PONEDJELJAK / MONDAY 18. 08. 2025.
www.sff.ba
Michel Franco: Sarajevo je moj drugi dom Michel Franco: Sarajevo Is My Second Home
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SADRŽAJ
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COMPETITION documentary: LESIA DIAK I Had False Hope It Would Be Better
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COMPETITION PROGRAMME - FEATURE FILM Regional Premiere of "Fantasy"
COMPETITION PROGRAMME - FEATURE FILM: RENÁTÓ OLASZ, Coming Back Home
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FOTO GALERIJA: CRVENI TEPIH
COMPETITION FEATURE European Premiere of Family Therapy
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CONTENT
COMPETITION PROGRAMME- DOCUMENTARY FILM: DAMJAN KOZOLE, Life as art and art as life
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TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM: DALIJA DOZET, Megamiks najrazličitijih emotivnih stanja
NA PROGRAMU DANAS...
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TAKMIČARSKI PROGRAM - IGRANI FILM: RENÁTÓ OLASZ Povratak u rodni grad
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TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM: DAMJAN KOZOLE, Umjetnost kao život i život kao umjetnost
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TAKMIČARSKI IGRANI Europska premijera filma „Obiteljska terapija“
COMPETITION PROGRAMME- DOCUMENTARY FILM: DALIJA DOZET, Megamix of Emotions
Masterclass: PAOLO sorrentino A Film Must Be Imperfect, Just Like Life
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COMPETITION PROGRAMME - FEATURE FILM: ELSA KREMSER AND LEVIN PETER, Its Always About the Emotional Truth
PHOTo GALLERY: RED CARPET
TAKMIČARSKI PROGRAM - IGRANI FILM Regionalna premijera filma "Fantasy“
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TAKMIČARSKI PROGRAM - IGRANI FILM:ELSA KREMSER i LEVIN PETER Uvijek se radi o emocionalnoj istini
TAKMIČARSKI DOKUMENTARNI: LESIA DIAK Imala sam lažnu nadu da će biti bolje
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FOTO GALERIJA: FESTIVALSKI ŽIVOT
PHOTO GALLERY: FESTIVAL LIFE
Masterclass: PAOLO sorrentino Film mora biti nesavršen, baš poput života
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COMPETITION PROGRAMME - FEATURE FILM Regional Premiere of the Film "Wind, Talk to Me"
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TAKMIČARSKI PROGRAM - IGRANI FILM Regionalna premijera filma "Vjetre, pričaj sa mnom“
COMPETITION PROGRAMME- DOCUMENTARY FILM: DMYTRO HRESHKO, Living with Nature in Wartime
TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM: DMYTRO HRESHKO, Živjeti s prirodom u ratno dobaa
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Michel Franco: Sarajevo is my second home
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Michel Franco: Sarajevo je moj drugi dom
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TALENTS - ACTING STUDIO Dragan Mićanović and Goran Bogdan
TALENTS - ACTING STUDIO Dragan Mićanović i Goran Bogdan
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Film SNOVI reditelja Michela Franca prikazan je u KSC Skenderija, u okviru Open Air programa 31. Sarajevo Film Festivala. Prije projekcije, publiku su pozdravili direktor Sarajevo Film Festivala Jovan Marjanović, reditelj Michel Franco i Eréndira Núñez Larios, producentica filma SNOVI.
“Uvijek je zadovoljstvo poželjeti dobrodošlicu filmskim autorima koji su obilježili historiju filma. Michel Franco, dobitnik Počasnog Srca Sarajeva na 26. Sarajevo Film Festivalu, vratio se u Sarajevo sa svojim posljednjim filmom SNOVI, koji je premijerno prikazan na ovogodišnjem Berlinskom filmskom festivalu. Francovi filmovi su precizni, nikoga ne ostavljaju ravnodušnim i ne plaše se suočiti sa međuljudskim odnosima i društvom. Film SNOVI nije drugačiji. Rekao bih da je i radikalniji”, rekao je Jovan Marjanović. “Sarajevo je moj drugi dom. Dolazio sam godinama sa brojnim filmovima i zahvalan sam na dobrodošlici. Mogu reći da su ljudi u Sarajevu sretni što imaju jedan od najboljih filmskih festivala na svijetu. Godinama sam pričao mojoj producentici o Festivalu i sada je došla sa mnom da se uvjeri koliko je ovdje prelijepo”, rekao je Michel Franco. “Ovo je nevjerovatno, jako sam uzbuđena i nadam se da ćemo zajedno uživati u filmu”, rekla je Eréndira Núñez Larios. Film SNOVI govori o mladom meksičkom baletanu Fernandu koji sanja o međunarodnom uspjehu i životu u Americi. Vjerujući da će ga njegova ljubavnica, članica otmjenog društva i filantropistica Jennifer, podržati, ostavlja sve za sobom i odlazi, a u procesu za dlaku izbjegava smrt. Međutim, njegov dolazak remeti Jenniferin pažljivo kontrolisani svijet. Jennifer će učiniti sve što je u njenoj moći da zaštiti i njihovu budućnost, ali i život koji je izgradila.
Michel Franco: Sarajevo Is My Second Home
The film DREAMS by the director Michel Franco was shown in KSC Skenderija, as part of the Open Air programme of the 31st Sarajevo Film Festival. Before the screening, the audience was greeted by the director of the Sarajevo Film Festival Jovan Marjanović, director Michel Franco and Eréndira Núñez Larios, producer of the film DREAMS.
"It is always a pleasure to welcome filmmakers who have marked the history of film. Michel Franco, recipient of the Honorary Heart of Sarajevo at the 26th Sarajevo Film Festival, returned to Sarajevo tonight with his latest film DREAMS, which premiered at this year's Berlin Film Festival. Franco's films are precise, they leave no one indifferent and are not afraid to confront interpersonal relationships and society. The film DREAMS is no different. I would say it is even more radical," Marjanović said. "Sarajevo is my second home. I have been coming for years with numerous films and I am grateful for the welcome. I can say that people in Sarajevo are happy to have one of the best film festivals in the world. I have been telling my producer about the Festival for years and now she came with me to see how beautiful it is here," said Michel Franco. "This is incredible, I'm very excited and I hope we can enjoy the film together," said Eréndira Núñez Larios. The film DREAMS is about a Fernando,a young ballet dancer from Mexico, dreams of international recognition and a life in the United States. Believing his lover, Jennifer, a socialite and philanthropist, will support him, he leaves everything behind narrowly escaping death in the process. However, his arrival disrupts Jennifer’s carefully curated world. She will do anything to protect both their futures and the life she has built.
Film mora biti nesavršen, baš poput života
„Zabavno mi je snimati filmove, ali ne toliko i pričati o njima“, izjavio je italijanski reditelj Paolo Sorrentino, ovogodišnji dobitnik Počasnog Srca Sarajeva, na početku Masterclassa koji je održao na 31. Sarajevo Film Festivalu. Gostima Festivala, mladim filmašima i publici, koji su ispunili dvoranu Bosanskog kulturnog centra, mogao je to biti znak da im slijedi ne previše uzbudljivih 90 minuta, no Sorrentino se, kao i u svojim filmovima, pokazao vrlo zabavnim, iskrenim i pronicljivim. „Moji filmovi su o osjećajima, ne o zombijima i drugim katastrofama. Prikazuju ljude, njihove probleme i unutrašnji svijet. Kako to predstaviti na platnu? Film je tu dobar jer na raspolaganju imate niz trikova – glazbu, glumce, svjetlost, kameru… Možete poput mađioničara stvarati iluziju. No, i mađioničar ne radi ništa magično, samo se koristi trikovima. Tako i filmaši. Problem je u tome što te trikove ne možete naučiti iz knjige, morate ih znati i osjećati“, otkrio je Sorrentino svoj način rada s kojim je osvojio srca zaljubljenika u filmove diljem svijeta. Rođen u Napulju, Sorrentino je već s prvim dugometražnim igranim filmom „Suvišan čovjek“ 2001. ušao u natjecateljski program Međunarodnog filmskog festivala u Veneciji. Uslijedio je niz hvaljenih filmova, kao što su „Div“ i „Ovo mora biti pravo mjesto“, koji su prikazani u Cannesu, baš kao i „Velika ljepota“, s kojom je osvojio nagrade Oscar®, Zlatni globus i BAFTA za najbolji film na stranom jeziku, kao i tri nagrade Europske filmske akademije. Pohvale publike i kritike dobio je i za filmove „Mladost“, „Silvio“ i „Božja ruka“, ali i TV serije „Mladi papa“ i „Novi papa“, a njegov posljednji film „Partenope“ prikazan je u glavnom programu Međunarodnog filmskog festivala u Cannesu. A cijeli taj sjajni niz, prema riječima samoga reditelja, počeo je s depresijom i lijenošću. „Kada sam imao 18 godina bio sam depresivan kod kuće, sav bezvoljan. Nisam znao što bih sa sobom. Ipak gledao sam dosta filmova, pa sam pomislio da je to posao koji možete raditi, a da zapravo ne radite ništa. Otišao sam u knjižaru i kupio dvije knjige. Jednu kako napisati scenarij, a drugu kako snimiti film. Shvatio sam da sam bio u pravu“, odgovorio je Paolo Sorrentino moderatoru, reditelju Ognjenu Glavoniću, kako se zainteresirao za film, ujedno istaknuvši da je reditelj odlučio postati tek kada je pomislio da više ne zarađuje dovoljno kao scenarist. Ipak, nije sve bilo tako jednostavno. „Brzo sam shvatio da za snimiti film ne morate imati nikakav poseban kapacitet. No, tek godinama kasnije sam shvatio da morate imati veliku širinu i doista znati neke stvari kako biste snimili dobar film“, naglasio je italijanski reditelj. Govoreći kako nastaju njegovi filmovi, istaknuo je da uvijek kreću od – ljudi. Zainteresira se za neki lik, koji može biti spoj tri ili četiri osobe koje poznaje u stvarnom životu, a zatim počne istraživati u kakvim bi se situacijama taj lik mogao pronaći. Nakon toga o vizualnom izgledu filma odlučuje tijekom istraživanja lokacija i u razgovoru s direktorom fotografije. „Ne petljam se previše u posao direktora ili direktorice fotografije. Jednostavno im kažem što osjećam o filmu, opišem sve - priču, likove, što želim od filma - a onda su oni dovoljno pametni da znaju što mi treba. To je razgovor od deset minuta“, istaknuo je Paolo Sorrentino. I inače, reditelj iznad svega cijeni brzinu na snimanju. Za to ima i praktičan razlog. Ne voli biti na setu. „Brzo snimam, jer jedva čekam otići kući. Zato često koristim dvije ili tri kamere, pa redovito snimanje završim dva-tri dana prije roka. Producenti me obožavaju jer im štedim novac, a ja samo želim otići kući gledati nogomet“, nasmijao je Sorrentino prisutne svojim opisom procesa nastanka filma. „Moj je problem što ne volim previše film, Volim knjige, glazbu, nogomet… Ne toliko filmove. Jako mi znače neke scene, ali posvetiti dva sata svojega života filmu, čini mi se previše. Kao i pjesme, koje moraju biti do 3 minute, film ne bi smio biti predugačak.“ Naravno, kao i njegovi filmovi, razgovor sa Sorrentinom nije mogao proći bez da se spomenu njegov rodni grad, nogomet i veliki nogometaš Diego Armando Maradona, koji je u Napulju stekao status božanstva baš dok je reditelj odrastao. „Nogomet u Napulju mi nije bitan, bio je bitan Maradona. Tada sam prvi put upoznao što je to show. Do tada nisam znao što je to veliki spektakl, a Maradona nam je pokazao kako on izgleda. Ja sam u filmu dobio mogućnost iskazati takav spektakl“, opisao je svoju opčinjenost Maradonom, o čemu je i napravio hvaljeni film „Božja ruka“. Govoreći o ostalim filmovima, priznao je da mu je njegov najdraži film „Div“, dok je od ostalih reditelja odabrao kultni film „8 i pol“ Federica Fellinija. „Fellinijev film je sjajan jer nije savršen. Postoji dio kada vas doista zamori, kada u sebi govorite 'ajmo dalje', ali onda dođe drugi sjajan dio. Film mora biti nesavršen, baš poput života“, poručio je Sorrentino. Nesavršenost života, dapače njegov najbolniji dio, spomenut je u pitanju iz publike, kada je upitan za svoj komentar o tragičnim događajima na Bliskom istoku, odnosu filmske industrije i grozota koje se događaju u Palestini. „Mislim da nema filma koji može prevenirati ili zaustaviti ovakve stvari. Nisam sposoban govoriti o svemu što se događa, jer nemam autoritet i mogu koristiti samo opće fraze, koje se i inače govore. Ali, ako želite čuti moje mišljenje, ono je vrlo jednostavno – slažem se sa svima koji kažu da se u Gazi događa genocid“, jasno je rekao italijanski reditelj. Prisutnima je priznao da u sebi nosi određenu tugu, što je i razlog zašto se u Bosni i Hercegovini osjeća kao kod kuće, jer takvu istu tugu, što smatra komplimentom, osjeća u cijeloj istočnoj Europi. „Sva umjetnost je na kraju rezultat boli i patnje. Sreća i zabava nisu loši, ali od njih nikada ne nastane umjetničko djelo zanimljivo srcu“, izjavio je Sorrentino. A što od njega možemo očekivati u budućnosti? I tu je bio prilično izravan. „Skeptičan sam prema ljudima koji govore da imaju neki plan. Osobno, ne volim imati ciljeve ispred sebe. Ostajem kod kuće ne radeći ništa, sve dok mi se nešto ne rodi u glavi, što postane moja opsesija. Tada odlučim to napraviti“, kazao je Paolo Sorrentino na Masterclassu održanom na 31. Sarajevo Film Festivalu. Josip Jurčić „Zabavno mi je snimati filmove, ali ne toliko i pričati o njima“, izjavio je italijanski reditelj Paolo Sorrentino, ovogodišnji dobitnik Počasnog Srca Sarajeva, na početku Masterclassa koji je održao na 31. Sarajevo Film Festivalu. Gostima festivala, mladim filmašima i publici, koji