Festival Daily 31. Sarajevo Film Festival 07

ČETVRTAK / THURSDAY 21. 08. 2025. www.sff.ba Ray Winstone primio Počasno Srce Sarajeva Ray Winstone Received the Honorary Heart of Sarajevo 44 SADRŽAJ 28 10 45 TAKMIČARSKI PROGRAM - IGRANI FILM Regionalna premijera filma "Bog neće pomoći" 10 COMPETITION documentary: LESIA DIAK I Had False Hope It Would Be Better Honorary Heart of Sarajevo: Ray Winstone: The Sarajevo Film Festival is different from any other festival that I have been to 4 COMPETITION PROGRAMME - FEATURE FILM Regional Premiere of the Film "God Will Not Help" FOTO GALERIJA: CRVENI TEPIH COMPETITION FEATURE European Premiere of Family Therapy 49 CONTENT 12 GRAND KAFA SA... NEVJESTE, Glumice Ebada Hasan i Safiyya Ingar gošće programa Grand kafa sa: Budite uvijek ljubazni NA PROGRAMU DANAS... 10 TAKMIČARSKI IGRANI Europska premijera filma „Obiteljska terapija“ GRAND COFFEE WITH... BRIDES, Actresses Ebada Hasan and Safiyya Ingar were guests of the Grand Coffee programme with: Always be kind 8 48 10 POČASNO SRCE SARAJEVA: Ray Winstone: Sarajevo Film Festival je drugačiji od svih festivala na kojima sam bio 12 PHOTo GALLERY: RED CARPET NA PROGRAMU DANAS... TAKMIČARSKI DOKUMENTARNI: LESIA DIAK Imala sam lažnu nadu da će biti bolje FOTO GALERIJA: FESTIVALSKI ŽIVOT  44 49 PHOTO GALLERY: FESTIVAL LIFE 31 13 TAKMIČARSKI PROGRAM - IGRANI FILM IVANA MLADENOVIć Sve je istinito osim dijelova koje smo promijenili COMPETITION PROGRAMME - FEATURE FILM IVANA MLADENOVIć Everything Is True Except the Parts We Changed 17 COMPETITION PROGRAMME - FEATURE FILM VLADIMIR TAGIć What Do Yugoslavia and Florida Have in Common? 25 21 TAKMIČARSKI PROGRAM - IGRANI FILM VLADIMIR TAGIć Kakve veze imaju Jugoslavija i Florida? 33 TAKMIČARSKI PROGRAM - DOKUMENTARNI FI LM KETEVAN VASHAGASHVILI Nevjerojatno snažne i hrabre gruzijske žene COMPETITION PROGRAMME - DOCUMENTARY FILM KETEVAN VASHAGASHVILI Incredibly Strong and Courageous Georgian Women? 37 40 TAKMIČARSKI PROGRAM - DOKUMENTARNI FILM YEGOR TROYANOVSKY Cvijeće niče na pepelu bombardirane kuće COMPETITION PROGRAMME - DOCUMENTARY FILM YEGOR TROYANOVSKY Flowers Sprout from the Ashes of a Bombed-Out House 42 MASTERCLASS ILYA KHRZHANOVSKY The Future and the Present Coexist 47 MASTERCLASS ILYA KHRZHANOVSKY : Budućnost i sadašnjost postoje istovremeno 45 Ray Winstone: Sarajevo Film Festival je drugačiji od svih festivala na kojima sam bio “Sada je ovaj spektakl okupio ljude koji su se borili da snimaju filmove. Mislim da na svijetu ne postoji drugi festival koji se za to morao boriti. To me čini ponosnim zbog ove nagrade. Mnogo, mnogo vam hvala”, rekao je Winstone POČASNO SRCE SARAJEVA Ray Winstone Glumcu Rayu Winstoneu, u znak priznanja za njegovu izuzetnu glumačku karijeru i izniman doprinos filmskoj umjetnosti, u Narodnom pozorištu Sarajevo uručeno je Počasno Srce Sarajeva. “Nagrade su smiješna stvar. I stvar o kojoj se najviše priča. I stvar zbog koje razmišljate zašto je tako. Radim ovaj posao 50 godina i zbog ovakvih stvari razmišljam o poslu koji sam uradio. Ne samo o najpopularnijim, nego i o malim filmovima. I kako to već biva, ako ste dovoljno sretni da radite u ovoj industriji, dovest će vas na mjesta koja će vam poslije nedostajati. Upoznat ćete ljude na tim mjestima i tako učiti o svijetu. Ovaj Festival je drugačiji od svih festivala na kojima sam bio. Prije trideset godina saznao sam da ste u nevolji. Sada je ovaj spektakl okupio ljude koji su se borili da snimaju filmove. Mislim da na svijetu ne postoji drugi festival koji se za to morao boriti. To me čini ponosnim zbog ove nagrade. Mnogo, mnogo vam hvala”, rekao je Ray Winstone. Winstoneu je Počasno Srce Sarajeva uručio Jovan Marjanović, direktor Sarajevo Film Festivala. “Velika je čast biti ovdje i uručiti Počasno Srce Sarajeva zaista jedinstvenom glumcu. Tokom pet decenija oduševljavao je publiku talentom koji je nesvakidašnji i duboko human. Sa iskrenošću i intezitetom koji su dosezali daleko izvan ekrana, podario nam je neke od najpamtljivijih likova u kinematografiji. Od ranih djela kao što je ‘Ološ’ do serije ‘Gospoda’, ‘Pokojnih’, ‘Ponude’, koju ćemo vidjeti večeras, i mnogih drugih, njegove glumačke izvedbe redefinirale su šta znači portretirati likove snažno, ranjivo i iskreno na filmskom platnu. Bilo da igra u blockbusteru ili intimnoj britanskoj drami, njegove izvedbe uvijek su intenzivno sirove, sa žarom zbog kojeg je njegove likove nemoguće zaboraviti”, rekao je Jovan Marjanović. Britanski glumac Ray Winstone jedan je od najplodnijih glumaca Ujedinjenog Kraljevstva, koji iza sebe ima više od četrdeset godina u industriji. Od blockbustera do nezavisnih filmova, Winstoneova filmografija je opsežna – najnovije uloge uključuju Netflixov film „Dama“, britanski nezavisni film „A Bit of Light“, Marvelov „Black Widow“ i Working Titleov kriminalistički triler „Kralj lopova“. U decembru 2007. Ray je dobio nagradu Richard Harris za izniman doprinos na dodjeli British Independent Film Awards, kao priznanje za njegove mnogobrojne kultne uloge; od njegovog debija u drami „Ološ“ Alana Clarkea iz 1979. godine, do glavnih uloga u filmovima „Quadrophenia“ Franca Rodama, „Ladybird, Ladybird“ Kena Loacha i „Pokojni“, epskom ostvarenju Martina Scorsesea koji je osvojio nagradu Oscar®. Winstone je također poznat po glavnoj ulozi u surovoj biografskoj drami „Ništa u ustima“ Garyja Oldmana, za koju je osvojio British Independent Film Award za najboljeg glumca i bio nominiran za BAFTA nagradu. U jednoj od najboljih izvedbi u svojoj karijeri, Winstone je glumio uz Bena Kingsleyja u filmu Jonathana Glazera „Posljednja pljačka“. Nakon uručenja Počasnog Srca Sarajeva Winstoneu uslijedila je gala projekcija filma PONUDA reditelja Johna Hillcoata. POČASNO SRCE SARAJEVA Ray Winstone “What this spectacle is all about it’s bringing together those people who were fighting to make films. And I don’t think there is another festival in the world that has thought of that. And that makes me very proud to have this award. Thank you very very much”, said Winstone Ray Winstone: The Sarajevo Film Festival is different from any other festival that I have been to Ray Winstone Honorary Heart of Sarajevo Actor Ray Winstone, in recognition of his remarkable acting career and exceptional contributions to the art of cinema, was received the Honorary Heart of Sarajevo tonight at the National Theatre Sarajevo. “Awards are funny things. And kind of most talked about. And what it does it kind of makes you think about the reasons why. I’ve been doing this for 50 years and it makes you think about the work you have done. And it’s not just the most popular things but also the smaller films. And what it does, if you’re lucky enough to work in this industry, it takes you to places that you will miss. You will meet people of those places. And that’s your education of the world. This Festival is very different from any other festival that I have been to. It was brought about 30 years ago when you had troubles. And what this spectacle is all about it’s bringing together those people who were fighting to make films. And I don’t think there is another festival in the world that has thought of that. And that makes me very proud to have this award. Thank you very very much”, said Ray Winstone. Winstone was presented with the Honorary Heart of Sarajevo by Jovan Marjanović, director of the Sarajevo Film Festival. “It is a great honor to be here and present the Honorary Heart of Sarajevo to a truly singular actor. For five decades, he has captivated audiences with a talent that is both extraordinary and deeply human. With honesty and intensity that reached far beyond the screen, he has given us some of the most unforgettable characters in cinema. From his early work in Scum to Sexy Beast, The Departed, The Proposition, which we are seeing tonight, and so many more, Ray’s performances have redefined what it means to portray strength, vulnerability, and truth on screen. Whether it is a blockbuster or an intimate British drama, there is always a raw intensity, a fire that makes his characters impossible to forget” said Jovan Marjanović. British actor Ray Winstone is one of the UK’s most prolific actors, having marked over forty years in the industry. From blockbusters to independent films, Ray’s film credits are extensive - most recently including Netflix film Damsel, British indie A Bit of Light, Marvel’s Black Widow and Working Title’s heist drama King of Thieves. In December 2007, Ray received the Richard Harris Award for outstanding contribution at the British Independent Film Awards, in recognition of his many iconic roles; from his debut in Alan Clarke’s 1979 drama Scum, to his starring roles in Franc Roddam’s Quadrophenia, Ken Loach’s Ladybird, Ladybird, and Martin Scorsese’s Academy Award winning epic The Departed. Winstone is also known for taking the lead role in Gary Oldman’s gritty biographical drama, Nil By Mouth, for which he won a British Independent Film Award for Best Actor and earned a BAFTA Award nomination. Considered one of the finest performances of his career, Ray starred opposite Ben Kingsley in Jonathan Glazer’s Sexy Beast. The presentation of the Honorary Heart of Sarajevo to Winstone was followed by a gala screening of the film THE PROPOSITION by John Hillcoat. Honorary Heart of Sarajevo Ray Winstone Regionalna premijera filma „Bog neće pomoći“ Regional Premiere of the Film “God Will Not Help“ Takmičarski PROGRAM - igrani FILM • Competition PROGRAMME - Feature FILM Director Hana Jušić led the film crew at the regional premiere of “God Will Not Help” held at the National Theatre. The film tells the story of Teresa, a Chilean woman who, at the beginning of the 20th century, arrives in a tightly knit, isolated mountain community of Croatian shepherds, claiming to be the widow of their brother who had emigrated. The cast includes Manuela Martelli, Ana Marija Veselčić, Filip Đurić, Mauro Ercegović Gracin, Nikša Butijer, Tina Orlandini i Ivan Skoko. Rediteljica Hana Jušić predvodila je filmsku ekipu na regionalnoj premijeri filma „Bog neće pomoći“ održanoj u Narodnom pozorištu. Film je priča o Čileanki Teresi, koja početkom XX. stoljeća dolazi u čvrsto struktuiranu, izolovanu planinsku zajednicu hrvatskih čobana tvrdeći da je udovica njihovog brata koji je emigrirao. U filmu glume Manuela Martelli, Ana Marija Veselčić, Filip Đurić, Mauro Ercegović Gracin, Nikša Butijer, Tina Orlandini i Ivan Skoko. Crveni tepih / Red Carpet Žiri Takmičarskog programa – kratki film: Cem Demirer, Teresa Cavina i Nebojša Slijepčević / Competititon Programme Jury – Short Film: Cem Demirer, Teresa Cavina i Nebojša Slijepčević Ekipa filma „Preživjela zemlja“ / The crew of Surviving Earth Glumac Ray Winstone, dobitnik Počasnog Srca Sarajeva / Actor Ray Winstone, recipient of the Honorary Heart of Sarajevo Reditelj Michel Franco / Director Michel Franco Više fotografija možete pronaći OVDJE. More festival photos you can find HERE. Rediteljica Hana Jušić te glumci Ana Marija Veselčić i Mauro Ercegović Gracin iz filma „Bog neće pomoći“ / Director Hana Jušić and actors Ana Marija Veselčić and Mauro Ercegović Gracin from the film God Won’t Help Ekipa filma „Dobre djevojke“ / The crew of Little Trouble Girls Ivana Mladenović Sorella di Clausura Rediteljica Ivana Mladenović vraća se u Sarajevo s filmom „Sorella di Clausura“, pričom o ženi iz ruralne Rumunjske koja se zaljubi u balkanskog glazbenika nakon što ga vidi na televiziji. Sve je istinito osim dijelova koje smo promijenili Takmičarski PROGRAM -igrani film Takmičarski PROGRAM -igrani film 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. Vaš prvi dokumentarni dugometražni film „Isključi svjetla“ osvojio je nagradu Srce Sarajeva za najbolji dokumentarac, a vaš drugi film „Ivana Grozna“ također je prikazan na Sarajevo Film Festivalu. 