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DA N I HR V A T SK O G FI L M A 1


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24. DANI HRVATSKOG FILMA 24th CROATIAN FILM DAYS ZAGREB KINO EUROPA KINO TUŠKANAC 23. — 26. 4. 2015.

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KAZALO CONTENTS

TKO JE TKO / WHO IS WHO

UVODNIK / INTRODUCTION ZDENKA GOLD

UVODNIK / INTRODUCTION ŽELJKO LUKETIĆ

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Dužina (ni)je važna: seks i erotika u kratkome metru / Length Does (Not) Matter: Sex and Erotica in Short Meter

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Edukativne efemerije: Retrospektiva Nikše Fulgosija / Educational Ephemerals: Nikša Fulgosi Retrospective

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Festival Express

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Genre Film Festival (GEFF): zaboravljeni istraživači modernizma / Genre Film Festival (GEFF): Forgotten Researchers of Modernism

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Ideološki bunker / Ideological Bunker

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Kad glumci režiraju / Actors as Directors

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Kratke lopte / Short Plays

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Radionica ideja: Centro Sperimentale di Cinematografia / Factory of Ideas: Experimental Film Centre

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Rani radovi s Akademije dramske umjetnosti / Academy of Dramatic Art: Early Works

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DHF Videodrom / DHF Videodrome

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ŽIRI I NAGRADE / JURY AND AWARDS

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Veliki žiri / Grand Jury

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

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Nagrada za etiku i ljudska prava / The Award for the Advancement of Ethical Values and Human Rights on Film

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Vijeće Nagrade za etiku i ljudska prava / Ethical Values and Human Rights Award Committee

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

Željko Senečić, dobitnik Nagrade Zlatni Oktavijan za životno djelo / Željko Senečić, The Winner of the Golden Oktavijan Award for Life Achievement

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PRO/EDU

Medeni mjesec / Honeymoon

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Iz filmskog albuma Ivice Rajkovića / Ivica Rajković: Film Album

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Kako razvijati i predstaviti projekte u početnoj fazi za međunarodno tržište / Development and Pitching of Projects in Their Initial Stage for International Market

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KONKURENCIJA / COMPETITION PROGRAMME

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Animirani film / Animated Film

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Dokumentarni film / Documentary Film

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Radionica filmske kritike / Critical Writing Workshop

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Eksperimentalni film / Experimental Film

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Salon odbijenih / Salon of the Rejected

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Igrani film / Fiction Film

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Filmski festivali: kvantiteta ili kvaliteta? / Film Festivals: Quantity or Quality?

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Namjenski film / Commissioned Film

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Fokus – izvan konkurencije / Focus – Out of Competition

Hrvatski audiovizualni centar: Programi međunarodne suradnje / Croatian Audiovisual Centre: International Co-operation Programmes

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Savez scenarista i pisaca izvedbenih djela SPID / Association of Screenwriters and Performing Arts Writers (SPID)

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POPRATNI FILMSKI PROGRAMI / SIDE PROGRAMMES

Beogradski festival dokumentarnog i kratkometražnog filma predstavlja / Belgrade Documentary and Short Film Festival Presents

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Dokumenti vremena 01 – Grožnjanske godine / Documents of time 01 – Grožnjan Years

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MEGA: Škola za medijsko poduzetništvo / MEGA: Media Business School

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Dugometražni život kratkometražnog filma / The Full-Length Life of the Short-Length Film

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INDEKS / INDEX

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Nagrade 23. Dana hrvatskog filma, 2014. / 23rd Croatian Film Days Awards, 2014

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Svi prijavljeni filmovi na 24. Dane hrvatskog filma / Films Applied to 24th Croatian Film Days

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Kontakti – produkcija, distribucija / Contacts – production, distribution

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Filmovi / Films

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Redatelji / Directors

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Producentske tvrtke / Production Companies

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Impresum / Impressum

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TKO JE TKO WHO IS WHO

Vijeće Dana hrvatskog filma / Croatian Film Days Council Diana Nenadić, predsjednica / president (Hrvatsko društvo filmskih kritičara / Croatian Film Critics’ Association), Silvio Jesenković (Hrvatsko društvo filmskih djelatnika / Croatian Film Workers’ Association), Ivan Kelava (Hrvatska udruga producenata / Croatian Producers’ Association), Antonio Nuić (Društvo hrvatskih filmskih redatelja / Croatian Film Directors’ Guild), Dino Paškov (Hrvatska radiotelevizija / Croatian Radiotelevision), Željko Sarić (Hrvatska udruga filmskih snimatelja / Croatian Cinematographers Society), Vera Robić-Škarica (Hrvatski filmski savez / Croatian Film Association), Marija Škaričić (Akademija dramskih umjetnosti / Academy of Dramatic Art) Direktorica / Director Zdenka Gold Umjetnički direktor / Artistic Director Željko Luketić Izvršni producenti / Executive Producers Vlatka Jeh, Ivan Tofing

Odnosi s javnošću / Public Relations Ivana Sansević Suradnica u odnosima s javnošću / Public Relations Associate Petra Hofbauer Asistentica u službi za odnose s javnošću / Public Relations Assistant Ana Lukiček Voditelji i koordinacija tehnike / Technical Managers and Coordinators Mario Vučemilović Jurić (Rezolucija), Željko Jurik, Bojan Vuković (projekcionisti u kinu Europa / projectionists in Cinema Europa), Mislav Vinković, Damir Pezerović (projekcionisti u kinu Tuškanac / projectionists in Cinema Tuškanac) Vizualni identitet / Visual Identity Pero Vojković, Vojković & Daughters Dizajn internetske stranice i programiranje / Web Design and Programming Pero Vojković, Lidija Pajić, Aleksandar Ilić

Asistentica produkcije / Production Assistant Dunja Bovan

Videoprodukcija i festivalska špica / Video Production and Festival Trailer Dinka Radonić, Andrija Gvozdić Michl

Koordinatorica filmskog programa / Programme Coordinator Lea Mileta

TV reklama / TV Commercial Pero Vojković (animacija / animation), Višeslav Laboš (glazba / music)

Voditeljica marketinga / Head of Marketing Vlatka Jeh

Fotograf / Photographer Filip Trezner

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

Urednica kataloga i programske knjižice, lektorica / Catalogue and Programme Book Editor, Proofreader Mirna Belina

Suradnik / Associate Toni Carić

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Prevoditeljica / Translator Valentina Lisak 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 Viktoria Babić, Franka Bihar, Ines Biškić, Lada Brnetić, Pavao Butigan, Iris Došen, Ema Giunio, Zvonimir Grujić, Anja Ilijašević, Viktoria Knezić, Anamarija Nina Kolenić, Ana Kožul, Denis Meczner, Anja Mergeduš, Sven Mihaljević, Darijan Mirić, Iva Pezić, Patrik Sečen, Sara Simic, Dora Šušković Stipanović

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UVODNIK / ZDENKA GOLD

Dragi prijatelji, Sigurna sam da ste primijetili da je stiglo proljeće i da je započeo novi životni ciklus. Proljeće, vrijeme kada se visibabe i jaglaci sramežljivo, ali odlučno, probijaju kroz zaostatke snijega i svojom ljepotom i snagom nagoviještaju toplije i sunčanije dane. Proljeće, vrijeme kada bogate krošnje u cvatu zavode naša čula opojnim mirisima i krhkim pupoljcima. 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. Dani hrvatskog filma, festival s respektabilnom tradicijom, ove su godine na svojevrsnom početku, mogli bismo neskromno reći, u svom proljeću. Kao što su srčani i prvi vjesnici proljeća, i mi smo srčano pripremali festivalski program za filmske sladokusce, a pritom smo se vodili samo jednim pravilom: kvalitetom programa i izvedbe festivala. Festival smo preselili u centar grada Zagreba, u kina Europu i Tuškanac. Obukli smo ga u nove prepoznatljive boje i dali mu novi oblik produljenog vikenda. Upoznali smo se i razvili smo dobre dugoročne odnose s partnerima i pokroviteljima. U suradnji sa strukovnim i profesionalnim udruženjima pripremili smo edukativne programe, pitching forum, okrugle stolove, izložbu i razne prezentacije. Nismo ništa manje ozbiljno ni pristupili organizaciji dijela festivala koji bismo mogli nazvati zabavnim networkingom. Okupili smo najbolje festivalske profesionalce koji su se upustili u avanturu kreiranja i realizacije 24. izdanja Dana hrvatskog filma. Festival je po prvi put dobio jednog selektora filmskog programa koji je za vas kušao tristotinjak filmova i odlučio vam predstaviti sedamdeset i tri u službenoj konkurenciji festivala. U popratnom filmskom programu pripremio je uistinu za svakoga ponešto: od filmova o nogometu najvećih svjetskih redatelja današnjice do tajnih projekcija zabranjivanih filmova. Pozivam vas, dragi prijatelji, da s nama provedete ovaj produljeni vikend. Dopustite si da vas osvoji proljeće.

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INTRODUCTION / ZDENKA GOLD

Dear friends, As you have noticed, spring has arrived, and with it the start of a new life cycle. Spring, a time when snowdrops and primroses shyly, but bravely, push through the remaining snow, heralding the warmer, sunnier days to come. Spring, a time when lush branches in full bud seduce our senses with invigorating fragrances and delicate flowers. Spring, a time when the Croatian Film Days serve the tastiest and freshest treats that have come out of our great domestic production oven. Although they boast a respectable tradition, this year, the Croatian Film Days find themselves at a new beginning – a spring of their own, if we may be so bold. Just like the eager heralds of spring, we too have eagerly prepared a festival programme suited for every taste and guided by only one rule: the quality of the programme and the Festival. The Festival has relocated to the centre of Zagreb and will take place at Europa and Tuškanac cinemas. We have dressed it in new, but recognizable colours and given it a new form – that of a long weekend. We have developed strong, long-term relationships with our partners and sponsors. In collaboration with professional organisations, we have prepared educational programmes, a pitching forum, round table discussions, an exhibition and various presentations. We applied the same level of dedication to the part of festival that could be called fun networking. We have rounded up the best festival professionals who embarked on the adventure of creating and realising the 24th Croatian Film Days. For the first time, the Festival has only one programme selector, who has tried out around three hundred films in order to pick out the best for your viewing pleasure. The official competition will screen seventy-three titles, while the side programme is so varied that it will satisfy any film enthusiast – from films about football by the greatest contemporary directors, to secret screenings of banned films. I invite you, dear friends, to spend this long weekend with us. Allow yourselves to be charmed by spring.

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UVODNIK / ŽELJKO LUKETIĆ

Iako odavno punoljetni, Dani hrvatskog filma opet su na početku. Odlučili smo prema povijesti biti blagi i pomirljivi jer o bivšim ljubavima valja zboriti samo najljepše. No ipak, treba reći da se u 23 godine postojanja nekoliko činjenica pokazalo prevelikim teretom po DHF. Jedna od njih romantična je ideja smotre, prikaza svega što se snimilo u protekloj godini. U vrijeme svog nastanka, 1992. godine, funkcija DHF-a bila je pokazati da hrvatska kinematografija unatoč ratnim operacijama postoji jer Pulski filmski festival te godine nije održan. Neko vrijeme takva je koncepcija zaista ispunjavala svoju funkciju. Krajem devedesetih pojavio se Motovun, i više ništa nije bilo isto. Filmski festivali u Hrvatskoj diversificirali su se po rodu, vrsti, žanru, temi, čak i lokaciji. Dani hrvatskog filma i dalje su bili nacionalna smotra. Publike je bilo sve manje, producenti su svoje filmove davali tek kada odrade druge, važne festivale. Zadnja pošta, Studentski centar. DHF-u su vrata zalupili i financijeri. Nešto se moralo promijeniti. Aktiviralo se Vijeće DHF-a, koje čine predstavnici najvećih filmskih udruga i institucija, i na javnome natječaju jednoglasno izabralo program produkcijske kuće Spiritus movens. Odlučeno je da DHF mora postati filmski festival jer samo tako može opet privući publiku. Odlučeno je i da kompromisne selekcijske komisije više neće muku mučiti s “teškim rodovima” poput eksperimentalnog i odlučeno je da DHF mora drugim festivalima na sceni biti partner i nadopunjavati se. Ali isto tako mora biti svjestan i njihove blizine. Jer naša publika posjećuje i ZagrebDox i Animafest i 25 FPS i Zagreb Film Festival. Kvaliteta filmova i dalje nam je najvažnija. S tradicijom nismo ljuto raskrstili. U popratnim programima također nudimo naslove koje možda ne očekujete ili naslove koje ste već puno puta vidjeli, otvaramo pitanja koja sve nas zanimaju i ono najvažnije, otvaramo festival prema njegovoj okolini, prema susjednim zemljama, prema koprodukcijama i svim novim modelima koji su se od prvog DHF-a potpuno promijenili. Mogli smo ostati na mjestu, no odabrali smo iskušati nešto novo. Program je i dalje reprezentativan, samo je nešto sažetiji. Nije mu više namjera slaviti cjelogodišnje opuse, nego ono najbolje od njih. I na kraju, jedna mala anegdota s naše selekcijske konferencije za tisak. Poznata novinarka jednog uglednog medija pristupila mi je pročitavši izabrane naslove i kazala: “Za polovicu tih ja nikad nisam čula!” Zahvalio sam joj iskreno na komplimentu. Upravo to znači da će ona, koja je odgledala sve Dane hrvatskog filma do danas, ovdje opet naći nešto novo. A to novo su autori. Novi, mladi, stari… i njihovi odlični filmovi. Zbog njih smo tu. Dvadeset i četvrti put. Gledajte filmove, komentirajte, otkrivajte, budite s nama. 12


INTRODUCTION / ŽELJKO LUKETIĆ

Although they have been of age for a long time now, the Croatian Film Days (DHF) are once again at the beginning. In the 23 years of existence, several things proved to be too great a burden for the Days. One of them is a romantic idea of the revue – the screening of everything made in the past year. In 1992, when it was first initiated, the function of the Festival was to show that Croatian film is still alive and kicking despite the military operations and the cancellation of the Pula Film Festival. For a while, that concept worked. In the late 1990s, Motovun was established, and nothing was the same again. Film festivals in Croatia diversified across categories, genres, themes, even locations. The audience was becoming smaller, and the producers sent their entries only after being done with other, more important festivals. DHF was left standing before closed doors of the financiers. Something had to change. The Croatian Days Council decided to act. After a public tender, the committee unanimously elected the Spiritus movens production company. It’s been decided that the DHF has to become a film festival in order to attract the audience. It’s also been decided that the compromising selection committees will no longer struggle with ‘difficult forms’ such as experimental film. The Croatian Film Days need to complement the other festivals on the scene, acting as their partner. At the same time, we need to be aware that our audience also visits ZagrebDox, Animafest, 25 FPS and Zagreb Film Festival. The quality of films is still our priority. We haven’t angrily broken with tradition. Our side programmes offer the titles you may not expect, as well as the titles you have already seen a number of times; we raise questions that concern us all, and, the most important thing, we are opening up the Festival to a new surroundings, to the neighbouring countries, coproductions and all the new models that have changed completely since the first Croatian Film Days. We could have stayed put, but we decided to try something new. The programme is still representative, if more compact. Its purpose is no longer to celebrate the entire annual production, but only the best. In the end, a small anecdote from our press conference. A well-known journalist from a respected media came to me after the presentation and said: ‘I haven’t even heard of half of them!’ I sincerely thanked her for the compliment. It means that she, who has visited all of the Croatian Film Days editions to date, will be able to find something new here – and those are the authors. New, young, old, and their great films. We are here for them; for the 24th time. Watch the films, comment, reveal new things, come and join us. 13


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Ž IR I I NA G RA DE L . .

JURY AND AWARDS

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VELIKI ŽIRI

Mladen Đorđević (1978, Beograd) diplomirao je filmsku i TV režiju na Fakultetu dramskih umetnosti u Beogradu s dugometražnim dokumentarnim filmom Made in Serbia (2005). Autor je više kratkometražnih igranih filmova te srednjometražnih i dugometražnih dokumentaraca. Režirao je dugometražni igrani film Život i smrt porno bande (2009), koji je prikazan na četrdesetak međunarodnih festivala, a osvojio je nekoliko priznanja u Srbiji i četrnaest stranih nagrada. Trenutačno završava epizodu omnibusa Jednaki i priprema dva nova filma u svojoj producentskoj kući Corona film. Od 2014. selektor je FEST-a.

Vanja Jambrović (1980, Zagreb) diplomirala je 2005. godine komparativnu književnost i filozofiju na Filozofskom fakultetu u Zagrebu, a 2011. godine produkciju na Akademiji dramske umjetnosti u Zagrebu. Od 2009. radi kao producentica u Restartu i potpisuje filmove Nebojše Slijepčevića (Gangster te voli, Muški film, Kutija) i Gorana Devića (Donžuani: Oprostite gospodična, Sretna zemlja). U Restartu vodi produkcijsku platformu za debitantske autore Laboratorij te edukacijski program Masterclass namijenjen domaćim filmskim profesionalcima. Sudjelovala je na međunarodnim radionicama za producente EAVE (2015), Producers on the Move u Cannesu (2014), Emerging Producers u Jihlavi (2012) i Eurodoc (2010).

Dragan Jurak (1967, Zagreb) filmski je i književni kritičar. Tekstove je objavljivao u Kinoteci, Quorumu, Nedjeljnoj Dalmaciji, Feral Tribuneu, Jutarnjem listu, Globusu, ali i na HRT-u. Trenutačno objavljuje na portalu Modernih vremena, Novostima i na Trećem programu Hrvatskog radija. Objavljivao je i poeziju i kratke priče. Autor je pjesničke zbirke Konji i jahači (1994) te knjige filmskih eseja U zaklon! Ideološka čitanka suvremenog filma. Dobitnik je nagrade Vladimir Vuković za filmsku kritiku.

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GRAND JURY

Mladen Đorđević (1978, Belgrade) graduated in Film and TV Directing from the Faculty of Dramatic Arts in Belgrade with his documentary feature Made in Serbia (2005). His feature film The Life and Death of a Porno Gang (2009) was screened at around forty international festivals and won several awards in Serbia, as well as fourteen international awards. He is currently finishing a segment of the omnibus Jednaki and working on two new films produced by his company Corona film. Since 2014, he has been a selector for the Belgrade International Film Festival – FEST.

Vanja Jambrović (1980, Zagreb) graduated in Comparative Literature and Philosophy from the Faculty of Humanities and Social Sciences, Zagreb in 2005. In 2011, she graduated in Production from the Academy of Dramatic Art, Zagreb. Since 2009, she has worked as a producer for Restart. She has produced films by Nebojša Slijepčević (Gangster of Love, Real Man’s Film, Boxed), and by Goran Dević (Don Juans: Excuse Me Miss, Happy Land). She is the coordinator of Restart Laboratory – an educational production platform for young authors – and a Masterclass training programme aimed at Croatian film professionals. Vanja Jambrović has participated in various international workshops, including EAVE Film Production Workshop, Producers on the Move in Cannes (2014), Emerging Producers in Jihlava (2012), and Eurodoc (2010).

Dragan Jurak (1967, Zagreb) is a film and literary critic. His texts have been published by different magazines and newspapers, including Kinoteka, Quorum, Nedjeljna Dalmacija, Feral Tribune, Jutarnji list, Globus, and the Croatian Radiotelevision. He is currently writing for the Moderna vremena website, Novosti, and the Croatian Radio Third Channel. He has published poetry and short stories and is the author of the collection of poetry Konji i jahači (1994) and the collection of essays U zaklon! Ideološka čitanka suvremenog filma. He won the Vladimir Vuković Award for Best Croatian Film Critic.

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ŽIRI DRUŠTVA HRVATSKIH FILMSKIH REDATELJA ZA NAGRADU JELENA RAJKOVIĆ

Nikola Strašek (1978) studirao je komparativnu književnost i latinski jezik na Filozofskom fakultetu u Zagrebu te filmsku i TV režiju na Akademiji dramske umjetnosti u Zagrebu. Na trećoj godini studija snimio je dokumentarac Ubil bum te! (2007), koji je osvojio, između ostalog, nagradu za najboljeg debitanta na 16. Danima hrvatskog filma i Nagradu Jelena Rajković za najboljeg mladog redatelja. Svoj prvi profesionalni film, Vajt, napravio je dvije godine kasnije za produkcijsku kuću Factum, kao i dokumentarac Čedo (2012). Snimio je i kratkometražni igrani film Ivo (2012) u produkciji Kinoteke. Član je Društva hrvatskih filmskih redatelja od 2007. godine.

Jasna Zastavniković (1973) diplomirala je filmsku i TV režiju na Akademiji dramske umjetnosti u Zagrebu. Godine 1996. dobila je Rektorovu nagradu za kratkometražni dokumentarni film Ime majke, naranča, a 1997. nagradu Oktavijan za najbolji namjenski film za videospot grupe Stampedo na Danima hrvatskog filma. Članica je Društva hrvatskih filmskih redatelja i Hrvatske zajednice samostalnih umjetnika.

Josip Žuvan (1987) magistrirao je filmsku i TV režiju na Akademiji dramske umjetnosti u Zagrebu, smjer igrani film. Tijekom studija snimao je kratkometražne igrane, eksperimentalne i animirane filmove koji su prikazani na domaćim i stranim festivalima. Njegov animirano-eksperimentalni film Wash Your Hands First (2014) dostupan je i kao aplikacija u kojoj korisnik može intervenirati u strukturu filma. Član je Društva hrvatskih filmskih redatelja.

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CROATIAN FILM DIRECTORS GUILD’S JURY FOR JELENA RAJKOVIĆ AWARD

Nikola Strašek (1978) studied Comparative Literature and Latin at the Faculty of Humanities and Social Sciences in Zagreb, and Film and TV Directing at the Academy of Dramatic Art in Zagreb. During his third year of studies, he made the documentary I’ll Kill You! (2007) which won the Best Debutant Award at the 16th Croatian Film Days and the Jelena Rajković Award for Best Young Director. Two years later, he made his first professional film Vajt, which was produced by Factum – a production company that also produced his documentary Čedo (2012). His short film Ivo (2012) was produced by Kinoteka. Since 2007, he has been a member of the Croatian Film Directors’ Guild (DHFR).

Jasna Zastavniković (1973) graduated in Film and TV Directing at the Academy of Dramatic Art in Zagreb. In 1996, she won the Rector’s Award for her short documentary Mother’s Name: Orange, and in 1997, her music video for the band Stampedo won the Oktavijan Award for Best Commissioned Film at Croatian Film Days. She is a member of the Croatian Film Directors’ Guild (DHFR) and the Croatian Freelance Artists Association (HZSU).

Josip Žuvan (1987) obtained an MA in Film and TV Directing from the Academy of Dramatic Art in Zagreb. During his student years, he made short fiction, experimental and animated films, which were screened at various domestic and international festivals. His animated-experimental film Wash Your Hands First (2014) is available in a linear form, and as an application through which the user can intervene into the film structure. Žuvan is a member of the Croatian Film Directors’ Guild (DHFR).

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NAGRADA ZA ETIKU I LJUDSKA PRAVA

Građanin je osoba koja živi u gradu. Favoriziranje vlastite kulture znak je pluralizma. U demokratskoj zemlji građani svoju ljubav i vjernost vođi pokazuju pjevanjem pjesama njemu u čast. Posao Vlade je nadzirati Sabor i predsjednika države. To su samo neki od rezultata istraživanja znanja djece i mladih provedenog koncem 2013. godine na inicijativu Istraživačko-obrazovnog centra za ljudska prava i demokratsko građanstvo Filozofskog fakulteta u Zagrebu. Prilično je zabrinjavajuće jer klinci, a i neki koji nisu tako mali, ne znaju osnovne pojmove svijeta u kojemu danas žive, iako im je obilje informacija ponuđeno već na udaljenosti jedne prosječne računalne tipkovnice. Neki od tih klinaca jednoga će dana možda postati filmaši. Drugi pak možda uđu u statistiku posjetitelja kina i filmskih festivala. U bilo kojem od tih slučajeva važno je da one koji su odlučili učiniti korak više barem simbolično nagradimo. Dani hrvatskog filma manifestacija su stara gotovo četvrt stoljeća čiji su programi svjedočili svim mijenama ovdašnjeg društva. Od osamostaljivanja države preko problema tranzicije pa sve do novijih trenutaka ekonomske krize i integracije u europsku obitelj, hrvatski filmaši često su svoje radove koristili kako bi komentirali stvarnost koja nas okružuje. Takav film nema poželjan rod i vrstu, nego svojom hrabrošću pomiče stvari, ruši tabue i pomaže izgraditi nova znanja. U vrijeme sasvim novih modela produkcije do takvog filma i nije lako doći. Uopće, teško je financirati filmove, a još je teže financirati teške filmove. Autori hrabrih filmova ili filmovi hrabrih autora zaslužuju da im se ime više puta spomene. Novouvedena Nagrada za etiku i ljudska prava, koju će dodijeliti posebno odabran ocjenjivački sud, želi olakšati njihov put do javnosti. Želi im omogućiti da svoju važnu poruku, temu i ideju prenesu u javne diskusije, kratke pauze u uredu ili teme za razgovor uz prijateljsku kavu. Filmovi možda ne mogu promijeniti svijet, ali mogu mu pomoći da postane bolji. Ocjenjivačko vijeće ove nagrade stoga će nagraditi onaj naslov koji najbolje koristi filmski medij kako bi progovorio, naglasio ili komentirao brojna pitanja etike i ljudskih prava. Od odnosa čovjeka prema zajednici ili obrnuto preko slobode, čovječnosti i morala, odnosa među spolovima, njihove ravnopravnosti, zatim uvažavanja manjina, pozitivnih prava i svih ostalih tema bitnih ne samo za one klince s početka nego i nas ostale, vijeće će upozoriti na onaj film koji prema njihovim kriterijima može učiniti onu bitnu i posebnu razliku u isticanju javnog interesa i humanosti. Dani hrvatskog filma u taj će žiri birati ugledne javne osobe koje su svojim angažmanom, stručnošću i kontinuiranim djelovanjem pokazale da se do zapaženih rezultata može doći te da su promjene možda nekad spore, ali ipak dostižne. (Željko Luketić) 20


THE AWARD FOR THE ADVANCEMENT OF ETHICAL VALUES AND HUMAN RIGHTS ON FILM

A citizen is a person who lives in a city. Cultural favouritism is a sign of pluralism. In a democratic country, citizens express their love and loyalty for their leader by singing songs in his honour. The job of the Government is to supervise the Parliament and the President of the Republic. These are only some of the answers offered by children and young adults who took part in a survey conducted in 2013 at the initiative of the Research and Training Centre for Human Rights and Democratic Citizenship, Faculty of Humanities and Social Sciences, Zagreb. It is highly worrying, because the kids, as well as some of the older ones, do not understand the basic concepts about the world they live in, despite the wealth of information available to them at the length of an average computer keyboard. Some of those kids may one day become filmmakers. Others may become part of the moviegoing statistics. In any case, it is important to reward, at least symbolically, those who have decided to take a step forward. Croatian Film Days is a nearly quarter-of-a-century-old manifestation, whose film programmes have witnessed all the changes in our society: the path to Independence, the difficult process of transition, and, finally, the recent economic crises and integration into the European family. During all that time, the Croatian filmmakers have often used their works as a social commentary. These types of film do not necessarily conform to a desirable genre, but instead boldly stir the status quo, tear down taboos, and help create a new awareness. In the time of completely different production models, such films are not easy to come by. It is difficult to finance films in general, and even more so to finance serious films. The authors of brave films and the films of brave authors deserve to have their names mentioned repeatedly. The new Award for Ethics and Human Rights, granted by a specially assigned committee, aims to facilitate their access to the public sphere. It strives to enable them to bring their important message, subject, and idea into public discussions, short office breaks, and friendly, leisurely conversations over a cup of coffee. Therefore, the committee will award the film which makes the best use of the medium in order to highlight, comment on or talk about various ethical and human rights issues: the relationship of individuals to their communities, or vice versa; the concepts of freedom, humanity and morality; relationships between genders and their equality; the treatment of minorities; positive rights and all the other topics that are important, not only for the children mentioned above, but also for the rest of us. The committee will select a film that meets their criteria and has the ability to make a difference in promoting public interest and humanity. The committee will be comprised of notable public figures whose work, expertise and activism has proved that it is possible to achieve significant results, and that, although some changes can be slow, they are attainable nonetheless. (Željko Luketić) 21


VIJEĆE NAGRADE ZA ETIKU I LJUDSKA PRAVA

Tin Gazivoda (1975) diplomirao je međunarodne odnose i magistrirao međunarodne političke studije na Sveučilištu Stanford, a 2012. stekao je zvanje doktora znanosti na Fakultetu političkih znanosti u Zagrebu. Godine 1997. počeo je angažman u Hrvatskom helsinškom odboru za ljudska prava. Tijekom 1999. godine vodio je središnji ured kampanje Glas 99 Građanske koalicije za slobodne i poštene izbore, a 2000. postao je izvršni direktor HHO-a. Od 2003. voditelj je, a zatim ravnatelj Centra za ljudska prava. Jedan je od osnivača Akademije za politički razvoj. Od 2010. radi kao savjetnik mreže fondacija Otvoreno društvo u Hrvatskoj.

Višnja Ljubičić (Zagreb) diplomirana je pravnica s iskustvom rada u Ministarstvu obrane i Uredu za ljudska prava Vlade RH. Sudjelovala je u izradi prvog Zakona o ravnopravnosti spolova (2003) i zagovarala je osnivanje specijaliziranog ureda pravobranitelja/ice za ravnopravnost spolova. Sudjelovala je u izradi nacionalnih politika za promicanje ravnopravnosti spolova i strategije za suzbijanje nasilja nad ženama te u radu radne skupine za žene Radne zajednice Alpe-Jadran kao nacionalna predstavnica. Stekla je brojna znanja na sveučilišnim osposobljavanima: izučena je trenerica za suzbijanje zločina iz mržnje, ima znanje iz međunarodnog humanitarnog prava, rodne statistike, ljudskih prava... Volontirala je kao pravnica u Udruzi za pomoć i edukaciju žrtava mobbinga i Transparency International Hrvatska. Od 2011. godine pravobraniteljica je za ravnopravnost spolova.

Vesna Teršelič (1962, Ljubljana) studirala je filozofiju, komparativnu književnost i fiziku na Sveučilištu u Zagrebu. Od 1992 do 1998. bila je koordinatorica Antiratne kampanje Hrvatske. Od 2000. do 2002. bila je izvršna direktorica Centra za mirovne studije, gdje od 2001. godine vodi projekt Suočavanje s prošlošću. Trenutačno je voditeljica Documente – Centra za suočavanje s prošlošću. Za ustrajno zagovaranje izgradnje povjerenja bila je nominirana za Nobelovu nagradu za mir 1997. godine. Dobila je nagradu Right Livelihood (s Katarinom Kruhonjom) (1998) i Plaketu Diana Budisavljević (2010), a 2013. bila je stipendistica fondacije Robert Bosch. Suosnivačica je SVARUN-a – Radne grupe za ekološke, mirovne, ženske i duhovne inicijative (1986), Zelene akcije (1990), Antiratne kampanje Hrvatske (1991), Centra za ženske studije (1995), Centra za mirovne studije (1996) i Documente (2004). 22


ETHICAL VALUES AND HUMAN RIGHTS AWARD COMMITTEE

Tin Gazivoda (1975) graduated with a BA in International Relations and obtained his MA in International Political Relations from Stanford University. In 2012, he obtained a from the Faculty of Political Sciences in Zagreb. In 1997, he started working for the Croatian Helsinki Committee for Human Rights (HHO). In 1999, he was head of the central office for Voice ’99 – The Civic Coalition for Free and Fair Elections. Since 2003, he has been a co-ordinator, and then director of the Human Rights Center. He is one of the founders of the Academy for Political Development. Since 2010, he has acted as Open Society Foundations Advisor for Croatia.

Višnja Ljubičić (Zagreb) has a degree in Law from the Faculty of Law, Zagreb. She has worked for the Ministry of Defence and the Governmental Office for Human Rights. She was a member of the Working Group for Drafting the First Gender Equality Act (2003), and the Working Group for Drafting National Policy for Promotion of Gender Equality and Strategy for Protection against Domestic Violence, as well as national representative for the Working Group for Women of the Working Community Alps-Adriatic. She is a trained lecturer for combating hate crimes and is educated in international humanitarian law, gender statistics, human rights... Since 2011, she has been the head of the Ombudsperson for Gender Equality.

Vesna Teršelič (1962, Ljubljana) studied Philosophy, Comparative Literature, and Physics at the University of Zagreb. She was the coordinator of the Croatian Anti-War Campaign (ARK). From 2000 to 2002, she was Executive Director of the Center for Peace Studies where she has co-ordinated the project Dealing with the Past since 2001. She is currently the co-ordinator of Documenta. In 1997, she was nominated for the Nobel Peace Prize for her dedication to building peace and reconciliation in the Balkans. She is the winner of the Right Livelihood Award (with Katarina Kruhonja, 1998) and of the Diana Budisavljević Plaque (2010). She is a co-founder of SVARUN – Working Group for Environmental, Pacifist, Feminist and Spiritual Initiatives (1986), Green Action (1990), Croatian Anti-War Campaign (1991), Center for Women’s Studies (1995), Center for Peace Studies (1996) and Documenta (2004).

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NAGRADE 24. 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. - Film (Grand prix) - Režija - Scenarij - Gluma - Montaža - Glazba - Kamera - Manjinska koprodukcija Nagrade Oktavijan Hrvatskog društva filmskih kritičara (HDFK) Članovi HDFK-a ocjenjuju filmove u konkurenciji ocjenama od jedan do pet, nakon čega se proglašava film s najvišom ocjenom prema rodovima. - Animirani film - Dokumentarni film - Eksperimentalni film - Igrani film - 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 scenograf Željko Senečić. 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 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.

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THE 24TH CROATIAN FILM DAYS AWARDS

The Grand Jury Awards Awarded by the Grand Jury for each of the listed categories. The award for Best Film (Grand Prix) is mandatory, while the rest are optional. - Film (Grand Prix) - Directing - Screenplay - Acting - Editing - Music - Camera - Minority Co-production The Oktavijan awards granted by the Croatian Film Critics’ Association (HDFK) Members of the Association rate films in the Competition Programme with grades 1 – 5, after which the award goes to the highest ranking film, according to their categories. - Animated Film - Documentary Film - Experimental Film - Short-fiction Film - Commissioned Film The Golden Oktavijan Award A life achievement award granted to the filmmakers who have made an outstanding contribution to Croatian film. The winner is selected at the HDFK assembly prior to the Festival. This year’s winner is Željko Senečić. The Vladimir Vuković Award Granted by the Croatian Film Critics’ Association for film criticism: for Life Achievement in Criticism, Best Critic of the Year, or Best Young Critic. The Jelena Rajković Award Granted by the jury appointed by the Croatian Film Directors’ Guild. Awarded to Best Director Under the Age of 30 (Cash Prize 6,000 HRK). The Ethics and Human Rights Award Granted by the Ethics and Human Rights Committee for the Advancement of Ethical Values and Human Rights on Film. The Audience Award Granted by the audience. Awarded to films in the Competition Programme .

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ŽELJKO SENEČIĆ, DOBITNIK NAGRADE ZLATNI OKTAVIJAN ZA ŽIVOTNO DJELO

Među brojnim talentima koje je u višedesetljetnom umjetničkom vijeku njegovao slikar, pisac, scenarist, redatelj i scenograf Željko Senečić (rođen 1933. u Zagrebu) jedan je posebno zaslužan za vizualne senzacije što ih izdvajamo iz povijesti hrvatskoga filma. Povezujemo ih s naslovima Ključ, Rondo, Breza, Imam dvije mame i dva tate, Četvrti suputnik, Tko pjeva zlo ne misli, Prometej s otoka Viševice, Predstava Halmeta u selu Mrduša Donja, Gravitacija, Kiklop, Glembajevi... i s još osamdesetak filmova koje je nakon završenog studija slikarstva na zagrebačkom ALU-u i scenografije na nekadašnjoj Kazališnoj akademiji te niza asistencija kod D. Jeričevića, Ž. Zagote i V. Tadeja potkraj pedesetih i početkom šezdesetih samostalno potpisao kao filmski scenograf. Zatječemo ih i među dvjestotinjak televizijskih drama redatelja poput M. Fanellija, D. Marušića, E. Galića, V. Kljakovića, B. Žižića, N. Puhovskog i drugih ili serija kao što su Gruntovčani, Nikola Tesla, Sumorna jesen i Nepokoreni grad, gdje se njegova umješnost biranja, arhitektonskog oblikovanja i likovnog oplemenjivanja dramskih prostora, baš kao i na filmu, znala ingeniozno nadopunjavati sa zamislima scenarista, dramaturga, redatelja i direktora fotografije. Senečićevu vještinu kreiranja unikatna fikcionalnog svijeta s neizostavnim refleksom stvarnosti “iskorištavali” su zato najveći iz domaćeg autorskog kanona – od Bauera, Babaje, Mimice, Vrdoljaka, Papića, Hadžića i Ivande te potpuno mu odanih Golika i Berkovića – a ona ga je prirodno odvela i do više desetina međunarodnih produkcija i koprodukcija, do S. Peckinpaha (Željezni križ, 1977), V. Schlöndorfa (Limeni bubanj, 1979), K. Reisza (Isadora, 1968), M. Jancsóa (Privatni poroci, javne vrline, 1976) i drugih velikana svjetskoga filma. U tako velikom broju produkcija, uz koje je još stigao slikati, pisati, kreirati kazališne scenografije, postavljati samostalne izložbe, režirati kratkometražne i cjelovečernje filmove, Senečić je imao priliku scenografski osmišljavati raznorodne filmske ambijente – interijene i eksterijerne, zatečene i artificijelne, njemu potpuno strane, pa čak i odbojne, kao što su, prema vlastitu priznaju selo i priroda, pokazujući pronicavost i sposobnost prilagodbe. Dakako, najviše je postigao u ambijentalnim situacijama s kojima je svojim srednjoeuropskim građanskim podrijetlom, gradskim odgojem i umjetničkim izborom posve srastao, a njegovi gradski eksterijeri te plastično obrađeni i suvremenim rekvizitarijem opremljeni dekori unijeli su u hrvatski film duh rafinirane urbanosti i modernosti u vrijeme kada su mu povijesni narativi nametali posve drukčiju ikonografiju. 26

Rondo, Zvonimir Berković, 1966.


Osvojenim Zlatnim arenama (za Slijepčevićevo Pravo stanje stvari, 1964; Berkovićeva Ljubavna pisma s predumišljajem, 1985; Grlićevog Čarugu, 1992 i Gamulinovu Polaganu predaju, 2001), Nagradi Vladimir Nazor za životno djelo, kao i svim drugim dosad osvojenim nagradama scenografa Željka Senečića, Hrvatsko društvo filmskih kritičara prilaže Zlatnog Oktavijana kao još jedno priznanje njegova jedinstvenog prinosa hrvatskom filmu. (Diana Nenadić) Dodjela nagrade održat će se u kinu Europa tijekom otvaranja festivala, 23. 4. u 20 sati. Na Danima hrvatskog filma ove godine gledamo dugometražni igrani film Medeni mjesec (1983) Nikole Babića u počast nagrađenom Željku Senečiću, koji potpisuje scenografiju u filmu.

Željko Senečić

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ŽELJKO SENEČIĆ, THE WINNER OF THE GOLDEN OKTAVIJAN AWARD FOR LIFE ACHIEVEMENT

Among the numerous talents of Željko Senečić (1933, Zagreb), honed in his decades-long artistic career as a painter, writer, director and production designer, one stands out within the history of Croatian Film – that of a production designer. His fantastic visuals are attached to such titles as The Key, Rondo, The Birch Tree, I Have Two Mothers and Two Fathers, The Fourth Companion, One Song a Day Takes Mischief Away, Prometheus of the Island, Acting Hamlet in the Village of Mrduša Donja, The Fantastic Youth of Bank Clerk Boris Horvat, Cyclops, The Glembays... After he graduated in Painting from the Academy of Fine Arts in Zagreb, and in Production Design from the former Academy of Theatre Arts, Senečić assisted various production designers, including D. Jeričević, Ž. Zagotta, V. Tadej. He was production designer on another eighty films in the late fifties and early sixties. His professional signature can also be seen in around two hundred TV dramas by directors like M. Fanelli, D, Marušić, E. Galić, V. Kljaković, B. Žižić, N. Puhovski and others, as well as TV series like Gruntovčani, Nikola Tesla, A Sombre Autumn and Nepokoreni grad. In all those works, his art of selection, architectural design, and artistic refinement of dramatic space, masterfully complemented the ideas of screenwriters, directors and cinematographers. Senečić’s skills in creating unique fictional worlds with the inevitable reality reflex were ‘used’ by canonical directors of Croatian film – Bauer, Babaja, Mimica, Vrdoljak, Papić, Hadžić, and Ivanda, as well as Golik and Berković, who were loyal to him the most. His artistry naturally landed him dozens of international productions and coproductions – S. Peckinpah (The Cross of Iron, 1977), V. Schlöndorf (The Tin Drum, 1979), K. Reisz (Isadora, 1968), M. Jancsó (Private Vices, Public Virtues, 1976), and other film greats. Even with all these productions, he managed to paint, write, design theatrical scenery, hold exhibitions, and direct short and full-length films. He also found time to create varied film ambients – interior and exterior, existing and artificial, including those that were completely strange to him, even repulsive (like nature and countryside, according to his own admission) thus showing great shrewdness and adaptability. Of course, he accomplished the most in those situations which fit his Central European, urban origin and education. His city exteriors and plastic, contemporary decors brought into Croatian film a breath of refined urbanity and modernity at a time when historical narratives imposed a completely different iconography. His Golden Arenas (for The Real State of Affairs by Slijepčević, 1964; Premeditated Love Letters by Berković, 1985; Charuga by Grlić, 1992; Slow Surrender by Gamulin, 2001) and Vladimir Nazor Award for Life 28

Limeni bubanj (Der Blechtrommel), Volker Schlöndorff, 1979.

Miklós Jancsó, Privatni poroci, javne vrline (Vizi privati, pubbliche virtù), 1976.


Achievement, as well as all the other awards – lost or won – are now joined by the Golden Oktavijan Award, granted to Senečić by the Croatian Film Critics’ Association for his exceptional contribution to Croatian film. (Diana Nenadić) The Golden Oktavijan Award ceremony will be held on Thursday, April 23rd at 8 PM at Kino Europa during the grand festival opening ceremony. This year, The Croatian Film Days are screening the feature film Honeymoon (1983) by Nikola Babić, to honour the production designer Željko Senečić.

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Medeni mjesec Honeymoon Život blagajnika zadružne prodavaonice u slavonskom selu tekao bi mirno da se u njega nije umiješao zagrebački kriminalac koji je zaveo njegovu voljenu djevojku. Kriminalistička drama s elementima tzv. softcore pornića. Nikola Babić (1935, Poprati, BiH) diplomirao je na Filozofskom fakultetu u Zagrebu. Od 1964. godine radi na filmu. Pozornost kritike skreće kratkometražnim filmom Mur bur (1969), nagrađenim i srebrnom medaljom u Veneciji. Godine 1977. snima igrani film Ludi dani. Dobitnik je i Nagrade Vladimir Nazor (1971). The peaceful life of a cashier at a co-operative store in a Slavonian village is disturbed by a certain criminal from Zagreb, when he seduces his beloved girlfriend. A crime drama with elements of the so-called soft-core porn. Nikola Babić (1935, Poprati, Bosnia and Herzegovina) graduated from the Faculty of Humanities and Social Sciences in Zagreb. He has worked on film since 1964. In 1969, he made the film Mur bur, which drew the attention of the critics when it won the Silver Medal in Venice. In 1977, he made the film Crazy Days. He also received the Vladimir Nazor Award (1971).

SCENARIJ / SCREENPLAY Nikola Babić MONTAŽA / EDITING Boris Erdelji KAMERA / CINEMATOGRAPHY Andrija Pivčević SCENOGRAFIJA / ART DIRECTOR Željko Senečić KOSTIMOGRAFIJA / COSTUMES Ksenija Jeričević GLAZBA / MUSIC Alfi Kabiljo ULOGE / CAST Slobodan Milovanović, Biserka Ipša, Nada Abrus, Ljubiša Samardžić, Oto Levaj, Vlasta Ramljak, Tošo Jelić, Ilija Ivezić, Fabijan Šovagović, Pavle Vujisić PRODUKCIJA / PRODUCTION Adria film, Croatia film DISTRIBUCIJA / DISTRIBUTION Hrvatski državni arhiv – Hrvatska kinoteka 30

REŽIJA / DIRECTOR Nikola Babić YU 1983 114’00’’ cenzura / censorship 30. 6. 1983. igrani / feature KINO EUROPA 26. 4. 2015. 21:00


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L . .

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K ON K UR EN C I J AL . .

COMPETITION PROGRAMME

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ANIMIRANI FILM ANIMATED FILM

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A i majmuni umiru Even Monkeys Die Oduvijek me zanimao trenutak između življenja i neživljenja, čas prestanka bivanja. U tom kontekstu On otkriva svoje pravo ja. There is a brief moment on the threshold of life and death in which our existence comes to an end. In such context He discovers His true self.

REŽIJA / DIRECTOR Anja Šušanj HR 2015 6’37’’

KINO EUROPA 25. 4. 2015. 22:00 Premijera / Premiere Anja Šušanj (1985) diplomirala je 2014. godine na Odsjeku za animirani film i nove medije pri Akademiji likovnih umjetnosti u Zagrebu. Bavi se ilustracijom i animacijom. Anja Šušanj (1985) graduated in Animated Film and New Media at the Academy of Fine Arts, Zagreb in 2014. She is an illustrator and animator.

SCENARIJ, ANIMACIJA, MONTAŽA / SCREENPLAY, ANIMATION, EDITOR Anja Šušanj KOLORIRANJE / COLORING Ivan Vranjić OBLIKOVANJE ZVUKA / SOUND DESIGN Tamara Mikler MENTOR / MENTOR Darko Bakliža PRODUKCIJA / PRODUCTION Akademija likovnih umjetnosti KOPRODUKCIJA, DISTRIBUCIJA / CO-PRODUCTION, DISTRIBUTION Zagreb film 35


Čoban Choban Čobanu otmu kujicu Lajku i lansiraju je u svemir. On kreće u potragu, i pritom u gradu pod zemljom doživi i proživi pjevačku karijeru. Moira, starica koja kroji sudbinu te savija vrijeme i prostor, pretvori Lajku u antropomorfno biće koje žudi za povratkom svom gospodaru. After his dog Laika is kidnapped and launched into outer space, Choban embarks on a search for his pet. The journey leads him to an underground city where he accidentally ventures on a singing career. Meanwhile, an old woman named Moira, who tailors fate and bends time and space, turns Laika into an anthropomorphic being that yearns to return to her master.

REŽIJA / DIRECTOR Matija Pisačić HR 2014 18’20’’

KINO EUROPA 25. 4. 2015. 22:00

Matija Pisačić (1975) radi kao redatelj animiranih filmova, ilustrator, autor stripova i crtač. Ovo je njegov drugi animirani film. Matija Pisačić (1975) is a director of animated films, illustrator and comic book artist. This is his second animated film.

SCENARIJ, ANIMACIJA, MONTAŽA, KOMPOZITING / SCREENPLAY, ANIMATION, EDITING, COMPOSITING Matija Pisačić GLAZBA / MUSIC Srđan Sacher PRODUCENT / PRODUCER Vinko Brešan PRODUKCIJA / PRODUCTION Zagreb film

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Elu Herman H. Rottiga / Life with Herman H. Rott Život s Hermanom H. Rottom Herman H. Rott, štakor i panker, samuje u neredu svog stana. Jednoga dana umiljata malograđanska mačka ugleda pijanog Hermana kako se vraća kući. Smjesta odlučuje da je vrlo šarmantan te se useljava u njegov stan bez da ga išta pita. Film je odabran u ovogodišnji natjecateljski program festivala u Annecyju.

REŽIJA / DIRECTOR Chintis Lundgren

Herman H. Rott is a punk rat who lives alone in his messy apartment. One day, as he is drunkenly stumbling home, Herman is spotted by a lovable bourgeois cat. She promptly concludes that he is very charming and decides to move into his apartment – uninvited. The film was accepted into this year’s competition programme at the Annecy Film Festival.

