FESTIVAL DAILY
Alexander Payne primio Počasno Srce Sarajeva / Alexander Payne Received the Honorary Heart of Sarajevo
www.sff.ba #30thSFF
PONEDJELJAK / MONDAY 19.08.2024.
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SADRŽAJ
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Honorrary Heart of Sarajevo Honorary Hearts of Sarajevo Presented to Christof Papousek and Philippe Bober
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foto galerija Crveni tepih
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COMPETITION documentary Goran Dević - PAVILION 6
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Evropska filmska akademija Baščaršija proglašena Blagom evropske filmske kulture
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CONTENT
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Takmičarski IGRANI Yorgos Zois - ARCADIA
EUROPEAN FILM ACADEMY Baščaršija Declared a Treasure of European Film Culture
POČASNO SRCE SARAJEVA Počasna Srca Sarajeva uručena Christofu Papouseku i Philippeu Boberu
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COMPETITION FEATURE Yorgos Zois - ARCADIA
Počasno Srce Sarajeva Alexander Payne održao masterclass: Dopuštam li filmu da mi potpuno preuzme život? Naravno!
Honorrary Heart of Sarajevo Paul Schrader Awarded the Honorary Heart for Sarajevo
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COMPETITION FEATURE Regional Premiere of Holy Week
TAKMIČARSKI IGRANI Regionalna premijera filma „Velika sedmica“
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HEART OF SARAJEVO Awarded Hearts of Sarajevo for TV Series
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TAKMIČARSKI DOKUMENTARNI Goran Dević - PAVILJON 6 e
Honorary Heart of SarajevO Alexander Payne: Do I let a film completely take over my life? Of course!
FOTO GALERIJA: FESTIVALSKI ŽIVOT PHOTO GALLERY: FESTIVAL LIFE
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NA PROGRAMU DANAS... ON TODAYS SCHEDULE...
POČASNO SRCE SARAJEVA Paulu Schraderu uručeno Počasno Srce Sarajeva
foto gallery Red Carpet
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SRCE SARAJEVA Dodijeljena Srca Sarajeva za TV serije Najbolja dramska TV serija „Znam kako dišeš“, komedija „Princ iz Eleja“
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COMPETITION FEATURE Tato Kotetishvili - HOLY ELETRICITY
Takmičarski IGRANI Tato Kotetishvili - SVETi ELEKTRICITET
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COMPETITION documentary Maja Novaković - AT THE DOOR OF THE HOUSE WHO WILL COME KNOCKING
TAKMIČARSKI DOKUMENTARNI Maja Novaković - KO ĆE POKUCATI NA VRATA MOG DOMA e
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Američkom filmašu, koji je prvi put posjetio Sarajevo još 2005., Počasno Srce Sarajeva uručeno je sinoć u Ljetnom kinu Coca Cola.
Počasno Srce Sarajeva
Alexander Payne: Hvala vam što se osjećam kao dio porodice
„Kada me ljudi pitaju o Sarajevo Film Festivalu kažem, vidite, to nije Cannes, nije ni Venecija, nije Berlin… Hvala bogu! Jer to je filmski festival koji dolazi iz srca, nastao je u ratu. Sjećam se kad sam šetao ulicama Sarajeva sa Mirsadom Purivatrom, pričao mi je priče o danima kada je Festival počeo i teškim vremenima. Ovo je festival pun srca i ljubavi, i vidjeti da je dočekao 30. izdanje je zaista veličanstveno. Hvala vam što ste učinili da se osjećam kao svi vaši gosti, kao dio porodice“, kazao je američki reditelj i scenarist Alexander Payne, primajući Počasno Srce Sarajeva. Tom prilikom je prikazan i njegov nagrađivani film „Stranputice“, isti onaj koji je na Festivalu bio prikazan i 2005. No, prije nego što je navečer preuzeo nagrau, Payne je održao masterclass na 30. Sarajevo Film Festivalu. U ispunjenoj dvorani Bosanskog kulturnog centra, dvostruki dobitnik nagrade Oscara® govorio je o svojoj bogatoj karijeri, redateljima kojima se divi, viziji filma i – vesternima. „Svi me pitaju kako u filmovima spajam humor i dramu. Volio bih da nakon toliko godina što slušam to pitanje mogu dati dobar odgovor, ali ga jednostavno nemam. Moje filmove možete opisati kao smiješne drame ili dramske komedije, ali zapravo mi se čini da svi mi imamo ozbiljnu stranu koje želi iskrenu i bolnu priču sa malo šala sa strane“, izjavio je reditelj Alexander Payne, koji je u Sarajevo došao sa svojim redovitim scenarističkim partnerom Jimom Taylorom. „Želite da su u vašim filmovima likovi koje poznajete. Likovi za koje osjećate da bi ih mogli susresti u vlastitim životima. Loši scenariji su oni u kojima svi likovi imaju isti ritam, osjećate da ih je ista osoba napisala, dok u dobrim scenarijima svaki lik ima svoj ritam“, objasnio je Payne svoju filmsku filozofiju. Unuk grčkih imigranata, Alexander Payne je odrastao u Nebraski, SAD. Studirao je istoriju i špansku književnost na univerzitetu Stanford prije nego što je magistrirao filmsku režiju na UCLA-u. Njegovih osam dugometražnih filmova nominovano je za ukupno 24 Oscara®, uključujući četiri nominacije za najbolji film i tri za najbolju režiju. Dva puta je osvojio nagradu za najbolji adaptirani scenarij, a njegov najnoviji film, „Bartonova akademija“ (The Holdovers), osvojio je nagradu za najbolju sporednu glumicu ove godine. „Što mi znače nagrade? Sjećam se kada smo Jim i ja dobili prvu nominaciju za 'Izborne dane', a moj tata me nazvao i rekao: 'Nemoj da ti to uđe u glavu'. Odgovorio sam: 'Neće, tata, ali želim da uđe u tuđe glave'. Ali i nakon svih tih nagrada sve ostaje isto – moram se vratiti praznom bijelom papiru i krenuti ispočetka“, kazao je reditelj i scenarist, čija filmografija uključuje i filmove „Građanka Ruth“ (1996.), „Gospodin Schmidt“ (2002.), „Nasljednici“ (2011.), „Nebraska“ (2013.) i „Smanjivanje“ (2017.). Odgovarajući na pitanja moderatora Ennisa Ćehića, Payne je opisao kako nema viziju cijeloga filma na početku cijelloga procesa, već ta vizija nastaje korak po korak – prvo od scenarija, pa preko odabira glumaca i lokacija, sve do samoga snimanja. Ali u tome možda i najvažniji korak je – scenarij. „Tek sam završio 'Bartonovu akademiju', putujem okolo i predstavljam film, a ljudi me pitaju – što sljedeće. Kako što? Pa još nisam ni sjeo i počeo razmišljati o tome. Da bi film nastao, morate sjesti i početi pisati te potrošiti 5 ili 10 tisuća sati na stvaranje priče. Bez stolca nema filma“, istaknuo je Payne, dodavši da glumcima rijetko dopušta improvizaciju. „Volim svoje scenarije. I želim da glumci moje rečenice izgovore doslovno riječ po riječ. Najbolji kompliment koji dobijem je kada mi kažu da su dijalozi tako prirodni, izgledaju kao improvizacija. Nisu. Tako su napisani“, kazao je reditelj, koji je tijekom razgovora i ustao kako bi što aktivnije sudjelovao u razgovoru s publikom. Između ostaloga, istaknuo je da uglavnom gleda stare filmove, da se divi brojnim redateljima, ali, ako mora, istaknuo bi Franka Capru i Anthonyja Manna, a žudi za time da se okuša i u drugim žanrovima. Naime, Payne je poznat kao autor vrhunskih humorističnih drama, i takve mu projekte najčešće i nude, ali zapravo bi volio snimiti dobru potjeru autima, detektivnski film ili vestern. Zapravo, priznao je publici, jedan vestern upravo i priprema. Hoće li doista i snimiti vestern, to zasad nitko ne može sa sigurnošću reći. Snimanje filmova, ali još više skupljanje novca za njih, nije nimalo lagan posao. Zato Payne preferira niskobudžetne produkcije, jer u njima ima više slobode, a manje producentskih zahtjeva. „Dopuštam li filmu da potpuno preuzme moj život. Naravno! Ne možete drugačije snimiti film. Potpuno mu se posvetite nekih 9 mjeseci ili godinu dana, samo o tome mislite i radite. Dobra je stvar što nakon toga, kada ste gotovi, imate slobodno vrijeme za sebe i možete doći u Sarajevo“, izjavio je Alexander Payne, dobitnik Počasnog Srca Sarajeva, koji je s pozornice ispraćen s aplauzom.
