Katalog Liffe 2018

29. Ljubljanski mednarodni filmski festival 2018

7.–18. 11.

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29. Ljubljanski mednarodni filmski festival 29th Ljubljana International Film Festival 7–18 NOV 2018

Uvodnik Foreword

Filmske izjave Cinematic Statements Simon Popek Ob petdeseti obletnici "leta 1968", ko se dobr{en del sveta spominja vsaj dveh pomembnih politi~nih mejnikov (majskega v Franciji in avgustovskega na ^e{koslova{kem), se spodobi, da se tudi v povezavi s filmom vsaj obregnemo ob tovrstne dogodke. ^e smo prvemu pozornost namenili na Festivalu dokumentarnega filma, potem ~e{kemu novemu valu namenjamo {e ve~ prostora v okviru Liffove retrospektive, ne zgolj zaradi okrogle obletnice, temve~ tudi zavoljo `alostnega dejstva, da sta nas letos aprila v petih dneh zapustila Juraj Herz in Milo{ Forman, klju~na protagonista "nove vlne", ki je tedaj o~arala ves svet.

Obenem je to opomnik, kako je film nerazdru`ljiv s politi~no realnostjo, ne glede na to, s katere strani jo filmarji "primejo".

Njuno razmerje je lahko ironi~no (~e{ki novi val) ali npr. alegori~no kot v precej{njem delu opusa Christiana Petzolda (posve~amo mu izbor {estih del), ~igar novi film Tranzit realisti~no zgodbo Anne Seghers, postavljeno v drugo svetovno vojno, elegantno prilagodi ksenofobnim razmeram v sodobni Evropi. Lahko je tudi groteskno, kot ka`e Donbas, novi film stalnega gosta Sergeja Loznice, ki ne skriva te`enj, da je njegovo delo obenem koroziven agitprop.

Politi~nih izjav je tudi letos na Liffu kar nekaj, ustvarjalcem se lahko kve~jemu zahvalimo, da jih znajo elegantno, nevsiljivo vtkati v svoje (pove~ini) osebne zgodbe; ob tem so lahko igrivi (Bojevnica), asketsko sugestivni (Tovor), brutalno neposredni (Stiks), karikirajo~i (Mala bela la`), melanholi~ni (Dovlatov, Poletje), metafikcijski (Vseeno mi je, ~e se bomo v zgodovino zapisali kot barbari) ali esejisti~ni (Knjiga podob).

Na sre~o so filmi tudi abstraktno-senzori~ni in ponujajo ~iste do`ivljajske u`itke, na kar nas spominjajo predvsem azijski avtorji (npr. Naomi Kawase, Lee Chang-dong), ki se jim letos pridru`ujejo tudi nekatere evropske avtorice, npr. Claire Denis, Alice Rohrwacher in na{a Sonja Prosenc. Vsega bo tudi tokrat za vsakogar dovolj!

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On the fiftieth anniversary of 'the year 1968', with a significant part of the world commemorating two landmark political events (the Paris riots of May 1968 and the invasion of Czechoslovakia in August 1968), it is only appropriate for a film festival to also pay its cinematic respects. If Ljubljana’s Documentary Film Festival placed focus on former, Liffe's retrospective will devote considerable attention to the Czech New Wave, not only to mark the abovenamed anniversary, but also to commemorate the deaths of Juraj Herz and Milo{ Forman – main protagonists of the Czech cinematic movement that was among the world’s most fascinating new waves – who died last April within the space of five days.

At the same time our retrospective serves to remind us that cinema is inseparable from political reality, irrespective of the angle that a filmmaker decides to take. This position can be ironic (Czech New Wave), or allegoric, which includes the bulk of Christian Petzold's output (Tribute includes a selection of six works). The German auteur's most recent work, Transit – an adaptation of Anna Seghers' realistic World War II novel –, elegantly reflects the xenophobic situation in present-day Europe.

And it can be grotesque, as in the case of Donbass, the latest offering from Sergei Loznitsa, whose work openly displays corrosive agitprop tendencies.

While a substantial amount of Liffe's selection is shot through with political statements, we can only thank these filmmakers for electing to incorporate them elegantly and unobtrusively into their (mainly) personal stories; and in doing so being playful (Woman at War), starkly evocative (The Load), brutally direct (Styx), caricaturing (Little White Lie), melancholy (Dovlatov), metafictional (I Do Not Care If We Go Down in History as Barbarians), essayistic (The Image Book) and melancholy (The Summer).

Fortunately, our selection also includes abstract-sensory films, works providing vicarious pleasure, coming primarily from Asian filmmakers (e.g. Naomi Kawase and Lee Chang-dong), as well as some European female directors, e.g. Claire Denis, Alice Rohrwacher and Slovenian Sonja Prosenc. There'll be plenty of cinema to go around!

@irije, nagrade Juries, Awards

Nagrada vodomec (sklop Perspektive) – mednarodna `irija Kingfisher Award (the Perspectives section) – International Jury Klaus Eder Deloval je kot urednik mese~ne filmske revije, od leta 1968 pa kot filmski kritik pri Bavarskem radiu. Redno je objavljal prispevke v nem{kih filmskih revijah. Izdal je knjigi o anti~ni komediji in o francoskem dramatiku Jeanu Racinu ter monografije o Andrzeju Wajdi in Luisu Buñuelu. Z Mario Ra~evo je objavil delo o zgodovini bolgarskega filma (1977) ter pisal festivalske publikacije ob retrospektivah; Nikita Mihalkov in Andrej Kon~alovski, Arturo Ripstein, Im Kwon-taek, Nagisa Oshima. V soavtorstvu z Alexandrom Klugom je objavil knjigi Ulmer Dramaturgien, Reibungsverluste (1980) in Bestandsaufnahme: Utopie Film (1983). V letih 1986–2007 je bil selektor za Münchenski mednarodni filmski festival. Od 1987 je generalni sekretar Mednarodne zveze filmskih kritikov (FIPRESCI). @ivi in dela v Münchnu.

foto: @eljko Stevani~

Jurica Pavi~i} Pisec, scenarist in filmski kritik iz Splita. Pi{e za zagreb{ki dnevnik Jutarnji list. Je avtor knjig Post-jugoslovanski film: slog in ideologija (2011) in Hrva{ki filmski klasiki iz Jugoslovanskega obdobja (2016). Od leta 2004 je selektor hrva{kega Filmskega festivala v Motovunu. Izdal je ve~ romanov in zbirk kratkih zgodb.

Film Pri~e (2004) Vinka Bre{ana, posnet po njegovem romanu in scenariju, je bil uvr{~en v tekmovalni program Berlinala. Leta 2015 je hrva{ka televizija po njegovem scenariju posnela serijo Patrola na cesti (re`iser Zvonimir Juri}), ki je prejela ve~ hrva{kih in mednarodnih nagrad. Jurica Pavi~i} `ivi v Splitu.

Ida Weiss V filmski produkciji deluje od 1994. Leta 1998 je skupaj s sestro, re`iserko Majo Weiss, ustanovila podjetje za filmsko produkcijo in distribucijo Bela film. Od 2005 vodi tudi zavod za kulturne dejavnosti Senca studio, katerega dolgoro~na usmeritev je produkcija vsebin za otro{ko in mlado ob~instvo. Producirala in koproducirala je ve~ kot {tirideset filmov, ki so bili predstavljeni na ve~ kot tristo festivalih, med njimi tudi v Berlinu (Varuh meje, Child In Time) in Cannesu (Vsak dan ni vsak dan) ter prejela {tevilne nagrade in nominacije, med njimi tudi nominacijo Evropske filmske akademije za najbolj{i prvenec (Varuh meje).

Leta 2018 je re`irala svoj prvenec Peter vs. Harry, ki je bil premierno predstavljen na Festivalu dokumentarnega filma v Ljubljani, na festivalu DokuDok v Mariboru pa je prejel naziv DOKUDOC izbrani 2018. Je ~lanica dru{tva Filmskih producentov Slovenije (FPS), Evropske filmske akademije (EFA), Evropske mre`e avdiovizualnih ustvarjalk (EWA) ter evropskih mre` filmskih in avdiovizualnih producentov producentov EAVE in ACE.

Nagrada FIPRESCI mednarodna `irija FIPRESCI Prize International Jury

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Klaus Eder Worked as editor of the monthly film magazine "film", from 1968 film critic of the national radio station Bayerischer Rundfunk.

Regular contributions to German language film magazines.

Books on ancient comedy and on the 17th-century French playwright Jean Racine. Monographs on Andrzej Wajda, Luis Buñuel. History of Bulgarian cinema, Der bulgarische Film, together with Maria Racheva (1977). Festival publications, at the occasion of retrospectives, on Nikita Mikhalkov and Andrei Konchalovski, Arturo Ripstein, Im Kwon-taek, Nagisa Oshima.

Two books together with Alexander Kluge: Ulmer Dramaturgien, Reibungsverluste (1980) and Bestandsaufnahme: Utopie Film (1983). 1986–2007 programmer for the Munich International Film Festival. General Secretary of the International Federation of Film Critics (FIPRESCI) since 1987. Lives and works in Munich, Germany.

Jurica Pavi~i} Writer, screenwriter and film critic from Split. He writes for Zagreb's Jutarnji List daily. Author of books Post-Yugoslav Cinema: Style and Ideology (2011) and Classics of Croatian Cinema From Yugoslav Period (2016). Since 2004 has serves as selector for the Motovun Film Festival in Croatia. He has published several novels and short story collections. The film based on his novel and screenplay, Witnesses (2004) by Vinko Bre{an, was selected for Berlinale's competition program. In 2015, Croatian tv-produced The Road Patrol, a series based on his screenplay (director: Zvonimir Juri}), which has won several Croatian and international awards. Jurica Pavi~i} lives in Split.

Ida Weiss She has worked in the field of film production since 1994. In 1998, Ida and her sister Maja Weiss established the production company Bela Film. Since 2005 she has managed Senca Studio, a cultural institute aimed at producing works for children and young audiences. She has produced or co-produced over 40 films, which have screened at over 300 festivals, including Berlin (Guardian of the Frontier, Child In Time) and Cannes (Every Day Is Not the Same) and received various awards, including the European Film Academy nomination for Best First Feature (Guardian of the Frontier). Her directorial debut, Peter vs. Harry, premiered at the Ljubljana Documentary Film Festival, and was named the "Dokudok Chosen 2018" at the Maribor DokuDok Festival. She is member of the Association of Slovenian Film Producers (FPS), the European Film Academy (EFA), the European Women's Avdiovisual Network (EWA), the European Avdiovisual Entrepreneurs EAVE and the Network of Film Producers ACE.

