FESTIVAL DAILY
John Turturro na crvenom tepihu Festivala / John Turturro on the Festival's Red Carpet
www.sff.ba #30thSFF
UTORAK / Tuesday 20.08.2024.
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Počasno Srce Sarajeva John Turturro“
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GRAND KAFA SA Paul Schrader: Film „Oh, Kanada“snimio sam nakon što sam počeo razmišljati o smrti
HUMAN RIGHTS DAY Pollution in Zenica is a problem of international importance
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CONTENT
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On today's schedule...
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Na programu danas...
Takmičarski igrani Regionalna premijera filma „Sveti elektricitet“
COmpetition feature Regional Premiere of Arcadia
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Masterclass Elia Suleiman: If I Lose My Sense of Humour, I Lose Hope
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FOTO GALERIJA Festivalski život
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TAKMIČARSKI DOKUMENTARNI Isabela Von Tent ALICE; UKLJUČENA, ISKLJUČENA
DAN LJUDSKIH PRAVA Zagađenje u Zenici problem od internacionalnog značaja
IN FOCUS Elma Tataragić
SADRŽAJ
Takmičarski igrani Regionalna premijera filma „Arkadija“
FOTO GALERIJA Crveni tepih
COMPETITION DOCUMENTARY Isabela Von Tent ALICE ON & OFF
COmpetition feature Mo Harawe - The Village Next to Paradise
GRAND COFFEE WITH Paul Schrader: I filmed 'Oh, Canada' after I started thinking about death
U fokusu Elma Tataragić
FOTO GALLERY Red Carpet
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Masterclass Elia Suleiman: Ako izgubim osjećaj za humor, onda gubim i nadu
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COmpetition feature Regional Premiere of Holy Electricity
FOTO GALLERY Festival Life
COMPETITION DOCUMENTARY Olga Chernykh A PICTURE TO REMEMBER
Honorary Heart of Sarajevo John Turturro
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Takmičarski igrani Mo Harawe - Selo pokraj raja
TAKMIČARSKI DOKUMENTARNI Olga Chernykh Slika za pamćenje
U programu Grand kafa sa… 30. Sarajevo Film Festivala na Festivalskom trgu gostovao je Paul Schrader, američki reditelj i scenarist, čiji je film „Oh, Kanada“ prikazan na ovogodišnjem Sarajevo Film Festivalu kao specijalna gala projekcija. Osim o filmu „Oh, Kanada“, Schrader je govorio o filmskoj industriji i njenoj budućnosti.
Palestinski reditelj, scenarist i glumac Elia Suleiman primio je Počasno Srce Sarajeva na otvaranju 30. Sarajevo Film Festivala. Počasno Srce Sarajeva dobio je u znak priznanja za izuzetan doprinos filmskoj umjetnosti, a kako je taj doprinos nastao objasnio je na masterclassu održanom u Festivalskom centru (Bosanskom kulturnom centru). „Ljubav sa Sarajevom je bila dvostrana sve do jutros. Mislio sam da će ovaj razgovor biti u 10 navečer, a ne ujutro. Da sam znao da je ujutro… Ne želim se žaliti, ali vi svi ste ustali tako rano da bi slušali što ovaj tip govori!? Doista vas ne razumijem“, započeo je Suleiman masterclass u šaljivom tonu, pokazavši da i privatno voli ono što uvijek krasi njegove filmove – ironični humor. Tokom masterclassa, palestinski filmaš otkrio je detalje o svojem djetinjstvu, kako je sa 16 godina napustio školu i u rodnom Nazaretu družio se s bandama, dok filmove gotovo nije ni gledao. „Bilo je to teško vrijeme, uglavnom sam istraživao tko sam ja zapravo. Osjećao sam da znam pričati priču. Vidio sam to kada bih bio u društvu, gdje sam bio sposoban zabaviti ostale s nekom šalom ili pričom. Ali nisam znao ni što je knjiga ni što je film“, priznao je Elia Suleiman. Tokom prva četiri festivalska dana gledatelji su u programu „Posvećeno“ imali priliku vidjeti njegovih devet ostvarenja, među ostalima i čuvene filmove „Hronika nestajanja“ i „Božanska intervencija“, koja čine većinu dosadašnjeg opusa ovoga višestruko nagrađivanog autora. Iz današnje perspektive, kada iza sebe ima respektabilnu filmografiju, neobično je bilo čuti da je Suleiman strast prema filmovima otkrio tek odlaskom na studij u New York. Kako bi mogao ravnopravno sudjelovati u razgovorima s kolegama, pročitao je brojne knjige o filmu, ali i dalje je najviše volio jednostavne, narativne filmove. Ostvarenja autora kao što su Jean-Luc Godard ili Michelangelo Antonioni jednostavno nije razumio. No, gledanje filmova ipak mu je otvorilo oči. „U filmovima iz cijeloga svijeta prepoznavao sam detalje iz mojeg rodnog Nazareta. Neki likovi koje bih vidio u tim filmovima bili su identični ljudima iz mojega susjedstva. Shvatio sam koliko film može biti univerzalan“, kazao je Suleiman, otkrivši i da je Ozuova „Tokijska priča“ bio film koji ga je potaknuo da se i sam primi režije. Naravno, početak nije bio lagan. Bilo je potrebno puno pokušaja i odbijenica da bi došao u priliku snimiti debitantski film. I to film koji je sam producirao – „Hroniku nestajanja“. „Dosadno je govoriti o produkciji. Zašto ovo moram raditi? Film sam producirao samo zato što niko drugi nije htio“, krenuo je reditelj šaljivo, prije nego što je ipak pokazao da je produkcijski aspekt bitan. „Dobra je stvar bila u tome što sam dobio slobodu istraživati. Da sam imao producenta, puno toga što sam htio bilo bi odbijeno kao neatraktivno ili neisplativo. To što sam bio svoj producent dalo mi je potpunu slobodu da eksperimentiram i učim.“ S potpunom slobodom stvaranja, nada se, nastavio je i do današnjih dana. Svi njegovi filmovi imaju niz neobičnih scena, ali do tih ideja filmaš ne dolazi nimalo jednostavno i lagano. „Nije mi lako naći inspiraciju. Ima reditelja koji svaki dan nađu novi projekt, novu ideju… Ja, pak, danima znam buljiti u – ništa. Raditi ništa. Čekati Godota. S vjerom da se nešto mora dogoditi. Pokušam potaknuti svoju maštu i inspiraciju na određen načine, ali najčešće mi uspijeva tako što danima ne radim ništa“, objasnio je Elia Suleiman svoj proces nastanka filma. U tom procesu jedna je stvar stalna – većinu inspiracije izvlači iz svojega života. Bilo da je to nešto što je doživio, vidio ili samo čuo od nekoga drugoga, sve scene iz njegovih filmova, koliko god bile nevjerojatne, klicu imaju u stvarnom životu. A stvarni život u posljednje vrijeme nije nimalo lagan. Ratni sukobi ponovno su njegovu domovinu pretvorili u mjesto tuge i tragedije, pa je iz publike i dobio pitanje koliko trenutna situacija u Palestini utječe na njega kao filmaša. „Uvijek postoji mjesto za ljudskost. Kada se ljudi nađu u očajnim situacijama, što je pokazala povijest, još uvijek uspijevaju zaustaviti vrijeme uz pomoć humora“, izjavio je Suleiman, dodavši za kraj i svoj osobni pogled. „Ja sam iz Nazareta i živim u Parizu, pitam se ponekad kako ću se suočiti s tim pitanjem. Znam samo jedno, ako izgubim osjećaj za humor, onda gubim i nadu. Za mene je humor način otpora, i čak i kada je situacija beznadna. Ako uspijem s tim humorom barem jednoj osobi olakšati situaciju u kojoj se nalazi, izuzetno sam zahvalan.“ Sub-headings
Grand kafa sa...
