Održana gala projekcija "Čuvara formule" i film "Kos Kos Kupina" imao regionalnu premijeru/ Gala screening of "Guardians of the Formula"¸ and regional premiere of "Blackbird, Blackbird, Blackberry" was screened
FESTIVAL DAILY
SRIJEDA / WEDNesday 16.8.2023.
www.sff.ba #29thSFF
Film ČUVARI FORMULE Dragana Bjelogrlića sinoć je u Narodnom pozorištu Sarajevo imao gala projekciju u sklopu Takmičarskog programa – igrani film, u kojem je prikazan van konkurencije.
Uoči projekcije 15. augusta u Multipleksu Cineplexx Sarajevo održana je pres konferencija, koja je započela izrazima saučešća žrtvama tragičnog događaja u Gradačcu. Dragan Bjelogrlić je pozvao cijeli region da bude solidarni u borbi protiv pošasti nasilja. „Dolazimo u Sarajevo rasterećeni i da uživamo sa sarajevskom publikom. Volim ovdje da dođem. Prošli put nam se posrećilo sa filmom TOMA u Sarajevu, nadam se da će tako biti i s ovim filmom“, rekao je Bjelogrlić. O filmu su govorili i koscenarist Vuk Ršumović, glumačka ekipa: Alexis Manenti, Olivier Barthélémy, Radivoj Bukvić, Maja Čamper, Alisa Radaković, Jovan Jovanović, Ognjen Micović, te scenografkinje Jelena Sopić i Jovana Cvetković. Film ČUVARI FORMULE je adaptacija romana “Slučaj Vinča” Gorana Milašinovića. U jeku hladnoratovske krize grupa naučnika u Institutu Vinča sprovodi tajni projekat koji predvodi profesor Dragoslav Popović. Sticajem nepredviđenih okolnosti, oni bivaju izloženi smrtonosnoj dozi zračenja, zbog čega ih jugoslovenska tajna policija odvodi na liječenje u Kliniku Curie u Parizu. Francuski doktorski tim na čelu sa profesorom Žoržom Mateom zaključuje da je njihovo stanje kritično i da su im dani odbrojani. Iako je profesor Mate cijeli svoj život posvetio borbi protiv nuklearnog naoružanja i duboko prezire projekat na kojem su radili jugoslovenski naučnici, on predlaže da se po prvi put u historiji izvede delikatna i neizvjesna intervencija zamjene koštane srži ozračenih pacijenata. Da li je u pitanju eksperiment nad živim ljudima, ili on zaista želi da im pomogne – postaje mučno pitanje za jugoslovenske naučnike. Film ČUVARI FORMULE premijerno je prikazan na Filmskom festivalu u Locarnu, gdje mu je dodijeljena nagrada Zeleni leopard.
Gala projekcija filma "Čuvari Formule"
Along with a screening held on August 15th at the Cineplexx Sarajevo Multiplex, a press conference took place, commencing with expressions of condolences to the victims of the tragic event in Gradačac. Dragan Bjelogrlić invited the entire region to stand in solidarity in the fight against the scourge of violence. "We come to Sarajevo relaxed and to enjoy ourselves with the Sarajevo audience. I love coming here. Last time in Sarajevo, we got lucky with the film TOMA, I hope it will be the same with this one," said Bjelogrlić. Co-screenwriter Vuk Ršumović, the cast: Alexis Manenti, Olivier Barthélémy, Radivoj Bukvić, Maja Čamper, Alisa Radaković, Jovan Jovanović, Ognjen Micović and stage designers Jelena Sopić and Jovana Cvetković also spoke about the film. The film GUARDIANS OF THE FORMULA is an adaptation of the novel "The Vinča Case" by Goran Milašinović. At the height of the Cold War, a group of scientists from the Vinca Institute work on a secret project supervised by Professor Dragoslav Popović. In a twist of fate, they are exposed to a deadly dose of radiation and taken by Yugoslav secret police for treatment at the Institut Curie Hospital in Paris. Led by Professor Georges Mathé, a team of French doctors concludes that the scientists' situation is critical and that their days are numbered. Although Professor Mathé has dedicated his life to the fight against nuclear weapons and despite despising the project the Yugoslav scientists were working on, he suggests performing the first ever bone-marrow graft on them, a delicate and risky procedure. The Yugoslav scientists confront a fraught question: Is professor Mathé suggesting experimentation on humans or truly trying to help them. GUARDIANS OF THE FORMULA had its premiere at the Locarno Film Festival, where it was awarded the Golden Leopard.
GUARDIANS OF THE FORMULA by Dragan Bjelogrlić had a gala screening last night at the National Theater of Sarajevo as part of the Competitive Programme – feature film, in which it was screened out of competition.
Gala Screening of "Guardians Of The Formula"
Regionalna premijera filma "Kos Kos Kupina"
Etero, četrdesetosmogodišnjakinja koja živi u jednom malom gruzijskom selu, nikada nije željela imati muža. Ona cijeni vlastitu slobodu podjednako kao i svoje kolače. Ali njena odluka da živi sama povod je brojnih tračeva među stanovnicima njenoga sela. Iznenada, Etero se strastveno zaljubljuje u jednog muškarca i prisiljena je odlučiti da li želi stupiti u vezu sa njim ili nastaviti živjeti slobodno. Etero se mora suočiti s vlastitim emocijama i odlučiti kako naći vlastiti put ka sreći. Film KOS KOS KUPINA zasnovan je na istoimenom romanu Tamte Melashvili. Režija: Elene Naveriani Uloge: Ekaterine Chavleishvili, Teimuraz Chinchinadze
Regionalnom premijerom filma KOS KOS KUPINA rediteljice Elene Naveriani večeras u 19:00 sati u Narodnom pozorištu Sarajevo nastavio se Takmičarski program – igrani film 29. Sarajevo Film Festivala. Film je svjetsku premijeru imao na Filmskom Festivalu u Cannesu u sekciji Directors’ Fortnight.
With the regional premiere of the film BLACKBIRD BLACKBIRD BLACKBERRY by the director Elene Naveriani, tonight was screened in the Sarajevo National Theatre, in the Competition Programme – Feature Film. The film had its world premiere at the Directors’ Fortnight section of the Cannes Film Festival.
Etero, a 48-year-old woman living in a small village in Georgia, never wanted a husband. She cherishes her freedom as much as her cakes. But her choice to live alone is the cause of much gossip among her fellow villagers. Unexpectedly, she finds herself passionately falling for a man, and is suddenly faced with the decision of pursuing a relationship or continuing a life of independence. Etero must grapple with her feelings and decide how to find her own path to happiness. BLACKBIRD BLACKBIRD BLACKBERRY is based on the novel of the same name by Tamta Melashvili. Director: Elene Naveriani Cast: Ekaterine Chavleishvili, Teimuraz Chinchinadze
Regional premiere of "Blacbird Blackbird Blackberry"
A screening of ANIMAL KINGDOM, directed by French filmmaker Thomas Cailley, took place last night at the Coca-Cola Open Air Cinema.
