UTORAK / TUESDAY 19. 08. 2025.
www.sff.ba
Paolo Sorrentino - Počasno Srce Sarajeva Paolo Sorrentino - The Honorary Heart of Sarajevo
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SADRŽAJ
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TAKMIČARSKI PROGRAM - IGRANI FILM Svjetska premijera filma "Zvijezde manjeg značaja"
COMPETITION documentary: LESIA DIAK I Had False Hope It Would Be Better
COMPETITION PROGRAMME - FEATURE FILM Regional Premiere of the Film "White Snail"
"Treći svijet" Reunites Haustor Members at Sarajevo Film Festival
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Paolo Sorrentino received the Honorary Heart of Sarajevo
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MASTERCLASS MICHEL FRANCO, I Never Think About the Films Ive Already Made
COMPETITION PROGRAMME - FEATURE FILM World Premiere of the Film "Stars of Little Importance"
FOTO GALERIJA: CRVENI TEPIH
COMPETITION FEATURE European Premiere of Family Therapy
CONTENT
COMPETITION PROGRAMME- DOCUMENTARY FILM: LINA VDOVÎI, Violence as a Marker of Masculinity
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TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM: KATALIN BÁRSONY, Ostvarenje sna
NA PROGRAMU DANAS...
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"Treći svijet" okupio članove grupe Haustor na Sarajevo Film Festivalu
TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM: LINA VDOVÎI, Nasilje kao pokazatelj muškosti
TAKMIČARSKI IGRANI Europska premijera filma „Obiteljska terapija“
COMPETITION PROGRAMME- DOCUMENTARY FILM: KATALIN BÁRSONY, A dream coming true
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COMPETITION PROGRAMME - FEATURE FILM: GEORGI M. UNKOVSKI, Shepherd Stumbling Into a Techno Party
Paolu Sorrentinu uruČeno PoČasno Srce Sarajeva
PHOTo GALLERY: RED CARPET
TAKMIČARSKI PROGRAM - IGRANI FILM Regionalna premijera filma "Bijeli puž"
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TAKMIČARSKI PROGRAM - IGRANI FILM: GEORGI M. UNKOVSKI Pastir dolazi na techno party
TAKMIČARSKI DOKUMENTARNI: LESIA DIAK Imala sam lažnu nadu da će biti bolje
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FOTO GALERIJA: FESTIVALSKI ŽIVOT
PHOTO GALLERY: FESTIVAL LIFE
MASTERCLASS MICHEL FRANCO, Nikada ne razmišljam o filmovima koje sam već snimio
Paolo Sorrentino: Ovo je važan festival
“Počastvovan sam, ovo je veliko zadovoljstvo. Kada bi ovo bilo priznanje za karijeru, nadam se da bih došao ponovo, za dvadeset godina, da dobijem još jednu nagradu. Hvala vam mnogo, ovo je zaista velika čast. Ovo je važno priznanje, ali važnije od toga je što je ovo važan festival za Evropljane”, rekao je Paolo Sorrentino. Počasno Srce Sarajeva Sorrentinu je uručio Jovan Marjanović, direktor Sarajevo Film Festivala. “Večeras je posebna noć, jer ćemo gledati jedan evropski filmski klasik. Također je posebno zadovoljstvo što ćemo predstaviti jedan od najprepoznatljivijih glasova u savremenoj kinematografiji, gospodina Paola Sorrentina. U posljednje dvije dekade poklonio nam je izuzetne filmove. Njegovi radovi bilježe životne proturječnosti, ljepotu i dekadenciju, krhkost, ironiju i emocije, sa besprijekornim stilom i glasom koji je i ličan i univerzalan. Film VELIKA LJEPOTA, koji ćemo gledati, jednoj je od njegovih najpoznatijih dijela i definira kinematografski portret njegovog vremena”, rekao je Jovan Marjanović. Nakon uručenja Počasnog Srca Sarajeva, u Ljetnom kinu Coca-Cola prikazan je Sorrentinov film VELIKA LJEPOTA. U sklopu programa „Posvećeno“ (Tribute to) na 31. Sarajevo Film Festivalu bit će prikazana kompletna retrospektiva Sorrentinovih filmova. Sorrentino je u nedjelju u Bosanskom kulturnom centru (BKC) održao Masterclass i u razgovoru s publikom podijelio svoja razmišljanja o umjetnosti danas. Godine 2016. s filmom „Mladost“ ponovo je u konkurenciji festivala u Cannesu. Film je osvojio tri EFA nagrade, nominaciju za Oscara® i dvije nominacije za Zlatni globus. Godine 2016. kreira i režira TV seriju „Mladi papa“, koja je nominirana za Zlatni globus za najboljeg glumca te za nagrade Emmy u kategorijama najbolje scenografije i najbolje kamere. Godine 2018. režira film „Silvio“ s Tonijem Servillom, a 2019. režira drugu seriju smještenu u svijet suvremenog papinstva – „Novi papa“, s Judom Lawom i Johnom Malkovichem u glavnim ulogama. Godine 2021. režirao je film „Božja ruka“, nominiran za Oscara® 2022. za najbolji strani film, s kojim je osvojio Srebrnog lava – Veliku nagradu žirija i nagradu Marcello Mastroianni na 78. Međunarodnom filmskom festivalu u Veneciji, pet nagrada David di Donatello, uključujući one za najbolji film i najboljeg reditelja, kao i četiri nagrade Nastri d'argento, uključujući onu za najbolji film. Godine 2024. napisao je scenarij i režirao film „Parthenope“, prikazan u konkurenciji Međunarodnog filmskog festivala u Cannesu, koji je osvojio nagradu Biglietto D’oro kao jedan od najgledanijih filmova godine. “Počastvovan sam, ovo je veliko zadovoljstvo. Kada bi ovo bilo priznanje za karijeru, nadam se da bih došao ponovo, za dvadeset godina, da dobijem još jednu nagradu. Hvala vam mnogo, ovo je zaista velika čast. Ovo je važno priznanje, ali važnije od toga je što je ovo važan Festival za Evropljane”, rekao je Paolo Sorrentino. Počasno Srce Sarajeva Sorrentinu je uručio Jovan Marjanović, direktor Sarajevo Film Festivala. “Večeras je posebna noć, jer ćemo gledati jedan evropski filmski klasik. Također je posebno zadovoljstvo što ćemo predstaviti jedan od najprepoznatljivihj glasova u savremenoj kinematografiji, gospodina Paola Sorrentina. U posljednje dvije dekade poklonio nam je izuzetne filmove. Njegovi radovi bilježe životne proturječnosti, ljepotu i dekadenciju, lomljivost, ironiju i emocije, sa besprijekornim stilom i glasom koji je i ličan i univerzalan. Film VELIKA LJEPOTA, koji ćemo gledati, jednoj je od njegovih najpoznatijih dijela i definira kinematografski portret njegovog vremena”, rekao je Jovan Marjanović. Nakon uručenja Počasnog Srca Sarajeva, u Ljetnom kinu Coca-Cola prikazan je Sorrentinov film VELIKA LJEPOTA. U sklopu programa „Posvećeno“ (Tribute to) na 31. Sarajevo Film Festivalu bit će prikazana kompletna retrospektiva Sorrentinovih filmova. Sorrentino je u nedjelju u Bosanskom kulturnom centru (BKC) održao Masterclass i u razgovoru s publikom podijelio svoja razmišljanja o umjetnosti danas. Godine 2016. s filmom „Mladost“ ponovo je u konkurenciji festivala u Cannesu. Film je osvojio tri EFA nagrade, nominaciju za Oscara® i dvije nominacije za Zlatni globus. Godine 2016. kreira i režira TV seriju „Mladi papa“, koja je nominirana za Zlatni globus za najboljeg glumca te za nagrade Emmy u kategorijama najbolje scenografije i najbolje kamere. Godine 2018. režira film „Silvio“ s Tonijem Servillom, a 2019. režira drugu seriju smještenu u svijet suvremenog papinstva – „Novi papa“, s Judom Lawom i Johnom Malkovichem u glavnim ulogama. Godine 2021. režirao je film „Božja ruka“, nominiran za Oscara® 2022. za najbolji strani film, s kojim je osvojio Srebrnog lava – Veliku nagradu žirija i nagradu Marcello Mastroianni na 78. Međunarodnom filmskom festivalu u Veneciji, pet nagrada David di Donatello, uključujući one za najbolji film i najboljeg reditelja, kao i četiri nagrade Nastri d'argento, uključujući onu za najbolji film. Godine 2024. napisao je scenarij i režirao film „Parthenope“, prikazan u konkurenciji Međunarodnog filmskog festivala u Cannesu, koji je osvojio nagradu Biglietto D’oro kao jedan od najgledanijih filmova godine.
Proslavljenom talijanskom autoru Paollu Sorrentinu, kao priznanje za izuzetan doprinos filmskoj umjetnosti, u Ljetnom kinu Coca-Cola, uručeno je Počasno Srce Sarajeva.
PAOLO SORRENTINO
POČASNO SRCE SARAJEVA
The acclaimed Italian author Paolo Sorrentino was awarded the Honorary Heart of Sarajevo at the Coca-Cola Open Air Cinema in in recognition of his outstanding contribution to the art of cinema.
