26thSFF Festival Daily #5

Fest ival Daily Utorak/ Tuesday/ 18. August 2020.

Ono ?t o je po?elo kao ograni?enje, post alo je izvor slobode Intervju sa Mathilde Henrot, selektoricom Kinoscope programa Kin oscope pr ogr am u pozn aje posjet ioce Sar ajevo Film Fest ivala sa f ilm ovim a koji govor e jedin st ven im f ilm sk im jezikom , n evjer ovat n im ali opet pr ek r asn im pr i?am a, u m jet n i?k im djelim a n a?in jen im dr u ga?ije od on oga ?t o in a?e gledam o.

Kak o pr avit e selek ciju ovih djela?

Mi tokom cijele godine tragamo za filmovima koji ?e se kona?no na?i u Kinoscope programu. Tra?imo ih po festivalima, u Evropi, Americi, Aziji... svuda! Kuriranje i selekcija predstavljaju veliku odgovornost. Na?a misija je da o?uvamo svoju radoznalost i slobodu duha ?ak i nakon ?to pogledamo toliko filmova svakog dana, sedmice, mjeseca.

Obra?amo pa?nju na trendove zbog toga ?to trendovi odra?avaju pitanja koja se ti?u svih nas, na primjer kako je #metoo pokret stvorio svijest i sposobnost hrabrog suo?avanja sa u?asnim situacijama. Film ?Asistentica? je po redateljevim rije?ima: "tih film sa glasnom temom". No ipak se ne ograni?avamo samo na aktuelne teme, volimo kada na?emo autenti?ne, bezvremene glasove van savremenih diskusija.

Obi?n o je velik i dio f ilm ova iz Kin oscope pr ogr am a ve? pr et h odn o pr ik azan n a va?n ijim f est ivalim a ?ir om svijet a, ali s obzir om n a ovogodi?n ju sit u aciju sa k or on a vir u som i ot k azivan je t ih velik ih f est ivala, koliko je t e?ko bilo n apr avit i selek ciju ?

Upravo tako, svake godine smo birali po nekoliko filmova premijerno prikazanih na Kanskom filmskom festivalu. Zbog otkazivanja tog festivala i odgo?enog objavljivanja mnogih filmova morali smo pro?iriti pretragu kako bi na drugim festivalima prona?li izvrsne filmove. To istra?ivanje nas je odvelo ka

otkrivanju autora i filmova koje bi mo?da ?ak i previdjeli da je Kanski festival bio odr?an. Na kraju je ono ?to je u po?etku bilo ograni?enje postalo izvor slobode, ?to se i ina?e ?esto de?ava!

Pr o?le godin e st e u veli Kin oscope Real i Kin oscope Su r r eal k ao zasebn e dijelove pr ogr am a. Kako je do?lo do t oga?

Njihovo stvaranje je bio prirodan korak u na?em radu kao selektora. Shvatili smo da volimo da biramo filmove koji govore o dana?njici, koji se bave savremenim temama u dokumentarnoj ili fiktivnoj formi. Osje?ali smo da ima smisla objediniti ih unutar programa Kinoscope Real zato ?to su ti filmovi mogli na neki na?in komunicirati me?usobno o aktuelnim temama, ali i u cilju da publici pru?imo jasniju perspektivu samog programa. ?anrovski filmovi u na?oj selekciji ?esto imaju fantasti?ne ili nadrealne elemente, zbog ?ega smo osje?ali da bi se dobro uklopili u Kinoscope Surreal. Kinoscope filmovi, obi?no fikcija, popularni kod publike i nagra?ivani na velikim festivalima.

Ko su n ovi glasovi f ilm a dan as?

Ima ih mnogo i mi smo presretni ?to ni ova godina nije izuzetak. Pravljenje selekcije novih talenata je sr? Kinoscope programa. Svake godine na? program se ponosi time ?to najve?i dio selekcije ?ine filmovi autora ?iji je to tek prvi ili drugi film. Pravljenje selekcije je, tako?er, pitanje vrijednosti, a mi vrednujemo kreativnost novih talenata isto kao ?to jednako vrednujemo kreativnost mu?kih i ?enskih autora. Nadamo se da ?e im isticanje njihovih filmova pomo?i u daljoj karijeri, bez obzira na te?ke zadatke koji le?e pred njima!

Ar m an Fat i?

What st art ed as a const raint becam e a source of freedom Interview with Mathilde Henrot, selector of Kinoscope Programme Kin oscope select ion h as been in t r odu cin g visit or s of Sar ajevo Film Fest ival t o f ilm s t h at h ave u n iqu e f ilm lan gu age, u n can n y bu t splen did st or ies, w or k s of ar t t h at ar e m ade dif f er en t ly f r om w h at w e u su ally see. How do you select t h ese w or k s?

We search all year-round for the films that will eventually make it to the Kinoscope program. We search for them at festivals, in Europe, the US, Asia ? everywhere! Curating and programming is a great responsibility.

Our mission is to keep alive our curiosity and free spirit even after having watched so many films a day, a week, a month. We are sensitive to trends as they also reflect everyone?s concerns, like the #metoo movement has created awareness and ability to confront with courage terrible situations. The film THE ASSISTANT is as the director puts it: ?a quiet film with a loud subject?. But we do not restrain ourselves to current topics, we like also to find genuine atemporal voices beyond contemporary discussions.

A lot of f ilm s in Kin oscope pr ogr am m e ar e u su ally pr eviou sly sh ow cased at sign if ican t f est ivals ar ou n d t h e globe, bu t w it h t h is year 's COVID-19 sit u at ion , an d can celat ion of t h ese m ajor even t s, h ow h ar d w as it t o cr eat e t h e select ion ?

Indeed, every year we used to program several films that were launched at the Cannes Film Festival. With the cancellation of the latter and the postponement of many

films?theatrical release, we had to search more to source great films from different festivals. This exploration lead us to discover authors and films which we might have been overlooked would the Cannes Film Festival had happened. Eventually what started as a constraint became a source of freedom, as often is the case!

Last year you in t r odu ced Kin oscope r eal an d Kin oscope su r r eal as specif ic block s of pr ogr am m e. How did t h is com e t o be?

We created these as a natural step forward in our programming duties. We realized that we like to program films that talk about the present, address contemporary issues either through documentaries or through fiction.

We felt it would make sense to assemble them under the ?Kinoscope real? program, both as these films could in a sense talk one to the other about current topics and also for the audience to be given clearer perspectives on the program. The genre films we program often have a surreal or fantastic twist, so we felt ?Kinoscope Surreal? could actually play well for them. The Kinoscope films, generally fiction films, crowd-pleasers and awarded at major festivals.

Wh at ar e t h e n ew voices of f ilm t oday?

There are many and we are thrilled that this year is no exception. Programming new talents is at the heart of Kinoscope. Every year our program boasts itself that a vast part of its program is composed of films by 1st and 2nd time filmmakers. Programming is also a matter of values and we value the creativity of new talents, such as we value the creativity of men and women filmmakers alike. We hope that highlighting their films help them in their future careers despite the many difficulties of their tasks!

Ar m an Fat i?

Bit i u st anju ne?t o u?init i Intervju sa Fatihom ร zcanom, redateljem filma ?Mauzer?

Kak av je osje?aj im at i svjet sk u pr em ijer u Va?eg pr vog igr an og f ilm a u Sar ajevu u pr ili?n o izm ijen jen im okoln ost im a?

Odavno pratim Sarajevo Film Festival. Kao redatelj koji je zavr?io svoj prvi film stvarno se radujem ?to ?e njegova svjetska premijera biti u glavnom natjecateljskom programu Sarajevo Film Festivala.

