FESTIVAL DAILY
Otvoren 30. Sarajevo Film Festival / 30th Sarajevo Film Festival is Open
www.sff.ba #30thSFF
SUBOTA / SATURDAY 17.08.2024.
FOTO GALERIJA
SADRŽAJ
AWARD Elia Suleiman Receives the Honorary Heart of Sarajevo
COMPETITION DOCUMENTARY: MAJA DOROTEJA PRELOG Hard decisions happen far away from the awards
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COMPETTION FEATUREs: SONJA PROSENC Who are the people that choose not to stop?
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TAKMIČARSKI IGRANI: Sonja Prosenc Ko su ljudi koji odluče da ne stanu?
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COMPETITION PROGRAMME: ELMA TATARAGIĆ Turbulent Times Inevitably Reflects in Our Cinema
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TAKMIČARSKI DOKUMENTARNI: ANNA RUBI Sve je manje mjesta za krhke
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On today's schedule...
SUOČAVANJE SA PROŠLOŠĆU Otvaranje srca publike za lekcije koje se nikada ne mogu zaboraviti
NA programu danas...
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Takmičarski program: ELMA TATARAGIĆ Ovo turbulentno vrijeme reflektuje se i na kinematografiju u regiji redatelj
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Gala Ceremony The jubilee 30th Sarajevo Film Festival opened with the world premiere of "My Late Summer" by Danis Tanović Cinema in the World
FOTO GALLERY
CONTENT
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DEALING WITH THE PAST Keeping the hearts of audiences open to lessons learned and never to be unlearned
TAKMIČARSKI DOKUMENTARNI: MAJA DOROTEJA PRELOG Teške odluke dešavaju se daleko od nagrada
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Svečana ceremonija Jubilarni 30. Sarajevo Film Festival otvoren uz svjetsku premijeru filma "Nakon ljeta" Danisa Tanovića
NAGRADA Elia Suleiman primio Počasno Srce Sarajeva
COMPETITION DOCUMENTARY: ANNA RUBI There is less and less space for the fragile
30. Sarajevo Film Festival otvoren uz svjetsku premijeru filma "Nakon ljeta" Danisa Tanovića
Slavljenički 30. Sarajevo Film Festival otvoren je u Narodnom pozorištu Sarajevo uz svečanu ceremoniju nakon koje je održana svjetska premijera novog filma bh. reditelja Danisa Tanovića „Nakon ljeta“.
Svečana ceremonija
„Ova jubilarna godina obilježava tri decenije naše posvećenosti prikazivanju najkvalitetnijih filmova vama našoj publici, dok ujedno služimo kao ključna platforma za razvoj regionalne kinematografije. Svijet oko nas nažalost nije bolji, nije onakav kakav smo zamišljali da može biti kada je Festival nastajao, međutim naše iskustvo u proteklih 30 godina pokazuje da refleksija na najteža vremena kroz dijalog i umjetnost nije samo važna, već i neophodna ako želimo da mir prevlada“, izjavio je Jovan Marjanović, direktor Sarajevo Film Festivala, dodavši da je misija Festivala od samih početaka bila i ostala gledajući u prošlost graditi mostove i stvarati bolju budućnost. „Za jubilarno izdanje Festivala uspostavili smo nove lokacije. Nadamo se da će one postati novi kulturni centar našeg grada, a time i Bosne i Hercegovine. Sve ovo radimo s nadom da ćemo na tom mjestu ubrzo imati savremeni prostor posvećen kulturnim događajima, te da ćete vi, naša publika, imati priliku da u budućnosti prisustvujete otvaranjima Festivala na takvom mjestu“, rekao je Marjanović. Prije projekcije, dodijeljeno je i prvo ovogodišnje Počasno Srce Sarajeva. Uručeno je palestinskom reditelju Eliji Suleimanu u znak priznanja za njegov izuzetan doprinos filmskoj umjetnosti. Osim u Narodnom pozorištu, publika je u komičnoj drami „Nakon ljeta“ uživala i diljem Sarajeva u Ljetnom kinu Coca-Cola, Ljetnom kinu Stari Grad, Ljetnom kinu Centar “Safet Zajko”, Ljetnom kinu “Centar” i u kinu Cineplexx. „Sretan nam rođendan! Svima nama. Jer zaista ako postoji ijedan festival na svijetu koji smatram svojim, onda je to ovaj. Nadam se da ćete uživati u filmu, a ako buduete uživali onoliko koliko smo mi dok smo ga radili, uživat ćete jako", izjavio je prije projekcije Danis Tanović, koji je Počasno Srce Sarajeva dobio je 2014. kao znak priznanja za izuzetan doprinos filmskoj umjetnosti i za podršku Sarajevo Film Festivalu. Svjetskom premijerom filma „Nakon ljeta“, u kojem glavne uloge imaju Anja Matković i Uliks Fehmiu, ujedno je počeo i program Sarajevo Film Festivala u Mostaru i Tuzli. Projekcije su održane u BH Telecom Ljetnom kinu Mostar i u Bingo Ljetnom kinu Tuzla. „Nakon ljeta“ filmska je priča o mladoj ženi koja dolazi na udaljeni otok kako bi riješila pitanje obiteljskog nasljedstva. U vrtlogu novonastalih emocija, kroz niz nepredviđenih situacija, Maja će se konačno suočiti s pitanjima iz svoje prošlosti. Potraga za nasljedstvom postaje potraga za vlastitim identitetom, ali i oprostom. Danis Tanović višestruko je nagrađivani reditelj, scenarist i producent. Njegov film „Ničija zemlja“ (2001.), za koji je napisao i scenarij, nagrađen je Oscarom® i Zlatnim globusom za najbolji film na stranom jeziku. Dvostruki je dobitnik Srebrnog medvjeda na filmskom festivalu u Berlinu za filmove „Epizoda u životu berača željeza“ (2013.) i „Smrt u Sarajevu“ (2016.). Čast da vodi svečanost otvaranja 30. izdanja Sarajevo Film Festivala pripala je glumici Maji Izetbegović. Na 30. Sarajevo Film Festivalu, koji se održava do 23. augusta, bit će prikazano 247 filmova i serija iz 70 zemalja u 20 festivalskih programa. U konkurenciji za nagrade Srce Sarajeva 53 su filma. Sub-headings
The celebratory 30th Sarajevo Film Festival was opened at the Sarajevo National Theater with a solemn ceremony, after which the world premiere of the new film by the Bosnian director Danis Tanović "My Late Summer" was held.
Gala Ceremony
The 30th Sarajevo Film Festival opened with the world premiere of "My Late Summer" by Danis Tanović
" This jubilee year marks three decades of our dedication to showing the highest quality films to you, our audience, while at the same time we serve as a key platform for regional cinema development. Unfortunately, the world around us is not better, it is not the way we are imagined that it could be when the festival was created, however our experience over the past 30 years shows that reflection on the most difficult times through dialogue and art is not only important, but also necessary if we want peace to prevail”, said Jovan Marjanović, Director of the Sarajevo Film Festival, adding that the festival's mission from the very beginning was and remains looking to the past to build bridges and create a better future. “This edition of the Festival brings numerous novelties. We have established new locations that will hopefully become new cultural ones the center of our city, and thus of Bosnia and Herzegovina. All this we are working with the hope that we will soon have in that place contemporary space dedicated to cultural events, and you, our audience, will have the opportunity to in the future you attend the opening of the Festival in such a place", said Marjanović. The Honorary Heart of Sarajevo, at tonight's opening ceremony, was presented to Palestinian director Elija Suleiman in recognition of his outstanding contribution to film art. In addition to the National Theater, the audience enjoyed the comedy drama "My Late Summer" all over Sarajevo in the Open Air Cinema Coca-Cola, the Open Air Cinema Stari Grad, the Open Air Cinema Centar „Safet Zajko“, the Open Air Cinema and the Cineplexx cinema. "Happy birthday to us! To all of us. Because really if there is one festival in the world that I consider my own, then it is this one. I hope you enjoy the film, and if you enjoy it as much as we did while making it, you will enjoy it very much" said Tanović. With the world premiere of the film "My Late Summer", in which Anja Matković and Uliks Fehmiu play the main roles, the programme of the Sarajevo Film Festival in Mostar and Tuzla also began. Screenings were held in BH Telecom Open Air Cinema Mostar and Bingo Open Air Cinema Tuzla. "My Late Summer" is a movie story about a young woman who comes to a remote island to solve the issue of family inheritance. In a whirlwind of new emotions, through a series of unforeseen situations, Maja will finally face questions from her past. The search for inheritance becomes a search for one's own identity, but also for forgiveness. Danis Tanović is a multiple award-winning director, screenwriter and producer. His film "No Man's Land" (2001), for which he also wrote the screenplay, was awarded an Oscar® and a Golden Globe for the best film in a foreign language. He is a two-time winner of the Silver Bear at the Berlin Film Festival for the films "An Episode in the Life of an Iron Picker" (2013) and "Death in Sarajevo" (2016). He received the Honorary Heart of Sarajevo in 2014 as a sign of recognition for his exceptional contribution to film art and for his support of the Sarajevo Film Festival. The honor of hosting the opening ceremony of the 30th edition of the Sarajevo Film Festival went to actress Maja Izetbegović. At the 30th Sarajevo Film Festival, which will be held until August 23, 247 films will be shown in 18 festival programmes. There are 54 films in competition for the Heart of Sarajevo awards. Sub-headings
„Potrebno je da dijelimo srca i ljubav“, kazao je proslavljeni palestinski reditelj i glumac preuzimajući nagradu koju Festival dodjeljuje proslavljenim autorima.
NAGRADA
Elia Suleiman primio Počasno Srce Sarajeva
Na otvorenju 30. Sarajevo Film Festivala u Narodnom pozorištu odana je počast palestinskom reditelju Eliji Suleimanu u znak priznanja za njegov izuzetan doprinos filmskoj umjetnosti. Jovan Marjanović, direktor Festivala, Višestruko nagrađivanom autoru uručio je priznanje Počasno Srce Sarajeva. „Ovo je pravi trenutak da primim Srce Sarajeva, jer, kao što je rekao Jovan Marjanović, živimo u teškim vremenima i moramo omogućiti kinematografiji da svijet učini manje nasilnim. Potrebno je da dijelimo srca i ljubav. Kada dođem kući transplantirat ću ovo srce“, rekao je Elija Suleiman. Uz Počasno Srce Sarajeva, Suleiman je na 30. Sarajevo Film Festivalu dobio još jedno priznanje – retospektivni program Posvećeno. Tokom prva četiri festivalska dana bit će prikazano devet njegovih ostvarenja koja čine većinu dosadašnjeg opusa ovoga višestruko nagrađivanog autora.