Zmaj – nagrada ob~instva Dragon – Audience Award

@irije, nagrade Juries, Awards

Nagrada za najbolj{i kratki film – mednarodna `irija Best Short Film Award – International Jury Igor Bezinovi} Diplomant filozofije, sociologije in primerjalne knji`evnosti na zagreb{ki Fakulteti za humanistiko in dru`bene vede ter filmske in tv-re`ije na Akademiji dramskih umetnosti. Posnel je okoli ducat kratkih filmov, celove~erni dokumentarec Blokada in celove~erni igrano-dokumentarni film Kratki izlet. S filmom se ukvarja tako poklicno kot amatersko.

Igor Bezinovi} Graduated in philosophy, sociology and comparative literature from the Zagreb Faculty of Humanities and Social Sciences and film and TV directing from the Zagreb Academy of Dramatic Art. He directed about a dozen of short films, the feature-length documentary The Blockade (Blokada) and feature fictiondocumentary A Brief Excursion (Kratki izled). He is active in filmmaking both as a professional and an amateur.

Tanja Hladnik Direktorica in programska sovodja mednarodnegafilmskega festivala Kino Otok – Isola Cinema, na katerem je kratkometra`cem posve~en tradicionalni sklop Video na pla`i, pa tudi kurirani programi kratkih filmov. V Ljubljani je diplomirala iz primerjalne knji`evnosti, literarne teorije in novinarstva, v Maastrichtu na Nizozemskem pa magistrirala iz kulturne politike, mened`menta in vzgoje. Zadnjih deset let deluje kot urednica, kuratorka in vodja kulturnih projektov na prese~i{~u humanistike in dru`boslovja ter vizualne in avdiovizualne umetnosti. S posebno naklonjenostjo raziskuje sodobno avtorsko filmsko produkcijo vseh `anrov in dol`in ter avdiovizualna dela, ki presegajo klasi~no dojemanje kinematografije in kino izku{nje.

Tanja Hladnik Director and artistic co-director of Isola Cinema, an international film festival that includes Video on the Beach, a section featuring short films, and a curated short-film programme. She graduated in comparative literature, literary theory and journalism in Ljubljana, and obtained an MA in cultural politics, management and education in Maastricht. For the last decade, she has worked as an editor, curator and cultural manager involved in projects at the intersection of humanities and social sciences and visual and avdiovisual art. She explores contemporary film production, as well as avdiovisual works that transcend classical perception of cinematography and the cinematic experience.

Milan Stojanovi} Produciral je Barbare (2014), nagrajeni prvenec Ivana Iki}a, in Tako mi na istoku (2017), dokumentarec Katarine Muti}. Je soproducent filma Her Job, prvenca gr{kega ustvarjalce Nikosa Labota, ki je bil premirno predstavljen na leto{njem Tiffu, in The Manor House, novi film Cristija Puiua. Diplomiral je iz filmske in tv-produkcije na Fakulteti za dramske umetnosti v Beogradu, opravil te~aj iz filmske ustvarjalnosti na newyor{ki akademiji za film in leta 2014 producentsko delavnico EAVE. Sodeloval je pri projektih Producers on the Move 2016 in Emerging Producers 2018. Je volilni ~lan Evropske filmske akademije.

Milan Stojanovi} Produced the award-winning debut by Ivan Iki}, Barbarians (2014), and The Way of the East (2017), a documentary by Katarina Muti}. He is also co-producer of Her Job, a debut by Greek filmmaker Nikos Labot, which premiered at this year's Tiff and The Manor House, a new film by Cristi Puiu. Milan graduated in film and TV producing from the Faculty of Dramatic Arts in Belgrade, completed a filmmaking course at the New York Film Academy and the EAVE Producers Workshop 2014. He was part of Producers on the Move 2016 and Emerging Producers 2018.

He is a voting member of the European Film Academy.

Mladinska žirija Kinotrip Kinotrip Youth Jury

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Perspektive Perspectives

112 Den skyldige The Guilty Danska Denmark 2018

Gustav Möller re`ija/directed by Gustav Möller scenarij/screenplay Gustav Möller, Emil Nygaard Albertsen fotografija/cinematography Jasper Spanning glasba/music Carl Coleman, Caspar Hesselager monta`a/editing Carla Luffe Heintzelmann igrajo/cast Jakob Cedergren (Asger Holm), Jessica Dinnage (Iben), Omar Shargawi (Ra{id), Johan Olsen (Michael), Jakob Ulrik Lohmann (Bo), Katinka Evers-Jahnsen (Mathilde), Jeanette Lindbæk (Vagtleder Nordsjælland) producentka/producer Lina Flint produkcija/production Nordisk Film Production A/S Mosedalvej 14 2500 Valby, København, Denmark E ecrone�nordiskfilm.dk format/format DCP, barvni/colour dol`ina/running time 85'

Psiholo{ki triler, navdihnjen s posnetkom resni~nega klica v sili, ob~instvo popelje na napeto potovanje, ~eprav se ne premakne iz klavstrofobi~nega klicnega centra.

festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2018 (nagrada ob~instva/ Audience Award), Rotterdam 2018 (nagrada ob~instva/Audience Award), Montclaire 2018 (nagrada ob~instva/Audience Award), Seattle 2018 (najbolj{i re`iser/Best Director), Göteborg 2018, Sydney 2018, Karlovi Vari/Karlovy Vary 2018

Na policijski postaji nekje na Danskem policist Asger Holm naveli~ano sprejema klice v sili. V klicni center so ga za~asno namestili iz kazenskih razlogov, delo ga ne zanima zares. Nato na {tevilko za nujne primere pokli~e Iben, mama dveh otrok, ki mu v {ifrah namigne, da jo je ugrabil nekdanji mo` in da jo v kombiju pelje neznano kam. Ko se zveza nenadoma prekine, mora Asger poiskati ugrabljenko in njenega ugrabitelja; v napeti bitki s ~asom mora uporabiti vse svoje detektivske sposobnosti, a si lahko pri tem pomaga zgolj s telefonom. Kmalu ugotovi, da je primer, na katerega je naletel, veliko huj{i, kot je sprva mislil.

"Tisto je bil posnetek resni~nega klica v sili. Ugrabljena `enska je govorila z operaterjem, vendar v {ifrah. Najprej sem samo poslu{al kot prikovan, pozneje pa sem za~el razmi{ljati o tem, da se mi je zdelo, da tudi vidim tisto, kar je opisovala. Dejstvo, da bi vsak ~lovek, ki bi poslu{al tisti posnetek, videl druga~ne podobe, me je zelo prevzelo. Iz te ideje je nastala zasnova za film – ki bi ga vsak gledalec videl povsem po svoje." (Gustav Möller)

prodaja/world sales TrustNordisk Filmbyen 28 2650 Hvidovre, Denmark E info�trustnordisk.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

At a police station somewhere in Denmark, policeman Asger Holm is on temporary duty as alarm dispatcher, however annoyed he is with the job. Then, he answers an emergency call from Iben, who, using code, insinuates she has been kidnapped by her ex-husband and is now driving her in a van to an unknown destination. When the call is suddenly disconnected, Asger must find the woman and her kidnapper. Entering a race against time, he must utilise all his detective skills, using the phone as his only tool. Soon he realises that he is dealing with a crime that is far bigger than he first thought.

"The clip was a sound recording of a real 911 call. A kidnapped woman was talking to an operator in code. Initially I was just gripped by the suspense, but later I started reflecting on the fact that it felt like I had seen images of what was being described.

The fact that every person listening to the same clip would see different images was extremely fascinating to me and led to the idea of turning that premise into a film – a film that would play out in a unique way to every single audience member."

(Gustav Möller)

Gustav Möller

filmografija/filmography

Rojen leta 1988 v Göteborgu na [vedskem. Filmsko izobrazbo je pridobil na Danski filmski {oli in leta 2015 diplomiral. Psiholo{ki triler 112 je njegov celove~erni prvenec, premierno pa so ga predstavili na festivalu v Sundanceu.

2015 I mørke (In Darkness) (kratki/short) 2018 Den skyldige (The Guilty/112)

Born in 1988 in Gothenburg, Sweden. He graduated in film from the Danish Film School in 2015. His debut feature, psychological thriller The Guilty, received its world premiere at Sundance.

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Danish director Gustav Möller got the idea for The Guilty after listening to a sound recording of a real 911 call. The psychological thriller takes its audience on an intense journey without physically leaving the claustrophobic environment of a police call centre.

Perspektive Perspectives

Bojevnica Kona fer í stríð Woman at War Islandija, Francija, Ukrajina Iceland, France, Ukraine 2018

Benedikt Erlingsson

Navdihujo~a zgodba o `enski, ki v skrbi za ohranitev neokrnjene islandske narave drzno bije bitko proti industriji aluminija.

Halla je petdesetletna `enska neodvisnega duha, ki za kuliso dnevne rutine `ivi dvojno. Na skrivaj je namre~ tudi okoljevarstvena aktivistka, ki jo ljudje poznajo zgolj po vzdevku "`enska z gore". Halla se bori proti lokalni industriji aluminija. Njena dejanja postajajo vse drznej{a, saj ji uspe zaustaviti pogajanja med islandsko vlado in korporacijo, ki gradi novo talilnico. Ko pa za~ne na~rtovati svoj najve~ji podvig, prejme pismo, ki spremeni vse.

Njeno pro{njo za posvojitev otroka so kon~no odobrili in zdaj jo v Ukrajini ~aka majhna deklica. A preden bo opustila svojo vlogo re{iteljice islandske narave, bo izvedla {e en, zadnji podvig in s tem industriji aluminija zadala usodni udarec.

re`ija/directed by Benedikt Erlingsson scenarij/screenplay Ólafur Egilsson, Benedikt Erlingsson fotografija/cinematography Bergsteinn Björgúlfsson glasba/music Davíð Þór Jónsson monta`a/editing David Alexander Corno igrajo/cast Halldóra Geirharðsdóttir (Halla, Ása), Jóhann Sigurðarson (Sveinbjörn), Juan Camillo Roman Estrada (Juan Camillo), Jörundur Ragnarsson (Baldvin), Solveig Arnaldsdottir, Helga Braga Jónsdóttir (zaporni{ka paznica/prison guard), Charlotte Bøving (`enska v posvojitveni agenciji/woman at adoption agency), Iryna Danyleiko (pevka v ukrajinskem zboru/Ukrainian choir singer) producenti/producers Benedikt Erlingsson, Carine Leblanc, Marianne Slot produkcija/production Slot Machine 10 rue Sainte Anastase 75003 Paris, France E slotmachine�slotmachine.fr & Gulldrengurinn (Iceland) & Vintage Pictures (Iceland) & Köggull Filmworks (Iceland) format/format DCP, barvni/colour dol`ina/running time 101'

An inspiring story about a zealous environmentalist fighting for Icelandic wilderness preservation.