Paul Schrader: Film „Oh, Kanada“snimio sam nakon što sam počeo razmišljati o smrti
On Monday, August 19, in the Grand Coffee With…Programme of the 30th Sarajevo Film Festival, Paul Schrader, an American director and screenwriter, was a guest at the Festival square. His film Oh, Canada was screened as a special gala screening at this year's Sarajevo Film Festival. Other than his film Oh, Canada, Schrader spoke about the film industry and its future
"During the Covid-19 pandemic, I was in the hospital three times in a year. Given my age, I started to think about death. Although I had already written a script about women's sexual responsibility, the theme of death had become more significant to me. My friend Russell Banks wrote a book about cancer, from which he later died, so I wanted to make a film that adapted that book. Initially, the title of his book was supposed to be Oh, Canada, but the writer Richard Ford had previously published a book called Canada. Banks told me that if I ever made a film based on his book, I had to name it the way he originally intended. That’s how my film got its name." The actual form of the film Schrader characterised as similar to his film Mishima: A Life In Four Chapters. "The form of the film Oh, Canada is like an object that shatters into pieces when it falls. Many stories and memories intertwine, and the dominant color is the red from Bergman's film Cries and Whispers." He also mentioned that, due to problematic political and legal situations, his film Mishima: A Life In Four Chapters has never been screened in Japan: “There is a chance it might be shown at the Tokyo Film Festival this year.“ “We expect the premiere in Japan in October this year, after more than 30 years.” In terms of film references, Oh, Canada also alludes to the famous film Citizen Kane by Orson Welles: “The penultimate shot of my film corresponds to that famous scene at the beginning of Citizen Kane where Charles Kane says ‘rosebud,’ while my character says “Canada.” Schrader described the screenplay writing process as one he refers to as “speculation.” “I work on the principle of speculation. That means no one is paying me for what I write at that moment. Consequently, no one is financially blackmailing me to write. That’s how Taxi Driver and Oh, Canada came about. For the last five or six films, for this very reason, I have financed them myself, with my own money. It gives me freedom, but not profit. Studios don’t like me. Film studios today are very different from those that existed before. In the past, they were run by people who loved films. That’s no longer the case.” He also spoke about the state of contemporary cinema: “Nowadays, almost everyone can afford to make a film. The filming process itself has changed. More time is spent in post-production than on the actual filming. This is due to digitalization. I’m a member of the jury at this Festival, and all the films I see look the same. The approach to filmmaking has completely changed. Films today are much slower, the camera is more static, and there’s almost no zooming. I think directors don’t realize that even such use of the camera is a form of manipulation. I wish they were bolder.” In recognition of his outstanding contribution to the art of film, Paul Schrader was awarded the Honorary Heart of Sarajevo on August 18, which he was to receive at the 28th Sarajevo Film Festival when he was unable to attend due to health reasons. Sub-headings
Grand Coffee with
Paul Schrader: I filmed 'Oh, Canada' after I started thinking about death
Iako smo uz Sarajevo Film Festival skoro dva desetljeća, čini se kao da se družimo čitav život, kao što se s dobrim prijateljima uvijek čini, neovisno o stažu. Kad dijelite vrijednosti i kad ste generacija, a Atlantic Grupa tek je nekoliko godina starija od Sarajevo Film Festivala, sve ide lako. Ponosno stojimo uz našeg partnera i na ovom jubilarnom okupljanju, posebno radosni i zbog zajedničkih uspomena i zbog svega što nas tek čeka. Sretan 30. rođendan, Sarajevo Film Festival! All though we've been with the Sarajevo Film Festival for almost two decades, it seems a lifetime, as it always does with good friends, regardless of the time spent together. When you share values, and belong to the same generation, and Atlantic Grupa is only a few years older than Sarajevo Film Festival, everythings goes smoothly. On this jubilee gathering we stand proudly by our partner once again, especially merry about both our shared memories and all yet to come for us. Happy 30th birthday, Sarajevo Film Festival!
John Turturro stigao u Sarajevo
Na 30. Sarajevo Film Festival došao je američki glumac i reditelj John Turturro, ovogodišnji dobitnik Počasnog Srca Sarajeva. Slavni filmaš, čija je najpoznatija uloga ekstravagantnog Jesusa Quintane u filmovima „Veliki Lebowski“ i „The Jesus Roles“,Počasno Srce Sarajeva primit će kao priznanje za izuzetan doprinos filmskoj industriji i izvanredan glumački, scenaristički i rediteljski talent. Na 30. Sarajevo Film Festivalu, John Turturro će u srijedu, 21. augusta, u 10 sati održati masterclass u Festivalskom centru (Bosanski kulturni centar), a iste večeri će u Ljetnom kinu Coca-Cola prisustvovati posebnoj projekciji filma „Barton Fink“ braće Coen, gdje je igrao naslovnu ulogu.
John Turturro arrived in Sarajevo
Počasno Srce Sarajeva • Honorary Heart of Sarajevo
The 30th Sarajevo Film Festival welcomed American actor and director John Turturro, this year's recipient of the Honorary Heart of Sarajevo. The renowned filmmaker, best known for his iconic role as the extravagant Jesus Quintana in The Big Lebowski and The Jesus Rolls, will receive the Honorary Heart of Sarajevo in recognition of his outstanding contribution to the film industry and his exceptional talent as an actor, screenwriter, and director. At the 30th Sarajevo Film Festival, John Turturro will hold a masterclass on Wednesday, August 21st, at 10 a.m. at the Festival Center (Bosnian Cultural Center). That evening, he will also attend a special screening of the Coen brothers' film Barton Fink, in which he played the title role, at the Coca-Cola Open Air Cinema.
Regionalna premijera filma „Arkadija“
Director Yorgos Zois led the film crew on the red carpet in front of the National Theatre ahead of the regional premiere of Arcadia. In a drama on the edge of reality and mysticism, through the story of a car accident, Zois achieves a delicate balance between the mundane aspects of grief and the inventive framework of a parallel supernatural narrative. Arcadia stars Vangelis Mourikis, Angeliki Papoulia, Elena Topalidou i Nikolas Papagianni.
Reditelj Yorgos Zois predvodio je filmsku ekipu na regionalnoj premijeri „Arkadije“ na crvenom tepihu ispred Narodnog pozorišta. U drami na rubu realnosti i mističnosti, kroz priču o automobilističkoj nesreći Zois postiže delikatan balans između banalnih aspekata žalovanja i inventivnog okvira paralelne natprirodne priče. U „Arkadiji“ glume Vangelis Mourikis, Angeliki Papoulia, Elena Topalidou i Nikolas Papagianni.
Takmičarski igrani • Competition Feature
Regional Premiere of Arcadia
Reditelj Tato Kotetishvili predvodio je filmsku ekipu na regionalnoj premijeri „Svetog elektriciteta“ na crvenom tepihu ispred Narodnog pozorišta. U fokusu gruzijske drame su mladić Gonga i njegov rođak Bart, koji na otpadu starog metala pronađu kofer pun zahrđalih križeva te dolaze na ideju pretvoriti ih u neonska raspela i prodavati ih. U „Svetom elektricitetu“ glume Nikolo Ghviniashvili i Nika Gongadze.
Director Tato Kotetishvili led the film crew on the red carpet in front of the National Theatre ahead of the regional premiere of Holy Eletricity. The focus of the Georgian drama is on a young man named Gonga and his cousin Bart, who find a suitcase full of rusty crosses at a scrap metal yard. They come up with the idea to turn them into neon crucifixes and sell them. Holy Eletricity stars Nikolo Ghviniashvili and Nika Gongadze.
Regionalna premijera filma „Sveti elektricitet“
Regional Premiere of Holy Eletricity
Crveni tepih / Red Carpet
Ekipa filma „Gym“ / Cast and crew of Gym
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
Ekipa filma „Proslava“ / Cast and crew of Celebration
Ekipa filma „Arkadija“ / Cast and crew of Arcadia
Rediteljica Myriam El Hajj / Director Myriam El Hajj
TV voditeljica Daniela Trbović / TV host Daniela Trbović
Palestinski autor, ovogodišnji dobitnik Počasnog Srca Sarajeva, tijekom masterclassa je otkrio niz detalja o svojoj bogatoj karijeri.