Paolo Sorrentino: This is an Important Festival
„I am very honored. This is real pleasure. If this is an award for a career, I hope to come here again, twenty years later, to get an another award. For sure I will come very soon, in order to open a good Italian restaurant here in Sarajevo. Thank you very much, this is a real honor. This is an important award but mostly this is an important Festival for the European people“, said Paolo Sorrentino. The Honorary Heart of Sarajevo was presented to Sorrentino by the Jovan Marjanović, director of the Sarajevo Film Festival. “Tonight is a special night, because we will be watching a European film classic. It is also a special pleasure to present one of the most recognizable voices in contemporary cinema, Mr. Paolo Sorrentino. In the last two decades, he has given us exceptional films. His works capture life's contradictions, beauty and decadence, fragility, irony and emotion, with an unmistakable style and a voice that is both personal and universal. The film THE GREAT BEAUTY, which we will watch, is one of his most famous works and defines the cinematic portrait of his time”, said Jovan Marjanović. After the presentation of the Honorary Heart of Sarajevo, Sorrentino's film THE GREAT BEAUTY was screened at the Coca-Cola Open Air Cinema. As part of the programme Tribute to at the 31st Sarajevo Film Festival, a complete retrospective of Sorrentino's films will be screend. On Sunday, Sorrentino held a Masterclass at the Bosnian Cultural Center (BKC) and shared his thoughts on contemporary art in a conversation with the audience Paolo Sorrentino, film director and screenwriter, was born in Naples in 1970. His first full-length feature film, "One Man Up", dates back to 2001 and was selected for the Venice Film Festival. His next two films, "The Consequences of Love" from 2004 and "The Family Friend" from 2006, were in competition for the Palme d'Or in Cannes, as well as the film "Il Divo", which won the Jury Prize in 2008. He returned in competition at the Cannes Festival in 2011 with the film "This Must be the Place", and two years later with "The Great Beauty", which won the Academy Award®, the Golden Globe and the BAFTA Award for the best Foreign Language Film, as well as three EFA Awards. He was selected once again in competition at Cannes in 2016 with “Youth”, garnering three EFA Awards, an Academy Award® nomination and two Golden Globe nominations. In 2016 he created and directed the TV series "The Young Pope", nominated at the Golden Globes for Best Actor and at the Emmy Awards for Outstanding Production Design and Outstanding Cinematography. In 2018 he directed the movie "Loro" starring Toni Servillo and in 2019 Sorrentino directed the second series set in the world of modern papacy, "The New Pope", starring Jude Law and John Malkovich. In 2021 he wrote and directed the "The Hand of God", nominated at the 2022 Academy Award® for Best Foreign Film, winner of the Leone d'Argento Grand Jury Prize and the Marcello Mastroianni Award at the 78th edition of the Venice International Film Festival, also winner of 5 David di Donatello 2022 including Best Film and Best Director and 4 Nastri d'argento 2022 including Best Film. In 2024 he wrote and directed "Parthenope", presented in competition at Cannes and winner of the Biglietto D’oro among the most viewed films of the year. „I am very honored. This is real pleasure. If this is an award for a career, I hope to come here again, twenty years later, to get an another award. For sure I will come very soon, in order to open a good Italian restaurant here in Sarajevo. Thank you very much, this is a real honor. This is an important award but mostly this is an important Festival for the European people“, said Paolo Sorrentino. The Honorary Heart of Sarajevo was presented to Sorrentino by the Jovan Marjanović, director of the Sarajevo Film Festival. “Tonight is a special night, because we will be watching a European film classic. It is also a special pleasure to present one of the most recognizable voices in contemporary cinema, Mr. Paolo Sorrentino. In the last two decades, he has given us exceptional films. His works capture life's contradictions, beauty and decadence, fragility, irony and emotion, with an unmistakable style and a voice that is both personal and universal. The film THE GREAT BEAUTY, which we will watch, is one of his most famous works and defines the cinematic portrait of his time”, said Jovan Marjanović. After the presentation of the Honorary Heart of Sarajevo, Sorrentino's film THE GREAT BEAUTY was screened at the Coca-Cola Open Air Cinema. As part of the programme Tribute to at the 31st Sarajevo Film Festival, a complete retrospective of Sorrentino's films will be screend. On Sunday, Sorrentino held a Masterclass at the Bosnian Cultural Center (BKC) and shared his thoughts on contemporary art in a conversation with the audience Paolo Sorrentino, film director and screenwriter, was born in Naples in 1970. His first full-length feature film, "One Man Up", dates back to 2001 and was selected for the Venice Film Festival. His next two films, "The Consequences of Love" from 2004 and "The Family Friend" from 2006, were in competition for the Palme d'Or in Cannes, as well as the film "Il Divo", which won the Jury Prize in 2008. He returned in competition at the Cannes Festival in 2011 with the film "This Must be the Place", and two years later with "The Great Beauty", which won the Academy Award®, the Golden Globe and the BAFTA Award for the best Foreign Language Film, as well as three EFA Awards. He was selected once again in competition at Cannes in 2016 with “Youth”, garnering three EFA Awards, an Academy Award® nomination and two Golden Globe nominations. In 2016 he created and directed the TV series "The Young Pope", nominated at the Golden Globes for Best Actor and at the Emmy Awards for Outstanding Production Design and Outstanding Cinematography. In 2018 he directed the movie "Loro" starring Toni Servillo and in 2019 Sorrentino directed the second series set in the world of modern papacy, "The New Pope", starring Jude Law and John Malkovich. In 2021 he wrote and directed the "The Hand of God", nominated at the 2022 Academy Award® for Best Foreign Film, winner of the Leone d'Argento Grand Jury Prize and the Marcello Mastroianni Award at the 78th edition of the Venice International Film Festival, also winner of 5 David di Donatello 2022 including Best Film and Best Director and 4 Nastri d'argento 2022 including Best Film. In 2024 he wrote and directed "Parthenope", presented in competition at Cannes and winner of the Biglietto D’oro among the most viewed films of the year.
Regionalna premijera filma „Bijeli puž“
Regional Premiere of the Film “White Snail“
Takmičarski PROGRAM - igrani FILM • Competition PROGRAMME - Feature FILM
Directors Elsa Kremser and Levin Peter led the film crew at the regional premiere of “White Snail” held at the National Theatre. The film is the fragile love story of two outsiders who turn each other's worlds upside down.. The cast includes Marya Imbro, Mikhail Senkov, Olga Reputh, and Andrei Sauchanka.
Reditelji Elsa Kremser i Levin Peter predvodili su filmsku ekipu na regionalnoj premijeri filma „Bijeli puž“ održanoj u Narodnom pozorištu. Film je krhka ljubavna priča dvoje izopćenika koji jedno drugome preokrenu svijet. U filmu glume Marya Imbro, Mikhail Senkov, Olga Reputh i Andrei Sauchanka.
Director Renátó Olasz led the film crew at the world premiere of “Stars of Little Importance” held at the National Theatre. Film is a story about brother and sister who return from the capital for Christmas to their small hometown. The cast includes Andrea Waskovics, Renátó Olasz, Emőke Pál, Levente Oláh-Badi, and Tímea Udvari-Kardos.
Svjetska premijera filma „Zvijezde manjeg značaja“
World Premiere of the Film “Stars of Little Importance“
Reditelj Renátó Olasz predvodio je filmsku ekipu na svjetskoj premijeri filma „Zvijezde manjeg značaja“ održanoj u Narodnom pozorištu. Film je priča o bratu i sestri koji se iz glavnog grada za Božić vraćaju kući u malo mjesto. U filmu glume Andrea Waskovics, Renátó Olasz, Emőke Pál, Levente Oláh-Badi i Tímea Udvari-Kardos.
Crveni tepih / Red Carpet
Ekipa filma „Zvijezde manjeg značaja” / Film crew of Stars of Little Importance
Glumica Daria Lorenci Flatz sa suprugom Emilom / Actress Daria Lorenci Flatz and husband Emil
Ekipa filma „Bijeli puž” / Film crew of White Snail
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
Glumica Lidija Kordić / Actress Lidija Kordić
Glumac Mikhail Senkov / Actor Mikhail Senkov
U filmu „DJ Ahmet“ redatelj Georgi M. Unkovski donosi priču o dječaku iz seoskog mjesta u Sjevernoj Makedoniji koji pronalazi utočište u glazbi dok se nosi s očevim očekivanjima.
Pastir dolazi na techno party
photo by Breanna Downs
Takmičarski PROGRAM -igrani film
Georgi M. Unkovski DJ Ahmet
Što vas je inspiriralo da ispričate priču o 15-godišnjaku iz seoskog mjesta u Sjevernoj Makedoniji koji želi postati DJ? Uvijek postoji mnogo inspiracija za priču, ali volim ih ostaviti da odstoje neko vrijeme i vidjeti što će ostati. Dugo sam nosio u glavi sliku pastira koji ulazi u šumu i slučajno naiđe na techno party. Ta mi se slika posebno zadržala, uglavnom zato što sam je mogao zamisliti ovdje, u stvarnosti. Makedonija, i regija u cjelini, puna je kontrasta između tradicije i modernog života, a ta slika to savršeno dočarava. Sjećam se kad sam obilazio lokacije i vidio pastira kako vadi najnoviji iPhone. To je bio jedan od mnogih malih trenutaka kada sam shvatio da imamo film. Film je nastajao oko pet godina. Kako se priča promijenila ili razvila od vaše početne ideje do onoga što vidimo u konačnoj verziji? Naravno, bilo je mnogo promjena od početne ideje do završne verzije. Uz pomoć našeg montažera Michaela Reicha, uspjeli smo ono što sam u početku zamišljao kao osjećaj i emociju oblikovati u cjelovit film. Vrlo sam otvoren za promjene. Ako imaju dobar razlog, uvijek ih treba prihvatiti. Cilj je uvijek napraviti najbolji mogući film. Na audiciji ste imali više od 3000 djece, a na kraju ste odabrali Arifa Jakupa i Agusha Agusheva. Što ih je izdvojilo za uloge Ahmeta i Naima? S castingom smo imali puno sreće. Ta su djeca doista jedinstvena, i pronašli smo ih sve unutar radijusa od 50 kilometara od sela u kojem smo snimali. Kemija između dvojice braće nosi film. Svi su me upozoravali da će rad s djecom biti težak, ali oni su bili pravi dragulji, marljivi i izuzetni glumci. Bilo je privilegija raditi s njima. Dodao bih i da je Arif iz samog sela u kojem smo snimali film, što je dodatno pridonijelo autentičnosti. Svi su prvi put pred kamerom pokazali istinsku ranjivost, a to je velik dio razloga zašto film funkcionira. Veza između braće srce je emocionalne jezgre filma. Kako ste uspjeli da taj odnos na ekranu izgleda tako autentično? Odabir glumaca je obavio velik dio posla. Kemija je postojala i prije nego što je snimanje započelo. Bili su otvoreni, razumijevajući i radili zajedno na prirodan bratski način, iako nisu u srodstvu. Na setu smo stvorili okruženje koje je minimaliziralo stres za njih, iako snimanje filma može biti intenzivno. Držeći ih izvan tog pritiska i dopuštajući im da se slobodno igraju u scenama, njihov odnos je dolazio do izražaja i djelovao je iznimno iskreno. Glazba spaja elektroničke zvukove s tradicionalnim elementima i ključni je dio priče. Kako ste odabrali Alena i Nenada Sinkauza za skladatelje? Od početka sam znao da želim snimiti moderan film iz sela koji će se istaknuti u odnosu na tradicionalne prikaze na Balkanu. Alen i Nenad su sjajni skladatelji i uspjeli su to postići majstorskim spajanjem tradicionalnih ritmova s modernim zvukom. U kombinaciji s hip hopom i elektroničkom glazbom u filmu, stvorili su nešto svježe i suvremeno što savršeno odgovara priči. Film balansira između topline, humora i melankolije. Kako ste pronašli i održali taj ton? Miješanje žanrova jedno je od mojih omiljenih pripovjedačkih iskustava. Humor i tragedija često su isprepleteni u životu; nalazimo humor u tuzi i tugu u humoru. Život nam često daje širok spektar emocija odjednom, a humor nam pomaže da se nosimo s našim najtežim trenucima. Ta tanka granica između drame i komedije je područje u kojem želim snimati filmove, i bila je prisutna i u mom prethodnom radu. Snimanje u ruralnom dijelu Sjeverne Makedonije sigurno je donijelo svoje izazove i prilike. Kakvo je to iskustvo bilo? Bilo je nepredvidivo i za nas potpuno novo. Suradnja s mještanima, njihovo sudjelovanje i kultura koju su donijeli u film dodali su autentičnost, boju i život. Snimanje u planinama, suočavanje s nepovoljnim vremenskim uvjetima, rad na otvorenom, rad sa životinjama – sve nas je testiralo do krajnjih granica, ali nam je također omogućilo da zabilježimo nevjerojatne kadrove i iskrene emocije. Na kraju, kroz trud dolazimo do trenutaka koji na ekranu zaista vrijede. DJ Ahmet premijerno se prikazuje na Sarajevo Film Festivalu, koji je poznat po prikazivanju filmova koji povezuju lokalnu i međunarodnu publiku. Kako se nadate da će film odjeknuti izvan Sjeverne Makedonije i Balkana? Izuzetno sam sretan i ponosan što film već odjekuje kod publike širom svijeta. Sve se svodi na autentičnost, emocije su razumljive bez obzira jeste li odrasli u selu, gradu, na Balkanu ili negdje potpuno drugdje. Univerzalnost priče i izvedbe čine ga pristupačnim mnogim kulturama. Povratne informacije su bile fantastične, i ostvarenje je sna snimiti film koji se tako široko povezuje s ljudima. Josip Jurčić
