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25. DANI HRVATSKOG FILMA 25th CROATIAN FILM DAYS KINO EUROPA, KINO TUŠKANAC VINYL BAR & BAR ZAGREB 21. – 24. 4. 2016.


KAZALO CONTENTS Tko je tko / Who is Who

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Popratni filmski programi / Side Programs 25 godina DHF-a / 25 Years of the Croatian Film Days

Uvodnici / Introductions Zdenka Gold

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Željko Luketić

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Animirani film / Animated Film

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Žiri Društva filmskih redatelja za Nagradu Jelena Rajković / Croatian Film Directors’ Guild Jury for Jelena Rajković Award

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Vijeće za etiku i ljudska prava / Ethics and Human Rights Committee

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Nagrade 25. Dana hrvatskog filma / 25th Croatian Film Days Awards

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Nedeljko Dragić: Nagrada Zlatni Oktavijan za životno djelo / Nedeljko Dragić: Golden Oktavijan Award for Life Achievement

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Dokumentarni film / Documentary Film 137 Eksperimentalni film / Experimental Film 139 Igrani film / Fiction Film 142

Žiri i nagrade / Jury and Awards Veliki žiri / Grand Jury

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Psihotronički film / Psychotronic Film 144 Retrospektiva filmova Jakova Sedlara / Jakov Sedlar: A Retrospective 149 Retrospektiva filmova Zvonimira Maycuga / Zvonimir Maycug: A Retrospective 155 Festival slovenskog filma predstavlja / The Festival of Slovenian Film Presents

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Retrospektiva filmova Dalibora Barića / Dalibor Barić: A Retrospective

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Još raniji radovi s ADU-a / Academy of Dramatic Art: Even Earlier Works

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Reklame iz Zagreb filma / Commercials from Zagreb Film

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Retrospektiva filmova Nedeljka Dragića / Nedeljko Dragić: A Retrospective

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Novi dokumentarci iz susjedstva / New Documentaries Next Door

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Zadnja pošta Zagreb / Zagreb: Portrait of a City

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Konkurencija / Competition Program Animirani film / Animated Film

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Dokumentarni film / Documentary Film

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Eksperimentalni film / Experimental Film

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Igrani film / Fiction Film

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Namjenski film / Commercial Film

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Fokus – izvan konkurencije / Focus – Out of Competition

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Videodrom: Glazbeni spotovi iz konkurencije namjenskog filma / Videodrome: Music Videos from Commercial Film Competition 196

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PRO / EDU SPID – Mala pravna klinka za scenariste / SPID – The Legal Clinic for Screenwriters

INDEKS / INDEX Nagrade 24. Dana hrvatskog filma / 24th Croatian Film Days Awards

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Sve što ste ikada željeli znati o prijavi filma na HAVC… / Everything You Have Ever Wanted to Know About Applying Your Film for HAVC Support Scheme… 203

Svi prijavljeni filmovi na 25. Dane hrvatskog filma

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Kontakti / Contacts

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Što s filmom kada je gotov? / The Film Is Completed – What Now?

Filmovi / Films

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Redatelji/ce / Film Directors

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Produkcijske kuće / Production Companies

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Kako razvijati i predstaviti projekte u početnoj fazi za međunarodno tržište / Projects in Development – Development and Pitching for International Market 205

Pokrovitelji i sponzori / Donors and Sponsors 2 26

Radionica filmske kritike / Critical Writing Workshop

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Dum spiro spero, prolegomena knjizi / Dum Spiro Spero – Prolegomena to the Book

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Okrugli stol: Filmski festivali / Round Table: Film Festivals

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Okrugli stol: Glazba i film / Round Table: Music and Film

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Okrugli stol: Postoji li u Hrvatskoj psihotronički film? / Round Table: Is There a Psychotronic Film in Croatia?

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Salon odbijenih / Salon of the Rejected

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TKO JE TKO WHO IS WHO Vijeće Dana hrvatskog filma / Croatian Film

Press ured / Press Office

Days Council

Ana Mikin

Diana Nenadić, predsjednica / president

(Hrvatsko društvo filmskih kritičara, HDFK),

Voditelji i koordinacija tehnike / Technical

Ivan Goran Vitez (Hrvatsko društvo filmskih

Managers and Coordinators

udruga producenata, HRUP), Danilo

Jurik, Igor Šubat (projekcionisti u kinu

djelatnika, HDFD), Ivan Kelava (Hrvatska

Mario Vučemilović Jurić (Rezolucija), Željko

Šerbedžija (Društvo hrvatskih filmskih

Europa), Mislav Vinković, Damir Pezerović (projekcionisti u kinu Tuškanac)

redatelja, DHFR), Dino Paškov (Hrvatska

radiotelevizija, HRT), Željko Sarić (Hrvatska udruga filmskih snimatelja, H.F.S.), Marija

Vizualni identitet / Visual Identity

Ratković Vidaković (Hrvatski filmski savez,

Pero Vojković

umjetnosti, ADU)

Dizajn internetske stranice i programiranje /

HFS), Marija Škaričić (Akademija dramske

Web Design and Programming Pero Vojković, Goran Milovanović (Effectiva

Direktorica / Director

studio d.o.o.)

Zdenka Gold Umjetnički direktor / Artistic Director

Videoprodukcija i festivalska špica / Video

Željko Luketić

Production and Festival Trailer Dinka Radonić, Denis Golenja

Izvršna producentica / Executive Producer Dunja Bovan

TV reklama / TV Commercial Denis Golenja

Koordinatorica filmskog programa / Program Coordinator

Fotografi / Photographers

Lea Mileta

Nina Đurđević, Mario Pućić

Voditeljica marketinga / Marketing

Urednica kataloga i programske knjižice /

Janja Dugi

Catalogue and Program Book Editor Mirna Belina

Asistentica u marketingu i izvršnoj produkciji / Marketing and Executive Production Assistant

Prevoditeljica / Translator

Sanja Mucić

Valentina Lisak

Suradnici / Associates

Voditelj protokola i događanja u dvorani

Toni Carić, Diana Bekavac

Müller / Protocol Manager and Cinema Müller Coordinator Ivan Tofing

Odnosi s javnošću / Public Relations Petra Hofbauer

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Voditelj kina Europa i koordinator volontera / Cinema Europa Manager and Volunteer Coordinator Bojan Tišljar Voditeljica kina Tuškanac / Cinema Tuškanac Manager Ivana Vuković Festivalski ured / Festival Office Branka Rušnov Računovodstvo / Accounting Ankon Volonteri / Volunteers Anto Jozelić, Bruno Grgiček, Ema Šunde, Iris Došen, Irma Novak, Iva Livaić, Ivana Nikolić, Katarina Zrinka Šarić, Lana

Margetić, Leonarda Komen, Lucija Klanac,

Lucija Špiljak, Martina Lončar, Matea Kovač, Matej Beluhan, Matej Subotić, Mihovil

Burek, Mirna Dizdarević, Natko Jurdana, Tanja Frinčić

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Dragi prijatelji! Došlo je proljeće, vrijeme kada pred svoju vjernu publiku i našiljene olovke filmskih kritičara, kao i pred znatiželjno profesionalno oko, Dani hrvatskog filma serviraju najkvalitetnije i najfriškije poslastice koje su izašle iz velike godišnje pećnice domaće filmske proizvodnje. Prošlog proljeća predstavili smo vam “novi” DHF. Novi festivalski koncept koji je uključivao novi način odabira filmova, nove lokacije, novi vizualni identitet, nova pravila, novu festivalsku ekipu, nove suradnje. Ovog proljeća nudimo vam rođendansku filmsku gozbu koju smo za vas pripremili prema isprobanom prošlogodišnjem receptu. Osnovni sastojci ostali su isti. Tu su glavna konkurencija te popratni filmski i edu/pro program. Željko Luketić ponovno je pripremio nezaboravan filmski program te je od tristotinjak prijavljenih filmova odabrao 87 u glavnu konkurenciju, a u popratnim filmskim programima moći ćete vidjeti od klasika Jakova Sedlara i Zvonimira Maycuga preko novog slovenskog filma u izboru Igora Prassela sve do dokumentaraca iz ciklusa Zadnja pošta Zagreb HTV-ova urednika Angela Miladinova. Kina Europa i Tuškanac ugostit će nas i ovog proljeća, a vizualnim identitetom ne želimo vas iznenaditi, već želimo da nas prepoznate. Dodali smo neke druge začine u festivalska pravila; nagrade Oktavijan dodjeljivat će se po novim pravilima, tu je i Zlatna uljanica, a malo smo drugačije začinili uigranu festivalsku ekipu. Suradnja sa strukovnim i profesionalnim filmskim udruženjima kao i ona s festivalskim partnerima i pokroviteljima dulje je krčkala, pa smo tako dobili neke nove edukativne programe, pitching forum, predavanja, okrugle stolove i razne prezentacije. Naravno, i ovaj put pripremili smo mnoge prilike za networking, odnosno za druženje filmskih profesionalaca i publike. Za kraj vam želim reći da sam iznimno sretna što vam u ovim teškim vremenima sve festivalske programe serviramo potpuno besplatno. Dobro došli, dragi prijatelji, na jubilarno 25. izdanje Dana hrvatskog filma! Zdenka Gold

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Dear friends! Spring has arrived, a time when we at the Croatian Film Days treat our faithful audience, film critics, and curious professionals alike to the tastiest and freshest delicacies that have come out of the oven of our great domestic production. Last spring, we presented you with a revised festival concept, which included a new selection process, new locations, new visual identity, new rules, new festival crew, and new collaborations. This spring, we have prepared for you a birthday feast, following the last year’s recipe. The essential ingredients remain the same: the official competition, the side program, and the edu/pro program. Once again, Željko Luketić has put together an unforgettable film selection; among three hundred applications, 87 of them made it into the official competition. As part of the side program, you will have a chance to see classics by Jakov Sedlar and Zvonimir Maycug, as well as new Slovenian films selected by Igor Prassel, and documentaries from the Zagreb: A Portrait of a City program by Angel Miladinov, an editor for the Croatian Radiotelevision. Once more, our hosts will be the Europa and Tuškanac cinemas. We hope that our distinctive visual identity has become recognizable to our audience, for its purpose is not to surprise, but rather to establish a sense of familiarity. We have added a few more spices to the existing festival rules: Oktavijan Awards will be granted according to new regulations, we have brought back the Golden Oil Lamp Award, and we have made several additions to our seasoned festival crew. Our collaboration with professional film associations, as well as with our partners and sponsors, has had more time to brew, resulting in several new educational programs, a pitching forum, lectures, round tables, and various presentations. Naturally, once again we have created numerous opportunities for networking, or rather, the chance for film professionals and audience to come together and mingle. Finally, let me express our happiness at being able to offer free entrance to all the festival programs, especially in these hard times. Welcome, dear friends, to the silver jubilee edition of the Croatian Film Days! Zdenka Gold

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Dvadeset i pet godina ili četvrt stoljeća svakako nije malo. U Hrvatskoj se jedino Pulski filmski festival i Animafest mogu pohvaliti da su stariji. Odlučili smo još protekle godine postaviti Dane hrvatskog filma u kontekst aktualnog vremena i potencirati ono što znamo da je njihova osebujnost, i to još od prvoga dana. Jednaki uvjeti za sve znače da se i neprofesijski filmaši mogu natjecati rame uz rame s velikim imenima. Nećemo ih smjestiti u geto amaterskog ili studentskog filma. Nećemo ni namjenski film smatrati tek brzom gažom za zarađivanje novca, stavkom koju većina redatelja ne iznosi u svojim filmografijama. Postulati su to koje je još 1992. utemeljio i na njima inzistirao filmolog Hrvoje Turković, poprativši programski tako glavnu operativnu zamisao osnivača Ive Škrabala. Puno godina nakon produkcija u Hrvatskoj sve je bujnija i zanimljivija, a Oktavijan i Hrvatsko društvo filmskih kritičara također su se tome prilagodili. Mi smo pak glavnu konkurenciju proširili za nekoliko termina i ona je sada u granicama četverodnevnog trajanja. No nad obiljem ne treba zdvajati, zato se i veselimo pokazati najbolje od najboljeg. Svakoga dana od 16 sati pa sve do kasno u noć u kinu Europa moći ćete vidjeti tematski složene projekcije filmova koji se natječu za glavne nagrade. Tradicionalno je najbrojnija kategorija dokumentarnog filma, koja je ove godine u vidljivom trendu snimanja filmova “u prvom licu” s neprofesijskom opremom pa čak i s mobitelima. U ostalim kategorijama ove godine nabujala je kategorija eksperimentalnog filma, što je možda i odjek nove koncepcije Dana hrvatskog filma, jer smo te naslove izdvajanjem iz žanrovskog i rodovskog ključa približili većem broju publike. Autori animiranih filmova također sve više odabiru ući u hibridni i uzbudljivi eksperimentalni rod. I tu ćemo pokazati neke naslove koji se već spremaju put Annecyja, Oberhausena i drugih inozemnih festivala. Igrani filmovi sve se više ohrabruju izaći iz interijera, reagirati na društvenu situaciju i biti duhoviti. Favorite nećemo isticati, taj zadatak povjeravamo publici i ocjenjivačkom sudu. Zato, veselimo se još jednom izdanju Dana hrvatskog filma, festivala koji još uvijek, unatoč glasnim pobornicima rodovske specijalizacije takvih manifestacija, prikazuje najviše domaćih filmova u četiri dana. To je jedinstveno mjesto za prepoznavanje pulsa domaće produkcije kratkog i srednjeg metra. Poželimo mu zato barem još četvrt-dva-tri… stoljeća, dakako. Željko Luketić

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Twenty-five years, or a quarter of a century, is a significant period of time. In Croatia, only the Pula Film Festival and Animafest Zagreb can boast a longer tradition. Last year, we decided to re-vitalize and re-emphasize what we believe to be the unique traits of the Croatian Film Days ever since their inception. Unprofessional filmmakers are allowed to compete on equal grounds as renowned names of Croatian film. We will not place them in the ghetto of amateur or student film. Neither will we treat the commercial film as just a fast way to earn money, a credit most directors do not even mention in their filmographies. Those are the principles established in 1992 by the filmologist Hrvoje Turković. Insisting on their implementation, he followed the leading operative concept of Ivo Škrabalo. Many years later, the Croatian film production is booming. With respect to that, the Croatian Film Critics’ Association has made appropriate adjustments concerning the Oktavijan Award. Adapting to this growth, we have expanded the official competition program, which now spans over four days. This abundance is a cause for celebration, and we are looking forward to showing you the best of the best. Every day, from 4:00 p.m. until late night, the Europa Cinema will screen films competing for the main award, grouped into different thematic blocks. Traditionally, the documentary film takes up the largest share, with a notable trend of first person films made with unprofessional equipment, including cell phones. The experimental film might have benefited the most from the new concept of the Croatian Film Days; by removing them from their generic framework, we have made them more accessible to a larger audience. Authors of animated films are increasingly interested in this kind of hybrid and exciting experimental genre. Some of the films we will screen here are already on their way to Annecy, Oberhausen, and other international festivals. Emboldened, fiction films more often venture out of the interior, reacting to the current social situation, frequently with a dose of humour. We will not single out our favourites, that task belongs to the audience and the jury. Therefore, we look forward to another edition of the Croatian Film Days. Despite those advocating the division of such manifestations into those specialized by genre, the Croatian Film Days is still a festival that shows the greatest number of Croatian films in four days. It is a unique place where you can feel the pulse of the Croatian production of both short and mid-length film. Let us wish it another quarter of a century... and many more! Željko Luketić

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ŽIRI I NAGRADE JURY AND AWARDS


VELIKI ŽIRI Hana Jušić (1983) magistrirala je režiju na Akademiji dramske umjetnosti u Zagrebu. Diplomirala je komparativnu književnost i anglistiku na Filozofskom fakultetu 2007. i iste godine upisala poslijediplomski doktorski studij književnosti i filma. Napisala je i režirala nekoliko filmova: Zimica (premijera na festivalu u Oberhausenu), Mušice, krpelji i pčele, (Oktavijan i Nagrada Jelena Rajković), Terarij (Oktavijan za igrani film, Zlatna kolica na ZFF-u) i Da je kuća dobra i vuk bi je imao (premijera na festivalu u Rotterdamu, najbolja režija na 24. DHF-u). Napisala je scenarij za dugometražni igrani film Zagonetni dječak redatelja Dražena Žarkovića, a trenutačno razvija svoj prvi dugometražni igrani film Ne gledaj mi u pijat. Silvestar Mileta (1987) diplomirao je povijest i komparativnu književnost na Filozofskom fakultetu u Zagrebu. Izvršni je urednik Hrvatskog filmskog ljetopisa i stalni suradnik Filmonauta, a tekstove i komentare o filmu objavljivao je i na HRT-u, portalu Kulturpunkt.hr i dr. Surađivao je s Animafestom i ZagrebDoxom na tekstovima i promociji. Bio je član žirija festivala u Solunu i Splitu. Radio je u novinarstvu i izdavaštvu te kao istraživač i asistent dokumentarne produkcije, a tekstove o književnim temama objavljivao je u Književnoj republici, UBIQ-u, Autsajderskim fragmentima itd. Član je Hrvatskog društva filmskih kritičara i Međunarodnog udruženja filmskih kritičara FIPRESCI. Luna Zimić Mijović (1991) s trinaest je godina kao debitantica tumačila glavnu ulogu u filmu Jasmile Žbanić Grbavica. Nakon brojnih nagrada kao što je Srebrni medvjed u Berlinu i velikog uspjeha filma Luna dobiva angažmane u trinaest europskih filmova (Dreileben – Nešto bolje od smrti Christiana Petzolda, Atmen Karla Markovicsa itd). Nedavno smo je mogli vidjeti rame uz rame s Penélope Cruz u Venuto al Mondo te uz Michaela Cainea u Mladosti oskarovca Paola Sorrentina. Njezina je zasad posljednja uloga u filmu Smrt u Sarajevu oskarovca Danisa Tanovića koji je osvojio dvije velike nagrade na ovogodišnjem Berlinaleu. Bavi se i režijom te studira komparativnu književnost. Živi u Sarajevu.

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GRAND JURY Hana Jušić (1983) holds an MA in Directing from the Academy of Dramatic Art, Zagreb. In 2007, she graduated in Comparative Literature and English Language and Literature from the Faculty of Humanities and Social Sciences. That same year, she enrolled into the Postgraduate Program in Literature, Performing Art, Film and Culture. She has written and directed several films: Chill (premiered at the Oberhausen Festival), Gnats, Ticks, Bees (Oktavijan Award, Jelena Rajković Award), Terrarium (Oktavijan Award for Best Fiction Film, Golden Pram at the Zagreb Film Festival), No Wolf Has a House (premiered at the Rotterdam IFF, Best Directing at the 24th CFD). She wrote the script for a feature film, The Mysterious Boy by Dražen Žarković, and is currently developing her first feature film, Quit Staring at My Plate. Silvestar Mileta (1987) holds an MA in History and Comparative Literature from the Faculty of Humanities and Social Sciences, University of Zagreb. He is the managing editor of the scientific journal Croatian Film Chronicles and a regular contributor to the film magazine Filmonaut. He also contributes to other media, including the Croatian Radiotelevision, online magazine Kulturpunkt.hr, UBIQ magazine for speculative fiction, Literary Republic. He has collaborated with the Animafest and ZagrebDox IDFF. He has worked in journalism, publishing, and as a researcher and associate producer at a production company. He is a member of the Croatian Film Critics’ Association and of FIPRESCI. Luna Zimić Mijović (1991) got her first role when she was thirteen, in a film by Jasmila Žbanić, Grbavica: The Land of My Dreams. The film achieved great success, and Luna won numerous awards, including the Silver Bear in Berlin. After that, she performed in thirteen European films (Dreileben – Beats Being Dead by Christian Petzold, Atmen by Karl Markovics, etc.). Recently, we have had the opportunity to see her next to Penélope Cruz in Venuto al Mondo, and with Michael Caine in Youth, directed by the Oscar-winner Paolo Sorrentino. Her latest film is Death in Sarajevo by the Oscar-winner Danis Tanović. The film won two big awards at this year’s Berlinale. She also directs and is currently studying Comparative Literature. She lives in Sarajevo.

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ŽIRI DRUŠTVA HRVATSKIH FILMSKIH REDATELJA ZA NAGRADU JELENA RAJKOVIĆ Saša Ban (1978) diplomirao je komparativnu književnost i filozofiju na Filozofskom fakultetu u Zagrebu te filmsku i televizijsku režiju na Akademiji dramske umjetnosti. Snima dokumentarne emisije za HRT, namjenske, igrane i dokumentarne filmove, a trenutačno radi na scenariju za dugometražni igrani film. Njegov kratkometražni igrani film Interijer, stan, noć primio je posebno priznanje žirija na Filmskom festivalu u Cottbusu 2009. godine, a film Park osvojio je 2005. godine Oktavijana za dokumentarni film i Nagradu Jelena Rajković na DHF-u. Jure Pavlović (1985) diplomirao je filmsku i TV režiju na Akademiji dramske umjetnosti u Zagrebu. Njegovi kratkometražni igrani filmovi prikazani su i nagrađivani na više od stotinu festivala, uključujući Berlinale i Clermont-Ferrand. Kratkometražni igrani film Piknik – osvajač prošlogodišnje velike nagrade DHF-a i nagrade za glumu – prvi je većinski hrvatski film koji je osvojio nagradu Europske filmske akademije za najbolji europski kratkometražni film (2015). Sonja Tarokić (1988) magistrirala je filmsku režiju igranog filma na Akademiji dramske umjetnosti i završila dodiplomski studij komparativne književnosti na Filozofskom fakultetu. Autorica je nekoliko kratkometražnih filmova. Film Tlo pod nogama prikazan je na festivalu u Rotterdamu, a osvojio je Nagradu Jelena Rajković (DHF) i nagradu ZFF-ovih Kockica, dok su filmovi Crveno (Nagrada Jelena Rajković 2010), Pametnice, Kurvo! i Ja sam svoj život posložila prikazani i nagrađivani na festivalima kao što su Sarajevo, Vila do Conde, Brief Encounters itd. Radi na reklamama, vodi filmske radionice i priprema prvi dugometražni film Zbornica.

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CROATIAN FILM DIRECTORS’ GUILD JURY FOR JELENA RAJKOVIĆ AWARD Saša Ban (1978) graduated in Comparative Literature and Philosophy from the Faculty of Humanities and Social Sciences, as well as in Film and TV Directing from the Academy of Dramatic Art. He makes documentary TV shows for the Croatian Radiotelevision, as well as commercial, fiction and documentary films. Currently, he is working on a script for a feature film. His short fiction film Interior, Apartment, Night received the Special Jury Prize at the Cottbus Film Festival in 2009, while his film Park won the Oktavijan Award for Best Documentary Film and Jelena Rajković Award at the Croatian Film Days in 2005. Jure Pavlović (1978) graduated in Film and TV Directing from the Academy of Dramatic Art in Zagreb. He has made several award-winning short fiction films, which have screened at over a hundred festivals, including the Berlinale and the Clermont-Ferrand Film Festival. His short fiction film Picnic won Best Film and Best Actors at the Croatian Film Days in 2015, and is the first Croatian majority co-production to receive the European Film Award for Best European Short Film (2015). Sonja Tarokić (1988) holds an MA in Film Directing from the Academy of Dramatic Art and a BA in Comparative Literature from the Faculty of Humanities and Social Sciences. She has directed several short films. On Shaky Ground was screened at the Rotterdam Film Festival and won the Jelena Rajković Award at the Croatian Film Days, as well as Best Croatian Film in the Zagreb Film Festival Checkers Competition. Her films Red (Jelena Rajković Award, 2010), Smart Girls, You Bitch!, and I’m a Self-Made Woman have been screened and awarded at festivals like Sarajevo, Vila do Conde, Brief Encounters and many more. She also makes commercials, runs film workshops, and is currently developing her debut feature The Staffroom.

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Pixsell/Grgur Žućko

VIJEĆE ZA ETIKU I LJUDSKA PRAVA Gordan Bosanac (1973) završio je studij fizike na Sveučilištu u Zagrebu, program Mirovnih studija u organizaciji Centra za mirovne studije te magisterij ljudskih prava na školi za javne politike na Sveučilištu u Londonu. Od kraja 90-ih godina aktivan je u mirovnom i ljudskopravaškom pokretu u Hrvatskoj. Jedan je od osnivača LGBT grupe Iskorak 2001. godine, a 2003. godine s kolegama pokreće festival Queer Zagreb. Od 1998. aktivan je i u Centru za mirovne studije, gdje danas radi kao voditelj programa Ljudske sigurnosti. Gordan je sudjelovao u brojnim zagovaračkim aktivnostima vezanim za poboljšanje kvalitete zaštite ljudskih prava kako u zemlji tako i šire. Ankica Čakardić (1977) predavala je od 2007. godine na Odsjeku za kulturalne studije Filozofskoga fakulteta Sveučilišta u Rijeci, gdje je bila predstojnica Katedre za kulturnu teoriju i diskursne studije. Od 2010. je zaposlena kao docentica i nositeljica Katedre za socijalnu filozofiju i Filozofiju roda na Odsjeku za filozofiju Filozofskoga fakulteta Sveučilišta u Zagrebu. Tu ostvaruje interese za socijalnu i političku filozofiju s naglaskom na marksističku kritiku društvenog ugovora, socijalnu historiju, filozofiju roda i feminističku kritiku političke ekonomije. Koordinatorica je obrazovnog programa u Centru za ženske studije, a u Centru za mirovne studije predaje desetu godinu zaredom. Pučka pravobraniteljica Lora Vidović (1973) opunomoćenica je Hrvatskog sabora za promicanje i zaštitu ljudskih prava i sloboda od 1. ožujka 2013. godine. Predsjeda Europskom mrežom nacionalnih institucija za ljudska prava, a članica je Biroa Međunarodnog koordinacijskog odbora nacionalnih institucija za ljudska prava pri Vijeću za ljudska prava UN-a. Cijeli radni vijek radi na području zaštite i promicanja ljudskih prava u Hrvatskoj. Radila je i kao predstojnica Ureda UNICEF-a za Hrvatsku, a od 2006. do 2010. godine kao zamjenica pravobraniteljice za djecu. Diplomirala je na Pravnom fakultetu u Zagrebu, gdje je 2001. magistrirala s temom pravobranitelj za djecu.

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ETHICS AND HUMAN RIGHTS COMMITTEE Gordan Bosanac (1973) holds a degree in Physics from the Zagreb University and an MA in Human Rights from the School of Public Policy at UCL. He also completed the Peace Studies Program at the Centre for Peace Studies in Zagreb. Since the late 1990s, he has actively participated in peace and human rights movement in Croatia. He co-founded the LGBT organisation Iskorak and was one of the initiators of the Queer Zagreb Festival. Since 1998, he was an active member of the Centre for Peace Studies, where he is currently Head of the Human Security Program. He has participated in numerous activities advocating the improvement of the protection of human rights, in Croatia as well as abroad. Ankica Čakardić (1977) was a lecturer and Head of Cultural Theory and Discourse Studies Program at the Cultural Studies Department, Faculty of Philosophy in Rijeka. Since 2010, she has been Assistant Professor and Head of Social Philosophy and Philosophy of Gender Program at the Department for Philosophy, Faculty of Humanities and Social Sciences, Zagreb. Her professional interests lie in social and political philosophy, with an emphasis on the Marxist critique of the social contract, social history, philosophy of gender, and feminist critique of political economy. She coordinates the educational program at the Women’s Studies Centre, and has worked as a lecturer at the Centre for Peace Studies for ten years. Lora Vidović (1973) is the Ombudswoman of the Republic of Croatia. She has been appointed by the Croatian Parliament as the commissioner for the promotion and protection of human rights. She is also Chair of the European Network of National Human Rights Institutions (ENNHRI), as well as a member of the International Coordinating Committee of NHRI Bureau at the UN Human Rights Council. She dedicated her career to protecting and promoting human rights in Croatia. She was Head of the UNICEF Office in Croatia. From 2006 to 2010, she worked as a Deputy Ombudswoman for Children. In 2001, she obtained an MA from the Faculty of Law in Zagreb.

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NAGRADE 25. DANA HRVATSKOG FILMA Velike nagrade Dodjeljuje veliki žiri u svakoj od navedenih kategorija. Nagrada za najbolji film (Grand prix) mora se proglasiti, a ostale su opcionalne. Nagrade: Film (Grand prix), režija, scenarij, gluma, montaža, glazba (oblikovanje zvuka), kamera i manjinska koprodukcija. Nagrada Oktavijan Hrvatskog društva filmskih kritičara (HDFK) Nagrade Hrvatskog društva filmskih kritičara kojom se vrednuju i ocjenjuju umjetnička postignuća u hrvatskoj kinematografiji. Od ove godine dodjeljuju se za najbolje filmove u protekloj godini, a ne isključivo iz konkurencije DHF-a. U ocjenjivanju sudjeluju svi redoviti članovi HDFK-a, a nagradu dobivaju filmovi s najvišim ocjenama u kategorijama: animirani film, dokumentarni film, eksperimentalni film, igrani film i namjenski film. Nagrada Zlatni Oktavijan Nagrada za životno djelo koja se dodjeljuje filmašima koji su posebno zadužili hrvatski film. Nagrada se izglasava na skupštini HDFK-a uoči održavanja festivala. Ovogodišnji je dobitnik Nedeljko Dragić. Nagrada Vladimir Vuković Dodjeljuje HDFK za filmsku kritiku: za životno djelo u kritici, rad u protekloj godini ili najboljeg mladog kritičara/kritičarku. Nagrada Jelena Rajković Dodjeljuje žiri koji je imenovalo Društvo hrvatskih filmskih redatelja (DHFR) najboljem redatelju/redateljici do 30 godina starosti (novčana nagrada od 6.000 kuna). Nagrada za etiku i ljudska prava Dodjeljuje vijeće za etiku i ljudska prava filmu koji na najbolji način promiče ljudske vrijednosti. Nagrada publike Dodjeljuje publika glasajući za filmove iz konkurencije. Nagrada Zlatna uljanica Nagrada katoličkoga tjednika Glas Koncila zamišljena je kao simbol osobitoga, etičkog svjetla u filmskoj umjetnosti – umjetnosti svjetla. Tom se nagradom od prvog DHF-a želi upozoriti na film koji, prema ocjeni žirija, promiče pozitivnu poruku. Prvi oblik skulpture izradio je kipar Hrvoje Edmund Bošnjak, a ideju je 2000. godine razvio kipar Damir Mataušić. Sedmeročlani žiri 2016. godine novinarke su i novinari rubrike Mladi mladima pod predsjedanjem Danijela Labaša.

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25TH CROATIAN FILM DAYS AWARDS Grand Jury Awards Awarded by the Grand Jury for each of the categories: Film (Grand Prix), Directing, Screenplay, Acting, Editing, Music (Sound Design), Camera, and Minority Co-production. The award for Best Film (Grand Prix) is mandatory. Oktavijan Award – Granted by the Croatian Film Critics’ Association (HDFK) Awards granted by the HDFK for evaluating artistic achievements in Croatian film. Starting this year, the awards will no longer be limited to the Competition Program, but will henceforth be granted to the best films from the previous year. The films are rated by the members of the Association, and the awards are granted to the highest ranking films in categories: Animated Film, Documentary Film, Experimental Film, Fiction Film and Commercial Film. Golden Oktavijan Award A life achievement award granted to filmmakers who have made an outstanding contribution to Croatian film. The winner is selected at the Croatian Film Critics’ Association assembly prior to the Festival. This year’s winner is Nedeljko Dragić. Vladimir Vuković Award Granted by the Croatian Film Critics’ Association for film criticism: Life Achievement in Criticism, Best Critic of the Year, or Best Young Critic. Jelena Rajković Award Granted by the jury appointed by the Croatian Film Directors’ Guild (DHFR). Awarded to Best Director Under the Age of 30 (Cash Prize 6,000 HRK). Ethics and Human Rights Award Granted by the Ethics and Human Rights Committee for the advancement of ethical values and human rights on film. Audience Award Granted by the audience to films in the Competition Program. Golden Oil Lamp Award The Golden Oil Lamp Award, granted by the Catholic journal Glas Koncila, was conceived as a symbol for a special, ethical illumination in film – itself the art of light. This award aims to draw attention to the film which promotes a positive message – an ethical ray of light. The first version of the sculpture was made by the sculptor Hrvoje Edmund Bošnjak, whose idea was further developed by the sculptor Damir Mataušić in 2000. The members of the 2016 jury are journalists from the journal’s Mladi mladima column, headed by Danijel Labaš.

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NEDELJKO DRAGIĆ NAGRADA ZLATNI OKTAVIJAN ZA ŽIVOTNO DJELO

U koji god okvir stavili njegov crtanofilmski opus, u onaj “lokalni”, Zagrebačke škole crtanog filma, kojoj bez ostatka pripada, ili globalni – s nepreglednim korpusom svjetske animacije, Nedeljko Dragić (rođen 1936. u Paklenici kod Novske) uvijek će se isticati kao autor neponovljiva umijeća i osebujne poetike čiji se doživljaji svijeta procesuiraju satiričkim odmakom, a potom izražavaju njegovim najjačim oruđem – linijom. Dragić ulazi u svijet crteža i animacije sredinom 1950-ih i ne napušta ga do danas. Od debitantske Elegije (1965) o robijašu koji kroz prozor ćelije čeznutljivo promatra vanjski svijet sveden na jedan cvijet, da bi ga već prvog dana na slobodi nemilice zgazio, Dragić stvara poseban autorski svijet ispunjen apsurdom, otuđenjem i melankolijom, postupno odbacujući klasičnu naraciju. U drugom filmu Krotitelj divljih konja (1966) dominira njegov crtački grafizam, a već u trećem filmu Možda Diogen (1967) epizodična dramaturgija i karakterističan “prazan” prostor s besciljnim i osamljenim likom kojega salijeću povijesne asocijacije i referencije. U anegdotalnim jednominutnim minijaturama kao što je Per aspera ad astra (1969) razrađuje svoj prepoznatljivi vizualni geg, da bi u jednom od svojih najboljih filmova Idu dani (1969) potpuno odbacio scenografske pozadine i apstraktnom vremenu dodao apstraktan bijeli prostor, kojemu animacijom lika dodaje dubinu i širinu. U remek-djelima Tup-tup (1972, nominacija za nagradu Oscar) i Dnevnik (1974) vraća se crtanim scenografskim pozadinama kako bi svijet u kojem živi njegov osamljeni humanoidni lik učinio što neurotičnijim i paranoičnijim, utapajući ga, osobito u potonjem, u dojmljive mlazove figurativnih i apstraktnih slika. Humanističkog nadahnuća i posvećeni izražavanju ideje linijom u pokretu, hvaljeni i nagrađivani diljem svijeta, filmovi Nedeljka Dragića odavno su prerasli okvire sredine u kojoj su nastali i postali dijelom svjetske baštine animiranoga filma. Diana Nenadić

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NEDELJKO DRAGIĆ GOLDEN OKTAVIJAN AWARD FOR LIFE ACHIEVEMENT

There are several contexts in which we may place the animated work of Nedeljko Dragić (1936, Paklenica near Novska): the “local”, that of the Zagreb Film School – to which it unequivocally belongs – or the global, alongside the vast body of work in international animation. Whichever perspective we choose to take, Dragić remains an author of extraordinary artistry and unique poetics, whose perception of the world is first processed with satirical detachment, and then expressed with his strongest tool – the line. Dragić joined the world of illustration and animation in the mid-1950s, and hasn’t left to this day. His debut, Elegy (1965), shows a convict pining away in his jail cell, watching the outside world reduced to a single flower, only to mercilessly trample it on the first day of freedom. Here, Dragić creates an authentic world filled with absurdity, alienation and melancholy, gradually abandoning classic narration. The drawing style in his second film, Tamer of Wild Horses (1966), relies heavily on his recognizable graphism. His third film, Perhaps Diogenes (1967), is marked by an episodic structure, as well as by Dragić’s signature “empty” space inhabited by a lost and lonely character assailed by historic references and associations. In his anecdotal one-minute miniatures like Per aspera ad astra (1969), Dragić has developed his distinctive visual gag. In one of his best films, Passing Days (1969), he completely did away with backgrounds, combining temporal and spatial abstraction. The sense of depth of the blank, white space was achieved through the character’s motions. In masterpieces like Tup Tup (1972, Oscar nomination) and Diary (1974), he returns to illustrated backgrounds, which render the animated world as neurotic and as paranoid as possible, drowning the lonely humanoid character in an overwhelming rush of figurative and abstract images. Praised worldwide, Nedeljko Dragić’s films are humanist at core, notable for their usage of the animated line as the primary form of expression. His work has long outgrown the boundaries of his homeland, and become part of the world heritage. Diana Nenadić 25


KONKURENCIJA COMPETITION PROGRAM


ANIMIRANI FILM ANIMATED FILM

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Grad duhova Ghost Town REŽIJA / DIRECTOR Marko Dješka 2016 12’11’’ SCENARIJ, MONTAŽA, KOMPOZITING / SCREENPLAY, EDITING, COMPOSITING Marko Dješka ANIMACIJA / ANIMATION David Lovrić GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Hrvoje Štefotić

Dok bijesni bitka oko napuštenog grada, posljednji stanovnik vodi bitku sa samoćom kroz dnevne rituale. While a battle rages outside a deserted city, the remaining citizen fights loneliness with the help of his daily rituals.

PRODUCENT / PRODUCER Vinko Brešan PRODUKCIJA / PRODUCTION Zagreb film Marko Dješka (1983) diplomirao je animaciju na Akademiji likovnih umjetnosti u Zagrebu. Student­ski filmovi: Kolinje, Sotonin sin. Trenutačno je na rezidenciji u Viborgu u Danskoj, gdje razvija novi projekt. Marko Dješka (1983) graduated in Animation from the Academy of Fine Arts in Zagreb. Student films: Slaughtered, The Son of Satan. He is a resident at The Open Workshop in Viborg, Denmark, where he is currently developing his new project.

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Petrova šuma Peter’s Forest REŽIJA / DIRECTOR Martina Meštrović 2016 8’25’’ SCENARIJ / SCREENPLAY Betina Ilić, Martina Meštrović MONTAŽA, KOMPOZITING / EDITING, COMPOSITING Martina Meštrović ANIMACIJA / ANIMATION Martina Meštrović, Marko Meštrović GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Andrea Martignoni PRODUCENT / PRODUCER Igor Grubić PRODUKCIJA / PRODUCTION Kreativni sindikat DISTRIBUCIJA / DISTRIBUTION Bonobostudio Martina Meštrović (1974) diplomirala je kiparstvo na ALU-u u Zagrebu. Izlagala je na više samostalnih i skupnih izložbi. U svijet animiranog filma otisnula se 2004. radeći na filmovima kao animatorica i redateljica. Filmografija: Bla (2013).

Univerzalna parabola o razlikama. Priča o prirodnom i isključenom, normalnom i neobičnom. Dvoboj naučenih binarnih opozicija u tri boje. Uz važno pitanje za svijet ovoga filma i izvan njega: ako naša priroda nikoga ne ugrožava, što nas ili tko sprečava da živimo ispunjen život, možda jedini koji imamo? A universal parable about differences, told in three colours. A story about the natural and the excluded, the normal and the uncommon; a duel between learned binary oppositions. The film reflects on an important issue: If our nature isn’t a threat to anyone, then who or what prevents us from living our life – possibly the only one we have – to the fullest?

Martina Meštrović (1974) graduated in Sculpture from the Academy of Fine Arts in Zagreb. She has held several solo and group exhibitions. In 2004, she ventured into the world of animated film, working as an animator and director. Filmography: Bla (2013).

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Planemo

REŽIJA / DIRECTOR Veljko Popović 2015 13’25’’ boja, CB / colour, BW SCENARIJ, MONTAŽA, KOMPOZITING / SCREENPLAY, EDITING, COMPOSITING Veljko Popović ANIMACIJA / ANIMATION Siniša Mataić, Natalia Marcos, Kristijan Dulić KOMPJUTERSKA GRAFIKA, MODELIRANJE / COMPUTER GRAPHICS, MODELING Milivoj Popović GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Sina Jakelić PRODUCENTI / PRODUCERS Veljko Popović, Milivoj Popović PRODUKCIJA / PRODUCTION Lemonade 3D / Krupni kadar KOPRODUKCIJA / CO-PRODUCTION 3D2D Animatori DISTRIBUCIJA / DISTRIBUTION Bonobostudio Veljko Popović (1979) diplomirao je 2003. na Slikarskom odsjeku Akademije likovnih umjetnosti u Zagrebu. Suosnivač je studija za 2D i 3D grafiku i animaciju Lemonade 3D. Predaje animaciju na UMAS-u.

Planemo je samotni lutalica, čuvar galaksije. To je napušteni svijet, nebesko tijelo izbačeno iz vlastitog solarnog sustava uslijed kaotičnih planetarnih migracija. U društvu u kojem svi bezumno kruže u orbitama oko dnevnih rutina, što se dogodi onima izbačenima iz tog sustava? Mogli bi se ubrzo naći na putanji koja vodi izvan nastanjive zone. Planemo is a solitary wanderer, a sentinel of the galaxy. It is an orphaned world, a celestial body booted from its solar system by the chaos of planetary migration. In a society where everyone mindlessly orbits around their daily routines, what happens when a person gets ejected from the system? They might just find themselves rapidly pushed out of the habitable zone.

Veljko Popović (1979) graduated in 2003 from the Academy of Fine Arts in Zagreb, Department of Painting. He is a co-founder of Lemonade 3D, studio for CG and animation. He teaches computer animation at the Arts Academy in Split.

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Pokretni elementi Moving Elements REŽIJA / DIRECTOR Marko Tadić 2016 6’30’’ SCENARIJ, ANIMACIJA, KOMPOZITING / SCREENPLAY, ANIMATION, COMPOSITING Marko Tadić MONTAŽA / EDITING Iva Blašković GLAZBA / MUSIC Goran Tudor, Alen Sinkauz, Nenad Sinkauz OBLIKOVANJE ZVUKA / SOUND DESIGN Bojan Gagić, Miodrag Gladović PRODUCENT / PRODUCER Igor Grubić PRODUKCIJA / PRODUCTION Kreativni sindikat KOPRODUKCIJA / CO-PRODUCTION Zagreb film DISTRIBUCIJA / DISTRIBUTION Zagreb film Marko Tadić (1979) školovao se na Umjetničkoj akademiji u Firenci. Godine 2006. osvojio je nagradu za crtež Salona mladih u Zagrebu, a 2008. dobiva Nagradu Radoslav Putar. Autor je eksperimentalnih i animiranih filmova. Marko Tadić (1979) studied at the Accademia di Belle Arti, Florence. In 2006, he won Best Drawing at the Youth Salon in Zagreb; in 2008, he won the Radoslav Putar Award for contemporary art. He has made many experimental and animated films.

Film govori o kreativnim procesima koji dovode do stvaranja umjetničkih djela. Pratimo automobil kroz etape umjetničkog procesa. On sam postaje dio umjetničkih djela, ali i akter u apstraktnim procesima kreacije. Film je hommage autorima i filmovima nastalima u zlatno doba Zagrebačke škole crtanog filma te dijelom koristi vizualni jezik specifičan za šezdesete i sedamdesete godine 20. stoljeća. The film speaks about the creative processes which lead to the creation of works of art. A car goes through different stages of the artistic process. Along the way, it becomes a part of various artworks, as well as an active participant in the abstract processes of creation. Conceived as a tribute to authors and films of the 1960s and 1970s – the golden age of the Zagreb School of Animation – the film relies on the visual language specific to that period.

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Stakleni čovjek Transparency REŽIJA / DIRECTOR Daniel Šuljić 2015 6’10’’ SCENARIJ, MONTAŽA, GLAZBA / SCREENPLAY, EDITING, MUSIC Daniel Šuljić ANIMACIJA / ANIMATION Daniel Šuljić, Martina Meštrović, David Lovrić, Jelena Oroz, Nenad Laktašić PRODUCENT / PRODUCER Igor Grubić PRODUKCIJA / PRODUCTION Kreativni sindikat KOPRODUKCIJA / CO-PRODUCTION Zagreb film DISTRIBUCIJA / DISTRIBUTION Zagreb film Daniel Šuljić (1971) diplomirao je slikarstvo i animaciju na Sveučilištu za primijenjenu umjetnost u Beču. Predavao je na brojnim fakultetima. Od 2011. umjetnički je ravnatelj Animafesta.

Krećući se svijetom ispunjenim skenerima i nadzornim algoritmima, olako koristeći društvene mreže, online formulare i kreditne kartice, čovjek današnjice dobrovoljno se odriče vlastite privatnosti. Uzorni građani nemaju što sakriti, samo prijestupnici imaju. Moving through a world filled with scanners and surveillance algorithms, while frivolously using different social networks, online forms and credit cards, the man of today loses his privacy voluntarily. A good citizen has nothing to hide, only criminals do.

Daniel Šuljić (1971) graduated in Painting and Animated Film from the University of Applied Arts in Vienna. He has taught Animation at various international universities. Since 2011, he has been Artistic Director of the Animafest Zagreb.

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Train Vlak REŽIJA / DIRECTOR Olivier Chabalier FR HR 2015 12’40’’ SCENARIJ, MONTAŽA, ANIMACIJA / SCREENPLAY, EDITING, ANIMATION Olivier Chabalier KOMPOZITING, KOLORIRANJE / COMPOSITING, COLORING Mario Kalogjera GLAZBA / MUSIC Jean-François Viguié OBLIKOVANJE ZVUKA / SOUND DESIGN Damien Boitel PRODUCENTICE / PRODUCERS Clémence Marcadier, Vanja Andrijević PRODUKCIJA / PRODUCTION GASP! KOPRODUKCIJA / CO-PRODUCTION Bonobostudio DISTRIBUCIJA / DISTRIBUTION Bonobostudio Olivier Chabalier (1980) završio je studij filma na Sorbonne Nouvelle – Paris 3. S Clémence Marcadier osnovao je produkcijsku kuću GASP!. Ovo je njegov prvi film.

Film nas vodi na putovanje kroz mračne i nadrealističke krajolike imaginacije. Usmjeren svojim tračnicama, on prolazi raznolike etape postojanja: od bliskosti, učenja, sanjarenja do samoće, iščekivanja i smrti. Priča o putovanju kroz šarolike postaje života, alegorija o predodređenosti, sudbini i postojanju. Train takes us on a voyage through dark and surreal landscapes of imagination. Governed by its tracks it passes through various stages of life: from affection, knowledge, dreams, to loneliness and death. A story about journey, an allegory about determination, destiny and existence.

Olivier Chabalier (1980) studied film at the Sorbonne (Paris III). He co-founded the GASP! production company with Clémence Marcadier. Train is his first short film.

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Travelling Country Putujuća zemlja REŽIJA / DIRECTORS Vesela Dančeva, Ivan Bogdanov BG HR 2016 13’38’’ SCENARIJ / SCREENPLAY Vesela Dančeva, Ivan Bogdanov MONTAŽA, KOMPOZITING / EDITING, COMPOSITING Ivan Bogdanov ANIMACIJA / ANIMATION Ivan Košutić, Jelena Oroz, Petra Zlonoga, Darko Vidačković, Adam Butcher, Diana Monova GLAVNA ANIMATORICA / LEAD ANIMATOR Rositsa Raleva GLAZBA / MUSIC Petar Dundakov OBLIKOVANJE ZVUKA / SOUND DESIGN Andrea Martignoni PRODUCENTICE / PRODUCERS Vesela Dančeva, Vanja Andrijević PRODUKCIJA / PRODUCTION Compote Collective KOPRODUKCIJA / CO-PRODUCTION Bonobostudio DISTRIBUCIJA / DISTRIBUTION Bonobostudio

Bila jednom jedna zemlja koja je putovala na leđima golemog konja sve dok je nisu uništile glupost i pohlepa. Od stare slave ostao je samo konjski rep i sjena nekada sretnog svijeta. No sjećanje na prošlost još uvijek živi i novo društvo se rađa. Hoće li se povijest ponoviti? Once upon a time, there was a country on the back of a giant horse, but it was ruined by stupidity and greed. Now, only the horse’s tail remains of its former glory, while the people live in the shadow of what used to be a happy world. Yet, the memory of the past is still vivid, and a new society is being born. Will the history repeat itself?

Ivan Bogdanov (1973) i Vesela Dančeva (1975) autorski su par koji radi u vlastitoj produkciji Compote Collective. Diplomirali su na Umjetničkoj akademiji Willem de Kooning u Rotterdamu 2002. god. Snimili su uspješne filmove Otac (2012) i Anna Blume (2009). Ivan Bogdanov (1973) and Vesela Dančeva (1975) are a director duo and co-founders of the Compote Collective production company. In 2002, they both graduated from the Willem de Kooning Academy, Rotterdam. They have made several films together, including Father (2012) and Anna Blume (2009).

premijera / premiere 35


DOKUMENTARNI FILM DOCUMENTARY FILM

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58 %

REŽIJA / DIRECTOR Bojan-Haron Markičević 2015 5’17’’ SCENARIJ, MONTAŽA, KAMERA / SCREENPLAY, EDITING, CINEMATOGRAPHY Bojan-Haron Markičević GLAZBA / MUSIC NASA Space Sounds OBLIKOVANJE ZVUKA / SOUND DESIGN Tomislav Domes PRODUCENTICA / PRODUCER Anita Bastašić PRODUKCIJA / PRODUCTION Restart – Škola dokumentarnog filma DISTRIBUCIJA / DISTRIBUTION Restart

Sunčano prijepodne jednog petka okupiralo je brojne prolaznike i natjeralo ih da pogled upere prema Suncu. U isto vrijeme nekome uopće nije bilo do toga. One sunny Friday morning, everyone’s attention is drawn to the sun. At the same time, there are those who don’t share in the amusement of the people in the streets.

