Dobro došli na 31. Sarajevo Film Festival / Welcome to the 31st Sarajevo Film Festival
www.sff.ba
PETAK / FRIDAY 15.08.2025.
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INTERVJU: LIDIJA KORDIĆ Najčarobnije vrijeme u Sarajevu
SADRŽAJ
INTERVIEW: DINO MUSTAFIĆ Art Needs a Spine and an Uncompromising Attitude
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MEET THE JURIES OF THE 31st SARAJEVO FILM FESTIVAL
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UPOZNAJTE ŽIRIJE 31. SARAJEVO FILM FESTIVALA
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TRIBUTE TO: PAOLO SORRENTINO Honorary Heart of Sarajevo Award and „Tribute to“ Programme
INTERVJU: Elma Tataragić, selektorica - igrani film i kratki film Bogatstvo kulturne tapiserije regiona redatelj
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NAGRADE 31. SARAJEVO FILM FESTIVALA
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PREDFESTIVALSKA PROJEKCIJA „Hanka“ zasjala noć prije otvaranja Festivala
INTERVIEW: Elma Tataragić, Programmer of Feature Film and Short Film The richness of the cultural tapestry of the region
NAGRADNA IGRA Naj fotka 31. Sarajevo Film Festivalat
INTERVJU: Rada Šešić, Selektorica - dokumentarni film Filmovi su unatoč tmurnim vremenima, ili baš zbog njih, puni ljubavi redatelj
POSVEĆENO: PAOLO SORRENTINO Počasno Srce Sarajeva i program „Posvećeno“ redatelj
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INTRODUCTION: JOVAN MARJANOVIĆ Welcome to the 31st Sarajevo Film Festival Cinema in the World
INTERVIEW: LIDIJA KORDIĆ The Most Magical Time in Sarajevo
CONTENT
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COntest Best Photo of the 31st Sarajevo Film Festival
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PRE-FESTIVAL SCREENING Hanka Shines on the Eve of the Festival
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INTERVIEW: Rada Šešić, Programmer – Documentary Film Despite the sullen times, or because of them, the films are full of love
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UVODNIK: JOVAN MARJANOVIĆ Dobro došli na 31. Sarajevo Film Festival
INTERVJU: DINO MUSTAFIĆ Umjetnost mora imati kičmu i beskompromisni stav
31st SARAJEVO FILM FESTIVAL AWARDS
UVODNIK
JOVAN MARJANOVIĆ
Na našem vizualu riječ SARAJEVO ove godine ispisana je u obliku srca – postajući istovremeno znak našeg grada, Festivala i nagrade koja nosi njegovo ime. Tipografska struktura ove riječi sažima vrijednosti koje baštinimo već tri decenije: pripadnost, ritam, otvorenost, a kada se toj riječi doda i vrijeme – 15.–22. august – poruka je jasna: Srce jače kuca za vrijeme Sarajevo Film Festivala.
Dobro došli na 31. Sarajevo Film Festival
Ovogodišnje izdanje nastavlja svoju već trideset i jednu godinu staru misiju. Mi smo mjesto susreta najkvalitetnijih filmova i serija s publikom te ključna platforma za razvoj regionalne kinematografije putem platforme CineLink Industry Days. Naši programi uključuju više od 250 filmova iz cijelog svijeta, s naglaskom na premijerna ostvarenja iz regije Jugoistočne Evrope u našim takmičarskim programima. Film otvaranja je PAVILJON Dine Mustafića – domaća crna komedija koja, satiričnim pristupom ozbiljnim temama, donosi zabavu i podstiče na promišljanje o društvu koje stari. Pored filma otvaranja, “Open Air” program ove godine čine dvije selekcije. U Ljetnom kinu Coca-Cola, najvećoj festivalskoj pozornici, pod otvorenim nebom, u samom srcu grada, publika ima priliku doživjeti neke od najznačajnijih arthouse filmova godine, uz poneki filmski klasik. Ovo kino nije samo simbol Festivala, već i mjesto zajedničkog doživljaja koje već gotovo tri decenije okuplja filmske ljubitelje iz cijelog svijeta. Ove godine uvodimo novu selekciju “Open Air premijere” u okviru koje pokazujemo filmove s prostora bivše Jugoslavije u jedinstvenom ambijentu UNIQA Ljetnog kina Stari Grad. Na taj način regionalni filmovi dobivaju još jedno posebno mjesto na Festivalu, a UNIQA Ljetno kino Stari Grad postaje još jedan simbol festivalskih večeri u Sarajevu. Festival tradicionalno njeguje fokus na kompletne karijere autora koje posebno cijenimo. Ove godine retrospektive u programu “Posvećeno” donose filmove Paola Sorrentina – jednog od najistaknutijih evropskih reditelja današnjice, čiji sofisticirani vizuelni stil i duboko promišljene priče već dvije decenije oblikuju savremenu kinematografiju – te Ilyje Khrzhanovskog, jednog od najoriginalnijih i najradikalnijih glasova Istočne Evrope, čiji rad pomjera granice filmske forme i iskustva gledanja. Uz takmičarske programe publika ima priliku da pogleda najznačajnije naslove iz regije i Bosne i Hercegovine u programima “U fokusu” i “BH Film”, ali i da istraži evropske i svjetske trendove kroz selekcije “Kinoscope”, “Summer Screen” te bogat program kratkih filmova. Posebna pažnja posvećena je i najmlađima kroz programe “Dječiji program” i “TeenArena”, dok snažan festivalski pečat ostavljaju i sekcije posvećene ljudskim pravima i suočavanju s prošlošću, te partnerstvima s regionalnim i međunarodnim festivalima i institutima – posebno onim s Doha Film Institutom. Nastavljajući da širi granice dostupnosti, Sarajevo Film Festival ove godine dodatno izlazi iz središta grada i približava se svojoj publici. Pored osvježenog UNIQA Ljetnog kina Stari Grad, publiku pozdravljamo i na novim lokacijama: Piknik kino u općini Ilidža, kino na Bazenu na Dobrinji i Kino Grbavica u Novom Sarajevu – inicijative koje već žive ili će tek zaživjeti i izvan festivalske sedmice. U programu Masterclass ove godine učestvuju velika imena savremenog filma: Michel Franco, Paolo Sorrentino, Ilya Khrzhanovskiy, Ray Winstone i Willem Dafoe, dok će Stellan Skarsgård otvoriti ovogodišnje izdanje programa “Talents Sarajevo” koji dodatno osnažuje obrazovni i profesionalni karakter Festivala. Od ove godine Sarajevo Film Festival više ne dodjeljuje nagrade Srce Sarajeva za TV serije iz prethodne televizijske sezone. Umjesto toga, u oktobru u Porto Montenegru bit će održana prva ceremonija Adriatic Film & TV Awards (AFA) – nove regionalne nagrade koje, kao nasljednik dosadašnjih priznanja za TV serije, po prvi put objedinuju filmske i televizijske produkcije s prostora bivše Jugoslavije u zajedničkom godišnjem izboru. AFA je zajednički poduhvat Sarajevo Film Festivala, Zagreb Film Festivala i Festivala autorskog filma Beograd – osnivača Mreže festivala Jadranske regije, a sada i filmske i TV akademije jadranske regije. Više od šesto profesionalaca iz cijelog regiona – članova buduće akademije – birat će pobjednike, po uzoru na priznate modele kao što su BAFTA i Američka filmska akademija. Prve selekcije i nominacije bit će predstavljene upravo tokom ovogodišnjeg izdanja Sarajevo Film Festivala. Kao i uvijek, Sarajevo Film Festival ne bi bio moguć bez posvećenosti cijelog tima, povjerenja naših partnera i sponzora, kao i podrške javnih institucija, podjednako lokalnih i međunarodnih. Naša zahvalnost ide svima koji su dio ove zajednice – iz godine u godinu, iz filma u film.Našoj publici, koja daje smisao svemu što radimo, želimo dobrodošlicu na još jedno izdanje Sarajevo Film Festivala – neka ovo ljeto bude vrijeme susreta, filma i zajedništva. Jovan Marjanović Direktor Sarajevo Film Festivala
Foto: Edvin Kalić
UVODNIK • JOVAN MARJANOVIĆ
Welcome to the 31st Sarajevo Film Festival
This year, the word SARAJEVO appears in the form of a heart on our visual identity - becoming at once a symbol of our city, our festival, and the award that bears its name. This typographic structure of the name captures the values we have upheld for over three decades: belonging, rhythm, openness. And when dates - 15–22 August - are added, the message is clear: the heart beats stronger during the Sarajevo Film Festival.