Projekcija film KRALJEVSTVO ŽIVOTINJA francuskog reditelja Thomasa Cailleya održana je sinoć u Ljetnom kinu Coca-Cola.
Film je svjetsku premijeru imao u programu Izvjestan pogled na ovogodišnjem 76. Filmskom festivalu u Cannesu. Na 29. Sarajevo Film Festivalu film je prikazan u programu Open Air. U svijetu suočenom sa serijom genetskih mutacija zbog kojih se ljudi postepeno pretvaraju u životinje, François čini sve što može kako bi spasio svoju suprugu pogođenu tim misterioznim stanjem. I dok se stvorenja povlače u obližnju šumu, François sa svojim šesnaestogodišnjim sinom Emilom kreće na putovanje koje će im zauvijek promijeniti život. Uloge u filmu ostvarili su Romain Duris, Adèle Exarchopoulos, Paul Kircher i Jean Boronat.
"Animal Kingdom" Screened at the Coca-Cola Open Air Cinema
Film "Kraljevstvo životinja" prikazan u Ljetnom kinu Coca-Cola
The film had its world premiere in the Un Certain Regard selection at the 76th Cannes Film Festival this year. At the 29th Sarajevo Film Festival, the film was featured in the Open Air programme. In a world plagued by a series of genetic mutations that gradually turn people into animals, François does everything in his power to save his wife, who is affected by this mysterious condition. As the creatures retreat into the nearby forest, François and his sixteen-year-old son Emil embark on a journey that will change their lives forever. The cast of the film includes Romain Duris, Adèle Exarchopoulos, Paul Kircher, and Jean Boronat.
Seriju su predstavili kreator i scenarista Gábor Krigler, kreativni direktor Firefly Productionsa Boban Jevtić, glumica Dunja Stojanović i glumac Dejan Mešić. Gábor Krigler je izjavio da je glumačka ekipa bila izvanredna te da smatra da serija ima internacionalni potencijal. „Producentske kuće su govorile da je ovaj projekat previše balkanski, kao i da je scenarij previše grub. Upravo zbog ovoga smo odlučili da priču vratimo u Sarajevo, i čim smo to učinili, priča je zaista oživjela“, rekao je Krigler. Scenarij za TV seriju FRUST potpisuju Srđan Vuletić, Gábor Krigler i Eszter Angyalosy. „Firefly Productions je za pet godina uspio da napravi čak sedamnaest serija, ali ovo je prvi međunarodni projekat. Scenarij za seriju je kupljen. Zahvalan sam na prilici da sarađujem sa Srđanom Vuletićem“, rekao je Jevtić. Dunja Stojanović je izjavila je da je tokom snimanja uživala i mnogo naučila, kao i da je veoma zadovoljna izvedbom, a najviše montažom serije. Dejan Mešić je rekao da je reditelj Tanović doprinjeo veoma prijatnoj atmosferi na setu, kao i da u njega ima beskrajno povjerenje. Prva epizoda TV serije FRUST pretpremijerno je prikazana u sklopu programa Pretpremijere Serije 29. Sarajevo Film Festivala u Multipleksu Cineplexx Sarajevo.
U okviru programa 29. Sarajevo Film Festivala u Avant Premiere Press Corneru 15. augusta gostovala je ekipa TV serije FRUST kreatora Srđana Vuletića i Gábora Kriglera, u režiji Oscarom® nagrađenog bosanskohercegovačkog reditelja Danisa Tanovića.
Pretpremijere Serije: Dolaskom u Sarajevo, priča TV serije FRUST je oživjela
Avant Premiere Series: Arrival in Sarajevo Revives the Story of TV Series FRUST
The series was presented by creator and screenwriter Gábor Krigler, creative director of Firefly Production Boban Jevtić, actress Dunja Stojanović and actor Dejan Mešić. Gábor Krigler stated that the cast was exceptional and that he believes the series has international potential. "Production companies rejected the project, saying it was too Balkan and that the script was too harsh. This is why we decided to bring the story back to Sarajevo, and as soon as we did, the story truly came to life," Krigler said. The screenplay for the TV series FRUST was written by Srđan Vuletić, Gábor Krigler, and Eszter Angyalosy. "Firefly Productions has managed to create seventeen series in just five years, but this is their first international project. The script for this series was purchased. I am grateful for the opportunity to collaborate with Srđan Vuletić," said Boban Jevtić. Dunja Stojanović stated that she enjoyed filming and learned a lot during the process, and that she is very satisfied with her performance, especially the editing of the series. Dejan Mešić said that director Danis Tanović created a very pleasant atmosphere on set, emphasising that he has unlimited trust in him. The first episode of the TV series FRUST pre-premiered as part of the Avant Premieres Series programme of the 29th Sarajevo Film Festival on August 14th at Multiplex Cineplexx Sarajevo.
As part of the 29th Sarajevo Film Festival programme, the team of the TV series FRUST created by Srđan Vuletić and Gábor Krigler, and directed by Oscar® winner Bosnian-Herzegovinian director Danis Tanović appeared at the Avant Premiere Press Corner on August 15th.
Što se dogodi kada Beate, ambiciozna izvršna direktorica zaposlena u Europi - misterioznoj korporaciji koja se želi proširiti na područje Balkana - upozna Jetnora, tvrdoglavog i duhovnog farmera koji odbija napustiti zemlju svojih predaka? Odgovor nudi “Europa”, provokativna drama u kojoj Sudabeh Mortezai istražuje privilegije i iskorištavanje u našem društvu.