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 Ivana Mladenović Sorella di Clausura Takmičarski PROGRAM -igrani film Takmičarski PROGRAM -igrani film Takmičarski PROGRAM -igrani film Ivana Mladenović Sorella di Clausura Takmičarski PROGRAM -igrani film COMPETITION PROGRAMME - FEATURE FILM -igrani film 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. Your first feature documentary, “Turn Off the Lights”, won the Heart of Sarajevo Award for Best Documentary, and your second feature, “Ivana the Terrible”, also screened at the Sarajevo Film Festival. What does it mean to you to now be back in Sarajevo? 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 Ivana Mladenović Sorella di Clausura Everything Is True Except  the Parts We Changed Director Ivana Mladenović returns to Sarajevo with “Sorella di Clausura,” a story about a woman from rural Romania who falls in love with a Balkan musician after seeing him on television. Ivana Mladenović Sorella di Clausura COMPETITION PROGRAMME - FEATURE FILM -igrani film COMPETITION PROGRAMME - FEATURE FILM Ivana Mladenović Sorella di Clausura -igrani film Vladimir Tagić Yugo Florida U filmu „Yugo Florida“ reditelj Vladimir Tagić pokazuje priču o sinu koji se odluči brinuti o otuđenom i nepodnošljivom ocu u posljednjim sedmicama njegovog života. Kakve veze imaju Jugoslavija i Florida? Takmičarski PROGRAM -igrani film Takmičarski PROGRAM -igrani film Kakav je osjećaj imati svjetsku premijeru debitantskog filma „Yugo Florida“ na Sarajevo Film Festivalu, gdje ste prije 15 godina bili sudionikom Sarajevo Talentsa? Savršeno se stvari nadovezuju jedna na drugu. Ne samo da je Sarajevo prvi festival koji mi je pružio šansu, još dok sam bio student, već sam u Sarajevu imao odlične projekcije i mojih serija i uvek sam se osećao kao da tom Festivalu prirodno pripadam. Kada sam dobio poziv da budem dio takmičarskog programa i da svjetska premijera filma bude baš u Sarajevu, prva misao u glavi mi je bila: Pa da, tako i treba da bude. S obzirom na vaše iskustvo kreatora popularnih televizijskih serija „Sablja“ i „Jutro će promeniti sve“, što vam je bio najveći izazov u radu na prvom dugometražnom filmu? To što je film moja najveća strast i što o svom prvom filmu maštam još od srednje škole. Imam enormno poštovanje i ljubav prema filmovima i samim tim je odgovornost i želja da napravim nešto dobro još veća. Postoje li elementi rada na filmu koji su vam bili jednostavniji ili zahtjevniji u odnosu na televizijski format na koji ste navikli? Finansiranje filmova traje predugo. Strpljenje je važno. Kod tv serija je ipak malo drugačije, moguće je da se isfinansira brže. Kod filma postoji večito pitanje: Zašto. Zašto pravim film kad postoji toliko razloga da od svega toga odustanem? Postoji mnogo razloga zbog kojih ne treba napraviti film, ali potreban je samo jedan zašto ga treba napraviti. Što se tiče kreativnog pristupa u radu na serijama i filmovima, te razlike skoro da više ne postoje. TV serije su toliko uznapredovale da su se približile filmu i sadržajno i u smislu načina pričanja priča. Ono što me malo brine, kada su serije u pitanju, to je ulazak u šablon. Veća je tendencija da se proizvode šablonski i po nekom „receptu“. Svi bi želeli da znaju koja je formula i kako najlakše do nje da stignu. Ono što većina zaboravlja jeste da je upravo suština u tome razbiti formulu i pronaći način da se ponudi nešto posebno. „Yugo Florida“ nije samo naslov, već i glavni motiv filma. Postoji li osobna priča ili inspiracija iza odabira tog automobila i ove priče općenito? Imao sam razne asocijacije: Egzotično ime iza kog se krije automobil sumnjivog kvaliteta. Spoj naizgled nespojivog. Ime koje je samo po sebi apsurd. Kakve veze imaju Jugoslavija i Florida? Automobil koji ima misteriozan kvar koji niko ne može da popravi... Sve ovo kao da su metafore za naše živote, pune apsurda, nelogičnosti, ljepote i čudnih kvarova koje ne možemo da riješimo. Scenarij o odnosu sinu i smrtno oboljelog oca napisali ste zajedno s Milanom Ramšakom Markovićem. Kako je tekla vaša suradnja i što je bilo najizazovnije u procesu zajedničkog pisanja scenarija? Ovaj film u sebi ima autobiografske elemente i ja sam u početku ga pisao sam, ali nisam mogao da se izborim s njim. Previše je sve bilo lično i nisam mogao da odvojim ono što je meni važno od onog što je dobro za priču. Onda sam pozvao Milana, već smo radili zajedno na „Jutru“, i osjetio sam da je on čovjek koji može razumijeti i osjetiti ono što želim. Milan je bio s jedne strane blag, ali s druge i surov u tome šta pripada filmu a šta ne. Najveći izazov je bio postaviti strukturu, odnosno shvatiti kakav mi to road movie pravimo, razumjeti da naši junaci zapravo nemaju jasan put i jasan cilj. Njihova putovanja su kratka, trenutna, ispresecana i ne znamo gde ona vode. Kako ste odabrali Andriju Kuzmanovića i Nikolu Pejakovića za uloge oca i sina? Kada radite kasting samog sebe provjeravate da li znate ko je uopšte vaš lik i šta je ono što tražite. Meni je bilo potrebno vrijeme da shvatim ko je moj glavni junak, ko je Zoran. Kada sam shvatio da njegovom povučenom, melanholičnom karakteru je potreban glumac kao što je Andrija, koji je sve suprotno tome, onda sam zapravo spoznao šta želim. Želio sam borbu unutar njega, da tinja. Da se pitamo zašto je ovaj čovjek potišten i melanholičan i da se nadamo da će se to promijeniti, da vjerujemo da je to moguće. Zbog toga mi je Andrija bio jedini tačan izbor. Kada je Nikola u pitanju, bio mi je potreban glumac koji ima neodoljiv šarm i koji ima sposobnost da vas zavede i da ga volite čak i kada radi i govori najgore moguće stvari. Vesa je takav lik, a bio sam uvjeren da Nikola to može da iznese. Njegov talenat je raskošan, on je beskrajno darovit, i kao pisac i kao muzičar a tek kao glumac... Glupo je da ja to govorim, ali u filmu je savršen. Zašto ste za Zorana odabrali da radi na produkciji reality showa? Pokušao sam da kroz posao koji Zoran radi pružim metaforu problema s kojim se on nosi. A to je usamljenost. Mislim da je radnik u rijalitiju čiji je glavni posao da posmatra druge ljude dok spavaju, dok sam pati od insomnije, prikladna metafora usamljenosti. Igra koja se razvija između njega i jedne od učesnica, Eme, je bila savršeno polje za prikaz potrebe za bliskošću. Nije me zanimao reality kao neki fenomen društvene kritike ili satire, to je toliko očigledno da mi nije dovoljno uzbudljivo kao motiv. Fenomen rijalitija u kom si non stop i u kom te kamere snimaju non stop, je za mene bio najzanimljiviji upravo kao izolacija, kao idealno okruženje u kom počneš da gubiš razum. Jedna od glavnih tema filma je usamljenost. Mislite li da je to gorući problem današnjice? Ne znam, današnjica ima mnogo problema. (smijeh) Mogu samo da kažem da sam zaista, prolazeći kroz gubitak bliske osobe, osjećao više nego bilo šta drugo usamljenost i potrebu za bliskošću. To je osjećanje koje sam želio da prenesem na film. Nije samo glavni junak usamljen, svi likovi su usamljeni i svi imaju težnju ka tome da se jedni drugima približe. Josip Jurčić Kakav je osjećaj imati svjetsku premijeru debitantskog filma „Yugo Florida“ na Sarajevo Film Festivalu, gdje ste prije 15 godina bili sudionikom Sarajevo Talentsa? Savršeno se stvari nadovezuju jedna na drugu. Ne samo da je Sarajevo prvi festival koji mi je pružio šansu, još dok sam bio student, već sam u Sarajevu imao odlične projekcije i mojih serija i uvek sam se osećao kao da tom festivalu prirodno pripadam. Kada sam dobio poziv da budem deo takmičarskog programa i da svetska premijera filma bude baš u Sarajevu, prva misao u glavi mi je bila: Pa da, tako i treba da bude. S obzirom na vaše iskustvo kreatora popularnih televizijskih serija „Sablja“ i „Jutro će promeniti sve“, što vam je bio najveći izazov u radu na prvom dugometražnom filmu? To što je film moja najveća strast i što o svom prvom filmu maštam još od srednje škole. Imam enormno poštovanje i ljubav prema filmovima i samim tim je odgovornost i želja da napravim nešto dobro još veća. Postoje li elementi rada na filmu koji su vam bili jednostavniji ili zahtjevniji u odnosu na televizijski format na koji ste navikli? Finansiranje filmova traje predugo. Strpljenje je važno. Kod tv serija je ipak malo drugačije, moguće je da se isfinansira brže. Kod filma postoji večito pitanje: Zašto. Zašto pravim film kad postoji toliko razloga da od svega toga odustanem? Postoji mnogo razloga zbog kojih ne treba napraviti film, ali potreban je samo jedan zašto ga treba napraviti. Što se tiče kreativnog pristupa u radu na serijama i filmovima, te razlike skoro da više ne postoje. TV serije su toliko uznapredovale da su se približile filmu i sadržajno i u smislu načina pričanja priča. Ono što me malo brine, kada su serije u pitanju, to je ulazak u šablon. Veća je tendencija da se proizvode šablonski i po nekom „receptu“. Svi bi želeli da znaju koja je formula i kako najlakše do nje da stignu. Ono što većina zaboravlja jeste da je upravo suština u tome razbiti formulu i pronaći način da se ponudi nešto posebno. „Yugo Florida“ nije samo naslov, već i glavni motiv filma. Postoji li osobna priča ili inspiracija iza odabira tog automobila i ove priče općenito? Imao sam razne asocijacije: Egzotično ime iza kog se krije automobil sumnjivog kvaliteta. Spoj naizgled nespojivog. Ime koje je samo po