Reputacija festivala raste svake godine, Sarajevo Film Festival je danas jedan od najva?nijih festivala u filmskoj industriji. Po mom mi?ljenju, 2020. je nezaboravna godina puna iznena?enja ne samo za mene nego za cijeli svijet. Na?alost, Covid 19 virus dramati?no je izmijenio na?e ?ivote ali iz dana u dan u?imo ?ivjeti sa pandemijom. Vidim to i kao priliku da se filmovi gledaju on-line, kao va?nu mogu?nost da se zadr?i veza izme?u filmova i publike. Iako ?e ovogodi?nji Sarajevo Film Festival biti druk?iji, stvarno sam sretan i zato ?to se festival odr?ava a i zato ?to se moj film natje?e u glavnom programu. Vjerujem da ?e to biti dobar festival.

Je li bilo t e?k o dobit i za glavn u u logu u va?em f ilm u pozn at og i odli?n og glu m ca k ao ?t o je Ser h at Kiliรง?

Re?irati poznatog i prili?no talentiranog

glumca mo?e se ?initi rizikom za redatelja koji snima svoj prvi film. Zastra?uju?e je. U tom procesu va? lik mo?e prestati biti va? i postati neki drugi lik kojeg re?ira glumac.

Od trenutka kada sam po?eo raditi na scenariju, Serhat K?l?รง bio jedan od rijetkih glumaca koje sam zapravo primijetio.

Fascinirala me njegova gluma na kazali?noj pozornici kao i u filmu ?Zimski san? Nuri Bilge Ceylana ali sam i brinuo kako ?u re?irati Serhata. Kona?nu odluku sam ipak ?elio donijeti nakon ?to mu po?aljem scenario. Nakon na?eg prvog susreta potpuno sam promijenio mi?ljenje. Imao je potpunu kontrolu nad scenarijem, pri?om i onim ?to sam htio ispri?ati. Dostatno se pripremio za sastanak. Nakon prvog sastanka bio sam siguran da ?e Serhat igrati Veysija i tako je i bilo. Za vrijeme proba i snimanja, veza sa Serhatom bila je gorko-slatka. Stalno smo radili na popravljanju i pobolj?anju lika.

Razgovarali smo o scenama. Kao rezultat toga, vrlo sam sretan ?to radim s glumcem poput Serhata K?l?รงa. Vrlo sam sretan ?to sam radio sa glumcem kakav je Serhat K?l?รง.

Ne bih se u su dila n apr avit i izr avn u u spor edbu , ali zaplet m e podse?a n a pr i?u o Abelu i Kabu lu (Abelu i Kain u ).

?t a vas je n adah n u lo za pr i?u o br a?i n a koju se m o?e pr im ijen it i izr ek a da je br at (?ovjek ) br at u (?ovjek u ) vu k ?

Djetinjstvo sam proveo na selu. Abel i Kabul o kojima sam ?itao u knjigama iz mog su sela, iz mog susjedstva. To me iznenadilo. Jer, u ?ovje?anstvu se hiljadama godina ni?ta nije promijenilo. U mom djetinjstvu oko mene je bilo puno ljudi poput Veysija i Bekira. Svaki od njih je imao ?elje i htijenja poput Veysijevih. Bolju pu?ku. Boljeg konja. Boljeg psa koji bi ?titio stoku. Vrt sa plodnijim drve?em. Bolju obu?u. Bolju odje?u... S druge strane, u oblasti u kojoj sam ?ivio vukovi su ?esto napadali, posebno zimi. On the other hand, there were many wolf attacks in the region where I lived, especially in winter.

Kad bi vuk napo stado ili u?ao me?u stoku - ovo je men i bilo vrlo zanimljivo - nikad se ne bi zadovoljio jednom ovcom. Pobio bi ih koliko god je mogao a pojeo samo jednu.

Kao mali, pitao sam se za?to? Mislim, za?to naprosto ne uzme koliko mu treba? Svaki put poku?ava pobiti cijelo stado. Valjda je jedini odgovor ? mo?e mu se (u stanju je to u?initi)... Mislim da u tom pogledu postoji sli?nost izme?u ljudi i vukova. Najopasniji aspekt ljudskog bi?a defini?em kao "biti u stanju ne?to u?initi". Veysi je u stanju da upuca vukove kako bi dobio bolju pu?ku.

Neko drugi je u stanju da u?ini ne?to drugo kako bi dobio ne?to bolje. Ta mogu?nst da ?budu u stanju ne?to u?initi? ?ini ljude vukovima. Ona pretvara osobu u ne?ijeg vuka a da osoba to ne shvati. Na kraju pustolovine postajanja vukom - mislim, "bivanja u stanju da se ne?to u?ini", rezultat je uvijek isti. Vremenom, mo? ?ovjekove sposobnosti da bude u stanju da ne?to u?ini dovodi ga do samouni?tenja...

Dali vu k bolje sh va?a Veysija n ego r o?en i br at Bek ir ?

Da, vuk bolja shva?a Veysija nego njegov brat. S druge strane, on vidi kako Veysi postaje vuk. Iako ga slijedi kako bi se osvetio, on promatra i samo ide za Veysijem. Da ga nije shvatio, u procesu koji je vodio do zavr?nice vuk bi napao Veysija da mu se osveti. Ali od trenutka sukoba izme?u Bekira i Veysija vuk samo promatra.

Vu k -glu m ac je pr elijep i sjajn o obu ?en .

Kak o st e do?li do t ak o obu ?en e ?ivot in je? Jest e li im ali posebn og k r ot it elja koji je r adio s n jim ?

Sa ve?om potrebom filmova za obu?enim ?ivotinjama u mnogim su zemljama nastale agencije za ?ivotinjski kasting. Bilo mi je na razne na?ine izazovno tra?iti vukove za film.

Prvo je trebalo na?i vuka koji li?i na anadolske vukove. Drugi problem je bio snimanje sa vukovima. Najvi?e mo?ete snimiti pet-?est scena. Zatim, radite sa vi?e vukova cijeli dan i oni moraju biti identi?ni.

Iz svih tih razloga tra?enje je dugo trajalo.

Napokon sam ?uo da u Centru za obuku ?ivotinja Horkai u Ma?arskoj imaju vukove.

Uz to su ti vukovi bili upravo poput onih koji ?ive u Anadoliji. Poslali smo scenario i po?eli raditi na snimanju. Dva alfa vuka, a njih ukupno osam, obu?eno je za film. Pod vodstvom Zoltana Horkaija tim za obuku je stalno trenirao vukove prije i tokom snimanja filma. Zapravo je bilo prili?no te?ko raditi s vukovima svaki dan na -15, -20°C i 2.300 metara nadmorske visine. S druge strane, najve?i izazov je bio ?to smo morali paziti da ne naudimo nijednoj ?ivotinji. Puno scena je zahtijevalo da vukovi napadaju ovce. Snimanje je uspje?no zavr?ilo bez ozlje?ivanja ?ivotinja.

Bilo je te?ko ali i divno, pogotovo raditi sa vukovima.

M ar in ela Dom an ?i?

Being able to do Interview with Fatih ร zcan, director of the film ?Mauzer?

How does it f eel h avin g a w or ld pr em ier e of you r f ir st f eat u r e f ilm in Sar ajevo in r at h er ch an ged cir cu m st an ces ? f ew er spect at or s, n ot as m u ch of pr om ot ion al even t s an d less possibilit y t o get t h e f ir st -h an d exper ien ce f r om t h e au dien ce ? t h an u su al?

