na sebi. Dogovorile smo se sa njima da nećemo snimati kad ne žele i napismeno smo se obavezale da će prve vidjeti film, te da će ga moći mijenjati ako žele. Međutim, jako nam je drago reći da su korekcije bile zanemarive. Pretpostavljam da su vaše protagonistice pogledale film. Kako su reagirale? Vedrana Pribačić: Marija je plakala tijekom prikazivanja film. Bila je sretna kako smo krasno zabilježile što se događalo na programu i što je promijenilo iz temelja njen život. Sada zauvijek ima uspomenu na to. Ana je također plakala tijekom projekcije. Ali nije plakala zbog sebe, plakala je slušajući druge žene. Ni ona nije znala neke stvari. Ana je gledajući film bila krajnje empatična prema drugima. Katica je bila u Njemačkoj s dečkom kad sam joj poslala film. Za nju smo se nekako najviše brinule kako će reagirati, Katica je bila najzatvorenija od svih, i njen rast u filmu se upravo vidi u otvaranju prema traumi na način da je konačno izgovori i suoči se do kraja s njom, ali i da si dozvoli mogućnost da se opusti, da se smiri, da se ne boji toliko... Sutradan mene zove Katica i kaže mi sljedeće: ona je taj film pustila svom dragom, koji do tada nije znao što joj se doista dogodilo u ratu, a ona mu nije imala snage reći. I priča tako meni Katica: vidim ja njega, samo šuti i puši. Završi film, on ode na balkon. Ja izađem za njim, a on plače k'o kišna godina. I onda me je zagrlio i rekao mi da sad sve razumije, da me voli i da je s tim sada gotovo, da mi se nikad više ovako nešto neće dogoditi o da će biti sve u redu. I samo me grlio i plakao. Dakle, Katica je film iskoristila da mu na taj način ispriča svoju priču. I to je prošlo jako dobro. Evo ih i sad u Njemačkoj. Ja sam skoro pukla od sreće i ganutosti, dok mi je to pričala, malo sam i plakala. Sve protagonistice su također bile na premijeri s publikom, doživjele su gromoglasni pljesak i podršku. Jako su ponosne na sebe. Mirta Puhlovski: Ima divnih priča o njihovim reakcijama. Marija je npr. gledala film opet na premijeri u Zagrebu, na ZagrebDox-u, sa obitelji gdje smo dobili stajaće ovacije publike. Rekla je sutradan, da se od kad je rat počeo nikada nije naspavala tako dobro kao tu noć nakon premijere. Jer i to priznanje publike je važno. Do sada su od društva dobile samo osudu, sažaljevanje ili ignoriranje, ovo je bio trenutak da su doživjele empatiju, podršku i divljenje. Osobno sam kao posebne heroine doživjela terapeutkinje koje su brižno i strpljivo radile sa ženama i osnažile ih toliko da je promjena na njihovim licima i u ponašanju na početku i na kraju filma vidljiva i laičkom oku. Zamolila bih za malo više podataka o programu „Ja sam mnogo više od moje traume“. Mirta Puhlovski: Da, oni su bili izuzetno predani radu sa ženama i dobile smo veliku podršku i terapeuta i voditeljice Udruge Marije Slišković za snimanje. Trebalo nam je par godina u montaži da odlučimo ipak staviti njihov rad u drugi plan, unatoč tome što je izuzetno zanimljiv i važan. Sam program „Ja sam mnogo više od moje traume“, nas u stvari vodi kroz cijelu filmsku priču. Posebno za ovu vrst traume, kreirali i osmislili su ga naši terapeuti i praktičari voditeljica sistemskih konstelacija Branka Devčić, Emina Simunić, magistrica psihologije, Hrvoje Vitturi, diplomirani fizioterapeut i Feldenkrais praktičar, Zvonka Tomasović Hrkovac, osteopatica i Gordana Kastrapeli, MSc, NLP Master Trainer. Sve su to izuzetno zanimljiva područja jer čovjek kroz njih sazrijeva i postaje budniji za svoje fizičke, tjelesne i emotivne potrebe. Radi se o integrativnom programu koji u obzir uzima cijelu osobu a ne samo jedan njen dio. Ovaj intenzivan program, kroz koji je već prošlo nekoliko grupa žena, održavao se tijekom dvije godine svaki mjesec po tri dana uzastopno po 12 sati. Protagonistice su dolazile u Zagreb iz Vukovara i okolice. Pilot program je financirao UNDP, a onda je financiranje nastavio uglavnom Grad Zagreb, kroz zakladu Sunčica. Osim velikog iskustva, empatije i poznavanja metoda povukla me je i kreativnost kojom se voditelji služe da bi se sam proces uopće mogao odvijati. Jer naravno da uz tako jake traume ima i puno otpora i odustajanja. Voditeljica je npr. stavila kameru u sredinu tog jednog, za njih vrlo intimnog, prostora i svi su je mogli uzeti i pogledati kroz nju i snimiti se njom. Na taj način kamera je dobila svoje mjesto u prostoru i postala je dio procesa. Već prigodom svjetske premijere filma na ZagrebDox-u osvojile ste Nagradu publike i Posebno priznanje u Regionalnoj konkurenciji a onda su se ređale Nagrada za etiku i ljudska prava, Zlatna uljanica, Posebno priznanje za dokumentarni film i Nagrada publike na Danima hrvatskog filma... I sama tema, i vaš nježan pristup koj ne trlja sol u rane zacijelo će biti bliski bosanskohercegovačkoj publici. Kakva su vaša očekivanja pred prikazivanje filma na Sarajevo Film Festivalu? Vedrana Pribačić: Znam mnogo o tome što se događalo u Bosni. Imam prijatelja Sarajliju s kojim sam proživljavala svašta, mnogo puta sam bila u BiH, čak i odmah nakon rata. Pročitala sam i dosta knjiga o tom vremenu. Znala sam pomisliti kako je sve to neizdrživo i da nikad više neće biti ljepote na našim prostorima. Previše