26thSFF Festival Daily #3

Fest ival Daily Nedjelja/ Sunday/ 16. August 2020.

Vrijem e izoliranost i i st raha od virusa t ek ?e se reflekt irat i u film ovim a Intervju sa Radom ?e?i?, selektoricom Takmi?arskog programa dokumentarni film Kolik o je bilo t e?k o (ili lak o) n apr avit i selekciju dok u m en t ar n ih f ilm ova za ovogodi?n ji f est ival?

Bilo je te?e nego ranijih godina. Samo iz Austrije nam je do?lo oko 25 filmova, a njihova je produkcija sva, ?ak i najlo?ijeg filma, vrlo visokog standarda. Austrijanci su nudili i veliki broj svjetskih premijera, a tu su onda i Rumunji koji isto imaju zavidnu dokumentaristi?ku produkciju te Ma?ari i Grci. ?t o Vas je n ajvi?e f ascin ir alo u f ilm ovim a k oji su u ?li u selek ciju ?

Fascinirala me zrelost autora, pa ?ak i nekih debitanata ili onih koji nemaju ba? puno cjelove?ernjih filmova iza sebe. Izabrani filmovi nam potvr?uju da je dokumentarno stvarala?tvo prije svega kreativna sublimacija i interpretacija realnosti oko nas, opservirana i promi?ljena unutar odre?ene autorske vizije. Dokumentarista je, ne samo posmatra? i istra?iva? nego i

pjesnik, mislilac, umjetnik koji kroz svoje kreativno bi?e interpretira to ?to je zapazio i istra?io. Film mora imati izra?en autorski stav i upravo me spremnost autora da poka?u taj stav odu?evila u nekolicini filmova koji se bave vrlo delikatnim temama. Imamo vrlo sna?ne politi?ke pri?e koje su potresle odre?ene zemlje pa i cijelu regiju, bazirane na temeljitom istra?ivanju i izvrsnom pristupu poput "Zavjere", o ru?enju crnogorske vlade, ?ekija Radon?i?a, ?iju svjetsku premijeru predstavljamo u Sarajevu, tu je jo? jedna udarna pri?a iz naju?e regije, delikatan film Danijele Stajnfeld koja u svom intimisti?kom, hrabrom filmu "Hold me right", odva?no i osmiljeno donosi na?u regionalnu Harvey Weinstein - storiju. Austrijski film ?Wood?, koji su re?irale tri ?ene, donosi ?okantnu istragu o ilegalnoj sje?i ?uma u Sibiru, a u koju je upletena mafija prepodava?a drveta od Kine i Rusije do Amerike. Dva filma, iz Ma?arske i Bosne i Hercegovine, tretiraju

pravo svakog pojedinca da izrazi osobnu seksualnu orijentaciju, a ?to je u na?oj regiji, vrlo ?esto onemogu?eno i osu?eno.

Koliko se ovogodi?n ja selek cija r azlik u je od pr o?le godin e - i u n a?in u ?ivot a i u izbor u f ilm ova?

Zanimljivo je da se dobar dio filmova poklopio sa iskustvima koja svi imamo sada u doba korona krize - izoliranost od svijeta, ?ivot i rad u ku?i, podsti?u jednu temeljitiju mentalnu usmjerenost prema sebi i svojoj intimi, promi?ljanju smisla ?ivota, va?nog i neva?nog, a to je i dramski pokreta? u bar tre?ini filmova u na?em programu. Ka?em - ovo se slu?ajno poklopilo jer su ovi filmovi bili u nastajanju i prije korona krize, no neki su zavr?eni upravo pred sam Sarajevo Film Festival.

Zanimljivo je kako kroz ve?inu izabranih filmova shva?amo da ?to se filmovi vi?e i produbljenije bave li?nim iskustvima, sve se vi?e pribli?avaju univerzalnim istinama.

Neki od ovih filmova su tako duboko intimni da postaju krajnje konfrontiraju?i i kod gledatelja izazivaju osje?aj neugode, a ?to im je zapravo i cilj. Imamo dva izuzetno sna?na i vrhunski sinemati?ki osmi?ljena filma koja govore o silovanju, dolaze iz posve razli?itog okru?enja, imamo film koji govori o krizi roditeljstva i pitanju odnosa dijete-roditelj, nekoliko filmova koji govore o fobiji od ?drugosti?, o neprihva?anju drugog ?ovjeka koji je po ne?emu razli?it od nas samih.

Koliko je n ovi vir u s u t jecao n a u m jet n ost ? k on k r et n o, dok u m en t ar n i f ilm ?

Vrijeme izoliranosti i straha od virusa, tragedije bolesti i umiranja, ekonomske krize, nasilja u ku?i, pove?ane konzumacije alkohola i pove?anog broja rastava brakova, a o ?emu su u svim zemljama izvje?tavali mediji, tek ?e se reflektirati u filmovima koji ?e doci idu?e ili za dvije-tri godine na selekciju, no ima autora koji ve?

sada rade i zavr?avaju neke filmove nastale u doba korona krize.

Na?a selekcija u svakom slu?aju ima jednu notu koju donosi introspekcija koju uzrokuje izoliranost pojedinca i bez sumnje se mo?e re?i da svaki film u na?em programu krije u sebi neku tajnu i postavlja relevantna pitanja. Rije?i ostaju neizgovorene, dok se izme?u onog ?to je izgovoreno i onog ?to je sugerirano gledatelju, ostavlja prazan prostor kojeg trebamo mi sami nakon gledanja ispuniti.

Svaki od odabranih dokumentaraca poti?e promatra?a da uklju?i ma?tu, da razmi?lja i premi?lja, da donosi i preispituje vlastite stavove o pro?lim i budu?im istinama i uvjerenjima. No, ti su filmovi nastali uglavnom prije korona krize i poklopilo se da neki od njih ?ak i bukvalno doti?u pojam izolacije kao ?to je to recimo rumunjski film sa ?ijom svjetskom premijerom otvaramo na? takmi?arski program "Sveti otac", izvrsnog autora Andrei Dascalescua.

Introspektivan je i esejisti?ki napravljen gr?ki film koji ?e u Sarajevu imati internacionalnu premijeru - ??etvrti lik?, autorice Katerine Patroni koja na suptilan na?in opserviva sudbine ljudi koji su nakon odre?ene tragedije u ?ivotu u?li u tunel samo?e i odvojenosti od svijeta te im je mentalni sklop unutar kojeg ?ive krajnje klaustrofobi?an i te?ak za izdr?ati.

Za 26. Fest ival pu blici, i n ar avn o ? svim a n a f est ivalu ?elit e...

Nadam se da ?e publika na?e izabrane dokumentarce do?ivjeti kao otvaranje na nivou onog spoznajnog o svijetu oko nas ali mo?da jo? vi?e na planu emocionalnog, empatijskog, o ?ivotu i iskustvu tog ?drugog i druga?ijeg? a koja su mo?da posve razli?ita od na?ih a opet nam mogu biti bliska samo ako se otvorimo prema njima i uva?imo ih kao jednako vrijedna sa onim ?to mi kao pojedinci nosimo i kako razumijevamo svijet.

An dr ijan a Copf

The t im e of isolat ion and fear of t he virus is yet t o be reflect ed in film s Interview with Rada ?e?i?, Selector of the Competition programme ? Documentary Film How h ar d (or easy) w as it t o m ak e t h e select ion of docu m en t ar y f ilm s f or t h is year ?s f est ival?

It was harder than before. From Austria alone we received around 25 films, and all of their production, down to the poorest of films, is of very high standard. Austrians offered a large number of world premieres as well, then there are the Romanians with their enviable documentary production and the Hungarians and the Greeks.

Wh at f ascin at ed you t h e m ost abou t t h e f ilm s t h at m ade it in t o t h e select ion ?