Alexander Payne REDITELJ
„When people ask me about the Sarajevo Film Festival, I say, you see, it's not Cannes, it's not Venice, it's not Berlin… Thank God! Because it is a Film Festival that comes from the heart, it started during the war. I remember when I was walking through the streets of Sarajevo with Mirsad Purivatra, he told me stories about the days when the Festival started and the difficult times. This is a festival full of heart and love, and to see it reach its 30th edition is truly magnificent. Thank you for making me feel, as you do with all your guests, like part of the family”, said American director and screenwriter Alexander Payne while receiving the Honorary Heart of Sarajevo. On this occasion, his award-winning film Sideways, which was also screened at the Festival in 2005, was shown. Before he received his award, Payne conducted a masterclass at the 30th Sarajevo Film Festival. In a packed hall at the Bosnian Cultural Center, the two-time Academy Award® winner discussed his illustrious career, the filmmakers he admires, his vision of cinema, and - Westerns. “Everyone asks me how I blend humor and drama in my films. I wish that after all these years of hearing this question, I could give a good answer, but I simply don’t have one. You could describe my films as funny dramas or dramatic comedies, but I think we all have a serious side that craves an honest and painful story with a few jokes on the side,” said director Alexander Payne, who came to Sarajevo together with his longtime writing partner Jim Taylor. “You want the characters in your films to be people you recognize. Characters you feel you could meet in your own life. Bad scripts are those where all the characters have the same rhythm; you can tell they were written by the same person. But in good scripts, every character has their own rhythm,” Payne explained, outlining his cinematic philosophy. A grandson of Greek immigrants, Alexander Payne grew up in Nebraska, USA. He studied history and Spanish literature at Stanford University before earning a Master’s degree in film direction from UCLA. His eight feature films have been nominated for a total of 24 Academy Awards®, including four nominations for Best Picture and three for Best Director. He has won twice for Best Adapted Screenplay, and his latest film, The Holdovers, garnered the Best Supporting Actress award this year. “What do awards mean to me? I remember when Jim and I got our first nomination for Election, and my dad called me and said, ‘Don’t let it go to your head.’ I replied, ‘It won’t, Dad, but I want it to go to other people’s heads.’ But even after all these awards, nothing changes - I still have to go back to a blank sheet of paper and start over,” said the director and screenwriter, whose filmography includes Citizen Ruth (1996), About Schmidt (2002), The Descendants (2011), Nebraska (2013), and Downsizing (2017). Responding to questions from moderator Ennis Ćehić, Payne described how he doesn’t have a vision of the entire film at the beginning of the process; instead, it develops step by step—from the script to casting and location scouting, all the way to filming. But perhaps the most crucial step is the script. “I just finished The Holdovers, I’m traveling around promoting the film, and people ask me - what’s next? What do you mean, what’s next? I haven’t even sat down to start thinking about it. To make a film, you have to sit down and start writing, spending 5,000 to 10,000 hours crafting a story. Without a chair, there’s no movie,” Payne emphasized, adding that he rarely allows actors to improvise. “I love my scripts. I want the actors to say my lines word for word. The best compliment I get is when people say the dialogues sound so natural, they seem like improvisation. They’re not. That’s how they’re written,” said the director, who stood up during the conversation to engage more actively with the audience. He also mentioned that he mostly watches old movies and admires numerous directors, but if he had to choose, he would highlight Frank Capra and Anthony Mann. He also expressed a desire to explore other genres. Although Payne is known for his exceptional comedic dramas, and such projects are most often offered to him, he confessed to the audience that he would love to make a good car chase film, a detective movie, or a Western. In fact, Payne admitted, he is currently working on a Western. Whether he will actually make a Western remains uncertain. Filmmaking, especially securing financing, is not an easy task. That’s why Payne prefers low-budget productions, as they offer more creative freedom and fewer demands from producers. “Do I let a film completely take over my life? Of course! There’s no other way to make a movie. You dedicate yourself entirely for about nine months or a year, thinking and working only on that. The good thing is that when you’re done, you have some free time for yourself, and you can come to Sarajevo,” said Alexander Payne, the recipient of the Honorary Heart of Sarajevo, who left the stage to a round of applause.
Alexander Payne: Thank You for Making Me Feel Like Part of the Family
Alexander Payne DIRECTOR
Honorary Heart of SarajevO
The American filmmaker, who first visited Sarajevo in 2005, received the Honorary Heart of Sarajevo last night at the Coca-Cola Open Air Cinema.
Honorary Heart of Sarajevo • Alexander Payne • DIRECTOR
Dramska serija „Znam kako dišeš“ i komedija „Princ iz Eleja“ proglašene su najboljima i osvojile Srca Sarajeva za najbolja televizijska ostvarenja.
Dodijeljena Srca Sarajeva za TV serije: Najbolja dramska TV serija „Znam kako dišeš“, komedija „Princ iz Eleja“
Svečana dodjela nagrada Srce Sarajeva za TV serije 30. Sarajevo Film Festivala održana je u Hotelu Hills, a nagrade Srce Sarajeva za TV serije dodijeljene su u dvije kategorije: za dramske serije i za komedije. „Znam kako dišeš“ kreatora Jasmile Žbanić i Damira Ibrahimovića osvojila je sedam nagrada Srce Sarajeva za TV serije u kategoriji za dramske serije: za najbolju dramsku seriju, za najbolju glavnu glumicu (Jasna Đurčić), za epizodnu glumicu (Jelena Kordić Kuret), epizodnog glumca (Mirvad Kurić), zvijezdu u usponu (Lazar Dragojević), scenarij (Jasmila Žbanić i Elma Tataragić) te režiju (Nermin Hamzagić). Srce Sarajeva za najboljeg glavnog glumca posthumno je pripalo Žarku Lauševiću (1960. – 2023.), za ulogu Živojina Mišića u seriji „Vreme smrti“. Srce Sarajeva za najbolju komediju osvojila je serija „Princ iz Eleja“ kreatora Elme Tataragić, Dušana Vranića, Enesa Zlatara i Amre Bakšić Čamo. Ova je serija u kategoriji Komedija osvojila i Srce Sarajeva za najboljeg glavnog glumca (Alen Muratović) i za scenarij (Elma Tataragić, Dušan Vranić, Enes Zlatar). „Radio Mileva“, serija kreatora Nebojše Garića, osvojila je tri Srca Sarajeva u kategoriji Komedije – za najbolju glavnu glumicu (Olga Odanović), zvijezdu u usponu (Kris Gavrić) i režiju (Elmir Jukić). Za nagrade Srce Sarajeva za TV serije 30. Sarajevo Film Festivala glasao je strukovni žiri sastavljen od više od 500 filmskih profesionalaca iz regije, a ove je godine bilo nominovano osam serija u 14 kategorija. Pravo prijave imale su dramske serije i komedije iz Bosne i Hercegovine, Crne Gore, Hrvatske, Kosova*, Sjeverne Makedonije, Slovenije i Srbije premijerno prikazane u periodu od 1. aprila 2023. do 30. aprila 2024. godine. Na ceremoniji dodjele nagrada Srce Sarajeva za TV serije uručena su i Počasna Srca Sarajeva Christofu Papouseku i Philippeu Boberu. Priznanja im je uručio predsjednik Sarajevo Film Festivala Mirsad Purivatra. Medijski partner dodjele nagrada Srce Sarajeva za TV serije je filmski magazin Deadline. Gala večera dodjele Srca Sarajeva za TV serije realizirana je u suradnji Sarajevo Film Festivala i hrvatskog izdanja renomiranog međunarodnog gastronomskog vodiča Gault&Millau. Turistička zajednica Kvarnera s pripadajućim otokom Lošinjem i Lošinj Hotels@Villas partner je ove ekskluzivne večere. Kvarner je regija bogate povijesti na raskrižju kultura i civilizacija te još bogatijeg gastronomskog nasljeđa koje se stalno nadograđuje, njeguje autohtonost i razvija kvalitetu, zbog čega je s razlogom osvojila titulu Europska Regija Gastronomije 2026. Večeru za 160 uzvanika zajedno su pripremila dva vrhunska chefa iz dva vrhunska restorana s Kvarnera: Michael Gollenz (Trofej veliki chef sutrašnjice Gault&Millau Croatia 2022), - chef kuhinje restorana Alfred Keller u luksuznom Boutique Hotelu Alhambra u Malom Lošinju te Deni Srdoč (Trofej mladi talent godine Gault&Millau Croatia 2018) - vlasnik restorana Nebo i Hidden Wine Bistroa u Rijeci. Njihove mesne i vegetarijanske delicije pratila su vina vinarije Saints Hills. Osim što su uzvanici večere imali priliku okusiti Kvarner, vidjeli su i mali dio njegovih ljepota u svjetskoj premijeri video spota za skladbu „Secret Garden“ što ga je slavni violončelist Stjepan Hauser snimio na fascinantnim lokacijama Lošinja, otoka vitalnosti. DOBITNICI SRCA SARAJEVA ZA TV SERIJE Najbolja dramska serija ZNAM KAKO DIŠEŠ Najbolja glavna glumica u dramskoj seriji Jasna Đuričić za ulogu Nevene Murtezić u seriji ZNAM KAKO DIŠEŠ Najbolji glavni glumac u dramskoj seriji Žarko Laušević (1960. – 2023.) za ulogu Živojina Mišića u seriji VREME SMRTI Najbolja epizodna uloga – glumica u dramskoj seriji Jelena Kordić Kuret za ulogu Violete u seriji ZNAM KAKO DIŠEŠ Najbolja epizodna uloga – glumac u dramskoj seriji Mirvad Kurić za ulogu Džandže u seriji ZNAM KAKO DIŠEŠ Zvijezda u usponu – dramska serija Lazar Dragojević za ulogu Dine Murtezića u seriji ZNAM KAKO DIŠEŠ Najbolji scenarij – dramska serija Jasmila Žbanić i Elma Tataragić serija ZNAM KAKO DIŠEŠ Najbolja režija - dramska serija Nermin Hamzagić serija ZNAM KAKO DIŠEŠ Najbolja komedija PRINC IZ ELEJA Najbolja glavna glumica - komedija Olga Odanović za ulogu Mileve serija RADIO MILEVA Najbolji glavni glumac - komedija Alen Muratović za ulogu Mikija serija PRINC IZ ELEJA Zvijezda u usponu - komedija Kris Gavrić za ulogu Sonje serija RADIO MILEVA Najbolji scenarij - komedija Elma Tataragić, Dušan Vranić, Enes Zlatar serija PRINC IZ ELEJA Najbolja režija – komedija Elmir Jukić serija RADIO MILEVA
SRCE SARAJEVA
HEART OF SARAJEVO