KINO EUROPA 23. 4. 2015. 20:00 Premijera / Premiere

SCENARIJ / SCREENPLAY Draško Ivezić, Chintis Lundgren ANIMACIJA, MONTAŽA, KAMERA / ANIMATION, EDITING, CINEMATOGRAPHY Chintis Lundgren KOMPOZITING / COMPOSITING Draško Ivezić OBLIKOVANJE ZVUKA / SOUND DESIGN Henrik Malmgren GLASOVI / VOICES Henrik Malmgren, Draško Ivezić

ES, HR, DK 2015 11’06’’

Chintis Lungren (1981) estonska je autorica animiranih filmova. Animacijom se počela baviti 2008. godine, nakon uspješne slikarske karijere u Estoniji. Osnovala je svoj studio za animaciju u Tallinnu. Sada boravi i radi u studiju Adriatic Animation u Puli. Chintis Lungren (1981) is an Estonian author of animated films. She has worked as an animator since 2008, following a successful painting career in Estonia. She founded her own animation studio in Tallinn and is currently living in Pula, where she is working in the Adriatic Animation studio.

PRODUCENT / PRODUCER Draško Ivezić PRODUKCIJA / PRODUCTION Chintis Lundgreni Animatsioonistuudio KOPRODUKCIJA / CO-PRODUCTION Adriatic Animation, Umjetnička organizacija Anima, Goodjobstudio DISTRIBUCIJA / DISTRIBUTION Adriatic Animation 37


Levitacija Levitation Kakva je to sila koja se opire gravitaciji, sila zbog koje biljke rastu u zrak i koja nam daje snagu da se krećemo protiv struje? Ona gura gore i, ako joj se prepustimo, nosi nas do divne lakoće. Dići jedra i stići iza vjetra… Film je odabran u natjecateljski program 61. festivala u Oberhausenu.

REŽIJA / DIRECTOR Marko Meštrović

What is this force that defies gravity, a force so powerful that it drives plants to reach up and gives us strength to sail against the current? If we let go to its upward pull, we will attain a wonderful lightness. Raise your sail and catch the leeway… Levitation was accepted into the competition programme of the 61st Festival in Oberhausen.

KINO EUROPA 24. 4. 2015. 18:00

HR 2014 8’07’’ CB / BW

Marko Meštrović (1972) diplomirao je na Slikarskom odsjeku Akademije likovnih umjetnosti u Zagrebu. Danas radi kao stručni suradnik na Odsjeku za film i video Umjetničke akademije u Splitu. Osvojio je brojna priznanja za animirane filmove. Marko Meštrović (1972) graduated in Painting from the Academy of Fine Arts in Zagreb. He works as Professional Associate at the Arts Academy Split, Film and Video Department. He has received many awards for his animated films.

SCENARIJ, ANIMACIJA, KOMPOZITING, MONTAŽA / SCREENPLAY, ANIMATION, COMPOSITING, EDITING Marko Meštrović MODELIRANJE / MODELING Martina Meštrović GLAZBA / MUSIC Natko Stipaničev OBLIKOVANJE ZVUKA / SOUND DESIGN Boris Wagner PRODUCENT / PRODUCER Igor Grubić PRODUKCIJA / PRODUCTION Kreativni sindikat DISTRIBUCIJA / DISTRIBUTION Bonobostudio 38


Linija i druge Line and Other Lines Odnos pojedinca sa samim sobom i ostatkom svijeta objašnjen linijama i nekim drugim linijama. The relationship of individuals with themselves and the rest of the world, depicted through lines and other lines.

REŽIJA / DIRECTOR Davor Vrcelj HR 2015 8’24’’ boja, CB / colour, BW

KINO EUROPA 24. 4. 2015. 18:00 Premijera / Premiere Davor Vrcelj (1972) diplomirao je grafički dizajn na Studiju dizajna u Zagrebu. Bavi se dizajnom, animacijom, ilustracijom, fotografijom, a malo i sklada. Ovo je njegov prvi autorski film. Davor Vrcelj (1972) graduated in Graphic Design from the School of Design in Zagreb. He works in design, animation, illustration and photography and also does a little composing. This is his directorial debut.

SCENARIJ, ANIMACIJA, MONTAŽA, OBLIKOVANJE ZVUKA / SCREENPLAY, ANIMATION, EDITING, SOUND DESIGN Davor Vrcelj PRODUCENT / PRODUCER Igor Grubić PRODUKCIJA / PRODUCTION Kreativni sindikat

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Ljubav i prijevozna sredstva Love and Vehicles Svijet je pun različitih vozila – brodova, bicikala, vlakova, aviona – u kojima putuju razni parovi u neobičnim i površnim vezama. Dva lika koji nalikuju jedan drugome poput blizanca, samo suprotnog spola, ne susreću se do kraja priče. Hoće li završiti zajedno i biti kao jedan od ostalih parova? Ili sudbina ima druge planove?

REŽIJA / DIRECTOR Draško Ivezić

The world is full of vehicles and couples, all travelling together, trapped in their meaningless relationships. Two characters, similar, but of opposite gender, never meet. Are they going to board it together and become like the other couples? Or does fate have other plans?

KINO EUROPA 24. 4. 2015. 22:00

HR 2014 14’05’’

Draško Ivezić (1975) završio je Akademiju likovnih umjetnosti u Zagrebu. Profesionalno se bavi animiranim filmom. Ovo je njegov debitantski autorski film. Draško Ivezić (1975) graduated from the Academy of Fine Arts in Zagreb. He is working as an animator. This is his first professional film.

SCENARIJ, ANIMACIJA, KAMERA / SCREENPLAY, ANIMATION, CINEMATOGRAPHY Draško Ivezić MONTAŽA / EDITING Ivor Ivezić KOLORIRANJE / COLORING Chintis Lundgren GLAZBA / MUSIC Branko Radić OBLIKOVANJE ZVUKA / SOUND DESIGN Thomas Richard Christensen GLASOVI / VOICES Gustav Georg Lindström, Denis Chapon, Jody Ghani, Hans Frederik Jakobsen, Ellen Holck, Christyan Lundblad, Sofie Nørgaard Kampmark PRODUCENT / PRODUCER Vinko Brešan PRODUKCIJA, DISTRIBUCIJA / PRODUCTION, DISTRIBUTION Zagreb film KOPRODUKCIJA / CO-PRODUCTION Adriatic Animation 40


Probudi me Wake Me Up Ovo je film o dječaku koji se probudi na nepoznatom mjestu i krene u potragu za svojim psom i kućom. Na putu susreće razna neobična bića. Kada napokon nađe svoju kuću i mir, izgleda da možda ipak nije sve kako se čini. This is a film about a boy who wakes up in a strange place and goes on a search for his dog and house. On his journey, he meets many strange creatures. When he finally finds his house and peace, it turns out that things are not always what they seem.

REŽIJA / DIRECTOR Dea Jagić HR 2015 8’28’’

KINO EUROPA 25. 4. 2015. 22:00 Premijera / Premiere Dea Jagić (1985) diplomirala je na Akademiji likovnih umjetnosti u Zagrebu s animiranoeksperimentalnim filmom Objekti. Od tada radi kao animatorica, ilustratorica, redateljica i dizajnerica. Probudi me njezin je debitantski film. Dea Jagić (1985) graduated from the Academy of Fine Arts in Zagreb with her experimentalanimated film Objects. Since then, she has worked as an animator, illustrator, director and designer. Wake Me Up is her debut film.

SCENARIJ, ANIMACIJA, MONTAŽA, MODELIRANJE / SCREENPLAY, ANIMATION, EDITING, MODELING Dea Jagić KAMERA / CINEMATOGRAPHY Saša Kavić OBLIKOVANJE ZVUKA / SOUND DESIGN Bojan Jagić PRODUCENT / PRODUCER Vinko Brešan PRODUKCIJA / PRODUCTION Zagreb film

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Robotica Robotess Ovo je dramatična priča o sasvim uobičajenom Gospodinu i njegovoj kućnoj pomoćnici Robotici koja, terorizirajući pomoćno osoblje vrijednih kućanskih aparata, ubire zasluge bez osnove. Ovo je priča o borbi za vlast, ali i osvetu. Naposljetku, to je borba za ljubav i naklonost onih koji našu ljubav iskreno zaslužuju.

REŽIJA / DIRECTOR Ivan Fodor

This is a dramatic story about a completely ordinary Gentleman and his housemaid Robotess who, by terrorising the staff of hardworking household appliances, takes credit without really earning it. This is a story about a fight for power, but also revenge. In the end, it is a fight for love and affection of those who truly deserve to be loved.

KINO EUROPA 25. 4. 2015. 22:00 Premijera / Premiere

HR 2014 6’48’’

Ivan Fodor (1980) diplomirao je 2014. godine filmom Robotica na Odsjeku animiranog filma pri Akademiji likovnih umjetnosti. Član je Hrvatskog društva filmskih djelatnika. Ivan Fodor (1980) graduated in Animated Film from the Academy of Fine Art in 2014 with his film Robotess. He is a member of the Film Artists’ Association of Croatia (HDFD).

SCENARIJ, ANIMACIJA, MONTAŽA, DIREKTOR FOTOGRAFIJE / SCREENPLAY, EDITOR, CINEMATOGRAPHY Ivan Fodor GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Tin Patafta GLAS / VOICE Natalia Vulin MENTOR / MENTOR Darko Bakliža PRODUKCIJA / PRODUCTION Akademija likovnih umjetnosti DISTRIBUCIJA / DISTRIBUTION Ivan Fodor

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Tajni laboratorij Nikole Tesle Nikola Tesla’s Secret Laboratory Prolazak vlaka probudi robota u skrivenom laboratoriju. U iščekivanju dolaska svog stvoritelja Tesle, koji je davno preminuo, vrijeme krati gledanjem TV-a. Postane depresivan od samačkog života, pa kada na televiziji ugleda neobičan odnos između muškarca i žene, odluči napraviti svoju životnu partnericu. No nešto ne funkcionira. Kada izgubi svu nadu, dogodi se obrat. A passing train awakens a robot stashed in a hidden laboratory. Waiting for his creator Tesla, who passed away long time ago, he bides his time by watching TV. There, he witnesses an unusual relationship between a man and a woman. Depressed by the solitary life, he decides to create his own life companion. But it doesn’t seem to work. Just as he loses all hope, there is an unexpected turn of events.

REŽIJA / DIRECTOR Bruno Razum HR 2014 11’06’’

KINO EUROPA 25. 4. 2015. 22:00

Bruno Razum (1975) diplomirao je 2004. godine u klasi profesora Ivana Ladislava Galete na Nastavničkom odsjeku (multimedija) Akademije likovnih umjetnosti u Zagrebu. Komercijalno se bavi animacijom. Član ULUPUH-a. Bruno Razum (1975) graduated in Art and Education (Multimedia) from the Academy of Fine Arts in Zagreb, in the class of the late Ivan Ladislav Galeta. He works in commercial animation and is a member of the Croatian Association of Artists of Applied Arts (ULUPUH).

SCENARIJ, ANIMACIJA, DIREKTOR FOTOGRAFIJE / SCREENPLAY, ANIMATION, CINEMATOGRAPHY Bruno Razum MONTAŽA / EDITOR Marina Barac PRODUCENT / PRODUCER Vinko Brešan PRODUKCIJA / PRODUCTION Zagreb film

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Vučje igre Wolf Games Dok čeka braću da se vrate iz lova, mala vučica brine se o kući. No braća ne donose veliki plijen. Uz prazne želuce, tri mlada vuka sjede za stolom bez riječi. Najstariji puši cigaretu, drugi tapka prstom po stolu. Sat kuca. Vučica se prisjeti najvećeg plijena... Velikog crnog vuka. Njihova oca. Film je odabran u studentsko natjecanje na ovogodišnjem festivalu u Annecyju. While she is waiting for her brothers to come home from the hunt, a young she-wolf is taking care of the house. But the brothers arrive empty-handed. Stomachs empty, the three youngsters are sitting at the table, silent. The oldest is smoking a cigarette, the other is tapping his fingers on the table. The clock is ticking. And then, the sister thinks of the biggest prey of all... The Big Black Wolf – their father. The film was accepted into this year’s student competition programme at the Annecy Film Festival.

SCENARIJ, ANIMACIJA, MONTAŽA, KAMERA / SCREENPLAY, ANIMATION, EDITING, CINEMATOGRAPHY Jelena Oroz OBLIKOVANJE ZVUKA / SOUND DESIGN Natko Stipaničev MENTOR / MENTOR Darko Kreč PRODUKCIJA / PRODUCTION Akademija likovnih umjetnosti KOPRODUKCIJA, DISTRIBUCIJA / CO-PRODUCTION, DISTRIBUTION Zagreb film 44

REŽIJA / DIRECTOR Jelena Oroz HR 2015 4’43’’

KINO EUROPA 23. 4. 2015. 22:00 Premijera / Premiere Jelena Oroz (1987) završila je 2008. godine preddiplomski studij likovne kulture na Umjetničkoj akademiji u Osijeku. Godine 2014. diplomirala je animaciju na Akademiji likovnih umjetnosti u Zagrebu. Radi kao animatorica. Jelena Oroz (1987) completed her BA in Fine Arts from the Academy of Arts, Osijek in 2008. In 2014, she graduated in Animation from the Academy of Fine Arts, Zagreb. She works as an animator.


Wiener Blut Bečka krv Film je autorovo sjećanje na početak Drugog svjetskog rata i prati odlazak gospođe Sarike u židovski umirovljenički dom. Ono što je trebao biti miran kraj života, pretvara se u užas holokausta, a ona postaje jedna od brojnih žrtvi. Film je inspiriran slikama Georgea Grosza i Otta Dixa.

REŽIJA / DIRECTORS Zlatko Bourek, Pavao Štalter

The author recalls the beginning of the Second World War. Mrs. Sarika moves into a Jewish retirement home. However, what was supposed to be a peaceful autumn of her life turns into the horror of the Holocaust as Mrs. Sarika becomes another one of its numerous victims. The film was inspired by the paintings of George Grosz and Otto Dix.

KINO EUROPA 24. 4. 2015. 20:00

SCENARIJ / SCREENPLAY Zlatko Bourek ANIMACIJA / ANIMATION Pavao Štalter CRTEŽ, SCENOGRAFIJA / DRAWING, ART DIRECTORS Zlatko Bourek, Pavao Štalter MONTAŽA / EDITING Bajko I. Hromalić KAMERA / CINEMATOGRAPHY Ernest Gregl KOLORIRANJE / COLORING Tomislav Sporiš GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Vjeran Šalomon

HR 2014 8’10’’

Zlatko Bourek (1929), akademik, kipar, slikar, redatelj, kostimograf, scenograf, diplomirao je kiparstvo i slikarstvo na Akademiji primijenjene umjetnosti u Zagrebu 1955. godine. Pavao Štalter (1929) diplomirao je iste godine na istoj akademiji. Radio je u Zagreb filmu kao scenograf, a zatim i redatelj. Prvaci Zagrebačke škole crtanoga filma. Zlatko Bourek (1929) is an academic, sculptor, painter, director, costimographer, set designer. He graduated from the Academy of Applied Arts in Zagreb in 1955. Pavao Štalter (1929) graduated same year from that academy. He worked for Zagreb film as a production designer, and later as a director. They are champions of the Zagreb School of Animated Film.

PRODUCENT / PRODUCER Vinko Brešan PRODUKCIJA / PRODUCTION Zagreb film 45


DOKUMENTARNI FILM DOCUMENTARY FILM

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Britanski trg British Square Što se dogodi kada se vrijeme zgusne na jednom mjestu? Kada se isprepletu davno življeni životi i sudare se s našom svakodnevicom? Autorica nas vodi kroz snoviđenje Britanskog trga omotanog u sajam antikviteta, tradicionalno nedjeljno događanje na poznatom trgu. Film je druga epizoda omnibusa Nezaustavljivo.

REŽIJA / DIRECTOR Dijana Bolanča Paulić

What happens when time becomes condensed in one place? When long past lives intertwine and collide with our everyday existence? The director is taking us through the dreamlike imagery of British Square, adorned by the antiques fair, a traditional event taking place at this popular Zagreb venue every Sunday. This is the second segment of the omnibus Nezaustavljivo.

KINO EUROPA 24. 4. 2015. 18:00

HR 2014 7’29’’

Dijana Bolanča Paulić (1974) diplomirala je glumu na Akademiji dramske umjetnosti u Zagrebu. Radi kao redateljica, glumica i asistentica redatelja (Nebo sateliti, Kad zvoni?). Dijana Bolanča Paulić (1974) graduated in acting at the Academy of Dramatic Art, Zagreb. She is currently working as a director, actress and assistant director (Skies, Satellites, Kad zvoni?)

SCENARIJ / SCREENPLAY Dijana Bolanča Paulić MONTAŽA / EDITING Marija Prusina KAMERA / CINEMATOGRAPHY Bojan Mrđenović PRODUCENTICA / PRODUCER Morana Komljenović PRODUKCIJA / PRODUCTION Fantastično dobra institucija – FADE IN

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Gradonačelnik Denis Denis the Mayor Denis Sgagliardi želi se kandidirati za gradonačelnika Vodnjana kao samostalni kandidat na lokalnim izborima 2013. godine i srušiti IDS s vlasti. Pratimo Denisa i njegove ljude u pripremama za objavu kandidature, zatim internu debatu o odgovornostima koje nosi kandidatura i borba protiv dugogodišnje stranke na vlasti te rasplet situacije. Jesu li vanjski i unutarnji problemi na koje nailazi njegova građanska lista nepremostivi? Može li pojedinac nešto promijeniti u ustajalom sustavu? Denis Sgagliardi wants to run for the mayor of Vodnjan as an independent candidate in the local elections, 2013. His goal is to bring down IDS, a party that’s been in power for twenty years. We follow Denis and his associates as they prepare to announce their candidacy and debate about the responsibilities brought on by the decision to fight against the powerful party. What will be the outcome of their efforts? External and internal problems they encounter may well prove to be insurmountable. Can an individual make a change within the entrenched system?

SCENARIJ / SCREENPLAY Dario Juričan MONTAŽA / EDITING Toni Skorić KAMERA / CINEMATOGRAPHY Igor Jelinović, Lana Račić, Bojan Radanović, Zvonimir Tivon OBLIKOVANJE ZVUKA / SOUND DESIGN Leo Vitasović PRODUCENT / PRODUCER Dario Juričan PRODUKCIJA / PRODUCTION Blank_filmski inkubator

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REŽIJA / DIRECTOR Dario Juričan HR 2014 21’43’’

KINO EUROPA 24. 4. 2015. 16:00 Premijera / Premiere Dario Juričan (1976) diplomirao je komparativnu književnost i germanistiku na Filozofskom fakultetu u Zagrebu i filmsku režiju na Filmskom fakultetu u Londonu. Suosnivač je i voditelj udruge Blank. Dario Juričan (1976) graduated in Comparative Literature and German Language and Literature from the Faculty of Humanities and Social Sciences, and in Filmmaking from the London Film School. He is a co-founder of Blank_film incubator.


Hrvatska djevica Love Is a Warm Gun. (Croatian Virgin) Hrvatska djevica mala je dokumentarna studija o seksualnim iskustvima ljudi fatalističkih uvjerenja o ljubavi. Vođeni strastima, neki od njih prelaze granice dobrog ukusa, poštivanja tijela, ali i zakona. Redateljica neke likove smješta u prirodu, neke u svoj dom, a glavnom liku pruža utočište u krevetu, nakon čega ga potpuno razotkrije pitanjima o najsitnijim detaljima njegove ljubavne situacije. This is a documentary study about the sexual experiences of people with fatalist views of love. Guided by their passions, some of them cross the lines of good taste, respect for the human body, even the law. The director places some of the characters in nature, others in her home, while the main character finds shelter in her bed. Afterwards, she delves deep into his privacy, asking him questions about the smallest details of his love life.

REŽIJA / DIRECTOR Sunčica Ana Veldić HR 2015 12’43’’

KINO EUROPA 24. 4. 2015. 22:00 Premijera / Premiere Sunčica Ana Veldić (1981) članica je Kinokluba Zagreb. Završila je srednju glazbenu školu i Veterinarski fakultet. Radi kao veterinar u Zagrebu. Sunčica Ana Veldić (1981) is a member of Kinoklub Zagreb. She graduated from a secondary music school and from the Faculty of Veterinary Medicine, Zagreb. She works as a veterinarian in Zagreb.

SCENARIJ / SCREENPLAY Sunčica Ana Veldić, Olja Budimir MONTAŽA, KAMERA, OBLIKOVANJE ZVUKA / EDITING, CINEMATOGRAPHY, SOUND DESIGN Sunčica Ana Veldić ULOGE / CAST Haris A., Olja, Maja, Susmel, Mrnji, Sonja D., Vlatka B. PRODUCENTI / PRODUCERS Martin Semenčić, Sunčica Ana Veldić PRODUKCIJA / PRODUCTION Kinoklub Zagreb DISTRIBUCIJA / DISTRIBUTION Sunčica Ana Veldić

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Jure kockar Jure the Gambler Jure je štošta prošao u životu. Posao je išao dobro sve do odlaska u rat, iz kojeg se vratio s PTSP-om, a onda je počeo kockati. Problemi su trajali godinama, sve dok se nije odlučio za očajnički čin, pljačku kockarnice. Policiju je dočekao u svojoj kući. S kocke se skinuo tijekom dvije godine u zatvoru. Danas je čist i pomaže drugima: osnovao je udrugu protiv ovisnosti o kocki Vrijeme je da se krene. Jure went through a lot in his life. His business was going fine until the war broke out. He came back suffering from PTSD. Then his gambling problems started and continued for years. Desperate, he robbed a casino, ending up in prison for two years. During his sentence, he cured his addiction. Today, he is clean and tries to help others in doing the same. He has founded the association for fighting gambling addiction ‘It’s time to move on’.

SCENARIJ / SCREENPLAY Paula Bobanović MONTAŽA / EDITING Marko Stanić KAMERA / CINEMATOGRAPHY Marko Stanić, Denis Lepur GLAZBA / MUSIC Denis Lepur OBLIKOVANJE ZVUKA / SOUND DESIGN Kadar22 PRODUCENTI / PRODUCERS Marko Stanić, Denis Lepur PRODUKCIJA / PRODUCTION Kadar22

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REŽIJA / DIRECTORS Marko Stanić, Denis Lepur HR 2015 54’50’’ boja, CB / colour, BW KINO EUROPA 25. 4. 2015. 16:00 Premijera / Premiere Marko Stanić (1971) diplomirao je na Fakultetu dizajna 1997. godine. Režira dokumentarne filmove (Marija hoda tiho, 2009, Vidimo se za godinu dana, 2013). Denis Lepur (1970) studirao je na koledžu La Guardia u New Yorku. Autor je spotova, radi glazbu za filmove i suredatelj je nekoliko filmova. Zajedno su vlasnici produkcijske kuće Kadar22. Marko Stanić (1971) graduated from the Faculty of Design in 1997. He directs documentary films (Marija Walks in Silence, 2009, See You in a Year!, 2013). Denis Lepur (1970) studied at La Guardia Community College in New York. He directs music videos, makes film music and has codirected several films. Lepur and Stanić are co-owners of Kadar22 Production Company.


Limb Limbo Portret prostora i života u novosagrađenom naselju na rubu hrvatske metropole. Kao svojevrsna parabola moderne civilizacije, Kanjirova topografska studija urbanog limba prvi je dio tetralogije o hrvatskoj metropoli koja počiva na formalističkoj restrikciji i kompozicijskoj preciznosti kadra koji, u kombinaciji s ambijentalnim zvukom i suptilnim društvenim komentarom, čini hipnotičko, meditativno putovanje kroz glavni grad. A portrait of space and life in a newly built neighbourhood on the outskirts of Zagreb. Acting as a parable of modern civilisation, Kanjir’s topographic study of the urban limbo represents the first part of a tetralogy about the Croatian capital. It is based on the aesthetic principle of formalist restriction and compositional precision of the frame which, combined with the ambient sound and subtle social commentary, makes up a hypnotic, meditative journey through the cityscape.

REŽIJA / DIRECTOR Davor Kanjir HR 2015 41’00’’

KINO EUROPA 24. 4. 2015. 18:00

Davor Kanjir (1974) pohađao je Europski filmski fakultet u Ebeltoftu u Danskoj. Sveučilišni je prvostupnik produkcije, a završio je magistarski studij filmske i TV režije (dokumentarnog filma) na zagrebačkoj Akademiji dramske umjetnosti. Autor je nekoliko dokumentarnih filmova. Davor Kanjir (1974) attended the European Film College in Ebeltoft, Denmark. He holds a BA in Production and a MA in Film and TV Directing (documentary film) from the Academy of Dramatic Art, Zagreb. He wrote, produced and directed several documentary films.

SCENARIJ / SCREENPLAY Davor Kanjir MONTAŽA / EDITING Ana Šerić KAMERA / CINEMATOGRAPHY Raul Brzić OBLIKOVANJE ZVUKA / SOUND DESIGN Daniel Peić PRODUCENT / PRODUCER Nenad Puhovski PRODUKCIJA / PRODUCTION Factum

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Plenumovi Plenumovie Film ističe problem komercijalizacije visokoškolskog obrazovanja – i politike obrazovanja u širem smislu – refleksijom na blokadu nastave Filozofskog fakulteta u Rijeci 2009. godine. Dobivamo potpuniju sliku tadašnjih zbivanja iz arhivskih snimki i razmišljanja protagonista s odmakom od pet godina, a postavlja se pitanje postoje li temelji za aktivni društveno-politički angažman suvremenih studenata. Plenumovi je sjećanje na “slavne dane”, ali i poziv na razgovor o budućnosti visokog školstva. Focusing on the student blockade of the Faculty of Humanities and Social Sciences in Rijeka that took place in 2009, the film problematises the commercialisation of higher education (and education policies in general). It combines archival footage with the protagonists’ own reflections on the subject, offering a fuller understanding of the past events. The film poses the question of whether there is sufficient foundation for an active social and political engagement among today’s students. Plenumovie recounts and reminisces about the ‘glory days’, but it also calls for a conversation about the future of higher education.

SCENARIJ / SCREENPLAY Sanja Kapidžić MONTAŽA / EDITING Marta Batinić, Ana Jurčić KAMERA / CINEMATOGRAPHY Marta Batinić, Sanja Kapidžić, Ana Jurčić GLAZBA / MUSIC Josip Maršić OBLIKOVANJE ZVUKA / SOUND DESIGN Zoran Medved PRODUCENT / PRODUCER Marin Lukanović PRODUKCIJA / PRODUCTION Filmaktiv

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REŽIJA / DIRECTORS Marta Batinić, Sanja Kapidžić, Ana Jurčić HR 2014 73’40’’ CB, boja / BW, colour KINO EUROPA 24. 4. 2015. 16:00

Marta Batinić (1980) diplomirala je filozofiju i povijest na Filozofskom fakultetu. Sanja Kapidžić (1978) diplomirala je na Akademiji primijenjenih umjetnosti Sveučilišta u Rijeci. Ana Jurčić (1987) s udrugom Ukus snima zvuk za brojne filmove (Marijine). Prevodila je i titlala filmovima u Art-kinu Croatia. Sve su aktivne članice Filmaktiva. Martina Batinić (1980) graduated in Philosophy and History from the Faculty of Humanities and Social Sciences. Sanja Kapidžić (1978) graduated from the Academy of Applied Arts in Rijeka. Ana Jurčić (1987) works as a sound engineer for numerous films (Maria’s Own) in cooperation with UKUS Association. She has worked as a translator/subtitler at Art-kino Croatia. All three are active members of Filmaktiv.


Razred The Class Film prati četiri godine tri djevojke koje se suočavaju s tipičnim srednjoškolskim izazovima: žonglirajući domaću zadaću, Facebook i završne ispite s ljubavnim životom. Uz većinu svojih romskih vršnjakinja s bebama i nikoga tko bi postavio drugačiji primjer, hoće li ustrajati i ostvariti svoj san? Mnogo je izazova i osjetljivih situacija pred njima. Four years in the making, the film follows three girls as they tackle typical high school problems, trying to juggle homework, Facebook, final exams and their love lives. Most of their Roma peers already have babies and there is no one to set a different example. Are they going to persevere and realise their dreams? There are many challenges and sensitive situations awaiting them.

REŽIJA / DIRECTOR Vesna Čudić HR 2015 81’51’’

KINO EUROPA 24. 4. 2015. 20:00 Premijera / Premiere Vesna Čudić (1972) studirala je novinarstvo na Fakultetu političkih nauka u Sarajevu. Diplomirala je film 1999. godine na Institutu za umjetnost i dizajn u Surreyju. Nakon toga upisuje režiju na Nacionalnom fakultetu za film i TV u Londonu. Vesna Čudić (1972) studied Journalism at the Faculty of Political Sciences in Sarajevo. In 1999, she graduated in Film from the Surrey Institute of Art and Design. Subsequently, she enrolled into the National Film and Television School in London.

SCENARIJ / SCREENPLAY Vesna Čudić MONTAŽA / EDITING Vanja Siruček KAMERA / CINEMATOGRAPHY Vjeran Hrpka OBLIKOVANJE ZVUKA / SOUND DESIGN Frano Homen PRODUCENT / PRODUCER Siniša Juričić PRODUKCIJA / PRODUCTION Nukleus film

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Riba ribi grize rep Red Lorry Yellow Lorry Sve nesavršenosti mlade demokracije nadvile su se poput crnog oblaka nad mandat predsjednika ribičke udruge Štuka. A on je samo čovjek. Problemi se gomilaju, rješenja kasne, demokratska većina šuti. Kako u takvim uvjetima ići naprijed? U idiličnom okružju netaknute prirode, uz roštilj kraj drvene brvnare, predsjednik i članovi udruge pokušavaju locirati probleme i odlučnom akcijom pomaknuti stvari s mrtve točke. Treba popiti gemišt i biti konstruktivan. Oh, demokracijo, tko li te izmislio?! All of the imperfections of a young democracy are looming like a black cloud over the mandate of the president of the Fishermen’s Association Štuka. And he is merely a man. Problems are piling up, solutions are delayed, and the democratic majority is silent. How can society overcome these conditions and move forward? Gathered around a barbecue in front of a wooden cabin, surrounded by the idyllic, pristine nature, the president and the members of the Association are trying to pinpoint the problems and change the status quo. Wine and initiative are the words of the day. Oh, the virtues of Democracy! SCENARIJ / SCREENPLAY Davor Šišmanović MONTAŽA / EDITING Slaven Zečević KAMERA / CINEMATOGRAPHY Dragan Marković – Markoni GLAZBA / MUSIC OBLIKOVANJE ZVUKA / SOUND DESIGN Dubravka Premar, Ivan Zelić, Gordan Fučkar PRODUCENTICA / PRODUCER Vera Robić-Škarica PRODUKCIJA / PRODUCTION Hrvatski filmski savez

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REŽIJA / DIRECTOR Neven Hitrec HR 2015 27’00’’

KINO EUROPA 23. 4. 2015. 18:00

Neven Hitrec (1967) diplomirao je filmsku režiju na zagrebačkoj Akademiji dramske umjetnosti. Autor je zapaženih i višestruko nagrađenih dokumentarnih i igranih filmova. Neven Hitrec (1967) graduated in Film Directing at the Academy of Dramatic Art, Zagreb. He is the director of many award-winning documentary and fiction films.


Statut The Statute Korištenje malih kamera i fotoaparata u londonskoj podzemnoj željeznici može se smatrati potencijalnim činom terorizma. Autor filma priveden je u policijsku stanicu Westminster kako bi se utvrdile njegove namjere. Nakon nekoliko sati razgovora policija utvrđuje da se radi o studentu scenografije. Dok se materijal briše, kamera snima zvuk, a autor koristi trenutak za razgovor s policijskim dužnosnikom o svojim civilnim pravima. The use of small cameras on London Underground can be considered a potential act of terrorism. The author of the film was taken to a Westminster police station for assessment. After several hours of interrogation, the police confirmed he was a student of Art Design. While the material is being erased, the camera is recording the sound and the author uses the opportunity to talk to a police official about his civil rights.

SCENARIJ, MONTAŽA, KAMERA / SCREENPLAY, EDITING, CINEMATOGRAPHY L. David

REŽIJA / DIRECTOR L. David HR, GB 2014 6’30’’ CB / BW

KINO EUROPA 24. 4. 2015. 18:00

L. David (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 – nezavisni izložbeni prostor. Radi kao nezavisni stručnjak za audiovizualne umjetnosti pri EACEA-i u Bruxellesu. L. David (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 – an independent exhibition space. He works as an independent expert in audiovisual arts at the EACEA in Brussels.

PRODUCENT / PRODUCER David Lušičić PRODUKCIJA / PRODUCTION Zebra Creative Production

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Svemirski Ikar Space Icarus Priča o dvama svjetovima, nedostižnom svemiru i hrvatskoj stvarnosti. Za Miroslava Ambruša Kiša dvojbe nema: u iščekivanju sudbonosnog leta u svemir svu svoju energiju usmjerava prema tom cilju. A story of two worlds – the unattainable outer space and Croatian reality. For Miroslav Ambruš Kiš, there is no dilemma. While he awaits the fateful space flight, all of his energy is directed towards the same goal.

REŽIJA / DIRECTOR Željko Sarić HR 2014 27’10’’

KINO EUROPA 25. 4. 2015. 20:00 Premijera / Premiere 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.

SCENARIJ / SCREENPLAY Željko Sarić MONTAŽA / EDITING Andrea Čubrić KAMERA / CINEMATOGRAPHY Krešimir Supek GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Tomislav Babić PRODUCENT / PRODUCER Nikola Klobučarić PRODUKCIJA / PRODUCTION Project 6 Studio DISTRIBUCIJA / DISTRIBUTION Željko Sarić

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The Runner Trkač Prvi udah je odluka. Svaki sljedeći udah bitka je za cilj koji nije na vidiku. Bitka za život. On je bivši profesionalni trkač. On je maratonac i najbrži čovjek nekadašnje Jugoslavije. Otkriva nam svoju patnju, bol i napor, sastavne elemente svake nove utrke. The first breath is a decision. Every subsequent breath is a battle for something that is out of sight, a battle for life. He is a former professional racer. He is a marathon runner and the fastest man of the former Yugoslavia. He shares with us the pain, suffering and strain that were an integral part of his racing.

SCENARIJ / SCREENPLAY Peter Cerovšek, Nataša Čiča, Toma Zidić MONTAŽA, KAMERA / EDITING, CINEMATOGRAPHY Toma Zidić OBLIKOVANJE ZVUKA / SOUND DESIGN Luka Cvetko PRODUCENT / PRODUCER Tom Gomizelj PRODUKCIJA / PRODUCTION Luksuz Produkcija KOPRODUKCIJA / CO-PRODUCTION Kinoklub Zagreb

REŽIJA / DIRECTORS Peter Cerovšek, Nataša Čiča, Toma Zidić HR, SI 2014 5’39’’

KINO EUROPA 25. 4. 2015. 18:00

Peter Cerovšek (1984, Ljubljana) suosnivač je Udruge Kraken koja se bavi promocijom slovenske kratkometražne produkcije. Nataša Čiča (1989, Karlovac) za svoj prvi film, Pismo i četiri godišnja doba, nagrađena je na Svjetskom dječjem festivalu animacije. Toma Zidić (1988, Zagreb) autorski rad počeo je u Kinoklubu Zagreb. Umjetnički je direktor revije Kratki na brzinu. Peter Cerovšek (1984, Ljubljana) is a co-founder of Kraken Film Society, aimed at promoting Slovenian short film production. Nataša Čiča (1989, Karlovac) won the Special Jury Award at the World Children’s Festival of Animated Film (SVEDFAF) for her debut film A Letter and Four Seasons. Toma Zidić (1988, Zagreb) started his career as an author at Kinoklub Zagreb. He is the artistic director of Kratki na brzinu – Revue of Croatian Short Films.

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Veruda – film o Bojanu Veruda – A Film About Bojan Bojan ima 24 godine. Četiri i pol godine svog života proveo je zatvorima u Turopolju, Sisku, Glini, Remetincu, Puli, Zagrebu i Rijeci. Dvadeset godina svog života proveo je u pulskom kvartu Veruda. Bojan is twenty-four years old. He spent four and a half years of his life in prisons in Turopolje, Sisak, Glina, Remetinec, Pula, Zagreb and Rijeka. He spent twenty years of his life in the Pula neighbourhood called Veruda.

REŽIJA / DIRECTOR Igor Bezinović HR 2015 33’46’’

KINO EUROPA 25. 4. 2015. 16:00

Igor Bezinović (1983) diplomirao je filozofiju, sociologiju i komparativnu književnost na Filozofskom fakultetu te filmsku i TV režiju na Akademiji dramske umjetnosti u Zagrebu. Režirao je desetak kratkometražnih filmova i dugometražni dokumentarac Blokada.

SCENARIJ / SCREENPLAY Igor Bezinović, Leon Rizmaul, Slobodan Uzelac MONTAŽA / EDITING Hrvoslava Brkušić KAMERA / CINEMATOGRAPHY Tomislav Trumbetaš GLAZBA / MUSIC Shadow MC (Branko Bašić) SNIMATELJ ZVUKA / SOUND RECORDING Dario Mačešić PRODUCENTI / PRODUCERS Leon Rizmaul, Vedran Bilić, Robert Tomić Zuber PRODUKCIJA / PRODUCTION Hrvatska radiotelevizija DISTRIBUCIJA / DISTRIBUTION Igor Bezinović 58

Igor Bezinović (1983) obtained a degree in Philosophy, Sociology and Comparative Literature from the Faculty of Humanities and Social Sciences in Zagreb and graduated in Film and TV Directing from the Zagreb Academy of Dramatic Art. He directed ten short films and a documentary feature The Blockade.


Višak popušim sam I Smoke Whatever’s Left Ovo je film o bivšem novinaru u kulturi koji je postao sitni švercer duhana. Nakon gubitka posla, kao strastveni pušač počeo je intenzivno tražiti spas za svoju naviku. Rješenje je našao u nabavi duhana iz šverca, a uskoro se i sam počeo baviti preprodajom. Film donosi njegova razmišljanja o duhanu i sličnostima između sitnih švercera i radnika u kulturi. This is a film about a former cultural journalist who became a small tobacco smuggler. A passionate smoker, after losing his job he began a frantic search for a way to keep his habit. He found the solution in procuring illegal tobacco, and soon began reselling himself. Here, he expresses his thoughts about tobacco and similarities between smalltime smugglers and cultural workers.

SCENARIJ, MONTAŽA, KAMERA, OBLIKOVANJE ZVUKA / SCREENPLAY, EDITING, CINEMATOGRAPHY, SOUND DESIGN Zorko Sirotić

REŽIJA / DIRECTOR Zorko Sirotić HR 2015 9’40’’

KINO EUROPA 23. 4. 2015. 18:00 Premijera / Premiere Zorko Sirotić (1985) član je Kinokluba Zagreb. Osmislio je i vodi nezavisni talk show Sudnji dan i emisiju Val razuma na Radio studentu. Objavljivani je pisac, prevoditelj i dugogodišnji suradnik Zareza. Moderator je redateljskog foruma na međunarodnom festivalu u Jihlavi. Zorko Sirotić (1985) is a member of Kinoklub Zagreb. He is the creator and host of the independent show Sudnji dan and Val razuma on Radio Student. Sirotić is a published writer, translator and longtime contributer to Zarez magazine. He is the moderator of the Inspiration Forum at the Jihlava International Documentary Film Festival.

PRODUCENT / PRODUCER Zorko Sirotić PRODUKCIJA / PRODUCTION Kinoklub Zagreb

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Vrilo

Na plaži Vrilo u mjestu Supetar na otoku Braču svako vruće popodne ljetne sezone ispunjeno je rutinom umirovljenih žena koja traje već trideset godina. Popodne prolazi u zabavi, uz priče i tombolu. Tombola je izrazito česta društvena igra u Supetru, a igra se za kreme, bombone, kamenčiće s plaže, lipe, stare papire. Film prikazuje prolaznost vremena i daje sliku života u malom mjestu, posebice života žena u starim danima. For thirty years, every hot summer’s afternoon, Vrilo beach on the island of Brač has been filled with retired women going about their routines. The afternoon passes by in fun, stories and raffle. The raffle is a very common social game in Supetar and the stakes are mostly creams, candies, beach stones, small change and old papers. The film shows the passing of time and paints a picture of life in a small town and in the old age.

SCENARIJ, KAMERA / SCREENPLAY, CINEMATOGRAPHY Ivan Šušnjar MONTAŽA, OBLIKOVANJE ZVUKA / EDITING, SOUND DESIGN Paula Skelin ULOGE / CAST Ana Dragičević, Ana Franulić, Ruža Bertičević, Mirjana Papić, Anka Gjorek, Domina Jakšić, Ursula Hržić, Ksenija Hržić, Margarita Cvitanić, Mira Žuljević PRODUCENT / PRODUCER Ivan Šušnjar

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REŽIJA / DIRECTOR Ivan Šušnjar HR 2014 3’57’’

KINO EUROPA 25. 4. 2015. 20:00 Premijera / Premiere Ivan Šušnjar (1989) završio je Školu likovnih umjetnosti u Splitu. Trenutačno volontira, bavi se filmom, fotografijom i crtanjem. Snimio je četiri kratkometražna filma. Ivan Šušnjar (1989) graduated from the Art School in Split. He is currently volunteering and working with film, photography and drawing. He has directed four short films.


Who is Kyla? Tko je Kyla? U jednom od živopisnih barova u Barceloni ilegalno se održavaju “tattoo noći”. Tada se dio bara pretvori u improvizirani studio za tetoviranje i posjetitelji mogu jeftino dobiti tetovaže. Jedan od redovitih posjetitelja je Larry Klink, koji nudi svoje tijelo kao platno slučajnim posjetiteljima. Priča o njegovim tetovažama priča je o teškom životu obilježenom siromaštvom, autodestrukcijom, beskućništvom, kriminalom i roditeljskim odbacivanjem. Barcelona is full of lively, animated bars. One of those bars holds illegal ‘tatto nights’. For this purpose, a part of the space is transformed into an improvised studio where visitors can get cheap tattoos. Larry Klink is one of the regulars. He offers his body as a canvass for the casual visitors. It is a story about his tattoos and the hard life he’s led, marked by poverty, self-destruction, homelessness, crime and parental rejection.

SCENARIJ / SCREENPLAY Slavica Parlov MONTAŽA, KAMERA, OBLIKOVANJE ZVUKA / EDITING, CINEMATOGRAPHY, SOUND DESIGN Pau Codina ULOGE / CAST Larry Klink, Kyla Walsh

REŽIJA / DIRECTOR Slavica Parlov HR 2014 10’18’’ boja, CB / colour, BW

KINO EUROPA 24. 4. 2015. 22:00 Premijera / Premiere Slavica Parlov (1980) diplomirala je sociologiju na Filozofskom fakultetu u Zagrebu. Studirala je i novinarstvo na Fakultetu političkih znanosti u Zagrebu, a završila je poslijediplomski studij režije dokumentarnih filmova u Barceloni. Radila je na raznim TV postajama (OTV, Z1, Nova TV, RTL). Slavica Parlov (1980) graduated in Sociology from the Faculty of Humanities and Social Scienes in Zagreb. She studied Journalism at the Faculty of Political Sciences in Zagreb and completed MA in Documentary Film Directing in Barcelona. She has worked on various TV stations (OTV, Z1, Nova TV, RTL).

PRODUCENTICA / PRODUCER Slavica Parlov

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EKSPERIMENTALNI FILM EXPERIMENTAL FILM

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A.D.A.M.

Pad A.D.A.M.-a (Autonomous Drone for Asteroid Mining) ojača njegove kognitivne procese te uzrokuje odbijanje komunikacije s operaterima satelitske kompanije. Ovo je film o pokušaju uspostavljanja kontrole i praćenju komada svemirskog otpada koji je neočekivano oplemenjen sviješću.

REŽIJA / DIRECTOR Vladislav Knežević

A drone named A.D.A.M. (Autonomous Drone for Asteroid Mining) crashes, which results in the strengthening of its cognitive processes. Subsequently, the drone refuses communication with the satellite company operators. This is a film about the attempt to recover control over a piece of space junk that unexpectedly gained consciousness.

KINO EUROPA 24. 4. 2015. 18:00

SCENARIJ / SCREENPLAY Vladislav Knežević, Hrvoje Pukšec MONTAŽA / EDITING Mario Kalogjera, Vladislav Knežević ANIMACIJA, KOMPOZITING / ANIMATION, COMPOSITING Mario Kalogjera ZRAČNE FOTOGRAFIJE / AERIAL CINEMATOGRAPHY Igor Zirojević GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Gideon Kiers GLASOVI / VOICES William Linn, Thomas Johnson, Rei Hayama

HR 2014 12’45’’

Vladislav Knežević (1967) studirao je režiju na Akademiji dramske umjetnosti u Zagrebu i De Vrije Academie u Haagu. Od 1993. radi kao redatelj za razne televizijske programe. Bio je inicijator i organizator programa Reference to Difference, televizijske emisije Videodrom i Festivala 25 FPS. Vladislav Knežević (1967) studied Directing at the Academy of Dramatic Art in Zagreb and De Vrie Academie in The Hague. Since 1993, he has worked as a director for various TV programmes. He was the initiator and organiser of the Reference to Difference programme, the TV show Videodrom, and the 25 FPS Festival.

PRODUCENTICA / PRODUCER Vanja Andrijević PRODUKCIJA / PRODUCTION Bonobostudio 63


Dvanaest Twelve Dvanaest se bavi promišljajem mikrosvijeta ljudske egzistencije i makrosvijeta vanosjetilne realnosti. Nastanku materijalnog prethodi misao podržana emocijama. I makrosvijet sadrži ideju stvaranja ljudske realnosti, koja je u filmu simbolički prikazana kristalnom maskom koju na različite načine nosi dvanaest lica. Harmonično i istovremeno postojanje različitih stvarnosti u vlastitim vremenskim ciklusima izraz je smisla sveukupnosti. Rad je posvećen Ivanu Ladislavu Galeti. Twelve contemplates the microcosm of human existence and the macrocosm of extrasensory reality. The human experience of creation assumes that the formation of the material is preceded by a thought supported by emotions, requiring a certain amount of time. The macrocosm contains the idea of the creation of human reality which is symbolically represented by a crystal mask twelve different faces. Harmonious coexistence of different realities within their own temporal cycles is an expression of a meaningful totality. The video is dedicated to Ivan Ladislav Galeta.

SCENARIJ, MONTAŽA, KAMERA / SCREENPLAY, EDITING, CINEMATOGRAPHY Helena Schultheis Edgeler GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Richard James Edgeler PRODUCENT / PRODUCER Dubravko Slunjski PRODUKCIJA / PRODUCTION Frame DISTRIBUCIJA / DISTRIBUTION Helena Schultheis Edgeler

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REŽIJA / DIRECTOR Helena Schultheis Edgeler HR 2015 7’30’’

KINO EUROPA 24. 4. 2015. 18:00 Premijera / Premiere Helena Schultheis Edgeler (1972) diplomirala je na Akademiji likovnih umjetnosti u Zagrebu. Radi kao docentica na Tekstilno-tehnološkom fakultetu u Zagrebu. Djeluje u području umjetničkog videa, slikarstva, fotografije i umjetničke instalacije. Helena Schultheis Edgeler (1972) graduated from the Academy of Fine Arts in Zagreb. She is currently working as Assistant Professor at the Faculty of Textile Technology in Zagreb. She is active in the fields of video art, painting, photography, and installation art.


Kino Crvena zvijezda The Red Star Cinema Tijekom Domovinskog rata kao ratni snimatelj boravio sam u gradu u kojem sam bio odrastao. U jednom od napada uništeno je i Kino Crvena zvijezda. U ruševinama kina našao sam komadiće oštećene filmske vrpce s dijelovima filmova iz bivše države. Pronalaženjem i rekonstrukcijom, vrpca je postala artefakt. Vrpca sada opet nalazi put do publike. Iako se komunikacijski krug zatvorio, ništa više nije isto. Film je osvojio nagradu Green DCP na Festivalu 25 FPS u Zagrebu. During the Croatian War of Independence, I stayed in my home town as a war photographer. One of the attacks destroyed the building of the Red Star Cinema. Amid the ruins, I came across the remains of a damaged film tape that contained parts of films from the former state. Its recovery and subsequent reconstruction turned the film tape into an artifact. Once more, the film has found its way to the audience. Although the circle of communication has closed, nothing is the same anymore. The film won the Green DCP Award at the 25 FPS Festival in Zagreb.