Halla is an independent fifty-year-old woman. But behind the scenes of a quiet routine, she leads a double life as a passionate environmental activist. She secretly wages a one-woman war on the local aluminium industry. As her actions grow bolder, she succeeds in pausing the negotiations between the Icelandic government and the corporation building a new aluminium smelter. But as she begins planning her boldest operation yet, she receives a letter that changes everything. Her application to adopt a child has finally been accepted and there is a little girl waiting for her in Ukraine. As Halla prepares to abandon her role as saviour of the Highlands to fulfil her dream of becoming a mother, she decides to plot one final attack to deal the aluminium industry a crippling blow.

"Film naj bi bil juna{ka pripovedka, ume{~ena v na{ svet neposredne gro`nje. Juna{ka pripovedka, predstavljena kot dogodiv{~ina. Resna pravljica, povedana z nasmehom. Na{a junakinja v tem svetu deluje kot nekak{na Artemida, za{~itnica nedotaknjenega in divjega. Soo~ena s hitro spreminjajo~im se planetom sama prevzame vlogo re{iteljice matere Zemlje in njenih prihodnjih generacij." (Benedikt Erlingsson)

"This movie is meant to be a heroic tale set in our world of imminent threat. A heroic tale told as an adventure. A serious fairy tale told with a smile. Our hero serves in this world as a kind of Artemis, the protector of the untouched and wild. Alone, facing a quickly changing planet, she assumes the role of saving mother earth and its future generations." (Benedikt Erlingsson)

Benedikt Erlingsson

filmografija/filmography

Rojen leta 1969 v Reykjaviku, Islandija. Je eden najuspe{nej{ih islandskih gledali{kih re`iserjev minulega desetletja. Islandski tv-gledalci ga najbolje poznajo po vlogi v komi~ni seriji Blood Brothers, na velikem platnu pa je najbolj prepoznavno vlogo odigral v von Trierjevem filmu Glavni {ef (2007).

S svojim celove~ernim prvencem Zgodbe o konjih in ljudeh je ustvaril enega mednarodno najuspe{nej{ih islandskih filmov tega desetletja.

2007 2008 2013 2015 2018

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018 – Teden kritike/Critics' Week, Sydney 2018

prodaja/world sales Beta Cinema Gruenwalder Weg 28d 82041 Oberhaching, Germany E beta�betacinema.com

Thanks (kratki/short) The Nail (kratki/short) Of Horses and Men (Zgodbe o konjih in ljudeh) The Show of Shows (dok./doc.)

Kona fer í stríð (Woman at War/Bojevnica)

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Born in 1969 in Reykjavik, Iceland, Erlingsson is one of Iceland's most successful theatre directors of the last decade. On Icelandic TV, he is best known for his role in the comedy series Blood Brothers. He has a prolific career as a film actor, most notably in Lars von Trier's The Boss of It All (2007). His debut feature, Of Horses and Men, is one of the most successful films in the recent history of Icelandic cinema.

11

Perspektive Perspectives

Dedinji Las herederas The Heiresses Marcelo Martinessi

Paragvaj, Urugvaj, Nem~ija, Brazilija, Norve{ka, Francija Paraguay, Uruguay, Germany, Brazil, Norway, France 2018

re`ija/directed by Marcelo Martinessi scenarij/screenplay Marcelo Martinessi fotografija/cinematography Luis Armando Arteaga monta`a/editing Fernando Epstein igrajo/cast Ana Brun (Chela), Margarita Irún (Chiquita), Ana Ivanova (Angy), Nilda Gonzalez (Pati), María Martins (Pituca), Alicia Guerra (Carmela), Yverá Zayas (pevka/singer) producenta/producers Sebastián Peña Escobar, Marcelo Martinessi produkcija/production La Babosa Cine Defensa Nacional 737 Asuncion, Paraguay E info�lababosacine.com format/format DCP, barvni/colour dol`ina/running time 95' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2018 (najbolj{a igralka/ Best Actress, nagrada FIPRESCI/ FIPRESCI Prize, nagrada Alfred Bauer/Alfred Bauer Award), Seattle 2018, Sydney 2018 (najbolj{i film/ Best Film)

Tiha mojstrovina dokaj neznane paragvajske kinematografije, ki ob razmerju `ensk v zrelih letih prika`e osebnostno rast od hrome~e otopelosti do o`ivljenega prebujenja.

Chiquita in Chela sta par `e vrsto let. Medtem ko je prva s svojo odlo~nostjo prevzela dominantno vlogo, druga v varnem zavetju doma malodu{no `ivotari v njeni senci. Toda te`ave z denarjem, zaradi katerih mora Chiquita za nekaj ~asa v zapor, prisilijo Chelo, da se zdrami iz otopelosti. S svojim starim mercedesom za~ne preva`ati bogate starej{e gospe, ob tem pa spozna mlado in `ivljenja polno Angy, ki v njej prebudi `e pozabljene ob~utke.

"Zanimala me je generacija lezbijk v {estdesetih in sedemdesetih letih, ki so odra{~ale ob diktatorskem zatiranju in so ponotranjile homofobijo sistema. /.../ Pomembno se mi je zdelo pokazati, da niso bojevite in niso moderne lezbijke v boju za svoje pravice.

Prihajajo iz dru`be, v kateri so bile primorane odra{~ati s sposojeno identiteto. Posku{ale so ohraniti lastno podobo, vendar so obenem igrale nekoga drugega, saj jih tudi v lastnih krogih niso polno sprejeli." (Marcelo Martinessi)

prodaja/world sales Luxbox 6 rue Jean-Pierre Timbaud 75011 Paris, France E info�luxboxfilms.com

Chela and Chiquita have been a couple for a very long time.

Extroverted Chiquita is responsible for managing their life together. Chela on the other hand is reluctant to leave the house, preferring to spend her days quietly in Chiquita's shadow. When running into financial difficulties, Chiquita is sent to prison for debt. Suddenly left on her own, Chela is forced to wake up from emotional slumber. She uses her old Daimler to provide a taxi service to wealthy older ladies. In her new role, she meets the young and life-affirming Angy. This encounter helps Chela rediscover her long-forgotten desires.

"I was interested in this generation of lesbian women around 60s/70s that grew up under all the oppression of dictatorship and have internalised the homophobia of the system. /.../ It was important for me to show that they are not militant and that they are not modern lesbian women fighting for their rights. They are from a society where they had to grow up with borrowed identities, trying to be themselves but also playing someone else because they weren't fully accepted by their own people."

(Marcelo Martinessi)

Marcelo Martinessi

filmografija (izbor)/filmography (selection)

Rojen v Paragvaju leta 1973. Po {tudiju komunikacij v doma~em mestu Asunció se je podal v London na filmsko {olo. Kmalu je po`el prve uspehe s kratkimi filmi, ki zajemajo navdih iz literature in aktualne politike. Leta 2010 je postal izvr{ni direktor prve paragvajske nacionalne televizije, danes pa se tako doma kot v svetu vedno bolj uveljavlja kot filmski re`iser in scenarist.

2009 2011 2013 2018

Born in Paraguay in 1973, Martinessi studied communication in his hometown, followed by film at the London Film School. He soon achieved distinction with his short films, which revolve around literature and relevant political concerns. In 2010, he was appointed executive director of his country's first public television station. He has recently been winning international recognition as a filmmaker and screenwriter.

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A quiet masterpiece by a voice from the little-known Paraguayan cinema. By centring on a relationship between two middle-aged women, The Heiresses explores personal growth, ranging from paralysing apathy to optimistic awakening.

Karai norte (kratki/short) Calle última (kratki/short) La voz perdida (The Lost Voice) (kratki/short) Las herederas (The Heiresses/Dedinji)

Perspektive Perspectives

Hannah Hannah Hannah Andrea Pallaoro

V Benetkah nagrajena Charlotte Rampling v vlogi starej{e `enske, ki se spoprijema s posledicami mo`eve zaporne kazni.

Hannah pre`ivi tiho ve~erjo s svojim mo`em, preden mu pripravi prtljago in ga naslednje jutro pospremi v zapor na prestajanje zaporne kazni. Zdaj se mora navaditi na samotno `ivljenje, ki ga bo pre`ivljala kot ~istilka razko{ne hi{e pri dobro preskrbljeni dru`ini. Kljub poskusom, da bi nekako zapolnila svoj ~as, pogosto ostane ujeta v ti{ino in razmi{ljanje, na poti na delo pa se ve~krat zatopi v opazovanje potnikov na podzemni `eleznici. Medtem ko Hannah drsi med resni~nostjo in zanikanjem, film raziskuje tematiko sodobne odtujenosti, dru`benih pritiskov in te`avnega vzpostavljanja medosebnih odnosov v osebni stiski.

"Hannahina stiska se me je globoko dotaknila. Morda ker sem zaslutil, kako neizprosen je svet lahko do nje, ali pa, ker v njej vidim dolo~ene dele sebe. S tem filmom sem se ji hotel ~ustveno pribli`ati, jo prijeti za roko, jo opolnomo~i, pomiriti. Bolj kot vse sem `elel, da jo svet vidi, za~uti njeno bridkost, prisostvuje njenemu prizadevanju za vnovi~no, samostojno oblikovanje lastne identitete." (Andrea Pallaoro)

Italija, Francija, Belgija Italy, France, Belgium 2017 re`ija/directed by Andrea Pallaoro scenarij/screenplay Andrea Pallaoro, Orlando Tirado fotografija/cinematography Chayse Irvin glasba/music Michelino Bisceglia monta`a/editing Paola Freddi igrajo/cast Charlotte Rampling (Hannah), André Wilms (Hannahin mo`/Hannah's husband), Stéphanie Van Vyve (Elaine), Simon Bisschop (Nicholas), Jessica Fanhan (`enska na podzemni `eleznici/subway woman), Fatou Traoré (dramska u~iteljica /drama teacher), Jean-Michel Balthazar (Chris), Gaspard Savini (Charlie), Julien Vargas (Michael), Luca Avallone (Albert) producenti/producers Andrea Stucovitz, John Engel, Clément Duboin produkcija/production Partner Media Investment Via San Godenzo 174 – Int. 1A 00198 Rome, Italy E a.stucovitz�gmail.com & Left Field Ventures (Belgium) & Good Fortune Films (France) & Rai Cinema (Italy) format/format DCP, barvni/colour dol`ina/running time 95'

Winner of the Venice Film Festival Award for Best Actress, Charlotte Rampling stars in the role of an older woman grappling with the consequences of her husband's imprisonment.

Hannah has a quiet dinner with her husband, and the next morning she carefully lays out his clothes before accompanying him to prison. She'll now have to get used to a solitary life and a job cleaning the modern house of a well-heeled family. Despite attempts at somehow passing her time usefully, she remains locked in silence and contemplation, often gazing furtively at the behaviour of other passengers on the subway as she goes to and from her apartment. While Hannah drifts between reality and denial, the film investigates modern day alienation, societal pressures and the struggle to connect when one's sense of identity is fractured.