This year, the word SARAJEVO appears in the form of a heart on our visual identity - becoming at once a symbol of our city, our festival, and the award that bears its name. This typographic structure of the name captures the values we have upheld for over three decades: belonging, rhythm, openness. And when dates - 15–22 August - are added, the message is clear: the heart beats stronger during the Sarajevo Film Festival. This year’s edition continues our mission, now in its 31st year. Sarajevo remains a place where the highest quality films and series meet their audiences, and a crucial platform for the development of regional cinema through CineLink Industry Days. Our film programme includes more than 250 works from around the world, with a strong focus on regional premieres from Southeast Europe that are showcased in the Competition. This year’s opening film is Dino Mustafić’s THE PAVILION - a domestic black comedy that, through its satirical approach to serious issues, delivers both entertainment and a powerful reflection on an aging society. As it does every year, the opening night screening will take place under the stars at the Coca-Cola Open Air Cinema, our largest venue. Throughout the festival, in the very heart of the city, audiences will experience some of the most significant art-house films of the year, along with a few timeless classics, in this screening space, which has become a symbol of the festival. We are thrilled to continue this shared experience that, for nearly three decades, has brought together film lovers from around the globe. This year, we introduce a new outdoor programme: Open Air Premiere, which showcases films from the former Yugoslav nations in the unique atmosphere of the UNIQA Open Air Cinema Stari Grad. In doing so, we give regional filmmaking a new, prominent platform, and create a new audience experience that is sure to become another emblem of festival nights in Sarajevo. It is a longstanding tradition of the Festival to present the bodies of work of filmmakers we hold in great esteem in our Tribute To programme. This year features tributes to two directors: Ilya Khrzhanovskiy, one of Eastern Europe’s most original and radical voices, whose work challenges the boundaries of cinematic form and the viewer experience; and Paolo Sorrentino, one of the most distinguished filmmakers of our time, whose sophisticated visual style and deeply considered narratives have shaped contemporary cinema for over two decades. In addition to the films in competition, audiences will have the opportunity to see the most notable recent titles from Bosnia and Herzegovina and the surrounding region in our In Focus and BH Film sections, and to explore broader European and global trends through the Kinoscope, Summer Screen, and rich short film programmes. We pay special attention to our younger audiences with our Children’s Programme and TeenArena, while other sections focus on human rights, coming to terms with past conflict, and our partnerships with regional and international festivals and institutions—particularly a longstanding collaboration with the Doha Film Institute. Continuing to increase its accessibility, this year the Sarajevo Film Festival expands further beyond the city centre to meet more audiences where they are. In addition to the revitalised UNIQA Open Air Cinema Stari Grad, we will welcome visitors at several new venues: the Ilidža Picnic Cinema, the Bazen Dobrinja Open Air Cinema, and the Cinema in Grbavica - initiatives that will live on beyond the Festival week. This year’s Masterclass programme features major names in contemporary cinema: Willem Dafoe, Michel Franco, Ilya Khrzhanovskiy, Paolo Sorrentino, and Ray Winstone. Stellan Skarsgård opens this year’s Talents Sarajevo programme, further strengthening the Festival’s educational and professional dimension. Starting this year, the Heart of Sarajevo Awards for TV Series from the past season will be replaced by their successor: the Adriatic Film & TV Awards (AFA), which will be presented for the first time this October in Porto Montenegro. These new regional awards unite film and television works from the former Yugoslav region in shared annual recognition for the first time. The AFAs are a joint initiative of the Sarajevo Film Festival, the Zagreb Film Festival, and the Auteur Film Festival Belgrade - the founding members of the Adriatic Region Festival Network, and of the recently formed Film & TV Academy of the Adriatic Region. More than 600 professionals from across the region - members of the emerging Academy - vote for the winners, following models established by institutes such as the BAFTAs and the Academy Awards. The first AFA selections and nominations will be unveiled during this year’s Sarajevo Film Festival. The Sarajevo Film Festival would not be possible without the dedication of our team, the trust of our partners and sponsors, and the support of local and international public institutions. As always, our heartfelt gratitude goes to everyone who is part of this community- from year to year, from film to film. To the members of our audience - who give meaning to all that we do - we offer a warm welcome to another edition of the Sarajevo Film Festival. May this summer be a time of encounters, cinema, and togetherness. Jovan Marjanović Director, Sarajevo Film Festival
INTRODUCTION
INTRODUCTION • JOVAN MARJANOVIĆ
Sarajevo Film Festival, u saradnji s Filmskim centrom Sarajevo, publici je poklonio projekciju filmskog klasika, digitaliziranu verziju filma „Hanka“ Slavka Vorkapića. Projekcija filma, snimljenog prije sedam desetljeća, održana je noć prije otvaranja Festivala u Ljetnom kinu Coca-Cola.
Film „Hanka“ nastao je 1956. u produkciji Bosna Filma, kao adaptacija istoimene pripovijetke Isaka Samokovlije. Film je režirao Slavko Vorkapić - najpoznatiji Jugosloven u Hollywoodu. Njegov povratak u domovinu radi režije „Hanke“ bio je kulturni događaj sam po sebi. Uloge u filmu „Hanka“ ostvarili su Vera Gregović, Jovan Milićević, Mira Stupica, Vaso Kosić, Mihajlo Mišo Mrvaljević, Safet Pašalić, Dejan Dubajić. Film je nastao u produkciji Bosna Filma Sarajevo, a vlasnik filmskih prava je Filmski centar Sarajevo. Ljubavna drama poznatog književnika Isaka Samokovlije, smještena je u romskoj seoskoj sredini. Živeći veoma teško, Hanka i Sejdo izloženi su mnogim iskušenjima. Hanka uspijeva da prebrodi teškoće i da ostane vjerna svojoj ljubavi prema Sejdi. Sejdo, međutim, podliježe seoskim tračevima, te ne može da opravda tobožnji Hankin grijeh. Film „Hanka“ premijerno je prikazan na Filmskom festivalu u Cannesu, gdje je bio u konkurenciji za Zlatnu palmu, a sedam desetljeća kasnije sarajevska publika nagradila ga je dugačkim aplauzom.
PREDFESTIVALSKA PROJEKCIJA
„Hanka“ zasjala noć prije otvaranja Festivala
In collaboration with the Sarajevo Film Center, the Sarajevo Film Festival treated audiences to a screening of a digitally restored version of the film classic Hanka by Slavko Vorkapić. The screening of this film, made seven decades ago, took place on the night before the Festival’s opening at the Coca-Cola Open Air Cinema.
Hanka Shines on the Eve of the Festival
PRE-FESTIVAL SCREENING
Hanka, produced in 1956 by Bosna Film, is an adaptation of the short story of the same name by Isak Samokovlija. The film was directed by Slavko Vorkapić – the most famous Yugoslav in Hollywood. His return to his homeland to direct Hanka was a cultural event in its own right. The cast of Hanka included Vera Gregović, Jovan Milićević, Mira Stupica, Vaso Kosić, Mihajlo “Mišo” Mrvaljević, Safet Pašalić, and Dejan Dubajić. Produced by Bosna Film Sarajevo, the film rights are owned by the Sarajevo Film Center. This love drama by renowned writer Isak Samokovlija is set in a Roma village. Living in hardship, Hanka and Sejdo face many trials. Hanka manages to overcome her struggles and remain faithful to her love for Sejdo. Sejdo, however, succumbs to village gossip and cannot forgive Hanka’s alleged sin. Hanka premiered at the Cannes Film Festival, where it competed for the Palme d’Or, and seventy years later, Sarajevo audiences rewarded it with a long, heartfelt round of applause.