sebi apsurd. Kakve veze imaju Jugoslavija i Florida? Automobil koji ima misteriozan kvar koji niko ne može da popravi... Sve ovo kao da su metafore za naše živote, pune apsurda, nelogičnosti, lepote i čudnih kvarova koje ne možemo da rešimo. Scenarij o odnosu sinu i smrtno oboljelog oca napisali ste zajedno s Milanom Ramšakom Markovićem. Kako je tekla vaša suradnja i što je bilo najizazovnije u procesu zajedničkog pisanja scenarija? Ovaj film u sebi ima autobiografske elemente i ja sam u početku ga pisao sam, ali nisam mogao da se izborim s njim. Previše je sve bilo lično i nisam mogao da odvojim ono što je meni važno od onog što je dobro za priču. Onda sam pozvao Milana, već smo radili zajedno na „Jutru“, i osetio sam da je on čovek koji može da razume i da oseti ono što želim. Milan je bio s jedne strane blag, ali s druge i surov u tome šta pripada filmu a šta ne. Najveći izazov je bio postaviti strukturu, odnosno shvatiti kakav mi to road movie pravimo, razumeti da naši junaci zapravo nemaju jasan put i jasan cilj. Njihova putovanja su kratka, trenutna, ispresecana i ne znamo gde ona vode. Kako ste odabrali Andriju Kuzmanovića i Nikolu Pejakovića za uloge oca i sina? Kada radite kasting samog sebe proveravate da li znate ko je uopšte vaš lik i šta je ono što tražite. Meni je bilo potrebno vreme da shvatim ko je moj glavni junak, ko je Zoran. Kada sam shvatio da njegovom povučenom, melanholičnom karakteru je potreban glumac kao što je Andrija, koji je sve suprotno tome, onda sam zapravo spoznao šta želim. Želeo sam borbu unutar njega, da tinja. Da se pitamo zašto je ovaj čovek potišten i melanholičan i da se nadamo da će to da se promeni, da verujemo da je to moguće. Zbog toga mi je Andrija bio jedini tačan izbor. Kada je Nikola u pitanju, bio mi je potreban glumac koji ima neodoljiv šarm i koji ima sposobnost da vas zavede i da ga volite čak i kada radi i govori najgore moguće stvari. Vesa je takav lik, a bio sam ubeđen da Nikola to može da iznese. Njegov talenat je raskošan, on je beskrajno darovit, i kao pisac i kao muzičar a tek kao glumac... Glupo je da ja to govorim, ali u filmu je savršen. Zašto ste za Zorana odabrali da radi na produkciji reality showa? Pokušao sam da kroz posao koji Zoran radi pružim metaforu problema s kojim se on nosi. A to je usamljenost. Mislim da je radnik u rijalitiju čiji je glavni posao da posmatra druge ljude dok spavaju, dok sam pati od insomnije, prikladna metafora usamljenosti. Igra koja se razvija između njega i jedne od učesnica, Eme, je bila savršeno polje za prikaz potrebe za bliskošću. Nije me zanimao reality kao neki fenomen društvene kritike ili satire, to je toliko očigledno da mi nije dovoljno uzbudljivo kao motiv. Fenomen rijalitija u kom si non stop i u kom te kamere snimaju non stop, je za mene bio najzanimljiviji upravo kao izolacija, kao idealno okruženje u kom počneš da gubiš razum. Jedna od glavnih tema filma je usamljenost. Mislite li da je to gorući problem današnjice? Ne znam, današnjica ima mnogo problema. (smijeh) Mogu samo da kažem da sam zaista, prolazeći kroz gubitak bliske osobe, osećao više nego bilo šta drugo, usamljenost i potrebu za bliskošću. To je osećanje koje sam želeo da prenesem na film. Nije samo glavni junak usamljen, svi likovi su usamljeni i svi imaju težnju ka tome da se jedni drugima približe. Josip Jurčić Takmičarski PROGRAM -igrani film Vladimir Tagić Yugo Florida Takmičarski PROGRAM -igrani film Vladimir Tagić Yugo Florida COMPETITION PROGRAMME - FEATURE FILM -igrani film What does it feel like to have the world premiere of your debut film "Yugo Florida“ at the Sarajevo Film Festival, where you were a participant in Sarajevo Talents 15 years ago? Everything feels perfectly connected. Not only was Sarajevo the first festival to give me a chance, back when I was still a student, but I’ve also had great screenings of my series there and always felt like I naturally belonged at this festival. When I received the invitation to be part of the competition program and have the world premiere of my film in Sarajevo, my first thought was: Of course, this is exactly where it should be. Considering your experience as the creator of the popular TV series “Operation Sabre” and “Morning Changes Everything”, what was the biggest challenge in working on your first feature film? The fact that this film is my greatest passion, and that I’ve been dreaming about making my first feature since high school. I have enormous respect and love for films, which makes the responsibility and desire to create something meaningful even greater. Are there aspects of working on a film that were easier or more challenging compared to the television format you’re used to? Financing a film takes a very long time. Patience is crucial. With TV series, it’s a bit different, it’s often possible to secure funding more quickly. With a film, there’s always the question: Why? Why am I making this film when there are so many reasons to give up? There are countless reasons not to make a film, but you only need one reason to make it. As for the creative approach, the differences between working on series and films have almost disappeared. TV series have advanced so much that they now resemble films both in content and in the way stories are told. What does concern me slightly about series is the tendency to fall into a formula. There’s a greater inclination to produce content following a “recipe.” Most people forget that the essence lies in breaking the formula and finding a way to offer something truly unique. “Yugo Florida” is not just a title, but also the central motif of the film. Is there a personal story or inspiration behind choosing that car and this story in general? I had various associations: an exotic name hiding a car of questionable quality. A combination of seemingly incompatible elements. A name that is absurd in itself. What do Yugoslavia and Florida have in common? A car with a mysterious malfunction that no one can fix... All of this feels like a metaphor for our lives, full of absurdities, illogical moments, beauty, and strange flaws we cannot resolve. You co-wrote the screenplay about the relationship between a son and his terminally ill father with Milan Ramšak Marković. How did your collaboration unfold, and what was the most challenging part of the joint writing process? This film contains autobiographical elements, and at first I tried writing it on my own, but I couldn’t manage it. Everything felt too personal, and I couldn’t separate what was important to me from what was actually good for the story. That’s when I invited Milan, we had already worked together on Jutro, and I felt he was someone who could understand and sense what I wanted. Milan was, on one hand, gentle, but on the other, strict in deciding what belonged in the film and what didn’t. The biggest challenge was establishing the structure, understanding what kind of road movie we were making and realizing that our characters don’t have a clear path or goal. Their journeys are short, fleeting, fragmented, and we don’t know where they lead. Why did you choose for Zoran to work in the production of a reality show? I tried to use the job Zoran does as a metaphor for the problem he struggles with: loneliness. I think that being a reality show worker, whose main task is to observe other people while they sleep, while he himself suffers from insomnia, is an apt metaphor for loneliness. The game that develops between him and one of the participants, Ema, became a perfect field to depict the need for closeness. I wasn’t interested in reality TV as a phenomenon of social critique or satire, it’s so obvious that it didn’t feel exciting enough as a motive. For me, the phenomenon of a reality show where you are constantly monitored, where cameras are always on you, was most interesting precisely as isolation, as the ideal environment in which you begin to lose your mind. One of the main themes of the film is loneliness. Do you think it’s a pressing issue today? I don’t know, there are so many problems today. (laughs) I can only say that, going through the loss of a loved one, what I felt more than anything else was loneliness and the need for closeness. That’s the feeling I wanted to convey in the film. It’s not just the main character who is lonely; all the characters are lonely, and they all have a longing to connect with one another. Josip Jurčić What does it feel like to have the world premiere of your debut film „Yugo Florida“ at the Sarajevo Film Festival, where you were a participant in Sarajevo Talents 15 years ago? Everything feels perfectly connected. Not only was Sarajevo the first festival to give me a chance, back when I was still a student, but I’ve also had great screenings of my series there and always felt like I naturally belonged at this festival. When I received the invitation to be part of the competition program and have the world premiere of my film in Sarajevo, my first thought was: Of course, this is exactly where it should be. Considering your experience as the creator of the popular TV series “Operation Sabre” and “Morning Changes Everything”, what was the biggest challenge in working on your first feature film? The fact that this film is my greatest passion, and that I’ve been dreaming about making my first feature since high school. I have enormous respect and love for films, which makes the responsibility and desire to create something meaningful even greater. Are there aspects of working on a film that were easier or more challenging compared to the television format you’re used to? Financing a film takes a very long time. Patience is crucial. With TV series, it’s a bit different, it’s often possible to secure funding more quickly. With a film, there’s always the question: Why? Why am I making this film when there are so many reasons to give up? There are countless reasons not to make a film, but you only need one reason to make it. As for the creative approach, the differences between working on series and films have almost disappeared. TV series have advanced so much that they now resemble films both in content and in the way stories are told. What does concern me slightly about series is the tendency to fall into a formula. There’s a greater inclination to produce content following a “recipe.” Most people forget that the essence lies in breaking the formula and finding a way to offer something truly unique. “Yugo Florida” is not just a title, but also the central motif of the film. Is there a personal story or inspiration behind