At the opening of the 30th Sarajevo Film Festival at the National Theatre, Palestinian director Elia Suleiman was honored in recognition of his exceptional contribution to the art of cinema. Jovan Marjanović, the director of the Sarajevo Film Festival, presented the renowned filmmaker with the Honorary Heart of Sarajevo. "This is the right moment to receive the Heart of Sarajevo, because, as Jovan Marjanović mentioned, we live in difficult times, and we must allow cinema to make the world less violent. We need to share our hearts and love. When I return home, I will transplant this heart," said Elia Suleiman. In addition to the Honorary Heart of Sarajevo, Suleiman received another accolade at the 30th Sarajevo Film Festival—a retrospective program dedicated to him. Over the first four days of the festival, nine of his works, representing the majority of his award-winning career, will be screened.
"We need to share our hearts and love," said the acclaimed Palestinian director and actor as he accepted the award given by the Festival to distinguished filmmakers.
Elia Suleiman Receives the Honorary Heart of Sarajevo
Foto galerija / Photo gallery
Gala zabava/ Gala Party
Glumica Noomi Rapace / Actress Noomi Rapace
Festivalski žiri: glumica Noomi Rapace, reditelj Juho Kuosmanen, glumac Sebastian Cavazza i rediteljica Una Gunjak / Festival Jury: actress Noomi Rapace, director Juho Kuosmanen, actor Sebastian Cavazza and director Una Gunjak
Bingo Ljetno kino Tuzla / Bingo Open Air Cinema Tuzla
Glumac Uliks Fehmiu sa suprugom, glumicom Snežanom Bogdanović / Actor Uliks Fehmiu with wife, actress Snežana Bogdanović
Glumac Tarik Filipović sa suprugom Lejlom i sinom / Actor Tarik Filipović with wife Lejla and son
BH Telecom Ljetno kino Mostar / BH Telecom Open Air Cinema Mostar
Reditelj Danis Tanović sa suprugom Maelys de Rudder Tanović / Director Danis Tanović with wife Maelys de Rudder Tanović
Više fotografija možete pronaći OVDJE. More festival photos you can find HERE.
Glazbenica Yasmine Hamdan, direktor Sarajevo Film Festivala Jovan Marjanović, reditelj Elia Suleiman i umjetnica Šejla Kamerić / Musician Yasmine Hamdan, director of SFF Jovan Marjanović, director Elia Suleiman and visual artist Šejla Kamerić
Gradonačelnica Sarajeva Benjamina Karić sa suprugom Alenom Karićem / Mayor of Sarajevo Benjamina Karić with husband Alen Karić
Voditeljica ceremonije otvaranja – glumica Maja Izetbegović / Host of the Gala Ceremony – actress Maja Izetbegović
Gala zabava / Gala Party
Takmičarski program
Elma Tataragić selektorica Igrani film i Kratki fiLM
Od tema s kojima se bave autori do ugodnih iznenađenja, selektorica Elma Tataragić, koja je dio Sarajevo Film Festivala od samih njegovih početaka, osvrće se na konkurenciju za Srce Sarajeva u kategorijama igrani i kratki film.
Ovo turbulentno vrijeme reflektuje se i na kinematografiju u regiji
Koliko je ove godine bilo teško probrati 8 dugometražnih igranih filmova koji će se natjecati za Srce Sarajeva? Svaka godina je posebna u pogledu selekcije jer svake godine gledamo druge filmove, a i svjedoci smo vrlo brzih promjena u području promocije i distribucije filmove. Ipak, regija bilježi stabilan rast igranih dugometražnih filmova od krize koju je prouzrokovala pandemija, te smo samo za ovih 8 filmova u konkurenciji ove godine pogledali nešto više od 180 filmova. Tu ne ubrajamo filmove koji su već igrali u komercijalnim kinima, a kojih je sve više posebno u nekim državama regije. Ono što je važno jeste da imamo uvid u kompletnu produkciju, da se saradnja sa autorima i producentima nastavlja i produbljuje iz godine u godinu što znači da smo festival na koji filmski radnici iz regije itekako računaju. Kojim se temama ponajviše bave redateljice i redatelji u regiji? Ne postoje neke stalne teme. Taj period regionalne kinematografije je ostavljen u ranim 2000im godinama kada se većina autora bavila pitanjima tranzicije gotovo u svim zemljama regije. Danas to više nije slučaj. Autori prave filmove epohe, distopijske filmove, filmove o identitetu, o pripadanju, o ljubavi, propituju seksualnost, i naravno i dalje filmove koji su društveno angažirani. Baš kao i regije koja se jako promijenila u zadnjih 20 godina, tako se i regionalna kinematografija okrenula prema univerzalnijim i globalnijim temama. Što vas je pri selekciji najviše iznenadilo? Najteže je započeti i zatvoriti selekciju, tako da sam jako ugodno bila iznenađena gruzijskim filmom „Sveti elektricitet“ koje na najbolji mogući način zaokružio selekciju i dao joj jedan dublji ton. To je ujedno i jedan od debitantskih filma u selekciji koji je prije Sarajeva ima premijeru u Locarnu. Po čemu se „Majka Mara“ glumice i redateljice Mirjane Karanović izdvojio kao idealan film za gala projekciju? Mirjana Karanović je autorica koja je dugo povezana sa Sarajevo Film Festivalom a i sa bosanskohercegovačkom kinematografijom. Bila nam je članica žirija, mnogo puta učestvovala kao glumica, i bilo je sasvim logično da njen drugi igrani film „Majka Mara“ ugostimo kao Gala projekciju. Film vrlo hrabro otvara temu ženske seksualnosti, temu koja nije još uvijek toliko česta u regiji i po tome je ovaj film zaista poseban. Kako biste opisali ovogodišnji kratkometražni program, u kojem se nalazi i osvajač Zlatne palme „Čovjek koji nije mogao šutjeti“? Jako sam zadovoljna kratkometražnom selekcijom ove godine a posebna je čast što imamo i dobitnika Zlatne palme film „Čovjek koji nije mogao šutjeti“. Ove godine prikazujemo 12 filmova među kojima su tri animirana filma. Ono što me posebno raduje što su u selekciji dva filma iz Bosne i Hercegovine: kratki igrani film „Bonaca“ Luka Vlaha i animirani film „Gaia“ Enisa Čišića i Nermina Hamzagića. Slavljeničko 30. izdanje Sarajevo Film Festivala vrijeme je i za retrospekciju. Kada pogledate unatrag, mislite li da se regionalna kinematografija razvija u pravom smjeru? Prešli smo dug put svi zajedno, no imamo još dosta posla i zajedno kao regija a i kao pojedinačne kinematografije. Generalno, ovo je turbulentno vrijeme globalno, pa i regionalno, a to se nužno reflektuje i na kinematografiju. Josip Jurčić
TAKMIČARSKI PROGRAM • Elma Tataragić • selektorica Igrani film i Kratki fiLM
"Grand Kafa sa..." program / Upoznajte goste Open Air programa. Uživajte u "Grand Kafa sa..." programu Vrijeme i mjesto: 12.30 - 13.30*, Festivalski trg. ULAZ SLOBODAN uz festivalsku akreditaciju ili ulaznicu za film. Broj mjesta ograničen. *Tačan raspored „Grand Kafa sa…“ programa provjerite na web stranici i društvenim mrežama Sarajevo Film Festivala. "Grand Coffee with..." Programme Meet the guests of the Open Air Programme. Enjoy the "Grand Coffee with..." Time and venue: 12.30 - 13.30* at the Festival Square. FREE ADMISSION with the Festival accreditation or the film screening ticket. Limited number of seats. *For the full schedule of „Grand Coffee with…“, please follow theSarajevo Film Festival website and social media channels. says "We go together." This year's campaign emphasizes unity and cheerful spirit, highlighting opportunities where Coca-Cola and all of us "go together." Coca-Cola continues its tradition of supporting environmental conservation and sustainability. Through the project "Recycle Me. Give Me a New Life," Coca-Cola invites citizens to go together towards awareness about recycling and waste reduction, promoting environmentally responsible behavior.
Turbulent Times Inevitably Reflects in Our Cinema
Elma Tataragić Programmer of Feature Film and Short Film
From the themes explored by filmmakers to the pleasant surprises, Elma Tataragić, who has been with the Sarajevo Film Festival since its inception, reflects on the competition for the Heart of Sarajevo in the categories of feature and short films.
