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SUBOTA / SATURDAY 23. 08. 2025.
Dodijeljena Srca Sarajeva 31. Sarajevo Film Festivala Hearts of Sarajevo Awarded at the 31st Sarajevo Film Festival
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31. Sarajevo Film Festival kroz 10 fotografija
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Obala Art Centar i Vijeće Evrope potpisali sporazum o suradnji
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31st Sarajevo Film Festival in 10 Photos
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BEST FEATURE FILM: WIND, TALK TO ME / VETRE, PRIČAJ SA MNOM
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Awards of the 31st Sarajevo Film Festival LOXY
UNICREDIT Nagrade publike na 31. Sarajevo Film Festivalu
NAJBOLJI DOKUMENTARNI FILM: DOĆI ĆE NAŠE VRIJEME / UNSERE ZEIT WIRD KOMMEN
NAJBOLJA GLUMICA: Ansambl filma FANTASY: Sarah al Saleh, Alina Juhart, Mia Skrbinac, Mina Milovanović
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NAJBOLJI FILM: VJETRE, PRIČAJ SA MNOM / VETRE, PRIČAJ SA MNOM
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BEST DIRECTOR: Ivana Mladenović, SORELLA DI CLAUSURA
NAJBOLJI GLUMAC: Andrija Kuzmanović, YUGO FLORIDA
Partnerske nagrade 31. Sarajevo Film Festivala
Obala Art Centar and Council of Europe Sign Cooperation Agreement
BEST DOCUMENTARY FILM: OUR TIME WILL COME / UNSERE ZEIT WIRD KOMMEN
BEST ACTRESS: FANTASY ensemble - Sarah al Saleh, Alina Juhart, Mia Skrbinac, Mina Milovanović
NAJBOLJA REŽIJA: Ivana Mladenović, SORELLA DI CLAUSURA
BEST ACTOR: Andrija Kuzmanović, YUGO FLORIDA
Nagrade 31. Sarajevo Film Festivala
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31st Sarajevo Film Festival Partners' Awards
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SADRŽAJ
UNICREDIT Audience Awards at the 31st Sarajevo Film Festival
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ZVANIČNE NAGRADE POČASNO SRCE SARAJEVA Willem Dafoe, glumac Stellan Skarsgård, glumac Paolo Sorrentino, reditelj i scenarist Ray Winstone, glumac TAKMIČARSKI PROGRAM - IGRANI FILM Žiri: Sergei Loznitsa, predsjednik (reditelj i scenarist, Ukrajina) Dragan Mićanović (glumac, Srbija) Emanuel Pârvu (reditelj, scenarist i glumac, Rumunija) Ena Sendijarević (rediteljica i scenaristica, Bosna i Hercegovina, Nizozemska) Tricia Tuttle (direktorica Berlin Film Festivala, SAD) SRCE SARAJEVA ZA NAJBOLJI IGRANI FILM VJETRE, PRIČAJ SA MNOM / VETRE, PRIČAJ SA MNOM Srbija, Slovenija, Hrvatska Režija: Stefan Đorđević Producenti: Dragana Jovović, Ognjen Glavonić, Stefan Ivančić Novčana nagrada u iznosu od 16.000 €. Redatelj našeg Najboljeg filma odvažno i znatiželjno prilazi svojoj duboko osobnoj temi, a u saradnji sa svojim saradnicima isprepliće elemente fikcije i dokumentarnog izraza u film očaravajuće melanholije i suptilne ljepote. Sa zadovoljstvom uručujemo SRCE SARAJEVA producentima i reditelju filma VJETRE, PRIČAJ SA MNOM. SRCE SARAJEVA ZA NAJBOLJU REŽIJU Ivana Mladenović, SORELLA DI CLAUSURA Rumunija, Srbija, Italija, Španija Novčanu nagradu, u iznosu od 10.000 €, obezbjeđuju Ujedinjene nacije u Bosni i Hercegovini u saradnji sa UNESCO-om. Punk duh nikada nije daleko u ovom vješto režiranom filmu, koji teče poput dostojevskijevske rijeke, nižući neuspjeh za neuspjehom, da bi na kraju stigao do romantične komedije, ali bez romanse. Nagrada za najbolju režiju dodjeljuje se Ivani Mladenović za film SORELLA DI CLAUSURA. SRCE SARAJEVA ZA NAJBOLJU GLUMICU Ansambl filma FANTASY: Sarah al Saleh, Alina Juhart, Mia Skrbinac, Mina Milovanović Slovenija, Sjeverna Makedonija Novčana nagrada u iznosu od 2.500 €. U filmu koji istražuje razlike između našeg doživljaja samih sebe i percepcije drugih, naš ansambl talentiranih glumica unio je veliku karizmu i autentičnost u svoje uloge. S ponosom dodjeljujemo Nagradu za najbolju glumicu ansamblu od četiri glumice u središtu filma FANTASY. SRCE SARAJEVA ZA NAJBOLJEG GLUMCA Andrija Kuzmanović, YUGO FLORIDA Srbija, Bugarska, Francuska, Hrvatska, Crna Gora Novčana nagrada u iznosu od 2.500 €. Naš najbolji glumac unosi dubinu i slojevitost u prividno jednostavnu izvedbu, dok se njegov lik bori da zaboravi čitav život izbjegavanja emotivne bliskosti. Nagradu za najboljeg glumca dodjeljujemo Andriji Kuzmanoviću. TAKMIČARSKI PROGRAM - DOKUMENTARNI FILM Žiri: Blake Levin (producent, SAD) Cíntia Gil (filmska kustosica, Portugal) Veton Nurkollari (umjetnički direktor DokuFesta i filmski kustos, Kosovo*) SRCE SARAJEVA ZA NAJBOLJI DOKUMENTARNI FILM DOĆI ĆE NAŠE VRIJEME / UNSERE ZEIT WIRD KOMMEN Austrija Režija: Ivette Löcker Novčanu nagradu, u iznosu od 4.000 €, obezbjeđuje Vlada Švicarske. KVALIFIKACIONI FILM ZA NOMINACIJU ZA NAGRADU OSCAR® Nagrada Srce Sarajeva za najbolji dokumentarni film dodjeljuje se filmu koji spaja ljepotu i izazove zajedničkog stvaranja, s velikodušnošću i predanošću u radu u intimnosti života koji se stvarno žive. To je film koji gradi kinematografski prostor i vrijeme za složenost ljubavi i politiku suživota, cijeneći bogatstvo koje svaka osoba može donijeti našim zajedničkim prostorima. SRCE SARAJEVA ZA NAJBOLJI KRATKI DOKUMENTARNI FILM ZEMLJA ZA MUŠKARCE / KACEBIS MITSA Gruzija, Mađarska Režija: Mariam Bakacho Khatchvani Novčana nagrada u iznosu od 2.000 € Film koji ističe i propituje višestoljetni običaj. Suptilnim, ali bliskim i intimnim radom kamere te preciznim montažnim postupkom, predstavljen nam je film koji snažno govori o nepravdi i integritetu. Srce Sarajeva za najbolji kratki dokumentarni film dodjeljuje se Mariam Bakacho Khatchvani za film THE MEN’S LAND. SPECIJALNA NAGRADA ŽIRIJA U PAKLU SA IVOM / IN HELL WITH IVO Bugarska, SAD Režija: Kristina Nikolova Novčana nagrada u iznosu od 2.500 € Za vještu sposobnost rediteljice da na ekranu pusti da karizma i talent njezinog ikonoklastičnog subjekta eksplodiraju, oblikujući narativ o Ivinim izvedbama koje publiku vode u neugodu kroz iskrenost, suosjećanje i povezanost, Specijalnu nagradu žirija za dokumentarni film dobiva U PAKLU SA IVOM rediteljice Kristine Nikolove. SPECIJALNO PRIZNANJE VJERUJEM DA ME PORTRET SPASIO / MUA BESOJ MË SHPËTOJ PORTRETI Kosovo*, Nizozemska Režija: Alban Muja Specijalno priznanje žirija dodjeljuje se formalno odvažnom filmu koji koristi rekonstrukciju kako bi ispričao priču o preživljavanju tokom rata, ali i o moći umjetnosti, filmu VJERUJEM DA ME PORTRET SPASIO reditelja Albana Muje. TAKMIČARSKI PROGRAM - KRATKI FILM Žiri: Teresa Cavina (festivalska selektorica i script doctor, Italija) Cem Demirer (snimatelj i reditelj, Turska) Nebojša Slijepčević (reditelj i scenarist, Hrvatska) SRCE SARAJEVA ZA NAJBOLJI KRATKI FILM ZIMA U MARTU / LUMI SAADAB MEID Armenija, Estonija, Francuska, Belgija Režija: Natalia Mirzoyan Kvalifikacioni film za prijavu za nagradu Oscar® Novčana nagrada u iznosu od 2.500 € SPECIJALNO PRIZNANJE ERASERHEAD U PLETENOM CEKERU / ERASERHEAD IN A KNITTED SHOPPING BAG Bugarska Režija: Lili Koss Specijalno priznanje dodjeljuje se razigranom filmu smještenom u pozadinu bugarskih teških devedesetih godina, gdje djeca, prepuštena sama sebi, izmišljaju vlastiti svijet. Narativ se suptilno razvija kroz duhovite, pametne i uvjerljive ljudske interakcije, režirane s mladenačkom energijom i potpomognute živopisnom kinematografijom. Film rediteljice Lili Koss nosi naziv ERASERHEAD U PLETENOM CEKERU. TAKMIČARSKI PROGRAM - STUDENTSKI FILM Žiri: Miroslav Mandić (reditelj i scenarist, Bosna i Hercegovina) Nađa Petrović (spisateljica, scenaristica i rediteljica, Srbija) Yorgos Tsourgiannis (producent, Grčka) SRCE SARAJEVA ZA NAJBOLJI STUDENTSKI FILM TARIK Srbija Režija: Adem Tutić Novčanu nagradu, u iznosu od 1.000 €, obezbjeđuje Vijeće za regionalnu saradnju. Tinejdžer lebdi kroz prostore koji definiraju njegovu mladost, zahvaljujući vizualnom pristupu u kojem dominira zamućena dubina polja, potpomognutom intenzivnom glumom i jasnim dijalozima. Nije riječ o snovitom lepršanju, nego o teškoćama koje uzrokuje toksična muškost njegovih vršnjaka i obitelji, prvenstveno njegovom osjetljivom duhu. Za promišljenu estetiku koja koristi izuzetno štedljiva sredstva i time vjerno prenosi važne narativne teme, te za detalje temeljito razmotrene i suptilno utkane u priču, nagrada ide filmu TARIK, redatelja Adema Tutića. SPECIJALNA NAGRADA ZA PROMICANJE RODNE RAVNOPRAVNOSTI Žiri: Anna Croneman (producentica i izvršna direktorica Švedskog filmskog instituta, Švedska) Ivan Marinović (reditelj, scenarist i producent, Crna Gora) Norika Sefa (rediteljica i scenaristica, Kosovo*) BOG NEĆE POMOĆI Hrvatska, Italija, Rumunija, Grčka, Francuska Režija: Hana Jušić Novčanu nagradu, u iznosu od 7.500 €, obezbjeđuje Mastercard. Nagrada ide - intenzivnoj misteriji smještenoj u izolaciju, koja flertuje s žanrom, a istovremeno stvara nešto potpuno svoje. Utemeljen na snažnom osjećaju mjesta, film kroz moćne izvedbe prenosi mnogo toga bez suvišnih dijaloga, u atmosferi istovremeno poznatoj i sablasnoj. Narativ propituje naša uvjerenja i time nas na kraju suočava s osjećajem neuključivosti. SPECIJALNA NAGRADA PERSPEKTIVE MLADIH (YOUTH PERSPECTIVES) Žiri: Anja Jokić (stručnjakinja za politike prema mladima, Srbija) Eréndira Núñez Larios (producentica, Meksiko) Milan Stojanović (producent, Srbija) DJ AHMET Sjeverna Makedonija, Češka, Srbija, Hrvatska Režija: Georgi M. Unkovski Novčanu nagradu, u iznosu od 7.500 €, obezbjeđuje Vijeće Evrope. Specijalna nagrada „Perspektive mladih“ dodjeljuje se filmu o mladima koji propituju svoju zajednicu i tradiciju - vedra i humorna, ali istovremeno dirljiva priča, obogaćena šarmantnim i živahnim izvedbama mladih glumaca te šarenom kinematografijom, za koju vjerujemo da ima potencijal doprijeti do publike, posebno mlade, širom svijeta. Za to što daje glas mladima iz male zajednice, nagrada ide producentima i reditelju filma DJ AHMET. PARTNERSKE NAGRADE KANDIDATURA ZA NAGRADU EVROPSKE FILMSKE AKADEMIJE U KATEGORIJI NAJBOLJI KRATKI FILM Žiri: Gregor Božič (reditelj, direktor fotografije, Slovenija) Kasia Karwan (filmska konzultantica, Poljska) Dominique Welinski (producentica i filmska konsultantica, Francuska) STVARI KOJE SU SKRIVENE OD POSTANKA SVIJETA / THINGS HIDDEN SINCE THE FOUNDATION OF THE WORLD Grčka, SAD Režija: Kevin Walker, Irene Zahariadis Pobjednik ulazi u kandidaturu za nagradu Evropske filmske akademije za najbolji kratki film. CICAE NAGRADA Žiri: Alexander Omar Lang (filmski kustos i selektor, Njemačka) Sylvie Da Rocha (umjetnička direktorica kina Zola, Portugal) Diego Ginartes Rodríguez (filmski kustos, selektor i producent u kulturi, Španija) BIJELI PUŽ / WHITE SNAIL Austrija, Njemačka Režija: Elsa Kresmer, Levin Peter Međunarodna konfederacija umjetničkih kina (CICAE) nagrađuje film u selekciji Takmičarskog programa – igrani film. Nagrađeni film će dobiti posebnu podršku CICAE kada je u pitanju pomoć s distribucijom, prikazivanjem filma i dopiranjem do publike, putem mreže od 3.000 kina. CINEUROPA NAGRADA Žiri: Srdjan Kurpjel (skladatelj i montažer zvuka, Bosna i Hercegovina) Alfonso Rivera (filmski novinar i kritičar, Španija) DJ AHMET Sjeverna Makedonija, Češka, Srbija, Hrvatska Režija: Georgi M. Unkovski Nagradu dodjeljuje Cineuropa portal, posvećen evropskoj kinematografiji i njenim stvaraocima i to u filmu koji, osim što neosporno posjeduje umjetničke kvalitete, također promoviše ideje evropskog dijaloga i integracije. Vrijednost nagrade iznosi 5.000 €.
