26thSFF Festival Daily #4

Fest ival Daily Ponedjeljak/ Monday/ 17. August 2020.

Ovu godinu obilje?it ?e borba Intervju sa Asjom Krsmanovi?, Selektoricom Takmi?arskog programa ? studentski film Kak va je ovogodi?n ja selekcija Tak m i?ar skog pr ogr am a ? st u den t sk i f ilm ?

Nikad obimnija, ?to me posebno raduje. U program je na kraju uvr?teno 15 filmova, od kojih ?e ?ak 10 imati svjetske premijere na Sarajevo Film Festivalu. Ove godine je bilo izuzetno zadovoljstvo raditi selekciju jer smo pogledali mnogo odli?nih filmova, ?to je posebno iznena?enje s obzirom na malo manji broj prijava, uslovljen situacijom u kojoj smo se na?li. Lijepo je vidjeti da kvalitet studentske produkcije u regionu raste, da su studenti otvoreni da istra?uju razli?ite forme i da je njihov li?ni rediteljski pe?at itekako vidljiv. ?ak i kada se vidi da nisu potpuno zanatski ?izbru?eni?, svaki od ovih filmova odi?e jedinstvenim ?armom, iskreno??u i vrlo artikulisanom namjerom da se ispri?a neka univerzalno va?na pri?a.

Da li se m o?e govor it i o n ek oj r azlici u st ilu kod st u den t sk ih f ilm ova ove u odn osu n a pr o?lu godin u ?

Ove godine se malo pomjerio tematski fokus, pa sam selekciju podijelila u tri dijela.

U jednoj dominira bavljenje va?nim dru?tvenim i politi?kim pitanjima i njihovim utjecajem na ?ivote pojedinca, drugi dio selekcije posve?en je porodi?nim odnosima, bilo da je u pitanju primarna ili sekundarna porodica ili ono ?to mi odlu?imo da porodica jeste, dok je tre?i dio fokusiran na pojedinca i na?in na koji osje?a ljude i stvari oko sebe, te uspijeva ili ne uspijeva s njima da se pove?e.

Kolik o je sit u acija izazvan a pan dem ijom

pr om ijen ila f ilm sk i jezik ?

To ne mo?emo suditi po ovoj selekciji, budu?i da je dosta filmova nastalo neposredno pred lock down ili su se barem razvijali prije, a nastali na prolje?e ove godine. Mislim da ?emo tek sljede?e godine mo?i pri?ati o nekim novim fenomenima i promjenama u percepciji filma.

Kolik o je pr om ijen ila Va? odn os pr em a poslu , pr em a selekciji?

Ne mnogo. I dalje sam se trudila da biram filmove za koje mislim da su kvalitetni i imaju ne?to va?no za re?i. Prema poslu tako?er ne ? bitno je da se radi ?ak i u naj?udnijim uslovima jer ?ta drugo?

Kontemplirati nad stvarima predugo za mene u kona?nici zna?i pristati na njih, a na ovakvu situaciju te?ko mi je pristati. ?t o Vas je n au ?ila izolir an ost ?

Da je ljudima uvijek, a naro?ito u krizi, potrebna umjetnost. Te?ko je pristati na banalnost vlastite smrtnosti i trebaju nam svjetovi u kojima stvari imaju vi?e smisla od onoga ?to nam nedovr?ena stvarnost pru?a. ?t o m islit e da ?e obilje?it i 26. Sar ajevo Film Fest ival?

Borba.

This year will be m arked by cont est Interview with Asja Krsmanovi?, Selector of Competition Student Film programme How is t h is year ?s select ion in t h e Com pet it ion St u den t Film pr ogr am m e lik e?

Never bigger, and this makes me very happy. The final programme includes 15 films, 10 of which will have their world premiere at the Sarajevo Film Festival.

Programming was a pleasure this year because we screened so many excellent films and this was particularly surprising considering a somewhat lower number of submissions due to this situation we find ourselves in. It is great to see the that the quality of student productions in the region is growing, that students are open to exploring different forms and that we can clearly see the director ?s personal mark on them. Even if somewhat lacking in perfect craftsmanship, each of these films displays unique charm, honesty and a clearly articulated intention to tell a universally important story.

Can w e t alk abou t dif f er en ces in st yle bet w een t h is year ?s st u den t f ilm s an d t h ose f r om last year ?

Thematic focus has shifted slightly this year, so I divided the selection in three parts. One is dominated by important social and political issues and their impact on the lives of individuals, the second part of the selection is dedicated to family

relations, whether immediate or extended family or what we decide is family, while the third part focuses on the individual and how he or she feels people and things around him/herself and manages, or not, to connect with them.

How m u ch did t h e sit u at ion cau sed by t h e pan dem ic ch an ge t h e lan gu age of f ilm ?

We cannot judge that by this year ?s selection because many films were made just before the lockdown, or at least developed before and produced in the spring of this year. Only next year I think we will be able to talk about new phenomena and changes in film perception.

How m u ch did it ch an ge you r r elat ion sh ip t ow ar ds w or k , t ow ar ds select ion ?

Not much. I still tried to select films I though had quality and something important to say. Towards work also no ? it?s important to work even in the strangest of conditions, because what else? To contemplate things for too long for me ultimately means to agree to them, and I find it hard to agree to this situation.

Wh at h ave you lear n ed f r om isolat ion ?

That people always, and especially in crisis, need art. It?s hard to accept the banality of your own mortality and you need worlds where things make more sense than what an incomplete reality can offer.

Wh at do you t h in k w ill m ar k t h e 26t h Sar ajevo Film Fest ival?

Contest.

An dr ijan a Copf

Svijet bez ?ena je svijet bez ljubavi Intervju sa Ruom Hasanovim, rediteljem filma ?Unutra?nje ostrvo?

Pr o?le godin e Va? f ilm je izabr an za Cin eLin k k o-pr odu kcijsk i m ar ket ?Pr ojek t i u t ok u ?. Im aju ?i u vidu da je glavn a n am jer a ovog odjela Sar ajevo Film Fest ivala pr u ?it i pom o? au t or im a u dovr ?avan ju pr ojek at a k oji su u t ok u i pove?at i m ogu ?n ost i dist r ibu cije, k olik o kon k r et n e podr ?k e st e dobili i k ak o st e ju iskor ist ili?

Nije tajna da je tokom proteklih desetlje?a Sarajevo Film Festival postao jedna od vode?ih platformi za profesionalce u filmskoj industriji i da, konkretno sa CineLinkom, postaje najva?nije me?unarodno tr?i?te za projekte iz jugoisto?ne Europe (uklju?uju?i Kavkaz regiju koja je u svjetskim kinima slabo zastupljena). Imao sam sre?u i privilegiju da sudjelujem i u koprodukcijskom marketu 2018. i u programu ?Projekti u toku? 2019. ?to mi je pru?ilo jedinstvenu priliku da podijelim informacije o svom projektu, dobijem povratne informacije od vrhunskih stru?njaka iz industrije, pro?irim svoju profesionalnu mre?u i komuniciram sa drugim filmskim stvaraocima. Ne bi me previ?e iznenadilo kada bih otkrio da bi postprodukcijska potpora koju smo dobili

od CNC-a - Nacionalnog centra za film i animaciju u Francuskoj - mogla direktno ili indirektno biti rezultat predstavljanja posredstvom CineLink-a. Sve u svemu, Sarajevo Film Festival prihvatio je i njegovao ?Unutra?nje ostrvo? od prvog dana i bio sam odu?evljen i po?a??en kada sam primio poziv za takmi?arski program na SFF 2020.

Kolik o se pr i?a o vr h u n skom ?ah ist i k ojega ot ac f izi?k i i m en t aln o zlost avlja zasn iva n a st var n im likovim a i doga?ajim a a kolik o je plod m a?t e? Jesu li cr n o-bijeli sn im ci au t en t i?n i?