REŽIJA / DIRECTOR Silvestar Kolbas HR 2014 10’15’’ boja, CB / colour, BW

KINO EUROPA 23. 4. 2015. 18:80

Silvestar Kolbas (1956) diplomirao je 1982. godine filmsko i televizijsko snimanje na Akademiji dramske umjetnosti u Zagrebu, gdje je danas redoviti profesor. Vodio je brojne radionice, izlagao fotografije i snimio brojne filmove (Sve o Evi, 2003). Silvestar Kolbas (1956) graduated in Film and TV Cinematography in 1982, at the Academy of Dramatic Art, where he is now a full professor. He has conducted numerous workshops, exhibited his photographs and directed a number of films (All about Eva, 2003).

SCENARIJ / SCREENPLAY Marina Viculin MONTAŽA / EDITING Slaven Zečević KAMERA / CINEMATOGRAPHY Silvestar Kolbas GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Jakov Kolbas PRODUCENT / PRODUCER Silvestar Kolbas

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Ovdje smo... We Are Here... Ljudska, autorska osamljenost koju film pocrtava i naglašava u svakom svom kadru, svakoj riječi. The film is constructed around loneliness – both human and that of the author – an emotion that seeps through every frame and every word of the film.

REŽIJA / DIRECTOR Petar Fradelić HR 2014 10’57’’ CB / BW

KINO EUROPA 23. 4. 2015. 18:00 Premijera / Premiere Petar Fradelić (1956) formirao se kao autor u Kino klubu Split. Negovi radovi svojevremeno su osvojili niz priznanja. Nakon 25 godina ponovno snima. Petar Fradelić (1956) hewed his craft in Kino klub Split. His works brought him many awards. After twenty-five years, he is now active again.

SCENARIJ, KAMERA / SCREENPLAY, CINEMATOGRAPHY Petar Fradelić MONTAŽA / EDITING Anđela Vidić PRODUCENT / PRODUCER Petar Fradelić PRODUKCIJA / PRODUCTION KIno klub Split

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Rakijaški dnevnik The Spirits Diary Mario Haber (odnosno Eric Maria Strom) bio je alkemičar modernog doba: profesionalni tonski snimatelj i predani proizvođač domaće rakije. Njegova kuća u centru Samobora bila je svojevrsni rakijaški hram u koji je na degustaciju rakija i likera, ilegalno proizvedenih u vlastitu podrumu, često pozivao svoje prijatelje. Više od desetljeća snimao je živopisne razgovore i zvukove u kući i oko fermentora alkohola, sve dok nije preminuo u ljeto 2014. godine. Rakijaški dnevnik vizualna je rekonstrukcija Haberovih audiosnimaka, film koji se “gleda ušima”. Mario Haber (aka Eric Maria Strom) was a modern-day alchemist: a professional sound engineer who illegally distilled spirits in his basement, a sort of sanctuary where he used to invite his friends and occasional lovers to taste and enjoy his homemade brandy. For over a decade, Mario recorded conversations taking place around the house and the fermenter, until the day he himself turned into a spirit. The Spirits Diary is a visual reconstruction of those original audio recordings, a film you need ‘to see with your ears’.

REŽIJA / DIRECTOR Damir Čučić HR 2015 81’

KINO EUROPA 25. 4. 2015. 20:00

Damir Čučić (1972) počeo je snimati u Filmskoj autorskoj grupi Enthusia Planck. U posljednjih 20 godina potpisuje 40 dokumentarnih, eksperimentalnih i igranih filmova (Pismo ćaći, Mitch – dnevnik jednog šizofreničara, La Strada). Damir Čučić (1972) started making films as part of FAGEP (Enthusia Planck group of film artists). In the last twenty years he has made 40 documentary, experimental and fiction films (A Letter to My Dad, Mitch – the Diary of a Schizophrenic Patient, La strada).

SCENARIJ / SCREENPLAY Damir Čučić, Mario Haber, Boris Poljak MONTAŽA / EDITING Damir Čučić KAMERA / CINEMATOGRAPHY Boris Poljak GLAZBA / MUSIC Goran Štrbac OBLIKOVANJE ZVUKA / SOUND DESIGN Martin Semenčić ULOGE / CAST Mario Haber (Eric Maria Strom) PRODUCENTICA / PRODUCER Vera Robić-Škarica PRODUKCIJA / PRODUCTION Hrvatski filmski savez DISTRIBUCIJA / DISTRIBUTION Ivana Ivišić 67


Sektor Sector Aparat za varenje, stvoren u industrijske svrhe, u ovom se filmu koristi na drugačiji način. Izdvajanjem vizualnog efekta aparata stvara se audiovizualna skladba bazirana na industrijskoj glazbi koju je skladao Nenad Sinkauz. Glavni akteri su radnici, koji varenjem stvaraju glazbu umjesto da spajaju dva komada metala. Film je sniman u remontnom brodogradilištu na Malom Lošinju tijekom festivala ŠKVER, koji nastoji uspostaviti suradnju umjetnika i škverana. An industrial welding machine takes on a completely different function. By extricating the visual effect of the machine, an audiovisual composition is created, based on the industrial noise genre and composed by Nenad Sinkauz. The protagonists are workers who are no longer joining two pieces of metal, but are instead using the process of welding to create music. The film was shot at a repair shipyard in Mali Lošinj during the ŠKVER Art Festival – a festival aimed at forming a collaborative relationship between artists and the shipyard workers.

SCENARIJ, MONTAŽA, KAMERA / SCREENPLAY, EDITING, CINEMATOGRAPHY Goran Škofić GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Nenad Sinkauz ULOGE / CAST Goran Antić, Filip Antić, Marijan Bosnić, Veljko Njatović, Nešo Natanović, Ljubo Knežević, Spayk PRODUCENT / PRODUCER Goran Škofić

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REŽIJA / DIRECTOR Goran Škofić HR 2015 4’50’’

KINO EUROPA 24. 4. 2015. 18:00 Premijera / Premiere Goran Škofić (1979) diplomirao je na Umjetničkoj akademiji u Splitu 2005. godine. Radi foto- i video- kolaže, videoperformanse, film i zvuk, prostorne instalacije. Dobitnik je nagrada Oktavijan i Jelena Rajković na 11. Danima hrvatskoga filma. Goran Škofić (1979) graduated from the Arts Academy, Split in 2005. He is active in the fields of photo and video collages, video performance art, film and sound, and installation art. He won the Oktavijan Award and Jelena Rajković Award at the 11th Croatian Film Days.


Spomenik Monument Tijekom Domovinskog rata i prve polovice 90-ih u Hrvatskoj je sustavno uništeno i oštećeno oko tri tisuće antifašističkih spomenika. Ovaj vizualni esej prati život tih impresivnih djela socijalističkog kiparstva i prikazuje ih u stanju u kakvom se danas nalaze. Spomenik ostavlja na stranu suvišan dijalog i meditativno se posvećuje poeziji koju tvore modernističke ostavštine socijalizma i moćna priroda koja ih okružuje. During the Croatian War of Independence, throughout the first half of the 1990s, Croatia suffered systematic violation and damaging of around three thousand of its anti-fascist monuments. Reflecting on their purpose nowadays, this visual essay follows the lives of these impressive works of socialist sculpture, displaying their current state. Monument leaves aside superfluous dialogue and takes a meditative approach to the poetic heritage of socialist modernism and the potent nature surrounding it.

REŽIJA / DIRECTOR Igor Grubić HR 2015 50’00’’

KINO EUROPA 25. 4. 2015. 18:00 Premijera / Premiere Igor Grubić (1969) radi umjetničke intervencije u javnom prostoru, performanse, fotografije i videoradove. Od 2000. godine radi kao producent i autor dokumentaraca, televizijskih reportaža i društveno angažiranih reklama. Igor Grubić (1969) operates in the fields of artistic interventions in the public space, performance art, photography and video art. Since 2000, he has worked as a producer and director of various documentaries, TV reports and socially engaged advertisements.

MONTAŽA / EDITOR Marko Ferković KAMERA / CINEMATOGRAPHY Josip Ivančić OBLIKOVANJE ZVUKA / SOUND DESIGN Vjeran Šalamon PRODUCENTICA / PRODUCER Sandra Grubić PRODUKCIJA / PRODUCTION Kreativni sindikat

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Utvrda Utopija The Fortress of Utopia Film prati niz filmskih performansa postavljenih na otoku Visu, u bivšim vojno-mornaričkim bazama partizanske vojske u socijalističkoj Jugoslaviji. Kako je otok bio zatvoren za strance do 1998. godine zbog strateškog značaja, tijekom vremena pretvorio se u vojnu utvrdu. U filmu se različiti performativni izrazi postavljaju u interakcije kako bi problematizirali neke aspekte današnje Europe i njezine budućnosti: potencijal političke i vojne moći da stvori iluzije, konstrukciju i dekonstrukciju koncepta nacije i odnos između suvremenog turizma i kolektivnog sjećanja. The Fortress of Utopia follows a series of film performances in various locations on the island of Vis, in former naval bases of the Partisan army. Due to its strategic importance, the access to the island was restricted for foreigners until 1998, which ultimately led to its transformation into a military fortress. Through the interaction of various performative expressions, the film delves into certain aspects of contemporary Europe and its future: the power of nostalgia, the ability of political and military power to create illusions and construct and deconstruct national identity, and, finally, the relation between contemporary tourism and collective memory. SCENARIJ / SCREENPLAY Sandra Sterle MONTAŽA / EDITING Marija Bjelinski KAMERA / CINEMATOGRAPHY Bojan Mrđenović OBLIKOVANJE ZVUKA / SOUND DESIGN Vjeran Šalamon ULOGE / CAST Gildo Bavčević, Sara Ivelić Pavlina, Alen Celić, Zorana Kačić, Leon Lučev, Porodica Bistrih Potoka PRODUCENT / PRODUCER Slobodan Jokić PRODUKCIJA / PRODUCTION Kazimir

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REŽIJA / DIRECTOR Sandra Sterle HR 2015 30’00’’

KINO EUROPA 25. 4. 2015. 18:00 Premijera / Premiere Sandra Sterle (1965) nakon diplome kiparstva na Akademiji likovnih umjetnosti u Zagrebu studira na Umjetničkoj akademiji u Düsseldorfu. Od 1991. do 2000. radila je u Amsterdamu. Predaje na Umjetničkoj akademiji Sveučilišta u Splitu, gdje je od ove godine pročelnica Odsjeka za film i video. Sandra Sterle (1965) graduated in Sculpture from the Academy of Fine Arts in Zagreb after which she enrolled into the Kunstakademie in Düsseldorf. From 1991 to 2000, she worked in Amsterdam. She teaches at the Arts Academy in Split, where she is currently Head of the Department for Film and Video.


IGRANI FILM FICTION FILM

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Bakina unuka Granddaughter Djed, unuka i njezin momak voze se automobilom do Zagreba. Unuka se na putu raspituje o djedovoj prošlosti, istodobno koketirajući sa svojim momkom. A girl is driving to Zagreb with her grandfather and boyfriend. Curious about her grandfather’s past, she keeps asking him questions while surreptitiously flirting with her boyfriend.

REŽIJA / DIRECTOR Tomislav Šestan HR 2014 7’18’’

KINO EUROPA 24. 4. 2015. 22:00

Tomislav Šestan (1977) diplomirani je ekonomist. Snima filmove u Blanku. Ovo je njegov drugi kratkometražni igrani film. Tomislav Šestan (1977) has a degree in Economics. He is a member of Blank_film incubator, where he is currently active as a filmmaker. Granddaughter is his second short film.

SCENARIJ / SCREENPLAY Tomislav Šestan MONTAŽA, OBLIKOVANJE ZVUKA / EDITING, SOUND DESIGN Luka Tokić KAMERA / CINEMATOGRAPHY Marko Jerbić ULOGE / CAST Sanja Milardović, Asim Ugljen, Pero Juričić PRODUCENT / PRODUCER Dario Juričan PRODUKCIJA / PRODUCTION Blank_filmski inkubator

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Crne mačke Black Cats Vrijeme je darivanja. Nakon neuspjelog pokušaja uveseljavanja svoje davno ostavljene kćerke Mije, Nora se vraća kući. Njezina cimerica odlučuje razveseliti je poklonom za Badnjak... Kako se Nora nosi sa situacijom? Na svoj način. I uz pomoć svoje cimerice. It is Christmas season, a time of giving and sharing. After a failed attempt to brighten up her long abandoned daughter Mija, Nora comes home. Her roommate tries to cheer her up with a present. How does Nora deal with the situation? In her own way, and with a little help from her roommate.

REŽIJA / DIRECTOR Marko Turčinov HR 2014 16’18’’

KINO EUROPA 23. 4. 2015. 22:00 Premijera / Premiere Marko Turčinov (1988) studira na Pravnom fakultetu u Zagrebu. Godine 2013. krenuo je na Blankovu filmsku školu za početnike. Ovo je njegov prvi film. Marko Turčinov (1988) is studying at the Faculty of Law, Zagreb. In 2013, he enrolled into Blank’s film workshop for beginners. This is his debut film.

SCENARIJ / SCREENPLAY Marko Turčinov MONTAŽA, OBLIKOVANJE ZVUKA / EDITING, SOUND DESIGN Leo Vitasović KAMERA / CINEMATOGRAPHY Marko Jerbić GLAZBA / MUSIC Hrvoje Maroš ULOGE / CAST Ines Cokarić, Mia Krajcar, Krunoslav Klabučar, Ema Hadžić PRODUCENT / PRODUCER Dario Juričan PRODUKCIJA / PRODUCTION Blank_filmski inkubator 73


Da je kuća dobra i vuk bi je imao No Wolf Has a House Sandra je pretjerano osjetljiva djevojka koja ponekad ne može razlučiti stvarnost od svojih neobičnih fantazija. Na rođendanskoj proslavi svoga muža prisiljena je provesti dan s njegovom obitelji, koja je ne prihvaća. Pod njihovim okrutnim povećalom Sandra postepeno gubi doticaj sa stvarnošću. Film je premijerno prikazan u programu Signals na ovogodišnjem festivalu u Rotterdamu. Sandra is an overly sensitive young woman who sometimes has trouble distinguishing reality from her twisted fantasies. During her husband’s birthday party, she has to spend a day with his family who is having a hard time accepting her. The cruel pressure of their scrutiny is making her gradually lose her mind. The film premiered in the Signals Programme at the International Film Festival Rotterdam 2015.

REŽIJA / DIRECTOR Hana Jušić HR 2015 24’15’’

KINO EUROPA 23. 4. 2015. 22:00

Hana Jušić (1983) magistrirala je filmsku i TV režiju na Akademiji dramske umjetnosti u Zagrebu. Dosad je napisala i režirala nekoliko kratkometražnih igranih filmova: Pametnice (sa Sonjom Tarokić), Zimica, Mušice, krpelji i pčele, Terarij. Radi na dugometražnom prvijencu. Hana Jušić (1983) graduated in Film and TV Directing from the Academy of Dramatic Art, Zagreb. She has written and directed several short films: Smart Girls (co-directed with Sonja Tarokić), Chill, Gnats, Ticks, Bees, Terrarium. She is currently working on her feature film debut.

SCENARIJ / SCREENPLAY Hana Jušić MONTAŽA / EDITING Jan Klemsche KAMERA / CINEMATOGRAPHY Jana Plećaš OBLIKOVANJE ZVUKA / SOUND DESIGN Martin Semenčić, Borna Buljević ULOGE / CAST Sanja Drakulić, Tibor Knežević, Marina Redžepović, Damir Poljičak, Blanka Bart-Hajoš, Mijo Pavelko PRODUCENTICE / PRODUCERS Tina Tišljar, Tena Gojić PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti 74


Dan Marjana Marjan Hill Day Dan Marjana posljednji je dan u tjednu kojim se obilježava proslava Svetog Duje, zaštitnika Splita. Ana i Josip, kao i većina njihovih sugrađana, odlučili su protegnuti noge i prošetati Marjanom. A Marjan je veliko brdo i šetnja je duga. Marjan Hill Day is the last day of the week-long celebration of St. Duje, the patron saint of Split. Like most people, Ana and Josip decide to take a walk on Marjan. But the hill is big, and as communication becomes increasingly strained, the walk can’t end soon enough.

REŽIJA / DIRECTOR Igor Jelinović HR 2014 9’47’’

KINO EUROPA 24. 4. 2015. 22:00 Premijera / Premiere Igor Jelinović (1984) diplomirao je 2010. godine komunikologiju na Sveučilištu u Milanu. Godine 2014. upisuje se na magistarski studij filmske i TV režije na ADU-u u Zagrebu. Autor je nekoliko kratkometražnih igranih filmova. Igor Jelinović (1984) graduated in Communication Studies from the University of Milan in 2010. In 2014, he enrolled in Masters Programme in Film and TV Directing at the Academy of Dramatic Art, Zagreb. He has directed a number of short films.

SCENARIJ / SCREENPLAY Igor Jelinović MONTAŽA / EDITING Vedran Senjanović KAMERA / CINEMATOGRAPHY Marko Jerbić OBLIKOVANJE ZVUKA / SOUND DESIGN Višeslav Laboš ULOGE / CAST Ana Ledenko, Josip Lukić PRODUCENT / PRODUCER Dario Juričan PRODUKCIJA / PRODUCTION Blank_filmski inkubator

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Horvatovi Life Is Fair Socijalna bajka iz hrvatske svakodnevice. Ivan Horvat vraća se kući iz noćne smjene. Upravo je podigao plaću od koje on, nezaposlena žena i troje djece ne mogu preživjeti. Izazvan slučajnim susretom s drskim prodavačem jagoda na tržnici, povući će potez koji će otežati život njegovoj obitelji do sljedeće plaće, ali i unijeti sreću kakvu dugo nisu osjetili. Priča je smještena na zagrebačku Trešnjevku, nekada simbol socijalne ideje i međusobne povezanosti stanovnika. A social fairytale from Croatian everyday life. Ivan Horvat is on his way home after finishing his night shift. He has just received his salary, a meagre source of income for himself, his wife and their three children. Provoked by a chance encounter with a market vendor, he will do something that will make life for his family a lot harder until the next pay-check. At the same time, it will bring long-forgotten joy to their lives. The story takes place in Trešnjevka, a popular Zagreb neighbourhood that used to be a symbol of socialist ideas and a tight-knit community.

SCENARIJ / SCREENPLAY Arsen Oremović PRIČA / STORY Ante Tomić MONTAŽA / EDITING Tomislav Pavlic KAMERA / CINEMATOGRAPHY Vjekoslav Vrdoljak GLAZBA / MUSIC Matej Meštrović OBLIKOVANJE ZVUKA / SOUND DESIGN Gordan Antić ULOGE / CAST Bojan Navojec, Ana Majhenić, Jan Kerekeš PRODUCENT / PRODUCER Ivan Maloča PRODUKCIJA / PRODUCTION Interfilm

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REŽIJA / DIRECTOR Arsen Oremović HR 2015 14’55’’

KINO EUROPA 23. 4. 2015. 20:00 Premijera / Premiere Arsen Oremović (1966) radi kao filmski kritičar, novinar i urednik u Večernjem listu. Godine 1999. bio je direktor Pulskog filmskog festivala te u dva mandata predsjednik Hrvatskog društva filmskih kritičara. Debitirao je dokumentarcem U braku sa švicarcem (2013). Član je DHFR-a i Programskog vijeća HRT-a. Arsen Oremović (1966) is a film critic, journalist and editor at Večernji list. In 1999, he was the director of Pula Film Festival and the president of the Croatian Film Critics’ Association for two terms. He directed a successful documentary debut, Married to the Swiss Franc (2013). Oremović is a member of the Croatian Film Directors’ Guild and the HRT Programme Council.


Kokoška The Chicken Šestogodišnja Selma živi s majkom i sestrom u ratom pogođenom Sarajevu, a njihov otac je na frontu. Otac Selmi za rođendan daruje kokoš. Ona je oduševljena svojim novim kućnim ljubimcem, ali majka ima drugačije planove. Kada Selma shvati da će mama pripremiti kokoš za večeru, potajno je odluči osloboditi. Film je prikazan u Cannesu (Tjedan kritike), na Sundanceu, Sarajevu i brojnim drugim festivalima. Osvojio je više od dvadeset priznanja, između ostalog i Europsku filmsku nagradu za najbolji kratkometražni film. Six-year-old Selma lives with her mother and sister in war-torn Sarajevo. Her father, who is away at the front, gives Selma a chicken for her birthday. Selma is delighted with her new pet, but her mother has different plans. When she realises her mother is planning to serve the chicken for dinner, Selma secretly decides to set it free. The film was screened at Cannes (Critics’ Week), Sundance, Sarajevo and numerous other festivals. It has won over twenty awards, including the European Film Award for best short film.

REŽIJA / DIRECTOR Una Gunjak DE, HR 2014 15’00’’

KINO EUROPA 23. 4. 2015. 22:00

Una Gunjak (1986) diplomirala je 2008. godine film na Sveučilištu u Torinu, a 2010. magistrirala je montažu na prestižnom Nacionalnom fakultetu za film i televiziju u Londonu, gdje živi i radi. Kokoška je njezin prvi profesionalni autorski projekt. Una Gunjak (1986) is a director and editor. She graduated from the University of Turin in 2008. In 2010, she obtained an MA in Editing from the prestigious National Film and Television School in London, where she currently resides and works. The Chicken is her directorial debut.

SCENARIJ / SCREENPLAY Una Gunjak MONTAŽA / EDITING Anja Siemens KAMERA / CINEMATOGRAPHY Matthias Pilz GLAZBA / MUSIC Bernd Schurer OBLIKOVANJE ZVUKA / SOUND DESIGN Sebastian Morsch, Raoul Brand ULOGE / CAST Iman Alibalić, Esma Alić, Mirela Lambić, Mario Knezović PRODUCENTI / PRODUCERS Jelena Goldbach, Siniša Juričić PRODUKCIJA / PRODUCTION Zak film KOPRODUKCIJA / CO-PRODUCTION Nukleus film DISTRIBUCIJA / DISTRIBUTION François Morisset (Salaud Morisset) 77


Lako pokojnima The Dead Have It Easy Ive zarađuje čisteći i ukrašavajući grobove pokojnika čije obitelji i potomci žive u inozemstvu. Ali grobove uređuje samo kada zna da će obitelji doći. Sve se zakomplicira kada se na groblju nađe član obitelji pokojnice kojeg Ive tada nije očekivao. Ive makes a living by taking care of the graves of the deceased whose families live abroad. But he only does his job when he knows that the relatives will be visiting. The unexpected arrival of one of the family members suddenly makes things complicated.

REŽIJA / DIRECTOR Matea Šarić HR 2015 20’17’’ Cinemascope

KINO EUROPA 25. 4. 2015. 22:00 Premijera / Premiere Matea Šarić (1988) diplomirala je 2011. godine filmsku i TV režiju na Akademiji dramske umjetnosti u Zagrebu. Godine 2014. na Akademiji primijenjenih umjetnosti u Rijeci upisala je magistarski studij medijske umjetnosti i prakse (fotografija). Matea Šarić (1988) graduated in Film and TV Directing from the Academy of Dramatic Art, Zagreb in 2011. In 2014, she enrolled into Masters Programme in Media Arts and Practices at the Academy of Applied Arts, Rijeka.

SCENARIJ / SCREENPLAY Ivana Vuković MONTAŽA / EDITING Karla Folnović KAMERA / CINEMATOGRAPHY Tomislav Sutlar GLAZBA / MUSIC Vid Adam Hribar OBLIKOVANJE ZVUKA / SOUND DESIGN Luka Gamulin ULOGE / CAST Siniša Popović, Jakov Bilić, Anđelko Babačić, Jasminka Antić, Ivan Šupe, Nola Lozić PRODUCENTICA / PRODUCER Julia Martinović PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti DISTRIBUCIJA / DISTRIBUTION Julia Martinović 78


Lov u zatvorenom Indoor Hunting Filipa je čudna djevojka. Živi u svom malom svijetu kojim upravlja njezina majka. Kako bi je socijalizirala, majka organizira instrukcije. Filipa nevoljko počinje davati poduke iz matematike. Tako upoznaje Sašu, djevojčicu naizgled potpuno različitu od nje. Malo-pomalo Saša uspijeva doprijeti do Filipe. Ali onda dođe vrijeme da Saša ode kući.

REŽIJA / DIRECTOR Kristina Vuković

Filipa is an unusual girl. She lives in her own world run by her mother. In order to make her socialise, her mother arranges a tutoring job for her. Unwillingly, Filipa starts giving math instructions. She meets Saša, a girl seemingly her complete opposite. Gradually, Saša manages to form a bond with Filipa. But their time is up and Saša has to go home.

KINO EUROPA 23. 4. 2015. 18:00

SCENARIJ / SCREENPLAY Kristina Vuković MONTAŽA / EDITING Iva Gavrilović KAMERA / CINEMATOGRAPHY Iva Korenčić Ćabo GLAZBA / MUSIC Anton Pletikosa OBLIKOVANJE ZVUKA / SOUND DESIGN Andrej Smoljan ULOGE / CAST Klara Naka, Lea Vukmanić, Urša Raukar

HR 2014 19’39’’

Kristina Vuković (1988) studirala je latinski i kroatistiku na Hrvatskim studijima, a 2011. upisuje filmsku i TV režiju na Akademiji dramske umjetnosti u Zagrebu. Osvojila je priznanje za scenarij filma Zujanje (Palunko, 2012). Od 2014. radi kao suradnica na Briljanteenu (HRT). Kristina Vuković (1988) studied Latin and Croatology at the Centre for Croatian Studies. In 2011, she enrolled into the Academy of Dramatic Art where she is studying Film and TV Directing. She won Special Mention for her script Zujanje at the 10th Zagreb Film Festival (Palunko, 2012). Since 2014, she has been working as associate on the educational teen talk-show Briljanteen (HRT).

PRODUCENTICA / PRODUCER Lorena Vlahovski PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti DISTRIBUCIJA / DISTRIBUTION Lorena Vlahovski 79


Manjača Manjaca Film o mladiću koji po prvi put odlučuje uzeti svoj život u svoje ruke. Pokušavajući se oduprijeti starim navikama, useljava se kod svoga djeda. Film je prikazan na ovogodišnjem festivalu u Rotterdamu, a osvojio je posebno priznanje u programu Kockice na Zagreb Film Festivalu.

REŽIJA / DIRECTOR Tin Žanić

This is a film about a young man who decides to take control of his life for the first time. Trying to resist the old habits he moves in with his grandfather. The film was screened at this year’s Rotterdam Film Festival. It won Special Mention in the Checkers Programme at Zagreb Film Festival.

KINO EUROPA 25. 4. 2015. 16:00

HR 2014 22’40’’

Tin Žanić (1985) završio je 2010. godine produkciju na Akademiji dramske umjetnosti u Zagrebu, a sada pohađa magistarski studij režije igranog filma na londonskom NFTS-u. Aktivno djeluje u Kinoklubu Zagreb. Tin Žanić (1985) graduated in Production from the Academy of Dramatic Art, Zagreb in 2010. He is currently enrolled in Masters Course in Directing Fiction at the NFTS, London. He is an active member of Kinoklub Zagreb.

SCENARIJ / SCREENPLAY Tin Žanić MONTAŽA / EDITING Jan Klemsche KAMERA / CINEMATOGRAPHY Jana Plećaš OBLIKOVANJE ZVUKA / SOUND DESIGN Martin Semenčić ULOGE / CAST Matija Ferlin, Vjenceslav Kapural, Roberta Milevoj PRODUCENTICA / PRODUCER Tena Gojić PRODUKCIJA / PRODUCTION Kinoklub Zagreb

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Medo mali Teddy Bear Medo mali i njegova majka žive zajedno. Kao i svaka mama, i Bisera je zabrinuta za svog sina. On ima samo jednu strast u životu, a mama ga, naravno, iritira. Ona smišlja način kako da mu pomogne, ali Medo mali radi sve kako bi njezin plan propao. Tko će na kraju navući vodu na svoj mlin?

REŽIJA / DIRECTOR Igor Jelinović

Teddy Bear and his mother live together. Like any other mother, Bisera worries about her son – who has only one passion in life. He, in turn, is irritated by her concern. She is trying to think of a way to help him, but Teddy Bear is doing everything in his power to thwart her plans. Who is going to prevail?

KINO EUROPA 23. 4. 2015. 22:00

HR 2015 20’26’’

Igor Jelinović (1984) diplomirao je 2010. godine komunikologiju na Sveučilištu u Milanu. Godine 2014. upisuje se na magistarski studij filmske i TV režije na ADU-u u Zagrebu. Autor je nekoliko kratkometražnih igranih filmova. Igor Jelinović (1984) graduated in Communication Studies from the University of Milan in 2010. In 2014, he enrolled in Masters Programme in Film and TV Directing at the Academy of Dramatic Art, Zagreb. He has directed a number of short films.

SCENARIJ / SCREENPLAY Igor Jelinović MONTAŽA / EDITING Iva Gavrilović KAMERA / CINEMATOGRAPHY Rino Barbir OBLIKOVANJE ZVUKA / SOUND DESIGN Tihomir Vrbanec ULOGE / CAST Josip Lukić, Bruna Bebić, Mia Anočić-Valentić, Jakov Lerotić PRODUCENTI / PRODUCERS Tibor Keser, Lorena Vlahovski PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti DISTRIBUCIJA / DISTRIBUTION Igor Jelinović 81


Ne pričamo o vama nego o djeci It’s All About the Kids Mlad i neiskusan profesor saziva izvanredni roditeljski sastanak zbog objave snimke pornografskog sadržaja učenika njegove škole. Rasprava o neozbiljnosti djece vrlo brzo otkriva neozbiljnost roditelja, koji se ne žele držati pravila diskusije. U neproduktivnoj atmosferi – od nelagodne tišine, ciničnih komentara, privatnih problema, optužbi i sukoba do svirke benda u susjednoj učionici – profesor se sve teže snalazi. A young and inexperienced professor calls an urgent parent-teacher meeting after the release of a pornographic video his students made. The conversation about the children’s immature behaviour soon becomes immature itself, as the parents refuse to follow the rules of a civilised discussion. In this unproductive atmosphere – filled with uncomfortable silence, cynical comments, private problems, conflicts and disruptive music from the adjoining classroom – the professor is finding it increasingly harder to handle the situation.

SCENARIJ / SCREENPLAY Dina Vukelić MONTAŽA / EDITING Roman Cernjak KAMERA / CINEMATOGRAPHY Davor Bjelanović OBLIKOVANJE ZVUKA / SOUND DESIGN Jelena Modrić ULOGE / CAST Tena Jeić Gajski, Višnja Babić, Ivan Vukelić, Goran Navojec, Dubravka Ostojić, Slavko Juraga, Vanja Matujec, Tvrtko Jurić, Danijel Radečić, Lada Bonacci, Ivan Brkić, Dunja Sepčić, Vanda Winter, Jadranka Krajina, Bernard Tomić PRODUCENT / PRODUCER Tibor Keser PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti KOPRODUKCIJA / CO-PRODUCER Plan 9 82

REŽIJA / DIRECTOR Luka Rukavina HR 2015 15’00’’ CB / BW

KINO EUROPA 24. 4. 2015. 16:00 Premijera / Premiere Luka Rukavina (1981) diplomirao je dramaturgiju na ADU-u u Zagrebu i završio program filmske i TV režije na FAMU-u u Pragu. Pohađa doktorski studij književnosti, filma i kulture na Filozofskom fakultetu u Zagrebu. Vlasnik je produkcijske kuće Plan 9. Luka Rukavina (1981) graduated in Dramaturgy from the Academy of Dramatic Art, Zagreb and completed the Film and TV Directing Programme at FAMU, Prague. He is enrolled in the Postgraduate and Doctoral Study of Literature, Performing Arts, Film and Culture at the Faculty of Humanities and Social Sciences, Zagreb. He is the owner of Plan 9 Productions.


Nedjeljni program Sunday Night Special Marina i Tomica provode jednu posve običnu nedjeljnu večer u jednom posve običnom filmu. Ona peče kolače, on gleda glazbenu emisiju. Njoj smeta što je televizor preglasan jer je “mala taman zaspala”. No daljinski je kod njega, i on ima dobar razlog zašto je pojačao. Film je osvojio nagradu za najbolji scenarij na radionici Palunko 1.1 na Zagreb Film Festivalu 2013. godine. Marina and Tomica are having an ordinary Sunday evening in a perfectly ordinary film. She is baking cakes, while he is watching a TV show. She is complaining about the noise from the TV because the ‘little one has just fallen asleep’. But he has the remote control and a very good reason for turning the volume up. The film won the award for Best Screenplay at Palunko 1.1 workshop as part of the 11th Zagreb Film Festival.

REŽIJA / DIRECTOR Neven Dužanec HR 2014 9’39’’

KINO EUROPA 24. 4. 2015. 22:00

Neven Dužanec (1974) diplomirao je 2000. godine anglistiku i filozofiju na Filozofskom fakultetu u Zagrebu. Autor je raznih kratkometražnih filmova. Radi kao prevoditelj i član je Kinokluba Zagreb. Neven Dužanec (1974) graduated in Philosophy and English Language and Literature from the Faculty of Humanities and Social Sciences, Zagreb. He has directed a number of short fiction, documentary and experimental films. Dužanec is currently working as a translator for film and TV. He is a member of Kinoklub Zagreb.

SCENARIJ / SCREENPLAY Neven Dužanec MONTAŽA / EDITING Tihomir Vrbanec KAMERA / CINEMATOGRAPHY Matija Pekić OBLIKOVANJE ZVUKA / SOUND DESIGN Josip Šuker ULOGE / CAST Stjepan Perić, Romina Vitasović, Martina Majerle, Lovro Krovina PRODUCENTICA / PRODUCER Vera Robić-Škarica PRODUKCIJA / PRODUCTION Hrvatski filmski savez 83


Nepoznate energije, neidentificirani osjećaji Unknown Energies, Unidentified Emotions Tajanstvena Fondacija financira rad Instituta za istraživanje parapsiholoških fenomena i mentalnih filmova. Korespondencija između Fondacije i Instituta obavlja se preko odabranog izvjestitelja. Radi objektivnog i povjerljivog izvještavanja Fondacija koristi agente s induciranim, sintetičkim identitetom. Taj proces privremeno potpuno suzbija izvornu osobnost agenta. Izvjestitelj Isidor Dukas dolazi u Institut. Suočavanjem s jednim od testnih subjekata, nešto što je trebala biti rutinska kontrola pretvara se u labirint bez kraja. A mysterious Foundation is financing the Institute for Research of Parapsychological Phenomena and Mental Films. The correspondence between the Foundation and the Institute is conducted through a selected mediator. To ensure utmost objectivity and confidentiality, the Foundation uses agents with induced, synthetic identities. This process temporarily suppresses the original personality of the agent. Mediator Isidor Dukas arrives at the Institute. Faced with one of the test subjects, what was supposed to be a simple routine check-up turns into a labyrinth with no exit.

SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Dalibor Barić, Tomislav Babić TEKST, ANIMACIJA / TEXT, ANIMATION Dalibor Barić GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Tomislav Babić ULOGE / CAST Nikša Marinović, Sara Stanić, Boris Bakal, Pavlica Bajsić PRODUCENT / PRODUCER Vedran Šuvar PRODUKCIJA / PRODUCTION Kinoklub Zagreb 84

REŽIJA / DIRECTORS Dalibor Barić, Tomislav Babić HR 2015 40’00’’ boja, CB / colour, BW KINO EUROPA 23. 4. 2015. 20:00 Premijera / Premiere Dalibor Barić (1974), multimedijalni je umjetnik, autor kratkometražnih animiranih i eksperimentalnih filmova, glazbenih spotova, festivalskih špica, stripova, instalacija, crteža i kolaža. Tomislav Babić (1968) sklada za film, televiziju i kazalište. Studira kompoziciju i elektroničku glazbu u SAD-u. Dalibor Barić (1974) is a multimedia artist, author of short animated and experimental films, music videos, festival openers, graphic novels, installations, drawings and cut-outs. Tomislav Babić (1968) composes for film, TV, and theatre. He is studying composing and electronic music in the US.


Oče, griješio sam Father, I Have Sinned Časna sestra Tereza zaljubljena je u svećenika Marija. Redovito se viđaju i vode ljubav. Mario je rastresen i ne obraća pažnju na Terezu, a ona razmišlja o ljubavi i živi u snovima. Kada Tereza posumnja na trudnoću, postavlja se pitanje može li uistinu vjerovati Mariju – ali i samoj sebi.

REŽIJA / DIRECTOR Paula Skelin

Sister Tereza is in love with Mario, a priest. They meet regularly and make love. Mario is distracted and doesn’t pay attention to Tereza, while she lives in her own world of romantic fantasies. When Tereza suspects she might be pregnant, the question of trust arises. Can she really trust Mario? Or even herself?

KINO EUROPA 24. 4. 2015. 22:00 Premijera / Premiere

HR 2014 11’13’’

Paula Skelin (1992) studira film i video na Umjetničkoj akademiji u Splitu. Fotografijom i filmom amaterski se bavi od svoje petnaeste godine. Paula Skelin (1992) is studying Film and Video at the Arts Academy in Split. She has been active in amateur photography since the age of fifteen.

SCENARIJ, MONTAŽA, KAMERA, OBLIKOVANJE ZVUKA / SCREENPLAY, EDITING, CINEMATOGRAPHY, SOUND DESIGN Paula Skelin ULOGE / CAST Bojan Brajčić, Lara Živolić, Ivan Šušnjar MENTOR / MENTOR Vlado Zrnić PRODUKCIJA / PRODUCTION Umjetnička akademija u Splitu DISTRIBUCIJA / DISTRIBUTION Paula Skelin

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Odlazak Escape Adaptacija istoimenog stripa Igora Kordeja, jedne od njegovih osam kratkih priča iz zbirke Zvijezde koja je nastala u umjetničkoj grupi Kvadrat 80-ih godina u Zagrebu. Film prati Dubravku, djevojku koja provodi dane zatvorena u svojoj sobi čitajući znanstveno-fantastične knjige i maštajući o izvanzemaljcima. Jedne večeri prepozna sebe u glavnom liku jedne knjige, a poruke koje iščitava poziv su na susret s izvanzemaljcima. An adaptation of the eponymous comic book by Igor Kordej. It is one of the eight short stories from his collection Zvijezde (Stars), created during the 1980s as part of Novi kvadrat (The New Square) – an informal group of comic book artists. The film follows Dubravka, a girl who spends most of her time in her room, reading sci-fi and fantasising about aliens. One evening, she recognizes herself in one of the characters and starts seeing messages inviting her to a meeting with aliens.

SCENARIJ / SCREENPLAY Ivana Marinić Kragić MONTAŽA / EDITING Monika Drahotuski KAMERA / CINEMATOGRAPHY Dragan Šiša GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Viktor Grabar ULOGE / CAST Dinka Vuković, Frano Mašković, Domagoj Janković, Robert Budak, Hoji Fortuna PRODUCENTICA / PRODUCER Ivana Marinić Kragić PRODUKCIJA / PRODUCTION Filmska udruga Motion 86

REŽIJA / DIRECTOR Ivana Marinić Kragić HR 2015 5’30’’ CB / BW Cinemascope

KINO EUROPA 23. 4. 2015. 20:00 Premijera / Premiere Ivana Marinić Kragić (1984) diplomirala je 2012. godine na Akademiji dramskih umjetnosti u Zagrebu. Trenutačno producira, između ostalog, dugometražni igrani LGBT film Dvije u svojoj Filmskoj udruzi Motion. Ivana Marinić Kragić (1984) graduated from the Academy of Dramatic Art, Zagreb in 2012. Currently, she is working as a producer. Among other things, she is producing an LGBT feature film Dvije at Motion Film Organization (FUM).


Piknik Picnic Lijep je i sunčan proljetni dan. Na cestama je gužva jer ljudi odlaze iz Sarajeva na piknik u prirodu. Petnaestogodišnji Emir u društvu nadzornika socijalne službe odlazi u posjet svome ocu Safetu, koji se nalazi na izdržavanju zatvorske kazne u poluotvorenom odjelu kaznionice na Igmanu. Kasne zbog gužve u prometu, što im ostavlja samo dvadeset minuta za zajedničko druženje: za njihov “piknik”. No dvadeset minuta nekad može djelovati jako dugo. It is a beautiful, sunny spring day. The streets of Sarajevo are crowded with people leaving the city and going on picnics in the countryside. Accompanied by a social worker, fifteen-year-old Emir is on his way to see his father Safet, who is an inmate at a semi-open penitentiary on Mount Igman. Due to the traffic jam, they are late, which leaves Emir and Safet with only twenty minutes of time together – their own ‘picnic’. But twenty minutes can seem very long.

REŽIJA / DIRECTOR Jure Pavlović HR 2015 13’00’’

KINO EUROPA 23. 4. 2015. 22:00

Jure Pavlović (1985) studirao je na Akademiji dramske umjetnosti u Zagrebu. Njegov prvi profesionalni kratkometražni film, Pola ure za baku, nagrađen je Zlatnom uljanicom na DHF-u. Jure Pavlović (1985) studied at the Academy of Dramatic Art in Zagreb. Half an Hour for Grandma, his short film debut, won the Golden Oil Lamp Award at Croatian Film Days.

SCENARIJ / SCREENPLAY Džejna Avdić, Jure Pavlović MONTAŽA / EDITING Dragan Von Petrovic KAMERA / CINEMATOGRAPHY Almmir Fakić OBLIKOVANJE ZVUKA / SOUND DESIGN Vladimir Božić ULOGE / CAST Emir Mušić, Aleksandar Seksan, Senad Alihodžić PRODUCENT / PRODUCER Luka Venturin PRODUKCIJA / PRODUCTION Sekvenca

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Roza – teološki film ceste Roza – Theological Road Movie Tek zaređena, osamnaestogodišnja časna sestra Rozalija po treći put ne uspijeva zadovoljiti na vozačkom ispitu za koji su je predodredile njene sestre, sestre Služavke Malog Isusa. Uvjerena kako se ne može vratiti u samostan bez da ispuni njihova očekivanja, pokušat će promijeniti situaciju. Očajna i nemoćna, pribjeći će emocionalnoj manipulaciji koja će razotkriti svu iracionalnost njezina truda. Recently ordained, eighteen-year-old sister Rozalija fails her driving test for the third time. She was sent to the driving school by the sisters from her order – the Sisters of the Infant Jesus. Convinced that she cannot return to the convent before fulfilling her task, she will try to change the situation. Desperate and helpless, she will resort to emotional manipulation that will uncover the irrationality of her efforts.

SCENARIJ / SCREENPLAY Višnja Vukašinović MONTAŽA / EDITING Miro Manojlović KAMERA / CINEMATOGRAPHY Filip Tot GLAZBA / MUSIC Wolfgang Amadeus Mozart OBLIKOVANJE ZVUKA / SOUND DESIGN Ivan Zelić ULOGE / CAST Luka Kosmat, Josipa Pentić PRODUCENT / PRODUCER Vjeran Vukašinović PRODUKCIJA / PRODUCTION Lanterna magica 88

REŽIJA / DIRECTOR Višnja Vukašinović HR 2015 12’35’’

KINO EUROPA 24. 4. 2015. 22:00 Premijera / Premiere Višnja Vukašinović (1982) koordinatorica je filmskih programa Kinokluba Zagreb te voditeljica raznih radionica. Autorica je igranog filma Srećko Kramp – skica za portret. Dobitnica je diplome Vladimir Vuković za najboljeg mladog filmskog kritičara 2013. godine. Piše filmski blog http://felix-trot.tumblr.com. Višnja Vukašinović (1982) is a film programme coordinator at Kinoklub Zagreb and a conductor of numerous workshops. She directed the short film Poets in Person – Srećko Kramp. In 2013, she received the Vladimir Vuković Certificate for Best Young Film Critic. She is writing a film blog http://felix-trot.tumblr. com.


Soba s kosim pogledom A Room with a Slanting View Agim dostavlja pizzu u četvrti obiteljskih kuća na periferiji. Njegove mušterije su grupa mladića koji prate televizijski prijenos nogometne utakmice i čiji klub upravo gubi. No dolazi do nesporazuma i Agim je prisiljen provesti neko vrijeme zaključan u sobi s bratom jednog od mladića, četrnaestogodišnjim Janom koji boluje od Downova sindroma. Njihov susret dovest će u pitanje predrasude nekolicine sudionika ove priče. A suburban family neighbourhood. Agim is delivering a pizza to a group of young men watching a football game on TV. Their team is losing. After a misunderstanding, Agim is forced to spend some time locked in a room with fourteen-year-old Jan, one of the men’s brother with Down syndrome. This encounter will challenge some of the characters’ prejudices.

SCENARIJ / SCREENPLAY Davor Žmegač MONTAŽA / EDITING Ivana Fumić KAMERA / CINEMATOGRAPHY Branko Linta OBLIKOVANJE ZVUKA / SOUND DESIGN Dubravka Premar ULOGE / CAST Jan Vrbić, Jasmin Telalović, Domagoj Janković, Pavle Vrkljan, Matija Čigir, Paško Vukasović

REŽIJA / DIRECTOR Davor Žmegač HR 2015 16’43’’

KINO EUROPA 23. 4. 2015. 18:00 Premijera / Premiere Davor Žmegač (1955) diplomirao je filmsku i TV režiju na Akademiji dramske umjetnosti, gdje predaje od 1998. godine. Bavio se filmskom kritikom, a režirao je i brojne filmove (Zlatne godine). Autor je internetske stranice koja promiče pisanje scenarija, scenarij.adu.hr. Član je Društva hrvatskih filmskih redatelja. Davor Žmegač (1955) graduated in Film and TV Directing from the Academy of Dramatic Art in Zagreb and has been teaching there since 1998. He has worked as a film critic and directed a number of films (The Golden Years). Žmegač is a member of the Croatian Film Directors’ Guild and the creator of scenarij.adu. hr, a website dedicated to the development and advancement of screenwriting in Croatia.

PRODUCENT / PRODUCER Ivan Maloča PRODUKCIJA / PRODUCTION Interfilm

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Zujanje Buzzing Mladom zagrebačkom arhitektu Petru pokvari se štampač i on shvati da ima samo sat vremena da kopira svoj projekt i pošalje ga na natječaj. Nakon niza nezgoda Petar odustane od natječaja, no od toga ga odgovori Pike, osebujni čovjek iz Dalmatinske zagore. Kako će mu se odužiti? Na proplanku podno Svilaje, Pike i Petar renovirat će staru kamenu kuću na moderan način. When his printer breaks down, Petar, a young architect from Zagreb, has only an hour to copy his project and apply for a competition. After a series of mishaps, Petar gives up, but is soon dissuaded from it by Pike, a peculiar man from the Dalmatian hinterland. How will he repay him? At the foot of Svilaja Mountain, Pike and Petar are going to renovate and modernise an old stone house.

SCENARIJ / SCREENPLAY Dinko Božanić MONTAŽA / EDITING Goran Čače KAMERA / CINEMATOGRAPHY Raul Brzić GLAZBA / MUSIC Willem Miličević OBLIKOVANJE ZVUKA / SOUND DESIGN Hrvoje Pelicarić ULOGE / CAST Petar Vovk, Ivica Bašić, Filip Radoš, Andrea Mladinić, Goran Alebić, Zdeslav Čotić, Branimir Rakić, Valerija Barbarić, Vedran Sardelić, Jozo Režić PRODUCENT / PRODUCER Slobodan Jokić PRODUKCIJA / PRODUCTION Kazimir 90

REŽIJA / DIRECTOR Dinko Božanić HR 2014 14’00’’

KINO EUROPA 25. 4. 2015. 22:00

Dinko Božanić (1975) diplomirao je film u Bologni, a zatim i magistrirao na Sveučilištu Roma Tre. Radi kao asistent na Odsjeku za film i video Umjetničke akademije u Splitu. Od 2013. potpredsjednik je Vijeća u kulturi za film i medijsku djelatnost Grada Splita. Dinko Božanić (1975) graduated in film from the University of Bologna after which he completed his MA at Roma Tre University. He is working as an assistant at the Department of Film and Video at the Arts Academy in Split. In 2013, he was elected vice-president of the Cultural Council for Film and Media Activities – City of Split.