OFFICIAL AWARDS HONORARY HEART OF SARAJEVO AWARD Willem Dafoe, actor Stellan Skarsgård, actor Paolo Sorrentino, director, screenwriter Ray Winstone, actor Given in recognition of an exceptional contribution to the art of film. Competition Programme - Feature Film Jury: President of the Jury Sergei Loznitsa, President of the Jury (director and writer, Ukraine) Dragan Mićanović (actor, Serbia) Emanuel Pârvu (director, writer, actor, Romania) Ena Sendijarević (director, writer, Bosnia and Herzegovina, Netherlands) Tricia Tuttle (Berlin Film Festival director, SAD) HEART OF SARAJEVO FOR BEST FEATURE FILM WIND, TALK TO ME / VETRE, PRIČAJ SA MNOM Serbia, Slovenia, Croatia Director: Stefan Đorđević Producers: Dragana Jovović, Ognjen Glavonić, Stefan Ivančić Award in the amount of €16,000. The filmmaker behind our Best Film takes a formally bold and inquisitive approach to his very personal subject, working with his collaborators to combine elements of fiction and documentary into a film of beguiling melancholy and delicate beauty. It is our please to present the HEART OF SARAJEVO to the producers and director of WIND, TALK TO ME. HEART OF SARAJEVO FOR BEST DIRECTOR Ivana Mladenović, SORELLA DI CLAUSURA Romania, Serbia, Italy, Spain Award in the amount of €10,000 is sponsored by the United Nations in Bosnia and Herzegovina in cooperation with UNESCO. The punk spirit is never far away in this skilfully directed film, which flows like a dostojevskean river, stacking failure on failure, to finally arrive at a romantic comedy, but without the romance. The best director award goes to Ivana Mladenović, SORELLA DI CLAUSURA. HEART OF SARAJEVO FOR BEST ACTRESS FANTASY ensemble - Sarah al Saleh, Alina Juhart, Mia Skrbinac, Mina Milovanović Slovenia, North Macedonia Award in the amount of €2,500. In a film exploring the distances between how we understand ourselves and how others perceive us, our ensemble of talented actresses brought great charisma and authenticity to their roles. We proudly present the Best Actress Award to the ensemble quartet at the heart of FANTASY. HEART OF SARAJEVO FOR BEST ACTOR Andrija Kuzmanović, YUGO FLORIDA Serbia, Bulgaria, France, Croatia, Montenegro Award in the amount of €2,500. Our Best Actor brings depth and complexity to a performance of deceptive simplicity, as his character struggles to unlearn a lifetime of avoiding emotional closeness. Our Best Actor Award goes to Andrija Kuzmanović. Competition Programme - Documentary Film Jury: Blake Levin (producer, USA) Cíntia Gil (film curator, Portugal) Veton Nurkollari (artistic director of DokuFest and film curator, Kosovo*) HEART OF SARAJEVO FOR BEST DOCUMENTARY FILM OUR TIME WILL COME / UNSERE ZEIT WIRD KOMMEN Austria Director: Ivette Löcker Award in the amount of €4,000 is sponsored by the Government of Switzerland. The Heart of Sarajevo award for best documentary feature goes to a film that combines the beauty and the challenges of creating togetherness, with the generosity and rigour of making films in the intimacy of lives being lived. It is a film that builds a cinematic time and space for the complexities of love and the politics of coexistence, valuing the richness that each person may bring to our common spaces. AN OSCAR® QUALIFYING FILM HEART OF SARAJEVO FOR BEST SHORT DOCUMENTARY FILM THE MAN’S LAND / KACEBIS MITSA Georgia, Hungary Director: Mariam Bakacho Khatchvani Award in the amount of €2,000. To a film that brings forward and challenges a centuries old custom. With unobtrusive, yet close and intimate camera work, and with precise editing, we are presented a film that speaks volumes about injustice and integrity. The Heart of Sarajevo for Best Short Documentary goes to Mariam Bakacho Khatchvani for her film The Men’s Land. SPECIAL JURY AWARD IN HELL WITH IVO Bulgaria, United States Director: Kristina Nikolova Award in the amount of €2,500. For the filmmaker’s deft ability to let her iconoclast subject’s charisma and talent erupt on screen, shaping a narrative of Ivo’s performances that push audiences into discomfort with honesty, compassion, and connection, the Special Jury Prize for Documentary goes to ‘In Hell With Ivo’ from director Kristina Nikolova. SPECIAL MENTION I BELIEVE THE PORTRAIT SAVED ME / MUA BESOJ MË SHPËTOJ PORTRETI Kosovo*, Netherlands Director: Alban Muja To a formally daring film that uses re-enactment to tell a story of survival during the war, as well as the power of art, the jury is delighted to give a special mention to I Believe the Portrait Saved Me by Alban Muja. Competition Programme - Short Film Jury: Teresa Cavina (festival programmer and script doctor, Italy) Cem Demirer (cinematographer and director, Türkiye) Nebojša Slijepčević (director and writer, Croatia) HEART OF SARAJEVO FOR BEST SHORT FILM WINTER IN MARCH / LUMI SAADAB MEID Armenia, Estonia, France, Belgium Director: Natalia Mirzoyan AN OSCAR® QUALIFYING FILM Award in the amount of €2,500. The Heart of Sarajevo goes to the film done with exceptional precision and amazing creativity. It's an authentic story of inner conflict that comes from facing your country falling into the moral abyss. The name of the film is WINTER IN MARCH directed by Natalia Mirzoyan. SPECIAL MENTION ERASERHEAD IN A KNITTED SHOPPING BAG Bulgaria Director: Lili Koss The special mention goes to the playful film that is set against the backdrop of the Bulgarian rough 90’s, where children, left to grow up by themselves, invent their own world. The narrative subtly emerges from witty smart and believable human interactions, directed with youthful energy and supported by vivid cinematography. The name of the film is ERASERHEAD IN A KNITTED SHOPPING BAG directed by Lili Koss. Competition Programme - Student Film Jury: Miroslav Mandić (director and writer, Bosnia and Herzegovina) Nađa Petrović (writer, screenwriter and director, Serbia) Yorgos Tsourgiannis (producer, Greece) HEART OF SARAJEVO FOR BEST STUDENT FILM TARIK Serbia Director: Adem Tutić Award in the amount of €1,000 is sponsored by the Regional Cooperation Council. A teenage boy floats through the spaces that define his youth, thanks to a visual approach dominated by the fuzzy depth of field, supported by intense acting and crisp dialogues. It is not a dreamy levitation, but the hardship caused by toxic masculinity of his peers and his family, primarily by his sensitive soul. For the deliberate aesthetics that employ remarkably sparse means and thus aptly convey important narrative issues, for the details that are thoroughly considered and subtly woven into the narrative, the award goes to TARIK directed by Adem Tutić. SPECIAL AWARD FOR PROMOTING GENDER EQUALITY Jury: Anna Croneman (producer and CEO of the Swedish Film Institute, Sweden) Ivan Marinović (director, writer and producer, Montenegro) Norika Sefa (director and writer, Kosovo*) GOD WILL NOT HELP / BOG NEĆE POMOĆI Croatia, Italy, Romania, Greece, France Director: Hana Jušić Award in the amount of €7,500 sponsored by Mastercard. The award goes to - an intense mystery, set in isolation, that flirts with genre while creating something wholly on its own. Grounded in a strong sense of place, powerful performances speak volumes without excess dialogue in an atmosphere both familiar and uncanny. Its narrative challenges our assumptions and in doing so, it ultimately confronts us with feelings of not belonging. SPECIAL YOUTH PERSPECTIVES AWARD Jury: Anja Jokić (youth policy specialist, Serbia) Eréndira Núñez Larios (producer, Mexico) Milan Stojanović (producent, Serbia) DJ AHMET North Macedonia, Czech Republic, Serbia, Croatia Director: Georgi M. Unkovski Award in the amount of €7,500 sponsored by the Council of Europe. The Special Award Youth Perspectives goes to a film about young people challenging their community and tradition - a lighthearted and humorous, but highly moving story, enriched with endearing and lively performances by the young actors and colorful cinematography, which we believe has the potential to reach audiences, especially the young ones, around the world. For giving voice to youth from small community, this award goes to the producers and the director of the film DJ AHMET. PARTNERS' AWARDS EUROPEAN FILM ACADEMY SHORT FILM CANDIDATE Jury: Gregor Božič (director, cinematographer, Slovenia) Kasia Karwan (film consultant, Poland) Dominique Welinski (producer and film consultant, France) THINGS HIDDEN SINCE THE FOUNDATION OF THE WORLD Greece, United States Director: Kevin Walker, Irene Zahariadis The winner receives candidacy for the European Film Academy's Best Short Film Award. CICAE AWARD Jury: Alexander Omar Lang (film curator and programmer, Germany) Sylvie Da Rocha (artistic director, Cinema Zola, Portugal) Diego Ginartes Rodríguez (film curator, programmer and cultural producer, Spain) WHITE SNAIL Austria, Germany Director: Elsa Kresmer, Levin Peter The International Confederation of Art Cinemas (CICAE) bestows this award on a film from the Competition Programme – Feature Film. The winning film receives CICAE support for distribution, exhibition, and audience outreach, through a network of 3,000 cinemas. CINEUROPA PRIZE Jury: Srdjan Kurpjel (composer and sound editor, Bosnia and Herzegovina) Alfonso Rivera (film journalist and critic, Spain) DJ AHMET North Macedonia, Czech Republic, Serbia, Croatia Director: Georgi M. Unkovski The prize is awarded by the Cineuropa portal, the site dedicated to the European cinema and film professionals, and is given to a fil that besides having indisputable artistic qualities also promotes the idea of European dialogue and integration. The value of this award is €5,000. * This label does not prejudge the status of Kosovo and is in accordance with Resolution 1244 and the opinion of the ICJ on Kosovo's declaration of independence OFFICIAL AWARDS HONORARY HEART OF SARAJEVO AWARD Willem Dafoe, actor Stellan Skarsgård, actor Paolo Sorrentino, director, screenwriter