I have been following the Sarajevo Film Festival for a long time. As a director who made his first film, I am really happy that world premiere of the film will be at the Sarajevo Film Festival in the main competition. The reputation of the festival increases every year, and today the Sarajevo Film Festival is one of the most important festivals in the film industry. In my opinion, 2020 is an unforgettable year with full of surprises not only for me but also for whole world. Unfortunately, Covid 19 virus has changed our lives dramatically but we are learning day by day to live with a pandemic.

Of course, I would love to watch movies together in the hall, but we need to keep up with changing conditions. I also see as an opportunity that movies can be watched online. It is an important opportunity to keep the connection between the films and the audience. Although there are many

differences in this year ?s Sarajevo Film festival, I am really happy that both the festival is being held and my film is screening for the main competition. I believe that I will have a good festival period.

Was it h ar d t o get a f am ou s an d gr eat act or like Ser h at Kiliรง f or t h e lead r ole in you r f ilm ?

To direct a famous and quite talented actor may seem like a risk for a director who shoots his first movie. It is daunting. In time, the character may cease to be your character and become another character directed by the actor. From the moment I started working on the script, Serhat K?l?รง was one of the few actors I actually noted. I was fascinated by his acting on the theatre stage and in the Winter Sleep movie of Nuri Bilge Ceylan but I had concerns about directing Serhat. Still, I wanted to make my final decision after sending the script. After our first meeting, I absolutely changed my mind. He had complete control over the script, the story and what I had wanted to tell. He was sufficiently prepared for the meeting. After the first meeting, I was sure that Serhat would act Veysi and so it happened. During rehearsals and shootings, we had a bittersweet relationship with Serhat. We constantly worked on improving the character and making it better. We talked about the scenes. As a result, I am very happy to work with an actor like Serhat K?l?รง.

I w ou ld n ot dar e t o m ake a dir ect com par ison , bu t t h e plot r esem bles m e on t h e st or y of Abel an d Kabu l. Wh at in spir ed you t o t ell t h e st or y of t h e br ot h er s t o w h om t h e pr over b t h at a br ot h er (m an ) is a w olf t o a br ot h er (m an ) can be applied?

I spent my childhood years in a pretty rural area. Abel and Kabul who I read in the books were in my village, in my neighborhood. I was quite surprised. Because, for thousand of years, nothing has changed in the name of humanity. In my childhood, there were many people around me like Veysi and Bekir.

Eachone had common wishes and requests like Veysi?s. A better rifle. A better horse. A better dog to protect their animals. A garden with more fetile trees. A better shoe. Better clothes? On the other hand, there were many wolf attacks in the region where I lived, especially in winter. When the wolf attacked a flock or entered a sheepfold - this was a very interesting situation to me - he would never settle for a sheep. He would kill as much as he could, only eat one. As a child, I would ask myself. Why? I mean, why doesn't he just get what he needs? He tries to kill the whole herd every time. I guess the only answer to this; the ability of being able to do? I think there is a similarity between men and wolves in this respect. I define the most dangerous aspect of human being as ?the ability of being able to do?. Veysi can shoot wolves for a better rifle.

Someone else is able to do something for a better thing. ?To be able to do?makes people wolves. Without realizing it, it turns someone into the other person?s wolf. At the end of the adventure of becoming a wolf, - I mean, ?the ability of being able to do?-, the result is always the same. In time, the power of man's ability of being able to do begins to destroy himself...

Does t h e w olf u n der st an d Veysi bet t er t h an h is ow n br ot h er Bek ir ?

Yes, the wolf understands Veysi better than his brother Bekir. On the other hand, he sees the Veysi?s adventure of becoming a wolf.

Although he starts for the journey to take his revenge, he observes and he just follows Veysi. If he had not understood, in the process leading up to the final, the wolf would have taken an action against Veysi, and attack to get revenge on him. But the wolf just watches Veysi from the moment of a conflict that pops up between Bekir and Veysi.

Th e w olf -act or is so beau t if u l an d w ell-t r ain ed. How did you m an age t o get su ch w ell-t r ain ed an im al? Did you h ave a special coach w h o w or ked w it h h im ?

With the increase in movies involving trained animals, there are actually animal caste agencies in many countries around the world.

But, for me, there were various challenges for the wolf cast. Finding a wolf kind resembling wolfs living in Anatolia was the first challenge.

The second was the difficulty of shooting with wolves. You may shoot five or six plans a day for most. Therefore, multiple wolves are required to work all day, and they must be identical. Due to this fact, we did a long research. Finally, I heard that there were wolves at the Horkai Animal Training Center in Hungary. In addition, these wolves were exactly like those living in Anatolia. We sent the script and started to work on the shoot.

Two alphas, eight wolves in total, were trained for the film. Under the leadership of Zoltan Horkai, a wolf training team constantly worked with wolves before and during the filming. Actually it was quite hard to work with wolves every day at -15, -20 degrees and 2,300 meters high. On the other hand, the biggest challenge was that we had to be careful about in order not to harm any animals. As the requirement of the scene, wolves had to attack sheep and there were many similar scenes like that. We have successfully completed the shootings without harming any animals. It was difficult but quite enjoyable, especially working with the wolves.

M ar in ela Dom an ?i?

Ne?u da ?utim!

Intervju sa Danijelom Stajnfeld, redateljicom filma ?Zacijeli me?

Pr ije svega, ?est it k e n a h r abr om , isk r en om i u pe?at ljivom f ilm u ! Da li bist e bili u st an ju n a ovaj n a?in pr ogovor it i da st e ost ali u Sr biji?

Hvala, tako mi je drago da film ?Zacijeli me? smatrate va?nim. U njega sam ulo?ila svoje srce i du?u u nadi da ?e kona?ni rezultat biti vrijedan. Nikada u ?ivotu nisam pomislila da ?u re?irati i producirati dokumentarni film, a kamoli da ?u podijeliti detalje stra?ne traume i zlostavljanja koje sam do?ivjela sa cijelim svijetom. Bilo je tako ?udno, film kao forma djelovao je kao jedino sredstvo za preobrazbu mentalnog i egzistencijalnog haosa u svrhu i, samim tim, za ozdravljenje.

Osje?ate da vam dru?tvo name?e osje?aj srama. Izre?i istinu najstra?nija je stvar za osobe koje su do?ivjele seksualno nasilje. Za mene je to bilo posebno osloba?aju?e.

Pu?taju?i da se ?uju glasovi drugih pre?ivjelih u sirovoj verziji filma i ja sam se okura?ila da progovorim. Prvo je cijeli film napravljen bez mene, onda sam radila na tome da smognem hrabrost i na kraju sam dodala snimke sebe kada smo ve? ugrubo imali film. Kada progovorimo, ogromnoj ve?ini pre?ivjelih koji jo? uvijek ?ute dajemo na znanje da se ne trebaju sramiti ?to su bili ?rtve i potla?eni te da ne?e biti sami ako

odlu?e podijeliti svoju pri?u s osobama od povjerenja ili javno. Ovo je dulji uvod u odgovor na va?e pitanje: Apsolutno ne bih bila u stanju progovoriti da sam ostala u Srbiji. Malo je vjerojatno da bi mi neko povjerovao da sam rekla ne?to odmah nakon incidenta. ?ak i u SAD-u, gdje se razumijevanje koliko su ?esti i ra?ireni seksualni napadi po?elo mijenjati sa pojavom #metoo (?Me too? /?I ja tako?er?/ je pokret protiv seksualnog uznemiravanja i seksualnog zlostavljanja u SAD-u, primjedba MD-a), trebalo je dugo vremena da prikupim hrabrost i progovorim o tome ?to mi se desilo. Naposljetku, trebala mi je cijela vojska drugih (tokom filma mo?ete ?uti 35 drugih pre?ivjelih) da me ohrabre i podr?e kako bih se uklju?ila u film. Ne ?ujemo ?esto o seksualnim napadima u balkanskim zemljama. Grozno je ?to se ljudi srame kada istupaju i govore o tome. Ovim filmom ?elim poslati poruku koja bi to promijenila.

