Regionalna premijera filma LOST COUNTRY, svjetska premijera serije RUMI / Regional premiere of the film LOST COUNTRY, world premiere of TV series RUMI
FESTIVAL DAILY
NEDJELJA / SUNDAY 13.8.2023.
www.sff.ba #29thSFF
U Ljetnom kinu Coca-Cola održana projekcija filma OPALO LIŠĆE
U Ljetnom kinu Coca-Cola sinoć je održana projekcija filma OPALO LIŠĆE finskog reditelja Aki Kaurismäkija.
Film je svjetsku premijeru imao na ovogodišnjem Filmskom festivalu u Cannesu, gdje mu je dodijeljena Nagrada žirija. Na 29. Sarajevo Film Festivalu film OPALO LIŠĆE prikazan je u sklopu programa Open Air. OPALO LIŠĆE priča je o dvoje usamljenih ljudi koji se slučajno sreću jedne noći u Helsinkiju i pokušaju pronaći svoju prvu, jedinu i vječitu ljubav. Ostvarivanje tog časnog cilja otežava činjenica da je muškarac alkoholičar, ali i izgubljeni telefonski brojevi, to što zaboravljaju kako se ono drugo zove i gdje živi, te generalna sklonost života da pred ljude koji traže sreću stavlja prepreke. Ova nježna tragikomedija, za koju se ranije vjerovalo da je izgubljena, svojevrstan je nastavak trilogije o radničkoj klasi Akija Kaurismäkija. Uloge u filmu ostvarili su Alma Pöysti, Jussi Vatanen, Janne Hyytiäinen i Nuppu Koivu.
A screening of the film FALLEN LEAVES was held at the Coca-Cola Open Air Cinema
A screening of the film FALLEN LEAVES by Finnish director Aki Kaurismäki was held last night at the Coca-Cola Open Air Cinema.
The film had its world premiere at this year's Cannes Film Festival, where it was awarded the Jury Prize. At the 29th Sarajevo Film Festival, the film FALLEN LEAVES was screened as part of the Open Air program. FALLEN LEAVES tells the story of two lonely people who meet by chance in the Helsinki night and try to find the first, only, and ultimate love of their lives. Their path towards this honourable goal is clouded by the man's alcoholism, lost phone numbers, their not knowing each other's names or addresses, and life's general tendency to place obstacles in the way of those seeking happiness. This gentle tragicomedy, previously thought to be lost, is a fourth instalment following on from director Aki Kaurismäki's “Working Class” trilogy. The roles in the film were portrayed by Alma Pöysti, Jussi Vatanen, Janne Hyytiäinen and Nuppu Koivu.
Večeras ceremonija dodjele nagrada za TV serije / The awards ceremony for the winning TV series will be held tonight
SRCA SARAJEVA ZA TV SERIJE – NOMINACIJE / HEARTS OF SARAJEVO FOR TV SERIES – NOMINATIONS NAJBOLJA DRAMSKA SERIJA / BEST DRAMA SERIES BUNAR / THE WELL INHUMANUM: NEČLOVEŠKO RAVNANJE ČLOVEKA / INHUMANUM: THE INHUMANITY OF MAN KLAN 2 & 3 / THE CLAN 2 & 3 KOTLINA / THE HOLLOW PAD / THE FALL TRIGRAD VERA ZLATNI DEČKO / GOLDEN BOY NAJBOLJA GLAVNA GLUMICA U DRAMSKOJ SERIJI / BEST LEADING ACTRESS – DRAMA SERIES Vedrana Božinović (KOTLINA / THE HOLLOW) Anica Dobra (BELEŽNICA PROFESORA MIŠKOVIĆA 2 / PROFESSOR MIŠKOVIĆ'S NOTEBOOK) Jovana Gavrilović (ZLATNI DEČKO / GOLDEN BOY) Milica Janevski (BUNAR / THE WELL) Milica Janevski (PAD / THE FALL) Katarina Stegnar (TRIGRAD) Jovana Stojiljković (JUŽNI VETAR – NA GRANICI / SOUTH WIND – ON THE EDGE) Jovana Stojiljković (VERA) NAJBOLJI GLAVNI GLUMAC U DRAMSKOJ SERIJI / BEST LEADING ACTOR – DRAMA SERIES Aleksandar Dimitrijević (KLAN 2 / THE CLAN 2) Andrija Kuzmanović (ŠETNJA SA LAVOM / WALKING WITH A LION) Marko Mandić (TRIGRAD) Milan Marić (DRŽAVNI SLUŽBENIK 3 / CIVIL SERVANT 3) Milan Marić (PAD / THE FALL) Denis Murić (ZLATNI DEČKO / GOLDEN BOY) Momčilo Otašević (BELEŽNICA PROFESORA MIŠKOVIĆA 2 / PROFESSOR MIŠKOVIĆ'S NOTEBOOK) Feđa Štukan (KOTLINA / THE HOLLOW) NAJBOLJA EPIZODNA ULOGA – GLUMICA U DRAMSKOJ SERIJI / BEST SUPPORTING ACTRESS – DRAMA SERIES Anica Dobra (ŠETNJA SA LAVOM / WALKING WITH A LION) Milica Gojković (BUNAR / THE WELL) Anđela Jovanović (PAD / THE FALL) Ida Keškić (KOTLINA / THE HOLLOW) Suzana Krevh (TRIGRAD) Anita Mančić (VERA) Gorica Popović (KLAN 2 / THE CLAN 2) Vesna Trivalić (DUG MORU 3 / DEBT TO THE SEA 3) NAJBOLJA EPIZODNA ULOGA - GLUMAC U DRAMSKOJ SERIJI / BEST SUPPORTING ACTOR – DRAMA SERIES Igor Benčina (ZLATNI DEČKO / GOLDEN BOY) Zoran Cvijanović (BUNAR / THE WELL) Nikola Kojo (VERA) Žarko Laušević (KALKANSKI KRUGOVI 2 / NO TRESPASSING 2) Boris Ler (KOTLINA / THE HOLLOW) Krešimir Mikić (PAD / THE FALL) Feđa Štukan (KLAN 2 / THE CLAN 2) Miralem Zupčević (DUG MORU 3 / DEBT TO THE SEA 3) ZVIJEZDA U USPONU – DRAMSKA SERIJA / RISING STAR – DRAMA SERIES Milica Gojković (JUŽNI VETAR – NA GRANICI / SOUTH WIND – ON THE EDGE) Suzana Krevh (TRIGRAD) Ana Lečić (DRŽAVNI SLUŽBENIK 3 / CIVIL SERVANT 3) Denis Murić (ZLATNI DEČKO / GOLDEN BOY) Lenka Petrović (VERA) Admir Šehović (KOTLINA / THE HOLLOW) Timon Šturbej (INHUMANUM: NEČLOVEŠKO RAVNANJE ČLOVEKA / INHUMANUM: THE INHUMANITY OF MAN) Jovan Veljković (PAD / THE FALL) NAJBOLJI SCENARIJ ZA EPIZODU – DRAMSKA SERIJA / BEST SCREENPLAY FOR THE EPISODE – DRAMA SERIES Nedeljko Kovačić, Kristina Đuković (VERA - 5. Epizoda / Episode 5) Gregor Fon, Nina Zupančić, Sonja Prosenc (TRIGRAD - 1. Epizoda / Episode 1) Aleksa Ršumović (ZLATNI DEČKO / GOLDEN BOY - 1. Epizoda / Episode 1) Slobodan Skerlić (KLAN 2 / THE CLAN - 2. Epizoda / Episode 2) Danis Tanović, Amra Bakšić Čamo, Nikola Kuprešanin, Adnan Lugonić (KOTLINA / THE HOLLOW - 4. Epizoda / Episode 4) Bojan Vuletić (PAD / THE FALL- 1. Epizoda / Episode 1) NAJBOLJA REŽIJA ZA EPIZODU – DRAMSKA SERIJA / BEST DIRECTOR FOR THE EPISODE – DRAMA SERIES Ognjen Janković (ZLATNI DEČKO / GOLDEN BOY - 5. Epizoda / Episode 5) Sonja Prosenc (TRIGRAD - 1. Epizoda / Episode 1) Slobodan Skerlić (KLAN 2 / THE CLAN 2 - 8. Epizoda / Episode 8) Slobodan Skerlić (KLAN 3 / THE CLAN 3 - 2. epizoda) Danis Tanović, Aida Begić (KOTLINA / THE HOLLOW - 5. Epizoda / Episode 5) Bojan Vuletić (PAD / THE FALL - 8. Epizoda / Episode 8) NAJBOLJA KOMEDIJA / BEST COMEDY MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2 NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2 POPADIJA / PREACHER'S WIFE TENDER NAJBOLJA GLAVNA GLUMICA – KOMEDIJA / BEST LEADING ACTRESS – COMEDY Aida Bukva (TENDER) Nina Janković Dičić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2) Gorica Popović (POPADIJA / PREACHER'S WIFE) NAJBOLJI GLAVNI GLUMAC – KOMEDIJA / BEST LEADING ACTOR – COMEDY Tarik Džinić (TENDER) Admir Glamočak (NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2) Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2) ZVIJEZDA U USPONU – KOMEDIJA / RISING STAR – COMEDY Aleksej Bjelogrlić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2) Amar Ćorović (SLOŽNA BRAĆA – NEXT ĐENERATION 2 / UNITED BROTHERS – NEXT GENERATION 2) Dražen Pavlović (TENDER) NAJBOLJI SCENARIJ ZA EPIZODU – KOMEDIJA / BEST SCREENPLAY FOR THE EPISODE – COMEDY Gvozden Đurić, Marko Manojlović, Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2/ MUM AND DAD ARE PLAYING WAR 2 - 6. Epizoda / Episode 6) Adnan Kapetanović (NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2 - 4. Epizoda / Episode 4) Srđan Vuletić (TENDER - 4. Epizoda / Episode 4) NAJBOLJA REŽIJA ZA EPIZODU – KOMEDIJA / BEST DIRECTOR FOR THE EPISODE - COMEDY Elmir Jukić (NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2 - 4. Epizoda / Episode 4) Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2 - 1. Epizoda / Episode 1) Amra Mehić (TENDER - 4. Epizoda / Episode 4) Medijski partner / Media partner: Epizoda / Episode 5) Gregor Fon, Nina Zupančić, Sonja Prosenc (TRIGRAD - 1. Epizoda / Episode 1) Aleksa Ršumović (ZLATNI DEČKO / GOLDEN BOY - 1. Epizoda / Episode 1) Slobodan Skerlić (KLAN 2 / THE CLAN - 2. Epizoda / Episode 2) Danis Tanović, Amra Bakšić Čamo, Nikola Kuprešanin, Adnan Lugonić (KOTLINA / THE HOLLOW - 4. Epizoda / Episode 4) Bojan Vuletić (PAD / THE FALL- 1. Epizoda / Episode 1) NAJBOLJA REŽIJA ZA EPIZODU – DRAMSKA SERIJA / BEST DIRECTOR FOR THE EPISODE – DRAMA SERIES Ognjen Janković (ZLATNI DEČKO / GOLDEN BOY - 5. Epizoda / Episode 5) Sonja Prosenc (TRIGRAD - 1. Epizoda / Episode 1) Slobodan Skerlić (KLAN 2 / THE CLAN 2 - 8. Epizoda / Episode 8) Slobodan Skerlić (KLAN 3 / THE CLAN 3 - 2. epizoda) Danis Tanović, Aida Begić (KOTLINA / THE HOLLOW - 5. Epizoda / Episode 5) Bojan Vuletić (PAD / THE FALL - 8. Epizoda / Episode 