26thSFF Festival Daily #6

Fest ival Daily Srijeda/ Wednesday/ 19. August 2020.

Film ne um ire i sve ?e nas nad?ivjet i Bianca Lucas, selektorica programa Evropski kratki filmovi ?Evr opsk i k r at k i f ilm ovi? je pr ogr am u sm jer en n a n ove glasove evr opske k in em at ogr af ije, pa m o?et e li n am r e?i ?t a m o?em o o?ek ivat i od ovogodi?n je selek cije?

U ovogodi?njoj selekciji je 13 filmova iz 9 evropskih zemalja. Svi filmovi su svje?i, odva?ni, istra?iva?ki i igraju se formom ? sve va?ni kriteriji koji definiraju sekciju Evropskih kratkih. Mo?ete o?ekivati da ?e vas iznenaditi, obuzeti i definitivno dirnuti.

Da li je bilo t e?k o izvr ?it i selekciju zbog t r en u t n e sit u acije sa COVID19?

Moram re?i da sam izuzetno impresionirana organizacijom sli?nih festivala, platformi i filmskih agencija. Bilo je mnogo divnih prijava, a pronala?enje filmova na drugim mjestima olak?ali su organizacija i spremnost kolega selektora, prodajnih zastupnika i institucija da pomognu. ?ak bih se usudila re?i da su se 2020. godine pojavili filmovi kakve nisam vidjela godinama - tu?na sam zbog divnih radova koji ne dobivaju pa?nju kakvu bi trebalo: u divnom velikom kinu, u mraku, s desetinama ljudi ujedinjenih u ti?ini, pogleda prikovanih za ekran. Ali film ne umire i sve ?e nas nad?ivjeti. Ovo je tek po?etak njegovog putovanja.

Pr im ijet ili sm o povr at ak popu lar n ost i k r at ke f or m e f ilm a n a ser visim a za pr ijen os pu t em in t er n et a pr ot ek le godin e.

M islit e li da je do?lo do pr om jen e u sh va?an ju ?t a gledat elji dan as ?ele vidjet i?

Mislim ? ili mo?da nadam se ? da smo se mi kao ?ovje?anstvo po?eli umarati od konzumiranja samo 'sadr?aja'. Sati sadr?aja

osmi?ljenog samo u svrhu odvla?enja pa?nje.

Imam osje?aj da se javlja sve ve?a glad za zna?enjem, za autenti?no??u. Mo?da vi?e ne ?elimo da nam se odvla?i pa?nja, mo?da se ?elimo povezati, suo?iti se s te?ko?ama, pa ?ak i sa apsurdom, ljudskog bi?a i ?ivota.

Kratki filmovi to mogu ponuditi na isti na?in kao i dugometra?ni filmovi, uz dodatnu korist ve?e slobode istra?ivanja, jer nisu optere?eni ugovornim i finansijskim obavezama kao mnogi dugometra?ni filmovi. Tu postoji fascinantan, divlji svijet genijalnih umova, pogleda i ljepote i zaista vjerujem da dana?nji kratki film to odra?ava.

Zan im a m e k oje t em e i doga?aji sm at r at e da ?e bit i zajedn i?k i i in spir acija za m lade r edat elje?

Kako sam uspjela primijetiti gledaju?i prijavljene i prona?ene filmove ove godine, to je ne?to sli?no onome ?to sam ve? opisala.

Mislim da su mladi redatelji spremni razbiti kalup vi?e nego ikad. Osje?am da iz ove selekcije dolazi kolektivni povik: ne skre?ite pogled! Svijet se mijenja i ljudi su zbunjeni, upla?eni i ?ude za povezivanjem. Mi kao ljudska bi?a ne?emo prestati stalno biti u krivu i bojati se gubitka ili promjene ? ?to se stalno de?ava, ali sada mo?da uve?ano.

Filmovi u sekciji Evropski kratki filmovi govore: ?Uredu, uzmi me za ruku, pogledajmo ovo. Samo zato ?to je nepoznato, ne zna?i da je lo?e. Ni?ta nije gore od poricanja. Budimo hrabri zajedno.? Veoma sam ponosna na ove redatelje i to ?to vam ih mogu predstaviti.

Ar m an Fat i?

A film does not die, and will out live us all Interview with Bianca Lucas, selector of European Shorts ?Eu r opean sh or t s? is t h e pr ogr am m e t h at f ocu ses on t o t h e n ew voices in Eu r opean cin em a, so can you t ell u s, w h at can w e expect f r om t h is year 's select ion .

This year ?s selection features 13 films from 9 European countries. All the films are fresh, brave, exploratory and play with form- all defining and important criteria of the European Shorts section. You can expect to be surprised, transported, and definitely touched.

Was it dif f icu lt t o m ak e a select ion du e cu r r en t COVID19 sit u at ion ?

I must say, I am incredibly impressed by the organization of fellow festivals, platforms and film agencies. There were many beautiful submissions, and scouting elsewhere was made easy by how organized and ready to help fellow programmers, sales agents, and institutions were. I would actually go as far as to say that 2020 had the best crop of films I had seen in years- I am saddened by all those beautiful works not getting the exposure they should have: in a beautiful big theatre, in the dark, with dozens of people united in silence, eyes lazered to the screen. But a film does not die, and will outlive us all.

We h ave seen a cer t ain r eem er gen ce in popu lar it y of sh or t f or m on st r eam in g ser vices in a past year . Do you t h in k t h at t h er e is a sh if t in a m in dset of w h at view er 's w an t t o w at ch n ow adays?

I think- or rather perhaps hope- that we as a humanity are starting to grow weary of consuming just ?content?. Hours on end of content designed solely for the purpose of distracting us. I feel that there is a rising hunger for substance, for authenticity.

Maybe we do not want to be distracted anymore, maybe we want to connect, face the difficulty, and even absurdity, of being a human and being alive. Short films can offer that the same way feature films can, and with the added benefit of being much more free in their explorations, because they are not weighed down by the contractual and financial obligations many a feature film is. There is a fascinating, wild world of brilliant minds, perspectives and beauty out there, and I truly believe it is reflected in short film today.

I?m cu r iou s w h at t h em es an d even t s do you see as n ext com m on gr ou n d, t h e in spir at ion f or you n g dir ect or s?

From what I have managed to glean watching submissions and scouting films this year, it is something along the lines of what I just described above. Young directors I feel are ready to break the mold more than ever. There is a collective cry that I feel coming from the selection: don?t turn your eyes away! The world is changing and people are confused, scared, and yearning for connection. We as humans will not cease to get it wrong all the time, and be scared of loss, or change- which is always happening, but perhaps now in a magnified way. Films in the European Shorts section are saying: ?Okay, take my hand, let?s look at this. Just because it is unknown, doesn?t mean it?s bad. Nothing is worse than denial.

Let?s be brave together.? And I am so very proud of those filmmakers and being able to introduce them to you.