Bojan-Haron Markičević (1981) studirao je dizajn na Tehničkom veleučilištu u Zagrebu. Radio je kao grafički dizajner, a sada se sve više bavi fotografijom i videom. Aktivno se bavi alpinizmom. Bojan-Haron Markičević (1981) studied Design at the Zagreb University of Applied Sciences. He works in photography, video and graphic design. He is active in mountaineering.

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Ana trg Ana Square REŽIJA / DIRECTOR Jelena Novaković 2015 26’5’’ SCENARIJ / SCREENPLAY Jelena Novaković MONTAŽA / EDITING Hrvoslava Brkušić KAMERA / CINEMATOGRAPHY Wolfram Huke GLAZBA / MUSIC I-Tal Jam OBLIKOVANJE ZVUKA / SOUND DESIGN Ivan Zelić, Denis Golenja, Filip Sertić PRODUCENTI / PRODUCERS Oliver Sertić, Vanja Jambrović PRODUKCIJA / PRODUCTION Restart laboratorij DISTRIBUCIJA / DISTRIBUTION Restart Jelena Novaković (1980) diplomirala je sociologiju i informatologiju na Filozofskom fakultetu. Završava magisterij europskih studija na Fakultetu političkih znanosti u Zagrebu. Radi u British Councilu. Polazila je filmsku radionicu u Attacku – Medici i Restarovu školu. Jelena Novaković (1980) graduated in Sociology and Information and Communication Sciences from the Faculty of Humanities and Social Sciences, and is finishing MA in European Studies at the Faculty of Political Science in Zagreb. She attended Attack’s Medika Film Workshop and Restart’s School of Documentary Film.

Bez dana odmora, po suncu, snijegu, kiši, nedjeljom i blagdanima, Ana već 40 godina dolazi pred gradsku crkvu prodavati religijske kalendare i krunice. Samo pet metara dalje svoj štand razvila je Zorka, njezina konkurencija. Poslovnu logiku zadržavanja kupaca primijenile su jednostavno – spuštanjem cijena. Iako u neprestanom sukobu, ne mogu jedna bez druge. Ovisnost o dinamičnom svijetu protoka informacija, tračeva i živopisnih gradskih likova učinila ih je stamenim simbolima jednog mikrouniverzuma. Ana, Zorka i trg nerazdvojni su trio u duhovitom socijalnom eseju o pripadanju i prijateljstvu. For the last 40 years, Ana has been selling religiously themed calendars and rosaries in front of the church near the city square. Only a few feet away, her competitor, Zorka, has been doing the same. In order to keep their customers, they follow a simple business logic – lowering the prices. Although in constant conflict, they cannot do without each other. In this world of freeflowing information, gossip, and colourful characters, they have become symbols of an entire microuniverse. Ana, Zorka, and the Square make an inseparable trio in this humorous essay about belonging and friendship. 38


British in Makarska Britanci u Makarskoj REŽIJA / DIRECTOR Ivan Čojbašić HR MK 2015 7’41’’ SCENARIJ / SCREENPLAY Ivan Čojbašić MONTAŽA / EDITING Gorjan Atanasov KAMERA / CINEMATOGRAPHY Klemen Kraševec OBLIKOVANJE ZVUKA / SOUND DESIGN Jovan Vučur PRODUCENTICE / PRODUCERS Karla Carević, Sandra Bastašić PRODUKCIJA / PRODUCTION Udruga Dokuma KOPRODUKCIJE / CO-PRODUCTIONS Fakultet za dramski umetnosti Skopje, Akademija dramske umjetnosti Zagreb, Kino Klub Split DISTRIBUCIJA / DISTRIBUTION Udruga Dokuma Ivan Čojbašić (1992) student je filmske i televizijske režije na Fakultetu dramskih umjetnosti Cetinje. Kao student snimio je tri kratkometražna igrana filma i jedan dokumentarni.

Priča o simpatičnom bračnom paru britanskih umirovljenika koji su se preselili u Makarsku i sagradili velebno ljubavno gnijezdo pokraj groblja na Biokovu. To je i priča o filmskoj ekipi studenata iz četiriju država koji su se tek upoznali, a moraju naučiti surađivati kako bi uspješno ispričali priču o makarskim Britancima. A story about a lovely retired British couple who have moved to Makarska, where they have built a magnificent love nest on the Biokovo Mountain, right next to a cemetery. At the same time, it is a story about a film crew of students who come from four different countries. Practically strangers, they will have to learn to work together in order to tell the story of the Brits in Makarska.

Ivan Čojbašić (1992) studies Film and Television Directing at the Faculty of Dramatic Art in Cetinje, Montenegro. He has directed three short films and one documentary.

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Cile

REŽIJA / DIRECTOR Katarina Radetić 2015 16’48’’ SCENARIJ / SCREENPLAY Katarina Radetić MONTAŽA / EDITING Dunja Sikirić KAMERA / CINEMATOGRAPHY Sara Vurušić OBLIKOVANJE ZVUKA / SOUND DESIGN Alen Peruško PRODUCENTICA / PRODUCER Ana Rajić PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti Katarina Radetić (1993) završila je studij filmske i televizijske režije na ADU-u u Zagrebu, gdje sada pohađa MA dokumentarnog filma. Završila je Palunkovu radionicu za scenarij i pitching te radionicu koju je vodila Roshanak Behesht Nedjad. Katarina Radetić (1993) holds a BA in Film and TV Directing from the Academy of Dramatic Art, where she is currently attending an MA Program in Documentary Film Directing. She attended the screenwriting and pitching workshop organised by Palunko, as well as a workshop held by Roshanak Behesht Nedjad.

premijera / premiere

One man band je glazbenik koji svira nekoliko instrumenata istovremeno koristeći se rukama, stopalima, udovima i raznim pomagalima. Danas ih ima petnaestak u svijetu, a Cile je jedan od njih. Prije desetak godina počeo se baviti sviranjem, a od njegove zarade danas živi četveročlana obitelj, kojoj su to jedina primanja. Njegova su pozornica svjetski gradovi i ulice. Film govori o odgovornosti prema obitelji i snalaženju u kapitalističkom sistemu izvan normi. One man band is a musician who plays multiple instruments at the same time, using their hands, feet, and various other tools. Only a handful of people in the world share that ability, and Cile is one of them. Ten years ago, Cile started playing different instruments. Today, four members of his family depend on his fees – their only source of income. The streets and town squares of the world are his stage. The film talks about responsibility towards family and paving one’s way outside of the norms of the capitalist system we live in.

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Cimeri Roommates REŽIJA / DIRECTORS Katarina Zlatec, Ante Zlatko Stolica 2015 1’22’’ SCENARIJ / SCREENPLAY Katarina Zlatec, Ante Zlatko Stolica MONTAŽA, KAMERA / EDITING, CINEMATOGRAPHY Katarina Zlatec OBLIKOVANJE ZVUKA / SOUND DESIGN Višeslav Laboš PROTAGONISTI / PROTAGONISTS Ante Zlatko Stolica, Katarina Zlatec, Bojan Barišić, Jana Mazor, Matej Korlaet

Maksimalno kratki film o prekarijatu. Zagreb, 2015. godine. Ugledna državna firma odbija projekt jer smatra da su traženi honorari previsoki. An extremely short film about the precariat. Zagreb, 2015. A reputable state-owned company turns down a project, deeming the fees claimed as too high.

PRODUCENT / PRODUCER Matej Korlaet PRODUKCIJA / PRODUCTION Minimum Katarina Zlatec (1986) završila je studij dizajna pri Arhitektonskom fakultetu u Zagrebu, gdje živi i radi. Ante Zlatko Stolica (1985) završio je hrvatski jezik i filozofiju na Filozofskom fakultetu u Splitu. Katarina Zlatec (1986) holds a degree in Design from the Faculty of Architecture, University of Zagreb. Ante Zlatko Stolica (1985) graduated in Philosophy and Croatian Language and Literature from the Faculty of Humanities and Social Sciences, Split.

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Crtači Cartoonists REŽIJA / DIRECTOR Krešimir Lendić 2015 36’14’’ SCENARIJ / SCREENPLAY Željko Gašić MONTAŽA / EDITING Antun Balog KAMERA / CINEMATOGRAPHY Vjeran Hrpka GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Davor Dedić ULOGE / CAST Aljoša Čepl, Hrvoje Barišić, Domagoj Mrkonjić, Nenad Pavlović PRODUCENT / PRODUCER Vedran Kralj PRODUKCIJA / PRODUCTION Trotoar Krešimir Lendić (1970) imao je desetak samostalnih fotografskih izložbi. Radio je na katalogiziranju i očuvanju baštine istočne Hrvatske kao fotograf konzervatorskog odjela pri Ministarstvu kulture RH. Snimio je filmove NSK – Krećemo na vas (2010) i Mišina (2011). Krešimir Lendić (1970) has held a dozen solo photography exhibitions. He has worked on cataloguing and preserving the heritage of the Eastern Croatia as a photogrtapher for the Conservatory Department at the Ministry of Culture of the Republic of Croatia. Films: NSK (2010), Mišina (2011).

Film nas upoznaje s radom triju osječkih crtača stripa i njihovom tragičnom sudbinom na kraju II. svjetskog rata. Sebastijan Lechner, Marijan Ebner i Veljko Kockar bili su dio veće scene koja se pojavila na ovim prostorima krajem tridesetih godina, u zlatno doba stripa u Europi. Većinu stripova objavili su u beogradskim tiskanim izdanjima, ali istražujući za film pronašli smo da su objavljivani širom Europe. Na kaju rata Kockar je strijeljan, a Lechner i Ebner su nestali. The film introduces us to the work of three Croatian cartoonists and the tragic fates that befell them at the end of World War II. Sebastijan Lechner, Marijan Ebner, and Veljko Kockar belonged to a booming scene at the end of the 1930s – the Golden Age of the European cartoon art. Although most of their work was printed and published in Belgrade, we have found that they were published throughout Europe. At the end of the War, Lechner and Ebner went missing, and Kockar was executed.

premijera / premiere

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Delta – obilje umjetnosti Delta – An Affluence of Art REŽIJA / DIRECTOR Marin Lukanović 2015 26’ SCENARIJ / SCREENPLAY Marin Lukanović MONTAŽA / EDITING Marta Batinić KAMERA / CINEMATOGRAPHY Kristijan Vučković GLAZBA / MUSIC Josip Maršić OBLIKOVANJE ZVUKA / SOUND DESIGN Zoran Medved SUDIONICI / PARTICIPANTS Nemanja Cvijanović, Igor Eškinja, Milijana Babić, Fokus grupa (Elvis Krstulović & Iva Kovač), Marino Krstačić Furić, Ana Tomić, Sanja Stojković, Tomislav Brajnović PRODUCENT / PRODUCER Marin Lukanović PRODUKCIJA / PRODUCTION Filmaktiv Marin Lukanović (1979) diplomirao je filmologiju na Sveučilištu u Bologni. Od 2000. radi na filmu u Italiji i Hrvatskoj. Suosnivač je Filmaktiva. Zaposlen je na Sveučilištu u Rijeci kao viši umjetnički suradnik. Režirao je brojne filmove npr. Plenumovi. Marin Lukanović (1979) graduated in Cinema Studies from the University of Bologna. He started his professional film career in Italy, and later moved to Croatia. He is a co-founder of the production company Filmaktiv and a lecturer at the University of Rijeka. Films: Plenumovie, etc.

Delta 5 ime je skupine od devet umjetnika koji dijele radni prostor u zgradi IVEX-a u Rijeci. Pitanja o njihovu životu i radu, dinamici svakodnevnice, kontakt s publikom i neizvjesna budućnost zgrade ključne su teme filma. Njihova suradnja jedan je od mogućih modela zadržavanja ideja solidarnosti, altruizma i zdrave pameti. Film je osvojio Nagradu ArTVision za najbolji dokumentarni film u programu Giornate degli autori na 72. Međunarodnom filmskom festivalu u Veneciji. Delta 5 is a collective of nine artists who share a common workspace in the Ivex building in Rijeka. The film centres on the artists’ lives and work, their relationship with the audience, and the uncertain future of the building. Their collaboration represents a possible model for upholding the ideas of solidarity, altruism, and common sense. The film won the ArTVision Award for Best Documentary Film in the Giornate degli Autori Program at the 72nd Venice IFF.

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Dragec

REŽIJA / DIRECTOR Maja Lesar 2016 16’59’’ SCENARIJ, KAMERA / SCREENPLAY, CINEMATOGRAPHY Maja Lesar MONTAŽA / EDITING Vedran Senjanović GLAZBA / MUSIC Neven Kolarić OBLIKOVANJE ZVUKA / SOUND DESIGN Bojan Miljančić PRODUCENT / PRODUCER Dario Juričan PRODUKCIJA / PRODUCTION Blank_filmski inkubator Maja Lesar (1984) studira na Fakultetu političkih znanosti u Zagrebu. Freelance fotografkinja, pustolovka i lovac na dobre kadrove, sakupljačica svjetlosti i oslobođenih trenutaka, vođena apetitom za nepoznatim. Ovo je njezin prvi film. Maja Lesar (1984) studies at the Faculty of Political Sciences in Zagreb. She is a freelance photographer and adventurer, a collector of light and liberating moments. Guided by the appetite for the unknown, she is in constant pursuit of good shots. This is her first film.

U svibnju 2014. godine političar Dragutin Lesar podnosi ostavku na mjesto predsjednika stranke Hrvatskih laburista. Film prati nekoliko sljedećih dana u kojima se nosi s kućnom rutinom od koje se pomalo odviknuo, ali i s krizom u poplavljenim područjima koja je u punom jeku. Autorica filma kći je glavnog junaka. In May 2014, Croatian politician Dragutin Lesar resigned as President of the Croatian Labour Party and withdrew from politics. The film focuses on days following his resignation, during wich he readjusted to the routine family life and dealt with the Croatian flood crisis that had just reached a critical point. His daughter, Maja Lesar, is the director of the film.

premijera / premiere

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Dum spiro spero

REŽIJA / DIRECTOR Pero Kvesić 2016 52’ SCENARIJ, KAMERA / SCREENPLAY, CINEMATOGRAPHY Pero Kvesić MONTAŽA / EDITING Ana Šerić GLAZBA / MUSIC Srđan Sacher OBLIKOVANJE ZVUKA / SOUND DESIGN Ivan Zelić PRODUCENT / PRODUCER Nenad Puhovski PRODUKCIJA / PRODUCTION Factum Pero Kvesić (1950) diplomirao je sociologiju i filozofiju. Godine 1977. pokrenuo je i prvi uređivao Polet. Bio je glavni urednik časopisa Pitanja, a 1984. pokrenuo je biblioteku i časopis Quorum. Godine 1987. pod mentorstvom D. Vukotića pripremio je seriju Mali leteći medvjedi. Pero Kvesić (1950) graduated in Sociology and Philosophy. In 1977, he founded Polet magazine. He was editor in chief at the magazine Pitanja, and in 1984 he founded Quorum magazine. Under the mentorship of D. Vukotić, he came up with the idea for the series The Little Flying Bears (1987).

Iako se u filmu mnogo govori o smrti, autor zapravo priča o životu. Dum spiro spero latinska je uzrečica koja znači “dok dišem, nadam se”, i koja je do danas ostala geslo onih koji se ne predaju do posljednjeg daha. Ispreplićući svakidašnjicu, knjige i smrt, autor priča o gubljenju snaga i snazi da se s tim gubitkom nosi. Svatko umire od časa kad se rodi, što je najveći razlog da se razumiju vrijednosti života i uživa u radostima koje pruža. Afirmirani pisac je nakon niza knjiga napravio svoj prvi film. To je uvelike autorski rad jer Kvesić potpisuje scenarij, režiju, kameru, a i svira drombulju. Dum spiro spero is a Latin saying, meaning “while I breathe, I hope”. Until this day, it has remained the motto of those who refuse to give in and who fight until their last breath. Intertwining daily life, books, and death, the author speaks about losing strength and the ability to cope with the loss. Everyone starts dying from the moment they are born, which is the greatest reason to become aware of and enjoy the valuable things in life. Having written a series of books, the acclaimed writer finally made his first film, which he directed, wrote, shot, and in which he also plays a jaw harp.

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Festivalski turizam Festival Tourism REŽIJA / DIRECTOR Sunčica Ana Veldić 2016 14’52’’ SCENARIJ, MONTAŽA, KAMERA, OBLIKOVANJE ZVUKA / SCREENPLAY, EDITING, CINEMATOGRAPHY, SOUND DESIGN Sunčica Ana Veldić GLAZBA / MUSIC Thiaz Itch ULOGE / CAST Sunčica Ana Veldić, Tin Žanić PRODUCENTICA / PRODUCER Sunčica Ana Veldić PRODUKCIJA / PRODUCTION Kinoklub Zagreb DISTRIBUCIJA / DISTRIBUTION Sunčica Ana Veldić Sunčica Ana Veldić (1981) je veterinarka, a filmove snima u Kinoklubu Zagreb. Godine 2015. na Reviji hrvatskog filmskog stvaralaštva dobiva prvu nagradu za Hrvatsku djevicu i drugu nagradu za The Tenant, a u Sloveniji osvaja nagradu za Hux Flux, Smokvin sin (suredatelj Martin Semenčić). Sunčica Ana Veldić (1981) is a veterinarian who makes documentaries at the Cinema Club Zagreb. In 2015, she won the 1st Prize for Love Is a Warm Gun and the 2nd Prize for The Tenant at the Croatian Film and Video Revue. She won Special Mention for Hux Flux (co-dir. Martin Semenčić) at the Luksuz FF.

Metafilm o festivalskom turizmu prikazuje ulazak autorice u svijet filma, i to iz potpuno udaljene branše veterinarske medicine. Nakon poziva za gostovanjem filma Hux Flux na festivalu u Londonu autorica nastoji izvući najbolje od ponuđenog, kombinirajući festivalske sadržaje s propitivanjem turističkih klišeja Londona, želeći snimiti film koji će je lansirati u novi krug festivalskih putovanja. Pomalo nezadovoljna uspjehom na festivalu vraća se u Hrvatsku očekujući novi festival. This metafilm about festival tourism depicts the author’s entrance into the world of filmmakers, having made the leap from an entirely different profession – veterinary medicine. After being invited to London to screen her film, Hux Flux, the author tries to make the best of the opportunity. Combining festival content with tourist clichés about London, she tries to make a new film that would open the door for further festival related travels. Somewhat disappointed with the reception of her film, she returns to Croatia, waiting for another festival to come.

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Iskrice Sparks REŽIJA / DIRECTOR Željko Sarić 2015 65’30’’ SCENARIJ / SCREENPLAY Željko Sarić, Goran Bukovčan MONTAŽA / EDITING Viktor Sarić KAMERA / CINEMATOGRAPHY Dino Senčar, Danijel Kovačević GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Tomislav Babić PRODUCENT / PRODUCER Nikola Klobučarić PRODUKCIJA / PRODUCTION Project 6 studio Željko Sarić (1951) diplomirao je 1983. godine na Odsjeku filmskog snimanja na ADU-u. Sudjelovao je na brojnim filmskim festivalima i primio nekoliko značajnih nagrada. Djeluje na području likovne umjetnosti.

Fenomen online datinga u Hrvatskoj je već dugo prisutan, ali ovaj film po prvi put razotkriva sudbine protagonista koji se kriju iza internetskih nadimaka. Ingvar 25, Lady Vintage, Contessa Nera, Niska Rastaman, Pagdjesitidosada pojavljuju se na različitim portalima za upoznavanje u potrazi kratkotrajnom vezom ili pak životnim partnerom. The phenomenon of online dating has long been present in Croatia. This film reveals for the first time the fates of people hiding behind their avatars. Ingvar 25, Vintage Lady, ContessaNera, Niska Rastaman, Pagdjesitidosada visit various dating websites, looking for a short-term relationship or a life partner.

Željko Sarić (1951) graduated in Cinematography from the Academy of Dramatic Art, Zagreb in 1983. He has participated at numerous film festivals and received several notable awards. He is active in the field of fine arts.

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Kandidat The Candidate REŽIJA / DIRECTORS Tomislav Pulić, Robert Tomić Zuber 2016 62’ SCENARIJ / SCREENPLAY Tomislav Pulić, Robert Tomić Zuber MONTAŽA / EDITING Teo Bekavac KAMERA / CINEMATOGRAPHY Teo Bekavac, Matija Petrović, Darko Fljapan, Robert Tomić Zuber PRODUCENTICA / PRODUCER Marija Kosor PRODUKCIJA / PRODUCTION Hrvatska radiotelevizija Tomislav Pulić (1972) bio je glavni producent HTV-a 2009 – 2011. i direktor ORFEJ-a 2011 – 2013. Od 2013. godine izvršni je producent PO kultura, umjetnost i religija. Robert Tomić Zuber (1976) režirao je Slučajni sin (Oktavijan na DHF-u 2008), Mila traži Senidu itd. Do kraja 2015. bio je rukovoditelj Odjela dokumentarne produkcije HRT-a. Tomislav Pulić (1972) was Head Producer at the Croatian Radiotelevision from 2009 to 2011. He was CEO at ORFEJ from 2011 to 2013. Since 2013, he has been an executive producer at the Department of Culture, Art and Religion. Robert Tomić Zuber (1976) directed The Accidental Son (2007), Mila Seeking Senida (2010), etc.

Tomislav P. suvlasnik je u jednom zagrebačkom neboderu. Motiviran slučajnim dolaskom na sastanak suvlasnika, onime što je tada doživio i “ratom” obavijestima na oglasnoj tabli zgrade između dvaju kandidata za predstavnika stanara, odluči malo dublje zagrepsti u odnose u zgradi, zajednička sredstva i njihovo trošenje. Istovremeno, predizborna godina na parlamentarnoj razini sve više udara ritam stambenog izbornog procesa u njegovoj zgradi. Tomislav P. owns an apartment in a residential high-rise in Zagreb. After witnessing the notice-board “war” between two candidates aiming for the position of the tenants’ representative, and accidentally attending a co-op meeting, he decides to dig deeper into the relationships in the building, as well as the common finances and their expenditure. However, it is a parliamentary election year, which increasingly influences the entire election process of the building.

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Kino otok Islands of Forgotten Cinemas REŽIJA / DIRECTOR Ivan Ramljak 2016 32’48’’ MONTAŽA / EDITING Damir Čučić KAMERA / CINEMATOGRAPHY Ivan Slipčević OBLIKOVANJE ZVUKA / SOUND DESIGN Hrvoje Radnić PRODUCENTICA / PRODUCER Vanja Jambrović PRODUKCIJA / PRODUCTION Restart Ivan Ramljak (1974) je filmski kritičar, redatelj i nezavisni kustos. Uređuje program Kratkog utorka u kinu Tuškanac u Zagrebu. Filmovi (s Markom Škobaljem): Oslobođenje u 26 slika, In Utero, Trapula itd.

Poetski dokumentarac o izgubljenoj kulturi posjećivanja kina u malim mjestima na hrvatskim otocima tijekom druge polovice prošlog stoljeća. Šestero svjedoka vremena prisjeća se svojih omiljenih filmova i događaja vezanih uz gledanje i prikazivanje filmova koji su im obilježili živote. A poetic documentary about the loss of film culture in small villages on Croatian islands during the second half of the 20th century. Six protagonists reminisce about their favourite films and the filmgoing experiences that marked their lives.

Ivan Ramljak (1974) is a film critic, director and independent curator. He is currently the coordinator of the Short Tuesday Program at Tuškanac Cinema in Zagreb. Films (with Marko Škobalj): Liberation in 26 Pictures, In Utero, The Trap etc.

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Krek

REŽIJA / DIRECTOR Matija Fućek 2016 35’15’’ SCENARIJ, KAMERA, MONTAŽA, GLAZBA / SCREENPLAY, CINEMATOGRAPHY, EDITING, MUSIC Matija Fućek OBLIKOVANJE ZVUKA / SOUND DESIGN Toma Zidić PRODUCENTICA / PRODUCER Maja Jurić Ivoš PRODUKCIJA / PRODUCTION Centar za kulturu i film Augusta Cesarca KOPRODUKCIJA / CO-PRODUCTION Kinoklub Zagreb DISTRIBUCIJA / DISTRIBUTION Centar za kulturu i film Augusta Cesarca Matija Fućek (2002) pohađa Osnovnu školu Pavleka Miškine. Matija Fućek (2002) attends the Pavlek Miškina Elementary School.

Matija nas u formi vloga uvodi u svakodnevni život jednog osnovnoškolca. Upoznaje nas sa svojom školom i kolegama u razredu, sa svojim obavezama i sa svime što je dio njegove uobičajene rutine. Ipak, u Kreku nam otkriva i intimne detalje o sebi koje tipični klinac njegovih godina ne voli pričati. In the form of a vlog, Matija gives us access into the everyday life of a schoolboy. He introduces us to his school and classmates, his duties, and everything else that constitutes part of his usual routine. However, he also reveals some intimate details about himself, the kind a typical kid his age usually doesn’t like, or doesn’t want to share.

premijera / premiere

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Kupus na lešo Cabbage REŽIJA / DIRECTOR Zorko Sirotić 2016 8’43’’ MONTAŽA, KAMERA, OBLIKOVANJE ZVUKA / EDITING, CINEMATOGRAPHY, SOUND DESIGN Zorko Sirotić PRODUCENT / PRODUCER Zorko Sirotić PRODUKCIJA / PRODUCTION Kinoklub Zagreb

Jutro provedeno s prijateljem koji se liječi od raka. A onda – neočekivan, kulinarski obrat. A morning spent with a friend who is going through a cancer treatment. And then the story takes an unexpected, culinary turn.

Zorko Sirotić (1985) član je Kinokluba Zagreb, šef podružnice Beard Liberation Fronta za centralnu i jugoistočnu Europu, moderator redateljskog foruma na festivalu u Jihlavi i osnivač Hrvatske reprezentacije – društva za hiperprodukciju umjetničkih pokreta. Zorko Sirotić (1985) is a member of the Cinema Club Zagreb, Head of the Beard Liberation Front, a moderator of the Inspiration Forum at the Jihlava IDFF, and a founding member of the Croatian Representation – Association for the Hyperproduction of Artistic Movements.

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Martinac

REŽIJA / DIRECTOR Zdravko Mustać 2015 62’ CB, boja / BW, colour SCENARIJ / SCREENPLAY Zdravko Mustać MONTAŽA / EDITING Damir Čučić KAMERA / CINEMATOGRAPHY Boris Poljak OBLIKOVANJE ZVUKA / SOUND DESIGN Tihomir Vrbanec SUDIONICI / PARTICIPANTS Ivan Ladislav Galeta, Ješa Denegri, Joca Jovanović, Sava Trifković, Marko Babac, Predrag Popović, Želimir Žilnik, Dragoslav Lazić, Andrija Pivčević, Ante Verzotti, Dunja Ivanišević, Hrvoje Turković PRODUCENTICA / PRODUCER Vera Robić-Škarica PRODUKCIJA / PRODUCTION Hrvatski filmski savez Kao pripadnik četvrte generacije splitske škole alternativnog filma, Zdravko Mustać (1961) je tijekom 80-ih realizirao dvadeset eksperimentalnih filmova. Nastavlja se profesionalno baviti filmom te snima više od trideset radova. Dobitnik je triju Oktavijana. As a member of the fourth generation of the Split School of Alternative Film, Zdravko Mustać (1961) made twenty short experimental films in the 1980s. In the 1990s, he became a professional filmmaker, making over thirty films. He has won three Oktavijan Awards.

Film o životu i stvaralaštvu avangardnog splitskog filmskog redatelja i pjesnika Ivana Martinca (1937 – 2004). Martinac je vrsta biografskog filma u kojem se u frenetičnom ritmu izmjenjuju izjave njegovih suvremenika, prijatelja i suradnika s insertima iz njegovih filmova i prizorima iz postaja na njegovu životnom putu. Taj portret jedne izuzetne pojave istodobno dočarava kompleksnost autorske osobnosti i njegova turobna životna putovanja. A biopic about the life and work of the late avant-garde filmmaker and poet from Split, Ivan Martinac (1937 – 2004). The statements of his contemporaries, friends and associates alternate in a frenetic rhythm with numerous clips from his films and scenes from his life. It is a portrait of an exceptional figure, which manages to evoke both the complexity of his artistic personality and his hard and trying life.

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Neovisna lista oportunista Independent List of Opportunists REŽIJA / DIRECTORS Dejan Oblak, Vedran Senjanović 2016 43’44’’ SCENARIJ / SCREENPLAY Dejan Oblak, Vedran Senjanović MONTAŽA / EDITING Hrvoje Mršić, Dejan Oblak KAMERA / CINEMATOGRAPHY Nezavisna lista oportunista PRODUCENTI / PRODUCERS Vanja Jambrović, Oliver Sertić, Tena Perišin, Igor Mirković PRODUKCIJA / PRODUCTION Restart KOPRODUKCIJA / COPRODUCTION Televizija Student DISTRIBUCIJA / DISTRIBUTION Restart Vedran Senjanović (1988) i Dejan Oblak (1987) apsolventi su novinarstva na Fakultetu političkih znanosti u Zagrebu. Vedran radi kao snimatelj, montažer i koordinator Kulturne Televizije SC-a. Dejan radi na Televiziji Student kao tehnički koordinator, realizator i grafički urednik. Vedran Senjanović (1988) and Dejan Oblak (1987) study Journalism at the Faculty of Political Science. Vedran works as a cinematographer, editor and coordinator for the Student Centre TV channel, Kulturna TV. Dejan works for the Student TV as a technical coordinator, executive producer, and graphic editor.

Film prati kandidaturu istoimene političke opcije na posljednjim parlamentarnim izborima u Hrvatskoj koja je sastavljena od studenata političkih znanosti. Njihov je glavni cilj bio parodija demokratskog izbornog procesa kakav danas postoji u Hrvatskoj. NLO se vodio idejom da mnogi građani ne znaju za koga glasati te da je sustav parlamentarne demokracije rezultirao siromašnim dvostranačjem bez maštovitosti i inovativnosti. U filmu pratimo 14 kandidata i način na koji se snalaze na političkom terenu. The Independent List of Opportunists is a new political party comprised of political science students. As they take part in the latest parliamentary elections in Croatia, their main goal is to make fun of the Croatian democratic electoral process. They are guided by the idea that many citizens don’t have anybody to vote for and that the current system of parliamentary democracy has resulted in poor bipartisanship completely lacking in imagination and innovation. The film follows 14 candidates as they try to find their way in the political arena.

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Nešto o životu Something About Life REŽIJA / DIRECTOR Nebojša Slijepčević 2016 30’ SCENARIJ, KAMERA / SCREENPLAY CINEMATOGRAPHY Nebojša Slijepčević MONTAŽA / EDITING Iva Kraljević OBLIKOVANJE ZVUKA / SOUND DESIGN Alena Murar PRODUCENTICA / PRODUCER Vanja Jambrović PRODUKCIJA / PRODUCTION Restart Nebojša Slijepčević (1973) diplomirao je režiju na ADU-u. Režirao je brojne TV dokumentarce, npr. epizodu serijala City Folk. Jedan je od autora dokumentarnog serijala Direkt. Surađivao je na serijalu Romi u Evropi. Filmovi: Pas/zec, Gangster te voli, Kutija itd. Nebojša Slijepčević (1973) graduated in Film Directing from the Academy of Dramatic Art in Zagreb. He has directed numerous TV documentaries and series (Direkt, Staying Alive, City Folk), as well as creative documentaries, fiction and animated films: Dog/Rabbit, Gangster of Love, Boxed, etc.

U zadnjoj kući u malom slavonskom selu živi osam maloljetnih djevojaka. Uz pomoć odgajatelja pokušavaju promijeniti vlastite živote. Odrastaju zajedno vodeći domaćinstvo i upravljajući gospodarstvom. No četrnaestogodišnja Ivana teško se uklapa u novu sredinu. Ona tek mora naučiti kako prihvatiti prošlost i živjeti za budućnost. On the edge of a small Croatian village, there is a house with eight young girls. With the help of their caregivers they are trying to change their lives for the better. Growing up together, they take care of the household and the estate. However, the experience is particularly hard for 14-year-old Ivana, who is struggling to adapt to the new environment. She has yet to learn to accept the past, put it behind her, and start living for the future.

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Poslednji galebovi Posljednji galebovi / The Last of the Gulls REŽIJA / DIRECTOR Nemanja Lakić HR MK 2015 6’8’’ SCENARIJ / SCREENPLAY Nemanja Lakić MONTAŽA / EDITING Sandra Gjorgieva KAMERA / CINEMATOGRAPHY Peter Perunović OBLIKOVANJE ZVUKA / SOUND DESIGN Sanja Đuričić, Danica Vujošević

Portret legendarnih makarskih galebova, zavodnika par excellence jadranske obale. A portrait of the so-called “gulls” from Makarska, the legendary skirt chasers of the Adriatic coast.

PRODUCENTICE / PRODUCERS Karla Carević, Sandra Bastašić PRODUKCIJA / PRODUCTION Udruga Dokuma KOPRODUKCIJA / CO-PRODUCTION Fakultet za dramski umetnosti Skopje, Akademija dramske umjetnosti Zagreb, Kino Klub Split DISTRIBUCIJA / DISTRIBUTION Udruga Dokuma Nemanja Lakić (1991) student je filmske i TV režije na Fakultetu dramske umjetnosti Cetinje. Snimio je tri kratkometražna igrana i dva dokumentarna filma. Nemanja Lakić (1991) studies Film and Television Directing at the Faculty of Dramatic Art in Cetinje. He has directed three short films and two documentaries.

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Pravo na rad: Onako kako smo ga ostavile Right to Work: As We Left It REŽIJA / DIRECTOR Marica Lalić, Ivan Lasić 2016 8’39’’ SCENARIJ, KAMERA, MONTAŽA / SCREENPLAY, CINEMATOGRAPHY, EDITING Marica Lalić, Ivan Lasić MENTORICA / MENTOR Sunčica Fradelić PRODUCENTICA / PRODUCER Luiza Katica Bouharaoua PRODUKCIJA / PRODUCTION Skribonauti KOPRODUKCIJA / CO-PRODUCTION Kino Klub Split DISTRIBUCIJA / DISTRIBUTION Skribonauti Marica Lalić (2000) i Ivan Lasić (1996) nisu imali filmskog iskustva prije radionice dokumentarnog filma na kojoj su snimili ovaj film. Marica Lalić (2000) i Ivan Lasić (1996) had no previous film experience, until the documentary film workshop where the film was made.

Film o sudbini bivših zaposlenica tekstilnog poduzeća Uzor i pogona u kojem su radile nakon što su izgubile i posljednju bitku za spas firme. Film je nastao kao produkt suradnje polaznika radionice dokumentarnog filma na festivalu Zgodne žene spašavaju i bivše sindikalne povjerenice Uzora. A film about the fate of the former female employees of the textile company Uzor and the plant where they started working after they had lost the final battle to save the company. The film resulted from the cooperation between the participants of the documentary film workshop held during the festival Beautiful Women Save the Day and the former trade union representative for Uzor.

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Rezidba The Cutting REŽIJA / DIRECTOR Katerina Duda 2015 11’30’’ SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Katerina Duda KAMERA / CINEMATOGRAPHY Katerina Duda, Lazar Bekić OBLIKOVANJE ZVUKA / SOUND DESIGN Iva Ivan PRODUCENTICA / PRODUCER Anita Bastašić PRODUKCIJA / PRODUCTION Restart – Škola dokumentarnog filma DISTRIBUCIJA / DISTRIBUTION Restart Katerina Duda (1989) završila je sociologiju na Filozofskom fakultetu, a trenutačno završava studij novih medija na Akademiji likovnih umjetnosti u Zagrebu. Osim filma zanimaju je društvena praksa u umjetnosti i umjetničke akcije u javnom prostoru. Katerina Duda (1989) graduated in Sociology from the Faculty of Humanities and Social Sciences and is currently finishing her studies in New Media at the Academy of Fine Arts, Zagreb. In addition to film, she is also interested in social practices in art, as well as art interventions in public spaces.

Autoričin djed Lazar dobio je prije nekoliko godina mobitel s kamerom i od tada dokumentira sve oko sebe. Nakon pozamašne količine nakupljenog materijala traži autoricu da ga nauči montirati kako bi svoje skraćene filmove mogao mailom slati onima koje je i za koje je snimao. Nekoliko dana oko Božića započinju zajednički projekt: snimaju zimsku svakodnevicu malog mjesta na moru i pripreme blagdanskih obroka, a djed se trudi savladati tehniku filmske montaže. Several years ago, Lazar, the director’s grandfather, got a cell phone with a camera. Since then, he has been documenting everything around him. Having accumulated a substantial amount of material, he asks his granddaughter to teach him the art of editing so he can turn his footage into films and send them to the people he has been filming. Around Christmas, the two of them start a joint project: they record the daily winter life of a small village by the sea and preparations of holiday meals. Meanwhile, Grandpa is trying to master the technique of film editing.

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Slobodni vikend Free Weekend REŽIJA / DIRECTORS grupa autora 2016 10’10’’ SCENARIJ, KAMERA / SCREENPLAY, CINEMATOGRAPHY grupa autora MONTAŽA / EDITING Blaž Habuš MENTOR / MENTOR Igor Bezinović PRODUCENTICA / PRODUCER Luiza Katica Bouharaoua PRODUKCIJA / PRODUCTION Skribonauti Nijedan od tri autora filmova u ovom omnibusu nisu imali filmskog iskustva prije radionice dokumentarnog filma na kojoj su snimili ovaj film. None of the three authors of the omnibus had previous film experience.

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Ovaj omnibus nastao je na radionici dokumentarnog filma u Kaznionici u Lipovici u proljeće 2015. godine. Prvi film snimljen je u prostoru kaznionice, a druga dva snimljena su tijekom jednog slobodnog vikenda koji su autori, Vuk i Nikola, proveli kod kuće. Prema Zakonu o izdržavanju kazne zatvorenike nije moguće snimati i ne smiju istupati u sredstvima javnog priopćavanja. Budući da ne smijemo otkrivati njihov identitet, filmove su potpisali samo prvim imenom, od kojih jedno i nije pravo ime. An omnibus created at the documentary film workshop held in Lipovica Penitentiary in the spring of 2015. The first story was filmed in the penitentiary, while the other two were made in the course of a free weekend, which the authors – Vuk and Nikola – spent at home. According to the law, the prisoners may not be filmed, and are forbidden from speaking out in the public media. Since we cannot disclose their identities, they are listed in the credits by their first names, one of which is an alias.

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Statisti Extras REŽIJA / DIRECTOR Tomislav Mršić 2015 59’ SCENARIJ / SCREENPLAY Tomislav Mršić MONTAŽA / EDITING Hrvoje Mršić KAMERA / CINEMATOGRAPHY Alan Stanković PRODUCENT / PRODUCER Sanja Knez PRODUKCIJA / PRODUCTION Hrvatska radiotelevizija Tomislav Mršić (1972) autor je brojnih filmova (Kauboji). Osvojio je Oktavijana za najbolje dokumentarce 2002. i 2008. god. (Rio bravar i Slučajni sin; surežija s Robertom Zuberom) te nagradu za najboljeg debitanta na DHF-u 2001. god. (Šala nije na liniji 310). Bio je urednik Dokumentarnog programa HRT-a. Tomislav Mršić (1972) is the author of numerous films (Cowboys). He won two Oktavijan Awards for Best Documentary (Rio Bravar, Accidental Son; with Robert Zuber), as well as Best Debut Award at the CFD in 2001 (There’s Nothing Funny About Line 310). He was Editor of the Documentary Program on the Croatian Radiotelevision.

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Istovremeno s pojavom jednog od najpopularnijih BBC-jevih serijala Statisti to zanimanje postaje trend i u nas. No ovdje oni nisu plod mašte televizijskih sineasta, nego proizvod društva u tranziciji. Stotine ljudi u Hrvatskoj danas spas nalaze u statiranju, zamjenjujući svoje živote tuđima. Na temeljima urušenog gospodarstva, socijalnih i društvenih normi gradi se jedan cijeli novi svijet. U tom izmišljenom svemiru oni ponovo nalaze svoje mjesto pod suncem: glume u sapunicama, plješću u TV emisijama, ginu u igranim filmovima... Oni su, kao što pjesnik reče: “statisti i u životu i u filmu.” At the time the BBC aired one of its most popular TV series, Extras, the said profession started to gain in popularity in Croatia as well. However, not as a work of fiction, but a product of a society in transition. Today, hundreds of people in Croatia resort to working as extras, pretending to be someone else. On the foundations of economic and social collapse, an entirely new world is being built. In that imaginary universe, some people have once again found their place in the sun: they perform in soap operas, applaud in TV shows, die in films,... They are, as the poet said: “extras in life and in film”. 59


Šta ako jesmo? What If We Are? REŽIJA / DIRECTOR Domagoj Matizović Ristić 2016 35’49’’ SCENARIJ / SCREENPLAY Domagoj Matizović Ristić MONTAŽA / EDITING Alen Zanjko KAMERA / CINEMATOGRAPHY Mario Topić GLAZBA / MUSIC David Rössger OBLIKOVANJE ZVUKA / SOUND DESIGN Vjeran Šalomon SUDJELUJU / PARTICIPANTS Robert Valkaj, Aleksandra Demše PRODUCENTICA / PRODUCER Dijana Mlađenović PRODUKCIJA / PRODUCTION Kinematograf Domagoj Matizović Ristić (1971) diplomirao je kroatistiku i južnoslavenske filologije na Filozofskom fakultetu u Zagrebu. Od 2008. radi kao urednik-novinar na internetskom portalu redakcije Informativnog programa HRT-a. Filmografija: Razorubičenje. Domagoj Matizović Ristić (1971) graduated in Croatian Language and Literature and South Slavic Philology from the Faculty of Humanities and Social Sciences in Zagreb. He has worked as editor and journalist for the Croatian Radiotelevision News Program website. Films: Vastation.

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Ovo je film o jednom od srpsko-hrvatskih ljubavnih parova, razmišljanjima o vezi na daljinu, svijetu u kojem žive i sebi samima. No ovo je i prikaz odvojenosti na oduvijek bremenitom području, u negativnoj društveno-političkoj klimi, defetističkom ozračju istočnoeuropske varijante kapitalizma, kroz gustu zavjesu između unijske i one “druge” Europe. Stotine kilometara panonske autoceste u noći pozadina su za otkrivanje intimne priče o čežnji, samoći i osobnim nemirima. A Serbo-Croatian couple contemplates a long-distance relationship, the world they live in, and themselves. Observing through a thick veil hanging between the EU and the “Other” Europe, the film shows a separation of two people in a territory burdened by violent history, negative socio-political climate, and resigned atmosphere of the Eastern European version of capitalism. Hundreds of kilometres of the nocturnal Pannonian highway act as the background on which protagonists lay themselves bare, sharing intimate confessions of longing, loneliness, and inner turmoil.

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Treći Third Best REŽIJA / DIRECTOR Arsen Oremović 2016 70’ SCENARIJ / SCREENPLAY Arsen Oremović MONTAŽA / EDITING Slaven Zečević KAMERA / CINEMATOGRAPHY Lutvo Mekić, Vjekoslav Vrdoljak, Goran Legović, Hrvoje Zuanić GLAZBA / MUSIC Matej Meštrović OBLIKOVANJE ZVUKA / SOUND DESIGN Gordan Antić PRODUCENT / PRODUCER Ivan Maloča PRODUKCIJA / PRODUCTION Interfilm Arsen Oremović (1966) je filmski kritičar, novinar, kolumnist i urednik u Večernjem listu. Godine 1999. bio je direktor festivala u Puli i u dva mandata predsjednik Društva kritičara. Redatelj i scenarist dokumentarca U braku sa švicarcem. Arsen Oremović (1966) is a critic, journalist, columnist and editor for the Croatian daily Večernji list. He was the director of the Pula Film Festival in 1999, and served two terms as President of the Croatian Film Critics’ Association. He wrote and directed the documentary Married to the Swiss Franc.

Nogomet na ovim prostorima nikada nije bio samo nogomet, posebno ne nakon osvajanja trećeg mjesta na Svjetskom nogometnom prvenstvu 1998. u Francuskoj. Od tada se, po geslu “kruha i igara”, reprezentativna natjecanja vrhunskih sportaša instrumentaliziraju za razne ciljeve: skretanje pozornosti s teške gospodarske situacije i kupnju dnevnopolitičkih bodova, stvaranje privida snage nacije koja rasprodaje svoje resurse i gubi nacionalni identitet te za pretakanje javnog novca u privatne džepove. Tako se sport oduzima navijačima i svima koji od sporta traže čistoću. Ovo je njihova priča. In Croatia, football has never been just football, especially after the Croatian National Team won the third place at the 1998 World Cup in France. Since then, sports matches have been used as a means of manipulation: to divert the public attention from the dire economic situation, score some political points, or create the illusion of a strong nation, all the while selling the national resources and redirecting public finances into private pockets. Thus, sport is being taken away from the fans and everybody else who seeks purity in sport. This is their story.

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EKSPERIMENTALNI FILM EXPERIMENTAL FILM

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Dota

REŽIJA / DIRECTOR Petra Zlonoga 2016 4’32’’ SCENARIJ / SCREENPLAY Petra Zlonoga MONTAŽA / EDITING Miro Manojlović KAMERA / CINEMATOGRAPHY Vedran Šuvar GLAZBA / MUSIC Žan Jakopač OBLIKOVANJE ZVUKA / SOUND DESIGN Ante Perković PRODUCENT / PRODUCER Vedran Šuvar PRODUKCIJA / PRODUCTION Kinoklub Zagreb DISTRIBUCIJA / DISTRIBUTION Bonobostudio

Vizualno-auditivno tkanje u kojem je osnova animirana linija, a potka ženski glas. Kroz rad i tijek vremena isprepliće se ono što je tkano i ona koja tka. An audiovisual weave in which an animated line represents the warp, while the female voice represents the filling. She who weaves and that which is woven intertwine through time.

Petra Zlonoga (1982) diplomirala je grafički dizajn na Studiju dizajna i animirani film i nove medije na ALU-u u Zagrebu. Radi kao dizajnerica, ilustratorica i animatorica. Filmovi: Glad (2014), Daniil Ivanoviču, slobodan si (2011, diplomski) itd. Petra Zlonoga (1982) holds an MA in Graphic Design from the School of Design and an MA in Animated Film and New Media from the Academy of Fine Arts, Zagreb. She works as a freelance graphic designer, illustrator and animator. Films: Hunger (2014), Daniil Ivanovich, You Are Free (2011), etc.

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Kraj The End/Land REŽIJA / DIRECTOR Tomislav Šoban 2015 10’10’’ SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Tomislav Šoban GLAZBA / MUSIC Matija Pekić OBLIKOVANJE ZVUKA / SOUND DESIGN Tomislav Babić PRODUCENT / PRODUCER Vedran Šuvar PRODUKCIJA / PRODUCTION Kinoklub Zagreb DISTRIBUCIJA / DISTRIBUTION Bonobostudio Tomislav Šoban (1981) diplomirao je grafiku na ALU-u u Zagrebu. Godine 2011. upisao je studij režije na ADU-u. Aktivan je član Kinokluba u Zagrebu. Za Najmanji (2013) primio je brojne nagrade, a prikazan je i u natjecateljskom programu u Oberhausenu. Tomislav Šoban (1981) graduated in Graphic Arts from the Academy of Fine Arts, Zagreb. He studies Film Directing at the Academy of Dramatic Art. He is an active member of the Cinema Club Zagreb. His film The Tiniest (2013) won several awards, and was screened in the Competition Program at Oberhausen.

Film čine opstrukcije koje postavljaju granice u radu. Redom: U šumi, blizu pruge. Nebo nije plave boje. Nema ljudi. Sve je povezano. Prizori su statični. Kamera je pokretna. Kamera se kreće u šest smjerova. Bez kamere. Zaobići jedno od navedenih pravila. Film je osvojio nagradu na Festivalu 25 FPS, prikazan je na Jihlavi, a natjecat će se u konkurenciji u Oberhausenu. The director follows a set of self-imposed obstructions, a rigid set of boundaries on his work: in a forest, next to a railroad; the sky is not blue; no people; everything is connected; the scenes are static; the camera is dynamic; the camera moves in six directions; no camera; work around one of the rules. The film won the Green DCP Award at the 25 FPS Festival. It was screened at the Jihlava IDFF, and will screen in the Competition Program at Oberhausen.

