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FESTIVALSKI KATALOG / FESTIVAL CATALOGUE


CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 791.65.079(497.4Izola)“2020“ 791(100) MEDNARODNI filmski festival Kino Otok - Isola Cinema (16 ; 2020 ; Izola) Kino Otok : [festivalski katalog] = Isola Cinema : [festival catalogue] / [16. mednarodni filmski festival Kino Otok - Isola Cinema = 16th International Film Festival Kino Otok - Isola Cinema ; besedila Oskar Ban Brejc... [et al.] ; urejanje Robert Kuret ; prevodi Maja Lovrenov, Alenka Ropret ; fotografija Branka Keser]. - Ljubljana : Zavod Otok, 2020 ISBN 978-961-94236-3-9 1. Vzp. stv. nasl. 2. Ban Brejc, Oskar 3. Kuret, Robert, 1987COBISS.SI-ID 24946179

KOLOFON / CREDITS besedila/texts Oskar Ban Brejc, Anja Banko, Kristian Božak Kavčič, Žiga Brdnik, Nicola Falcinella, Tosja Flaker Berce, Staša Fras, Helmut Groschup, Tomaž Grušovnik, Ester Ivakič, Matevž Jerman, Peter Karba, Aljaž Krivec, Alja Lobnik, Petra Meterc, Varja Močnik, Jan Mozetič, Jakob Nal Gorkič, Anže Okorn, Mila Peršin, Jasna Pintarič, Bor Pleteršek, Tina Poglajen, Anja Radaljac, Maj Repek, Muanis Sinanović, Ana Svetel, Jasmina Šepetavc, Nik Škorjanc, Lina Šoper Rijavec, Andrej Šprah, Nadina Štefančič, Ana Šturm, Jernej Trebežnik, Atila Urbančič, Jakob Vogrinec, Veronika Zakonjšek 16. Mednarodni filmski festival Kino Otok – Isola Cinema/16th International Film Festival Kino Otok – Isola Cinema urejanje in pregled/edited by Robert Kuret uredniški odbor/editorial board Varja Močnik, Robert Kuret prevodi/translations Maja Lovrenov, Alenka Ropret naslovnica/cover design Multipraktik fotografija/photo Branka Keser tisk/print Collegium Graphicum naklada/print run 300 izdajatelj/published by Zavod Otok. Ljubljana, 2020



VSEBINA

CONTENTS

16. Kino Otok – Isola Cinema je......

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16th Kino Otok – Isola Cinema is......

Poglej, Otok!

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Look, Otok!

SIGNALI 14 SIGNALS Balon

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Balloon

Bostofrio, kjer nebo sreča zemljo

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Bostofrio, Where the Sky Meets the Earth

Corpus Christi

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Corpus Christi

Gorelo bo

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Fire Will Come

Greš danes v šolo?

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Are You Going to School Today?

Odmev

26

Echo

Portret mladenke v ognju

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Portrait of a Lady on Fire

Povedni sedanjik

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Present.Perfect.

Sinovi Danske

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Sons of Denmark

Sirotišnica

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The Orphanage

DOBRI SOSEDJE 36 GOOD NEIGHBOURS Ivana Grozna

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Ivana the Terrible

Moj jutranji smeh

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My Morning Laughter

EVROPA 2.0 42 EUROPE 2.0 Centar

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Centar

Zadnji in prvi ljudje

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Last and First Men

CHIARO-OSCURO: TIRANIJA NAPREDKA 48 CHIARO-OSCURO: TYRANNY OF PROGRESS Črte v pesku, zgodba o zgodovini

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Sandlines, the Story of History

Hamada

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Hamada

Medena dežela

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Honeyland

Vesoljski psi

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Space Dogs

Vročica

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The Fever

35-MM KULT-URE 62 35MM CULT-URE Cabirijine noči

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Nights of Cabiria

Osem in pol

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Vaba

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Bait

LJUBO DOMA 70 HOME SWEET HOME Človek s senco

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Man With Shadow

Playing Men

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Playing Men

Trenutek reke

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Timeless River


PRIJATELJI 78 FRIENDS Domovina je prostor iz časa

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Heimat is a Space in Time

Še en skok

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One More Jump

Telo neveste

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Flesh Out

SILVANOV ZALIV 86 SILVAN’S BAY Vitalina Varela

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Vitalina Varela

Retrospektiva: Pedro Costa

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Retrospective: Pedro Costa

EKSTRASERIJSKO 94 EXTRA-SERIES Coincoin in ekstraljudje

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Coincoin and the Extra-Humans

PODMORNICA 98 SUBMARINE Moj brat lovi dinozavre 100 My Brother Chases Dinosaurs Slavna medvedja zasedba Sicilije 101 The Bears’ Famous Invasion of Sicily Prižgimo nov dan: sklop kratkih animiranih filmov za najmlajše 102 Switching On a New Day: Animated Shorts for Childen and Families (3+) in vso družino (3+)

VIDEO NA PLAŽI 104 VIDEO ON THE BEACH OTOK V LJUBLJANI 124 OTOK IN LJUBLJANA OTOK DRUGJE 125 OTOK IN OTHER LOCATIONS PRO OTOK 126 PRO OTOK GOSTJE FESTIVALA 138 FESTIVAL GUESTS INDEKS 140 INDEX FESTIVALSKA EKIPA 144 FESTIVAL TEAM


16. Kino Otok – Isola Cinema je......

[13. 6. 2019] Odmevi praznovanja 15. mednarodnega filmskega festivala Kino Otok – Isola Cinema [15. 6. 2019] Hvala [5. 7. 2019] Na Otoku: Kino Otok poleti gostuje skozi glasbo in selfije [19. 8. 2019] PLAY – Trenutki, ki ostanejo [11. 10. 2020] Na Otoku: Festival Poklon viziji ob svojem 20. jubileju tudi v Trstu z nagrajenko Kim Longinotto, v Izoli s filmsko delavnico za otroke [25. 12. 2019] Želimo vam vesele praznike in ... Vi auguriamo buone feste e ... We wish you happy holidays and a ... #veselepraznike #srecnonovoleto #happyholidays #buonefeste #kinootok #isolacinema [24. 1. 2020] Napovedujemo 16. mednarodni filmski festival Kino Otok - Isola Cinema! Se vidimo. / We announce the 16. Kino Otok - Isola Cinema International Film Festival! See you. #kinootok #isolacinema #sweetsixteen @visitizola [18. 2. 2020] Vseslovenska Noč kratkih filmov prvič tudi v Centru mladih Koper [25. 2. 2020] Odprt poziv za Video na plaži 2020: prijavite svoje kratke filme [4. 3. 2020] Pridruži se ekipi 16. Kino Otoka! [13. 3. 2020] Dragi otoški prijatelji, v skladu z razglasitvijo epidemije v Sloveniji na podlagi 7. člena zakona o nalezljivih boleznih zaradi naraščanja števila okužb s koronavirusom COVID-19 in potrebnimi ukrepi za zaščito prebivalstva v zavodu Otok z 12. 3. 2020 do nadaljnjega prestavljamo vse načrtovane javne dogodke. Obenem glede na trenutno znane informacije nadaljujemo s pripravo 16. mednarodnega filmskega festivala Kino Otok – Isola Cinema, ki je načrtovan med 3. in 7. junijem 2020 v Izoli, prej in potem pa tudi v Ljubljani in drugih krajih po Sloveniji. Ob tem pozorno spremljamo razvoj dogodkov in smo pripravljeni na prilagoditev načrtov, če bo to potrebno. O vseh morebitnih spremembah vas bomo sproti obveščali. [1. 4. 2020] Drago ljudstvo. Kaj naj rečemo? Ko smo 25. februarja odprli mednarodni poziv za Video na plaži, se je rok 1. april zdel lušten hec. Vmes je virus vzel šalo, a se ne damo. Zato zelo resno podaljšujemo rok za prijavo do 15. aprila 2020 in vse vas prav prisrčno vabimo k prijavi. Čeprav je v tem trenutku nemogoče reči kdaj in kako, festival vsekakor bo izveden tudi v letu 2020 in sekcija kratkičev Video na plaži bo del programa 16. izdaje mednarodnega filmskega festivala Kino Otok – Isola Cinema. [23. 3. 2020] Spoštovani, to sporočilo je namenjeno sodelavcema Občinskega inšpektorata in redarstva OI, s katerima smo običajno v stiku glede izdaje dovoljenj za izvedbo festivala Kino Otok. Festival je letos načrtovan med 3. in 7. junijem 2020, vendar je glede na situacijo zelo verjetno, da ga bomo v tem terminu težko izvedli. O morebitni predstavitvi in nadomestnem terminu se bomo odločali v prvi polovici aprila, ko bo upamo že nekoliko bolj jasno, v katero smer gre epidemija. Izredne razmere so nas ujele v trenutku, ko smo imeli pripravljene vse potrebne vloge za dovoljenja OI, in sicer za načrtovani termin 3. do 7. junij 2020. Zato nas zanima naslednje: ali naj vendarle oddamo vloge za ta termin, da se začnemo postopek izdaje dovoljenj, in vas takoj ko bo mogoče obvestimo o morebitni

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16th Kino Otok – Isola Cinema is......

[13. 6. 2019 Echoes of the celebration of the 15th International Film Festival Kino Otok – Isola Cinema [15. 6. 2019] Thank you [5. 7. 2019] On the Island: Kino Otok’s Summer Travels Through Music and Selfies [19. 8. 2019] PLAY – Moments that stay [11. 10. 2020] Na Otoku: Festival Poklon viziji ob svojem 20. jubileju tudi v Trstu z nagrajenko Kim Longinotto, v Izoli s filmsko delavnico za otroke [25. 12. 2019] Želimo vam vesele praznike in ... Vi auguriamo buone feste e ... We wish you happy holidays and a ... #veselepraznike #srecnonovoleto #happyholidays #buonefeste #kinootok #isolacinema [24. 1. 2020] Napovedujemo 16. mednarodni filmski festival Kino Otok - Isola Cinema! Se vidimo. / We announce the 16. Kino Otok - Isola Cinema International Film Festival! See you. #kinootok #isolacinema #sweetsixteen @visitizola [18. 2. 2020] Vseslovenska Noč kratkih filmov prvič tudi v Centru mladih Koper [25. 2. 2020] Video on the Beach 2020 Open Call: Submit Your Short Films Till April 1st [4. 3. 2020] Join the 16th Kino Otok – Isola Cinema Team! [13. 3. 2020] Dear Otok friends, in accordance with the announcement of the epidemic in Slovenia due to the increasing number of COVID-19 coronavirus infections and the necessary measures for the protection of the population, Otok Institute has postponed all planned public events from 12 March 2020 until further notice. At the same time, in accordance to currently known information, we are continuing the preparation of the 16th International Film Festival Kino Otok – Isola Cinema, which is scheduled for June 3-7, 2020 in Izola, before and afterwards also in Ljubljana and other locations around Slovenia. At the same time, we are closely monitoring all developments and are ready to adjust our plans as necessary. We will keep you informed of any changes. [1. 4. 2020] Dear folks. What to say? When we opened the Video on the Beach international call on February 25th, the 1st of April deadline seemed like a cute joke. Meanwhile, the joking stopped due to a certain virus, but we’re standing strong. Therefore, we are very seriously extending the deadline until April 15th and kindly invite you all to apply. Although it is momentarily impossible to say when and how, the International Film Festival Kino Otok – Isola Cinema will most definitely take place in 2020 and Video on the Beach shorts section will be part of its 16th edition. [23. 3. 2020] Dear Sir or Madam, this message is intended for the employees of the Izola Municipality Inspectorate and Warden Service, whom we normally contact with regard to permissions for the organisation of the Kino Otok festival. This year, the festival is scheduled to take place from 3 to 7 June 2020, however, considering the current situation it is highly unlikely to be organised at the exact time. We will be deciding about possibly postponing the festival to a new time slot in the first half of April, when, hopefully, the course of the epidemic is somewhat clearer. Exceptional circumstances have caught us just at the moment when we had all the forms ready to apply for the municipal permits, i.e. for the time slot 3 – 7 June 2020. We therefore wish to inquire: should we apply for these dates to begin the

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menjavi datumov? Ali raje počakamo, da bo situacija bolj jasna? [15. 4. 2020] 16. festival Kino Otok – Isola Cinema prestavljen [24. 4. 2020] Aneks 3 k POGODBI O SOFINANCIRANJU FESTIVALA z naslovom »Mednarodni filmski festival Kino Otok – Isola Cinema« v letih 2018, 2019 in 2020 [29. 5. 2020] Drage vse in vsi, končno se oglašam z dobro novico, potrdili smo nove datume za 16. Kino Otok v Izoli, in sicer od 26. do 30. avgusta 2020! Seveda v razmeram prilagojenem formatu, ki ga nameravamo do konca začrtati do konca junija. Doslej je bilo kompleksno, letos bo kompleksno na korona potenco. Pred in po izolskih datumih se bo zgodilo več satelitskih dogodkov v regiji in v Ljubljani (t.i. Kino Otok na poti), del programa pa bo v septembru na ogled tudi na spletu (t.i. Kino Otok na spletu), tudi ta časovnica se bo predvidoma do konca izrisala do konca junija. /…/ Ker forma e-pošte ponuja zgolj omejene možnosti podajanja čustev, mi prosim verjemite na zapisano besedo, da kljub navidezni mirnosti tega sporočila članice ožje ekipe od navdušenja ob novih potrjenih načrtih vsak dan zjutraj že pred zajtrkom naredimo vsaj tri salte in druge gimnastične elemente. [3. 6. 2020] 16. filmski festival Kino Otok – Isola Cinema na sporedu še to poletje, od 26. do 30. avgusta [18. 6. 2020] Grant Decision n° 616590-CREA-1-2020-1-SI-MED-FESTIVALS [3. 7. 2020] Navodila za organizatorje javnih prireditev do 500 oseb za pridobitev pozitivnega mnenja NIJZ [8. 7. 2020] 16. Kino Otok začenja festivalsko popotovanje 16. julija v Hiši kulture v Sv. Antonu [23. 7. 2020] Lettera alla Direttrice - Kino Otok/Isola cinema [31. 7. 2020] Seznam držav za prehajanje državne meje brez omejitev [1. 8. 2020] Pišem uvodnik za katalog, globoko hvaležna postmodernizmu za legitimacijo pastiša in smisla za nesmisle ter vsem, ki ste in boste soustvarili 16. Kino Otok.

Tanja Hladnik, direktorica festivala

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process of acquiring permissions and then inform you, as quickly as possible, about potential changed dates? Or, should we wait for the situation to become clearer? [15. 4. 2020] The 16th Kino Otok – Isola Cinema IFF postponed [24. 4. 2020] Annex No 3 to FESTIVAL CO-FINANCING AGREEMENT related to “Kino Otok – Isola Cinema International Film Festival” for years 2018, 2019 and 2020 [29. 5. 2020] Dear everybody, finally I have some good news: we have confirmed new dates for the 16th Kino Otok in Izola – from 26 to 30 August 2020! Naturally, the execution will be adapted to the circumstances, which will be outlined by the end of June. If it had been complex so far, this year’s edition will be raised to the power of coronavirus. Several events before and after the Izola slot will be held in other locations in the region and in Ljubljana (the so-called Otok on the move), and this plan is also predicted to be outlined by the end of June. /.../ Since e-mail as a form only allows for a limited display of emotions, please believe me when I say that despite the relative restraint of this message members of the core team turn at least three somersaults and other gymnastic elements each morning before breakfast to show our enthusiasm for the newly confirmed plans. [3. 6. 2020] 16th Film Festival Kino Otok – Isola Cinema coming this very summer: from 26 to 30 August [18. 6. 2020] Grant Decision n° 616590-CREA-1-2020-1-SI-MED-FESTIVALS [3. 7. 2020] Guidance to organisers of public events of up to 500 visitors to apply to the National Institute of Public Healt for a positive opinion [8. 7. 2020] 16th Kino Otok – Isola Cinema Begins Its Festival Journey on 16 July at the House of Culture in Sv. Anton [23. 7. 2020] Lettera alla Direttrice - Kino Otok/Isola cinema [31. 7. 2020] List of countries for crossing national borders without restrictions[1. 8. 2020] Writing the introductory text for the catalogue, I feel deep gratitude to postmodernism for having legitimised pastiche and sense in place of nonsense, and to everybody who has been and will be co-creating the 16th Kino Otok.

Tanja Hladnik, Festival Director

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Poglej, Otok!

Kino Otok je, z mojega gledišča, komunikacijsko sredstvo, ki se uteleša na prav posebne načine. Številni in raznoliki avtorji filmov, gledalci, cinefili, raznovrstna filmska stroka in, ne nazadnje, programska ekipa Kino Otoka komuniciramo na različne načine, ki lahko potekajo na povsem intimnih ravneh ali v sferi javnega. Govorica komunikacije privzema različne oblike, za filmski festival nujno filmsko in filmično, pa umetniško, politično, izobraževalno, znanstveno, tehnološko ... Te raznolike stike druži to, da potekajo v skupnosti, ki se oblikuje za kratko časovno obdobje festivala in ki se z vsako edicijo spreminja, širi in gradi. Komunikacija gre svoje poti in ima svoje življenje in le del teh je v rokah otoške ekipe. Na Otoku namreč (ne slepo, temveč temeljito preverjeno) verjamemo, da je filmska umetnost ena najbogatejših in najbolj neposrednih načinov komunikacije, ki lahko poveže različne načine gledanja in razmišljanja, torej zelo različne ljudi. Prav tako se nam zdi pomembno, da na festivalu nimamo tekmovalnega programa, saj hočemo ustvariti okolje, kjer tekme ni. Verjamemo, da tekma na tem področju v osnovi sploh ne obstaja. Filmski program sestavljamo tako, da gledamo filme in se pogovarjamo z mnogimi, ki gledajo filme. Oziramo se po programih različnih mednarodnih in nacionalnih festivalih, nekatere se nam posreči tudi obiskati (še zlasti zanimivi se nam zdijo Mednarodni filmski festival v Rotterdamu, Viennale, IndieLisboa, 25 FPS, Cinéma du Réel, Locarno Film Festival, Berlinale …). Redno tudi spremljamo, kaj novega ustvarjajo »stari« otoški gostje. Tu želim obenem poudariti, da slovenska filmska pokrajina – zahvaljujoč številnim kakovostnim festivalom in pobudam ter nekaterim distributerjem in prikazovalcem – sploh ni pusta, zato na Otoku poiščemo tiste pomembne filme, ki jih večina gledalcev še ni videla. Če pa jih je že, jih umestimo v nove festivalske kontekste. Filme uvrstimo v sekcije, ki jih je v zadnjih letih vse več, saj širimo program, pri tem pa menimo, da je v obilici informacij potreben kompas. V Signale uvrstimo filme, ki jih zaradi oblikovne in vsebinske izvirnosti nihče ne bi smel zamuditi; v Dobre sosede združimo filme iz določene države, a pri tem ne gre za pregledni program, temveč za tematike, ki so nam blizu, sosedske; naslov 35-mm Kulture jasno govori o poklonu zgodovini filma; Prijatelji še naprej prinašajo filme po izboru strokovnih kolegov, Video na plaži udarne kratkometražce, Podmornica pa ostaja okolje otroških, mladinskih in družinskih filmov. Silvanov zaliv z leti spreminja obliko – letos v njem gostimo retrospektivo pomembnega mojstra. Relativno nova sekcija Evropa 2.0 v kontekst sopostavi dva evropska filma, ki se letos ukvarjata s civilizacijskimi dosežki in vprašanjem obstoja civilizacije. Druga še sveža sekcija je Ljubo doma, ki predstavi prebojne slovenske avtorje, ki jim ni para ne doma ne po svetu. Letos pa vpeljujemo še dve novi: Chiarooscuro predstavlja tematski fokus, s katerim osvetljujemo pomembne tematike, ki zakrite prežijo v sencah javnega diskurza. Letošnji podnaslov Tiranija

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Look, Otok!

The way I see it, Kino Otok is a tool of communication, which also transmits special forms of communication. Numerous and various filmmakers, viewers, cinephiles, the diverse film profession and, last but not least, the Kino Otok programme team communicate in multiple ways, which can be quite intimate but also quite public. The communication parlance assumes diverse forms, which in the case of a film festival necessarily include film and cinematic language, as well as artistic, political, educational, scientific, technological and other varieties. What these diverse contacts have in common is their being practised in a community formed for the short festival period, which changes, expands and builds with each festival edition. Communication has its own paths and its own lives, only a part of which is in the hands of the Otok team. People at Otok believe (based on thorough exploration rather than blindly) film art to be one of the richest and most direct ways of communication that can integrate various ways of viewing and thinking, i.e. very different people. We also find it important that the festival has no competition programme, as we want to shape a non-competitive environment. We also believe that in this field, there fundamentally is no competition. Our film programme is based on us watching films and talking to many people who watch films. We take into consideration several international and national festivals and even succeed in visiting some of them (those we find particularly interesting are Rotterdam IFF, Viennale, IndieLisboa, 25 FPS, Cinéma du Réel, Locarno Film Festival, Berlinale). We also pay attention to what “old” Otok guests have been up to. I also wish to emphasise that the Slovenian film landscape – owing to numerous top festivals and initiatives by certain distributors and presenters – is not plain at all, therefore, we seek to dig up the important films the majority of viewers have not yet seen. Or, if they have, we place them in new festival settings. Films are arranged into sections, a growing number of them in recent years since our programme has been expanding. We also believe that a compass is required for abundant information. Signals contain the films that should not be missed due to their original form and contents; Good Neighbours merge films from a particular country, not as a thorough programme, only a review of topics that are close to us; the title 35mm cult-ure clearly indicates a homage to film history; Friends continue to present films chosen by our expert colleagues; Video on the Beach brings striking shorts; Submarine remains an environment for children, youth and family films. Silvan’s Bay has been transforming through the years – this year hosting a retrospective of a major filmmaker. The more recent section Europe 2.0 confronts two European films, this year dedicated to achievements of civilisation and the question of its survival. The other recent section, Home Sweet Home, features breakthrough Slovenian authors who yet have to find their match in the

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napredka nakazuje filme, ki obravnavajo temne plati človeškega napredka in hkrati pod vprašaj postavljajo njegovo naravo. Druga novost je Ekstraserijsko, kjer se bo odvrtela posebna in zelo smešna serija: gledalcem želimo omogočiti, da tudi serij ne gledajo sami. V času epidemije je postalo več kot očitno, da ljudje za zdravo preživetje (pri tem mislim na obstoj, ki mu ne botrujejo strah, jeza, egoizem in podobni uničujoči vzgibi) potrebujemo skupnost. Kristalno jasno pa je postalo tudi, kako zlahka, poceni in udobno lahko program prestavimo na internet. Zato pričujoči uvodnik pišem v upanju, da nam ne bo zagodla kombinacija bolezni in politike, da se bomo lahko družno potopili v osvetljeno temo komunikacije s filmom.

Varja Močnik, selektorica filmskega programa

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national and international context. This year also brings two new sections: Chiarooscuro focuses on a specific topic chosen from the essential issues lurking in the shadows of public discourse; its current title Tyranny of Progress hints at films dedicated to the dark side of human development and questioning its nature. The second novelty is Extra-Series, which will feature a very special and very funny series, as we want to make it possible for viewers to watch a series in the company of other people as well. In the times of the epidemic, it has become more than obvious that people require the community to live a healthy life (I hereby allude to existence not dictated by anger, fear, egotism and similar destructive inclinations). It has also become crystal clear how easy, inexpensive and comfortable it is to make the programme available online. Therefore, I am writing this text, hoping not to be played a joke by the combination of disease and politics, so that we will be able to immerse ourselves together in the illuminated darkness of communicating with film.

Varja MoÄ?nik, Film Programmer

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14

SIGNALI / SIGNALS


SIGNALI / SIGNALS Prodorni filmi izvirnih filmskih govoric in radikalnih vsebin. Lucid films boasting original film languages and radical content. Balon / Balloon Bostofrio, kjer nebo sreča zemljo / Bostofrio, Where the Sky Meets the Earth Corpus Christi Gorelo bo / Fire Will Come Greš danes v šolo? / Are You Going to School Today? Odmev / Echo Portret mladenke v ognju / Portrait of a Lady on Fire Povedni sedanjik / Present.Perfect. Sinovi Danske / Sons of Denmark Sirotišnica / The Orphanage

SIGNALI / SIGNALS

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BALON / QÌQIÚ / BALLOON

Kitajska/China, 2019 režija/directed by Pema Tseden scenarij/script Pema Tseden fotografija/cinematography Lu Songye montaža/editing Liao Ching-Sung, Jin Di glasba/music Peyman Yazdanian zvok/ sound Wang Shuo igrajo/cast Sonam Wangmo, Jinpa, Yangshik Tso producent/producer Huang Xufeng, Jacky Pang produkcija/ production Mani Stone Pictures koprodukcija/co-production Tang Dynasty Cultural Communication (Beijing), Factory Gate Films, Beijing China Central Plains, Cultural Investment Holdings, iQIYI Pictures distribucija/distribution Rediance format/format DCP dolžina/running time 102’

Konec sedemdesetih let prejšnjega stoletja je Kitajska zaostrila politiko omejevanja rojstev, kršitelje pa kaznovala z visokimi kaznimi; do neskladja vrednot je prihajalo predvsem na ruralnih območjih, denimo v Tibetu, kjer so ljudje globoko religiozni in več otrok potrebujejo za delo na kmetijah. Balon, film režiserja Peme Tsedna, je postavljen v takšno presečišče svetov v osemdesetih: Drolkar (igra jo Sonam Wangmo) in njen mož Dargye (Jinpa, zvezda režiserjevega prejšnjega filma) imata že tri otroke in si ne želita še četrtega, niti zanj ne zmoreta plačati kazni, a ko Drolkar spet zanosi in lokalni lama namigne, da bi četrti otrok lahko bil reinkarnacija umrlega družinskega člana, družina nanjo začne pritiskati, naj otroka vendarle rodi.

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At the end of the 1970s, China tightened its birth restriction policy and punished the transgressors with high fines. This went particularly against the values of rural areas, for example Tibet, where people are deeply religious and require more children for farmwork. Pema Tseden’s Balloon is set on such an intersection of worlds in the 1980s: Drolkar and her husband Dargye already have three children and do not want a fourth one nor can they pay the penalty for it, but when Drolkar gets pregnant and the local lama suggests that their fourth child might be a reincarnation of their deceased family member, the family begins pressuring her to have the child.

Žensko telo v Balonu postane mesto bojev različnih politik in ideologij: državne, ki tokrat splav postavlja v vlogo prisilnega omejevanja rojstev, religiozne doktrine, ki ima zavračanje rojstva za oviranje duše na njeni poti, patriarhalne družbe, kjer ima moški nadvlado nad žensko in kjer je ženska po svoji avtonomiji bližje otroku kot odraslemu, družbe, ki je še vedno globoko konservativna in vse v zvezi s seksualnostjo in splavom vidi kot sramotno, okupatorske sile, ki družbi vsiljuje svoje, zunanje norme, pa tudi medikalizacije ženskega telesa, ko si medicina prisvoji osebne odločitve, in ne nazadnje feminizma, ki v okrnjeni, poenostavljeni obliki ne razume, zakaj bi si ženska želela imeti štiri, pet ali šest otrok, če ji tega ni treba.

In Balloon, the woman’s body becomes the site of struggles between different policies and ideologies imposed by: the state, which places abortion in the role of a forced restriction on the number of births, the religious doctrine that considers the rejection of birth as the hindering of the soul on its path, patriarchal society, in which men dominate women, while, in view of their autonomy, women are closer to children than adults, a society that is still deeply conservative and sees anything related to sexuality and abortion as shameful, the occupying power, which forces its own, external norms on the local society, the medicalisation of the female body when medicine appropriates personal decisions and, last but not least, feminism, which in its reduced, simplified form does not understand why a woman would like to have four, five or six children if she does not have to.

Balon ni antropološki ali, še huje, etnografski film, temveč intimna, družinska drama o človeku – ženski – ki se znajde v brezizhodnem položaju

Balloon is not an anthropological or, even worse, an ethnographic film, but an intimate family drama about a human being – a woman – that finds herself

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PEMA TSEDEN Pema Tseden (1969) je tibetanski režiser, pisatelj in producent. Prejel je številne literarne nagrade. Leta 2018 je napisal in režiral film Jinpa, ki ga je produciral Wong Kar-Wai in za katerega je v okviru tekmovanja Horizons na beneškem mednarodnem filmskem festivalu prejel nagrado za najboljši scenarij. Poleg Benetk so bili njegovi filmi nominirani za nagrade na festivalih v Locarnu, Torontu in na drugih pomembnejših mednarodnih festivalih, kjer so tudi prejeli nagrade za najboljši film, režijo in prirejeni scenarij. Pema Tseden (1969) is a Tibetan director, writer and producer. He has received numerous literature awards. In 2018, he wrote and directed Jinpa, produced by Wong Kar-Wai, and won Best Screenplay at the Horizons competition of the Venice International Film Festival. Other than Venice, his films have been nominated in Locarno, Toronto and other major international film festivals, where they received Best Picture, Best Director, Best Adapted Screenplay awards.

zaradi protislovja družbenih silnic, v svetu, kjer se duhovnost zlahka pomeša z banalnostmi, in v katerem odrasli gledajo na svet skozi prizmo otrok, kar se včasih konča komično, drugič tragično. Pema Tseden že v prvem kadru filma na to namigne tako, da ga posname skozi prosojno belo napeto gumo kondoma, ki ga otroka zamenjata za balon; s pogledom skozi okna, ki jih zastirajo oblaki, ali med ovčjim parjenjem, ki je skozi ukradene poglede otroka, z žabjega gledišča, videti nerazumljivo in strahovito nasilno. Kamera iz roke s podobami vetrovnega, goratega tibetanskega podeželja, ki jim vdihne nekakšno surovo, okorno lepoto, ustvarja podoben kontrast s prefinjeno glasbo skladatelja Peymana Yazdaniana – in seveda, z milino rdečega balona, ki kljub razlikam ljudi pod njim mirno jadra v vetru. Tina Poglajen

in a dead-end position due to the contradictions of social forces in a world where spirituality can easily be mixed with banalities and where adults look at the world through the prism of children, which sometimes ends comically and sometimes tragically. Pema Tseden alludes to this in the opening shot by filming it through the transparently white stretched rubber of the condom that the children mistake for a balloon; with the gaze through the windows obscured by clouds, or during the copulation of sheep, which, through the peeks of a child from a worm’s eye view, seems incomprehensible and terribly violent. The images of the windy, mountainous Tibetan countryside, which the hand-held camera gives a kind of a raw, crude beauty, stand in a similar contrast to the refined music by Peyman Yazdanian – and of course the grace of the red balloon, which despite the differences of the people underneath it steadily sails in the wind. Tina Poglajen

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BOSTOFRIO, KJER NEBO SREČA ZEMLJO / BOSTOFRIO, OÙ LE CIEL REJOINT LA TERRE / BOSTOFRIO, WHERE THE SKY MEETS THE EARTH Portugalska/Portugal, 2018 režija/directed by Paulo Carneiro fotografija/cinematography Pedro Neves montaža/editing André Valentim Almeida,Francisco Moreira,Paulo Carneiro, Pedro Neves zvok/sound Ricardo Leal nastopajo/featuring Casemira, Ti Maria, Lucília, Octávio, Ti Saúl producent/producer Paulo Carneiro, Pedro Neves produkcija/ production Red Desert distribucija/distribution Portugal Film format/format DCP dolžina/running time 70’

V valovitem morju posušenih dreves in goste trave se nahaja mala in zapuščena vasica Bostofrio. Tu je živel skrivnostni dedek mladega režiserja Paula Carneira, ki se je vrnil v vas, da bi pred kamero končno razkril odejo tišine, v katero je bila potopljena dedkova figura. Režiser se v dokumentarcu samotno sprehaja po neskončnih preprogah pašnikov in ozkih kamnitih ulicah vasice kot mlad, malce komičen in neroden Sherlock Holmes. Intervjuva različne priče in skuša sestaviti realnost v logično celoto. Film je razdeljen na dvanajst kosov-poglavij. Vsako od njih ima svoj naslov in nejasno črno-belo ozadje. Sosledje poglavij počasi sestavlja fragmentarno sliko edine ohranjene fotografije dedka Dominga Espada na pokopališču, ki pa nam kot celota ostaja ves čas neznana. Režiser na tragikomične načine skuša pretrgati zadržanost ljudi tako do njega samega kot do dedkove zgodbe; prek sosledja fiksnih kadrov sledimo Paulu, ki moti ljudi, medtem ko kosijo travo ali pasejo krave. Tako izvemo, da sta v vasi živela tako Paulov dedek kot njegov oče. Kljub temu med njima ni bilo nobenega stika. V vasi sta se srečevala kot tujca, saj dedek svojega sina ni nikoli priznal. Podobno rano je na Portugalskem doživelo 150.000 ljudi. Zakaj se dedek ni poročil z babico in poskrbel za družino, pa ostaja nejasno. Režiser pred nami izriše kalejdoskop hipotez, pogledov, razlogov. Skromnost in revščina tistih časov, zavist dedkove sestre, težave glede dedovanja … Pričevanja se dopolnjujejo, a si obenem tudi nasprotujejo. Razširijo sliko in jo zameglijo. Nekoherentnosti stalno skrunijo

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Small and deserted village of Bostofrio is situated amidst the wavy sea of dried trees and thick grass. This was home to the mysterious grandfather of young director Paulo Carneiro who returned to the village to finally remove the cover of silence into which grandfather’s figure had been immersed. In the documentary, the director takes lonely walks along the endless meadowy carpets and narrow stony streets of the village, resembling a young, slightly comical and awkward Sherlock Holmes. He interviews various witnesses, trying to compose the reality into a consistent whole. The film is divided into twelve parts – chapters, each of them having its own title and an ambiguous black-and-white background. The sequence of chapters gradually pieces together the fragmentary image of the only preserved photo of grandfather, Domingo Espado, taken at the cemetery, which, as a whole remains unknown to us. The director seeks tragicomically to break the reserve of people towards him and towards grandfather’s story: through the sequence of static shots we follow Paolo as he disturbs people while they are mowing grass or herding cows. We thus learn that both Paolo’s grandfather and father lived in the village. Still, there was no contact between them. In the village, they would pass each other as strangers since grandfather never recognised his son. 150,000 people in Portugal have experienced a similar wound. However, why grandfather never married grandmother and took care of the family, remains unclear. The director outlines for us a kaleidoscope of hypotheses, views, reasons. The modesty and


PAULO CARNEIRO Paulo Carneiro (1990) je na visoki šoli za umetnost in oblikovanje ESAD.CR diplomiral iz zvoka in podobe. Trenutno je magistrski študent na Šoli za gledališče in film v Lizboni (ESTC). Udeležil se je številnih delavnic s področja zvoka in režije, ki so jih med drugim vodili Jean Paul Mugel, Joaquim Pinto, Chris Price, Želimir Žilnik, Albert Serra ... Njegov kratki prvenec Voda za Tabato (Água para Tabatô, 2014) je bil premierno prikazan na mednarodnem festivalu dokumentarnega filma v Jihlavi. Paulo Carneiro (1990) graduated in Sound and Image from ESAD.CR. He is a Master student at the Lisbon Theatre and Film School (ESTC). He has attended several sound and direction workshops with Jean Paul Mugel, Joaquim Pinto, Chris Price, Želimir Žilnik, Albert Serra, among others. His debut short film/making of, Water to Tabato (Água para Tabatô, 2014), premiered at Jihlava IDFF.

nastajajočo podobo in vedno znova vse postavijo pod vprašaj. Prelomna točka, ki začrta nepremostljivo razdaljo med sedanjostjo in metafizičnim svetom starih staršev, pa nastopi, ko režiser premakne fokus na babico. Tu postane moderni, racionalno-deduktivni pristop Sherlocka Holmesa popolnoma neuporaben. Ko se približamo koreninam naše arhaične družbe, ugotovimo, da je ta svet zapisal svojo kozmogonijo v rane hrapavih rok in obdržal svojo hierarhijo v tišinah hiš; da izraža svojo poezijo v vetru, prepojenem z melodijami kravjih zvonov, ter svari z izbruhi ognja, ki lahko zaobjame tudi človeško dušo in jo približa peklu. Kljub temu da fotografije dedka ne bomo nikoli videli, bo njena sled za vedno ostala. Morda pa se bo nekoč antropološki razkol, ki nas loči od prejšnjih časov, zacelil in nam omogočil, da bomo fotografijo naše preteklosti gledali z drugimi očmi in kot celoto. Jan Mozetič

poverty of the times, the envy of grandfather’s sister, issues with inheritance. Testimonies complement, but also oppose each other. They expand, but also obscure the image. Incoherencies keep desecrating the emerging image, keep bringing everything into question. The breaking point, however, that delineates an unbridgeable distance between the present time and the metaphysical world of grandparents, occurs when the director shifts his focus to grandmother. At this point the modern, rationally-deductive Sherlock Holmes approach turns completely useless. As we near the roots of our archaic society, we learn that this world has entered its cosmogony in the wounds of coarse hands; that it preserved its hierarchy in the silence of houses; that it expresses its poetry in the wind infused with melodies of cowbells, and gives warnings in outbursts of fire that can also engulf the human soul and bring it closer to hell. Although we will never see grandfather’s photograph, its trace will be preserved for ever. Maybe someday the anthropological divide separating us from times past will mend, allowing us to see the photo of our past through different eyes and see it whole. Jan Mozetič

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CORPUS CHRISTI / BOŻE CIAŁO / CORPUS CHRISTI

Poljska, Francija/Poland, France, 2019 režija/directed by Jan Komasa scenarij/script Mateusz Pacewicz fotografija/cinematography Piotr Sobociński Jr. montaža/editing Przemysław Chruścielewski glasba/music Galperin Brothers zvok/ sound Kacper Habisiak, Marcin Kasińsk, Tomasz Wieczorek igrajo/ cast Bartosz Bielenia, Eliza Rycembel, Aleksandra Konieczna, Tomasz Ziętek, Leszek Lichota, Łukasz Simlat producent/producer Aneta Hickinbotham, Leszek Bodzak produkcija/production Aurum Film koprodukcija/co-production Les Contes Modernes distribucija/ distribution New Europe World Sales format/format DCP dolžina/running time 116’

»Bog je vedno z nami,« govori oče Tomasz zapornikom v prevzgojnem domu, »vsak izmed vas je Kristusov duhovnik.« Besede, ki jih dvajsetletni Daniel, zdaj globoko veren, razume dobesedno. Po odsluženi kazni si želi postati duhovnik, a obsojenega kriminalca ne bo sprejelo nobeno semenišče. Ko ga iz doma zaradi preteče nevarnosti napotijo na fizično delo na podeželje, se zaradi nedolžne laži kmalu znajde pred oltarjem bližnje cerkve, kjer stopi v čevlje začasno odsotnega župnika. Prihod mladega, karizmatičnega in nekonvencionalnega duhovnika se za skupnost, žalujočo po grozljivi nesreči, izkaže za edinstveno priložnost, da se sooči s svojimi travmami. Katoliška Poljska je v zadnjih letih zabeležila kar nekaj primerov lažnih duhovnikov, še posebej odmeven je bil primer najstnika, ki se je s samosvojim pristopom k opravljanju duhovniškega poklica v očeh vernikov izkazal celo za uspešnejšega od svojega predhodnika. Ta resnični dogodek je bil navdih za osnovni zaplet v filmu, ki v režiji Jana Komase uspešno krmari med socialno dramo, moralko in duhovnim trilerjem. Velikokrat je lahkoten in na trenutke tudi odkrito komičen, a vedno veliko bližje Schraderjevemu Preporodu (First Reformed, 2018), še enemu otoškemu filmu, ki v precep vzame institucionalizirano religijo, kot pa Nunam pojejo (Sister Act, 1992). S presunljivo in nepredvidljivo igro Bartosza Bielenie v vlogi Daniela film vseskozi ostaja dvoumen in skrivnosten, tudi v prisotnosti očitnega simbolizma, ki morda nikjer ni bolj očiten kot v prizoru, v katerem Daniel razgali svoje »božje telo« pred cerkvenim občestvom.

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“God is always with us,” says father Tomasz to an inmate in a youth detention centre. “Each and every one of you is a priest of God.” Words that the twelve-year-old Daniel, who is now deeply religious, takes literally. After serving his sentence, he wants to become a priest, but no seminary will accept a convicted criminal. When he is sent to the countryside to perform physical labour due to an impending danger, an innocent lie soon lands him before the altar of a nearby church, where he then steps into the shoes of the temporarily absent parish priest. The arrival of a young, charismatic and unconventional priest proves to be a unique possibility for the community grieving after a horrific accident to face its traumas. In recent years, the Catholic Poland recorded quite a few cases of fake priests, the most resounding of which was the case of a teenager whose unique approach to exercising the office of a priest was, in the eyes of the believers, even more successful than that of his predecessor. This true event inspired the basic plot of the film, which under the direction of Jan Komasa successfully navigates between a social drama, a morality play and a spiritual thriller. It is often easygoing and at times also outright comical, but always much closer to Schrader’s First Reformed (2018), another Isola Cinema film examining institutional religion, than Sister Act (1992). With the stunning and unpredictable performance of Bartosz Bielenia in the role of Daniel, the film remains ambiguous and mysterious throughout, also in the presence of obvious symbolism, which is perhaps nowhere more apparent than in the scene in which Daniel exposes his “divine body” in front of the congregation.


JAN KOMASA Jan Komasa (1981) je prejemnik številnih filmskih nagrad, med drugim tudi na prestižnem festivalu v Cannesu. Leta 2005 je režiral enega od delov triptiha Ode radosti (Oda Do Radości), ki je veljal za glas njegove generacije. Leta 2008 je posnel 90-minutni TV film Wrocław Golgotha. Njegov celovečerni prvenec Samomorilna soba (Sala Samobójców, 2011), ki so ga po vsem svetu zasipali z nagradami, je pomenil preboj v njegovi režiserski karieri. Trenutno poučuje na Akademiji za gledališče v Varšavi. Jan Komasa (1981) is winner of numerous film awards, including awards at the prestigious Cannes Film Festival. In 2005, he directed one of the three parts of Ode to Joy (Oda Do Radości), which was considered to be the voice of his generation. In 2008, he made Wrocław Golgotha, a 90-minute play for the Television Theatre of Fact. His feature film debut, Suicide Room (Sala Samobójców, 2011) was showered with awards from all over the world and constituted a breakthrough in his career. He currently teaches at the Theatre Academy in Warsaw.

Tretji celovečerec poljskega režiserja, ki je pred tem posnel visokoproračunski zgodovinski film o varšavskem uporu, Miasto 44 (2014), je tako predvsem zgodba o spodletelem poskusu osebne odrešitve in celjenju kolektivne travme neke ranjene skupnosti, vendar pa implicitno načenja tudi celo vrsto aktualnih vprašanj, ki se dotikajo koruptivnosti institucij, vloge outsiderjev in motenj v sistemu, statusa quo in vzdrževanja krivične »normalnosti« … Zato morda niti ni tako presenetljivo, da je ta lokalna filmska zgodba imela tako močan odmev in nekoliko presenetljivo pristala tudi med letošnjimi nominiranci za oskarja.

The third feature by the Polish director that made Warsaw 44 (Miasto 44, 2014), a big-budget historical film about the Warsaw resistance, is thus above all a story about a failed attempt at personal salvation and the healing of a collective trauma of a wounded community, but it implicitly also tackles a series of topical questions related to the corruption of institutions, the role of outsiders and the disturbances in the system, the status quo and the maintenance of an unjust “normality”… It therefore might not come as a surprise that this local film story had such a wide reach and somewhat surprisingly landed among this year’s Oscar nominees.

