Charlieju Kaufmanu uručeno Počasno Srce Sarajeva / Honorary Heart of Sarajevo awarded to Charlie Kaufman
FESTIVAL DAILY
UTORAK / Tuesday 15.8.2023.
www.sff.ba #29thSFF
„Mnogo sam zahvalan za ovo priznanje. Zavolio sam ovaj grad kada sam došao 2008. godine i još ga volim. Volim toplotu ljudi. Sinoć smo gledali CRVENO NEBO Christiana Petzolda, dopao mi se film. Svi su bili sretni, aplaudirali su. Bilo je specifično i drugačije. Nisam mogao zamisliti da budem negdje drugo. Ljudi su izlazili i pušili i osjetilo se da to prezentira srce grada. Sasvim slučajno, uporavo sam pročitao knjigu Semezdina Mehmedinovića koja se na engleskom zove 'My Heart', mislim da je pravi trenutak da to spomenem. Hvala vam mnogo. Počastovan sam“, rekao je Kaufman. Počasno Srce Sarajeva Kaufmanu je uručio direktor Sarajevo Film Festivala Jovan Marjanović. „Kaufman već dugi niz godina i kao scenarista i kao režiser donosi publici širom svijeta i smijeh, i tugu, i utjehu, i emptaiju, i to u estetskom univerzumu koji je tako jedinstveno njegov da ga je, i ako vidimo samo jednu scenu njegovog filma, jednostavno nemoguće zamijeniti za nekog drugog autora. Charlie Kaufman je po svemu poseban filmaš čiji nas filmovi sa puno humora potiču na ozbiljno razmišljanje o ljudskom postojanju“, izjavio je direktor Sarajevo Film Festivala Jovan Marjanović, uručujući Kaufmanu priznanje. U Ljetnom kinu Coca-Cola u Open Air programu upriličena je projekcija filma ADAPTACIJA. Spikea Jonzea, za koji Kaufman potpisuje scenarij. Uloge u filmu ostvarili su Nicolas Cage, Meryl Streep, Chris Cooper, Tilda Swinton i Jay Tavare. Sarajevo Film Festival Kaufmana je ugostio u svom 14. izdanju te festivalskoj publici 2008. godine predstavio njegov rediteljski debi SYNECDOCHE, NEW YORK. Film ADAPTACIJA. Kaufmanu je donio nagradu Američkog udruženja pisaca i Oscara® za najbolji scenarij. Kaufman je za svoj revolucionarni scenarij iz 1999. godine BITI JOHN MALKOVICH, nominovan za nagradu Američkog udruženja pisaca, Oscara® i Zlatni globus, a osvojio je nagradu Independent Spirit za najbolji prvi filmski scenarij. Za scenarij za film ETERNAL SUNSHINE OF THE SPOTLESS MIND Michaela Gondrya iz 2004. godine, dobio je nagradu Američkog udruženja pisaca i Oscara® za najbolji originalni scenarij. Godine 2008. dobio je drugu nagradu Independent Spirit, ovaj put za režiju postmoderne psihološke drame SYNECDOCHE, NEW YORK. Osvojio je priznanje i za režiju stop-motion animiranog filma za odrasle ANOMALISA, koji je nominovan za najbolji animirani film za nagrade Oscar®, Zlatni globus i Annie. Njegov najnoviji dugometražni igrani film je nadrealistični triler iz 2020. godine I'M THINKING OF ENDING THINGS, zasnovan na romanu Iaina Reida. Godine 2020. objavio je i svoj prvi roman „Antkind“. Charlie Kaufman je istinski vizionar, a njegovo filmsko naslijeđe je neosporno s obzirom na to da je film BITI JOHN MALKOVICH uvršten na 74. mjesto WGA-ove liste 101 najbolji scenarij svih vremena, a filmovi ADAPTACIJA. i ETERNAL SUNSHINE OF THE SPOTLESS MIND nalaze se na WGA-ovoj listi 101 najbolji scenarij 21. vijeka. Tokom dana, Kaufman je imao i Masterclass u Festivalskom centru (Bosanski kulturni centar).
Charlieju Kaufmanu uručeno Počasno Srce Sarajeva
Charlieju Kaufmanu, američkom scenaristi, reditelju i producentu, dobitniku Oscara®, u Ljetnom kinu Coca-Cola uručeno je Počasno Srce Sarajeva 29. Sarajevo Film Festivala, u znak priznanja za izuzetan doprinos filmskoj umjetnosti.
Honorary Heart of Sarajevo awarded to Charlie Kaufman
Charlie Kaufman, american screenwriter, director, producer, and Oscar® winner was awarded the Honorary Heart of Sarajevo for his exeptional contribution to the art of film tonight at the Coca-Cola Open Air Cinema.
"I am very grateful for this honour. I fell in love with this city when I came in 2008 and I still love it. I love the warmth of people. Last night we watched AFIRE by Christian Petzold. I loved the movie. Everyone was happy, they applauded. It was specific and different. I couldn't imagine being anywhere else. People went out and smoked and it felt like it represented the heart of the city. Coincidentally, I kept reading Semezdin Mehmedinović's book called 'My Heart' in English. I think this is the right time to mention it. Thank you very much. I'm honored", Kaufman said. The Honorary Heart of Sarajevo was presented to Kaufman by Jovan Marjanović, the director of the Sarajevo Film Festival. "For many years, both as a screenwriter and a director, Kaufman has been bringing laughter, sadness, comfort, empathy, to audiences worldwide, all within an aesthetic universe so uniquely his own that if we were to see just one scene from his film, it would be simply impossible to mistake it for the work of any other author. Charlie Kaufman is, in every sense, a special filmmaker whose films, filled with humor, prompt us to seriously contemplate human existence," Marjanović stated, as he presented Kaufman with the award. After the Honorary Heart of Sarajevo was presented, the film ADAPTATION. by Spike Jonze was screened as part of the Open Air Programme of the 29th Sarajevo Film Festival. The script for the film was written by Kaufman. The roles were portrayed by Nicolas Cage, Meryl Streep, Chris Cooper, Tilda Swinton and Jay Tavare. The Sarajevo Film Festival hosted Kaufman in its 14th edition and presented his directorial debut SYNECDOCHE, NEW YORK to the festival audience in 2008. ADAPTATION. brought Kaufman a Writers Guild of America award and an Oscar® for best adpted screenplay. Kaufman was nominated for a Writers Guild of America Award, an Oscar® and a Golden Globe Award for his groundbreaking 1999 screenplay, BEING JOHN MALKOVICH, and won the Independent Spirit Award for Best First Screenplay. His screenplay for Michael Gondry's 2004 film ETERNAL SUNSHINE OF THE SPOTLESS MIND won him a Writers Guild of America award and an Oscar® for Best Original Screenplay. In 2008, he won a second Independent Spirit Award, this time for directing the postmodern psychological drama SYNECDOCHE, NEW YORK. He also won recognition for directing the stop-motion adult-animation film ANOMALISA, which was nominated for best animated film at the Oscars®, Golden Globes and Annie awards. His latest feature film is the 2020 surrealist thriller I'M THINKING OF ENDING THINGS, based on the novel by Iain Reid. In 2020, he also published his first novel, "Antkind". Charlie Kaufman is a true visionary, and his film legacy is undeniable, with BEING JOHN MALKOVICH ranked 74th on WGA's 101 Greatest Screenplays of All Time, and ADAPTATION. and ETERNAL SUNSHINE OF THE SPOTLESS MIND listed on the WGA's list of the 101 Best Screenplays of the 21st Century. Before being presented the Honorary Heart of Sarajevo, Kaufman held a Masterclass today at the Festival Center (Bosnian Cultural Center).
Svjetska premijera filma Medium
World premiere of the film Medium
U Narodnom pozorištu Sarajevo je održana svjetska premijera filma MEDIUM u sklopu Takmičarskog programa – igrani film. Film je režirala Christina Ioakeimidi. Šesnaestogodišnja Eleftheria, strankinja u čudnome svijetu, upoznaje misterioznog susjeda Angelosa koji je poziva u svoj fascinantni svijet odraslih. Dok biciklom kruži gradskim ulicama u vrelini augusta, Eleftheria je na putu do samootkrovenja kroz svirepost prve ljubavi. Režija: Christina Ioakeimidi Uloge: Aggeliki Beveratou, Nikolakis Zeginoglou, Katerina Zisoudi, Konstantinos Aspiotis, Martha Frintzila, Natassa Xintaveloni
In Sarajevo National Theatre at 21:30 world premiere of the film MEDIUM was screened as part of the Copmpetition Programme – Feature Film. Film was directed by Christina Ioakeimidi. Sixteen-year-old Eleftheria, a stranger in a strange world, meets Angelos, a mysterious neighbour, who invites her into his fascinating grown-up world. Roaming the streets of the scorching-hot August city on his bike, Eleftheria embarks on a journey to discover herself through the ferocity of first love. Director: Christina Ioakeimidi Cast: Aggeliki Beveratou, Nikolakis Zeginoglou, Katerina Zisoudi, Konstantinos Aspiotis, Martha Frintzila, Natassa Xintaveloni
Takmičarski program – igrani film 29. Sarajevo Film Festivala nastavio se sinoć u 19:00 sati međunarodnom premijerom rumunskog filma SLOBODA Tudora Giurgiua u Narodnom pozorištu Sarajevo. Film je svjetsku premijeru imao na Međunarodnom filmskom festival Transilvanija. U haotičnim danima decembra 1989, tokom revolucije kojom je svrgnut komunistički režim, transilvanijski grad Sibiu postaje poprište brutalnog napada na jedinicu policije koji brzo prerasta u krvavi obračun između vojnika, policajaca, pobunjenih građana i predstavnika tajne policije. U očajničkom pokušaju da pobjegne iz okruženja policijskog kapetana Viorela privodi vojska i ubacuje u ispražnjeni bazen sa stotinama drugih ljudi optuženih da su teroristi. Režija: Tudor Giurgiu Uloge: Alex Calangiu, Cătălin Herlo, Ionuț Caras, Iulian Postelnicu, Alexandru Papadopol, Leonid Doni, Andi Vasluianu, Toma Cuzin, Mirela Oprișor
Međunarodna premijera filma Sloboda
International premiere of film Freedom
The Competition Programme – Feature Film of the 29th Sarajevo Film Festival continued last night at 19:00 with the international premiere of the Romanian film FREEDOM by Tudor Giurgiu in the Sarajevo National Theatre. Film had its world premiere on Transilvania International Film Festival. In the chaotic days of the December 1989 revolution that overthrew the Communist regime in Romania, the Transylvanian city of Sibiu becomes the scene of a violent assault on a police unit that quickly escalates into a bloody confrontation between soldiers, policemen, civilian protesters, and representatives of the secret police. In a desperate attempt to escape the siege, police captain Viorel is captured by the army and thrown into an empty swimming pool along with hundreds of prisoners accused of terrorism. Director: Tudor Giurgiu Cast: Alex Calangiu, Cătălin Herlo, Ionuț Caras, Iulian Postelnicu, Alexandru Papadopol, Leonid Doni, Andi Vasluianu, Toma Cuzin, Mirela Oprișor
U sjećanje na žrtve zločina u Gradačcu
Povodom zločina u Gradačcu, Sarajevo Film Festival organizira javni razgovor na kojem će o umjetničkim i medijskim reprezentacijama nasilja nad ženama govoriti filmski stvaraoci koji su se tom temom bavili u vlastitom radu i kroz društveni angažman. Regionalne autorice i autori, glumice i glumci su motiv femicida tretirali kroz različite rediteljske rukopise, i iz različitih pobuda, no njegova istrajnost je neupitna. Filmovi koji se bave temom nasilja nad ženama i femicida kao njegovog najekstremnijeg oblika postavljaju pitanje lične i društvene odgovornosti koju umjetničko i medijsko djelovanje nosi. Složeni društveni imaginarij iziskuje sistematsku analizu, posebno u svjetlu stvarnih ubistava žena i ostalih vidova rodno utemeljenog nasilja kojemu smo svjedoci u današnjem društvu. Na panelu “Femicid u filmu, televiziji i novim medijima” govorit će rediteljice Aida Begić, Vanja Juranić, Kumjana Novakova, reditelj Ademir Kenović i glumica Nadine Mičić, a razgovor će moderirati Nebojša Jovanović. Panel će se održati 16. augusta na Festivalskom trgu, s početkom u 10:30 sati. Još u subotu, potresena tragičnim događajima u Gradačcu, rediteljica Vanja Juranić je posvetila festivalsku projekciju filma „Samo kad se smijem“ žrtvama u Gradačcu. „Ovaj je film univerzalna priča o ženi koja je zarobljena u patrijarhalnoj sredini. Iako je žrtva, ona je aktivna i pokušava promijeniti situaciju kao što se desilo u stvarnosti u Gradačcu i zato ovu projekciju želimo posvetiti žrtvama ove velike tragedije“, rekla je Juranić na projekciji. Za sve one koji su projekciju propustili, film ima i reprizne projekcije na Sarajevo Film Festivalu. Uz već spomenuti film, u programu ovogodišnjeg Sarajevo Film Festivala su i brojni drugi filmovi koji se bave temom nasilja nad ženama i femicidom. Tako se ovim temama u Takmičarskom programu – igrani film bavi film „Životinja“ Sofije Exarchou, u Takmičarskom programu – dokumentarni film, dva se filma bave ovim temama: „Dan, 365 sati“ Eylem Kaftan i „Šutnja razuma“ Kumjane Novakove. U Takmičarskom programu – kratki film ovim se temama bavi film „Između rubova dana“, u Takmičarskom programu – studentski film to su filmovi „Dok mirno ležim“ Yane Eresine i „Želim skršiti staklenik“ Teone Galgotiu. U programu „U fokusu“ to su filmovi „Blagin nauk“ Stephana Komandareva, „Da li ste vidjeli ovu ženu?