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Le peintre enchanteur Čarobni slikar / The Enchanting Painter REŽIJA / DIRECTOR Željko Kipke 2016 7’3’’ boja, CB / colour, BW SCENARIJ, KAMERA / SCREENPLAY, CINEMATOGRAPHY Željko Kipke MONTAŽA, GLAZBA, OBLIKOVANJE ZVUKA / EDITING, MUSIC, SOUND DESIGN Nenad Kipke PRODUCENT / PRODUCER Ante Žaja PRODUKCIJA / PRODUCTION Muzej Matija Skurjeni Željko Kipke (1953) diplomirao je slikarstvo na ALU-u u Zagrebu. Početkom 80-ih snima kratkometražne filmove kojima dokumentira vlastite akcije u javnim prostorima (Tonzura križa, Crno crnje od crnoga). Piše eseje i kritike o filmu i likovnoj praksi. Željko Kipke (1953) graduated from the Academy of Fine Arts. He made a series of short films in the early 1980s, mostly documenting his performances in public spaces (Tonsure of the Cross, Black Blacker than Black). He writes about film and art.

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Kratka filmska posveta zaprešićkom slikaru Matiji Skurjenom, za čije je slikarstvo André Breton 1962. godine napisao: “La peinture enchantée” (očaravajuće slikarstvo). Skurjeni je bio simpatizer Gorgone. U Zaprešiću je dobio ulicu i muzej. Filmska crtica koristi njegov bestijarij apokaliptičnog predznaka i ugrađuje ga na više lokacija u Novim dvorima u Zaprešiću. Jedna od očaravajućih lokacija je i posve zapušten i zaboravljen Richterov đački dom u neposrednoj blizini Jelačićeve palače. A short film tribute to Croatian painter Matija Skurjeni, whose painting André Breton described as la peinture enchantée (enchanting painting). In Zaprešić, a street and a museum were named after him. Skurjeni was a supporter of the Gorgona, a Croatian avant-garde art group. The film uses his apocalyptic bestiary, embedding it into several locations in and around Novi dvori Castle in Zaprešić. One of his enchanting locations is the derelict and forgotten Richter’s student dormitory, in the immediate vicinity of the Jelačić Palace.

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Lines Linije REŽIJA / DIRECTOR Branko Pašić 2016 3’45’’ SCENARIJ, MONTAŽA, KAMERA, GLAZBA / SCREENPLAY, EDITING, CINEMATOGRAPHY, MUSIC Branko Pašić PRODUCENT / PRODUCER Branko Pašić

Film koristi linije napravljene od vremenski komprimiranih uzoraka ukazujući na moguće vizualne “stvarnosti”. Using lines made from temporally compressed samples, the film aims to show possible visual “realities”.

Branko Pašić (1980) diplomirao je kameru na ADU-u. Izražava se u mediju fotografije, eksperimentalnog filma i videa. Njegov film Clash dobio je posebnu nagradu žirija na 18. DHF-u, a glazbeni video Snijeg dobio je Oktavijana na 23. DHF-u. Branko Pašić (1980) graduated in Cinematography from the Academy of Dramatic Art in Zagreb. He works in photography, experimental film and video. His film Clash won the Special Jury Award at the 18th Croatian Film Days, while his music video, Snow, received the Oktavijan Award at the 23rd CFD.

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Machinae Novae 002

REŽIJA / DIRECTOR Darko Vidačković 2016 8’35’’ SCENARIJ, MONTAŽA, KAMERA / SCREENPLAY, EDITING, CINEMATOGRAPHY Darko Vidačković GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Tomislav Babić PRODUCENT / PRODUCER Vedran Šuvar PRODUKCIJA / PRODUCTION Kinoklub Zagreb DISTRIBUCIJA / DISTRIBUTION Bonobostudio

Pogled na luku u rodnom gradu Šibeniku bio je autorova dugogodišnja svakodnevica. Slike i zvukovi luke duboko su urezani u sjećanje. Ispreplitanje memorije, prisjećanja i imaginacije. A view of the Šibenik harbour in the author’s home town. Once part of his everyday life, the images and sounds of the harbour are etched into the author’s memory. The recollections and imagination intertwine.

Darko Vidačković (1977) diplomirao je animaciju i nove medije na ALU-u. Njegov diplomski film Mobitel Mania prikazan je na brojnim festivalima (Annecy, Animafest, Stuttgart). Surađivao je s austrijskom umjetnicom Bady Minck, a objavio je i brojne stripove. Darko Vidačković (1977) graduated from the Academy of Fine Arts in Zagreb, Department for Animation and New Media. His graduation film Mobile Mania screened at many festivals (Animafest, Annecy, Stuttgart). He has collaborated with Austrian artist Bady Minck, and has published several graphic novels.

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Mute Departures: Stay Awake and Echo Nijema udaljavanja: Ostati budan i odjekivati REŽIJA / DIRECTOR Željko Vukičević Zhel 2015 11’40’’ boja, CB / colour, BW SCENARIJ, MONTAŽA, GLAZBA, OBLIKOVANJE ZVUKA / SCREENPLAY, EDITING, MUSIC, SOUND DESIGN Željko Vukičević Zhel KAMERA / CINEMATOGRAPHY Costa Ipsa ULOGE / CAST Amanda Knox, Nadežda Tolokonikova, Jadranka Đokić PRODUCENT / PRODUCER Željko Vukičević Zhel PRODUKCIJA / PRODUCTION Screamstation Željko Vukičević Zhel (1969) glazbenu karijeru proširuje radom na filmu. Magistrirao je teoriju filma 2010. u Cambridgeu. Prikazuje radove širem svijeta (ICA, Transmediale). Dobitnik je Oktavijana za glazbeni spot i nagrade za najboljeg debitanta na 9. DHF-u 2000. god. Musician and filmmaker Željko Vukičević Zhel (1969) holds an MA in Film Theory, from the Anglia Ruskin University, Cambridge. His works have been screened at festivals and art centres (ICA, Transmediale) worldwide. He won the Oktavijan Award for Best Music Video and Best Debut Award at the 9th CFD.

Amanda Knox odslužila je kaznu u talijanskom zatvoru zbog ubojstva britanske studentice. Nadežda Tolokonikova u ruskom je zatvoru zbog nemoralnog ponašanja u moskovskoj crkvi. Na izlasku govore o svojim motivima i iskustvima. Poznavanje protagonistica omogućuje nam sudjelovanje u dijalogu, no zvuk kao da pripada odvojenom narativu. U drugom dijelu filma glumica utjelovljuje obje protagonistice. No je li se išta promijenilo? Amanda has served a murder sentence in an Italian prison, while Nadezhda has served hers in a Russian prison, for immoral behaviour in a church. Upon release, they talk about their experiences. Although knowing their stories allows us to comprehend their dialogue, the sound of their voices and facial expressions seem to belong to a separate narrative. In the second part, actress plays both characters. Has anything changed?

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Na plaži On the Beach REŽIJA / DIRECTOR Goran Škofić 2016 24’ SCENARIJ / SCREENPLAY Jasna Žmak, Goran Škofić KAMERA / CINEMATOGRAPHY Raul Brzić OBLIKOVANJE ZVUKA / SOUND DESIGN Martin Semenčić PRODUCENTI / PRODUCERS Igor Grubić, Tena Gojić PRODUKCIJA / PRODUCTION Kreativni sindikat Goran Škofić (1979) bavi se filmom, videom, fotografijom i multimedijalnim instalacijama. Diplomirao je film i video na UMAS-u. Dobitnik je Nagrade Jelena Rajković i Oktavijana na DHF-u (2002) te Nagrade Radoslav Putar 2009. godine. Goran Škofić (1979) works with film, video, photography and multimedia installations. He graduated from the Academy of Fine Arts, Department of Film and Video. He won the Jelena Rajković and Oktavijan awards at the 11th Croatian Film Days, as well as the Radoslav Putar Award in 2009.

Jedan kadar. Jedno more, jedno nebo i jedna plaža. I puno ljudi koji nekamo odlaze. Neki nešto traže, drugi nešto čekaju. Neki šute, neki razgovaraju. Neki su sami, drugi su u društvu, treći nisu tu. Neki nešto čuju, drugi se pretvaraju. Neki nisu sigurni jesu li sve to već vidjeli, drugi misle da je nekad bilo drugačije. Neki traže nešto bolje, drugi sjede u kinu i gledaju ih kako odlaze. One take. A sea, a sky, and a beach. And a lot of people going somewhere. Some of them are looking for something, and some of them are waiting. Some are quiet, some are talking. Some are alone, others have company, and some are not there. Some of them hear something, others are pretending. Some are not sure whether they’ve seen it all before, others think it used to be different. Some are looking for something better, others are sitting in a movie theatre, watching them leave.

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New Town Future Film Budući film o novom gradu REŽIJA / DIRECTOR Ana Bilankov HR US 2015 18’30’’ SCENARIJ, KAMERA, OBLIKOVANJE ZVUKA / SCREENPLAY, CINEMATOGRAPHY, SOUND DESIGN Ana Bilankov MONTAŽA / EDITING Paul Hill PRODUCENTICA / PRODUCER Ana Bilankov Ana Bilankov (1968) radi u mediju fotografije, videa i instalacije. Završila je povijest umjetnosti i germanistiku u Zagrebu, fotografiju na fakultetu u Wiesbadeneru i poslijediplomski studij Umjetnost u kontekstu na Sveučilištu u Berlinu. Autorica je brojnih radova i projekata. Ana Bilankov (1968) works with photography, video and installations. She graduated in Art History and German Language and Literature in Zagreb, and Art Photography in Wiesbaden. She completed her postgraduate studies in Fine Art in Context at the University of the Arts Berlin.

U filmu se pojavljuje i realno i imaginarno mjesto u budućnosti. Voda, brodovi u pokretu, dizalice, radnici, smeće, industrijska arhitektura, autoput u pozadini, američka zastava, mrak, svjetlo, ljepota – to su neke snimke tog hibridnog nemjesta. Grad je New York, ali moglo bi biti bilo gdje. To je mjesto između utopije i distopije. The film shows a place that is at the same time real and imaginary, set somewhere in the future. Water, ships sailing, cranes, workers, garbage, industrial architecture, highway in the background, American flag, darkness, light, beauty – these are some of the images of this hybrid non-place. The city is New York, but it could be anywhere. It is a place between a utopia and distopia.

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Ova žena se zove Jasna 03/Ruševine This Woman Is Called Jasna 03/Ruins REŽIJA / DIRECTOR Nicole Hewitt 2015 18’15’’ SCENARIJ / SCREENPLAY Nicole Hewitt MONTAŽA / EDITING Vjeran Pavlinić OBLIKOVANJE ZVUKA / SOUND DESIGN Ivan Slipčević PRODUCENTICA / PRODUCER Nicole Hewitt PRODUKCIJA / PRODUCTION Pangolin Nicole Hewitt (1965) bavi se filmom, videom, instalacijama i performansom. Diplomirala je na Akademiji likovne umjetnosti u Brightonu, magistrirala i doktorirala na Umjetničkom fakultetu Slade u Londonu. Njezini su filmovi redovito prikazivani i nagrađivani na brojnim festivalima.

U nedavnom posjetu Galeriji Whitechapel u Londonu Jasna je kupila knjigu o ruševinama. Preko ruševina, ostataka i forenzičke arheologije Jasna razmišlja o mogućnosti neživog da govori o povijesti, odnosno o memoriji objekta. During her recent visit to the Whitechapel Gallery in London, Jasna bought a book about ruins. By way of ruins, remains and forensic archaeology, she reflects about the ability of inanimate objects to possess memory and reveal history.

Nicole Hewitt (1965) works with film, video, installation and performance. She graduated from the Brighton University and obtained her MA and PhD from the Slade School of Fine Art in London. Her films have been awarded and screened at numerous festivals.

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Parada The Parade REŽIJA / DIRECTOR Arijana Lekić-Fridrih 2016 7’35’’ CB / BW SCENARIJ / SCREENPLAY Arijana Lekić-Fridrih MONTAŽA, OBLIKOVANJE ZVUKA / EDITING, SOUND DESIGN Nikolina Hržić KAMERA / CINEMATOGRAPHY Ivan Lukić GLAZBA / MUSIC Schemawound PRODUCENTICA / PRODUCER Arijana Lekić-Fridrih Arijana Lekić-Fridrih (1983) diplomirala je film i video na UMAS-u, a trenutačno je studentica druge godine magistarskog studija režije dokumentarnog filma na ADU-u.

Godine 2015. obilježena je 20. obljetnica vojne akcije Oluja. Oko dvadeset tisuća ljudi okuplja se na ulicama da bi vidjeli mimohod i pozdravili vojnike koji sudjeluju u paradi. Njihovo ponašanje pokazuje da je rat još uvijek veliki dio njihova života. The year 2015 marked the 20th anniversary of the military operation Oluja. Around 20,000 people gathered in the streets to watch the parade and greet the soldiers who took part in the procession. Their demeanour has showed that the war still figures greatly in their lives.

Arijana Lekić-Fridrih (1983) graduated in Film and Video from the Arts Academy Split. She studies Documentary Directing at the Academy of Dramatic Art in Zagreb.

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Prosvjetljenje Epiphany REŽIJA / DIRECTOR Dražen Žarković 2016 4’5’’ SCENARIJ / SCREENPLAY Dražen Žarković MONTAŽA / EDITING Zdravko Dren KAMERA / CINEMATOGRAPHY Mario Krce GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Dinko Appelt ULOGE / CAST Robert Ugrina, Saša Lončarić, Igor Gržetić, Niko Babić, Bosiljko Antolović PRODUCENTI / PRODUCERS Pavo Marinković, Sanja Šamanović PRODUKCIJA / PRODUCTION Mitropa

Prosvjetljenje je film o prijelomnim trenucima spoznaje u čovjekovu životu i nemoći da se promjeni i utječe na proživljeno, no može se shvatiti i kao parodija filmova koji samouvjereno nude odgovore na velika životna pitanja. Epiphany is a film about crucial moments of sudden realisation in a person’s life, and about the inability to change or influence their past experiences. It can also be seen as a parody of films that offer pretentious answers to life’s big questions.

Dražen Žarković (1970) diplomirao je režiju na ADU-u. Režirao je dugometražne igrane filmove Ajmo žuti, Trešeta, Novogodišnja pljačka i Zagonetni dječak. Jedan je od redatelja serijala Bitange i princeze, Odmori se, zaslužio si i Stipe u gostima. Osvojio je četiri Oktavijana na DHF-u. Dražen Žarković (1970) graduated in Directing from the Academy of Dramatic Art in Zagreb. Features: Go, Yellow!, Tresette, The Mysterious Boy. He is one of the directors of sitcoms Punks and Princesses, Take a Break, You’ve Earned It, and Stipe Visiting. He has won four Oktavijan Awards.

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Prvi udah First Gasp REŽIJA / DIRECTOR Miranda Herceg 2016 20’36’’ SCENARIJ / SCREENPLAY Miranda Herceg MONTAŽA / EDITING Vladimir Gojun KAMERA / CINEMATOGRAPHY Pavel Posavec GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Vjeran Šalamon PRODUCENTICA / PRODUCER Ankica Jurić Tilić PRODUKCIJA / PRODUCTION Kinorama Miranda Herceg (1971) diplomirala je na Studiju dizajna pri Arhitektonskom fakultetu u Zagrebu. Radi u području dizajna i filma. Redateljica je eksperimentalnih filmova Od do i Hotel za pse. Dobitnica je Oktavijana za eksperimentalni film na 21. DHF-u. Miranda Herceg (1971) graduated from the School of Design, Faculty of Architecture, Zagreb. She works in the field of graphic design and film. She directed experimental films Dog Hotel and From To, which won the Oktavijan Award for Best Experimental Film at the 21st Croatian Film Days.

Prvi udah nalik je mravinjaku distorziranih glasova i automatiziranog kretanja u kojem organizmi poprimaju boje okoline. Zvukovna atmosfera napetog iščekivanja i učinak statične kamere otkrivaju prisustvo skrivenog promatrača. Promatra li prostor nas? Ljudska stvarnost motrena zaleđenim pogledom čini se poput sna. Sve dok se kamera ne pokrene prepuštajući prostoru ulogu subjekta radnje. First Gasp is like an ant colony with distorted voices and automated movements constrained by space, where organisms mimic the colours of their environment. The suspenseful atmosphere created by the sound and the static eye of the camera suggests the presence of a hidden observer. Could it be the space around us? Captured by the frozen eye, the human reality seems like a dream – until the camera moves, thus turning the space itself into the subject of the film.

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Skoro ništa Almost Nothing REŽIJA / DIRECTOR Ana Hušman 2016 15’50’’ SCENARIJ / SCREENPLAY Ana Hušman MONTAŽA / EDITING Iva Kraljević KAMERA / CINEMATOGRAPHY Ivan Slipčević OBLIKOVANJE ZVUKA / SOUND DESIGN Tomislav Domes PRODUCENTICA / PRODUCER Ana Hušman PRODUKCIJA / PRODUCTION Pangolin DISTRIBUCIJA / DISTRIBUTION Bonobostudio Ana Hušman (1977) diplomirala je 2002. godine na Odjelu za multimedije i nastavnički smjer ALU-a u Zagrebu, gdje sada radi kao vanjska suradnica. Filmovi: Razglednice (2013), Nogomet (2011), Ručak (2008), Plac (2006) itd.

Bilježeći otpor koji biljke pružaju vjetru na jednom otoku u Dalmaciji, slušam zvukove koji otkrivaju spektar promjena u krajoliku izazvanih politikama upravljanja zemljom. One se kao vjetar vraćaju u naše kuće i apartmane, stvarajući složenu mapu feedbacka između unutarnjeg i vanjskog prostora. As I record the vegetation on a Dalmatian island resisting the gusts of wind, the sounds reveal a wide range of changes in the landscape, brought about by land management policies. Transformed into wind, these changes return to our houses and apartments, creating a complex feedback loop between the interior and exterior spaces.

Ana Hušman (1977) graduated in Multimedia and Art Education from the Academy of Fine Arts Zagreb, where she now works at the Department of Animated Film and New Media. Films: Postcards (2013), Football (2011), Lunch (2008), The Market (2006), etc.

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Središte vremena The Center of Time REŽIJA / DIRECTOR Željko Sarić 2015 9’30’’ CB / BW SCENARIJ, KAMERA / SCREENPLAY, CINEMATOGRAPHY Željko Sarić MONTAŽA / EDITING Dalibor Barić GLAZBA / MUSIC Nimbus dei OBLIKOVANJE ZVUKA / SOUND DESIGN Tomislav Babić PRODUCENT / PRODUCER Nikola Klobučarić PRODUKCIJA / PRODUCTION Project 6 studio Željko Sarić (1951) diplomirao je 1983. godine na Odsjeku filmskog snimanja na ADU-u. Sudjelovao je na brojnim filmskim festivalima i primio nekoliko značajnih nagrada. Djeluje na području likovne umjetnosti. Željko Sarić (1951) graduated in Cinematography from the Academy of Dramatic Art, Zagreb in 1983. He has participated in numerous film festivals and received several notable awards. He is active in the field of fine arts.

Eksperiment koji razmatra kompleksnost fenomena kondenziranog vremena u opoziciji prema čovjeku i njegovu okruženju. Potres! Vrijeme postaje sredstvo prenošenja doživljaja, kontemplativne, zgusnute atmosfere, promišljanja svjetova za koje je neizvjesno koliko su daleko od našeg. Koncept istovremene egzistencije u trenutku i vječnosti potvrđuje da je upravo ovaj način postojanja – jedini način postojanja. Film je snimljen ručnom kamerom koju je napravio Hrvoje Sarić 1972. godine kako bi snimio panoramske fotografije u 360 stupnjeva. An experiment that examines the complexity of the phenomenon of condensed time in opposition to man and his environment. Earthquake! Time becomes a means of transferring experience, of contemplative, dense atmosphere. It is a means of contemplating the worlds whose distance from ours remains uncertain. The concept of the simultaneous existence in a moment and in eternity supports the notion that this way of existence is the only way. The film was shot by a handheld camera, made by Hrvoje Sarić in 1972, in order to make 360-degree panoramic photos.

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Symphony Simfonija REŽIJA / DIRECTOR Milan Bukovac 2016 7’55’’ SCENARIJ, MONTAŽA, OBLIKOVANJE ZVUKA / SCREENPLAY, EDITING, SOUND DESIGN Milan Bukovac KAMERA / CINEMATOGRAPHY Mio Vesović PRODUCENT / PRODUCER Milan Bukovac PRODUKCIJA / PRODUCTION Autorski studio – fotografija, film, video

U potrazi za početkom i krajem vizualne simfonije koju stvaraju pomaci u vremenu i prostoru jedne košarkaške utakmice. Tu igra gubi smisao, a sve ostalo postaje važno. In search for the beginning and end of a visual symphony created by shifts in time and space of a basketball game. Here, it is the game that loses its meaning, while everything else is important.

Milan Bukovac (1958) autor je brojnih filmova. Osvojio je dva Oktavijana na DHF-u: 1995. za Multiplication i 1997. za film Sonata za Ernesta G. Milan Bukovac (1958) has directed a large number of films. He has won two Oktavijan Awards at the Croatian Film Days: Multiplication (1995) and Sonata for Ernest G (1997).

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To mi ne liči na purgere They Don’t Seem Like Locals REŽIJA / DIRECTOR Lovorka Babić 2015 9’23’’ SCENARIJ, KAMERA / SCREENPLAY, CINEMATOGRAPHY Lovorka Babić MONTAŽA, OBLIKOVANJE ZVUKA / EDITING, SOUND DESIGN Darovan Tušek

Film istražuje duhovite i druge momente do kojih dolazi kada jedni ljudi komentiraju druge. Through occasional humour, the film explores what happens when people comment on each other.

PRODUCENT / PRODUCER Vedran Šuvar PRODUKCIJA / PRODUCTION Kinoklub Zagreb Lovorka Babić (1988) diplomirala je na Tekstilnotehnološkom fakultetu. Članica je i autorica u Kinoklubu Zagreb od 2014. godine. Lovorka Babić (1988) graduated from the Faculty of Textile Technology. She has been a member and author at Cinema Club Zagreb since 2014.

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Tu tamo Here There REŽIJA / DIRECTOR Alexander Stewart HR US 2015 4’40’’ boja, CB / colour, BW SCENARIJ, MONTAŽA, OBLIKOVANJE ZVUKA / SCREENPLAY, EDITING, SOUND DESIGN Alexander Stewart ANIMACIJA / ANIMATION Alexander Stewart, Darko Masnec KOLORIRANJE / COLORING Ivan Košutić, Jelena Oroz PRODUCENTICA / PRODUCER Vanja Andrijević PRODUKCIJA / PRODUCTION Bonobostudio Alexander Stewart (1981) autor je brojnih eksperimentalnih filmova, npr. Fort Morgan (2014), Kore (2011), Errata (2005). Suosnivač je i sudirektor festivala eksperimentalne animacije Eyeworks u Chicagu. Predaje animaciju na Sveučilištu DePaul. Alexander Stewart (1981) received his MFA from the School of the Art Institute of Chicago. He is a filmmaker and co-director of the Eyeworks Festival of Experimental Animation. He teaches animation at the DePaul University and lives in Chicago. Films: Fort Morgan (2014), Crusts (2011), Errata (2005), etc.

Tu tamo daje oblik rastezljivim, lutajućim nitima sjećanja. Počinje kao bilježnica putnika, sa skicama koje su nastale u ljeto 2014. u Hrvatskoj, no detalji se brzo počnu rastvarati u apstraktne utiske s rubova sjećanja. Ovaj je film redukcija do svoje biti – kondenzirani osjećaj jednog prostora i vremena. Film je prikazan na nekoliko velikih festivala: na Ottawi, Rotterdamu, DOK Leipzigu, Slamdanceu, Ann Arboru… Here There gives graphic form to memory’s malleable, straying lines. It begins as a traveller’s sketchbook, drawn in Croatia in the summer of 2014, but details soon fade away into abstract impressions on the edges of memory. This film represents a reduction to its very essence, a condensed feeling of one place and time. It has screened at several major festivals, including Ottawa, Rotterdam, DOK Leipzig, Slamdance, and Ann Arbor.

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IGRANI FILM FICTION FILM

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Ante i Vanja Ante and Vanja REŽIJA / DIRECTOR Lucija Klarić 2016 17’41’’ SCENARIJ / SCREENPLAY Lucija Klarić MONTAŽA / EDITING Leo Vitasović KAMERA / CINEMATOGRAPHY Marko Jerbić OBLIKOVANJE ZVUKA / SOUND DESIGN Karlo Vorih ULOGE / CAST Sanja Drakulić, Damir Šaban PRODUCENT / PRODUCER Igor Jelinović PRODUKCIJA / PRODUCTION Blank_filmski inkubator

Vanja dolazi u rutinski posjet svom ocu Anti. Nakon uobičajenih sitnih trzavica koje ispunjavaju njihov susret Ante odluči Vanji prirediti iznenađenje koje joj se neće svidjeti. Vanja visits her father Ante. After the usual minor frictions characteristic of their meetings, Ante decides to surprise her, but this doesn’t turn out the way he hoped it would.

Lucija Klarić (1994) studentica je BA dramaturgije na ADU-u. Urednica je filmske rubrike na Ziher.hr, piše za Hrvatski filmski ljetopis itd. Pohađala je brojne radionice, uključujući radionicu filmske kritike na 24. DHF-u. Ovo je njezin prvi autorski film. Lucija Klarić (1994) studies Dramaturgy at the Academy of Dramatic Art. She edits the film section at Ziher.hr, writes for the Croatian Film Chronicles, etc. She has attended many workshops, including the critical writing workshop at the 24th CFD. This is her first film.

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Dan otpora Resistance Day REŽIJA / DIRECTOR Ivan Salaj 2015 18’ SCENARIJ / SCREENPLAY Ivan Salaj MONTAŽA / EDITING Dubravka Turić KAMERA / CINEMATOGRAPHY Silvio Jesenković OBLIKOVANJE ZVUKA / SOUND DESIGN Hrvoje Štefotić ULOGE / CAST Filip Križan, Borko Perić, Ivana Rushaidat, Franjo Dijak

Dva zgubidana odluče na Praznik rada, 1. maja posjetiti starog prijatelja, upoznati njegovu ženu i vidjeti dijete. On Labour Day, two slackers decide to pay a visit to their old friend in order to meet his wife and newborn child.

PRODUCENTI / PRODUCERS Boris T. Matić, Lana Ujdur PRODUKCIJA / PRODUCTION Propeler Film KOPRODUKCIJA / CO-PRODUCTION Alka Film, Zagreb Film Festival DISTRIBUCIJA / DISTRIBUTION Propeler Film Ivan Salaj (1969) diplomirao je filmsku režiju na ADU-u. Filmovi: Vidimo se, Hotel Sunja, Drugi kat, podrum. Ivan Salaj (1969) obtained his BA in Film Directing from the Academy of Dramatic Art. Films: See You, Hotel Sunja, Second Floor – Basement.

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...i vani si ...And You’re Out REŽIJA / DIRECTORS Edin Mahmuljin, Ivan Skorin 2015 11’21’’ SCENARIJ / SCREENPLAY Edin Mahmuljin, Ivan Skorin MONTAŽA / EDITING Nina Velnić KAMERA / CINEMATOGRAPHY Filip Borošak GLAZBA / MUSIC Matija Antolić OBLIKOVANJE ZVUKA / SOUND DESIGN Andrej Smoljan ULOGE / CAST Amar Bukvić, Hana Mahmuljin, Renata Ivančan, Marina Grgurević, Slaven Španović PRODUCENTI / PRODUCERS Edin Mahmuljin, Ivan Skorin Edin Mahmuljin (1983) i Ivan Skorin (1984) diplomirali su novinarstvo. Godinama su radili na Novoj TV i RTL-u. Ivan je napisao scenarij za Špansko kontinent (najbolja montaža na 19. DHF-u). Napisao je scenarij za film Babysitter. Edin Mahmuljin (1983) and Ivan Skorin (1984) graduated in Journalism. They have worked for Nova TV and RTL TV. Ivan wrote the screenplays for short films Špansko the Continent (Best Editing at the 19th CFD) and Babysitter.

Marin je uspješan televizijski režiser kojeg stres polako i neprimjetno uništava. Ne uspijeva se posvetiti i kćeri i poslu, i to ga izjeda. Želi se uključiti u njezin život, ali izgleda kao da je sve protiv njega. Propada i pokušaj da konačno dođe na njoj važan događaj. Doživljava slom i odlučuje simbolično ugasiti svog najvećeg neprijatelja, televiziju, i okrenuti se kćeri. No je li prekasno? Marin’s career as a successful TV director is slowly and quietly eating away at his nerves. He has trouble balancing his work with his obligations as a father, and the guilt is becoming hard to bear. He wants to be more involved in his daughter’s life, but nothing seems to go his way. After another failed attempt to be there for his daughter, he suffers a breakdown. Finally, he decides to turn off his greatest adversary – television, and fix his relationship with his daughter. However, it may be too late.

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Istra Bitter

REŽIJA / DIRECTOR Vanja Miljak 2016 8’15’’ SCENARIJ / SCREENPLAY Vanja Miljak MONTAŽA / EDITING Karlo Gorup KAMERA / CINEMATOGRAPHY Damian Nenadić GLAZBA / MUSIC Goran Farkaš OBLIKOVANJE ZVUKA / SOUND DESIGN Ivan Zelić ULOGE / CAST Mara Ugrin, Sebastijan Vojvoda PRODUCENTICA / PRODUCER Maja Pek PRODUKCIJA / PRODUCTION Antitalent KOPRODUKCIJA / COPRODUCTION CREA – Udruga za kreativni razvoj DISTRIBUCIJA / DISTRIBUTION Antitalent

Crna komedija koja se odvija 1950-ih godina i prati bračni par iz Istre. Mladi Šanto i Domenica svađaju se oko kućnih obveza i jedne kokoši. Otkačen prikaz bračnog života na istarskom selu. A short black comedy set in the 1950s Istria. A young married couple, Šanto and Domenica, quarrel over household chores and a chicken. A quirky portrait of married life in the Istrian countryside.

Vanja Miljak (1979) uz studij komunikacijskih znanosti većinu redateljskog iskustva stekla je tijekom rada za Matt Weinerove Momke s Madisona i za redatelja Boru Dagtekina u Njemačkoj. Danas uglavnom živi u Zagrebu, piše scenarije i priprema drugi kratkometražni film. Vanja Miljak (1979) studied Communication Sciences. She gained most of her experience in directing while working on Matt Weiner’s Mad Men and for the German director Bora Dagtekin. She lives in Zagreb, where she writes screenplays and is currently developing her second short film.

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Krošnje Treetops REŽIJA / DIRECTOR Filip Heraković 2016 16’17’’ SCENARIJ / SCREENPLAY Filip Heraković MONTAŽA / EDITING Urša Vlahušić KAMERA / CINEMATOGRAPHY Bojan Mrđenović OBLIKOVANJE ZVUKA / SOUND DESIGN Tihomir Vrbanec ULOGE / CAST Alma Prica, Ivan Ožegović PRODUCENT / PRODUCER Matija Drniković PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti

Nakon sinova neuspjelog pokušaja samoubojstva Mirjana posjećuje čovjeka koji ga je spasio. Iako se isprva čini da mu samo želi zahvaliti, njen posjet krije i druge namjere. After her son’s failed suicide attempt, the mother visits the man who saved him. At first, it seems she merely wants to thank him, but soon, her true intentions are revealed.

Filip Heraković (1989) završio je dodiplomski studij režije na Akademiji dramske umjetnosti. Trenutačno je na diplomskom studiju režije igranog filma. Filip Heraković (1989) holds a BA in Film and TV Directing from the Academy of Dramatic Art in Zagreb. He is currently attending a Master’s Degree Program in Film Directing.

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Munja Thunder REŽIJA / DIRECTOR Radislav Jovanov Gonzo 2015 18’13’’ SCENARIJ / SCREENPLAY Jasna Žmak MONTAŽA / EDITING Anita Jovanov KAMERA / CINEMATOGRAPHY Danko Vučinović OBLIKOVANJE ZVUKA / SOUND DESIGN Hrvoje Štefotić ULOGE / CAST Jelena Lopatić, Jerko Marčić, Mate Gulin PRODUCENTI / PRODUCERS Boris T. Matić, Lana Ujdur PRODUKCIJA / PRODUCTION Propeler Film KOPRODUKCIJA / CO-PRODUCTION Alka Film, Zagreb Film Festival DISTRIBUCIJA / DISTRIBUTION Propeler Film Radislav Jovanov Gonzo (1964) diplomirao je snimanje na ADU-u. Redatelj je više od 350 videospotova, pedesetak reklama, nekoliko namjenskih, dokumentarnih (O hokeju i Medvjedima) i dva kratka igrana filma. Bio je direktor fotografije na tri dugometražna igrana filma.

Prvi maj će Bruni i Ivi biti posebno težak: osim što će oboje morati raditi, netko će im i ukrasti bicikl, njihovo jedino prijevozno sredstvo. Ali stvar će spasiti jedan prijevremeno umirovljeni susjed koji će tako dati novi smisao nekim starim stvarima. Although it’s Labour Day, Bruno and Iva are having a particularly hard time: not only do they both have to work, but their bicycle gets stolen as well. To make things worse, it was their only means of transport. However, a retired neighbour jumps to their rescue and saves the day, thus giving fresh purpose to an old thing.

Radislav Jovanov Gonzo (1964) obtained his degree in Cinematography at the Zagreb Academy of Dramatic Art. He has directed more than 350 music videos, fifty commercials, several corporate films, documentaries (Of Hockey and Bears), and two shorts. He was DoP on three feature films.

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Na červeno Crveno / Red Light REŽIJA / DIRECTOR Toma Vašarov BG HR 2016 21’15’’ SCENARIJ / SCREENPLAY Viktor Desov MONTAŽA / EDITING Vladimir Gojun KAMERA / CINEMATOGRAPHY Martin Balkanski OBLIKOVANJE ZVUKA / SOUND DESIGN Ivan Andrejev ULOGE / CAST Cvetan Daskalov, Valčo Kamarašev, Plamena Getova, Žanet Jovčeva PRODUCENT / PRODUCER Ivan Kelava PRODUKCIJA / PRODUCTION Revo Films KOPRODUKCIJA / CO-PRODUCTION Eclectica DISTRIBUCIJA / DISTRIBUTION Ivan Kelava Toma Vašarov (1977) diplomirao je režiju u Sofiji. Režirao je jednominutni film Poljubac, koji je prikazan na 40 međunarodnih festivala. Montirao je brojne dugometražne filmove, a 2009. godine osnovao je Revo Films.

U jednom gradiću semafor se zaglavio na crvenom svjetlu. Međugradski autobus se poslušno zaustavlja, a vozač odbija nastaviti dok se ne pojavi zeleno. U svijetu u kojem je slijediti pravila nesporazum sam po sebi, ova situacija prouzrokuje niz problema s nervoznim putnicima i lokalnim snagama reda. In a small town, the only traffic light is stuck on red. Obeying the rules, an intercity bus stops at the light and the driver refuses to continue until it turns green. This provokes a series of misunderstandings with the nervous passengers and local law enforcement – in a world where obeying the rules is a misunderstanding in itself.

Toma Vašarov (1977) graduated in Film and TV Directing in Sofia. He wrote and directed the one minute film The Kiss, screened at 40 film festivals worldwide. Toma has edited many Bulgarian feature films, and is the founder of Revo Films production company.

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Oko za oko Eye for an Eye REŽIJA / DIRECTOR Antoneta Alamat Kusijanović 2015 5’20’’ SCENARIJ / SCREENPLAY Antoneta Alamat Kusijanović MONTAŽA / EDITING Dennis Lutz KAMERA / CINEMATOGRAPHY Mario Sablić GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN West Thordson ULOGE / CAST Zarja Šarbek, Marko Cindrić PRODUCENT / PRODUCER Danijel Pek PRODUKCIJA / PRODUCTION Sjever Sjeverozapad KOPRODUKCIJA / CO-PRODUCTION Antitalent DISTRIBUCIJA / DISTRIBUTION Antitalent

Šestogodišnja djevojčica ostavljena je u kazni za praznim stolom u vrtu dok ne pojede zelenu juhu. Ostala djeca zabavljaju se na bazenu. Otac koji provjerava kako djeluje njegova kazna ostat će iznenađen razvojem događaja. A six-year-old girl is sitting at an empty table in the garden. While other children are having fun at the pool, she is grounded until she eats her soup. Her father is keeping an eye on her, but he is in for a surprise.

Antoneta Alamat Kusijanović (1985) diplomirala je produkciju na ADU-u u Zagrebu. Tijekom studija producirala je nekoliko filmova. Pohađa studij pisanja i režije na Sveučilištu Columbiji u New Yorku. Završila je dva kratkometražna filma i razvija treći. Antoneta Alamat Kusijanović (1985) graduated in Theatre and Film Production from the Academy of Dramatic Art, Zagreb. As a student, she produced several short films. She studies Screenwriting and Directing at the Columbia University. She has made two shorts and is currently developing her third film.

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Orah Walnut REŽIJA / DIRECTOR Danilo Šerbedžija 2015 21’ SCENARIJ / SCREENPLAY Danilo Šerbedžija MONTAŽA / EDITING Jan Klemsche KAMERA / CINEMATOGRAPHY Danko Vučinović GLAZBA / MUSIC Višeslav Laboš OBLIKOVANJE ZVUKA / SOUND DESIGN Hrvoje Štefotić ULOGE / CAST Živko Anočić, Lucija Šerbedžija, Zvonimir Jurić, Filip Nola, Lana Barić

Uletiš u neku količinu i zatvoriš se u čahuru. A onda neka apsurdna sitnica uzrokuje izljev emocija. You get stuck in a rut, and withdraw into your shell. But then, some absurd and trivial situation causes an outburst of emotions.

PRODUCENTI / PRODUCERS Boris T. Matić, Lana Ujdur PRODUKCIJA / PRODUCTION Propeler Film KOPRODUKCIJA / CO-PRODUCTION Alka Film, Zagreb Film Festival DISTRIBUCIJA / DISTRIBUTION Propeler Film Danilo Šerbedžija (1971) diplomirao je filozofiju i grčki na Filozofskom fakultetu u Zagrebu. Postdiplomski studij završio je na Filmskoj školi Sveučilišta u Ohiou u klasi Rajka Grlića. Filmovi: Oslobođenje Skopja, 72 dana, Kralj Lear – Povratak. Danilo Šerbedžija (1971) graduated in Philosophy and Greek Language from the Zagreb Faculty of Humanities and Social Sciences. He completed his postgraduate studies at the Ohio University School of Film. Films: The Liberation of Skopje, 72 Days, King Lear – The Return.

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Osam načina da se prestanete osjećati usamljeno Eight Ways to Stop Feeling Lonely REŽIJA / DIRECTOR Višnja Vukašinović 2016 21’31’’ SCENARIJ / SCREENPLAY Višnja Vukašinović MONTAŽA / EDITING Miro Manojlović KAMERA / CINEMATOGRAPHY Srđan Šarić GLAZBA / MUSIC Robert Schumann OBLIKOVANJE ZVUKA / SOUND DESIGN Ivan Zelić ULOGE / CAST Luka Kosmat, Josipa Pentić, Iva Ilakovac, Vinko Jurić, Miro Manojlović, Feđa Gavrilović, Vjeran Vukašinović, Domagoj Vidaković PRODUCENTICA / PRODUCER Višnja Vukašinović PRODUKCIJA / PRODUCTION Lanterna magica KOPRODUKCIJA / CO-PRODUCTION Kinoklub Zagreb DISTRIBUCIJA / DISTRIBUTION Lanterna magica

Ornitolog amater Luka Kosmat (33) kroz niz situacija iz svoje svakodnevnice otkriva kako živjeti puniji, ljepši i smisleniji život. Ovaj nas egzistencijalni slapstick kroz niz komičkih tabloa vodi od banalnosti svakodnevnice do sublimnih sanjarija skrivenih u pozadini. Amateur ornithologist Luka Kosmat (33) showcases his daily routine, thus revealing how to lead a more fulfilling, beautiful and, ultimately, a more meaningful life. This existential slapstick uses comic tableaus to take us from the mundane banality of everyday life to sublime reveries behind it.

Višnja Vukašinović (1982) diplomirala je kompa­rativnu književnost i engleski na Filozofskom fakultetu u Zagrebu. Objavljuje eseje i kritike o književnosti, likovnoj umjetnosti i filmu. Dobitnica je Diplome Vladimir Vuković za mladu filmsku kritičarku 2013. god. Snimila je dva filma i piše blog. Višnja Vukašinović (1982) graduated in Comparative Literature and English Language and Literature. She publishes essays and criticism on film, literature and art, as well as writing a film blog. She received the Vladimir Vuković Award for Best Young Film Critic. This is her third film.

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Paspin kut 3 The Second Death of Maximillian Paspa REŽIJA / DIRECTOR Zorko Sirotić 2016 56’51’’ SCENARIJ, MONTAŽA, KAMERA / SCREENPLAY, EDITING, CINEMATOGRAPHY Zorko Sirotić OBLIKOVANJE ZVUKA / SOUND DESIGN Alis Aljić ULOGE / CAST Vedran Šuvar, Nikica Gilić, Tomislav Šoban, Sunčica Ana Veldić, Luka Kosmat, Lovro Čepelak, Helena Vizner, Filip Magdalenić, David Belas, Dino Malpera, Mario Bakić

Slavni filmski amater Maksimilijan Paspa vraća se među žive kako bi sudjelovao u stvaranju filma o svojem životu... i svojoj smrti. A famous film amateur, Maximillian Paspa, returns to the world of the living in order to take part in a film about his life... and death.

PRODUCENTI / PRODUCERS Zorko Sirotić, Helena Vizner PRODUKCIJA / PRODUCTION Kinoklub Zagreb Zorko Sirotić (1985) član je Kinokluba Zagreb, šef podružnice Beard Liberation Fronta za centralnu i jugoistočnu Europu, moderator redateljskog foruma na festivalu u Jihlavi i osnivač Hrvatske reprezentacije – društva za hiperprodukciju umjetničkih pokreta. Zorko Sirotić (1985) is a member of the Cinema Club Zagreb, Head of the Beard Liberation Front, a moderator of the Inspiration Forum at the Jihlava IDFF, and a founding member of the Croatian Representation – Association for the Hyperproduction of Artistic Movements.

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Praznik demokracije Celebration of Democracy REŽIJA / DIRECTOR Petar Orešković 2015 15’ SCENARIJ / SCREENPLAY Natko Jurdana MONTAŽA / EDITING Ana-Marija Sremec KAMERA / CINEMATOGRAPHY Mak Vejzović GLAZBA / MUSIC Dubravko Robić ULOGE / CAST Franjo Džimi Jurčec, Tihana Lazović, Pjer Meničanin, Slavica Knežević, Enes Vejzović

Genijalca od luđaka dijeli samo dlaka, građane od podanika, volja, hrabrost i prilika! If you’re old, poor and crazy, f*ck the system, don’t be lazy!

PRODUCENTI / PRODUCERS Boris T. Matić, Lana Ujdur PRODUKCIJA / PRODUCTION Propeler Film KOPRODUKCIJA / CO-PRODUCTION Alka Film, Zagreb Film Festival DISTRIBUCIJA / DISTRIBUTION Propeler Film Petar Orešković (1980) diplomirao je režiju na ADU-u. Filmovi: Simon Čudotvorac, Povratak mrtvog čovjeka, Buket itd. Petar Orešković (1980) graduated in Film and TV Directing from the Zagreb Academy of Dramatic Art. Films: Simon Magus, Dead Man Walking, Bouquet…

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Priče iz bijele sobe White Room Stories REŽIJA / DIRECTOR Silva Ćapin 2016 12’50’’ SCENARIJ / SCREENPLAY Silva Ćapin MONTAŽA / EDITING Iva Ivan KAMERA / CINEMATOGRAPHY Luka Matić GLAZBA / MUSIC Dejan Gotal OBLIKOVANJE ZVUKA / SOUND DESIGN Denis Golenja ULOGE / CAST Dora Polić-Vitez, Vinko Kraljević, Urša Raukar, Bojan Valentić, Ivan Jončić

Četiri pacijenta pokušavaju riješiti svoje traume uzrokovane elementima mjuzikla koji im se pojavljuju u svakodnevici. Four patients try to work through their traumas, caused by the intrusion of different musical features into their daily lives.

PRODUCENTICA / PRODUCER Nina Križan PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti DISTRIBUCIJA / DISTRIBUTION Silva Ćapin Silva Ćapin (1989) završila je preddiplomski studiji komparativne književnosti na Filozofskom fakultetu i preddiplomski i diplomski studij režije na ADU-u. Od 2014. radi kao vanjska suradnica na HRT-u. Ovo je njezin diplomski film. Silva Ćapin (1989) holds a BA in Comparative Literature at the Faculty of Humanities and Social Sciences in Zagreb and an MA in Film and TV Directing at the Academy of Dramatic Art. This is her graduation film.

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Šetač The Walker REŽIJA / DIRECTOR Filip Mojzeš 2015 22’ SCENARIJ / SCREENPLAY Goran Bogdan, Filip Mojzeš MONTAŽA / EDITING Andrija Gvozdić Michl KAMERA / CINEMATOGRAPHY Dinka Radonić OBLIKOVANJE ZVUKA / SOUND DESIGN Davor Omerza ULOGE / CAST Krešimir Mikić, Bogdan Diklić, Biserka Ipša PRODUCENTICA / PRODUCER Tatjana Aćimović PRODUKCIJA / PRODUCTION DA Film Filip Mojzeš (1989) student je diplomskog studija režije na Akademiji dramske umjetnosti u Zagrebu. Filmovi: Vjetar puše kamo hoće (2013), Ante, još će biti rata (2013) itd.

Šezdesetpetogodišnji umirovljenik Marko pronalazi muškarca u nesvijesti u polju ispred svoje kuće i vodi ga kod sebe. Markova žena Ana skeptična je zbog dolaska stranca, koji pak ne pokazuje nikakvu namjeru da planira otići. Prisutnost tog neobičnog i uznemirujućeg gosta postupno utječe na odnos umirovljenog para. Marko, a retired 65-year-old, finds an unconscious man lying in the field in front of his house, and takes him home. His wife Ana is distrustful of the stranger, who shows no intention of leaving. The presence of the disturbing guest starts affecting the retired couple’s relationship.

Filip Mojzeš (1989) is an MA student in Film and TV Directing at the Academy of Dramatic Art, Zagreb. Selected films: The Wind Blows (2013), Ante, We’ll See War Yet (2013).

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NAMJENSKI FILM COMMERCIAL FILM

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#merrychristmas #sretanbožić REŽIJA / DIRECTOR Chintis Lundgren HR ES 2015 1’4’’ SCENARIJ, MONTAŽA, ANIMACIJA / SCREENPLAY, EDITING, ANIMATION Chintis Lundgren GLAZBA / MUSIC Franz Schubert OBLIKOVANJE ZVUKA / SOUND DESIGN Draško Ivezić

Djed Božićnjak imao je jako dug dan... Teaser za internetsku ili televizijsku seriju Manivald i Absint zečevi koja je u fazi ravoja. Santa Claus has had a very long day... A teaser for Manivald and the Absinthe Rabbits, a web/TV series which is currently in development. 

PRODUCENT / PRODUCER Draško Ivezić PRODUKCIJA / PRODUCTION Adriatic Animation KOPRODUKCIJA / CO-PRODUCTION Chintis Lundgreni Animatsioonistuudio DISTRIBUCIJA / DISTRIBUTION Adriatic Animation Chintis Lundgren (1981) estonska je redateljica. Od 2011. vodi vlastiti studio animacije. Suosnivačica je Adriatic Animationa u Puli. Njezin film Život s Hermanom H. Rottom prikazan je na četrdesetak festivala, a osvojio je i Oktavijana za animaciju na DHF-u 2015. god. Chintis Lundgren (1981) is an Estonian animator. Since 2011, she has run her own animation studio. She is a co-founder of the Adriatic Animation studio in Pula. Her film, Life with Herman H. Rott, was screened at around forty festivals. It won the Oktavijan Award for Best Animated Film at the 24th CFD.

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Animafest Zagreb 2015 – festivalska špica Animafest Zagreb 2015 – Official Festival Trailer REŽIJA / DIRECTOR Petra Zlonoga 2015 40’’ SCENARIJ / SCREENPLAY Petra Zlonoga GLAZBA / MUSIC Ante Perković OBLIKOVANJE ZVUKA / SOUND DESIGN Ivan Zelić PRODUKCIJA / PRODUCTION Hulahop / Animafest Zagreb Petra Zlonoga (1982) diplomirala je dizajn na Studiju dizajna i animirani film i nove medije na ALU-u u Zagrebu. Radi kao dizajnerica, ilustratorica i animatorica. Filmovi: Glad (2014), Daniil Ivanoviču, slobodan si (2011, diplomski) itd.

Službena festivalska špica 25. Svjetskog festivala animiranog filma – Animafest Zagreb. Mandlek, Animafestova maskota, sjeda na svoj monociklić i kreće u kino. No putem nailazi na niz neobičnih likova, svaki u svom filmu. The 25th Animafest Zagreb Official Festival Trailer. Mandlek, the official Animafest mascot goes to the movies on his monocycle. Along the way, he meets a number of unusual characters, each in their own world.