8) NAJBOLJA KOMEDIJA / BEST COMEDY MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2 NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2 POPADIJA / PREACHER'S WIFE TENDER NAJBOLJA GLAVNA GLUMICA – KOMEDIJA / BEST LEADING ACTRESS – COMEDY Aida Bukva (TENDER) Nina Janković Dičić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2) Gorica Popović (POPADIJA / PREACHER'S WIFE) NAJBOLJI GLAVNI GLUMAC – KOMEDIJA / BEST LEADING ACTOR – COMEDY Tarik Džinić (TENDER) Admir Glamočak (NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2) Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2) ZVIJEZDA U USPONU – KOMEDIJA / RISING STAR – COMEDY Aleksej Bjelogrlić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2) Amar Ćorović (SLOŽNA BRAĆA – NEXT ĐENERATION 2 / UNITED BROTHERS – NEXT GENERATION 2) Dražen Pavlović (TENDER) NAJBOLJI SCENARIJ ZA EPIZODU – KOMEDIJA / BEST SCREENPLAY FOR THE EPISODE – COMEDY Gvozden Đurić, Marko Manojlović, Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2/ MUM AND DAD ARE PLAYING WAR 2 - 6. Epizoda / Episode 6) Adnan Kapetanović (NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2 - 4. Epizoda / Episode 4) Srđan Vuletić (TENDER - 4. Epizoda / Episode 4) NAJBOLJA REŽIJA ZA EPIZODU – KOMEDIJA / BEST DIRECTOR FOR THE EPISODE - COMEDY Elmir Jukić (NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2 - 4. Epizoda / Episode 4) Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2 - 1. Epizoda / Episode 1) Amra Mehić (TENDER - 4. Epizoda / Episode 4) Medijski partner / Media partner: Deadline SRCA SARAJEVA ZA TV SERIJE – NOMINACIJE / HEARTS OF SARAJEVO FOR TV SERIES – NOMINATIONS NAJBOLJA DRAMSKA SERIJA / BEST DRAMA SERIES BUNAR / THE WELL INHUMANUM: NEČLOVEŠKO RAVNANJE ČLOVEKA / INHUMANUM: THE INHUMANITY OF MAN KLAN 2 & 3 / THE CLAN 2 & 3 KOTLINA / THE HOLLOW PAD / THE FALL TRIGRAD VERA ZLATNI DEČKO / GOLDEN BOY NAJBOLJA GLAVNA GLUMICA U DRAMSKOJ SERIJI / BEST LEADING ACTRESS – DRAMA SERIES Vedrana Božinović (KOTLINA / THE HOLLOW) Anica Dobra (BELEŽNICA PROFESORA MIŠKOVIĆA 2 / PROFESSOR MIŠKOVIĆ'S NOTEBOOK) Jovana Gavrilović (ZLATNI DEČKO / GOLDEN BOY) Milica Janevski (BUNAR / THE WELL) Milica Janevski (PAD / THE FALL) Katarina Stegnar (TRIGRAD) Jovana Stojiljković (JUŽNI VETAR – NA GRANICI / SOUTH WIND – ON THE EDGE) Jovana Stojiljković (VERA) NAJBOLJI GLAVNI GLUMAC U DRAMSKOJ SERIJI / BEST LEADING ACTOR – DRAMA SERIES Aleksandar Dimitrijević (KLAN 2 / THE CLAN 2) Andrija Kuzmanović (ŠETNJA SA LAVOM / WALKING WITH A LION) Marko Mandić (TRIGRAD) Milan Marić (DRŽAVNI SLUŽBENIK 3 / CIVIL SERVANT 3) Milan Marić (PAD / THE FALL) Denis Murić (ZLATNI DEČKO / GOLDEN BOY) Momčilo Otašević (BELEŽNICA PROFESORA MIŠKOVIĆA 2 / PROFESSOR MIŠKOVIĆ'S NOTEBOOK) Feđa Štukan (KOTLINA / THE HOLLOW) NAJBOLJA EPIZODNA ULOGA – GLUMICA U DRAMSKOJ SERIJI / BEST SUPPORTING ACTRESS – DRAMA SERIES Anica Dobra (ŠETNJA SA LAVOM / WALKING WITH A LION) Milica Gojković (BUNAR / THE WELL) Anđela Jovanović (PAD / THE FALL) Ida Keškić (KOTLINA / THE HOLLOW) Suzana Krevh (TRIGRAD) Anita Mančić (VERA) Gorica Popović (KLAN 2 / THE CLAN 2) Vesna Trivalić (DUG MORU 3 / DEBT TO THE SEA 3) NAJBOLJA EPIZODNA ULOGA - GLUMAC U DRAMSKOJ SERIJI / BEST SUPPORTING ACTOR – DRAMA SERIES Igor Benčina (ZLATNI DEČKO / GOLDEN BOY) Zoran Cvijanović (BUNAR / THE WELL) Nikola Kojo (VERA) Žarko Laušević (KALKANSKI KRUGOVI 2 / NO TRESPASSING 2) Boris Ler (KOTLINA / THE HOLLOW) Krešimir Mikić (PAD / THE FALL) Feđa Štukan (KLAN 2 / THE CLAN 2) Miralem Zupčević (DUG MORU 3 / DEBT TO THE SEA 3) ZVIJEZDA U USPONU – DRAMSKA SERIJA / RISING STAR – DRAMA SERIES Milica Gojković (JUŽNI VETAR – NA GRANICI / SOUTH WIND – ON THE EDGE) Suzana Krevh (TRIGRAD) Ana Lečić (DRŽAVNI SLUŽBENIK 3 / CIVIL SERVANT 3) Denis Murić (ZLATNI DEČKO / GOLDEN BOY) Lenka Petrović (VERA) Admir Šehović (KOTLINA / THE HOLLOW) Timon Šturbej (INHUMANUM: NEČLOVEŠKO RAVNANJE ČLOVEKA / INHUMANUM: THE INHUMANITY OF MAN) Jovan Veljković (PAD / THE FALL) NAJBOLJI SCENARIJ ZA EPIZODU – DRAMSKA SERIJA / BEST SCREENPLAY FOR THE EPISODE – DRAMA SERIES Nedeljko Kovačić, Kristina Đuković (VERA - 5. Epizoda / Episode 5) Gregor Fon, Nina Zupančić, Sonja Prosenc (TRIGRAD - 1. Epizoda / Episode 1) Aleksa Ršumović (ZLATNI DEČKO / GOLDEN BOY - 1. Epizoda / Episode 1) Slobodan Skerlić (KLAN 2 / THE CLAN - 2. Epizoda / Episode 2) Danis Tanović, Amra Bakšić Čamo, Nikola Kuprešanin, Adnan Lugonić (KOTLINA / THE HOLLOW - 4. Epizoda / Episode 4) Bojan Vuletić (PAD / THE FALL- 1. Epizoda / Episode 1) NAJBOLJA REŽIJA ZA EPIZODU – DRAMSKA SERIJA / BEST DIRECTOR FOR THE EPISODE – DRAMA SERIES Ognjen Janković (ZLATNI DEČKO / GOLDEN BOY - 5. Epizoda / Episode 5) Sonja Prosenc (TRIGRAD - 1. Epizoda / Episode 1) Slobodan Skerlić (KLAN 2 / THE CLAN 2 - 8. Epizoda / Episode 8) Slobodan Skerlić (KLAN 3 / THE CLAN 3 - 2. epizoda) Danis Tanović, Aida Begić (KOTLINA / THE HOLLOW - 5. Epizoda / Episode 5) Bojan Vuletić (PAD / THE FALL - 8. Epizoda / Episode 8) NAJBOLJA KOMEDIJA / BEST COMEDY MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2 NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2 POPADIJA / PREACHER'S WIFE TENDER NAJBOLJA GLAVNA GLUMICA – KOMEDIJA / BEST LEADING ACTRESS – COMEDY Aida Bukva (TENDER) Nina Janković Dičić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2) Gorica Popović (POPADIJA / PREACHER'S WIFE) NAJBOLJI GLAVNI GLUMAC – KOMEDIJA / BEST LEADING ACTOR – COMEDY Tarik Džinić (TENDER) Admir Glamočak (NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2) Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2) ZVIJEZDA U USPONU – KOMEDIJA / RISING STAR – COMEDY Aleksej Bjelogrlić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2) Amar Ćorović (SLOŽNA BRAĆA – NEXT ĐENERATION 2 / UNITED BROTHERS – NEXT GENERATION 2) Dražen Pavlović (TENDER) NAJBOLJI SCENARIJ ZA EPIZODU – KOMEDIJA / BEST SCREENPLAY FOR THE EPISODE – COMEDY Gvozden Đurić, Marko Manojlović, Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2/ MUM AND DAD ARE PLAYING WAR 2 - 6. Epizoda / Episode 6) Adnan Kapetanović (NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2 - 4. Epizoda / Episode 4) Srđan Vuletić (TENDER - 4. Epizoda / Episode 4) NAJBOLJA REŽIJA ZA EPIZODU – KOMEDIJA / BEST DIRECTOR FOR THE EPISODE - COMEDY Elmir Jukić (NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2 - 4. Epizoda / Episode 4) Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2 - 1. Epizoda / Episode 1) Amra Mehić (TENDER - 4. Epizoda / Episode 4) Medijski partner / Media partner: Deadline SRCA SARAJEVA ZA TV SERIJE – NOMINACIJE / HEARTS OF SARAJEVO FOR TV SERIES – NOMINATIONS NAJBOLJA DRAMSKA SERIJA / BEST DRAMA SERIES BUNAR / THE WELL INHUMANUM: NEČLOVEŠKO RAVNANJE ČLOVEKA / INHUMANUM: THE INHUMANITY OF MAN KLAN 2 & 3 / THE CLAN 2 & 3 KOTLINA / THE HOLLOW PAD / THE FALL TRIGRAD VERA ZLATNI DEČKO / GOLDEN BOY NAJBOLJA GLAVNA GLUMICA U DRAMSKOJ SERIJI / BEST LEADING ACTRESS – DRAMA SERIES Vedrana Božinović (KOTLINA / THE HOLLOW) Anica Dobra (BELEŽNICA PROFESORA MIŠKOVIĆA 2 / PROFESSOR MIŠKOVIĆ'S NOTEBOOK) Jovana Gavrilović (ZLATNI DEČKO / GOLDEN BOY) Milica Janevski (BUNAR / THE WELL) Milica Janevski (PAD / THE FALL) Katarina Stegnar (TRIGRAD) Jovana Stojiljković (JUŽNI VETAR – NA GRANICI / SOUTH WIND – ON THE EDGE) Jovana Stojiljković (VERA) NAJBOLJI GLAVNI GLUMAC U DRAMSKOJ SERIJI / BEST LEADING ACTOR – DRAMA SERIES Aleksandar Dimitrijević (KLAN 2 / THE CLAN 2) Andrija Kuzmanović (ŠETNJA SA LAVOM / WALKING WITH A LION) Marko Mandić (TRIGRAD) Milan Marić (DRŽAVNI SLUŽBENIK 3 / CIVIL SERVANT 3) Milan Marić (PAD / THE FALL) Denis Murić (ZLATNI DEČKO / GOLDEN BOY) Momčilo Otašević (BELEŽNICA PROFESORA MIŠKOVIĆA 2 / PROFESSOR MIŠKOVIĆ'S NOTEBOOK) Feđa Štukan (KOTLINA / THE HOLLOW) NAJBOLJA EPIZODNA ULOGA – GLUMICA U DRAMSKOJ SERIJI / BEST SUPPORTING ACTRESS – DRAMA SERIES Anica Dobra (ŠETNJA SA LAVOM / WALKING WITH A LION) Milica Gojković (BUNAR / THE WELL) Anđela Jovanović (PAD / THE FALL) Ida Keškić (KOTLINA / THE HOLLOW) Suzana Krevh (TRIGRAD) Anita Mančić (VERA) Gorica Popović (KLAN 2 / THE CLAN 2) Vesna Trivalić (DUG MORU 3 / DEBT TO THE SEA 3) NAJBOLJA EPIZODNA ULOGA - GLUMAC U DRAMSKOJ SERIJI / BEST SUPPORTING ACTOR – DRAMA