Kada ste zlu korporaciju u središtu priče nazvali Europa, odmah ste istaknuli da je ovo priča o bogatoj Europi koja iskorištava siromašniji dio kontinenta. Zašto vam je to bilo važno? Naslov je, naravno, provokacija. Europa nije samo kontinent, ona nosi snažnu simboličku težinu, obećanje određenih vrijednosti i ljudskih prava. Obećanja koja zvuče šuplje pred stvarnošću Europe: pred ekonomskim i društvenim nejednakostima. Upravo me ova licemjerna nepovezanost između europskog ideala i surove stvarnosti ponukala da ispričam ovu priču. Postoji taj dominantno eurocentrični pogled na svijet, vrlo arogantan, s hijerarhijom između Zapada i Istoka, Sjevera i Juga. Sukobi u središtu mog filma su naravno globalne prirode i nisu ograničeni na Europu. Iskorištavanje je srž našeg načina života u privilegiranim društvima Zapada. To je oduvijek bio slučaj, ne samo u doba kolonijalizma, nego traje i danas. Koliko je na vaše filmsko stvaralaštvo utjecala činjenica da ste rođeni u Njemačkoj, a odrasli u iranskoj obitelji u Beču? Stvaralaštvo svakog filmaša u određenoj je mjeri oblikovano njegovom biografijom. Mislim da je u mom slučaju odrastanje između dvije vrlo različite kulture uz migrantsko iskustvo otvorilo moje vidike. Vrlo sam otvorena prema novim kulturama i iskustvima i uvijek spremna vidjeti svijet iz nove perspektive. U filmovima, “Macondo“ i “Joy“, portretirali ste ranjive strance u Austriji. Sada pokazujete kako izgleda kada bogati Europljani iskorištavaju manje razvijene zemlje. Je li bilo teško promijeniti gledište? Ne baš. Čini mi se kao da je to druga strana medalje. Sa svojim filmovima samo nastavljam istraživati. Svakim novim filmom volim naučiti nešto novo o našem svijetu i ljudskom iskustvu. Uvijek me zanimaju autsajderi i izopćenici, ljudi koji nemaju glasa ili nisu u središtu pozornosti. U “Europi” postoji ta promjena u gledištu. Ulazimo u film s Beate i njezinom privilegiranom perspektivom, ali ona se mijenja kako ulazimo dublje u tradicionalni svijet albanskih farmera i suosjećamo s njima. Beate ne osjeća krivnju za svoje ponašanje. Ona puno priča o boljoj budućnosti, ali dobro zna kako uništava lokalnu zajednicu. Jeste li razmišljali da je učinite simpatičnijom? Mislim da osjeća krivnju, posebno pred kraj filma, kada samo želi pobjeći što prije da izbjegne suočavanje s posljedicama svojih djela. Ali kako bi zadržala svoj položaj moći, ne smije dopustiti da joj osobni osjećaji stanu na put. Istina je da, kada ste na moćnom položaju unutar neljudskog sustava, morate odbaciti svaku vrstu ljudskosti ili empatije. To je cijena koja dolazi s moći. Ako želite igrati ovu igru, ovo su pravila. Beate to razumije. Stalno to viđamo u stvarnom životu. Ljudi koji “samo rade svoj posao”, pokušavaju se snaći unutar hijerarhijskog sustava. Meni je posebno zanimljivo, jer je Beate žena. Obično imamo vrlo različita očekivanja od žena. Očekujemo da budu empatičnije i humanije. Ali, pogledajte moćne političarke i visokopozicionirane menadžerice u korporacijama. U nemilosrdnom sustavu jednako su nemilosrdne kao i njihove muške kolege. Kako ste izabrali Lilith Stangenberg za ovu ulogu? Lilith me impresionirala u filmu „Wild“, njemačke redateljice Nicolette Krebitz, gdje je odigrala vrlo suprotnu ulogu od Beate. Ona je radikalna i neustrašiva glumica koja će ići do kraja kako bi istražila svoj lik, bez obzira u koja će je mračna područja to odvesti. Bila sam jako uzbuđena što ću raditi s njom. Prije snimanja razgovarale smo o Beateinom liku i glavnim temama priče, zajedno smo promatrale žene na pozicijama moći u politici i korporativnom svijetu, i povezalo nas je duboko međusobno razumijevanje filmske priče. Lilith se zatim pripremila vlastitim postupkom. Na snimanju sam puno improvizirala, s obzirom da je većina ostalih glumaca prvi put igrala u filmu. Gdje ste pronašli naturščika Jetnora Gorezija za ulogu lokalnog farmera? Odradili smo nekoliko castinga po ulicama Poliçana i u ruralnoj zajednici Skrapar, području u južnoj Albaniji, gdje se odvija većina filma, doslovno hodajući od kafića do kafića i od kuće do kuće. Jetnora smo upoznali tijekom jedne od tih uličnih potraga u seoskom kafiću. Imao je vrlo izražajno lice i prodorne oči i povezali smo se čim smo počeli razgovarati. Znala sam da sam našla čovjeka za tu ulogu. Koliko se razlikovao vaš pristup Lilith i Jetnoru s obzirom na njihovo glumačko iskustvo? Obično radim s neprofesionalnim glumcima ili glumcima koji su tek na početku karijere, pa je cijeli proces vrlo spontan i temelji se na improvizacijama. Glumcima ne dajem scenarij na čitanje, a scene snimamo kronološki. Želim da budu spontani u svakoj sceni i kako se priča razvija da što dublje uđu u svoje likove. U “Europi“ sam prilagodila pristup. Lilith je jedina unaprijed pročitala scenarij i pripremila se za ulogu. Svi ostali glumci samo bi na setu dobili upute o sceni i krenuli bi u improvizaciju. Naravno, Lilith se morala prilagoditi tim improvizacijama. Dakle, ključno je bilo uskladiti ove procese da funkcioniraju zajedno. Jedino je Lilith bila potpuno svjesna cijele priče. To joj je dalo neku vrstu moći koja se jako dobro uklopila u njezin lik, budući da je Beate osoba s moći i skrivenim ciljem, dok albanski likovi nisu svjesni njezinih skrivenih motiva. Što ste znali o Albaniji prije nego što ste tamo odlučili snimiti film? Kad mi je na pamet pala ideja za priču, nisam znala gotovo ništa o Albaniji, kao i većina ljudi koji žive u Zapadnoj Europi. Nakon našeg prvog istraživačkog putovanja u Albaniju, ostala sam fascinirana zemljom, njenom kulturom i ljudima, a posebno njihovim nevjerojatno srdačnim gostoprimstvom. Tijekom tri godine pripremanja za snimanje, posjetila sam Albaniju puno puta, upoznavajući kulturu i gradeći odnose. Shvatila sam da je za većinu ljudi izvan balkanske regije Albanija terra incognita, opterećena stereotipima i vrlo specifičnim i egzotičnim slikama poput krvne osvete i zakletih djevica. Mene su, pak, zanimale sasvim druge stvari. Albanija se za moju priču pokazala kao savršeno mjesto, zemlja razapeta između svoje povijesti i nastojanja da bude punopravni dio Europe. Josip Jurčić Body text Body text
Iskorištavanje je srž našeg načina života
Exploitation is at the core of our way of life
What happens when Beate, an ambitious executive working at Europa - a mysterious corporation looking to expand into the Balkans region - meets Jetnor, a stubborn and spiritual farmer who refuses to leave the land of his ancestors? The answer can be found in “Europa”, a provoking drama by Sudabeh Mortezai that explores privileges and exploitation in our society.