The awards ceremony, held at Hotel Hills, celebrated excellence in television with accolades given in two categories: drama series and comedy. I Know Your Soul, created by Jasmila Žbanić and Damir Ibrahimović, dominated the drama category, taking home seven Heart of Sarajevo Awards. These included Best Drama Series, Best Actress (Jasna Đurčić), Best Supporting Actress (Jelena Kordić Kuret), Best Supporting Actor (Mirvad Kurić), Rising Star (Lazar Dragojević), Best Screenplay (Jasmila Žbanić and Elma Tataragić), and Best Direction (Nermin Hamzagić). The Heart of Sarajevo for Best Actor in a Drama Series was posthumously awarded to Žarko Laušević (1960-2023) for his role as Živojin Mišić in the series A Time of Death. In the comedy category, Smashing It, created by Elma Tataragić, Dušan Vranić, Enes Zlatar, and Amra Bakšić Čamo, took home the Heart of Sarajevo for Best Comedy. The series also won awards for Best Actor (Alen Muratović) and Best Screenplay (Elma Tataragić, Dušan Vranić, Enes Zlatar). The series Radio Mileva, created by Nebojša Garić, earned three Heart of Sarajevo Awards in the Comedy category—for Best Actress (Olga Odanović), Rising Star (Kris Gavrić), and Best Direction (Elmir Jukić). The Heart of Sarajevo Awards for TV series at the 30th Sarajevo Film Festival were decided by a jury of over 500 film professionals from the region. This year, eight series were nominated in 14 categories. Eligible entries included drama and comedy series from Bosnia and Herzegovina, Montenegro, Croatia, Kosovo*, North Macedonia, Slovenia, and Serbia, which premiered between April 1, 2023, and April 30, 2024. During the awards ceremony, Honorary Hearts of Sarajevo were presented to Christof Papousek and Philippe Bober by the president of the Sarajevo Film Festival, Mirsad Purivatra. The media partner for the Heart of Sarajevo Awards for TV series is the film magazine Deadline. The gala dinner for the Heart of Sarajevo Awards for TV series was organized in collaboration with the Sarajevo Film Festival and the Croatian edition of the renowned international gastronomic guide Gault&Millau. The Kvarner Tourist Board, along with the island of Lošinj and Lošinj Hotels & Villas, partnered for this exclusive dinner. Kvarner, a region with a rich history at the crossroads of cultures and civilizations, is also known for its gastronomic heritage, which continues to evolve while preserving its authenticity and enhancing quality. This is why it earned the title of European Region of Gastronomy 2026. The dinner for 160 guests was prepared by two top chefs from two outstanding Kvarner restaurants: Michael Gollenz (Trophy for Best Chef of Tomorrow, Gault&Millau Croatia 2022), head chef at Alfred Keller Restaurant in the luxury Boutique Hotel Alhambra in Mali Lošinj, and Deni Srdoč (Young Talent of the Year Trophy, Gault&Millau Croatia 2018), owner of Nebo and Hidden Wine Bistro in Rijeka. Their meat and vegetarian delicacies were accompanied by wines from Saints Hills Winery. In addition to tasting the flavors of Kvarner, guests at the dinner were treated to a glimpse of its beauty through the world premiere of the music video for "Secret Garden," a piece by the famous cellist Stjepan Hauser, filmed at stunning locations on the island of Lošinj, known as the island of vitality. WINNERS OF THE HEART OF SARAJEVO AWARDS FOR TV SERIES Best Drama Series I KNOW YOUR SOUL Best Actress in a Drama Series Jasna Đuričić for the role of Nevena Murtezić in I KNOW YOUR SOUL Best Actor in a Drama Series Žarko Laušević (1960–2023) for the role of Živojin Mišić in TIME OF DEATH Best Supporting Actress in a Drama Series Jelena Kordić Kuret for the role of Violeta I KNOW YOUR SOUL Best Supporting Actor in a Drama Series Mirvad Kurić for the role of Džandža in I KNOW YOUR SOUL Rising Star – Drama Series Lazar Dragojević for the role of Dino Murtezić in I KNOW YOUR SOUL Best Screenplay – Drama Series Jasmila Žbanić and Elma Tataragić for I KNOW YOUR SOUL Best Direction – Drama Series Nermin Hamzagić for I KNOW YOUR SOUL Best Comedy SMASHING IT Best Actress – Comedy Olga Odanović for the role of Mileva in RADIO MILEVA Best Actor – Comedy Alen Muratović for the role of Miki in SMASHING IT Rising Star – Comedy Kris Gavrić for the role of Sonja in RADIO MILEVA Best Screenplay – Comedy Elma Tataragić, Dušan Vranić, Enes Zlatar for SMASHING IT Best Direction – Comedy Elmir Jukić for RADIO MILEVA Sub-headings Sub-headings
Awarded Hearts of Sarajevo for TV Series: Best Drama Series I Know Your Soul; Best Comedy Smashing It
The drama series I Know Your Soul and the comedy Smashing It have been recognized as the best TV series, winning the Hearts of Sarajevo at the 30th Sarajevo Film Festival.
Počasno Srce Sarajeva Schraderu je uručeno sinoć u Narodnom pozorištu, nakon čega je uslijedila specijalna projekcija filma „Oh, Kanada“. „U ovom trenutku u životu najviše putujem širom svijeta. Ili što me neko platio da dođem ili iz razloga zbog kojeg sam ovdje u Sarajevu, jer nikada prije nisam bio. Ovdje sam sa vama prvi put i jako mi je lijepo. Prisjetio sam se iz nekog razloga, jednostavno mi je prošla kroz misli jedna rečenica, koju je izgovorio John Houston. On je rekao da političari s vremenom postaju respektabilni, samo ako uspiju da dožive starost. Možda je to razlog zbog kojeg sam ja ovdje“, izjavio je Schrader primajući Počasno Srce Sarajeva. Proslavljeni filmaš, ovogodišnji predsjednik žirija, poznat je po redateljskim ostvarenjima „Američki Žigolo“, „Mishima“ i „Prvi reformirani“, ali i scenarijima za kultne filmove „Taksist“, „Razjareni bik“ i „Posljednje Kristovo iskušenje“.
U znak priznanja za izuzetan doprinos filmskoj umjetnosti, američkom reditelju i scenaristu uručeno je Počasno Srce Sarajeva.
Paulu Schraderu uručeno Počasno Srce Sarajeva
Posebno priznanje
In recognition of his outstanding contribution to the art of cinema, American director and screenwriter was presented with the special award on 30th Sarajevo Film Festival.
Paul Schrader Awarded the Honorary Heart of Sarajevo
The Honorary Heart of Sarajevo was given to Schrader last night at the National Theatre, followed by a special screening of his film Oh, Canada. “At this point in my life, I find myself traveling the world more than ever. Either because someone paid me to come or, as in the case of being here in Sarajevo, because I had never been before. This is my first time with you, and I'm really enjoying it. For some reason, a line just crossed my mind, something John Huston once said. He remarked that politicians become respectable over time, provided they live long enough. Perhaps that’s why I’m here,” Schrader said while accepting the Honorary Heart of Sarajevo. The acclaimed filmmaker, who is serving as this year’s jury president, is well-known for his directorial works such as American Gigolo, Mishima, and First Reformed, as well as for his screenplays for iconic films like Taxi Driver, Raging Bull, and The Last Temptation of Christ.
Special Recognition
Regionalna premijera filma „Velika sedmica“
Regional Premiere of Holy Week
Takmičarski igrani • Competition Feature
Director Andrei Cohn led the film crew on the red carpet in front of the National Theatre ahead of the regional premiere of Holy Week. A historical drama set in Romania at the turn of the 19th to the 20th century is a free adaptation of the 1889 Romanian novella “An Easter Torch” by Ion Luca Caragiale. Holy Week stars Doru Bem, Nicoleta Lefter, Ciprian Chiriches, Mario Gheorghe Dinu, and Ana Cioneta.
Redatelj Andrei Cohn predvodio je filmsku ekipu na regionalnoj premijeri „Velike sedmice“ na crvenom tepihu ispred Narodnog pozorišta uoči regionalne premijere filma. Povijesna drama, smještena u Rumuniji početkom na prijelazu iz 19. u 20. stoljeće, stoljeća, slobodna je adaptacija romana „Uskršnja baklja“ Iona Luce Caragiale iz 1889. godine. U „Velikoj sedmici“ glume Doru Bem, Nicoleta Lefter, Ciprian Chiriches, Mario Gheorghe Dinu i Ana Cioneta.
Crveni tepih / Red Carpet
Ekipa filma „Brate“ / The cast and crew of Brate
Ekipa filma „MMXX“ / The cast and crew of MMXX
Ekipa dokumentarnog filma „Praslovan“ / The cast and crew of the documentary film Praslovan
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
Glumica Judita Franković Brdar / Actress Judita Franković Brdar
Autori kratkih filmova iz sekcije Takmičarski program – Dokumentarni film sa selektoricom Radom Šešić / Authors of short films from Competition Programme – Documentary Film with programmer Rada Šešić
Andrei Cohn, reditelj filma „Velika sedmica“ / Andrei Cohn, director of the film Holy Week
Reditelj i scenarist Alexander Payne i scenarist Jim Taylor / Director and writer Alexander Payne and writer Jim Taylor
Christofu Papouseku, suvlasniku Constantin Film-Holdinga i finansijskom direktoru i managing partneru Cineplexx Internationala, te Philippeu Boberu, vizionarskom osnivaču Coproduction Officea i producentu nekih od najrevolucionarnijih filmova suvremene kinematografije, uručena su Počasna Srca Sarajeva na ceremoniji dodjele nagrada Srce Sarajeva za TV serije. Priznanja im je uručio predsjednik Sarajevo Film Festivala Mirsad Purivatra. Christofu Papouseku Počasno Srce Sarajeva uručeno je za izvanrednu podršku Sarajevo Film Festivalu i lokalnoj filmskoj produkciji. „Naša najdublja zahvalnost ide Christofu za njegovu nepokolebljivu podršku i partnerstvo tokom godina. Njegova posvećenost našoj zajedničkoj viziji ne samo da je obogatila naš Festival, već je stvorila i istinsko prijateljstvo koje duboko cijenimo. Ovo Počasno Srce Sarajeva znak je naše zahvalnosti za njegovu trajnu posvećenost i neprocjenjiv doprinos svijetu filma“, rekao je Mirsad Purivatra. Uspješno partnerstvo između Sarajevo Film Festivala i Cineplexx kino grupe traje više od desetljeća. „Čast mi je biti dio porodice sa Srcem Sarajeva – jer i ja imam srce za Sarajevo“, rekao je Papousek. Počasno Srce Sarajeva Philippeu Boberu uručeno je za njegov izvanredan doprinos filmskoj industriji i njegovu ulogu u oblikovanju suvremene kinematografije kroz suradnje s nekim od najinovativnijih svjetskih autora. „Autori s kojima radim imaju najosobnije, najoriginalnije ideje i radne metode. Kao producent, podržavam ih u pomicanju granica filmskog jezika, dok istovremeno angažiraju publiku“, rekao je Bober, osvrćući se na svoju karijeru i rad. Bober je prijatelj Sarajevo Film Festivala više od dva desetljeća. „Rad Philippea Bobera ima snažan utjecaj na filmsku industriju. Njegova sposobnost prepoznavanja i njegovanja jedinstvenih talenata rezultirala je nekim od najutjecajnijih filmova našeg vremena. Drago nam je da mu možemo uručiti Počasno Srce Sarajeva, odajući priznanje ne samo njegovoj izvanrednoj karijeri, već i njegovom trajnom doprinosu umjetnosti filma i Sarajevo Film Festivalu“, rekao je Purivatra. Sub-headings
Počasna Srca Sarajeva uručena Christofu Papouseku i Philippeu Boberu
Papousek i Bober su počasne nagrade primili od Mirsada Purivatre, predsjednika Sarajevo Film Festivala.