Zašto je trebalo proći više od dva desetljeća da se nakon hvaljenog debija „Remake“ odlučite na režiju svojeg drugog dugometražnog igranog filma „Paviljon“? Nisam birao tišinu – birala ju je stvarnost u kojoj film nije prioritet. Nakon „Remakea“ sam ostao u prostoru umjetnosti, ali pod pritiskom sistema koji nas sve vrijeme podsjeća da filmska umjetnost ovdje nije potreba, nego incident. Bavljenje teatrom, dokumentarcima i kulturnom politikom izgradnje institucija, bilo je istovremeno i izbor i otpor. A igrani film – to je velika odgovornost i ogroman resurs. Nisam želio režirati bilo šta, nego nešto što ima političku, etičku i emotivnu težinu. Paviljon je bio taj materijal. Kad dobijete priliku da snimite film u ovakvim okolnostima, onda snimate ono što mora da se kaže. Ne ono što se očekuje. Tko je zapalio „prvu iskru“ filma, vi ili scenarist Viktor Ivančić, koji je ujedno autor istoimene novele po kojoj je rađen scenarij? Iskru je upalio Viktor – kao i uvijek, lucidno, beskompromisno i precizno. Kad sam pročitao njegovu priču, osjetio sam nešto što mi dugo nedostaje u umjetnosti – autentični bijes koji zna u šta udara. Znao sam da iz tog jezika možemo graditi sliku društva koje je zatvoreno ne samo zidovima, nego i mentalitetom. Naša saradnja nije bila tiha – bila je stvarna, živa, dijaloška. I upravo zato plodna. Radili smo u duhu poštovanja i zajedničkog uvjerenja da umjetnost mora imati kičmu i beskompromisni stav. U kojem ste trenutku odlučili da „Paviljon“ treba biti spoj komedije, akcijskog i političkog filma, odnosno da nijedan od tih elemenata ne smije prevagnuti? Čim smo krenuli razvijati scenarij. Jer to je realnost u kojoj živimo – apsurdna, nasilna i do srži politična. Mi smo društvo koje se smije dok tone, koje pleše dok propada. Taj spoj nije žanrovski hir – to je portret društva koje više ne razlikuje ozbiljno od grotesknog. Nisam htio da se publika uljuljka u udobnu naraciju. Htio sam da se smije i zgrozi u isto vrijeme, da osjeti tu mučnu ravnodušnost koja vlada oko nas. Film ne mora da tješi – mora da provocira. Kakav je osjećaj bio imati ispred kamere toliko glumačkih velikana s područja bivše Jugoslavije? Osjećaj odgovornosti. I uzbuđenja. Ti ljudi nisu samo glumci – oni su nositelji jedne razbijene kulturne cjeline. Okupljanje tog ansambla nije bilo nostalgično, nego političko. Zajedno su stali pred kameru ne da bi evocirali prošlost, nego da bi progovorili o sadašnjosti u kojoj nas pokušavaju podijeliti do posljednje rečenice. Njihova predanost je bila izvanredna. A publika će, vjerujem, osjetiti tu sabranost i odlučnost koja dolazi kad umjetnici vjeruju u ono što rade. Koji je bio najveći izazov u stvaranju filma s velikim glumačkim ansamblom? Održati zajednički puls. Kad imate toliki broj jakih individualaca, najveći izazov je spriječiti da ego nadjača temu. A tema je važnija od svih nas – to je portret generacije koja je vjerovala da može mijenjati svijet, a sada čeka grobno mjesto koje može dobiti na protekciju. Režijski izazov je bio u detalju – u krupnom planu njihovih pogleda, u ritmu haosa pobune, u dinamici prostora jednog socrealističnog arhitektonskog zdanja. Ali najteže je bilo ostati vjeran osnovnoj intenciji: da sam skupio ansambl ne po čuvenju, već što mogu odigrati sve da bi bila jasna ideja našeg filma. U „Paviljonu“ je mlada generacija prikazana kao prilično inertna i puna nerazumijevanja prema revolucionarnim težnjama „staraca“. Mislite li da mladi danas nemaju snagu i(li) volju za mijenjanje sustava? Mladi imaju potencijal, ali im mi ostavljamo spaljenu zemlju i disfunkcionalni sistem. Oduzeli smo im vjeru u institucije, perspektivu i mogućnost utjecaja. Ne bih ih krivio za rezignaciju. Ali istina je da današnji mladalački bunt više liči na lajkanje, nego na organizaciju. Revolucija je postala "content", a ne ideja. „Paviljon“ pokazuje taj jaz – stariji su frustrirani jer su vjerovali u sistem koji ih je izdao, a mlađi ne vjeruju ni u to da postoji sistem vrijedan promjene. I tu dolazimo do ključnog pitanja: da li smo stvorili društvo u kojem je pobuna postala besmislena ili ona jedino može biti radikalna, oružana? Možete li zamisliti filmske djelatnike da se na ovakav način pobune protiv (ne)funkcioniranja sistema? Ne mogu. Mada je vrijeme za to odavno kada je u pitanju status i položaj filmskih djelatnika u BiH. Filmski radnici su već decenijama taoci političke nebrige, kulturne amnezije i institucionalnog diletantizma. A ipak stvaramo. I dalje pravimo filmove sa ničim. No jednog dana mora neko reći: dosta. Jer ne možeš vječno tražiti od umjetnika da budu i producenti, i aktivisti, i molitelji. Pobuna u kulturi ne mora imati transparente – može početi tako što ćemo jednostavno glasno i uvijek govoriti tko je kriv za stanje u kojem smo se našli. Ja to i činim i platio sam cijenu za takav govor, on ima veze i sa mojom dvodecenijskom pauzom na filmu, raznim “crnim listama” nepodobnih i suviše kritičkih autora koji su se usudili otvoriti u javnom prostoru teme sistemske i institucionalne korupcije. Imate li tremu pred svjetsku premijeru koja će biti ne samo u vašem gradu, nego zapravo i u „vašoj kući“ – Narodnom pozorištu Sarajevo, čiji ste direktor posljednje četiri godine? Imam. Ali to nije trema od publike – to je trema od vremena u kojem film izlazi. „Paviljon“ dolazi u trenutku kad je apatija postala društveni standard. Kad ljudi više vjeruju u korupciju nego u obrazovanje. Premijera u Narodnom pozorištu za mene ima i intimnu težinu – to je simbolički prostor svijeta gdje sam proveo više vremena nego u realnom životu. I zato mi je važno da film ne prođe kao još jedna festivalska premijera, već kao iskra za konstruktivan dijalog. Možda i kao izazov. Jer ako umjetnost još ima snagu da dira – onda se vrijedi tresti od treme.
Film otvaranja
Umjetnost mora imati kičmu i beskompromisni stav
Čast da otvori 31. Sarajevo Film Festival pripala je reditelju Dini Mustafiću i filmu „Paviljon“, političkoj crnoj komediji o grupi stanara staračkog doma „Paviljon“ koji se nakon godina zlostavljanja i poniženja odlučuju na oružanu pobunu
Dino Mustafić PAVILJON
Film otvaranja • Dino Mustafić • PAVILJON
Opening Film • Dino Mustafić • THE PAVILION
Art Needs a Spine and an Uncompromising Attitude
Why did it take more than two decades after your acclaimed debut Remake for you to direct your second feature film, The Pavilion? I didn’t choose silence - it was chosen by the reality in which filmmaking is not a priority. After Remake, I remained within the realm of art, but under the pressure of a system that constantly reminds us that cinema here is not a necessity, but an incident. My work in theatre, documentaries, and cultural policy aimed at building institutions was both a choice and an act of resistance. A feature film is a great responsibility and a massive investment of resources. I didn’t want to direct just anything - I wanted to make something with political, ethical, and emotional weight. The Pavilion was that material. When you get the chance to make a film under such circumstances, you make the film that needs to be said - not the one that’s expected. Who struck the “first spark” for the film, you or screenwriter Viktor Ivančić, who also wrote the short story on which the script is based? The spark came from Viktor - as always, lucid, uncompromising, and precise. When I read his story, I felt something I’d long been missing in art - an authentic anger that knows exactly where to land its blows. I knew that from that language we could build a portrait of a society confined not only by walls, but by mentality. Our collaboration was anything but quiet - it was real, alive, and driven by dialogue. And that’s precisely why it was fruitful. We worked in the spirit of mutual respect and a shared conviction that art must have a backbone and an uncompromising stance. At what point did you decide that The Pavilion should be a blend of comedy, action, and political cinema - and that none of those elements should dominate? From the very start of developing the script. Because that’s the reality we live in - absurd, violent, and deeply political. We are a society that laughs while sinking, that dances while collapsing. This blend isn’t a genre whim - it’s a portrait of a society that no longer distinguishes the serious from the grotesque. I didn’t want the audience to settle into a comfortable narrative. I wanted them to laugh and be appalled at the same time, to feel that suffocating indifference that permeates everything around us. Cinema doesn’t have to comfort - it has to provoke. What was it like to have so many acting greats from across the former Yugoslavia in front of your camera? A feeling of responsibility. And excitement. These people aren’t just actors - they embody a shared cultural heritage that has been fractured. Bringing that ensemble together wasn’t an act of nostalgia, but a political statement. They stood before the camera not to evoke the past, but to speak about a present in which we are being divided down to the very last sentence. Their dedication was extraordinary. And I believe the audience will feel that focus and resolve that comes when artists truly believe in what they’re doing. What was the biggest challenge in making a film with such a large ensemble cast? Keeping a shared rhythm. When you have so many strong individuals, the greatest challenge is preventing ego from overpowering the story. And the story is bigger than any of us - it’s the portrait of a generation that once believed it could change the world, and now waits for a burial plot that can be secured only through connections. The directorial challenge was in the details - in the close-ups of their gazes, in the rhythm of the chaos of the uprising, in the dynamics of a single socialist-realist architectural space. But the hardest part was staying true to the core intent: assembling the cast not for their fame, but for their ability to embody the roles in a way that makes the film’s idea unmistakably clear. In The Pavilion, the younger generation is portrayed as rather inert and largely indifferent to the “old guard’s” revolutionary drive. Do you believe young people today lack the strength and/or will to change the system? Young people have potential, but we’re leaving them scorched earth and a dysfunctional system. We’ve taken away their faith in institutions, their prospects, and their sense of agency. I wouldn’t blame them for their resignation. But the truth is, today’s youthful rebellion looks more like hitting the “like” button than building an organization. Revolution has become “content” rather than an idea. The Pavilion lays bare that gap - the older generation is frustrated because they once believed in a system that betrayed them, while the younger don’t even believe there’s a system worth changing. And that leads us to the key question: have we built a society in which rebellion has become meaningless - or one in which it can only be radical and armed? Can you imagine film industry professionals staging a rebellion like this against the (dys)functioning system? I can’t. Although it’s long overdue, especially regarding the status and position of film professionals in Bosnia and Herzegovina. For decades, filmmakers here have been hostages to political neglect, cultural amnesia, and institutional amateurism. And yet, we keep creating. We still make films out of nothing. But one day, someone has to say: enough. Because you can’t keep expecting artists to be producers, activists, and supplicants all at once. Rebellion in culture doesn’t have to come with banners - it can start simply by speaking out loudly and consistently about who’s responsible for the mess we’re in. That’s exactly what I do, and I’ve paid the price for it. It’s connected to my two-decade-long hiatus from feature film to various “blacklists” of inconvenient and overly critical creators who dared to raise issues of systemic and institutional corruption in the public sphere. Are you feeling any nerves ahead of The Pavilion’s world premiere - not just in your city, but actually in “your home,” the Sarajevo National Theatre, where you’ve been director for the past four years? I am. But it’s not nerves from the audience - it’s nerves about the time in which the film is being released. The Pavilion arrives at a moment when apathy has become the social norm, when people trust corruption more than education. The premiere at the National Theatre carries a personal weight for me - it’s a symbolic space where I’ve spent more time than in real life. That’s why it’s important to me that the film doesn’t just pass as another festival premiere, but sparks a constructive dialogue. Maybe even a challenge. Because if art still has the power to move people, then it’s worth trembling with nerves.