“ Dušana Zorića i Matije Gluščevića, „Samo kad se smijem“ Vanje Juranić iz programa Open Air, „Sweet Dreams“ iz programa Mreže festivala Jadranske regije. U programu BH Filma ovim se temama bave filmovi „Crvene bermude“ Saše Peševskog, „Toliko vode blizu kuće“ Ilije Puljića, „Očevina“ Stefana Tomića, „Sarajevo Overdrive“ Adnana Hrustemovića i „Love You Forever“ Ismara Vejzovića. Ovim putem obavještavamo našu publiku i goste Festivala, da će se u srijedu, 16. augusta, na Dan žalosti, Festival okrenuti isključivo ključnim aktivnostima – filmskim projekcijama, radionicama, predavanjima i prezentacijama. U znak poštovanja prema žrtvama, društvenih događanja u organizaciji Sarajevo Film Festivala neće biti, uključujući izostanak prijenosa Crvenog tepiha kao i prolazak gostiju bez ceremonijalnih najava, izjava i fotografisanja. Danas, 14. augusta, na Dan žalosti u Tuzlanskom kantonu, projekcija filma u sklopu Sarajevo Film Festivala u Tuzli, u Bingo Ljetnom kinu Tuzla, neće biti održana. Solidarnost sa svim žrtvama nasilja nad ženama! On account of the crime in Gradačac, the Sarajevo Film Festival is organizing a public discussion where filmmakers who have dealt with the topic of violence against women in their work and through their social engagement will discuss artistic and media representations of such violence. Regional authors, actors, and actresses have approached the theme of femicide through various directorial methods and motivations, but its persistence is undeniable. Films that address the issue of violence against women, and femicide as its most extreme form, raise questions about the personal and social responsibility carried by artistic and media actions. Their complex societal imagery demands systematic analysis, especially in light of the real murders of women and other forms of gender-based violence witnessed in today's society. The panel "Femicide in Film, Television, and New Media" will feature directors Aida Begić, Vanja Juranić, Kumjana Novakova, director Ademir Kenović, and actress Nadine Mičić, moderated by Nebojša Jovanović. The panel will take place on August 16th at Festival Square, starting at 10:30 AM. Still moved by the tragic events in Gradačac, director Vanja Juranić dedicated the festival screening of her film "Only When I Laugh" to the victims in Gradačac. "This film is a universal story about a woman trapped in a patriarchal environment. Despite being a victim, she is active and tries to change the situation, as happened in reality in Gradačac, and that's why we want to dedicate this screening to the victims of this great tragedy," Juranić said at the screening. For those who missed the screening, the film will have additional showings at the Sarajevo Film Festival. In addition to the aforementioned film, this year's Sarajevo Film Festival programme includes numerous other films that deal with the topic of violence against women and femicide. In the Competitive Programme – Fiction Film, Sofia Exarchou's film "Animal" addresses these themes. In the Competitive Programme – Documentary Film, two films tackle these themes: "Day, 365 Hours" by Eylem Kaftan and "Silence of Reason" by Kumjana Novakova. In the Competitive Programme – Short Film, the film "Between the Edges of the Day" explores these issues. In the Competitive Programme – Student Film, the films "While I Lay Still" by Yana Eresina and "I Want to Shatter the Greenhouse" by Teona Galgotiu touch on these themes. In the "Focus" programme, films such as "The Lesson" by Stephan Komandarev, "Have You Seen This Woman?" by Dušan Zorić and Matija Gluščević, "Only When I Laugh" by Vanja Juranić from the Open Air programme, and "Sweet Dreams" from the Network of Festivals of the Adriatic Region programme, deal with these topics. In the BH Film programme, films like "Red Bermuda Shorts" by Saša Peševski, "So Much Water So Close to Home" by Ilija Puljić, "Fatherland" by Stefan Tomić, "Sarajevo Overdrive" by Adnan Hrustemović, and "Love You Forever" by Ismar Vejzović address these themes. We hereby inform our viewers and Festival guests that on Wednesday, August 16th, on the Day of Mourning, the Festival will focus exclusively on key activities – film screenings, workshops, lectures, and presentations. In respect for the victims, there will be no social events organized by the Sarajevo Film Festival on that day, including the absence of Red Carpet coverage and the passing of guests without ceremonial announcements, statements, or photography. Today, on August 14th, the Day of Mourning in the Tuzla Canton, the scheduled screening of the Sarajevo Film Festival in Tuzla at the Bingo Summer Cinema Tuzla will not take place. Solidarity with all victims of violence against women!
On account of the crime in Gradačac, the Sarajevo Film Festival is organizing a public discussion where filmmakers who have dealt with the topic of violence against women in their work and through their social engagement will discuss artistic and media representations of such violence. Regional authors, actors, and actresses have approached the theme of femicide through various directorial methods and motivations, but its persistence is undeniable. Films that address the issue of violence against women, and femicide as its most extreme form, raise questions about the personal and social responsibility carried by artistic and media actions. Their complex societal imagery demands systematic analysis, especially in light of the real murders of women and other forms of gender-based violence witnessed in today's society. The panel "Femicide in Film, Television, and New Media" will feature directors Aida Begić, Vanja Juranić, Kumjana Novakova, director Ademir Kenović, and actress Nadine Mičić, moderated by Nebojša Jovanović. The panel will take place on August 16th at Festival Square, starting at 10:30 AM. Still moved by the tragic events in Gradačac, director Vanja Juranić dedicated the festival screening of her film "Only When I Laugh" to the victims in Gradačac. "This film is a universal story about a woman trapped in a patriarchal environment. Despite being a victim, she is active and tries to change the situation, as happened in reality in Gradačac, and that's why we want to dedicate this screening to the victims of this great tragedy," Juranić said at the screening. For those who missed the screening, the film will have additional showings at the Sarajevo Film Festival. In addition to the aforementioned film, this year's Sarajevo Film Festival programme includes numerous other films that deal with the topic of violence against women and femicide. In the Competitive Programme – Fiction Film, Sofia Exarchou's film "Animal" addresses these themes. In the Competitive Programme – Documentary Film, two films tackle these themes: "Day, 365 Hours" by Eylem Kaftan and "Silence of Reason" by Kumjana Novakova. In the Competitive Programme – Short Film, the film "Between the Edges of the Day" explores these issues. In the Competitive Programme – Student Film, the films "While I Lay Still" by Yana Eresina and "I Want to Shatter the Greenhouse" by Teona Galgotiu touch on these themes. In the "Focus" programme, films such as "The Lesson" by Stephan Komandarev, "Have You Seen This Woman?" by Dušan Zorić and Matija Gluščević, "Only When I Laugh" by Vanja Juranić from the Open Air programme, and "Sweet Dreams" from the Network of Festivals of the Adriatic Region programme, deal with these topics. In the BH Film programme, films like "Red Bermuda Shorts" by Saša Peševski, "So Much Water So Close to Home" by Ilija Puljić, "Fatherland" by Stefan Tomić, "Sarajevo Overdrive" by Adnan Hrustemović, and "Love You Forever" by Ismar Vejzović address these themes. We hereby inform our viewers and Festival guests that on Wednesday, August 16th, on the Day of Mourning, the Festival will focus exclusively on key activities – film screenings, workshops, lectures, and presentations. In respect for the victims, there will be no social events organized by the Sarajevo Film Festival on that day, including the absence of Red Carpet coverage and the passing of guests without ceremonial announcements, statements, or photography. Today, on August 14th, the Day of Mourning in the Tuzla Canton, the scheduled screening of the Sarajevo Film Festival in Tuzla at the Bingo Summer Cinema Tuzla will not take place. Solidarity with all victims of violence against women! On account of the crime in Gradačac, the Sarajevo Film Festival is organizing a public discussion where filmmakers who have dealt with the topic of violence against women in their work and through their social engagement will discuss artistic and media representations of such violence. Regional authors, actors, and actresses have approached the theme of femicide through various directorial methods and motivations, but its persistence is undeniable. Films that address the issue of violence against women, and femicide as its most extreme form, raise questions about the personal and social responsibility carried by artistic and media actions. Their complex societal imagery demands systematic analysis, especially in light of the real murders of women and other forms of gender-based violence witnessed in today's society. The panel "Femicide in Film, Television, and New Media" will feature directors Aida Begić, Vanja Juranić, Kumjana Novakova, director Ademir Kenović, and actress Nadine Mičić, moderated by Nebojša Jovanović. The panel will take place on August 16th at Festival Square, starting at 10:30 AM. Still moved by the tragic events in Gradačac, director Vanja Juranić dedicated the festival screening of her film "Only When I Laugh" to the victims in Gradačac. "This film is a universal story about a woman trapped in a patriarchal environment. Despite being a victim, she is active and tries to change the situation, as happened in reality in Gradačac, and that's why we want to dedicate this screening to the victims of this great tragedy," Juranić said at the screening. For those who missed the screening, the film will have additional showings at the Sarajevo Film Festival. In addition to the aforementioned film, this year's Sarajevo Film Festival programme includes numerous other films that deal with the topic of violence against women and femicide. In the Competitive Programme – Fiction Film, Sofia Exarchou's film "Animal" addresses these themes. In the Competitive Programme – Documentary Film, two films tackle these themes: "Day, 365 Hours" by Eylem Kaftan and "Silence of Reason" by Kumjana Novakova. In the Competitive Programme – Short Film, the film "Between the Edges of the Day" explores these issues. In the Competitive Programme – Student Film, the films "While I Lay Still" by Yana Eresina and "I Want to Shatter the Greenhouse" by Teona Galgotiu touch on these themes. In the "Focus" programme, films such as "The Lesson" by Stephan Komandarev, "Have You Seen This Woman?" by Dušan Zorić and Matija Gluščević, "Only When I Laugh" by Vanja Juranić from the Open Air programme, and "Sweet Dreams" from the Network of Festivals of the Adriatic Region programme, deal with these topics. In the BH Film programme, films like "Red Bermuda Shorts" by Saša Peševski, "So Much Water So Close to Home" by Ilija Puljić, "Fatherland" by Stefan Tomić, "Sarajevo Overdrive" by Adnan Hrustemović, and "Love You Forever" by Ismar Vejzović address these themes. We hereby inform our viewers and Festival guests that on Wednesday, August 16th, on the Day of Mourning, the Festival will focus exclusively on key activities – film screenings, workshops, lectures, and presentations. In respect for the victims, there will be no social events organized by the Sarajevo Film Festival on that day, including the absence of Red Carpet coverage and the passing of guests without ceremonial announcements, statements, or photography. Today, on August 14th, the Day of Mourning in the Tuzla Canton, the scheduled screening of the Sarajevo Film Festival in Tuzla at the Bingo Summer Cinema Tuzla will not take place. Solidarity with all victims of violence against women!