I was fascinated by the maturity of the authors, even some debutants and others without too many feature-length films under their belt. The selected films demonstrate that documentary filmmaking is first and foremost a creative sublimation and interpretation of the reality around us, observed and contemplated within the given author ?s vision. A documentary filmmaker is not just an observer and explorer, but also a poet, thinker, artist who interprets through their creative being that which was observed and explored. The film must bear a strong mark of the author and it was just that willingness of the author to take a stand that delighted me in several films that deal with very delicate subjects.

We have powerful political stories that shook certain countries or an entire region, based on thorough research and excellent approach such as ?Conspiracy?

(Zavjera) by ?emsudin Radon?i? on the downfall of the Montenegrin government that will have its world premiere in Sarajevo, or another hot story from the immediate region, a delicate film by Danijela Stajnfeld who in her intimate, courageous film ?Hold Me Right? bravely and relentlessly delivers our regional Harvey Weinstein story. ?Wood?, an Austrian film directed by three women, tells of a shocking investigation into illegal logging in Siberia and the involvement of timber reseller mafias from China and Russia to America. Two films, from Hungary and Bosnia and Herzegovina, treat the right of every individual to express their personal sexual orientation, still often disputed and judged in our region.

How does t h is year ?s select ion dif f er f r om last year ?s - in t h e w ay of lif e an d t h e select ion of f ilm s?

It?s interesting that a good deal of these films match the experiences we are all having in the time of the coronavirus crisis - being isolated from the world, living and working from home, all fostering deeper mental focus on oneself and one?s intimate world, contemplation of the

meaning of life, of the important and the unimportant, all serving as plot drivers in at least one third of the films in our programme. This was incidental because these films were made before the coronavirus crisis, but some were completed just ahead of the Sarajevo Film Festival. It is interesting to see how most of the selected films help us realise that films get that much closer to universal truths the more and deeper they go into personal experiences. Some of these films are so deeply intimate that they get very confrontational and make the viewer feel uncomfortable, which is actually their goal.

We have two exceptionally powerful films of superb cinematic language that talk about rape, coming from entirely different environments; we have a film that talks about the parenting crisis and the child-parent relationship, several films about the fear of ?otherness?, rejection of the other who is different from us in some respect.

remains between what was said and what was suggested to the viewer, space that we must fill ourselves after the film ends. Each of the chosen documentaries encourages viewers to use their imagination, to think and ponder, to make and question their own attitudes on past and future truths and convictions. Still, these films were made mostly before the corona crisis and it so happens that some of them specifically touch on isolation, such as the Romanian film ?Holy Father ? by the excellent Andrei Dascalescu whose world premiere will open our Competition programme.

Another introspective essay to have its international premiere in Sarajevo is the Greek film "The Fourth Character " by author Katerina Patroni, who subtly observes the destinies of people who entered the tunnel of loneliness and separation from the world after a personal tragedy and ended up living in a state of mind that is extremely claustrophobic and hard to bear.

How did t h e n ovel vir u s af f ect ar t ? specif ically, docu m en t ar y f ilm ?

The time of isolation and fear of the virus, tragedy of disease and dying, economic crisis, domestic violence, increased consumption of alcohol and divorce rates, as reported by the media in all countries, is yet to be reflected in films that will be submitted two or three years from now, but there are authors who are already working on and finishing films made during the coronavirus crisis.

Our selection is still marked by a note of introspection brought about by isolation of an individual, and it can certainly be said that each film in our programme harbours a secret and asks relevant questions.

Words remain unspoken and empty space

For t h e 26t h Fest ival, t o t h e au dien ce an d, of cou r se, ever ybody at t h e f est ival you w ish ...

I hope the audience will experience our selected documentaries as an opening of awareness of the world around us, but maybe even more on the level of the emotional, of empathy, of the life and experience of that ?other and different?that may be entirely different from ours yet can become close if we open up to them and acknowledge them as equally valuable to what we carry with us as individuals and our understanding of the world.

An dr ijan a Copf

Neravnote?asa okru?enjemodra?avase na neravnote?uu me?uljudskimodnosima Georgis Grigorakis, reditelj filma ?Kopa??

Jedan od t em a Va?eg pr vog du gom et r a?n og f ilm a ?ir oko je r aspr ost r an jen a. Svjedoci sm o da se ?u m e got ovo n a cijeloj plan et i sijek u r adi n eposr edn og pr of it a bez i n ajm an jeg r azm i?ljan ja o bu du ?n ost i. Je li va?a visok a ek olo?k a svijest , n eposr edn o isk u st vo ili n e?t o t r e?e odgovor n o za odabir ove t em e?

Ovim sam filmom htio istra?iti suprotnost izme?u prirode i industrije. Po?eli smo istra?ivati izravna iskustva u Gr?koj, a zatim se pri?a pro?irila na globalnu razinu. U vrijeme globalizacije, lokalno je univerzalno ? i obratno. Iskori?tavanje zemaljskih prirodnih resursa od strane korporacija koje zanemaruju pitanja za?tite ?ivotne sredine radi kratkoro?nog profita postoji svuda u svijetu. Tako se stvara neravnote?a u odnosu sa okru?enjem ?to se odra?ava na neravnote?u me?uljudskih odnosa. Jedan primjer je toksi?ni otpad kojim se ?esto lo?e

upravlja i koji se odla?e u zemlju kao da je kanta za sme?e. Sli?no tome, kada ne znamo kako se nositi sa vi?kom energije koju imamo (neki bi to nazvali otrovom), praznimo ju na drugim ljudima kao da su kanta za sme?e.

U sjeni klimatskih promjena koje ugro?avaju egzistenciju postalo je nu?no povezivati ljudske pri?e s pri?ama ove planete. Isto kao ?to ljudi tra?e rasnu ili spolnu ravnopravnost, planeta zahtijeva da ponovno procijenimo i prona?emo novu ravnote?u u na?em odnosu s okolinom.

Uz globaln e t em e, Va? f ilm se bavi i vr lo osobn im pr i?am a oca i sin a k oji, n akon deset lje?a r azdvojen ost i, pon ovo u ?e k ak o bit i ot ac i sin . Taj pr oces je t e?ak , on i se ?est o su k obljavaju i st aln o post oji pr ijet n ja da bi st var i m ogle po?i po zlu . Je li divljin a k oja ih ok r u ?u je dopr in ijela kon a?n om ish odu ?

Sinova potraga za ocem i njihov arhetipski sukob u sredi?tu su pri?e. Ispri?ana je sa

stanovi?ta oca koji je tijesno vezan uz divljinu koja ga okru?uje. Drevna ?uma u kojoj ?ivi ga ?titi i on ?titi nju poput svetinje. Odnos izme?u oca i sina je tako?er svetinja u smislu po?tovanja, znanja, brige i odgovornosti.

Ponovno povezivanje sa na?im o?evima i otad?binom, u stvarnom ili metafori?kom smislu, je povezivanje sa na?im precima i na?im korijenima.

Priroda doprinosi rezultatu sukoba jer se na kraju aktivno umije?a, daju?i najneo?ekivanije rje?enje. Ali na kraju je potreba i odluka dvojice glavnih junaka ta koja odre?uje ho?e li ili ne uspjeti premostiti jaz dugog razdvajanja.

Nek olik o in t er n et st r an ica ok ar ak t er izir alo je Va? f ilm k ao su vr em en i w est er n . Ja ga n isam t ako do?ivjela. Iako Nik it as zbilja podsje?a n a posljedn jeg M oh ik an ca, pr i?a je daleko du blja od n agan javan ja izm e?u k au boja i In dijan aca.

Da li t a k ar ak t er izacija dolazi od Vas ili od n ovin ar a i sla?et e li se s n jom ?