COMPETITION PROGRAMME - FEATURE FILM -igrani film
What really inspired you to tell the story of a 15-year-old in a rural North Macedonian village who wants to become a DJ? There are always many inspirations for a story, but I like to let them marinate for a while and see what sticks. I had this image in my head of a shepherd entering the forest and stumbling into a techno party for a long time, it’s something that stuck with me, mostly because I could see it happen here. Macedonia, and the region in general, is full of contrasts between tradition and modernity, and that image captured it perfectly. I remember scouting locations and seeing a shepherd pull out the newest iPhone. It was one of many small moments when I realized we had a film. The film took about five years to make. How did the story change or evolve from your original idea to what we see in the final cut? Naturally, there were many changes from the initial concept to the final version. With the help of our editor Michael Reich, we shaped what I originally imagined as a feeling and emotion into a complete film. I’m very open to changes, when they have a good reason, they should always be accepted. The goal is always to make the best film possible. You auditioned over 3,000 kids and eventually cast Arif Jakup and Agush Agushev. What made them stand out for you as Ahmet and Naim? We were very lucky with the casting. These kids are truly one in a million, and we found them all within a 50-kilometer radius of the village where we filmed. The chemistry between the two brothers carries the film. Everyone warned me that working with kids would be difficult, but they were absolute gems, hardworking and exceptional actors. It was a privilege to work with them. I’d also add that Arif is from the very village where we shot the film, which added to the authenticity. All of them brought a real vulnerability in front of the camera for the first time, and that’s a big part of why the film works. The brothers’ bond is at the emotional heart of the film. How did you make that relationship feel so authentic on screen? Casting did a lot of the work. The chemistry was there even before filming started. They were open, understanding, and worked together in a naturally brotherly way, despite not being related. On set, we created an environment that minimized stress for them, even though filmmaking can be intense. Keeping them outside of that pressure and letting them play within the scenes made their relationship stand out and feel extremely genuine. The music blends electronic sounds with traditional elements and is a core part of the story. How did you choose Alen and Nenad Sinkauz as composers, and what was that creative process like? From the start, I knew I wanted to make a modern village film that would stand apart from the traditional portrayals we’re used to in the Balkans. Alen and Nenad are amazing composers, and they achieved that by masterfully blending traditional rhythms with a modern sound. Combined with the hip hop and electronic music in the film, it created something fresh and contemporary that fits the story perfectly. The film balances warmth, humor, and melancholy. How did you find and maintain that tone? Mixing genres is one of my favorite parts of storytelling. Humor and tragedy are often intertwined in life; we find humor in sadness and sadness in humor. Life often gives us a wide range of emotions at the same time, and humor helps us deal with our lowest moments. That thin line between drama and comedy is where I want to make films, and it’s been present in my past work as well. Filming in a rural North Macedonian village must have brought its own challenges and opportunities. What was that experience like? It was unpredictable and a first for us. The collaboration with the villagers, their participation, and the culture they brought to the film added authenticity, color, and life. Shooting in the mountains, facing harsh weather, filming outdoors, working with animals, it pushed all of us to our limit, but it also led us to capture amazing shots and real authentic emotion. In the end, through struggle we get to those moments that are worth it on screen. DJ Ahmet is premiering at the Sarajevo Film Festival, which is known for showcasing films that connect both locally and internationally. How do you hope the film resonates beyond North Macedonia and the Balkans? I’m extremely happy and proud that the film is already resonating with audiences worldwide. It comes down to authenticity, the emotions are relatable whether you grew up in a village, a city, in the Balkans, or somewhere completely different. The universality of the story and the performances make it accessible to many cultures. The feedback has been amazing, and it’s a dream come true to make a film that connects so widely. Josip Jurčić What really inspired you to tell the story of a 15-year-old in a rural North Macedonian village who wants to become a DJ? There are always many inspirations for a story, but I like to let them marinate for a while and see what sticks. I had this image in my head of a shepherd entering the forest and stumbling into a techno party for a long time, it’s something that stuck with me, mostly because I could see it happen here. Macedonia, and the region in general, is full of contrasts between tradition and modernity, and that image captured it perfectly. I remember scouting locations and seeing a shepherd pull out the newest iPhone. It was one of many small moments when I realized we had a film. The film took about five years to make. How did the story change or evolve from your original idea to what we see in the final cut? Naturally, there were many changes from the initial concept to the final version. With the help of our editor Michael Reich, we shaped what I originally imagined as a feeling and emotion into a complete film. I’m very open to changes, when they have a good reason, they should always be accepted. The goal is always to make the best film possible. You auditioned over 3,000 kids and eventually cast Arif Jakup and Agush Agushev. What made them stand out for you as Ahmet and Naim? We were very lucky with the casting. These kids are truly one in a million, and we found them all within a 50-kilometer radius of the village where we filmed. The chemistry between the two brothers carries the film. Everyone warned me that working with kids would be difficult, but they were absolute gems, hardworking and exceptional actors. It was a privilege to work with them. I’d also add that Arif is from the very village where we shot the film, which added to the authenticity. All of them brought a real vulnerability in front of the camera for the first time, and that’s a big part of why the film works. The brothers’ bond is at the emotional heart of the film. How did you make that relationship feel so authentic on screen? Casting did a lot of the work. The chemistry was there even before filming started. They were open, understanding, and worked together in a naturally brotherly way, despite not being related. On set, we created an environment that minimized stress for them, even though filmmaking can be intense. Keeping them outside of that pressure and letting them play within the scenes made their relationship stand out and feel extremely genuine. The music blends electronic sounds with traditional elements and is a core part of the story. How did you choose Alen and Nenad Sinkauz as composers, and what was that creative process like? From the start, I knew I wanted to make a modern village film that would stand apart from the traditional portrayals we’re used to in the Balkans. Alen and Nenad are amazing composers, and they achieved that by masterfully blending traditional rhythms with a modern sound. Combined with the hip hop and electronic music in the film, it created something fresh and contemporary that fits the story perfectly. The film balances warmth, humor, and melancholy. How did you find and maintain that tone? Mixing genres is one of my favorite parts of storytelling. Humor and tragedy are often intertwined in life; we find humor in sadness and sadness in humor. Life often gives us a wide range of emotions at the same time, and humor helps us deal with our lowest moments. That thin line between drama and comedy is where I want to make films, and it’s been present in my past work as well. Filming in a rural North Macedonian village must have brought its own challenges and opportunities. What was that experience like? It was unpredictable and a first for us. The collaboration with the villagers, their participation, and the culture they brought to the film added authenticity, color, and life. Shooting in the mountains, facing harsh weather, filming outdoors, working with animals, it pushed all of us to our limit, but it also led us to capture amazing shots and real authentic emotion. In the end, through struggle we get to those moments that are worth it on screen. DJ Ahmet is premiering at the Sarajevo Film Festival, which is known for showcasing films that connect both locally and internationally. How do you hope the film resonates beyond North Macedonia and the Balkans? I’m extremely happy and proud that the film is already resonating with audiences worldwide. It comes down to authenticity, the emotions are relatable whether you grew up in a village, a city, in the Balkans, or somewhere completely different. The universality of the story and the performances make it accessible to many cultures. The feedback has been amazing, and it’s a dream come true to make a film that connects so widely.
Shepherd Stumbling Into a Techno Party
In “DJ Ahmet” director Georgi M. Unkovski tells the story of a young boy from a rural village in North Macedonia who finds refuge in music while navigating his father’s expectations.
SVJETSKA PREMIJERA
Glazbeni dokumentarac Arsena Oremovića, čija je svjetska premijera održana na 31. Sarajevo Film Festivalu, nije samo podsjetio na kultni istoimeni album zagrebačke grupe Hustor, već je i okupio njezine članove predvođen je Darkom Rundekom i Samuelom Sacherom.