Masterclass
Elia Suleiman: Ako izgubim osjećaj za humor, onda gubim i nadu
Palestinski reditelj, scenarist i glumac Elia Suleiman primio je Počasno Srce Sarajeva na otvaranju 30. Sarajevo Film Festivala. Počasno Srce Sarajeva dobio je u znak priznanja za izuzetan doprinos filmskoj umjetnosti, a kako je taj doprinos nastao objasnio je na masterclassu održanom u Festivalskom centru (Bosanskom kulturnom centru). „Ljubav sa Sarajevom je bila dvostrana sve do jutros. Mislio sam da će ovaj razgovor biti u 10 navečer, a ne ujutro. Da sam znao da je ujutro… Ne želim se žaliti, ali vi svi ste ustali tako rano da bi slušali što ovaj tip govori!? Doista vas ne razumijem“, započeo je Suleiman masterclass u šaljivom tonu, pokazavši da i privatno voli ono što uvijek krasi njegove filmove – ironični humor. Tokom masterclassa, palestinski filmaš otkrio je detalje o svojem djetinjstvu, kako je sa 16 godina napustio školu i u rodnom Nazaretu družio se s bandama, dok filmove gotovo nije ni gledao. „Bilo je to teško vrijeme, uglavnom sam istraživao tko sam ja zapravo. Osjećao sam da znam pričati priču. Vidio sam to kada bih bio u društvu, gdje sam bio sposoban zabaviti ostale s nekom šalom ili pričom. Ali nisam znao ni što je knjiga ni što je film“, priznao je Elia Suleiman. Tokom prva četiri festivalska dana gledatelji su u programu „Posvećeno“ imali priliku vidjeti njegovih devet ostvarenja, među ostalima i čuvene filmove „Hronika nestajanja“ i „Božanska intervencija“, koja čine većinu dosadašnjeg opusa ovoga višestruko nagrađivanog autora. Iz današnje perspektive, kada iza sebe ima respektabilnu filmografiju, neobično je bilo čuti da je Suleiman strast prema filmovima otkrio tek odlaskom na studij u New York. Kako bi mogao ravnopravno sudjelovati u razgovorima s kolegama, pročitao je brojne knjige o filmu, ali i dalje je najviše volio jednostavne, narativne filmove. Ostvarenja autora kao što su Jean-Luc Godard ili Michelangelo Antonioni jednostavno nije razumio. No, gledanje filmova ipak mu je otvorilo oči. „U filmovima iz cijeloga svijeta prepoznavao sam detalje iz mojeg rodnog Nazareta. Neki likovi koje bih vidio u tim filmovima bili su identični ljudima iz mojega susjedstva. Shvatio sam koliko film može biti univerzalan“, kazao je Suleiman, otkrivši i da je Ozuova „Tokijska priča“ bio film koji ga je potaknuo da se i sam primi režije. Naravno, početak nije bio lagan. Bilo je potrebno puno pokušaja i odbijenica da bi došao u priliku snimiti debitantski film. I to film koji je sam producirao – „Hroniku nestajanja“. „Dosadno je govoriti o produkciji. Zašto ovo moram raditi? Film sam producirao samo zato što niko drugi nije htio“, krenuo je reditelj šaljivo, prije nego što je ipak pokazao da je produkcijski aspekt bitan. „Dobra je stvar bila u tome što sam dobio slobodu istraživati. Da sam imao producenta, puno toga što sam htio bilo bi odbijeno kao neatraktivno ili neisplativo. To što sam bio svoj producent dalo mi je potpunu slobodu da eksperimentiram i učim.“ S potpunom slobodom stvaranja, nada se, nastavio je i do današnjih dana. Svi njegovi filmovi imaju niz neobičnih scena, ali do tih ideja filmaš ne dolazi nimalo jednostavno i lagano. „Nije mi lako naći inspiraciju. Ima reditelja koji svaki dan nađu novi projekt, novu ideju… Ja, pak, danima znam buljiti u – ništa. Raditi ništa. Čekati Godota. S vjerom da se nešto mora dogoditi. Pokušam potaknuti svoju maštu i inspiraciju na određen načine, ali najčešće mi uspijeva tako što danima ne radim ništa“, objasnio je Elia Suleiman svoj proces nastanka filma. U tom procesu jedna je stvar stalna – većinu inspiracije izvlači iz svojega života. Bilo da je to nešto što je doživio, vidio ili samo čuo od nekoga drugoga, sve scene iz njegovih filmova, koliko god bile nevjerojatne, klicu imaju u stvarnom životu. A stvarni život u posljednje vrijeme nije nimalo lagan. Ratni sukobi ponovno su njegovu domovinu pretvorili u mjesto tuge i tragedije, pa je iz publike i dobio pitanje koliko trenutna situacija u Palestini utječe na njega kao filmaša. „Uvijek postoji mjesto za ljudskost. Kada se ljudi nađu u očajnim situacijama, što je pokazala povijest, još uvijek uspijevaju zaustaviti vrijeme uz pomoć humora“, izjavio je Suleiman, dodavši za kraj i svoj osobni pogled. „Ja sam iz Nazareta i živim u Parizu, pitam se ponekad kako ću se suočiti s tim pitanjem. Znam samo jedno, ako izgubim osjećaj za humor, onda gubim i nadu. Za mene je humor način otpora, i čak i kada je situacija beznadna. Ako uspijem s tim humorom barem jednoj osobi olakšati situaciju u kojoj se nalazi, izuzetno sam zahvalan.“
Palestinian director, screenwriter, and actor Elia Suleiman received the Honorary Heart of Sarajevo at the opening of the 30th Sarajevo Film Festival. He was honored for his exceptional contribution to the art of cinema, a contribution he elaborated on during a masterclass held at the Bosnian Cultural Center. "My love affair with Sarajevo was mutual until this morning. I thought this masterclass was scheduled for 10 p.m., not 10 a.m. Had I known it was in the morning... I don’t want to complain, but you all woke up this early to hear what this guy has to say!? I really don’t understand you," Suleiman began the masterclass in a humorous tone, showing that his private persona shares the same ironic humour that characterizes his films. During the masterclass, the Palestinian filmmaker revealed details about his childhood, including how he dropped out of school at 16, spent time with gangs in his hometown of Nazareth, and barely watched films. "It was a difficult time; I was mainly exploring who I really was. I felt I had a knack for storytelling. I noticed this when I could entertain others with a joke or a story. But I didn’t know what a book was, let alone a film," Elia Suleiman admitted. During the first four days of the festival, audiences had the opportunity to see nine of his films in the "Tribute to…" programme, including the acclaimed Chronicle of a Disappearance and Divine Intervention, which make up the bulk of this multi-award-winning auteur's body of work. From today’s perspective, with a respectable filmography behind him, it was surprising to hear that Suleiman discovered his passion for film only after he left for New York. To keep up with conversations with his peers, he read numerous books on cinema, but he still preferred simple, narrative-driven films. Works by directors like Jean-Luc Godard or Michelangelo Antonioni simply didn’t resonate with him. However, watching films eventually opened his eyes. "In films from all over the world, I recognized details from my hometown of Nazareth. Some of the characters I saw in those films were identical to people from my neighbourhood. I realized how universal film could be," said Suleiman, revealing that Ozu's "Tokyo Story" was the film that inspired him to start directing. Of course, the beginning wasn’t easy. It took numerous attempts and rejections before he got the chance to make his debut film, which he produced himself—Chronicle of a Disappearance. "It's boring to talk about production. Why do I have to do this? I only produced the film because no one else wanted to," the director joked before acknowledging the importance of the production aspect. "The good thing was that I had the freedom to explore. If I had had a producer, many things I wanted would have been rejected as unattractive or unprofitable. Being my own producer gave me complete freedom to experiment and learn." He hopes to have maintained that complete creative freedom to this day. All his films feature a series of unusual scenes, but the filmmaker doesn’t arrive at these ideas easily or quickly. "It’s not easy for me to find inspiration. There are directors who come up with a new project or idea every day... But I can spend days staring at - nothing. Doing nothing. Waiting for Godot. Believing that something will happen. I try to stimulate my imagination and inspiration in certain ways, but most often, I succeed by doing nothing for days," Elia Suleiman explained his filmmaking process. In that process, one thing remains constant—he draws most of his inspiration from his own life. Whether it’s something he experienced, saw, or just heard from someone else, every scene in his films, no matter how incredible, has its roots in real life. And real life has been anything but easy lately. Ongoing conflicts have once again turned his homeland into a place of sorrow and tragedy. An audience member asked how the current situation in Palestine affects him as a filmmaker. "There is always room for humanity. History has shown that even in desperate situations, people still manage to stop time with the help of humour," Suleiman said, adding his personal perspective. "I’m from Nazareth and live in Paris; I sometimes wonder how I’ll face this question. I only know one thing - if I lose my sense of humour, then I lose hope. For me, humour is a form of resistance, even when the situation is hopeless. If I can use that humour to make at least one person’s situation a little easier, I am extremely grateful."