Petra Zlonoga (1982) holds an MA in Graphic Design from the School of Design and an MA in Animated Film and New Media from the Academy of Fine Arts, Zagreb. She works as a freelance graphic designer, illustrator and animator. Films: Hunger (2014), Daniil Ivanovich, You Are Free (2011), etc.

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Bang Bang: Ne zaboravi me Bang Bang: Don’t Forget Me

2016 4’56’’ glazbeni spot / music video – Videodrom

Tajanstvena djevojka posjećuje stariji bračni par. Očekivani posjet ima neočekivan nastavak. Glazbeni spot za pjesmu grupe Bang Bang.

SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Ljubo Zdjelarević KAMERA / CINEMATOGRAPHY Raul Brzić ULOGE / CAST Mia Kuleš, Đurđa Antolović, Boris Pavlenić

A mysterious girl visits an old married couple. The seemingly ordinary visit takes an unexpected turn. A music video for a song by Bang Bang.

REŽIJA / DIRECTOR Ljubo Zdjelarević

PRODUCENT / PRODUCER Ljubo Zdjelarević PRODUKCIJA / PRODUCTION Kinoteka Ljubo Zdjelarević (1981) producent je u producentskoj kući Kinoteka koja proizvodi filmove, multimediju i TV reklame. Diplomant je EAVE-a (European Audiovisual Enterpreneurs) 2012. godine. Ljubo Zdjelarević (1981) works as a producer for the Kinoteka production company, producing films, multimedia, and TV commercials. In 2012, he became a graduate of the EAVE (European Audiovisual Entrepeneurs).

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Borovo – Iz Vukovara s ljubavlju Borovo – From Vukovar with Love REŽIJA / DIRECTOR Mario Mlakar 2015 17’’ SCENARIJ / SCREENPLAY Bojan Kanižaj MONTAŽA / EDITING Tomislav Stojanović KAMERA / CINEMATOGRAPHY Dragan Šiša GLAZBA / MUSIC Bojan Opačak OBLIKOVANJE ZVUKA / SOUND DESIGN Višeslav Laboš ULOGE / CAST Špiro Guberina, Domagoj Janković, Lana Harjaček, Marija Hrvoić PRODUCENT / PRODUCER Domagoj Šekelja PRODUKCIJA / PRODUCTION Rational International Mario Mlakar (1985) dobitnik je dviju nagrada Golden Bra Festivala Magdalena za glazbeni spot i nagrade za debitanta na 20. Danima hrvatskog filma 2011. godine.

Prva televizijska reklama za domaćeg proizvođača obuće Borovo. Spot spaja višedesetljetnu tradiciju i iskustvo izrade obuće s novom vizijom poduzeća usmjerenog prema budućnosti i mlađim generacijama. U glavnoj ulozi: istinski hipster Špiro Guberina. The first television commercial for a Croatian footwear manufacturer, Borovo. The commercial aims to draw attention to the decades-long tradition and experience in the production of shoes and connect it to the new vision of the company as turning towards the future and younger generations. Starring: Špiro Guberina, a true hipster.

Mario Mlakar (1985) won two Golden Bra Music Video Awards and the Best Debut Award at the 20th Croatian Film Days in 2011.

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REŽIJA / DIRECTOR Marko Milovac 2015 3’41’’ glazbeni spot / music video – Videodrom SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Marko Milovac KAMERA / CINEMATOGRAPHY Ivan Zadro GLAZBA / MUSIC Elemental ULOGE / CAST Ivica Gunjača, Elemental PRODUCENT / PRODUCER Gregor Mihaljević PRODUKCIJA / PRODUCTION C47 Film

Na pomalo humorističan i autoironičan način poigravamo se s temama ljubavi, bijegom trbuhom za kruhom, podstanarstvom, tuđim krevetima i materijalnim dobrima koja stanu u jedan kofer. Using humour and auto-irony, we play with different themes: love, emigration, tenancy, other people’s beds, and material possessions that fit in a suitcase.

Marko Milovac (1984) tijekom studija na Filozofskom fakultetu u Zagrebu bavio se raznim multidisciplinarnim projektima. Suvlasnik je i direktor produkcijske kuće C47 Film. Bavi se snimanjem glazbenih spotova, kratkometražnih filmova i reklama. Marko Milovac (1984) was involved in various multidisciplinary projects while studying at the Faculty of Humanities and Social Sciences. He is a co-owner and the CEO of the C47 Film production company. He makes music videos, short films and commercials.

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Four River Film Festival – festivalska špica Four River Film Festival – Festival Trailer REŽIJA / DIRECTOR Karlo Pavičić-Ravlić 2015 24’’ SCENARIJ, KAMERA, MONTAŽA, OBLIKOVANJE ZVUKA / SCREENPLAY, CINEMATOGRAPHY, EDITING, SOUND DESIGN Karlo Pavičić-Ravlić GLAZBA / MUSIC Kevin Macleod PRODUCENT / PRODUCER Leo Vitasović DISTRIBUCIJA / DISTRIBUTION Karlo Pavičić-Ravlić Karlo Pavičić-Ravlić (1995) studira animaciju i nove medije na ALU-u u Zagrebu. Već je sudjelovao na nekoliko projekata za televiziju i festivale, a trenutačno izrađuje male animirane epizode za HRT.

Zaštitni znak Four River Film Festivala je boca s filmskom trakom i žuta boja, a tema se svake godine mijenja. Godine 2015. festival je bio u znaku banana, a takva je i festivalska špica. Doslovce bananastična! A bottle with a filmstrip and the colour yellow are trademarks of the Four River Film Festival. However, the theme changes every year. In 2015, the leitmotif was a banana, and that is exactly how we would describe the festival trailer itself – absolutely bananatastic!

Karlo Pavičić-Ravlić (1995) studies Animation and New Media at the Academy of Fine Arts in Zagreb. He has participated in several TV and festival projects, and is currently making short animated series for the Croatian Radiotelevision.

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FRKA 2015

REŽIJA / DIRECTOR Goran Ribarić 2015 7’34’’ boja, CB / colour, BW SCENARIJ / SCREENPLAY Ivana Vuković, Vid Hribar, Goran Ribarić MONTAŽA / EDITING Luka Gamulin KAMERA / CINEMATOGRAPHY Robin Pretković OBLIKOVANJE ZVUKA / SOUND DESIGN Tihomir Vrbanec ULOGE / CAST Pavle Vrkljan, Mladen Vasary, Nikica Gilić, Bruno Kragić, Anđela Ramljak, Mate Matišić, Ognjen Sviličić, Robert Orhel, Borna Baletić

Promotivni film festivala na Akademiji dramske umjetnosti u kojemu glavni protagonist, autor, na fakultetu susreće poznate i nepoznate likove iz hrvatskih filmova. A promotional video made for the 11th FRKA, a student film festival held at the Academy of Dramatic Art. One night at the Academy, a filmmaker keeps stumbling into various known and unknown characters from Croatian films.

PRODUCENT / PRODUCER Matej Merlić PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti Goran Ribarić (1990) diplomirao je filmsku i TV režiju na Akademiji dramske umjetnosti u Zagrebu 2015. godine. Njegovi kratkometražni filmovi Kroz prozor i Na vodi obišli su razne domaće i strane festivale. Goran Ribarić (1990) graduated in Film and TV Directing at the Academy of Dramatic Art in 2015. His short film Through the Window and On the Water were screened at several Croatian and international festivals.

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Gonzo: Gad Gonzo: Bastard REŽIJA / DIRECTOR Luka Vucić 2016 3’17’’ glazbeni spot / music video – Videodrom SCENARIJ / SCREENPLAY Luka Vucić MONTAŽA / EDITING Tomislav Stojanović, Luka Vucić KAMERA / CINEMATOGRAPHY Luka Vucić, Petar Boban, Tomislav Stojanović GLAZBA / MUSIC Luka Vucić, Stjepan Tribuson OBLIKOVANJE ZVUKA / SOUND DESIGN Tomislav Šušak, Pavle Miholjević, Jure Ferina ULOGE / CAST Bernard Tomić

Odbacivanje predmeta odbacivanje je sebe. Otpuštanjem starog razbijamo okove i ponovno se rađamo. Dajemo si novi život i smisao kako bismo opet poletjeli. When we shed our things, we also shed ourselves. By releasing the old, we break our shackles and are reborn. We create a new life for ourselves and find a new purpose in order to fly again.

PRODUCENTICA / PRODUCER Petra Blašković PRODUKCIJA / PRODUCTION Studio Vucić DISTRIBUCIJA / DISTRIBUTION Croatia Records Luka Vucić (1982) samostalni je umjetnik i magistar dizajna. Iako primarno fokusiran na grafiku, posljednjih deset godina bavi se glumom, scenografijom, produkt dizajnom, ilustracijom, glazbom, animacijom i filmom. Luka Vucić (1982) holds an MA in Design. He is an independent artist, active in various artistic fields. Although his primary interests lie in graphics, in the last ten years he has worked in acting, set design, product design, illustration, music, animation, and film.

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Hladno pivo: Firma Hladno pivo: The Firm

2015 3’15’’ glazbeni spot / music video – Videodrom

Glazbeni spot koji govori o radnicima i uništenim firmama, žrtvama privatizacije. Sudjeluju bivši radnici Gredelja, Diokija i Kamenskog.

SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Andrej Korovljev KAMERA / CINEMATOGRAPHY Stanko Herceg GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Hladno pivo ULOGE / CAST Radnici Gredelja, Diokija, Kamenskog

A music video portraying the workers and companies ruined by the process of privatisation. The video features former employees of companies like Gredelj, Dioki, and Kamensko.

REŽIJA / DIRECTOR Andrej Korovljev

PRODUCENT / PRODUCER Mladen Subošić PRODUKCIJA / PRODUCTION Gajba Records Andrej Korovljev (1970) studira režiju na Westminsterskom sveučilištu u Londonu. Dugogodišnji je izbornik kratkometražnog filma na Motovun Film Festivalu. Dvostruki je dobitnik Porina i Oktavijana te Nagrade Jelena Rajković. Njegov film Godine hrđe nagrađivan je i prikazivan diljem svijeta. Andrej Korovljev (1970) studies Film Directing at Westminster University, London. He is a selector of the short film program for the Motovun Film Festival. He has won two Porin Awards, as well as the Oktavijan Award and Jelena Rajković Award. His film, The Years of Rust, was awarded and screened worldwide.

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Iv/An: Kuća Iv/An: A House REŽIJA / DIRECTOR Dražen Kuljiš 2016 4’2’’ glazbeni spot / music video – Videodrom CB / BW SCENARIJ, KAMERA, MONTAŽA / SCREENPLAY, EDITING, CINEMATOGRAPHY Dražen Kuljiš GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Dorian Gray, Ivan Antunović PRODUCENT / PRODUCER Dražen Kuljiš DISTRIBUCIJA / DISTRIBUTION Ivan Antunović Dražen Kuljiš (1981) diplomirao je kiparstvo u Školi primijenjene umjetnosti i dizajna 1999. godine. Kao glazbenik i kompozitor od 2006. godine djeluje pod pseudonimom Zagrob na zagrebačkoj underground sceni. Dražen Kuljiš (1981) graduated as a sculptor in School for Applied Arts and Design in 1999. Since 2006 he’s known in Zagreb underground music scene as Zagrob.

Priča o praznoj, napuštenoj i zaboravljenoj kući. Njezini tragovi prošlosti ponuđeni su na uvid svakom znatiželjniku voljnom da zaviri unutra i kupi i kuću i njezine skrivene tajne. Priča ispričana je iz perspektive protagonista pjesme, koji je ostavljen da čami unutra poput taoca, čekajući spas. Originalnu verziju pjesme potpisuje i izvodi grupa Dorian Gray. Službeno se prvi put pojavljuje na njihovu debitantskom albumu Sjaj u tami (1983). A story of an empty house, abandoned and forgotten; the traces of its past available for anyone curious enough to take a peek and buy the house, along with its hidden secrets. The story is told from the protagonist’s point of view – a captive of the house, waiting to be saved. The original version of the song was written and performed by the Dorian Gray band. Its first official release was on their debut album, Splendor in the Dark (Sjaj u tami, 1983).

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Ivana Rushaidat & Rakete: Jednog od vas Ivana Rushaidat & Rakete: One of You REŽIJA / DIRECTOR Dalibor Barić 2015 3’4’’ glazbeni spot / music video – Videodrom SCENARIJ, MONTAŽA, ANIMACIJA / SCREENPLAY, EDITING, ANIMATION Dalibor Barić GLAZBA / MUSIC Vlado Mirčeta, Ivana Rushaidat PRODUCENTI / PRODUCERS Vlado Mirčeta, Berko Muratović DISTRIBUCIJA / DISTRIBUTION Dalibor Barić

Pjesma govori o bliskom susretu treće vrste. Spot čine rasplesani fragmenti dječjih enciklopedija, ilustrirane popularne znanosti, stripova, rebusa itd. “Tako ja zamišljam dječju televizijsku emisiju.” The song talks about a close encounter of the third kind. The video consists of dancing cut-outs from children’s encyclopaedias, illustrated pop science, comic books, rebuses, etc. “This is how I imagine a children’s TV show”.

Dalibor Barić (1974) multimedijalni je umjetnik, autor kratkometražnih animiranih i eksperimentalnih filmova, glazbenih spotova, festivalskih špica, stripova, instalacija, crteža i kolaža. Dalibor Barić (1974) is a multimedia artist, author of short animated and experimental films, music videos, festival trailers, graphic novels, installations, drawings and cut-outs.

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Lollobrigida: Kontrola Lollobrigida: Control REŽIJA / DIRECTOR Staša Tomić HR RS 2015 3’31’’ glazbeni spot / music video – Videodrom SCENARIJ / SCREENPLAY Staša Tomić, Ida Prester MONTAŽA / EDITING Staša Tomić KAMERA / CINEMATOGRAPHY Dušan Grubin GLAZBA / MUSIC Lollobrigida: Ida Prester, Petar Stojanović, Nikola Vukotić, Svebor Šakić, Darja Janošević, Damjan Babić, Milica Tegeltija, Petar Rudić, Nenad Petrović OBLIKOVANJE ZVUKA / SOUND DESIGN Marko Marović ULOGA / CAST Mirjana Karanović PRODUCENTICA / PRODUCER Ida Prester Staša Tomić (1975) vratio se filmu nakon diplome iz filozofije, profesionalne glazbene karijere i robovanja u advertajzingu. Završio je Institut za etnografski film Ateliers Varan Paris i odtad je snimio nekoliko dokumentaraca koji su obišli svijet. Autor je brojnih spotova i reklama.

Kontrola je najozbiljnija i najmračnija pjesma Lollobrigide, a nastala je kao reakcija na agresivnu atmosferu u zemlji i svijetu u zadnje vrijeme. Spot odražava pjesmu, težak je i brutalan, a prikazuje kako utjecaj sredine dovodi do postepenog gubitka kontrole nad vlastitim životom. Video u cijelosti nosi izuzetna pojava jedne od najboljih glumica na ovim prostorima. Control is the harshest and darkest song by Lo­ llobrigida. It was conceived as a reaction to the recent atmosphere of aggression pervading the country and the world. The video reflects the song; it is hard, brutal, and aims to demonstrate how the external influence of our surroundings leads to a gradual loss of control over our own lives. It is driven entirely by the performance of one of the best actresses in the region.

Staša Tomić (1975) holds a degree in Philosophy. Having built a musical career and after slaving away in advertising, he went back to making films. He graduated from the Atelier Varan Paris Institute for Ethnographic Film and has filmed several documentaries which have toured the world. He has directed numerous music videos and commercials.

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Patrola na cesti – špica Road Patrol – Opening Titles REŽIJA / DIRECTORS Andrea Sužnjević, Marko Šesnić, Goran Turković 2015 1’4’’ SCENARIJ / SCREENPLAY Andrea Sužnjević, Marko Šesnić, Goran Turković ANIMACIJA / ANIMATION Manuel Šumberac GLAZBA / MUSIC Jura Ferina, Pavao Miholjević, Julij Zornik

Uvodna špica za HRT-ovu seriju Patrola na cesti sastoji se od animiranih motiva iz serije. The opening titles for Road Patrol, a series commissioned by the Croatian Radiotelevision. It is an animated film which uses motifs from the series.

PRODUCENTICA / PRODUCER Ankica Jurić Tilić PRODUKCIJA / PRODUCTION Kinorama DISTRIBUCIJA / DISTRIBUTION Goran Turković Andrea Sužnjević (1989), Marko Šesnić (1982) i Goran Turković (1983) zaposleni su u studiju za grafički dizajn Šesnić&Turković. Studio se već godinama, između ostalog, bavi i dizajnom raznih materijala za film. Andrea Sužnjević (1989), Marko Šesnić (1982), and Goran Turković (1983) work at Šesnić&Turković, a graphic design studio. In the last several years, the studio has been highly productive in the field of graphic film design.

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Pink Studio: Sasvim tvoje Pink Studio: All Yours REŽIJA / DIRECTOR Janja Pilić 2016 3’19’’ glazbeni spot / music video – Videodrom SCENARIJ / SCREENPLAY Janja Pilić MONTAŽA / EDITING Sandra Jelovac KAMERA / CINEMATOGRAPHY Jurica Marković GLAZBA / MUSIC Ana Bogdan, Ivan Glasnović, Nikola Karan, Pink Studio

Lica, boje, oblici i linije razdvajaju i spajaju članove benda u apstraktnoj tehnici facepainta. Faces, colours, and lines separate and connect the band members in an abstract facepaint technique.

PRODUCENTICE / PRODUCERS Janja Pilić, Mirna Peteh-Kazija, Josipa Pilić DISTRIBUCIJA / DISTRIBUTION Janja Pilić Janja Pilić (1987) završila je BA studij režije na ADU-u. Kao redateljica i novinarka bila je zaposlena na HRT-u, RTL-u i u Večernjem listu. Iskustvo u produkciji stekla je radeći kao koordinatorica radionica na Festivalu tolerancije Zagreb. Janja Pilić (1987) holds a BA in Directing from the Academy of Dramatic Art. She worked as a journalist for the Croatian Radiotelevision, RTL television and Večernji list daily newspaper. She worked as a coordinator for the International Talent Workshop at the Zagreb Jewish Film Festival.

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Projektor Projector REŽIJA / DIRECTOR Pavle Pavlović, Mario Papić 2015 25’’ premijera / premiere SCENARIJ / SCREENPLAY Pavle Pavlović KAMERA, MONTAŽA / CINEMATOGRAPHY, EDITING Mario Papić GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Martin Semenčić ULOGE / CAST Pavle Pavlović

Promotivni video za Projektor.hr, odličnu ideju koja nažalost još uvijek nije zaživjela. A promotional video for Projektor.hr, a great idea which has, unfortunately, yet to be realised.

PRODUCENT / PRODUCER Nikola Kovač PRODUKCIJA / PRODUCTION Kinoklub Zagreb KOPRODUKCIJA / CO-PRODUCTION FAGEP DISTRIBUCIJA / DISTRIBUTION Kinoklub Zagreb Pavle Pavlović (1983) završio je slikarstvo na ALU-u u Zagrebu. Izlagao je na više izložbi u zemlji i inozemstvu. Autor je zbirke haiku pozije Ni krek, ni žaba. Mario Papić (1974) je dijete FAGEP-a. Filmovi: Staklene oči (2015), 8 x 8 (2013) itd. Pavle Pavlović (1983) graduated in Painting from the Academy of Fine Arts in Zagreb. He has held several exhibitions. Author of a haiku poetry collection, Not a Croak, Not a Frog. Mario Papić (1974) – a child of FAGEP, a Croatian film club. Films: Eyes of Glass (2015), 8 x 8 (2013).

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Ptica Bird REŽIJA / DIRECTOR Dijana Bolanča 2015 5’8’’ SCENARIJ / SCREENPLAY Dijana Bolanča, Ives Buljan Gladović MONTAŽA, KAMERA / EDITING, CINEMATOGRAPHY Iva Kraljević IZVOĐAČI / PERFORMERS Ives Buljan Gladović, Marina Bažulić GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Boris Vagner PRODUCENT / PRODUCER Morana Komljenović PRODUKCIJA / PRODUCTION Fantastično dobra institucija – FADE IN Dijana Bolanča (1974) magistrirala je glumu na ADU-u u Zagrebu. Režirala je niz dokumentarnih filmova: Bez veze, Reži me, Malo mama, malo tata, epizode dokumentarnih emisija Direkt i Mijenjam svijet. Dijana Bolanča (1974) holds an MA in Acting from the Academy of Dramatic Art in Zagreb. She has directed a number of documentaries: No Relationship, Nip/Tuck, Sometimes Mommy, Sometimes Daddy, episodes of documentary TV shows, Direct and Changing the World.

Film nas preko kazališta sjena uvodi u intimni život dječaka koji svoju “različitost” živi kroz prednosti koje mu ona donosi. Film ukazuje na iznimnu odgovornost internetske komunikacije u kojoj se mržnja širi brzinom klika, a izvor mržnje štiti ekran nevidljivosti i anonimnosti. Film je nastao u suradnji s Mrežom mladih Hrvatske i Domom za odgoj djece i mladeži Zagreb, a u sklopu projekta Društveni putokazi: SMJER – Internet ljudskih prava koji je proveden uz potporu Ministarstva socijalne politike i mladih. Through shadow theatre, the film introduces us to a boy who lives his “difference” through the advantages that it brings him. It shows the extraordinary responsibility of Internet communication where hatred spreads at the speed of a click, while the initiator is protected by the screen of invisibility and anonymity. The film is a part of the project Social Signposts: DIRECTION – Human Rights on Internet, implemented with the support of the Ministry of Social Policy and Youth.

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Sa(n)jam knjige Book Fair(y) REŽIJA / DIRECTOR Dubravka Turić 2015 27’’ SCENARIJ / SCREENPLAY Danijel Žeželj MONTAŽA / EDITING Dubravka Turić KAMERA / CINEMATOGRAPHY Domagoj Lozina GLAZBA / MUSIC C’mon Tigre PRODUKCIJA / PRODUCTION Petikat DISTRIBUCIJA / DISTRIBUTION Dubravka Turić

Najavni spot 21. sajma Sa(n)jam knjige u Istri, pulskog festivala knjiga i autora s temom Otok – Geto – Azil. A short promotional film for the 21st Book Fair(y) in Istria, a book festival held under the theme of Island – Ghetto – Asylum.

Dubravka Turić (1973) diplomirala je montažu na ADU-u u Zagrebu. Do 2009. radi kao scenaristica na dokumentarnim serijalima Svlačionica, Mjenjačnica itd. Sa svojim prvim filmom Belladonna osvojila je Zlatnog lava za kratkometražni film na Mostri 2015. Dubravka Turić (1973) received an MA in Film and TV Editing from the Academy of Dramatic Art, Zagreb. She has worked as a screenwriter on several popular TV documentary serials. Belladonna – her first film as writer, director, and editor – won the Golden Lion for Best Short Film at the 72nd Venice IFF.

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Staropramen – Xmas

REŽIJA / DIRECTOR Luka Vucić 2015 22’’ SCENARIJ, MONTAŽA, KAMERA / SCREENPLAY, EDITING, CINEMATOGRAPHY Luka Vucić ANIMACIJA / ANIMATION Luka Vucić, Ivan Turčin, Ivan Fodor OBLIKOVANJE ZVUKA / SOUND DESIGN Tomislav Franjo Šušak, Stjepan Tribuson, Luka Vucić PRODUCENT / PRODUCER Ivan Hećimović PRODUKCIJA / PRODUCTION Studio Vucić DISTRIBUCIJA / DISTRIBUTION BBDO Zagreb Luka Vucić (1982) samostalni je umjetnik i magistar dizajna. Iako primarno fokusiran na grafiku, posljednjih deset godina bavi se glumom, scenografijom, produkt dizajnom, ilustracijom, glazbom, animacijom i filmom. Luka Vucić (1982) holds an MA in Design. He is an independent artist, active in various artistic fields. Although his primary interests lie in graphics, in the last ten years he has worked in acting, set design, product design, illustration, music, animation, and film.

Mirna zimska noć u malenom gradiću u kojem vlada blagdansko raspoloženje popraćeno zvukom Zvončića. U mraku noći u samome centru gradića nazire se tamna silueta poklona koju iznenada obasja snažno svjetlo s neba. Dar privlači pažnju stanovnika koji izlaze na ulice i prilaze mu. Iznenada na scenu stupa velika ruka koja uzima ambalažu poklona, a nakon toga nastupa potpuna ekstaza. A peaceful winter night in a small town. The air is filled with Christmas cheer and a gentle sound of Jingle Bells plays in the background. In the dark town centre, there is a silhouette of a large Christmas present. Suddenly, a bright light from the sky shines upon the present, attracting the attention of the locals who come out of their homes to see it more closely. Out of nowhere, a large hand from the sky pulls away the gift wrap, revealing...

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The Embla feat. Tea Stražičić: Okky Luck

REŽIJA / DIRECTOR Tea Stražičić HR DK 2015 3’31’’ glazbeni spot / music video – Videodrom SCENARIJ / SCREENPLAY Tea Stražičić GLAZBA / MUSIC The Embla PRODUCENT / PRODUCER Draško Ivezić PRODUKCIJA / PRODUCTION Adriatic Animation KOPRODUKCIJA / CO-PRODUCTION The Animation Workshop DISTRIBUCIJA / DISTRIBUTION Adriatic Animation

Vanzemaljci si šalju ljubavne poruke. Jednom od njih mobitel ostane bez baterije pa on odluči zajahati svog konja i uputiti se kroz čudnu zemlju kako bi osobno dostavio poruku svom ljubavniku. An alien is texting his lover when his phone suddenly dies. He jumps on his horse and sets off on a journey through a strange land in order to see his lover and give him the letter in person.

Tea Stražičić (1990) završila MA na ALU-u u Zagrebu. Bavi se animacijom i grafičkim dizajnom, surađuje s brojnim glazbenim i LGBT udrugama. Poznata je i kao VJ Fluff Lord. Film: Arkadijska febra (2015). Tea Stražičić (1990) graduated from the Academy of Fine Arts, Zagreb. She works in animation and graphic design, collaborating with various music and LGBT organisations and making music videos, comic books, etc. She is known as VJ Fluff Lord. Film: Arcadian Fever (2015).

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Transmania – najava filma Transmania – Film Trailer REŽIJA / DIRECTOR David Lušičić 2016 2’5’’ SCENARIJ, MONTAŽA, OBLIKOVANJE ZVUKA / SCREENPLAY, EDITING, SOUND DESIGN David Lušičić KAMERA / CINEMATOGRAPHY Danko Vučinović, David Oguić, Marko Miščević, Filip Filković, Jasenko Rasol, Bojana Burnać, Silvio Jasenković, Mario Marko Krce, Raul Brzić, Marko Stanić GLAZBA / MUSIC Miladojka Youneed ULOGE / CAST Frano Mašković, Goran Bogdan, Lana Barić, Jadranka Đokić, Milivoj Beader, Janko Popović Volarić, Csilla Barath Bastaić… PRODUCENT / PRODUCER David Lušičić PRODUKCIJA / PRODUCTION Zebra Creative Network David Lušičić (1976) magistrirao je na Fakultetu Central Saint Martins za umjetnost i dizajn u Londonu. Godine 2008. osnovao je Zebra Creative Network, a 2011. Galeriju Greta. Radi kao nezavisni stručnjak za audiovizualne umjetnosti pri EACEA-i u Bruxellesu. David Lušičić (1976) completed an MA at the Central Saint Martins College of Arts and Design in London. In 2008, he founded Zebra Creative Network, and in 2011, he founded Greta Gallery. He works as an independent expert in audiovisual arts at the EACEA in Brussels.

Transmania je film petnaest redatelja koji su na jedinstven način stvorili film, nastavljajući se na prethodnu priču tek nakon što su vidjeli zadnju minutu snimljene sekvence. Oni su: Dalibor Matanić, Sonja Tarokić, Hana Jušić, Bobo Jelčić, Zvonimir Jurić, Vlatka Vorkapić, Jasna Zastavniković, Filip Šovagović, Ivan Salaj, Sara Hribar, Tanja Golić, Petar Orešković, Stanislav Tomić, Edi Mužina, Ivan Sikavica. Ovo je trailer za taj film. Using the so-called exquisite corpse method, fifteen directors have developed a completely unexpected story. Each of them has continued the story having only seen the last minute of the storyline preceding it. Directors are: Dalibor Matanić, Sonja Tarokić, Hana Jušić, Bobo Jelčić, Zvonimir Jurić, Vlatka Vorkapić, Jasna Zastavniković, Filip Šovagović, Ivan Salaj, Sara Hribar, Tanja Golić, Petar Orešković, Stanislav Tomić, Edi Mužina, Ivan Sikavica. This is a trailer for the film.

premijera / premiere

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Uništavaju mi se dinosauri Dinosaurocide REŽIJA / DIRECTOR Sunčica Ana Veldić 2015 4’37’’ SCENARIJ, MONTAŽA, KAMERA, OBLIKOVANJE ZVUKA / SCREENPLAY, EDITING, CINEMATOGRAPHY, SOUND DESIGN Sunčica Ana Veldić GLAZBA / MUSIC Zdravko Medvešek PRODUCENTICA / PRODUCER Sunčica Ana Veldić PRODUKCIJA / PRODUCTION Kinoklub Zagreb DISTRIBUCIJA / DISTRIBUTION Sunčica Ana Veldić Sunčica Ana Veldić (1981) je veterinarka, a dokumentarne filmove snima u Kinoklubu Zagreb. Godine 2015. na Reviji hrvatskog filmskog stva­ralaštva dobiva prvu nagradu za Hrvatsku djevicu i drugu nagradu za The Tenant, a u Sloveniji osvaja nagradu za Hux Flux, Smokvin sin (suredatelj Martin Semenčić).

Alternativni glazbenik i umjetnik Zdravko Medvešek predstavlja seriju radova pod nazivom Aner. Iskren i neposredan u svojim asocijacijama, izgovara čudesnu rečenicu: “Uništavaju mi se dinosauri!” Ona djeluje poput okidača na redateljicu, koja će apstraktnim, ali i konkretnim i uznemirujućim kadrovima popratiti muzičku sliku. Alternative musician and artist, Zdravko Medvešek, represents a series of works entitled Aner. Honest and straightforward in his associations, he utters a miraculous sentence: “I feel like destroying dinosaurs!”. It acts as a trigger for the director to create abstract but disturbing scenes to accompany the music.

Sunčica Ana Veldić (1981) is a veterinarian who makes documentaries at the Cinema Club Zagreb. In 2015, she won the 1st Prize for Love Is a Warm Gun and the 2nd Prize for The Tenant at the Croatian Film and Video Revue. She won Special Mention for Hux Flux (co-dir. Martin Semenčić) at the Luksuz FF.

premijera / premiere

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VIP fiksna VIP Fixed Tariff REŽIJA / DIRECTOR Nevio Marasović

Kaubojski obračun i VIP fiksna tarifa.

2015 59’’

A cowboy showdown and the VIP Fixed Tariff.

SCENARIJ / SCREENPLAY Grey MONTAŽA / EDITING Frano Homen KAMERA / CINEMATOGRAPHY Sven Pepeonik PRODUCENT / PRODUCER Ljubo Zdjelarević, Tomislav Vujić PRODUKCIJA / PRODUCTION Kinoteka Nevio Marasović (1983) svoj prvi dugometražni igrani film Popravak računala režirao je sa šesnaest godina. Diplomirao je režiju na ADU-u. Filmovi: Show Must Go On (2008), Instruktor (2008), VisÀ-Vis (2013). Trenutačno razvija treći igrani film Comic Sans. Nevio Marasović (1983) made his first feature, The Computer Repairment, at the age of sixteen. He graduated in Film Directing from the Academy of Dramatic Art, Zagreb. Films: The Show Must Go On (2008), The Instructor (2008), Vis-À-Vis (2013). He is currently developing his third feature film, Comic Sans.

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VIP mobilna VIP mobile tariff REŽIJA / DIRECTOR Nevio Marasović

Filmska pljačka i VIP mobilna tarifa.

2015 1’6’’

A film robbery and the VIP mobile tariff.

SCENARIJ / SCREENPLAY Grey MONTAŽA / EDITING Ana Marija Sremec KAMERA / CINEMATOGRAPHY Sven Pepeonik PRODUCENT / PRODUCER Ljubo Zdjelarević, Tomislav Vujić PRODUKCIJA / PRODUCTION Kinoteka Nevio Marasović (1983) svoj prvi dugometražni igrani film Popravak računala režirao je sa šesnaest godina. Diplomirao je režiju na ADU-u. Filmovi: Show Must Go On (2008), Instruktor (2008), VisÀ-Vis (2013). Trenutačno razvija treći igrani film Comic Sans. Nevio Marasović (1983) made his first feature, The Computer Repairment, at the age of sixteen. He graduated in Film Directing from the Academy of Dramatic Art, Zagreb. Films: The Show Must Go On (2008), The Instructor (2008), Vis-À-Vis (2013). He is currently developing his third feature film, Comic Sans.

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VIS ŠubidubiDa!: Nisam ja taj VIS ŠubidubiDa!: I Am Not the One REŽIJA / DIRECTOR Jelena Oroz 2015 3’58’’ glazbeni spot / music video – Videodrom SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Jelena Oroz GLAZBA / MUSIC Marko Korunić, VIS ŠubidubiDa!

Animirani film u kojem oblici pretapanjem i mijenjanjem forme prate tekst pjesme. An animated music video in which various colourful images cross-fade and change shape according to the lyrics.

PRODUCENTICA / PRODUCER Jelena Oroz Jelena Oroz (1987) završila je diplomski studij animiranog filma na ALU-u u Zagrebu i preddiplomski studij likovne kulture na Umjetničkoj akademiji u Osijeku 2008. god. Radi kao animatorica i priprema svoj novi film. Jelena Oroz (1987) graduated in Animation and New Media from the Academy of Fine Arts in Zagreb (2011), and from the Arts Academy in Osijek in 2008. She works as an animator and is currently developing her new film.

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FOKUS – IZVAN KONKURENCIJE FOCUS – OUT OF COMPETITION

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Belladonna

REŽIJA / DIRECTOR Dubravka Turić 2015 17’33’’ SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Dubravka Turić KAMERA / CINEMATOGRAPHY Branko Linta OBLIKOVANJE ZVUKA / SOUND DESIGN Dubravka Premar ULOGE / CAST Aleksandra Naumov, Nada Đurevska, Lana Barić, Dražen Kuhn, Anita Matković PRODUCENTICA / PRODUCER Zdenka Gold PRODUKCIJA / PRODUCTION Spiritus movens DISTRIBUCIJA / DISTRIBUTION Everything Works Dubravka Turić (1973) diplomirala je montažu na ADU-u u Zagrebu. Montirala je više od 20 filmova i 200 reklama. Radila je kao scenaristica na serijalima Svlačionica, Mjenjačnica itd. Ovo je njezin prvi film. Dubravka Turić (1973) received her MA in Film and TV Editing from the Academy of Dramatic Art in Zagreb. She has edited over 20 films and 200 commercials. She has also worked as a screenwriter for several popular Croatian TV documentary serials. Belladonna is her first film.

Belladonna je film o (ne)gledanju. Tri žene različite životne dobi i porijekla sretnu se u oftalmološkoj čekaonici. Osluškujući razgovor starijih žena, djevojka Saša saznaje za tragediju koju su doživjele. Ravnodušnost koju je do tog trenutka osjećala prema njima zamjenjuje osjećaj bliskosti i prepoznavanja. No mogućnost komunikacije nepovratno je izgubljena. Film je premijerno prikazan na 72. Mostri, gdje je proglašen najboljim kratkometražnim filmom u natjecateljskom programu Orizzonti, a zatim i na Sundanceu i festivalu u Rotterdamu. Belladonna is a film about (not) seeing. Three women of different ages and backgrounds meet in the waiting room of an ophthalmologist’s office. Overhearing the conversation between the two older women, the young woman Sasha learns of the tragedy they experienced. The indifference she felt towards them until that moment is replaced by a sense of closeness and connection… The film premiered at the 72nd Venice Film Festival, where it was awarded Best Short Film in the Horizons Competition Program. It also screened at the Sundance FF and IFFR.

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Goranova ulica Goran’s Street REŽIJA / DIRECTOR Matija Vukšić 2015 8’ SCENARIJ / SCREENPLAY Matija Vukšić MONTAŽA / EDITING Vladimir Gojun KAMERA / CINEMATOGRAPHY Raul Brzić GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Hrvoje Štefotić ULOGE / CAST Mia Rendić, Juraj Čižić PRODUCENTI / PRODUCERS Boris T. Matić, Lana Ujdur PRODUKCIJA / PRODUCTION Propeler Film KOPRODUKCIJA / CO-PRODUCTION Alka Film, Zagreb Film Festival DISTRIBUCIJA / DISTRIBUTION Propeler Film Matija Vukšić (1982) diplomirao je novinarstvo na Fakultetu političkih znanosti u Zagrebu. Režiju dokumentarnog filma diplomirao je 2011. godine na ADU-u. Filmovi: Djeca tranzicije, Benjamin.

Na Veliku Gospu u pustom centru Zagreba djevojčica Lana nailazi na dječaka iz obližnje ulice koji dane provodi gledajući kroz prozor. Običan nagovor na zajedničku igru prerast će u otkrivanje tajne zbog koje će Lana preispitati svoj odnos prema Bogu, životu i sebi. On the Feast of the Assumption, in deserted Zagreb, little Lana meets a boy who spends his days watching the street from his window. When he agrees to play with her, a secret is revealed which makes Lana question her relationship with God, life and herself.

Matija Vukšić (1982) graduated in Journalism from the Faculty of Political Science in Zagreb. In 2011, he graduated in Documentary Film Directing from the Academy of Dramatic Art. Films: Children of Transition, Benjamin.

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(Kontra)indikacije (Contra)indication REŽIJA / DIRECTOR Valentina Lončarić 2016 11’4’’ SCENARIJ, MONTAŽA, KAMERA / SCREENPLAY, EDITING, CINEMATOGRAPHY Valentina Lončarić ULOGA / CAST Nina Sabo PRODUCENT / PRODUCER Tomislav Šoban PRODUKCIJA / PRODUCTION Kinoklub Zagreb Valentina Lončarić (1981) diplomirala je kompara­tivnu književnost i filozofiju na Filozofskom fakultetu u Zagrebu, a zatim na poslijediplomskom studiju Gluma, mediji i kultura Sveučilišta u Rijeci, gdje radi kao vanjska suradnica. Ovo je njezin prvi film. Valentina Lončarić (1981) holds an MA in Comaparative Literature and Philosophy from the Faculty of Humanities and Social Sciences, Zagreb. She holds an MFA in Acting, Media and Culture from the University of Rijeka, where she works as Associate Lecturer. This is her first film.

Blanka, žena u ranim tridesetima, pokušava doznati od koje bolesti boluje. Njezina se svakodnevica sastoji od posjeta bolnicama i ordinacijama. No kako ondje ne može pronaći odgovor, odlučuje se na samostalno istraživanje simptoma. Uzaludnost traganja za odgovorom pretvara se u svakodnevnu bitku s bolešću i sa samom sobom. Suffering from an undiagnosed illness, 30-yearold Blanka spends her days visiting hospitals and doctors. When they fail to give her a definite diagnosis, she decides to do her own research of the symptoms. The futile search for the answers soon turns into an everyday struggle with the illness and herself.

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Lula & Bručke Lula & The Pubic Hair REŽIJA / DIRECTOR Igor Jelinović 2016 15’ SCENARIJ / SCREENPLAY Igor Jelinović MONTAŽA / EDITING Jan Klemsche KAMERA / CINEMATOGRAPHY Rino Barbir OBLIKOVANJE ZVUKA / SOUND DESIGN Tihomir Vrbanec ULOGE / CAST Lidija Penić-Grgaš, Mia Gudelj, Tomo Luetić, Dario Juričan, Nika Vahčić, Marko Orešković, Klara Vlahovski, Josipa Bubica, Lorena Vlahovski, Veronika Milinović, Josip Lukić PRODUCENTICA / PRODUCER Lorena Vlahovski PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti KOPRODUKCIJA / CO-PRODUCTION Blank_filmski inkubator DISTRIBUCIJA / DISTRIBUTION Akademija dramske umjetnosti Igor Jelinović (1984) diplomirao je komunikologiju na Sveučilištu u Milanu. Student je zadnje godine diplomskog studija režije igranog filma na ADU-u u Zagrebu. Autor je nekoliko kratkometražnih igranih filmova i predsjednik je Udruge Blank.

Lula i Cica najbolje su prijateljice iz osmog B. Sklad koji vlada u njihovu dječjem svijetu naruši se kada se pripite sudare sa svijetom odraslih. Prvi put u disku Cicina tek pupajuća seksualnost izbija u prvi plan, dok Lula svim silama nastoji zadržati odnos kakav je bio prije. Lula and Cica have been best friends since elementary school. However, the innocent harmony of their world is disturbed during a drunken night out, when they suddenly collide with the world of adults. The two friends go to a club for the first time, where Cica’s budding sexuality takes over, while Lula does everything in her power to keep their relationship as it was.

Igor Jelinović (1984) graduated in Communication Studies from the University of Milan. He is attending the MA in Film and TV Directing at the Academy of Dramatic Art, Zagreb. He has directed a number of short films and is currently President of Blank Association.

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Na Tri kralja Epiphany REŽIJA / DIRECTOR Vlatka Vorkapić 2015 17’16’’ SCENARIJ / SCREENPLAY Vlatka Vorkapić MONTAŽA / EDITING Marin Juranić KAMERA / CINEMATOGRAPHY Dragan Marković GLAZBA / MUSIC Stanislav Kovačić OBLIKOVANJE ZVUKA / SOUND DESIGN Hrvoje Štefotić ULOGE / CAST Judita Franković, Ksenija Marinković

Tko su tri muškarca koja kći vidi kada dođe u posjet majci? Who are the three men the daughter sees when she visits her mother?

PRODUCENTI / PRODUCERS Boris T. Matić, Lana Ujdur PRODUKCIJA / PRODUCTION Propeler Film KOPRODUKCIJA / CO-PRODUCTION Alka Film, Zagreb Film Festival DISTRIBUCIJA / DISTRIBUTION Propeler Film Vlatka Vorkapić (1969) diplomirala je režiju na ADU-u te komparativnu književnost i češki jezik i književnost na Filozofskom fakultetu. Režirala je tridesetak filmova (Sonja i bik, Gabrijel) i nekoliko kazališnih predstava, uključujući nagrađivanu Judith French. Vlatka Vorkapić (1969) graduated in Directing from the Academy of Dramatic Art and in Comparative Literature and Czech Language from the Faculty of Humanities and Social Sciences, Zagreb. She has directed more than 30 films (Sonja and the Bull, Gabriel) and several theatre productions (Judith French).

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Zvjerka The Beast REŽIJA / DIRECTOR Daina Oniunas Pusić HR FI 2015 20’22’’ SCENARIJ / SCREENPLAY Daina Oniunas Pusić MONTAŽA / EDITING Arttu Salmi KAMERA / CINEMATOGRAPHY Arthur Mulhern GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Toni Teivaala ULOGE / CAST Doris Šarić Kukuljica, Marija Kohn PRODUCENTICE / PRODUCERS Mirta Puhlovski, Anamaria Kapulica PRODUKCIJA / PRODUCTION Slavica film KOPRODUKCIJA / CO-PRODUCTION Napa films DISTRIBUCIJA / DISTRIBUTION Slavica film Daina Oniunas Pusić (1985) stekla je BA iz režije sa zagrebačke ADU i MA s Londonske filmske škole. Godine 2013. osvojila je Nagradu Jelena Rajković. Trenutačno završava kratkometražni film Rhonna & Donna. Daina Oniunas Pusić (1985) holds a B.A. in Film Directing from the Zagreb Academy of Dramatic Art and an M.A. in Filmmaking from the London Film School. In 2013, she won the Jelena Rajković Award. She is currently finishing her next short Rhonna & Donna.

Stogodišnja Nada i njena sedamdesetpetogodišnja kći Vera imaju vrlo napet, ali bliski odnos u kojem se djetinjasta Vera brine za svoju nijemu i nemoćnu iako često okrutnu majku. Jedne večeri šišmiš ulijeće u Nadinu sobu i počne hibernirati ispod njenog kreveta. Prisutnost životinje postepeno vrati starici izgubljenu snagu, drastično i fatalno mijenjajući odnos majke i kćeri. Film je prikazan na četrdesetak festivala, a osvojio je i posebno priznanje na Slamdanceu i nagradu za najbolji film u sekciji Kockice na ZFF-u. Hundred-year-old Nada and her daughter Vera (75) have a tense but close relationship. The childlike Vera takes care of her mute and feeble, though at times cruel mother. One evening, a bat flies into Nada’s room and finds shelter underneath her bed. The animal’s presence gradually reinvigorates the old woman, drastically and fatally changing the relationship between the mother and daughter. The film has screened at numerous festivals, winning many awards, including the Honorable Mention at the Slamdance and Best Film in the Checkers Program at the Zagreb Film Festival.

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POPRATNI FILMSKI PROGRAMI SIDE PROGRAMS


25 GODINA DHF-A 25 YEARS OF THE CROATIAN FILM DAYS

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DHF: Izvan spektakla CFD: Beyond the Spectacle Svašta se promijenilo od 1992. godine. Ivo Škrabalo tada je pisao: “to nije i ne želi biti festival spektakla”. I čini se da to nije ni postao. Iako je susjedstvo, ono festivalsko, u trajnome cvatu. Svih ovih 25 godina Dani hrvatskog filma držali su prvobitnu koncepciju. No nikada ne treba reći nikada pa možda recimo iduće godine pozovemo i dugometražne igrane filmove. Zašto ne? Ili koji inozemni? Upravo je to stav nespektakla koji je DHF tako dugo, čak i izvan adekvatne potpore, održao u vrijednosnom vrhu domaće festivalske ponude. Pokazuje to i česta ljutnja onih koji na DHF nisu ušli, koji su ojađeni jer se nalaze u salonu odbijenih, instituciji protiv koje je najviše rogoborio onaj koji ju je i stvorio. Bilo je ljutih i zbog termina. Ili zaobiđenih u nagradama. Zatim je jedno vrijeme bilo previše nagrada. Publika se smanjivala, a na nedjeljnoj matineji gledali smo televizijske ratne klasike. Sada gledamo eksperimentalni film na otvorenju. Odupiremo se dok možemo, usporedba s Oberhausenom nije nam uvreda, nego kompliment i zaista smo sretni kada u hrvatskome filmu iskopamo neko novo i uzbudljivo ime. Zato smo za ovu rođendansku selekciju odabrali filmove koji nisu prvi izbor prema kriteriju nagrada. Nisu ni najviše “izvrćeni” na HRT-u, nisu pak ni kanonski katalog uspješnih producentskih kuća, niti bilo što slično, ali su ipak na svoj poseban način obilježili Dane hrvatskog filma. A lot has changed since 1992. At the time, Ivo Škrabalo wrote: “this is not and it does not aim to become a festival of spectacle”. And it seems it has never turned into one. Even though our festival neighbours are constantly growing, the Croatian Film Days has retained its primary concept during all 25 years of its existence. But, never say never; maybe next year, we’ll call for feature-length films to apply as well. Why not? Or a couple of foreign ones? Exactly this absence of spectacle is the approach that the CFD has preserved for so long, at the same time remaining among the top domestic festivals, although lacking adequate financial support. This is confirmed by the resentment frequently expressed by those who didn’t make it into the festival selection, and by those relegated to the notorious Salon of the Rejected – a section attacked most persistently by the person who created it. There have been those who have felt provoked by the assigned time slot, as well as those indignant at being passed over in the awards. At one time, there were too many awards. The audience grew smaller, while we watched TV war classics at Sunday matinees. Now, we are showing an experimental film at the opening. What can we say? That we will resist as long as we can; that we’re not insulted by being compared to the Oberhausen, on the contrary, we are flattered; that we are genuinely happy when we encounter a new and exciting name in Croatian film. That is the reason the films featured in our birthday selection haven’t been picked according to their award records. They did not get more, or any, screen-time on TV. We didn’t pick them out of catalogues of the most successful production houses; the list goes on. However, in their own way, they have made a mark on the Croatian Film Days. Željko Luketić 131


ANIMIRANI FILM ANIMATED FILM KINO EUROPA 24. 4. 2016. 14:00

Duplex Trudnoća. Osjećaj umora, bespomoćnosti, dosade i iščekivanja. Oktavijan za animirani film na 14. DHF-u (2005). Pregnancy. A feeling of weariness, helplessness, boredom, and expectation. Oktavijan Award for Animated Film at the Croatian Film Days 2005.

DIR., SC. Goran Trbuljak ANIM. Zvonimir Delač DOP Tomislav Gregl MU. Marina Barac PROD. Zagreb film 2004 7’42’’

Trk Run Može li se ljudski život ispričati u nekoliko minuta? Is it possible for a human life to be recounted in just a few minutes?