Por ede?i Va?a isk u st va ?ivljen ja u Am er ici i u Sr biji, u ?em u su n ajve?e r azlik e a u ?em u sli?n ost i u odn osu ova dva dr u ?t va pr em a osobam a koje su pr e?ivjele sek su aln o n asilje?

Ameri?ka se kultura ?ini otvorenijom i

pokazuje vi?e razumijevanja u odnosu na Srbiju. Na?alost, ukorijenjene patrijarhalne vrijednosti u Americi zala?u se za, kako ga ja nazivam ?ugovor ?utnje?. To me je prili?no iznenadilo. S obzirom na to da je ameri?ki kanon o ljudskim pravima i slobodama vrlo glasan, o?ekivala sam da ?e naj?e??e reagirati na seksualno nasilje tako ?to ?e vjerovati ?rtvama. #Metoo je podigao svijest i pomogao da se ovaj problem ne zanemaruje, usredoto?io se na bol i bijes ?to je bilo potrebno, ali nije uspio na pravi na?in pomo?i obi?nim ljudima niti ponuditi im izlaz - ?to, ja se nadam, Zacijeli me nudi.

Shvativ?i koliko ameri?kom dru?tvu treba obrazovanje po pitanju seksualnog napada i koliko Amerikanaca iz svih dru?tveno-ekonomskih sfera pati u ti?ini, odlu?ila sam napraviti ovaj film. A ?to se ti?e Srbije, nisam sigurna kako je to sada, pro?lo je puno vremena. Ipak, ?ini se da jo? uvijek niko nije zauzeo stav da posveti pa?nju ovom pitanju. Koliko pamtim, ?ene su provokativno obla?enje smatrale tihim pozivom. Kada bih mu?karcima u Srbiji rekla ?ne? ponekad sam ih doslovce morala odgurnuti ?ak i nakon jasnih verbalnih odbijanja, jer bih ?ula odgovor poput ?Na meni je da probam?. ?ak i nakon mog ?ne??? ?ta ima? probati?? Sve nakon toga je napad. To je uobi?ajeni scenario u ?ivotu ?ene na Balkanu. ?esto obje strane ne znaju kako reagirati i gdje je granica, gdje po?inje prelazak na zloupotrebu mo?i. A to je duboko zabrinjavaju?e. Ovo se ne odnosi samo na ?ene, djeca pa ?ak i mu?karci, nekada su ?rtve. Dru?tvo za to ne zna i ne ?eli znati. Sram je prejak. Ovo je pitanje slo?eno i duboko ukorijenjeno. Radom na projektima kao ?to je Zacij u ovoj regiji prekidamo ?utnju i tek smo na po?etku puta ka ozdravljenju kulture. Ka?u da su prvi koraci najte?i. I trebalo ih je odavno napraviti.

U k ojem t r en u t k u , ili per iodu , r ada n a f ilm u st e u spjeli pr evazi?i lju t n ju , pon i?en je i sr am i pogledat i sek su aln e zlost avlja?e sam ilosn im o?im a osobe k oja r azu m ije n jih ov pogled n a zlost avljan je?

Dugo smo istra?ivali dok smo tra?ili ljude i pri?e koje bismo uklju?ili u film. Do?li smo do njih i povezali se sa stotinama po?initelja koji su trenutno zatvoreni ili izvan zatvorskog sistema. To je zna?ilo i ?itanje njihovih sudskih spisa, izjava i uspostavljanje odnosa poverenja putem telefona, pisama ili osobno. Moja znati?elja prema njihovom pogledu na svijet morala je biti bez osu?ivanja jer sam htjela ?uti njihovu stranu pri?e. To ne zna?i da nisam osje?ala ljutnju i bol zbog onoga ?to su u?inili svojim ?rtvama i bijes zbog njihovog neznanja i uzimanja sebi za pravo da povrijede i u?ine ?rtvama one koji su im poklonili povjerenje. Pa ipak, ?esto ka?em: ne postoje sretni silovatelji. Ti su pojedinci veoma problemati?ni. Statistike ka?u da je ogromna ve?ina zlostavlja?a i sama bila zlostavljana. Znala sam da ?e, ako zauzmem stav suosje?anja i povjerenja, to dovesti do iskrenosti i morala sam raditi na takvom stanju uma. Nije bilo lako ali do?la sam do toga da ih promatram kao ljude a ne kao monstrume ? kao ljude iz svih sfera dru?tva. ?ivimo u kulturi koja tra?i da se ne pri?a o seksualnim napadima. I silovatelji ra?unaju na to. ?ak osje?aju da imaju pravo na to. Na nama je da ubijemo kulturu ravnodu?nosti i otvorimo prostor kulturi glasa. Trebali bismo ?ivjeti u dru?tvu u kojem niko nikada ne bi trebao osje?ati da ne mo?e progovoriti. Ako je neko uradio ne?to takvo, bez obzira ko, koliko blizak ili mo?an, bez obzira koliko ?rtva ovisi o njemu ? ako se radi o zlo?inu, dru?tvo treba omogu?iti da to mo?emo prijaviti i o?ekivati da nam se vjeruje. Najte?e je priznati da svi pasivno sudjelujemo i poticati ti?inu.

Nije t ajn a da su m n ogi oblici obit eljsk og zlost avljan ja u velik o pr isu t n i u zem ljam a Balk an a i da je t r adicijsk i odn os dr u ?t va pr em a ovom pit an ju ??u t i i t r pi? k oji n e pogodu je n i?em u osim odr ?avan ju ist og st an ja. Kak o pom o?i on im a k oji ?u t e i t r pe da isk or a?e iz za?ar an og k r u ga?

Hvala za ovo va?no pitanje. Postoje na?ini za prepoznavanje znakova zlostavljanja ako ste autsajder. Ako sumnjate da je neko u nesigurnom za?aranom krugu zlostavljanja, bez ?anse da pozove pomo?, uvijek pitajte.

Ne sramite se pitati, mo?da ?ete nekoga spasiti od pakla. Ako vam neko otkrije ovakve strahote, sve ?to trebate je slu?ati i re?i: "?ao mi je ?to vam se to dogodilo".

Razgovor o koracima i mogu?nostima pomo?i trebao bi uslijediti nakon nekog vremena. Neka osoba koja je pre?ivjela traumu odredi ritam. Jedno silovanje je grozno iskustvo za cijeli ?ivot a dugoro?no zlostavljanje mo?e imati do?ivotne, ?esto te?ke posljedice. Va?e je da slu?ate i ne sudite o onome ?to pre?ivjeli iznosi - osje?a li se krivim, ne ?eli li i?i u policiju ili se

odvojiti od zlostavlja?a itd. To je te?ko, i vjerujte, vremenom ?e do?i k sebi. Izlje?enje je mogu?e i ono po?inje onda kada se usudi svjedo?iti. Kada pre?ivjeli podijele svoje muke, bol malo olak?a i postaju malo slobodniji od stega srama koji im nisu dopu?tali da govore. Neka ka?u koliko god ?ele, neka odaberu kada i ?ta ?ele podijeliti.

Budite strpljivi jer faze njihovog povjerenja prema vama i njihovo izlje?enje nisu linearne. To je put uspona i padova. Ne odustaj od njih. Trebaju vas, vi ste njihov osje?aj sigurnosti. ?to vi?e budu govorili, manje ?e ih biti sram. To se meni dogodilo.

