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Krivina: A gem of a film that takes viewers from Toronto to Bosnia RICK GROEN The Globe and Mail http://www.theglobeandmail.com/arts/film/film-reviews/krivina-a-gem-of-a-film-that-takes-viewers-fromtoronto-to-bosnia/article7779445/?cmpid=rss1

Published Friday, Jan. 25 2013, 12:00 AM EST Last updated Friday, Jan. 25 2013, 12:00 AM EST

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Directed by Igor Drljaca Written by Igor Drljaca Starring Goran Slavlovic, Jasmin Geljo, Minela Jasar, Erica Leung Classification 14A Genre drama Even more than most of us, and on a much larger scale, a refugee from a war-torn country is at the mercy of blind chance. The biggest life-changing issues – where he ends up, what he becomes, whom he leaves behind – can all be determined by the smallest random events. A wrong turn, a missed train, a bureaucrat cranky or kind, these little details are charged with a vast resonance. So it is with Miro, and with Krivina too – a tiny gem of a film that resonates far beyond its 70 minutes. In the first frame, and repeatedly thereafter, Miro strides into the distance with his back to the camera. He seems to be walking away from us, but, in fact, he is fleeing himself – the self that now lives in a spartan Toronto apartment, and works in construction for meagre wages. The CN Tower can be glimpsed through the apartment window, as can a woman in a back room. Her identity, like so much else in this disturbing yet compelling tale, remains unclear. We don’t know exactly who she is. We do know, as the door closes behind her, that she just left him for good. He doesn’t appear to care.


As written and directed by Igor Drljaca, what follows alternates between two countries, two states of mind, and two radically different styles. In Toronto, the shots are static within a fixed frame; in Bosnia, the camera tends to wander along with Miro. That’s his homeland and that’s where he returns, or perhaps just imagines he returns. So the contrasting styles perfectly convey his interior tensions, his sense of entrapment within a seething brain, shackled in the present to a tempestuous past. In the former Yugoslavia, Miro is searching for his friend Dado, missing for years now but still wanted by Interpol and The Hague – yes, for war crimes. In the city and villages, various people offer shadowy accounts of Dado: “He was strange and a bit shy”; “Right at the beginning of the war, his parents were killed”; “The war changed him. He wasn’t a bad fellow before the war”. Some say he still lives there, others that he fled to America, still others insist that “no one knows.” The mystery around Dado grows, yet this isn’t the only mystery here. Slowly and subtly, Drljaca (who, like his protagonist, immigrated to Canada from Sarajevo) hints that Miro’s search for another isn’t necessarily what it seems. Maybe Dado is real, or maybe he’s a totem of Miro’s inner demons, of the real horrors that some refugees can never escape, the heavy baggage that can’t be set down. To that end, the electronic score emits an ominous throb, like a constant buzz in a damaged ear. In the Toronto sequences, the stocky and usually silent Miro (Goran Slavkovic) sometimes opens up to a fellow countryman, who drives the van to their construction job. Before that fixed lens, they occupy the front seat and swap stories. The driver describes the refugee centre that his family reached, 40 people to a room sharing two toilets and a common destiny: “cheap labour.” He remembers the peacemakers in the war zones, selling chocolate bars at inflated prices, and he does not bless them. For his part, Miro made a wrong turn in Venice, then again in Hamburg – his then-wife went one way, he another. Their dialogue is detailed and concrete, with the ring of remembered truth. Of course, that contrasts sharply with the near-hallucinatory quality of the Bosnia scenes, and the hybrid makes for a strange communion of the real and the surreal. The effect is quietly but tautly menacing, like the early Polanski of Knife in the Water, or even Bergman in The Virgin Spring. No, Drljaca isn’t in that league yet – the walking-away-from-thecamera trope is overdone, and some of the symbolism (a butterfly caressed in a sundappled field) seems pseudo-poetic. Still, he and his talent are undeniable – the big league definitely beckons. And the reason is this: Krivina manages the impressive feat of forcing us to feel for 70 minutes what Miro has felt for decades – an uneasy sense of displacement. It’s not pleasant, but that’s precisely the point, and to grasp that point is to have for Miro, and all those like him, a profound empathy. We can leave their mindset; they cannot.

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Krivina a journey to find old friends, rejoin a wartorn country By Adam NaymanMetro News Canada http://metronews.ca/scene/519994/krivina-a-journey-to-find-old-friendsrejoin-a-war-torn-country/


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K'$L$,&!'+L$+03!\!#&2,(+8!9&,F!%++H$,1!&!1#-%(! *&&(AQQ...>&*)0&-5><%6Q)3&)5&-236)3&Q6%=2)0Q-5&2<$)QRSRTUVW@@852=23-@5)=2).@-@*-+3&)1@ 6-3@0))823,@-@,*%0&! By Peter Howell | Movie Critic! Krivina

(out of 4)