DIR. Nevio Marasović SC. Tihomir Mraović ANIM. Goran Stojnić DOP Damjan Flegar MU. Samuel Sacher, Janko Novoselić PROD. Zagreb film 2009 4’10’’

Zemlja snova Dream Land Na prozoru usamljene djevojčice pojavljuje se vilenjak… An elf appears on the window of a lonely girl’s house…

DIR., SC., ANIM. Magda Dulčić DOP Srećko Brkić MU. Arsen Dedić PROD. Zagreb film 1994 5’28’’

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Vremenska bajka The Time Tale Komedija u kojoj je glavni junak jedna odana budilica. Oktavijan za animirani film 1996. godine. A comedy with an unlikely hero – a loyal alarm clock. Oktavijan Award for Animated Film in 1996.

DIR., SC., ANIM. Goce Vaskov DOP Boris Sačer EDIT. Dubravka Premar MU. Marijan Brkić PROD. Zagreb film 1995 3’33’’

Kljucanje Pecking Je li u ljudskoj sudbini uistinu zapisano da uvijek postoji netko tko nas želi? Is it really human destiny that there is always someone to choose us?

DIR., ANIM. Ana-Marija Vidaković SC. Sanja Slijepčević, Ana-Marija Vidaković DOP Jasna Belančić MU. Jurica Grosinger PROD. Zagreb film 1999 3’55’’

Plasticat Metropolis, neobavezna noćna šetnja i etička dilema za Plasticata, mačka iz budućnosti. Oktavijan za animirani film na DHF-u 2003. godine. A casual night walk through Metropolis brings out an ethical dilemma for Plasticat, a cat from the future. Oktavijan for Animated Film at the Croatian Film Days in 2003.

DIR., SC. Simon Bogojević Narath ANIM. Saša Budimir, Boris Goreta, Elvis Popović MU. Hrvoje Štefotić PROD. Kenges DIST. Bonobostudio 2003 9’50’’

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Mi Us Pesimistična alegorija o nasilnoj ljudskoj prirodi i historiji ljudskog društva. A pessimistic allegory of the violent human nature and the history of mankind.

DIR., SC. Midhat Ajanović ANIM. Anton Huml DOP Mustafa Mustafić MU. Enes Zlatar PROD. Zagreb film KOPROD. SaGa Production HR BA 2011 8’

Kyrie Eleison Nakon krvave borbe vitez odluči odbaciti oružje i kreće na putovanje. Zlatna uljanica na DHF-u 2004. godine. After a bloody battle, a knight decides to lay down his arms and embark on a journey. The Golden Oil Lamp Award at the Croatian Film Days 2004.

DIR., SC., ANIM. Davor Međurečan DOP Zoran Rački MU. Borna Šercer PROD. Zagreb film 2004 5’46’’

Dove sei, amor mio Jesu li ugoda i sreća što nam ih pruža rutina dovoljne da zauvijek ostanemo njezini robovi? Are comforts and pleasures which we derive from the routine really enough for it to enslave us forever?

DIR., SC. Veljko Popović ANIM. Marin Kovačić, Ćiro Mihanović, Ognjen Tutek MU. Willem Miličević, Ivan Arnold PROD., DIST. Bonobostudio KOPROD. Zagreb film 2011 10’20’’

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Beskonačna priča An Endless Story Jedan industrijski robot prekida svoj rad na odlagalištu otpada i počinje se igrati. A bored industrial robot interrupts his work at the junkyard so he could play.

DIR., SC., ANIM., EDIT. Darko Bućan MU. Jurica Grosinger PROD. Zagreb film 1999 7’37’’

Malformance / Performance Film o evoluciji zla kroz povijest. Film about the evolution of evil through history.

DIR., DOP Tomislav Gregl SC. Tahir Mujičić ANIM. Ante Strinić, Tomislav Gregl MU. Dubravka Premar, Darko Hajsek PROD. Zagreb film 2007 3’49’’

Ispod Under Kratka priča o čovjeku koji čekajući postane ­nešto što nitko ne očekuje. A short story about a man who, while expecting, becomes something completely unexpected.

DIR. Stjepan Milas MU. Luka Smetiško, Zrinka Mihalić PROD. ALU DIST. Zagreb film 2010 3’46’’

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Mobitel Mania Mobile Mania Jedan poziv probudi maštu, ali ubrzo je prekine ispražnjena baterija mobitela. One phone call stirs the imagination, but when the phone battery dies, it disrupts everything.

DIR., SC., ANIM., MU. Darko Vidačković PROD. ALU DIST. Zagreb film 2008 5’23’’

Kratice za filmsku ekipu su pokušaj internacionalizama pa su dakle “jednojezične”. Film crew abbreviations are an attempt at internationalisms, and are therefore “monolingual”. ANIM. – animacija / animation ART DIR. – scenografija / art director DIR. – režija / director DIST. – distribucija / distribution DOP – kamera / cinematography EDIT. – montaža / editing KOPROD. – koprodukcija / co-production KOST. – kostimografija / costumes MU. – glazba / music NAR. – pripovjedač / narrator PARTIC. – sudionici / participants PROD. – produkcija / production PRODU. – producent / producer SOUND – oblikovanje zvuka / sound design SC. – scenarij / screenplay UL. – uloge / cast

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DOKUMENTARNI FILM DOCUMENTARY FILM KINO EUROPA 22. 4. 2016. 14:00

Od jutra do mraka From Dawn Till Dusk Jedan dan u životu umjetnika Tomislava Gotovca. Bizarna razglednica grada Zagreba. Studija mentaliteta stanovnika hrvatske metropole. Grand Prix za montažu na DHF-u 2005. godine. DIR., EDIT. Dražen Žarković DOP Branko Linta, Vedran Šamanović PROD. Maxima film

A day in the life of the legendary Croatian performance artist, Tomislav Gotovac. A bizarre postcard from the Croatian capital and a study of Croatian mentality. Best Editing at the 14th CFD.

2005 26’

Cigareta Cigarette Pripremna vježba za dokumentarni film Cigareta s 3. godine režije. An exercise for the documentary film Cigarette. Third year of Directing, the Academy of Dramatic Art, Zagreb.

DIR. Predrag Ličina PROD. ADU 1994 17’

Umobolizam i neurobiologija Mindburn and Neurobiology Kultni dokumentarni film o umjetničkom pravcu umobolizmu i njegovu osnivaču Dobriši Mršić-Flogelu. A cult documentary about an art genre called “mindburn” and its founder, Dobriša Mršić-Flogel.

DIR., SC. Daniel Kušan DOP Miran Krčadinac EDIT. Maja Vukić PROD. ADU 1998 17’50’’

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Posljednji autohtoni Petrović The Last Native Petrović Obiteljska loza Petrović s otoka Cresa gasi se nakon sedam generacija s Cvetkom zbog impotencije uzrokovane šećernom bolešću. After seven generations, the lineage of the Petrović family from the island of Cres reaches its end with Cvetko, whose diabetes has rendered him impotent.

DIR., SC. Damir Terešak DOP Stanko Herceg EDIT. Zdravko Dren PROD. Maxima film 2006 23’

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EKSPERIMENTALNI FILM EXPERIMENTAL FILM KINO EUROPA 21. 4. 2016. 14:00

Novembar November U filmu sudjeluje dvadesetak umjetnika koji u prostoru ulice izvode kratke, usputne performanse. Oktavijan za najbolji eksperiment na DHF-u 2009. god. DIR., SC., EDIT. Boris Greiner DOP Vedran Šamanović, Mario Delić MU. Fernando Samalea UL. Mladen Stilinović, Dalibor Martinis, Tomislav Gotovac, Vlasta Žanić, Tanja Dabo, Marijan Crtalić, Ivan Faktor, Maja Marković... PROD. Petikat

Twenty renowned Croatian artists make short and random street performances. Oktavijan Award for Best Experimental Film at the CFD 2009.

2008 8‘

Kravate/Strukture/Ambijenti Neckties/Structures/Ambients Ambijentalni film stvoren od fotografija i tekstilnih uzoraka za kravate. Zvuk je dobiven prijenosom fotografske strukture u računalni program za slijepe. DIR., SC., DOP, MU., PROD. Bojan Gagić

An ambient piece created with photographs and neck-tie patterns. A sound design obtained by transforming the photographic structure into a computer program for blind people.

2007 6‘

ReLocated Film istražuje mogućnosti intenziviranja postojećih prostora, daje oblik nerazvijenim vrstama i konstruira nove prema vlastitim geometrijama. The video explores the possibilities of amplifying existing spaces, giving form to undeveloped species, and forming new ones according to the geometries generated by the film itself.

DIR. Vladislav Knežević, Dinko Peračić DOP Predrag Vekić EDIT. Mario Kalogjera, Vladislav Knežević ANIM. Mario Kalogjera MU. Bojan Kozmuth PROD. Kenges DIST. Bonobostudio 2005 12’

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Buket Bouquet Pet različitih cvjetova čine jedinstven buket. Pet različito formiranih sekvenci čine kompaktnu cjelinu. Pet različito izoštrenih strahova čine jedinstvenu bol. Oktavijan za eksperimentalni film 1996. godine.

DIR., SC., DOP Zdravko Mustać EDIT. Milan Bukovac PROD. Autorski studio – fotografija, film, video DIST. HFS

Five different flowers make a unique bouquet. Five different sequences make a compact whole. Five fears make a singular kind of pain. Oktavijan Award for Best Experimental Film in 1996.

1996 13‘

Zapping Analogni video koji prikazuje televiziju kao diktatora naših percepcijskih navika. An analogue video which interprets television as a dictator of our perceptual habits.

DIR. Milan Bukovac PROD. Autorski studio – fotografija, film, video 1993 6’

Off Fuck Off Frustriran radom na ispolitiziranoj televiziji, Čučić uništava trake na kojima se nalaze spikerski offovi korišteni u TV vijestima. Frustrated by his work on a highly politicized television, Čučić destroys the tapes that contain the off-sounds that are used in the news.

DIR., PROD., EDIT. Damir Čučić PARTIC. Hrvoj Horvat 1998 5‘50‘‘

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Kangaroo Court Multimedijska rekonstrukcija sekvencije iz filma M Fritza Langa (1931) koja kreće od fotografske replike prizora ilegalnog suđenja psihopatskom ubojici djevojčica u berlinskom podzemlju. DIR., SC. Ivan Faktor DOP Boris Poljak, Vedran Šamanović EDIT. Ivana Fumić PROD. HFS

A multimedia reconstruction of a sequence from Fritz Lang’s famous film M (1931) – a photographic replica of the illegal trial of the psychopathic child murderer in the Berlin underground.

2007 7‘40’’

Urbi et Orbi Kratki poučak o tijelu Tomislava Gotovca. A short lesson on the body by Tomislav Gotovac.

DIR., SC., DOP Darko Bavoljak EDIT. Alfred Kolombo UL. Tomislav Gotovac PROD. Art De Facto 2013 3‘

Daily Progress Remećenjem linearne progresije događaja u snimci zgrade od zore do sumraka stvara se novo prostor-vrijeme iz dislociranih fragmenata dana. A building is filmed from dawn to dusk, but the linearity of events in the footage is disrupted, and a new space-time is created from the dislocated fragments of the day.

DIR., SC., PROD. Ana Hušman EDIT. Draško Ivezić MU. Ana & Lala 2001 6‘47‘‘

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IGRANI FILM FICTION FILM KINO EUROPA 23. 4. 2016. 14:00

Zamka Trap Ubojicu je uvijek lakše pronaći ako ga “označite”. The killer is always easier to find if you “mark” him. DIR., SC. Kristijan Milić DOP Ana Vrdoljak EDIT. Jelena Drobnjak UL. Tena Gajski, Ivan Pavličić, Sven Jakir, Kristijan Milić PROD. ADU 2010 7’

Prva dama Dubrave First Lady of Dubrava Amra je reperica iz kvarta, a Dina je njezina mlađa sestra i dežurno smetalo. Dina ima astmu i često glumi napadaje da bi dobila što želi. Amra is a girl from the hood with dreams of becoming a hip-hop artist. Her little sister Dina is always in her way. She suffers from asthma, and often uses her condition to get what she wants.

DIR., SC. Barbara Vekarić DOP Filip Tot EDIT. Sara Gregorić UL. Tena Pataky, Marija Piliškić, Asim Ugljen, Lana Barić, Slavica Knežević PROD. ADU 2011 20’

Trgovci srećom Trading Happiness Dok jedan skida “samoubojicu” s krova, drugi skida sve sa sebe. Prvo okupljanje ekipe Bitanga i princeza. While one of them is pulling off a “suicidal person” off the roof, the other one is taking off all his clothes. The first gathering of the film crew from Punks and Princesses.

DIR., SC. Goran Kulenović DOP Aleksandra Dabanović EDIT. Slaven Jekauc UL. Rene Bitorajac, Sven Šestak, Mila Elegović, Bojan Navojec, Mile Kekin PROD. ADU 1999 17’24’’

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Ljepotan Prettyboy Majin je posao brinuti se o statistima na setu, a ima i jedan neugodan zadatak: sortirati ih prema izgledu. Da bi stvari bile još gore, među njima je i njen novi dečko Mladen. DIR. Saša Ban SC. Saša Ban, Nevenka Sablić, Juraj Lerotić DOP Jakov Lerotić EDIT. Marko Ferković MU. Jura Ferina, Pavao Miholjević, Martin Semenčić UL. Marina Redžepović, Nikša Butijer PROD. Kinorama

Maja’s job is to take care of the extras on the set of a commercial. Hers is the unpleasant task of sorting them by their looks. To make matters worse, her new boyfriend, Mladen, is among them.

2013 15’

Igra tucanja The Fucking Game Par na zamišljenom putovanju tijekom jedne noći proživljava cijeli životni vijek. Prema priči Igra tucanja Tarika Kulenovića. A couple goes on an imaginary journey, living through an entire lifetime in the course of one night. Based on the short story The Fucking Game by Tarik Kulenović.

DIR., SC. Ivan Livaković DOP Daniel Ruljančić EDIT. Maida Srabović UL. Iva Mihalić, Goran Bogdan PROD. ADU 2009 10’

Ta tvoja ruka mala That Little Hand of Yours Noćna smjena jednog taksista povezat će sudbine nekoliko izgubljenih ljudi. Od ulaska u taksi do konačnog cilja dovoljno je vremena da se otkrije tajna, izmisli priča i počini zločin. DIR. Sara Hribar SC. Goran Ferčec DOP Damir Kudin UL. Mustafa Nadarević, Milena Dravić, Ksenija Marinković, Nataša Janjić, Jelena Veljača, Iskra Jirsak PROD. Kult film KOPROD. ADU, Planet B, Art Rebel 9 DIST. Kinoteka

In one night, a taxi driver’s car becomes an intersection for the fates of several lost individuals. The time between entering the taxi and reaching their destination is enough to reveal a secret, make up a story, and commit a crime.

2010 23’

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PSIHOTRONIÄŒKI FILM PSYCHOTRONIC FILM

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Ciklus psihotroničkog filma Iako zvuči poput naslova ozbiljnog teorijskog rada u kakvom institutu za film, autor termina psihotronički film (psychotronic cinema) Michael J. Weldon krenuo je sasvim drugačije, kao opsesivni ljubitelj i kolekcionar netipičnoga filma. Živio je u razbarušenom, knjigama i časopisima natrpanom stanu, tipičnog za hrčke, gutao subotnje filmske maratone i izdavao fanzin Psychotronic Magazine. Prvi je broj na naslovnici imao fotografiju iz filma The Amazing Colossal Man, što je možda i početak Weldonova uobličavanja naslovnog termina. U početku su to bili žanrovski horori i niskobudžetna znanstvena fantastika, no psihotronika je ubrzo postala pridjev i proširila krug označavanja. Pojavila se The Psychotronic Encyclopedia of Film (1983) i kasnije znatno dopunjeniji The Psychotronic Video Guide (1996) pa je postalo jasno da u taj krug ulaze rubni, kultni filmovi, naslovi minijaturnih budžeta i nevelikog uspjeha u kanonskoj srednjoj struji. Weldon kao publicist regrutiran iz redova filmskih fanova i znalaca instinktivno je prepoznao da predmet filmskoga kulta ne ovisi o kvaliteti filma, nego isključivo o gledateljima koji svojom emotivnom privrženošću odlučuju hoće li financijski fijasko nekog velikog studija kasnije postati obljubljen među kolekcionarima, gledan na VHS-u ili DVD-u i hoće li ga braniti od “zlih kritičara” koji rijetko kad razumiju redateljsku genijalnost jedne, recimo, Doris Wishman. Ili se pak posve zbunjuju nad kategorijama drive-in klasika, ponoćnih premijera, camp i trash nivelacija pojma dobrog ukusa, osviještenog kiča, dramaturški poticajne erotike i pornografije ili tematskih hibrida kakvih se ne bi posramila ni copywriting radionica Herschella Gordona Lewisa. Na sreću, raznolikost i ljepota kultnih, rubnih filmova danas je uslijed postmodernih miješanja dobila i stručnije zagovaratelje. Literatura je sve brojnija, organiziraju se znanstveni skupovi i neki važni doktorati pišu se na teme marginalnog, drugačijeg i slobodnijeg. Povijesni avangardni pravci na svoj su način odbacivali norme i pravila u umjetnosti. Ovaj dio ne teži stvarati umjetnička djela za stalnu kolekciju MOMA-e, ali barem želi pretpostaviti ljubav i strast stvaranja filma konvencijama zanata. Tako su nastali neki sjajni radovi: John Waters započeo je kao redatelj u prikolici snimajući potragu za “najprljavijom živom osobom”, Peter Jackson još je možda i bolji primjer s kanonskim naslovima “lošeg ukusa” Brain Dead i Meet The Feebles. No što je s Hrvatskom, zemljom nevelike godišnje produkcije u kojoj je lijepa lektirna književnost često značila sljubljenost sa scenarijima ili gdje se naukovala teorija autora, a filmovi za masovni ukus prezirali kao umjetnički manje vrijedni? Na sreću, i to se pomalo mijenja. U povijesti žanrovskog SF-a u bivšoj Jugoslaviji smo imali jedan film koji su svi “popljuvali” (Gosti iz galaksije), naj-

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bolji horor bio je televizijska drama koju i danas možete gledati samo na YouTubeu (Leptirica), dok je prvi pornić uništen voljom prijekoga suda (Oaza). Sredinom devedesetih dobili smo homoseksualno-religioznu dramu (Kalvarija) za koju je redatelj prodao vlastitu kuću da bi se potom razočaran povukao iz svijeta (hrvatskog) filma. Drugi pak redatelj svoje je likove nazvao imenima stvarnih filmskih kritičara i književnika i strpao ih u krevet da se “pomaze” (Sjećanje na Georgiju). Zapravo, u Hrvatskoj i imamo psihotroniku, ali ona se nekad žustro ignorira i kroničarski zaobilazi. Ideja je ovog novog programa Dana hrvatskog filma na veliki plan i u novome, pa makar i postmodernom čitanju, pokazati naslove koji jesu dio domaće filmske povijesti i koje nemamo priliku tako često vidjeti. Oni su svojeglavi, osobiti i izvan pravila, ne mare za ocjenu kritike, a pritom i prekoračuju poneki kulturološki kamen. Oni su ponekad i ono što bi u filmu bilo simboličko grešno zadovoljstvo, odušak koji si valja dati i koji je gotovo uvijek zaslužen. Psihotronika je u svom prvom općem značenju bila svojedobni eksperiment s mijenjanjem svijesti. Očekivano ili ne, upravo ovi filmovi, zabranjivani i neshvaćeni u svoje vrijeme, pokazuju koliko se kolektivna svijest promijenila. I koliko je, primjerice, jedan sudski procesuirani “pornograf” nevin u odnosu na recimo suvremeni francuski filmski ekstremizam. S treće pak strane i kult i psihotronika imaju svoje zvijezde koje su predmet štovanja i obožavanja. Dok je spomenuti Waters imao legendarnog Divinea, Jakov Sedlar ima legendarnog Borisa Miholjevića; erotske epopeje Zvonimira Maycuga i Dragice Raščan k tome su i svjedočanstvo progresivnosti neprofesijske struje, iako se pokojna Ružica Sokić s time možda i ne bi potpuno složila. I konačno, filmovi koji uz sebe generiraju toliko tema za razgovor dobri su filmovi, da parafraziramo šefa jednog velikog domaćeg festivala: valja ih ne brisati iz povijesti hrvatskog filma, valja ih gledati na većoj rezoluciji od internetskog flash videa. Zaslužili su svoj like. Željko Luketić

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Psychotronic Film Although it sounds like a title of some serious theoretical text written at some film institute, the author of the term “psychotronic cinema”, Michael J. Weldon, started out as an obsessed fan and collector of unusual films. He lived in disarray, in an apartment cluttered with books and magazines, typical of hoarders. He devoured Saturday film marathons and published a fanzine called Psychotronic Magazine. Legend has it that he didn’t even pay the rent. All the while, among the pile of literature on his tidy desk, the latest issue of the photocopied magazine was in preparation. It was basically a TV guide containing weekly recommendations for its few readers. The cover of the first issue of Psychotronic Magazine featured a photograph from the film The Amazing Colossal Man, which may be the beginning of Weldon’s development of the eponymous term. At first, it was genre horrors and low-budget science fiction, but psychotronics soon became an adjective, spreading its connotational scope. When The Psychotronic Encyclopedia of Film (1983) came out, followed by the much more extensive The Psychotronic Video Guide (1996), it became clear that the term encompassed marginal, cult films – films made on a shoe-string budget, only modestly successful in the mainstream. As a publicist recruited from the ranks of film fans and connoisseurs, Weldon instinctively realised that the status of a cult film doesn’t depend on the quality of the film, but entirely on the audience and their purely emotional attachment. They are the deciding factor that determines whether a big studio’s financial fiasco will later grow to become beloved among collectors of obscure VHS (and later DVD) titles, or defended against the “evil critics” who seldom understand the genius of a director like, for instance, Doris Wishman; such critics become utterly perplexed by the categories like drive-in classics, midnight premiers, camp and trash denominators relativizing the concept of “good taste”, self-conscious kitsch, dramatically inspiring erotica and pornography, or genre hybrids worthy of Herschell Gordon Lewis’s copywriting workshop. Fortunately, due to postmodern blending of styles, the diversity and beauty of marginal, cult films has gained a number of professional advocates. The literature on the subject is ever-growing; various science conferences are being held and some important doctorates are being written on the subject of the marginal, different and unconstrained. Historic avant-garde movements have, in their own way, rejected the norms and rules imposed in art. The advocates of cult film do not aspire to create artworks to be exhibited at MoMA. What they wish is to put the love and passion

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for filmmaking before the conventions of the craft. This approach is responsible for some brilliant works in various parts of the world. John Waters started out as a director in a trailer, filming a search for “the filthiest person alive”; emblematic of the “bad taste” canon, Peter Jackson’s Brain Dead and Meet the Feebles make for an even better example. There are, indeed, countless examples; just visit the Amazon website and type in “cult cinema”. But what about Croatia? A small country with a limited annual production, where screenplays were often a by-product of worshiping the literary classics; the theory of the author was valued above all else, while films for masses were despised as artistically less worthy. Fortunately, that view is gradually changing. In the history of Yugoslav science-fiction, there was one film, slammed by everyone (Visitors from the Arkana Galaxy); the best horror film was a television drama, still only available on YouTube (The She-Butterfly); the first porno was confiscated and destroyed (Oasis). Sexuality, as it was purported, polluted the public morality. Then, in the mid-1990s, we got a homosexually and religiously themed drama (Calvary). It was funded by the director himself, who sold his own house only to be left disappointed, finally leaving the world of (Croatian) film. Another director named his characters after the real film critics and writers, stuffing them into bed and making them fondle (Remembrance of Georgia). Psychotronics is present in Croatia, but it is sometimes vigorously ignored and bypassed in chronicles. The aim of the new CFD program is to screen the titles that are part of our national film history, but we seldom have the opportunity to see them, especially on the big screen. They are wilful, unique and stand outside the rules. They don’t care for the critics’ opinions; they even step over some cultural cornerstones along the way. Sometimes, they represent the so-called guilty pleasures, a much-needed and well-deserved outlet. Initially, psychotronics was an experiment in altered consciousness. It is precisely these films that were banned and misunderstood in their own time that show us how much the collective consciousness has changed; how much a “pornographer” processed by the legal system becomes almost innocent when compared to contemporary French film extremism. On the other side, both cult and psychotronics have their stars, objects of worship and adoration. While the above-mentioned Waters had the legendary Divine, Jakov Sedlar has the legendary Boris Miholjević; erotic epics by Zvonimir Maycug and Dragica Raščan are a testimony to the progressive streak running through the unprofessional scene; although, the late Ružica Sokić would probably somewhat disagree. Finally, films that generate so many topics for discussion are good films. To paraphrase the director of a great Croatian festival: they are not to be erased from the Croatian film history, they are to be seen in bigger resolution than that of an internet flash video. They deserve a “like”. Željko Luketić

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Retrospektiva filmova Jakova Sedlara: Pomicanje rubova “Jakov Sedlar uvijek je bio sklon eksperimentiranju i nerijetko provokativnim filmskim pothvatima”, piše u svom tekstu posvećenom Agoniji kritičar Damir Radić (Hrvatski filmski ljetopis, br. 16). Milan Jajčinović u Večernjem listu u tekstu “Homoseksualci protiv hadezeovaca” (11. lipnja 2001.) kaže: “imena stvarnih ljudi (…) daju Sjećanju na Georgiju miris nečeg intrigantnog (…) vjerojatno će ta znatiželja u kino dovesti i one koji tamo nisu namjeravali”. U ljeto 1996. sjedio sam s tada mladom novinarkom Jelenom Jindrom u prvom redu improviziranih sjedala pulske Arene i prebirao nogama po depresivnim kamenčićima nekoć spektakularne priredbe. Festival je bio prilika jedva žive kinematografije s oko šest dugometražnih naslova godišnje koji su se trudili simulirati obilje. Ipak, na jednome filmu zaista smo se neočekivano svi zabavili. Tada sam, nakon Fergismajnihta, rekao Jindri: “Za desetak i više godina ljudi će jako željeti gledati ovaj film!” I zaista je bilo tako. Nekoliko godina kasnije poznati zagrebački diler VHS-ova, koji je klasicima francuskog novog vala i ranim hororima Petera Jacksona snabdijevao i studente ADU-a, dojavio mi je ushićen da konačno u ponudi ima i Fergismajniht. Bilo ga je valjda teže nabaviti nego Buñuelovu meksičku fazu. Kopija je bila nevješto presnimljena s televizije, patila je od analognih smetnji, no nitko se nije bunio. Krajem devedesetih na poziv kritičara Darka Zubčevića u tjednim filmskim emisijama počeo sam raditi prikaze kultnih filmova. Šezdesetak obrađenih filmova u nekoliko televizijskih sezona, od Dubokog grla do Invazije tjelokradica i Teksaškog masakra motornom pilom, imali su publiku sve do trenutka dok nije emitiran prilog o njemačkom redatelju Jörgu Buttgereitu. Prisavlju je to bilo previše, koncept se pod naslovom Borderline Cinema preselio u zagrebački klub Mama, gdje je svakog tjedna bio dupkom pun znatiželjnih i nekonvencionalnih posjetitelja. Da Tomislav Kurelec nije odlučio potiho cenzurirati Fatamorganu i Zvjezdanu prašinu, zasigurno bi narednu sezonu uključivao i izbor domaćih kultnih filmova. Jakov Sedlar tu bi bio među prvima. Politički i svjetonazorski kontroverzan autor, kako kaže i Damir Radić, bio je liberalniji od nekih koji su se upravo takvima i smatrali. Početkom osamdesetih prvi je na kazališnu scenu digao teatarski gej klasik Bent; religijska tematika zanimala ga je i u socijalizmu, dok još nije bila ovako popularna; njegova Georgija bila je namjerno prenaglašeni film s ključem, dok se u Krležinoj Agoniji nije libio ni lezbijskih scena. U konceptu psihotroničkog filma, koji pozdravlja rubne, hrabre i kultne naslove, naslove koje emotivnim angažmanom određuje publika (a ne kritika), Sedlar je iznimno zanimljiv redatelj koji spaja oprečno i naoko nespojivo – lijevo i desno, konzervativno i liberalno, nacionalno i internacionalno, camp i klasiku. Uz to, on je i među pionirima nezavisnog stvaralaštva: filmografija mu broji sedamdesetak naslova, od kojih je produkciju tek jednoga u potpunosti podržala država. Olaf Möller, utjecajni selektor festivala u Oberhausenu, bio je oduševljen kada sam mu spomenuo što prikazujemo u ovoj selekciji. On razumije, no u Hrvatskoj se mršte. Baš zato, ciklus psihotroničkog (hrvatskog) filma tu je da pomakne još jedan rub. Željko Luketić

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Jakov Sedlar Retrospective: Expanding Boundaries “Jakov Sedlar has always been prone to experimentation and provocation in film”, as the critic, Damir Radić, writes in his piece about Agony (Croatian Film Chronicles, no. 16). In the summer of 1996, I was sitting in the improvised front row seats in the Pula Amphitheatre, next to a young journalist, Jelena Jindra. While we were watching Grandpa and Grandma Are Getting Divorced, I was depressingly rummaging with my feet through the gravel on the ground of the once spectacular event; we didn’t feel like laughing. The Festival reflected the barely living film industry that produced around six new full-length films per year, feigning abundance. However, one film turned out to be surprisingly funny – Fergismajniht. After the film ended, I turned to Jindra and said: “In ten years or more, people will be eager to see this film!” And that’s exactly what happened. Several years later, a renowned Zagreb VHS dealer excitedly gave me the news that, soon, his offer will include Fergismajniht as well. That film was harder to come by than the films from Buñuel’s Mexican phase. The copy was a bad TV recording and it was riddled with analogue interferences, but nobody complained. At the end of the 1990s, I was invited by the critic, Darko Zubčević, to come and work for weekly film shows which would air cult films. Several seasons and around sixty films later – from Deep Throat and Invasion of the Body Snatchers to The Texas Chain Saw Massacre – the audience was still there, until the piece about the German director Jörgen Buttgereit. The Croatian Radiotelevision decided we went too far, moving the concept to a Zagreb club, Mama, under the title Borderline Cinema. Every week, the club was packed with curious and unconventional visitors. If Tomislav Kurelec hadn’t censored the shows Fatamorgana and Zvjezdana prašina, the following season would certainly include a selection of Croatian cult films. Jakov Sedlar would be at the front of the list. Described by Damir Radić as politically and ideologically controversial, he was more liberal than some people who identified themselves as such. In the early 1980s, he was the first to stage the gay theatre classic, Bent; he was interested in the subject even during socialism, while it hadn’t yet gained the popularity it enjoys today; his Georgia was intentionally over-the-top – it was a film with a key – while in Krleža’s Agony, he didn’t shy away from lesbian scenes. Regarded in the framework of the psychotronic film, which welcomes marginal, bold, and cult titles, titles that are defined by the emotional engagement of the audience (not the critics), Sedlar is an extremely interesting director who brings together the opposing and seemingly incompatible – the left and right, conservative and liberal, national and international, camp and classical. He is also one of the pioneers of independent filmmaking; his filmography includes around seventy titles, only one of which was financially supported by the state. Olar Möller, an influential Oberhausen Festival selector, was thrilled when I mentioned the films we are screening in this program. Why does he understand, while people in Croatia frown at the mere mention of his name? Who knows? Precisely that is the purpose of the psychotronic (Croatian) film selection – to further expand the established boundaries. Željko Luketić 150


Jakov Sedlar (1952) diplomirao je filozofiju i književnost na Filozofskom fakultetu u Zagrebu te kazališnu i filmsku režiju na Akademiji dramskih umjetnosti u Zagrebu. Od 1992. do 1996. godine bio je ravnatelj Drame HNK, a od 1996. prvi hrvatski ataše u SAD-u. Režirao je u kazalištu, primjerice Bent (1983), prvu predstavu s gej tematikom u Hrvatskoj, zatim klasičnije komade, Zlatarovo zlato, Macbeth, Ognjište itd. Režirao je dokumentarne filmove o naivnim slikarima i sakralnoj umjetnosti, a onda se okušao i na igranom filmu. Debitirao je melodramom s tematikom umiranja U sredini mojih dana (1988). Producirao je i režirao ukupno više od sedamdeset filmova. Od igranih izdvaja se Gospa (1995) snimljen u hrvatsko-američkoj produkciji u kojem su glavne uloge tumačili Michael York i Martin Sheen, s kojim je često surađivao. Redateljski potpisuje brojne biografske dokumentarce: o Borisu Papandopulu, Anti Đapiću, Anti Paveliću, Josipu Brozu Titu, Franji Tuđmanu, Anti Gotovini, Alojziju Stepincu, Ruđeru Boškoviću, Juliji Timošenko, Ruži Pospiš Baldani itd. Osvojio je nagradu publike na Pulskom filmskom festivalu 1995. za film Gospa. Danas ponekad režira i sa sinom Dominikom, primjerice Jeruzalemski sindrom (2004), koji je prikazan na festivalu u Veneciji. Jakov Sedlar (1952) graduated in Philosophy and Literature from the Faculty of Humanities and Social Sciences, as well as in Theatre and Film Directing from the Academy of Dramatic Art, Zagreb. He was Director of Drama at the Croatian National Theatre in Zagreb (1992 – 1996). He was the first Croatian attaché in the USA. He directed the first Croatian gay themed play (Bent, 1983), but also other, more classical pieces: Goldsmith’s Treasure, Macbeth, The Fireplace, etc. He directed documentary films about naïve painters and religious art. His debut fiction film was a melodrama about dying, In the Middle of My Days (1988). He has produced and directed over 70 films. One of his more notable films is Gospa (1995), a Croatian-American co-production, starring Michael York and Martin Sheen, his frequent collaborator. He has also directed numerous biographical documentaries: about Boris Papandopulo, Ante Đapić, Ante Pavelić, Josip Broz Tito, Franjo Tuđman, Ante Gotovina, Alojzije Stepinac, Ruđer Bošković, Julija Timošenko, Ruža Pospiš Baldani, etc. In 1995, he won the Audience Award at the Pula Film Festival for Gospa. He occasionally shares the director’s chair with his son Dominik. Together, they directed Syndrome Jerusalem (2004), screened at the Venice Film Festival.

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Agonija Agony DIR. Jakov Sedlar 1988 92’ SC. Georgij Paro, Jakov Sedlar (“U agoniji” Miroslav Krleža) EDIT. Zdravko Borko, Ivica Drnić DOP Karmelo Kursar ART DIR. Željko Senečić KOST. Ruta Knežević MU. Arsen Dedić UL. Ena Begović, Božidar Alić, Sven Medvešek, Nives Ivanković, Zoja Odak, Tarik Filipović, Špiro Guberina PROD. Patria film KOPROD. HRT DIST. Jakov Sedlar

KINO TUŠKANAC 22. 4. 2016. 23:00

Osiromašena barunica Laura Lenbach radi kao modistica, a njezin suprug, bivši austrougarski časnik barun Lenbach, osuđivan kao mađarski špijun, neuspješno trguje konjima i odaje se pijančevanju i kockanju. Kako bi podmirio kartaške dugove, iznuđuje novac od Laure i njezina ljubavnika odvjetnika Križovca. On pak ima strastvenu erotsku vezu s navodnom ruskom groficom Georgijevnom, koja istovremeno ljubuje s drugom navodnom ruskom plemkinjom. Taj erotski četverokut uskoro dolazi do usijanja. Ova adaptacija klasične Krležine drame glembajevskog ciklusa obiluje eksplicitnim erotizmom. The impoverished Baroness Laura Lenbach works as a milliner, while her husband, Baron Lenbach – an alcoholic former Austro-Hungarian officer convicted as a Hungarian spy – works as a failed horse trader. In order to settle his gambling debts, he extorts money from Laura and her lover. Meanwhile, he is having a passionate affair with an alleged Russian countess, Georgijevna, who is also seeing another alleged Russian noblewoman. The erotic stew soon reaches its boiling point. This adaptation of a classic drama by the great Croatian writer Miroslav Krleža is rich in explicit eroticism. 152


Fergismajniht / Ne zaboravi me Don’t Forget Me DIR. Jakov Sedlar 1996 87’ SC. Nino Škrabe (prema vlastitu kazališnom komadu “Plavi Božić” / based on his own play “Blue Christmas”) EDIT. Zdravko Borko DOP Karmelo Kursar ART DIR. Željko Senečić KOST. Nina Silobrčić MU. Arsen Dedić SOUND Mladen Pervan UL. Boris Miholjević, Boris Pavlenić, Almira Osmanović, Tonko Lonza, Boris Buzančić, Mario Dukarić, Marko Blažević, Anica Tomić, Ena Begović, Ðuro Utješanović, Branka Cvitković, Jadranka Matković, Mia Oremović, Enver Idrizi, Zvonimir Zoričić PRODU. Ivica Mudrinić PROD. HRT KOPROD. Croatia film DIST. Jakov Sedlar

KINO TUŠKANAC 22. 4. 2016. 19:00

Na badnju večer, nakon mnogo godina, susreću se dvojica starih gimnazijskih prijatelja, sada sredovječnih ljudi. U razgovoru se prisjećaju sretnih gimnazijskih dana, druženja s razrednim prijateljima, profesora, nogometnih utakmica, glazbe koju su slušali, filmova koje su gledali i jedne djevojke koju su obojica voljeli. Film nostalgično oslikava Zagreb pedesetih godina prošlog stoljeća, dojmljivo kreirajući ugođaj i mentalitet prošlih vremena. Na Pulskom filmskom festivalu nagrađen je Zlatnim arenama za scenarij i ton. Two old school friends, now middle-aged men, meet after many years on Christmas Eve. They reminisce about the happy school days, their classmates, teachers, football games, music they used to listen to, films they watched, and a girl they both loved. The film paints a nostalgic and touching portrait of Zagreb in the 1950s, poignantly evoking the atmosphere and spirit of the time long passed. The film won the Golden Arena awards for Screenplay and Sound at the Pula Film Festival.

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Sjećanje na Georgiju Remembrance of Georgia DIR. Jakov Sedlar 2002 90’ SC. Nino Škrabe EDIT. Valent Petreković DOP Karmelo Kursar ART DIR. Dinka Jeričević KOST. Ika Škomrlj UL. Boris Miholjević (Telebuh), Almira Osmanović (Sanja Šeparović), Mia Oremović, Božidar Alić (dr. Polimac), Vida Jerman, Alen Liverić (Ivan Starčević), Robert Plemić (Jurica Pavičić), Ðuro Utješanović (Mile Jergović Munivrana) PROD. Studio Guberović KOPROD. Orlando film, Capistrano film DIST. Jakov Sedlar

KINO TUŠKANAC 22. 4. 2016. 21:00

Na Staru godinu prvak kazališta Tragedija Dado Telebuh u teškoj je psihičkoj krizi. Napustio ga je ljubavnik Ivan Starčević, pa telefonira čitavu noć pokušavajući naći utjehu. Sa SOS-telefona upute mu kao psihološku podršku časnu sestru Sanju Šeparović. Radnja se odvija u stanu glavnog junaka, a prostor se širi dokumentarnim snimkama iz predstava Borisa Miholjevića i Almire Osmanović. Uz brojne kontroverze, najviše je komentara izazvala činjenica da su sporedni likovi nazvani imenima stvarnih filmskih kritičara i književnika s hrvatske kulturne scene. On New Year’s Eve, the champion of the Tragedy Theatre, Dado Telebuh, sinks into severe psychological crisis. Abandoned by his lover Ivan Starčević, Dado spends the night on the telephone, looking for comfort. The help line provides him with support from a nun, Sanja Šeparović. Taking place in the protagonist’s apartment, the film includes documentary footage of stage performances by Boris Miholjević and Almira Osmanović. It aroused many controversies, mainly by naming some of the characters after real-life Croatian film critics and writers.

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Retrospektiva filmova Zvonimira Maycuga: Od pornića do ljubića Zvonimir Majcug rođen je 1959. godine u Zvoniku kraj Vrbovca. Za svoju umjetničku djelatnost odabrao je svoje prezime pisati kao Maycug. Godine 1982. debitira erotskim filmom Ja sam tvoj Bog u kojemu nastupa tada vrlo popularna glumica Ružica Sokić. U žarište skandala dolazi 1984. godine, kada snima prvi jugoslavenski hardcore pornić Oaza. Djelatnik laboratorija koji je razvijao film prijavljuje ga policiji, Maycug završava na sudu i osuđen je na tri mjeseca zatvora uvjetno. Film je pravomoćnom sudskom odlukom uništen. Maycug na temelju identičnog scenarija 1988. godine s drugim glumcima ponovno snima Oazu. Njegov treći i zasad posljednji film jest religiozno-homoseksualna drama Kalvarija iz 1996. godine zbog koje prodaje vlastitu kuću kako bi je financirao. Među prvim je nezavisnim producentima u Hrvatskoj, redatelj je, scenarist i glumac. Bavi se slikanjem, od čega je u pauzama filmova i živio. Pokrenuo je časopis YU Express, koji je zbog političkih razloga zabranjen. Objavio je dvije knjige: Kako je snimljena i zabranjena Oaza (1986) i roman Noć kad su umirale ruže (1990). Krajem devedesetih pokušava snimiti i četvrti film, održava audicije i čitaće probe, no na koncu odustaje od produkcije. Kao promotor slobodne seksualnosti pokreće u zagrebačkom kinu Dubrava i erotske večeri s perfomansom i živim izvedbama, nastavlja ih u Kinu SC, no i one bivaju ubrzo zabranjene. O njegovu životu i radu snimljen je 1999. dokumentarni film Od pornića do ljubića. Ovo je prva cjelovita retrospektiva Maycugova rada s do danas neprikazanom verzijom autorova prvijenca. Željko Luketić

“Baš kad smo radili drugu Oazu, namjerno smo izbacivali neke slobodnije scene kako se slična zabrana ne bi dogodila. Međutim, u rujnu iste godine, kad se Oaza pojavila na VHS tržištu, shvatili smo da njemački i američki pornići haraju kinima Jugoslavije i da naš film prema njima nema sve potrebne elemente pornografije. Smatram to još jednim našim kiksom. Ni druga Oaza iz 1988. po meni nije prava pornografija. To je više parodija na pornografiju, nego pravi pornić. Počevši od izgleda muških glumaca, izgleda ženskih glumica, pa na dalje. Drugu Oazu smo namjerno radili da bude više komična.” “Za svoje filmove želim da izazivaju pažnju, zato sam koristio pornografiju. Tako sam i za Kalvariju htio nešto bombastično, nešto što nije uobičajeno. Na sreću, nije bilo negativnih reakcija, nije bilo vrijeđanja na projekcijama, niti su glumci imali problem s takvim ulogama. Dubravko Sidor i Mato Pavelić unaprijed su pročitali scenarij i sa svime se složili. Mislim da je posebno Sidor to odlično odglumio.” “Već dugo nisam u filmu, a dok sam bio, htio sam svojim filmovima ne samo pokriti utrošeno, nego i zaraditi. Danas se to više ne može, film je postao luksuz. Ne može se čak zaraditi i na DVD-ovima, jer srednjeg sloja društva koji je to prije kupovao, danas više nema. Najveći razlog zašto sam odustao od filma bio je taj što me Kalvarija financijski potopila.” (Izbor iz intervjua za časopis Filmonaut, br. 4, 2011.)

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Zvonimir Maycug Retrospective: From Porno to Romance Zvonimir Majcug was born in 1959, in Zvonik, near Vrbovec. However, he changed the spelling of his name to Maycug. In 1982, he debuted with the erotic film I Am Your God, starring the widely popular Ružica Sokić. In 1984, after making the first Yugoslav hard-core porno, Oasis, he found himself in the midst of a scandal. An employee at the laboratory where the film was developed reported him to the police; Maycug was dragged to court, where he was sentenced to three months on probation. The film was destroyed on court orders. In 1988, Maycug decided to make the film again, using the same script and different actors. His third, and, so far, last film, is a homosexually and religiously themed drama, Calvary. It was made in 1996, and Maycug sold his own house in order to finance it. He is one of the first independent Croatian producers, as well as a director, screenwriter and actor. He is also a painter, a profession which was his main source of income when he was in between films. He started the YU Express magazine, which was banned for political reasons. He also published two books: How Oasis Was Made and Then Banned (Kako je snimljena i zabranjena Oaza, 1986), and the novel The Night the Roses Died (Noć kad su umirale ruže, 1990). In the late 1990s, he attempted to make his fourth film. He held auditions and reading rehearsals, but finally gave up. As an advocate of free sexuality, he organised erotic nights with live performances at Dubrava Cinema. He later moved them to the SC Cinema, but they too were soon banned. In 1999, a documentary was made about his life and work, From Porno to Romance (Od pornića do ljubića). This is the first complete retrospective of Maycug’s work, featuring the yet unseen version of his debut film. Željko Luketić “While we were filming the second Oasis, we deliberately cut some of the more licentious scenes, so as to avoid the possibility of a similar ban. However, in September of the same year, when Oasis was released on VHS, we realised that Yugoslav theaters were flooded with German and American pornos, and that our film didn’t satisfy all the necessary pornographic criteria when compared to them. I consider it another one of our missteps. The second Oasis (1988) is not a real porno; rather, it is a parody of pornography, starting with the looks of actors and actresses. The second Oasis was intentionally more comical”. “I wanted my films to draw people’s attention, so I used pornography. That is what I aimed to achieve with Calvary – make something bombastic, something unusual. Fortunately, there were no negative reactions; there were no abusive calls at the screening. Even the actors had no problem with their roles. Dubravko Sidor and Mato Pavelić had read the script in advance, agreeing to everything. I think Sidor pulled off an exceptionally great performance”. “I haven’t been active in film for a long time. During the time that I was, my intention was not only to break even, but to make a profit. Today, you can’t do that anymore, the film has become a luxury. You can’t even make a profit on DVDs. The middle class, which used to be the primary consumer, no longer exists. The main reason I left film was that Calvary ruined me financially”. (Filmonaut, no. 4, 2011. A selection from the interview.)

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Ja sam tvoj Bog I Am Your God DIR. Zvonimir Maycug 1983 88’ 35 mm SC. Zvonimir Maycug EDIT. Dragan Huzjak DOP Željko Paprica MU. Slavko Maycug, Klaus Weidmann ART DIR. Mile Kojić UL. Ružica Sokić, Senada Latić, Ismet Velić, Maja Maršić, Zvonimir Maycug, Franjo Vlašić, Husein Karamustafa, Ziba Eđelović, Zahrudin Crnalić PROD. Panonija film DIST. Zvonimir Maycug

KINO TUŠKANAC 23. 4. 2016. 19:00

Putnicu koja pronalazi prenoćište u bosanskoj varoši obuzimaju erotske maštarije. Osobe koje je upoznala tijekom dana ponovno susreće u mašti, a posebice hotelskog recepcionara. Debitantski film Zvonimira Maycuga meki je pornić s primjesama humora ili, kako stoji na filmskom plakatu: “ljubavna drama u svijetu mašte”. Nikada nije ušao u službenu kinodistribuciju, između ostalog i zbog prosvjeda popularne glumice Ružice Sokić koja je, prema njezinim riječima, bila uvučena u projekt koji joj nije bio jasno predočen. Film je bilo moguće vidjeti na internim projekcijama. A female traveller spends the night in a small Bosnian town. Soon, she is overwhelmed with erotic fantasies. In her dreams, she once again encounters the people she has met during the day, particularly the hotel receptionist. Zvonimir Maycug’s debut is a soft porno with traces of humour or, as the film poster says: “a romantic drama in a fantasy world”. It never entered official distribution, due in part to protests from the popular actress Ružica Sokić. According to her, she was lured into the project which had been misrepresented to her. The film was only shown at private screenings.

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Kalvarija Calvary DIR. Zvonimir Maycug 1996 106’ 35 mm SC., DOP, PRODU. Zvonimir Maycug MU. Igor Knižek UL. Mato Pavelić, Dubravko Sidor, Vedrana Likan, Verica Bajčić, Sanda Terzić, Ivan Steković, Miro Miletić, Dragutin Kovačić, Sanja Vujčić, Jan Janković, Gabrijela Budek, Stanko Latin, Roswitha Mir PROD. Mayfilm video Zagreb DIST. Zvonimir Maycug

KINO TUŠKANAC 23. 4. 2016. 21:00

Zarobljen u nesretnom braku, s odraslom kćeri, putujući harmonikaš nalazi ljubav svog života u novinaru kojeg je upoznao u autobusu. Poziva ga kući, u zagorski dvorac u kojem je neka vrsta domara. Novinarova pojava još više razara krhke spone obiteljske svakodnevice njegova starijeg ljubavnika… Film spaja ljubavno-erotsku i religioznu tematiku. Tadašnji izbornik Pulskog filmskog festivala Mato Kukuljica odbio ga je uvrstiti u program, navodno zbog tehničkih nedostataka. Kalvarija je imala jednu javnu kinoprojekciju u zagrebačkom kinu Kustošija, a film je zatim distribuiran na domaćem tržištu videa. Trapped in an unhappy marriage, with a grown daughter, a travelling accordionist finds the love of his life in a male journalist he meets on a bus. He invites him to his home, a castle in the Croatian hills, where he works as a caretaker. The journalist’s presence further strains the frail family ties... The film blends erotic romance and religious themes. The selector for the Pula Film Festival at the time refused to accept the film, citing technical faults. Calvary had one public screening in the Zagreb cinema Kustošija and was distributed in the domestic video market.