U glavnom liku su se udru?ile razli?ite inspiracije: razni ljudi, njihove pri?e i iskustva koja sam prikupljao godinama neka osobnija od drugih, ali po?etni poticaj za pisanje ove pri?e bio je ?lanak iz New York Timesa objavljen 1990. godine u pod naslovom ?O?ev pijun? (?A Father ?s Pawn?) Freda Waitzkina. Govorio je o zatrovanoj vezi izme?u tatarskog ?ahovskog ?uda i njegovog oca (koji mu je ujedno bio i trener). Dijelovi slagalice su se iznenada po?eli slagati: dje?aci koji trebaju o?evo dopu?tenje da odrastu, dominantni likovi o?eva u odsustvu maj?inske figure, i

sli?no. A ?to se ti?e crno-bijelih snimaka, oni su autenti?ni i 100% dokumentarni.

Veom a m e zain t r igir alo ?t o ?en sk i lik ovi got ovo da n e post oje. Por ed gole t et ovir an e ?ah ist k in je k oju vidim o n a t r en u t ak (i za k oju n ism o sigu r n i je li st var n a ili plod Seym ou r ove m a?t e) i Ibr ah im ove ?en e k oja se u jedn om m om en t u pojavi k ao m u t n i odr az u st ak lu , ?en e su n evidljive. ?ak se n i m ajk a, koju m ali Seym ou r doziva za vr ijem e su n e?en ja, n e pojavi da u t je?i dje?a?i?a. Da li je t o r ezu lt at pat r ijar h aln e t r adicije ili va?eg izbor a?

Mentalno zlostavljanje dje?aka koji rastu u mu?karce ima destruktivno djelovanje na sve aspekte njihovog ?ivota, posebno u pogledu interakcija sa suprotnim spolom.

Osje?aj je kao u minskom polju, gdje samo jedan pogre?an korak mo?e nepopravljivo na?tetiti samopouzdanju. Stoga je ponekad lak?e sve to dr?ati u sebi i potiskivati sve prirodne nagone i osje?aje. Ali po?to ste postavili direktno pitanje: za mene je ovo pri?a o nedostatku majke, a samim tim i o nedostatku ljubavi. Ovakav svijet (svijet bez ?ena) bez sumnje je osu?en na propast.

S dr u ge st r an e, o n asilju n ad m u ?k ar cim a se r je?e govor i. Va? glavn i ju n ak je cijeli ?ivot t r pio f izi?k o, i, jo? vi?e, m en t aln o zlost avljan je. Tak av por odi?n i odn os o?it o je pr isu t an n ajm an je t r i gen er acije. Uz t o je i polit i?k i por edak je r epr esivan , t ajn ovit i vo?en ciljevim a k oje ovaj m ladi? n e dijeli. Im a li pom o?i za m ladi?a pr it isn u t og sa svih st r an a?

Vjerojatno se ne biste iznenadili kada ?ujete da se u tradicionalisti?kom patrijarhalnom dru?tvu ovakav odnos oca i sina ne smatra zloupotrebom ve? "pravim mu?kim odgojem". Jo? je zanimljivije ?to takozvane disciplinske radnje prate primjeri o?trijeg postupanja djeda prema

ocu koji ih opravdavaju i ?ak stvaraju?i iluziju popustljivijeg pristupa novoj generaciji. Znate ono, ?prestani cmizdriti i izdr?i?. ?to se ti?e Seymoura, on igra ?ah u svijetu izgleda ?ahovske plo?e. Mislim da na podsvjesnoj razini poku?ava dobiti pomo? koja mu je potrebna, bilo da se radi o savjetu ili za?titi - prvo od djeda, potom i od starca na ostrvu. Ali to su samo naivne nade da ?e, kao u nekoj klasi?noj isto?nja?koj pri?i ili legendi, dobiti odgovore od mudraca. Sam Seymour je najinteligentnija osoba koju poznaje i samo on mo?e na odgovaraju?i na?in promi?ljati svoj vlastiti unutarnji svijet i na kraju pomo?i sam sebi.

Kao izvan r edan ?ah ist a, Seym ou r im a n eu pit n o visok u in t eligen ciju a odlu ?u je da ?u t i i t r pi. Na k r aju r adije bje?i n ego da se su pr ot st avi. Bje?i n a izolir an o ost r vo n a kojem ?ivi sam o jedan ?u dak , pr ek r asn i divlji kon ji i st ok a. Tam o se k on a?n o osje?ao slobodn im da r adi st var i koje pr ije n ije m ogao - popr avit i m ot or , vozit i se pu st in jsk im ost r vom i le?at i gol u r u pi u st ijen i. Je li izolacija jedin i n a?in da se ok u si t oliko ?eljen a sloboda?

Jednom su mi rekli da u svijetu u kojem ?ovjek mora pojesti drugog ?ovjeka da bi pre?ivio, jesti zna?i pobijediti. Rekli su mi i da je svaki mu?karac (ili ?ena) ostrvo i samo on ili ona odlu?uje kome ?e dozvoliti da zakora?i na to ostrvo. Te dvije misli su mi se neprestano motale po glavi dok sam pisao i kasnije ure?ivao film. Mislim da je Seymour morao pobje?i od svega i otkriti to ostrvo ili zauvijek ostati o?te?en. Izolacija nije uvijek jednaka slobodi, ali za Seymourai otkrivanje tog ostrva u sebi izgleda da jeste.

M ar in ela Dom an ?i?

The world without women is the world without love Ru Hasanov, director of the film ?The Island Within?

Last year you r f ilm w as select ed f or Th e Cin eLin k Wor k in Pr ogr ess co-pr odu ct ion m ar k et . Havin g in m in d t h at t h e m ain in t en t ion of t h is Sar ajevo Film Fest ival's sect ion is t o assist t h e au t h or s t o f in alise t h eir on -goin g pr oject s an d en h an ce t h e dist r ibu t ion possibilit ies, t ell u s please h ow m u ch con cr et e su ppor t did you get an d h ow did you u se it ?

It is no secret that throughout the past few decades Sarajevo Film Festival has become one of the leading platforms for film industry professionals, with CineLink, specifically, becoming the most important international market place for projects from Southeast Europe (including the Caucasus ? a region heavily underrepresented in world cinema). I was lucky and privileged enough to participate both in the Co-production market in 2018 and the Work in Progress section in 2019, which gave me a unique opportunity to raise awareness about my project, get

feedback from top industry specialists, broaden my professional network and interact with fellow filmmakers. I wouldn?t be too surprised to find out that the post-production support we received from CNC ? National Center for Film and Animation in France might directly or indirectly be a result of the exposure we received via CineLink. In general, Sarajevo Film Festival embraced and nurtured ?The Island Within? from day one and I was thrilled and honoured to have received the invitation to the official competition of SFF 2020.

To w h at ext en t is t h is st or y abou t a t op ch ess player w h o is ph ysically an d m en t ally abu sed by h is ow n f at h er based on t r u e ch ar act er s an d even t s, an d h ow m u ch did you u se f ict ion ? Ar e t h e black an d w h it e r ecor ds au t h en t ic?

The protagonist is an amalgamation of inspirations: various people, their stories and particular experiences that I have accumulated throughout the years - some more personal than others. However, the initial impulse to write this story was dictated by a 1990 article in The New York Times titled ?A Father ?s Pawn? by Fred Waitzkin. It had to deal with a toxic relationship between a chess prodigy from Tatarstan and his father (who was also his coach). Suddenly jigsaw started falling into place: boys, who need their fathers?permission to become men, the dominating father figure in the absence of a mother figure, etc.). As for the black and

white records, they are all authentic and 100% documentary.

I w as ver y m u ch in t r igu ed t h at t h e f em ale ch ar act er s ar e alm ost n on -exist en t . Ot h er t h an t h e n aked t at t ooed f em ale ch ess player w e see f or a secon d (an d f or w h om w e?r e n ot su r e if it ?s r eal or t h e f r u it of Seym ou r ?s im agin at ion ) an d Ibr ah im ?s w if e appear in g f or a m om en t as a blu r r y r ef lect ion in t h e glass, t h e w om en ar e ou t of sigh t . Not even t h e m ot h er , su m m on ed by lit t le Seym ou r du r in g t h e cir cu m cision , appear s t o com f or t t h e lit t le boy. Is it t h e r esu lt of a pat r iar ch al t r adit ion or you r ch oice?