traume, previše smrti, previše nepravde. Međutim, život ide dalje. Ponovno ima veselja. Ljudi se zaljubljuju, pjesme se pjevaju. Društva se okupljaju. Rađaju se djeca, drveće je naraslo. Naš film također podržava rast, napredak, svjetlo. Moja je želja da što više ljudi vidi film. Veliko poštovanje imam prema ljudima iz BiH, vašem duhu i prošlosti, te prema Sarajevo Film Festivalu kao najjačem regionalnom festivalu. Ogromna mi je čast da ovdje prikažemo film. Pogotovo jer mi je to prvi dugometražni film. I jer je tema kakva jest, u kojoj će se (na žalost) mnogi prepoznati. A to kad kažete da ne trljamo sol na rane, divno je to čuti. Jer smo baš to željele i sretne smo da smo uspjele. Mirta Puhlovski: Lijepo je dobiti priznanja, najljepše od publike. Publika je čista, struka ne baš toliko, za struku treba zadovoljiti puno uvjeta. Publika se samo treba zaljubiti, a mi smo kao i publika ranjive i osjetljive. Istodobno imamo i velika očekivanja i strah od vrlo jake konkurencije takvog jednog festivala kao kao što je Sarajevo Film Festival. A mi kao društvo trebamo melem za rane, jer smo svi bili ranjeni. I ovim filmom želimo podsjetiti da je ta mogućnost uvijek tu. 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. 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.
Svjetlo nakon mraka
Dobitnik Srca Sarajeva zA LJUDSKA PRAVA
Light after dark
Light after dark Interview with Vedrana Pribačić, director and screenwriter, and Mirta Puhlovski, producer and screenwriter of the film “Bigger than trauma”
The subject your film deals with, hidden rape during the Homeland War, is terrifying in itself, and your film bursts with love, and optimism, and copes with trauma more easily than one might assume, showing what does not always happen - healing. How did you decide on the topic, was there any fear, hesitation, questioning, and second thoughts? Vedrana Pribačić: I didn't hesitate, fear, or change my mind for a single second if I wanted to make this film. I wanted to give a voice to the women, the civilian victims of the war, but not in such a way that they tell their testimony of the terrible events of the past. The idea that guided me was that we have already seen many films in which the protagonists talk about their traumas, return to the past and relive what they have already experienced. And we, the audience, suffer with them. There is no solution in sight. On the other hand, we rarely see the healing process. Life is full of various traumas, I was wondering if there is a possibility to be bigger than our traumas, after such darkness, is there light? My childhood and part of my life were marked by that damn war. When I found out about this group of women and their empowerment program, I intuitively knew that I wanted to be there with them. It wasn't easy neither filming, nor finding out details about the crimes (which are not in the film, on purpose), collecting money, or editing the film. But that is completely logical considering the topic. I am extremely glad that the question shows that we managed to convey a positive message, which sustains life and works on oneself. Mirta Puhlovski: I have always wanted to make a film that shows the internal process of transformation that results in significant life changes. I believed that our protagonists would change their lives because that's how I changed mine. Questioning and uncertainty arose when I saw how our protagonists were also physically ill due to repressed trauma. They went through many operations and illnesses; however, I realized that even that did not sway them. I had an example of a similar trauma in my family and I knew how important it is for all raped women and their descendants that this trauma begins the healing process because this is a trans-generational trauma, the burden of which is passed on from generation to generation of women. The very knowledge that these changes are possible for someone who has lived with their repressed trauma for over 25 years is extremely significant. The protagonists persisted because they sensed the possibility. The path our protagonists go through, which the film shows, is not easy; it is full of ups and downs, weakness and strength, friendship and enmity, but that is why the film is interesting, dynamic, and alive. The topic is not rape, but the process of healing from trauma, not through the educational and social aspects, but the aspects of the journey of the soul. Is it even possible to show it? Will the viewers feel and see what is happening in the background? Especially because the film is extremely realistic, and the recording of that intimate process itself had to be captured at the moment. And that's where our DOP Dario Hacek played a very important role, and later the film editor Marta Broz. The film shows moments that can be so powerful and intense that they change already learned mechanisms for dealing with trauma. The main heroines of your film present the darkest events from their lives in front of the camera. How did they react to your desire to record them and to share with the whole world things that they had not told anyone before? Mirta