su ispunili dvoranu Bosanskog kulturnog centra, mogao je to biti znak da im slijedi ne previše uzbudljivih 90 minuta, no Sorrentino se, kao i u svojim filmovima, pokazao vrlo zabavnim, iskrenim i pronicljivim. „Moji filmovi su o osjećajima, ne o zombijima i drugim katastrofama. Prikazuju ljude, njihove probleme i unutrašnji svijet. Kako to predstaviti na platnu? Film je tu dobar jer na raspolaganju imate niz trikova – glazbu, glumce, svjetlost, kameru… Možete poput mađioničara stvarati iluziju. No, i mađioničar ne radi ništa magično, samo se koristi trikovima. Tako i filmaši. Problem je u tome što te trikove ne možete naučiti iz knjige, morate ih znati i osjećati“, otkrio je Sorrentino svoj način rada s kojim je osvojio srca zaljubljenika u filmove diljem svijeta. Rođen u Napulju, Sorrentino je već s prvim dugometražnim igranim filmom „Suvišan čovjek“ 2001. ušao u natjecateljski program Međunarodnog filmskog festivala u Veneciji. Uslijedio je niz hvaljenih filmova, kao što su „Div“ i „Ovo mora biti pravo mjesto“, koji su prikazani u Cannesu, baš kao i „Velika ljepota“, s kojom je osvojio nagrade Oscar®, Zlatni globus i BAFTA za najbolji film na stranom jeziku, kao i tri nagrade Europske filmske akademije. Pohvale publike i kritike dobio je i za filmove „Mladost“, „Silvio“ i „Božja ruka“, ali i TV serije „Mladi papa“ i „Novi papa“, a njegov posljednji film „Partenope“ prikazan je u glavnom programu Međunarodnog filmskog festivala u Cannesu. A cijeli taj sjajni niz, prema riječima samoga reditelja, počeo je s depresijom i lijenošću. „Kada sam imao 18 godina bio sam depresivan kod kuće, sav bezvoljan. Nisam znao što bih sa sobom. Ipak gledao sam dosta filmova, pa sam pomislio da je to posao koji možete raditi, a da zapravo ne radite ništa. Otišao sam u knjižaru i kupio dvije knjige. Jednu kako napisati scenarij, a drugu kako snimiti film. Shvatio sam da sam bio u pravu“, odgovorio je Paolo Sorrentino moderatoru, reditelju Ognjenu Glavoniću, kako se zainteresirao za film, ujedno istaknuvši da je reditelj odlučio postati tek kada je pomislio da više ne zarađuje dovoljno kao scenarist. Ipak, nije sve bilo tako jednostavno. „Brzo sam shvatio da za snimiti film ne morate imati nikakav poseban kapacitet. No, tek godinama kasnije sam shvatio da morate imati veliku širinu i doista znati neke stvari kako biste snimili dobar film“, naglasio je italijanski reditelj. Govoreći kako nastaju njegovi filmovi, istaknuo je da uvijek kreću od – ljudi. Zainteresira se za neki lik, koji može biti spoj tri ili četiri osobe koje poznaje u stvarnom životu, a zatim počne istraživati u kakvim bi se situacijama taj lik mogao pronaći. Nakon toga o vizualnom izgledu filma odlučuje tijekom istraživanja lokacija i u razgovoru s direktorom fotografije. „Ne petljam se previše u posao direktora ili direktorice fotografije. Jednostavno im kažem što osjećam o filmu, opišem sve - priču, likove, što želim od filma - a onda su oni dovoljno pametni da znaju što mi treba. To je razgovor od deset minuta“, istaknuo je Paolo Sorrentino. I inače, reditelj iznad svega cijeni brzinu na snimanju. Za to ima i praktičan razlog. Ne voli biti na setu. „Brzo snimam, jer jedva čekam otići kući. Zato često koristim dvije ili tri kamere, pa redovito snimanje završim dva-tri dana prije roka. Producenti me obožavaju jer im štedim novac, a ja samo želim otići kući gledati nogomet“, nasmijao je Sorrentino prisutne svojim opisom procesa nastanka filma. „Moj je problem što ne volim previše film, Volim knjige, glazbu, nogomet… Ne toliko filmove. Jako mi znače neke scene, ali posvetiti dva sata svojega života filmu, čini mi se previše. Kao i pjesme, koje moraju biti do 3 minute, film ne bi smio biti predugačak.“ Naravno, kao i njegovi filmovi, razgovor sa Sorrentinom nije mogao proći bez da se spomenu njegov rodni grad, nogomet i veliki nogometaš Diego Armando Maradona, koji je u Napulju stekao status božanstva baš dok je reditelj odrastao. „Nogomet u Napulju mi nije bitan, bio je bitan Maradona. Tada sam prvi put upoznao što je to show. Do tada nisam znao što je to veliki spektakl, a Maradona nam je pokazao kako on izgleda. Ja sam u filmu dobio mogućnost iskazati takav spektakl“, opisao je svoju opčinjenost Maradonom, o čemu je i napravio hvaljeni film „Božja ruka“. Govoreći o ostalim filmovima, priznao je da mu je njegov najdraži film „Div“, dok je od ostalih reditelja odabrao kultni film „8 i pol“ Federica Fellinija. „Fellinijev film je sjajan jer nije savršen. Postoji dio kada vas doista zamori, kada u sebi govorite 'ajmo dalje', ali onda dođe drugi sjajan dio. Film mora biti nesavršen, baš poput života“, poručio je Sorrentino. Nesavršenost života, dapače njegov najbolniji dio, spomenut je u pitanju iz publike, kada je upitan za svoj komentar o tragičnim događajima na Bliskom istoku, odnosu filmske industrije i grozota koje se događaju u Palestini. „Mislim da nema filma koji može prevenirati ili zaustaviti ovakve stvari. Nisam sposoban govoriti o svemu što se događa, jer nemam autoritet i mogu koristiti samo opće fraze, koje se i inače govore. Ali, ako želite čuti moje mišljenje, ono je vrlo jednostavno – slažem se sa svima koji kažu da se u Gazi događa genocid“, jasno je rekao italijanski reditelj. Prisutnima je priznao da u sebi nosi određenu tugu, što je i razlog zašto se u Bosni i Hercegovini osjeća kao kod kuće, jer takvu istu tugu, što smatra komplimentom, osjeća u cijeloj istočnoj Europi. „Sva umjetnost je na kraju rezultat boli i patnje. Sreća i zabava nisu loši, ali od njih nikada ne nastane umjetničko djelo zanimljivo srcu“, izjavio je Sorrentino. A što od njega možemo očekivati u budućnosti? I tu je bio prilično izravan. „Skeptičan sam prema ljudima koji govore da imaju neki plan. Osobno, ne volim imati ciljeve ispred sebe. Ostajem kod kuće ne radeći ništa, sve dok mi se nešto ne rodi u glavi, što postane moja opsesija. Tada odlučim o tome napraviti“, kazao je Paolo Sorrentino na Masterclassu održanom na 31. Sarajevo Film Festivalu. Josip Jurčić
Dobitnik Počasnog Srca Sarajeva, italijanski reditelj Paolo Sorrentino, na 31. Sarajevo Film Festivalu održao je Masterclass tijekom kojeg je otkrio kako nastaju njegovi hvaljeni filmovi, ali i kako brzo snima jer – samo želi otići kući.
Paolo Sorrentino
Masterclass
Recipient of the Honorary Heart of Sarajevo, Italian director Paolo Sorrentino, held a Masterclass at the 31st Sarajevo Film Festival, where he revealed how his acclaimed films come to life, and why he shoots so quickly: he just wants to go home
“It’s fun for me to make films, but not so much to talk about them,” said Italian director Paolo Sorrentino, this year’s recipient of the Honorary Heart of Sarajevo, at the start of his Masterclass at the 31st Sarajevo Film Festival. For festival guests, young filmmakers, and the audience who packed the Bosnian Cultural Center, that might have seemed like a warning of an unexciting 90 minutes ahead. Yet, much like in his films, Sorrentino proved to be witty, candid, and perceptive. “My films are about emotions, not zombies or other disasters. They portray people, their struggles, their inner worlds. How do you bring that to the screen? Cinema is great for that, because you have a whole set of tricks at your disposal: music, actors, light, the camera… You can, like a magician, create an illusion. But a magician isn’t doing anything truly magical; he’s just using tricks. Filmmakers are the same. The challenge is that you can’t learn those tricks from a book, you have to know them, you have to feel them,” Sorrentino revealed, sharing the approach that has won over cinephiles around the world. Born in Naples, Sorrentino made his mark with his very first feature, "One Man Up" (2001), which entered the Competition at the Venice International Film Festival. This was followed by a string of acclaimed films such as "The Family Friend" and "This Must Be the Place", both screened in Cannes, as well as The Great Beauty, which earned him an Oscar®, Golden Globe, and BAFTA for Best Foreign Language Film, along with three European Film Awards. He won praise from both critics and audiences for "Youth", "Loro", and "The Hand of God", as well as for his TV series "The Young Pope" and "The New Pope". His most recent film, "Parthenope", premiered in the Main Competition at the Cannes Film Festival. And yet, as the director himself admits, this dazzling journey began with depression and laziness. “When I was 18, I was depressed at home, completely unmotivated. I didn’t know what to do with myself. But I was watching a lot of films, so I thought - this is a job where you can work while actually doing nothing. I went to a bookstore and bought two books: one on how to write a screenplay, and another on how to make a film. I realized I was right,” Paolo Sorrentino told moderator, director Ognjen Glavonić, when asked how he first became interested in cinema. He added that he only truly decided to become a director once he felt he wasn’t earning enough as a screenwriter. Still, it wasn’t all that simple. “I quickly realized that you don’t need any special talent to make a film. But it took me years to understand that to make a good film, you need a broad perspective and real knowledge of certain things,” the Italian director emphasized. When speaking about how his films come to life, he explained that they always begin with people. He becomes intrigued by a character, often a blend of three or four people he knows in real life, and then starts exploring the situations that character might find themselves in. The film’s visual identity, he added, takes shape later, during location scouting and in conversations with his director of photography. “I don’t interfere too much with the work of the cinematographer. I just tell them how I feel about the film. I describe everything: the story, the characters, what I want from the film, and then they’re smart enough to know what I need. That conversation takes about ten minutes,” Paolo Sorrentino explained. Above all, the director values speed on set. And for that, he has a very practical reason: he doesn’t like being on set. “I shoot quickly because I can’t wait to go home. That’s why I often use two or three cameras, so I usually wrap filming two or three days ahead of schedule. Producers love me because I save them money — but really, I just want to go home and watch football,” Sorrentino said with a laugh, describing his filmmaking process. “My problem is that I don’t really love cinema all that much. I love books, music, football… not so much films. Certain scenes mean a lot to me, but dedicating two hours of my life to a movie feels excessive. Just like songs shouldn’t last longer than three minutes, films shouldn’t be too long either.” And of course, much like his films, the conversation with Sorrentino couldn’t pass without touching on his hometown, football, and the great Diego Armando Maradona, who, while Sorrentino was growing up, reached divine status in Naples. “Football in Naples wasn’t important to me, Maradona was. That’s when I first understood what a show really is. Until then, I didn’t know what a grand spectacle looked like, and Maradona showed us. In film, I got the chance to express that kind of spectacle,” Sorrentino said, describing his fascination with Maradona, which he later captured in the acclaimed film The Hand of God. Speaking about his other works, he admitted that his favorite film of his own is "Il Divo", while among other directors, he singled out Federico Fellini’s cult classic "8½". “Fellini’s film is brilliant because it’s not perfect. There are moments that truly tire you, when you think ‘let’s move on,’ and then another amazing part comes. A film has to be imperfect — just like life,” Sorrentino said. The imperfection of life - its most painful aspects - came up during a question from the audience, which asked for his thoughts on the tragic events in the Middle East, and the relationship between the film industry and the horrors occurring in Palestine. “I don’t think there’s a film that can prevent or stop such things. I’m not capable of speaking on everything that’s happening, because I don’t have the authority; I can only use general phrases, which are said anyway. But if you want my opinion, it’s very simple: I agree with everyone who says that genocide is happening in Gaza,” the Italian director stated clearly. He admitted to the audience that he carries a certain sadness within him, which is also why he feels at home in Bosnia and Herzegovina, he senses the same kind of melancholy, which he considers a compliment, throughout Eastern Europe. “All art, in the end, is the result of pain and suffering. Happiness and fun aren’t bad, but they never create a work of art that touches the heart,” Sorrentino stated. And what can we expect from him in the future? Here, too, he was refreshingly candid. “I’m sceptical of people who say they have a plan. Personally, I don’t like having goals in front of me. I stay at home doing nothing until something is born in my mind that becomes an obsession. Then I decide to make it,” Paolo Sorrentino said during his Masterclass at the 31st Sarajevo Film Festival.
