Pohvala ludosti: 20 godina Festivala autorskog fima (FAF, MCF, Beograd, 2014.)

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Festival autorskog filma Beograd 2014.

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sadržaj / content Srdan Golubović Uvod Introduction................................................................................................................................................7 Greg Dekjur, Jr / Greg de Cuir Jr. Auteur, force majeure .....................................................................................................................................................................15 Srđan Vučinić Uz jednu (sasvim ličnu) antologiju Festivala autorskog filma Addition to an (Entirely Personal) Anthology of the Auteur Film Festival ...........................................................85 Grand prix Festivala autorskog filma „Aleksandar Saša Petrović“ Grand-prix ‘Aleksandar Saša Petrović’ .............................................................................................117 Slobodan Aranđelović LISTA PRIKAZANIH FILMOVA 1994-2014 LIST OF THE FESTIVAL FILMS 1994-2014 ...................................................................................................................................123

Autori pratećih tekstova Authors of additional texts: Slobodan Novaković, Vojislav Vučinić, Nora Hoppe, John Sanders, Milan Vlajčić, Lordan Zafranović, Boro Drašković, Puriša Đorđević, Zvonimir Jurić, Miloš Radivojević, Draško Ređep, Saša Radojević, Slobodan Ivetić, Dragana Vukićević, Anđelka Vujović, Ana Milanović, Bojana Rnjak, Igor Stanković, Eran Kolirin, Tatjana Ristić

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Srdan Golubović*

Uvod Introduction

Predsednik Saveta festivala President of the Festival Council

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Auteur Film Festival was established twenty years ago in Serbia and Belgrade under sanctions, isolated, in total darkness and cut off from the rest of the world.

In a country excluded from all cultural and civilizational events, in the preInternet age, all windows and doors were closed, boarded up, bolted, and we, amongst it all, isolated, humiliated and rejected.

In Belgrade, only shortly before considered a metropolis of cultural, powerful and vibrant life, the city of New Wave, BITEF, FEST, and rich cultural life.

Unfortunately, during the 90’s, Belgrade was blacked-out, musty and stale inside, with no contact with the outside world.

And then, in November ’94, the first Auteur Film Festival took place. I am inclined to believe that no festival before or after ever brought together such a faithful audience.

Because at that moment the importance of

Festival Autorskog filma nastao je pre dvadeset godina u Srbiji i Beogradu pod sankcijama, izolovanim, u potpunom mraku i odsečenim od sveta.

U sredini izopštenoj iz svih kulturnih i civilizacijskih događaja, u vremenu u kome nije bilo interneta, sva vrata i prozori na našoj kući behu zatvoreni, zabarakadirani, zakovani, a mi u svemu tome svi izolovani, poniženi i odbačeni.

U Beogradu, koji je samo koju godinu pre toga, ili sve do ’91, imao status kulturne metropole, gradu snažnog i vibrantnog života, gradu Novog talasa, Bitefa, Festa, uzbudljivog i bogatog kulturnog života.

Nažalost, devedesetih je Beograd bio zamračena kuća, u kojoj se memla uveliko nahvatala, vazduh ustajao, bez ikakvog kontakta sa svetom.

I tada, u novembru 1994. održano je prvo izdanje Festivala autorskog filma. I čini mi se da nijedan festival ni pre ni posle toga nije već u samom začetku dobio publiku 8

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koju ima do dana današnjeg.

Zato što je te godine značaj festivala bio mnogo veći i dublji od samog festivala.

To prvo izdanje bilo je kao da je neko širom otvorio ogroman prozor na oronuloj kući, a svež vazduh koji je u tu kuću ušao doneo dah novine, energiju i život svima nama koji smo već mislili da smo zauvek zaboravljeni i odsečeni od ostatka sveta.

Jedna destruktivna politika nas je obeležila i izopštila.

A Festival autorskog filma činio je sve suprotno namerama i rezultatima te politike, povezivao nas je opet sa svetom i podsećao nas i dokazivao da pripadamo tom svetu, radoznalom, hrabrom i otvorenom.

Nije bila namera da Festival ima nekakvu političku misiju, već samo kulturnu i društvenu, ali je on ipak i u narednim godinama menjao sliku Beograda i Srbije, popravljao krvnu sliku društva, ulivao nadu i veru da zaslužujemo da živimo u boljem svetu.

Tih godina smo govorili „Beograd je svet“, a bio je izolovan i zaboravljen od samoga sebe i od sveta oko sebe. Festival autorskog filma bio je jedan od prvih kulturnih događaja koji je dokazao i pokazao da Beograd jeste svet.

I zato je njegov značaj u to vreme daleko prevazilazio značaj jednog događaja posvećenog filmu.

On je bio naš pogled u svet.

the festival was much greater and deeper than the festival itself.

That first festival felt like someone widely opened a gigantic window on a ramshackle house and let in the fresh air bringing a breath of novelty, energy and life to all of us who thought that we were forgotten for eternity and cut off from the rest of the world.

We were stigmatized and excommunicated by destructive politics.

But the Auteur Film Festival was on the opposite side of all intentions and results of that politics. It reconnected us with the world and reminded us that we belong to that curious, brave and opened world.

It was not the intention of the festival to have political mission, but only cultural and social one, but in the years that followed, it continued to reshape the picture of Belgrade and Serbia, to improve the society’s blood test results, and kept giving us hope and faith that we live in a better world.

At that time, we used to say ‘Belgrade is the world’, although it was isolated and forgotten by itself and by the rest of the world. The Auteur Film Festival was one of the first cultural events that demonstrated that Belgrade is indeed the world.

This is why its significance at that time by far exceeded the importance of any other given event dedicated to film.

It was our view of the world.

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Greg Dekjur, Jr

Auteur, force majeure / Autor, viša sila

Greg DeCuir, Jr.

Auteur, force majeure

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Kad neki filmski festival doživi dvadesetogodišnjicu svog postojanja, sva je prilika da je on tu i da ostane ‒ ukoliko se ne ukaže kakva „viša sila“, poput božje promisli, ili rata. Zapravo, viša sila i jeste prouzrokovala rođenje Festivala autorskog filma u Beogradu 1994, pre dvadeset godina. Ratna dešavanja na teritoriji bivše Jugoslavije tokom devedesetih imala su za posledicu teške međunarodne sankcije i potpunu izolaciju Srbije. Beogradski međunarodni filmski festival (FEST) bio je primoran da privremeno prekine svoju aktivnost 1993. i 1994. godine. Festival Alternative Film/Video u Beogradu ukinut je 1991. godine, da bi ponovo bio pokrenut tek 2003. Tako je Festival autorskog filma stupio u nastalu prazninu 1994, i ponudio beogradskoj bioskopskoj publici „pogled u svet“, kako se to i kaže u temeljnom sloganu festivala.

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If a film festival reaches its 20th year of existence there is a fairly good chance that it is here to stay – unless what legal contracts call force majeure manifests itself, such as an act of God, or a war. It was actually the case that force majeure caused the birth of the Auteur Film Festival in Belgrade 20 years ago in 1994. Multiple acts of war were waged on the ex-Yugoslav terrain throughout the 1990s, which resulted in heavy international sanctions and general isolation for Serbia. The Belgrade International Film Festival (FEST) was forced to suspend its operations in 1993 and 1994. Alternative Film/Video in Belgrade was closed in 1991 and did not reopen until 2003. So the Auteur Film Festival stepped into the void in 1994 and offered the Belgrade cinephile public a ‘view into the world’, as described in the structuring slogan of the festival.

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Lordan Zafranović reditelj (Prag- Zagreb) / director (Prague - Zagreb)

Oprostićete mi ako budem pomalo setan i introspektivan u ovom svom eseju. Već sam u godinama kad je čovek više sklon osvrtanju iza sebe, nego zagledanosti u budućnost. 1994. je bila posebna godina za mene. Završio sam srednju školu 1993. i upisao opšte studije, a moje zanimanje za film bilo je tada, moram da kažem, vrlo skromno. Te 1994, dva tektonska poremećaja, ili božje promisli, unela su preokret u moj život. Prvi je bio izlazak filma Petparačke priče Kventina Tarantina, koji je iznova oživeo i remitologizovao pojam autora u savremenom američkom filmu.

Bio je to film koji mi se na misteriozan način obraćao, a čije su mi šifre i strategije komunikacije bile nekako i bliske i neuhvatljive. Petparačke priče su mi predstavile i učinile prihvatljivom ideju da film može da bude umetnost, i da postoji neki oblik umetnosti koji može da dirne i mene, klinca iz Kalifornije koji nije imao nikakav pretpostavljeni interes za tu stvar.

BEOGRADSKI FESTIVAL AUTORSKOG FILMA je od osnutka festival slobode. Rođen kao ratno dijete, probijao se je kroz ratna pustošenja i donosio najvrednija djela sedme umjetnosti na uvid građanima Beograda.

Svjedok sam tog kolosalnog djela i napora slobodoumnih i hrabrih organizatora festivala u vrijeme kad je bivša YU bila u totalnom mraku, svjetlo projektora prikazivalo je slobodne filmove sa svih strana svijeta prkoseći podivljalom nacionalizmu ovdašnjih političkih elita koji su svoje narode uvukli u najveću tragediju dvadesetog stoljeća. Na tom festivalu osjetio sam vrlo snažnu moć filma u prepunim dvoranama Beograda gdje se je festival odigravao.

Festival je prikazivao i moje filmove koji su u to doba bili zabranjeni ili u bunkeru pod nazorom nacionalističke elite u ondašnjoj tek stvorenoj Hrvatskoj. Taj festival je bio jedan i jedini otvoreni prozor za sve filmove iz tmurne i zagađene atmosfere bivše YU. Za mene, to je bio Prozor toplog maestrala koji je preko mojih filmova puhao prema dvoranama i gledaocima, tog više nego značajnog festivala. Osijećam samo zahvalnost.

From the very beginning, the Auteur Film Festival has been the festival of freedom. Being a war baby, it had to carry through the ordeal while presenting the most valuable film accomplishments to the Belgrade audience. I witnessed colossal work and efforts of open-minded and brave festival creators in times when the whole ex-Yu was in complete darkness, and when the movie-projector’s light was bringing fresh films from all around the globe, defying enraged nationalism of local political elites who have pushed their people into the greatest tragedy of the 20th century. In crowded movie theatres in Belgrade, where the festival took place, I felt the immense power of film. My films were also presented, the ones that were banned or censored by the nationalistic elite in the young state of Croatia. That festival was the one and only opened window for all films from cloudy and polluted atmosphere of the ex-Yu. But for me, it was a window that let the breath of summer breeze blowing above my films to reach the audience. I can feel only gratitude.

Pardon me if I become a bit wistful and self-reflective in this essay. I have reached an age where I tend to look back on my life more than gaze forward into the future.

1994 was a special year for me. I graduated from high school in 1993. In 1994 I was into my undergraduate studies. My interest in cinema at that time was minimal, to say the least. Two seismic shifts, or acts of God, occurred in 1994 that changed the course of my life. The first was the release of the film Pulp Fiction by Quentin Tarantino, which re-generated or re-mythologized the idea of the auteur in contemporary American cinema. Here was a film that spoke to me in mysterious ways, its codes and communication strategies somehow familiar yet also arcane. Pulp Fiction introduced and made palatable to me the idea that film could be art, that any form of art could affect me, a kid from California with no predisposed interest in such things.

As Vincent Vega (John Travolta) states in Pulp Fiction, an act of God is when God makes the impossible possible. But as Jules (Samuel L. Jackson) further stipulates, one does not judge acts of God on merit alone – what matters is that you can feel a divine intervention and allow it to change you.

The second instance of force majeure that struck me in 1994 was when I decided to enroll in a course on cinema studies at my university. The topics were American Film Noir and Italian Neorealism – the loci classici of auteurism as it was first conceived by the postwar generation of Parisian film critics gathered around André Bazin and

Kao što je Vinsent Vega (Džon Travolta) u Petparačkim pričama izjavio, Božja promisao je kad Bog nemoguće učini mogućim.

Ali kako Džuls (Semjuel L. Džekson) dalje pojašnjava, pojedinac ne procenjuje Božja dela samo po svojim zaslugama ‒ ono što je važno jeste da možeš osetiti božansku promisao i dopustiti joj da te promeni.

Drugi slučaj te više sile koja me je pogodila 1994. godine bio je kad sam odlučio da pohađam kurs filmskih studija na svom univerzitetu. Glavni predmeti bili su Američki film-noar i Italijanski neorealizam ‒ loci classici autorstva kako ih je 18

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definisala posleratna generacija pariskih filmskih kritičara okupljena oko Andre Bazena i kultnog časopisa Cahiers du Cinéma. Filmski kurs koji sam pohađao držao je profesor Miša Nedeljković, koji je rasplamsao u meni strastvenu ljubav prema filmu, i na kraju postao moj mentor i veoma drag prijatelj. Sećam se sebe kao mladog

the iconic magazine Cahiers du Cinéma.

This cinema course was taught by Professor Misha Nedeljkovich, who sparked a passionate cinephilia within me and eventually became a dear mentor and friend. I remember being a young student digging through his office shelves in search of videotape treasures, probably much in the same way

studenta koji kopa po policama u njegovom kabinetu u potrazi za blagom na video-kasetama, verovatno vrlo slično onome kako je i mladi Tarantino kopao po trakama Video arhiva u Saut Biču, u Kaliforniji, tragajući za svojom sledećom velikom ljubavlju.

Miša će me potaknuti da desetak godina

that a young Tarantino dug through the tape stacks at Video Archives in South Beach, California, in search of his next great love affair.

Misha would inspire me some ten years later to take a trip to Serbia and work with him in his hometown of Belgrade, a city

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Vojislav Vučinić, osnivač i dugogodišnji direktor festivala

Vojislav Vučinić, founder and the long-time director of the festival

Festival autorskog filma nastao je 1994, koja je bila užasna godina za nas. Bili smo pod sankcijama, u Beogradu je carevala neka turbo-folk kultura. Festa nije bilo čitave dve godine… U organizaciji festivala radili su ljudi iz tadašnjeg beogradskog Jugoslavija-filma, gde sam ja bio direktor. Naravno, festival nije mogao da nastane samo u okviru jednog preduzeća i trudom jednog čoveka. Uz njega su, od početka, bili i veliki znalci filma. Na prvom sastanku, na kom smo odlučili datum održavanja festivala, tu su bili Slobodan Novaković, veliki filmski kritičar, i producent Jovan Marković, koji je imao veoma dobru reputaciju i u Srbiji i u inostranstvu, posebno u zemljama Istočne Evrope. Sloba je naravio odličan prateći program, vodio konferencije za novinare, napisao odličan uvodnik. Jovan Marković je doveo pet, šest ruskih filmova i njihove reditelje… Prvi festival, održan u Domu sindikata i Kulturnom centru Beograda, bio je veliko iznenađenje za kulturni Beograd. Na projekcije su dolazili intelektualci, studenti umetničkih akademija, filmski profesionalci. Imali smo filmove koji su bili novost za Beograd u tom vremenu, i zbog toga je festival odmah postao jedan od omiljenih gradskih kulturnih događaja. Moj udeo, osim organizatorskog, bio je i selektorski. Svaki početak je težak, i bilo je jako važno kako će proći taj prvi festival. Bilo je teško u doba sankcija uvesti filmove i organizovati festival – bilo je i rizika, filmovi su nabavljani nekim čudom, preko raznih zemalja. Znao sam da su nam za takav festival potrebna remek-dela. I već na tom prvom festivalu izdvojilo se nekoliko filmova, kao što su „Zbogom, moja konkubino“, „Egzotika”, kao i film koji sam našao u Montrealu, „Bili smo ponosni ratnici“ - koji su pokazali da Festival autorskog filma zna da prepozna ono što vredi u svetu autorskog filma.

Postoje dva dela festivala. U prvoj dekadi, ja sam bio direktor u oviru Jugoslavija filma. Godine 2004. otišao sam iz Jugoslavija filma, i postavilo se pitanje ko organizuje festival. Nakon jedne godine pauze, pojavio se Igor Stanković sa svojom, tada još malom distributerskom kućom, i nas dvojica smo uspeli da ponovo osnujemo festival u okviru udruženja građana Pogled u svet. I sam festival je od početka imao podnaslov Pogled u svet, jer su filmovi koji su ga činili značili upravo to, i za njihove autore i za ovdašnju publiku.

The Auteur Film Festival was founded in 1994, a really terrible year for our country. We lived under economic sanctions, while Belgrade was thoroughly immersed in the culture of the so-called Turbo-Folk.

FEST (an international film festival annually organised in Belgrade since 1970s) had not been held for two whole years… The festival was organised by the people who worked at the time in Belgrade’s Yugoslavia Film company, the general manager of which I was at the time. Yet certainly, the festival could not have been realised within a single company and through the efforts of only one man. From its very beginnings, it had some great film connoisseurs in its ranks. Our first meeting, in which we decided on the date of the festival, was attended by Slobodan Novaković, a great film critic, and producer Jovan Marković, who had excellent reputation both in Serbia and abroad, especially in the Eastern European countries. Slobodan made an outstanding side program, chaired press conferences, wrote a splendid introductory note. Jovan Marković managed to bring us five or six Russian films together with their authors… The first edition of the festival, held in the Trade Union Hall and the Cultural Centre of Belgrade, represented a major surprise for Belgrade’s cultural scene. The screenings were attended by intellectuals, art students and film professionals. Our selection of films represented a novelty for Belgrade at the time, and thus the festival instantly became one of the city’s best loved cultural events. I participated not only as the festival organiser, but also as its selector. Each beginning is certainly hard, and it was highly important for that first edition of the festival to be a success. It was difficult to import films and organise a festival against the backdrop of economic sanctions imposed against Serbia – it entailed certain risks, as films were being obtained miraculously through various countries and channels. I knew that we would need masterpieces for such a festival. And by all means, this first edition certainly had its standouts, such as “Farewell my Concubine” and “Exotica”, as well as a film I had discovered at that year’s Montreal Film Festival, entitled “Once Were Warriors”. These films demonstrated that the Auteurs Film Festival was able to recognise the real values in the world of auteur film.

The festival has gone through two phases. In its first decade I was the festival director within the Yugoslavia Film company. In 2004, I left the Yugoslavia Film and it instantly became unclear who would organise the festival. After a year’s break, Igor Stanković with his then small distribution company crossed my path, and the two of us managed to re-establish the festival within the citizens’ association View into the World. The festival itself was for a while also subheaded A View into the World, for this was the very thing that the films it showed afforded, both to their authors and23to Belgrade’s public.

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kasnije krenem put Srbije da radim s njim u njegovom rodnom gradu Beogradu, u gradu i zemlji koju je napustio godinama ranije kako bi otišao da studira, i u koju se nije vraćao svih tih turbulentnih devedesetih. Za mladića koji nikada nije napustio granice svoje države, koji je jedva mogao i da zamisli neki svet izvan zapuštenih gradova po obodu Kalfornije, gradova poput onih naslikanih u Dodiru zla Orsona Velsa, ovo putešestvije i sve što je ono uključivalo bilo je po definiciji ono „nemoguće koje postaje moguće“.

Dok sam ja 1994. stupao u cinema paradiso, Beograd je neugodno klizio u apokalipsu.

Hiperinflacija je bila na vrhuncu. Banknote od milijardu dinara bile su uobičajena stvar, i niste mogli ništa njima da kupite. Prodavnice su bile potpuno prazne. Kriminalci su slobodno krstarili gradskim ulicama i pucnjave nisu bile neobična pojava. Bila su to najgora vremena. Glavni bioskopi prestajali su da rade. Doživljaj bioskopa preselio se na televiziju, ili na video-kasete prošvercovane iz Zapadne Evrope.

Festival autorskog filma iznikao je iz distributerske kuće Jugoslavija film. Vojislav Vučinić, direktor i osnivač Festivala, bio je i direktor te distributerske kuće. Jugoslavijafilm bavila se uvozom i izvozom filmova u bivšoj Jugoslavji, mada su tu njenu delatnost ugrozili ratovi devedesetih i postepeno rastakanje države. Izgleda da tokom tih sušnih godina izvestan broj stranih naslova nije nikada prikazan na domaćem tržištu.

To će biti razlog što je prvo izdanje ovog festivala u program uvrstilo i mnoge film-

Dragana Vukićević profesorka Filološkog fakulteta / profesor at Facuclty of Phylology

and country he had left years ago to pursue his graduate studies and where he had not returned all throughout those turbulent 1990s. For a young man who had never left the borders of his own home country, who could barely conceive of a world beyond seedy California border towns like that depicted in Touch of Evil by Orson Welles, this journey and everything that it entailed was the definition of making the impossible possible.

Početkom devedestih – Festival autorskog filma je bio moje ostrvo. Dolazila bih iz Kraljeva u Beograd samo zbog njega, ali pre bih rekla, samo zbog sebe – zbog svoje izolacije; uprkos onoj pravoj izolaciji u kojoj je bila moja zemlja, omama očiju je bila moja izolacija, moje ostrvo.

Fikcija koja spasava od stvarnosti; bilo je nečega, paradoksalno buntovničkog i moćnog u ljudima koji su sedeli u mraku i gledali u platno. I borili se sa nepodnošljivom težinom sve sitnije i sitnije svakodnevice – glas Saše Petrovića, veliko platno i povorka glumaca – ulaznice za drugačiji svet, ne onaj koji vas upija svojim negacijama – prodavnicama u kojima su rafovi prazni, redovima za hranu u studentskim menzama, nepostojećim autobusima koji treba da vas dovezu do kuće… POGLED u SVET kao fikcija u kojoj ste živi, istinski živi.

While I was stepping into a cinema paradiso in 1994 Belgrade was sliding uncomfortably into an apocalypse. Hyperinflation had peaked. Billion dinar bank notes were common, and you could not buy anything with them. Stores were completely empty. Criminals roamed freely on the city streets and shootings were a regular occurrence. It was the worst of times. First-run movie theaters had stopped working. The cinema experience was relocated to television, or bootleg video cassettes from Western Europe.

During the early ‘90s, the Auteur Film Festival was my island. I used to come to Belgrade from Kraljevo only because of it, although, I daresay, more for my own sake – to isolate myself from the real isolation that my country was thrown into. My way to get isolated, to get to that island, was to trick the eye. Fiction as a rescue from reality. There was something rebellious and powerful in the people that were sitting in the dark and watching silver screen. It was their way to fight the unbearable weight of growingly absurd reality, stores with empty shelves, long lines in student canteens and non-existing buses that are supposed to take you home. Saša Petrović’s voice, projection screen and procession of actors were the tickets for a different world, out of the real one that engulfs you with its negativity. ‘A view to the world’ as a fiction in which you are alive, truly alive.

The Auteur Film Festival grew out of the distribution company Jugoslavija Film.

Vojislav Vučinić, the founding director of the festival, was the head of this distribution company. Jugoslavija Film was responsible for importing and exporting films during the existence of Yugoslavia, though that function was imperiled during the wars of the 1990s and the gradual dissolution of the country. It seems that during these lean years a certain number of international films were left stranded without domestic exhibition outlets. This would also seem to >> be the reason why the first edition of the 24

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ove nastale između 1987. i 1994. godine.

Trebalo je te filmove prikazati, i postojala je publika gladna njih. Na prvom izdanju Festivala projekcije su se održavale u Domu sindikata i u Beogradskom kulturnom centru, i sale su uvek bile pune. Uspeh festivala, kao i činjenica da je FEST u to vreme i dalje bio odsutan sa scene, osigurali su i planiranje njegovog drugog izdanja.

Organizacioni tim Prvog festivala 1994. godine bio je uglavnom sastavljen od filmskih autora. Umetnički direktor bio je uvaženi filmski kritičar i televizijski reditelj Slobodan Novaković. On je bio jedan od prvih zagovornika jugoslovenskog novog filma 60-ih, u vreme kada se koncept

festival included a wide berth of films dated from 1987 to 1994. These films needed to be projected, and there was an audience hungry to watch them. In the first edition of the festival screenings took place in the Belgrade Union Center (Dom sindikata) and the Belgrade Cultural Center, and they always played to a full house. This success coupled with the fact that FEST was still missing in action at that time ensured that the organizers would plan a second edition.

The first edition of the festival in 1994 presented an organizational team that was itself composed of auteurs. The artistic director was the well-respected film critic and television director Slobodan

autorstva pomalo snebivljivo primenjivao na novu generaciju reditelja (mnogi od njih bili su i filmski kritičari) koji su pravili filmove u slavu „individualne mitologije“ (po jednom drugom važnom filmskom kritičaru, Dušanu Stojanoviću). Miroslav Bata Petrović radio je kao programski savetnik Festivala, što je u praksi značilo da je bio zadužen i za sve organizacione poslove. Bata Petrović je, inače, od sredine 70-ih radio kao urednik filmskog programa u beogradskom Domu omladine. On je bio zagovornik radikalnog autorstva, ako taj termin upotrebimo za reditelje koji su mogli ili nisu mogli da rade u sistemu filmske produkcije koji je nastojao da poništi autorsku individualnost. Bata Petrović

Novaković. He had been an early proponent of Yugoslav New Film in the 1960s, a time when the concept of the auteur was selfconsciously applied to a new generation of directors (many of them also film critics) who were making films that celebrated ‘individual mythologies’ (per another important film critic, Dušan Stojanović).

Miroslav ‘Bata’ Petrović worked as the program advisor for the festival, which in essence meant that he was responsible for all of the organizational operations. Bata Petrović had been working as the film program editor at the Belgrade Youth Center (Dom omladine) since the mid-1970s. He represented the extreme side of auteurism, if we take the term to commonly refer

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Milan Vlajčić, filmski kritičar

Milan Vlajčić, film critic

FAF je nastao u jesen 1994., kad je Fest dve godine “snom mrtvijem spavao”, a u tim teškim sankcijskim uslovima, ovde se otvarao prozorčić prema svetu (Holivud je uvek bio bitniji za Fest nego sve ostalo). Od tada FAF okuplja uglavnom studentsku i građansku (koliko još ima pristojnih građanskih navika) publiku.

Neki su zaboravili, a bogme mnogi nikad nisu ni doznali, da je pojam filmskog autora uveo u kategorijalni aparat verovatno najznačajniji filmski kritičar u celokupnoj istoriji, Andre Bazen. Osnovao je 1951 čuveni filmski časopis Cahiers du cinema, dao priliku mladim filmofilima, protivnici su ih zvali “mladoturci”, da podare rang ozbiljnih autora Alfredu Hičkoku, Hauardu Hoksu, Džonu Fordu, Frenku Tešlinu, koji su dotada imali ugled dobrih filmskih zanatlija, zabavljača, ništa više. Ironijom sudbine, kad je ta bitka dobijena, čak i na američkom tvrdokornom tržištu, tokom vremena pojam autorskog filma shvaćen je u današnjem, kolokvijalnom značenju, bez ikakve vrednosne konotacije, ali ne i daleko od nje.

Od Festivala autorskog filma uvek očekujem nove, male, autorske filmove, sa mnogo duše. Ponekad radikalne i neprijatne do bola. Onda je festival na pravom tragu.

Auteur Film Festival was founded in autumn 1994, in time when the FEST was already deadly sleeping for two years. In those hard times under sanctions, it offered a small window to the world (unlike the Hollywood-oriented FEST). And ever since, it has gathered mostly students and urban (if the term ‘urban’ still can be applied) audience.

Some have forgotten, or even have not known, that the term ‘auteur film’ was introduced into categorizations by probably the most influential film critic ever – André Bazin. In 1951, he founded the famous film magazine Cahiers du Cinéma and gave the opportunity to young cinephiles, called ‘revolutionaries’ by their opponents, to award the status of ‘serious’ to Alfred Hitchcock, Howard Hawks, John Ford and Frank Tashlin, who had the reputation of good artisans and entertainers, but no more than that. Ironically, after that battle was won everywhere, including even callous American market, the term ‘auteur film’ gradually adopted present colloquial meaning, without any connotation of value but also not too far from it. I expect of the Auteur Film Festival to bring out fresh, small auteur films with a lot of soul. Sometimes radical and painfully discomforting. That’s when the festival is on the right track.

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Ana Milanović prevodilac / translator

bio je deo kruga alternativnih filmskih umetnika s margina jugoslovenske filmske industrije, koji su, često pod okriljem kino-klubova, eksperimentisali sa formom i sadržajem.

...Mirisi novembarske hladnoće, žamor u hodnicima, publika koju spaja iskrena ljubav prema filmu, kašnjenja, očekivani slučajni susreti, duplirane karte, prepune projekcije posebno boje uspomene na godine festivala kada smo otkrivali remek dela Vong Kar Vaja, Kitana, Sokurova, Fon Trira, Tikvera. Vreva u prepunoj sali, blaga omamljenost pasioniranih kojima je to treći film u istom danu meša se sa uzbuđenjem i radošću pred neočekivanim. Ljudi se utrkuju u potrazi za dobrim mestima. U redu ispred devojka sa kartom na čas napušta svoje mesto koje istog trenutka popunjava mladi par.

Svetla se polako gase, čuje se najava za festival, devojka se vraća i ne mogavši da sedne na svoje mesto posle kraće rasprave prekinute iznenadnom tamom, odlučuje da sedne u krilo nepoznatom momku ostavljajući njegovu devojku u neverici. Gospođa u redu iza, iz torbe vadi mali fotoaparat i beleži trenutak. Počinje projekcija Fon Trirovih Idiota.

Nikola Majdak je uradio vizuelni identitet festivala i napravio festivalsku špicu. Svoju dugu filmsku karijeru započeo je u posleratnom periodu kao direktor fotografije, sarađujući s izuzetnim rediteljima poput Aleksandra Petrovića, koji je predstavljao pojam filmskog autora, zbog čega glavna nagrada ovog festivala za najbolji film u takmičarskom programu i nosi njegovo ime. Majdak se bavio i animacijom, i u potonjim decenijama napravio je brojne dinamične kratke filmove. (Njegov možda najznačajniji i najtrajniji doprinos animiranom filmu jeste festival Balkanima, osnovan 2003. godine, koji je izrastao u važan događaj na tlu inače plodnom za filmsku festivalsku kulturu u Srbiji i regionu bivše Jugoslavije.)

Breath of November chill, buzz in foyers, audience gathered by the true love for film, late entrances, expected unexpected encounters, duplicate tickets and crowded cinema theatres give a special hue to the memories of those festival years when we were discovering masterpieces by Wong Kar-Wai, Kitano, Tykwer. Murmur in overcrowded auditorium, mild dizziness of those who had already watched two films blends with excitement and sweet suspense. People race for the best seats. In the row in front of me, young girl with ticket leaves her seat for the moment and immediately a young couple comes along and takes it. Lights slowly turn down and the festival announcement comes from speakers. Girl comes back and finds her seat taken. After a short quarrel, interrupted by sudden darkness, she decides to sit on his lap, leaving his girlfriend speechless. Lady in the back row gets a small camera from her bag and records the moment. We are ready to see Von Trier’s ‘The Idiots’.

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Ova talentovana ekipa, uz pomoć drugih pojedinaca, izgradila je i inaugurisala Festival autorskog filma. Za glavni program prvog izdanja Festivala bilo je odabrano dosta filmova iz Rusije i bivših sovjetskih republika, dok je većina gostiju prvih godina Festivala bila upravo iz tih zemalja.

A najatraktivniji deo programa bili su filmovi Novi talas Žan-Lika Godara ‒ praktično obaveznog reditelja kad je u pitanju festival autorskog filma (s krajnje prikladnim filmom, s obzirom na njegov naslov); zatim Egzotika Atoma Egojana, Gorki mesec Romana Polanskog, i Zbogom, moja konkubino Čena Kajgea. Da bi se autorski iden-

to feature film directors who may or may not work against a production system that would attempt to stamp out individuality.

Bata Petrović was part of the circle of nonprofessional film artists who experimented with form and content on the margins of the Yugoslav film industry, often within the framework of ciné-clubs.

Nikola Majdak worked on the visual design of the festival and also created the festival trailer. He started his lengthy film career as a cinematographer in the postwar period, collaborating with significant directors like Aleksandar Petrović – the very definition of an auteur according to the festival, considering that the grand prix for the best film in competition carries his name. Majdak became involved with animation and made a number of dynamic short films in the ensuing decades. Perhaps his most significant and lasting contribution to animated film is the festival Balkanima which he founded in 2003, and which has grown into an important event in the very fertile soil for film festival culture in Serbia and the exYugoslav region.

This talented team, along with the help of others, built the inaugural edition of the Auteur Film Festival. There were many Russian and former Soviet republic films selected for the first edition’s main program, and most of the festival guests in those early years came from these countries. As far as the more high-profile additions to the program, there was Nouvelle Vague by Jean-Luc Godard – practically an indispensible director in terms of a festival of auteur cinema (and a very apt film in terms of the signifi- >> 31

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cance of the title) – also Exotica by Atom Egoyan, Bitter Moon by Roman Polanski, and Farewell My Concubine by Chen Kaige.

To further affix an auteurist identity to the festival there was a retrospective of Godard’s films from the belle époque of the 1960s and also a retrospective of films by Dušan Makavejev, probably the most wellknown and widely-celebrated YugoslavSerbian auteur beyond national borders.

Slobodan Novaković: Autorski pogled Uvodni tekst u katalogu Prvog festivala 1994.

Slobodan Novaković: An Auteur’ s View Introduction in the catalogue of the First festival 1994

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titet ovog festivala dalje potvrdio, bile su tu i retrospektiva Godarovih filmova iz perioda belle époque 60-ih, kao i retrospektiva filmova Dušana Makavejeva, verovatno u svetu najpoznatijeg i najslavnijeg jugoslovenskog i srpskog autora.

>> Generation of filmmakers that were developing in the early 60’s – by reading lucid texts by André Bazin, watching veristic films by the Italian neorealists (that sometimes transformed into fairy tales) as well as the masterpieces of the Polish ‘dark wave’ (among which the crown jewel was Wajda’s Ashes and Diamonds), and later poetically-anarchistic stories by the Czech intimists (Menzel, Forman, Chytilová) or fierce collages by the ex Belgrade Cinema Club members (Rakonjac, Makavejev, Pavlović) – defined their views of life and the film art greatly based on the French ‘theory of authors’ fervently supported by the French ‘new wave’ (leaded by eternally young Jean-Luc Godard). Thanks to all that, as a part of the intellectually awakened Europe, we were prepared to understand and comprehend the ‘author’s worlds’ of the great European masters of film directing – Buñuel, Bergman, Antonioni, Fellini, Petrović, Tarkovsky – for whom the film language had become an instrument for expressing the personal view to the world as well as personal sensibility…

An author’s intellect, sensitivity and moral attitude, polarised and com-

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7 prehended through his/her whole opus, have been transformed into unique metaphor, which grown up from the reality of our everyday life and transformed into landscapes of absolute creative freedom for the authors and the associative freedom for the viewers. From film to film, an author had to struggle with life itself by negating all dogmatic and ideological grips and by opening ways of the freedom of thinking and spirit for his/ her multitudinous audience. The idea of ‘auteur film’ was, in fact, yearning for the brand new world!

Nowadays, reminiscence of the ‘theory of authors’ is not banal aesthetic nostalgia, nor sentimental awaking of the long gone emotions. On the contrary, it is an attempt to live better, more honourable and self-conscious in the world as it is, much uglier, and to reshape it to our human measure. European film tradition – including the idea of the ‘auteur film’, too, as one of possibilities of achieving freedom in human thinking and practice – is one of those humanistic foundations on which it might be possible to build a new, better world, on the debris of the old one (that, for sure, press us down!)…

Different views of the authors from China and New Zealand, from Latvia and Georgia, from Italy and France, from Canada and USA, from Turkmenistan and Belorussia, from Germany and Israel, from Hungary and Russia, gathered at the First International Auteur Film Festival in Belgrade, called ‘A View to the World’, interwoven around typically European concept of the ‘auteur film’, give hope that it might be possible to prevent some new kind of segregation, as well as new dogmatic and ideological pressures, which have again started to endanger human spirit and creativity.

Belgrade opens its doors to the film authors who will take the world film to its new era!

Drugo izdanje Festivala, održano u novembru 1995, na koricama kataloga donosi erotičnu sliku obnažene žene bez lica.

Ovo pomalo neobično podsećanje na ženstvenost odnosi se na specijalni program filmova ženskih autora, naslovljen „Sestre Limijer“, koji Novaković u svom uvodnom tekstu u katalogu navodi kao najvažniji deo festivala. Veliki izbor savremenih filmova ženskih autora uključuje radove Anjes Varde, Margarete fon Trote i Marte Mesaroš, dok dodatna sekcija programa slavi klasične ženske reditelje. Esej o ženskom filmu za katalog napisala je filmska teoretičarka Nevena Daković, koja je napomenula da je 1995. godina proglašena godinom ženâ, te da je svoju kulminaciju imala na svetskoj konferenciji žena u Pekingu. Bio je to pravi potez Festivala, da se fokusira na žene, jer je kulturna istorija jugoslovenskog i srpskog filma bila prepuna muškog pogleda na svet. Tako se Festival autorskog filma afirmiše i kao progresivni festival, ne slaveći samo konzervativnu muževnu mitologiju autora.

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The second edition of the festival, held in November 1995, featured an erotic image of a naked, faceless woman on the cover of the catalogue. This rather awkward evocation of femininity introduced a special program of films by women titled Lumière Sisters, which Novaković cited in his opening catalogue essay as the most important section in the festival. A large selection of contemporary films by women included the work of Agnès Varda, Margarethe Von Trotta, and Marta Meszaros, while an additional section of the program celebrated classical women directors. The catalogue essay on women’s cinema was written by the film theorist Nevena Daković, who noted that 1995 was declared the world year of women and which culminated in the world congress of women in Beijing. It was a very just move by the festival to focus on women, because the history of YugoslavSerbian film culture had been littered with an overly-masculine point of view. Here we see the Auteur Film Festival announcing itself as a progressive film festival, and not just a festival celebrating the conservative mythology of the auteur, which in fact was a very masculine mythology.

Godina 1995. bila je važna za jugoslovensku i srpsku kinematografiju. Emir Kusturica je na Kanskom festivalu za film Underground dobio svoju drugu Zlatnu palmu. Kusturica je bio, a i dalje je, veoma kontroverzan reditelj kada je reč o njegovom političkom angažmanu. Možda nije puka koincidencija da je iste 1995. potpisan Dejtonski sporazum kojim je okončan rat u Kusturičinoj rodnoj Bosni i Hercegovini. Nestabilne političke prilike bile su tema i na Festivalu autorskog filma u specijalnom programu

1995 was a consequential year for YugoslavSerbian cinema. Emir Kusturica won his second Palme d’Or at the Cannes Film Festival for the film Underground. Kusturica was then and still is a very controversial director in terms of his politics. Perhaps it was no coincidence that also in 1995 the Dayton Agreement was signed, effectively ending the war in Kusturica’s native Bosnia >> 37

pod nazivom „Svet i rat“, mada Kusturičin film u njega nije bio uvršten.

Festival iz 1995. godine bio je zanimljiv i zbog toga što je predstavljen video art program, najpopularniji kod domaćih umetnika. Već sam pomenuo da je Festival novog filma i videa bio odsutan iz beogradskog festivalskog miljea tokom devedesetih. Možda je ovaj video-art program trebalo da popuni prazan prostor koji je ostavljen avangardnim filmskim i vizuelnim radovima. Usledile su zatim brojne nove inicijative u carstvu eksperimentalnog filma i video arta. U Novom Sadu je 1996. godine ustanovljen festival Videomedeja, usredsređen na video radove. Low‒fi Video pokret i istoimeni festival ustanovljen je u Beogradu 1997. godine, kao sastavni deo opozicione i alternativne umetničke i kulturne scene politizovane u smislu borbe protiv esetetičkog konformizma i socijalnog statusa quo. Kao što se vidi, Festival autorskog filma već je svojim drugim izdanjem znatno proširio polje delovanja.

& Herzegovina. This volatile political content was commented upon by the Auteur Film Festival with a special program called World and War, though Kusturica’s films were not included.