choosing that car and this story in general? I had various associations: an exotic name hiding a car of questionable quality. A combination of seemingly incompatible elements. A name that is absurd in itself. What do Yugoslavia and Florida have in common? A car with a mysterious malfunction that no one can fix... All of this feels like a metaphor for our lives, full of absurdities, illogical moments, beauty, and strange flaws we cannot resolve. You co-wrote the screenplay about the relationship between a son and his terminally ill father with Milan Ramšak Marković. How did your collaboration unfold, and what was the most challenging part of the joint writing process? This film contains autobiographical elements, and at first I tried writing it on my own, but I couldn’t manage it. Everything felt too personal, and I couldn’t separate what was important to me from what was actually good for the story. That’s when I invited Milan, we had already worked together on Jutro, and I felt he was someone who could understand and sense what I wanted. Milan was, on one hand, gentle, but on the other, strict in deciding what belonged in the film and what didn’t. The biggest challenge was establishing the structure, understanding what kind of road movie we were making and realizing that our characters don’t have a clear path or goal. Their journeys are short, fleeting, fragmented, and we don’t know where they lead. Why did you choose for Zoran to work in the production of a reality show? I tried to use the job Zoran does as a metaphor for the problem he struggles with: loneliness. I think that being a reality show worker, whose main task is to observe other people while they sleep, while he himself suffers from insomnia, is an apt metaphor for loneliness. The game that develops between him and one of the participants, Ema, became a perfect field to depict the need for closeness. I wasn’t interested in reality TV as a phenomenon of social critique or satire, it’s so obvious that it didn’t feel exciting enough as a motive. For me, the phenomenon of a reality show where you are constantly monitored, where cameras are always on you, was most interesting precisely as isolation, as the ideal environment in which you begin to lose your mind. One of the main themes of the film is loneliness. Do you think it’s a pressing issue today? I don’t know, there are so many problems today. (laughs) I can only say that, going through the loss of a loved one, what I felt more than anything else was loneliness and the need for closeness. That’s the feeling I wanted to convey in the film. It’s not just the main character who is lonely; all the characters are lonely, and they all have a longing to connect with one another. Josip Jurčić What does it feel like to have the world premiere of your debut film „Yugo Florida“ at the Sarajevo Film Festival, where you were a participant in Sarajevo Talents 15 years ago? Everything feels perfectly connected. Not only was Sarajevo the first festival to give me a chance, back when I was still a student, but I’ve also had great screenings of my series there and always felt like I naturally belonged at this festival. When I received the invitation to be part of the competition program and have the world premiere of my film in Sarajevo, my first thought was: Of course, this is exactly where it should be. Considering your experience as the creator of the popular TV series “Operation Sabre” and “Morning Changes Everything”, what was the biggest challenge in working on your first feature film? The fact that this film is my greatest passion, and that I’ve been dreaming about making my first feature since high school. I have enormous respect and love for films, which makes the responsibility and desire to create something meaningful even greater. Are there aspects of working on a film that were easier or more challenging compared to the television format you’re used to? Financing a film takes a very long time. Patience is crucial. With TV series, it’s a bit different, it’s often possible to secure funding more quickly. With a film, there’s always the question: Why? Why am I making this film when there are so many reasons to give up? There are countless reasons not to make a film, but you only need one reason to make it. As for the creative approach, the differences between working on series and films have almost disappeared. TV series have advanced so much that they now resemble films both in content and in the way stories are told. What does concern me slightly about series is the tendency to fall into a formula. There’s a greater inclination to produce content following a “recipe.” Most people forget that the essence lies in breaking the formula and finding a way to offer something truly unique. “Yugo Florida” is not just a title, but also the central motif of the film. Is there a personal story or inspiration behind choosing that car and this story in general? I had various associations: an exotic name hiding a car of questionable quality. A combination of seemingly incompatible elements. A name that is absurd in itself. What do Yugoslavia and Florida have in common? A car with a mysterious malfunction that no one can fix... All of this feels like a metaphor for our lives, full of absurdities, illogical moments, beauty, and strange flaws we cannot resolve. You co-wrote the screenplay about the relationship between a son and his terminally ill father with Milan Ramšak Marković. How did your collaboration unfold, and what was the most challenging part of the joint writing process? This film contains autobiographical elements, and at first I tried writing it on my own, but I couldn’t manage it. Everything felt too personal, and I couldn’t separate what was important to me from what was actually good for the story. That’s when I invited Milan, we had already worked together on Jutro, and I felt he was someone who could understand and sense what I wanted. Milan was, on one hand, gentle, but on the other, strict in deciding what belonged in the film and what didn’t. The biggest challenge was establishing the structure, understanding what kind of road movie we were making and realizing that our characters don’t have a clear path or goal. Their journeys are short, fleeting, fragmented, and we don’t know where they lead. Why did you choose for Zoran to work in the production of a reality show? I tried to use the job Zoran does as a metaphor for the problem he struggles with: loneliness. I think that being a reality show worker, whose main task is to observe other people while they sleep, while he himself suffers from insomnia, is an apt metaphor for loneliness. The game that develops between him and one of the participants, Ema, became a perfect field to depict the need for closeness. I wasn’t interested in reality TV as a phenomenon of social critique or satire, it’s so obvious that it didn’t feel exciting enough as a motive. For me, the phenomenon of a reality show where you are constantly monitored, where cameras are always on you, was most interesting precisely as isolation, as the ideal environment in which you begin to lose your mind. One of the main themes of the film is loneliness. Do you think it’s a pressing issue today? I don’t know, there are so many problems today. (laughs) I can only say that, going through the loss of a loved one, what I felt more than anything else was loneliness and the need for closeness. That’s the feeling I wanted to convey in the film. It’s not just the main character who is lonely; all the characters are lonely, and they all have a longing to connect with one another. Josip Jurčić Vladimir Tagić Yugo Florida What Do Yugoslavia and Florida Have in Common? In the film "Yugo Florida“, director Vladimir Tagić tells the story of a son who decides to care for his estranged and unbearable father during the final weeks of his life. Glumice Ebada Hasan i Safiyya Ingar bile su gošće programa Grand Kafa sa... 31. Sarajevo Film Festivala, a govorile su o filmu “Nevjeste” britanske rediteljice Nadie Fall, u kojem tumače naslovne junakinje. Glumice Ebada Hasan i Safiyya Ingar gošće programa Grand Kafa sa: Budite uvijek ljubazni GRAND KAFA SA... NEVJESTE Glumice Ebada Hasan i Safiyya Ingar bile su gošće programa Grand Kafa sa... 31. Sarajevo Film Festivala, a govorile su o filmu “Nevjeste” britanske rediteljice Nadie Fall, u kojem tumače naslovne junakinje. Na početku razgovora podijelile su utiske o Sarajevu. Istakle su da su oduševljene gradom, koji ih zbog arhitekture i kulture podsjeća na Istanbul, gdej su snimile dio filma. Uloga u “Nevjestama” za Ebadu Hasan je debitantska, ranije se nije bavila glumom. Prema njenom mišljenju, “Nevjeste” su važan film jer govore o problemima djevojaka koje nisu bjelkinje. “Kada sam se spremala za ovaj film nisam imala previše izvora iz kojih bih crpila inspiraciju zato što djevojke koje imaju crnu ili smeđu kožu nisu dovoljno prezentovane u javnosti. Ne postoji mnogo filmova o njima. Kada sam odrstala nikada nisam imala priliku da gledam na filmu djevojke koje izgledaju kao ja. Drago mi je što doprinosimo promjeni”, naglasila je Ebada Hasan, dodajući da se brzo uklopila u ekipu i da je rediteljica uspjela izvući maksimum iz nje. “Nadiji je ovo prvi igrani film, ali već godinama režira u teatru. Preko deset godina bavi se radom sa djecom u dramskom studiju, tako da je odličan dramski pedagog što mi je značajno pomoglo. Naravno, moja kolegica Safiyya mi je takođe mnogo pomogla, jer je školovana glumica. Njeno iskustvo me je oslobodilo, a već tokom prve zajedničke probe ispostavilo se da imamo odličnu saradnju, ispričala je Hasan. Glumica Safiyya istakla je da prvobitno nije dobila ulogu u ovom filmu, te da je imala svega tri nedjelje da se pripremi, što je bilo izazovno za nju, ali rad u pozorištu ju je navikao da brzinski “uskače” u projekte. “Ovaj film je važan jer se bavi osobama čije probleme društvo ignoriše. Bili smo posebno podstaknuti slučajem Shamime Begum, koja je kao žrtva sistemskog rasizma izgubila britansko državljanstvo. Bitno je da se pričaju ovakve priče kako bismo doprinijeli boljitku svih nas”, rekla je Safiyya Ingar. Kada je riječ o njihovim budućim projektima, Ebada Hasan je istaknula kako nije sigurna hoće li se nastaviti baviti glumom, dok je Safiyya Ingar podijelila savjete za mlade glumice: “Gledajte filmove, idite u pozorište ukoliko to sebi možete da priuštite, čitajte knjige, jer su besplatne u bibliotekama. Trudite se da stičete što više životnih iskustava. Imajte hobije. Ali prije svega, budite uvijek