In memory of the victims of the crime in Gradačac
Održan 15. Dan ljudskih prava
U okviru programa prikazan je dokumentarni film SNAJKA: DNEVNIK IŠČEKIVANJA Tee Vidović Dalipi, koji je poslužio kao osnova za panel-diskusiju na temu „Navigating expectations: The Road to Understanding Discrimination and Cultural Differences“, koju je moderirao novinar i reditelj Robert Zuber. Na početku panela iz New Yorka se obratio Volker Türk, visoki komesar za ljudska prava Ujedinjenih nacija. “Veoma cijenim što je Sarajevo Film Festival uključio program ljudskih prava. Film ima moćan potencijal da prenese poruke ljudskih prava kroz prikazivanje realnosti i života drugih ljudi sa kojim se možemo poistovijetiti. Podsticanjem empatije, film doprinosi razvoju svijesti i boljem razmijevanju ljudskih potreba i prava”, rekao je Türk. Na panel-diskusiji, pored rediteljice Tee Vidović Dalipi, govorili su i Mirsad Dalipi, jedan od aktera filma, Jan Waltmans, ambasador Kraljevine Nizozemske u Bosni i Hercegovini, Ingrid Macdonald, koordinatorica UN-a u Bosni i Hercegovini i Margje de Koning, direktorica Filmskog festivala Movies that Matter. Učesnici razgovora istakli su važnost borbe za ljudska prava na Balkanu, naglašavajući nemjerljiv značaj koji filmska umjetnost ima u kreiranju bolje budućnosti. “Čak i u zemljama koje su daleko bolje pozicionirane na Human Rights Index listi, kao što je Nizozemska, i dalje postoji puno prostora za napredak. Zato je važno da svuda, a posebno u Bosni i Hercegovini i zemljama regiona, postoji prostor za diskusiju na ove teme, gdje će ljudi otvoreno govoriti o problemima sa kojima se suočavaju, a novinari mogu slobodno da izvještavaju o tome. Zato su potrebne kontinuirane investicije u kulturu i film, koje bi omogućile takve razgovore“, rekao je Jan Walmans. Margje de Koning je govorila o Filmskom festivalu Movies that Matter, koji u fokus stavlja dokumentarne filmove o ljudskim pravima: “Potrebno je da filmovi poput filma SNAJKA: DNEVNIK IŠČEKIVANJA dobiju upravo ovakve panel-diskusije. To su filmovi koji mogu da donesu promjene. Ukoliko se uključe u edukativne programe, čak i da se mladi ne poistovjećuju sa pričama, oni će biti dirnuti njima, a to može donijeti značajne promjene u društvu, bilo da se radi o ljudskim pravima ili drugim podjednako relevantnim temama“. “Ljudska prava su nešto što stoji u osnovi onoga za šta se zalažemo, i naš zadatak je da spriječimo situacije u kojima bi ona bila ugrožena, kao što se to desilo prošlog petka. Tea je ovim filmom uradila važan posao na intimnom nivou, a sada je red na mene da odradim svoj posao i podstaknem sistemske promjene“, rekla je Ingrid Macdonald. Rediteljica Tea Vidović Dalipi na kraju panel-diskusije je istakla da je filmom željela da pruži snagu djevojčicama da kažu „ne“, ali i svojoj kćerki Fridi, u trenutku kada počne da ispituje sopstveni identitet. U okviru programa prikazan je dokumentarni film SNAJKA: DNEVNIK IŠČEKIVANJA Tee Vidović Dalipi, koji je poslužio kao osnova za panel-diskusiju na temu „Navigating expectations: The Road to Understanding Discrimination and Cultural Differences“, koju je moderirao novinar i reditelj Robert Zuber. Na početku panela iz New Yorka se obratio Volker Türk, visoki komesar za ljudska prava Ujedinjenih nacija. “Veoma cijenim što je Sarajevo Film Festival uključio program ljudskih prava. Film ima moćan potencijal da prenese poruke ljudskih prava kroz prikazivanje realnosti i života drugih ljudi sa kojim se možemo poistovijetiti. Podsticanjem empatije, film doprinosi razvoju svijesti i boljem razmijevanju ljudskih potreba i prava”, rekao je Türk. Na panel-diskusiji, pored rediteljice Tee Vidović Dalipi, govorili su i Mirsad Dalipi, jedan od aktera filma, Jan Waltmans, ambasador Kraljevine Nizozemske u Bosni i Hercegovini, Ingrid Macdonald, koordinatorica UN-a u Bosni i Hercegovini i Margje de Koning, direktorica Filmskog festivala Movies that Matter. Učesnici razgovora istakli su važnost borbe za ljudska prava na Balkanu, naglašavajući nemjerljiv značaj koji filmska umjetnost ima u kreiranju bolje budućnosti. “Čak i u zemljama koje su daleko bolje pozicionirane na Human Rights Index listi, kao što je Nizozemska, i dalje postoji puno prostora za napredak. Zato je važno da svuda, a posebno u Bosni i Hercegovini i zemljama regiona, postoji prostor za diskusiju na ove teme, gdje će ljudi otvoreno govoriti o problemima sa kojima se suočavaju, a novinari mogu slobodno da izvještavaju o tome. Zato su potrebne kontinuirane investicije u kulturu i film, koje bi omogućile takve razgovore“, rekao je Jan Walmans. Margje de Koning je govorila o Filmskom festivalu Movies that Matter, koji u fokus stavlja dokumentarne filmove o ljudskim pravima: “Potrebno je da filmovi poput filma SNAJKA: DNEVNIK IŠČEKIVANJA dobiju upravo ovakve panel-diskusije. To su filmovi koji mogu da donesu promjene. Ukoliko se uključe u edukativne programe, čak i da se mladi ne poistovjećuju sa pričama, oni će biti dirnuti njima, a to može donijeti značajne promjene u društvu, bilo da se radi o ljudskim pravima ili drugim podjednako relevantnim temama“. “Ljudska prava su nešto što stoji u osnovi onoga za šta se zalažemo, i naš zadatak je da spriječimo situacije u kojima bi ona bila ugrožena, kao što se to desilo prošlog petka. Tea je ovim filmom uradila važan posao na intimnom nivou, a sada je red na mene da odradim svoj posao i podstaknem sistemske promjene“, rekla je Ingrid Macdonald. Rediteljica Tea Vidović Dalipi na kraju panel-diskusije je istakla da je filmom željela da pruži snagu djevojčicama da kažu „ne“, ali i svojoj kćerki Fridi, u trenutku kada počne da ispituje sopstveni identitet.
Pod pokroviteljstvom Kraljevine Nizozemske u sklopu programa 29. Sarajevo Film Festivala, u multipleksu Cineplexx Sarajevo održano je 15. izdanje Dana ljudskih prava.
Under the patronage of the Kingdom of the Netherlands, as part of the 29th Sarajevo Film Festival programme, the 15th edition of the Human Rights Day was held at the Cineplexx Sarajevo multiplex.
As part of the programme, the documentary film SNAJKA: DIARY OF EXPECTATION by Tea Vidović Dalipi was screened. This film served as the foundation for a panel discussion on the topic "Navigating Expecttions: The Road to Understanding Discrimination and Cultural Differences," moderated by journalist and director Robert Zuber. At the beginning of the panel, Volker Türk, the United Nations High Commissioner for Human Rights, addressed the audience from New York. "I greatly appreciate the Sarajevo Film Festival's inclusion of a human rights programme. Film has powerful potential to convey human rights messages by depicting the realities and lives of others with whom we can identify. By promoting empathy, film contributes to the development of awareness and better understanding of human needs and rights," Türk said. During the panel discussion, in addition to director Tea Vidović Dalipi, speakers included Mirsad Dalipi, one of the film's participants, Jan Waltmans, the Ambassador of the Kingdom of the Netherlands to Bosnia and Herzegovina, Ingrid Macdonald, the UN Coordinator in Bosnia and Herzegovina, and Margje de Koning, director of the Movies that Matter Film Festival. The participants of the conversation emphasized the importance of the fight for human rights in the Balkans, highlighting the immeasurable significance that the cinematic art holds in shaping a better future. "Even in countries that are much better positioned on the Human Rights Index list, like the Netherlands, there is still a lot of room for improvement. That's why it's important that everywhere, especially in Bosnia and Herzegovina and countries of the region, there's room for discussion on these topics, where people can openly talk about the issues they face, and journalists can freely report on them. That's why continuous investments in culture and film are needed to enable such conversations," Jan Walmans said. Margje de Koning spoke about the Movies that Matter Film Festival, which focuses on documentary films about human rights: "Films like SNAJKA: DIARY OF EXPECTATION need these kinds of panel discussions. These are films that can bring about change. If they are included in educational programmes, even if young people don't directly relate to the stories, they will be touched by them, which can in itself bring significant change to society, whether it's about human rights or other equally relevant topics." "Human rights are fundamental to what we stand for, and our task is to prevent situations in which they would be endangered, as happened last Friday. With this film, Tea has done an important job on an intimate level, and now it's up to me to do my job and incite systemic change," Ingrid Macdonald said. At the end of the panel discussion, director Tea Vidović Dalipi emphasized that, through the film, her goal was to empower girls to say "no“, including her own daughter Frida at the moment when she begins to explore her own identity. At the beginning of the panel, Volker Türk, the United Nations High Commissioner for Human Rights, addressed the audience from New York. "I greatly appreciate the Sarajevo Film Festival's inclusion of a human rights programme. Film has powerful potential to convey human rights messages by depicting the realities and lives of others with whom we can identify. By promoting empathy, film contributes to the development of awareness and better understanding of human needs and rights," Türk said. During the panel discussion, in addition to director Tea Vidović Dalipi, speakers included Mirsad Dalipi, one of the film's participants, Jan Waltmans, the Ambassador of the Kingdom of the Netherlands to Bosnia and Herzegovina, Ingrid Macdonald, the UN Coordinator in Bosnia and Herzegovina, and Margje de Koning, director of the Movies that Matter Film Festival. The participants of the conversation emphasized the importance of the fight for human rights in the Balkans, highlighting the immeasurable significance that the cinematic art holds in shaping a better future. "Even in countries that are much better positioned on the Human Rights Index list, like the Netherlands, there is still a lot of room for improvement. That's why it's important that everywhere, especially in Bosnia and Herzegovina and countries of the region, there's room for discussion on these topics, where people can openly talk about the issues they face, and journalists can freely report on them. That's why continuous investments in culture and film are needed to enable such conversations," Jan Walmans said. Margje de Koning spoke about the Movies that Matter Film Festival, which focuses on documentary films about human rights: "Films like SNAJKA: DIARY OF EXPECTATION need these kinds of panel discussions. These are films that can bring about change. If they are included in educational programmes, even if young people don't directly relate to the stories, they will be touched by them, which can in itself bring significant change to society, whether it's about human rights or other equally relevant topics." "Human rights are fundamental to what we stand for, and our task is to prevent situations in which they would be endangered, as happened last Friday. With this film, Tea has done an important job on an intimate level, and now it's up to me to do my job and incite systemic change," Ingrid Macdonald said. At the end of the panel discussion, director Tea Vidović Dalipi emphasized that, through the film, her goal was to empower girls to say "no“, including her own daughter Frida at the moment when she begins to explore her own identity.