Elia Suleiman: If I Lose My Sense of Humour, I Lose Hope
The Palestinian author, this year's recipient of the Honorary Heart of Sarajevo, revealed a series of details about his rich career during the masterclass.
Honorary Heart of Sarajevo • Alexander Payne • DIRECTOR
U svom dugometražnom prvijencu, reditelj Mo Harawe okreće kameru prema svojoj domovini Somaliji kako bi prikazao ljepotu zemlje koja ima potencijal postati raj.
„Selo pokraj raja“ vaš je prvi dugometražni film, možete li opisati proces i izazove s kojima ste se suočili pri prelasku s režije kratkih filmova na cjelovečernji film? Prvi nacrt scenarija napisao sam 2018. godine, ne razmišljajući o snimanju filma, te sam ga ostavio po strani i radio na drugim kratkim filmovima. Počeo sam ga ponovno pisati 2022. godine kada smo odlučili snimiti film, a sve je išlo glatko, od financiranja do snimanja i postprodukcije. Što vas je inspiriralo za početni koncept ovog filma i kako se on razvijao kroz vrijeme? Došavši u Europu, otkrio sam da je percepcija Somalije prilično drugačija - često potpuno suprotna - od mojih iskustava tamo. To me ostavilo zbunjenim. Želio sam bolje razumjeti sebe, pa sam odlučio napisati priču koja ima za cilj autentično prikazati svakodnevni život u Somaliji. Je li to razlog zašto film započinjete isječkom vijesti na tv kanalu Channel 4, kako biste prikazali kontrast između zapadnog prikaza Somalije i autentične somalske priče koja slijedi? Ideja je bila započeti prikazom zapadne perspektive, stavljajući gledatelje u poziciju da vide ono što se obično prikazuje o ovoj regiji. Istovremeno, želio sam naglasiti kako se događaji, poput napada dronom u ovom slučaju, često prikazuju kao vrsta zabave, što je daleko od stvarnosti. Film pokazuje kakva je stvarna situacija tamo: da su to obični ljudi i kako ti napadi dronovima utječu na njihove svakodnevne odluke i živote. Koliko je bilo teško preseliti se kao sedamnaestogodišnjak iz Somalije u Austriju? To je duga priča, ali najteže je uvijek biti daleko od obitelji. S obzirom na to da mnogi glumci u vašem filmu nisu profesionalci, možete li opisati proces kastinga? Osim jedne osobe koja je glumila u mojim kratkim filmovima, svi ostali nisu imali iskustva i prvi put su bili pred kamerom. Osim glumice koja je igrala Araweelo, jednostavno smo prilazili ljudima i ja sam počeo razgovarati s njima. Naš casting direktor, Mohamed, obavio je nevjerojatan posao. Proveli smo vrijeme zajedno, postavljajući si pitanja i gledajući se u oči kako bismo vidjeli koliko dugo traje naš pogled i možemo li se dublje povezati. Kroz taj proces izgradili smo povjerenje koje nam je bilo potrebno. Tri glavna lika, Mamamrgrade, Araweelo i Cigaal, čine malu obitelj. Što vam je bilo najvažnije u razvoju njihovih likova i odnosa? Na kraju dana, oni se drže zajedno i nikoga ne ostavljaju iza sebe, što je razlog zašto su ljudi u ovoj zemlji preživjeli, čak i bez funkcionalne vlade. Koje je značenje naziva sela 'Selo pokraj raja'? Selo se nalazi uz more, na mjestu izuzetne ljepote, što mu daje osjećaj da je "pokraj raja." Međutim, to se oštro suprotstavlja mnogim problemima s kojima se selo suočava. Selo je također simbol same Somalije; zemlja ima nevjerojatan potencijal. Ima najdužu obalu u Africi, s Indijskim oceanom na jednoj strani i Adenskim zaljevom na drugoj, te manje od 15 milijuna stanovnika. Ipak, unatoč tom potencijalu, Somalija je opterećena brojnim problemima, uzrokovanim kako unutarnjim čimbenicima tako i vanjskim silama. Za mene je Somalija zemlja "pokraj raja." Ima potencijal da postane raj, ali iz mnogih razloga taj potencijal ostaje neostvaren. Kako ste birali lokacije za snimanje filma? Bio sam upoznat s područjem gdje smo htjeli snimati; zapravo, već sam snimio dio svog kratkog filma Život na rogu u istom selu. Međutim, nisu sve lokacije bile dogovorene niti pronađene prije početka snimanja, pa smo ponekad morali voziti okolo kako bismo pronašli lokacije za sljedeći dan čim završimo snimanje za taj dan. To smo unaprijed predvidjeli i isplanirali dovoljno vremena za slučaj kašnjenja. Srećom, imali smo povjerenje lokalnog stanovništva, i sve je prošlo dobro, velikim dijelom zahvaljujući njihovoj podršci. Josip Jurčić Sub-headings
Takmičarski igrani
Želio sam prikazati pravu Somaliju
Foto: © Doris Erben
Mo Harawe Selo pokraj raja
Foto: © FreibeuterFilm
I Wanted to Show Real Somalia
Seeing how Village Next to Paradise is your debut feature film, can you describe the process and challenges you faced transitioning from directing short films to a full-length feature? I wrote the first draft of the script in 2018 not thinking about making the film and left it there and did other short films. And I started rewriting it in 2022 when we decided to make the film and everything went smooth, from financing to shooting and the postproduction. What inspired the initial concept for this film, and how did it evolve over time? While in Europe, I discovered that the perception of Somalia was quite different—often completely opposite—from my own experiences there. This left me feeling confused. I wanted to understand myself better, so I decided to write a story that aimed to depict daily life in Somalia more authentically. Is that why you open the film with a Channel 4 TV news clip, to show contrast of the Western portrayal of Somalia with the authentic Somali narrative that follows? The idea was to begin by presenting the Western perspective, placing viewers in a position to see what is typically portrayed about this region. Simultaneously, I wanted to highlight how events, such as a drone attack in this case, are often depicted as a form of entertainment, which is far from the reality. The film shows what it's truly like there: that these are ordinary people, and how these drone strikes impact their daily decisions and lives. How difficult was to move as 17-year-old from Somalia to Austria? It’s a long story, but the hardest part is always being away from family. Given that many of the actors in your film are non-professionals, can you describe the casting process? Aside from one person who had acted in my short films, everyone else was untrained and in front of the camera for the first time. Except for the actress who played Araweelo, we simply approached people, and I started talking to them. Our casting director, Mohamed, did an incredible job. We spent time together, asking each other questions and looking into each other's eyes to see how long our gazes would last and whether we could connect more deeply. Through this process, we built the trust we needed. The three main characters, Mamamrgrade, Araweelo, and Cigaal, make up a small family. What was the most important thing to you when it came to developing their characters and relationships? At the end of the day, they stick together and leave no one behind, which is why the people in this country have survived, even without a functional government. What is the significance behind naming the village 'Paradise Village’? The village is by the sea, in a place of stunning beauty, which gives it the feeling of being "next to paradise." However, this contrasts sharply with the many problems the village faces. The village is also symbolic of Somalia itself; the country has incredible potential. It boasts the longest coastline in Africa, with the Indian Ocean on one side and the Gulf of Aden on the other, and a population of less than 15 million. Yet, despite this potential, Somalia is plagued by numerous problems, caused both by internal factors and external forces. For me, Somalia is a country "next to paradise." It has the potential to be a kind of paradise, but for many reasons, that potential remains unrealized. How did you select locations where you shot the film? I was familiar with the area where we wanted to shoot; in fact, I had already filmed part of my short film, Life on the Horn, in the same village. However, not all the locations were arranged or even found before filming began, so sometimes we had to drive around to find the next day's locations as soon as we finished filming for the day. We anticipated this and planned enough time for it in case of delays. Thankfully, we had the trust of the locals, and everything worked out well, largely thanks to their support. Josip Jurčić Sub-headings
Mo Harawe The Village Next to Paradise
Competition Feature
In his debut feature, director Mo Harawe turns the camera to his homeland, Somalia, to showcase the beauty of a country with the potential to become a paradise.