Ray Winstone, actor Given in recognition of an exceptional contribution to the art of film. Competition Programme - Feature Film Jury: President of the Jury Sergei Loznitsa, President of the Jury (director and writer, Ukraine) Dragan Mićanović (actor, Serbia) Emanuel Pârvu (director, writer, actor, Romania) Ena Sendijarević (director, writer, Bosnia and Herzegovina, Netherlands) Tricia Tuttle (Berlin Film Festival director, SAD) HEART OF SARAJEVO FOR BEST FEATURE FILM WIND, TALK TO ME / VETRE, PRIČAJ SA MNOM Serbia Director: Stefan Đorđević Producers: Dragana Jovović, Ognjen Glavonić, Stefan Ivančić Award in the amount of €16,000. The filmmaker behind our Best Film takes a formally bold and inquisitive approach to his very personal subject, working with his collaborators to combine elements of fiction and documentary into a film of beguiling melancholy and delicate beauty. It is our please to present the HEART OF SARAJEVO to the producers and director of WIND, TALK TO ME. HEART OF SARAJEVO FOR BEST DIRECTOR Ivana Mladenović, SORELLA DI CLAUSURA Romania, Serbia, Italy, Spain Award in the amount of €10,000 is sponsored by the United Nations in Bosnia and Herzegovina in cooperation with UNESCO. The punk spirit is never far away in this skilfully directed film, which flows like a dostojevskean river, stacking failure on failure, to finally arrive at a romantic comedy, but without the romance. The best director award goes to Ivana Mladenović, SORELLA DI CLAUSURA. HEART OF SARAJEVO FOR BEST ACTRESS FANTASY ensemble - Sarah al Saleh, Alina Juhart, Mia Skrbinac, Mina Milovanović Slovenia, North Macedonia Award in the amount of €2,500. In a film exploring the distances between how we understand ourselves and how others perceive us, our ensemble of talented actresses brought great charisma and authenticity to their roles. We proudly present the Best Actress Award to the ensemble quartet at the heart of FANTASY. HEART OF SARAJEVO FOR BEST ACTOR Andrija Kuzmanović, YUGO FLORIDA Serbia, Bulgaria, France, Croatia, Montenegro Award in the amount of €2,500. Our Best Actor brings depth and complexity to a performance of deceptive simplicity, as his character struggles to unlearn a lifetime of avoiding emotional closeness. Our Best Actor Award goes to Andrija Kuzmanović. Competition Programme - Documentary Film Jury: Blake Levin (producer, USA) Cíntia Gil (film curator, Portugal) Veton Nurkollari (artistic director of DokuFest and film curator, Kosovo*) HEART OF SARAJEVO FOR BEST DOCUMENTARY FILM OUR TIME WILL COME / UNSERE ZEIT WIRD KOMMEN Austria Director: Ivette Löcker Award in the amount of €4,000 is sponsored by the Government of Switzerland. The Heart of Sarajevo award for best documentary feature goes to a film that combines the beauty and the challenges of creating togetherness, with the generosity and rigour of making films in the intimacy of lives being lived. It is a film that builds a cinematic time and space for the complexities of love and the politics of coexistence, valuing the richness that each person may bring to our common spaces. AN OSCAR® QUALIFYING FILM HEART OF SARAJEVO FOR BEST SHORT DOCUMENTARY FILM THE MAN’S LAND / KACEBIS MITSA Georgia, Hungary Director: Mariam Bakacho Khatchvani Award in the amount of €2,000. To a film that brings forward and challenges a centuries old custom. With unobtrusive, yet close and intimate camera work, and with precise editing, we are presented a film that speaks volumes about injustice and integrity. The Heart of Sarajevo for Best Short Documentary goes to Mariam Bakacho Khatchvani for her film The Men’s Land. SPECIAL JURY AWARD IN HELL WITH IVO Bulgaria, United States Director: Kristina Nikolova Award in the amount of €2,500. For the filmmaker’s deft ability to let her iconoclast subject’s charisma and talent erupt on screen, shaping a narrative of Ivo’s performances that push audiences into discomfort with honesty, compassion, and connection, the Special Jury Prize for Documentary goes to ‘In Hell With Ivo’ from director Kristina Nikolova. SPECIAL MENTION I BELIEVE THE PORTRAIT SAVED ME / MUA BESOJ MË SHPËTOJ PORTRETI Kosovo*, Netherlands Director: Alban Muja To a formally daring film that uses re-enactment to tell a story of survival during the war, as well as the power of art, the jury is delighted to give a special mention to I Believe the Portrait Saved Me by Alban Muja. Competition Programme - Short Film Jury: Teresa Cavina (festival programmer and script doctor, Italy) Cem Demirer (cinematographer and director, Türkiye) Nebojša Slijepčević (director and writer, Croatia) HEART OF SARAJEVO FOR BEST SHORT FILM WINTER IN MARCH / LUMI SAADAB MEID Armenia, Estonia, France, Belgium Director: Natalia Mirzoyan AN OSCAR® QUALIFYING FILM Award in the amount of €2,500. The Heart of Sarajevo goes to the film done with exceptional precision and amazing creativity. It's an authentic story of inner conflict that comes from facing your country falling into the moral abyss. The name of the film is WINTER IN MARCH directed by Natalia Mirzoyan. SPECIAL MENTION ERASERHEAD IN A KNITTED SHOPPING BAG Bulgaria Director: Lili Koss The special mention goes to the playful film that is set against the backdrop of the Bulgarian rough 90’s, where children, left to grow up by themselves, invent their own world. The narrative subtly emerges from witty smart and believable human interactions, directed with youthful energy and supported by vivid cinematography. The name of the film is ERASERHEAD IN A KNITTED SHOPPING BAG directed by Lili Koss. Competition Programme - Student Film Jury: Miroslav Mandić (director and writer, Bosnia and Herzegovina) Nađa Petrović (writer, screenwriter and director, Serbia) Yorgos Tsourgiannis (producer, Greece) HEART OF SARAJEVO FOR BEST STUDENT FILM TARIK Serbia Director: Adem Tutić Award in the amount of €1,000 is sponsored by the Regional Cooperation Council. A teenage boy floats through the spaces that define his youth, thanks to a visual approach dominated by the fuzzy depth of field, supported by intense acting and crisp dialogues. It is not a dreamy levitation, but the hardship caused by toxic masculinity of his peers and his family, primarily by his sensitive soul. For the deliberate aesthetics that employ remarkably sparse means and thus aptly convey important narrative issues, for the details that are thoroughly considered and subtly woven into the narrative, the award goes to TARIK directed by Adem Tutić. SPECIAL AWARD FOR PROMOTING GENDER EQUALITY Jury: Anna Croneman (producer and CEO of the Swedish Film Institute, Sweden) Ivan Marinović (director, writer and producer, Montenegro) Norika Sefa (director and writer, Kosovo*) GOD WILL NOT HELP / BOG NEĆE POMOĆI Croatia, Italy, Romania, Greece, France Director: Hana Jušić Award in the amount of €7,500 sponsored by Mastercard. The award goes to - an intense mystery, set in isolation, that flirts with genre while creating something wholly on its own. Grounded in a strong sense of place, powerful performances speak volumes without excess dialogue in an atmosphere both familiar and uncanny. Its narrative challenges our assumptions and in doing so, it ultimately confronts us with feelings of not belonging. SPECIAL YOUTH PERSPECTIVES AWARD Jury: Anja Jokić (youth policy specialist, Serbia) Eréndira Núñez Larios (producer, Mexico) Milan Stojanović (producent, Serbia) DJ AHMET North Macedonia, Czech Republic, Serbia, Croatia Director: Georgi M. Unkovski Award in the amount of €7,500 sponsored by the Council of Europe. The Special Award Youth Perspectives goes to a film about young people challenging their community and tradition - a lighthearted and humorous, but highly moving story, enriched with endearing and lively performances by the young actors and colorful cinematography, which we believe has the potential to reach audiences, especially the young ones, around the world. For giving voice to youth from small community, this award goes to the producers and the director of the film DJ AHMET. PARTNERS' AWARDS EUROPEAN FILM ACADEMY SHORT FILM CANDIDATE Jury: Gregor Božič (director, cinematographer, Slovenia) Kasia Karwan (film consultant, Poland) Dominique Welinski (producer and film consultant, France) THINGS HIDDEN SINCE THE FOUNDATION OF THE WORLD Greece, United States Director: Kevin Walker, Irene Zahariadis The winner receives candidacy for the European Film Academy's Best Short Film Award. CICAE AWARD Jury: Alexander Omar Lang (film curator and programmer, Germany) Sylvie Da Rocha (artistic director, Cinema Zola, Portugal) Diego Ginartes Rodríguez (film curator, programmer and cultural producer, Spain) WHITE SNAIL Austria, Germany Director: Elsa Kresmer, Levin Peter The International Confederation of Art Cinemas (CICAE) bestows this award on a film from the Competition Programme – Feature Film. The winning film receives CICAE support for distribution, exhibition, and audience outreach, through a network of 3,000 cinemas. CINEUROPA PRIZE Jury: Srdjan Kurpjel (composer and sound editor, Bosnia and Herzegovina) Alfonso Rivera (film journalist and critic, Spain) DJ AHMET North Macedonia, Czech Republic, Serbia, Croatia Director: Georgi M. Unkovski The prize is awarded by the Cineuropa portal, the site dedicated to the European cinema and film professionals, and is given to a fil that besides having indisputable artistic qualities also promotes the idea of European dialogue and integration. The value of this award is €5,000. List of Partners' Awards HERE List of 23nd CineLink Industry Days Awards HERE * This label does not prejudge the status of Kosovo and is in accordance with Resolution 1244 and the opinion of the ICJ on Kosovo's declaration of independence
Awards of the 31st Sarajevo Film Festival
Srbija, Slovenija, Hrvatska Režija: Stefan Đorđević Producenti: Dragana Jovović, Ognjen Glavonić, Stefan Ivančić Novčana nagrada u iznosu od 16.000 €.