15. Human Rights Day
Seksualno buđenje gruzijske kinematografije
Seksualno buđenje 48-godišnje djevice nije baš uobičajeno na velikom platnu. Što vas je privuklo ovoj priči? Osobitost Etero ne leži samo u njenom seksualnom buđenju, već i u njenoj kompleksnosti u tome kako percipira svijet oko sebe i kako se s njim nosi. U priči me inspirirala njezina osobnost, težnja ka slobodi i njezin intuitivni neposluh prema unaprijed određenoj ulozi žena u društvu. Ono što je kod nje važno i osnažujuće, je da naše društvo često funkcionira na pretpostavkama, a jedna od njih je da se ženska seksualnost smanjuje nakon određene dobi. Međutim, Etero, kao i svi drugi ljudi, zadržava vlastitu seksualnost, te je prihvaća, voli i uživa u njoj, unatoč tome što je društvo oko nje smatra “zastarjelom”. Taj aspekt priče je nevjerojatno moćan. Koliko je Tamta Melashvili, autorica romana “Kos kos kupina”, bila uključena u proces snimanja filma? Kada sam došla na ideju snimiti film prema romanu i o tome razgovarala s Tamtom, bilo je jasno da ona nema namjeru miješati se u proces nastanka filma. Tamta mi je rekla: “Završila sam sa svojom Etero; ona postoji na papiru. Ne mogu se petljati u tvoj svemir. Zato samo naprijed…" Izuzetno mi je važno bilo njezino povjerenje. Omogućilo mi je da film radim s vlastitom vizijom te pronađem svoj jedinstveni pogled na Etero i kako ispričati njezinu priču. Koji su vam bili najveći izazovi pri adaptaciji romana? Sam tekst je vrlo bogat i ispripovijedan u prvom licu. Predstavlja monolog koji putuje kroz različite vremenske tokove - prošlost, sadašnjost, djetinjstvo i snove, sve zamršeno i isprepleteno. U početku je najveći izazov bio odlučiti na koji se aspekt fokusirati: obitelj, susjede, prošla iskustva ili traume? Bilo je toliko mnogo elemenata koji su pridonijeli i oblikovali Eterinu osobnost. Izuzetno je teško bilo pažljivo izdvojiti ključne elemente iz romana i kasnije ih prožeti vlastitim naglascima, a da pritom ostanemo vjerni esenciji romana. Što ste vidjeli u Eke Chavleishvili da ste vjerovali kako bi ona bila savršena za tu ulogu? Eka je bila savršen slušatelj; jednako je kao i ja razumjela i dijelila otkucaje srca ove priče. Jednostavno, ona je morala glumiti u filmu, a odradila je fantastičan posao. Koliko vam je bio važan koordinator za intimnosti tijekom snimanja scena seksa? Ključno je priznati da intimne scene zahtijevaju drugačiji pristup u glumi. Ono što je naša intimna koordinatorica Liana Norton tijekom nekoliko dana radila s glumcima, bilo je čarobno i zanimljivo iskustvo, i njima i meni. Njezina tehnika omogućila je glumcima da drugačije gledaju na svoje pokrete. Sami proces rada s koordinatoricom intimnosti uključivao je pristajanje, međusobno upoznavanje tijela, osmišljavanje pokreta i razumijevanje razloga i namjera iza svakog pokreta u cijelom plesu (koji na kraju postaje ljubavna scena). Ovaj proces doveo je do dubokog poštovanja tuđega tijela i boljeg razumijevanja međusobnih osjećaja. Glumci su stekli više samopouzdanja i povjerenja jedni u druge, ali i u proces snimanja filma. Kao rezultat toga, tijekom tri mjeseca snimanja imali smo radno okruženje puno povjerenja. Bitno je prepoznati kako se ponašati i poštivati delikatne trenutke na setu jer su glumci u puno ranjivijoj situaciji nego ostatak ekipe iza kamere. Zašto mislite da je seksualnost tako blisko povezana sa ženskom slobodom? To je pitanje svačije slobode. Lako vam je pokazati stvarna tijela kakva jesu. Zašto to više šokira gledatelje od dotjeranih tijela kakva inače viđamo na ekranu? Nisam to snimila da bih ikoga šokirala; nisam ni pomišljala na to. Na kraju, nema ništa šokantno vidjeti tijela izvan konvencionalnih oblika i formi. Ako je netko šokiran, to je njegov problem, jer ako pogledate oko sebe, svi imamo tijela različitih oblika, boja… Svako tijelo ima pravo postojati. Više od desetljeća živite u Švicarskoj. Vjerujete li da vam pogled s distance pruža jasniju perspektivu o gruzijskom društvu? Ne vjerujem da vam puko premještanje s jednog mjesta na drugo, automatski daje jasniji pogled na drugo društvo. Sagledati jedno društvo je puno kompleksnije od jednostavnog dobivanja distance i gledanja iz različitih perspektiva. Ali da, život u Švicarskoj dao mi je drugačiji pogled na sebe i kulturu u kojoj sam odrasla. Koliko vam je lakše snimati filmove živeći u Švicarskoj? Da li biste u Gruziji imali manje mogućnosti? Nikada nije lako snimati filmove, bilo gdje… Međutim, značajna je razlika u trenutnom stanju gruzijske kinematografije. Filmski autori i filmovi, koji se s kritički bave stvarnim političkim i društvenim temama, suočeni su s cenzurom. Institucijom zaduženom za film upravljaju nekvalificirani i pristrani pojedinci. Gruzijska vlada aktivno radi na suzbijanju bilo kakvih kritičkih stajališta u različitim kulturnim sferama. Mnogi snažni i jedinstveni gruzijski filmaši ostali su bez prilike za snimanje filmova koji bi preispitali trenutnu političku i društvenu situaciju u Gruziji. Struktura filmske industrije se raspada, a taj kolaps potiče gruzijska vlada. Opasnost je vrlo stvarna. Gruzijska kinematografija uskoro bi mogla nestati s međunarodne karte te bi opstala samo unutar granica Gruzije. Bilo bi pogubno izgubiti mjesto u globalnom filmskom svijetu. Za usporedbu, rekla bih da je u mojoj drugoj domovini, Švicarskoj, razmjerno lakše snimati filmove. Josip Jurčić Seksualno buđenje 48-godišnje djevice nije baš uobičajeno na velikom platnu. Što vas je privuklo ovoj priči? Osobitost Etero ne leži samo u njenom seksualnom buđenju, već i u njenoj kompleksnosti u tome kako percipira svijet oko sebe i kako se s njim nosi. U priči me inspirirala njezina osobnost, težnja ka slobodi i njezin intuitivni neposluh prema unaprijed određenoj ulozi žena u društvu. Ono što je kod nje važno i osnažujuće, je da naše društvo često funkcionira na pretpostavkama, a jedna od njih je da se ženska seksualnost smanjuje nakon određene dobi. Međutim, Etero, kao i svi drugi ljudi, zadržava vlastitu seksualnost, te je prihvaća, voli i uživa u njoj, unatoč tome što je društvo oko nje smatra “zastarjelom”. Taj aspekt priče je nevjerojatno moćan. Koliko je Tamta Melashvili, autorica romana “Kos kos kupina”, bila uključena u proces snimanja filma? Kada sam došla na ideju snimiti film prema romanu i o tome razgovarala s Tamtom, bilo je jasno da ona nema namjeru miješati se u proces nastanka filma. Tamta mi je rekla: “Završila sam sa svojom Etero; ona postoji na papiru. Ne mogu se petljati u tvoj svemir. Zato samo naprijed…" Izuzetno mi je važno bilo njezino povjerenje. Omogućilo mi je da film radim s vlastitom vizijom te pronađem svoj jedinstveni pogled na Etero i kako ispričati njezinu priču. Koji su vam bili najveći izazovi pri adaptaciji romana? Sam tekst je vrlo bogat i ispripovijedan u prvom licu. Predstavlja monolog koji putuje kroz različite vremenske tokove - prošlost, sadašnjost, djetinjstvo i snove, sve zamršeno i isprepleteno. U početku je najveći izazov bio odlučiti na koji se aspekt fokusirati: obitelj, susjede, prošla iskustva ili traume? Bilo je toliko mnogo elemenata koji su pridonijeli i oblikovali Eterinu osobnost. Izuzetno je teško bilo pažljivo izdvojiti ključne elemente iz romana i kasnije ih prožeti vlastitim naglascima, a da pritom ostanemo vjerni esenciji romana. Što ste vidjeli u Eke Chavleishvili da ste vjerovali kako bi ona bila savršena za tu ulogu? Eka je bila savršen slušatelj; jednako je kao i ja razumjela i dijelila otkucaje srca ove priče. Jednostavno, ona je morala glumiti u filmu, a odradila je fantastičan posao. Koliko vam je bio važan koordinator za intimnosti tijekom snimanja scena seksa? Ključno je priznati da intimne scene zahtijevaju drugačiji pristup u glumi. Ono što je naša intimna koordinatorica Liana Norton tijekom nekoliko dana radila s glumcima, bilo je čarobno i zanimljivo iskustvo, i njima i meni. Njezina tehnika omogućila je glumcima da drugačije gledaju na svoje pokrete. Sami proces rada s koordinatoricom intimnosti uključivao je pristajanje, međusobno upoznavanje tijela, osmišljavanje pokreta i razumijevanje razloga i namjera iza svakog pokreta u cijelom plesu (koji na kraju postaje ljubavna scena). Ovaj proces doveo je do dubokog poštovanja tuđega tijela i boljeg razumijevanja međusobnih osjećaja. Glumci su stekli više samopouzdanja i povjerenja jedni u druge, ali i u proces snimanja filma. Kao rezultat toga, tijekom tri mjeseca snimanja imali smo radno okruženje puno povjerenja. Bitno je prepoznati kako se ponašati i poštivati delikatne trenutke na setu jer su glumci u puno ranjivijoj situaciji nego ostatak ekipe iza kamere. Zašto mislite da je seksualnost tako blisko povezana sa ženskom slobodom? To je pitanje svačije slobode. Lako vam je pokazati stvarna tijela kakva jesu. Zašto to više šokira gledatelje od dotjeranih tijela kakva inače viđamo na ekranu? Nisam to snimila da bih ikoga šokirala; nisam ni pomišljala na to. Na kraju, nema ništa šokantno vidjeti tijela izvan konvencionalnih oblika i formi. Ako je netko šokiran, to je njegov problem, jer ako pogledate oko sebe, svi imamo tijela različitih oblika, boja… Svako tijelo ima pravo postojati. Više od desetljeća živite u Švicarskoj. Vjerujete li da vam pogled s distance pruža jasniju perspektivu o gruzijskom društvu? Ne vjerujem da vam puko premještanje s jednog mjesta na drugo, automatski daje jasniji pogled na drugo društvo. Sagledati jedno društvo je puno kompleksnije od jednostavnog dobivanja distance i gledanja iz različitih perspektiva. Ali da, život u Švicarskoj dao mi je drugačiji pogled na sebe i kulturu u kojoj sam odrasla. Koliko vam je lakše snimati filmove živeći u Švicarskoj? Da li biste u Gruziji imali manje mogućnosti? Nikada nije lako snimati filmove, bilo gdje… Međutim, značajna je razlika u trenutnom stanju gruzijske kinematografije. Filmski autori i filmovi, koji se s kritički bave stvarnim političkim i društvenim temama, suočeni su s cenzurom. Institucijom zaduženom za film upravljaju nekvalificirani i pristrani pojedinci. Gruzijska vlada aktivno radi na suzbijanju bilo kakvih kritičkih stajališta u različitim kulturnim sferama. Mnogi snažni i jedinstveni gruzijski filmaši ostali su bez prilike za snimanje filmova koji bi preispitali trenutnu političku i društvenu situaciju u Gruziji. Struktura filmske industrije se raspada, a taj kolaps potiče gruzijska vlada. Opasnost je vrlo stvarna. Gruzijska kinematografija uskoro bi mogla nestati s međunarodne karte te bi opstala samo unutar granica Gruzije. Bilo bi pogubno izgubiti mjesto u globalnom filmskom svijetu. Za usporedbu, rekla bih da je u mojoj drugoj domovini, Švicarskoj, razmjerno lakše snimati filmove. Josip Juričić
Što je ljubav? Što je sreća? Što je neovisnost? To su pitanja koja gruzijska redateljica Elene Naveriani istražuje u filmu "Kos kos kupina", priči o Etero, ženi koja živi u malom selu u Georgiji i nikad nije željela imati muža.