By naming the evil company Europa, you’re immediately highlighting that this film shows how rich Europe exploits poorer parts of the continent. Why was it so important to you? The title is, of course, a provocation. Europe is not just a continent, it carries a strong symbolic weight, a promise of certain values and human rights. Promises that ring hollow in the face of economic and social inequalities that are the reality of Europe. This hypocritical disconnect between the European ideal and the harsh reality makes this an urgent story for me to tell. There is this predominantly Eurocentric view of the world, which is very arrogant, with a hierarchy between the West and East, North and South. The conflicts at the center of my film are, of course, global in nature and not limited to Europe. Exploitation is at the core of our way of life in the privileged societies of the West. This has always been the case, not just in the era of colonialism, but persists to this day. Was there any particular real-life incident that prompted you to write this story? No. It’s more of an accumulation of many different observations over the years. Every filmmaker’s work is shaped to a certain extent by their biography. In my case, I think, being raised between two very different cultures and the experience of migration has opened up my perspective. I’m very open to new cultures, experiences, always ready to see the world from a new point of view. In films Macondo and Joy, you portraited vulnerable foreigners in Austria. Now, you’re showing wealthy Europeans exploiting less developed countries. Was it hard to change that point of view? Not really. It seems like the other side of the coin to me. I just keep exploring with my films. I like to learn something new about our world and the human experience. I'm always interested in underdogs and outcasts, people who don't have a voice or are not at the centre of attention. In “EUROPA” there is a shift in perspective. We enter the film with Beate and her privileged perspective, but it shifts as we get deeper into the traditional world of the Albanian farmers and empathize with them. Your lead character Beate doesn’t feel any guilt for her behaviour. She is all words about a better future but knows perfectly well how she is ruining the local community. Did you consider making her look more sympathetic? I think she does feel guilt, especially towards the end of the film, when she just wants to get away as fast as possible to avoid facing the consequences of her actions. But in order to hold her position of power, she cannot let personal feelings interfere. The truth is, you have to put away any kind of humanity or empathy when you hold a position of power within an inhuman system. This is the price that comes with power. If you want to play this game, these are the rules. Beate understands this. We see this in real life all the time. People who are “just doing their jobs”, trying to make it within a hierarchical system. For me, it’s especially interesting that Beate is a woman. We usually have very different expectations from women. We expect them to be more empathetic, more human. But look at powerful female politicians and high-ranking managers in corporations. They are playing along with a ruthless system as relentlessly as their male counterparts. How did you choose Lilith Stangenberg for this role? I was very impressed by Lilith’s performance in “Wild” (by German director Nicolette Krebitz) where she plays a very contrary role to Beate. She is a radical and fearless actor who will go all the way to explore her character, no matter into which dark areas it will lead her. I was very excited to work with her. Before the shoot, we discussed Beate’s character and the main themes of the story, and together we looked at women with power in politics and the corporate world. There was a deep mutual understanding of the story we want to tell. Lilith then prepared with her own process. On set I worked with a lot of improvisation, also considering that most of the others were first time actors. Where did you find non-professional actor Jetnor Gorezi for the role of a local farmer? We did several street castings in Poliçan and the rural community of Skrapar, the area in Southern Albania, where most of the film takes place, literally walking from cafe to cafe and from house to house. We met Jetnor during one of these street castings at a small village cafe. He had a very strong expressive face and piercing eyes. Immediately there was a connection when we started talking. I knew I had found the man for the part. How different was your approach to Lilith and Jetnor, considering their acting experience? Usually, I work mostly with non-professional or first-time actors, and the whole process is very spontaneous and based on improvisations. I don’t give the actors the screenplay to read, and we film in chronological order. I want them to be spontaneous in every scene and grow into their characters as the story evolves. In “Europa”, I adapted my approach. Lilith was the only actor to read the screenplay beforehand and prepare for the role. All other actors would just get directions about the scene on set and improvise. Of course, Lilith had to go along in the improvisations as well. So, the key was to make these processes work together. Lilith was the only one fully aware of the whole story. This gave her the kind of power which fits very well to her character, as Beate is the person with the power and the hidden agenda, while the Albanian characters are unaware of her ulterior motifs. What did you know about Albania before you decided to shoot the film there? When the first idea for the story came up, I knew next to nothing about Albania, like most people living in Western Europe. After our first research trip to Albania, I was fascinated by the country, its culture and people, especially their incredibly warm and heartfelt hospitality. I visited Albania many times over the course of 3 years before the actual shoot, getting to know the culture and building relationships. I realized that for most people outside the Balkan region, Albania is a terra incognita, saddled with stereotypes and very specific, exotic images like blood feuds and sworn virgins. Whereas I was interested in entirely different things. For my story, Albania seemed the perfect place, a country torn between its history and the efforts to be a full part of Europe. Do you think that the audience in Austria and in Albania will react differently to the film? Definitely. I think the film will work in different ways, depending on where the viewers are from. And I’m really looking forward to sharing the film with different audiences and seeing the reactions. Josip Jurčić Body text Body text