Četiri desetljeća nakon što je zagrebačka grupa Haustor objavila „Treći svijet“, jedan od najcjenjenijih rock albuma s područja bivše Jugoslavije, na 31. Sarajevo Film Festivalu održana je svjetska premijera filma „Treći svijet“ Arsena Oremovića. Dokumentarni film koji prikazuje početke grupe Haustor i nastanak tog hvaljenog albuma, nakon kojeg je autorski dvojac Darko Rundek i Samuel Sacher prestao surađivati, prikazan je u sklopu Takmičarskog programa – dokumentarni film. „Kada sam s članovima grupe počeo razgovarati o filmu, odmah smo se složili da nikako ne želimo napraviti klasični biografski film o bendu u kojem će pet uvijek istih glazbenih kritičara iz regije govoriti o njihovu značaju. Složili smo se da je pravi put - s obzirom na njihovu doista živopisnu estetiku - raditi film o stvarima koje su oblikovale tu dvojicu posebnih, ali karakterno različitih likova i umjetnika“, izjavio je hrvatski redatelj Arsen Oremović, koji je 2014. s filmom „U braku sa švicarcem“ osvojio Srce Sarajeva za najbolji dokumentarac. Kroz riječi svih članova grupe koji su stvarali „Treći svijet“, a to su uz Rundeka i Sachera bili bubnjar Srđan Gulić, gitarist Zoran Zajec Zex te saksofonist i klavijaturist Damir Prica Capri, film otkriva kako je nastao album. No, možda još i važnije, pokazuje međusobne odnose između članova i kako je doista nastajala magija Haustora. Mala iskra koju je Oremović započeo sa svojim filmom probudila je kod njih i stari žar, pa su se članovi grupe Haustor tijekom četverogodišnjeg snimanja filma odlučili vratiti starim dobrim navikama – i otići zajedno u studio. Nakon četiri desetljeća različitih puteva, okupili su se kako bi radili na novoj dub verziji „Trećeg svijeta“, ali i snimili novu pjesmu, što se sve može vidjeti i čuti u dokumentarnom filmu, nastalom u produkciji Interfilma i Dan Mraka. Svima onima koji su odrastali uz pjesme Haustora, ali i kasnije ih otkrivali, poseban je osjećaj bio vidjeti opet sve članove na okupu u dvorani multipleksa Cineplexx, gdje je održana svjetska premijera. A u razgovoru s publikom, Darko Rundek je ponudio i malu ekskluzivu, odgvor na to što zapravo znače početni stihovi pjesme: „Ustani i kreni, stražari su otrovani. Konji su spremni.“ „Stražari su ono što mislimo da znamo, ono za što mislimo da se od nas očekuje. Konji su uvijek bili simbol emocija, simbol duše. Ako se oslobodimo ovih mehanizama koji su nas okovali i počenemo raditi iz duše, onda tu počinje priča“, kazao je autor stihova Darko Rundek. Uvijek kada se govori o Haustoru ističe se njegov utjecaj na buduće generacije glazbenika, ali i kako bi danas grupa zvučala da odluči opet otići u studio i napraviti novi album. „Distorzija je stvar koja mi se sviđa zadnjih godina. Po meni bismo imali više šuma u glazbi. Kao kada dođete do vodopada, pa tamo pjevate pjesme. Mi smo tada svi svirali dosta čisto, a sada bih tražio da nemamo takav zvuk“, istaknuo je Samuel Sacher, dok je Rundek dodao: „Meni se čini da Haustor danas postoji u nekim rupama za snimanje, među nekim novim ljudima. Mi smo taj duh dobili kao utjecaj s raznih strana, a nakon nas se raširio i na druge.“ Jedna od tih osoba koja je primila Haustorov duh u osamdesetima, a zatim ga u sebi nosila cijelo vrijeme, svakako je i poduzetnik Emil Tedeschi, ljubiteljima glazbe poznat i kao SMS Deutsch, koji je jedan od producenata filma. „Njihova me glazba definirala kao čovjeka, čak bih rekao da me je odgojila. U ovaj film sam došao relativno kasno i priznajem da nisam tipičan producent, ali izuzetno sam ponosan na njega i sve pozivam da ga pogledaju na ostalim festivalskim projekcijama“, kazao je Emil Tedeschi, ujedno najavivši da „Treći svijet“ uskoro dolazi u kina diljem regije. Uz svu slatku nostalgičnost prisjećanja na to što je Haustor bio, u zraku je ostalo i pitanje – postoji li mogućnost da grupu osim na velikom platnu uskoro opet vidimo zajedno i na velikoj pozornici. „U svakom slučaju, vrata nisu zatvorena. Ako osjetimo da imamo nešto za reći, onda ćemo to i napraviti. Ako nećemo to osjećati, onda ćemo ostaviti da bude kako je“, odgovorio je gitarist Zoran Zajec Zex.
„Treći svijet“ okupio članove grupe Haustor na Sarajevo Film Festivalu
Arsen Oremović’s music documentary, which had its world premiere at the 31st Sarajevo Film Festival, not only revisits the making of cult album of the same name by the Zagreb band Haustor, but also brings together its members, led by Darko Rundek and Samuel Sacher.
WORLD PREMIERE
“Treći svijet” Reunites Haustor Members at Sarajevo Film Festival
Four decades after the Zagreb band Haustor released Treći svijet, one of the most acclaimed rock albums from the former Yugoslavia, the world premiere of Arsen Oremović’s film “Third World“ took place at the 31st Sarajevo Film Festival. The documentary, which explores the band’s early days and the creation of this celebrated album, after which the songwriting duo Darko Rundek and Samuel Sacher ceased collaborating, was screened as part of the Competition Programme – Documentary Film. “When I started discussing the film with the band members, we immediately agreed that we did not want to make a conventional biographical film about the band, where the same five music critics from the region would talk about their significance. We agreed that the right approach—given their truly vivid aesthetic—was to make a film about the things that shaped these two unique, yet very different, characters and artists,” said Croatian director Arsen Oremović, who won the Heart of Sarajevo for Best Documentary in 2014 with “Married to the Swiss Franc”. Through the words of all the band members who created album “Treći svijet” (Third World), alongside Rundek and Sacher, drummer Srđan Gulić, guitarist Zoran Zajec Zex, and saxophonist/keyboardist Damir Prica Capri, the film reveals how the album came to be. Perhaps even more importantly, it shows the relationships between the members and how the magic of Haustor truly came to life. The small spark Oremović ignited with his film also rekindled the band’s old passion. During the four years of filming, the members of Haustor decided to return to their old habits—heading into the studio together. After four decades of different paths, they reunited to work on a new dub version of the song “Treći svijet” and even recorded a new song, all of which can be seen and heard in the documentary, produced by Interfilm and Dan Mrak. For everyone who grew up with Haustor’s songs, or discovered them later, it was a special experience to see all the members together again in the Cineplexx multiplex hall, where the world premiere took place. During a conversation with the audience, Darko Rundek even offered a small exclusive: an explanation of what the opening lines of the song really mean: “Ustani i kreni, stražari su otrovani. Konji su spremni.” (Get up and move, the guards are poisoned. The horses await) “The guards represent what we think we know, what we believe is expected of us. The horses have always symbolized emotions, the soul. If we free ourselves from these mechanisms that have bound us and start working from the soul, that’s where the story begins,” said the lyricist Darko Rundek. Whenever Haustor is discussed, attention is always drawn to their influence on future generations of musicians, and to the question of how the band might sound today if they decided to return to the studio to create a new album. “Distortion is something I’ve really liked in recent years. I think music should have more noise, like when you reach a waterfall and sing songs there. Back then, we all played very cleanly, but now I would want us not to have that kind of sound,” emphasized Samuel Sacher, while Rundek added: “It seems to me that Haustor today exists in some recording gaps, among some new people. We received that spirit as an influence from various sources, and after us, it spread to others.” One of the people who absorbed Haustor’s spirit in the 1980s and carried it ever since is entrepreneur Emil Tedeschi, also known to music lovers as SMS Deutsch, and one of the producers of the film. “Their music defined me as a person; I would even say it shaped me. I joined this film relatively late, and I admit I’m not a typical producer, but I’m extremely proud of it and I invite everyone to watch it at the other festival screenings,” said Emil Tedeschi, also announcing that “Third World” will soon be released in cinemas across the region. Amid all the sweet nostalgia for what Haustor once was, a question lingered in the air: is there a chance we might see the band together again, not just on the big screen, but on a real stage? “In any case, the doors are not closed. If we feel we have something to say, then we’ll do it. If we don’t feel it, then we’ll just leave it as it is,” replied guitarist Zoran Zajec Zex. Four decades after the Zagreb band Haustor released Treći svijet, one of the most acclaimed rock albums from the former Yugoslavia, the world premiere of Arsen Oremović’s film “Third World“ took place at the 31st Sarajevo Film Festival. The documentary, which explores the band’s early days and the creation of this celebrated album, after which the songwriting duo Darko Rundek and Samuel Sacher ceased collaborating, was screened as part of the Competition Program – Documentary Film. “When I started discussing the film with the band members, we immediately agreed that we did not want to make a conventional biographical film about the band, where the same five music critics from the region would talk about their significance. We agreed that the right approach—given their truly vivid aesthetic—was to make a film about the things that shaped these two unique, yet very different, characters and artists,” said Croatian director Arsen Oremović, who won the Heart of Sarajevo for Best Documentary in 2014 with “Married to the Swiss Franc”. Through the words of all the band members who created album “Treći svijet” (Third World), alongside Rundek and Sacher, drummer Srđan Gulić, guitarist Zoran Zajec Zex, and saxophonist/keyboardist Damir Prica Capri, the film reveals how the album came to be. Perhaps even more importantly, it shows the relationships between the members and how the magic of Haustor truly came to life. The small spark Oremović ignited with his film also rekindled the band’s old passion. During the four years of filming, the members of Haustor decided to return to their old habits—heading into the studio together. After four decades of different paths, they reunited to work on a new dub version of the song “Treći svijet” and even recorded a new song, all of which can be seen and heard in the documentary, produced by Interfilm and Dan Mrak. For everyone who grew up with Haustor’s songs, or discovered them later, it was a special experience to see all the members together again in the Cineplexx multiplex hall, where the world premiere took place. During a conversation with the audience, Darko Rundek even offered a small exclusive: an explanation of what the opening lines of the song really mean: “Ustani i kreni, stražari su otrovani. Konji su spremni.” (Get up and move, the guards are poisoned. The horses await) “The guards represent what we think we know, what we believe is expected of us. The horses have always symbolized emotions, the soul. If we free ourselves from these mechanisms that have bound us and start working from the soul, that’s where the story begins,” said the lyricist Darko Rundek. Whenever Haustor is discussed, attention is always drawn to their influence on future generations of musicians, and to the question of how the band might sound today if they decided to return to the studio to create a new album. “Distortion is something I’ve really liked in recent years. I think music should have more noise, like when you reach a waterfall and sing songs there. Back then, we all played very cleanly, but now I would want us not to have that kind of sound,” emphasized Samuel Sacher, while Rundek added: “It seems to me that Haustor today exists in some recording gaps, among some new people. We received that spirit as an influence from various sources, and after us, it spread to others.” One of the people who absorbed Haustor’s spirit in the 1980s and carried it ever since is entrepreneur Emil Tedeschi, also known to music lovers as SMS Deutsch, and one of the producers of the film. “Their music defined me as a person; I would even say it shaped me. I joined this film relatively late, and I admit I’m not a typical producer, but I’m extremely proud of it and I invite everyone to watch it at the other festival screenings,” said Emil Tedeschi, also announcing that “Third World” will soon be released in cinemas across the region. Amid all the sweet nostalgia for what Haustor once was, a question lingered in the air: is there a chance we might see the band together again, not just on the big screen, but on a real stage? “In any case, the doors are not closed. If we feel we have something to say, then we’ll do it. If we don’t feel it, then we’ll just leave it as it is,” replied guitarist Zoran Zajec Zex.