Puhlovski: We did not know that they would say something they had not told anyone and we did not ask for it. What they did for themselves is more important than what they told. These stories were put into the film as a result of their change, their relationship to that story, and themselves. The stories are there to show how it is possible to overcome them and then tell them. So they serve as an incentive for the female protagonists to start de-identifying themselves from their stories. There is a symbiosis with these stories, and throughout the film, we are looking for those moments that begin to free the protagonists from the weight of these stories that oppress them. It is a demanding, comprehensive process because the mind, body, and emotions are connected. That is why the program is unique because it works simultaneously in all areas. The leader of that program was my mentor at the School of System Constellations, Branka Devčić. Once she invited me to participate in the program as a representative, and I then felt a huge need to participate and help. The program was held at the Association of Women in the Homeland War in Zagreb. At the same time, I was drawn by everything that was happening there. We recorded the program for two years, and during that period we also became a part of the process in a way. An unusual trust and togetherness develop within such groups. I do not know whether the recording would be possible without it. But the protagonists of the film let us into their intimate space and after a while, there were no more obstacles. There is always the question of the moral aspect of exploiting someone's fates and stories. We were clear about why we were making this film and our female protagonists felt it. Vedrana Pribačić: We came with cameras to the program that they had already attended for several months. Even then, they felt that they were in the right place and that they were receiving support that they had never had before. And that they are changing, for the better. They also trusted their therapists and the head of the association, Marija Slišković, and they trusted us. It is a very important fact that our dear protagonists wanted other women to get to know the program that helped them so much and to share it with the world. However, that only happened after two years, when they realized how much the program had strengthened them. After seeing the film, they were sure that they wanted everyone to see it. In the beginning, Mirta and I slowly built trust between all of us on the set, at first we came without a camera, just to observe the workshops and to get to know the women. Then we started with test recordings. We did not introduce the entire film crew and equipment into the space, but only the most basic ones, so as not to interfere with their process of working on themselves. We agreed with them that we wouldn't film when they didn't want to and we made a written commitment that they would see the film first and that they would be able to change it if they wanted. However, we are very pleased to say that the corrections were negligible. I assume that your protagonists have seen the film. How did they react? Vedrana Pribačić: Marija cried during the screening of the film. She was happy that we recorded beautifully what happened on the program and what fundamentally changed her life. Now she has the memory of it forever. Ana also cried during the screening, but she didn't cry for herself - she cried when listening to other women. She didn't know about some things. While watching the film, Ana was extremely empathetic towards others. Katica was in Germany with her boyfriend when I sent her the film. We were somehow most worried about how she would react as she was the most closed of all, and her growth in the film can be seen precisely in opening up to the trauma in such a way that she finally speaks it out and faces it to the end, but also allows herself the possibility to relax, to calm down, to not be so afraid... The next day, Katica called me and told me that she played the film for her boyfriend who, until then, did not know what happened to her in the war, and she had no strength to tell him. Katie told me that she saw him just being silent and smoking. I followed him out onto the balcony, and he cried his eyes out. And then he hugged me and told me that now he understands everything, that he loves me and that it's over now, that something like this will never happen to me again, and that everything will be alright. He just hugged me and cried. So, Katica used the film to tell him her story. And that went very well. Here they are in Germany. I almost burst with happiness and emotions while she was telling me that, I even cried a little. All the protagonists were also at the premiere with the audience, they experienced thunderous applause and support. They are very proud of themselves. Mirta Puhlovski: There are some wonderful stories about their reactions. For example, Marija watched the film again at the premiere in Zagreb, at ZagrebDox, with her family, where we had a standing ovation from the audience. She said the next day that she