The honor of opening the 31st Sarajevo Film Festival went to director Dino Mustafić and his film The Pavilion, a political black comedy about a group of residents in the Pavilion retirement home who, after years of abuse and humiliation, decide to stage an armed uprising
Više od dvije decenije Coca-Cola i Sarajevo Film Festival žive istu čaroliju i to onu koja briše granice između filma i stvarnog života. Ove godine, priča postaje još ličnija! Svi mi, kraljevi i kraljice, legende, šaljivci i GOAT-ovi, “u svom smo filmu” sa Coca-Colom u ruci i osmijehom na licu. Festivalska atmosfera širi se cijelim gradom: od šetnji do zabava, od kina do druženja do jutarnjih sati. Ljetno kino Metalac i ove godine uz Coca-Colu postaje savršena scenografija za filmske trenutke koje živimo - bez režije i montaže.
U svom filmu uz Coca-Colu!
For more than two decades, Coca-Cola and the Sarajevo Film Festival have shared the same magic, the kind that blurs the lines between film and real life. This year, the story becomes even more personal! All of us, kings and queens, legends, jokers, and GOATs are “in our own film” with a Coca-Cola in hand and a smile on our face. The festival atmosphere spreads throughout the city: from walks to parties, from cinemas to late-night gatherings. Once again this year, Open Air Cinema Metalac, together with Coca-Cola, becomes the perfect backdrop for cinematic moments we live — without scripts or edits.
In your own film with Coca-Cola!
Najčarobnije vrijeme u Sarajevu
Ceremonija otvaranja Lidija Kordić glumica
Već je postala tradicija da čast da vodi ceremoniju otvaranja Sarajevo Film Festivala pripadne mladoj glumačkoj zvijezdi iz BiH, a ove godine to će biti – Lidija Kordić.
„Velika mi je čast i zadovoljstvo što imam priliku voditi ceremoniju otvaranja Sarajevo Film Festivala – festivala koji je obilježio važne trenutke mog profesionalnog i ličnog puta. Upravo na Sarajevo Film Festivalu doživjela sam svoju prvu filmsku premijeru, a nakon deset godina u Sarajevu osjećam da zaokružujem jedno od najljepših poglavlja svog života – i to na najljepši mogući način. Za mene je Sarajevo Film Festival najčarobnije vrijeme u Sarajevu – ulice su pune ljudi, ideja, stila, jezika i emocija, mjesto gdje sam se susrela i upoznala s ljudima koji me inspirišu, gdje sam prvi put osjetila, i iznova osjećam, koliko je film važan i koliku snagu ima“, izjavila je Lidija Kordić. Glumica rođena u Kotoru diplomirala je glumu na Akademiji scenskih umjetnosti u Sarajevu. U svojoj filmografiji ima niz zapaženih uloga u crnogorskim, srpskim, bosanskohercegovačkim, turskim i talijanskim TV serijama i filmovima, a prošle je godine zablistala u ulozi Ilone Slater u biografskoj drami „Diva Futura“. Film je premijerno prikazan na Međunarodnom filmskom festivalu u Veneciji, a Kordić je zahvaljujući toj ulozi izabrana za European Shooting Star u Berlinu, čime je osvojila prestižno priznanje za mlade glumce. Osim glume, bavi se i pjevanjem i radi na svom prvom solo albumu. „Jedva čekam da vidim šta nam sve donosi ovogodišnje izdanje Sarajevo Film Festivala – sigurna sam da će nas, kao i uvijek, podsjetiti zašto volimo film”, izjavila je Lidija Kordić.
The Most Magical Time in Sarajevo
It has already become a tradition for the honor of hosting the opening ceremony of the Sarajevo Film Festival to go to a young acting star from Bosnia and Herzegovina, and this year it will be – Lidija Kordić.
.“It is a great honor and pleasure for me to have the opportunity to host the opening ceremony of the Sarajevo Film Festival – a festival that has marked important moments in both my professional and personal journey. Iexperienced my first film premiere precisely at the Sarajevo Film Festival, and now, ten years later in Sarajevo, I feel like I’m closing one of the most beautiful chapters of my life – in the most beautiful way possible. For me, the Sarajevo Film Festival is the most magical time in Sarajevo – the streets are full of people, ideas, style, languages, and emotions, a place where I met and connected with people who inspire me, where I first felt – and keep feeling – just how important film is and how powerful it can be,” said Lidija Kordić. An actress born in Kotor, graduated in acting from the Academy of Performing Arts in Sarajevo. Her filmography includes a series of notable roles in Montenegrin, Serbian, Bosnian, Turkish, and Italian TV series and films. Last year, she shone in the role of Ilona Slater in the biographical drama “Diva Futura”. The film premiered at the Venice International Film Festival, and Kordić was selected as a European Shooting Star in Berlin for her performance, earning her a prestigious award for young actors. In addition to acting, she also sings and is currently working on her first solo album. “I can’t wait to see what this year’s edition of the Sarajevo Film Festival brings – I’m sure it will, as always, remind us why we love film,” said Lidija Kordić
Opening Ceremony Lidija Kordić ACTRESS
POSVEĆENO PAOLO SORRENTINO iTALIJANSKI reditelj
Sarajevo Film Festival odat će počast talijanskom reditelju Paolu Sorrentinu u znak priznanja za njegov izuzetan doprinos filmskoj umjetnosti - višestruko nagrađivanom autoru bit će uručeno priznanje Počasno Srce Sarajeva, u sklopu programa „Posvećeno“ bit će prikazana kompletna retrospektiva njegovih filmova, a održat će i Masterclass.
„Duboko sam počašćen što primam ovo prestižno priznanje i zahvalan na pažnji posvećenoj mojoj filmografiji. Radujem se što ću biti s vama u Sarajevu. Hvala vam od srca“, rekao je Sorrentino. „Paolo Sorrentino uspio je učiniti ono o čemu sanja svaki filmski autor – s lokalnim, ličnim pričama ostavio je svjetski trag. Vizualno raskošnim, emotivno ispunjenim i intelektualno pronicljivim stilom, osvojio je srca publike širom svijeta, koji su u njegovim likovima, ma koliko ekscentrični ili povučeni bili, vidjeli ogledalo našeg svijeta, često apsurdnog, ponekad okrutnog, ali uvijek duboko ljudskog. Počasno Srce Sarajeva priznanje je za veliku ljepotu koju nam je darovao svojim filmovima“, izjavio je Jovan Marjanović, direktor Sarajevo Film Festivala. Filmski reditelj i scenarist Paolo Sorrentino rođen je u Napulju 1970. godine. Njegov prvi cjelovečernji igrani film, „Suvišan čovjek“, bio je uvršten 2001. u program Međunarodnog filmskog festivala u Veneciji. Njegova sljedeća dva filma, „Posljedice ljubavi“ iz 2004. i „Obiteljski prijatelj“ iz 2006., bila su u konkurenciji za Zlatnu palmu u Cannesu, kao i film „Div“, koji je 2008. osvojio Nagradu žirija. U službenu konkurenciju festivala u Cannesu vratio se i 2011. s filmom „Ovo mora biti pravo mjesto“, a dvije godine kasnije i s „Velikom ljepotom“, koja osvaja Oscara®, Zlatni globus i nagradu BAFTA za najbolji film na stranom jeziku, kao i tri nagrade Evropske filmske akademije. Godine 2016. s filmom „Mladost“ ponovo je u konkurenciji festivala u Cannesu. Film je osvojio tri EFA nagrade, nominaciju za Oscara® i dvije nominacije za Zlatni globus. Godine 2016. kreira i režira TV seriju „Mladi papa“, koja je nominirana za Zlatni globus za najboljeg glumca te za nagrade Emmy u kategorijama najbolje scenografije i najbolje kamere. Godine 2018. režira film „Silvio“ s Tonijem Servillom, a 2019. režira drugu seriju smještenu u svijet suvremenog papinstva – „Novi papa“, s Judom Lawom i Johnom Malkovichem u glavnim ulogama. Godine 2021. režirao je film „Božja ruka“, nominiran za Oscara® 2022. za najbolji strani film, s kojim je osvojio Srebrnog lava – Veliku nagradu žirija i nagradu Marcello Mastroianni na 78. Međunarodnom filmskom festivalu u Veneciji, pet nagrada David di Donatello, uključujući one za najbolji film i najboljeg reditelja, kao i četiri nagrade Nastri d'argento, uključujući onu za najbolji film. Godine 2024. napisao je scenarij i režirao film „Parthenope“, prikazan u konkurenciji Međunarodnog filmskog festivala u Cannesu, koji je osvojio nagradu Biglietto D’oro kao jedan od najgledanijih filmova godine. Počasno Srce Sarajeva utemeljeno je 2005. godine sa ciljem odavanja priznanja pojedincima za izuzetan doprinos afirmaciji i razvoju filmske industrije te podršci i razvoju Sarajevo Film Festivala.