Bor Pleteršek

Bor Pleteršek

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GORELO BO / O QUE ARDE / FIRE WILL COME

Španija, Francija, Luksemburg/Spain, France, Luxembourg, 2019 režija/directed by Oliver Laxe scenarij/script Oliver Laxe, Santiago Fillol fotografija/cinematography Mauro Herce montaža/editing Cristóbal Fernández zvok/sound David Machado, Sergio da Silva, Amanda Villavieja, Xavi Souto igrajo/cast Amador Arias, Benedicta Sánchez, Inazio Brao, Elena Fernández, Nuria Sotelo, David De Poso, Alvaro De Bazal producent/producer Andrea Vázquez García, Andrea Queralt, Xavi Font, Mani Mortazavi produkcija/production Tarantula, Kowalski Films, 4A4 Productions, Miramemira koprodukcija/coproduction Koldo Zuazua, Elise André, Donato Rotunno distribucija / distribution Pyramide International format/format DCP (posneto na 16-mm/shot on 16mm) dolžina/ running time 85’

Tretji celovečerec režiserja Oliverja Laxa je njegov prvi, s katerim se iz Maroka vrne v galicijsko pokrajino svojih starih staršev. Lahko bi ugibali o afiniteti med ustvarjalcem, rojenim galicijskim izseljencem v Franciji, ter filmskim protagonistom Amadorjem (Amador Arias), piromanom, ki se po prestani zaporni kazni vrne v domačo vas k mami Benedicti, a tja nekako ne sodi. Vendar pa je Gorelo bo senzibilen ravno v odmiku režiserja, ki pusti likom, njihovim vsakdanjim rutinam in pokrajini, s katero vaščani tvorijo negotovo ravnovesje, da govorijo svojo zgodbo, ki nikoli ne daje vtisa filmske orkestriranosti. Organski tok skromne pripovedi o Amadorjevem težavnem sestavljanju fragmentov normalnega življenja in napetih odnosih, ki jih zaznamujeta nepojasnjena zadržanost protagonista in obsojanje male skupnosti, je vzporejana z življenjem narave. Ta Amadorju in Benedicti, ki se o njegovem zločinu in kazni ne zmoreta pogovarjati neposredno, služi kot poetična metafora travme in uničenja. Ko v subtilnem prizoru opazujeta evkaliptusova drevesa, ki se razraščajo in parazitsko pobijajo gozd okoli sebe, Benedicta pripomni: »Če ranijo druge, je to zato, ker so sama ranjena.« Gorelo bo te vsakdanje lekcije narave gledalcem ponudi v razmislek o tem, kako minimalen je nihaj med spokojem in destrukcijo, tako v skupnosti ljudi kot tudi v naravnem okolju, ki jih obdaja. Gorelo bo se v opazovanje krhkega ekosistema vključi z nezmotljivim občutkom in ritmom. Barvna paleta pokrajine, posnete na 16-mm film, je pridušena, hkrati daje vtis skrivnostne neobvladljivosti okoliških travnikov, gora in meglic, ki se spuščajo po gozdu, in zadušljivosti, ki

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Oliver Laxe’s third feature is his first to make him return from Morocco to the Galician land of his grandparents. One could hazard a guess about the affinity between the artist, born to Galician emigrants in France, and the film protagonist Amador Arias, a pyromaniac who returns to his native village to his mother Benedicta Sánchez after serving a prison sentence, but somehow doesn’t belong there. However, the sensitivity of Fire Will Come lies in the director’s retreat, as he lets the characters, their everyday routines and the landscape that the villagers are in an uncertain balance with, tell their story, which never gives the impression of being orchestrated. The organic flow of the modest story of Amador struggling to compile the fragments of normal life and of the strained relations marked by the protagonist’s unexplained restraint and condemnation of the tiny community is paralleled to the life of nature. The latter serves to Amador and Benedicta, unable to discuss his crime and punishment in direct terms, as a poetic metaphor for trauma and destruction. In a subtle scene, as they are watching eucalyptuses branching out and killing the woods around them like parasites, Benedicta remarks: “If they have wounded others, it is because they are wounded also.” Fire Will Come stimulates viewer’s consideration of how minimal the vibration is between calm and destruction, be it in a community of people or in the natural environment surrounding them. Fire Will Come delves into the observation of a fragile ecosystem with the unmistakeable feeling and rhythm. The colour range of the landscape filmed on 16mm is muted, while also giving the impression of mysterious untameability of the surrounding


OLIVER LAXE Oliver Laxe (1982) je na univerzi Pompeu Fabra v Barceloni diplomiral iz avdiovizualnih komunikacij. Za svoj celovečerni prvenec Vsi ste kapitani (Todos vós sodes capitáns, 2010) je v sekciji Dva tedna režiserjev v Cannesu leta 2010 prejel nagrado FIPRESCI. Leta 2016 se je vrnil v Cannes s svojim drugim celovečercem Mimosas (2016), za katerega je v okviru Tedna mednarodnih kritikov prejel veliko nagrado Nespresso. Njegov tretji film Gorelo bo je na festivalu v Cannesu leta 2019 v sekciji Un Certain Regard prejel nagrado žirije. Oliver Laxe (1982) earned a degree in Audiovisual Communications from Barcelona’s Pompeu Fabra University. His first feature film You All Are Captains (Todos vós sodes capitáns, 2010) won the FIPRESCI Award at the 2010 Cannes Directors’ Fortnight. In 2016, he returned to Cannes with his second feature Mimosas (2016), which won the Nespresso Grand Prize at the International Critics’ Week. His third film Fire Will Come was bestowed with the Jury Prize in the “Un Certain Regard” section at the 2019 Cannes Film Festival.

ustvarja filmski suspenz o neizogibni tragediji. Nekoč poceni in dostopen 16-mm trak, ki ga uporabljata za spremljanje družbenega izločenca Amadorja, ima bogato zgodovino zavezništva z dokumentarističnimi pristopi beleženja življenj marginalcev, ki jo film nadaljuje. Kamera se osredotoča na Amadorjev otožni podolgovat obraz, ki razkriva tisto, česar protagonist nikoli ne ubesedi, ali na majhno upognjeno figuro njegove matere Benedicte, zaradi brezkompromisne ljubezni do sina razpete med obrobjem, ki ga zaseda on, in vaško skupnostjo. V posrečeni izbiri neprofesionalnih igralcev in moči portretnega kadriranja, da iz tihega opazovanja obrazov spodbudi močne kontemplativne trenutke, tako film mestoma spominja na lanski Oroslan (2019) Matjaža Ivanišina. Naslov Gorelo bo nakazuje svoj razplet, ampak to niti ni kvarnik, saj gre za film, ki se v času ure in pol ne trudi graditi klasične narativne strukture, niti ne ponuja enoznačne poante – film gledalcem ne vsiljuje jasne lekcije, razpleta ali katarze, temveč nas povabi k empatičnemu opazovanju nekega življenja.

meadows, mountains and mists descending on the woods, and of the stifling atmosphere creating a cinematic suspense related to the looming tragedy. The 16mm, which is used to follow the social outcast Amador, has an extensive history of alliances with documentary approaches of tracing the lives of marginal individuals, which is continued in this film. The camera focuses on Amador’s brooding, elongated face that reveals what the protagonist never articulates, or on the small, bent figure of his mother Benedicta who due to her unconditional love for her son is torn between the margin where he dwells and the village community. Owing to the well-chosen unprofessional actors and the power of portrait shots to prompt strong contemplative moments from quiet observation of faces, the film occasionally reminds us of last year’s Oroslan by Matjaž Ivanišin. This is not a film that would use an hour and a half to construct a classic narrative structure or offer a straightforward point – the film imposes no transparent lesson, outcome or catharsis on the viewers, but rather invites us to be emphatic in observing a certain life.

Jasmina Šepetavc Jasmina Šepetavc

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GREŠ DANES V ŠOLO? / AAJ SCHOOL JAVANU CHE TAMARE? / ARE YOU GOING TO SCHOOL TODAY?

Indija/India, 2019 režija/directed by Anupama Srinivasan scenarij/script Anupama Srinivasan fotografija/cinematography Anupama Srinivasan montaža/editing Anupama Srinivasan zvok/sound Sandeep Singh producent/producer Rajiv Mehrotra produkcija/production Public Service Broadcasting Trust distribucija/distribution Public Service Broadcasting Trust format/format DCP dolžina/running time 59’

Vprašanje, ki bi se mladini v naših krajih zdelo kvečjemu retorično, v novem dokumentarnem filmu indijske režiserke Anupame Srinivasan simbolizira svet, v katerem so odgovori pogosto precej bolj kompleksni. Film ponuja vpogled v ruralne predele severne Indije in v vsakdanje ovire, ki tamkajšnjim otrokom otežujejo dostop do šolanja, s tem pa že opozarja na družbeno in politično pogojenost vsega tistega, kar bi kje drugje razumeli kot povsem samoumevno. Pripovedno gonilo filma v osnovi predstavljajo učitelji, ki se v zahtevnih okoliščinah odročnih krajev trudijo, da bi njihovi učenci redno obiskovali pouk, kar tudi pomeni, da jih pridejo ob odsotnosti pogosto iskat domov. Skozi razkrivanje razlogov za izostanek otrok od pouka (npr. gospodinjska opravila, skrb za mlajše sestre, oddaljenost od šole, odsotnost očetov) film torej že opozarja na nekatere principe delovanja prikazane družbe, s tem pa denimo mimogrede spomni na Kiarostamijevo trilogijo Koker, ki ji je dinamiko pri osvetljevanju družbenega skozi osebno (in skozi mladinsko) prav tako vdihnilo že samo iskanje in sledenje. Režiserka se z relativno neobremenjenim, ohlapnim iskanjem zgodb, oziroma ljudi tudi znotraj žanra dokumentarnega filma izogne klasičnim »govorečim glavam« in se v veliki meri postavlja le v pozicijo opazovalke, kar filmskemu prikazu prida občutek izrazite pripovedne demokratičnosti ter odprtosti. Ob siceršnjem izogibanju strogim stilističnim izbiram pa do izraza vendarle pride predvsem statičnost kadrov, ki se skozi film nizajo skoraj kot neke vrste žive slike, pa jih zaradi odločnosti in

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A question that to youth from these parts would seem rhetoric at best, however, in the new documentary by Indian director Anupama Srinivasan symbolises the world in which answers are often much more complex. The film portrays rural parts of northern India and the everyday obstacles hindering access to school to the children from the region. It thereby points to the social and political conditionality of everything that elsewhere would be taken for granted. The narrative of the film is driven by teachers, struggling in the demanding circumstances of the remote region to enable their pupils to attend school regularly, which also means often going to their homes to pick them when they are absent. By revealing the reasons for children to be absent (e.g. housework, taking care of younger sisters, remoteness from school, absence of fathers), the film warns about certain operating principles of the portrayed society. This alludes en passant to Kiarostami’s Koker trilogy, where the very searching and tracing informed the dynamics of illuminating the society based on the personal (and the juvenile). Through a relatively unconcerned, loose search for stories or people, the director evades, despite working in the documentary genre, the classical “talking heads”; she mostly puts herself in the position of an observer, which provides the film with the feeling of pronounced narrational democracy and openness. While generally staying clear of strict stylistic choices, static shots are nevertheless noticeable. They are lined up throughout the film like living images, however, owing to the determination and curiosity of the portrayed children (and teachers),


ANUPAMA SRINIVASAN Anupama Srinivasan je samostojna filmarka, ki živi v Delhiju in je nekdanja študentka Univerze Harvard. Od leta 2001 snema dokumentarce in kratke filme na teme, kot so spol, glasba in izobrazba, pogosto jih sama tudi posname in montira. Bila je direktorica Azijskega festivala ženskega filma IAWRT in pridružena direktorica kreativnega dokumentarnega tečaja v Centru Sri Aurobindo za umetnost in komunikacijo. Anupama Srinivasan is a freelance filmmaker based in Delhi, and an alumna of Harvard University, Cambridge. Since 2001, she has been making documentaries and short films on themes like gender, music and education, often shooting and editing her own work. She was the Festival Director of the IAWRT Asian Women’s Film Festival and the Associate Course Director of the Creative Documentary Course at the Sri Aurobindo Centre for Arts & Communication.

zvedavosti prikazanih otrok (ter učiteljev) kljub temu preveva občuten vitalizem, s čimer nam režiserka morda nakazuje, da strukturne omejitve aktivnosti nadarjenih posameznikov vendarle ne morejo kar tako zatreti. Orisana ambicioznost in bistrost se v filmu najmočneje izrazita na primeru prikazanih deklet, prav v tem pa režiserkin prikaz indijske družbene razslojenosti pravzaprav funkcionira najmočneje. Skozi neprisiljeno opozarjanje na neenakopraven položaj, ki je znotraj kastnega patriarhalnega sistema predvsem v prikazanem severnem delu Indije še vedno namenjen ženskam, je namreč naslovljen tudi vidik socializacijske in emancipatorne vloge šolanja, v tem pa najde študija vpliva strukturnih dejavnikov na razvoj mladega posameznika močno, univerzalno sporočilo.

they are also permeated by considerable vitality. The director has thereby maybe wished to indicate that structural limitations are yet unable to quite supress the activity of talented individuals. The ambition and cleverness outlined in the film are expressed most intensely in the example of girls, and this is where the director’s display of Indian social stratification is at is strongest. Unforcedly raising awareness about the unequal position that is still intended for women within the patriarchal caste system in the portrayed northern India, she also addresses the aspect of the socialising and emancipatory role of schooling. It is in this emphasis that the study into the impact of structural factors on the development of a young individual finds a strong universal message. Jernej Trebežnik

Jernej Trebežnik

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ODMEV / BERGMÁL / ECHO

Islandija, Francija, Švica/Iceland, France, Switzerland, 2019 režija/directed by Rúnar Rúnarsson scenarij/script Rúnar Rúnarsson fotografija/cinematography Sophia Olsson montaža/ editing Jacob Secher Schulsinger glasba/music Kjartan Sveinsson producent/producer Rúnar Rúnarsson, Live Hide, Lilja Ósk Snorradóttir produkcija/production Nimbus Iceland, Pegasus Pictures koprodukcija/co-production Nimbus Film, Halibut, Jour2Fête, Bord Cadre Films, Media Rental, MP Films distribucija/distribution Jour2Fête format/format DCP dolžina/running time 79’

Islandska kinematografija je v zadnjem desetletju doživela razcvet. Mnogi vidnejši filmi tega obdobja tematsko preigravajo agrarne in podeželske teme (Ovna [Hrútar, 2015], O konjih in ljudeh [Hross í Oss, 2013], Mleko [Héraðið, 2019], Ognjišče [Hjartasteinn, 2016]) ali pa za svoj glavni predmet jemljejo okoljska vprašanja (Bojevnica [Kona fer í stríð, 2018]) oziroma odnos med silami narave in ranljivim posameznikom (Globina [Djúpið, 2012]). Omenjene filme zaznamujejo veličastna krajina in posnetki slikovite, že pregovorno prelepe islandske narave, hkrati pa zavezanost tovrstni fotogeničnosti islandski film nevarno bliža predvidljivi estetiki in ga ne nazadnje tudi tematsko oži. Odmev je zato dobrodošla obogatitev tako narativnih kot vizualnih filmskih koordinat sodobne Islandije. Gre za mozaik 56 raznovrstnih vinjet, ki jih uokvirja obdobje decembrskih praznikov (pri tem se film diskretno nasloni na kultni Kormákurjev Reykjavik št. 101 [101 Reykjavik]), k učinku celovitosti pa pripomoreta tudi statični kader vsake vinjete in igralski naturščiki. Dinamika nizanja zgodbeno nepovezanih vinjet sledi intuitivni, notranji logiki in gledalcu ne sugerira pomenskih povezovanj, temveč dopušča različna asociativna razumevanja. Ravno ta nenavadna koherentnost brez zaokrožene naracije, dramatičnega loka ali finalne poantiranosti pa posamezne vinjete učinkovito utrjuje v njihovi atmosferičnosti in daje filmu enovit, otožen, grenkosladek podton. Odmev morda na prvi pogled spominja na Roya Anderssona, a je utemeljen na bolj realistični osnovi. Mozaičnost deluje izredno gibko in ritmično,

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Icelandic cinema has boomed in the last decade. Many of the more prominent films made in the recent period examine agrarian and rural topics (Rams [Hrútar, 2015], Of Horses and Men [Hross í Oss, 2013], The County [Héraðið, 2019], Heartstone [Hjartasteinn, 2016]) or take as their main subject environmental issues (Woman at War [Kona fer í stríð, 2018]) or the relation between the forces of nature and a vulnerable individual (The Deep [Djúpið, 2012]). The mentioned films are marked by magnificent landscape and images of the picturesque and proverbially beautiful Icelandic nature, but the commitment to such photogenicness also brings Icelandic cinema dangerously close to predictable aesthetics and, last but not least, narrows it thematically. Echo thus comes as a welcome enrichment of both the narrative and the visual film coordinates of contemporary Iceland. Echo is a mosaic of 56 heterogeneous vignettes framed by the holiday season (in this, the film discretely leans on Kormákur’s cult film 101 Reykjavik), while the static shot of every vignette and non-professional actors give the impression that the episodes form a whole. The dynamics of stringing narratively unrelated vignettes follows an intuitive, inner logic and does not suggest any meaningful connections, but allows for different associative understandings. It is precisely this unusual coherence without a rounded narration, a dramatic arc or final point that effectively consolidates the individual vignettes in their atmosphericness, giving the film its uniform, melancholy, bitter-sweet undertone. At first sight, Echo might be reminiscent of Roy


RÚNAR RÚNARSSON Rúnar Rúnarsson (1979) je leta 2009 diplomiral na Danski nacionalni filmski šoli. Leta 2006 je bil nominiran za oskarja, leta 2008 v Cannesu za zlato palmo in istega leta za evropske filmske nagrade. Je eden najbolj nagrajevanih režiserjev kratkih filmov na svetu, saj je za zadnje tri filme v žep pospravil kar 90 mednarodnih nagrad. Njegov najnovejši celovečerni film Odmev se je prvič predstavil v tekmovalnem programu festivala v Locarnu leta 2019. Rúnar Rúnarsson (1979) graduated from the National Film School of Denmark in 2009. He was nominated for an Oscar in 2006, The Golden Palm in Cannes 2008 and the European Film Awards in 2008. He is one of the most awarded short film directors in the world with 90 International awards under his belt for his last 3 films. Echo, his last feature film, was presented in competition at Locarno festival 2019.

saj se vinjete razlikujejo po dolžini in pomenski obteženosti: od statičnih, nemih prizorov (denimo ducata reševalcev med prečesavanjem zimske krajine), do skoraj dokumentarnih fragmentov (policijski izgon migrantov iz cerkve, kjer so jim nudili zatočišče, kar je dvignilo nemalo prahu) pa vse do vinjet, ki bi lahko bile samostojni kratki filmi – npr. prizor deklice pri klavirju, ki jo v vseh smislih preglasi glasbeni talent njene nove »polsestre«, tragikomična vinjeta treh generacij med obiskom pokopališča, trpkotopel praznični dialog odvisnika in medicinskih sester v mobilni ambulanti … Odmev nevsiljivo tematizira številne aktualne teme sodobne Islandije (izkoriščanje poljskih gradbenih delavcev, agrarno-urbane tenzije, premierkin novoletni govor, uživanje kitovega mesa, bazeni, (ne)ravnovesja ločenih družin), hkrati pa ne zdrsne v »nacionalno internost«, temveč slika avtentično in polnokrvno, presenetljivo in pričakovano, detajlirano in kaotično pokrajino človeških življenj. Ana Svetel

Andersson’s films, but it is actually founded on a more realistic basis. The mosaic structure comes across as very nimble and rhythmical as the vignettes vary in length and are differently charged with meaning: from static, silent scenes to almost documentary fragments and the vignettes that could be stand-alone short films – for example, the scene of a girl behind a piano, who is drowned out in every way by the musical talent of her new “half-sister”, the tragicomic vignette of three generations during their visit to a graveyard, the bitter-warm festive dialogue between a drug addict and the nurses at a mobile clinic… Echo unobtrusively thematises numerous current topics of contemporary Iceland (the exploitation of Polish construction workers, agrarianurban tensions, the Prime Minister’s New Year’s speech, consumption of whale meat, swimming pools, (im)balances of separated families), but at the same time does not fall into “national internality”, but paints an authentic and full-blooded, surprising and expected, detailed and chaotic landscape of human lives. Ana Svetel

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PORTRET MLADENKE V OGNJU / PORTRAIT DE LA JEUNE FILLE EN FEU / PORTRAIT OF A LADY ON FIRE

Francija/Francija, 2019 režija/directed by Céline Sciamma scenarij/script Céline Sciamma fotografija/cinematography Claire Mathon montaža/editing Julien Lacheray glasba/music Jean-Baptiste de Laubier, Arthur Simonini zvok/sound Julien Scart, Valérie Deloof, Daniel Sobrino igrajo/ cast Noémie Merlant, Adèle Haenel, Luàna Bajrami, Valeria Golino producent/producer Bénédicte Couvreur produkcija/production Lilies Films distribucija/distribution Pyramide Films format/format DCP dolžina/running time 120’

Céline Sciamma s Portretom mladenke v ognju naredi prvi film, ki ni film odraščanja. V tej na videz preprosti lezbični ljubezenski drami pa se skriva skrbno pripravljen politični eksperiment. Natančneje: Portret mladenke v ognju je poskus praktične implementacije tako imenovanega ženskega pogleda. Če se koncept ženskega pogleda danes vse prepogosto reducira na preprosto enačbo, po kateri je vsak film ženske režiserke že film ženskega pogleda, se je Sciamma, navkljub skoraj popolnoma ženski produkcijski ekipi, projekta lotila bolj radikalno. Njen ženski pogled temelji na deobjektifikaciji, torej na nekakšnem prehodu objekta pogleda v subjekt kot ključnem dogodku. Slednje v filmu tudi povsem plastično prikaže. Héloïse (Adèle Haenel), ki je prvo polovico filma kot modelka slikarke Marianne (Noémie Merlant) dobesedni objekt njenega in našega pogleda, povabi Marriane, torej tisto, ki jo objektificira, na svoje mesto. Slikarka na tem mestu uvidi, da je tudi sama objekt nekega pogleda, pogleda svoje modelke. Protagonistki v tem trenutku dosežeta nekakšno simbolno enakopravnost, izenačenje, ki naj bi označevalo konec moškega pogleda v filmu in začetek novega, ženskega pogleda. Sciammin predlog, ki sledi, v nasprotju z nasiljem moškega pogleda temelji na skrbi, ljubezni in enakopravnosti. Slednje pa se nam razkriva skozi izredno počasno, a intenzivno stopnjevanje vzajemne strasti protagonistk, skozi katero odkrivamo nekakšno alternativno, enakopravno, čustveno erotiko.

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With Portrait of a Lady on Fire, Céline Sciamma made her first film that was not a coming-of-age drama. In this seemingly simple lesbian love story, hides a carefully prepared political experiment. More precisely: Portrait of a Lady on Fire is an attempt at a practical implementation of the so-called female gaze. If today the concept of the female gaze is all too often reduced to the simple equation according to which every film by a female director is already a film of the female gaze, Sciamma tackled the project more radically despite the practically all-female production team. Her female gaze is based on de-objectification, so on a kind of a passage of the object of the gaze into the subject as the key event. The film shows this quite plastically. Héloïse (Adèle Haenel), who as the model of the painter Marianne (Noémie Merlant) is the literal object of her and our gaze in the first half of the film, invites Marriane, so the one objectifying her, to her place. There, the painter realises that she herself is the object of a gaze, the gaze of her model. At that moment, the protagonists achieve a symbolic equality, an equalisation that is supposed to mark the end of the male gaze in the film and the beginning of a new, female gaze. Contrary to the violence of the male gaze, Sciamma’s proposition that follows is based on care, love and equality, which is revealed through an extremely slow, but intense gradation of the protagonists’ mutual passion, through which we discover a sort of an alternative, equal, emotional erotic. Although we could hardly say that, with her interpretation of “radical equality” as she would put it, Sciamma has ended the discussion on the male and


CÉLINE SCIAMMA Céline Sciamma (1978) je na filmski šoli La Fémis diplomirala iz scenaristike. Njen prvenec Vodne lilije (Naissance des pieuvres, 2006) je bil premierno prikazan v sklopu Posebni pogled na festivalu v Cannesu, kjer je prejel prestižno priznanje Louisa Delluca in tri nominacije za nagrado cezar. Sledila je Pobalinka (Tomboy, 2011), ki je na Berlinalu odprla sekcijo Panorama. Banda punc (Bande de filles) je leta 2014 odprla sekcijo Štirinajst dni režiserjev festivala v Cannesu. Portret mladenke v ognju je v Cannesu prejel nagrado za najboljši scenarij. Céline Sciamma (1978) graduated in screenwriting from La Fémis film school. Her debut Water Lilies (Naissance des pieuvres, 2006) premiered at the Cannes Film Festival in the Un certain regard section and went on to win the Louis Delluc Prize and three César Award nominations. Her next film Tomboy (2011) opened the Panorama section at Berlinale. In 2014, Girlhood (Bande de filles) opened the Directors’ Fortnight section of the Cannes Film Festival. Portrait of a Lady on Fire won Cannes’ Best Screenplay Award.

Čeprav bi le s težavo rekli, da je Sciamma s svojo interpretacijo »radikalne enakopravnosti«, kot bi se izrazila sama, dokončno zaključila debato o moškem in ženskem pogledu, Portret mladenke v ognju v svetu filma gotovo deluje kot nekaj novega. Necenzuriran idealizem, v popolni odsotnosti cinizma in ironije, je namreč postal že prava redkost in morda ravno zato tako navdušuje.

female gaze once and for all, Portrait of a Lady on Fire certainly comes across as something new in the world of cinema. An uncensored idealism without any cynicism and irony has become a real rarity, which might be precisely why the film is so exhilarating.

Atila Urbančič

You can read the entire text in KINO!, no. 40/41 (2020).

Atila Urbančič

Besedilo lahko v celoti preberete v reviji KINO!, št. 40/41 (2020).

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POVEDNI SEDANJIK / WAN MEI XIAN ZAI SHI / PRESENT. PERFECT.

ZDA, Hongkong/USA, Hong Kong, USA, 2019 režija/directed by Shengze Zhu montaža/editing Shengze Zhu zvok/sound Aymeric Dupas producent/producer Zhengfan Yang, Wang Yang produkcija/production Burn The Film, Tender Madness Pictures distribucija/distribution Burn The Film format/format DCP dolžina/running time 124’

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»Prijatelji, je to moonwalk? Moji čevlji so že obrabljeni. Je to moonwalk ali ne? Prosim, povejte kaj.« Tako obupano gradbinec v novem dokumentarcu Povedni sedanjik mlade kitajske režiserke Shengze Zhu govori v objektiv kamere na pametnem telefonu, ki med delovnim časom pretočno predvaja njegovo plesno predstavo. Osamljen delavec, ki se v popackanem kombinezonu in obrabljeni čeladi trudi oponašati Michaela Jacksona pred virtualnim občinstvom, je eden izmed uporabnikov kitajske spletne platforme za pretočno predvajanje, ki je v zadnjih letih dosegla neverjetno milijardo naročnikov. Liričnorealistična dokumentarna poslastica Shengze Zhu je sestavljena iz posnetkov približno dvajsetih takšnih pretočnih predvajalcev, večinoma oseb s posebnimi potrebami, ki svojo vsakdanjo intimo delijo s spletnimi gledalci, čakajoč na njihove odzive v obliki komentarjev, vprašanj, navodil in virtualnih daril. »Hvala za tigrove kovance,« se tako darežljivemu sledilcu zahvali eden od predvajalcev, ko medmrežju razkazuje svojo novo sobo. Film, ki razkriva tesnobno medčloveško distanco digitalno omreženega sveta, hkrati paradoksno osvetljuje vedro upanje posameznikov, da bodo s pomočjo tehnologije lahko navezali stik s svetom in tako blažili socialne posledice svojih telesnih ali demografskih prikrajšanosti.

“Friends, is this moonwalk? My shoes are shabby already. Is this moonwalk or not? Please, say something.” This desperate talk is how a builder in Present.Perfect. (2019) , the new documentary by young Chinese director Shengze Zhu speaks into the camera lens of his smartphone, which streams his dance show during his working hours. A lonely construction worker in stained overalls and a worn out helmet trying to imitate Michael Jackson in front of a virtual audience is just one of the users of the Chinese online streaming platform that has reached the unbelievable number of one billion users over the past few years. The lyrical-realistic treat by Shengze Zhu is composed of clips of about twenty such streaming users, most of them special needs persons who share their everyday intimate details with online viewers, waiting for them to respond with comments, questions, instructions and virtual presents. “Thanks for the tiger coins,” says one of the streamers to a generous follower, as he is showing his new room over the Internet. The film that uncovers the anxious interpersonal distance of the digitally networked world, paradoxically, at the same time illuminates how individuals are cheerfully hoping that they will be able to establish connections with the world using technology and thus ease the social consequences of their physical or demographical deprivations.

V Povedni sedanjik je Shengze Zhu vložila veliko dela, uredila je več kot osemsto ur posnetkov, ki jih je zajela iz ožjega izbora predvajalcev na podlagi nekajmesečnega spremljanja dogajanja na spletišču za pretočno predvajanje različnih vsebin.

Shengze Zhu has invested much work into Present. Perfect., having edited over eight hundred hours of recordings which she captured from a narrow selection of streamers based on several months of monitoring the activity in a website that enables streaming of various contents. In this film, she remains loyal to the

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SHENGZE ZHU Shengze Zhu (1987) je producentka in dokumentarna filmarka. Z režiserjem in vizualnim umetnikom Zhengfanom Yangom je ustanovila produkcijsko podjetje Burn the Film. Njen režijski prvenec Nefokusirano (Xu jiao, 2014) je bil premierno prikazan v Franciji, vse od takrat pa njene filme prikazujejo po vsem svetu. Za drugi dokumentarec, Drugo leto (You yi nian, 2016), ki je bil premierno prikazan v Švici, je prejela številne nagrade, vključno z veliko nagrado v Montrealu. Povedni sedanjik je imel premiero na festivalu v Rotterdamu. Shengze Zhu (1987) is a producer and documentary filmmaker. She co-founded the production company Burn The Film with director and visual artist Yang Zhengfan. Her directorial debut, Out Of Focus (Xu jiao, 2014), premiered in France, and her films have been screened internationally ever since. Her second feature documentary, Another Year (You yi nian, 2016), which premiered in Switzerland, received numerous awards, including the Grand Prize in Montreal. Present.Perfect. premiered at IFFR.

V njem ostaja zvesta pristopu iz svojega prvega dokumentarca Drugo leto (You yi nian, 2016), kjer v razponu štirinajstih mesecev spremlja zbiranje sleherniške kitajske družine ob lirično-profanih večerjah. Povedni sedanjik je formalno razdeljen na štiri poglavja, naslovljena po glavnih števnikih. Kot pojasni režiserka v nekem intervjuju, ta predstavljajo uvod, seznanjanje z raznolikostjo portretov predvajalcev, njihovo intimnejše spoznavanje ter zaključek. Čeprav dokumentarec nima izrazite pripovedne strukture, v gledalcu vzbuja zanimivo dinamiko: če na začetku podvomimo, da bomo lahko presedeli dve uri pred platnom, na katerem se vrtijo črno-beli posnetki nekoč v živo predvajanih banalnih vsakdanjih prizorov kitajskega delavskega razreda, nam med filmom ljudske zgodbe do te mere zležejo pod kožo, da konec predstave obžalujemo in začnemo celo razmišljati o prijavi v spletno aplikacijo in naročnino na njihove kanale.

approach she took in her first documentary, Another Year (You yi nian, 2016), where she monitored the gatherings of an ordinary Chinese family for lyricallyprofane dinners over fourteen months. Formally, Present.Perfect. is split into four chapters titled after cardinal numerals. According to an interview with the director, these stand for the introduction, familiarisation with the diversity of streamer portraits, getting to know them intimately, and the conclusion. Although without an expressed narrative structure, the documentary evokes an interesting dynamic in the viewer. Initially, we might have doubts whether we could spend two hours in front of the screen showing black-and-white recordings of banal everyday scenes from the life of the Chinese working class previously streamed live, during the film these people’s stories manage to get under our skin to the extent that we feel regret as the show is over. We might even begin to consider signing into the web app and subscribing to their channels.

Tomaž Grušovnik

Tomaž Grušovnik

Še več o svojem filmu pa Shengze Zhu pove v intervjuju za revijo Ekran (april-maj-junij 2019).

More about the film in an interview with Shengze Zhu for Ekran magazine (April-May-June, 2019).

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SINOVI DANSKE / DANMARKS SØNNER / SONS OF DENMARK

Danska/Denmark, 2019 režija/directed by Ulaa Salim scenarij/script Ulaa Salim fotografija/cinematography montaža/editing Jenna Mangulad glasba/music Lewand Othman zvok/sound Rune Kristiansen igrajo/ cast Zaki Youssef, Mohammed Ismail Mohammed, Imad Abul-Foul, Rasmus Bjerg producent/producer Daniel Mühlendorph Jensen produkcija/production Hyæne Film distribucija/distribution New Europe Film Sales, Nordisk Film Distribution format/format DCP dolžina/running time 120’

Prvi kadri nas postavijo v brezskrbno, liberalno romanco. Kot bi se znašli v evropski, tudi slovenski politični realnosti izpred desetletja ali dveh, ko smo z vero v evropske vrednote in upanjem na večjo blaginjo evforično vstopali v razširjeno Evropsko unijo. Takrat se je zdelo, da je samo nebo meja. A le za trenutek. Vse dokler ni počilo. Ko se je postavilo vprašanje, kdo je kriv, je bleščečo zahodno liberalno zgradbo – kot obraze priseljencev v filmu – začela razjedati kislina že prej pod površjem tlečih nacionalizmov, ksenofobije in islamofobije. Tujec – ultimativni drugi – je v vseobsegajoči krizi odgovornosti postal priročen grešni kozel za vse, kar je šlo narobe. In na tem valu nezadovoljstva, strahu in sovraštva so začeli jezditi ekstremizmi. Pri evropskih volivcih se je začel vedno bolj prijemati desničarski ekstremizem, zavit v plašč političnega populizma, v arabskih deželah, uničenih od vojn, in med getoiziranimi muslimanskimi priseljenci pa islamizem. Ulaa Salim, 33-letni danski režiser, rojen iraškim staršem, svoje odlično odigrane antijunake postavi na presečišče tega naraščajočega konflikta. Ekstremni desničar Martin Nordahl (Rasmus Bjerg) s protipriseljensko retoriko pridobiva vedno več podpore, hkrati pa z njo radikalizira večetnično družbo. Sovražno klimo preči usoda policista pod krinko Malika Amina (Zaki Youssef). Ko reši Nordahla pred poskusom atentata s strani islamskih skrajnežev, pod vprašaj postavi njegova skrajna stališča, da so vsi priseljenci »kriminalci« in »paraziti«. A ker mu ta prinašajo politične točke, z njihovim širjenjem nadaljuje in jih celo stopnjuje do izgona vseh, ki niso danskega porekla. Tako je izvoljen za

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The opening shots take us into a carefree, liberal romance. As if we found ourselves in the European, also Slovenian, political reality from a decade or two ago. Then, we were euphorically entering the expanded European Union, full of belief in European values and hope for increased prosperity. The sky was the limit; but only for a moment. Until there was a clash. When the question was posed whose fault it was, the sparkling Western liberal building – like the immigrants’ faces in the film – began to be corroded by the acid of nationalisms, xenophobia and Islamophobia, all of which had previously been smouldering under the surface. In this allencompassing crisis of responsibility, the foreigner – the ultimate other – became a handy fall guy for everything that went wrong. It was this wave of discontent, fear and hatred that extremisms began to ride. Right-wing extremism cloaked as political populism began to take increasingly with European voters, and Islamism with war-torn Arab lands and ghettoed Muslim immigrants. Ulaa Salim, Danish director born to Iraqi parents, puts his brilliantly acted antiheroes at the intersection of this growing conflict. With his anti-immigrant rhetoric, the extreme right-winger Martin Nordahl is acquiring growing support, at the same time radicalising the multi-ethnic society. The hostile atmosphere is traversed by the fate of a policeman in disguise, Malik Amin. As he saves Nordahl from an assassination attempt by Islamic extremists, this poses a challenge to his fundamentalist views about all immigrants being “criminals” and “parasites”. However, since such views bring him political capital, he continues


ULAA SALIM Ulaa Salim (1987) je diplomiral na Danski nacionalni filmski šoli in s svojim produkcijskim partnerjem Danielom Mühlendorphom ustanovil produkcijsko hišo Hyæne Film. Salimov prvi kratki film Sin našega očeta (Vore fædres sønner, 2015) je bil prikazan na filmskem festivalu v Rotterdamu, njegov celovečerni prvenec Sinovi Danske pa je tam imel svetovno premiero. Ulaa Salim (1987) graduated from The National Film School of Denmark and established Hyæne Film with his producing partner Daniel Mühlendorph. Salim’s short film debut, Our Father’s Son (Vore fædres sønner, 2015) was shown at IFFR and his first feature, Sons of Denmark (2019), also premiered at IFF Rotterdam.

premierja države, kar pa ne rezultira v zmagoslavju, ampak tragičnem prepletu usod, kamor potegne tudi 19-letnika Zakaria (Mohammed Ismail Mohammed), ki mu v strahu za dobrobit družine glavo s sovraštvom zmeša islamski skrajnež. Salim z inovativno in premišljeno uporabo filmskih sredstev do konca razvije predpostavke in možne posledice strupene retorike desničarskih in islamskih skrajnežev, potencirane z močjo množičnih medijev, demagogije, propagande ter manipulacije. Na plodnih tleh šokirane in prestrašene družbe nasilje rojeva zgolj novo nasilje, trpljenje pa spodbuja še večje trpljenje in tako se spirala nasilja neustavljivo krotoviči proti dnu do tragičnega konca, ko vase potegne posameznika in družbo. Sinovi Danske naj bi bili znanstvenofantastični politični triler, saj so postavljeni v leto 2024. A so daleč od tega. So opozorilo, če jih gledamo optimistično, in prerokba, če jih gledamo pesimistično. Takšnega scenarija si namreč žal ni težko zamišljati že danes, praktično kjerkoli v Evropi in širše.

to spread them, even goes so far as to advocate the expulsion of everybody not of Danish origin. Using film resources innovatively and thoughtfully, Salim fully develops the postulates and possible consequences of the toxic rhetoric of right-wing and Islamic extremists, intensified through the power of mass media, demagogy, propaganda and manipulation. On the fertile ground of the shocked and scared society, violence can only breed further violence, and suffering encourages more suffering, which makes the spiral of violence twists towards the tragic end when the individual and the society are sucked into it. Set in 2024, Sons of Denmark is supposed to be a sci-fi political thriller. But it is far from that. It is a warning, looking optimistically, or a prophecy, looking pessimistically. Unfortunately, it is not difficult to imagine such a scenario even today, virtually anywhere in Europe and beyond. Žiga Brdnik

Žiga Brdnik

SIGNALI / SIGNALS

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SIROTIŠNICA / PARWARESHGHAH / THE ORPHANAGE

Danska, Nemčija, Francija, Luksemburg, Afganistan, Katar/ Denmark, Germany, France, Luxembourg, Afghanistan, Qatar, 2019 režija/directed by Shahrbanoo Sadat scenarij/script Shahrbanoo Sadat fotografija/cinematography Virginie Sudej montaža/editing Alexandra Strauss zvok/sound Sigrid DPA Jensen, Anne Gry Friis Kristensen igrajo/cast Qodratollah Qadiri, Sediqa Rasuli, Masihullah Feraji, Hasibullah Rasooli, Ahmad Fayaz Omani producent/producer Katja Adomeit produkcija/production Adomeit Film koprodukcija/ co-production Adomeit Film UG, La Fabrica Nocturna, Samsa Film, Wolf Pictures distribucija/distribution Luxbox format/format DCP dolžina/running time 90’

V 80. letih v Kabulu spremljamo otroka ulice Quodrata, petnajstletnega zvijačneža, ki pred kinom iz rok v usta na črno služi s prodajo vstopnic za bollywoodske filmske hite, ki se vrtijo v dvorani. Ko ga nekega dne pri pouličnem poslu ujame policija, konča v sirotišnici na obrobju Kabula, ki jo vodijo Sovjeti in kjer skupaj z mladimi iz vse države preživi zadnje vzdihljaje afganistanskega sovjetskega obdobja. Film Sirotišnica mlade afganistanske režiserke Shahrbanoo Sadat je drugi v načrtovani pentologiji, ki jo snema po zapisani biografiji svojega partnerja in muze, Anwarja Hashimija. Režiserka, ki je bila že pri rosnih dvajsetih najmlajša udeleženka prestižne cannske Cinéfondation rezidence, je ena redkih afganistanskih filmskih glasov, ki seže onkraj lastne države, a brezkompromisno vztraja pri lastnem glasu in ne dopušča, da bi zaradi neobstoječe domače filmske produkcije tuja sredstva, ki so potrebna za kvalitetno produkcijo, vplivala na to, kakšno podobo Afganistana želi na platnu. Prav zato gre tudi v Sirotišnici za Afganistan, kot ga nismo vajeni – kot eden redkih se film posveča življenju pod sovjetskim vplivom in negotovosti ponovnih političnih zasukov, hkrati pa mladostniška doživetja in najstniški nemir poudari z nadrealističnimi glasbenimi vložki, ki se z vzorčno estetiko in dobršno mero nerodne vznesenosti poklanjajo zlatemu obdobju bollywoodskih melodram, ki obsedajo že omenjenega glavnega junaka. Raznovrsten, izrazito neklišejski nabor likov znotraj sirotišnice odraža režiserkino odločitev za delo z naturščiki in usmerjano improvizacijo. Med drugim v filmu kot eden od osrednjih vzgojiteljev nastopi tudi

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In the 1980s Kabul, the street child Quodrat, a fifteenyear-old trickster, makes hand-to-mouth money selling black-market tickets in front of a cinema for the Bollywood hits being screened in the theatre. As one day the police catch him performing his street business, he ends up in an orphanage at the outskirts of Kabul, run by the Soviets, where he lives through one last gasp of the Afghan Soviet period together with youth from around the country. The Orphanage by young Afghan director Shahrbanoo Sadat is the second one in her planned pentalogy, which she has based on the biography of her partner and muse, Anwar Hashimi. Having been the youngest ever attendee of the prestigious Cannes Cinéfondation residence at only twenty, the director is a rare Afghan film voice that reaches outside its native land, yet sticks obstinately to its own voice. That is to say, she would not let foreign funds, which, due to non-existing national film production, are required when making high-quality projects, impact her idea about what image of Afghanistan she wishes to project on the screen. And this is why the Afghanistan in The Orphanage is not what we are used to – this is a rare film to focus on living under the Soviet influence and the insecurities of repeated political upturns. At the same time, youth experiences and the teenage anxiety are emphasised with surrealist music score: their sample aesthetics and a good deal of awkward rapture pay homage to the golden era of Bollywood melodrama possessing the previously mentioned protagonist. The diverse and distinctly non-cliché range of characters inside the orphanage reflects the director’s decision to work with non-professional actors and


SHAHRBANOO SADAT Shahrbanoo Sadat (1990) je Afganistanka, pisateljica in režiserka, ki živi v Kabulu, kjer se je tudi izobraževala na delavnicah Atelier Varan. Njen celovečerni prvenec Wolf and Sheep (2016) je nastal v okviru rezidence Cinéfondation v Cannesu leta 2010, kjer je bila kot dvajsetletna najmlajša, ki je bila kadar koli izbrana za ta program. Leta 2016 je film prejel je glavno nagrado sekcije Dva tedna režiserjev. Njen drugi celovečerec Sirotišnica je hkrati drugi del pentologije in je bil premierno prikazan v okviru sekcije Dva tedna režiserjev v Cannesu. Shahrbanoo Sadat (1990) is an Afghan, female writer and director, based in Kabul. She studied at Atelier Varan in Kabul. Her first feature film Wolf and Sheep (2016) was developed with the Cannes Cinéfondation Residence in 2010, Shahr - 20 years old at the time - the youngest ever selected. The film won the main award at Director’s Fortnight 2016. Her second feature film The Orphanage is also the second part of a pentalogy, five films based on an unpublished autobiography. It has also premiered at Cannes Directors’ Fortnight.