ljubazni prema svima”, zaključila je Ingar na kraju razgovora. Film “Nevjeste” na 31. Sarajevo Film Festivalu prikazan je okviru programa Open Air. GRAND COFFEE WITH... Actresses Ebada Hasan and Safiyya Ingar were guests of the Grand Coffee with... Programme of the 31st Sarajevo Film Festival, and they talked about the film "Brides" by the British director Nadia Fall, in which they play the title characters. At the beginning of the conversation, they shared their impressions of Sarajevo. They pointed out that they are delighted with the city, which, due to its architecture and culture, reminds them of Istanbul, where they filmed part of the film. The role in "Brides" is a debut for Ebada Hasan, she has not acted before. According to her, "Brides" is an important film because it talks about the problems of non-white girls. “When I was preparing for this film, I didn’t have many sources to draw inspiration from because girls with black or brown skin are not represented enough in the public. There aren’t many films about them. Growing up, I never had the opportunity to see girls who looked like me on film. I’m glad we’re contributing to change,” emphasized Ebada Hasan, adding that she quickly fit into the team and that the director managed to get the most out of her. “This is Nadia’s first feature film, but she has been directing in the theatre for years. She has been working with children in a drama studio for over ten years, so she is an excellent drama pedagogue, which helped me a lot. Of course, my colleague Safiyya also helped me a lot, because she is a trained actress. Her experience liberated me, and during the first rehearsal together it turned out that we have an excellent collaboration, said Hasan. Actress Safiyya pointed out that she initially did not get a role in this film, and that she had only three weeks to prepare, which was challenging for her, but working in the theatre has accustomed her to quickly “jumping” into projects. “This film is important because it deals with people whose problems are ignored by society. We were particularly encouraged by the case of Shamima Begum, who lost her British citizenship as a victim of systemic racism. It is important to tell stories like this in order to contribute to the betterment of all of us,” said Safiyya Ingar. When it comes to their future projects, Ebada Hasan emphasized that she is not sure whether she will continue acting, while Safiyya Ingar shared advice for young actresses: “Watch movies, go to the theater if you can afford it, read books, because they are free in libraries. Try to gain as many life experiences as possible. Have hobbies. But above all, always be kind to everyone,” concluded Ingar at the end of the conversation. The film “Brides” was screened as part of the Open Air Programme at the 31st Sarajevo Film Festival. BRIDES Actresses Ebada Hasan and Safiyya Ingar were guests of the Grand Coffee programme with: Always be kind Actresses Ebada Hasan and Safiyya Ingar were guests of the Grand Coffee with... Programme of the 31st Sarajevo Film Festival, and they talked about the film "Brides" by the British director Nadia Fall, in which they play the title characters. BRIDES GRAND COFFEE WITH... Bingo Group, najveća poslovna grupacija u BiH, nastavlja saradnju sa Sarajevo Film Festivalom kao ekskluzivni partner. Festivalska atmosfera oživjet će i na Trgu slobode u Tuzli, gdje će biti ljetno kino na otvorenom s 400 mjesta. Posjetioci će uživati u projekcijama Open Air programa i magiji filma pod vedrim nebom. Ova saradnja predstavlja primjer uzajamne podrške lokalnih brendova, na radost ljubitelja filma. Bingo - naše mjesto za početak Sarajevo Film Festivala. Bingo Group, the largest business conglomerate in BiH, continues its partnership with the Sarajevo Film Festival as an exclusive partner. The festival atmosphere will also come to life at Trg Slobode in Tuzla, where an open-air summer cinema with 400 seats will be set up. Visitors will enjoy screenings from the Open Air program, soaking in the magic of film under the open sky. This collaboration is a shining example of mutual support among local brands, bringing joy to film lovers.  Bingo – our place where the Sarajevo Film Festival begins. Šta se zbiva kada samohrana majka beskućnica ne vidi nikakav drugi način da ona i kćer prežive osim iznajmljivanja svoga tijela kao inkubatora obiteljima koje ne mogu imati djecu? Odgovor nudi rediteljica Ketevan Vashagashvili u filmu „Ugovor na devet mjeseci“. Nevjerojatno snažne i hrabre gruzijske žene TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM   Način na koji gradite priču je zaista impresivan, posebno vaša upotreba krupnih planova i prebacivanje između vanjskog i unutarnjeg pogleda. Dok su interijeri često uokvireni i prikazuju unutarnji život glavne junakinje Žane, eksterijeri nadopunjuju tu sliku snimkama bijede, siromaštva i društvene otuđenosti. Kakav je utjecaj vanjskog svijeta na Žanin unutarnji svijet? Žanino djetinjstvo je duboko uznemirujuće. Traume koje nosi iz odgoja punog nesigurnosti, odrastanja bez roditelja, života na ulici i u sirotištima, prate ju cijeli život i oblikuju njezinu osobnost. Kad sam je prvi put upoznala prije 13 godina, živjela je na ulici sa svojom četvorogodišnjom kćeri. Unatoč mladosti, već je bila majka. Zadobiti Žanino povjerenje pokazalo se izazovnim. Tijekom naših razgovora, mogla sam osjetiti ogroman zid koji je društvo, uključujući i mene, izgradilo oko siročadi, "djece ulice", kako smo ih nazivali 2000-ih, upravo u vrijeme kada je Žana živjela na ulici. "Društveno otuđenje" je doista pravi izraz; osjetila sam koliko smo svi izolirani. Trebale su mi godine da Žani dokažem da suosjećam s njom i divim joj se zbog toga ko je bila i snage koju je posjedovala. To je bio dugotrajan proces, ispunjen njenim sumnjama i mojim strpljenjem. Zašto gruzijska javnost šuti o ženama koje pod sumnjivim okolnostima i bez pravne zaštite iznajmljuju svoja tijela za iscrpljujuće, brojne surogat trudnoće? Štiti li ih iko osim nemoćne nevladine organizacije? Gruzijsko društvo imalo je ograničene informacije o komercijalnoj industriji surogatstva unutar zemlje. Nedostatak svijesti mogao bi biti ključni razlog šutnje o ovom problemu. Na primjer, ljudi često tvrde da surogat majke "prodaju vlastitu djecu", svoje gruzijske gene! Ova zabluda proizlazi iz nedostatka razumijevanja, jer surogat majke u Gruziji nisu genetski povezane s djetetom; one su samo nositeljice. Takve primjedbe stigmatiziraju ove žene i prisiljavaju ih da skrivaju svoje okolnosti od društva, prijatelja, susjeda, pa čak i od svojih obitelji. Stav Crkve također značajno doprinosi ovoj stigmi što surogat majkama čini još težim podnošenje, posebno zato što je veliki dio gruzijskog stanovništva religiozan. Ko ih štiti? Drago mi je što mogu primijetiti da su neke nevladine organizacije, posebno Organizacija za ženska prava Sapari, sada uključene u slučajeve mnogih međunarodnih surogat majki koje trenutno imaju problema s agencijama za surogatstvo u Gruziji. Međutim, kada se Žana suočila s problemima zbog nedostatka ugovora s parom i potražila pomoć od nevladine organizacije Sapari, postala je prva surogat majka koja je ikada tamo stigla. Čudno, zar ne? Ova situacija je također izravna posljedica stigme koju ove žene trpe, što ih tjera da skrivaju svoje okolnosti i čini ih ranjivijima. Očito je da je surogat-posao procvjetao u Gruziji, što naglašava hitnu potrebu za više propisa kako bi se zaštitile ne samo surogat-majke već i njihova djeca i budući roditelji. Sve uključene strane su bespomoćne u ovom loše reguliranom okruženju. Prije svega, zakon bi trebao zaštititi ove žene. Ipak, kao što je često slučaj u Gruziji, hrabri pojedinci su ti koji se zalažu za njih. Na primjer, u Žaninom slučaju, kada smo se suočili s poteškoćama s njezinim zdravljem i brojne bolnice odbile su izvesti carski rez, izvanredna liječnica Eka Tedozashvili pristala je preuzeti postupak. Bez takvih pojedinaca, surogat-majke bi same morale upravljati ovim moćnim međunarodnim komercijalnim surogat-poslom. Neravnoteža moći je zapanjujuća; surogat-žene izgledaju kao Davidi suočeni s Golijatom. Pred kraj filma događa se prekretnica u odnosu majke i kćeri. Elene govori majci da je stanje u društvu loše jer majke misle da znaju šta je najbolje za njihovu djecu, da bi trebale sanjati vlastite snove i da snovi moraju biti veliki i čarobni. Koliko se današnje gruzijske tinejdžerice razlikuju od svojih majki, koliko cijene obrazovanje i neovisnost? Ova generacijska razlika je izrazito očita u Gruziji, posebno s obzirom na trenutnu političku klimu i prosvjede koji traju već nekoliko mjeseci, gdje smo se s našom novom generacijom susreli licem u lice. Gruzija je tradicionalno društvo; prije nekoliko desetljeća bilo je normalno da roditelji donose odluke za svoju djecu, norma koju su prihvatile obje strane i društvo u cjelini. Iako se obrazovanje oduvijek cijenilo u Gruziji, bez obzira na spol. Imali smo izvanredne šahistkinje tijekom sovjetskog doba, što je pomoglo u razbijanju mita da su muškarci inherentno pametniji od žena. Ipak, neovisnost je dragocjena težnja ove generacije. Za nas milenijalce u Gruziji, i za naše roditelje, neovisnost se prvenstveno povezivala sa slobodom naše zemlje, za koju su mnogi su žrtvovali svoje živote. Nasuprot tome, ova generacija je rođena u neovisnoj Gruziji, što ih je učinilo slobodnijima, manje sentimentalnima, racionalnijima i asertivnijima od moje i Žanine generacije. Ova je promjena i očita i dobrodošla. Dijalog koji ste spomenuli između Žane i Elene puno mi znači. Kad sam prvi put snimala film o Žani i Elene na ulicama, on je emitiran na televiziji. To je potaknulo socijalnu službu da potraži Žanu kako bi razumjela njezinu situaciju. Dok smo ju pronašli, ona je već je živjela u unajmljenom stanu zahvaljujući filmu, ali su počeli preispitivati njezinu sposobnost da uzdržava Elene. Žana je zamolila da idem s njom i objasnim im da je dobra majka i da nikada ne bi dopustila Elene da živi u sirotištu. Pomisao na Elene u sirotištu bila je za nju noćna mora. Naravno, stala sam uz Žanu. Tijekom Žanininih surogatnih trudnoća, traumatizirana i šokirana, često sam se pitala jesam li postupila ispravno ili je sustav socijalne skrbi mogao učiniti više za Elene, potencijalno sprječavajući Žanu da svojim tijelom nosi toliki teret. Pa ipak, u tom trenutku, svjedočeći da se Elene tako čvrsto zalaže za sebe, shvatila sam da nikada ne bi posjedovala takvu snagu bez Žanine nepokolebljive ljubavi i prilika koje joj je pružila za obrazovanje i