Autori su danas otvoreniji nego ranije
Elma Tataragić SELEKTORICA
Selektorica programa „U fokusu“, Elma Tataragić, govori o ovogodišnjoj selekciji, ali i statusu regionalnih autora u svjetskoj kinematografiji.
U fokusu
Što je u fokusu autora iz regije čiji su filmovi odjeknuli u svijetu? Autori se bave izuzetno raznovrsnim temama na vrlo smjele, otvorene i hrabre načina. Zbog toga su se i našli u ovom programu a prije toga su premijerno prikazali svoje filmove na najvećim i najznačajnijim filmskim festivalima poput Berlina, Cannesa, Locarna. Po čemu se ponajviše razlikuje ovogodišnja selekcija od onih iz prijašnjih godina? Selekcija je uvijek različita jer su filmovi potpuno različiti. Možda bih mogla reći da je ovo možda najotvorenija selekcija do sada jer su autori danas otvoreniji nego što su ranije bili. Mislim da ta otvorenost krasi ovaj program ove godine. Je li iz godine u godinu lakše ili teže odabrati filmove za ovaj program? Ovaj program je jedan od programa za koje je čisti užitak praviti selekciju. Rekla bih, da, selekcija je uvijek izazovna posebno jer se radi o malom broju filmova, ali nije teška već više bih mogla reći da je proces uzbudljiv. Na koje nove autorske glasove trebamo obratiti pažnju? U selekciji imamo debitanta Brunu Ankovića sa filmom „Proslava“ koji je osvojio Pula Film Festival nakon premijere u Karlovym Varyma. Anković je sigurno sa ovim filmom postao novo autorsko ime, baš kao i Iva Radivojević kojoj je film „Kad je zazvonio telefon“ drugi igrani film, ali sigurna sam da je autorica pred kojom je sjajna karijera. Koliko je zadovoljstvo vidjeti etablirane autore, kao što su Cristi Puiu i Konstantin Bojanov, da i dalje intrigiraju i iznenađuju publiku diljem svijeta? Veliko. Zapravo je sjajno pogledati selekciju i pored mlađih autora vidjeti i one etablirane koji su se razvijali paralelno i zajedno sa Sarajevo Film Festivalom. Mislim da je program U fokusu postao prepoznat i među publikom kao program gdje se mogu vidjeti filmovi velikih autora ali i prostor gdje se mogu čuti novi autorski glasovi regije. Što bi regionalne kinematografije trebale još učiniti da budu još više primijećene u svijetu? Na to pitanje ne postoji jednostavan odgovor. Mislim da regionalne kinematografije sa pojedinim autorima imaju jako dobru poziciju u svijetu filma. Da, izuzetno je teško za mladog autora ili autoricu da se probije u taj svijet, no dobar film otvara sva vrata. S druge strane, činjenica je da kaskamo u nekim sferama, od načina finansiranja filmova, do distributerskim metoda i to utiče na plasman. No, imamo razloga za optimizam dok god imamo šta da kažemo. Program U fokusu ove godine upravo pokazuje koliko su naše teme i filmovi relevantni. Josip Jurčić Sub-headings
Foto:(c)UlrichSeidlFilmproduktion_Heimatfilm
Today’s Filmmakers Are More Open Than Before
Elma Tataragić PROGRAMMER
In Focus
Elma Tataragić, programmer of the In Focus programme, discusses this year's selection and the status of regional filmmakers in world cinema.
What topics are central to the regional filmmakers whose films have gained international recognition? These filmmakers tackle incredibly diverse subjects in bold, open, and courageous ways. That’s why they were selected for this program, and before that, they premiered their films at some of the most prestigious film festivals like Berlin, Cannes, and Locarno. How does this year's selection differ most from those of previous years? The selection is always different because the films themselves are entirely unique. I would say that this year’s selection is perhaps the most open to date, as filmmakers today are more open than they were in the past. I believe this openness is a hallmark of this year's program. Is it getting easier or harder to choose films for this program each year? This programme is one of those where making the selection is a pure pleasure. I would say that while the selection process is always challenging, especially given the limited number of films, it’s not difficult—rather, it’s exciting. Which new voices in filmmaking should we be paying attention to? In the selection, we have debut filmmaker Bruno Anković with his film The Celebration, which won the Pula Film Festival after premiering at Karlovy Vary. Anković has certainly established himself as a new directorial voice with this film, as has Iva Radivojević, whose film When the Phone Rang is her second feature, but I’m confident she has a brilliant career ahead of her. How satisfying is it to see established filmmakers like Cristi Puiu and Konstantin Bojanov continue to intrigue and surprise audiences around the world? It’s incredibly satisfying. It’s great to look at the selection and see, alongside younger filmmakers, the established ones who have grown and developed in parallel with the Sarajevo Film Festival. I believe that the In Focus program has become recognized by audiences as a place to see the works of major filmmakers, as well as a space to discover new directorial voices from the region. What more can regional cinema do to gain even greater visibility on the world stage? There’s no simple answer to that question. I think regional cinema, with certain filmmakers, already has a strong position in the film world. Yes, it’s incredibly challenging for a young filmmaker to break into that world, but a good film opens all doors. On the other hand, it’s true that we lag in some areas, from film financing methods to distribution strategies, and this affects visibility. However, we have reason to be optimistic as long as we have something to say. This year’s In Focus program shows just how relevant our themes and films are. Josip Jurčić Sub-headings
Takmičarski dokumentarni
Cijelo desetljeće rediteljica Isabela Tent pratila je mladu Alice , a rezultat je upečatljiv film „Alice, uključena, isključena“.
Isabela VON Tent ALICE; UKLJUČENA, ISKLJUČENA
Slična traumatska prtljaga
Snimanje ovog filma trajalo je impozantnih 10 godina. Toliko je rediteljica Isabela Tent pratila mladu Alice, premladu za sve boli koje je doživjela u tinejdžerskoj dobi.... Tijekom deset godina snimanja - da li ste više vi utjecali na junake svoga filma ili oni na vas? Puno smo naučile jedna od druge, ali, sklona sam reći da je balans malo više na mojoj strani jer me njena priča izazvala da počnem gledati u sebe, sa emotivnog aspekta. Čineći to uspjela sam pronaći ono što nas duboko povezuje: sličnu traumatsku prtljagu kojom su nas opteretili roditelji, bake i djedovi. Iako Alice često u kameru govori o neugodnim iskustvima, djeluje opušteno i vjeruje vam. Kako ste zadobili njeno povjerenje? Puno smo vremena provodile zajedno. Često sam se družila s njom i njezinom obitelji, a da ih nisam planirala snimati. Puno smo pričale. Činjenica da smo slične dobi znatno je pomogla u izgradnji našeg povjerenja. Suočavanje sa osobnim demonima koji razdiru Alice ne može a da ne utječe na njoj najbliže osobe. U potrazi za spasenjem valja prepoznati i priznati obrasce koji se ponavljaju da bi se izašlo iz začaranog kruga. Osjećaj odgovornosti njezinog 35 godina starijeg supruga Doriana je velik, Aliceina potreba za slobodom još je veća. Oslobađanje je bolno i uključuje razvod od narcističnog muža, ostavljanje slika, napuštanje djeteta, na kraju čak i psa koji je bio jedino živo biće koje je svukud vukla za sobom. Alice čini što i njena mama; odlazi. Je li se ovdje krug otvorio ili zatvorio? Na neki način krug je zatvoren, ali najvažnija stvar koju je Alice učinila jest činjenica da se suočila s krugom traume tako što je imala hrabrosti progovoriti o tome. Scena u kojoj je u krupnom planu Aristo koji sluša svađu između roditelja je prestrašna. Dijete zatvara uši kako ne bi čulo grube riječi, pravi grimase i očito je svjesno da se dešava nešto grozno. Njegove oči od vas traže pomoć i vi više ne promatrate nego sudjelujete u svom filmu. Koliko je velik – ili malen – korak od dokumentariste-promatrača do dokumentariste-suučesnika? Za mene je to bio veliki i težak korak. Uvijek sam bila sramežljiva djevojka. Ovaj me film natjerao da skupim hrabrosti da razbijem taj zid sramežljivosti i da se također izložim. To je moj čin poštovanja, suosjećanja i podrške Alice i svim ljudima koji prolaze ovakva iskustva. Slažete li se sa konstatacijom da vaš film ne govori o razrješavanju višegeneracijskih cirkularnih trauma nego postavlja pregršt neodgovorenih pitanja vezanih za nošenje s njima? Da, ne mislim da u jednom životu možemo riješiti traume skupljene iz više od jedne generacije. Svrha naše generacije je da počnemo gledati u sebe kako bismo našoj djeci prenijeli sljedeći korak ka promjeni. Marinela Domančić
Foto: IrinaMalcea&IsabelaVonTent
Similar traumatic baggage
Competition Documentary
For an entire decade, director Isabela Tent followed young Alice, resulting in the powerful film Alice On & Off .