Papousek and Bober were presented with honorary awards by Sarajevo Film Festival President Mirsad Purivatra.
Honorary Hearts of Sarajevo Presented to Christof Papousek and Philippe Bober
Honorary Hearts of Sarajevo
Christof Papousek, co-owner of Constantin Film-Holding and CFO and managing partner of Cineplexx International, along with Philippe Bober, the visionary founder of Coproduction Office and producer of some of the most groundbreaking films in contemporary cinema, were presented with the Honorary Hearts of Sarajevo at the Sarajevo Film Festival's Heart of Sarajevo Award ceremony for TV series. The awards were presented by Sarajevo Film Festival President Mirsad Purivatra. Christof Papousek received the Honorary Heart of Sarajevo for his outstanding support of the Sarajevo Film Festival and local film production. “Our deepest gratitude goes to Christof for his unwavering support and partnership over the years. His dedication to our shared vision has not only enriched our Festival but has also forged a true friendship that we deeply cherish. This Honorary Heart of Sarajevo is a token of our appreciation for his enduring commitment and invaluable contribution to the world of film,” said Mirsad Purivatra. The successful partnership between the Sarajevo Film Festival and the Cineplexx cinema group has lasted for over a decade. “It is an honor to be part of the family with the Heart of Sarajevo – because I, too, have a Heart for Sarajevo,” said Papousek. Philippe Bober received the Honorary Heart of Sarajevo for his exceptional contribution to the film industry and his role in shaping contemporary cinema through collaborations with some of the world’s most innovative filmmakers. “The auteurs I work with have the most personal, original ideas and working methods. As a producer I support them pushing the borders of cinematic language, while engaging audiences”, said Bober, reflecting on his career and body of work. Bober has been a friend of the Sarajevo Film Festival for more than two decades. "Philippe Bober’s work has had a profound impact on the film industry. His ability to recognize and nurture unique talent has given rise to some of the most influential films of our time. We are delighted to present him with the Honorary Heart of Sarajevo, recognizing not only his remarkable career but also his enduring contribution to the art of cinema and to the Sarajevo Film Festival," said Purivatra. Sub-headings
Takmičarski Program
Mi smo kolaž naših opsesija i sjećanja
Na koji način se vaš pristup snimanju „Arkadije“ razlikovao od procesa koji ste koristili u svom debitantskom filmu „Prekid“? U mojim filmovima, uvijek me privlači to ničije područje gdje se spajaju logika i apsurd, istina i laž, fikcija i stvarnost. Proces stvaranja filma je za mene misterija; to je nešto što ne mogu u potpunosti objasniti. Neprestano me pokreće nešto što me proganja, a većina mojih odluka vodi se instinktivnim osjećajem za estetiku i narativ koji ne razumijem u potpunosti. Ono što mogu reći je da postoji napredak od „Prekida“ do „Arkadije“- pomak u kojem je originalna ideja sada prožeta emotivnim odjekom i pokušajem da se izazovu žanrovske norme. Scenarij ste napisali zajedno s Konstantinom Kotzamani. Odakle je potekla početna ideja za film i kako je tekao proces suradnje? Odgovara mi rad sa koscenaristom, jer mi omogućava kreativniji i brži put do finalne verzije scenarija. Suradnja s Konstantinom tekla je organski jer smo obje duboko rezonirali s početnom idejom—borbom s puštanjem nekoga nakon gubitka. Taj osjećaj limba, u kojem osoba koju ste izgubili nastavlja da vas prati jer ste vi ti koji je još uvijek držite, bio je temelj našeg pisanja. Odatle je uslijedio dug proces stvaranja svijeta zagrobnog života sa vlastitom logikom, ali za nas su ta pravila bila stvarnija nego imaginarna. Tema spajanja stvarnosti s eterealnim središnja je za film. Možete li opisati svoj pristup integriranju ovih aspekata i njihovom povezivanju u narativu? U ovom filmu, metafizičko i fizičko koegzistiraju na istoj razini, unutar iste dimenzije. Za mene je to ono što se čini „realističnim“; to je život. Mi smo kolaž naših opsesija, naših sjećanja, i članova porodice ili ljubavnika koje smo izgubili, bilo da ih volimo ili mrzimo. Oni svi postoje ovdje i sada, dijeleći isto vrijeme i prostor. Dakle, za mene „Arkadija“ nije ni fantazija ni realističan film; ona postoji negdje između. Postavka napuštenog primorskog odmarališta ključna je za „Arkadiju“. Gdje ste snimali film i što vas je navelo da odaberete ovu lokaciju? Film smo snimali u udaljenom predgrađu izvan Atene; sama lokacija postala je još jedan lik u priči. Njena sablasna atmosfera—bilo u kući, taverni ili na plaži—činila se kao savršeno okruženje za teme filma. Brana, posebno, koja povezuje kopno i vodu, u filmu se koristi kao podsvjesna tačka susreta dviju stvarnosti, koje se spajaju u jednu. Motiv cipela u filmu je vrlo zanimljiv. Kako ste odlučili koristiti cipele kao simbol trajne prisutnosti tuge? Kada vidim cipele ostavljene na ulici, one me uvijek pogode kao simbol odsutnosti ljudskog prisustva, kao bolan podsjetnik da je neko otišao. U mom filmu, cipele su povezane s teretom gubitka i, na kraju, s konceptom slobode. Koji je ključni uvid ili osjećaj koji želite da publika ponese iz vašeg filma? Nadam se da će film progoniti publiku, ostajući s njima dugo nakon projekcije. Ako ujedno služi i kao katarzično iskustvo, pomažući im da se oslobode jednog od svojih gubitaka, to bi za mene bilo pravo blago. Josip Jurčić
Saobraćajna nesreća pokreće radnju u „Arkadiji“, intrigantnoj metafizičkoj priči grčkog režisera Yorgosa Zoisa o emocionalnim vezama koje nas povezuju s ključnim osobama u našim životima.
Yorgos Zois ARCADIA
We Are a Collage of Our Obsessions and Memories
In what ways did your approach to making Arcadia differ from the process you used for your debut film, Interruption? In my films, I am always drawn to that no man's land where logic and absurdity, truth and lies, fiction and reality converge. My filmmaking process is a mystery even to me; it’s something I can’t fully explain. I am constantly driven by something that haunts me, with most of my decisions guided by an instinctive aesthetic and narrative sense that I don’t entirely understand. What I can say is that there’s a progression from Interruption to Arcadia—a shift where the original concept is now infused with emotional resonance and an attempt to challenge genre conventions. You co-wrote the script with Konstantina Kotzamani. Where did the initial idea for the film come from, and how did the collaboration process unfold? Working with a co-writer is my cup of tea, as it allows for a more creative and quicker path to reaching the final draft. The collaboration with Konstantina flowed organically because we both deeply resonated with the initial idea—the struggle of letting go of someone after their loss. This limbo-like sensation, where the person you’ve lost continues to follow you because you’re the one holding on, was the cornerstone of our writing process. From there, it was a long journey to create a world of the afterlife with its own logic, but to us, these rules felt more real than imaginary. The theme of merging reality with the ethereal is central to the film. Can you discuss your approach to integrating these aspects, and intertwining them, into the narrative? In this film, the metaphysical and physical coexist on the same level, within the same dimension. To me, this is what feels “realistic”; this is Life. We are a collage of our obsessions, our memories, and the family members or lovers we’ve lost, whether we love or hate them. They all exist here and now, sharing the same time and space. So, for me, Arcadia is neither a fantasy nor a realistic film; it exists somewhere in between. The abandoned seaside resort setting is crucial to Arcadia. Where did you shoot the film and what led you to select this location? We shot the film in a distant suburb outside Athens; the location itself became another character in the story. Its haunting atmosphere - whether in the house, tavern, or on the beach - felt like the perfect setting for the film's themes. The dam, in particular, which connects land and water, is used in the film as a subconscious meeting point of two realities, merging into one. The motif of shoes in film is very interesting. How did you decide to use shoes to symbolize the enduring presence of grief? When I see shoes left on the street, they always strike me as a symbol of a missing human presence, a poignant reminder that someone is gone. In my film, shoes are connected to the burden of loss and, ultimately, to the concept of freedom. What is one key insight or feeling you hope the audience will take away from your film? I hope the film haunts the audience, lingering with them long after the screening. If it also serves as a cathartic experience, helping them to let go of one of their own losses, that would be a true treasure for me. Josip Jurčić
A car accident is the catalyst in Arcadia, Greek filmmaker Yorgos Zois’s intriguing metaphysical story about the emotional ties that bind us to key people in our lives.