SERIES Igor Benčina (ZLATNI DEČKO / GOLDEN BOY) Zoran Cvijanović (BUNAR / THE WELL) Nikola Kojo (VERA) Žarko Laušević (KALKANSKI KRUGOVI 2 / NO TRESPASSING 2) Boris Ler (KOTLINA / THE HOLLOW) Krešimir Mikić (PAD / THE FALL) Feđa Štukan (KLAN 2 / THE CLAN 2) Miralem Zupčević (DUG MORU 3 / DEBT TO THE SEA 3) ZVIJEZDA U USPONU – DRAMSKA SERIJA / RISING STAR – DRAMA SERIES Milica Gojković (JUŽNI VETAR – NA GRANICI / SOUTH WIND – ON THE EDGE) Suzana Krevh (TRIGRAD) Ana Lečić (DRŽAVNI SLUŽBENIK 3 / CIVIL SERVANT 3) Denis Murić (ZLATNI DEČKO / GOLDEN BOY) Lenka Petrović (VERA) Admir Šehović (KOTLINA / THE HOLLOW) Timon Šturbej (INHUMANUM: NEČLOVEŠKO RAVNANJE ČLOVEKA / INHUMANUM: THE INHUMANITY OF MAN) Jovan Veljković (PAD / THE FALL) NAJBOLJI SCENARIJ ZA EPIZODU – DRAMSKA SERIJA / BEST SCREENPLAY FOR THE EPISODE – DRAMA SERIES Nedeljko Kovačić, Kristina Đuković (VERA - 5. Epizoda / Episode 5) Gregor Fon, Nina Zupančić, Sonja Prosenc (TRIGRAD - 1. Epizoda / Episode 1) Aleksa Ršumović (ZLATNI DEČKO / GOLDEN BOY - 1. Epizoda / Episode 1) Slobodan Skerlić (KLAN 2 / THE CLAN - 2. Epizoda / Episode 2) Danis Tanović, Amra Bakšić Čamo, Nikola Kuprešanin, Adnan Lugonić (KOTLINA / THE HOLLOW - 4. Epizoda / Episode 4) Bojan Vuletić (PAD / THE FALL- 1. Epizoda / Episode 1) NAJBOLJA REŽIJA ZA EPIZODU – DRAMSKA SERIJA / BEST DIRECTOR FOR THE EPISODE – DRAMA SERIES Ognjen Janković (ZLATNI DEČKO / GOLDEN BOY - 5. Epizoda / Episode 5) Sonja Prosenc (TRIGRAD - 1. Epizoda / Episode 1) Slobodan Skerlić (KLAN 2 / THE CLAN 2 - 8. Epizoda / Episode 8) Slobodan Skerlić (KLAN 3 / THE CLAN 3 - 2. epizoda) Danis Tanović, Aida Begić (KOTLINA / THE HOLLOW - 5. Epizoda / Episode 5) Bojan Vuletić (PAD / THE FALL - 8. Epizoda / Episode 8) NAJBOLJA KOMEDIJA / BEST COMEDY MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2 NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2 POPADIJA / PREACHER'S WIFE TENDER NAJBOLJA GLAVNA GLUMICA – KOMEDIJA / BEST LEADING ACTRESS – COMEDY Aida Bukva (TENDER) Nina Janković Dičić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2) Gorica Popović (POPADIJA / PREACHER'S WIFE) NAJBOLJI GLAVNI GLUMAC – KOMEDIJA / BEST LEADING ACTOR – COMEDY Tarik Džinić (TENDER) Admir Glamočak (NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2) Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2) ZVIJEZDA U USPONU – KOMEDIJA / RISING STAR – COMEDY Aleksej Bjelogrlić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2) Amar Ćorović (SLOŽNA BRAĆA – NEXT ĐENERATION 2 / UNITED BROTHERS – NEXT GENERATION 2) Dražen Pavlović (TENDER) NAJBOLJI SCENARIJ ZA EPIZODU – KOMEDIJA / BEST SCREENPLAY FOR THE EPISODE – COMEDY Gvozden Đurić, Marko Manojlović, Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2/ MUM AND DAD ARE PLAYING WAR 2 - 6. Epizoda / Episode 6) Adnan Kapetanović (NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2 - 4. Epizoda / Episode 4) Srđan Vuletić (TENDER - 4. Epizoda / Episode 4) NAJBOLJA REŽIJA ZA EPIZODU – KOMEDIJA / BEST DIRECTOR FOR THE EPISODE - COMEDY Elmir Jukić (NA RUBU PAMETI 2 / ON THE EDGE OF REASON 2 - 4. Epizoda / Episode 4) Gordan Kičić (MAMA I TATA SE IGRAJU RATA 2 / MUM AND DAD ARE PLAYING WAR 2 - 1. Epizoda / Episode 1) Amra Mehić (TENDER - 4. Epizoda / Episode 4) Medijski partner / Media partner: Deadline
30 godina Prvog ratnog kina Apollo
Izložba fotografija svjedoči o aktivnostima Udruženja Obala Art Centar, o projekcijama filmova u Prvom ratnom kinu Apollo, koje je s radom počelo ratne 1993. u gradu pod opsadom. „Želio bih da se zahvalim svima koji su bili dio ove priče, svima koji su doprinijeli da u to vrijeme kultura, onoliko koliko je bilo moguće, sve nas održi u životu, ne samo da preživimo fizički, nego da budemo ljudi koji smo živjeli život dostojanstven jednog čovjeka, i koji smo sa ponosom mogli reći da i tada predstavljamo dio svijeta koji je nažalost bio daleko od nas. To su vrijeme obilježile brojne izložbe, koncerti, gosti koji su dolazili iz inozemstva i koji su svojom energijom i rizikovanjem života dolazeći u Sarajevo donosili jednu fantastičnu energiju. Sve to je dokumentovao Milomir Kovačević Strašni i hvala mu da ostaje jedan trag vremena u kojem smo živjeli i na koji možemo biti ponosni“, rekao je na otvorenju izložbe osnivač i predsjednik Obala Art Centra Mirsad Purivatra. Autor fotografija Milomir Kovačević Strašni rekao je da je sve na fotografijama – i da bi život tada bio drugačiji da nije bilo aktivnosti Obale. Sarajevo Film Festival ima svoje korijene u brojnim filmskim programima koje je Obala Art Centar, organizator Sarajevo Film Festivala, organizovala za vrijeme opsade Sarajeva od 1992. do 1995. godine, poznatih kao 'Prvo ratno kino Apollo'. U galeriji Akademije likovnih umjetnosti , koju su izgradili članovi Obale 1994. godine, uz fotografije sa projekcija Prvog ratnog kina Apollo, izložene su i fotografije iz perioda 1992.-1994. sljedećih izložbi Galerije Obala: “Ratni tragovi” Edina Numankadića u porušenom kinu Sutjeska, Milomira Kovačevića Strašnog “Apokalipsa now” na Otvorenoj sceni Obala, New York-Sarajevo u Preporodu, “Svjedoci postojanja”, “Sarajevo Portraits” Annie Leibovitz, “UNPROFOR u službi mira”, World Press Photo i “Posljedice” Sophie Ristelbueber u Umjetničkoj galeriji Bosne I Hercegovine, te “Shadows” Christiana Boltanskog na Akademiji scenskih umjetnosti Sarajevo. Kustosica izložbe je Lejla Hodžić. Izložba je otvorena u sklopu Festivala u Centru, a filmski program "30 godina od Prvog ratnog kina Apollo" u sklopu 29. Sarajevo Film Festivala.
U galeriji Akademije likovnih umjetnosti u Sarajevu otvorena je izložba fotografija „Prvo ratno kino Apollo“, a u podrumu Akademije scenskih umjetnosti počelo je prikazivanje filmova iz programa „30 godina od Prvog ratnog kina Apollo“, kojim se obilježava ovaj značajan jubilej.
30 years of First War Cinema Apollo
The photo exhibition bears witness to the activities of the Obala Art Center association, focusing on film screenings at the First War Cinema Apollo, which commenced its operation during the war in 1993 in a besieged city. "I would like to express my gratitude to everyone who was a part of this story, to all those who contributed to sustaining us through culture during that time, not just to survive physically, but to be individuals who lived a dignified life. We could proudly say that even then, we represented a part of the world that was unfortunately distant from us. Those times were marked by numerous exhibitions, concerts, and foreign guests who, with their energy and risk-taking by coming to Sarajevo, brought a fantastic spirit. All of this was documented by Milomir Kovačević Strašni, and thanks to him, a trace of the times we lived in remains, one of which we can be proud," said Mirsad Purivatra, the founder and president of the Obala Art Center, during the exhibition's opening. The photographer behind the images, Milomir Kovačević Strašni, stated that everything in the photographs is a testament, and that life back then would have been different without the work of Obala. The Sarajevo Film Festival has its roots in various film programs conducted during the siege of Sarajevo from 1992 to 1995 by the Obala Art Center, the organizer of the Sarajevo Film Festival, known as the “First War Cinema Apollo”. The gallery at the Academy of Fine Arts, constructed by members of Obala in 1994, showcases photographs from the First War Cinema Apollo screenings, as well as images from the 1992-1994 period of the following Obala Gallery exhibitions: "War Traces" by Edin Numankadić in the torn-down Sutjeska cinema, "Apocalypse Now" by Milomir Kovačević Strašni on the Obala Open Stage, "New York-Sarajevo" at Preporod, "Witnesses of Existence," "Sarajevo Portraits" by Annie Leibovitz, "UNPROFOR in the Service of Peace," World Press Photo, and "Consequences" by Sophie Ristelbueber at the Art Gallery of Bosnia and Herzegovina, as well as "Shadows" by Christian Boltanski at the Academy of Performing Arts in Sarajevo. The exhibition, curated by Lejla Hodžić, was opened as part of the Festival in the Centre, while the film program "30 Years Since the First War Cinema Apollo" begun as part of the 29th Sarajevo Film Festival.