Što vas je inspiriralo da snimite film o tinejdžerima na ekskurziji? Prije nekoliko godina svi su se mediji u Bosni i Hercegovini raspisali o učeničkoj ekskurziji na kojoj je, navodno, sedam djevojčica ostalo trudno. Nema onoga tko taj slučaj nije komentirao. I mene je zaintrigirao. Međutim, nije mi bilo toliko zanimljivo što se doista dogodilo koliko reakcija okoline na cijeli skandal. Mislim da je izuzetno važno upravo o tome govoriti, kako društvo reagira na takve događaje. Kako je bilo snimati film s glumcima uglavnom tinejdžerima? Divno i izazovno u isto vrijeme. Oni su puni energije, ljubavi i kreativnosti, žele sudjelovati i pridonijeti filmu. Nije bilo nikakvih problema s njihovim kreativnim doprinosom. Izazovno je, jer su oni u jednom vrlo osjetljivom životnom razdoblju, kada su izuzetno svjesni sebe. Puno im je teže prepustiti se igri, jer osjećaju golemi pritisak društva – kako izgledaju, kako se ponašaju, kako postoje u svojem okruženju - što je sasvim normalno u tim godinama. Naravno, sve je to još više potencirano kada stanete ispred kamere. Svaka osoba tada postane svjesna svakog svojeg pokreta. To je tipični glumački problem, no kod njih je još veći jer nemaju tu zrelost i glumačke alate koji bi im pomogli da se snađu u toj situaciji. Nisu više djeca koja se lagano prepuste igri ispred kamere, a nisu ni zreli ljudi koji su kroz to iskustvo već dovoljno puta prošli. Zato nam je trebalo neko vrijeme da postanu zaigrani, riješe se svih očekivanja i počnu stvarati. Nalaze li se mladi u Bosni i Hercegovini pod posebnim pritiskom? Mladi u Bosni i Hercegovini odrastaju između dvije jake polarizirajuće snage. S jedne strane imamo ekstremnu seksualizaciju njihovih mladih tijela, pogotovo kada su u pitanju djevojčice i nametanje raznih ideja bez razmišljanja o psihičkom zdravlju mladih. S druge strane pritisnuti su jednim konzervatizmom i dogmatizmom koji čini potpuno suprotno - srami te mlade osobe, osuđuje ih, kažnjava i stvara im osjećaj da su sami krivi za ono što im se prirodno događa. Upravo me ta dvojnost potaknula da se uhvatim u koštac s tom tematikom. Mislite li da bi bit filma bila drugačija da se radnja događa u Americi, Francuskoj ili Kini? Priča filma je univerzalna. Bez obzira na neke specifičnosti koje se tiču bosanskohercegovačkog društva, njegova se bit može prenijeti na svačije iskustvo adolescencije ili, ako ste roditelj, odgajanje tih adolescenata. Film je situiran na specifičnoj lokaciji, ali ima snagu govoriti za puno šire područje. Koliko vam u režiji pomaže vaše veliko montažersko iskustvo? Strašno puno. Najviše sam o režiji naučila u sobi za montažu surađujući s redateljicama i redateljima. U tom procesu je krucijalno da ja sebi apsolutno vjerujem kada režiram i znam što mi treba za scenu kako bi ona proradila na potreban način. To nikada nije neki specifičan kadar već posebna emocija i dinamika između likova koja čini da scena ne bude samo puka informacija ili samo estetski privlačna. Kakav je osjećaj nakon svega imati veliku projekciju u rodnom gradu? Oduvijek sam znala da će projekcija u Sarajevu biti posebna. S ekstra dozom uzbuđenja, straha i ushićenosti. Ne samo za mene već i za čitavu ekipu, ali prvenstveno za sve mlade ljude koji su kreativno sudjelovali u stvaranju filma. Strašno mi je važno čuti njihovo mišljenje o filmu koji smo zajedno stvarali. Josip Jurčić
Odrastanje između dvije jake polarizirajuće snage
Kako jedna nevina laž može zakotrljati lavinu događaja i kojim su sve pritiscima izloženi današnji tinejdžeri, u debitantskom dugometražnom igranom filmu "Ekskurzija", pokazala je sarajevska redateljica Una Gunjak.
photo by ©Olivia Harris
How one innocent lie can set off an avalanche of events and what pressures today's teenagers are the subjects that Sarajevo director Una Gunjak explores in her debut feature film "Excursion".
Growing up between two strong polarizing forces
What inspired you to make a film about teenagers on a field trip? A few years ago, all the media in Bosnia and Herzegovina reported on a student excursion during which, allegedly, seven girls became pregnant. There is no one who has not commented on that case. It intrigued me too. However, I was not so interested in what actually happened as much as I was interested in the reaction of society to the whole scandal. I think it is extremely important to talk about this, how society reacts to such events. What was it like shooting a film when the actors are mostly teenagers? Wonderful and challenging at the same time. Teenagers are full of energy, love, and creativity, eager to contribute to the film. There were no problems regarding their creative contributions. However, the challenge arises from the fact that they are in a sensitive period of life, and are extremely self-aware. Engaging in the game becomes much more difficult for them due to the enormous pressure from society - concerning their appearance, behavior, and existence within their environment. Such pressures are quite normal at their age. Standing in front of the camera exacerbates these feelings. Every person becomes acutely conscious of their every movement when in the camera's gaze. It's a typical acting problem, but even more pronounced with them, as they lack the maturity and acting tools to navigate the situation effectively. They are no longer children who easily let themselves play in front of the camera, nor are they mature individuals who have already experienced such situations. Consequently, it took some time for them to become playful, shed all expectations, and start the creative process. Do young people in Bosnia and Herzegovina find themselves under special pressure? Young people in Bosnia and Herzegovina are growing up between two strong polarizing forces. On the one hand, we have the extreme sexualization of their young bodies, especially when it comes to girls, and the imposition of various ideas without thinking about the psychological health of young people. On the other hand, they are oppressed by conservatism and dogmatism that does the complete opposite - it shames these young people, condemns them, punishes them, and makes them feel that they are to blame for what naturally happens. It was this duality that encouraged me to tackle this topic. Do you think the essence of the film would be different if the story took place in America, France or China? The story of the film is universal. Regardless of some specifics concerning Bosnian society, its essence can be transferred to everyone's experience of adolescence or, if you are a parent, raising those adolescents. The film is situated in one exact location but has the power to speak for a much wider area. How much does your great experience as an editor help you in directing? Enormously. I learned most about directing in the editing room, working with directors. In this process, it is crucial that I absolutely believe in myself when directing and know what I need for the scene so that it works the way it should. It is never a specific frame, but a special emotion and dynamic between the characters that makes the scene not just informational or just aesthetically appealing. How does it feel to have a big screening in your hometown after all? I always knew that the screening in Sarajevo would be special. With an extra dose of excitement, fear and elation. Not only for me, also for the entire team, but primarily for all the young people who creatively participated in the making of the film. It is very important for me to hear their opinion about the film we created together. Josip Jurčić
photo by Ajla Salkić
Usred odjeka Dejtonskog sporazuma, odvijala se priča unutar zidova naizgled običnog hotela, otkrivajući jedinstven pogled na historijske pregovore koji su oblikovali modernu Bosnu i Hercegovinu. Tu priču nam upravo dočarava vizionarski reditelj Bojan Stojčić.