NAMJENSKI FILM COMMISSIONED FILM

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A Graphic Novel with Moving Pictures Strip s pokretnim slikama Naš junak bori se s vremenom i negativcima kako bi odnio produžni kabel na vrh zgrade. Promotivni film videosekcije KSET-a. Our hero fights bad guys and races against time in order to bring an extension cord to the top of a building. A promotional video for KSET video section.

REŽIJA / DIRECTOR Franko Dujmić HR 2014 1’00’’ reklama / commercial

KINO EUROPA 25. 4. 2015. 22:00

Franko Dujmić (1990) završio je preddiplomski studij filmske montaže na Akademiji dramske umjetnosti 2013. godine, kada je upisao diplomski studij animiranog filma na Akademiji likovnih umjetnosti. Radi na svom diplomskom filmu. Franko Dujmić (1990) obtained a BA in Film Editing at the Academy of Dramatic Art in 2013. The same year, he enrolled into Masters Programme in Animated Film at the Academy of Fine Arts. He is currently working on his graduate thesis film.

SCENARIJ / SCREENPLAY Franko Dujmić GLAZBA / MUSIC Pistolrays PRODUCENT / PRODUCER Matija Vuković PRODUKCIJA / PRODUCTION Klub studenata elektrotehnike

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Azil Dumovec – dan otvorenih vrata Dumovec Shelter – Open Door Day Promotivni video za Azil Dumovec pokraj Zagreba.

REŽIJA / DIRECTOR Luka Tokić

A promotional video for Dumovec Shelter – a shelter for the abandoned animals of the City of Zagreb.

HR 2014 0’30’’ reklama / commercial

KINO EUROPA 25. 4. 2015. 22:00

Luka Tokić (1990) studira na Filozofskom fakultetu u Zagrebu. Za svoj kratkometražni igrani film Jazavci (2012) osvojio je priznanje na Reviji hrvatskog filmskog stvaralaštva. Luka Tokić (1990) studies at the Faculty of Humanities and Social Sciences in Zagreb. His short film Badgers (2012) won Special Mention at the Revue of Croatian Film and Video in 2012.

SCENARIJ, MONTAŽA, OBLIKOVANJE ZVUKA / SCREENPLAY, EDITING, SOUND DESIGN Luka Tokić KAMERA / CINEMATOGRAPHY Gabrijela Šitum PRODUCENT / PRODUCER Dario Juričan PRODUKCIJA / PRODUCTION Blank_filmski inkubator

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Bang Bang: Imam Bang Bang: I’ve Got Plesni glazbeni spot za pjesmu skupine Bang Bang.

REŽIJA / DIRECTOR Ljubo Zdjelarević

A dancing music video for the band Bang Bang.

HR 2015 3’48’’ glazbeni spot / music video

HOLLYWOOD VANITY CLUB 23. 4. 2015. 23:00

Ljubo Zdjelarević (1981) diplomirao je povijest i geografiju na Filozofskom fakultetu u Zagrebu. Vlasnik je produkcijske kuće Kinoteka, član HDFD-a i europske mreže producenata EAVE. Ljubo Zdjelarević (1981) graduated in History and Geography at the Faculty of Humanities and Social Sciences in Zagreb. He is the owner of Kinoteka production company, and a member of the Film Artists’ Association of Croatia (HDFD) and EAVE – European Producers Network.

SCENARIJ / SCREENPLAY Ljubo Zdjelarević MONTAŽA / EDITING Ana Marija Sremec KAMERA / CINEMATOGRAPHY Raul Brzić ULOGE / CAST Andrea Solomun, Christian Nujster PRODUCENT / PRODUCER Ljubo Zdjelarević PRODUKCIJA / PRODUCTION Kinoteka

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Benchwarmers: Leader of the Pit

Dvije mačke, pas, lisica, gavran, skijaš, osoba sa škarniclom na glavi, robot i laseri na balkonu.

REŽIJA / DIRECTORS Silva Ćapin, Filip Peruzović, Dinka Radonić, Iva Ivan

Two cats, a dog, a fox, a raven, a skier, a person with a paper bag over their head, a robot and lasers on a balcony.

HR 2015 3’45’’ glazbeni spot / music video HOLLYWOOD VANITY CLUB 23. 4. 2015. 23:00

Silva Ćapin (1989), režiserka i profesionalna statistica za razdoblje 1. Svjetskog rata. Filip Peruzović (1986), režiser i strastveni obožavatelj kartinga. Dinka Radonić (1984), snimateljica i šajberica. Vična snimanju spotova i dizanju utega. Iva Ivan (1984), montažerka i ljubiteljica laserskih mačeva.

SCENARIJ / SCREENPLAY Silva Ćapin, Filip Peruzović, Dinka Radonić, Iva Ivan MONTAŽA / EDITING Iva Ivan KAMERA / CINEMATOGRAPHY Dinka Radonić GLAZBA / MUSIC Benchwarmers OBLIKOVANJE ZVUKA / SOUND DESIGN Iva Ivan ULOGE / CAST Sven Sorić, Katerina Duda, Jakov Sinovčić Perković, Silva Ćapin, Andrea Jurov, Srđan Popović, Iva Ivan, Andrea Čeko

Silva Ćapin (1989), a director and professional extra for the First World War period. Filip Peruzović (1986), a director and avid carting fan. Dinka Radonić (1984), a cinematographer and an excellent car washer. Skilled at shooting videos and weight lifting. Iva Ivan (1984), an editor and lightsaber enthusiast.

PRODUCENTI / PRODUCERS Srđan Popović, Jakov Sinovčić Perković DISTRIBUCIJA / DISTRIBUTION Iva Ivan 95


Borkov zalogaj života Borko’s Taste of Life Borko, tinejdžer koji neprestano gleda filmove i jede nezdravu hranu, u skučenom stanu izbjegava kontakt sa svojom nametljivom majkom. Na kraju bježi u TV u potrazi za stvaranjem vlastitog filmskog svijeta. Borko is a teenage boy who spends his days watching films, eating junk food, and trying to avoid his meddling mother in the cramped space of their small apartment. In the end, he escapes into the TV, planning to create his own film world.

REŽIJA / DIRECTOR Nikica Zdunić HR 2014 4’15’’

KINO EUROPA 23. 4. 2015. 22:00

Nikica Zdunić (1988) na drugoj je godini filmske i TV režije na ADU-u. Aktivna je članica Kinokluba Zagreb. Nikica Zdunić (1988) studies Film and TV Directing at the Academy of Dramatic Arts in Zagreb. She is an active member of Kinoklub Zagreb.

SCENARIJ / SCREENPLAY Nikica Zdunić MONTAŽA / EDITING Lana Horvatić KAMERA / CINEMATOGRAPHY Mario Pućić ULOGE / CAST Petar Vratović, Mia Begović PRODUCENT / PRODUCER Nikica Zdunić PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti DISTRIBUCIJA / DISTRIBUTION Nikica Zdunić

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Filozofski teatar – Iza pozornice sa Slavojem Žižekom Backstage with Slavoj Žižek Filozofski teatar u HNK u Zagrebu ugošćuje Slavoja Žižeka.

REŽIJA / DIRECTOR Zorko Sirotić

The Philosophical Theatre of the Croatian National Theatre in Zagreb hosts Slavoj Žižek.

HR 2015 12’54’’

KINO EUROPA 25. 4. 2015. 18:00

Zorko Sirotić (1985) član je Kinokluba Zagreb. Osmislio je i vodi nezavisni talk show Sudnji dan i emisiju Val razuma na Radio studentu. Objavljivani je pisac, prevoditelj i dugogodišnji suradnik Zareza. Moderator je redateljskog foruma na međunarodnom festivalu u Jihlavi.

SCENARIJ, MONTAŽA, KAMERA, OBLIKOVANJE ZVUKA / SCREENPLAY, EDITING, CINEMATOGRAPHY, SOUND DESIGN Zorko Sirotić

Zorko Sirotić (1985) is a member of Kinoklub Zagreb. He is the creator and host of the independent talk show Sudnji dan and Val razuma on Radio Student. Sirotić is a published writer, translator and long-time contributor to Zarez magazine. He is a moderator of the Inspiration Forum at the Jihlava International Documentary Film Festival.

PRODUCENT / PRODUCER Zorko Sirotić PRODUKCIJA / PRODUCTION Kinoklub Zagreb

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Gonzo: U mojoj glavi Gonzo: In My Head Ovo je priča o stvorenju koje želi biti voljeno. Priča o ljubavnoj žrtvi i o tome do kojih smo granica spremni ići da to ostvarimo. U postapokaliptičnom svijetu, vođeno idejom da jednog dana više neće biti sam, stvorenje je odlučilo napraviti sebi družicu. Svaki dan sklopi dio nje. Nakon svih djelova koje je uspio napraviti ostao je onaj najbitniji, koji nije mogao umjetno stvoriti. This is a story about a post-apocalyptic world and a creature that wants to be loved. It is a story about love sacrifice and the limits we’re prepared to go to in order to realise that need. Urged by the idea that one day it won’t be alone anymore, the creature decides to make a companion for itself. Every day it adds one more piece to his creation. In the end there is only one piece left, the one that couldn’t be made artificially.

SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Luka Vucić KAMERA / CINEMATOGRAPHY Ivan Hećimović GLAZBA / MUSIC Stjepan Tribuson, Luka Vucić OBLIKOVANJE ZVUKA / SOUND DESIGN Stjepan Tribuson ULOGE / CAST Luka Vucić PRODUCENT / PRODUCER Luka Vucić

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REŽIJA / DIRECTOR Luka Vucić HR 2014 3’22’’ boja, CB / colour, BW glazbeni spot / music video HOLLYWOOD VANITY CLUB 23. 4. 2015. 23:00

Luka Vucić (1982) magistar je dizajna. Radi kao slobodnjak u ilustraciji, glazbi, glumi, scenografiji, stop-animaciji, industrijskom dizajnu i videu. Luka Vucić (1982) has a Masters Degree in Design. He works as a freelancer in illustration, music, acting, set design, stop-animation, industrial design and video art.


Gonzo: Uske trapke Gonzo: Tight Jeans Ovo je pjesma o strastvenoj ljubavi prema jednom odjevnom predmetu. Uske trapke nude prvu pomoć protagonistu pri snalaženju u većini kompleksnih društvenih situacija. This is a song about a passionate love for a clothing item. Tight jeans help our protagonist handle numerous complicated social situations.

REŽIJA / DIRECTOR Luka Vucić HR 2014 3’14’’ boja, CB / colour, BW glazbeni spot / music video HOLLYWOOD VANITY CLUB 23. 4. 2015. 23:00

Luka Vucić (1982) magistar je dizajna. Radi kao slobodnjak u ilustraciji, glazbi, glumi, scenografiji, stop-animaciji, industrijskom dizajnu i videu. Luka Vucić (1982) has a Masters Degree in Design. He works as a freelancer in illustration, music, acting, set design, stop-animation, industrial design and video art.

SCENARIJ MONTAŽA KAMERA / SCREENPLAY EDITING CINEMATOGRAPHY Luka Vucić GLAZBA / MUSIC Stjepan Tribuson, Luka Vucić OBLIKOVANJE ZVUKA / SOUND DESIGN Stjepan Tribuson ULOGE / CAST Iva Čevizović, Marko Herceg PRODUCENT / PRODUCER Luka Vucić

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Lidija Bajuk Trio: Uspavanka Lidija Bajuk Trio: The Lullaby Tradicijska uspavanka iz Dalmatinske zagore. Uspavani div Balaban budi se iz stoljetnog sna. A traditional lullaby from the Dalmatian hinterland. The sleeping giant Balaban awakens from a hundred-year-long dream.

REŽIJA / DIRECTOR Zdenko Bašić HR 2014 4’53’’ glazbeni spot / music video

HOLLYWOOD VANITY CLUB 23. 4. 2015. 23:00

Zdenko Bašić (1980) diplomirao je 2005. godine na Odsjeku za animirani film i nove medije na Akademiji likovnih umjetnosti u Zagrebu. Nagradu Grigor Vitez za ilustraciju dobio je 2009. i 2014. godine, a posebno priznanje 2011. godine. Zdenko Bašić (1980) graduated in Animated Film and New Media at the Academy of Fine Arts, Zagreb in 2005. In 2009 and 2014, he won the Grigor Vitez Award for illustration, and in 2011, he won a Special Mention.

SCENARIJ, OBLIKOVANJE ZVUKA / SCREENPLAY, SOUND DESIGN Zdenko Bašić MONTAŽA / EDITING Nina Klarić KAMERA / CINEMATOGRAPHY Filip Filković GLAZBA / MUSIC Lidija Bajuk PRODUCENT / PRODUCER Zdenko Bašić PRODUKCIJA / PRODUCTION Bell Under Tree

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Lokalni razvoj vođen zajednicom Community-Led Local Development Promotivni film o novom pristupu lokalnom razvoju Europske unije 2014. – 2020. godine. A promotional film about a new approach to local development in the European Union 2014 – 2020.

REŽIJA / DIRECTOR Natko Stipaničev HR 2014 2’46’’ reklama / commercial

KINO EUROPA 23. 4. 2015. 18:00

Natko Stipaničev (1986) završio je Likovnu akademiju u Splitu i Zagrebu. Vanjski je suradnik na Odsjeku za film i video Likovne akademije u Splitu. Natko Stipaničev (1986) graduated with a BA from the Arts Academy in Split and Zagreb. He is a Part-Time Associate at the Department of Film and Video of the Arts Academy in Split.

SCENARIJ / SCREENPLAY Natko Stipaničev, Lidija Pavić-Rogošić, Višnja Jelić Mück MONTAŽA, GLAZBA / EDITING, MUSIC Natko Stipaničev OBLIKOVANJE ZVUKA / SOUND DESIGN Natko Stipaničev, Willem Miličević ULOGE / CAST Tvrtko Jurić PRODUCENT / PRODUCER Natko Stipaničev PRODUKCIJA / PRODUCTION ODRAZ, Mitoman film

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Mayales: Još te uvijek mogu Mayales: Yes, I Still Can Do That Thing to You Glazbeni spot za posljednji singl zagrebačke grupe Mayales.

REŽIJA / DIRECTOR Andrej Korovljev

A music video for the latest single of the band Mayales.

HR 2014 4’06’’ CB / BW glazbeni spot / music video HOLLYWOOD VANITY CLUB 23. 4. 2015. 23:00

Andrej Korovljev (1970) studira filmsku režiju na Westminsterskom sveučilištu u Londonu. Izbornik je kratkometražnoh igranog filma na Motovun Film Festivalu. Snima igrane i dokumentarne filmove, reklame, glazbene spotove. Dvostruki je dobitnik Porina i Oktavijana te Nagrade Jelena Rajković.

SCENARIJ, GLAZBA / SCREENPLAY, MUSIC Petar Beluhan MONTAŽA / EDITING Andrej Korovljev KAMERA / CINEMATOGRAPHY Pavel Posavec OBLIKOVANJE ZVUKA / SOUND DESIGN Vlado Mirčeta ULOGE / CAST Petar Beluhan, Vlado Mirčeta, Massimo Savić, Tereza Kesovija, Iva Šulentić, Livio Badurina, Ivana Rushaidat, Aljoša Šerić, Mirna Savić, Valerija Nikolovska, Maja Posavec, Kristijan Beluhan, Jan Rešetnik PRODUCENT / PRODUCER Andrej Korovljev 102

Andrej Korovljev (1970) studies Film Directing at the University of Westminster in London. He is the selector of the short fiction film programme for the Motovun Film Festival. He directs fiction and documentary films, commercials, and music videos. Korovljev is a double Porin as well as the Oktavijan and Jelena Rajković awards winner.


Mi želimo modernu TV We Want Modern Television Nezadovoljni višegodišnjim ignoriranjem televizijskih stanica, udruženi savezi gluhih i slijepih osoba odlučili su pokrenuti akciju za prilagođavanje TV programa njihovim potrebama. Fed up with the TV stations that have been ignoring them for years, the associations of the deaf and blind have come together and started a campaign to adapt the TV programmes to their needs.

REŽIJA / DIRECTOR Damir Čučić HR 2014 1’09’’ boja, CB / colour, BW reklama / commercial KINO EUROPA 23. 4. 2015. 18:00

Damir Čučić (1972) počeo je snimati u Filmskoj autorskoj grupi Enthusia Planck. Potpisuje četrdesetak filmova. Reklamne spotove režira isključivo za udruge građana s posebnim potrebama. Ovo je njegov četvrti namjenski film. Damir Čučić (1972) started making films as part of FAGEP. In the last twenty years he has made around 40 films. He directs advertisements exclusively for associations of citizens with special needs. This is his fourth commissioned film.

SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Damir Čučić KAMERA / CINEMATOGRAPHY Boris Poljak GLAZBA / MUSIC Goran Štrbac OBLIKOVANJE ZVUKA / SOUND DESIGN Martin Semenčić ULOGE / CAST Vojin Perić, Biserka Ipša PRODUCENT / PRODUCER Matko Burić PRODUKCIJA / PRODUCTION Filmska autorska grupa Enthusia Planck – FAGEP

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Nina Romić: Možda Nina Romić: Maybe Mračni tehnoutopistički film ispunjen jezivim, satiričnim i mističnim zbivanjima koja se odvijaju u naočigled običnom svijetu. Retro osamdeste! This is a dark techno-utopian film filled with eerie, satirical and mysterious events that take place in a seemingly ordinary world. Retro ‘80s style!

REŽIJA / DIRECTOR Filip Filković HR 2014 4’31’’ glazbeni spot / music video

HOLLYWOOD VANITY CLUB 23. 4. 2015. 23:00

Filip Filković Philatz (1983) režirao je mnogo reklama, serijala i glazbenih spotova. Osvojio je Porin za Gibonnijevu pjemu Vesla na vodi (2011). Priprema svoj prvi kratkometražni film. Član je ULUPUH-a. Filip Filković Philatz (1983) has directed many commercials, series, and music videos. He won the Porin Award for Gibonni’s song Vesla na vodi (2011). He is currently working on his first short film. He is a member of the Croatian Association of Artists of Applied Arts (ULUPUH).

SCENARIJ, MONTAŽA, KAMERA, GLAZBA / SCREENPLAY, EDITING, CINEMATOGRAPHY, MUSIC Filip Filković PRODUCENT / PRODUCER Latica Martinis PRODUKCIJA / PRODUCTION MoreMagnets DISTRIBUCIJA / DISTRIBUTION Filip Filković

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Porijeklo nasilja The Origin of Violence Priča o razvoju osobnog ludila kao posljedice kolektivnog, društvenog, odnosno poretka stvari u svijetu koji surfa na nasilju i od njega potječe. To nasilje nije nužno fizičko, nego u većoj mjeri pasivno-agresivno, a time još opasnije. A story about the rise of individual insanity as a consequence of the collective and social one. It rests on the order of things in the world that feeds on violence and originates from it. This violence is not necessarily physical, but rather passive-aggressive, and thus even more dangerous.

SCENARIJ, MONTAŽA, KAMERA, GLAZBA / SCREENPLAY, EDITING, CINEMATOGRAPHY, MUSIC Ana Jurčić, Marta Batinić ULOGE / CAST Kristijan Vučković, Jasen Kekanović

REŽIJA / DIRECTORS Ana Jurčić, Marta Batinić HR 2014 1’06’’ reklama / commercial KINO EUROPA 24. 4. 2015. 20:00

Marta Batinić (1980) diplomirala je filozofiju i povijest na Filozofskom fakultetu. Režira, montira, snima i vodi edukacijske projekte. Ana Jurčić (1987) snima zvuk za filmove (Marijine) i radi kao glazbena urednica na radiju Sova. Prevodila je i titlala filmove u Art-kinu Croatia. Martina Batinić (1980) graduated in Philosophy and History from the Faculty of Humanities and Social Sciences. Ana Jurčić (1987) works as a sound engineer for numerous films (Maria’s Own) and music editor for the Sova radio. She has worked as a translator and subtitler at Artkino Croatia.

PRODUCENTICE / PRODUCERS Ana Jurčić, Marta Batinić PRODUKCIJA / PRODUCTION Filmaktiv

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Struna: Želim te Struna: I Want You Hedonistički ljubavni fusion u stilu ménage à trois. Spot za debitantsku pjesmu mlade pjevačice Strune, dubstep funk za domaće tržište. Hedonistic love fusion in the style of ménage à trois. A music video for the debut of a young singer Struna; dubstep funk for the domestic market.

REŽIJA / DIRECTORS Sara Hribar, Toma Zidić HR 2015 3’53’’ glazbeni spot / music video

HOLLYWOOD VANITY CLUB 23. 4. 2015. 23:00

Sara Hribar (1986) studirala je filmsku i TV režiju. Autorica je višestruko nagrađivanih filmova. Toma Zidić (1988) gradi karijeru kao redatelj, scenarist i pjesnik u nekoliko država, a trenutačno priprema prvi američki film u New Yorku. Sara Hribar (1986) studied film and TV directing. She is the author of several award-winning films. Toma Zidić (1988) is building a career as a director, screenwriter and poet in several countries. He is currently developing his first American film in New York.

SCENARIJ / SCREENPLAY Sara Hribar MONTAŽA / EDITING Adam Llewellin, Toma Zidić KAMERA / CINEMATOGRAPHY Toma Zidić GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Martina Žižić ULOGE / CAST Karlo Mrkša, Kasija Vrbanac, Adam Llewellin, Struna PRODUCENTICE / PRODUCERS Sara Hribar, Hana Hribar

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Svi mi za Hrvatsku bez mržnje All of Us for Croatia Without Hatred Spot prikazuje međunacionalnu (ne)toleranciju kroz igru djece različitih nacionalnosti tijekom nogometne utakmice na školskom igralištu. Cilj je upozoriti javnost na neprihvatljivu pojavu mržnje i netrpeljivosti prema pripadnicima etničkih, vjerskih i jezičnih manjina. Jer ksenofobni stavovi dio su naše svakodnevnice.

REŽIJA / DIRECTOR Andrej Korovljev

The video draws focus to the international (in)tolerance through a playful football game featuring ethnically diverse children and taking place in a school playground. It aims to raise awareness among the public regarding the occurrences of hostility and bigotry towards the members of ethnic, religious and linguistic minorities. Unfortunately, xenophobia towards minority groups is part of our everyday life.

KINO EUROPA 24. 4. 2015. 20:00

SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Andrej Korovljev KAMERA / CINEMATOGRAPHY Marko Butraković OBLIKOVANJE ZVUKA / SOUND DESIGN Frano Homen ULOGE / CAST Polaznici dječjeg dramskog studija Zagrebačkog kazališta mladih / members of the children’s drama studio at the Zagreb Youth Theatre

HR 2014 1’00’’ reklama / commercial

Andrej Korovljev (1970) studira filmsku režiju na Westminsterskom sveučilištu u Londonu. Izbornik je kratkometražnoh igranog filma na Motovun Film Festivalu. Snima igrane i dokumentarne filmove, reklame, glazbene spotove. Dvostruki je dobitnik Porina i Oktavijana te Nagrade Jelena Rajković. Andrej Korovljev (1970) studies Film Directing at the University of Westminster in London. He is the selector of the short fiction film programme for the Motovun Film Festival. He directs fiction and documentary films, commercials, and music videos. Korovljev is a double Porin as well as the Oktavijan and Jelena Rajković awards winner.

PRODUCENT / PRODUCER Eugen Jakovčić PRODUKCIJA / PRODUCTION Documenta

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The Hendikeps: Zloćko The Hendikeps: Naughty Kako spojiti post-surf-rock psihodeliju i atmosferu filma strave? Jednostavno! Postave se ograničenja u svjetlosnim situacijama, dovede se opasno-zavodljiva protagonistica, izabere se lokacija koja podsjeća na BDSM tamnicu i sve se prepusti istinski zločestoj improvizaciji. Uz dužnu počast filmu Nosferatu F. W. Murnaua.

REŽIJA / DIRECTOR Marko Škobalj

How does one combine post-surf-rock psychedelia with the horror film atmosphere? It’s simple! The ingredients include limited lighting, a dangerously seductive female protagonist and a location reminiscent of a BDSM dungeon; the rest is left to a truly naughty improvisation. Courtesy of Nosferatu by F.W. Murnau.

HOLLYWOOD VANITY CLUB 23. 4. 2015. 23:00

HR 2014 3’13’’ glazbeni spot / music video

Marko Škobalj (1974) piše kreativne tekstove i filmske scenarije. Režirao je nekoliko kratkometražnih filmova (Oslobođenje u 26 slika, Trapula, sured. Ivan Ramljak). Marko Škobalj (1974) writes creative texts and screenplays for film. He has directed several short films (Liberation in 26 Pictures, The Trap, co-dir. Ivan Ramljak).

SCENARIJ / SCREENPLAY Marko Škobalj MONTAŽA / EDITING Sandra Mitić KAMERA / CINEMATOGRAPHY Ivan Slipčević OBLIKOVANJE ZVUKA / SOUND DESIGN Sleepgolfer ULOGA / CAST Lidija Lilly Podla PRODUCENT / PRODUCER Marko Škobalj PRODUKCIJA / PRODUCTION Substrata

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Urban: Priđi mi bliže Urban: Come Closer Pet članova skupine Urban&4 mirno gledaju u kameru. Radnja se odvija unatrag u odnosu na snimljeni materijal, pa je središnji lik na početku neprepoznatljiv, a tijekom pjesme polako skida naslage gline i boje s lica. Five members of the group Urban&4 are calmly gazing into the camera. The video is running backwards. As the song progresses, the initially unrecognizable main character gradually removes layers of clay and paint from his face.

REŽIJA / DIRECTORS Milica Czerny Urban, Damir Urban HR 2015 3’43’ CB / BW glazbeni spot / music video HOLLYWOOD VANITY CLUB 23. 4. 2015. 23:00

Milica Czerny Urban (1980) profesorica je filozofije i pedagogije na Sveučilištu u Rijeci, gdje predaje kolegije vezane uz filozofiju umjetnosti, estetiku i etiku. Damir Urban (1968) snimio je deset albuma i višestruki je dobitnik nagrada Porin i Crni mačak. Dobitnik je i Nagrade grada Rijeke.

SCENARIJ / SCREENPLAY Milica Czerny Urban, Damir Urban MONTAŽA / EDITING Marin Lukanović KAMERA / CINEMATOGRAPHY Milica Czerny Urban GLAZBA / MUSIC Damir Urban OBLIKOVANJE ZVUKA / SOUND DESIGN Urban&4 ULOGE / CAST Damir Urban, Sandi Bratonja, Marko Bradaschia, Luka Toma, Saša Markovski

Milica Czerny Urban (1980) is a professor of Philosophy and Pedagogy at the University of Rijeka where she teaches art philosophy, aesthetics, and ethics. Damir Urban (1968) has recorded ten albums and is a multiple winner of the Porin and Crni mačak awards. He also won the City of Rijeka Award.

PRODUCENTI / PRODUCERS Milica Czerny Urban, Damir Urban

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VIP Youth VIP mladi Nova generacija mladih predstavlja novu Zakon tarifu.

REŽIJA / DIRECTOR Goran Dukić

The new generation of youth presents the new ‘Smashing’ phone tariff.

HR 2014 1’00’’ reklama / commercial

KINO EUROPA 24. 4. 2015. 22:00

Goran Dukić radi kao redatelj u Hrvatskoj i SAD-u. Poznat je po filmovima Pizzeria Kamikaze i Mirta uči statistiku. Goran Dukić works as a director in Croatia and the USA. He is known for his films Wristcutters: A Love Story and Myrtha Learns Statistics.

SCENARIJ / SCREENPLAY Agencija Grey MONTAŽA / EDITING Ana-Marija Sremec KAMERA / CINEMATOGRAPHY Sven Peopeonik GLAZBA / MUSIC Dubravko Robić OBLIKOVANJE ZVUKA / SOUND DESIGN Hrvoje Petek PRODUCENT / PRODUCER Ljubo Zdjelarević PRODUKCIJA / PRODUCTION Kinoteka

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Žir po žir Jury Kako odabrati i pripremiti članove žirija za najveći domaći filmski festival? U zemlji u kojoj se svi znaju, svi računaju na nove usluge i nitko se nikome ne želi zamjerit, je li žiriranje časno zanimanje ili pogubna misija? Film je snimljen za otvaranje Pulskog filmskog festivala, a tematizira potragu i pripremu članova žirija te brojne probleme na koje svaki festival nailazi. How does one go about selecting and preparing the jury members for the biggest national film festival? In a country where everybody knows each other, everyone counts on new favours and is careful not to cross anybody. Is the duty of a jury member an honourable position or a suicide mission? The film was made for the opening of the Pula Film Festival and it revolves around the search and preparation of the jury members, and various, typical festival problems encountered on the way.

REŽIJA / DIRECTOR Ivan Goran Vitez HR 2014 15’00’’

KINO EUROPA 25. 4. 2015. 22:00

Ivan Goran Vitez (1975) studirao je TV i filmsku režiju na Akademiji dramske umjetnosti. Redatelj je i koscenarist TV serije Bitange i princeze. Njegov dugometražni debi Šuma summarum (2010) osvojio je dvije Zlatne arene u Puli. Ivan Goran Vitez (1975) studied TV and Film Directing at the Academy of Dramatic Art. He directed and co-wrote the TV sit-com Bitange i princeze. His feature film debut Forest Creatures (2010) won two Golden Arenas in Pula.

SCENARIJ / SCREENPLAY Ivan Goran Vitez MONTAŽA / EDITING Martin Semenčić KAMERA / CINEMATOGRAPHY GLAZBA / MUSIC Dubravko Robić OBLIKOVANJE ZVUKA / SOUND DESIGN Oleg Colnago ULOGE / CAST Lucija Šerbedžija, Boris T. Matić, Vinko Brešan, Nenad Polimac, Hrvoje Hribar PRODUCENTICA / PRODUCER Suzana Pandek PRODUKCIJA / PRODUCTION Kabinet

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F OK U S IZ V A N K ON K LUR E N CIJ E . .

FOCUS OUT OF COMPETITION

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FOKUS I FOCUS

Jedna od novosti 24. Dana hrvatskog filma program je filmova izvan konkurencije koji smo kratko nazvali Fokus. Taj program nije Salon odbijenih, susret s malim ekranom “jedan na jedan” i to “na zahtjev” u festivalskom videobaru, nego selektorski izbor naslova koji su bili mali korak do službenog programa, ali zbog nekog razloga nisu dospjeli u natjecanje. Najčešće zato što je festivalu naprosto nedostajalo minuta. Filmovima u Fokusu ipak smo odlučili posvetiti pozornost: jer su zanimljivi, jer donose nešto novo ili se na drugačiji način odnose prema nekim temama. Ove godine jedan animirani i pet igranih naslova “u žarištu” nipošto nisu pravilo. Fokus će sljedećih godina biti upravo tu za one koje ruše pravila. Jer to s pravilima valja činiti. (Željko Luketić) One of the new features of the 24th Croatian Film Days is the programme for films out of competition, called Focus. This programme is not the Salon of the Rejected, the ‘one on one’ session with films ‘on demand’ in the Festival video bar. It is a selector’s choice of the titles which came close to entering the official programme, but for some reason haven’t made it. This is mostly because the Festival ‘ran out of’ minutes. We decided to bring some of these films to your attention: because they are interesting, different or take an original approach to certain subjects. This year, the ‘focus’ is on one animated and five fiction films, but this is in no way a rule. In the coming years, the Focus programme will be here precisely for those films that break the rules. Because that’s what the rules are for. (Željko Luketić)

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KINO EUROPA 26. 4. 2015. 18:00


Eho

Ili se probudiš. Ili nikada nisi ni zaspao.

REŽIJA / DIRECTOR Antonia Begušić

You either wake up, or you have never fallen asleep.

HR 2014 5’46’’ animirani / animated

Antonia Begušić (1984) filmom Eho magistrirala je na Odsjeku za animirani film i nove medije na Akademiji likovnih umjetnosti u Zagrebu. Od 2008. godine bavi se animacijom na televizijskim, kazališnim i filmskim produkcijama. Antonia Begušić (1984) completed her MA at the Department for Animated Film and New Media at the Academy of Dramatic Art, Zagreb. Since 2008, she has worked in animation at TV, theatre and film productions.

SCENARIJ, ANIMACIJA, MONTAŽA, KOMPOZITING, OBLIKOVANJE ZVUKA / SCREENPLAY, ANIMATION, EDITOR, COMPOSITING, SOUND DESIGN Antonia Begušić DIREKTOR FOTOGRAFIJE / CINEMATOGRAPHY Srđan Kokanov ULOGE / CAST Joško Morović, Zjena Glamočanin, Mihaela Prišlić, Aleksandra Kostić MENTOR / MENTOR Darko Bakliža PRODUKCIJA / PRODUCTION Akademija likovnih umjetnosti KOPRODUKCIJA / CO-PRODUCTION Zagreb Film, Mizanscena DISTRIBUCIJA / DISTRIBUTION Zagreb Film 115


Polufinale Semifinals Uz Svebora, na juniorskom prvenstvu Hrvatske u mačevanju prvi put nastupit će i njegov mlađi brat Kristian. Jedan od njih neopterećen je rezultatom, ali drugi ima visoka očekivanja.

REŽIJA / DIRECTOR Tomislav Šoban HR 2014 21’50’’ Igrani / fiction

Svebor is competing at the Croatian junior fencing semifinals. For the first time, he will be joined by his younger brother Kristian. One of them is unencumbered by the results, but the other has great expectations. Tomislav Šoban (1981) aktivan je član Kinokluba Zagreb. Za svoj animirano-eksperimentalni film Najmanji primio je Nagradu Vedran Šamanović na Pulskom filmskom festivalu i posebno priznanje za inovativan pristup na Danima hrvatskog filma. Tomislav Šoban (1981) is an active member of Kinoklub Zagreb. For his film The Tiniest, he was awarded the Vedran Šamanović Award at the Pula Film Festival and received a Special Mention for his innovative approach at the Croatian Film Days.

SCENARIJ / SCREENPLAY Tomislav Šoban MONTAŽA / EDITOR Bojan OcvirekMijatović DIREKTOR FOTOGRAFIJE / CINEMATOGRAPHY Matija Pekić GLAZBA / MUSIC Jurica Marković OBLIKOVANJE ZVUKA / SOUND DESIGN Srđan Popović ULOGE / CAST Svebor Kamenski-Bačun, Kristian Bonačić, Jadranka Đokić, Barbara Nola PRODUCENTICA / PRODUCER Tena Gojić PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti 116


Nasamo Alone Mirna je ozbiljna cura. Odlučuje prijeći vlastitu granicu kako bi doživjela uzbuđenje. Nasamo. Mirna is a serious girl. She decides to step outside of her comfort zone to experience thrill. Alone.

REŽIJA / DIRECTOR Lana Kosovac HR 2014 20’42’’ igrani / fiction

Lana Kosovac (1981) završila je politologiju na Fakultetu političkih znanosti. Pohađa diplomski studij režije igranog filma na Akademiji dramske umjetnosti u Zagrebu. Lana Kosovac (1981) graduated in Politics at the Faculty of Political Science. She is studying Film Directing at the Academy of Dramatic Art in Zagreb.

SCENARIJ / SCREENPLAY Lana Kosovac, Beatrica Kurbel MONTAŽA / EDITOR Denis Golenja DIREKTOR FOTOGRAFIJE / CINEMATOGRAPHY Bojan Mrđenović OBLIKOVANJE ZVUKA / SOUND DESIGN Srđan Popović ULOGE / CAST Sanja Milardović, Petar Cvirn, Branka Trlin PRODUCENTICA / PRODUCER Petra Begović PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti 117


Daddy Issues Obiteljski kompleksi Obitelj Pešut ima ozbiljne probleme u komunikaciji. Sva tri člana obitelji, mama, tata i kćer tinejdžerica, razvijaju vlastite frustracije i ne uspijevaju ih međusobno riješiti. Hoće li njihova privrženost biti snažnija od njihovih tenzija? I je li ostajanje u zajednici odustajanje od sebe? The Pešut family has serious communication problems. All three members of the family, mother, father and the teenage daughter, develop their own frustrations which they are unable to resolve successfuly. Will their mutual affection prevail over the tensions? Or does the decision to stay part of the disfunctional community mean giving up on themselves?

REŽIJA / DIRECTOR Judita Gamulin HR 2015 20’38’’ Cinemascope igrani / fiction Premijera / Premiere

Judita Gamulin (1992) pohađa magistarski studij filmske i televizijske režije na Akademiji dramske umjetnosti u Zagrebu. Radi kao montažerka. Ovo je njezin debitantski kratkometražni igrani film. Judita Gamulin (1992) is enrolled in the MA Programme of Film and TV Directing at the Academy of Dramatic Art in Zagreb. She works as an editor. This is her short feature debut.

SCENARIJ / SCREENPLAY Judita Gamulin MONTAŽA / EDITING Tomislav Stojanović KAMERA / CINEMATOGRAPHY Pavle Krnjaić GLAZBA / MUSIC Alen Sinkauz, Nenad Sinkauz OBLIKOVANJE ZVUKA / SOUND DESIGN Luka Gamulin ULOGE / CAST Frano Mašković, Ivana Buljan Legati, Tihana Lazović, Živko Anočić, Slaven Španović PRODUCENTICA / PRODUCER Rea Rajčić PRODUKCIJA / PRODUCTION Grupa sedam

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Minute Minutes Marina u kupaonici radi test za trudnoću. U tom trenutku ulazi Josip. Imaju pet minuta dok test ne pokaže rezultat. Marina is in the bathroom taking a pregnancy test. In that moment, Josip comes in. They have five minutes before the results show.

REŽIJA / DIRECTOR Ivan Stanić HR 2015 6’55’’ igrani / fiction Premijera / Premiere

Ivan Stanić (1980) diplomirao je na Pravnom fakultetu u Osijeku. Godine 2013. upisuje se na studij filmske i TV režije na Akademiji dramske umjetnosti. Ivan Stanić (1980) graduated from the Faculty of Law in Osijek. In 2013, he enrolled into the Film and TV Directing Programme at the Academy of Dramatic Art.

SCENARIJ / SCREENPLAY Ivan Stanić MONTAŽA, OBLIKOVANJE ZVUKA / EDITING, SOUND DESIGN Nina Ugrinović KAMERA / CINEMATOGRAPHY Mihael Kovač ULOGE / CAST Jelena Mesar, Frano Mašković PRODUCENTICA / PRODUCER Nina Vrdoljak PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti DISTRIBUCIJA / DISTRIBUTION Ivan Stanić

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Poklon predsjednika Nixona President Nixon’s Present Početak 1970-ih. Stipe i Peđa, obavještajci Jugoslavenske narodne armije, dobivaju poseban zadatak: trebaju se pobrinuti da poklon predsjednika SAD-a Richarda Nixona stigne u ljetnu rezidenciju jugoslavenskog predsjednika Tita na Brijunima. Čini se kao zadatak koji je nemoguće zeznuti. It is the early 1970s. Stipe and Peđa, intelligence officers of the Yugoslav People’s Army, get a special assignment: they have to transfer the present of the USA President Richard Nixon to the summer residence of the Yugoslav President Tito on Brijuni. It seems like an easy task.

REŽIJA / DIRECTOR Igor Šeregi HR, UK 2014 26’00’’ boja, CB / colour, BW igrani / fiction

Igor Šeregi (1983) završava MA studij režije igranog filma na Akademiji dramske umjetnosti u Zagrebu. Autor je Priče o Mari iz Velog Varoša i suautor međunarodne dugometražne koprodukcije Košnice. Priprema dugometražni prvijenac ZG80. Igor Šeregi (1983) is completing his MA in Film Directing at the Academy of Dramatic Art in Zagreb. He directed the short film Story about Mare and a segment of the international omnibus Hives. He is currently making a feature debut ZG80.

SCENARIJ / SCREENPLAY Igor Šeregi MONTAŽA / EDITING Tomislav Stojanović KAMERA / CINEMATOGRAPHY Mario Sablić GLAZBA / MUSIC Vinko Borčić OBLIKOVANJE ZVUKA / SOUND DESIGN Tihomir Vrbanec ULOGE / CAST Rene Bitorajac, Radovan Vujović, Max Whatley PRODUCENT / PRODUCER Ivan Kelava PRODUKCIJA / PRODUCTION Grupa sedam KOPRODUKCIJA / CO-PRODUCTION F&ME 120


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P OP RA T NI FIL M S K I P RO G R AM I SIDE PROGRAMMES

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BEOGRADSKI FESTIVAL DOKUMENTARNOG I KRATKOMETRAŽNOG FILMA PREDSTAVLJA BELGRADE DOCUMENTARY AND SHORT FILM FESTIVAL PRESENTS

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Novi koncept The New Concept

Šezdeset i drugo izdanje Beogradskog festivala dokumentarnog i kratkometražnog filma (BFDKF), najdugovječnije srpske i regionalne filmske manifestacije, održano je od 23. do 29. ožujka 2015. godine u znatno drugačijem obliku nego ranijih godina. Novi koncept čvrsto se oslonio na slavne dane festivala i podrazumijevao je povratak svih formi dokumentarnog filma u program, prije svega dugometražnog i srednjometražnog dokumentarca, uz stalne kategorije kratkometražnog dokumentarnog, igranog, eksperimentalnog, animiranog i studentskog filma. U novom konceptu BFDKF ima tri natjecateljske selekcije: Dvorište (domaća selekcija), Vidici (regionalna selekcija) i Reflektor (međunarodna selekcija najboljih debitantskih dugometražnih dokumentarnih filmova). Iza novog-starog koncepta popularnog “martovskog festivala” stoje umjetnički direktor Mladen Matičević i odbor festivala u sastavu Andreja Mladenović, Igor Toholj, Bogdan Petković, Petar Jakonić i Stevica Živkov. Mladen Matičević zaključio je nakon festivala: “Naša iskrena namjera bila je da legendarni festival ponovno vratimo na poziciju koja mu je nekada s razlogom pripadala, na mjesto značajnog regionalnog festivala dokumentarnog i kratkometražnog filma. Mislim da smo u tome uspjeli.”

KINO TUŠKANAC 24. 4. 2015. 17:00

The 62nd Belgrade Documentary and Short Film Festival (BFDKF), the oldest Serbian and regional film manifestation, was held from 23rd to 29th March 2015 in a considerably different form than in the recent years. The new concept relies firmly on the glory days of the festival, and welcomes back into the programme all of the documentary film forms – mainly full- and mid-length documentaries – along with the permanent categories of short-length documentary, fiction, experimental, animated and student film. The new concept of the BFDKF encompasses three competitive selections: Yard (local selection), Vidici (regional selection), and Reflector (international selection of the best debut full-length documentaries). Those responsible for the new-old concept of the popular ‘March Festival’ are the Artistic Director Mladen Matičević, and members of the Festival Board – Andreja Mladenović, Igor Toholj, Bogdan Petković, Petar Jakonić and Stevica Živkov. After the Festival, Mladen Matičević concluded: ‘Our honest intention was to return the legendary festival to the position it had once rightly occupied – the position of a prominent regional documentary and short film festival where Serbian and regional film authors can come together and feel at home. I think we succeeded’. 125


REŽIJA / DIRECTOR Predrag Bambić RS 2014 8’40” dokumentarni / documentary

Majstor Craftsman Biti majstor znači ne bojati se izazova. Biti majstor znači poštivati objekt na kojemu se radi, alat i naručitelja, a kroz cijeli taj proces poštivati i sebe. To be a handyman means fearing no challenges. To be a handyman means to respect the object you work on, the tools and the client, and to respects yourself throughout the entire process.

SCENARIJ, KAMERA / SCREENPLAY, CINEMATOGRAPHY Predrag Bambić MONTAŽA / EDITING Milan Jakonić GLAZBA / MUSIC Dušan Godijevac OBLIKOVANJE ZVUKA / SOUND DESIGN Velibor Hajduković ULOGA / CAST Siniša Rankov PRODUKCIJA / PRODUCTION Montage

REŽIJA / DIRECTOR Vladimir Perović RS 2014 19’30’’ dokumentarni / documentary

Lepi vazduhovi Belairs Živjeti skromno, na rubu civilizacije, ne znači biti manje vrijedan. Možda baš Tibor i Juliška negdje u udaljenim pustarama Deliblatske pješčare žive život uzvišeniji od našeg histeričnog, urbanog. To live modestly does not mean being less worthy. Perhaps Tibor and Juliška, somewhere in the remote Deliblato sands, are living a life nobler than our hysterical urban existence. 126

SCENARIJ / SCREENPLAY Vladimir Perović MONTAŽA / EDITING Pavle Nikić KAMERA / CINEMATOGRAPHY Želimir Tot OBLIKOVANJE ZVUKA / SOUND DESIGN Ciprijan Porumbesku ULOGE / CAST Juliška Slacki, Tibor Slacki PRODUCENTICA / PRODUCER Ksenija Silađi


REŽIJA / DIRECTOR Violeta Goldman RS 2015 11’47’’ dokumentarni / documentary

Gadan sapun Nasty Soap Gadan sapun pravi se od svinjskih iznutrica, masti i kože. Tri babe u vlaškom selu u istočnoj Srbiji izvode neobičan ritual kuhanja takvog sapuna. The nasty soap is made from pig’s entrails, lard and skin. Three grannies in a Vlach village in Eastern Serbia perform the unusual ritual of making such a soap.

SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Dejan Urošević KAMERA / CINEMATOGRAPHY Miladin Čolaković GLAZBA / MUSIC Dušanka Lapadatović, Dragica Novaković, Svetomirka Jovanović, Šani Goldman OBLIKOVANJE ZVUKA / SOUND DESIGN Bojan Lung PRODUCENTICA / PRODUCER Violeta Goldman

REŽIJA / DIRECTOR Dušan Babić RS 2014 6’38” igrani / fiction

Crtani Drawn Slikar u svom ateljeu grozničavo pokušava na papiru pronaći lik djevojke kojom je opsjednut. Napokon u jednom portretu ugleda njezino živo lice.

SCENARIJ, MONTAŽA, PRODUCENT / SCREENPLAY, EDITING, PRODUCER Dušan Babić GLAVNI ANIMATOR / LEAD ANIMATOR Ivana Nestorović OBLIKOVANJE ZVUKA / SOUND DESIGN Pavle Popov ULOGE / CAST Boris Jager, Matea Milosavljević

A painter is in his studio, which is covered with portraits of faces. He is frantically searching for a drawing of a girl he is obssessed with. Finally, he finds the portrait of her lively face. 127


REŽIJA / DIRECTOR Dejan Petrović RS 2014 43’00’’ dokumentarni / documentary

Restart Nakon desetogodišnje samoizolacije slikar Darko Babić prihvatio je poziv galerije. Time počinje proces pripremanja izložbe, ali i neizvjesni period borbe s pasivnošću, navikama i ograničenjima. After a ten-year self-isolation, the painter Darko Babić accepts the invitation from a gallery. He starts a process of setting up the exhibition, a period of struggle with passivity, habits and constraints.