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2017 (najbolj{a igralka/Best Actress), Toronto 2017, Rio de Janeiro 2017, Chicago 2017 (najbolj{a fotografija/Best Cinematography), Dunaj/Vienna 2017, Solun/Thessaloniki 2017

"Hannah's struggle touches me deeply, maybe because I sense how unforgiving the world can be towards her, or maybe because I see in her certain parts of myself. What I know is that with this film I wanted to feel close to her, to hold her hand, to empower her, to reassure her. More than anything, I wanted the world to see her, to sense her grief, and to witness her struggle to define herself anew, alone." (Andrea Pallaoro)

Andrea Pallaoro

filmografija/filmography

Rojen leta 1981 v Trentu, Italija. Na Kalifornijskem in{titutu za umetnost je magistriral iz filmske re`ije. Njegov prvi kratki film Wunderkammer je osvojil ve~ mednarodnih nagrad in bil uvr{~en na ve~ kot petdeset festivalov po svetu, celove~erni prvenec Medeas pa se je uvrstil v uradni program filmskega festivala v Benetkah. Film Hannah je prvi del na~rtovane trilogije filmov, osredi{~enih okrog `enskih likov.

2008 Wunderkammer (kratki/short) 2013 Medeas 2017 Hannah

prodaja/world sales TF1 Studio 1 Quai du Point du Jour 92656 I Boulogne-Billancourt CEDEX, France E sales�tf1.fr distribucija/distribution Famous Fox Gub~eva 19 8210 Trebnje E goran�famousfox.si

Born in Trento, Italy, in 1982, Pallaoro holds an MFA in Film Directing from the California Institute of the Arts. His short film debut, Wunderkammer, has won several international awards and has been selected for the official competition of over fifty film festivals around the world. His first feature film, Medeas, premiered at the Venice International Film Festival. Hannah is the first of an intended trilogy of films centring on a female lead.

13

Perspektive Perspectives

Jezdec The Rider The Rider ZDA USA 2017

Chloé Zhao re`ija/directed by Chloé Zhao scenarij/screenplay Chloé Zhao fotografija/cinematography Joshua James Richards glasba/music Nathan Halpern monta`a/editing Alex O'Flinn igrajo/cast Brady Jandreau (Brady Blackburn), Mooney (Gus), Tim Jandreau (Wayne Blackburn), Lilly Jandreau (Lilly Blackburn), Leroy Pourier (Frank), Cat Clifford (Cat Clifford), Tanner Langdeau (Tanner Langdeau), James Calhoon (James Calhoon), Lane Scott (Lane Scott), Cameron Wright (rodeo kavboj 1/rodeo cowboy 1), Jordon Slick (rodeo kavboj 2/rodeo cowboy 2) producenti/producers Chloé Zhao, Bert Hamelinck, Sacha Ben Harroche, Mollye Asher produkcija/production Caviar 6320 Sunset Blvd 90028 Los Angeles, USA E sacha.benharroche�caviar.tv & Highwayman Films (USA) format/format DCP, barvni/colour dol`ina/running time 104' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2017 – [tirinajst dni re`iserjev/Directors' Fortnight, Sarajevo 2017, Toronto 2017, Deauville 2017 (velika posebna nagrada/Grand Special Prize), Atene/ Athens 2017 (najbolj{i film/Best Picture), Carigrad/Istanbul 2018 (nagrada FIPRESCI/FIPRESCI Prize), Newcastle 2018 (najbolj{a re`iserka/ Best Director)

Drama o spreminjajo~em se obrazu ameri{kega pode`elja, ki s pomo~jo igralske zasedbe resni~nih kavbojev poda sve` pogled na vestern.

A longing look at the transforming American West, The Rider deploys a cast of real-life cowboys to present a refreshing new perspective on the western genre.

Mladi kavboj Brady Blackburn je bil neko~ vzhajajo~a zvezda rodea, a mora po hudi po{kodbi glave opustiti upanje, da bo {e kdaj jezdil konja. V staroselskem rezervatu v Ju`ni Dakoti se soo~a s psiholo{kimi in ~ustvenimi posledicami nesre~e. Dru`bo svojih starih prijateljev zamenja za pre`ivljanje ~asa z bikoborcem Lanom, ki je prav tako utrpel hudo po{kodbo. Ko od nesre~e mine nekaj ~asa, pa Brady vseeno ne zdr`i brez konj in se vrne k rodeu.

Zdaj se bo moral dokon~no odlo~iti, ali bo nadaljeval zdravljenje v krogu dru`ine ali pa bo tvegal vse, da bi ohranil identiteto kavboja.

Young cowboy Brady Blackburn, once a rising star of the rodeo circuit is warned that his riding days are over after a head injury.

Back home on the Pine Ridge Indian Reservation, South Dakota, Brady struggles with the physical and emotional complications of the accident. He starts to drift away from his rodeo friends and spend more time with Lane who is in intensive rehab after his bull riding career ended in a tragic accident. As time goes on, Brady can't stay away from his horses and decides to start riding again. He has to choose between healing with the help of his family and friends, or risking it all to keep the only sense of self he's ever known.

"Pritegnil me je naglo izginjajo~i na~in `ivljenja v osr~ju Amerike. ~utim so~utje do ljudi, ki ne `elijo iti naprej ter se oklepajo svojega bivanja in identitete. Upam, da bodo ljudje uvideli, zakaj je tem mladim mo`em tako te`ko opustiti identiteto kavboja ter razumeli tveganje in `rtev, ki ju sprejemajo za svobodo, ob~uteno med je`o." (Chloé Zhao)

prodaja/world sales Protagonist Pictures 42–48 Great Portland Street W1W 7NB London, UK E info�protagonistpictures.com distribucija/distribution Continental film d.o.o.

Cvetkova ulica 1 1000 Ljubljana E video�continentalfilm.si

Chloé Zhao

filmografija/filmography

Rojena leta 1982 v Pekingu, Kitajska. [tudirala je politologijo na kolid`u Mount Holyoke, nato pa {e filmsko produkcijo na Univerzi v New Yorku.

Danes biva in ustvarja v ZDA. Njen prvenec Songs My Brothers Taught Me so leta 2015 premierno prikazali v Sundanceu. Njen drugi film Jezdec je po premieri v Cannesu osvojil kopico mednarodnih nagrad.

2008 2009 2010 2011 2015 2017

Born in 1982 in Beijing. She studied political science at Mount Holyoke College and film production at NYU. She currently resides in the United States. Her 2015 feature debut, Songs My Brothers Taught Me, premiered at the Sundance Film Festival. Her award-winning second feature, The Rider, premiered at Cannes.

14

"I was drawn to a way of life in the heartlands of America that seems to be rapidly disappearing, and I feel very compassionate towards people who refuse to move on and who try to hold on to their way of life and their identity. I hope people will see why it's so difficult for these young men to let go of their cowboy identity and understand the risks and sacrifices they make for the sense of freedom they feel when they ride." (Chloé Zhao)

Post (kratki/short) The Atlas Mountains (kratki/short) Daughters (kratki/short) Benchin (kratki/short) Songs My Brothers Taught Me The Rider (Jezdec)

Perspektive Perspectives

Mala bela la` La mentirita blanca Little White Lie ^ile Chile 2017

Tomás Alzamora

re`ija/directed by Tomás Alzamora scenarij/screenplay Tomás Alzamora fotografija/cinematography Jonathan Maldonado monta`a/editing Tomas Alzamora, Roberto Doveris igrajo/cast Rodrigo Salinas (Edgardo), Ernesto Meléndez (Vladimir), Catalina Saavedra (Leontina), Daniel Antivilo (Don Fabián), Jonas Sanche (Carlitos) producent/producer Pablo Calisto produkcija/production Equeco Seminario 143, Of. 401 Providencia, Chile E hola�equeco.cl format/format DCP, barvni/colour dol`ina/running time 80'

^rna komedija o novinarju lokalnega ~asopisa, ki za~ne v strahu pred izgubo slu`be objavljati izmi{ljotine, je duhovit prvenec mladega ~ilskega avtorja Tomása Alzamore.

Novinar Edgardo je vsakodnevno na lovu za novicami in ~lanki, s katerimi bi pritegnil bralce lokalnega ~asopisa v ~ilskem mestecu.

Z zavedanjem, da lahko zaradi pomanjkanja bralcev ~asopis ugasne, objavi izmi{ljeno zgodbo, ki mu prinese nepri~akovano popularnost. Zdaj mu preostane le dvoje: ali se pokesa in prizna, da zapisano ne dr`i, ali pa `rtvuje novinarsko (in osebno) integriteto, nadaljuje z la`mi in potvarjanjem novic ter u`iva v slavi.

"Sem glasbenik. @elel sem ustvarjati glasbene videe, vendar ni bilo nikogar, ki bi mi ob tem pomagal. Zato sem se jih lotil sam.

Bila je moja prva izku{nja pri filmu. Zatem sem v Franciji posnel prvi kratki film, ker ga v ^ilu nisem mogel. Tam nih~e nima kamere. Malo belo la` sem posnel v doma~em mestu. Zakaj govori o novinarstvu? Moj dobri prijatelj, prav tako novinar, je imel podobno te`avo. Objavljal je la`ne novice. Odli~na zamisel.

Preden sem se lotil scenarija, sem prou~il vse la`ne novice v dr`avi." (Tomás Alzamora)

festivali, nagrade (izbor)/ festivals, awards (selection) Miami 2017 (nagrada za scenarij/ Jordan Ressler Screenwriting Award)

A black comedy about a journalist on a local newspaper who starts fabricating stories for fear of losing his job, Little White Lie is a witty debut feature by young Chilean filmmaker Tomás Alzamora.

Edgardo is a journalist struggling to maintain a career in a small Chilean town, always on the lookout for exclusive news stories.

Worrying that the newspaper is on the verge of closing down because of declining readership, he fabricates a story, a little white lie, which turns into a very big deal, transforming him into a hugely popular local celebrity. Should our humble hero confess his peccadillo or sacrifice his professional (and personal) integrity at the altar of fame?

"I'm a musician. I wanted to make video clips but had no one for help. So, I did it myself. It was my first experience in cinema.

Then I made my first short film in France while I couldn't make it in Chile. Nobody has camera there. I made Little White Lie in my town. Why it is about journalism? I have a good friend who is a journalist and he had a similar problem. He published fake news.

It was a great idea. I researched all fake news in the country before writing the script." (Tomás Alzamora)

Tomás Alzamora

filmografija/filmography

Rojen leta 1989 v San Carlosu, ^ile. Poznan tudi kot glasbenik in did`ej pod vzdevkom FourD. Pri enaindvajsetih letih se je odlo~il za {tudij filma na ~ilski univerzi UNIACC. Produciral je {tevilne videospote za razli~ne ~ilske glasbenike, kot snemalec pa je posnel nekaj kratkih filmov. Za svoj celove~erni prvenec Mala bela la` je bil nagrajen na festivalu v Miamiju.