How challenging was it this year to select the eight feature films competing for the Heart of Sarajevo? Each year presents its own unique challenges in the selection process because we are always viewing different films, and we are witnessing rapid changes in film promotion and distribution. Despite this, the region has seen a stable growth in feature films since the crisis caused by the pandemic. For this year's competition, we reviewed over 180 films to select just eight. This does not include films that have already been shown in commercial cinemas, which is increasingly common, especially in certain countries within the region. The important thing is that we have a comprehensive overview of the production landscape, and our collaboration with filmmakers and producers continues to deepen each year, solidifying our position as a festival that regional filmmakers rely on. What themes are filmmakers in the region most focused on? There are no consistent themes that dominate. The period in regional cinema where most filmmakers were focused on issues of transition, which was common across the region in the early 2000s, has passed. Today, this is no longer the case. Filmmakers are creating period pieces, dystopian films, exploring identity, belonging, love, questioning sexuality, and, of course, making socially engaged films. Just as the region has undergone significant changes in the last 20 years, regional cinema has also shifted towards more universal and global themes. What surprised you the most during the selection process? The most challenging part of the selection process is starting and finishing it, so I was pleasantly surprised by the Georgian film Holy Electricity, which perfectly rounded off the selection and gave it a deeper tone. It’s one of the debut films in the selection, which premiered in Locarno before Sarajevo. What made Mother Mara, film by actress and director Mirjana Karanović, stand out as the ideal film for a gala screening? Mirjana Karanović is an artist with long-standing ties to the Sarajevo Film Festival and Bosnian-Herzegovinian cinema. She has served as a jury member and participated many times as an actress, so it was only natural to feature her second feature film, Mother Mara, as a Gala screening. The film bravely tackles the subject of female sexuality, a topic that is still relatively rare in the region, making it truly special. How would you describe this year’s short film program, which includes the Palme d'Or winner The Man Who Could Not Remain Silent? I am very pleased with this year's short film selection, and it's a particular honor to include the Palme d'Or winner The Man Who Could Not Remain Silent. This year, we are showcasing 12 films, including three animated ones. I’m especially delighted that two films from Bosnia and Herzegovina are in the selection: the short feature Bonaca by Luka Vlaho and the animated film Gaia by Enis Čišić and Nermin Hamzagić. As the Sarajevo Film Festival celebrates its 30th anniversary, it’s a time for retrospection. Looking back, do you think regional cinema is developing in the right direction? We've come a long way together, but there is still much work to be done, both as a region and within individual cinemas. In general, these are turbulent times globally and regionally, and this inevitably reflects in our cinema. Josip Jurčić
Competition Programme
Competition Programme • Elma Tataragić • Programmer of Feature Film and Short Film
BH Telecom je vodeći digitalni integrator bh. društva i dugogodišnji ponosni glavni sponzor Sarajevo Film Festivala pod sloganom „Moje Sarajevo. Moja priča.“ I ovog, jubilarnog 30. po redu izdanja, budite uz Moja TV platformu gdje vam donosimo mnoštvo uzbudljivog ekskluzivnog sadržaja kao live atmosferu na kanalu MY TV, i na poddomeni www.bhtelecom.ba/sff i na našim društvenim mrežama. Svim korisnicima obećavamo beskrajno uživanje i dobar provod uz tv ekrane! Moje Sarajevo. Moja priča. BH Telecom BH Telecom has been the leading digital integrator of the BiH society and the proud main sponsor of the Sarajevo Film Festival under the slogan „My Sarajevo. My story.“ for many years now. On the occasion of the 30th Sarajevo Film Festival edition, we ask you kindly to follow our MojaTV platform, where you will find a lot of exciting, exclusive and premium contents, and live festival atmosphere on our channel MY TV, subdomain www.bhtelecom.ba/sff and social networks. We promise to have a good time while watching TV! My Sarajevo. My story. BH Telecom
TAKMIČARSKI IGRANI
Slovenska rediteljica Sonja Prosenc uspješno balansira između arthouse filma i žanrovskih ostvarenja, a u svom novom filmu „Obiteljska terapija" prikazuje obitelj slovenačkih novopečenih bogataša čiju porodičnu dinamiku narušava dolazak jednog stranca.
Kakav je osjećaj imati film u takmičenju za Srce Sarajeva, šesnaest godina nakon što ste prvi put došli na Sarajevo Film Festival kao učesnik Sarajevo Talentsa? Sarajevo Talents, sa pozvanim predavačima koji su svi bili nevjerovatni filmski stvaraoci, igrao je važnu ulogu u mojim prvim koracima u filmu. Od tada osjećam posebnu povezanost s festivalom te sam mu se vraćala mnogo puta tokom godina. Oduševljena sam što sam ovdje sa svojim trećim filmom, projektom koji mi je donio mnogo kreativne radosti. Sarajevo Film Festival je srce kinematografije u našem regionu, pa je posebno zadovoljstvo predstaviti film u ovom prestižnom takmičenju igranih filmova. Film konstantno prelazi između slovenačkog, engleskog i francuskog jezika. Kako je višejezičnost uticala na proces rada na filmu? U svom prethodnom filmu stekla sam mnogo iskustva sa višejezičnošću i miješanjem kulturnih specifičnosti. To je neizbježno kada u priči imate likove iz inostranstva i kada ljudi s kojima želite raditi dolaze iz različitih zemalja. Tako se ova dimenzija proširuje izvan scenarija i ekrana, a producent Rok Sečen uvijek pronalazi način da obogati projekt rješenjima za moje kreativne vizije. Što se tiče priče i glumaca, angažovali smo francuskog tutora za jezik za Marka Mandića, i on je odradio odličan posao. Aliocha Schneider, kao izvorni govornik francuskog jezika i vrlo kreativna osoba, mnogo je pomogao, tako da smo ponekad mogli prilagoditi rečenice na licu mjesta. Sa engleskim je bilo malo lakše jer se općenito koristi kada govorimo različite jezike. Na kraju, proces je bio gladak, a sve specifičnosti, pa čak i greške i borbe, zapravo su išle u korist priče i teme filma. Radnja se pokreće kada bogata porodica Kralj prolazi pored manje sretne porodice sa pokvarenim automobilom. Šta vas je motivisalo da istražujete temu zanemarivanja onih kojima je pomoć potrebna i okretanja glave? Geneza filma, početna ideja, potekla je iz sjećanja iz djetinjstva. Kada sam bila dijete, naš automobil se zapalio na putu, i iz tog sjećanja na automobile koji prolaze a ne pomažu, rodila se radoznalost: Ko su ljudi koji odluče da ne stanu? U svojoj srži, ovaj film istražuje izolaciju, ne samo fizičku, već i emocionalnu i socijalnu. Ulazimo u život posttranzicijske ‘novopečene bogate’ porodice koja oličava odvojenost od stvarnosti koja ih okružuje. Kada se dogodila COVID epidemija, ona je dodatno osnažila teme koje sam istraživala dok smo razvijali projekat u to vrijeme. Pokazala je neodrživost života u balonima, čak i ako je to bilo nužno u tom periodu; kao zajednica ne možemo postojati u fragmentiranom prostoru gdje ljudi nemaju empatije jedni za druge. Još jedan ključni element u filmu je dolazak Juliena, 25-godišnjeg očevog sina iz prethodne veze, čije prisustvo narušava pažljivo izgrađenu fasadu porodice Kralj. Kako ste pristupili procesu odabira glumaca i koji su ključni faktori bili u izboru glumaca za portretisanje porodice Kralj? Sa Katarinom Stegnar, koja glumi majku, radim od mog prvog igranog filma. Godinama sam zamišljala da zajedno s njom i Markom Mandićem, kojeg sam poznavala samo iz njegovih uloga, snimim film. "Obiteljska terapija" pružila je odličnu priliku da ih odaberem za par Kralj. Oboje su vrlo fizički glumci, tako da je bilo fascinantno razvijati ove likove koji su, barem na početku filma, vrlo inhibirani u izražavanju svojih emocija. Tokom priprema spontano su pronašli poseban fizički sinhronicitet, koji je dao odnosu između Aleksandra i Olivije suptilnu, ali važnu dimenziju. Izgledaju kao da žive u potpuno različitim svjetovima, ali kroz ovu posebnu povezanost također razumijemo da su nekada bili vrlo bliski jedno drugom. Lik Juliena je trebao biti iz inostranstva, iz drugačijeg kulturnog miljea. Aliocha Schneidera su mi preporučili francuski kolege, a kada sam razvijala projekat na filmskoj rezidenciji u Parizu, imala sam priliku početi raditi i istraživati ulogu s njim, budući da živi tamo. Oduševila me autentičnost koju je donio ulozi. Mila Bezjak, koja je zapravo Katarinina kćerka, prijavila se na audiciju za ulogu Agate zajedno sa više od 100 drugih djevojaka. Izdvojila se po talentu, ali i po načinu na koji je podnijela veliki set, ekipu i cijelo iskustvo, što ju je učinilo nevjerovatnim otkrićem za mene. Aleksandar i Olivija Kralj se predstavljaju kao duboko uključeni u umjetnost, ali nemaju stvarnu angažiranost u svojim oblastima. Da li je to bila namjera da se kritikuje način na koji bogati koriste umjetnost da projiciraju imidž intelektualizma dok izbjegavaju istinsku umjetničku praksu? Rekla bih da je više bilo riječ o izbjegavanju da ih učinimo tipičnim kapitalistima, neoliberalnim bogatašima ili možda tradicionalistima, što bi moglo biti očigledniji izbor. Umjesto toga, odlučili smo prikazati Aleksandra i Oliviju Kralj kao pojedince koji sebe doživljavaju, ili ih drugi doživljavaju, kao progresivnije članove društva. Oni su ljudi sa određenim progresivnim i vjerovatno humanističkim vrijednostima. Ali šta se dešava kada ih stvarnost dodirne, kada se od njih očekuje da žive prema tim vrijednostima? Lako je upirati prstom i osuđivati ih. Ali ako smo iskreni, ponekad postoji disonanca između naših vrijednosti i naših postupaka. Humanost i altruizam su mnogo jednostavniji u teoriji nego u praksi. Možda gledalac može priznati ovo, barem potajno, sebi i nasmijati se sopstvenim kontradikcijama dok gleda. Autoironija je bila važan aspekt ovog filma. Film ima vrlo prepoznatljiv vizuelni stil. Da li su neki istaknuti režiseri ili umjetnici uticali na vaše umjetničke izbore? Sa Mitjom Ličenom, snimateljem, razvili smo vizuelni koncept koji ostavlja utisak da porodica živi na drugoj planeti, izolovana, ali i referišući se na Aleksandrovu želju da pobjegne u svemir. To je uticalo na našu upotrebu svjetla, kadriranja, statičnih snimaka i oštre slike, kojoj smo dodali bogate boje i teksture kako bismo stvorili barokni efekat, sličan muzici koju smo koristili. Ovo je pomoglo u uspostavljanju tona društvene satire s kojom film počinje. Kako se priča razvija, slojevi počinju da se ljušte, i prelazimo prema komediji i drami. Približavamo se likovima, priroda počinje ulaziti u njihov dom, a pokret kamere se mijenja, postajući dinamičniji i življi. Na ovaj način smo pratili viziju evolucije i kontinuirane promjene. Povremeno, uglavnom kada smo se bavili simbolikom, igrali smo se sa referencama ili odavali počast poznatim umjetničkim djelima, kao što je klasična slika Ofelije Johna Everetta Millaisa ili Tarkovskijev tracking shot uspavane porodice. Međutim, dodali smo komičan obrt, neku vrstu duhovite reinterpretacije specifičnih djela koja su doprinijela komentaru i tonu filma. Šta vas je navelo da u film uključite srpsku pjevačicu i kantautorku Konstraktu, koja se pojavljuje u cameo ulozi na zabavi u kući porodice Kralj? Zapravo, koncept autoironije koji sam ranije spomenula igrao je važnu ulogu. Zaista cijenim svakoga ko je sposoban za to, a u njenom radu se može prepoznati mnogo toga, kroz prezentiranje društvenih komentara ili izlaganje određenih društvenih problema na ovaj način. Zato sam osjetila da su moj film i njen rad vrlo usklađeni u tom aspektu. Bilo mi je veliko zadovoljstvo kada je pristala na ovo i prihvatila nešto što je za nju bilo prvo glumačko iskustvo. Ali možete vidjeti da je ona odlična izvođačica. Ne bih se iznenadila da nakon "Obiteljske terapije" vidimo Anu Đurić kao glumicu i u drugim filmovima. Josip Jurčić Sub-headings Sub-headings
Sonja Prosenc OBITELJSKA TERAPIJA
Ko su ljudi koji odluče da ne stanu?