Mental abuse of boys who are about to turn into men has a destructive effect on all facets of their lives, especially with regards to interactions with the opposite sex. It can feel like a minefield where a single wrong step can cause an irreparable damage to self-confidence. Therefore, it is sometimes easier to keep it all inside and push down any natural impulses and feelings. But since you asked a direct question: for me this is a story about motherlessness and therefore lovelessness. A world like that (a world without women) is, without a doubt, doomed to crumble.

Violen ce again st m en , on t h e ot h er h an d, is r ar ely t alk ed abou t . You r pr ot agon ist h as su f f er ed ph ysical bu t even m or e m en t al abu se all h is lif e. Su ch a f am ily r elat ion sh ip h as obviou sly been pr esen t f or at least t h r ee gen er at ion s. M or eover , t h e polit ical or der is also r epr essive, con spir at or ial, an d dr iven by goals t h at t h is you n g m an does n ot sh ar e. Is t h er e an y h elp f or a you n g m an pr essed f r om all sides?

I don?t think you?d be surprised to hear that in a traditionalist patriarchal society this type of a relationship between a father and a son is not considered to be abusive, but rather labelled as proper "manly upbringing". What is even more interesting is that the so-called

disciplinary actions are accompanied with examples of harsher treatment from the grandfather towards the father, thus justifying it and even creating the illusion of a softer approach towards the new generation.

Because, you know, "stop moping, be a man and cope with it". As for Seymour, he is playing chess in a world designed for checkers. I think on a subconscious level he is trying to receive the help he needs, be it advice or counsel - first from his grandfather, then the old man on the island. But those are just naive hopes of getting answers from the wise men just like in any classical Eastern tale or legend. But Seymour himself is the most intelligent person he knows and only he can appropriately reflect on his own inner world and eventually help himself.

As an ou t st an din g ch ess player , Seym ou r h as u n qu est ion ably h igh in t elligen ce an d ch ooses t o be silen t an d su f f er . In t h e en d, h e w ou ld r at h er r u n aw ay t h an oppose. He f lees t o an isolat ed islan d in h abit ed by ju st on e w eir do, beau t if u l w ild h or ses an d cat t le. Th er e h e f in ally f elt f r ee doin g t h in gs h e cou ldn't bef or e - f ixin g t h e en gin e, dr ivin g acr oss a deser t islan d, an d lyin g n ak ed in a h ole in t h e r ock . Is isolat ion t h e on ly w ay t o t ast e t h e m u ch -desir ed f r eedom ?

I was once told that in a world, where one has to eat another human in order to survive being eaten means being victorious. I was also told that every man (or woman) is an island and only he or she decides whom to allow to step foot on that island. These two thoughts were constantly spinning in my head, as I was writing and later editing the film. I think Seymour had to get away from everything and discover that island or he would break for good. Isolation does not always equal freedom, but in Seymour 's situation discovering that island within him seemed to be the case.

M ar in ela Dom an ?i?

Prizori zasnovani na zvuku Visar Morina, reditelj filma "Egzil " Napr avili st e h r abar i m u dar f ilm , osobit o u psih olo?k om sm islu ! Nije pr ijat n o gledat i k ak o se osoba psih i?k i slam a i k ako joj se svijet r aspada. Kak o st e u spjeli gledat elje pr ikovat i u z ek r an i dr ?at i ih bez dah a pu n a dva sat a f ilm om sa t ak o t e?kom t em om ?

Te?ko mi je odgovoriti na to pitanje a da se previ?e ne zanesem. Bilo mi je va?no da glavnog junaka u svakoj sceni prika?em ?to ozbiljnije. Mislim da ve?ina filmotvoraca tako radi. U Egzilu sama tema ?ini veliki dio atmosfere koju opisujete. Stalna napetost dio je pitanja kojima se film bavi. Problem nesigurnosti je u tome da, ako se ne oslobodi, postaje sve ve?a i ve?a i na kraju dovodi do straha, koji uklju?uje i strah od sebe. Zatim, tu je i usamljenost kao rezultat svega toga. Koliko god bili u interakciji sa drugima, uslijed intenzivnog bola ili bezna?a uvijek ste sami.

Bojim se da nisam odgovorio na va?e pitanje, ali da budem konkretniji morao bih pro?i scenu po scenu.

Va? dr u gi igr an i f ilm ?Egzil? je o m u ?k ar cu sa Kosova koji ?ivi u Njem a?koj. Nist e ist e

pr of esije ali st e sli?n ih godin a i on je t ako?er em igr an t pa pr et post avljam da ga dobr o r azu m ijet e. Kolik o je u ovom f ilm u au t obiogr af skog a k olik o je plod m a?t e?

Konflikt koji film prikazuje je, naravno, autobiografski uvjetovan, bilo da je rije? o mojoj porodici ili o meni. U Njema?ku sam do?ao sa petnaest godina, nisam govorio jezik i morao sam se boriti za svoj polo?aj i u ?koli i u privatnom ?ivotu. U tom pogledu, osnovni sukob i emotivna obojenost filma su mi vrlo bliski. Postoje autobiografski aspekti - ponekad su to mali detalji koji su bili va?ni tokom postupka pisanja. Moja mama je, na primjer, zaista pjevala kad je bila tu?na, a ona to i sada radi, a moj brat uvijek mora le?i kad osje?a stres. Ali film sam po sebi nije autobiografski.

Nemam djecu, nisam o?enjen i ne radim u uredu. Kada sretnem nekog kretena, ne mislim da je on kreten zato ?to sam ja stranac, nego zato ?to je jadni?ak stvarno kreten.

Ist i pr oblem se zasigu r n o sr e?e i u dr u gim r egijam a k oje im aju velik pr iliv m igr an at a.

Kolik o st e n a svojoj k o?i osjet ili per f idn i, pr ik r iven i r asizam u n jem a?kom dr u ?t vu koji pr o?im a va? ?it av f ilm ?

U privilegovanoj sam situaciji i zbog profesije, i zbog ?injenice da sam bijelac. Da izgledam druga?ije i da imam prepoznatljivo muslimansko ime, moje bi ?ivotno iskustvo bilo

druga?ije. I pored toga moj ?ivot nije bio po?te?en rasizma. Otkad sam u Njema?koj morao sam raditi sitne poslove, sve vrste poslova. Brzo sam shvatio da nema smisla slati prijave za posao putem po?te. Nije bilo reakcija. Treba osobno oti?i, dati prijavu iz ruke u ruku, pogledati ljude u o?i i govoriti kao Goethe. Da doka?em da nisam majmun. Ali ipak je Njema?ka velika i vrlo raznolika zemlja.

Postoje dijelovi u kojima je rasizam vrlo rasprostranjen i gdje ?ak mo?e biti opasan po ?ivot stranaca, ali postoji i druga Njema?ka koja je otvorena i tolerantna. Moj ?ivotopis i ?ivotopisi moje bra?a i sestre to dokazuju.

Post oji li or gan izir an a pom o? m igr an t im a sa ciljem lak ?eg pr ilago?avan ja i o?u van ja m en t aln og zdr avlja u Njem a?koj ili je pojedin ac pr epu ?t en sebi?

Te?ko je govoriti uop?teno. Puno ovisi o tome gdje ?ivite, u kakvoj ste situaciji ili kakav vam je status. Ako ste izbjeglica, va?a stvarnost je sasvim druga?ija nego ako imate radnu vizu.

Ali i kod izbjeglica ima velikih razlika. U smislu prava i podr?ke koju mo?ete dobiti, velika je razlika ako imate status izbjeglice (a ne tra?itelja azila) ili ne. Op?enito, neka pomo? postoji i mnogi ljudi volontiraju bilo putem nevladinih organizacija ili privatno. Ali opet, Njema?ka je veoma raznolika zemlja.