The "First War Cinema Apollo" exhibition of photographs has been opened at the gallery of the Academy of Fine Arts in Sarajevo, while in the basement of the Academy of Performing Arts, screenings of films from the programme "30 Years Since the First War Cinema Apollo" have begun, marking this significant anniversary.
Vanja Juranić projekciju posvetila žrtvama u Gradačcu
U okviru programa Open Air u Ljetnom kinu Stari Grad održana je projekcija filma SAMO KAD SE SMIJEM hrvatske rediteljice Vanje Juranić.
Prije projekcija Juranić se obratila publici. „Predivno mi je vidjeti, ne mogu reći dvoranu, ovo je još ljepše jer smo na otvorenome, na ovom predivnom mjestu. Željela bih se još zahvaliti Sarajevo Film Festivalu da su pozvali film. Vjerovatno ste nešto pročitali o filmu, ali samo ukratko: to je univerzalna priča o ženi koja je zarobljena u patrijarhalnoj sredini. Iako je žrtva, ona je aktivna i pokušava promijeniti situaciju kao što se jučer desio femicid u Gradačcu i ovu projekciju želimo posvetiti žrtvama Gradačca. Malo sam potresena. Nevzeta, ovo je projekcija posvećena tebi“, rekla je Juranić. Film SAMO KAD SE SMIJEM govori o Tini koja živi u naizgled idiličnom braku u gradu na jadranskoj obali. Ona je domaćica koja brine o šestogodišnjoj kćerkici, dok njen suprug Frane zarađuje za obitelj. Njihov odnos počinje se mijenjati kada Tina izrazi želju da završi fakultet koji je napustila zbog trudnoće. Unatoč prvotnom pristanku i podršci, Frane počinje pokazivati negodovanje koje se na početku svodi na sitne sabotaže. S vremenom, sukobi postaju sve češći, a svađe sve nasilnije.
Juranić addressed the audience before the screening. "It's wonderful for me to see, not an auditorium, this is even better because we're outdoors, in this beautiful place. I would also like to thank the Sarajevo Film Festival for inviting the film. You've probably read something about the film, but just briefly: it's a universal story about a woman trapped in a patriarchal environment. Even though she is a victim, she is active and tries to change the situation, just like what happened yesterday with the femicide in Gradačac, and we want to dedicate this screening to the victims of Gradačac. I'm a bit shaken. Nevzeta, this screening is dedicated to you," Juranić said. The film ONLY WHEN I LAUGH follows Tina, who lives in what seems to be an idyllic marriage in a coastal town. She is a homemaker who takes care of her six-year-old daughter, while her husband Frane provides for the family. Their relationship begins to change when Tina expresses a desire to finish the college degree she abandoned due to pregnancy. Despite his initial agreement and support, Frane starts showing disapproval that initially manifests as minor sabotages. Over time, their conflicts become more frequent, and their arguments become more violent.
As part of the Open Air programme at the Stari Grad Summer Cinema, a screening of the film ONLY WHEN I LAUGH by Croatian director Vanja Juranić took place.
Vanja Juranić dedicates screening to Gradačac victims
Kako ste zadovoljni ovogodišnjom selekcijom dokumentarnih filmova? Oduševili su me autori koji su uspjeli da individualnu memoriju, osobne zapise i sjećanja transponuju u kolektivno i time podignu smisao individualnog, iskustvenog i doživljajnog na nivo univerzalnog. Autori nas tako vješto uspijevaju uvući u vrlo složene životne situacije, dotiču kompleksnost pojmova religije i ljubavi, problematiziraju dramu odnosa unutar obitelji, kao i filozofska razmišljanja o smislu života, pojmu zla i zločina, o mržnji i potrazi za pravdom. Filmovi su u mnogočemu inspirativni za gledatelje čak i kada iznose vrlo traumatične istine, nose u sebi energiju pozitivnosti. Ono što je važno za mene kao selektora je da se osjeti autorski pečat u svakom filmu, da mi kao gledatelji razumijevamo gledište reditelja, a ne da samo promatramo životne priče odabranih junaka filma. Zapravo, svaki je čovjek velika ljudska priča, svaka obitelj je potencijal za film, ali u biti sve se svodi na ugao posmatranja samog autora i njezinog/njegovog filmskog izražavanja. Bez obzira na dramatičnost neke priče, tek kada autor ima o tome nešto reći, film može biti zanimljiv i imati smisla. Ostalo je preslikavanje i puko bilježenje stvarnosti. Što biste posebno izdvojili? Recimo, o nasilju nad ženama za vrijeme rata u Bosni već je napravljeno dosta filmova, no sada imamo svjetsku premijeru filma koji je posve drugačiji, originalan u pristupu, kreativan u filmskom izrazu. Imamo nekoliko vrsnih filmova koji kombinuju različite discipline; socijalne medije i film, slikarstvo i pokretne slike, autori prožimaju igrano sa dokumentarnom teksturom, animiranom ili eksperimentiraju i pomiču granice određenog filmskog žanra. I upravo je to odlika postmodernističkog stvaralaštva, to “posuđivanje“ stilskih obilježja iz različitih umjetničkih disciplina i stvaranje vlastitog izražajnog jezika. To je ono što se sve više prepoznaje u regiji. I to je ono što pozicionira dosta visoko naše autore iz regije na sceni svjetske dokumentarne proizvodnje. Postoji li neka tema koja definira ovogodišnju selekciju? Sadržinski gledano, selekcija je eklektična i to baš u doslovnom smislu grčkog pojma eklektikos, što znači birati najbolje. Od oko 230 filmova koji su došli na selekciju, unutar naših trinaest takmičarskih projekcija, morala sam zaista biti rigorozna i izabrati ono što je nakon dugog procesa razmatranja izašlo na površinu kao najuzbudljivije, kreativno, relevantno i inspirativno. Neke filmove koji su ušli u polufinale selekcije gledala sam i po tri puta, ispitujući i provjeravajući sebe. Najbolnije je reći dobrim autorima da su im filmovi bili blizu, ali ipak nisu uspjeli ući u konkurenciju. Ima puno relevantnih ljudskih priča koje su vrlo solidno dokumenataristički ispričane, no nisu ušle u selekciju i mogli bismo zapravo napraviti dokumentarni maraton u kojem bi se cijeli dan prikazivali uzbudljivi dokumentarci. No, za selekciju, svaki film mora imati najmanje jedan jako čvrst razlog da je unikatan po nečemu, izuzetan i snažan toliko da ga donesemo pred publiku. Ono što je vrijedno promatrati u selekciji kao cjelini je bogatstvo različitosti samog poimanja dokumentaristike u širem smislu. Autori razmišljaju izvan limita tradicionalne forme; imamo film koji je konceptualno zamišljen i, minuciozno, do najsitnijeg detalja ostvaren, filmove u kojima je kamera korištena kao slikarska kičica, filmove koji istražuju nove forme pripovijedanja pomoću vrlo osmišljene upotrebe digitalnog jezika. Ako biste komparirali ovogodišnji i prošlogodišnji program, šta se promijenilo između dva festivala? Primjećujem da raste interes autora iz svih zemalja koje imaju pravo sudjelovati u takmičarskom programu tako da imamo uvijek malo više filmova, ali ne samo to imamo znatno više filmova koji apliciraju sa svjetskom premijerom. Znači, autori se svjesno odlučuju da lansiraju u svijet svoj film na kojem su radili u prosjeku od tri do šest godina, upravo na našem festivalu. To je velika čast, veliko priznanje za naš program. Uvođenjem nagrade Srce Sarajeva za najbolji kratki dokumentarni film, primjećujem kako se autori razvijaju unutar ove kategorije. To nisu više, kao što je često ranije bilo, kratke dokumentarne priče, to su sada odistinske dokumentarističke bravure, originalne forme unutar kojih autori medidativno, često i konceptualno istražuju granice same filmske forme. Mislim da je kratka forma doživjela veliki kvalitativni skok. Što je potrebno da jedan dokumetarni film osvoji i srca publike i srce žirija? Film mora imati moć da nas “zgrabi”, da zaokupira našu pažnju, naše emocije, da nas “drži” i dugo nakon što smo izašli iz kino dvorane. U indijskoj filozofiji kada govore o razumijevanju dramaturgije umjetničkog djela, spominje se pojam Rasa, kako navodi stari zapis “Natya Sastra”. Pojam je zapravo neprevodiv sa jednom rječju jer je kompleksan i sveobuhvatan. Odnosi se na moć umjetničkog djela/izvedbe da nam se ureže u pamćenje, u razmišljanje, u emotivni sklop, toliko snažno da ćemo se tom snažnom osjećanju koje smo imali prilikom prvog susreta sa djelom, vraćati danima, mjesecima, pa i godinama kasnije. Upravo to je Rasa, taj kompleksni doživljaj određenog djela. I to je ono čemu teži svaki autor. A možemo reći, to je ono čemu se svaki gledatelj nada - da će, kada dođe na filmski festival i ode u kino, vidjeti nešto vrlo specijalno. Godinama birate filmove za Takmičarski program - Dokumentarni film Sarajevo Film Festival. Kojeg se filma ili događaja uvijek rado sjetite? Bilo je puno izvrsnih filmova i zanimljivih, osebujnih, izrazito talentiranih autora, no sjećam se da smo upravo mi na neki način otkrili danas svjetski poznatog autora iz Azerbajdžana, Hilala Baydarova. Njegov film Kad su rasle japanske jabuke u kojem on introspektivno reflektira svoju sponu sa majkom koja živi na selu i kojoj se on vraća, bio je duboko dirljiv, minuciozno i predivno snimljen, no prilično spor, bez velikih događaja ili drame. Sa puno meditativne tišine, autor donosi život kakav on vidi kroz njegovu poetičnu prizmu. Sjećam se da je jako puno ljudi izgubilo strpljenje i izašlo iz kina. Dvorana je imala oko tristo mjesta te je ipak pola gledališta ostalo i tako odgledalo film koji je te godine osvojio glavnu nagradu - Srce Sarajeva. Jedan od pasioniranih ljubitelja dokumentaraca je i gospođa Sabina Branković iz našeg Sarajevo Film Fesival tima, odgledala je film do kraja i bila je vrlo dirnuta. Sa narednim filmom, Baydarov je bio selekcioniran za Venecijanski festival, osvojio tamo nagradu i nakon toga je bio kod nas i član žirija. U međuvremenu je naučio engleski i rekao mi da mu se život promijenio nakon Sarajevske nagrade tako da smo mu ostali najdraži festival. U čemu najviše uživate tokom Sarajevo Film Festivala? U publici. Naša publika ima negdje zapisano u genetskom kodu da osjeća šta je dobar, iskren, inspirativan film i može sagledati film daleko izvan same naracije, samog sadržaja. Cilj našeg programa i jeste da prikaže.