Daytonski sporazum pored mikrovalne pećnice
Raznorodni autori su se na mnoge načine bavili Dejtonskim mirovnim sporazumom ali je samo vama palo na pamet da se smjestite u hotel u kojem su pregovori održani i da osluhnete prošlost slušajući prostor. Kako ste došli na tu ideju? Budući da se moja umjetnost uglavnom bavi politikama tijela i prostora u različitim medijima, motivi prisustva ili odsustva su mi jako značajni. Moji radovi uglavnom nastaju na licu mjesta, a dokumentacija u različitim tehnikama i materijalima je to što publika vidi. Budući da sam povodom izložbe bio u Detroitu u državi Mičigen, imao sam snažnu potrebu da odem u Dayton u Ohaju – mjesto nastanka današnje Bosne i Hercegovine. Posudio sam auto od galeriste i jednostavno krenuo prema Daytonu i Hope hotelu nadomak grada, bez ikakvog jasnog plana i cilja. Iz dosadašnjeg iskustva sam znao da će mi sam Hotel ponuditi materijal za rad, a u ovom slučaju to je bila njegova praznoća i moje tijelo u njoj. Odmah sam osjetio da je praznoća te strukture jasna metafora ustava moje zemlje, ali i američke vanjske politike. Jeste li morali proći neke posebne procedure da bi ste pristupili Hope hotelu u zračnoj bazi Wright-Patterson? Smatraju li ga Amerikanci posebnim povijesnim mjestom ili je to danas hotel kao svaki drugi? Hope hotel je specifičan po tome što je jedini hotel u SAD-u u vojnom vlasništvu, a otvoren je za civilne posjete. Budući da se nalazi u sklopu najveće baze vojnog vazduhoplovstva SAD-a, njegova namjena je prvenstveno ugošćavanje službenih posjeta vojsci ili organizovanje konferencija sličnih mirovnim pregovorima koji su oblikovali današnju Bosnu i Hercegovinu. Iako je kolektiv Hope Hotela ponosan na pregovore koji su se tu desili, to ipak nije muzejska institucija, već hotel u siromašnoj unutrašnjosti Amerike. Vrlo je zanimljivo bilo vidjeti kako se jedan hotel u kojem se zaustavio četvorogodišnji rat i oblikovala jedna zemlja nosi sa tim naslijeđem, tako da ćemo vidjeti kopiju Daytonskog sporazuma pored mikrovalne pećnice, ili recimo fotografiju na kojoj Richard Holbrooke pokazuje linije razgraničenja u Bosni i Hercegovini pored ulaza u muški toalet. Hotel u vašem filmu djeluje potpuno neinteresantno i prazno, kao da u nema nikoga osim vas. Šta se dešavalo u hotelu dok ste tamo boravili, da li su tu bili još neki gosti? Prva tri dana mog boravka u Hope Hotelu bio sam jedini gost. Već pri ulasku bilo je jasno da se hotel koristi u rijetkim prilikama. Tek posljednji dan mog boravka vidio sam druge goste, jednu grupu uniformiranih lica. Otuda i motiv fantoma u filmu; lutajući hodnicima osjećao sam se pomalo kao duh, a i čitava prazna struktura Hope Hotela podsjetila me na sam Daytonski sporazum – jedan konstrukt koji je nekada imao funkciju i smisao; a sad je samo prazna ljuštura u kojoj odjekuje prošlost. Zanimljive su banalne izjave uposlenika koji su radili u hotelu u danima pripremanja sporazuma. Kako ste došli do ovih izjava, pretpostavljam da nisu snimane 27 godina nakon originalnog događaja? Meni su bila jako zanimljiva iskustva tadašnjih uposlenika hotela – radničke klase sa rubova historijskog događaja. Iako je fokus pregovora naravno bio na predsjednicima, sekretarima i delegacijama nekoliko zemalja, ipak je te ljude neko morao ugostiti, smjestiti i nahraniti ih. Kao uvijek prilikom odvijanja historijskih događaja ljudi koji to opslužuju su nevidljivi. Iz tog razloga su mi bila interesantna iskustva tadašnjih uposlenika. Direktorica hotela je bila dovoljno ljubazna da mi ustupi novinski članak iz 1995. godine sa kratkom reportažom i intervjuima tadašnjih uposlenika. Budući da te novine više ne postoje, niti je moguće doći do novinarke koja je radila prilog, ti su mi se glasovi učinili kao još jedna vrsta fantoma. Zato njihova svjedočanstva u filmu čitaju algoritmi umjetne inteligencije koji oponašaju ljudski glas – neživi algoritmi koji imitiraju čovjeka su najbliže duhovima što sam mogao doći. Posebno je fascinantna izjava jednog od kuhara da su sudionici jeli iznenađujuće dobro i puno. Obzirom na teško varenje koje traje decenijama, moramo li se vratiti u Dayton da provarimo ono što su nam gospoda skuhala? Da, sva tri predsjednika su jela iznenađujuće dobro i puno, a hotelski kuhar je od jednog od delegata dobio originalnu mapu Bosne i Hercegovine na kojoj su se crtale granice. Događaj koji je zaustavio rat, ali i oblikovao jednu zemlju i trajno ju zarobio u stanje beznađa, zapravo je igrokaz moći ispunjen raznim banalnostima. Nažalost iz ove perspektive puta iz Daytona nema, a koliko ćemo lutati praznim hodnicima Hope Hotela – to će nam budućnost reći. Marinela Domančić
Various authors dealt with the Dayton Peace Agreement in many ways, but only you thought of staying in the hotel where the negotiations were held and listening to the past by listening to the space. How did you come up with that idea? Since my art mainly deals with body and space politics in different media, the motifs of presence or absence are very important to me. My works are mostly created on site and the documentation in different techniques and materials is what the audience sees. Since I was in Detroit, Michigan for the exhibition, I had a strong need to go to Dayton, Ohio - the birthplace of today's Bosnia and Herzegovina. I borrowed a car from a gallerist and simply headed for Dayton and the Hope Hotel near the city, without any clear plan or goal. From previous experience I knew that the Hotel itself would offer me material for work; and in this case it was its emptiness and my body in it. I immediately felt that the emptiness of that structure was a clear metaphor for my country's constitution, but also for the American foreign policy. Did you have to go through any special procedures to access the Hope Hotel at Wright-Patterson Air Force Base? Do the Americans think of it as a special historical place or is it a hotel like any other? What is unique for The Hope Hotel is that it is the only military-owned hotel in the USA that is open to civilian visitors. Since it is part of the largest base of the US military air force, its purpose is primarily to host official visits to the army or to organize conferences similar to the peace negotiations that shaped today's Bosnia and Herzegovina. Although the Hope Hotel collective is proud of the negotiations that took place there, it is still not a museum institution, but a hotel in the poor interior of America. It was very interesting to see how a hotel, where a four-year war was stopped and one country was shaped, deals with this legacy; so, we'll see a copy of the Dayton Agreement next to the microwave oven, or say a photo of Richard Holbrooke showing the demarcation lines in Bosnia and Herzegovina next to the entrance to the men's room. The hotel in your film seems completely uninteresting and empty, as if there is no one there but you. What happened in the hotel while you were there, were there any other guests? For the first three days of my stay at the Hope Hotel, I was the only guest. It was already clear upon entering that the hotel is used on rare occasions. Only on the last day of my stay did I see other guests, a group of uniformed faces. This is how the motif of the phantom appears in the film; wandering through the corridors I felt a bit like a ghost, and the entire empty structure of the Hope Hotel reminded me of the Dayton Agreement itself – a construct that once had a function and meaning and now it's just an empty shell in which the past echoes. The banal statements of the employees who worked at the hotel during the days of preparing the agreement are very interesting. How did you come up with these statements, I assume they weren't recorded 27 years after the original event? I found the experiences of the hotel employees at that time very interesting - the working class from the margins of the historical event. Although the focus of the negotiations was, of course, on the presidents, secretaries and delegations of several countries, someone still had to host, house and feed these people. As always, during the historical events the people who serve there are invisible. This is why I was interested in the experiences of the employees at that time. The director of the hotel was kind enough to give me a newspaper article from 1995 with a short report and interviews with employees at the time. Since that newspaper no longer exists nor is it possible to reach the journalist who did the feature, those voices seemed to me like another kind of phantom. That's why their testimonies in the film are read by artificial intelligence algorithms that imitate the human voice - inanimate algorithms that imitate humans are the closest I could get to ghosts. The statement of one of the chefs that the participants ate surprisingly well and a lot is particularly fascinating. Considering the difficult digestion that has been going on for decades, do we have to go back to Dayton to digest what the gentlemen cooked for us? Yes, all three presidents ate surprisingly well and a lot, and the hotel chef received the original map of the drawn borders of Bosnia and Herzegovina from one of the delegates. The event that stopped the war, but also shaped a country and permanently trapped it in a state of hopelessness, is actually a show of power filled with various banalities. Unfortunately, from this perspective, there is no way out of Dayton, and the future will tell us how long we will wander the empty corridors of the Hope Hotel. Marinela Domančić Body text
The Dayton Agreement next to the microwave oven
Amid the echoes of the Dayton Accords, a story unfolded within the walls of a seemingly ordinary hotel, revealing a unique view of the historic negotiations that shaped modern Bosnia and Herzegovina. The visionary director Bojan Stojčić conjures up that story for us.