Competition Feature
U svom debitantskom dugometražnom filmu, reditelj Tato Kotetishvili usmjerava kameru na gruzijsko društvo s nepredvidivom, ali vrlo ozbiljnom pričom.
Tato Kotetishvili SVETi ELEKTRICITET
Takmičarski igrani
Ljubav prema svakom detalju u kadru
Kako ste došli na ideju za priču o dvojici rođaka koji provode vrijeme na otpadu, tražeći stvari za prodaju? Poznajem jednog čovjeka koji radi na taj način: možete mu naručiti bilo koji predmet, i on će ga pronaći na otpadu - od starog saksofona do starog gvožđa. Njegovo ime je Soso i on mi je bio inspiracija. U protekloj deceniji u Gruziji su se pojavili LED križevi širom zemlje—na putevima, krovovima, planinama. Pomislio sam da bi bilo prirodno da neko dođe na ideju da prodaje prenosive verzije tih krstova. Da li ste ljubitelj skupljanja starih, jedinstvenih predmeta? Moj otac je dizajner i kolekcionar svih vrsta starih stvari, tako da naša kuća liči na buvljak. Odrastao sam okružen mnoštvom neobičnih, starih predmeta. Film je snimljen isključivo statičnim kadrovima. Šta vas je inspirisalo na ovaj umetnički izbor i kako mislite da on utiče na pripovijedanje? Jednostavno volim statične duge kadrove i vrijeme koje pružaju za posmatranje svakog detalja u kadru. Osim toga, izabrao sam ovaj pristup i iz praktičnih razloga. Imao sam dugačke improvizirane dijaloge koji su mogli trajati i po 10 minuta, iz kojih sam trebao biti u stanju izdvojiti samo jedan mali dio. Da se kamera kretala, ne bih mogao kontrolisati u kojem trenutku kretanja bih našao koristan dio dijaloga. Oba vaša glavna glumca, Nikolo Ghviniashvili i Nika Gongadze, prvi put se pojavljuju kao glumci u ovom filmu. Kako ste ih odabrali i šta vas je motivisalo da radite s neprofesionalnim glumcima? Uvijek sam radio s ne-glumcima u svojim kratkim filmovima, i želio sam nastaviti u istom stilu sa svojim prvim dugometražnim filmom. Tražili smo ličnosti koje bi prirodno odgovarale ulogama, tako da ne moraju glumiti već mogu jednostavno postojati pred kamerom. Trebali su biti opušteni u improvizaciji dijaloga i prirodnoj interakciji. Pristupio sam tome kao da postavljam dokumentarne scene gdje ne-glumci mogu slobodno improvizirati, a ja posmatram njihove akcije, kao u dokumentarcu. Zanimljivo je da su nadimci Nikole i Nike u stvarnom životu Bart i Gonga, baš kao i u filmu. Prvi put sam sreo Barta dok sam radio kao snimatelj na kratkom dokumentarcu o LGBTQ zajednici u Gruziji. Dokumentarac je imao napisane dijaloge, ali Bart je radije improvizovao sve svoje rečenice, i rezultati su bili mnogo bolji. Tada sam prepoznao njegov talenat. Pronalazak glumca za ulogu Gonge trajao je dugo. Na kraju, naš montažer, Nodo, pokazao mi je isječak iz dokumentarca koji je montirao, a u kojem je bio Gonga. U dokumentarcu, Gonga je prikazan kao tinejdžer koji tokom dana studira klarinet u konzervatoriju, a noću uživa u punk rock klubovima sa svojim prijateljima. Sljedećeg dana, Bart i ja smo otputovali u Gongin grad da napravimo mali probni snimak, nakon kojeg je Gonga izabran za ulogu. Čak smo nadogradili lik u filmu da uključimo Gongine vještine sviranja klarineta. Da li je bilo važno i vama i Nikoli Ghviniashviliju da u film uključite njegov transrodni identitet i kako taj aspekt njegovog identiteta utiče na njegovu ulogu? U početku, Bartov lik je bio napisan kao biološki muškarac, ali kako smo se Bart i ja bolje upoznali, odlučio sam revidirati scenarij kako bi odražavao njegov pravi rodni identitet. Ova promjena nam je omogućila da prikažemo neke od njegovih transrodnih prijatelja i njegov svijet, istovremeno mu dajući više slobode u improvizaciji. Bart je bio veoma sretan što može igrati transrodnog muškarca. Film ponekad djeluje kao dokumentarac, prikazujući prizore s ulice, pijace i isječke iz svakodnevnog života. Koliko je film također prikaz gruzijske kulture i svakodnevnog života? Ljudi na ulici i sporedni likovi nisu samo pozadina; oni su suštinski dio filma. Većina stanovnika u filmu su stvarni ljudi snimani u svojim stvarnim domovima, tako da vjerujem da će ovaj film poslužiti kao dokumentacija grada i nekih vrlo intrigantnih likova iz ovog vremena. Josip Jurčić Sub-headings
Tato Kotetishvili HOLY ELETRICITY
In his debut feature, director Tato Kotetishvili turns his camera on Georgian society with an unpredictable yet deeply serious story.
A Love for Every Detail in the Frame
How did you come up with the idea for a story about two cousins who spend their time at the scrapyard, looking for things to sell? I know a guy whose work is like this: you can order an item, and he’ll find anything in a scrapyard - from an old saxophone to an antique iron. His name is Soso, and he was an inspiration. Over the past decade in Georgia, LED crosses have appeared all over the country—on roads, rooftops, and mountains. I thought it would be natural if someone came up with the business idea of selling portable versions of these crosses. Are you a fan of collecting old, unique items? My father is a designer and a collector of all kinds of old things, so our house resembles a flea market. I grew up surrounded by an array of strange, old items. The film is shot entirely with static shots. What inspired this artistic choice, and how do you feel it impacts storytelling? I simply love static long shots and the time they provide to observe every detail in the frame. Apart from that, I chose this approach for practical reasons as well. I had long improvisational dialogues that could last for 10 minutes, from which I needed to be able to select just a small section. If the camera were moving, I wouldn’t be able to control at what point in the movement I could find a useful part of the dialogue. Both of your main actors, Nikolo Ghviniashvili and Nika Gongadze, are making their acting debuts in this film. How did you choose them, and what motivated your decision to work with non-professional actors? I’ve always worked with non-actors in my short films, and I wanted to continue in the same vein with my first feature. We were looking for personalities that would naturally fit the roles, so they wouldn’t have to act but could simply exist in front of the camera. They needed to be comfortable improvising dialogue and interacting naturally. I approached it as if I were setting up documentary scenes where non-actors could improvise freely, while I observed their actions, much like in a documentary. Interestingly, Nikolo's and Nika's real-life nicknames are Bart and Gonga, just as they are in the film. I first met Bart while working as a cinematographer on a short documentary about the LGBTQ community in Georgia. The documentary had scripted dialogues, but Bart preferred to improvise all his lines, and the results were much better. That’s when I recognized his talent. Finding an actor to play Gonga’s character took a long time. Eventually, our editor, Nodo, showed me a clip from a documentary he was editing that featured Gonga. In the documentary, Gonga was portrayed as a teenager studying clarinet at a conservatory by day and enjoying punk rock clubs with friends by night. The next day, Bart and I traveled to Gonga’s city to do a small casting test, after which Gonga was chosen for the role. We even upgraded the character in the film to incorporate Gonga's clarinet skills. Was it important to both you and Nikolo Ghviniashvili to incorporate his transgender identity into the film, and how does this aspect of his identity influence his role? Initially, Bart's character was written as a biological man, but as Bart and I got to know each other, I decided to revise the script to reflect his real gender identity. This change allowed us to showcase some of his transgender friends and his world, while also giving him more freedom in improvisation. Bart was very happy that he could play a transgender man. The film sometimes feels like a documentary, capturing street scenes, markets, and snippets of daily life. How much is the film also a portrayal of Georgian culture and everyday life? The people on the street and secondary characters are not just background; they are an essential part of the film. Most of the residents in the film are real people shot in their actual homes, so I believe this film will serve as documentation of the city and of some very intriguing characters from this time. Josip Jurčić Sub-headings
Baščaršija proglašena Blagom evropske filmske kulture
Na Šeher-Čehajinoj ćupriji, u blizini sarajevske Vijećnice, jučer je otkrivena ploča kojom je Baščaršija proglašena Blagom evropske filmske kulture.
Ceremoniji otkrivanja ploče prisustvovali su Elma Tataragić, potpredsjednica Upravnog odbora Udruženja filmskih radnika Bosne i Hercegovine, Matthijs Wouter Knol, direktor Evropske filmske akademije, Kenan Magoda, ministar kulture i sporta Kantona Sarajevo i Nihad Uk, premijer Kantona Sarajevo, uz brojne bosanskohercegovačke filmske radnike. „Otkako je Evropska filmska akademija pokrenula projekat Evropsko filmsko blago, mi iz Udruženja filmskih radnika smo sanjali da se i Bosna i Hercegovina nađe na mapi evropskih filmskih blaga. Nakon nekih istraživanja, shvatili smo da je Baščaršija privukla preko 75 filmskih ekipa u historiji bh. filma. Upravo zato smo odlučili da sa Baščaršijom krenemo u kandidaturu za Blago evropske filmske kulture. Koliko je to važno pokazuje činjenica da iz naše regije samo dubrovački Stradun ima ovu oznaku. Ovo je od značaja za cijelu zajednicu, ne samo za nas koji se bavimo filmom.“ izjavila je Elma Tataragić. Matthijs Wouter Knol istakao je kako Evropska filmska akademija radi na izgradnji zajednice i zaštiti evropske kinematografije. „Obično se zaboravlja da je kino povezano s lokacijama i mjestima. Mjesta, kao i ljudi u filmovima, važan su dio sjećanja koja imamo. Zato je Evropska filmska akademija prije nekoliko godina počela definirati mjesta u Evropi koja su u našim sjećanjima povezana s evropskim sjećanjima. Odavanje počasti Baščaršiji kao jednom od tih blaga evropske filmske kulture je izuzetan trenutak“, rekao je Knol. Kenan Magoda je istakao kako je osjećaj ponosa biti Sarajlija danas kada Evropska filmska akademija prepoznaje Baščaršiju kao jednu od najvažnijih lokacija u BiH. „Ovo nam je podrstek da ne smijemo kinematografiju ostaviti i razmišljati o njoj kao nekoj sporednoj stvari. Ne može biti ništa ljepše, jer ovo prestižno priznanje dolazi za vrijeme 30. rođendana Sarajevo Film Festivala.“ rekao je Magoda. Otkrivanjem ploče na Šeher-Čehajinoj ćupriji Baščaršija se pridružila listi od 49 lokacija koje su obilježile evropsku kinematografiju.