Ar m an Fat i?

Nada u prom jene Intervju sa Michalisom Konstantatosom, redateljem filma ?Svi ti lijepi mali konji?

Va? f ilm se m o?e pr im ijen it i n a svak u zem lju koja pr olazi ekon om sk u k r izu . Lju di k oji su ost ali bez posla s m u kom se bor e pr ot iv izm ican ja t la pod n ogam a. Gu bit ak sam opo?t ovan ja i st r ah od pu k og pr e?ivljavan ja dovode n eke od n jih do o?ajn i?k ih pot eza. Pr vo se pojavlju ju m ale, bezopasn e la?i, zat im ve?e, i n a k r aju se cijeli ?ivot pr et var a u la?. Kolik o du go se m o?em o pr et var at i da ?ivim o ?ivot k oji si (vi?e) n e m o?em o pr iu ?t it i? Toliko koliko je istini potrebno da ispliva, ?to ?e se neizbje?no desiti.

Mo?emo se samo nadati da ?emo tada biti u stanju nositi se sa posljedicama. Zapravo, na? identitet ne odre?uju samo osobine i zna?ajke koje nas ?ine onim ?to jesmo nego i lice koje pokazujemo javnosti. Tu sliku stalno nastojimo graditi obrazovanjem i radom, romanti?nim vezama, mjestom u obitelji i dru?tveno-politi?kim stavovima. S vremenom, ta javna slika postaje tvr?ava koju svakodnevno moramo braniti. Kada - i ako - je neko prisiljen napustiti ovu tvr?avu, njegova prva reakcija je poricanje da se to doga?a. U ovom stanju poricanja govore se sitne la?i jedna za drugom i svaka se nastavlja na prethodnu ?to na kraju stvara ogromnu strukturu neistine. Ove la?i govorimo prije svega sebi, kao odbrambeni mehanizam koji nas ?uva od razaraju?e istine. ?esto ih prati ?utnja kao mehanizam kojim

odr?avamo stabilnim na? "spokoj", tu po?eljnu sliku koju je treba odr?avati. Prestajemo istinski komunicirati, pribjegavamo taktikama zavaravanja u razgovoru ili radije ne govorimo uop?e. Ispod ove ti?ine, me?utim, ?estoka, vrela istina prijeti da nepredvidivo prsne i pokulja van, ko zna kuda.

Pozn at o je iz m edija i f ilm ova da je ek on om sk a k r iza u pr et h odn om per iodu sn a?n o pr ot r esla Gr ?k u . Jesu li r eakcije n a egzist en cijaln u k r izu k ak ve pok azu ju Alik i i Pet r os, k oji se pr et var aju da vode pr edivan ?ivot dok se izn u t r a slam aju , t ipi?n e i r aspr ost r an jen e?

Ekonomska kriza je uzdrmala na? na?in ?ivota.

Nisam siguran da nas je to nau?ilo i?emu, osim ?to pa?ljivije vodimo osobne financije. Treba naglasiti da kriza u Gr?koj, i op?enito u Europi, nije samo ekonomska kriza, ona uklju?uje i dublju krizu na?ih vrijednosti. Ljudska bi?a i njihove intelektualne i duhovne potrebe sve su vi?e ?u?kana sa strane; u Gr?koj obrazovni sistem polako klizi u mra?no doba, na?e javno zdravstvo - ?ak i nakon uznemiruju?ih upozorenja o COVID 19 - veoma je degradirano.

Upravljanje krizom tra?i zrelost, hladnu glavu i razumijevanje samog sebe. Prvo moramo prepoznati vlastite gre?ke, prou?iti ih i zatim ih poku?ati ispraviti. U tome je velika borba junaka mog filma. Aliki i Petros isprva ne prihva?aju novonastalu situaciju. Poku?avaju odr?ati ?vanj?tinu? iako su kolabrirali iznutra. Rekao bih da je ovo pona?anje prili?no tipi?no i ?iroko rasprostranjeno. Kod nas obitelji smatraju da je bolje da susjedi ne znaju za na?e probleme.

Porodice su uvijek ?ivjele i ?ive s zatvorenim prozorima i navu?enim zavjesama kako susjedi ne bi vidjeli ili ?uli na?e probleme, tako da nas ne mogu ogovarati iza le?a ili nas vidjeti kao manje uspje?ne, manje bogate ili kao ljude iz ni?e klase.

Ali pitam se... kako ?emo ikada imati iskrene veze ako nikada ne stanemo goli jedno ispred drugog?

Pet r os je n a f ilm u u bio dva psa i pok u ?ao pr isilit i su pr u gu n a n e?eljen i sek s. Alik i je, s dr u ge st r an e, u jedn om t r en u t k u pok u ?ala u bit i st ar ca o kojem sk r bi ali se, u ?asn u t a, zau st avila pr ije n ego ?t o m u je n au dila.

Govor im o li ovdje o r azli?it im r eak cijam a n a st r es, r azli?it im n a?in im a su o?avan ja sa n eizvjesn o??u i r azli?it im pr agovim a t oler an cije? Kolik o je pad zaposlen ost i doveo do por ast a u k u pn e st ope n asilja u dr u ?t vu ?

Da, vjerujem da jeste. Jasno je da se u dru?tvima u kojima nezaposlenost raste pove?ava se i sveukupni nivo nasilja kako na?a briga za opstanak raste a konkurencija postaje sve ?e??a.

Bogatstvom se obi?no "kupuje" udobnost, konstruirani osje?aj sigurnosti maskiran kao zadovoljstvo. Kada pojedinac svoju osobnu predstavu o sre?i bazira na ovom konstruktu, ne ?udi ?to ?e, kada se konstrukt sru?i, iznenada otkriti da ispod njega nema ni?ega osim deformiranog, smrdljivog le?a kojemu hitno treba transfuzija krvi drugih ljudi ako ima imalo nade za uskrsnu?e. Agresivno pona?anje i nasilni postupci ?esto su samo reakcija na stres. Vidimo to ?ak i kod vrlo male djece koja se verbalno ne umiju nositi sa stresnim situacijama koriste?i argumente i logiku. Kada ih ne?to brine, na primjer nedostaju im roditelji, ili ako ne mogu dobiti ne?to ?to ?ele, itd... pona?aju se nasilno prema drugima a ?esto ?ak i prema sebi. U drugom primjeru, rasisti?ko pona?anje u dru?tvima u velikoj mjeri temelji se na kompleksu inferiornosti koji izaziva ansksioznost kod rasista. Problem se, naravno, poja?ava u periodima ekonomske krize i previranja jer nivo tolerancije postaje prili?no nizak.