Elma Tataragić ističe teme, refleksije savremenog svijeta i izazove regionalne kinematografije predstavljene kroz raznoliku selekciju filmova programa U Fokusu.
Tematska raznolikost i savremeni uticaji
Koje su teme ovogodišnjeg programa U Fokusu? Kao i svake godine, program U Fokusu izuzetno je raznovrstan u svakom smislu pa i tematski. Neki od filmova bave se propitivanjem identiteta i općenito svijeta, poput filma ABOUT DRY GRASSES, kultnog reditelja Nurija Bilgea Ceylana ili film INSIDE. Neki nas uvode u postapokaliptični svijet u kojem se ljudi bore za goli život poput animiranog filma WHITE PLASTIC SKY, dok se neki filmovi na jedan realističan način bave odrastanjem poput filma BELONGING. Neki se direktno bave pozicijom žene u društvu kao što je srpski film JESTE VIDJELI OVU ŽENU, ili se bave ženom koja se u poznim godinama hvata u koštac sa društvom kao u filmu BLAGA'S LESSON. Što se iz savremenog svijeta najviše reflektira u filmovima koje ste imali priliku pogledati? Teško je, i zapravo nemoguće izdvojiti jednu stvar. Autori propituju iste stvari koje umjetnici propituju vjekovima, a to je pozicija čovjeka u današnjem društvu, pitanje jednakosti i pravde, ili općenito pitanje smisla života. Neki su filmovi pesimistični, drugi su optimistični. No, sigurno jeste da se regionalna kinematografija odmakla od onih post tranzicijskih tema koje su dugo bile prepoznatljive ovom podneblju, i sada se tematski priključila savremenim tokovima svjetskog filma. Šta je karakteristika selekcije filmova U Fokusu? Raznovrsnost i širina pogleda na stvarnost koja je pluralna i izuzetno ovisi o tački gledišta. U svakom filmu upravo postoji jaka tačka gledišta glavnih junaka. Ovo je zapravo selekcija jakih glavnih likova i likova općenito. Koliko su izazovi u svijetu (rat u Ukrajini, inflatorna kriza itd.) utjecali na kinematografiju u prethodnih godinu dana? Posljedice te krize još se ne vide na produkciji filmova, jer filmska produkcija izgleda kao da je tek ove godine izašla iz pandemijske krize. Posljedica toga je da se broj snimljenih filmova povećao za sigurno 20% čak i u odnosu na 2019. koja je bila izuzetna godina. Dobro je što je i kvalitet filmova na višem nivou, a razlog je vjerovatno i porast, odnosno zamah televizijske i novomedijske produkcije. Prvi put se u regiji vidi da se radi, da ekipe, autori i glumci imaju posla i stiču značajna iskustva. Bližimo se tridesetoj godišnjici Sarajevo Film Festivala. Kako je svih ovih godina bilo zadržati kvalitet i povjerenje ljubitelja filma? Za kvalitet je najvažnije praviti program bez kompromisa. To nekada nije lako jer postoje autori i producenti sa kojima imamo izuzetne odnose, ali ništa osim kvalitetnog filma ne može biti preporuka za ulazak u selekciju.
Svjesni vrijednosti kulture kao pokretača društvenog i ekonomskog razvoja, čast nam je biti Glavni sponzor Sarajevo Film Festivala, događaja zbog kojeg svake godine Bosna i Hercegovina postaje kulturni centar Europe. Kreiranje vrijednosti za UniCredit znači više od pukog generiranja finansijske vrijednosti, a podržavajući individualni i kolektivni rast osnažujemo razvoj zajednice. Volimo film i zajedno ćemo nastaviti kreirati nove uspomene za sve posjetitelje Festivala i naše cijenjene klijente. Conscious of culture's value as an engine of social and economic development, we are honored to be the main sponsor of the Sarajevo Film Festival, an event that makes Bosnia and Herzegovina the cultural center of Europe every year.Creating value for UniCredit means more than just generating financial value, and by supporting individual and collective growth, we Empower Communities to Progress. We love film and together we will continue to create new memories for all visitors to the Festival and our valued clients.
Elma Tataragić highlights the themes, reflections of the contemporary world and the challenges of regional cinema presented through a diverse selection of films from the In Focus programme.
What topics are within the In Focus programme this year? In Focus programme is, as every year, extremely diverse in every sense, even thematically. Some of the films deal with questions of identities and the general world, like the film ABOUT DRY GRASSES, by the renowned director Nuri Bilge Ceylan or the film INSIDE. Some take us to a post-apocalyptic world where people fight for their lives, like the animated film WHITE PLASTIC SKY, while some films deal with growing up in a realistic way, like the film BELONGING. Some directly deal with the position of a woman in society, such as the Serbian film HAVE YOU SEEN THIS WOMAN? or a woman who, in her late years, grapples with society, as shown in the film BLAGA'S LESSON. What carries over as a reflection from the real, contemporary world in the films you have seen? It's difficult - actually impossible - to single out one thing. The authors continue to question the same things that artists have questioned for centuries, namely the position of man in today's society, the question of equality and justice, or the meaning of life in general. Some films are pessimistic about these issues, but others are optimistic. What is certain is that regional cinema has moved away from those post-transitional themes that have long been recognizable in this region and has now thematically joined the contemporary streams of world cinema. What would you single out as a feature selection of In Focus films? The variety and breadth of the view of reality that is plural and extremely dependent on the point of view. In every film there is a strong viewpoint of the main characters. This is actually a selection of strong main characters and characters in general. How much have the challenges in the world (the war in Ukraine, the inflation crisis, etc.) affected cinema in the previous year? The consequences of this crisis are not yet visible in film production because it looks as if it has just emerged from the pandemic crisis this year. As a result, the number of films made increased by a certain 20% even compared to 2019, which was exceptional. What is good is that the quality of the films is also at a higher level, and the reason is probably the increase, i.e., the momentum of television and new media production. For the first time in the region, you can see that work is being done, that teams, authors, and actors have work to do and are acquiring significant experience. We are approaching the 30th anniversary of the Sarajevo Film Festival, how has it been all these years to maintain the quality and trust of film lovers? The most important thing is to create a program without compromising the quality itself. This is sometimes not easy because there are authors, and producers with whom we have exceptional relationships, but nothing but a quality film can be a recommendation for entering the selection.