Anwar sam. Režiserka k pripovedi pristopa nežno, z veliko mero pozornosti in razumevanja za širši nabor karakterjev, ne le za osrednje like. Čeprav bi ga lahko površno označili za film o odraščanju, gre v prvi vrsti za Anwarjev popis spominov na svoj čas, preživet v sirotišnici, zato bolj kot na marširanje k odraslosti film stavi na slikovit nabor doživetij, od medvrstniškega nasilja, prvih ljubezni, učenja ruščine in srečanja s pionirčki v Moskvi, do le medlega razumevanja političnih vrenj onkraj zidu sirotišnice tik preden Sovjete iz države izženejo mudžahedini. Ker se režiserka zaveda, do kod običajno seže zunanji pogled na Afganistan, filma ne podredi zgodovinskim dogodkom in političnim pomenom, a z njimi zgolj premišljeno podšije osebno pripoved, ki se uspešno giblje na preseku realizma s poetičnim. Petra Meterc Več o svojem filmu pa Shahrbanoo Sadat pove v intervjuju za revijo KINO! 40/41 (2020).

guided improvisation. Anwar himself appears in the film as one of the main educators. The director approaches the narrative with gentleness, a great deal of attention and an understanding for a wide range of characters, not only the central protagonists. Although, superficially, this could be labelled a film on growing up, it is primarily Anwar’s inventory of memories from the time he spent in an orphanage. Rather than a march into adulthood, the film thus pins its hopes on the vivid set of experiences from peer violence, first loves, Russian lessons and meetings with pioneers in Moscow to only a feeble understanding of the simmering political developments beyond the orphanage walls just before the Soviets were driven from the country by the Mujahideen. The director being aware of the usual reach of the outside view of Afghanistan, she has not subordinated the film to historical events and political importance; however, she used the latter wisely to line the personal story which evolves successfully at the intersection of realism and the poetic. Petra Meterc More about the film in an interview with Shahrbanoo Sadat for KINO! magazine, No. 40/41 (2020).

SIGNALI / SIGNALS

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DOBRI SOSEDJE / GOOD NEIGHBOURS Filmi bližnjih in daljnih sosedov, sosedski odnosi, ki nas družijo in ne delijo. Films by neighbours from near and far; neighbourly relations bringing us closer together rather than dividing us. Ivana Grozna / Ivana the Terrible Moj jutranji smeh / My Morning Laughter

DOBRI SOSEDJE / GOOD NEIGHBOURS

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IVANA GROZNA / IVANA CEA GROAZNICĂ / IVANA THE TERRIBLE

Romunija, Srbija/Romania, Serbia, 2019 režija/directed by Ivana Mladenović scenarij/script Ivana Mladenović, Adrian Schiop fotografija/cinematography Carmen Tofeni montaža/editing Patricia Chelaru, Cătălin Cristuțiu zvok/ sound Alexandru Dumitru igrajo/cast Ivana Mladenović, Luka Gramić, Gordana Mladenović, Miodrag Mladenović, Kosta Mladenović producent/producer Ada Solomon, Ivana Mladenović produkcija/ production microFilm koprodukcija/co-production Dunav 84 distribucija/distribution Syndicado Film Sales format/format DCP dolžina/running time 89’

»Kaj bi se zgodilo, če bi ena sama ženska povedala resnico o svojem življenju? Svet bi se razprl,« zapiše leta 1968 Muriel Rukeyser, ameriška pesnica in politična aktivistka. Šestdeset let kasneje strmimo v razpoko, ki je nastala ob tem razprtju sveta. Razpočeni prostor je napolnila Donava, na eni strani se odpira Srbija, na drugi strani Romunija. V vmesnem prostoru se dviga turistično mesto Kladovo, po njem lomasti Ivana Grozna. 34-letna poklicna igralka je, najbolj slavna oseba v lokalnem okolju, brez otrok, bivšega fanta sploh ne preboleva, ker ima že novega (trinajst let mlajšega) ljubimca, je hipohondrična in odrezava, nosi kratke džins hlače in nahrbtnik znamke Eastpak, se prepira z babico (»Aj šuti baba«) in se norčuje iz lokalne oblasti. Izpadajo ji lasje, duši se, prikazujejo se ji mali črvički, boli jo glava. Rečejo ji, pretiravaš. Rečejo ji, to je stres. Rečejo ji: »Tebi nije ništa bre!«. Bolje bo, če se poročiš in rodiš otroka. Ivana jezno odkimava. Ivana Mladenović je avtofikcijsko dramedijo zasnovala po svojem resničnem poletju tesnobe, ko je leta 2017 po izredno uspešnem filmu Vojaki. Zgodba iz Ferentarija (Soldatii. Poveste din Ferentari) zapadla v nediagnosticirano telesno paniko in se vrnila v Kladovo, da bi se spravila s seboj in svojimi koreninami. Na srečo je kot režiserka iz okrutnega poletja znala narediti umetnost – poustvarila je poletje, v katerem ona sama, njena družina in prijatelji iz resničnega življenja upodabljajo fiktivne različice sebe. V filmu samo sebe igra tudi romunska pevka Anca Pop, ustanoviteljica nacionalnega dne klitorisa v Romuniji, ki je kmalu po snemanju umrla in ji je film posvečen. Resničnostna video razglednica iz Kladova lovi

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“What would happen if one woman told the truth about her life? The world would split open,” wrote Muriel Rukeyser, an American poet and political activist, in 1968. Sixty years later, we stare at the crack made by the world splitting open. The cracked space has been filled by the Danube; Serbia opens on one side and Romania on the other. Between them lies the touristic town of Kladovo, through which Ivana the Terrible clumps. The 34-year-old professional actress is the most famous person in the local environment; she does not have children and does not need to get over her ex-boyfriend because she already has a new (13 years younger) lover, she is hypochondriac and brisk, she quarrels with her grandmother and makes fun of the local authorities. Her hair is falling out, she is choking, she is seeing small worms, her head hurts. They tell her she is exaggerating. They tell her it is stress. They tell her: “There’s nothing wrong with you!” That it would be better for her to get married and have children. Ivana angrily shakes her head. Ivana Mladenović based her self-fixating dramedy on her real summer of anxiety when, in 2017, after her very successful film Soldiers: Story from Ferentari (Soldatii. Poveste din Ferentari), she had an undiagnosed physical panic attack and returned to Kladovo to reconcile with herself and her roots. Luckily, the director was able to make art out of the cruel summer – she recreated it in this film, in which she, her family and her friends play fictional variants of themselves. Playing herself in the film is also the Romanian singer Anca Pop, the founder of the National Clitoris Day in Romania, who died soon after the shoot and who the film is dedicated to.


IVANA MLADENOVIĆ Ivana Mladenović (1984) je zaslovela kot režiserka kratkih igranih filmov in dokumentarcev, ki so bili prikazani na festivalih po vsem svetu. Njen celovečerni prvenec Vojaki. Zgodba iz Ferentarija (Soldatii. Poveste din Ferentari) je bil premierno prikazan na festivalu v Torontu leta 2017 in v tekmovalnem programu festivala v San Sebastianu, kjer je prejel posebno omembo – nagrado Sebastiano. Za film Ugasni luč (Lumea in patratele), ki je bil premierno prikazan na festivalu Tribeca 2012, je prejela srce Sarajeva. Ivana Mladenović (1984) became known as director of fiction short films and documentaries that were presented in festivals worldwide. Her fiction feature debut Soldiers. Story from Ferentari premiered at Toronto IFF in 2017 and San Sebastian IFF Competition where it received the Special Mention Sebastiano Award. She received The Heart of Sarajevo for Best Documentary for Turn Off the Lights (Lumea in patratele), which premiered at Tribeca IFF 2012.

sapo, besni in sanjari skupaj z grozno Ivano ter ob tem javlja, da je treba nekatera poletja najprej predihati in se nanje ozreti šele, ko se že skoraj zaprejo s filmsko špico. Režijski pogled tedaj pripelje na most prijateljstva med Srbijo in Romunijo, ki sta ga intonirala Tito in Ceaușescu. Tam je vendarle dosežena sprava med punco in njenimi temelji, telesom in vsem, kar se z njim dogaja (»usne vrele kao žar«). Poletje lahko postane odblesk deklištva, ki je bil že ves čas iskra upora proti siromaštvu družbenih predpisov in strahu pred lastno pohlevnostjo zakonu družbe. Ko se poletni dan prevesi v zadnji prizor in se Ivana vrača v Bukarešto, se zazdi, da je mladost ni zadušila, da so nova poglavja mogoča, da se negotovosti ustavijo na donavskih valovih brez teže in simptoma norosti. Da je film zmogel, česar življenje običajno ne zmore – osvoboditi punco in sebe.

The reality video postcard from Kladovo gasps, rages and dreams together with the terrible Ivana, at the same time announcing that some summers first have to be chewed over and looked back at only when they practically close with the end credits. The directorial gaze is then brought to the Friendship Bridge between Serbia and Romania, intoned by Tito and Ceausescu. That is where the girl reconciles with her foundations, her body and everything that is happening to it. The summer can become a reflection of girlhood, which has always been a spark of resistance against the poorness of social norms and the fear of one’s own submissiveness to the law of society. And the film is able to do what life usually cannot – free the girl and itself. Nadina Štefančič

Nadina Štefančič

DOBRI SOSEDJE / GOOD NEIGHBOURS

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MOJ JUTRANJI SMEH / MOJ JUTARNJI SMEH / MY MORNING LAUGHTER

Srbija/Serbia, 2019 režija/directed by Marko Đorđević scenarij/script Marko Đorđević fotografija/cinematography Stefan Milosavljević montaža/editing Marko Đorđević glasba/musicDino Merlin zvok/sound Stevan Milošević igrajo/cast Filip Đurić, Ivana Vuković, Jasna Đuričić, Nebojša Glogovac, Bratislav Slavković producent/producer Miloš Pušić, Ivica Vidanović produkcija/production Altertise, Cinnerent distribucija/ distribution Altertise format/format DCP dolžina/running time 94‘

Ob koncu leta 2019 je završalo po srbskih kinodvoranah, medijih in spletnih kuloarjih: kot strela z jasnega je na filmsko sceno udaril celovečerni prvenec Marka Đorđevića Moj jutranji smeh, ki je na Festivalu avtorskega filma v Beogradu navdušil publiko in stroko ter prejel nagrado za najboljši film, Grand Prix Aleksandar Saša Petrović. Kljub temu da v Srbiji obstaja kritična masa, naklonjena domačemu filmu, lahko opazimo fenomen: umetniški film, ki v kino privabi širok spekter gledalcev in aktivno angažira njihove misli in čustva. Pri delu občinstva je film sprožil salve smeha, pri drugih nelagodje in zadrego, pri tretjih brezup brezizhodnosti, pri mnogih slikovito zmes naštetega. Zgodba o (prepoznem) odraščanju (skoraj tridesetletnega) Dejana, ki živi v varnem in nepredušnem odnosu z mamo na neurbanem jugu Srbije, je na več nivojih preprosta in dobro poznana, a v filmu vendarle mnogoplastna in izzivalna. Smeh izziva z edinstveno, sebi lastno napetostjo, ki jo doseže z vzpostavitvijo vseobsegajoče statičnosti, v kateri biva eksplozivna globinska dinamika. Zgodba je precizno uokvirjena v dolge, statične kadre, v katerih se klešejo raznolike vidne in čutne ter družbene in osebnostne dinamike. Veristični scenografija, rekviziti, kostumi, dialogi, akcije in interpretacija likov barvito (v vseh odtenkih rjave) v prizore pretakajo kraj in čas dogajanja, njuno atmosfero in položaj ljudi. Nevpadljiva nasičenost z duhovitimi podrobnostmi piše poezijo o stanju duha neke družbe in neke generacije. V kadre stisnjeni interierji (in le nekaj eksterierjev) like utesnjujejo, predmeti, svetloba in atmosfera pa prav

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DOBRI SOSEDJE / GOOD NEIGHBOURS

In late 2019, excitement was spreading through Serbian cinemas, media and online meeting places: Marko Đorđević's feature debut, My Morning Laughter, had come to the film scene out of nowhere. It appeared at the Belgrade Auteur Film Festival, only to win over the audience and the professionals alike and take the award for best film, the Aleksandar Saša Petrović Grand Prix. Although in Serbia, there really is a critical mass of people having preference for domestic films, a certain phenomenon can be discerned: an art film that can attract a wide range of viewers to the cinema and actively engage their thoughts and emotions. The film evoked outbursts of laughter, uneasy embarrassment, the despair of hopelessness... The story of Dejan (in his late twenties) growing up (too late), living in a safe and airtight relationship with his mother in the non-urban south of Serbia, is simple and well-known on so many levels. However, in the film it appears multi-layered and challenging. The film poses a challenge with unique, own tension, having achieved it by establishing the all-encompassing static condition that hides explosive dynamics deep within. The story is framed precisely in long, static shots, in which diverse visible and sensual as well as social and personal dynamics are being sculpted. The time and place of the story, their atmosphere and the position of people are conveyed colourfully (in all the hues of brown). It is in witty details that the unobtrusive saturation composes poetry on the state of mind of a society and a generation. The interiors (and some rare exteriors) condensed into shots restrict the characters, whereas the objects, the light


MARKO ĐORĐEVIĆ Marko Đorđević (1988) je med študijem na Fakulteti za dramsko umetnost v Beogradu posnel več kratkih filmov, od katerih je Na drugi obali (Na drugoj obali, 2012) na festivalu Cinema City prejel nagrado za najboljši srbski film. Njegov celovečerni prvenec Moj jutranji smeh je doživel mednarodno premiero na filmskem festivalu v Rotterdamu leta 2020. Marko Đorđević (1988) made several short films while studying at the Faculty of Dramatic Arts in Belgrade, of which The Other Shore (Na drugoj obali, 2012) won the award for the best Serbian film at the Cinema City festival. His first feature, My Morning Laughter, had its international premiere at IFFR 2020.

srdito silijo čez rob slike. Tudi za robovi kadrov ni prostora za vdih, temveč samo še več krame. Prav tako splošno in osebno stanje predočijo nadvse vsakdanji, pogosto smešni, prav antologijski dialogi in geste. Na prvi pogled delujejo vsakdanji in banalni, a zaživijo v mesu in s talentom igralskega ansambla. Pomemben adut pri zahtevnem predstavljanju večplastnosti slehernikov je zagotovo tudi avtorjeva nevsiljiva in spontana ljubezen do junakov, ki jih predobro pozna in jim je, kljub njihovi navadnosti, polni nepretresljivih napak in zoprnih čudaškosti, naklonjen. Vse elemente filma vodi Đorđevićeva precizna in domiselna režija, ki v neznosnem vakuumu okoliščin ustvari eksplozivno brbotanje sprememb, v nesramna trenja postavi soobstoječa nasprotja in ustvari filmsko poezijo povzdignjene vsakdanjosti, prepojeno z žalostjo, prepredeno s humorjem. Varja Močnik

and the atmosphere push fiercely over the edge of the frame. Even behind the frames of shots, there is no space to breathe, there is only more clutter. The general and personal state is also communicated through incredibly mundane, often funny, even anthological dialogues and gestures. They seem prosaic and banal at first sight, but they come to life in the flesh and talent of the ensemble. The author’s unobtrusive and spontaneous love for his characters whom he knows all too well and is fond of despite their ordinariness full of unexciting errors and annoying peculiarities makes for quite a trump card in the complex presentation of how multi-layered these typical human beings are. All elements in the film are guided by the precise and ingenious direction. In the intolerable vacuum of the circumstances, the author manages to create an explosive bubble of changes. Amidst the brazen frictions, he places the co-existing contradictions, thereby creating cinematic poetry of elevated mundanity, soaked in sadness, permeated with humour. Varja Močnik

DOBRI SOSEDJE / GOOD NEIGHBOURS

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EVROPA 2.0 / EUROPE 2.0 Filmski skok nazaj v prihodnost. A cinematic leap back into the future. Centar Zadnji in prvi ljudje / Last and First Men

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CENTAR

Srbija, Nemčija/Serbia, Germany 2018 režija/directed by Ivan Marković fotografija/cinematography Ivan Marković montaža/editing Jelena Maksimović, Ivan Marković zvok/ sound Jakov Munižaba producent/producer Jelena Radenković produkcija/production Big Time Production distribucija/ distribution Ivan Marković format/format DCP dolžina/running time 48’

Film Centar Ivana Markovića je zaporedje tako širokih kot ozkih planov notranjosti objekta Sava centar, ki se bolj kot na ambient osredotočajo na določen izsek in z enoočiščnimi kadri poudarjajo tišino, ki z zamolklimi zvoki prezračevalnih naprav naseljuje prazne prostore kongresnega centra. Film prikazuje objekt, ki je nedavno slavil 40 let svojega obstoja in zdi se, da spremljamo otožnost tistega, kar je vse svoje življenje gledalo propad nekega sveta. Kakor da bi bil zgrajen za svet, ki se je že razblinil; kot da še ni bilo mogoče videti, da se bo čez dobro desetletje razblinil ravno v tem objektu. Posnetki prizorov s tiste prelomne seje zadnjega kongresa Zveze komunistov Jugoslavije 22. januarja leta 1990 so našli mesto v malodane vseh filmih, ki so in na celovit način dokumentirajo razpad Jugoslavije. Sava centar so začeli graditi leta 1976. Že naslednje leto ga Tito svečano otvori, čeprav ga zaključijo 1979. Izjemno hitra gradnja postane predmet mednarodne pozornosti in tako se leta 1979 objekt, ki ga je arhitekturno podpisal Stojan Maksimović, pojavi na seznamu kandidatov za Pritzkerjevo nagrado, ki v svetu velja za največjo arhitekturno nagrado. Sava centar ni edini sodobni objekt, ki se je gradil ali pa se še gradi v Beogradu in bi bil deležen odmeva, ki presega vprašanja domačih gostiln. Že leta 1957 zgrajena Hala A beograjskega sejmišča predstavlja takrat največjo betonsko kupolo na svetu, urbanizem Novega Beograda želi izkazati samozavest napredne socialistične

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Centar by Ivan Marković is a sequence of wide shots and close-ups inside the Sava Centar that focus not so much on the ambience, but more on a certain segment, and by employing shots with one vanishing point emphasise the silence that, together with the muffled sounds of the ventilation, inhabits the empty space of the congress centre. The film shows the building that recently celebrated its fortieth anniversary and we seem to be following the sadness of that which throughout its life watched a world disintegrate. As if the building were built for a world that has already vanished, which could not be seen at the time, but it did happen a little more than a decade later precisely in it. The footage of the epochal session of the last Congress of the League of Communists of Yugoslavia on 22 January 1990 has found a place in practically all the films that in a comprehensive way document the disintegration of Yugoslavia. The construction of the Sava Centar began in 1976. Next year already, Tito formally opened it, even though the works were finished only in 1979. The incredibly quick construction caught international attention and so, in 1979, the building designed by Stojan Maksimović appeared on the list of nominees for the Pritzker Architecture Prize, which is considered the greatest architectural award in the world. The Sava Centar is not the only building constructed in Belgrade that garnered attention beyond the remit of the local pubs. Hall A of the Belgrade Fair, which was built in 1957, was the largest concrete dome in the world at


IVAN MARKOVIĆ Ivan Marković (1989) je leta 2012 diplomiral iz filmske fotografije na Fakulteti za dramsko umetnost v Beogradu, leta 2019 pa magistriral iz filmskega področja na Univerzi za umetnost v Berlinu. Leta 2012 je sodeloval pri projektu Sarajevo, mesto filma, leta 2015 pa je bil udeleženec programa Berlinale Talents. Kot direktor fotografije je sodeloval pri filmu Angele Schanelec Ich war zuhause, aber (2019), ki je na Berlinalu 2019 prejel srebrnega medveda. Ivan Marković (1989) graduated in cinematography from the Faculty of Drama arts in Belgrade in 2012 and received a master’s degree in film from the University of Arts Berlin in 2019. He took part in the Sarajevo City of Film in 2012, and in Berlinale Talents in 2015. He worked as a cinematographer on I Was at Home, But (Ich war zuhause, aber, 2019) by Angela Schanelec, which won the Silver Bear at Berlinale 2019.

družbe. Od tridesetih let prejšnjega stoletja pa vse do leta 2004 se gradi ena največjih pravoslavnih cerkva, Tempelj Svetega Save, posebna zgodba se izrisuje okrog gradnje Beograjske arene, danes pa evropsko javnost, ki spremlja razvoj mest in investicijske tokove globalnega kapitala, razburja projekt Beograd na vodi. Zgodovina Sava centra sega v dni po Helsinški konferenci o varnosti in sodelovanju v Evropi leta 1975, ko Tito sprejme, da bo naslednjo varnostno konferenco leta 1977 gostil Beograd, čeprav je dobro vedel, da kongresne dvorane, ki bi zmogla gostiti tako veliko srečanje, mesto ni premoglo. Z današnje perspektive je razvidno, da načela Helsinške sklepne listine implicirajo idejo mirnega konca hladne vojne in nadaljnjega evropskega povezovanja. Tako je Sava centar objekt, s katerim je Tito želel dati spodbudo in priznanje leta 1972 ustanovljeni Organizaciji za varnost in sodelovanje v Evropi in usmeriti državo v novo prihodnost, da bi bil v tem objektu naposled spočet njen konec. Peter Karba

the time, while the urbanism of New Belgrade wanted to demonstrate the self-confidence of a progressive socialist society. The St. Sava Temple, one of the largest orthodox churches in the world, was built from the 1930s all until 2004; the construction of the Belgrade Arena is a special story; and today the Belgrade Waterfront project is causing a stir among the European public that follows the development of cities and the investments of global capital. The history of the Sava Centar goes back to the time after the 1975 Helsinki Conference on Security and Co-operation in Europe, when Tito agreed to Belgrade hosting the next security conference in 1977 even though he knew full well that no congress hall in Belgrade could host such a big meeting. From today’s perspective it is clear that the principles of the Helsinki Accords imply the idea of a peaceful end to the Cold War and further European integration. The Sava Centar is thus a building with which Tito wanted to encourage and acknowledge the Organisation for Security and Co-operation in Europe, established in 1972, and steer his country towards a new future, only for its end to finally be conceived in this very building. Peter Karba

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ZADNJI IN PRVI LJUDJE / LAST AND FIRST MEN

Islandija/Iceland, 2019 režija/directed by Jóhann Jóhannsson scenarij/script Jóhann Jóhannsson, José Enrique Macián (po romanu Olafa Stapledona/based on the novel by Olaf Stapledon) fotografija/cinematography Sturla Brandth Grøvlen montaža/editing Mark Bukdahl glasba/music Jóhann Jóhannsson, Yair Elazar Glotman zvok/sound Jana Irmert glas/voice Tilda Swinton producent/producer Jóhann Jóhannsson, Thor Sigurjonsson, Sturla Brandth Grøvlen produkcija/production Zik Zak Filmworks distribucija / distribution Films Boutique format/format DCP (posneto na 16-mm/shot on 16mm) dolžina/ running time 71’

Ob glasbeni podlagi leta 2018 preminulega Jóhanna Jóhannssona je med drugim moč gledati: žensko, ki je za svojega moža, katerega um je bil eden najbriljantnejših, prisiljena skrbeti kot za otroka – Teorija vsega (The Theory of Everything, 2014); pa to, kako posebna enota policije za boj proti drogam za lesenimi stenami enega od skrivališč narkokartela v teksaškem El Pasu odkriva v polivinil zavita trupla – Sicario (2015); impozantno vesoljsko ladjo oziroma neznani leteči predmet, obdan z mističnimi meglicami, proti kateremu leti vojaški helikopter z vzhičeno jezikoslovko na krovu – Prihod (Arrival, 2016); do ušes krvavega Nicolasa Cagea, ki na vseh možnih substancah masakrira demonske bajkerje – Mandy (2018); igralko Rooney Mara, ki reče: »Svet se bo spremenil le, če se spremenimo mi.« – Marija Magdalena (Mary Magdalene, 2018) ... Z le malo spremembe, saj sta se tako Denis Villeneuve kot Darren Aronofsky pri svojih filmih za drugega skladatelja odločila šele v zaključni fazi produkcije; malo je manjkalo, pa bi Jóhannssonovo glasbo lahko poslušali skupaj s kriki Jeniffer Lawrence ... – vse možne simbolike posiljena Aronofskyjeva mati! (mother!, 2017); ali pa bi se nas zaradi nje še toliko bolj dotaknil zaključni prizor, v katerem se agent K., zleknjen na zasneženih stopnicah, zazre tja nekam med snežinke, gledalcu pa je ob tem kristalno jasno, da se bo počasi za vselej izgubil na nedodočljivi razdalji med replikanti in ljudmi. – Iztrebljevalec 2049 (Blade Runner 2049, 2017). Jóhannssonov režijski prvenec, ki je bil premierno predvajan posthumno, vse zgoraj naštete reference, ki se na edinstvene načine lotevajo človeštva, povzema v celoto, ob tem pa izigrava njihov

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While listening to the score by Jóhann Jóhannsson, who died in 2018, one can watch, among other things: a woman forced to take care of her husband, who used to have one of the most brilliant minds, as if he were a child – The Theory of Everything (2014); the special counterdrug police units discovering corpses wrapped in plastic behind the wooden walls in one of the drug cartel’s hideouts in El Paso – Sicario (2015); an impressive spaceship or a UFO surrounded by mystic mists towards which a military helicopter is flying with an excited linguist on board – Arrival (2016); the blood-covered Nicolas Cage, who stoned out of his mind massacres demonic bikers – Mandy (2018); the actress Rooney Mara, who says: “The world will change as we change.” – Mary Magdalene (2018)... With very little change since both Denis Villeneuve and Darren Aronofsky decided on another composer for their respective films only in the final stage of production. It came very close to Jóhannsson’s music accompanying the screams of Jennifer Lawrence... – Aronofsky’s symbol-ridden mother! (2017); and it might have made even more moving the final scene in which agent K, lying on the snowy stairs, stares through the snowflakes, making it crystal clear that he will slowly get lost forever on the indeterminable distance between replicants and people – Blade Runner 2049 (2017). Jóhannsson’s directorial debut, which premiered posthumously, combines into a whole all the mentioned references, which tackle humanity each in its own unique way, while subverting their blockbuster nature. From a genius through religion to narcotics – towards a sassy muscle that piles... salt in the head. Title: Last and First Men ... and among


JÓHANN JÓHANNSSON Jóhann Jóhannsson (1969–2018) je leta 2002 izdal svoj prvi solo album Englabörn. Napisal je glasbo za številne filme, med drugim za mnoge, ki jih je režiral Denis Villeneuve. Leta 2015 je prejel zlati globus za najboljšo filmsko glasbo za film Teorija vsega (The Theory of Everything, 2014), biografski film o Stephenu Hawkingu. Istega leta je kot režiser posnel svoj prvi kratki film End of Summer (2014). Film Zadnji in prvi ljudje temelji na multimedijskem projektu, ki so ga leta 2017 predstavili v živo v okviru mednarodnega festivala v Manchestru, pri izvedbi pa je sodeloval filharmonični orkester BBC. Jóhann Jóhannsson (1969–2018) published his first solo album Englabörn in 2002. He wrote the score for a number of films, including several by Denis Villeneuve. In 2015, he won the Golden Globe for Best Original Score for his work on the Stephen Hawking biopic The Theory of Everything (2014). In the same year, he made his debut short film as a director, End of Summer (2014). Last and First Men is based on a multimedia work which was presented as a live performance at the Manchester International Festival in 2017 and involved the BBC Philharmonic Orchestra.

blockbusterski moment. Od genija prek religije do narkotikov – naproti jezikavi mišici, ki na kup grabi ... sol v glavi. Naslov: Prvi in zadnji ljudje ... med njimi pa Jóhannssonovi posnetki monumentalnih spomenikov še iz časa Titove Jugoslavije; glas v offu, ki opisuje te nadvse filmične ostanke, v neki možni resnici pa govori tudi o nepredstavljivo oddaljenih zanamcih, je last igralke Tilde Swinton; če nam dih jemlje nenadno uglaševanje med prej in potem človeške vrste, je to, da nas slednji nagovori skupaj z ravno prav hollywoodsko zvezdnico, prav gotovo spravljiv ton? Prvič in zadnjič sta IN! In posel cveti. In venčni listi so kamniti. In je črno-bel. Vse vmes pa glasba, ki si je vzela čas ... kot Heraklitov otrok na prestolu, ki se igra s kamenčki ... otrokove nemirne roke pa naprtila kameri.

them Jóhannsson’s footage of massive monuments from the time of Tito’s Yugoslavia; the voice-over actress describing the exceptionally filmic remnants, and, in a possible reality, also talking about our unimaginably distant posterity, is Tilda Swinton; if we are left breathless by the sudden harmonising of the before and the after of humankind, then the fact that the latter addresses us together with just enough of a Hollywood star is certainly a reconciling tone? The first and the last time are IN! And business is flourishing. And petals are stony. And is black-andwhite. In between is music that took its time… as if it were Heraclites’ child on the throne playing with stones… and imposed the child’s restless hands on the camera. Anže Okorn

Anže Okorn

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CHIARO-OSCURO: TIRANIJA NAPREDKA / CHIARO-OSCURO: TYRANNY OF PROGRESS Žaromet na tematike v senci. Casting light on the shadows of public debate. Črte v pesku, zgodba o zgodovini / Sandlines, the Story of History Hamada Medena dežela / Honeyland Vesoljski psi / Space Dogs Vročica / The Fever

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ČRTE V PESKU, ZGODBA O ZGODOVINI / SANDLINES, THE STORY OF HISTORY

Irak/Iraq, 2019 režija/directed by Francis Alÿs, Julien Devaux scenarij/script Francis Alÿs fotografija/cinematography Julien Devaux, Ivan Boccara, Francis Alÿs vizualni učinki/visual effect: Kiri Films, Pepe Acosta montaža/editing Julien Devaux zvok/sound Felix Blume igrajo/ cast Mohamed, Ali, Demoa, Younis, Sa‘ef, Amudi, Bachar producent/ producer Francis Alÿs produkcija/production Francis Alÿs studio koprodukcija/co-production Ruya Foundation distribucija/ distribution Galerie Jan Mot format/format DCP dolžina/running time 61’

Črte v pesku so podoba v gibanju med politiko in poetiko. Puščavske sipine gorske vasice v bližini Mosula so poetična scenografija, na kateri otroci iz vasi uprizarjajo zgodovinske dogodke, ki so določili trenutno družbenopolitično klimo Iraka; od Sykes-Pickotovega sporazuma, podpisanega leta 1916, do terorizma Islamistične države od leta 2016. Režiser Francis Alÿs povabi otroke, da zaigrajo različne vloge in (po)ustvarijo zgodovino s skromnimi, a izjemno spretno rabljenimi rekviziti in lutkami, ki jih animirajo. Otroci, naturščiki, prek uprizarjanja zgodovine spoznavajo strukturno mesto svoje države na geopolitičnem zemljevidu sveta. Film v njihovi preprosti igrivosti tvori ganljivo zavezništvo med dokumentarnostjo in podobjem, otroško risanje črt v puščavski pesek pa istočasno pušča sledi političnosti. Črte so nekakšna hibridizacija različnih umetniških postopkov in medijev; od lutkovnega gledališča, performansa in filma. Danes bi težko spravljali umetnost v ozke meje posamičnih disciplin, veliko svobodneje je misliti skupna srečanja, kjer eno blagodejno prehaja v drugo. V načinih dela Francisa Alÿsa, ki je znan zlasti po svojem delu z lokalnimi skupnostmi, je moč najti določeno sorodnost s postopki in prakso belgijskega režiserja Mila Raua, zapisanega političnemu gledališču in delu z naturščiki, ki pretežno ustvarja na meji med filmom in odrom; kamera mu dovoljuje pripeljati na oder bližnje kadre, ki gledalcem v gledališču običajno ostajajo zakriti, s tem pa ustvarja dimenzijo realizma, ki ga oder pogosto le stežka pogoltne. Francis Alÿs gledališče in film preplete zato, da bi zbežal od grobega naturalizma in realizma, tako značilnega za

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Sandlines are an image in motion between politics and poetics. The desert dunes of a mountain village near Mosul are the poetic set on which the village children re-enact the historical events that have determined the current socio-political climate in Iraq; from the Sykes-Picot Agreement, signed in 1916, to the terrorism of the Islamic State that began in 2016. The film’s director Francis Alÿs invites children to play different roles and (re-)create history with modest props and puppets. Through their staging of history, the children, who are all non-professional actors, get to know the structural place of their country on the geopolitical map of the world. Alÿs’s film forms a moving alliance between documentariness and imagery, while the children’s drawing of lines in the sand leaves a trace of politicalness. Sandlines is a sort of a hybridisation of different art processes and media; from puppet theatre and performance art to film. Today, it would be difficult to categorise art in the narrow limits of individual disciplines; there is much more freedom in thinking about their encounters. The procedures and the practice of Francis Alÿs, who is known especially for his work with local communities, are similar to those of Milo Rau, a Belgian director committed to political theatre and work with non-professional actors, who mainly creates on the border between film and theatre. The camera allows him to bring close-ups, which in the theatre usually remain inaccessible to the viewers, to the stage, thereby creating a dimension of realism that the stage often cannot take. Francis Alÿs intertwines theatre and film to escape the crude naturalism and realism so characteristic of the film medium, while the elements of puppetry and staging

CHIARO-OSCURO: TIRANIJA NAPREDKA / CHIARO-OSCURO: TYRANNY OF PROGRESS


FRANCIS ALŸS Francis Alÿs (1959) živi in dela v Ciudad de Méxicu. Svoja dela je razstavljal na samostojnih razstavah v muzejih po vsem svetu. Od leta 2016 je sodeloval pri vrsti projektov v Iraku, kot sta Hopscotch (2016), ki je nastal v sodelovanju z jezidskim begunskim taboriščem v Šariyi v Iraku, in Color Matching (2016), ki ga je posnel, ko je bil med obleganjem Mosula vključen v bataljon Pešmerg. Leta 2020 je film Črte v pesku premierno prikazal na festivalih, kot so Sundance, Rotterdam in Ficunam v Ciudad de Méxicu. Francis Alÿs (1959) lives and works in Mexico City. He has had solo exhibitions in museums worldwide. Since 2016, Alÿs has been engaged in a series of projects in Iraq, such as Hopscotch (2016), produced with the Yazidi refugee camp of Sharya, Iraq, and Color Matching (2016), filmed while he was embedded with a Peshmerga battalion during the siege of Mosul. In 2020, he premiered Sandlines in festivals such as Sundance, the IFF Rotterdam, and Mexico City’s Ficunam.

filmski medij, primesi lutkarstva in ugledališčenja pa mu pomagajo izgrajevati svet na meji med fikcijo in stvarnostjo, med podobjem in grobo realpolitiko.

help him build a world between fiction and reality, imagery and brute realpolitik.

Črte so izjemno natančno komponiran film, zgrajen na epskosti puščavskega peska in kontraintuitivnosti otrok, ki vstopajo v vloge odraslih. Otroštvo kot zahodna zgodovinska kategorija, ki jo konceptualizira Firestone, predvsem kaže, da sta otroškocentričnost in psihologizacija odraščanja razmeroma mlad pojav, vezan zlasti na konstitucijo moderne družine in izobraževanje. Nanj se pogosto lepi frazeologijo luštnega in čistega, umetnost z otroki se velikokrat loti tem o avtentičnosti in nedolžnosti otroštva. Alÿs se skuša tem inertnostim zahodnega pogleda na otroštvo postaviti po robu, ko z njimi ustvarja resen politični film, a ob tem vseskozi ohranja sledi imanentne otroške razigranosti. Kot da bi bila izkušnja otrok tista, ki prevlada nad umetnostjo.

Sandlines is an exceptionally precisely composed film, built on the epic proportions of desert sand and the counterintuitiveness of children assuming the roles of adults. What childhood as a Western historical category, as conceptualised by Firestone, shows in particular is that child-centredness and the psychologisation of growing up are relatively recent phenomena related especially to the emergence of modern family and education. It is often laden with phrases about cuteness and purity, while art involving children often tackles topics related to the authenticity and innocence of childhood. Alÿs tries to defy such inertness of the Western view of childhood by working with children in creating a serious political film, but, throughout this, he also preserves the traces of their immanent childish playfulness. As if the children’s experience prevailed over art.

Alja Lobnik

Alja Lobnik

V sodelovanju z zavodom Kinoatelje in festivalom Poklon viziji.

In cooperation with Kinoatelje and Tribute to a Vision festival.

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HAMADA

Švedska, Norveška, Nemčija/Sweden, Norway, Germany, 2018 režija/directed by Eloy Domínguez Serén fotografija/ cinematography Eloy Domínguez Serén montaža/editing Ana Pfaff, Eloy Domínguez Serén glasba/music Kjetil Schander Luhr zvok/ sound Ted Krotkiewski, Thomas Jæger igrajo/cast Zaara Mohamed Saleh, Sidahmed Salek, Taher Mulay Zain producent/producer David Herdies, Michael Krotkiewski produkcija/production Momento Film koprodukcija/co-production Fuglene, Ma.Ja.De. distribucija/ distribution Deckert Distribution format/format DCP dolžina/running time 88’

Zahodna Sahara je še zadnja obstoječa afriška kolonija, ujeta med Alžirijo, Mavretanijo in Maroko, ki je med dekolonizacijo v 70. letih prejšnjega stoletja pohlepno okupiral do tedaj špansko zahodnosaharsko ozemlje ter velik delež avtohtonega, nomadskega ljudstva Sahrawi pognal v življenje v izgnanstvu. A po 15 letih vojne za osamosvojitev in več desetletjih življenja v begunskih taboriščih Alžirske puščave njihova začasna nastanitev vse bolj spominja na večno ujetost v praznino, neperspektivnost in nerodovitnost neskončnega peska in puščave.

Caught between Algeria, Mauritania and Morocco, Western Sahara remains the last African colony. It was during the 1970s decolonisation that Morocco greedily occupied what had previously been Spanish Western Saharan territory, forcing a considerable share of the indigenous nomadic Sahrawi people into living in exile. However, following a 15-year independence war and decades of living in refugee camps of the Algerian desert, their temporary dwelling now increasingly resembles a perpetual entrapment amidst nothingness, amidst the futurelessness and barrenness of endless sands and desert.

Eloy Domínguez Serén se po dveh kratkih filmih na Kino Otok vrača s svojim celovečernim prvencem, vizualno dovršenim dokumentarcem, polnim premišljenih kompozicij in sproščenih, s humorjem prepredenih medosebnih trenutkov, ki s svojimi na videz zaigranimi dialogi brišejo mejo med dokumentaristiko in fikcijo. Gre za observacijski film, ki širše politično ozadje Zahodne Sahare skoraj povsem zaobide, s tem ko v središče svoje zgodbe postavi intimne, osebne portrete treh trmastih, uporniških, odraščajočih posameznikov. Sidahmed, Zaara in Taher so dvajset-in-nekaj letniki, ki se polni mladostniške energije in življenjskega zagona borijo proti svojemu obstanku na mestu ter proti večnemu, neuslišanemu čakanju na vrnitev »domov« – na domače ozemlje, ki ga poznajo le še prek ustnega izročila svojih staršev.

After two shorts, Eloy Domínguez Serén returns to Isola Cinema with his feature debut, a visually accomplished documentary. It combines well thought-out compositions with relaxed interpersonal moments intertwined with humour, their seemingly staged dialogues blurring the distinction between the documentary and fiction. This is an observational piece that almost evades the wider political background of Western Sahara by focusing on intimate, personal portraits of three stubborn, rebellious maturing individuals. Sidahmed, Zaara and Taher, twenty-somethings brimming with youthful energy and zeal, are fighting against standing still and against the eternal unheard wait to return “home” – to their native territory they only know about through oral tradition of their parents.

Med njimi vlada prav posebna naklonjenost do avtomobilov; starih, zarjavelih, skorajda odsluženih range roverjev in mercedesov, ki simbolizirajo vsaj delno svobodo in neodvisnost v sicer omejenem

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What they share is a special fondness of cars: old, rusted, practically decrepit Range Rovers and Mercedes’ standing at least for partial freedom and independence in the otherwise limited refugee territory. Zaara, in particular, with her determination

CHIARO-OSCURO: TIRANIJA NAPREDKA / CHIARO-OSCURO: TYRANNY OF PROGRESS


ELOY DOMÍNGUEZ SERÉN Eloy Domínguez Serén (1985) je pred svojim prvim filmom delal kot filmski kritik. Leta 2012 se je preselil na Švedsko, kjer je posnel svoj prvi kratki film, Pettring (2013). Njegov film Brez krav na ledu (Ingen ko på isen, 2015) je bil premierno prikazan na festivalu Visions du Réel leta 2015, njegova najnovejša kratka filma Rumena opečnata cesta (Den gula tegelvägen, 2015) in Rust (2016) pa sta bila premierno prikazana na festivalu Jihlava IDFF in na FID Marseille. Domínguez Serén je bil izbran tudi kot udeleženec programa Berlinale Talents 2017. Eloy Domínguez Serén (1985) worked as a film critic for both radio and press before debuting as a filmmaker. In 2012 he moved to Sweden, where he made his first short film Pettring (2013). His film No Cow on the Ice (Ingen ko på isen, 2015) premiered in 2015 at Visions du Réel and won several awards, while his two most recent short films Yellow Brick Road (Den gula tegelvägen, 2015) and Rust (2016), have premiered at Jihlava IDFF and FID Marseille, respectively. He was also selected to participate in Berlinale Talents 2017.

begunskem teritoriju. Predvsem Zaana s svojim determiniranim učenjem vožnje poskuša zaobiti restrikcije svojega spola; odločena je, da si bo kupila avto in dobila službo. Čeprav nima ne znanja ne kvalifikacij, trmasto sledi viziji samostojnega življenja in se pri tem nikomur ne prilagaja ter si ne pusti jemati pravice do mobilnosti.

to learn to drive wishes to circumvent the restrictions of her gender. She is determined to buy a car and acquire a job. Although without knowledge and qualifications, she is stubborn in following her vision of independent life, adapting to nobody and not letting anyone take away her right of mobility.

Čeprav film prežemajo simpatični, humorni podtoni, pa je pri vseh protagonistih vseeno zaznati bolečino. Ujeti so v nekem času in prostoru ter odvisni od mednarodne humanitarne pomoči, pri čemer si želijo predvsem sprememb, možnosti izhoda in svobode, ki jo povezujejo z življenjem onkraj mej taborišča. A življenje izven Zahodne Sahare vendarle ne prinaša svobode, ki jo v Španijo seleči se Sidahmed naivno pričakuje. Fizične meje taborišča tam zamenjajo osebne meje predsodkov polnih ljudi, ki ga v trenutku zreducirajo na begunca, Arabca, muslimana, zaradi česar kaj kmalu začne pogrešati neskončno puščavo, iz katere je še nedavno pribežal.

Although the film is permeated by agreeable, humorous tones, distress can be discerned in all the protagonists. They are caught in a certain time and space, dependent on international humanitarian aid, while primarily wishing for change, for a way out and for freedom, which they connect with living a life beyond the limits of the camp. However, life outside Western Sahara does not necessarily bring freedom, although that is what Sidahmed naively expects when he is about to move to Spain. There, the physical camp boundaries are replaced by the personal boundaries in prejudiced individuals. He is instantly reduced to a refugee, an Arab, a Muslim, which soon makes him miss the endless desert he has only recently fled.