NAJBOLJI FILM: VJETRE, PRIČAJ SA MNOM
Serbia, Slovenia, Croatia Director: Stefan Đorđević Producers: Dragana Jovović, Ognjen Glavonić, Stefan Ivančić Award in the amount of €16,000.
Radost razgovora s vjetrom
„Vjetre, pričaj sa mnom“ iznosi vašu osobnu i zaista emotivnu priču o nošenju s gubitkom majke. U kojem trenutku ste odlučili da ste spremni baviti se tako teškom temom? Znao sam da sam spreman napraviti film o mojoj majci Neci onda kada sam prestao da gledam na njen odlazak kao na tešku temu. Moja majka je voljela život više nego bilo ko drugi, i kakav bi njen učenik bio da razmišljam više o njenoj smrti, nego o njenom životu. Kada pomislim na nju hoću da se radujem, da mi izmami osmijeh, da nikada ne ode, pa i ako suze poteku, čovjek može samo više da voli poslije njih. Kada ste odlučili da će u filmu uz vas glumiti i vaša obitelj? Tokom posljednjeg ljeta moje majke, snimili smo prizore koji su mi se duboko urezali. Samo snimanje je otvorilo teme između nas dvoje o kojima nikada prije nismo razgovarali. Povjerila mi se kako priča sa vjetrom. Gledajući kasnije njen sjaj u očima dok priča o vjetru, pomislio sam kako je to ono šta Necu čini posebnom i jedinstvenom, i kako niko ne može da odigra ili zamijeni to. Ta pomisao je inicirala želju za stvarnošću, jer su odnos sa porodicom i okruženje u kojem je Neca odrasla učinile nju jedinstvenom, baš onako kako je i ona uticala na sve nas. Otud je i proistekla želja svih članova porodice da joj posvete „Vjetar“, jer iako nije bilo nimalo jednostavno otvoriti se ispred kamere, ona je iz ljubavi prema nama radila mnogo teže stvari. Koliko vam je brat Boško Đorđević, koji je potpisan kao saradnik na scenariju, pomogao u stvaranju filma? Boško je također filmski autor i on je jedini od članova porodice koji poznaje strukturu i formu filma. Njegovo mišljenje izuzetno cijenim i bez njegove predanosti „Vjetar“ ne bi bio ono što jeste, film o porodici. Scenarij je sačinjen od sjećanja i uspomena iz vremena poslije Necine smrti, koje smo onda rekonstruirali na samom snimanju, i ono što je Boško donio kao autor na snimanju je prisutnost, stvaranje jedinstvenog trenutka u vremenu, ali ne na filmski način, već kao dio života. Najbolje je razumio kompleksnost forme i napisao je scene za sebe, baš onako kako ih je i Neca napisala za sebe. Koliko vam je rad na ovom filmu pomogao pri nošenju s majčinom smrću? Svaki dio procesa kreiranja „Vjetra“ imao je svojih izazova, koje nikako ne bih prebrodio da nisam imao posvećene ljude oko sebe. I ovdje ne mislim samo na porodicu ispred kamere, već i na onu iza kamere. Dragana Jovović, producentica filma, takođe je izgubila jednog od roditelja i bez njenog razumijevanja i poznavanja kompleksnosti teme, ali prije svega bez njene podrške, ne bih izgurao ovaj film do kraja. Dosta članova ekipe je rano izgubilo nekoga bliskog i svi su imali svoju vrstu motivacije da rade na projektu koji se suočava sa smrću. Bavljenje životnim traumama je izuzetno važno, da li na kreativan ili ljudski način, ali kod svih nas koji smo radili na ovom filmu te dvije stvari su se isprepletale i osnažile naše odnose, ne samo međuljudske već i one prema svetu oko nas. Pas Lija u filmu je jedan od glavnih likova. Zašto vam je bilo važno u tu obiteljsku atmosferu unijeti motiv ozlijeđenog psa? Moja majka je svoje posljednje ljeto provela na Borskom jezeru, u maloj kamp kućici, okružena biljnim i životinjskim svijetom. Bilo joj je potrebno da bude u okruženju koje manifestuje prijatne vibracije kako bi uspjela da pobijedi bolest u sebi. Da bi razgovarala sa vjetrom, prvo je morala da ga čuje. U slijedu kompleksnosti ljudskih karakteristika i odnosa, ne pomislimo na njihove osnove i koliko zavisimo jedni od drugih. Koliko bez brige, ne postoji ljubav. Poslije majčine smrti osjećanje brige kao da je tokom noći prestalo da postoji i ogromna težina se sručila na moja ramena. Uveliko sam razmišljao kako želim da udomim psa, da ga spasim od nepredvidivog života na ulici, ali prije svega ja sam bio taj kome je trebala pomoć. U cijeloj toj skrhanosti i želji kolima sam udario psa na putu i zatim pokušao da mu pomognem, ali pas je pobjegao. Neposredno poslije toga sam udomio Liju i od tada Lija i ja smo nerazdvojni. Što vam znaci Sarajevo Film Festival? Sarajevo Film Festival je prvi filmski festival na kojem sam ikada bio i izuzetna mi je čast da je regionalna premijera filma na mjestu gdje je moja filmska priča i započela petnaest godina ranije. Sarajevo Film Festival njeguje i čuva autore iz regiona i osjećam se privilegovanim što je naš film dio ovogodišnjeg izdanja, ali ono što mi posebno znači da je cijela moja porodica gledala prvi put film sa publikom. I njima je ovo bio prvi filmski festival! I ko zna, možda neki novi filmski početak… Josip Jurčić „Vjetre, pričaj sa mnom“ iznosi vašu osobnu i zaista emotivnu priču o nošenju s gubitkom majke. U kojem trenutku ste odlučili da ste spremni baviti se tako teškom temom? Znao sam da sam spreman napraviti film o mojoj majci Neci onda kada sam prestao da gledam na njen odlazak kao na tešku temu. Moja majka je voljela život više nego bilo ko drugi, i kakav bi njen učenik bio da razmišljam više o njenoj smrti, nego o njenom životu. Kada pomislim na nju hoću da se radujem, da mi izmami osmijeh, da nikada ne ode, pa i ako suze poteku, čovjek može samo više da voli poslije njih. Kada ste odlučili da će u filmu uz vas glumiti i vaša obitelj? Tokom posljednjeg ljeta moje majke, snimili smo prizore koji su mi se duboko urezali. Samo snimanje je otvorilo teme između nas dvoje o kojima nikada prije nismo razgovarali. Povjerila mi se kako priča sa vjetrom. Gledajući kasnije njen sjaj u očima dok priča o vjetru, pomislio sam kako je to ono šta Necu čini posebnom i jedinstvenom, i kako niko ne može da odigra ili zamijeni to. Ta pomisao je inicirala želju za stvarnošću, jer su odnos sa porodicom i okruženje u kojem je Neca odrasla učinile nju jedinstvenom, baš onako kako je i ona uticala na sve nas. Otud je i proistekla želja svih članova porodice da joj posvete „Vjetar“, jer iako nije bilo nimalo jednostavno otvoriti se ispred kamere, ona je iz ljubavi prema nama radila mnogo teže stvari. Koliko vam je brat Boško Đorđević, koji je potpisan kao saradnik na scenariju, pomogao u stvaranju filma? Boško je također filmski autor i on je jedini od članova porodice koji poznaje strukturu i formu filma. Njegovo mišljenje izuzetno cijenim i bez njegove predanosti „Vjetar“ ne bi bio ono što jeste, film o porodici. Scenarij je sačinjen od sjećanja i uspomena iz vremena poslije Necine smrti, koje smo onda rekonstruirali na samom snimanju, i ono šta je Boško donio kao autor na snimanju je prisutnost, stvaranje jedinstvenog trenutka u vremenu, ali ne na filmski način već kao dio života. Najbolje je razumio kompleksnost forme i napisao je scene za sebe, baš onako kako ih je i Neca napisala za sebe. Koliko vam je rad na ovom filmu pomogao pri nošenju s majčinom smrću? Svaki dio procesa kreiranja „Vjetra“ imao je svojih izazova, koje nikako ne bih prebrodio da nisam imao posvećene ljude oko sebe. I ovdje ne mislim samo na porodicu ispred kamere, već i na onu iza kamere. Dragana Jovović, producentica filma, takođe je izgubila jednog od roditelja i bez njenog razumijevanja i poznavanja kompleksnosti teme, ali prije svega bez njene podrške, ne bih izgurao ovaj film do kraja. Dosta članova ekipe je rano izgubilo nekoga bliskog i svi su imali svoju vrstu motivacije da rade na projektu koji se suočava sa smrću. Bavljenje životnim traumama je izuzetno važno, da li na kreativan ili ljudski način, ali kod svih nas koji smo radili na ovom filmu te dvije stvari su se isprepletale i osnažile naše odnose, ne samo međuljudske već i one prema svetu oko nas. Pas Lija u filmu je jedan od glavnih likova. Zašto vam je bilo važno u tu obiteljsku atmosferu unijeti motiv ozlijeđenog psa? Moja majka je svoje posljednje ljeto provela na Borskom jezeru, u maloj kamp kućici, okružena biljnim i životinjskim svijetom. Bilo joj je potrebno da bude u okruženju koje manifestuje prijatne vibracije kako bi uspjela da pobijedi bolest u sebi. Da bi razgovarala sa vjetrom, prvo je morala da ga čuje. U slijedu kompleksnosti ljudskih karakteristika i odnosa, ne pomislimo na njihove osnove i koliko zavisimo jedni od drugih. Koliko bez brige, ne postoji ljubav. Poslije majčine smrti osjećanje brige kao da je tokom noći prestalo da postoji i ogromna težina se sručila na moja ramena. Uveliko sam razmišljao kako želim da udomim psa, da ga spasim od nepredvidivog života na ulici, ali prije svega ja sam bio taj kome je trebala pomoć. U cijeloj toj skrhanosti i želji kolima sam udario psa na putu i zatim pokušao da mu pomognem, ali pas je pobjegao. Neposredno posijle toga sam udomio Liju i od tada Lija i ja smo nerazdvojni. 2010. godine glumili ste u filmu „Tilva Roš“, koji je tada osvojio Srce Sarajeva za najbolji film, 2018. godine bili ste dio Sarajevo Talents, a 2019. je kratki film „Poslednja slika o ocu“ koji ste režirali također dobio Srce Sarajeva. Kakav je osjećaj vratiti se na Festival sa debitantskim dugometražnim filmom? Sarajevo Film Festival je prvi filmski festival na kojem sam ikada bio i izuzetna mi je čast da je regionalna premijera filma na mjestu gdje je moja filmska priča i započela petnaest godina ranije. Sarajevo Film Festival njeguje i čuva autore iz regiona i osjećam se privilegovanim što je naš film dio ovogodišnjeg izdanja, ali ono što mi posebno znači je to da će cijela moja porodica gledati prvi put film sa publikom. I njima će ovo biti prvi filmski festival! I ko zna, možda neki novi filmski početak… Josip Jurčić
Nakon smrti majke, reditelj Stefan Đorđević odlučio je uz pomoć cijele obitelji snimiti film „Vjetre, pričaj sa mnom“, u kojem fokus nije tugovanje zbog njezinog odlaska, već veselje zbog njezinog života.