Imala sam sre?u da na?em istinsku podr?ku.

Moji prijatelji su bili tu za mene i slu?ali su.

Izlje?enje se nije dogodilo preko no?i i ?esto mi se ?inilo da nikada ne?u prestati osje?ati potpunu traumatiziranost. ?esto sam se osje?ala beznadno i izgubljeno. Prijatelji su bili strpljivi ?ak i kada ja nisam. I to je ono ?to me je na kraju izlije?ilo. I, evo me sada.

Slobodna. Izlije?ena. Sna?no se zala?em za istinu. I ne?u da ?utim.

M ar in ela Dom an ?i?

I won?t shut up!

Interview with Danijela Stajnfeld, director of the film ?Hold Me Right?

Fir st of all, con gr at u lat ion s on a br ave, h on est an d st r ik in g f ilm ! Wou ld you be able t o expr ess you r self in t h is w ay if you st ayed in Ser bia?

Thank you, I?m so glad you found Hold Me Right film meaningful. I put my heart and soul into making it in the hope the final result will be worthwhile. Never in my life did I think I?d be directing and producing a documentary, let alone share details of the horrible trauma and abuse I was subjected to with the rest of the world. It happened so strangely; doing it through the film form seemed like the only tool I could use to transform mental and existential chaos into purpose, and therefore, to heal. One inherently feels there is a wall of shame imposed by society. Speaking truth to power is the scariest thing for a survivor of sexual assault to do. In my case, it was the most liberating one. By freeing the voice of other survivors, and in the process, I took courage to free my voice as well. I first made a whole film without me in it, and then worked to

find courage where finally, my clips came in the film after we already had a rough cut. By speaking out we are letting the vast majority of survivors who still live in silence to know that there is nothing to be ashamed of in being victimized and oppressed. That they won't be alone should they decide to share their story with a trusting person, or publically. This was a long segue to answer your question: I would absolutely not be able to speak up if I have stayed in Serbia. If I'd said something right after the incident, it would be very unlikely I?d be believed. Still in the US, where the landscape of understanding how common and widespread sexual assaults are has started changing due to #MeToo (movement against sexual harassment and sexual abuse in the USA, remark by M.D.), it took a long time to take courage and speak about what has happened to me. Ultimately, I needed an army of other voices (you can hear 35 other survivors throughout the film speaking up) to fuel me and support me to include myself in the film. We don?t hear about the sexual assault in Balkan countries often. It?s so unfortunate that people feel shame speaking about it and coming forward. The film?s message aims to change that.

Com par in g you r exper ien ces of livin g in US an d Ser bia, w h at ar e t h e biggest dif f er en ces an d w h at ar e t h e sim ilar it ies in t h e w ay t h ese t w o societ ies t r eat people w h o h ave su r vived sexu al violen ce?

US culture seems more open and understanding in certain ways when comparing it to the Serbian one.

Unfortunately, ingrained patriarchal values in America have been pushing for (as I call it) ?the contract of silence? to stay intact.

That was something I was quite surprised by. Considering the American canon around human rights and freedoms being so loud, I expected believing the victims of sexual violence would be the reaction of the majority. #MeToo helped break the first wave of neglecting this issue and raising awareness, while focusing on the pain and rage, which was necessary. Yet #MeToo failed to hold the common person in the right way, and failed to offer a path forward, which I hope Hold Me Right does. Upon understanding how much American society needs education about sexual assault and how many Americans from all socio-economic classes are suffering in silence, I decided to make this film. And as for Serbia, I am not sure how it is now; a lot of time has passed. Yet, it seems no one has taken a stand to pay attention to this issue. As I recall, if women are dressed provocatively, it is taken to be a silent invitation. Upon me saying ?no? to men in Serbia, I literally had to push them away even after clear verbal rejections, and I would hear responses such as: ?It?s on a man is to try?. Even after my ?no??? What is there for you to try?? Anything you try after that is an assault. This is a common scenario in the life of a woman in the Balkans. And often both parties don?t know how to react, where the boundary is, and where that crossing to an abuse of power starts. And that is deeply troubling. This

does not affect just women ? children and at times, men, are victims too. Yet, society does not know about it and does not want to know. Shame is too strong. This is a complex and deeply ingrained issue. With the release of projects like Hold Me Right in this region, we are breaking the silence and are just at the bare beginning on the pathway to healing as a culture. The first steps are the hardest, as they say. It is so overdue though.

At w h at poin t , or per iod, of w or k in g on t h e f ilm did you m an age t o over com e an ger , h u m iliat ion , an d sh am e an d look at sexu al abu ser s w it h t h e com passion at e eyes of a per son w h o u n der st an ds t h eir view of abu se?

We have done lengthy research while looking for the people and stories to include in the film. We reached out and connected to hundreds of perpetrators, currently incarcerated or those who are out of the prison system. That meant reading their court records, statements, and establishing a trusting relationship via phone, via letters, or in person. My curiosity towards their point of view had to be without judgment, as I was keen to learn their side of the story. It does not mean I did not feel anger and pain over what they did to their victims, or rage over their ignorance and entitlement to hurt and victimize those who gave them their trust.

Yet, I often say: there is no such thing as a happy rapist. These individuals are deeply troubled. The stats say the vast majority of abusers were abused themselves. I knew that a compassionate, trusting attitude would result in sincerity. But I had to work for that state of mind. It didn't come so easily. As a result, I did see them in a human light, not as monsters but rather as people from all parts of our society. We are all living in a culture that demands silence when it comes to sexual assault. And rapists count on it. They even feel entitled to it. It's on us

to kill the culture of indifference and open space to hearing each other ?s voices. We should live in a society where no one should ever feel the struggle to come forward. If something happened, no matter by whom, no matter how close or powerful the perpetrator is, no matter how dependent the victim is on them, if it's a crime, one has to build a society where we can report it and expect to be believed. The hardest step is to admit we are all passively complicit, encouraging the silence.

It is n o secr et t h at m an y f or m s of dom est ic abu se ar e w idespr ead in t h e Balk an s an d t h at t h e t r adit ion al at t it u de of societ y t ow ar ds t h is issu e is " k eep qu iet an d su f f er " w h ich is con du cive t o n ot h in g bu t m ain t ain in g t h e sam e sit u at ion . How t o h elp t h ose w h o ar e silen t an d su f f er t o st ep ou t of t h e viciou s cir cle?

Thank you for such an important question.

There are ways to recognize the signs of abuse if you are an outsider. If you suspect someone is stuck in an unsafe and vicious cycle of abuse, always ask. Don't be ashamed to ask, as you might be saving them from hell. If someone discloses these horrors, all you need to do is to listen and say: ?I?m sorry that happened to you.? The conversation about the steps and options for help should happen after some time passes. Let the survivor of trauma lead the

pace. Being raped once is a horrendous experience to ever live through. Being abused long term can have lifelong, often heavy consequences. Your job is to listen and not to judge what the survivor shares, whether they feel guilty, if they don?t want to go to the police or move away from their abuser, etc. This is hard, and trust that they?ll come around eventually. Healing is possible, and it starts when one bears witness. When survivors share their accounts, the pain gets lighter, and they?ll become a bit freer from the chains of shame that are stopping them from speaking. Let them say as much as they choose, let them choose when and what they?ll want to share. Stay patient, as the stages of their trust towards you and their healing are not linear. It's a journey of ups and downs. Don't give up on them. They need you. You are their sense of safety. The more they speak, the less shame they?ll feel.

That happened to me. I was lucky enough to eventually find my trusted support. My friends were there for me, listening. Healing didn't happen overnight and I often couldn't see the end of feeling completely traumatized. Often I felt hopeless and lost.