Refleksija Rade Šešić, selektorice Takmičarskog programa - dokumentarni film o različitim perspektivama, umjetničkom izrazu i snažnom doživljaju na Sarajevo Film Festivalu
Inspiracija i raznovrsnost u Dokumentarnom filmu
INTERVJU
How satisfied are you with this year's selection? I was delighted by the authors who managed to transpose individual reminiscence, personal records and memories into the collective one and thus raise the meaning of individual, empirical and experiential to the level of universal. The authors thus skilfully manage to draw us into very complex life situations, touch up on the complexity of the concepts of religion and love, problematize the drama of relationships within family, as well as philosophical reflections on the meaning of life, the concept of evil and crime, hatred and the search for justice. Films are in many ways inspiring to viewers and even when they present very traumatic truths, they carry positive energy within them. What is important for me as a selector is to feel the author's signature in every film, that we as viewers understand the viewpoint of the director and not just observe the life stories of the selected heroes of the film. In fact, every man is a great human story, every family is a potential for film, but all in all it comes down to the angle of observation of the author himself/herself and his/her film expression. Regardless of the drama of a story, only when the author has something to say about it can the film be interesting and make sense. The rest is copying and a mere recording of reality. What would you single out? Assuming that a lot of films have already been made about violence against women during the war in Bosnia, now we have a world premiere of a film that is completely different, original in approach and creative in film expression. We have several excellent films that combine different disciplines; social media and film, painting and moving images, the authors permeate the feature with documentary texture, animated texture or experiment and push the boundaries of a particular film genre. And this is precisely the feature of postmodern creativity, this "borrowing" of stylistic features from various artistic disciplines and the creation of one's own expressive language. This is something that is increasingly recognized in the region, and it is what positions our authors from the region quite high on the scene of world documentary film production. Is there a theme that defines this year's selection? In terms of content, the selection is eclectic in the literal sense of the Greek term eklektikos, which means to choose the best. Out of the around 230 films that entered the selection process, within our thirteen competitive screenings, I had to be rigorous and choose what, after a long process of consideration, surfaced as the most exciting, creative, relevant and inspiring. I even watched some of the films that made it to the semi-finals of the selection three times, constantly examining and checking myself. The most painful thing is to tell good authors that their films came close, but they still failed to enter the selection. There are a lot of relevant human stories, which are very well documentary told, but have not made the selection, so we could actually do a documentary marathon in which exciting documentaries would be shown all day long. But for selection, each film must have at least one very solid reason to be unique in something, exceptional and strong enough to bring it to the audience. What is worth looking at in the selection as a whole, is the richness of the diversity of the very notion of documentary film making in the broader sense. The authors think beyond the boundaries of the traditional form; we have a film that is conceptually conceived and meticulously realized, down to the smallest detail, films in which the camera was used as a painting brush, films that explore new forms of storytelling using a very clever use of digital language. If you compare this year's program with last year's, what has changed between the two festivals? I notice that the interest of authors from all countries who have the right to participate in the competition programme is growing, so we always have a few more films, but not only that - we have significantly more films applying with a world premiere. This means that the authors consciously decide to show their film to the world, which they worked on for an average of three to six years, precisely at our festival. This is a great honour, and a great recognition for our programme. With the introduction of the Heart of Sarajevo award for the best short documentary film, I notice how the authors develop within this category. These are no longer, as was often the case before, short documentary stories. They are now true documentary masterpieces, original forms within which the authors meditatively, and often conceptually explore the boundaries of the film form itself. I think the short form has seen a big qualitative leap. What does it take for a documentary film to win the hearts of the audience and the jury? The film must have the power to “grab” us, to occupy our attention, our emotions, to “hold onto” us long after we've left the cinema. In Indian philosophy, when they talk about understanding the dramaturgy of a work of art, the term Rasa is mentioned, as quoted by the old text of “Natya Sastra”. The term is untranslatable in one word because it is complex and comprehensive. It refers to the power of a work of art/performance to engrave itself in our memory, in our thinking, and in our emotional set so strongly that we will return to that strong feeling we had when we first encountered the work, for days, months, and even years later. That's exactly what Rasa is, that complex experience of a particular piece of art. And that's what every author strives for. And we can say, this is what every viewer hopes - that when he/she comes to the film festival and goes to the cinema he/she will see something very special. During all the years you have been choosing films for the Competition Programme - Documentary film of the Sarajevo Film Festival, is there a film or an event that you always like to remember? There were a lot of excellent films and interesting, peculiar, extremely talented authors, but I remember that it was us who somehow discovered the now world-famous author from Azerbaijan, Hilal Baydarov. His film, When the Persimmons Grew in which he introspectively reflects his bond with his mother who lives in the country and to whom he returns, was deeply moving, meticulously and wonderfully shot, but rather slow, with no major events or drama. With a lot of meditative silence, the author presents life as he sees it through his poetic prism. I remember a lot of people losing their patience and coming out of the cinema. The hall had about three hundred seats and still half the audience stayed and watched the movie that won the main prize that year - the Heart of Sarajevo. One passionate fan of documentaries is Mrs. Sabina Branković from our Sarajevo Film Festival team, she watched the film to the end and was very touched. With his next film, Baydarov was selected for the Venice Film Festival, won an award there, and after a member of our jury. In the meantime, he learned English, and he told me that somehow his life changed after the Sarajevo Prize, so we remained his favourite festival. What do you personally enjoy most during the Sarajevo Film Festival? The audience. Our audience has somewhere written in their genetic code that they feel what a good, honest, inspiring film is and can see the film far beyond the narrative itself, the content itself. The aim of our programme is to show creative, inspiring and above all interesting films in the field of documentary filmmaking, and at the same time to inspire both the audience and the young generation of creative people, regardless of the field in which they express themselves.
Reflection of Rada Šešić, selector of the Competition Program - documentary film on different perspectives, artistic expression and a strong experience at the Sarajevo Film Festival
Inspiration and diversity in Documentary film
Smrtna kazna i uspomene iz djetinjstva
Smrtna kazna bila je legalna u Ukrajini do 1996. U to vrijeme redatelj Philip Sotnychenko imao je samo 7 godina. Više od četvrt stoljeća kasnije spaja ta dva nadahnuća: priču o posljednjem legalnom pogubljenju u domovini i sjećanja na djetinjstvo, u upečatljivu studiju o životu i nasilju u svom debitantskom dugometražnom filmu „La Palisiada“.
Što znači La Palisiada? “La Palisiada” je moj vlastiti neologizam koji je nastao kao rezultat fonetskog odnosa između riječi “policija” i “palisada”. „Palisada“ je drevna obrambena građevina u obliku palisade od debelih, šiljatih balvana i završetka „ada“, što daje osjećaj sage, nečeg velikog i vremenski razvučenog. Šta je istina koju pokušavate prikazati filmom? U filmskoj režiji ne moraliziram, ne pokušavam ništa objašnjavati niti nametati svoj stav. Vodim se svojom intuicijom koja se u ovom slučaju temelji na vlastitim sjećanjima na djetinjstvo i život u devedesetim godinama prošlog stoljeća. Koliko ste istraživali slučaj zadnjeg legalnog pogubljenja u Ukrajini, koji vas je inspirirao da snimite ovaj film? Taj je slučaj bilo prilično teško istražiti, jer su smrtna kazna i sudskomedicinska vještačenja prilično tajnoviti postupci. Film smo radili oko pet godina, a dosta vremena je potrošeno na pripreme, istraživanje i sastanke s konzultantima. Jeste li bili upoznati s policijskim procedurama prije početka snimanja? Moj tim i ja proučavali smo arhivske i operativne policijske snimke iz tih godina. Na temelju dobivenih informacija gradili smo priču i tražili određenu estetiku slike. Zašto ste odlučili snimiti scene iz 1996. u starom televizijskom formatu s puno VHS estetike? Nerijetko u svojim radovima koristim tehniku vremena koje želim prikazati na ekranu ili biram određeni način snimanja koji korespondira s onim što vidimo. To je neka vrsta reprezentacije. Na primjer, jedan od svojih kratkih filmova snimio sam pod utjecajem stila live-streaminga (“Technical Break”, 2017.), bez montaže i pri 50 sličica u sekundi. Također sam jedan film snimio okomito u formatu 9:16, na svom telefonu, pokušavajući rekreirati stil videa na društvenim mrežama. Povezali ste priče koje se odvijaju 1996. i ove današnje, ali ste nam prvo prikazali suvremeni dio. Zašto niste priču prikazali kronološki? Priče koje se odvijaju 1996. i danas, u scenariju su poredane sekvencijalno, kronološki. Ali, tijekom montaže osjetio sam da bi bilo zanimljivije ako ih zamijenim. Angažirali ste uglavnom neprofesionalne glumce. Koje su prednosti i mane tog pristupa? Nerijetko se glumci služe određenim klišejima koje su sami razvili, a što ih više imaju, to je umjetnik zanimljiviji i širi je raspon njegove izvedbe. Ali, neprofesionalni glumac ne mora biti ništa gori ako govorimo o njegovom odnosu prema liku. Šta vas kao redatelja najviše zanima? Radovi drugih redatelja kao što su Abbas Kiarostami, Albert Serra, Nuri Bilge Ceylan, Corneliu Porumboiu. U kakvom je stanju danas ukrajinska filmska zajednica? Dokumentaristi su postali aktivniji, kratki filmovi se snimaju vlastitim novcem, a redatelji nastavljaju raditi svoje projekte u ratnom okruženju. Državno financiranje za sada je obustavljeno, ali producenti traže druge mogućnosti za realizaciju svojih ideja. Josip Jurčić
Death penalty was legal in Ukraine until 1996. At that time, director Philip Sotnychenko was only 7 years old. More than a quarter of a century later, he combines these two inspirations: the story about the last legal execution in his homeland and memories of his childhood, into a compelling study of life and violence in his debut feature “La Palisiada”.