Thematic diversity and contemporary Influences
Žiri Takmičarskog Programa - Studentski Film, Red Carpet / Competition Programme Jury - Student Film, Red Carpet
Ekipa filma Kos Kos Kupina / Crew: Black
Foto galerija / Photo gallery
Prikazivanje filma Bosanski lonac, Bingo Ljetno kinu Tuzla/ Screening of Bosnian Pot, Bingo Open Air Cinema Tuzla
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
Bingo Ljetno kino Tuzla / Bingo Open Air Cinema Tuzla
Ekipa filma Čuvari formalu / Crew: Guardians of the Formula
Red Carpet Red Carpet
Dragan Bjelogrlić na Press konferenciji filma Čuvari formule / Dragan Bjelogrlić on Press Conference of Guardians of the Formula
Press konferencija filma Čuvari formule / Press Conference of Guardians of the Formula
Nakon dugog i napornog putovanja Evropom, Aleksei stiže u Pariz kako bi se pridružio Legiji stranaca. U potrazi za novim životom, spreman je na sve kako bi dobio obećani pasoš. U delti rijeke Niger, Jomo se bori protiv multinacionalnih naftnih kompanija koje su prijetnja životu u njegovom selu. Kao vođa jedne naoružane skupine, Jomo kidnapuje francuske državljane. Vojnici Legije stranaca, pod Aleksejevim zapovjedništvom, dobijaju naredbu da intervenišu. Susret dvojice muškaraca imat će neočekivane posljedice. Sudbine Alekseja i Joma će se preklopiti, produžujući svoj put preko granica, tijela, života i smrti. After a long and difficult journey through Europe, Aleksei arrives in Paris to join the Foreign Legion. Looking for a new life, he is ready for anything in order to obtain the promised passport. On the Niger River delta, Jomo fights the oil multinationals that threaten life in his village. One day, while he is at the head of an armed group, he kidnaps French citizens. To intervene is a command of the Foreign Legion, led by Aleksei. The meeting between these two will have unexpected implications. Aleksei and Jomo’s destinies will overlap, continuing beyond borders, bodies, life, and death.
BUY TICKET
DISKO IGRAČ / DISCO BOY France, Italy, Belgium, Poland, 2023, 91 min. Režija / Director: Giacomo Abbruzzese Uloge / Cast: Franz Rogowski, Morr Ndiaye, Laëtitia Ky, Leon Lučev, Matteo Olivetti, Robert Więckiewicz, Michał Balicki
ASTEROID CITY United States, 2023, 105 min. Režija / Director: Wes Anderson Uloge / Cast: Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan, Jeff Goldblum
Radnja filma ASTEROID CITY smještena je u izmišljeni, pustinjski grad u Americi 50-ih godina prošlog vijeka. Plan i program Konvencije mladih zvjezdoznalaca / svemirskih kadeta – organizovane da okupi učenike i roditelje širom zemlje u zajedničkom druženju i školskom takmičenju – spektakularno će biti poremećen usljed niza događaja koji mijenjaju svijet. Asteroid City is a dot-on-the-map desert town in the American Southwest. The year is 1955. The itinerary of a Junior Stargazer / Space Cadet convention, organised to bring together students and parents from across the United States for fellowship and scholarly competition, is spectacularly disrupted by world-changing events.
open air
KINOSCOPE
Godina je 2123. Suočena sa sve većim gubitkom životnih resursa, ljudska vrsta može preživjeti samo zahvaljujući kompromisu: nakon što navrše 50 godina svi ljudi postepeno se pretvaraju u drvo. Kada Stefan sazna da se njegova voljena supruga Nora dobrovoljno prijavila da prije vremena donira vlastito tijelo, kreće na uzbudljivo putovanje kako bi je spasio po svaku cijenu. In the year 2123, faced with diminishing resources, the human race can only survive through a trade-off: at the age of 50, every citizen is gradually turned into a tree. When Stefan discovers his beloved wife Nora has voluntarily signed up to donate her body before her time, he sets out on an adventurous journey to save her at all costs.
SUMMER SCREEN
U FOKUSU / IN FOCUS
BIJELO PLASTIČNO NEBO / WHITE PLASTIC SKY Hungary, Slovakia, 2023, 111 min. Režija / Director: Tibor Bánóczki, Sarolta Szabó. Uloge / Cast: Tamás Keresztes, Zsófia Szamosi
ANATOMIJA PADA / ANATOMY OF A FALL Francuska, 2023, 150 min. Režija / Director: Justine Triet Uloge / Cast: Sandra Hüller, Swann Arlaud, Milo Machado Graner, Antoine Reinartz, Samuel Theis, Jehnny Beth, Saadia Bentaïeb, Camille Rutherford, Anne Rotger, Sophie Fillières
Njemačka književnica Sandra, njen muž Francuz Samuel i njihov jedanaestogodišnji sin Daniel godinu dana mirno su živjeli u jednom izolovanom gradiću u francuskim Alpama. Nakon što Samuelovo beživotno tijelo biva pronađeno u snijegu podno njihove planinske kuće, policija istražuje da li je on počinio samoubistvo ili je ubijen. Samuelova smrt djeluje sumnjivo, a Sandra postaje glavna osumnjičena. Malo po malo istraga se širi na način da ne obuhvata samo okolnosti Samuelove smrti već prerasta u uznemirujuće psihološko zaranjanje u dubinu Sandrine i Samuelove konfliktne veze. For the past year, Sandra, a German writer, her French husband Samuel, and their eleven-year-old son Daniel have lived a secluded life in a remote town in the French Alps. When Samuel is found dead in the snow below their chalet, the police question whether he committed suicide or was killed. Samuel's death is treated as suspicious, presumed a murder, and Sandra becomes the prime suspect. Little by little, the trial becomes not just an investigation of the circumstances of Samuel's death, but an unsettling psychological journey into the depths of Sandra and Samuel's conflicted relationship.