The 1995 edition of the festival was also interesting because of the introduction of a video art program, mostly populated by domestic artists. I have already mentioned the absence of Alternative Film/Video in the Belgrade festival landscape during the 1990s. Perhaps this program was meant to fill the space left behind for avant-garde moving image work. A number of new initiatives in the realm of experimental film and video art soon followed. The festival Videomedeja was founded in 1996 in Novi Sad with a focus on video art. The Low-Fi Video movement and festival was established in Belgrade in 1997 as part of the oppositional and alternative art and cultural scene that was politicized as a struggle against aesthetic conformity and the social status quo. As can be seen, the Auteur Film >>

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Boro Drašković, reditelj, predsednik Direktorijuma festivala (1997-2004)

Boro Drašković, director, president of the Board of Directors

…Koji bi bio put do oslobođenja ekrana? Mislim da je jedan od puteva sigurno festival kakav je “Pogled u svet”. Ako bismo zamislili ovaj svet i sve gradove kao jednu mapu autorskih festivala, mislim da bi se bar onoliko vremena koliko traje festival, taj svet intenzivno menjao. S jedne strane, osvojili bismo ekran, a s druge strane, gledalac bi počeo ponovo da se približava tom ekranu. Ja sam na ovom festivalu pre deset godina video decu koja su sada ozbiljni gledaoci. Video sam pre neki dan mladu majku koja čeka dete. Bila je na filmu nekoliko puta, i verujem da je to dete, još nerođeno, na neki način na fakultetu za prenatalnu digitalnu estetiku. Mislim da su to putevi. Ima ih još mnogo, trebalo bi ih otkriti, putevi kako zapravo da oslobodimo ekran…

What is the way to liberate the silver screen? I believe that one of the possible ways surely is a festival such as ‘A View to the World’. If we imagine this world and all its cities as a map of the auteur festivals, I think that such world would keep on changing at least as long as the festival lasts. First of all, we would liberate the silver screen, and on the other side, the viewers would start to get close to it again. Ten years ago, at this festival, I saw kids who are serious viewers today. Few days ago, I saw a young mother-to-be. She saw several films and I believe that her child, still unborn, might be considered as a student at the faculty of prenatal digital aesthetics. These are the ways. And there are many more, waiting to be discovered – the ways for liberating the silver screen.

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Značajne promene događaju se uoči četvrtog izdanja festivala, 1997. godine.

Vojislav Vučinić preuzima obavezu selektora glavnog programa i ostaje na toj funkciji sve do 2004. godine. Formiran je Direktorijum festivala, s Borom Draškovićem kao predsednikom. Draškovićeva duga karijera proslavljenog filmskog reditelja i esejiste obezbeđivala je dalje prisustvo istinskih autora iza scene Festivala autorskog filma. Formiran je i tim umetničkih savetnika koji je pomagao u izboru glavnog programa, uključujući tu i mladog filmskog kritičara Srđana Vučinića, Vojislavljevog sina, koji će na kraju (2012) biti imenovan za umetničkog direktora Festivala. Zanimljivo je napomenuti da je na Festivalu kao prevodilac za engleski jezik radila Vukica Đilas. Možda je opšte poznato da je Vukica ćerka Milovana Đilasa, najpoznatijeg jugoslovenskog disidenta iz doba socijalističke Jugoslavije. Ono što je verovatno manje poznate jeste da je Vukica pravila seriju filmskih dnevnika 8-milimetarskom kamerom tokom 60-ih i 70-ih, koji dokumentuju umetnički i kulturni milje Beograda, čiji je ona bila deo (njen životni partner bio je teoretičar avangarde Branko Vučićević, a cimer joj je bio filmski umetnik i performer Tomislav Gotovac). I eto još jednog autora iza scene, jedne od svega nekoliko žena koje su eksperimentisale s filmom u Jugoslaviji toga vremena ‒ iako njeni filmovi nisu nikada bili ni predviđeni da budu javno prikazani. Kakav otac ‒ takva ćerka. Vukica je inače igrala u filmu „Plastični Isus“ Lazara Stojanovića, koji je doživeo mračnu slavu

Zvonimir Jurić, reditelj / director (Zagreb)

Festival was already broadening its reach in this its second edition.

Na Festivalu autorskog sam bio dvaput, jednom s filmom, drugi put u žiriju. oba puta sam gledao većinom odlične filmove, vodio duge, zanimljive diskusije sa redateljima (gdje se, na sreću, i nismo slagali uvijek) koji rade u organizaciji ili su gostovali poput mene, osjetio gostoprimstvo organizatora od vrha na dole. Autorski volim baš zato jer njegovo malo svjetlo baca dugu sjenu, ostavlja trag.

Significant changes were underway by the 4th edition of the festival in 1997. Vojislav Vučinić took over selection duties for the main program and continued in that role until 2004. A board of directors was formed, with Boro Drašković as the president. Drašković’s lengthy and celebrated career as a film critic and film director insured that actual auteurs continued to work behind the scenes of the Auteur Film Festival. A group of artistic advisors was also formed to support the selection process for the main program, including the young film critic Srdjan Vučinić, son of Vojislav, who would eventually be appointed as the artistic director of the festival. It is also interesting to note that Vukica Djilas worked as an English language translator for the festival. Perhaps it is most wellknown that Vukica was the daughter of Milovan Djilas, the most famous dissident during the time of Socialist Yugoslavia.

What is perhaps less well-known is that Vukica made a series of 8 mm diary films in the 1960s and 1970s that documented the artistic and cultural environment in Belgrade, which she was a part of (her significant other was the avant-garde theorist Branko Vučićević and her roommate was the film and performance artist Tomislav Gotovac). So here we have another auteur behind the scenes, and one of the few women making experimental films at that time in Yugoslavia – even though her films were never meant to be exhibited in public. >> 40

I was at the festival only twice, once as a director and the second time as a member of the jury. The both times I had the opportunity to watch mostly excellent films, had long and healthy discussions with other directors who were helping in organization or participated like me (luckily, we did not agree on everything), felt the hospitality of staff of all levels. This is why I love this festival so much – because its small light casts a long shadow, leaves a trace.

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najvećeg „disidentskog filma“ u Jugoslaviji, i s kojim je okončana zlatna era jugoslovenskog autorskog filma.

Raznovrsni posebni programi već su dotad činili obavezni deo festivala. Godine 1997, kao dodatak glavnom, našao se program nazvan „Nova energija“, koji je uključivao radove Braće Kvej i Olivijea Asajasa; kao i program naslovljen „Dan posle“, s odabirom ključnih regionalnih reditelja poput Puriše Đorđevića, Lordana Zafranovića i Petera Forgača; program pod imenom „Otkrića“; retrospektiva Aleksandra Sokurova; retrospektiva Rajnera Vernera Fasbindera; retrospektiva iranskog filma, i još mnogo toga. Ova bujica programa često nije bila propraćena nikakvim kataloškim prikazom, i fokus im se činio nasumičan i neusredsređen. Opet, bio je tu i autorski video-program, koji je obuhvatao mnogo različitih tendencija, kakav je bio studentski film, koji je uključivao i rad mladog Kalina Petera Necera. (Nekih petnaest godina kasnije, Necer će dobiti Grand Prix Festivala autorskog filma za Poziciju deteta, film koji je osvojio i Zlatnog medveda na Berlinskom

Like father, like daughter. Vukica acted in the film Plastic Jesus by Lazar Stojanović, which gained infamy as the greatest ‘dissident film’ in Yugoslavia and almost singlehandedly brought the golden era of auteur film in the country to an end.

A great deal of varied special programs had entered the profile of the festival by this time. In 1997, in addition to the main program, there was a program called New Energy including work by the Quay Brothers and Olivier Assayas; a program titled The Day After with a regional selection featuring key directors like Puriša Djordjević, Lordan Zafranović, and Peter Forgacs; a program called Discoveries; a retrospective on Aleksandar Sokurov; a retrospective on Rainer Werner Fassbinder; an Iranian film retrospective, and more. This deluge of programs was not often accompanied by any sort of curatorial statement and sometimes their focus felt random and muddled.

Again, there was a video auteurs program which included many different strands.

One such was a student film strand which included the work of a young Calin Peter

Puriša Đorđević, reditelj

Imao sam sreću da idem u školu autorskog filma u toku mnogih godina. Ali, za autore Festivala autorskog filma u Beogradu bila je to škola gde su loše ocene dobijali oni važni iz kulture, koji nikada nisu imali razumevanja i novaca za ovaj festival. Bolje reći - davali su finansije za ovaj festival samo na kašičicu, tek da ne pogine. Ali najbolji lekar ovog festivala bila je publika, i to ona najmlađa, i budući sineasti koji su ovde učili prve lekcije filma.

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festivalu.) Lista gostiju Festivala u ovom periodu raste. Pol Morisej prisustvuje Festivalu 1998, na kome je imao svoju retrospektivu. (U skorije vreme, gosti Festivala su i autori poput Majkla Roua, koji je na Kanskom festivalu dobio Zlatnu kameru za najboljeg debitanta, a 2010. Grand Prix „Aleksandar Saša Petrović“ na Festivalu autorskog filma, za svoj film Prestupna godina; festival 2013. otvara Đanfranko Rozi, laureat Zlatnog lava na Venecijanskom filmskom festivalu za film Sveti GRA; dok K. P. Necer lično prima Grand-prix Festivala autorskog filma 2013. godine.)

Netzer. Some 15 years later Netzer would win the Petrović Grand Prix at Auteur Film Festival for Child’s Pose, a film which was also awarded a Golden Bear at the Berlinale. The festival guest list was growing at this time. Paul Morrissey attended the festival in 1998 and was treated with a retrospective. In the more recent years of the festival such guests included Michael Rowe, who won the Caméra d’Or at the Cannes Film Festival and also the Petrović Grand Prix at the Auteur Film Festival in 2010 for his film Leap Year; Gianfranco Rosi, who won the Golden Lion at the Venice Film Festival in 2013 for his film Sacro GRA; and Netzer, who accepted his award in person at the festival in 2013.

Gordan Mihić pristupa Direktorijumu festivala 1999. godine. Mihić je već uživao reputaciju legendarnog scenariste, ali i koreditelja (s Ljubišom Kozomarom) kapitalnog dela Vrane iz 1969, koji je učvrstio njegov autorski status. Godine 1999. na Festivalu je prikazan program klasika avangardnog filma, koji je vodio Branko Vučićević, još jedan značajan autor, scenarista, veoma cenjen i kao kritičar i teoretičar koji se bavio upravo avangardnom umetnošću.

Godinu dana ranije, 1998, on je objavio

By the 4th edition of the festival in 1997, Slobodan Novaković was no longer the artistic director and instead held a position on the board of directors (a shift that actually took place the year before in 1998).

Gordan Mihić was also added to the board of directors in 1999. Mihić had enjoyed a legendary career as a screenwriter, but he also co-directed (with Ljubiša Kozomara) >>

Puriša Đorđević, director

I was lucky enough to attend the school of auteur film for many years. However, for the organisers of the Auteur Film Festival in Belgrade this was the school where bad marks were received by the national culture’s VIP, who have never had understanding or money for this festival. Or rather – they provided the finances for this festival piecemeal, just enough not to let it perish. Yet the best doctor of the festival was its public, the youngest viewers especially, as well as the future cineastes who learnt their first film lessons there.

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Miloš Radivojević reditelj / director

…Dok gotovo svi prave vezu sa mejnstrimom, ovaj festival ima čistu i jasnu politiku negovanja ekstremnih autorskih vrednosti. Uostalom, tako je jedino moguće braniti ime Aleksandra Saše Petrovića koje nosi Grandprix ovog festivala. Saša je bio takva osoba, isključiv, radikalan, perfekcionista. Dakle, festival ima sve Sašine osobine.

While everybody else tries to get connected with the mainstream, this festival has clear and strong politics of nurturing extreme authorship values. On the other hand, there is no other way to justify the decision of naming its Gran-prix Aleksandar Saša Petrović. Because Saša was exactly the same – relentless, radical and perfectionist. Therefore the festival has all Saša’s qualities.

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antologijsku knjigu Paper movies, iz koje vredi izdvojiti poglavlje „Serbian Cutting“.

Vučićevićev britak humor mogao se osetiti u njegovim kratkim beleškama za prateći program Festivala, za koji je naglasio da ga je osmislio tako da bude istorijat za početnike ‒ mada je bio sumnjičav spram interesovanja javnosti za ove filmove, kao i spram njihove moći da šokiraju i uzdrmaju učmali svetonazor, kako su to činili u svojim najboljim danima. Bio je podozriv i spram svrsishodnosti svog poduhvata, navodeći internet i činjenicu da su svi ti filmovi već tada, 1999. godine, bili tako lako dostupni. Taj usputni komentar pokazuje da je Vučićević već u tom ranom stadijumu svestan presudnog i prekretničkog uticaja digitalnih medija na razvoj kulture.

Naravno, 1999. godina bila je katastrofalna i tragična za Srbiju i tadašnju SR Jugoslaviju. Kampanja NATO bombardovanja započela je i okončala dugu deceniju ratovanja u Jugoistočnoj Evropi. Mnogi su izgubili živote u Beogradu, a materijalno uništenje gradske infrastrukture došlo je nakon godina ekonomskog i duhovnog uništavanja ‒ pa ipak, Festival je nastavljen.

Prelistavajući katalog iz 1999, primetio sam da prvi put u istoriji festivala nijedan tekst u njemu nije bio preveden na engleski.

Osim toga, prvi film koji se nalazio na spisku glavnog takmičarskog programa bio je Beogradski dnevnik: Jasmina i rat, Dinka Tucakovića, film o NATO bombardovanju.

Festival autorskog filma nikada nije bio jasno politički angažovan, van sadržaja filmova koji su se na njemu prikazivali. Čini se da je ovo odsustvo prevoda imalo ulogu

the capital film Crows in 1969 which had solidified his status as an auteur. The 1999 edition of the festival featured a program of avant-garde film classics curated by Branko Vučićević. Vučićević is another important screenwriter-auteur, also well-respected as a critic and theorist who was involved with avant-garde art. The year prior in 1998 he published his anthological book Paper Movies which included the noteworthy chapter ‘Serbian Cutting’. The incisive humor of Vučićević’s pen could be felt in the brief program notes he wrote, in which he states that he designed the program to be an early history for beginners – though he doubted the interest the public may have for these films and also doubted their power to shock and upend mores as they had done in their heyday. He also doubted the usefulness of his efforts by citing the Internet and the fact that these films could be accessed easily, even then, in 1999. This passing comment proves Vučićević still on the cusp of cultural developments and aware of the impact of digital media at that embryonic stage.

Of course, 1999 was a catastrophic and tragic year for Serbia and the former Yugoslavia. The NATO-led bombing campaign began and finalized a long decade of war in Southeastern Europe. Many lost their lives in Belgrade and the city infrastructure was damaged in a material fashion where in the preceding years it was damaged in an economic and spiritual fashion – yet the festival continued on. While researching the 1999 catalogue I noticed that for the first time in the history of the festival 47

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nekakvog tihog protesta. Narednih godina, engleski prevod se vratio.

Tatjana Ristić izvršna direktorka FAF-a executive director of the festival

none of the essays had English-language translations. In addition, the first film listed in the main competition program was Belgrade Diary: Jasmina and War by Dinko Tucaković, a film about the NATO bombings. The Auteur Film Festival had never been an overt or explicit political affair, outside of the content of any films that may have been shown. This lack of translation seemed like it may have functioned as a form of silent protest. In the following year the English-language translations reappeared.

Moje direktno angažovanje na Festivalu autorskog filma počinje na samom početku XXI veka ‒ kao i moja direktna veza s Beogradom. Mislim da je bila 2003. kada je moj bivši profesor Miša dobio Fulbrajtovu stipendiju za predavanja i istraživanje u Beogradu, i kada me je pozvao da mu se pridružim kao neka vrsta „asistenta gostujućeg profesora“. Dotad sam dovršio master iz umetnosti i radio sam za velike holivudske filmske studije. Odmah sam prigrlio šansu da radim nešto izvan industrije.

Sećam se da je najpovoljniji trenutak da putujem bio tokom novembarskog praznika za Dan zahvalnosti, što se poklapalo s mojim rođendanom. To je tradicionalno i period u kome se održava Festival. Moj prvi dolazak u Beograd ostavio je izuzetno jak utisak na mene, i rešio sam da to iskustvo ponovim dve godine kasnije, 2005. I budući da sam romantik, ili tradicionalista, a možda i oboje, želeo sam da ponovim isto putovanje u isto doba godine, u nadi da će se ponoviti iskustvo koje sam pamtio.

Mesec novembar ‒ naročito pozni novembar ‒ ima za mene posebno značenje.

Festival autorskog filma bio je moj omiljeni gradski događaj, a onda sam počela da učestvujem u njegovoj organizaciji. O festivalu iza kulisa može da se snimi odličan, napet film. Svake godine, zajedno sa Savetom festivala i nevelikim timom profesionalaca, entuzijasta i volontera, radimo na tome da festival bude sve bolji. Ovaj rad je nekad borba, nekad slavlje. Kada posle festivala, u decembru, podvučemo crtu, a zatim tokom godine sretnem ljude koji pitaju kad će sledeći FAF i šta spremamo, shvatam da imamo razloga i za borbu, i za slavlje.

Auteur Film Festival was my favourite Belgrade event before I took part in its organization. One can make a great suspense movie about the unseen parts of the festival. Year after year, together with the festival council and small team of professionals, enthusiasts and volunteers, we give our best to make the festival even better. This work is sometimes a battle and sometimes a celebration. When in December, after the festival is over, we sum everything up, and whenever during the year someone asks me when the next festival will start and what are we preparing, I know we have a lot of reasons for both the battle and the celebration.

My direct engagement with the Auteur Film Festival begins in the early 21st century – as does my direct engagement with the city of Belgrade. It must have been 2003 when my former professor Misha received a Fulbright fellowship for teaching and research in Belgrade, and when he invited me to join him as something like a ‘visiting teaching assistant’. By that time I had completed a Master of Arts in cinema studies and was working for the big movie studios in Hollywood. I jumped at the chance to travel and to do something outside of industry work.

I remember that my best opportunity to travel was during my Thanksgiving holiday in November, which also coincided with my birthday. This is also the traditional time frame in which the festival is held. My first trip to Belgrade made a huge impact on me and I decided to repeat the experience a couple of years later in 2005. And since I am either a romantic or a traditionalist, or perhaps both, I wanted to repeat my travels >> at the exact same time of the year in the

Preselio sam se iz Los Anđelesa u Beograd 2007, da bih počeo da radim doktorat iz istorije filma ‒ tačnije, iz istorije jugoslovenskog filma. Značajan deo istorije jugoslovenskog filma završio se 2007. godine, kada je preminuo Slobodan Novaković, prvi umetnički direktor Festivala autorskog filma. Te godine, kao omaž Slobo48

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danu Novakoviću, na Festivalu je prikazan specijalni program pod nazivom „Film kao metafora“, što je zapravo referenca na jednu njegovu knjigu filmske kritike. Taj program je, uz neke televizijske filmove koje je Novaković režirao, obuhvatao klasike, kanonizovane autorske filmove. Odlazak Slobodana Novakovića nekako je i otvorio prostor novoj generaciji najznačajnijih domaćih autora koji će nadalje usmeravati ovaj festival. Reditelj Srdan Golubović postao je predsednik Saveta festivala 2007, a reditelj Stefan Arsenijević njegov kopredsednik.

Savet festivala preuzeo je na sebe odgovornost za odabir filmova u glavnom programu, i nastavio je to da radi do danas.

Prvi put sam Festival autorskog filma posetio 2007, i sećam se da sam gledao film Aleksandra Aleksandra Sokurova. Sokurov je sigurno najomiljeniji autor festivala, jer su gotovo svi njegovi noviji filmovi, od sredine devedesetih, predstavljani u glavnom programu. Sećam se i da sam gledao Simfoniju ruku, Vlade Petrića, intimni DV esej srednjeg metra, koji je nastajao u kontinuitetu od poznih 90-ih. Petrić je još jedna legenda stare škole jugoslovenskih filmskih autora, poznat po tome što je bio prvi koji je stekao doktorsko zvanje filmskih studija u Sjedinjenim Američkim Državama i kao osnivač i kustos Filmskog arhiva univerziteta Harvard. Moj prvi susret s njim odigrao se polovinom 90-ih, dok sam bio na filmskim studijama kod Miše (inače Petrićevog bivšeg studenta). Petrić je bio pozvan da održi gostujuće predavanje o Dodiru zla, i sećam se da je čitav čas ana-

Saša Radojević scenarista i reditelj / director and film critic

hopes of repeating my memorable experiences. The month of November – particularly late November – has a special meaning for me.

Festival autorskog filma nastao je kao neka vrsta refleksa na dekomponovanu sliku sveta, u trenutku kada se verovalo da je stigao kraj ideologija. Na prelomu dva milenijuma ovaj festival mi je kroz filmove Trči Lola, trči i Raspoložen za ljubav poklonio trezor inspiracije i osećajnosti. I još me ispunio ponosom što su filmovi u kojima sam učestvovao kao scenarista ili kao reditelj („Zemlja istine, ljubavi i slobode”, „Narcis i Eho”, „Država”) prikazani na njemu.

I relocated from Los Angeles to Belgrade in 2007 to begin my doctoral studies in film history – the history of Yugoslav cinema, to be specific. A significant part of Yugoslav film history died in 2007 when Slobodan Novaković, the founding artistic director of the Auteur Film Festival, passed away. In the 2007 edition of the festival a special program was mounted in homage to Novaković titled Film as Metaphor, a reference to the title of one of the books of film criticism he wrote. This program included classical, canonized auteur films in addition to some of the television films that Novaković directed. The passing of Novaković somehow also signified the passage to a new generation of the most relevant domestic auteurs who would steer the festival into the future. The film director Srdan Golubović became the president of the festival council in 2007, which he remains to this day, along with the film director Stefan Arsenijević as the vice president. The festival council took responsibility for selections in the main program and it continues in this role today.

Auteur Film Festival was created as a response to decomposed picture of the world, in the moment when it was thought that the ideologies have come to an end. At the turn of the millennium, this festival offered me the chance to see films ‘Run, Lola, Run’ and ‘In the Mood for Love’, giving me the vault full of inspiration and emotions.

It also made me full of pride because the films in which I have contributed as a director or screenwriter („Land of Truth, Love and Freedom”, „Narcissus and Echo”, „State”) have been presented there.

I first attended the Auteur Film Festival in 2007 and I remember seeing the film Aleksandra by Aleksandar Sokurov. Sokurov is certainly the favorite auteur of the festival, as almost all of his new films since the mid1990s have played in the main program. >> 52

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lizirao ikoničnu uvodnu scenu filma, od pokreta kamere, preko senki na zidovima do dizajna zvuka, sa sve tempiranom bombom koja otkucava i džez temom Henrija Mancinija. Ovo je bilo moje možda prvo upoznavanje s konceptom autorskog rada, i toga šta on konkretno znači u jednom delu.

Godine 2007, Petrić organizuje simpozijum u okviru Festivala, naslovljen kasnije „Zabava ili umetnost: nedoumice oko autorskog filma“. Osnovna ideja ove debate bila je diskusija o značaju termina „autor“, kao i filma koji se određuje kao autorski.

Simpozijum je potekao iz „Beogradskog manifesta“, koji su napisali filmski reditelji Nora Hope i Džon Sanders, gosti Festivala iste godine. Među potpisnicima manifesta bili su i filmski stvaraoci poput Sokurova, Kaurismakija, Džona Akomfraha i drugi.

Manifest je otvarao citat Žana Renoara u kome je iznet njegov stav da se ne biva moderan tako što kreneš da uništavaš, nego tako što krotko pratiš svoje prethodnike.

Budući da je njegova karijera počela dvadesetih godina prošlog veka, sam Renoar nije imao mnogo prethodnika u francuskoj filmskoj industriji čijim stazama je mogao da ide. Možda je njegov otac, veliki slikar Ogist Renoar, bio preteča u umetnosti s kojim je mogao da se meri ‒ ali Renoar Stariji bio je jedan od vodećih impresionista koji su, krenuvši novim pravcem u slikarstvu, u svoje vreme bili radikalni u raskidu s prošlošću. Možda impresionisti nisu nameravali da razaraju, ali očigledno su želeli da idu napred, umesto nazad, i radije su odbacivali nego što bi nevoljno prihvatali.

I also remember watching Symphony of Hands by Vlada Petric, a medium-length personal DV essay that he has been constructing continuously since the late 1990s.

Petric is another of those legends of old school Yugoslav auteurism, celebrated for being the first to ever receive a doctoral degree in cinema studies in the United States and also as the founding curator of the Harvard Film Archive. My first encounter with him came in the mid-1990s when I was studying film as an undergraduate with Misha (Petric’s former student). Petric was invited to my class to give a guest lecture on Touch of Evil, and I remember that he spent the entire lecture analyzing the iconic sequence shot that opens the film, from the movement of the camera to the shadows on the walls and the soundtrack with a ticking time bomb and the jazzy score by Henry Mancini. This was one of my earliest introductions to the concept of an auteurist work and what it means in practical terms.

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In 2007 Petric organized a symposium at the festival titled Entertainment or Art: Dilemmas Over Cinema d’Auteur. The main idea was to debate and discuss the value of the term ‘auteur’ and the cinema that characterizes it. The genesis for this symposium was the Belgrade Manifesto, written by the film directors Nora Hoppe and Jon Sanders, who were guests at the festival that year. Signatories included filmmakers like Sokurov, Aki Kaurismäki, John Akomfrah, and others. The manifesto opens with a quote from Jean Renoir stating his belief that being modern does not come from >> 54

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Vrhuncem modernog evropskog filma obično se smatra francuski novi talas. Kad gledamo Godarov film „Do poslednjeg daha“, možemo da vidimo da je to hibridno delo: gleda u prošlost istovremeno okrenuto budućnosti. Godar nastavlja putem klasičnog holivudskog pripovedanja, ide čak toliko daleko da film posvećuje niskobužetnom holivudskom studiju Monogram Pikčers. Međutim, on razara konvencionalan model razbijajući kontinuitet takozvane nevidljive montaže ‒ što je tradicija i danas živa i ideološki i estetski bazična za filmski narativ. Tako da „biti moderan“ možda ne znači krotko pratiti prethodnike, nego graditi na tradiciji umetničkih preteča kako bi stekao drskost da se krećeš i napred i nazad. Da se vratimo Beogradskom manifestu: autori navode krizu filma ‒ a kriza filma je uvek postojala ‒ u ekonomskom i estetičkom smislu. Ova kriza možda i opstaje u potonjoj deceniji, ali Manifest nažalost nije opstao. Na sajtu

setting out to destroy but rather from humbly following predecessors. Renoir himself did not have many predecessors to follow in the French film industry, as his career began in the 1920s. Perhaps his father, the well-known painter Pierre-Auguste Renoir, was the artistic predecessor he measured himself against – but the elder Renoir was one of the leading Impressionists, who were radicals in their time forging new paths with their paintings. Maybe the Impressionists did not set out to intentionally destroy but they clearly wanted to move forward rather than backward, to reject rather than acquiesce.

The high water mark of European film modernism is normally thought to be the French New Wave. Considering Godard’s Breathless, we can see that it is a hybrid creation, looking back as it simultaneously pushes forward. Godard followed the path of classical Hollywood storytellers, even

Festivala, koji je tada postavljen, vidi se da je lista potpisnika Manifesta poslednji put ažurirana 2013, mada broj imena na tom spisku zapravo nije rastao od 2007, kada je on i nastao.

going so far as to dedicate his film to the low-budget Hollywood studio Monogram Pictures. But he destroyed classical models by fracturing the continuity of a seamless construction – the very ideological and aesthetic basis of narrative cinema and a tradition that persists to this day. So perhaps to be modern means not to follow humbly but to build on the tradition of artistic predecessors, to be able to move both forward and backward with impudence. Returning to the Belgrade Manifesto, the authors cite a crisis in cinema – and there is always a crisis in cinema – in terms of its economics and its aesthetics. This crisis may have persisted in the ensuing decade but unfortunately the manifesto has not. The website that it has been posted on indicates that the list of signatories was updated in 2013, though the number of names on the list has not actually grown since 2007 when it was first created.

Među učesnicima pomenutog simpozijuma bili su g. Đorđević, g. Drašković, g. Srđan Vučinić, teoretičar filma Ivan Kronja i mnogi drugi. Mnoge diskusije bile su usredsređene na različite definicije autorstva, na to jesu li one još uvek žive i zdrave, na ekonomsku situaciju u filmskoj industriji, i tako dalje. Nakon Festivala izašla je knjiga, na engleskom i srpskom jeziku, s transkriptima tih diskusija, što je ostalo kao dragocen snimak stanja i pozicije autora u ovom, sada već zrelom, stadijumu života Festivala. Možda se bliži pravo vreme za ponovni simpozijum na ovu temu, budući da dilema „umetnost ili zabava“ u kinematografiji i dalje ostaje relevantna u novim okolnostima, kako film zalazi dublje

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Slobodan Ivetić, reditelj, član saveta i jedan od osnivača Festivala autorskog filma

Slobodan Ivetić, director, council member and one of the founders of the Auteur Film Festival

Festival autorskog filma u Beogradu u ovih 20 godina postao je značajno mesto gde se razvija otpor imperativu komercijalnosti sedme umetnosti. Filmski autori širom sveta prepoznali su u ovom festivalu mesto gde se njihova kreativnost, pogled na svet i sloboda izražavanja iskreno vrednuju i uvek mu se rado odazivaju. Festival je svojoj vernoj i mnogobrojnoj publici pokazao kako „mali“ autorski filmovi kao što su “Povratak” Andreja Zvjaginceva ili “Akacije” Pabla Đorđelija mogu biti uzbudljivi i veliki i ostati u pamćenju kao istinski klasici sedme umetnosti. Sa svoje strane, publika iz godine u godinu u sve većem broju prihvata ideje osnivača festivala i umetničke vizije filmskih autora, čineći ga jednom od najznačajnijih kulturnih smotri krajem godine u Srbiji.

During the last 20 years, the Auteur Film Festival has become significant place for developing the resistance towards imperative of the commerciality in the art of film. Cineastes from all around the world recognized this festival as a place where their creativity, a view of the world and freedom of expression are truly recognized, and this is why they are always willing to come back. Festival showed to its faithful and large audience that ‘small’ auteur films, such as ‘The Return’ by Andrei Zvyagintsev or ‘Las Acacias’ by Pablo Giorgelli, can be exciting and grand, and be remembered as true film classics. And year after year, its audience grows larger, accepts the ideas of the festival founders and the artistic visions of the authors, thus making it one of the most significant cultural events in Serbia.

Naših prvih 20 godina

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Our First 20 Years

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u intimni prostor i nestaje kao uobičajeno vizuelno predstavljanje.

Dve godine kasnije, 2009, počeo sam neposredno da sarađujem na Festivalu. Te godine je organizovana posebna retrospektiva posvećena Aleksandru Petroviću. U tom trenutku bio sam usred proučavanja istorije jugoslovenskog filma, uključujući i Petrovićeva remek-dela. Tada sam upoznao i Srđana Vučinića. Obojica smo provodili vreme sapeti u skučenosti biblioteke Jugoslovenske kinoteke, uživajući u njenim nebrojenim biserima knjiškog znanja.

Znao je šta ja radim, i pitao me da najavim projekciju Majstora i Margarite u Muzeju kinoteke, mestu koje sam inače stalno pohodio otkad sam se doselio u Beograd, baš kao što je to činila i starija generacija autora koje sam proučavao. Te noći kad je trebalo da bude projekcija, iznenadio sam se videvši da je sala prepuna ‒ bilo je mesta još samo za stajanje. Do tog trenutka, a ni kasnije, nikada nisam video da je sala Kinoteke popunjena više od četvrtine kapaciteta kada su arhivske projekcije u pitanju.

Mnogo puta sam tamo gledao filmove, i mogao sam često da na prste jedne ruke nabrojim ostale prisutne ljubitelje filma, i da mi ostane još dovoljno prstiju da jedem kokice. Ali te posebne večeri čak je i porodica Aleksandra Petrovića bila prisutna.

Nikada pre toga nisam izlagao na srpskom jeziku, a upravo to sam sada morao da učinim. Improvizovao sam na svoj način, govoreći o istoriji tog filma i dajući svoje tumačenje njegovog stila i tema kojima se bavi ‒ sve to na mom krnjem srpskom s

Anđelka Vujović slikarka / painter

Participants in the symposium included Djordjević, Drašković, Srdjan Vučinić, the film theorist Ivana Kronja, and many more.

Most of the discussion centered on varying definitions of auteurism, whether it was alive and well or not, the economics of the film industry, and so on. The festival published books in both Serbian and English with transcripts of the symposium, so it remains as a valuable snapshot of the state of the auteur at this mature stage of the festival’s life. Perhaps it will soon be time for another symposium on the topic, as the entertainment/art debate in cinema continues to be relevant in new dimensions as movies move further into personal spaces and disappear from common exhibition settings.

…FAF je sam po sebi donosio promene i pomerao granice. Te promene su pratile promene u našem društvu . I što ga je teže bilo ostvariti, to kao da je imao magiju da bude jači. Sećam se da sam sa parčetom papira u rukama, tako je prve godine izgledao program festivala, otišla slučajno , bila očarana, i od tada nisam prestala da ga pratim... U vreme Protesta ’96, u potrazi za promenama , posle višečasovnih šetnji beogradskim ulicama, najvise sam volela da uđem u toplu bioskopsku salu za vreme festivala, uronim u dubine platna i otkrijem novi svet. I sve je dobijalo novu dubinu. Na Festivalu su bili uvek prisutni meni dragi ljudi, stasavali su novi umetnici. Izdvojila bih susret sa umetničkom poetikom Vong Kar-Vaija, koji je na mene ostavio neizbrisiv trag kroz filmove „Čankin ekspres“ i „Raspoložen za ljubav“. Festival je 2000. godine zatvorila ljupka glumica Sofi Marso, bilo je to jedno od najlepših zatvaranja.

A glumica je svojom lepotom i jednostavnošću, šarmirala ceo grad… Sa nestrpljenjem isčekujem još noviji pogled na svet.

A couple of years later, in 2009, I began collaborating directly with the festival. That year a special retrospective dedicated to Aleksandar Petrovic was organized. I was deep into my research on the history of Yugoslav cinema at that point, including the masterworks by Petrović. I had also met Srdjan Vučinić then, as we both spent time in the cramped confines of the Yugoslav Kinoteka Library on a regular basis, enjoying its countless pearls of paper knowledge.

He knew about my work and asked me to introduce the screening of The Master and Margarita at the kinoteka museum, a place I had been haunting since I moved to Belgrade, like that older generation of auteurs I was studying. On the night of the screening I was surprised to see that the house was packed – standing room only. >> 58

It was natural for the Auteur Film Festival to bring changes and to move boundaries. These changes were followed by the changes in our society. And the harder it was to organize it, the festival, almost magically, was growing stronger. I remember how I casually came around to see what is going on, holding a piece of paper which was the first festival programme, and got mesmerized. And I have been a regular visitor ever since…

During the student protests in ’96, after several hours of walking, I loved to enter the warm audience hall during the festival, to dive into the depths of the silver screen and to discover a brand new world. And everything would get an entirely different dimension. My friends were always there. New artists were developing. I would like to point out the experience of finding out the artistic poetics of Wong Kar-Wai, who left a deep mark in my heart by films ‘Chungking Express’ and ‘In the Mood for Love’. One of the most beautiful official festival-closings was in 2000, when it was done by lovely actress Sophie Marceau. Her beauty and frankness charmed the entire city… I am looking forward to an even newer view to the world.

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Milan Vlajčić filmski kritičar

Milan Vlajčić film critic

Bez autorskog se ne može

No-go without the Auteur

Za mnoge poštovaoce autorskog, nezavisnog i niskobudžetnog filma (nema ih zapravo mnogo, ali deluju kao prosvećena elita sa samog socijalnog dna, bez sopstvene krivice) prošlogodišnje, devetnaesto izdanje Festivala autorskog filma (28. novembar – 3. decembar) bio je pravi praznik. Održano je u pet bioskopskih dvorana: sreća za filmske strasnike da su tri na stotinak metara od Trga republike, tako da je pogodno bilo pretrčavanje sa sendvičem u ruci. Dve su bile na novobeogradskoj strani, i time je zaokružena lista dvorana koje nisu pod kapom velikih tržišnih centara.

Pošto je reč o nezavisnim, nekomercijalnim produkcijama, prijatno iznenađenje je bilo da su večernje projekcije uglavnom bile rasprodate za zvanični takmičarski program. Ako imamo u vidu da Beograd neprekidno beleži pad bioskopske posete, da neki američki blokbasteri sutradan po ulasku na repertoar imaju samo nekoliko posetilaca u gledalištu (moje lično iskustvo), onda pomenuta opsada dvorana govori da je jedan uzak sloj gledalaca ostao uz prave filmske vrednosti.

Znamo da u ovom delu Balkana vlada pravilo kokošje memorije (desetak minuta od jednog zobanja zrnevlja do sledećeg), i zato nije zgoreg podsetiti da je FAF, po mom osobnom sudu, najbolji među desetak drugih u gradu i okolini, od osnivanja u poziciji pastorčeta, jedva primećenog u burazerskoj podeli državnih sredstava za festivale svih vrsta.

Pre desetak godina je napravljena neprijatna pauza – festival nije održan jer tobožnja demokratska vlast na nivou grada i republike nije smatrala da mu valja dodeliti koji dinar za dovođenje gostiju i plaćanje upotrebe filmskih kopija! A festival nikad nije bio u milosti vladajućih struktura zato što je nastao u nezavisnim filmadžijskim krugovima, pa je po zahtevu demokratskih struktura morao da se ponovo registruje kao „projekt grupe građana”, drugačije nije moglo…

For many devotees of the auteur, independent and low-budget film (though there are not many of them, but they, unwillingly, appear to be cultural elite from the very bottom of the society) the last year’s 19th Auteur Film Festival (November 28 – December 3) was a real celebration. It took place at five cinema theatres and, luckily, three of them were in close proximity of the Republic Square so it was easy to grab a sandwich while running from one location to another. The other two were on the other bank, in New Belgrade, and that would be the whole list of cinema theatres that are not within the big shopping malls.

Considering the fact that those were independent, non-commercial productions, it was a pleasant surprise to see that evening screenings were mostly sold-out for the official competition programme. If we remember that there is a constant audience decrease in Belgrade cinemas, and that even some American block-busters have only a few visitors the very first day after the opening night (personal experience), than the mentioned cinema sieges might mean that even so there still is a certain number of devotees of the true cinematic values.

We are aware that this part of Balkans is under influence of the ‘goldfish memory’ rule, so it would not be redundant to remind people that the Amateur Film Festival has been, in my opinion, one of the best among ten or so existing festivals in the city and its surrounding, since it came to life as an unwanted child, almost unnoticed in nepotistic allotment of the state funds for all kinds of festivals.

Approximately ten years ago, there was an unpleasant pause – the festival did not take place because so-called democratic city and republic authorities decided that there was no need to donate any money for bringing guests and paying copyright fees. Being founded in the independent filmmakers’ circles, the festival has never been supported by the authorities. Therefore, democratic structures concluded that the only possible way is to re-found it as a ‘citizens group project’. On the other hand, about ten years ago, the city government ‘invented’ SOFEST, the film festival in the municipality of Sopot, approximately 60 km from Belgrade, which has no importance at all because journalists have no easy access there and there is almost no audience for the new Serbian cinematography review. But even that flatters to some deputy’s vanity.

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Igor Stanković izvršni producent FAF-a / executive producer of the festival

južnolosanđeleskim akcentom. Sviđa mi se pomisao kako je moje vatreno krštenje kao istoričara jugoslovenskog filma došlo zahvaljujući Festivalu autorskog filma.

Od 2006. godine deo sam Festivala autorskog filma kao njegov producent. U organizaciji festivala ima mnogo toga što publika ne vidi, i na dobrom festivalu se ne radi samo godinu dana unapred – radi se godinama. Tako smo i mi gradili Festival autorskog filma, uklapajući u njega različite senzibilitete i glasove, pronalazeći put koji je više od kompromisa sa budžetom i „trenutnom situacijom“. Onog trenutka kad se sale napune publikom, Milan Vlajčić, i kad vidite ljude kako zauzimaju mesta pred platnom, film critic očekujući da vide nešto dobro i da im se otvore novi svetovi, ponosni ste što ste svi zajedno deo Festivala.