Photo byMichael Avedon
Počasno Srce Sarajeva i program „Posvećeno“ Paolu Sorrentinu
POSVEĆENO • PAOLO SORRENTINO • redItelj
TRIBUTE TO PAOLO SORRENTINO ITALIAN director
Sarajevo Film Festival will pay tribute to Italian director Paolo Sorrentino in recognition of his outstanding contribution to the art of cinema - the multi-award-winning filmmaker will receive the Honorary Heart of Sarajevo, a complete retrospective of his films will be presented as part of the "Tribute to" programme, and he will also hold a Masterclass.
"I am deeply honored to receive this prestigious recognition and grateful for the attention given to my filmography. I look forward to being with you in Sarajevo. Thank you from the bottom of my heart," said Sorrentino. “Paolo Sorrentino managed to do what every filmmaker dreams of – he left a global impact through local, personal stories. With visually luxurious, emotionally filled and intellectually insightful style, he won the hearts of audiences around the world, who saw his characters, no matter how eccentric or withdrawn, as a mirror of our world, often absurd, sometimes cruel, but always deeply human. The Honorary Heart of Sarajevo is a recognition of the great beauty that he gave us with his films," said Jovan Marjanović, Director of the Sarajevo Film Festival. Paolo Sorrentino, film director and screenwriter, was born in Naples in 1970. His first full-length feature film, One Man Up, dates back to 2001 and was selected for the Venice Film Festival. His next two films, The Consequences of Love from 2004 and The Family Friend from 2006, were in competition for the Palme d'Or in Cannes, as well as the film Il Divo, which won the Jury Prize in 2008. He returned in competition at the Cannes Festival in 2011 with the film This Must be the Place, and two years later with The Great Beauty, which won the Academy Award®, the Golden Globe and the BAFTA Award for the best Foreign Language Film, as well as three EFA Awards. He was selected once again in competition at Cannes in 2016 with Youth, garnering three EFA Awards, an Academy Award® nomination and two Golden Globe nominations. In 2016 he created and directed the TV series The Young Pope, nominated at the Golden Globes for Best Actor and at the Emmy Awards for Outstanding Production Design and Outstanding Cinematography. In 2018 he directed the movie Loro starring Toni Servillo and in 2019 Sorrentino directed the second series set in the world of modern papacy, The New Pope, starring Jude Law and John Malkovich. In 2021 he wrote and directed the The Hand of God, nominated at the 2022 Academy Award® for Best Foreign Film, winner of the Leone d'Argento Grand Jury Prize and the Marcello Mastroianni Award at the 78th edition of the Venice International Film Festival, also winner of 5 David di Donatello 2022 including Best Film and Best Director and 4 Nastri d'argento 2022 including Best Film. In 2024 he wrote and directed Parthenope, presented in competition at Cannes and winner of the Biglietto D’oro among the most viewed films of the year. The Honorary Heart of Sarajevo was founded in 2005 with the aim of recognizing individuals for their exceptional contribution to the affirmation and development of the film industry and the support and development of the Sarajevo Film Festival.
Honorary Heart of Sarajevo and „Tribute to“ Programme Dedicated to Paolo Sorrentino
TRIBUTE TO • pAOLO SORRENTINO • DIRECTOR
Photo by Primož Korošec
Selektorica Elma Tataragić otkriva kako nova generacija autora donosi odvažnost, tematsku raznolikost i svjež pristup formi, oblikujući snažnu i uzbudljivu selekciju Takmičarskog programa
Što karakterizira ovogodišnju selekciju Takmičarskog programa - igrani film? Sa devet izuzetnih filmova, ovogodišnji Takmičarski program za igrane filmove Sarajevo Film Festivala predstavlja impresivnu i raznoliku panoramu savremene regionalne kinematografije. Program je dinamična mješavina hrabre naracije, vizuelnih inovacija i svježih perspektiva koje odražavaju bogatstvo kulturne tapiserije regiona. Ističući novi val filmskih autora, program uključuje šest debitantskih filmova koji donose originalne glasove i smjele kreativne pristupe na veliko platno. Od intimnih ličnih priča do društveno relevantnih drama, selekcija uspijeva uhvatiti složenost i vitalnost današnje filmske scene, obećavajući publici uranjajuće putovanje kroz raznolike stilove, teme i doživljaje. Ove godine Program nije samo proslava etabliranih talenata već i platforma za nove umjetnike spremne oblikovati budućnost balkanske i istočnoevropske kinematografije. Kakva je, kada je produkcija u pitanju, bila godina? Ovogodišnja produkcija bila je izuzetno bogata u regiji, a broj proizvedenih filmova se na kraju popeo na skoro 200 što je veliko povećanje u odnosu na prethodne godine. Naravno, bilo je izazovno finalizirati selekciju, ali to je slučaj svake godine. Svaka selekcija ima određenu poruku i određeni stav, a ove godine želimo pokazati koliko je regionalna kinematografija raznolika u svakom pogledu. Koje teme ili filmski pristupi su vas najviše iznenadili u selekciji? Već godinama je teško pronaći neku direktnu poveznicu među filmovima. Nova generacija autora i autorica pripada svijetu, a ne regiji, pa su tu zaista tematski raznovrsne priče od intimnih ličnih priča do društveno relevantnih drama, od filmova epohe do potpuno suvremenih priča. Ako zaboravimo na ovaj pridjev "regionalni", ovaj program bi mogao biti program na bilo kojem velikom svjetskog festivalu. Čemu su najveću pažnju posvetili autori/ce filmova u selekciji Takmičarskog programa - kratki film? Ovogodišnji Takmičarski program za Srce Sarajeva za najbolji kratki film donosi deset izvanrednih ostvarenja. Program okuplja svježe debitante, ali i etablirane autore koji su publici Sarajevo Film Festivala već poznati po svom ranijem radu. U pitanju je dinamična i raznolika selekcija, s filmovima koji se odlikuju hrabrim i smjelim pristupom kako u sadržaju, tako i u formi. Ova raznolika selekcija kratkih filmova, koja uključuje tri svjetske premijere, pokazuje hrabro pripovijedanje kako mladih talenata tako i renomiranih autora. Kroz snažan miks socijalnih drama, psiholoških trilera i inovativnih narativa, program hvata duh savremenog trenutka i univerzalna ljudska iskustva. Publika može očekivati snažno filmsko putovanje koje pomjera granice kako tematski, tako i stilski. Da li vidite razliku u tome kako autori danas pristupaju kratkoj formi u odnosu na vrijeme prije 10 ili 20 godina? Sada je mnogo lakše napraviti kratki film nego što je to bio slučaj prije 20 godina. Razvoj tehnologije je to omogućio pa se autori lakše odlučuju okušati u kratkoj formi. No, dobra ideja, snažan stav i razabran stil su uvijek najbolje odlike dobrog kratkog filma. Koliko je debitanata u Takmičarskom programu? U dugometražnom igranom dijelu selekcije predstavljamo čak 6 debitantskih filmova koji su zasigurno veliko osvježenje u samoj selekciji. Debitanti uvijek donose odvažnost, hrabrost i neopterećenost i baš je takav slučaj i sa ovogodišnjim valom novih mladih autora. Ako tu još dodamo i jedan drugi film, uvidjet ćemo koliko je ovogodišnja selekcija mlada i hrabra. Koliko se stilski podudaraju ili razlikuju autori unutar regije? Regionalna kinematografija prešla je dug put od naših prvih godina Takmičarskog programa ranih 2000-ih pa do danas. Stasalo je nekoliko generacija autora, i sad već možemo da govorimo o trećoj generaciji u ova dva desetljeća. Svaka generacija je smjelija i nastaje kao reakcija na onu prethodnu, pa se u tom smislu autori donekle u svojim autorskim namjerama i podudaraju. No, stilski o tome ne možemo da govorimo. Čak i autori koji rade svoje druge, treće, četvrte filmove, mnogo su smjeliji u isprobavanju novih stilova i novih načina izražavanja.