The Joy of Talking with the Wind
Wind, Talk to Me tells your personal and deeply emotional story of coping with the loss of your mother. At what point did you decide you were ready to tackle such a difficult subject? I knew I was ready to make a film about my mother, Neca, when I stopped seeing her passing as a heavy subject. My mother loved life more than anyone else, and what kind of student of hers would I be if I thought more about her death than her life? When I think of her, I want to feel joy, for her to make me smile, for her to never really leave. And even if tears fall, a person can only love more after them. When did you decide that your family would also act alongside you in the film? During the last summer of my mother’s life, we filmed scenes that left a deep impression on me. Just the act of filming opened up topics between the two of us that we had never discussed before. She confided in me about how she talks to the wind. Later, seeing the sparkle in her eyes as she spoke about the wind, I realized that this is what made Neca special and unique, and that no one could play or replace that. That thought sparked a desire for authenticity, because her relationship with our family and the environment in which Neca grew up made her truly one of a kind, just as she influenced all of us. From there came the desire of every family member to dedicate Wind to her, because, even though opening up in front of a camera was far from easy, she had done much harder things out of love for us. How much did your brother Boško Đorđević, credited as a collaborator on the script, help in creating the film? Boško is also a filmmaker, and he is the only member of our family familiar with the structure and form of a film. I deeply value his opinion, and without his dedication, Wind would not be what it is, a film about family. The script was composed of memories and recollections from the time after Neca’s passing, which we then reconstructed during filming. What Boško brought as a creator on set was presence, the ability to craft a unique moment in time, not in a cinematic way, but as part of life. He understood the complexity of the form best and wrote scenes for himself, just as Neca had written them for herself. How much did working on this film help you cope with your mother’s death? Every part of creating Wind came with its challenges, which I could never have overcome without having devoted people around me. And I don’t mean only the family in front of the camera, but also those behind it. Dragana Jovović, the film’s producer, had also lost a parent, and without her understanding and grasp of the topic’s complexity, but above all, without her support, I wouldn’t have been able to see this film through to the end. Many members of the crew had lost someone close at an early age, and each of them had their own motivation to work on a project that confronts death. Dealing with life’s traumas is extremely important, whether in a creative or a human way, and for all of us who worked on this film, these two aspects intertwined, strengthening not only our interpersonal relationships but also our connection to the world around us. Lija, the dog in the film, is one of the main characters. Why was it important for you to introduce the motif of an injured dog into this family atmosphere? My mother spent her last summer at Borsko Lake, in a small camper, surrounded by plants and animals. She needed to be in an environment that radiated positive energy in order to fight the illness within her. To be able to talk to the wind, she first had to hear it. In the complexity of human traits and relationships, we often don’t consider the basics—how much we depend on each other. Without care, there is no love. After my mother’s death, the sense of care seemed to vanish overnight, and an immense weight fell on my shoulders. I had long thought about adopting a dog, to save it from the unpredictability of life on the streets, but above all, I was the one who needed help. In a moment of fragility and distraction, I accidentally hit a dog with my car on the road and then tried to help it, but it ran away. Shortly after that, I adopted Lija, and ever since, Lija and I have been inseparable. What does the Sarajevo Film Festival mean to you? The Sarajevo Film Festival was the first film festival I ever attended, and it is an extraordinary honor that the regional premiere of my film takes place where my cinematic journey began fifteen years ago. The Festival nurtures and supports filmmakers from the region, and I feel privileged that our film is part of this year’s edition. What makes it especially meaningful, however, is that my entire family will see the film with an audience for the first time. For them, this will be their first film festival! And who knows, perhaps it will mark the beginning of a new cinematic journey... Josip Jurčić Wind, Talk to Me tells your personal and deeply emotional story of coping with the loss of your mother. At what point did you decide you were ready to tackle such a difficult subject? I knew I was ready to make a film about my mother, Neca, when I stopped seeing her passing as a heavy subject. My mother loved life more than anyone else, and what kind of student of hers would I be if I thought more about her death than her life? When I think of her, I want to feel joy, for her to make me smile, for her to never really leave. And even if tears fall, a person can only love more after them. When did you decide that your family would also act alongside you in the film? During the last summer of my mother’s life, we filmed scenes that left a deep impression on me. Just the act of filming opened up topics between the two of us that we had never discussed before. She confided in me about how she talks to the wind. Later, seeing the sparkle in her eyes as she spoke about the wind, I realized that this is what made Neca special and unique, and that no one could play or replace that. That thought sparked a desire for authenticity, because her relationship with our family and the environment in which Neca grew up made her truly one of a kind, just as she influenced all of us. From there came the desire of every family member to dedicate Wind to her, because, even though opening up in front of a camera was far from easy, she had done much harder things out of love for us. How much did your brother Boško Đorđević, credited as a collaborator on the script, help in creating the film? Boško is also a filmmaker, and he is the only member of our family familiar with the structure and form of a film. I deeply value his opinion, and without his dedication, Wind would not be what it is, a film about family. The script was composed of memories and recollections from the time after Neca’s passing, which we then reconstructed during filming. What Boško brought as a creator on set was presence, the ability to craft a unique moment in time, not in a cinematic way, but as part of life. He understood the complexity of the form best and wrote scenes for himself, just as Neca had written them for herself. How much did working on this film help you cope with your mother’s death? Every part of creating Wind came with its challenges, which I could never have overcome without having devoted people around me. And I don’t mean only the family in front of the camera, but also those behind it. Dragana Jovović, the film’s producer, had also lost a parent, and without her understanding and grasp of the topic’s complexity, but above all, without her support, I wouldn’t have been able to see this film through to the end. Many members of the crew had lost someone close at an early age, and each of them had their own motivation to work on a project that confronts death. Dealing with life’s traumas is extremely important, whether in a creative or a human way, and for all of us who worked on this film, these two aspects intertwined, strengthening not only our interpersonal relationships but also our connection to the world around us. Lija, the dog in the film, is one of the main characters. Why was it important for you to introduce the motif of an injured dog into this family atmosphere? My mother spent her last summer at Borsko Lake, in a small camper, surrounded by plants and animals. She needed to be in an environment that radiated positive energy in order to fight the illness within her. To be able to talk to the wind, she first had to hear it. In the complexity of human traits and relationships, we often don’t consider the basics—how much we depend on each other. Without care, there is no love. After my mother’s death, the sense of care seemed to vanish overnight, and an immense weight fell on my shoulders. I had long thought about adopting a dog, to save it from the unpredictability of life on the streets, but above all, I was the one who needed help. In a moment of fragility and distraction, I accidentally hit a dog with my car on the road and then tried to help it, but it ran away. Shortly after that, I adopted Lija, and ever since, Lija and I have been inseparable. In 2010, you acted in the film Tilva Roš, which went on to win the Heart of Sarajevo for Best Film. In 2018, you were part of Sarajevo Talents, and in 2019 your short film The Last Picture of Father also received the Heart of Sarajevo. How does it feel to return to the Festival with your debut feature film? The Sarajevo Film Festival was the first film festival I ever attended, and it is an extraordinary honor that the regional premiere of my film takes place where my cinematic journey began fifteen years ago. The Festival nurtures and supports filmmakers from the region, and I feel privileged that our film is part of this year’s edition. What makes it especially meaningful, however, is that my entire family will see the film with an audience for the first time. For them, this will be their first film festival! And who knows, perhaps it will mark the beginning of a new cinematic journey...
After his mother’s passing, director Stefan Đorđević decided, with the help of his entire family, to make the film Wind, Talk to Me, in which the focus is not on mourning her loss, but on celebrating her life
Romania, Serbia, Italy, Spain Award in the amount of €10,000 is sponsored by the United Nations in Bosnia and Herzegovina in cooperation with UNESCO.
Rumunija, Srbija, Italija, Španija Novčanu nagradu, u iznosu od 10.000 €, obezbjeđuju Ujedinjene nacije u Bosni i Hercegovini u saradnji sa UNESCO-om.
Sve je istinito osim dijelova koje smo promijenili
Rediteljica Ivana Mladenović u Sarajevu je prikazala film „Sorella di Clausura“, priču o ženi iz ruralne Rumunjske koja se zaljubi u balkanskog glazbenika nakon što ga vidi na televiziji.