Isabela Von Tent ALICE ON & OFF
The filming of this movie spanned an impressive ten years. That is how long director Isabela Tent followed young Alice, who was far too young to bear the pain she endured during her teenage years—parental separation, abandonment... During the ten years of filming, do you feel you influenced the characters in your film more, or did they influence you? We learned a lot from each other, but I would say the balance tipped slightly in my favor because her story prompted me to look inward, from an emotional perspective. In doing so, I discovered what deeply connects us: similar traumatic baggage handed down by our parents, grandparents, and great-grandparents. Although Alice often speaks to the camera about uncomfortable experiences, she appears relaxed and seems to trust you. How did you earn her trust? We spent a lot of time together. I often spent time with her and her family without planning to film. We talked a lot. The fact that we are of a similar age significantly helped build our trust. Confronting the personal demons that torment Alice inevitably affects those closest to her. In the quest for salvation, it is crucial to recognize and acknowledge recurring patterns to break free from the vicious cycle. The sense of responsibility felt by her husband Dorian, who is 35 years her senior, is immense, but Alice's need for freedom is even greater. Liberation is painful and involves divorcing her narcissistic husband, leaving behind her artwork, abandoning her child, and eventually even her dog—the only living being she took everywhere with her. Alice is doing what her mother did: she leaves. Has the circle opened or closed? In a way, the circle has closed, but the most important thing Alice did was confront the cycle of trauma by having the courage to speak out. The scene where Aristo is shown in close-up, listening to an argument between his parents, is terrifying. The child covers his ears to block out the harsh words, makes faces, and is clearly aware that something awful is happening. His eyes plead for help, and you no longer just observe - you participate in your own film. How significant - or insignificant - is the step from being a documentary observer to becoming a documentary participant? For me, it was a big and difficult step. I've always been a shy person. This film forced me to muster the courage to break through that wall of shyness and to expose myself as well. It is my act of respect, compassion, and support for Alice and for all the people who go through similar experiences. Do you agree with the observation that your film doesn't resolve multi-generational circular traumas but instead raises a host of unanswered questions about dealing with them? Yes, I don't believe that one lifetime can resolve traumas accumulated over more than one generation. The purpose of our generation is to start looking inward so that we can pass the next step toward change on to our children. Marinela Domančić
Olga Chernykh Slika za pamćenje
Savršeno nesavršeni snimci
U filmu "Slika za pamćenje" redateljica Olga Chernykh donosi esejistički prikaz dugog putovanja jedne obitelji kroz ratno vrijeme.
Možda će vas uvodne scene u kojima Olga Chernykh govori koliko voli šampanjac i lagano ga pijucka navesti da pomislite kako je upravo počeo veseli, iskričavi, hedosnistički film. Upravo suprotno, njen film je pun straha za sebe i svoje bližnje, za Ukrajinu u kojoj živi, za život kakav je živjela i koji nosi u sjećanjima. U takvoj sutuaciji, svakako je bolje da vi popijete šampanjac – ako ga već imate – nego da ga ostavite drugima. U vašem filmu se prepliću osobna, obiteljska i društvena iskustva. Da li ste, započinjući rad na njemu, znali da će biti duboko osoban ili ste dvojili oko pričanja obiteljske ili historijske priče? Na ovom filmu sam radila četiri godine i priča je počela sasvim drugačije nego što je završila. Naravno, rat je promijenio perspektivu i moj pogled na to kako želim ispričati priču, ali i koliko sam morala biti osobna u naraciji filma da bih mogla podijeliti proživljene emocije i iskustvo. Rekla bih da nije bilo lako otvoriti se, ali znala sam da je to potrebno za film. I vjerujem da je povijest itekako isprepletena s obiteljskim pričama. Pažljivo sam skupljala sjećanja i priče iz prošlosti svoje obitelji tako da imaju univerzalnost i sličnosti s tisućama drugih obitelji koje su živjele u Ukrajini tijekom prošlog stoljeća. Primjer vaše obitelji pokazuje da se historija ponavlja i da je svaka generacija prošla kroz najmanje jedan rat, migraciju, borbu za preživljavanje. Također govori i o falsificiranju historije, temi koje ste se tek ovlaš dotakli. Kako ste odlučili da tu važnu povijesnu činjenicu ostavite po strani? Ideja u pozadini filma je stvoriti fluidnu priču nalik snu koja će gledatelja poput riječnog toka provesti kroz velike povijesne događaje, tragedije, društvene i političke promjene. Zamislite sebe na brodu koji vozi planinskom rijekom sa svim njenim brzacima, virovima i mirnim dijelovima. Film je izgrađen na isti način. Sastoji se od mnogo elemenata kao i naš život i naše pamćenje. Rascjepkani su i ponekad unutarnje emocionalne veze prevladaju sve ostalo. Pokušala sam pokazati koliko je kompleksna i višeslojna naša obiteljska priča, kao i priča moje zemlje, a ne dati izravne odgovore ili duboku analizu povijesnih činjenica. Također sam se željela više koncentrirati na emocionalnu, osjetljivu stranu koju mi kao ljudi doživljavamo dok smo usred povijesne grmljavine. Što film više odmiče, u gledatelju jača pomisao da ste ga snimili u strahu da sav sirovi materijal, sva povijest vas i vaše obitelji, u svakom trenutku mogu biti zbrisani sa lica zemlje. Da li je to bio jedan od motiva za snimanje ovog filma? Mislim da je to jedan od strahova koje imam. Duboki, duboki strah - biti zbrisan. Rat ga je učinio opipljivijim i potaknuo me da napravim film vizualno i narativno na način na koji sam to i napravila. Koristili ste mnoštvo raznovrsnog materijala – mikroskopske snimke, fotografije, stare obiteljske filmove, dokumente, propagandne filmove, snimke nadzornih kamera, video-razgovore, snimke mobitelom... Kako i koliko dugo ste vršili odabir i je li bilo teško montirati različite formate u filmsku cjelinu? Arhivske video zapise prikupljala sam još od 2019. godine, od trenutka kada sam zamislila ovaj projekt. Rovila sam po Youtubeu tražeći videe iz Donjecka i iz događaja 2014-2015. kada je grad bio okupiran i kada je počeo rat. Preuzimala sam sve što mi se sviđalo ili s čim sam osjećala emocionalnu povezanost. Zbirka snimaka je uskoro postala ogromna. Kasnije sam shvatila da mi trebaju nesavršeni snimci, snimci sa teksturom koja ima neku specifičnu prirodu i tako su mi svi videi poput snimaka nadzornih kamera, videa s mobitela i slični savršeno odgovarali. I ta mi je raznolikost pomogla da napravim film poput sna, da prenesem fragmentirane i rasute osjećaje našeg života. Također, možda je zanimljivo da se pristup snimanju promijenio ne samo iz mojih pripovjedačkih ideja, već i zbog okolnosti u kojima sam bila. I prihvatila sam ih, počela sam razmišljati iz nove stvarnosti i mogućnosti koje sam imala, malih financija također. Kad je počeo rat, doslovno sam sve ostavila u Kijevu i otišla iz Ukrajine noseći ruksak s računalom i hard diskom. Ali morala sam nastaviti raditi na filmu pa sam tražila načine da napravim scene, ispričam priču s onim što imam – mobitelom, svojom arhivom, snimcima koje sam snimila prije invazije, fotografijama itd. Marinela Domančić Sub-headings
Olga Chernykh A PICTURE TO REMEMBER
The opening scene where Olga Chernykh says how much she likes champagne and slowly sips it might make you think that a cheerful, sparkling, hedonistic movie has just begun. On the contrary, her film is full of fear for herself and her loved ones, for the Ukraine she lives in, for the life she lived and carries in her memories. In such a situation, it is certainly better that you drink the champagne yourself - if you already have it - than leave it for others. Your film intertwines personal, family and social experiences. When you started working on it, did you know it would be deeply personal, or were you hesitant about telling a family or historical story? I worked on this film for four years, and it began as a very different story from how it ultimately turned out. The war, of course, changed both the perspective and my point of view on how I wanted to tell the story, but it also influenced how personal I needed to be in the film's narration to effectively convey the emotions and experiences we lived through. Opening up wasn't easy, but I knew it was necessary for the film. I believe that history is deeply intertwined with family stories. I carefully selected memories and stories from my family's past to ensure they held a universality and resonance with the experiences of thousands of other families who lived in Ukraine during the last century. The example of your family shows that history repeats itself and that every generation has gone through at least one war, migration, struggle for survival. It also talks about the falsification of history, a topic you have just touched on. How did you decide to leave that important historical fact aside? The idea behind the film is to create a fluid, dream-like narrative that guides the viewer through significant historical events, tragedies, and social and political shifts, much like the flow of a river. Imagine yourself on a boat navigating a mountain river with