Nasilje u obitelji obilježilo je odgoj redateljice Line Vdovîi, čiji film „Tata“, počinje onoga dana kada joj se zlostavljač osobno javi - njezin otac, odavno imigrant-fizički radnik u Italiji, pojavio se pred kamerom mobitela prekriven modricama...
Lina Vdovîi Tata
Nasilje kao pokazatelj muškosti
Kako ste reagirali na tatine ozljede, prije svega na fizičke jer ste ih prvo postali svjesni, a zatim i na dugotrajno psihičko zlostavljanje? Kad mi se otac prvi put obratio, u ljeto 2018., bila sam zatečena - ne samo neočekivanom prirodom njegove poruke, već i njenim duboko uznemirujućim sadržajem. Niko u obitelji nije imao pojma kroz što je tada prolazio. Oduvijek sam ga poznavala kao strogu, autoritativnu figuru - nekoga ko je ulijevao strah, a ne izazivao ranjivost. Vidjeti ga u tako krhkom, bespomoćnom stanju bilo je duboko dezorijentirajuće i probudilo je u meni složenu mješavinu emocija: empatiju, tugu i neriješenu bol. Moja prva instinktivna reakcija bila je da mu pomognem. I Radu (koredatelj Radu Ciorniciuc, op. a.) i ja dolazimo iz istraživačkog novinarstva i kroz naš rad već smo bili upoznati s pričama o iskorištavanju i zlostavljanju s kojima se suočavaju istočnoeuropski radnici migranti. Taj kontekst mi je pružio neku vrstu emocionalnog tampona; u početku sam situaciji pristupila kroz prizmu novinara, što mi je omogućilo da budem prisutna s njim, a da ne budem preplavljena osjećajima. Ipak, provođenje vremena s njim neizbježno je ponovno otvorilo stare rane, rane za koje nisam shvaćala da su još uvijek tako svježe. Način na koji je vaš tata tretiran u Italiji ni na koji način ne opravdava njegovo ponašanje prema obitelji. Kad se našao u situaciji zlostavljanja, očito se osjećao poniženo i povrijeđeno. Međutim, njegovo ponašanje prema vašoj majci nije se poboljšalo, on i dalje viče na nju i pokušava je kontrolirati. Koliko je teško ispraviti ukorijenjene obrasce ponašanja? U mnogočemu, to je bilo moje najveće razočaranje - i u smislu njegove osobne evolucije i kao lika u filmu. Naivno sam se nadala da će, nakon sveg vremena koje smo proveli zajedno tijekom ovog procesa, izaći kao promijenjen čovjek. Zato je njegovo ponašanje prema mojoj majci bilo tako poražavajuće; natjeralo me je da shvatim da se, u njegovoj srži, vrlo malo toga doista promijenilo. Ali moja se perspektiva s vremenom promijenila. Shvatila sam koliko je teško proći kroz duboku transformaciju bez smislenog sustava podrške. Zapravo, svećenik kojem se obratio za vodstvo nije osporavao njegova uvjerenja, umjesto toga on ih je pojačavao. Mog oca oblikovale su vrijednosti sovjetskog doba, gdje je nasilje bilo normalizirano, pa čak i institucionalizirano, od najviših razina vlasti do najintimnijih kutova obiteljskog života. Unutar tog okvira, nasilje nije bilo samo prihvaćeno, bilo je oznaka muževnosti. Kako neko može jednostavno sve to poništiti u 60-ima? Pogotovo sada, u vrijeme kada se čini da se ti isti ideali ponovno pojavljuju diljem svijeta. Tragedija ne leži samo u njegovom neuspjehu da se promijeni, već u širim sustavima koji nastavljaju održavati i potvrđivati upravo one obrasce u kojima je zarobljen. Čini se da je zlostavljanje u ruralnoj Moldaviji bilo vrlo rašireno. Kada razgovaraju jedna s drugom čini se da su sada žene nešto emancipiranije. Poboljšavaju li se stvari posljednjih godina ili desetljeća, poduzimaju li konkretne korake prema neovisnosti i oslobođenju? Ako pogledamo statistiku policije u Moldaviji, prijavljeni slučajevi obiteljskog nasilja više su se nego udvostručili od 2013., porastavši s oko 6000 slučajeva na preko 14 000 u 2024. Međutim, ne bih to nužno protumačila kao znak da se samo obiteljsko nasilje povećalo, već to sugerira da sve više žena pronalazi snagu i podršku da prijavi svoje zlostavljače. Ova promjena može biti dijelom posljedica šire javne rasprave vezane za ovaj problem posljednjih godina. Javnost ne zna dovoljno o lošem odnosu nekih talijanskih poslodavaca prema radnicima migrantima. Koliko se često dogodi da radnik prijavi maltretiranje i da bude barem financijski obeštećen, kao što je to uspio vaš tata, uz vašu veliku pomoć? Nažalost, slučajevi poput očevog, gdje radnik migrant ne samo da prijavi zlostavljanje već i stvarno primi financijsku naknadu, izuzetno su rijetki. Iako raste svijest o iskorištavanju i maltretiranju s kojima se suočavaju mnogi radnici migranti u Italiji, posebno oni iz istočne Europe, put do pravde i dalje je pun prepreka. Mnogi radnici se previše boje progovoriti, bojeći se odmazde, gubitka posla ili čak deportacije. Drugi jednostavno ne znaju svoja prava ili nemaju pristup pravnoj podršci ili pouzdanim institucijama. Čak i kada prijave zlostavljanje, pravni postupak može biti dug, skup i emocionalno iscrpljujući. U slučaju mog oca, činjenica da je na kraju dobio odštetu imala je više veze s pronalaženjem pravog odvjetnika nego sa sustavom koji rutinski provodi pravdu. Većina radnika migranata to nema. Nježnost i ljubav koju vaš partner i ko-redatelj i vi pokazujete prema svojoj kćeri svjedoče o tome da u vašoj obitelji gotovo sa nepokazivanjem pozitivnih osjećaja. Može li se ovaj pozitivan primjer proširiti po cijeloj Moldaviji i dobiti podršku obrazovnog i zdravstvenog sustava? Da, vjerujem da nježnost i otvorenost koju pokazujemo prema svojoj kćeri i jedno prema drugome mogu poslužiti kao mali, ali značajan primjer kako stvari mogu biti drugačije. U našoj obitelji svaki dan ulažemo svjesne napore kako bismo prekinuli ciklus emocionalne represije i nasilja koji je oblikovao prošle generacije. Pokazivanje naklonosti, izražavanje ranjivosti i stvaranje prostora u kojem su osjećaji dobrodošli, a ne strah od njih - to su gotovo radikalni činovi u kontekstu poput našeg. Ali oni su također duboko iscjeljujući. Vjerujem da je moguće da se ova promjena replicira šire diljem Moldavije, ali samo ako se podrži na sistemskoj razini. Javne škole trebaju podučavati emocionalnoj pismenosti od rane dobi - kako prepoznati, imenovati i upravljati osjećajima na zdrav način. To se događa u nekim privatnim obrazovnim ustanovama, ali trebalo bi biti uključeno i u javni sektor. A zdravstveni sustav, posebno usluge mentalnog zdravlja, treba daleko više ulaganja i dostupnosti kako bi obitelji u krizi mogle dobiti podršku koja im je potrebna. Promjena dolazi i kroz pripovijedanje. Filmovi, mediji i javni razgovori mogu osporiti štetne norme i ponuditi alternativne modele muževnosti, roditeljstva i ljubavi. Ako smo dovoljno hrabri da razgovaramo o onome što nas boli, možemo razgovarati i o onome što nas liječi. I to se, nadam se, može proširiti i prema van. Marinela Domančić
TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM
Takmičarski PROGRAM - dokumentarni FILM • Lina Vdovîi • Tata
Domestic violence marked the upbringing of director Lina Vdovîi, whose film “Tata” begins on the day her abuser reaches out to her in person – her father, long an immigrant and manual laborer in Italy, appears before the phone camera covered in bruises…
How did you react to your dad's injuries, first of all to the physical ones because you first became aware of them, and then to the long-term psychological abuse? When my father first reached out to me in the summer of 2018, I was taken aback, not just by the unexpected nature of his message, but by its deeply unsettling content. No one in the family had any idea of what he was going through at the time. I had always known him as a stern, authoritative figure - someone who inspired fear rather than vulnerability. To see him in such a fragile, helpless state was profoundly disorienting and stirred a complex mix of emotions in me: empathy, sorrow, and unresolved pain. My first instinctive reaction was to help him. Both Radu (husband and co-director Radu Ciorniciuc) and I come from investigative journalism backgrounds, and through our work, we were already familiar with stories of exploitation and abuse faced by Eastern European migrant workers. That context gave me a kind of emotional buffer; I initially approached the situation through the lens of a journalist, which allowed me to be present with him without becoming overwhelmed. Still, spending time with him inevitably reopened old wounds. Wounds I hadn’t realized were still so raw. The way your father was treated in Italy in no way justifies his behavior towards the family. When he found himself in the situation of being abused, he obviously felt humiliated and hurt. However, his behavior towards your mother has not improved, he still yells at her and tries to control her. How difficult is it to correct entrenched behavior patterns? In many ways, in that moment, this was my greatest disappointment both in terms of his personal evolution and as a character in the film. I had held on to a naive hope that, after all the time we spent together during this process, he would come out a changed man. That’s why his behavior toward my mother felt so devastating; it made me realize that, at his core, very little had truly changed. But my perspective has shifted over time. I’ve come to understand how difficult it is for someone to undergo a profound transformation without a meaningful support system. In fact, the priest he turned to for guidance didn’t challenge his beliefs, instead, he reinforced them. My father was shaped by Soviet-era values, where violence was normalized and even institutionalized, from the highest levels of government down to the most intimate corners of family life. Within that framework, violence was not only accepted, it was a marker of masculinity. How can someone simply undo all of that in their 60s? Especially now, in a time when those same ideals seem to be resurfacing across the globe. The tragedy lies not just in his failure to change, but in the broader systems that continue to uphold and validate the very patterns he’s trapped in. Abuse in rural Moldova appears to have been widespread. Women seem somewhat more emancipated when talking to each other. Are things improving in recent years, or decades, are they taking concrete steps towards independence and liberation? If we look at the statistics of the Police in Moldova, reported cases of domestic violence have more than doubled since 2013, rising from around 6,000 cases to well over 14,000 in 2024. However, I wouldn’t necessarily interpret this as a sign that domestic violence itself has increased—rather, it suggests that more women are finding the strength and support to report their abusers. This shift may, in part, be due to a broader public conversation that has emerged around the issue in recent years. The public does not know enough about the bad attitude of some Italian employers towards migrant workers. How often does it happen that a worker reports bullying and is at least financially compensated, as your dad, with your great help, managed to do? Unfortunately, cases like my father’s, where a migrant worker not only reports abuse but actually receives financial compensation, are extremely rare. While there is growing awareness of the exploitation and bullying that many migrant workers in Italy face, especially those from Eastern Europe, the path to justice is still filled with obstacles. Many workers are too afraid to speak up, fearing retaliation, job loss, or even deportation. Others simply don’t know their rights or lack access to legal support or trustworthy institutions. And even when they do report abuse, the legal process can be long, expensive, and emotionally draining. In my father’s case, the fact that he was eventually compensated had more to do with finding the right lawyer than with a system that routinely delivers justice. Most migrant workers don’t have that. The tenderness and love that your partner and co-director and you show towards daughter are evidence that hiding positive feelings is over in your family. Can this positive example be spread throughout Moldova and get the support of the education and health system? Yes, I do believe that the tenderness and openness we show toward our daughter, and toward each other, can serve as a small but meaningful example of how things can be different. In our family, we’re making a conscious effort every day to break the cycle of emotional repression and violence that shaped past generations. Showing affection, expressing vulnerability, and creating a space where feelings are welcomed rather than feared, these are almost radical acts in a context like ours. But they are also deeply healing. I believe it’s possible for this shift to be replicated more broadly across Moldova, but only if it's supported at a systemic level. Public schools need to teach emotional literacy from an early age - how to recognize, name, and manage feelings in healthy ways. It does happen in some private educational institutions, but it should also be included in the public sector. And the health system, especially mental health services, needs far more investment and accessibility so that families in crisis can get the support they need. Change also comes through storytelling. Films, media, and public conversations can challenge harmful norms and offer alternative models of masculinity, parenting, and love. If we’re brave enough to talk about what hurt us, we can also talk about what heals us. And that, I hope, can ripple outward. Marinela Domančić
Competition PROGRAMME - Documentary FILM
Violence as a Marker of Masculinity
Competition PROGRAMME - Documentary FILM Lina Vdovîi Tata
Katalin Bársony Vidio sam „suno“
Dugi niz godina redateljica Katalin Bársony je i kamerom i cijelim svojim srcem pratila pokušaje dječaka Nesmira Hasanija da se iz kosovskog kampa za interno raseljena lica vrati u rodnu Njemačku.