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Oaza Oasis DIR. Zvonimir Maycug 1988 87’ 35 mm SC. Zvonimir Maycug UL. Dragica Raščan, Šerif Aljić, Franc Raščan, Milisav Radić, Vojo Manojlović PROD. Mayfilm video Zagreb DIST. Zvonimir Maycug

KINO TUŠKANAC 23. 4. 2016. 23:00

Žena slobodoumnih nazora ljubaka s provincijskim slikarom. Naposljetku ga ubije i nalazi novog ljubavnika u postarijem zagorskom seljaku. Tako glasi sadržaj svojedobno zaplijenjenog i uništenog filma Oaza (1984), prvog hrvatskog i jugoslavenskog hardcore pornića u kojem je glavnu ulogu igrala Snježana Vrcan. Nova verzija Oaze rađena je po istom scenariju, također u nezavisnoj produkciji autora Maycuga, ali u glavnoj je ulozi nastupila Slovenka Dragica Raščan i mostarski profesionalni glumac Šerif Aljić. Film je premijerno prikazan u ljubljanskom kinu Sloga, a distribuiran je na videu. A free-spirited woman has an affair with a provincial painter. She eventually kills him, and later finds another lover, an elderly peasant. This is the summary of Oasis (1984), the first Croatian and Yugoslav hard-core porn film. The film was confiscated and destroyed; however, a new version was made. It followed the same script, and was also produced independently by the director himself. The leading roles were played by the Slovenian Dragica Raščan and the professional Bosnian actor Šerif Aljić. The film premiered in Ljubljana, at the Sloga Cinema, and was distributed on video.

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FESTIVAL SLOVENSKOG FILMA PREDSTAVLJA THE FESTIVAL OF SLOVENIAN FILM PRESENTS KINO TUÅ KANAC 23. 4. 2016. 17:00

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Procvat kratkog metra u Sloveniji Slovenian Short Film Boom Festival slovenskog filma nacionalni je filmski festival koji nudi godišnji pregled slovenske filmske i televizijske produkcije. Festival se održava svake godine u rujnu u Auditoriju Portorož u organizaciji Slovenskog filmskog centra. Osnovan je 1991. godine pod nazivom Slovenski filmski maraton, no začetke ima još u 1973. godini, kada je u Celju održan prvi Tjedan slovenskog filma. Glavna je nagrada festivala Nagrada Vesna, nazvana prema kultnom slovenskom filmu iz 1953. godine. U posljednje tri godine kratkometražni film postigao je značajne uspjehe na festivalu, osvojivši pritom niz nagrada. Najistaknutiji primjer tog procvata studentski je film Proljetni san (Prespana pomlad) redatelja Dominika Menceja iz 2014. godine. Film je na festivalu osvojio nagrade za najbolji kratkometražni film, redatelja, scenarij, scenografiju i glavnu glumicu. Selekcija filmova koji će biti prikazani na Danima hrvatskog filma (98 minuta) donosi eklektičnu mješavinu žanrova i poetika koja odražava kvalitetu suvremenog slovenskog filma. Tako ćete među novim autorima imati priliku vidjeti i već etablirana imena poput Žige Virca, Sonje Prosenc i Jana Cvitkoviča. The Festival of Slovenian Film (FSF) is classified as a national film festival as it offers an annual review of domestic film and television production. It is organised by the Slovenian Film Centre and it is staged annually in September at the Portorož Auditorium (Avditorij Portorož). It was established in 1991 as the Slovene Film Marathon but its roots go back to 1973, when the Slovene Film Week was organised for the first time in Celje. The main festival award is the Vesna Award, named after the 1953 Slovenian cult film. In the last three years, the short film form has achieved significant success at FSF, garnering numerous awards. 2014 marks its greatest achievement, when a student short film The Springtime Sleep (Prespana pomlad, 2014) by Dominik Mencej won the awards for Best Short Film, Best Director, Best Script, Best Production Design and Best Actress. The selection presented at the Croatian Film Days (98 minutes) brings an eclectic mix of genres and poetics, which reflect the quality of contemporary Slovenian cinema and its emerging authors. The selection includes new, as well as already established directors like Žiga Virc, Sonja Prosenc, or Jan Cvitkovič. Igor Prassel

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Kompozicija Composition Zvuk i slika najvažniji su mediji komunikacije među ljudima. Na 35-milimetarsku filmsku vrpcu rukom je urezano gotovo 35 000 linija iz kojih su nastali slika i zvuk. DIR., SC., DOP, MU., PRODU. Mitja Manček EDIT. Borko Radešček

Sound and image are the most important mediums of communication among human beings. Nearly 35 000 lines have been scratched into a 35mm film stock free-hand, thus creating both image and sound.

2015 3’34’’ eksperimentalni / experimental

Optimisti Optimists U potrazi za značenjem riječi “pobuna” obratili smo se običnim ljudima. We looked for ordinary people and asked them about the meaning of the word “rebellion”.

DIR., SC. Žiga Virc PRODU. Matjaž Berger PROD. Anton Podbevšek Teater 2015 17’40’’ dokumentarni / documentary

Mali princ Little Prince Dvanaestogodišnji Luka pati od mišićne distrofije. Jednog dana nacrta balon koji ga odnese u fantastični svijet gdje filmska čarolija sve čini mogućim. DIR., SC. Matej Peljhan EDIT. Urška Vavpetič ANIM. Špela Čadež, Matej Lavrenčič, Leon Vidmar DOP Brand Ferro, Jure Černec MU. Luka Tavčar Luks PRODU. Miha Černec PROD. Staragara KOPROD. RTV Slovenija

Luka is a 12-year-old boy with muscular dystrophy. He draws a balloon, which takes him to an imaginary world. There, the magic of cinema makes anything possible.

2014 15’30’’ dokumentarni, animirani / documentary, animation

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Poti Putevi / Trails Ljubavna priča danak je koji ljubavnik plaća svijetu kako bi se s njim pomirio. (Roland Barthes) The love story is the tribute the lover must pay to the world in order to be reconciled with it. (Roland Barthes)

DIR., SC., PRODU. Peter Cerovšek DOP, EDIT. Peter Cerovšek, Matevž Jerman MU. Sašo Benko 2015 6’6’’ eksperimentalni / experimental

Ljubezen na strehi sveta Ljubav na krovu svijeta / Love on the Roof of the World Viktor i Ana čitav su život proveli zajedno. Vrijeme gubi svoje obrise, a stara zamjeranja izbijaju na površinu u djeliću sekunde. DIR., SC. Jan Cvitkovič EDIT. Andrej Nagode DOP Jure Černec MU. Niko Novak PRODU. Miha Černec PROD. Staragara KOPROD. RTV Slovenija

Viktor and Ana have spent their whole lives together. Time is a blur, and old resentments can surface in a split second.

2015 15’58’’ igrani / fiction

Zunaj Vani / Outside Mladi par šeće prirodom. Ona se kreće bez zacrtanog smjera, a on je oklijevajući slijedi. Nakon kišne noći provedene pod utočištem stijena, pridruži im se netko iz njezine prošlosti. DIR., SC., EDIT. Juš Premrov DOP Darko Herič ANIM. Žan Flaker Berce PRODU. Andraž Jerič, Jerca Jerič PROD. Filmsko društvo Temporama

A young couple is taking a walk in the wilderness. She is going with the flow, and he follows, hesitantly. After a rainy night spent in the shelter of the rocks, they are joined by someone from her past.

2015 12’4’’ igrani / fiction

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Pola-Pola Half-Half Ljetni radni dan. Makedonski, bosanski i albanski radnici grade nove željezničke tračnice u Sloveniji. A summer workday. Macedonian, Bosnian and Albanian workers are building a new railway track in Slovenia.

DIR., SC., EDIT. Eva Matarranz, Florence Guenaut DOP Eva Matarranz PRODU. Tom Gomizelj PROD. Luksuz produkcija 2014 8’44’’ dokumentarni / documentary

Oddaljen spomin Daleko sjećanje / Distant Memory Film počinje slučajnim događajem koji priziva sjećanje na vrijeme prije raspada Jugoslavije i postavlja pitanja o posljedicama rata i zaborava. Film starts with a random event which brings back the memory of the time before the breakup of Yugoslavia, and poses questions about the implications of war and people’s forgetfulness.

DIR., SC, EDIT., MU. Valerie Wolf Gang PRODU. Boštjan Potokar PROD. Visoka šola za umetnost UNG 2014 2’43’’ eksperimentalni / experimental

Impromptu Film nas u maniri suvremene kratke priče uvodi u život ljubavnog para u trenutku kada se nespremni suočavaju s prošlošću. In the manner of modern short story, Impromptu enters the life of a couple just as they are caught off guard by the past.

DIR. Sonja Prosenc SC. Rok Sečen, Sonja Prosenc EDIT. Miloš Kalusek DOP Mitja Ličen PRODU. Rok Sečen PROD. Monoo KOPROD. RTV Slovenija, Nuframe 2015 15’ igrani / fiction

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DIST. Slovenski filmski center


RETROSPEKTIVA FILMOVA DALIBORA BARIĆA DALIBOR BARIĆ: A RETROSPECTIVE KINO TUŠKANAC 24. 4. 2016. 19:00

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Dalibor Barić: Novi jezik filma Jedan od filmova koji su u travnju 2015. otvorili 24. Dane hrvatskog filma bio je i Nepoznate energije, neidentificirani osjećaji, hibrid animacije, eksperimentale, igranog i žanrovskog filma, found footagea, radiofoničnog zvuka, film neočekivanog, gotovo 40-minutnog trajanja. Za kulisama festivala često se moglo čuti pitanje zašto na otvorenju jedne manifestacije puštati “tako težak film”. Taj odabir naposljetku se pokazao opravdanim: Nepoznate energije, neidentificirani osjećaji dobio je nagradu za scenarij i zvuk, u manje od mjesec dana završio je u konkurenciji Animafesta, a još malo kasnije na Pulskom filmskom festivalu osvojio je Nagradu Vedran Šamanović, priznanje za inovativan pristup i širenje filmskoga izraza. Bariću su Nepoznate energije možda već i troznamenkasti naslov u karijeri. Pohodio je mnoštvo festivala i priskrbio si ekskluzivnu retrospektivu na Festivalu Pop Montréal, o kojoj je hvalospjeve pisao i kultni časopis Fangoria. Senses of Cinema, utjecajni filmski portal uvrštava ga 2014. među najbolje autore, a Ken Russell poželio mu je pokloniti svoju nagradu za životno djelo. Festivali u Dresdenu, Oberhausenu i Parizu, među desetinama drugih, uvrštavali su Barića u svojim selekcijama uz bok Chrisu Markeru i drugim autorima inovativnog filma. U Hrvatskoj prva retrospektiva radova Dalibora Barića održana je u prosincu 2013. godine u Galeriji Greta. Za ovu drugu radove je birao sam autor. Jedini je uvjet bio ne koristiti “hitove”. Autor je stoga uronio još dublje u arhiv i sastavio listu rijetko viđenih filmova, od kojih se jedan prikazuje premijerno. Željko Luketić

“Tehnologija filma danas nije samo bilježenje vremena i prostora, nego zahvaljujući novim medijima i dostupnosti različitih materijala, ona može biti puno više i kompliciranije od toga, može stvarati potpuno novu percepciju stvarnosti. Čim je nešto snimljeno, to je već prošlost, poput stare magnetofonske vrpce, crne kutije i sličnih zastarjelih medija. Jezik filma je napredovao od običnih znakova koji postaju simboli. Slaganjem tih fragmenata između njih postoji ta veza koja se spaja u nešto više od onoga što se nalazi na ekranu. Upravo zbog toga volim kolaže, jer su neka vrsta rebusa. Nekad u montaži sugeriram značenja, ali nekad i mene iznenadi što je ispalo u tom procesu koji nije niti kontroliran, ali niti potpuno nasumičan. To je taj susret dvije stvari koje nemaju ništa zajedničko, koje će samim svojim susretom stvoriti sintezu nečeg trećeg. Te su tehnike koristili još dadaisti i nadrealisti. Kad krenem spajati tu hrpu materijala, tada ne znam što će ispasti, kao lijeva i desna hemisfera mozga koje rade neovisno jedna o drugoj, ali se u jednom trenutku ta slika spoji. U nekom smislu imam nit vodilju, ali prepuštam i kad stvari odu svojim tokom. Ne volim kada je na početku sve definirano.” (Dalibor Barić, “Svaki čovjek je astronaut nepoznatog”, Oris, br. 94, 2015.)

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Dalibor Barić: A New Language of Film One of the opening films at the 24th Croatian Film Days was Unknown Energies, Unidentified Emotions, a hybrid of animation, experimental, fiction and genre film, containing found footage and radiophonic sound – a film of the unexpected, almost 40-minute duration. Between the screenings, an often-posed question was: why such a difficult film was being screened at the opening, why didn’t the Days embrace the idea of a light opening night? It proved to be the right choice: Unknown Energies, Unidentified Emotions won Best Screenplay and Sound, and less than a month later, it was screened in the Grand Competition at the Animafest Zagreb. Some time later, at the Pula Film Festival, it won the Vedran Šamanović Award for the most innovative film artist and expanding the boundaries of film expression. With Unknown Energies, the number of Barić’s films has probably reached three figures. He has attended numerous festivals and can boast an exclusive retrospective at the Pop Montréal Festival, praised by the Fangoria cult magazine. He was listed among the top authors in 2014 by the influential film website, Senses of Cinema, while Ken Russell wanted to give him his own Lifetime Achievement Award. Festivals in Dresden, Oberhausen, and Paris, among dozens of others, included Barić in their selections alongside Chris Marker and other authors of innovative film. In Croatia, the first retrospective of Dalibor Barić’s work was held in December 2013, in the Greta Gallery. The selection for this retrospective has been done by Barić himself. The only condition has been not to use “hits”. Hence, the author plunged deep into his archive, making a list of rarely shown films, one of which will screen here for the first time. Željko Luketić

“Today, the technology of film is not only used to record time and space. Thanks to new media and the availability of different materials, it can be much more than that, as well as much more complicated; it can create a new perception of reality. As soon as something is recorded, it has already become part of the past, like an old magnetic tape, black box, or similar media that are now obsolete. The language of film has advanced from simple signs, which have now become symbols. As these fragments are assembled, a bond is created between them that amounts to something beyond that which is seen on the screen. This is the reason I like cut-outs, they are like a rebus. Sometimes, in the editing room, I suggest possible meanings, but I too am often amazed by the results of this process that is neither controlled, nor completely random. This encounter between two things that have nothing in common creates a synthesis of a new thing. These techniques are nothing new; they were used by Dadaists and Surrealists. When I start assembling this pile of materials, I don’t know what the end result will be. Just like the left and right hemispheres of the brain, which work independently, but the image always comes together in the end. In a sense, it could be said that I follow some guidelines, but I let things take their own course. I don’t like it when everything is determined from the outset”. (Barić, Dalibor. 2014. “Every Man is an Astronaut of the Unknown”. Oris, no. 94.)

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Dalibor Barić (1974) redatelj je eksperimentalnih filmova čiji radovi često istražuju tradicionalne žanrove poput znanstvene fantastike i horora. Korištenjem found footagea kao izvornog materijala, koristi tehniku kolažiranja za stvaranje sofisticiranih psihodeličnih priča koje često zamućuju granicu između vanjskih i unutarnjih stvarnosti. Barićev rad bavi se i pitanjima koja okružuju umjetničku praksu u digitalnom dobu, uključujući pitanja o vjerodostojnosti, simulaciji/replikaciji i prisvajanju. Autor je stotinjak kratkometražnih animiranih i eksperimentalnih filmova, glazbenih spotova (Bilk, Vuneny, Pips, Chips & Videoclips), festivalskih špica, stripova (koje objavljuje Libra Libera), instalacija, crteža, kolaža i raznih drugih pokretnih i nepokretnih vizuala. Bavi se glazbom i nastupa kao VJ. Njegov film iz 2015. godine Nepoznate energije, neidentificirani osjećaji osvojio je nagrade za najbolji scenarij i oblikovanje zvuka na Danima hrvatskog filma 2015. godine te Nagradu Vedran Šamanović, koja je dodijeljena na Pulskom filmskom festivalu. Film Amnezijak na plaži (2013) osvojio je Oktavijana na DHF-u 2013. godine. Trenutačno završava Astronaut od perolaka u produkciji Bonobostudija. Odabrani radovi: Amnezijak na plaži (2013), The Spectres of Veronica (2011), Nova hipi budućnost (2011), Pain So Light That Appears As Tickle (2010), The Mind from Nowhere (2010), The Horror of Dracula (2010), Ghost Porn in Ectoplasm, but How?! (2010), Nymph Gloss Atari (2010)… Dalibor Barić (1974) is an experimental film director, whose works often explore traditional genres like science-fiction and horror. Using found footage as his source material, he employs a cut-out technique to create sophisticated psychedelic stories which often blur the line between the external and internal realities. Barić’s work also focuses on issues surrounding the artistic practice in the digital age, including the issues of credibility, simulation/replication, and appropriation. He has made around a hundred short animated and experimental films, music videos (Bilk, Vuneny, Pips, Chips & Videoclips), festival trailers, comics (published by Libra Libera), installations, drawings, cut-outs, and many other animated and still visuals. He is also a music composer and a VJ performer. His film Unknown Energies, Unidentified Emotions (2015) won Best Screenplay and Sound Design at the Croatian Film Days in 2015, as well as the Vedran Šamanović Award at the Pula Film Festival. His film Amnesiac on the Beach (2013) won the Oktavijan Award at the Croatian Film Days in 2013. Currently, he is finishing the animated film Astronaut of Featherweight, produced by Bonobostudio. Selected works: Amnesiac on the Beach (2013), The Spectres of Veronica (2011), New Hippie Future (2011), Pain So Light That Appears As Tickle (2010), The Mind from Nowhere (2010), The Horror of Dracula (2010), Ghost Porn in Ectoplasm, but How?! (2010), Nymph Gloss Atari (2010)…

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Beach Fatigue Umor s plaže REŽIJA, SCENARIJ, ANIMACIJA / DIRECTOR, SCREENPLAY, ANIMATION Dalibor Barić 2010 5’23’’

The Horror of Dracula Drakulina strava REŽIJA, SCENARIJ, ANIMACIJA / DIRECTOR, SCREENPLAY, ANIMATION Dalibor Barić

Melodrama! Još jedan planet eksplodira u terminalnom mesu memorije. Ovo je niz postupaka za konstrukciju nostalgije iz običnih trenutaka. Sjećanje varira od kuta do kuta kamere. Melodrama! Another planet explodes in the terminal tissue of memory. This is a set of procedures for the construction of nostalgia out of ordinary moments. The memory varies according to the camera angle.

Eksterijer. Plaža. Plastični očnjaci u pijesku. Kut snimanja kroz vjetrobran. Zadnja slika. Ljuska na prozoru. Mamac. Tragovi isparavaju na nebu. Krv ispunjava vidne kanale kamere. Čista košulja skriva njegove tjelesne ozljede. Unutarnji motel. Samo je jedna osoba ovdje.

2010 3’22’’

Exterior. Beach. Plastic fangs in the sand. The camera films through a windshield. The last image. A shell on a window. Bait. Traces fade in the sky. Blood fills the camera’s optic canals. Internal motel. There is only one person here. 169


Ghost Porn in Ectoplasm, but How?! Porno duh u ektoplazmi, ali kako?!

Film je završio, ali publika odbija otići. Tama je filmski gel za tuširanje mrtvih.

REŽIJA, SCENARIJ, ANIMACIJA / DIRECTOR, SCREENPLAY, ANIMATION Dalibor Barić

The film has ended, but the audience refuses to leave. Darkness is the film shower gel for the dead.

2010 4’49’’

The Mind from Nowhere Um niotkuda

Vrtoglavica magnetiziranog uma u potrazi za svojim odsutnim hemisferama.

REŽIJA, SCENARIJ, ANIMACIJA / DIRECTOR, SCREENPLAY, ANIMATION Dalibor Barić

Exterior. Beach. Plastic fangs in the sand. The vertigo of a magnetised mind in search of its missing hemispheres.

2010 9’23’’

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You Who Exist Only in the Darkest Recess of My Own Brooding Mind, I Command You – Appear! Ti koji postojiš samo u najmračnijem kutu moga uma, zapovijedam ti, izađi! REŽIJA, SCENARIJ, ANIMACIJA / DIRECTOR, SCREENPLAY, ANIMATION Dalibor Barić 2010 4’44’’

On nikad ne pamti svoje dijaloge. Na udarac zvona šišmiši napuštaju toranj. Žrtve su iskrvarile zadnji metar filma. Kamera otkriva: 1) Nadolazeći događaji bacaju svoju sjenu. 2) Enigma života izlučevina je viskozne tvari; crvena kada je izložena, plava dok se zamišlja. 3) Dugi filmski poljubac u kanalizaciji. 4) Efekt stvarnih ljudi uvjerljiviji je ako ih ne gledamo izravno. 5) Efekt lažnog svitanja. 6) U gornjem desnom kutu neba pojavit će se znak za rez. He never remembers his dialogues. At the sound of the bell, bats leave the tower. Victims have bled out the last meter of the film. The camera reveals: 1) Approaching events cast their shadow. 2) Enigma of life is a secretion from a viscous substance; red when exposed, blue when imagined. 3) A long movie kiss in a sewer. 4) The effect of real people is more convincing if we don’t look directly at them. 5) The effect of a false dawn. 6) In the upper right corner of the sky, a sign for cut will appear.

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All Catacombs Are Gray Sve su katakombe sive REŽIJA, GLAZBA, ANIMACIJA / DIRECTOR, MUSIC, ANIMATION Dalibor Barić PRIPOVJEDAČ / NARATOR Louisa Thornton PREMA ROMANU / BASED ON THE NOVEL “Carmilla”, J. Sheridan LeFanu

Ja sam gusjenica nepoznatog koja proždire vlastita sjećanja. Moj je um katalog spaljenih slika. I am a caterpillar of the unknown, who devours its own memories. My mind is a catalogue of burned images.

2013 20’15’’

I Sing the Body Electric Ja pjevam električno tijelo REŽIJA, GLAZBA, ANIMACIJA / DIRECTOR, MUSIC, ANIMATION Dalibor Barić 2009 13’5’’

U labirintu nasumičnih kadrova modeli umorni od repeticija i osmijeha na zahtjev ne uspijevaju pronaći izlaz iz scene. Walt Whitman u zoni sumraka. Uz nevjerojatnu napetost svi periskopi i teleskopi upereni su na plaže. Tamo se očekuje kraj filma. In a labyrinth of random frames, models weary with smiling at request cannot find their exit from the scene. Walt Whitman in a twilight zone. Surrounded by incredible tension, all the periscopes and telescopes are pointing towards beaches. There, the end of the film is awaited. 172


My Game of Longing Moja igra čežnje REŽIJA, GLAZBA, ANIMACIJA / DIRECTOR, MUSIC, ANIMATION Dalibor Barić

Odveli su me na privatnu projekciju. Upute pratim preko svoje kristalne radijske lubanje. Osoblje je izvelo nekoliko testova Rider-Waite. Umetnuta lažna slika. Tehničar stišće pauzu. Mrtvo dušično meso ispada iz ogledala Saturna.

2013 9’43’’

They have taken me to a private screening. I follow instructions through my crystal radio skull. The staff has performed several Rider-Waite tests. The technician presses pause. Dead nitrogenous meat falls out of the Saturn’s mirror.

Execution of Elephun Topsy Conceived as a Coloring Book for Children Trag u čađi / Smaknuće Slonice Topsy zamišljeno kao bojanka za djecu

Eduard Leon Scott de Martinville, Thomas Alva Edison, Topsy. Psihogeografija u vremenskim zonama unutarnjeg uha. Eduard Leon Scott de Martinville, Thomas Alva Edison, Topsy. Psychogeography in the time zones of the inner ear.

REŽIJA, GLAZBA, ANIMACIJA / DIRECTOR, MUSIC, ANIMATION Dalibor Barić AUTORICE RADIJSKE EMISIJE / RADIO SHOW AUTHORS Pavlica Bajsić Brazzoduro, Lana Deban PRODUKCIJA / PRODUCTION Bacači sjenki 2013 21’35’’ 173


JOŠ RANIJI RADOVI S ADU-A ACADEMY OF DRAMATIC ART: EVEN EARLIER WORKS KINO TUŠKANAC 22. 4. 2016. 17:00

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Iz školskog arhiva Deep in the Archive Točno prije godinu dana, upravo za prethodne Dane hrvatskog filma, krenuli smo sa selekcijom naslova koji su mišljeni kao studentske vježbe. Zanimalo nas je kako su današnji filmaši odradili svoje prve korake, htjeli smo baš kao njihovi učitelji zaviriti u indekse i pogledati kako se snimalo i radilo na zagrebačkoj Akademiji dramske umjetnosti, tada jedinoj ustanovi tog tipa u zemlji. Pokazali smo naslove iz prve polovice devedesetih godina, no kako je selekcija izazvala vrlo pozitivan odjek među publikom, odlučili smo zaviriti dublje u školske arhive. Vraćamo se u sedamdesete i osamdesete, no sada taj fundus više ne čuva ADU, nego brižni i strogi Hrvatski državni arhiv. U praksi to znači da je još teže doći do njega. Ali to je možda neka druga tema. Uglavnom, ovaj put donosimo radove slavnog glazbenika Darka Rundeka, prve korake Branka Schmidta, koji tada još nije znao da će jednoga dana režirati Metastaze, i Ivana Salaja, čiji veliki povratak ove godine imamo i u službenoj konkurenciji. Snježana Tribuson tu je bez Melite Žganjer, Vedran Mihletić, šef Kult Filma, gostuje vježbom iz studentskog serijala Čovjek i stroj, a u Djevojkama gledamo riječku kazališnu gošću Miru Furlan, znan-fanovima mlađeg godišta poznatiju kao Ambasadoricu Delenn. Exactly one year ago, at the last edition of the CFD, we started a selection of titles that were originally intended as student exercises. We were interested in tracing the steps to the origins of today’s affirmed filmmakers. We wanted to peek into their student logs and find what they were making at the Zagreb Academy of Dramatic Art, the only such institution in the country at the time. We screened the titles from the first half of 1990s, but the highly enthusiastic reaction from the audience inspired us to look deeper into the school archives. This time, we are going back to the 1970s and 1980s. However, the films are no longer kept by the Academy, but by the Croatian National Archive. In effect, it means that they are even harder to acquire. But that is a story for another time. This time, we bring to you the works by the famous Darko Rundek, Branko Schmidt, who had yet to make his acclaimed Metastases, and Ivan Salaj, whose great come-back features in this year’s competition. There is also Snježana Tribuson, without Melita Žganjer; Vedran Mihletić, the founder of Kult Film, and his exercise from a student serial, The Man and the Machine; and, finally, Mira Furlan, better known as Ambassador Delenn to younger science-fiction fans. Here we will see her performance in a student exercise, Girls. Željko Luketić

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Lice Face

Drugi kat, podrum Second Floor, Basement

Izgled i izrazi ljudskih lica u različitim situacijama.

Dva različita kata iste bolnice: drugi kat – rađaona i početak novog života; podrum – patologija i mrtvačnica.

Looks and expressions on human faces in different situations.

Two floors of the same hospital. The second floor – delivery room and beginning of a new life; the basement – pathology department and morgue.

DIR., SC. Snježana Tribuson DOP Boris Turković, Boris Popović EDIT. Zoltan Wagner PROD. ADU DISTR. Hrvatski državni arhiv 1979 13’40’’

DIR., SC. Ivan Salaj DOP Markan Radeljić EDIT. Zoran Minić PROD. ADU DISTR. Hrvatski državni arhiv 1989 14’

Idem u krah I’m Going to Crash

Ali s Volovčice Ali from Volovčica

Dvoje starih ljudi na selu koji rade od jutra do mraka, a ni sami ne znaju za koga.

Jedan dan u životu amaterskog boksača, člana boksačkog kluba Lokomotiva.

Two old people, living in the country, working all day. Not even they know why.

A day in the life of an amateur boxer, a member of the Lokomotiva boxing club.

DIR., SC. Darko Rundek DOP Boris Popović EDIT. Tea Šulina PROD. ADU DISTR. Hrvatski državni arhiv

DIR., SC. Branko Schmidt DOP Mirko Žipovski EDIT. Agron Vula PROD. ADU DISTR. Hrvatski državni arhiv

1978 14’30’’ CB / BW

1979 11’15’’

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Brico Barber

Čovjek i stroj The Man and the Machine

Priča o starom majstoru brijaču koji pod najezdom novih, modernih frizerskih radnji jedva spaja kraj s krajem.

Tiskanje časopisa Start u tiskari izdavačke kuće Vjesnik. The printing of Start newspaper at the Vjesnik publishing house.

Supplanted by new, modern hairdressing shops, an old master barber barely makes ends meet.

DIR., SC. Vedran Mihletić DOP Tihomir Beritić EDIT. Tvrtko Grgić PROD. ADU DISTR. Hrvatski državni arhiv

DIR., SC. Zoran Pezo DOP Đorđe Šibalin EDIT. Vladimir Kleščić PROD. ADU DISTR. Hrvatski državni arhiv

1982 5’ CB / BW

1984 12’40’’ CB / BW

Djevojke Girls Jedna djevojka slavi svoj rođendan u društvu prijateljica koje se vrlo brzo napiju i ona ostaje sama. A girl celebrates her birthday with her friends. They soon get drunk, and she is left all alone. DIR., SC. Jasna Mesarić DOP Danko Šorak EDIT. Vesna Kreber UL. Mira Furlan, Ksenija Prohaska, Ružica Đamić PROD. ADU DISTR. Hrvatski državni arhiv 1976 21’ CB / BW

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REKLAME IZ ZAGREB FILMA COMMERCIALS FROM ZAGREB FILM KINO TUÅ KANAC 24. 4. 2016. 17:00

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Pioniri namjenskog filma u Hrvatskoj

Reklamni film u Hrvatskoj pojavljuje se 1954., dvije godine prije početka emitiranja Televizije Zagreb, današnje Hrvatske televizije. U svome prvom razdoblju njegovo primarno mjesto prikazivanja bilo je kino, tek potom na red dolazi televizija, koja ga i popularizira. Među pionirima prvih produkcija reklamnog namjenskog filma bio je Zagreb film. Nažalost, materijal je tek djelomice sačuvan, nedostaje mu pisana dokumentacija, tako da je ispravno pripisivanje autorstva tih vrpci gotovo nemoguće. Jedini pisani rad koji se uopće bavio problematikom Studija za crtani film, kasnije Studija za ekonomsku propagandu (ili naručeni film), i animiranim reklamnim filmom bio je povjesničar umjetnost Marijan Susovski, koji ga je uvrstio u svoju magistarsku radnju obranjenu 1983. godine na Filozofskom fakultetu u Zagrebu. Susovski navodi autore nekih filmova koristeći vlastite izvore, no daleko je važnije njegovo osobno svjedočanstvo o bacanju arhivskih materijala iz studija u Vlaškoj. Dio je uspio spasiti jer je stanovao u blizini, otuda i dokumentacija, no i njoj se gubi trag u pokušajima da taj materijal postane dio Centra za fotografiju, film i televiziju Galerije Grada Zagreba, današnjeg MSU-a. Sudbina tih zapisa isprva je dakle bila smeće, što je sasvim konkretni pokazatelj statusa namjenskog filma, i onda i sada. Smatralo se da je reklama manje vrijedan, potrošan, neumjetnički rad koji rijetko završava u filmografijama svojih redatelja. No, o čemu je već odavno pisala povjesničarka Vera Horvat Pintarić, reklamni radovi Zagreb filma iznimne su estetske kvalitete i pravi je grijeh ostaviti ih neistražene. Samo zahvaljujući osobnome trudu i radu Bajka I. Hromalića, djelatnika Zagreb filma, dio tih radova spašen je i digitaliziran. Ovdje ga želimo pokazati publici kao skupni rad zagrebačkog studija. Njegovi članovi, autori ovih filmova, majstori su ne samo animacije nego i naručenog filma: Mladen Blažeković, Borivoj Dovniković, Vladimir Delač, Zlatko Grgić, Nedeljko Dragić, Dušan Vukotić, Aleksandar Marks, Vladimir Jutriša, Branko Ilić, Boris Kolar i Zlatko Pavlinić. Željko Luketić

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Croatian Pioneers of Advertising Film

Advertising film first appeared in Croatia in 1954, two years before Zagreb Television, now Croatian Radiotelevision, began broadcasting. In the early days of advertising film, its primary screening venue was the film theater. Later, that role was taken over by public television, which finally popularised the form. Zagreb Film was among the pioneer productions of advertising film. Unfortunately, the material has only been partially preserved, and the lack of written documentation makes the precise determination of authorship almost impossible. The only text dealing with the subject of animated commercial film and the Studio for Animated Film – later Studio for Economic Propaganda, or commissioned film – in particular, was done by Marijan Susovski, an art historian. He dealt with the subject in his MA thesis in 1983, at the Faculty of Humanities and Social Sciences in Zagreb. Susovski named the authors of some films, using his own sources, but his personal testimony about the disposal of archival material from the studio in Vlaška Street is by far the most important. Ha managed to save a portion of it because he lived nearby. That is where the documentation comes from, but it too got lost in the effort to make the material part of the Centre for Photography, Film and Television (Galleries of the City of Zagreb, today’s Museum of Contemporary Art). Thus, the initial fate of those records was to end up in trash, which is a perfectly good indicator of the status of the commercial film, then and now. The commercial was regarded as a less valuable, expendable, non-artistic work which rarely found its way into directors’ filmographies. But, as historian Vera Horvat Pintarić wrote long time ago, the advertising work done by Zagreb Film shows an exceptional aesthetic quality and it would be a tragedy to leave it unexplored. Thanks to the personal efforts and work of Bajko I. Hromalić, an employee at Zagreb Film, some of this material has been saved and digitalised. Now, we want to show it to our audience as a collective work from the Zagreb studio. Its members – authors of these films – are not only masters of animation, but of commissioned film as well: Mladen Blažeković, Borivoj Dovniković, Vladimir Delač, Zlatko Grgić, Nedeljko Dragić, Dušan Vukotić, Aleksandar Marks, Vladimir Jutriša, Branko Ilić, Boris Kolar, and Zlatko Pavlinić. Željko Luketić

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Reklame / Commercials Kraš bomboniera (Mali čarobnjaci), Kraš gumeni bomboni, Kraš kakao (Bračna putovanja u svemir), Zvijezda margarin, Mega Zagreb zatvarač za hlače (Metalna galanterija), Podravka kokošja juha, Nutricin 20 (Snaga i zdravlje), Agrokoka (Snažno jaje), Marijan Badel (Čestitka za novu godinu), Odjeća ZIVT Zabok, Vajda Export (Kroz cijeli svijet, novogodišnja čestitka), Kraš 505 sa crtom (Dječja radost), Velika trka (Varteks, čestitka za novu godinu), Domaća tvornica rublja Zagreb DTR (Dimnjačar), Domaća tvornica rublja Zagreb DTR (Tri košulje), Parada Slavonija (Tvornica rublja i odjeće Osijek), Kod zubara (Nikola Vetnić Osijek), Posjet iz svemira (časopis Filmska revija), Franck kava (Slijepi miš), Djevojka i hrast (reklama za film), Jubilej gospodina Hikla (reklama za film), Muzički TV-helikopter (televizijska špica), Leacril pokrivači (Tvorpam Zagreb), Tvornica duhana Zagreb (Ivo Robić), Agrokombinat Zagreb, Muzički TV-helikopter (odjavna špica), Halo, ovdje Zagreb film, Studio za ekonomsku propagandu (STEP), Zvečevo David (4 verzije spota za brandy), Zvečevo punjene čokolade, Zvečevo čokolada (Put u Mexico), Kraš keksi za suvremenu domaćicu, Kraš čokolada Runolist, Kraš 505 sa crtom u celofanskim vrećicama (suvremeno i ukusno pakovanje), Kraš šećerna ploča Baltazar, Eva sardina, Sljeme kokošja juha, Sljeme govedska juha, Sljeme Vikend doručak, Kandit (Sretna nova 1969. godina), Kandit sličice nogometnih šampiona, Kandit dječja čokolada Dado, Nara Badel, Agrokombinat jaja (sadrže manje masnoće), Agrokombinat jaja (za dobar dan i dobar san), Agrokomerc Vegedor (dodatak jelima), Delamaris Izola (Argo koncentrat juhe), Delamaris Izola (riblja konzerva), Franck Veda 80 (dodatak jelima), Podravka Vegeta 40, Aurora Medolino i Čokolino (zdrave gris pahuljice), Dr. Oetker nagradna igra, Štapić Bobi (Sloboda Osijek), Udruženje slatkovodnog ribarstva, Vrijeme je za Zdenku (Zdenka kalorični sirevi), Čajna peciva Valko, Za vas štedi Borovo, Borovo (to je cipela za vas), OLT (Osječka ljevaonica željeza), Akvavit Radonja Sisak, Elka Zagreb instalacioni vodovi, Kontakt automatsko električno glačalo, Disperol (Kemijski kombinat), DTR, Standard konfekcija (moderna dimenzija ljepote), Standard konfekcija (postanite interesantni), Standard konfekcija (u korak s novom linijom), Meksi, Kalodont sa flourom (Saponija), Leut Magnetik (za vašu magnetsku privlačnost), Pčelica kreditna zadruga, Novogodišnji zagrebački velesajam, Penaten Sanitex, Privredna banka Zagreb (štedionica Cvjetni trg), Jugoplastika (prijatelj djetinjstva), Nutricin 20 (dodatak stočnoj hrani), Muhomor (sprej za uništavanje insekata), Asepsol Aerosol (uklonite loše mirise), Maja kvasac (za pripremu kolača)

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RETROSPEKTIVA FILMOVA NEDELJKA DRAGIĆA NEDELJKO DRAGIĆ: A RETROSPECTIVE KINO TUŠKANAC 24. 4. 2016. 21:00

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Nedeljko Dragić: Majstor linije “Čovjek valjda anticipira neke stvari unaprijed. Midhat Ajanović piše, a mislim da je to dobro zapazio, da su Idu dani danas aktualniji nego nekada. I onda sam ja to radio nekako na osjećaj, jer sam odrastao u komunizmu. I prihvatio sam ono što je pozitivno, jer komunizam, pričaju i internacionalizam, voli sve ljude. Rođen sam kao proleter i umrijet ću kao proleter i nekako držim tu stranu, za tog prosječnog čovjeka. To mi je uvijek bio stil u karikaturi. S tih pozicija sam radio i tu ne možete fulati nikad. Čim postoji vlast u odnosu na ljude, ništa ne može biti idealno. Tu će uvijek biti promašaja, bez obzira kakav sistem bio. Čim netko ima moć, ima poluge vlasti u rukama i nema više idealnog.” “Moj tipičan čovjek uglavnom je pomiren s time. Pomiren je i trpi moć. To je i u stripu Tupko, on se isto može shvatiti kao politička satira. Okvir je pojam toga da vas je netko zgurao, skockao. U tom svijetu Tupko ima okvire i oni ga sputavaju. Ali kad nema okvir, onda mu taj okvir fali. To je filozofija sirotinje. Mislim da su to vječne priče. Uvijek ima štofa.” “Pričate priču i ono što vidite. To ja uvijek kažem. Ima samo jedna priča, a pričam o životu koji me okružuje. To za svaki moj film možete reći. Tup-tup je recimo čovjek koji se buni, Idu dani je čovjek koji trpi, a onaj Diogen je čovjek koji traži nešto, lunja, traži sreću.” “Sve ima svoj rok trajanja, to je neminovno. Tko ne shvaća da je vrijeme najvažniji faktor u svemu i da sve prolazi, to već imate od Preradovića valjda u svakom šlageru, da je sve prolazno, to je tako, činjenica jedna. I sve ima svoje vrijeme. Ja recimo volim pričati, malo se pravim i lud nekad. Uvijek sam tvrdio da je dramaturgija isto što i život, prepisan, to nitko nije izmislio. Ni Shakespeare, ni Lessing, ni stari grčki pisci. Rodiš se i crkneš. Imaš razvoj, kulminaciju. To je sve tako jednostavno. Ja to pretvorim u liniju, u vizualnu dramaturgiju.” “Važan je duh Zagrebačke škole koji je ona donijela. Sve što se crta je zaustavljeno kretanje, u suštini. Sada me smeta što Amerika previše učestvuje u svemu. Nije baš tako bilo, nismo svi baš u to gledali. Ovi stariji možda i jesu, ali je činjenica da je u Zagrebu propao Disneyev stil, gdje je bio najjači u Europi, jer je Neugebauer bolje crtao od Disneyevih crtača. On je savršeno to radio i to je bilo etablirano u Zagrebu.” “Ostali smo amateri u proizvodnji. Znali smo profesionalno kako se radi. Mi samostalni, nismo bili na plaći, a ovi u uslužnim djelatnostima animiranog filma, kopisti, koloristi i činovnici, oni su bili na plaći. Mi, kako nam puhne. William Hanna me pitao: Koliko vi imate novaca kad ste došli do Hollywooda? Ja mu kažem: 500 dolara, to je moja plaća. Toliko prosječno zaradim mjesečno. A on meni onako pristojno kaže: Tu bi mogli puno više. Rekao je on neku cifru. Žena koja je prevodila naš razgovor nije htjela psovku prevesti, a ja kažem: Reci gospodinu da ja svog direktora (u Zagreb filmu) mogu svaki dan poslati u tri p**** materine. A to vam vrijedi 5-6 hiljada dolara mjesečno, to je poanta. On se nasmijao. Meni vrijedi to što im mogu majku opsovati svaki dan. I ništa mi ne mogu.” (Odlomci iz intervjua “Čovjek i linija”, Oris, br. 88, 2014.)

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Nedeljko Dragić: Master of the Line “I guess a man can anticipate some things in advance. Midhat Ajanović writes, and I agree, that Passing Days are now more relevant than ever. At the time, I did it by instinct, because I grew up in communism. I accepted the positive things, because communism – and internationalism, they say – loves all people. I was born a proletarian and I will die a proletarian. I am on the side of the common man. That has always been reflected in my caricatures. That was always the perspective I took in my work; you can never go wrong there. Whenever there is a government which stands in relation to the people, nothing can be ideal. There will always be mistakes, no matter what the system is like. Whenever someone holds the power, they hold the levers of authority, and nothing can be ideal”. “My typical man has accepted the state of things. He has reconciled with his situation, and he endures. You can see that in my comic book, Tupko, which can also be seen as a political satire. The frame represents the state of being crammed in, stuffed inside a square, so to say. In that world, Tupko has frames, which are like fetters. But when there are no frames, then he misses them. That is the philosophy of the downtrodden. I think those stories are eternal. There will always be material for them”. “I always say: you tell a story and you tell what you see. There is only one story, and mine is about the life that surrounds me. You can say that of all my films. For example, Tup-Tup is about a man who rebels, Passing Days is about a man who endures, and Diogenes is about a man who is looking for something, roaming the world, searching for happiness”. “Everything has an expiration date. That is inevitable. Everyone knows that time is always the most important factor, and that everything comes to an end. It’s something you hear every day, ever since Preradović, you’ve been hearing it in every pop song. That’s how it is, it’s a fact. Everything has duration. For instance, I love to talk; sometimes I even like to act a little crazy. I always say that dramaturgy is the same as life, it is copied from life, and nobody has made it up; neither Shakespeare, nor Lessing, nor the ancient Greek writers. You are born and then you drop dead. You go through a development process, you reach a culmination point. Everything is so simple. I just turn it into a line, into visual dramaturgy”. “The important thing about the Zagreb School is its spirit. Everything that one draws is essentially suspended motion. It bothers me that America is too involved in everything now. It didn’t use to be like that. Not everybody watched that stuff. Maybe the older ones. The fact is that in Zagreb, the Disney style failed because Neugebauer drew better than Disney animators. He did it perfectly, and in Zagreb that was a well-accepted fact”. “We were amateurs in production. We knew how to do it professionally. Those of us who were independent didn’t work for regular wages. Those working in the animated film service industry – copyists, colourists, and officials – they were getting regular wages. For us, it depended on how things would line up. William Hanna asked me: ”How much money do you earn, seeing that you’ve come to Hollywood?” I said to him: ”$500, that’s my pay. That is my average monthly income.” He said to me politely: ”You could do much better here”. And then he said a figure. I retorted: ”Tell the gentleman that I can tell my director (at Zagreb Film) to go f*** himself any time I want. And that alone is worth $5 – 6 000 a month, that’s the point”. The woman translating the conversation didn’t want to translate the curse word. He laughed. I like it that I can tell them to go to hell whenever I want. And they can’t do anything about it”. (Excerpts from the interview “The Man and the Line”. Oris, no. 88, 2014.)

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Elegija Elegy Zatvorenik stalno promatra cvijet koji raste u podnožju zida. No kada izađe na slobodu, cvijeta se ni ne sjeti. A prisoner obsessively watches a flower growing beneath the wall. When he finally leaves the prison, he forgets the flower completely.

DIR., SC., ANIM. Nedeljko Dragić MU. Tomica Simović EDIT. Tea Brunšmid PROD. Zagreb film 1965 3’54’’

Krotitelj divljih konja Tamer of Wild Horses Simbolična priča o svemoći tehnike koja, umjesto da pomogne čovjeku, neadekvatnom upotrebom vodi do katastrofe. A symbolic story about the power of technology, which, instead of helping the mankind progress, leads to a catastrophe due to its improper handling.

DIR. Nedeljko Dragić SC. Vatroslav Mimica DOP Teofil Bašagić ANIM. Vladimir Jutriša, Nedeljko Dragić MU. Tomica Simović EDIT. Tea Brunšmid PROD. Zagreb film 1966 7’54’’

Možda Diogen Perhaps Diogenes Jedan osamljen čovjek luta apsurdnim svijetom tražeći sreću. Možda je to Diogen, a možda nije. A lonely man roams through an absurd world looking for happiness. Perhaps it is Diogenes, perhaps not.

DIR., SC. Nedeljko Dragić ANIM. Vladimir Jutriša DOP Franjo Malogorski MU. Tomica Simović EDIT. Tea Brunšmid PROD. Zagreb film 1967 9’51’’

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Idu dani Passing Days Priča o čovjeku kojem svijet oko njega ne dopušta da živi svoj mali jednostavni život. A story of a man prevented from living his simple life by constant intrusions from the world around him.

DIR., SC., ANIM. Nedeljko Dragić DOP Zlatko Sačer MU. Tomica Simović PROD. Zagreb film KOPROD. Corona Cinematografica 1969 10’7’’

Dnevnik Diary Uspomene, sjećanja, otuđenost, prolaznost... Film je nastao kada je autor sjeo za crtaći stol i počeo animirati. Memories, alienation, transience... The film was created when the author sat at the table and started to work.

DIR., SC. Nedeljko Dragić ANIM. Nedeljko Dragić, Radovan Devlić, Branisalv Teslić, Zvonimir Delač DOP Ivan Hercigonja MU. Tomica Simović EDIT. Tea Brunšmid PROD. Zagreb film 1974 8’52’’

Tup-Tup Tup Tup Prebrzi tempo života stvara od ljudi bolesnike. Neuroze su svakodnevna pojava. Što se može dogoditi čovjeku kojeg nešto iritira dok želi mirno pročitati svoje novine? DIR., SC., ANIM. Nedeljko Dragić DOP Zlatko Sačer MU. Tomica Simović PROD. Zagreb film

The hectic pace of modern living makes people ill. Neuroses are a common occurrence. What can happen to a man irritated by something while he is trying to read his newspaper?

1972 9’42’’

186


Dan kad sam prestao pušiti The Day I Stopped Smoking Naslov filma samo je banalni povod za priču o usamljenosti, otuđenosti, strahu i nervozi suvremenog čovjeka. The title of the film is merely an excuse to tell a story about loneliness, alienation, fear, and anxiety of the modern man.

DIR., SC., ANIM. Nedeljko Dragić DOP Franjo Malogorski MU. Tomica Simović EDIT. Zlata Reić PROD. Zagreb film 1982 9’36’’

Slike iz sjećanja Pictures From The Memory Brzom i dinamičnom izmjenom slika i ugođaja umjetnik predstavlja priču svoje obitelji kroz dvadeseto stoljeće. With fast changing visuals and moods, the artist tells his family’s story through the 20th century.

DIR., SC., ANIM. Nedeljko Dragić DOP Rade Pažameta MU. Tomica Simović EDIT. Tea Brunšmid PROD. Zagreb film 1989 11’54’’

Rudijev leksikon: Ljubav, Slava, Diktatura, Sreća, Filozofija Rudi’s Lexikon – Love, Glory, Dictatorship, Happiness, Philosophy Rudi je tipičan mali čovjek. Živi u gradu zarobljen između četiri zida. Neprekidno gleda televiziju, odakle mu stalno stižu besmislice.