Ideja za pri?u zapo?ela je s likom koji ?ivi sam poput odmetnika prema svojim pravilima.

Najbolji su mu prijatelji sa?marica i njegov konj. Za razliku od starih kauboja, koji se stalno kre?u, on se opsesivno dr?i srca prekrasne ?ume i ne mrda.

Dru?tvena napetost, nasilje i sukobi oko glavnog junaka odi?u idejom westerna, pa smo pri?u stavili u ovaj kontekst i poigrali se sa nekim elementima ?anra. Krajolik, estetika i ritam napu?tene balkanske divljine, grubi i neprijateljski pogledi ljudi koji ?ive tamo tako?er podse?aju na western.

Dobro je ?to ga niste do?ivjeli na taj na?in jer je namjera bila narativom potkopati elemente westerna. Pri?a je ispri?ana sa stanovi?ta domorodaca koji vole svoju zemlju, a ne kauboja koji su do?li da ?plja?kaju?. Krajolik nije vru? i suh, ve? vla?an i hladan. Ono ?to je jo? va?nije i u suprotnosti sa stereotipima westerna, mu?kost se na kraju procjenjuje prema sposobnosti da se povu?e i bude osje?ajan a ne grub i dominantan.

Kopa? se mo?e shvatiti kao mra?an i nje?an anti-herojski neo-western zbog odnosa dva jaha?a, jednog sa konjem a drugog sa

motociklom, koji kopaju blato kako bi prona?li jedan o drugom ne?to ?to su odavno izgubili.

A kad kopanje zapo?ne, likovi iznutra po?inju klju?ati.

Odabr ali st e da k or por acija k oja u n i?t ava ?u m u n em a im e i por ijek lo, n azvali st e ju ?u dovi?t e (M on st er ). On a k u pu je, podm i?u je, u n i?t ava, dijeli lju de? i m o?e n osit i im e m n ogih k om pan ija k oje ?ir om svijet a poslu ju n a ist i n a?in . Kako se bor it i pr ot iv t ak vih ?u dovi?t a?

Postoje pojedinci, grupe, pokreti i udruge koje se bore protiv ?udovi?ta promatranjem, razumijevanjem, informiranjem, bojkotiranjem njihove ekonomiju i imovine pru?aju?i im nasilan ili manje nasilan otpor.

Sve je to dobro i obe?ava, ali nije dovoljno.

Mit o Herkulu koji se bori sa ?udovi?nom Hidrom odraz je globalnog iskustva, gdje donositelji odluka tro?e puno energije na borbu protiv simptoma problema a ne ?ele mijenjati i lije?iti ono ?to ih uzrokuje. Glavni junak filma ka?e da su ??udovi?ta su poput Hidre. Ubije? jedno, pojavi se drugo?. "Jedini na?in da ga pobijedi? jeste da ga spali? i i??upa? mu korijen", odgovara mu prijatelj.

Globalne krize, poput one okoli?ne ili trenutne pandemijske, u stvari su me?usobno isprepletene, ali se prema njima ne pona?a tako. Moramo prihvatiti da je ljudska neprestana potro?nja koja pokre?e prekomjerno iskori?tavanje planeta korijen ?udovi?ta. Mo?da smo dominantna vrsta na planeti ali sigurno ne i najpametnija. Imamo sva znanja i tehnologije za iznala?enje alternativnih rje?enja za na?e potrebe, dono?enje zakona protiv prekomjerne potro?nje, podr?imo korporativnu odr?ivost i na?u ekonomiju u?inimo zelenom (ekolo?kom, op. M.D.) na su?tinski, a ne pretenciozan na?in, sa ciljem da sprije?imo nastanak svake karike u lancu nastajanja ?udovi?ta (i bolesti). Na osobnoj razini, trebali bi se boriti protiv vlastitih ?udovi?ta egoizma i dominacije kako bismo prona?li zajedni?ku dru?tvenu osnovu i mogli se zajedni?ki boriti.

M ar in ela Dom an ?i?

The imbalance with environment reflects in the imbalance of human relationships Georgis Grigorakis, Director of the film "Digger" On e of t h e su bject s of you r f ir st f eat u r e f ilm is ver y w idespr ead. We ar e w it n essin g f or est s bein g cu t dow n f or im m ediat e pr of it alm ost ever yw h er e on t h e plan et w it h ou t t h e sligh t est t h in k in g abou t t h e f u t u r e. Is you r h igh en vir on m en t al aw ar en ess, im m ediat e exper ien ce or som et h in g else r espon sible f or ch oosin g t h is t opic?With this film we want to explore the contrast between nature and industry. The research for the story started from direct experiences in Greece and then expanded on a global scale. In the era of globalization, the local is universal and vice versa. The exploitation of earth?s natural resources by corporations, which neglect environmental issues for short term profits, exists everywhere around the world. This creates an imbalance in the relation with our environment, which is reflected in the imbalance of human relationships. One

example is the toxic waste, which is often badly managed and disposed in the earth like it?s a garbage bin. Similarly, when we don't know how to manage the surplus energy we got (some call it toxic), we empty it to other people like they are a garbage bin.

Within the shadow of the existential threat of climate change, it has become imperative to connect human stories with the stories of this planet. In the same way people have been asking equality in relations of race and gender, now the planet demands us to reassess and find a new balance in our relationship with the environment.

In addit ion t o global t h em es, you r f ilm also deals w it h t h e ver y per son al st or ies of f at h er an d son w h o, af t er decades of separ at ion , ar e lear n in g t o be f at h er an d son again . It is a dif f icu lt pr ocess in w h ich t h ey of t en clash ed an d w h ich t h r eat en ed t o lead t o evil. Did t h e w ildlif e t h at su r r ou n ds t h em con t r ibu t e t o t h e f in al ou t com e?

The quest of a son for his father, and their archetypical conflict is at the center of the narrative. It is told from the point of view of the father, who is intimately attached to the wildlife that surrounds him. The ancient forest he lives in protects him, and he protects it like it is sacred. The father son relationship is also sacred, in the sense of respect, knowledge, care and responsibility. The (re)connection with

our fathers and our father 's land, in actual or metaphorical terms, is the connection with our ancestors and our roots.

Nature contributes to the result of the conflict, as it interferes actively in the end, giving the most unexpected resolution. But it is ultimately the need and decision of the two protagonists, which determines whether or not they manage to bridge the gap of their long separation.

Sever al w ebsit es descr ibe you r f ilm as a con t em por ar y w est er n . I didn't exper ien ce it t h at w ay at all. Alt h ou gh Nik it as is in deed r em in iscen t of t h e last M oh ican s, t h e st or y goes m u ch deeper t h an t h e ch ase bet w een cow boys an d In dian s. Does t h is ch ar act er izat ion com e f r om you or f r om jou r n alist s an d do you agr ee w it h it ?The idea for the story started with a character who lives alone like an outlaw with his own codes.

His best friends are his shotgun and his horse.

In contrast with the old cowboys, who move around all the time, he is rooted obsessively in the heart of a beautiful forest and doesn?t move an inch.

The social tension, violence and confrontations around the main character allure to the idea of a Western, so we put the story in this context, and played with some elements of the genre.

The landscapes, the aesthetic and the rhythm of the abandoned countryside of the Balkans, the rough and unfriendly looks of people living there, is also reminiscent of a Western feel.

It?s good you didn?t experience it that way though, as the intention was to subvert the Western elements the narrative tackles. It?s a story told from the point of view of the natives who love their land, and not of the cowboys ?looting?the land. The landscape is not hot and dry, but humid and cold. More importantly and against the Western stereotypes, manhood is ultimately negotiated by the ability to step back, give and expose one?s sensitivity and not by being tough and wanting to dominate.