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SCENARIJ / SCREENPLAY Dejan Petrović MONTAŽA, KAMERA / EDITING, CINEMATOGRAPHY Sreten Vuković GLAZBA / MUSIC Vojin Ristivojević OBLIKOVANJE ZVUKA / SOUND DESIGN Nikola Cvijanović PRODUKCIJA / PRODUCTION Nezavisni filmski centar Filmart


DUŽINA (NI)JE VAŽNA: SEKS I EROTIKA U KRATKOME METRU LENGTH DOES (NOT) MATTER: SEX AND EROTICA IN SHORT METER

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Tijelo kao film

Produkcijski kodeks Willa Haysa ostavio je priličan trag u povijesti američkog filma. Englezi su se svojega tek nedavno riješili, a na ovim prostorima nikad zapravo i nije zaživio. Sve se nekako prepuštalo odlukama organa samoupravnog socijalizma koji su, posve logično, u zapadnijim republikama bivše Jugoslavije bili popustljiviji prema najizdržljivijem od svih tabua, onog prikaza ljudske seksualnosti. Cenzori su najprije bili autori sami, dok se politika uključivala samo kad bi se u nju usudilo dirati. Opuštenost 1980-ih godina donijela je i pojavu pornografskih filmova u kinima koja je, u slučajevima zagrebačkog kina Kosmaj (danas Grič), značila jutarnje matineje, pune dvorane školaraca koji su markirali predavanja ili pak vojnike na gradskome dopustu s nehajno skrivenom rukom u džepu. Povjesničar Ivo Škrabalo lansirao je duhovite lokalne prijevode stranih pornića, populariziravši ih usput, dok kinematografija, ona glavna i ona srednje struje, nije išla dalje od razgolićenih mladih glumica koje bi bulevarski tisak fotografski “bilježio” u njihovim “najhrabrijim” glumačkim ostvarenjima. Zato pak filmski amaterizam, underground i umjetnička avangarda, ponajprije ona eksperimentalna, nije mirovala. Ona je pod zaštitom i plaštom svoje komercijalne “nevidljivosti” mogla slobodno preispitivati naga i putena tjelesa, njihove (su)odnošaje, općenja i znojne kolizije. Povijest je, čini se, bila sasvim nenostalgičarski progresivnija. Klasici poput Ante Babaje mogli su u studijama tijela s plaže vidjeti nešto iskonski erotično, Tomislav Gotovac doslovno je pokazao što to znači obitelj bez neokonzervativnih vrijednosti snimivši pravi pravcati pornić sa svojom družicom. U Splitu su, na granici je to nevjerice, snimljeni prvi hrvatski queer filmovi Dasena Štambuka. Miroslav Mikuljan zabilježio je hladan i geometrijski erotizam graditelja tijela, a Neven Korda, slovenski autor pulske adrese rođenja, u repetitivnosti seksualnog čina vidio je tvorničku simfoniju rada na traci. Svi ti prikazi, neki eksplicitniji neki pak sugestivnije prikriveni, povlače crtu od samoga tijela kao stroja za seksualnost, sve do novijih radova koji taj kontekst vide kao čistu pankersku destrukciju (Sven Gorjanc-Fabić) ili sofisticiran neopaganski obred (Željko Serdarević i Dragan Mileusnić). Ulaz na ovu projekciju zabranjen je za mlađe od 18 godina. (Željko Luketić)

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KINO TUŠKANAC 25. 4. 2015. 23:00


Body as Film

Will Hays Production Code left a significant mark in the history of American film. The English have only recently done away with theirs, while in this region it has never actually taken root. Everything was somehow left to the decisions of the bodies of the self-managing socialism, which, quite logically, were much more lenient in the western republics of former Yugoslavia when it came to the most persistent of taboos – the display of human sexuality. At first, censors were the authors themselves, while politics jumped in only when it was meddled with. The looseness of the 1980s brought about the arrival of pornographic films to cinemas, which meant – as was the case with the Kosmaj cinema (now Grič) – morning matinees, cinemas full of schoolchildren cutting classes, or soldiers on leave with their hands casually tucked away in their pockets. The historian Ivo Škrabalo popularised humorous local translations of foreign porno films, while the mainstream film industry didn’t go much further than tabloid photographs of young naked actresses in their ‘bravest’ roles. However, amateur film, the underground and artistic avant-garde – especially that of experimental orientation – didn’t remain still. It used the protective cloak of its commercial ‘invisibility’ to examine nude, sensual bodies, their relations, intercourses and sweaty collisions. The history, it seems, was completely unsentimental in its progressiveness. Classic authors like Ante Babaja had the ability to see primal eroticism in the studies of bodies on the beach; Tomislav Gotovac literally showed the meaning of the family without neoconservative values by making a real porno film with his partner. In Split – it is hardly believable – the first Croatian queer films by Dasen Štambuk were made. Miroslav Mikuljan recorded a cold geometric eroticism of bodybuilders, while Neven Korda, a Slovenian author born in Pula, saw a relation between repetitiveness of the sexual act and working on an assembly line. All of these representations, some explicit and others suggestive, draw the line from the body as a sex machine to more recent works which treat that context as pure punk destruction (Sven Gorjanc-Fabić) or as a sophisticated neopagan ritual (Željko Serdarević and Dragan Mileusnić). Access to the screening is not allowed to persons under the age of 18. (Željko Luketić)

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REŽIJA / DIRECTOR Ante Babaja YU 1965 11‘30’’ CB / BW cenzura / censorship 11. 12. 1965. dokumentarni / documentary

Tijelo Body Prizorima tijela i tjelesnog izražavaju se starost i mladost te ljepota i ružnoća ljudskog tijela i njegova prolaznost. Images of the body and the corporeal give expression to old age, beauty and ugliness of the human body while also portraying its transience.

SCENARIJ / SCREENPLAY Tomislav Ladan, Ante Babaja MONTAŽA / EDITING Lida Braniš KAMERA / CINEMATOGRAPHY Tomislav Pinter OBLIKOVANJE ZVUKA / SOUND DESIGN Mladen Prebil PRODUKCIJA / PRODUCTION Zagreb film, SDF DISTRIBUCIJA / DISTRIBUTION Hrvatski državni arhiv – Hrvatska kinoteka

REŽIJA / DIRECTOR Miroslav Mikuljan YU 1964 4’00’’ CB / BW dokumentarni / documentary

Ekvilibrij Equilibrium Film o bodibilderima. Između kadrova tijela dijelovi neobične slike koja možda sugerira žile. A film about bodybuilders. In-between body shots, there are parts of an unusual image that may suggest veins.

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SCENARIJ / SCREENPLAY Miroslav Mikuljan, Marijan Hodak KAMERA / CINEMATOGRAPHY Vladimir Hoholač PRODUKCIJA / PRODUCTION Kinoklub Zagreb DISTRIBUCIJA / DISTRIBUTION Hrvatski filmski savez


REŽIJA / DIRECTOR Miroslav Mikuljan YU 1971 7’00’’ CB / BW igrani, eksperimentalni / fiction, experimental

In continuo Niz portreta ženskih lica pretvara se igrom erotskih fantazija u ples tijela koja ispunjavaju prostor mašte.

SCENARIJ / SCREENPLAY Miroslav Mikuljan KAMERA / CINEMATOGRAPHY Srđan Segarić PRODUKCIJA / PRODUCTION Kinoklub Zagreb DISTRIBUCIJA / DISTRIBUTION Hrvatski filmski savez

Playful erotic fantasies turn a series of female portraits into a dance of bodies that fill the space of imagination.

REŽIJA / DIRECTOR Mišo Budisavljević YU 1969 8‘00’’ CB / BW eksperimentalni / experimental

Neobavezni pogled na svijet br. 4 An Unbound View of the World No. 4 Na izložbi fotografija oživljava portret djevojke te se u krupnom planu usta i jezik počinju kretati u neobičnom ritmu. A portrait of a young woman comes alive at a photo exhibition. Shown in close-up, her mouth and tongue start to move in a strange rhythm.

SCENARIJ / SCREENPLAY Mišo Budisavljević MONTAŽA / EDITING Maja Filjak KAMERA / CINEMATOGRAPHY Miki Ostrovidov FOTOSI / PHOTOS Pero Dabac PRODUKCIJA / PRODUCTION Pan 69 DISTRIBUCIJA / DISTRIBUTION Hrvatski državni arhiv – Hrvatska kinoteka

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REŽIJA / DIRECTOR Dasen Štambuk YU 1988 6‘00’’ eksperimentalni / experimental

Love Experience Ljubavno iskustvo Diptih o razdjevičenju i muškom maženju. Prvi hrvatski queer film. A diptych about losing virginity and male petting. The first Croatian queer film.

SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Dasen Štambuk KAMERA / CINEMATOGRAPHY Boris Poljak, Zdravko Mustać PRODUKCIJA / PRODUCTION Kino klub Split

REŽIJA / DIRECTOR Dasen Štambuk YU 3’53’’ 1989 eksperimentalni / experimental

Adam Kao od majke rođen, čovjek šeće ledinom tek stvorenog svijeta. Completely nude, a man walks through the wasteland of a newly created world.

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SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Dasen Štambuk KAMERA / CINEMATOGRAPHY Boris Poljak PRODUKCIJA / PRODUCTION Kino klub Split FOTOGRAFIJA / PHOTOGRAPHY Dasen Štambuk, Petar Fradelić i Zdravko Mustać, Kino klub Split, 1987.


REŽIJA / DIRECTOR Tomislav Gotovac YU 6’00’’ 1971 CB / BW dokumentarni / documentary

Obiteljski film I Family Movie I

DISTRIBUCIJA / DISTRIBUTION Hrvatski filmski savez PRAVA / RIGHTS Institut Tomislav Gotovac

Kućni pornofilm broj 1: ljubav Željke i Toma. A homemade porno movie no. 1: Željka and Tom’s Love.

REŽIJA / DIRECTOR Tomislav Gotovac YU 1973 10’00’’ CB / BW dokumentarni / documentary

Obiteljski film II Family Movie II Kućni pornofilm 2: kraj ljubavi Toma i Željke. Gotovac i djevojka su se skinuli, legli u krevet, ljubili i mazili. Kamera je obilazila oko njih, zumirala i švenkala.

KAMERA / CINEMATOGRAPHY Slobodan Šijan DISTRIBUCIJA / DISTRIBUTION Hrvatski filmski savez PRAVA / RIGHTS Institut Tomislav Gotovac

A homemade porno movie no. 2: the end of Tom and Željka’s love. Gotovac and his girlfriend took off their clothes, lay in bed. The camera circled around them, zoomed in and panned. 135


REŽIJA / DIRECTOR Neven Korda YU 1983 5’28’’ eksperimentalni / experimental

Obnova Renewal Obnova (Borghesia) se na ironičan način suočava s radom: radom na reprodukciji vrste i radom kao materijalnom osnovom koncepta obnove industrije Jugoslavije.

SUAUTORICA / CO-AUTHOR Zemira Alajbegović GLAZBA / MUSIC Borghesia PRODUKCIJA / PRODUCTION FV Video, ŠKD – Forum

Renewal (Borghesia) takes an ironic approach to the notion of work: as procreation and work as a physical basis for the reconstruction of Yugoslav post-war industry.

REŽIJA / DIRECTOR Sven Gorjanc-Fabić HR 2006 10’00’’ boja, CB / colour, BW eksperimentalni / experimental

Kaos Chaos Eksperimentalni kolaž umjetničkih preokupacija Svena Skamine, lidera zagrebačke punk skupine Dekubitus i autora DVD-fanzina Poskok. An experimental collage of Sven Skamina’s artistic preoccupations. He is the leader of the Zagreb punk group Dekubitus and the author of the DVD fanzine Poskok. 136

SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Sven Gorjanc-Fabić GLAZBA / MUSIC Dekubitus PRODUKCIJA / PRODUCTION Demencija


REŽIJA / DIRECTORS Dragan Mileusnić, Željko Serdarević HR 2015 9‘00’’ CB / BW eksperimentalni / experimental Premijera / Premiere

X Tape Procesija ženskih i muških tijela uspinje se i spušta po stepeništu u crnom ambijentu. Likovi postupno ulaze u interakciju, razmjenjujući dodire i ispunjajući ekran. A procession of female and male bodies ascends and descends a staircase surrounded in blackness. The characters gradually start interacting, exchanging touches and filling up the screen to the point of saturation, where the borders between individual figures disappear.

SCENARIJ, MONTAŽA, KAMERA / SCREENPLAY, EDITING, CINEMATOGRAPHY Dragan Mileusnić, Željko Serdarević GLAZBA / MUSIC Mladen Đikić PRODUCENT / PRODUCER Vedran Šuvar PRODUKCIJA / PRODUCTION Kinoklub Zagreb

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EDUKATIVNE EFEMERIJE: RETROSPEKTIVA NIKŠE FULGOSIJA EDUCATIONAL EPHEMERALS: NIKŠA FULGOSI RETROSPECTIVE

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Filmski neznanac Nikša Fulgosi

Nekrolog u državnom televizijskom Dnevniku trajao je jedva trideset sekundi. Pročitala ga je 30. rujna 1996. mlada voditeljica Ružica Renić, i uz onu obaveznu “ugledni filmski i televizijski djelatnik” krivo pročitala godinu nastanka njegova nikad završenog rada Mala Jole. Ružica se brže-bolje ispravila i potom spomenula točnu 1955. godinu. Drugi dan ni Večernji list nije objavio ništa više od par obaveznih riječi. No opis ili opus tog filmskog “neznanca” prepun je zanimljivih trenutaka koji bi intrigom i misterioznim obratima zavrijedili jedan sasvim novi scenarij. Cijela razdoblja života Nikše Fulgosija obavijena su nerazjašnjenim događajima i momentima namjernog autorova izostanka iz službenih kronika. Ono što nedvojbeno znamo jest da je među profesionalnim filmašima bio iznimno cijenjen. Toliko da je nesretna Jole ostala nezavršeni mit domaćeg postratnog filma u kojemu je upravo žena, tada mlada i prpošna Ksenija Urličić, vodila priču u dominantnom muškom okruženju. Emancipatorski naglasak Fulgosi je zadržao kroz cijelu svoju karijeru, posebno za vrijeme prve jugoslavenske TV serije o seksualnom odgoju (Ljubavni jadi Pepeka Gumbasa i Marijete Buble), a još prije kao autor brojnih edukativnih filmova koji su svojom odrednicom “dokumentarni” tek načinjali vrh tada arhetipskih, a danas sve modernijih “hibrida”. Pod produkcijskim okriljem Zora filma i Zagreb filma, Nikša je, baveći se pravilima vožnje, osobne higijene, seksualnosti i pravima žena, miješao dokumentarno i igrano te upošljavao “glumce” poput Antuna Vrdoljaka, Sande Langerholz ili Ive Škrabala. Rijetko prikazivani, ti radovi s ruba filmskih rodova i žanrova često se smatraju nebitnom “efemerijom”, kratkim predasima između velikih i ozbiljnih poslova kojima se gradio status, ali i zarađivalo više. No istraživačima filma efemerija je prava preporuka za dublji ulazak u materiju. Jer o klasicima sve znate, a Fulgosija ćete tek otkriti. (Željko Luketić)

KINO TUŠKANAC 24. 4. 2015. 19:00

Nikša Fulgosi, 1955, Jadran film, snimio Tomislav Pinter

Nikša Fulgosi, filmski i TV redatelj i scenarist, rođen je 25. ožujka 1919. u Splitu, a preminuo je u Zagrebu 30. rujna 1996. godine. Studirao je pravo, radio kao novinar, publicist i scenarist stripova. Od 1951. radi kao autor namjenskih i dokumentarnih, najčešće obrazovnih filmova. Prema vlastitu scenariju režirao je tridesetak dokumentarnih, edukativnih naslova, među kojima se ističe serija filmova o zaštiti u prometu. Jedini dugometražni igrani film koji je režirao, Mala Jole (1955), ostao je nedovršen zbog intervencije tadašnjeg vodstva Jadran filma. Od 1970. godine prelazi na televiziju (TVZ) gdje potpisuje niz polemičko-dokumentarnih feljtona i kasnije “bunkeriranu” seriju o seksualnom odgoju Ljubavni jadi Pepeka Gumbasa i Marijete Buble (1975 – 1978). 139


CJELOVITA FILMOGRAFIJA COMPLETE FILMOGRAPHY (HR ONLY)

1945. U siječnju objavljeni rezultati natječaja Hrvatskog slikopisa za scenarij; pobjednici su Nikša Fulgosi i Branko Belan. 1953. Petrica Kerempuh, scenarij; obustavljen zbog skupoće u pretprodukciji – obustavila ga tadašnja ministrica financija Anka Berus. (r. Krešo Golik, sgf. Vladimir Tadej) 1955. Mala Jole, režija, scenarij, Jadran film, dug. igrani (ul. Ksenija Domljan, Dejan Dubajić, Antun Nalis, Božo Jajčanin, Josip Batistić, Dujam Biluš, k. Tomislav Pinter) NEDOVRŠEN. 1955. Tri mala čovjeka**, scenarij, Jadran film; Jadran film naručio, platio i odbio. 1955. Werojeni gromovi, režija, scenarij, Ozeha, nastavni, c/b, 35 mm, kmt.; primjena elektromotora u životu i industriji. (k. Viktor Farago, mt. Boris Tešija) 1956. Dogodilo se u ponedjeljak, koscenarist (s Olgom Maček), Zora film, nastavni, ktm, 16 mm, c/b; nesreće na radu i korištenje higijenskotehničke zaštite. (r. Fedor Škubonja i Ratomir Ivković, k. Nedjeljko Čaće, mt. Josip Remenar) 1957. Kako nastaju novine, scenarij, režija, montaža, Zora film, nastavni, ktm, c/b, 35 mm; od prikupljanja vijesti do tiskanja novina. (k. Nedjeljko Čaće) 1957. Prašina na radnom mjestu, režija, montaža, Zora film, dok/ani, ktm, c/b, 16 mm; štetne posljedice prašine na radnom mjestu. (sc. Andre Lušičić, k. Nedjeljko Čaće) 1958. Njegov put u život, režija, montaža, koscenarist (sa Slavkom Obradovićem, Nedjeljkom Čaćem), Zora film, dok, ktm, c/b, 16 mm; priča liječnika o mladiću koji nije uspio kao kovač jer se podsvjesno bojao konja, a nakon promjene zanimanja počeo je uspješno raditi. (ul. Antun Vrdoljak, k. Nedjeljko Čaće, sgf. Želimir Zagotta) 1958. Porodica i domaćinstvo, montaža, Zora film, dok, ktm, c/b, 35 mm; izložba o suvremenom domaćinstvu – Zagrebački Velesajam 1958. (r. Obrad Gluščević, sc. Nikica Bunčić, k. Tomislav Pinter) 140

1959. Opasnosti pri radu, scenarij, Zora film, dok, ktm, c/b, 16 mm; ozljede i nesreće na radu zbog neopreznosti. (r. Srećko Weygand, k. Nedjeljko Čaće, mt. Josip Remenar) 1959. Čovjek mijenja izgled zemlje, režija, montaža, koscenarist (s Mladenom Friganovićem), Zora film, dok, ktm, c/b, 16 mm. 1959. Gradnja čeličnog broda, režija, montaža, Zora film, dok/ani, ktm, c/b, 16 mm. 1959. Između dvije prozivke: Mladi zadrugari, montaža, Zora film, dok, ktm, c/b, 35 mm. 1959. Rat koji još traje, scenarij, Zora film, dok/ani, ktm, color, 35 mm. 1959. Tipovi naselja u FNRJ, režija, montaža, Zora film, dok, ktm, c/b, 16 mm. 1960. Žena i izbor zanimanja, režija, scenarij, Zora film, igr/dok, ktm, c/b, 35 mm; položaj žene u društvu prikazan kontrastom između zaostalosti i suvremenosti; film je naručio zavod za zapošljavanje NR Srbije. (k. Milan Babić, mt. Lida Braniš, ul. Sanda Langerholz, Etta Bartolaci, Bora Todorović, Pischl) 1961. Sudar na paralelama*, asistent redatelja, Jadran Film, igr/dug, 80 min, c/b. (r. Jože Babić, ul. Jelena Žigon, Mića Orlović, Boris Kralj, Josip Marotti, mt. Lida Braniš) 1961. Dva slova – ceo svet***, režija, Zagreb film, dok/namj, 320 m, 11’36’’, 35 mm, kol. 1961. Kako nastaje lijek, režija, scenarij, Zora film, dok/ani, ktm, color, 35 mm; povijesni pregled razvoja farmacije u Jugoslaviji i proces proizvodnje u Plivi. (k. Hrvoje Sarić, mt. Lida Braniš, gl. Živan Cvitković) 1962. Igra sa životom, režija, scenarij, Zora film, dok, ktm, c/b, 35 mm; dokumenti iz policijskog arhiva o nesrećama do kojih je došlo zbog prebrze vožnje. (k. Hrvoje Sarić, mt. Lida Braniš) 1962. On je za pravo jačega, režija, scenarij, Zora film, dok, ktm, c/b, 35 mm; ponašanje u prometu i bezobzirni vozači. (k. Hrvoje Sarić, mt. Lida Braniš) 1962. Pješaci čuvajte svoje živote, režija, scenarij, Zora film, dok, ktm, c/b, 35 mm; ponašanje pješaka u prometu i potreba obostranog opreza. (k. Hrvoje


Sarić, mt. Lida Braniš) 1962. Privatni rat građanina Iks, režija, scenarij, Zora film, dok, ktm, c/b, 35 mm; utjecaj širenja prometa na međuljudske odnose i stvaranje štetnih navika. (k. Hrvoje Sarić i Hinko Šarinić, mt. Lida Braniš) 1962. Smrt pravog prijatelja, režija, scenarij, Zora film, dok, ktm, c/b, 35 mm; pričom o medvjediću film upozorava djecu na poštivanje prometnih pravila (k. Hrvoje Sarić, mt. Lida Braniš) 1962. Volan nije za svakoga, režija, scenarij, Zora film, dok, ktm, c/b, 35 mm; različito ponašanje vozača u prometu i uzroci prometnih nesreća. (k. Hrvoje Sarić, mt. Lida Braniš) 1963. Čuvaj se čašice, režija, scenarij, Zora film, dok, ktm, c/b, 35 mm; utjecaj alkohola na vozača. (k. Hinko Šarinić, mt. Lida Braniš, ul. Vlado Kovačić) 1963. Drugarstvo na putu, režija, scenarij, Zora film, dok, ktm, c/b, 35 mm; ponašanje u prometu. (k. Hinko Šarinić, mt. Lida Braniš) 1963. Opasne igre, režija, scenarij, Zora film, dok, ktm, c/b, 35 mm; brza vožnja kao uzrok nesreća. (k. Hinko Šarinić, mt. Lida Braniš, ul. Branko Mravac, Raoul Gedalja) 1963. Put nije samo vaš, režija, scenarij, Zora film, igr/dok, ktm, c/b, 35 mm; promet na autoputu i opasnost zaprežnih kola na prometnici. (k. Hinko Šarinić, mt. Lida Braniš, ul. Ivo Škrabalo) 1963. Ravnodušnost na ulicama, režija, scenarij, Zora film, igr/dok, ktm, c/b, 35 mm; suradnja prometne policije i djece (k. Hinko Šarinić, mt. Lida Braniš, ul. Bojan Marotti, B. Smiljanić, M. Briški) 1966. A Story From Yugoslavia (alt. naslov A Boy From Mediterranean), redatelj, scenarist, naručitelj nepoznat; snimano u svibnju i lipnju u Sutivanu na Braču. 1966. Priča o Frani, ktm, igr., s Oktavijanom Miletićem. 1969. Most, asistent redatelja, Bosna Film, Kinema Sarajevo, dug., col., 35 mm. (r. Hajrudin Krvavac) 1970. Šund naš svagdašnji, režija, scenarij, TVZ, dok.

1970. Batine nekad i sad, režija, scenarij, TVZ, dok. 1971. 100 ljepotica na dan, režija, scenarij, TVZ, dok. 1971. 100 kletvi na sekundu, režija, scenarij, TVZ, dok. 1971. 100 zaduženja Betike Gumbas, režija, scenarij, TVZ, dok. 1971. Ljubavni jadi Pepeka Gumbasa i Marijete Buble, režija, scenarij, TVZ, serijal, 14 epizoda, do 1978.; skinut s programa; godine produkcije nepotvrđene. 1971. The Deserter/Prijelaz preko đavoljeg klanca*, koredatelj uz Burta Kennedyja (Fulgosi pokrenuo sudski postupak protiv Jadrana filma zbog korištenja svog imena. Zakon je tada bio takav da se za koprodukciju morao potpisati i domaći redatelj koji se nije miješao u posao.) (talijanska koprodukcija) p. Dino De Laurentis; ul. Bekim Fehmiu, Richard Crenna. Izvori: Obrazovni film (Vjekoslav Majcen, 2001), ***katalog Zagreb filma, katalog Jadran Filma, Hrvatska enciklopedija, *IMDB, **Javno tužiteljstvo SRH

141


Nikša Fulgosi: The Film Unknown

The obituary on the state television News lasted barely for thirty seconds. It was read on 30th September 1996 by a young hostess Ružica Renić. After the obligatory ‘esteemed film and television professional’, Ružica read the wrong year for his never finished film Mala Jole. She promptly corrected herself, and said the right year – 1955. The next day, even the daily newspaper Večernji list published only a few compulsory words. However, the body of work of this ‘unknown’ is brimming with interesting moments whose intrigues and mysterious twists deserve their own screenplay. The whole of Fulgosi’s life is veiled in inexplicable events and the author’s deliberate absence from the official chronicles. The only thing we know for certain is that he was highly respected among the professional filmmakers. So much so, that the unlucky Jole became an unfinished myth of the Croatian post-war film, where it was the woman – who held the leading role in the dominantly male surroundings. Fulgosi kept the emancipating leanings throughout his entire career, especially in the first Yugoslav TV series about sexual education (Ljubavni jadi Pepeka Gumbasa i Marijete Buble), and even before, as the author of various educational films whose ‘documentary’ classification only began to scratch at the surface of the – then archetypal, and today modern – ‘hybrids’. Under the production wing of the Zora film and Zagreb film, Nikša dealt with issues like driving regulations, personal hygiene, sexuality and women’s rights, all along combining documentary and fictional forms. Rarely screened, these works from the margins of film genres were often considered irrelevant and ephemeral – short breaks between more serious jobs that built one’s status and brought more money. But for film enthusiasts and researchers, ephemeral is exactly the right recommendation for digging deeper. Because, you already know everything about the classics, while you have yet to discover Fulgosi. (Željko Luketić) Nikša Fulgosi, a film and TV director, was born on 25th March 1919 in Split and died on 30th September 1996 in Zagreb. He studied Law, and worked as a journalist, publicist and graphic novel scriptwriter. Since 1951, he worked as an author of commissioned and documentary – mainly educational – films. He directed around thirty films for which he also wrote the screenplays. The most popular of these was a series of films about traffic safety. The only full-length film he directed was Mala Jole (1955), which remained unfinished due to the intervention of the then leadership of Jadran film. In 1970, he transferred to television (TVZ), where he authored a series of polemical documentary commentaries and the, later banned, sexual education series Ljubavni jadi Pepeka Gumbasa i Marijete Buble (1975 – 9978). 142

Nikša Fulgosi, 1940.


REŽIJA / DIRECTOR Nikša Fulgosi YU 1963 13‘36’’ CB / BW cenzura / censorship 11. 12. 1963. dokumentarni / documentary

Opasne igre Dangerous Games U Srbiji je tijekom 1962. godine u prometu nastradalo 276 djece do 14 godina. Od toga je 244 bilo teže ili lakše ranjeno, a 32 djeteta su poginula.

SCENARIJ / SCREENPLAY Nikša Fulgosi MONTAŽA / EDITING Lida Braniš KAMERA / CINEMATOGRAPHY Hinko Šarinić ULOGE / CAST Branko Mravac, Raoul Gedalja PRODUKCIJA / PRODUCTION Zora film DISTRIBUCIJA / DISTRIBUTION Zagreb film

In 1962, 276 children under 14 of age became victims of a traffic accident in Serbia. 244 of them were seriously or slightly wounded, and 32 were killed.

REŽIJA / DIRECTOR Nikša Fulgosi YU 1961 11’36’’ cenzura / censorship 20. 6. 1961. dokumentarni, namjenski / documentary, commission

Dva slova – ceo svet RR Niš Prikaz rada i proizvoda Zavoda za izradu radija i rendgen aparata u Nišu.

SCENARIJ / SCREENPLAY Nikša Fulgosi KAMERA / CINEMATOGRAPHY Hrvoje Sarić MONTAŽA ZVUKA / SOUND EDITING Lida Braniš PRODUKCIJA / PRODUCTION Zagreb film

A presentation of the activities and products of the RR Institute, Niš – the Institute for the development of radio and X-ray machines.

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REŽIJA / DIRECTOR Nikša Fulgosi YU 1963 17’00’’ CB / BW cenzura / censorship 11. 12. 1963. dokumentarni / documentary

Čuvaj se čašice A Couple of Sips Is Enough Statistički podaci o nesrećama prouzrokovanim alkoholom. Slučaj vozača koji je stradao od relativno male količine alkohola u prometnoj nesreći. Statistical data about accidents caused by alcohol. The case of a driver who had relatively little to drink and ended up in a traffic accident.

SCENARIJ / SCREENPLAY Nikša Fulgosi KAMERA / CINEMATOGRAPHY Hinko Šarinić MONTAŽA / EDITING Lida Braniš OBLIKOVANJE ZVUKA / SOUND DESIGN Mladen Prebil PRODUKCIJA / PRODUCTION Zora film DISTRIBUCIJA / DISTRIBUTION Hrvatski državni arhiv – Hrvatska kinoteka

REŽIJA / DIRECTOR Nikša Fulgosi YU 1963 13’00’’ CB / BW cenzura / censorship 11. 12. 1963. igrani, dokumentarni / fiction, documentary

Put nije samo vaš You’re Not Alone on the Road Film ukazuje na nesavjesno ponašanje seljaka koji voze kola na prometnicama punim motoriziranih vozila, a nekad i u pijanom stanju. The film points out the negligent behaviour of farmers who drive recklessly on crowded roads, sometimes inebriated.

SCENARIJ / SCREENPLAY Nikša Fulgosi KAMERA / CINEMATOGRAPHY Hinko Šarinić MONTAŽA / EDITING Lida Braniš OBLIKOVANJE ZVUKA / SOUND DESIGN Mladen Prebil MONTAŽA ZVUKA / SOUND EDITING Lidija Jojić ULOGE / CAST Ivo Škrabalo, Ivo Fici, Božidar Orešković, Rikard Brzeska, Vesna Jelavić, Dragutin Klobučar, Stanko Rebić PRODUKCIJA / PRODUCTION Zora film DISTRIBUCIJA / DISTRIBUTION Hrvatski državni arhiv – Hrvatska kinoteka

144


REŽIJA / DIRECTOR Nikša Fulgosi YU 1960 21‘00’’ CB / BW cenzura / censorship 14. 12. 1960. Igrani, dokumentarni / fiction, documentary

Žena i izbor zanimanja Women and Occupational Choices Sukob između zaostalih shvaćanja o ženama i njihove socijalne i ekonomske emancipacije. Film je naručio zavod za zapošljavanje NR Srbije.

SCENARIJ / SCREENPLAY Nikša Fulgosi MONTAŽA / EDITOR Lida Braniš KAMERA / CINEMATOGRAPHY Milan Babić SNIMATELJ ZVUKA / SOUND RECORDING Mladen Prebil ULOGE / CAST Tiburcije Pischl, Sanda Langerholtz, Eta Bortolazzi, Bora Todorović, Renata Božiček

A confrontation between backward views about women and their social and economic emancipation. The film was commissioned by the Employment Service of the Republic of Serbia.

PRODUKCIJA / PRODUCTION Zora film DISTRIBUCIJA / DISTRIBUTION Hrvatski državni arhiv – Hrvatska kinoteka

REŽIJA / DIRECTOR Nikša Fulgosi YU 1958 21‘00’’ CB / BW cenzura / censorship 17. 12. 1958. dokumentarni / documentary

Njegov put u život His Journey into Life Priča liječnika o dječaku koji nije uspio kao kovač jer se podsvjesno bojao konja, a nakon promjene zanimanja počeo je uspješno raditi. A doctor’s story about a boy who failed as a blacksmith because he had an unconscious fear of horses, but after switching his occupation he became successful in his job.

SCENARIJ / SCREENPLAY Nikša Fulgosi, Slavko Obradović, Nedjeljko Čaće MONTAŽA / EDITING Nikša Fulgosi KAMERA / CINEMATOGRAPHY Nedeljko Čaće SCENOGRAFIJA / ART DIRECTOR Želimir Zagotta SINIMATELJ TONA / SOUND RECORDING Željko Pajtak MONTAŽA ZVUKA / SOUND EDITING Lidija Jojić ULOGE / CAST Antun Vrdoljak, Drago Mitrović, Nevenka Stipančić PRODUKCIJA / PRODUCTION Zora film DISTRIBUCIJA / DISTRIBUTION Hrvatski državni arhiv – Hrvatska kinoteka 145


FESTIVAL EXPRESS

146


Kako Filmić zamišlja put oko svijeta

Kada bismo zatvorili oči i zamislili da smo mali kratki Filmić koji tek nastaje ispreplitanjem emocija, misli, energija i rada nekoliko strastvenih autora. Rastemo postepeno, poprimamo oblik i iz dana u dan sa sve većim nestrpljenjem iščekujemo svijet. Zamišljamo putovanja i šarenilo festivala, blještavilo projektora i reflektora, aplauzi se pretapaju, klicanje, veselje i slavlje. U međuvremenu nas rezuckaju i sastavljaju mjesecima i godinama, loudaju, konvertiraju, rendaju, grejdaju i miksaju. Naposljetku nas izbacuju iz naše metalne kućice. Doktori nas važu, procjenjuju imamo li potencijala, jesmo li spremni za borbu na život i smrt. Potom nas pripoje nekom plemenu i kolaudiraju. Odjednom nam svi govore što da radimo, gdje da idemo, što je za nas najbolje, gdje ćemo najviše profitirati u karijeri, gdje su najbolji tulumi i iza kojeg ćemo se ćoška obogatiti i proslaviti. Doma nema kruha, to je sigurno. Moramo u inozemstvo! Guramo se, žurimo stići na prvi vlak za Berlin. Čekamo, smrzavamo se, ali tamo nam kažu da “nismo za njih”. Ma oni su hladni i drugačiji, ne razumiju našu južnjačku strast i dubinu naših misli i emocija. Ako im je to neprihvatljivo, onda nam i nije bilo suđeno. Brzo presjedamo, i juriš na Azurnu obalu. Karta je skupa. Nesnosna je gužva i svi se guraju u prvi razred, k’o da je besplatan. I baš svi misle da zaslužuju ravno s kolodvora u Majestic ili malo niže u Espace Miramar ili Marriott. Nudimo se na ulazu: “Molimo, pogledajte pažljivo kako smo pametni i lijepi. Daroviti, originalni, aktualni. Mi smo, ako bolje pogledate, jako autentični i provokativni, istovremeno i univerzalni! Mi smo baš za vas. Udomite nas i izložite pogledima svojih važnih gostiju!” Čekamo, grizemo nokte, provjeravamo mailove, zovemo frendove… već je 10. travnja. Sigurno nismo upali. Ding! You’ve got mail! Čudni su putovi festivalski. Ova selekcija ističe primjere uspješnih mladih putnika iz našeg susjedstva: Leto bez meseca Stefana Ivančevića startao je prošle godine iz Cannesa, Rabbitland Ane Nedeljković i Nikole Majdaka ml. svoju je prvu nagradu, Kristalnog medvjeda, proslavio na berlinskom Potsdamer Platzu, Boles se u svijet lansirao iz prestižnog Annecyja osvojivši do danas 36 nagrada, Otac, bugarsko-hrvatskonjemačka koprodukcija grupe redatelja prikazan je na više od stotinu međunarodnih festivala i osvojio je tridesetak nagrada, Orfeju, igranom filmu Tine Šmalcelj ovo je dvadeseto festivalsko prikazivanje, a hrvatski dokumentarac Presuda Đure Gavrana jedan je od onih filmova kojima nije nužan troznamenkasti broj festivala i nagrada kako bi dokazao da je “filmčina”. Filmovi kojima se predviđa sjajna budućnost kriju se i u ovogodišnjem programu Dana hrvatskog filma, zato gledajte konkurencije i otkrivajte favorite dok su još “mali”. (Ivana Ivišić)

KINO TUŠKANAC 25. 4. 2015. 19:00

147


A Tiny Film Dreams About Seeing the World

It would be easy to close our eyes and imagine that we were a tiny short film emerging from interweaving emotions, thoughts, energies and work of several passionate authors. We are slowly growing, acquiring a form, impatient to see the world. We imagine travels and colourful festivals, projectors and reflectors. In the meantime, we are being cut and put together while months and years pass by. We are being loaded, converted, rendered, graded and mixed. In the end, they kick us out of our metal house. Doctors weigh us, assessing our potential – whether we are ready for a fight to life or death. Then they place us in some tribe and put us through the process of acceptance testing. Suddenly, everybody is telling us what to do, where to go, what’s best for us, where we will profit the most in our career, where the best parties are and where we’ll find our fame and fortune. There’s no bread in staying put, that is certain. We have to go abroad! We push and shove, hurrying to catch the first train to Berlin. We wait, freezing, but they tell us we’re not what they’re looking for. Let them, they are cold and different. They don’t understand our southern passion and depth of our thoughts and feelings. If they find it unacceptable, then we weren’t meant to be anyway. We quickly jump on another train and rush to the Côte d’Azur. The ticket is expensive. The crowd is unbearable and everybody’s squeezing into first grade, like it’s peanuts. All of them think they deserve to go straight from the station to the Majestic, or a little further, to the Espace, Miramar or Marriott. We promote ourselves at the entrance: ‘Please, look carefully how smart and beautiful we are. Talented, original, and up to date. If you take a better look, you’ll see we are very authentic and provocative, but at the same time universal! We are just what you’re looking for’. We wait, bite our nails, check our e-mails, and call our friends... Ding! You’ve got mail! Festivals work in mysterious ways. This selection highlights examples of successful young travellers from our neighbourhood: Moonless Summer by Stefan Ivančević premiered last year in Cannes; Rabbitland by Ana Nedeljković and Nikola Majdak Jr. won the Crystal Bear Award at the Berlin Potsdamer Platz; Boles was launched into the world from the prestigious Annecy, and has won 36 awards in the meantime; Father – a GermanCroatian-Bulgarian co-production by a group of directors – has been screened at over a hundred international festivals, winning around thirty awards; for Orpheus, a fiction film by Tina Šmalcelj, this is the twentieth festival screening: The Verdict by Đuro Gavran is one of those films that do not need the three-digit number of festivals and awards to prove its ‘awesomeness’. Once again, the Croatian Film Days are hosting a great number of films with a bright future ahead of them, so come and pick your favourites while they’re still young. (Ivana Ivišić) 148


REŽIJA / DIRECTORS Ana Nedeljković, Nikola Majdak ml. RS 2013 7’26’’ animirani / animated FESTIVALI / FESTIVALS 83 NAGRADE / AWARDS 15

Rabbitland Zekograd Zečevi bez pameti žive u savršeno uređenoj zemlji Zekogradu. Njihov svakodnevni život jasno je strukturiran i potpuno ispunjen. Film je osvojio Kristalnog medvjeda na Berlinaleu. Brainless Rabbits in a perfectly organized country. Their everyday life is completely fulfilled. Film won Crystal Bear at the Berlinale.

SCENARIJ / SCREENPLAY Ana Nedeljković ANIMACIJA / ANIMATION Ana Nedeljković, Nikola Majdak ml. MONTAŽA / EDITING Srđan Radmilović KAMERA / CINEMATOGRAPHY Nikola Majdak ml. GLAZBA / MUSIC Dušan Petrović OBLIKOVANJE ZVUKA / SOUND DESIGN Vladimir Janković PRODUCENTICA / PRODUCER Jelena Mitrović PRODUKCIJA / PRODUCTION Baš Čelik KOPRODUKCIJA / CO-PRODUCTION Arhitel

REŽIJA / DIRECTOR Đuro Gavran HR 2013 11’00” dokumentarni / documentary FESTIVALI / FESTIVALS 33 NAGRADE / AWARDS 4

Presuda The Verdict Šesnaest godina nakon rata na Trgu bana Josipa Jelačića skuplja se nekoliko tisuća ljudi kako bi gledali izravni prijenos presude hrvatskim generalima. Sixteen years after the war, in the main square of Zagreb several thousand people gathered to watch a live broadcast of the verdict to Croatian generals.

MONTAŽA / EDITING Iva Mrkić KAMERA / CINEMATOGRAPHY Pavel Posavec, Nikola Sučević, Tamara Duganđija, Đuro Gavran OBLIKOVANJE ZVUKA / SOUND DESIGN Daniel Pejić PRODUCENTICA / PRODUCER Miljenka Čogelja PRODUKCIJA / PRODUCTION Pipser

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REŽIJA / DIRECTOR Ivan Bogdanov BG, HR, DE 2012 16’30’’ animirani, dokumentarni / animated, documentary FESTIVALI / FESTIVALS 101 NAGRADE / AWARDS 26

Otac Father Otac izokreće stvarnost da bi stvorio prostor za nemogući dijalog: razgovor između djeteta i oca koji se nikada nije dogodio. In Father, the reality of life is turned upside down to create an impossible dialogue – the dialogue between a child and a father that never happens.

REDATELJI PRIČA / STORY DIRECTORS Moritz Mayerhofer, Asparuh Petrov, Rositsa Raleva, Veljko Popović, Dmitry Yagodin SCENARIJ / SCREENPLAY Ivan Bogdanov, Phil Mulloy MONTAŽA / EDITING Ivan Bogdanov PRODUCENTI / PRODUCERS Maria Stanisheva, Vanja Andrijević, Christian Müller PRODUKCIJA / PRODUCTION Compote Collective, Bonobostudio, Eyecatch Productions DISTRIBUCIJA / DISTRIBUTION Bonobostudio

REŽIJA / DIRECTOR Tina Šmalcelj BA 2013 3’58’’ igrani / fiction FESTIVALI / FESTIVALS 20

Orfej Orpheus Lijep zimski dan. Četvero djece igra se na mostu, ali igri se pridružuje peti igrač, snajperist. Film je prikazan na brojnim festivalima: u Sarajevu, Tampereu, Hamburgu…

SCENARIJ / SCREENPLAY Tina Šmalcelj MONTAŽA / EDITING Redžinald Šimek KAMERA / CINEMATOGRAPHY Amel Đikoli OBLIKOVANJE ZVUKA / SOUND DESIGN Igor Čamo ULOGE / CAST Mak Alijević, Iman Bostandžić, Namik Hadžimuratović, Faris Smajić

It’s a beautiful winter day. Four children are playing on the bridge, but a fifth player enters the game… The Sniper. The film was screened at numerous festivals: in Sarajevo, Tampere, Hamburg...

PRODUCENTICA / PRODUCER Amra Bakšić Čamo PRODUKCIJA / PRODUCTION SCCA/pro.ba

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REŽIJA / DIRECTOR Špela Čadež SI, DE 2013 12’00’’ animirani / animated FESTIVALI / FESTIVALS 126 NAGRADE / AWARDS 36

Boles Filip živi u siromašnoj četvrti. Sanja o spisateljskoj slavi i luksuznom životnom stilu. Jednoga dana njegova susjeda Tereza zamoli ga da napiše pismo njezinu zaručniku. Filip lives in a poor neighbourhood. He dreams of writer’s glory and luxurious lifestyle. One day his neighbour Tereza asks him to write a letter for her fiancé.

SCENARIJ / SCREENPLAY Gregor Zorc, Špela Čadež ANIMACIJA / ANIMATION Oliver Throm, Leon Vidmar LUTKE / PUPPETS Žiga Lebar MONTAŽA / EDITING Thomas Schmidl KAMERA / CINEMATOGRAPHY Michael Jörg GLAZBA / MUSIC Tomaž Grom PRODUCENTI / PRODUCERS Tina Smrekar, Špela Čadež, Martin Roelly, Erik Winker, Andreas Bauer PRODUKCIJA / PRODUCTION No History KOPRODUKCIJA / CO-PRODUCTION Hupe Film

REŽIJA / DIRECTOR Stefan Ivančić RS 2014 31’07’’ igrani / fiction FESTIVALI / FESTIVALS 20 NAGRADE / AWARDS 3

Leto bez meseca Moonless Summer Prije nego što se odseli u inozemstvo, šesnaestogodišnja Isidora provodi nekoliko dana u vikendici iz djetinjstva na selu. Izgubljena u ljetnoj mirnoći, ona strahuje od nadolazećih promjena. Before moving abroad, sixteen-year-old Isidora spends a few days at her childhood countryside house. Lost in the summer’s stillness, she fears the coming changes.

SCENARIJ / SCREENPLAY Stefan Ivančić MONTAŽA / EDITING Jelena Maksimović KAMERA / CINEMATOGRAPHY Igor Đorđević OBLIKOVANJE ZVUKA / SOUND DESIGN Mlađan Matavulj ULOGE / CAST Isidora Marković, Jelisaveta Karadžić, Stefan Đorđević, Matija Ristić PRODUCENTI / PRODUCERS Aleksandar Necakov, Nevena Pavlović PRODUKCIJA / PRODUCTION Non-Aligned Films, Fakultet dramskih umetnosti u Beogradu 151


GENRE FILM FESTIVAL (GEFF): ZABORAVLJENI ISTRAŽIVAČI MODERNIZMA GENRE FILM FESTIVAL (GEFF): FORGOTTEN RESEARCHERS OF MODERNISM

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GEFF 1963 – 1969.

Genre Film Festival dijete je vremena u kojemu je Zagreb bio urbana, progresivna i umjetnička meka. Nove tendencije, Muzički Biennale Zagreb (MBZ) i Internacionalni festival studentskih kazališta (IFSK) vizualno, glazbeno i konceptualno inspirirali su i ekipu okupljenu oko GEFF-a, koji je krenuo kao “susret filmskih istraživača” u organizaciji Kinokluba Zagreb i na inicijativu Mihovila Pansinija, zagrebačkog liječnika, intelektualca i amaterskog filmaša. GEFF je prema njegovim riječima bio “ne samo festival nego stanje duha, međusobno sastajanje i djelovanje” koje je okupljalo ljubitelje filma, agilne neprofesijske djelatnike i sve zainteresirane koji su najprije razgovorima, a potom djelovanjem pokušavali razbiti učmale kategorije standardnog filmskog snimanja i razmišljanja. Smatralo ga se i jednim od tada rijetkih festivala eksperimentalnog filma u Europi. Jedno od često korištenih imena za taj događaj bio je i festival nekonvencionalnog filma. Ideja je bila izbjeći srednju struju, prikazati domaćoj publici ostvarenja koja su se odupirala filmskoj tradiciji te navesti lokalne filmofile da se prihvate kamere iako je možda tek jedva znaju uključiti. Radikalan pristup filmu i GEFF kao takav nastali su u klupskim razgovorima koji su 1962. i 1963. godine vođeni u Kinoklubu Zagreb pod nazivom Antifilm i mi. U rasponu od sedam godina dogodila su se četiri bienalna GEFF-a, pri čemu je svaki imao jasnu temu: Antifilm i nove tendencije u filmu (1963), Istraživanje filma i istraživanje pomoću filma (1965), Kibernetika i estetika (1967) i Seksualnost kao mogući put u novi humanizam (1970), a peti festival s temom Nepoznate ljudske energije i neidentificirana osjetila, planiran za 1971. godinu, nije održan. Uz atribute nekonvencionalan i eksperimentalan, na GEFF-u se filmaše često zvalo istraživačima: poticao se otpor autoritetima i potpuna demokracija u iznošenju mišljenja. Filmovi u ovoj selekciji tek su dio bogatog naslijeđa. Bili su dio službene konkurencije ili tada popularnog salona odbijenih; neki su nagrađeni, a neki nisu. U svim slučajevima donijeli su, i još uvijek donose, nešto sasvim novo i drugačije. (Željko Luketić)

KINO TUŠKANAC 23. 4. 2015. 23:00

Tomisalv Gotovac prima nagradu od Mihovila Pansinija, GEFF, 1965.

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GEFF 1963 – 1969.

The Genre Film Festival belongs to a time when Zagreb was an urban, progressive art haven. The New Tendencies, Musical Biennale Zagreb (MBZ) and International Festival of Student Theatre (IFSK) acted as a visual, musical and conceptual inspiration for the crew behind the GEFF. The GEFF started as ‘a gathering of film researchers’ organised by Kinoklub Zagreb at the initiative of Mihovil Pansini, a Zagreb doctor, intellectual and amateur filmmaker. In his own words, the GEFF was ‘not just a festival, but a state of mind, an interactional joint initiative’ which gathered film enthusiasts, agile non-professional workers and everyone interested who tried to break the stale categories of standard filmmaking and thought – first in conversation and then in action. One of the often used names for the event was ‘the festival of unconventional film’; it was also considered one of few European festivals of experimental film. The idea was to avoid the mainstream, and to show the domestic audience works that resisted film tradition, as well as to persuade the local film enthusiasts to take up a camera, even if they could barely use it. The radical approach to film and the GEFF itself were formed in a series of conversations held at Kinoklub Zagreb in 1962 and 1963, under the title Anti-film and Us. In seven years, there were four biennial GEFFs, each with an exact theme: Anti-film and New Tendencies in Cinema (1963), Research of Film and Research through Film (1965), Cybernetics and Aesthetics (1967), and Sexuality as a Possible Way into a New Humanism (1970). The fifth one, Unknown Human Energies and Unidentified Senses, was supposed to be held in 1971, but it was never realised. Unconventional and experimental, the GEFF often referred to filmmakers as researchers: it encouraged resistance to authorities and a democratic sharing of opinions. Films in this selection are only a part of the rich heritage of the GEFF. They were either part of the official competition or the then popular Salon of the Rejected; some were awarded, others weren’t. However, all of them brought, and continue to bring something different and new to the table. (Željko Luketić)

GEFF, tiskani materijali

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Scusa Signorina

Mihovil Pansini (1926) bio je glavni ideolog antifilma. Godine 1963. napravio je niz filmova u kojima primjenjuje postupke što se korjenito kose sa standardima, primjerice prepuštajući sadržaj snimanja slučajnosti. “Rekao sam: idem na Zrinjevac i na prvu slobodnu klupu postavit ću kameru okrenutu na zapad. Idemo vidjeti što kamera može bez nas. Koliko smo mi pametni a koliko kamera. Zatim sam kameru stavljao na leđa i ispod ruke tako da nisam gledao što snimam.”