Iako je t em a f ilm a vr lo t e?k a, u n jem u je i m n ogo ljepot e. Pr edivn i pejsa?i pr ovin cijskog gr ?kog pr iobalja, jasn e boje M edit er an a, ?ir ok i k adr ovi, zgodn i glavn i glu m ci i pr eslat k i dje?a?i? u sn a?n oj su su pr ot n ost i sa u n u t ar n jom dr am om koju pr olazi m ala

obit elj. Kr ajolik i glazba im aju u m ir u ju ?i u ?in ak dok se n jih ov ?ivot m r vi u pr ah pr ed o?im a gledat elja. Jest e li n am jer n o m ilovali n a?e o?i dok n am se st om aci ok r e?u od m u k e?

Vanjska je ljepota oduvijek bila prolazna i zbunjuju?a, eto ?to je u tome tako lijepo! Ljepota trenutka, ljepota novine, ljepota sada?njosti je vrlo privla?na i u njoj treba u?ivati. Ako ju ne prati njegovanje unutarnje ljepote, onda po?inju problemi. Mislim da se anksioznost o kojoj govorite u pitanju ne razlikuje od moje aksioznosti spram pitanja ho?e li ti ljudi izdr?ati do kraja. Veoma mi je zanimljivo promatrati detalje u razli?itim situacijama i prona?i one sitnice koje ?ine razliku. Proces je jo? ljep?i kada promatram stvari sa kojima je, na prvi pogled, sve u redu. Ono ?to pru?am na ekranu je osje?aj koji imam kada promatram takve stvari oko sebe. Tamo gdje ima ljepote, mira i sunca, tamo patogeno pona?anje mo?e rasti i postati jo? opasnije (jer je prikriveno). Najmra?nija ta?ka tame mo?e se sakriti pod sjajem sunca. I volim otkrivati takve stvari.

Na k r aju n e vidim o t r en u t ak odlu ke, sam o pu t i au t om obil k oji n egdje vozi. Vr a?a li se m ala obit elj u At in u ili ide n apr ijed u bu du ?n ost ?

Mislim da je preseljenje glavnih junaka na kraju filma ujedno i njihovo iskupljenje. Ne mislim doslovce na preseljenje nego na odlazak od gliba i zabluda u kojima ?ive. Na kraju filma postoji nada. Automobil na?ih junaka gubi se me?u drugim automobilima, me?u drugim ljudima koji su mo?da pro?li kroz isto emocionalno putovanje. Nije va?no idu li u Atinu ili negdje drugo. Va?no je da zajedno kre?u u budu?nost.

Vi?e nisu zaglavljeni u inerciji. Prouzro?ili su bol, trpjeli su bol, ali su odlu?ili ostati zajedno i nastaviti svoje ?ivote ne kao lovljene zvijeri, ve? kao svjesni ljudi. U svjesnosti le?i jedina istinska nada za ljude, veze i dru?tva. Nekad imamo dovoljno sre?e da se osvijestimo bez trpljenja bola, drugi put nemamo. Va?no je razviti svijest.

Ona mo?e smiriti nemir i ubla?iti bol koji nemir donosi. Samo uz obrazovanje i njegovanje na?e svijesti mo?emo se uistinu nadati. I tek tada se zaista mo?e nadati promjenama.

M ar in ela Dom an ?i?

Hope for change Interview with Michalis Konstantatos, director of the film ?All the pretty little horses?

You r f ilm is so applicable t o m an y cou n t r ies goin g t h r ou gh econ om y cr isis.

People w h o h ave lost t h eir jobs f in d it dif f icu lt t o cope w it h t h e slippin g of t h e gr ou n d u n der t h eir f eet . Loss of self -est eem an d f ear of plain su r vival lead som e of t h em t o m ak e desper at e m oves. Fir st sm all, h ar m less lies appear , t h en bigger on es, an d f in ally t h e w h ole lif e t u r n s in t o a lie. How lon g on e can w e pr et en d t o live a lif e t h at (n o lon ger ) can af f or d?

For as long as it takes for the truth to burst through; which it inevitably does. What we can hope for is to be equipped to handle the consequences of that moment. Our identity is in fact defined not only by the traits and characteristics that make us who we are, but also by the public image which we present. We find ourselves in a continual effort to formulate our image through education and work, through romantic relationships, through our place in the family and our thoughts on socio-political issues. Over time, this public image becomes a fortress which we have to defend every day. When ? and if ?

someone is forced to abandon this fortress, their very first reaction is a denial that this is happening. In this state of denial, little lies are told one after the other, each building upon the last, to eventually form a massive structure of falsehood. We tell these lies first and foremost to ourselves, as a defence mechanism to withstand the impact of a devastating truth. This is often followed by silence, a mechanism which maintains the stability of our ?serenity,? a convenient image to cultivate. We stop to truly communicate, resorting to disorienting tactics in conversation or preferring not to speak at all. Beneath this silence, however, fiercely boiling truth threatens to bubble up and burst through in any direction, unpredictably.

We k n ow f r om t h e m edia an d m ovies t h at t h e econ om ic cr isis of pr eviou s year s h as ser iou sly sh aken Gr eece. You k n ow abou t it f ir st -h an d. Ar e t h e r eact ion s t o t h e exist en t ial cr isis of Alik i an d Pet r os, w h o pr et en d t o live a w on der f u l lif e w h ile br eak in g dow n in side, t ypical an d w idespr ead?

The economic crisis has shaken our way of life. I?m not sure that it has taught us anything beyond having a more thoughtful balancing of our personal finances.

However, it must be emphasized that the

crisis in Greece, and generally in Europe, is not only an economic crisis, but it involves a deeper crisis of our values. Human beings and their mental and spiritual needs are pushed ever more to the side-lines; in Greece the education system is slowly sliding back towards the Dark Ages, our public healthcare ? even after the unsettling warning shots fired by COVID-19 ? is still very much degraded. Managing a crisis requires maturity, a cool head and an understanding of one?s self. We have to first recognize our own mistakes, study them and then try to correct them. Which is also the great struggle of the heroes of my film. Aliki and Petros are at first in denial of their new situation. Even though they have collapsed on the inside, they are trying to maintain the ?faรงade?. I would say that this behaviour is quite typical and widely adopted. We have adopted this idea in our households that it is better if the neighbours don?t know of the problems we face. Families have always lived and still live with the windows shut and curtains drawn in case the neighbours see or hear of our problems, so that they don?t talk behind our backs, or see us as less successful, less wealthy or lower-class. But I wonder? how will we ever have genuine relationships if we never once stand bare and naked in front of each other?

Pet r os k illed t w o dogs in t h e f ilm an d t r ied t o f or ce h is w if e t o h ave u n w an t ed sex. Alik i, on t h e ot h er h an d, at on e poin t t r ied t o k ill t h e old m an sh e w as car in g f or an d st opped in h or r or w it h ou t h u r t in g h im . Ar e w e t alk in g h er e abou t dif f er en t r eact ion s t o st r ess, dif f er en t w ays of dealin g w it h u n cer t ain t y, an d dif f er en t t oler an ce t h r esh olds? Has t h e declin e in em ploym en t led t o an in cr ease in t h e over all r at e of violen ce in societ y?