Početni tekst u filmu „Sorella di Clausura“ glasi: „Ako ste mislili da ćete gledati film temeljen na stvarnim događajima, varate se i vjerojatno ste paranoični.“ Kako pristupate spajanju fikcije i stvarnosti u svom radu? „Sorella di Clausura“ temelji se na autobiografskom tekstu Liliane Pelici. No, u trenutku kada život pretvorite u film, neizbježno ga mijenjate, sažimate događaje i štitite privatnost ljudi. Ljudi uvijek pitaju: „Koliko je toga istinito?“ Kod „Sorella di Clausura“, odgovor je: gotovo sve… i ipak ne sasvim. Film je ukorijenjen u životu Liliane Pelici, ali stvaranje filma znači rezati, preraspoređivati i štititi određene detalje. To neizbježno kontaminira istinu. Naslovna kartica bila je moj način da upozorim i zaintrigiram publiku: da, dogodilo se, ali ne, ne možete film tretirati kao policijski izvještaj. Nije čista stvarnost, niti čista fikcija. Živi u onom čudnom, prekrasnom prostoru gdje se ta dva ne mogu razdvojiti. Sve je istinito, osim dijelova koje smo promijenili, što je gotovo sve. Film je smješten u 2008. godini, tijekom ulaska Rumunjske u EU i nadolazeće financijske krize. Kako ovaj socioekonomski kontekst oblikuje put vaše glavne junakinje, Stele, i utječe na način na koji ste odlučili ispričati njezinu priču? U 2008. godini Rumunjska je bila u neobičnom trenutku. Postojao je osjećaj prosperiteta, novih snova, osobito s pristupom EU. No za nekoga poput Stele, 36-godišnje žene iz ruralne Rumunjske koja je već bila siromašna, taj san je uvijek bio izvan dosega. U početku vjeruje u ta obećanja, čak i u ideju da bi je Bog mogao spasiti. Pokušava se prilagoditi, pokušava zarađivati, ali novac neprestano nestaje. Kriza je tada došla brzo, ali se i brzo završila. Danas se suočavamo s nečim drugačijim. Inflacija je neumoljiva i ne prestaje, pa je osjećaj nemogućnosti da se održi korak još intenzivniji. Stelinina priča mogla bi se lako dogoditi sada ili u mnogim drugim vremenima, jer govori o borbi za preživljavanje kada sustav napreduje brže nego što vi možete. Postavljanje radnje u 2008. dodaje određenu ironiju: službeni narativ bio je o napretku, ali za Stelu je to bila samo još jedna verzija iste borbe. Stela je cijeli svoj život centrirala oko Bobana, srpskog pjevača u kojeg se zaljubila kada ga je prvi put vidjela na televiziji sa 12 godina. Mislite li da su parasocijalni odnosi s poznatim osobama danas postali još veći problem, osobito s obzirom na to koliko nam društvene mreže omogućuju uvida u njihov život? Društvene mreže danas su poput stalne parade bogatstva i luksuza, stvari koje većina ljudi nikada neće imati. Kada stavite vrlo siromašnu djevojku u takav kontekst, počnete shvaćati što to radi njezinu samopouzdanju. U Stelinom slučaju, njen idol je balkanski pjevač kojemu je zapravo jedino stalo do novca. Nesvjesno posuđujemo osobine od ljudi koje obožavamo, ali sve ovisi o tome tko su oni. Odrastala sam u grunge okruženju, i to je ostavilo trajan trag na meni. Gledanje sjajnih, skupih stvari koje ne možete imati može vas učiniti da se osjećate društveno neadekvatno, a vaše ekonomsko porijeklo postaje snažan okidač za to. Ipak, zapravo više volim onu stranu TikToka gdje ljudi stvaraju smiješne, autentične i inventivne stvari. Ponekad vas to čini da se osjećate manje sami, a ponekad upravo suprotno — osjećate se izgubljeno u svemu tome. Biste li rekli da opsesija i usamljenost idu ruku pod ruku, osobito u Stelinom slučaju? Mislim da opsesija i usamljenost često idu ruku pod ruku. U Stelinom slučaju, njezina opsesija je gotovo poput života na internetu, iako se film događa na samom početku internetske ere. Iz današnje perspektive, takav život izgleda kao sama definicija usamljenosti. Bobana tumači vaš otac, Miodrag Mladenović. Što vas je inspiriralo da ga odaberete za ovu ulogu? Duboko je freudovski, obećajem! (Smije se) Volim očev humor i karizmu. Isprva nisam željela da on glumi. Imala sam velike snove da angažiram pravog glazbenika, zvijezdu. Bilo je gotovo iluzorno misliti da bi tako poznati glumci željeli nastupiti u srpsko-rumunjskoj socijalnoj dramskoj komediji u stilu Crnog vala, gotovo jednako ludo kao i sama Stela. No kada se ti snovi nisu ostvarili, a ja sam se nadala do samog posljednjeg trenutka, moj otac postao je konačna opcija. On je smiješan, iako je vrlo privatna osoba, veterinar koji živi u šumi. Ono što me oduševljava jest koliko je humora i razigranosti stekao s godinama. To zaista jako cijenim. Nešto slično se dogodilo i pri odabiru drugih likova u filmu. Većina glumaca nije profesionalna. To su ljudi koje sam susrela na tržnici ili na ulici. Savršeno utjelovljuju društveno okruženje koje sam željela prikazati, i duboko ih cijenim, prvo kao ljude, a zatim i zbog njihovog talenta. Na kraju filma nalazi se posveta Anci Pop, rumunskoj pjevačici koja je tragično preminula i vašoj bliskoj prijateljici. Je li ona bila velika inspiracija za lik Vere Pop? Ancu Pop, pjevačicu i blisku prijateljicu koja je kasnije glumila u mom filmu „Ivana Grozna“ (2019), upoznala sam 2016. Bila je duboko predana pomaganju u objavljivanju rukopisa Liliane Pelici, priče o mladoj ženi iz Timișoare koja se bori s siromaštvom i opsesijom. Anca je vjerovala u Lilianin talent, ali je pronalaženje izdavača bilo teško. Pretpostavljam da nikoga nije zanimalo priča o siromašnoj djevojci iz ničega. Dan nakon što smo se upoznale, Anca mi je donijela rukopis i nagovarala me da ga pročitam, nadajući se da ću jednog dana možda snimiti film prema njemu. Privukao me snažan glas te naracije, punkerski, oštar i pun samoironije, ali morala sam ga odložiti kako bih dovršila drugi projekt. Tragično, pri kraju snimanja „Ivana Grozna“, Anca je stradala u prometnoj nesreći. Ovaj film ne govori izravno o njezinom životu, ali je nastao u njezinu sjećanju. Bila je snažna borkinja koja je pomogla Liliani da njezina priča ugleda svjetlo dana. Iako film ne prenosi Ancinu priču direktno, nosi njezin duh. Bila je duhovita, pametna, velikodušna i uvijek spremna pomoći drugima. Takvu je želim pamtiti. Što za vas znači ponovno biti u Sarajevu? Prvi put sam došla u Sarajevo 2009. godine, u okviru sekcije Work In Progress, dok sam dovršavala svoj prvi dokumentarni film, koji je kasnije osvojio nagradu Srce Sarajeva. Sada se vratiti ovdje osjećam nevjerojatno. Na neki način, ovaj grad me oblikovao; prvi put sam došla prije dvadeset godina, tek što sam završila filmsku školu. No Sarajevo je više od mjesta za filmske premijere. Ovdje sam upoznala nevjerojatne filmske stvaratelje i mentore, dijelila priče i rasla kao umjetnica. Ovaj Festival mi je pružio prvu pravu potporu u dokumentarnoj produkciji, što je puno značilo za moju karijeru. Također sam zahvalna što se ponovno nalazim među publikom i ljudima koji ulažu toliko strasti u ovaj Festival i ovaj grad. Sarajevo za mene nosi toliko uspomena. Josip Jurčić
Everything Is True Except the Parts We Changed
Director Ivana Mladenović presented in Sarajevo “Sorella di Clausura,” a story about a woman from rural Romania who falls in love with a Balkan musician after seeing him on television.
The opening title card in “Sorella di Clausura” reads ‘If you thought you were going to watch a film based on true events, you are wrong and possibly paranoid.’ How do you approach combining fiction and reality in your work? “Sorella di Clausura” is based on an autobiographical manuscript by Liliana Pelici. But the moment you turn a life into a film, you inevitably change it, condensing events and protecting people’s privacy. People always ask, “But how much of it is true?” With “Sorella di Clausura,” the answer is: almost all of it… and not quite. It is rooted in Liliana Pelici’s life, but making a film means cutting, rearranging, and shielding certain details. That inevitably contaminates the truth. The title card was my way of warning and teasing the audience: yes, it happened, but no, you cannot treat the film like a police report. It is not pure reality, nor pure fiction. It lives in that strange, beautiful space where the two cannot be separated. It is all true, except for the parts we changed, which is almost everything. The film is set in 2008, during Romania’s EU entry and the looming financial crisis. How does this socio-economic backdrop shape the journey of your main character, Stela, and influence the way you chose to tell her story? In 2008, Romania was in a peculiar moment. There was a sense of prosperity, of new dreams, especially with EU accession. But for someone like Stela, a 36-year-old woman from rural Romania who was already broke, that dream was always out of reach. At first, she believes in those promises, even in the idea that God might save her. She tries to adapt, she tries to earn, but the money keeps vanishing. The crisis back then came quickly but also ended quickly. Today we are facing something different. Inflation is relentless, and it does not stop, so the feeling of being unable to keep up is even sharper. Stela’s story could easily take place now, or in many other times, because it is about the struggle to survive when the system moves faster than you can. The 2008 setting adds a certain irony: the official narrative was one of progress, but for Stela, it was just another version of the same fight. Stela has centered her whole life around Boban, a Serbian singer she fell in love with when she first saw him on TV at the age of 12. Do you think parasocial relationships with celebrities have become an even bigger problem today, especially with how social media gives us more insight into their lives? Social media today is like a constant parade of wealth and luxury, things most people will never have. When you place a very poor girl in that context, you begin to understand what it does to her self-esteem. In Stela’s case, her idol is a Balkan singer who only really cares about money. We unconsciously borrow traits from the people we admire, but it depends on who they are. I grew up in a grunge environment, and it left a lifelong mark on me. Staring at shiny, expensive things you cannot have can make you feel socially inadequate, and your economic background becomes a big trigger for that. That said, I actually prefer the side of TikTok where people make funny, authentic, inventive things. Sometimes it makes you feel less alone, and sometimes it does the opposite — it makes you feel lost in it. Would you say that obsession and loneliness go hand in hand, especially in Stela’s case? I think obsession and loneliness often do go hand in hand. In Stela’s case, her obsession is almost like living online, even though the film is set at the very beginning of the internet era. Seen from today’s perspective, that kind of life feels like the very definition of loneliness. Boban is portrayed by your father, Miodrag Mladenović. What inspired you to cast him in this role? It’s deeply Freudian, I promise! (Laughs) I love my dad’s humor and charisma. At first, I did not want to cast him. I had big dreams of casting a real musician, a star. It was almost delusional to think that such well-known actors would want to appear in a Serbian-Romanian Black Wave social comedy drama, almost as crazy as Stela herself. But when those dreams did not materialize, and I kept hoping until the very last moment, my father became the final option. He is funny, even though he is a very private man, a veterinarian living in the woods. What amazes me is how much humor and playfulness he has gained with age. I really admire that. Something similar happened when casting other characters in the film. Most of the cast are not professional actors. They are people I met at the market or on the street. They perfectly embody the social environment I wanted to portray, and I admire them deeply, first as people, and then for their talent. At the end of the movie, there’s a dedication to Anca Pop, a Romanian singer who tragically passed away and your close friend. Was she a big inspiration for the character of Vera Pop? In 2016, I met Anca Pop, a singer and close friend who later acted in my film “Ivana the Terrible” (2019). She was deeply committed to helping publish Liliana Pelici’s manuscript, a story about a young woman from Timișoara struggling with poverty and obsession. Anca believed in Liliana’s talent, but finding a publisher was difficult. I guess nobody cared about the story of a poor girl from nowhere. The day after we met, Anca brought me the manuscript and urged me to read it, hoping I might one day make a film from it. I was drawn to the narrative’s intense voice, punk, edgy, and full of self-irony, but had to set it aside to finish another project. Tragically, near the end of shooting “Ivana the Terrible,” Anca died in a car accident. This film is not about her life, but it is made in her memory. She was a fierce fighter who helped Liliana bring her story to light. Though the film does not tell Anca’s story directly, it carries her spirit. She was funny, smart, generous, and always willing to help others. This is how I want to remember her. What does the Sarajevo Film Festival mean to you? The first time I came to Sarajevo was in 2009, during the work-in-progress section, while I was finishing my first documentary, which later won the Heart of Sarajevo Award. Being back here now feels incredible. In a way, this city helped shape me; I arrived fresh out of film school almost twenty years ago. But Sarajevo is more than just a place for film premieres. It is where I have connected with amazing filmmakers and mentors, sharing stories and growing as an artist. This festival gave me my first real encouragement for documentary filmmaking, which meant a great deal for my career. I am also grateful to be back among the audience and the people who pour so much passion into this festival and this city. Sarajevo holds so many memories for me. Josip Jurčić
Slovenija, Sjeverna Makedonija Novčana nagrada u iznosu od 2.500 €.
BEST ACTRESS: FANTASY ensemble - Sarah al Saleh, Alina Juhart, Mia Skrbinac, Mina Milovanović Slovenia, North Macedonia Award in the amount of €2,500.
Slovenia, North Macedonia Award in the amount of €2,500.
Serbia, Bulgaria, France, Croatia, Montenegro Award in the amount of €2,500.
Srbija, Bugarska, Francuska, Hrvatska, Crna Gora Novčana nagrada u iznosu od 2.500 €.