A Film Must Be Imperfect, Just Like Life
Regionalna premijera filma „Fantasy“
Regional Premiere of the Film FANTASY
Takmičarski PROGRAM - igrani FILM • Competition PROGRAMME - Feature FILM
Director Kukla led the film crew at the regional premiere of “Fantasy” held at the National Theatre. The film tells the story of three friends who refuse to submit to the rules of a conservative society, whose world is turned upside down when they meet the transgender woman Fantasy. The cast includes Alina Juhart, Sarah Al Saleh, Milena Milovanović, and Mia Skrbinac.
Rediteljica Kukla predvodila je filmsku ekipu na regionalnoj premijeri filma „Fantasy“ održanoj u Narodnom pozorištu. Film prikazuje priču o tri prijateljice, koje se odbijaju podložiit pravilima konzervativnog društva, čiji se svijet okrene naglavačke kada upoznaju transrodnu ženu Fantasy. U filmu glume Alina Juhart, Sarah Al Saleh, Milena Milovanović i Mia Skrbinac.
Director Stefan Đorđević led the film crew at the regional premiere of “Wind, Talk to Me” held at the National Theatre. In this emotional drama, which he shot with the help of his family members, the director offers an intimate cinematic reflection inspired by the untimely passing of his mother. Alongside the director, the cast includes Negrica Đorđević, Boško Đorđević, Đorđe Davidović, Budimir Jovanović, Ljiljana Jovanović, Martina Davidović, Ana Petrović, Vidak Davidović, and the dog Lija.
Regionalna premijera filma „Vjetre, pričaj sa mnom“
Regional Premiere of the Film “Wind, Talk to Me“
Reditelj Stefan Đorđević predvodio je filmsku ekipu na regionalnoj premijeri filma „Vjetre, pričaj sa mnom“ održanoj u Narodnom pozorištu. U emotivnoj drami, koju je snimio uz pomoć članova svoje obitelji, reditelj je ponudio intimni filmski osvrt potaknut preranim odlaskom svoje majke. Uz reditelja, u filmu glume Negrica Đorđević, Boško Đorđević, Đorđe Davidović, Budimir Jovanović, Ljiljana Jovanović, Martina Davidović, Ana Petrović, Vidak Davidović i pas Lija.
Crveni tepih / Red Carpet
Morten Traavik, reditelj / Morten Traavik, director
VOLIM FILM
Red Carpet
Ekipa filma "Treći svijet" / CREW: THIRD WORLD
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
Ekipa filma "Izgubljeni Dream Team" / CREW: THE LOST DREAM TEAM
Uvijek se radi o emocionalnoj istini
Imate povijest rada zajedno kao duo. „Bijeli puž“ je vaš prvi igrani film, ali ste prije toga režirali dokumentarne filmove „Dreaming Dogs“ i „Space Dogs“. Je li prijelaz s dokumentarnog na igrani film bio težak? Prijelaz s dokumentarnog na igrani film za nas zapravo nije bio veliki pomak. U svemu što radimo, uvijek prvo pratimo kinematografski viziju i postavljamo si pitanje: koji alati najbolje izražavaju emocionalnu srž priče? U „Space Dogs“ i „Dreaming Dogs“ to je značilo uroniti u perspektivu pasa i koristiti kinematografski prostor kako bismo dočarali to iskustvo. U „Bijelom pužu“ polazište su bila dva ljudska lika, njihov susret sa smrću, usamljenosti i izolacijom, a iznad svega, pokušaj da jedno drugo razumiju. Uvijek se radi o emocionalnoj istini, bez obzira radi li se o igranom ili dokumentarnom filmu. Zajedno pišete scenarij i režirate, kako izgleda vaš kreativni proces? Za nas je najvažnije da sve radimo zajedno: pisanje, režiju, produkciju, istraživanje... Rijetko dijelimo zadatke, jer dijelimo i život, pa smo navikli dijeliti svaku misao i kreativni impuls. To čini zajedničko pisanje scenarija i režiranje vrlo prirodnim tokom, a ne izazovom. Nesuglasice su rijetke, jer godinama u pripremi razgovaramo o svakom detalju, oblikujući zajedničku viziju. Dakle, ako neka scena ne „sjeda“, obično nam čak nije ni potrebno objašnjavati zašto, jednostavno znamo, na temelju te duboke osnove. Isto vrijedi i za pisanje. Gdje ste pronašli inspiraciju za ljubavnu priču između bjeloruske manekenke koja sanja karijeru i misterioznog samotnjaka koji radi noćnu smjenu u mrtvačnici? Priča „Bijelog puža“ počela je s jednim stvarnim susretom prije otprilike deset godina. U Minsku smo upoznali Mishu (Mikhail Senkov), glavnog muškog lika, koji je zapravo radio u mrtvačnici dvadeset godina, a bio je i slikar. Masha (Marya Imbro), koju smo kasnije odabrali za ulogu, također je stvarna manekenka. Tijekom dugog procesa razvoja, priča se razvijala iz njihovih stvarnih života. Proveli smo puno vremena s oboje. Ne samo intervjuišući ih, već istinski uranjajući u njihove svjetove. Posjećivali smo brojne škole za manekene, provodili vrijeme u mrtvačnicama, upoznavali njihove porodice. Ono što nas je fasciniralo bila je sudar dviju vrlo različitih perspektiva na ljudsko tijelo: Mishina, oblikovana smrću i raspadom, i Mashina, oblikovana standardima ljepote i sumnjom u sebe. Oboje se bave pojavom tijela – samo na radikalno različite načine. Kako ste vodili Maryu i Mikhaila kroz njihovo prvo glumačko iskustvo? Naš pristup bio je stvaranje prostora i situacija koje su za njih bile svježe i iznenađujuće. Svaki od njih poznavao je samo svoju stranu priče. Marya je znala samo ono što njezin lik zna, isto je vrijedilo i za Mikhaila. Zapravo, nisu se niti upoznali prije prvog dana snimanja. Budući da smo uglavnom snimali kronološki, njihova povezanost razvijala se na ekranu paralelno s njihovom stvarnom interakcijom. Tako se priča o dvoje ljudi koji se upoznaju odvijala unutar fikcionalnog okvira, ali kroz stvaran, neregistrirani proces otkrivanja. Mishine slike u filmu djeluju kao prirodan nastavak njegovog lika i atmosfere „Bijeli puž“. Možete li nam reći više o umjetničkim djelima u filmu i kako su postala dio priče? Sve uljane slike u filmu dio su Mikhailovog stvarnog umjetničkog opusa. Kao što smo spomenuli, osim posla u mrtvačnici, on je i slikar koji je studirao na Akademiji likovnih umjetnosti u Bjelorusiji. Cijeli njegov opus oblikovan je svakodnevnim susretima sa smrću i raspadom. Stan koji vidite u filmu vrlo je precizna rekreacija njegovog stvarnog doma, onog koji je dijelio s majkom i gdje smo ga prvi put upoznali prije mnogo godina. Baš kao i Masha u filmu, kada smo prvi put ušli u taj prostor, bili smo zapanjeni tim ogromnim platnima. Bila su naslikana unutar stana i premala su vrata da bi kroz njih prošla. Tako su, na neki način, fizički i metaforički zarobljena tamo. U scenama u mrtvačnici postoji jedinstvena intimnost unatoč prisutnosti raspadanja i smrti. Koje ste kreativne odluke donijeli kako biste održali ravnotežu između znanstvene stvarnosti mrtvačnice i intimnog emocionalnog tona filma? Središnja tema filma je način na koji promatramo tijela: živo tijelo, često viđeno kroz prizmu nesigurnosti i sumnje u sebe, i mrtvo tijelo, ležeće u mrtvačnici, stanje kojem će se svakako suočiti svaki čovjek. Nakon našeg prvog susreta sa mrtvim tijelom, bili smo duboko potreseni. Shvatili smo koliko malo zapravo razumijemo o smrti, što ona znači, kako izgleda, kakav je osjećaj suočiti se sa njom. Kao filmski autori, privlače nas pitanja na koja nemamo odgovore, a ovo je jedno od njih. Misha, lik u filmu, dao nam je ulaz u taj svijet. No osim toga, htjeli smo se sa njim susresti i praktično. Zajedno sa našim direktorom fotografije Mikhailom Khursevichem, odradili smo staž u mrtvačnici kako bismo razumjeli posao, prostor te emocionalnu i fizičku stvarnost tog okruženja. Taj nas je proces doveo do pravog kinematografskog jezika. Jezika koji tretira ovaj prostor ne samo kao mjesto znanstvenog postupka, već i kao liminalni trenutak između života i žalosti, gdje intimnost može postojati čak i usred smrti i raspadanja. Kako ste surađivali s vašim direktorom fotografije kako biste vizualno prikazali kontrast između života i smrti? Suradnja s našim direktorom fotografije, Mikhailom Khursevichem, bila je ključna za razvoj cijelog projekta. Mikhail je rođen i odrastao u Bjelorusiji, studirao na nacionalnoj filmskoj školi i sada živi u Gruziji. Budući da sami nismo iz Bjelorusije, bilo nam je vrlo važno surađivati s nekim tko duboko poznaje to mjesto, nekim tko je ukorijenjen u njegovoj kulturi i svakodnevnoj stvarnosti. Također smo osjećali snažnu odgovornost prikazati Bjelorusiju na način koji je direktan i intiman, a da pritom ne reproducira zapadne klišeje o post-sovjetskim zemljama. Vizualno, fokusirali smo se na ostajanje blizu emocionalnih svjetova Mashe i Mikhaila. Oba lika su autsajderi, neintegrirani u glavni tok društva, i željeli smo da kamera odražava njihova unutarnja stanja, njihovu izolaciju i vrlo specifičnu, suženu perspektivu na život. Postoji li nešto posebno što se nadate da će gledatelji u Sarajevu osjetiti ili razmisliti nakon gledanja filma? Najvažnije nam je u stvaranju filmova, posebno kada se godinama intenzivno posvećujemo nekoj temi, iskustvo susreta s ljudima i perspektivama s kojima se inače možda nikada ne bismo susreli. To nam je osobno vrlo ispunjavajuće. Sa „Bijelim pužem“ nadamo se prenijeti taj duh u kino, ponuditi prostor onima koji se možda osjećaju nevidljivo, odvojeno ili opterećeno sumnjom u sebe i usamljenosti. Nadamo se da će se gledatelji koji se prepoznaju u tome osjećati viđeno. I možda će im biti podsjetnik da se isplati riskirati, isplati se izaći iz zone komfora, jer povezanost može doći s najneočekivanijih mjesta. Josip Jurčić
Takmičarski PROGRAM -igrani film
„Za nas je najvažnije da radimo sve zajedno“, kažu Elsa Kremser i Levin Peter, koji u Sarajevo donose film "Bijeli puž", nježnu ljubavnu priču o dvoje autsajdera.