Toliko sam im pr esion ir an a zvu k om u f ilm u da sam got ovo zapo?ela ovaj r azgovor pit an jem o zvu k u . Ku ck an je, lu pk an je, u dar an je, odjek k or ak a, zvu k t ek u ?e vode i, n ar avn o, m u zik a doveden i su do savr ?en st va i n e m ogu ih zam islit i da su se m ogli u r adit i blagovr em en ije i bolje.

Upr avljan je zvu kom u ovom f ilm u u m jet n ost je za sebe. Jest e li od po?et k a n am jer avali obr at it i posebn u pozor n ost n a zvu k ili je t o do?lo sam o po sebi, za vr ijem e sn im an ja? Kolik o je za t o odgovor an m ajst or zvu k a a k olik o Vi, k ao r edat elj?

Raduje me da ste to primijetili. Meni je zvuk veoma va?an. Neki su prizori zapravo i nastali uglavnom na osnovu zvuka. Na mene op?enito vi?e djeluje zvuk nego slika. Privatno slu?am puno glazbe i smatram da su skladanje i dirigiranje ne?to najljep?e ?to mo?ete raditi u ?ivotu. Imao sam sre?u da opet radim sa svojim kompozitorom (Benediktom Schieferom). Postali smo prijatelji tijekom rada na mom prvom igranom filmu i bez na?eg prijateljstva muzika se nikad ne bi razvijala na isti na?in. Mnogo drugih ljudi tako?er je u velikoj mjeri doprinijelo zvuku, posebno sjajni miksera za nasnimavanje Emmanuel de Boissieu.

M ar in ela Dom an ?i?

Scenes written around the sound Visar Morina, director of the film ?Exile?

Wh at a br ave an d sm ar t ? especially in psych ological t er m s ? f ilm you h ave m ade!

It is n ot ver y pleasan t t o silen t ly w at ch psych ological br eakdow n an d som eon e?s w or ld f allin g apar t . How did you m an age t o n ail t h e br eat h less view er t o t h e scr een f or a f u ll t w o h ou r s w it h a f ilm w it h su ch a dif f icu lt t h em e?

It's hard for me to answer that question without getting too carried away. It was important to me to take the protagonist as seriously as possible in every scene. But I think most filmmakers do this as well. In ?Exile? the subject matter itself is a big part of this atmosphere you are describing. The constant tension is part of the issues that the film deals with. The bad thing about insecurity is that if it isn?t released, it becomes bigger and bigger and eventually leads to a fear that also includes a fear of yourself. Then there is also the loneliness, which comes as a result of this.

No matter how engaged you are with others, from a certain intensity of pain or hopelessness, you are always alone. I?m afraid I didn't answer your question but to be more concrete I would have to go from scene to scene.

You r secon d f eat u r e ?Exile? is abou t a m an f r om Kosovo livin g in Ger m an y. Even

t h ou gh h e is n ot of you r pr of ession , h e is abou t of you r age an d h e also em igr at ed an d I assu m e you u n der st an d h is posit ion ver y w ell. How m u ch is au t obiogr aph ical in t h e f ilm an d h ow m u ch is f ict ion ?

The conflict the film portrays is of course autobiographically driven, be that in terms of my family or of myself. I came to Germany at the age of fifteen, didn?t speak the language and had to fight for my position both at the school and in private. In this respect, the basic conflict and emotional timbre of the film are very close to me. There are autobiographical aspects ? sometimes these are little details that were important during the writing process. My mom, for example, really did sing when she was sad, and she still does now, and my brother always goes to lie down when he?s stressed. But the film isn?t per se autobiographical. I don?t have children, I?m not married, and I don?t work in an office. And when I meet an idiot, I don?t think he?s an idiot because I?m a foreigner, but because the poor guy really is an idiot.

Th e sam e pr oblem is cer t ain ly en cou n t er ed in ot h er ar eas t h at h ave a lar ge in f lu x of m igr an t s. How m u ch did you f eel on you r sk in t h e per f idiou s, cover t r acism in Ger m an societ y t h at per m eat es you r en t ir e f ilm ?

I'm in a privileged situation, both by my profession and the fact that I?m white. If I would look different and if I had a clearly Muslim name, my life experience would have been different. Yet my life was not free of

racism. Since I?ve been in Germany I have had to have side-jobs, I had all kinds of jobs. Early on I noticed that there is no point in applying by mail. There was no reaction. You had to go there, put the application in their hand, look people in the eye and sound as if Goethe was speaking. To make them see, I'm not a monkey. But nevertheless Germany is a large and very diverse country. There are parts where racism is very common and where it can even be life threatening for foreigners, but there is also another Germany that is open and tolerant. My biography and that of my siblings is proof of this.

Is t h er e an y k in d of assist an ce t o m igr an t s in or der t o f acilit at e t h e adju st m en t an d pr eser vat ion of m en t al h ealt h in Ger m an y or is ever y in dividu al lef t t o h im / h er self ?

It's difficult to speak in general. It depends a lot on where you live and in what situation you are in or what status you have. If you are a refugee you have a completely different reality than if you have a work visa. But also with refugees there are big differences. Whether you are recognized as a refugee (rather than as an asylum seeker) or not can mean the world, in terms of your rights and the support you can receive. But yes, there is partial help overall, and many people who are volunteering, either through NGOs or privately. But again, Germany is a very diverse country.

I w as so im pr essed w it h t h e sou n d m an agem en t in t h e f ilm t h at I alm ost st ar t ed t h is in t er view w it h t h e qu est ion abou t t h e sou n d. Kn ock in g, t appin g, pou n din g, t h e ech o of f oot st eps, t h e sou n d of r u n n in g w at er an d, of cou r se, m u sic, h ave been br ou gh t t o per f ect ion an d I can't im agin e t h em don e w it h bet t er t im in g an d com posit ion . M ast er in g of t h e sou n d in t h is f ilm is an ar t it self . Did you in t en d f r om t h e begin n in g t o pay special at t en t ion t o t h e sou n ds or did it com e of it s ow n accor d, du r in g t h e sh oot in g? How m u ch is t h e sou n d m ast er r espon sible f or t h at an d h ow m u ch ar e you , as a dir ect or ?

I'm glad you noticed that. Sound is very important to me. Some scenes were actually written mainly around the sound. In general I?m more affected by sound than by image. I also listen to a lot of music in my private life and I think that composing and conducting is the most beautiful thing you can do in life. But of course I was also fortunate to work with my composer (Benedikt Schiefer) again. We became friends during my first feature and without this friendship the music would never have evolved as it did. But there were also many others who contributed greatly to the sound, in particular my through and through great re-recording mixer Emmanuel de Boissieu.

M ar in ela Dom an ?i?

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

Unut ra?nje ost rvo / The Island Wit hin Azerbaijan, France, 2020, Colour, 79 min. / Re?ija / Director: Ru Hasanov / Uloge / Cast: Orkhan Ata, Vidadi Hasanov, Gurban Ismayilov, Elvin Adigozel

RENT

OPEN AIR

Provincijalni Wisconsin / Sm all Town Wisconsin United States, 2020, Colour, 106 min. / Re?ija / Director: Niels MĂźller / Uloge / Cast: David Sullivan, Kristen Johnston, Bill Heck, Tanya Fischer, Cooper J. Friedman, Braden Anderson Azerbejd?anac Seymour Tahirbekov me?unarodni je ?ahovski majstor. Nakon pobjede na kvalifikacionom turniru, Seymour osvaja pravo da izazove aktuelnog svjetskog ?ampiona u ?ahu Skrotena Gudmunsona.

Nekoliko sedmica uo?i me?a za titulu svjetskog prvaka, Seymour, usljed velikog pritiska da na bilo koji na?in izvojuje pobjedu, upada u te?ko psihi?ko i emotivno stanje. Vijest o smrti njegovog djeda kap je koja prelijeva ?a?u, i Seymour se daje u bijeg.