No-go without the Auteur Ever since 2006, I have been a part of the festival as the executive producer.ofOrganizing festival includes For many devotees the auteur,the independent and low-budget film (though there are not many of them, but many things that the audience would not see, and it takes they, unwillingly, appear to be cultural elite from the very bottom of the society) the last year’s 19th Auteur not only a year, but years 28 to make a good 3) festival.

Andcelebration. It took place at five cinema theatres and, Film Festival (November – December was a real that is how theproximity Auteur Film Festival luckily, threewe ofwere themdeveloping were in close of the Republic Square so it was easy to grab a sandwich while – by incorporating different sensibilities and voices, running from one location to another. The other twoby were on the other bank, in New Belgrade, and that finding out the solutions that were above compromises would be the whole list of cinema theatres that are not within the big shopping malls. with budget and the ‘current situation’. When you see the Considering the fact that those were independent, non-commercial productions, it was a pleasant surprise auditorium full of audience and people taking seats to see to see that evening screenings were mostly sold-out for the official competition programme. If we remember something good that would open brand new worlds to that there a constant audience decrease in Belgrade cinemas, and that even some American block-busters them, youishave to be proud for being a part of the festival have onlywith a fewallvisitors the very first day after the opening night (personal experience), than the mentioned together of them. cinema sieges might mean that even so there still is a certain number of devotees of the true cinematic values.

We are aware that this part of Balkans is under influence of the ‘goldfish memory’ rule, so it would not be redundant to remind people that the Amateur Film Festival has been, in my opinion, one of the best among ten or so existing festivals in the city and its surrounding, since it came to life as an unwanted child, almost unnoticed in nepotistic allotment of the state funds for all kinds of festivals.

Approximately ten years ago, there was an unpleasant pause – the festival did not take place because so-called democratic city and republic authorities decided that there was no need to donate any money for bringing guests and paying copyright fees. Being founded in the independent filmmakers’ circles, the festival has never been supported by the authorities. Therefore, democratic structures concluded that the only possible way is to re-found it as a ‘citizens group project’. On the other hand, about ten years ago, the city government ‘invented’ SOFEST, the film festival in the municipality of Sopot, approximately 60 km from Belgrade, which has no importance at all because journalists have no easy access there and there is almost no audience for the new Serbian cinematography review. But even that flatters to some deputy’s vanity.

Ako bi trebalo da izaberem najizvanredniji trenutak Festivala uopšte, bilo bi to njegovo izdanje iz 2010. godine. Kada sam dobio bilten Festivala, preleteo sam stranice i bio vrlo uzbuđen kad sam video da je Godarov film Socijalizam u glavnom programu.

Sedeći u sali Kulturnog centra Beograda, čekajući projekciju obuzeo me je čudan osećaj. Nisam to isprva shvatio, ali u tom trenutku me je ošinulo da će to biti prvi put da gledam neki Godarov film na premijernoj projekciji. Prosto me je preplavila važnost tog trenutka. Godar je bio filmski stvaralac koji mi je neopisivo mnogo značio, kao i mnogim filmofilima uostalom.

Neko čija su ostvarenja hranila moju ljubav prema filmskoj umetničkoj formi, o kome sam pročitao više knjiga i članaka nego o bilo kom drugom filmskom stvaraocu, neko koga sam najviše gledao na video-kasetama i DVD-ju i čije sam retrospektive usisavao kad god mi se ukazala prilika. Bilo je to za mene istovremeno i sveto tlo i terra incognita, i kada je najavna špica blesnula preko velikog platna, u poznatom Godarovom jednostavnom tekstu ispisanom belim slovima, žmarci su me prošli duž kičme.

Pokušavao sam da kontekstualizujem to iskustvo, koje bi bilo slično kao što bih voleo da mogu da kažem kako sam tu pred sobom, uživo, gledao Majkla Džordana kako igra košarku, ili da sam video nastup Tupaka Šakura na sceni ‒ no ta iskustva

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Up to that point and even after I had never seen the kinoteka screening hall at more than a quarter capacity for an archival film projection. Many times I went to watch films there and I could count the number of my fellow cinephiles in attendance on one hand, still with enough fingers left to eat popcorn. On that special evening the Petrović family was even in attendance. I had never attempted to deliver a presentation in the Serbian language before, and the task at hand was such. I improvised my way through it, speaking about the history of the film and my interpretation of its style and themes – all in my South Central Los Angeles-accented broken Serbian. I like to think that my trial by fire as a Yugoslav film historian came by way of the Auteur Film Festival.

If I had to pick my most transcendent moment of the festival it would be within the 2010 edition. When I received the festival newsletter I flipped through the pages and was excited to see that Godard’s Film Socialisme was in the main program.

When I sat down in the theater at Belgrade Cultural Center for the screening a funny feeling came over me. I had not realized it before, but at that moment it hit me that this would be the first time I had ever seen a Godard film in its initial theatrical run.

The significance of this moment dawned on me. Here was a filmmaker who meant everything to me, as he did for many a cinephile. Someone whose cinema nurtured my love for the art form, who I had read more books and articles about than any >> 63

neće imati onu blagodet niti dodatu vrednost naknadne pameti i distance s koje se može prikladno proceniti izuzetnost trenutka. Za Godara mi to nekako nije ni bilo potrebno. On stoji izvan vremena, čak i kada je deo njega. Tu i tada sam znao da gledam legendu u veoma retkoj prilici i uslovima, i da ću moći da kažem da sam gledao velikana onako kako ga je i trebalo videti, s divljenjem s kojim će ljudi o njemu pisati decenijama. Te noći sam istinski osetio mitsku moć autora i mogu bez ikakve ograde da kažem da mi je ovaj festival podario jedno od najveličanstvenijih iskustava u karijeri bioskopskog gledaoca.

Mimo ushićenosti gledanjem novog Godarovog filma u bioskopu s gledaocima, Socijalizam je za mene bio vrlo težak film, nekako izvan mogućnosti da ga klasifikujem sa „dopada mi se“ ili „ne dopada mi se“. Cenio sam njegovo avangardno poigravanje formom, ali mi se njegov diskurs činio previše poznatim i pomalo oveštalim.

Rani Godar vas obično rano ushiti, što i jeste tajna njegovog beskrajnog šarma, ali pozni Godar krije seme za neku kasniju setvu. Da stvar bude ironična, kad jednom za nekoliko godina budem ponovo gledao ovaj film, verovatno ću ceniti njegovu modernost više nego što sam to činio tada, i biću u stanju da sagledam koliko je on išao ispred svog vremena. Ne znam koliko za to treba kriviti Godara a koliko mene kao gledaoca ‒ ili je to možda normalan tok stvari kada su u pitanju ostvarenja koja teže da budu remek-dela.

other filmmaker, who I mostly experienced through videotapes and DVDs, whose retrospective screenings I had sought out whenever I had the opportunity. This was simultaneously hallowed ground and terra incognita for me and a chill of appreciation shot down my spine when the opening titles flashed upon the big screen in Godard’s familiar plain text, white-colored font. When I tried to contextualize the experience after the fact I likened it to being able to say I watched Michael Jordan play a basketball game live and in person, maybe saw Tupac Shakur perform on stage – but still, those experiences would not have had the benefit and added weight of hindsight and distant reflection to properly appreciate them in the moment. Somehow Godard did not need that. He stood above time, even while a part of it. I knew right then and there I was watching a legend in rare circumstances and that I would be able to say that I saw the great one in the way he was meant to be seen, the way people will write about in awe decades from now. That night I truly felt the mythological power of the auteur and I can say with no qualification that the festival gifted me one of the greatest experiences of my cinema-going life.

Bojana Rnjak služba protokola / protocol

Moj prvi susret sa Festivalom autorskog filma desio se 2009. godine. Volonterski sam pomagala u organizaciji festivala.

Jedna od bitnih stvari koja je uticala na to da se narednih pet godina vraćam su reči jednog starijeg beogradskog gospodina.

Naime, ovaj verni posetilac festivala je poslednjeg dana prišao info pultu festivala: „Mlada gospođice, hvala vam na svemu.

Svaka čast osnivačima, direktorima i ostalim članovima organizacije na kvalitetnom programu i divnom festivalu, ali bih želeo da istaknem da ste vi koji stojite iza ovog pulta najviše zaslužni za to što se mi kao posetioci vraćamo iz godine u godinu. Vaša ljubaznost i raspoloženost da u svakom trenutku odgovorite na gomilu pitanja i zahteva uz iskreni osmeh na licu je ono što ovaj festival čini posebnim. Hvala vam od srca na tome, vidimo se sledeće godine.“

My first encounter with the Auteur Film Festival was in 2009. I was one of the volunteers who helped in organising that year’s festival. One of the things crucial in making me return for the next five years were the words by an elderly Belgrade gentleman. Namely, this faithful visitor of the festival approached the info stand on the last day of the festival and said: “Thank you for everything, miss. Congratulations to the founders, directors and other people who organised the festival for compiling a high quality programme and making a wonderful festival.

However, I would like to point out that you, the young people who stand behind this desk, are the most deserving for the fact that we return to the festival year after year. Your kindness and willingness to answer all sorts of questions and requests at any given moment, and with sincere smiles on your faces, is what makes this festival special. I wholeheartedly thank you for it and see you next year.”

Notwithstanding my rapturous experience of watching a new Godard in the theater with an audience, Film Socialisme was a difficult film for me, somewhat beyond simple classifications of like or dislike. I appreciated its avant-garde play with form but the content of its discourse felt overly familiar and a touch stale. Early Godard often hits >> 64

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I zaista, to izdanje Festivala iz 2010. meni je najdraže od svih. Film koji je otvorio Festival prve večeri bio je Beli, beli svet Olega Novkovića, čija me je sirova žestina iznenadila, ali još više njegova nadrealna završnica, u kojoj grupa rudara peva o svom životnom usudu ‒ prljav i raščupan, ali divan, na brzinu sklepan hor. Film Kristija Pujua Aurora stavio je na probu moju izdržljivost. Uvažavam autorovo pregnuće, ali nakon što sam sve vreme podbadan tokom tog tajanstvenog putešestvija čijeg odredišta nema na vidiku, na koncu sam ostao prilično prazan. Na kraju me je film podstakao da napišem esej o novom rumunskom filmu za koji mislim da je precenjena pojava ‒ ili ja tu nešto nisam najbolje shvatio. Film Kabum Grega Arakija bio je zanimljiv tričav apsurd, koji me je dirnuo lakoćom rediteljske ruke, i razrešio se brzim i olakim dizanjem cele planete u vazduh. Film Prestupna godina Majkla Roua me je ozlojedio, isprva servirajući izlizane stilske figure dugih kadrova da bi se potom izokrenuo u film s hard-kor seksom, koji je na trenutke bilo teško gledati.

Najveće iznenađenje festivala te godine bio je Guma Kventina Dupjea. Eto filma i reditelja o kojima ništa ne znam, i ostao sam potpuno zatečen nakrivo nasađenom sumanutošću ove komedije i anarhičnošću njegove vizije. Možda je baš taj film savršen primer onoga na čemu počiva Festival autorskog filma. Čovek može da ode na projekciju potpuno nepripremljen, pun poverenja u izbor filmova, i ako ostane otvoren za nova iskustva, može da izađe zadovoljan i prosvetljen, ohrabren spozna66

you early, which is the secret of its immense charm, while late Godard seeds something for later sowing. Ironically enough, when I watch the film again years from now I will probably appreciate its modernity all the more and be able to see just how far ahead of the curve it was. I do not know if this is an indictment on Godard or on me as a viewer – or maybe the normal course of things for those works that would aspire to be masterpieces.

Truth be told, the 2010 edition of the Auteur Film Festival is my favorite overall.

The opening night film was White White World by Oleg Novković, which surprised me with its raw ferocity but more so with its surreal conclusion featuring a crowd of miners singing about their lot in life – a dirty and disheveled makeshift choir, beautiful all the same. The film Aurora

by Cristi Puiu tested my limits of endurance. I appreciated its craftsmanship but felt rather empty at the end after being teased along on a mysterious journey with no destination in sight. The film eventually prompted me to write an essay on New Romanian Cinema, which I felt was an overrated phenomenon – or perhaps I had simply come to the party too late. The film Kaboom by Greg Araki was an interesting absurdist trifle that endeared me to the director’s lightness of touch, capped by the quick and effortless detonation of the entire planet. Rowe’s Leap Year frustrated me, at first catering to the hackneyed tropes of slow cinema and then twisting itself into a hardcore sex film that was difficult to watch 67

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jom da su glasine o krizi autorskog filma zapravo preuveličane. Svaki od ovih filmova stavio je na probu moja uverenja, moj način gledanja na film i na svet uopšte. Ukratko, to je ono što autori i treba da čine, ono što autorski film mora da bude.

Moram da priznam, nikad mi se nije mnogo dopadalo kako se sve francuska reč „auteur“ koristi u srpskom jeziku. Mislim da se primenjuje previše slobodno, često se protežući do svojih krajnjih ideoloških granica ‒ a opet, „auteur“ je prosto termin koji je najčešće loše prevođen i loše primenjivan u svim jezicima i na svim međunarodnim filmskim studijama.

Razlog je verovatno i to što je takođe reč o najznačajnijem i najtemeljnijem terminu na filmskim studijama, i njegovo značenje za nove generacije i u novim kontekstima mora stalno iznova da se razmatra i revidira. Koncept je preživeo i razvio se kao teorija koja poseduje trajnu vrednost. Njen najnoviji vid je „vulgar auterism“, što bi trebalo da implicira da neki savremeni reditelji, zbog banalnosti svojih dela obično izostavljeni iz priče o „umetničkom“ filmu, zaslužuju mesto među velikanima. To je bila suština izvorne polemike o autorstvu iz kojeg su bivali izuzeti oni žanrovski filmski stvaraoci koje su zagovornici visoke umetnosti izvrgavali ruglu. Dakle, ili je koncept autorskog filma obigrao pun krug, ili je postao ispražnjen od svakog smisla i značenja, autorefleksivni označitelj koji može da simboliše bilo šta, poput tajanstvenog kofera u Petparačkim pričama, koji zrači mitološkim sjajem koji teši i omam-

Eran Kolirin scenarista i reditelj writer and director

at times. The biggest surprise at the festival that year was Rubber by Quentin Dupieux.

Here was a film and director I knew nothing about and was caught completely offguard by the off-kilter insanity of its comedy, the anarchy of its vision. Perhaps this film is the perfect exemplar of the Auteur Film Festival pact. One can often go into a screening blind, trusting the selection, and if you remain open to new experiences you may come out pleased and enlightened, encouraged that the rumors of the crisis in auteur cinema are greatly exaggerated. All of these films challenged my beliefs and my way of viewing cinema and the world. In short, this is what an auteur must do, what an auteur cinema must be.

Oduvek sam voleo Beograd. U njemu se osećam kao kod kuće. Ljudi su ludi koliko i gostoljubivi.

Veliki ljubitelji filma i pića. Selekcija Festivala je sjajna, vrlo promišljena i artikulisana. Vozači Festivala su izgleda frustrirani vozači Formule 1, što svaki put do aerodroma čini iskustvom zbog kojeg više cenite život. I, najvažnije od svega - i nadam se da ovim neću izazvati novi rat - Srbija ima najbolju verziju BUREKA na Balkanu. Rock on, dragi prijatelji.

I have always loved Belgrade. It feels like home to me. People are equally crazy and welcoming. Great lovers of cinema and booze. The selection of the Festival is great, articulated and full of thought.

Festival drivers seems to be frustrated Formula 1 drivers, which makes every trip to the airport a life-affirming experience and most important - and I hope I don’t start a new war here - Serbia has the best version of BUREK in the Balkans. Rock on, dear friends.

I must admit, I have never much liked the way that the French word ‘auteur’ is used in the Serbian language. I find it applied too liberally, often stretching its ideological boundaries to the breaking point – but then again, ‘auteur’ is the single most mistranslated and mis-appropriated term in all languages in international cinema studies.

This is probably because it is also the most important and influential term in international cinema studies, and its significance must constantly be reckoned with and revised for new generations and new contexts. The concept has survived and thrived as vintage theory. Its newest iteration is ‘vulgar auteurism’, which would seem to imply that those contemporary directors usually left out of discussions about ‘artistic’ cinema because of the vulgarity of their work deserve a place in the pantheon. This >> 68

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ljuje. Kako god upotrebljavali ovaj termin, meni je drago što na Festivalu autorskog filma neću videti filmove Majkla Beja ili Majkla Mana, mada me neki od njihovih filmova zanimaju. To ne znači da sam de facto zanesen Mihaelom Hanekeom ili Mihaelom Glavogerom, ali mogu da uvidim tu razliku u njihovim vidovima izražavanja i razumem zašto bi oni bili uključeni u program festivala koji u svojoj srži ima taj varljivi termin „autor“.

was actually the essence of the original auteur polemics in reclaiming those genre filmmakers which many proponents of high art scoffed at. So either the concept has come full circle or it has been emptied of all meaning and refers to nothing, a self-reflexive signifier that can symbolize anything, like the mysterious briefcase in Pulp Fiction that emits a mythological glow that soothes and stupefies. Whichever way the term demands being employed, I am glad not to see the films of Michael Bay or Michael Mann at the Auteur Film Festival, though some of their films do interest me.

This does not mean I am a de facto enthusiast of Michael Haneke or Michael Glawogger, but I can perceive the difference in their modes of expression and why they would be included in a festival with the shifty term ‘auteur’ at its core.

Možda možemo generalno govoriti o najmanje dva tipa autora ‒ i to ne samo o „američkom“ i „austrijskom“. Postoje autori mejnstrima, čiji su filmovi naširoko slavni i koje može da gleda vrlo raznovrsna i široka publika. To su autori savršeno izgrađenog stila koji masovna publika lako prihvata.

Oni često rade u dominantno narativnom modu, i predstavljaju ono što je Trifo nazivao savremenom „tradicijom kvaliteta“, ili možda „umetnošću belog slona“, kako je to nazivao Meni Farber. Haneke ne bi uopšte bio loš primer ovog tipa autora.

Maybe we can speak of at least two types of auteurs – and not just American and Austrian. There are mainstream auteurs whose films are celebrated on a wide scale and can be consumed by a larger public. These are auteurs that have something of a seamless style that is palatable to the masses.

They often work in the dominant narrative modes. They represent something of a contemporary ‘tradition of quality’, as Francois Truffaut called it, or perhaps ‘White Elephant Art’, as Manny Farber named it.

Haneke would not be a bad example of this type of auteur.

A onda, tu su i autori koji nastoje da uznemire. Oni prave hermetične filmove koji nemaju praktično nikakve izglede na međunarodnom bioskopskom tržištu.

Suočavaju publiku s temama i likovima koje su sami odabrali, imaju svoj stil i ne nude nikakvu utehu. Njihovi filmovi su često radikalni na spoljnom i unutrašnjem planu. Oni flertuju na margini avangardnog, ali mu se nikada potpuno ne predaju, inače bi postojali u nekom drugom svetu za međusobno povezanu, mada drugačiju 70

Then there are the auteurs that are out to upset. They make hermetic films that have 71

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26 Draško Ređep, književnik, predsednik Fondacije „Aleksandar Saša Petrović“ (iz njegove knjige Rapsodija ništavila) / writer, Chairman of “Aleksandar Saša Petrović“ Foundation (excerpt from his book Rhapsody of Nothingness)

Film o filmu: Seobe u režiji Bore Draškovića Ni malo ne preterujem, ta projekcija u beogradskom Kulturnom centru, u poznu jesen 2003, na završetku 10. Festivala autorskog filma, bila je nesvakidašnje mnogoznačna. Podsetila nas je na mnogobrojne koji već nisu među nama, a neki vidici, u Deronjama na primer, sa onom kočijom u kojoj i ja, kao Garsuli, poput kakvog aktuelnog komesara, a ne samo ondašnjeg oberkrigkomesara, plovim u omami ukupne osmoze koju je Saša širio na snimanju, idu u red antologijskih trenutaka našeg dokumentarnog filma. publiku. Farber smatra da su oni „termiti“, ali verovatno nam treba neki drugi opis jer ono što čine je više od rovarenja ‒ oni demontiraju. To su autori poput Tsai MingLianga, Želimira Žilnika, Žan-Lika Godara.

Festival autorskog filma predstavlja oba tipa autora, kao što je i red. Ono što volim kod ovog festivala jeste što služi svojoj svrsi, i služi joj dobro. Taj prostor, koji se u odsustvu Festa otvorio 1993. i 1994. godine i koji je ispunio Festival autorskog filma, i dalje je vrednost u filmskom kalendaru Beograda na koju valja skretati pažnju. Ovi filmovi jednostavno drugačije ne bi mogli da se vide u Beogradu ‒ mada to nije drugačije ni kad su u pitanju festivali drugde u gradovima širom sveta. Festival autorskog filma je pre svega popularan festival, festival

practically no commercial prospects on the international market. They confront audiences with the themes and subjects they choose, with their style, they do not comfort. Their films are often radical on a surface-level and in a deep-rooted manner.

They flirt with the margins of the avantgarde but do not wholly succumb to this mode, otherwise they would exist in a different world for a related but different audience. Farber thought they were ‘termites’ but we probably need another descriptive, because they do more than burrow – they dismantle. These are auteurs like Tsai MingLiang, Želimir Žilnik, Jean-Luc Godard.

The Auteur Film Festival shows both of these types of auteurs, as it should. The thing I love about the Auteur Film Festi72

A Film about a Film: Migrations directed by Boro Draškovića I do not exaggerate at all when I say that this screening in the Cultural Centre of Belgrade, in the late autumn of 2003, at the conclusion of the 10th Auteur Film Festival, was really imbued with significance and connotations. It reminded us of the many people who were no longer with us, while some scenes, such as that one shot in Deronje village, with me, in the role of Garsuli, riding that coach like some modern day commissar, not just an Oberkriegkommissar of the time, in the haze of the overwhelming osmosis which was characteristic of Saša’s sets, most certainly belong to the historic moments of our documentary film-making.

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za publiku. Njegova publika veruje u koncept za koji se on zalaže više nego u ma kog pojedinačnog autora koji je na njemu predstavljen. To je ono što mu je omogućilo da preživi prvih dvadeset godina, i što će mu obezbediti i sledećih dvadeset. A za dvadeset godina, kad omatorim, i ako još budem živeo u Beogradu ‒ ako još budem živ ‒ videćete me na tom festivalu. Poželite nam, i jednom i drugom, srećan rođendan. A onda me ostavite na miru u mraku, i pustite me da sanjarim o svim divnim božanskim delima koja su me prosvetlila.

val is that it serves its purpose and serves it well. This space that was opened up by the absence of FEST in 1993 and 1994 and that was filled by the Auteur Film Festival is still an opportunity in the Belgrade film calendar that needs addressing. These films simply would not otherwise be seen in Belgrade – though this is no different from the function that many film festivals serve in cities all over the world. The Auteur Film Festival is primarily a popular festival, an audience festival. Its public believes in the concept it stands for more than any particular auteur it presents. This is what has allowed it to survive for 20 years, what will insure it survives for 20 more. And 20 years after that, when I am a senior citizen, and if I am still living in Belgrade – if I am still living – you will find me at the festival.

Tell us both happy birthday. Then leave me alone in the dark and let me dream about all these beautiful acts of God that delivered me into the light.

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Vojislav Vučinić, osnivač i dugogodišnji direktor festivala

Vojislav Vučinić, founder and the long-time Director of the festival

Glavni razlog zbog kojeg smo napravili festival? Zato što je to bilo potrebno Beogradu. Bilo je potrebno tada, a potrebno je i danas. Odlučili smo se da napravimo umetnički festival, jer smo smatrali da Beograd, kao veliki kulturni centar, ima publiku za to. Ovakvih festivala nema i u mnogo većim gradovima.

Jedan saradnik iz inostranstva rekao mi je pre više godina, kada je video katalog: „Takav festival možete samo u Beogradu da napravite“. Jer, naravno, za festival je potrebna i publika.

Naravno da smo tokom dvadeset godina imali i raznih iskušenja. Finansiranje nam je uvek bilo skromno i problematično, svake godine postavljalo se pitanje: Da li će biti festivala? Ali uvek smo uspevali da se izborimo, da prevaziđemo teškoće. Osim publike, imali smo i odlične saradnike – tu su bili Kinoteka, bioskopi, strani kulturni centri, i republičke institucije, koji su pomogli da sve izguramo.

Imali smo oduvek i prave goste, renomirane filmske umetnike koji su svojim dolaskom podržavali festival. Odmah posle rata, 1997. godine, na festival je došao Lordan Zafranović, jedan od najomiljenijih jugoslovenskih reditelja u Beogradu. Kada je posle promena 5. oktobra 2000. godine došla Sofi Marso sa njenim mužem, rediteljem Andžejem Zulavskim, bili smo primljeni kod tadašnjeg predsednika.

Drago mi je što smo napravili ovaj festival za Beograd, jer ga ovaj grad zaslužuje; i drago mi je što ga danas vode pravi ljudi, reditelji i filmski kritičari koji su u vreme početaka festivala bili studenti i posetioci projekcija. Festival autorskog filma izdvajaju volja i rešenost da predstavljamo samo umetnički film, i ne pravimo kompromise sa komercijalnim. Od gledalaca često čujem kako im ovaj festival promeni život. U to verujem, to je moguće, jer umetnost to može da uradi.

What was the main reason that we created this festival? Because this was something that Belgrade needed.

It needed it then, and it still needs it today. We decided to make an artistic film festival, since we believed that Belgrade, as a major cultural centre, had public for such an event. Festivals like this one are lacking in some cities much bigger than Belgrade. Many years ago, upon seeing our catalogue, a foreign associate of ours told me: “Belgrade is the only place in which you can make such a festival,” meaning that every festival certainly needs its audience.

We have surely encountered various challenges throughout the twenty years of our existence. Our finances have always been modest and problematic, as we faced the same question year after year: Will the festival be held? Yet we always managed to overcome the obstacles. In addition to our audience, we have also had our excellent line-up of associates – Yugoslav Film Archive, cinemas, foreign cultural centres and state institutions have all helped us to weather the storms. What is more, we have always had the right guests, renowned film artists who supported the festival with their attendance. Right after the war, in 1997, the festival was visited by Lordan Zafranović, one of the favourite Yugoslav filmmakers among Belgrade’s public.

When after the democratic changes of 5 October 2000 we were visited by Sophie Marceau and her husband Andrzej Zulawski, we were received by the then President of Serbia.

I am glad that we created this festival for Belgrade, because this city deserves it; and I am glad that it is presently managed by the right people, the film directors and critics who used to be film students or belonged to our general public at the time of the festival’s foundation. The Auteur Film Festival is distinguished by our will and resolution to present only artistic films, without making compromises when it comes to commercial cinema. We often hear it from our audience that this festival changed their lives. We believe this, it is possible, since this is the thing that art certainly can do.

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Beogradski Manifest je odgovor na trenutnu krizu u umetničkom filmu: smanjivanje budžeta, kontrolišuću birokratiju i, pre svega, stagnaciju filmskog jezika. Manifest obrazlaže kako nove, jeftine digitalne tehnologije omogućavaju filmskim autorima priliku da prevaziđu postojeće strukture i pronađu nove načine da snimaju i prikazuju filmove, načine koji mogu da revitalizuju film.

The Belgrade Manifesto is a response to the current crisis in arthouse cinema: shrinking finance, over-controlling bureaucracies and, above all, the stagnation of cinematic language. It argues that the new low-cost digital technology offers filmmakers the chance to bypass existing structures and find new ways to make and exhibit films that can revitalise cinema.

„Manifest” su predstavili Nora Houp i Džon Sanders u otvorenoj debati na Festivalu autorskog filma u nedelju 2. decembra 2007.

The Manifesto was presented by Nora Hoppe and Jon Sanders and discussed in an open forum at the Belgrade Festival of Auteur Film on Sunday 2nd December 2007.

Beogradski Manifest

The Belgrade Manifesto

(2007)

(2007) Uveren sam da ako kažete

I am convinced that if you start by

’uništicu sve što je dosad ostvareno

saying ‘I’m going to destroy every-

jer hocu da budem savremen’

thing, I’m going to be modern’,

svakako necete postati savremeni.

then you won’t be modern. You

Da biste zaista bili savremeni,

can be modern, and must want to

morate želeti da to budete, morate

be so, because you must contribute

dati sopstveni doprinos onome

something, but you can be modern

cime se bavite, smerno sledeci

only by humbly following your

svoje predhodnike.

predecessors.

— Žan Renoar

Film je danas u krizi, postoji duboka nelagodnost, osećanje umetničke praznine i besmisla. Evolucija filmskog jezika, koja je od životnog značaja za dalju dobrobit i relevantnost medija, bukvalno tapka u mestu. Dobrih filmova je sve manje, a u velikoj meri opada i broj obaveštene i obrazovane publike koja je itekako značajna za njihov uspeh. Starije generacije ne idu više u bioskop, jer se najveći broj filmova pravi za mlade koji većinom ne shvataju sposobnost filmskog/video medija da izrazi dubinu, uzbuđenje i složenost. Kritičari, koji bi trebalo da usmeravaju i obrazuju publiku, mahom nisu tome dorasli, a ni distribucione strukture više ne dejstvuju celishodno.

There is a crisis in cinema today, a deep malaise, a feeling of artistic exhaustion, of pointlessness. The evolution of cinematic language that is so vital to the continued well-being and relevance of the medium has pretty much come to a standstill. Good films are getting fewer, the informed and knowledgeable audience that is so important for their success has shrunk. The older generation don’t go to the cinema any more because so many films are for young people, and the young people today have little idea of cinema’s capacity for depth, excitement and complexity. The critics, who should be guiding and educating that audience, are mostly inadequate, and the distribution structures no longer work.

Uspon globalizovanog tržišta, kao i fenomenalna umešnost Holivuda da to iskoristi, uprkos činjenici da su filmovi sve lošiji i lošiji, ne samo da ugrožavaju alternativno tržište, nego – što izaziva još veću uznemirenost – podrivaju alternativne pristupe filmskoj/video proizvodnji:

The growth of the globalised market and of Hollywood’s extraordinary success in exploiting it, despite the fact that the films are getting worse, has not only depleted the alternative markets but, more disturbingly, has undermined alternative approaches to production by acting as a virus - its

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— Jean Renoir

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distribution and exhibition. What is being ignored is the mirror image of this crisis, and one which is inextricably linked to it, and that is the long-term stagnation of cinematic language and form and the consequent lack of innovation and depth which are essential to keep cinema alive.

uticaju takvih ostvarenja na finansiranje, distribuciju i prikazivanje. Ali ono što je karakteristično je osoben odraz te krize u ogledalu i što je neraskidivo povezano sa tim odrazom: dugotrajno stagniranje filmskog jezika i forme, kao i nedostatak inovacije i dubine, neophodnih za održavanje i usavršavanje filmskog/video stvaralaštva. delujući kao virus, takve metode i filozofija se neposredno preuzimaju ili postepeno usvajaju. Niko više ne obraća pažnju estetskoj formi bez koje se - kao što su to naši prethodnici dobro shvatili - ništa vredno ne može postići. „Priči“ se daje preteran značaj, a proučavanje njene sirove mehanike postalo je zasebna industrija, sa savetnicima i stručnjacima u svakoj agenciji koja finansira filmsku/video produkciju, kao sastavni deo neproduktivne birokratije, čija je tendencija da nazre tekući trend, kao i da potpomaže (najcešce iskrivi) proizvodnju filma/videa u skladu sa postojećim anticipacijama.

methods and philosophy are either taken on directly or internalised. Nobody pays attention to form, without which, as our predecessors understood, nothing worthwhile can possibly develop. The “story” is given exaggerated importance; the study of its crude mechanics has become an industry in itself with consultants and experts in every financing agency and production house, part of an ever growing and unproductive bureaucracy whose purpose is to sniff out the trends and fads of the day and to select and develop (and distort) productions in accordance with those predictions.

Uz malobrojne izuzetke – kratkotrajan uspeh takvih filmova na nacionalnim tržištima u većini slučajeva ne ostvaruje očekivani profit. Uspostavljeni sistem je neodrživ i ono što ga čini još gorim je činjenica da veliki filmovi kojima se još uvek divimo i koji su odoleli vremenu i prostoru, danas više nije moguce realizovati, ili se to postiže samo u retkim slučajevima uz ogromne teškoće. Očigledno je da se sredina izmenila i da ulazimo u eru „digitalnog filma“. Sve je veći broj konferencija i skupova na kojima se raspravlja o

But it isn’t working. With very few exceptions - the elusive “crossover” or the brief success of an undemanding formula in a national market - these films are not making money. The system is unsustainable and what makes it worse is that we know that those films which we revere, which have passed the test of time, could never be made today. However, the landscape has shifted and we are now entering the era of “digital cinema”. There are an ever increasing number of conferences and conventions about the impact of this on financing, 82

We are at a crossroads where the new possibilities opened up by digital production and exhibition have real potential for the rejuvenation of cinema. But the danger is they could also work against it by swamping the market with low-quality work.

Nalazimo se na prekretnici u vremenu u kome nove mogućnosti što ih pruža digitalna produkcija i elektronsko prikazivanje pokretne zvučne slike imaju stvarni potencijal za podmlađivanje filmske umetnosti.

Međutim, postoji opasnost da se to ugrozi preplavljivanjem tržišta delima niskog kvaliteta.

As filmmakers, we have to grasp this opportunity. At last, it is now possible, because of the huge reduction in costs, to bypass existing funding channels and make high quality films WITHOUT PERMISSION. In addition, we need to adapt and develop those models of distribution and exhibition that are already being pioneered and begin to identify new sources of minimal funding.

It is time to take responsibility for our own future and establish a committed, interactive community that can share ideas and work together to find viable ways to make and show our films and build audiences that will want to see them.

Kao filmski stvaraoci, moramo iskoristiti mogućnosti koje nam se pružaju, što je moguće, zahvaljujući velikom smanjenju troškova, da najzad zaobiđemo postojeće kanale finansiranja kako bismo mogli da ostvarujemo visoko kvalitetne filmove bez posebne dozvole. Osim toga, neophodno je da se prilagodimo i razvijemo one modele distribucije i prikazivanja koji su se potvrdili i da počnemo iznalaziti nove izvore minimalnog finansiranja. Došao je trenutak za preuzimanje odgovornosti o sopstvenoj budućnosti, kao i da uspostavimo angažovanu, interaktivnu zajednicu, u kojoj se mogu uzajamno koristiti ideje i informacije, kako bismo mogli da tragamo za vitalnim putevima koji omogućuju pravljenje i prikazivanje filmova i vaspitanje gledalaca koji će ih shvatiti i želeti da ih vide.

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F ......

Srđan Vučinić

Uz jednu (sasvim ličnu) antologiju Festivala autorskog filma Srđan Vučinić

Addition to an (Entirely Personal) Anthology of the Auteur Film Festival

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Ovaj je tekst neka vrsta kolaža, nastalog od isečaka tekstova koje sam pisao povodom filmova prikazanih na Autorskom festivalu od 1994. godine. Najzad, oni nisu lišeni ni one dobro poznate „naknadne pameti“, jer sam većinu njih namerno dopunjavao iz perspektive sadašnjeg vremena. Kako reče neko od gostiju, reč je o filmovima koji bacaju dugu senku, o delima koja danas znače nešto drugo i više nego što su značila kada smo ih premijerno gledali.

Nadam se da će neko od gledalaca Autorskog uraditi i drugi deo ove antologije, neku svoju (veoma ličnu) antologiju, da će u njoj biti i filmovi koje sam ovde propustio, i možda će ta antologija biti čak i bolja, ako u njoj budu i Čanking-ekspres Vong Kar Vaja (1995), Cyclo/Taksi-bicikl Tran An-Hunga (1997), Brat Alekseja Balabanova (1997), Zimska bajka Erika Romera (1998), Vetar će nas odneti Abasa Kjarostamija (2000), Taurus Aleksandra Sokurova (2001), Koliko je tamo sati? Tsai Ming Lianga (2001) California Dreamin’ Kristijana Nemeskua (2008), Iza brda Kristijana Munđiua (2012), Raj: Vera Ulriha Zajdla (2012)... Ali to je već deo nekog drugog teksta, a ovaj se nastavlja mojim zabeleškama uz 10 sledećih naslova:

This text is a sort of collage, compiled of excerpts from the texts I have written apropos the films screened at the Auteur Film Festival from 1994 onward. Furthermore, they are not deprived of the famous “belated wisdom”, as I intentionally edited the majority of these texts from the perspective of present times. As nicely observed by one of the festival guests, these are the films which cast long shadows, the works of art which today have different and greater significance than when we watched them for the first time.

I hope that some festival visitor will compile a sequel to this anthology, his or her own (entirely personal) anthology, which would possibly include some films I may have left out here. That anthology could perhaps be even better than this one, should it include films such as Chungking Express by Wong Kar Wai (1995), Cyclo by Tran Anh Hung (1997), Brother by Aleksey Balabanov (1997), A Winter’s Tale by Eric Rohmer (1998), The Wind Will Carry Us

by Abbas Kiarostami (2000), Taurus by Aleksandr Sokurov (2001), What Time Is it There? by Tsai Ming Liang (2001) California Dreamin’ by Cristian Nemesku (2008), Beyond the Hills by Cristian Mungiu (2012), Paradise: Faith by Ulrich Seidl (2012)...

Yet this would imply entering the domain of some other text, while this one should continue with my notes to accompany the following 10 film titles:

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GLAD

HUNGER

...Ova, spolja gledano klasična filmska priča, zasnovana na faktografiji (o pobuni zatvorenih pripadnika IRE, koji stupaju u štrajk glađu do smrti u doba vladavine Margaret Tačer 1981) – u svojoj suštini odstupa od svih konvencija klasične naracije i bioskopskog filma. Školska pravila kompozicije i razvoja radnje, „neophodni“ dramski odnosi među likovima, kao ni dijalozi u pravom smislu te reči (sa izuzetkom duge središnje scene junakovog dijaloga sa sveštenikom – neke vrste kamijevskog spora za i protiv pobune i žrvte) – sve to Stivu MekKvinu u većem delu filma zapravo i nije potrebno. Sva veština filmskog pripovedanja (a ponajviše ona oveštala, zanatski shvaćena dramaturgija, kao umeće motivisanja likova i ubeđivanja gledaoca) kod njega je potisnuta, sklonjena negde na marginu, odakle deluje tek kao dobar surogat naracije. Središte i prava drama preneseni su u likovne elemente – u valere boja, intenzitet rasvete, u kompozicije kadrova i atmosferu koju njihova likovnost isijava. Kao vizuelni umetnik,

...What appears to be a classic film story, based on factual events (mutiny of the imprisoned IRA members who went on a hunger strike to death during Margaret Thatcher’s reign in 1981) essentially transgresses all the conventions of classical narration and cinema. The film-school rules of composition and plot development, “necessary” dramatic relations between characters, as well as dialogues in the narrow sense of the word (with the exception of the long scene near the film’s middle, of the protagonist’s dialogue with the priest – a sort of Camus argument pro and con rebellion and sacrifice) – all this Steve McQueen renders superfluous for the best part of his film. All the skills of cinematic storytelling (and especially that artificial craft of dramaturgy, as the skill of motivating characters and persuading the viewers) is suppressed and pushed to the margin to serve there only as a good surrogate for narration. The focus and real drama are transposed to the realm of the visual – shades of colours, intensity of lighting, composition of frames

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autor zapaženih video-radova, alternativnih kratkih filmova i umetničkih fotografija (npr. ciklusa posvećenog britanskim vojnicima poginulim u Iraku iz 2002), MekKvin oseća da se ova surova povest daleko bolje može predstaviti likovnim i eksperimentalnim, nego tradicionalnim filmskim jezikom. Zato nam njegova maestralna vizuelnost sprema iznenađenja kakva verovatno nijedan drugi reditelj nije u stanju da priredi: u trenutku kada posmislimo da gledamo neku maštovitu enformel-sliku, shvatićemo da je to zid samice koji su kažnjenici pažljivo „islikali“ razmazujući po njemu svoje fekalije (tokom poznatih „prljavih protesta“); a kada iza krajnjeg naturalizma, u scenama prebijanja i mučenja golih zatvorenika, osetimo ipak i nešto umirujuće, nešto što negledljivu brutalnost sublimira – otkrićemo da autor prefinjenom likovnom obradom svoj fotografski verizam svesno približava kompozicijama renesansnih i srednjevekovnih majstora i osnovnom motivu na njima, motivu Hristovih stradanja. Tako MekKvin, polazeći od vlastitog iskustva video-arta i fotografije, preko iskustva modernih slikara (kakvi su Frensis Bejkon ili Lisjen Frojd), u mediju pokretnih slika oživljava i reaktuelizuje mističnu sugestivnost starih majstora: Grinevalda, Rembranta, Karavađa...