The sexual awakening of Georgian cinematography
The sexual awakening of a 48-year-old virgin isn’t something that we usually see on the big screen. What attracted you to this story? The peculiarity of Etero doesn't only lie in her sexual awakening but also in her complexity how she perceives the world around her and how she deals with it. What was inspiring to me is her personality, her aspiration towards freedom, and her intuitive disobedience about the predetermined role assigned to females in society. What is important and empowering in her story is that our society often operates on assumptions, one of which is that female sexuality diminishes after a certain age. However, Etero, like all other people, retains her own sexuality, and she embraces, loves, and enjoys it despite being considered “outdated” by the society around her. This aspect of the story is incredibly powerful. How much was Tamta Melashvili, the author of novel “Blackbird Blackbird Blackberry”, involved in the process of making the film? From the very first moment I had the idea to make a film based on the novel, and when I discussed it with Tamta, it was clear that she had no intention on interfering with the writing process. Tamta told me, “I have finished my Etero; she exists on the paper. I can't get involved in your universe. So go for it…" This trust was very precious to me. Having this freedom was essential as it allowed me to work on the project with my own vision and find my unique perspective on Etero and how to tell her story. What were the biggest challenges you encountered whilst adapting the novel? One of the biggest challenges was making choices. The text itself is very rich and narrated in the first person, presenting a monologue that travels through different timelines - past, present, childhood, and dreams, all intricately intertwined. Initially, the most significant challenge was deciding which aspect to focus on: the family, neighbours, past experiences, or traumas? There were so many elements contributing to and shaping Eater's character. It was a difficult process to carefully extract key elements from the text and later imbue our own accents and interpretations while remaining true to the essence of the original novel. What did you see in the leading actress Eka Chavleishvili that made you believe she would be perfect for the role? Eka was the perfect listener: she understood and shared the same heartbeat as I did. She had to star in the film, and she did a fantastic job. How important was it for you to use an intimacy coordinator during the shooting of sex scenes? It is crucial to acknowledge that intimate scenes require a different approach in acting. What our intimacy coordinator Liana Norton did with the actors over the few days was magical and provided a very interesting experience, both for them and for me. Her technique facilitated the actors to reconsider their movements. The process involved obtaining consent, becoming familiar with each other's bodies, designing movements, and understanding the reasons and intentions behind every movement in the entire dance (which eventually becomes the love scene). This process led to a profound respect for each other's bodies and a better understanding of each other's sensibilities. The actors gained more confidence and trust in each other and in the filmmaking process. As a result, we had a fully trustful working environment throughout the three months of filming. It is essential to recognize how to behave and respect the delicate moments on the set, as actors are in a much more vulnerable situation than the people behind the camera. Why do you think sexuality is so closely connected to women's freedom? It concerns everybody's freedom. You find it easy to show real bodies as they are. Why do you think that it shocks viewers more than the glamorized bodies that we usually see on the screen? It's not done to shock anybody; there was never a thought of it. In the end, there is nothing shocking about seeing bodies that are outside conventional shapes and forms. If someone is shocked, it's their own problem, because if you look around, we all have different bodies, shapes, colours, and standards. The ideals offered by the system only apply to very few people in society. Everybody has the legitimacy to exist. You have been living in Switzerland for more than a decade. Do you believe that this outsider view provides you with a clearer perspective on Georgian society? I don't believe that merely moving from one place to another automatically grants you a clearer view of society. Society is much more complex than simply gaining distance and looking at it from different perspectives. Living in Switzerland has given me a slightly different perspective on myself and the culture I grew up in and currently live in. Is it easier for you to make films by living in Switzerland? Do you think that in Georgia you would have less opportunities? It's never easy to make films, anywhere… However, there is a significant difference in the current state of Georgian cinema. Filmmakers and films that address actual political and social issues from a critical point of view face censorship. The institution is governed by individuals who are unqualified and exhibit bias. The government actively works to suppress any critical viewpoints in various cultural spheres. Many talented and unique Georgian filmmakers today find themselves with fewer opportunities to create films that challenge the interests of the Georgian government. In contrast, I would say that in my second home, Switzerland, it is comparatively easier to make films. Josip Jurčić
What is love? What is happiness? What is independence? These are the questions that Georgian director Elena Naveriani explores in the film "Blackbird Blackbird Blackberry", the story of Etero, a woman living in a small village in Georgia who has never wanted a husband.
Kada ste prvi put čuli za priču o Institutu Vinča? Kao i svi drugi, znao sam nešto o tome, ali ne i cijelu priču. Znao sam da se nešto dogodilo, da su neki ljudi ozračeni i da nakon toga u Vinči više nikada nije bilo sve isto. Detalje nisam znao jer se o njima nije govorilo. Tek kada sam prije sedam godina pročitao knjigu “Slučaj Vinča“ Gorana Milašinovića doznao sam što se doista dogodilo. Sve me to zaintrigiralo, pa sam sa scenaristom Vukom Ršumovićem počeo istraživati i razgovarati s ljudima koji su o Vinči znali puno više od mene. Jeste li uspjeli pričati sa svjedocima tih događaja? Od neposrednih sudionika događaja tada je još bio jživ samo Radojko Maksić, djelatnik iz Vinče kojemu su transplantirali koštanu srž u Parizu. Rado je pričao o svemu što se dogodilo u Parizu, ali o incidentu u Vinči – ne. O onome što se radilo u Vinči često smo nailazili na zid šutnje. Pogotovo kada smo razgovarali sa zaposlenicima Vinče. Malo otvoreniji su bili bivši djelatnici, bili su spremniji detaljnije razgovarati. Što vam je u tome bilo zanimljivije – eksperiment u Vinči ili medicinski postupak u Francuskoj? Najzanimljivija je kombinacija ta dva događaja. Kako se iz jedne katastrofe može roditi prekrasna stvar. Ili, kao što u predstavljanju filma znam reći: kako formula smrti prerasta u formulu života. Ima li danas ljudi koji bi nesebično riskirali svoj život da pomognu neznancima, kao što su tada to učinili Francuzi koji su pristali na transplantaciju koštane srži kako bi pomogli ozračenim Jugoslavenima? O tome se i radi film. Vjerojatno bi, ali vrlo teško. Mislim da je danas i zakonski nemoguće napraviti što su tada učinili – svjesno riskirali svoj život kako bi pomogli nepoznatima. Danas se rade marketinške akcije kako bi se kod ljudi probudila empatija, a nekada je to bilo sasvim normalno. Je li u pitanju bila bliskost rata, ipak se sve događa 1958. kada je sjećanje na II. svjetski rat bilo još vrlo svježe? Je li cijeli svijet bio drugačiji? Ne znam i teško mi je dati konkretan odgovor, ali svi znamo da danas to ne bi išlo tako lagano. Kakvu reakciju francuske publike očekujete? Francuska je već pokazala veliki interes. U razgovorima smo s francuskim distributerima i vjerujem da će francuski gledatelji moći pogledati film. Premijeru smo imali u Locarnu na središnjem gradskom trgu Piazza Grande, gdje su švicarski gledatelji odlično reagirali na film, dobili smo veliki aplauz. Od “Montevideo, Bog te video“ i “Senki nad Balkanom“ do “Tome“ i “Čuvara formule“, što vas vuče da kao redatelj inspiraciju uglavnom crpite iz povijesti ovih prostora? Tragam za pričama koje imaju romantičnu notu. Pričama koje otkrivaju ono nešto dobro u ljudima. U današnjem svijetu sve ih teže pronalazim. Jeste li perfekcionist koji u svim tim rekonstrukcijama povijesti pazi da svaki detalj doista odgovara razdoblju koje prikazujete ili vam je važnije samo uloviti duh vremena? Uvijek je najbitnije uhvatiti duh vremena, što ne znači da mi nije bitno biti povijesno točan. Naprotiv, izuzetno se trudim da sve bude bez pogreške, pa sam se zato i okružio najboljim mogućim suradnicima iz svih dijelova bivše Jugoslavije. Koliko vam u režiji pomaže golemo glumačko iskustvo? Pomaže, naravno. Pogotovo u radu s glumcima. Naravno da ih puno bolje razumijem od redatelja koji nikada nije glumio. A mislim da je važno i što - kad pripremamo scenu - uvijek stanem s glumcima ispred kamere i s njima prođem sve detalje. Gluma mi je ipak osnovni posao, s njom sam krenuo i uvijek ću glumiti, ali moram priznati da me danas ipak više veseli režija filmova. Josip Jurčić Kada ste prvi put čuli za priču o Institutu Vinča? Kao i svi drugi, znao sam nešto o tome, ali ne i cijelu priču. Znao sam da se nešto dogodilo, da su neki ljudi ozračeni i da nakon toga u Vinči više nikada nije bilo sve isto. Detalje nisam znao jer se o njima nije govorilo. Tek kada sam prije sedam godina pročitao knjigu “Slučaj Vinča“ Gorana Milašinovića doznao sam što se doista dogodilo. Sve me to zaintrigiralo, pa sam sa scenaristom Vukom Ršumovićem počeo istraživati i razgovarati s ljudima koji su o Vinči znali puno više od mene. Jeste li uspjeli pričati sa svjedocima tih događaja? Od neposrednih sudionika događaja tada je još bio jživ samo Radojko Maksić, djelatnik iz Vinče kojemu su transplantirali koštanu srž u Parizu. Rado je pričao o svemu što se dogodilo u Parizu, ali o incidentu u Vinči – ne. O onome što se radilo u Vinči često smo nailazili na zid šutnje. Pogotovo kada smo razgovarali sa zaposlenicima Vinče. Malo otvoreniji su bili bivši djelatnici, bili su spremniji detaljnije razgovarati. Što vam je u tome bilo zanimljivije – eksperiment u Vinči ili medicinski postupak u Francuskoj? Najzanimljivija je kombinacija ta dva događaja. Kako se iz jedne katastrofe može roditi prekrasna stvar. Ili, kao što u predstavljanju filma znam reći: kako formula smrti prerasta u formulu života. Ima li danas ljudi koji bi nesebično riskirali svoj život da pomognu neznancima, kao što su tada to učinili Francuzi koji su pristali na transplantaciju koštane srži kako bi pomogli ozračenim Jugoslavenima? O tome se i radi film. Vjerojatno bi, ali vrlo teško. Mislim da je danas i zakonski nemoguće napraviti što su tada učinili – svjesno riskirali svoj život kako bi pomogli nepoznatima. Danas se rade marketinške akcije kako bi se kod ljudi probudila empatija, a nekada je to bilo sasvim normalno. Je li u pitanju bila bliskost rata, ipak se sve događa 1958. kada je sjećanje na II. svjetski rat bilo još vrlo svježe? Je li cijeli svijet bio drugačiji? Ne znam i teško mi je dati konkretan odgovor, ali svi znamo da danas to ne bi išlo tako lagano. Kakvu reakciju francuske publike očekujete? Francuska je već pokazala veliki interes. U razgovorima smo s francuskim distributerima i vjerujem da će francuski gledatelji moći pogledati film. Premijeru smo imali u Locarnu na središnjem gradskom trgu Piazza Grande, gdje su švicarski gledatelji odlično reagirali na film, dobili smo veliki aplauz. Od “Montevideo, Bog te video“ i “Senki nad Balkanom“ do “Tome“ i “Čuvara formule“, što vas vuče da kao redatelj inspiraciju uglavnom crpite iz povijesti ovih prostora? Tragam za pričama koje imaju romantičnu notu. Pričama koje otkrivaju ono nešto dobro u ljudima. U današnjem svijetu sve ih teže pronalazim. Jeste li perfekcionist koji u svim tim rekonstrukcijama povijesti pazi da svaki detalj doista odgovara razdoblju koje prikazujete ili vam je važnije samo uloviti duh vremena? Uvijek je najbitnije uhvatiti duh vremena, što ne znači da mi nije bitno biti povijesno točan. Naprotiv, izuzetno se trudim da sve bude bez pogreške, pa sam se zato i okružio najboljim mogućim suradnicima iz svih dijelova bivše Jugoslavije. Koliko vam u režiji pomaže golemo glumačko iskustvo? Pomaže, naravno. Pogotovo u radu s glumcima. Naravno da ih puno bolje razumijem od redatelja koji nikada nije glumio. A mislim da je važno i što - kad pripremamo scenu - uvijek stanem s glumcima ispred kamere i s njima prođem sve detalje. Gluma mi je ipak osnovni posao, s njom sam krenuo i uvijek ću glumiti, ali moram priznati da me danas ipak više veseli režija filmova. Josip Jurčić
Kako je formula smrti prerasla u formulu života
Regionalni hitmejker, redatelj i glumac Dragan Bjelogrlić, u novom filmu “Čuvari formule“, otkriva detalje priče o kojoj se u Jugoslaviji samo šaputalo – nuklearnom incidentu u Institutu Vinča, koji je doveo do pobjede ljudskosti u Parizu.
When did you first hear about the story of the Vinča Institute? Like everyone else, I knew something about it, but not the whole story. I knew that something had happened, that some people had been irradiated and that everything was never the same in Vinča after that. I did not know the details because the details were not discussed. It was only when I read Goran Milašinović's book "The Case of Vinča" seven years ago that I found out what really happened. All this intrigued me, so together with screenwriter Vuk Ršumović, I started researching and talking to people who knew much more about Vinča than I did. Were you able to talk to the witnesses of those events? Of the immediate participants of the event, only Radojko Maksić, an employee from Vinča who received a bone marrow transplant in Paris, was still alive. He was happy to talk about everything that happened in Paris, but not about the incident in Vinča itself. We encountered a wall of silence more often about events in Vinča. Especially when we talked to Vinča employees. Former employees were a little more open and willing to talk about what happened. What was more interesting to you – the experiment in Vinča or the medical procedure in France? The most interesting is the combination of those two events. How a beautiful thing can be born from a disaster. Or, as I usually say in the presentation of the film, how the formula of death grows into the formula of life. Could you find people who would today, selflessly, risk their lives to help strangers, as the French did back then when they agreed to a bone marrow transplant to help the irradiated Yugoslavs? That's what the film is about. You probably would find them, but with great difficulty. I think that today it is legally impossible to do what they did back then - knowingly risking their lives to help strangers. Today, marketing campaigns are carried out in order to awaken empathy in people, and in the past, this was quite normal. Was it the closeness of the war, everything happened in 1958, when the memory of World War II was still very fresh? Was the whole world different? I don't know and it's hard for me to give a concrete answer, but we all know that today it wouldn't be so easy to find that kind of people. How do you think the French audience will react? France has already shown great interest. We are in talks with French distributors, and I believe that French audience will be able to see the film. We had a premiere in Locarno on the city's central square, Piazza Grande, where the Swiss audience, that has a similar taste as French, responded to the film with great applause and interest. From "Montevideo: Taste of a Dream" and "Black Sun" to "Toma" and "The Keeper of the Formula", what forces you to draw inspiration as a director mainly from the history of these areas? I'm looking for stories that have a romantic touch. Stories that reveal the good in people. In today's world, it’s more and more difficult to find them. Are you a perfectionist who, in all these reconstructions of history, makes sure that every detail really corresponds to the period you are portraying, or is it more important for you to capture the spirit of the time? It is always most important to capture the spirit of the times, which does not mean that it is not important for me to be historically accurate. On the contrary, I try extremely hard to make sure everything is error-free, which is why I surrounded myself with the best possible collaborators from all parts of former Yugoslavia. How much does your vast acting experience help you in directing? It helps, of course. Especially when working with actors. Of course, I understand them much better than a director who has never acted. And I think it's also important that, when we prepare the scene, I always stand with the actors in front of the camera and go over all the details with them. Acting is still my main job, I started with it, and I will always be in it, but I have to admit that today directing gives me more satisfaction. Josip Jurčić
Regional hitmaker, director and actor Dragan Bjelogrlić, in his new film "Guardians of the Formula", reveals the details of a story that was only whispered about in Yugoslavia - the nuclear incident at the Vinča Institute, which led to the victory of humanity in Paris.