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Krivina | Directed by Igor Drljaca #((4355+W)*&$96)&5Y+L$+0%5N$*95H'$L$,&Q8$'+)(+8d.7d$1-'d8'*J&)&d?! ! By Robert Bell

5 Initially a disjointed narrative, the contemplative and deliberately paced Krivina vacillates between Miro's (Goran Slavkovic) present day ennui in Toronto and fractured, piecemeal stories of his past in Bosnia prior to emigrating. Long takes of him staring at apartment buildings or walking down dirt paths mix with a distorted and increasingly oppressive soundtrack to exaggerate his feelings of alienation and an overall sense of foreboding and displacement permeating this 70-minute film. In literal terms, this oblique and fractured nomadic meditation is about a man seeking an old friend wanted for war crimes during the Civil War in Bosnia. Television footage inserts suggest that Miro's friend, Dado, has been spotted back in Bosnia, leading our mysterious protagonist down a path of exploring his past and resultant identity. But as stories of a school bus accident in Bosnia jump into the narrative, as do conflicting voiceovers about Miro's past â&#x20AC;&#x201C; it's never clear exactly when he fled to Toronto â&#x20AC;&#x201C; the nature of this journey becomes increasingly complicated and almost otherworldly. The most obvious thematic interpretation of Igor Drljaca's extremely slow and economic art film is the nature of identity obfuscated or distorted by war and geographic dysphoria. Unable to settle down in one place, Miro's constant walking and travelling, reflecting on a conflicted and unclear past, suggests his lack of a home has also established an inability to interpret himself. Inevitably, this exploration folds in on itself during the expressionist third act, but the overall affect of war on the individual is omnipresent. It's just unfortunate that this thoughtful template is such a draining view, spending minutes at a time focused on Miro's shaving or walking down a path. There's an abundance of static footage existing without aiding tone or reflection, suggesting that this extremely short and padded feature-length film


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Krivina! Identity probs By PHIL BROWN HTTP://WWW.NOWTORONTO.COM/MOVIES/STORY.CFM?CONTENT=190916 KRIVINA (Igor Drljaca). 67 minutes. Subtitled. Opens Friday (January 25). For venues and times, see listings. For venues and times, see listings.! NOW RATING M

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Diary: After the first screening, a film is officially complete

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Diary: Getting both sides of the story behind the Siege of Sarajevo "##$%&&/+#)(-/#03-/1$3)#(*34&D9E\&9E&DE&.0/+26@,##0-@6I3#"6)0.,)63G6#",6)#3+26I,"0-.6 #",6)0,@,63G6)/+/A,53&! ! IGOR DRLJACA, SPECIAL TO NATIONAL POST | Jan 21, 2013 3:19 PM ET | Last Updated:Jan 22, 2013 11:30 AM ET More from Special to National Post!

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Diary: A trip to Bosniaâ&#x20AC;&#x2122;s Middle Earth http://arts.nationalpost.com/2013/01/22/diary-a-trip-to-bosnias-middle-earth/ ! IGOR DRLJACA, SPECIAL TO NATIONAL POST | Jan 22, 2013 3:00 PM ET | Last Updated:Jan 23, 2013 2:14 PM ET More from Special to National Post!

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Diary: Mythmaking meets filmmaking! HTTP://ARTS.NATIONALPOST.COM/2013/01/23/DIARY-MYTHMAKING-MEETSFILMMAKING/

! IGOR DRLJACA, SPECIAL TO NATIONAL POST | Jan 23, 2013 3:00 PM ET | Last Updated:Jan 23, 2013 2:09 PM ET More from Special to National Post!

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MOVIES

Krivina: The official trailer VFI10)",. L"F+)./2H!`/-(!D:!D9E\H!ED%9E!XP!cKL! o/)#!F$./#,. M+0./2H!`/-(!D8!D9E\H!E%\;!VP!cKL! !

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Canadian Films KRIVINA and TOWER Screening in Toronto( http://www.pressplus1.com/canadian-film-news/canadian-films-krivina-and-towerscreening-in-toronto( KRIVINA directed by Igor Drljaca opens January 25, 2013 **International Premiere Rotterdam Film Festival 2013 | **World Premiere TIFF 2012

A Bosnian immigrant who fled to Toronto after the civil war returns to his homeland in search of a missing friend, in this quietly chilling and finely surreal meditation on confronting traumas of the past. "##$%&&'''(#",+32/1(#3&G014)&7+050-/&http://www.theroyal.to/films/krivina/


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Last week, anticipating the release of Igor Drljaca's debut film Krivina (which had its world premiere at TIFF last September), The Royal put together a programme of five of his award-winning shorts. Hopefully some of you went out and saw them; even if you didn't, though, this will be worth your time. A born Sarajevan, Drljaca moved to Canada in 1993 because of the war. In the most obvious sense, then, Krivina - a fictional narrative about a Bosnian immigrant named Miro (Goran Slavkovic) who returns home after hearing that an old friend has been accused of war crimes - would appear to be largely autobiographical. Minimal and compact, Krivina is a creeping and haunting film.