had never slept as well as she did that night after the premiere. The recognition from the audience is important because until now, they have only received condemnation, pity, or ignore from society. This was the moment they experienced empathy, support, and admiration. I have personally felt the therapists as special heroines - they worked with women with such care and patience and empowered them so much that the change in their faces and behavior at the beginning and end of the film is visible even to the non-professionals eye. I would like to ask for a little more information about the program "I am much more than my trauma". Mirta Puhlovski: Yes, they were extremely committed to working with women and we received great support for filming from both the therapist and the head of the Association, Marija Slišković. It took us a couple of years in editing to decide to keep their work out of focus even though it is extremely interesting and important. The program "I am much more than my trauma" actually takes us through the entire film story. It was created and designed especially for this type of trauma by our therapists and practitioners, - head of system constellations Branka Devčić, Emina Simunić, Mag. psych, Hrvoje Vitturi, Bacc. Physioth.; Feldenkrais Practitioner; SEP, Zvonka Tomasović Hrkovac, D.O., SEP – Osteopath and Gordana Kastrapeli, MSc, NLP Master Trainer. All these areas are extremely interesting because through them a person matures and becomes more aware of his/hers body, and physical and emotional needs. It is an integrative program that takes into account the whole person and not just one part of him/her. This intensive program, which has already been attended by several groups of women, was held every month for three consecutive days for 12 hours for two years. The protagonists came to Zagreb from Vukovar and its surroundings. The pilot program was financed by UNDP and then the financing was continued mainly by the City of Zagreb, through the foundation „Sunčica“. In addition to the great experience, empathy, and knowledge of methods, I was also attracted by the creativity that the leaders use to make the process work. When the traumas are so strong, there are, of course, a lot of resistances and drop-outs. For example, the facilitator placed the camera in the middle of a very intimate space for them and everyone could take it and look through it and record themselves with it. In this way, the camera got its place in the space and became part of the process. On the occasion of the world premiere of the film at ZagrebDox, you already won the Audience Award and Special Mention in the Regional competition, and then the Ethics and Human Rights Award, the Golden Lantern, the Special Mention for Documentary Film, and the Audience Award at the Days of Croatian Film followed... And the topic itself and your gentle approach that does not rub salt in the wounds will surely be close to the local audience. What are your expectations before the screening of the film at the Sarajevo Film Festival? Vedrana Pribačić: I know a lot about what happened in Bosnia. I have a friend from Sarajevo, with whom I have experienced so many things, I have been to BiH many times, even right after the war. I also read a lot of books about that time. I used to think that all this was unbearable and that there would never be any more beauty in our area. Too much trauma, too much death, too much injustice... However, life goes on. There is a joy again. People fall in love, and songs are sung. Societies gather. Children are born, and trees have grown. Our film also supports growth, progress, and light. My wish is that as many people as possible see the film. I have great respect for the people of BiH, your spirit and past, and the Sarajevo Film Festival as the strongest regional festival. It is a great honor to show the film here. Especially since it's my first feature film. And because the topic is what it is, in which (unfortunately) many will recognize themselves. And when you say that we shouldn't rub salt in the wounds, that's wonderful to hear. Because that's exactly what we wanted and we're happy that we succeeded. Mirta Puhlovski: It's nice to receive recognition, and it's even nicer if it comes from the audience. The audience is pure, the profession not so much, for the profession you have to meet a lot of conditions. The audience just needs to fall in love, and we, like the audience, are vulnerable and sensitive. At the same time, we have high expectations and fear of very strong competition from such a festival as the Sarajevo Film Festival. We, as a society, need to heal our wounds, because we have all been wounded. And with this film, we want to remind you that the possibility of healing is always there. 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. 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.
RECIPIENT OF HEARTH OF SARAJEVO AWARD for human rights
Foto galerija / Photo gallery
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
Press konferencija filma Praznik rada / Press conference: May Labour Day
Ekipa filma Praznik rada / Crew: May Labour Day