Festival Daily 30. Sarajevo Film Festival 03

FESTIVAL DAILY Oskarovac Cord Jefferson na 30. Festivalu / Oscar Winner Cord Jefferson  at the 30th Festival www.sff.ba #30thSFF NEDJELJA / SUNDAY 18.08.2024. 55 SADRŽAJ 32 COMPETITION FEATURE: ANDREI COHN You Have to Make the Viewer Ask Questions 29 51 45 KInoscope :Mathilde Henrot i Alessandro Raja - selektori Filmska zadovoljstva za svačiji ukus 7 38 COMPETITION documentary: LESIA DIAK I Had False Hope It Would Be Better 14 54 nominees for the hearth of sarajevo for tv series Van konkurencije – dokumentarni: proslavan  Sarajevo i zoran vole se javno nominovani za Srce sarajeva za tv serije 27 FOTO GALERIJA: CRVENI TEPIH 22 COMPETITION FEATURE European Premiere of Family Therapy CONTENT 11 TAKMIČARSKI DOKUMENTARNI: RADA ŠEŠIĆ Pecanje u rijeci vremena out of competition: documentary: proslavan Sarajevo and Zoran: A Public Love Affaird TAKMIČARSKI IGRANI: Andrei Cohn Morate natjerati gledaoca da postavlja pitanja TALENTS SARAJEVO 42 12 10 TAKMIČARSKI IGRANI Europska premijera filma „Obiteljska terapija“ COMPETITION documentary: rada šešić Fishing in the River of Time Masterclass sa Cordom Jeffersonom:  Komično o teškim stvarima Honorrary Heart of Sarajevo Christof Papousek: I Have a Heart for Sarajevo 48 4 53 10 GRAND COFFE WITH... Danis Tanović: I Tip My Hat to  the People Behind the Festival GRAND KAFA SA... Danis Tanović: Skidam kapu  ljudima koji rade Festival 11 PHOT GALLERY: RED CARPET 51 TALENTS SARAJEVO 16 20 TAKMIČARSKI DOKUMENTARNI: LESIA DIAK Imala sam lažnu nadu da će biti bolje Masterclass with Cord Jefferson:  Humor in difficult things FOTO GALERIJA: FESTIVALSKI ŽIVOT PHOTO GALLERY: FESTIVAL LIFE 56 24 NA PROGRAMU DANAS... ON TODAYS SCHEDULE... POČASNO SRCE SARAJEVA Christof Papousek: „I ja imam srce za Sarajevo KInoscope :Mathilde Henrot  i Alessandro Raja - programmers There are cinematic pleasures for every taste 35 Cord Jefferson, nagrađivani američki scenirist i reditelj filma „Američka fikcija“, održao je masterclass u Bosanskom kulturnom centru u sklopu programa 30. Sarajevo Film Festivala. MASTERCLASS Masterclass sa Cordom Jeffersonom: Komično  o teškim stvarima Jefferson, dobitnik Oscara® i Emmyja, govorio je o svom filmu „Američka fikcija“, koji je sinoć bio prikazan u Ljetnom kinu Coca-Cola, u sklopu programa Open Air. Masterclass je moderirao pisac Ennis Ćehić. Na početku razgovora istakao je da je ljudima u Americi teško razgovarati o rasi, seksualnosti i identitetu, a da pri tome ne postanu emotivni, ljuti i uznemireni. "Posebno je teško smijati se tim stvarima i pronaći humor u njima. Zbog toga sam odlučio da na početku imam scenu koja će na neki način ljudima dati dopuštenje da se smiju, te im dati do znanja da ovo neće biti film u kojem ćemo biti super ozbiljni u vezi s ovim problemima", kazao je Jefferson, dodajući da se „Američka fikcija“ tim pitanjima bavi na drugačiji način. U nastavku razgovora Jefferson je govorio o svojim literarnim počecima, istakavši kako mu je majka, dok je još bio u trećem razredu, kazala da će se baviti pisanjem, a njemu je trebalo 20 godina da to shvati. Bavio se drugim poslom, ali je svakog dana, kada bi došao kući, pisao, jer se osjećao neispunjeno. Pisanje se prvo pretvorilo u hobi, a potom je počeo da piše za magazin i godinama se bavio književnim poslom. "Poznavao sam mnogo ljudi kojima je umjetnost bila hobi, ali nisam poznavao nikoga kome je to bila primarna karijera. Vjerujem da ako ne dolazite iz tog okruženja, može da vam bude pomalo teško shvatiti kako umjetnost može biti profesija koja je i za vas. Ja sam iz grada koji se zove Tucson u Arizoni. Nije previše daleko od Los Angelesa, ali je sigurno daleko kulturološki. Mislio sam da su umjetnici u New Yorku i Los Angelesu, Parizu i Londonu, a ne iz mjesta iz kojeg sam ja", kazao je. Zasnovan na romanu "Brisanje" Percivala Evertta, film „Amerilka fikcija“ duhovit je rediteljski prvijenac Corda Jeffersona koji se konfrontira s opsesivnim impulsom naše kulture da ljude svodimo na naglašene stereotipe. Zvijezda filma je Jeffrey Wright u ulozi Monka, frustriranog književnika koji je umoran od toga što sistem profitira od "crnačke" zabave zasnovane na starim i uvrjedljivim klišejima. Kako bi dokazao svoju tvrdnju, Monk pod pseudonimom piše vlastitu "crnačku" knjigu koja ga smješta u središte hipokrizije i ludila koje tvrdi da prezire. Cord Jefferson AMERIČKA FIKCIJA MASTERCLASS Cord Jefferson AMERIČKA FIKCIJA Jefferson, an award-winning American screenwriter and director, Oscar® and Emmy winner, spoke about his film American Fiction, which was shown last night at the Coca-Cola Open Air Cinema, as part of the Open Air programme. Masterclass was moderated by writer Ennis Ćehić. At the beginning of the conversation, he pointed out that it is difficult for people in America to talk about race, sexuality and identity without becoming emotional, angry and upset. "It's especially hard to laugh at these things and find humor in them. That's why I decided to have a scene at the beginning that would kind of give people permission to laugh, and let them know that this is not going to be a movie where we're going to be great serious about these issues," Jefferson said, adding that American Fiction deals with these issues in a different way. In the continuation of the conversation, Jefferson talked about his literary beginnings, pointing out that when he was still in the third grade, his mother told him that he would be a writer, and it took him 20 years to realize that. He was engaged in other work, but every day, when he came home, he wrote, because he felt unfulfilled. Writing first turned into a hobby, and then he started writing for a magazine and for years engaged in literary work. "I knew a lot of people who had art as a hobby, but I didn't know anyone who made it their primary career. I believe that if you don't come from that background, it can be a little difficult for you to understand how art can be a profession that is for you. I I'm from a town called Tucson, Arizona. It's not too far from Los Angeles, but it's certainly far away culturally. I thought the artists were in New York and Los Angeles, Paris and London, not where I'm from." , he said. Based on Erasure, the novel by Percival Everett, American Fiction is Cord Jefferson's hilarious directorial debut, which confronts the contemporary obsession with reducing people to outrageous stereotypes. Jeffrey Wright stars as Monk, a frustrated novelist who's fed up with the establishment making profits from Black entertainment that relies on tired and offensive tropes. To prove his point, Monk uses a pen name to write an outlandish Black book of his own—a book that propels him to the heart of hypocrisy and the madness he claims to disdain. Sub-headings Masterclass with Cord  Jefferson: Humor  in difficult things Cord Jefferson AMERIcan fiction MASTERCLASS Cord Jefferson held a masterclass at the Bosnian Cultural Center as part of the programme of the 30th Sarajevo Film Festival. Europska premijera filma „Obiteljska terapija“ European Premiere of Family Therapy Takmičarski igrani • Competition Feature Director Sonja Prosenc led the film crew on the red carpet in front of the National Theatre ahead of the European premiere of Family Therapy. The tragicomic film, centered on a family of Slovenian nouveau riche, explores contemporary social issues. Family Therapy stars Marko Mandić, Aliocha Schneider, Katarina Stegnar, and Mila Bezjak. Redateljica Sonja Prosenc predvodila je filmsku ekipu na europskoj premijeri „Obiteljske terapije“ na crvenom tepihu ispred Narodnog pozorišta uoči europske premijere filma. Tragikomični film, u čijem je središtu obitelj slovenačkih novobogataša, propituje aktuelne društvene probleme. U „Obiteljskoj terapiji“ glume Marko Mandić, Aliocha Schneider, Katarina Stegnar i Mila Bezjak. Crveni tepih / Red Carpet Glumica Belma Salkunić-Bektešević / Actress Belma Salkunić-Bektešević TV serija „Komar“: Una Gunjak, Amel Kovačević, Amra Bakšić Čamo, Olja Runjić, Emina Omerović / TV series Komar: Una Gunjak, Amel Kovačević, Amra Bakšić Čamo, Olja Runjić, Emina Omerović Novinarka Dejana Rosuljaš / Journalist Dejana Rosuljaš Ekipa TV serije „Komar“ / The cast and crew of the TV series Komar Više fotografija možete pronaći OVDJE. More festival photos you can find HERE. Sonja Prosenc, redateljica filma „Obiteljska terapija“ / Sonja Prosenc, director of Family Therapy Glumica Bojana Gregorić Vejzović / Actress Bojana Gregorić Vejzović Film „Backup“: Rijad Gvozde, Bojana Gregorić Vejzović, Šuhreta Duda Sokolović, Jasna Diklić  The film Backup: Rijad Gvozde, Bojana Gregorić Vejzović, Šuhreta Duda Sokolović, Jasna Diklić Ekipa filma „Backup“ / The cast and crew of Backup Christof Papousek: „I ja imam srce za Sarajevo“ U znak priznanja za njegovu izvanrednu podršku Festivalu i lokalnoj filmskoj produkciji, Christof Papousek dobit će Počasno Srce Sarajeva na 30. Sarajevo Film Festivalu. „Čast mi je biti dio porodice sa Srcem Sarajeva – jer i ja imam srce za Sarajevo“, rekao je Papousek, suvlasnik Constantin Film-Holdinga te finansijski direktor i managing partner Cineplexx Internationala, čija je veza s gradom i Festivalom dugotrajna i plodonosna. Uspješno partnerstvo između Sarajevo Film Festivala i Cineplexx kino grupe traje više od desetljeća. Multipleks Cineplexx Sarajevo lokacija je 30. Sarajevo Film Festivala s najvećim brojem kino dvorana na jednom mjestu, gdje festivalska publika ima priliku gledati filmove iz različitih festivalskih programa. Ove godine, Barco Series 4 projektori Cineplexxa, koji će biti dio opreme korištene na Festivalu, pružit će publici najkvalitetnije projekcije. „Film je umjetnost i zabava; kino je dom za filmove i najbolji način da se doživi film – u cijeloj njegovoj složenosti. Kino je domaćin blockbusterima i umjetničkim filmovima, komercijalnom sadržaju i festivalima. Cineplexx je ponosan što je domaćin Sarajevo Film Festivala u centru grada i ponosan što ga podržava s najboljom dostupnom tehnologijom za filmske projekcije“, rekao je Papousek. „Sarajevo Film Festival je važan za razumijevanje kulture, historije i politike. Atmosfera, uzbuđenje i kvaliteta filmova motivirali su me da podržim Festival od naših prvih dana poslovanja ovdje.“ Christof Papousek pridružio se grupaciji Constantin Film & Cineplexx 1999. godine, nakon što je radio kao konsultant, i rekonstruirao je finansijski odjel i strukturu kompanije. Godine 2004. postao je generalni direktor i finansijski direktor, a 2008. godine, zajedno s porodicom Langhammer i Constantin Film-Holding GmbH, suosnovao je međunarodnu kino operaciju grupe Cineplexx International, kao poduzetnik i suvlasnik. U isto vrijeme, Cineplexx International je formirao partnerstvo s Enverom Hadžiabdićem, što je označilo početak Cineplexxa u regiji Jugoistočne Evrope. Danas kompanija upravlja sa 70 kina u 12 zemalja, uključujući sve zemlje bivše Jugoslavije. Cineplexx podržava lokalnu filmsku produkciju i cijeni važnost domaćih filmova. „Naša najdublja zahvalnost ide Christofu za njegovu nepokolebljivu podršku i partnerstvo tokom godina. Njegova posvećenost našoj zajedničkoj viziji ne samo da je obogatila naš Festival, već je stvorila i istinsko prijateljstvo koje duboko cijenimo. Ovo Počasno Srce Sarajeva znak je naše zahvalnosti za njegovu trajnu posvećenost i neprocjenjiv doprinos svijetu filma“, rekao je Mirsad Purivatra, predsjednik Sarajevo Film Festivala. Počasno Srce Sarajeva uspostavljeno je 2005. godine kako bi se odalo priznanje izuzetnim postignućima pojedinaca u afirmaciji i razvoju filmske industrije, kao i podršci i razvoju Sarajevo Film Festivala. Sub-headings Počasno Srce Sarajeva Christof Papousek:  I Have a Heart for Sarajevo Honorrary Heart of Sarajevo In recognition of his outstanding support of the Festival and local film production, Christof Papousek will receive the Honorary Heart of Sarajevo Award at the 30th Sarajevo Film Festival. "I feel honoured to be part of the family with a Heart of Sarajevo – because I have a Heart for Sarajevo," said Papousek, co-owner of Constantin Film-Holding and CFO and Managing Partner of Cineplexx International, whose connection with the city and the Festival has been long and fruitful. The successful partnership between the Sarajevo Film Festival and the Cineplexx cinema group has lasted for more than a decade. The