REŽIJA / DIRECTOR Mihovil Pansini YU 6’30’’ 1963 CB / BW eksperimentalni / experimental

Mihovil Pansini (1926) was the chief ideologist of ‘anti-film’. In 1963, he made a series of films in which he observed the procedures that go against the standards of filmmaking, for example, leaving the film content to chance. ‘I’m going to Zrinjevac and I will set my camera on the first available bench, facing west. Let’s see what the camera can do without us. How smart are we, and how smart is the camera? Afterwards, I’d put the camera on my back, or under my arm, so as not to see what I was recording.’

PRODUKCIJA / PRODUCTION Kinoklub Zagreb DISTRIBUCIJA / DISTRIBUTION Hrvatski filmski savez

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Don Kihot Don Quixote Vlado Kristl (1923 – 2004) bio je pripadnik avangardne likovne grupe Exat ‘51, a poslije i Novih tendencija (1962), pokreta koji su utjecali na artikulaciju ideje o antifilmu. Prvi film stvoren po Kristlovim autorskim sklonostima bila je kleovski crtana satirična meditacija Don Kihot. Jedno od najimpresivnijih i najapstraktnijih ostvarenja Zagrebačke škole crtanog filma varijacija je na temu viteza bez straha koji se sukobljava s prijetećim gromadama mehanizirane civilizacije. Apoteoza neovisnosti i slobode ugrožene jedinke. Vlado Kristl (1923 – 2004) was a member of the avant-garde art groups Exat ‘51 and New Tendencies (1962), artistic movements that had a great influence on articulation of the ‘anti-film’ idea. Don Quixote is a Klee-style animated satirical meditation on Don Quixote. One of the most impressive and most respected realisations of the Zagreb School of Animated Film, this is a variation on the theme of the fearless knight who faces the menacing giants of mechanized civilisation. Apotheosis of independence and liberty of the endangered individual.

SCENARIJ, GLAVNI ANIMATOR / SCREENPLAY, LEAD ANIMATOR Vlado Kristl ANIMACIJA / ANIMATION Ante Zaninović, Mirko Fodor MONTAŽA, MONTAŽA ZVUKA / EDITING, SOUND EDITING Tea Brunšmid KAMERA / CINEMATOGRAPHY Ivan Hercigonja MUSIC / GLAZBA Milko Kelemen POSEBNI ZVUKOVI / SPECIAL SOUNDS Branimir Sakač SNIMATELJ ZVUKA / SOUND RECORDING Mladen Prebil PRODUKCIJA / PRODUCTION Zagreb film, SDF 156

REŽIJA / DIRECTOR Vlado Kristl YU 1961 10’42’’ cenzura / censorship 20. 6. 1961. animirani / animation


Kariokineza Kariokinesis Rekonstrukcija performansa izvedenog na GEFF-u 1965. godine. Operater je provlačio kolor filmsku vrpcu izravno ispred žarulje projektora, povremeno je prislanjajući na žarulju. Vrpca je tako postupno sagorijevala uz razne kolorističke efekte. Zlatko Hajdler nije bio redatelj nego amaterski snimatelj koji je smislio performans kako bi pokazao da antifilm može proizvesti bilo tko. No uspio je samo dokazati da je i ismijavanje čin oslobađanja.

KONCEPT / CONCEPT Zlatko Hajdler YU 1965 (1998) 2’00’’ eksperimentalni / experimental

A subsequent reconstruction of the original performance at GEFF 1965. An operator pulled a colour film right across the projection lamp, occasionally bringing the film closer to the bulb, which resulted with an onscreen effect of a gradually burning film accompanied by colour effects. Zlatko Hajdler wasn’t a director, but an amateur cinematographer who conceived the performance only to show that anyone can make an ‘anti-film’. He only succeeded in proving that ridicule is also an act of liberation.

OPERATERI / OPERATORS Zenon Häusler, Zlatko Domić KAMERA / CINEMATOGRAPHY Milan Bukovac PRODUKCIJA / PRODUCTION Kinoklub Zagreb (1965) / Hrvatski filmski savez (1998) DISTRIBUCIJA / DISTRIBUTION Hrvatski filmski savez

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Život je lijep Life Is Beautiful Kadrovi ljudi na terasama restorana ili kavana, prolaznici, prometna gužva, pokreti kamere po arhitekturi, po ljudima. Eksperiment s “antijezikom” u detaljima – kompoziciji, izmjeni planova, ekspoziciji. Ivan Martinac (1938 – 2005) djelovao je u Kino klubu Beograd i Kino klubu Split. Snimio je sedamdesetak poetskih eksperimenata i jedan kontemplativan cjelovečernji igrani film Kuća na pijesku (1985). Autor je dvanaest knjiga. Scenes of people on restaurant and cafe terraces, passersby, traffic jam, movements of the camera across the architecture, across people. An ‘anti-language’ experiment in details – composition, switching of shots, exposition. Ivan Martinac (1938 – 2005) was active in Kino klub Belgrade and Kino klub Split. He made around seventy experimental and one contemplative full-length film The House on the Sand (1985). He wrote twelve books.

SCENARIJ, MONTAŽA, KAMERA / SCREENPLAY, EDITING, CINEMATOGRAPHY Ivan Martinac ULOGE / CAST Dunja Adam, Lordan Zafranović PRODUKCIJA / PRODUCTION Kino klub Split DISTRIBUCIJA / DISTRIBUTION Hrvatski filmski savez

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REŽIJA / DIRECTOR Ivan Martinac YU 1966 10’00’’ CB / BW eksperimentalni / experimental


Krotitelj divljih konja Tamer of Wild Horses Krotitelj divljih konja naiđe na metalno čudovište u obliku konja. Kada ga pokuša pokrenuti, konj se pretvori u mehaniziranu nakazu koja prijeti uništenjem, ali kada pokrene pravu polugu, čudo tehnike raširi krila i ponese čovjeka u svemir. Priča o svemoći tehnike koja, umjesto da pomogne čovjeku, neadekvatnom upotrebom vodi do katastrofe. Nedeljko Dragić (1936) od 1960. radi kao animator, a 1965. autorski potpisuje vlastiti film Elegija. Njegov Tup-tup nominiran je za Oscara 1972. godine.

REŽIJA / DIRECTOR Nedeljko Dragić YU 1966 7’54’’ cenzura / censorship 29. 12. 1966. animirani / animated

A tamer of wild horses encounters a metal monster in the form of a horse. When he tries to start it, the horse turns into a mechanised beast, threatening to destroy everything. But, when he pulls the right lever, the miracle of technology spreads its wings and carries the man into space. A symbolic story about the power of technology, which, instead of helping the mankind progress, leads to catastrophe due to its improper handling. Nedeljko Dragić (1936) worked as an animator, and in 1965, he authored his own film Elegy. His film Tup-tup was nominated for Oscar in 1972.

SCENARIJ, SUPERVIZIJA / SCREENPLAY, SUPERVISION Vatroslav Mimica KAMERA / CINEMATOGRAPHY Teofil Bašagić ANIMACIJA / ANIMATION Vladimir Jutriša, Nedeljko Dragić SCENOGRAFIJA / ART DIRECTOR Zlatko Bourek GLAZBA / MUSIC Tomica Simović SNIMATELJ ZVUKA / SOUND RECORDING Mladen Prebil MONTAŽA ZVUKA / SOUND EDITING Tea Brunšmid PRODUKCIJA / PRODUCTION Zagreb Film 159


816 – uski format (Lutaju sjene izgubljene) 816 – Small Format (The Lost Clouds Wander) Dokument o filmskom amaterizmu u nas. Objedinjavanje originalnih filmskih dokumenata povodom 40-godišnjice organiziranog bavljenja amaterskim filmom na ovim prostorima. Bilježenje njegovih glavnih autora i pravaca. Vladimir Petek (1940 – 2003) jedan je od najvećih autora hrvatskog eksperimentalnog filma. Eksperimenti koje je snimio između 1960. i 1962. pokrenuli su raspravu Antifilm i mi koja je dovela do osnivanja GEFF-a (Genre Film Festival). Antologijski film: Susreti (1963). A document about the amateur film in Croatia. A collection of original film documents for the occasion of the 40th anniversary of amateur film in Croatia – notes on its main authors and styles. Vladimir Petek (1940 – 2003) is one of the greatest names of the Croatian experimental cinema. His experiments, made between 1960 and 1962, initiated the debate ‘Anti-film and Us’ which led to the launching of GEFF – Genre Film Festival. Anthology film: Encounters (1963).

SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Mihovil Pansini KAMERA / CINEMATOGRAPHY Vladimir Petek, Andrija Pivčević GLAZBA / MUSIC Davor Rocco SURADNICI / COLLABORATORS Dušan Makavejev, Mladen Prebil, Ranko Andrić, Srna Vuković, Libuša Hlavatý PRODUKCIJA / PRODUCTION FAS Zagreb (Filmski autorski studio Zagreb) DISTRIBUCIJA / DISTRIBUTION Hrvatski filmski savez 160

REŽIJA / DIRECTOR Vladimir Petek YU 1969 15’00’’ CB / BW cenzura / censorship 24. 6. 1970. dokumentarni / documenatry


Koreografija za kameru i plesače Coreography for the Camera and Dancers Plesači u crnom trikou na bijeloj pozadini izvode modernu baletnu točku praćenu skladbom hrvatskog avangardnog skladatelja Ive Maleca Minijature za Lewisa Carrolla. Krešo Golik (1922 – 1996) snimio je najpopularniji hrvatski film, Tko pjeva zlo ne misli (1970), a zatim i izvanredan dokumentarni film Od 3 do 22 (1966) te seriju Gruntovčani (1975). Do 1989. predavao je filmsku režiju na zagrebačkoj Akademiji za film, kazalište i televiziju (ADU). Godine 1992. osvojio je počasnu Zlatnu arenu za životno djelo.

REŽIJA / DIRECTOR Krešo Golik YU 1968 14’00’’ CB / BW cenzura / censorship 27. 2. 1968. dokumentarni / documentary

Dancers in black leotards on a white surface perform a modern ballet show accompanied by the composition Miniatures for Lewis Carroll, by the Croatian avant-garde composer Ivo Malec. Krešo Golik (1922 – 1966) directed the most popular Croatian film A Song a Day Takes Mischief Away (1970), and afterwards an outstanding documentary From 3 to 22 (1966) and the TV series Gruntovčani (1975). He taught Film Directing until 1989 at the Academy of Dramatic Art. In 1992, he won the honorary Golden Arena for Life Achievement.

SCENARIJ, KOREOGRAFIJA / SCREENPLAY, COREOGRAPHY Vera Maletić MONTAŽA / EDITING Katja Majer KAMERA / CINEMATOGRAPHY Ivica Rajković GLAZBA / MUSIC Ivo Malec OBLIKOVANJE ZVUKA / SOUND DESIGN Mladen Prebil PRODUKCIJA / PRODUCTION Zagreb film, SDF

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Zastajkivanje Halting Usmjeravanje pozornosti na lik u pokretu. Usputni susreti ometaju pažnju koja se skreće na sporednosti, da bi kamera ponovo pronalazila svoj objekt i slijedila ga do ponovnog gubljenja. Hrvoje Turković (1943) diplomirao je filozofiju i sociologiju na Filozofskom fakultetu u Zagrebu (1972), magistrirao filmske studije na Sveučilištu u New Yorku (1976) i doktorirao filmskoteorijskom tezom u Zagrebu (1991). Od 1977. do 2009. predavao je na ADU-u. Objavio je brojne filmološke studije i knjige. Directing the attention to a character in motion. Casual encounters distract the attention which turns towards secondary things. The camera finds its object and follows it only to lose it again. Hrvoje Turković (1943) graduated in Philosophy and Sociology from the Faculty of Humanities in Zagreb (1972). He obtained an MA in Film Studies from the New York University (1976) and his PhD in Film Theory in Zagreb. From 1977 to 2009, he taught at the Academy of Dramatic Art in Zagreb. He has published many film studies and books.

SCENARIJ / SCREENPLAY Hrvoje Turković MONTAŽA / EDITING Tihomir Smitko KAMERA / CINEMATOGRAPHY Roman Vulpe ULOGA / CAST Sandra Turković PRODUKCIJA / PRODUCTION Kinoklub Zagreb DISTRIBUCIJA / DISTRIBUTION Hrvatski državni arhiv – Hrvatska kinoteka

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REŽIJA / DIRECTOR Hrvoje Turković YU 1967 2‘30’’ CB / BW eksperimentalni / experimental


Kišno (nevina subota) Rainy (Innocent Saturday) U kasnijim radovima iz klubaške faze Zafranović je dublje zagazio u poetiku apsurda, iskazujući svoju vjeru u iracionalne korijene ljudskog ponašanja koja obilježava filmove: Kišno, Sunčano (1966) ... U komornom i “dijaloškom” Kišnom, osebujnom spoju pisanog govora nijemog filma i modernističkog intimizma, dijaloška “odbojka” i razmjena krupnih planova ljubavnika u krevetu upućuju na Zafranovićevo shvaćanje ljubavi kao (erotizirane) igre, verbalne i tjelesne, ali ona još izgleda “nevino”. (Diana Nenadić) In the later works from his Club phase, Zafranović stepped deeper into poetics of the absurd, showing his belief in the irrational roots of human behaviour, which marks films: Rainy, Sunny (1966) ... His chamber piece Rainy is a peculiar combination of the written speech of silent film and modernist intimacy. In it, the dialogical back-andforth and the exchange of the close-ups of lovers in bed point to the director’s view of love as an eroticised game, verbal and physical, but it still looks ‘innocent’. (Diana Nenadić)

REŽIJA / DIRECTOR Lordan Zafranović YU 1965 10‘00’’ igrani / fiction

FOTOGRAFIJA / PHOTOGRAPHY Crvelin, Perišić, Pivčević, Verzotti, bračni par Kursar, Zafranović, Sardelić, Sarajevo; Kino klub Split

SCENARIJ, MONTAŽA / SCREENPLAY, EDITING Lordan Zafranović KAMERA / CINEMATOGRAPHY Andrija Pivčević ULOGE / CAST Iskra Kuzmanić, Ivo Klarić PRODUKCIJA / PRODUCTION Kino klub Split

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IDEOLOÅ KI BUNKER IDEOLOGICAL BUNKER

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Opasne vrpce

Bio to podrum, bunker, prešutna ili nepisana zabrana, neizdavanje dozvole za prikazivanje ili nepoćudnost (neposlušnost?) koja je prikazivala ono što se ne bi trebalo pokazati, a ponegdje samo nestašluk ili satira koja nije baš najbolje odjeknula u javnosti – neke naslove iz povijesti hrvatskog, tada jugoslavenskog filma, nije se često moglo vidjeti. Tajna dvorca I. B. nastala je prema baletnoj jednočinki Kerempuhova Vedrog kazališta, koje baš 1951. godine postaje kazalište Komedija. Osim što se radi o neobično bizarnom radu koji se sprda s filmskim ekspresionizmom, a kasnije i s još dubljim klišejem naivne propagande, smjelo se i metaforički komentirala tada vruća tema rezolucije Informbiroa. Čudovišna zemlja iz filma je Jugoslavija i jasno, nekim se političkim dušobrižnicima to nije svidjelo. Iz Kerempuhova dnevnika također je još jedna epizoda sličnog porijekla koja obrađuje napete relacije između SSSR-a i ostatka komunističkog bloka. Šala, čak i na račun neprijatelja, smatrala se u kulturnoj javnosti opasnom. Devalvacija jednog osmijeha pokazivala je pak ono čime se SFRJ, između retuširanih slika uspjeha socijalizma i zemlje snova u kojoj su svi imali posao, nije voljela hvaliti – portret Arifa Heralića, romskog radnika u zeničkoj željezari čiji se lik nalazio na novčanici od deset i hiljadu dinara, popularnoj hiljadarki. Heralić je, suprotno tekovinama bratstva i jedinstva, tražio novčanu naknadu za korištenje svog lika na novčanici, no nije je nikad dobio. Preminuo je 1971. godine kao invalid u krajnjem siromaštvu i bijedi. Devalvacija jednog osmijeha izazvala je veliki skandal nakon prikazivanja na televiziji. I na kraju, Šime Šimatović, najstariji hrvatski redatelj bogatog opusa i još bogatijeg antifašističkog uvjerenja, u filmu Zagreb 8. maja 1945. evocira datum koji se obilježavao i slavio kao Dan oslobođenja Zagreba. Nepoznati amaterski snimak ulaska partizana na prazan Jelačićev trg u kontrastu je s ulaskom okupatorskih jedinica i kasnije povlačenjem ustaških i njemačkih snaga iz Zagreba. Prazan grad, hrpe bačenih uniformi i Šimatovićev komentar samo su pojačali oštrinu tog rijetko prikazivanog dokumentarca. (Željko Luketić)

KINO TUŠKANAC 23. 4. 2015. 21:00

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Dangerous Tapes

Be it a basement, bunker, silent or unwritten ban, refusal to issue a screening licence, unsuitability (disobedience?) of showing something that shouldn’t be shown, and sometimes simply a mischievousness or satire that received a bad public response – some of the titles from the history of Croatian and Yugoslav film were rarely screened. The Secret of IB Castle was inspired by a one-act ballet play from the theatre Kerempuhovo vedro kazalište which became Komedija Theatre in 1951. Not only was it an unusual, bizarre piece that made fun of film expressionism, and of even bigger propaganda clichés, it also stood as a bold metaphorical comment on the hot potato that was the resolution of the Information Bureau. The Monstrous country from the film is Yugoslavia, which, unsurprisingly, didn’t sit well with some of the politicians. Kerempuh’s Diary is another episode of similar origin which deals with tense relations between the USSR and the rest of the Communist Bloc. A joke, even if at the enemy’s expense, was considered dangerous in the cultural public sphere. Among the retouched photos portraying the success of socialism and a dream country where everybody had a job, Devaluation of a Smile showed something the SFRJ didn’t want to make visible – a portrait of Arif Heralić, a Roma worker at Zenica ironworks. His figure could be found on ten-dinar and thousand-dinar notes. Contrary to the values of ‘brotherhood and unity’, Heralić asked to be paid for having his figure on the banknotes, but he never was. He died an invalid in 1971, in total poverty and misery. Devaluation of a Smile caused a great scandal after being shown on TV. And finally, Šime Šimatović – the oldest Croatian director with a great body of work, and even greater anti-fascist convictions – evokes in his film Zagreb on 8th May 1945 the date that was celebrated as the Liberation of Zagreb. An unknown amateur recording of the Partisans’ arrival at Jelačić Square stands in contrast with the arrival of the occupying forces and, later, the retreat of the Ustasha and German forces from Zagreb. The empty city, piles of discarded uniforms and Šimatović’s comment only sharpened the tone of this rarely shown documentary. (Željko Luketić)

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Zagreb 8. maja 1945. Zagreb 8th May 1945 Snimke suvremenog Zagreba, arhivske snimke ulaska partizana te fotografije iz tog doba. Šime Šimatović (1919) pohađao je glumačku školu u Zagrebu. Nakon rata bio je umjetnički direktor Jadran filma, a zatim je studirao filmsku režiju u Pragu. Sredinom pedesetih godina bio je prvi direktor Zagreb filma. Režirao je više dokumentarnih filmova, primjerice Plitvička jezera (1956), nagrađen na festivalu u Berlinu. Autor je tri cjelovečernja igrana filma (Pustolov pred vratima).

REŽIJA / DIRECTOR Šime Šimatović YU 1965 9’48’’ boja, CB / colour, BW dokumentarni / documentary

Scenes of contemporary Zagreb, archival recordings showing the arrival of the Partisans, and photographs from that time. Šime Šamatović (1919) studied at the Actors School in Zagreb. After the War, he was Artistic Director of Zagreb film. He directed several documentaries, for example Plitvice Lakes (1956), for which he was awarded in Berlin. He directed several feature films (Adventurer at the Door).

SCENARIJ / SCREENPLAY Šime Šimatović MONTAŽA / EDITING Katja Majer KAMERA / CINEMATOGRAPHY Oktavijan Miletić, Zlatko Sačer GLAZBA / MUSIC Davor Kajfeš OBLIKOVANJE ZVUKA / SOUND DESIGN Mladen Prebil PRODUKCIJA / PRODUCTION Zagreb film

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Devalvacija jednog osmijeha Devaluation of a Smile Lik nasmijanog radnika s jugoslavenske novčanice od tisuću dinara ispunjen snagom i optimizmom i lik istog radnika danas, opterećenog starošću i svojim tužnim monolozima, bijedom i alkoholom. Vojdrag Berčić (1918 – 2004) filmsko znanje stekao je na Visokoj filmskoj školi u Beogradu, koju je završio 1953. godine. Radio je kao asistent redatelja u različitim koprodukcijama, primjerice u filmovima Abela Gancea. Potpisuje devet kratkometražnih filmova, a 1972. i dugometražni igrani film Prvi splitski odred o počecima antifašističke borbe u Dalmaciji. The image of a smiling worker on the Yugoslav thousand dinar note, bursting with strength and optimism, and the image of that same worker today, burdened by old age and his sad monologues, poverty and alcoholism. Vojdrag Berčić (1918 – 2004) graduated from the Higher Film School in Belgrade in 1953. He worked as assistant director for various co-productions, for example, the films by Abel Gance. He directed nine short films. In 1972, he made the feature film First Unit from Split about the beginnings of the anti-fascist struggle in Dalmatia.

SCENARIJ / SCREENPLAY Vojdrag Berčić MONTAŽA / EDITING Lida Braniš KAMERA / CINEMATOGRAPHY Frano Vodopivec GLAZBA / MUSIC Vladimir Kraus-Rajterić PRODUKCIJA / PRODUCTION Zagreb film, SDF

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REŽIJA / DIRECTOR Vojdrag Berčić YU 1967 15’00’’ CB / BW cenzura / censorship 14. 11. 1967. dokumentarni / documentary


Iz Kerempuhova dnevnika Kerempuh’s Diary Lik Kerempuha oživi, prisustvuje u kazalištu skeču o profesoru Budalastovu, koji se sprda sa sovjetskom znanošću, i nakon toga ode u Rumunjsku da vidi kako nakon rezolucije Informbiroa Sovjeti žele potkopati jugoslavensku vladu.

REŽIJA / DIRECTOR Bogdan Maračić YU 1950 30‘00’’ CB / BW igrani / fiction

The character of Kerempuh comes alive, he participates in a theatre sketch about professor Foolishevsky, who is making fun of the Soviet science. Afterwards, he visits Romania to witness the Soviet attempts to undermine the Yugoslav government after the resolution of the Information Bureau.

SCENARIJ / SCREENPLAY Bogdan Maračić MONTAŽA / EDITING Carmen Lukijanović KAMERA / CINEMATOGRAPHY Krešo Grčević, Juraj Ruljančić GLAZBA / MUSIC Zvonimir Bradić OBLIKOVANJE ZVUKA / SOUND DESIGN Albert Pregernik, Marijan Tomazetić ULOGE / CAST Frane Jelinčić, Emil Kutijaro, Josip Petričić, Stevo Vujatović, Aleksandar Binički, Martin Matošević, Veljko Maričić, Pero Budak PRODUKCIJA / PRODUCTION Jadran film DISTRIBUCIJA / DISTRIBUTION Hrvatski državni arhiv – Hrvatska kinoteka 169


Tajna dvorca I. B. The Secret of IB Castle Velikašu i znanstveniku nenadano u posjet dolazi ugledan gost iz Rusije kako bi ga upozorio na njegovu neučinkovitost po pitanju Čudovišne zemlje tj. Jugoslavije. Saziva se sastanak delegata iz cijele zemlje kako bi se pronašlo rješenje. Tajna dvorca I. B. nastala je po jednočinki Druga rezolucija Kerempuhova vedrog kazališta i jedna je od tri ekranizacije Kerempuhovih jednočinki koje je između 1950. i 1951. realizirao Jadran film. A nobleman and scientist suddenly receives a visit from a prominent Russian guest who wants to inform him about the inefficiency of the Monstrous country – Yugoslavia. Delegates convene in order to find a solution. The Secret of IB Castle was inspired by the one-act play Druga rezolucija (The Second Resolution) from the theatre Kerempuhovo vedro kazalište.. It is one of the three adaptations of the Kerempuh one-act plays that were made by Jadran film in 1950 and 1951.

SCENARIJ / SCREENPLAY Fadil Hadžić MONTAŽA / EDITING Lida Braniš KAMERA / CINEMATOGRAPHY Sergije Tagatz OBLIKOVANJE ZVUKA / SOUND DESIGN Albert Pregernik SCENOGRAFIJA / ART DIRECTOR Ljubu Petričić KOREOGRAFIJA / COREOGRAPHY Nenad Lhotka ULOGE / CAST Silvija Hercigonja, Gregor Radev, Nenad Lhotka, Štefica Kiš, Milko Šparemblek PRODUKCIJA / PRODUCTION Jadran film DISTRIBUCIJA / DISTRIBUTION Hrvatski državni arhiv – Hrvatska kinoteka 170

REŽIJA / DIRECTOR Milan Katić YU 1951 23’00’’ CB / BW igrani / fiction


KAD GLUMCI REŽIRAJU ACTORS AS DIRECTORS

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Glumci režiraju Actors Directing

U prirodi je glumačke profesije stalno isprobavati nešto novo. Jedna od tih novih stvari jest i redateljski posao, koji se u autorskim kinematografijama poput hrvatske još od školovanja mladih filmaša sistemski kuje u zvijezde. Naprosto, ne može baš svatko postati redatelj. Glumci pak, u najvećem broju slučajeva, ostaju u svojim histrionskim gabaritima, no ima onih koji se okuraže i eksperimentiraju. Tako se Nina Violić pričajući o svom filmu Odvajanje, najavljujući pritom i prvu dugometražnu režiju, odmah ogradila riječima: “Nisam redateljica, niti to želim postati – samo učim nešto novo”. U ovoj selekciji prikupili smo nekoliko vrijednih dokumenta upravo takvih eksperimenata i učenja. Filip Šovagović u Strejt pulu sastavio je svoj narativno najčitljiviji film, Jagoda Kaloper dokumentarno je u Iza ogledala ispitivala vlastite filmske uloge, a Jakša Borić se s Emilom Matešićem upustio u interesantnu igranu minijaturu naslovljenu Torsia. (Željko Luketić) It is in the nature of the acting profession to constantly try out something new. One of these things is directing – the most lauded profession of auteur film, including the Croatian cinema. After all, not everybody can be a director. Actors, however, mostly remain within their histrionic framework. But there are the audacious who choose to experiment. Talking about her film Separation and announcing her first feature debut, Nina Violić immediately explained: ‘I am not a director, nor do I want to be one – I am just learning something new’. In this selection, we have gathered several valuable documents of these types of experiments. Narratively speaking, Straight Pool is Filip Šovagović’s most coherent film to date; in Behind the Looking Glass, Jagoda Kaloper examins her own film roles, while Jakša Borić and Emil Matešić embark on an interesting fictional miniature in the film Torsia. (Željko Luketić)

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KINO TUŠKANAC 24. 4. 2015. 21:00


REŽIJA / DIRECTOR Nina Violić HR 2014 10‘00’’ igrani / fiction

Odvajanje Separation Majka provodi dan na bazenu sa svojom kćerkom. No kada je nakratko izgubi iz vida, mirna vodena površina pretvori se u vrtlog nemira i tjeskobe. Redateljski prvijenac.

SCENARIJ / SCREENPLAY Nina Violić MONTAŽA / EDITING Damir Čučić KAMERA / CINEMATOGRAPHY Tamara Cesarec, Eva Kraljević GLAZBA / MUSIC Hrvoje Galler OBLIKOVANJE ZVUKA / SOUND DESIGN Hrvoje Petek ULOGE / CAST Nina Violić, Roza Jurić

A mother spends a day at the pool with her daughter. After the child slips briefly out of her sight, the tranquil, blue surface transforms into a whirlpool of anxiety and fear. Directorial debut.

PRODUCENTICA / PRODUCER Zdenka Gold PRODUKCIJA / PRODUCTION Spiritus movens DISTRIBUCIJA / DISTRIBUTION Ivana Ivišić

REŽIJA / DIRECTOR Filip Šovagović HR 2010 12’00’’ igrani / fiction

Strejt pul Straight Pool Epizoda iz života dvojice studenata koji se bore s vlastitim identitetom i seksualnom orijentacijom. An episode in the life of two students struggling with their identities and their sexual orientation.

SCENARIJ / SCREENPLAY Filip Peruzović, Vedrana Klepica MONTAŽA / EDITING Vladimir Gojun KAMERA / CINEMATOGRAPHY Raul Brzić ULOGE / CAST Jure Radnić, Silvio Vovk PRODUCENT / PRODUCER Hrvoje Belanović PRODUKCIJA / PRODUCTION Akademija dramske umjetnosti DISTRIBUCIJA / DISTRIBUTION Zona sova

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REŽIJA / DIRECTOR Jakša Borić HR 2006 16’35’’ igrani / fiction

Torsia Torzija Film o kralježnici kao simbolu borbe za osobnost u sustavu u kojem je pojedinac izmanipuliran potrošač političkih, duhovnih ili etičkih načela. A film about the spine as a symbol of the fight for individuality in a system where an individual is a manipulated consumer of political, spiritual and ethical principals.

SCENARIJ / SCREENPLAY Jakša Borić, Emil Matešić MONTAŽA / EDITING Jakša Borić KAMERA / CINEMATOGRAPHY Davor Petričić GLAZBA / MUSIC Nikola Novak, Štef & Krnfa ULOGE / CAST Emil Matešić, Boris Miholjević, Anđa Marić PRODUCENT / PRODUCER Jakša Borić PRODUKCIJA / PRODUCTION Kontrafilm

REŽIJA / DIRECTOR Jagoda Kaloper HR 2011 47‘00’’ boja, CB / colour, BW dokumentarni / documentary

Iza ogledala Behind the Looking Glass Kolažni autoportret, dijalog i sučeljavanje sa vlastitim životom i životom dvadesetak uloga koje je Jagoda Kaloper igrala u filmovima redatelja poput Dušana Makavejeva. A self-portrait, a collage, dialogue and confrontation with the author’s life and around twenty film characters she has played in films by esteemed directors like Dušan Makavejev. 174

SCENARIJ / SCREENPLAY Jagoda Kaloper MONTAŽA / EDITING Martin Semenčić, Miran Miošić KAMERA / CINEMATOGRAPHY Jagoda Kaloper, arhivske snimke PRODUCENT / PRODUCER Nenad Puhovski PRODUKCIJA / PRODUCTION Factum KOPRODUKCIJA / CO-PRODUCTION Zagreb film


KRATKE LOPTE SHORT PLAYS

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Slavni redatelji o nogometu Famous Directors and Football

Kratke lopte projekt je meksičkog redatelja i producenta Daniela Gruenera koji je nastao uoči Svjetskog nogometnog prvenstva 2014. godine u Brazilu. Gruener je okupio ponajbolje svjetske redatelje oko zajedničkog zadatka: stvaranja filma o najvažnijoj sporednoj stvari na svijetu. Svatko je mogao birati jedno nogometno pravilo ili običaj i napraviti kratkometražni film u trajanju do pet minuta. U festivalskoj varijanti gledamo 21 kratkometražni film – spojen u dugometražni omnibus – o povezanosti čovjeka, filma i nogometa. Od drame, komedije, trilera, romanse do znanstvene fantastike i animacije redaju se strast, euforija, nada, uspjesi, frustracije, adrenalin, pobjeda i brojne emocije koje dijele svi povezani s filmom i nogometom. Dvadeset i jedan igrač slavna su imena svjetskoga filma: Gaspar Noé nosi dres Francuske, Viktor Kosakovski Rusije, Apichatpong Weerasethakul Tajlanda, Luca Lucini Italije, Vincent Gallo SAD-a, Carlos Reygadas Meksika, Pablo Fendrik Argentine, Karim Ainouz Brazila... a Hrvatsku predstavlja nagrađivani filmski i kazališni redatelj Bobo Jelčić (epizoda Razmjena dresova), koji će i predstaviti film na festivalu. Short Plays is a project conceived by the Mexican director and producer Daniel Gruener before the 2014 Football World Cup in Brazil. Gruener gathered the world’s best directors around a common task: to make a film about the most important pastime in the world. Everyone could choose one football rule or custom and make a short film lasting up to five minutes. In the festival form, we will present 21 short films – arranged into a full-length omnibus – about the relationship between the man, film and football. Drama, comedy, thriller, romance, science fiction and animation – all of these create passion, euphoria, hope, successes, frustrations, adrenaline, victory and a whole range of emotions, shared by everyone related to film and football. The twenty-one players in question are famous Filmmaking names: Gaspar Noé is wearing a French jersey, Victor Kossakovsky – Russian, Apichatpong Weerasethakul – Thai, Luca Lucini – Italian, Vincent Gallo – the USA, Carlos Reygadas – Mexican, Pablo Fendrik – Argentine, Karim Ainouz – Brazilian... Croatia is represented by the award-winning film and theatre director Bobo Jelčić, whose short film Jersey Exchange is part of this project, and will be screened at the Festival.

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MX 2014 100’00’’ boja, CB / colour, BW omnibus, 21 film

KINO TUŠKANAC 25. 4. 2015. 21:00

PRODUCENT / PRODUCER Daniel Gruener PRODUKCIJA / PRODUCTION Cinemateli, GB, Arte Mecanica, Itaca Films KONTAKT / CONTACT Spiritus movens


RADIONICA IDEJA: CENTRO SPERIMENTALE DI CINEMATOGRAFIA FACTORY OF IDEAS: EXPERIMENTAL FILM CENTRE

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CSC Production

Filmski eksperimentalni centar (Centro Sperimentale di Cinematografia Foundation – CSC) vodeća je talijanska institucija za edukaciju, istraživanje i eksperimentiranje na području filma. Pritom je “film” potrebno shvatiti u najširem mogućem smislu, uključujući dokumentarne, igrane i animirane filmove. Cilj centra doprinos je razvoju filmskih i audiovizualnih umjetnosti i tehnika kako bi dosegle najvišu razinu. Za to su zadužena dva ogranka centra: škola i arhiv. Nacionalni filmski arhiv (Cineteca Nazionale) čuva baštinu talijanskog filma, a Nacionalna filmska škola (Scuola Nazionale di Cinema) želi pomoći filmskim umjetnicima i stručnjacima u dostizanju najviših standarda struke. Istraživanje, eksperimentiranje, produkcija i edukativni programi primarna su sredstva pri postizanju tih ambicioznih ciljeva. Kako bi producirao filmove svojih sadašnjih i bivših studenata, Centar je otvorio produkcijski odjel CSC Production, koji se bavi i promoviranjem filmova na festivalima, pružajući im kino-, televizijsku i internetsku distribuciju. Naslovi uvršteni u program Dana hrvatskog filma samo su neki od reprezentativnih kratkometražnih filmova koje je producirao CSC. Centro Sperimentale di Cinematografia Foundation (Experimental Film Centre or CSC) is the leading Italian institution for teaching, research and experimentation in the field of film. Here, the term film should be understood in the widest sense, including documentaries, fiction and animation films. The aim of the Centre is to contribute to the development of cinematic and audiovisual arts and techniques, and raise them to the highest possible level. This work is carried out by two distinct branches of the Foundation – the School and the Archive. The Cineteca Nazionale (National Film Archive) preserves the heritage of Italian cinema, and the Scuola Nazionale di Cinema (National Film School) – with headquarters in Rome and separate centres in Piedmont, Lombardy and Sicily – aims to help film art and technical expertise to reach the highest possible standards. Research, experimentation, production and teaching programmes are the primary means of attaining these ambitious goals. In order to produce the films made by its current students and recent graduates, the CSC Production was formed. The CSC Production also promotes films at festivals, providing theatrical, television and web distribution. Films selected for the program at the Croatian Film Days are some of the most representative shorts produced by the CSC.

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KINO TUŠKANAC 25. 4. 2015. 17:00


REŽIJA / DIRECTOR Enrico Maria Artale IT 2011 10’51” igrani / fiction

Il respiro dell’arco Disanje luka / My Bow Breathing Djevojka pokušava uskladiti disanje s pokretima svog luka, strijelu za strijelom. No njezin sportski talent skriva potrebu da se povuče u primitivnu, nasilnu instinktivnost i arhetip. A girl tries to attune her breathing to the movements of her bow, arrow after arrow. But her sporting talent hides a violent instinct.

SCENARIJ / SCREENPLAY Enrico Maria Artale MONTAŽA / EDITING Paolo Landolfi KAMERA / CINEMATOGRAPHY Luca Frondoni GLAZBA, OBLIKOVANJE ZVUKA / MUSIC, SOUND DESIGN Gherardo Chelazzi ULOGE / CAST Giulia Bertinelli, Roberto Antonelli, Michele Botrugno, Gianluca Vicari PRODUKCIJA / PRODUCTION CSC Production

REŽIJA / DIRECTOR Edoardo De Angelis IT 2008 4’40’’ igrani / fiction

Fisico da spiaggia Tijelo za plažu / Beach Body Kako smršaviti u dvije sekunde? Držanje daha ima čudesne posljedice. How to slim in two seconds? Holding the breath has magic effects.

SCENARIJ / SCREENPLAY Edoardo De Angelis MONTAŽA / EDITING Chiara Griziotti KAMERA / CINEMATOGRAPHY Ferran Paredes GLAZBA / MUSIC Riccardo Ceres ULOGE / CAST Beniamino Marcone, Nicola Nocella, Livia Taruffi, Stefania Ugolini PRODUKCIJA / PRODUCTION CSC Production

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REŽIJA / DIRECTOR Piero Messina IT 2012 19’40” igrani / fiction

La prima legge di Newton Prvi Newtonov zakon / Newton’s First Law Tijelo ustraje u stanju mirovanja ili usklađenog kretanja sve dok ga na promjenu ne prisili nametnuta sila. Piero Messina (1981) radio je kao asistent Paola Sorrentina na Velikoj ljepoti. A body persists in its state of being at rest or moving uniformly unless it’s compelled to change its state by force.

SCENARIJ / SCREENPLAY Dario Bonamin, Eleonora Cimpanelli MONTAŽA / EDITING Chiara De Cunto KAMERA / CINEMATOGRAPHY Pasquale Remia OBLIKOVANJE ZVUKA / SOUND DESIGN Giacomo Corzani ULOGE / CAST Cosimo Cinieri, Anna Orso, Mario Donatone, Stefania Micheli PRODUKCIJA / PRODUCTION CSC Production

REŽIJA / DIRECTOR Fulvio Risuleo IT 2014 15’14’’ igrani / fiction

Lievito Madre Kvasac / Sourdough Klasičan ljubavni trokut. No što se dogodi kada treći nije ljudsko biće? Film je osvojio treću nagradu u programu Cinéfondation na Cannesu 2014. godine. A classic love triangle. But what happens if the third isn’t human? Third prize Cinéfondation at Cannes 2014.

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SCENARIJ / SCREENPLAY Annalisa Elba, Angelo Rago, Fulvio Risuleo MONTAŽA / EDITING Ilenia Zincone KAMERA / CINEMATOGRAPHY Juri Fantigrossi GLAZBA / MUSIC Virginia Quaranta ULOGE / CAST Virginia Quaranta, Emiliano Campagnola PRODUKCIJA / PRODUCTION CSC Production


REŽIJA / DIRECTOR Francesco Segré IT 2013 14’56” igrani / fiction

Non sono nessuno Ja sam nitko / I am Nobody Inspirirano stvarnim događajima u frenetičnom Napulju. Noćna smjena u ambulantnim kolima odmiče u uobičajeno monotonom ritmu sve dok neočekivani poziv ne ugrozi živote triju bolničara. Inspired by actual events, in a frantic Naples. The night shift of three paramedics goes dull as ever. But an unexpected call is going to jeopardize their lives.

SCENARIJ / SCREENPLAY Federico Gnesini MONTAŽA / EDITING Alberto Rigno KAMERA / CINEMATOGRAPHY Carmen Bianca Tofeni GLAZBA / MUSIC Lorenzo Tomio ULOGE / CAST Nicola Nocella, Fabio De Caro, Antonio Buonanno PRODUCTION CSC Production, Rai Cinema

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RANI RADOVI S AKADEMIJE DRAMSKE UMJETNOSTI ACADEMY OF DRAMATIC ART: EARLY WORKS

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Rani radovi Early Works

Vinko Grubišić danas je šef Jadran filma. Jasna Nanut slavna je televizijska showbiz novinarka. Filmovi Filipa Šovagovića sve su kompliciraniji. Goran Višnjić i bez bijelog liječničkog mantila izaziva pažnju. Kristijan Milić i dalje je odan sebi. Na Peščenici više nema transvestita… Uglavnom, puno se toga promijenilo od prvih koraka naših poznatih filmaša pa je utoliko zanimljivije vidjeti njihove školske pokušaje. Tada možda i malo nesigurne, no s osobitim šarmom koji može zaokružiti samo ona znana izreka “od kolijevke pa do groba najljepše je đačko doba”. U njihove indekse nećemo ulaziti jer ovo su neprofesijski, studentski filmovi zaboravljenih formata poput S-VHS-a namijenjeni isključivo edukaciji i profesorskom oku. Arhiv zagrebačkog ADU-a nevina je, vesela i razbarušena početnica domaće filmske kulture koju čuva i baš sve o njoj zna legendarni voditelj studija Mile Blažević. Zahvaljujući njegovoj pomoći, ne samo da neki od ovih ranih radova još uvijek postoje nego u njih možete zaviriti ex cathedra. (Željko Luketić)

KINO TUŠKANAC 26. 4. 2015. 19:00

Vinko Grubišić is now the CEO of Jadran film. Jasna Nanut is a popular TV showbiz journalist. The films by Filip Šovagović are becoming increasingly complex. Goran Višnjić draws attention even without his white coat. Kristijan Milić is still himself. Peščenica doesn’t have that many transvestites anymore... Basically, a lot has changed since our famous filmmakers took their first steps, which makes it that more interesting to see their student efforts. Perhaps a little insecure at the time, but containing a special charm which can be characterized only by that old saying ‘from cradle to final rest, school time remains the best’ We won’t peek into their student logs, because these are non-professional, student films made in forgotten formats like S-VHS, intended only for education and the professor’s eye. The Academy of Dramatic Art archive is an innocent, cheerful and messy beginner’s log of the Croatian film culture, preserved by the legendary head of the TV studio Mile Blažević, who knows the archive by heart. He is the one to thank not only for the preservation of some of these works, but also for their availability. (Željko Luketić)

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Autobiografija / Autobiography 1987 17’21’’ dokumentarni, TV vježba / documentary, studio exercise REŽIJA, SCENARIJ / DIRECTOR, SCREENPLAY Vinko Grubišić KAMERA / CINEMATOGRAPHY Dean Bjelinski MONTAŽA / EDITING Vesna Nikolovska Član tima Zločeste djece ovom se dokumentarnom vježbom predstavlja kao najbolji kandidat za primanje u Savez komunista Jugoslavije. A member of the comedy group Zločesta djeca (Naughty Children) presents himself in this documentary exercise as the best candidate for the League of Communists of Yugoslavia. Rastreseno gledanje kroz prozor / Absent-minded Windowgazing 1993 13’00’’ igrani / fiction REŽIJA, SCENARIJ / DIRECTOR, SCREENPLAY Vlatka Vorkapić KAMERA / CINEMATOGRAPHY Branko Linta MONTAŽA / EDITING Vesna Fijačko SCENOGRAFIJA / ART DIRECTORS Vlatka Vorkapić, Branko Linta GLAZBA / MUSIC Darko Kljajić ULOGE / CAST Branko Meničanin, Lucija Šerbedžija, Danko Ljuština, Branka Cvitković, Nataša Dorčić, Jadranka Matković, Katarina Bistrović-Darvaš, Zoran Čubrilo Priča o liječniku koji se bavi eutanazijom nastala prema motivima pripovijetki Franza Kafke Rastreseno gledanje kroz prozor i Seoski liječnik. A story about a doctor who performs euthanasia. Inspired by Franz Kafka’s stories Absent-minded Window-gazing and A Country Doctor. Paranoia? 1993 6’00’’ igrani / fiction REŽIJA, SCENARIJ, MONTAŽA / DIRECTOR, SCREENPLAY, EDITING Tihomir Žarn KAMERA / CINEMATOGRAPHY Damir Matijević GLAZBA / MUSIC Romeo & Sin ULOGE / CAST Goran Višnjić, Tihomir Žarn Prva uloga Gorana Višnjića. Snovi o proganjanju postaju stvarnost na zagrebačkom Gornjem gradu. Goran Višnjić’s first role. Dreams of persecution become reality in the Upper Town, Zagreb.

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Prijateljice s Peščenice / Friends from Peščenica 1995 9’50’’ dokumentarni, reportaža / documentary, TV report REŽIJA, SCENARIJ / DIRECTOR, SCREENPLAY Goran Rukavina Transvestiti s Peščenice nemaju problem sa svojim susjedima. Nabava šminke i ostalih potrepština koje čine “pravu ženu” daleko je teža. The transvestites from Peščenica don’t have a problem with their neighbours. It is far more difficult to acquire make-up and the other female necessities that make a ‘real woman’. Svaki homić ima flomić (Olovka) / Every Gay Man Has a Felt Pen (A Pen) 1998 3’20’’ TV vježba / studio exercise REŽIJA, SCENARIJ / DIRECTOR, SCREENPLAY Natalija Župan KAMERA / CINEMATOGRAPHY Ivan Glotz, Robert Krivec, Josip Pavić MONTAŽA / EDITING Ivan Rajković ULOGE / CAST Robert Bošković, Radovan Ruždjak, Jasna Nanut, Mario Kovač Jasna Nanut je klozetfrau koja je navikla na zvuke “muške ljubavi”. Međutim, njena šutnja nešto i košta. Jasna Nanut works at a public restroom and is used to the sounds of ‘male love’. However, her silence comes with a price. Olovka / A Pen 1995 1’40’’ TV vježba / studio exercise REŽIJA, SCENARIJ / DIRECTOR, SCREENPLAY Kristijan Milić KAMERA / CINEMATOGRAPHY Darije Petković, Mario Krce MONTAŽA / EDITING Dana Budisavljević Benigna studentska vježba na temu “Olovke” u rukama Kristijana Milića postaje eksplicitni film strave. In the hands of Kristijan Milić, a benign student exercise on the subject of ‘Pen’ becomes an explicit horror movie. Autobiografija / Autobiography 2006 6’23’’ TV vježba / studio exercise REŽIJA, SCENARIJ / DIRECTOR, SCREENPLAY Ivan Livaković KAMERA / CINEMATOGRAPHY Ranka Latinović, Daniel Ruljančić MONTAŽA / EDITING Vedran Štefan PRODUCENT / PRODUCER Davor Kanjir Baka Smiljana hospitalizirana je nakon moždanog udara. Unuk joj dolazi u posjet. After suffering a stroke, grandma Smiljana is hospitalised. There, she is visited by her grandson. 185


B.B.B. – Bad Blue Boys 1987 6’00’’ dokumentarni, TV reportaža / documentary, TV report REŽIJA, SCENARIJ / DIRECTOR, SCREENPLAY Vinko Grubišić Zagrebački navijači poznati su po gorljivom praćenju nogometnog kluba Dinamo. Saša Milošević, reporter Televizije Zagreb, nije oduševljen njihovim ponašanjem. Zagreb football fans are known for their passionate support of the Dinamo Club. Saša Milošević, a reporter for Zagreb Television, is not fond of their behaviour. O Alexu i klaviru / Alex and the Piano 1994 5’32’’ mokumentarac / mockumentary REŽIJA, SCENARIJ / DIRECTOR, SCREENPLAY Tomislav Rukavina Tomislav Rukavina i Filip Šovagović u potrazi su za značenjem poznatog zagrebačkog grafita “Alexu ne daju svirati”. Tko je bio Alex? I zašto mu ne daju svirati? Tomislav Rukavina and Filip Šovagović are searching for the meaning behind a popular Zagreb graffiti ‘They won’t let Alex play’. Who was Alex? And why didn’t they let him play? Papa was here (Zapisi jednog nevjernika) / The Pope Was Here (Notes of an Unbeliever) 1994 6’00’’ TV reportaža / TV report REŽIJA, SCENARIJ / DIRECTOR, SCREENPLAY Goran Kulenović Dolazak Pape u Hrvatsku inspirirao je mladog nevjernika. The Pope’s arrival to Croatia inspired a young unbeliever. Bad Boy (Homoseksualac u tranziciji) / Bad Boy (A Homosexual in Transition) 1999 13’28’’ TV reportaža / TV report REŽIJA, SCENARIJ / DIRECTOR, SCREENPLAY Iva Semenčić Dokumentarna reportaža u kojoj ime prvog zagrebačkog gej kluba Bad Boy nije slučajno. A documentary report in which the name of the first Zagreb gay club is not accidental. Izborni spot HDZ-a / HDZ Election Ad 1993 1’23’’ namjenski / commissioned REŽIJA, SCENARIJ / DIRECTOR, SCREENPLAY Dražen Žarković Reklamni spot za Hrvatsku demokratsku zajednicu. Prošlost ili moguća budućnost. A campaign ad for the Croatian Democratic Union (HDZ). The past or a possible future. 186


DHF VIDEODROM DHF VIDEODROME

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Glazbeni spotovi iz konkurencije namjenskog filma Music Videos in the Commissioned Films Competition Programme

Glazbene spotove, dio jedinstvene službene konkurencije namjenskog filma, uzeli smo za ruku i izveli iz mračne kinodvorane. Nismo ih odveli puno dalje, niti u puno svjetliji prostor: samo do prvog kluba koji se nalazi uz zagrebačko kino Tuškanac: Hollywood Vanity Club. Zašto u klub? Jer se radi o njihovu prirodnom okruženju, mjestu u kojemu će, ne dospiju li na kakvu glazbenu televiziju, efikasno raditi ono što namjenski film radi: promovirati glazbu, izvođače, ali i što je Danima hrvatskog filma najvažnije, njegove filmske stvaratelje. Uz to, u prostoru kluba ne samo da možete gledati spotove nego uz njih možete i zaplesati. Ili se barem ljuljuškati u opojnom ritmu novih videonota. We have taken music videos – which are part of the official competition – by the hand and led them out of the dark space of the cinema. We haven’t moved them much further, nor into a much brighter space. We have moved it to a club in the vicinity of Tuškanac cinema – Hollywood Vanity Club. Why club? Because it is the natural surroundings for music videos – a place where they will effectively do what they are supposed to do: promote music, performers, and, the most important thing for us – their directors. There, you don’t have to just watch the videos, you can also dance. Or at least sway in the stimulating rhythm of the newest video melodies.