Elsa Kremser I Levin Peter BIJELI PUŽ
photo by Elsa Okazaki
Competition PROGRAMME - Feature FILM
It’s Always About the Emotional Truth
You have a history of working together as a duo. "White Snail" is your first fiction feature but prior to that you directed the feature documentaries "Dreaming Dogs" and "Space Dogs". Was the transition from documentary filmmaking to fiction difficult? The transition from documentary to fiction wasn’t really a big shift for us. In all our work, we’ve always followed a cinematic vision first and asked ourselves: what tools best express the emotional core of the story? With "Space Dogs" and "Dreaming Dogs", that meant inhabiting the perspective of dogs and using the cinema space to evoke that experience. In "White Snail", the starting point was two human characters - their confrontation with death, loneliness, and isolation, and above all, the attempt to understand one another. It’s always about the emotional truth, regardless of whether it’s fiction or documentary. As co-writers and co-directors, what does your creative process look like? For us, the most important thing is that we do everything together - writing, directing, producing, researching. We rarely divide tasks, because we also share our lives, so we’re used to sharing every thought and creative impulse. That makes both co-writing and co-directing feel like a very natural flow rather than a challenge. Disagreements are rare, because we spend years in preparation talking through every detail, shaping a shared vision. So if a scene doesn’t feel right, we usually don’t even need to explain why. we just know, based on that deep foundation. The same goes for writing. Where did you find an inspiration for love story between Belarusian model dreaming of a career and a mysterious loner who works the night shift at a morgue? The story of "White Snail" began with a real encounter about ten years ago. We met Misha (Mikhail Senkov), the male lead, in Minsk, and he had actually worked in a morgue for twenty years and was also a painter. Masha (Marya Imbro), who we later cast, is also a real-life model. Over the long development process, the story evolved from their real lives. We spent a lot of time with both of them. Not just interviewing, but truly immersing ourselves in their worlds. We went to numerous model schools, spent time in morgues, met their families. What fascinated us was the collision of two very different perspectives on the human body: Misha’s, shaped by death and decay, and Masha’s, shaped by beauty standards and self-doubt. Both of them deal with the image of the body - just in radically different ways. How did you guide Marya and Mikhail through their first acting experience? Our approach was to create spaces and situations that felt fresh and surprising for them. Each of them only knew their character’s side of the story - Marya knew only what her character knows, and the same went for Mikhail. In fact, they hadn’t even met before the first day of shooting. Since we shot mostly chronologically, their connection developed on screen in parallel with their real-life interaction. So the story of two people getting to know each other unfolded within a fictional frame - but through a real, unscripted process of discovery. Misha’s paintings feel like a natural extension of his character and the atmosphere of "White Snail". Can you tell us more about the artwork in the film and how it came to be part of the story? All of the oil paintings in the film are part of Mikhail’s real artistic work. As we mentioned, beyond his job at the morgue, he’s also a painter who studied at the Art Academy in Belarus. His entire body of work is shaped by the daily encounters he’s had with death and decay. The apartment you see in the film is a highly accurate recreation of his real home - the one he shared with his mother and where we first met him many years ago. Just like Masha in the film, when we first entered that space, we were overwhelmed by these enormous canvases. They were painted inside the apartment and are too large to even fit through the door. So they are, in a way, physically and metaphorically trapped there. There is a unique intimacy in the morgue scenes despite the presence of decay and death. What creative decisions did you make to help maintain the balance between the scientific reality of the morgue and the film’s intimate emotional tone? A central theme of the film is the way we look at bodies: the living body, often seen through a lens of insecurity and self-doubt, and the dead body, lying in the morgue, a state every human being will eventually reach. After our own first encounter with a dead body, we were deeply shaken. It made us realize how little we actually understood about death - what it means, what it looks like, what it feels like to confront it. As filmmakers, we’re drawn to questions we don’t have answers to, and this was one of them. Misha, the character, gave us a gateway into this world. But beyond that, we also wanted to engage with it on a practical level. Together with our DOP Mikhail Khursevich, we actually did an internship in a morgue to understand the work, the space, and the emotional and physical reality of that environment. That process helped us find the right cinematic language. One that treats this space not only as a place of scientific procedure, but as a liminal moment between life and mourning, where intimacy can exist even amid death and decay. How did you work with your cinematographer to capture the contrast between life and death visually? Working with our cinematographer, Mikhail Khursevich, was absolutely central to the development of the entire project. Mikhail was born and raised in Belarus, studied at the national film school there, and now lives in Georgia. Since we’re not from Belarus ourselves, it was very important for us to collaborate with someone who knows the place deeply, someone rooted in its culture and everyday reality. We also felt a strong responsibility to portray Belarus in a way that feels direct and intimate, but avoids reinforcing Western clichés about post-Soviet countries. Visually, we focused on staying close to the emotional worlds of Masha and Mikhail. Both characters are outsiders, not integrated into the mainstream of society, and we wanted the camera to reflect their internal states, their isolation, and their very specific, narrow perspective on life. Is there something specific you hope viewers in Sarajevo will feel or reflect on after watching the film? What matters most to us in making films, especially when we dedicate ourselves so intensely to a subject over many years, is the experience of encountering people and perspectives we might otherwise never have crossed paths with. That’s something we find deeply fulfilling on a personal level. With "White Snail", our hope is to bring that spirit into the cinema, to offer space for those who may feel unseen, disconnected, or burdened by self-doubt and loneliness. We hope that viewers who relate to that might feel recognized in some way. And maybe they'll be reminded that it’s worth taking risks, worth stepping beyond your comfort zone because connection can come from the most unexpected places. Josip Jurčić
Elsa Kremser and Levin Peter White Snail
“For us, the most important thing is that we do everything”, say Elsa Kremser and Levin Peter, who bring to Sarajevo White Snail, fragile love story of two outsiders.
Sa svojim debitantskim filmom "Zvijezde manjeg značaja", reditelj Renátó Olasz usmjerava kameru na brata i sestru koji se vraćaju u svoj mali rodni grad, gdje ništa više nije kao prije
Povratak u rodni grad
photo by Csaba Bantó
Renátó Olasz Zvijezde manjeg značaja
Kako se osjećate što vaš debitantski film ima svjetsku premijeru na Sarajevo Film Festivalu? Teško mi je povjerovati! Nevjerojatno je biti dio svega ovoga! Inspirativno i divno. Da, stvarno ne mogu vjerovati. S obzirom na vaše glumačko iskustvo, kada vam je ideja režije počela biti privlačna? Od samog početka. Pohađao sam srednju školu koja je uključivala dramske časove. Stvarali smo nekoliko predstava u kojima sam bio glumac i… takozvani reditelj. Bilo mi je jasno da želim postati reditelj, ali mi se svidjelo iskusiti obje strane. Bili smo prilično mladi i puni strasti za izražavanjem kroz kazališne aktivnosti. No u to vrijeme zamišljao sam sebe prvenstveno kao kazališnog reditelja. Mislim da sam se tada malo bojao filma. I postoji jedna posebna činjenica iz tog perioda mog života: Andrea Waskovics, koja u filmu glumi moju sestru, bila je moja školska kolegica. Tako smo započeli naš umjetnički put u isto vrijeme. Sada smo najbolji prijatelji. U filmu niste samo reditelj, nego i glavni glumac. Zašto vam je to bilo važno i kako ste uspjeli kombinirati oba posla? Prije nego što sam završio studij režije, stekao sam prvu diplomu iz glume i trenutno radim kao glumac. Ipak, to nije bio glavni razlog. Film se bavi osjećajem „povratka kući“, a „kuća“ u filmu zapravo je moj rodni grad. Bilo je to vrlo intimno iskustvo. Zato sam želio snimiti film koji se fokusira na osobnosti glumaca. Zamolio sam ih da pokažu svoje ranjivosti pred kamerom, a budući da sam bio i ja dio njih, mogao sam im više pomoći. Također sam iznutra mogao upravljati ritmom scena, pa je činjenica da sam s obje strane učinila proces prirodnim. Pomogla je i činjenica da sam veliki prijatelj s direktorom fotografije i što imam potpuno povjerenje u njega. Kako ste radili s glumcima kako biste stvorili grupnu dinamiku koja odražava zajedničku povijest ovih prijatelja? Moj cilj bio je uspostaviti vrlo osobnu atmosferu u kojoj svi možemo biti svoji i ne brinuti o ispunjavanju očekivanja. Baš kao u mojoj mladosti, kada smo bili mladi amaterski kazalištarci. Imali smo brojne pripremne razgovore s glumcima, dramaturgom i direktorom fotografije. Zajedno smo identificirali ključne teme od interesa. Ja sam uzimao mnoštvo bilješki i kreirao neke scene, ili bolje rečeno koncepte scena. U jednom trenutku otišli smo u pravi pub, koji je kasnije bio lokacija snimanja, kako bismo vidjeli što nam prostor može ponuditi. Svi uključeni smatrali su ovaj proces vrlo prirodnim i kreativnim. Kada smo došli snimati scene, svi su točno znali što želimo prenijeti kroz samu akciju. Ova tehnika omogućava svima da se osjećaju intimno i osobno u vezi filma, a istovremeno da glume vrlo prirodno pred kamerama. Svi smo bili jednaki partneri, bio je to svojevrsni demokratski pristup. Što se tiče glume, odabrao sam jedinstvenu metodu koju sam ranije naučio, poznatu kao „alternativna stvarnost“. Nema tradicionalnih likova, svi glume sami sebe. Zamislite kako bi vaš život izgledao da, primjerice, nikada niste napustili svoj rodni grad, imali drugačiju karijeru ili supruga/suprugu… Baš kao kad se djeca igraju da su pirati. Dakle, to ste vi, ali ne do kraja vi. Metoda daje ogromnu slobodu da budete svoji u alternativnom univerzumu i omogućava intiman pristup glumi. Zašto ste odlučili improvizirati na setu umjesto raditi s tradicionalnim scenarijem i kakav je bio taj proces? Moram priznati da nisam tip reditelja koji želi stvoriti klasični narativni, pričom vođen film. Jednostavno me ne zanima. Današnji sustav financiranja zahtijeva sinopsis i scenarij, što otežava rad bez njih. Ali u našem slučaju, kada smo snimali bez budžeta, shvatio sam: OK, ako nemamo novca, ako nemamo ništa, zašto nam treba scenarij? Zašto bismo trebali slijediti pravila? Uspjeli smo funkcionirati na jedinstven način upravo zbog nedostatka tradicionalnog financiranja i zahtjeva cenzure. S druge strane, pisanje mi je uvijek nametalo mnoge granice. I dogodilo se još jedno iskustvo u tom periodu mog života: shvatio sam da mi je zapravo nedostajao proces stvaranja kakav sam imao u mladosti, s naivnim pogledom i nevinim očima. Improvizacija je zaista korisna za izražavanje onoga što zaista želim pokazati: neponovljive trenutke postojanja, kako jednostavno postojimo. Neke stvari su na papiru dosadne, ali na ekranu su iznimno emotivne i pune značenja. Za mene je najvažnija osobnost. Izraz lica osobe može otkriti njezine brige, želje i ranjivosti. Je li snimanje u vašem rodnom gradu bilo emotivno teško ili možda nekako terapeutsko? Bila je tu malo od oba osjećaja, ali u cjelini, osjećao sam se oslobođeno. Isprva sam mislio da će biti teško, ali brzo je postalo jasno da je sve zapravo vrlo prirodno. Odrastao sam u tom području i bio sam upoznat sa svime… Bio je to osjećaj kao da sam na golemom igralištu. Béla Tarr je naveden kao izvršni producent ovog filma. Kako je njegovo sudjelovanje utjecalo na projekt? On je moj… učitelj! I bio je moj mentor kroz cijeli proces. Razgovarali smo o svemu, a dao mi je mnogo savjeta, prvenstveno tijekom montaže. Ono što sam od njega zaista naučio jest da je „mjesto na kojem se nalazim u filmu“ ono što je najvažnije. Ako je nešto iskreno, funkcionira; ako je lažno, gledatelj će to odmah primijetiti. Josip Jurčić