2017 La mentirita blanca (Little White Lie/Mala bela la`)

prodaja/world sales Equeco Seminario (7,632.44 mi) Santiago, Chile E pablo�equeco.cl

Born in 1989 in San Carlos, Chile. A filmmaker, as well as a DJ and rapper, better known as FourD. At 21, he began his film studies at the University of Arts and Communication Sciences UNIACC. He has produced video clips for various Chilean music stars and made several short films as a cinematographer. His feature directorial debut, Little White Lie, was awarded at the Miami Film Festival.

15

Perspektive Perspectives

Stiks Styx Styx Nem~ija, Avstrija Germany, Austria 2018

Wolfgang Fischer re`ija/directed by Wolfgang Fischer scenarij/screenplay Wolfgang Fischer, Ika Künzel fotografija/cinematography Benedict Neuenfels monta`a/editing Monika Willi igrajo/cast Susanne Wolff (Rike), Gedion Oduor Wekesa (Kingsley), Alexander Beyer (Paul), Inga Birkenfeld (Marie), Anika Menger (re{evalka/paramedic) producenti/producers Marcos Kantis, Martin Lehwald, Michal Pokorny produkcija/production Schiwago Film Gneisenaustrasse 66 10961 Berlin, Germany E info�schiwagofilm.de format/format DCP, barvni/colour dol`ina/running time 94' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2018 (nagrada Label Europa Cinemas/Label Europa Cinemas Award), Carigrad/Istanbul 2018, Jeruzalem/Jerusalem 2018, Hongkong/Hong Kong 2018

Alegori~na eksistencialna drama o boju za pre`ivetje sredi oceana otipljivo predstavi kruto izku{njo begunca, ki ni ve~ gospodar svoje usode.

Wolfgang Fischer's allegorical, existential drama depicts a struggle for survival at sea, making palpable the cruel situation of people whose fate is determined by others.

Rike je stara {tirideset let in povsem predana zdravni{kemu poklicu. Dopust `eli izkoristiti za dolgo na~rtovano jadranje od Gibraltarja do Ascensiona, majhnega otoka v Atlantiku. Ko `e vse ka`e, da bo njena `elja po brezskrbni samoti sredi morskih prostranstev pote{ena, ji nevihta prinese nov izziv. V daljavi opazi potapljajo~o se ladjo in njen ~ut za so~loveka jo `ene, da prisko~i na pomo~. Toda re{evalna misija ve~ stotih prestra{enih beguncev, ki se jim v o~eh zrcali groza pred utopitvijo, se izka`e za ni~ kaj ve~ kot pobo`no `eljo.

40-year-old Rike is a doctor whose job demands everything of her. She intends to use her much-needed annual holiday to fulfil her dream of sailing from Gibraltar to Ascension, a small tropical island in the middle of the Atlantic. Her desire for a carefree holiday seems to be coming to pass but then, after a storm, her adventure suddenly turns into a challenge when she spots a hopelessly overloaded refugee boat nearby. Rike tries to organise help, but she increasingly feels that humanitarianism has deteriorated into mere wishful thinking.

"S soscenaristko sva se odlo~ila, da ne bova prikazala para, ki pluje po morju, ampak samostojno jadralko. Bolje je bilo pokazati eno samo osebo zunaj na oceanu, popolnoma samo `ensko v tem starodavnem svetu, in ne para, ki se lahko pogovori, si pomaga. @elela sva, da ta oseba potuje od severa proti jugu, z drugimi pa se sre~a sredi oceana. Ta kontrast se izri{e. Tu je pomor{~akinja, ve{~a je, pri sebi ima vse varnostne sisteme, na drugi strani pa so ti ljudje, ki na krovu nimajo ni~esar, so brez sredstev komuniciranja, nikogar ni, ki bi jim pomagal. To nasprotje je bilo osnova filma." (Wolfgang Fischer)

"Changing the idea to show a couple sailing around the world to a solo yachtswoman was the decision that the co-writer and I came up with. It was better to show a single person out on the ocean, a woman all on her own, in this archaic world, not a couple who can talk to each other, help each other. The idea was to have one person going from north to south, and then they meet in the middle of the ocean. And that's the contrast that can be seen. There's the sailor, she’s skilled, she has all the security systems with her, and on the other side you have these people who have nothing on board, no contact, nothing, with nobody to help them. And this clash was the base of the movie."

(Wolfgang Fischer)

prodaja/world sales Beta Cinema Gruenwalder Weg 28d 82041 Oberhaching/Munich, Germany E beta�betacinema.com

Wolfgang Fischer

filmografija (izbor)/filmography (selection)

Rojen leta 1970 na Dunaju, kjer je {tudiral psihologijo in slikarstvo, nato film in video na umetni{ki akademiji v Düsseldorfu, pozneje pa je obiskoval {e Akademijo za medije v Kölnu. Leta 2005 je prejel {tipendijo münchenske scenaristi~ne delavnice, na kateri je razvil svoj re`ijski prvenec Was Du nicht siehst.

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Born in Vienna, in 1970, he studied psychology and painting in Vienna, as well as film and video at the Art Academy Düsseldorf. He later took a degree in film at the Academy of Media Arts Cologne. In 2005 he received a scriptwriting scholarship for a Munich screenplay workshop where he developed the script for his debut film What You Don't See.

1998 1999 2001 2009 2013 2014 2018

16

9h11 (kratki/short) Remake of the Remake (dok./doc.)

Grau (Grey) (kratki/short) Was Du nicht siehst (What You Don't See) The Bear The Highway of Tears Styx (Stiks)

Perspektive Perspectives

Tovor Teret The Load Srbija, Francija, Hrva{ka, Iran, Katar Serbia, France, Croatia, Iran, Qatar 2018

Ognjen Glavoni}

Srbski re`iser Ognjen Glavoni} v igranem prvencu prepri~ljivo ori{e ozra~je vojnega opusto{enja ter obenem povle~e marsikatero vzporednico s Clouzotovim in Friedkinovim klasi~nim trilerjem Pla~ilo za strah.

Serbian director Ognjen Glavoni}'s debut fiction film vividly depicts the trail of destruction left by war and draws parallels with two classic thrillers: Clouzot's The Wages of Fear and Friedkin's The Sorcerer.

Vlada je voznik tovornjaka, ki mu med Natovim bombardiranjem Srbije leta 1999 zaupajo prevoz skrivnostnega, neznanega tovora iz Kosova v Beograd. Pravila od njega terjajo strogo sledenje predvidenemu urniku in mu prepovedujejo postavljanje kakr{nih koli vpra{anj o tovoru. Voznik kljub temu prekr{i pravila, ko med potjo po telefonu pokli~e svojo `eno na zdravni{kem pregledu, poleg tega pa v vozilo sprejme mladega glasbenika, namenjenega za bolj{im `ivljenjem v Nem~ijo. Vlada se kljub kr{itvam zaveda, da se bo po opravljenem delu moral vrniti domov in se soo~iti s posledicami svojih dejanj.

Vlada works as a truck driver during the NATO bombing of Serbia in 1999. Tasked with transporting a mysterious load from Kosovo to Belgrade, he tries to make his way in a country scarred by war.

The rules of the job mean sticking to a strict timetable and asking no questions. Along the way, Vlada breaks the rules by stopping to make phone calls to his wife, who is undergoing medical tests, and to offer a lift to a young hitchhiker, a musician fleeing his homeland with hopes of a new life in Germany. Vlada knows that once the job is over, he will need to return home and face the consequences of his actions.

"Film opredeljujeta besedi: izolacija in okupacija. Ko protagonist izstopi iz kabine tovornjaka, vstopi na okupirano vojno obmo~je: bombe, topovski streli, hrup ter strah in paranoja, ki sta `e prevzela ljudi. Zato se Vlada vedno znova vrne v svoj tovornjak. @elel sem prikazati podobo domovine v tistem ~asu. Brez odve~nih razlag konteksta ali prisiljenega oblikovanja dramati~nosti in podajanja informacij. Hotel sem prikazati ne samo metafizi~no, notranje potovanje mojega lika, temve~ tudi dru`bo v zelo specifi~nem trenutku njenega razkroja."

(Ognjen Glavoni})

"This film is defined by two words: isolation and occupation.

When the protagonist steps out of the truck cabin, he steps into a territory that's occupied by war: the bombs, gunshots, noise, but also the fear and paranoia, which have already gripped people. Which is why Vlada always goes back to that truck.

I wanted to show how my country looked at that time. Without explaining the context too much or pushing any drama and information. I wanted to show a metaphysical, inner journey of my character, but also a society at a very specific moment of its decay." (Ognjen Glavoni})

Ognjen Glavoni}

filmografija/filmography

Rojen leta 1985 v Pan~evu v Srbiji. Njegovi kratki filmi so bili uvr{~eni na ve~ kot petdeset mednarodnih filmskih festivalov. Prvi dokumentarec @ivan priredi punk festival je bil med drugim predstavljen na festivalih Cinéma du Réel, Indie Lisboa in festivalu v Rotterdamu. Njegov drugi dokumentarec Globina dva je prejel ve~ mednarodnih nagrad. Glavoni} je tudi ustanovitelj filmskega festivala v Pan~evu. Tovor je njegov prvi igrani film.

2009 2010 2012 2014

re`ija/directed by Ognjen Glavoni} scenarij/screenplay Ognjen Glavoni} fotografija/cinematography Tatjana Krstevski monta`a/editing Jelena Maksimovi} igrajo/cast Leon Lu~ev (Vlada), Pavle ^emeriki}, Tamara Krcunovi}, Ivan Lu~ev, Igor Ben~ina, Radoje ^upi}, Jovo Maksi}, Stefan Trifunovi}, Tanja Pjevac, Ljubi{a Mili~i}, Branko Peri{i}, Novak Bilbija, Kosta Bekri}, Tadija ^alukovi}, Branislav ]iri}, Mateja Dimitrijevi}, Olga Dimitrijevi}, Sara Dini}, Milo{ Ga{evi}, Marko Grba Singh, Milica Janevski, Dobrivoje Lazarevi} producenti/producers Dragana Jovovi}, Stefan Ivan~i}, Ognjen Glavoni}, Sophie Erbs produkcija/production Non-Aligned Films Valjevska 8 26000 Pan~evo, Serbia E info�nonalignedfilms.com & Cinéma Defacto (France) & Kinorama (Croatia) & Three Gardens Film (Iran) format/format DCP, barvni/colour dol`ina/running time 98' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018 – [tirinajst dni re`iserjev/Directors' Fortnight

prodaja/world sales New Europe Film Sales Czerniakowska 73/79 00–718 Warsaw, Poland E jan�neweuropefilmsales.com

@ivan Puji} Jimmy (kratki/short) Ritam gitara, prate}i vokal (Rhythm Guitar, Back Vocals) (kratki/short) Od pepela (Made of Ashes) (kratki/short) @ivan pravi pank festival (Zivan Makes a Punk Festival/@ivan priredi punk festival) (dok./doc.)