Friends were patient, even if I wasn?t. And that?s what ultimately healed me. So, here I am now. Free. Healed. Speaking truth to power. And I won?t shut up.

M ar in ela Dom an ?i?

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

Mauzer / Mavzer Turkey, 2020, Colour, 86 min. / Re?ija / Director: Fatih Özcan / Uloge / Cast: Serhat K?l?ç, Ozan Çelik, Seda Türkmen, Burçak Dilekli, ?brahim Kalkan, Ahmet Ayd?n, Güliz ?irinyan RENT

U FOKUSU / IN FOCUS

Pun m jesec / Full Moon

Veysi ?ivi u planinskom selu u centralnoj Anadoliji.

Po?etkom zime zatvara svoje stado ovaca u tor. Jednog jutra, nakon ?to Veysi sa sinom Mustafom ode do tora, otkriva da je ?opor vukova napao ovce i gotovo sve ih pobio. Ne ljuti se na vukove jer zna da su djelovali ta?no u skladu sa svojom prirodom. Sve ?to Veysi ?eli jeste bolje oru?je kako bi za?titio sebe i svoju porodicu ?

Mauzer, ?kraljicu pu?aka?, kako je zovu u Anadoliji.

Veysi lives in a mountain village in central Anatolia. With the early onset of winter, he brings his flock of sheep down to his barn. One morning, when he goes to the barn with his son Mustafa, a pack of wolves attacks the sheep and Veysi loses most of them. He is not angry with the wolves, because he knows they have behaved exactly as their nature directs. But he wants a better gun to protect himself and his herd: a Mauser, the ?king of the rifles,?as they say in Anatolia.

HUMAN RIGHTS DAY

Ulovljeni u m re?u / Caught in t he Net Czech Republic, Slovakia, 2020, Colour, 100 min. / Re?ija / Director: Barbora Chalupová / Uloge / Cast: Tereza T??ká, Ane?ka Pithartová, Sabina Dlouhá RENT

Bosnia and Herzegovina, 2019, Colour, 85 min. / Re?ija / Director: Nermin Hamzagi? / Uloge / Cast: Alban Ukaj, Ermin Sijamija, Mediha Musliovi?, Izudin Bajrovi?, Jasna Dikli?, Muhamed Had?ovi?, Boris Ler, Mirela Lambi?, Alena D?ebo, Lidija Kordi?, Ahmed Nuhi?, Sanja Buri?, Faketa Salihbegovi? - Avdagi?, Mugdim Avdagi?

RENT Hamza, policijski inspektor, u no?i punog mjeseca odvodi suprugu u porodili?te.

Vodenjak je pukao i ona mora ?to prije da se porodi. Iako zabrinut, junak se vra?a na posao.

U hodniku policijske stanice Hamza upoznaje dje?aka Tarika, ujedno an?ela i demona, koji ?e ga dovesti u isku?enja. Narodna vjerovanja o mo?i punog mjeseca se obistinjuju?

A full moon night. Police inspector Hamza takes his wife to the maternity ward. Her water has broken and her doctor orders an urgent delivery. Hamza is worried but he has to leave her in hospital ? he could not have taken the night off at such a short notice. At the police station it seems the folk tales about the full moon?s power are coming true. In the hallway Hamza meets a boy who is both herald of doom and guardian angel, and who will put him on trial. One by one, the apparitions arrive at the police station.

KINOSCOPE

TRIBUTE TO

Ovo nije sahrana, ovo je uskrsnu?e / This is not a Burial, It 's a Resurrect ion

Kroz o?i / Through t he Eyes

Lesotho, South Africa, Italy, 2019, Colour, 120 min. / Re?ija / Director: Lemohang Jeremiah Mosese / Uloge / Cast: Mary Twala Mhlongo, Jerry Mofokeng Wa Makheta, Makhaola Ndebele, Tseko Monaheng, Siphiwe Nzima RENT U planinama Lesota osamdesetogodi?nja udovica Mantoa ?eljno i??ekuje povratak sina s rada u ju?noafri?kim rudnicima, samo da bi saznala za njegovu smrt. Nakon gubitka posljednjeg preostalog ?lana porodice, Mantoa ?eljno i??ekuje vlastitu smrt te sre?uje svoje poslove i dogovara da je sahrane na lokalnom groblju. Mantoin pa?ljivo pripremljen plan remeti vijest da lokalni zvani?nici planiraju raseliti njeno selo, potopiti ga i tu izgraditi branu i napraviti jezero. Mantoa odlu?i odbraniti duhovno naslje?e svoje zajednice.

In the mountains of Lesotho, an eighty-year-old widow named Mantoa eagerly awaits her son?s return from working in the South African mines, only to learn of his demise. Yearning for her own death after the loss of her last remaining family member, she puts her affairs in order and makes arrangements to be buried in the local cemetery. Her careful plans are abruptly upset by the news that provincial officials intend to resettle the village, flood the entire area, and build a dam for a reservoir. Mantoa resolves to defend the spiritual heritage of her community.

Los Conduct os France, Colombia, Brazil, 2020, Colour, 70 min. / Re?ija / Director: Camilo Restrepo / Uloge / Cast: Luis Felipe Lozano, Fernando Úsaga Higuíta

Mexico, 2014, Colour, 71 min. / Re?ija / Director: Michel Franco / Uloge / Cast: Mónica del Carmen, Omar Moreno, Benjamín Espinoza, Jacobo Najman RENT Samohrana majka Monica radi kao socijalna radnica u Mexico Cityju. Njen posao je da pomogne tinejd?erima besku?nicima, od kojih su mnogi i narkomani, da se sklone s ulice.

Monicin jedanaestogodi?nji sin Omar pati od degenerativnog o?nog oboljenja. Zbog finansijske situacije u kojoj se nalazi, kao i prepreka koje pred nju postavlja zdravstveni sistem, operacija koju njen sin treba da ne bi izgubio vid za Monicu je nedosti?an san. Jedne no?i, Benjamin, jedan od narkomana i besku?nika s kojima Monica radi, zavr?ava prebijen pred njenim ku?nim vratima. Monica se odlu?uje za radikalno rje?enje.

Single mother Mónica works as a social social worker in Mexico City. Her job is to help homeless and often drug-addicted teenagers to get off the street. Her son Omar is suffering from a degenerative eye disease. The operation that the eleven-year-old really needs to save his sight is an impossible dream for Mónica due to the health system?s red tape and her financial situation. One night, Benjamín, a homeless junkie Mónica has worked with, is beaten up and ends up outside her door. Mónica decides to go for an extreme solution.

Dan ljudskih prava na 26. Sarajevo Film Festivalu: u utorak panel diskusija Dvanaesto izdanje Dana ljudskih prava u sklopu 26. Sarajevo Film Festivala donosi panel diskusiju na temu sigurnosti i slobode na internetu.

U panel diskusiji u?estvuju: Pavla Klime?ová,? izvr?na producentica i koproducentica filma "Ulovljeni u mre?u", Selma Selman, umjetnica i aktivistkinja, Helena Mandi?,?stru?njakinja iz oblasti medijskog prava, rukovodioc Pravnog sektora Regulatorne agencije za komunikacije i predsjedavaju?a Odbora Evropske platforme regulatornih tijela te Aida Ivkovi?,?program koordinatorica?organizacije Save The Children.

Pan el ?e bit i odr ?an u u t or ak , 18. au gu st a, sa po?et k om u 12 sat i, a pu blik a m u m o?e pr ist u pit i on lin e n a plat f or m i Zoom u z m eet in g ID: 926 1870 7505 (h t t ps:/ / zoom .u s/ j/ 92618707505).