Veronika Zakonjšek

Veronika Zakonjšek

CHIARO-OSCURO: TIRANIJA NAPREDKA / CHIARO-OSCURO: TYRANNY OF PROGRESS

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MEDENA DEŽELA / MEDENA ZEMJA / HONEYLAND

Makedonija/Macedonia, 2019 režija/directed by Ljubo Stefanov, Tamara Kotevska scenarij/script Ljubomir Stefanov, Tamara Kotevska fotografija/cinematography Fejmi Daut, Samir Ljuma montaža/editing Atanas Georgiev glasba/ music Foltin zvok/sound Rana Eid nastopajo/featuring Hatidže Muratova, Nazife Muratova, Hussein Sam, Mustafa Sam, Ljutvie Sam producent/producer Atanas Georgiev produkcija/production Trice Films koprodukcija/co-production Apolo Media distribucija/ distribution Deckert Distribution format/format DCP dolžina/running time 85’

Medena dežela, prvenec makedonskega režijskega dvojca Tamare Kotevske in Ljubomira Stefanovega, ki je svojo premiero doživel na festivalu Sundance, se zdi v svojem sporočilu univerzalen: »Pol meni, pol tebi.« Tako govori in tudi živi Hatidže Muratova, zadnja divja čebelarka Severne Makedonije. Čebele so pridne in nabirajo med. Hatidže je pridna in nabira med. Čebele so živali in nagonsko razumejo svoj sistem, svoje meje. Hatidže je človek in z razumom, empatijo, spoštovanjem upošteva meje narave, ne jemlje od nje več, kot bi res nujno potrebovala. Čeprav nas lahko suhe pokrajine v kombinaciji z močnimi barvnimi kontrasti spominjajo na podobe, ki smo jih vajeni iz National Geographica, so vsi dogodki v tem svetu surovi, resnični, na trenutke pa so lahko tudi precej grobi. Izkušnja Medene dežele je podobna, kot da bi stopili na National Geographic, pa bi se nam ugreznilo in bi padli globoko v resnični, migetajoč svet, z neposredno prisotno, otipljivo »tukaj in zdaj« teksturo tega, kar ne more biti izraženo navzven, na platnici, ker je pregrdo in preresnično. Medena dežela združi oboje in ne ločuje. Ne idealizira revščine in ljudi, ki živijo v gorah, se preživljajo drugače, kot nek povprečen človek v Skopju ali katerem koli drugem evropskem mestu ali bolje situiranem delu sveta. Ni pokroviteljski, saj se ne postavlja v vzvišeno pozicijo, s katere bi lahko romantiziral ljudi z roba. Medena dežela najde lepoto v surovem svetu, v Hatidžejinem boju proti načinu življenja, kakršnega živi njen sosed, ki želi od narave vzeti vedno več. Več, kot bi narava želela dati njemu. Film najde lepoto v tistem, kar je zares lepo in vredno ovekovečiti in izpostaviti.

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Honeyland, the debut film by the Macedonian directorial duo of Tamara Kotevska and Ljubomir Stefanov, which premiered at Sundance, seems to have a universal message: “Take half, leave half.” That is how Hatidže Muratova, the last keeper of wild bees in North Macedonia, speaks and also lives. The bees are hard-working and collect honey. Hatidže is hard-working and collects honey. Bees are animals and instinctively understand their system, their limits. Hatidže is a human being and with reason, empathy and respect observes the limits of nature and does not take more from it than she truly necessarily needs. Although the dry landscapes combined with strong colour contrasts are reminiscent of the images we are used to from National Geographic, all the events in this world are raw, real, at times also quite harsh. The experience of Honeyland is like stepping onto National Geographic, losing the ground under our feet and falling deep into a real, twinkling world with a directly present, tangible “hear-and-now” texture of what cannot be expressed outwardly, on the cover, because it is too ugly and too real. Honeyland combines both and does not separate. It does not idealise poverty and the people living in the mountains, making a living differently than an average inhabitant of Skopje or any other European city or a wealthier part of the world. It is not patronising as it does not assume a superior position from which it could romanticise people on the margins. Honeyland finds beauty in a brutal world, in Hatidže’s struggle against the way her neighbour lives his life, against his intent on taking increasingly more from nature. More than nature would like to give him. The film finds beauty in what is truly beautiful and worth eternalising and pointing out.

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TAMARA KOTEVSKA Tamara Kotevska (1993) je na Fakulteti za dramsko umetnost v Skopju diplomirala iz filmske režije. Kot neodvisna režiserka snema dokumentarne in igrane filme. Tamara Kotevska (1993) graduated from the Faculty of Dramatic Arts Skopje (Film Directing). She is a freelance film director working on documentary and fiction films. LJUBOMIR STEFANOV Ljubomir Stefanov (1975) ima več kot 20 let izkušenj z razvojem in produkcijo dokumentarcev s področja okoljskih vprašanj in človekovega razvoja. Režiral je kratka dokumentarna filma The Noisy Neighbours (2005) in Lake of Apples (2017). S Tamaro Kotevsko sta tri leta snemala svoj celovečerni dokumentarni prvenec Medena dežela. Ljubomir Stefanov (1975) has over 20 years of experience in the development and production of documentaries related to environmental issues and human development. He directed short documentaries The Noisy Neighbours (2005) and Lake of Apples (2017). Stefanov and Kotevska spent three years working on Honeyland, their debut feature documentary.

Medena dežela je film, ki gledalca sili, da prevpraša in oceni svoje privilegije, interese, prioritete, obenem pa v poplavi produkcije znova razmisli o tem, kakšnim filmom želi dati svojo pozornost.

Honeyland is a film that forces the viewers to question and evaluate their privileges, interests and priorities and, in the flood of production, reconsider which films they want to give their attention to.

Ester Ivakič

Ester Ivakič

Dokumentarni film Medena dežela nas popelje v živo tradicijo življenja v odročnem delu Makedonije, kjer so pravila sodobnega življenja obrnjena na glavo in kjer ima glavno vlogo narava.

Honeyland is a documentary film that takes us to the vital tradition of life in a remote part of North Macedonia where the rules of contemporary life are turned upside down and where nature plays the main role.

Film ni impresiven le z vidika zgodbe, ampak tudi z glasbene in vizualne plati. Za filmsko fotografijo Medene dežele je značilna pogosta uporaba senc, v katere se liki skrijejo. Občasno se pojavijo silhuete, ki film popestrijo in mu dodajo skrivnostnost, stil snemanja in naravne značilnosti snemalnega okolja pa priskrbijo nepozabno filmsko izkušnjo. Opazno je tudi, da protagonisti ne čutijo prisotnosti kamere, kar pomeni, da v filmu ne igrajo, ampak le živijo svoje življenje.

The film is impressive not only in view of the story, but also from the musical and visual perspective. Honeyland’s cinematography is characterised by its frequent use of shadows in which the characters hide. At times, there appear silhouettes, which liven up the film and give it a touch of mysteriousness, while the filming style and the natural characteristics of the filming locations provide for an unforgettable film experience. It is evident that the protagonists do not feel the presence of the camera, which means that they are not acting in the film, but only living their lives.

Hatidže čebelari na tradicionalen način in predstavlja filozofijo ravnovesja. V njeno življenje vstopi tuja družina, ki ima drugačne prioritete in predstavlja bolj sodoben način razmišljanja. Zaradi tega nastopi konflikt, ki ima človeško in naravno plat. Vidimo, da lahko delujemo v sožitju z naravo ali pa le v svojo korist, kar je značilno za kapitalizem nasploh. Vedno obstajata vsaj dve možnosti. Razlika je še bolj očitna, če svetova trčita v isti

Hatidže harvests honey in the traditional way and represents the philosophy of balance. When an outside family enters her life, their different priorities and a more contemporary mindset lead to a conflict that has a human and a natural side. We see that we can act in coexistence with nature or only to our own benefit, which is characteristic of capitalism in general. There are always at least two

CHIARO-OSCURO: TIRANIJA NAPREDKA / CHIARO-OSCURO: TYRANNY OF PROGRESS

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kulturi na istem mestu. Zaradi trenja ne delujeta kot jing in jang, ampak v nasprotju z medsebojnimi cilji in načeli. Življenje je prepleteno z dejanji in odločitvami, ki so lahko dobre ali slabe, narava pa vedno pokaže svojo moč. Zaradi svoje surovosti je le redko usmiljena. Spoznamo, da je narava ključna za zaplet in razplet filma. Tako začnemo opažati njena sporočila in verjeti v njeno moč. S tem pa ji izkažemo spoštovanje in naklonjenost.

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possibilities. The difference is even more evident if the worlds clash in the same culture and the same place. Due to the tension, they do not function as yin and yang, but in opposition to their mutual goals and principles. Life is intertwined with actions and decisions that can be good or bad, but nature always shows its power. Because of its brutality, it is rarely merciful. We learn that nature is crucial for the film’s plot and resolution. We thus begin to notice its messages and believe in its power. We thereby show it respect and affinity.

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Jakob Vogrinec, Lina Šoper Rijavec, Nik Škorjanc, Jakob Nal Gorkič, Maj Repek, Staša Fras

Jakob Vogrinec, Lina Šoper Rijavec, Nik Škorjanc, Jakob Nal Gorkič, Maj Repek, Staša Fras

Film po izboru Mladih programerjev, skupine mladih od 14. do 18. leta.

The film was selected by Young Programmers, a group of young people aged between 14 and 18.

Projekt Mladi programerji je nastal znotraj programa Film v gibanju (Moving Cinema), ki je podprt s strani Ustvarjalne Evrope, podprograma Media.

The Young Programmers project was created as part of the Moving Cinema programme, which is supported by the MEDIA sub-programme of Creative Europe

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VESOLJSKI PSI / SPACE DOGS

Avstrija, Nemčija/Austria, Germany, 2019 režija/directed by Elsa Kremser, Levin Peter scenarij/script Elsa Kremser, Levin Peter fotografija/cinematography Yunus Roy Imer montaža/editing Jan Soldat, Stephan Bechinger glasba/music Paradox Paradise zvok/sound Jonathan Schorr nastopa/featuring Alexey Serebryakov producent/producer Elsa Kremser, Levin Peter produkcija/production Raumzeitfilm Produktion koprodukcija/ co-production IT WORKS! Medien GmbH distribucija/distribution Deckert Distribution format/format DCP dolžina/running time 91’

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Dokumentarni film Vesoljski psi transhistorično obravnava življenje moskovskih prostoživečih psov. Film je pri tem radikalno anti-antropocentričen; ljudje se v Vesoljskih psih pojavljajo na dva načina: bodisi kot mimobežni, v ozadje postavljeni organizmi, ki se tu in tam slučajno znajdejo v kadru (npr. hodijo po pločniku, se zbirajo pred lokalom) ali kot agresorji v odnosu do psov. Sledenje je razvidno zlasti v dokumentarističnem materialu, ki prikazuje postopke, ki so se v imenu znanosti odvijali v Rusiji ob odkrivanju vesolja; pse – ne le najbolj znano izmed njih, Lajko – se je ugrabljalo z moskovskih ulic, se jih podvrglo številnim bolečim postopkom, nato pa izstrelilo v vesolje; psi – in ne človek – so bili tako prvi Zemljani, ki so z vesolja zrli na Zemljo ter s svojo (neprostovoljno!) kozmonavtsko participacijo šele omogočili človeško potovanje v vesolje. Linija deglorificira znanost in raziskovanje vesolja ter razkrije njegove specistične temelje.

Space Dogs is a documentary film that transhistorically explores the life of Moscow’s stray dogs. The film is radically anti-anthropocentric; people appear in Space Dogs in two ways: either as passing organisms that are placed in the background and occasionally happen to find themselves in the shot or as aggressors in relation to dogs. The latter is evident especially in the documentary footage showing the procedures carried out in the name of science, specifically the space programme, in Russia; dogs – and not only the most famous one of them, Laika – were abducted from Moscow streets and subjected to numerous painful procedures and then launched into space; dogs – not humans – were the first Earthlings to look down on Earth from space and the ones that, with their (involuntary!) cosmonautic participation, made possible human space travel. This narrative line deglorifies science and space research, revealing its specist foundations.

Druga narativna linija človeka izbriše; s kamero na ravni njihovega pogleda zasleduje skupinico moskovskih psov ter raziskuje njihove medosebne odnose ter način bivanja v mestu. Ključnega pomena pri tem je, da je imela človeška ustvarjalna ekipa na vsebino te filmske linije relativno majhen vpliv; psi so sami narekovali dogajanje s svojimi akcijami – ključen je tako denimo prizor, v katerem eden od psov ujame mačko in jo ubije, ki morda deluje surov, a je pomemben z vidika mladega psa, ki skuša preživeti na ulicah in se v prostoru uveljaviti kot samostojen, močan subjekt.

The second narrative line erases humans; with the camera at their eye-level, it follows a little group of Moscow dogs and explores their relations and their way of life in the city. What is crucial here is that the human creative team had a relatively small influence on the content of this line; the dogs dictated the happening themselves with their actions – a key scene here is thus the one in which one of the dogs catches a cat and kills it, which might seem harsh, but is important from the viewpoint of the young dog trying to survive in the streets and establish himself as an independent, strong subject in that space.

Psi v filmu tako nastopijo kot celoviti subjekti, zmožni prijateljskih odnosov (pri tem je recimo

In the film, dogs thus appear as proper subjects, capable of friendships, interpersonal communication,

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ELSA KREMSER Elsa Kremser (1985) je študirala film na Univerzi na Dunaju in Filmski akademiji v Ludwigsburgu. Kot avtorica in producentka je posnela več dokumentarcev, ki so bili prikazani po vsem svetu. Njen diplomski film Nebel (2014) je bil premierno prikazan na Berlinalu. Leta 2016 je z Levinom Petrom ustanovila produkcijsko podjetje Raumzeitfilm. Elsa Kremser (1985) studied Film at the University of Vienna and the Filmakademie Ludwigsburg. As an author and producer, she realized several documentaries that were shown worldwide. Her diploma film Nebel (2014) premiered at the Berlinale. In 2016, she founded a production company Raumzeitfilm with Levin Peter. LEVIN PETER Levin Peter (1985) je študiral na Filmski akademiji v Ludwigsburgu, kjer je posnel več dokumentarcev, ki so bili prikazani po vsem svetu. Njegov diplomski film Onkraj snežne nevihte (Hinter dem Schneesturm, 2016) je bil predstavljen na Berlinalu v kategoriji gostov. Levin Peter (1985) studied at the Filmakademie Ludwigsburg where he realized several documentaries that were shown worldwide. His diploma film Beyond the Snowstorm (Hinter dem Schneesturm, 2016) was presented as a Guest at the Berlinale.

ključen odnos med mlajšim, agilnim in nekoliko starejšim, šepajočim psom), medosebne komunikacije, mapiranja mesta, vzpostavljanja čezvrstnih odnosov (z ljudmi), znotraj katerih lahko zadovoljijo svoje potrebe (npr. po hrani), hkrati pa tudi medosebnih sporov, uveljavljanja moči, izražanja agresije. Vesoljski psi pse vsekakor vzpostavljajo kot subjekte, a tega ne počnejo prisiljeno, temveč dopuščajo, da se kot subjekti psi vzpostavijo sami, skozi njihove lastne akcije oziroma delovanje. Obenem uspe filmu vzpostaviti vtis kontinuitete človeške agresije v odnosu do (te) druge vrste: film recimo prikaže pretresljivo zastrupitev pasjih mladičev, ki jih še en prizor prej opazujemo med igro. Četudi so moskovski psi skozi film prikazani kot polnokrvni prebivalci Moskve, prav ta poteza kaže, da si človek tako mesto, kot pasji habitat, kot njih kot posameznike in posameznice prisvaja in ne zazna, da to, kar ta film tako čudovito pokaže – pasji pogled – sploh obstaja. In vendar je tu.

mapping the city, establishing cross-species relationships (with humans) within which they can satisfy their needs (for food, for example), but also conflicts. Space dogs definitely establishes dogs as subjects, but it does not do this in a forced way, but allows dogs to establish themselves as subjects through their own actions or activity. At the same time, the film manages to create an impression of constant human aggression in relation to (this) other species: the shocking poisoning of puppies, which just in the scene before could be seen playing. The film traces people’s incessant and constant intervention in dogs’ lives: although the dogs in the film are depicted as full-blooded inhabitants of Moscow, it is precisely this final feature that shows how humans appropriate the city, dogs’ habitat and dogs themselves as individuals, but do not see that what this film so wonderfully shows – a dog’s gaze – even exists. And yet it is there. Anja Radaljac

Anja Radaljac

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VROČICA / A FEBRE / THE FEVER

Brazilija, Francija, Nemčija/Brazil, France, Germany, 2019 režija/directed by Maya Da-Rin scenarij/script Maya Da-Rin, Miguel Seabra Lopes, Pedro Cesarino fotografija/cinematography Bárbara Alvarez montaža/editing Karen Akerman zvok/sound Breno Furtado, Felippe Musell igrajo/cast Regis Myrupu, Rosa Peixoto, Johnatan Sodré, Kaisaro Jussara Brito, Edmildo Vaz Pimentel producent/ producer Leonardo Mecchi, Maya Da-Rin, Juliette Lepoutre, Pierre Menahem, Janine Jackowski, Jonas Dornbach produkcija/production Enquadramento Produções, Tamanduá Vermelho, Still Moving, Komplizen Film distribucija/distribution Still Moving format/format DCP dolžina/running time 98’

Vročica je film o trku svetov staroselske in belske Brazilije, o nezmožnosti dialoga, je mešanica dela o socialnem vprašanju in misticizmu, je vprašanje družine in generacije. Justino je vdovec, ki s hčerko Vanesso živi v velemestu Manaus, kjer dela kot pristaniški varnostnik. Odkar se je preselil iz staroselske skupnosti, živi na meji med svetovoma: je v mestu, a na njegovem robu, ki se stika z džunglo, je staroselec, a opravlja belsko delo … Ko njegova hči dobi možnost študija medicine s štipendijo v oddaljeni Brasilii, dobi vročino, ki je, kot pove sam, klasična medicina ne more pojasniti. Justino ve, da je del sveta, ki mu ne pripada: na delovnem mestu se srečuje z rasizmom in grožnjami kadrovske službe, zataknjen je v vselej enake delovnike, ki onemogočajo, da bi našel stik s »presežnim«, ki ga potrebuje. Po bratovem obisku ugotovi, da tudi vrnitev domov ne bi pomenila tega, kar si je morda predstavljal, saj se je tudi tam marsikaj spremenilo. Staroselstvo namreč izgineva zaradi okoljskih sprememb, rasizma in kolonializma. Če je Brazilija v globalni verigi proizvodnje umeščena na mesto proizvajanja delov (Justino ugotavlja, da so ti tisti, ki prednjačijo v pristaniškem tovoru), je njena staroselska plat odvečni del in Justino se je bil iz bivanjskih razlogov primoran odločiti, da bo namesto staroselskega načina življenja varoval ladijske kontejnerje. A elementi staroselskega sveta nenehno prebijajo mestne meje, naj gre za pacientko, ki jo obravnava Vanessa in govori zgolj jezik tukano, prihod »neznane živali« v Manaus, ki je napadla prašiča, Justinove sanje, v katerih en svet prehaja v drugega ali njegovo nena(va)dno vročico … Ker obstaja nivo resničnosti,

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Fever is a film about a clash between the world of the indigenous Brazil and that of the white Brazil, about the impossibility of dialogue; it examines the social question and mysticism and explores the questions of family and generation. Justino is a widower who lives with his daughter Vanessa in the metropolis of Manaus, where he works as a port security guard. Since he moved out of the indigenous community, he has lived on the border between two worlds: he is in the city, but on its margins that border on the jungle; he is indigenous, but has a white man’s job… When his daughter gets an opportunity to study medicine on a scholarship in the far-away Brasilia, he develops a fever that, as he himself says, classical medicine cannot explain. Justino knows he is part of a world he does not belong to: at his workplace, he faces racism and the threats of the HR department; he is stuck in always the same workday, which prevents him from finding the connection with the “transcendent” that he needs. After his brother’s visit, he realises that even his return home would not mean what he might have imagined before, since many things have changed there too. Indigenousness is disappearing due to environmental changes, racism and colonialism. If, in the global production chain, Brazil has been placed in the position of producing parts (Justino notes that they are the predominant cargo), then its indigenous side is redundant and so, for existential reasons, Justino was forced to decide on protecting shipping containers instead of the indigenous way of life. But elements of the indigenous world constantly cross the city limits, be it in the form of a patient treated by Vanessa that only speaks Tucano, the arrival of a “mysterious animal” in Manaus that attacks a pig,

CHIARO-OSCURO: TIRANIJA NAPREDKA / CHIARO-OSCURO: TYRANNY OF PROGRESS


MAYA DA-RIN Maya Da-Rin (1979) je filmarka in vizualna umetnica. Na univerzi Sorbonne Nouvelle je zagovarjala magisterij iz filma in umetnostne zgodovine. Njeni filmi in video instalacije so bili prikazani in nagrajeni na filmskih festivalih in v umetnostih institucijah, kot so festival v Locarnu, DOK Leipzig in newyorška MoMA. Njen prvenec Vročica se je uvrstil v program Cinéfondation v Cannesu, zanj je tudi dobila štipendijo za razvoj scenarija in projekta fundacije Huberta Balsa. Maya Da-Rin (1979) is a filmmaker and visual artist. She obtained a master’s degree in Cinema and Art History at Sorbonne Nouvelle. Her films and video installations have been shown and awarded at film festivals and art institutions such as Locarno, DOK Leipzig and MoMA. Her first feature film, The Fever, was selected by La Cinéfondation in Cannes and gained a Script and Project Development grant from the Hubert Bals Fund.

ki je razložljiv zgolj s staroselsko zavestjo, je nujno, da tudi ta ostane in v tej nujnosti njenega obstoja se skriva tudi njena možnost za preživetje. Vprašanje, ki se tako odpre, je, ali lahko Justina spremembe v življenju, pomenljive sanje in srečanje z bratom spodbudijo, da ponovno poišče stik s svojim prejšnjim okoljem. Maya Da-Rin se je v svoji karieri večkrat posvečala tematiki brazilskega ruralnega okolja, ki ga je predstavljala pretežno skozi formo dokumentarca. In čeprav je Vročica avtorski film, mu je mogoče pripisati dokumentaristične lastnosti, pa naj gre za prikaz staroselskih nazorov ali izris manauškega in pristaniškega socialnega okolja. Posebnost pri tem predstavlja tudi izbira Regisa Myrupuja za vlogo Justina: gre za njegovo prvo vlogo in kot je povedal v nekem intervjuju, tudi takšno, v kateri najde več vzporednic s svojim življenjem. Aljaž Krivec

Justino’s dreams in which one world passes into the other or his unusual and sudden fever… Because there is a level of reality that can only be explained by indigenous consciousness, it is necessary for it to remain in existence, and it is in the necessity of its existence that hides the possibility of its survival. The question that thus opens is whether the changes in his life, his meaningful dreams and the meeting with his brother encourage Justino to reconnect with his former environment. In her career, Maya Da-Rin has dealt with the topic of Brazil’s rural environment several times and presented it mostly through the form of a documentary. And even though Fever is an auteur film, it does have some documentary characteristics, be it its depiction of indigenous viewpoints or its outline of the social environment of Manaus and the port. A special element here is the choice to cast Regis Myrupu in the role of Justino: it is his first role and, as he said, one that has several parallels with his own life. Aljaž Krivec

V sodelovanju z Mednarodnim filmskim festivalom v Innsbrucku.

In cooperation with International Film Festival Innsbruck.

CHIARO-OSCURO: TIRANIJA NAPREDKA / CHIARO-OSCURO: TYRANNY OF PROGRESS

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35-MM KULT-URE / 35MM CULT-URE Poklon zgodovini filma. V času, ko je klasika postala kult. Homage to the history of film. At the time when the classic turned into a cult. Cabirijine noči / Nights of Cabiria Osem in pol / 8½ Vaba / Bait

35-MM KULT-URE / 35MM CULT-URE

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CABIRIJINE NOČI / LE NOTTI DI CABIRIA / NIGHTS OF CABIRIA

Italija, Francija/Italy, France 1957 režija/directed by Federico Fellini scenarij/script Federico Fellini, Ennio Flaiano, Tullio Pinelli fotografija/cinematography Aldo Tonti montaža/editing Leo Catozzo glasba/music Nino Rota zvok/sound Oscar di Santo igrajo/cast Giulietta Masina, François Périer, Franca Marzi producent/producer Dino De Laurentiis produkcija/production Dino De Laurentiis Productions, Le Films Marceau distribucija/ distribution Tamasa Distribution format/format DCP (posneto na 35-mm/shot on 35mm) dolžina/ running time 110’

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Cabirija je rimska prostitutka, ki bi bila rada vse prej kot to. Rada bi bila svoje nasprotje, torej zvesta in skrbna žena, a prvi možni mož ji na samem začetku filma spodnese to iluzijo. Cabirija se vrne k običajnemu postopanju po ulicah, dokler …

A Rome-based prostitute, Cabiria wants to be anything but. She wishes to be just the opposite: a faithful and attentive wife. However, early on in the film her first husband thwarts her illusions and Cabiria returns to her streetwalking until ...

Ta nadvse lep film ima znotraj pozicije filmske kamere do snemanega objekta preračunljivo stalnico. To so predvsem iz japonskega filma znani posnetki v hrbet, ki gledalcu – vse do predzadnje sekvence – ostajajo precej neinterpretativni. Razen tega, da vnašajo nekakšno tesnobo (in ne sprostitvenega oziroma kontemplativnega počitka kot na primer pri Ozuju), jim gledalec ne najde drugega pomena in razume ta postopek kot avtorjev jezikovni trik. Film Cabirijine noči je film želje, film o nekom, ki si želi drugačne realnosti, film o strahu pred to željo, predvsem pa film o prevari, nečistosti (ne Cabirijini), podlosti, skratka o zahrbtnosti. Tip, ki porine Cabirijo v Tibero, ostane dolgo v daljnem planu, in ko zbeži z njeno torbico, se s hrbtom obrne proti kameri; njene kolegice prostitutke in zvodniki sedijo v posnetku na pikniku, ki so si ga priredili po romanju k Mariji, s hrbti proti gledalcu: tudi oni so prevarali Cabirijo, saj se po romanju niso spremenili (torej niso želeli istega kot ona – biti drugačni). Izdala jo je cerkvena mašinerija, zato vidimo njene delegate – duhovnike, kako se, obrnjeni s hrbti proti Cabiriji, oddaljujejo v daljnem planu. Vidimo Cabirijo in Oscarja na zmenkih, ko nam ob pogovorih, ki jih ne slišimo, kažeta hrbet, vidimo ju v dolgih posnetkih sprehodov ob Tiberi, ko sta – kakor da bi iskala svojo intimnost – obrnjena stran od gledalca, in naposled gledamo v zadnjo plat tudi stvarem – v kadrih z odhajajočimi

This exquisitely beautiful film maintains a scheming camera position towards the object being filmed: characters are shot from behind, which is mostly known in Japanese cinema. Such shots remain quite uninterpretative to the viewer until the penultimate sequence. Apart from introducing tension (rather than a relaxing or contemplative rest as is typical of Ozu), the viewer finds no other meaning to them, and understands the procedure as the author’s linguistic trick. Nights of Cabiria is a film of desire, a film about somebody hoping for a different reality, a film about the fear of this desire, and above all, a film of deceit, impurity (not Cabiria’s), meanness, in short, of treachery. The guy who pushes Cabiria into the River Tiber, remains in the long shot for quite a while, and when he runs with her purse, he turns his back to the camera. In the shot at the picnic held after their pilgrimage to Mary, Cabiria’s colleagues prostitutes and pimps are sitting with their backs towards the camera: they too have betrayed Cabiria by refusing to change after the pilgrimage (they do not share her desire – to be different). She has been betrayed by the Church machinery, therefore its delegates – priests are portrayed in the long shot as they are moving away, with their backs towards Cabiria. We see Cabiria and Oscar dating, having conversations we cannot hear and turning their backs to us; we see them having long walks along the Tiber, turned away from the viewer as if looking for some

35-MM KULT-URE / 35MM CULT-URE


FEDERICO FELLINI Federico Fellini (1920–1993) je eden najbolj cenjenih in posebnih režiserjev iz obdobja po drugi svetovni vojni. Na začetku kariere je pod vplivom neorealističnega gibanja razvil čisto posebne metode, s pomočjo katerih je na navadne situacije dodajal sanjske ali halucinatorne podobe. Cesta (La Strada, 1954) je bil film, s katerim je zaslovel, vendar sta bila Sladko življenje (La Dolce Vita, 1960) in Osem in pol (8 ½, 1963) tista, ki sta v celoti izrazila njegovo zrelo tehniko, saj sta opustila koherentnost zgodbe in prepustila dejstvom in fantaziji, da se medsebojno prepleteta. Federico Fellini (1920–1993) was one of the most celebrated and singular filmmakers of the period after World War II. Influenced early in his career by the Neorealist movement, he developed his own distinctive methods that superimposed dreamlike or hallucinatory imagery upon ordinary situations. La Strada (1954) was the film that established him, but it was La Dolce Vita (1960) and 8 ½ ( 1963) which fully expressed Fellini’s mature technique, dispensing with narrative coherence and instead allowing fact and fantasy to spin together indiscriminately.

avtomobili ... In če nam stvari in ljudje nastavljajo hrbet, potem se to dogaja zato, ker ne morejo pokazati svojega obličja, kajti njihovi pogledi bi izdajali tudi njihove namene. Prevara oziroma laž (hrbtnost) konstituira resnico (filmsko idejo). Treba je poudariti še Cabirijino podobnost z vsemi Fellinijevimi obrobneži in prestopniki, ki so hkrati prevaranti in prevarani. Vsi na nek način prodajajo laži in vsi so pri delu izdani ... Predvsem pa so vsi to, kar nočejo biti (eksplicitno tega nikoli ne povedo), kar pelje že k melodramski zasnovi in k pietetnemu interpretiranju teh izgubljenih nevednežev, ki visijo na nitki, ki pa je v rokah drugega – a sami se tega nikoli ne zavedajo. In ta skrita ali prikrita nedolžnost je tudi prvi pogoj za gledalčevo primarno identifikacijo z omenjenimi liki. Majda Širca Povzeto po Federico Fellini, Kinotečni zvezki, ur. Zorica Kurent, Kinematografi Ljubljana, Dvorana Kinoteke, Ljubljana 1986

intimacy. Eventually, we also look at the backside of things – in shots of leaving cars. And if both things and people are turning their backs, it is because they are unable to show their faces, lest their eyes betray their intentions. Betrayal or lie (the back side of things) constitutes the truth (i.e. the idea of the film). Another thing to note is Cabiria’s similarity to other Fellini’s outsiders and delinquents, who are both deceivers and the deceived. In a way, they all sell lies and they are all betrayed in what they do. And especially, they all wish to be something they are not (although none of them say so explicitly). This brings us to a melodramatic format and results in reverence in interpreting these lost ignoramuses hanging by a thread that is held by someone else – which none of them are aware of. It is this hidden or covert innocence that serves as the precondition for the viewer’s primary identification with such characters. Majda Širca Based on Federico Fellini, Kinotečni zvezki, ed. Zorica Kurent, Kinematografi Ljubljana, Dvorana Kinoteke, Ljubljana 1986.

V sodelovanju s Primorskim poletnim festivalom, Slovensko kinoteko in Skupnostjo Italijanov Santorio-Santorio Koper.

In cooperation with Primorska Summer Festival, Slovenian Cinematheque and Santorio-Santorio Koper Italian Community.

35-MM KULT-URE / 35MM CULT-URE

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OSEM IN POL / 8½

Italija, Francija/Italy, France, 1963 režija/directed by Federico Fellini scenarij/script Ennio Flaiano, Federico Fellini, Tullio Pinelli, Brunello Rondi fotografija/ cinematography Gianni Di Venanzo montaža/editing Leo Catozzo glasba/music Nino Rota zvok/sound Alberto Bartolomei, Mario Faraoni igrajo/cast Marcello Mastroianni, Bruno Agostini, Sandra Milo, Anouk Aimée, Barbara Steele producent/producer Angelo Rizzoli produkcija/production Cineriz, Francinex distribucija/distribution Cineriz, Columbia Pictures format/format 35-mm dolžina/running time 138’

Halo? Halo? Sja. Robi, živjo. Kdaj mi boš poslal Fellini? Uf, glih zato te kličem. Lepa. Zaslutu sem to. Kaj si zaslutu? Zaslutu sem, da me zato kličeš. Ti, kaj točno moram napisat? Ja, pač, kak esej, impresijo, poklon velikemu mojstru sedme umetnosti. Zakaj je sedma umetnost? Hja, zato očitno, ker filma ni bilo včasih, al kaj? Kerih je pa prvih šest umetnosti? To so po mojem te stare umetnosti, te umetnosti k so že ful časa. Pa sej a ni ful teh umetnosti? … V glavnem ... kratek prispevek o tem biseru sedme umetnosti. In kul je, če kr neki napišem? Kaj to misliš kr neki? Kokr si reku, impresija. Nima veze v bistvu, če sem prav razumel? Kaj, kaj nima veze? Nima veze kaj napišem? Mislim, mal ma veze ... v bistvu ma na polno veze. V bistvu ma to največ veze od vsega. Ampak je, kokr si mi na začetku reku, precej poljubno? Ja, pizdarija ... ne vem, mislim, na kak način bi pa ti to napisu? Ja js mislim, da mam prbližn podobno interpretacijo kokr vsi. Kaka pa je to? Neki o tem, kako je on bogi pa da ne morš povedat resnice nikakor. On se hoče na direkten način lotit, hkrati pa skoz govori, kako se laže. Pa ful je teh različnih loopov. Ja. Pa v bistvu ne, lajf je tud sam nek loop. Ja ne vem, lah bi tud to, al kaj? Ok. Kdaj pa je pol ta ta prav rok?Ja ti, bil je do dons, ne. Vsi neiskreni ljudje vemo, da je težko biti iskren. Lahko tudi domnevamo, da na isti način, kot si revni želijo bogastva, lažnivci hlepimo po resnici. Za Guida Anselmija pravijo, da laže tako enostavno, kot diha.

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35-MM KULT-URE / 35MM CULT-URE

Hello? Hello? Robi, hi. When will you send me the Fellini text? Well, that’s exactly why I’m calling. Nice one. I sensed that. So what exactly am I supposed to write? Well, an essay, an impression, a tribute to the great master of the seventh art. Why is it the seventh art? Well, probably because cinema didn’t exist before? Which are the first six arts then? I think it’s the old arts, those that have been around for a long time. Aren’t there heaps of them? … Anyways... a short text on this jewel of the seventh art. And it’s cool if I write whatever? What do you mean whatever? Like you said, an impression. It doesn’t matter, right? What doesn’t matter? It doesn’t matter what I write. I mean, it does a bit ... actually it does big time. But, like you said at the beginning, I have a free hand? Goddammit ... I don’t know. I mean how would you write it? I think I have the same interpretation as everyone else. What interpretation is that? Something about him being a poor sod and that there’s no way of expressing the truth. He wants to tackle things directly, but he also keeps saying that he’s lying. And there’s lots of different loops. Yeah. But really, life itself is actually a loop too. you could do that too. Okay. So when’s the real deadline? It was today, man. All us insincere people know that it is hard to be sincere. We can also assume that just like poor people desire wealth, so liars yearn for the truth. They say that for Guido Anselmi lying is as easy as breathing. Guido cannot but also represent the film’s director Federico Fellini. For a long time, Fellini could not decide what his character would be by profession. When he realised that Guido was actually him and gave Guido the career of a filmmaker, this fusion


FEDERICO FELLINI Federico Fellini (1920–1993) je eden najbolj cenjenih in posebnih režiserjev iz obdobja po drugi svetovni vojni. Na začetku kariere je pod vplivom neorealističnega gibanja razvil čisto posebne metode, s pomočjo katerih je na navadne situacije dodajal sanjske ali halucinatorne podobe. Cesta (La Strada, 1954) je bil film, s katerim je zaslovel, vendar sta bila Sladko življenje (La Dolce Vita, 1960) in Osem in pol (8 ½, 1963) tista, ki sta v celoti izrazila njegovo zrelo tehniko, saj sta opustila koherentnost zgodbe in prepustila dejstvom in fantaziji, da se medsebojno prepleteta. Federico Fellini (1920–1993) was one of the most celebrated and singular filmmakers of the period after World War II. Influenced early in his career by the Neorealist movement, he developed his own distinctive methods that superimposed dreamlike or hallucinatory imagery upon ordinary situations. La Strada (1954) was the film that established him, but it was La Dolce Vita (1960) and 8 ½ ( 1963) which fully expressed Fellini’s mature technique, dispensing with narrative coherence and instead allowing fact and fantasy to spin together indiscriminately.

Guido se ne more izogniti temu, da ne bi predstavljal tudi avtorja filma Federica Fellinija. Fellini se dolgo ni mogel odločiti, kaj bo njegov lik po poklicu. Ko je ugotovil, da je to pravzaprav on sam, in je Guidu namenil kariero filmskega režiserja, se je rodilo to zlitje filma in »resničnosti«, utemeljitelj sodobnega metafilma: Osem in pol. Torej Gudio Anselmi je Federico Fellini in seveda ni Federico Fellini. Že Federico Fellini je najbrž daleč od tega, da bi bil Federico Fellini. Kakšne možnosti ima torej Guido Anselmi? Ne vem, če ste kdaj videli fotografijo Federica Fellinija, bi pa rekel, da je Marcello Mastroianni lepši. In če je lepši on, potem so najbrž v filmu lepše tudi prevare, laži, zamere in prerekanja. Ampak kdo pravi, da je Fellini sploh želel imeti opravka z resnico? Človek je svoje življenje posvetil filmu, ki pa je v neki inkarnaciji znan tudi kot antiresnica, zdravilo za bolezen življenja. Lahko pa sumimo, da je mistično iskal resnico skozi mrežo laži. Guido se v svojo mrežo zaplete. In kaj lahko naredi žužek, ujet v mrežo? Človek, ki pri tarotu obrne karto obešenec? Lahko se samo preda.

of film and “reality”, the founder of contemporary metacinema, came to life: 8½. So Guido Anselmi is Federico Fellini and of course is not Federico Fellini. Even Federico Fellini himself is probably far from being Federico Fellini. So what chances does Guido Anselmi have? I do not know if you ever saw a photo of Federico Fellini, but I would say that Marcello Mastroianni is more beautiful. And if he is more beautiful, then the deceits, lies, grudges and quarrels in the film are probably more beautiful too. But who says that Fellini even wanted to deal with the truth? He devoted his life to cinema, which, in one of its incarnations, is also known as anti-truth, medicine for the illness of life. We can suspect, however, that he mystically sought the truth through a web of lies. Guido gets entangled in his web. And what can a bug caught in a web do? Or a person that in Tarot turns over the Hanged Man card? They can only surrender. Tosja Flaker Berce

Tosja Flaker Berce

V sodelovanju s Primorskim poletnim festivalom, Slovensko kinoteko in Skupnostjo Italijanov Santorio-Santorio Koper.

In cooperation with Primorska Summer Festival, Slovenian Cinematheque and Santorio-Santorio Koper Italian Community.

35-MM KULT-URE / 35MM CULT-URE

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VABA / BAIT

Velika Britanija/Great Britain, 2019 režija/directed by Mark Jenkin scenarij/script Mark Jenkin fotografija/cinematography Mark Jenkin montaža/editing Mark Jenkin glasba/music Thea Gilmore, The Malarkey, Gwenno zvok/ sound Daniel Thompson igrajo/cast Edward Rowe, Simon Shepherd, Mary Woodvine, Giles King, Chloe Endean producent/producer Kate Byers, Linn Waite produkcija/production Early Day Films Limited distribucija / distribution The Festival Agency format/format DCP (posneto na 16-mm/shot on 16mm) dolžina/ running time 89’

V Cornwallu rojeni britanski umetnik Mark Jenkin v celovečernem prvencu Vaba naslavlja večni konflikt med tradicijo in napredkom, med starim in novim, med revščino in bogastvom. Neapologetsko spraskane, včasih neostre, zrnate in hipnotično kontrastne črno-bele podobe jeznih ribičev v zaspanem obalnem mestu nam v najžlahtnejši britanski tradiciji – skozi lečo razrednega boja – razkrivajo, kako pod pretvezo »revitalizacije«, v resnici pa predvsem v želji po dobičku, izginjajo kompleksne mreže lokalnih skupnosti, tradicionalna znanja in starodavni načini življenja. Že tako aktualen film v kontekstu trenutne pandemijske krize sveta deluje le še bolj urgentno, saj jasno opominja na nevzdržnost sistema, ki je popolnoma odvisen od množice turistov z denarjem in ki služi zgolj interesu peščice. Jenkin, ki se pod film podpisuje kot režiser, scenarist, direktor fotografije, montažer in avtor glasbe, v Vabi o sodobnih družbenih tenzijah, pomenu (tradicionalnih) obrti in bolj trajnostnem pristopu k življenju (in umetnosti) ne premišljuje samo na vsebinski ravni, pač pa tudi skozi sam medij svojega ustvarjanja. To, o čemer govori, sam tudi živi. Vaba je posneta na 16-mm trak, s starinsko kamero Bolex, kar s seboj prinese povsem specifičen način ustvarjanja, ki se najbolj očitno zrcali v zvoku in montaži. Jenkin je film sam tudi ročno razvil v svojem studiu v Newlynu. Robustne podobe sveta, ki danes obstajajo na margini vidnega – ribiške mreže, delavske roke, od vetra, morja, sonca in soli utrjeni obrazi, dotrajane ribiške barke, umazane obleke, gumijasti škornji

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In his debut feature Bait, the Cornish-British artist Mark Jenkin addresses the eternal conflict between tradition and progress, the old and the new, poverty and wealth. The unapologetically scratched, sometimes unsharp, grainy and hypnotically contrasting black-and-white images of angry fishermen in a sleepy costal town reveal, through the lens of class struggle, how, under the guise of “revitalisation”, but actually primarily due to the desire for profit, complex networks of local communities, traditional knowledge and the old ways of life are disappearing. In the context of the current global pandemic crisis, the already topical film seems even more pressing as it clearly points to the untenability of a system that depends solely on the masses of tourists and serves only the interests of the few. In Bait, Jenkin thinks about contemporary social tensions, the significance of (traditional) crafts and a more sustainable approach to life (and art) not only at the level of content, but also through the very medium of his work. Bait was shot on 16-mm film stock with an old Bolex camera, which entails a quite specific mode of filmmaking, most apparently reflected in the sound and the editing. Jenkin also developed the film himself in his studio in Newlyn. The robust images of the world that today exist on the margins of the visible – fishing nets, workers’ hands, faces hardened by the wind, the sea, the sun and the salt, run-down fishing boats, dirty clothes, rubber boots – are full of scratches and irregularities. But it is precisely due to their imperfection that they have such a powerful impact on the viewers.


MARK JENKIN Mark Jenkin (1970) je prvi uspeh doživel s svojim režijskim prvencem Golden Burn, za katerega je na podelitvi keltskih nagrad za film in televizijo leta 2002 prejel nagrado Franka Copplestona za režiserje začetnike. Na univerzi v Falmouthu kot pridruženi član predava film. Je tudi avtor filmskega manifesta »Silent Landscape Dancing Grain 13«, ki zagovarja estetiko in logistične možnosti ročno posnetih filmov. Njegov film Vaba je bil premierno prikazan na Berlinalu 2019. Mark Jenkin (1970) had his first success with his directorial debut Golden Burn (2001), which won the Frank Copplestone First Time Director’s Award at the Celtic Film and Television Awards in 2002. He is an associate of Falmouth University where he lectures Film and is the author of the “Silent Landscape Dancing Grain 13 Film Manifesto”, promoting the aesthetic and logistic possibilities of handmade film. His 2019 feature Bait premiered at the Berlinale 2019.

– so polne prask in nepravilnosti. A prav zaradi svoje nepopolnsti na gledalca delujejo še toliko bolj močno. Jenkin za razvijanje svojih fimov uporablja posebno raztopino z instant kavo, ki ni toksična. »Ko gledam Vabo, točno vem, pri razvijanju katere role sem imel oblečen volnen pulover, saj je na tistem delu filma vidnih veliko več belih nitk. Ena rola pa se mi je še posebej ljubo ’ponesrečila‘«, pravi. »Ko sem dal film sušit, za sabo nisem dobro zaprl vrat in skozi špranjo je veter prinesel cvetni prah, ki se je prilepil na film in povzročil nenavadno lep svetlikajoč efekt. Delo s filmom je – tako kot življenje – nepredvidljivo. Nikoli ne veš, kaj boš dobil.« Končni izdelek je tako neločljiv od načina, na katerega je narejen. V času prevlade umetno spolirane digitalne realnosti Jenkinov analogni vizualni eksperiment, ki skozi samosvojo filmsko poetiko kritično naslavlja delovanje kapitalističnega sistema, prav zaradi edinstvenega ustvarjalnega pristopa deluje sveže in relevantno. Ana Šturm

To develop his films, Jenkin uses a special solution based on instant coffee, which is not toxic. “I watch it [Bait] now … and there are some shots that I know are from a roll where I clearly was wearing a woolly jumper on the day that I processed it because I can see the fibres,” he said in an interview. He then described how he “bungled” another roll, making it sparkly and glittery. “I realised it was a roll I’d hung up to dry and I’d left the door of the studio open. And it’s pollen that’s come in and will forever be in the emulsion of the film.” For him, working with film is like life – unpredictable. At a time when the artificially polished digital reality predominates, it is precisely due to his unique creative approach that Jenkin’s analogue visual experiment, which through his special film poetics critically addresses the functioning of the capitalist system, comes across as fresh and relevant. Ana Šturm More about the film in an interview for KINO! magazine, No. 40/41 (2020).