Cineplexx Sarajevo multiplex is the location of the 30th Sarajevo Film Festival with the highest number of cinema halls in one place, where the festival audience has the opportunity to watch films from various festival programs. This year, Cineplexx's Barco Series 4 projectors, which will be part of the equipment used at the festival, will provide audiences with the highest-quality screenings. "Cinema is art and entertainment; cinema is the home for movies and the best way to experience a movie – in its whole complexity. Cinema hosts blockbusters and art films, commercial content, and festivals. Cineplexx is proud to host Sarajevo Film Festival in the center of town and proud to support it with the best available projection technology," said Papousek. "Sarajevo Film Festival is important to understand the culture, the history and politics. The atmosphere, excitement, and quality of the movies were a motivation for me to support the festival from our very early days of doing business here." Christof Papousek joined the Constantin Film & Cineplexx group of companies in 1999, after working as a consultant, and he reconstructed the financial department and company structure. In 2004, he became Managing Director & CFO, and in 2008, together with the Langhammer family and Constantin Film-Holding GmbH, he co-founded the group’s international cinema operation, Cineplexx International, as an entrepreneur and co-shareholder. At the same time, Cineplexx International formed a partnership with Enver Hadžiabdić, marking the beginning of Cineplexx in the region of Southeast Europe. Today, the company operates 70 cinemas in 12 countries, including all the countries of the former Yugoslavia. Cineplexx supports local film production and appreciates the importance of local movies. „Our deepest gratitude goes to Christof for his unwavering support and partnership over the years. His dedication to our shared vision has not only enriched our festival but has also fostered a true friendship that we deeply cherish. This Honorary Heart of Sarajevo is a token of our appreciation for his enduring commitment and invaluable contribution to the world of cinema,“ said Mirsad Purivatra, president of the Sarajevo Film Festival. The Honorary Heart of Sarajevo Award was established in 2005 to recognize individuals for their outstanding contributions to the affirmation and development of the film industry, as well as their support and development of the Sarajevo Film Festival. Danis Tanović: Skidam kapu ljudima koji rade Festival U programu „Grand Kafa sa...“ o filmu „Nakon ljeta“ govorili su reditelj Danis Tanović te glumci Goran Navojec, Uliks Fehmiu i Anja Matković, ujedno i scenaristica filma. GRAND KAFA SA... Praćen ovacijama i gromoglasnim pljeskom publike, novi film oskarovca i dvostrukog dobitnika berlinskog Srebrnog medvjeda Danisa Tanovića „Nakon ljeta“ otvorio je u petak jubilarno, 30. izdanje Sarajevo Film Festivala. Prikazana na više lokacija u Sarajevu, ali i u Mostaru te Tuzli, ova komična drama privukla je veliki interes publike, koja će ga nakon Festivala moći od 29. augusta pogledati u kinima širom Bosne i Hercegovine. Film je nekoliko dana prije svjetske premijere bio rasprodan u sva tri grada. „Ne znam jesam li ispunio očekivanja, jer ne znam očekuje li iko još išta od mene. Svaki film mi je drugačiji od prethodnoga, pa tako i 'Nakon ljeta' od onoga što sam ranije snimao“, rekao je reditelj Tanović tokom razgovora na Festivalskom trgu u sklopu programa „Grand Kafa sa…“. „Sarajevo Film Festival je stvarno nevjerojatna priča. Doživljavam ga kao nešto svoje, uvijek sam ga doživljavao kao nešto doista moje. Ljudi koji ga rade, ja im stvarno skidam kapu, nije to jednostavan posao. A Festival je davno prerastao granice Bosne i Hercegovine“, poručio je bh. reditelj. Uz njega su bili glumci Goran Navojec, Uliks Fehmiu i Anja Matković, ujedno i scenaristica, koji su otkrili detalje o nastanku filma. „Snimanje na otoku je predivno i preromanitčno, ali produkcijski je izuzetno zahtjevno. Pogotovo na otoku Prviću gdje nema motornih vozila osim freze i malih traktora. Uz to uračunajte i vremenske uvjete, a većinom snimate eksterijere, onda znate što sve može krenuti krivo“, izjavio je glumac Goran Navojec, istaknuvši da su ipak imali sreće. Od svih snimajućih dana – samo je jedan padala kiša. „Uglavnom ne pozdravljam producente, oni su prirodni neprijatelji umjetničkog osoblja, ali ovaj put im čestitam jer su sve to uspjeli izdržati“, kazao je Navojec. „Nakon ljeta“ nastao je u produkciji Propeler Filma (Hrvatska) te u koprodukciji s kućama Tangaj Production (Rumunjska), Obala Art Centar (Bosna i Hercegovina), Baš Čelik (Srbija) i Tramal Films (Slovenija), a producenti su Lana Matić, Boris T. Matić, Jelena Mitrović, Srdan Golubović, Mirsad Purivatra, Jovan Marjanović, Anamaria Antoci, Miha Černec i Jožko Rutar. Uz sve pohvale producentima, život na setu filma „Nakon ljeta“ ipak je imao i neočekivane događaje. Nimalo čudno ako se zna da su važan dio filma – krave. „Kada pročitam scenarij gdje vidim životinje i djecu, uvijek preskočim. Ali raditi s kravama… Bilo bi najbolje da smo snimili dokumentarac o tome. Mi smo krave doveli na otok, pa su nam pobjegle i na kraju smo ih ganjali po otoku kako bi snimili još jedan kadar“, s osmijehom na licu rekao je reditelj Tanović. Glavna glumica i scenaristica Anja Matković progovorila je, pak, o samoj temi filmske priče o mladoj ženi Maji, koja dolazi na udaljeni otok kako bi riješila pitanje obiteljskog nasljedstva te u vrtlogu novonastalih emocija, kroz niz nepredviđenih situacija, mora se suočiti s pitanjima iz svoje prošlosti. „Nadam se da je kroz film progovorila ta ženska suosjećajnost, da su gledatelji osjetili taj senzibilitet“, kazala je Matković. Da je za uspjeh filma potrebna dobra ekipa, potvrdio je i glumac Uliks Fehmiu. „Kada gledam Gorana u kadru, kada gledam ono što Danis radi, onda je želim u tome sudjelovati. Želim takve filmove gledati, ali ih i snimati“, kazao je Fehmiu, inače sin glumačke legende Bekima Fehmia, koji Sarajevo osjeća u svojem – srcu, „Sudbonosno sam povezan sa Sarajevom. Otac mi je rođen u Sarajevu, ja sam tu služio vojsku, moja supruga Snežana je ulogom Bademe postala nekakav dio tkanine ovoga grada… Emigrirao sam 1993. u Ameriku, i sjedim tamo, pečem hljeb kako bih preživio, kad se 2001. pojavljuje Danisov film 'Ničija zemlja'. Idem da ga pogledam u Lincoln centru i u mraku počinje verzija uspavanke s kojom je mene moja majka uspavljivala, a ja uspavljujem svoje dijete. Nigdje nikada je drugdje nisam čuo. To je sandžačka uspavanka – 'nani milo sam te prevario, prije tebe nego tvoju majku…' A s njom počinje i završava 'Ničija zemlja'. Eto, Sarajevo je u mojim venama, što da kažem“, emotivno je ispričao svoju priču Uliks Fehmiu, zasluživši aplauz prisutnih. Film je nastao uz potporu Hrvatskog audiovizualnog centra, Ministarstva kulture i sporta Kantona Sarajevo, Fondacije za kinematografiju Sarajevo, Rumunjskog filmskog centra, Filmskog centra Srbije, Slovenskog filmskog centra i Potprograma MEDIA Programa Kreativne Europe za razvoj projekta te u koprodukciji sa BH Telecomom. Na press druženju istaknut je i značaj BH Content Laba, najveće domaće platforme za produkciju audio vizuelnih sadržaja, zahvaljujući kojoj je veliki broj profesionalaca imao priliku raditi i snimati nove projekte. Sub-headings GRAND KAFA SA... GRAND KAFA SA... Accompanied by standing ovations and thunderous applause, the latest film by Oscar winner and two-time Berlinale Silver Bear recipient Danis Tanović, My Late Summer, kicked off the 30th Sarajevo Film Festival on Friday. The comedic drama, screened at multiple locations in Sarajevo, as well as in Mostar and Tuzla, drew significant public interest. Following the festival, it will be released in theaters across Bosnia and Herzegovina starting August 29. Tickets for the film were sold out in all three cities days before its world premiere. "I'm not sure if I met expectations because I don't know if anyone expects anything from me anymore. Each of my films is different from the last, and My Late Summer is no exception," Tanović said during the "Grand Coffe with..." conversation in Festival Square. "The Sarajevo Film Festival is truly an incredible story. I see it as something deeply personal, something truly mine. The people who run it—I really tip my hat to them; it’s not an easy job. The Festival has long outgrown the borders of Bosnia and Herzegovina," the Bosnian director emphasized. Joining Tanović were actors Goran Navojec, Uliks Fehmiu, and Anja Matković, who shared insights into the making of the film. "Shooting on the island is beautiful and overly romantic, but it's extremely challenging from a production standpoint. Especially on the island of Prvić, where there are no motor vehicles except for small tractors and tillers. Add to that the weather conditions, and since most scenes are shot outdoors, you know how much can go wrong," said actor Goran Navojec, noting that they were fortunate—out of all the shooting days, it only rained on one. "I usually don't praise producers—they're the natural enemies of the artistic staff—but this time I congratulate them for enduring it all," Navojec added. My Late Summer was produced by Propeler Film (Croatia) and co-produced by Tangaj Production (Romania), Obala Art Centar (Bosnia and Herzegovina), Baš Čelik (Serbia), and Tramal Films (Slovenia). The producers include Lana Matić, Boris T. Matić, Jelena Mitrović, Srdan Golubović, Mirsad Purivatra, Jovan Marjanović, Anamaria Antoci, Miha Černec, and Jožko Rutar. Despite all the praise for the producers, life on the set of My Late Summer had its unexpected moments, which isn’t surprising considering that cows played a significant role in the film. "When I read a script that involves animals or children, I usually skip it. But working with cows... It would have been best if we had made a documentary about it. We brought the cows to the island, they ran away, and we ended up chasing them all over the island to shoot just one more scene," director Tanović recounted with a smile. Lead actress and screenwriter Anja Matković spoke about the film’s central theme, which follows a young woman named Maja who arrives on a remote island to resolve an issue of family inheritance. Amid a whirlwind of newfound emotions and a series of unforeseen situations, she is forced to confront issues from her past. "I hope the film conveys that female empathy, that viewers feel that sensitivity," Matković said. The importance of having a strong team for a successful film was echoed by actor Uliks Fehmiu. "When I see Goran in a scene, when I see what Danis is doing, I want to be part of it. I want to watch films like this, but also make them," said Fehmiu, the son of legendary actor Bekim Fehmiu, who has a deep connection to Sarajevo. "I am fatefully connected to Sarajevo. My father was born in Sarajevo, I served in the army here, my wife Snežana, through her role as Badema, became part of the fabric of this city... I emigrated to America in 1993, and in 2001, Danis’ film No Man's Land came out. I went to see it at the Lincoln Center, and in the dark, the lullaby with which my mother put me to sleep, and with which I now put my child to sleep, started playing. I've never heard it anywhere else. And it’s the lullaby that begins and ends No Man's Land. Sarajevo is in my veins, what else can I say?" Fehmiu shared emotionally, earning applause from the audience. The film was made with the support of the Croatian Audiovisual Center, the Ministry of Culture and Sports of Sarajevo Canton, the Sarajevo Film Fund, the Romanian Film Center, the Film Center of Serbia, the Slovenian Film Center, and the MEDIA sub-program of Creative Europe for project development, in co-production with BH Telecom. Sub-headings In the "Grand Coffe with..." program, filmmaker Danis Tanović, along with actors Goran Navojec, Uliks Fehmiu, and Anja Matković—who also co-wrote the script—discussed the film My Late Summer. Danis Tanović: I Tip My Hat to  the People Behind the Festival Grand Kafa with… Kinoscope Filmska zadovoljstva  za svačiji ukus Kakav je proces odabira filmova za program Kinoscope? Posjećujemo što više filmskih festivala, kako fizički, tako i virtuelno, od septembra do augusta, gledajući brojne filmove koji pobuđuju našu