2016 Dubina dva (Depth Two/Globina dva) (dok./doc.)

2018 Teret (The Load/Tovor)

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Born in 1985 in Pan~evo, Serbia. His short films have been selected for more than 50 international film festivals. Zivan Makes a Punk Festival, his first documentary, has screened at Cinéma du Réel, the International Film Festival Rotterdam and IndieLisboa, among others. Glavoni}'s documentary Depth Two has received several international awards. He is the founder of the Pan~evo Film Festival. The Load is his first feature film.

17

Perspektive Perspectives

Zdravilec Is~elitel Secret Ingredient Makedonija Republic of Macedonia 2017

Gjor~e Stavreski re`ija/directed by Gjor~e Stavreski scenarij/screenplay Gjor~e Stavreski fotografija/cinematography Dejan Dimeski glasba/music Branislav Nikolov, Pece Trajkovski, Goce Jovanoski monta`a/editing Martin Ivanov igrajo/cast Blagoj Veselinov (Vele), Anastas Tanovski (Sazdo), Aksel Mehmet (D`em), Aleksandar Miki} (Mrsni), Miroslav Petkovi} (Koki), Dime Ilijev (Tode), Simona Dimkovska (Jana) producent/producer Gjor~e Stavreski produkcija/production Fragment Film Samoilova 142a 1000 Skopje, Macedonia E contact�fragmentfilm.com format/format DCP, barvni/colour dol`ina/running time 104' festivali, nagrade (izbor)/ festivals, awards (selection) Solun/Thessaloniki 2017 (nagrada ob~instva/Audience Award), Talin/ Tallinn 2017, Sofija/Sofia 2018 (posebna omemba/Special Mention), Santa Barbara 2018 (najbolj{i mednarodni film/Best International Feature)

prodaja/world sales Wide Management 9 rue Bleue 75009 Paris, France E infos�widemanagement.com distribucija/distribution Continental film d.o.o.

Cvetkova ulica 1 1000 Ljubljana E video�continentalfilm.si

Zabavno provokativna kriminalna komedija, pre`eta z zna~ilnim balkanskim humorjem, govori o dru`inskih odnosih, pomanjkljivostih makedonskega zdravstvenega sistema in ~ude`ni konoplji.

An amusingly provocative crime comedy containing a hefty dose of Balkan humour, Secret Ingredient addresses the issues of family ties, Macedonia's crumbling health system and the magical powers of marijuana.

Vele je premalo pla~an `elezni{ki mehanik, ki se ob~asno ukvarja s postranskimi, ne najbolj legalnimi posli. Da bi pomagal svojemu o~etu, ki trpi bole~ine zaradi raka, se domisli, kako koristno uporabiti ukradeno marihuano. Ponudi mu pi{kotek, ki vsebuje to spro{~ujo~o sestavino, in o~e je ve~ kot navdu{en. Glas o ~ude`nem zdravilu se seveda kaj hitro raz{iri po soseski, to pa Veletu prinese nove te`ave: kriminalci ho~ejo povrnjeno ukradeno robo, sosedje pa mno`i~no zahtevajo recept za zdravilni pi{kotek.

A najve~ji izziv ostaja, kako o~eta prepri~ati, da je vredno `iveti.

Vele is an underpaid train mechanic who occasionally engages in shady dealings. He can't afford to buy expensive medications for his father, a cancer patient. Desperate, he steals marijuana from some criminals, makes a cake with it and gives it to him, hoping it will reduce the pain. His father's health miraculously improves, but Vele is suddenly confronted by their neighbours, who demand the recipe for the "remedial" cake, and by the criminals, who want their drugs back. The greatest challenge, however, is to persuade his father that his life is worth living for.

"Skrbno /.../ sem si prizadeval za ustvarjanje uravnote`enih pogledov na to vpra{anje. Upodobil sem obe skrajnosti, vendar mi je bilo pomembno, da se postavim na sredino ter na stran medicine in znanosti. /.../ Vseeno je film deloval kot pozitivna publiciteta za marihuano. S humorjem je ta tema dosegla starej{e ob~instvo, ki je ugotovila, da ne gre za tabu. /.../ Odnos med o~etom in sinom v filmu je podoben razmerju, ki ga imam z materjo. /.../ Gre za specifi~no balkansko ali morda sredozemsko ljubezen. Po eni strani roditelj `eli, da odrase{ in se osamosvoji{, po drugi pa te ne spusti." (Gjor~e Stavreski)

"I /.../ was extremely careful to achieve balance on the issue.

I portrayed both extremes, but it was important for me to position myself in the middle, and on the side of medicine and science. /.../ Still, the film was positive PR for marijuana. Through the humour, this topic reached older audiences who have realised that it is not a taboo. /.../ The father-son relation in the movie is very similar to that between my mother and I. /.../ It is a specific Balkan or maybe Mediterranean love. The parent wants to see you grow up and be independent on the one hand, but on the other, doesn't let go of you." (Gjorce Stavreski)

Gjor~e Stavreski

filmografija (izbor)/filmography (selection)

Rojen leta 1978 v Skopju, kjer je diplomiral na Akademiji za dramsko umetnost. Posnel je {tevilne kratke igrane in dokumentarne filme, vidospote in reklame ter ustanovil lastno produkcijsko hi{o Fragment Film. Kot otrok je blestel v matematiki, sicer pa zase pravi, da je zagrizen fotograf in obo`evalec sudoka. Zdravilec je njegov celove~erni igrani prvenec.

2005 2007 2010 2012 2013 2017

Born in in 1978 in Skopje. He graduated in film direction from the Faculty of Dramatic Arts in Skopje. A film and video professional, Stavreski has made numerous shorts, documentaries and commercials, and founded Fragment Film production company. He was a math prodigy as a child. The filmmaker claims to be an avid photographer and a Sudoku nerd. Secret Ingredient is his fiction feature debut.

18

Adam and Eve (kratki dok./doc. short) Doma (dok./doc.)

At Daybreak (kratki/short) Skopje Lovers (kratki/short) Materijal za audicija (Audition Material) (kratki/short) Iscelitel (Secret Ingredient/Zdravilec)

Perspektive Perspectives

Ne bom ve~ luzerka Ne bom ve~ luzerka My Last Year As a Loser Slovenija Slovenia 2018

Ur{a Menart

Grenko-sladek komi~ni portret "izgubljene" generacije milenijcev, razpete med pri~akovanja star{ev in neugodne razmere na trgu dela.

re`ija/directed by Ur{a Menart scenarij/screenplay Ur{a Menart fotografija/cinematography Darko Heri~ monta`a/editing Jurij Mo{kon igrajo/cast Eva Jesenovec ([pela), @iva Selan (Suzi), Sa{a Pav~ek ([pelina mama/ [pela's mother), [pela Rozin (babi/ grandma), Branko Zavr{an ([pelin o~e/[pela's father), Jurij Dreven{ek (Andra`), Tina Poto~nik Vrhovnik (Eva), Lara Vouk (Nina), Alja` Jovanovi~ (Mare), Timon [turbej (Seba), Matic Luk{i~ (Miki), Vladimir Kusi} (Denis) producent/producer Danijel Ho~evar produkcija/production Vertigo Kersnikova 4 1000 Ljubljana, Slovenija E info�vertigo.si format/format DCP, barvni/colour dol`ina/running time 85'

A comedy/drama about disillusionment and the gap between the overeducated, underemployed millennials and their parents, who had high expectations for their kids and feel powerless when watching them fail.

[pela, diplomantka umetnostne zgodovine, bo kmalu stara trideset let. Pre`ivlja se s prilo`nostnimi deli, saj {e nikoli ni imela redne slu`be. Za razliko od svojih najbolj{ih prijateljic, ki sta se pred leti odselili v tujino in se ne nameravata vrniti, [pela trmasto vztraja, da bo v Ljubljani ostala, pa ~eprav se ve~ina njenega dru`abnega `ivljenja dogaja na Skypu. Ko se brez denarja, dela in dru`be znajde na kav~u svojih razo~aranih star{ev, ugotovi, da je odrasti te`je, kot je pri~akovala.

[pela, an art history graduate, is nearing her thirties. Her money is in part-time work, she has never been employed full time.

Unlike the two of her best friends who moved abroad years ago and are not intending to return, [pela is decided to stay in Ljubljana even if most of her social life happens on Skype. When she finds herself back on her disappointed parents' couch she realizes that growing up is much tougher than she expected.

"Iz vseh stereotipov sem se sku{ala malce nor~evati. Na{e generacije tako ali tako nih~e ne jemlje resno, predvsem zaradi nepoznavanja okoli{~in, ki so za nas veliko druga~ne, kot so bile za mlade pred dvajsetimi leti. Sku{ala sem se odmakniti od razmer in nanje pogledati s humorne plati. Kaj pa, sem se vpra{ala, ~e je to `enska, ki je bila po vseh merilih 'pridna', ki je izpolnila vse zahteve okolice, pa ji to {e vedno ni prineslo uspeha?" (Ur{a Menart)

"I aimed to somewhat ridicule all the stereotypes. Our generation is not taken seriously anyhow, which is mostly because people are unfamiliar with our circumstances, the situation that is far different now than it was for young people twenty years ago.

I tried to maintain a distance from this situation and see it from a humorous angle. What if, I asked myself, this is a woman who was 'dutiful' by any standard, who met all the expectations, but still failed in life?" (Ur{a Menart)

Ur{a Menart

filmografija/filmography

Rojena 1985 v Ljubljani. Leta 2010 je diplomirala iz filmske in televizijske re`ije na Akademiji za gledali{~e, radio, film in televizijo v Ljubljani. Trenutno je samozaposlena v kulturi kot re`iserka in scenaristka.

2011 2012 2014 2018

festivali, nagrade (izbor)/ festivals, awards (selection) Festival slovenskega filma Portoro`/ Festival of Slovenian Film Portoro` (najbolj{i film/Best Film, najbolj{i scenarij/Best Screenplay, najbolj{a stranska igralka/Best Female Supporting Role)

distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

Ve{ poet svoj dolg (dok/doc.)

Neko~ je bila de`ela pridnih (dok/doc.)

Kaj pa Mojca? (dok/doc.)

Ne bom ve~ luzerka (My Last Year As a Loser)

Born in 1985 in Ljubljana. Graduated in film and TV directing from the Ljubljana Academy of Theatre, Radio, Film and TV in 2010. She is currently a freelance director and screenwriter.