photo by Martina Movrić
Ostvarenje sna
Činjenica da ste ovaj film snimali 14 godina impresivna je sama po sebi. Kada dodamo da ste sve vrijeme pratili borbu jednog mladog Roma i njegove obitelji za bazična ljudska prava, to postaje još impresivnije. Koliko ste osobne snage, posvećenosti i požrtvovanja posvetili ovom filmu? Od prvog trenutka kada je Nesmir pogledao u kameru i poslao poruku svom učitelju u Njemačkoj putem naše kamere, duboko sam osjetila borbu našeg glavnog protagonista. Nesmir je bio vrlo posebno dijete, očito izgubljen u izbjegličkom kampu gdje sam ga prvi put upoznala, nije razumio ni srpski ni mnogo romskog. Već sam bila upoznata s okolinom jer sam nekoliko godina ranije snimila film na srodnu temu, „Zarobljeni: Zaboravljena priča o mitrovačkim Romima“. Taj kratki film prikazuje Nesmirovu baku. Bila je privilegija razgovarati s njom, slušati je i snimati je. U našoj kulturi, starije Romkinje čuvaju većinu narativnih blaga. Činjenica da sam žena pomogla je da ispričalA njenu priču. Tada nisam mogla zamisliti koliko će vremena trebati da se prati priča o Nesmiru, njezinom tek pristiglom unuku koji govori njemački. Da bismo ispričali pravu Nesmirovu priču, morali smo pričekati da vidimo kako se ponovno integrirao u Njemačku. Da biste uhvatili dugoročne društvene tranzicije, morate biti strpljivi, ponekad čekati godinama. Želim da svi znaju da ova priča ima sretan kraj. Kad smo započeli film, nismo imali pojma kako će se priča odvijati. Ali oduvijek sam znala da je to posebna priča. Nesmir i njegova braća uložili su nevjerojatan trud da pomognu jedni drugima. Vedat se morao ponašati kao odrasla osoba dok je još bio tinejdžer. Komplicirane pravne okolnosti koje su ih razdvajale činile su prepreke koje su prevladali kako bi se ponovno ujedinili. Na kraju, nakon mnogo godina, birokracija je proradila. Dublinski postupak omogućio je obitelji da se ponovno okupi i dao im je priliku da ostanu u Njemačkoj. U filmu vidimo utjecaj dugotrajnih napora obitelji da ostanu povezani i da se brinu za mlađu braću. Vedat, najstariji brat, postao je inženjer u Njemačkoj, a kasnije je radio kao voditelj procesa kvalitete za Airbus. Ostvario je svoj puni potencijal dijelom zato što je mogao ostati u Njemačkoj i nastaviti studij, dok su njegova braća propustila 4 godine škole zaglavljena u izbjegličkom kampu. Nesmir, njegova majka i brat smješteni su u kamp za interno raseljena lica u Leposaviću iako nisu interno raseljeni već su deportirani iz Njemačke u kojoj su dječaci rođeni. Ovdje su poslani zato što im je baka bila tu ili je to uobičajena praksa sa deportiranim Romima na Kosovu? Godine 2009., kada je Nesmir prisilno repatriran zajedno s majkom i bratom, obitelj nije imala druge mogućnosti nego pridružiti se najbližoj rodbini u kampu za interno raseljene osobe. Nesmirova baka prvi je put upoznala svoje unuke. Međunarodne organizacije bile su protiv prisilne repatrijacije poput one koju je doživjela Nesmirova obitelj. Nisu se uključile u preseljenje kako ne bi poticale tu politiku. Tako je obitelj završila u kampu za interno raseljene osobe. Mnogi domovi su uništeni, a apatridija je i dalje bila problem. Veliki dio zajednice boravio je u kampovima za interno raseljene osobe. Važno je napomenuti da prisilna repatrijacija nije utjecala samo na romsku zajednicu. Godinama je Zapadna Europa bilježila priljev albanskih i srpskih ratnih izbjeglica od kojih su se mnogi vratili. U većini tih slučajeva ljudi su bili obeštećeni i na kraju reintegrirani u društvo. To nije bio slučaj s Romima, od kojih se većina još uvijek bori s problemima poput pristupa obrazovanju i povrata bivše imovine. Iako se na međunarodnoj sceni se priča o problemima između Albanaca i Srba na Kosovu, Romi se rijetko spominju. Zapravo se najčešće prešućuju, kao da su kolateralna šteta, a radi se o desetinama hiljada ljudi. Koji je, prema vašem iskustvu, najefikasniji način da se više i objektivnije govori o ovom problemu? Ja sam strana redateljica i istraživačka novinarka. Godinama sam pokušavala shvatiti zašto i kako je moguće da su Romi završili u kampu za interno raseljene osobe smještenom u blizini topionice olova. Bilo je vrlo malo informacija o patnji zajednica Roma, Aškalija i Egipćana tijekom i nakon rata. Informacije i dokazi često su ostali nekontekstualizirani ili etiketirani i stigmatizirani od strane svih uključenih. Vrlo malo je učinjeno kako bi se razotkrio ili razumio učinak rata na RAE zajednicu. Isto tako, gotovo ništa nije učinjeno u smislu pomirenja ili priznavanja patnji zajednice. Istraga Specijalizirane komore Kosova konačno počinje kontekstualizirati ovu priču. Drago mi je što je mogla biti dio našeg filma. Mnogo je napisano o balkanskim ratovima, ali patnja Roma ostala je uglavnom skrivena od javnosti. Predstavljajući - otkrivajući - priču o Nesmiru i njegovoj obitelji nadamo se potaknuti otvoreniju raspravu. To će potaknuti razumijevanje perspektiva i potreba romskih stanovnika bivših kampova za interno raseljene osobe, ljudi na koje uvelike utječu politike u čijem su osmišljavanju rijetko sudjelovali. Možda je to trebalo pitati na početku, ali mogu li vas zamoliti da pojasnite na šta se odnosi „suno“ iz naslova filma? Jedan uspješni producent mi je jednom rekao: „Ne možete koristiti romski naslov ako je film namijenjen međunarodnoj distribuciji.“ Odgovorila sam da se naš jezik nikada ne bi koristio u kinima da nismo dovoljno hrabri da ga koristimo u strategijama informiranja javnosti, knjigama, pjesmama, podcastima, kao i u naslovima filmova. Stoga sam sretna što imam priliku naučiti vas jednu riječ na našem jeziku, romski „Suno“ znači san. Suno Dikhlem znači „Vidio sam san“. Snimanje filma je timski rad. Ovaj dugogodišnji trud ne bi bio moguć bez nevjerojatnog kreativnog tima koji stoji iza filma. Oni su san o ovom filmu pretvorili u stvarnost, omogućili su inovacije, eksperimentiranje, istraživanje i snimanje u mnogim različitim zemljama. Svi smo zahvalni što smo mogli pokrenuti međunarodni krug prikazivanja našeg filma i nikada nismo odustali, i to nam pruža pravu radost što smo uspjeli ostvariti taj san. Marinela Domančić
Takmičarski PROGRAM -dokumentarni FILM • Katalin Bársony Vidio sam „suno“
The fact that you spent 14 years making this film is impressive in itself. When we add that you have been following the struggle of a young Roma and his family for basic human rights, it becomes even more impressive. How much personal strength, dedication and sacrifice did you devote to this film? From the first moment Nasmi looked into the camera and sent a message through our camera to his schoolteacher in Germany, I deeply felt the struggle of our main protagonist. Nasmi was a very special child, clearly lost in the refugee camp where I first met him, not understanding the Serbian language or much Romani. I was already familiar with the surroundings as a few years earlier I made a film on a related subject, “Trapped: The forgotten story of the Mitrovica Roma”. That short film features Nasmi’s grandmother. It was a privilege to talk with her, and listen to her and record her. In our culture, elderly Romani women hold most of the narrative treasures. The fact that I am a woman opened doors when telling her story. I could not imagine back then how long it would take to follow the story of Nasmi, her freshly arrived German-speaking grandson. To do justice to Nasmi's story, we needed to wait to see how he re-integrated to Germany. To capture long-term social transitions you need to be patient, sometimes wait for years. I want everybody to know that this story has a happy ending. When we started the film, we had no idea how the story would unfold. But I always knew it was a special story. Nasmi and his brothers made an amazing effort to help one another. Vedat had to act like an adult when he was still a teenager. The complicated legal circumstances that kept them apart were all just obstacles they overcame to reunite. In the end, after many years, the bureaucracy worked. The Dublin Procedure allowed the family to get back together and gave them the opportunity to stay in Germany. In the film we see the impact of the family's long effort to stay connected and to provide for the younger brothers. Vedat, the eldest brother, became an engineer in Germany and later worked as a quality process manager for Airbus. He reached his potential partially because he was able to stay in Germany and continue his studies, while his brothers missed 4 years of school stranded in a refugee camp. Nasmi, his mother and brother were placed in an internally displaced persons camp in Leposavić, although they were not internally displaced but deported from Germany, where the boys were born. Were they sent here because their grandmother was there, or is this common practice with deported Roma in Kosovo? Back in 2009, when Nasmi was forcibly repatriated along with his mother and brother, there was no other option for the family than to join their closest relatives in the IDP camp. Nasmi's grandmother met her grandchildren for the very first time. International organizations were against forced repatriation like what the Nasmi family experienced. They did not get involved in resettlement so as not to encourage the policy. This is how the family ended up in the IDP camp. So many homes were destroyed and statelessness continued to be a problem. IDP camps still hosted a great proportion of the community. It is really important to note that forced repatriation did not only affect the Roma community. For years, Western Europe saw an influx of Albanian and Serbian war refugees many of whom were also returned. In most of these cases, people were compensated and eventually reintegrated into society. This has not been the case for Roma, most of whom are still struggling with issues like access to education and reclaiming former properties. Although the international community is talking about the problems between Albanians and Serbs in Kosovo, the Roma are rarely mentioned. In fact, they are often ignored, as if they were collateral damage, even they involve tens of thousands of people. What, in your experience, is the most effective way to talk more, and more objectively, about this problem? I am a foreign filmmaker and investigative journalist. I spent years trying to understand why and how it was possible that Roma ended up in an IDP camp situated near a toxic lead smelter. There was very little information about the Roma Ashkali and Egyptians communities' suffering during and after the war. Information and evidence often remained un-contextualized or labeled and stigmatized by all involved. There has been very little work done to expose or understand the effect of the war on the RAE community. Likewise, next to nothing has been done in terms of reconciliation or recognition of the sufferings of the community. The investigation of Kosovo Specialist Chamber is finally starting to contextualize this story. I am happy it could be a part of our film. A lot has been written about the Balkan Wars, but the suffering of the Roma people has remained largely hidden from public view. By presenting the story of Nasmi and his family we hope to encourage more open discussion. This will foster an understanding of the perspectives and needs of the Romani inhabitants of former IDP camps, people greatly affected by policies that they rarely have a hand in designing. Perhaps it should have been asked at the beginning, but could I ask you to clarify what the "Suno" in the title of the film refers to? A successful producer once said to me “You cannot use Romani as the title of a film meant for international distribution.