How the formula of death turned into the formula of life
INTERVJU
Otkrijte izvanredan put Kumjane Novakove, rediteljice čija nepokolebljiva posvećenost rasvjetljavanju ratnih zločina počinjenih na tlu Bosne i Hercegovine izaziva divljenje i poštovanje. Njeni filmovi zadiru u teška i opterećujuća pitanja, tjerajući nas da se suočimo sa surovim realnostima prošlosti. Ali, kako se ona nosi s emocijama koje izaziva istraživanje i izvođenje ovih dubokih projekata?
Vaš predani rad na osvjetljavanju ratnih zločina počinjenih na tlu Bosne i Hercegovine izaziva divljenje i poštovanje. Pitanja kojima se bave Vaši filmovi bremenita su i opterećuju. Kako se nosite sa emocijama koje bude istraživanja i realizacije Vaših projekata? Želim zamisliti da je svaki film prilika da se borimo protiv apsurda našeg vremena, sustava, svijeta čiji smo dio. Neka su područja i prostori potlačeniji od drugih, i sve mi je jasnije da smo mi koji dolazimo s takvih prostora zapravo ti koji imamo potencijal: opstanak je upisan u naša kolektivna iskustva. Nosimo sjećanje na transformaciju i prilagodbu i nosimo iskustvo solidarnosti. Proživjeli smo različita vremena u kojima je zajednička težnja bila potpuno suprotna praznom konceptu. Do te sam spoznaje došla nakon mnogo godina rada unutar spolja nametnutih bijelih hijerarhijskih diskursa “civiliziranih” protiv “nerazvijenih”. Ova spoznaja i oslobađanje od te paradigme stoje u srži mojih filmova i rada općenito: možemo ponovo zauzeti svoje mjesto i dijeliti znanje preživjelih. Snimanje filmova s ove pozicije omogućuje mi da radim protiv ideje naše prošlosti kao hijerarhijske linearne priče o žrtvama i tlačiteljima. Dakle, nalazim sve više i više snage i smisla u mogućnosti stvaranja novih subjektivnosti koje proizlaze iz znanja i moći koje možemo darivati svijetu u filmovima i kroz filmove. Posebno plijeni faktografski dio Vašeg filma, svjedodžbe preživjelih koje ne ostavljaju mjesta pitanju da li je sistematsko silovanje zločin protiv čovječnosti ili ne. U čemu su sličnosti a u čemu razlike između ovog filma i filma „Uznemirena zemlja“ („Disturbed Earth“) koji smo gledali prije dvije godine i čija ste ko-autorica? U principu, oba filma izrastaju iz istog geografskog i političkog prostora i, nadam se, doprinose stvaranju promišljanja i znanja koja se nadopunjuju, kao i filmskih ideja i jezika. U smislu subjektivnosti na kojima se temelje ova dva filma nema velike razlike: oni su najbliže što mogu biti preživjelima, što znači da otvaraju ideju Bosne i Hercegovine i Jugoslavije kao prostora gdje postoji sposobnost preživljavanja. S druge strane, filmski mi je „Šutnja razuma“ bila izazov na drugačiji način: dobila sam umjetnički grant od BIRN-a (Balkan Investigative Reporting Network / Balkanska istraživačka mreža, op. M.D.) za rad na kratkom umjetničkom video-projektu o kojem sam razmišljala i razvijala nekoliko godina – pokušavala sam djelovati protiv patrijarhata i promatrati silovanje i seksualno nasilje na našim prostorima. Kako se istraživački proces više fokusirao, naišla sam na detaljno svjedočanstvo jedne žene u predmetu ICTY (Međunarodnog krivičnog suda za bivšu Jugoslaviju, op. M.D.) Kunarac i drugi. Odjednom sam se suočila sa velikom forenzičkom arhivom organiziranom čisto pravnom i birokratskom logikom i pitanje je postalo vrlo precizno: kako pomoću filmskih sredstava aktivirati forenzičku arhivu najgorih zločina silovanja tako da možemo uspostaviti vlastito kolektivno sjećanje na preživljeno silovanje i svjedočenje protiv njega. U tom smislu, „Šutnja razuma“ je rad koji se nadovezuje na forenzičke feminističke metodologije u snimanju filmova i koristi pomalo rigorozne odluke koje na filmu nikada nisu lake i jednostavne. Čini mi se kao da je to moj osobni korak dalje, što bi bilo nemoguće napraviti da prije nisam radila i učila kroz „Uznemirenu zemlju“… Način na koji je film montiran veoma je dojmljiv. Koliko precizno ste od montažerke Jelene Maksimović tražili kako da montira film, a koliko je montaža stvar njene kreativnosti? I kakvu su ulogu imali konsultanti u montaži, Diane Toucedo i Christophe Postic? S Jelenom Maksimović radimo već sedam godina, a ovo je treći film na kojem zajedno radimo. Naša suradnja temelji se na prijateljstvu i ljubavi što podrazumijeva stalnu međusobnu podršku i razmjenu ideja uključujući međusobno povjerenje za testiranje radikalnih mogućnosti u montaži i filmu općenito. Obje volimo riskirati pa potičemo jedna drugu da idemo dalje nego što mislimo da možemo same. Ni sama ne znam gdje moje ili njene ideje počinju, a nastavljaju se ideje one druge… Po meni, Jelenino iskustvo na filmu dolazi iz srži onoga što montaža jeste: kroz film kao jezik uvijek možemo predložiti, komunicirati i aktivirati nove relacije među idejama i konceptima. Zacijelo je rad na temama i prostorima poput onih na kojima obje često radimo - teškim, višeslojnim, skrivenim “ispod tepiha” – usamljen i riskantan. Zbog toga obje inzistiramo na tome da rad u montaži bude zabavan: igramo se mogućnostima i igramo se jedna s drugom. Trudimo se da nijednu svoju ideju ne shvatimo preozbiljno, tako da ju možemo rastegnuti, preoblikovati i na kraju odbaciti ako ne funkcionira. Tako se, po mom mišljenju, mogu razviti radikalne strategije u filmskom stvaralaštvu. Montaža je beskrajno igralište prijedlozima, i za nekonvencionalne prijedloge, za nove relacije koje film oživljava, za prijedloge koje nikad prije nismo mogli zamisliti. U tom smislu, Diana i Christophe su poput lakmus papira u laboratoriju: otkrivamo im svoje prijedloge kada su u najosjetljivijoj fazi, vjerujući njihovom znanju i senzibilitetu da će nas pogurati dalje i učiniti da vidimo jasnije. Ovo je proces za koji sam im oboma jako zahvalna: inputi koje su nam dali za „Šutnju razuma“ u različitim i osjetljivim fazama filma osnažili su nas da nastavimo potragu za filmskim sredstvima koja su nam bila potpuno nova. Za mene, kao i za Jelenu, ključno je otvoriti proces montaže u trenutku kada je sve moguće i otvoriti ga suradnicima koji nas mogu izazvati i pogurati dalje kako bismo razbili mogućnost stvaranja hermetičnog filma. Budući da u filmu ima puno teksta, ključna je bila suradnja sa grafičkom dizajnericom Elenom Dinovskom Zarapciev. Njen rad je organski osnažio filmski prostor i sama svjedočanstva. Odlično se snalazite u različitim ulogama. Pored toga što ste suosnivačica filmskog anti-festivala Pravo Ljudski, vi istražujete, podučavate, režirate, borite se za ljudska prava. Šta od svega toga najviše volite, ako je uopće moguće izdvojiti nešto? Volim učiti! Sve što radim zapravo je međusobno povezano i nadovezuje se na različite procese učenja, kao što je slučaj s radom mnogih od nas u neovisnoj umjetnosti. Mislim da nemamo luksuz biti fokusirani na jedan projekt, a kamoli na jedno zanimanje. Volim razmišljati o tome kao o mogućnosti i moći koju imamo, iako je to nedvojbeno rezultat ekonomske opresije. Marinela Domančić
Dijeljenje znanja preživjelih
Sharing knowledge as survivors
Your dedicated work to shed light on the war crimes committed on the soil of Bosnia and Herzegovina inspires admiration and respect. The questions your films deal with are heavy and burdensome. How do you deal with the emotions that arise from the research and realization of your projects? I would like to imagine that each film is one more chance for us to work against the absurdity of our times, the system, the world we are part of. Some geographies and spaces are more oppressed than others, and for me it becomes more and more clear that we who come from these spaces are actually the ones who have the potential: survival is inscribed in our collective experiences. We carry the memory of transformation and adaptation, and we carry the experience of solidarity. We lived through different times in which collective desire was bodily on the opposite of an empty concept. I came to this realization after many years of working within the externally imposed white hierarchical discourses of the “civilized” vs the “undeveloped”. This realization and the liberation from this paradigm stand at the core of my films and work in general: we can take our own position and share our knowledges as survivors. Making films from this position makes it possible for me to work against the idea of our past as a hierarchical linear storyline of victims and oppressors. So, I find more and more strength and meaning in this possibility to create new subjectivities in and through cinema that raise from the knowledges and powers that we can gift the world with. The factual part of your film is particularly captivating, the testimonies of survivors that leave no room for the question of whether systematic rape is a crime against humanity or not. What are the similarities and differences between this film and “Disturbed Earth”, which we watched two years ago and whose co-author you are? In principle, both films stem from the same geographical and political space and, I hope, contribute to the creation of complementing discussions and knowledges, as well as film ideas and languages. In terms of the subjectivities that the two films give grounds to, there is not much difference: they speak from as close as possible to the survivors, meaning they open the idea of Bosnia and Herzegovina and Yugoslavia as a space of survivability. On the other hand, cinematically, Silence of Reason was challenging in a different way to me: I have received an art grant from BIRN (Balkan Investigative Reporting Network, M.D.) to work on a short video art project I was thinking about and developing for few years already – trying to work against patriarchy, and looking at rape and sexual violence in our spaces. As the research process got more and more focused, I came across a detailed testimony of a woman in the Kunarac et al. case of the ICTY (The International Criminal Tribunal for the former Yugoslavia, M.D.). Suddenly, I was facing this large forensic archive organized in purely legal and bureaucratic logic, and the question became very precise: how to activate the forensic archive of the worst rape crimes with the means of cinema, so we can reclaim our own collective memory of surviving rape and witnessing against it. In that respect, Silence of Reason is a work that builds upon forensic feminist methodologies in filmmaking and employs somewhat rigorous decisions, which are never easy and simple in cinema. It feels like it is my own step further, which would have been impossible to make have I not worked and learnt from Disturbed Earth before… The way the film was edited is very impressive. How precisely did you ask your editor, Jelena Maksimović, how to edit the film, and how much was editing a matter of her creativity? What was the role of the editing consultants Diane Toucedo and Christophe Postic? We work with Jelena Maksimovic for seven years already, and this is the third film we are working on together. Our collaboration is based on friendship and love, which means continuous mutual support and exchange of ideas, including the mutual trust to test radical possibilities in the editing room and cinema in general. We both like to take risks, so we encourage each other to go further than we think we can alone. I don’t even know where mine or her ideas start and the other’s continue… Jelena’s film practice for me is from the core of what montage is: there are always new relationships among ideas and concepts that we can propose, communicate and activate through film as language. Surely working on subjects and spaces such as the ones both of us often work difficult, multi-layered, hidden “under the carpet” - is a lonely and precarious space. This is the reason we both insist on having fun while working in the editing room: we play with possibilities and play with each other. We try not to take any of our own ideas too seriously, so we can stretch them together, reshape them, and finally abandon them if they do not work. This is how radical strategies in filmmaking can be developed in my opinion: editing is an endless playground of and for proposals that are out of the convention: new relationships that the film gives life to, proposals that we could never imagine before. In that respect Diana and Christophe are like the litmus paper test in the lab: we open our proposals to them when they are in the most fragile stage, trusting their knowledges and sensibilities to push us further and make us see clearer. This is a process that I am highly thankful for to both of them: for Silence of Reason the inputs they gave us in its different and fragile stages gave us strength to continue the search for cinematic devices that were absolutely new to us. For me, as well as for Jelena, it is crucial to open the process of editing at a point when things are possible, and to open it to collaborators who can challenge us and push us further, so that we break the possibility of creating a hermetic film. As the film works with a lot of text as well, a collaboration that was crucial for the film it became is with Elena Dinovska Zarapciev, the graphic designer. She made a proposal that was organic and empowering to the filmic space and the testimonies themselves. You excel in different roles. In addition to being the co-founder of the film anti-festival Pravo Ljudski, you research, teach, direct, and fight for human rights. What do you like most out of all this, if it is even possible to single something out? I like to learn! Everything I do is actually interconnected and builds upon different processes of learning, as is the case with the work of so, so many of us in the independent arts. I don’t think we have the luxury to be focused on one project, let alone a single occupation. However, I like to think of this as a possibility and power that we have, even though it undoubtedly comes as a result of economic oppression. Marinela Domančić Your dedicated work to shed light on the war crimes committed on the soil of Bosnia and Herzegovina inspires admiration and respect. The questions your films deal with are heavy and burdensome. How do you deal with the emotions that arise from the research and realization of your projects? I would like to imagine that each film is one more chance for us to work against the absurdity of our times, the system, the world we are part of. Some geographies and spaces are more oppressed than others, and for me it becomes more and more clear that we who come from these spaces are actually the ones who have the potential: survival is inscribed in our collective experiences. We carry the memory of transformation and adaptation, and we carry