Seymour Tahirbekov is an international chess grandmaster from Azerbaijan. Having won the Candidates Tournament, Seymour earns the right to challenge the defending world champion Skroten Gudmonson in the World Chess Championship match. With a few weeks left before the championship match, Seymour?s psychological and emotional state deteriorates under escalating abuse and pressure to succeed by any means. News of his grandfather?s death is the straw that breaks the camel?s back, and Seymour runs away.

Egzil / Exile Germany, Belgium, Kosovo, 2020, Colour, 121 min. / Re?ija / Director: Visar Morina / Uloge / Cast: Mi?el Mati?evi?, Sandra HĂźller, Rainer Bock, Thomas Mraz, Flonja Kodheli RENT

RENT Wayne Stobierski, uvijek spreman za dobar provod i ?alu, najzabavniji je stanovnik Rhinelandera u Wisconsinu (7798 stanovnika).

Ako sumnjate, slobodno pitajte njegovog najdra?eg partnera u provodu Tylera koji sa njim prolazi kroz sve i u?iva u svakom trenutku. Me?utim, postoji jedan problem.

Naime, Tyler je Waynov devetogodi?nji sin.

Kada Wayne dobije bolnu vijest da je izgubio zajedni?ko starateljstvo nad dje?akom, kao i da ?e njegov voljeni prijatelj uskoro odseliti daleko od njega, planira poseban vikend za svoga sina po kojem ?e ga dje?ak upamtiti.

Plan je da otputuju u veliki grad o kojem su oduvijek sanjali ? Milwaukee, Wisconsin (592 025 stanovnika).

Wayne Stobierski is the most fun-loving, hardest-living party animal in Rhinelander, Wisconsin (population 7,798). Just ask his favourite wingman, Tyler, who?s seen it all, lived it all, loved it all. Only problem? Tyler is Wayne?s nine-year-old son. When Wayne learns the devastating news that he is losing shared custody and that his beloved wingman will be moving far away, he plans a special weekend for his son to remember him by ? a trip to the big city of their dreams: Milwaukee, Wisconsin (population 592,025).

KINOSCOPE

TRIBUTE TO

At lant ida/ At lant is

Hroni?ni / Chronic

Ukraine, 2019, Colour, 108 min. / Re?ija / Director: Valentyn Vasyanovych / Uloge / Cast: Andriy Rymaruk, Liudmyla Bileka, Vasyl Antoniak RENT U bliskoj budu?nosti u Ukrajini biv?i vojnik Sergej poku?ava se oporaviti od ratnih trauma. Kada se ?eljezara u kojoj radi zatvori, on se prijavljuje za volontera organizacije Crni tulipan koja traga za tijelima poginulih vojnika, gdje upoznaje i Katju, arheologinju koja i doslovno i metafizi?ki iskopava posljedice vlastite historije.

In the near future in Ukraine, former soldier Sergey tries to recover from the trauma of war. When the foundry where he works closes down, he volunteers for Black Tulip, an organisation that recovers the bodies of fallen soldiers. This brings him into contact with archaeologist Katya, who is literally and metaphorically digging up the consequences of her own history.

Gara?ni ljudi / Garage People 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

Daleki sjever Rusije negostoljubiv je predio gdje zima nikada ne zavr?ava, a svje?i snijeg brzo prekriva industrijska prljav?tina. Tu, na rubu grada u kojem je rudarska kompanija jedini poslodavac, nizovi gara?a

Mexico, France, 2015, Colour, 93 min. / Re?ija / Director: Michel Franco/ Uloge / Cast: Tim Roth, Bitsie Tulloch, Claire van der Boom RENT David je medicinski brat i njeguje smrtno oboljele pacijente. Efikasan i potpuno posve?en svojoj profesiji, David sa svakom osobom koju njeguje razvija sna?an, pa ?ak i intiman odnos. Me?utim, u privatnom ?ivotu, on je povu?en i nedru?tven, ?to je posljedica njegove hroni?ne depresije. Njegovi pacijenti o?igledno su mu potrebni jednako koliko je on potreban njima.

David is a nurse who works with terminally ill patients. Efficient and dedicated to his profession, he develops strong and even intimate relationships with each person he cares for. But outside his work David is ineffectual, awkward and reserved. It is clear he needs each patient as much as they need him.

Nagrada je biti na Sarajevo Film Festivalu Monica L?zurean-Gorgan, koredateljica filma ?Wood? i producentica filma ?Acas?, moj dom?

Na Sar ajevo Film Fest ivalu sm o im ali vi?e pr ilik a za u pozn avan je sa Va?im r edat eljsk im I pr odu cen t sk im r adom .

Va?e glavn o zan im an je o?it o je oblast dok u m en t ar n og f ilm a. Kak o don osit e odlu k u h o?et e li n ek i f ilm r e?ir at i ili pr odu cir at i?

Da bih bila redateljica, potrebno mi je da pri?a, tema ne?to pokrene u meni, da bude ne?to meni vrlo va?no da bih tome posvetila nekoliko godina svog ?ivota ? kao ?to je bilo sa filmom ?Wood? koji se natje?e u Takmi?arskom programu ? dokumentarni film ovdje u Sarajevu. On ima tu posebnu temu bespravne sje?e drva, uni?tavanja ?uma i i??ezavanje ?uma i drve?a. To je bio razlog koji me doveo do snimanja filma.

Htjela sam uraditi ne?to za ?umu i razmi?ljala sam ?ta ja to mogu u?initi unutar svoje profesije. Odu?ila sam napraviti film koji ?e pre?i granice i postati internacionalan kako bismo samim filmom i putem filma izvr?ili pritisak na vladu, u na?em ? odnosno mom ? slu?aju na rumunjsku vladu da osna?i zakonodavstvo kako bi u odre?enom momentu izazvala neku promjenu. Kada odabirem ?ta ?u producirati, taj film, ta tema sa kojom mi se redatelj obrati mora mi ne?to govoriti na osobnoj razini. Otkad imam djecu, radim

manje i vrlo sam izbirljiva pri odabiru projekata. Uzimam mali broj projekata tako da svaki od njih mora biti ne?to posebno, ne?to vrlo zanimljivo na kreativnoj razini.

Tako?er mi je vrlo va?no da je redatelj odli?na osoba sa kojom imam dobru kemiju.

Film ?Wood? r e?ir ale st e vi, M ich aela Kir st i Ebba Sin zin ger . Ok ar ak t er izir an je k ao dok u m en t ar n i t r iler , ?k om bin acija ist r a?iva?kog n ovin ar st va i m e?u n ar odn e ?piju n a?e?, a sn im an je od Ru m u n jsk e do Per u a ?t o djelu je zah t jevn o za ek ipu f ilm a. Da li je bilo izazovn o za vas t r i podijelit i du ?n ost i i odgovor n ost i? Ko je bio ist r a?iva?, a ko ?piju n ?

To je dobro pitanje. Zapravo nije bilo te?ko podijeliti du?nosti jer je snimanje bilo ra?ireno u vi?e dr?ava, ne samo u Rumunjskoj i Peruu nego i u Rusiji, Kini, Americi, pomalo i u Austriji. Uglavnom smo, rekla bih polovinu vremena, na snimanjima istovremeno bile jedna ili dvije, skoro nikada sve tri. Podijelile smo du?nosti i odgovornosti na po?etku, po?tovale smo se i podr?avale. Vrlo je va?no dijeliti, biti otvoren i staviti na stol ko ?ta radi kako ne bi bilo rasprava o podjeli posla. A ko je bio

istra?iva? a ko ?pijun... vi?e smo promatrale nego istra?ivale iako sam, na primjer, ja u Rumunjskoj obavila puno istra?ivanja. Obi?no to ne radim ali u po?etku sam se time bavila kako ne bismo privla?ili pa?nju sa Alexanderom von Bismarckom. ?pijun u na?oj pri?i o?igledno je bio na? dragi glavni lik, na? Alexander von Bismarck.

sam rekla va?i, hajde da se prijavimo za sredstva za razvoj projekta i za produkciju i da po?nemo monta?u kako bismo vidjeli kakva je struktura onoga ?to ve? imamo.