Evropska filmska akademija
Baščaršija Declared a Treasure of European Film Culture
EUROPEAN FILM ACADEMY
A plaque declaring Baščaršija a Treasure of European film culture was unveiled yesterday on the Šeher-Čehaja bridge, near the Sarajevo City Hall (Vijećnica).
The plaque unveiling ceremony was attended by Elma Tataragić, Vice President of the Board of Directors of the Association of Film Workers of Bosnia and Herzegovina, Matthijs Wouter Knol, Director of the European Film Academy, Kenan Magoda, Minister of Culture and Sports of Sarajevo Canton and Nihad Uk, Prime Minister of Sarajevo Canton, along with numerous Bosnian film workers. "Since the European Film Academy launched the European Film Treasures project, we from the Association of Film Workers have dreamed of Bosnia and Herzegovina being on the map of European film treasures. After some research, we realized that Baščaršija has attracted over 75 film crews in the history of BiH cinema. This is precisely why we decided to start the candidacy for the Treasure of European Film Culture with Baščaršija. How important this is is shown by the fact that in our region only the Dubrovnik Stradun has this label. This is important for the whole community, not only for us who work in film," said Elma Tataragić. Matthijs Wouter Knol pointed out that the European Film Academy works to build a community and protect European cinematography. "It is usually forgotten that cinema is connected to locations and places. Places, like people in movies, are an important part of the memories we have. That's why the European Film Academy started defining places in Europe that are connected to European memories in our memories a few years ago. Paying tribute to Baščaršija as one of those treasures of European film culture is an exceptional moment," said Knol. Kenan Magoda said that it is a feeling of pride to be from Sarajevo today when the European Film Academy recognizes Baščaršija as one of the most important locations in Bosnia and Herzegovina. "This is an encouragement to us that we must not leave cinematography and think of it as something secondary. It couldn't be any nicer, because this prestigious recognition comes during the 30th birthday of the Sarajevo Film Festival," said Magoda. With the unveiling of the plaque on the Šeher-Čehaja bridge, Baščaršija joined the list of 49 locations that marked European cinema. Sub-headings
Mastercard i Sarajevo Film Festival, kao jedan od najvažnijih filmskih festivala u Jugoistočnoj Evropi, ove godine slave 10 godina prijateljstva, povezujući ljude s njihovom strašću ka sedmoj umjetnosti. Kao predvodnik globalnih tehnoloških promjena, Mastercard vjeruje u stvaranje bolje budućnosti u svakoj zajednici te poslujući na preko 210 tržišta doprinosi izgradnji svijeta u kome su neprocjenjive mogućnosti svima dostupne. Ovo partnerstvo prilika je da svi posjetioci Festivala dobiju neprocjenjiva iskustva i povežu se sa strasti ka filmu. Mastercard and Sarajevo Film Festival, as one of the most important film festival in SEE, are celebrating 10 years of friendship, connecting people with their passion for the 7th art. As a leader of global technological changes, Mastercard believes in creating a better future in every community and, operating in over 210 markets, contributes to building a world where priceless opportunities are available to everyone. This partnership is an opportunity for all Festival visitors to gain priceless experiences and connect with a passion for film.
TAKMIČARSKI DOKUMENTARNI
Pomalo strašan, više smiješan, nježan i na momente urnebesan, ovaj film svjedoči o nemilom periodu koji rado prepuštamo prošlosti. Opservacija društva u krizi i pojedinaca koji grčevito traže jedni druge i koji se hvataju za svaku prigodu da progovore sa drugim bićem kao da se bore za zrak vjerojatno će vas za vrijeme gledanja zabaviti. Kada u kino sali utihne i ugase se svjetla, ostat će pitanje kamo to društvo ide i gdje nestaje potreba za prisnošću čim krize utihnu. Zbog tehničke pogreške u Journalu, ponavljamo da je regionalna premijera filma danas u Cineplexxu 1 u 19 sati. Ponosni smo da je međunarodna priča „Paviljona 6“ krenula sa lanjskog Docu Rough Cut Boutique-a gdje je vaša polusatna prezentacija izazvala veliko zanimanje krunisano otkupljivanjem prava na film od strane BBC-ja. Zadovoljiti stroge kriterije BBC-ja nije mala stvar, posebno kada znamo da je ovo prvi hrvatski film kojem je tako nešto uspjelo. O tome hoće li ovim profitirati hrvatska dokumentarna produkcija moći ćemo pričati tek za koju godinu. Šta za vas osobno znači naći se u biranom društvu pod okriljem BBC-ja? Ja svoj posao uvijek radim tako da ne kalkuliram. Ono što imam dajem u film koji radim. Govorim o svom vremenu, emocijama i zanatu. Činjenica da se za moj rad s vremena na vrijeme zainteresira neki veliki strani festival, ili BBC u ovom slučaju, je lijepa ali meni nedovoljna satisfakcija. Ja filmove radim za nas tu i boli me koliko su, ne samo moji, nego općenito najbolji dokumentarni filmovi u regiji zapravo temeljito nepogledani od društava za koja su snimljeni. Činjenica da mi je zapravo jednostavnije i lakše biti primijećen od BBC-a nego od HRT-a govori dovoljno sama za sebe. Posjedujete sposobnost da nanjušite priču, da instinktivno osjetite u šta treba uperiti kameru. Je li to neko samoniklo filmaško čulo ili nešto što bi budući redatelji mogli naučiti, razviti, usavršiti? Sve se može naučiti, pa i zapravo vrlo jednostavna stvar da kameru uperiš u ono što ti je kao ljudskom biću zanimljivo i privlačno. Bazično, da vjeruješ samom sebi i svojim instinktima, kao i u toliko drugih područja u životu. Velike krize koje minimiziraju socijalizaciju bude u ljudima potrebu za međusobnim povezivanjem, povjeravanjem, uzajamnim pomaganjem, solidarnošću... U trenutku snimanja, ljudi su netom izašli iz izolacije i silno su trebali jedni druge. Kada ste stali u red za cijepljenje jeste li bili svjesni koliko će komičnih situacija niknuti iz te potrebe, ili ste humor prepoznali tijekom snimanja? Humor je bitan dio filmova koje volim gledati. Volim ga osjetiti i prepoznati u metrijalima koje snimam. Veliki sam fan autora koji se znaju zajebavati sa ozbiljnim stvarima pa se i sam, tu i tamo, okušam u toj disciplini. Može li koja riječ o čovjeku sa nevjerojatnom ptičijom maskom na glavi? Jeste li razgovarali s njim, saznali nešto o tome kako je napravio tu bizarnu, čudesnu masku? On je ispod te maske nosio i pravu, medicinsku masku. Nisam dulje razgovarao sa njime ali očigledno se radi o kreativnoj osobi željnoj da komentira svijet oko sebe. Želio je biti primijećen i mi smo ga primijetili! Imali smo u Sarajevu svoj „Paviljon 6“, bio je u dvorani ZETRA, i tu su se dešavale gotovo identične stvari, ista vrst razgovora i instant povezivanja između nepoznatih ljudi, da ne govorimo o pokušajima zaobilaženja reda i traženja „štele“. Svjedočila sam istoj stvari u Beogradu i pretpostavljam da strašna potreba čovjeka za bliskošću u teškim momentima daleko nadilazi lokalno i regionalno i postaje univerzalna. Da li reakcije publike na premijeri u Sheffieldu govore u korist ove pretpostavke ili protiv nje? Po reakcijama na film, rekao bih da smo sličniji nego što to izgleda. Vidjet ćemo kako po tom pitanju diše naša publika u Sarajevu. Gledajući film sada, sa vremenske distance, jesmo li postali gore društvo i gori ljudi otkad nam životi nisu u tako strašnoj neposrednoj opasnosti? Ma, uvijek smo isti. Marinela Domančić Sub-headings
Disciplina prepoznavanja humora
Goran Dević PAVILJON 6
Promatrajući kako red, tako i nered, za cijepljenje protiv Covida, Goran Dević je snimio biserni promatrački dokumentarac „Paviljon 6“.