the experience of solidarity. We lived through different times in which collective desire was bodily on the opposite of an empty concept. I came to this realization after many years of working within the externally imposed white hierarchical discourses of the “civilized” vs the “undeveloped”. This realization and the liberation from this paradigm stand at the core of my films and work in general: we can take our own position and share our knowledges as survivors. Making films from this position makes it possible for me to work against the idea of our past as a hierarchical linear storyline of victims and oppressors. So, I find more and more strength and meaning in this possibility to create new subjectivities in and through cinema that raise from the knowledges and powers that we can gift the world with. The factual part of your film is particularly captivating, the testimonies of survivors that leave no room for the question of whether systematic rape is a crime against humanity or not. What are the similarities and differences between this film and “Disturbed Earth”, which we watched two years ago and whose co-author you are? In principle, both films stem from the same geographical and political space and, I hope, contribute to the creation of complementing discussions and knowledges, as well as film ideas and languages. In terms of the subjectivities that the two films give grounds to, there is not much difference: they speak from as close as possible to the survivors, meaning they open the idea of Bosnia and Herzegovina and Yugoslavia as a space of survivability. On the other hand, cinematically, Silence of Reason was challenging in a different way to me: I have received an art grant from BIRN (Balkan Investigative Reporting Network, M.D.) to work on a short video art project I was thinking about and developing for few years already – trying to work against patriarchy, and looking at rape and sexual violence in our spaces. As the research process got more and more focused, I came across a detailed testimony of a woman in the Kunarac et al. case of the ICTY (The International Criminal Tribunal for the former Yugoslavia, M.D.). Suddenly, I was facing this large forensic archive organized in purely legal and bureaucratic logic, and the question became very precise: how to activate the forensic archive of the worst rape crimes with the means of cinema, so we can reclaim our own collective memory of surviving rape and witnessing against it. In that respect, Silence of Reason is a work that builds upon forensic feminist methodologies in filmmaking and employs somewhat rigorous decisions, which are never easy and simple in cinema. It feels like it is my own step further, which would have been impossible to make have I not worked and learnt from Disturbed Earth before… The way the film was edited is very impressive. How precisely did you ask your editor, Jelena Maksimović, how to edit the film, and how much was editing a matter of her creativity? What was the role of the editing consultants Diane Toucedo and Christophe Postic? We work with Jelena Maksimovic for seven years already, and this is the third film we are working on together. Our collaboration is based on friendship and love, which means continuous mutual support and exchange of ideas, including the mutual trust to test radical possibilities in the editing room and cinema in general. We both like to take risks, so we encourage each other to go further than we think we can alone. I don’t even know where mine or her ideas start and the other’s continue… Jelena’s film practice for me is from the core of what montage is: there are always new relationships among ideas and concepts that we can propose, communicate and activate through film as language. Surely working on subjects and spaces such as the ones both of us often work - difficult, multi-layered, hidden “under the carpet” - is a lonely and precarious space. This is the reason we both insist on having fun while working in the editing room: we play with possibilities and play with each other. We try not to take any of our own ideas too seriously, so we can stretch them together, reshape them, and finally abandon them if they do not work. This is how radical strategies in filmmaking can be developed in my opinion: editing is an endless playground of and for proposals that are out of the convention: new relationships that the film gives life to, proposals that we could never imagine before. In that respect Diana and Christophe are like the litmus paper test in the lab: we open our proposals to them when they are in the most fragile stage, trusting their knowledges and sensibilities to push us further and make us see clearer. This is a process that I am highly thankful for to both of them: for Silence of Reason the inputs they gave us in its different and fragile stages gave us strength to continue the search for cinematic devices that were absolutely new to us. For me, as well as for Jelena, it is crucial to open the process of editing at a point when things are possible, and to open it to collaborators who can challenge us and push us further, so that we break the possibility of creating a hermetic film. As the film works with a lot of text as well, a collaboration that was crucial for the film it became is with Elena Dinovska Zarapciev, the graphic designer. She made a proposal that was organic and empowering to the filmic space and the testimonies themselves. You excel in different roles. In addition to being the co-founder of the film anti-festival Pravo Ljudski, you research, teach, direct, and fight for human rights. What do you like most out of all this, if it is even possible to single something out? I like to learn! Everything I do is actually interconnected and builds upon different processes of learning, as is the case with the work of so, so many of us in the independent arts. I don’t think we have the luxury to be focused on one project, let alone a single occupation. However, I like to think of this as a possibility and power that we have, even though it undoubtedly comes as a result of economic oppression. Marinela Domančić
Discover the remarkable journey of Kumjana Novakova, a director whose unwavering dedication to shedding light on war crimes committed on the soil of Bosnia and Herzegovina evokes admiration and respect. Her films delve into weighty and burdensome questions, forcing us to confront the harsh realities of the past. But, how does she cope with the emotions stirred by the research and execution of these profound projects?
Fokus na studentskom filmskom stvaralaštvu
Istraživanje tema, rast i suradnje u promjenjivom svijetu studentskih filmova u razgovoru sa Asjom Krsmanović, selektoricom Takmičarskog programa - studentski film
Kako biste opisali ovogodišnju selekciju Takmičarskog programa – studentski film? Ovogodišnja selekcija nešto je manjeg obima nego dosadašnje. Umjesto uobičajenih tri slota studentskih filmova, gledat ćemo deset filmova raspoređenih u dva bloka. Razlog tome nije ni smanjen broj prijava, niti kvalitet ponuđenog, baš naprotiv. Vidi se da iz godine u godinu studentska produkcija u regionu raste, zrelija je i dinamičnija nego inače. Ono što je specifično za ovogodišnju selekciju je što ćemo gledati filmove studentica i studenata koji su se potrudili da se svojim tematskim fokusom, načinom na koji strukturiraju narativ i vizuelnim poetikama, odmiču od onoga što je karakteristično za njihove škole, a pri tom pokazuju izuzetnu zrelost u vladanju jezikom koji koriste. Koliko je važan program studentskog filma za mlade autore i autorice? Godinama se etablirao kao zaista važan. Osim što im otvara put za daljni život filma, te daje dobru referencu, svi autori i autorice imaju mogućnost biti tu tokom cijelog trajanja festivala i saznati ponešto o svakom od programa i mogućnosti koje nudi. Dakle, program nije samo showcase najboljih studentskih filmova, već i odlična prilika za učenje i upoznavanje regionalne filmske industrije. Tome u prilog govori i činjenica da su na ovogodišnjem CineLinku u selekciju za razvoj projekta ušla čak tri bivša učesnika studentskog programa, što nas posebno raduje i govori u prilog tome da radimo pravu stvar. Koje su teme privlačile autorice i autore u ovogodišnjoj selekciji studentskih filmova? Teme su raznovrsne, od ljubavi, preko nasilja, osjećaja stida, suočavanja s gubitkom, do nerazriješenih porodičnih odnosa i depresije. I mada je u tom smislu veoma šarena selekcija, čini se da skoro sve filmove u ovogodišnjoj selekciji povezuju snažni likovi čija unutarnja stanja se ispoljavaju kroz različite vizuelne metafore. U kakvom je stanju produkcija studentskih filmova u regiji? Sudeći po broju i kvalitetu prijavljenih filmova - bolja nego ikad. Naravno, tu su uvijek prisutne razlike kad je riječ o različitim zemljama unutar regije, te školama koje imaju veću tradiciju i produkciju od drugih. Postoje čak i zemlje regije koje još uvijek nemaju svoje filmske škole, što je nemjerljiva šteta koja se odražava na cjelokupno stanje kinematografije te zemlje. Po čemu se razlikuje ovogodišnja selekcija filmova od prošlogodišnje? Svaka selekcija je različita jer ovisi o ponudi. Ova je vjerovatno tematski i stilski raznovrsnija od prošlogodišnje, što svakako ne govori o tome da li je bolja ili ne. Kakva je budućnost razvoja studentskih filmova u BiH, ali i u regiji? Ove godine u selekciji imamo prvi presedan - koprodukciju jednog studentskog filma. Rijetkost je vidjeti da kratki filmovi nastaju u koprodukcijama, a za studentske je to ravno nemogućem. Ipak, film "Srce" nastao je u koprodukciji Akademije scenskih umjetnosti u Sarajevu i Fakulteta dramskih umjetnosti u Beogradu. Film je diplomski rad studentice produkcije ASU, a režiju potpisuje redatelj koji studira na FDU. Ovo je na svakom nivou pohvalna suradnja. Jednako kao što već nekoliko godina, nakon dešavanja na mađarskom SZFE, produkciju njihovih filmova potpisuje Filmska akademija u Beču. To nam samo pokazuje koliko su važni regionalna suradnja i model koji ćemo, nadam se, češće viđati u budućnosti.
„U Atlantic Grupi odavno smo prestali brojati godine suradnje, ali svaki novi Sarajevo Film Festival i dalje slavimo kao rođendan našeg prijateljstva. Danas se razumijemo bez puno riječi, pomažemo i promoviramo jedni druge gdje god se nalazimo, radujemo se toplom zagrljaju kad god se vidimo.“ „In Atlantic Grupa, we have long stopped counting the years spent in cooperation, but we still celebrate every Sarajevo Film Festival as the birthday of our friendship. Today it doesn't take many words for us to understand each other, we help and promote one another wherever we are, and we cherish a warm hug whenever wee meet.“
Exploring themes, growth, and collaboration of the ever-evolving world of student films in conversation with Asja Krsmanović, Selector of Competition Programme-Student Film
How would you describe this year's selection of the Competition Programme – Student Film? This year's selection is slightly smaller than the previous ones. Instead of the usual three slots of student films, we will screen ten films arranged in two blocks. The reason for this is neither the reduced number of applications nor the quality of the ones offered, quite the contrary. It can be seen that each year, student production in the region is growing and becoming even more mature and dynamic than usual. What is specific for this year's selection is that we will be watching films from students who have made an effort to move their thematic focus away from what is typical for their schools, with the way they structure the narrative and visual poetics, all while showing exceptional maturity in mastering the language they use. How important is the student film programme for young authors? Over the years, it has established itself as truly important. In addition to opening the way for continuing their life of film and giving them a good reference, it is important to note that all authors have the opportunity to be there during the entire duration of the festival and find out something about each of the programmes and opportunities it offers. So, the programme is not only a showcase of the best student films, but also a great opportunity to learn and get to know the regional film industry. This is corroborated by the fact that at this year's CineLink, as many as three former participants of the student programme entered the selection process for the development of the project, which makes us especially happy and confirms we are doing the right thing. What topics attracted authors in this year's selection of student films? The topics are diverse, from love, through violence, feelings of shame, dealing with loss, to unresolved family relationships and depression. And although in this sense it is a very diverse selection, it seems that almost all the films in this year's selection are connected by strong characters whose inner states are manifested through various visual metaphors. What is the state of production of student films in the region? Judging by the number and quality of films submitted - better than ever. Of course, there are always differences when it comes to different countries within the region, and schools that have more tradition and larger production than others. There are even countries in the region that do not yet have their own film schools, which is immeasurable damage that reflects on the overall state of the country's cinema. How is this year's selection of films different from last year's? Each selection is different because it depends on the offering. This one is probably thematically and stylistically more diverse than last year's, which certainly doesn't say whether it's better or not. How do you consider the future development of student films in Bosnia and Herzegovina, but also in the region? This year we have the first precedent in the selection - a co-production of a student film. It is rare to see short films made in co-productions, and for student made, it is flat-out impossible. However, the film "Heartbeat" was co-produced by the Academy of Performing Arts in Sarajevo and the Faculty of Dramatic Arts in Belgrade. The film is the graduate work of an ASU production student and directed by a director who studies at FDU. This is a commendable collaboration at every level. Equivalently, for the past several years, after the events at the Hungarian SZFE, their films have been co-produced by the Vienna Film Academy. This only goes to show how important regional cooperation is and a model I hope we will see more often in the future.