TAKMIČARSKI PROGRAM Elma Tataragić selektorica - igrani film i kratki filM
Bogatstvo kulturne tapiserije regiona
The richness of the cultural tapestry of the region
Programmer Elma Tataragić reveals how the new generation of authors brings boldness, thematic diversity and a fresh approach to form, shaping a strong and exciting selection of the Competition Programme
What characterizes this year's selection of the Competition Programme - Feature Film? With nine outstanding films, this year's Sarajevo Film Festival Competition Programme for Feature Films is an impressive and diverse panorama of contemporary regional cinema. The programme is a dynamic mix of bold narration, visual innovation and fresh perspectives that reflect the richness of the region's cultural tapestry. Highlighting a new wave of filmmakers, the programme includes six debut films that bring original voices and bold creative approaches to the big screen. From intimate personal stories to socially relevant dramas, the selection manages to portray the complexity and vitality of today's film scene, promising audiences an immersive journey through diverse styles, themes, and experiences. This year, the Programme is not only a celebration of established talent, but also a platform for new artists ready to shape the future of Balkan and Eastern European cinema. When it comes to production, what was the year like? This year's production was extremely rich in the region, and the number of films produced eventually rose to almost 200, which is a big increase compared to previous years. Of course, it was challenging to finalize the selection, but this is the case every year. Each selection has a certain message and a certain attitude, and this year we want to show how diverse regional cinema is in every way. Which themes or film approaches surprised you the most in the selection? It's been hard to find a direct link between movies for years. The new generation of authors belongs to the world, not the region, so there are really thematically diverse stories from intimate personal stories to socially relevant dramas, from films of the era to completely contemporary stories. If we forget about this adjective "regional", this programme could be a programme at any major world festival. What was the main focus of the authors of the films in the selection of the Competition Programme - Short Film? This year's Competition Programme for the Heart of Sarajevo for the best short film brings ten outstanding achievements. The programme brings together debutants, but also established authors who are already known to the audience of the Sarajevo Film Festival for their earlier work. It is a dynamic and diverse selection, with films that are characterized by a bold and courageous approach both in content and form. This diverse selection of short films, which includes three world premieres, demonstrates the courageous storytelling of both young talents and renowned authors. Through a powerful mix of social dramas, psychological thrillers, and innovative narratives, the programme captures the spirit of the modern moment and universal human experiences. The audience can expect a strong film journey that pushes the boundaries both thematically and stylistically. Do you see a difference in how authors approach short form today compared to the time 10 or 20 years ago? It's much easier to make a short film now than it was 20 years ago. The development of technology has made this possible, so it is easier for authors to decide to try their hand at short form. But a good idea, a strong attitude and a discerning style are always the best qualities of a good short film. How many first-time directors are in the Competition Programme? In the feature part of the selection, we present as many as 6 debut films that are certainly a great refreshment in the selection itself. First time directors always bring audacity, courage and unbiasedness and this is exactly the case with this year's wave of new young authors. If we add to that one sophomore feature, we will see how young and brave this year's selection is. How much do the authors within the region stylistically match or differ? Regional cinema has come a long way since our first years of the Competition Programme in the early 2000s until today. Several generations of authors have come of age, and now we can already talk about the third generation in these two decades. Each generation is bolder and emerges as a reaction to the previous one, so in this sense, the authors somewhat match each other in their authorial intentions. However, stylistically, we can't say that. Even authors working on their second, third, fourth films are much bolder in trying new styles and new ways of expressing themselves.
COMPETITION PROGRAMME Elma Tataragić Programmer of Feature Film and Short Film
TAKMIČARSKI PROGRAM Rada Šešić Selektorica - dokumentarni film
Koje su teme zaintrigirale autore/ice ovogodišnjeg Takmičarskog programa - dokumentarni film? Selekcija neizbježno odražava naše globalne situacije, ali također pokazuje i otpornost dokumentarnog stvaralaštva i kontinuiranu pojavu zanimljivih novih autora. Više od polovine naslova u ovogodišnjem programu reflektira potrebu rekonceptualizacije ljudskih odnosa kao posebno potrebne vrijednosti. Zanimljivo je da u najvećem broju filmova u ovim tmurnim vremenima ili baš zbog toga, autori slave snagu ljubavi kao najjačeg životnog pokretača, bilo da se radi o obiteljskim ili ratnim pričama. Ono što je posebno vrijedno je da i kroz te, naizgled samo obiteljske priče, saznajemo puno i o kompleksnim uvjetima života u određenoj sredini. Film „Vidio sam 'Sunno'“ mađarske autorice Katalin Barsony nastajao je više od deset godina i prati sudbinu kosovske djece romskog porijekla, protjeranih iz Njemačke. Ovaj film, uz još četiri druga filma imat će svjetsku premijeru, a još tri filma međunarodne. Na koji način je prostor odakle dolaze filmovi oblikovao tematske ili stilske izbore autora/ica? Autori uvijek traže vlastiti filmski izraz. Različiti stilovi od eseja, arhivskog filma do opservacijskog, preko autobiografskih poetsko-meditativnih formi do istrazivačkog čine ovogodišnju selekciju od 12 dugometražnih i 8 kratkih dokumentaraca. Dva filma osvrću se na vrijeme u Jugoslaviji kada su umjetničke grupe o kojima filmovi govore bile središte progresivnih kretanja i okupljanja umjetnika - „Treći svijet“ iz Hrvatske, autora Arsena Oremovica te film slovenskog sineaste Damjana Kozolea „OHO Film“. Ima priličan broj filmova koji su stvarani skoro cijelo desetljeće. Na primjer „Sanjari - ljudi svjetlosti“ Imama Hasanova iz Azerbajđana, prati trenera ženskog fudbala, sanjara koji se kao i sam autor filma, odupire tradiciji i predrasudama. Jeste li primijetili neke nove stilove i forme unutar produkcije dokumentarnog filma? Autori rade izvrsne cinéma vérité filmove. Bravo svima koji su u tome uspjeli, navest ću par naslova. „Cuba i Alaska“, ukrajinska saga o dvije djevojke koje odlaze na front kao medicinske sestre, u kojoj je reditelj Yegor Troyanovsky uspio obojiti tragediju nadom i ljubavlju čovjeka prema čovjeku. Ima puno filmova u kojima je Ljubav sa velikim slovom Lj, obojila naraciju unatoč svim problemima sa kojima se protagonisti suočavaju. „U pakao sa Ivom“ bugarske rediteljice Kristine Nikolove na uzbudljiv način donosi borbu avangardnog muzičara kako sa mikro tako i sa makro okruženjem. U filmu „Naše vrijeme će doći“ Ivette Locker, premijerno prikazanom na Berlinaleu, pratimo ljubavnu priču migranta iz Afrike i Austrijanke. Njihova ljubav je jača od svih prepreka unutar rigidnog sistema punog predrasuda. U rumunjskom filmu „Tata“ svjedočimo pokušaju ponovnog povezivanja odrasle kćerke, autorice filma, Line Vdovii (drugi reditelj je njezin suprug Radu Ciorniciuc) sa ocem koji je iz Moldavije otišao na rad u Italiju. Nasilnik i grubijan nekada, sada je žrtva kapitalističkog izrabljivanja i moli kćerku za pomoć. Gruzijski „Ugovor na 9 mjeseci“ donosi potresnu priču žene koja kontinuirano postaje surogat majka kako bi omogućila normalan život svojoj kćerci. Autorica Ketevan Vashagashili radila je sedam godina na filmu. Hrvatski film „Lekcije mog tate“ mlade Dalije Dozet otkriva život rano preminulog oca i njegovu ostavštinu od stotina filmskih traka u kojima kćer traži tatu i njegov pogled na život. Film je razvijan na našem Docu Rough Cut Boutiqu. Autor iz Grčke Thanos Psichogios u kratkom filmu „Zmaj“ poetski promišlja odnos prema ocu dok bugarska autorica Aysel Küçüksu pokušava preko susreta u filmu „Pisma“ izraziti ljubav prema majci. Emociju ljubavi i razumijevanja roditelja osjećamo i u kompleksnom filmu, zanimljivog filmskog jezika „Vjerujem da me portret spasio“ Albana Muje, autora sa Kosova, koji je također premijerno prikazan na Berlinaleu. Kako autori pristupaju savremenim društvenim i političkim izazovima? Film „Divia“ reditelja Dmytro Hreshko, učesnika Docu Rough Cut Boutiquea, fokusira se na aspekt rijetko vidljiv u praćenju ratnih zbivanja u Ukrajini - na prirodu. Film nema riječi, impresivno se izražava samo slikom i zvukom. Drugi film koji također ima osebujnu autorsku formu je austrijsko-ukrajinski „Militantropos“, premijerno prikazan na Filmskom festivalu u Cannesu, rediteljsog tria Yelizavete Smith, Aline Gorlove i Semona Mozghovyii. Film istražuje na uzbudjiv način kako se rat uvlači u čovjeka i time postaje dijelom ljudskog habitusa. Film „Slet-1988“ Marte Popivoda iz Srbije, kroz intrigantnu teksturu arhiva, osobnih sjećanja i strastvenog plesa, vraća se u vrijeme tranzicije, u vrijeme velikih mijena. Autorica iz Gruzije Mariam Khatchvani propituje položaj žene u društvu u filmu „Zemlja muškaraca“. Nebojsa Slijepčević iz Hrvatske u filmu „Crveni tobogan“ donosi urgentnu diskusiju i pita se umijemo li još razumjeti potrebe djece? Kakva je domaća i regionalna produkcija u odnosu na svijet? Mislim da je regija kvalitativno, autorski posve na nivou ostatka svijeta. Raduje činjenica da imamo tri filma iz BiH. Festival otvaramo sa filmom „Bosanski vitez“ Tarika Hodžića, u produkciji Adnana Čuhare, koji na gotovo bajkovit i vizualno impresivan način istražuje porijeklo Bosanaca. Druga dva bh. filma su kratki dokumentarci: „Steel Hotel Song“ Bojana Stojčića, vizualna opservacija koja prelazi gotovo u meditativnu apstrakciju, te „Svaki puta kad odeš, ponovo se rađaš“ Mladena Bundala, kontemplativni poetični dokumentarac koji reflektira emocionalno i mentalno stanje čina odlaženja - napuštanja majke i roditeljskog doma. Nije bilo lako napraviti selekciju jer je bilo više prijavljenih filmova nego ranije, nešto manje od 300. I žao mi je što nismo mogli prikazati još bar dva ili tri istinski vrsna dokumentarca. Pripremite se na uzbudljive festivalske susrete sa autorima dokumentaraca, razgovorima sa njima u kino Sali u Cineplexxu 1 te na našem Docu Press Corneru svaki dan na Festivalskom trgu.