Razgovor ?e moderirati Robert Zuber, novinar i reditelj. Kao osnov za diskusiju poslu?it ?e film "Ulovljeni u mre?u" rediteljskog dvojca Víta Klusáka i Barbore Chalupove, koji je dostupan na festivalskoj online platformi ondemand.sff.ba, gdje je ponu?ena i verzija filma prilago?ena slijepoj i slabovidnoj publici,

uz audio deskripciju na B/H/S jeziku koju je Sarajevo Film Festival obezbijedio u saradnji sa udru?enjem Novis.

Postoje horori koje ne ?elite vidjeti na filmu, bilo da je rije? o fikciji, a pogotovo ako se radi o dokumentarnom filmu. "Ulovljeni u mre?u" jedan je od takvih dokumentarnih filmova za koji dok ga gledate, duboko u sebi po?elite da nikada nije snimljen. Ne da bi se pre?utjelo ono ?to svojom pri?om donosi, ve? zbog ?elje da takva ljudska grozota ne postoji. Kao roditelju dvoje djece u?asno je stresno bilo uop?e prihvatiti zadatak pogledati ovaj film rediteljskog ?e?kog dvojca Víta Klusáka i Barbore Chalupove, a onda smirene glave napisati tekst o njemu, pa ga jo? i predstaviti na Sarajevo Film Festivalu u sklopu programa Human Rights Day. Jer dokumentirana pri?a tri punoljetne glumice, koje glume?i 12-ogodi?nje djevoj?ice u samo deset dana kontaktira gotovo 2500 punoljetnih mu?karaca, koji bi im mogli biti i o?evi i djedovi, govori o jednom od najgnusnijih zlo?ina moderne globalne civilizacije koji postoji, i svakodnevno na svom ni?anu ima one najranjivije ? na?u djecu, kazao je, izme?u ostalog, Robert Zuber.

Dvan aest o izdan je Dan a lju dsk ih pr ava u sk lopu 26. Sar ajevo Film Fest ivala odr ?ava se pod pok r ovit eljst vom Kr aljevin e Nizozem ske.

12th Human Rights Day at 26th Sarajevo Film Festival: Panel discussion on Tuesday 12th consecutive Human Rights Day programme at the 26th Sarajevo Film Festival presents panel discussion questioning internet freedom and safety.

also in a version accessible to visually impaired audience, with audio description in B/H/S provided in collaboration with association Novis.

Hu m an Righ t s Day pan el discu ssion w ill be or gan ized on Tu esday, Au gu st 18 at 12:00 CET an d t h e au dien ce can par t icipat e on lin e via Zoom : M eet in g ID: 926 1870 7505 (h t t ps:/ / zoom .u s/ j/ 92618707505). Th e pan el w ill be m oder at ed by jou r n alist an d dir ect or Rober t Zu ber .

?There are horrors you don?t want to see, especially not in a film. Not in a fiction movie, and especially not in a documentary.

"Caught in the Net" is one such documentary that, when you watch it, you deep down wish it had never been made.

Not to conceal what is presented in the story, but because of the desire that such human horror doesn?t exist. As a parent of two children, it was terribly stressful to accept the task of watching this film by the Czech directing duo Vít Klusák and Barbora Chalupova, and then, with a cool head, write a text about it and even present it at the Sarajevo Film Festival as part of the Human Rights Day programme?, said Robert Zuber.

The discussion will be based on a film ?Caught in the Net? by Vít Klusák and Barbora Chalupová, that will be avaliable on festival online platform ondemand.sff.ba,

Th e 26t h Sar ajevo Film Fest ival pr esen t s it s 12t h con secu t ive Hu m an Righ t s Day pr ogr am m e u n der t h e au spices of t h e Kin gdom of t h e Net h er lan ds.

Panel participants are Pavla Klime?ová, ?Caught in the Net? line producer and coproducer, Selma Selman, artist and activist, Helena Mandi?, media law expert and manager of The CRA Section of Legal Affairs and Aida Ivkovi?, Save the Children Programme coordinator.

Pla?im se da ne budem dosadan Afraid of being boring Masterclass sa redateljem Michelom Hazanaviciusom / Masterclass with director Michel Hazanavicius Da biste pristupili seriji doga?aja u okviru Masterclass programa, potrebno je registrirati se na https://www.webeventpro.com/sff?m=pressrelease kako biste dobili besplatan pristup svakom od 5 razgovora koji ?e se odvijati od 17. do 21. avgusta.

Registracijom dobijate i podsjetnike putem e-maila sa linkom za pristup svakoj konverzaciji. Za prvi put potrebno je odvojiti malo vremena da to obavite a onda se mo?ete odmah prijaviti za sve doga?aje i podsjetnici ?e uredno stizati pola sata i par minuta prije po?etka razgovora. Link je u funkciji od 17:30.

Prvi gost virtualnog programa bio je francuski redatelj Michel Hazanavicius sa kojim je razgovarao Ben Croll. Razgovor je trajao vi?e od sat vremena uz desetak posljednjih minuta rezerviranih za pitanja publike. Hazanavicius je pri?ao kako je u svijet filma u?ao preko televizije gdje je raduckao kao student umjetnosti. Svoj prvi film snimio je sa 25 godina a ne krije da sada ima 53. Dobar je prijatelj Danisa Tanovi?a o kojem s po?tovanjem pri?a kao o redatelju, ocu i osobi. Simpati?no je priznao da je u djetinjstvu bio ubije?en da kauboji govore francuski i imaju francuska imena i da je sa 12 godina shvatio da oni zapravo govore engleski jezik. Ka?e da se u savremenoj filmskoj industriji promjene de?avaju brzo, prebrzo za ljude koji su u pedesetim i ?ezdesetim, i smatra da ?e se u budu?nosti u kinima prikazivati samo blokbasteri dok ?e si nekomrecijalni filmovi zavr?iti na platformama za razmjenu. Najbolja savjetnica mu je supruga, glumica Bérénice Bejo, za koju ka?e da, iako ne pi?e scenarije, najbolje ?ita i daje mu izvrsne sugestije. O sebi ka?e da filmove radi za ljude koje ?eli zabaviti i da se najvi?e pla?i da publici ne bude dosadan.

You need to register at https://www.webeventpro.com/sff?m=pressrelease to get free admission to each of the 5 interviews within the Masterclass program that will take place from August 17-21. By registering, you also receive

reminders via e-mail with a link to access each conversation. You need to take some time to do this for the first time and you can sign up for all the events right away and reminders will arrive neatly half an hour and a few minutes before the conversation starts. The link is operational from 5:30 p.m. CET. The first guest of the virtual program was French director Michel Hazanavicius interviewed by Ben Croll.

The conversation lasted more than an hour with the last ten minutes reserved for audience questions.

Hazanavicius recounted how he entered the world of film through television where he worked as an art student. He made his first film at the age of 25 and he does not hide that he is now 53. He is a good friend of Danis Tanovi?, about whom he speaks with respect as a director, father and person. He lovable admitted that as a child he was convinced that cowboys speak French and have French names and that at the age of 12 he realized they actually speak English. He says that in the modern film industry changes are happening fast, too fast for people in their fifties and sixties, and he believes that in the future only blockbusters will be shown in cinemas while non-commercial films will end up on exchange platforms. His best advisor is his wife, actress Bérénice Bejo, for whom he says that although she does not write screenplays, she is the best reader who gives him excellent suggestions. He stated that he makes films for people he wants to entertain and that he is most afraid that the audience will be bored.

Marinela Doman?i?

?ast nam je sara?ivati sa Sarajevo Film Festivalom Intervju sa Damirom ?loselom, direktorom dmBiH Kada je po?ela Va?a sar adn ja sa Sar ajevo Film Fest ivalom ?