Spotlight on student filmmaking
Photo by Edvin Kalić
Žiri - Specijalna nagrada za promicanje rodne ravnopravnosti, Red Carpet / Jury - Special award for promoting gender equality, Red Carpet
Ekipa filma Sirin, Red Carpet / Crew: Sirin, Red Carpet
Foto galerija / Photo gallery
Bingo Ljetno kino Tuzla / Bingo Open Air Cinema Tuzla
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
CICAE Žiri CICAE Jury
Dan Ljudskih Prava - Panel diskusija / Human Rights Day - Panel Discussion
Ekipa serije Frust, Red Carpet / Crew: Frust, Red Carpet
Apolonia je rođena u alternativnom pozorištu u Parizu i odrasla je u zajednici umjetnika. Studirala je na jednoj od najprestižnijih evropskih umjetničkih akademija. Dugi je niz godina danska rediteljica Lea Glob pratila njezino nastojanje da nađe svoje mjesto u umjetničkom svijetu, njezine borbe s agonijama i radostima odrasle žene, odnose s drugima te vlastitim tijelom i stvaralaštvom. Kako vrijeme prolazi, a između Apolonije i Lee rađa se posebna veza, svjedočimo nastanku filma i sticanju slikarske slave. Trinaest godina kasnije, dvije žene i dalje razmišljaju o vlastitim putevima u ovom dojmljivom filmu o umjetnosti, ljubavi, majčinstvu, seksualnosti, prikazu i tome kako uspjeti u svijetu kojim vladaju patrijarhat, kapitalizam i rat, a da pritom ne izgubiš sebe. Apolonia was born in an underground theatre in Paris, grew up in an artists' community, and studied at one of the most prestigious art academies in Europe. Over the years, Danish filmmaker Lea Glob filmed Apolonia and her struggle to find her place in the art world, grappling with the agonies and joys of womanhood, relationships with others, and her own body and creation. As time passes and a special bond grows between Apolonia and Lea, we witness a film being born and a painter rising to fame. Thirteen years on, the two women continue to reflect on each other’s paths in this mesmerising film about art, love, motherhood, sexuality, representation, and how to succeed in a world dominated by patriarchy, capitalism, and war without losing oneself.
BUY TICKET
APOLONIA, APOLONIA Denmark, Poland, France, 2023, 116 min. Režija / Director: Lea Glob
PRIPADANJE BELONGING Netherlands, Türkiye, Belgium, 2023, 83 min. Režija / Director: Mete Gümürhan.Uloge / Cast: Alihan Sahin, Sinan Eroğlu, Hayat van Eck, Mina Dermirtaş, Lorin Merthart
Četrnaestogodišnji Zeki teško se nosi sa nedavnim gubitkom majke. Njegov život ponovo se preokreće kada njegov otac Mahir odluči da se iz Rotterdama presele u Istanbul. Zeki i Mahir sele se u luksuzno zatvoreno naselje ograđeno visokim zidovima. Dok Mahir svakodnevno odlazi na posao u banku, Zeki ostatak ljetnog raspusta provodi u ograđenom naselju. Željan slobode, Zeki odluči preskočiti zid, pobjeći od kuće i istražiti ostatak grada. Zeki završava u siromašnom naselju, gdje se sprijatelji s Kemalom i grupom djece koja žive na ulici i dane provode u džeparenju. Vesela družina brzo prigrli Zekija, ali on od njih krije da živi u luksuznom ograđenom naselju iz straha da bi ga zbog toga mogli odbaciti. Fourteen-year-old Zeki struggles with the recent loss of his mother. His life is turned upside down again when his father, Mahir, decides to move from Rotterdam to Istanbul. Zeki and Mahir arrive to live in a luxurious gated community, sealed off from the city by high walls. While Mahir goes to work at the bank to work every day, Zeki has to spend the rest of his summer holidays in the compound. In his desire for freedom, he decides to climb over the wall and explore the city on the other side while free-running. Zeki ends up in a varoş, a poor neighbourhood, and befriends Kemal and a group of street kids who spend their days pickpocketing. Zeki is soon included in the merry group but, out of fear of losing their friendship, he conceals the fact that he lives in the posh gated community.
U FOKUSU / IN FOCUS
KINOSCOPE REAL
KINOSCOPE SUREAL
SUMMER SCREEN
Nakon šest decenija duge karijere, u 82. godini života Joan Baez kreće na posljednju turneju opraštajući se ne samo od svjetala pozornice već i od uloge vodeće aktivistice koja je učestvovala u nekim od najvažnijih bitaka za građanska prava. Osim o njenim prekrasnim pjesmama, saradnji s Dylanom i učešću u javnim bitkama koje su je pretvorile u legendu, film govori i o djetinjstvu male Joanie, kćerke rasno miješanog para koja je rasizam iskusila iz prve ruke, njenoj mladosti i demonima koje je uspjeh probudio u njoj, ali i o njenim zrelim godinama i bolnim uspomenama koje cure kroz pukotine u njenoj nevjerovatnoj harizmi. After a sixty-year-long career, Joan Baez, now eighty-two, goes on tour for the last time, bidding farewell not only to the stage but also to her role as a leading activist who took part in some of the world’s most significant civil rights struggles. In addition to Baez’s wonderful songs, her collaborations with Bob Dylan, and the public struggles that made her a living legend, the film sheds light on little Joanie, who was born to a mixed-race family and experienced racism firsthand; on Joan the young woman, whose success awakened dark demons within her; and on the mature Joan, as painful memories seep through the cracks of her immense charisma.
OMEN Belgium, Netherlands, Democratic Republic of Congo, France, South Africa, 2023, 90 min. Režija / Director: Baloji. Uloge / Cast: Eliane Umuhire, Marc Zinga, Lucie Debay, Yves-Marina Gnahoua
PREDZNAK je omnibus o četvero ljudi optuženih da su vještice i vješci. Uprkos svojoj zloj kobi, oni pronalaze način da jedni druge odvedu od sudbine koju im je nametnulo društvo i uvedu u fantazmagorije Afrike. Four people are accused of being witches and sorcerers. Despite their misfortune, they find a way to guide each other away from their socially imposed destinies and into the phantasmagoria of Africa.
JOAN BAEZ: JA SAM BUKA JOAN BAEZ I AM A NOISE United States, 2023,113 min. Režija / Director: Karen O’Connor, Miri Navasky, Maeve O’Boyle
Charlie Kaufman, američki scenarist, reditelj i producent, dobitnik Oscara® i ovogodišnji dobitnik Počasnog Srca Sarajeva, danas je u sklopu programa 29. Sarajevo Film Festivala održao Masterclass u Festivalskom centru (Bosanski kulturni centar).
Masterclass: Charlie Kaufman
Kaufman je govorio o tome kako filmski stvaraoci u savremenom kontekstu biraju teme kojima će se baviti. Film ADAPTACIJA. Spikea Jonze, za koji potpisuje scenarij, naveo je kao primjer prve adaptacije na kojoj je dobio zadatak da radi i koji je svjesno prihvatio. Proces razmišljanja o kreativnom rješenju bio je toliko mučan i dug da je na kraju odlučio da piše o tome. „Zanimljivo je da u trenutku kada sam počeo da razmišljam o vlastitim mislima, najzad su počele da se dešavaju konekcije između pitanja o kojem sam razmišljao i knjige. Djelovalo mi je gotovo nadzemaljski da se tako nešto dogodi“, rekao je Kaufman. Posjetioci su imali priliku vidjeti isječak iz filma I'M THINKING OF ENDING THINGS zasnovan na romanu Iaina Reida, koji je Kaufman režirao. Otkrio je da je najveći izazov prilikom rada na tom filmu bio adaptirati roman po kojem je rađen, budući da je želio da na velikom platnu pokaže da je ta priča svojevrstan misaoni proces. Kaufman je govorio i o dilemi između umjetnosti i zabave, te ukazao na to da su zahtjevi tržišta pritisnuli reditelje da prave djela niskog kvaliteta, isključivo zbog njihove prodajne moći. „To je isto kao sa hranom. Ako jedeš nezdravu hranu, onda će ti ponovo biti potrebna, a ne bi da je nisi probao. Ne bi je tražio da njome nisi hranjen cijelog života. Mislim da je to ono što filmska mašinerija radi. Nalazim to jako opresivnim i opasnim. Ljuti me to“, rekao je Kaufman.Masterclass je završen projekcijom njegovog kratkog filma JACKALS&FIREFLIES (2023), koji je radio u saradnji sa pjesnikinjom Evom H.D., koja je bila specijalna gošća Masterclassa. Kaufmanu je sinoć u 20.30 sati u Ljetnom kinu Coca-Cola uručeno Počasno Srce Sarajeva za izuzetan doprinos filmskoj umjetnosti. Uslijedila je projekcija filma ADAPTACIJA. Spikea Jonzea, koji se prikazuje u sklopu programa Open Air. Film je Kaufmanu donio nagradu Američkog udruženja pisaca i Oscara® za najbolji scenarij.
Kaufman discussed the manner in which filmmakers choose the themes with which they engage in a contemporary context. He cited the film ADAPTATION. by Spike Jonze, for which he wrote the screenplay, as an example of the first adaptation he was assigned to work on and consciously accepted. For him, the process of figuring out creative solutions was so agonizing and lengthy that he ultimately decided to write about it. "It's interesting that at the moment when I started thinking about my own thoughts, connections between the question I was pondering and the book started to happen. It seemed almost otherworldly for something like that to occur," Kaufman said. Visitors had the opportunity to see a clip from the film I'M THINKING OF ENDING THINGS, based on the novel by Iain Reid, which Kaufman directed. He revealed that his biggest challenge while working on the film was adapting the novel it was based on, as he wanted to construct the narrative as a kind of thought process happening on the silver screen. Kaufman also discussed the dilemma between art and entertainment, pointing out that market demands have pressured directors to create works of low quality solely for their sales potential. "It's the same as with food. If you eat unhealthy food, then you'll need it again, and you wouldn't want it if you hadn't tried it. You wouldn't crave it if you hadn't been fed by it your whole life. I think that's what the film machinery does. I find it very oppressive and dangerous. It angers me," Kaufman said. The Masterclass ended with a screening of Kaufman's short film JACKALS&FIREFLIES (2023), which he made in collaboration with poet Eva H.D., who was a special guest of the Masterclass. Charlie Kaufman received the Honorary Heart of Sarajevo in recognition of his exceptional contribution to the art of film last night at 20.30 at the Coca-Cola Open Air Cinema. After the awarding of the Honorary Heart of Sarajevo, a screening of the film ADAPTATION. by Spike Jonze will take place as part of the Open Air programme. The film earned Kaufman the Writers Guild of America Award and an Oscar® for Best Adapted Screenplay. Body text
Charlie Kaufman holds Masterclass
Charlie Kaufman, American screenwriter, director, producer, Oscar® winner, and this year's recipient of the Honorary Heart of Sarajevo, held a Masterclass today at the Festival Center (Bosnian Cultural Center) as part of the 29th Sarajevo Film Festival programme.