Yes, I believe so. It is clear that in societies

where unemployment rises, so does the overall level of violence, as our anxiety for survival grows and competition becomes fiercer. Wealth is usually used to ?buy? comfort, a constructed sense of security masquerading as contentment. When an individual builds their personal idea of happiness on top of this construct, it is no surprise that when the construct collapses, they will suddenly discover that beneath it lies nothing but a deformed, malodourous cadaver in immediate need of an injection of other people?s blood, if it is to have any hope of resurrection. Aggressive behaviour and violent acts are often nothing more than a reaction to stress. We see this even in very young children, who are not equipped to handle stressful situations verbally, using arguments and logic. When they are anxious about something, for example if they are missing their parents, or if they can?t get something that they want etc.? they act out violently towards others and often even towards themselves.

In another example, racist behaviours in societies are based, to a great extent, on an anxiety-inducing inferiority complex of the racist. The problem is of course amplified in periods of economic crisis and turmoil, since the level of tolerance becomes quite low.

Alt h ou gh t h e t h em e of t h e f ilm is ver y dif f icu lt , it also h as a lot of beau t y. Th e beau t if u l lan dscapes of t h e Gr eek coast al pr ovin ce, t h e br igh t colou r s of t h e M edit er r an ean , t h e w ide sh ot s, t h e h an dsom e m ain act or s an d t h e ador able lit t le boy ar e in st ar k con t r ast t o t h e in n er dr am a t h at a sm all f am ily goes t h r ou gh . Th e scen er y an d m u sic h ave a calm in g ef f ect as t h eir lives cr u m ble t o du st bef or e t h e eyes of t h e view er s. Did you deliber at ely car ess ou r eyes w it h a calm beau t y as ou r st om ach s t u r n w it h agon y?

External beauty has always been fleeting and misleading, this is what is so beautiful about it! The beauty of the moment, of novelty, of ?now? is very attractive and at the same time it is necessary to enjoy it. If this is not accompanied by the cultivation of internal beauty, then we start to have problems. The anxiety that you describe in your question, I think, is no different than the anxiety I myself have for whether or not people will make it in the end? It is very interesting to me to observe the details in various situations and find those small things that make the difference. This process is even more compelling when I am observing things that, at first glance, do not appear to have anything wrong with them. What I am delivering on the screen, therefore, is the feeling that I have, when I am observing such things around me. Where there is beauty, peace and sunshine, there pathogenic behaviour can grow and become even more dangerous (because it is obscured). The darkest point of darkness can hide under the shining of the sun. And I like to discover these things.

In t h e en d w e don?t see a m om en t of r esolu t ion , ju st a r oad an d a car dr ivin g som ew h er e. Is t h e sm all f am ily goin g back t o At h en s or f or w ar d t o t h e f u t u r e?

I think that the relocation of the protagonists at the end of the film is also their redemption. I?m not talking about relocation in the literal sense, but in the sense that they move themselves away from the swamp and the delusion that they have been living. In the end of the film, there is a sense of hope. Our heroes? car is lost amongst the other cars, amongst other people who might have gone through the same emotional journey. It isn?t that important whether they?re going to Athens or anywhere else.

What?s important is that they are moving on towards a future together. They become unstuck from inertia. They caused pain, they suffered pain but they decided to stick together and move forward with their lives, not as hunted beasts but as people of conscience.

Conscience is the only true hope for people, relationships and societies.

Sometimes we are lucky enough to develop a conscience without enduring pain, and other times we are not. The important thing is to develop it.

Conscience is that which can settle the turmoil and soothe the pain that turmoil brings. Only through education and the cultivation of our conscience, can we truly hope. And only then, can there truly be hope for change.

M ar in ela Dom an ?i?

Filmovi daju glas tabu temama, ali rijetki dovode do promjena Intervju sa ? urom Gavranom, rediteljem filma ?Jedna od nas?

Kolik o Vam k ao au t or u zn a?i ?t o ?e svjet sk a pr em ijer a Va?eg f ilm a bit i odr ?an a n a Sar ajevo Film Fest ivalu , posebn o jer je r azvijan i u sk lopu f est ivalskog Docu Rou gh Cu t Bou t iqu ea?

Iskustvo Docu Rough Cut Boutiquea bilo nam je bilo beskrajno dragocjeno. Imali smo vrlo ozbiljne i konstruktivne razgovore oko grubog ?nita sa doma?im i stranim kolegama iz filmske industrije. Kako se radnja filma doga?a u jednom malom restoranu, u neidentificiranom mjestu, gdje se deset ljudi okuplja na proslavi godi?njice mature, grubi ?nit koji smo imali na po?etku DRCB-a bio je jako brbljava, kaoti?na verzija filma, prepuna internih ?ala i prisje?anja na srednjo?kolske dane, u kojoj se ne doga?a skoro pa ni?ta zanimljivo, osim ?injenice da jedna tema

izaziva nelagodu kod svih prisutnih i da vrlo te?ko pronalazimo put kako o njoj progovoriti. Monta?no i dramatur?ki bio je dosta zahtjevan zadatak slo?iti sve u cjelinu na na?in da film funkcionira. Mene i monta?erku Ninu Velni? najvi?e je zanimalo mi?ljenje gledatelja izvan na?eg kulturolo?kog i jezi?nog kruga. DCRB nam je omogu?io da dobijemo povratnu reakciju od ljudi iz cijeloga svijeta. Vrlo vrijedno iskustvo koje je definitivno utjecalo na finalni izgled filma Jedna od nas.

Nakon dokumentarnih filmova Presuda i Veliki dan ovo je tre?i film kojim se predstavljam sarajevskoj publici. Imati svjetsku premijeru filma u sklopu Sarajevo Film Festivala za mene je svaki put bila velika ?ast, priznanje i sre?a. Tako je i ovaj put.

Tem a silovan ja, posebn o k ada je r ije? o obit eljskom zlost avljan ju i dalje je n aj?e??e t abu t em a. Za?t o u pr avo ova t em a u f ok u su Va?eg u m jet n i?k og in t er esa?

Ovaj film je odgovor na vrlo neugodnu i bolnu ?ivotnu situaciju u kojoj sam se na?ao.

Uo?i petnaeste godi?njice mature na razrednoj mailing listi, koja o?ivi svake pete godine kada se planiramo okupiti, zapo?eli smo sa dogovaranjem oko datuma i lokacije ve?ere. Dok smo se mi nabacivali sa slobodnim terminima, jedna razredna kolegica nam je poslala mail u kojem iznosi svoju ?okantnu ?ivotnu pri?u. To je bilo toliko potresno i neo?ekivano da sedam dana nisam znao kako da uop?e procesuiram tu situaciju, ?to da ka?em, mislim, kako da se postavim. Iz tog kaoti?nog stanja ?oka, ispunjenog nevjericom, boli, ljutnjom, osudom, neprihva?anjem, propitivanjem, shvatio sam da je jedini suvisli od-govor na to pismo da napravim film.