FOTO: Mitja Ličen
Takmičarski IGRANI • Sonja Prosenc • OBITELJSKA TERAPIJA
Who are the people that choose not to stop?
The Slovenian director Sonja Prosenc successfully balances between arthouse cinema and genre films, and in her new movie Family Therapy, she depicts a family of Slovenian nouveau riche whose family dynamics are disrupted by the arrival of a stranger.
COMPETITION FEATURES
FOTO: Borut Krajnc
Sonja Prosenc FAMILY THERAPY
What is it like to have a film in competition for the Heart of Sarajevo, sixteen years after you first came to Sarajevo Film Festival as a participant in Sarajevo Talents? Sarajevo Talents, with the invited lecturers who were all incredible filmmakers, played an important role in my first steps in film. Since then, I have felt a special connection to the festival, attending it many times over the years. I am thrilled to be here with my third film, a project that has brought me a lot of creative joy. The Sarajevo Film Festival is the beating heart of cinema in our region, making it even more special to present my film in this prestigious feature film competition. The film constantly switches between Slovenian, English, and French. How did multilingualism impact the process of working on the film? In my previous film, I gained a lot of experience with multilingualism and the mixing of cultural specifics. It is inevitable when there are characters in the story from abroad and when the people you want to work with come from different countries. So, this dimension extends beyond the script and the screen, and producer Rok Sečen always finds a way to enrich the project with solutions for my creative visions. Regarding the story and actors, we employed a French language tutor for Marko, and they did a great job. Aliocha, as a native French speaker and a very creative person, helped a lot, so that sometimes we could have adapted lines on the spot. With English, it was a bit easier since it is generally used when we speak different languages. In the end, the process was smooth, and all the specifics, maybe even mistakes, and struggles actually worked in favour of the story and the theme of the film. The plot is set in motion when the wealthy Kralj family passes by a less fortunate family with a broken-down car. What motivated you to explore the subject of neglecting those in need and turning your head around? The genesis of the film, the initial idea, came from a childhood memory. When I was a child, our car burned down on the road, and from a memory of cars driving by without helping. This planted a seed of curiosity: Who are the people that choose not to stop? So, at its core, this film is an exploration of isolation, not just physically but emotionally and socially. We delve into the life of a post-transitional ‘nouveau riche’ family that epitomizes separation from the reality that engulfs them. When the COVID epidemic happened, it reinforced the themes I was exploring as we were developing the project at that time. It showed the unsustainability of living in bubbles even if it was necessary during that period; as a community, we cannot exist in a fragmented space where people do not have empathy for one another. Another central element in the film is the arrival of Julien, the father's 25-year-old son from a previous relationship, whose presence disrupts the Kralj family’s carefully constructed facade. How did you go about the casting process, and what were the key factors in choosing the actors to portray the Kralj family? I have worked with Katarina Stegnar since my first feature film. For many years, I imagined having both Katarina and Marko Mandić, whom I only knew from his roles, together in a film. Family Therapy provided a great opportunity to cast them as the Kralj couple. They are both very physical actors, so it was fascinating to develop these characters who, at least in the beginning of the film, are very inhibited in expressing their emotions. During preparations, they spontaneously found a special physical synchronicity, which gave the relationship between Aleksander and Olivia a subtle yet important dimension. They seem like they are living worlds apart, but through this special connection, we also understand they were once very close to each other. The character of Julien was meant to be from a foreign country, a different cultural milieu. Aliocha Schneider was suggested to me by my French colleagues, and when I was developing the project at a film residency in Paris, I had the opportunity to start working and exploring the role with him, since he lives there. I was mesmerized by the authenticity he brought to the role. Mila Bezjak, who is actually Katarina’s daughter, auditioned for the role of Agata along with more than 100 other girls. She stood out in terms of talent, and also in the way she handled the big set, crew, and the whole experience, making her an incredible discovery for me. Aleksander and Olivia Kralj present themselves as deeply involved in art, yet they have no real engagement in their fields. Was this intended as a critique of how the wealthy use art to project an image of intellectualism while avoiding genuine artistic practice? I would say it’s more about avoiding making them typical capitalist, neo-liberal rich people, or maybe traditionalists, which could be a more obvious choice. Instead, we chose to portray Aleksander and Olivia Kralj as individuals who perceive themselves, or are perceived by others, as more progressive members of society. They are people with certain progressive and probably humanistic values. But what happens when reality touches them, when they are expected to live by those values? It's easy to point fingers and condemn them. But if we're honest, sometimes there is a dissonance between our values and our actions. Humanity and altruism are much simpler in theory than in practice. Maybe the viewer can admit this, at least secretly, to themselves and laugh at their own contradictions while watching. Self-irony was an important aspect of this film. The film has a very distinct visual style. Were there any prominent directors or artists who influenced your artistic choices? With Mitja Ličen, the cinematographer, we developed a visual concept that gives the impression of the family living on another planet, isolated, but also referencing Aleksander’s dream of escaping to space. This influenced our use of light, framing, static shots, and crisp imagery, to which we added rich colours and textures to create a baroque effect, similar to the music we used. This helped establish the social satire tone that the film starts with. As the story evolves, layers start to peel off, and we transition towards comedy drama. We get closer to the characters, nature begins to enter their home, and the camera movement changes, becoming more dynamic and alive. In this way, we followed a vision of evolution and continuous change. Occasionally, mostly when we dipped into symbolism, we played with references or paid homage to well-known artistic works, such as the classical painting Ophelia by John Everett Millais or Tarkovsky’s tracking shot of a sleeping family. However, we added a comedic twist, a kind of humorous reimagination of specific works that contributed to the commentary and tone of the film. What led you to make a Serbian singer and songwriter Konstrakta part of a film with cameo appearance performing at a party at the Kralj family's house? Actually, the concept of self-irony that I mentioned before played an important role. I really admire everyone who is capable of it, and you can recognize a lot of it in Konstrakta’s work, presenting social commentary or exposing certain social issues through this kind of approach. This is why I felt my film and her work are very aligned in this aspect. I was so pleased when she agreed to do this and jumped into something that was her first acting experience. But you can see she is a great performer. I wouldn’t be surprised if after Family Therapy we see Ana Djurić as an actress in other films as well. Josip Jurčić Sub-headings Sub-headings
COMPETITION FEATURES • Sonja Prosenc • FAMILY THERAPY
Mađarskom dokumentarnom filmu „Tvoj život bez mene“, prvijencu redateljice Anne Rubi, pripada čast da otvori Takmičarski program – dokumentarni film jubilarnog 30. Sarajevo Film Festivala.
Anna Rubi TVOJ ŽIVOT BEZ MENE
Sve je manje mjesta za krhke
Njen je film, priča o majci odrasle osobe s posebnim potrebama, koja se udružuje s ostalim majkama i pokreću tužbu protiv države, u radnoj je fazi zapažen na prethodnom SFF što je priskrbilo i sredstva nužna za njegovo finaliziranje ali i prodajnog agenta, što je rijedak slučaj za dokumentarni film koji tek treba završiti. Prošle ste godine sudjelovali na Docu Rough Cut Boutique, a rad na vašem prvom dugometražnom dokumentarcu primicao se kraju. Ovdje ste dobili dvije nagrade (Cat&Docs i East Silver Caravan) i evo vas ponovo u Sarajevu. Sa kakvim emocijama dolazite ove godine i koliko se razlikuju ova dva učešća na Sarajevo Film Festivalu? Lijepo se vratiti na Sarajevo Film Festival i čast mi je otvoriti takmičarsku sekciju dokumentarnog filma. Uvijek ću se rado sjećati Docu Rough Cut Boutiquea koji je uveliko pomogao da napravimo bolji film i da se upoznamo sa industrijom. Zato se osjećam kao da se vraćam kući i uzbuđena sam što ću ovdje prvi put podijeliti našu priču. Zagrizli ste u goruću i pretešku temu – borbu protiv vjetrenjača koju svakodnevno žive obitelji osoba sa posebnim potrebama u Budimpešti. Dok vlasti okreću glavu od problema, sav teret pada na pleća roditelja, najčešće majki. Šta vas je nagnalo na bavljenje njihovim mukama - iskustvo, empatija ili nešto treće? Dok sam snimala film, moja porodica je prolazila kroz pomalo sličnu situaciju: nismo našli adekvatan dom za mog djeda koji je bolovao od teške demencije. Jedina dostupna mjesta bile su skupne ustanove u kojima su, usljed nedostatka osoblja, pacijenti bili užasno zanemareni. O njemu je kod kuće morala brinuti moja baka. Mnogo ljudi koje poznajem prošlo je kroz slične ponižavajuće životne situacije uzrokovane disfunkcionalnim sustavom skrbi kao da je tako nešto „normalno“. Istog sam trena razumjela misiju majki osjetivši da se one ne bore samo za budućnost svoje djece, već i za sve nas. Ova sudska tužba obuhvaća pitanje šta mi, kao društvo, mislimo o ranjivosti. Kako ja to vidim, opća je tendencija da je sve manje prostora za one koji su slabiji od ostalih dok se sam čin skrbi ne cijeni. To je jako zastrašujuće. Niko od nas nije otporan na metke i vjerujem da svi zavrjeđujemo pravo da budemo ranjivi. Iako su u prvom planu obitelji osoba sa posebnim potrebama, vrlo je jasan aktualni politički trend – dok se, taksativno, na sva usta priča o ljudskim pravima i zajedničkim vrijednostima EU, sve dešnje orijentiran politički sustav ih, zapravo izvrgava ruglu. Jeste li, nakon dugogodišnjeg promatranja njegovog sunovrata, izgubili vjeru u sustav i vidite li način na koji bi se on mogao humanizirati? Ova skupina žena najviše me privukla zato što su one odbijale prihvatiti da budu puke žrtve sustava. Ove su majke našle jedna drugu, počele stvarati zajednicu koja još raste, i zauzele se za sebe. Bez sumnje, ovo je vrijeme izazova za mnoge zemlje u kojima snaži populistička desnica, definitivno je tako u Mađarskoj. Ali mislim da si ne možemo priuštiti gubljenje vjere. Najbolje što jedinke mogu učiniti je njegovati svoje zajednice i raditi na solidarnijem društvu, tako da si u kriznim vremenima možemo pružati potporu. Za mene je „Tvoj život bez mene“ mnogo više priča o skupini koja ne odustaje nego o sustavu koji ju iznevjerava. Da li su umrežavanje i uvezivanje u nevladine udruge te njihovo osnaživanje za samostalno prikupljanje sredstava kako iz EU fondova tako i od svih raspoloživih donatora jedino što roditelji mogu učiniti? Više-manje da, to je ono što se može učiniti. Iako, nažalost, EU fondovi obično ne stižu u regiju Budimpešte u Mađarskoj jer je proglašena najrazvijenijom u zemlji. Stoga se skupina radije oslanja na specifična međunarodna sredstva koja treba pronaći i pomoć donatora. Do sada su dobili pomoć stručnjaka za arhitektonsko planiranje, a više građevinskih tvrtki već je dalo obećanja vezana za gradnju. Majke se nadaju da će akcijom prikupljanja sredstava uspjeti prikupiti srazmjerno manji iznos od pojedinaca, malih donatora. Njihova web stranica je gondozotthon.hu na kojoj svatko može pratiti projekt doma za odrasle i dati svoj doprinos. Ostvarenje ovog doma, prvoga u Budimpešti, za osobe sa teškim i višestrukim hendikepima predstavljalo bi važnu prekretnicu i, nadamo se, otvorilo put drugima u budućnosti. Vjerujem da ste ostali u kontaktu sa obiteljima koje su sudjelovale u filmu. Kakvo je stanje trenutno, kako se zaklada snalazi? Da li je bilo reakcija iz Strasbourga i postoje li pozitivni pomaci? Budući da bi sudski proces na Europskom sudu za ljudska prava u Strasbourgu mogao trajati 5-8 godina ili dulje, rezultat ove tužbe će prije utjecati na one koji će doći u budućnosti. Ali sve se majke slažu da je važno nastaviti s tim zbog pravde. Zajednica raste, sve više pogođenih obitelji sa sela pridružuje se Facebook grupi i događanjima. Budući da je teško doći do ažuriranih informacija sa službenih platformi, glavna roditeljska skupina odlučila je pokrenuti podcast i širiti znanje na svojoj platformi društvenih medija. Kako su se prijavljivali za više fondova, tako su prošle godine zaposlili voditelja projekta na projektu doma za odrasle. Marinela Domančić
TAKMIČARSKI DOKUMENTARNI
Takmičarski dokumentarni • Anna Rubi • TVOJ ŽIVOT BEZ MENE
The Hungarian documentary film Your life without me, the debut director Anna Rubi, has the honor of opening the Competition Program - Documentary Film of the jubilee 30th Sarajevo Film Festival.