all its rapids, whirlpools, and tranquil stretches—that's how the film is structured. It consists of many elements, just like our lives and our memories. It's fragmented, and sometimes the emotional connections within the story overshadow everything else. My aim was to convey the complexity and multilayered nature of both my family's story and my country's history, rather than providing direct answers or in-depth analysis of historical facts. I wanted to focus more on the emotional and sensitive aspects of what we, as humans, experience when caught in the midst of historical upheaval. The more the film develops, the stronger the viewers' thought becomes that you filmed it fearing that all the raw material, all the history of you and your family could be wiped off the ground at any moment. Was that one of the motives for making this film? I think it’s one of the fears I have. A deep, deep one fear – to be wiped out. The war made it more tangible and pushed me to make the film visually and narratively in a way I did. You used a lot of different material - microscope shots, photographs, old family films, documents, propaganda films, surveillance camera footage, video conversations, cell phone footage... How and how long did you make the selection and was it difficult to edit the different formats as a whole? I began collecting archival videos in 2019, as soon as the idea for this project took shape. I scoured YouTube for footage from Donetsk and events from 2014-2015, when the city was occupied and the war began. I downloaded anything that resonated with me emotionally or visually. Over time, this collection grew into a massive archive of footage. I soon realized that I needed imperfect footage—material with texture, something that carried a specific, raw quality. Surveillance camera footage, cell phone videos, and similar types of media became ideal for my needs. This diversity of sources allowed me to make a film that feels like a dream, capturing the fragmented and scattered emotions of our lives. An interesting aspect of this project is how my approach to filming evolved, not only due to my narrative ideas but also because of the circumstances I found myself in. I embraced these circumstances, adapting to the new reality I was in and the limited resources I had, including financial constraints. When the war started, I left everything behind in Kyiv and fled Ukraine with just a backpack, my computer, and a hard drive. Despite this, I had to continue working on the film, so I sought ways to tell the story using what I had—a cell phone, my archives, footage shot before the full-scale invasion, photos, and so on. Marinela Domančić Sub-headings
In A Picture to Remember director Olga Chernykh gives s an essayistic account of a family’s lengthy journey through wartime.
Perfectly imperfect footage
Zagađenje u Zenici problem od internacionalnog značaja
Dan ljudskih prava
Šesnaesti Dan ljudskih prava u okviru programa 30. Sarajevo film fesivalu stavio je u fokus buđenje svijesti o zaštiti životne sredine i posljedice klimatskih promjena.
U Cineplexxu Sarajevo prikazan je odlično ocijenjeni film „Nebo iznad Zenic“ reditelja Nanne Frank Møller i Zlatka Pranjića. Nakon projekcije, novinar i reditelj Robert Zuber moderirao je panel-diskusiju na temu "Investicija u sutrašnjicu: Ko je vlasnik budućnosti?", sa autorima filma, producenticom Lise Lense Møller i ambasadorom Nizozemske u Bosni i Hercegovini, njegovom ekselencijom Henkom van den Doolom. Film „Nebo iznad Zenice“ naglašava napore udruženja građana Eko Forum, pod vodstvom aktiviste Samira Lemeša, da razotkrije kako se željezara, koja je izvor zagađenja u gradu Zenici, predstavlja kao ekološki osviješteno industrijsko postrojenje dok istovremeno nastavlja sa svojom štetnom praksom. Govoreći o motivaciji za pokretanje ovog projekta, reditelj Pranjić se prisjetio da su u 2017. godine naišli na tekst u The Guardianu pod naslovom "Zenica: grad željeza gdje čak i disanje može biti mučno". Tada je prepoznao Samira, njegovog prijatelja iz djetinjstva koji je vodio ovu bitku, ali se njegov glas u tom trenutku nije mogao čuti. Tekst ga je motivisao da pozove Nannu kako bi inicirao zajedničko snimanje filma. Rediteljica je otvoreno govorila o svojim inicijalnim emocijama o ovom problemu. Kako navodi, iako je autsajderka u ovoj priči, lako je shvatila da je mještanima ratom pogođenog područja teško stati na noge, kada se u sredini u kojoj žive ništa suštinski ne mijenja. "Velike korporacije postaju sve veće i veće, što svakim danom otežava posao onima koji bi željeli da im se suprotstave. Zato se ne nalaze previše često ljudi poput Samira koji su dovoljno hrabri da se konfrotiraju ovim problemima", istakla je Nana Frank Møller dodavši da je primijetila da su i drugi stanovnici Zenice počeli otvorenije da govore o ovom problemi nakon što je započet rad na ovom projektu. Uprkos tome, rediteljica upozorava da ove stvari obično ubrzo bivaju stavljene pod tepih, pa je apelovala na međunarodnu zajednicu da pomogne da se istraje u rješavanju ovog problema. Ambasador Nizozemske ocijenio je ovaj projekat kao važan ne samo zato što je zaštita životne sredine jedan od fokusa spoljne politike ove zemlje, već i zato što je prepoznato da film može biti snažno oružje u suočavanju sa ovim i sličnim problemima. "Bolno je gledati da nije riječ o nekom Skywalkeru koji hoće da preuzme carstvo, već da je to realnost, koja se nalazi svega nekoliko kilometara od mjesta gdje mi trenutno sjedimo.", podsjetio je ambasador. Njegova ekselencija uporedio je primjer Zenice sa okolnostima koje su u prošlosti važile za njegov rodni kraj. "Željezara poput ove postojala i u mjestu gdje sam ja odrastao. Sjećam se da moja majka nikada nije iznosila veš da se suši napolju jer bi sasvim posivio. Kada bi pao snijeg zimi, imali bismo samo jedan dan da mu se obradujemo, jer bi sutradan već sasvim pocrnio i nismo nalazili ništa neobično u tome.", prisjetio se Van den Dool. Sub-headings
Pollution in Zenica is a problem of international importance
Human Rights Day
In Cineplexx Sarajevo, the excellently rated film The Sky Above Zenica directed by Nanna Frank Møller and Zlatko Pranjić was shown. After the screening, journalist and director Robert Zuber moderated a panel discussion on the topic "Investment in tomorrow: Who owns the future?", with the authors of the film, producer Lisa Lense Møller and the ambassador of the Netherlands in Bosnia and Herzegovina, His Excellency Henk van den Dool. The film The Sky Above Zenica highlights the efforts of the citizens' association Eko Forum, led by activist Samir Lemeš, to expose how the ironworks, which is the source of pollution in the city of Zenica, presents itself as an environmentally conscious industrial plant while at the same time continuing with its harmful practices. Despite the fact that the plant enjoys the support of seemingly oblivious city authorities and attracts money from European investors, its real impact on the environment and population of Zenica remains hidden. Speaking about the motivation for starting this project, director Pranjić recalled that in 2017 they came across an article in The Guardian entitled "Zenica: a city of iron where even breathing can be painful". Then he recognized Samir, his childhood friend who was leading this battle, but his voice could not be heard at that moment. The text motivated him to call Nanna to initiate a joint film shoot. The director spoke openly about her initial emotions about this problem. As she states, although she is an outsider in this story, she easily understood that it is difficult for the inhabitants of the war-affected area to get back on their feet, when nothing fundamentally changes in the environment in which they live. "Big corporations are getting bigger and bigger, which every day makes it harder for those who would like to oppose them. That's why you don't often find people like Samir who are brave enough to confront these problems," said Nana Frank Møller, adding that noticed that other residents of Zenica also started to speak more openly about this problem after the work on this project started. Despite this, the director warns that these things are usually quickly swept under the carpet, so she appealed to the international community to help persevere in solving this problem. The Ambassador of the Netherlands assessed this project as important not only because environmental protection is one of the focuses of this country's foreign policy, but also because it was recognized that film can be a powerful weapon in dealing with these and similar problems. "It is painful to see that it is not about a Skywalker who wants to take over the empire, but that it is a reality, which is only a few kilometers from where we are currently sitting," the ambassador reminded. His Excellency compared the example of Zenica with the circumstances that applied to his hometown in the past. "There was an ironworks like this one in the place where I grew up. I remember that my mother never took the laundry outside to dry because it would turn completely gray. When it snowed in the winter, we would only have one day to be happy about it, because the next day it would already completely blackened and we didn't find anything unusual about it," Van den Dool recalled. Sub-headings
The 16th Human Rights Day within the programme of the 30th Sarajevo Film Festival focused on raising awareness about environmental protection and the consequences of climate change.