Filmovi su unatoč tmurnim vremenima, ili baš zbog njih, puni ljubavi
Kroz Takmičarski program – Dokumentarni film, Rada Šešić donosi snažnu selekciju intimnih priča i globalnih izazova
What topics intrigued the authors of this year's Competition Programme – Documentary Film? The selection inevitably reflects our global situations, but also shows the resilience of documentary creativity and the continuous emergence of interesting new authors. More than half of the titles in this year's programme reflect the need to reconceptualize human relationships as a particularly necessary value. It is interesting that in most films in these gloomy times, or precisely because of this, the authors celebrate the power of love as the strongest driver of life, whether it is family or war stories. What is particularly valuable is that even through these seemingly only family stories, we learn a lot about the complex conditions of life in a particular environment. The film I saw a 'Sunno' by Hungarian author Katalin Barsony was created for more than ten years and follows the fate of Kosovo children of Roma origin, expelled from Germany. This film, along with four other films, will have a world premiere, and three other films will have an international premiere. In what way has the region where the films come from shaped the thematic or stylistic choices of the authors? Authors are always looking for their own film expression. Different styles from essays, archival film to observational, through autobiographical poetic-meditative forms to research make this year's selection of 12 feature-length and 8 short documentaries. Two films look back at the time in Yugoslavia when the art groups the films speak about were the centre of progressive movements and gatherings of artists - The Third World from Croatia, by Arsen Oremović, and OHO Film by Slovenian director Damjan Kozole. There are quite a number of films that have been made for almost a decade. For example, Dreamers - People of Light by Imam Hasanov from Azerbaijan, follows a women's football coach, a dreamer who, like the author of the film, resists tradition and prejudice. Have you noticed some new styles and forms within documentary film production? The authors make excellent cinéma vérité films. Bravo to all who have succeeded in this, I will list a few titles. Cuba & Alaska, a Ukrainian saga about two girls who go to the front as nurses, in which director Yegor Troyanovsky managed to paint a tragedy with the hope and love of a man for a man. There are many films in which Love with the capital letter L, coloured the narration despite all the problems that the protagonists face. In Hell with Ivo by Bulgarian director Kristina Nikolova brings the struggle of an avant-garde musician with both micro and macro environment in an exciting way. In the film Our Time Will Come by Ivette Locker, premiered at the Berlinale, we follow the love story of a migrant from Africa and an Austrian woman. Their love is stronger than all obstacles within a rigid system full of prejudice. In the Romanian film Tata, we witness an attempt to reconnect the adult daughter, the author of the film, Lina Vdovii (the second director is her husband Radu Ciorniciuc) with her father, who went from Moldova to work in Italy. A bully and a brute once, he is now a victim of capitalist exploitation and begs his daughter for help. Georgia's 9-Month Contract tells the moving story of a woman who continuously becomes a surrogate mother in order to enable a normal life for her daughter. Author Ketevan Vashagashili worked for seven years on the film. The Croatian film My Dad's Lessons by young Dalija Dozet reveals the life of an early deceased father and his legacy of hundreds of film strips in which his daughter searches for his dad and his outlook on life. The film was developed on our Docu Rough Cut Boutique. In the short film Dragon, the Greek author Thanos Psychogios poetically reflects on his relationship with his father, while the Bulgarian author Aysel Küçüksu tries to express her love for her mother through an encounter in the film Letters. We also feel the emotion of love and understanding of parents in the complex film, an interesting film language I believe that the portrait saved me by Alban Muja, an author from Kosovo, which also premiered at the Berlinale. How do authors approach contemporary social and political challenges? The film Divia directed by Dmytro Hreshko, a participant of Docu Rough Cut Boutique, focuses on an aspect rarely visible in following the war in Ukraine - nature. The film has no words; it expresses itself impressively only with image and sound. Another film that also has a peculiar authorial form is the Austrian-Ukrainian Militantropos, premiered at the Cannes Film Festival, by the directorial trio Yelizaveta Smith, Alina Gorlove and Semona Mozghovyii. The film explores in an exciting way how war creeps into a man and thus becomes part of the human habitus. The film Slet 1988 by Marta Popivoda from Serbia, through the intriguing texture of archives, personal memories and passionate dance, returns to a time of transition, a time of great change. Author from Georgia Mariam Khatchvani questions the position of women in society in the film The Mens Land. In the film Red Slide, Nebojša Slijepčević from Croatia brings an urgent discussion and wonders if we can still understand the needs of children? How is domestic and regional production compared to the world? I think the region is in terms of quality and authorship completely at the level of the rest of the world. The fact that we have three films from Bosnia and Herzegovina makes us happy. We open the festival with the film Bosnian Knight by Tarik Hodžić, produced by Adnan Čuhara, which explores the origins of Bosnians in an almost fairytale-like and visually impressive way. The other two Bosnian-Herzegovinian films are short documentaries: Steel Hotel Song by Bojan Stojčić, a visual observation that turns almost into a meditative abstraction, and Every time you leave, you are reborn by Mladen Bundalo, a contemplative poetic documentary that reflects the emotional and mental state of the act of leaving - leaving your mother and your parent's home. It was not easy to make a selection because there were more submitted films than before, slightly less than 300. And I'm sorry we couldn't show at least two or three more truly great documentaries. Prepare for exciting festival meetings with documentary filmmakers, talks with them at the Cinema Hall in Cineplexx 1 and at our Docu Press Corner every day at the Festival Square.