How does it feel to have a world premiere of your debut film at Sarajevo Film Festival? I can hardly believe it! It’s amazing to be a part of this! Uplifting and wonderful. Yeah, I just can’t believe it. With your background in acting, when did the idea of directing start to appeal to you? At the very beginning. I used to be at a high school that included drama classes. There were several theatrical plays produced, in which I participated as a performer and… so called director. It was obvious to me that I wanted to be a director, but I liked experiencing both sides. We were quite young and full of passion for expressing ourselves through theatrical activities. But at the time, I was picturing myself as a theatrical director. I believe I was a little scared of films at the time. And there's a unique fact about this moment in my life: Andrea Waskovics, who plays my sister in the film, was a classmate of mine in high school. So we began our artistic path at the same time. Now we're best friends. You chose to star in the film as well as direct it. Why was that important to you and how did you manage both roles? Before I finished my University in directing, I got my first degree in acting and I am currently working as an actor. However, this was not the primary cause. The film is about a 'return home’ feeling. And in that case, the “home” in the film was actually my hometown. It was a really intimate situation. I wanted to make a movie that focused on the performers' personalities. I asked them to show their vulnerabilities to the camera, and because I was also part of them, I helped them. On the other hand, from inside, I was able to manage the rhythm of the scenes. Being on both sides made the process feel quite natural. I believe that the fact that my DOP and I are friends and that I have complete trust in him also helps. How did you work with the actors to craft a group dynamic that reflects the shared history between these friends? My goal was to set up a very personal atmosphere in which we could all be ourselves and not worry about meeting expectations. Just like in my youth, when we were amateur theatre-maker youngsters. We had numerous preparatory conversations with the actors, dramaturge, and DOP. Together with the others, we identified key themes of interest. I took numerous notes and created some scenes, or rather scene concepts. And at one point, we went to the actual pub, which would be the location later, to see what the place might offer us. Everyone involved found the procedure to be very natural and creative. And when we arrived to capture the scenes, everyone knew exactly what we wanted to convey through the actual action. This technique allows everyone to feel very intimate and personal about the film, as well as act very naturally in front of the cameras. We were all equal partners. It's a sort of democratic approach. In terms of acting, I chose a unique method that I had previously learnt, known as “alternative reality”. There are no traditional characters, and everyone plays themselves. Consider how your life would be if, for example, you never left your hometown, had a different career, or had a wife or husband... Just how the children play while they are pirates. So it's you, but not really you. It gives you immense freedom to be yourself in an alternate universe. And it can provide an intimate approach. Why did you choose to improvise on the set instead of working with a traditional script, and what was that process like? I must admit that I am not the type of director who wants to create a classic narrative, story-focused film. I'm just not interested. Today's funding system requires a synopsis and script, making it challenging to work without them. But in our case, when we shot without a budget, I realised, OK, if we don't have money, if we do not have anything, why do we need a script? Why do we want to follow rules? We were able to function in a unique method due to the lack of traditional funding and censorship requirements. Writing, on the other hand, has always given me many boundaries. And another experience occurred during that time in my life: I realised that what I truly missed was the process of creation that I used in my youth. I mean with a naive viewpoint and innocent eyes. The improvisation is really helpful in expressing what I truly want to show: the unrepeatable moments of existence and being, how we just exist. There are things that are boring on paper but are extremely emotional and full of meaning on screen. Personality is the most important to me. A person's facial expression can reveal their worries, wants, and vulnerabilities. Was filming in your hometown emotionally difficult or maybe sort of therapeutic? A little of both, but overall, it felt liberated to me. I thought it would be tough at first, but it quickly became clear that it was really natural. I grew up in that area and was familiar with everything there... It was like a gigantic playground. Béla Tarr is listed as executive producer on this film. How did his involvement influence the project? He is my... Master! And was my mentor throughout the entire procedure. We discussed everything, and he gave me a lot of advice. Mostly while editing. What I truly learnt from him is that “where I am in the film” is all that matters. If something is honest, it works; if something is fake, the viewer will detect it. Josip Jurčić
Coming Back Home
With his debut film Stars of Little Importance, director Renátó Olasz turns his camera to a brother and sister returning to their small hometown, where nothing is as it once was.
Renátó Olasz Stars of Little Importance
Avangardna umjetnička skupina OHO, koja je nastala 1965. i postojala do 1971. godine jedna je od najinteresantnijih pojava na umjetničkoj sceni ne samo u Sloveniji i bivšoj Jugoslaviji nego i na prostoru srednje i istočne Europe, a reditelj Damjan Kozole u „OHO filmu“ ne dopušta da padne u zaborav te pokazuje koliko su pogledi na svijet ove jedinstvene skupine primjenjivi i na današnje vrijeme
photo by Urša Premik
Damjan Kozole OHO film
Umjetnost kao život i život kao umjetnost
Istraživanje osobnih i javnih arhiva, otkrivanje autentičnih OHO materijala, crteža, publikacija, snimaka i instalacija… Koliko je trebalo vremena da prikupite ovoliko izvorne i rijetko viđene građe? Od samog početka produkcije bilo je neizvjesno hoćemo li moći dobiti autorska prava za sve OHO projekte. Čak ni članovi OHO-a nisu vjerovali u to. Ali na kraju nam je ipak uspjelo. Veliku zaslugu za to ima producent Danijel Hočevar. OHO duh je rođen u Kranju početkom šezdesetih, točnije, 1963. godine, a zatim se proširio prvo u Ljubljanu, gdje je 1966. formirana grupa OHO, a zatim diljem bivše Jugoslavije, do Zagreba i Beograda. Izlagali su i u Sarajevu, u galeriji Đuro Đaković, ne znam postoji li ta galerija još uvijek. OHO (OKO + UHO = OHO) se brzo širio i Europom i svijetom, stigavši 1970. do Muzeja moderne umjetnosti u New Yorku. Nakon ovog značajnog uspjeha koji je u to vrijeme predstavljao jedno od najvećih dostignuća slovenačke i jugoslovenske umjetnosti, kada su mogli započeti ozbiljnu međunarodnu karijeru – grupa OHO se samoraspustila jer su odbacivali svaku pomisao na to da vrijednost umjetničkog djela leži u njegovoj cijeni. Suština OHO-a je ideja da je ova civilizacija beskorisna, previše antropocentrična i previše usmjerena na ljude, da moramo razviti novu civilizaciju koja će biti pravednija prema svim bićima i svim stvarima na svijetu. OHO nije samo kultna avangardna skupina, već specifičan kulturni fenomen koji se bavio vidljivim i nematerijalnim kroz umjetnost, filozofiju, sociologiju, znanost i suživot sa zemljom i prirodom. Na filmu smo radili više od tri godine, montirali smo ga gotovo dvije godine. Trebalo je pronaći ravnotežu između faktografske vjerodostojnosti, balansa među umjetnicima, poštovanja njihovih fascinantnih radova i filmske poetike s druge strane. Želio sam da film ne bude samo informativan, već i, prije svega, inspirativan. Nema tu nikakvog mitologiziranja, samo život, i korištenje raznolikog materijala kako bi se održao filmski tempo, da pažnja ne popušta do kraja. U procesu montaže sa mnom su na zahtjevnom poslu radili koscenaristica Urška Jurman i koscenarist i montažer Matic Drakulić. Završetak filma je posebno dojmljiv. Životna i umjetnička filozofija članova OHO grupe vrlo su primjenjivi i u današnje vrijeme. Okružuju nas antropocentrizam, konzumerizam te uništavanje životne sredine a oni su, poput proroka, prije šezdesetak godina zagovarali umjetnost koja komunicira i suživot sa zemljom i prirodom. Jesu li bili vidoviti ili samo dalekovidi i mudri? Iznad svega, pošteni. Cijeli svoj život. Mogli su biti slavni, vjerojatno i bogati umjetnici. Međutim, oni su od toga svjesno odustali. Nakon međunarodnih uspjeha, suradnje sa čuvenim američkim umjetnikom Walter De Mariom i izložbe u MoMA-i, donose svjesnu odluku o samoukidanju OHO-a. Odlučuju napustiti svijet umjetnosti i „krenuti u život“. Marko Pogačnik, idejni vođa ove fascinantne priče, sada bi me zaustavio i rekao, ne, Damjane, OHO je tada samo formalno završio, ali duh OHO-a živi dalje. Danas su ovi ljudi: Marko Pogačnik, Iztok Geister, Naško Križnar, Milenko Matanovič, David Nez, Matjaž Hanžek... pola stoljeća stariji, ali su još uvijek mladi ljudi. Njihova energija, kreativnost i entuzijazam za stalno mijenjanje stvari su mladi. Kad ih upoznaš, osjećaš da je duh OHO-ja još uvijek itekako živ. I ne samo da je živ: Biljana Tomić u filmu iznosi tezu da svijet tek sada ulazi u fazu koju je otvorio OHO. I ja mislim da je za ovaj poludjeli svijet, u kom su normalizirani vulgarnost, oružje, ratovi i genocid, kada se jednom otrijezni, njegova jedina šansa za opstanak život po OHO načelima. A ona kažu da je važan pojedinac, da je važan kolektiv, da je važan suživot s prirodom i – da je važna ljudska plemenitost. To su OHO vrijednosti. Ono što me je najviše fasciniralo kod njih tijekom ovog dugog procesa stvaranja filma bilo je koliko su dosljedno svi živjeli svoje etičke stavove cijeli svoj život. Koncem juna film je premijerno prikazan u Sloveniji. Kako je film primljen i da li Slovenci danas gledaju na OHO grupu, jesu li ponosni na njeno postojanje? „OHO film“ je bio pretpremijero prikazan u sklopu Europske prijestolnice kulture na open air-u u ruševinama kule u Vipavskom Križu. Počeo je svoj put tamo gdje se je OHO priča završila, u Vipavskoj dolini. Na simboličan način, krug je time bio zatvoren. Svi su se okupili, iz SAD-a su došli i Milenko Matanovič i David Nez, samo je nedostajao Iztok Geister. Bilo je stvarno dirljivo. Bilo je puno ljudi i osjetio sam naše kolektivno olakšanje što je film završen i što će biti dostupan javnosti, a s tim i puno do sada nedostupnih umjetničkih djela OHO-a. Ne znam koliko smo uopće svjesni koliko je OHO utjecao na sve nas, na slovenačku, a i jugoslovensku umjetnost. Marina Abramović u svojoj autobiografiji „Walk through walls“ kaže da su joj OHO bili jedna od inspiracija na početku karijere, da su je impresionirali svojom radikalnošću i odnosom prema prirodi. Njihov moto je bio: umjetnost mora da bude kao život i život treba da bude umjetnost. Ne možeš nešto stvarati ako to ne živiš. OHO je dosta poznat u Sloveniji, ali samo na osnovu nekoliko projekata, a najpoznatiji je naravno instalacija Triglav. Ali OHO je puno više od toga. Nadam se da smo uradili film koji će biti inspiracija za današnje vrijeme, posebno za mlađe generacije. I podsjetnik onima koji kažu da u "mračnom" socijalizmu nije bilo slobode duha. Ovaj film istražuje što nam ideje OHO-a mogu ponuditi danas. Moje saznanje iz rada na ovom projektu je: mnogo. Međutim, OHO film nije samo film o iznimnoj umjetničkoj skupini, već i priča o jednom određenom vremenu, o prolaznosti i... o ljudskom dostojanstvu. Marinela Domančić
TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM IZVAN KONKURENCIJE
OHO, Milenko Matanovič: Triglav, 1968. Ownership: Moderna galerija, Ljubljana
Takmičarski PROGRAM - dokumentarni FILM IZVAN KONKURENCIJE • Damjan Kozole • OHO film
The avant-garde art collective OHO, founded in 1965 and active until 1971, is one of the most fascinating phenomena not only on the art scene in Slovenia and the former Yugoslavia but also across Central and Eastern Europe. In "OHO Film", director Damjan Kozole ensures that it does not fade into obscurity, showing how the perspectives of this unique group remain relevant and applicable to contemporary times
photo by Bojan Brecelj