What does La Palisiada mean? “La Palisiada” is my own neologism, which arose as a result of the phonetic relationship between the word “police” and “palisade”. “Palisade” is an ancient defensive structure in the form of a palisade made of thick, pointed logs, and the ending “ada”, which gives the feeling of a saga, something large and extended in time. What is the truth that you’re trying to show by the film? In film directing I don't engage in moralizing; I don't try to explain anything or impose my own position. I'm guided by my intuition, which in this case is based on my own memories of childhood and life in the 90s. How did you research the case of last legal execution in Ukraine, that inspired you to shoot this film? It was quite difficult to research this fact because the death penalty and forensic medical examination are quite secretive procedures. We were making the film for about five years, and a lot of time was spent on preparations, researching, and meeting with consultants. Were you familiar with police procedures before the filming? My team and I studied archival and operational police footage from those years. Based on the information we received, we built a story and searched for a certain aesthetic of the image. Why did you decide to shoot scenes from 1996 in old television format with lot of VHS aesthetic? Quite often in my works I use the technique of the time I want to reflect on the screen, or I choose a certain way of shooting that corresponds to what we see. It's a kind of representation. For example, I shot one of my short films, being influenced by the style of live streaming (“Technical Break”, 2017), without editing and at 50 frames per second. Another film I shot vertically at 9:16, on my phone, trying to recreate the style of social media videos. You connected stories that happen in 1996 and nowdays, but first showing us contemporary part. Why didn’t you presented the story in chronological order? The stories that unfold in 1996 and in the present day were arranged in the script sequentially, in chronological order. But in the process of editing, I felt that it would be more interesting if I swapped them. What were the advantages and disadvantages of casting mostly non-professional actors? Quite often, actors use certain clichés that they have developed, and the more they have them, the more interesting the artist is and the wider the range of his or her performance. But a non-professional actor does not have to be worse if we are speaking about his attitude to the character. What interests you the most, as a director? Works by other directors such as Abbas Kiarostami, Albert Serra, Nuri Bilge Ceylan, Corneliu Porumboiu. How do you consider the state of the Ukrainian film community today? Documentary filmmakers have become more active, short films are being made on creators own money, and directors continue to work and shoot their projects against the backdrop of war. State funding has been suspended for now, but producers are looking for other opportunities to realize their ideas. Josip Jurčić
Death penalty and childhood memories
Uzbudljiva detektivska avantura
Photo by Ferrante Ferranti
Redateljica Mila Turajlić vodi nas na putovanje kroz historiju, razvlačeći konce prošlosti kako bi rasvijetlila sadašnjost. Njen film "Dosje Labudović: Nesvrstani" prkosi jedinstvenom putu, granajući se u dva različita narativa, oba usidrena živopisnom ličnošću snimatelja Stevana Labudovića.
Kako je došlo do toga da se Vaša osnovna ideja, a čini se da je to bilo dokumentiranje Beogradskog samita nesvrstanih zemalja 1961. godine, razvije u dva pravca? Jedan se zakačio za živopisnu osobnost snimatelja Filmskih novosti Stevana Labudovića, a drugi Vas je vratio unatrag, na prve korake koji su doveli do osnivanja Pokreta nesvrstanih? Moja je osnovna ideja bila da kroz priču Stevana Labudovića i pogled na njegove materijale zapravo ispratim priču rađanja ideje nesvrstanih. Međutim, obzirom da je njegov životni put bio bogat i da je, osim činjenice da je kao snimatelj predsjednika Tita zapravo izdokumentovao sve ključne susrete koji su doveli do nastanka Pokreta nesvrstanih u Beogradu 1961. godine, on je također imao i ulogu u snimanju oslobodilačkih pokreta i novih nesvrstanih zemalja u Africi, negde posle pet godina rada na projektu koji je trebao da bude jedan film smo zapravo doneli odluku da napravimo filmski diptih, ne samo zato što su ta dva aspekta njegovog života zahtevala svaki prostor za sebe, nego što zapravo su se oko njih izgradile dve različite pripovedačke forme. Jedan film je zapravo postao neka vrsta esejističkog prepričavanja istraživanja arhive uz Stevanovu pomoć i road tripa kroz putovanja koja su dovela do razvoja nesvrstanih, a drugi film je zapravo postao intimistički film ispričan kroz njegove dnevnike o periodu koji je proveo u Alžiru tokom alžirskog oslobodilačkog rata u koji smo, u horskom smislu, uključili i glasove njegovih saboraca Alžiraca. Šta je bilo presudno da na kraju napravite dva filma u kojima je Stevan Labudović glavni akter, jedan o nesvrstanima, a drugi o Labudovićevom angažmanu na dokumentiranju oslobodilačkog rata u Alžiru? Ono što je bilo presudno da na kraju napravimo dva filma je da su teme bile preobilne za jedan film, ali i dramaturgija i filmski jezik kojim smo hteli da ih ispričamo su se razlikovali. Očigledan je silan entuzijazam u Vašem pristupu istraživanju, prikupljanju, pregledanju, sortiranju i montaži obimnog materijala Filmskih novosti, ali i putovanju i bacanju svjetla današnjice na arhivsku građu. Koji dio ovog posla Vas najviše raduje? Već od svog prvog filma Cinema komunisto s mnogo sam vremena provela u filmskim depoima i definitivno je to za mene jedna detektivska, užasno uzbudljiva avantura - traženje materijala, nalaženje stvari kojima se nisam nadala, popisivanje stvari koje niko nikada nije imao priliku da vidi... i zapravo me najviše u tom procesu raduje mogućnost da te materijale protumačim ili time što nađem sagovornike – svedoke ili aktere tog vremena koji mi pomažu u stvari u tome da ih rastumačim, jer vrlo često kada snimam razgovore sa saradnicima im pokazujem arhivu koju sam našla, dakle jedna od stvari koja me u tom procesu jako raduje, je ta prilika da na postojeće filmske slike zapravo stavim nove naracije, nove poglede ljudi koji mi pomažu u tome da taj materijal nađe svoj kontekst ili time što istražujem drugu vrstu arhiva, dokumentaciju, javne dokumente ili privatne beleške, dnevnike, pisma... koji mi opet pomažu da nekako upotpunim sliku perioda u kome su ti filmski materijali nastajali i rađali se i da razumem ulogu koju su igrali. U Sarajevu Vas znamo kao redateljicu izvrsnih analitičkih dokumentaraca, ali i kao članicu predprošlogodišnjeg žirija. Obzirom na to da ste osvojili mnogo nagrada za dokumentarne filmove, kakvo je iskustvo bilo odlučivati o tome koje ćete filmove izdvojiti? Kada sam imala priliku da u Sarajevu budem član žirija, prva stvar kojoj sam se najviše obradovala je to vreme koje čovek dobije da sedi i da posmatra radove svojih kolega i da zapravo uranja u njihove filmske svetove zato što neretko mi se desi da, kad sam na festivalima sa svojim filmovima, zapravo ne stignem da pogledam nijedan drugi i nekako ta prilika da se na jednom festivalu prisustvuje iz perspektive gledaoca kome je vreme dato da se posveti radu drugih mene jako hrani. Sam posao žiriranja nije stvar kojoj se mnogo radujem. Ja sam dugo organizovala festival u Bogradu koji se zvao „Sedam veličanstvenih“, bila sam deo tima tog festivala i jedna od stvari koje sam najviše volela kod tog festivala je što nije bio takmičarskog tipa, jer je negde naš osećaj bio da sama činjenica da je neko uspeo da napravi film već toliko fenomenalna, i da napravi dobar film, sad rangirati kvalitet tih filmova zapravo nije zahvalna stvar tako da posao učešća u žiriju je nešto čemu prilazim sa dosta ambivalentnosti zato što se i sama, kao filmski autor, uvek radujem nekoj nagradi ali osećam svu odgovornost dodele nagrade nekom drugom autoru, a pre svega poruke koje to možda šalje onim autorima koji nisu nagrađeni. Marinela Domančić Body text
Filmmaker Mila Turajlić takes us on a journey through history, unraveling the threads of the past to shed light on the present. Her film "Dosje Labudović: Nesvrstani," defies a singular path, branching into two distinct narratives, both anchored by the vivid personality of the cinematographer Stevan Labudović.
An exciting detective adventure
How did it happen that your basic idea, which seems to have been documenting the Belgrade Summit of Non-Aligned Countries in 1961, developed in two directions? One got attached to the vivid personality of Film news cameraman Stevan Labudović, and the other took you back to the first steps that led to the founding of the Non-Aligned Movement? My basic idea was to follow the story of the creation of the idea of the non-aligned through the story of Stevan Labudović and his materials. However, taking into account that his life path was rich and that, apart from the fact that as President Tito's cameraman he actually documented all the key meetings that led to the creation of the Non-Aligned Movement in Belgrade in 1961, he also played a role in filming liberation movements and new non-aligned countries in Africa, after five years of working on the project, which was supposed to be one film, we made the decision to make a film diptych not only because each of those two aspects of his life required its own space, but because two different storytelling forms were built around them. One film became kind of essayistic retelling of archive research with Stevan's help and a road trip through the journeys that led to the development of Non-Aligned, and the other film became an intimate film told through his diaries about the period he spent in Algeria during the Algerian War of Liberation in which, in a choral sense, we also included the voices of his fellow Algerians. What made you decide to make two films in which Stevan Labudović is the main actor, one about the non-aligned and the other about Labudović's involvement in documenting the liberation war in Algeria? What was crucial for us to make two films in the end was that the topics were too extensive for one film, but also the dramaturgy and the filmic language we wanted to use to tell them were different. There is obvious enthusiasm in your approach to research, collection, viewing, sorting and editing of the extensive material of Film News, but also in traveling and throwing today's light on archival material. What part of this job pleases you the most? Ever since my first film, Cinema Komunisto, I've spent a lot of time in film depots, and it's definitely a detective, terribly exciting adventure for me - looking for material, finding things I didn't expect, listing things that no one has ever had the chance to see... and in fact, what pleases me the most in that process is the possibility to interpret those materials or by finding interlocutors - witnesses or actors of that time who actually help me in interpreting them because very often when I record conversations with colleagues I show them the archive I found, therefore, one of the things that makes me very happy in that process is the opportunity to add new narratives to the existing film images, new views of people who help that this material find its context, or by researching other types of archives, documentation, public documents or private notes, diaries, letters... which again help me to somehow complete the picture of the period in which these film materials were created and born and to understand the role they played. In Sarajevo, we know you as the director of excellent analytical documentaries, but also as a member of a jury two years ago. Given that you have won many awards for documentaries, what was the experience like deciding which films to single out? When I had the opportunity to be a member of the jury in Sarajevo, the first thing I was most happy about was the time one gets to sit and observe the works of one's colleagues and actually immerse oneself in their film worlds, because it often happens to me that, when I am at festivals with my films, I don't actually get to see any of the other films and somehow the opportunity to attend a festival from the perspective of a viewer who is given the time to devote himself to the work of others nourishes me a lot. Judging itself is not something I look forward to very much. For a long time, I organized a festival in Belgrade called "The Magnificent Seven". I was a part of the team at that festival and one of the things I liked most about that festival was that it was not competitive, because we felt that the very fact that someone succeeded in making a film, and making a good film, is already so phenomenal. Ranking the quality of those films is actually not a gratifying thing, so the job of participating in the jury is something that I approach with a lot of ambivalence because, as a film author, I'm always glad to receive an award, but I feel all the responsibility of awarding another author and, above all, the messages that this may send to those authors who were not awarded. Marinela Domančić
"Što da se radi?" Gorana Devića je dokaz otpornosti društva koje nestaje i jasan poziv na kolektivnu introspekciju. To je počast moći dokumentarnog pripovijedanja i proslava zajedničkog ljudskog iskustva.