neovisnost. Utješno je vidjeti tridesetogodišnju ženu koja je odlučila nastaviti prekinuto obrazovanje. Možda neće postati policajka ili odvjetnica za prava beskućničke djece, ali je konačno nešto napravila za sebe. Je li Žana iznimka ili su takvi slučajevi postali češći? Oduvijek me zanimala interakcija između majčinstva i ženstvenosti - je li moguć sklad između njih. Gruzijske žene oduvijek su bile nevjerojatno snažne i hrabre. Međutim, u mnogim slučajevima majčinski instinkti zasjenjuju njihovu individualnost. Devedesetih godina, nakon raspada Sovjetskog Saveza, mnoge žene, prvenstveno majke, emigrirale su u razvijene zemlje kako bi prehranile svoju djecu. Spasile su Gruziju od očaja, što je bio čin hrabrosti, ali je često podrazumijevao žrtvovanje vlastitog identiteta žena za dobrobit svojih obitelji. Snimila sam kratki film o tim ženama koje žive u raznim dijelovima svijeta. To je i dalje goruće pitanje, posebno u gruzijskim predjelima. Ipak, žene sve više postaju svjesne svojih potreba i jače se zalažu za svoje želje. Dok sam stvarala „Ugovor na devet mjeseci“, moja je najveća briga bila izbjeći prikazivanje Žane kao puke žrtve okolnosti. Ona je nevjerojatno snažna žena; njena hrabrost i osobnost inspirirali su me da nastavim. Vjerujem u njen potencijal da ostvari svoje ciljeve i prihvati sve što život nudi. Marinela Domančić Ketevan Vashagashvili Ugovor na devet mjeseci Takmičarski PROGRAM -dokumentarni FILM • Ketevan Vashagashvili Ugovor na devet mjeseci Takmičarski PROGRAM -dokumentarni FILM • Ketevan Vashagashvili Ugovor na devet mjeseci The way you build the story is really impressive, especially your use of close-ups and switching between outside and inside views. While the interiors are often framed and depict the inner life of the main character Zhana, the exteriors complement that picture with shots of misery, poverty and social alienation. What is the influence of the outside world on Zhana's inner world? Zhana’s childhood is profoundly heartbreaking. The traumas she carries from her insecure upbringing, growing up without parents, living on the streets, and in orphanages, have followed her throughout her life, shaping her personality. When I first met her 13 years ago, she was living on the streets with her four-year-old daughter. Despite her youth, she was already a mother. Gaining Zhana’s trust proved challenging. During our conversations, I could feel the enormous wall that society, including myself, had built around orphans, "children of the street," as we referred to them in the 2000s, the very time Zhana was living on the streets. "Social alienation" is indeed the right term; I sensed how isolated we all were. It took years for me to prove to Zhana that I empathized with her and admired her for who she was and the strength she possessed. However, it was a lengthy process, filled with her doubts and my patience. Why is the Georgian public silent about women who, under dubious circumstances and without legal protection, rent out their bodies for exhausting, numerous surrogate pregnancies? Does anyone except a powerless non-governmental organization protect them? Georgian society has had limited information about the commercial surrogacy industry within the country. This lack of awareness may be a key reason for the silence surrounding the issue. For example, people often claim that surrogate mothers are "selling their own children" - their Georgian genes! This misconception arises from a lack of understanding, as surrogate mothers in Georgia are not genetically related to the child; they are merely carriers. Such remarks stigmatize these women and compel them to conceal their circumstances from society, friends, neighbours, and often even their families. The church's stance also significantly contributes to this stigma, making it even harder for surrogate mothers to bear, especially since a large segment of the Georgian population is religious. Who protects them? I am pleased to note that some NGOs, particularly the Women’s Rights Organization Sapari, are now involved in the cases of many international surrogate mothers currently having issues with the surrogacy agencies in Georgia. However, when Zhana faced problems due to the lack of a contract with the couple and sought help from NGO Sapari, she became the first surrogate mother ever to arrive there. Strange, isn’t it? This situation is also a direct result of the stigma they endure, which pushes them to hide their circumstances and renders these women more vulnerable. It is evident that the surrogacy business has boomed in Georgia, highlighting the urgent need for more regulations to protect not only surrogate mothers but also their children and intended parents. All parties involved find themselves defenceless in this poorly regulated environment. First and foremost, the law should safeguard these women. Yet, as is often the case in Georgia, it is brave individuals who stand up for them. For instance, in Zhana’s case, when we faced difficulties with her health and numerous hospitals refused to perform her C-section, the remarkable doctor Eka Tedozashvili agreed to take on the procedure. Without such individuals, surrogate mothers would be left to navigate this powerful international commercial surrogacy business alone. The imbalance of power is staggering; surrogate women appear as Davids facing Goliath. Towards the end of the film, a turning point occurs in the relationship between mother and daughter. Elene tells her mother that the state of society is bad because mothers think they know what is best for their children, that they should dream their own dreams and that dreams must be big and magical. How different are today's Georgian teenage girls from their mothers, how much do they value education and independence? This generational difference is starkly apparent in Georgia, especially given the current political climate and the protests that have been ongoing for several months, where we encountered our new generation face-to-face. Georgia is a traditional society; several decades ago, it was normal for parents to make decisions for their children, a norm accepted by both sides and society at large. Although education has always been valued in Georgia, regardless of gender, we had remarkable female chess players during the Soviet era, which helped dispel the myth that men are inherently smarter than women. Nonetheless, independence is a precious aspiration for this generation. For us millennials in Georgia, and for our parents, independence was primarily associated with our country's freedom, with many sacrificing their lives for it. In contrast, this generation has been born into an independent Georgia, which has made them freer, less sentimental, more rational, and more assertive than my generation and Zhana's. This breakthrough is both evident and appreciated. The dialogue you mentioned between Zhana and Elene holds great significance for me. When I first filmed Zhana and Elene on the streets, the film aired on TV, prompting a social agency to seek Zhana to understand her situation. By the time we already located her, she was already in a rented apartment, thanks to the film, but they began questioning her ability to support Elene. Zhana requested that I accompany her to explain to them that she was a good mother and would never allow Elene to live in an orphanage. The thought of Elene in an orphanage was a nightmare for her. I stood by Zhana, of course. During Zhana’s surrogate pregnancies, traumatized and shocked, I often questioned whether I had acted correctly or if the social care system could have done more for Elene, potentially preventing Zhana from enduring the toll on her body. Yet in that moment, witnessing Elene stand so firmly for herself, I realized that she would never possess such strength without Zhana's unwavering love and the opportunities she provided for her education and independence. It is comforting to see a thirty-year-old woman who has decided to continue her interrupted education. She may not become a policewoman or a lawyer for the rights of homeless children, but she has finally made something for herself. Is Zhana an exception, or have such cases become more common? My interest has always been in the interplay between motherhood and womanhood - whether harmony is possible between the two. Georgian women have always been incredibly strong and courageous. However, in many cases, the motherly instincts overshadow their individuality. In the 1990s, after the collapse of the Soviet Union, many women, primarily mothers, emigrated to developed countries to provide for their children. They rescued Georgia from despair, an act of bravery, but one that often entailed sacrificing their own identities as women for the sake of their families. I created a short film about these women living in various parts of the world. This still remains a pressing issue, especially in the regions of Georgia. Nevertheless, women are increasingly becoming aware of their needs and are stronger in advocating for their desires. While creating "9-Month Contract", my foremost concern was to avoid portraying Zhana as a mere victim of her circumstances. She is an incredibly strong woman; her courage and personality inspired me to continue. I believe in her potential to achieve her goals and embrace everything life has to offer. Marinela Domančić Competition PROGRAMME  Documentary FILM Incredibly Strong and Courageous Georgian Women Ketevan Vashagashvili 9-month contract What happens when a homeless single mother sees no other way for her and her daughter to survive than to rent out her body as an incubator for families who cannot have children? Director Ketevan Vashagashvili offers an answer in the film “9-Month Contract”. Competition PROGRAMME - Documentary FILMKetevan Vashagashvili 9 -month contract Competition PROGRAMME - Documentary FILMKetevan Vashagashvili 9 -month contract Reditelj Yegor Troyanovsky u filmu „Cuba i Alaska“ nudi sirovi realizam dokumentarnog zapisa o dvjema bolničarkama ukrajinske vojske koje i u najtežim trenucima pronalaze ljubav prema životu. Yegor Troyanovsky Cuba i Alaska photo by Yegor Troyanovsky © 2BRAVE PRODUCTIONS TAG FILM CLIN D’OEIL FILMS Cvijeće niče na pepelu bombardirane kuće Jeste li već prikazali film u nekoj zemlji koja ima neposredno ratno iskustvo kao što je Bosna i Hercegovina te kakva su vaša očekivanja od sarajevske publike u tom smislu? Mislim da naš film može puno reći o Ukrajini onima koji o njoj gotovo ništa ne znaju i onima koji prate vijesti odavde. Istina