Her film, a story about a mother of an adult with special needs who joins forces with other mothers to file a lawsuit against the state, was noticed in its rough cut phase at the last year’s SFF, which led to the acquisition of the necessary funds for its finalization, as well as the securing of a sales agent, which is a rare case for a documentary film that has yet to be completed. Last year you took part in the Docu Rough Cut Boutique and work on your first feature-length documentary was coming to an end. You received two awards (Cat&Docs and East Silver Caravan) and here you are again in Sarajevo. What emotions did you come with this year and how different are these two participations at the Sarajevo Film Festival? It is heartwarming to return to the Sarajevo Film Festival, and an honor to open the Documentary Competition section. The Docu Rough Cut Boutique experience will always be a special memory for me that hugely contributed to us making a better film and getting introduced to the industry. So this time it feels like coming home and I'm excited to share our story here for the first time. You bit into a burning and very difficult topic - the fight against windmills which families of people with special needs in Budapest live on a daily basis. While the authorities turn their heads away from the problem, the entire burden falls on the shoulders of parents, most often mothers. What drove you to deal with their suffering - experience, empathy or something else? While shooting the film my family was going through a bit of a similar situation - we found no adequate care home for my grandfather suffering from severe dementia. The only places available were mass-institutions where patients were awfully neglected because of staff shortage. So he had to be taken care of at home by my grandmother. But so many people I know have gone through much alike humiliating life situations caused by the dysfunctional care system as if this would be “normal”. I instantly resonated with the mothers’ mission as it felt that they are not only fighting for the future of their children, but for all of us. This lawsuit encapsulates the dilemma of what we - as society – think of fragility? The way I see it, the general tendency is that there is less and less space for whoever is weaker than the rest, while the very act of caring is not respected, and it is very scary. None of us is bulletproof, and I believe that we all deserve the right to be vulnerable. Although the families of people with special needs are in the foreground, the current political trend is very clear - while, apparently, everyone is talking about human rights and the common values of the EU, the increasingly right-wing political system actually makes a mockery of them. Have you, after many years of observing its demise, lost faith in the system and do you see a way in which it could be humanized? The main reason why I was drawn to this group of women is that they refused to accept to be mere victims of the system. These mothers found each other, started cultivating a community - that is still growing - and stood up for themselves. No doubt, it is a challenging time for many countries with the populist right getting stronger, definitely it is in Hungary. But I also think we can’t afford to lose faith, and the best thing one can do is to nurture one’s own communities, to work towards a more solidary society, so in times of crisis we can stand strong together. For me Your Life Without Me is much more of a story about a group that is not giving up than the system failing them. Is networking and joining non-governmental organizations and empowering them to independently collect funds both from EU funds and from all available donors the only thing parents can do? More or less yes, this is what can be done. Though unfortunately EU funds typically are not landing in the Budapest region in Hungary, as it is declared the most “developed” in the country. Therefor the group rather relies on specific international funds that they need to seek out, and the help of donors. So far they have received help from an expert in architectural planning, and quite a few construction companies have already made promises regarding the building. Moreover, the mothers are hoping that through their fundraising campaign they will be able to gather a relatively smaller amount from individuals, small donors. On their website gondozotthon.hu anyone can follow the care home project and can contribute. Realizing this home for the multiply-severely disabled would be an important milestone, the first one built in Budapest, and hopefully leading the way to others in the future. I believe you stayed in touch with the families who participated in the film. What is the current situation, how is the foundation doing? Were there any reactions from Strasbourg and are there any positive developments? Since a legal process in the European Court of Human Rights in Strasbourg could last for 5-8 years or longer, the result of this lawsuit will rather affect those who will come after. But the mothers all agree that it is important to pursue it for the sake of justice. The community has been growing, more and more affected families from the countryside are joining their Facebook group and events. As it is hard to get up to date information from official platforms, the core parental group decided to start a podcast and spread knowledge on their social media platform. Moreover, they have been applying to quite a few funds, and as a result last year they could hire a project manager to work on the care home project. Marinela Domančić Sub-headings
Anna Rubi YOUR LIFE WITHOUT ME
Competition Documentary
There is less and less space for the fragile
Competition Documentary • Anna Rubi • YOUR LIFE WITHOUT ME
Maja Doroteja Prelog bez ustručavanja i bez cenzure snimila je film o ljubavi svog života u, za njega, najstrašnijem periodu – dok je vodio bespoštednu bitku za život sa akutnom leukemijom. Snimanje je nastavljeno nakon oporavka i biciklistička tura prelijepom Italijom trebala je biti kruna ozdravljenja, ali, suprotno očekivanom happy endu, pokazalo se da se nekada lakše suočiti sa smrću nego sa životom.
Maja Doroteja Prelog CENT'ANNI
Vaš film je duboko ličan i često zalazi na ona mjesta u duši vašeg partnera i vašoj na koja nerado idemo i sami, a da ne govorimo o tome koliko može biti neugodno otvoriti intimni život cijelom svijetu. Kako ste savladali sram i nelagodu kada ste se odlučili za iskrenost prije svega? Ne bih rekla da sam baš savladala sram i nelagodu, ali naučila sam da imam snage da se pomirim i sa ovom mračnijom stranom sebe. Kad sam počela sa projektom prije pet godina nisam bila sigurna gdje će me to odvesti. Ali obećala sam sebi da ću, šta god da se desi, uvijek ostati iskrena. Imala sam velike borbe sama sa sobom, sa jedne strane prepoznala sam težinu materijala i potencijal filmske priče, ali sam sa druge strane željela da tu priču nikad niko ne vidi. Velika je snaga u tome da dozvolimo sebi da budemo ranjivi i tek tada počinje zacjeljivanje rana. Za mene je to značilo ponovno otkrivanje sebe i odnosa sa Blažom, tražeći razloge kako je moguće da smo se, nakon svega što smo prošli, toliko udaljili. Vjerovatno bi sve te potisnute emocije, ozlojeđenost i nezacijeljene rane, prije ili kasnije izlazile na vidjelo ali film je bio kao ogledalo i nisam mogla skrenuti pogled ako sam htjela da ga završim. Počela sam cijeniti priliku da se suočim s nelagodom kroz sam proces stvaranja filma. Koliko god bilo teško, film je imao terapeutski efekat na mene. Umjesto planiranog prikaza veličanstvenog trijumfa ljudskog duha nad tijelom i bolešću, gledalac tako ulazi u univerzalno i istovremeno intimno iskustvo što je zajedničko ljudima u dugoročnim i posvećenim partnerstvima. Taj se osjećaj ne pojavljuje na samom početku gledanja filma nego oko njegove polovine ili čak nakon dvije trećine – kao da promatramo dokumentarac toka svijesti. Možemo li tako opisati vaš film? Da, dramaturgija prati prirodnu evoluciju procesa stvaranja filma, baš onako kako se odvijala za nas na putovanju, a za mene u procesu snimanja filma i u kombinaciji s načinom moje voice-over naracije, može se reći da je „Cent’anni“ dokumentarni film toka svijesti. Film nema sjajnih uvida, ne traži odgovore, samo polako ljušti sloj za slojem naše veze i svih naših zajedničkih iskustava. Željela sam da, prije nego počnemo biciklističku avanturu, saznamo priču para kako bi se mogli poistovjetiti sa svime što im se dešava na putu kroz Italiju. Baš kao što sam se ja našla potpuno izgubljena na najljepšem mjestu na svijetu, tako će se naći i gledaoci. Morala sam početi priču “na početku” svog života da pozovem gledaoce u moj svijet i ispričam priču o sebi, o našoj vezi, o našem zajedničkom iskustvu sa bolešću i na kraju je „Cent'anni“ postao moje iskreno priznanje i bolna analogija našeg odnosa. Liričnost vaših pejsaža je prekrasna. Ljepote planina, mora, životinja – općenito prirode – gotovo uvijek su u snažnom kontrastu sa nemirom u vama. Jedino erupcija slikom liči na povremene emotivne eksplozije koje Blaž doživljava. Kakav je vaš odnos prema prirodi i kakvu ulogu ona igra u traženju puta povratka u život? Priroda kao metafora za slobodu, za život, imala je najvažniju ulogu kada smo počeli da stvaramo film. Blaž je zamislio biciklistički put kroz Italiju ne samo zato što je to Meka za bicikliste, već i prije svega zbog čuvenih pejzaža te zemlje, poznate kao “Belpaese” (lijepa zemlja, op. M.D.). Tokom lječenja bio je nekoliko mjeseci u sterilnoj bolničkoj sobi bez izlaza i najviše mu je nedostajao svjež vazduh i pogled koji seže do horizonta (vjerovatno je to osjećaj koji nakon covida više nije toliko stran). Kad god je došao kući na nekoliko dana, uvijek smo dane provodili u prirodi, punili baterije. Kada smo razmišljali o filmu, prirodu smo posmatrali kao parabolu o višoj sili, o ljepoti života, a ta ljepota dolazi upravo iz činjenice da je život prolazan. Erupciju vulkana snimili smo uživo na Eolskim ostrvima, na vulkanu Stromboli gdje je krater lakše dostupan i češće su erupcije lave nego vulkan Etna. Blaž i ja smo baš željeli snimiti erupciju lave jer smo vidjeli mnoge zajedničke karakteristike sa iskustvom bolesti – lava kao krv, vulkan kao destruktivna sila i u isto vreme sila života, iznenadna erupcija lave kao iznenadna dijagnoza leukemije... Na kraju ti pejzaži imaju neku drugu ulogu u filmu, možda čak i lijepšu, postali su simbolični pejzaži, jer predstavljaju unutrašnji svijet junaka koji može biti u suprotnosti ili sinhroniziran s doživljajima likova, svaki gledalac to tumači na svoj način. Tako da pejzaži podcrtavaju određenu težinu, širinu emocija i, u isto vrijeme, simboliziraju prazninu između likova. Na Sarajevo Film Festival često se vraćaju autori koji su ovdje dobili nagrade/poticaje za završetak filmova na kojima su započeli rad. Obično dođu nakon godinu-dvije. Vama