Važnost kolektivnih umjetničkih iskustava
Imat ćete svjetsku premijeru filma na ovogodišnjem Sarajevo Film Festivalu. Kakav je osjećaj konačno ponuditi publici film kojem ste posvetili desetljeće svog profesionalnog života? Svaki put kad završim film imam osjećaj čuđenja. Da je film gotov, da smo uspjeli... Ja se većine svojih snimanja sjećam puno bistrije i jasnije nego nekih drugih, svakodnevnih segmenata života. Sjećam se prvog dana snimanja ovog filma, čak i nekih detalja. U tom smislu imam osjećaj kao da sam ovaj film snimao nedavno. U isto vrijeme svjestan sam što se sve u međuvremenu dogodilo i protagonistima ovog filma i meni, što daje puno točniju perspektivu koliko je zapravo vremena prošlo. Kao autor ovog filma osjećam ponos da sam ga završio jer mislim da smo ispričali jako bitnu priču o nestanku jednog društva koje je baziralo svoje postojanje na proizvodnom radu. Naša su očekivanja velika, budući da vas po dobru pamtimo još od „Uvoznih vrana“, „Crnaca“, „Sretne zemlje“... a i kao člana žirija od prije tri godine. Uz to, često ste na Danima Cinelink industrije. Kao redoviti gost Sarajevo Film Festivala, koji vas njegov segment najviše veseli? Uzbuđenje obznanjivanja materijala na kojem je rad u tijeku, žiriranje ili predstavljanje publici završen film? Uz sama snimanja koja mi na neki način dozvoljavaju da intenzivnije participiram u životu nego što to činim kao privatna osoba, najviše me veseli čin zajedničkog gledanja filma sa publikom. Mislim da nas je period izolacije u koroni podsjetio koliko su ta kolektivna iskustva dijeljenja priča iz svijeta koji nas okružuje bitna i koliko se kao zajednica trebamo boriti da nam tzv. tržište ne ukine to pravo i da nas opet ne razdvoji na pojedince koji u samoći bulje u svoje televizore, kompjutore ili mobitele. Po meni kino i ostala kolektivna umjetnička iskustva danas imaju onu funkciju koju je nekad imala crkva u davanju pojedincima osjećaja da na ovom svijetu nisu sami. Majstor ste prepoznavanja alegorijskih situacija, paradigmi i apsurda, bilo da se radi o identificiranju nesretnih životinja kao mrskih neprijatelja ili o prepoznavanju ustanka desno orijentiranog radnika protiv kapitalizma. Imate nos za ove stvari ili one pronalaze vas? O širim temamama koje me filmski zanimaju razmišljam dugo i konstantno. Mislim da znam koje bi teme trebale biti bitne za vrijeme i prostor u kome živimo. Same filmske priče ne biram racionalno. Odluku što ću konkretno snimati, a što ne, gotovo uvijek prepuštam instinktu. Kad sam bio mlađi taj proces me je plašio, ali što sam stariji lakše mu se prepuštam. Dobra strana tog načina rada je što ako vjeruješ svome instinktu imaš više energije za rad. Možda zato imam upornosti i volje koje me tjeraju da nešto snimam i punih deset godina, kao što je to slučaj sa filmom „Što da se radi?“. Koliko ste, radeći na ovom filmu, surađivali sa Udrugom radničkih sindikata Hrvatske i kakva je bila suradnja, obzirom na to da iz filma vrišti nezaštićenost ljudskog prava na rad? Surađivali smo blisko i bez članova sindikata, naročito Željka Starčevića i njegovih kolega, ovog filma ne bi bilo. Iznimno su dojmljive završne scene filma u kojima radnici u sablasnim, devastiranim proizvodnim halama hine da rade na strojevima koji više ne postoje. Osobno su me potresle znatno više od scena u kojima radnici kroz suze iznose svoja zdravstvena, psihološka i socijalna iskustva nakon stečaja i otkaza. Kako ste došli na ideju da ovako završite film? Dok sam radio na ovom filmu smatrao sam da samo dokumentarni materijal neće biti dovoljan da predstavim sve ono što sam osjećao dok sam sa kamerom participirao u samim događajima. Sve vrijeme sam osjećao da ovaj film mora imati još neku dodatnu dimenziju. Taj osjećaj sam dijelio sa svojim prijateljima i suradnicima producentom Hrvojem Osvadićem, montažerkom Ivom Kraljević i suradnicima na scenariju Andrejem Nikolaidisom i Zvonimirom Jurićem. Dugo vremena sam smatrao da treba snimiti više igranog materijala sa stvarnim protagonistima koji bi koketirao sa nekim utopističkim elementima, a praktično na samom snimanju, uz veliku pomoć Zvomimira Jurića i samih radnika koji su predlagali konkretnu koreografiju, „proizveli smo“ jedan vlak u pantomimi. Marinela Domančić
The importance of collective artistic experiences
Your film will have its world premiere at this year's Sarajevo Film Festival. How does it feel to finally offer the audience the film you dedicated a whole decade of your professional life to? Every time I finish the film, I am amazed that the film is finished, that we succeeded... I remember most of my shootings much more clearly than some other, everyday segments of life. I remember the first day of shooting this movie, even some details. In that sense, I feel like I shot this movie recently. At the same time, I am aware of what has happened to the protagonists of this film and to me in the meantime, which gives a much more accurate perspective of how much time has actually passed. As the author of this film, I feel proud to have finished it because I think we have told a very important story about the disappearance of a society that based its existence on production work. Our expectations are high, since we remember you well from “Imported crows”, “Blacks”, “Happy Land” ... and as a member of the jury from three years ago. In addition, you are often at the Cinelink Industry Days. As a regular guest of the Sarajevo Film Festival, which part of it are you most excited about; the excitement of announcing the work-in-progress material, judging or presenting the finished film to the audience? Along with the shooting itself, which in a way allows me to participate more intensively in life than I do as a private person, the act of watching a film together with the audience makes me happy the most. I think that the period of isolation in corona reminded us how important these collective experiences of sharing stories from the world around us are and how much we should fight as a community so the so-called the market does not abolish that right and does not divide us again into individuals who stare at their televisions, computers or mobile phones in solitude. In my opinion, cinema and other collective artistic experiences today have the function that the church once had in giving individuals the feeling that they are not alone in this world. You are a master of recognizing allegorical situations, paradigms and absurdities, whether it is identifying hopeless animals as hated enemies or recognizing the uprising of a right-wing worker against capitalism. Do you have a nose for these things, or do they find you? I have been thinking for a long time and constantly about broader topics that interest me in film. I think I know what topics should be important for the time and place we live in. I do not choose movie stories rationally. I almost always leave to instinct the decision of what to shoot specifically and what not. When I was younger, that process scared me, but the older I get, the easier it is for me to indulge. The good side of that way of working is that if you trust your instincts, you have more energy to work. Maybe that's why I have the persistence and will that make me shoot something even for a full ten years, as is the case with the film "What to do?". When working on this film, how much did you cooperate with the Association of Croatian Trade Unions and what kind of cooperation was there, given that the film screams about the lack of protection of the human right to work? We cooperated closely, and without union members, especially Željko Starčević and his colleagues, this film would not exist. The final scenes of the film, in which workers in ghostly, devastated production halls pretend to work on machines that no longer exist, are extremely impressive. Personally, they shook me much more than the scenes in which the workers tearfully express their health, psychological and social experiences after bankruptcy and losing their jobs. How did you come up with the idea to end the film like this? While I was working on this film, I thought that only documentary material would not be enough to present everything that I felt while participating in the events with the camera. I always felt that this movie had to have some extra dimension. I shared that feeling with my friends and colleagues, producer Hrvoje Osvadić, editor Iva Kraljević, and collaborators on the screenplay, Andrej Nikolaidis and Zvonimir Jurić. For a long time, I thought that we should record more feature material with real protagonists that would flirt with some utopian elements, and practically during the filming itself, with the great help of Zvomimir Jurić and the workers who proposed specific choreography, we "produced" a train in pantomime. Marinela Domančić Body text
Goran Dević’s “What's to Be Done?" is a testament to the resilience of a vanishing society and a clarion call for collective introspection. It's a tribute to the power of documentary storytelling, and a celebration of the shared human experience.
Izložba fotografija 30 godina ratnog kina Apollo / First War Cinema Apollo Exhibition
Foto galerija / Photo gallery
Talents Breakfast by Atlantic Group Talents Breakfast sponsored by Atlantic Group
Ekipa filma Lost Country / Crew: Lost Country
Ekipa filma Samo Kad Se Smijem / Crew: Only When I Laugh
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
Ekipa serije Princ iz Eleja / Crew: Smashing it
Virginia Woolf je 1928. godine napisala roman Orlando, prvi roman u kojem glavni lik usred priče mijenja pol. Stotinu godina kasnije, transrodni pisac i aktivista Paul B. Preciado odlučio je poslati filmsko pismo Virginiji Woolf: njen Orlando izašao je iz okvira njene mašte i živi životom koji ona nije mogla ni zamisliti. In 1928, Virginia Woolf wrote "Orlando", the first novel in which the main character changes gender in the middle of the story. A century later, trans writer and activist Paul B. Preciado decides to send a film letter to Woolf: her Orlando has come out of her fiction and is living a life she could have never imagined.
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ORLANDO - MOJA POLITIČKA BIOGRAFIJA / ORLANDO - MY POLITICAL BIOGRAPHY France, 2023, 98 min. Režija / Director: Paul B. Preciado Uloge / Cast: Oscar-Roza Miller, Janis Sahraoui, Liz Christin, Elios Levy, Victor Marzouk
BLAGIN NAUK Bulgaria, Germany, 2023, 114 min. Režija / Director: Stephan Komandarev Uloge / Cast: Eli Skorcheva, Gerasim Georgiev, Rozalia Abgarian, Ivan Barnev, Stefan Denolyubov, Ivaylo Hristov
Nakon što nasjedne na prevaru putem telefona, umirovljena učiteljica, i odnedavno udovica, ostaje bez ušteđevine i novca da uredi grob preminulog supruga. Njen život se okrene naglavačke kada shvati da nema načina da vrati svoj novac, ali onda dobija privlačnu, ali sumnjivu ponudu za posao. Nakon što uzme stvari u svoje ruke, njena situacija se mijenja i počinje joj priticati novac, ali pri tome se odriče svoje najveće vrline – ličnih principa. Polako, ali sigurno, i sama se pretvara u prevaranticu. When a retired, recently widowed teacher falls prey to a phone scam, she is robbed of her life savings and without any money to pay for her late husband’s grave. Her life is turned upside down when she realises there is no way of getting her money back, until she receives an alluring, yet suspicious, offer for work. The tables turn as she takes matters into her own hands and cash begins rolling in, this time claiming her most prized attribute: her values, as she slowly and surely transforms into a scammer herself.
U FOKUSU / IN FOCUS
KINOSCOPE REAL
SUmmer screen
Dječiji program / children's programme
U ovoj cyber-punk komediji za sve generacije, Snot i Splash, braća koja se stalno svađaju, tokom zimskog odmora putuju u mali gradić kako bi posjetili svoju baku. Ispostavlja se da se gradić u potpunosti promijenio. Dječaci završe ganjajući misterioznog kradljivca rupa i otkrivaju da su čitav gradić i svi njegovi stanovnici u opasnosti. Na kraju, mali heroji ne spašavaju samo stanovnike Mouthwatera već i sve ostale u Elsewheru. Zapravo spašavaju čitav svijet da ne bude uvučen u ogromnu crnu rupu! In a cyber-punk comedy for all ages, quarrelling brothers Snot and Splash travel to a small town to visit their granny on winter vacation. It turns out that everything has changed. The boys end up chasing a mysterious hole-stealing thief, and find out that the whole town and its villagers are in danger. In the end, the young heroes save not only the people of Mouthwater but everyone in Elsewhere too. In fact, they save the entire world from getting sucked in to a giant black hole!