COMPETITION PROGRAMME Rada Šešić Programmer – Documentary Film
Despite the sullen times, or because of them, the films are full of love
With the Competition Programme – Documentary Film, Rada Šešić brings a strong selection of intimate stories and global challenges
ŽIRI TAKMIČARSKOG PROGRAMA – IGRANI FILM / COMPETITION PROGRAMME JURY – FEATURE FILM Predsjednik žirija / President of the Jury Sergei Loznitsa Reditelj i scenarist, Ukrajina / Director and writer, Ukraine Dragan Mićanović Glumac, Srbija / Actor, Serbia Emanuel Pârvu Reditelj, scenarist i glumac, Rumunija / Director, writer and actor, Romania Ena Sendijarević Rediteljica i scenaristica, Bosna i Hercegovina, Nizozemska / Director and writer, Bosnia and Herzegovina, Netherlands Tricia Tuttle Direktorica Berlin Film Festivala, SAD / Berlin Film Festival Director, SAD ŽIRI TAKMIČARSKOG PROGRAMA – DOKUMENTARNI FILM / COMPETITION PROGRAMME JURY – DOCUMENTARY FILM Blake Levin Producent, SAD / Producer, USA Cíntia Gil Filmska kustosica, Portugal / Film curator, Portugal Veton Nurkollari Umjetnički direktor DokuFesta i filmski kustos, Kosovo* / Artistic Director of DokuFest and film curator, Kosovo* ŽIRI TAKMIČARSKOG PROGRAMA – KRATKI FILM / COMPETITION PROGRAMME JURY – SHORT FILM Teresa Cavina Festivalska selektorica i script doctor, Italija / Festival programmer and script doctor, Italy Cem Demirer Snimatelj i reditelj, Turska / Cinematographer and director, Türkiye Nebojša Slijepčević Reditelj i scenarist, Hrvatska / Director and writer, Croatia ŽIRI TAKMIČARSKOG PROGRAMA – STUDENTSKI FILM / COMPETITION PROGRAMME JURY – STUDENT FILM Miroslav Mandić Reditelj i scenarist, Bosna i Hercegovina / Director and writer, Bosnia and Herzegovina Nađa Petrović Spisateljica, scenaristica i rediteljica, Srbija / Writer, screenwriter and director, Serbia Yorgos Tsourgiannis Producent, Grčka / Producer, Greece ŽIRI - SPECIJALNA NAGRADA ZA PROMICANJE RODNE RAVNOPRAVNOSTI / JURY - SPECIAL AWARD FOR PROMOTING GENDER EQUALITY Anna Croneman Producentica i izvršna direktorica Švedskog filmskog instituta, Švedska / Producer and CEO of the Swedish Film Institute, Sweden Ivan Marinović Reditelj, scenarist i producent, Crna Gora / Director, writer and producer, Montenegro Norika Sefa Rediteljica i scenaristica, Kosovo* / Director and writer, Kosovo* ŽIRI ZA EVROPSKI KRATKI FILM / EUROPEAN SHORT FILM JURY Gregor Božič Reditelj, direktor fotografije, Slovenija / Director, cinematographer, Slovenia Kasia Karwan Filmska konzultantica, Poljska / Film consultant, Poland Dominique Welinski Producentica i filmska konsultantica, Francuska / Producer and film consultant, France CICAE ŽIRI / CICAE JURY Alexander Omar Lang Filmski kustos i selektor, Njemačka / Film curator and programmer, Germany Sylvie Da Rocha Umjetnička direktorica kina Zola, Portugal / Artistic director, Cinema Zola, Portugal Diego Ginartes Rodríguez Filmski kustos, selektor i producent u kulturi, Španija / Film curator, programmer and cultural producer, Spain CINEUROPA ŽIRI / CINEUROPA JURY Srdjan Kurpjel Skladatelj i montažer zvuka, Bosna i Hercegovina / Composer and sound editor, Bosnia and Herzegovina Alfonso Rivera Filmski novinar i kritičar, Španija / Film journalist and critic, Spain ŽIRI SPECIJALNE NAGRADE PERSPEKTIVE MLADIH / SPECIAL YOUTH PERSPECTIVES AWARD JURY Anja Jokić Stručnjakinja za politike prema mladima, Srbija / Youth policy specialist, Serbia Eréndira Núñez Larios Producentica, Meksiko / Producer, Mexico Milan Stojanović Producent, Srbija / Producent, Serbia
Upoznajte žirije 31. Sarajevo Film Festivala Meet the Juries of the 31st Sarajevo Film Festival
Nagrade 31. Sarajevo Film Festivala
ZVANIČNE NAGRADE POČASNO SRCE SARAJEVA Dodjeljuje se u znak priznanja za izuzetan doprinos filmskoj umjetnosti. Takmičarski program – igrani film SRCE SARAJEVA ZA NAJBOLJI IGRANI FILM Novčana nagrada u iznosu od 16.000 €. SRCE SARAJEVA ZA NAJBOLJU REŽIJU Novčanu nagradu, u iznosu od 10.000 €, obezbjeđuju Ujedinjene nacije u Bosni i Hercegovini u saradnji sa UNESCO-om. SRCE SARAJEVA ZA NAJBOLJU GLUMICU Novčana nagrada u iznosu od 2.500 €. SRCE SARAJEVA ZA NAJBOLJEG GLUMCA Novčana nagrada u iznosu od 2.500 €. Takmičarski program – dokumentarni film SRCE SARAJEVA ZA NAJBOLJI DOKUMENTARNI FILM Novčanu nagradu, u iznosu od 4.000 €, obezbjeđuje Vlada Švicarske. KVALIFIKACIONI FILM ZA NOMINACIJU ZA NAGRADU OSCAR® SRCE SARAJEVA ZA NAJBOLJI KRATKI DOKUMENTARNI FILM Novčana nagrada u iznosu od 2.000 € SPECIJALNA NAGRADA ŽIRIJA Novčana nagrada u iznosu od 2.500 € Takmičarski program – kratki film SRCE SARAJEVA ZA NAJBOLJI KRATKI FILM kvalifikacioni film za prijavu za nagradu Oscar® Novčana nagrada u iznosu od 2.500 € Takmičarski program – studentski film SRCE SARAJEVA ZA NAJBOLJI STUDENTSKI FILM Novčanu nagradu, u iznosu od 1.000 €, obezbjeđuje Vijeće za regionalnu saradnju. SPECIJALNA NAGRADA ZA PROMICANJE RODNE RAVNOPRAVNOSTI Novčanu nagradu, u iznosu od 7.500 €, obezbjeđuje Mastercard. SPECIJALNA NAGRADA PERSPEKTIVE MLADIH (YOUTH PERSPECTIVES) Novčanu nagradu, u iznosu od 7.500 €, obezbjeđuje Vijeće Evrope. UNICREDIT NAGRADA PUBLIKE PARTNERSKE NAGRADE KANDIDATURA ZA NAGRADU EVROPSKE FILMSKE AKADEMIJE U KATEGORIJI NAJBOLJI KRATKI FILM Pobjednik ulazi u kandidaturu za nagradu Evropske filmske akademije za najbolji kratki film. CICAE NAGRADA 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 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 €.
31st Sarajevo Film Festival Awards
OFFICIAL AWARDS HONORARY HEART OF SARAJEVO AWARD Given in recognition of an exceptional contribution to the art of film. Competition Programme – Feature Film HEART OF SARAJEVO FOR BEST FEATURE FILM Award in the amount of €16,000 HEART OF SARAJEVO FOR BEST DIRECTOR Award in the amount of €10,000, sponsored by the United Nations in Bosnia and Herzegovina in cooperation with UNESCO. HEART OF SARAJEVO FOR BEST ACTRESS Award in the amount of €2,500. HEART OF SARAJEVO FOR BEST ACTOR Award in the amount of €2,500. Competition Programme – Documentary Film HEART OF SARAJEVO FOR BEST DOCUMENTARY FILM Award in the amount of €4,000, sponsored by the Government of Switzerland. AN OSCAR® QUALIFYING FILM HEART OF SARAJEVO FOR BEST SHORT DOCUMENTARY FILM Award in the amount of €2,000. SPECIAL JURY AWARD Award in the amount of €2,500. Competition Programme – Short Film HEART OF SARAJEVO FOR BEST SHORT FILM AN OSCAR® QUALIFYING FILM Award in the amount of €2,500. Competition Programme – Student Film HEART OF SARAJEVO FOR BEST STUDENT FILM Award in the amount of €1,000, sponsored by the Regional Cooperation Council. SPECIAL AWARD FOR PROMOTING GENDER EQUALITY Award in the amount of €7,500 sponsored by Mastercard. SPECIAL YOUTH PERSPECTIVES AWARD Award in the amount of €7,500 sponsored by the Council of Europe. UNICREDIT AUDIENCE AWARD PARTNERS' AWARDS EUROPEAN FILM ACADEMY SHORT FILM CANDIDATE The winner receives candidacy for the European Film Academy's Best Short Film Award. CICAE AWARD 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 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 is €5,000. * Ovaj naziv, bez prejudiciranja statusa Kosova, u skladu je sa Rezolucijom 1244 i mišljenjem MSP-a o deklaraciji o nezavisnosti Kosova. / * 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
NAGRADNA IGRA
Učestvovati mogu svi koji svoje fotoaparate, telefone, tablete i druge uređaje rado koriste kako bi od zaborava sačuvali autentične i zanimljive trenutke sa 31. Sarajevo Film Festivala. To može biti svečani trenutak s Red Carpeta, festivalska atmosfera ili detalj s neke od festivalskih lokacija tokom osam festivalskih dana. Autora/icu fotografije koji/a na jedinstven način prenese atmosferu sa 31. Sarajevo Film Festivala, UniCredit Bank će nagraditi s Instax mini 12 fotoaparatom. Fotografije je potrebno poslati na najfotka@sff.ba u periodu od 15. do 22. augusta, a ako ste korisnik/ca društvenih mreža, obavezno ih objavite na Instagramu uz hashtagove: #najfotkaSFF, #31stSFF i #volimofilm.
Sarajevo Film Festival i UniCredit Bank i ove godine pozivaju sve zaljubljenike u film i fotografiju da učestvuju u nagradnoj igri NAJ FOTKA i podijele svoju perspektivu festivalske čarolije.
Autor najbolje fotografije 30. Sarajevo Film Festivala je Kemal Zorlak
NAJ FOTKA 31. Sarajevo Film Festivala
NAJ FOTKA of the 31st Sarajevo Film Festival
Autor Naj fotke 29. SFF-a je – Damir Šehović
CONTEST
The Sarajevo Film Festival and UniCredit Bank are once again inviting all film and photography enthusiasts to take part in the NAJ FOTKA contest and share their perspective on the magic of the festival.
Anyone who enjoys using their cameras, phones, tablets, or other devices to preserve authentic and interesting moments from the 31st Sarajevo Film Festival can take part. It can be a festive moment from the Red Carpet, the festival atmosphere, or a detail from one of the festival locations during the eight days of the event. The author of the photograph that captures the atmosphere of the 31st Sarajevo Film Festival in a truly unique way will be rewarded by UniCredit Bank with an Instax mini 12 camera. Photographs should be sent to najfotka@sff.ba between August 15 and 22. If you are a social media user, make sure to post them on Instagram with the hashtags: #najfotkaSFF, #31stSFF, and #volimofilm.