DIR., SC., ANIM. Nedeljko Dragić DOP Bayerl & Partner MU. Veljko Zimonić, Boris Wagner PROD. Zagreb film

Rudi is a typical, ordinary man. He lives in a city, stuck within his four walls. He spends his time watching nonsense on TV, and doing housework…

2009 5 x 1’30’’

187

dist. Zagreb film


NOVI DOKUMENTARCI IZ SUSJEDSTVA NEW DOCUMENTARIES NEXT DOOR KINO TUÅ KANAC 21. 4. 2016. 19:00

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Prostor slobode Space of Freedom Vjerujem da je prirodno biti zainteresiran za ono što ti radi komšija, makar to bilo i na manifestaciji koja se zove Dani hrvatskog filma. Zašto to spominjem? Jer ne vjerujem da se neće pojaviti još jedan dušobrižnik koji će dovesti u pitanje program bivšejugoslavenskih filmova na nacionalnoj filmskoj manifestaciji. Pogotovo sada kad su osokoljeni javnim, a eto i legaliziranim diskursom, položili svoja mišljenja na nacionalni gotovs. Pa stvarno, šta će nam? Zato jer nismo slijepi, jer smo zainteresirani i znatiželjni. Jer i dalje govorimo i razumijemo te neke jezike, a pogotovo univerzalni jezik dokumentarnog filma. I jer nas se tiče. Selekcija kratkometražnih dokumentaraca iz zemalja bivše Jugoslavije nastala je pregledom četrdesetak novih filmova. Njih devet sada je tu pred vama, dosta različitih formi i stilova, kao presjek onoga što se prošle godine događalo kod naših susjeda. Regija, susjedstvo i komšiluk oblikuju identitete nas koji ovo gledamo, možda i više nego što mislimo. I pri tom ne mislim na nacionalni identitet. Čvrsto vjerujem da iz ovog galimatijasa naroda i narodnosti izlaze oni/e kreativni/e pojedinci/ke koji stvaraju univerzalni kulturni jezik koji nas definira, motivira i tjera da nastavimo usprkos tome što rekli dežurni iznosači mišljenja i kiosk-filozofi koji su odjednom postali za to plaćeni službenici. Pa dok još imamo tu slobodu da stvaramo, prikazujemo i gledamo što rade drugi, moramo je iskoristiti. Jer sada su došli po njih. Pitanje je samo kada smo mi na redu. I believe that it is only natural to show interest in the work of your neighbour, even if it is at the event bearing the name the Croatian Film Days. Why do I feel the need to mention this? Because I also believe that, at some point, some concerned citizen will feel the need to voice their dissatisfaction with the fact that a Croatian national festival is screening ex-Yugoslav films. Especially now that – encouraged by the public, and unfortunately legalised discourse – various characters have crawled out only to pronounce their opinions as if answering a national call to arms. What business is that of ours, really? Because we are not blind. Because we are curious and interested in what is happening around us. Because we still speak and understand some languages, especially the universal language of the documentary film. And because it certainly is our business. The line-up of this program consists of nine short documentaries from the countries of former Yugoslavia, diverse in form, as well as style. Our neighbours and the region we inhabit shape our identities, perhaps even more than we realise. And by that, I do not mean our national identity. I firmly believe that this jumble of nations and ethnicities produces creative individuals who shape the universal language of culture which defines us, motivates us and pushes us to go on, despite what some may say. As long as we have the freedom to create, show, and watch what others are doing, we have to use it. Oliver Sertić 189


Številka 3 Broj 3 / Number 3 Film prikazuje prosječan dan glavnog lika Hamdije, koji u Ljubljani radi kao smetlar. The film shows an average day in the life of Hamdija, a dustman from Ljubljana.

DIR. Pierre Martin, Camille Tang Quynh, Jasna Merklin, Kris van Den Bulck EDIT. Pierre Martin DOP Kris van Den Bulck SOUND Camille Tang Quynh, Luka Cvetko PRODU. Tom Gomizelj PROD. Luksuz produkcija SI 2015 6’53’’

Eoha U bezvremenu pejzažu koji liči na početak svijeta, usred krša Crne Gore, jedan pastir komunicira sa svojim velikim narodom, krdom koza i ovaca, kao s ljudima. DIR., SC, PRODU. Vladimir Perović EDIT. Aleksandar Uhrin DOP Milan Stanić SOUND Dora Filipović PROD. Dogma studio

In the midst of Montenegrin mountains, in a timeless, rocky landscape that evokes the beginning of Creation, a shepherd communicates with his goats and sheep as if they were people.

ME 2015 22’

Koreni zla Korijeni zla / The Roots of Evil Esej mozaične strukture i krupnog plana snimljen u tradiciji poetike cinéma vérité o korijenima obiteljskog nasilja i tankoj liniji između nasilnika i žrtve. DIR., SC. Želimir Gvardiol EDIT. Marko Mitrović DOP Radoslav Vladić MU. Damjan Ćirilović SOUND Ivan Bulbuk PRODU. Biljana Stanojević PROD. Pradok

Told in close-ups and filmed in the poetic tradition of cinema verité, this mosaic essay explores the roots of domestic violence and the thin line between the abuser and the victim.

RS 2015 23’

190


Imperativ Imperative Predizborni skup. Okupljeni narod euforično sluša prazna obećanja i govore prisutnih političara. No kada izbori završe, vrijeme je za buđenje i povratak u tešku svakodnevnicu. DIR., EDIT. SOUND Jelena Ilić Todorović DOP Aleksandar Svitić PROD. Akademija umjetnosti Univerziteta u Banja Luci

A pre-election rally. People listen euphorically to empty promises and speeches made by politicians. When the elections are over, it is time to wake up to the harsh reality of everyday life.

BA 2015 6’36’’

If I Had It My Way I Would Never Leave Da se mene pita, nikad ne bih otišao Abdul i Hamza, imigranti iz Somalije, kriju se u napuštenoj kući blizu granice i čekaju pravi trenutak da nastave svoj put. Spavaju danju, a hodaju noću. DIR., SC., EDIT. Marko Grba Singh DOP Marko Milovanović SOUND Milan Anđelović PRODU. Nevena Tomić PROD. Fakultet dramskih umetnosti Beograd

Abdul and Hamza, immigrants from Somalia, hide in an abandoned house near the border, waiting for the right moment to resume their journey. They sleep during the day, and travel during the night.

RS 2015 15’

Green Walls, Black Food Zeleni zidovi, crna hrana Film o bijednim životnim uvjetima u studentskom domu Goce Delčev u Skoplju u kojem obitava 1200 studenata. To stravično derutno zdanje odraz je svih studentskih domova u Makedoniji. DIR., SC., EDIT., SOUND Sandra Gjorgieva DOP Marko Dimitrievski, Kristijan Karadjovski MU. Trajko Simonovski PRODU. Jovana Mishkoska PROD. Fakultet za dramski umetnosti Skopje

A film about the miserable life and the bad conditions of 1200 students who live in the student dormitory Goce Delčev in Skopje. This horrible dorm is a representation of all the student dormitories in Macedonia.

MK 2015 16’

191


Svadba Wedding Portret jednog kosovskog “oslikavatelja” lica u tradicionalnom bosanskom selu. An attempt to make a short film about a traditional Kosovar face painter in an ethnic Bosnian village.

DIR. Gent Shala SC., EDIT. Hüssamedin Luma, Gent Shala DOP Hüssamedin Luma, Eroll Bilibani, Gent Shala, Rrita Berisha PRODU. Iris Elezi, Thomas Logoreci PROD. DokuFest XK 2015 8’44’’

Vsi smo tu že od nekdaj Tu smo oduvijek / We Have All Been Here Since Forever Strah je najstarija i najsnažnija ljudska emocija. A najstarija i najjača vrsta straha je strah od nepoznatog. (H.P. Lovecraft) DIR. Peter Cerovšek, Neža Grum, Matevž Jerman DOP Matevž Jerman EDIT. Matevž Jerman, Peter Cerovšek PRODU. Tom Gomizelj PROD. Luksuz produkcija

The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown. (HP Lovecraft)

SI 2016 12’29’’

Naše telo Naše tijelo / Our Body Odavde možete vidjeti sve: na desnoj strani more, na lijevoj planine, a između nebo. From here, you can see everything: the sea to the right, the mountains to the left, the sky in between.

DIR., DOP, EDIT., SOUND Dane Komljen SC. Dane Komljen, James Lattimer PRODU. Nataša Damnjanović, Vladimir Vidić, Zoran Galić, Mirjana Milobratović PROD. Dart Film KOPROD. Kino Glaz, Vizart Film RS DE BA 2015 15’

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ZADNJA POŠTA ZAGREB ZAGREB: PORTRAIT OF A CITY KINO TUŠKANAC 21. 4. 2016. 17:00

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Televizijsko nasljeđe Angela Miladinova Angel Miladinov: TV Legacy Koliko su se vremena u svijetu filma i televizije promijenila od 70-ih naovamo možda najbolje svjedoči i ime ove selekcije. Dok je danas običaj pripisati autorstvo filma redatelju, u ovom slučaju to je Mladen Juran s tri filma, u zlatno doba Televizije Zagreb urednici i realizatori bili su ime koje prodaje naslov. To je ime jamčilo i tada mladim akademcima i redateljima da će dobiti šansu snimiti svoje prve radove, da će im to biti plaćeno i još više, pokazano milijunskom auditoriju kojega je tada činila i publika drugih televizijskih centara Jugoslavije. Uz Antona Martija u djelatnosti zabave, Angel Miladinov (1928. – 1984.) bio je vjerojatno najutjecajniji urednik na tadašnjoj Hrvatskoj televiziji. Od emisija kojima je pratio filmske festivale pa sve do razgovornih, feljtonskih i emisija iz kulture, poput Ekrana na ekranu, Malih noćnih razgovora i Kulture srca, Miladinov je realizirao i brojne dokumentarne serijale, poput Zadnje pošte Zagreb i serijala Žestoke priče, u kojima su u formatu televizijskog filma stasali brojni danas znani redatelji. Neke je filmove sklanjao od javnosti (poput Mrtve luke Nenada Puhovskog), a neke gurao snoseći i amortizirajući udarce politike i javnosti (Nikša Fulgosi). Nažalost, kako je televizijska teorija i publicistika u nas uvijek bila u malobrojnim ozbiljnim pokušajima ili tek u nadležnosti dnevnog tiska, prave valorizacije tog iznimno produktivnog autora nema. Osim, naravno, sjećanja njegovih suvremenika, no i ona, poput nerestaurirane televizijske vrpce, malo-pomalo blijede. The title of this program probably best reflects how the times have changed in the world of film since the 1970s. Although today it is customary to give credit for the film to the director – in this case it is Mladen Juran – during the golden age of the Zagreb Television, it was the producers and editors whose names were attatched to the film. Their names served as a guarantee to the young academics and directors that they will get the chance to realise their first projects, that they will get paid for it, and most importantly, that their work will be seen by the entire Yugoslav viewership, counting millions of people. Along with Anton Marti in entertainment, Angel Miladinov (1928 – 1984) was probably the most influential editor at the Croatian Television at the time. From shows covering film festivals, to talk-shows and shows about culture, Miladinov realised numerous documentary serials in TV film format, including Last Post Zagreb and Wild Stories, in which many, now famous directors, honed their craft. There were some films that he hid from the eyes of the public (Dead Harbor by Nenad Puhovski), but there were those that he pushed forward (Nikša Fulgosi), softening the blows dealt by politics and the public. Unfortunately, in Croatia, theory and texts dealing with television have never been prolific and were mostly limited to the daily press. Thus, there has been no real valorisation of the work by this extremely productive author. He lives, of course, in his contemporaries’ memories, but they too, much like the unrestored television tapes, gradually fade. Željko Luketić 194


Zagreb pjeva Zagreb Is Singing

Tržnica The Market

Grad pun glazbe: od sobe mladića s plakatima rock-izvođača na zidu preko pjevača iz srednje Muzičke škole Blagoja Berse, zborskih proba, žive glazbe u restoranima do mladih u klubu, koncerta džeza u Lapu i legendi poput Stjepana Jimmyja Stanića, Arsena Dedića i Fatsa Domina.

Zagrebačka tržnica Dolac i sve oko “placa”. Dolac, a famous Zagreb market and the surrounding area. DIR. Mladen Juran SC. Zvonimir Milčec DOP Fuad Al Sadek EDIT. Žana Gerova PROD. HRT UR. Angel Miladinov 1977 26’1’’

The city is overflowing with music: from rock posters on teenagers’ walls, singers at the Blagoje Bersa Music School, choir re­ hearsals, live music in restaurants, to young people clubbing, jazz concerts in Lap, and legends like Stjepan Jimmy Stanić, Arsen Dedić, and Fats Domino. DIR. Mladen Juran SC. Zvonimir Milčec DOP Ivo Orešković EDIT. Žana Gerova PROD. HRT UR. Angel Miladinov 1977 25’18’’

Duga na neboderu Rainbow on a Skyscraper Priča o došljacima koji u novim uvjetima života gradske monotonije nastoje očuvati osjećaj slobodnog prostora u pejzažu i običaje koji im život čine sadržajnijim i postojanim. A story about people new to the city, trying to fight the tedium of urban life by preserving a sense of open space, as well as the customs which give their lives stability and meaning. DIR. Mladen Juran SC. Zvonimir Milčec DOP Fuad Al Sadek EDIT. Žana Gerova PROD. HRT UR. Angel Miladinov 1977 26’11’’

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VIDEODROM: GLAZBENI SPOTOVI IZ KONKURENCIJE NAMJENSKOG FILMA VIDEODROME: MUSIC VIDEOS FROM COMMERCIAL FILM COMPETITION VINYL BAR & BAR 22. 4. 2016. 23:00

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Što danas s glazbenim spotom? What About Music Video? Video je, kako su 1979. pjevali Buggles, ubio radio. Je li onda konačno YouTube dotukao i video? Specijalizirani kanal koji je osamdesetih pokrenuo revoluciju u snimanju glazbenog videospota kao specifičnog oblika reklamnog filma danas gotovo i ne vrti glazbu, nego beskonačne serijale realityja. U Hrvatskoj ga je javna televizija stavila u noćni termin, sugerirajući možda da u dnevnome za njega nema mjesta. Sve to uzrokovalo je niske budžete spotova, no znači li to i da im je i kvaliteta niža? Ovogodišnja konkurencija možda će dokazati da nije, a baš kao i prošle godine odlučili smo je premjestiti u prirodnije utočište, u glazbeni klub u kojemu ljudi mogu zaplesati, popiti piće i opuštenije konzumirati tu natjecateljsku vrstu. Ove godine to je Vinyl, mjesto pored Nove ploče, koju je otvorila Croatia Records, najveći diskograf na ovim prostorima i ovogodišnji ekskluzivni pokrovitelj videovečeri. Dobri ljudi iz te kuće na svome su kanalu CMC prije početka Dana hrvatskog filma spotove iz konkurencije ubacili u “jaku rotaciju” i tako omogućili da ih što veći broj ljudi vidi. Što je, uostalom, i neprikrivena želja svakog glazbenog spota. Kad već neće MTV. “Video killed the radio star”, the Buggles sang in 1979. Could it be that YouTube has finally done the same to video? In the 1980s, MTV revolutionised the music video as a specific type of a video commercial. Today, this specialised music channel barely plays music at all. It has moved on to endless reality series. In Croatia, public television moved the music program to a late-night slot, suggesting perhaps that there is no place for it on day-time TV. All this has caused a drop in budgets for music videos, but does that mean that their quality has dropped as well? This year’s competition may prove otherwise. Just like last year, we have decided to relocate the music video competition to a more natural surroundings, a music club where people can dance, drink a few drinks, and enjoy the program in a relaxed atmosphere. This year, the screenings will take place at the Vinyl Club, a space next to Nova ploča – a cafe and music shop opened by Croatia Records, the largest record label in the region, and this year’s exclusive sponosr of videonights. As a prelude to the Croatian Film Days, the good people from Croatia Records have played the videos from the competition with a more intensive frequency in order to make them visible to a larger audience. After all, that is the apparent purpose of every music video. Since MTV won’t do it. Željko Luketić

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Bang Bang: Ne zaboravi me, Ljubo Zdjelarević, Kinoteka, 4’56’’, 2016 Elemental: Sve je moje tuđe, Marko Milovac, C47 Film, 3’41’’, 2015 Gonzo: Gad, Luka Vucić, Studio Vucić, 3’17’’, 2016 Hladno pivo: Firma, Andrej Korovljev, Gajba Records, 3’15’’, 2015 Iv/An: Kuća, Dražen Kuljiš, 4’2”, 2016 Ivana Rushaidat & Rakete: Jednog od vas, Dalibor Barić, prod. Vlado Mirčeta, Berko Muratović, 3’4’’, 2015 Lollobrigida: Kontrola, Staša Tomić, prod. Ida Prester, 3’31’’, 2015 Pink Studio: Sasvim tvoje, Janja Pilić, prod. Janja Pilić, M. Peteh-Kazija, Josipa Pilić, 3’19’’, 2016 The Embla feat. Tea Stražičić: Okky Luck, Tea Stražičić, Adriatic Animation / The Animation Workshop, HR, DK, 3’31’’, 2015 VIS ŠubidubiDa!: Nisam ja taj, Jelena Oroz, 3’58’’, 2015

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SPID – Mala pravna klinika za scenariste SPID – The Legal Clinic for Screenwriters Savez scenarista i pisaca izvedbenih djela Namjera je Male pravne klinike Saveza scenarista i pisaca izvedbenih djela potaknuti raspravu o scenarističkim autorskim pravima. Danijel Snoj, odvjetnik koji se bavi područjem zaštite autorskih prava, i scenaristice Jasmina Kallay i Sanja Kovačević približit će zainteresiranima ključne elemente dobrog autorskog ugovora te ukazati na koje se načine scenaristi mogu aktivnije zauzeti za svoj položaj. SPID je osnovan 2015. godine radi promicanja prava i obveza pisaca izvedbenih djela. Zalaže se za adekvatno vrednovanje njihova rada, sustavno podržavanje i zaštitu dosljednom primjenom Zakona o autorskom pravu i srodnim pravima. Ciljevi su svakako pružanje mehanizama zaštite, uspostavljanje standarda autorskih ugovora koje pisci potpisuju s produkcijskim, kazališnim, televizijskim i izdavačkim kućama, strukovnih cjenika itd. Scenaristi i pisci izvedbenih djela danas su jedni od nosilaca kreativne inovativnosti pa na njima leži i specifična odgovornost da se uz zalaganje za vlastita prava angažiraju i oko donošenja strukovnih principa i okvira za buduće autorskopravne i tržišne regulative, kako na hrvatskoj tako i na međunarodnoj razini.

Croatian Screenwriters and Playwrights Guild The Legal Clinic, organised by the Croatian Screenwriters and Playwrights Guild (SPID), aims to encourage the discussion about the screenwriters’ author rights. Danijel Snoj, a lawyer specialised in authors’ rights protection, and screenwriters Jasmina Kallay and Sanja Kovačević will explain the key features constituting a good copyright contract, and give advice on how screenwriters can actively stand up for themselves. The SPID was founded in 2015, in order to promote the rights and obligations of playwrights. The Guild advocates an adequate evaluation of writers’ work, as well as systematic support and protection under the Law on Copyright and Related Rights. The goals include ensuring proper protection mechanisms, formulating the standard for the copyright contract signed by writers, as well as establishing a standardised price list, etc. Screenwriters and playwrights are among the pillars of creative innovation. Thus, they shoulder the responsibility to assert their rights, as well as to actively participate in the articulation of professional standards and set the framework for the future legal copyright and market regulations.

DVORANA MÜLLER 22. 4. 2016. 18:00 202


Sve što ste ikada željeli znati o prijavi filma na HAVC (a niste se usudili pitati) Everything You Have Ever Wanted to Know About Applying Your Film for HAVC Support Scheme (But Were Too Afraid to Ask) Odjel za filmsku proizvodnju i komplementarne djelatnosti HAVC-a Odjel za filmsku proizvodnju i komplementarne djelatnosti Hrvatskog audiovizualnog centra zadužen je za provođenje javnog poziva za poticanje komplementarnih djelatnosti i javnog poziva za poticanje audiovizualnih djelatnosti i stvaralaštva u kategorijama: audiovizualnih djela, filmskih koprodukcija s manjinskim hrvatskim udjelom, razvoja scenarija i projekata dugometražnih igranih, dokumentarnih i animiranih filmova te poticanja razvoja scenarija i projekata televizijskih djela. Odjel se bavi praćenjem realizacije projekata odobrenih na javnim pozivima od prve do završne faze. Provođenje javnih poziva, razmatranje, vrednovanje, odobravanje projekata i praćenje njihove realizacije odvija se sukladno Pravilniku o postupku, kriterijima i rokovima za provedbu Nacionalnog programa promicanja audiovizualnog stvaralaštva. Na prezentaciji ćemo predstaviti najčešća pitanja i nedoumice korisnika, pojasniti uvjete javnog poziva za poticanje proizvodnje audiovizualnih djela uz poseban naglasak na online bazu i prijavljivanje na taj natječaj.

Department of Film Production and Complementary Activities Department of Film Production and Complementary Activities at the Croatian Visual Centre is responsible for implementing the public call for complementary activities support scheme, and the public call for audiovisual activities and production support scheme in the following categories: audiovisual works, Croatian minority co-productions, screenplay development, as well as feature fiction, documentary, animation, and television projects. The Department oversees the realisation of the projects approved through public calls, from their initial to final stage. The implementation of public calls, including the process of consideration, evaluation, and approval of projects, as well as supervision of their realisation are all conducted in accordance with the Regulations on the procedure, criteria, and deadlines for the implementation of the National Programme for the Promotion of Audiovisual Creation. At the presentation, we will address the most frequently asked questions and common concerns, as well as elaborate on the terms of the public call for audiovisual production support scheme, with a special focus on the online database and the application process.

DVORANA MÜLLER 22. 4. 2016. 12:00

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Što s filmom kada je gotov? The Film Is Completed – What Now? Odjel za promociju i plasman Hrvatskog audiovizualnog centra Snimiti dobar film predstavlja 50 % rada na projektu – no kako razviti strategiju koja će ga dovesti u ruke odgovarajućeg selektora, prodajnog agenta ili distributera? Odjel za promociju i plasman Hrvatskog audiovizualnog centra provodi različite programske djelatnosti pomoću kojih ispunjava zadaću krovnog promotora hrvatskih filmova, autora i filmskih djelatnika u Hrvatskoj i inozemstvu. Aktivnosti odjela usmjerene su na povećanje međunarodne vidljivosti hrvatske kinematografije, a samim time i na plasman filmova na filmske manifestacije diljem svijeta. Aktivnosti obuhvaćaju nastupe na organiziranim filmskim sajmovima, suradnju s međunarodnim filmskim festivalima te suradnju s veleposlanstvima RH u svijetu, kao i s ostalim platformama koje omogućuju vidljivost hrvatskih autora i njihovih radova. Na prezentaciji ćemo se baviti pitanjem kako Odjel za promociju i plasman može pomoći u izgradnji festivalske strategije te plasmana filma na međunarodne manifestacije.

Department of Festivals and Promotion Making a good film means accomplishing 50% of work on the project – but how do you develop a strategy which will deliver the film into the right hands, be it selectors, a sales agent, or a distributor? Department of Festivals and Promotion at the Croatian Audiovisual Centre carries out various program activities related to the promotion of Croatian films, authors and film professionals in Croatia and abroad. The activities of the Department are directed towards increasing the international visibility of Croatian film, as well as the presence of Croatian films at film events around the world. The activities encompass presentations at film markets, cooperation with international festivals and Croatian embassies around the world, as well as with other platforms that help improve the visibility of Croatian authors and their work. The presentation will focus on ways in which the Department of Festivals and Promotion can help devise festival strategies and assist in placing your film at international festivals.

DVORANA MÜLLER 22. 4. 2016. 14:00

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Kako razvijati i predstaviti projekte u početnoj fazi za međunarodno tržište Projects in Development – Development and Pitching for International Market Radionica je namijenjena i profesionalcima i studentima filmskih odsjeka koji razvijaju igrani ili dokumentarni film, a nudi odgovore na pitanja kako pripremiti i predstaviti projekt producentima, distributerima, ali i publici. Sastoji se od četiri bloka: analize strukture scenarija, pitchinga, indivudualnih sastanaka do generalnih proba za pitching. Nakon radionice održat će se završni pitching forum na kojem će sudionici predstaviti svoje projekte. Ove godine uvodi se nagrada za najbolji pitching, što će pobjedniku omogućiti izravno sudjelovanje na radionici MIDPOINT – Feature Launch od 21. do 26. kolovoza u Ponešicama u Češkoj. Dobitnici nagrade bit će objavljeni zajedno s ostalim dobitnicima nagrada 25. DHF-a. Predavanje Roshanak Behesht Nedjad bavit će se pitanjima koja su otvorena na radionici, a bit će otvoreno za javnost: kako se pripremiti za sastanke s financijerima, koje su informacije relevantne, što podijeliti s financijerima i kada itd. Njemačka producentica Roshanak Behesht Nedjad uspjeh je ostvarila u nizu filmova, npr. Havanna mi amor i Football Under Cover (Prix Europa Iris). Članica je Europske i Njemačke filmske akademije te diplomantica i mentorica najpoznatijeg edukativnog programa za producente EAVE – European Audiovisual Entrepreneurs. The workshop is intended for professionals and film students who are developing a fiction or documentary film. It provides guidance on how to prepare and pitch a project to producers, distributors, and the public. It consists of four parts: analysis of the screenplay structure, pitching, individual meetings, and general rehearsals for the final pitching. After the workshop, the final pitching forum will take place, where the participants will present their projects. This year, we are introducing the award for Best Pitching, and the winner will be granted direct participation at the MIDPOINT – Feature Launch workshop, taking place from 21 to 26 August, in Ponešice, Czech Republic. The winners of the award will be announced along with the other winners of the 25th Croatian Film Days. Roshanak Behesht Nedjad’s lecture will be open for public, and it will deal with issues raised at the workshop: how to prepare for the meeting with the financiers, which information is relevant, what to share with the financiers and when, etc. Roshanak Behesht Nedjad is a German producer who achieved success with a number of films; e.g. Havanna mi amor and Football Under Cover (Prix Europa Iris). She is a member of the European and German Film Academies, as well as a graduate of EAVE (European Audiovisual Entrepeneurs), a prestigious European educational program for producers, where she works as a mentor.

PITCHING FORUM DVORANA MÜLLER 21. 4. 2016. 12:00

RADIONICA / WORKSHOP MALA DVORANA KINA TUŠKANAC 19. – 20. 4. 2016.

PREDAVANJE / LECTURE DVORANA MÜLLER 22. 4. 2016. 10:30

VODITELJICA / MENTOR Roshanak Behesht Nedjad ŽIRI PITCHING FORUMA / PITCHING FORUM JURY Roshanak Behesht Nedjad, Martina Petrović 205


Radionica filmske kritike Critical Writing Workshop

Filmove nije dovoljno snimati, o njima valja razmišljati šireći ili propitujući značenja, poruke i ideje koje komuniciraju, kao i odnos koji uspostavljaju prema datosti jezika vlastita medija i njegove povijesti. Stoga su sastavni dio svake kinematografije kritičarska pera, čiji je zadatak uvjerljivo opisati njene umjetničke svjetonazore te postupke kojima su uobličeni. Cilj je radionice kritike obučiti nove kritičarske snage koje će o domaćem filmu pisati analitično i argumentirano te čiji će esejistički oblikovan diskurs imati samostalnu umjetničku vrijednost. Hrvatskom filmu jednako trebaju oni koji će ga nadahnuto hvaliti kao i oni koji će odgovorno i stručno preuzeti zadaću procjene njegovih dostignuća i tako preuzeti odgovornost što je sa sobom nose estetska i druga vrednovanja. Polazeći od iskušane formule da se do šireg značenjskog luka dolazi minucioznim razmatranjem filmskih izražajnih sredstava, polaznike će se potaknuti da dubinski provedenu analizu koja teži biti interpretacijom zaodjenu u stilski izbrušene tekstove. Radionica je mišljena kao mjesto dijaloga o aktualnim kretanjima hrvatskog filma i poligon za testiranje i lansiranje kvalitetnog kritičkog diskursa. Tijekom trajanja festivala pisat će se kraći tekstovi o filmovima iz konkurencije, a po njegovu završetku polaznici će moći proširiti oglede, s time da će najbolji biti objavljeni u Hrvatskom filmskom ljetopisu. It is not enough to make films. They should be contemplated; their meanings, messages and ideas should be challenged, questioned and expanded. Integral to every national cinema, the critic’s task is to offer a convincing description of the artistic worldviews and devices that have formed it. This workshop aims to empower new critical forces, teaching them an analytical and informed approach to critical writing. They will adopt the skills of essayistic discourse, which has artistic value on its own. Relying on the well-known rule that broader meaning is reached through a close look at the film devices, the participants will be encouraged to develop their interpretations into stylistically refined texts. The workshop is intended as a space for free dialogue about current trends in Croatian film, as well as a testing ground for sound critical discourse. During the Festival, the participants will write short texts on films screened in the Competition Program. Afterwards, they will have the opportunity to expand their texts, while the best works will be published in the Croatian Film Chronicles. Višnja Vukašinović

MALA DVORANA KINA TUŠKANAC 20. – 24. 4. 2016. VODITELJICA / MENTOR Višnja Vukašinović

POLAZNICI / PARTICIPANTS Andrea Borović, Ivan Ileković, Krešimir Matešić, Kristina Marić, Kristina Vrdoljak, Luka Čubrić, Matej Beluhan, Zvonimir Grujić

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Dum spiro spero, prolegomena knjizi Dum Spiro Spero – Prolegomena to the Book

Prihvativši se rada na dokumentarnom filmu, autor je bio svjestan da u njemu neće moći iznijeti sve što misli o temi koja ga je okupirala. To ne bi bilo ni potrebno, a ni primjereno mediju. U filmu se prvenstveno usredotočio na pokretanje razgovora i razmišljanje o tome kako razgovarati. Budući da mu je nakon filma ipak preostalo mnogo toga za reći, okrenuo se sredstvu u kojem je najiskusniji – pismu. Knjiga istoimenog naslova osnova je na kojoj je izniknuo film, ali i nadopuna i objašnjenje nedorečenog. Ona pokazuje kako se ista tematika prelama u različitim medijima; da je sredstvo, put, ujedno sastavni dio cilja. Isti sadržaj drugačije djeluje na filmskom platnu, a drugačije kao crna slova na bijelom papiru. Drugačije djeluje na gledatelja, kojem nameće ritam izlaganja, a drugačije kada se ritam usvajanja prepušta čitatelju. Dohvativši se teme koja se smatra teškom pa je stoga mnogi izbjegavaju, a koja ujedno malokoga ostavlja ravnodušnim pa je mnogi zlorabe, autor je pokušao naći delikatnu ravnotežu s kojom dolazi do odgovora koji je tražio.

When he started working on his documentary, the author realised that he wouldn’t be able to share in it all the thoughts about the subject that weighed on his mind. An extensive elaboration of the topic was neither necessary nor suitable for the medium of film. The primary purpose of the film was to start a discussion and find the right way to approach the subject in conversation. As he still had a lot to say after finishing the film, he turned to the medium in which he was most experienced – writing. Bearing the same title as the film, the book represents both the basis on which the film was made and the elaboration of that which was left unsaid. It shows how the same topic behaves in different media. At the same time, it reveals that the means, as well as the journey itself, are an essential part of the destination itself. The same content has different effects on the big screen and on paper. Its impression on the viewer, on whom it imposes the rhythm of presentation, differs from the one it leaves on the reader, who chooses his own pace at which to take in the content. Widely considered as hard, the subject of the book is avoided by a large number of people. At the same time, it is also an emotionally charged topic, and as such, it is often manipulated. Aware of the sensitive nature of the matter, the author tried to find a delicate balance in his approach, finally arriving at the answer he was looking for. Pero Kvesić

DVORANA MÜLLER 23. 4. 2016. 18:00

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Okrugli stol: Filmski festivali Round Table: Film Festivals

Znate li koje je prvo pitanje koje si upute dva organizatora filmskih festivala u Hrvatskoj kada se slučajno sretnu? “Jesi dobio pare?” Ne, to nije vic, to je, nažalost, istina. Situacija u kojoj se nalazi cijela zemlja nije blistava, a u toj situaciji stvari su u sektoru kulture još teže. Stalno se suočavamo s financijskim rezovima i restrikcijama, kao i sa sve većim očekivanjima publike, koja od nas traži nešto novo, neviđeno, nedoživljeno. I to s punim pravom! Dovitljivi festivalski organizator se iz godine u godinu s veseljem baca u rješenje pitanja kako za što manje novca svojoj publici ponuditi što više. Budući da se mnogi filmski festivali suočavaju s približno sličnim problemima, Pulski filmski festival je 2014. godine pokrenuo inicijativu druženja profesionalaca iz organizacije i financiranja filmskih festivala. Inicijativa je zaživjela, i festivalski organizatori redovito se susreću na odabranim festivalima kroz godinu. Cilj je tih druženja razmijeniti iskustva i pokušati zajedničkim snagama pokrenuti nove suradnje i inicijative. Tako će se i ovoga travnja na rođendanskim Danima hrvatskog filma sila festivalskih organizatora okupiti i pokušati zajedno doći do rješenja svojih specifičnih problema. Do you know the first question two Croatian festival organisers ask when they run into each other? “Did you get the money?” No, it’s not a joke, it is a sad truth. The situation in the country is not exactly bright, but for the cultural sector it is even grimmer. We are constantly faced with financial cuts and restrictions, as well as the growing expectations of our audience, who want to see something new, unseen, unexpected. And rightly so! Year after year, the resourceful festival organisers enthusiastically get down to solving the issue of how to make the best of the meagre budget at their disposal. Since many film festivals are facing similar problems, the Pula Film Festival initiated, in 2014, the gathering of professionals from organisational and financial sections. The initiative took root, and organisers regularly meet at selected festivals throughout the year. The aim of these meetings is to exchange experiences and combine forces in order to move forward with new collaborations and initiatives. This April, the birthday edition of the Croatian Film Days will host a crew of festival organisers, who will try to come up with joint solutions to specific problems. Zdenka Gold DVORANA MÜLLER 21. 4. 2016. 16:00

208


Okrugli stol: Glazba i film Round Table: Music and Film

Videospot, glazbeni dokumentarac, pa čak i mjuzikl. Jednih ima mnogo, no produkcijski zaostaju za zlatnim godinama MTV-a. Drugih ima malo, iako imamo čak dva specijalizirana festivala. Trećih u hrvatskom filmu gotovo i nema. Zašto je odnos glazbe i filma u Hrvatskoj toliko suzdržan i oprezan? Je li to pitanje autorskog prava, rijetkih i skupih arhivskih materijala, nedostatka kanala distribucije? Koliko pomažu CMC i Jugoton TV? Je li dovoljan YouTube kao primarna online distribucija? Kako izdavači pomažu i oslanja li se sve više autora na neprofesijsku estetiku DIY? Zašto su velika hrvatska imena pop i rock glazbe dokumentaristički neobrađena? Koliko dokumentarac može pomoći u upoznavanju povijesti naše glazbe? Primjerice, nakon smrti Ane Štefok i Tomice Simovića nitko se nije odvažio nešto snimiti o njima. Je li to financijski prezahtjevan posao? Koliko su dokumentaristi zapravo zainteresirani za glazbeni dokumentarac, a redatelj za glazbeni spot kao nešto više od usluge za prijatelje? Nesumnjivo, gledatelji vole glazbeni film ili film o glazbi. Razgovaramo o iskustvima glazbenika, izdavača i filmskih autora na okruglome stolu posvećenom odnosu dvaju medija.

A music video, music documentary, even musical – there are plenty of those from the first category, although in production they lag behind the golden years of the MTV; the second category is somewhat sparse, although we have two festivals specialised just for the genre in question; the thrid category is almost completely absent from the Croatian film. Why is the relationship between music and film in Croatia so restrained and guarded? Is it the question of authors’ rights, of rare and expensive archival material, or the lack of distribution channels? Is YouTube enough as a primary online distribution platform? What is the role of record labels, and is the number of authors relying on the unprofessional DIY aesthetics gradually increasing? Why are there so few documentaries about the great names of Croatian pop and rock music? Is the task financially too demanding? Exactly how interested are documentary filmmkers in the genre of music documentaries? Does the interest of directors when it comes to music videos stretch beyond doing a favour for a friend? The only thing that remains certain is that viewers like music documentaries or documentaries about music. At this round table we will talk about the relationship between film and music and discuss the related experiences of musicians, record producers, and filmmakers. Željko Luketić

DVORANA MÜLLER 22. 4. 2016. 16:00

209


Okrugli stol: Postoji li u Hrvatskoj psihotronički film? Round Table: Is There a Psychotronic Film in Croatia?

Filmski publicist Michael Weldon definirao je psihotronički film kao film s ruba, često jakog žanrovskog opredjeljenja, snimljen za vrlo mali budžet. Sinonima i nerazumijevanja tih kategorija u domaćem je filmu i publicistici mnogo. Uvriježilo ih se sve zajedno pogrdno nazivati trash, iako jasna distinkcija postoji: niti su svi drive-in i B-filmovi trash, niti je on ujedno i camp, a niti je svaki pornografski naslov ginekološka ekskurzija u neukus. Estetizacija rubnog često upada u svjetonazorski svijet grešnoga zadovoljstva, iako je, primjerice, camp već pokazao svoju političnost i društvenu vrijednost. Zašto se ta margina često smatra za oznaku kakvoće? Je li u Hrvatskoj moguće da mladi redatelj poput Petera Jacksona krene od filma kakav je Bad Taste i završi u epskim ekranizacijama Tolkiena? Zašto je hrvatske filmaše tako teško natjerati “na rub”? Zbog čega lezbijsko milovanje u Sedlarovoj Agoniji izaziva skandal, dok se prva kopija Maycugove Oaze uništava sudskom odlukom? Koliko je hrvatska kritika i kultura spremna uvažiti taj moderni (ne)estetički koncept i prepustiti se emotivnom zagrljaju kultnog filma, čiju vrijednost definira publika? Tko su naši redatelji koji su se odvažili prijeći određene konvencije? Film publicist Michael Weldon defined the psychotronic film as a marginalised film, often clearly defined by clear-cut genre attributes, and made on a shoestring budget. The widespread denotation for these films is the pejorative term trash, although there is a clear distinction between the two. Not every drive-in and B-film is trash, and not all trash is camp, and, finally, not every porno film is a gynaecological excursion through bad taste. Aestheticizing of the marginal is often perceived as guilty pleasure, even though camp has already proved its political and aesthetic value. Why is the margin often taken as a sign of quality, or lack thereof? Is it conceivable for a young director in Croatia to start out like Peter Jackson, by making a film such as Bad Taste, and then go on to make epic adaptations like The Lord of the Rings? Why is it so hard for Croatian filmmakers to approach the margin? Why does the lesbian caressing in Sedlar’s Agony cause scandal, while the first copy of Maycug’s Oasis gets destroyed on court order? How much are the Croatian critics and cultural scene prepared to accept this modern (none)aesthetic concept and let go to the emotional embrace of the cult film, the value of which is defined by the audience? Which Croatian directors dare cross certain conventions? Željko Luketić

DVORANA MÜLLER 23. 4. 2016. 16:00

210


Salon odbijenih Salon of the Rejected

Filmovi pristigli na javni poziv 25. Dana hrvatskog filma vrijedan su dokument godišnje hrvatske produkcije kratkometražnog i srednjometražnog filma. Najbolji se natječu u glavnim konkurencijama, a oni koji nisu ušli u službenu natjecateljsku selekciju pripadali su takozvanom Salonu odbijenih. Koncept uvažavanja svih prijava počeo je još na legendarnom Genre Film Festivalu u Zagrebu, a takav je princip postao standard i na Danima hrvatskog filma, gdje je čak osmišljena i posebna nagrada za najbolji odbijeni film. Od prošlogodišnjih Dana hrvatskog filma više se ne dodjeljuje nagrada Salona odbijenih, ali duga dobra tradicija uvažavanja svakog filmskog rada svakako se nastavlja. Svi se prijavljeni filmovi mogu pogledati tijekom trajanja festivala u dvorani Müller u kinu Europa, a na zadnjim stranicama kataloga možete pronaći i popis svih prijavljenih filmova na 25. Dane. All the entries for the 25th Croatian Film Days are a valuable document of annual Croatian short and mid-length film production. The best are competing in the official program, while those that haven’t made the official selection belong in the socalled Salon of the Rejected. The concept of giving recognition to all entries started at the legendary Genre Film Festival in Zagreb, after which the Croatian Film Days adopted it as its own standard approach, adding a special award for the best rejected film. From this year, the Festival will no longer award prizes to the best from the Salon, but it will continue the established positive tradition of recognizing every film. All entries will be available for viewing in the video bar for the duration of the Festival. On the back pages of the catalogue, you will find the list of all Festival entries.

DVORANA MÜLLER VIDEOBAR 21. – 24. 4. 2016. 12:00 – 20:00

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INDEKS INDEX


Nagrade 24. Dana hrvatskog filma

Veliki žiri: Vanja Jambrović, Dragan Jurak, Mladen Đorđević Grand prix – najbolji film: Piknik, Jure Pavlović, producenti Jure Pavlović, Luka Venturin, Sekvenca Najbolja režija: Hana Jušić, Da je kuća dobra i vuk bi je imao Posebno priznanje za režiju: Igor Bezinović, Veruda – film o Bojanu Najbolji scenarij: Dalibor Barić, Tomislav Babić, Nepoznate energije, neidentificirani osjećaji Najbolja gluma: Emir Mušić, Aleksandar Seksan, Piknik (režija Jure Pavlović) Najbolja montaža: Marko Ferković, Spomenik (režija Igor Grubić) Najbolje oblikovanje zvuka: Tomislav Babić, Nepoznate energije, neidentificirani osjećaji (režija Dalibor Barić, Tomislav Babić) Najbolja kamera: Boris Poljak, Rakijaški dnevnik (režija Damir Čučić) Najbolja manjinska koprodukcija: Kokoška, Una Gunjak (Nukleus film) Vijeće za etiku i ljudska prava: Vesna Teršelič, Višnja Ljubičić, Tin Gazivoda Nagrada za etiku i ljudska prava: Razred, Vesna Čudić Nagrade Hrvatskog društva filmskih kritičara: Krešimir Košutić, Igor Saračević, Ivan Žaknić Diploma Vladimir Vuković za najboljeg mladog kritičara: Stipe Radić Nagrada Vladimir Vuković za najboljeg kritičara u 2014. godini: Vladimir Cvetković Sever

Skupština Hrvatskog društva filmskih kritičara Nagrada Vladimir Vuković za životno djelo: Živorad Tomić Zlatni Oktavijan za životno djelo: Željko Senečić Članovi Hrvatskog društva filmskih kritičara Oktavijan za namjenski film: Lokalni razvoj vođen zajednicom, Natko Stipaničev; Uspavanka, Zdenko Bašić Oktavijan za eksperimentalni film: A.D.A.M., Vladislav Knežević Oktavijan za animirani film: Život s Hermanom H. Rottom, Chintis Lundgren Oktavijan za dokumentarni film: Veruda – film o Bojanu, Igor Bezinović Oktavijan za igrani film: Kokoška, Una Gunjak Žiri Društva hrvatskih filmskih redatelja: Nikola Strašek, Jasna Zastavniković, Josip Žuvan Nagrada Jelena Rajković: Tin Žanić, Manjača Žiri pitching foruma: Martina Petrović, Roshanak Behesht Nedjad Lidija Špegar, projekt Strgano Nagrada publike Razred, Vesna Čudić

214


24th Croatian Film Days Awards

Grand Jury: Vanja Jambrović, Dragan Jurak, Mladen Đorđević Grand Prix – Best Film: Picnic, Jure Pavlović, producers Jure Pavlović, Luka Venturin, Sekvenca Best Direction: Hana Jušić, No Wolf Has a House Special Mention for Direction: Igor Bezinović, Veruda – A Film About Bojan Best Screenplay: Dalibor Barić, Tomislav Babić, Unknown Energies, Unidentified Feelings Best Acting: Emir Mušić, Aleksandar Seksan, Picnic (director Jure Pavlović) Best Editing: Marko Ferković, Monument (director Igor Grubić) Best Sound Design: Tomislav Babić, Unknown Energies, Unidentified Feelings (directors Dalibor Barić, Tomislav Babić) Best Camera: Boris Poljak, The Spirits Diary (director Damir Čučić) Best Minority Co-production: The Chicken, Una Gunjak (Nukleus film) Ethics and Human Rights Committee: Vesna Teršelič, Višnja Ljubičić, Tin Gazivoda Ethics and Human Rights Award: Razred, Vesna Čudić Oktavijan Awards Granted by the Croatian Film Critics’ Association: Krešimir Košutić, Igor Saračević, Ivan Žaknić Vladimir Vuković Diploma for Best Young Critic: Stipe Radić Vladimir Vuković Award for Best Critic in 2014: Vladimir Cvetković Sever

Croatian Film Critics’ Association Assembly Vladimir Vuković Award for Life Achievement in Criticism: Živorad Tomić Golden Oktavijan for Life Achievement: Željko Senečić Croatian Film Critics’ Association Members Oktavijan for Best Commercial Film: Community-Led Local Development, Natko Stipaničev; The Lullaby, Zdenko BašIć Oktavijan for Experimental Film: A.D.A.M., Vladislav Knežević Oktavijan for Animated Film: Life with Herman H. Rott, Chintis Lundgren Oktavijan for Documentary Film: Veruda – A Film About Bojan, Igor Bezinović Oktavijan for Fiction Film: The Chicken, Una Gunjak Croatian Film Directors’ Guild Jury: Nikola Strašek, Jasna Zastavniković, Josip Žuvan Jelena Rajković Award: Tin Žanić, Manjaca Pitching Forum Jury: Martina Petrović, Roshanak Behesht Nedjad Lidija Špegar, project Strgano (Broken) Audience Award: The Class, Vesna Čudić

215


SVI PRIJAVLJENI FILMOVI NA 25. DANE HRVATSKOG FILMA (HR ONLY)

\\, piNO i.j., 7’33’’, 2015, dokumentarni #samoljubav, Ana Pavlić, Kinoklub Zagreb, 4’27’’, 2015, eksperimentalni 58%, Bojan-Haron Markičević, Restart – Škola dokumentarnog filma, 5’17’’, 2015, dokumentarni Accident – Accident, Dinko Čvorić, 2’9’’, 2015, namjenski Acid Carrots & Parsley-Man – Maginja, Dinko Čvorić, 3’52’’, 2015, namjenski Acid Carrots & Parsley-Man – Retro Mission, Dinko Čvorić, 1’1’’, 2015, namjenski Akvarij s umjetnim ribicama, Bojan Mucko, Restart – Škola dokumentarnog filma, 11’, 2015, dokumentarni Baku 2015., Dinko Čvorić, 44’3’’, 2016, dokumentarni Biciklić – Kosti, Dinko Čvorić, 1’38’’, 2016, namjenski Cres, Dinko Čvorić, 5’15’’, 2015, namjenski Crtači, Krešimir Lendić, Trotoar d.o.o., 36’14’’, 2015, dokumentarni Čudnoređe – Zaboravit ću da sam u kurcu, 5’ 27’’, Dinko Čvorić, 2015, namjenski Do Kite i natrag, Dinko Čvorić, 8’30’’, 2015, namjenski Doringo-Mrežnica, Dinko Čvorić, 2’2’’, 2015, namjenski Dosh Lee – Kaktus Galaktus, Dinko Čvorić, 1’50’’, 2015, namjenski Dosh Lee – Statisti (Live@Jabuka), Dinko Čvorić, 3’17’’, 2015, namjenski Dum Spiro Spero, Pero Kvesić, Factum, 52’0’’, 2016, dokumentarni Flashback Croatia 1990, Pavle Vranjican, AREA, 81’27’’, 2015, dokumentarni Grad duhova, Marko Dješka, Zagreb film, 12’11’’, 2016, animirani Izlet – Mon ami, Dinko Čvorić, 5’24’’, 2015, namjenski Izlet – Sadašnji trenutek, Dinko Čvorić, 2’45’’, 2015, namjenski Izlet – Svemir, Dinko Čvorić, 3’32’’, 2015, namjenski Krek, Matija Fućek, Centar za kulturu i film Augusta Cesarca, 35’15’’, 2016, dokumentarni La peintre enchanteur, Željko Kipke, Muzej Matija Skurjeni, 7’3’’, 2016, eksperimentalni Lijepom našom s Goranom Bregovićem, Goran Bregović, CMC TV, 48’17’’, 2015, dokumentarni Moj djed boksačka legenda, Jani Zombori Banovac, Filmski Centar Istre, 44’30’’, 2015, dokumentarni Moja srodna duša, Marin Mandir, Kinoklub Zagreb, 22’30’’, 2015, igrani Nina Varga – Stvori me, Dinko Čvorić, 3’3’’, 2015, namjenski Ništa lažno-Savska 66, Pavle Vranjican, ART 888..., 50’20’’, 2015, dokumentarni Od Gabele do Huma, Vlatko Filipović, Hum-Mostar, 60’0’’, 2014, dokumentarni Okomite paralele: Lojićevac, Tomislav Mihalić, 42’39’’, 2016, eksperimentalni