Austria Director: Ivette Löcker Award in the amount of €4,000 is sponsored by the Government of Switzerland. AN OSCAR® QUALIFYING FILM
NAJBOLJI DOKUMENTARNI FILM: DOĆI ĆE NAŠE VRIJEME
Austrija Režija: Ivette Löcker Novčanu nagradu, u iznosu od 4.000 €, obezbjeđuje Vlada Švicarske. KVALIFIKACIONI FILM ZA NOMINACIJU ZA NAGRADU OSCAR®
photo byJürgen Keiper
Kako ste se upoznali sa Siakom i Victorijom i kako je došlo do snimanja ovog dokumentarca? Victoriju sam upoznala 2017. godine na filmskom festivalu u Grazu gdje je predstavila eksperimentalni film. Nekoliko godina kasnije, napisala mi je da se udala za Siaku, muškarca iz Gambije. Oboje su mi prišli s idejom da dokumentiramo Siakinu priču i njegova iskustva kao migranta. Osjećali su potrebu da podijele svoju priču na većoj razini. Kad sam upoznala Victoriju i Siaku kao par tijekom naših istraživačkih razgovora, odmah me fascinirala njihova zajednička karizma, snaga i ljubav. Brzo mi je postalo jasno da želim snimiti film o unutarnjem funkcioniranju međurasnog odnosa - perspektivi o kojoj mi, kao članovi većinskog bijelog društva, znamo premalo. Jako sam sretna što su njih dvoje pristali sudjelovati u filmu, iako im je izvorna namjera bila drugačija, i što smo se mogli posvetiti dokumentiranju njihovih zajedničkih života tijekom godine dana. Je li bilo situacija u kojima ste se morali suzdržati da se ne umiješate u žučne razgovore između supružnika? Koliko je teško biti promatrač kada se glasovi protagonista povise i mišljenja sudare? Sudionici nam daju intiman uvid u svoje živote i svjoa razmišljanja. Mislim da je to vrlo hrabro. Ovako intenzivan susret, koji može izazvati nepredvidive emocije i teme, čini ljude ranjivima. Unaprijed smo se dogovorili da bismo u konfliktnim situacijama mogli postaviti granice gdje bismo se mi kao filmska ekipa povukli i poštovali smo ih. Istovremeno, moja je namjera bila dati jednak prostor i jednom i drugom glasu. Kao redateljica, prirodno sam uključena u situaciju razgovora, ja sam dio nje. Kao redateljica, nemam neutralnu poziciju iz koje mogu „objektivno promatrati“. Pozicioniram se intervenirajući na određeni način, postavljajući pitanja ili čak prekidajući razgovor. Važno mi je da to bude transparentno u filmu. Ipak, nije uvijek lako izdržati te ambivalentnosti iza kamere. Siakin monolog o rasizmu izuzetno je dojmljiv i snažan. Kolika je moć filma u prenošenju njegove poruke, koliko film može pomoći liječenju ove strašne bolesti društva? Kada Siaka prepričava svoja iskustva sa rasističkim nasiljem, jasno možemo vidjeti i osjetiti da fizički ponovno proživljava te scene iz prošlosti - i to se prenosi na nas, gledatelje. Mislim da tu leži i snaga dokumentarnog filma: možemo podići svijest o problemu poput rasizma na narativnoj i emocionalnoj razini. Bilo nam je važno dati Siaki vremena i prostora da govori o svojim iskustvima. Siaka je žrtva rasizma, ali ga to nije slomilo - on poziva sve nas da se zajedno borimo protiv rasizma. Jer to zahtijeva sve, a posebno nas kao pripadnike većinskog bijelog društva. Film je prvenstveno namijenjen nama bijelcima, kako bi nam pomogao shvatiti kako može izgledati svakodnevni život oblikovan rasizmom. Živopisno vjenčanje u Gambiji gotovo da je film u filmu. To je priča puna vedrih boja i nepatvorene čistote siromašnih ljudi koji odraše tabane razdragano plešući u prašini. Kako je vama, kao promatračici iz Europe, izgledala ova oda životu i radosti? Bilo bi divno kada bismo imali više takvih boja u našim životima! Radost života ljudi u Gambiji, koji žive u daleko složenijim okolnostima od mnogih ljudi u Europi, je zarazna. Ljudi žive u društvenoj zajednici, a to kolektivno zajedništvo, koje je, zapravo, jedna velika obitelj, za mene predstavlja najveći kontrast našem izoliranom načinu života u Europi. U filmskoj sekvenci o Gambiji ipak smo pokušali obraditi pukotine i poteškoće: koliko je teško steći obrazovanje; pitanje dječjih brakova; odnos između Europljana i Afrikanaca, koji je uvijek obilježen nejednakošću. Na kraju, ali ne i najmanje važno, možemo osjetiti i da se Siaka već promijenio tijekom svog života u Europi, da i on traži način da živi s objema kulturama. Vaš se film završava bajkovito – dvoje vrlo različitih ljudi nadvladaju nedaće i istraju u svojoj ljubavi i zajedništvu. Uprkos svemu što je prijetilo da ih razdvoji njihov brak opstaje i biva krunisan preslatkom kćerkicom. Kako sada živi ova mala, sretna obitelj, je li došlo njihovo vrijeme? Victorijina i Siakina želja da budu obitelj se ostvarila. Njih troje sada žive zajedno u stanu u Beču koji vidimo u filmu. Siaka se brine o vrtu u dvorištu njihove kuće, zajedno sa susjedom. Victoria je pokrenula vlastiti posao sa svojim grafičkim dizajnerskim studijem. Siaka i dalje radi kao vrtlar. Njihova kći ide u vrtić. Ne znam je li kraj bajkovit - svakodnevni život je stalni izazov za svaki par i svaku obitelj, bez obzira na to koliko su velike ili male kulturne razlike. Ali ono što znam jest da su njih dvoje zajedno izgradili mnogo otpornosti kako bi se suočili s neizvjesnostima života i uživali u njegovim lijepim stranama. Marinela Domančić
Film rediteljice Ivette Löcker emotivna je priča dvoje ljudi, koji se na svakom koraku spotiču o predrasude i austrijski sistem koji lomi migrante, ali je kao u bajci njihova ljubav jača od svih prepreka.
Je li došlo njihovo vrijeme?
How did you meet Siaka and Victoria, and how did the filming of this documentary come about? I met Victoria in 2017 at the film festival in Graz, where she presented an experimental film. A few years later, she wrote to me that she was now married to Siaka, a man from Gambia. Both approached me with the idea of documenting Siaka's story and his experiences as a migrant. They felt the need to share their story on a larger scale. When I met Victoria and Siaka as a couple during our research discussions, I was immediately fascinated by their shared charisma, strength, and love. It quickly became clear to me that I wanted to make a film about the inner workings of an interracial relationship - a perspective that we, as members of a white majority society, know far too little about. I am very happy that the two agreed to participate in the film, even though their original intention was different, and that we were able to devote ourselves to documenting their lives together over the course of a year. Have you experienced situations where you had to refrain from getting involved in heated conversations between spouses? How hard is it to be an observer when the voices of the protagonists are raised and opinions collide? The protagonists give us an intimate insight into their lives and their thoughts about them. I find that very courageous. This intense encounter, which can trigger unpredictable emotions and topics, makes people vulnerable. We had agreed in advance that there might be boundaries in conflict situations where we as a film crew would withdraw, and we respected those boundaries. At the same time, my intention was to give both voices equal space. As a director, I am naturally involved in a conversation situation; I become part of it. As a director, I do not have a neutral position from which I can observe “objectively.” I position myself by intervening in a certain way, asking questions, or even interrupting the conversation. It is important to me to make this transparent in the film. Nevertheless, it is not always easy to endure these ambivalences behind the camera. Siaka's monologue about racism is extremely impressive and powerful. What is the power of film in conveying its message, how much can film help cure this terrible disease of society? When Siaka recounts his experiences of racist violence, we can clearly see and feel that he is physically reliving these scenes from the past—and this is transferred to us, the viewers. I think this is also where the power of documentary film lies: we can raise awareness of an issue such as racism on a narrative and emotional level. It was important to us to give Siaka time and space to talk about his experiences. Siaka is a victim of racism, but he has not been broken by it – he calls on all of us to fight racism together. Because this requires everyone, especially us as members of the white majority society. The film is aimed primarily at us white people, to help us understand what everyday life shaped by racism can look like. A colourful wedding in Gambia is almost a movie within a movie. It is a story full of bright colours and unadulterated purity of poor people who reflect the soles of their feet dancing joyfully in the dust. How did this ode to life and joy look to you, as an observer from Europe? It would be wonderful if we had more of these colours in our lives here! The joie de vivre of the people in Gambia, who live in far more complicated circumstances than many people in Europe, is contagious. The people live in a social collective, and this communal togetherness - being one big family - represents for me the greatest contrast to our isolated way of life in Europe. In the Gambia film sequence, we nevertheless tried to address ruptures and difficulties: how difficult it is to get an education; the issue of child marriage; the relationship between Europeans and Africans, which is always marked by inequality. Last but not least, we can also sense that Siaka has already changed through his life in Europe, that he is also looking for a way to live with both cultures. Your film has a fairytale ending – two very different people overcome adversity and persevere in their love and togetherness. Despite everything that threatened to tear them apart, their marriage survives and is crowned with an adorable daughter. How this small, happy family lives now, has their time come? Victoria and Siaka's wish to be a family has come true. The three of them now live together in the apartment in Vienna that we see in the film. Siaka tends the garden in the courtyard of their house, together with their neighbour. Victoria has started her own business with her graphic design studio. Siaka continues to work as a gardener. Their daughter goes to kindergarten. I don't know if the ending is fairy-tale-like—everyday life is a constant challenge for every couple and every family, no matter how big or small the cultural differences are. But what I do know is that the two of them have built up a lot of resilience together to face the uncertainties of life and enjoy its beautiful sides. Marinela Domančić
The film by director Ivette Löcker is an emotional story of two people who stumble at every step over prejudice and an Austrian system that crushes migrants, yet, like in a fairy tale, their love proves stronger than all obstacles.
Has their time come?