Proveli smo puno vremena u monta?i i ba? sam u?ivala u tome. Mogu re?i da je Radu predivan za suradnju. Prvi put je re?irao ali brzo u?i, vrlo je otvorenog duha i sjajno je raditi s njim.

S dr u ge st r an e, dr u gi f ilm sa k ojim st e ove godin e povezan i, zn at n o je dr u k ?iji ? t o je pr om at r a?k i zapis o br ojn oj obit elji Rom a koja je pr in u ?en a da iz svog r ajskog dom a u n et ak n u t oj pr ir odi pr e?e u u r ban u sr edin u . Posljedice su vr lo st r esn e i r em et e obit eljsk e odn ose.

Redat elj Radu Cior n iciu c ispr va je h t io n apr avit i r epor t a?u o ovoj obit elji ali se t ijek om pr ocesa pr edom islio. Na k r aju je n apr avio dok u m en t ar n i f ilm k oji je ve? bi n agr a?ivan . Jest e li bili od po?et k a u ovom pr ojek t u , k ak o je do?lo do t oga da m u se pr idr u ?it e?

U po?etku nisam bila uklju?ena. Radu je radio na ovoj pri?i od 2016. a kontaktirao me tek 2017., kada je ve? imao mno?tvo snimljenog materijala. Puno posla je sam uradio. Da, on je istra?iva?ki novinar, ali u odre?enom trenutku unekoliko je shvatio da je ova pri?a mnogo vi?e. Mnogo je ve?a i ima pregr?t slojeva koji se ne bi uklopili u formu reporta?e pa se odlu?io za dulju verziju filma. Obratio mi se kad mu je bilo jasnije ?ta ?eli, dakle dugometra?ni film, i ja

Zn aju ?i da im at e n eposr edn o isk u st vo dobijan ja n agr ada u Sar ajevu (HBO Adr ia n agr ada i Cat &Docs n agr ada n a Docu Rou gh Cu t Bou t iqu e pr ije pet godin a t e Sr ce Sar ajeva za f ilm ?Sam o da?ak ? 2016.), ?t a m islit e o izgledim a ova dva f ilm a da se ok it e n ek om od f est ivalsk ih n agr ada?

Dobila sam i 2011. nagradu za srednjemetra?ni dokumentarni film ?Moj glas?. Zbilja je u?itak i predivno biti na Sarajevo Film Festivalu. Svaki put kad sam tu bila sa filmom, dobili smo neku od nagrada. Naravno da to nije garancija da ?emo opet ne?to dobiti ali ve?e su ?anse sa dva filma. U svakom slu?aju, do?ivjeti Sarajevo je ne?to u ?emu posebno u?ivam i dovoljno je samo biti tamo, ne moramo ni?ta osvojiti. Posebno mi je drago ?to ?e ovdje prvi put na jednom festivalu u istoj kategoriji biti dva moja filma, ?Wood? i ?Moj dom? tako da ?e se dva moja draga, jako draga filma natjecati jedan protiv drugog, ?to je sjajno.

M ar in ela Dom an ?i?

Being at the Sarajevo Film Festival is already a price Monica L?zurean-Gorgan, co-director of the film ?Wood? and producer of the film ?Acas?, My Home?

We h ad sever al ch an ces t o get in t r odu ced w it h you r w or k at Th e Sar ajevo Film Fest ival w h en you w er e in t h e r ole of pr odu cer or dir ect or . As you r m ain in t er est is obviou sly in docu m en t ar y f ilm s, w h at gu ides you w h en m ak in g decision w h et h er t o be a dir ect or or a pr odu cer of a par t icu lar f ilm ?

To be a director it needs that this story, this topic, should really trigger something inside me, should be something extremely important for me so I would dedicate few years of my life for this particular story ? as it was the case with the film Wood that is now in the competition in Sarajevo for documentary films. It has this special topic of illegal logging and cutting of forest and disappearance of forest and trees. It was the cause that drove me to do a film because I wanted to do something for the forest and I was thinking what can I do from my position. So I decided to do a film that

will cross borders and will be an international film so we can put pressure with the film and through this film on the government, in our case - or in my case - on the Romanian government so it can make the law stronger or something and some point to provoke a kind of a change. And when I chose to be a producer for a film it really has that this film, this topic that a director is approaching me with, it should really be something that is telling me something also on a personal level. Since I am having kids I work less and I am very picky when I pick projects. I am taking just few projects so those few projects would really have to be something special, something very interesting on the creative level. Also, for me is very important that a director should be a cool person that we can have good chemistry.

Th e f ilm " Wood" w as co-dir ect ed by you , M ich aela Kir st an d Ebba Sin zin ger . It w as descr ibed as docu m en t ar y t h r iller , ?a com bin at ion of in vest igat ive jou r n alism an d in t er n at ion al espion age? an d w as f ilm ed f r om Rom an ia t o Per u . Th is seem s ver y dem an din g f or a cr ew. How ch allen gin g it w as f or t h r ee of you t o divide du t ies an d r espon sibilit ies? Wh o w as an in vest igat or an d w h o w as a spy?

That?s a good question. Dividing duties actually was not that challenging because our shootings were spread in few countries

- not just Romania and Peru but also in Russia, China, US and a bit of Austria. We were mainly, I would say a half of a time, just one in the shooting - one of us or two at the same time, almost never three of us.

We were sharing duties and responsibilities from the very beginning and we were showing respect and support. It is very important to share, to be open and to put everything on the table who is doing what so we were not having any discussions about how to divide our work. And who was an investigator and who was a spy? we were more observer, less of an investigator even though in Romania for example I was doing a lot of investigative work. It was not my work profile but I was doing it in the beginning because we wanted to be low profile with Alexander von Bismarck. Obviously the spy in this story is our dear character, our protagonist Alexander von Bismarck.

On t h e ot h er side, t h e secon d f ilm you ar e associat ed w it h t h is year is ver y dif f er en t ? it is an obser vat ion al r ecor d of a lar ge Rom a f am ily t h at w as f or ced t o m ove f r om t h eir par adise h om e in t h e w ild t o an u r ban ar ea. Th e con sequ en ces ar e ver y st r essf u l an d disr u pt f am ily r elat ion sh ips. Th e dir ect or , Radu Cior n iciu c, in it ially w an t ed t o m ak e r epor t age abou t t h is f am ily bu t du r in g t h e r esear ch ch an ged h is m in d. He en ded u p w it h m ak in g an aw ar d-w in n in g docu m en t ar y. Tell u s if you w er e in volved in t h is pr oject f r om t h e begin n in g or h ow did it h appen ?

I was not involved in the very beginning of the process. Radu was documenting this story in 2016 and he approached me only in 2017. He was having a lot of filming done already. He did a lot of work by himself and yes, he is an investigative journalist, but he realised to a certain extent to a certain moment that this story

is much more. It is much bigger and offers many layers that would not fit into reportage so he decided to go for a longer version of the film. He approached me when he was having better idea of what he wanted, like a feature-length film, so I said OK, let?s apply for a development support, production support and start to edit a bit to see what we have there, what is the structure. I stayed with them quite a lot in the editing room and I enjoyed that. I can say it?s a wonderful work with Radu. He is the first time director but he is a fast learner and very open-minded and cool to work with.

Keepin g in m in d t h at you h ave t h e f ir st -h an d exper ien ce of w in n in g aw ar ds h er e in Sar ajevo (HBO Adr ia Aw ar d an d Cat &Docs Aw ar d at Docu Rou gh Cu t Bou t iqu e f ive year s ago an d Hear t of Sar ajevo f or "A M er e Br eat h" in 2016) w h at do you t h in k abou t t h e pr ospect s of t h ese t w o f ilm s t o w in som e of t h e f est ival aw ar ds?