The research of personal and public archives, the discovery of authentic OHO materials, drawings, publications, recordings and installations… How long did it take to collect this much of original and rarely seen material? It was uncertain from the very beginning of production whether we would be able to obtain the copyright for all OHO projects. Even the members of the OHO did not believe we would. But in the end it worked for us. Producer Danijel Hočevar has a lot of credit for that. The OHO spirit was born in Kranj in the early sixties, precisely in 1963, and then spread first to Ljubljana, where the OHO group was formed in 1966, then throughout the former Yugoslavia, to Zagreb and Belgrade. They also exhibited in Sarajevo, in the Đuro Đaković gallery, I don't know if that gallery still exists. OHO (OKO /eye/ + UHO /ear/ = OHO) quickly spread throughout Europe and the world, reaching the Museum of Modern Art in New York in 1970. After this significant success, which at that time represented one of the greatest achievements of Slovenian and Yugoslav art, when they could start a serious international career - the OHO group dissolved itself because they rejected any thought that the value of a work of art lies in its price. The essence of OHO is the idea that this civilization is useless, too anthropocentric and too focused on people, that we must develop a new civilization that will be fairer to all beings and all things in the world. OHO is not just a cult avant-garde group, but a specific cultural phenomenon that dealt with the visible and immaterial through art, philosophy, sociology, science and coexistence with the earth and nature. This film was initiated out of a deep respect for OHO, their ideas, and the comprehension that all the actors of this incredible story are still here - with the exception of the Šalamun brothers. We want the viewer to immerse himself in the world of OHO from the sixties, to experience it as if that world still exists. And to return to reality only when we slowly exit the movie. You cannot write a precise script for this type of film because you discover something new almost every day. Something you didn't expect surprises you. We worked on the film for more than three years; we edited it for almost two years We had to find a balance between factual credibility, balance between artists, respect for their fascinating works and cinematic poetics on the other hand. I wanted the film to be not only informative, but, above all, inspiring. There is no mythologising, just life, and the use of diverse material to maintain the pace of the film, to keep the focus until the end. Co-screenwriter Urška Jurman and co-screenwriter and editor Matic Drakulić worked with me on demanding editing process. The ending of the film is particularly impressive. The life and artistic philosophy of the members of the OHO group are very applicable even today. We are surrounded by anthropocentrism, consumerism and the destruction of the environment, and they, like the prophets, advocated art that communicates and coexists with the earth and nature about sixty years ago. Were they clairvoyant or just farsighted and wise? Above all, they were honest. During their entire lives. They could have been famous, possibly rich artists. However, they consciously gave it up. After international successes, collaboration with the famous American artist Walter De Maria and an exhibition at MoMA, they made a conscious decision to self-discontinue OHO. They decide to leave the world of art and "move into life". Marko Pogačnik, the ideological leader of this fascinating story, would stop me now and say, no, Damjan, OHO only formally ended then, but the spirit of OHO lives on. Today, these people are: Marko Pogačnik, Iztok Geister, Naško Križnar, Milenko Matanović, David Nez, Matjaž Hanžek... half a century older, but they are still young people. Their energy, creativity and enthusiasm for constantly changing things is young. When you meet them, you feel that the spirit of OHO is still very much alive. And not only that it is alive: Biljana Tomić says in the film that the world is only now entering the phase opened by OHO. And I think that the only chance for the survival of this crazy world, in which profanity, weapons, wars and genocide are normalized, is, once it sobers up, to live according to OHO principles. And they say that the individual is important, that the collective is important, that coexistence with nature is important and - that human nobility is important. These are OHO values. What fascinated me most about them during this long filmmaking process was how consistently they all lived their ethical views throughout their lives. The film premiered in Slovenia at the end of June. How was the film received and how do Slovenians today look at the OHO group, are they proud of its existence? The OHO film was previewed as part of the European Capital of Culture at the outdoors, in the ruins of the tower in Vipavski Križ. It started its journey where the OHO story ended, in the Vipava Valley. In a symbolic way, the circle was thus closed. Everyone gathered - Milenko Matanović and David Nez came from the USA, only Iztok Geister was missing. It was really touching. There were a lot of people and I felt our collective relief that the film was finished and would be available to the public with a lot of previously unavailable OHO artwork. I don't know if we are even aware of how much OHO influenced all of us, Slovenian and also Yugoslav art. In her autobiography Walk through walls, Marina Abramović says that OHO were one of her inspirations at the beginning of her career, that they impressed her with their radicalism and attitude towards nature. Their motto was: art must be like life and life must be art. You can't create anything if you don't live it. OHO is quite well-known in Slovenia, but only based on a few projects, and the most famous is of course the Triglav installation. But OHO is much more than that. I hope we made a film that will be an inspiration for today, especially for the younger generation. And a reminder to those who say that there was no freedom of spirit in "dark" socialism. This film explores what the ideas OHO can offer us today. Working on this project I realized that they have a lot to offer. However, the OHO film is not only a film about an exceptional artistic group, but also a story about a certain time, about transience and... about human dignity. Marinela Domančić
Competition PROGRAMME - Documentary FILM OUT OF COMPETITION
Life as Art and Art as Life
Competition PROGRAMME - Documentary FILM Arsen Oremović THIRD WORLD
Photo by Walter De Maria, 1970. Ownership: Moderna galerija, Ljubljana
Dalija Dozet Lekcije mog tate
TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM
Ostavština prerano preminulog Danijela Dozeta je nepregledna gomila analognog i digitalnog snimljenog materijala - neoznačeni, nedatirani, nesortirani i nikad pregledani snimci različitih formata u rukama njegove kćeri, rediteljice Dalije Dozet, u filmu „Lekcije mog tate“ otvorili su prozore jednog svijeta čijim je dijelom i sama bila
photo by Martina Movrić
Megamiks najrazličitijih emotivnih stanja
Kao autorica ste se već bavili obiteljskom temom. Koliko je drukčije praviti film sa živom majkom u odnosu na ovaj o preminulom tati? Mislim da se odgovor krije u vašem pitanju, dakle mama može reagirati, prepoznati i prihvatiti ili ne ono o čemu govorim u filmu. Naš odnos možemo dalje razvijati. Tate nema da mi odgovori i reagira, naš odnos stao je njegovim odlaskom ali istovremeno se s moje strane na neki način nadogradio kroz proces gledanja snimaka. Da li je konačna svrha dugogodišnjeg snimanja ovolike količine filmskog i video materijala koji vaš tata nikad nije gledao bila da ga vi pregledate? Mislim da nije, to jest da jest vjerujem da bi se tata potrudio na neki način ostavi to urednijim ili mi dao do znanja da to očekuje. Možda je njemu samom bilo u planu da jednog dana pregleda snimke samo što taj dan nikada nije došao. Iskreno nisam skroz sigurna da bi imao strpljenja sjediti i gledati. Čini mi se da je njega sam čin snimanja najviše interesirao te ga podsvjesno (a nekada i namjerno) vodio kroz životne situacije. Od smrti Vašeg tate do završetka ovog filma proteklo je cijelo desetljeće. Koliko je vaše putovanje kroz njegove snimke bilo emotivno iscrpljujuće, a koliko utješno ili katarzično? Gledati snimke svoje obitelji prije i nakon vlastitog postojanja, tatinog doživljaja svijeta, djelića našeg odnosa kojih se ne sjećam i onih za koje nisam znala da su zabilježeni isprepleli su se u megamix najrazličitijih emotivnih stanja. Ponekad bih se smijala na glas, a nekada plakala bez prestanka, čudila se ili propitkivala, ljutila. Odluka da od toga radim film rezultirala je dugogodišnjim procesom montaže u kojoj je bilo itekako izazovno emotivno se ne vezivati već pronaći novi kut gledanja, odlučiti što želim i što funkcionira za film. Kad se sve zbroji, zahvalna sam svim tim njegovim snimkama jer sam kroz njih dobila priliku da ga malo bolje upoznam i shvatim, pa tako i na neki način lakše pustim. Jeste li sličniji tati nego što ste očekivali, ili bili toga svjesni, prije filma? Vjerovatno. Kakav je doživljaj podijeliti nešto do ove mjere osobno sa publikom, kakav je vaš dojam kada gledate svoj film u sali punoj nepoznatih ljudi? Uzbudljivo je i vrlo intenzivno gledati nešto što si vidio već toliko puta – kroz tuđe oči, te konačno film doživjeti i kroz reakciju publike. Marinela Domančić
Takmičarski PROGRAM -dokumentarni FILM • Dalija Dozet Lekcije mog tate
Mastercard i Sarajevo Film Festival, kao jedan od najvažnijih filmskih festivala u Jugoistočnoj Evropi, ove godine obilježavaju 11 godina prijateljstva, povezujući ljude s njihovom strašću ka sedmoj umjetnosti. Kao predvodnik tehnoloških promjena, Mastercard vjeruje u stvaranje bolje budućnosti u svakoj zajednici te doprinosi izgradnji svijeta u kome su neprocjenjive mogućnosti dostupne svima. Ovo partnerstvo prilika je da se svi posjetioci povežu sa svojom strasti ka filmu, i dožive neprocjenjive trenutke. Mastercard and the Sarajevo Film Festival, as one of the most important film festivals in SEE, are celebrating 11 years of friendship this year, connecting people with their passion for the seventh art. As a leader in technological innovation, Mastercard believes in shaping a brighter future in every community and contributes to building a world where priceless possibilities are available to everyone. This partnership is an opportunity for all visitors to connect with their passion for film and gain priceless moments.
As an author, you have already dealt with the family theme. How different is it to make a film with a living mother compared to this one about a deceased father? I think the answer lies in your question: my mother can respond, recognize, and either accept or not what I speak about in the film. Our relationship can continue to grow. My father is no longer here to respond and react. Our relationship ended with his passing, but at the same time, from my side, it has in a way deepened through the process of watching the recordings. Was the ultimate purpose of years of recording such a large amount of film and video material that your dad never watched was for you to review? I don't think so, or rather, if he did, I believe that dad would have made an effort to make it neater in some way or let me know that he expected it. Maybe he himself had planned to review the recordings one day, but that day never came. I'm honestly not entirely sure he would have had the patience to sit and watch. It seems to me that the act of recording itself interested him the most and subconsciously (and sometimes intentionally) guided him through life's situations. From the death of your dad to the completion of this film, a whole decade has passed. How emotionally exhausting was your journey through his recordings, and how comforting or cathartic? Watching footage of my family before and after my own existence, my dad's experience of the world, bits of our relationship that I don't remember and those that I didn't know were recorded, intertwined into a megamix of the most diverse emotional states. Sometimes I would laugh out loud, and sometimes I would cry nonstop, wondering or questioning, getting angry. The decision to make a film out of it resulted in a long editing process in which it was very challenging not to get emotionally attached but to find a new angle of view, to decide what I wanted and what worked for the film. When it all comes together, I am grateful for all of his footage because through them I got the opportunity to get to know and understand him a little better, and thus, in a way, let him go more easily. Are you more like your dad than you expected, or were you aware of it, before the film? Probably. What is the experience of sharing something to this extent personally with the audience, how do you feel when you watch your film in a hall full of unknown people? It's exciting and very intense to watch something you've seen so many times before - through someone else's eyes, and finally experience the film through the audience's reaction. Marinela Domančić
Competition PROGRAMME Documentary FILM
Megamix of Emotions
Dalija Dozet My Dad's Lessons
The legacy of the prematurely deceased Danijel Dozet is an immense collection of film footage - analog and digital, unmarked, undated, unsorted, and never viewed. In the hands of his daughter, director Dalija Dozet, this material in the film "My Dad’s Lessons" opened windows into a world of which she herself had been a part.