“ I replied that our language would never be used in cinemas if we were not brave enough to use it in outreach strategies, books, poems, podcasts as well as film titles. So I am glad for the opportunity to teach you a word in our language, Romani “Suno” means dream. Suno Dikhlem means “I saw a dream“. Filmmaking is a team effort. This years-long effort would not have been possible without the incredible creative team behind the film. They made the dream of this film a reality, they made it possible to innovate, experiment and research and film in many different countries. We all are grateful for being able to start the international release circuit of our film and, we never gave up on and it gives us real joy that we were able to realize this Dream. Marinela Domančić
Competition PROGRAMME Documentary FILM
A dream coming true
Katalin Bársony I saw a “Suno”
For many years, director Katalin Bársony followed with her camera and her heart the efforts of young Nesmir Hasani to return from a Kosovo camp for internally displaced persons to his native Germany.
Competition PROGRAMME - Documentary FILM Katalin Bársony I saw a “Suno”
Sarajevo Film Festival bilježimo kao jednu od najdugovječnijih suradnji, što već kao činjenica progovara u komplimentima. Zadovoljstvo nam je iz godine u godinu razvijati zajedničke inicijative, tražiti zajedničku publiku i potrošače, nuditi novitete na starim i novim lokacijama, družiti se na Grand kafi sa…, doručku s Argetom, i pratiti sjajan filmski program. Kao društveno odgovorna kompanija rado pratimo i razvoj zelenih i održivih inicijativa Festivala i veselimo se ovogodišnjem festivalskom tjednu! Sarajevo Film Festival is one of our longest-standing collaborations, which in itself speaks volumes. It is our pleasure to develop joint initiatives year after year, seek a shared audience and consumers, offer novelties at old and new locations, have a Grand kafa with…, a breakfast with Argeta, and watch an exquisite film selection. As a socially responsible company, we are happy to support the development of the Festival's green and sustainable initiatives and we look forward to this year's festival week!
Nikola Ležaić, reditelj filma „Kako je ovdje tako zeleno“ / Nikola Ležaić, director of the film How Come It's All Green Out Here?
Projekcija filma „Izgubljeni Dream Team“ / Screening of the film The Lost Dream Team
Rediteljica Kukla na Talents Sarajevo / Director Kukla at Talents Sarajevo
Festivalski život / Festival Life
Documentary Press Corner
Atmosfera na zabavi Turističke zajednice Sarajevo / Atmosphere at the Sarajevo Tourist Board Party
Pas Lija na Talents Sarajevo / Dog Lija at Talents Sarajevo
Nikada ne razmišljam o filmovima koje sam već snimio
Reditelj Michel Franco, renomirani glas savremenog meksičkog filma, održao je Masterclass na 31. Sarajevo Film Festivalu, gdje je okupljenima otkrio specifičan način na koji nastaju njegovi hvaljeni filmovi.
Masterclass
Michel Franco
Sarajevo Film Festival razvilo je program Masterclass kao mjesto gdje vodeći suvremeni autori razgovaraju s publikom te otkrivaju tajne zanata. No, razgovor s meksičkim rediteljem Michelom Francom na 31. Sarajevo Film Festivalu nije mogao ne započeti s pričom o – gradu Sarajevu. „Kada su me prvi put pozvali da pokažem svoj film na Sarajevo Film Festivalu rekao sam si da moram prihvatiti poziv. Ipak se jednom u životu pruži prilika da dođem u Sarajevo. Tko zna kada će sljedeći poziv doći“, objasnio je Franco u dvorani Bosanskog kulturnog centra, ali i odmah dodao: „A evo me sada vjerojatno po deseti put u Sarajevu, koje je postalo moj drugi dom.“ Jednako kako meksički reditelj voli Sarajevo, tako i publika Sarajevo Film Festivala voli njegove filmove, što se vidjelo i na projekciji njegovog posljednjeg filma „Snovi“ prikazanog u ispunjenoj dvorani Skenderija. Film u kojem glavnu ulogu ima holivudska zvijezda Jessica Chastain dočekan je aplauzom, ali njegov reditelj ga nije ostao gledati. „Nikada ne razmišljam o filmovima koje sam već snimio. I nikada ih ne gledam ponovno. Prije tri godine sam s Mirom Purivatrom sjedio u Hrvatskoj, na festivalu u Slanom, dok je prikazivan moj film 'Nakon Lucije'. Nismo gledali film, ali je projekcija bila na otvorenom, pa sam ga vidio izdaleka. I činilo se dobrim, ali nisam imao poriv prići bliže i gledati ga. To je zato što ne želim živjeti u prošlosti, već u sadašnjosti“, istaknuo je Michel Franco, čiji su filmovi, kao što su „Novi poredak“, „Hronični“, „Zalazak sunca“ i „Nakon Lucije“, višestruko nagrađivani na festivalima u Cannesu i Veneciji. U razgovoru, koji je moderirao Ennis Ćehić, nagrađivani filmski autor, rođen u Mexico Cityju, osvrnuo se i na svoje početke i odluku da umjesto odlaska u neku filmsku školu – odmah počne snimati filmove. „Kada sam bio mlad imali smo samo dvije filmske škole, u koje se bilo teško upisati. Bio je to dugačak i mučan proces, koji sam svakako htio izbjeći. Oni su preferirali studente koji su već diplomirali nešto drugo, a ja sam samo htio snimati filmove. Nisam htio prvo završiti pravo da bih mogao snimati filmove“, izjavio je Franco, koji je brzo prešao s riječi na djela. Krenuo je snimati kratke filmove, vrlo često bez budžeta, i svjesno griješio. „Snimao sam loše kratke filmove. Snimio sam ih petnaestak, a samo ih je možda trećina bila smislena. To je bila moja filmska škola. Radio sam filmove, puno griješio, i tako učio“, priznao je Michel Franco, koji i danas uz režiju sam piše svoje scenarije, ali i producira filmove. Tijekom tog procesa učenja razvio je svoj način stvaranja filmova. On je, zapravo, vrlo jednostavan. Scene uvijek snima kronološki, odmah montira, a ako nema dovoljno veliki budžet da bi snimio ono što je zamislio, prilagodi se onom budžetu koji ima. Sve kako bi nastavio snimati. „Ako budžet nije dovoljan za puno likova, onda ću smisliti priču koja nema puno likova“, vrlo je jasan Franco u svojoj viziji snimanja filmova. Kako snima kronološki, onda ne koristi usluge skriptera, a ponekad snima i bez scenografa i kostimografa. Kako? Tako da glumci na set dolaze u svojoj odjeći, baš kao što je Jessica Chastain u filmu „Memory“ koristila odjeću iz svojeg ormara. Takav pristup omogućio je da snima ritmom od gotovo pa jednog filma godišnje i to isključivo pod njegovim uvjetima. „Ako trebam smanjiti budžet s 1,5 milijuna na 150 000 dolara, napravit ću to jer želim snimiti film. Ne želim čekati 10 godina na novi film. Vrijeme je najvrjednija stvar koju imamo, zašto ga trošiti na čekanje“, iskreno je kazao Michel Franco na Masterclassu Sarajevo Film Festivala. „Prvenstveno me zanimaju ljudi. I uvijek to mora biti osobni pristup. Dobri filmovi, barem u mojem slučaju, nikada ne idu s namjerom da snime priču o nekoj temi, a zatim se posvete likovima. Uvijek ide suprotno, prvo likovi, onda priča, a zatim se iz priče rodi tema“, kazao je Franco, koji veliku pažnju posvećuje pisanju scenarija. Tu je izuzetno discipliniran, pa kada krene pisati onda to radi svakodnevno tako da napiše pet stranica. Čak i ako ima inspiraciju, stane kada dođe do pete stranica, a onda nastavlja sutra. A subotom i nedjeljom ne piše jer, kako sam kaže, svakome je potreban odmor. I kada sve napiše i pripremi, onda dolazi prava magija – glumci. „Obožavam odlične glumce, jer su maštoviti i često će oplemeniti ono što ste napisali, učiniti vašu priču puno boljom“, priznao je Michel Franco. Zato i njega glumci vole, pa čak i ako ne mogu dobiti visoke honorare, glumci poput Jessice Chastain, Tima Rotha i Petera Sarsgaarda rado će prihvatiti ulogu u njegovom filmu. „Pravi trik je okružiti se talentiranim ljudima koji bolje od vas znaju što zapravo želite“, otkrio je „tajnu“ dobroga filma Franco, ali i odmah dodao: „No, ne smijete zaboraviti da je film vizija jednog čovjeka. Rade ga mnogi ljudi i svi su oni važni, ali uvijek mora biti jedna osoba čija se vizija slijedi. Najčešće je ta osoba reditelj.“ "It is always a pleasure to welcome filmmakers who have marked the history of film. Michel Franco, recipient of the Honorary Heart of Sarajevo at the 26th Sarajevo Film Festival, returned to Sarajevo tonight with his latest film DREAMS, which premiered at this year's Berlin Film Festival. Franco's films are precise, they leave no one indifferent and are not afraid to confront interpersonal relationships and society. The film DREAMS is no different. I would say it is even more radical," Marjanović said. "Sarajevo is my second home. I have been coming for years with numerous films and I am grateful for the welcome. I can say that people in Sarajevo are happy to have one of the best film festivals in the world. I have been telling my producer about the Festival for years and now she came with me to see how beautiful it is here," said Michel Franco. "This is incredible, I'm very excited and I hope we can enjoy the film together," said Eréndira Núñez Larios. The film DREAMS is about a Fernando,a young ballet dancer from Mexico, dreams of international recognition and a life in the United States. Believing his lover, Jennifer, a socialite and philanthropist, will support him, he leaves everything behind narrowly escaping death in the process. However, his arrival disrupts Jennifer’s carefully curated world. She will do anything to protect both their futures and the life she has built.