je da je rat svugdje i u bilo koje vrijeme sličan. Međutim, film se ne fokusira samo na rat, ispunjen je polutonovima - modernom glazbom, mjestima, frazama, odnosima među ljudima... Bit ću zadovoljan ako se iko u publici barem jednom nasmiješi. Cuba je modna dizajnerica, Alaska talentirana za crtanje. Mogu se baviti poslovima manje opasnim od izvlačenja i zbrinjavanja ranjenika. Obje ipak biraju da se vrate na ratište, jedna nakon modne revije u Parizu, a druga nakon mukotrpnog oporavka od ranjavanja. Da li je potreba ovih žena da budu na prvoj crti odbrane stvar karaktera, odgoja, domoljublja, nade ili časti? Prije svega, one su ispunjene ljubavlju prema životu, prema svojim rodnim mjestima i ljudima. To nije uvijek pitanje patriotizma. Rat u Ukrajini sada je pitanje preživljavanja. Gradovi, sela, ulice se uništavaju, mnogo ljudi je ubijeno. Rusija se bori protiv bilo kakve manifestacije ukrajinskosti. Nažalost, u ovom trenutku ostaje vrlo malo vremena za kreativnost. Osim toga, sve je otrovano gorkim okusom sadašnjosti i tragične prošlosti. Dvije se djevojke gotovo cijelo vrijeme smiju i šale iako rat nije ni najmanje smiješan. Smijeh odjekuje gotovo jednako često kao što se čuju detonacije. Koliko su humor i životna radost važni za mentalno zdravlje i moral u ovako napetim i iznimno opasnim okolnostima? To je obrambeni mehanizam uma, što je važno u traumatičnim uvjetima. Osim toga, lično sam vidio kako je Cubin smijeh iz susjedne sobe smirio vojnike, čak i kada nisu mogli razumjeti o čemu se radi u šalama. Smirenost je gotovo izgubljen osjećaj za sve Ukrajince, jer je tjeskoba postala trajno stanje za većinu stanovništva. Ljubavi, prijateljstva i smrti u ratu se doživjavaju intenzivnije i važnost im je ogromna. Granica između tananih osobnih i grubih ratnih dešavanja često se pomiče i briše. U vašem se filmu snažno osjeti i lijepo i strašno. Koliko je rad na ovom filmu bio lijep, a koliko strašan? Ne bih rekao da je rad na filmu za mene bio povezan s riječima „lijepo i strašno“. Prije je film nastao u raskoraku između nelagode i nečeg ugodnog. Djevojkama je bilo neugodno da ih kamere dugo prate, bilo im je neprijatno čekati na potreban kadar dok su s vojnicima bile pod pritiskom neposrednih borbenih operacija. Ali bilo mi je zadovoljstvo dovršiti film u Belgiji i uljepšati ga glazbom. Siguran sam da je Cubi i Alaski bilo drago uživo čuti mnogo toplih riječi od ljudi koji su upoznali njihovu priču. U završnoj sceni djevojke razgovaraju o smrti, posljednjim željama i ukopima. Dok leže na travi, u idiličnom prirodnom okruženju, na njima je puna vojna oprema. Ovaj razgovor bi u nekim drugim okolnostima bio bizaran. Jeste li ovakvim odabirom završetka filma htjeli naglasiti da smrt visi iznad njihovih glava ili ste imali neku drugu namjeru? Mislim da ste savršeno uhvatili emociju. Takav je rat za nas – ne znaš što bi se moglo dogoditi u sljedećem trenutku, pa uživamo u onome što imamo. Možda se voziš negdje gdje je opasno i postoji velika vjerojatnost da ćeš poginuti, ali istovremeno udišeš miris svježeg zraka nakon kiše, uživajući u prirodi oko sebe. Mučne tjeskobne misli miješaju se s osjećajem ugodnog vjetra na licu. Gledaš kako cvijeće niče na pepelu bombardirane kuće i shvaćaš da će rat jednog dana završiti. Marinela Domančić TAKMIČARSKI PROGRAM- DOKUMENTARNI FILM   photo by Yegor Troyanovsky © 2BRAVE PRODUCTIONS TAG FILM CLIN D’OEIL FILMS Takmičarski PROGRAM - dokumentarni FILM • Yegor Troyanovsky Cuba i Alaska Director Yegor Troyanovsky’s film "Cuba and Alaska" presents a raw, documentary-like portrayal of two Ukrainian army nurses who, even in the darkest times, discover a love for life. Have you already screened the film in a country that has had a recent war experience like Bosnia and Herzegovina, and what are your expectations of the Sarajevo audience in that regard? I think our film can tell a lot about Ukraine to those who know almost nothing about it and to those who follow the news from here. It is true that war is similar everywhere at any time. However, the movie does not focus just on the war, it is filled with halftones – modern music, places, phrases, relationships between people... If someone from the audience has at least one smile, I will be satisfied. Cuba is a fashion designer; Alaska has a talent for drawing. They can deal with jobs less dangerous than rescuing and caring for the wounded. However, they both choose to return to the battlefield, one after a fashion show in Paris and the other after a painful recovery from injuries. Is the need of these women to be on the front line a matter of character, upbringing, patriotism, hope or honor? First of all, they are filled with love to life, to their native places and people. This is not always a question of patriotism. The war in Ukraine is now about survival. Cities, villages, streets are being destroyed, lots of people are killed. Russia fights against any manifestation of Ukrainianness. Unfortunately, at this moment in time there is very little time left for creativity. Moreover, everything is poisoned by the bitter taste of the present and the tragic past. The two girls are laughing and joking almost all the time even though the war is not funny at all. Laughter echoes almost as often as detonations are heard. How important are humor and joy of life for mental health and morale in such tense and extremely dangerous circumstances? This is a defense mechanism for the mind, which is important in traumatic conditions. In addition, I saw for myself how Cuba's laughter from the next room calmed the soldiers, even if they could not understand what the jokes were about. Calmness is an almost lost feeling for all Ukrainians, as anxiety has become a permanent condition for the majority of the population. Love, friendship and death in war are experienced more intensely and their importance is enormous. The line between thinly personal and crude wartime events is often shifted and erased. In your film, both the beautiful and the terrible are strongly felt. How beautiful was working on this film, and how terrible? I wouldn't say that the work on the movie was related to the words “beautiful and terrible” for me. Rather, the film was created in the gap between discomfort and something pleasant. It was uncomfortable for the girls to be hunted for a long time with cameras, uncomfortable to wait for the needed shot while spending time with the soldiers under the pressure of the proximity of combat operations. But it was a pleasure for me to put the movie together in Belgium and embellish it with music. I am sure that Cuba and Alaska were pleased to hear many warm words in person from people who got to know their story. In the final scene, the girls discuss death, last wishes and burials. They are lying on the grass, in an idyllic natural environment, with full military equipment on them. This conversation would be bizarre under some other circumstances. Did you want to emphasize by choosing such ending of the film that death is hanging over their heads or did you have some other intention? I think you have perfectly captured the emotion. That's what war is like for us – you don't know what might happen the next moment, so we enjoy what we have. You may be driving somewhere dangerous with a high chance of dying, but at the same time you are breathing in the smell of fresh air after a rainstorm, enjoying the nature around you. The nagging anxious thoughts are mixed with the feeling of a pleasant wind on your face. You watch flowers sprout on the ashes of a bombed-out house and realize that the war will end one day. Marinela Domančić Yegor Troyanovsky Cuba & Alaska Competition PROGRAMME - Documentary FILM Flowers Sprout from  the Ashes of a  Bombed-Out House photo by Yegor Troyanovsky © 2BRAVE PRODUCTIONS TAG FILM CLIN D’OEIL FILMS photo by Yegor Troyanovsky © 2BRAVE PRODUCTIONS TAG FILM CLIN D’OEIL FILMS Competition PROGRAMME - Documentary FILM Yegor Troyanovsky Cuba & Alaska Ekipa filma „U paklu s Ivom“ / The crew of In Hell With Ivo CineLink Talks Više fotografija možete pronaći OVDJE. More festival photos you can find HERE. Festivalski život / Festival Life Razgovor nakon projekcije filma „Dobre djevojke“ /   Q&A after screening of „Little Trouble Girls“ Ankica Jurić Tilić, producentica filma „Bog neće pomoći“ / Ankica Jurić Tilić, producer of God Will Not Help 5. Atmosfera na Perwoll zabavi / Atmosphere at Perwoll party Ilya Khrzhanovskiy, istaknuti filmski reditelj, umjetnik i producent, održao je Masterclass na 31. Sarajevo Film Festivalu. Ilya Khrzhanovskiy, istaknuti filmski reditelj, umjetnik i producent, održao je Masterclass na 31. Sarajevo Film Festivalu. Naročito poznat po eksperimentisanju sa novim medijima i savremenim formama umjetnosti, godinama radi na velikom multidisciplinarnom projektu pod nazivom “DAU” koji se nalazi na granici filma, pozorišta i antropologije. U okviru projekta proizvedeno je više od 700 sati materijala iz kojih je nastalo 14 dugometražnih filmova inspirisanih biografijom sovjetskog naučnika i dobitnika Nobelove nagrade Leva Landaua. Tokom Masterclassa sa publikom je podijelio detalje o ovom vanvremenskom poduhvatu, posebno se osvrnuvši na snimanje filmova “DAU.Natasha” i “DAU.Degeneration” koji su, kao i njegov debitanski film “4”, u fokusu programa Posvećeno (Tribute to) 31. Sarajevo Film Festivala. “Na početku je to bio prilično konvencionalan dugometražni film, ali kada smo počeli sa snimanjem i gradnjom seta iznenada sam shvatio da je sve do tog momenta bilo greška. Saopštio sam to ostalima i nakon toga mi je trebalo godinu dana promišljanja na koji način da promijenim koncept. Ispred mene su bile dvije opcije: historijski pristup ili fantazija”, ispričao je reditelj o počecima projekta. “Glavna teorija Leva Landau bila je teorija sreće. Moja inicijalna tačka bila su pitanja: koje značenje se krije iza sovjetske osobe? Ako osoba ima sve, šta je njen problem? Šta znači biti sretan? Kako možemo prepoznati sreću? Kako je možemo izdržati?”, nastavio je Khrzhanovskiy. Tako se prvobitna premisa igranog filma o naučniku-geniju transformisala u projekat ogromnih razmjera i imerzivni eksperiment za čije potrebe je izgrađena replika sovjetskog instituta - najveći filmski set u Evropi površine 12.000 m2. Na audicijama za “DAU” učestvovalo je više od 300.000 ljudi iz svakodnevnog života, koje je Khrzhanovskiy radije birao nego profesionalne glumce, kako bi što više olabavio granicu između realnosti i imaginacije. Mnogi od njih živjeli su svoje uloge i ostajali na setu 24 sata, ali, kako sam