I also won in 2011 another award for the medium-length documentary we were having in competition called "My vote". It is a joy and it is so cool to be at the Sarajevo Film Festival. Each time I was there with a film we kind of won something. Of course this is not a guarantee we will win again but our chances are a bit higher to go with two films in competition. Anyhow, the experience of Sarajevo Film Festival is something that I am enjoying a lot so just being there is already great, we do not have to win or anything. What I really like is that it?s actually the first festival that is having my two films like "Wood" and "Acas?, My home" in the same competition so my two dear, very dear films are competing one with each other and this I love it.

M ar in ela Dom an ?i?

Suo?avanje sa pro?lo??u ? da li je m ogu?e u st ra?nim vrem enim a na?i dobre ljude?

U ovim nesvakida?njimokolnostima,gdje svijet koji smo poznavali ne?e postojati u budu?nosti,traganje za istinom i utvr?ivanje?injenicava?niji su nego ikada prije.

Anksioznosti svijeta kojeg ostavljamo iza nas provu?i ?e se i u novi poredak svijeta i ponovo dobiti na snazi. Usu?ujem se re?i, ako smo ?ta nau?ili proteklih mjeseci, to je da se na?i li?ni ?ivoti mogu okrenuti naglava?ke u jednom trenu.

Program "Suo?avanje sa pro?lo??u" od svojih po?etaka ima jasan cilj: pokrenuti iskren dijalog o bliskoj pro?losti na?eg regiona. To je preduslov za prevazila?enje problema proisteklih iz nedavnih ratova u biv?oj Jugoslaviji koji su bespovratno obilje?ila na?a dru?tva. U proteklih pet godina podijelili smo mnoge iznimno bolne, ali inspirativne pri?e iz svih krajeva svijeta. ?ivoti njihovih protagonista naj?e??e su radikalno promijenjeni, te su na?u publiku ?esto ostavljali bez rije?i, a jo? ?e??e ?eljnu vi?e informacija. Posmatrane kroz prizmu trenutne pandemije, otkrivanje li?nih i nacionalnih trauma, kao i preispitivanje procesa pomirenja mogu se ?initi manje bitnim temama, ali dugoro?no posmatrane one su od klju?nog zna?aja za uspostavu zdravih i prosperitetnih demokratskih dru?tava.

U fokusu ovogodi?njeg programa su sna?ni pojedinici i njihove borbe, epizode u kojima se ?ivotne okolnosti naprasno promijene, ?ivot koji je postojao do tada, nestaje bespovratno. Budu?i da sada, vi?e nego ikada ranije, preispitujemo me?uljudsku solidarnost, svaki film u programu postavlja isto pitanje: da li je mogu?e u stra?nim

vremenima na?i dobre ljude? Osim toga, filmovi u programu su povezani i stilski, tako ?to su skoro svi snimljeni u crno-bijeloj tehnici. Kako tako sna?ne i te?ke pri?e mogu biti svedene na beskona?ne nijanse sive boje? Da li ovo vizuelno ograni?enje umanjuje dirljive i te?ke strane ovih filmskih pri?a? Ili naprotiv, ima funkciju da dodatno nagla?ava aspekte pri?e?

Ovogodi?nja selekcija obuhvata mno?tvo razli?itih autorskih glasova, tema i estetskih pristupa. Rediteljski prvijenac hrvatske filmske autorice Dane Budisavljevi? "Dnevnik Diane Budisavljevi?" je dokumentarno-igrana pri?a o ?eni koja je spasila ?ivote vi?e od 10 000 djece zato?ene u nacisti?kim koncentracionim logorima tokom Drugog svjetskog rata. "Obojena ptica" ?e?kog reditelja Vรกclava Marhoula zasnovana je na istoimenom, ?uvenom romanu Jerzyja Kosi?skog. Ovaj prekrasno snimljeni film opisuje Drugi svjetski rat iz perspektive jednog dje?aka. Atmosferi?ni noir film "Sluge re?ima" slova?kog reditelja Ivana Ostrochovskog predstavlja epizodu iz ?ivota mladih vjerskih slu?benika u jednom sjemeni?tu, rastrzanih izme?u katoli?ke crkve i vladaju?eg komunisti?kog re?ima u ?ehoslova?koj osamdesetih godina pro?loga vijeka. "?ta ?e? uraditi kada svijet po?ne da gori?" dokumentarni je film italijanskog reditelja Roberta Minervinija o jednoj afroameri?koj zajednici na jugu Sjedinjenih Ameri?kih Dr?ava u ljeto 2017, kada je serija brutalnih, rasno motivisanih ubistava ?okirala ?itavu Ameriku. Veliko je zadovoljstvo predstaviti posljednji film kambod?anskog majstora Rithyja Panha "Ozra?eni". Ovaj film je o ljudima koji su usljed rata bili izlo?eni opasnom fizi?kom i psiholo?kom zra?enju, i uprkos tome pre?ivjeli, a preporu?ujemo ga svima koji smatraju da su imuni na tu vrstu opasnosti. Na?oj publici obrati ?e se i Rithy Panh, koji ?e predstaviti svoj inspirativan rad u moderiranom razgovoru putem Variety Streaming Room platforme.

Pored filmskog programa "Suo?avanja sa pro?lo??u", putem Sajma istinitih pri?a predstavili smo brojne pri?e velikog potencijala da budu preto?ene u filmove koji navode na razmi?ljanje, te su inspirisale brojne filmske autore. Na?alost, sajam ne?emo mo?i organizovati onako kako smo to ?inili prethodnih godina, ali ipak ?elimo odr?ati ovaj va?ni razgovor i nastaviti da otkrivamo pri?e koje moraju biti ispri?ane. U sklopu ovogodi?njeg Sajma istinitih pri?a predstavit ?emo inspirativne razgovore sa bosanskohercegova?kim umjetnicima i autorima koji su se u svome radu bavili kulturom sje?anja.

M a?a M ar kovi?, program menad?erica i kuratorica programa Suo?avanje sa pro?lo??u

Pr ogr am Suo?avanje sa pro?lo??u je pr ogr am Sar ajevo Film Fest ivala koji se r ealizu je u z podr ?k u Fon dacije Rober t Bosch St if t u n g.

Dealing wit h t he Past ?

Are There Good People in Terrible Tim es?

In these unprecedentedtimes, when it seems that the world we used to know will not exist in the future, truth-seekingand fact-checkingare more important than ever.

But the anxieties of the world we have left behind will trickle into the new order and be triggered again. If we have learnt anything over the past months, I daresay it is that our personal lives can be turned upside-down in a matter of moments.

The ?Dealing With the Past? programme has had a clear mission since its start: to conduct honest dialogue about our region?s recent past as a prerequisite to resolving the problems that stem from the Yugoslav Wars, which still strain our societies. Over the last five years, we have shared many gut-wrenching but inspiring stories from around the world. The lives of the protagonists of these stories have seldom been radically altered, while our audiences have at times been rendered speechless or, perhaps more often, hungry for more information. Viewed through the lens of the current pandemic, these topics ? the uncovering of personal and national traumas and the examination of reconciliation processes ? might seem of secondary importance but in the long run they are essential for healthy and prosperous democratic societies.

This year ?s programme centres on powerful individuals and their struggles, and on episodes in their lives that abruptly and drastically change their living conditions. As we are now questioning human solidarity more than ever, each film poses the same question: Are there good people in terrible times? Moreover, the selection is stylistically unified in that all films are shot in black and white. How can such compelling and troublesome stories be reduced to shades of grey? Does an austere visual aesthetic undermine the difficult and dreadful side of a story? Perhaps it can highlight such aspects all the more?