znatiželju. Strpljivo gradimo program koji omogućava da novi glasovi i trendovi isplivaju i budu podijeljeni s publikom u Sarajevu svake godine. Uvijek se radi o konstrukciji, ali i o osjećaju onoga što savremeni filmski stvaraoci izražavaju kroz svoje umjetničke forme i teme svojih filmova. Koliko često ste se, u trinaest godina koliko kurirate Kinoscope, razilazili u mišljenjima oko nekog filma? Puno razgovaramo o filmovima koje gledamo. Ponekad različito vrednujemo određene kvalitete i razmatramo rizike koji bi trebali biti cijenjeni kao obećanja velikih talenata. Programiranje nije samo umjetnička odluka; to je i odgovornost koja uključuje etiku i vrijednosti. Nije riječ samo o jednom ili drugom filmu, već o cjelokupnoj selekciji koja se cijeni zbog svoje raznolikosti i reprezentacije filmskih izraza jedne određene godine. Šta publika Sarajevo Film Festivala može očekivati ove godine? Samo sjajne filmove! Iz svih krajeva svijeta, iz 20 različitih zemalja, sastavili smo vrlo eklektičan izbor briljantnih filmova. Među odabranim dokumentarcima su dobitnik Zlatnog medvjeda „Blago Kraljevine Dahomey“ Mati Diop; snažan film „Presretnuti“ ukrajinske rediteljice Oksane Karpovych, zasnovan na snimcima presretnutih telefonskih razgovora iz 2022. godine između ruskih vojnika u Ukrajini i njihovih porodica; te duboko dirljiv „Crna kutija: Dnevnici“ Shiori Ito, koja, kao žrtva zlostavljanja, hrabro dokumentuje svoj pravni proces u knjizi i filmu. Što se tiče igranih filmova, tu je dobitnik Un Certain Regard nagrade „Crni pas“ od Guana Hua, vizuelno zapanjujuće istraživanje dirljive veze između čovjeka i psa. Također, još jedan veliki pobjednik Un Certain Regard, „Priča o Sulejmanu“ Borisa Lojkinea, donosi dirljivu priču o teškom danu afričkog imigranta u Parizu. Kinoscope također donosi arthouse otkrića, od kojih je većina debitanata. „Julie je odlučila da šuti“ Leonarda Van Dijla, je slojevita priča o ženama koje se suočavaju sa zlostavljanjem u kontekstu mladog takmičarskog tenisa, suptilno pokazujući koliko je teško govoriti protiv počinitelja. „Pepe“ Nelsona Carlosa De Los Santosa Ariasa je halucinatorno putovanje između dva kontinenta, spajajući dokumentarac i fikciju, usredotočeno na nilskog konja koji je stranac u čudnoj zemlji. U okviru Kinoscope Surreal programa, volimo originalne pristupe pričama o vampirima. Ove godine impresionirao nas je film „Humanistički nastrojena vampirica traži voljnu suicidalnu osobu“ Ariane Louis-Seize, te priča o vampiru zaljubljenom u „Kada padne noć“ Céline Rouzet. Zombi invazija se dešava u filmu „Počivali u miru“ Thee Hvistendahl, smještenom na malom izoliranom ostrvu uz obalu Norveške, gdje će Renate Reinsve, poznata po svojoj ulozi u „Najgora osoba na svijetu“, učiniti sve da ih porazi. U Francuskoj, invazija je druge vrste u vrlo intenzivnom akcijskom filmu „Gamad“, režiranom od novajlije Sébastiana Veniceka. Imamo i film koji će se svidjeti ljubiteljima trilera: za sve Tarantinove fanove, ne propustite „Posljednje zaustavljanje u Okrugu Yuma“ debitantskog američkog reditelja Francisa Galluppija. Jedan film ove godine kreće u avanturističko putovanje, spajajući fikciju i video igre. To je „Pojedi noć“ dvojca Caroline Poggi i Jonathan Vinel. Film je savršen primjer koliko tanka granica između stvarnog života i video igara može biti, kao i kako film može koristiti video igre s velikim uspjehom, kako estetski tako i narativno. Odlučili smo zatvoriti program posljednjim radom renomiranog reditelja i izvanrednog pripovjedača koji uvijek radosno iznova izmišlja svoj film. Miješajući napetost, humor i duboko poznavanje ljudske prirode: „Misericordia“, sedmi film Alaina Guiraudiea. Filmska zadovoljstva za svačiji ukus! Koji su novi trendovi koje vidite u svjetskoj kinematografiji? Možemo definitivno primijetiti da je indijska kinematografija imala sjajnu godinu, s prekretnicama u pričama koje su režirale žene, a koje govore o ženama, reafirmišući njihovu poziciju i zauzimajući stav u indijskom društvu. Debitantski igrani film Payal Kapadia, „Sve što zamišljamo kao svjetlost“, premijerno je prikazan u takmičarskom programu Cannesa i osvojio Grand Prix. Ona će doći u Sarajevo i predstaviti svoj divan film publici. „Santosh“, režirana od Sandhye Suri, a producirana od strane bivšeg programera Kinoscopea Mikea Goodridgea, donosi priču o ženi koja preuzima neočekivanu ulogu nakon iznenadne smrti svog muža. Ove priče o otpornosti, nagrađene na prestižnim festivalima, konačno dobivaju priznanje koje zaslužuju. Postoje li novi autori za koje ste posebno uzbuđeni? Da! Ove godine Kinoscope program sadrži sedam debitantskih filmova i pet drugih filmova, tako da većina selekcije prikazuje nove talente koje smo oduševljeni podijeliti s publikom Sarajevo Film Festivala! Vjerujemo da će mnogi od ovih reditelja postati majstori sutrašnjice jer pokazuju snažan talent, kako stilistički tako i narativno. Svježe lansirani na Locarno Film Festivalu, samo sedmicu prije njihovog prikazivanja u Sarajevu, „Toksično“ režiran od litvanske rediteljice Saulė Bliuvaitė i Skill Issue njemačkog reditelja Willyja Hansa bit će predstavljeni i predstavljeni publici u Sarajevu od strane samih reditelja. Ne propustite ih i uživajte u njihovom istraživanju mladosti u njihovim matičnim zemljama! Josip Jurčić Sub-headings Sub-headigs Vampiri, zombiji i video igre – sve to (i više!) možete pronaći u programu Kinoscope, o kojem razgovaraju programeri Mathilde Henrot i Alessandro Raja. Mathilde Henrot i Alessandro Raja selektori Mathilde Henrot I Alessandro Raja SELEKTORI There are cinematic  pleasures for every taste What is the process for selecting films for the Kinoscope program? We attend physically and virtually as many film festivals as we can from September to August and watch many films that trigger our curiosity. Patiently, we build a program that allows for new voices and trends to emerge and be shared with the Sarajevo audience every year. It is always about construction but also a lot about feeling what contemporary filmmakers express, in their artistic forms and in the themes of their films. In the thirteen years you have been curating the Kinoscope selection, how often have you had disagreements about a film? We discuss a lot about the films we watch. We sometimes appreciate certain qualities differently, ponder about risks that should be valued as promises of great talents. Programming is not just an artistic decision, it's also a responsibility that involves ethics and values. It is also not just about one film or another but about an ensemble appreciated in its diversity as well as in its representation of cinematic expressions of a specific year. What can the audience at the Sarajevo Film Festival expect this year? Only great films! Coming from the four corners of the world and 20 different production countries, we boast a very eclectic selection of brilliant films. Selected documentaries include Golden Bear winner Dahomey by Mati Diop; the powerful Intercepted by Ukrainian filmmaker Oksana Karpovych, based on recordings of phone conversations intercepted in 2022 between Russian soldiers in Ukraine; and their families and the deeply moving Black Box Diaries by Shiori Ito, a victim of abuse herself, finding the courage to take on the whole process of her legal fight and documenting it in a book and a film. Among the fiction films, Un Certain Regard winner Black Dog by Guan HU, a visually stunning exploration of a touching bond between a man and a dog. Also, another big winner of Un Certain Regard, The Story of Souleymane by Boris Lojkine, the affecting story of an African immigrant's hard day in Paris. Kinoscope also features arthouse discoveries (much of our selection is composed of 1st time filmmakers as detailed later): Julie Keeps Quiet, directed by Leonardo Van Dijl, is a multi-layered story about women facing harassment in the context of youth competitive tennis, subtly showing how difficult it is to speak up against a perpetrator. The wonderful Pepe by Nelson Carlos De Los Santos Arias is a hallucinatory trip between two continents, weaving documentary and fiction, centered on a hippo who’s a stranger in a strange land. Within Kinoscope Surreal we love original takes on vampire stories and this year we were impressed by Humanist Vampire Seeking Consenting Suicidal Person by Ariane Louis-Seize and a vampire in love in For Night Will Come directed by Céline Rouzet. A zombie invasion will also occur in Handling the Undead by Thea Hvistendahl, taking place on a small isolated island off the coast of Norway. Renate Reinsve, known for her role in The Worst Person in the World, will do all she can to fight them off. In France, the invasive ones are of a different kind in the very intensely action packed Vermin, directed by newcomer Sébastian Venicek. We also boast a crowd pleasing thriller: for all Tarantino fans, do not miss The Last Stop In Yuma County directed by first-time US filmmaker Francis Galluppi... This year, one film goes on an adventurous journey, blending fiction and video games. It’s Eat The Night by the duo Caroline Poggi and Jonathan Vinel. The film is a perfect example of how thin the border between real life and video games can become, and also how cinema can use video games with great results, both aesthetically and from a narrative point of view. We decided to close the program with the latest opus of a renowned director and a wonderful storyteller who is always joyfully reinventing his cinema. Mixing suspense, humor and profound knowledge of human nature: Misericordia, Alain Guiraudie’s seventh film. There are cinematic pleasures for every taste! What are the new trends that you see in world cinema? Well, we can definitely note that Indian cinema had a glistening year, with watershed stories directed by women filmmakers and talking about women, reaffirming their position and taking a stance in Indian society. Payal Kapadia’s first fiction All We Imagine as Light, premiered in the Cannes Competition and took home the Grand Prix. She will be coming to Sarajevo and present her wonderful film to the audience. Santosh, directed by Sandhya Suri, and produced by previous Kinoscope programmer Mike Goodridge, features a woman taking on an unexpected job role after the sudden death of her husband. These stories of resilience awarded in prestigious festivals, are getting the recognition that they deserve. Are there any new authors you are particularly excited about? Yes! We feature 7 first time features in the Kinoscope program this year, and 5 second time features, so the vast majority of the films are new talent we are thrilled to share with the Sarajevo FF audience! We believe that many of these filmmakers will become the masters of tomorrow as they show strong talent, both stylistically and from a narrative point of view. Freshly launched at the Locarno Film Festival, just a week before their Sarajevo screening, Toxic directed by Lithuanian filmmaker Saulė Bliuvaitė and Skill Issue by German filmmaker Willy Hans will be presented and introduced to the Sarajevo audience by their filmmakers. Be sure not to miss them and enjoy their exploration of youth in their respective countries! Josip Jurčić Sub-headings Sub-headings Kinoscope Vampires, zombies, and video games – you can find all of that (and more!) in Kinoscope programme, and programmers  Mathilde Henrot and Alessandro Raja talk about that selection. KINOSCOPE • Mathilde Henrot I Alessandro Raja • SELEKTORI KINOSCOPE • Mathilde Henrot i Alessandro Raja • selektori Sa svojim trećim filmom, „Velika sedmica“, rumunjski reditelj Andrei Cohn vraća se u Sarajevo uz intrigantnu priču o antisemitskom okruženju u Rumunjskoj početkom 20. vijeka. Takmičarski igrani  Andrei Cohn VELIKA SEDMICA Morate natjerati gledaoca  da postavlja pitanja Kako se osjećate ponovo biti na Sarajevo Film Festivalu nakon što je vaš debitantski igrani film „Povratak kući“ prikazan ovdje 2015. godine? Nostalgično. Moj početak u kinematografiji definitivno je vezan za Sarajevo. Prije „Povratka kući“, došao sam 2012. godine s kratkim filmom „Porodične slike“. Zahvalan sam festivalu na povjerenju koje mi je ukazano na samom početku karijere, kao i na hrabrosti što su danas pozvali moj film „Velika sedmica“. Film je zasnovan na noveli Uskršnja baklja Iona Luke Caragialea. Kako je tekao proces adaptacije? Ne mogu reći da li sam