kaže, to se nije zahtjevalo od njih i svako je mogao da odluči za sebe na koji način će da pristupi projektu. Kao inspiracija za scenografiju, kostime i kolorit poslužila mu je sovjetska avangardna umjetnost, posebno slike Kandynskog na osnovu kojih je pravio pokretne perspektivne iluzije. Želio je da kreira što uvjerljiviju rekonstrukciju sovjetske ere od 1930-ih do 1960-ih godina i služio se različitim trikovima kako bi to ostvario. Tako je na set donio tone kupusa kako bi stvorio privid nabacanih ljudskih glava ili, primjerice, u sceni sudnice angažovao prave kriminalce umjesto glumaca. Još jedna zanimljivost jeste da je glavna glumica u filmu “DAU.Natasha” zapravo radnica u marketu, gdje je i pronašao, koja je nastavila da se bavi tim poslom i nakon završetka snimanja filma. “Glumcima bismo uglavnom zadržali njihova prava imena i profesije, ali bismo ih s njima vratili u vrijeme nekoliko decenija unazad”, kazao je Khrzhanovskiy. Taj korpus amaterskih glumaca sastojao se od umjetnika, naučnika, muzičara, filozofa, ali i prodavača, konobara, čistača, kuhara itd. koji su tokom perioda od skoro tri godine živjeli i radili u improvizovanom institutu. Reditelj je, pri kraju, istakao projekat “DAU” i kao svojevrsnu kvantnu teoriju stvarnosti. “Budućnost i sadašnjost postoje istovremeno”, riječi su kojim je Khrzhanovskiy zaključio Masterclass. Tako se ovim nesvakidašnjim projektom, baš kao i njegovim prvim filmom, propituju pitanja o etici i ideologiji, dobru i zlu, umjetnosti i istoriji, pojedincu i državi, stvarnosti i fikciji, i neizostavno – prošlosti i budućnosti. ILYA KHRZHANOVSKY MASTERCLASS Ilya Khrzhanovskiy:  Budućnost i sadašnjost postoje istovremeno ILYA KHRZHANOVSKY MASTERCLASS Ilya Khrzhanovskiy, a prominent film director, artist and producer, held a Masterclass at the 31st Sarajevo Film Festival. Particularly known for his experimentation with new media and contemporary art forms Ilya Khrzhanovskiy, a prominent film director, artist and producer, held a Masterclass at the 31st Sarajevo Film Festival. Particularly known for his experimentation with new media and contemporary art forms, he has been working for years on a large-scale multidisciplinary project called “DAU” that straddles the boundaries of film, theatre and anthropology. The project produced more than 700 hours of material, from which 14 feature-length films inspired by the biography of Soviet scientist and Nobel Prize winner Lev Landau were created. During the Masterclass, he shared details about this timeless undertaking with the audience, particularly focusing on the filming of the films “DAU.Natasha” and “DAU.Degeneration”, which, like his debut film “4”, are the focus of the Tribute to programme at the 31st Sarajevo Film Festival. “At first it was a fairly conventional feature film, but when we started shooting and building the set, I suddenly realized that everything up to that point had been a mistake. I told the others about it, and after that I spent a year thinking about how to change the concept. I had two options: a historical approach or fantasy,” the director said about the beginnings of the project. “Lev Landau’s main theory was the theory of happiness. My starting point was the questions: what meaning is hidden behind a Soviet person? If a person has everything, what is his problem? What does it mean to be happy? How can we recognize happiness? How can we endure it?”, Khrzhanovskiy continued. Thus, the original premise of a feature film about a genius scientist was transformed into a project of enormous proportions and an immersive experiment for the needs of which a replica of a Soviet institute was built - the largest film set in Europe with an area of 12,000 m2. More than 300,000 people from everyday life auditioned for “DAU,” whom Khrzhanovskiy chose rather than professional actors, in order to blur the line between reality and imagination. Many of them lived their roles and stayed on set for 24 hours, but, as he says, this was not required of them and everyone could decide for themselves how they would approach the project. He drew inspiration for the set, costumes and colour scheme from Soviet avant-garde art, especially Kandinsky’s paintings, which he used to create moving perspective illusions. He wanted to create the most convincing reconstruction of the Soviet era from the 1930s to the 1960s, and used various tricks to achieve this. He brought tons of cabbage onto the set to create the appearance of human heads piled up, or, for example, used real criminals instead of actors in the courtroom scene. Another interesting fact is that the main actress in the film “DAU.Natasha” is actually a supermarket worker, where he found her, who continued to work after the film was finished. “We would mostly keep the actors’ real names and professions, but we would take them back in time a few decades,” said Khrzhanovskiy. This corps of amateur actors consisted of artists, scientists, musicians, philosophers, but also salespeople, waiters, cleaners, cooks, etc. who lived and worked in an improvised institute for almost three years. Towards the end, the director also highlighted the “DAU” project as a kind of quantum theory of reality. “The future and the present exist simultaneously,” were the words with which Khrzhanovskiy concluded the Masterclass. Thus, this unusual project, just like his first film, examines questions about ethics and ideology, good and evil, art and history, the individual and the state, reality and fiction, and inevitably – the past and the future. ILYA KHRZHANOVSKY MASTERCLASS Ilya Khrzhanovskiy:  The Future and the  Present Coexist MASTERCLASS ILYA KHRZHANOVSKY BUY TICKET RENOIR: ODRASTANJA U TOKIJU / RENOIR Germany, 2024, 70 min. Director: Veit Helmer Cast: Heike Makatsch, Meret Becker, Benno Fürmann BUY TICKET ROĐENDAN /  THE BIRTHDAY PARTY Greece, Spain, Netherlands, United Kingdom, 2025, 103 min. Director: Miguel Ángel Jimenéz Cast: Willem Dafoe, Vic Carmen Sonne, Emma Suárez, Joe Cole, Carlos Cuevas OPEN AIR Predgrađe Tokija, 1987. Keiji, otac jedanaestogodišnje Fuki, liječi se od smrtonosnog oboljenja i svako malo odlazi u bolnicu. Njena majka, Utako, pod stalnim je stresom jer se brine za muža i istovremeno obavlja dva posla s punim radnim vremenom. Prepuštena sama sebi i svojoj bujnoj mašti, Fuki postaje fascinirana telepatijom i uranja sve dublje u svoj izmišljeni svijet. Suburban Tokyo, 1987. Eleven-year-old Fuki’s father, Keiji, is battling a terminal illness, and in and out of hospital. Her mother, Utako, is constantly stressed out from caring for Keiji while holding down a full-time job. Left alone with her rich imagination, Fuki becomes fascinated by telepathy and falls ever deeper into her own fantasy world. Markos Timoleon, Onassisu sličan grčki tajkun, na svome privatnom ostrvu organizuje proslavu dvadeset petog rođendana svoje kćerke. Tamo će se suočiti s nepredvidivim slijedom događaja koji će ugroziti njegovu dominaciju pa čak i egzistenciju. Zasnovan na proslavljenom romanu Panosa Karnezisa, film ROĐENDAN drama je smještena u svijet pripadnika visokog društva sedamdesetih godina prošlog stoljeća, na spoju između Velikog Getsbija i Vinterbergove PROSLAVE, gdje glamurozne zabave susreću grčku tragediju. Markos Timoleon, an Onassis-like Greek tycoon, is celebrating his daughter’s twenty-fifth birthday on his private island. There, he will face an unpredictable chain of events that will threaten his dominance and shake his very existence. Based on Panos Karnezis’s acclaimed novel of the same name, THE BIRTHDAY PARTY is set in the late 1970s world of jet-setters, where glamorous parties meet Greek tragedy and “The Great Gatsby” meets Vinterberg's THE CELEBRATION. SUMMER SCREEN Na programu danas... / On today's schedule... DA / YES  France, Israel, Cyprus, Germany, 2025, 149 min. Director: Nadav Lapid Cast: Ariel Bronz, Efrat Dor, Naama Preis, Alexey Serebryakov, Sharon Alexander . BUY TICKET BUY TICKET Branko živi na marginama društva. Muče ga nesanica i usamljenost. On ni s kim ne govori. Čini se da je njegova jedina opsesija mlađi brat, čije blatnjave cipele, krvavi čaršafi, kao i misteriozno prisustvo, unose nemir. Kroz prolaze, žbunje u parkovima i brutalistički pejzaž, Branko prati svaki bratovljev korak, zapitan nad njegovim ponašanjem. Dok se paranoja uvećava, Branko počinje da shvata da nije brat taj koji je drugačiji, nego on sam. Branko lives on the margins of society, tormented by insomnia and loneliness. He speaks to no one. His only obsession appears to be with his younger brother, whose muddy shoes, bloody bedsheets, and mysterious presence stoke unease. Through street passages, shrubbery in parks, and brutalist landscapes, Branko follows his brother's every step, concerned about his behaviour. While his paranoia grows, Branko begins to realise that it is he, and not his brother, who is strange. U FOKUSU / IN FOCUS LINIJE ŽELJE / DESIRE LINES Serbia, Bosnia and Herzegovina, Croatia, Netherlands, Germany, 2025, 107 min. Director: Dane Komljen Cast: Ivan Čuić, Branka Katić, Petja Golec Horvat, Rok Juričić KINOSCOPE Intenzivno provokativan i politički nabijen, film DA Nadava Lapida bijesna je satira izraelskog nacionalizma i društvene propasti. Smješten u kontekst nakon 7. oktobra 2023., film prati Y-ja, džez-muzičara koji život provodi između kućne svakodnevnice i hedonističkih nastupa za izraelsku elitu, sve dok ne dobije neočekivan zadatak da komponuje novu državnu himnu. Ono što se isprva čini kao dobra umjetnička prilika prerasta u nadrealno, uznemirujuće putovanje kroz zemlju zahvaćenu groznicom poricanja, propagande i militarizma. Istakavši se u Cannesu i pokrenuvši intenzivnu debatu, naročito u Izraelu gdje je naišao na snažan otpor, DA je Lapidov najhrabriji film koji ismijava, razotkriva i suočava se s nacijom u moralnom sunovratu. Fiercely provocative and politically charged, Nadav Lapid’s YES is a furious satire of Israeli nationalism and societal decay. Set in the aftermath of 7 October 2023, the film follows Y., a jazz musician who drifts between domestic routine and hedonistic performances for Israel’s elite - until he’s unexpectedly commissioned to write a new national anthem. What begins as artistic opportunity spirals into a surreal, unsettling journey through a country caught in a frenzy of denial, propaganda, and militarism. A Cannes standout that has sparked intense debate, especially in Israel where it has faced fierce backlash, YES is Lapid at his most fearless-mocking, exposing, and confronting a nation in moral freefall.