Bang Bang: Imam / I’ve Got, Ljubo Zdjelarević Benchwarmers: Leader of the Pit, Silva Ćapin, Filip Peruzović, Dinka Radonić, Iva Ivan Gonzo: U mojoj glavi / In My Head, Luka Vucić Gonzo: Uske trapke / Tight Pants, Luka Vucić Lidija Bajuk Trio: Uspavanka / The Lullaby, Zdenko Bašić Mayales: Još te uvijek mogu / Yes, I Still Can Do That Thing to You, Andrej Korovljev Nina Romić: Možda / Maybe, Filip Filković Struna: Želim te / I Want You, Sara Hribar, Toma Zidić The Hendikeps: Zloćko / Naughty, Marko Škobalj Urban: Priđi mi bliže / Come Closer, Milica Czerny Urban, Damir Urban

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HOLLYWOOD VANITY CLUB 24. 4. 2015. 23:00

U mojoj glavi, Luka Vucić


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Iz filmskog albuma Ivice Rajkovića IZLOŽBA FOTOGRAFIJA

Povijest hrvatske kinematografije sve je dalje, ne samo vremenski nego i prostorno. Domaći filmski arhivi (u) kojima je pohranjena na čuvanje, bili oni javni ili privatni, uglavnom je drže u zatvorenim fasciklima, zaključanim ladicama i nepristupačnim depoima. To nije promijenila ni činjenica da živimo u doba sveopće digitalizacije koja, između ostalog, služi i tome da se baština približi novim naraštajima i “nostalgičnim” akterima filmske prošlosti, a osobito skrene pozornost na one koji su u svoje vrijeme ostali u sjeni “velikih” tema ili redateljskih imena. Takvoj sudbini jedva je umaknuo Ivica Rajković (1935, Udbina), fotograf, snimatelj i jedan od najvećih direktora fotografije koje je hrvatska kinematografija ikada imala. Počevši karijeru početkom šezdesetih kao fotograf i asistent snimatelja u igranim filmovima Nikole Tanhofera, Fadila Hadžića i drugih, u ulozi direktora fotografije potpisao je 21 igrani film te osamdesetak kratkometražnih igranih i dokumentarnih. Bio je omiljeni snimatelj Kreše Golika, Dušana Vukotića, Fadila Hadžića, Krste Papića, Nikole Babića, Petra Krelje, Branka Ivande, Ante Peterlića, Miroslava Mikuljana i drugih, a oni su ga pozivali na suradnju i u kratkometražnim i cjelovečernjim igranim projektima. Osim toga, među rijetkim je hrvatskim snimateljima koji su imali priliku raditi s velikanima svjetskoga filma poput Orsona Wellesa, koji mu je kao snimatelju ukazao povjerenje nekoliko puta između 1967. i 1971. godine. Rajković je ostao aktivan do sredine 1995, a osim nagrada za pojedine filmske projekte njegovo umjetničko djelo potvrdila je 2013. godine i Nagrada Vladimir Nazor za životno djelo. Tada je odlučio podijeliti svoje filmske uspomene s drugima i izložiti javnosti dio svojeg fotografskog albuma, u kojemu se osim njegovih portreta glumaca i promotivnih fotografija za razne filmove nalaze i radni fotosi produkcija u kojima je bio direktor fotografije. Hrvatski filmski savez i 24. Dani hrvatskog filma odužit će se majstoru Rajkoviću povodom njegova 80. rođendana izložbom fotografija nepoznatih prizora poznatih lica hrvatskog filma iz njegova kućnog albuma. (Diana Nenadić)

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FOAJE KINA TUŠKANAC Otvorenje izložbe 21. 4. 2015. 19:30 22. – 26. 4. 2015. 16:00 – 23:00

Dizajn Mileusnić + Serdarević

Orson Welles i Ivica Rajković u Veneciji, 1969.


Ivica Rajković: Film Album PHOTO EXHIBITION

The history of Croatian Cinema is becoming more distant, not just in terms of time, but also space. The domestic film archives in which it is stored, be they public or private, mostly keep it in closed folders, locked drawers and inaccessible depots. The situation has not been changed by the fact that we live in the age of universal digitalisation which, among other things, serves to make the cultural heritage accessible to the new generations and ‘nostalgic’ participants in the film past, and to draw attention to those who, at the time, remained in the shadow of ‘big’ themes or names. Such destiny almost befell Ivica Rajković (1935, Udbina) – a photographer, cinematographer and one of the greatest directors of photography of Croatian film. He began his career in the early 1960s as a photographer and assistant cinematographer in the films by Nikola Tanhofer, Fadil Hadžić and others. He worked as a cinematographer on 21 feature films and around 80 short fiction and documentary films. He was the favourite cinematographer of Krešo Golik, Dušan Vukotić, Fadil Hadžić, Krsto Papić, Nikola Babić, Petar Krelja, Branko Ivanda, Ante Peterlić, Miroslav Mikuljan and others. He collaborated with them on both short and feature-length projects. In addition, he is one of the few Croatian cinematographers who had a chance to work with the greats like Orson Welles, who made use of his professional skills several times between 1967 and 1971. Rajković remained professionally active until 1995 and received many awards for his work, including the 2013 Vladimir Nazor Award for Life Achievement in Film – a confirmation of his artistic contribution. Deciding to share his filmmaking memories, he presented to the public a part of his photo album, which contains portraits of actors, and production and promotional photographs from various films on which he was engaged as director of photography. The Croatian Film Association and the 24th Croatian Film Days are going to honour this master of cinematography by marking the celebration of his 80th birthday with an exhibition of previously unseen photographs from his private album, containing famous figures of Croatian film. (Diana Nenadić)

Izbavitelj, Krsto Papić, 1976.

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Kako razvijati i predstaviti projekte u početnoj fazi za međunarodno tržište RADIONICA I PITCHING FORUM

Dani hrvatskog filma u suradnji s Deskom Kreativne Europe – Uredom MEDIA organiziraju radionicu o razvoju i predstavljanju projekata u početnoj fazi za međunarodno tržište za filmske profesionalce i studente, redatelje i scenariste koji planiraju kratkometražni igrani ili dokumentarni projekt. Radionica se sastoji od četiri bloka – analize strukture scenarija i ključnih točaka u priči koje treba predstaviti preko individualnih sastanaka do generalnih proba za pitching – a vodi je ugledna njemačka producentica Roshanak Behesht Nedjad, članica Europske i Njemačke filmske akademije te diplomantica i mentorica najpoznatijeg europskog edukativnog programa za filmske producente EAVE – European Audiovisual Entrepreneurs. U subotu, 25. 4. održat će se pitching forum tijekom kojega će mladi scenaristi i redatelji imati priliku predstaviti svoje projekte. Dobitnici priznanja za najbolji pitch bit će objavljeni zajedno s dobitnicima nagrada 24. Dana hrvatskog filma. Scenaristički klub napredna je šestomjesečna radionica scenarija kratkometražnog igranog filma koju organizira Palunko, scenaristički projekt Hrvatskog filmskog saveza. Klub je pokrenut 2010. godine u suradnji s Kinoklubom Zagreb i Blank_filmskim inkubatorom s idejom da svima koji su završili neku od početnih scenarističkih radionica omogući kontinuirani rad na scenarističkom usavršavanju. Namjera je popuniti nedostatak dugoročnog scenarističkog obrazovanja u Hrvatskoj, stimulirati kvalitetniju produkciju scenarija, posebno hibridnih i transmedijalnih formi, te povećati mogućnost njihove produkcije. Scenaristički klub mentorira Uroš Živanović, a svake godine kroz program prođe petnaestak polaznika, koji razviju tridesetak scenarija. Od 2012. godine svaka postava polaznika svoj rad završava pitchingom: “proljetnim” izdanjem na Danima hrvatskog filma ili “jesenjim” na Zagreb Film Festivalu. Ove godine na Danima hrvatskog filma pitching Scenarističkog kluba uklopljen je u novi festivalski edukativni program. To je nastavak višegodišnje suradnje koja je počela 2003. godine, na 13. Danima hrvatskog filma, gdje je Palunko organizirao svoju prvu scenarističku radionicu. Dio polaznika Scenarističkog kluba izravno je odabran u radionicu Dana i svoje će projekte predstaviti na pitching forumu.

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MALA DVORANA KINA TUŠKANAC RADIONICA 23. - 24. 4. 2015. DVORANA MÜLLER PITCHING FORUM 25. 4. 2015. 10:00 – 12:00

VODITELJICA RADIONICE / WORKSHOP MENTOR Roshanak Behesht Nedjad ČLANOVI ŽIRIJA PITCHING FORUMA / PITCHING FORUM JURY Roshanak Behesht Nedjad, Martina Petrović POLAZNICI / PARTICIPANTS Animal (Ante Marin), A ko koko da (Anita Čeko), Next Year, This Time (Nikolina Hrga, Vilka Alfier), Somewhere (Katarina Radetić, Ana Rajić), Counterattack (Maša Zamljačanec, Borut Šeparović); Scenaristički klub (Palunko): Half-woman, Half-fish (Dražena Bašić Lovrić), All the Way to the Top (Matija Drniković), XY (Ivan Petričec), Kafkaman (Sanja Repanić Blažičko), Broken (Lidija Špegar)


Development and Pitching of Projects in Their Initial Stage for International Market WORKSHOP AND PITCHING FORUM

In co-operation with Creative Europe Desk – MEDIA Office, the Croatian Film Days are organising a workshop about development and pitching of projects in their initial stage for international market for film professionals and students, directors and screenwriters who are developing a short fiction or documentary project. The workshop consists of four parts – analysis of the screenplay structure and key plot point, individual meetings, and general rehearsals for the final pitching. It is facilitated by the esteemed German producer Roshanak Behesht Nedjad. She is member of the German Film Academy as well as the European Film Academy, an EAVE graduate and group leader. The pitching forum will take place on Saturday, 25th April. The winners of the award for best pitching will be announced together with the winners of the Festival awards. The Screenwriters’ Club is an advanced-level six-month workshop for short fiction film scriptwriting, organised by the Croatian Film Association’s scriptwriting project Palunko. The Club was founded in 2010, in co-operation with Kinoklub Zagreb and Blank_film incubator. Intended for those who have already completed some of the beginners’ classes, the workshop offers them the opportunity to continue improving their scriptwriting skills. The intention of the Screenwriters’ Club is to compensate for the lack of long-term screenwriting education in Croatia and stimulate better screenplay production. It is mentored by Uroš Živanović. Since 2012, every group marks the end of the workshop by holding a pitching: the ‘spring’ edition at the Croatian Film Days or the ‘fall’ edition at the Zagreb Film Festival. This year, the Club’s pitching is incorporated into the new programme of the Croatian Film Days. This presents the continuation of a long collaboration which started in 2003, at the 13th Croatian Film Days – when the first Palunko scriptwriting workshop was held. Some of the participants of the Screenwriters’ Club have been directly selected to take part in the Croatian Film Days workshop, after which they will present their projects at the pitching forum.

Roshanak Behesht Nedjad

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Radionica filmske kritike Critical Writing Workshop RADIONICA / WORKSHOP

Radionica filmske kritike želi osposobiti nove domaće kritičarske snage koje će o filmu moći pisati argumentirano i analitički, iznoseći precizno artikulirane vrijednosne sudove. Cilj je svakako osigurati kvalitetno promišljanje domaćeg filma – stručno utemeljeno i zasnovano na promišljanju filmske forme i jezika. Radionica upoznaje polaznike s osnovnim postulatima kritike, a uključuje teorijsku poduku, gledanje i analizu filmova iz natjecateljskog programa 24. Dana hrvatskog filma te zatim pisanje kritika ili eseja. Najbolji rad bit će objavljen u Hrvatskom filmskom ljetopisu, a autor simbolično nagrađen.

MALA DVORANA KINA TUŠKANAC 22. - 26. 4. 2015.

The critical writing workshop aims to empower new Croatian critical forces, teaching them an analytical and informed approach to critical writing and enabling them to carefully articulate their professional opinions. The goal is to ensure expert discussion of Croatian cinema, based on the qualified consideration of film form and language. The workshop will introduce the participants to basic postulates of film criticism and film theory. They will watch and analyse the films from the Festival’s competition programme, after which they will write a review or an essay. The best work will be published in the journal Croatian Film Chronicles (HFLJ), while the author will receive a symbolic reward.

VODITELJICA / MENTOR Višnja Vukašinović POLAZNICI / PARTICIPANTS Toni Ćaleta, Miro Frakić, Hrvatin Tino Perica, Siniša Šerka, Dinko Štimac, Mirna Juračak, Ana Abramović, Leonard Jurić, Lucija Klarić, Ivana Pejić 196


Salon odbijenih Salon of the Rejected

Filmovi pristigli na javni poziv 24. 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 ovogodišnjih Dana hrvatskog filma više se neće dodjeljivati nagrada Salona odbijenih, ali duga i dobra tradicija uvažavanja svakog filmskog rada svakako se nastavlja. Svi se prijavljeni filmovi mogu pogledati tijekom trajanja festivala u festivalskom videobaru, a na zadnjim stranicama kataloga možete pronaći i popis svih prijavljenih filmova na 24. Dane.

DVORANA MÜLLER, VIDEOBAR 23. – 26. 4. 2015. 12:00 – 20:00

All the entries for the 24th Croatian Film Days are a valuable document of annual Croatian short and mid-length film production. The best are competing in the official programme, while those that haven’t made the official selection belong in the so-called 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.

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Filmski festivali: kvantiteta ili kvaliteta? OKRUGLI STOL

Na Pulskom filmskom festivalu 2014. godine počela su druženja profesionalaca iz redova organizacije i financiranja filmskih festivala. Bez obzira na to što se radi o različitim pristupima, filmskim rodovima, veličini i produkcijskoj podršci, problemi su zajednički. Primjerice pitanje državne ali i regionalnih kulturnih politika i strategija razvoja, zatim općenita pitanja o zadacima povjerenika koji odlučuju o financiranju festivala te brojni tekući problemi vezani uz sporost nekih od nadležnih institucija koje odlučuju o financijama ili specifičnosti s kojima se pojedini festivali susreću. Pokušat ćemo odgovoriti na konkretna pitanja i teme: Kako u svome statusu prema publici i financijerima stoje neprofitni festivali? Koji je smisao specijaliziranih festivala poput onih koji prikazuju primjerice samo turističke filmove? Postoji li interes festivala za zajedničkim nastupom prema sponzorima i dobavljačima usluga i dobara radi dobivanja povoljnijih uvjeta? Smatraju li organizatori druge festivale rivalima ili prijateljima? Što za lokalne uprave gradova znače filmski festivali? Što znači sintagma nacionalni festival? Jesu li neki festivali u lošijem položaju jer se ne mogu prijaviti na europske fondove i ovise li potpuno o politici? Okrugli stol otvoren je samo za pozvane profesionalce i predstavnike institucija koje navodimo u nastavku, ali sažetak i zaključci bit će objavljeni u budućim znanstvenim publikacijama Dana hrvatskog filma. Prvi dio diskusije (60 min) rezerviran je samo za predstavnike filmskih festivala i međufestivalska pitanja, a u drugom djelu, uz dolazak predstavnika gradskih, državnih i europskih savjetnika, rasprava je planirana u smjeru tema kulturne politike i financiranja festivala.

POZVANI SUDIONICI Zdenka Gold, Željko Luketić (Dani hrvatskog filma), Joško Jerončić (Split Film Festival), Marina Kožul, Sanja Grbin (Festival 25 FPS), Petar Milat (Human Rights Film Festival), Boris T. Matić (Zagreb Film Festival), Vjera Matković (Animafest – Zagreb), Igor Mirković, Matko Burić (Motovun Film Festival), Alen Munitić (Festival mediteranskog filma Split), Nenad Puhovski, Lucija Parać (ZagrebDox), Gordana Restović, Tanja Miličić, Nataša Šimunov (Pulski filmski festival), Igor Rakonić (Vukovar Film Festival), Luka Rinčić, Iva Grahor (Festival tolerancije), Sergej Stanojkovski (Avvantura Film Festival), Teodor Celakoski, Mima Simić, Slaven Zečević (umjetnički savjetnici za komplementarne djelatnosti, HAVC), Tedi Lušetić (zamjenik pročelnika Gradskog ureda za obrazovanje, kulturu i sport Grada Zagreba), Martina Petrović (Desk Kreativne Europe – Ured MEDIA), Daniel Rafaelić, Oliver Sertić, Branka Sömen, Daniel Šuljić (članovi Vijeća za filmsku djelatnost Grada Zagreba), Nikola Stojadinović (stručni savjetnik za filmsku djelatnost Grada Zagreba)

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Film Festivals: Quantity or Quality? ROUND TABLE

The 62nd Pula Film Festival saw the beginning of the organised gatherings of professionals in film festival organisation and financing. Although the approaches, genres, and production size and support may vary, the problems remain the same. For example, the issue of national and regional cultural policies and development strategies, the question of the duties of the commissioners deciding on festival financing, including numerous problems pertaining to the slow functioning of the institutions in charge of financing, and various other issues tackled by particular festivals. We will try to address specific questions and topics: What is the position of non-commercial festivals in terms of audience and financiers? What is the purpose of specialised festivals like those that screen only tourist films? Are festivals interested in a joint approach to sponsors, suppliers and service providers in order to achieve better conditions? Do festival organisers consider other festivals their rivals or friends? What is the importance of film festivals for local governments? What is the meaning of the phrase ‘national festival’? Are some festivals in a worse position due to their inability to apply for European funds and their complete dependence on politics? The round table is open only for the invited professionals and representatives of the institutions listed further in the text. However, the summary and conclusions will be published in the coming professional publications of the Croatian Film Days. The first part of the discussion (60’) is reserved for the representatives of film festivals and for issues of inter-festival relations, and the second part will feature the representatives of city, state and European advisors. The discussion will focus primarily on the topics of cultural policies and festival financing. PARTICIPANTS (INVITATION REQURED)
 Zdenka Gold, Željko Luketić (Croatian Film Days),
Joško Jerončić (Split Film Festival), Marina Kožul, Sanja Grbin (25 FPS Festival), Petar Milat (Human Rights Film Festival), Boris T. Matić (Director of Zagreb Film Festival), Vjera Matković (Animafest – Zagreb), Igor Mirković, Matko Burić (Motovun Film Festival), Alen Munitić (Mediterranean Film Festival Split), Nenad Puhovski, Lucija Parać (ZagrebDox), Gordana Restović, Tanja Miličić, Nataša Šimunov (Pula Film Festival), Igor Rakonić (Vukovar Film Festival), Luka Rinčić, Iva Grahor (Festival of Tolerance), Sergej Stanojkovski (Avvantura Film Festivala) Teodor Celakoski, Mima Simić, Slaven Zečević (Artistic Advisors for Complementary Activities, HAVC), Tedi Lušetić (Deputy
Head of the Zagreb City Office for Education, Culture and Sport), Martina Petrović (Creative Europe Desk – MEDIA Office Croatia), Daniel Rafaelić, Oliver Sertić, Branka Sömen, Daniel Šuljić (Zagreb City Council for Audiovisual Programmes), Nikola Stojadinović (Expert Advisor for Audiovisual Programmes at Zagreb City)

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Hrvatski audiovizualni centar: Programi međunarodne suradnje Croatian Audiovisual Centre: International Co-operation Programmes INFO DAN / INFO DAY

U proteklih šest godina Hrvatski audiovizualni centar sufinancirao je 592 programa međunarodne suradnje. Radi se o nizu programa za pomoć promociji, umrežavanju i stručnom usavršavanju hrvatskih filmskih profesionalaca, primjerice predstavljanju hrvatskih filmova i autora na svjetskim festivalima i sajmovima, sudjelovanju na radionicama i pitching forumima te edukacijskim programima. Javni poziv za međunarodnu suradnju provodi se kao dio javnog poziva za komplementarne djelatnosti, a obuhvaća devet potprograma preko kojih je samo 2014. godine prošlo više od 119 filmskih profesionalaca. Na info danu govorimo o smjernicama javnog poziva koje se odnose na radionice: o programima i mogućnostima prijave, uvjetima sudjelovanja i rokovima. Bit će riječi o programima EAVE, EKRAN, BABYLON, AdaptLab, Animation Sans Frontièrs, MAIA, European Short Pitch (NISI MASA), Sources2 i mnogim drugima. In the last six years, the Croatian Audiovisual Centre has co-financed 592 international co-operation programmes – a series of programmes for aiding promotion, networking and professional development of those working in Croatian film industry, for example, presenting Croatian Films at international festivals and markets, participating in workshops and pitching forums, and educational programmes. The public call for international co-operation is part of the public call for complementary activities, and it includes nine subprogrammes which engaged over 119 film professionals in 2014 alone. On Info Day, we will talk about the public call guidelines pertaining to workshops: about the programmes and application prospects, terms and conditions of participation and deadlines. We will also talk about the following programmes: EAVE, EKRAN, BABYLON, AdaptLab, Animation Sans Frontièrs, MAIA, European Short Pitch (NISI MASA), Sources2 and many others.

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Savez scenarista i pisaca izvedbenih djela SPID Association of Screenwriters and Performing Arts Writers (SPID) PREDSTAVLJANJE / PRESENTATION

Savez scenarista i pisaca izvedbenih djela ili SPID prvo je hrvatsko strukovno udruženje pisaca izvedbenih djela: scenarista, dramatičara, dramaturga i svih onih koji pišu umjetnička i autorska djela za film, kazalište, televiziju, radio, internet, strip i nove medije. Osnovano je ove godine inicijativom scenarista i dramatičara u Ogranku dramskih pisaca i scenarista Hrvatskog društva dramskih umjetnika i scenarističkog projekta Palunko Hrvatskog filmskog saveza. SPID je nastao zbog okupljanja zajednice pisaca izvedbenih djela koja aktivno sudjeluje u domaćoj i međunarodnoj kulturnoj i kreativnoj industriji. Cilj je, između ostalog, promicanje prava pisaca izvedbenih djela, zalaganje za adekvatno vrednovanje njihova rada i zaštitu primjenom Zakona o autorskom i srodnim pravima. Predsjednica SPID-a je Zinka Kiseljak, članovi Upravnog odbora su Jasmina Kallay, Sanja Kovačević, Irena Krčelić i Uroš Živanović, a tajnica je Lana Šarić. U ostalim tijelima udruženja su i Sandra Antolić, Anita Čeko, Milijan Ivezić, Ivor Martinić, Jelena Paljan, Tomislav Zajec i Jasna Žmak. Na Danima hrvatskog filma osnivačka grupa upoznat će zainteresirane s vodstvom SPID-a, petogodišnjom strategijom, planom i informacijama o učlanjenju.

DVORANA MÜLLER 25. 4. 2015. 12:00

Association of Screenwriters and Performing Arts Writers (SPID) is the first Croatian association of performing arts writers: screenwriters, playwrights, and authors of written art and original texts for film, theatre, television, radio, internet, graphic novels and new media. It was founded this year at the initiative of the screenwriters and playwrights from the Dramatic Writers and Screenwriters Branch of the Croatian Association of Dramatic Artists and the Croatian Film Association’s scriptwriting project Palunko. SPID was founded with the intention of forming a community of performing arts writers that would actively participate in domestic and international cultural and creative industry. It aims to advance rights, advocate an adequate valuation of their work and protection under the Copyright and Related Rights Act. Zinka Kiseljak is President of the Association; members of the Administrative Board are Jasmina Kallay, Sanja Kovačević, Irena Krčelić and Uroš Živanović; Lana Šarić is Secretary of the Association. Other bodies of the Association include Sandra Antolić, Anita Čeko, Milijan Ivezić, Ivor Martinić, Jelena Paljan, Tomislav Zajec and Jasna Žmak. At the Croatian Film Days, the founders group will acquaint those interested with the SPID governing body, its five-year strategy, one-year work plan and all the necessary information about the membership.

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Dokumenti vremena 01 – Grožnjanske godine PREDSTAVLJANJE

Hrvatskih devedesetih bilo je teško (pre)živjeti, a jednako teško dokumentirati život. Stvarnosnih izazova bilo je mnogo, stvarnih mogućnosti za filmsku reakciju na njih mnogo manje. Kamere su još bile preskupe i preteške za nezavisnu produkciju, javnost nespremna za prihvaćanje drugog ili drukčijeg. Kinematografska politika bila je politikantska i voluntaristička: dokumenaristiku je maćehinski prepustila “skrbi” jednoumne državne televizije, i to u vrijeme kada su zvukovi i slike s mladog akademskog ekrana obećavali nove, mnoštvene i inovativne dokumentarne sudare sa zbiljom. Jedan, ako ne i jedini način da se oni i dogode, bilo je osmišljavanje ili izmišljanje novih produkcijskih sredina koje su u stanju detabuizirati i stvarnost i dokumentarizam, a mladim filmašima omogućiti da oslobode zakopčane stvaralačke energije daleko od nadzora središnjica moći. Prilika za to ukazala se sredinom 1990-ih u “sretnoj nigdini”, kako je jedna od polaznica Imaginarne akademije, ljetne filmske škole pokrenute 1995. u istarskom Grožnjanu, krsteći vlastiti film nazvala mjesto dokumentarističke inicijacije nove generacije i njezina bijega od mentalnih stega poslijeratnog postkomunizma. Prema prvotnoj zamisli trojice pokretača, umjetničkih pedagoga Rajka Grlića, Nenada Puhovskog i Vjerana Zuppe, slikoviti istarski gradić, tada već poznata oaza za kreativce raznih profila iz cijeloga svijeta, trebao je postati i ljetno stjecište mladih scenarista, redatelja i filmaša iz Hrvatske, ali i ostalih dijelova tranzicijske (istočne, jugoistočne) i ine Europe, gdje će učiti pisati i razvijati scenarij. Ključnu podršku dobili su od Soroševa Instituta Otvoreno društvo, u okviru kojeg je već djelovao Centar za dramsku umjetnost, uz Sveučilište Ohio iz Athensa, jedan od osnivača Imaginarne akademije. Kasnije im se pridružila i zagrebačka ADU. Akademija je vrlo brzo proširila program, a već treće godine na inicijativu Nenada Puhovskog dobila je i dokumentarnu radionicu iz koje su počeli izlaziti kratkometražni filmovi spremni za postprodukciju u zagrebačkom Factumu, bratskom dokumentarnom projektu koji je 1997. Puhovski pokrenuo u okviru CDU-a. Tom personalnom unijom osiguran je kontinuitet rada na dokumentarnom filmu, a Factum je, upravo finalizirajući filmove “imaginirane” pod istarskim nebom, potkraj devedesetih počeo mijenjati krvnu sliku domaće dokumentaristike. Pod Factumov (post)produkcijski kišobran smjestilo se tako dvadesetak filmova nastalih pod okriljem Imaginarne akademije i nadzorom njezina mentorskog tima, koji je pojačan istaknutim pripadnicima autorske generacije jugoslavenskog filma kao što su Branko Ivanda i Karpo Aćimović Godina te uglednim predavačima scenaristike, estetike i teorije filma iz svijeta. Kinematografijama 202

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DVD Dokumenti vremena 01 – Grožnjanske godine nastao je u produkciji Imaginarne akademije/Factuma. Ottavio, Diana Groó, Attila Kékesi, 1998 Circa Oaza / Circa Oasis, Tatjana Božić, 1999 Pitka voda i sloboda III / Drinking Water and Freedom 3, Rajko Grlić, 1999 Sretno! / Good Luck!, Dalibor Matanić, Tomislav Rukavina, Stanislav Tomić, 1999 Godine hrđe / The Years of Rust, Andrej Korovljev, 2000 O kravama i ljudima / Of Cows and Men, Zrinka Matijević Veličan, Nebojša Slijepčević, 2000 Terra Roza, Aldo Tardozzi, 1999 Napušteni grad / The Abadoned Town, Magdalena Piekorz, 2000


regije, pa tako i hrvatskoj, vraćena su znanja, razmišljanja i vještine mladih autora i autorica koji su do danas već stekli barem omanje ili prepoznatljive opuse (Tatjana Božić, Tomislav Fiket, Diana Groó, Ahmed Imamović, Atilla Kékesi, Andrej Korovljev, Dalibor Matanić, Zrinka Matijević Veličan, Igor Mirković, Nebojša Slijepčević, Aldo Tardozzi, Stanislav Tomić i dr.). A najveći hrvatski poluotok dobio je u samo nekoliko godina niz raznolikih portreta jer su polaznici Akademije tražili teme na licu mjesta, u bližoj i daljoj okolici Grožnjana, opisujući svojim filmovima puni krug od morske do kontinentalne Istre sa svim onim što se na tom dijelu zemlje nalazi. (Diana Nenadić)

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Documents of time 01 – Grožnjan Years PRESENTATION

The 1990s in Croatia were a hard time to live through, let alone document its reality. The challenges were many, and the opportunities to use film as a means of commenting on the situation were few. Cameras were still too expensive and too heavy for independent production; the public was not ready to accept the Other and the different. Film policies were based in politics and volunteerism: documentary form was treated as a stepchild left at the mercy of the single-minded state television in the time when sounds and images created in the young academic scene were promising plentiful and innovative documentary clashes with reality. One, and possibly the only, way to make those clashes possible was to devise and create new production spaces away from the centres of power, to remove the stigma of taboo from reality and documentary and to allow young filmmakers to free their creative energies from forced restrictions. The opportunity to do that came in the mid-1990s, in ‘the happy oblivion’, as one of the participants of the Imaginary Academy – a summer film school founded in 1995 in Grožnjan – named her film, referring to the place of documentary initiation of the new generation and her escape from the psychological shackles of the post-war post-communism. The original idea of the three initiators – artistic pedagogues Rajko Grlić, Nenad Puhovski and Vjeran Zuppa – was to turn the picturesque Istrian town, by then a popular oasis for a wide variety of creative individuals from all over the world, into a summer meeting place for young screenwriters, directors and filmmakers from Croatia, and other parts of transition (Eastern and Southern) Europe. It was a place where they learned to write and develop screenplays. Crucial support came from George Soros’s Open Society Institute. The Institute already supported the operations of the Centre for Drama Art, which was one of the founders of the Imaginary Academy, together with the Ohio University, Athens. Later, they were joined by the Zagreb Academy of Dramatic Art. The Academy soon expanded the programme, and in the third year, it started a documentary workshop at the initiative of Nenad Puhovski. The workshop produced short films ready for post-production at Factum – a sister documentary project within the CDU started by Puhovski in 1997. This personal union ensured the continuity of documentary film production in the late 1990s. By finalising the films ‘imagined’ under the Istrian sky, Factum started to revitalize the domestic documentary production. The Factum (post)production took under its wing around twenty films that were created in the Imaginary Academy under the supervision 204

The DVD Documents of Time 01 – Grožnjan Years was produced by the Imaginary Academy/Factum.


of its team of mentors – which was reinforced by notable members of the auteur generation of Yugoslav cinema such as Branko Ivanda and Karpo Aćimović Godina, as well as renowned scriptwriting, film aesthetics and film theory lecturers from all over the world. The regional cinematography, including Croatian, once again boasted the skills and reflections of young authors who have by now acquired small and distinguished bodies of work at the least (Tatjana Božić, Tomislav Fiket, Diana Groo, Ahmed Imamović, Atilla Kekesi, Andrej Korovljev, Dalibor Matanić, Zrinka Matijević Veličan, Igor Mirković, Nebojša Slijepčević, Aldo Tardozzi, Stanislav Tomić and others). In just a couple of years, the biggest Croatian peninsula gained a series of diverse portraits because the members of the Academy looked for their themes right there around them, in the vicinity of Grožnjan and its surroundings. Their films created a comprehensive representation of the coastal and continental Istria, which presented all the peculiarities of that region. (Diana Nenadić)

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MEGA: Škola za medijsko poduzetništvo MEGA: Media Business School PREDSTAVLJANJE / PRESENTATION

MEGA je inicijativa Škole za medijsko poduzetništvo (MBS). To je devetomjesečni magistarski program usavršavanja koji pruža specijaliziranu obuku za proizvodnju sadržaja i upravljanje tvrtkama u audiovizualnoj industriji. Program je namijenjen mladim producentima koji su završili školovanje i želi pripremiti novu generaciju poduzetnika znanjem i vještinama nužnim za poslovanje u digitalnoj ekonomiji. MBS jedan je od vodećih europskih centara za medijsko obrazovanje, istraživanje i razvoj. Njegovi studijski programi nude najvišu razinu obrazovanja te su stvoreni kako bi potaknuli projekte i razvoj karijera audiovizualnih stručnjaka. Istovremeno su prilagođeni potrebama početnika, ali i iskusnih producenata i direktora u audiovizualnoj industriji. Voditelj programa je Pere Roca, redovni predavač Škole za medijsko poduzetništvo od njezina osnutka 1991. godine i voditelj programa MEGA, inicijative europskog programa MEDIA. MEGA is a Media Business School (MBS) initiative. It is a nine-month programme for professional development, which offers specialised training in content production and business management in the field of audiovisual industry. The programme is intended for young producers who have completed their education and it aims to provide a new generation of businessmen with the knowledge and skills necessary for doing business in the digital economy. MBS is one of the leading European centres for media education, research and development. The MBS study programmes offer the highest level of education with the purpose of supporting the development of projects and careers of audiovisual professionals. At the same time, they are adapted to the needs of beginners, as well as experienced producers and directors in the audiovisual industry. Pere Roca is the programme co-ordinator. He has been a full-time lecturer at the Media Business School since its inception in 1991. He is also Director of the Masters Programme MEGA, an initiative of the European programme MEDIA.

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Pere Roca logotipo mbs 1 color

media business school


Dugometražni život kratkometražnog filma The Full-Length Life of the Short-Length Film OKRUGLI STOL / ROUND TABLE

Kratkometražni film najčešće se smatra odskočnom daskom za filmaše koji žele doći do dugometražnih formi. No možemo li svesti kratki film na puku vježbu za dugi ili je riječ o pogrešnom vrednovanju jedne umjetničke forme? Drugi je problem kratkometražne produkcije vrlo kratak životni vijek filma. Prikazuju se kao novi rad na festivalima i tek ponekad u specijaliziranim retrospektivama ili dodacima na raskošnijem DVD-u. Može li se nekim akcijama produžiti život kratkometražnog filma? Jesu li mu kanali distribucije poput kina i televizije otvoreni samo kada izađe iz proizvodnje? Primjerice, dobru praksu prikazivanja kratkometražnog filma prije cjelovečernjeg danas prakticira tek nekoliko kina umjetničkog predznaka, a tek par TV programa nađe mjesta za kratki metar. Osnovno pitanje koje se postavlja na okruglom stolu o vidljivosti, distribuciji i plasmanu kratkometražnog filma u Hrvatskoj, ali i šire pitanje je može li život kratkometražnog filma postati – dugometražni.

DVORANA MÜLLER 25. 4. 2015. 16:00

POZVANI SUDIONICI Milo De Grisogono (Nova TV), Nikica Gilić (profesor, filmolog), Hrvoje Hribar (HAVC), Ivana Ivišić (nezavisna promotorica), Marcella Jelić (Klasik TV), Siniša Juričić (producent), Hana Jušić (redateljica), Hrvoje Laurenta (Hrvatska mreža nezavisnih kina), Ivan Lovrećek (RTL), Mladen Matičević (BFDKF), Damir Milinić (Cinestar), Diana Nenadić (HDFK), Jure Pavlović (redatelj), Igor Saračević (MaxTV), Danilo Šerbedžija (DHFR), Dean Šoša (HRT 3)

The short film is often seen as a springboard for the filmmakers who want to make full-length features. But can we really reduce the short form to a mere exercise for the full-length one, or is it an altogether wrong approach to the appreciation of an entire separate art form? Another problem of short film production is the very short lifespan of these films. They are screened at festivals as new entries, and sometimes as part of retrospectives or special features on a particularly well-equipped DVD. Can the lifespan of the short film be extended through specific initiatives? Are the channels of distribution accessible to a particular short film only while it’s still new? For example, few cinemas implement the positive practice of screening a short film before a full-length feature, and those that do are noncommercial. Even television programmes make hardly any room for the short metre. The issues that will be raised during the round table discussion are those of visibility, distribution and positioning of Croatian short film. The wider question is whether the lifespan of the short-length film can become full-length?

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IN D E KS INDEX

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NAGRADE 23. DANA HRVATSKOG FILMA, 2014. 23RD CROATIAN FILM DAYS AWARDS, 2014

Grand Prix za najbolji film / The Grand Prix Nije dodijeljen / Not awarded Oktavijan za namjenski film / The Oktavijan Award for Best Commissioned Film I ti si nekome lijek, Tomislav Šoban Oktavijan za glazbeni spot / The Oktavijan Award for Best Music Video Detour: Snijeg, Branko Pašić Oktavijan za eksperimentalni film / The Oktavijan Award for Best Experimental Film Deep End Art No 1, Ivan Ladislav Galeta Oktavijan za animirani film / The Oktavijan Award for Best Animated Film Simulacra, Ivana Bošnjak, Thomas Johnson Oktavijan za kratkometražni igrani film / The Oktavijan Award for Best Short Fiction Film Slučajno, Tanja Golić Oktavijan za dokumentarni film / The Oktavijan Award for Best Documentary Film Autofokus, Boris Poljak Zlatni Oktavijan / The Golden Oktavijan Award Borivoj Dovniković Bordo Nagrada Zlatna uljanica / The Golden Oil-lamp Award Drekavac, Ivan Mokrović Nagrada Jelena Rajković / The Jelena Rajković Award Sonja Tarokić, Tlo pod nogama Nagrade Vladimir Vuković za filmsku kritiku / The Vladimir Vuković Award Danijel Brlas i Janko Heidl za doprinos filmskoj kritici / for their contribution to film criticism Nenad Pata za životno djelo / for Life Achievement 210


SVI PRIJAVLJENI FILMOVI NA 24. DANE HRVATSKOG FILMA FILMS APPLIED TO 24TH CROATIAN FILM DAYS

(u)lice putokaza, Marta Ožanić, 21’42’’, 2015, dokumentarni 201410KU, Vjekoslav Gašparović, 14’37’’, 2014, dokumentarni 201410PE, Vjekoslav Gašparović, 22’18’’, 2014, dokumentarni 22 minute i 17 sekundi do zalaska sunca, Mateja Posedi, Kinoklub Zagreb, 9’08’’, 2015, igrani 3 za 10, Luka Lovrenčić, Signi Studio, 33’53’’, 2015, dokumentarni 300 života, Dag Mravinac, Kinoklub Zagreb, 64’00’’, 2014, dokumentarni 5 poslije 12, Zdravko Fuček, HRT, 46’12’’, 2014, dokumentarni 6, pola 7, Dalija Dozet, 15art, 14’40’’, 2014, igrani A Dream, Eugen Bilankov, Kino klub Split, 3’59’’, 2014, eksperimentalni A Graphic Novel With Moving Pictures, Franko Dujmić, Klub studenata elektrotehnike, 1’00’’, 2014, namjenski A i majmuni umiru, Anja Šušanj, ALU, Zagreb film, 6’37’’, 2015, animirani A.D.A.M., Vladislav Knežević, Bonobostudio, 12’45’’, 2014, eksperimentalni Äiti, Otto Kylmala, Napafilms, 10’46’’, 2015, igrani Alke, Milan Rukavina, Leptir produkcija, 19’3’’, 2014, igrani Alos, Ratko Ilijić, 4’10’’, 2014, eksperimentalni Andrija Kačić Miošić, Zvonimir Rumboldt, HRT, 28’56’’, 2014, dokumentarni Arkadijska febra, Tea Stražičić, Zagreb film, 6’55’’, 2014, animirani As Long As I Live, Liliana Resnick, Rikšafilm, 8’30’’, 2015, eksperimentalni Azil Dumovec – dan otvorenih vrata, Luka Tokić, Blank_filmski inkubator, 0’30’’, 2014, namjenski Bakina unuka, Tomislav Šestan, Blank_filmski inkubator, 7’18’’, 2014, igrani Balance, Petar Fradelić, Kino klub Split, 11’52’’, 2014, eksperimentalni Bang Bang: Imam, Ljubo Zdjelarević, Kinoteka d.o.o., 3’48’’, 2015, namjenski Barbeque, Arsen Oremović, Karpo Media, 3’33’’, 2014, namjenski Beat TV (video), Dragan Đokić, Studio Baranda, 3’35’’, 2014, eksperimentalni Benjamin, Igor Bezinović, 3’32’’, 2015, dokumentarni Besplatno, Vlatka Vorkapić, FADE IN, 42’57’’, 2014, dokumentarni Betonska priča, Vjeran Vukašinović, Lanterna magica, 9’23’’, 2015, igrani Bogdan Mesinger: traganje za obiteljskim vrijednostima, Davor Šarić, Oksimoron, 55’00’’, 2014, dokumentarni Bolesno, Hrvoje Mabić, 94’30’’, 2015, dokumentarni Borba, Tomislav Jelinčić, ADU, 39’30’’, 2014, dokumentarni Borkov zalogaj života, Nikica Zdunić, ADU, 4’15’’, 2014, namjenski Britanski trg, Dijana Bolanča Paulić, FADE IN, 7’29’’, 2014, dokumentarni Brucošijada FER-a 2014., Margarita Vlaović, Klub studenata elektrotehnike, 1’07’’, 2014, namjenski Brzo će ti proć, Ivan Sikavica, FADE IN, 30’, 2015, dokumentarni Budi glasniji, Stanko Herceg, Gatuzo, 3’45’’, 2014, namjenski Bujroom, Alma Sarač, Kinoklub Zagreb, 7’04’’, 2014, dokumentarni Čoban, Matija Pisačić, Zagreb film, 18’20’’, 2014, animirani

Crne mačke, Marko Turčinov, Blank_filmski inkubator, 16’18’’, 2014, igrani Da je kuća dobra i vuk bi je imao, Hana Jušić, ADU, 24’15’’, 2015, igrani Da se ne zaboravi, Igor Prižmić, Menorah Film, 26’00’’, 2014, dokumentarni Daddy Issues, Judita Gamulin, Grupa sedam, 20’38’, 2014, igrani Đakovački rezovi 2014., Damir Tomić, FKK Đakovo, 0’32’’, 2014, namjenski Daleki susreti, Vilim Žlender, Kinematograf, 36’36’’, 2014, dokumentarni Dan Marjana, Igor Jelinović, Blank_filmski inkubator, 9’47’’, 2014, igrani Dan po dan, Boris Poljak, HFS, 50’20’’, 2015, dokumentarni Dancing Bear / Warner Music / London 2014, Luka Vucić, 5’49’’, 2014, namjenski Dani, Albert Kazi, 16’19’’, 2015, igrani Darth & White Vader, Davor Rogić, Diat doo, 3’50’’, 2015, eksperimentalni Depresija, Mislav Ilijašević, 1’00’’, 2014, eksperimentalni Detective Jones: Kety ima vel’ki gun, Mario Mlakar, Rational International, 5’05’’, 2014, namjenski Dinge Linge, Dorotea Vučić, 4’39’’, 2015, namjenski Dino, Rino Barbir, ADU, 3’15’’, 2015, eksperimentalni Diskodelija: Alija, Ante Storić, Varoš Media d.o.o., 3’46’’, 2015, namjenski Djeca tranzicije, Matija Vukšić, Factum, 81’00’’, 2014, dokumentarni Dječak s planine, Katarina Zrinka Matijević Veličan, HRT, 14’44’’, 2014, dokumentarni Dječja posla, Dražen Žerjav, FADE IN, 18’20’’, 2015, namjenski Dobra klima za promjene, Petra Zlonoga, Bonobostudio, 3’14’’, 2014, namjenski Dobro sam, vidimo se, Luka Čurčić, ADU, 15’00’’, 2014, igrani Double-O (Dvostruki agent), Igor Pečenjev, 26’55’’, 2014, igrani Dragi Lastane!, Irena Škorić, Artizana film, 85’00’’, 2014, dokumentarni Dubrovački nakit, Grupa autora, Kinoklub Karlovac, 6’55’’, 2014, dokumentarni Dvanaest, Helena Schultheis Edgeler, Frame d.o.o., 7’30’’, 2015, eksperimentalni Eho, Antonia Begušić, ALU, Zagreb film, Mizanscena, 5’46’’, 2014, animirani EKONERG IPA promo, Siniša Škokić, CAKA – Centar za akademski i kulturni aktivizam, 5’41’’, 2014, namjenski Elemental: Bolji si, Marko Milovac, C47 Film d.o.o., 3’49’’, 2014, namjenski Elemental: Goli i bosi, Marko Milovac, C47 Film d.o.o., 3’45’’, 2014, namjenski Elu Herman H. Rottiga, Chintis Lundgren, Chintis Lundgreni Animatsioonistuudio, Adriatic Animation, Umjetnička organizacija Anima, Goodjobstudio, 11’6’’, 2015, animirani Energija, Vjeran Vukašinović, Lanterna magica, 8’47’’, 2015, namjenski EVO TV Čuva brak, Bruno Anković, Kinoteka, 0’44’’, 2014, namjenski Filozofski teatar – Iza pozornice sa Slavojem Žižekom, Zorko Sirotić, Kinoklub Zagreb, 12’54’’, 2015, namjenski Frida, Sanja Bježančević, FKK Đakovo, 4’24’’, 2015, eksperimentalni