The Discipline of Recognizing Humor
Competition Documentary
Goran Dević PAVILION 6
A bit frightening, mostly humorous, gentle, and at moments uproarious, this film reflects on a grim period that we gladly consign to the past. It offers a keen observation of a society in crisis and individuals desperately seeking each other, clinging to every opportunity to connect with another being as if they were fighting for air. As you watch, you will likely find yourself entertained. But when the cinema falls silent and the lights go out, a lingering question remains: where is society headed, and why does the need for intimacy vanish as soon as the crises subside? Due to a technical error in the Journal, we repeat that the regional premiere of the film is today at Cineplexx 1 at 7:00 PM. We are proud that the international journey of "Pavilion 6" began at last year’s Docu Rough Cut Boutique, where your half-hour presentation garnered significant interest, culminating in the BBC acquiring the film's rights. Meeting the BBC's strict criteria is no small feat, especially considering that this is the first Croatian film to achieve such a milestone. Whether this will benefit Croatian documentary production is something we’ll be able to discuss only in a few years. What does it mean to you personally to find yourself in such esteemed company under the BBC's wing? I always approach my work without calculating. I give everything I have to the film I'm making—my time, emotions, and craft. The fact that, from time to time, my work catches the interest of a major international festival, or the BBC in this case, is nice but not enough of a satisfaction for me. I make films for us here, and it pains me how thoroughly unseen the best documentaries in the region, not just mine, are by the societies for which they were made. The fact that it's actually easier for me to get noticed by the BBC than by HRT speaks volumes on its own. You have the ability to sniff out a story, to instinctively sense where to point the camera. Is that an innate filmmaking sense, or something that future directors could learn, develop, and perfect? Everything can be learned; even a very simple thing to point the camera at what is interesting and attractive to you as a human being. Basically, you should trust yourself and your instincts, as in so many other areas in life. Major crises that minimize social interaction awaken in people the need for connection, trust, mutual assistance, and solidarity. At the time of filming, people had just come out of isolation and desperately needed each other. When you stood in line for vaccination, were you aware of how many comedic situations would arise from this need, or did you recognize the humor during the filming? Humor is an essential part of the films I enjoy watching. I love feeling it and recognizing it in the material I shoot. I'm a big fan of filmmakers who know how to play with serious topics, so I occasionally try my hand at that discipline myself. Can you say a few words about the man with the amazing bird mask on his head? Did you talk to him, find out anything about how he made that bizarre, marvelous mask? He wore a real medical mask under that mask. I didn't have a long conversation with him, but he is obviously a creative person eager to comment on the world around him. He wanted to be noticed and we noticed him! We had our own "Pavilion 6" in Sarajevo, located in the ZETRA hall, where almost identical things happened—the same kind of conversations and instant connections between strangers, not to mention the attempts to bypass the line and find "connections." I witnessed the same thing in Belgrade, and I assume that the overwhelming need for closeness in difficult moments far surpasses local and regional boundaries, becoming universal. Do the audience reactions at the premiere in Sheffield support this assumption or challenge it? Based on the reactions to the film, I would say we are more alike than it may seem. We'll see how our audience in Sarajevo feels about this. Looking at the film now, with the benefit of time, have we become a worse society and worse people since our lives are no longer in such immediate danger? We are always the same. Marinela Domančić Sub-headings
Observing both the order and the disorder in the queue for vaccination against COVID-19, Goran Dević recorded a brilliant observational documentary Pavilion 16.
Maja Novaković već se predstavila ljubiteljima dokumentarnih filmova kratkim prvijencem A sad se spušta veče koji smo zapamtili po vizualnoj ljepoti, mističnosti i dojmljivim prizorima zemlje, životinja i biljaka.
Maja Novaković KO ĆE POKUCATI NA VRATA MOG DOMA
Umjetnost je neka vrsta molitve
Pet godina kasnije dolazi nam sa prvim dugometražnim filmom u kojem je sve što je u prvom bilo lijepo još ljepše, sve lirsko sada je još poetičnije (i naslov, i, osobito, naslov na engleskom), sve neizrečeno je još skrovitije, a osjećaji kuljaju iz svakog kadra, gledatelja i grle, i guše, i tjeraju suze na oči. Vaš prvi film bio je promatrački, a drugi se, čak i onda kada prikazuje drveće, mače koje se igra ili snijeg cjelac, bavi unutarnjim svijetom glavnog junaka. Kako se za vas, kao redateljicu, desio zaokret od vani prema unutra? Lijepo opažanje! Kada krenem da razmišljam o tome, zapravo shvatim da je i prvi film bio jedna vrsta introspekcije, samo fokusirane na sjećanja i vizualizaciju slika iz djetinstva. U prvom filmu mi je bilo bitno da predočim šta se dešava sa sjećanjima i mislima i u šta one sazrijevaju kada cijeli dan provedemo na livadi čuvajući ovce, gdje se svaka promjena u prirodi slavi poput praznika. U novom filmu sam bila usredsređena na unutrašnji pejzaž čovjeka, prateći osjećanja i emocije i kako ih vizualizovati. U oba filma priroda je entitet. Glavna razlika je da je u novom filmu priroda prikazana kao stanje duše i mi je vidimo kao živo biće, osjećajući je kako ona diše, jer je upravo, kao što ste i rekli, fokus na unutrašnjem svijetu čovjeka. Najsigurnije i najkomformnije se osjećam kada prikazujem naizgled male priče iz sredine iz koje dolazim i koju dobro razumijem i poznajem. Film smješten u pejzaž kojem i sama pripadam, mi daje vjeru da kažem, analiziram i predstavim svoj habitus. Ovdje mi je želja bila prikazati i baviti se temom otuđenosti, tugom, prazninom i hladnoćom; hladnoćom pejzaža, ali i ljudskih osjećanja, temom koja je univerzalna. Mistiku, snove, uspomene i miješanje jave sa sjećanjima mnogo češće srećemo u igranim filmovima. Koliko su mistične i neizgovorene stvari potrebne i važne u dokumentarnom filmu? Kada sam počela sa realizacijom ovog filma nisam puno razmišljala o žanru ili kakvom stilu će film pripadati. Oslanjala sam se više na ideju i intuiciju. Ono što sam okvirno znala je da će film biti doku-fikcija, tj. da će pripadati stilu poetskog dokumentarca gdje je uključena subjektivna interpretacija teme, u kome individualni likovi i događaji ostaju nerazvijeni u korist isticanja određene atmosfere i značenja, ističući metafore. Rečju, držeći se više simboličkog nego narativnog toka. Za mene pojam dokumentarni film više određuje riječ „film”, kao takav, i volim da ga shvatim bez strogih granica; gdje se žanrovi prepliću i dopunjuju. Sve što stavimo u određene fioke, biva zatvoreno i mi mu ne dozvoljavamo da ispriča priču koja uzima vazduh iz prostora koji je između. Čini se da ste se naoružali velikim strpljenjem za rad na ovom filmu. Koliko ste, kada ste snimali, imali u glavi zamišljene kadrove i mrznuli se čekajući savršeno svjetlo ili igru sjenki, a koliko ste koristili trenutke koji su se slučajno desili? Film je iziskivao mnogo strpljenja. Snimala sam ga tokom 4 godine, od čega su tri zime. Kada kažem tri zime, to uključuje praćenje vremenske prognoze i kojih desetak dana u toku godine će snjeg objeliti bosanska brda. Pošto sam se bavila osjećanjima, sjećanima i emocijama, kako njih vizualizovati i kako ih apstrahovati i pretvoriti u slike, to je podrazumjevalo dobru pripremu i skice. Samo da bih uhvatila određene sjenke kako plešu, podrazumjevalo je par sati stajanja na zimi i minusu. Sjećam se da sam sa tatom došla u šumu i on je želio da me sačeka misleći da ću to brzo snimiti. Odustao je posle 15-ak minuta, a sreli smo se posle par sati u toploj kući i pitao me šta sam snimila, ja sam odgovorila: „Sjenke drveća.” Sa druge strane, uvijek je realnost veća od papira, tako da je bilo i trenutaka koji su se i slučajno desili i koji su mogli biti uhvaćeni samo tad. Taj ritam pogotovo morate da pratite kada radite sa životinjama i kako vam priroda zapovjedi. Olakšavajući faktor kada pravim film je to da ga uvijek zamislim od niza slika ili kockica, koje na kraju sklopim u jedan veliki mozaik, tj. film. Promatrajući odnos između vašeg glavnog junaka i njegovog konja i sama sam poželjela da zagrlim konja Igmana. Da li nas nekada životinje razumiju bolje nego ljudi? Izgleda da često doživimo i osjetimo da nas nekad životinje bolje razumiju. Ne znam da li smo u pravu, ali naše emocije nam daju i takve ogdovore. Sad mi odzvoni jedan stih Branka Miljkovića: „Taj san je smeli silazak pod tle gde slepe ptice pevaju u tami. U svakoj ima jedna šuma. Gle što više govorimo sve smo više sami.” Međunarodna premijera ovog filma na Sheffield DocFestu donijela vam je Grand prix žirija, dakle najveću nagradu koju ste mogli dobiti. Jeste li i prije toga bili svjesni kako ste sjajan film napravili? Nisam mogla sanjati ni o selekciji, a kamoli nagradi. Sama selekcija u glavni takmičarski program, pored filma Tilde Swinton i oskarovca Kevina McDonalda me je ganula i to mi je već bila čast. Znala sam da imam dobar film u rukama, ali nisam znala da će to i drugi misliti. Samo par mjeseci ranije filmu je bilo teško da ugleda svjetlost dana. Govorili su mi da nije komercijalan i da će teško naći svoju publiku i tržište. Tada sam se susrela sa činjenicom da su možda sav trud, rad i vrijeme mogli biti uzaludani. Iskreno, suočavanje sa tim je bolno, ali uradila sam ovo iz srca i iz duše i pomislila sam da ću ipak biti srećna jer sam napravila nešto što mi je bilo bitno. Ja umjetnost smatram nekom vrstom molitve. Shvatila sam da sam ponovo porasla uz film, naučila puno o sebi, o drugima. Nije li i to nagrada i uspjeh? Marinela Domančić
Foto: Ema Bednarz
TAKMIČARSKI DOKUMENTARNI Maja Novaković KO ĆE POKUCATI NA VRATA MOG DOMA
Maja Novaković has already introduced herself to fans of documentary films with her short debut, And Then Comes the Evening, which we remembered for its visual beauty, mysticism and impressive scenes of land, animals and plants.