Digger can be seen as a dark and tender anti-hero neo?western for the relationship of two riders, one with a horse, the other with a

motorbike, who dig into mud to find something of each other that they have long-lost. And when the digging begins, the inner landscape of the characters becomes boiling hot.

You ch ose t h at t h e f or est dest r oyer does n ot h ave a cor por at e n am e an d or igin , you called it M on st er . It bu ys, br ibes, dest r oys, divides people? an d can bear t h e n am e of m an y com pan ies t h at oper at e in t h e sam e w ay ar ou n d t h e w or ld. How t o f igh t su ch m on st er s?

There are individuals, groups, movements and societies that fight monsters by observing, understanding, informing, inflicting economic boycotts on their assets, engaging in violent or less violent resistance against them. All this is good and hopeful, but not enough.

The myth of Hercules fighting the Hydra monster is indicative of the global experience, where decision makers spend so much energy in fighting the symptoms of the problem and don?t want to change and heal what causes them. The protagonist of the film says that, ?Monsters are like the Hydra. You kill one, but another one soon emerges?. ?The only way to win it is to burn it and uproot its foundation?, his friend replies.

Global crisis, like that of the environment or the current pandemic, are in fact intrinsically connected, however they are not dealt as such.

We have to accept that human activity of rampant consumption that drives the over exploitation of the planet is the root of the monsters. We might be the dominant species of this planet, but certainly not the most clever one. We have all the knowledge and technology to find alternative solutions to our needs, legislate against overconsumption, reward corporate sustainability and green our economies in an essential and not a pretentious manner, with the aim of blocking all the steps in the chain of monster (and disease) emergence. On an individual level, we ought to fight our personal monsters of egoism and domination in order to find a common ground socially and be able to fight collectively.

M ar in ela Dom an ?i?

TAKMI?ARSKI PROGRAM IGRANI FILM / COMPETITION PROGRAMME - FEATURE FILM

Ot t o Barbarin / Ot t o t he Barbarian Romania, Belgium, 2020, Colour, 110 min. / Re?ija / Director: Ruxandra Ghi?escu / Uloge / Cast: Marc Titieni, Ioana Bugarin, Adrian Titieni, Mihaela Sirbu, Ioana Flora, Constantin Dr?g?nescu, Iulian Postelnicu, Ana Radu RENT

OPEN AIR

Ot ac / Fat her Serbia, Germany, France, Croatia, Bosnia and Herzegovina, Slovenia, 2020, Colour, 120 min. / Re?ija / Director: Srdan Golubovi? / Uloge / Cast: Goran Bogdan, Boris Isakovi?, Na?a ?argin, Milica Janevski, Muharem Hamzi?, Ajla ?anti?, Vahid D?ankovi?, Jovo Maksi?, Milan Mari?, Nikola Rako?evi?, Ljubomir Bandovi?, Mirko Vlahovi?

Sedamnaestogodi?nji probisvijet Otto upli?e se u istragu smrti svoje djevojke Laure koju sprovodi socijalna slu?ba. Uhva?en je u mre?u koju su ispleli njegovi roditelji, njegov nemu?ti deda i Laurina majka.

Otto, a seventeen-year-old punk, becomes involved in the social services investigation of his girlfriend Laura?s death.

He is caught up in a vicious circle created by his parents, his mute grandpa and Laura?s mother.

Kopa? / Digger Greece, France, 2020, Colour, 101 min. / Re?ija / Director: Georgis Grigorakis / Uloge / Cast: Vangelis Mourikis, Argyris Pandazaras, Sofia Kokkali, Theo Alexander, Michalis Iatropoulos, Vasilis Bisbikis, Pavlos Iordanopoulo, Antonis Tsiotsipoulos, Marianthi Pantelpoulou RENT "Kopa?" je moderni vestern o ?ivotu jednog farmera koji radi i ?ivi sam u seoskoj ku?i usred ?ume na planini u sjevernoj Gr?koj.

"Digger" is a contemporary Western about a native farmer who lives and works alone in a farmhouse in the heart of a mountainous forest in northern Greece.

RENT "Otac" je pri?a o ?ovjeku kojem oduzimaju djecu zbog njegovog siroma?tva. To je pri?a o gubitniku, otpadniku i poni?enom ?ovjeku koji ? kroz svoje putovanje pje?ke od sela na jugu Srbije do prijestolnice, s jednog kraja zemlje na drugi, iz protesta, dostojanstva i ?elje da se doka?e sebi i drugima, iz o?aja ? postaje heroj.

"Father" is a story of a man who has his children taken away from him because of his poverty. It?s a story about a loser, a cast-out and humiliated man who ? through his journey, walking from his village in the south of Serbia to the capital, from one end of the country to the other, out of protest, dignity and his wish to make a point to himself and others, out of desperation ? becomes a hero.

KINOSCOPE

TRIBUTE TO

Gagarin / Gagarine

Daniel i Ana / Daniel and Ana

France, 2020, Colour, 95 min. / Re?ija / Director: Fanny Liatard / Uloge / Cast: Lyna Khoudri, Alseni Bathily, Jamil McCraven, Finnegan Oldfield, Farida Rahouadj RENT ?esnaestogodi?nji Yuri ?ivi u Gagarinovim tornjevima, velikim crvenim zgradama od cigle na periferiji Pariza. Sanja da postane astronaut. Kada se pro?uje za planove ru?enja Gagarinovih tornjeva, Yuri se pridru?uje otporu i zajedno sa svojim prijateljima upu?ta se u misiju spa?avanja sopstvenog doma, koji za njega postaje ?zvjezdani brod? ? prije nego ?to zauvijek nestane u svemiru.

Sixteen-year-old Yuri has lived his whole life in Gagarin Towers, a vast red-brick housing project on the outskirts of Paris. He dreams of becoming an astronaut. When plans to demolish Gagarin Towers are leaked, Yuri joins the resistance. With his friends Diana and Houssam, he embarks on a mission to save their home ? which has become his ?starship?? before it disappears into space forever.

Asist en t ica/ Th e Assist an t United States, 2019, Colour, 87 min. / Re?ija / Director: Kitty Green / Uloge / Cast: Julia Garner, Matthew Macfadyen, Makenzie Leigh, Kristine Froseth, Jon Orsini, Noah Robbins, Alexander Chaplin, Jay O. Sanders, Juliana Canfield, Dagmara Dominczyk RENT Film prati jedan dan u ?ivotu Jane, tek diplomirane ambiciozne filmske producentice, koja je upravo prona?la posao iz snova kao asistentkinja mo?nog biznismena u industriji zabave. Dok slijedi svoju svakodnevnu rutinu, Jane, kao i mi, postaje sve svjesnija zlostavljanja i rastu?eg poni?enja koje podmuklo boje svaki aspekt njenog radnog dana.

exico, Spain, 2009, Colour, 90 min. / Re?ija / Director: Michel Franco / Uloge / Cast: Dario Yazbek Bernal, Marimar Vega, JosemarĂ­a Torre-HĂźtt, Luis Miguel Lombana, Montserrat Ontiveros RENT Daniel i Ana su brat i sestra i dobri prijatelji.

Oboje prolaze kroz klju?an period ?ivota i me?usobno se podr?avaju. Ana bi se uskoro trebala udati, dok je Daniel u pubertetu, fizi?ki se razvija i formira se kao li?nost. Jedan dramati?an doga?aj natjerat ?e ih da se suo?e s vlastitim ?eljama i strahovima.

Daniel and Ana are siblings and good friends.

They are both going through pivotal moments in their lives and lend one another mutual support.

She is about to get married while he is smack bang in the middle of adolescence, growing up and shaping his identity. A dramatic event forces them to confront their desires and fears.

Klinci iz podzemlja Ruxandra Ghi?escu, rediteljica filma ?Otto barbarin?