je trebalo više godina nakon što ste dobili Doc Preview i Avanpost Media nagrade. Usporio vas je Covid ili nešto drugo? Covid je počeo uskoro nakon snimanja filma u septembru 2019. Prošle su tri godine odkad je „Cent’anni“ dobio nagrade na Sarajevo Film Festivalu, 2021. Dugo vremena sam tražila pravu priču u snimljenom materijalu, sudjelovala sam na filmskim radionicama Circle Women Doc Accelerator i Rough Cut Boutique gde sam dobila mnogo korisnih komentara i nove perspektive za svoj film, ali svako je ipak vidio moju priču na svoj način. Uz pomoć svog kreativnog tima kolega u montaži sam se ohrabrila i ispričala priču na jedini mogući način – svoj. Ovo mi je možda bilo najteže i trebalo mi je zaista mnogo vremena da se pomirim s nelagodom otvaranja svog intimnog života cijelom svijetu. Ali jako sam ponosna što sam sada ovdje na 30. SFF i što imam priliku da predstavim film na mom omiljenom filmskom festivalu. Kad smo već kod nagrada, i u Cannesu ste dobili veliku i važnu nagradu Docs-in-Progress u partnerstvu sa Međunarodnim udruženjem filmskih talenata u nastajanju (The International Emerging Film Talent Association). Šta nagrade znače općenito u filmskom poslu i koliko su utjecale na vas pri donošenju teških odluka, posebno one o tome hoćete li odustati od filma ili istrajati? Filmske nagrade su svakako važne za filmske stvaraoce jer predstavljaju dodatnu podršku i poticaj da istrajemo u svojim projektima. Za „Cent'anni“ su nagrade u Cannesu i Sarajevu značile veću vidljivost projekta i svakako su utjecale na tok postprodukcije. Ali teške odluke se dešavaju daleko od nagrada i zahtijevaju veliko poverenje autora u projekat i podršku filmske ekipe. Marinela Domančić Sub-headings The screening, organised in collaboration with the Sarajevo Film Center and the Association of Filmmakers of Bosnia and Herzegovina, was offered to the public free of charge. Born in Sarajevo in 1944, Academician Abdulah Sidran left behind a body of work of immeasurable value. He published his first literary works in the early 1970s and made his debut as a screenwriter in 1979. During the 1980s, Sidran established himself as one of the most sought-after screenwriters in Yugoslavia, with the script for Kuduz standing as one of the pinnacles of his career. "I had the privilege of living in Sidran's time. Many people are here tonight, his family, friends and co-workers through whom he continues to live and who still love him. Tonight, many people are with us whom he brought together with his talent in a film that we will watch again", said the director of the film, Ademir Kenović, before the start of the screening. The plot of this tragic love story unfolds in the bleak suburbs. Badema, a beautiful local temptress, meets Bećir Kuduz, who has just been released from prison. Despite their age difference and the fact that Badema has a daughter with an unknown father, nothing can keep them apart. However, their life aspirations are completely different. While Kuduz dreams of starting a construction company, Badema desires to work at the local bistro, where life is never dull. The film is inspired by the true story of Junuz Kečo. The film, with a screenplay co-written by Sidran and director Ademir Kenović, stars Slobodan Ćustić and Snežana Bogdanović in the leading roles, alongside performances by Božo Bunjevac, Branko Đurić, Ivana Legin, and Mustafa Nadarević. In 1989, the film was nominated for the European Film Award in the Young Film category and received the Grand Silver Arena at the Pula Film Festival.
Takmičarski dokumentarni
Teške odluke dešavaju se daleko od nagrada
TAKMIČARSKI DOKUMENTARNI • Maja Doroteja Prelog • CENT’ANNI
Filming continued after recovery and a bicycle tour through beautiful Italy was supposed to be the crown of recovery, but, contrary to the expected happy ending, it turned out that sometimes it is easier to face death than life. Your film is deeply personal and often goes to those places in your partner's soul and yours that we are reluctant to go to ourselves, not to mention how uncomfortable it can be to open your intimate life to the world. How did you overcome shame and discomfort when you decided to be honest above all? I wouldn't say that I have completely overcome shame and discomfort, but I have learned that I have the strength to reconcile with this darker side of myself. When I started the project five years ago, I wasn't sure where it would take me. But I promised myself that no matter what happens, I will always remain honest. I had big battles with myself, on the one hand I recognized the weight of the material and the potential of the film's story, but on the other hand I wanted that story to never be seen by anyone. There is great strength in allowing ourselves to be vulnerable and only then does the healing begin. For me, it meant rediscovering myself and my relationship with Blaž, looking for reasons why, after everything we've been through, we've drifted so far apart. Probably all those repressed emotions, resentment and unhealed wounds would come out sooner or later, but the film was like a mirror, and I couldn't look away if I wanted to finish it. I came to appreciate the opportunity to face discomfort through the very process of making a film. As difficult as it was, the film had a therapeutic effect on me. Instead of a planned display of the glorious triumph of the human spirit over the body and disease, the viewer thus enters a universal, yet intimate experience shared by people in long-term and committed partnerships. This feeling doesn't emerge at the very beginning of the film but about halfway through, or even after two-thirds. It feels like we're watching a stream-of-consciousness documentary. Is it fair to describe your film that way? Yes, the dramaturgy follows the natural evolution of the filmmaking process, just as it unfolded for us on the trip and for me during the filmmaking. Combined with the style of my voice-over narration, Cent'anni can indeed be described as a stream-of-consciousness documentary. The film doesn't offer profound insights or seek answers; instead, it slowly peels back the layers of our relationship and shared experiences. I wanted the audience to understand the couple's story before we embark on the cycling adventure, so they could better connect with everything that happens along our journey through Italy. Just as I found myself completely lost in the most beautiful place in the world, so will the viewers. I had to start the story from the 'beginning' of my life to invite viewers into my world and share a narrative about myself, our relationship, and our shared experience with illness. In the end, Cent'anni became my honest confession and a painful analogy of our relationship. The lyricism of your landscapes is breathtaking. The beauty of the mountains, sea, animals—nature in general—often contrasts sharply with the restlessness within you. Only the eruption of the volcano mirrors the occasional emotional explosions Blaž experiences. What is your relationship with nature, and what role does it play in finding a way back to life? Nature as a metaphor for freedom, for life, had the most important role when we started to create the film. Blaž envisioned a cycling route through Italy not only because it is a Mecca for cyclists, but above all because of the famous landscapes of that country, known as "Belpaese" (beautiful country, M.D.). During treatment, he was in a sterile hospital room with no exit for several months and what he missed the most was fresh air and a view that reaches the horizon (probably this is a feeling that is not so foreign after Covid). Whenever he came home for a few days, we always spent the days in nature, recharging our batteries. When we thought about the film, we looked at nature as a parable about a higher power, about the beauty of life, and that beauty comes precisely from the fact that life is fleeting. We filmed the eruption of the volcano live on the Aeolian Islands, on the Stromboli volcano, where the crater is more accessible and lava eruptions are more frequent than the Etna volcano. Blaž and I really wanted to film a lava eruption because we saw many common characteristics with the experience of illness – lava as blood, a volcano as a destructive force and at the same time a life force, a sudden eruption of lava as a sudden diagnosis of leukemia... In the end, these landscapes have a different role in the film, perhaps even a more beautiful one, became symbolic landscapes because they represent the inner world of the hero which can be in contrast or synchronized with the experiences of the characters, and each viewer interprets it in his own way. So, the landscapes underline a certain weight, breadth of emotions and, at the same time, symbolize the gap between the characters. Authors who receive awards or incentives for completing their films often return to the Sarajevo Film Festival, usually within a year or two. It took you even longer after receiving the Doc Preview and Avanpost Media awards. Were you slowed down by COVID or something else? COVID started soon after filming wrapped in September 2019. It's been three years since Cent'anni received awards at the Sarajevo Film Festival in 2021. For a long time, I searched for the right story within the recorded material. I participated in the Circle Women Doc Accelerator and Rough Cut Boutique film workshops, where I received many useful comments and new perspectives. However, everyone still saw my story in their own way. With the help of my creative editing team, I found the courage to tell the story in the only way possible—my own. This was perhaps the hardest part for me, and it took me a long time to come to terms with the discomfort of opening up my intimate life to the world. But I am very proud to be here now, at the 30th SFF, and to have the opportunity to present a film at my favorite festival. Speaking of awards, you also received the big and important Docs-in-Progress award in Cannes in partnership with The International Emerging Film Talent Association. How much have awards influenced you in making tough decisions, especially those about whether to give up on a film or stick with? Film awards are certainly important for filmmakers, as they provide additional support and encouragement to persevere in our projects. For Cent'anni, the Cannes and Sarajevo awards brought greater visibility to the project and undoubtedly influenced the course of post-production. However, difficult decisions are made far from the spotlight of awards and require the author’s deep trust in the project and the support of the film crew. Marinela Domančić
Hard decisions happen far away from the awards
Without hesitation and without censorship, Maja Doroteja Prelog made a film about the love of her life in the most terrible period for him - while he was fighting a merciless battle for life with acute leukemia. .