Kao sponzor Operacije kino 2018. godine dm je zapo?eo suradnju sa Sarajevo Film Festivalom. Koncept prikazivanja festivalskih filmova u razli?itim gradovima Bosne i Hercegovine ?inio nam se odli?nim na?inom za promociju kulture te nadopune kulturnog ?ivota u manjim sredinama. Godinu poslije dm je postao srebreni sponzor Sarajevo Film Festivala, dok je ove godine ekskluzivni sponzor. Posebno nam je drago da su organizatori prepoznali potrebu da se, s ciljem za?tite na?ih sugra?ana, Festival odr?i u online formatu te vjerujemo da ?e na ovaj na?in i vi?e bh. stanovnika imati priliku u udobnosti svojih domova pratiti ovogodi?nji program.

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?

Kulturno, dru?tveno, ekonomski i ekolo?ki odr?ivo djelovanje za nas je neizostavni dio poslovanja i poduzetni?ke kulture. Posebnu va?nost pridajemo kulturnom anga?manu, putem kojeg godinama ?elimo sudjelovati u

dru?tvenom ure?enju i promociji kulturnog ?ivota. Sarajevo Film Festival smatramo va?nim kulturnim doga?ajem, ne samo za Sarajevo nego i cijelu Bosnu i Hercegovinu.

Va?nost Festivala ogleda se i u kontinuitetu odr?avanja kroz godine, koliko i u pa?nji koju zaslu?eno dobije ne samo u BiH nego i u regiji, a i ?ire. Stoga je i za dm velika ?ast biti dijelom ovako velikog projekta koji prelazi granice BiH i svake godine izaziva sve ve?i interes obi?nih gra?ana-publike i stru?ne javnosti.

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?

Vode?i se time da je dm kao drogerija va?no mjesto za snabdijevanje proizvodima koji su svakodnevno potrebni poput hrane i proizvoda za njegu beba, proizvoda za posebne prehrambene navike, dodataka prehrani, proizvoda za doma?instvo, sredstava za ?i??enje i za?titu i dr. trudili smo se od po?etka pandemije Covid-19 biti tu za na?e kupce, po?tuju?i pritom sve odredbe nadle?nih institucija o poslovanju, radnom

vremenu i mjerama za?tite. Nastojali smo djelovati u skladu sa svakom novonastalom situacijom, o?uvati uspje?no poslovanje i zadr?ati likvidnost na razini koja nam je omogu?avala blagovremeno snabdijevanje robom. Zajedno s na?im dobavlja?ima uspjeli smo i u najizazovnijim situacijama nabavke i isporuke, osigurati dovoljne koli?ine robe za potrebe na?ih kupaca.

Zna?ajan dio planiranih kampanja i aktivnosti smo otkazali ili prolongirali, svjesni ?injenice da na?im kupcima to nije prioritet u situaciji u kojoj smo se na?li. U duhu stalnog unapre?enja poslovanja i situacijskog u?enja, ovo je bila i prilika za razvoj kako pojedina?ni tako i cjelokupne kompanije u sinergiji s drugim zemljama koncerna koja je posebno do?la do izra?aja u periodu iza nas. Tako smo u julu predstavili i na? e-shop na platformi BH Po?te, na kojem kupcima nudimo mogu?nost kupovine proizvoda na?ih robnih marki kao i na?ih partnera iz udobnosti i sigurnosti njihovih domova.

We are honoured t o collaborat e wit h Sarajevo Film Fest ival Interview with Damir ?losel, director of dmBiH Wh en did you r collabor at ion w it h t h e Sar ajevo Film Fest ival begin ?

The collaboration between dm and Sarajevo Film Festival began when dm became the sponsor of Operation Kino in 2018. The concept of screening festival films in different cities of Bosnia and Herzegovina

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 ?

Godinama ve? osobno prisustvujem prikazivanju izuzetnih filmskih ostvarenja na SFF-u i ljeto nije ljeto bez prisustva nekoj od atraktivnih projekcija na otvorenom i to ?e mi, kao i mnogima sigurno nedostajati.

Pored uvijek kvalitetnih igranih filmova iz takmi?arskog programa, primjetio sam nekoliko vrlo interesantnih naslova iz dokumentarnog programa kojima ?u posvetiti posebnu pa?nju.

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

Forrest Gump bi rekao: ??ivot je kao bombonjera ? nikad ne zna? ?to ?e? dobiti?.

Sli?no je sa otkrivanjem i ?konzumiranjem? nekog od ponu?enih filmova ovogodi?njeg programa, treba ne?to odabrati i jednostavno - u?ivati.

seemed an excellent way to promote culture and supplement cultural life in smaller communities. A year later, dm became the silver sponsor of the Sarajevo Film Festival, and this year an exclusive sponsor. We are especially pleased that the organisers have, with the protection of our citizens in mind, recognized the need to hold the Festival in an online format and we believe that in this way even more BH citizens will have a chance to tune into this year 's programme from the comfort of their own homes.

Wh y do you t h in k su ppor t in g a f est ival su ch as t h is is of gr eat im por t an ce?

Cultural, social, economical and ecological sustainable actions are an indispensable part of doing business and entrepreneurial culture. We give special importance to

cultural engagements through which we wish to participate in the social organisation and promotion of cultural life for many years to come. We see the Sarajevo Film Festival as an important cultural event, not just for Sarajevo but for the entire Bosnia and Herzegovina. The importance of the Festival is reflected in the continuity of its holding over the years, as well as in the attention it deservedly gets, not just in BiH but also in the entire region and even further. Therefore, it is a great honour for dm to be a part of a great project such as this which crosses the borders of BiH and every year invokes even greater interest of ordinary citizens-audience and expert public.

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 oper at ion s?

In light of the fact that dm is a drugstore and an important place for the supply of everyday products which are necessary, such as food, baby care products, products for special dietary routines, food supplements, household supplies, cleaning and safety products, etc. We have tried to be here for our clients since the beginning of the Covid-19 pandemic whilst respecting all regulations set by the responsible authorities regarding business operations, working hours and safety measures. We have tried to act in accordance with every new situation, doing successful business and keeping liquidity at a level which has enabled us to supply our stocks in a timely manner. Together with our suppliers we have managed to ensure sufficient amounts of goods for our clients needs even in the most challenging situations for procurement and delivery. A significant part of the planned campaigns and activities has been cancelled or prolonged, with the knowledge

that this was not our clients?priority during this situation in which we have found ourselves in. In the spirit of constant improvement of business and situational learning, this was an opportunity both for individual development as well as the development of the entire company in synergy with other countries of the concern which was especially evident in the period behind us. This is why we have presented our e-shop in July on the BH Post platform, with which we offer our clients the option to buy our products as well as our partner products from the comfort and safety of their homes.

Th is year ?s pr ogr am m es of t h e Sar ajevo Film Fest ival w ill be h eld on lin e via t h e ?on dem an d.sf f .ba? plat f or m . Wh ich of t h e pr ogr am m es gr abs you r at t en t ion t h e m ost ?

For years I have personally been present at the screenings of exceptional film achievements in SFF, and summer is not summer without the presence of some of the attractive screenings in the open which will personally, as well as by many others, be missed. Other than quality films from the competition programme, I have noticed a few interesting titles from the documentary programme to which I will pay special attention.

Wh ich ar e t h e f ilm s f r om 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?

Forrest Gump would say: ?Life is like a box of chocolates ? you never know what you?re gonna get?. This is the same with discovering and ?consuming? some of the offered titles of this year ?s programme, simply choose something and enjoy.