(2008)

and the atmosphere exuded by their visual artistry. As a visual artist and author of some quite notable video-art, alternative short films and art photography (i.e. the series dedicated to the British soldiers who had lost their lives in Iraq made in 2002), McQueen feels that this brutal tale can be recounted far more effectively through the visual and experimental, than the traditional cinematic language. So, possessing this masterful visuality, he keeps in store surprises which no other contemporary director is likely to offer: as soon as we decide that what we see before us must be some highly imaginative informist painting, we will realise that this is the wall of a solitary meticulously painted by the prisoners with their own faeces (in the course of the famous “Dirty Protest”); and when behind his utter naturalism, in the scenes of beating and torturing of the naked prisoners, we also feel something soothing, something which sublimates this unwatchable brutality – we will discover that the auteur adapts his photographic verism, by means of his fine artistic rendering, to closely resemble compositions of the Renaissance and medieval masters, as correspond to their best loved motif, the passion of Christ. Thus, turning to his own experience in video-art and photography, and building on the experiences of modern painting (and the likes of the artists such as Francis Bacon and Lucien Freud), McQueen endows the medium of moving pictures with the revived mystic suggestiveness of the old masters: Grünewald, Rembrandt, Caravaggio…

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POVRATAK

THE RETURN

...U pomenutom ključu religiozne parabole Povratak se jasno ukazuje kao hipotetični treći čin Beketovog Godoa – kao alternativni naslov moglo bi stajati i ono čuveno „Godo je došao“. Da li je čovek uopšte, pogotovo čovek današnje civilizacije, u stanju da pojmi smisao Božjeg doslaska, da li je za njega pripremljen – čini se da tek kroz prizmu ovih pitanja naziremo misaonu kompleksnost filma Andreja Zvajginceva.

Na kraju Povratka Andrej i Ivan bespomoćno posmatraju očevo telo kako tone zajedno sa čamcem. Reditelj koristi iste uglove snimanja, istu kompoziciju kadra kao i na početku – kada dečaci zatiču oca u kući kako spava. Ova vizuelna analogija sugeriše značajan utisak: otac odlazi kao što je došao, odnoseći svoju tanju sa sobom. Sigurno su dečaci na tom neobičnom putu i sazreli zakoračivši u turobni svet odraslih, ali ono glavno pitanje, smisao očevog dolaska, ostalo je za njih nepoznanica. Ima jedno briljantno mesto kod Česlava Miloša, kada na primeru

...Interpreted as a religious parable, The Return reveals clear parallelism to the hypothetical third act of Beckett’s Godot – the proverbial “Godot is here” could very well serve as its alternative title. Whether man in general, and especially the one belonging to contemporary civilization, is capable to comprehend the implications of the Divine Coming, whether he is even ready for it – it seems that the film by Andrey Zvyagincev, only when observed through the lens of these questions reveals its full complexity of ideas.

At the end of The Return, Andrey and Ivan helplessly observe their father’s body sinking together with the boat. The director uses the same camera angles and composition as in the beginning – in the scene when the boys find their father in the house sleeping. This visual analogy has an important implication: the father leaves just as he came, carrying his secret with him. The boys have most certainly matured in the course of this unusual journey and stepped

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Knjige o Jovu govori o smislu koji postoji, ali je pomeren izvan ljudskog poimanja, izvan ograničenog vidokruga našeg uma.

Ali i pre uočenih (značenjskih i formalnih) aluzija koje sam pominjao, film Andreja Zvjaginceva može navesti na neočekivanu asocijaciju – tokom projekcije Povratka prvi put doveo sam u vezu dve dobro poznate knjige, Čekajući Godoa i Knjigu o Jovu.

Vladimir i Estragon ukazali su se kao udvojeni Jov u cirkuskom kostimu moderne epohe, u apsurdnom iščekivanju Smisla koji ne mora pripadati njima. Za ovu analogiju zaslužna je „edipalna drama“ Andreja i Ivana, slična a ipak toliko različita u dekoru našeg postindustrijskog, postkomunističkog doba – u eri nemilosrdnog iznurivanja prirode i pustošenja Zemlje koje čovek sistematski sprovodi...

into the gloomy world of adults, yet the answer to that main question pertaining to the purpose of their father’s return remains unknown to them. There is a brilliant passage by Czesław Miłosz where, using examples from the Book of Job, he writes about the sense that does exist, yet is removed outside the scope of human understanding, outside the limited range of our mind.

However, even before one identifies those allusions (in both meaning and form) that I have already mentioned, the film by Andrey Zvyagincev may bring forth an unexpected association – for the first time during the screening of the Return, I made a connection between two well-known books, Waiting for Godot and the Book of Job. Vladimir and Estragon became exposed to me as dual Job in the circus costumes of the modern age, absurdly waiting for the Sense that might not belong to them. This analogy was born of the “oedipal drama” of Andrey and Ivan, so similar, yet simultaneously so different against the backdrop of our postindustrial and post-communist age – in the era of merciless exhaustion of nature and ravaging of Earth systematically carried out by the mankind…

(2003)

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NEPOVRATNO

IRREVERSIBLE

Film francuskog reditelja argentinskog porekla Gaspara Noe, sa Monikom Beluči i Vensanom Kaselom u glavnim ulogama, danima je najavljivan kao najveći šok i „skandal“ 55. Kanskog festivala. Zbilja, film je podelio publiku i kritičare na dva suprotstavljena tabora (pri tom su, što je prirodno, glasniji bili oni koji su Nepovratno do kraja osporavali). Gaspar Noe nesumnjivo ima nameru da šokira i provocira gledaoca, ali njegov talenat ne iscrpljuje se samo u tome.

Prva trećina filma najviše liči na isprazni egzibicionizam. Nekontrolisani pokreti kamere korespondiraju sa suludom atmosferom pariske noći u kojoj dvojica mladića tragaju za trećim čovekom ne bi li mu se osvetili. Prisustvujemo prizorima orgija u jednom gej-klubu, zatim prizorima silovanja i masakriranja ženskog tela koji traju i do desetak minuta, bez elipse, bez montažnog reza. Postepeno otkrivamo da se radnja kreće unazad, scenu po scenu u prošlost; vidimo da je paklena noć

The film by the French-Argentinian director Gaspar Noe, starring Monica Bellucci and Vincent Cassel, was being advertised for days and days as the biggest shock and “scandal” of the 55th Cannes Film Festival.

And the film certainly did divide the public and critics alike into two irreconcilable camps (with those being wholeheartedly against Irreversible naturally being the more vocal ones). Gaspar Noe’s intention is undoubtedly to be shocking and provocative, yet there is more to his talent than creating scandal.

The first third of the film mostly resembles mere exhibitionism. Uncontrolled camera jolts correspond to the delirious atmosphere of a Parisian night, with two young men searching for the third one to exact revenge against him. We witness an orgy in a gay club, as well as a scene of the rape and mutilation of a woman, lasting for the whole ten minutes, without ellipses or editor’s cuts. We gradually become aware that the plot is unwound in retrospect, 92

neslućeni ishod jedne idilične ljubavne veze.

Tezu po kojoj vreme „uništava sve“ Noe dovodi do njenih krajnjih konsekvenci.

Dublje značenje možemo sagledati tek ako model pripovedanja primenimo na životnu storiju bilo koga od nas – povratak u prošlost najčešće će govoriti o nepovratno izgubljenim mogućnostima i brutalnom ruiniranju edenske neoskvrnutosti života.

Tako, iza brutalnosti, šoka i skanadala naziremo pravu, filozofsku dimenziju filma – odabranom formom naracije autor progovara o nepovratnoj suštini ljudskog bivstvovanja – rušeći tako obmanu koju emituju površina videa i TV-ekrana. Namesto virtuelnog univezuma beskonačnog kruženja i beskonačnih metamorfoza, lišenog posledica, telesnosti, patnje i odgovornosti, Noe nas svojim radikalnim eksperimentom vraća svetonazoru klasične umetnosti: čovek je krvav i uklet, njegov svet je „dolina suza“, a njegovo vreme „mračni Neprijatelj“ o kome Bodler piše u svojoj pesmi.

scene by scene into the past; we realise that the infernal night in fact represents an undreamed of outcome of an idyllic love affair.

The thesis that time “destroys everything” is pushed by Noe to its extreme implications. We can identify the deeper meaning only when we apply this storytelling technique to the life story of any of us – the idea of returning to the past would often imply the irreparable loss of opportunities and expose brutal destruction of the prelapsarian immaculacy of existence.

Thus, beyond the brutality, shock and scandal, we catch the glimpses of this film’s true, philosophical essence. Through his chosen narrative form, the auteur speaks of the irreversible essence of human existence, thus destroying the deception produced by video and TV screen. Instead of a virtual universe of endless cycles and infinite metamorphoses, devoid of consequences, corporeality, suffering or responsibilities, through his radical experiment, Noe leads us back to the creed of classical art: the man is bloody and doomed, his world is “the valley of tears”, while his time is “the obscure enemy” of the Baudelaire’s poem.

(2002)

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SVE ILI NIŠTA

ALL OR NOTHING

...Silinom emocija, snagom likova koji negde u predgrađu Londona žive svoje bedne i u isti mah zadivljujuće živote, koji su „sve ili ništa“, Li je ponovo načinio podvig u aktuelnom miljeu filmske konfekcije i industrije. Kroz današnje ljude sa ponora, nižu srednju klasu Engleske, čiji je pesnik u pravom smislu te reči, autor na svoj način reinterpretira Bergmanov stvaralački kredo po kojem „u svakom čoveku postoji neka vrsta svetlosti“. Ključni aspekt njegove režije pripada radu sa glimcima – zato je najveći deo konferencije ekipa filma posvetila tom dugotrajnom putu kreiranja likova koji istovremeno u sebi nose sirovi dokumentarizam, a s druge strane ekspresivnost tragičkih junaka. Na pitanje zašto se ne bavi i nekim drugim temama i epohama, Li odgovara: „Radio sam to već u filmu TopsyTurvy. Ali moja prava misija je da se bavim običnim ljudima, onima koje svakodnevno viđam u podzemnoj železnici u Londonu.“

(2002)

...Through the intensity of emotions and depth of the characters who, somewhere in the London suburbia, live their petty yet captivating lives, the lives which are “all or nothing”, Leigh once again achieves an extraordinary feat in the context of present cinematic mass production and industry.

Being a true poet of the English lower middle class, Leigh uses these people living on the margins of contemporary society to reinterpret Bergman’s creative credo that “every man emits certain kind of light”.

The key aspect to his direction is related to working with actors – thus the major part of the press conference was dedicated to this long journey of creating the characters which exude a raw documentary quality, while carrying at the same time the expressivity of tragic heroes. Asked why he does not deal with different topics or epochs, Leigh replied: “I have already tried that in Topsy-Turvy. However, my true mission is to deal with ordinary people, those people I see every day in the London Tube.”

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RUSKA BARKA . ..Ruska barka Aleksandra Sokurova naišla je na očekivano nerazumevanje od strane zapadne kritike. Mada nerado koristim termin remek-dela kada je reč o umetnosti čiji smo savremenici, slobodno možemo reći: barem u jednom svom segmentu, Ruska barka je remek delo filmske umetnosti početka XXI veka. Snimljen u samo jednom kadru u nepreglednom prostoru Ermitaža, Sokurovljev film u formi alegorije sažima tri veka ruske istorije.

RUSSIAN ARK ...Russian Ark by Aleksandr Sokurov expectedly encountered misunderstanding of the western film critics. Even though I reluctantly use the term masterpiece when it comes to the works of contemporary art, it is safe to make the following claim: Russian Ark is the masterpiece of cinematic art at the beginning of the 21st century in at least one of its segments. Made in a single continuous shot in the vast expanses of the Hermitage museum, Sokurov’s film sum96

Dramaturške primedbe mogu se staviti na alegorijski pristup, na namerno jednodimenzionalne, plošne likove koji su personifikacije Zapada, Rusije ili islamskog sveta. Jedno se, međutim, ne može osporiti: Sokurov je bez ijednog montažnog reza, u jednom 90-minutnom pokretu kamere (koji je zahtevao višegodišnje pripreme!) na čudesan način obuhvatio čitav prostor Nojeve korablje ruske istorije, prostor u kojem su i masovne scene (balovi na dvoru Romanovih), i platna Rembranta i El Greka koja upućuju na dosegnute civilizacijske vrednosti i religiozne dimenzije; kao i značajni pojedinci koji su predstavljali Rusiju u njenoj istoriji. Može se zameriti Sokurovu što u njegovoj velikoj sintezi nema tamnih strana, surovosti careva i boljara, kataklizme Oktobarske revolucije, nema Lenjina, Staljina i Trockog...

Upravo Lenjinov i Staljinov portret dao je autor u svom prethodnom filmu Taurus.

Ovde je umesto Tanatosa ruske povesti, u borhesovki fantazmagoričnom, muzealnom enterijeru, predstavljen njen Nojev kovčeg – riznica vrednosti koje su za autora ideal Rusije, pravac prema kome se treba upravljati u sveopštem potopu i sunovratu civilizacijskih vrednosti.

marises three centuries of Russian history in the form of allegory.

Dramaturgical complaints may be made against this allegorical approach, as well as this film’s intentionally one-note, flat characters personifying the West, Russia, or Islamic world. One thing, however, is irrefutable: without a single editor’s cut, in a 90 minute camera shot (which required years of preparations!), Sokurov wondrously envelopes the entire Noah’s Ark of Russian history, the sweep including mass scenes (balls at the Romanov court), Rembrandt’s and El Greco’s paintings pointing to the apices of civilization and religious conceptions; as well as significant individuals representing Russia throughout its history. One might criticise Sokurov because his grand synthesis does not include dark undertones, no cruelty of tsars and boyars, no cataclysm of the October Revolution, no Lenin, Stalin or Trotsky… In his previous film, Taurus, the auteur depicted the very characters of Lenin and Stalin. Here, instead of Russian historical thanatos, he provides this Borgesian phantasmagoria enclosed in the interior of the museum which represents Noah’s Ark of Russian history – its treasury of valuables which for the auteur represent the Russian ideal, the direction to strive for in the all engulfing flood and destruction of the civilization values.

(2002)

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PROFESORKA KLAVIRA

THE PIANO TEACHER

... Postoji u filmu jedno simptomatično mesto, kada junakinja (Izabel Iper) objašnjava svome budućem ljubavniku „sumračnu fazu“ u Šumanovom stvaralaštvu. Reč je o delima koja je veliki kompozitor stvorio kada je već prekoračio granicu normalnosti, ali kada je još uvek bio svestan ludila koje ga preplavljuje. Ovaj biografski ekskurs možemo shvatiti i kao poruku samog autora: Profesorka klavira je film koji zaokružuje sumračno stanje savršene lucidnosti i ludila u isti mah.

Sloj koji mi se u filmu čini najzanimljivijim u bliskoj je vezi sa psihopatologijom, no ovde iz sfere realnosti prelazimo u oblast artificijelnog. To više nije bavljenje čovekom, ni ljudskom prirodom, već likovima kao autonomnim produktima umetničke fikcije. Time je prizvana tradicija francuske literature, koja se od Markiza de Sada, preko romantizma i dekadencije provlači kroz ceo XIX vek. Ali ne samo što se pesništvo XIX veka nalazi u znaku „božanskog markiza“, već ta tradicija seže daleko dalje u budućnost, a njene tragove prepoznajemo i u novom Hanekeovom filmu. Ima jedna scena u kojoj glavna junakinja ispod kreveta vadi „pribor za mučenje“ koji bi na njoj trebalo da primeni njen mladi ljubavnik – setiće nas to ne samo slične scene sa Katrin Denev u Lepotici dana, nego i opsesije samoranjavanjem, omiljene kod umetnika dekadencije. I u Profesorki klavira u jednom trenutku nužno doživljavamo tu bunjuelovsku dimenziju, shvatajući čitavu prikazanu dramu kao

... There is a suggestive scene in the film, in which the heroine (Isabelle Huppert) explains to her future lover the “twilight phase” in Schumann’s work, this being a reference to the pieces that the great composer created after he had already transgressed the boundaries of mental normalcy, yet during which he was still acutely aware of the madness that overwhelmed him. We may interpret this biographical excursus as a message by the auteur himself: The Piano Teacher is the film which simultaneously incorporates the twilight of perfect lucidity, as well as the ascent of overpowering madness.

The layer I find to be the most interesting in the entire film is closely bound to the problem of psychopathology, yet here we cross from the realm of reality into the domain of the artificial. This no longer involves dealing with the man, or human nature, but rather with characters as autonomous products of artistic fiction. This invokes the long lineage of French literature, which spreads from Marquis de Sade, to romanticism and the decadence, and covers the entire 19th century. However, not only does the 19th century French poetry carry the mark of the “Divine Marquis”; this tradition spans much further into the future, as we clearly discern its traces in the new film by Michael Haneke. There is a scene in the film in which the heroine produces a “torturing kit” from under her bed with the intention of making her young lover applying it on her – this might make us recall not only 99

odblesak i oslobađanje potisnutog sadržaja, kao fantazam i snoviđenje koje deformiše stvarne događaje. Ovde se vraćamo početnoj priči o Roršahovim mrljama – tokom prijema, Hanekeov film prerasta u samotumačenje ličnosti gledaoca, tegobnog tereta njegovog skrivenog ja, te močvare koju ni humanistička tradicija ni tehnološki progres još nisu uspeli da isuše...

(2001)

the similar scene with Catherine Deneuve in Belle de Jour, but also the obsession with self-harming, championed by the artists of the Decadent movement. In The Piano Teacher we suddenly and unavoidably experience that Buňuel dimension, realising the entire plot to be the reflection and release of the suppressed contents, as phantasms and visions which distort the actual events.

Here we once again return to our initial reference to inkblot test – in the course of its reception, Hanake’s film gradually becomes self-interpretation of the viewers’ psyche, oppressive burden of their hidden I, of that endless morass that neither humanities nor technological progress have managed to drain still …

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RASPOLOŽEN ZA LJUBAV

IN THE MOOD FOR LOVE

...Naizgled nepretenciozna, rasterećena „dubokih“ sadržaja, Vong Kar-Vajeva dela zaokružuju dominantnu estetiku kraja XX veka, odlazeći pri tom i korak dalje. U njegovim filmovima, sve je zapravo maskirano, stavljeno pod znake navoda, počevši od samih konvencija filmskog jezika.

Njegove priče koriste, reklo bi se, neka od najistrošenijih, najkonvencionalnijih oruđa filma: unutrašnji monolog, slow-motion, muzičke refrene kao podlogu lirski obojenim scenama. Konačno, tu spadaju i oprobane narativne tehnike, i preživeli žanrovski obrasci – mnogi kritičari vide Raspoložen za ljubav kao rimejk klasične holivudske romanse, filma Kratak susret Dejvida Lina.

Pa ipak, presudno je to da sve svoje uzore – u koje spadaju i evropski, pre svega francuski roman XIX veka, i holivudski film 40-ih, (melodrama i film-noar), i pop-art, kao i francuski novi talas predvođen Godarom, i Antonionijeva poetika otuđenja – Vong Kar Vaj citira ne bi li ih ironijski pod

...Seemingly unpretentious, relieved from “profound” content, the works of Wong Kar Wai embody the dominant aesthetics at the end of the 20th century, simultaneously taking it a step further. In his film, everything is actually masked, put inside quotation marks, including the very conventions of film language. One might say that his tales utilise some of the most used-up and conventional cinematic tools: internal monologue, slow-motion, musical refrains as the background for lyrical scenes. Finally, this includes proven narrative techniques and surviving genre conventions – many a critic saw In the Mood for Love as a remake of the classic Hollywood romance Brief Encounter

by David Lean. Nevertheless, crucial is the fact that Wong Kar Wai quotes all his role models and sources of inspiration – including European, primarily French 19th century novel, the Hollywood cinema of 1940’s (melodrama and film noir), and pop-art, as well as the French New Wave cinema

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rivao, neprekidno iskrivljući tragove lektire i kinotečkog iskustva.

Vong Kar-Vaj je, kako je već rečeno, „prvi veliki post-MTV reditelj“. Reč je o autoru koji (kao i većina holivudskih reditelja u poslednjoj deceniji XX veka)na savršen način koristi iskustvo MTV-spota, koji samim tim poseduje punu svest o svemoći pokretnih slika da protejskom magijom simuliraju bilo koji oblik, bilo koje egzistentno ili ne-egzistentno biće. Ali ni prefiks post ne sme se prevideti – Vong je jedan od retkih koji, podrazumevajući ga, prevazilaze MTV-univerzum spoznajom o tome da je svemoć slike, kao i jezika samo taština i „praporac koji zveči“ ako iza nje ne stoji nagoveštaj duševnog i duhovnog središta ljudske jedinke. A ono u filmu Raspoložen za ljubav vaskrsava kroz maestralno dat odnos prošlosti i sadašnjosti – zato ga možemo nazvati i delom o prizivanju duhova, u onom najprefinjenijem značenju koje poseduje Prustov roman-reka. Jer, u trenutku kad uvidimo kako raskošna fotografija Kristofera Dojla nije

headed by Godard and Antonioni’s poetics of alienation – in order to ironically undermine them, constantly distorting these traces of literary, artistic and cinematic erudition.

As already mentioned, Wong Kar Wai is the first “great director of the post-MTV age”.

This auteur (not unlike the majority of the Hollywood directors in the final decade of the 20th century) perfectly incorporates the experience of music video in his work, thereby demonstrating his full awareness of the omnipotence of moving pictures in conjuring with their protean magic any shape, as well as any existent or non-existent being. However, prefix post should by no means be neglected – Wong is one of the rare auteurs who has this MTV-universe as an inherent part of their expression and yet manage to transcend it by realising that this omnipotence of image and language is mere vanity and “a clanging cymbal” unless supported by the suggestion of human spiritual and emotional core. This essence of human being is resurrected by In the Mood for Love

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samo miris patine prevučen preko davno prohujalog vremena, nego i otelovljenje sudara sa prošlošću koji se zbiva u svakoj, pa i našoj egzistenciji – u tom trenutku film stiče uzbudljivi, prustovski epitet okultnog.

Dojlova slika, jarkih, stilizovanih boja i pomalo zamućena – vremenom za gledaoca postaje prepreka, vizuelna frustracija koju nikako ne može da prevaziđe, postepeno se identifikujući sa svešću glavnog junaka. U završnom monologu sam junak izreći će to neobjašnjivo osećanje koje fotografija stvara u nama: „...vidimo kao kroz prašnjavo staklo. Prošlost je nešto što možemo da vidimo, ali ne i da opipamo:“ U ovom iskazuu leži ista ambivalentnost kao i u našem doživljaju, sudar između osećanja nepovratno izgubljenog i ushićenje pred mogućnošću njegovog rekreiranja u umetnosti.

through the marvellous depiction of the relation between the present and the past – thereby we may also refer to it as to the work of art about the invocation of spirits, in its most refined sense characteristic for Proust’s river-novel. For, at the moment when we realise the luscious photography

by Christopher Doyle is not just the overtone of sepia spread over the long gone times, but also the embodiment of the clash with the past which imbues everyone’s existence, including our own – at that moment the film becomes occult in an exciting, Proustian way. Doyle’s images of loud, stylised and slightly blurred colours, start to visually frustrate the viewer, becoming the obstacle which cannot be overcome, as they progressively impose identification with the frame of mind of the film’s main character.

In his final monologue, the protagonist himself will articulate this inexplicable feeling which the film photography stirs in us: “…we see as through a dusty glass pane.

The past is something that we can see, albeit not touch.” This statement carries the same

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(2000)

ambivalence as our perception, the conflict between an irretrievably lost feeling and the elation experienced when faced with the possibility of its recreation in art.

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TRON SMRTI

THRONE OF DEATH

Jednočasovna projekcija indijskog filma Tron smrti (reditelja Murali Naira) bila je možda i najuzbudljiviji trenutak ovogodišnjeg festivala. Fabula filma je krajnje jednostavna, naizgled čak i suviše uprošćena: izvršenje smrtne kazne nad kradljivcem postaje praznik za čitavo selo – to je istovremeno i lokalna promocija električne stolice, simbola bezbolne egezekucije koji meštane uvodi u XXI vek.

Autor, međutim, odlazi korak dalje od puke društvene satire. Namerno usporavajući radnju, insistirajući na plastičnosti slika, na elementarnim manifestacijama indijskog života (običajima i ritualima) – Nair umesto očekivane karikature nudi zadivljujuće realističan uvid u apsurdnost zadate situacije. Svojom simbolikom, autor zapravo dodiruje neuralgičnu tačku savremene zapadne civilizacije u kojoj, kako život, tako i umiranje i nasilna smrt, postaju oruđa masovnog spektakla i tehnologijom opsednutog uma.

The one hour long screening of the Indian film Throne of Death (directed by Murali Nair) was possibly the most exciting moment of this year’s festival. The plot of the film is extremely simplified, at the first glance even excessively so: electrocution of a thief becomes a festivity for the entire village – while simultaneously being the local promotion of electric chair, the symbol of painless execution to introduce the villagers into the 21st century. The director, however, moves one step further than what would be mere social satire. Deliberately slowing down the plot and insisting on the plasticity of the images, and on elementary manifestations of Indian life (customs and rituals), instead of the expected caricature, Nair offers astonishingly realistic insight into the absurdity of the given situation. Through his symbolism, the auteur actually presses a neuralgic spot of the modern western civilization in which both living and dying, violent death in particular, become elements of the mass spectacle, as well as tools of the mind obsessed with technology.

(1999)

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EGZOTIKA

EXOTICA

Glavna osobenost Egojanovog postupka leži u veštom vođenju nekoliko paralelnih tokova naracije. Priča se istovremeno odvija u jednom noćnom baru, u operi i u prodavnici životinja. Mešanje narativnih tokova, pa čak i različitih vremenskih ravni zahteva od gledaoca neuobičajenu aktivnost, ne samo intelektualnu, u rešavanju rebusa značenja, nego i emotivno sudelovanje u građenju atmosfere priče. Dodavanje sopstvenih kockica u jedan složen mozaik, učitavanje vlastitih emocija neophodno je za pravi doživljaj Egojanovog filma. Žeđ za egzotikom struji kao fluid kroz raspoloženja glavnih likova, spajajući u jednu celinu beskrajne udaljenosti njihovih životnih priča. Za egzotikom kao dalekim, neostvarivim, nepovratno izgubljenim (za otetom i ubijenom ćerkom, kao i za nikada osvojenom devojkom). A akvarijumi sa egzotičnim ribama iz dalekih predela, u jednoj prodavnici velegrada, apsorbuju u sebe sveobuhvatni simbol koji materijalizuje nedorečenost i neuhvatljivost ljudskih osećanja. Ispod površine blazirane, bezosećajne Amerike, prigušena, izbija zapanjujuća strast, neizreciva energija potisnutog, predeo traumatičnog.

(1994)

The main characteristic of Egoyan’s method lies in his skilful unravelling of a number of parallel narrative threads. The plot is simultaneously unfolded in a nightclub, opera and a pet shop. The intertwining of the narrative lines, as well as of different temporal planes, requires viewers to be unusually active and alert, not only intellectually, as they try to decipher the meaning, but also emotionally, while they participate in the creation of the atmosphere. Supplementing the intricate mosaic of Exotica with one’s own pieces, inscribing the film with one’s own emotions, is necessary to properly experience Egoyan’s film. The thirst for the exotic permeates the mood of the protagonists as a fluid, blending their unimaginably dissimilar life stories into a coherent whole. This is the longing for the exoticism of the distant, unattainable and irrecoverably lost (for the kidnapped and murdered daughter, as well as for the never seduced girl). At the same time, in a city pet shop, the aquariums abounding in exotic fish from far away countries become the allencompassing symbol which materialises the vagueness and elusiveness of human feelings. Beyond the surface of artificial and indifferent America, burst forth astonishing passion, ineffable energy, the habitat of the traumatic.

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ZBOGOM, MOJA KONKUBINO

FAREWELL MY CONCUBINE

Kroz životne sudbine dvojice glumaca Pekinške opere, Čen Kajge prelama istoriju Kine u XX veku. Jedna emotivna, neostvarena homoerotska veza čini melodramsku osnovu, skelet koji autor znalački ispunjava tkivom povesnih činjenica i tetarskih znakova. Stilizacija teatra i užasi stvarnosti prepliću se i mešaju čineći u Konkubini nerazlučivo jedinstvo. Sveopšta istorija beščaća postaje jedna ogromna predstava Pekinške opere, prepuna šarenila, boja i magije teatra: vladavina Kuomitanga, potom japanska okupacija, građanski rat i pobeda komunizma, kulturna revolucija…

U Kajgeovom igrokazu istorije u bezbrojnim nijansama i valerima dominiraju dve boje: crvena koja nosi strast i nasilje, te plava koja predstavlja tugu i smrt. Konkubina kao oblik istorijske sage, najpre se može porediti sa Bertolučijevim XX vekom (donekle i sa Karneovom Decom raja, kao ljubavna priča smeštena unutar pozorišnih kulisa). No prednost je nesumnjivo na strani ove azijske filmske epopeje. Dosledno sprovedeno oneobičavanje istorijske realnosti otkriva njenu novu, istinitiju dimenziju od one koju smo slutili – povest XX veka počinjemo doživljavati kao neprekinute krvave bahanalije: jedino što glumci-dželati i statisti-žrtve između činova navlače na sebe nove kostime.

Through the destinies of two actors of the Beijing Opera, Chen Kaige reflects Chinese 20th century history. One unrealised, emotional and homo-erotic relationship provides melodramatic basis, a skeleton which the auteur knowingly covers by layer upon layer of historical facts and theatrical signs.

The stylisation of theatre and horrors of reality are interwoven and blended in Concubine so tightly that they create inextricable unity. Comprehensive history of corruption is enacted as a grandiose Beijing Opera spectacle, full of variety, colour and theatrical magic: the rule of the Kuomintang, succeeded by Japanese occupation, civil war and the victory of communism, followed by Cultural Revolution… Kaige’s theatre of history is dominated by numerous shades and nuances of the two prevalent colours: red which symbolises passion and violence and blue which represents sorrow and death. As a sort of historical saga, Concubine can primarily be compared with Bertolucci’s Novecento (to an extent also to Carné’s Children of Paradise, as a love story situated in the setting of a theatre).

However, this Asiatic epic certainly has its advantages. Consistent estrangement of historical reality exposes its new, truer dimension – we start to perceive the history of the 20th century as the never-ending bloody bacchanalia: it is just that the actorsexecutioners and the extras-victims don on new costumes in between the acts.

(1994)

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Aleksandar Saša Petrović

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„Bože, ako mi podariš još jedan život posle smrti, dopusti da budem Ciganin.

Dopusti da sam izaberem jedan od puteva: put radosti koji će od mene načiniti srećnog čoveka, ili put smrti i susret sa tobom.“

‘God, if you give me Another life after death, Let me be a Gipsy.

Let me choose One of the roads: The road of joy, That would make me A happy man, Or the road of death And meeting with you.’

Aleksandar Petrović

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Aleksandar Petrović

Aleksandar Saša Petrović (1929‒1994) bio je vodeći autor novog jugoslovenskog filma, reditelj, scenarista, esejista, filmski teoretičar. U kinematografiju, koja je dotad robovala konvencijama ideologije, literature i teatra, uneo je moderan filmski izraz i novi senzibilitet – kroz otvorenu metaforičnost, snažnu poetsku ekspresiju, nadahnutu sinematičnost i refleksivnost.

Svetski uspeh doživeo je filmovima Tri (1965: Grand prix u Karlovim Varima, nominacija za Oskara), Skupljači perja (1967: Grand prix žirija i nagrada Fipresci u Kanu, nominacija za Oskara), Biće skoro propast sveta (1968) i Majstor i Margarita (1972).

Njegovo testamentarno delo, TV serija Seobe 2 (rađena prema romanu Druga knjiga Seoba Miloša Crnjanskog, jednog od najvećih pisaca srpskog jezika u XX veku), ostalo je nedovršeno.

Od 1995. godine glavna nagrada Festivala autorskog filma u Beogradu nosi ime Aleksandra Saše Petrovića Prema testamentu gospođe Branke Petrović, supruge velikog reditelja, od 2013. godine novčani iznos ove nagrade (5.000 evra) dodeljuje Fondacija „Aleksandar Saša Petrović“.

Aleksandar Saša Petrović (1929-1994) was the leading author of the New Yugoslav Film, director, screenwriter, essayist, film theorist. By means of open metaphores, powerful poetic expression, outstanding cinematic visuality and reflectiveness, he managed to incorporate contemporary film expression and new sensibility into existing cinematography dogmatized by ideological conventions, literature and theatre. He became world famous through the success of his films Three (‘Tri’, 1965, Grand-prix in Karlovy Vary and Oscar nomination), I Even Met Happy Gipsies (‘Skupljači perja’, 1967, the Jury Prize and FIPRESCI Prize in Cannes, Oscar nomination), It Rains in my Village (‘Biće skoro propast sveta’, 1968) and The Master and Margaret (‘Majstor i Margarita’, 1972). His testamentary work – TV series based on the novel The Second Book of Migrations (Seobe 2), by Miloš Crnjanski the greatest Serbian writer of the 20th century – remained unfinished.

In 1995, the main award of the Auteur Film Festival was named after Aleksandar Saša Petrović.

Since 2013, by the last will of Mrs. Branka Petrović, the great director’s spouse, the Aleksandar Saša Petrović Foundation contribute 5,000 € as a part of this award.

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Grand-prix Festivala autorskog filma „Aleksandar Saša Petrović“ dobitnici nagrade / hronološki

Grand-prix ‘Aleksandar Saša Petrović’ winners from the Auteur Film Festival

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1994.

Prvo izdanje festivala; nagrada nije bila ustanovljena.

1994.

The first festival, the award was not yet established.

1995.

Dečak iz Junkovca, režija Dejan Zečević (SR Jugoslavija) – Nagradu je dodelio Direktorijum festivala

1995.

Dečak iz Junkovca, directed by Dejan Zečević (Yugoslavia) – awarded by the festival directory.

1996.

Ex aequo: Drž’ se mene (Side by Side), režija Jana Drouz (Ukrajina) i Krima, Kerima (Krima-Kerime: Noah’s Ark), r.

Herbert Curiel (Holandija) ‒ Nagradu je dodelio Direktorijum festivala

1996.

Ex aequo: Drž’ se mene (Side by Side) , directed by Jana Drouz (Ukraine) and Krima, Kerima (Krima-Kerime: Noah’s Ark), directed by Herbert Curiel (Netherlands) – awarded by the festival directory.

1997.

Majka i sin (Mother and Son), režija Alexander Sokurov (Rusija) – Nagradu je dodelio Direktorijum festivala

1997.

Majka i sin (Mother and Son), directed by Alexander Sokurov (Russia) – awarded by the festival directory.

(Od 1998. Grand prix dodeljuje tročlani zvanični žiri festivala)

(Since 1998, the Grand-Prix has been awarded by the official three-member jury.)

1998.

Jesenja priča (Autumn Tale), režija Eric Rohmer (Francuska)

1998.

Jesenja priča (Autumn Tale), directed by Eric Rohmer (France)

1999.

Ex aequo: Usvojeni sin (Adopted Son), režija Aktan Abdykalykov (Kirgistan/Francuska), i Trči, Lola, trči (Run, Lola, Run), režija Tom Tykwer (Nemačka)

1999.

Ex aequo: Usvojeni sin (Adopted Son), directed by Aktan Abdykalykov (Kkyrgyzstan /France) and Trči, Lola, trči (Run, Lola, Run), directed by Tom Tykwer (Germany)

2000.

Ex aequo: O ženama i magiji (La chambre des magiciennes), režija Claude Miler, i Zemlja istine, ljubavi i slobode, režija Milutin Petrović (SRJ)

2000.

Ex aequo: O ženama i magiji (La chambre des magiciennes), directed by Claude Miller (France) and Zemlja istine, ljubavi i slobode, directed by Milutin Petrović (YU) 118

2001.

Ex aequo: Taurus, režija Alexander Sokurov (Rusija), i Intimnost (Intimacy), r.

Patrice Chereau (V. Britanija)

2001.

Ex aequo: Taurus, directed by Alexander Sokurov (Russia) and Intimnost (Intimacy) directed by Patrice Chereau (Great Britain)

2002.

Bog nas svakoga dana ljubi u usta (Everyday God Kisses Us on the Mouth), režija Siniša Dragin (Rumunija)

2002.

Bog nas svakoga dana ljubi u usta (Everyday God Kisses Us on the Mouth), directed

by Siniša Dragin (Romania)

2003.

Ex aequo: Povratak (Return), režija Andrey Zvyagincev (Rusija), i Otkako je Otar otišao (Since Otar Left), režija Julie Bertuccelli (Francuska/ Gruzija)

2003.

Ex aequo: Povratak (Return), directed by Andrey Zvyagincev (Russia) and Otkako je Otar otišao (Since Otar Left), directed by Julie Bertuccelli (France/Georgia)

2004.

Duboko disanje (Deep Breath), režija Parviz Shahbasi (Iran)

2004.

Duboko disanje (Deep Breath), directed by Parviz Shahbasi (Iran)

2005.

Festival nije održan zbog sudskog spora

2005.

Festival did not take place due to litigation.

2006.

Neću da spavam sam (I Don’t Want to Sleep Alone), režija Tsai Ming-Liang (Tajvan)

2006.

Neću da spavam sam (I Don’t Want to Sleep Alone), directed by Tsai Ming-Liang (Taiwan)

2007.

California Dreamin’, režija Christian Nemescu (Rumunija) – nagrada dodeljena posthumno

2007.

California Dreamin’, directed by Christian Nemescu (Romania) – posthumously awarded

2008.

Ex aequo: Glad (Hunger), režija Steve McQueen (V. Britanija/Irska), i Tulpan, režija Sergey Dvortsevoy (Kazahstan)

2008.

Ex aequo: Glad (Hunger), directed by Steve McQueen (Great Britain/Ireland) and Tulpan, directed by Sergey Dvortsevoy (Kazakhstan) 119

2009.

Crnci, režija Zvonimir Jurić i Goran Dević (Hrvatska)

2009.

Crnci (The Blacks), directed by Zvonimir Jurić and Goran Dević (Hrvatska)

2010.

Prestupna godina (Leap Year), režija Michael Rowe (Meksiko)

2010.

Prestupna godina (Leap Year), directed by Michael Rowe (Mexico)

2011.

Akacije (Las Acacias), režija Pablo Giorgelli (Argentina/Španija)

2011.

Akacije (Las Acacias) directed by Pablo Giorgelli (Argentina/Spain)

2012.

Tabu, režija Miguel Gomes (Portugal)

2012.

Tabu, directed by Miguel Gomes (Portugal)

2013.

Pozicija deteta (Child’s Pose), režija Calin Peter Netzer (Rumunija)

2013. Pozicija deteta (Child’s Pose), directed by Calin Peter Netzer (Romania)

U zvaničnom žiriju Festivala autorskog filma bili su i Dušan Makavejev, Slobodan Šijan, Boro Drašković, Srđan Karanović, Goran Marković, Želimir Žilnik, Milan Vlajčić, Dinko Tucaković, Srdan Golubović, Oleg Novković, Milena Marković, Gordan Mihić, Srđan Koljević, Maja Miloš, Vladimir Perišić, Nikola Ležaić, Dejan Zečević, Vladimir Blaževski... Od autora, umetnika i kritičara iz inostranstva, članovi žirija bili su i Sergej Dvorcevoj, Ron Holloway, Lordan Zafranović, Michael Rowe, Pablo Giorgelli, Dejan Dukovski, Karpo Godina, Jan Cvitkovič, Nora Hoppe, Antonio Nuić, Srđan Vuletić, Zvonimir Jurić...