prilagodio Caragialeovu novelu svojim temama ili sam prilagodio svoje teme noveli. Moj odnos s tekstom bio je poput otkrića. Dug period u svom životu živio sam paralelno s ovim tekstom, kojeg znam od mladosti i koji mi se oduvijek jako sviđao, s jedne strane, a s druge strane s izvjesnom napetošću u vezi s pitanjem jevrejskog identiteta, a da pritom te dvije stvari nisam povezivao. Zbog toga ne mogu odnos s ovim tekstom opisati kao "proces adaptacije", već kao vrlo intiman odnos čije mehanizme mi je teško opisati. To je odnos prožet snažnim emocijama, zbog čega mi je vrlo teško o tome govoriti. Film otvarate statičnim kadrom dugim tri minute koji zaokupi pažnju. Kakav značaj ima za vas otvaranje filma na ovaj način? Kada govorimo o značenju, najčešće se otvara teorijska rasprava, i naravno, ovaj početni kadar može podržati određene koncepte, poput, na primjer, usamljenosti para s kojim ostajemo tokom cijelog filma. Ali mene više zanima aktivno angažiranje gledaoca. Da ga natjeram da postavlja pitanja, da se postavi u odnosu na ono što se događa bez potpore prethodnih objašnjenja, da se smjesti na nivo jednostavne ljudskosti, gdje ne postoje razlike. Mislim da bih time otuđio funkciju ovog kadra, koji je da vas na kraju uvuče kroz vašu vlastitu interpretaciju, bilo da je riječ o ravnodušnosti ili pobuni, ako bih govorio o njegovom značenju. Iako je glavna tema filma antisemitizam, može li se film tumačiti šire kao komentar o nepripadnosti i osjećaju stranosti? Radnja Caragialeove novele smještena je u Moldaviju, regiju simboličnu za rumunski duh, dok je radnja filma smještena u Dobrudžu, regiju čiji identitet leži na raskršću Rumunja, Bugara, Grka, Turaka, Tatara, Jevreja, Lipovana i drugih. Mjesto gdje su svi stranci, a opet kod kuće, što otvara složeniju raspravu o tome šta znači biti stranac kao specifična različitost ljudskog bića. Naravno, nadam se da će film otvoriti širu raspravu od same teme antisemitizma, koji je sam po sebi diskriminacijska granica u odnosu na ljudsku dramu, ali to je samo moja želja, a ne nužno ono što postižem. Kada ste odlučili da želite stvoriti umjetni jezik za film i koliko je izazovno bilo ga razviti? Naravno, ovo je nešto što je prilično relevantno za govornike rumunskog jezika. Nekoliko sam se vremena poigravao jezikom na kojem piše Caragiale, zatim s drugim izvorima arhaičnog rumunskog jezika, ali kad god bih čitao, odmah bih bio transportovan u svijet klišeja. Ogroman broj niskokvalitetnih historijskih filmova nepopravljivo je pokvario šansu za netaknutim čitanjem. I nije samo problem u korištenju arhaičnog rumunskog jezika; i jidiš, ako pomislimo samo na legendarni „Guslač na krovu“, među mnogim drugim, smješta vas u određeni tip filmova koji mogu skrenuti vaše namjere. Inače, pokušao sam razviti jezik sposoban prenijeti nasilje, vulgarnost, primitivizam današnjoj osobi, eliminirajući očigledno zastarjele izraze kao savremene. Šta je bio najizazovniji element snimanja ovog filma? Priznajem da nisam to uzimao u obzir od početka, ali standard realizma – vjerovanje likovima u kontekstu jezika, postavki i kostima iz tog perioda - bio je najveća prepreka. Ovo je trenutak kada sam počeo praviti ustupke u vezi s dokumentarnom istinom, kada sam shvatio da određeni markeri iz perioda imaju štetan utjecaj na percepciju realizma. Mislite li da bi okupacija Palestine i trenutni politički kontekst mogli navesti publiku da film interpretira na način na koji niste namjeravali? Isprva sam vjerovao da bi moglo, ali sada više ne mislim tako. Sada vjerujem da dimenzija historijskih i političkih pitanja prevladava nad egzistencijalnom, koja mi je bliža u interesima i namjerama. Međutim, nadam se da će se, u trenutku kada se vratimo miru, ovaj balans preokrenuti. Scenarij sam napisao 2019. godine, finansiran je od strane Rumunskog filmskog centra 2020. godine, a snimanje sam završio prije dvije godine. Moja pitanja o dobru i zlu ažurirana su tek danas. Film je izgrađen oko pitanja koja svaki od nas mora autentično postaviti sebi, a ne oko sigurnosti zauzimanja jedne ili druge strane, i to je ono što se nadam da ću prenijeti. Josip Jurčić Sub-headings Competiton Feature  Andrei Cohn Holy week You Have to Make  the Viewer Ask Questions With his third film, Holy Week, Romanian director Andrei Cohn returns to Sarajevo with an intriguing story about the anti-Semitic environment in Romania at the beginning of the 20th century. How does it feel to be back at the Sarajevo Film Festival after your debut feature film Back Home was shown here in 2015? Nostalgic. My beginning in cinema is definitely tied to Sarajevo. Before Back Home, I came in 2012 with the short film Family Pictures. I am grateful to the festival for the trust it placed in me when I was just starting out, and also for the courage to invite my film, Holy Week, today. The film is based on the novel An Easter Torch by Ion Luca Caragiale, how did the process of adaptation go? I can't tell if I adapted Caragiale's novella to my own themes or if I adapted my themes to the novella. My relationship with the text was like a revelation. For a long period in my life, I lived in parallel with this text, which I have known since my youth and have always liked very much, on the one hand, and on the other with a certain tension regarding the condition of being Jewish, without connecting these two things. By this, I mean that I cannot relate to the connection with this text as an 'adaptation process', but rather as a very intimate relationship whose mechanics are hard for me to describe. It is loaded with strong emotions, which makes it very difficult for me to talk about this. You open the film with a very attention-grabbing three-minute-long static shot. What is the significance of opening the film in this way to you? When we talk about meaning, in most cases, a theoretical discussion opens up, and of course, this initial shot is capable of supporting certain concepts, such as, for instance, the loneliness of the couple with whom we stay throughout the film. But I am more interested in actively engaging the viewer. To make them ask questions, to position themselves in relation to what is happening without the support of prior explanations, to place themselves on the level of simple humanity, where no differences exist. I think I would alienate the function of this framework, which is to eventually introduce you through your own interpretation, whether it is about indifference or revolt, by talking about its meaning. Even though the main topic of the movie is antisemitism, can it be interpreted more broadly as a commentary on not belonging and feeling like a foreigner? The action of Caragiale's novella takes place in Moldova, a region emblematic for the Romanian spirit, while the action of the film takes place in Dobrogea, a region whose identity lies at the intersection of Romanians, Bulgarians, Greeks, Turks, Tatars, Jews, Lipovans, and others. A place where everyone is a foreigner and yet at home, which opens up a more complex discussion about what it means to be a foreigner as a specific difference of the human being. Of course, I hope the film will open a broader discussion than just about antisemitism, a discriminatory limit in itself compared to the human drama itself, but that is only what I wish for, not necessarily what I achieve. When did you decide that you want to create an artificial language for the movie, and how challenging was it to develop? Of course, this is something rather relevant for Romanian speakers. For a while, I flirted with the language in which Caragiale writes, then with other sources of archaic Romanian, but whenever I was reading, I was instantly transported into a world of clichés. A huge amount of low-quality historical films have irreparably corrupted the chance for an untainted reading. And it's not just the problem of using archaic Romanian; the Yiddish expresion too, if we think only of the legendary Fiddler on the Roof, among many others, places you within the realm of certain types of films that can derail your intentions. Otherwise, I have tried to develop a language capable of conveying violence, vulgarity, primitivism to today's person, eliminating obviously dated expressions as being contemporary. What was the most challenging element of filming this movie? I confess that I didn't take it into account from the beginning, but the standard of realism—believing the characters in the context of language, setting, and period costumes—was the greatest obstacle. This is the moment when I began to make concessions with regard to documentary truth, when I realized that certain markers of the period have a detrimental impact on the perception of realism. Do you think the occupation in Palestine and the current political context might lead audiences to interpret the film in ways you did not intend? Initially, I believed that, but now I no longer think so. I now believe that the dimension of historical and political issues prevails over the existential one, which is closer to my interests and intentions. However, I hope that, at some point, when we return to peace, this balance will reverse. I wrote the script in 2019, it was funded by the Romanian Film Center in 2020, and I finished filming two years ago. My questions about good and evil are only updated today. The film is built around the questions we each need to authentically ask ourselves, rather than the certainty of taking one side or the other, and that is what I hope to convey. Josip Jurčić Sub-headings Photo: Copyright © Mandragora Saptamana mare Takmičarski DOkumentarni Rada Šešić SELEKTORICA Što donose dokumentarni filmovi na 30. Sarajevo Film Festivalu otkriva selektorica Rada Šešić. Pecanje u rijeci vremena Po čemu je posebna ovogodišnja selekcija dokumentarnog filma? Ovogodišnju selekciju možemo nazvati 'pecanje u rijeci vremena'. Ovaj metod, kreativno primijenjen u velikom broju izabranih filmova, nudi jedinstvenu autorsku perspektivu korištenja protoka vremena, bilo kroz izuzetan arhivski materijal ili talentirano rafinirano filmsko promatranje koje publici nudi čuvstveno iskustvo i potiče na razmišljanje. Više od polovine filmova koristi arhiv kao element naracije. „Komadići leda“ iz Ukrajine stvoren je u potpunosti od materijala iz obiteljske arhive. Otac, šampon umjetničkog klizanja na ledu, kupio je kameru na dan kada se rodila Maria Stoianova, njegova kćer i autorica filma i prati njezino odrastanje kao i život u sovjetskoj Ukrajini, raspad SSSR, porast ruskog nacionalizma, ekonomske i političke krize, naznake rata. Slično je i sa kosovskim „Kao bolesno žuta“ Norike Sefa, nastalim od obiteljskog arhiva sve do dana kada je počeo rat. Ukrajinski „Slika za pamćenje“ prati tri generacije žena u liječničkoj obitelji autorice. Iako film reflektira život koji vodi ka ratu, duhovit je, lepršav i zabavan. No, najduhovitiji autor je Goran Dević koji u „Paviljonu 6“, iako prati tragični događaj, cijepljenje za vrijeme Covida, vješto zapaža humor situacije te preko individualnog, izoštrenim okom filmskog znalca, promatra društvo. O visokom dometu filma govori i činjenica da ga je već otkupio BBC . U selekciji imamo par bisera koji su već nagrađivani na svjetskim festivalima. Sa Grand Prixom iz Sheffielda dolazi prvijenac autorice rodom iz Bosne, Maje Novaković. U poetičnom i meditativnom „Ko će pokucati na vrata mog doma“, ova izuzetno sofisticirana redateljica, poput slikarice vizualizira unutrašnji život usamljenika koji diše i živi u srazu sa prirodom. „Naša djeca“, Silvestra Kolbasa, ovjenčan je nedavno sa dvije Zlatne Arene; za najbolju režiju i montažu. Autor je vise od dvadeset godina snimao svoju obitelj i kroz vješto sročen voice-over, navigira kroz intimnu višeslojnu priču i postavlja i sebi i nama važna pitanja o odgoju djece, harmoniji u obitelji A „Slika za pamćenje“ Olge Chenykh je otvorio najveći festival dokumentarnog filma, IDFA u Amsterdamu. Kojim se temama autori najviše bave? Ovo je godina osobnih priča, najveći broj filmova reflektira krajnje personalno ili intimno obiteljsko no kroz suptilno predočen mikro svijet, zrcali se zapravo i uzbudljivi makro svijet zemalja u kojim su filmovi nastajali, političkih previranja, socijalnih borbi. Takav je recimo mađarski film sa kojim otvaramo Takmičarski program „Tvoj život bez mene“, debitansko djelo Anne Rubi. Pratimo višegodišnju