Director Michel Franco, a prominent voice in contemporary Mexican cinema, held a Masterclass at the 31st Sarajevo Film Festival, where he shared with the audience his distinctive approach to crafting his acclaimed films.
I Never Think About the Films I’ve Already Made
The Sarajevo Film Festival developed its Masterclass program as a space where leading contemporary filmmakers engage with audiences and reveal the secrets of their craft. Yet the conversation with Mexican director Michel Franco at the 31st Sarajevo Film Festival could not begin without first turning to the city of Sarajevo itself. “When I was first invited to screen my film at the Sarajevo Film Festival, I told myself I had to accept. You only get a chance like that once in a lifetime – to come to Sarajevo. Who knows when another invitation would come,” Franco explained to the audience at the Bosnian Cultural Center, before quickly adding: “And here I am now, probably for the tenth time in Sarajevo, which has become my second home.” Just as Franco loves Sarajevo, so too does the Sarajevo Film Festival audience love his films — something evident at the packed Skenderija screening of his latest film “Dreams”, starring Hollywood actress Jessica Chastain. The film was met with applause, though its director did not stay to watch it. “I never think about the films I’ve already made. And I never watch them again. Three years ago, I was with Miro Purivatra in Croatia, at the festival in Slano, when my film 'After Lucia' was being screened. We didn’t actually watch it, but it was an open-air screening, so I caught a glimpse from a distance. It seemed good, but I had no urge to get closer and watch it. That’s because I don’t want to live in the past — I want to live in the present,” said Michel Franco, whose films such as “New Order”, “Chronic”, “Sundown” and “After Lucia” have won multiple awards at Cannes and Venice. In the conversation, moderated by Ennis Ćehić, the award-winning filmmaker born in Mexico City, Franco also reflected on his beginnings and his decision to forgo film school and start making films right away. “When I was young, there were only two film schools, and getting in was a long and painful process I definitely wanted to avoid. They preferred students who already had a degree in something else, but I just wanted to make films. I didn’t want to finish a law degree first just to be able to direct,” said Franco, who quickly moved from words to action. He began shooting short films, often with no budget, and embraced making mistakes deliberately. “I made bad short films. I shot around fifteen of them, and maybe only a third had any real meaning. That was my film school. I made films, I made a lot of mistakes, and that’s how I learned,” admitted Michel Franco, who still today not only directs but also writes his own scripts and produces his films. Through that process of trial and error, he developed his own method of filmmaking — one that is, in fact, very simple. He always shoots scenes in chronological order, edits immediately, and if he doesn’t have the budget to film exactly what he envisioned, he adapts to the budget he has. All in order to keep making films. “If the budget isn’t big enough for a large cast, then I’ll come up with a story that doesn’t require many characters,” Franco said, summing up his straightforward vision of filmmaking. Because he shoots chronologically, he doesn’t work with a script supervisor, and at times he films without a production designer or costume designer. How does he manage that? By having actors show up on set in their own clothes - just as Jessica Chastain did in “Memory”, wearing pieces from her own wardrobe. That approach has allowed him to keep up a pace of nearly one film per year. And always on his own terms. “If I have to cut the budget from 1.5 million to 150,000 dollars, I’ll do it, because I want to make the film. I don’t want to wait ten years for the next one. Time is the most valuable thing we have, why waste it waiting?” Michel Franco said candidly at the Sarajevo Film Festival Masterclass. “My primary interest is people. And it always has to be a personal approach. Good films, at least in my case, never start with the intention of telling a story about a subject and only then turning to the characters. For me, it’s always the opposite: first the characters, then the story, and out of that story, the theme emerges,” explained Franco, who devotes great care to writing. He is extremely disciplined in this part of the process: when he writes, he commits to five pages a day. Even if inspiration strikes, he stops once he reaches page five and continues the next day. Saturdays and Sundays are off. “Everyone needs rest,” as he puts it. And once everything is written and prepared, that’s when the real magic begins with the actors. “I love working with great actors, because they’re imaginative and often elevate what you’ve written, making your story much better,” admitted Michel Franco. That’s also why actors love working with him — even if the fees aren’t high, performers like Jessica Chastain, Tim Roth, and Peter Sarsgaard are eager to take on roles in his films. “The real trick is to surround yourself with talented people who understand what you want better than you do,” Franco revealed as his “secret” to a good film, but quickly added: “Still, you must never forget that film is the vision of a single person. Many people work on it and all of them are important, but there always has to be one person whose vision guides the process. Most often, that person is the director.”
BUY TICKET
KOEGZISTENCIJA, MALO SUTRA! / COEXISTANCE, MY ASS! Director: Amber Fares
STAZA / THE TRACK Canada, Bosnia and Herzegovina, 2025, 92 min. Director: Ryan Sidhoo
OPEN AIR PREMIERE
Noam Shuster Eliassi odrasla je kao doslovni reklamni primjerak izraelsko-palestinskog mirovnog procesa prije vlastitog snažnog zaokreta ka stand-up komediji i političkoj satiri. Međutim, dok njena regija sve dublje tone u razorno nasilje, ona se mora suočiti s historijskim trenutkom tako što će svoju publiku suočiti s teškim istinama u kojima nema ničeg smiješnog. Noam Shuster Eliassi grew up as the literal poster child for the Israeli-Palestinian peace process before making a hard pivot to stand-up comedy and political satire. But, as the region sinks deeper into devastating violence, she must meet the moment by challenging her audiences with hard truths that are no laughing matter.
STAZA je moderna priča o odrastanju koja prati troje adolescenata – Mirzu, Zlatana i Hamzu – u nastojanju da ostvare svoj olimpijski san u postratnoj Bosni i Hercegovini. Dok treniraju na svojoj mecima oštećenoj bob-stazi, reliktu Zimskih olimpijskih igara u Sarajevu 1984, vodi ih njihov istrajni trener Senad. Njegova nepokolebljiva predanost obnovi zapuštene staze odraz je njegove borbe da momcima obezbijedi budućnost u zemlji s jednom od najviših stopa nezaposlenosti među mladima na svijetu. THE TRACK is a contemporary coming-of-age story that follows three teenagers—Mirza, Zlatan, and Hamza —as they chase their Olympic dreams in post-war Bosnia and Herzegovina. Training on their bullet-riddled luge track, a relic of the 1984 Sarajevo Winter Games, the boys are guided by their resilient coach, Senad. His unwavering commitment to rebuilding the neglected track mirrors his struggle to secure a future for the boys in a country burdened with one of the highest youth unemployment rates in the world.
HUMAN RIGHTS DAY
Na programu danas... / On today's schedule...
ROMERIA Spain, Germany, 2025, 104 min. Director: Carla Simón Cast: Llúcia Garcia, Mitch, Tristán Ulloa, Alberto Gracia, Miryam Gallego, Janet Novás, José Ángel Egido .
U Crnoj Gori tokom 19. stoljeća umirući pjesnik-vladar Morlak odlazi u Italiju u potrazi za lijekom, napuštajući svoju domovinu. Kako mu se stanje pogoršava, njegov odani sluga Đuko, rastrgan između dužnosti i čežnje, suočava se sa sve većom sjenkom sudbine svoga gospodara, boreći se s ljubomorom, nostalgijom za domom i neodoljivim osjećajem propasti. In 19th-century Montenegro, a dying poet-ruler journeys to Italy in search of a cure for his condition. As his health worsens, his devoted servant, torn between duty and longing, faces the lengthening shadow of his master’s fate, battling jealousy, homesickness, and an unshakable sense of doom.
U FOKUSU/IN FOCUS
OTAPANJE VLADARA / WONDEROUS IS THE SILENCE OF MY MASTER Montenegro, Italy, France, Croatia, Serbia, 2025, Colour, 93 min. Director: Ivan Salatić Cast: Marko Pogačar, Luka Petrone, Tea Ljubešić, Jakov Zovko, Vanja Matić, Vladimir Milošević, Igor Božanić
KINOSCOPE
Osamnaestogodišnja Marina, koja je kao dijete ostala siroče, mora otputovati na atlantsku obalu Španije da bi roditelji njenog oca, koje nikada nije upoznala, potpisali njenu prijavu za školsku stipendiju. Trudi se izaći na kraj s poplavom novih tetaka i rodbine, nesigurna hoće li je prihvatiti ili odbaciti. Budeći davno potisnute emocije, oživljavajući nježnost i otkrivajući rane iz prošlosti o kojima se ne govori, Marina sklapa fragmentirane i često kontradiktorne uspomene na roditelje kojih se jedva sjeća. Orphaned at a young age, at eighteen Marina must travel to the Atlantic coast of Spain to obtain a signature for a scholarship application from paternal grandparents she has never met. She navigates a sea of aunts, uncles, and cousins, uncertain whether she will be embraced or met with resistance. As her visit stirs long-buried emotions, revives tenderness, and uncovers unspoken wounds, Marina pieces together fragmented, often contradictory memories of the parents she barely remembers.