Več o svojem filmu pa Mark Jenkin pove v intervuju za revijo KINO! 40/41 (2020).

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LJUBO DOMA / HOME SWEET HOME Prebojni slovenski film. Groundbreaking Slovenian film. ÄŒlovek s senco / Man With Shadow Playing Men Trenutek reke / Timeless River

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ČLOVEK S SENCO / MAN WITH SHADOW

Slovenija/Slovenia, 2019 režija/directed by Ema Kugler scenarij/script Ema Kugler fotografija/cinematography Lev Predan Kowarski vizualni učinki/ visual effects NuFrame montaža/editing Ema Kugler glasba/music Robert Jiša zvok/sound Boštjan Kačičnik igrajo/cast Marko Mandić, Nataša Matjašec Rošker, Loup Abramovici, Matija Vastl, Jure Henigman producent/producer Ema Kugler produkcija/production Zavod ZANK koprodukcija/co-production ZVOKARNA, NuFrame, VPK, MB grip, Big Heart Studio distribucija/distribution Zavod ZANK format/format DCP dolžina/running time 100’

»Tam zgoraj iz popotnikov delajo ljudi.«

“Up there they are making people out of travellers.”

Človek s senco je precizna anatomija človeštva, ki prevprašuje, kdo smo, kje smo in kam gremo. Brezkompromisno da vedeti, da usoda ni nekaj nebeškega, transcendentnega, kar posameznika nezavedno vodi k lastni samouresničitvi, ampak je prej dokončna posvojitev norm in okov, ki jih določa moč kapitala in jim vsak posameznik sledi, dokler ne postane človek.

Ema Kugler’s Man With Shadow (2019) is a precise anatomy of humanity questioning who we are, where we are and where we are going. It uncompromisingly lets us know that fate is not something heavenly or transcendent that unconsciously leads one to one’s self-realisation, but the final adoption of the norms and shackles determined by the power of the capital that every individual follows until they become humans.

Ema Kugler spada v tisti razred velikih režiserjev, ki znajo uporabiti/izrabiti medij filma mimo literarnega ali dramskega, temveč ga zagrabijo v njegovem bistvu – gibljivi podobi. Skozi pretkano nizanje teh podob nam režiserka kaže svet, ki ni svoboden, ni pravičen, je poln protislovij, stisk, trpljenja, vdanosti, grabežljivosti in hlepenja po moči. Kaže nam svet, ki mu je bitje zapisano od popkovine. Kaže nam svet, ki ga živimo.

Ema Kugler belongs to the class of great directors that know how to use/take advantage of the medium of film regardless of the literary and the dramatic, seizing it in its essence – the moving image. By artfully stringing the images, the director shows us a world that is not free or just, but full of contradictions, predicaments, suffering, resignation, rapacity and lust for power. She shows us the world one is condemned to the moment the umbilical cord is formed. She shows us the world we live.

Vprašanje je, kdo tam zgoraj nam ga določa? Kot pravi Kugler: »Eno je civilizacija kot sistem moči in nadzora, zgrajen tekom časa in postavljen od tistih, ki so bili in ki so še na poziciji moči in ti dejansko določajo človekovo usodo. V toku ’zgodbe‘, ki jo film razvija, se pokaže, da je največja zabloda človeka njegova iluzija, da je svoboden.« (MMC, 29. 6. 2019) Civilizacija je beseda, ki načeloma vzbuja pozitivne asociacije; misel, jezik, znanost, razvoj, kultura in v zahodnem delu sveta – demokracija: ureditev, znotraj katere ima slehernik pravico, da izrazi svojo politično voljo in tako so-odloča, v kakšni družbi bo živel, so-tlakuje pot civilizacije.

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The question is who up there determines it for us. As Kugler says: “One thing is civilisation as a system of power and control, built through time and set up by those who were and still are in power, and they are the ones that determine people’s fates. In the course of the ‘story’ that the film develops, it turns out that the greatest delusion of humans is their illusion that they are free.” (MMC, 29 June 2019) Civilisation is a word that generally arouses positive associations; thought, language, science, development, culture and, in the Western world, democracy: a system in which every individual has the right to express their political will and thus co-


EMA KUGLER Ema Kugler (1955) je slovenska režiserska, scenaristka, scenografinja, kostumografinja, montažerka, producentka in multidisciplinarna umetnica. Za svoje delo je prejela že okrog 30 nagrad, tako na tujih festivalih (LA Film Awards, Worldfest Houston, European Cinematography Awards, New York IIFVF, Moondance IFF) kot tudi doma: nagrado Prešernovega sklada, Župančičevo nagrado, zlato ptico, letos pa tudi Štigličevo nagrado za življenjsko delo na področju režije. Človek s senco je prejel vesno za najboljši eksperimentalni film, pa tudi že kar nekaj mednarodnih nagrad. Ema Kugler (1955) is a Slovenian director, screenwriter, set designer, costume designer, editor, producer and multidisciplinary artist. She has received around 30 awards, both internationally at various film festivals (LA Film Awards, Worldfest Houston, European Cinematography Awards, New York IIFVF, Moondance IFF), and in Slovenia: Prešeren Fund Award, Župančič Award, Golden Bird, and just this year also the Štiglic Award for Lifetime Achievement in Directing. Man With Shadow was also awarded the Vesna for Best Experimental Film and several international awards.

Vendar: bi resnično svobodni ljudje res izbrali trg namesto solidarnosti, vojno namesto ljubezni, sistem namesto svobode ali pa je to nekaj, kar človek vzame v zakup, zato da mu je pot, ki jo hodi, lažja? Ali smo ljudje pripravljeni iti po neuhojeni poti – za svobodo? Ko režiserka sleče človeštvo vsega materialnega, bleščečega in banalnega, kar ljudem grabi pozornost iz dneva v dan, pokaže drugo plat tega, kar smo skozi tisočletja (raz)gradili. Strohnele in zatohle temelje družbe, ki je ubrala pot konformizma in se enoumno obrača za roko avtoritete (leve in desne), ki jo nadzira in izkorišča za ohranjanje svoje moči. Iti svojo pot, slediti že uhojeni, premleva Popotnik. Slednja je široka, lažja za hojo, posuta je z drobtinicami materialnega, bleščečega, banalnega – z vsem kar mu manjka, da postane eden od ljudi. Jasna Pintarič

decide in what kind of a society they will live, co-pave the road of civilisation. However: would truly free people really choose the market over solidarity, war over love, system over freedom, or is this something that people accept so the path they travel is easier? Are people prepared to take the road less travelled by – to be free? By stripping humanity of all the material, the shiny and the banal that grabs people’s attention day in and day out , the director shows us the other side of what we have (de)constructed throughout the millennia. The rotten and musty foundations of society that has taken the path of conformism and blindly follows the authority (left and right) that controls and exploits it to maintain its power. To go one’s own way or take the well-travelled path, ponders the Traveller. The latter is wide, easier to walk, covered with crumbs of the material, the shiny, the banal – everything the Traveller lacks to become a human. Jasna Pintarič

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PLAYING MEN

Slovenija, Hrvaška/Slovenia, Croatia, 2017 režija/directed by Matjaž Ivanišin scenarij/script Matjaž Ivanišin fotografija/cinematography Gregor Božič montaža/editing Matic Drakulić zvok/sound Borna Buljević, Ivan Antić producent/producer Marina Gumzi produkcija/production Nosorogi koprodukcija/coproduction Restart distribucija/distribution Nosorogi format/format DCP (posneto na 16-mm/shot on 16mm) dolžina/ running time 61’

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Naslov Playing Men s svojo večpomenskostjo namiguje na avtorjevo fascinacijo nad igro. Ivanišin se v dokumentarcu ukvarja s pomeni besede igra – s kamero sledi moškim, ki se igrajo, na določeni točki pa vstopi v igro tudi sam, in sicer ne le z igrivim sopostavljanjem podob (moških) iger, temveč tudi s postavitvijo sebe pred objektiv, v igro pa na koncu vključi tudi – danes na žalost že pokojnega – filmskega in gledališkega igralca Petra Musevskega. Playing Men dopolnjuje pesem Vaska Pope »Pre igre«, ki jo Nebojša Pop Tasić (poetični pripovedovalec v Ivanišinovem Karpopotniku [2013]) recitira, še preden iz projektorja izletijo prve podobe filma. »Padal boš dneve in dneve, / globoko, globoko, / odvisno, koliko si globok. / Do dna svojega brezna. / Če se ne razbiješ na delčke, / ampak ostaneš cel in cel vstaneš, / potem lahko igraš,« pravi pesem, ki razkrije Ivanišinov odnos do prikazanih iger – in igre, ki jo igra. Za igranje je potrebna iskrenost.

The polysemous title Playing Men hints at the author’s fascination with play. In his documentary, Ivanišin explores the meanings of the word play – with his camera, he follows the men playing, and at a certain point enters the play himself. He does so not only by playfully paralleling the images of (male) games, but also by positioning himself in front of the lens. Eventually, he also brings into play – now, unfortunately, already deceased – film and theatre actor Peter Musevski. Playing Men is supplemented by the poem “Before The Game” by Vasko Popa, which Nebojša Pop Tasić (the poetic narrator in Ivanišin’s Karpotrotter [Karpopotnik, 2013]) declaims before the first film images emerge from the projector. “Fall then with all your weight / Fall for days on end deep deep deep / To the bottom of your abyss. / Who doesn’t break into pieces / Who remains whole gets up whole / Plays,” says the poem that reveals Ivanišin’s attitude to the games portrayed – and the game he plays. You need to be honest to be able to play.

Pesem »Moja puška, moj poni in jaz«, ki predstavlja zaključek Playing Men, je svoje mesto našla tudi v Riu Bravu (1959), kjer jo odpojeta Dean Martin in Ricky Nelson. Še prej se v filmski zgodovini pesem pojavi v Hawksovi Rdeči reki (Red River, 1948), takrat z drugačnim besedilom in naslovom (»Settle Down«) ter v pompozni klasični hollywoodski orkestralni izvedbi. Odločitev za vključitev pesmi iz kanonskih vesternov ni naključje. Ivanišin je žanr vesterna označil za playingmenovskega, poudaril pa je tudi, da je svoj film po klišeju odhoda kavbojev v sončni zahod zaključil z omenjeno pesmijo. A brez konjev ali sončnega zahoda in v izvedbi dueta Ivanišin-Musevski.

The song “My Rifle, My Pony & Me” underlining the ending of Playing Men, had already found its place in Rio Bravo (1959), where it was sung by Dean Martin and Ricky Nelson. Even earlier in film history, it appeared in Hawks’ Red River (1948), although with different lyrics and a different title (“Settle Down”) and arranged as a pompous classical Hollywood orchestral piece. The decision to include a song from canonical westerns was no coincidence. Ivanišin has labelled the western genre as playingmenlike, also adding that he concluded his film with this song following the cliché of cowboys riding into sunset. Only, he used no horses and no sunset, and had the song performed by the Ivanišin-Musevski duet.

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MATJAŽ IVANIŠIN Matjaž Ivanišin (1981) je diplomiral iz filmske in televizijske režije na AGRFT. Njegov dokumentarni film Karpopotnik je bil leta 2013 nagrajen z vesno za najboljši scenarij, mednarodno premiero pa je doživel na festivalu v Rotterdamu. Za dokumentarni esej Playing Men (2017) je poleg številnih mednarodnih nagrad prejel vesno za najboljši dokumentarec. Njegov zadnji film Oroslan (2019) je svetovno premiero doživel v tekmovalni sekciji Cineasti del presente festivala v Locarnu. Matjaž Ivanišin (1981) graduated in film and TV direction from the Ljubljana Academy of Theatre, Radio, Film and Television. His documentary Karpotrotter (Karpopotnik) received a Vesna award for best script at the Festival of Slovenian Film, and had its international premiere at the Rotterdam festival. For his documentary essay Playing Men (2017), he received numerous international awards and a Vesna award for best documentary. His latest film Oroslan (2019) had its world premiere in Cineasti del presente, the competitive programme of the Locarno festival.

Playing Men nosi mnoge ikonografske poteze vesterna. Vesternovsko deluje na primer podoba moškega, ki daleč od doma na travniku meče velike kamne v daljavo, ali pa že uvodna sekvenca turške borbe naoljenih teles. Ivanišin, Gregor Božič (direktor fotografije) in Ivan Antić (snemalec zvoka) se preznojenim borcem povsem približajo, z odrezavo in ritmično montažo ter ob bučni spremljavi tolkal je vzpostavljena določena mera intimnosti. Tu je jasno avtorjevo zanimanje za telesnost, moško telo, ki ga erotizira in tako poudari pridih antičnega ideala. A stopi korak dlje. Prikaže namreč nekaj nepričakovano intimnih prijemov, ki jih uporabljajo borci, s čimer razblini fantazmo »dominantnega« moškega telesa, ki jo še trenutek poprej gradi.

Playing Men carries several iconographic features of the western, e.g. such is the image of a man, far from home, throwing big stones far away, or the introductory sequence of Turkish-style wrestling performed by oiled bodies. Ivanišin, Gregor Božič (director of photography) and Ivan Antić (sound recorder) approach the sweaty wrestlers from up close. The curt and rhythmical editing and thunderous percussions help establish a certain level of intimacy. The author’s interest in physicality and the male body becomes clear; he eroticizes the body, emphasising the touch of the antique ideal. However, he takes a step further. He also shows some unexpectedly intimate grips used by the fighters, thus dispersing the phantasm of the “dominant” male body that was being constructed only a moment ago.

Playing Men premišljuje o moškosti, družbenih pričakovanjih, vezanih nanjo, in stereotipnih ter arhetipskih možnostih filmskega prikaza moškega.

Playing Men contemplates masculinity, the related social expectations as well as stereotyped and archetypal possibilities of the cinematic portrayal of a man.

Kristian Božak Kavčič Kristian Božak Kavčič

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TRENUTEK REKE / TIMELESS RIVER

Slovenija/Slovenia, 2010 režija/directed by Anja Medved, Nadja Velušček scenarij/script Anja Medved, Nadja Velušček fotografija/cinematography Ferruccio Goia montaža/editing Anja Medved, Ferruccio Goia glasba/ music Havir Gergolet, Salamandra Salamandra zvok/sound Rosario Guerrini producent/producer Aleš Doktorič produkcija/production Kinoatelje distribucija/distribution Kinoatelje format/format DCP dolžina/running time 63’

Dokumentarec Trenutek reke Nadje Velušček in Anje Medved predstavlja posebno avdiovizualno doživetje slovite slovensko-italijanske naravne znamenitosti, reke Soče, podajano skozi svojstveno, osebno perspektivo, ki vseskozi prehaja v univerzalne razsežnosti. Filmsko vzdušje je prilagojeno dinamiki utripa reke, osrednjega subjekta obravnave. Kamera potrpežljivo spremlja tok, čigar podobe se prepletajo s pričevanji in občutenji ljudi; pozornost montaže je usmerjena v iskanje ustreznega ritma, razmerja med arhivskim in izvirnim gradivom, poetika je osnovana na občutju časa, ki se pretaplja v trajanje, zato je pripoved povsem prepuščena vzgibom trenutnosti. Struktura celote namreč temelji na ustvarjalnem prepričanju, »da je film vselej vezan na sedanjost«. Čeprav je osrednja figura filma reka, so njegovi enakovredni protagonisti »obsoški staroselci« ali »ambisonti«, kakor svojo »nacionalno pripadnost« izpoveduje eden domačinov, legendarni avantgardist Ivan Volarič Feo. Ustvarjalki filma sta v potrpežljivem raziskovanju našli ljudi, pri katerih je čutiti, kako jim kri v žilah smaragdno žubori. Od pastirskega para matere in sina v zgornjem toku reke do ribičev ob njenem izlivu v morje se srečujemo z osebami, ki v reki vidijo »prijateljico, saj je vedno tu« (kot jo čuti čuvaj zapornic), hkrati pa se zavedajo, da jo je »treba zastopiti«, kar pa ni vselej mogoče (kakor je prepričan pastir). V njihovi predanosti reki se (morda nesluteno) ohranjajo domala filozofska spoznanja Antona Juga Kopoviščarja, ki pripoveduje, kako lahko resnico hkratne mimobežnosti reke in resnic, vtisnjenih v tisočletja nastajajočih zapisih v kamenju in skalah, razbirajo le tisti, ki jih je izbrala

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Timeless River, a documentary by Nadja Velušček and Anja Medved, offers a special audio-visual experience of the famed Slovenian-Italian natural attraction – the Soča river, shown through a unique personal perspective that keeps expanding to the universal dimension. The film’s atmosphere is adapted to the dynamics of the river’s pulse, which is the central topic of the film. The camera patiently follows its course, the images intertwined with people’s testimonials and sensations. The editing focuses on the search for the appropriate rhythm, or the relationship between archival and original materials. The film’s poetics is based on the perception of time which melts into continuation, and therefore, the narrative is fully left to the impulsion of momentariness. That is to say, the structure of the whole is based on the creative belief “that the film is always bound up with the present.” Despite the river being the central figure of the film, “the Soča riverside indigenes” or “Ambisonti” as one of the locals, the legendary avant-garde representative Ivan Volarič Feo, avows his “national affiliation”, are equally crucial protagonists. In their patient exploration, the two filmmakers have managed to find the people that make you feel as if the blood in them was emerald. We meet people who see the river as “a friend who is always there for them,” while also being aware that “you have to understand it”, which is not always possible. Almost philosophical realisations of Anton Jug Kopoviščar are preserved (maybe quite unsuspectedly) in their devotion to the river; he tells how the truth of the coincidental temporality of the river and the truths being imprinted on stones and rocks through millennia can only


NADJA VELUŠČEK IN ANJA MEDVED Nadja Velušček (1948) in Anja Medved (1969) sta mati in hči, avtorici številnih dokumentarnih filmov o goriškem obmejnem prostoru, kjer raziskujeta osebni in zgodovinski spomin skozi življenjske zgodbe posameznikov. Skupaj sta posneli dokumentarne filme Niso letele ptice (2000), Nora Gregor (2001), Mesto na travniku (2004), Trenutek reke (2010) in Vžgano v spominih (2017). Leta 2012 sta prejeli nagrado Franceta Bevka, ki jo novogoriška občina podeljuje za življenjsko delo oziroma za izredne ustvarjalne dosežke v umetnosti in kulturi. Anja Medved je diplomirala na ljubljanskem AGRFT. Nadja Velušček (1948) and Anja Medved (1969) are mother and daughter, authors of several documentary films on the Gorizia border area where they are exploring the personal and historical memory through individuals‘ life stories. Together, they made the documentaries These Were Not Birds (2000), Nora Gregor (2001), Town in a Meadow (2004), Timeless River (2010) and Burnt in Memories (2017). In 2012, they were awarded the France Bevk award given out by the Nova Gorica Municipality for lifetime achievement or special creative achievement in arts and culture. Anja Medved has graduated from the Academy of Theatre, Radio, Film, Television, Ljubljana.

Nikrmana (ustvarjalna Prasila, ki ureja vse, kar je). V tej kombinaciji heraklitskega načela, da »ni mogoče dvakrat stopiti v isto reko«, ter mitskih in mističnih odzvenov starodavnih verovanj utripajo pričevalski okruški iz življenja sogovorcev v povezavi pradavnosti in aktualnosti. Kajti podobno, kot je odnos z reko za večino nastopajočih najpogosteje zatekanje v »kraj, ki obnavlja duha« (kot pravi ribič in borec za zaščito rek), bi lahko podobno trdili tudi za film sam. Tako kot je led iz uvodnih, naslovnih verzov filma »zamrznjen trenutek reke«, lahko celoto doživljamo kot kristalizacijo ujetih momentov, ki ob ogledu sproščajo naboje energije, s katerimi je tudi gledalcu ponujena slutnja zaveze, ki navdihuje protagoniste in ustvarjalki filma. Andrej Šprah

be discerned by those chosen by Nikrmana (a creative Proto-Force that regulates all there is). It is in this combination of the Heraclitus’ maxim that “you cannot step into the same river twice” and of mythical and mystic reverberations of ancient beliefs, that the testimonial fragments of interlocutors’ lives throb in the connection between the ancient history and immediacy. Just like to the majority of people appearing in the film their relationship with the river most often means a retreat to “the place that revives the spirit,” the same could be said for the film as such. Like the ice from the introductory verses of the film, taken from the title, is “the frozen moment of the river”, so the entire film could be experienced as the crystallisation of captured moments, which, during viewing, emit energetic charges. Through them, the viewer is offered a vision of the pledge inspiring the films’ protagonists and the two authors. Andrej Šprah

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PRIJATELJI / FRIENDS Carte blanche otoškim programskim prijateljem. Carte blanche given to Otok‘s programming friends. Sabine Gebetsroither Domovina je prostor iz časa / Heimat is a Space in Time Nicola Falcinella Še en skok / One More Jump Helmut Groschup Telo neveste / Flesh Out

PRIJATELJI / FRIENDS

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DOMOVINA JE PROSTOR IZ ČASA / HEIMAT IST EIN RAUM AUS ZEIT / HEIMAT IS A SPACE IN TIME

Avstrija, Nemčija/Austria, Germany, 2019 režija/directed by Thomas Heise scenarij/script Thomas Heise fotografija/cinematography Börres Weiffenbach, Stefan Neuberger, Peter Badel montaža/editing Chris Wright zvok/sound Markus Krohn, Martin Steyer producent/producer Heino Deckert, Johannes Rosenberger, Constantin Wulff, Johannes Holzhausen produkcija/ production Ma.Ja.De. koprodukcija/co-production Navigator Film, ZDF/3sat distribucija/distribution Deckert Distribution format/format DCP dolžina/running time 218’

Dokumentarec vplivnega nemškega režiserja Thomasa Heiseja je meditacija o življenju in času. O podobi in jeziku in zvoku. Je tudi oda življenju, času, filmski sliki, zvoku sveta in jeziku, vsakemu na svoj način. Tri ure in slabih štirideset minut dolga epopeja besed – pisem avtorjevih prednikov, ki so živeli v različnih obdobjih moderne Nemčije – s sopostavljenimi podobami krajev, o katerih govorijo, je velik, a ne premonoton zalogaj, kot bi zaradi preproste oblike in obsežne dolžine lahko sodili. Kamera je skromna, je medij bujne narave, dinamike njenih sil, preko nje prihajajo do glasu. Je tudi pozorna udeleženka urbanih procesov. Ponudi vpogled v degradirane komplekse, v katerih se je nekoč odločalo o množicah, življenjih posameznikov in zgodovini. Mikrofon pa je natančen prisluškovalec v vse smeri neba, tolmač jezika podobe. Ob njih – preko njih, pod njimi – poslušamo dopisovanja prednikov, ki so živeli (in preživljali) nacizem, realsocializem. Zgodbo dvajsetega stoletja. Skozi besede pričujemo spreminjanju govorice, mentalitete in občutenja sveta. Odmiranje človeškega in – preživetje sveta kot takega. Film lahko gledamo optimistično ali pesimistično. Kot pričevanje o nadaljevanju življenja in minevanju vsakega trpljenja ali pa kot izraz nesmisla zgodovine, propadanja človeških prizadevanj in neizogibnega odhajanja generacij. Odvisno tudi od naših prepričanj. Tako ne gre samo za zgodovinsko dokumentarno delo, temveč tudi za filozofsko, ne da bi bila izrečena kakšna filozofska teza. Z vidika zgodovinske tematike se še enkrat več, a z nič manjšo silovitostjo, soočimo z osupljivostjo,

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The documentary by the influential German director Thomas Heise is a meditation on life and time; on image and language and sound. It is also an ode to life, time, film image, the sound of the world and language, to each in its own way. Extending over almost three hours and forty minutes, this words epic – featuring letters by the author’s predecessors who lived in various periods of modern Germany – with parallel images of the places discussed, is excessive, but not to monotonous to handle, as could be judged by its simple form and great length. The modest camera is a medium of luscious nature, the dynamics of its forces who are using it to be given a voice. It also participates attentively in urban processes. It offers insight into degraded complexes where decisions used to me made on the masses, individuals’ lives and history. Listening attentively towards all directions, the microphone interprets the visual language. Parallel to the images – through them, under them – we listen to letters of predecessors who lived (and were living) through Nazism and real socialism. The story of the 20th century. Through words, we are witnesses to changes in language, mentality, experiencing the world; to the withering of the humane, and survival of the world as such. The film can be seen as optimistic or pessimistic; as a testimony on the continuation of life and the passing of any suffering, or as an expression of the absurdity of history, deterioration of human endeavour and the unavoidable passing of generations. This also depends on our beliefs. Thus, not only is this a historical documentary piece, it is also a philosophical one, without uttering a single philosophical thesis.


THOMAS HEISE Thomas Heise (1955) kot svobodnjak piše in snema za gledališče, avdiodrame in dokumentarce. Za svoje filme je prejel vrsto nagrad, med drugim nagrado Nemškega združenja filmskih kritikov za najboljši dokumentarec (1993, 2001). Od leta 2007 predava na Univerzi za umetnosti in oblikovanje v Karlsruheju. Od leta 2018 je predavatelj za umetnost in film in Akademiji za likovno umetnost na Dunaju, od leta 2018 pa je direktor oddelka za film in medijsko umetnost na Akademiji za umetnost Berlin-Brandenburg. Thomas Heise (1955) has worked as a freelance writer and director in the fields of theatre, audio drama and documentary. He has won several awards for his films, including the German Film Critics Association Award for Best Documentary (1993, 2001). He has been a film professor at the Karlsruhe University of Arts and Design since 2007. Since 2013, he has been working as a professor of Art and Film at the Academy of Fine Arts Vienna, since 2018, he has been director of the Film and Media Arts section at the Academy of Arts Berlin-Brandenburg.

travmatičnostjo, neizrekljivostjo dvajsetega stoletja, ki ga je Alain Badiou v istoimenskem delu označil kot epsko stoletje. Film je obenem zanimiv poskus prehajanja med vrstami umetnosti. Denimo kot filmski roman v pismih ali pa filmski esej v kar najbolj preciznem pomenu. Muanis Sinanović Film je izbrala Sabine Gebetsroither

From the historical perspective, we are faced once more, but no less vehemently, with the astonishing, traumatising, unspeakable 20th century, also labelled the epic century by Alain Badiou in his eponymous work The Century. What the film also offers, is an interesting take at transitions between different kinds of art, such as a film novel in letters or a film essay of the most precise type. Muanis Sinanović The film was selected by Sabine Gebetsroither

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ŠE EN SKOK / ONE MORE JUMP

Italija, Švica, Libanon/Italy, Switzerland, Lebanon, 2019 režija/directed by Emanuele Gerosa scenarij/script Emanuele Gerosa fotografija/cinematography Matteo Delbò montaža/ editing Nicolò Tettamanti glasba/music Zeno Gabaglio zvok/ sound Tommaso Barbaro, Massimo Mariani nastopajo/featuring Abdallah Inshasi, Jehad Abo Sultan producent/producer Enrica Capra produkcija/production Graffiti Doc, Amka Films Production, Oneworld DocuMakers, ITAR Productions koprodukcija/co-production Trentino Film Commission, Piemonte Doc Film Fund, RAI Cinema, RSI, Ufficio Federale della Cultura - DFI, Al Jazeera distribucija/distribution Fandango Sales format/format DCP dolžina/running time 83’

Biti mlad na območju Gaze je drugače kot kjerkoli drugje. Mladostniki se morajo soočiti z zelo težko situacijo in nemožnostjo normalnega življenja, gibanja in sanj. Zanje je žarek upanja Parkour ekipa iz Gaze, skupina akrobatov, ki trenira na ulicah in v zapuščenih stavbah ali gradbiščih. Tam so starejši, kot je Jehad, hkrati učitelji in vzgojitelji. Ne samo da morajo mlajše učiti skoke in trike, hkrati morajo biti zgled otrokom in mladostnikom, ki so pogosto prepuščeni sami sebi. Dokumentarec Še en skok italijanskega režiserja Emanueleja Gerose pripoveduje vzporedni zgodbi Abdallaha, prvega, ki je v Gazi izvajal parkour, in njegovega prijatelja Jehada. Abdallah je odšel in zdaj živi v Firencah v Italiji, kjer sanja o tem, da bi sodeloval na mednarodnih tekmovanjih. Živi v opuščeni hiši na obrobju mesta in trenira na železniški postaji ali na ulicah med turisti. Jehad skrbi za bolnega očeta na invalidskem vozičku, ki potrebuje draga in nedostopna zdravila ter čaka na zdravljenje v Izraelu. Kljub vsemu vzgaja novo generacijo akrobatov, svojo energijo in svoj čas posveča prenašanju spretnosti in navdušenja na palestinske fante. Tudi Jehad načrtuje, da bi zapustil Gazo. Zaprosi za dovoljenje in upa, da ga daleč od doma čaka boljša prihodnost. Emanueleju Gerosi je uspelo ujeti življenje in sanje obeh junakov. Spremlja ju, ko se borita s težavami, hkrati pa svobodno in lahkotno skačeta. Parkour je edina pot do prave svobode. Še en skok je intenziven in ganljiv prikaz, kako je biti mlad v Gazi, prikaz upanja, strahu (prizor streljanja med izraelskim napadom je prav veličasten) in izbir.

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Being young in Gaza Strip is different than anywhere else. Youngsters have to deal with a very difficult situation and the impossibility of a normal life, of movement and of dreams. A ray of hope comes from the Gaza Parkour Team, a group of acrobats training in the streets and in abandoned buildings or construction sites. A place where the elders, like Jehad, are both instructors and educators; not only do they have to teach jumps or exercises, but act as a beacon to kids and youngsters who are often left alone. The documentary One More Jump by Italian director Emanuele Gerosa tells the parallel stories of Abdallah, the first one to practise parkour in Gaza, and his friend Jehad. Abdallah has left and now lives in Italy, in Florence, where he dreams of participating in international competition: he inhabits an abandoned house on the outskirts of the city and trains at a train station or in the streets among tourists. Jehad takes care of his ill father in a wheelchair who needs expensive and unobtainable drugs and is waiting for treatment in Israel. Despite all, he is bringing up a new generation of acrobats, dedicating his energies and his time to transmit skills and enthusiasm to Palestinian boys. Jehad also plans to leave Gaza; he applies for permission and hopes to build a better future far from home. Emanuele Gerosa has managed to capture the life and the dreams of both his heroes. He follows them struggling against hardship but also jumping free and light. Parkour is the only way to real freedom. One More Jump is an intense and touching portrait about being young in Gaza, about hope, fear (the sequence


EMANUELE GEROSA Emanuele Gerosa (1975) je leta 2001 diplomiral iz sodobne zgodovine na univerzi v Bologni. Režira dokumentarce, za katere je na različnih mednarodnih filmskih festivalih prejel več nagrad. Še en skok je nastal leta 2016 v okviru evropske delavnice ESoDoc, kjer je prejel nagrado When East Meets West. Italijansko premiero je doživel na filmskem festivalu v Rimu, mednarodno pa na festivalu Visions du Réel. Emanuele Gerosa (1975) graduated in Contemporary History from the University of Bologna in 2001. He directs documentaries; his films have won several awards at international film festivals. One More Jump was part of the European workshop ESoDoc in 2016, where it won the When East Meets West Award. It was premiered in October 2019 at the Rome Film Festival (Italy) and at Visions du Réel (internationally).

Režiser oba lika in njuna načina, kako se soočiti z brezizhodno situacijo, postavi v oddaljen dialog. V Gazi tvegati pomeni biti živ, mladostniki pa morajo biti lahkomiselni, da lahko na tistem pasu zemlje sploh ohranjajo upanje. Ekstremni šport je oblika upora. Nicola Falcinella

of shooting during an Israeli attack is impressive) and choices. The director places the two characters and two ways to face a dead-end situation in a distant dialogue. To those in Gaza, to risk means to be alive and the youths need to be reckless to go on dreaming in that strip of land. And extreme sport is a form of resistance. Nicola Falcinella

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TELO NEVESTE / IL CORPO DELLA SPOSA / FLESH OUT

Italija/Italy, 2019 režija/directed by Michela Occhipinti scenarij/script Michela Occhipinti, Simona Coppini fotografija/cinematography Daria D‘Antonio montaža/editing Cristiano Travaglioli glasba/music Alex Braga igrajo/cast Verida Beitta Ahmed Deiche, Amal Saab Bouh Oumar, Aichetou Abdallahi Najim, Sidi Mohamed Chighaly producent/ producer Marta Donzelli, Gregorio Paonessa produkcija/production Vivo film, Rai Cinema distribucija/distribution Lucky Red format/format DCP dolžina/running time 95’

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Telo neveste je film italijanske režiserke Michele Occhipinti. Poznam jo že od njenega prvega filma Pisma iz puščave (Letters from the Desert: Eulogy to Slowness, 2010), dokumentarca o poštarju v Indiji. Za svoj prvi igrani celovečerec se je spet podala v državo tretjega sveta, v Mavretanijo, kjer je odkrila nenavadno tradicijo. Tam ženske pridobivajo težo, da bi si našle može. Telo neveste prikazuje to zelo staro tradicijo, znano kot gavaža. V Evropi, posebej v Franciji, gavažo poznamo kot metodo, s pomočjo katere dobimo boljša gosja ali račja jetra.

Flesh out is a film by Italian director Michela Occhipinti. I’ve known her since her first film Letter From The Desert (Eulogy to Slowness) from 2010, a documentary about a postman in India. For her first long feature film, she again visited a Third World country. In Mauretania, she found a strange tradition: to get a man as a husband, women are gaining weight. Flesh out is a portrait of this very old tradition known as gavage. In Europe, especially in France, we know it as a method to get better liver from goose and ducks.

Occhipinti je prvič obiskala Mavretanijo leta 2012, da bi spoznala tradicijo in govorila z mladimi dekleti. Srečala se je z Verido in bila od prvega trenutka prepričana, da bi bila primerna za vlogo. S tem pa se je zgodba filma spremenila in se osredotočila na zelo prijetno mavretansko dekle, postala je zgodba, kako po vsem svetu ljudje živijo na različne načine. Michela opazuje Veridino telo in se spominja, kot mi je zaupala, kako je sama opazovala svoje telo in obraz, ko je ugotovila, da se stara. Zanjo je bil to začetek približevanja smrti. Verida igra samo sebe na čudovit način, Michela pa ji pri tem pušča kar največ svobode pri gibanju. In Verida se giblje zelo počasi. Film, ki ga gledamo, je razpet med srečo in žalost. Morda je pravzaprav tragedija, saj Occhipinti poskuša težavo deklet prenesti iz plemenskega vprašanja v družbeni kontekst. Delno je to povezano s humanističnim pogledom na svet te skromne režiserke, morda pa tudi zato, ker se zgodbe loteva s perspektive ženske. Zgodbo predstavi brez komentarja, v njej ni nobene polemike. Morda se znajdemo sredi nočne more, občutek imam tudi, da Michela želi povedati, da je

Occhipinti travelled to Mauretania for the first time in 2012 to get an idea and to speak with young women. And so she met Verida, and was convinced from the very first moment that she could play the role. But at this point, the plot changed and it became a film about a very nice girl in Mauretania, and a story about different aesthetic ways to live from all over the world. Michela is looking at the body of Verida and remembering, as she told me, herself looking at her own body and face when she discovered she was getting older. To her, this was the beginning of the approach of death. Verida plays Verida in a very lovely way, and Michela gives her the utmost freedom to move and she moves very slowly. We see a film ranging between happiness and sadness. Maybe it’s a tragedy: Occhipinti tries to take the girl’s problem from a tribal peculiarity to the social context. This has to do with the humanistic world view of this frugal director and maybe also because she is doing this story from the perspective of a woman. She doesn’t make commentaries; there is no polemic to find. Maybe we are in the middle of a nightmare and I get the impression maybe Michela wants to say life is

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MICHELA OCCHIPINTI Michela Occhipinti (1968) je italijanska režiserka in producentka. Na potovanju po Južni Ameriki je posnela in producirala film Viva la Pepa! Give Us Back the Constitution (2004), v Malaviju pa Sei Uno Nero (2008). Pripravljala je tudi različna poročila o migrantskih vprašanjih. Njen prvi celovečerni dokumentarec Pisma iz puščave (Letters from the Desert, 2010) je bil prikazan na več kot 80 festivalih. Telo neveste, njen prvi igrani celovečerec, je bil premierno prikazan na Berlinalu 2019, v Innsbrucku pa je leta 2019 prejel glavno nagrado. Michela Occhipinti (1968) is an Italian director and producer. She travelled throughout South America to film and produce Viva la Pepa! (Give Us Back the Constitution) in 2003 and later filmed Sei Uno Nero in Malawi in 2008. She also directed various reports on immigration issues. Her first feature documentary, Letters from the Desert, participated in over 80 festivals. Flesh Out is her first feature film. Its international premiere was at Berlinale 2019 and won the main prize at the IFF Innsbruck.

življenje muka. Njena podoba o oddaljenem delu sveta je vsej prej kot eksotična. Mlade ženske v Mavretaniji imajo povsem enake sanje in želje kot mlada dekleta v »bogatih« državah. In ne smejo se obnašati kot revne ženske brez prihodnosti.

torture. The image of a distant world she designs is not exotic at all. These young ladies in Mauretania have the same dreams and hopes as young girls in “rich” countries. And they also must not behave like poor women without future.

Michela je čudovita ženska, srce ji prekipeva od solidarnosti. Njeni filmi so kot spomini, posvečeni preprostim ljudem iz kultur, ki jih ne poznamo preveč dobro. Po ogledu Michelinih izvrstnih filmov se ti liki zdijo kot sosedi.

Michela is a wonderful woman with so much solidarity in her heart. Her films are like memories dedicated to simple persons representing cultures we don’t know very well. After watching Michela’s fascinating films, the characters feel like neighbours.

Helmut Groschup

Helmut Groschup

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SILVANOV ZALIV / SILVAN’S BAY Poklon kinotekam in cinefilom. Homage to cinematheques and cinephiles. Vitalina Varela Retrospektiva: Pedro Costa / Retrospective: Pedro Costa: V hiši iz lave / Down To Earth V Vandini sobi / In Vanda’s Room Mladost na pohodu / Colossal Youth Naš človek / Our Man Konj po imenu denar / Horse Money Sacavém

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VITALINA VARELA

Portugalska/Portugal, 2019 režija/directed by Pedro Costa scenarij/script Pedro Costa, Vitalina Varela fotografija/cinematography Leonardo Simões montaža/editing João Dias, Vítor Carvalho zvok/sound Hugo Leitão igrajo/cast Vitalina Varela, Ventura, Manuel Tavares Almeida, Francisco Brito, Imídio Monteiro producent/producer Abel Ribeiro Chaves produkcija/production Sociedade Óptica Técnica, Optec distribucija/distribution Sociedade Óptica Técnica, Optec format/format DCP dolžina/running time 124’

»Verjamem, da je film umetnost, ki se lahko bori proti ekscesu, proti inflaciji, pa naj gre za eksces denarja, podob ali efektov.« Pedro Costa Izjemno težko je govoriti o posameznem filmu Pedra Coste kot o izoliranem in samostojnem delu; v njegovih filmih se igralci/ljudje (vedno naturščiki) starajo, selijo, umirajo … Nemogoče je narisati mejo med njihovo resnično osebnostjo, resničnim življenjem in zgodbo, ki se v filmih pojavlja. Telesni tiki, ritem kašljanja, trepetajoča leva roka karizmatičnega starca Venture so le nekatere lastnosti, ki razlagajo, zakaj želi Costa pred začetkom snemanja vsakega filma preživljati čas z ljudmi, ki jih snema. Mora jih opazovati in iz njihovega povsem avtomatiziranega in nezavednega delovanja razbrati tike in majhne idiosinkratičnosti, ki jih profesionalni igralci v konstruiranju izmišljenih likov skoraj nikoli ne razvijejo tako podrobno. Filme Pedra Coste bi lahko tako razumeli tudi kot zaporedje razvijajočih se in izginjajočih resničnih telesnih tikov in bolezni njegovih likov. Silovito kašljanje ob kajenju heroina glavnega lika v filmu V Vandini sobi (No Quarto da Vanda, 2000) v naslednjem filmu Mladost na pohodu (Juventude em Marcha, 2006) izgine, ko se Vanda od heroina uspešno odvaja. Na trenutke trepetajoča roka Venture v filmu Konj po imenu Denar (Cavalo Dinheiro, 2013) postane v Vitalini Vareli skoraj glavna lastnost starca, čigar bolezen neumorno napreduje. A to nikakor ne pomeni, da so Costovi filmi hermetični in nerazumljivi, če ne poznamo njegovega opusa po kronološkem zaporedju;

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“I believe that film is an art that can fight against excess, against inflation, against the excess of things, whether it be the excess of money, images, or effects.” Pedro Costa It is extremely difficult to talk about Pedro Costa’s individual films as isolated and independent works; in his films, actors/people (always non-professional actors) get old, move, die… It is impossible to trace the line between their real personality, their real life and their plotline in the film. The twitches, the rhythm of coughing, the trembling left hand of the charismatic old man Ventura are just a few characteristics that explain why Costa wants to spend time with the people he is going to film before he actually starts shooting. He has to observe them and, in their quite automated and unconscious behaviour, discern the twitches and small idiosyncrasies that professional actors almost never develop in such detail when building their fictional characters. Pedro Costa’s films could thus also be understood as a sequence of the developing and disappearing real twitches and illnesses of his characters. The violent coughing that the main character of In Vanda’s Room (No Quarto da Vanda, 2000) develops while smoking cocaine disappears in Costa’s next film Colossal Youth (Juventude em Marcha, 2006) when Vanda successfully comes off heroin. Ventura’s occasionally trembling hand in Horse Money (Cavalo Dinheiro, 2013) becomes almost the main characteristic of the old man in Vitalina Varela, in which his illness tirelessly progresses. But this does not mean in the least that Costa’s films are hermetic and incomprehensible if we do not know


PEDRO COSTA Pedro Costa (1959) je po študiju zgodovine na Univerzi v Lizboni delal kot asistent Jorgeju Silvi Melu, Vítorju Gonçalvesu in Joãou Botelhi. Svoj prvenec je posnel pri 30-ih; s filmom Kri (O Sangue, 1989) je osnoval svoj osupljiv opus, posvečen ljudem na robu družbe. Njegov film Ne change rien (2009) se je na canskem filmskem festivalu leta 2009 uvrstil v program Dva tedna režiserjev. Na festivalu v Locarnu je za film Konj po imenu denar (Cavalo Dinheiro) leta 2014 prejel leoparda kot najboljši režiser, za film Vitalina Varela pa leta 2019 zlatega leoparda za najboljši film. Pedro Costa (1959) studied History at Lisbon University and then worked as an assistant to Jorge Silva Melo, Vítor Gonçalves and João Botelho. He made his debut at the age of 30 with Blood (O Sangue, 1989), which marked the start of a striking and highly praised oeuvre about people on the fringes of society. His film Ne change rien was selected at the Director’s Fortnight for the 2009 Cannes Film Festival. Cavalo Dinheiro was awarded the Leopard for Best Director in 2014, while his Vitalina Varela was awarded the Gold Leopard for Best Film in 2019, both at the Locarno Film Festival.

njegovi filmi tvorijo edinstveno celoto, a nikakor ne takšne, ki bi zapovedovala posamezen film, skozi katerega bi vanjo lahko vstopili in od njega dialektično napredovali k popolnemu razumevanju te celote. Delno resnične in delno izmišljene zgodbe, ki se prelivajo iz enega filma v drugega, so namreč komplementarne neprestano razvijajočemu se vizualnemu slogu Coste, ki v Vitalini Vareli doživi svoj dosedanji vrhunec.

his oeuvre chronologically; his films make up a unique whole, but not one that would determine an individual film through which we could enter it and then dialectically progress to its complete understanding. Partly real and partly made-up stories that spill over from one film to the next are complementary to Costa’s constantly developing visual style, which in Vitalina Varela reaches its peak.