Prema pravilniku Festivala, donetom 2012, Grand prix „Aleksandar Saša Petrović“ žiri može dodeliti samo jednom filmu. Plaketu i novčani iznos dobija reditelj nagrađenog filma. Novčani iznos nagrade (5.000 evra) dodeljuje Fondacija „Aleksandar Saša Petrović“.

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Among others, memebers of the Festival’s official jury were Dušan Makavejev, Slobodan Šijan, Boro Drašković, Srđan Karanović, Goran Marković, Želimir Žilnik, Milan Vlajčić, Dinko Tucaković, Srdan Golubović, Oleg Novković, Milena Marković, Gordan Mihić, Srđan Koljević, Maja Miloš, Vladimir Perišić, Nikola Ležaić, Dejan Zečević, Vladimir Blaževski... Od autora, umetnika i kritičara iz inostranstva, članovi žirija bili su i Sergej Dvorcevoj, Ron Holloway, Lordan Zafranović, Michael Rowe, Pablo Giorgelli, Dejan Dukovski, Karpo Godina, Jan Cvitkovič, Nora Hoppe, Antonio Nuić, Srđan Vuletić and Zvonimir Jurić.

According to the rulebook from 2012, there can be only one winner of the Gran-Prix ‘Aleksandar Saša Petrović’. The director of the winning film gets the plaque and the monetary award (5,000 €). The monetary award is donated by the Aleksandar Saša Petrović foundation.

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20 GODINA BEOGRADSKOG FESTIVALA AUTORSKOG FILMA 20 YEARS OF BELGRADE AUTEUR FILM FESTIVAL (1994– 2014)

Podatke sakupio, proverio i obradio / Data collected, checked up on and processed by: SLOBODAN ARANĐELOVIĆ filmski i džez publicista / film and jazz publicist

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21 film + 33 repriza / re-run = 54 naslova / titles ANĐELČIĆU OBRADUJ ME (Little Angel, Make Me Happy / Angeloček, zdelaj radost) Turkmenistan, Rusija / Turkmenistan, Russia, 1992 režija / director: Usman Saparov BAŠTOVAN (The Gardener / Sadovnik) SSSR / USSR, 1987 r / d: Viktor Buturlin BILI SMO PONOSNI RATNICI (Once Were Warriors) Novi Zeland / New Zealand, 1994 r / d: Lee Tamahori DECA BOGOVA OD LIVENOG GVOŽĐA (Deti chugunnykh bogov) Rusija / Russia, 1993 r / d: Tomas Toth DETE ČOVEKA (The Child of Man / Cilvéka bérns / Ditja chelovecheskoje) Letonija / Latvia, 1991 r / d: Janis Streičs EGZOTIKA (Exotica) Kanada / Canada, 1994 r / d: Atom Egoyan EKSPRES PORUKA / EKSPRES INFORMACIJA (Express Information / Ekspress – informacya / Ekspress kamera) Gruzija, Nemačka / Georgia, Germany, 1994 r / d: Eljdar Shengelaya GORKI MESEC (Bitter Moon) V. Britanija, Francuska / U. K, France, 1992 r / d: Roman Polanski I KAUBOJKE MOGU DA PLAČU (Even Cowgirls Get the Blues) SAD / USA, 1993 r / d: Gus Van Sant I VRATIĆE SE VETAR (And the Wind Returneth... / I vozvraščaetsja veter...)

Rusija / Russia, 1991 r / d: Mihail Kalik INTIMNI DNEVNIK (Dear Diary / Caro diario) Italija / Italy, 1993 r / d: Nanni Moretti LJERMONTOV (Lermontov) SSSR / USSR, 1986 r / d: Nikolaj Burljajev MILOSRDNA SESTRA ili SAMO ZA LUDAKE (Sister of Mercy or For Fools Only / Sestra miloserdija ili Toljko dija sumasšediših) Estonija / Estonia, 1990 r / d: Arvo Iho MOŽEMO MI I DRUGAČIJE (Wir können auch anders) Nemačka / Germany, 1993 r / d: Detlev Buck NOVI TALAS (Nouvelle vague) Francuska / France, 1990 r / d: Jean - Luc Godard PISMO ZA L... (Letter for L... / Lettre pour L...)

Francuska / France, 1993 r / d: Romain Goupil REDOSLED OSEĆANJA (The Sequence of Feelings / Kolejnošć uczuć) Poljska / Poland, 1993 r / d: Radoslaw Piwowarski TAMO SMO, DŽONE (There We Are, John...)

V. Britanija / U. K, 1994 r / d: Ken McMullen TEATAR POLITBIRO (Theatre „Politbiro“ / Kooperativ „Politbjuro“) Belorusija / Belarus, 1992 r / d: Mihail Ptashuk VITGENŠTAJN (Wittgenstein) V. Britanija / U. K, 1992 r / d: Derek Jarman ZBOGOM MOJA KONKUBINO (Farewell My Concubine / Bawang bie ji) Kina, Hong Kong / China, Hongkong, 1993 r / d: Chen Kaige 124

Reprize / Re-run: Alfavil – Neobična avantura Lemija Koušna (Alphaville / Alphaville, Une etrange aventure de Lemmy Caution) Francuska, Italija / France, Italy, 1965 r / d: Jean – Luc Godard Andaluzijski pas (Un chien andalou) Francuska / France, 1929 r / d: Luis Buñuel, Salvador Dali (kratki film / short film) Čovek nije tica (Man Is Not a Bird) Jugoslavija / Yugoslavia, 1965 r /d: Dušan Makavejev Čovek sa filmskom kamerom (Man with a Movie Camera / Čelovek s kinoapparatom) SSSR / USSR, 1929 r / d: Dziga Vertov Do poslednjeg daha (Breathless / A bout de souffle) Francuska / France, 1959 r / d: Jean – Luc Godard Fingalova pećina (Fingal’s Cave) SAD / USA, 1941 r / d: Slavko Vorkapich, John Hoffman (kratki film / short film) Gorila se kupa u podne (Gorilla Bathes at Noon) Nemačka / Germany, 1992 r / d: Dušan Makavejev Kerel (Querelle) Francuska, SR Nemačka / France, West Germany, 1982 r / d: Rainer Werner Fassbinder Koka kola kid (The Coca Cola Kid) Australija / Australia, 1985 r / d: Dušan Makavejev Ljubavni slučaj ili Tragedija službenice PTT (Switchboard Operator / Affair of the Heart) Jugoslavija / Yugoslavia, 1967 r / d: Dušan Makavejev Mali vojnik (The Little Soldier / Le petit soldat) Francuska / France, 1960 r / d: Jean – Luc Godard Manifest (Manifesto) SAD, Jugoslavija / USA, Yugoslavia, 1988 r / d: Dušan Makavejev Međučin (Entr’acte) Francuska / France,1924 r / d: Rene Clair (kratki film / short film) Mister Montenegro (Montenegro, or Pigs and Pearls) Švedska, V. Britanija / Sweden, U. K, 1981 r / d: Dušan Makavejev Misterije organizma / W. R. – Misterije organizma (W. R. – Mysteries of the Organism) Jugoslavija, Zapadna Nemačka / Yugoslavia, West Germany, 1971 r / d: Dušan Makavejev Muški rod - ženski rod (Masculin Feminin) Francuska, Švedska / France, Sweden, 1966 r / d: Jean – Luc Godard Nevinost bez zaštite (Innocence Unprotected) Jugoslavija / Yugoslavia, 1968 r / d: Dušan Makavejev Nula iz vladanja (Zéro de conduite) Francuska / France, 1933 r / d: Jean Vigo Oklopnjača Potemkin (Battleship Potyomkin / Bronenosets Potemkin) SSSR / USSR, 1925 r / d: Sergei Mikhailovitch Eisenstein Oko čuje, uho vidi (The Eye Hears, The Ear Sees) Kanada / Canada, 1970 r / d: Gavin Miller, Norman McLaren (kratki film / short film) Pariz koji spava (Paris qui dort) Francuska / France, 1923 r/ d: Rene Clair Povodom Nice (A propos de Nice) Francuska / France, 1929 r / d: Jean Vigo

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Pre kiše (Before the Rain / Po dezju) Makedonija, V. Britanija, Francuska / FYR Macedonia, U. K, France, 1994 r / d: Milčo Mančevski Prezir (Contempt / Le mepris) Francuska, Italija / France, Italy, 1963 r / d: Jean – Luc Godard Slatki film (Sweet Movie) Francuska, Kanada / France, Canada, 1974 r / d: Dušan Makavejev Snovi trinaestorice (Dreams of Thirteen) SR Nemačka, Holandija / West Germany, Holland, 1974 r/ d: Dušan Makavejev (jedna epizoda / one episode only) Šuma šumori (Forest Murmurs) SAD / USA, 1947 r / d: Slavko Vorkapich Udata žena (A Married Woman / Une femme mariée) Francuska / France, 1964 r / d: Jean – Luc Godard Varljivo sunce (Burnt By the Sun / Utomlyennye solntsem) Rusija, Francuska / Russia, France, 1994 r/ d: Nikita Mihalkov Vukovar, jedna priča (A Love in Vukovar) Jugoslavija / Yugoslavia, 1994 r / d: Boro Drašković Zemlja bez hleba (Land Without Bread / Las Hurdes – Tierra sin pan) Španija / Spain, 1932 r / d: Luis Buñuel Žena je žena (A Woman Is a Woman / Une femme est une femme) Francuska, Italija / France, Italy, 1961 r / d: Jean – Luc Godard Živeti svoj život (It’s My Life / Vivre sa vie) Francuska / France, 1962 r / d: Jean – Luc Godard

126

2. F A F (23. – 30. XI 1995) 51 film + 13 repriza = 64 naslova

06 (Zero – Six / 06) Holandija / Holland, 1994 režija / director: Theo van Gogh AVGUST (August / Aout) Francuska / France, 1991 r / d: Henri Herre BAJA GANJO (The Funny Adventures of a Bulgarian in Europe / Bai Ganiu tregna po Europa) Bugarska / Bulgaria, 1991 r / d: Ivan Nichev BLAZETI (Blasetti) Italija/ Italy, 1991 r / d: Vito Zagarrio (dokumentarni film / documentary) BUJICA (The Stream / Der Bach / Le ruisseau) Nemačka / Germany, 1994 r / d: Garry Lane (kratki film / short film) CAVATINI (Zavattini) Italija / Italy, 1989 r / d: Luigi di Gianni (dokumentarni film / documentary) ČANKING EKSPRES (Chungking Express / Chongqing senlin) Hong Kong, 1994 r / d: Wong Kar – wai (Wang Jia – wei) ČETIRI ŽENE IZ KURDISTANA (Four Women from Kurdistan / Jiyans me – Unser Leben / Vier Frauen aus Kurdistan) Švajcarska / Switzerland, 1994 r / d: Dorothea Keist, Cristina Karrer DANI BIOSKOPA (Movie Days / Biodagar) Island / Iceland, 1994 r / d: Fridrik Thor Fridriksson DEČAK IZ JUNKOVCA (A Boy from Junkovac) Jugoslavija / Yugoslavia, 1995 r / d: Dejan Zečević (video) DOK PADA NOĆ (When Night Is Falling) Kanada / Canada, 1994 r / d: Patricia Rozema DUM GENERACIJA (The Doom Generation) SAD, Francuska / USA, France, 1994 r / d: Gregg Araki DŽAMILA (Jamila) V. Britanija, Nemačka / U.K, Germany, 1994 r / d: Monika Teuber ELIKSIR (Elixir / Eliksir) Rusija / Russia, 1995 r / d: Irina Evteeva (Jevteyeva) FETUS (Fetus / A magzat) Mađarska / Hungary, 1994 r / d: Marta Meszaros GLAS TRAVE (Voice of Grass / Golos travi) Ukrajina / Ukraine, 1992 r / d: Nataliya Motuzko GOSPOĐICA SELJANKA (Miss Peasant Girl / Barishnja – krestyanka) Rusija / Russia, 1995 r / d: Aleksei Sakharov GRAD IZGUBLJENE DECE (The City of Lost Children / La cité des enfants perdus) Francuska / France, 1995 r / d: Jean – Pierre Jeunet HAJDEMO U TIBET (Let’s Go to Tibet / Ab nach Tibet !)

Nemačka / Germany, 1993 r / d: Herbert Achternbusch HARMONIKAŠ (Weltmeister) Nemačka / Germany, 1993 r / d: Zoran Solomun IZABRANIK (The Chosen One / Izbrannik) Gruzija / Georgia, 1992 r / d: Mikhail Kalatazashvili 127

KALJENO GVOŽĐE (Okalina) SSSR / USSR, 1989 r / d: Atvar Goris LJUBAVNI SNOVI (Love Dreams / Lyubovni sanishta) Bugarska / Bulgaria, 1994 r / d: Ivan Nichev MALI PRINC NA JEZERU (Little Prince from the Lake) Jugoslavija / Yugoslavia, 1995 r/ d: Vera Vlajić (kratki animirani film / short animation film) MINA TANENBAUM (Mina Tannenbaum) Francuska / France, 1993 r / d: Martine Dugowson MUSLIMAN (The Mussulman / Musulymanin) Rusija / Russia, 1995 r / d: Vladimir Hotinenko NASTASJA (Nastassia / Nastazja) Poljska, Japan / Poland, Japan, 1994 r / d: Andrzej Wajda NEOREALIZAM 1947 – 1948 (Neorealism 1947 – 1948 / Neorealismo 1947 – 1948) Italija / Italy r / d: Piero Tartagni (dokumentarni film / documentary) NEOREALIZAM 1949 – 1951 (Neorealism 1949 – 1951 / Neorealismo 1949 – 1951) Italija/ Italy r / d: Piero Tartagni (dokumentarni film / documentary) NEOREALIZAM 1952 – 1954 (Neorealism 1952 – 1954 / Neorealismo 1952 – 1954) Italija / Italy r / d: Piero Tartagni (dokumentarni film / documentary) OBEĆANJE (The Promise / Das Versprechen) Nemačka / Germany, 1994 r / d: Margarethe von Trotta ODISEJEV POGLED (Ulysses’ Gaze / To vlemma tou Odyssea) Grčka, Francuska, Italija / Greece, France, Italy, 1995 r / d: Theo Angelopoulos ODRASLI (Grown – Ups) V. Britanija / U. K, 1980 r / d: Mike Leigh PARTIZAN – MADE IN YUGOSLAVIA Jugoslavija / Yugoslavia, 1995 r / d: Marko Novaković, Milorad Milinković (dokumentarni film / documentary) PEŠEVARSKI VALCER (The Waltz of Peshevar / Pešavarskij valjs) Rusija / Russia, 1994 r / d: Timur Bekmambetov, Gennadiy Kayumov PRAVDA (The Justice / Justiz) Nemačka / Germany, 1993 r / d: Hans W. Geissendörfer PROLEĆNI PRAZNIK (The Spring Festival / Guo nian) Kina, Hong Kong / China, Hongkong, 1991 r / d: Huang Jian – zhong ROSELINI (Roberto Rossellini / Rossellini visto da Rossellini) Italija / Italy, 1992 r / d: Adriano Apra (dokumentarni film / documentary) STO I JEDNA NOĆ (A Hundred and One Night / Les cent et une nuits) Francuska, V. Britanija / France, U. K, 1994 r / d: Agnes Varda SVEŠTENIK (Priest) V. Britanija / U.K, 1994 r / d: Antonia Bird TIŠINA PALATE (The Silence of the Palace / Les silences du palais) Tunis, Francuska / Tunisia, France, 1994 r / d: Moufida Tlatli TVRĐAVA (The Fortress / Pevnost) Češka Republika / Czech Republic, 1994 r / d: Drahomira Vihanová U KRUGU PORODICE (The Terrible Threesome / Im Kreise der Lieben) Nemačka / Germany, 1991 r / d: Hermine Huntgeburth UBISTVO CARA (The Assassination of Tzar / Ubijstvo imperatora. Versii) Rusija / Russia, 1995 r / d: Sergei Miroshnichenko

128

USPAVANKA (Lullaby / Koljibeljnaja / Kolyibelynaya) Gruzija / Georgia, 1994 r / d: Nana Džanelidze VANJA U 42. ULICI ( Vanya on 42nd Street) SAD /USA, 1994 r / d: Louis Malle VISOKA NADANJA (High Hopes) V. Britanija / U. K, 1988 r / d: Mike Leigh ZALJUBLJENI (In Love / Les amoureux) Francuska / France, 1993 r / d: Catherine Corsini ZAMAK (The Castle / Zamok) Rusija, Francuska, Nemačka / Russia, France, Germany, 1994 r / d: Aleksei Balabanov ŽIVOT JE SLADAK (Life Is Sweet) V. Britanija / U. K, 1990 r / d: Mike Leigh ŽIVOTINJSKA FARMA (Animal Farm) V.Britanija / U. K, 1955 r / d: John Halas, Joy Batchelor (animirani film / animation film)

Reprize / Re-run: Bele rade (Daisies / Sedmikrasky) ČSSR / Czechoslovakia, 1966 r / d: Vera Chytilova Čudnije od raja (Stranger Than Paradise) SAD / USA, 1984 r / d: Jim Jarmusch Divni, užasni život Leni Rifenštal (The Wonderful, Horrible Life of Leni Riefenstahl / Die Mach der Bilder: Leni Riefenstahl) Nemačka / Germany, 1993 r / d: Ray Müller (dokumentarni film / documentary) Indija song (India Song) Francuska / France, 1974 r / d: Marguerite Duras Klavir (The Piano) Australija / Australia, 1993 r / d: Jane Champion Krila (Wings / Krilya) SSSR / USSR, 1965 r / d: Larisa Shepitko Noć na Zemlji (Night on Earth) SAD / USA, 1991 r / d: Jim Jarmusch Noćni portir (The Night Porter) Italija / Italy, 1973 r / d: Liliana Cavani Ogoljeni (Naked) V. Britanija / U. K, 1993 r / d: Mike Leigh Olovno vreme (The German Sisters / Die bleierne Zeit) SR Nemačka / West Germany, 1981 r / d: Margarethe von Trotta Sreća (Happiness / Le bonheur) Francuska / France, 1965 r / d: Agnes Varda Tajanstveni voz (Mystery Train) SAD / USA, 1989 r / d: Jim Jarmusch Veza (The Connection) SAD / USA, 1962 r / d: Shirley Clarke

129

3. F A F ( 21. - 28. XI 1996)

54 filma + 52 reprize = 106 naslova 1001 RECEPT ZALJUBLJENOG KUVARA (A Chef in Love / Les mille et une recettes du cuisinier amoureux) Francuska, Gruzija / France, Georgia, 1995 režija / director: Nan Dzhordzhadze (Djordjadze) ADVOKAT PANKERA (Punk Lawyer / Advocaat van de hanen) Holandija / Holland, 1996 r / d: Gerrit van Elst AKADEMIJA REPUBLIKA (Academy Republic) Jugoslavija / Yugoslavia, 1996 r / d: Zoran Vujović (kratki film / short film) ANTONIJA (Antonia’s Line / Antonia) Holandija / Holland, 1995 r / d: Marleen Goris AUDICIJA (Auditions / Actors / Sachkanim) Izrael / Israel, 1995 r / d: Ron Ninio BELI PRAZNIK (White Holiday / Belij prazdnik / Beliy prazdnik) Rusija / Russia, 1994 r / d: Vladimir Naumov (video) CRVENI KOLIBRI (Red Colibri / Vörös colibri) Mađarska, Italija / Hungary, Italy, 1995 r / d: Zsuzsa Boszörményi DRŽ’ SE MENE (Side by Side / Ryadom) Rusija /Russia, 1994 r / d: Jana (Yana) Drouz GETO (Ghetto) Jugoslavija / Yugoslavija, 1996 r / d: Mladen Matičević, Ivan Markov (video) i. d. (i.d.)

V. Britanija, Nemačka / U.K, Germany, 1994 r / d: Philip Davis IMATI (ILI NE) (To Have (or Not) / En avoir (ou pas)) Francuska / France, 1995 r / d: Laetitia Masson INKASANT (The Gas Inspector / Il verificatore) Italija / Italy, 1995 r / d: Stefano Incerti INTIMNI ODNOSI (Intimate Relations) V. Britanija, Kanada / U. K, Canada, 1996 r / d: Philip Goodhew ISPOD MLEČNOG PUTA (Under the Milky Way / Unter der Milchstrasse) Nemačka / Germany, 1995 r / d: M. X. Oberg IZA SEDMIH VRATA (Beyond the Seventh Door) Kanada / Canada, 1987 r / d: D. B. Benedikt (Božidar Damjanović) (video) IZGUBLJENI RAJ (The Lost Paradise / Korsvats drakht) Jermenija / Armenia, 1992 r / d: David Sarafian IZGUBLJENI VRT (The Lost Garden) Kanada / Canada, 1995 r / d: Marquise Lepage (video) IZMIŠLJENA AUTOBIOGRAFIJA (An Imagined Autobiography / Autobiographia dimyonit) Izrael / Israel, 1994 r / d: Michal Bat -Adam JA SAM RUSKI VOJNIK (I am a Russian Soldier / Ja – russkiy soldat) Rusija / Russia, 1995 r / d: Andrei Malyukov JASMINA (Yasmine) Izrael / Israel, 1996 r / d: Nizar Hassan (video) KAUČ U NJUJORKU (A Couch in New York / Un divan a New York) Belgija / Belgium, 1995 r / d: Chantal Akerman

130

KAVKASKI ZAROBLJENIK (Prisoner of the Mountain / Kavkaski plennik) Rusija, Kazahstan / Russia, Kazakhstan, 1996 r / d: Sergei Bodrov KORIDOR (Corridor / Koridorius) Litvanija, Nemačka / Lithuania, Germany, 1994 r / d: Sarunas Bartas KRIMA KERIMA (Krima – Kerime: Noah’s Ark / Krima – Kerime de Arke Noach’s) Holandija, Nemačka, Turska / Holland, Germany, Turkey, 1995 r / d: Herbert Curiel LETEĆA KAMILA (The Flying Camel) Izrael / Israel, 1994 r / d: Rami Na’Aman LETNJA PRIČA (A Summer’s Tale / Conte d’été) Francuska / France, 1996 r / d: Eric Rohmer MALA SESTRA (Little Sister / Zusje) Holandija / Holland, 1995 r / d: Robert Jan Westdijk MASTILO (Ink) Irska / Ireland, 1988 r / d: Paul Duane (video) MIKOŠ (Mykosch) Holandija / Holland, 1995 r / d: Danniel Danniel MISTIK IZ DABLINA (The Dublin Mystic) Irska / Ireland, 1994 r / d: Paul Duane (video) MOJ SLATKI ANĐELE (Sweet Angel Mine) V. Britanija / U. K, 1996 r / d: Curtis Radclyffe MUZIKA ZA.... (Music for ....)

Makedonija / FYR Macedonia, 1996 r / d: Nikola Dimuševski (video) NEVINI SNOVI (Dreams of Innocence / Hasipor shematchil behalviya shel nachash) Izrael / Israel, 1993 r / d: Dina Zvi Riklis NIJE BILO RATA 72. (There Was No War in ’72 / B’shivim ushtayam lo hayta milhama) Izrael / Israel, 1995 r / d: David Kreiner NOVA ZEMLJA (New Land / Eretz hadasha) Izrael / Israel, 1994 r / d: Orna Ben Dor - Niv PALI ANĐELI (Fallen Angels / Duoluo tianshi) Hong Kong / Hongkong, 1995 r / d: Wong Kar - wai POSLEDNJI POZIV (Last Call / Hoogste tijd) Holandija / Holland, 1995 r / d: Frans Weisz RAJ IZGUBLJEN U SEĆANJU (Paradise Lost in Memory) Rumunija / Romania, 1995 r / d: Virgil Mihaiu, Alex Huppert (video) SLEPA ULICA (Blind Alley) Irska / Ireland, 1992 r / d: Paul Duane (video) SUNCE, MESEC I ZVEZDE (The Sun, The Moon and the Stars) Irska / Ireland, 1996 r / d: Geraldine Creed SVAKO TRAŽI SVOJE MAČE (When the Cat’s Away / Chacun cherche son chat) Francuska / France, 1995 r / d: Cedric Klapisch SVE JE DOPUŠTENO (All Things Fair / Love Lesson / Luch och fågring stor) Švedska, Danska / Sweden, Denmark, 1995 r / d: Bo Widerberg SVETA KLARA (Saint Clara / Clara hakadusha) Izrael / Israel, 1995 r / d: Ori Sivan, Ari Fulman SVIRAČ NA TANJIRIMA (Playing from a Plate / Grajacy z talerza) Poljska / Poland, 1995 r / d: Jan Jakub Kolski

131

VASKA ( Vaska / Letgohang Vaska) Mađarska / Hungary, 1996 r / d: Peter Gothar (video) VOSKRESENJA NE BIVA BEZ SMRTI (There is No Resurrection without Death / Non è resurrezione senza morte) Italija / Italy, 1922 r / d: Eduardo Bencivegna restauracija / restauration: Dejan Kosanović (Srbija / Serbia), 1996 (video) VRT (The Garden / Záhrada) Slovačka / Slovakia, 1995 r / d: Martin Šulik ZAVODLJIVI MESEC (Temptress Moon / Feng yue) Kina, Hong Kong / China, Hongkong, 1996 r / d: Chen Kaige ZDRAVO, DA LI SI SAMA? (Hi, Are You Alone? / Hola, estas sola?) Španija / Spain, 1995 r / d: Iciar Bollain ZEMLJA LJUBAVI (Lowland / Laagland) Holandija / Holland, 1995 r / d: Yolanda Entius ŽAN –LIK GODAR (JLG – December Self-Portrait / JLG – Autoportrait de décembre) Francuska, Švajcarska / France, Switzerland, 1993 r / d: Jean – Luc Godard (dokumentarni film / documentary)

ŽENA (The Wife) SAD / USA, 1995 r / d: Tom Noonan ŽIVOT U CRVENOM (Life in Red / Ligne de vie) Francuska, Italija, Rusija, Švajcarska / France, Italy, Russia, Switzerland, 1996 ŽRTVA (Underdog) Izrael / Israel, 1996 r / d: Doron Tsabari, Rino Zror (video)

r / d: Pavel Lungin

Reprize / Re-run: Antonijevo razbijeno ogledalo (Anthony’s Broken Mirror) Jugoslavija / Yugoslavia, 1957 r / d: Dušan Makavejev (kratki film / short film) Atalanta (L’Atalante) Francuska / France, 1934 r / d: Jean Vigo Bela maramica (White Handkerchief) Jugoslavija / Yugoslavia, 1952 r / d: Vojislav - Kokan Rakonjac (kratki film / short film) Crveno raspoloženje (Red Hiding Mood) Jugoslavija / Yugoslavia, 1966 r / d: dr. Svetlana Bezdanov Gostimir, Branislav Radovanović (kratki film / short film)

Čanking ekspres (Chungking Express / Chongqing senlin) Hong Kong / Hongkong, 1994 r / d: Wong Kar - wai Čudnije od raja (Stranger Than Paradise) SAD / USA, 1984 r / d: Jim Jarmusch Dečak iz Junkovca (A Boy from Junkovac) Jugoslavija / Yugoslavia, 1995 r / d: Dejan Zečević (video) Demonski ljubavnici / Opsesija (Ossessione) Italija / Italy, 1942 r / d: Luchino Visconti Divlje senke (Wild Shadows) Jugoslavija / Yugoslavia, 1967 r / d: Vojislav – Kokan Rakonjac Do poslednjeg daha (Breathless / A bout de souffle) Francuska / France, 1959 r / d: Jean – Luc Godard 132

Dobrodošli u Narodno pozorište (Welcome to the National Theatre) Jugoslavija / Yugoslavia, 1996 r / d: Andreja Maričić (kratki film / short film) Dum generacija (The Doom Generation) SAD / USA, 1994 r / d: Gregg Araki Džin najdžinovskiji (Giant the Most Gigantic) Jugoslavija / Yugoslavia, 1996 r / d: Radoslav Pavković (kratki film / short film) Egzotika (Exotica) Kanada / Canada, 1994 r / d: Atom Egoyan Gorki mesec (Bitter Moon) Francuska, V. Britanija / France, U. K, 1992 r / d: Roman Polanski Grad (The City) Jugoslavija / Yugoslavia, 1964 r / d: Živojin Pavlović, Marko Babac, Vojislav – Kokan Rakonjac Grad izgubljene dece (La cité des enfants perdus) Francuska / France, 1995 r / d : Marc Caro, Jean – Pierre Jeunet Građanin Kejn (Citizen Kane) SAD / USA, 1941 r / d: Orson Welles I kaubojke mogu da plaću (Even Cowgirls Get the Blues) SAD / USA, 1993 r / d: Gus Van Sant Intimni dnevnik (Dear Diary / Caro diario) Italija / Italy, 1993 r / d: Nanni Moretti Ivanovo detinjstvo (Ivan’s Childhood / Ivanovo detstvo) SSSR / USSR, 1962 r / d: Andrei Tarkovsky Izdajnik (The Traitor) Jugoslavija / Yugoslavia, 1954 r / d: Vojislav – Kokan Rakonjac Još ovaj put (Just Once More) Jugoslavija / Yugoslavija, 1983 r / d: Dragan Kresoja Jutro (Morning) Jug / Yu, 1954 r / d: Vidoje Mojsilović, Živorad Maričić, M. Bugarčić (kratki film / short film) Kapi, vode, ratnici (Drops, Waters, Warriors) Jugoslavija / Yugoslavia, 1962 r / d: Živojin Pavlović, Marko Babac, Vojislav – Kokan Rakonjac Klakson (Klaxon) Jugoslavia / Yugoslavia, 1965 r / d: Vojislav – Kokan Rakonjac Ludi Pjero (Pierrot le fou) Francuska, Italija / France, Italy, 1965 r / d: Jean - Luc Godard Na slovo na slovo (Kids in War) Jugoslavia / Yugoslavia, 1996 r / d: Igor Simonović (kratki film / short film) Nemirni (The Restless Ones) Jugoslavija / Yugoslavia, 1967 r / d: Vojislav – Kokan Rakonjac Noć na zemlji (Night on Earth) SAD / USA, 1991 r / d: Jim Jarmusch Obećanje (The Promise / Das Versprechen) Nemačka / Germany, 1994 r / d: Margarethe von Trotta Odisejev pogled (Ulysses’ Gaze / To vlemma ton Odyssea) Grčka, Francuska, Italija / Greece, France, Italy, 1994 r / d: Theo Angelopoulos Oklopnjaća Potemkin (Battleship Potyomkin / Bronenosec Potemkin) SSSR / USSR, 1925 r / d: Sergei Mikhailovitch Eisenstein Orfej (Orpheus) Jugoslavija / Yugoslavia, 1957 - 62 r / d: Arsa Milošević (kratki film / short film) 133

Pečat (The Seal) Jugoslavija / Yugoslavia, 1956 r / d: Dušan Makavejev (kratki film / short film) Prazno popodne (Empty Afternoon) Jugoslavija / Yugoslavia, 1958 r / d: Aleksandar Petković (kratki film / short film) Pre istine (Before the Truth) Jugoslavija / Yugoslavia, 1968 r / d: Vojislav – Kokan Rakonjac S puta u nemoguće (From the Journey into Impossible) Jugoslavia / Yugoslavia, 1996 r / d: Olivera Miloš – Todorović (kratki film / short film) Senke zaboravljenih predaka (Shadows of Our Forgotten Ancestors / Teni zabitykh predkov) SSSR / USSR, 1964 r / d: Sergei Paradjanov Spomenicima ne treba verovati (Don’t Believe in the Monuments) Jugoslavija / Yugoslavia, 1958 r / d: Dušan Makavejev (kratki film / short film) Sreća malih miševa (The Little Mice Happiness) Jugoslavija / Yugoslavija, 1956 r / d: Dragoljub Ivkov (kratki film / short film) Stadion (Stadium) Jugoslavija / Yugoslavia, 1996 r / d: Igor Simonović (kratki film / short film) Sveštenik (Priest) V. Britanija / U. K, 1994 r / d: Antonia Bird Tajanstveni voz (Mystery Train) SAD / USA, 1989 r / d: Jim Jarmusch Tamna zvezda (Dark Star) SAD / USA, 1974 r / d: John Carpenter Tonino Gvera – Lik ljubavi (Tonino Guerra – The Face of Love) Jugoslavija / Yugoslavia, 1995 r / d:Mladomir – Puriša Đorđević (dokumentarni film / documentary) (video) Triptih o materiji i smrti (Triptych on Matter and Death) Jugoslavija / Yugoslavija, 1961 r / d: Živojin Pavlović (kratki film / short film) Vanja na 42. ulici (Vanya on 42nd Street) SAD / USA; 1994 r / d: Louis Malle Veliki Melijes (The Great Mélies / Le grand Mélies) Francuska / France, 1952 r / d: Georges Franju (dokumentarni film / documentary) Volite se ljudi (Love Each Other) Jugoslavija / Yugoslavija, 1955 r / d: Dragoljub Ivkov (kratki film / short film) Zazidani (Walled In) Jugoslavija / Yugoslavia, 1969 r / d: Vojislav – Kokan Rakonjac Zbogom moja konkubino (Farewell My Concubine / Bawang bie ji) Kina, Hong Kong / China, Hongkong, 1993 r / d: Chen Kaige

4. F A F (20. – 27. XI 1997)

105 filmova + 36 repriza = 141 naslov 81 (81)

Irska, Ireland, 1997 režija / director: Stephen Burke ABSTRAKT (Abstract / Abstracto) Portugal, 1997 r / d: Rui Goulart 134

(kratki film / short film)

AHTENBUŠ (Achtenbusch) (dokumentarni film / documentary) ALTA MIRA (Alta mira) Mađarska / Hungary, 1997 r / d: Attila Mispal (kratki TV film / short TV film) ANĐELI NA OTPADU (Angels of the Dumps / Angeli na otpad) Makedonija / FYR Macedonia, 1997 r / d: Dimitrie Osmanli ASTRIK (Astruc) (dokumentarni film / documentary) AUTOBIOGRAFIJA (Autobiography) Jugoslavija / Yugoslavia, ? r / d: Vladan Radovanović (video) BANDA DŽEJMSOVIH (The James Gang) V. Britanija / U. K, 1996 r / d: Mike Barker BASKIJAT (Basquiat) SAD / USA, 1995 r / d: Julian Schnabel BOSNIA HOTEL (Bosnia Hotel) Francuska / France, ? r / d: Thomas Balmes (dokumentarni TV film / TV documentary) BRAĆA U NEVOLJI (Brothers in Trouble) V. Britanija / U. K, 1995 r / d: Udayan Prasad BRAT (Brother / Brat) Rusija / Russia, 1997 r / d: Aleksei Balabanov BRESON (Bresson) (dokumentarni film / documentary) BUDIMO ZAJEDNO (Let’s Stick Together) V. Britanija / U.K, 1997 r / d: Viv Fongenie CELULOIDNI PLAKAR (The Celluloid Closet) SAD / USA, 1995 r / d: Rob Epstein, Jeffrey Friedman DA LI ĆE BITI SNEGA ZA BOŽIĆ? (Will It Snow for Christmas? / Y’aurat’il de la Neige a Noel ?)