Ko god je ?ivio ili r adio sa t in ejd?er im a zn a k ako je t aj zah t jevan i t e?ak . U t om u zr ast u n em a pr of esion aln ih glu m aca t ako da, por ed u obi?ajen ih pr oblem a odr ast an ja glavn og glu m ca, post oji dodat n a pot e?ko?a da m or at e r adit i sa am at er im a. Kak o i za?t o st e odlu ?ili n ekoliko godin a svog ?ivot a posvet it i ba? ovom u zr ast u ?

Prvo ?elim re?i da tinejd?ere ne smatram te?kim. Mislim da je to doba ?ivota vrlo nestabilno i osjetljivo ali i puno istine. Kada smo djeca, slijedimo pravila koja postavljaju roditelji i drugi odrasli od autoriteta, onda se kao odrasli moramo uklopiti u dru?tvena pravila i hijerarhije ili, "jo? gore", sami postanemo roditelji (?alim se). Volim surovost tinejd?erskih godina, volim nepo?tivanje pravila, nedostatak straha i prihva?anje da svrha ne postoji. Mislim da nas ve?ina nastavi i?i kroz ?ivot nose?i dru?tvenu masku i da zaboravimo kako se ona skida. Mo?da su ovaj film i godine provedene sa tinejd?erima moj na?in skidanja te maske. Moram re?i i da sam veoma u?ivala rade?i sa mladim ?ljudskim bi?ima? sa kojima sam radila. Neki od njih uop?e nisu imali gluma?kog iskustva, kao de?ki iz grupe Cardinal, koji su tako hrabro i velikodu?no radili sa mnom. Marc Titieni i Ana Radu imaju puno gluma?kog iskustva kao djeca-glumci koja dolaze iz gluma?kih obitelji i imaju sna?an gluma?ki instinkt.

Ioana Bugarin ve? je profesionalna glumica koja puno radi u kazali?tu i na filmu.

Mnogo sam se oslanjala na svoj rad sa svim mla?im ljudima koji su uklju?eni u film, posebno sa Octavianom Albuom koji je stvorio muziku zajedno sa grupom Cardinal i koji dolazi iz bukure?tanskog punk okru?enja. Malin Neam?u, koji je nedavno diplomirao na umjetni?koj akademiji, radio je u koordinaciji sa na?om produkcijskom dizajnericom M?linom Ionescu na grafitima u klubu. I on dolazi iz bukure?tanske underground muzike. Mislim da je rad sa tim ljudima dao filmu puno svje?ine i originalnosti.

M en t aln a bolest , sam ou bojst vo, t u ga i osje?aj du boke u n u t ar n je k r ivice su sam e po sebi veom a t e?ke t em e. Koliko t e?im ih ?in e osjet ljive t in ejd?er ske godin e?

U tinejd?erskim godinama sve je pretjerano.

Svi ti osje?aji i situacije koje se de?avaju u filmu djeluju neobi?no, ali zapravo se mnogo mladih ljudi s kojima sam sura?ivala na?lo u vrlo sli?nim situacijama. Vjerujem da su te godine te?ke tinejd?erima ali i roditeljima i odraslima iz okru?enja. Kako se

pobuna pove?ava, tako se pravila zao?travaju i to ponekad dovodi do pretjerivanja. Naravno, govorim op?enito, i to nije primjenjivo na sve osobe i situacije. ?est o st e k or ist ili k am er u iz r u k e, m r a?n e boje i bu n t ovn i?k u m u zik u k ao pr ir odn a sr edst va izr a?avan ja m lade gen er acije. To ?in i va? f ilm vr lo r ealn im , u bjedljivim i daje osje?aj da m u se m o?e vjer ovat i. Da li vas je in spir ir ala odr e?en a pr i?a ili je sve u pot pu n ost i f ikcija?

To je sinteza mojih ?ivotnih iskustava, ali i onih iz okoline. Puno toga, ali ne i narativ, potje?e od Oktavijana Albua, muzi?kog urednika filma, koji je kao tinejd?er bio poznat kao "Otto barbarin".

Tinejd?erski svijet koji smo stvorili u filmu mra?an je i bukvalno u podzemlju. To je ?ivot koji se ?ivi u naprslinama dru?tva, izme?u pravila, izme?u redaka.

Uz glavn u t em u f ilm a, pok azali st e i sn a?n e obit eljske veze pu n e lju bavi. M i n a Balk an u dobr o zn am o k olik o zah t jevan zn a bit i ?ivot t r i gen er acije pod ist im k r ovom . Socijaln i r adn ik opr ezn o spom in je da post oje ger ijat r ijsk e u st an ove k oje

pr of esion aln o zbr in javaju st ar e osobe 24 sat a dn evn o. Da li lju di u Ru m u n jskoj n edovoljn o kor ist e t ak ve in st it u cije zbog n epovjer en ja u n jih ovu pr of esion aln ost , iz f in an cijsk ih ili n ek ih dr u gih r azloga?

Naravno da bismo mogli mnogo razgovarati o ovakvim ustanovama i na?inu na koji postupaju sa starijima. Na? zdravstveni sustav i sustav socijalne skrbi su veoma zaostali. Ali vjerujem da postoji i vrlo dubok osje?aj odgovornosti prema starijim osobama i osje?aj da im dugujemo ovu skrb ?ak i ako je to veoma te?ko i toliko utje?e na ?ivot obitelji. Na generaciju roditelja predstavljenu u filmu i dalje sna?no utje?u komunizam i postkomunisti?ka inflacija. Ta generacija ?ivi u stanovima svojih roditelja i osje?a veliku odgovornost da ne mo?e stare osobe izbaciti iz njihovih domova. Radnja u ?Ottu? postavljena je pomalo van vremena, nije ba? suvremena ali ni u ta?no odre?enoj pro?losti. Film smo napravili tako da odra?ava zami?ljene doga?aje i da imamo vi?e slobode u na?inu na koji smo stvorili dva svijeta: svijet odraslih i svijet tinejd?era.

M ar in ela Dom an ?i?

Kids from the underworld Ruxandra Ghi?escu, director of the film ?Otto the Barbarian?

An yon e w h o h as ever lived or w or k ed w it h t een ager s k n ow s w ell h ow dem an din g an d dif f icu lt t h at age is t o deal w it h . Th er e ar e n o pr of ession al act or s at t h at age so, besides u su al gr ow in g u p pr oblem s of you r m ain act or , t h er e is an addit ion al dif f icu lt y t h at you h ave t o w or k w it h am at eu r s. How an d w h y did you ch oose t o deal w it h t h is age f or sever al year s of you r lif e?

I have to start by saying that I don't find teenagers difficult. I think it is a very volatile and very sensitive period in life but also full of truth. We tend to behave according to the rules laid by parents and other grownups with authority when we are children, then as grownups we have to fit in

society rules and hierarchies, or "worse" we become parents ourselves (just joking). I like in the teenage years the cruelty, I like the lack of obeying rules, the lack of fear and the acceptance that there is no purpose. I think most of us continue through life putting on a social mask that we forget how to take off. Maybe this film and these years spent with teenagers was my way of taking off the mask. I also have to say that I enjoyed very much working with the young "human beings" that I worked with. Some were without any acting experience like the boys from Cardinal band, who have been so brave and so generous to work with me. Marc Titieni and Ana Radu had a lot of acting experience as child actors coming from actors families and having a deep instinct for acting. Ioana Bugarin is already a professional actor and she is now working a lot in theatre and film.

I relied a lot on my work with all the younger people involved in the film and especially with Octavian Albu, who created the music alongside Cardinal Band and who comes from this punk environment from

Bucharest. Also Malin Neam?u, who is a fresh graduate from art Academy, worked under the coordination of our production designer M?lina Ionescu and did the graffiti in the club. He is coming from the same scenery of the underground music in Bucharest. In my opinion, the work with these people brought a lot of the freshness and originality in the film.