Razgovor ekipe filma „Proslava“ s publikom / Q&A after screening of Celebration
Festivalski život / Festival life
Predstavljanje TV serije „Nobelovac“/ Presentation of TV series „Nobelist“
Grand kafa sa… rediteljem Alexanderom Payneom / Grand Coffee with… director Alexander Payne
Sudionici programa Volim film Sarajevo Film Festivala / Participants of the Volim film programme at the Sarajevo Film Festival
Konferencija “Zelene parlamentarne grupe i proces dekarbonizacije na Zapadnom Balkanu” / Conference "Green Parliamentary Groups and the Decarbonization Process in the Western Balkans"
Docu Press Corner
U fokusu / in focus
SABLJA je zasnovana na stvarnim događajima koji su se dogodili u Srbiji 2003. godine, kada je srpski premijer Zoran Đinđić ubijen ispred zgrade vlade. Iz perspektive tri glavna junaka pratimo godinu koja je označila prekretnicu u društveno-političkom razvoju zemlje. Nakon atentata, država tone u haos i proglašava se vanredno stanje. Dok je javnosti jasno ko su ubice i zašto je atentat izvršen, Danica, mlada novinarka, pokušava da istraži pozadinu atentata. Boris, policijski inspektor, polako otkriva propuste unutar istrage, razotkrivajući lanac korupcije koji vodi do zločina iz devedesetih. Mladi kriminalac Uroš se sve dublje upliće u aktivnosti kriminalnog klana koji je izvršio atentat i sve mu je teže da izađe iz vrtloga u kom se nalazi. OPERATION SABRE is based on true events. It tells the story of a year in Serbia following the 2003 assassination of the country's prime minister outside the government building. The event was a turning point in Serbia's political and social life. After the assassination, the country plunged into chaos prompting the government to declare a state of emergency. While the public knows who killed the prime minister and why, Danica, a young journalist, is investigating the forces behind that tragic event. At the same time, Boris, a police inspector, is slowly discovering the shortcomings of the investigation revealing a chain of corruption leading back to the crimes committed in the 1990s. A young criminal, Uros, is getting increasingly entangled with the criminal clan responsible for the assassination and finds it increasingly difficult to escape their grip.
MJESEC / MOON Austria, 2024, 92 min. Režija / Director: Kurdwin Ayub, Uloge / Cast: Florentina Holzinger, Andria Tayeh, Celina Antwan, Nagham Abu Baker
BUY TICKET
SABLJA / OPERATION SABRE Serbia, Bulgaria, 2024, 106 min. Režija / Director: Goran Stanković, Vladimir Tagić, Uloge / Cast: Dragan Mićanović, Milica Gojković, Ljubomir Bandović, Lazar Tasić, Feđa Štukan, Zlatko Burić, Jasna Đuričić
pretpremijera serije Avant Premiere Serie
Sarah, bivša majstorica borilačkih vještina iz Beča, prihvata ponudu da radi kao lična trenerica za tri kćerke jedne bogate bliskoistočne porodice. U kući okruženoj zidovima, bez pristupa internetu i pod stalnim nadzorom triju sestara, Sarah otkriva da njene klijentice nisu zaista zainteresovane da treniraju boks. Postavlja se pitanje: zašto su zapravo angažovali Saru? Sarah, a former mixed martial artist from Vienna, takes up the offer to work as a personal trainer for the three daughters of a wealthy family in the Middle East. In a palace surrounded by walls, with no internet access and constant surveillance of the sisters, Sarah finds that they are not really interested in boxing training. Why was Sarah brought here?
Novembar 2021. Dvadeset i šest artefekata Kraljevine Dahomej sprema se napustiti Pariz i vratiti se u svoju postojbinu, današnju republiku Benin. Uz hiljade drugih artefakata, ova kulturna blaga pokrale su francuske kolonijalne trupe 1892. Ali kakav stav zauzeti o povratku kući ovoga blaga predaka u zemlji koja je morala nastaviti da se razvija bez njih? O toj temi raspravljaju studenti Univerziteta Abomey-Calavi. November 2021. Twenty-six royal treasures of the Kingdom of Dahomey are about to leave Paris to return to their country of origin, the present-day Republic of Benin. Along with thousands of others, these artefacts were plundered by French colonial troops in 1892. But what attitude to adopt to the homecoming of these ancestors in a nation that has had to forge ahead in their absence? The debate rages among students at the University of Abomey-Calavi.
kinoscope surreal
BLAGO KRALJEVINE DAHOMEJ / DAHOMEY France, Senegal, Benin, 2024, 67 min. Director: Mati Diop
Jednog vrelog ljetnog dana u Oslu mrtvi se misteriozno bude, a životi tri porodice pretvaraju se u haos nakon što im se njihovi voljeni pokojnici vrate. Ko su oni i šta žele? Jedna porodica pokušava shvatiti uskrsnuće njihove majke prije nego što su stigli prežaliti njenu pogibiju u saobraćajnoj nesreći, jednoj starici vraća se ljubav njenog života svega dan nakon što ju je ukopala, a jedan deda spašava svoje unuče iz groba u očajničkom pokušaju da izvuče svoju kćer iz depresije. Zasnovan na knjizi Johna Ajvida Lindqvista, POČIVALI U MIRU je dramski film s elementima horora, priča o tri porodice, o tuzi i gubitku, ali također i o nadi i prihvatanju stvari i situacija koje ne možemo shvatiti niti kontrolisati. On a hot summer day in Oslo, the dead mysteriously awaken, and three families are thrown into chaos when their deceased loved ones come back to them. Who are they, and what do they want? One family is faced with the mother’s reawakening before they have mourned her death; an elderly woman gets the love of her life back the same day she buried her; a grandfather rescues his grandchild from the gravesite in a desperate attempt to help his daughter out of her depression. Based on a book by John Ajvide Lindqvist, HANDLING THE UNDEAD is a drama with elements of horror about three families—a story about grief and loss, and also about hope and the understanding of what we cannot comprehend or control.
kinoscope
POČIVALI U MIRU / HANDLING THE UNDEAD Norway, Sweden, Greece, Denmark, 2024, 97 min. Režija / Director: Thea Hvistendahl, Uloge / Cast: Renate Reinsve, Anders Danielsen Lie, Bjørn Sundquist, Bente Børsum, Bahars Pars
Na programu danas... / On today's schedule...