Maja Doroteja Prelog CENT’ANNI
Competition Documentary • Maja Doroteja Prelog • CENT’ANNI
SUOČAVANJE SA PROŠLOŠĆU
Koje su teme otvorili autori filmova u programu „Suočavanje s prošlošću“, koji još jednom poziva publiku da zaroni u dubine ljudskoga iskustva kroz historiju, otkriva selektorica Maša Marković
Izazovno je razgovarati o prošlosti, naročito u sjeni mogućeg globalnog rata koji bi mogao pogoditi svakoga od nas. Ipak, prošlost ostaje čak i kada sve drugo prođe. Šta ostaje kada konačno zavlada mir, bilo privremeno ili trajno? Često ostaju samo tragovi sjećanja, uporni osjećaj raseljenosti iz mjesta koja smo nekada zvali domom. Ovogodišnje izdanje programa Suočavanje sa prošlošću oblikovale su sljedeće teme: procjep između poznatog i stranog, neophodnost odlaska i proces izgradnje novog života i sticanja novih uspomena. Istražujemo tok raseljeničkog iskustva, osvrćemo se na ono što nosimo sa sobom u daljnji život i ono što ostavljamo iza sebe. Još jednom pozivamo publiku da zaroni u dubine ljudskog iskustva kroz historiju koja se proteže od holokausta do ratova u Kambodži, Libanu, bivšoj Jugoslaviji i Palestini. Istražujući aspekte različitih sukoba završavamo sa vječnom istinom da je odgovornost uvijek individualna. Reflektivno filmsko putovanje kroz prošlost u sklopu našeg ovogodišnjeg programa počinjemo regionalnom premijerom filma Michela Hazanaviciusa „Najdragocjeniji teret“ koji je premijerno prikazan na ovogodišnjem Filmskom festivalu u Cannesu. Ovaj animirani film donosi slikovitu i mračnu priču koja nalikuje bajkama braće Grimm začinjenim magičnim realizmom i fantastikom, a pri tome ostaje duboko ukorijenjena u okrutnu, nepodnošljivu realnosti holokausta. Nakon toga prikazat ćemo remek-djelo Ivana Ramljaka „El SHatt – Nacrt za utopiju“ koje prati priče izbjeglica iz Dalmacije koje su pobjegle od horora njemačke invazije nakon kapitulacije Italije u Drugom svjetskom ratu i pronašle utočište u El Shattu, nekadašnjoj bazi savezničkih trupa u Egiptu. Ramljakov film obrađuje temu koju historičari često zanemaruju bez obzira na njen značaj u kontekstu današnjeg vremena, osvrćući se na iskustva iz naše društvene historije koja dijelimo sa današnjim izbjeglicama. Film Myriam El Hajj „Dnevnici iz Libana“, koji je publici Sarajevo Film Festivala predstavljen dok je još bio u montaži, zadržava nas na Bliskom istoku. Zahvaljujući svom jedinstvenom i neuobičajenom pogledu na neuspjelu libansku revoluciju i vrijeme poslije nje, ovaj film istovremeno je inspirativan i potresan. Obilikovan kao kolaž trenutaka nade i otpora suprotstavljenih osjećaju dubokog razočarenja, film ukazuje na činjenicu da odgovornost za odluku o budućim koracima na kraju uvijek pripada pojedincima. Nada opstaje bez obzira na sve. „Život je lijep“, drugi film palestinskog dokumentariste Mohameda Jabalyja priča je o njegovoj ličnoj muci i načinu na koji je pronašao mjesto za sebe u Norveškoj u koju je došao u okviru programa razmjene studenata, a onda bio prisiljen ostati tu kada je granični prelaz Rafah zatvoren prije deset godina. Iznimno smo ponosni što ćemo film „Mi nemamo drugu zemlju“ autora Yuvala Abrahama, Basela Adre, Rachel Sozs i Hamdana Ballala prikazati našoj publici nakon što je osvojio iznimnu naklonost kritičara poslije premijere na ovogodišnjem Međunarodnom filmskom festivalu u Berlinu i uspio skrenuti pažnju na trenutnu patnju palestinskog naroda. „Mi nemamo drugu zemlju“ govori o ujedinjenim naporima pojedinaca iz naizgled neuporedivih pozicija u borbi za istinu, na putu ka zajedničkom cilju očuvanja empatije, uprkos velikim narativima koji kvare njihovu stvarnost. Ova četiri filma nude djelimičan uvid u turbulentnu prošlost Bliskog istoka koja je puno kompleksnija od današnje patnje u tom regionu. Predvidjeli smo i poseban blok kratkih filmova o ratovima u bivšoj Jugoslaviji devedesetih godina prošloga vijeka. Ovaj blok obuhvatit će film Željka Stanetića „Milena“, o prisilnom raseljavanju srpskih izbjeglica iz Bosne i Hercegovine i Hrvatske u vrijeme rata, kao i film „Samir Mehić Bowie – Pisma iz Srebrenice“ o srebreničkom muzičaru ophrvanom beznađem i gubitkom iluzija i njegovom tragičnom kraju. Tu je također i film „Izlaz kroz ludaru“ u kojem autor Nikola Ilić na ekspresivan način predstavlja kako je izbjegao mobilizaciju tokom rata na Kosovu tako što se pretvarao da je mentalno obolio. Ovaj segment krunisat ćemo prikazivanjem filma Nebojše Sljepčevića „Čovjek koji nije mogao šutjeti“, a koji je na ovogodišnjem festivalu u Cannesu osvojio Zlatnu palmu za najbolji kratki film te donosi priču o ubistvu umirovljenog kapetana Jugoslovenske narodne armije koji se usprotivio pripadnicima paravojnih trupa koji su 1993. u Štrpcima izvršili pokolj muslimanskih civila iz Bosne i Hercegovine. Zadnjeg dana našeg programa prikazat ćemo dva filma posvećena ratnim reporterima i novinarima koji žrtvuju vlastite živote da bi ostatku svijeta prenijeli dio istine. Film Lucy Lawless „Nikada ne skreći pogled“ fascinantan je dokumentarac o životu Margaret Moth, hrabre kamermanke, “princeze ratnice“ koja se s kamerom u ruci za istinu borila na linijama fronta. Ovogodišnje izdanje programa Suočavanje sa prošlošću zatvaramo filmom „Sastanak s Pol Potom“ autora Rity Pana o sudbini troje novinara koji su se zatekli u Kambodži tokom najkrvavijih godina vladavine Crvenih Kmera u toj zemlji. Uz bogatu ponudu filmova, program Suočavanje sa prošlošću ostaje vjeran svojoj historiji društvenog angažmana te ćemo ugostiti dvadeset pet mladih ljudi iz regije Zapadnog Balkana u okviru sekcije “U očima mladih“ koju smo u prilici organizovati zahvaljujući podršci Fondacije Friedrich Ebert SOE i organizacije ForumZDF. Naši gosti će prisustvovati filmskim projekcijama te učestvovati u brojnim panel-diskusijama, radionicama i izložbama tokom festivala koje će im omogućiti iskustvo produktivne diskusije za koje se nadamo da će poslužiti kao osnov za razvoj njihove sposobnosti kritičkog razmišljanja koja je ključna za izgradnju bolje budućnosti uz uvažavanje naše prošlosti. S ponosom najavljujemo i ovogodišnje izdanje Sajma istinitih priča tokom kojeg ćemo predstaviti sedam priča koje su pažljivo odabrale cijenjene organizacije i pojedinci. Tokom otvorene pitching sesije, ove priče će biti predstavljene predstavnicima filmske industrije u nadi da će neke od njih odlučiti prenijeti na film. Nakon festivala učesnici će biti pozvani da dostave vlastite koncepte za razvoj filmova zasnovanih na nekoj od ovih priča koji će ući u takmičenje za nagradu u vrijednosti 10.000 eura za daljni razvoj projekta koju dodjeluje Fondacija Freidrich-Ebert SOE. Za kraj, Sarajevo Film Festival ove godine slavi trideset godina postojanja i to se čini kao dobar trenutak da se osvrnemo na put koji je festival prešao kroz, naizgled, beskonačni proces vlastite tranzicije otkako je pokrenut tokom rata. Prije tri decenije Festival je odškrinuo prozor kako bi svijetu pružio pogled na stanovnike opkoljenog grada. Nadamo se da program Suočavanje sa prošlošću otvara srca naše publike za lekcije koje se nikada ne mogu zaboraviti kako bi u svakome od nas pobijedio zov humanosti koji nikada neće biti prognan. Maša Marković Sub-headings Sub-headings
SUOČAVANJE S PROŠLOŠĆU
Otvaranje srca publike za lekcije koje se nikada ne mogu zaboraviti
DEALING WITH THE PAST
What themes did the filmmakers in the Dealing With the Past programme explore, whilst inviting the audience once again to delve into the depths of human experience through history, programmer Maša Marković reveals.