19

20

Predpremiere Avantpremieres

Dekle Girl Girl Lukas Dhont

re`ija/directed by Lukas Dhont scenarij/screenplay Lukas Dhont, Angelo Tijssens fotografija/cinematography Frank van den Eeden glasba/music Valentin Hadjadj monta`a/editing Alain Dessauvage igrajo/cast Victor Polster (Lara), Arieh Worthalter (Mathias), Katelijne Damen (dr. Naert), Valentijn Dhaenens (dr. Pascal), Oliver Bodart (Milo), Tijmen Govaerts (Lewis), Magali Elali (Christine), Alice de Broqueville (Loïs), Alain Honorez (Alain), Chris Thys (Hannah), Angelo Tijssens (Hendricks), Marie-Louise Wilderijckx (Marie-Louise), Virginia Hendricksen (Alainova asistentka/ Alain's assistant) producent/producer Dirk Impens produkcija/production Menuet Coupure Links 67 9000 Ghent, Belgium E info�menuet.be & Topkapi Films (The Netherlands) & Frakas Productions (Belgium) format/format DCP, barvni/colour dol`ina/running time 105' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018 (najbolj{i prvenec/ Best Debut Film, kvirovska palma/ Queen Palm, najbolj{i igralec v sklopu Posebni pogled/Un Certain Regard – Best Actor Award), Sydney 2018, Karlovi Vari/Karlovy Vary 2018, Jeruzalem/Jerusalem 2018, Gent/ Ghent 2018

Prvenec belgijskega re`iserja Lukasa Dhonta je gledalce na filmskem festivalu v Cannesu navdu{il z zgodbo o transspolnem dekletu, ki `eli postati balerina.

The first feature from Belgian director Lukas Dhont enraptured the Cannes Festival audiences with its story about a transgender girl training to become a ballerina.

Petnajstletna Lara je odlo~ena, da bo postala poklicna balerina.

Z o~etovo podporo bo naredila vse, da bi dosegla svoj cilj, zato se z dru`ino preseli v novo okolje, kjer se lahko {ola na eni najslovitej{ih belgijskih plesnih akademij. Njene najstni{ke frustracije in nepotrpe`ljivost pa se vse bolj stopnjujejo, ko za~ne postopoma odkrivati, da se njeno telo tako zlahka ne ukloni zahtevam strogih u~iteljev. Lara je bila namre~ rojena kot fant.

15-year-old Lara is committed to becoming a professional ballerina. Determinedly pursuing her goal, Lara moves to a new city with her family to study at one of Belgium's most famous dance academies. With the support of her father, she throws herself into this quest for the absolute at the new school. Lara's adolescent frustrations and impatience are exacerbated when she realises her body does not bend so easily to the strict discipline because she was born a boy.

"Leta 2009 sem v belgijskem ~asopisu prebral ~lanek o mladem dekletu, rojenem v de{kem telesu, katerega edina `elja je bila postati baletka. Zgodba me je takoj prevzela, neprestano sem premi{ljal o njej in se k njej dolgo vra~al. Zaljubil sem se v to dekle. Predstavljalo mi je zgled poguma, dejal sem si: ~e bom ustvaril celove~erni prvenec, `elim, da govori o njej."

(Lukas Dhont)

prodaja/world sales The Match Factory GmbH Domstrasse 60 50668 Cologne, Germany E info�matchfactory.de distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

"In 2009, I read an article in a Belgian newspaper about a young girl, born in a boy's body, who wanted nothing more than to become a ballerina. The story immediately struck me and I kept thinking about it and going back to it for ages. I fell in love with this girl. To me she was an example of courage and I said to myself: if I make a first feature I want it to be about her."

(Lukas Dhont)

Lukas Dhont

filmografija/filmography

Rojen leta 1991 v Gentu, Belgija. Diplomiral je iz avdiovizualnih umetnosti na umetni{ki {oli KASK v Gentu. Njegova kratka filma Corps perdu in L'infini sta osvojila {tevilne nagrade, slednji je bil tudi belgijski nominiranec za oskarja za najbolj{i kratki film. Redno sodeluje s koreografom Janom Martensom, s katerim je ustvaril tudi performans The Common People.

2012 2012 2014 2018

Born in Ghent, Belgium. He graduated in audio-visual arts from the KASK School of Arts in Ghent. His short films, Headlong and L'Infini, received numerous prizes. L'Infini was the Belgian entry for the Academy Awards in 2015. Regularly collaborating with choreographer Jan Martens, the two artists co-signed a performance titled The Common People.

24

Belgija, Nizozemska Belgium, The Netherlands 2018

Corps perdu (Headlong) (kratki/short) Huid von Glas (Skin of Glass) (kratki dok./short doc.)

L'Infini (kratki/short) Girl (Dekle)

Predpremiere Avantpremieres

Dogman Dogman Dogman Italija, Francija Italy, France 2018

Matteo Garrone

Deset let po prebojnem filmu Gomorra je re`iser Matteo Garrone ustvaril {e en prikaz razpada ~love{ke du{e v okolju, ki mu vlada kriminal. Nagrada za najbolj{ega igralca v Cannesu.

Ten years after his career-defining Gomorrah, Matteo Garrone offers another representation of spiritual decay in a world run by criminals. Cannes Film Festival Award for Best Actor.

Na obrobju mesta, natanko na meji med metropolo in divjino, vlada samo eno pravilo: zakon najmo~nej{ega. V tem okolju biva Marcello, droben, ne`en mo`, ki dneve pre`ivlja v svojem skromnem salonu za nego psov, prosti ~as pa posve~a svoji ljubi h~erki Alidi. Marcello se dru`i tudi s Simoncinom, nekdanjim boksarjem, ki ustrahuje celotno sosesko. Po enem od {tevilnih nasilnih incidentov se Marcello odlo~i, da bo znova pridobil svoje dostojanstvo. Na~rtovati za~ne ma{~evanje z nepri~akovanimi posledicami ...

In the outskirts suspended between metropolis and wilderness, where the only law seems to be that of the survival of the fittest, lives Marcello. The small and gentle man divides his days between work in his modest grooming salon for dogs, love for his daughter Alida, and an ambiguous relationship with Simoncino, a former boxer who terrorises the entire neighbourhood. Determined to reaffirm his dignity after an umpteenth oppression, Marcello will imagine revenge with an unexpected outcome.

"Dogman ni samo film o ma{~evanju, ~eprav ima prav to pomembno vlogo, pa tudi ne samo razli~ica (ve~ne) teme o boju med {ibkimi in mo~nimi. S prikazom 'skrajne' zgodbe' nas film soo~i z ne~im, kar zadeva vse nas: s posledicami odlo~itev, ki jih dnevno sprejemamo za pre`ivetje, tistih izre~enih privolitev, ki nas vodijo v nezmo`nost, da bi {e kdaj rekli 'ne'." (Matteo Garrone)

"Dogman is not just a revenge film, even if revenge plays an important role, just as it is not merely a variation on the (eternal) theme of the struggle between the weak and the strong. It is instead a film that, though through an 'extreme' story, makes us face something that concerns us all: the consequences of the choices we make daily to survive, those yes’s we say that lead us to being unable to say no." (Matteo Garrone)

Matteo Garrone

filmografija/filmography

Rojen leta 1968 v Rimu. Po diplomi je za~el delati kot asistent kamere, nato pa se je posvetil slikarstvu. Mednarodni sloves mu je prinesel film Gomorra, ki je 2008 na festivalu v Cannesu prejel veliko nagrado `irije. Leta 2012 je s filmom Resni~nost tam osvojil {e veliko nagrado `irije.

1996 1996 1998 2000 2002 2004 2008 2012 2015 2018

Born in Rome in 1968. After graduation he worked as an assistant cameraman and later dedicated himself to painting. He won international renown with Gomorrah, which received the Grand Jury Prize at the 2008 Cannes Film Festival. Likewise at Cannes, Reality won the 2012 Grand Jury Prize.

re`ija/directed by Matteo Garrone scenarij/screenplay Ugo Chiti, Massimo Gaudioso, Matteo Garrone fotografija/cinematography Nicolai Brüel glasba/music Michele Braga monta`a/editing Marco Spoletini igrajo/cast Marcello Fonte (Marcello), Edoardo Pesce (Simoncino), Nunzia Schiano (Simoncinova mati/Simoncino's mother), Adamo Dionisi (Franco), Francesco Acquaroli (Francesco), Alida Baldari Calabria (Sofia), Gianluca Gobbi (restavrator/restorer), Aniello Arena (policist/policeman), Laura Pizzirani producenti/producers Paolo Del Brocco, Matteo Garrone, Jean Labadie, Jeremy Thomas produkcija/production Archimede Films Via Tiburtina, 521 00159 Rome, Italy E archimedefilm�gmail.com & Le Pacte (France) & RAI Cinema (Italy) format/format DCP, barvni/colour dol`ina/running time 102' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018 (najbolj{i igralec/Best Actor)

prodaja/world sales RAI Com E davidfabio.bogi�rai.it

Silhouette (kratki/short) Terra di mezzo Ospiti (Guests/Gostje) Estate romana (Roman Summer/Rimsko poletje) L'imbalsamatore (The Embalmer/Naga~evalec) Primo amore (First Love/Prva ljubezen) Gomorra (Gomorrah/Gomorra) Reality (Resni~nost) Il racconto dei racconti (Tale of Tales/Zgodba vseh zgodb) Dogman

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

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Predpremiere Avantpremieres

Dvojna `ivljenja Doubles vies Non-Fiction Francija France 2018

Olivier Assayas re`ija/directed by Olivier Assayas scenarij/screenplay Olivier Assayas fotografija/cinematography Yorick Le Saux monta`a/editing Simon Jacquet igrajo/cast Guillaume Canet (Alain), Juliette Binoche (Selena), Vincent Macaigne (Léonard), Christa Théret (Laure), Nora Hamzawi (Valérie), Pascal Greggory (Marc-Antoine), Laurent Poitrenaux (pisatelj/author), Sigrid Bouaziz (urednica/editor), Lionel Dray (urednik/editor), Nicolas Bouchaud (David), Antoine Reinartz (knjigarnar/ bookseller), Violaine Gillibert (Paloma) producent/producer Charles Gillibert produkcija/production CG Cinéma 7/9 rue des Petites Ecuries 75010 Paris, France E production�cgcinema.eu & Vortex Sutra (France) & ARTE France Cinéma (France) format/format DCP, barvni/colour dol`ina/running time 108' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2018, Telluride 2018, Toronto 2018, New York 2018

Olivier Assayas po dveh zaporednih filmih v angle{~ini tokrat usmerja pogled na francoski knji`ni trg, med pisatelje in zalo`nike, kjer se komi~no loti pritiskov digitalizacije.

After two English-language films Olivier Assayas directs his gaze on the French book market, comically portraying authors and publishers grappling with digitalisation.

Alain je uspe{en pari{ki knji`ni zalo`nik, ki se posku{a prilagoditi digitalni revoluciji. Léonard, eden najuspe{nej{ih avtorjev njegove zalo`be, mu ponuja svoj najnovej{i roman, nad katerim pa Alain ni navdu{en. Njegova `ena je nasprotnega mnenja, a so razlogi za njeno navdu{enje vse prej kot poklicne narave. Da bi Alainova zalo`ba ujela korak s ~asom, pod svojo streho privabi Laure, privla~no strokovnjakinjo za spletno zalo`ni{tvo, ki nima nikakr{nih pomislekov nad digitaliziranjem knjig. Ko se poklicne spletke za~nejo prepletati z zasebnimi, se mora Alain dokon~no odlo~iti, kak{na bo prihodnost njegove ugledne zalo`be.