predanu borbu majki za senzibiliziranje društva i otvaranja ustanova za zbrinjavanje hendikepirane odrasle djece. Majke koje su ušle u sedmu ili osmu deceniju života i djeca koja su pedeset plus sada, ostaju na milost i nemilost nakon smrti roditelja. Ovaj izuzetno važan i dobro režiran film koji kod nas ima svjetsku premijeru, već je našao svog sales agenta u Francuskoj i vjerujem da će ova goruća i rijetko obrađivana tema pobuditi interes na međunarodnom nivou. Slično je i sa filmom sa kojim zatvaramo nas program, grčkim „Loxy“ o profesionalnoj glumici sa sindromom Down. Ona je prva osoba sa posebnim potrebama koja je ikada potpisala profesionalni ugovor sa velikim nacionalnim teatrom u Ateni. Film je režirao duo Dimitris Zahos i Thanasis Kafetzis. Loxy, simpatična i strastvena mlada glumica, ruši stereotipe o „drugačijima“. Što kao selektorica ponajviše tražite od autora i filma kada procjenjujete treba li ga prikazati na Festivalu? Autorski rukopis! U dobrom filmu osjeća se autorska ruka iza ispričane priče. Kreativni dokumentarac je onaj u kojem se ogleda stav rediteljice/reditelja, u kojem se zrcali i talenat i sistematično istraživanje, promišljenost u pristupu temi a na prvom mjestu je ono najvažnije - da autor ima nešto reci o toj temi, o tom događaju, ljudima, prostoru, sto donosi u filmu. Razmišljate li pri odabiru o možebitnoj reakciji publike? Da i ne. Naime, naravno bez publike film ne živi, publika je najvažnija i zbog nje se radi i nas program i čitav festival. No, kažem i „Ne“ jer festivalski, osobito takmičarski program ne smije podilaziti i udovoljavati publici. Dokumentarni film treba pobuditi u gledatelju nešto emocionalno, ali i nešto što ga navodi na promišljanje viđenog. Dobar dokumentarac nas nadahne, inspiriše da pročitamo neke knjige, da reflektiramo o sebi i svijetu oko sebe. To je zadaća umjetnosti- probuditi i uzburkati ono najtananije u nama. Koliko Docu Rough Cut Boutique radionica, koja je na Festivalu započeta prije 14 godina, pomaže autorima iz regije? Pomaže jako puno. To se ogleda u kvaliteti. Čak šest filmova u Takmičarskom programu je bilo na toj našoj vrlo precizno koncipiranoj radionici. I ne samo da mi prepoznajemo kvalitet nego ti projekti kada se pretvore u film i odlepršaju u svijet, često imaju premijere na Berlinaleu, ili u Cannesu, u Torontu, na IDFA u Amsterdamu. Jednostavno ta pružena ruka pomoći našim talentiranim autorima bila je tada, prije 14 godina, ali je i sada, itekako potrebna. Montaža je delikatna faza u nastanku filma i naša platforma koja traje od marta do augusta, i radimo je u saradnji sa Balkanskim dokumentarnim centrom iz Sofije, vodi autore da dosegnu višu razinu svog djela. Dobar film mora profukcionisati za internacionalnu publiku. On mora biti svoj, lokalan, ali mu sposobnost emotivne ekspresije, poetska ili meditativna odlika, mora biti univerzalna. Josip Jurčić Sub-headings TAKMIČARSKI DOKUMENTARNI • rada šešić • selektorica TAKMIČARSKI DOKUMENTARNI • rada šešić • selektorica What makes this year's documentary selection special? This year’s selection can be described as "fishing in the river of time." This method, creatively applied in many of the selected films, offers a unique authorial perspective on the passage of time, whether through exceptional archival material or skillfully refined cinematic observation that provides the audience with an emotional experience and provokes thought. More than half of the films use archives as a narrative element. Fragments of Ice from Ukraine is entirely created from family archival materials. The father, a champion of artistic ice skating, bought a camera the day Maria Stoianova, his daughter and the film's author, was born. The film tracks her upbringing as well as life in Soviet Ukraine, the dissolution of the USSR, the rise of Russian nationalism, economic and political crises, and the signs of war. Similarly, the Kosovan film Like a Sick Yellow by Norika Sefa is composed of family archives up to the day the war began. The Ukrainian film A Picture to Remember follows three generations of women in the filmmaker's family of doctors. Although the film reflects a life leading to war, it is humorous, light, and entertaining. However, the most humorous author is Goran Dević, whose film Pavilion 6 skillfully captures the humor of a tragic event—vaccination during COVID-19. Through his sharp eye as a filmmaker, Dević observes society through the lens of individual experiences. The high caliber of the film is underscored by the fact that it has already been acquired by the BBC. The selection includes several gems that have already been awarded at international festivals. The debut film by Bosnian-born Maja Novaković, At the Door of the House Who Will Come Knocking, comes to us with the Grand Prix from Sheffield. In this poetic and meditative film, the exceptionally sophisticated director visualizes the inner life of a solitary individual who breathes and lives in harmony with nature. Our Children by Silvestar Kolbas recently won two Golden Arenas for Best Direction and Editing. The author spent over twenty years filming his family and, through a skillfully crafted voice-over, navigates an intimate, multi-layered story, asking himself and us important questions about raising children and family harmony. A Picture to Remember by Olga Chenykh opened the world’s largest documentary film festival, IDFA, in Amsterdam. What themes do filmmakers focus on the most? This is a year of personal stories. Most films reflect extremely personal or intimate family experiences, but through subtly presented microcosms, they actually mirror the exciting macro-worlds of the countries where the films were made, including political upheavals and social struggles. For example, the Hungarian film that opens our competition program, Your Life Without Me, is the debut work of Anna Rubi. We follow the years-long dedicated struggle of mothers to raise awareness and establish institutions for the care of disabled adult children. These mothers, now in their seventies or eighties, and their children, now over fifty, are left to the mercy of fate after the parents pass away. This incredibly important and well-directed film, which has its world premiere with us, has already found a sales agent in France, and I believe this urgent and rarely addressed topic will attract international attention. Similarly, the film that closes our program, the Greek film Loxy, tells the story of a professional actress with Down syndrome. She is the first person with special needs to sign a professional contract with a major national theater in Athens. The film, directed by Dimitris Zahos and Thanasis Kafetzis, portrays Loxy, a charming and passionate young actress who breaks stereotypes about those who are "different." As a selector, what do you look for in a film when deciding whether to include it in the festival? An authorial signature! In a good film, you can feel the author’s hand behind the story being told. A creative documentary is one that reflects the director's perspective, showcasing both talent and systematic research, with a thoughtful approach to the subject. Most importantly, the author must have something to say about the topic, the event, the people, the place they are bringing to the screen. Do you consider the potential audience reaction when selecting films? Yes and no. Of course, without an audience, a film doesn’t live. The audience is the most important part, and our program and the entire festival are created for them. But I also say "no" because a festival, especially a competition program, shouldn’t pander to or appease the audience. A documentary should evoke something emotional in the viewer but also something that encourages reflection on what has been seen. A good documentary inspires us, encourages us to read books, and prompts us to reflect on ourselves and the world around us. That is the task of art—to awaken and stir the most delicate parts of us. How much does the Docu Rough Cut Boutique workshop, which started at the festival 14 years ago, help filmmakers from the region? It helps a great deal. This is evident in the quality. Six films in the competition program participated in this very precisely designed workshop. And it’s not just that we recognize the quality; when these projects are turned into films and fly off into the world, they often have premieres at Berlinale, Cannes, Toronto, and IDFA in Amsterdam. The helping hand we extend to our talented filmmakers was essential 14 years ago, and it remains so today. Editing is a delicate phase in the creation of a film, and our platform, which runs from March to August in collaboration with the Balkan Documentary Center in Sofia, guides filmmakers to reach a higher level of their work. A good film must resonate with an international audience. It must be unique, local, but its ability for emotional expression—whether poetic or meditative—must be universal. Josip Jurčić Fishing in the  River of Time Programmer Rada Šešić shares insights into what this year’s documentary films at the 30th Sarajevo Film Festival have to offer. Competition Documentary Rada Šešić PROGRAMMER Competition DOCUMENTARY • RADA ŠEŠIĆ • Programmer Photo: ©Ri Filme_Judith Benedikt Svjetska premijera dugometražnog dokumentarnog filma „Praslovan“ o pjesniku, kompozitoru, piscu, lideru mariborskog rok sastava Lačni Franz – šta sve taj čovjek nije?! – Zoranu Predinu desit će se u Sarajevu. Razlog tome nije isključivo to što je redatelj filma Slobodan Maksimović iz Sarajeva već i činjenica da između Zorana i Sarajeva desetljećima postoji ljubav. Van konkurencije – dokumentarni • proslavan   Slobodan Maksimović (reditelj);  Zoran Predin (glavni lik) Slobodane, koji je bio Vaš motiv za upuštanje u rad na ovom filmu? Ljubav prema opusu Lačnog Franza, simpatije prema Zoranu (koje dijeli pola Sarajeva) ili nešto treće? Slobodan: Nešto treće... Šalim se. Definitivno muzika koju je stvarao Zoran Predin kroz sve ove godine. Prva Zoranova pjesma koju sam kao tinejdžer čuo na radiju i snimio na kasetu je bila “Naj ti poljub nariše ustnice”, tada nisam razumio slovenački jezik, ali me je taj brutalni ritam i neobična melodika Zoranovog glasa toliko opčinila da sam postao zaljubljenik u Zoranovu muziku. Danas kada razumijem slovenački jezik ta je ljubav još veća jer njegova poezija je fantastična. To će i gledaoci moći upoznati kroz film. Godinama ste radili na ovom filmu. Prikupljanje video i audio materijala, pregledanje arhiva fotografija i nosača zvuka, intervjuiranje Zoranovih suradnika, prijatelja i obitelji, izrada animacija, čak ste i muzej napravili za potrebe filma. Zašto je sve tako dugo trajalo i koji su poslovi bili lakši, a oko kojih se valjalo više potruditi? Slobodan: Kada neko u 45 godina karijere izda 45 albuma, a pri tom napiše još nekoliko knjiga, snima muziku za filmove i pozorište i pri tom se ne zaustavlja onda možete zamisliti kako je bilo odlučiti se šta staviti u film, a čega se odreći. Ne bih o tome šta je bilo teško jer postoje i teže profesije na ovom svijetu. Na kraju krajeva sve se zaboravi kada se završi film. Mislim da imamo jedan lijep dokument o jednom velikom čovjeku. Uz očekivanu glazbu i zanimljivu priču, dva neočekivana sastojka filma su animacija i sočni, zreli, odrasli, inteligentni humor. Je li vam prije početka rada na filmu bilo jasno koliku oni ulogu u njemu imati? Slobodan: Animacije smo radili zajedno sa kolegama iz produkcijske kuće Invida, a oni su specijalizirani za to. Ilustracije koje se pojavljuju u špici je radio Zoranov sin Rok Predin i to za njegov 60. rođendan. Kroz njih ćete upoznati sve Zoranove faze od rođenja do današnjih dana. Inače Rok je poznati animator, radio je spotove za Rolling Stones i Beatles. Što se tiče humora on se nikada ne smije nametati. Kad je neko bogat duhom kao što je Zoka, onda duhovitost sama izbija na površinu. Drago mi je ako smo vas uspjeli makar malo nasmijati. Zorane, vama uloga lidera nikada nije bila strana, nosili ste ju i ponosno i prkosno, kao da ste rođeni za nju. Koliko se od nje razlikuje uloga glavnog lika u filmu i kako se osjećate kao glavni lik dokumentarnog filma? Zoran: Sve je počelo s treniranjem košarke krajem osnovne škole. Nisam bio neki talenat, ali sam bio kapiten svih ekipa u kojima sam igrao. Kad je loptu zamjenila gitara, to mi je dobro došlo, kad je