Francuska / France, 1996 r / d: Sandrine Veysset DEBORA (Deborah / Debora) Poljska / Poland, 1996 r / d: Ryszard Brylski DO GOLE KOŽE (The Full Monty) V. Britanija / U. K, 1996 r / d: Peter Cattaneo DORIS DERI (Doris Dörrie) (dokumentarni film / documentary) DRUGI KRUG (The Second Circle / Krug vtoroy) SSSR / USSR, 1990 r / d: Aleksandr Sokurov DUET / TANDEM (The Duo) Indija / India, 1997 r / d: Mani Ratnam DUHOVNI GLASOVI (Spiritual Voices / Dukhovnye golos) Rusija / Russia, 1993 r / d: Aleksandr Sokurov EKSTAZA (Extasis) Španija / Spain, 1996 r / d: Mariano Barroso EHO JANIASA (Echo of Jannias) Jermenija / Armenia r / d: Karina Verdian (kratki film / short film) FELIKS (Felix) Slovenija, Makedonija / Slovenia, FYR Macedonia, 1996 r / d: Božo Šprajc FRAS SE ŠIRI (Fear Is Spreading) Jugoslavija / Yugoslavia, 1997 r / d: Olivera Miloš Todorović (video) 135

GODAR (Godard) (dokumentarni film / documentary) HERZOG (Herzog) (dokumentarni film / documentary) HRONIKA NESTAJANJA (The Cronicle of disappearance / Segell ikhtifa) Palestina, Francuska / Palestine, France, 1996 r / d: Elia Suleiman IMPOSSIBLE MADE IN SERBIA, I deo (Impossible Made in Serbia, Part 1) Jugoslavija / Yugoslavia, 1997 r / d: Aleksandar Davić (video) IZ ŽIVOTA ELVESA (From the Life of Elves) Litvanija / Lithuania r / d: Janina Lapinskaite (kratki film / short film) INSTITUT BENJAMENTA (Institute Benjamenta) V. Britanija, SAD, Nemačka / U. K, USA, Germany 1995 r / d: braća Quay / The Brothers Quay IRMA VEP (Irma Vep) Francuska / France, 1996 r / d: Olivier Assayas ISTOČNA ELEGIJA (Eastern Elegy / Vostochnaya elegiya) Rusija / Russia, 1996 r / d: Aleksandr Sokurov IZVAN ŠVEDSKE (Out of Sweden) Nemačka / Germany r / d: Iannen Rieke (kratki film / short film) JEGULJA (The Eal / Unagi) Japan, 1997 r / d: Shohei Imamura JEDNOG DANA OVO ĆE BITI CENTAR EVROPE (One Day This Will Be the Center of Europe) Poljska / Poland r / d: Jacek Filipiak (kratki film / short film) KAMEN (The Stone / Kamen) Rusija / Russia, 1992 r / d: Aleksandr Sokurov KAFAVI (Cavafy) Grčka / Greece, 1996 r / d: Iannis Smaragdis KJAP (Kjap) Jugoslavija / Yugoslavia r / d: Nenad Jovanović (kratki film / short film) KLUGE (Kluge) (dokumentarni film / documentary) KOGA BRIGA? BIO JE CRNAC! (Who Cares? He was Only Black!) Švedska / Sweden r / d: Tom Alandh KONSTELACIJA LAVA (The Leo Constellation) Rusija / Russia, 1997 r / d: Juriy Agapov ( video) KRALJ IBI (King Ubu / Kral Ubu ) Češka Republika / Czech Republic, 1997 r / d: F. A. Brabec ( TV film) KUĆA (The House) Litvanija, Francuska, Portugal / Lithuania, France, Portugal, 1997 r / d: Sharunas Bartas LAKRIMOSA (Vengeance Is Mine / Ma je pomsta / Lacrimosa) Češka Republika / Czech Republic, 1995 r / d: Lordan Zafranović LILIENTAL (Lilienthal) (dokumentarni film / documentary) LIČNE ISPOVESTI (Private Confessions / Enskilda samtal) Švedska / Sweden, 1997 r / d: Liv Ullman LJUBAVNICA (Mistress) Belgija / Belgium, 1997 r / d: Marie France Collard (video) LORALDIA / VREME CVEĆA (The Time of the Flowers / Loraldia, el tiempo de las flores) Argentina, Španija / Argentina, Spain, 1991 r / d: Oscar Aizpeolea 136

MAJKA I SIN (Mother and Son / Mat’ i sin) Rusija, Nemačka / Russia, Germany, 1997 r / d: Aleksandr Sokurov MARIJA (Maria) Rumunija / Romania, 1993 r / d: Peter Calin Netzer (kratki film / short film) MELANHOLIJE (Melancholies) Jugoslavija / Yugoslavia, ? r / d: Vladan Zdravković (video) MELVIL (Melville) (dokumentarni film / documentary) MEMOARI JEDNE FRUSTRIRANE HEDONISTKINJE (A Memoirs of a Frustrated Hedonist / Memoiren einer frustrierten Hedonistin) Nemačka / Germany, 1995 r / d: Claas Danielsen MEMORABILIJA (Memorabilia) Jugoslavija / Yugoslavija, 1997 r / d: Tanja Fero (video) MESEČEVA PREKRETNICA (The Moon’s Turning Point) Jugoslavija/ Yugoslavia, 1997 r / d: Milorad Milinković (video) MOJA VEČERA SA OSVALDOM (My Dinner with Oswald) Irska / Ireland, 1997 r / d: Paul Duan (kratki film / short film) MOLTO ESPRESSIVO (Molto Espressivo) Jugoslavija/ Yugoslavia r / d: Miško Milojković (video) MONDO BOBO (Mondo Bobo) Hrvatska / Croatia, 1997 r / d: Goran Rušinović NEKES (Neckes) (dokumentarni film / documentary) NEKROPOLA PER-LAŠEZ (Pere-Lachaise Necropolis) Finska / Finland, 1997 r / d: Pia Andell (video) NOVI TALAS NJIM SAMIM (A New Wave by Itself) (dokumentarni film / documentary) OBEĆANJE (The Promise) Belgija / Belgium, 1997 r / d: Jean – Pierre & Luc Dardenne (video) OČEVIDAC (Eyewitness) Jugoslavija / Yugoslavia r / d:Aleksandar Davić (video) PEP IT UP (Pep It Up) Jugoslavija/ Yugoslavia r / d: Vladan Zdravković (video) PESME (Songs) Jugoslavija / Yugoslavia r / d: Nebojša Petrović (video) PORODIČNE STVARI (Family Affairs / Un air de famille) Francuska / France, 1996 r / d: Cedric Klapisch POSLEDNJA DADAISTIČKA PREDSTAVA (The Last Dadaist Performance) Jugoslavija / Yugoslavia r / d: Aleksandar Davić (video) POSLEDNJI RATNIK (The Last Warrior / Der letzte Krieger) Nemačka / Germany, 1997 r / d: Bernd Mosblech (dokumentarni film / documentarni) POTREBA (The Need / Niaz) Iran, 1991 r / d: Ali - Reza Davudnezhad PRIMER INTONACIJE (Intonation Example / Primer intonaciyi) Rusija / Russia, 1991 r / d: Aleksandr Sokurov PROFESIJA FOTO REPORTER (Profession Photo Reporter) Jugoslavija / Yugoslavia, 1997 r / d: Miloje Popović (kratki film / short film)

137

(video)

PROLAZ / KRALJ ULICE (Passages / Pasajes) Španija / Spain, 1996 r / d: Daniel Calparsoro PSI TRAVNJAKA (Lawn Dogs) V. Britanija / U. K, 1997 r / d: John Duigan PUT (The Journey / Safar) Iran, 1995 r / d: Ali – Reza Raissan RADIJE BI UMRLI OVDE NEGO U SARAJEVU (We’d Rather Die Here Than in Sarajevo) Nemačka / Germany r / d: Marc Haenecke, Michael Leuthner RAJ (Paradise / Ray) Rusija / Russia, 1997 r / d: Sergei Dvorishevoy RENE (Resnais) (dokumentarni film / documentary) RIVET (Rivette) (dokumentarni film / documentary) ROMI IDU U BERLIN (Gypsies Go to Berlin) Nemačka / Germany r / d: Nada Derado (kratki film / short film) RORAIMA (Roraima) Venecuela, Italija / Venezuela, Italy, 1993 r / d: Carlos Oteyza RUSKA SREĆA (Russian Happiness / Russkoye schastye) Rusija, Belorusija / Russia, Belarus, 1997 r / d: Juriy Katchevatsky S PUTA U NEMOGUĆE (From a Journey into the Impossible) Jugoslavija / Yugoslavia r / d: Olivera Miloš Todorović (video) SLOBODAN PAD (Free Fall / Az orveny) Mađarska / Hungary, 1996 r / d: Peter Forgacz (dokumentarni film / documentary) SUDBINA (Destiny / Al massir) Egipat / Egypt, 1997 r / d: Youssef Chahine ŠABROL (Chabrol) (dokumentarni film / documentary) TAJNE SRCA (The Secrets of the Heart / Secretos del corazon) Španija, Francuska, Portugal / Spain, France, Portugal, 1997 r / d: Montxo Armendariz TAKSI BICIKL (Cyclo / Xich 10)) Vijetnam, Francuska, Hong Kong / Vietnam, France, Hongkong, 1995 r / d: Tran Anh Hung TANGO JE TUŽNA MISAO KOJA SE PLEŠE (Tango Is a Sad Thought To Be Danced On) Jugoslavija / Yugoslavia, 1997 r / d: Mladomir – Puriša Đorđević TIHE STRANICE (Whispering Pages / Tikhiye stranitsy) Rusija / Russia, 1993 r / d: Aleksandr Sokurov TORANJ MINO (Minoo Watch-Tower / Borj-e-Minoo) Iran, 1986 r / d: Ebrahim Hatamikia TRIFO (Truffaut) (dokumentarni film / documentary) TURSKO KUPATILO (The Turkish Bath / Il bagno turco - Hamam) Turska, Italija, Španija/ Turkey, Italy, Spain, 1997 r / d: Ferzan Ozpetek TWIN TOWN (Twin Town) V.Britanija / U. K, 1996 r / d: Kevin Allen TYKHO MOON (Tykho Moon) Francuska / France, 1997 r / d: Enki Bilal U ALEJAMA LJUBAVI (In the Alleys of Love / Dar kuche-haye eshgh) Iran, 1991 r / d: Khosro Sinai 138

U OČIMA ZAPADA (Under Western Eyes) Izrael / Israel, 1996 r / d: Joseph Pitchhadze UMORNI SAPUTNICI (The Worn Pilgrims / Müde Weggefährten) Nemačka / Germany, 1996 r / d: Zoran Solomun UVEK LETO (Always Summer / Altijd zomer) ) Belgija / Belgium, 1997 r / d: Johan Seeuws (kratki film / short film) VAN SADAŠNJICE (Out of the Present) Nemačka / Germany, 1997 r / d: Andrei Ujica (video) VATRENE ULICE (Streets of Fire ) BiH / Bosnia & Herzegovina r / d: Saša Kaljanac, Adi Sarajlić (kratki film / short film) VOĆE UTROBE (The Fruit of My Womb / Die Frucht meines Leibes) Austrija / Austria, 1997 r / d: Barbara Albert (kratki film / short film) ZABRANJENA ŽENA (The Prohibited Woman) Francuska / France, 1997 r / d: Philippe Harel ZLOČINI VUKA (The Crimes of the Wolf) V. Britanija/ U. K, 1997 r / d: Kevin Smith, Olga Budashevska ( video)

Reprize / Re-run: Bašu, mali stranac (Bashu, The Little Stranger / Bashu, gharibeh kouchak) Iran, 1990 r / d: Behram Beizai Boj (The Battle) Jugoslavija / Yugoslavia, 1989 r / d: Slobodan Novaković (video) Brak Marije Braun (The Marriage of Maria Braun / Die Ehe der Maria Braun) SR Nemačka / West Germany, 1978 r / d: Rainer Werner Fassbinder Carski gradovi Jugoslavija / Yugoslavia, 1993 r / d: Slobodan Novaković (video) Cerska balada (The Cer Ballad) Jugoslavija / Yugoslavia, 1989 r / d: Slobodan Novaković (video) Čeznja Veronike Fos (Veronika Voss / Die Sehnsucht der Veronika Voss) SR Nemačka / West Germany, 1982 r / d: Rainer Werner Fassbinder Delfini su sisari /Dolphins are the mammals) Jugoslavija / Yugoslavia, 1997 r / d: Vladimir Paskaljević Derbi u Velikom Selu (Derby in Veliko Selo) Jugoslavija / Yugoslavia, 1971 r / d: Slobodan Novaković (dokumentarni TV film / TV documentary) Desetina na Bijenalu Jugoslavija / Yugoslavia r / d: Slobodan Novaković Gde je kuća moga druga ? (Where Is My Friend’s House? / Khaneh – ye doust kojast?)

Iran, 1987 r / d: Abbas Kiarostami Godina sa trinaest meseci (In a Year with 13 moons / In einem Jahr mit 13 Monaten) SR Nemačka / West Germany, 1978 r / d: Rainer Werner Fassbinder Kad ratuju dečaci (When the Boys Wage War) Jugoslavija / Yugoslavia, 1989 r / d: Slobodan Novaković (video) Ključ (The Key / Kelid) Iran, 1987 r / d: Ebrahim Farouzesh

139

Kroz maslinjake (Under the Olive Trees / Zire darakhtan zeyton) Iran, 1994 r / d: Abbas Kiarostami Lament o Seobama (Lament on Migrations) Jugoslavija / Yugoslavia, 1991 r / d: Slobodan Novaković (video) Lili Marlen (Lili Marleen) SR Nemačka / West Germany, 1980 r / d: Rainer Werner Fassbinder Matija (Mathias) Jugoslavija / Yugoslavia, 1989 r / d: Slobodan Novaković (video) Moja domovina (My Country) Jugoslavija/ Yugoslavia, 1997 r / d: Miloš Radović (kratki film / short film) Oko moje glave (All over My Head): - Ostrvo s blagom (Treasure Island), - Noćni čuvar (The Night Watchman) Jugoslavija / Yugoslavia, 1996 r / d: Marko Novaković Ivan Adrijanić (dva epizode TV serije / two epizodes of TV series) Pred belinom: Aleksandar Luković (In Front of Whitness: Aleksandar Luković) Jugoslavija / Yugoslavia, ? r / d: Slobodan Novaković (video) Pred belinom: Mića Stojiljković (In Front of Whitness: Mića Stojiljković) Jugoslavija / Yugoslavia, ? r / d: Slobodan Novaković (video) Put (The Road) Jugoslavija / Yugoslavia, 1988 r / d: Slobodan Novaković (video) Rodoslov (The Family Tree) Jugoslavia / Yugoslavia, 1984 r / d: Slobodan Novaković (video) Srbija (Serbia) Jugoslavija / Yugoslavia, 1992 r / d: Slobodan Novaković (video) Slavica u zemlji filmskih čuda (Slavica in Film Wonderland) Jugoslavija / Yugoslavia,1989 r / d: Slobodan Novaković (video) Slikati nemoguće (Painting the Impossible) Jugoslavija/ Yugoslavia, 1991 r / d: Slobodan Novaković (video) Sunce, mesec i zvezde (The Sun, the Moon and the Stars) Irska / Ireland, 1996 r / d: Geraldine Creed Svi drugi se zovu Ali (Fear Eats the Soul / Ali /Angst essen Seele auf) SR Nemačka / Germany, 1974 r / d: Rainer Werner Fassbinder Treća generacija (The Third Generation / Die dritte Generation) SR Nemačka / West Germany, 1979 r / d: Rainer Werner Fassbinder Tri letnja dana (Three Summer Days) Jugoslavija / Yugoslavia, 1997 r / d: Mirjana Vukomanović Tri života ježa (Three Lives of a Hedgehog) Jugoslavija / Yugoslavia, 1986 r / d: Slobodan Novaković (video) Triptih (Triptych) Jugoslavija / Yugoslavia r / d: Slobodan Novaković (video) Vanredne mere (Emergency Measures) Jugoslavija / Yugoslavia, 1986 r / d: Slobodan Novaković (video) Vašarski končerto (The Fair Concerto) Jugoslavija / Yugoslavia, 1995 r / d: Slobodan Novaković (video) Vešala za dvoje (Gallows for Two) Jugoslavija / Yugoslavia, 1997 r / d: Uroš Stojanović (kratki film / short film) Vreme konja (The Time of Horses) Jugoslavija/ Yugoslavia, 1972 r / d: Slobodan Novaković 140

5. F A F (13. 20. XI 1998)

53 filma + 13 repriza = 66 naslova 24 x 7 (Twentyfour Seven) V. Britanija / U. K, 1997 režija / director: Shane Meadows AKROBATE (Acrobats / Le acrobate) Italija / Italy, 1997 r / d: Silvio Soldini AMERIKANKA (The American / Amerikanka) Rusija / Russia, 1998 r / d: Dmitri Meshkiev BIZARNO (Bizzare) V. Britanija / U. K, 1997 r / d: Ivan Wilcox (kratki film / short film) BRAK U TROJE (Menage a trois / Retro vtroem) Rusija / Russia, 1998 r / d: Petar Todorovsky CRNE RUPE (The Black Holes / I buchi neri) Italija / Italy, 1995 r / d: Pappi Corsicato DEO MENE (A Part of Me) V. Britanija / U. K, 1998 r / d: Carl Callam (kratki film / short film) DUGMETARI (Buttoners / Knoflikari) Češka Republika / Czech Republic, 1997 r / d: Petr Zelenka FUČŽOU / FUNŽOU ( Foochdzo / Фунжоу) Ukraina / Ukraine, 1993 r / d: Mihail Iljenko GOSPOĐICA NIKO (Miss Nobody / Panna Nikt) Poljska / Poland, 1996 r / d: Andrzej Wajda HANIBALOVI SINOVI (Hanibal’s Sons / Figli di Annibale) Italija / Italy, 1998 r / d: Davide Ferrario INDIJA GOVORI (India Talkies / Dil se...)

Indija / India, 1998 r / d: Mani Ratnam JESENJA PRIČA (Tale of Autumn / Conte d’automne) Francuska / France, 1998 r / d: Eric Rohmer KANADA (Canada) Kanada, V. Britanija / Canada, U. K, 1998 r / d: Mike Magidson (kratki film / short film) KARAKTER (Character / Karakter) Holandija / Holland, 1997 r / d: Mark (Mike) van Diem KASNO BUĐENJE (Late) V. Britanija / U. K, 1998 r / d: Serhat Cardae (kratki film / short film) KOCKAR (The Gambler) Francuska / France, 1997 r / d: Karoly Makk KRUŽENJE MESECA IZMEĐU KOPNA I MORA (Moon Spins Between Land and Sea / Giro di luna tra terra e mare) Italija / Italy, 1997 r / d: Giuseppe M. Gaudino KRV NIJE SVEŽA VODA (Blood is Not Fresh Water / Il sangue non e acqua fresca) Italija, Etiopija / Italy, Ethiopia, 1997 r / d: Theo Eshetu KRV ZA DRAKULU (Blood for Dracula) Italija / Italy, 1974 r / d: Paul Morrissey KUD PLOVI OVAJ BROD (A Drifting Ship / Wonderlust) Jugoslavija / Yugoslavija, 1998 r / d: Želimir Žilnik 141

LU RID: ROKENROL SRCE (Lou Reed: Rock and Roll Heart) SAD / USA, 1997 r / d: Timothy Greenfield Saunders (dokumentarni film / documentary) MALA VELIKA SESTRA (Little Big Sister) Izrael, Švedska, Rumunija / Israel, Sweden, Romania, 1998 r / d: David Fisher (kratki film / short film) MARIJIN ZALIV ANĐELA (Marie Bay of Angels / Marie Baie des anges) Francuska / France, 1997 r / d: Mannuel Pradal MESO ZA FRANKENŠTAJNA (Flesh for Frankenstein) Italija, Francuska, Nemačka / Italy, France, Germany, 1973 r / d: Paul Morrissey NAPRED (Forward / Naprej) Slovenija / Slovenia, 1998 r/ d: Boris Petković (kratki film / short film) NEMIR (Unrest / Inquietude) Portugal, 1998 r / d: Manoel de Oliveira NEVINOST (Innocence / Masumiyet) Turska / Turqey, 1997 r / d: Zeki Demirkubuz NIVO 5 (Level 5) Francuska / France, 1996 r / d: Chris Marker NOĆ PUNOG MESECA (Full Moon / Den polnoluniya) Rusija / Russia, 1998 r / d: Karen Shakhnazarov NOĆNE PTIČICE (Night Hawks) Nemačka / Germany, 1998 r / d: Dimitri Popov (kratki film / short film) NULE I KEČEVI (Zeros and Ones) V. Britanija / U. K, 1998 r / d: Ian Bell (kratki film / short film) ODLIV (The Leak) V. Britanija / U. K, 1997 r / d: Ivan Willcox (kratki film / short film) OGLEDALO (Mirror / Ayneh) Iran, 1997 r / d: Jafar Panahi OTAC (Father / Der Vater) Nemačka / Germany, 1996 r / d: Ludger Dreimann (kratki film / short film) POD KOŽOM (Under the Skin) V. Britanija / U. K, 1997 r / d: Carine Adler PODZEMNA KATEDRALA (The Underground Cathedral) V. Britanija / U. K, 1998 r / d: Frederic Abrams (kratki film / short film) PRELUDIJ (Prelude) Nemačka / Germany, 1998 r / d: Stefan Panzner (kratki film / short film) PRIJATELJ MOJE PRIJATELJICE (My Friend’s Friend/ L’ami de mon amie) Francuska / France, 1987 r / d: Eric Rohmer PROLEĆNA PRIČA (A Tale of Springtime / Conte de printemps) Francuska / France, 1990 r / d: Eric Rohmer SARAJEVSKE PRIČE (Tales from Sarajevo) BiH / Bosnia & Herzegovina, 1998 – omnibus film 724 („724“) r / d: Edin Mustafić Kraj doba neprijatnosti (The End of the Age of Unpleasantness) r / d: Pjer Žalica Sindrom (Syndrome) r / d: Ines Tanović Ljubav je (Love Is) r / d: Jasmila Žbanić Noć je, mi svetlimo (It’s Night, We’re Shining) r / d: Jasmila Žbanić, Sead Kreševljaković, Nihad Kreševljaković Čovek koji je zamenio kuću za tunel (Man That Changed His House for aTunnel) r / d: Elmir Jukić Put na mesec (Travel to the Moon) r / d: Srđan Vuletić 142

SNENI ŽIVOT ANĐELA (The Dreaml Life of Angels / La vie revée des angels) Francuska / France, 1998 r / d: Erick Zonca STO NAČINA KUVANJA PILETINE (One Hundred Ways of Cooking Txilindren Chicken) Španija / Spain, 1997 r / d: Kepa Sojo (kratki film / short film) TANGO (Tango) Španija / Spain, 1998 r / d: Carlos Saura TOKIJSKE OČI (Tokyo Eyes) Japan, Francuska / Japan, France, 1998 r / d: Jean – Pierre Limosin TREĆA OBALA REKE (Third River Bank / A terciera margem do rio) Brazil, 1994 r / d: Nelson Pereira dos Santos U TOJ ZEMLJI (In That Land / V toy stranye) Rusija / Russia, 1997 r / d: Lidia Bobrova ULAZAK U BISNIS (Coming into Money) SAD / USA, 1998 r / d: Peter Sands (kratki film / short film) VIZUALIZACIJA (Visualization) Češka Republika / Czech Republic, 1997 r / d: Rodrigo Morales VOZ ŽIVOTA (Train of Life / Train de vie) Rumunija / Romania, 1998 r / d: Radu Mihaileanu ZEMLJA GLUVIH (The Country of Deaf / Strana gluhih) Rusija / Russia, 1998 r / d: Valeri Todorovsky ZEMLJA U TRANSU (Land in Trance / Terra em trance) Brazil, 1967 r / d: Glauber Rocha ZIMSKA PRIČA (Winter’s Tale / Conte d’hiver) Francuska / France, 1992 r / d : Eric Rohmer

Reprize / Re-run: Antonio koji donosi smrt / Antonio mrtvih (Antonio das mortes / O dragao de malade e santo guerreiro) Brazil, 1969 r / d: Glauber Rocha Berlin Aleksandar plac (Berlin Alexanderplatz) SR Nemačka / West Germany, 1980 r / d: Rainer Werner Fassbinder Četres’ dvojka (Forty Deuce) SAD / USA, 1982 r / d: Paul Morrissey Đubre (Trash) SAD / USA, 1970 r / d: Paul Morrissey Letnja priča (A Summer’s Tale / Conte d’ete) Francuska / France, 1996 r / d: Eric Rohmer Meso (Flesh) SAD / USA, 1968 r / d: Paul Morrissey Noći punog meseca (Full Moon in Paris / Les nuits de la pleine lune) Francuska / France, 1984 r / d: Eric Rohmer Paulina na plaži (Pauline at the Beach / Pauline a la plage) Francuska / France, 1983 r / d: Eric Rohmer Picikata (Pizzicata) Italija, Nemačka / Italy, Germany, 1995 r / d: Edoardo Vinspeare

143

(TV serija / TV series)

Suvi životi (Bare Lives / Vidas secas) Brazil / Brisil, 1964 r / d: Nelson Pereira dos Santos Uspeo brak (A Fine Marriage / Le beau mariage) Francuska / France, 1982 r / d: Eric Rohmer Vrućina (Heat) SAD / USA, 1972 r / d: Paul Morrissey Zeleni zrak (Green Ray / Le rayon vert) Francuska, France, 1986 r / d: Eric Rohmer

6. F A F (19. – 26. XI 1999)

26 filmova + 60 repriza = 86 naslova BANGLA BORČA (Bangla Borcha) Jugoslavija / Yugoslavia, 1999 režija/ directors: Igor M. Toholj, Dragan Ve. Ignjatović BEOGRADSKI DNEVNIK „JASMINA I RAT“ (Belgrade Diary „Jasmina and War / Belgrader Tagebuch „Jasmina und der Krieg) Jugoslavija, Nemačka / Yugoslavia, Germany, 1999 r / d: Dinko Tucaković BOGOVI I ČUDOVIŠTA (Gods and Monsters) V. Britanija / U.K, 1998 r / d: Bill Condon DEVOJKA TVOJIH SNOVA (The Girl of Your Dreams / La nina de tus ojos) Španija / Spain, 1998 r / d: Fernando Trueba FIONA (Fiona) Izrael, SAD / Israel, USA, 1998 r / d: Amos Kollek JA U LJUBAV VERUJEM (Notting Hill) V. Britanija / U. K, 1999 r / d: Roger Michell KIKUDŽIRO (Kikujiro) Japan, 1999 r / d: Takeshi Kitano LOLA TRČI (Run Lola Run / Lola rennt) Nemačka / Germany, 1998 r / d: Tom Tykwer MEJDAN SIMEUNA ĐAKA (The Battlefield of Simeun Djak) Jugoslavija / Yugoslavia, 1999 r / d: Petar Zec ( video) MODELI (Models) Austrija / Austria, 1998 r / d: Ulrich Seidl MOLOH (Moloch/ Moloh) Rusija / Russia, 1999 r / d: Aleksandr Sokurov NA NEBU (In Heaven / Im Himmel) Austrija / Austria, 1998 r / d: Michael Bindlechner OBLAK (The Cloud / La nube) Argentina, Francuska / Argentina, France, 1998 r / d: Fernando Solanas OD SVAKOG KOGA SAM VOLELA (From All I Loved) Jugoslavija / Yugoslavia, 1999 r / d: Mladomir – Puriša Đorđević PONOĆ (Midnight / O primeiro dia) Brazil, Francuska / Brazil, France, 1998 r / d:Walter Salles, Daniela Thomas 144

(video)

PROGRESIVNA PARANOJA (Progressive Paranoia) Jugoslavija/ Yugoslavia, 1999 r / d: Srdjan Stojanović (video) PROCEP (The Cleft) Jugoslavija / Yugoslavia, 1999 r / d: Milan Lolić (video) ROMANSA (Romance) Francuska / France, 1998 r / d: Catherine Breillat SEVERNA PERIFERIJA (Northern Skirts / Nordrand) Austrija / Austria, 1999 r / d: Barbara Albert SIN REKE (Son of the River) Jugoslavija / Yugoslavia, 1999 r / d: Andreja Maričić (video) SJU / SU (Sue) SAD / USA, 1997 r / d: Amos Kollek TRON SMRTI (Throne of Death / Marana simhasanam) Indija / India, 1999 r / d: Murali Nair USVOJENI SIN (The Adopted Son / Beshkempir) Kirgistan, Francuska / Kyrgyzstan, France, 1998 r / d: Aktan Abdykalykov VIKTOR...KAD JE VEĆ SUVIŠE KASNO (Victor...While It’s Too Late / Victor... pendant qu’il est trop tard) Francuska / France, 1998 r / d: Sandrine Veysset ZAPADNI BEJRUT (West Beyrouth) Liban, Francuska / Lebanon, France, 1998 r / d: Ziad Doueiri ZOE (Zoe) Nemačka / Germany, 1999 r / d: Maren-Kea Freese

Reprize / Re-run: 41 film Zagrebačke škole animiranog filma iz perioda 1961 - 1999 / 41 Film produced at the Zagreb School of Animation between 1961 and 1999 Andaluzijski pas (Un chien andalou) Francuska / France, 1928 r / d: Luis Buñuel Berlin, simfonija velegrada (Berlin, die Simphonie einer Grossstadt) Nemačka / Germany, 1927 r / d: Walter Ruttmann Čarolija za dva groša (Twopenny Magic / Der Zweigroschenzauber) Nemačka / Germany, 1929 r / d: Hans Richter Đavolja pećina (Devil’s Cave) Francuska / France, 1900 r / d: Georges Mélies Hitler igra lambetvok (Swinging the Lambeth Walk) SAD / USA, 1941 r / d: Len Lye Izbor Mis filma (Film Miss Pageantry) Jugoslavija / Yugoslavia, 1932 r / d: Vladeta Dragutinović Kino – oko (Cine-Eye / Kino-glaz - zhizn vrasploh) SSSR / USSR, 1924 r / d: Dziga Vertov Krv pesnika (Le sang d’un poete) Francuska / France, 1930 r / d: Jean Cocteau Međučin (Entr’acte) Francuska / France, 1924 r / d: Rene Clair Mehanički balet (Ballet mecanique)

145

Francuska / France, 1924 r / d: Fernand Leger, Dudley Murphy (& Man Ray) Menilmontan (Menilmontand) Francuska / France, 1925 r / d: Dimitri Kirsanoff Pariz koji spava (Paris qui dort) Francuska / France, 1923 r / d: Rene Clair Prepodnevna sablast (Ghosts before Breakfast / Vormittagspuck) Nemačka / Germany, 1928 r / d: Hans Richter Seljaci (Peasants / Krestyanye) SSSR / Soviet Union, 1935 r / d: Fridrih Ermler (nekompletno, samo sekvence animacije / incomplete, animation sequences only) Školjka i sveštenik (The Seashell and the Clergyman / La coquille et le clergyman) Francuska / France, 1928 r / d: Germaine Dullac U toj zemlji (In That Land / V toy stranye) Rusija / Russia, 1997 r / d: Lidia Bobrova Zlatno doba (L’age d’or) Francuska / France, 1930 r / d: Luis Buñuel Zona (La zone) Francuska / France, 1928 r / d: Georges Lacombe Život i smrt 9413, holivudskog statiste / Holivudski statista – Čovek broj 9413 (The Life and Death of 9413 – A Hollywood Extra) SAD / USA, 1927 r / d: Slavko Vorkapich

7. F A F

(23. – 30. XI 2000)

27 filmova + 8 repriza = 35 naslova 27 USKRAĆENIH POLJUBACA (27 Missing Kisses) Gruzija, Nemačka, Danska, V. Britanija, Francuska / Georgia, Germany, Denmark, U. K, France, 2000 režija / director: Nana Dzhordzhadze (Djordjadze) BUĐENJE (The Wake) Danska / Denmark, 2000 r /d: Christian Lemmerz, Michael Kvium (video) VERNOST (Fidelity / La fidelite) Francuska / France, 1999 r / d: Andrzej Zulawski VETAR ĆE NAS ODNET (The Wind Will Carry Us / Le vent nous emportera / Bad ma ra khwanad bord) Iran, Francuska / Iran, France, 1990 r / d: Abbas Kiarostami DORĆOL – MENHETN (Dorcol – Manhattan) Jugoslavija / Yugoslavia, 2000 r / d: Isidora Bjelica ŽIVOT KAO FATALNA BOLEST KOJA SE PRENOSI SEKSOM ( Life As a Fatal Sexually Transmitted Disease / Žycie jako smiertelna choroba przenosio zona droga plciowa) Poljska / Poland, 2000 r / d: Krzysztof Zanussi IDIOTI (The Idiots / Idioterne) Danska, Francuska / Denmark, France, 1998 r / d: Lars von Trier JOŠ JEDAN DAN (One More Day / Yek rouz bishtar) Iran, Kanada / Iran, Canada, 1999 r / d: Babak Payami JUGOSLAVIJA, RAT KOJI SE MOGAO IZBEĆI (Yugoslavia, The Avoidable War) 146

SAD / USA, 2000 r / d: George Bogdanich (dokumentarni film / documentary) LA KAPAĐIRA (My Head’s Spinning / La capagira) Italija / Italy, 1999 r / d: Alessandro Piva MIFUNEOVA POSLEDNJA PESMA (Mifune’s Last Song / Mifune sidste sang) Danska, Švedska / Denmark, Sweden, 1998 r / d: Søren Kragh - Jacobsen NEVINOST (Innocence) Australija, Belgija / Australia, Belgium, 2000 r / d: Paul Cox O ŽENAMA I MAGIJI (Of Women and Magic / La chambre des magiciennes) Francuska / France, 1999 r / d: Claude Miller PONEDELJAK (Monday) Japan, 1999 r / d: Sabu PONOVO NAĐENO VREME (Time Regained / Le temps retrouve) Francuska, Italija, Portugal / France, Italy, Portugal, 1999 r / d: Raoul Ruiz PROPAGANDA (Propaganda) Turska / Turkey, 1999 r / d: Sinan Cetin PROSLAVA (The Celebration / Festen) Danska / Denmark, 1998 r / d: Thomas Vinterberg RASKRŠĆE (The Crossing / Der Besuch) Holandija, Nemačka, Danska / Holland, Germany, Denmark, 1999 r / d: Nora Hoppe RASPOLOŽEN ZA LJUBAV (In the Mood for Love / Nuayang nianhua) Hong Kong, Francuska / Hongkong, France, 2000 r / d: Wong Kar - wai RATNA ZONA (The War Zone) V. Britanija / U. K, 1998 r / d:Tim Roth REKA SUŽU (Suzhou River / Suzhou he) Kina, Nemačka / China, Germany, 2000 r / d: Lou Ye SESIL B. DEMENTED (Cecil B. DeMented) SAD / USA, 2000 r / d: John Waters SLOBODA (Freedom / Laisve) Francuska, Litvanija, Portugal / France, Lithuania, Portugal, 2000 r / d: Sharunas Bartas TRI PRIČE O SPAVANJU I SPAVAČIMA (Three Stories on Sleep and Sleepers) Jugoslavija / Yugoslavija, 2000 r / d: Mladen Đorđević, Milojko Božović, Miroslav Stamatov (omnibus film) TRI SEZONE (Three Seasons) SAD, Vijetnam / USA, Vietnam, 1998 r / d: Tony Bui UZAŠAŠĆE / UZNESENJE (Peter Kukac from Nagyapat is Going to Heaven / Nagyapati Kukac Peter mennybemenetele) Jugoslavija, Francuska, Mađarska / Yugoslavia, France, Hungary, 1999 r / d: Zoltan Bicskei ZEMLJA ISTINE, LJUBAVI I SLOBODE (Land of Truth, Love and Freedom) Jugoslavija / Yugoslavia, 2000 r / d: Militin Petrović

Reprize / Re-run: Dan gneva (Day of Wrath / Vredens dag / Dies Irae) Danska / Denmark, 1944 r / d: Carl Theodor Dreyer Gertruda (Gertrud) Danska / Denmark, 1964 r / d: Carl Theodor Dreyer

147

Kočijaš (The Phantom Carriage / Korkalen) Švedska / Sweden, 1920 r / d: Victor Sjöström / Seastrom Lament (The Lament) Jugoslavija / Yugoslavia, 2000 r / d: Marko Novaković (dokumentarni film / documentary) Legenda o Ugecu (Ugetsu monogatari) Japan, 1953 r / d: Kenji Mizoguchi Mrtvi (The Dead) V.Britanija / U.K, 1987 r / d: John Huston Odmetnik Ejvind i njegova žena (The Outlaw and His Wife / Berg Ejvind och hans hustru) Švedska / Sweden, 1917 r /d: Victor Sjöström / Seastrom Reč (The Word / Ordet) Danska / Denmark, 1954 r / d: Carl Theodor Dreyer

8. F A F (23. - 30. XI 2001) 44 filma + 7 repriza = 51 naslov

A. B. C. AFRIKA (A. B. C. Africa / A. B. C. Afrika) Iran, Francuska / Iran, France, 2001 režija / director: Abbas Kiarostami ALLEGRO MA NON TROPPO Jugoslavija / Yugoslavia, 2001 r / d: Mladomir – Puriša Đorđević (video) BARABE (Rascals) Slovenija / Slovenia, 2000 r / d: Miran Zupanič BETI FIŠER I OSTALE PRIČE (Betty Fischer and Other Stories / Betty Fischer et autres histoires) Francuska, Kanada / France, Canada, 2001 r / d: Claude Miller BRAĆA VITMAN (The Witman Boys / Witman fiuk) Mađarska / Hungary, 1997 r / d: Janos Szasz CRVENI MESEC (Red Moon / Luna rossa) Italija/ Italy, 2001 r / d: Antonio Capuano DO KRAJA (All the Way) Kina / China, 2001 r / d: Shi Runjiu DUGAČAK SUMRAK (Long Twilight / Hosszu alkony) Mađarska / Hungary, 1997 r / d: Attila Janisch EJZENŠTAJN (Eisenstein) Nemačka, Kanada / Germany, Canada, 2000 r / d: Renny Bartlett EKSPANZIJA ENERGIJA (Expansion of Energies) Jugoslavija / Yugoslavija, 1999 r / d: Boba Dedić ENGLESKA! (England!)

Nemačka, Kanada / Germany, Canada, 2000 r / d: Achim von Borries GODIŠNJA DOBA (The Four Seasons / Vremena goda) Jermenija / Armenia, 1975 r / d: Artavazd Peleshyan IGRAČ VIŠE (One Man Up / L’uomo in piu) Italija / Italy, 2001 r / d: Paolo Sorrentino INTIMNOST (Intimacy) Francuska, Italija / France, Italy, 2000 r / d: Patrice Chereau 148

ITALIJANSKI ZA POČETNIKE (Italian for Beginners / Italiensk for begyndere) Danska / Denmark, 2001 r / d: Lone Scherfig JADVIGIN JASTUK (Jadviga’s Pillow / Jadviga párnája) Mađarska / Hungary, 1999 r / d: Krisztina Deák KO BI GA ZNAO? (Who Knows? / Va savoir) Francuska / France, 2001 r / d: Jacques Rivette KOLIKO JE TAMO SATI? (What Time Is It There? / Ni nei pien chi tien) Tajvan, Francuska / Taiwan, France, 2001 r / d: Tsai Ming Liang KRAJ (The End) / Verj) Jermenija / Armenia, 1994 r / d: Artavazd Peleshyn KRAPOVA POSLEDNJA TRAKA (Krapp’s Last Tape) V. Britanija / U. K, 2001 r / d: Atom Egoyan MAJMUN (The Chimp / Maimil) Kirgistan, Francuska / Kyrgyzstan, France, 2001 r: Aktan Abdykalykov MI (We / Menq) Jermenija / Armenia, 1969 r / d: Artavazd Peleshyan MILENIJUMSKI MAMBO (Millennium Mambo) Tajvan, Francuska / Taiwan, France, 2001 r / d: Hou Hsiao Hsien MOJA SESTRA (Fat Girl / A ma soeur!)