Od samog po?etka sam znao da ne ?elim raditi film o njenom slu?aju, ve? o na?oj nemo?i da prihvatimo koliko je problem seksualnog zlostavljanja djece prisutan u na?em dru?tvu i kako se te?ko suo?avamo s njim. Ovo je tabu tema u gotovo svim dru?tvima, o njoj je te?ko govoriti, nju je te?ko prihvatiti, o njoj jako malo znamo.

Ona je za ve?inu ljudi samo vijest iz crne kronike ili tema mu?nog igranog filma.

Odm ah u z t em u sek su aln og zlost avljan ja djece, t u je t em a ?u t n je, st ida, por ican ja... Kolik u sn agu im a f ilm ? u m jet n ost , da pok r en e n ek e st var i, da im da glas?

Mislim da film i umjetnost imaju snagu odre?enim temama koje su tabu na?eg dru?tva dati glas, ali samo rijetki dovode do stvarnih promjena. Naivan kakav jesam

vjerujem da je ovo jedan od tih rijetkih filmova koji ?e dovesti do stvarnih promjena. Ba? i ovi razgovori koji prate izlazak filma prilika su da publika, ?itatelji ?uju neke osnovne ?injenice vezane uz problem seksualnog zlostavljanja djece, kako bi reagirali na primjeren na?in ako se i oni na?u u situaciji da im se dijete ili odrasla osoba povjeri.

Prema statistikama svako peto dijete u Europi je seksualno zlostavljano. Znamo li ovu informaciju onda nam je jasno da je vjerojatno ve?ina nas u razredu imala nekoga tko je pro?ivljavao neku vrstu zlostavljanja. Osamdeset posto slu?ajeva de?ava se unutar obiteljskog kruga, ili je po?initelj blizak sa ?rtvom i njegovom obitelji koji vje?tom manipulacijom tjeraju ?rtve da se povla?e u sebe jer osje?aju strah, sram i krivnju, gube samopouzdanje i samopo?tovanje. Neka djeca toliko su malena da ni ne shva?aju ?to im se doga?a, ne znaju kako i od koga zatra?iti pomo?.

Istra?ivanja su pokazala da tek 20% djece progovori o seksualnom zlostavljanju unutar mjesec dana od po?injenog zlodjela. To dijete nas je izabralo jer u nas ima povjerenja i ?eli da mu pomognemo da se izvu?e iz pakla koji pro?ivljava. Ako u tom trenu ne znamo ove bazi?ne informacije, tada nam je lak?e dijete uvjeriti da to ?to se dogodilo mo?da i nije ba? tako, nego se suo?iti sa brutalnom realno??u da je postalo dio statistike. Preko 57% djece potrebno je vi?e od 5 godina da prijave zlostavljanje, a njih 20% zauvijek ?ute. ?ivimo u zabludi da nikada nismo sjedili pored zlostavlja?a ili se dru?ili s djetetom ili odraslom osobom koja je zlostavljana. ?Jedna od nas? je film o reakcijama dru?tva na otkrivanje seksualnog zlostavljana djece. Reakcije koje vidimo u filmu su univerzalne i pod izravnim su utjecajem onoga ?to mi mislimo, znamo i osje?amo o seksualnom zlostavljanju djece. Sve dok su

na?e reakcije bol, stres, nevjerica i ?ok djeca ne?e progovoriti. Ona ne ?ele biti razlogom da se mi tako osje?amo, ili da se njihova obitelj raspadne.

Film sam po sebi ne?e educirati gledatelja, ali ?e ga nadam se zainteresirati da posjeti edukativnu platformu www.jednaodnas.com koja ?e ga pratiti i po prvi puta na ovim prostorima nuditi sadr?aj isklju?ivo namijenjen informiranju i edukaciji vezanom uz seksualno zlostavljanje djece. To je mjesto na kojem ?e se mo?i prona?i sadr?aj vezan uz ovu temu: ?lanke, razgovore s relevantnim stru?njacima iz Hrvatske, ?esto postavljana pitanja, relevantne linkove za postoje?e help-linije, gdje ?e ?rtve mo?i anonimno objaviti svoju ispovijest, gdje ?e roditelji na?i jednostavne korake kako se pona?ati ako im se njihovo dijete povjeri i jo? puno drugog korisnog sadr?aja.

M ada dok u m en t ar n i r ad, va? f ilm blago ost avlja dojam igr an ih r adova popu t " 12 An gr y M an" . On o ?t o je izr azit o zan im ljivo je t o da je f ilm dobr im dijelom

izveden k ao n iz plan / kon t r aplan k adr ova.

Kolik o je bilo t e?ko pr ibli?it i em ocije i t en ziju pu blici u ovako m in im alist i?kom pr ist u pu ?

Mo?da se odgovor krije u ?injenici da smo film snimili u jednoj ve?eri, a montirali ga vi?e od godinu dana. Dodu?e snimljen je s tri kamere i petnaest mikrofona. Iz tog razloga nije bilo te?ko, jer smo imali dobro pokriven cijeli stol i dovoljno kadrova za biranje. Ono ?to je bilo te?ko, bilo je napraviti film u kojem gledatelja guramo do krajnjih granica izdr?ljivosti slu?anja ispraznih pri?a nepoznatih ljudi koji piju, jedu i smiju se vlastitim forama, dok on osje?a velikog slona u prostoriji koji mu izaziva nelagodu. Ta te?ina s kojom gledatelj prati film, je ista ona te?ina koju smo mi osje?ali za stolom dok smo pronalazili na?ine kako da razgovor na temu odgodimo za jo? jednu rundu pi?a.

Ar m an Fat i?

dm drogerie markt BiH U Bosni i Hercegovini dm je osnovan 2005. godine, a prva bh. dm prodavnica otvorena je u junu 2006. u?sarajevskom naselju Dobrinja.

Danas je dm zastupljen ?irom BiH sa 75 prodavnica ure?enih prema dm standardima. Asortiman dm-a u BiH obuhvata preko 14.000 proizvoda za ljepotu i zdravlje, bebe i doma?instvo, hranu za ku?ne ljubimce, tekstilnu robu i sezonske proizvode, kako poznatih svjetskih tako i doma?ih proizvo?a?a. Asortiman dopunjavaju i 32 dm robne marke. U cjelokupnom asortimanu posebno mjesto zauzimaju bio hrana i prirodna kozmetika.

Films give voice to taboo topics, but rarely lead to changes Interview with ? uro Gavran, director of the film ?One of Us? How m u ch does it m ean t o you as an au t h or t h at t h e w or ld pr em ier e of you r f ilm w ill be at t h e Sar ajevo Film Fest ival, par t icu lar ly sin ce it w as also developed w it h in it s Docu Rou gh Cu t Bou t iqu e?