Keeping the hearts of audiences open to lessons learned and never to be unlearned
Discussing the past is always challenging, and particularly as we face the flickering of a potential global conflict that might engulf us all. Yet, the past always persists. What remains when peace—whether temporary or permanent—finally arrives? Often, what persists is only the traces of memory, a lingering sense of displacement from locales once called home. This year’s Dealing with the Past programme is shaped by these themes: the void that exists between the familiar and the foreign; the necessity of leaving; and the process of forging new lives and new memories. We explore the arc of displacement, reflecting on what we carry forward and what we leave behind. Once again, we invite audiences to delve into the depths of human experience, traversing the fraught histories of the Holocaust and conflicts in Cambodia, Lebanon, Palestine, and the former Yugoslavia. In exploring episodes of these various conflicts, we are left with the enduring truth that responsibility ultimately rests with individuals. This year’s reflective, cinematic journey through the past begins with the regional premiere of Michel Hazanavicius’s The Most Precious of Cargoes, which had its premiere at the Festival de Cannes. This animated film is a grim story that resembles a Brothers Grimm fairy tale with subtle hints of magic realism and fantasy, all the while being deeply rooted in the cruel, unbearable reality of the Holocaust. This film is followed by Ivan Ramljak’s brilliant El Shatt: A Blueprint For Utopia, a documentary that explores the story of refugees from Dalmatia who escaped the horrors of the German invasion after Italy’s capitulation to the Allies during World War II and found a haven in El Shatt, a former Allied Forces base in Egypt. Ramljak’s film sheds light on a subject that is often overlooked by historians but that is important in the context of today’s world—a reflection on what we all share with refugees in our collective history. Myriam El Hajj’s Diaries From Lebanon, which was showcased to Sarajevo Film Festival audiences as a work-in-progress, continues our focus on the Middle East. Offering unique and varying perspectives on the recent failed Lebanese revolution and its aftermath, the film is as inspiring as it is gut-wrenching, sculpted as a collage of instances of hope and resilience contrasted with utter disappointment, bringing responsibility back to the individual to determine their course of action. After everything, there is still hope. Life Is Beautiful, the second feature-length film by Palestinian documentary filmmaker Mohamed Jabaly, depicts his own personal struggles in finding his place in Norway after he became stranded there ten years ago while on a student exchange due to the closing of the border at Rafah. We also take special pride in bringing No Other Land, by Yuval Abraham, Basel Adra, Rachel Sozs, and Hamdan Ballal, to Sarajevo audiences, after it reaped rave reviews during its premiere at this year’s Berlin International Film Festival. No Other Land emphasizes the collective efforts to fight for the truth, by individuals from seemingly incompatible positions, united by a noble common goal in preserving empathy, despite grand narratives corrupting their realities. These four films offer a glimpse into the turbulent past of the Middle East, which extends far beyond the struggles of today. We present a special programme of short films that concern the Yugoslav Wars of the 1990s. From Željko Stanetić’s Milena, which concerns the forced displacement of Serbian refugees from Bosnia and Herzegovina and Croatia during the wars, to Samir Mehić Bowie – Letters From Srebrenica, a film about the late Srebrenica musician who faced disillusionment and hopelessness. This is followed by Nikola Ilić’s expressive documentary Exit Through the Cuckoo’s Nest, a cinematic retelling of his escape from mobilisation during the conflict in Kosovo* while feigning mental illness to escape the madness of war. The programme is crowned by the winner of the Palme d’Or for Best Short Film at Cannes: Nebojša Slijepčević’s The Man Who Could Not Remain Silent, which concerns the murder of a Yugoslav National Army Captain who stood up to the paramilitary forces that were executing Muslim civilians from Bosnia and Herzegovina in Štrbci in 1993. On the final day of the programme, two films are dedicated to war reporters and journalists —the people who bring glimpses of truth to the rest of the world while putting their own lives at stake. Lucy Lawless’s Never Look Away is a captivating documentary that depicts the life of Margaret Moth, the brave ‘warrior princess’ camerawoman who fought for the truth on the front lines, camera in hand. Finally, Rithy Phan’s Meeting With Pol Pot traces the fate of three journalists who find themselves in Democratic Kampuchea (now Cambodia) during the bloodiest years of the Khmer Rouge regime. Alongside its rich selection of films, the Dealing with the Past programme remains committed to its socially engaged nature, welcoming more than twenty-five young participants from the Western Balkans as part of the In Youth Eyes programme, which is made possible thanks to the cooperation of the Freidrich-Ebert Stiftung SOE and forumZFD. These young participants attend the screenings, as well as panel discussions, workshops, and exhibitions during the Sarajevo Film Festival, engaging in meaningful discussion that will serve as a foundation for the development of their critical thinking skills—so crucial in building a better future while taking the reality of the past into account. We are also proud to announce this year’s edition of the True Stories Market, featuring seven carefully curated, true stories presented by esteemed organisations and individuals. These stories are presented to film industry professionals during an open pitching session, with the intention that some of them will be picked up for cinematic development. After the Festival, attendees are invited to submit concepts for films based on the stories and enter the competition for the €10,000 development award presented by the Freidrich-Ebert Stiftung SOE. This year, the Sarajevo Film Festival celebrates its thirtieth edition. Now seems like a good time to look back at how far our beloved Festival has come, and how it has grown up in up in times of seemingly never-ending transition since its beginnings in wartime. Three decades ago, the Festival opened a window to the outside world for the people of a besieged city. Today, we hope the Dealing with the Past programme keeps the hearts of audiences open to lessons learned and never to be unlearned, so that the humanity in all of us may prevail, never to be displaced. Maša Marković Sub-headings Sub-headings
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UVOD U KRAJ RASPRAVE / INTRODUCTION TO THE END OF AN ARGUMENT Canada, Palestine, 1990, 41 min. Director: Jayce Salloum, Elia Suleiman
PRESRETNUTI / INTERCEPTED Canada, France, Ukraine, 2024, 95 min. Director: Oksana Karpovych
KINOSCOPE
Djelo libansko-kanadskog videoumjetnika Jaycea Sallouma i palestinskog filmskog autora Elije Suleimana UVOD U KRAJ RASPRAVE bavi se preovladavajućom pogrešnom slikom arapske kulture uopće te intifade – palestinskog otpora izraelskoj okupaciji – specifično. Salloum i Suleiman kombinuju i spajaju isječke iz holivudskih, evropskih i izraelskih filmova, dokumentaraca i novinskih izvještaja sa snimcima koje je Salloum snimio u Izraelu, na Zapadnoj obali i u pojasu Gaze. Made by Lebanese-Canadian video artist Jayce Salloum and Palestinian filmmaker Elia Suleiman, INTRODUCTION TO THE END OF AN ARGUMENT deals with the distorted picture we have of Arab culture in general and of the Intifada—the Palestinian resistance to Israeli occupation—in particular. Salloum and Suleiman combine and confront fragments of image and text taken from Hollywood, European, and Israeli films, documentaries, and news items, and material Salloum personally recorded in Israel, the West Bank, and the Gaza Strip. A process of displacement and deconstruction is enacted in an attempt to arrest the imagery and ideology, decolonising and recontextualising it to provide a space for a marginalised voice that is consistently denied expression in the media.
Ukrajinska obavještajna služba presrela je hiljade telefonskih poziva ruskih vojnika s ukrajinske linije fronta upućenih njihovim porodicama i prijateljima u Rusiji. Sadržaj tih poziva, na vrtoglavo napet i emotivan način, oslikava svu okrutnost rata. Upareni sa prizorima razaranja usljed invazije i svakodnevnog života Ukrajinaca koji obnavljaju porušeno i suprotstavljaju se okupaciji, glasovi ruskih vojnika – od onih ispunjenih iluzijama o herojstvu do onih potpuno razočaranih i neracionalnih, kao i onih koji govore o pljačci i činjenju sve užasnijih ratnih zločina ili šire propagandu, izražavaju sumnju i razočarenje – otkrivaju čitav spektar dehumanizirajuće moći rata i imperijalističku prirodu ruske agresije. Ukrainian intelligence services have intercepted thousands of phone calls Russian soldiers made from the battlefield in Ukraine to their families and friends in Russia — calls that paint a stark picture of the cruelty of war with dizzying emotional tension. Juxtaposed with images of the destruction caused by the invasion and the day-to-day life of the Ukrainian people who resist and rebuild, these voices of Russian soldiers – ranging from being filled with heroic illusions to complete disappointment and loss of reason, from looting to committing more horrible war crimes, from propaganda to doubt and disillusionment – expose the full scope of the dehumanising power of war and the imperialist nature of the Russian aggression in Ukraine.
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Na programu danas... / On today's schedule...
OBITELJSKA TERAPIJA / FAMILY THERAPY Slovenia, Italy, Croatia, Norway, Serbia, 2024, 122 min. Režija / Director: Sonja Prosenc, Uloge/ Cast: Borja Repe Novak, Ana Đurić, Kristoffer Joner, Alexis Matera, Aliocha Schneider, Mila Bezjak, Marko Mandić, Katarina Stegnar, Judita Franković Brdar, Jure Henigma
Zasnovan na romanu "Brisanje'' Percivala Evertta, film AMERIČKA FIKCIJA duhovit je rediteljski prvenac Corda Jeffersona koji se konfrontira s opsesivnim impulsom naše kulture da ljude svodimo na naglašene stereotipe. Zvijezda filma je Jeffrey Wright u ulozi Monka, frustriranog književnika koji je umoran od toga što sistem profitira od "crnačke" zabave zasnovane na starim i uvrjedljivim klišejima. Kako bi dokazao svoju tvrdnju, Monk pod pseudonimom piše vlastitu "crnačku" knjigu koja ga smješta u središte hipokrizije i ludila koje tvrdi da prezire. Based on "Erasure," the novel by Percival Everett, AMERICAN FICTION is Cord Jefferson's hilarious directorial debut, which confronts the contemporary obsession with reducing people to outrageous stereotypes. Jeffrey Wright stars as Monk, a frustrated novelist who's fed up with the establishment making profits from Black entertainment that relies on tired and offensive tropes. To prove his point, Monk uses a pen name to write an outlandish Black book of his own—a book that propels him to the heart of hypocrisy and the madness he claims to disdain.
open air
AMERIČKA FIKCIJA / AMERICAN FICTION United States, 2023, 117 min. Režija/Director: Cord Jefferson Cast: Jeffrey Wright, Tracee Ellis Ross, John Ortiz, Erika Alexander, Leslie Uggams, Adam Brody, Keith David, Issa Rae, Sterling K. Brown
Takmicarski igrani / Competition Features
Obitelj slovenačkih novobogataša živi u staklenoj kući i oko sebe širi energiju ravnodušne superiornosti. Njihov život služi kao satirična pozadina za duhovitu obradu premise Pasolinijevog filma TEOREMA: mladi stranac useljava se u dom jedne obitelji, narušava obiteljsku dinamiku i razotkriva njihove disfunkcionalne odnose i haos koji se kriju ispod površine njihovog života. Kroz priču o jednoj obitelji, ovaj tragikomični film propituje aktuelne društvene probleme. FAMILY THERAPY revolves around a nouveau riche Slovenian family who live in a glass house, exuding an air of detached superiority. This serves as a satirical backdrop for a humorous re-imagining of the premise of Pier Paolo Pasolini's TEOREMA: a young stranger arrives in the family household, disrupting the delicate balance of family dynamics and revealing a world of chaos and dysfunctional relationships hidden beneath the surface. Through this family's story, the film explores contemporary social issues in the tone of tragicomedy.