Five years later, she comes with her first feature-length doc. Everything that was beautiful in the first is even more beautiful, everything lyrical is now even more poetic (even the title, especially the title in English), everything unsaid is even more secretive, feelings bubble up from every frame, the viewer is hugged, and choked, and it brings tears to eyes. Your first film was observational, and the second one, even when it shows trees, a kitten playing or a whole snow, deals with the inner world of the main character. How did the turn from the outside to the inside happen for you, as a director? Nice observation! When I start thinking about it, I actually realize that the first film was also a kind of introspection, only focused on memories and visualizing images from childhood. In the first film, it was important for me to present what happens to memories and thoughts and what they mature into when we spend the whole day in a meadow looking after sheep, where every change in nature is celebrated like a holiday. In the new film, I focused on the inner landscape of man, following feelings and emotions and how to visualize them. In both films, nature is an entity. The main difference is that in the new film, nature is shown as a state of the soul and we see it as a living being, feeling it as it breathes, because, as you said, the focus is on the inner world of man. I feel the safest and most comfortable when I show seemingly small stories from the setting I come from and which I understand and know well. The film, set in a landscape where I belong, gives me the faith to articulate, analyze and present my habitus. I wanted to show and deal with the theme of alienation, sadness, emptiness and coldness; the coldness of the landscape but also of human feelings, a theme that is universal. Mysticism, dreams, memories and mixing reality with memories are much more common in feature films. How necessary and important are mystical and unspoken things in a documentary film? When I started making this film, I didn't think much about the genre or what style the film would belong to. I relied more on ideas and intuition. What I roughly knew was that the film would be a docu-fiction, i.e. that it will belong to the style of a poetic documentary where subjective interpretation of the subject is included, in which individual characters and events remain undeveloped in favor of highlighting a certain atmosphere and meaning, highlighting metaphors, sticking more to the symbolic than to the narrative flow. For me, the term documentary is more determined by the word "film", as such, and I like to understand it without strict boundaries; where genres intertwine and complement each other. Everything we put in certain drawers is closed and we don't allow it to tell a story that breathes air from the space in between. You seem to have shown a great deal of patience in working on this film. How often did you envision frames in your mind and wait for the perfect light or shadow during filming, and how much did you rely on spontaneous moments that occurred by chance? The film required a lot of patience. I shot it over the course of 4 years, three of which were winters. When I say three winters, it includes monitoring the weather forecast to check which ten days during the year the Bosnian hills will be covered with snow. Since I was dealing with feelings, memories and emotions, how to visualize them and how to abstract them and turn them into images, this meant good preparation and sketches. Just to catch certain shadows dancing, it meant standing for a couple of hours in the winter and freezing temperatures. I remember coming to the forest with my dad who wanted to wait for me, thinking that I would record it quickly. He gave up after about 15 minutes. We met after a couple of hours in a warm house, and he asked me what I had recorded. I answered: "Shadows of trees." On the other hand, reality is always greater than what is on paper, so there were moments that happened by chance and could only be captured at that time. You especially need to follow this rhythm when working with animals and as nature dictates. An enabling factor when making a film is that I always envision it as a series of images or pieces, which I ultimately piece together into one large mosaic, that is, the film. Observing the relationship between your main character and his horse made me want to hug Igman (the horse) myself. Do animals sometimes understand us better than humans? It seems that we often experience and feel that sometimes animals understand us better. I don't know if we are right, but our emotions give us such answers. Now a verse by Branko Miljković rings out to me: That dream is a descent underground dare Where the blind birds sing in the dark And in each one, one forest lies. Stare The more that we speak, the more alone we are. The international premiere of this film at Sheffield DocFest earned you the Grand Prix Jury Award, the highest honor you could receive. Were you aware of how exceptional your film was even before that? I couldn't even dream about the selection, especially not about the award. The very selection in the main competition program, next to the film of Tilda Swinton and Oscar winner Kevin McDonald, touched me and it was already an honor for me. I knew I had a good movie, but I didn't know that others would think the same. Just a few months earlier, the film struggled to see the light of day. I was told it wasn’t commercial, and that it would have a hard time finding an audience and a market. At that point, I faced the possibility that all the effort, work, and time might have been in vain. Honestly, confronting that was painful, but I did this from the heart and soul, and I thought I would still be happy because I created something meaningful to me. I consider art to be a form of prayer. I realized that I grew with the film, learning a lot about myself and others. Isn't that also a reward and a success? Marinela Domančić
Maja Novaković AT THE DOOR OF THE HOUSE WHO WILL COME KNOCKING
Art is a form of prayer
Festivalski život / Festival life
Atmosfera u Eating Point by Coca-Cola / Atmosphere at Eating Point by Coca-Cola
Atmosfera na projekciji dokumentarnih filmova / Atmosphere at the screening of doucementary films
Predstavljanje TV serije „Komar“ / Presentation of TV series Komar
Druženje u organizaciji Docu Rough Cut Boutique i Ji.hlava IDFF / Industry drink Hosted by Docu Rough Cut Boutique and Ji.hlava IDFF
„Grand Kafa sa…“ američkim rediteljem Cordom Jeffersonom / Grand Coffee with… American director Cord Jefferson
U Docu Press Corneru predstavnicima medija predstavljeni su filmovi "Biang Biang Express", "Tvoj život bez mene" i "Cent' anni" / At the Docu Press Corner, the films Biang Biang Express, Your Life Without Me, and Cent' anni were presented to the media representatives
ONO ŠTO ZAHTJEVAMO OD KIPA JE DA SE NE POMJERA / WHAT WE ASK OF A STATUE IS THAT IT DOESN’T MOVE International premiere Greece, France, 2024, 31 min. Režija / Director: Daphné Hérétakis
Takmičarski dokumentarni Competition Documentary
U Atini se naizgled ništa ne pomjera, a ljudi stoje mirno kao statue. Ali drugdje u gradu, karijatida bježi iz muzeja, a mala grupa pobunjenika zahtijeva uništenje svih antikviteta. Možda možete izbjeći da se pretvorite u kamen samo tako što ćete sve snimati. Nothing seems to be moving in Athens and the people are as still as statues. But, elsewhere in the city, a caryatid escapes the museum and a groupuscule demands the destruction of all antiquities. Perhaps filming is the only way to avoid turning into stone.
SUMMER SCREEN
NA VLASTITU SLIKU / IN HIS OWN IMAGE France, 2024, 110 min. Režija / Director: Thierry de Peretti, Uloge / Cast: Clara-Maria Laredo, Marc-Antonu Mozziconacci, Louis Starace, Barbara Sbraggia, Saveria Giorgi, Andrea Cossu, Pierre-Jean Straboni, Antonia Buresi
Fragmenti iz života Antonije, mlade fotografkinje lokalnih novina na Korzici. Njena posvećenost, njeni prijatelji i njene ljubavi prepliću se s ključnim političkim događajima na otoku od 1980-ih. do početka 21. vijeka. Radi se o fresci jedne generacije. Film NA VLASTITU SLIKU zasnovan je na istoimenom romanu Jérôma Ferrarija. Fragments of the life of Antonia, a young photographer for a local newspaper in Corsica. Her commitment, her friends, and her loves intertwine with the major political events of the island, from the 1980s to the dawn of the twenty-first century. IN HIS OWN IMAGE is the fresco of a generation, based on the novel of the same title by Jérôme Ferrari.
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Na programu danas... / On today's schedule...
PROSLAVA / CELEBRATION Croatia, Qatar, 2024, 86 min. Režija / Director: Bruno Anković, Uloge / Cast: Klara Fiolić, Lars Štern, Jan Doležal, Nedim Nezirović, Tanja Smoje, David Tasić Daf, Izudin Bajrović, Bernard Tomić, Krešimir Mikić
U fokusu / in focus
Mijo kraj Drugog svjetskog rata dočekuje kao vojnik sakriven u šumi. Kroz priču o njegovom životu, istražujemo okolnosti koje su dovele do širenja ekstremizma. Nakon što je svjedočio okrutnom činu svoga oca uzrokovanom siromaštvom i izvršio nepošteni nalog opštinskih vlasti da se riješi porodičnog psa, Mijo postaje lak plijen za radikalno desne ideologe koji mu nude lažnu nadu u bolji život i lažnog krivca za sve što je propatio. At the end of the Second World War, Mijo, a soldier, is hiding in the woods. Through examining his life, we explore the circumstances that inspire the growth of extremism. After seeing his father driven by poverty into cruel action, and having carried out the municipal authorities’ unreasonable order to get rid of the family dog, Mijo became easy prey for a right-wing ideology that offered him false hope for a better life and a scapegoat for all the things he has suffered through.
GYM Bosnia and Herzegovina, Slovenia, Montenegro, Croatia, 2024, 85 min. Režija / Director: Srđan Vuletić, Uloge / Cast: Edin Avdagić, Dino Sarija, Dina Mušanović, Rijad Gvozden, Igor Skvarica, Adnan Omerović, Filip Radovanović, Faruk Hajdarević, Mirza Dervišić, Pavle Marković, Aneta Grabovac, Vanja Matović, Davor Bojanić, Aleš Kranjec, Emir Fejzić, Elma Fetić, Anja Kraljević, Helena Vuković, Pavle Novaković, Tarik Džinić, Aldin Omerović, Ejla Bavčić
OPEN AIR
Riki je konobar u posrnuloj ketering kompaniji. Njegov mizogini kolega i budući zet Ado želi spasiti firmu tako što će prebiti vrhunsku slastičarku Melisu, bivšu saradnicu, i natjerati je da ponovo radi s njima. Svi uposleni odbace plan kao totalno glup i besmislen. Međutim, Ado je uporni divljak i njegove kolege znaju da on neće stati dok ne bude silom zaustavljen. Riki je razapet između osjećaja za pravdu i normi u kojima tolerišemo familiju i prijatelje bez obzira na to šta oni rade. Riki works for a struggling catering company. Ado, his misogynistic colleague and brother-in-law, wants to fix the business by beating up Melisa, a former co-worker who is a top cake-maker, to force her to work with them again. All the rest of the employees dismiss Ado's plan as stupid and senseless. However, Ado is a stubborn savage, and his colleagues know he won't give up unless he is stopped. Riki is divided between a sense of justice, and the norms through which we tolerate family and friends no matter what they do.