The line-up features a polyphony of authorial voices, of the subjects they explore, and of aesthetic approaches. Croatian filmmaker Dana Budisavljevi? makes her directorial debut with ?The Diary of Diana B.?, a docu-fiction work about a woman who saved the lives of more than 10,000 children who had been sent to Nazi concentration camps during World War II. ?The Painted Bird? by VĂĄclav Marhoul of the Czech Republic is an adaptation of Jerzy Kosi?ski?s novel of the same name. Magnificently shot, the film describes World War II from the perspective of a young boy. An atmospheric film noir by Slovakia?s Ivan OstrochovskĂ˝, ?Servants? gives us a glimpse into the lives of young seminarians who are torn between the Catholic Church and the ruling Communist Party in 1980s Czechoslovakia. ?What You Gonna Do When The World?s On Fire?? is a documentary by Italian director Roberto Minervini about a community of African Americans in the American South during the summer of 2017, when a string of brutal, racially motivated killings sent shockwaves throughout the United States. To our great pleasure, Dealing with the Past presents ?Irradiated?, the most recent film by Cambodian master Rithy Panh, who will also conduct a career master class in collaboration with Variety. The film focusses on people who have survived physical and psychological irradiation as a result of war ? and is recommended to those who believe they are immune to it.

Alongside the film programme of "Dealing with the Past", the "True Stories Market" has allowed us to present many stories that have great potential to be realised as thought-provoking films. and that have served as inspiration to many filmmakers. The current situation doesn?t allow us to conduct the market as we have in the past; nevertheless, we wish to continue this important conversation and keep working to expose stories that urgently need to be told. This year ?s True Stories Market programme features inspiring talks by Bosnian and Herzegovinian artists and authors who have been exploring the culture of memory in their work.

M a?a M ar k ovi?, Dealing with the Past Programme Manager and Curator ?Dealing Wit h t he Past ? is a project of t he Sarajevo Film Fest ival support ed by t he Robert Bosch Foundat ion.

Sarajevo Film Festival je najzna?ajniji regionalni filmski doga?aj Jelena Risti?, direktorica za tr?i?ta Bosne i Hercegovine, Srbije i Crne Gore u kompaniji Mastercard Kada je po?ela Va?a sar adn ja sa Sar ajevo Film Fest ivalom ?

Ponosni smo ?to smo sponzori Sarajevo Film Festivala, kao najve?eg i najzna?ajnijeg regionalnog filmskog doga?aja ve? ?estu godinu za redom. Mi u Mastercardu vjerujemo da su iskustva najbitnija i kroz ovo partnerstvo ?elimo pozvati sve da vide svijet iz druga?ije prespektive i inspirati ih da pokrenu ne?to neprocjenjivo.

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?

Festival se savr?eno poklapa sa na?om vizijom pru?anja neprocjenjivih iskustava korisnicima Mastercard kartica u Bosni i Hercegovini ? od br?ih, lak?ih i sigurnijih pla?anja do uvo?enja inovacija kroz kori?tenje mobilnih telefona kao novog platnog sredstva, sve do jedinstvenih

iznena?enja za sve korisnike Mastercard kartica.

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?

Nakon progla?enja globalne pandemije, korisnici ?irom svijeta suo?ili su se sa brojnim promjenama u svakodnevnom ?ivotu. Jedna od njih je svakako na?in na koji kupuju i pla?aju.

Ubrzan na?in ?ivota, pronala?enje na?ina da svakodnevne aktivnosti i obaveze obave jednostavno i prakti?no uz trenutne uslove koji zahtjevaju fizi?ko distanciranje i smanjenje fizi?kog kontakta, doprinijelo je tome da i beskontaktna i digitalna pla?anja postanu ne samo rutina ve? i neophodnost kako me?u korisnicima, tako i me?u trgovcima. Beskontaktno pla?anje, bilo putem kartice ili mobilnog

telefona je ve? standard na tr?i?tu i 67% Mastercard transakcija u BIH je beskontaktno, ?to jasno govori da su korisnici prepoznali zna?aj ove usluge kao jo? jedan vid za?tite u ovom trenutku.

Tako?e, istra?ivanje kompanije Mastercard o navikama potro?a?a u izolaciji sprovedeno u maju ove godine pokazalo je znatan porast online kupovine. Razlog za to je sigurno olak?avanje svakodnevnih obaveza, kao ?to je pla?anje re?ija i ra?una bilo kada i bilo gdje.

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 ?

Open Air je sigurno najatraktvniji kada su naslovi u pitanju. Ali i Summer Screen program uvijek krije odli?ne filmove, te ga toplo preporu?ujem gledaocima.

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?

Uvijek je zanimljivo vidjeti nova filmska ostvarenja u Takmi?arskom programu, jer nisu bez razloga u?li u selekciju.

BH Telecom BH Telecom je vode?i telekom operator u BiH i ponovno ponosni glavni sponzor SFF-a pod sloganom??Moje Sarajevo. Moja pri?a.? Tokom 26. Festivala o?ekujemo vas na servisu MOJFILM na MOJA TV platformi gdje vam donosimo mno?tvo premium sadr?aja uz super filmove, dokumentarce, ali i live kamere tokom festivala, kao i na poddomeni www.bhtelecom.ba/sff i na dru?tvenim mre?ama.

Naravno tu je i iznena?enje za sve na?e korisnike! Gledajte MOJFILM servis!

Moje Sarajevo. Moja pri?a. BH Telecom

BH Telecom is the leading telecom operator in B&H and once again a proud main sponsor of SFF under the slogan ?My Sarajevo. My story.?During the 26th Festival, we are expecting you on the MOJFILM service channel on MOJA TV platform, where we bring you a lot of premium content with great movies, documentaries, but also a live atmosphere during the festival, as well as on the subdomain www.bhtelecom.ba/sff and social media. Of course there is also a surprise for all our users! Tune in MOJFILM service channel!

My Sarajevo. My story. BH Telecom

Sarajevo Film Festival is the most significant regional film event Jelena Risti?, Country Manager for Bosnia and Herzegovina, Serbia and Montenegro in Mastercard Wh en did you r cooper at ion w it h Sar ajevo Film Fest ival f ir st st ar t ?

We are proud to be sponsors of Sarajevo Film Festival, the largest and most significant regional film event for 6 years in a row. We at Mastercard believe that experiences are paramount and through this partnership we want to invite everyone to see the world from a different perspective and inspire them to launch something invaluable.

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

The festival perfectly matches our vision of providing invaluable experiences to Mastercard card users in Bosnia and Herzegovina - from faster, easier and safer payments to the introduction of innovations through the use of mobile phones as new means of payment, to unique surprises for all Mastercard card users.

We ar e w it n essin g gr eat w or ld ch an ges.

To w h at ext en t h as t h is af f ect ed you r bu sin ess?

Since the declaration of the global pandemic, users around the world have faced numerous changes in their daily lives. One of them is definitely the way they buy and pay.

Accelerated lifestyle, finding ways to perform daily activities and obligations simply and practically with the current conditions that require physical distance and reduction of physical contact, has contributed to the fact that contactless

and digital payments become not only routine but also a necessity among users and among merchants. Contactless payment, either by card or mobile phone is already standard on the market and 67% of Mastercard transactions in BiH are contactless, which clearly shows that users have recognized the importance of this service as another form of protection at the moment.

Also, a survey by Mastercard on consumer habits in isolation conducted in May this year showed a significant increase in online shopping. The reason for that is the safe easing of daily obligations, such as paying utilities and bills anytime and anywhere.

Th is year , all Sar ajevo Film Fest ival pr ogr am s w ill be h eld t h r ou gh t h e on lin e plat f or m "on dem an d.sf f .ba" .

Wh ich of t h e pr ogr am s at t r act s you r at t en t ion t h e m ost ?

Open Air is certainly the most attractive when it comes to titles. But the Summer Screen program always hides great movies, so I warmly recommend it to viewers.

Wh at ar e t h e m ovies in t h e 26t h Sar ajevo Film Fest ival t h at you w ou ld per son ally r ecom m en d t o ou r au dien ce?

It is always interesting to see new films in the Competition Program, because they did not enter the selection for no reason.