M en t al illn ess, su icide, gr ievin g an d t h e sen se of deep in n er gu ilt ar e ver y dif f icu lt t opics by t h em selves. How m u ch m or e dif f icu lt do t h e sen sit ive t een age year s m ak e t h em ?

Everything tends to be blown up of proportions in the teenage years. All these feelings and situations that are brought up in the film sound out of the ordinary, but actually a lot of the young people that I have worked with identified themselves with very similar situations.

I believe these years are very difficult to handle both for the teenagers but also for the parents and grownups around them.

The set of rules tightens as the rebellion grows and this sometimes this drives to actions blown out of proportion. Of course, I am speaking in general terms that don't apply to everybody and all situations.

You u sed a lot a h an d-h eld cam er a, dar k colou r s an d r ebelliou s m u sic as n at u r al m ean s f or expr ession of t h e you n g gen er at ion . Th is m ak es you r f ilm ver y r ealist ic, con vin cin g an d gives a f eelin g t h at it can be t r u st ed. Wer e you in spir ed by a specif ic st or y or is it en t ir ely f ict ion ?

It is a synthesis of life experiences of my own but also from around me. A lot of the setting, not the narrative, comes from Octavian Albu, the musical director of the film, who was known as "Otto the Barbarian" when he was a teenager.

The world that we created in the film for teenagers, it is dark and literally underground. It is a life that is lived in the cracks of the society, between the rules, between the lines.

In addit ion t o t h e m ain t h em e of t h e f ilm , you also sh ow ed st r on g an d lovin g f am ily bon ds. We in t h e Balk an s ar e w ell aw ar e h ow dem an din g cou ld be a lif e of t h r ee gen er at ion s u n der t h e sam e r oof .

Th e social w or k er car ef u lly m en t ion s t h at t h er e ar e ger iat r ic in st it u t ion s able t o car e f or elder ly on t h e pr of ession al w ay 24 h ou r s per day. Do people in Rom an ia u se su ch in st it u t ion s in su f f icien t ly du e t o m ist r u st in t h eir pr of ession alism , f or f in an cial or som e ot h er r eason s?

Of course there is a lot to talk about these kind of institutions and the way they treat the elderly. We are still very much behind with the healthcare system and social care system. But I believe there is also a very deep sense of responsibility that we carry towards the elderly, we owe them this care even if it is so difficult and it affects so much the life of the family.

The generation of the parents that are presented in the film, are still very much affected by the communism and the post-communist inflation. They are the generation that lives in the apartments of their parents and hold a big responsibility not to through the elderly out of their homes.

The action in Otto is set a bit out of time, it is not contemporary but also not in a very specific past. We constructed the film in such a way to reflect the fiction of the events and also to have more freedom in the way we created the two worlds: of the grownups and the teenagers.

M ar in ela Dom an ?i?

Za?ti?enkamerom Andrei D?sc?lescu, reditelj filma "Sveti otac" Gospodin e D?sc?lescu , u Sar ajevu sm o im ali pr ilik u pogledat i oba Va?a pr et h odn a du gom et r a?n a dok u m en t ar n a f ilm a. To su bili pr om at r a?k i dok u m en t ar ci ?ak i k ada st e bili osobn o in t r igir an i i u k lju ?en i.

Kolik o je dr u k?ije bilo r adit i n a ovom f ilm u koji je pot pu n o osoban ?

Svojim novim filmom "Sveti otac" obra?am se svom ocu u poku?aju da na?em odgovore i pomirenje dok se istovremeno suo?avam s neo?ekivanim roditeljstvom sa svojom djevojkom. Dakle, moja je situacija bila te?ka a njeno dokumentiranje je bilo uvijek izazovno, ponekad ?ak i bolno. S druge strane, ideja da snimim ovaj film pomogla mi je da si postavim neka ?ivotna pitanja o svojim roditeljima i dala mi je vi?e hrabrosti da se suo?im s nepoznanicom

stvaranja vlastite obitelji. U tom pogledu kamera je djelovala kao ?tit i pomogla mi da kontroliram ovaj vrlo osobni proces kao filmski projekat koji me je vjerojatno odr?avao normalnim u te?kim trenucima.

Pr ije dvan aest godin a, k ada st e sn im ili svoj pr vi du gom et r a?n i dok u m en t ar n i f ilm Con st an t in i Elen a, bili st e daleko od r odit eljst va. Ve? t ada su Vas du boko zan im ali obit eljsk i odn osi, lju bav i h ar m on ija, i divili st e se du got r ajn oj lju bavi i br ak u svog djeda i bak e pr epu n om m alih st var i koje ?in e ?ivot .

Kolik o vam je zn a?io t ak av pr im jer dok st e t r a?ili svog oca koji je n apu st io vlast it u por odicu da bi slu ?io bogu ?

Sveti otac je najosobniji dokumentarni film koji sam uop?e mogao snimiti. Mogli biste, u neku ruku, smatrati Svetog oca nastavkom Constantina i Elene, ali na sasvim druga?iji na?in: Nakon ?to sam pokazao kako bi moglo biti, istra?ujem razloge zbog kojih isto nije uspjelo meni i mojim roditeljima istovremeno poku?avaju?i po?teno zapo?eti vlastito

roditeljstvo. Moja ljubav za Constantia i Elenu djelom je tolika zato ?to sam u njihovoj vezi vidio sve ono ?to mi je nedostajalo u mojoj razorenoj obitelji.

Snimati njihov svakodnevni ?ivot bilo je ?arobno, terapeutski i inspirativno (a takav je i film bio za mnoge ljude). Njihov je primjer ne?to ?emu poku?avam stremiti.

Na?alost, nema tajnog recepta za to. Bojim se da biva sve te?e i te?e u dana?njem svijetu imati obitelj kakvu su imali moji djed i baka. Mislim da ?e ve?ina ljudi osjetiti sna?nu vezu sa nekim dijelovima mog novog filma.

Sn im ili st e t r en u t ak u k ojem st e dozn ali da vam je par t n er ica t r u dn a. Jest e li se t ada odlu ?ili n a sn im an je f ilm a ili st e do t e ideje do?li u n ek om dr u gom m om en t u ?

Kada mi je Paula rekla da joj menstruacija kasni i da ?e uraditi test na trudno?u, pitao sam mogu li snimati. ?alio sam se da bi to mogao biti povjesni trenutak ukoliko rezultat bude pozitivan. Bili smo u prili?no kompliciranoj vezi i nikada nismo razmi?ljali o tome da postanemo roditelji tako da smo se oboje nadali da ?e rezultat biti negativan.

Ali nije bio. I onda smo se uspani?ili. Ubrzo sam do?ao na ideju da snimim ovaj film, kako o nama i o na?im pripremama za roditeljstvo (budu?i da oboje potje?emo iz razorenih obitelji), tako i o mom ocu i na?em ?ekstremisti?kom? slu?aju napu?tanja, jer on nije ostavio obitelj kako bi stvorio novu nego zato da slu?i bogu. I ranije sam razmi?ljao o tome da posjetim svog oca, pretpostavljam da sam samo ?ekao pravi trenutak, a kad sam saznao da ?u postati otac osje?ao sam kao da mi istje?e vrijeme, kao da trebam razumjeti svog oca prije nego ?to i sam postanem otac. ?ast da ot vor i Tak m i?ar sk i pr ogr am ? dok u m en t ar n i f im obi?n o pr ipadn e f ilm u

k oji pr edst avlja n ajbolje od pr o?logodi?n jih au t or sk ih r adova. " Svet i ot ac" je jo? k ao pr ojek at osvojio n ekolik o n agr ada po?ev?i od lan jske IDFA n agr ade za pr ojek at koji n ajvi?e obe?ava n a Docu Rou gh Cu t Bou t iqu e u ok vir u Cin eLin k a ovdje u Sar ajevu , pr eko glavn e n agr ade Film sk og cen t r a Sr bije pa do n agr ade Posljedn ja st an ica Tr st ? gdje ist ok sr e?e zapad u Tr st u . Ove godin e ot vor it ?e dok u m en t ar n i pr ogr am u Sar ajevu .