Competition PROGRAMME - Documentary FILM Dalija Dozet My Dad's Lessons
Dmytro Hreshko Divia
Nazvan po slavenskoj božici prirode, Diviji, ovaj dokumentarni film drukčiji je od svih koji su do sada snimljeni o ratu u Ukrajini – u njemu reditelj okreće kameru prema prirodi, prekrasnom živom svijetu koji tiho pati od ratnih razaranja i koji se prkosno i u tišini polako obnavlja
Živjeti s prirodom u ratno doba
Sposobnost da se odmaknete od silnih ljudskih žrtava i vinete se dronom iznad čarobne prirode čini vas posebnim među ukrajinskim redateljima koji su se do sada predstavili bosanskohercegovačkoj publici. Šta vas je nagnalo da se pozabavite stvarima koje se prečesto zaboravljaju kada govorimo o ratovima? Privlači me snimanje prirode jer me ona doista fascinira. Volim putovati, volim prirodne krajolike, volim životinje — i to je nešto što me duboko dira. Kao što to često biva s dokumentarnim filmskim stvarateljima, skloni smo se usredsrediti na ono što nas najviše boli. Mene najviše boli uništavanje prirode. Naravno, to ne umanjuje patnju ljudi — jer su ljudi također dio prirode. Način na koji koristite zvuk i kombinirate ga sa tišinom također je poseban. Pored zvukova prirode koristite i nevjerojatno prikladnu glazbu Sama Slatera koja diše sa prirodom. Je li ona namjenski komponirana, recite nam nešto o njoj? Da, Sam Slater je posebno komponirao glazbu za film. Bio je to vrlo poseban proces jer je komponirao tijekom montiranja. Uzeli smo njegovu glazbu u obzir dok smo montirali, a i on je odgovarao na evoluciju montaže dok je komponirao. Tako je partitura u potpunosti stvorena u dijalogu s konceptom "Divije". Snimci napravljeni dronom zaista su prekrasni. Koliko je vremena i strpljenja bilo potrebno da se dobiju fantastični kadrovi poput onoga koji prikazuje cijelu šumu čija se stabla nepredvidivim talasima povijaju na vjetru? Cijeli proces snimanja trajao je oko dvije godine, s ukupno 77 dana snimanja. Na kraju smo snimili više od 100 sati snimljenog materijala. Da li ste, dok ste snimali, dolazili u opasne situacije? Dok snimate ili se jednostavno nalazite u područjima na prvoj crti, uvijek postoji rizik od ozljede ili smrti. Mnoga su područja minirana, a ruske snage neprekidno napadaju razne ciljeve - uključujući civile. Zapravo je bilo situacija kada nas je vojska savjetovala da ne nosimo novinarske oznake, jer su ruske trupe poznate po tome da namjerno ciljaju novinare i napadaju ih prve. Dok jedni ruše i uništavaju, drugi čiste mine, provjeravaju kvalitet vode i hrane nesretne napuštene životinje. Ko su tihi junaci vašeg filma koji pomažu prirodi da se oporavi? Dok sam pisao scenarij, želio sam pokazati da uz destruktivnu moć ljudi, poput Ruske Federacije, postoje i ljudi koji se trude zaštititi i obnoviti prirodu. Želio sam jasno dati do znanja da čovječanstvo kao cjelina nije neprijatelj prirode. Naprotiv, ljudi su dio prirode. Samo što neki ljudi žive prema konceptu dominacije i eksploatacije, dok se drugi trude koegzistirati s prirodom pronalazeći obostranu korist kako bi preživjeli. Marinela Domančić Sposobnost da se odmaknete od silnih ljudskih žrtava i vinete se dronom iznad čarobne prirode čini vas posebnim među ukrajinskim redateljima koji su se do sada predstavili bosanskohercegovačkoj publici. Šta vas je nagnalo da se pozabavite stvarima koje se prečesto zaboravljaju kada govorimo o ratovima? Privlači me snimanje prirode jer me ona doista fascinira. Volim putovati, volim prirodne krajolike, volim životinje — i to je nešto što me duboko dira. Kao što to često biva s dokumentarnim filmskim stvarateljima, skloni smo se usredsrediti na ono što nas najviše boli. Mene najviše boli u ništavanje prirode. Naravno, to ne umanjuje patnju ljudi — jer su ljudi također dio prirode. Način na koji koristite zvuk i kombinirate ga sa tišinom također je poseban. Pored zvukova prirode koristite i nevjerojatno prikladnu glazbu Sama Slatera koja diše sa prirodom. Je li ona namjenski komponirana, recite nam nešto o njoj? Da, Sam Slater je posebno komponirao glazbu za film. Bio je to vrlo poseban proces jer je komponirao tijekom montiranja. Uzeli smo njegovu glazbu u obzir dok smo montirali, a i on je odgovarao na evoluciju montaže dok je komponirao. Tako je partitura u potpunosti stvorena u dijalogu s konceptom Divije. Snimci napravljeni dronom zaista su prekrasni. Koliko je vremena i strpljenja bilo potrebno da se dobiju fantastični kadrovi poput onoga koji prikazuje cijelu šumu čija se stabla nepredvidivim talasima povijaju na vjetru? Cijeli proces snimanja trajao je oko dvije godine, s ukupno 77 dana snimanja. Na kraju smo snimili više od 100 sati snimljenog materijala. Da li ste, dok ste snimali, dolazili u opasne situacije? Dok snimate ili se jednostavno nalazite u područjima na prvoj crti, uvijek postoji rizik od ozljede ili smrti. Mnoga su područja minirana, a ruske snage neprekidno napadaju razne ciljeve - uključujući civile. Zapravo je bilo situacija kada nas je vojska savjetovala da ne nosimo novinarske oznake, jer su ruske trupe poznate po tome da namjerno ciljaju novinare i napadaju ih prve. Dok jedni ruše i uništavaju, drugi čiste mine, provjeravaju kvalitet vode i hrane nesretne napuštene životinje. Ko su tihi junaci vašeg filma koji pomažu prirodi da se oporavi? Dok sam pisao scenarij, želio sam pokazati da uz destruktivnu moć ljudi, poput Ruske Federacije, postoje i ljudi koji se trude zaštititi i obnoviti prirodu. Želio sam jasno dati do znanja da čovječanstvo kao cjelina nije neprijatelj prirode. Naprotiv, ljudi su dio prirode. Samo što neki ljudi žive prema konceptu dominacije i eksploatacije, dok se drugi trude koegzistirati s prirodom pronalazeći obostranu korist kako bi preživjeli. Marinela Domančić
TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM Dmytro Hreshko Divia
The ability to step away from the immense human sacrifices and soar above the magical nature with a drone makes you special among the Ukrainian directors who have presented themselves to the Bosnian audience so far. What prompted you to tackle things that are too often forgotten when we talk about wars? I’m drawn to filming nature because it truly fascinates me. I love traveling, I love natural landscapes, I love animals - and this is something that hurts me deeply. As often happens with documentary filmmakers, we tend to focus on what hurts us most. In my case, it’s the destruction of nature that wounds me. Of course, this doesn’t diminish the suffering of people, because people are also a part of nature. The way you use sound and combine it with silence is also special. In addition to the sounds of nature, you also use Sam Slater's incredibly appropriate music that breathes with nature. Was it purposefully composed, tell us about it? Yes, Sam Slater composed the music specifically for the film. It was a very special process because he was writing the music during the editing stage. We took his music into account while editing, and he also responded to the evolving edit while composing. So the score was entirely created in dialogue with the concept of "Divia". The shots taken with the drone are truly beautiful. How much time and patience did it take to get fantastic shots like the one showing the entire forest with its trees swaying in unpredictable waves in the wind? The entire filming process took about two years, with a total of 77 shooting days. In the end, we recorded over 100 hours of footage. Did you get into dangerous situations while filming? While filming or simply being in frontline areas, there is always a risk of injury or death. Many of these territories are mined, and Russian forces constantly attack various targets - including civilians. In fact, there were situations when the military advised us not to wear press badges, because Russian troops were known to deliberately target journalists and attack them first. While some demolish and destroy, others clear mines, check water quality and feed unfortunate abandoned animals. Who are the silent heroes of your film that help nature recover? While writing the script, I wanted to show that alongside the destructive force of humans, like the Russian Federation, there are also people who try to protect and restore nature. I wanted to make it clear that humanity as a whole is not the enemy of nature. On the contrary, humans are part of nature. It’s just that some people live by a concept of domination and exploitation, while others try to coexist with nature - finding mutual benefit in order to survive. Marinela Domančić The ability to step away from the immense human sacrifices and soar above the magical nature with a drone makes you special among the Ukrainian directors who have presented themselves to the Bosnian audience so far. What prompted you to tackle things that are too often forgotten when we talk about wars? I’m drawn to filming nature because it truly fascinates me. I love traveling, I love natural landscapes, I love animals - and this is something that hurts me deeply. As often happens with documentary filmmakers, we tend to focus on what hurts us most. In my case, it’s the destruction of nature that wounds me. Of course, this doesn’t diminish the suffering of people, because people are also a part of nature. The way you use sound and combine it with silence is also special. In addition to the sounds of nature, you also use Sam Slater's incredibly appropriate music that breathes with nature. Was it purposefully composed, tell us about it? Yes, Sam Slater composed the music specifically for the film. It was a very special process because he was writing the music during the editing stage. We took his music into account while editing, and he also responded to the evolving edit while composing. So the score was entirely created in dialogue with the concept of Divia. The shots taken with the drone are truly beautiful. How much time and patience did it take to get fantastic shots like the one showing the entire forest with its trees swaying in unpredictable waves in the wind? The entire filming process took about two years, with a total of 77 shooting days. In the end, we recorded over 100 hours of footage. Did you get into dangerous situations while filming? While filming or simply being in frontline areas, there is always a risk of injury or death. Many of these territories are mined, and Russian forces constantly attack various targets - including civilians. In fact, there were situations when the military advised us not to wear press badges, because Russian troops were known to deliberately target journalists and attack them first. While some demolish and destroy, others clear mines, check water quality and feed unfortunate abandoned animals. Who are the silent heroes of your film that help nature recover? While writing the script, I wanted to show that alongside the destructive force of humans, like the Russian Federation, there are also people who try to protect and restore nature. I wanted to make it clear that humanity as a whole is not the enemy of nature. On the contrary, humans are part of nature. It’s just that some people live by a concept of domination and exploitation, while others try to coexist with nature - finding mutual benefit in order to survive. Marinela Domančić
Taking its name from Divija, the Slavic goddess of nature, this documentary stands apart from all others about the war in Ukraine - the director turns his lens to nature, to the beautiful living world that silently endures the devastation of war and, with quiet defiance, slowly restores itself.
Living with Nature in Wartime
competition programme- DOcumentary FILM Dmytro Hreshko Divia
U okviru Talents programa posvećenog mladim filmskim autorima u nastajanju, na 31. Sarajevo Film Festivalu održan je razgovor sa glumcima Draganom Mićanovićem i Goranom Bogdanom.