NAGRADE UDRUŽENJA FILMSKIH RADNIKA BIH NAGRADA “IVICA MATIĆ” Žiri: Una Gunjak Dženita Imamović Omerović Tomislav Topić NAGRADA “IVICA MATIĆ” ZA 2024. GODINU Ishak Jalimam producent filmova NEBO IZNAD ZENICE i GYM NAGRADA “IVICA MATIĆ” ZA 2024. GODINU Nagrada za doprinos bosanskohercegovačkom filmu: Zijad Mehić NAGRADE ZA BH. STUDENTSKI TAKMIČARSKI PROGRAM Žiri: Isidora Ratković Matevž Luzar Ado Hasanović NAGRADA ZA NAJBOLJI BH. STUDENTSKI FILM SNIMA Režija: Fedor Marić Akademija umjetnosti Univerziteta u Banjoj Luci SPECIJALNA NAGRADA ŽIRIJA GOLUB Režija: Vuk Popović Akademija umjetnosti Univerziteta u Banjoj Luci SPECIJALNO PRIZNANJE ŽIRIJA OSVJETLJAVANJE Režija: Mina Vavan Akademija scenskih umjetnosti Univerziteta u Sarajevu MENTOR ZA NAGRADU “AMIRA LEKIĆ” ZA 2025. Adis Đapo NOMINACIJA ZA KANDIDATURU ZA NAGRADU EVROPSKE FILMSKE AKADEMIJE U KATEGORIJI NAJBOLJI KRATKI FILM Žiri: Dominique Wellinski Kasia Karwan Gregor Božič STVARI KOJE SU SKRIVENE OD POSTANKA SVIJETA Režija: Kevin Walker, Irene Zahariadis Pobjednik ulazi u kandidaturu za nagradu Evropske filmske akademije za najbolji kratki film. CINEUROPA NAGRADA Žiri: Srđan Kurpjel Alfonso Rivera DJ AHMET Režija: Georgi M. Unkovski Nagradu dodjeljuje Cineuropa portal posvećen evropskoj kinematografiji i njenim stvaraocima i to filmu koji, osim što nesporno posjeduje umjetničke kvalitete, također promovira ideje evropskog dijaloga i integracije. Vrijednost nagrade iznosi 5.000 €. CICAE NAGRADA Žiri: Alexander Lang Sylvie da Rocha Diego Ginartes Rodríguez BIJELI PUŽ Režija: Elsa Kresmer, Levin Peter Međunarodno konfederacija umjetničkih kina (CICAE) nagrađuje film u selekciji Takmičarskog programa – igrani film. Nagrađeni film će dobiti posebnu podršku CICAE kada je u pitanju pomoć kod distribucije, prikazivanja filma i dopiranja do publike, putem mreže od 3.000 kina. STIPENDIJA „ARMAN SOLDIN“ Prva nagrada POSREDNIK Autor: Said Smajlović Novčana nagrada u iznosu 2.500 €. Druga nagrada U direktnoj vezi s okolišem IZVIRE IZ ZEMLJE, PADA IZ NEBESA Autori: Edna Krasnić, Din Gušmirović Novčana nagrada u iznosu 1.600 €.
AWARDS OF ASSOCIATION OF BOSNIAN FILMMAKERS "IVICA MATIĆ" AWARD Jury: Una Gunjak Dženita Imamović Omerović Tomislav Topić “IVICA MATIĆ” 2024 AWARD Ishak Jalimam Producer of the films THE SKY ABOVE ZENICA and GYM “IVICA MATIĆ” 2024 AWARD The award for overall contribution to Bosnian and Herzegovinian film: Zijad Mehić BH. FILM STUDENT PROGRAMME AWARD Jury: Isidora Ratković Matevž Luzar Ado Hasanović BEST BH. STUDENT FILM REC Director: Fedor Marić The Academy of Arts of the University of Banja Luka SPECIAL JURY AWARD A PIGEON Director: Vuk Popović The Academy of Arts of the University of Banja Luka SPECIAL JURY MENTION ILLUMINATION Director: Mina Vavan The Academy of Performing Arts in Sarajevo MENTOR FOR „AMIRA LEKIĆ“ AWARD FOR 2025 Adis Đapo EUROPEAN SHORT FILM CANDIDATE FOR THE EUROPEAN FILM AWARDS Jury: Dominique Wellinski Kasia Karwan Gregor Božič THINGS HIDDEN SINCE THE FOUNDATION OF THE WORLD Director: Kevin Walker, Irene Zahariadis The winner receives candidacy for the European Film Academy’s Best Short Film Award. CINEUROPA PRIZE Jury: Srđan Kurpjel Alfonso Rivera DJ AHMET Director: Georgi M. Unkovski The prize is awarded by the Cineuropa portal, the site dedicated to the European cinema and film professionals, and is given to a film that besides having indisputable artistic qualities also promotes the idea of European dialogue and integration. The value of this award us €5,000. CICAE AWARD Jury: Alexander Lang Sylvie da Rocha Diego Ginartes Rodríguez WHITE SNAIL Director: Elsa Kresmer, Levin Peter The International Confederation of Art Cinemas (CICAE) awards a film from the Competition Programme – Feature Film. The awarded film will receive CICAE support in terms of distribution, exhibition and audience outreach, through a network of 3,000 cinemas. “ARMAN SOLDIN” SCOLARSHIP First Award POSREDNIK Author: Said Smajlović Award in the amount of €2,500. Second Award In Direct Connection With the Environment IZVIRE IZ ZEMLJE, PADA IZ NEBESA Authors: Edna Krasnić, Din Gušmirović Award in the amount of €1,600.
UniCredit nagrada publike 31. Sarajevo Film Festivala filmovima „DJ Ahmet“ i „Staza“
Nakon osam festivalskih dana, publika je odabrala najbolja ostvarenja. UniCredit nagradu publike na 31. Sarajevo Film Festivalu za najbolji igrani film osvojio je film „DJ Ahmet“ u režiji Georgija M. Unkovskog. „DJ Ahmet” osvojio je UniCredit nagradu publike s prosječnom ocjenom 4.933. Na drugom mjestu publika je najviše glasala za film „Paviljon“ (režija: Dino Mustafić, prosječna ocjena 4.815), a na trećem mjestu je „Bijelo se pere na devedeset“ (režija Marko Naberšnik, prosječna ocjena 4.7). UniCredit nagradu publike za najbolji dokumentarni film osvojio je film „Staza“ (režija: Ryan Sidhoo) s prosječnom ocjenom 4.96. Druga dva filma s najvećim ocjenama su „Bosanski vitez“ (režija: Tarik Hodžić, prosječna ocjena 4.885) i „Izgubljeni Dream Team“ (režija: Jure Pavlović, prosječna ocjena 4.696). Za vrijeme 31. Sarajevo Film Festivala održanog od 15. do 22. augusta, publika je imala priliku glasati za najbolja ostvarenja i osvojiti vrijedne nagrade koje je osigurala UniCredit banka, jedan od glavnih sponzora Festivala.
After eight days of the Festival, the audience selected the best achievements. The UniCredit Audience Award for Best Feature Film at the 31st Sarajevo Film Festival went to “DJ Ahmet” directed by Georgi M. Unkovski. “DJ Ahmet” won the UniCredit Audience Award with an average rating of 4.933. In second place, the audience voted most for the film “The Pavilion” (directed by Dino Mustafić, average rating 4.815), while third place went to “Whites Wash at Ninety” (directed by Marko Naberšnik, average rating 4.7). The UniCredit Audience Award for Best Documentary Film went to “The Track” (directed by Ryan Sidhoo) with an average rating of 4.96. The next two highest-rated films were “Bosnian Knight” (directed by Tarik Hodžić, average rating 4.885) and “The Lost Dream Team” (directed by Jure Pavlović, average rating 4.696). During the 31st Sarajevo Film Festival, held from August 15 to 22, the audience had the opportunity to vote for the best films and win valuable prizes provided by UniCredit Bank, one of the Festival’s main sponsors.
UniCredit Audience Award of the 31st Sarajevo Film Festival to the films “DJ Ahmet” and “The Track”
Sporazum su, u vrijeme održavanja 31. Sarajevo Film Festivala, potpisali Jovan Marjanović, direktor Sarajevo Film Festivala, i Matjaž Gruden, direktor za demokraciju Vijeća Evrope. U sklopu suradnje osnovana je i Specijalna nagrada Perspektive mladih, koja će prvi put biti dodijeljena na 31. Sarajevo Film Festivalu. Nova festivalska nagrada u fokus stavlja perspektive i pristupe mladih u suočavanju s aktualnim izazovima te njihova očekivanja od budućnosti. Nagrada se dodjeljuje filmu koji na osobit način tematizira ulogu mladih u oblikovanju društava i demokratija, njihova iskustva, težnje i pitanja koja ih najviše zaokupljaju. Vrijednost nagrade iznosi 7.500 eura, a dodjeljivat će se sljedeće tri godine. Potpisivanjem ovog sporazuma Sarajevo Film Festival i Vijeće Evrope potvrđuju predanost promicanju dijaloga, umjetničkog stvaralaštva i osnaživanju glasova mladih u Europi i šire.
Obala Art Centar, organizator Sarajevo Film Festivala, i Vijeće Evrope potpisali su sporazum o suradnji s ciljem jačanja zajedničkih inicijativa posvećenih mladima, demokratiji i ljudskim pravima.
The agreement was signed during the 31st Sarajevo Film Festival by Jovan Marjanović, Director of the Sarajevo Film Festival, and Matjaž Gruden, Director for Democracy at the Council of Europe. As part of this collaboration, a Special Youth Perspectives Award has been established and was presented for the first time at the 31st Sarajevo Film Festival. The new festival award highlights the perspectives and approaches of young people in confronting contemporary challenges, as well as their expectations for the future. The award will be given to a film that distinctively addresses the role of young people in shaping societies and democracies, their experiences, aspirations, and the issues that matter most to them. Valued at €7,500, the award will be presented over the next three years. By signing this agreement, the Sarajevo Film Festival and the Council of Europe reaffirm their commitment to fostering dialogue, artistic creativity, and amplifying the voices of young people in Europe and beyond.
Obala Art Centar, the organizer of the Sarajevo Film Festival, and the Council of Europe have signed a cooperation agreement aimed at strengthening joint initiatives dedicated to youth, democracy, and human rights.
31. Sarajevo Film Festival kroz 10 fotografija 31ST Sarajevo Film Festival in 10 Photos
Švedski glumac Stellan Skarsgård, dobitnik Počasnog Srca Sarajeva. Stellan Skarsgård, Swedish actor, recipient of the Honorary Heart of Sarajevo.
Ljetno kino Coca-Cola Coca-Cola Open Air Cinema
Paolo Sorrentino, dobitnik Počasnog Srca Sarajeva, i Jovan Marjanović, direktor Sarajevo Film Festivala. Paolo Sorrentino, recipient of the Honorary Heart of Sarajevo, and Jovan Marjanović, Director of the Sarajevo Film Festival.
Možda i najvažni dio Festivala – volonteri. Perhaps the most important part of the Festival - the volunteers.
Glumačka legenda Ray Winstone sa Počasnim Srcem Sarajeva. Acting legend Ray Winstone with his Honorary Heart of Sarajevo.
Polaznici programa Talents Sarajevo Participants of the Talents Sarajevo program.
Festivalski žiri Emanuel Pârvu, Ena Sendijarević, Sergei Loznitsa, Tricia Tuttle i Dragan Mićanović s Jovanom Marjanovićem, direktorom Sarajevo Film Festivala, i Elmom Tataragić, selektoricom Takmičarskog programa – igrani film. Festival jury Emanuel Pârvu, Ena Sendijarević, Sergei Loznitsa, Tricia Tuttle and Dragan Mićanović with Jovanom Marjanović, Director of Sarajevo Film Festival, and Elma Tataragić, programmer of Competiton Programme – Feature Film.
Meksički reditelj Michel Franco: „Sarajevo je moj drugi dom.“ Mexican director Michel Franco: „Sarajebo is my second home.“
Teniska legenda Goran Ivanišević, ambasador UNIQA osiguranja, ugostio je brojne poznate u egzibicionom meču. Tennis legend Goran Ivanišević, ambassador of UNIQA, played an exhibition match with many famous guests.
Willem Dafoe, dobitnik Počasnog Srca Sarajeva. Willem Dafoe, recipient of the Honorary Heart of Sarajevo.
Vidimo se na 32. Sarajevo Film Festivalu See You at the 32nd Sarajevo Film Festival