Our experience with the Docu Rough Cut Boutique was immensely valuable. We had some very serious and constructive discussions about a rough draft with local and international colleagues from the film industry. Since the plot takes place in a small restaurant, at an unidentified location, where ten people gather for a high-school reunion, a rough draft from the beginning of DRCB was a very chattery, chaotic film version, filled with inside jokes and memories of high-school days, where almost nothing interesting happens, except for the fact that one topic makes everybody there uncomfortable, and the way to talk

about it is very hard to find. In terms of editing and dramaturgy, putting it all together in a way to make the film function was a very difficult task. Our editor Nina Velni? and I were primarily interested in the opinion of directors outside our cultural and linguistic circle. DCRB helped us receive feedback from people all over the world. It was a truly valuable experience, which definitely affected the final version of ?One of Us?.

After Verdict and Big Day, this is the third documentary presented to the audience in Sarajevo. Having the world premiere at the Sarajevo Film Festival was a great honour, recognition and happiness for me each time. It is the same this time around.

Th e t opic of r ape, especially w h en it com es t o dom est ic abu se, is st ill t h e m ost f r equ en t t aboo. Wh y is t h is

par t icu lar t opic in t h e f ocu s of you r ar t ist ic in t er est ?

This film is a reaction to a very uncomfortable and painful life situation in which I found myself. In the wake of the 15th high-school anniversary, the class mailing list, which is activated every five years when we plan to get together, was used to arrange the date and location for the dinner. While we were suggesting available dates, one of our classmates shared with us her shocking life story in an email. It was so shocking and unexpected that for a week I did not even know how to process the situation, what to say, think, how to act. From this chaotic state of shock, filled with disbelief, pain, anger, condemnation, rejection, questioning, I realised that the only coherent response to the email was to make a film.

From the very beginning I knew I did not want to make a film about her case, but about our inability to accept that the issue of sexual abuse of children is present in our society and how difficult it is for us to face it.

This is a taboo topic in almost all societies, it is difficult to talk about, it is difficult to accept, and we know very little about it. For most, it is just crime news or subject of a distressing film.

Th e su bject of sexu al abu se of ch ildr en is closely f ollow ed by t h e t opic of silen ce, sh am e, den ial... Do f ilm s ? ar t h ave t h e pow er t o pu t som e t h in gs in m ot ion , t o give t h em voice?

I think that film and art have the power to give voice to certain taboo topics in our society, but they only rarely lead to real change. As naĂŻve as I am, I believe that this is one of the rare films which will make real change. Even the purpose of these conversations before the film?s premiere is for the audience and readers to hear some basic facts about the issue of sexual abuse

of children, so they could react appropriately if they find themselves in a situation when a child or an adult confides in them.

Statistics show that every fifth child in Europe has been sexually abused. If we are aware of this information, then it is clear that the majority of us had someone in their class who experienced some kind of abuse.

In 80% of the cases, it happens within the family, or the perpetrator is close to the victim and their family, and they skilfully force the victim to withdraw because they feel fear, shame, and guilt, they lose confidence and self-respect. Some children are so little that they do not even realise what is happening to them, they do not know how to ask for help and from whom.

Research has shown that only 20% of the children speak up about sexual abuse within a month after the evildoing has been committed. This child has chosen us because they trust us and they want us to help them get out of the hell they are in. If at such time we do not know this basic information, then we find it easier to convince the child that maybe it was not so, than to face the brutal reality that they have become a part of the statistics. For more than 57% of the children it takes more than 5 years to report abuse, and 20% of them remain silent forever. We live in a delusion that we have never sat next to an abuser or socialised with a child or an adult who was abused. ?One of Us? is a film about reactions of the society to the discovery of sexual abuse of children. The reactions we see in the film are universal and directly affected by what we think, know and feel about sexual abuse of children. As long as our reactions are pain, stress, disbelief and shock, the children will not talk. They do not want to be the reason for us to feel that way, or for their family to

fall apart.

The film itself will not educate the viewer, but I hope it will make them interested in visiting the educational platform www.jednaodnas.com, which for the first time in this region will offer content exclusively intended to inform and educate about sexual abuse of children. This is the place where material on this topic will be found: articles, discussions with relevant experts from Croatia, frequently asked questions, relevant links to the existing help-line, where victims will be able to tell their story anonymously, where parents will find easy instructions on how to act if their child confides in them, and a lot of other useful material.

Alt h ou gh a docu m en t ar y, you r f ilm sligh t ly r esem bles f eat u r e f ilm s su ch as 12 An gr y M en . It is in t er est in g t h at t h e f ilm w as sh ot as a ser ies of plan / cou n t er plan f r am es. How dif f icu lt w as it t o br in g t h e em ot ion s an d t en sion

closer t o t h e au dien ce w it h t h is m in im alist appr oach ?

The answer is maybe hidden in the fact that we shot the film in one evening, and the editing took more than a year. Although, it was filmed with three cameras and fifteen microphones. For that reason, it was not difficult because the entire table was well-covered and we had enough frames to select from. The difficult part was to make a film in which we push the viewer to their final limits of endurance in listening idle talk of unknown people who drink, eat and laugh at their own jokes, and all the while they can feel a large elephant in the room making them uncomfortable. This heaviness with which the viewer watches the film is the same heaviness we felt at the table while we were trying to find the ways to delay the discussion on the topic for another round of drinks.

Ar m an Fat i?

dm drogerie markt BiH dm was founded in 2005 in Bosnia and Herzegovina, and the first store was opened in June 2006 in Dobrinja, one of Sarajevo neighborhoods.

Today, dm has 75 stores across the entire BiH that are organized according to the dm standards. dm's product range includes over 14.000 beauty and healthcare products, baby care and household products, pet food, clothes, and seasonal products from established, as well as, domestic manufacturers. dm's product range also includes 32 dm brand products. In the entire product range, bio food and natural cosmetics have a special place.

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

Svi t i lijepi m ali konji / All t he Pret t y Lit t le Horses Greece, Belgium, Germany, 2020, Colour, 105 min. / Re?ija / Director: Michalis Konstantatos / Uloge / Cast: Yota Argyropoulou, Dimitris Lalos, Katerina Didaskalou, Alexandros Karamouzis, Dimitris Katalifos, Vicky Papadopoulou, Antonis Miriagos, Kostas Antalopoulos, Dimitris Kapetanakos RENT

OPEN AIR

Sjet it ?e? m e se / You Will Rem em ber Me Canada, 2020, Colour, 108 min. / Re?ija / Director: Éric Tessier / Uloge / Cast: Remy Girard, Karelle Tremblay, Julie Le Breton, David Boutin, France Caste RENT Nakon ?to pre?ive katastrofu, Alice i njen suprug Petros vode svoga sina Panagiotisa u primorski gradi? u proviniciji kako bi tamo potra?ili uto?i?te. Alice i Petros pronalaze povremene poslove i poku?avaju ponovo srediti svoj ?ivot kako bi se mogli vratiti ku?i u Atinu.