Začetni citat lahko v Vitalini Vareli razumemo dobesedno, kot Costovo asketsko odpovedovanje najbolj temeljnim filmskim sredstvom, celo svetlobi. Z minimalno uporabo svetlobe doseže caravaggiovski efekt chiaroscura, ki pogosto pusti robove kadra povsem neosvetljene – črne kot preostanek platna in stene v kinu, na katere film ni projiciran. Neosvetljeni rob kadra postane v Vitalini Vareli specifičen element filma, mesto, s katerega se film brez ostrega roba preliva v resnično okolico gledalcev. Zgodba, ki se preliva iz filma v film, se tokrat preliva tudi iz filma v svet gledalca.

In Vitalina Varela, the initial quote can be understood literally as Costa’s ascetic renouncing of the most fundamental elements of film language, even light. With his minimal use of light, he achieves a Caravaggian effect of chiaroscuro, often leaving the edges of the shot completely unlit – black like the rest of the screen and the wall in the cinema that the film is not projected on. In Vitalina Varela, the unlit edge of the shot becomes a specific element of the film, the place where the film smoothly spills over into the real surroundings of the viewer. This time, the story that spills over from one film to the next also spills over from the film into the world of the viewers.

Oskar Ban Brejc

Oskar Ban Brejc

Besedilo lahko v celoti preberete v reviji KINO!, št. 40/41 (2020).

You can read the entire text in KINO!, no. 40/41 (2020).

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ČUDOVITE PODOBE ETIKE FILMANJA / MIRACULOUS IMAGES OF THE ETHICS OF FILMMAKING

Vsako novo delo Pedra Coste ponudi filmsko in doživljajsko inovacijo, njegova izvirna filmografija pa piše nove strani zgodovine filma in hkrati nič kaj veličastne zgodovine človeštva. Mojster iz filma v film ostri svoj slog in kljub bridki ostrini filmov je »ostriti« v kontekstu njegovega opusa vse prej kot primeren izraz: Costov slog se oblikuje, kakor sam oblikuje filme, skozi dolg in skrupulozen proces raziskovanja ljudi, njihovih življenjskih razmer in okolij, raziskovanja filmične substance in filmskega izraznega potenciala, a tudi samega sebe, avtorja, na dih potopljenega v svoje delo. Njegovih filmov ne pozabimo zlahka – gledalca ne »peljejo«, ne vodijo ga za roko ali za srce, temveč brskajo po njem, kakor avtor neutrudno brska po stvarni snovi ter raznovrstnih duševnih stanjih in procesih svojih junakov. Costove filme morda najbolj odlikujejo prav nenavadna razmerja: med strogo realnostjo in poetičnim; med vsakdanjo predmetnostjo in nepredmetnim, ki živi v ljudeh in med ljudmi (spomini, pogum, volja, trma, izgubljenost, osamljenost); pa Costovo razmerje z realnostjo, predvsem z ljudmi in okolji, ki jih ti (dejansko in metafizično) naseljujejo, in njegova doslednost v tem razmerju, prepojenem s predanostjo; in njegov prav enako dosleden odnos do ustvarjanja. Ta razmerja ustvarijo umetniški izraz, ki bi mu lahko rekli etični realizem. Prav osupljivo je, kako iz (izjemno skrbno uokvirjenih, insceniranih in osvetljenih) posnetkov vsakdanjih opravil, majhnih gest ali telesnih hib, nagubanih lic ali topih pogledov in majavih vrat ali oluščenih sten silovito vejejo stanja in stiske junakov. Costa zaupa v moč filma, verjame, da lahko s filmom (ali s prenosom realnosti v filmsko snov) zaščitimo ali celo maščujemo ljudi in skupnosti, ki jih družba slepo odriva, njihov obstoj na robu povzdignemo na človečen nivo, nad bedo, v katero so pahnjeni. Prvi Costovi filmi so bili klasični narativni filmi, narejeni na klasičen način: filmi s profesionalnimi igralci, relativno klasičnim dramaturškim tokom, posneti s številčno filmsko ekipo, v omejenem

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Each new work by Pedro Costa offers something new in terms of film and experience, while his original filmography writes new pages in the history of cinema and also in the not-quite-magnificent history of humanity. From one film to the next, the master sharpens his style. However, despite the bitter sharpness of his films, in the context of his oeuvre, “sharpening” is less than appropriate a term. Costa’s style is shaped like he shapes his films: through a long and scrupulous process of exploring people, their living conditions and settings, of exploring the film substance and expressive potential, but also himself, the author diving into his work with his breath held. His films are not to be forgotten easily – the viewer is not “led”, not taken by the hand or the heart, the viewer is explored, just like the author tirelessly explores the matter, be it the material substance or the diverse mental states and processes of his characters. Possibly, what Costa’s films excel in most are unusual relationships: between the strict reality and the poetic, between the mundane physicality and the intangible residing in people and among them (memories, courage, will, stubbornness, being lost, loneliness), as well as Costa’s relationship with the reality, particularly the people and the settings they inhabit (actually or metaphysically), his consistency in this relationship permeated with dedication, and his equally consistent attitude to creativity. These relationships combine into his artistic expression that could be labelled ethical realism. It is striking how fiercely the characters’ states and hardships emanate from (meticulously framed, staged and illuminated) shots of chores, minute gestures or physical imperfections, wrinkled cheeks or blank look and wobbly doors or peeling walls. Costa trusts the power of film; he believes that film (or transferring reality to the film matter) can be used to protect or even avenge people and communities being pushed to the margins of society, and to raise their marginal existence to a humane level, above the misery into which they have been shoved. Costa’s early films were classical narratives shot in the traditional way: films featuring professional


časovnem obdobju na filmski trak. A potem sta njegovo pot začrtala dva pomembna mejnika, ki do danes določata, kaj snema in kako. Ko je na Zelenortskih otokih snemal V hiši iz lave (1994), so ga ob vrnitvi domov številni otočani prosili, naj njihovim bližnjim odnese pisma in darilca. Ko je prispel v Lizbono, je pošto dostavil v (zdaj že porušeno) barakarsko sosesko Fontaínhas, kjer je bivala priseljenska skupnost. Ljudje v tem okolju, oropani temeljnih pogojev za dostojno preživetje, so ga popolnoma prevzeli. In tam je do danes ostal. Od takrat snema z njimi in ko so sosesko porušili in prebivalce razselili, so njegovi filmi postali filmi spominov. Drugi pomemben preobrat, tokrat v načinu dela, se je zgodil, ko je kupil majhno digitalno videokamero in sam posnel V Vandini sobi (2000). Od takrat vse filme snema digitalno, le z majhno skupino sodelavcev. Ustvarjanje je nekaj, pravi, za kar si moraš vzeti čas, je raziskovanje, izpraševanje, prevpraševanje, spoznavanje. In čas je še ena pomembna prvina Costovih filmov – čas brskanja, čas snemanja, čas filma. Čas razume kot zaveznika pri procesu ustvarjanja, potrebuje ga, da si ogleda vse plati snovi, ki jo obravnava, da razmisli, kako jo prevesti v film. Kadri njegovih filmov ne brzijo po tirnicah montaže, temveč si vzamejo čas in gledalcu čas omogočijo – čas za raziskovanje in brskanje, za razmislek in sočutje. Varja Močnik

actors, a relatively traditional dramaturgical course, shot on film by a numerous team in a limited period of time. However, his path was later marked by two milestones that continue to impact what and how he has been shooting since. After he shot Down to Earth (1994) in Cape Verde Islands, he was asked by islanders to bring their letters and presents to their loved ones when returning home. Upon arriving in Lisbon, he delivered the mail to Fontaínhas, a nowdemolished shantytown in Lisbon that was home to the immigrant community. Bereft of the preconditions for a decent life, people in the area captivated him. And he has remained there ever since and has been shooting with them. When the neighbourhood was demolished and the inhabitants displaced, his films turned into films of memories. The second major shift, related to his mode of work, happened when Costa bought a small digital video camera and shot In Vanda’s Room (2000) by himself. From then, he has been making films digitally in a small group of people. According to him, you have to take time for creativity, which includes exploration, asking, questioning, and learning. Time is another essential element of Costa’s films – the time of exploration, of shooting, the time of the film. He sees time as his ally in the process of making. He needs it to look at the matter he is exploring from all perspectives; to think about how to translate it into a film. Shots in his films are not rushing along the editing tracks, rather, they take their time and allow the time to the viewer – the time for exploration and browsing, for consideration and compassion. Varja Močnik

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V HIŠI IZ LAVE / CASA DE LAVA / DOWN TO EARTH Pedro Costa, Portugalska, Francija, Nemčija/Portugal, France, Germany, 1994, 105’

Ko Leão po nesreči ostane v komi, ga na njegov dom na Zelenortskih otokih spremlja negovalka Mariana. A tam ga nihče ne prepozna, zato Mariana ostane ujeta v skrivnostni skupnosti, ki jo naposled povsem prevzame. Mariana, a nurse, accompanies Leão to his home in Cape Verde after an accident sends him into a coma. Yet Leão goes unrecognised by his fellow citizens, leaving Mariana trapped with and eventually entranced by a mysterious community.

V VANDINI SOBI / NO QUARTO DA VANDA / IN VANDA’S ROOM Pedro Costa, Portugalska, Nemčija, Švica/Portugal, Germany, Switzerland, 2000, 179’

V barakarskem predmestju Lizbone spremljamo dan v življenju Vande Duarte, odvisnice od heroina. Film se posveča tudi skupnosti, ki živi v tem predelu, in njegovi urbani pokrajini. We follow the daily life of Vanda Duarte, a heroin addict, in the shanty outskirts of Lisbon. The film’s focus is also on the community of the district and its townscape.

MLADOST NA POHODU / JUVENTUDE EM MARCHA / COLOSSAL YOUTH Pedro Costa, Portugalska, Francija, Švica/Portugal, France, Switzerland, 2006, 156’

Zelenortsko območje Fontaínhas v predmestju Lizbone je v zadnjih zdihljajih, saj naj bi večino od 9.000 prebivalcev preselili v nove stanovanjske bloke. Clotilde se pri 75-ih odloči zapustiti moža. Zidar Ventura je po nesreči na gradbišču nekoliko nor. Ničesar noče spremeniti in verjame, da je tudi starost lahko mladost. The Cap-Vert area of Fontaínhas in the Lisbon suburbs is living its last days. The majority of its 9,000 inhabitants are to be rehoused in new apartment blocks. Clotilde decides to leave her husband, at 75. Ventura, a builder, is a little bit crazy ever since he had an accident at a construction site. He refuses to change anything and believes that old age can be youth.

V sodelovanju s Slovensko kinoteko.

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NAŠ ČLOVEK / O NOSSO HOMEM / OUR MAN Pedro Costa, Portugalska/Portugal, 2010, 23’

Tridesetletni José Alberto prejme dopis o izročitvi. Nepravičnosti iz preteklosti in krivičnost trenutnega položaja migrantskih delavcev, ki so prisiljeni zapustiti državo, se srečajo v pozivu k spominjanju in trdoživosti. José Alberto, 30 years old, receives a letter of extradition. The inequities of the past and the injustice of the present situation of migrant labourers forced to leave the country, meet in a plea for memory and resilience.

KONJ PO IMENU DENAR / CAVALO DINHEIRO / HORSE MONEY Pedro Costa, Portugalska/Portugal, 2014, 103’

Ventura ima Parkinsonovo bolezen, pa tudi njegov spomin peša. Ko ga zdravnik vpraša, koliko je star, mu starec odgovori, da jih ima 19. Kar naprej se izgublja v preteklosti in tava po spominih. Medtem pa mladi vplivneži na ulicah netijo revolucijo. Ventura has Parkinson’s disease. His memory isn’t up to much either. When a doctor asks his age, the old man says he is 19. He regularly gets lost in the past, roaming his memories. While the young captains lead the revolution in the streets, the people of Fontainhas search for Ventura, lost in the woods.

SACAVÉM Júlio Alves, Portugalska/Portugal, 2019, 65’

Potovanje skozi opus Pedra Coste, ki se posebej osredotoča na filme V hiši iz lave, Kosti, V Vandini sobi, Mladost na pohodu in Konj po imenu denar. Sacavém temelji na vizualni in zvočni krajini njegovih filmov, kar pospremi s svojimi premisleki o teh temah in tako gledalcem ponudi pogled na razumevanje in snovanje Costovih filmov. A journey through Pedro Costa’s films and focused on his work on Casa de Lava, Ossos, In Vanda’s Room, Colossal Youth and Horse Money. Built on the visual and sound landscape of Pedro Costa’s films and accompanied by his owns reflections on the matter, Sacavém serves the audience as a window on how Costas cinema is sensed and conceived.

In cooperation with Slovenian Cinematheque.

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EKSTRASERIJSKO / EXTRA-SERIES Verižno gledanje. Binge-watching. Coincoin in ekstraljudje / Coincoin and the Extra-Humans

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COINCOIN IN EKSTRALJUDJE / COINCOIN ET LES Z’INHUMAINS / COINCOIN AND THE EXTRA-HUMANS

Francija/France, 2018 režija/directed by Bruno Dumont scenarij/script Bruno Dumont fotografija/cinematography Guillaume Deffontaines montaža/ editing Jean Bréhat, Basile Belkhiri zvok/sound Philippe Lecoeur igrajo/cast Bernard Pruvost, Alane Delhaye, Lucy Caron, Philippe Jore, Julien Bodart producent/producer Jean Bréhat, Rachid Bouchareb, Muriel Merlin produkcija/production Taos Films koprodukcija/ co-production ARTE France Cinéma distribucija/distribution Doc & Film International format/format DCP dolžina/running time 211’

Dumont, ki je do skorajda nedavnega veljal za enega najbolj resnih in strogih filmskih avtorjev, je več kot očitno odkril mnogo zanimivega tudi v žanru komedije. Seveda pa cineast do komedije pristopa s tako resnostjo in strogostjo, da sama komičnost postane groteskna in absurdna na neizprosno osupljajoč način.

Dumont, who almost until recently was considered one of the most serious and strict filmmakers, has clearly discovered many an interesting thing in the comedy genre as well. Naturally, the cineaste has approached comedy with such seriousness and strictness that the very comic nature turns into the grotesque and absurd in a brutally astonishing way.

V prvi sezoni TV serije Mali QuinQuin (Ptit QuinQuin, 2014) oz. njeni filmski priredbi spremljamo gručo »vsakdanjih« vaških junakov oziroma karikirano iznakaženih tipoloških značajev sredi neizprosno ploske ravnice severnega francoskega podeželja. Ta že pregovorno velja za enega najbolj »zabačenih« delov »velike in razsvetljene« Francoske republike. A Dumontova vizija in komedija presegata zgolj klasično eksotično stereotipizacijo provincialnosti. Avtor brez zadržkov naslavlja aktualne tematike francoskega rasizma in nacionalizma, ki jih bivša kolonialistična velesila rada prekriva z izročilom razsvetljenstva. Dumont se francoske identitete loti z realistično grotesko in absurdom, ki prehajata v avtorjev značilen, skorajda abstrakten simbolizem. Kot prvo sezono zaključi eden glavnih protagonistov te sprevržene policijske kriminalke: »Nekaj gnilega je v zemlji francoski!«

In season one of the Ptit QuinQuin (2014) TV series and in its film makeover, we follow a bunch of “commonplace” village heroes, i.e. caricatured, disfigured, typified characters amidst the relentlessly flat plain of the northern France countryside. This is proverbially considered one of the most jerkwater parts of the “grand and enlightened” French Republic. However, Dumont’s vision and comedy surpass the mere classical exotically stereotyped provinciality. The author has no restrains about addressing the current issues of French racism and nationalism, which the former nationalist superpower likes to hide under the tradition of enlightenment. Dumont tackles the French identity with the realistic grotesque and absurd, which build up to the author’s typical, almost abstract symbolism. This is reflected in the ending to season one, as one of the protagonists of this warped police thriller concludes: “There is something rotten in the state of France!”

Dumontova idejna podstat in kritična ost ostajata podobni tudi v nadaljevanju, zgodba QuinQuinove/ CoinCoinove vasice pa na koncu le ohlapno pripelje do pomiritve. Prej nasprotno, v twinpeaksovskem obratu postane padanje nezemeljske lepljive snovi, ki spominja na kravjeke, kmalu povsem obrobno. Medtem ko je Zemlja čedalje bolj posrana, poskušata zadevi do dna priti policijski par Roger

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Dumont’s conceptual substratum and his critical stance remain similar later on, and the story of QuinQuin’s/CoinCoin’s village is eventually only brought to a loose reconciliation. Quite the contrary, in a Twin-Peaks-like turn, the unearthly sticky matter resembling cowpats falling to the ground soon becomes quite marginal. While the Earth is


BRUNO DUMONT Bruno Dumont (1958) je leta 1986 začel snemati korporativne in komercialne filme. Za film Človečnost (L‘humanité, 1999) je v Cannesu prejel tri nagrade, za Flandrijo (Flandres, 2006) veliko nagrado žirije v Cannesu, za Hadewijch (2019) je prejel nagrado mednarodnih filmskih kritikov na festivalu v Torontu leta 2009, njegov film Mirni zaliv (Ma Loute, 2015) pa je bil nominiran za tri cezarje in za zlato palmo. Na filmskem festivalu v Locarnu leta 2018 je prejel častnega leoparda. Bruno Dumont (1958) began making company films and commercials in 1986. Humanity (L’humanité, 1999) received three awards in Cannes, Flanders (Flandres, 2006) won the Grand Prize of the Jury in Cannes, at the 2009 Toronto IFF, Hadewijch (2019) won the International Film Critics’ award, Slack Bay (Ma Loute, 2015) was nominated for three César Awards and the Palme d’Or. He received the Leopard of Honour at the 2018 Locarno International Film Festival.

van der Weyden in njegov zvesti partner Carpentier. Prvi do nemogočnosti brblja in jeclja, se spakuje in prdi, medtem ko drugi v neskončnost ponavlja en in isti trik – vožnjo z avtomobilom po dveh stranskih kolesih. Ko postaja apokalipsa čedalje očitnejša razlaga nenavadnega dogajanja, se dejanska vzročna posledičnost in sklepčna izpeljava pripovednega loka čedalje bolj rahljata. Vse, dokler ne pride točka, na kateri je za film pomemben zgolj element forme, ki se kaže skozi čedalje bolj zgoščeno ponavljajoče se elemente v burlesknem stilu kakšnega Busterja Keatona. Čar Dumontove komedije se skriva prav v tem izčiščenem ponavljanju, ki vedno predvidi minimalno razliko, zvočno igro med QuinQuinom in CoinCoinom ali med klonom in klovnom. Te se v edino možnem, skorajda fellinijevskem karnevalu lahko končno sprostijo v družbeno bit tega iznakaženega sveta. Anja Banko

becoming increasingly covered in shit, the pair of policemen, Roger van der Weyden and his loyal partner Carpentier are seeking to get to the bottom of the matter; the former gabbling and stammering, aping and farting past bearing, the latter for evermore performing one and the same trick– driving the car sideways. As it becomes more and more obvious that the bewildering development is down to the apocalypse, the actual causality and the delivery of the narrative arc by a quorum are loosening up increasingly. This continues up to the point when only the element of form matters to the film, which shows in steadily more compactly repeating elements in the burlesque style of a Buster-Keaton-type. The charm of Dumont’s comedy is in this very refined repetition that always presupposes a minimal difference, a sonic play between QuinQuin and CoinCoin or between a clone and a clown. It is in this almost Felliniesque carnival, the only one possible, that these differences might finally relax into the social essence of this deformed world. Anja Banko

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PODMORNICA / SUBMARINE Filmi in dejavnosti za otroke, mlade in družine. Films and activities for children, youth and families. Moj brat lovi dinozavre / My Brother Chases Dinosaurs (11+) Slavna medvedja zasedba Sicilije / The Bears’ Famous Invasion of Sicily (6+) Prižgimo nov dan: sklop kratkih animiranih filmov za najmlajše in vso družino / Switching On a New Day: Animated Shorts for Childen and Families (3+) Cat Lake City Ribič in pomlad / The Fisherman and Spring Teorija zahoda / The Theory of Sunset Tramvaja / Two Trams

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MOJ BRAT LOVI DINOZAVRE / MIO FRATELLO RINCORRE I DINOSAURI / MY BROTHER CHASES DINOSAURS (11+)

Italija, Španija/Italy, Spain, 2020 režija/directed by Stefano Cipani scenarij/script Fabio Bonifacci, Giacomo Mazzariol fotografija/cinematography Sergi Bartrolì montaža/editing Massimo Quaglia zvok/sound Antonio Barba glasba/music Lucas Vidal igrajo/cast Alessandro Gassmann, Isabella Ragonese, Rossy de Palma producent/producer Isabella Cocuzza, Arturo Paglia, Antonia Nava produkcija/production Paco Cinematografica, Neo Art Producciones distribucija/distribution Demiurg format/format DCP dolžina/running time 102’

STEFANO CIPANI Stefano Cipani (1986) je na Univerzi v Bologni študiral filmsko zgodovino in kritiko. Režiral je več kratkih filmov in glasbenih videospotov. Moj brat lovi dinozavre je njegov celovečerni prvenec. Stefano Cipani (1986) studied Film History and Criticism at the University of Bologna. He has directed a number of short films and music videos. My Brother Chases Dinosaurs is his debut feature.

Jack je bil kot otrok prepričan, da je njegov brat Gio superjunak s posebnimi sposobnostmi, tako kot v stripih. Zdaj ko bo vsak čas šel v srednjo šolo, se zaveda, da ima njegov brat Downov sindrom. Jack se ga zdaj skoraj sramuje. Ko spozna Arianno, svojo prvo ljubezen, Giovo nepredvidljivo obnašanje postaja vse večje breme. Ker Jacka skrbi za ugled med sošolci, dejstvo, da ima brata, prikriva. Film je prejel evropsko filmsko nagrado po izboru mladega občinstva.

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As a kid, Jack was sure his brother Gio was a superhero with special powers, just like in the comics. Now that he is about to go to high school, Jack is aware that his brother has Down syndrome. Jack is almost ashamed of him now. When he meets Arianna, his first love ever, Gio’s unpredictable behaviour becomes a growing burden. Concerned about his status among his classmates, Jack conceals the fact that he has a brother. The film won the EFA Young Audience Award.


SLAVNA MEDVEDJA ZASEDBA SICILIJE / LA FAMEUSE INVASION DES OURS EN SICILE / THE BEARS’ FAMOUS INVASION OF SICILY (6+) Francija, Italija/France, Italy, 2019 režija/directed by Lorenzo Mattotti scenarij/script Thomas Bidegain, Jean-Luc Fromental, Lorenzo Mattotti animacija/animation Lorenzo Mattotti montaža/editing Nassim Gordji Tehrani, Sophie Reine glasba/music René Aubry zvok/sound Jean-Marc Lentretien igrajo/ cast Leïla Bekhti, Thomas Bidegain, Jean-Claude Carrière producent/ producer Christophe Janković, Valérie Schermann produkcija/ production Prima Linea Productions, France 3 Cinéma, Pathé, Indigo Film with Rai Cinema distribucija/distribution FIVIA – Vojnik format/format DCP dolžina/running time 82’

LORENZO MATTOTTI Lorenzo Mattotti (1954) je zaslovel s svojima stripovskima albumoma, Fires in Murmur. Leta 2003 je za svojo adaptacijo Dr. Jekylla in Mr. Hyda prejel nagrado Eisner. V Evropi slovi po svojih plakatih in ilustracijah, tudi modnih, ki jih redno objavljajo v publikacijah Le Monde, Cosmopolitan in Vanity Fair. Slavna medvedja zasedba Sicilije je njegov celovečerni prvenec. Lorenzo Mattotti (1954) became known for his comic albums, Fires and Murmur. In 2003, his adaptation of Dr Jekyll & Mr Hyde won an Eisner Award. In Europe, he has received wide spread acclaim for his posters, magazine and fashion illustrations which regularly appear in Le Monde, Cosmopolitan, Vanity Fair. The Bears’ Famous Invasion of Sicily is his debut feature.

Sicilija pred davnimi časi, ko so na planinah živeli medvedje. Kralj medvedov, Léonce, se v reki igra s sinom Toniem. Mladiček Tonio naenkrat izgine, ugrabijo ga lovci. Medvedje ga iščejo in zasedejo dolino, kjer živijo ljudje. S pomočjo čarovnika in medvedov Léonce končno najde svojega sina in prevzame vodenje človeške dežele. Toda kmalu spozna, da medvedje ne morejo živeti v deželi ljudi.

Once upon a time, when bears still roamed the mountains of Sicily, Léonce, the King of Bears, was playing in the river with his son Tonio. Suddenly, Tonio was kidnapped by hunters. In the hope of finding his son, the Bear King decides to invade the land of men. Thanks to his powerful army and the help of a wizard, he succeeds at both quests, but soon finds out that bears are not meant to live in the land of men.

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PRIŽGIMO NOV DAN: SKLOP KRATKIH ANIMIRANIH FILMOV ZA NAJMLAJŠE IN VSO DRUŽINO / SWITCHING ON A NEW DAY: ANIMATED SHORTS FOR CHILDREN AND FAMILIES (3+)

Cinefilski izbor za mlade filmske gledalce odstira raznolike kulture iz različnih kotičkov sveta. Najmlajše otroke bodo navdušili slikoviti svetovi in živalski junaki, starejše pa bodo pritegnile življenjske tematike in pisana paleta čustev, ki jih filmi razgrnejo.

Program je nastal v sodelovanju z mednarodnim festivalom kratkega filma Corti a Ponte.

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This selection of shorts gives young cinephilesto-be a chance to discover a colourful mix of cultures from around the world. While toddlers will enjoy the quaint animated worlds and animal characters, older kids will appreciate the universal human concerns and the range of emotions the films address and evoke.

Curated in collaboration with the Corti a Ponte International Short Film Festival.


CAT LAKE CITY Antje Heyn, Nemčija/Germany, 2019, 7’

Maček Percy se veseli sproščenega dne v Cat Lake Cityju, mačjem letoviškem raju. Toda tam ni ravno tako, kot je pričakoval. Niti prostor na brisači ni povsem varen ... Percy Cat is looking forward to a relaxing day in Cat Lake City – the cats’ vacation paradise. But the place is not as expected. Not even the spot on the towel is as safe as he thought...

RIBIČ IN POMLAD / MAHAGUAR W BHAR / THE FISHERMAN AND SPRING Seyed Hassan Soltani, Iran, 2018, 10’

Zima se že vleče in ribič težko čaka prihod pomladi. Ko je njegovega čakanja konec, poskuša ugotoviti, zakaj je pomlad pozna. Vendar odgovora ne najde, dokler ne zagleda čudovitega cveta. The winter got lengthy and the fisherman is waiting for the spring to arrive. His waiting is over now and he tries to find out why spring is late. But he cannot find an answer until he sees a beautiful blossom.

TEORIJA ZAHODA / TEORIA ZAKATA / THE THEORY OF SUNSET Roman Sokolov, Rusija/Russia, 2017, 9’

Marljivi kolesar sredi noči prečka zimski gozd. Pomembno nalogo ima: pravočasno mora prižgati nov dan. Deep in the night, a dedicated cyclist traverses a wintry forest. His challenge is to make sure the new day gets off to a fresh and timely start.

TRAMVAJA / DVA TRAMVAJA / TWO TRAMS Svetlana Andrianova, Rusija/Russia, 2016, 10’

Tramvaja Klick in Tram vsak dan veselo zapustita svojo postajo in se odpravita po mestu, kjer pobirata potnike. Čeprav se marsikaj lahko spremeni, bosta kot člana iste družine vedno držala skupaj. Everyday, two streetcars, Klick and Tram, happily leave their station and travel the town, picking up passengers. Although some things may change, they are family and will always stick together.

PODMORNICA / SUBMARINE 103


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VIDEO NA PLAŽI / VIDEO ON THE BEACH Udarni kratkometražci neodvisnih vzhajajočih avtorjev. Edgy shorts by independent rising filmmakers.

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VIDEO NA PLAŽI 2020 / VIDEO ON THE BEACH 2020

Da se že uvodoma odrešimo formalnosti in ponesrečenih šal: covid(eo) na plaži bo tudi v anno horribili 2020 tako ali drugače zaznamoval otoško dogajanje v svoji klasični maniri! Nekoliko kakofoničen, po svoje rahlo anarhičen, svobodnjaški in skrajno netipičen program kratkih filmov bo letos še posebej (!) raznolik.

Let us initially do away with formalities and failed joke attempts: even in anno horribili 2020, covid(eo) on the beach will leave its mark on the festival programme somehow in its traditional way! The somewhat cacophonous, also slightly anarchic, liberal and utterly non-typical programme of shorts will be particularly (!) diverse this year.

VNP v prvi vrsti znova prinaša pregled kratkega filma v vseh njegovih najbolj širokih razsežnostih. Tako bodo drug ob drugem predstavljeni kratki metri vrhunskih svetovnih produkcij in avtorjev, ki so želi lovorike v Locarnu, na Berlinalu, Cannesu in Benetkah, ob bok pa jim postavljamo neodvisne bravure, eksperimentalne filme, najbolj izstopajoče slovenske filme leta in ne nazadnje amaterske (v najbolj žlahtnem pomenu) prebliske lokalnih avtorjev. Na ta način so tudi vseskozi izzvani nazori nič hudega slutečega gledalca o tem, kaj vse danes lahko film je in seveda o temah, ki jih ti filmi obravnavajo.

Primarily, VotB again brings a review of short film in its widest dimensions. The programme thus features short forms by top international producers and directors who have won accolades at Berlinale, in Locarno, Cannes and Venice, alongside independent brave efforts, experimental films, the most prominent Slovenian films of the past year, and, last but not least, amateur (in its noblest sense) gems by local authors. Thus, the outlook of the unsuspecting viewer about what a film can be today and about the topics addressed in such films will be challenged throughout.

Kljub raznorodnosti provenienc, stilov, zvrsti, žanrov, produkcijskih pogojev in načinov spoprijemanja s filmskim jezikom na sploh, so programi zasnovani tako, da filmi znotraj tematskih blokov med seboj stopajo v dialoge in v okviru programov razvijajo različne miselne linije in se znova in znova gradijo v nove celote (Video na plaži je tako v prvi vrsti preprosto – izkušnja). Tematski bloki se osredotočajo na: 1.) vprašanja poklicev (poklicanosti), strasti do dela v času, ko vse prakse uhajajo nekdanjim definicijam, odnosi pa ostajajo pregovorno podvrženi železni logiki odtujitve dela; 2.) predstave o ženski vlogi v različnih družbenih in intimnih aspektih, obenem pa to vprašanje vežemo in apliciramo tudi na raznorazne fizične, topografske, abstraktne in digitalne pokrajine ter akte; 3.) temo delikta, 4.) evforije v smislu teme filma, evforije v smislu doživljanja filma in evforije v smislu ustvarjanja filma; in 5.) družinske odnose znotraj in onkraj konvencij. Poseben fokus letos posvečamo sodobni portugalski produkciji in skozi sklope predstavljamo izbor vrhunskih avtorskih kratkih filmov mlade generacije, ki kljub podhranjenim produkcijskim

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Despite the variety of provenances, styles, forms, genres, production conditions and ways of dealing with the film language in general, the programmes have been devised to make the films within certain slots enter into dialogue with each other, to develop different lines of thought and form new entities again and again. Video on the Beach is thus primarily simply – an experience. The programme slots focus on 1) vocations; passion for work in the time when all practices are evading old definitions, whereas the relations remain proverbially subjected to the unbreakable logic of alienated work; 2) perceptions of the female role in various social and intimate aspects, while this issue is also linked and applied to a variety of physical, topographical, abstract and digital landscapes and acts; 3) the issue of delict; 4) euphoria in the sense of the film’s topic, in the sense of experiencing film, and in the sense of making a film; and 5) family relations within and beyond conventions. This year, contemporary Portuguese production will be in focus. Several slots will be dedicated to a selection of top auteur short films of the new generation, who, despite the unhealthy production conditions are working at the level that much richer


pogojem ustvarja na nivoju, s katerim se stežka kosajo produkcije veliko bogatejših držav. Avtorjem je lastna neverjetna senzibilnost in razumevanje filma kot medija, kar priča o primeru najboljše prakse, ki bi na neki točki terjala tudi dostojno analitično študijo z namenom aplikacije na domače okolje. Pa še nekaj statističnih »ocvirkov« za konec: 61 izbranih filmov, 22 različnih držav produkcije, 72 filmskih avtorjev, 5 programov v 5 dneh, 30 in več napovedanih gostov ter pogovorov in za prgišče slabih for na temo novega kronavirusa (SARSCoV-2).

countries are finding difficult to match. Such authors boast incredible sensibility and understanding of film as a medium, which testifies to a best-practice example. At a certain point, this would also require a proper analytical study to be applied to the local environment. Finally, let us give you some statistical highlights: 61 selected films, 22 different production countries, 72 film authors, 5 programmes over 5 days, 30+ announced guests and talks, and a handful of bad jokes on the topic of the novel coronavirus (SARSCoV-2). Matevž Jerman, Mila Peršin

Matevž Jerman, Mila Peršin

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ONKRAJ POKLICA(NEGA) / BEYOND VOCATION

Marsova Luka Port of Mars

Slovenija/Slovenia, 2019 režija/directed by Mauro Lainšček scenarij/screenplay Mauro Lainšček nastopajoči/appearing Luka Koper tehnična ekipa/ technical crew Jure Stušek, Nika Otrin, Igor Iskra, Tristan Peloz produkcija/production Mauro Lainšček dolžina/running time 7’

Osebni, poetično dokumentarni portret Luke Koper in njenega odnosa do mesta, ki ga tako močno zaznamuje. Onesnaženja, osamljenost, nenasitno obleganje in dušenje starega mestnega jedra, nekoč otoka; kot da Luko vodi energija boga Marsa, ki se ne obvladuje. A personal, poetic documentary portrait of the Port of Koper and its attitude towards the city so profoundly marked by it. Pollution, loneliness, insatiable invading and suppressing of the old town, which used to be an island. As if the port was managed through the energy of Mars, a god that cannot contain himself.

Tudi jaz vidim I See in the Dark

Slovenija/Slovenia, 2019 režija/directed by Lana Bregar scenarij/screenplay Lana Bregar nastopajoči/appearing Mia Koritnik, Damijan Vizjak, Luj Šprohar tehnična ekipa/technical crew Mauro Lainšček produkcija/ production Akademija za gledališče, radio, film in televizijo dolžina/ running time 16’

Film sledi trem posameznikom, ki so izgubili vid. Iskrena pripoved gledalca popelje na popotovanje po njihovem svetu in občutkih glede izgube vida. The film follows three individuals who have lost their sight. Their honest account takes the viewer on a journey through their world and their feelings related to their loss of vision.

Tito, Nasser in Nehru Tito, Nasser and Nehru

Slovenija/Slovenia, 2019 režija/directed by Fayza Harby, Savyasachi Anju-Prabir scenarij/ screenplay Fayza Harby nastopajoči/appearing Dzinic Husein, Aldzic Esmir, Redzepovic Sejad, Duro Staresina, Slavec Hocevar tehnična ekipa/technical crew Fayza Harby, Savyasachi Anju-Prabir produkcija/production Luksuz produkcija dolžina/running time 5’

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Fayza iz Egipta in Savyasachi iz Indije si prizadevata za pogovor z delavci, ki prihajajo na delo v Krško iz Bosne in Hercegovine ter drugih nekdanjih jugoslovanskih držav. Prvi dan so se delavci strinjali s snemanjem filma, naslednji dan pa so na ulicah počakali le še znaki njihovega dela. Fayza from Egypt and Savyasachi from India have been trying to have a conversation with the workers coming to work in Krsko from Bosnia and Herzegovina and other Ex-Yugoslavian countries. The first day, the workers were fine with filming, but the next day only signs of their work awaited on the streets.

Domus Slovenija/Slovenia, 2019 režija/directed by Carolina Carqueja e Silveira scenarij/screenplay Carolina Carqueja e Silveira nastopajoči/appearing Abiral Khadka, Nabil Nazem, Jesus Andrades, David Mancevski, Anja Paternoster, Andraž Kogovšek tehnična ekipa/technical crew Elisabetta Gessi, Carolina Carqueja e Silveira, Anja Resman, Abiral Khadka produkcija/ production Akademija umetnosti, Univerza v Novi Gorici v korpodukciji s Famul Video Lab dolžina/running time 4’

Življenja študentov in delavcev se prepletajo ob sobivanju v istem študentsko-samskem domu. The lives of university students and hard-working men collide when they coexist in the same dorm.

Tekma oskrbnika trave A Match for the Grass Keeper

Slovenija/Slovenia, 2019 režija/directed by Jaka Prosenik, Caleb Murtagh, Christiaan HumbsSteinbeck scenarij/screenplay Jaka Prosenik, Caleb Murtagh, Christiaan Humbs-Steinbeck tehnična ekipa/technical crew Jaka Prosenik, Caleb Murtagh, Christiaan Humbs-Steinbeck produkcija/ production Luksuz produkcija dolžina/running time 4’

Prav posebna tekma za oskrbnika trave na krškem stadionu. A very special match for the grass keeper at the Krško stadium.

Nestor, moški z več vrstami obsesivnokompulzivnega vedenja, živi na nestabilni plavajoči hiši, ki se nikoli ne neha zibati. Nestor, a man with several obsessive-compulsive behaviours lives in an unstable houseboat which never stops oscillating.

The Projectionist Slovenija/Slovenia, 2019 režija/directed by Yuliya Kogol scenarij/screenplay Yuliya Kogol nastopajoči/appearing Marko Turkuš produkcija/production Luksuz produkcija dolžina/running time 2’

Kratki film, posnet na Festivalu kratkega filma FeKK 2019 v Ljubljani, prikazuje 10 minut iz življenja kinooperaterja. Filmed at the FeKK Ljubljana Short Film Festival 2019, this short film shows 10 minutes of everyday life of a film projectionist.

Salsa Portugalska, Argentina/Portugal, Argentina, 2020 režija/directed by Igor Dimitri scenarij/screenplay Igor Dimitri nastopajoči/appearing Estarlyn Rafael, Jannik Mioducki, Nehuen Zapata, Macarena Marnotes, Gayl Braddix, Mylardo Chery tehnična ekipa/technical crew Igor Dimitri, Sofía Covelli, Andrés Medina, Gabriel Martinho produkcija/production CYPARIS FILMS - Igor Dimitri, Verónica Balduzzi / VIDEOLOTION - Joana Peralta dolžina/ running time 13’

Neko popoldne v dominikanskem frizerskem salonu v Buenos Airesu, kjer se posamezniki različnih narodnosti – od pesnikov do umetnikov in igralcev, strank in pevcev reggaetona – združijo ob glasbi, ki preveva prostor. One Buenos Aires afternoon in the Dominican hairdresser saloon, in which characters of different origins reunite around the musical feeling of the place: from dancers to performers and actors, clients and reggaeton singers.

Nestor Združeno kraljestvo, Portugalska/United Kingdom, Portugal, 2019 režija/directed by João Gonzalez scenarij/screenplay João Gonzalez nastopajoči/appearing / tehnična ekipa/technical crew João Gonzalez produkcija/production João Gonzalez, Royal College of Art dolžina/running time 6’

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Videoteka Videothek

Nemčija/Germany, 2019 režija/directed by Stephan Bernardes scenarij/screenplay Stephan Bernardes, Jordanis Papadopoulos nastopajoči/appearing Wolfgang Esters tehnična ekipa/technical crew Moritz Wimmer, Marius Grote, Oscar Zöllner produkcija/production Jordanis Papadopoulos dolžina/running time 20’

Portret Wolfganga in njegove »Videotheke«, ene zadnjih preživelih v celotni Nemčiji. A portrait of Wolfgang and his “Videothek”, one of the last surviving ones in all of Germany.

Kratki rezi Short Deeds

Slovenija/Slovenia, 2019 režija/directed by Urban Zorko, Urša Menart, Kukla, Mitja Mlakar, Jure Dostal scenarij/screenplay Lara Simona Taufer, Rok Bohinc, Eva Nina Lampič, Vesna Lemaić, Marko Kumer Murč, Simona Hamer nastopajoči/appearing Marko Mandić, Katarina Čas, Rok Bohinc, Nina Cijan, Lovro Čuček, Davor Janjić, Doroteja Nadrah, Matija Vastl, Maja Majzelj, Janez Škof, Saša Pavček, Gregor Baković, Primož Pirnat tehnična ekipa/technical crew Rok Kajzer Nagode, Darko Sintič, Sašo Štih, Žiga Krajnc, Peter Perunović, Darko Herič, Matic Drakulić, Samo Jurca, Peter Žerovnik, Maja Šavc, Deja Škerjanc, Urška Grošelj produkcija/production Marko Kumer Murč, Mojca Pernat dolžina/ running time 31’

V globaliziranem svetu, kjer na vse, vključno z ljudmi, gledamo kot na dobrino, se zapustiti drugega zdi le še eno vsakodnevno opravilo. Kratki rezi, omnibus šestih različnih filmskih vizij, ki jih je posnelo pet slovenskih režiserjev, pokaže, kako odnosi med ljudmi umirajo na zabavne in prav nič zabavne načine. In the globalised times when everything, including human beings, is seen as a commodity, leaving other people seems to be just another everyday chore. Short Deeds is an omnibus of six different cinematic visions, done by five Slovenian directors, in which human relationships die in funny and unfunny ways.

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Zakaj polži nimajo nog Warum Schnecken keine Beine haben Why Slugs Have No Legs

Švica/Switzerland, 2019 režija/directed by Aline Höchli scenarij/screenplay Aline Höchli tehnična ekipa/technical crew Peter Bräker, Aline Höchli, Helen Woolston, Anaïs Voirol, Marcel Derek Ramsay, Thomas Schranz, Samuel Schranz, Gurpreet Kaur produkcija/production Cinéma Copain: Marcel Derek Ramsay, Michèle Wannaz dolžina/running time 11’

Polžem je težko dohajati življenjski ritem v mestu insektov. Ko nastopi finančna kriza, marljive čebele vidijo le eno rešitev ... Slugs have a hard time keeping up with the pace of life in the city of insects. When a financial crisis hits, the industrious bees only see one solution…


ONKRAJ ŽENSKIH POKRAJIN / BEYOND FEMININE LANDSCAPES

Svitanje Dawning

Slovenija/Slovenia, 2020 režija/directed by Jan Mozetič scenarij/screenplay Jan Mozetič nastopajoči/appearing Emil Lebar, Teja Grahek Lebar, Peter Lebar, Gregor Zamuda, Tanja Hladnik, Vesna Godler, Nevenka Peclin, Eva Kosel, Ivo Poderžaj tehnična ekipa/technical crew Jan Mozetič, Ana Kravanja, Samo Kutin produkcija/production Alkekengi film dolžina/ running time 9’

Ko nastane neka oblika, jo narava rada ponovno uporabi vsakič, ko je to mogoče. Vse je odvisno od perspektive. S tekom časa se oblike spreminjajo, vse dokler ne izginejo v prah. Ta kot novoletni sneg prekrije usedline, ki jih je čas skušal zapečatiti v našo kožo. When a shape forms, the nature likes to reuse it anytime possible. It all depends on the perspective. In the course of time, shapes keep changing until they disappear into dust, which, in turn, like the New Year’s snow, covers the deposits which time has sought to seal within our skin.