Francuska / France, 2001 r / d: Catherine Breillat NA MESEČINI (Under the Moonlight / Zir-e noor-e maah) Iran, 2001 r / d: Reza Mir-Karimi NA POČETKU (The Beginning / Skizbe) Jermenija / Armenia, 1967 r / d: Artavazd Peleshyan NAPUŠTENI (Abandoned / Torzok) Mađarska / Hungary, 2001 r / d: Arpad Sopsits NAŠ VEK (Our Century / Mer dare) Jermenija / Armenia, 1983 r / d: Artavazd Peleshyan NOVO, NOVO VRIJEME (A Winter to Remember) Hrvatska / Croatia, 2000 r / d: Rajko Grlić, Igor Mirković POSLEDNJA VEČERA KOD ARAPSKOG KONJA (Last Supper at the Arabian Gray Horse / Utolso vascora az arabs szurkenel) Mađarska / Hungary, 2000 r / d: Miklos Jancso POVRATAK KUĆI (Coming Home / Tornando a casa) Italija / Italy, 2001 r / d: Vincenzo Marra PRIČANJE PRIČE (Storytelling) SAD / USA, 2001 r / d: Todd Solondz PRINCEZA I RATNIK (The Princess and the Warrior / Der Krieger und die Kaiserin) Nemačka / Germany, 2000 r / d: Tom Tykwer PROFESORKA KLAVIRA (The Piano Teacher / La pianiste) Austrija, Francuska / Austria, France, 2001 r / d: Michael Haneke SRBIJA, NULTE GODINE (Serbia, Year Zero) Jugoslavia, Francuska / Yugoslavia, France, 2001 r / d: Goran Marković STANOVNICI (Inhabitants / Obitateli) Jermenija / Armenia, 1970 r / d: Artavazd Peleshyan STRAST (Passion / Szenvedely) Mađarska / Hungary, 1998 r / d: Gyorgy Feher

149

TAJNO GLASANJE (Secret Ballot / Raye makhfi) Iran, Italija, Kanada, Švajcarska / Iran, Italy, Canada, Switzerland, 2001 r / d: Babak Payami TAURUS (Taurus / Teljec) Rusija / Russia, 2001 r / d: Aleksandr Sokurov TITO (Tito) Slovenija / Slovenia, 2001 r / d: Janja Glogovac (video) TVRĐAVA EVROPA (Fortress Europe / Sweet Dreams / Trdnjava? Evropa) Slovenija / Slovenia, 2000 r / d: Želimir Žilnik (video) ZEMLJA LJUDI (World of People / Zemlya lyudey) Jermenija / Armenia, 1966 r / d: Artavazd Peleshyan ŽIVIMO SAMO JEDNOM (You Only Live Once / Egyszer elunk) Mađarska / Hungary, 2000 r / d: Gyorgy Molnar ŽIVOT (Life / Kyanq) Jermenija / Armenia, 1993 r / d: Artavazd Peleshyan

Reprize / Re-run: Egzotika (Exotica) Kanada / Canada, 1994 r / d: Atom Egoyan Felicijino putovanje (Felicia’s Journey) Kanada / Canada, 1999 r / d: Atom Egoyan Govorne role (Speaking Parts) Kanada / Canada, 1989 r / d: Atom Egoyan Kalendar (Calendar) Kanada / Canada, 1993 r / d: Atom Egoyan Najbliži rođak (Next of Kin) Kanada / Canada, 1984 r / d: Atom Egoyan Porodični prizori (Family Viewing) Kanada / Canada, 1987 r / d: Atom Egoyan Slatka sutrašnjica (The Sweet Hereafter) Kanada / Canada., 1997 r / d: Atom Egoyan

9. F A F (23. - 30. XI 2002)

37 premijera + 43 filma = 80 naslova 10 ( Ten / 10) Iran, Francuska / Iran, France, 2002 režija / director: Abbas Kiarostami 11. SEPTEMBAR 2001 (11’09’’01 – September 11) Francuska / France, 2002 r / d: Youssef Chahine, Amos Gitai, Ken Loach, Mira Nair, Alejandro Gonzalez Iñarritu, Shohei Imamura, Claude Lelouch, Sean Penn, SamiraMakhmalbaf, Idrissa Ouedraogo, Danis Tanović 150

APSOLUTNO VORHOL (Absolut Warhola) Nemačka / Germany, 2001 r / d: Stanislaw Mucha BELA KAO SNEG (As White as in Snow / Sa vit som en snö) Švedska / Sweden, 2001 r / d: Jan Troell BOG NAS SVAKOGA DANA LJUBI U USTA (POLJUBAC ŽIVOTA) (God Kisses Us on the Mouth Every Day (The Kiss of Life) / In fiecare zi dumnezeu ne saruta pe gura) Rumunija/ Romania, 2001 r / d: Siniša Dragin BOŽJA INTERVENCIJA ( Intervention Divine / Yadon ilaheyya) Maroko, Francuska, Nemačka / Morocco, France, Germany, 2001 r / d: Elia Suleiman DILER (Dealer) Nemačka / Germany, 1999 r / d: Thomas Arslan DOBRO JUTRO, DOBAR DAN, LAKU NOĆ (Good Morning, Good Afternoon, Good Night) Jugoslavija / Yugoslavia, 2002 r / d: Mladomir – Puriša Đorđević HAMSUN (Hamsun) Švedska / Sweden, 1999 r / d: Jan Troell IZA 22 (Behind 22) BiH / Bosnia & Herzegovina, 2002 r / d: Vesko Kadić (video) JEVANĐELJE ČUDA (The Gospel of Wonders / El evangelio de las maravillas) Meksiko / Mexico, 1998 r / d: Arturo Ripstein KAPETAN (Il capitano) Švedska / Sweden, 1991 r / d: Jan Troell KEN PARK (Ken Park) SAD, Holandija, Francuska / USA, Holland, France, 2002 r / d: Larry Clark, Edward Lachman LJUBAVNICI IZ HOTELA OSMAN (Lovers from the Osman Hotel/ Die Liebenden vom Hotel Osman) Nemačka / Germany, 2001 r / d: Idil Üner (kratki film / short film) LOLA I BILIDIKID (Lola and Billy the Kid / Lola und Bilidikid) Nemačka / Germany, 1999 r / d: Kutlug Ataman LUTKE (Dolls) Japan, 2002 r / d: Takeshi Kitano NEMAČKI POLICAJCI (German Policemen / Deutsche Polizisten) Nemačka / Germany, 2000 r / d: Aysun Bademsoy NEPOVRATNO (Irreversible) Francuska / France, 2002 r / d: Gaspar Noé ORLOV LET (The Flight of the Eagle / Ingenjör Andrées Luftfärd) Švedska / Sweden, 1982 r / d: Jan Troell PONEDELJAK IZJUTRA (Monday Morning / Lundi matin) Francuska / Italija / France, Italy, 2001 r / d: Otar Iosseliani POREKLO SVETA – EDIP (Origin of the World / L’origine du monde – Oedipus) Francuska / France, 2001 r / d: Jerome Enrico PREDAH NA SEVERU (Stay in the Marshland / Uppehäll i myrlandet) Švedska/ Sweden, 1964 r / d: Jan Troell PRESUDA FRANTIŠEKU KLOSU (The Sentence to Franciszek Klos / Wyrok na Franciszka Klosa) Poljska / Poland, 2000 r / d: Andrzej Wajda PRIČAJTE MI O LJUBAVI (Speak to Me of Love / Parlez-moi d’amour) Francuska / France, 2002 r / d: Sophie Marceau PROLEĆE U MALOM GRADU (Springtime in a Small Town / Xiao cheng zhi chun) Kina / China, 2002 r / d: Tian Zhuang zhuang

151

PROPAST MUŠKARACA (The Ruination of Men / La perdicion de los hombres) Meksiko / Mexico, 2000 r / d: Arturo Ripstein PROPUSNICA (Safe Conduct / Laissez-passer) Francuska, Nemačka, Španija / France, Germany, Spain, 2001 r / d: Bertrand Tavernier RUSKA BARKA (Russian Ark / Russkiy kovcheg) Rusija / Russia, 2002 r / d: Aleksandr Sokurov SEVDA ZNAČI LJUBAV (Sevda Means Love / Sevda heisst Liebe) Nemačka / Germany, 2000 r / d: Sinan Akkus (kratki film / short film) SRPSKA SIMFONIJA (Serbian Symphony / Serbische Simfonia) Nemačka / Germany, 2002 r / d: Manuel Zimmer, Sandrina Andrić (video) SVE ILI NIŠTA (All or Nothing) V. Britanija, Francuska / U. K, France, 2001 r / d: Mike Leigh TAKAV JE ŽIVOT (Such Is Life / Asi es la vida) Meksiko / Mexico, 2000 r / d: Arturo Ripstein TRAVA (Weed / Getürkt) Nemačka / Germany, 1997 r / d: Fatih Akin (kratki film / short film) TURNEJA PO INOSTRANSTVU (Tour Abroad / Die Auslandstournee) Nemačka / Germany, 2000 r / d: Ayse Polat ZABORAVILI SMO NA POVRATAK (We Have Forgotten to Come Back / Denk ich an Deutschland - Wir haben vergessen zuruckzukehren) Nemačka / Germany, 2001 r / d: Fatih Akin (dokumentarni film / documentary) ZALEĐENI SAN (Their Frozen Dream / En frusen dröm) Švedska / Sweden, 1997 r / d: Jan Troell ZALUTALI U IRAKU (PESME MOJE DOMOVINE) (Songs of My Homeland / Les Chants du pays de ma mere) Iran, Francuska / Iran, France, 2002 r / d: Bahman Ghobadi

Reprize / Re-run: 32 filma Beogradskog kruga animacije iz perioda 1949 – 2002 / 32 films made at The Belgrade Animation Circle between 1949 and 2002 Antonijevo razbijeno ogledalo (Antonije’s Broken Mirror) Jugoslavija / Yugoslavia, 1957 r / d: Dušan Makavejev (kratki film / short film) Petar Dobrović (Petar Dobrović) Jugoslavija / Yugoslavia, 1957 r / d: Aleksandar – Saša Petrović (kratki dokumentarni film / short documentary) Grad (The City) Jugoslavija / Yugoslavia, 1964 r / d: Marko Babac, Vojislav – Kokan Rakonjac, Živojin Pavlović (omnibus film) Izdajnik (Traitor) Jugoslavija / Yugoslavija, 1964 r / d: Vojislav – Kokan Rakonjac Let nad močvarom (Flight over the Marshes) Jugoslavija / Yugoslavia, 1956 r / d: Aleksandar – Saša Petrović (kratki dokumentarni film / short documentary) Ovo je tvoj život (Here Is Your life / Här har du ditt liv) Švedska/ Sweden, 1966 r / d: Jan Troell

152

Praznik (The Holiday) Jugoslavija / Yugoslavia, 1967 d / r: Đorđe Kadijević Rat – ratu Jugoslavija / Yugoslavia, 1960 r / d: Aleksandar – Saša Petrović (kratki dokumentarni film / short documentary) Sabori Jugoslavija / Yugoslavia, 1965 r / d: Aleksandar – Saša Petrović (kratki dokumentarni film / short documentary) Triptih o materiji i smrti (Triptych on Matter and Death) Jugoslavija / Yugoslavia,1961 r / d: Živojin Pavlović (kratki film / short film) Zid (The Wall) Jugoslavija/ Yugoslavia, 1960 r / d: Vojislav – Kokan Rakonjac

10. F A F (22. - 29. XI 2003) 27 filmova + 14 repriza = 41 naslov

ARIMPARA – PRIČA KOJA POČINJE S KRAJA (Arimpara – The Story That Begins at the End / Arimpara) Indija / India, 2003 režija / director: Murali Nair KAKO SAM UBIO OCA (How I Killed My Father / Comment j’ai tué mon pere) Francuska, Španija / France, Spain, 2001 r / d: Anne Fontain KARANDIRU (Carandiru) Brazil / Brasil, 2003 r / d: Hector Babenco KENEDI SE VRAĆA KUĆI (Kenedi Goes Back Home) Srbija i Crna Gora / Serbia & Montenegro, 2003 r / d: Želimir Žilnik MADAM BRUET (Madame Brouette / Madam Bouruet) Kanada, Senegal / Canada, Senegal, 2003 r / d: Moussa Sene Absa MADAM SATA (Madame Sata) Brazil, Francuska / Brazil, France, 2002 r / d: Karim Ainouz MALA LILI (Little Lili / La petite Lili) Francuska / France, 2003 r / d: Claude Miller NA ČIJOJ STRANI (Taking Sides) V. Britanija, Nemačka, Francuska / U.K, Germany, France, 2001 r / d: István Szabó NATALI (Nathalie) Francuska / France, 2003 r / d: Anne Fontain NIŠTA SE STVARNO NE DOGAĐA – Sećanja striptizeta u godinama (Nothing Really Happens – Memories of Aging Strippers) SAD / USA, 2003 r / d: Fred Newman NOI ALBINOI (Noi albinoi) Island, Nemačka / Iceland, Germany, 2002 r / d: Dagur Kari OTAC I SIN (Father and Son / Otets i syn / Père et fils) Rusija, Nemačka, Francuska / Russia, Germany, France, 2003 r / d: Aleksandr Sokurov OTKAKO JE OTAR OTIŠAO (Since Otar Left / Depuis qu’ Otar est parti...)

Francuska / France, 2003 r / d: Julie Bertuccelli 153

PEVANJE IZA KULISA (Singing behind the Screen / Cantando dietro i paraventi) Italija / Italy, 2003 r / d: Ermanno Olmi PIŠTOLJ (The Gun) SAD / USA, 2003 r / d: Vladimir Alenikov PORNOGRAFIJA (Pornography / Pornografia) Poljska / Poland, 2003 r / d: Jan Jakub Kolski POSLEDNJI ŽIVOT U VASIONI (The Last Life in the Universe) Tajland / Thailand, 2003 r / d: Pen-ek Ratanaruang POVRATAK (The Return / Vozvraščenie / Vozvrashchenye) Rusija / Russia, 2003 r / d: Andrei Zvyagintsev PRLJAVE LEPE STVARI (Dirty Pretty Things) SAD, V. Britanija / USA, U. K, 2002 r / d: Stephen Frears PROFESIJA: ORUŽJE (La mestiere delle armi) Italija / Italy, 2001 r / d: Ermanno Olmi PURPURNI LEPTIR (Purple Butterfly / Zi hudie) Kina / China, 2003 r / d: Lou Ye SEOBE II (Migrations II) (radna verzija / unfinished version) Jugoslavija / Yugoslavija, 1989 – 1991 r / d: Aleksandar – Saša Petrović SIMFONIJA NEBESKOG GRADA (Symphony of Heavenly City) Jugoslavija / Yugoslavia, 1993 r / d: Lordan Zafranović (video) ŠTA I ZAŠTO KAZIMIRA KARABAŠA Jugoslavija / Yugoslavia, 2003 r / d: Nikola Lorencin TA JADNA STVORENJA (Those Poor Creatures) Srbija i Crna Gora / Serbia & Montenegro, 2003 r / d: Petar Lalović U PET POPODNE (At Five in the Afternoon / Panj é asr / A cinq heures de l’après-midi) Iran, Francuska / Iran, France, 2003 r / d: Samira Makhmalbaf VEZE (Connections) Nemačka, Jugoslavija / Germany, Yugoslavia, 2003 r / d: Jelena Marković

Reprize / Re-run: Dobra stara pesma (Same Old Song / On connait la chanson) Francuska / France, 1997 r / d: Alain Resnais Drvo za klompe (The Tree of the Wooden Clogs / L’albero degli zoccoli) Italija / Italy, 1978 r / d: Ermanno Olmi Hirošima ljubavi moja (Hiroshima, mon amour) Francuska / France, 1960 r / d: Alain Resnais No Smoking (No Smoking) Francuska / France, 1993 r / d: Alain Resnais Prošle godine u Marijenbadu (Last Year at Marienbad / L’année derniére a Marienbad) Francuska / France, 1961 r / d: Alain Resnais Proviđenje (Providence) Francuska / France, 1977 r / d: Alain Resnais Rani radovi (Early Works) Jugoslavija / Yugoslavia, 1969 r / d: Želimir Žilnik Rat je završen (War Is Over / La guerre est finie) Francuska / France, 1966 r / d: Alain Resnais 154

Smoking (Smoking) Francuska / France, 1993 r / d: Alain Resnais Verenici (The Engagement / I fidanzati) Italija / Italy, 1963 r / d: Ermanno Olmi Volim te, volim (Je t’aime, je t’aime) Francuska / France, 1968 r / d: Alain Resnais Vreme se zaustavilo (Time Stood Still / Il tempo si e fermato) Italija / Italy, 1959 r / d: Ermanno Olmi Zaposlenje / Posao (The Job / Il posto) Italija / Italy, 1961 r / d: Ermanno Olmi Život je roman (Life Is a Novel / La vie est un roman) Francuska / France, 1983 r / d: Alain Resnais

11. F A F

(19. – 25. XI 2004)

31 film (nije bilo repriza / no re-run) ANATOMIJA PAKLA (Anatomy of Hell / Anatomie de l’enfer) Francuska / France, 2003 režija / director: Catherine Breillat BILO JEDNOM U INDIJI (The Land Tax / Lagaan: Once Upon a Time in India) Indija / India, 2001 r / d: Ashutosh Gowariker CVETOVI OKEANA (Ocean Flowers / Kadal pookkal) Indija / India, 2001 r / d: Bharatiraja ČANDNI BAR (Chandni Bar) Indija / India, 2001 r / d: Madhur Bhandarkar DUBOKO DISANJE (Deep Breath / Nafas-e-ameegh) Iran, 2002 r / d: Parviz Shahbazi GORKI SAN (Bitter Dream / Khab e talkh) Iran, 2004 r / d: Mohsen Amir - Yousseli GOSPODIN I GOSPOĐA AJER (Mr. and Mrs. Iyer) Indija / India, 2002 r / d: Aparna Sen HAVANSKA SVITA (Suite Habana) Španija, Kuba / Spain, Cuba, 2003 r / d: Fernando Perez ISUSE, ZNAŠ... (Jesus, You Know / Jesus, Du weisst) Austrija / Austria, 2003 r / d: Ulrich Seidl IZGNANICI (Exiles) Francuska / France, 2004 r / d: Tony Gatlif KAKO SAM UBIO SVECA (How I Killed a Saint / Kako ubiv svetec) Makedonija, Slovenija, Francuska / FYR Macedonia, Slovenia, France, 2003 r / d: Teona Strugar Mitevska KORNJAČE MOGU DA LETE (Turtles Can Fly / Lakposhtha ham parvaz mikonand) Iran, 2004 r / d: Bahman Ghobadi MOJA MAJKA (My Mother / Ma mere) Francuska, Portugal / France, Portugal, 2004 r / d: Christophe Honore

155

NAŠA MUZIKA (Our Music / Notre musique) Francuska, Švajcarska / France, Switzerland, 2004 r / d: Jean – Luc Godard NEMA ODMORA ZA HRABRE (No Rest for the Brave / Pas de repos pour les braves) Francuska, Austrija / France, Austria, 2003 r / d: Alain Guiraudie NEVESTA SEDMOG NEBA (A Bride of the Seventh Heaven / Juimalan morsian) Finska / Finland, 2003 r / d: Anastasia Lapsui, Markku Lehmuskallio OSTRVO (Island / L’isola) Italija / Italy, 2003 r / d: Constanza Quatriglio PAUK (The Spider / Makdee) Indija / India, 2002 r / d: Vishal Bharadwaj PREMIJERA (Opening Night) Srbija i Crna Gora / Serbia & Montenegro, 2004 r / d: Mladomir – Puriša Đorđević (video) PRIČA O NESTAŠNOJ DEVOJCI ( A Tale of a Naughty Girl / Mondo meyer upakhyan) Indija / India, 2002 r / d: Buddhadeb Dasgupta THE RUBBER SOUL PROJECT (The Rubber Soul Project) Srbija i Crna Gora / Serbia & Montenegro, 2004 r / d: Dinko Tucaković SALVADOR ALJENDE (Salvador Allende) Belgija, Čile, Meksiko, Francuska, Španija, Nemačka / Belgium, Chile, Mexico, France, Spain, Germany, 2004 r / d: Patricio Guzman (dokumentarni film / documentary) SAN ZIMSKE NOĆI (Midwinter Night’s Dream) Srbija i Crna Gora / Serbia & Montenegro, 2004 r / d: Goran Paskaljević SVJETSKO ČUDOVIŠTE (The World’s Greatest Monster) Hrvatska / Croatia, 2003 r / d: Goran Rušinović TA DIVNA SPLITSKA NOĆ (A Wonderful Night in Split) Hrvatska / Croatia, 2004 r / d: Arsen Anton Ostojić TELO (The Body / Deham) Indija / India, 2001 r / d: Govind Nihalani TOVAR (Cargo) V. Britanija / U. K, 2004 r / d: Andi Reiss UHVAĆENI U OLUJI (Caught in a Storm / Kannathil muthamittal) Indija / India, 2002 r / d: Mani Ratnam VEČNOST (Eternity / Anahaat) Indija / India, 2003 r / d: Amol Palekar ZUBEIDA (Zubeida) Indija / India, 2001 r / d: Shayam Benegal ŽEĐ (Thirst / Atash) Izrael, Palestina / Israel, Palestine, 2004 r / d: Tawfik Abu Wael

13 (13 / 13 tzameti) Gruzija, Francuska / Georgia, France, 2005 r / d: Géla Babluani BLIZU KUĆE (Close to Home / Karov la bayit) Izrael / Israel, 2005 r / d: Vardit Bilu, Dalia Hagar DECA VELIKOG GRADA (Children of the Big City / Detya bolshogo goroda) Rusija / Russia, 1914 r / d: Yevgeni Bauer DEVET SCENA (Nine Takes) Nemačka / Germany, 2006 r / d: Dietrich Bruggeman EUFORIJA (Euphoria / Euforiya) Rusija / Russia, 2005 r / d: Ivan Viripayev GLEDAJ U OBA PRAVCA (Look Both Ways) Australija / Australia, 2005 r / d: Sarah Watt KOMA (Komma / Petites elucubrations) Francuska, Belgija / France, Belgium, 2005 r / d: Martine Doyen LETNJA PALATA / SUNČANA PALATA (Summer Palace / Yihe yuan) Kina, Francuska / China, France, 2006 r / d: Lou Ye NEĆU DA SPAVAM SAM (I Don’t Want to Sleep Alone / Hei yan quan) Tajvan, Francuska, Australija / Taiwan, France, Australia, 2006 r / d: Tsai Ming - liang PORODIČNI PRIJATELJ ( The Family Friend / L’amico di famiglia) Italija / Italy, 2006 r / d: Paolo Sorentino POSTEPENO (Gradually / Be ahestegi) Iran, 2006 r / d: Maziar Miri REDITELJ VENČANJA (Wedding Director / Il regista di matrimoni) Italija / Italy, 2005 r / d: Marco Bellocchio SANJARENJA (Dreaming / Grezy) Rusija / Russia, 1915 r / d: Yevgeni Bauer SVE DŽABA (All for Free) BiH, Hrvatska, Srbija / Bosnia & Herzegovina, Croatia, Serbia, 2006 r / d: Antonio Nuić ŠTA IMA ROKERI (Wassup Rockers) SAD / USA, 2005 r / d: Larry Clark ULICA CRVENI PUT (Red Road) V. Britanija, Danska / U. K, Denmark, 2006 r / d: Andrea Arnold VEKOVNI SINDROM (Syndromes and the Century / Sang sattawat) Tajland, Francuska, Austrija / Thailand, France, Austria, 2006 r / d: Apichalpong Weerasethakul ŽIVOT ZA ŽIVOT (Life for Life / Zhizn za zhizn) Rusija / Russia, 1916 r / d: Yevgeni Bauer

Reprize / Re-run:

12. F A F

(28. XI - 3. XII 2006)

19 filmova + 8 repriza = 27 naslova

12:08 ISTOČNO OD BUKUREŠTA ( 12:08 East of Bucharest / A fost sau n-a fost) Rumunija / Romania, 2006 režija / director: Corneliu Porumboiu 156

Amadeus (Amadeus) SAD / USA, 1984 r / d: Miloš Forman Amarkord / Sećam se (Amarcord) Italija / Italy, 1973 r / d: Federico Fellini Čarobna frula (The Magic Flute / Trollflojten) Švedska / Sweden, 1974 r / d: Ingmar Bergman Čudo u Milanu (Miracle in Milan / Miracolo a Milano) Italija / Italy, 1951 r / d: Vittorio de Sica 157

Lepotica i zver (Beauty and the Beast/ La belle et la bete) Francuska/ France, 1945 r / d: Jean Cocteau Lice (The Face / Ansiktet) Švedska / Sweden, 1958 r / d: Ingmar Bergman Ogledalo (The Mirror / Zerkalo) SSSR / USSR, 1975 r / d: Andrei Tarkovsky Sjaj u očima (Loving Glances) Srbija i Crna Gora / Serbia and Montenegro, 2003

r / d: Srdjan Karanović

13. F A F (27. XI - 4. XII 2007) 29 filmova + 24 reprize = 53 naslova

ALEKSANDRA ( Alexandra / Aleksandra) Rusija, Francuska / Russia, France, 2007 režija / director: Aleksandr Sokurov BORDING GEJT (Boarding Gate) Francuska / France, 2007 r / d: Olivier Assayas CALIFORNIA DREAMIN’ (Endless / Nesfarsit) Rumunija / Romania, 2007 r / d: Cristian Nemescu DVA DANA U PARIZU (Two Days in Paris / Deux jours a Paris) Francuska, Nemačka / France, Germany, 2007 r / d: Julie Delpy DVOJE (The Couple) Srbija / Serbia, 2007 r / d: Mladomir Puriša Đorđević (video) FADO (Fados) Španija / Spain, 2007 r / d: Carlos Saura GRADIVA (It’s Gradiva Who Is Calling You / C’est Gradiva qui vous appelle) Francuska / France, 2006 r / d: Alain Robbe - Grillet IKS IKS IPSILON (XXY) Argentina, Španija, Francuska / Argentina, Spain, France, 2007 r / d: Lucia Puenzo ISTEKLO VREME (Expired) SAD / USA, 2007 d / r: Cecilia Miniucchi IZA ZAVESE OD MAGLE (Behind the Fog Curtain / Poshte parde-je-meh) Iran, 2004 r / d: Parvis Sheykh Tadi JA (Me / Yo) Španija / Spain, 2007 r / d: Rafa Cortes KAO KOD KUĆE (Just Like Home / Hjemve) Danska / Denmark, 2007 r / d: Lone Scherfig KINOMONSTRUM (Cinemonster) Francuska / France, 2006 r / d: Enki Bilal KONTROLA (Control) SAD, V. Britanija, Australija / USA, U. K, Australia, 2007 r / d: Anton Corbijn LETNJA KIŠA (Summer Rain / El camino de los Ingleses) Španija, V. Britanija / Spain, U. K, 2007 r / d: Antonio Banderas LETNJI OŽILJCI (Summer Scars) V. Britanija / U. K, 2007 r / d: Julian Richards 158

LJUBAVNICI IZ AKSOSA (The Lovers from Axos / I erastes tis Axou) Grčka / Greece, 2007 r / d: Nicos Ligouris (dokumentarni film / documentary) NA RUBU MORA (The End of the Sea / La fine del mare) Italija, Francuska, Nemačka / Italy, France, Germany, 2007 r / d: Nora Hoppe NEVIDLJIVI (Invisibles) Španija / Spain, 2007 r / d: Wim Wenders, Isabel Coixet OLUJNA PTICA (Storm Bird / Morghe tufan) Nemačka / Germany, 2006 r / d: Tariq Marzbaan (kratki dokumentarni film / short documentary) OSEKA (Low Tide) V. Britanija / U. K, 2007 r / d: Jon Sanders PODNEBLJA (Climates / Iklimer) Turska, Francuska / Turkey, France, 2006 r / d: Nuri Bilge Ceylan POKUŠAJ DA SE SETIŠ (The Man of My Life / L’homme de ma vie) Francuska, Italija / France, Italy, 2006 r: Zabou Breitman PRIGUŠENA SVETLOST (Silent Light / Stellet Licht / Lumière silencieuse) Meksiko, Francuska, Holandija, Nemačka / Mexico, France, Holland, Germany, 2007 r / d: Carlos Reygadas SIMFONIJA RUKU (Simphony of Hands) Srbija / Serbia, 2006 r / d: Vlada Petrić (kratki film / short film) SKLONIŠTE (Shelter / Riparo) Italija, Francuska / Italy, France, 2007 r / d: Marco Simon Puccioni SKRIVENA KUTIJA (The Wooden Box / La caja) Španija / Spain, 2006 r / d: Juan Carlos Falcon TAKVA – STRAH PRED BOGOM (A Man’s Fear of God / Takva) Turska, Nemačka /Turkey, Germany, 2006 r / d: Ozer Kiziltan ZVEZDA KOJA NEDOSTAJE (The Missing Star / La stella che non c’e) Italija / Italy, 2006 r / d: Gianni Amelio

Reprize / Re-run: Boja raja (Colour of Heaven / Rang-e khoda) Iran, 1999 r / d: Majid Majidi Budu spasen iz vode (Boudu sauvé des eaux) Francuska / France, 1932 r / d: Jean Renoir Čudotvorka (The Miracle Worker) SAD / USA, 1962 r / d: Arthur Penn Demonski ljubavnici / Opsesija (Ossessione) Italija / Italy, 1942 r / d: Luchino Visconti Derbi u Velikom Selu (Match of the Day in Veliko Selo) Srbija / Serbia, 1971 r / d: Slobodan Novaković (dokumentarni TV film / TV documentary) Ideja čije je vreme došlo (The Idea Whose Time Has Come) Srbija / Serbia, 2005 r / d: Jelena Đokić Istine i laži (F for Fake / Verites et mensonges) Francuska, SR Nemačka / France, West Germany, 1973 r / d: Orson Welles Ključevi od kuće (The Keys to the House / Le chiave di casa) Italija / Italy, 2004 r / d: Gianni Amelio

159

Kišni čovek (Rain Man) SAD / USA, 1988 r / d: Barry Levinson Korisnici (Users) Srbija / Serbia, 2005 r / d: Ivan Ikić Matija (Matija) Srbija, Serbia, 1989 r / d: Slobodan Novaković Osmi dan ( The Eighth Day / Le huitieme jour) Belgija, Francuska / Belgium, France, 1996 r / d. Jaco van Dormael Put (The Road) Srbija / Serbia, 1988 r / d: Slobodan Novaković Rodoslov (The Family Tree) Srbija / Serbia, 1984 r / d: Slobodan Novaković San zimske noći (Midwinter Night’s Dream) Srbija i Crna Gora / Serbia & Montenegro, 2004 r / d: Goran Paskaljević Senke zaboravljenih predaka (The Shadows of Our Forgotten Ancestors / Teni zabitykh predkov) SSSR / USSR, 1964 r / d: Sergei Paradjanov Slikati nemoguće (Painting the Impossible) Srbija / Serbia, 1991 r / d: Slobodan Novaković Staklo (Glass) Srbija / Serbia r / d: Andras Urban Svaki dan Đulija Pilendre (Every Day of Giulio Pilendra) Jugoslavija / Yugoslavia, 1986 r / d: Predrag Golubović Tajna Pikaso (Le Mystere Picasso) Francuska / France, 1956 r / d: Henri – Georges Clouzot Tri (Three) Jugoslavija / Yugoslavia, 1965 r / d: Aleksandar – Saša Petrović Tri života ježa (Three Lives of a Hedgehog) Srbija / Serbia, 1986 r / d: Slobodan Novaković, Vera Vlajić Učesnik i svedok: Aleksandar Petrović (The Portrait of Alexander Petrović) Srbija / Serbia r / d: Slobodan Novaković Vreme konja (The Time of Horses) Jugoslavija / Yugoslavia, 1972 r / d: Slobodan Novaković

14. F A F (26. XI – 3. XII 2008) 36 filmova + 24 reprize = 60 naslova

BITKA ZA HADITU (Battle for Haditha) V.Britanija / U.K, 2007 režija / director: Nick Bromfield BOŽIĆNA PRIČA (The Christmas Tale / Cuento de Navidad) Španija / Spain, 2005 r / d: Paco Plaza ČIKO (Chiko) Nemačka / Germany, 2008 r / d: Özgür Yildirim DEČJA SOBA (The Baby’s Room / La habitacion del niño) Španija / Spain, 2006 r / d: Alex de la Iglesia 160

DOM (Home) Švajcarska, Francuska, Belgija / Switzerland, France, Belgium, 2008 r / d: Ursula Meier GLAD (Hunger) V, Britanija / U. K, 2008 r / s: Steve McQueen EGZODUS 77 (Exodus 77) V. Britanija / U. K, 2008 r / d: Anthony Wall JOY DIVISION (Joy Division) SAD, V. Britanija / USA, U. K, 2008 r / d: Grant Gee KINO LIKA (Cinema Lika) Hrvatska / Croatia, 2008 r / d: Dalibor Matanić KRIVICA (Blame / La culpa) Španija / Spain, 2006 r / d: Narciso Ibañez Serrador LU RIDOV BERLIN (Lou Reed’s Berlin) SAD, V. Britanija / USA, U. K, 2008 r / d: Julian Schnabel MOJ MARLON I BRANDO (My Marlon and Brando / Gitmek: Benim Marlon ve Brandom ) Turska / Turkey, 2008 r / d: Huseyin Karabey MOJRIN POVRATAK (Spectre / Regreso a Moira) Španija / Spain, 2006 r / d: Mateo Gil NEBO NAD HOLANDIJOM (The Heaven above Holland / Hemel boven Holland) Holandija / Holland, 2007 r / d: Rolf van Eijk NILOFAR (Niloofar) Francuska / France, 2008 r / d: Sabine el Gemayel NISAM TU (I’m Not There) SAD, Nemačka / USA, Germany, 2007 r / d: Todd Haynes ODRASLI (The Grown Ups / Les grandes personnes) Francuska, Švedska / France, Sweden, 2008 r / d: Anne Novion PANDORINA KUTIJA (Pandora’s Box / Pandoranin kutusu) Turska, Nemačka / Turkey, Germany, 2008 r / d: Yeşim Ustaoğlu PAPIRNI VOJNIK (Paper Soldier / Bumazhnyj soldat) Rusija / Russia, 2008 r / d: Aleksei German jr.

PESAK I TUGA (Sand and Sorrow) SAD / USA, 2007 r / d: Paul Freedman PEŠČANIK (The Sands / Fövenyora) Mađarska , Srbija / Hungary, Serbia, 2007 r / d: Sabolč Tolnai POGODI KO SAM (A Real Friend / Adivina quien soy) Španija / Spain, 2006 r / d: Enrique Urbizu PRISMOTRA (Surveillance) SAD, Nemačka / USA, Germany, 2008 r / d: Jennifer Chambers Lynch PRLJAVŠTINA I MUDROST (Filth and Wisdom) V. Britanija / U. K, 2008 r / d: Madonna REVANŠ (Revanche) Austrija / Austria, 2008 r / d: Götz Spielmann ROLLING STONES – SHINE A LIGHT (Rolling Stones – Shine a Light) SAD, V. Britanija / USA, U. K, 2008 r / d: Martin Scorsese SKIN (Skin) Holandija / Holland, 2008 r / d: Hanno Smitsman SKORI POVRATAK (Back Soon / Skrapp ut) Island / Iceland, 2008 r / d: Solveig Anspach 161

SNIJEG (Snow) BiH, Nemačka / Bosnia & Herzegovina, Germany, 2008 r / d: Aida Begić SNIMANJE U PALERMU (Palermo Shooting) SAD, Nemačka / USA, Germany, 2008 r / d: Wim Wenders ŠTO SA SOBOM PREKO DANA Hrvatska / Croatia, 2008 r / d: Ivona Juka TULPAN (Tulpan) Kazahstan, Rusija / Kazakhstan, Russia, 2008 r / d: Sergei Dvortsevoy USELJIV ODMAH (To Let / Para entrar a vivir) Španija / Spain, 2006 r / d: Jaume Balaguero VALCER SA BAŠIROM (Waltz with Bashir) Izrael, Nemačka, Francuska / Israel, Germany, France, 2008 r / d: Ari Folman VENČANJE U BELOJ NOĆI (White Night Wedding / Bruđguminn) Island / Iceland, 2008 r / d: Baltazar Kormakur VENDI I LUSI (Wendy & Lucy) SAD / USA, 2008 r / d: Kelly Reichardt

Reprize / Re-run: Bela griva (Wild Horse / Crin blanc, Le cheval sauvage) Francuska / France, 1953 r / d: Albert Lamorisse Buđenje pacova (Rats Awakening) Jugoslavija / Yugoslavija, 1966 r / d: Živojin Pavlović Crveni balon (Red Balloon / Le ballon rouge) Francuska / France, 1956 r / d: Albert Lamorisse Crveno klasje / Rdeče klasje (The Red Wheat) Jugoslavija / Yugoslavia, 1970 r / d: Živojin Pavlović Dezerter (The Deserter) Jugoslavija / Yugoslavia, 1992 r / d: Živojin Pavlović Doviđenja u sledećem ratu / Nasvidenje v naslednji vojni (See You in the Next War) Jugoslavija, Yugoslavia, 1980 r / d: Živojin Pavlović Grad (The City) Jugoslavija / Yugoslavija, 1964 r / d: Živojin Pavlović (jedna epizoda / one episode only) Hajka (Pursuit) Jugoslavija / Yugoslavija, 1977 r / d: Živojin Pavlović Kad budem mrtav i beo (When I’m Dead and White) Jugoslavija / Yugoslavia, 1967 r / d: Živojin Pavlović Kapi, vode, ratnici (Drops, Waters, Warriors) Jugoslavija / Yugoslavia, 1962 r / d: Živojin Pavlović (jedna epizoda / one episode only) Konopac (Rope) SAD / USA, 1948 r / d: Alfred Hitchcock Kradljivci bicikla (Bicycle Thieves / Ladri di biciclette) Italija / Italy, 1948 r / d: Vittorio de Sica Let mrtve ptice (The Flight of Dead Bird) Jugoslavija / Yugoslavia, 1973 r / d: Živojin Pavlović Male lisice (The Little Foxes) SAD / USA, 1941 r / d: William Wyler 162

Na putu za Katangu (On the Road to Katanga) Jugoslavija / Yugoslavia, 1987 r / d: Živojin Pavlović Neprijatelj / Sovražnik (Enemy) Jugoslavija / Yugoslavia, 1965 r / d: Živojin Pavlović Paisa (Paisan / Paisa) Italija / Italy, 1946 r / d: Roberto Rossellini Povratak (The Return) Jugoslavija / Yugoslavia, 1966 r / d: Živojin Pavlović Pravilo igre (Rules of the Game / La regle de jeu) Francuska / France, 1939 r / d: Jean Renoir Traži se ideja za pozorišni komad /In Search of an Idea for a Stage Play) Jugoslavija / Yugoslavia, 1972 r / d: Mladomir – Puriša Đorđević (dve epizode TV serije „Od svakog koga sam volela“ / 2 episodes of TV series „From Everyone I loved“) Veličanstveni Ambersonovi (The Magnificent Ambersons) SAD / USA, 1942 r / d: Orson Welles Zadah tela (Body Scent) Jugoslavija / Yugoslavia, 1982 r / d: Živojin Pavlović Zapisi sa periferije – Mihailo Al Popović (Notes from the Suburbs – Mihailo Al Popović) Jugoslavija / Yugoslavia, 1996 r / d: Anita Panić (video) Zaseda (Ambush) Jugoslavija/ Yugoslavia, 1969 r / d: Živojin Pavlović

15. F A F

(25.XI – 2. XII 2009)

30 filmova + 24 reprize = 54 naslova

AUTOPUT (Highway / Avtodoroga) Rusija / Russia, 1999 režija / director: Sergei Dvortsevoy (dokumentarni film / documentary) AHIL I KORNJAČA (Achilles and the Tortoise / Akiresu to kame) Japan, 2008 r / d: Takeshi Kitano BELA TRAKA (The White Ribbon / Das weisse Band) Austrija, Francuska, Nemačka, Italija / Austria, France, Germany, Italy, 2009 r / d: Michael Haneke CRNCI (Negroes) Hrvatska / Croatia, 2009 r/ d: Zvonimir Jurić, Goran Dević DAN HLEBA (Bread Day / Chlebniy den) Rusija / Russia, 1998 r / d: Sergei Dvortsevoy (dokumentarni film / documentary) DIVLJE TRAVKE (Wild Grass / Les herbes folles) Francuska, Italija / France, Italy, 2009 r / d: Alain Resnais DORFPUNKS (Dorf Punks / Dorfpunks) Nemačka / Germany, 2009 r / d: Lars Jessen FANK- I- LASTIŠ CRNOG ZUBA (Funk-y-Stretch by Black Tooth) Srbija / Serbia, 2009 r / d: Koja GLASNIK (The Messenger) SAD / USA, 2009 r / d: Oren Moverman 163

HERBI HENKOK (Herbie Hancock) SAD / USA, 2006 r / d: Doug Biro, Jon Fine (dokumentarni film / documentary) JA, DON ĐOVANI (Me, Don Giovanni / Io, Don Giovanni) Italija, Španija / Italy, Spain, 2009 r / d: Carlos Saura KENJAC (Donkey) Hrvatska, BiH, Srbija / Croatia, Bosnia and Herzegovina, Serbia, 2009 r / d: Antonio Nuić MAKS MANUS (Max Manus) Norveška / Norway, 2009 r / d: Joachim Roenning, Espen Sandberg MAMUT (Mammoth) Švedska, Danska, Nemačka / Sweden, Denmark, Germany, 2009 r / d: Lukas Moodysson MERI I MAKS (Mary and Max) Australija / Australia, 2009 r / d: Adam Elliot MLEKO TUGE (Milk of Sorrow / La teta asustada) Peru, Španija / Peru, Spain, 2009 r / d: Claudia Llosa NOVI TALAS RUMUNSKOG FILMA (The New Wave of Romanian Cinema / La nouvelle vague du cinéma Roumain) Rumunija / Romania, 2009 r / d: Marius Dolcov, Vincent Guyottot (dokumentarni film / documentary) OBIČNI LJUDI (Ordinary People) Srbija, Francuska, Švajcarska / Serbia, France, Switzerland, 2009 r / d: Vladimir Perišić POBEĐUJ ! (Let’s Vin! / Vincere !)

Italija, Francuska/ Italy, France, 2009 r / d: Marco Bellocchio POLICIJA, PRIDEV (Police, Adjective / Politist, adjectiv) Rumunija / Romania, 2009 r / d: Corneliu Porumboiu PRAH VREMENA (The Dust of Time / I skoni tou hronou) Grčka, Italija, Nemačka, Francuska, Rusija / Greece, Italy, Germany, France, Russia, 2009 r / d: Theo Angelopoulos PRIČE IZ ZLATNOG DOBA (Tales from the Golden Age / Amintiri din epoca de aur) Rumunija, Francuska / Romania, France, 2009 r / d: Cristian Mungiu, Ioana Uricaru, Hanno Höfer, Constantin Popescu, Răzvan Mărculescu RAJ (Paradise / Ščastye) Rusija / Russia, 1996 r / d: Sergei Dvortsevoy (kratki dokumentarni film /short documentary) RIKI (Ricky) Francuska, Italija / France, Italy, 2009 r / d: François Ozon SOUL KITCHEN (Soul Kitchen) Nemačka / Germany, 2009 r / d: Fatih Akin SVI DRUGI ( / Alle anderen) Nemačka / Germany, 2009 r / d: Maren Ade U TAMI (In the Dark / V temnote) Rusija / Russia, 2004 r / d: Sergei Dvortsevoy (kratki dokumentarni film / short documentary) UBIO SAM MAJKU (I Killed My Mother / J’ai tue ma mere) Kanada / Canada, 2009 r / d: Xavier Dolan - Tadros UNIVERZALAV (Universalove) Austrija, Srbija, Luksemburg / Austria, Serbia, Luxembourg, 2008 r / d: Thomas Woschitz VREME KOJE PREOSTAJE (The Time That Remains) V. Britanija / U. K, 2009 r / d: Elia Suleiman

164

Reprize / Re-run: 4 meseca, 3 nedelje, 2 dana (4 Months, 3 Weeks and 2 Days / 4 luni, 3 saptamani si 2 zile) Rumunija / Romania, 2007 r / d: Cristian Mungiu 12:08 Istočno od Bukurešta (12:08 East of Bucharest / A fost sau n-afost?)