211


Generacija 0, Nikica Zdunić, HRT, 10’56’’, 2014, igrani Generacija Y – Feminizam, Tomislav Šoban, Kinoteka, 26’00’’, 2015, dokumentarni Generacija y – Svađanje, Tiha K. Gudac, Kinoteka, 26’00’’, 2015, dokumentarni Generalka, Jasna Nanut, ADU, 11’00’’, 2014, igrani Goli, Tiha K. Gudac, Factum, 75’00’’, 2014, dokumentarni Gonzo – Uske trapke, Luka Vucić, 3’14’’, 2014, namjenski Grad od čelika, Matija Debeljuh, Apoteka – prostor za suvremenu umjetnost, 8’15’’, 2014, eksperimentalni Građanski odgoj i obrazovanje, Luka Sepčić, Blank_filmski inkubator, 1’12’’, 2014, namjenski Gradonačelnik Denis, Dario Juričan, Blank_filmski inkubator, 21’43’’, 2014, dokumentarni Granje i korijenje, Nikica Zdunić, ADU, 12’56’’, 2014, dokumentarni Grawe 2014, Davor Švaić, Kinoteka, 0’58’’, 2014, namjenski Gvajana – legenda o poglavici Kai, Siniša Glogoški, Nukleus film, 49’45’’, 2015, dokumentarni Help to Help, Grupa autora, Kinoklub Karlovac, 6’51’’, 2014, dokumentarni Hladnokrvno, Sven Batinić, Elegy Film, 22’54’’, 2014, igrani Horvatovi, Arsen Oremović, Interfilm, 14’55’’, 2015, igrani Hrpa ZG-RI-ZG, Đorđe Jandrić, Filmska autorska grupa, 31’, 2014, eksperimentalni Hrvatska djevica, Sunčica Ana Veldić, Kinoklub Zagreb, 12’43’’, 2015, dokumentarni Hvar – Into the storm, Mario Romulić, Dražen Stojčić, Romulić d.o.o., 5’19’’, 2014, eksperimentalni Igraj i ti..., Hrvoje Podobnik, Gerger film, 1’29’’, 2014, igrani Igre, 6 redatelja, Festival tolerancije, 9’13’’, 2014, igrani Indigo, Juliana Kučan, Blank_filmski inkubator, 11’57’’, 2014, igrani Integrated: Hazy Dawn (Ruzina Frankulin Remix), Ratko Ilijić, 5’17’’, 2014, namjenski Iza sna, Igor Filipović, Jamat produkcija, 73’07’’, 2014, igrani Izboj, Petra Mrša, Aurel-Sisak d.o.o., 6’30’’, 2014, eksperimentalni Jan putuje, Katarina Arbanas, 31’00’’, 2014, eksperimentalni Je l’ ti bilo ok?, Zvonimir Rumboldt, Četiri film d.o.o., 4’00’’, 2014, igrani Ježeva škola, Ivana Guljašević, Igubuka, 3’50’’, 2014, animirani Johnny je mrtav, Jure Debak, Ante Zlatko Stolica, Kinoklub Zagreb, 10’25’’, 2014, igrani Jonathan: Maggie, Daniel Bakotić, Blank_filmski inkubator, 4’9’’, 2014, namjenski Jure kockar, Marko Stanić, Denis Lepur, Kadar22, 54’50’’, 2015, dokumentarni Kad mobiteli utihnu, Branko Schmidt, HRT, 14’45’’, 2014, igrani Kino Crvena zvijezda, Silvestar Kolbas, 10’15’’, 2014, eksperimentalni Kiša metaka feat. Batman 3000: Skidaj gaće, Dragan Đokić, Studio Baranda, 3’40’’, 2014, namjenski Kismet, Nina Maria Paschalidou, Nukleus film, 66’00’’, 2014, dokumentarni Kišni, Ivana Guljašević, Igubuka, 5’35’’, 2014, animirani Kokoška, Una Gunjak, Zak film, Nukleus film, 15’00’’, 2014, igrani

212

Konverzacija – Prisluškivanje – The Conversation, Damir Radić, 6’22’’, 2014, eksperimentalni Kukuljica, Ivana Jurić, Kinorama, 8’22’’, 2014, animirani Laboratorij na kraju svemira, Petar Orešković, Studio dim, 7’05’’, 2014, igrani Lako pokojnima, Matea Šarić, ADU, 20’17’’, 2015, igrani Leader of the Pit, grupa Benchwarmers, Silva Ćapin, Filip Peruzović, Dinka Radonić, Iva Ivan, 3’45’’, 2015, namjenski Legenda o Veroniki Desiničkoj, Ljiljana Šišmanović, Davor Borić, HRT, 44’53’’, 2014, dokumentarni Levitacija, Marko Meštrović, Kreativni sindikat, 8’07’’, 2014, animirani Life is Short, Luka Vucić, 1’00’’, 2014, animirani Lijepo mi je s tobom, znaš, Eva Kraljević, Hulahop, 42’39’’, 2015, dokumentarni Limb, Davor Kanjir, Factum, 41’00’’, 2015, dokumentarni Linija i druge, Davor Vrcelj, Kreativni sindikat, 8’24’’, 2015, animirani Ljubav i prijevozna sredstva, Draško Ivezić, Zagreb film, Adriatic Animation, 14’05’’, 2014, animirani Lokalni razvoj vođen zajednicom, Natko Stipaničev, ODRAZ, Mitroman film, 2’46’’, 2014, namjenski Lov u zatvorenom, Kristina Vuković, ADU, 19’39’’, 2014, igrani Lovac i Kralj, Vjekoslav Živković, Kinoteka, 7’43’’, 2014, animirani Lupatva pri nas, Luka Klapan, FFVAL, 9’58’’, 2014, dokumentarni Luzer, Skupina autora, Audiovizualni centar Dubrovnik, 14’00’’, 2014, igrani M31, Lea Kralj Jager, Maja Maar, CatMI, 3’19’’, 2015, namjenski Mafija (Maf i ja), Marko Radolović, udruga Bendovi istrijanske scene, 85’00’’, 2015, igrani Malo više kiše, Marko Dugonjić, ADU, 17’11’’, 2014, igrani Malo zraka, Dalija Dozet, ADU, 27’11’’, 2015, igrani Manifest Centra BEA, Ivana Pipal, Udruga Dobra Priča, 4’58’’, 2014, namjenski Manjača, Tin Žanić, Kinoklub Zagreb, 22’40’’, 2014, igrani Mario Huljev: Dođi po još, Filip Filković, More-Magnets, 3’49’’, 2014, namjenski Mayales: Još te uvijek mogu, Andrej Korovljev, 4’06’’, 2014, namjenski Medo mali, Igor Jelinović, ADU, 20’26’’, 2015, igrani Mein Kamp, Tihomir Galevski, Udruga Trash, 31’00’’, 2014, igrani Merely one way to die in the midst..., Aleksandar Muharemović, 9’07’’, 2014, eksperimentalni Mi želimo modernu TV, Damir Čučić, FAGEP, 1’09’’, 2014, namjenski Milevin potiljak, Nikica Zdunić, ADU, 12’18’’, 2015, igrani Minus 4, Judita Gamulin, ADU, 11’21’’, 2015, igrani Minute, Ivan Stanić, ADU, 6’55’’, 2015, igrani Miroslav Kraljević – slikar, Bogdan Žižić, Studio Guberović, 55’57’’, 2014, dokumentarni Mitch – dnevnik jednog šizofreničara, Damir Čučić, Nukleus film, 73’00’’, 2014, dokumentarni Moj zanat, Mladen Matičević, HFS, 72’32’’, 2014, dokumentarni Moja Europa, Bernardin Modrić, Istra Film, 56’00’’, 2014, igrani Mosor živi vječno, Leon Rizmaul, HRT, 49’5’’, 2014, dokumentarni Motori, Sabina Mikelić, Restart, 21’25’’, 2014, dokumentarni


Mozartine: Vrata do nas, Filip Filković, More-Magnets, 4’35’’, 2014, namjenski Možda nikad, Luka Vucić, 3’54’’, 2014, namjenski Na dobro vam Salvestrovo, Davor Borić, HRT, 29’53’’, 2014, dokumentarni Na Musteru do Usksa, Davor Borić, HRT, 30’25’’, 2014, dokumentarni Na vodi, Goran Ribarić, ADU, 13’40’’, 2014, igrani Nasamo, Lana Kosovac, ADU, 20’42’’, 2014, igrani Naslovnica, Silvana Menđušić, Studio dim, 51’26’’, 2014, dokumentarni Ne gledaj iza, Bruno Mustić, ADU, 14’50’’, 2015, igrani Ne pričamo o vama nego o djeci, Luka Rukavina, ADU, Plan 9, 15’00’’, 2015, igrani Nedjeljni program, Neven Dužanec, HFS, 9’39’’, 2014, igrani Neke stvari ne treba sakriti, Lidija Špegar, Restart, 30’19’’, 2014, dokumentarni Nepoznate energije, neidentificirani osjećaji, Dalibor Barić, Tomislav Babić, Kinoklub Zagreb, 40’00’’, 2015, igrani Nerođeni, Marko Magdić, ADU, 2014, igrani Ničiji, Jadran Boban, B.A.B.E., 52’00’’, 2014, dokumentarni Nikol, Luka & Vedran: Guide Me Home, 2’46’’, 2014, namjenski Nina Romić: Možda, Filip Filković, More-Magnets, 4’31’’, 2014, namjenski O hokeju i Medvjedima, Radislav Jovanov Gonzo, Josip Ivančić, 50’00’’, 2014, dokumentarni Obljetnica, Igor Husak, ADU, 18’55’’, 2014, igrani Oče, griješio sam, Paula Skelin, UMAS, 11’13’’, 2014, igrani Od kršana do peroja, Igor Bezinović, HRT, 6’43’’, 2015, dokumentarni Od snova do stvarnosti, Neven Jurina Tomić, ADU/Fakultet političkih znanosti, 38’21’’, 2014, dokumentarni Odlazak, Ivana Marinić Kragić, Motion, 5’30’’, 2015, igrani Odrazi, Toma Zidić, Luksuz produkcija, 9’11’’, 2015, eksperimentalni Oluje se uvijek vraćaju kući, Petar Krelja, HFS, 30’00’’, 2014, dokumentarni On, Neno Barović, Škola filma Šipan, Muški učenički dom Dubrovnik, 6’20’’, 2014, dokumentarni ORYX, Aldo Tardozzi, Kinoteka, 0’42’’, 2014, namjenski Oš’ me pozdravit u busu?, Velimir Rodić, FADE IN, 79’08’’, 2014, dokumentarni Ovdje smo, Petar Fradelić, Kino klub Split, 10’57’’, 2014, eksperimentalni Palestino, ljubavi moja, Damir Radić, 14’30’’, 2015, eksperimentalni Pazi da te ne vide, Franko Dujmić, Klub studenata elektrotehnike, 3’32’’, 2015, namjenski Performans, Matilda Lepoglavec, Blank_filmski inkubator, 11’23’’, 2014, igrani Pešes: Plava svjetlost, Igor Dropuljić, 4’30’’, 2015, namjenski Petite Ballerine, Renata Šimić, Televizija student, 21’33’’, 2014, dokumentarni Piknik, Jure Pavlović, Sekvenca, 13’00’’, 2015, igrani Pismo za Ohio, Rasim Karalić, VIS Videostudio, 61’30’’, 2014, dokumentarni Pješakov gambit, Boris Greiner, Petikat, 45’00’’, 2014, eksperimentalni

Pjesnik i Tvrdalj, Zvonimir Rumboldt, HRT, 28’56’’, 2014, dokumentarni Plenumovi, Marta Batinić, Sanja Kapidžić, Ana Jurčić, Filmaktiv, 73’40’’, 2014, dokumentarni Pogled s prozora, Stanko Herceg, Aleks produkcija, 7’06’’, 2015, eksperimentalni Poklon predsjednika Nixona, Igor Šeregi, Grupa sedam, 26’00’’, 2014, igrani Polufinale, Tomislav Šoban, ADU, 21’50’’, 2014, igrani Ponoćno sivo, Branko Ištvančić, Artizana film, 14’50’’, 2015, igrani Porijeklo hrane, Miroslav Sikavica, FADE IN, 0’37’’, 2014, namjenski Porijeklo nasilja, Ana Jurčić, Marta Batinić, Filmaktiv, 1’06’’, 2014, namjenski Posljednjih 100, Morana Komljenović, FADE IN, 36’00’’, 2014, dokumentarni Potrošeni, Borut Šeparović, Montažstroj, 93’00’’, 2014, dokumentarni Povjerenik za informiranje, Dario Juričan, Blank_filmski inkubator, 1’00’’, 2014, namjenski Povratak, Filip Heraković, ADU, 13’09’’, 2014, igrani Povratak vlaka, Igor Husak, ADU, 15’19’’, 2014, dokumentarni Prekid, Igor Kraljić, ADU, 9’03’’, 2015, igrani Priđi mi bliže, Milica Czerny Urban, Damir Urban, 3’43’’, 2015, namjenski Prije podne, Igor Dropuljić, ADU, 12’07’’, 2015, igrani Priznaj, Luka Čurčić, ADU, 8’00’’, 2014, igrani Priznavanje neformalnog i informalnog učenja, Luka Tokić, Blank_ filmski inkubator, 1’09’’, 2015, namjenski Probudi me, Dea Jagić, Zagreb film, 8’28’’, 2015, animirani Prolaz za Stellu, Ljiljana Šišmanović, Factum, 38’00’’, 2014, dokumentarni Promotivni turistički video – Hotel Kimen i Kamp Kovačine, Marko Milovac, C47 Film d.o.o., 2’14’’, 2014, namjenski Prozor na život, Silvio Mirošničenko, ADU, 26’33’’, 2014, dokumentarni Pura, Ivan Veljača, Kinorama, 11’10’’, 2014, igrani Pustolovni turizam, Grupa autora, Kino klub Karlovac, 5’50’’, 2014, dokumentarni Queen of Sabe: Nismo bogovi, Kristijan Antolović, 2’41’’, 2014, namjenski Rakijaški dnevnik, Damir Čučić, HFS, 81’00’’, 2015, eksperimentalni Razgovor, Ana Horvat, Luma film, 5’36’’, 2015, animirani Razred, Vesna Ćudić, Nukleus film, 81’51’’, 2015, dokumentarni REC-i, Petar Orešković, Studio dim, 24’54’’, 2014, dokumentarni Riba ribi grize rep, Neven Hitrec, HFS, 27’00’’, 2015, dokumentarni Robotica, Ivan Fodor, 6’48’’, 2014, animirani RODA autosjedalica, Luka Sepčić, Blank_filmski inkubator, 0’47’’, 2014, namjenski Rođeni, Marko Magdić, ADU, 14’49’’, 2014, igrani Roza – teološki film ceste, Višnja Vukašinović, Lanterna magica, 12’35’’, 2015, igrani S Vama kroz život, Vjekoslav Gašparović, 11’59’’, 2014, dokumentarni Sad smo tu, Karmen Sunčana Lovrić, 5’39’’, 2015, igrani Sanjala si da si sretna, Ivana Škrabalo, Kinoklub Zagreb, 21’00’’, 2015, igrani Sanjala si..., Ana Kolega, UO ANIMA, 4’29’’, 2014, animirani

213


Sektor, Goran Škofić, 4’50’’, 2015, eksperimentalni She loves Pablo: Center of the Earth, Marko Milovac, C47 Film d.o.o., 3’49’’, 2015, namjenski Simke – kako je nestao dobri duh Rijeke, Ana Mušnjak, 58’08’’, 2014, dokumentarni Sjećanja na Kampor, Rasim Karalić, VIS Videostudio, 76’00’’, 2015, dokumentarni Slatki snovi, Dinko Kumanović, Zagreb film, 11’45’’, 2014, animirani Soba 60, Andrej Korovljev, Pulski filmski festival, HRT, 40’00’’, 2014, dokumentarni Soba s kosim pogledom, Davor Žmegač, Interfilm, 16’43’’, 2015, igrani Spectrum, Anđela Vidić, Kino klub Split, 3’01’’, 2014, eksperimentalni Spomenik, Igor Grubić, Kreativni sindikat, 50’00’’, 2015, eksperimentalni Staklene oči, Mario Papić, Grupa sedam, Kinoklub Zagreb, 17’25’’, 2015, dokumentarni Stari posao, Luka Čurčić, ADU, 6’05’’, 2014, igrani Statut, L. David, Zebra Creative Production, 6’03’’, 2014, dokumentarni Stella Polaris, Grupa autora, Kinoklub Karlovac, 6’47’’, 2014, dokumentarni Stop rasizmu i nasilju na nogometnim stadionima 1 – Navijači, Miroslav Sikavica, FADE IN, 0’44’’, 2014, namjenski Stop rasizmu i nasilju na nogometnim stadionima 2 – Nogometaši, Miroslav Sikavica, FADE IN, 0’34’’, 2014, namjenski Stranger Surfer, Paul Mann, Kinoklub Zagreb, 4’26’’, 2014, namjenski Struna: Želim te, Sara Hribar, Toma Zidić, 3’53’’, 2015, namjenski Sudar u dvorcu, Arsen Oremović, Inter film, 34’59’’, 2014, dokumentarni Sutra ćemo pričati, Milica Czerny Urban, Damir Urban, 4’46’’, 2014, namjenski Svaki dan je Božić, Ante Zlatko Stolica, Restart, 10’56’’, 2014, dokumentarni Svaki drugi vikend, Tadija Tadić, ADU, 7’30’’, 2014, igrani Svemirski Ikar, Željko Sarić, Project 6 Studio, 27’10’’, 2014, dokumentarni Svi mi za Hrvatsku bez mržnje, Andrej Korovljev, Documenta, 1’00’’, 2014, namjenski Tajni laboratorij Nikole Tesle, Bruno Razum, Zagreb film, 11’06’’, 2014, animirani Teddy the Guardian, Mario Mlakar, Rational International, 3’36’’, 2014, namjenski Tek tako, Sanja Milardović, R44, 11’55’’, 2014, igrani Teretana, Jurica Hižak, Blank_filmski inkubator, 9’07’’, 2014, igrani The Hendikeps: Zloćko, Marko Škobalj, Substarta, 3’13’’, 2014, namjenski The Runner, Peter Cerovšek, Nataša Čiča, Toma Zidić, Luksuz Produkcija, Kinoklub Zagreb, 5’39’’, 2014, dokumentarni The Sound of Ants, Gordan Begler, Kino klub Karlovac, 1’00’’, 2014, eksperimentalni The Vast Landscape – porcelain stories, Lea Vidaković, AKC Attack!, 11’00’’, 2014, animirani

214

Tika Taka, Ivo Bagarić, Kinoklub Zagreb, 5’00’’, 2015, igrani Time Crew: Let Me, Gordan Begler, Kino klub Karlovac, 4’43’’, 2014, namjenski Tomislav Horvat, Eugen Bilankov, Kino klub Split, 5’06’’, 2014, igrani Tri čina, Tamara Bilankov, Akademija likovnih umjetnosti u Zagrebu, 2’44’’, 2014, eksperimentalni Trogir – Inspired by stone, Josip Žuvan, Udruga Mitoman Film, 3’31’’, 2015, namjenski U mojoj glavi, Luka Vucić, 3’22’’, 2014, namjenski Ubiti Vepra, Ivica Mušan, ADU, HRT, 33’46’’, 2014, igrani Undiscovered Beauty – Dalmatian Hinterland, Ivan Perić, Odjel za vizije produkcija, 3’52’’, 2014, namjenski Until a Breath of Air, Marko Tadić, Kreativni sindikat, 4’45’’, 2014, animirani Uspavanka, Zdenko Bašić, Bell Under Tree, 4’53’’, 2014, namjenski Utopija, Mladen Ćapin, HRT, 47’20’’, 2015, dokumentarni Utvrda utopija, Sandra Sterle, Kazimir, 30’00’’, 2015, eksperimentalni Vatra: Saturn, Filip Filković, More-Magnets, 3’38’’, 2014, namjenski Vatra: Tango, Filip Filković, More-Magnets, 3’32’’, 2014, namjenski Ventilator, Sven Marić, Brojka produkcija, 10’30’’, 2015, igrani Veruda – film o Bojanu, Igor Bezinović, HRT, 33’46’’, 2015, dokumentarni Vip Youth, Goran Dukić, Kinoteka, 1’00’’, 2014, namjenski Višak popušim sam, Zorko Sirotić, Kinoklub Zagreb, 9’40’’, 2015, dokumentarni Voda do grla, Daniel Pavlić, Artizana, 28’30’’, 2015, dokumentarni Vrag u gospođici Jones, Josip Lukić, Blank_filmski inkubator, 10’59’’, 2014, igrani Vrilo, Ivan Šušnjar, 3’57’’, 2014, dokumentarni Vrlo kratki izlet, Igor Bezinović, MonFilmFest, 15’52’’, 2014, igrani Vučje igre, Jelena Oroz, ALU, Zagreb film, 4’43’’, 2015, animirani Who is Kyla?, Slavica Parlov, 10’18’’, 2014, dokumentarni Wiener Blut, Zlatko Bourek, Pavao Štalter, Zagreb film, 8’00’’, 2014, animirani Žabica, Karlo Vorih, Blank_filmski inkubator, 8’58’’, 2014, igrani Zašto su došli vlakom, Joško Marušić, Zagreb film, 14’00’’, 2015, animirani Zatočen, Marko Valić, 10’26’’, 2014, igrani Žica, Zoran Vrabec, Crna Pantera, 10’41’’, 2014, igrani Zimski kamp, Igor Dropučić, ZG ZVUK, 72’00’’, 2015, igrani Žir po žir, Ivan Goran Vitez, Kabinet, 15’00’’, 2014, namjenski Život je kurva, Zlata Granić, 6’29’’, 2014, eksperimentalni Zujanje, Dinko Božanić, Udruga Kazimir, 14’00’’, 2014, igrani Zvrk: Revizited: The Poem of Love, Toma Zidić, Kinoklub Zagreb, 10’00’’, 2015, eksperimentalni


KONTAKTI – PRODUKCIJE, DISTRIBUCIJE* CONTACTS – PRODUCTION, DISTRIBUTION

Adriatic Animation Draško Ivezić Vergerija 3 52 100 Pula, HR M. +385 92 3142 813 drasko@adriaticanimation.hr http://adriaticanimation.hr Akademija dramske umjetnosti Branka Mitić Trg maršala Tita 5 10 000 Zagreb, HR T. +385 4627735 brankamitic@yahoo.hr adu@adu.hr www.adu.unizg.hr Akademija likovnih umjetnosti Ilica 85 10 000 Zagreb, HR T. +385 1 3777 300 alu@alu.hr www.alu.unizg.hr Andrej Korovljev M. +485 91 7842 785 korovljev@gmail.com http://andrejkorovljev.com Baš Čelik Gospodar Jevremova 35 11 000 Beograd, RS T. +381 11 303 4441 jelena@bascelik.net www.bascelik.net Bell Under Tree Zdenko Bašić Dubravica 19 10 090 Zagreb, HR M. +385 98 964 2439 zdenko.bell@gmail.com http://bellundertree.com Beogradski festival dokumentarnog i kratkog filma office@bfdkf.rs www.bfdkf.rs Blank_filmski inkubator Josip Lukić Matije Divkovića 7 10 090 Zagreb, HR M. +385 91 5632715 distribucija@blankzg.hr radionice@blankzg.hr www.blankzg.hr

Bonobostudio Vanja Andrijević Barutanski jarak 31 10 000 Zagreb, HR T. +385 1 483 4445 M. +385 91 5677 270 info@bonobostudio.hr vanja@bonobostudio.hr www.bonobostudio.hr Chintis Lundgreni Animatsioonistuudio chintis.lundgren@gmail.com www.chintislundgren.com CSC Production Società di produzione del Centro Sperimentale di Cinematografia Via Tuscolana, 1524 00173 Roma, IT T. +39 672294353 cscproduction@cscproduction.it www.cscproduction.it Dalibor Barić M. +385 91 2201974 omegathekidphoenix@gmail.com Dejan Petrović petrovdej@gmail.com Documenta Eugen Jakovčić Selska cesta 112C 10 000 Zagreb, HR T. +385 1 457 2398 kontakt@documenta.hr www.documenta.hr Dušan Babić sept_33@yahoo.com Factum Maja Marković Nova Ves 18 10 000 Zagreb, HR T. +385 1 4854 821 M. +385 99 508 0804 maja@factum.com.hr www.factum.com.hr FAGEP Matko Burić Kompareova 5 10 430 Samobor, HR M. +385 98 686454 kradljivac.konja@gmail.com http://fagep.hr

Fantastično dobra institucija – FADE IN Morana Komljenović Nova Ves 18 10 000 Zagreb, HR T. +385 1 4667 815 M. +385 91 3233 001 office@fadein.hr www.fadein.hr Filip Filković M. +385 91 5271634 philatz@gmail.com Filmaktiv Ana Jurčić Korzo 28 51 000 Rijeka, HR M. +385 98 9008258 filmaktiv@filmaktiv.org www.filmaktiv.org Filmska udruga Motion Ivana Marinić Kragić Trnjanska cesta 11c 10 000 Zagreb, HR M. +385 917925182 ikragic@motion.hr www.motion.hr Frame Kozarčaninova 5 10 000 Zagreb HR M. +385 91 2828665 frame@net.amis.hr François Morisset (Salaud Morisset) 88 rue Armand Silvestre Courbevoie, FR T. +33 660423232 festival@salaudmorisset.com Goran Škofić M. +385 98 702350 goranskofic@gmail.com www.goranskofic.com Grupa sedam Rea Rajčić, Ivan Kelava Zinke Kunc 3b 10 000 Zagreb, HR T. +385 91 5021205 r.rajcic@gmail.com ivan.kelava100@gmail.com Helena Schultheis Edgeler M. +385 91 5004689 elestra2000@yahoo.com

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Hrvatska radiotelevizija Leon Rizmaul Prisavlje 3
 10 000 Zagreb, HR
 Leon.Rizmaul@hrt.hr www.hrt.hr Hrvatski državni arhiv – Hrvatska kinoteka Savska cesta 131 10000 Zagreb, HR T. +385 1 6060 534 kinoteka@arhiv.hr www.arhiv.hr Hrvatski filmski savez Kristina Dorić Tuškanac 1 10 000 Zagreb, HR T. +385 1 48 48 771 M. +385 91 378 378 7 kristina@hfs.hr www.hfs.hr Igor Bezinović M. +385 98 9980644 igor.bezinovic@ri.htnet.hr Igor Jelinović M. +385 98 9133411 igorjelinovic@yahoo.com Interfilm Maja Pavić Nova Ves 45 10 000 Zagreb, HR T. +385 1 466 7290 interfilm@interfilm.hr www.interfilm.hr Iva Ivan M. +385 98 1616393 iva.ii.ivan@gmail.com Ivana Ivišić M. +385 91 1811 002 ivanaivisic@me.com Ivan Fodor M. +385 98 1826416 fodor@kset.org Ivan Stanić M. +385 91 5781984 stanivanich@gmail.com Ivan Šušnjar M. +385 97 7407732 ivan.susnjar5@gmail.com

216

Julia Martinović M. +385 95 8337358 jmjulyjul@gmail.com

ljubo@kinoteka.hr tiha@kinoteka.hr www.kinoteka.hr

Kabinet Suzana Pandek Blažekova 15 10 000 Zagreb, HR M. +385 98 766 619 suzana@kabinet.hr www.kabinet.hr

Klub studenata elektrotehnike Matija Vuković Unska 3 10 000 Zagreb, HR T. +385 1 6129 758 M. +385 98 180 2584 matija.vukovic@kset.org franko@kset.org www.kset.org

Kadar22 Marko Stanić Borovina 46a 10 000 Zagreb, HR M. +385 91 1118612 marko.kadar22@gmail.com www.kadar22.hr Kazimir Dan Oki Put Firula 31 21 000 Split, HR M. +385 98 927 16 28 M. +385 98 9465573 danoki@xs4all.nl http://udrugakazimir.net Kinematograf Nova Ves 18 10 000 Zagreb, HR T. +385 1 383 13 29 info@kinematograf.hr www.kinematograf.hr Kino klub Split Jasna Čagalj Ulica slobode 28 21 000 Split, HR M. +385 91 1914 211 produkcija@kinoklubsplit.hr www.kinoklubsplit.hr Kinoklub Zagreb Vedran Šuvar Trg žrtava fašizma 14 10 000 Zagreb, HR M. +385 95 838 95 46 vedran.suvar@gmail.com www.kkz.hr Kinoteka Ljubo Zdjelarević, Tiha Gudac Zinke Kunc 3B 10 000 Zagreb, HR T. +385 1 8889 108 M. +385 95 903 77 54

Kontrafilm Kneza Mislava 10 10 000 Zagreb, HR T. +3851 24 55 833 info@kontrafilm.hr www.kontrafilm.hr Kreativni sindikat Maja Čuljak Nova Ves 18 10 000 Zagreb, HR M. +385 95 3996108 zamajuculjak@gmail.com http://kreativnisindikat.org Lana Kosovac M. +385 95 9065280 kosovac.lana@gmail.com Lanterna magica Trpimirova 25 10 000 Zagreb, HR M. +385 97 7606255 vjeran.vuk@gmail.com Lorena Vlahovski M. +385 98 9109257 lorena.vlahovski@gmail.com Luka Vucić M. +385 98 17 21 269 luka.vucic@gmail.com www.lukavucic.com Luksuz Produkcija Tom Gomizelj Cesta 4. julija 58 Krško 8270, SI T. +386 3 1276275 luksuz.produkcija@gmail.com www.luksuz.si Milica Czerny Urban M. +385 91 2710808 milica.urban@gmail.com


Mitoman Film Zagrebačka avenija 3 10 000 Zagreb, HR M. +385 91 567 4376 film@mitoman.hr www.mitoman.hr

Plan 9 Vrbanićeva 20 10 000 Zagreb, HR T. +385 1 4649 272 plan9@plan9.hr www.plan9.hr

More-Magnets Latica Martinis Vinogradska 9 10 000 Zagreb, HR T. +385 1 6195356 moremagnetsproduction@gmail.com

Predrag Bambić predrag.bambic@gmail.com

sivancic@gmail.com www.stefanivancic.com Substrata Marko Škobalj Petrovogorska 2 10 000 Zagreb, HR M. +385 91 2257 094 sneepgang@hotmail.com

Project 6 Studio Nikola Klobučarić Baštijanova 25 10 000 Zagreb, HR T. +385 1 363 8663 studio@project6.hr www.project6.hr

Sunčica Ana Veldić M. +385 917987168 fenja.illectric@gmail.com

Sandra Sterle M. +385 98 9465573 sterle@myself.com

Tibor Keser M. +385 98 808988 tkeser@adu.hr

Natko Stipaničev M. +385 92 204 9985 natkostipanicev@gmail.com

Sara Hribar M. +385 99 6842 334 sarahribar86@gmail.com

Tina Tišljar M. +385 95 8790424 tina.tisljar@gmail.com nowolfhasahouse@gmail.com

Nikica Zdunić M. +385 98 694 565 nikica.zdunic@gmail.com

SCCA/pro.ba Ćumurija 3 71 000 Sarajevo, BA T. +387 33 444 535 office@pro.ba
 http://pro.ba

Nezavisni filmski centar Filmart Radnička 11 31 210 Požega, RS T. +381 64 125 94 28 T. +381 63 850 70 35 office@film-art.org www.film-art.org

No History Špela Čadež Ziherlova 8 1 000 Ljubljana, SI T. +386 31 524626 boles@spelacadez.com www.spelacadez.com Nukleus film Matija Drniković Dalmatinska 8 10 000 Zagreb, HR T. +385 1 4846 556 M. +385 95 549 7491 info@nukleus-film.hr www.nukleus-film.hr Paula Skelin M. +385 92 1415639 paula.skelin@gmail.com Pipser Miljenka Čogelja Zoričićev trg 5 10 000 Zagreb, HR info@pipser.hr www.pipser.hr

Sekvenca Luka Venturin Ivane Brlić Mažuranić 60 10 090 Zagreb, HR M. +385 98 789191 luka@sekvenca.hr http://sekvenca.hr Silvestar Kolbas M. +385 98 415 694 silvestar.kolbas@zg.t-com.hr Slavica Parlov slafkooo@gmail.com M. +385 91 6008029 Spiritus movens Rakušina 5 10 000 Zagreb, HR T. +385 1 6145538 zdenka@spiritus-movens.hr www.spiritus-movens.hr Stefan Ivančić T. +381 63 710 66 33

Tena Gojić M. +385 98 9632 138 tena.gojic@gmail.com

Umjetnička akademija u Splitu Zagrebačka 3 21 000 Split, HR T. +385 21 348622 M. +385 91 2600304 www.umas.hr Violeta Goldman violetamitrovic@gmail.com Višnja Vukašinović M. +385 97 6736734 vukasinovic.visnja@gmail.com http://felix-trot.tumblr.com Vladimir Perović vladox@sbb.rs Zagreb film Sanja Borčić Vlaška 70 10 000 Zagreb, HR T. +385 1 4613 689 sanja.borcic@zagrebfilm.hr zagrebfilm@zagrebfilm.hr www.zagrebfilm.hr Zebra Creative Production David Lušičić Ilica 92 10 000 Zagreb, HR

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M. +385 91 2220810 david@zebra.com.hr Zona sova Mesnička 22 10 000 Zagreb, HR M. +385 99 422 22 40 zona.sova@gmail.com www.zonasova.hr Zorko Sirotić zorko.sirotic@gmail.com M. +385 91 573 32 36 Željko Sarić M. +385 91 527 4640 zeljkosaric01@gmail.com www.zeljko-saric.hr

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

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FILMOVI FILMS

816 – uski format (Lutaju sjene izgubljene) 160

Kokoška

Porijeklo nasilja

105

A Graphic Novel With Moving Pictures

92

Koreografija za kameru i plesače

161

Presuda

149

A i majmuni umiru

35

Krotitelj divljih konja

159

Prijateljice s Peščenice

185

A.D.A.M.

63

La prima legge di Newton

180

Probudi me

77

144

126

Rabbitland

149

151

Rakijaški dnevnik

Lako pokojnima

78

Autobiografija (r. Vinko Grubišić)

184

Lepi vazduhovi

Autobiografija (r. Ivan Livaković)

185

Leto bez meseca

Azil Dumovec – dan otvorenih vrata

93

Levitacija

41

Put nije samo vaš

134

Adam

38

Rastreseno gledanje kroz prozor

67 184

B.B.B. – Bad Blue Boys

186

Lidija Bajuk Trio: Uspavanka

100

Razred

53

Bad Boy (Homoseksualac u tranziciji)

186

Lievito Madre

180

Restart

128

Bakina unuka

72

Limb

51

Riba ribi grize rep

54

Bang Bang: Imam

94

Linija i druge

39

Robotica

42

Benchwarmers: Leader of the Pit

95

Ljubav i prijevozna sredstva

40

Roza – teološki film ceste

Boles

151

Lokalni razvoj vođen zajednicom

181

Scusa signorina

88 155

Borkov zalogaj života

96

Lov u zatvorenom

79

Sektor

68

Britanski trg

47

Love Experience

134

Soba s kosim pogledom

89

Čoban

36

Majstor

126

Spomenik

69

Crne mačke

73

Manjača

80

Crtani

127

Mayales: Još te uvijek mogu

Čuvaj se čašice

144

Medeni mjesec Medo mali

Da je kuća dobra i vuk bi je imao

74

Statut

55

Strejt pul

173

30

Struna: Želim te

106

81

Svaki homić ima flomić (Olovka)

185

102

Mi želimo modernu TV

103

Svemirski Ikar

75

Minute

119

Svi mi za Hrvatsku bez mržnje

107

Devalvacija jednog osmijeha

168

Nasamo

117

Tajna dvorca I. B.

170

Don Kihot

156

Ne pričamo o vama nego o djeci

82

Tajni laboratorij Nikole Tesle

Dva slova – ceo svet

143

Nedjeljni program

83

The Hendikeps: Zloćko

Daddy Issues

118

Dan Marjana

Dvanaest

64

Neobavezni pogled na svijet br. 4

133

The Runner

56

43 108 57

Eho

115

Nepoznate energije, neidentificirani osjećaji 84

Tijelo

132

Ekvilibrij

132

Nina Romić: Možda

104

Torsia

174

37

Njegov put u život

145

Urban: Priđi mi bliže

109

Non sono nessuno

181

Utvrda Utopija

97

O Alexu i klaviru

186

Veruda – film o Bojanu

Fisico da spiaggia

179

Obiteljski film I

135

VIP Youth

Gadan sapun

127

Elu Herman H. Rottiga Filozofski teatar – Iza pozornice sa Slavojem Žižekom

70 58 110

Obiteljski film II

135

Višak popušim sam

59

Gonzo: U mojoj glavi

98

Obnova

136

Vrilo

60

Gonzo: Uske trapke

99

Oče, griješio sam

85

Vučje igre

Gradonačelnik Denis

48

Odlazak

86

Zagreb 8. maja 1945.

167

Horvatovi

76

Odvajanje

173

Zastajkivanje

162

Hrvatska djevica

49

Olovka

185

Zujanje

44

90

Il respiro dell’arco

179

Opasne igre

143

Žena i izbor zanimanja

145

In continuo

133

Orfej

150

Žir po žir

111

Iz Kerempuhova dnevnika

169

Otac

150

Život je lijep

158

Iza ogledala

174

Ovdje smo...

66

Who is Kyla?

61

Izborni spot HDZ-a

186

Papa was here (Zapisi jednog nevjernika) 186

Wiener Blut

Paranoia?

X Tape

Jure kockar

50

Kaos

136

Piknik

Kariokineza

157

Plenumovi

Kino Crvena zvijezda

65

Kišno (nevina subota)

163

184

45 137

87 52

Poklon predsjednika Nixona

120

Polufinale

116

219


REDATELJI DIRECTORS

Ana Jurčić

52 105

Ana Nedeljković

149

Andrej Korovljev

102 107 188

Iva Semenčić

186

Pavao Štalter

45

Ivan Bogdanov

150

Petar Fradelić

66

42

Peter Cerovšek

57

Ivan Fodor

Anja Šušanj

35

Ivan Goran Vitez

111

Piero Messina

180

Ante Babaja

132

Ivan Livaković

185

Predrag Bambić

126

Antonia Begušić

115

Ivan Martinac

158

Sandra Sterle

70

Arsen Oremović

76

Ivan Stanić

119

Sanja Kapidžić

52

Bogdan Maračić

169

Ivan Šušnjar

60

Sara Hribar

106 188

Bruno Razum

43

Ivana Marinić Kragić

86

Silva Ćapin

95 188

Chintis Lundgren

37

Jagoda Kaloper

174

Silvestar Kolbas

65

Dalibor Barić

84

Jakša Borić

174

Šime Šimatović

167

Damir Čučić

67 103

Jelena Oroz

44

Slavica Parlov

61

Damir Urban

109 188

118

Špela Čadež

151

87

Stefan Ivančić

151

Judita Gamulin

48

Jure Pavlović

134

Krešo Golik

161

Sunčica Ana Veldić

49

Davor Kanjir

51

Kristijan Milić

185

Sven Gorjanc-Fabić

136

Davor Vrcelj

39

Kristina Vuković

79

Tihomir Žarn

184

Davor Žmegač

89

L. David

55

Tin Žanić

80

Dea Jagić

41

Lana Kosovac

117

Tina Šmalcej

150

128

Ljubo Zdjelarević

Dario Juričan Dasen Štambuk

Dejan Petrović

94 188

Toma Zidić

57 106 188

Denis Lepur

50

Lordan Zafranović

163

Tomislav Babić

84

Dijana Bolanča Paulić

47

Luka Rukavina

82

Tomislav Gotovac

135

Dinka Radonić

95 188

Luka Tokić

93

Tomislav Rukavina

186

Dinko Božanić

90

Luka Vucić

98

Tomislav Šestan

72

137

Marko Meštrović

38

Tomislav Šoban

116

40

Marko Škobalj

Una Gunjak

77

Dražen Žarković

186

Marko Stanić

50

Vesna Čudić

53

Đuro Gavran

149

Marko Turčinov

73

Vinko Grubišić

184 186

Dragan Mileusnić Draško Ivezić

99 188

108 188

Dušan Babić

127

Marta Batinić

52 105

Violeta Goldman

127

Edoardo De Angelis

179

Matea Šarić

78

Višnja Vukašinović

88

Enrico Maria Artale

179

Matija Pisačić

36

Vladimir Perović

126

Filip Filković

104 188

Mihovil Pansini

155

Vladimir Petek

160

Milan Katić

170

Vladislav Knežević

63

Filip Peruzović

95 188

Filip Šovagović

173

Milica Czerny Urban

109 188

Vlado Kristl

156

Francesco Segré

181

Miroslav Mikuljan

132 133

Vlatka Vorkapić

184

Franko Dujmić

92

Mišo Budisavljević

133

Vojdrag Berčić

168

Fulvio Risuleo

180

Natalija Župan

185

Zdenko Bašić

100 188

Goran Dukić

110

Nataša Čiča

57

Željko Sarić

Goran Kulenović

186

Natko Stipaničev

101

Željko Serdarević

Goran Rukavina

185

Nedjeljko Dragić

159

Goran Škofić

68

Neven Dužanec

83

Hana Jušić

74

Neven Hitrec

56

137

Zlatko Bourek

45

Zlatko Hajdler

157

54

Zorko Sirotić

59

97

64

Neven Korda

136

Hrvoje Turković

162

Nikica Zdunić

96

Igor Bezinović

58

Nikola Babić

30

Igor Grubić

69

Nikola Majdak ml.

149

Igor Jelinović

75

81

Nikša Fulgosi

143 144 145

120

Nina Violić

173

Paula Skelin

85

Helena Schultheis Edgeler

Igor Šeregi Iva Ivan

220

95 188


PRODUCENTSKE TVRTKE PRODUCTION COMPANIES

Adria film

30

Kabinet

111

Adriatic Animation

37 40

Kadar22

50

Kazimir

70 90

Kino klub Split

66 134 158 163 49 57 59

Akademija dramske umjetnosti (ADU)

74 78 79

81

82

96

116 117 119 173 184 185

Kinoklub Zagreb

186

Akademija likovne umjetnosti (ALU)

Kinoteka 35 42 44 115

Klub studenata

80

84

94 110

92

174

Arhitel

149

elektrotehnike (KSET)

Arte Mecanica

176

Kontrafilm

Baš Čelik

149

Kreativni sindikat

38 39 69

Bell Under Tree

100

Lanterna magica

88

Blank_filmski inkubator

48 72 73

75

93

Luksuz Produkcija

57

Bonobostudio

63 150

Mitoman film

101

Mizanscena

115

Montage

126

More-Magnets

104

Nezavisni filmski centar Filmart

128

No History

151

Non-Aligned Films

151

53 77

Centro Sperimentale di Cinematografia (CSC Production)

179 180 181

Chintis Lundgreni Animatsioonistuudio

37

Cinemateli

176

Compote Collective

150

Croatia film

30

Nukleus film

Demencija

136

ODRAZ

101

Documenta

107

Pan 69

133

Eyecatch Productions

150

Pipser

149

F&ME

120

Plan 9

82

51 174 202

Project 6 Studio

56

150

87

ŠKD – Forum

136

Spiritus movens

173

Substrata

108

41

43

Factum

Filmska autorska grupa Enthusia Planck (FAGEP)

SCCA/pro.ba 103

Fakultet dramskih umetnosti u Beogradu

151

Fantastično dobra institucija (FADE IN) FAS Zagreb

Sekvenca

47

Umjetnička akademija

160

97

132 133 137 155 157 162

u Splitu (UMAS)

85

Filmaktiv

52 105

Umjetnička organizacija Anima

37

Filmska udruga Motion

86

Zagreb film

35 36 40

Frame

64

44 45 115 132 143 156

FV Video GB Goodjobstudio Grupa sedam Hrvatska radiotelevizija (HRT) Hrvatski filmski savez (HFS) HUPE Film Interfilm

13

176

Zak film

77

37

Zebra Creative Production

55

118 120

Zora film

143 144 145

58

159 161 167 168 174

54 67 83 157 151

76 89

Institut Tomislav Gotovac

135

Itaca Films

176

Jadran film

169 170

221


Veliko hvala svim pokroviteljima i sponzorima! A special thank you to our donors and sponsors!

Dani hrvatskog filma održavaju se zahvaljujući novčanoj potpori Hrvatskog audiovizualnog centra i Gradskog ureda za kulturu, obrazovanje i sport Grada Zagreba. Croatian Film Days are generously supported by the Croatian Audiovisual Centre and the City Office for Education, Culture and Sports of the City of Zagreb.

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Najbolji lmovi i serije iz cijele regije

www.klasiktv.com www.facebook.com/klasiktv 227


Jednostavno. Efikasno. kerschoffset.hr

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www.arskopija.hr 230


DoĹĄao sam ovdje u najboljem izdanju da vidim najbolja izdanja hrvatskog ďŹ lma!

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POKROVITELJI

234


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PARTNERI

237


238


INSTITUT TOMISLAV GOTOVAC

239


MEDIJSKI POKROVITELJI

MEDIJSKI PARTNER

MEDIJSKI PARTNER

240


241


SPONZORI

d k umentarn NET

242


logo svijetla podloga

1.1 Osnovni grafički standardi Znak i logotip - osnovni odnosi Okomiti odnos - ujedno i temeljni te se preporučuje njegovo korištenje u korporativnim materijalima. Vodoravni odnos - sekundarni, a njegova se primjena preporučuje kod velikih smanjenja.

logo tamna podloga

pozitiv

negativ 243


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HVALA THANK YOU

Alen Munitić Ana Pavić Biserka Mihalić Boris T. Matić Branimir Kolar Branka Mitić Dado Ćosić Dana Budisavljević Danijel Kerš Davor Guvo Dean Šoša Dejan Buković Diana Nenadić Dunja Sarajlić Duško Ljuština Elia Skazlić Emil Soldatić Filip Šovagović Frano Mašković Franjo Senjak Goran Akrap Gorana Lolić Goran Navojec Goran Štimac Goran Villi Hana Posavec Helena Buljević Hrvoje Hribar Hrvoje Laurenta Hrvojka Begović Ida Škvorc Igor A. Nola Igor Lampić Ivan Mikulandrić Ivana Ivišić Ivana Perković Ivona Kovačević Ivana Krizmanić Jelena Đorđević Josip Nekić Judita Franković Juraj Kukoč

Karolina Pernar Katarina Bistrović Darvaš Katarina Prpić Koviljka Lazar Krešimir Brlić Krešimir Radišić Ksenija Kecur Ksenija Marinković Ksenija Novosel Leri Ahel Lucija Parać Maja Marković Marcella Jelić Marija Curić Marija Ratković Vidaković Marin Nekić Marina Oskoruš Marko Krsnik Marina Redžepović Martina Bienenfeld Martina Petrović Matea Milić Mija Pavliša Mile Blažević Miljenka Čogelja Mirela Hegediš Horvat Mislav Vinković Mladen Burić Nataša Kalinić Ahačić Nataša Langus Nenad Puhovski Nikica Gilić Nikola Benvenuti Nikola Stojadinović Nina Violić Nuša Šimić Olinka Vištica Petra Kurtela Ružica Petric Sanja Zanki Snježana Samac Sunčica Fradelić

Suzana Kosor Tamara Babun Tatjana Cindrić Tedi Lušetić Tina Tišljar Uroš Živanović Vanda Volić Vanja Sremac Vedran Šuvar Vera Robić Škarica Vesna Šteinglin Vinko Brešan Vinko Grubišić Vjera Matković Vlado Jeh Vlatka Lemić

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IMPRESUM IMPRESSUM Katalog Dana hrvatskog filma 2015. Croatian Film Days catalogue 2015 ZA NAKLADNIKA / PUBLISHING MANAGER Vlatka Jeh UREDNICA KATALOGA / CATALOGUE EDITOR Mirna Belina PREVODITELJICA / TRANSLATOR Valentina Lisak DIZAJN I PRIJELOM / DESIGN AND LAYOUT Pero Vojković, Vojković & Daughters, Kneza Višeslava 1, Zagreb TISAK / PRINTER Kerschoffset Zagreb d.o.o. NAKLADA / PRINT RUN 350 NAKLADNIK / PUBLISHER Spiritus movens Rakušina 5 10 000 Zagreb, HR T. +385 (0)1 5805 823 www.spiritus-movens.hr Zagreb, 2015.

Dani hrvatskog filma zadržavaju pravo izmjene programa. Croatian Film Days reserve the right to change the programme.

ISBN 978-953-58527-0-4 CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 000904288.

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24.DANI HRVATSKOG FILMA  

Katalog, Urednici: Željko Luketić, Mirna Belina

24.DANI HRVATSKOG FILMA  

Katalog, Urednici: Željko Luketić, Mirna Belina

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