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A quick scan of new releases in theatres this week Compiled By NOW STAFF http://www.nowtoronto.com/movies/story.cfm?content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l3'%5&+3-&)$79!2&I0!=)57!*-51!&%!&)$$!.*-&!*)I0!,)&&23,! -&>!/&I0!&26)!'%5!*20!<%3&)3&!&%!<-&<*!+(!&%!*20!0&7$)>!F+H&2&$)1>!YU!623>! ! ]-&23,A!__!Dd*2$!B5%.3G! Z()30![-3!\V!-&!]%7-$>!P++!#+'+!/-'!($9+%>! !

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Daniel Garber talks to IGOR DRLJACA about his new film Krivina Posted in Art, Bosnia, Canada, Clash of Cultures, Cultural Mining, Drama, Migrants,Refugees, TIFF, Uncategorized, War by CulturalMining.com on January 26, 2013 . "##$%&&./-0,1@/+I,+('3+.$+,))(*34&D9E\&9E&D;&./-0,16@/+I,+6#/17)6#360@3+6.+1A/*/6 /I3F#6"0)6-,'6G01467+050-/&. . a#E'67#*'#*'P&%#3-'.&";3"'&6'673'>)$#3*'/)"'! 80-60"&-+#%#%OL8)+'&%5'(N[M'IJLY'S>L X-50!$)-1!&%!120$%<-&2%39!1)-&*9!120($-<)6)3&>!])'+,))0! 6%=)!&%!0-')!*-=)30!-31!$)-=)!()%($)!-31!($-<)0!H)*2319! H+&!&*)7!$2=)!%3!23!&*)25!62310>! #!3).!)4()526)3&-$!M-3-12-3!'2$6!<-$$)1!K]/q/N#! $%%80!-&!-$$!%'!&*209!H+&!5).%580!2&!23&%!-!3).!)4-623-&2%3! %'!-5&!-31!)6%&2%30>!/&!($-7)1!?/PP9!20!%()323,!0%%3!-&!&*)! ]%&&)51-6!/3&)53-&2%3-$!P2$6!P)0&2=-$!-31!20!($-723,!3%.! -&!&*)!]Z`#h!M/NOC#!%3!M%$$),)!F&!23!?%5%3&%>! ! K52=23-!$%%80!-&!&5-<)0!%'!.-5!5)6-2323,!23!&*)!(07<*)!%'!-! B%032-3@M-3-12-3!3-6)1!C25%>!k)!$2=)0!23!?%5%3&%!H+&! '))$0!<%6()$$)1!&%!5)&+53!&%!*20!'%56)5!$-31!23!0)-5<*!%'!-! '52)319!:-1%9!'5%6!*20!<*2$1*%%1>! ! ?*20!6%=2)!20!-!0&-58!)4-6($)!%'!<23)6-!&*-&!<%6H23)0! *20&%57!.2&*!)4&5)6)!5)-$2069!1%<+6)3&-579!15-6-9!-31!6-,2<!5)-$206>!#31!/I6!=)57!($)-0)1!&%! *-=)!&*20!'2$6I0!125)<&%59!/EZ]!:]h[#M#!*)5)!23!0&+12%!&%!&)$$!+0!0%6)!6%5)!-H%+&!*20!'2$6>! ! /,%5!&-$80!-H%+&!.-59!5)6)6H5-3<)9!5)-$2069!26(5%=20-&2%39!3).!<23)6-9!B%032-9!M-3-1-9!*20! 23'$+)3<)0!-0!-!125)<&%5r!-31!6%5)>!

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York University FILM

What's Happening Thesis project by film grad Igor Drljaca comes to the big screen January 24, 2013 http://film.finearts.yorku.ca/news/article/thesis-project-by-film-gradigor-drljaca-comes-to-the-big-screen!

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City Centre Director Igor Drljaca finds creativity in traumatic events http://www.insidetoronto.com/news-story/1935530-director-igor-drljaca-finds-creativity-in-traumatic-events/ City Centre Mirrorby Justin Skinner

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While Canada is still catching up, Michael Snow’s legacy is safe abroad ! ! KIVA REARDON, SPECIAL TO NATIONAL POST | Feb 1, 2013 11:01 AM ET | Last Updated:Feb 1, 2013 12:57 PM ET! *&&(AQQ-5&0>3-&2%3-$(%0&><%6Q\^RSQ^\Q^RQ.*2$)@<-3-1-@20@0&2$$@<-&<*23,@+(@62<*-)$@03%.0@ $),-<7@20@0-')@-H5%-1Q! !

CanCon at Rotterdam !

Screening in the same program was Igor Drljaca’s debut, Krivina (pictured, and which opened last week at Toronto’s Royal cinema). One of the most promising Canadian entries, the BosniaHerzegovina-Canadian co-production is a haunting expression of trauma and loss. Both were warmly received, so it was fitting the normally rainy streets of Rotterdam were covered in snow this year. ! ! ! ! !


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Krivina Press Summary