Kada Alice po?ne shvatati da njihov plan ne funkcioni?e ili, ?to je jo? gore, da ga mo?da uop?te ni nemaju, jaz izme?u nje i Petrosa se produbljuje.

In the wake of a disaster, Alice and her husband Petros take their young son Panagiotis to a provincial seaside town, seeking refuge. Working temporary jobs, Alice and Petros try to put their lives back together so they can return home to Athens. When Alice begins to realise the plan is not working ? or worse, that it may not even exist ? the distance between her and Petros begins to grow.

Edouard, javna li?nost i penzionisani nastavnik historije, polako gubi pam?enje. Naviknut da javno govori, iznenada je prisiljen da pri?a ?to manje, iako smatra da jo? uvijek ima puno toga za re?i. Osim toga, budu?i da nema nikoga ko bi se mogao brinuti o njemu, predaju ga na staranje mladoj, ali pomalo buntovnoj i izgubljenoj Bérénice. Njihov susret natjerat ?e Edouarda da se prisjeti poglavlja iz svog ?ivota koje je svjesno potisnuo u zaborav, a Bérénice da prona?e smisao u svome ?ivotu. Édouard, a public figure and retired history teacher, is slowly starting to lose his memory.

Accustomed to speaking out and taking a stand on all topics, he must make himself more discreet, even if he believes he still has a lot to say. Further, since no one can watch over him, he is placed in the care of Bérénice, a young girl who is a little rebellious and lost. Their meeting will lead Édouard to revisit a chapter from his personal history that he had chosen to forget, and Bérénice to find meaning in her life.

KINOSCOPE

TRIBUTE TO

Zem lja je plava poput narand?e / The Eart h is Blue as an Orange

Nakon Lucije / Después de Lucía

Ukraine, Lithuania, 2020, Colour, 74 min. / Re?ija / Director: Iryna Tsilyk RENT Samohrana majka Anna i njeno ?etvero djece ?ive u ukrajinskoj ratnoj zoni u Donbasu, nedaleko od linija fronta. Dok je vanjski svijet u haosu i odjekuje eksplozijama bombi, porodica u svome domu uspijeva odr?ati atmosferu sigurnog uto?i?ta punog ?ivota i svjetlosti.

Single mother Anna and her four children live in the front-line war zone of Donbas, Ukraine. While the outside world is made up of bombings and chaos, the family is managing to keep their home a safe haven, full of life and full of light.

Lapis United States, 2020, Colour, 108 min. / Re?ija / Director: Noah Hutton / Uloge / Cast: Dean Imperial, Madeline Wise, Babe Howard, Dora Madison, Ivory Aquino, James McDaniel, Frank Wood, Arliss Howard, Pooya Mohseni RENT

Mexico, France, 2012, Colour, 104 min. / Re?ija / Director: Michel Franco / Uloge / Cast: Tessa Ia, Hernán Mendoza, Gonzálo Vega Sisto, Tamara Yazbek Bernal, Francisco Rueda, Paloma Cervantes RENT ?est mjeseci nakon pogibije njegove supruge u saobra?ajnoj nesre?i, Robert sa svojom k?erkom, tinejd?erkom Alejandrom, napu?ta Vallartu i odlazi u Mexico City kako bi zapo?eli novi ?ivot. Alejandra se novoj sredini prilago?ava puno br?e nego Robert, ali uskoro kod vr?njaka u ?koli pobu?uje ?ivotinjske instinkte. Stid ju je ispri?ati ocu o sve gorem zlostavljanju koje trpi u ?koli, a njena ?e ?utnja imati u?asne posljedice.

Six months after the death of his wife in a car accident, Roberto and his teenage daughter Alejandra set off from Vallarta for a fresh start in Mexico City. Alejandra finds her feet more easily than Roberto but very soon she has aroused the baser instincts in her classmates. Ashamed and unable to tell her father about the escalating bullying at school, Alejandra maintains a silence that ultimately takes a dreadful toll.

Autori o svojim filmovima na FESTIVAL TV: SFF Talks With Filmmakers photo by novagenus.com / Adis Ali?

26. Sarajevo Film Festival se zbog pandemije COVID-19 odr?ava online na ondemand.sff.ba, a filmove iz takmi?arskog igranog i dokumentarnog programa, kao i Open Air selekcije prati Festivalska televizija. Na ondemand.sff.ba, u sekciji ?SFF Talks With Filmmakers?svakodnevno se, uz filmove, postavljaju i prate?e emisije posve?ene predstavljanju reditelja/ica ?iji su filmovi u konkurenciji za nagrade Srce Sarajeva, kao i brojnih drugih eminentnih filmskih radnika.

Televizija je kreativan odgovor na nemogu?nost filmskih autora da budu u Sarajevu i prilika da se dopre do jo? ve?eg broja publike koja uz pomo? modernih tehnologija ne mora biti ograni?ena brojem sjede?ih mjesta u kinima. Sarajevo Film Festival nakon 25 godina vjernosti koju su mu poklanjali ljubitelji filma, uzvra?a na na?in da sada filmovi i filmske emisije dolaze u domove publike, koja je zbog epidemiolo?ke situacije sprije?ena da boravi na dugogodi?njim festivalskim lokacijama, poput Ljetnog kina Raiffeisen i Festivalskog trga?, poja?njava Ines Mrenica, moderatorica razgovara i urednica emisija.

Emisije se svakodnevno produciraju u

Studiju 1, koji je smje?ten na sceni Narodnog pozori?ta Sarajevo. Nakon premijere svakog filma iz Takmi?arskog programa ? igrani film i Takmi?arskog programa ? dokumentarni film, na platformi ondemand.sff.ba su dostupni razgovori s autorima tih filmova.

Na platformu su, me?u ostalim, ve? postavljene emisije posve?ene filmu ?Koncentri?i se, baba? Pjera ?alice, razgovori s ekipama filmova ?Mare?

Andree ?take i ?Galaksija Andromeda? rediteljice More Raรงae, te ?Q&A sa Michelom Francom?, ovogodi?njim dobitnikom Po?asnog Srca Sarajeva i gosta programa Posve?eno, kao i ?Ceremonija otvaranja? koja je ove godine tako?er odr?ana na online platformi.

Pored zabave i celebrity kulture koja je uvijek zanimljiva ?irokoj publici, primat se daje filmskoj umjetnosti, a najglasnija razmi?ljanja su ona koja dolaze od ljudi iz struke, nagla?ava Ines Mrenica. ?Filmski razgovori ne podrazumijevaju televiziju u klasi?nom smislu i novinarski pristup de?avanjima na Festivalu.