Ne postoji prekomjerna priprema, samo loša priprema
Težište diskusije bilo je na odnosu reditelja i glumaca, a otvorena je opisom Mićanovićevog iskustva sa snimanja serije “Sablja”, u kojoj glumi kontroverznu političku figuru, Zorana Đinđića. “Kada igrate ulogu sličnu ovoj bitno je da ne zauzimate ničiju stranu i tokom ovako zahtjevnih uloga najvažnija stvar jeste da imate dobrog reditelja uz vas”, rekao je Mićanović, dodavši da je potrebno dosta pripreme unaprijed, gledanja snimaka, dokumentaraca, intervjua i nakon tog proučavanja slijedi “oblačenje novog odijela” i prihvatanje da ste sada vi taj karakter. Glumac Goran Bogdan se složio, naglasivši da je izgradnja povjerenja između reditelja i glumca krucijalna. “Kad sam bio mlad glumac očekivao sam od reditelja da znaju sve, ne razmišljajući o njihovim brigama i poteškoćama i u tom smislu bio pomalo sebičan. Sada mislim da treba da pokušamo zajedno da izgradimo nešto iz našeg neznanja, jer sam shvatio da povjerenje ne dolazi od očekivanja da će neko da zna sve, nego od međusobnog truda, rada i prevazilaženja prepreka i strahova zajedno”, objasnio je Bogdan. Mićanović je istakao da od reditelja traži da podijele strahove, prvobitno o scenariju, još prije nego što krenu sa snimanjem scena na setu. “Prva i osnovna stvar je dijeljenje tvog viđenja sa rediteljem ili, naravno, ako si reditelj sa glumcem. Ako se tada povežete i steknete obostrano povjerenje, rad na setu postaje mnogo lakši, jer već imate ideju o načinu na koji vaš karakter treba da se ponaša ili da izgleda na sceni.'', zaključio je glumac, a zatim dodao kako su glumci uglavnom svjesni važnosti ovoga, ali da reditelji često to ne shvataju i drže osjećanja zatvorena u sebi. Mićanović je, takođe, rediteljima predložio i traženje savjeta od glumaca: “Reditelj bi trebalo da uključi glumca u proces kreiranja filma – da traži mišljenje od njega, da sazna njegovo viđenje, da pita za savjet – jer većina glumaca zaista želi da pomogne”. Pored teme o relaciji reditelj i glumac, otvorena je i ona o povezanosti pozorišta i filma. “Ranije sam i ja pravio razliku između glume u pozorištu i glume na filmu. Onda sam shvatio da uopšte nije važno da li si pozorišni ili filmski glumac, da li radiš horor ili komediju, jer se na kraju sve svede na jednu poentu – kad god razmišljaš o tehnici ne radiš nešto dobro. Moraš da dovedeš sebe do stanja potpune prisutnosti i tada postoje samo dvije razlike o kojima može da se priča: dobro ili loše”, rekao je Mićanović, akcentirajući da glumac mora dopustiti liku da osjeti sve u potpunosti. Tokom razgovora dosta se govorilo o pripremi, kako glumaca tako i reditelja, pa je neizostavno bilo postaviti pitanje postoji li nešto što se može nazvati “prekomjernom pripremom”. “Ne postoji stvar kao što je prekomjerna priprema, samo loša priprema. Prava priprema nije u pričanju o tome kako treba nešto da izgleda, nego o tome koja osjećanja treba da izaziva”, odgovorio je na ovo pitanje Dragan Mićanović, zaključivši diskusiju. Težište diskusije bilo je na odnosu reditelja i glumaca, a otvorena je opisom Mićanovićevog iskustva sa snimanja serije “Sablja”, u kojoj glumi kontroverznu političku figuru, Zorana Đinđića. “Kada igrate ulogu sličnu ovoj bitno je da ne zauzimate ničiju stranu i tokom ovako zahtjevnih uloga najvažnija stvar jeste da imate dobrog reditelja uz vas”, rekao je Mičanović, dodavši da je potrebno dosta pripreme unaprijed, gledanja snimaka, dokumentaraca, intervjua i nakon tog proučavanja slijedi “oblačenje novog odijela” i prihvatanje da ste sada vi taj karakter. Glumac Goran Bogdan se složio, naglasivši da je izgradnja povjerenja između reditelja i glumca krucijalna. “Kad sam bio mlad glumac očekivao sam od reditelja da znaju sve, ne razmišljajući o njihovim brigama i poteškoćama i u tom smislu bio pomalo sebičan. Sada mislim da treba da pokušamo zajedno da izgradimo nešto iz našeg neznanja, jer sam shvatio da povjerenje ne dolazi od očekivanja da će neko da zna sve, nego od međusobnog truda, rada i prevazilaženja prepreka i strahova zajedno”, objasnio je Bogdan. Mićanović je istakao da od reditelja traži da podijele strahove, prvobitno o scenariju, još prije nego što krenu sa snimanjem scena na setu. “Prva i osnovna stvar je dijeljenje tvog viđenja sa rediteljem ili, naravno, ako si reditelj sa glumcem. Ako se tada povežete i steknete obostrano povjerenje rad na setu postaje mnogo lakši, jer već imate ideju o načinu na koji vaš karakter treba da se ponaša ili da izgleda na sceni.'' zaključio je glumac, a zatim dodao kako su glumci uglavnom svjesni važnosti ovoga, ali da reditelji često to ne shvataju i drže osjećanja zatvorena u sebi. Mićanović je, takođe, rediteljima predložio i traženje savjeta od glumaca: “Reditelj bi trebalo da uključi glumca u proces kreiranja filma – da traži mišljenje od njega, da sazna njegovo viđenje, da pita za savjet – jer većina glumaca zaista želi da pomogne”. Pored teme o relaciji reditelj i glumac, otvorena je i ona o povezanosti pozorišta i filma. “Ranije sam i ja pravio razliku između glume u pozorištu i glume na filmu. Onda sam shvatio da uopšte nije važno da li si pozorišni ili filmski glumac, da li radiš horor ili komediju, jer se na kraju sve svede na jednu poentu – kad god razmišljaš o tehnici ne radiš nešto dobro. Moraš da dovedeš sebe do stanja potpune prisutnosti i tada postoje samo dvije razlike o kojima može da se priča: dobro ili loše”, rekao je Mićanović, akcentirajući da glumac mora dopustiti liku da osjeti sve u potpunosti. Tokom razgovora dosta se govorilo o pripremi, kako glumaca tako i reditelja, pa je neizostavno bilo postaviti pitanje postoji li nešto što se može nazvati “prekomjernom pripremom”. “Ne postoji stvar kao što je prekomjerna priprema, samo loša priprema. Prava priprema nije u pričanju o tome kako treba nešto da izgleda, nego o tome koja osjećanja treba da izaziva”, odgovorio je na ovo pitanje Dragan Mićanović, zaključivši diskusiju.
As part of the Talents programme dedicated to young emerging filmmakers, the 31st Sarajevo Film Festival hosted a conversation with actors Dragan Mićanović and Goran Bogdan.
There is no such thing as too much preparation, only bad preparation
The discussion focused on the relationship between directors and actors, and opened with a description of Mićanović’s experience filming the series “Saber” in which he plays the controversial political figure Zoran Đinđić. “When you play a role like this, it’s important not to take sides, and during such demanding roles, the most important thing is to have a good director by your side,” said Mičanović, adding that a lot of preparation is needed in advance, watching footage, documentaries, interviews, and after that study, “putting on a new suit” and accepting that you are now that character. Actor Goran Bogdan agreed, emphasizing that building trust between director and actor is crucial. “When I was a young actor, I expected directors to know everything, without thinking about their worries and difficulties, and in that sense I was a bit selfish. Now I think we should try to build something together from our ignorance, because I have realized that trust does not come from expecting someone to know everything, but from mutual effort, work and overcoming obstacles and fears together,” Bogdan explained. Mićanović emphasized that he asks directors to share their fears, initially about the script, even before they start shooting scenes on set. “The first and most important thing is to share your vision with the director or, of course, if you are a director, with the actor. If you then connect and gain mutual trust, working on the set becomes much easier, because you already have an idea of the way your character should behave or look on stage.” concluded the actor, adding that actors are mostly aware of the importance of this, but that directors often do not understand it and keep their feelings bottled up. Mićanović also suggested that directors seek advice from actors: “The director should include the actor in the process of creating the film – to ask for his opinion, to find out his vision, to ask for advice – because most actors really want to help.” In addition to the topic of the relationship between director and actor, the connection between theater and film was also raised. “Previously, I also made a distinction between acting in theater and acting in film. Then I realized that it doesn't matter at all whether you are a theater or film actor, whether you do horror or comedy, because in the end it all comes down to one point – whenever you think about technique, you are not doing something well. You have to bring yourself to a state of complete presence and then there are only two differences that can be talked about: good or bad”, said Mićanović, emphasizing that the actor must allow the character to feel everything completely. During the conversation, there was a lot of talk about preparation, both for actors and directors, so it was inevitable to ask the question whether there is such a thing as “over-preparation”. “There is no such thing as over-preparation, only bad preparation. Real preparation is not about talking about how something should look, but about what feelings it should evoke”, Dragan Mićanović answered this question, concluding the discussion. The discussion focused on the relationship between directors and actors, and opened with a description of Mićanović’s experience filming the series “Saber” in which he plays the controversial political figure Zoran Đinđić. “When you play a role like this, it’s important not to take sides, and during such demanding roles, the most important thing is to have a good director by your side,” said Mičanović, adding that a lot of preparation is needed in advance, watching footage, documentaries, interviews, and after that study, “putting on a new suit” and accepting that you are now that character. Actor Goran Bogdan agreed, emphasizing that building trust between director and actor is crucial. “When I was a young actor, I expected directors to know everything, without thinking about their worries and difficulties, and in that sense I was a bit selfish. Now I think we should try to build something together from our ignorance, because I have realized that trust does not come from expecting someone to know everything, but from mutual effort, work and overcoming obstacles and fears together,” Bogdan explained. Mićanović emphasized that he asks directors to share their fears, initially about the script, even before they start shooting scenes on set. “The first and most important thing is to share your vision with the director or, of course, if you are a director, with the actor. If you then connect and gain mutual trust, working on the set becomes much easier, because you already have an idea of the way your character should behave or look on stage.” concluded the actor, adding that actors are mostly aware of the importance of this, but that directors often do not understand it and keep their feelings bottled up. Mićanović also suggested that directors seek advice from actors: “The director should include the actor in the process of creating the film – to ask for his opinion, to find out his vision, to ask for advice – because most actors really want to help.” In addition to the topic of the relationship between director and actor, the connection between theater and film was also raised. “Previously, I also made a distinction between acting in theater and acting in film. Then I realized that it doesn't matter at all whether you are a theater or film actor, whether you do horror or comedy, because in the end it all comes down to one point – whenever you think about technique, you are not doing something well. You have to bring yourself to a state of complete presence and then there are only two differences that can be talked about: good or bad”, said Mićanović, emphasizing that the actor must allow the character to feel everything completely. During the conversation, there was a lot of talk about preparation, both for actors and directors, so it was inevitable to ask the question whether there is such a thing as “over-preparation”. “There is no such thing as over-preparation, only bad preparation. Real preparation is not about talking about how something should look, but about what feelings it should evoke”, Dragan Mićanović answered this question, concluding the discussion.
Talents with actors Dragan Mićanović and Goran Bogdan
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OPEN AIR
Naizgled mala nezgoda izaziva niz sve težih posljedica. What begins as a minor accident sets in motion a series of escalating consequences.
Aristokratkinje, uspinjači po društvenim ljestvicama, utjecajni kriminalci, novinari, glumci, dekadentni pripadnici visokog duštva, prelati, umjetnici i intelektualci, autentični i pretpostavljeni, u centru su čudnih odnosa u očajnom Babilonu smještenom u palatama iz antičkog doba, prostranim vilama i na najljepšim gradskim terasama. Svi su tu, na okupu, i ne ostavljaju dobar utisak. Šezdesetpetogodišnji Jep Gambardella, indolentan i ravnodušan muškarac, očiju stalno zamućenih zbog ispijanja džin-tonika, posmatra tu paradu ispraznih, prokletih, moćnih, a istovremeno deprimiranih pripadnika ljudske vrste. Sve te pokušaje života prerušene u prividnu, rastresenu zabavu. Vrtoglava moralna atrofija. I, u pozadini svega toga, Rim tokom ljeta. Zapanjujuće lijep i indiferentan, poput mrtve dive. Aristocratic ladies, social climbers, politicians, high-flying criminals, journalists, actors, decadent nobles, prelates, artists, and intellectuals—whether authentic or presumed—form the tissue of these flaky relationship, all engulfed in a desperate Babylon, which plays out in the antique palaces, immense villas, and most beautiful terraces in the city. They are all here, and they are not seen in a good light. Sixty-five-year-old Jep Gambardella, indolent and disenchanted, his eyes permanently imbued with gin and tonic, watches this parade of hollow, doomed, powerful yet depressed humanity. All the effort of life, disguised as specious, distracted entertainment. A dizzying moral atony. And, behind it, Rome in summer. Stunningly beautiful and indifferent. Like a dead diva.
SUMMER SCREEN
Na programu danas... / On today's schedule...
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KINOSCOPE
IMAGO France, Belgium, 2025, 109 min. Director: Déni Oumar Pitsaev
TAKIČARSKI PROGRAM - DOKUMENTARNI FILM / competition programme - documentary film
Sloveniju – jednu od republika socijalističke Jugoslavije – u periodu od 1965. do 1971. godine obilježio je avangardni umjetnički pokret poznat pod imenom OHO grupa. Ovaj pokret je inspirisao i nastavlja da inspiriše brojne umjetnike, među kojima i Marinu Abramović. OHO se smatra jednim od najfascinantnijih, najkompleksnijih i najznačajnijih primjera poslijeratne avangardne umjetnosti u centralnoj i istočnoj Evropi. Ovaj dokumentarni film, koji obiluje nikada ranije viđenim snimcima, prvi je sveobuhvatan prikaz ovog inspirativnog fenomena u kome se prepliću umjetnost i život. The period from 1965 to 1971 in Slovenia—then a republic of socialist Yugoslavia—was marked by the avant-garde art movement known as the OHO Group, which has inspired and continues to inspire many artists, including Marina Abramović. OHO is regarded as one of the most fascinating, complex, and significant examples of post-war avant-garde art in Central and Eastern Europe. This documentary film, rich in never-before-seen materials, comprehensively presents this inspiring phenomenon of intertwining art and life for the first time.