216

Ona, teatar, Marina Banićević, Udruga Facultas, 75’41’’, 2015, dokumentarni Oridano guitar trio, Dinko Čvorić, 1’17’’, 2016, namjenski Poklek, Dinko Čvorić, 2’28’’, 2016, namjenski Pokretni elementi, Marko Tadić, Kreativni sindikat, 6’30’’, 2016, animirani Razgovor o ocu, Mladen Stanić, Akademija dramske umjetnosti Sveučilišta u Zagrebu, 18’19’’, 2015, dokumentarni Rezidba, Katerina Duda, Restart – Škola dokumentarnog filma, 11’30’’, 2015, dokumentarni Statisti, Tomislav Mršić, HRT, 59’, 2015, dokumentarni SveMirci u Ljubljani, Dinko Čvorić, 17’7’’, 2015, namjenski Symphony, Milan Bukovac, Autorski studio – fotografija, film, video, 7’55’’, 2016, eksperimentalni Tajne ljubavi, Markan Radeljić, 3’35’’, 2015, namjenski Tjedan sigurnosti 2015., Dinko Čvorić, 8’8’’, 2015, namjenski Zvonimir Varga – Imam lovu, Dinko Čvorić, Dinko Čvorić, 3’20’’, 2016, namjenski Zvonimir Varga – Ja se ne ženim, Dinko Čvorić, 2’53’’, 2015, namjenski Zvonimir Varga – Kako možeš, Dinko Čvorić, 3’59’’, 2015, namjenski Zvonimir Varga – Život se ionako vrti u krug, Dinko Čvorić, 3’4’’, 2015, namjenski 4.7, Đuro Gavran, HRT, 29’, 2015, dokumentarni Animafest Zagreb 2015 – festivalska špica, Petra Zlonoga, Hulahop d.o.o. / Animafest Zagreb, 40’’, 2015, namjenski Video priručnik za slučaj nuklearne katastrofe u Krškom, Sunčica Ana Veldić, Kinoklub Zagreb, 10’59’’, 2016, dokumentarni ...i vani si, Edin Mahmuljin, 11’21’’, 2015, igrani „ ...film u 1.licu..“, piNO i.j., 20’, 2015, eksperimentalni (Kontra)indikacije, Valentina Lončarić, Kinoklub Zagreb, 11’4’’, 2016, igrani /, Herve Tirmarshe, Balduči Film, 4’11’’, 2016, namjenski #merrychristmas, Chintis Lundgren, Adriatic Animation, 1’4’’, 2015, namjenski 09:55, Karlo Vorih, Blank_filmski inkubator, 15’4’’, 2015, igrani 201507STDR-L, Vjekoslav Gašparović, samostalna produkcija, 6’10’’, 2015, dokumentarni 7 dana stvaranja, Marin Pavelić, 20’7’’, 2016, eksperimentalni Administrativna pogreška, Tin Bačun, Blank_filmski inkubator, 6’10’’, 2016, dokumentarni Aidin Prijelaz, Liliana Resnick, Rikšafilm/Cyclofilm, 50’50’’, 2016, dokumentarni Ana, Nika Vahčić, Blank_filmski inkubator, 1’35’’, 2015, eksperimentalni


Ana trg, Jelena Novaković, Restart, 26’5’’, 2015, dokumentarni Ante i Vanja, Lucija Klarić, Blank_filmski inkubator, 17’41’’, 2016, igrani Autocesta, Boris Kadin, Ludaci, 10’50’’, 2016, eksperimentalni Banka hrane, Vera Sekula, Blank_filmski inkubator, 18’23’’, 2015, dokumentarni Bez Jaze, Jasmin Konjić, Blank_filmski inkubator, 11’20’’, 2016, igrani Bicikl, Josip Sunko, Blank_filmski inkubator, 12’12’’, 2016, igrani Big Strip Gorila – Dresden, Igor Ilić, Studio DIV, 3’6’’, 2014, namjenski Big Strip Gorila - Što sada kada smo zaspali, Igor Ilić, Studio DIV, 4’55’’, 2015, namjenski Borovo – Iz Vukovara s ljubavlju, Mario Mlakar, Rational International, 17’’, 2015, namjenski Borovska sjećanja, Dražen Žerjav, Fade In, 9’9’’, 2015, dokumentarni Britanci u Makarskoj, Ivan Čojbašić, Udruga Dokuma, 7’41’’, 2015, dokumentarni Čestica 81/5, Renata Lučić, Fade In, 17’15’’, 2016, dokumentarni Četiri pasoša, Mihajlo Jevtić, parabellum film, 83’3’’, 2016, dokumentarni Cile, Katarina Radetić, Akademija dramske umjetnosti, 16’48’’, 2015, dokumentarni Cimeri, Katarina Zlatec, Minimum, 1’22’’, 2015, dokumentarni Communicatio, Mark Modrić, Kinoklub Zagreb, 11’7’’, 2015, dokumentarni Crveno, Toma Waszarow, Revo Films Ltd., 21’15’’, 2016, igrani Cvijeće, Judita Gamulin, Akademija dramske umjetnosti, 18’30’’, 2015, igrani Dalmacija ultra trail, Ivan Perić, Dream Division Production (Odjel za vizije produkcija), 4’23’’, 2016, namjenski Dan otpora, Ivan Salaj, Propeler Film, 18’, 2015, igrani Dani, Zoran Stojkovski, Kinoklub Zagreb, 15’8’’, 2015, igrani Delta – obilje umjetnosti, Marin Lukanović, Filmaktiv, 26’, 2015, dokumentarni Detective Jones – Prljavi pogledi, Filip Filković, More-Magnets, 4’9’’, 2015, namjenski Diana Viljevac // web launch collection November 2015, Luka Sepčić, Blank_filmski inkubator, 56’’, 2015, namjenski Dijagnoza f, Jasna Kovačević, 8’16’’, 2015, igrani Diyala – Gedup, Filip Filković, More-Magnets, 3’46’’, 2015, namjenski Djevojke, Luka Galešić, Grupa sedam, 12’12’’, 2015, igrani Do krvi, Dario Juričan, Blank_filmski inkubator, 1’42’’, 2015, dokumentarni Dobrodošli!, MIrela Pinđak, Fade In, 12’30’’, 2016, dokumentarni Dota, Petra Zlonoga, Kinoklub Zagreb, 4’32’’, 2016, eksperimentalni Dragec, Maja Lesar, Blank_filmski inkubator, 16’59’’, 2016, dokumentarni Drvored – Zanzibar, Marko Milovac, C47 Film d.o.o., 3’30’’, 2015, namjenski

Državni arhiv, Josip Lukić, Blank_filmski inkubator, 42’’, 2015, namjenski Dvostruki Agent, Igor Pečenjev, 29’14’’, 2015, igrani E moj Luka ili (Film nesuđenog lika), Dominik Čović, Blank_filmski inkubator, 19’30’’, 2016, igrani E-Savjetovanja reklama, Karlo Pavičić Ravlić, 31’’, 2015, namjenski Elemental – Sve je moje tuđe, Marko Milovac, C47 Film d.o.o., 3’41’’, 2015, namjenski Fantastična, Ivan Sikavica, ADU, 20’, 2016, igrani Festivalski turizam, Sunčica Ana Veldić, Kinoklub Zagreb, 14’52’’, 2016, dokumentarni Film za Valentinovo, Luka Tokić, 1’, 2016, igrani Filozofski teatar: U garderobi sa Slavojem Žižekom, Zorko Sirotić, Kinoklub Zagreb, 11’17’’, 2016, namjenski Fora radionice, Dario Juričan, Blank_filmski inkubator, 1’42’’, 2015, namjenski Forma Viva, Andrea Celija, Luksuz produkcija (DZMP Krško), 4’49’’, 2015, eksperimentalni Four River Film Festival Intro, Karlo Pavičić Ravlić, 24’’, 2015, namjenski FRKA 2015, Goran Ribarić, ADU, 7’43’’, 2015, namjenski Garage in July – Za Iggy, Igor Ilić, Studio DIV, 4’20’’, 2015, namjenski Gonič, Toma Zidić, Luksuz Produkcija, 10’21’’, 2016, eksperimentalni Gonzo – Gad, Luka Vucić, Studio Vucić, 3’17’’, 2016, namjenski Goranova ulica, Matija Vukšić, Propeler Film, 6’55’’, 2015, igrani Gosti, Veno Mušinović, Blank_filmski inkubator, 14’50’’, 2016, igrani Hana, Hano, Hanice, Marko Bičanić, Blank_filmski inkubator, 12’9’’, 2016, igrani Hladno Pivo – Firma, Andrej Korovljev, Gajba Records, 3’15’’, 2015, namjenski Hodanje, Ana Horvat, Blank_filmski inkubator, 11’58’’, 2016, igrani Hrelić – duša grada, Slaven Petrić, Studio Laniste, 18’27’’, 2015, dokumentarni Hudo vreme, Anja Strelec, Restart, 43’59’’, 2016, dokumentarni I To Nije Sve, Marija Kobić, 1’6’’, 2015, namjenski Indonezija, Daria Blažević, ADU, 22’30’’, 20115, igrani Irena Žilić – Cricket and Mouse, Filip Filković, More-Magnets, 4’31’’, 2015, namjenski Ironwoman, Lana Zaninović, HRT, 47’, 2015, dokumentarni Iskrice, Željko Sarić, Projekt 6 studio, 65’30’’, 2015, dokumentarni Istra Bitter, Vanja Miljak, Antitalent produkcija, 8’15’’, 2016, igrani Iv/An – Kuća, Dražen Kuljiš, 4’2’’, 2016, namjenski Izzy tipkovnica, Mario Mlakar, Rational International, 1’27’’, 2015, namjenski Ja sam svoje rekao, Nikolina Hrga, Akademija primijenjenih umjetnosti u Rijeci, 10’40’’, 2015, igrani Karlo, Petar Vukičević, Kino klub Split, 8’39’’, 2016, dokumentarni Karma, Dina Cvek, Stres film, 17’37’’, 2015, igrani Kava je odlična, Anita Prša, Akademija likovnih umetnosti u Zagrebu, 5’56’’, 2015, igrani

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Kino otok, Ivan Ramljak, Restart, 32’48’’, 2016, dokumentarni Koprivničko-križevačka županija na dlanu, Tomislav Horvatinović, NEXUS produkcija j.d.o.o., 20’55’’, 2015, dokumentarni Kraj, Tomislav Šoban, Kinoklub Zagreb, 10’10’’, 2015, eksperimentalni Kratki obiteljski film, Igor Bezinović, HRT, 20’30’’, 2016, dokumentarni Krošnje, Filip Heraković, ADU, 16’17’’, 2016, igrani Kupus na lešo, Zorko Sirotić, Kinoklub Zagreb, 8’43’’, 2016, dokumentarni Kutije, Damir Radić, 8’20’’, 2016, dokumentarni Les – Moj život krojiš, Marko Milovac, C47 Film d.o.o., 4’2’’, 2015, namjenski Líf, Igor Bogdanović, Fade In, 16’7’’, 2016, dokumentarni Lighten the Load, Dario Juričan, Blank_filmski inkubator, 1’47’’, 2015, namjenski Lijepa riječ, Sonja Tarokić, Gajba Records, 3’48’’, 2016, namjenski Linije, Branko Pašić, Branko Pašić, 3’45’’, 2016, eksperimentalni Luka Tokić ft. Vedran Bratušek – Isprika, Luka Tokić, 1’34’’, 2015, namjenski Lula & Bručke, Igor Jelinović, ADU, 15’0’’, 2016, igrani Machinae Novae 002, Darko Vidačković, Kinoklub Zagreb, 8’35’’, 2016, eksperimentalni Madre Muerta-Oblaci, Mario Mlakar, Rational International, 3’22’’, 2015, namjenski Manntra – Put, Filip Filković, More-Magnets, 4’53’’, 2015, namjenski Mara i kaja, Dolina na Savi, Alen Kocić, D.R. Videonica, 15’32’’, 2016, dokumentarni Martinac, Zdravko Mustać, Hrvatski filmski savez, 62’, 2015, dokumentarni Minjonja njanjonja, Josip Lukić, Hrvatski filmski savez, 10’51’’, 2015, igrani Mjesta u blizini, Mate Ugrin, HFBK Hamburg, 20’13’’, 2015, igrani MladoST u kadru, Ante Marin, Udruga Tvornica Ideja, 21’22’’, 2015, dokumentarni Moja Ljiljo, Hrvoje Župarić, Kinoteka, 14’48’’, 2015, igrani Munja, Radislav Jovanov Gonzo, Propeler Film, 18’13’’, 2015, igrani Zastranienie – Take One (Front 242 rmx), Dražen Kuljiš, 4’19’’, 2015, namjenski The Embla – Okky Luck, Tea Stražičić, Adriatic Animation, 3’31’’, 2015, namjenski Na plaži, Goran Škofić, Kreativni sindikat, 24’, 2016, eksperimentalni Na Tri kralja, Vlatka Vorkapić, Propeler Film, 16’, 2015, igrani Ne zaboravi me, Ljubo Zdjelarević, Kinoteka d.o.o., 4’56’’, 2016, namjenski Negdje, Katarina Radetić, ADU, 19’5’’, 2016, igrani Neovisna lista oportunista, Dejan Oblak, Restart, 43’44’’, 2016, dokumentarni Nestajanje, Anđelo Jurkas, Regulus Production, 12’30’’, 2016, igrani Nešto o životu, Nebojša Slijepčević, Restart, 29’14’’, 2016, dokumentarni New Town Future Film, Ana Bilankov, Ana Bilankov,

18’30’’, 2015, eksperimentalni Ni blizu Afganistana, Tomislav Šestan, Blank Filmski inkubator, 10’27’’, 2016, igrani Nijema Udaljavanja: Ostati budan i Odjekivati, Željko Vukičević Zhel, Screamstation, 11’40’’, 2015, eksperimentalni Nisam ja taj, Jelena Oroz, 3’58’’, 2015, namjenski Noćas, Zdravko Mustać, Hrvatski filmski savez, 20’47’’, 2016, dokumentarni Novi Južni Zagreb, Darko Fritz, Motion, 13’30’’, 2015, eksperimentalni oj mladosti moja, darko drinovac, drinovac darko, 5’20’’, 2015, namjenski Oko za oko, Antoneta Kusijanović, Sjever Sjeverozapad, 5’20’’, 2015, igrani Okus doma, Dario Juričan, Blank_filmski inkubator, 1’31’’, 2016, namjenski Omiš originals, Ivan Perić, Dream Division Production (Odjel za vizije produkcija), 1’1’’, 2015, namjenski Ono na Podu, Luka Goreta, Luka Goreta, 4’1’’, 2016, namjenski Oprosti mi madre, Jadranka Kljajić, 24’, 2015, dokumentarni Orah, Danilo Šerbedžija, Propeler Film, 19’47’’, 2015, igrani Orvel – Ovo nije zapad, Igor Ilić, Studio DIV, 5’4’’, 2014, namjenski Orvel – Sve nastaje uz ples, Igor Ilić, Studio DIV, 3’41’’, 2015, namjenski Osam načina da se prestanete osjećati usamljeno, Višnja Vukašinović, Lanterna Magica, 21’31’’, 2016, igrani Osjecaj krivnje, Alisa Glavic, Starlight Produrcion, 3’16’’, 2014, namjenski Outro, Krešimir Linić, 3’5’’, 2015, namjenski Ova žena se zove Jasna03/Ruševine, Nicole Hewitt, Studio Pangolin, 18’15’’, 2015, eksperimentalni Pađen&Štulić: Prijateljska vatra, Ljubo Zdjelarević, Kinoteka d.o.o., 3’56’’, 2015, namjenski Parada, Arijana Lekić- Fridrih, 7’5’’, 2016, eksperimentalni Paspin kut 3, Zorko Sirotić, Kinoklub Zagreb, 56’51’’, 2016, igrani Patrola na cesti – špica, Andrea Sužnjević, Kinorama, 1’4’’, 2015, namjenski Penjači, Siniša Mataić, Luma Film, 10’, 2015, animirani Petrova šuma, Martina Meštrović, Kreativni sindikat, 8’25’’, 2016, animirani Picigin, Ivan Perić, Dream Division Production (Odjel za vizije produkcija), 2’42’’, 2015, eksperimentalni Pink Studio: Sasvim tvoje, Janja Pilić, 3’19’’, 2016, namjenski Planemo, Veljko Popović, Lemonade 3D / Krupni kadar, 13’25’’, 2015, animirani Po čovika, Kristina Kumrić, Restart, 18’39’’, 2016, igrani Pokus suzama, Jadranka Bargh, 2’55’’, 2016, eksperimentalni Pola stoljeća diska, Zvonimir Rumboldt, Udruga Kad tad, 60’5’’, 2015, dokumentarni Ponor, Vid Juračić, 16’46’’, 2015, igrani Posljednji galebovi, Nemanja Lakić, Udruga Dokuma, 6’8’’, 2015, dokumentarni Pravo na rad: Onako kako smo ga ostavile, Marica Lalić, Skribonauti, 8’39’’, 2016, dokumentarni

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Praznik demokracije, Ivan Salaj, Propeler Film, 13’55’’, 2015, igrani Pričaj mi molim te – Leona Paraminski, Anđelo Jurkas, Nexus Produkcija, 4’15’’, 2016, namjenski Priče iz bijele sobe, Silva Ćapin, ADU, 12’50’’, 2016, igrani Projektor, Mario Papić, Kinoklub Zagreb, 25’25’’, 2015, namjenski Promo film, Filip Zadro, ADU, 3’53’’, 2015, namjenski Prosvjetljenje, Dražen Žarković, Mitropa, 4’5’’, 2016, eksperimentalni Prvi udah, Miranda Herceg, Kinorama, 20’36’’, 2016, eksperimentalni Ptica, Dijana Bolanča, Fantastično dobra institucijaFade In, 5’8’’, 2015, namjenski Putujuća zemlja, Vesela Dančeva, Compote Collective, 13’38’’, 2016, animirani Rino Rusmir – Sad je nigdje nema, Marko Bičanić, Blank_filmski inkubator, 3’27’’, 2015, namjenski Sa(n)jam knjige, Dubravka Turić, Petikat, 27’’, 2015, namjenski Samson kišobran suncobran, Davor Borić, HRT, 56’10’’, 2015, dokumentarni Sanja, Nikica Zdunić, ADU, 9’56’’, 2016, dokumentarni Sanjala si da si sretna, Ivana Škrabalo, Kinoklub Zagreb, 21’0’’, 2015, igrani Šetač, Filip Mojzeš, DA Film, 22’, 2015, igrani Šibensko-kninska županija: Čekamo na vas, Ivan Perić, Dream Division Production (Odjel za vizije produkcija), 4’10’’, 2016, namjenski Side Project – Glitter, Filip Filković, More-Magnets, 4’41’’, 2015, namjenski Sigurna kuća, Paula Skelin, UMAS, 19’32’’, 2015, igrani Skoro ništa, Ana Hušman, Pangolin, 15’50’’, 2016, eksperimentalni Slobodni, Tomislav Žaja, Gral Film, 72’35’’, 2015, dokumentarni Slobodni vikend, grupa autora, Skribonauti, 10’12’’, 2016, dokumentarni Smrt kina Central, Vjeran Vukašinović, Lanterna Magica, 8’59’’, 2016, dokumentarni Spremna poljubit nekog novog, Tena Bošnjaković, 2’27’’, 2016, eksperimentalni Središte vremena, Željko Sarić, Project 6 studio, 9’30’’, 2015, eksperimentalni Šta ako jesmo?, Domagoj Matizović Ristić, Kinematograf, 35’49’’, 2016, dokumentarni Šta sad?, Marko Bičanić, Blank_filmski inkubator, 8’56’’, 2015, igrani Staklene oči, Mario Papić, Kinoklub Zagreb, 16’55’’, 2015, eksperimentalni Stakleni čovjek, Daniel Šuljić, Kreativni sindikat, 6’10’’, 2015, animirani Stanar, Sunčica Ana Veldić, Kinoklub Zagreb, 2’56’’, 2015, eksperimentalni Stipe, volim te, Sanja Peršić, Blank_filmski inkubator, 17’38’’ 2016, igrani Street Art Hrvatska, Lucija Pigl, Neovisno od produkcijske kuce, 8’38’’, 2016, dokumentarni Sve dok živim, Liliana Resnick, Rikšafilm/Cyclofilm, 8’30’’, 2015, eksperimentalni Sve je bio dobar san, Branko Ištvančić, Artizana, 80’, 2016, dokumentarni Tanka linija, Nina Mimica, DocLab, 90’, 2015, doku-

mentarni The Frajle – Menjam Dane, Filip Filković, Antitalent Produkcija, 4’32’’, namjenski Tko si, Silvana Dunat, 4’28’’, 2015, eksperimentalni To je istina, Nikica Marović, Luksuz Produkcija, 17’45’’, 2015, dokumentarni To mi ne liči na purgere, Lovorka Babić, Kinoklub Zagreb, 9’23’’, 2015, eksperimentalni Toga dana u godini, Davor Borić, HRT, 53’56’’, 2016, dokumentarni Transmania 00, Bobo Jelčić, Zebra Creative Network, 2’5’’, 2016, namjenski Treći, Arsen Oremović, Interfilm, 70’, 2016, dokumentarni Tu pored puta, Rasim Karalić, VIS Videostudio, 19’35’’, 2015, dokumentarni Tu tamo, Alexander Stewart, Bonobostudio, 4’40’’, 2015, eksperimentalni Turizam!, Tonći Gaćina, ADU, 51’1’’, 2016, dokumentarni Učiteljica, Đuro Gavran, PIPSER d.o.o., 17’15’’, 2015, dokumentarni Udaljeni glasovi, Mario Merdžan, Blank_filmski inkubator, 14’, 2015, igrani UdrugeInfo, Ksenija Sanković, Kinoklub Karlovac, 38’’, 2015, namjenski Umjetnik na odmoru, Damian Nenadić, Restart, 30’13’’, 2015, dokumentarni Uništavaju mi se dinosauri, Sunčica Ana Veldić, Kinoklub Zagreb, 4’37’’, 2015, namjenski Urban, Nataša Vidaković, Luksuz Produkcija, 4’15’’, 2015, dokumentarni Uvijek uz Vas, Saša Prižmić, Neo studio, 4’48’’, 2015, namjenski Vijesti iz Laayounea, Đuro Gavran, Pipser d.o.o., 48’8’’, 2016, dokumentarni Vinko, Hrvoje Podobnik, Gerger film, 43’34’’, 2015, igrani Visit beautiful Koprivnica-križevci county, Marko Horvat, NEXUS produkcija j.d.o.o., 3’56’’, 2015, namjenski Vlak, Olivier Chabalier, GASP!, 14’20’’, 2015, animirani Vrijeme, Bruno Pavić, 3’51’’, 2016, namjenski Xmas, Luka Vucić, Studio Vucić, 0’22’’, 2015, namjenski Zatvorenik, Željko Sarić, Projekt 6 studio, 27’27’’, 2016, dokumentarni Zbog pasa, Tomo Luetić, Brojka, 6’40’’, 2015, igrani Žen – Kraj početak, Toni Mijač, 4’59’’, 2015, namjenski Žena zmaj, Ivana Sansević, Restart, 33’, 2016, dokumentarni Žene, promjenjive kao vrijeme, Marija Kobić, 49’’, 2015, eksperimentalni Zvjerka, Daina Oniunas Pusić, Slavica film d.o.o., 20’22’’, 2015, igrani Zvjezdana tvar, Ratimir Rakuljić, Ratimir Rakuljić, 9’42’’, 2015, igrani

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KONTAKTI CONTACTS* Adriatic Animation Draško Ivezić Vergerija 3 52 100 Pula, HR M. 092 3142 813 drasko@adriaticanimation.hr

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BBDO Zagreb Šoštarićeva 10 10 000 Zagreb, HR T. 01 4813300 info@bbdo.hr Blank_filmski inkubator Igor Jelinović Matije Divkovića 7 10 090 Zagreb, HR M. 098 91 33 411 distribucija@blankzg.hr radionice@blankzg.hr Bonobostudio Vanja Andrijević Veliki dol 53 10 000 Zagreb, HR T. 01 483 4445 M. 091 5677 270 vanja@bonobostudio.hr info@bonobostudio.hr Bojan Gagić M. 091 200 74 35 info@bojangagic.com Branko Pašić M. 091 5369626 brankopasic@yahoo.com C47 Film Marko Milovac Kneza Mislava 10/I 10 000 Zagreb, HR M. 091 54 00 609 marko@c47film.hr Centar za kulturu i film Augusta Cesarca Maja Jurić Ivoš

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Ilica 227 10 000 Zagreb, HR M. 095 377 50 36 majajuricivos@gmail.com ravnatelj@centarcesarec.hr Croatia Records Makarska 3 10 040 Zagreb, HR T. 01 2900 800 crorec@crorec.hr DA Film Tatjana Aćimović Boškovićeva 16 10 000 Zagreb, HR M. 098 934 92 70 tacimovic@outlook.com Dalibor Barić M. 091 2201974 omegathekidphoenix@gmail.com Damir Čučić damir.cucic@zg.t-com.hr Dart Film Niška 6 11 000 Beograd, RS T. 381 11 420 3278 office@dartfilm.com Dogma studio Vladimir Perović 81 000 Podgorica, ME M. +381 65 893 4172 vladox@sbb.rs DokuFest Marin Barleti Prizren, XK T. +381 29 233 718 info@dokufest.com veton@dokufest.com Dubravka Turić M. 098 1835 714 dubravka.turic@gmail.com Edin Mahmuljin M. 091 600 88 59 edin10000@gmail.com Everything Works Ivana Ivišić Prisavlje 6 10 000 Zagreb, HR


M. 091 1811 002 ew@everythingworks.hr Factum Maja Marković Nova Ves 18 10 000 Zagreb, HR T. 01 4854 821 M. 099 508 08 04 maja@factum.com.hr Fakultet dramskih umetnosti Beograd Bulevar 20 11 070 Novi Beograd, RS T. +381 11 213 5684 fduinfo@fdu.bg.ac.rs Fakultet dramski umetnosti Skopje (FDU Skopje) Ulica Ruđera Boškovića 22, PO Box 134 1 000 Skoplje, Makedonija T. +389 2 306 11 88 fdu@ukim.edu.mk Fantastično dobra institucija – FADE IN Morana Komljenović Nova Ves 18 10 000 Zagreb, HR T. 01 4667 815 office@fadein.hr Filmaktiv Maja Ogrizović Korzo 28 51 000 Rijeka, HR M. 098 97 99 454 filmaktiv@filmaktiv.org maja@filmaktiv.org Gajba Records Španjolska 1 10 090 Zagreb, HR M. 098 280 407 gajba@hladnopivo.hr Goran Turković Grada Mainza 3 10 000 Zagreb, HR M. 098 1628 514 sesnic.turkovic@gmail.com Hulahop / Animafest Zagreb Matea Milić Nova Ves 18 10 000 Zagreb, HR M. 091 1277 483 matea@animafest.hr Hrvatska radiotelevizija Sanja Knez

Tomislav Mršić Prisavlje 3
 10 000 Zagreb, HR
 T. 01 634 2643 M. 098 418 146 (Tomislav) tomislav.mrsic@gmail.com dokumentarni@hrt.hr Hrvatski državni arhiv – Hrvatska kinoteka Savska cesta 131 10 000 Zagreb, HR T. 01 6060 534 kinoteka@arhiv.hr Hrvatski filmski savez Marija Ratković Vidaković Kristina Dorić Tuškanac 1 10 000 Zagreb, HR T. 01 48 48 771 M. 091 378 37 87 (Kristina) marija.ratkovic.vidakovic@hfs.hr kristina@hfs.hr Ida Prester mala_idica@yahoo.com Interfilm Ivan Maloča Nova Ves 45/II 10 000 Zagreb, HR T. 01 466 7290 interfilm@interfilm.hr Ivan Antunović M. 095 9145 801 iantunovic@gmail.com Ivan Kelava T. +44 795 074 64 13 M. 098 184 79 00 ivan.kelava100@gmail.com

10 000 Zagreb, HR T. 01 383 13 29 info@kinematograf.hr Kinoklub Zagreb Zorko Sirotić Vedran Šuvar Trg žrtava fašizma 14 10 000 Zagreb, HR M. 091 57 33 236 (Zorko) M. 0958655160 (Vedran) vedran.suvar@gmail.com kkz@kkz.hr Kinorama Ankica Jurić Tilić Šulekova 29 10 000 Zagreb, HR T. 01 231 67 87 ankica@kinorama.hr Kinoteka Ljubo Zdjelarević Tomislav Vujić Zinke Kunc 3B 10 000 Zagreb, HR M. 095 903 77 54 ljubo@kinoteka.hr tomo@kinoteka.hr Kontrafilm Kneza Mislava 10 10 000 Zagreb, HR T. 01 24 55 833 info@kontrafilm.hr Kreativni sindikat Igor Grubić Nova Ves 18 10 000 Zagreb, HR M. 098 1662 006 grubic.igor@gmail.com kreativni.sindikat@gmail.com

Janja Pilić M. 095 5175919 janja.pilic@yahoo.com

Lanterna magica Višnja Vukašinović Trpimirova 25 10 000 Zagreb, HR M. 097 67 36 734 vukasinovic.visnja@gmail.com

Jelena Oroz M. 091 154 1605 jelena.orz@gmail.com

Luka Vucić M. 098 17 21 269 luka.vucic@gmail.com

Karlo Pavičić-Ravlić M. 095 8389455 kpavicic@public.carnet.hr

Luksuz Produkcija Tom Gomizelj Cesta 4. julija 58 8 270 Krško, SI T. +386 3 1276275 luksuz.produkcija@gmail.com

Jakov Sedlar jakovsedlar52@gmail.com

Kinematograf Dijana Mlađenović Nova Ves 18

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Maxima film Božidara Adžije 22 10 000 Zagreb, HR T. 01 364 77 00 T. 01 364 77 08 info@maxima-film.hr Minimum Ante Zlatko Stolica Vinogradska 118 A 10 000 Zagreb, HR M. 091 7937690 a.z.stolica@gmail.com Mitoman Film Zagrebačka avenija 3 10 000 Zagreb, HR M. 091 567 4376 film@mitoman.hr Mitropa Sanja Šamanović Nova cesta 136 10 000 Zagreb, HR M. 098 84 2002 sanjasamanovic@gmail.com Muzej Matija Skurjeni Aleja Đure Jelačića 8 10 290 Zaprešić, HR T. 01 3310 540 M. 098 381 674 (Željko Kipke) muzej-matija-skurjeni@zg.t-com.hr Pangolin Nicole Hewitt Mlinarska 21 10 000 Zagreb, HR M. 091 95654166 nicole.hewitt.hewitt@gmail.com Petikat B. Hanžekovića 57 10 000 Zagreb, HR M. 091 1441 795 info@petikat.com Project 6 Studio Nikola Klobučarić Baštijanova 25 10 000 Zagreb, HR T. 01 3638 663 nikola@project6.hr studio@project6.hr Pradok Ljube Vučkovića 1 11 000 Beograd, RS office@pradok.org.rs Propeler Film Lana Ujdur

Varšavska 3 10 000 Zagreb, HR M. 091 520 3660 lana@propelerfilm.com Rational International Domagoj Šekelja Preradovićeva 29 10 000 Zagreb, HR M. 091 5169821 domagoj@rational.international Restart Anita Bastašić (škola i laboratoril) Ivana Vuković (Restart) Prilaz Gjure Deželića 74 10 000 Zagreb, HR T. 01 557 38 60 M. 098 160 26 86 (Anita) M. 095 81 7 7612 (Ivana) anita@restarted.hr ivana.v@restarted.hr restart@restarted.hr

T: +386 1 234 32 00 info@fsf.si Sunčica Ana Veldić M. 091 79 87 168 fenja.illectric@gmail.com Trotoar Vedran Kralj Sv. J. Radnika 29 31 000 Osijek, HR M. 091 150 98 13 vedran@trotoar.com info@trotoar.com Udruga Dokuma Josip Vujčić Obala kralja Tomislava 6 21 300 Makarska, HR M. 091 766 40 43 M. 095 581 29 37 (Josip) joze@dokuma.hr info@dokuma.hr

Screamstation Željko Vukičević Zhel Tartinijeva 26 52 100 Pula, HR T. 052 0222 634 M. 091 565 7187 zhelco@gmail.com

Zagreb film Sanja Borčić Vlaška 70 10 000 Zagreb, HR T. 01 46 13 689 sanja.borcic@zagrebfilm.hr zagrebfilm@zagrebfilm.hr

Sekvenca Luka Venturin Ivane Brlić Mažuranić 60 10 090 Zagreb, HR M. 098 789191 luka@sekvenca.hr

Zebra Creative Network David Lušičić Ilica 92 10 000 Zagreb, HR M. 091 2220810 david@zebra.com.hr

Silva Ćapin M. 098 93 66 700 silva.capin@gmail.com

Zvonimir Maycug z.majcug@gmail.com

Skribonauti Luiza Katica Bouharaoua Slavićeva 30 21 000 Split, HR M. 098 165 49 54 skribonauti@gmail.com Slavica film Mirta Puhlovski Bauerova 6 10 000 Zagreb, HR M. 091 522 11 31 slavica.film@gmail.com Slovenski filmski center / Festival slovenskog filma Igor Prassel Miklošičeva 38 1 000 Ljubljana, SI

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* Ako distributer nije naveden u podacima kod filma, za distribuciju rada zadužena je producentska kuća, odnosno producent/ica. *When distributor is not listed in film information, distribution is managed by the production company or the producer (when the producer is the only one listed)


FILMOVI FILMS #merrychristmas 96 (Kontra)indikacije 123 ...i vani si 83 58 % 37 Agonija 152 Ali s Volovčice 176 All Catacombs are Gray 172 Ana trg 38 Animafest Zagreb 2015 – festivalska špica 97 Ante i Vanja 81 Bang Bang: Ne zaboravi me 98, 198 Beach Fatigue 169 Belladonna 121 Beskonačna priča 135 Borovo – Iz Vukovara s ljubavlju 99 Brico 177 British in Makarska 39 Buket 140 Cigareta 137 Cile 40 Cimeri 41 Crtači 42 Čovjek i stroj 177 Daily Progress 141 Dan kad sam prestao pušiti 187 Dan otpora 82 Delta – obilje umjetnosti 43 Djevojke 177 Dnevnik 186 Dota 63 Dove sei, amor mio 134 Dragec 44 Drugi kat, podrum 176 Duga na neboderu 195 Dum spiro spero 45 Duplex 132 Elegija 185 Elemental: Sve je moje tuđe 100, 198 Eoha 190 Execution of Elephun Topsy Conceived as a Coloring Book for Children 173 Fergismajniht / Ne zaboravi me 153 Festivalski turizam 46 Four River Film Festival – festivalska špica 101 FRKA 2015 102 Ghost Porn in Ectoplasm, but How?! 170 Gonzo: Gad 103, 198 Goranova ulica 122 Grad duhova 29 Green Walls, Black Food 191 Hladno pivo: Firma 104, 198 I Sing the Body Electric 172 Idem u krah 176 Idu dani 186 If I Had It My Way I Would Never Leave 191 Igra tucanja 143 Imperativ 191 Impromptu 164 Iskrice 47

Ispod 135 Istra Bitter 84 Iv/An: Kuća 105, 198 Ivana Rushaidat & Rakete: Jednog od vas 106, 198 Ja sam tvoj Bog 157 Kalvarija 158 Kandidat 48 Kangaroo Court 141 Kino otok 49 Kljucanje 133 Kompozicija 162 Koreni zla 190 Kraj 64 Kravate/Strukture/Ambijenti 139 Krek 50 Krošnje 85 Krotitelj divljih konja 185 Kupus na lešo 51 Kyrie Eleison 134 Le peintre enchanteur 65 Lice 176 Lines 66 Lollobrigida: Kontrola 107, 198 Lula & Bručke 124 Ljepotan 143 Ljubezen na strehi sveta 163 Machinae Novae 002 67 Malformance / Performance 135 Mali princ 162 Martinac 52 Mi 134 Mobitel Mania 136 Možda Diogen 185 Munja 86 Mute Departures: Stay Awake and Echo 68 My Game of Longing 173 Na červeno 87 Na plaži 69 Na Tri kralja 125 Naše telo 192 Neovisna lista oportunista 53 Nešto o životu 54 New Town Future Film 70 Novembar 139 Oaza 159 Od jutra do mraka 137 Oddaljen spomin 164 Off Fuck Off 140 Oko za oko 88 Optimisti 162 Orah 89 Osam načina da se prestanete osjećati usamljeno 90 Ova žena se zove asna 03/Ruševine 71 Parada 72 Paspin kut 3 91 Patrola na cesti – špica 108 Petrova šuma 30 Pink Studio: Sasvim tvoje 109, 198 Planemo 31 Plasticat 133

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Pokretni elementi 32 Pola-Pola 164 Poslednji galebovi 55 Posljednji autohtoni Petrović 138 Poti 163 Pravo na rad: Onako kako smo ga ostavile 56 Praznik demokracije 92 Priče iz bijele sobe 93 Projektor 110 Prosvjetljenje 73 Prva dama Dubrave 142 Prvi udah 74 Ptica 111 ReLocated 139 Rezidba 57 Rudijev leksikon: Ljubav, Slava, Diktatura, Sreća, Filozofija 187 Sa(n)jam knjige 112 Sjećanje na Georgiju 154 Skoro ništa 75 Slike iz sjećanja 187 Slobodni vikend 58 Središte vremena 76 Stakleni čovjek 33 Staropramen – Xmas 113 Statisti 59 Svadba 192 Symphony 77 Šetač 94 Šta ako jesmo? 60 Številka 3 190 Ta tvoja ruka mala 143 The Embla feat. Tea Stražičić: Okky Luck 114, 198 The Horror of Dracula 169 The Mind from Nowhere 170 To mi ne liči na purgere 78 Train 34 Transmania 115 Travelling Country 35 Treći 61 Trgovci srećom 142 Trk 132 Tržnica 195 Tu tamo 79 Tup-Tup 186 Umobolizam i neurobiologija 137 Uništavaju mi se dinosauri 116 Urbi et Orbi 141 VIP fiksna 117 VIP mobilna 118 VIS ŠubidubiDa!:Nisam ja taj 119, 198 Vremenska bajka 133 Vsi smo tu že od nekdaj 192 Zagreb pjeva 195 Zamka 142 Zapping 140 Zemlja snova 132 Zunaj 163 Zvjerka 126 You Who Exist Only in the Darkest Recess of My Own Brooding Mind, I Command You – Appear! 171


REDATELJI/CE DIRECTORS Alexander Stewart 79 Ana Bilankov 70 Ana Hušman 75, 141 Ana-Marija Vidaković 133 Andrea Sužnjević 108 Andrej Korovljev 104, 198 Ante Zlatko Stolica 41 Antoneta Alamat Kusijanović 88 Arijana Lekić-Fridrih 72 Arsen Oremović 61 Barbara Vekarić 142 Bojan Gagić 32, 139 Bojan-Haron Markičević 37 Boris Greiner 139 Branko Pašić 66 Branko Schmidt 176 Camille Tang Quynh 190 Chintis Lundgren 96 Daina Oniunas Pusić 126 Dalibor Barić 106, 169, 170, 171, 172, 173, 198 Damir Čučić 140 Damir Terešak 138 Dane Komljen 192 Daniel Kušan 137 Daniel Šuljić 33 Danilo Šerbedžija 89 Darko Bavoljak 141 Darko Bućan 135 Darko Rundek 176 Darko Vidačković 67 David Lušičić 115 Davor Međurečan 134 Dejan Oblak 53 Dijana Bolanča 111 Dinko Peračić 139 Domagoj Matizović Ristić 60 Dražen Kuljiš 105, 198 Dražen Žarković 73 Dubravka Turić 112 Edin Mahmuljin 83 Eva Matarranz 164 Filip Heraković 85 Filip Mojzeš 94 Florence Guenaut 164 Gent Shala 192 Goce Vaskov 133 Goran Kulenović 142 Goran Ribarić 102 Goran Škofić 69 Goran Trbuljak 132 Goran Turković 108 Igor Jelinović 124 Ivan Bogdanov 35 Ivan Čojbašić 39 Ivan Faktor 141 Ivan Lasić 56

Ivan Livaković 143 Ivan Ramljak 49 Ivan Salaj 82 Ivan Skorin 83 Jakov Sedlar 152, 153, 154 Jan Cvitkovič 163 Janja Pilić 109, 198 Jasna Merklin 190 Jasna Mesarić 177 Jelena Ilić Todorović 191 Jelena Novaković 38 Jelena Oroz 119 Juš Premrov 163 Karlo Pavičić-Ravlić 101 Katarina Radetić 40 Katarina Zlatec 41 Katerina Duda 57 Krešimir Lendić 42 Kris van Den Bulck 190 Kristijan Milić 142 Lovorka Babić 78 Lucija Klarić 81 Luka Vucić 103, 113 Ljubo Zdjelarević 98, 198 Magda Dulčić 132 Maja Lesar 44 Marica Lalić 56 Marin Lukanović 43 Mario Mlakar 99 Mario Papić 110 Marko Dješka 29 Marko Grba Singh 191 Marko Milovac 100, 198 Marko Šesnić 108 Marko Tadić 32 Martina Meštrović 30 Matej Peljhan 162 Matevž Jerman 163, 192 Matija Fućek 50 Matija Vukšić 122 Midhat Ajanović 134 Milan Bukovac 77 Miranda Herceg 74 Mitja Manček 162 Nebojša Slijepčević 54 Nedeljko Dragić 185, 186, 187 Nemanja Lakić 55 Nevio Marasović 117, 118 Neža Grum 192 Nicole Hewitt 71 Olivier Chabalier 34 Pero Kvesić 45 Petar Orešković 92 Peter Cerovšek 163 Petra Zlonoga 63 Pierre Martin 190 Predrag Ličina 137

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Radislav Jovanov Gonzo 86 Robert Zuber 48 Sandra Gjorgieva 55 Sara Hribar 143 Saša Ban 143 Silva Ćapin 93 Simon Bogojević Narath 133 Snježana Tribuson 176 Sonja Prosenc 164 Staša Tomić 107, 198 Stjepan Milas 135 Sunčica Ana Veldić 46, 116 Tea Stražičić 114 Toma Vašarov 87 Tomislav Gregl 135 Tomislav Mršić 59 Tomislav Šoban 64 Valentina Lončarić 123 Valerie Wolf Gang 164 Vanja Miljak 84 Vedran Mihletić 177 Vedran Senjanović 53 Veljko Popović 31 Vesela Dančeva 35 Višnja Vukašinović 90 Vladimir Perović 190 Vladislav Knežević 139 Vlatka Vorkapić 125 Zdravko Mustać 52 Zoran Pezo 177 Zorko Sirotić 51, 91 Zvonimir Maycug 157, 158, 159 Želimir Gvardiol 190 Željko Kipke 65 Željko Sarić 47, 76 Željko Vukičević Zhel 68 Žiga Virc 162


PRODUKCIJSKE KUĆE PRODUCTION COMPANIES Maxima film 137, 138 Mayfilm video Zagreb 158, 159 Minimum 41 Mitropa 73 Monoo 164 Muzej Matija Skurjeni 65 Napa films 126 Nuframe 164 Orlando film 154 Pangolin 71, 75 Panonija film 157 Patria film 152 Petikat 112 Planet 9 143 Pradok 190 Project 6 studio 47, 76 Propeler Film 82, 86, 89, 92, 122, 125 Rational International 99 Restart 49, 53, 54 Restart – Škola dokumentarnog filma 37, 57 Restart laboratorij 38 Revo Films 87 RTV Slovenija 162, 163, 164 SaGa Production 134 Screamstation 68 Sjever Sjeverozapad 88 Skribonauti 56, 58 Slavica film 126 Spiritus movens 121 Staragara 162, 163 Studio Guberović 154 Studio Vucić 103, 113, 198 Televizija Student 53 The Animation Workshop 114, 198 Trotoar 42 Udruga Dokuma 39, 55 Visoka šola za umetnost UNG 164 Vizart Film 192 Zagreb film 29, 32, 33, 132, 133, 134, 135, 185, 186 Zagreb Film Festival 82, 86, 89, 92, 122, 125 Zebra Creative Network 115

3D2D Animatori 31 Adriatic Animation 96, 114, 198 Akademija dramske umjetnosti (ADU) 39, 40, 55, 85,93, 102, 124, 137, 142, 143, 176, 177 Akademija likovne umjetnosti (ALU) 135, 136 Akademija umjetnosti Univerziteta u Banja Luci 191 Alka Film 82, 86, 89, 92, 122, 125 Animafest Zagreb 97 Antitalent 84, 88 Anton Podbevšek Teater 162 Art De Facto 141 Art Rebel 9 143 Autorski studio – fotografija, film, video 77, 140 Bacači sjenki 173 Blank_filmski inkubator 44, 81, 124 Bonobostudio 34, 35, 79, 134 C47 Film 100, 198 Capistrano film 154 Centar za kulturu i film Augusta Cesarca 50 Chintis Lundgreni Animatsioonistuudio 96 Compote Collective 35 Corona Cinematografica 186 CREA – Udruga za kreativni razvoj 84 Croatia film 153 DA Film 94 Dart Film 192 Dogma studio 190 DokuFest 192 Eclectica 87 Factum 45 FAGEP 110 Fakultet dramskih umetnosti 191 Fakultet za dramski umetnosti Skopje (FDU Skopje) 39, 55, 191 Fantastično dobra institucija (FADE IN) 110 Filmaktiv 43 Filmsko društvo Temporama 163 Gajba Records 104, 198 GASP! 34 Hrvatska radiotelevizija (HRT) 48, 59, 153, 195 Hrvatski filmski savez (HFS) 52, 141 Hulahop 97 Interfilm 61 Kenges 123, 139 Kinematograf 60 Kino Glaz 192 Kino Klub Split 39, 55, 56 Kinoklub Zagreb 46, 50, 51, 63, 64, 67, 78, 90, 91, 110, 116, 123 Kinorama 74, 108, 143 Kinoteka 98, 117, 118, 198 Kreativni sindikat 30, 32, 33, 69 Kult film 143 Lanterna magica 90 Lemonade 3D / Krupni kadar 31 Luksuz produkcija 164, 190, 192

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HVALA THANK YOU Marcella Jelić Marija Curić Marija Ratković Vidaković Marina Redžepović Martina Petrović Martina Šokić Matko Burić Mija Pavliša Mile Blažević Mirela Hegediš Horvat Mislav Vinković Mladen Burić Nikica Gilić Nikola Stojadinović Nikolina Mazalin Nina Violić Nuša Šimić Olinka Vištica Oliver Sertić Petra Kurtela Ružica Petric Sanja Borčić Saša Milinović Simon Bogojević Narath Stjepan Pogačić Suzana Diklić Tedi Lušetić Tina Tišljar Udruga Knjiški moljac Uroš Živanović Vanja Andrijević Vedran Peternel Vera Robić-Škarica Vinko Brešan Višnja Vukašinović Vlatka Lemić Zlata Prpić Želimir Babogredac

Agar Pata Alan Bubanović Ana Lampret Anamarija Grbin Andrea Jakovac Boris T. Matić Boris Homovec Branka Mitić Dana Budisavljević Danijel Labaš Danilo Šerbedžija Davor Drezga Dean Šoša Dejan Buković Diana Nenadić Diana Zekić Emira Jakupović Goranka Horvat Helena Rosandić Hrvoje Hribar Hrvoje Laurenta Hrvoje Krstičević Ibrahim Hromalić Bajko Ida Škvorc Igor Prassel Ivan Miklenić Ivan Miladinov Ivana Ivišić Iva Stilinović Ivona Kovačević Jasmina Kallay Jerko Marčić Katarina Bistrović Darvaš Koviljka Lazar Krešimir Brlić Krešimir Radišić Kristina Ožbolt Ksenija Marinković Leri Ahel Maja Pilipović

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IMPRESUM IMPRESSUM Katalog Dana hrvatskog filma 2016. Croatian Film Days Catalogue 2016

Urednica / Editor Mirna Belina Prevoditeljica / Translator Valentina Lisak Suradnice / Associates Dunja Bovan, Lea Mileta Dizajn i prijelom / Design and Layout Pero Vojković Tisak / Print Web2tisak d.o.o. Naklada / Print Run 300 Nakladnik / Publisher Spiritus movens Rakušina 5 10 000 Zagreb, HR T. +385 (0)1 5805 823 www.spiritus-movens.hr Zagreb, 2016.

Dani hrvatskog filma zadržavaju pravo izmjene programa. / Croatian Film Days reserve the right to change the program. ISBN 978-953-58527-1-1 CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 000930195.

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25. DANI HRVATSKOG FILMA  

Katalog - urednici: Željko Luketić, Mirna Belina

25. DANI HRVATSKOG FILMA  

Katalog - urednici: Željko Luketić, Mirna Belina

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