nastao prvi band Lačni Franz. Liderstvo iz košarke mi je dobro došlo kao glavnom autoru, glasnogovorniku i šefu svih bandova u prošloj 45 godišnjoj karijeri. Ovih dana, napokon, u grupi Analogna rasa, nisam šef banda. Pravo olakšanje. U filmu „Praslovan“ nisam glavni lik. Glavni likovi su moje kolege, prijatelji i srodne duše koje govore o meni i mojoj karijeri. Glavni likovi su režiser, montažer, autori crteža i animacija, glumci i kostimografija u igranom dijelu filma. Film, naravno, najviše govori o javnoj strani vašeg života, ali govori i o osobnim stvarima koje gledatelje nagone i na smijeh, i na suze. Kada biste sada nešto mogli dodati u film, ili izbaciti iz filma, šta bi to bilo? Zoran: To bi bio još jedan film, „Praslovan 2“. Imali smo 6 sati snimljenog materiala i arhive. Bilo je vrlo bolno izbacivati male bisere iz konačne verzije filma, pa je pala odluka da se za TV verziju naprave tri 50-minutne verzije kako bi ušli i oni. No, ja, kao glavni protagonista ne gledam „Praslovana“ očima gledaoca koji ne zna ništa ili barem vrlo malo zna o meni; tu je režiser, da odluči, kako će ispričati priču o mojoj dosadašnjoj karijeri. Meni je laknulo kad je Slobodan prihvatio ideju da me kroz film prikaže u svim bojama, u tamnima i bistavima, čovjeka od krvi i mesa, nekog ko strašno voli da ga kolege i prijatelji kvalitetno zajebavaju. U posljednje vrijeme ste često u Sarajevu – Baščaršijske večeri, Bookstan, i evo sada na Sarajevo Film Festivalu. Tijekom tih posjeta se mnogo spominjala prekrasna pjesma grupe Kongres, „Zarjavele trobente“, u koju ste i vi umiješali svoje prste. Da li je Franz iz te pjesme, koji je, istina, žalostan, a ne gladan, dobio ime po Lačnom Franzu? Zoran: Možda. Na to pitanje može argumentirano odgovoriti samo autor pjesme, Adam Subašić. Strahovito sam ponosan da mi je uspjelo tu prekrasnu baladu sačuvati od zaborava. Miljenko Jergović je rekao da bi mogli snimiti film o toj pjesmi, pa ga sada pozivam da napiše scenario, a meni namjeni ulogu trubača u cirkuškom bandu. Sarajevo i ja se volimo javno, ako parafraziram Arsena. Marinela Domančić Sarajevo i Zoran vole se javno Van konkurencije – dokumentarni • proslavan   Slobodan Maksimović (reditelj); Zoran Predin (glavni lik) Van konkurencije – dokumentarni • proslavan   Slobodan Maksimović (reditelj); Zoran Predin (glavni lik) Sarajevo and Zoran:  A Public Love Affair The world premiere of the feature-length documentary Praslovan („Old Slav“) about the poet, composer, writer, leader of the Maribor rock group Lačni Franz - what is this man not?! - Zoran Predin will happen in Sarajevo. The reason for this is not only that the director of the film, Slobodan Maksimović, is from Sarajevo, but also the fact that there has been love between Zoran and Sarajevo for decades. Out of Competition – Documentary • PRASLOVAN Slobodan Maksimović (director) Zoran Predin (main protagonist) Slobodan, what motivated you to start working on this film? Love for the work of Lačni Franz, sympathy for Zoran (shared by half of Sarajevo) or something else? Slobodan: Something else… Just kidding. Definitely the music created by Zoran Predin all these years. The first Zoran's song that I heard on the radio as a teenager and recorded on a cassette was Naj ti poljub nariše ustnice, at that time I did not understand the Slovenian language, but that brutal rhythm and the unusual melody of Zoran's voice enchanted me so much that I fell in love with Zoran's music. Today, when I understand the Slovenian language, that love is even greater because his poetry is fantastic. The viewers will also be able to get to know that through the film. You've been working on this film for years. Collecting video and audio material, browsing photo and musical archives, interviewing Zoran's associates, friends and family, making animations, you even created a museum for the needs of the film. Why did everything take so long and which jobs were easier and which required more efforts? Slobodan: When someone releases 45 albums in a 45-year career and writes a few more books, records music for films and theater and doesn't stop, you can imagine what it was like to decide what to put in the film and what not. I would not talk about what was difficult because there are more difficult professions in this world. After all, everything is forgotten when you finish the film. I think we have a beautiful document about a great man. Along with the expected music and an engaging story, two unexpected elements in the film are the animation and the witty, mature, adult humor. Did you know from the start how significant their role would be in the film? Slobodan: We did the animations together with colleagues from the production company Invida, and they specialize in that. The illustrations that appear in the credits were made by Zoran's son Rok Predin for his 60th birthday. Through them, you will get to know all of Zoran's stages from birth to the present day. By the way, Rok is a famous animator, he made music videos for The Rolling Stones and The Beatles. As for humor, it should never be imposed. When someone is as rich in spirit as Zoka, then the wit comes out on its own. I'm glad if we managed to make you laugh at least a little. Zoran, the role of leader has always suited you well; you carried it both proudly and defiantly, as if you were born for it. How different is the role of the main character in the film and how do you feel as the main protagonist of the documentary? Zoran: It all started with playing basketball towards the end of elementary school. I wasn't particularly talented, but I was the captain of every team I played on. When the basketball was replaced by a guitar, it came in handy when the first band, Lačni Franz, was formed. The leadership skills I gained from basketball proved useful as the main songwriter, spokesperson, and leader of all the bands throughout my 45-year career. These days, finally, in the group Analogna rasa, I'm not the band leader. It's a real relief. In the film Praslovan, I'm not the main character. The main characters are my colleagues, friends, and kindred spirits who speak about me and my career. The main characters are the director, editor, illustrators, animators, actors, and the costume design team in the film's live-action segments. The film, of course, mostly talks about the public side of your life, but it also talks about personal things that make viewers laugh and cry. If you could add something to the movie right now, or take something out of the movie, what would it be? Zoran: That would be another film, Praslovan 2. We had 6 hours of recorded material and archives. It was very painful to remove the little pearls from the final version of the film, so the decision was made to make three 50-minute versions for the TV episodes to include them. However, I, as the main protagonist, do not look at Praslovan through the eyes of a viewer who knows nothing or at least very little about me; the director is there to decide how to tell the story of my career so far. I was relieved when Slobodan accepted the idea of portraying me in all colors, both dark and bright, a man of flesh and blood, someone who really likes to be teased by his colleagues and friends. You've been in Sarajevo a lot lately - Baščaršijske večeri, Bookstan, and now at the Sarajevo Film Festival. During those visits, the beautiful song of the group Kongres, "Zarjavele trobente", in which you also took part, was mentioned a lot. Was the Franc from that poem, who, actually, is sad and not hungry, named after Lačni (Hungry) Franz? Zoran: Maybe. Only the author of the song, Adam Subašić, can answer that question with a reasoned argument. I am terribly proud that I managed to save that beautiful ballad from oblivion. Miljenko Jergović said that we could make a movie about that song, so now I'm inviting him to write the script, and he'll give me the role of a trumpeter in a circus band. Sarajevo and I love each other publicly, if I paraphrase Arsen. (Editor's note: Arsen Dedić, the famous Croatian musician and poet) Marinela Domančić Out of Competition – Documentary • PRASLOVAN Slobodan Maksimović (director), Zoran Predin (main protagonist) Upozorenje za one koji i sami nose nezaliječene ratne traume – ovaj bi vas film mogao duboko potresti. To je priča o ukrajinskom vojniku, ocu trojice dječaka, koji se vraća obitelji nakon trogodišnjeg ratovanja. Lesia Diak TATINA USPAVANKA Imala sam lažnu nadu da će biti bolje Godine odvojenosti dovele su do promjena koje su nepovratno narušile obiteljski sklad. On, bez sumnje, voli svoje mališane, ali nema za njih strpljenja. Kao da je zaboravio da su oni samo djeca koja se „najnormalnije“ igraju rata. Bacanje granata, ubijanje protivnika i patriotske pjesme nisu dio njihovog života nego njihov život. Isto kao što je nastojanje komandira da zaštiti svoje vojnike od prijeteće smrti njegov život. Pred očima kamere, jedna se obitelj bolno i nepovratno raspada. Kada ste počeli snimati ovaj film, Serhiy se tek vratio iz rata. Gledatelj se, naravno, nada prevazilaženju teške prilagodbe i sretnom završetku. Da li ste se i vi nadali sretnom kraju ili ste osjetili ili naslutili da ga neće biti? Fazu istraživanja za ovaj film počela sam s obitelji Zinchuk 2017. kada je Serhiy još bio u ratu. Ali faza produkcije je započela kada se vratio 2018. Tijekom faze pretprodukcije intervjuirala sam nekoliko supruga ratnih veterana za blog koji sam tada pisala. Stalno sam čitala knjige na tu temu. Bilo je podosta knjiga o PTSP-u kod ratnih veterana koji su služili u Vijetnamu i iskustvima njihovih supružnika. Bila sam svjesna da je postotak razvoda puno veći u njihovim obiteljima u usporedbi s obiteljima bez psihičkog opterećenja nakon službe. S druge strane, iskustvo svake zemlje i društva je drugačije. Razlog zašto su Ukrajinci i Ukrajinke sudjelovali u ratu također je bio drugačiji: štitili su vlastitu zemlju od ruske agresije. Više se ne sjećam gdje sam to pročitala, ali mislila sam da će ljudi koji imaju snažnu misiju, koji duboko razumiju svrhu svog služenja na bojišnici, biti u stanju da se uspješnije nose s oštećenjima iz rata. Dakle, da, imala sam lažnu nadu da će ukrajinski veterani biti mentalno u boljem položaju. Kako je tekao proces snimanja? Radila sam kao dokumentarista. Likovi su živjeli svoje živote. Sjećam se da je prvih nekoliko mjeseci Serhijevog povratka kući bilo prilično euforično, posebno za djecu. Nikita je zapravo tek tada upoznao oca – bio je beba kada je Serhiy otišao u rat. Rekla bih da se prvih mjeseci Serhiy mogao nositi s tim, ali nakon nekog vremena njegovo se fizičko i psihičko stanje počelo naglo pogoršavati. Ovo je vrlo individualan proces. Neki moji poznanici su se prvih godinu dana nakon povratka osjećali sasvim dobro. Kasnije su shvatili da psihički drastično padaju. Kod svakog veterana je drugačije. Zajedničko im je da osoba koja se vrati iz rata osjeća entuzijazam da započne novi život, ali on, ona, oni nisu svjesni granica koje njemu, njoj, njima nameće teret rata. Nepredvidivost tih granica čini proces vrlo bolnim. Serhiy se nadao da će moći voljeti i predati se obitelji, Nadiia, njegova žena, nadala se da će moći voljeti i osjećati se voljenom; ali emocionalna sposobnost dijeljenja trenutaka boli i radosti za oboje se, usljed mentalne iscrpljenosti, veoma promijenila. Ne mogu sad baš reći da smo članovi obitelji i ja, kao redateljica filma, uspjeli uočiti nešto nevidljivo - te tragove štete prouzročene ratom, a istodobno su sukobi i samoća tinjali u zraku. Borila sam se sa teškom depresijom nakon prekida veze sa drugim veteranom i ovaj je film bio moja posljednja mogućnost da se osjećam bolje. Sanjala sam o sretnom završetku za „Tatinu uspavanku“. Gledajući događaje koji se odvijaju i emocionalne uspone i padove svakog lika silno sam se nadala da će obitelj prevazići muke i ostati zajedno, posebno nakon rođenja kćerkice. Bilo je to vrlo uzbudljivo vrijeme za obitelj, ali nije potrajalo. Intuicija mi je govorila da će par ostati zajedno, ali su se razišli. Vjerojatno je to nešto što sam im priželjkivala - da budu zajedno. Niko ne zna što će biti s njima u budućnosti. Postoji šansa da će se pomiriti s ograničenjima svog mentalnog zdravlja i sloma i ponovno se ujediniti. Jasno, razumijemo da ta šansa nije velika, da ne kažemo da je vrlo mala. Nedavno sam razgovarala s obitelji i saznala