Festivalsku televiziju realiziraju osobe iz filmskog posla i sve je prilago?eno autorima iz oficijelnih selekcija kako bi svoje filmove predstavili na najbolji mogu?i na?in iz sigurnosti svojih domova?, zaklju?ila je Mrenica.

Authors about their films on FESTIVAL TV: SFF Talks with Filmmakers Due to the pandemic, the 26th Sarajevo Film Festival is taking place online on the ondemand.sff.ba platform and the films from the Competition Feature and Documentary Program as well as the Open Air Selections are being accompanied by the Festival TV. The ondemand.sff.ba platform, in the section ?SFF Talks with Filmmakers?is being updated on a daily basis with films and accompanying TV shows, aiming to present the authors whose films are in the competition for the Heart of Sarajevo Award, but also to present other prominent filmmakers as part of the events. ?The TV is a creative answer for inability of the filmmakers to be here in Sarajevo, and an opportunity to reach even more audience who with the help of the modern technologies does not have to be constrained by the number of seats in the cinemas. After 25 years of loyalty showed by film lovers, the Sarajevo Film Festival rewards the audience by bringing films and film shows in their homes, due to the fact that the audience is prevented from being physically present in the well-known locations of the festival such as the Raiffeisen Open Air Cinema and the Festival Square?, explains Ines Mrenica, facilitator of the SFF Talks and editor of the shows.

The TV shows are being daily produced in Studio 1, which is located on the stage of the Sarajevo National Theatre. After the premiere of each of the film from the Competition Program ? Features and the Competition Program ? Documentaries, the talks with authors of these films are available on the ondemand.sff.ba platform.

There are already shows available on the platform - among others there is the show dedicated to the film ?Focus, Grandma? by Pjer ?alica, talks with the crew of the film ?Mare? by Andrea ?taka and ?Andromeda Galaxy? by director More Raรงa and ?Q&A with Michel Franco?, this year 's winner of the Honorary Heart of Sarajevo and guest of the Tribute to Program, as well as the ?Opening ceremony of the Sarajevo Film Festival?, which took place online as well.

As stressed by Ines Mrenica, besides of the entertainment part and the celebrity culture which are always interesting to a broader audience, priority is given to the film art, where the loudest thoughts are those that come from people from the industry. ?The film talks do not represent television in the classical sense and the journalistic approach to the events on the Festival. The Festival TV is being realised by people from the film industry and everything is adapted to the filmmakers from official selections so they could present their films in the best possible way, from the safety of their homes ?, concludes Mrenica.

Scenario je najva?niji dio film a / The script is the most important part of the film Masterclass sa glumicom Bérénice Bejo / Masterclass with actress Bérénice Bejo photobyMichel Hazanavicius

Dana?nji doma?in Peter Debruge razgovarao je sa francuskom glumicom argentinskog porijekla Bérénice Bejo koju je proslavio crno-bijeli nijemi film "Umjetnik" njenog supruga Michela Hazanaviciusa. Za ulogu u ovom filmu dobila je nekoliko presti?nih nagrada me?u kojima se izdvajaju César i BAFTA, obje za najbolju glumicu. Prvu ulogu dobila je sa petnaest godina i bilo joj je jasno da je to ono ?to ?eli raditi. O sebi ka?e da je spora, temeljita i da dobro mora znati ?ta redatelj od nje o?ekuje.

Izme?u redatelja koji jasno stavlja glumcima do znanja ?ta od njih ?eli i o?ekuje i onog koji stalno isprobava i luta uvijek ?e izabrati prvog.

Scenario smatra najva?nijim za dobar film ? dobru pri?u i razra?ene likove. Radije je ?ekala prave uloge nego nego da radi ne?to ?to joj se ne svi?a i vrlo rijetko je prihvatala poslove samo zbog novca. Gubitak privatnosti nakon velikog uspjeha "Umjetnika" te?ko joj je pao jer radije ?ivi kao tipi?ni Francuzi ? skromno i tiho ? nego glamurozno kao holivudski glumci. Nada se da ?e uskoro mo?i nastaviti rad na dva filma i jednoj predstavi u ?emu je pandemija ve? pola godine ometa a za sada nema ?elju da se oku?a kao redateljica.

Today?s host Peter Debruge spoke with French actress of Argentine descent Bérénice Bejo who

became famous thanks to the black-and-white silent film "The Artist" by her husband Michel Hazanavicius. She received several prestigious awards including César and BAFTA, both for the best actress for her role in this film. She got her first role at the age of fifteen and it was clear to her that this was what she wanted to do. She describes herself as slow, thorough and says that she has to know well what the director expects from her. Between a director who makes it clear to the actors what he wants and expects from them and the one who constantly tries and wanders, she would always choose the former.

She claims that the script is the most important for a good film - a good story and elaborated characters. She preferred to wait for the right roles than to do something she didn't like and very rarely accepted jobs just for the money. The loss of privacy after the great success of "The Artist" fell hard on her because she would rather live like typical Frenchmen - modestly and quietly than glamorously like Hollywood actors. She hopes to soon be able to continue working on two films and one theater play which the pandemic has been stopping for half a year and for now she has no desire to try her hand as a director.

Marinela Doman?i?

CineLink Talks: Mo?e li dokum ent arni film m ijenjat i svijet ? / CineLink Talks: Can a documentary initiate change?

Rediteljice Judit Olah i Danijela ?tajnfeld, sa rediteljem ? urom Gavranom i producentom Mikeom Lernerom bit ?e gosti panela Breaking the Silence - the power of documentary to bring change in society, koji ?e biti odr?an u okviru programa CineLink Talks 26. Sarajevo Film Festivala.

Panel ?e biti odr?an u srijedu, 19. au gu st a, sa po?etkom u 15 sat i, a publika mu mo?e pristupiti online n a plat f or m i Zoom u z m eet in g ID: 974 9116 8730. Razgovor ?e moderirati Rada ?e?i?, selektorica Takmi?arskog programa ? dokumentarni film 26.

Sarajevo Film Festivala.

Razgovor ?e biti vo?en na engleskom jeziku, broj slu?alaca ograni?en je na 1000, a pitanja ?e biti mogu?e postaviti putem chata.

Directors Judit Olah and Danijela ?tajnfeld along with director ? uro Gavran and producer Mike Lerner will be guests of the panel Breaking the Silence ? the power of documentary to bring change in society, which will be held as part of the CineLink Talks programme of the 26th Sarajevo Film Festival.

The panel will be held on Wednesday, 19th of August, beginning at 3:00 PM, and the audience can access it online via Zoom platform using the meeting ID: 974 9116 8730. The talk will be moderated by Rada ?e?i?, the programmer of the Competition Programme ? Documentary Film of the 26th Sarajevo Film Festival.

The talk will be held in English, the audience number is limited to 1000 and questions can be asked via chat.