M olim Vas, podijelit e s n am a svoja r azm i?ljan ja o t om e i r ecit e n am ?t a o?ek u jet e.

Prije svega, velika je ?ast otvoriti Takmi?arski program i radujem se svjetskoj premijeri mog najosobnijeg filma. Film govori o meni, mojoj obitelji, mojim strahovima, mojoj du?i na velikom platnu pa se, bez obzira na nagrade ili zvani?na priznanja, nadam da ?e se ljudi povezati s mojim filmom i da ?e ga smatrati toplim i insprativnim. Sje?am se kako mi je su-monta?er Stefan (Parlog, op.

M.D.) pri?ao da je, dok je radio na mom filmu, mnogo ?e??e nego ikad prije razgovarao sa svojim ocem. Mislim da bi ljudi koji pogledaju film mogli da ga primijene na svoje roditelje ili djecu i da bi mogli vi?e razmi?ljati o tome kako popraviti ono ?to se treba popravljati u svojim vezama. Sudjelovao sam na radionici za talente Sarajevo Film Festivala, zatim sam se vratio sa dva prethodna filma i kona?no, pro?le godine sam bio na Docu Rough Cut Boutique dok sam zavr?avao "Svetog oca".

Vratiti se u Sarajevo ponovo sa svjetskom premijerom "Svetog oca" je poput povratka ku?i!

M ar in ela Dom an ?i?

Shielded by the camera Andrei D?sc?lescu, director of the film "Holy Father " M r D?sc?lescu , w e h ad t h e oppor t u n it y t o see bot h of you r pr eviou s f eat u r e docu m en t ar ies h er e in Sar ajevo. Even w h en you w er e per son ally in t r igu ed an d in volved, t h ey bot h w er e obser vin g docu m en t ar ies. How dif f er en t w as it t o w or k on t h is f ilm , as it w as pu r ely abou t you r self ?

With my new film, Holy Father, I reach out to my own father, trying to find answers and reconciliation, while at the same time facing unexpected parenthood with my girlfriend. So, my situation was difficult, and documenting it was always challenging, sometimes even painful. On the other hand, the idea of making this film helped me surface some life-long questions about my parents and gave me more courage to face the unknown territory of creating my

own family. In that regard, the camera acted as a shield, and helped me oversee this very personal process as a film project, which probably kept me sane in difficult moments.

Tw elve year s ago, w h en you m ade you r f ir st f eat u r e docu m en t ar y Con st an t in an d Elen a, you w er e f ar aw ay f r om you r ow n par en t h ood. How ever , you w er e alr eady deeply in t er est ed in f am ily r elat ion sh ips, love an d h ar m on y, an d adm ir ed you r gr an dpar en t s?lon g-last in g love an d m ar r iage f u ll of sim ple lit t le t h in gs t h at m ake u p lif e. How m u ch t h eir exam ple m ean t t o you w h ilst you w er e sear ch in g f or you r f at h er w h o lef t h is ow n f am ily t o ser ve God? Holy Father is the most personal documentary I could ever make. You could, to some extent, consider Holy Father a sequel to Constantin and Elena, but in a very different way: After showing what could have been, I explore the reasons why it didn't work for me and my parents, while trying to start with a clean slate in my own parenthood endeavour.

Part of my love for Constantin and Elena was because I found in their relationship everything that I was missing in my broken family. Filming their everyday lives and love was magical, therapeutic, and inspiring (as was the film, for so many people). Their example is something that I'm trying to aim for, but unfortunately there is no secret recipe. I am afraid that it is becoming harder and harder to have a family like my grandparents had, in today's world. So, I think most people will also strongly relate to some parts of my new film.

Th e an n ou n cem en t of you r par t n er 's pr egn an cy is r ecor ded. Was t h at a m om en t w h en you decided t o m ak e t h is f ilm , or did you com e u p w it h t h e idea at som e ot h er poin t ?

When Paula told me that her period was late and she'd take a pregnancy test, I asked if I could film it, joking that it could prove to be a historic moment, if the test turned out positive. But we were in a rather complicated relationship and had never considered becoming parents, so we both rather hoped the result would be negative.

But it wasn't. And we both panicked. And soon enough, I got the idea to make this film, both about us and our preparations for parenthood (as we both come from broken families), and about my own father and our ?extreme?case of abandonment, as he didn't leave his family for a new one, but for serving God. I did think about visiting my father before, but I guess I was just waiting for the right moment, and when I found out that I was going to become a father, I felt like I had a countdown, like I needed to understand my own father before becoming a father myself.

Th e h on ou r t o open t h e Com pet it ion Pr ogr am m e ? Docu m en t ar y Film u su ally goes t o a f ilm t h at r epr esen t s t h e best of last year ?s au t h or s' cin em a. Holy Fat h er h as alr eady w on sever al pr izes (as a pr oject ), st ar t in g last year w it h IDFA Aw ar d f or M ost Pr om isin g Pr oject at t h e Docu Rou gh Cu t Bou t iqu e h er e in Sar ajevo, w it h in t h e Cin eLin k , an d con t in u ed w it h t h e m ain pr ize by Film Cen t r e Ser bia an d at Last St op Tr iest e ?

Wh en East M eet s West . Th is year , it w ill open t h e pr ogr am m e in Sar ajevo. Please sh ar e you r t h ou gh t s abou t it an d t ell u s w h at you expect .

First and foremost, I am honored to open the Competition Programme, I look forward to being there for the world premiere of my most personal film. This film is about myself, my family, my fears, my soul on the big screen, so, beyond any awards or official recognition, I hope that people relate to my film, find it heart-warming and inspiring. I remember that my co-editor, Stefan, told me that he talked to his own father much more often than ever before, while working on my film. I think people who watch my film may reflect on their own parents, or children, and could put more thought into fixing things that need to be fixed in their relationships. I participated in Sarajevo Film Festival?s Talents workshop; I then came back with my two previous films, and finally in Docu Rough Cut Boutique, last year, while finishing "Holy Father ". Coming back for the world premiere of "Holy Father " in Sarajevo feels like coming home!

M ar in ela Dom an ?i?

SFF je simbol tolerancije, razumijevanja razli?itosti, ulaganja u budu?nost i u mlade Miranda Mladin, izvr?na direktorica Centralnog marketinga i inovacija Atlantic Grupe Kada je po?ela Va?a sar adn ja sa Sar ajevo Film Fest ivalom ?

Atlantic Grupa je partner SFF-a vi?e od desetlje?a i mo?emo re?i da se na?a suradnja razvija kako raste festival i kako rastemo i mi kao kompanija.

SFF su podr?ali kroz ove godine na?i veliki regionalni brandovi; Cedevita, Argeta, Grand Kafa, a festivalski Talents party, za koji se svake godine tra?i ulaznica vi?e, obogatilo gostovanje SMS Deutscha.

Konstanta je otvoren, prijateljski odnos, jedini kakav je mogu?i, odnosno valjan na dugi rok.

Za?t o sm at r at e da je od velik e va?n ost i podr ?at i jedan ovak av Fest ival?

SFF je sredi?nji kulturni doga?aj u na?oj regiji, koja se poklapa i s na?im glavnim tr?i?tima, ako gledamo vrlo usko iz

sponzorske perspektive. No, povrh toga i jo? bitnije, SFF je simbol tolerancije, razumijevanja razli?itosti, ulaganja u budu?nost i u mlade, ?to su temeljne vrijednosti na kojima po?iva i razvoj Atlantic Grupe. Mi smo prirodni saveznici u toj pri?i.