Rumunija / Romania, 2006 r / d: Corneliu Porumbolu Biće skoro propast sveta (It Rains in My Village) Jugoslavija/ Yugoslavia, 1969 r / d: Aleksandar Saša Petrović Boja nara (The Color of Pomegranates / Sayat Nova) SSSR / USSR, 1972 r / d: Sergei Paradjanov Dvoje (And Love Has Vanished) Jugoslavija / Yugoslavia, 1961 r / d: Aleksandar – Saša Petrović Glorija (Gloria) SAD / USA, 1980 r / d: John Cassavetes Let nad močvarom (Flight over the Marshes) Jugoslavija / Yugoslavia, 1956 r / d: Aleksandar – Saša Petrović (kratki dokumentarni film / short documentary) Maestro i Margarita (The Master and Margharite) Jugoslavija, Italija / Yugoslavia, Italy, 1972 r / d: Aleksandar – Saša Petrović Nebo nad Berlinom (Wings of Desire / Der Himmel über Berlin) Nemačka / Germany, 1987 r / d: Wim Wenders Petar Dobrović (Petar Dobrović) Jugoslavia / Yugoslavia, 1957 r / d: Aleksandar – Saša Petrović (kratki dokumentarni film / short documentary) Putevi (Roads) Jugoslavija / Yugoslavija, 1958 r / d: Aleksandar – Saša Petrović (kratki dokumentarni film / short documentary) Sabori Jugoslavija / Yugoslavia, 1965 r / d: Aleksandar – Saša Petrović (/kratki dokumentarni film / short documentary) Senke (Shadows) SAD / USA, 1959 r / d: John Cassavetes Seobe (Migrations) Jugoslavija / Yugoslavia, 1989 r / d: Aleksandar – Saša Petrović Seobe 2 (Migrations 2) Jugoslavija / Yugoslavia, 1989 - 1991 r / d: Aleksandar – Saša Petrović (radna verzija / unfinished version) Skupljači perja (I Even Met Happy Gypsies) Jugoslavija / Yugoslavia, 1967 r / d: Aleksandar – Saša Petrović Smrt gospodina Lazareskua (The Death of Mister Lazarescu / Moartea domnului Lazarescu) Ruminija / Romania, 2005 r / d: Cristi Puiu Stvari i novac (Marfa si banii) Rumunija / Romania, 2001 r / d: Cristi Puiu Tajne i laži (Secrets and Lies) V. Britanija / U. K, 1996 r / d: Mike Leigh Tri (Three) Jugoslavia / Yugoslavia, 1965 r / d: Aleksandar – Saša Petrović Tulpan (Tulpan) Kazahstan, Rusija / Kazakhstan, Russia, 2008 r / d: Sergei Dvortsevoy 165

Vrtoglavica (Vertigo) SAD / USA, 1958 r / d: Alfred Hitchcock Zapad (Occident) Rumunija / Romania, 2002 r / d: Cristian Mungiu Zapisnik (Minutes) Jugoslavija / Yugoslavia, 1964 r / d: Aleksandar – Saša Petrović (kratki dokumentarni film / short documentary)

16. F A F (30. XI – 7. XII 2010)

UJAK BUNMI KOJI MOŽE DA SE SETI SVOJIH PRETHODNIH ŽIVOTA (Uncle Boonmee Who Can Recall His Past Lives / Lung Boonmee raluek chat) Tajland, V. Britanija / Thailand, U. K, 2010 r / d: Apichatpong Weerasethakul ZID USPOMENA (Wall of Memories) Srbija / Serbia, 1999 – 2009 r / d: Vlada Petrić (video) ŽENA, PIŠTOLJ I REZANCI (A Woman, a Gun and a Noodle Soup / San qiang pai an Jing qi) Kina / China, 2009 r / d: Zhang Yimou

Reprize / Re-run:

19 filmova + 24 reprize = 43 naslova

AURORA (Aurora) Rumunija / Romania, 2010 režija / director: Cristi Puiu BELI BELI SVET (White White World) Srbija, Nemačka, Švedska / Serbia, Germany, Sweden, 2010 r / d: Oleg Novković ČOVEK KOJI VRIŠTI (A Screaming Man / Un homme qui crie) Čad, Francuska, Belgija / Chad, France, Belgium, 2010 r / d: Mahamat – Saleh Haroun GUMA (Rubber) Francuska / France, 2010 r / d: Quentin Dupieux IZMIŠLJENE LJUBAVI (Heartbeats / Les amours imaginaires) Kanada / Canada, 2010 r / d: Xavier Dolan KABOOM (Kaboom) SAD, Francuska / USA, France, 2010 r / d: Gregg Araki LOVAC (The Hunter / Shekarchi) Iran, Nemačka / Iran, Germany, 2009 r / d: Raffi Pitts MAJKA ASFALTA (Mother of Asphalt) Hrvatska / Croatia, 2010 r / d: Dalibor Matanić MATERICA (Womb) Nemačka / Germany, 2010 r / d: Benedek Filegauf NA TURNEJI (On Tour / Tournee) Francuska / France, 2010 r / d: Mathieu Almaric POEZIJA (Poetry / Shi) Južna Koreja / South Korea, 2010 r / d: Lee Chang - dong PRESTUPNA GODINA (Leap Year / Ano bisiesto) Meksiko / Mexico, 2010 r / d: Michael Rowe PUTTY HILL (Putty Hill) SAD / USA, 2010 r / d: Matthew Porterfield SLAGALICA (Puzzle / Rompecabezas) Argentina, 2009 r / d: Natalia Smirnoff SOCIJALIZAM (Film Socialism / Film socialisme) Francuska, Švajcarska / France, Switzerland, 2010 r / d: Jean – Luc Godard TIHE DUŠE (Silent Souls / Ovsyanki) Rusija / Russia, 2010 r / d: Aleksei Fedorchenko

166

Do kraja sveta (Until the End of the World / Bis ans Ende der Welt) Nemačka / Germany, 1991 r / d: Wim Wenders Džin (Giant / Gigante) Urugvaj, Argentina, Nemačka, Holandija / Uruguay, Argentina, Germany, Holland, 2008 r / d: Adrian Biniez Glad (Hunger) V. Britanija / U.K, 2008 r / d: Steve McQueen Kičma (Gasp...!)

Jugoslavija / Yugoslavia, 1975 r / d: Vlatko Gilić Kojaniskatsi (Koyaanisquatsi) SAD / USA, 1982 r : Godfrey Reggio Mleko tuge (Milk of Sorrow / La teta asustada) Peru, Španija / Peru, Spain, 2009 r / d: Claudia Llosa Moj Marlon i Brando (My Marlon and Brando / Gitmek: Benim Marlon ve Brandom) Turska / Turkey, 2008 r / d: Huseyin Karabey Na ivici raja (The Edge of Heaven / Auf der anderen Seite) Nemačka, Turska / Germany, Turkey, 2007 r / d: Fetih Akin Nula iz vladanja (Zero de conduit) Francuska / France, 1933 r / d: Jean Vigo Pandorina kutija (Pandora’s Box / Die Büchse der Pandora) Nemačka / Germany, 1928 r / d: Georg Wilhelm Pabst Pavle Pavlović (Pavle Pavlović) Jugoslavija / Yugoslavia, 1975 r / d: Mladomir – Puriša Đorđević Podneblja (Climates / Iklimler) Turska, Nemačka / Turkey, Germany, 2006 r / d: Nuri Bilge Ceylan Slatki film (Sweet Movie) Kanada, Francuska / Canada, France, 1974 r / d: Dušan Makavejev Solaris (Solaris) SSSR / USSR, 1972 r / d: Andrei Tarkovsky Srce je mudrih u kući žalosti Srbija/ Serbia, 2009 r / d: Marin Malešević Stara škola kapitalizma Srbija / Serbia, 2009 r / d: Želimir Žilnik Tajna knjiga (The Secret Book / Tajnata knjiga) Makedonija / FYR Yugoslavia, 2006 r / d: Vlado Cvetanovski Takva – strah pred Bogom (A Man’s Fear of God / Takva) Turska, Nemačka / Turkey, Germany, 2006 r / d: Ozer Kiziltan 167

Tulpan (Tulpan) Rusija, Kazahstan / Russia, Kazakhstan, 2008 r / d: Sergei Dvortsevoy Ubio sam majku (I Killed My Mother / J’ai tue ma mere) Kanada / Canada, 2009 r / d: Xavier Dolan -Tadros Valcer sa Baširom (Waltz with Bashir) Izrael, Nemačka, Francuska / Israel, Germany, France, 2008 r / d: Ari Folman Vikend (Week-end) Francuska, Italija / France, Italy, 1967 r / d: Jean – Luc Godard Vreme konja (The Time of Horses) Srbija / Serbia, 1972 r / d: Slobodan Novaković Za zemlju i slobodu (Land and Freedom) V. Britanija, Španija, Nemačka / U. K, Spain, Germany, 1995 r / d: Ken Loach

17. F A F (30. XI - 5. XII 2011) 48 filmova + 23 reprize = 71 naslov

AKACIJE (The Acacias / Las acacias) Argentina, Španija / Argentina, Spain, 2011 režija / director: Pablo Giorgelli ALPI (Alpes / Alpeis) Grčka / Greece, 2011 r / d: Giorgos Lanthimos BILO JEDNOM U ANADOLIJI (Once Upon a Time in Anatolia / Bir zamanlar Anadolu’da) Turska, BiH / Turkey, Bosnia & Herzegovina, 2011 r / d: Nuri Bilge Ceylan BUDUĆNOST (The Future) SAD, Nemačka / USA, Germany, 2010 r / d: Miranda July BUL BULAJA (Bhool bhulaiyaa) Indija / India, 2007 r / d: Priyadarshan CEDAR RAPIDS ( Cedar Rapids) SAD / USA, 2011 r / d: Miguel Arteta CRVENI MAKOVI (Red Poppies) Srbija / Serbia, 2011 r / d: Nebojša Nenadović (kratki film / short film) ČEŠKI MIR (Czech Peace / Cesky mir) Češka Republika / Czech Republic, 2010 r / d: Vit Klusak ĆAO MALA ! (Heyy Babyy) Indija / India, 2007 r / d: Sajid Khan DOGAĐAJ (The Event) Kanada, SAD / Canada, USA, 2003 r / d: Thom Fitzgerald DRUGA ZEMLJA (Another Earth) SAD / USA, 2010 r / d: Mike Cahill ELENA (Elena) Rusija / Russia, 2011 r / d: Andrei Zvyagintsev FAUST (Faust) Rusija / Russia, 2011 r / d: Aleksandr Sokurov IZGNANSTVO (Izgnanie) Rusija / Russia, 2007 r / d: Andrei Zvyagintsev 168

ISKUŠENJE SV. TONIJA (Temptation of St. Tony / Püha Tonu kiusamine) Estonija, Finska, Švedska / Estonia, Finland, Sweden, 2009 r / d: Veiko Čunpuu KUĆA TOLERANCIJE (House of Tolerance / L’Apollonide (Souvenirs de la maison close)) Francuska / France, 2011 r / d: Bertrand Bonello KUTIJA ( The Box) Srbija / Serbia, 2011 r / d: Andrijana Stojković LUKA PATNJE / MISTIČNA LUKA (Mysery Harbour) Norveška, Švedska, Danska, Kanada / Norway, Sweden, Denmark, Canada, 1999 r / d: Nils Gaup MALI VOJNIK (Little Soldier / Lille soldat) Danska / Denmark, 2008 r / d: Annette K. Olesen MARTA MARSI MEJ MARLIN (Martha Marcy May Marlene) SAD / USA, 2010 r / d: Sean Durkin MIHAEL (Michael) Austrija / Austria, 2011 r / d: Markus Schleinzer MILIONI (Millions) V. Britanija / U. K, 2004 r / d: Danny Boyle MOJA BOLIVUDSKA NEVESTA (My Bollywood Bride) Indija / India, 2005 r / d: Rajeev Manoj Virani NAJBOLJE NAMERE (Best Intentions / Din dragoste cu cele mai bune intentii) Rumunija, Mađarska / Romania, Hungary, 2011 r / d: Adrian Sitaru NARCIS I EHO (Narcis and Echo) Srbija / Serbia, 2011 r / d: Saša Radojević NEDODIRLJIVI (The Untouchables) Srbija / Serbia, 2011 r / d: Želimir Gvardiol NIŠTA NE GUBIM (Nothing to Lose / TBC) Holandija / Holand, 2008 r / d: Pieter Kuijpers NJEGOV BRAT (His Brother / Son frere) Francuska / France, 2003 r / d: Patrice Chéreau OM ŠANTI OM (Om shanti om) Indija / India, 2007 r / d: Farah Khan PANK NIJE MRTAV (Punk’s Not Dead / Pankot ne e mrtav) Makedonija, Srbija / FYR Macedonia, Serbia, 2011 r / d: Vladimir Blaževski PARTNER(I) (Partner(s)) SAD / USA, 2005 r / d: Dave Diamond PINA 3D (Pina 3D) Nemačka, Francuska / Germany, France, 2010 r / d: Wim Wenders PLEJ (Play) Švedska, Danska, Francuska / Sweden, Denmark, France, 2011 r / d: Ruben Östlund POLJUBI MLADU (Kiss the Bride) SAD / USA, 2002 r / d: Vanessa Parise PROLEĆNA GROZNICA / NOĆI PROLEĆNE OPIJENOSTI (Spring Fever) Francuska, Kina / France, China, 2009 r / d: Lou Ye RAZVOD: NADER I SIMIN (A Separation / Jodaciye Nader az Simin) Iran, 2010 r / d: Asghar Farhadi SAVRŠENE SUPROTNOSTI (Perfect Opposites) SAD / USA, 2003 r / d: Matt Cooper SIMON (Simon) Holandija / Holland, 2004 r / d: Eddy Terstall 169

SLATKI POZDRAV LJUBAVI (Sweet Greeting of Love / Salaam - e- ishq) Indija / India, 2007 r / d: Nikhil Advani SRAM (Shame) V. Britanija / U. K, 2011 r / d: Steve McQueen SUMNJE I TAJNE (Secrets and Doubts) Srbija / Serbia, 2011 r / d: Želimir Gvardiol TIRANOSAURUS (Tyrannosaur) V. Britanija / U. K, 2010 r / d: Paddy Considine UMETNOST PREPUŠTANJA (The Art of Getting By) SAD / USA, 2011 r / d: Gavin Wiesen VANESA (Vanessa) Kanada / Canada, 2007 r / d: D. B. Benedikt (Božidar Damjanović) VERA, PREVARA I MINIMALNE ZARADE (Faith, Fraud and Minimum Wage) Kanada / Canada, 2009 r / d: George Mihalka VILA (The Fée) Francuska, Belgija / France, Belgium, 2011 r / d: Dominique Abel, Bruno Romy, Fiona Gordon WIN WIN (Win Win) SAD / USA, 2011 r / d: Thomas McCarthy ZAMENA (The Exchange / Hahithalfut) Izrael / Israel, 2011 r / d: Eran Kolirin

Reprize / Re-run: Aleksandra (Alexandra / Aleksandra) Rusija, Francuska / Russia, France, 2007 r / d: Aleksandr Sokurov Anđeo uništenja (The Exterminating Angel / El angel exterminador) Meksiko / Mexico, 1962 r / d: Luis Buñuel Bauk Jugoslavija / Yugoslavia, 1974 r / d: Živko Nikolić Beštije Jugoslavija / Yugoslavia, 1977 r / d: Živko Nikolić Biljeg (The Mark) Jugoslavija / Yugoslavia, 1981 r / d: Živko Nikolić Čovek nije tica (Man Is Not a Bird) Jugoslavija / Yugoslavia, 1965 r / d: Dušan Makavejev Čudo neviđeno Jugoslavija / Yugoslavia, 1984 r / d: Živko Nikolić Evropa (Europa) Danska, Francuska, Nemačka / Denmark, France, Germany, 1991 r / d: Lars von Trier Jedna žena – jedan vek Srbija / Serbia, 2011 r / d: Želimir Žilnik (dokumentarni film / documentary) Jovana Lukina (Jovana Lukina) Jugoslavija / Yugoslavia, 1979 r / d: Živko Nikolić Lepota poroka Jugoslavija / Yugoslavia, 1986 r / d: Živko Nikolić Marko Perov (Marko Perov) Jugoslavija / Yugoslavia, 1975 r / d: Živko Nikolić 170

Moć (Power) Jugoslavija / Yugoslavia, 1973 r / d: Vlatko Gilić (dokumentarni film / documentary) Noi albinoi (Noi albinoi) Island, Nemačka / Iceland, Germany, 2002 r / d:Dagur Kari Osam kila sreće (Eight Kilos of Happiness ) Jugoslavija / Yugoslavia, 1980 r / d: Mladomir – Puriša Đorđević Ovo je slobodan svet (It’a Free World) V. Britanija, Nemačka, Italija, Španija, Poljska / U. K, Germany, Italy,Spain, Poland, 2007 Loach Podneblja (Climates / Iklimler) Turska, Francuska / turkey, France, 2006 r / d: Nuri Bilge Ceylan Polaznik (Holiday) Jugoslavija / Yugoslavia, 1973 r / d: Živko Nikolić Povratak (The Return / Vozvraščenie) Rusija / Russia, 2003 r / d: Andrei Zvyagintsev Prozor (Window) Jugoslavija / Yugoslavia, 1976 r / d: Živko Nikolić Rumba (Rumba) Francuska, Belgija / France, Belgium, 2008 r / d: Dominique Abel, Fiona Gordon U ime naroda (In the Name of the People) Jugoslavija / Yugoslavia, 1987 r / d: Živko Nikolić Začaran / Opsednut (Spellbound) SAD / USA, 1945 r / d: Alfred Hitchcock

18. F A F

(28. XI - 5. XII 2012)

28 filmova + 21 repriza = 49 naslova 7 seX 7

Hrvatska / Croatia, 2011 režija / director: Irena Škorić BEOGRADSKA OAZA (Belgrade Oasis) Srbija / Serbia, 2012 r / d: Petar Lalović BOB VILSON REŽIRA „ŽIVOT I SMRT MARINE ABRAMOVIĆ“ (Bob Wilson’s Life and Death of Marina Abramovic) V. Britanija, Španija / U. K, Spain, 2012 r / d: Giada Colagrande CEZAR MORA UMRETI (Caesar Must Die / Cesare deve morire) Italija / Italy, 2011 r / d: Paolo & Vittorio Taviani GOLCIJUS I PELIKANSKO DRUŠTVO (Goltzius Pelican Company) V. Britanija, Holandija, Hrvatska / U. K, Holland, Croatia, 2012 r / d: Peter Greenaway IZA BRDA (Beyond the Hills / Dupa dealuri) Rumunija / Romania, 2012 r / d: Cristian Mungiu IŠČEZLA ALBERTINA Srbija / Serbia, 2012 r / d: Mladomir – Puriša Đorđević KALUP (Mold / Küf) Turska, Nemačka / Turkey, Germany, 2012 r / d: Ali Aydin 171

r / d: Ken

LORENS U SVAKOM SLUČAJU (Laurence Anyways) Kanada, Francuska / Canada, France, 2012 r / d: Xavier Dolan LJULJAŠKA (The Swing) Srbija / Serbia, 2012 r / d: Tamara Drakulić MISTERIJA (Mystery) Kina / China, 2012 r / d: Lou Ye NIŠTA JOŠ NISTE VIDELI (You Ain’t Seen Nothin’ Yet! / Vous n’avez encore rien vu) Francuska, Nemačka / France, Germany, 2012 r / d: Alain Resnais PIJETA (Pieta) Južna Koreja / South Korea, 2012 r / d: Kim Ki - duk POSLE MRAKA SVETLOST / POST TENEBRAS LUX (Post tenebras lux) Meksiko, Francuska, Holandija / Mexico, France, Holland, 2012 r / d: Carlos Reygadas RAJ: LJUBAV (Paradise: Love / Paradies: Liebe) Austrija, Nemačka, Francuska / Austria, Germany, France, 2012 r / d: Ulrich Seidl RAJ: VERA (Paradise: Faith / Paradies: Glaube) Austrija, Nemačka, Francuska / Austria, Germany, France, 2012 r / d: Ulrich Seidl RUBI SPARKS (Ruby Sparks) SAD / USA, 2012 r / d: Jonathan Dayton, Valerie Faris SEANSE (The Sessions) SAD / USA, 2012 r / d: Ben Lewin SEDAM DANA U HAVANI (7 Days in Havana / 7 dias in La Habana) Francuska, Španija / France, Spain, 2012 r / d: Laurent Cantet, Julio Medem, Benicio del Toro, Gaspar Noé, Elia Suleiman, Juan Carlos Tabio, Pablo Trapero SKOPJE REMIXED (Skopje remix) Makedonija / FYR Macedonia, 2012 r / d: Gjorche Starevski, Sinisha Evtimov, Bojan Trifunovski, Srdjan Janićijević, Jane Altiparmakov, Darijan Pejovski, Vardan Tozija, Ognen Dimitrovski, Sasha Stanisik, Borjan Zafirovski STUDIO ZVUKA „BERBERIAN“ (Berberian Sound Studio) V. Britanija, Nemačka, Australija / U. K, Germany, Australia, 2012 r / d: Peter Strickland SVETI MOTORI (Holy Motors) Francuska, Nemačka / France, Germany, 2012 r / d: Léos Carax SVI U NAŠOJ PORODICI (Everybody in Our Family / Toata lumea din familia noastra) Rumunija, Holandija / Romania, Holland, 2012 r / d: Radu Jude TABU (Tabu) Portugal, Nemačka, Francuska, Brazil / Portugal, Germany, France, Brasil, 2012 r / d: Miguel Gomes TITO – POSLEDNJI SVEDOCI TESTAMENTA (Tito – The Last Witnesses) Hrvatska / Croatia, 2011 r / d: Lordan Zafranović (jedna epizoda TV serije / one epizode from TV series only) (video) U MAGLI (In the Fog / V tumane) Belorusija, Nemačka, Holandija / Belarus, Germany, Holland, 2012 r / d: Sergei Loznitsa ZVERI JUŽNIH DIVLJINA (Beasts of the Southern Wild) SAD / USA, 2012 r / d: Behn Zeitlin ZVERINJAK (Menagerie) Srbija / Serbia, 2012 r / d: Marko Novaković

172

Reprize / Re-run: Akacije (The Acacias / Las acacias) Argentina, Španija / Argentina, Spain, 2011 r / d: Pablo Giorgelli Bube u glavi (The Crazy World of Ours) Jugoslavija / Yugoslavia, 1970 r / d: Miloš Radivojević Bulevar sumraka (Sunset Boulevard) SAD / USA, 1950 r / d: Billy Wilder (Film) bez (reči) (Film Without Words) Jugoslavija / Yugoslavia, 1972 r / d: Miloš Radivojević Garderober (The Dresser) V. Britanija / U. K, 1983 r / d: Peter Yates Između zidova (The Class / Entre les murs) Francuska / France, 2008 r / d: Laurent Cantet Izmišljene ljubavi (Heartbeats / Les amours imaginaires) Kanada / Canada, 2010 r / d: Xavier Dolan Katalin Varga (Katalin Varga) Rumunija, V. Britanija / Romania, U. K, 2009 r / d: Peter Strickland Kvar (Breakdown) Jugoslavija / Yugoslavia, 1978 r / d: Miloš Radivojević Letnja palata (Summer Palace / Yihe yuan) Kina, Francuska / China, France, 2006 r / d: Lou Ye Ljubav i modrice (Love and Bruises) Kina, Francuska / China, France, 2011 r / d: Lou Ye Poslednji metro (The Last Metro / Le dernier métro) Francuska / France, 1980 r / d: François Truffaut Prigušena svetlost (Silent Light / Stellet Licht) Meksiko, Francuska, Holandija, Nemačka / Mexico, France, Holland, Germany, 2007 r / d: Carlos Reygadas Prolećna groznica (Spring Fever / Chun feng chen zui de yewan) Kina / China, 2009 r / d: Lou Ye Provalnik (3 - Iron / Bin – jip) Južna Koreja, Japan / South Korea, Japan, 2004 r / d: Kim ki - duk Testament (Testament) Jugoslavija / Yugoslavia, 1975 r / d: Miloš Radivojević Ubio sam majku (I Killed My Mother / J’ai tue ma mere) Kanada / Canada, 2009 r / d: Xavier Dolan - Tadros Uvod u drugi život (Introduction to Another Life) Jugoslavija / Yugoslavia, 1992 r / d: Miloš Radivojević Uvoz izvoz (Import - Export) Austrija, Francuska / Austria, France, 2007 r / d: Ulrich Seidl Zbogom moja konkubino (Farewell My Concubine / Bawang bie ji) Kina, Hong Kong / China, Hongkong, 1993 r / d: Chen Kaige Život je lep (Life Is Beautiful / La vita e bella) Italija / Italy, 1997 r / d: Roberto Benigni

173

19. F A F (28. XI - 3. XII 2013) 25 filmova + 20 repriza = 45 naslova

APOLLO: PRVO RATNO KINO (Apollo: First War Cinema) Bosna i Hercegovina / Bosnia and Herzegovina, 2013 režija / directors: Šejla Kamerić, Mark Cousins (kratki film / short film) BORGMAN (Borgman) Holandija, Belgija, Danska / Holland, Belgium, Denmark, 2013 r / d: Alex van Warmerdam ĆERKA (The Daughter / I kori = Η Κορη) Grčka, Italija / Greece, Italy, 2012 r / d: Thanos Anastopoulos DODIR GREHA (A Touch of Sin / Tian zhu ding) Kina, Japan / China, Japan, 2013 r / d: Jia Zhang - ke DRŽAVA (State) Srbija / Serbia, 2013 r /d: Jelena Marković DŽIMI P. (Jimmy P. Psychotherapy of a Plains Indian / Jimmy P. Psychotherapie d’un Indien des Plaines) SAD, Francuska / USA, France, 2013 r / d: Arnaud Desplechin EPIZODA U ŽIVOTU BERAČA ŽELJEZA (An Episode in the Life of an Iron Picker) Bosna i Hercegovina, Slovenija, Francuska / Bosnia and Herzegovina, Slovenia, France, 2012 r / d: Danis Tanović GLORIJA (Gloria) Čile, Španija / Chile, Spain, 2012 r / d: Sebastian Lelio HELI (Heli) Meksiko, Francuska, Nemačka, Holandija / Mexico, France, Germany, Holland, 2013 r / d: Amat Escalante ILO ILO (Ilo Ilo) Singapur / Singapore, 2013 r / d: Anthony Chen KONGRES (The Congress) Izrael, Nemačka, Francuska, Belgija, Poljska / Israel, Germany, France, Belgium, Poland, 2013 r / d: Ari Folman LUD ZA TOBOM (Crazy about You) Crna Gora / Montenegro, 2013 r / d: Danilo Marunović MISS VIOLENCE (Miss Violence) Grčka / Greece, 2013 r / d: Alexandros Avranas OBRANA I ZAŠTITA (A Stranger) Hrvatska, Bosna i Hercegovina / Croatia, Bosnia and Herzegovina, 2013 r / d: Bobo Jelčić OKUPACIJA, 27. SLIKA (Occupation, the 27th Picture) Češka Republika, Hrvatska / Czech Republic, Croatia, 2013 r / d: Pavo Marinković POZICIJA DETETA (Child’s Pose / Poziţia copilului) Rumunija / Romania, 2013 r / d: Călin Peter Netzer PROŠLOST (The Past / Le passé) Francuska, Italija / France, Italy, 2013 r / d: Asghar Farhadi PSI LUTALICE (Stray Dogs / Jiaoyou) Tajvan, Francuska / Taiwan, France, 2013 r / d: Tsai Ming - liang SOLDAT ŽANET (Soldier Jane / Soldate Jeannette) Austrija / Austria, 2012 r / d: Daniel Hoesl

174

SREĆA (Happiness) Bosna i Hercegovina / Bosnia and Herzegovina, 2013 r / d: Šejla Kamerić (kratki film / short film) SVETI GRA (Holy GRA / Le sacro G. R. A.) Italija, Francuska / Italy, France, 2013 r / d: Gianfranco Rosi ŠTA JA ZNAM (What Do I Know) Bosna i Hercegovina / Bosnia and Herzegovina, 2007 r / d: Šejla Kamerić, Timur Makarević (kratki film / short film) ŠTA NEDOSTAJE NA OVOJ SLICI? (What’s Missing in This Picture?)

Srbija / Serbia, 2012 r / d: Igor Toholj (kratki film / short film) TUJIN BRAK / TUJINO VENČANJE (Tuya’s Marriage / Tuya de hun shi) Kina / China, 2006 r / d: Wang Quan - an ULICA U PALERMU (A Street in Palermo / Via Castellana Bandera) Italija, Francuska, Švajcarska / Italy, France, Switzerland, 2013 r / d: Emma Dante

Reprize / Re-run: Boja nara (The Color of Pomegranates / Sayat Nova) SSSR / USSR, 1968 r / d: Sergei Paradjanov Cezar mora da umre (Caesar Must Die / Cesare deve morire) Italija / Italy, 2012 r / d: Paolo i Vittorio Taviani Faust (Faust) Rusija / Russia, 2011 r / d: Aleksandr Sokurov Gotik (Gothic) V. Britanija / U. K, 1986 r / d: Ken Russell Henri i Džun (Henry and June) SAD / USA, 1990 r / d: Philip Kaufman Liban (Lebanon / Levanon) Izrael, Francuska, Liban, Nemačka / Israel, France, Lebanon, Germany, 2009 Lisice (Handcuffs) Jugoslavija / Yugoslavia, 1969 r / d: Krsto Papić Mali vojnici (Playing at Soldiers) Jugoslavija / Yugoslavia, 1967 r / d: Bato Čengić Mleko tuge (The Milk of Sorrow / La teta asustada) Peru, Španija / Peru, Spain, 2009 r / d: Claudia Llosa Mrtva priroda ( Still Life / Sanxia haoren) Kina, Hong Kong / China, Hongkong, 2006 r / d: Zhangke Jia Pad Italije (The Fall of Italy) Jugoslavija / Yugoslavia, 1981 r / d: Lordan Zafranović Pijeta (Pieta) Južna Koreja / South Korea, 2012 r / d: Kim Ki – duk Povratak (The Return / Vozvraščenie) Rusija / Russia, 2003 r / d: Andrei Zvyagintsev Razvod: Nader i Simin (A Separation / Jodaeiye Nader az Simin) Iran, 2010 r / d: Asghar Farhadi 175

r / d: Samuel Maoz

Sestre Magdalene (The Magdalene Sisters) V. Britanija, Irska / U. K, Ireland, 2002 r / d: Peter Mullan Slučaj Harms (The Harms Case) Jugoslavija / Yugoslavia, 1987 r / d: Slobodan D. Pešić Usijanje (Red Hot) Jugoslavija / Yugoslavia,1979 r / d: Boro Drašković Uvod u drugi život (Introduction to a Another Life) Jugoslavija / Yugoslavia, 1992 r / d: Miloš Radivojević Večernja zvona (Evening Bells) Jugoslavia / Yugoslavia, 1986 r / d: Lordan Zafranović Zaljubljeni Šekspir (Shakespeare in Love) SAD / USA, 1998 r / d: John Madden

Japan, Francuska, Irska / Japan, France, Ireland, 2014 r / d: Naomi Kawase Bela senka (White Shadow) Tanzanija, Nemačka, Italija / Tanzania, Germany, Italy, 2013 r / d: Noaz Deshe Projekat rak (Project Cancer) Slovenija / Slovenia 2013 r / d: Damjan Kozole Jedan na jedan (One on One / Il-dae-il) Južna Koreja / South Korea, 2014 r / d: Ki duk-Kim Neposlušni (The Disobedient) Srbija / Serbia, 2014 r / d: Naji Abu Nowar Tigrovi (Tigers) Indija / India, 2014 r / d: Danis Tanović Zimski san (Winter Sleep / Kis uykusu) Turska, Nemačka, Francuska / Turkey, Germany, France, 2014 r / d: Nuri Bilge Ceylan Čuda (The Wonders / Le meraviglie) Italija, Francuska, Nemačka / Italy, France, Germany, 2014 r / d: Alice Rohrwacher

20. F A F (28. XI – 4. XII 2014) trenutno u obradi / work in progress

Crni ugalj, tanak led (Black Coal Thin Ice / Bai ri yan huo) Kina / China, 2013 r / d: Diao Yinan Plava soba (The Blue Room / La chambre bleue) Francuska / France, 2014 r / d: Mathieu Almaric Neveste (Brides / Patardzlebi) Francuska, Gruzija / France, Georgia, 2013 r / d: Tinatin Kajrishvili Sud (Court) Indija / India, 2014 r / d: Chaitanya Tanhane Vojvoda od Burgundije (The Duke of Burgundy) Velika Britanija / UK, 2014 r / d: Peter Strickland Ribari bez mreža (Fishing without Nets / Jallaabasho Shabaq La’aan) SAD, Somalija, Kenija / USA, Somalia, Kenya, 2013 r / d: Cutter Horiedne Zbogom jeziku 3D (Goodbye to Language / Adieu au langage) Francuska / France, 2014 r / d: Jean - Luc Godard Kosac (The Reaper) Hrvatska, Slovenija / Croatia, Slovenia, 2014 r / d: Zvonimir Jurić Levijatan (Leviathan) Rusija / Russia, 2014 r / d: Andrey Zvyagintsev Mamica (Mommy) Kanada / Canada, 2014 r / d: Xavier Dolan Party Girl Francuska / France, 2014 r / d: Marie Amachoukeli, Claire Burger, Samuel Theis Golub sedi na grani razmišljajući o postojanju (A Pigeon Sat on a Branch Reflecting on Existence / En duva satt på en gren och funderade på tillvaron) Švedska, Nemačka / Sweeden, Germany, 2014 r / d: Roy Andersson Hauha: Raj na zemlji (Jauja) Argentina, Danska / Argentina, Denmark, 2014 r / d: Lisandro Alonso Umiri vodu (Still the Water / Futatsume no mado) 176

Malo statistike

Some statistics

Tokom 19 godina postojanja na FAF-u je premijerno prikazano 706 filmova iz 74 zemlje. U slučaju četiri filma postoji sumnja da li su uopšte prikazani! Ako jesu, onda bi broj premijera bio 710. U filmografiji su obeleženi znakom pitanja ispred prevodnog naslova.

Gledaoci su mogli da vide filmove iz Argentine, Australije, Austrije, Belgije, Belorusije, BiH, Brazila, Bugarske, Crne Gore, Čada, Češke Republike, Čilea, Danske, Egipta, Estonije, Etiopije, Finske, Francuske, Grčke, Gruzije, Holandije, Hong Konga, Hrvatske, Indije, Irana, Irske, Islanda, Italije, Izraela, Japana, Jermenije, Jugoslavije, Južne Koreje, Kanade, Kazahstana, Kine, Kirgistana, Kube, Letonije, Libana, Litvanije, Luksemburga, Mađarske, Makedonije, Maroka, Meksika, Nemačke (i SR Nemačke / Zapadne Nemačke), Norveške, Novog Zelanda, Palestine, Perua, Poljske, Portugala, Rumunije, Rusije (i SSSR), SAD, Senegala, Singapura, Slovačke, Slovenija, Srbije, Srbije i Crne Gore, Španije, Švajcarske, Švedske, Tajlanda, Tajvana, Tunisa, Turkmenistana, Turske, Ukrajine, Velike Britanije, Venecuele i Vijetnama.

U reprizama su bili zastupljeni još i ČSSR i Urugvaj.

In 19 years FAF premiered 706 films from 74 countries. For four films there is suspicion that they have been screened and they were marked with question mark in front of the title. If they were screened than the number of premieres would be 710 titles.

Countries represented at FAF were Argentina, Armenia, Australia, Austria, Belarus, Belgium, Bosnia & Herzegovina, Brazil, Bulgaria, Canada, Chad, Chile, China, Croatia, Cuba, Czech Republic, Denmark, Egypt, Estonia, Ethiopia, Finland, France, FYR Macedonia, Georgia, Germany (& West Germany), Greece, Holland, Hongkong, Hungary, Iceland, India, Iran, Ireland, Israel, Italy, Japan, Kazakhstan, Kyrgyzstan, Latvia, Lebanon, Lithuania, Luxembourg, Mexico, Montenegro, Morocco, New Zealand, Norway, Palestine, Peru, Poland, Portugal, Romania, Russia (& USSR), Senegal, Serbia, Serbia & Montenegro, Singapore, Slovakia, Slovenia, South Korea, Spain, Sweden, Switzerland, Taiwan, Thailand, Tunisia, Turkey, Turkmenistan, Ukraine, USA, Venezuela, Vietnam, U.K., Yugoslavia.

Re-run program offered films from Czechoslovakia and Uruguay as well.

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Fotografije

Photos

178

179

1

Stefan Arsenijević i Srdan Golubović otvaraju 15. festival (2009)

3

Svetozar Cvetković, Dušan Makavejev i Sophie Marceau (FAF 2000)

2 4 5 6 7 8 9

10 11 12 13 14 15 16 17 18 19 20 21 22 23

Vojislav Vučinić, osnivač festivala (FAF 1996) Sophie Marceau (FAF 2000)

Anamaria Marinca zatvara festival (FAF 2009)

Milena Dravić, Uliks Fehmiu, Snežana Bogdanović i Vlada Petrić (FAF 2010) Nikola Ležaić i Eran Kolirin, otvaranje (FAF 2011)

24

Puriša Đorđević sa Milenom Dravić

26

Elena Cotta zatvara festival (FAF 2013)

25 27 28 29 30

Oleg Novković i Hana Selimović (FAF 2010)

31

Arsenije Jovanović

33

Želimir Žilnik (FAF 2008) Živko Nikolić (FAF 1996)

Ron Holloway i Srđan Karanović, članovi žirija (FAF 2007) Marija Perović

32 34 35

Lordan Zafranović (FAF 2012)

Pablo Giorgelli sa ekipom festivala (FAF 2012) Srđan Vučinić

Slobodan Šijan i Ron Holloway (FAF 2007)

Srpski ekscentrični film 2014: Branko Vučićević, Dušan Makavejev, Goranka Matić, Bojana Marijan i Marija Dragojlović John Sanders, Vlada Petrić i Nora Hoppe, The Belgrade Manifesto 2007.

Michael Rowe, pobednik (FAF 2011)

Calin Peter Netzer prima nagradu od Jana Cvitkoviča (FAF 2013)

Dejan Zečević, prvi pobednik, i Slobodan Novaković, prvi umetnički direktor festivala (FAF 1996) Zvonimir Jurić i Goran Dević, pobednici (FAF 2009)

Boro Drašković

Miroslav Davitkov Božidar Zečević Vlada Petrić

Stefan Arsenijević

Maja Miloš (FAF 2012)

Vladica Milosavljević zatvara festival (FAF 2007) Nikola Majdak i Puriša Đorđević Žiri i ekipa festivala (FAF 2007) Miloš Radivojević (FAF 2012)

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181

Izdavač / Publisher: Festival autorskog filma, Beograd – MCF MegaCom Film / Auteur Film Festival, Belgrade – MCF MegaCom Film Za izdavača / For publisher: Igor Stanković Vojislav Vučinić Urednici / Editors: Tatjana Ristić, izvršna direktorka festivala / executive director Srđan Vučinić, umetnički direktor festivala / artistic director

Prevod / Translation: Aleksandar Milajić, Milan Marković, Staša Mijić Lektura / Proofreading: Staša Mijić

Prvi Festival autorskog filma održan je 7-14. decembra 1994. u Beogradu, u organizaciji Jugoslavija-filma.

Osnivač i prvi direktor festivala: Vojislav Vučinić Prvi umetnički direktor festivala: Slobodan Novaković 182

Dizajn / Design: ŠKART Crtež na zadnjim koricama / Back cover drawing: Nebojša Rogić (iz kataloga Prvog festivala / from the First Festival catalogue) Fotografije / Photos: dokumentacija FAF / FAF documentation (Fotografije / Photos (2009-2013): Branko Ignjatović) Štampa / Printed by: SGR STANDARD2 183

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CIP - Каталогизација у публикацији Народна библиотека Србије, Београд 791.65.079(497.11)”1994/2014”(082)

POHVALA ludosti : 20 godina Festivala autorskog filma = In Praise of Folly : 20 years of Auteur Film Festival Belgrade / [urednici, editors Tatjana Ristić, Srđan Vučinić ; prevod, translation Aleksandar Milajić, Milan Marković, Staša Mijić]. Beograd : MCF MegaCom Film, 2014 (Beograd : Standard 2). - 178 str. : ilustr. ; 24 cm Tekst uporedo srp. i engl. jeziku. - Tiraž 400. - Str. 11-14: Uvod / Srdan Golubović.

ISBN 978-86-7902-089-5 1. Уп. ств. насл. a) Фестивал ауторског филма (Београд) 1994-2014 - Зборници COBISS.SR-ID 211073036

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