Amore Covid-19 Italija, Slovenija/Italy, Slovenia, 2020 režija/directed by Jan Devetak scenarij/screenplay Jan Devetak nastopajoči/appearing Nicolò Amedeo, Giorgia Fumagalli tehnična ekipa/technical crew Jan Devetak produkcija/production Jan Devetak, Tagliacorto Films dolžina/running time 8’

Karantena v času koronavirusne krize ločuje ljubimca. Ona živi v italijanski Gorici, na meji med Italijo in Slovenijo, medtem ko ima dedka na drugi strani meje. On živi v Milanu, kjer je situacija še slabša. Ločitev, ljubezen, upanje. During the coronavirus crisis, two lovers are separated by the lockdown. She lives in Gorizia, Italy, on the border between Italy and Slovenia, with a grandfather on the other side of the border. He lives in Milan, where the situation is even worse. Separation, love, hope.

Stoj! Stop!

Slovenija, Italija/Slovenia, Italy, 2019 režija/directed by Giulio De Paolis scenarij/screenplay Giulio De Paolis nastopajoči/appearing Serena Mrak, Kevin Korbi, Piervittorio Vitori, Marco Della Gaspera, Steven Stergar, Andrej Batič, Marija Pavlin, Ela Ideja Krog tehnična ekipa/technical crew Ugo De Rossi, John Erik Profumo, Giampaolo Mrach, Alvaro Gramigna, Claudio Gramigna,

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Ivan Caso produkcija/production Mappamao Film, Kinoatelje dolžina/running time 7’

Ženska se v jeseni življenja spominja, kako je ljubezen vstopila v njeno srce prav v usodnem letu 1947, ko je v goriško pokrajino ostro zarezala novonastala meja med Italijo in Jugoslavijo. Njena zgodba je svojska pravljica z nadrealističnim značajem, a hkrati tudi družinska drama, ki so jo zaznamovali resnični dogodki. In her autumn years, a woman reminisces about the fateful year of 1947, when the newly drawn border between Italy and Yugoslavia cut through the region of Gorizia; this was also the year when she found love. Hers is a peculiar tale with a tinge of the surreal, as well as a family drama shaped by real events.

The Nose That Ran Away Slovenija/Slovenia, 2019 režija/directed by Stella Hood scenarij/screenplay Stella Hood tehnična ekipa/technical crew Stella Hood, Jasper Heinrichs produkcija/production Luksuz produkcija dolžina/running time 2’

Stop animacija v tehniki kolaža, posvečena vprašanju lepote v družbi, prikazane na abstrakten način. A cut-out stop-motion animation dealing with the problem of beauty in society, shown in an abstract way.

Vialund Slovenija/Slovenia, 2019 režija/directed by Ivana Vogrinc Vidali scenarij/screenplay Ivana Vogrinc Vidali tehnična ekipa/technical crew Nika Otrin produkcija/ production Ivana Vogrinc Vidali dolžina/running time 3’

Ljudje smo pokrajine in to je potopis. People are landscapes and this is a travelogue.

Deliquescing Nizozemska/Netherlands, 2020 režija/directed by Mia Paller scenarij/screenplay Mia Paller tehnična ekipa/technical crew Mia Paller produkcija/production Mia Paller dolžina/running time 3’

Kratek črno-bel film o abstraktni urbani pokrajini, ki ga sestavljajo fotografije, povezave med njimi in iluzija gibanja pa temeljijo na digitalni manipulaciji podob. Film je posvečen resničnosti medija fotografije v odnosu do usmerjenega puščanja sledi prek transformacije pokrajine. A short black and white moving image piece about an abstracted cityscape. The work is composed of still images (photographs), employing digital image manipulation to form the in-betweens and the illusion of movement. The film deals with the reality of the photographic medium in relation to gestural markmaking through the transformation of landscape.

Leto dni v geostacionarni orbiti A Year Along the Geostationary Orbit

Nemčija/Germany, 2018 režija/directed by Felix Dierich scenarij/screenplay Felix Dierich tehnična ekipa/technical crew Felix Dierich produkcija/ production Felix Dierich dolžina/running time 16’

Prikaz poteka leta skozi oddaljene oči meteorološkega satelita Himawari-8 – hipnotičen tok Zemljine lepote, krhkosti in katastrof. A year through the distant eyes of the meteorological satellite Himawari-8 – a hypnotic stream of Earth’s beauty, fragility and disasters.

Bustarenga Francija, Portugalska/France, Portugal, 2019 režija/directed by Ana Maria Gomes scenarij/screenplay Ana Maria Gomes nastopajoči/appearing Ana Maria Gomes tehnična ekipa/ technical crew Suzana Pedro, Diana Meireles, Ana Maria Gomes produkcija/production ECCE FILMS - Emmanuel Chaumet, CURTAS METRAGENS CRL- Miguel Dias dolžina/running time 30’

Ana se vsako poletje odpravi v Bustarengo, gorsko vasico v notranjosti Portugalske. Ta Parižanka portugalske narodnosti je pri 36-ih še vedno samska. Prebivalci vasi so v skrbeh za njeno prihodnost, zato ji dajo vedeti, da čas teče. Ana upošteva nasvete in opozorila vaščanov, naj si poišče princa na belem konju v skladu z načeli, ki veljajo v vasi. Every summer, Ana goes to Bustarenga, a small mountain village in the interior of Portugal. At the age of 36, this Parisian woman of Portuguese origin is still single. The inhabitants of the village, worried about

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her future, make her understand that the clock is ticking. Ana listens to the advice and warnings of the villagers to find a Prince Charming according to the principles of the village.

Vse, kar ti hočem povedati s telepatskimi signali, ko me ne poslušaš Everything I’m Trying to Tell You Using Telepathic Signals When You’re Not Listening

Draga Jožica Dear Jožica

Slovenija/Slovenia, 2019 režija/directed by Anne-Pauline Serres, Marta Fernandez-Risco scenarij/screenplay Anne-Pauline Serres, Marta Fernandez-Risco nastopajoči/appearing Jožica Cedilnik tehnična ekipa/technical crew Estel Teodoro, Victoria Côte, Andy Power, Nika Senica, Luka Cvetko produkcija/production Luksuz produkcija dolžina/running time 6’

Jožica se po 50 letih zakona zave, da svoboda ni le privilegij, temveč tudi njena pravica. After 50 years of marriage, Jožica realizes that freedom is not only a privilege but also her right.

Ne za denar, ne za ljubezen, ne za nič Not for Money, Not for Love, Not for Nothing

Združeno kraljestvo/United Kingdom, 2020 režija/directed by John Robert Lee scenarij/screenplay John Robert Lee nastopajoči/appearing / tehnična ekipa/technical crew John Robert Lee, Fil Kaler, Ola Szmida, Jonathan Mason, Vytautas Franukevicius, Simas Okas produkcija/production Christine Patterson dolžina/running time 15’

S pomočjo animacije, ki zagotavlja anonimnost, resnične ženske pripovedujejo svoje resnične zgodbe in razpravljajo o resničnih vprašanjih. Paula pomaga ženskam, ki so se znašle ujete v nasilnem odnosu, Jo je pobegnila zvodniku in osnovala lasten bordel, Chelsea je brez samospoštovanja, Rachel dvomi v svojo moralnost, Amelio pa tare močan občutek osamljenosti. Using animation for anonymity, real questions are deliberated by real women, sharing their real stories. Paula helps women who have become trapped by abusive relationships and beaten by those who pay for the privilege, Jo shares her story of breaking free from a pimp to start her own brothel, Chelsea feels low self-esteem, Rachel questions her morality, and Amelia feels a strong sense of loneliness.

Slovenija/Slovenia, 2019 režija/directed by Ester Ivakič scenarij/screenplay Ester Ivakič produkcija/production Temporama dolžina/running time 3’

Vedno se lahko prenovimo, ampak drevesa in kozlički bodo ostali in počakali na nove stvari. There’s always a chance to reinvent oneself, but trees and longicorns will stay and wait for something new.

Na prodaj For Sale

Slovenija/Slovenia, 2019 režija/directed by Eva Jakopič, Katarina Lukec scenarij/screenplay Eva Jakopič, Katarina Lukec tehnična ekipa/technical crew Eva Jakopič, Katarina Lukec produkcija/production Luksuz produkcija dolžina/running time 4’

Bežen pogled v skrivnosti in zgodbe različnih hiš. A glimpse into hidden secrets and stories of different houses.

Dere sen jas mali bija In My Younger Days

Slovenija/Slovenia, 2019 režija/directed by Tina Ščavničar scenarij/screenplay Tina Ščavničar nastopajoči/appearing Tina Ščavničar tehnična ekipa/technical crew Tina Ščavničar produkcija/production Tina Ščavničar, Plan 9 dolžina/running time 3’

Eksperimentalen avtoportret. Posvetilo režiserkinemu rodnemu kraju Ljutomeru in navdihujoči pokrajini, ki ga obdaja. An experimental self-portrait. An homage to director’s hometown Ljutomer and its inspirational landscape.

Ostani buden, bodi na preži Hãy tỉnh thức và sẵn sàng Stay Awake Be Ready

Vietnam, Južna Koreja, ZDA/Vietnam, South Korea, USA, 2019 režija/directed by Pham Thien An scenarij/screenplay Pham Thien An nastopajoči/appearing Le Quoc Bao Vi, Vu Trong Tuyen, Trung

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Dong Cao, Be Hieu, Huynh Ngoc Hanh tehnična ekipa/technical crew Dinh Duy Hung, Pham Tuan Vu, Huynh Phuong Hien, Nguyen Minh Quyen, Pham Thi Phuong Thao, Nguyen Lam Quynh Han, Diep Phuong Uyen, Pham Thien Phuc, Do Tien Dat, Nguyen Tri Vuong Ba, Tamas Steger, Do Vu, Le Quoc Bao Vi, Vu Trong Tuyen, Trung Dong Cao, Be Hieu, Huynh Ngoc Hanh produkcija/production JKFILM dolžina/ running time 14’

Skrivnosten pogovor med tremi mladimi moškimi ob stojnicah na uličnem vogalu. Medtem se zgodi nesreča z motorjem. Noč poveže elemente v skico, v večbarven okvir resničnosti. On a street corner, a mysterious conversation among three young men at street stalls. Meanwhile, a traffic accident on a motorbike. The night brings together a sketch, a multicolour frame of reality​.

O čustvih in drugem zakonu termodinamike On Emotions and the Second Law of Thermodynamics

Slovenija/Slovenia, 2019 režija/directed by Nika Tomažič scenarij/screenplay Nika Tomažič tehnična ekipa/technical crew Nika Tomažič produkcija/ production AVA Akademija za vizualne umetnosti dolžina/running time 5’

Čustva manipulirajo s časom. Po drugem zakonu termodinamike čas ni nič drugega kot le naše doživljanje entropije – postopnega razpada. Je človeku edinstveno izkustvo, iluzija, katere trajanje in relativnost določajo naše emocije. Emotions manipulate time. According to The Second Law of Thermodynamics what we call “time” is nothing more than our experience of entropy – gradual decay. It’s an experience unique to man, an illusion whose duration and relativity are dictated by our feelings.

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ONKRAJ DELIKTA / BEYOND DELICT


Soma Slovenija, Italija/Slovenia, Italy, 2019 režija/directed by Sandra Jovanovska scenarij/screenplay Sandra Jovanovska, Ivan Antić nastopajoči/appearing Samo Bihar, Filip Bihar, Ivan Antic, Sandra Jovanovska tehnična ekipa/technical crew Sandra Jovanovska, Ivan Antić, Maja Stojkovska, Matjaž Štrukelj, Helene Thuemel, Anja Paternoster, Mark Bizij produkcija/production Akademija umetnosti, Univerza v Novi Gorici v koprodukciji s Famul Video Lab, Kinoatelje, Mnogougao dolžina/running time 9’

Mislili smo, da smo narejeni iz prahu, v resnici pa smo samo duh. We thought we were made of dust, but in fact we are just spirit.

Sčasoma

We Should Be Going Somewhere Slovenija/Slovenia, 2019 režija/directed by Aron Horvath Botka scenarij/screenplay Aron Horvath Botka nastopajoči/appearing Miha Štampah, Andraž Jug, Lara Vouk, Marko Mandić tehnična ekipa/technical crew Sašo Štih, Andrej Avanzo, Blaž Kačičnik produkcija/production A Atalanta d.o.o. dolžina/running time 13’

Izgubljeni duši čakata na avtobus nekje bogu za hrbtom, a namesto njega pride ženska. Razburkanost v spokojni krajini izzveni šele, ko so se vsi zmožni premakniti naprej in pustiti preteklost za sabo. Two lost souls are waiting for a bus in the middle of nowhere, but instead a woman appears. The disturbance in the calm scenery only settles down once they are all able to move on and leave their past behind.

Zlato Cajamarce Gold of Cajamarca El Oro de Cajamarca

Francija, Kolumbija/France, Colombia, 2019 režija/directed by Alexandre Regol scenarij/screenplay Alexandre Regol nastopajoči/appearing Jefferson Rodriguez, Jose Valencia, Margarita Vargas, Diego Fernando Vivas, Rodrigo Sorio, Alexander Quinte tehnična ekipa/technical crew Alexandre Regol, Olivier Voisin produkcija/production Alexandre Regol, L’Abominable dolžina/ running time 15’

Andih, polno pogovorov s prebivalci doline Cajamarce. Na površini zelena rodovitna zemlja in mirno kmetijstvo, pod zemljo pa nevidna polja zlata, ki bi lahko preoblikovala ves svet. A short handcrafted 16mm documentary about the struggles against one of Colombia’s biggest openpit goldmine projects. A black-and-white journey through Tolima’s green mountains in the Colombian Andes, talking to the inhabitants of the Cajamarca valley. On the surface, green fertile land and peaceful agriculture, but hidden under the ground are invisible fields of gold that could reshape this whole world.

Cross If You Dare Srbija/Serbia, 2019 režija/directed by Urša Rahne scenarij/screenplay Urša Rahne nastopajoči/appearing Random people on the street tehnična ekipa/technical crew Urša Rahne, Sašo Puckovski produkcija/ production Urša Rahne dolžina/running time 5’

Hitri avti, hrup in zadušljiv smrad njihovih motorjev so za Beograjčane nekaj vsakdanjega. Fast cars, loud sound and a suffocating smell from the engines is an everyday thing for the citizens of Belgrade.

Interstate 8 Nemčija, ZDA/Germany, USA, 2019 režija/directed by Anne Thieme scenarij/screenplay Anne Thieme nastopajoči/appearing Stephanie Amarell, Isabela Rengifo, Jacobi Howard, Drew Matthews, Luke Lowder, Jasper Keen, Sam Sherman tehnična ekipa/technical crew Lina Mareike Zopfs, Martin Gasch, Michael Kuleba, Anne Thieme, Saeid Behbahaninia, Roman Pogorzelski, Jordan McLaughlin, Sylvana Gibson, Colin Palmer produkcija/ production Filmuniversität Babelsberg KONRAD WOLF dolžina/ running time 15’

Na jugu Združenih držav se na zadnjih sedežih policijskega avta spoznata mladi ženski in ne da bi izrekli besede, izkusita nepravičnost, ki lebdi nad njima. In the southern United States, two young women meet by chance in the back of a police car and, without saying a word, experience the injustice hovering above them.

Ročno izdelan dokumentarec, posnet na 16-mm filmski trak, o boju proti enemu največjih projektov dnevnega kopa zlata v Kolumbiji. Črno-belo potovanje po Toliminih, zelenih gorah v kolumbijskih

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Igra

Hra Playing Češka/Czech Republic, 2019 režija/directed by Lun Sevnik scenarij/screenplay Lun Sevnik nastopajoči/appearing Rudolf Tříška, Miloslav Pecháček tehnična ekipa/technical crew Kryštof Melka, Ondřej Rozum, Zuzana Formanková, Maja Benc, Vladimír Bobenič, Lan Mai Nguyen, Linda Pilková produkcija/production FAMU dolžina/running time 22’

Šestnajstletna prijatelja Boris in Hugo prideta v stanovanje Hugovih staršev. Kupila sta pištolo. Na spletu pripravita video za prenos v živo in napovesta, da se bosta čez eno uro ubila. Boris je prepričan v pravilnost odločitve, Hugo pa ima še nekaj dvomov. V zadnjih trenutkih njunih življenj na dan pridejo sadizem, homoerotika in želja po uničenju. 16-year-old friends Boris and Hugo arrive at Hugo’s parents’ apartment. They have bought a gun. They set up a live stream video on the Internet and announce that in an hour they will commit suicide. Boris is sure about the decision, but Hugo still has some doubts. During the final moments of their lives, sadism, homoeroticism and a desire to destroy come out.

Da bi človeštvo preživelo So That Humanity Survives

Francija, Slovenija/France, Slovenia, 2019 režija/directed by Teja Miholič scenarij/screenplay Teja Miholič nastopajoči/appearing Ester Ivakič, Tina Ščavničar, Eva Stražar, Matej Tunja, Matic Pandel tehnična ekipa/technical crew Hee-Jin Kim, Ksenia Barzakovskaia, Jessica Fettick, Anne Tassel, Lev Predan Kowarski, Luka Marčetić, Matic Pandel, Špela Šafarič produkcija/ production ENSAV - Ecole Nationale Supérieure d’AudioVisuel dolžina/running time 6’

Dve punci se igrata detektivke in najdeta pravega serijskega morilca. Two girls play detective and find a real serial killer.

Izpit Exam

Iran, 2019 režija/directed by Sonia K. Hadad scenarij/screenplay Sonia K. Hadad, Farnoosh Samadi nastopajoči/appearing Sadaf Asgari, Hadis Miramini, Masih Kazemi, Elaheh Afshari tehnična ekipa/ technical crew Alireza Barazandeh, Ehsan Vaseghi, Parisa Farahani, Mohammadreza Hosseini, Ramin Abousedgh produkcija/production Three Gardens dolžina/running time 15’

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Najstnica je vpletena v proces dostave paketa kokaina stranki, pri čemer se ujame v serijo čudnih dogodkov. A teenage girl is involved in the process of delivering a pack of cocaine to a client, and gets stuck in a weird series of events.

Mačka in miška Cat and Mouse

Slovenija/Slovenia, 2019 režija/directed by Larisa Nagode, Jošt Šeško scenarij/screenplay Larisa Nagode (povzeto po ljudski bajki) tehnična ekipa/technical crew Jošt Šeško, Mateja Starič, Larisa Nagode, Žad Soklič, Anja Resman, Blaž Štolar, Amadeja Kirbiš, Matija Ternovec, Denis Perčič, Vid Cerjak, Anja Paternoster, Anja Zadnik, Antonella D'Amico, Onur Endurak produkcija/production Akademija umetnosti, Univerza v Novi Gorici v koprodukciji s Famul Video Lab dolžina/running time 2’

Mačka izkoristi lačno miš v svoj prid. A cat uses a mouse for its own gain.

Destiny Deluxe Portugalska/Portugal, 2019 režija/directed by Diogo Baldaia scenarij/screenplay Diogo Baldaia nastopajoči/appearing João Pacola, Karen Tribess, Maura Carneiro tehnična ekipa/technical crew Diogo Baldaia, Maura Carneiro, Leonardo Simões, Rafael Gonçalves Cardoso, João Pacola, Karen Tribess produkcija/production Terratreme dolžina/running time 30’

César se je ponesreči uvrstil na foto seanso, Chloé upa, da bo našla prostor za svoje ustvarjanje, Helen pa se je za nekaj dni vrnila v domače mesto, kjer se sooči z živo senco izgube. Realnost jih pušča na cedilu, usoda pa ustvari virtualen prostor iz spominov, melanholije in redkih priložnosti. César got into a photo shoot by accident, Chloé, who hopes to find a place to do her own work, and Helena is back in her home town for some days, only to find the living shadow of a loss. As reality keeps failing them, destiny creates a kind of a virtual space made of memories, melancholy, and rare occasions.


ONKRAJ EVFORIJE / BEYOND EUPHORIA

Uvertura Prelude

Italija/Italy, 2019 režija/directed by Rick Niebe scenarij/screenplay Rick Niebe tehnična ekipa/technical crew Prelude n°5 by Galina Ustvolskaya (1953) performed by Hayk Melikyan (2009) produkcija/production Rick Niebe dolžina/running time 1’

Izmaličeni najdeni posnetki kratkega klavirskega dela Galine Ustvolskaje. Eksperiment s celuloidom. Tortured found footage for a short piano piece of Galina Ustvolskaya. An experiment in celluloid.

Feniks Phoenix

Slovenija/Slovenia, 2019 režija/directed by Andreja Kranjec scenarij/screenplay Andreja Kranjec nastopajoči/appearing Ivana Gregurić tehnična ekipa/ technical crew Eva Vidovič, Mateja Koren produkcija/production Andreja Kranjec, v sodelovanju s Plesnim teatrom Ljubljana in SCCA dolžina/running time 7’

Mlada ženska se znajde pred pomembno življenjsko odločitvijo, ki jo hromi. Zbrati mora moč in pogum, da se sooči s svojimi strahovi, zapleše in ponovno zaživi. A young woman is faced with an important life decision that paralyses her. She has to gather the strength and the courage to face her fears, dance and live again.

Natus Slovenija/Slovenia, 2019 režija/directed by Ula Pogorevčnik scenarij/screenplay Ula Pogorevčnik nastopajoči/appearing Maja Maša Šömen, Inan Du Swami tehnična ekipa/technical crew Luka Karlin produkcija/production Darej Šömen, Warehouse Collective dolžina/running time 3’

Zgodba govori o dveh bitjih, ki se v tem svetu počutita kot nezemljana. Rada bi se razbremenila represivnega stanja, ki vlada v družbi. Vse, kar ju prekriva, ju utesnjuje. Njuno izrazno orožje sta njuni telesi. Z zlivanjem z naravo težita k preoblikovanju sveta v novo dimenzijo. The story is about two beings that feel like aliens in this world. They would like to disburden themselves of the repressive conditions ruling society. Everything that covers them – confines them. Their expressive weapons are their bodies. By merging with nature, they strive towards transforming the world into a new dimension.

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Luč

Perje z vonjem morja

Slovenija/Slovenia, 2020 režija/directed by Mitja Lovše scenarij/screenplay Mitja Lovše tehnična ekipa/technical crew Mitja Lovše produkcija/production Mitja Lovše dolžina/running time 1’

Slovenija/Slovenia, 2019 režija/directed by Žoel Kastelic scenarij/screenplay Žoel Kastelic tehnična ekipa/technical crew Žoel Kastelic, Iza Tehovnik produkcija/production Akademija za likovno umetnost in oblikovanje dolžina/running time 3’

Light

Paziti moramo na luč, posebej v teh težkih časih, sicer ... We must take care of light, particularly in these trying times, because otherwise …

Govor, ki ga vidiš The Voice You See

Slovenija/Slovenia, 2019 režija/directed by Tadej Koren Šmid, Gašper Markun scenarij/ screenplay Renato Švara nastopajoči/appearing Rina Pleteršek, Aljoša Škaper tehnična ekipa/technical crew Darko Sintič, Luka Cvetko, Vedran Tomšić, Lucija Zucchiati, Nal Klemen produkcija/ production Fixmedia dolžina/running time 10’

Preteklost ali prihodnost. Zagotovo apokalipsa in zagotovo romanca. V razmočenih gozdovih sveta, ki ni povsem zdrav, se srečata osebi. Ljudje že dolgo niso običajna bitja. Je cena komunikacije še vedno previsoka?

Feathers That Smell of the Sea

Zgodba se vrti okoli kormorana, simbola razcepljenosti med dva svetova. The story revolves around a cormorant, a symbol of being split between two worlds.

Rodez Francija/France, 2017 režija/directed by Stefano Miraglia scenarij/screenplay Stefano Miraglia tehnična ekipa/technical crew Stefano Miraglia produkcija/production Stefano Miraglia dolžina/running time 3’

Raziskava katedrale v Rodezu. Študija barve, ponavljanja in utripanja, sestavljena iz 292 fotografij. An exploration of the Rodez Cathedral. A study on colour, repetition and flickering, composed of 292 photographs.

Past or future. Surely an apocalypse and surely a romance. In the wet forests of a world that is not completely healthy, two persons meet. Humans have not been common beings for some time. Is the price of communication still too high?

Mary, Mary, So Contrary

Kje si, Mila?

S ponovno uporabo in manipulacijo posnetkov iz dveh klasičnih filmov in avtoričinega osebnega materiala Mary, Mary, So Contrary splete fantazmagorično zgodbo o Kitajki Ma Li, ki sanja, da je belka po imenu Mary.

Where art thou, Mila? Slovenija/Slovenia, 2020 režija/directed by Robert Kuret, Ester Ivakič scenarij/screenplay Robert Kuret, Ester Ivakič nastopajoči/appearing Robert Kuret, Ester Ivakič tehnična ekipa/technical crew Robert Kuret, Ester Ivakič produkcija/production Švidri productions dolžina/running time 3’

Torej hodiš po apokaliptični pokrajini in kaj vidiš? Mile zagotovo ne :( So you walk around an apocalyptic scenery and what do you see? Surely not Mila :(

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Singapur, 2019 režija/directed by Nelson Yeo scenarij/screenplay Nelson Yeo tehnična ekipa/technical crew Nelson Yeo, Teo Wei Yong produkcija/production Widewall Studio dolžina/running time 15’

Repurposing and manipulating footage from two classic films and the filmmaker’s own personal footage, Mary, Mary, So Contrary weaves together a phantasmagorical narrative about a Chinese woman named Ma Li, who dreams that she is a Caucasian woman named Mary.


Keygrip

Utrinki sončnega mrka 20. marca 2015 v Lizboni. Pismo od drugod opiše življenje v daljni deželi.

Grčija/Greece, 2019 režija/directed by Nasos Gatzoulis scenarij/screenplay Nasos Gatzoulis nastopajoči/appearing Yannis Papadopoulos, Penelope Tsilika tehnična ekipa/technical crew Nasos Gatzoulis, Aggi Vrettou, Fay Katsari, Rozita Gatzouli, Tessela, Jesper Duelund Hansen, Dimitra Sourlantzi, Athens Casting, Christina Akzoti, Alex Kelly, Efi Ziatou, Eirini Avzidou, Mandy Papadaki, Achilles Villiotis, Fanis Tzachsan, Sakis Mpouzanis, Kostas Tsitouras, Emil Nekhaeil Tadrus, Giorgos Maniatis, Yair Halper, Loukas Palaitsakis, William Tabanou, Frosso Tsipopoulou, Laura Santoyo, Anton Savlik produkcija/production Nasos Gatzoulis dolžina/running time 6’

Glimpses of the solar eclipse on 20 March 2015 in Lisbon. A letter from elsewhere recounts life in a distant land.

Po težkem razhodu s punco je moški prestavljen v psihedeličen vzporedni svet, kjer vlada več sadističnih različic njegove bivše punce. After a rough breakup with his girlfriend, a man gets transferred into a trippy, psychedelic alternative world dominated by multiple, sadistic versions of his exgirlfriend.

Revenge Porn Slovenija/Slovenia 2019 režija/directed by Sara Bezovšek scenarij/screenplay Sara Bezovšek tehnična ekipa/technical crew Sara Bezovšek produkcija/production Aksioma dolžina/running time 5’

Hipnotični kolaž iz elementov, ki jih mladi uporabniki uporabljajo za komuniciranje na družbenih omrežjih, kot sta Facebook in Instagram, kjer so pogosto žrtve nadlegovanja. GIF-i, memi, videoposnetki na YouTubu, piratske TV oddaje in filmi, eksplicitni posnetki, komentarji in klepeti so posneti in ponovno uporabljeni s tehniko mashupa. A hypnotic collage of elements that young people use to communicate on social networks such as Facebook and Instagram, where they are often victims of harassment. GIFs, memes, videos on YouTube, pirated TV shows and films, explicit footage, comments and chats are filmed and with the mashup technique repurposed…

Ne sam Not Alone

Slovenija/Slovenia, 2019 režija/directed by Elena Chiechio scenarij/screenplay Elena Chiechio nastopajoči/appearing Elena Chiechio, Polina Sidelova tehnična ekipa/technical crew Elena Chiechio produkcija/ production Elena Chiechio dolžina/running time 2’

Eksperimentalni prvi vtis o življenju v novem okolju. An experimental first impression of life in a new environment.

Poletje našega življenja The Summer of Our Lives

Slovenija/Slovenia, 2020 režija/directed by Tomaž Pavkovič scenarij/screenplay Dejan Mijović nastopajoči/appearing Dejan Mijović in prijatelji tehnična ekipa/technical crew Tomaž Pavkovič, Dejan Mijović produkcija/ production Tomaž Pavkovič dolžina/running time 5’

»Ta dolgoročni projekt je posvečen vsem mojim prijateljem, hkrati pa predstavlja tudi zgodovino našega prijateljstva. Različni kraji, različni časi, oddaljeni spomini, veseli trenutki, nore zabave, včasih solze in vedno veliko smeha.« “This long-term project is dedicated to all my friends and at the same time represents the history of our friendship. Different places, times, distant memories, happy moments, crazy parties, sometimes tears and always a lot of laughter.”

Črno sonce Black Sun

Portugalska, Francija/Portugal, France, 2019 režija/directed by Maureen Fazendeiro scenarij/screenplay Maureen Fazendeiro, povzeto po pesmi Henrija Michaux nastopajoči/ appearing Delphine Seyrig tehnična ekipa/technical crew Nicolas Rey, Pedro Pinho, Pedro Filipe Marques, Maureen Fazendeiro, Norberto Lobo produkcija/production O SOM E A FÚRIA - Luis Urbano, Sandro Aguilar in Norte Productions - Valentina Novati dolžina/running time 7’

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Psi lajajo na ptice

Njegove sanje načenjajo njegov občutek za realnost in odprejo vrata v fantazmagorični svet: drugo sonce vzide nad horizontom. Izjemen diplomski film z akademije KASK v Gentu.

Portugalska/Portugal, 2019 režija/directed by Leonor Teles scenarij/screenplay Vicente Gil, Salvador Gil, Maria Gil, Leonor Teles, Francisco Mira Godinho nastopajoči/appearing Vicente Gil, Salvador Gil, Maria Gil tehnična ekipa/technical crew Leonor Teles, Rafael Gonçalves Cardoso produkcija/production Leonor Teles / Uma Pedra no Sapato - Filipa Reis e João Miller Guerra dolžina/running time 20’

Fedor is a young locksmith in Murmansk, a frozen city in the darkness of the Russian Arctic. He wanders from client to client through concrete alleyways. His dreams erode his sense of reality, opening the door to a phantasmagorical universe: a second sun rises over the horizon. A remarkable graduation film from KASK in Ghent.

Cães que ladram aos pássaros Dogs Barking at Birds

Šole je konec in v zraku je vrvež. V Portu je staro in dekadentno zdaj vrhunec gentrifikacije mesta. Vincente, ki vsak dan opazuje spremembe urbane krajine, živi v pričakovanju prvih poletnih dni in začetka novega življenja. School is over and there’s a bustle in the air. In Porto, the old and decadent are now highlights of the city’s gentrification. Watching the urban landscape change day by day, Vicente lives in anticipation of the first days of summer and the beginning of a new life.

Intermission Expedition Nizozemska/Netherlands, 2019 režija/directed by Wiep Teeuwisse scenarij/screenplay Wiep Teeuwisse tehnična ekipa/technical crew Wiep Teeuwisse, Steven Hoes produkcija/production Valk Productions: Richard Valk dolžina/ running time 8’

Med sončnimi počitnicami se skupina turistov le stežka odvaja od svojega razgibanega mestnega življenja, zaradi odsotnosti dnevnih nalog pa so izgubljeni v neprijetni in strašljivi situaciji. Ko se enkrat naučijo upočasniti, bi lahko našli nekaj lepote v tukaj in zdaj. During a sunny holiday, a flock of tourists struggle to let go of their busy city lives, and the absence of daily tasks leaves them lost in an uncomfortable and frightening place. Once they learn to slow down, they may find some beauty in the here and now.

Sončni pes Sun Dog

Belgija, Rusija/Belgium, Russia, 2020 režija/directed by Dorian Jespers nastopajoči/appearing Alexander Pronkin tehnična ekipa/technical crew dolžina/running time 21’

Fedor je mlad ključavničar v Murmansku, zamrznjenem mestu v temi ruske Arktike, kjer po betonskih ulicah tava od stranke do stranke.

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ONKRAJ DRUŽINSKIH VEZI / BEYOND FAMILY TIES

Dedek gre na morje Grandpa Goes to the Sea

Slovenija/Slovenia, 2019 režija/directed by Jakob Vogrinec scenarij/screenplay Jakob Vogrinec nastopajoči/appearing Franc Bezjak, Marija Bezjak, Sonja Bezjak, Saša Bezjak, Boris Bezjak, Izidor Vogrinec, Aleksander Vogrinec, Rok Bezjak, Zarja Bezjak, Jakob Vogrinec tehnična ekipa/technical crew Jakob Vogrinec produkcija/production Jakob Vogrinec dolžina/running time 19’

Kratek dokumentarni film, ki dedka spremlja na kaotičnem rojstnem dnevu pred dopustom, med vožnjo na dopust in na morju. Film z vzporedno montažo vpeljuje arhivske posnetke, na katerih dedkovi družinski člani govorijo o svojih spominih nanj in o njegovih smešnih, nenavadnih navadah. A short documentary that depicts grandpa during a chaotic birthday celebration before his vacation, his drive to the sea, and his time at the seaside. The film uses parallel editing to connect archive footage with the happening at the seaside. The archive footage features grandpa’s family members talking about their memories of him and his funny, unusual habits.

Hura za revolucijo! Hooray, revolution! Mamă, revoluție!

Romunija/Romania, 2020 režija/directed by Andreea Udrea scenarij/screenplay Andreea Udrea nastopajoči/appearing Rodica Udrea, Niculai Udrea, Dorin Mustățea, Mioara Mustățea tehnična ekipa/technical crew Andreea Udrea produkcija/production Andreea Udrea dolžina/running time 3’

Trideset let po romunski revoluciji in padcu komunističnega režima leta 1989 imajo Romuni še vedno deljena mnenja glede poteka dogodkov. Je šlo res za revolucijo ali le za državni udar? Trije ljudje, ki so doživeli dogodke decembra 1989, delijo svoje izkušnje in svojo interpretacijo. Thirty years after the ‘89 Romanian Revolution and the fall of the communist regime, Romanians are still divided as to how the events unfolded. Was it really a revolution or was it a coup d’état? Three people that lived through the events of December 1989 depict their experiences and give voice to their interpretation.

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Alzheimer Cafe

Sea Pig

Slovenija/Slovenia, 2019 režija/directed by Martin Draksler scenarij/screenplay Martin Draksler nastopajoči/appearing Jožica Medica, Ivan Medic tehnična ekipa/technical crew Timon Hozo, Igor Iskra, Vida Ajdnik, Tristan Peloz, Karavana (Luka Krof, Ema Kobal, Gašper Lovrec), Gašper Povše, Timon Hozo, Teo Rižnar, Ana Kovačič, Ljiljana Bibič, Jurij Lukashevich produkcija/production AGRFT dolžina/running time 18’

Hrvaška/Croatia, 2020 režija/directed by Dorotea Škrabo scenarij/screenplay Dorotea Škrabo nastopajoči/appearing Boris Škrabo tehnična ekipa/ technical crew Dorotea Škrabo produkcija/production Dorotea Škrabo dolžina/running time 18’

Zakonca Ivan in Jožica sta se po 70 letih skupnega življenja preselila v dom za starejše občane. Kljub vsem oviram starosti nadaljujeta skupno življenje v novem okolju doma. Spomini bledijo, ljubezen ostaja. After seventy years of their married life together, Ivan and Jožica have moved to an old people’s home. Despite all the obstacles of old age, they continue their life together in the new environment. Memories fade, but love remains.

Potop The Flood

Slovenija/Slovenia, 2019 režija/directed by Kristijan Krajnčan scenarij/screenplay Kristijan Krajnčan nastopajoči/appearing Matej Puc, Žigan Krajnčan tehnična ekipa/technical crew Lev Predan Kowarski, Andrej Nagode, Kristijan Krajnčan, Julij Zornik, Maja Šavc, Nataša Lapornik, Ana Lazovski produkcija/production EnaBanda dolžina/running time 18’

Dolgo odsotni oče in njegov zapostavljeni sin se podata na spravno potovanje do družinske gorske koče. Ko močno deževje, ki ga je oče čudežno napovedal, nenadoma prekine sončen dan, morata moška poravnati račune, preden ju zajame zlovešč potop. A long-absent father and his neglected son set off on a reconciliation trip, heading for the family mountain hut. As heavy rains, curiously predicted by the father, suddenly disrupt a sunny day, the two men need to settle their scores before an ominous flood comes upon them.

Morski prasac

38. dan karantene sva z očetom šla na sprehod po plaži Morski prasac, na kateri je v mladosti preživel veliko časa. On the 38th day of the lockdown, my father and I went for a walk on the Sea Pig beach, where he spent a lot of time in his youth.

Rojstni dan Party Day Dia De Festa

Portugalska/Portugal, 2019 režija/directed by Sofia Bost scenarij/screenplay Tiago Bastos Capitão nastopajoči/appearing Rita Martins, Melissa Matos, Teresa Madruga, Sandra Celas, Mariana Silva, Sara Gonçalves, Fernanda Neves tehnična ekipa/technical crew Tian Tsering, Rafael Cardoso produkcija/production Filipa Reis, João Miller Guerra - UMA PEDRA NO SAPATO dolžina/running time 17’

Mena živi sama s hčerjo Claro. Danes je Clarin sedmi rojstni dan. Kljub omejenim finančnim virom Meni uspe organizirati rojstnodnevno zabavo. Toda po maminem telefonskem klicu postane pretresena in tesnobna. Mena lives alone with her daughter Clara. Today is Clara’s seventh birthday. Despite her limited financial resources, Mena still manages to organise a birthday party. But after a phone call from her mother, she becomes distraught and anxious.

Neskončna noč Perpetual Night Noite Perpétua

Portugalska, Francija/Portugal, France, 2020 režija/directed by Pedro Peralta scenarij/screenplay Pedro Peralta nastopajoči/appearing Paz Couso, Matilde Couso de Arcos, Domicilia Nunes, Sara Piris tehnična ekipa/technical crew Pedro Peralta, João Ribeiro, Francisco Moreira, Hugo Leitão, Som directo - Ricardo Leal; Montagem e Mistura de Som - Hugo Leitão produkcija/production João Matos - TERRATREME FILMES/ Janja Kralj - KINOELEKTRON dolžina/running time 17’

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Castuera, Španija, april 1939. Ponoči se na vratih hiše, kamor se je Paz zatekla s svojo družino, pojavita dva falangistična stražarja. Pozoveta jo, naj se zglasi na policijski postaji. Paz takoj razume usodnost tega obiska. Ker ni nobene možnosti za pobeg, prosi, če lahko še zadnjič podoji svojo novorojenko. Castuera, Spain, April 1939. During the night, two Falangist guards appear at the door of the house where Paz is taking refuge with her family. They request her presence at the police station. Paz immediately understands the fatality of this visit. Without any chance to escape, she asks to breastfeed her newborn daughter one last time.

Adam Singapur, 2019 režija/directed by Shoki Lin scenarij/screenplay Shoki Lin nastopajoči/appearing Ayden Liow, Wan Sharmila, Elvis Chin, Serina Sng, Jacob Teo tehnična ekipa/technical crew Ibrahim Zubir, Al-Azmir Ibrahim, Natasha Jumari, Beaunice Toh, Queenie Loh, Sulwyn Lok, Nicole Midori Woodford produkcija/production Nanyang Technological University School of Art, Design and Media dolžina/ running time 19’

Adam, utrujen od svojega burnega družinskega življenja, poišče drugačno rešitev v upanju, da bo našel svoje mesto. Tired of his turbulent family life, Adam seeks out an alternative arrangement in hopes of finding his place.

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OTOK V LJUBLJANI / OTOK IN LJUBLJANA Vsako mesto je filmski otok, Kino Otok. Any place is a cinema, Isola Cinema. Kinodvor Coincoin in ekstraljudje / Coincoin and the Extra-Humans (Ekstraserijsko/Extra-Series) Človek s senco / Man With Shadow (Ljubo doma/Home Sweet Home) Gorelo bo / Fire Will Come (Signali/Signals) Slavna medvedja zasedba Sicilije / The Bears’ Famous Invasion of Sicily (Podmornica/Submarine) Vaba / Bait (35-mm kult-ure/35mm cult-ure) Letni kino Slovenske kinoteke na Muzejski ploščadi Povedni sedanjik / Present.Perfect. (Signali/Signals) Slovenska kinoteka Silvanov zaliv / Silvan‘s Bay: Retrospektiva / Retrospective Konj po imenu denar / Horse Money Mladost na pohodu / Colossal Youth Naš človek / Our Man Sacavém V hiši iz lave / Down To Earth V Vandini sobi / In Vanda‘s Room

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OTOK DRUGJE / OTOK IN OTHER LOCATIONS Filmske nedelje na gradu Gewerkenegg, Idrija Portret mladenke v ognju / Portrait of a Lady on Fire (Signali/Signals) Hiša kulture, Sv. Anton Playing Men (Ljubo doma/Home Sweet Home) Trenutek reke / Timeless River (Ljubo doma/Home Sweet Home) Kino na prostem, Cerknica Medena dežela / Honeyland (Chiaro-oscuro: Tiranija napredka/Chiaro-oscuro: Tyranny of Progress) Kino Sežana Corpus Christi (Signali/Signals) Kinogledališče Tolmin Corpus Christi (Signali/Signals) Letni kino Arrigoni, Izola Medena dežela / Honeyland (Chiaro-oscuro: Tiranija napredka/Chiaro-oscuro: Tyranny of Progress) Letni kino Silvana Furlana, Nova Gorica Črte v pesku, zgodba o zgodovini / Sandlines, the Story of History (Chiaro-oscuro: Tiranija napredka/ Chiaro-oscuro: Tyranny of Progress) Palača Gravisi-Buttorai, Koper Osem in pol / 8½ (35-mm kult-ure/35mm cult-ure) Zadnji in prvi ljudje / Last and First Men (Evropa 2.0/Europe 2.0)

OTOK NA SPLETU / VIRTUAL OTOK Izbor festivalskih filmov bo na voljo tudi na Cinesquare, prvi in največji regionalni platformi za video na zahtevo (VOD) na Balkanu. Filmi bodo dostopni na povezavi www.cinesquare.net. A selection of festival films will also be available on Cinesquare, the first and largest regional VOD platform in the Balkans. To access them, please visit: www.cinesquare.net.

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PRO OTOK Program za filmske profesionalce. Programme for film professionals.

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ART KINO MREŽA SLOVENIJE / SLOVENIAN Art Cinema ASSOCIATION

Art kino mreža Slovenije (AKMS) je združenje kinematografov in prikazovalcev kakovostnega in umetniškega filma. Interni del srečanja bo namenjen posvetu članov združenja glede možnosti za vzpostavitev nove platforme videa na zahtevo (VOD) in načrtom za prihodnje četrtletje. V prvem delu za javnost odprtega srečanja se bomo o izkušnjah z VOD pogovarjali z gostujočimi strokovnjaki, predstavniki platform DAFilms.com in Svevid.net, nato pa se bomo posvetili predstavitvam sistemov za prodajo vstopnic in beleženje občinstva. V sodelovanju festivala Kino Otok, AKMS in zavoda Motovila.