da je Serhiy otpušten iz službe i da je pokušao dobiti kanadsku vizu kako bi posjetio svoju obitelj, ali, nažalost, vizu nije dobio. Na momente vidimo da Serhiy o posljedicama rata više razgovara s vama nego sa suprugom i da pokazuje veće zanimanje za vašu prekinutu vezu od toga kako se supruga snalazila sama. Kada se kamera pomiče sa njega na vas i obratno, stječe se dojam da ste oboje osjetili da vam takvo su-savjetovanje oboma treba. Da li je takav odnos bio od pomoći? Vrlo je vjerojatno da Serhiy nije pitao Nadiiju kako se nosi s tim što je sama s tri dječaka. Bio je svjestan da je biti mama težak posao. Često bi rekao djeci: “Molim te, šuti, mama treba odmora”. Je li Serhiy bio spreman čuti o Nadiijinoj svakodnevnoj strepnji za svoj život dok je bio na fronti? Ne znam. Najvjerojatnije nije i nije imao snage da razmišlja o njezinoj patnji. Ono što stalno primjećujem kod parova u kojima jedan ili dva partnera imaju ratno iskustvo jest da ti ljudi ne mogu baš voditi dijalog u trenutku krize u njihovoj vezi. Toliko je rana i okidača da postaje gotovo nemoguće ne dodirnuti ih kad ste blizu. Zato je moguće da se Serhiyu bilo lakše otvoriti i poslušati redateljicu koja nije dio njegove obitelji jer je između nas bila “sigurna” udaljenost. Na neki način pomogli smo jedno drugome da kroz taj dijalog shvatimo nešto što on nije mogao imati sa suprugom, a ja s bivšim partnerom. Kažete da su kolege kojima ste pokazali dijelove filma rekle da je film o ljubavi. Ja bih prije rekla da je ovo film o tome kako rat strašno mijenja čovjeka, pa i njegovu ljubav. Šta Vi kažete, o čemu je ovaj film? Kada sam to izgovorila u filmu imala sam 29 godina. Tada sam vjerovala da je moj film o ljubavi i opraštanju. Sada imam 35 godina. Nakon velike invazije Rusije na Ukrajinu i nakon završetka postprodukcije „Tatine uspavanke“ ne osjećam se kao ista osoba. Moje redateljske odluke pridonijele su narušavanju osobnih odnosa u prvom planu filma, povećale su ratnu štetu. Ali sam i dalje htjela da „Tatina uspavanka“ bude film koji bi mogao pridonijeti procesu opraštanja u obiteljima i parovima koji su imali problema. U montaži smo konstruirali moj lik kao nekoga tko vjeruje u iscjeliteljsku moć snimanja dokumentarnih filmova. Gledanje filmova i snimanje filmova dugoročno ima ogroman iscjeliteljski potencijal. U kratkoročnoj perspektivi to ne možemo očekivati od filma i filmskog stvaralaštva. Kad razmišljam o preživjelima iz Mariupolja i dugim redovima pred centrima za brigu o mentalnom zdravlju u današnjoj Ukrajini, znam da gledanje dokumentarca neće biti lijek za njih. Prvo moraju stabilizirati svoje psihičko stanje, što će za ljude koji su svjedočili smrti djece i ruševinama svojih domova vjerojatno trajati godinama. Marinela Domančić Sub-headings TAKMIČARSKI  DOKUMENTARNI Bingo Group, najveća poslovna grupacija u BiH, nastavlja saradnju sa Sarajevo Film Festivalom kao ekskluzivni partner. Festivalska atmosfera oživjet će i na Trgu Slobode u Tuzli, gdje će biti ljetno kino na otvorenom s 400 mjesta. Posjetioci će uživati u projekcijama Open Air programa, upijajući magiju filmske umjetnosti pod vedrim nebom. Ova saradnja predstavlja primjer uzajamne podrške lokalnih brendova, na radost ljubitelja filma. Bingo i Sarajevo Film Festival – naše mjesto za nezaboravne trenutke. Bingo Group, the largest conglomerate in BiH, continues its successful partnership with the Sarajevo Film Festival as an exclusive partner. Trg Slobode in Tuzla will host a 400-seat open-air summer cinema for the festival's Open Air program, offering visitors a magical film experience under the sky. This collaboration highlights the mutual support of local brands, delighting film enthusiasts. Bingo and Sarajevo Film Festival – our place for unforgettable moments. Takmičarski dokumentarni • LESIA DIAK • TATINA USPAVANKA Takmičarski dokumentarni • LESIA DIAK • TATINA USPAVANKA A warning to those who are still burdened by the unhealed war traumas - this film may shake you deeply. It is a story about a Ukrainian soldier, the father of three boys, who returns to his family after three years spent in war. Years of separation led to changes that irreversibly disrupted family harmony. No doubt that he loves his little ones but has no patience for them. Seems like he forgot that they are just children for whom playing war is "the most normal" game. Throwing grenades, killing opponents and patriotic songs are not part of their life but their life just as the commander's effort to protect his soldiers from imminent death is his life. In front of your camera, a family is painfully and irrevocably falling apart. When you started shooting this film, Serhiy had just returned from the war. The viewer, of course, hopes for overcoming a difficult adjustment and a happy ending. Did you also hope for a happy ending or did you feel or sense that it won’t be happy? I began my film research phase with the Zinchuk family in 2017 when Serhiy was still at war. But the production phase started once he returned in 2018. During the pre-production phase I interviewed several wives of war veterans for a blog that I was writing back then. I was constantly reading books on this subject and there were quite a lot of books about PTSD in war veterans that served in Vietnam and the experience of veterans’ spouses. I was aware that the percentage of divorces is much higher in their families compared to regular families without post-service mental burden. On the other hand, the experience of each country and society is different. The reason Ukrainian men and women participated in war was also different; they were protecting their own country from Russian aggression. Now I don’t remember where I read it but I had this idea that people who had a strong mission, who deeply understood their purpose of serving on a front line would be more resourceful to cope with the damage of war. So, yes, I had false hopes Ukrainian veterans will be in a better position mentally. How did you approach shooting of the film? I was doing my job as a documentarian. The characters were living their lives. I remember that the first few months of Serhiy’s homecoming were quite euphoric, especially for kids, for Nikita it was the first time to get to know his father - Nikita was a baby when Serhiy started his service. I would say that during the first months Serhiy was able to cope and after some time his physical and mental states began deteriorating rapidly. This is a very individual process. Some of my acquaintances felt quite okay for the first year of their return and after they realized they are dramatically going down mentally. It is different for each veteran. The universal thing is that the person returns from war and feels enthusiasm to start a new life but he, she, them isn’t aware of the limits imposed on him, her, them by the war burden. And exactly because of the uncertainty of such limits this is very painful. Serhiy hoped he could love and give himself to the family, Nadiia, his wife hoped that she could love and feel loved; but the emotional capacity to share moments of pain and joy for both of them changed so much due to mental exhaustion. I can’t really say now that the family members and me as a film director were able to spot something invisible - these traces of war damage, and at the same time the conflict and loneliness were weighing in the air. I was processing severe depression after a breakup with another veteran and this film was my last resort to feel better. I was dreaming about a happy ending for Dad’s Lullaby. Seeing the events unfolding and emotional roller coasters in each character I had a big hope that the family would overcome the struggle and will stay together, especially after the baby daughter was born. It was a very uplifting time for the family but it didn’t last. My intuition was telling me the couple will stay together but they splitted. Probably it is something I wished for them - to be together. Nobody knows what will happen to them in the future. There is a chance that they will come to terms with the limits of their own mental health and brokenness and they will reunite. Obviously, we understand that this chance is not so big, not to say very small. I recently spoke to the family and I learned that Serhiy was released from the service and he tried to apply for a Canadian visa to make a visit to his family but unfortunately he didn’t get the visa. From time to time, we see that Serhiy talks about the consequences of the war more with you than with his wife, and that he shows more interest in your broken relationship than in how his wife coped on her own. When the camera moves from him to you and vice versa, the audience gets the impression that both of you felt that you both needed such co-counseling. Was such a relationship helpful? It is highly probable that Serhiy didn’t ask Nadiia how she was dealing with the struggle of being alone with three boys. He was aware that being a mom is hard work. He would often ask the kids: “Please be quiet, mom needs rest”. Was Serhiy ready to hear about Nadiia’s everyday anxiety for his life when he was on a front? I don’t know. Most probably he wasn’t and he didn’t have that stamina to reflect on her suffering. What I constantly observe in couples where one or two partners have war experience is that these people can’t really have a dialogue at the moment of crisis in their relationship. There are so many wounds and triggers that it becomes almost impossible to not touch them when you are close. That’s why it could be that for Serhiy it was easier to open up and to listen to the filmmaker who is not his family member because there was a “safe” distance between us. In a way we helped each other to understand something through this dialogue that he could not have with his wife and I could not have with my ex-partner. You say that the colleagues to whom you showed parts of the film said that the film was about love. I would rather say that this is a film about how war terribly changes a person, including his/her love. What do you say, what is this movie about? When I said these words in a film I was 29 years old. I believed back then that my film is about love and forgiveness. Now I am 35 years old. After the large-scale invasion of Ukraine by Russia and after completing the post-production of Dad’s Lullaby I don’t feel like the same person. The directorial decisions I took brought war damage to personal relations on the foreground of the film. But I still wanted Dad’s Lullaby to be the film that could contribute to the process of forgiveness in troubled families and couples. In editing we constructed my character as someone who believes in the healing power of documentary filmmaking. Watching the films and making the films has a huge healing potential in the long run. In the short term perspective we can’t expect it from the film and filmmaking. When I think of survivors from Moriupol and the long lines to mental health care in Ukraine nowadays I know that watching a documentary will be no cure for them. They need to stabilize their mental state first which will probably take years for people who witnessed the death of kids and ruins of their homes. Marinela Domančić Lesia Diak DAD’S LULLABY Competition Documentary I Had False Hope  It Would Be Better Competition Documentary • LESIA DIAK • DAD’S LULLABY Competition Documentary • LESIA DIAK • DAD’S LULLABY NAGRADE / AWARDS Večeras ćemo dobiti odgovor tko će kući odnijeti Srce Sarajeva za najbolja ostvarenja u televizijskoj produkciji. Pogledajte tko je sve nominovan. A za Srce Sarajeva za TV serije nominovani su... / Nominees for the Heart of Sarajevo for TV Series are… NAJBOLJA DRAMSKA SERIJA / BEST DRAMA SERIES GORA (Croatia) KOŽA / SKIN (Serbia) POZIV / THE CALL (Srbija) ZNAM KAKO DIŠEŠ / I KNOW YOUR SOUL (Bosnia and Herzegovina) NAJBOLJA GLAVNA GLUMICA U DRAMSKOJ SERIJI / BEST LEADING ACTRESS - DRAMA SERIES Jasna Đuričić (ZNAM KAKO DIŠEŠ / I KNOW YOUR SOUL) Mirjana Joković (POZIV / THE CALL) Vesna Trivalić (KOŽA / SKIN) NAJBOLJI GLAVNI GLUMAC U DRAMSKOJ SERIJI / BEST LEADING ACTOR - DRAMA SERIES Ermin Bravo (ZNAM KAKO DIŠEŠ / I KNOW YOUR SOUL) Uliks Fehmiu (POZIV / THE CALL) Žarko Laušević (1963. – 20202.) (VREME SMRTI / TIME OF DEATH) NAJBOLJA EPIZODNA ULOGA – GLUMICA U DRAMSKOJ SERIJI / BEST SUPPORTING ACTRESS – DRAMA SERIES Snežana Bogdanović (POZIV / THE CALL) Milica Janevski (KOŽA / SKIN) Jelena Kordić Kuret (ZNAM KAKO DIŠEŠ / I KNOW YOUR SOUL) NAJBOLJA EPIZODNA ULOGA – GLUMAC U DRAMSKOJ SERIJI / BEST SUPPORTING ACTOR – DRAMA SERIES Ermin Bravo (POZIV / THE CALL) Mirvad Kurić (ZNAM KAKO DIŠEŠ / I KNOW YOUR SOUL) Marko Todorović (KOŽA / SKIN) ZVIJEZDA U USPONU / RISING STAR Lazar Dragojević (ZNAM KAKO DIŠEŠ / I KNOW YOUR SOUL) Jovana Gavrilović (KOŽA / SKIN) Danica Nedeljković (POZIV / THE CALL) NAJBOLJA REŽIJA (ZA EPIZODU) - DRAMSKA SERIJA / BEST DIRECTOR FOR THE EPISODE – DRAMA SERIES Marko Djilas (POZIV / THE CALL, Ep.3) Saša Hajduković (KOŽA / SKIN, Ep. 5) Nermin Hamzagić (ZNAM KAKO DIŠEŠ / I KNOW YOUR SOUL, Ep.3) NAJBOLJI SCENARIJ (ZA EPIZODU) - DRAMSKA SERIJA / BEST SCREENPLAY FOR THE EPISODE – DRAMA SERIES Nikola Pejaković (KOŽA / SKIN, Ep.1) Iva Mitrović, Marko Popović (POZIV / THE CALL, Ep.6) Jasmila Žbanić i koscenaristkinja Elma Tataragić (ZNAM KAKO DIŠEŠ / I KNOW YOUR SOUL, Ep.1) NAJBOLJA KOMEDIJA / BEST COMEDY PRINC IZ ELEJA / SMASHING IT RADIO MILEVA NAJBOLJA GLAVNA GLUMICA – KOMEDIJA / BEST LEADING ACTRESS – COMEDY Mediha Musliović (PRINC IZ ELEJA / SMASHING IT) Olga Odanović (RADIO MILEVA) NAJBOLJI GLAVNI GLUMAC – KOMEDIJA / BEST LEADING ACTOR – COMEDY Branimir Brstina (RADIO MILEVA) Alen Muratović (PRINC IZ ELEJA / SMASHING IT) ZVIJEZDA U USPONU / RISING STAR Kris Gavrić (RADIO MILEVA) Nikola Trišić (POPADIJA / THE PREACHER’S WIFE) NAJBOLJI SCENARIJ (ZA EPIZODU) – KOMEDIJA / BEST SCREENPLAY FOR THE EPISODE – COMEDY Zorica Cvijetić (RADIO MILEVA, Ep. 14) Elma Tataragić, Dušan Vranić, Enes Zlatar (PRINC IZ ELEJA / SMASHING IT, Ep. 4) NAJBOLJA REŽIJA (ZA EPIZODU) – KOMEDIJA / BEST DIRECTOR FOR THE EPISODE – COMEDY Elmir Jukić (RADIO MILEVA, Ep.14) Alen Šimić (PRINC IZ ELEJA / SMASHING IT, Ep.4) Sub-headings NAGRADE / AWARDS Ovogodišnje izdanje Talents Programa u fokus stavlja vještačku inteligenciju. ART/FICIAL želi dovesti u pitanje tu apokaliptičnu naraciju u domeni odnosa između AI i filma. U umjetnoj inteligenciji, umjesto neprijatelja kreativnosti, vidimo tehnološku prekretnicu koja će film preoblikovati, ne uništiti. Nakon masterclassa Corda Jeffersona u Bosanskom kulturnom centru, mladi filmski radnici imali su priliku da čuju razgovor sa Alecom Von Bargemom, a potom i predavanje reditelja Srdana Golubovića. Ceremoniju otvaranja u Evropskoj kući kulture i nacionalnih manjina obilježio je inspirativan razgovor sa glumicom Noomi Rapace, koji je moderirala Mia Avdagić. Glumica je govorila o svojim počecima u filmskoj industriji, razlikama između evropskog i američkog tržišta, te izazovima sa kojima se filmski radnici suočavaju u poslu koji rade. Rapace ne krije da je najteži zadatak za nju bio da se suoči sa vlastitim strahovima, čije porijeklo vidi u djetinjstvu. "Najteže je shvatiti da si ti ista ona osoba koja je nekada gajila te strahove, i da oni nikada sasvim ne nestaju. Samo sam u jednom trenutku odlučila da uđem u tu sobu straha kako bih vidjela da ono čega se plašim na kraju nije toliko strašno", otvoreno je govorila glumica. Nakon oficijelnog dijela programa, talenti su glumici postavljali pitanja koja se tiču njene saradnje sa kolegama, načinom rada na setu, ulogama koje je tumačila. Pokrenut u saradnji sa Međunarodnim filmskim festivalom u Berlinu i programom Berlinale Talents, program Talents Sarajevo i ove godine je regionalno mjesto susreta i obuke perspektivnih filmskih radnika. Osamnaesto izdanje programa Talents Sarajevo, koje se održava u okviru 30. Sarajevo Film Festivala, okuplja mlade talente filmske industije iz velikog broja zemalja širom svijeta. Lesia Diak DAD’S LULLABY Competition Documentary Otvoren Talents program  30. Sarajevo Film Festivala Talents Sarajevo Talents Sarajevo This year’s Talents Programme focuses on artificial intelligence. The theme, ART/FICIAL, seeks to challenge the apocalyptic narrative surrounding the relationship between AI and film. Rather than viewing artificial intelligence as an enemy of creativity, we see it as a technological milestone that will reshape film, not destroy it. Following a masterclass by Cord Jefferson at the Bosnian Cultural Center, young filmmakers had the opportunity to attend a conversation with Alec Von Bargen, followed by a lecture by director Srdan Golubović. The opening ceremony at the European House of Culture and National Minorities was highlighted by an inspiring conversation with actress Noomi Rapace, moderated by Mia Avdagić. Rapace spoke about her beginnings in the film industry, the differences between the European and American markets, and the challenges that filmmakers face in their work. Rapace candidly shared that the most difficult task for her was confronting her own fears, which she traces back to her childhood. "The hardest thing is realizing that you are still that same person who once harbored those fears, and that they never completely disappear. At one point, I decided to step into that room of fear to see that what I was afraid of wasn’t as frightening as I thought," the actress openly shared. After the official programme, the talents had the chance to ask Rapace questions about her collaborations with colleagues, her approach to working on set, and the roles she has played. Launched in collaboration with the Berlin International Film Festival and the Berlinale Talents program, Talents Sarajevo continues to serve as a regional meeting point and training ground for promising filmmakers. The 18th edition of the Talents Sarajevo programme, held as part of the 30th Sarajevo Film Festival, brings together young talents from the film industry across a wide range of countries around the world. Talents Programme of the 30th Sarajevo Film Festival Opens Cinelink Industry Days Anna Rubi, rediteljica filma „Tvoj život bez mene“ / Anna Rubi, director of Your Life Without Me Rada Šešić, selektorica Takmičarskog programa – Dokumentarni film / Rada Šešić, programmer of Competition Programme – Documentary Film Atmosfera u Ljetnom kinu Stari Grad na premijeri filma „Backup“ / Atmosphere at Open Air Cinema Stari Grad at the premiere of Backup Više fotografija možete pronaći OVDJE. More festival photos you can find HERE. Festivalski život / Festival Life Atmosfera u Ljetnom kinu Coca-Cola / Atmosphere at Coca-Cola Open Air Cinema Palestinski reditelj Elia Suleiman, s direktorom Festivala Jovanom Marjanovićem, na otvorenju programa „Posvećeno" / Palestinian director Elia Suleiman, with Festival Director Jovan Marjanović, at the opening of the "Tribute" program Premijera filma „Backup“ / Premiere of the film Backup BUY TICKET STRANPUTICE / SIDEWAYS United States, 2004, 127 min. Režija / Director: Alexander Payne, Uloge / Cast: Paul Giamatti, Thomas Haden Church, Virginia Madsen, Sandra Oh, Marylouise Burke, Jessica Hecht BUY TICKET VELIKA SEDMICA / HOLY WEEK Romania, Switzerland, 2024,133 min. Režija / Director: Andrei Cohn, Uloge / Cast: Doru Bem, Nicoleta Lefter, Ciprian Chiricheș, Mario Gheorghe Dinu, Ana Cioneta TAKMIČARSKI IGRANI COMPETITION FEATURES Neuspješni pisac i obožavatelj vina Miles vodi svoga prijatelja Jacka uoči njegovog vjenčanja na putovanje u vinarski okrug. Dok se Miles želi opustiti i uživati u vinu, Jack žudi za posljednjom aferom prije vjenčanja. Uskoro, Jack počne spavati sa Stephanie, a njena prijateljica Maya zbližava se sa Milesom. Dvije žene pobjesne kada Miles nehotice otkrije da se Jack uskoro ženi, što čitavo putovanje baca u haos. Struggling writer and wine enthusiast Miles takes his soon-to-be-married friend Jack on a trip to wine country for a final single-guy bonding experience. While Miles wants to relax and enjoy the wine, Jack is in search of one last fling before his wedding. Soon, Jack is sleeping with Stephanie, while her friend Maya connects with Miles. When Miles lets slip that Jack is getting married, both women are furious, sending the trip into disarray. Velika sedmica, negdje u Rumuniji, početkom 19. vijeka. Jevrej Leiba, vlasnik prenoćišta, u napetim je odnosima sa svojim uposlenikom, kršćaninom Gheorgheom, usljed čega ga odluči otpustiti. Osvetoljubivi Gheorghe zaprijeti Leibi da će se vratiti na uskršnje veče da sa njim "sravni" račune. Zbog te prijetnje Leiba gubi vjeru u mogućnost suživota sa svojim neprijateljski i antisemitski nastrojenim okruženjem. Od toga trenutka Leiba sve teže razlikuje stvarnu opasnost od vlastitog osjećaja ugroženosti te doživljava transformaciju koja će imati ekstremne posljedice.  Holy Week, somewhere in Romania, about 1900. The troublesome relationship between the Jewish innkeeper Leiba and his Christian employee Gheorghe comes to a head, and so Leiba decides to dismiss the latter. Vengeful, Gheorghe promises he will return on Easter Night to “settle” accounts with Leiba. This threat is the last straw that crushes Leiba’s attempts to inhabit the hostile, anti-Semitic environment that surrounds him. From this moment on, Leiba struggles to distinguish between actual danger and that fabricated by his anxieties, and he goes down a path of transformation that leads to extreme consequences. OPEN AIR Na programu danas... / On today's schedule... BOŽANSKA INTERVENCIJA / DIVINE INTERVENTION France, Palestine, 2002, 92 min. Režija / Director: Elia Suleiman, Uloge / Cast: Manal Khader, Nayef Fahoum Daher, George Ibrahim, Salwa Nakkara, Elia Suleiman BUY TICKET BUY TICKET Film CRNA KUTIJA: DNEVNICI prati rediteljicu i novinarku Shiori Ito dok hrabro istražuje seksualni napad koji je preživjela u pokušaju da pravdi privede svog uglednog napadača. U filmu koji se odvija poput trilera, kombinujući tajne snimke iz istrage, dokumentarne snimke i emotivna lična videosvjedočanstva, njena misija postaje prelomni slučaj u Japanu i razotkriva iznimno zastarjele društvene norme i pravosudni sistem te zemlje. BLACK BOX DIARIES follows director and journalist Shiori Ito’s courageous investigation of her own sexual assault in an improbable attempt to prosecute her high-profile offender. Unfolding like a thriller and combining secret investigative recordings, vérité shooting, and emotional first-person video, Ito's quest becomes a landmark case in Japan, exposing the country’s desperately outdated judicial and societal systems. KINOSCOPE CRNA KUTIJA: DNEVNICI / BLACK BOX: DIARIES Japan, SAD, Ujedinjeno Kraljevstvo, 2024, 102 min. Režija / DIrector : Shiori Ito TRIBUTE TO U Nazaretu, pod krinkom banalne svakodnevnice, građanstvo se prepušta ludorijama. Pod pritiskom propadajućeg posla, jedan muškarac odluči uzeti stvari u svoje ruke i pokušati rastrgati lanac međusobno povezanih sitnih sukoba. Umjesto toga, rastrže sebe. Sin tog muškarca je ES. Priča o ljubavi Palestinca koji živi u Jerusalemu i Palestinke koja živi u Ramali. Palestinac, ES, razapet je između bolesnog oca i ljubavne veze, pokušavajući ih oboje održati na životu. Zbog političke situacije, sloboda kretanja njegove voljene prestaje na kontrolnoj tačci izraelske vojske između dva grada. Pošto joj je zabranjeno proći kontrolnu tačku, intimni susreti dvoje ljubavnika odvijaju se u dijelu pustinje u njenoj neposrednoj blizini. Ljubavnici ne mogu izbjeći realnost okupacije. Ne mogu očuvati vlastitu intimu dok se suočavaju s opsadom. Njihova iskrena strast počinje da generiše nasilne posljedice, a njihova ljutita srca, suprotno očekivanjima, uzvraćaju napad spektakularnim izljevima mašte. Beneath the guise of banal normalcy, the town of Nazareth embraces folly. Under pressure due to his failing business, a man takes matters into his own hands and tries to break a chain reaction of petty feuds. He breaks down himself. That man is ES's father. A love story takes place between a Palestinian man living in Jerusalem and a Palestinian woman from Ramallah. The man—ES—shifts his focus between his ailing father and his love life, trying to keep both alive. Because of the political situation, the woman's freedom of movement ends at the Israeli army checkpoint between two cities. As she is barred from crossing, the lovers' intimate encounters take place on a deserted lot immediately next to the checkpoint. The lovers are unable to exempt reality from occupation. They are unable to preserve their intimacy in the face of a siege. A complicity of solemn desire begins to generate violent repercussions and against the odds, their angry hearts counter-attack with spasms of spectacular fantasy.