Svjedoci sm o velik ih svjet sk ih pr om jen a. U kojoj m jer i se t o odr azilo n a Va?e poslovan je?

Na sre?u smo aktivni u industriji hrane i pi?a koja nije vitalno pogo?ena posljedicama pandemije COVID 19, iako ih neizbje?no osje?amo.

Od druge polovice marta uglavnom radimo od ku?e, svi koji smo aktivni u uredskim poslovima, a na?e kolege u proizvodnji i na terenu svakodnevno rade s posebnim mjerama za?tite, kako bismo

sprije?ili ?irenje zaraze u kompaniji i ?ire u dru?tvu.

Sretni smo i da su nam poslovni rezultati omogu?ili vrlo opse?ne donacije zdravstvenim institucijama i nacionalnim sto?erima u cijeloj regiji. Svi svakodnevno osje?amo posljedice pa i u situacijama koje nisu izravno vezane uz poslovanje, kao ?to je i SFF, koji se ove godine prvi put nakon pokretanja ne odr?ava na tradicionalni na?in, onako kako je prepoznatljiv u svijetu, kao mjesto spajanja, dru?enja i razmjene.

Svima nam nedostaje socijalizacija 'u?ivo', no vjerujemo kako se sve u ?ivotu doga?a s razlogom pa tako i ova cijela situacija.

Bitno je da iz nje iza?emo ja?i i mudriji.

Ove godin e svi pr ogr am i Sar ajevo Film Fest ivala odr ?at ?e se pu t em on lin e plat f or m e "on dem an d.sf f .ba" . Koji od pr ogr am a n ajvi?e pr ivla?i Va?u pa?n ju ?

Uvijek mi je zanimljivo za vidjeti ?to se doga?a u natjecateljskom dijelu; od dokumentaraca, kratkometra?nih filmova do studentskih radova. Podosta je zanimljivih naslova me?u dokumentarcima, od kojih isti?em 'Wood',

?to je naravno pitanje osobnih preferenci.

Svi volimo pogledati novosti, tako da ?u definitivno izabrati dio naslova iz sekcije pretpremijera. U programu "Summer Screen" mi je privukao pozornost dokumentarac o Liam Gallagheru. Dio adolescentske 'MTV' faze, obilje?io je interes put djela glazbene grupe 'Oasis', tako da ?u rado pogledati ovaj dokumentarac.

Koji su t o f ilm ovi 26. Sar ajevo Film Fest ivala koje bist e Vi li?n o pr epor u ?ili n a?oj pu blici?

Svjedoci smo izvanrednog filmskog opusa SFF regionalne i svjetske produkcije, barem ovih nekoliko zadnjih godina, otkada i sama aktivnije pratim festival pa se usudim re?i, da ?e svatko na?i zanimljiv sadr?aj za sebe. Osobno sam pobornik dobre regionalne komedije, tako da ?u svakako pogledati 'Koncentri?i se, baba'.

Trenutaka veselja i dobrog humora, nikada na odmet. Dapa?e. Tako?er preporu?am svakako pogledati koji od naslova Michela Franca, ovogodi?njeg nositelja Po?asnog Srca Sarajeva.

ATLANTIC GRUPA Atlantic Grupu uz Sarajevo Film Festival ve?e dugogodi?nje prijateljstvo, a ve? nekoliko godina zajedno smo i kroz posebnu inicijativu ?Svi smo mi iz istog filma?, kojom promi?emo kreativnost, suradnju i okupljamo zaljubljenike u filmsku umjetnost iz cijele regije. Ovogodi?nji zajedni?ki projekt Atlantic Grupe i SFF-a osmi?ljen je tako da inspirativne pri?e filmskih umjetnika iz cijele regije po?alju hrabru emotivnu poruku. Kroz osobna svjedo?anstva o provedenim nezaboravnim trenucima na festivalu, koji je ovaj dio Europe zauvijek obilje?io na svjetskoj filmskoj mapi, poznati redatelji, glumci i umjetnici poslat ?e poruku da je ?svaka pri?a jedna inspiracija?, a upravo je takva afirmativna poruka potrebna u vremenima punim izazova.

SFF is a symbol of tolerance, understanding of differences, investment into the future and youth Miranda Mladin, Executive Director for Central Marketing and Innovation, Atlantic Group Wh en did you r cooper at ion w it h t h e Sar ajevo Film Fest ival begin ?

Atlantic Group has been a partner of SFF for more than a decade, and we can say that our cooperation has been developing as the festival and our company grew.

Through all these years, SFF has been supported by our large regional brands; Cedevita, Argeta, Grand Kafa, and the Festival?s Talents Party, with high ticket demand every year, has been supported

by SMS Deutsch. Our open, friendly relationship has been continuous, as the only type of relationship valid and possible in the long run.

Wh y do you t h in k it is im por t an t t o su ppor t t h e Fest ival?

SFF is the central cultural event in our region, which also coincides with our main markets, from the perspective of sponsorship. And, more importantly, SFF is a symbol of tolerance, understanding of differences, investment into the future and youth, which are also fundamental values for the development of the Atlantic Group. We are natural allies in this story.

We ar e w it n essin g gr eat ch an ges. To w h at ext en t did t h ey af f ect you r oper at ion s?

Fortunately, we are active in the food and beverage industry, which has not been vitally affected by the consequences of COVID 19 pandemic, although we inevitably feel them.

Since the second half of March, all of us with office jobs have been working mostly from homes, and our colleagues in the production and on the field apply special protective measures every day in order to prevent the spread of infection in the company and beyond.

We are also fortunate that our business results have enabled us to make significant donations to health care institutions and national headquarters across the region. We all feel the consequences every day, even in situations not directly related to business operations, such as SFF, which, for the first time since it was founded, will not be held in a traditional, globally recognisable

format, as the point of connection, gathering and exchange.

We all miss ?live?socialisation, but I believe that all happens for a reason in life, including this whole situation. It is important to come out of it stronger and wiser.

Th is year , all t h e Sar ajevo Film Fest ival pr ogr am m es w ill be h eld on lin e on on dem an d.sf f .ba. Wh ich pr ogr am m es ar e you in t er est ed in t h e m ost ?

I have always found it interesting to see what is happening in the competition segment; from documentaries, short films, to student films. There are a lot of interesting titles of the documentaries, and I would like to point out 'Wood', which of course is a matter of personal preference. We all like to see the most recent films, and I will definitely choose some titles from the Avant Premiere section. In the ?Summer Screen?

programme, I am interested in the documentary about Liam Gallagher. In a part of my adolescent 'MTV' phase faze, I was interested in 'Oasis', and I am looking forward to this documentary.

Wh ich f ilm s f r om t h e 26t h Sar ajevo Film Fest ival w ou ld you r ecom m en d t o ou r au dien ce?

We are witnesses of an extraordinary film opus of SFF regional and global production, at least for the past few years, since I have been following the Festival more actively. I would dare say that everyone will find interesting content for themselves. I prefer a good regional comedy, and I will surely watch ?Focus, Grandma'. We can never have too many moments of joy and good humour. I would also recommend films by Michel Franco, this year ?s winner of the Honorary Heart of Sarajevo.

ATLANTIC GRUPA Atlantic Grupa is a long-term partner of Sarajevo Film Festival, and for the past few years we've joined forces in the ?We Are All Part of the Same Story? initiative promoting creativity and collaboration, and drawing film buffs from the whole region. This year 's joint project is about conveying an encouraging, emotional message through inspiring stories by film artists from the region. By presenting personal, memorable moments experienced in this festival that has put this part of Europe on the film world map, famous directors, actors and artists are saying that ?every story is an inspiration?, an affirmative message much needed in these challenging times.