CRVENO NEBO / AFIRE Germany, 2023, 103 min. Režija / Director: Christian Petzold. Uloge / Cast: Thomas Schubert, Paula Beer, Langston Uibel, Enno Trebs, Matthias Brandt
Skromna vikendica na obali Baltičkog mora. Dani su vreli, sedmicama nije padala kiša. Četvoro mladih, starih i novih prijatelja, okuplja se. Njihove emocije – sreća, požuda, ljubav, ali i ljubomora, ogorčenje i napetost – buknut će istovremeno sa žednom šumom koja ih okružuje. Šuma gori, a vatra im se ubrzano približava. A small holiday house by the Baltic Sea. The days are hot, and it hasn’t rained in weeks. Four young people come together, friends old and new. As the parched forests around them begin to ignite, so do their emotions. Happiness, lust, and love; but also jealousy, resentment, and tensions. Meanwhile the forests burn. And before long, the flames arrive.
SNOT I SPLASH - MISTERIJA RUPA KOJE NESTAJU SNOT & SPLASH - THE MYSTERY OF THE DISAPPEARING HOLES Finland, 2023, 87 min. Režija / Director: Teemu Nikki Uloge / Cast: Hugo Komaro, Urho Kuokkanen, Pekka Strang, Kati Outinen, Elina Knihtilä, Sampo Sarkola, Marja Packalén, Petteri Pennilä Musliović, Mirvad Kurić, Moamer Kasumović, Džana Pinjo, Mario Drmać, Emir Zumbul Kapetanović, Slaven Vidak, Sabit Sejdinović
U sklopu 29. Sarajevo Film Festivala danas je na Festivalskom trgu održana prezentacija projekta Meeting Point – Centra Sarajevo Film Festivala.
Projekat, čiji je vlasnik i sufinansijer Općina Centar Sarajevo, obuhvata rekonstrukciju postojećeg prostora kina Meeting Point, a novi projekt su predstavili Mirsad Purivatra, osnivač Sarajevo Film Festivala i predsjednik Udruženja Obala Art Centar, Srđan Mandić, načelnik Općine Centar i arhitekti Sanja i Igor Grozdanić iz arhitektonskog studija Nonstop „Smatramo da je ovaj projekat od strateškog značaja za filmsku industriju. Postojeći prostor kina Meeting Point bio bi pretvoren u Festivalski centar koji bi mogao biti žarište kreativne industrije, nova platforma za promociju najboljih filmova bosanskohercegovačkog, regionalnog i arthouse filma, ali isto tako mjesto okupljanja ljudi koji su bliski kreativnoj i filmskoj industriji. Želimo da to bude mjesto koje će omogućavati angažovanje i ohrabrivanje mladih autora, jer je nakon 30 godina Sarajevo Film Festivala cijele generacije “, rekao je Mirsad Purivatra. Sufinansijer projekta izgradnje Festivalskog centra – Meeting Point bit će Općina Centar Sarajevo. „Ideja da se na prostoru Općine Centar gradi novi Festivalski centar Sarajevo Film Festivala je genijalna. Želja nam je da ga već za dvije godine otvorimo u krasnom prostoru koji će biti novi Meeting Point. Festival koji je ovako značajan i koji traje već skoro 30 godina, u svom gradu mora imati svoj prostor“, rekao je Srđan Mandić. Izgled novog Festivalskog Centra – Meeting Point predstavili su arhitekti Sanja i Igor Grozdanić. „Mjesto gdje će se nalaziti novi Festivalski centar je simbolično mjesto u srcu našeg grada, koje će, nadamo se, zasjati novim sjajem. Ono ima simbolično ime, Meeting Point, što znači da je to mjesto susreta svih filmskih radnika, ali ne samo njih, nego i svih ljudi iz ostalih kreativnih industrija. To će biti mjesto na koje će dolaziti svi ljubitelji filma i ono koji će to postati“, rekla je Sanja Grozdanić.Novi Festivalski centar će imati tri kino dvorane i otvoreno kino na krovu objekta. „Ti prostori za projekcije čine srž prostora. Međutim, shvatili smo da i ono što se događa okolo ima važnost, tako da smo nastojali da prateći prostori oko dvorana budu fleksibilni i da mogu odgovoriti potrebama Sarajevo Film Festivala“, rekao je Igor Grozdanić. Izgradnja Festivalskog centra - Meeting Point dio je projekta Sarajevo grad filma UNESCO-a, koji je posvećen filmu i kreativnosti kao ključnim pokretačima kulturnog, ekonomskog i društvenog razvoja grada, te saradnji i partnerstvima s drugim kreativnim gradovima unutar Mreže kreativnih gradova UNESCO-a. Lokacija kina Meeting Point je uz Akademiju likovnih umjetnosti, novu Akademiju scenskih umjetnosti, Dom mladih, Skenderiju, Radićevu ulicu, kao kreativni centar grada.
FESTIVALSKI CENTAR - MEETING POINT
Predstavljen projekat izgradnje Festivalskog centra – Meeting Point
The project, which is owned and co-financed by the Municipality of Centar Sarajevo, includes the reconstruction of the existing Meeting Point cinema space. The new project was presented by Mirsad Purivatra, founder of the Sarajevo Film Festival and president of the Obala Art Centar Association, Srđan Mandić, head of the Municipality of Centar, and architects Sanja and Igor Grozdanić. from the architectural studio Nonstop. "We believe that this project is of strategic importance for the film industry. The existing space of the Meeting Point cinema would be transformed into a Festival Center that could be a focal point of the creative industry, a new platform for the promotion of the best films of Bosnian, regional and arthouse cinema, but also a gathering place for people who are close to the creative and film industry. We want it to be a place that will enable the engagement and encouragement of young authors, because after 30 years of the Sarajevo Film Festival, it is for the whole generation," said Mirsad Purivatra. The co-financier of the Festival Center - Meeting Point construction project will be the Municipality of Centar Sarajevo. "The idea of building a new Festival Center of the Sarajevo Film Festival on the territory of the Municipality of Centar is ingenious. We wish to open it in two years in a beautiful space that will be the new Meeting Point. A festival that is this important and that has been going on for almost 30 years, must have its own space in its city," said Srđan Mandić. The design of the new Festival Center - Meeting Point was presented by architects Sanja and Igor Grozdanić. "The place where the new Festival Center will be located is a symbolic place in the heart of our city, which, we hope, will shine with a new glow. It has a symbolic name, Meeting Point, which means that it is a meeting place for all film workers, but not just them, but also all the people from other creative industries. It will be the place that all film lovers will come to and the one that will become it," said Sanja Grozdanić. The new Festival Center will have three cinema halls and an open-air cinema on the roof of the building. "Those projection spaces form the core of the space. However, we realized that what happens around is also important, so we tried to make the accompanying spaces around the halls flexible and able to respond to the needs of the Sarajevo Film Festival," said Igor Grozdanić. The construction of the Festival Center - Meeting Point is a part of UNESCO Sarajevo City of Film project, which is dedicated to film and creativity as key drivers of the city's cultural, economic and social development, as well as cooperation and partnerships with other creative cities within the UNESCO Creative Cities Network. The location of the Meeting Point cinema is next to the Academy of Fine Arts, the new Academy of Performing Arts, the Youth Center, Skenderija, Radićeva Street, as a creative center of the city. You can view the Meeting Point Festival Center project HERE. The project, which is owned and co-financed by the Municipality of Centar Sarajevo, includes the reconstruction of the existing Meeting Point cinema space. The new project was presented by Mirsad Purivatra, founder of the Sarajevo Film Festival and president of the Obala Art Centar Association, Srđan Mandić, head of the Municipality of Centar, and architects Sanja and Igor Grozdanić. from the architectural studio Nonstop. "We believe that this project is of strategic importance for the film industry. The existing space of the Meeting Point cinema would be transformed into a Festival Center that could be a focal point of the creative industry, a new platform for the promotion of the best films of Bosnian, regional and arthouse cinema, but also a gathering place for people who are close to the creative and film industry. We want it to be a place that will enable the engagement and encouragement of young authors, because after 30 years of the Sarajevo Film Festival, it is for the whole generation," said Mirsad Purivatra. The co-financier of the Festival Center - Meeting Point construction project will be the Municipality of Centar Sarajevo. "The idea of building a new Festival Center of the Sarajevo Film Festival on the territory of the Municipality of Centar is ingenious. We wish to open it in two years in a beautiful space that will be the new Meeting Point. A festival that is this important and that has been going on for almost 30 years, must have its own space in its city," said Srđan Mandić. The design of the new Festival Center - Meeting Point was presented by architects Sanja and Igor Grozdanić. "The place where the new Festival Center will be located is a symbolic place in the heart of our city, which, we hope, will shine with a new glow. It has a symbolic name, Meeting Point, which means that it is a meeting place for all film workers, but not just them, but also all the people from other creative industries. It will be the place that all film lovers will come to and the one that will become it," said Sanja Grozdanić. The new Festival Center will have three cinema halls and an open-air cinema on the roof of the building. "Those projection spaces form the core of the space. However, we realized that what happens around is also important, so we tried to make the accompanying spaces around the halls flexible and able to respond to the needs of the Sarajevo Film Festival," said Igor Grozdanić. The construction of the Festival Center - Meeting Point is a part of UNESCO Sarajevo City of Film project, which is dedicated to film and creativity as key drivers of the city's cultural, economic and social development, as well as cooperation and partnerships with other creative cities within the UNESCO Creative Cities Network. The location of the Meeting Point cinema is next to the Academy of Fine Arts, the new Academy of Performing Arts, the Youth Center, Skenderija, Radićeva Street, as a creative center of the city. You can view the Meeting Point Festival Center project HERE.
Presented project for the construction of the Festival Center - Meeting Point
As part of the 29th Sarajevo Film Festival, a presentation of the project Meeting Point - the Center of the Sarajevo Film Festival was held today at the Festival square.
Bingo Group je postao dio filmske čarolije i pridružio se porodici ekskluzivnih sponzora Sarajevo Film Festivala. Zajedničko djelovanje Bingo Group i Sarajevo Film Festivala je primjer međusobne podrške domaćih brendova, na zadovoljstvo svih ljubitelja filmske umjetnosti. Ponosni smo što se ove godine festivalska atmosfera prenijela i u Tuzlu, u kojoj je otvoreno Ljetno kino do 400 mjesta. Tako ljubitelji sedme umjetnosti mogu uživati u filmovima koji se istovremeno prikazuju i u Open Air kinu u Sarajevu. Bingo Group has become part of the movie magic and has joined the family of exclusive sponsors of the Sarajevo Film Festival. The joint action of Bingo Group and Sarajevo Film Festival is an example of mutual support of local brands, to the satisfaction of all fans of film art. We are proud that this year the festival atmosphere is transferred to Tuzla, where the Summer Cinema with up to 400 seats is opened. Thus, fans of the seventh art can enjoy films that are shown simultaneously in the Open Air cinema in Sarajevo.