Program: Strokovno srečanje: platformi videa na zahtevo DAFilms.com in Svevid.net DAFilms.com je mednarodna spletna distribucijska platforma za dokumentarne in avtorske filme, osredotočena na evropsko kinematografijo. Ponuja več kot 2000 filmov, ki so dostopni po vsem svetu. Vključuje raznolike programske izbore, od predstavitev arhivskih zgodovinskih filmov in retrospektiv vrhunskih filmskih ustvarjalcev do novih formatov premier. DAFilms.com bo predstavila Diana Tabakov (Češka), izvršna direktorica projekta DOC Alliance, ki prek platforme povezuje najrelevantnejše evropske filmske festivale. Svevid.net je prva naročniška platforma videa na zahtevo, ki združuje avdiovizualno dediščino nekdanje skupne jugoslovanske države in omogoča ogled številnih celovečernih, dokumentarnih in animiranih filmov ter TV serij na računalniku, tabličnem računalniku ali pametnem telefonu. Svevid združuje več kot osemdeset let regionalne filmske dediščine in po naročniškem modelu ponuja skrbno izbran katalog restavriranih in digitaliziranih filmov in serij z visoko ločljivostjo. Platformo je leta 2019 ustanovila skupina petih hrvaških AV strokovnjakov in jo poimenovala po štiriglavem

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The Slovenian Art Cinema Association (AKMS) brings together venues that promote arthouse films. In the closed session, association members will confer about the possibility of establishing a new VOD platform and the plan for the next quarter. In the first open session, we will talk about experiences with VOD with our guest experts, representatives of the DAFilms.com and Svevid.net platforms and then focus on the presentations of ticket sales systems and systems for registering the audience. In cooperation between Kino Otok – Isola Cinema Film Festival, AKMS and Motovila Institute.

Programme: Professional meeting: DAFilms.com and Svevid. net VOD Platforms DAFilms.com is an international online distribution platform for documentary and auteur films that focuses on European cinema. It offers more than 2000 films that are available all over the world. It includes various programme selections from presentations of archival historical films and retrospectives of leading filmmakers to new premiere formats. DAFilms.com will be presented by Diana Tabakov (Czech Republic), Executive Director of the DOC Alliance project, which, through the platform, connects the most relevant European film festivals. Svevid.net is the first subscription VOD platform that gathers the audiovisual heritage of former Yugoslavia and offers numerous fiction, documentary and animated films and TV series that can be viewed on computers, tablets and smart phones. Svevid draws on more than eighty years of regional film heritage and, on the basis of a subscription model, offers a carefully selected catalogue of restored and digitised films and series in high resolution. In 2019, the platform was established by a group of five Croatian AV experts and named after a four-headed Slavic deity deeply rooted in the cultural heritage of the region. The business and creative aspects of the new


slovanskem božanstvu, globoko zakoreninjenem v kulturni dediščini regije. Poslovne in ustvarjalne vidike nove platforme bosta predstavila direktor in ustvarjalni vodja Filip Lozić ter poslovni vodja Danijel Popović (Hrvaška).

platform will be presented by the CEO and creative director Filip Lozić and CAO Danijel Popović (Croatia).

Presentation: Ticket Sales Programmes Predstavitev: programi za prodajo vstopnic Programe za prodajo vstopnic bodo predstavila podjetja ISA.IT, Eventim, Informacijske storitve Titania (Showman) in mojekarte.si.

Ticket sales programmes will be presented by ISA.IT, Eventim, Informacijske storitve Titania (Showman) and mojekarte.si.

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INOVATIVNI MODELI SODELOVANJA MEDNARODNIH FILMSKIH FESTIVALOV / INNOVATIVE MODELS OF COOPERATION BETWEEN INTERNATIONAL FILM FESTIVALS

Strokovni seminar, kjer bomo z mednarodnimi gosti in domačo zainteresirano javnostjo govorili o inovativnih modelih sodelovanj mednarodnih filmskih festivalov, vključno s platformami videa na zahtevo. V sodelovanju zavoda Motovila in festivala Kino Otok, članoma konzorcija PRO KUS, ki se zavzema za stabilnejše pogoje za kulturno produkcijo in profesionalizacijo kulturnega in ustvarjalnih sektorjev.

A professional seminar at which we will talk with international guests and the Slovenian interested public about innovative models of cooperation between international film festivals, including VOD platforms. In cooperation between Motovila Institute and Kino Otok – Isola Cinema Film Festival, members of the PRO KUS consortium, which advocates more stable conditions for cultural production and the professionalization of the cultural and creative sectors.

Program:

Programme:

27. 8., 11.00–11.30 Uvod v mednarodno povezovanje

27. 8., 11.00–11.30 Introduction to International Cooperation

Želite izvedeti več o priložnostih EU za mednarodno povezovanje v kulturi, filmu in ustvarjalnih sektorjih? Ekipi CED Slovenija (Motovila) in Europe Direct Koper (PiNA) bosta predstavili svoje delo in priložnosti, s katerimi EU spodbuja razvoj projektov in mednarodno sodelovanje. Ekipa Motovile bo po dogodku na voljo za individualna svetovanja.

Would you like to know more about EU opportunities for international cooperation in culture, cinema and creative sectors? The teams of CED Slovenia (Motovila) and Europe Direct Koper (PiNA) will present their work and the opportunities with which the EU encourages project development and international cooperation. After the event, Motovila’s team will be available for individual counselling.

27. 8., 11.30–13.30 Strokovni seminar: Inovativni modeli sodelovanja mednarodnih filmskih festivalov

27. 8., 11.30–13.30 Professional seminar: Innovative Models of Cooperation between International Film Festivals

Predstavili bomo DAFilms - DocAlliance online channel, enega najuspešnejših MEDIA podprtih tovrstnih primerov povezovanja 7 prominentnih evropskih filmskih festivalov (CPH:DOX, doclisboa, Millennium Docs Against Gravity, DOK Leipzig, FIDMarseille, 24. MFDF Ji.hlava / 24th Ji.hlava IDFF in Visions du Réel), ki je namenjen promociji kakovostnega avtorskega dokumentarnega filma, tudi prek VOD platforme DAFilms.com. Z nami bo izvršna direktorica projekta Diana Tabakov (Češka). Pogovoru po predstavitvi se bo pridružila Doris Bauer (Avstrija), direktorica festivala Vienna Shorts, ki se na Dunaju odvija že 18 let in se redno uvršča med najboljše evropske filmske festivale

We will present the DAFilms – DocAlliance online channel, one of the most successful MEDIA supported cases of such cooperation between seven prominent European film festivals (CPH:DOX, doclisboa, Millennium Docs Against Gravity, DOK Leipzig, FIDMarseille, 24. MFDF Ji.hlava / 24th Ji.hlava IDFF and Visions du Réel) intended to promote quality auteur documentary films, also via the DAFilms.com VOD platform. The project’s Executive Director Diana Tabakov (Czech Republic) will be with us. Joining the discussion after the presentation is Doris Bauer (Austria), the director of Vienna Shorts, a festival running for 18 years that is regularly ranked one of the best European short film festivals supported

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kratkega filma, ki prejemajo podporo Ustvarjalne Evrope – MEDIA. Vienna Shorts je tudi eden od partnerjev v novi mreži, ki se je prijavila na lanski prvi razpis Ustvarjalne Evrope za festivalske mreže. Pogovor bo povezovala Sabina Briški Karlić (CED Slovenija/Motovila). Gre za nadaljevanje aktualne diskusije o izmenjavi in povezovanju med festivali, tudi v luči sprememb podprograma Ustvarjalna Evropa – MEDIA, ki od letos posebej podpira mreženje festivalov.

by Creative Europe – MEDIA. Vienna Shorts is also one of the partners in a new network, which applied for a grant in last year’s first Creative Europe call for festival networks. The discussion will be chaired by Sabina Briški Karlić (CED Slovenia/Motovila). This is a continuation of the current discussion on the exchange and connection between festivals, also in light of the changes to the MEDIA subprogram of Creative Europe, which this year began encouraging the networking of festivals.

Dogodek je del ciklusa treh specializiranih strokovnih usposabljanj za strokovnjake s področja filma in AV sektorjev v okviru serije strokovnih usposabljanj »Onkraj kulturnega modela« (OKM). Serija usposabljanj zavoda Motovila je organizirana kot del dejavnosti Partnerske mreže Platforme Center za kreativnost. Projekt sofinancirata Evropska unija iz Evropskega sklada za regionalni razvoj in Republika Slovenija.

The event is part of a cycle of three specialised professional trainings for film and AV professionals in the framework of the series of trainings Beyond the Cultural Model. The training series is organised by the Motovila Institute as part of the activities of the Centre for Creativity Platform Partner Network. The project is co-financed by the EU (the European Regional Development Fund) and the Republic of Slovenia.

Aktivnosti konzorcija PRO KUS sofinancira Ministrstvo za javno upravo v okviru javnega razpisa za razvoj in profesionalizacijo NVO.

The activities of the PRO KUS consortium are cofinanced by the Ministry of Public Administration in the framework of the public call for the development and professionalization of NGOs.

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PRENOS VEŠČIN – KAKO DO ODMEVNEGA FILMSKEGA PROJEKTA? / SKILL TRANSFER – HOW TO GET A SUCCESSFUL FILM PROJECT?

Festival Kino Otok v sodelovanju s Centrom za kreativnost (pri Muzeju za arhitekturo in oblikovanje) pripravlja tokratni dogodek Prenos veščin s fokusom na filmsko ustvarjalnost. Usposabljanje prinaša izkušnje štirih uveljavljenih filmskih ustvarjalcev iz Slovenije in tujine, ki svoje filmske vizije uspešno realizirajo v mednarodno odmevne projekte. Dogodek je namenjen filmarjem na začetku kariere ali projekta, ki si želijo na podlagi izkušenj uspešnih slovenskih in tujih filmskih produkcij najti navdih za preboj.

In cooperation with the Centre for Creativity (Museum of Architecture and Design), the Kino Otok – Isola Cinema Film Festival will organise the Skill Transfer event focusing on filmmaking. The training will present the experiences of four established filmmakers from Slovenia and abroad that have managed to realise their film visions into internationally successful projects. The event is intended for filmmakers at the beginning of their career or project that would like to find inspiration for a break-through in the experiences of successful Slovenian and foreign film productions.

Produkcija in distribucija avtorskega filma se v zadnjem desetletju pospešeno spreminjata zaradi novih potreb sodobnih filmskih projektov, ki običajno nastajajo v negotovih pogojih. Oblikujejo se inovativni pristopi k realizaciji filmov in doseganju občinstva. Končni cilj je uspešen filmski projekt, ki vzbudi navdušenje ne le domačih gledalcev, temveč tudi najrelevantnejših mednarodnih festivalov, ki v filmih z lokalno tematiko prepoznajo univerzalne teme.

The production and distribution of auteur films has rapidly changed in the last decades due to the new requirements of contemporary film projects that are usually made in uncertain conditions. Innovative approaches to the realisation of films and reaching the audience are emerging. The end goal is a successful film project that impresses not only domestic audiences, but also the most relevant international festivals that recognise universal topics in films with local themes.

Predstavljajo se: režiser Siniša Gačić (Slovenija), producent Miloš Pušić (Srbija), režiser Marko Đorđević (Srbija), režiser in producent Eloy Domínguez Serén (Španija). Dogodek bo moderiral Dragan von Petrović (Srbija). Z gosti se bomo posvetili naslednjim temam: • vodenje produkcije od zamisli do realizacije: kako se spopasti z negotovimi okoliščinami in preseči zavrnitve tradicionalnih financerjev? • strategija za distribucijo filma: kako vzeti vajeti v svoje roke? • občinstvo: kako zajadrati na valu navdušenja občinstva? • uspeh: kakšen naj bi bil recept za uspeh filma ali kako razumeti, da ta ne obstaja? Siniša Gačić, slovenski režiser in novinar, pronicljiv opazovalec usod posameznikov in družbenih skupin z roba. Njegov zadnji dokumentarni film, Hči Camorre (2019), je svetovno premiero doživel v tekmovalnem programu sarajevskega filmskega festivala, čemur je sledila uspešna distribucijska pot. Gačić je skupaj

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Speakers: director Siniša Gačić (Slovenia), producer Miloš Pušić (Serbia), director Marko Đorđević (Serbia), director and producer Eloy Domínguez Serén (Spain). The event will be moderated by Dragan von Petrović (Serbia). With the guests, we will focus on the following topics: • managing the production from the idea to its realisation: how to deal with uncertain circumstances and overcome the rejection of traditional funders? • strategy for film distribution: how to take the reins? • audience: how to ride on the wave of audience enthusiasm? • success: what is the recipe for a film’s success or how to understand that it does not exist? Siniša Gačić, a Slovenian director and journalist, an insightful observer of the fates of individuals and social groups on the margins. His latest documentary Daughter of Camorra (Hči Camorre, 2019) had its


s scenaristko filma Anko Pirš na jugu Italije štiri leta spremljal Cristino Pinto, nekdanjo pripadnico Camorre, kar je od avtorjev zahtevalo prilagoditev neznanim okoliščinam in vsestransko iznajdljivost. Producent Miloš Pušić in režiser Marko Đorđević, srbska filmarja, ustvarjalca celovečernega igranega filma Moj jutranji smeh (Moj jutarnji smeh, 2019), ki je bil ustvarjen z lokalno ekipo, z minimalnimi sredstvi in veliko iznajdljivosti. Film je požel izjemno navdušenje občinstva, bil premierno prikazan na festivalu v Rotterdamu in dosegel kultni status med srbskimi študenti režije. Film bo na sporedu programa festivala Kino Otok. Režiser in producent Eloy Domínguez Serén, ki prihaja iz Španije, občasno živi na Švedskem in je ustvaril film v Zahodni Sahari. Življenjska iznajdljivost v kombinaciji s profesionalno samodisciplino in vizijo sta mu prinesli številne nagrade in uvrstitve na festivale, med drugim mednarodno premiero na najpomembnejšem svetovnemu festivalu dokumentarnega filma IDFA. Njegovi filmi so bili večkrat predstavljeni na Kino Otoku, del letošnjega programa pa bo njegov zadnji celovečerni dokumentarec Hamada (2018). Dogodek bo moderiral Dragan von Petrović, srbski filmski ustvarjalec, ki ima izkušnje s sodelovanjem z mednarodnimi filmskimi ekipami, s področjem financiranja filmov v regiji in s strategijami distribucije filmov po festivalih v Evropi ter svetu.

Program: 28. 8., 11.00–12.00 Študije primerov: Hamada, Moj jutranji smeh, Hči Camorre V 20-minutnih sklopih bodo avtorji predstavili razvoj in posebnosti svojih projektov. Marko Đorđević in Miloš Pušić bosta predstavila delo na igranem prvencu Moj jutranji smeh (Srbija, 2019),

world premiere in the competition programme of the Sarajevo film festival, which was followed by a successful distribution path. Together with the film’s scriptwriter Anka Pirš, Gačić followed Cristina Pinta, a former Camorra member, in the South of Italy for four years, which required the filmmakers to adapt to unknown circumstances and employ their all-round resourcefulness. Producer Miloš Pušić and director Marko Đorđević, Serbian filmmakers, creators of My Morning Laughter (Moj jutarnji smeh, 2019), a feature film created with a local team on a minimal budget and with lots of resourcefulness. The film was a big success with the audiences. It premiered at the Rotterdam film festival and obtained a cult status among Serbian students of film directing. The film will be screened at the Kino Otok – Isola Cinema Film Festival. Director and producer Eloy Domínguez Serén, who comes from Spain and occasionally lives in Sweden, created a film in Western Sahara. Life resourcefulness in combination with professional self-discipline and vision brought him numerous awards and festival selections, among others, the international premiere at the most important festival of documentary cinema in the world IDFA. His films have been presented at Isola Cinema several times; this year, we will present his latest feature-length documentary Hamada (2018). The event will be moderated by Dragan von Petrović, a Serbian filmmaker with experiences in working with international film crews, the field of funding films in the region and strategies of film distribution at festivals in Europe and the world.

Programme: 28. 8., 11.00–12.00 Case studies: Hamada, My Morning Laughter, Daughter of Camorra In 20-minute segments, the filmmakers will present

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Eloy Domínguez Serén bo predstavil ustvarjanje dokumentarnega filma Hamada (Švedska, Norveška, Nemčija, 2018), Siniša Gačić pa dokumentarnega filma Hči Camorre (Slovenija, Italija, 2019).

28. 8., 12.15–14.00 Moderirana diskusija: Kako do odmevnega filmskega projekta? Pogovor z Markom Đorđevićem, Milošem Pušićem in Eloyem Domínguezom Serénom, v katerem bodo gostje razmišljali o pasteh in priložnostih ustvarjanja filmskih projektov v negotovih okoliščinah, bo vodil Dragan von Petrović.

the development and specifics of their projects. Marko Đorđević and Miloš Pušić will present their work on Đorđević’s debut feature My Morning Laughter (Serbia, 2019), Eloy Domínguez Serén will present the making of his documentary Hamada (Sweden, Norway, Germany, 2018) and Siniša Gačić the making of his documentary Daughter of Camorra (Slovenia, Italy, 2019).

28. 8., 12.15–14.00 Moderated discussion: How to get a successful film project? Dragan von Petrović will moderate a talk with Marko Đorđević, Miloš Pušić and Eloy Domínguez Serén, in which the guests will think about the traps and opportunities of creating film projects in uncertain circumstances.

28. 8., 18.00 Večerne vezi Delovno-družabna večerja filmskih profesionalcev z gosti dogodka.

28. 8., 18.00 Evening ties A work dinner of film professionals with guests of the event.

29. 8., 10.00–13.00 Srečanja ena-na-ena Individualni posveti z gosti dogodka. Usposabljanje »Prenos veščin – kako do odmevnega filmskega projekta?« festivala Kino Otok je organizirano kot del dejavnosti partnerske mreže Platforme Center za kreativnost. Projekt sofinancirata Evropska unija iz Evropskega sklada za regionalni razvoj in Republika Slovenija.

134 PRO OTOK

29. 8., 10.00–13.00 One-on-one meetings Individual talks with guests of the event. The training Skill Transfer – How to Get a Successful Film Project? is organised by Kino Otok – Isola Cinema Film Festival as part of the activities of the Centre for Creativity Platform Partner Network. The project is co-financed by the EU (the European Regional Development Fund) and the Republic of Slovenia.


LUÍS AZEVEDO: VIDEO ESEJ KOT OBLIKA REFLEKSIJE O FILMIH/ LUÍS AZEVEDO: VIDEO ESSAY AS A FORM OF FILM REFLECTION

Luís Azevedo je portugalski videast z magisterijem iz filma. Redno ustvarja video eseje za Fandor, Little White Lies in MUBI; podpisal se je že pod šestdeset del. Skupaj s kogonado je leta 2017 prejel lažno nagrado Chrisa Markerja za zapuščino za najbolj markerjevski video leta. Prek svojega provokativnega, eksperimentalnega dela se Azevedo ukvarja z različnimi vidiki filmske umetnosti.

Luís Azevedo is a Portuguese video maker with a master’s degree in film. He’s been regularly making video essays for Fandor, Little White Lies and MUBI, with a total of over 60 pieces to his name. Along with kogonada, he was the recipient of the fake “2017 Chris Marker Legacy Awards” for the most Markeresque video of the year. Through his provocative, experimental work, Azevedo tackles the different aspects of cinematic art.

Program:

Programme:

29. 8., 11.00–12.30 Predstavitev in projekcije

29. 8., 11.00–12.30 Presentation and screenings

Luís Azevedo bo predstavil svoj izrazito raziskovalen in ustvarjalen pristop k video esejistiki, na ogled bodo tudi njegovi izbrani eseji.

Luís Azevedo will present his distinctly exploratory and creative approach to video essayism. Some of his essays will also be on view.

V sodelovanju festivala Kino Otok in Društva slovenskih filmskih publicistov FIPRESCI.

In cooperation between the Kino Otok – Isola Cinema Film Festival and FIPRESCI, Slovenia.

PRO OTOK 135


KRATKA SCENA NA OTOKU/ SHORT SCENE AT ISOLA CINEMA

Kratka scena je scenaristična delavnica, namenjena razvoju scenarijev kratkometražnih filmov, poteka pa v več sklopih pod vodstvom vrhunskih in mednarodno priznanih mentorjev. Večdnevna intenzivna delavnica tokrat poteka v osrednjem delu festivala kratkega filma FeKK in festivala Kino Otok. Vključuje spoznavanje teorije in prakse scenaristične obrti, razvoj in pisanje scenarija za kratki film. Poudarek je na delu v skupini z ostalimi udeleženci in na individualnem delu z mentorjem. Letošnji mentor Kratke scene je Wim Vanacker, priznani mednarodni strokovnjak s področja scenaristike kratkega filma, svetovalec za scenarij, mentor in gostujoči govorec na različnih delavnicah, filmskih festivalih in platformah za razvoj scenarija kratkega filma. Z letošnjim letom je tudi član komisije za tekmovalni program kratkega filma filmskega festivala v Cannesu in svetovalec pri First Cut Lab. Vanacker se je najprej posvetil študiju psihologije v Belgiji, nato pa z delom na področju odvisnosti od drog nadaljeval v Dublinu. Tri leta kasneje je v Parizu nadaljeval s študijem na EICAR, kjer je naredil dva kratka filma in se nato pridružil zvezi NISI MASA – European Network of Young Cinema kot vodja sekcije za razvoj scenarija. Je tudi projektni vodja pri European Short Pitch, kot scenarist in režiser pa trenutno razvija dva filma: ['sıə.ri.əl ] in Psycho Revisited.

Program: 26. 8.–28. 8. Srečanja udeležencev z mentorji Udeleženci delavnice bodo na Kino Otoku v Izoli tri dni krepili na FeKKu v Ljubljani pridobljeno znanje, se prek spleta srečali z mentorjem Wimom Vanackerjem in v živo z Viviano Carlet in Carlom Miggotom, vodjema italijanskega festivala kratkega filma Lago Film Fest.

136 PRO OTOK

Short Scene is a scriptwriting workshop intended for the development of scripts for short films, which takes place in several instalments under the leadership of first-rate and internationally acknowledged mentors. This time, the several-day intense workshop will take place during FeKK and Kino Otok – Isola Cinema festivals. It involves learning about the theory and practice of scriptwriting, the development and writing of a script for a short film. The emphasis is on working in a group with other participants and on individual work with the mentor.

This year’s mentor of Short Scene is Wim Vanacker, an acknowledged international expert in writing scripts for short films, script advisor, mentor and guest speaker at various workshops, film festivals and short film script development platforms. This year, he became a member of the Selection Committee for the Official Short Film Competition of the Cannes Film Festival and advisor at First Cut Lab. Vanacker first studied psychology in Belgium and then worked in the field of drug addiction in Dublin. Three years later, he continued his studies at EICAR in Paris, where he made two short films and then joined NISI MASA – European Network of Young Cinema as head of the script development section. He is also the project leader at European Short Pitch, and is currently developing two films as a scriptwriter and director: [‘sıə.ri.əl ] and Psycho Revisited.

Programme: 26. 8.–28. 8. Meetings of the participants with the mentors At Isola Cinema, the workshop participants will deepen the knowledge gained at FeKK in Ljubljana and, via the internet, meet with their mentor Wim Vanacker and, in person, with Viviana Carlet and Carlo Miggoto, the directors of the Italian short film festival Lago Film Fest.


OSTRIMO POGLED NA OTOKU! 2020 / SHARPENING THE GAZE AT THE 2020 ISOLA CINEMA

Udeleženci nad 16. letom starosti bodo gledali filmske preboje s celotnega sveta, o njih debatirali, tudi na plaži, nato pa spisali kratke refleksije. Besedila bodo sproti objavljena na festivalski in prevetreni spletni strani Društva KINO!, najboljše med njimi čaka tudi objava v reviji KINO!. Delavnico bo vodila Maja Krajnc, odg. ur. KINO! ter izvajalka Kino-katedre za osnovne in srednje šole v Slovenski kinoteki, asistiral ji bo Robert Kuret, filmski publicist. V soorganizaciji Društva za širjenje filmske kulture KINO! in Zavoda Otok.

Participants over the age of sixteen will watch film breakthroughs from all over the world, discuss them, also on the beach, and then write short reflections on them. The texts will be published on the festival’s website and the revamped website of the KINO! Society. The best among them will also be published in the KINO! magazine. The workshop will be led by Maja Krajnc, the editorin-chief of KINO! and educator of the Kino-katedra film education programme for primary and secondary school students at the Slovenian Cinematheque, who will be assisted by Robert Kuret, a writer about film. Co-organised by the KINO! Society for Expanding Film Culture and Otok Institute.

PRO OTOK 137


GOSTJE FESTIVALA / FESTIVAL GUESTS

Luis Azevedo, režiser, publicist in video esejist/director, writer and video essayist — Doris Bauer, Mario Benkoč, projektni sodelavec (Informacijska

sodirektorica/co-director (Vienna Shorts) —

točka Europe Direct Koper, Kulturno izobraževalno društvo PiNA/Europe Direct Koper Information centre,

Sara Bezovšek, režiserka/director (Revenge Porn, Slovenija/Slovenia 2019) — Sabina Briški Karlić, vodja za avdiovizualni sektor/head of AV sector (Motovila/CED Slovenija) — Viviana Carlet, ustanoviteljica in umetniški vodja/founder and art director (Lago Film Fest) — Giulio De Paolis, režiser/director, Kevin Korbi, igralec/actor (Stoj!/ Stop!, Slovenija, Italija/Slovenia, Italy 2019) — Eloy Domínguez Serén, režiser/director (Hamada, Španija/Spain 2018) — Marko Đorđević, režiser/director, — Miloš Pušić, producent/producer (Moj jutranji smeh/My Morning Laughter, Srbija/Serbia 2019) — Martin Draksler, režiser/director, — Timon Hozo, snemalec/cinematographer (Alzheimer Cafe, Slovenija/Slovenia 2019) — Maša Ekar, sodelavka za finančno-administrativne zadeve/administration and finance associate (Motovila/CED Slovenija) — Nicola Falcinella, selektor sekcije Prijatelji/programmer for Friends section — Siniša Gačić, režiser/director (PRO OTOK) — Sabine Gebetsroither, selektorica sekcije Prijatelji/ programmer for Friends section — Emanuele Gerosa, režiser/director (Še en skok/One More Jump, Italija, Švica, Libanon/Italy, Switzerland, Lebanon 2019) — Helmut Groschup, selektor sekcije Prijatelji/programmer for Friends section — Fayza Harby, režiserka/director (Tito, Nasser in Nehru/ Tito, Nasser and Nehru, Slovenija/Slovenia 2019) — Anwar Hashimi, pisec in igralec/writer and Association for culture and education PiNA) —

actor, Sadat Shahrbanoo (Sirotišnica/The Orphanage, Danska, Nemčija, Francija, Luksemburg, Afganistan, Katar/Denmark, Germany, France, Luxembourg, Afghanistan, Qatar 2019) — Thomas

Heise, režiser/

director (Domovina je prostor iz časa/Heimat is a Space in Time, Avstrija, Nemčija/Austria, Germany 2019) — Carlo

Migotto, direktor/director (Lago Film Fest) — Ester Ivakič, režiserka/director (Vse, kar ti

hočem povedati s telepatskimi signali, ko me ne poslušaš/Everything I’m Trying to Tell You Using Telepathic

Ester Ivakič, Robert Kuret, Slovenija/Slovenia 2020) — Žoel Kastelic,

Signals When You’re Not Listening, Slovenija/Slovenia 2019) — režiserja/directors (Kje si Mila?/Where art thou, Mila?,

Iza Tehovnik, avtorica glasbe/music (Perje z vonjem morja/Feathers That Smell of the Sea, Slovenija/Slovenia 2019) — Andreja Kranjec, režiserka/director (Feniks/Phoenix, Slovenija/ Slovenia 2019) — Elsa Kremser, Levin Peter, režiserja/directors (Vesoljski psi/Space Dogs, Avstrija, Nemčija/Austria, Germany, 2019) — Ema Kugler, režiserka/director (Človek s senco/Man With Shadow, Slovenija/Slovenia 2019) — Anna Ladinig, direktorica/director (International Film Festival Innsbruck) — Mauro Lainšček, režiser/director (Marsova Luka/Port of Mars, Slovenija/Slovenia 2019) — John Robert Lee, režiser/director (Ne za denar, ne za ljubezen, ne za nič/Not for Money, Not for Love, Not for Nothing, VB/UK 2020) — Mitja Lovše, režiser/director (Luč/Light, Slovenija/ Slovenia 2020) — Filip Lozić, direktor in ustvarjalni vodja/director and creative director (Svevid.net; gost režiserka/director,

138 GOSTJE FESTIVALA / FESTIVAL GUESTS


Katarina Lukec, Eva Jakopič, režiserki/directors (Na prodaj/For Sale, Slovenija/ Anja Medved, Nadja Velušček, režiserki/directors (Trenutek reke/Timeless Slovenija/Slovenia, 2010) — Teja Miholič, režiserka/director, Anne Tassel, scenografka/

na spletu) —

Slovenia 2019) — River,

set designer (Da bi človeštvo preživelo/So That Humanity Survives, Francija, Slovenija/France, Slovenia

Jan Mozetič, režiser/director (Svitanje/Dawning, Slovenija/Slovenia 2020) — Michela Occhipinti, režiserka/director (Telo neveste/Flesh Out, Italija/Italy 2019) — Tomaž Pavkovič,

2019) —

režiser/director, Dejan Mijovič, soavtor/co-author (Poletje našega življenja/The Summer of Our Lives,

Ula Pogorevčnik, režiserka/director (Natus, Slovenija/Slovenia 2019) — Danijel Popović, poslovni vodja/manager (Svevid.net; gost na spletu) — Urša Rahne, režiserka/ director, Sašo Pucovski, avtor zvoka/sound desginer (Cross If You Dare, Srbija/Serbia 2019) — Lun Sevnik, režiser/director (Igra/Playing, Češka/Czech Republic 2019) — Tina Ščavničar, režiserka/ director (Dere sen jas mali bija/In My Younger Days, Slovenija/Slovenia 2019) — Dorotea Škrabo, režiserka/director (Morski prasac, Hrvaška/Croatia 2020) — Diana Tabakov, izvršna direktorica, selektorica/executive director, programmer (DOC Alliance Films, DAFilms) — Anne Thieme, režiserka/ director (Intertate 8, Nemčija, ZDA/Germany, USA 2019) — Nika Tomažič, režiserka/director (O čustvih Slovenija/Slovenia 2020) —

in drugem zakonu termodinamike/On Emotions and Second Law of Thermodynamics, Slovenija/Slovenia 2019) — Andreea

Udrea, režiserka/director (Hooray, revolution!/Mamă, revoluție!, Romunija/Romania Ivana Vogrinc Vidali, režiserka/director (Vialund, Slovenija/Slovenia 2019) — Jakob Vogrinec, režiser/director (Dedi gre na morje/Grandpa Goes to the Sea, Slovenija/Slovenia 2019) — Dragan von Petrović, montažer/editor (PRO OTOK) — Neil Young, selektor sekcije Prijatelji/ programmer for Friends section — Urban Zorko, režiser/director (Kratki rezi/Short Deeds, Slovenija/ 2020) —

Slovenia 2019)

GOSTJE FESTIVALA / FESTIVAL GUESTS 139


INDEKS / INDEX

IZVIRNI NASLOVI / ORIGINAL TITLES

SLOVENSKI NASLOVI / SLOVENIAN TITLES

8½, 66

Balon, 16

A Febre, 60

Bostofrio, kjer nebo sreča zemljo, 18

Aaj School Javanu Che Tamare?, 24

Cabirijine noči, 64

Bait, 68

Cat Lake City, 103

Bergmál, 26

Centar, 44

Bostofrio, où le ciel rejoint la terre, 18

Coincoin in ekstraljudje, 96

Boże Ciało, 20

Corpus Christi, 20

Casa de Lava, 92

Človek s senco, 72

Cat Lake City, 103

Črte v pesku, zgodba o zgodovini, 50

Cavalo Dinheiro, 93

Domovina je prostor iz časa, 80

Centar, 44

Gorelo bo, 22

Človek s senco, 72

Greš danes v šolo?, 24

Coincoin et les z‘inhumains, 96

Hamada, 52

Danmarks sønner, 32

Ivana Grozna, 38

Dva tramvaja, 103

Konj po imenu denar, 93

Hamada, 52

Medena dežela, 54

Heimat ist ein Raum aus Zeit, 80

Mladost na pohodu, 92

Il corpo della sposa, 84

Moj brat lovi dinozavre, 100

Ivana cea Groaznică, 38

Moj jutranji smeh, 40

Juventude em Marcha, 92

Naš človek, 93

La fameuse invasion des ours en Sicile, 101

Odmev, 26

Last and First Men, 46

Osem in pol, 66

Le notti di Cabiria, 64

Playing Men, 74

Mahaguar w bhar, 103

Portret mladenke v ognju, 28

Medena zemja, 54

Povedni sedanjik, 30

Mio fratello rincorre i dinosauri, 100

Ribič in pomlad, 103

Moj jutarnji smeh, 40

Sacavém, 93

No Quarto da Vanda, 92

Sinovi Danske, 32

O nosso Homem, 93

Sirotišnica, 34

O que arde, 22

Slavna medvedja zasedba Sicilije, 101

One More Jump, 82

Še en skok, 82

140 KAZALO / INDEX


ANGLEŠKI NASLOVI / ENGLISH TITLES

REŽISERKE, REŽISERJI / DIRECTORS

8½, 66

Alÿs, Francis, 50

Are You Going to School Today?, 24

Andrianova, Svetlana, 103

Bait, 68

Carneiro, Paulo, 18

Balloon, 16

Cipani, Stefano, 100

Bears’ Famous Invasion of Sicily, The, 101

Costa, Pedro, 88, 92, 93

Bostofrio, Where the Sky Meets the Earth, 18

Da-Rin, Maya, 60

Cat Lake City, 103

Domínguez Serén, Eloy, 52

Centar, 44

Dumont, Bruno, 96

Coincoin and the Extra-Humans, 96

Đorđević, Marko, 40

Colossal Youth, 92

Fellini, Federico, 64, 66

Corpus Christi, 20

Gerosa, Emanuele, 82

Down To Earth, 92

Heise, Thomas, 80

Echo, 26

Heyn, Antje, 103

Fever, The, 60

Ivanišin, Matjaž, 74

Fire Will Come, 22

Jenkin, Mark, 68

Fisherman and Spring, The, 103

Jóhannsson, Jóhann, 46

Flesh Out, 84

Komasa, Jan, 20

Hamada, 52

Kotevska, Tamara, 54

Heimat is a Space in Time, 80

Kremser, Elsa, 58

Honeyland, 54

Kugler, Ema, 72

Horse Money, 93

Laxe, Oliver, 22

In Vanda’s Room, 92

Marković, Ivan, 44

Ivana the Terrible, 38

Mattotti, Lorenzo, 101

Last and First Men, 46

Medved, Anja, 76

Man With Shadow, 72

Mladenović, Ivana, 38

My Brother Chases Dinosaurs, 100

Occhipinti, Michela, 84

My Morning Laughter, 40

Peter, Levin, 58

Nights of Cabiria, 64

Rúnarsson, Rúnar, 26

One More Jump, 84

Salim, Ulaa, 32

Orphanage, The, 34

Sciamma, Céline, 28

Our Man, 93

Shahrbanoo, Sadat, 34

KAZALO / INDEX 141


Parwareshghah, 34

Telo neveste, 84

Playing Men, 74

Teorija zahoda, 103

Portrait de la jeune fille en feu, 28

Tramvaja, 103

Qìqiú, 16

Trenutek reke, 76

Sacavém, 93

V hiši iz lave, 92

Sandlines, the Story of History, 50

V Vandini sobi, 92

Space Dogs, 58

Vaba, 68

Teoria Zakata, 103

Vesoljski psi, 58

Trenutek reke, 76

Vitalina Varela, 88

Vitalina Varela, 88

Vročica, 60

Wan mei xian zai shi, 30

Zadnji in prvi ljudje, 46

142 KAZALO / INDEX


Playing Men, 74

Sokolov, Roman, 103

Portrait of a Lady on Fire, 28

Soltani, Seyed Hassan, 103

Present.Perfect., 30

Srinivasan, Anupama, 24

Sacavém, 93

Stefanov, Ljubomir, 54

Sandlines, the Story of History, 50

Tseden, Pema, 16

Sons of Denmark, 32

Velušček, Nadja, 76

Space Dogs, 58

Zhu, Shengze, 30

Theory of Sunset, The, 103 Timeless River, 76 Two Trams, 103 Vitalina Varela, 88

KAZALO / INDEX 143


FESTIVALSKA EKIPA / FESTIVAL TEAM

DIREKTORICA FESTIVALA/FESTIVAL DIRECTOR Tanja Hladnik DIREKTORICA ZAVODA/DIRECTOR Lorena Pavlič PROGRAMSKA KOORDINATORICA/PROGRAMME COORDINATOR Ana Cerar SELEKTORICA FILMSKEGA PROGRAMA/FILM PROGRAMME SELECTOR Varja Močnik PROGRAMSKI SVET/PROGRAMME BOARD Ana Cerar, Nicola Falcinella, Sabine Gebetsroither, Helmut Groschup, Tanja Hladnik, Matevž Jerman, Varja Močnik, Lorena Pavlič, Neil Young VIDEO NA PLAŽI/VIDEO ON THE BEACH Matevž Jerman, vodja/head Mila Peršin PODMORNICA – Otok za mularijo/SUBMARINE – Otok for Kids Lorena Pavlič, vodja/head Ana Peršič MLADI PROGRAMERJI/YOUNG PROGRAMMERS Jakob Vogrinec, Lina Šoper Rijavec, Nik Škorjanc, Jakob Nal Gorkič, Maj Repek, Staša Fras, Petja Golec Horvat, Maša Breščak, Temim Petretič ODNOSI Z JAVNOSTMI/PUBLIC RELATIONS Kristina Ravnikar, vodja/head Kris Dassena, Tesa Julija Zver, Lori Šramel Čebular, Staša Turnšek ORGANIZACIJA/ORGANISATION Anastasiya Pruyidze ADMINISTRACIJA/ADMINISTRATION Nina Jeglič SLUŽBA ZA GOSTE/HOSPITALITY Neža Kos, vodja/head Henrike von Dewitz, Verena Thissen, Nika Osredkar, Marita Routsalainen, Erika Valečič PRO OTOK Iva Kordić, Ewelina Swinecka KOORDINATOR PROSTOVOLJCEV/VOLUNTEER COORDINATOR Aljaž Markelj TEHNIČNA EKIPA IN INTERVENTNI VOD/TECHNICAL CREW AND INTERVENTION SQUAD Rok Petrič, Urban Košir, Tadeja Jerman, vodje/heads Vid Cerjak, Ajla Bajramovič, Tjaša Breznik, Ana Prebil, Luka Drašler Florjančič

144 FESTIVALSKA EKIPA / FESTIVAL TEAM

KAMP ŠKAMP/FESTIVAL CAMP Neža Istenič, vodja/head Peter Erzetić, Agnese Gobbi, Eva Jakomin, Tajda Hladnik, Živa Kreft, Luka Kutoša, Kristina Podberšič POSTAVITEV LETNEGA KINA MANZIOLI/ L‘image srl: Antonio Mastrolia SVETOVALCA ZA FILMSKO IN VIDEO TEHNIKO/TECHNICAL ADVISORS FOR FILM AND VIDEO SCREENINGS Green DCP: Joop van Lagen, Polona Kuzman KINOOPERATERJI/PROJECTIONISTS Antonio Mastrolia, Gašper Milkovič Biloslav, Marko Turkuš KOORDINATORICA KOPIJ/PRINT TRAFFIC Kaja Bohorč PREVAJALCI IN VIDEOPODNASLAVLJALCI FILMOV/FILM TRANSLATORS AND VIDEOSUBTITLERS Maja Lovrenov, vodja/head Daša Cerar, Domen Kavčič, Denis Debevec, Diana Jenko, Miha Jenko, Neža Loštrek, Špela Tomec BLAGAJNA IN FESTIVALSKE STOJNICE/BOX OFFICE AND FESTIVAL STANDS Irena Verbič, Neža Vilhelm, vodji/heads Nika Gregorin, Paloma Pertot, Gaja Sluga, Tjaša Šteblaj BILJETERJI/USHERS Lea Teraž, vodja/head Nadja Debeljak, Ana Lorger, Nika Pušlar, Ratko Stojiljkovic, Zala Žežlina, Eva Žgajner, Jan Martinčič, Eva Khusenova VOZNI PARK/DRIVERS Mario Knapic, vodja/head FOTOGRAFIJA, VIDEO/PHOTOGRAPHY, VIDEO Natalija Gajić, vodja/head Emina Gazibera, Kaja Horvat, Anja Paternoster, Polona Plasin, Maruša Šošterič, Domen Vinko KUHINJA/CHEF Lehoo Pansky, vodja/head Harvey G. W. Craddock, Agata Gunka ROTACIJA/RUNNERS Karmen Hrovat, Klara Vulikič, Milica Golijanin AKREDITACIJE/ACCREDITATION Ajda Lah


ITALIJANSKA SAMOUPRAVNA NARODNA SKUPNOST/COMUNITÀ AUTOGESTITA DELLA NAZIONALITÀ ITALIANA Marko Gregorič, Enzo Scotto di Minico, Agnese Babič, Clio Diabaté, Lilija Pavlič Hodžič, Ferdinando Possega, Bruno Orlando

ZAHVALE/THANKS Miha Brodarič, Nikolai Jeffs, Suzana Koncut, Jan Mozetič, Katarina Rotar, Nina Vrhovec, Kristina Zelić, Neža Zinajić, Katarina Rotar, Suzana Koncut

KINODVOR. MESTNI KINO./KINODVOR. CITY CINEMA. Metka Dariš, Koen Van Daele, Mateja Babnik, Bojan Bajsič, Anja Banko, Ana Cimerman, Špela Grmek, Marko Horvat, Živa Jurančič, Aliki Kalagasidu, Barbara Kelbl, Rok Marčun, Mojca Pagon, Bor Pleteršek, Ana Seta Pucihar, Petra Slatinšek, Tjaša Smrekar, Matjaž Zalta, Maja Zrim in številna študentska ekipa. SLOVENSKA KINOTEKA/SLOVENIAN CINEMATHEQUE Ivan Nedoh, Darja Gartner, Igor Prassel, Varja Močnik, Kaja Bohorč, Matevž Jerman, Anja Naglič, Ana Šturm, Kristina Ravnikar, Jelena Radić, Neža Kos, Marko Turkuš, Gašper Milkovič Biloslav, Gregor Brzin, Marta Matičič, Kaja Janjić, Omar Alt Si Mohamed, Maja Krajnc, Darko Štrukelj, Bojana Živec, Andrej Šprah, Viktor Bertoncelj, Špela Čižman, Martin Podrzavnik, Jurij Bobič, Samo Jurečič in celotna ekipa biljeterjev. CENTER ZA KULTURO, ŠPORT IN PRIREDITVE IZOLA/CULTURAL CENTER IZOLA Zvonka Radojevič, Erik Toth, Branislava Lipar, Tomaž Kovačič, Alen Poniš, Tina Cerkvenik, Katarina Belušič, Ema Kovačevič KINOATELJE GORICA Dora Ciccone, Leo Černic, Aleš Doktorič, Orjana Velikonja Grbac, Martina Humar, Sandra Jovanovska, Karin Kocijančič, Urban Košir, Emanuela Masseria, Jan Mozetič, Vida Rucli, Aljaž Škrlep, Mateja Zorn OBLIKOVANJE CELOSTNE PODOBE/FESTIVAL VISUAL IDENTITY Multipraktik UREJANJE KATALOGA/CATALOGUE EDITOR Robert Kuret UREJANJE TISKOVIN/PRINT COMMUNICATIONS EDITOR Maja Ropret SCENOGRAFIJA PRIZORIŠČ/FESTIVAL SCENOGRAPHY Nika Curk, Dan Pikalo SPLETNI ADMINISTRATOR/WEB ADMINISTRATOR Gordan Čuka Milko Pečanić IT INFRASTRUKTURA/IT INFRASTRUCTURE Marko Milutinovič, Titania RAČUNOVODSTVO/ACCOUNTING Finares d.o.o.

FESTIVALSKA EKIPA / FESTIVAL TEAM 145


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we are announcing …

1st October 2020, Palazzo del cinema/Hiša filma, Gorizia Teaching to Listen: Cinema’s artificial link between the ear and the eye Seminar with the film critic and educator Alejandro Bachmann.

2nd through 4th October, Mostovna, Nova Gorica First Crossings programme – festival platform for discovering new film languages.

6th October 2020, Palazzo del cinema/Hiša filma, Gorizia Masterclass with the Serbian film director Srdan Golubović and the award ceremony evening.

full programme: www.poklonviziji.com www.kinoatelje.it

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