Alain, a successful Parisian publisher struggling to adapt to the digital revolution, has major doubts about the new manuscript of Léonard, one of his long-time authors – another work of autofiction recycling his love affair with a minor celebrity. Selena, Alain's wife, a famous stage actress, is of the opposite opinion.

Alain hires Laure, a young, coolly seductive go-getter, to lead his publishing house into the digital age.

"Digitaliziranje na{ega sveta in njegovo preoblikovanje v algoritme je sodobni vektor spremembe, begajo~e in prevzemajo~e.

Digitalna ekonomija kr{i pravila in pogosto zakone. Poleg tega pod vpra{aj postavlja vse, kar se je zdelo v dru`bi trdno in gotovo. Vendar se razblini ob samem stiku. Dvojna `ivljenja si ne prizadeva analizirati delovanja nove ekonomije, temve~ raje opazuje, kako nas ta vpra{anja pretresajo, osebno, ~ustveno in v~asih humorno." (Olivier Assayas)

prodaja/world sales Playtime 5 rue Nicolas Flamel 75004 Paris, France E info�playtime.group distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Olivier Assayas

filmografija (izbor)/filmography (selection)

Rojen 1955 v Parizu kot sin znanega scenarista in re`iserja Jacquesa Rémyja.

Potem ko je posnel nekaj kratkih filmov, je v za~etku osemdesetih let deloval kot ~lan uredni{tva revije Cahiers du cinéma. Leta 1986 je posnel svoj celove~erni prvenec Désordre. Je tudi avtor {tevilnih knjig o filmu, med njimi Conversations avec Bergman in Hong Kong cinéma.

1986 1989 1991 1994 1996 1998

Born in 1955 in Paris, son of the famous screenwriter and director Jacques Rémy. After shooting a couple of short films, he worked as member of the editing board of Cahiers du cinéma in the beginning of the 1980s. In 1986 he filmed his first feature, Disorder. He authored several books on film, including Conversations avec Bergman and Hong Kong Cinéma.

26

"The digitalisation of our world and its reconfiguration into algorithms is the modern vector of a change that confuses and overwhelms us. Digital economy infringes rules and often laws.

Moreover, it questions what seemed solid and granted in society.

Yet, it dissolves on mere contact. Non-Fiction does not attempt to analyse the workings of this new economy, but rather to observe how those questions shake us, personally, emotionally, and sometimes humorously." (Olivier Assayas)

2000 2004 2007 2012 2014 2016 2018

Désordre (Disorder) L'enfant de l'hiver (Winter's Child) Paris s'éveille (Paris Awakens/Pariz se prebuja) L'eau froide (Cold Water/Mrzla voda) Irma Vep (Irma Vep) Fin août, début septembre (Late August, Early September/Konec avgusta, za~etek septembra) Les destinées sentimentales (Sentimental Destinies) Clean (^ista) Boarding Gate (Surova ljubezen) Après mai (Something in the Air/Nekaj je v zraku) Sils Maria (Clouds of Sils Maria/Sils Maria) Personal Shopper (Osebna stilistka) Doubles vies (Non-Fiction/Dvojna `ivljenja)

Predpremiere Avantpremieres

H~i moja Figlia mia Daughter of Mine Laura Bispuri

Italija, Nem~ija, [vica Italy, Germany, Switzerland 2018

Rahlo~uten film o tem, kaj vse lahko pomenita materinstvo in materinska ljubezen. Zgodba, ume{~ena na son~no sardinsko pode`elje, z viharnostjo ~ustev v spomin prikli~e velike italijanske melodrame.

A sensitive film about the meaning of motherhood and maternal love. Set in the sun-swept countryside of Sardinia, the emotion-charged story harks back to great Italian melodramas.

Desetletna Vittoria naenkrat izve, da ima dve materi: poleg Tine, ki z mo`em Umbertom zanjo toplo in ljube~e skrbi `e celo `ivljenje, {e Angelico, biolo{ko mater, ki `ivi nekoliko odmaknjena od vasi, med `ivalmi na kmetiji. Ko se z njo zbli`a skozi pojasnila na vpra{anja, ki so deklico mu~ila celo `ivljenje, se Tina za~ne bati, da bi lahko biolo{ka vez ogrozila njen odnos s h~erjo – Vittorio namre~ Angelicina `ivahnost in navidezna neustra{nost povsem prevzameta.

The 10-year-old Vittoria learns she has two mothers: Tina, who has lovingly and warmly taken care of her all her life, and Angelica, her biological mother, who leads a somewhat secluded life on a farm with her animals. When Vittoria, in exploring the answers to the questions she's been harbouring all her life, is brought closer to her, Tina starts feeling threatened by the budding relationship between the biological mother and daughter, as Vittoria is completely fascinated by Angelica's vivacity and seeming fearlessness.

"@e samo ob pogledu na lik matere hitro vidimo, da obstajajo v nekak{ni arhetipski dvojnosti 'dobre' in 'slabe' matere. Pomislite na Sveto pismo in zgodbo o Kralju Salomonu ter njegovo sodbo glede tega, katera od dveh `ensk je otrokova 'prava' mati.

Podobno je z gr{kimi tragedijami. '@ensko stanje' posku{am raziskovati tako, da za osnovo vzamem zgodbe na{ih prednikov. /.../ Primerjam jih z vpra{anji in danostmi sodobnih `ensk /.../.

Tradicionalna ideja o dru`ini za~ne pokati po {ivih." (Laura Bispuri)

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2018, Hongkong/Hong Kong 2018, Sydney 2018

"Looking at the character of the mother immediately reveals its existence in an archetypal duality of the 'good' and the 'bad' mother. Think of the Bible and the story of King Solomon, and his verdict on who of the two women is the child's 'real' mother.

Greek tragedies are telling a similar story. So the way I am trying to explore the 'woman's condition' is to take as a starting point the stories of our ancestors. /…/ I compare them with questions and realities of today’s women /…/. Then, the traditional idea of a family starts showing its cracks." (Laura Bispuri)

Laura Bispuri

filmografija/filmography

Rojena leta 1977 v Rimu. Po uspe{no opravljenem {tudiju filma na rimski Univerzi La Sapienza je za svoje kratke filme prejela {tevilne nagrade.

S celove~ernim prvencem Zaprise`ena devica se je leta 2015 uvrstila v tekmovalni program Berlinala, potem pa je film ob{el ve~ kot osemdeset festivalov po svetu in bil ve~krat nagrajen. V drugem celove~ernem filmu, H~i moja, ki se je ravno tako uvrstil v tekmovalni program Berlinala, Bispurijeva nadaljuje raziskovanje `enske identitete v konservativnem okolju.

2010 2011 2015 2018

Born in 1977 in Rome. After earning a degree in Cinema at the 'La Sapienza' University of Rome, Bispuri won several awards for her short films. Her first feature film, Sworn Virgin, premiered in competition at the 2015 Berlinale.

After that, it was presented in more than 80 festivals worldwide and received numerous awards. Bispuri's second feature, Daughter of Mine, also worldpremiering in the Berlinale competition, continues the exploration of female identities in conservative environments.

re`ija/directed by Laura Bispuri scenarij/screenplay Laura Bispuri, Francesca Manieri fotografija/cinematography Vladan Radovi} glasba/music Nando di Cosimo monta`a/editing Carlotta Cristiani igrajo/cast Valeria Golino (Tina), Alba Rohrwacher (Angelica), Sara Casu (Vittoria), Udo Kier (Bruno), Michele Carboni (Umberto) producenti/producers Marta Donzelli, Gregorio Paonessa, Maurizio Totti, Alessandro Usai, Michael Weber, Viola Fügen, Dan Wechsler produkcija/production Vivo Film Via Alamanno Morelli, 18 00187 Roma, Italy E info�vivofilm.it & Colorado Film (Italy) & RAI Cinema (Italy) format/format DCP, barvni/colour dol`ina/running time 100'

prodaja/world sales The Match Factory Balthasarstrasse 79–81 50670 Köln, Germany E info�matchfactory.de

Passing time (kratki/short) Biondina (kratki/short) Vergine giurata (Sworn Virgin/Zaprise`ena devica) Figlia mia (Daughter of Mine/H~i moja)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

27

Predpremiere Avantpremieres

Hi{a, ki jo je zgradil Jack The House That Jack Built The House That Jack Built Danska, Francija, Nem~ija, [vedska Denmark, France, Germany, Sweden 2018

Lars von Trier re`ija/directed by Lars von Trier scenarij/screenplay Lars von Trier, Jenle Hallund (zgodba/story) fotografija/cinematography Manuel Alberto Claro glasba/music Kristian Eidnes Andersen monta`a/editing Molly Marlene Stensgaard igrajo/cast Matt Dillon (Jack), Bruno Ganz (Verge), Uma Thurman (gospa 1/ lady 1), Siobhan Fallon Hogan (gospa 2/lady 2), Sofie Gråbøl (gospa 3/ lady 3), Riley Keough (Simple), Jeremy Davies (Al), Ed Speleers (Ed), David Bailie (S.P.), Ji-tae Yu, Christian Arnold, Cohen Day, Rocco Day, Jerker Fahlström, Osy Ikhile, Marijana Jankovic, Johannes Kuhnke, Alice Nordmark, Ola Normelli, Lisa Sjöholm producentka/producer Louise Vesth produkcija/production Zentropa Filmbyen 22 2650 Hvidovre, Denmark E receptionen�filmbyen.dk format/format DCP, barvni/colour dol`ina/running time 155' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018

prodaja/world sales Trust Nordisk Filmbyen 22 2650 Hvidovre, Denmark E susan�trustnordisk.com distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

Najbolj brutalen film v filmografiji Larsa von Trierja razkriva vpogled v um serijskega morilca, ki ga v najbolj{i vlogi do sedaj sijajno upodobi Matt Dillon.

Lars von Trier's most gruesomely violent film to date, The House that Jack Built lends an insight into the mind of a serial killer. Matt Dillon gives his finest performance yet as Jack.

Jack je inteligenten mo{ki, ki v sedemdesetih letih v ZDA postane serijski morilec. Njegova zgodba je podana s prvoosebne perspektive in nas vodi skozi pet najpomembnej{ih umorov na njegovi "razvojni" poti. Jack vsak umor pojmuje kot umetnino, pa ~eprav mu ta o~itna disfunkcionalnost povzro~a te`ave v odnosu do zunanjega sveta. Njegovo kon~no soo~enje s policijo je neizogibno, toda Jack vseeno z vsakim umorom tvega vedno ve~. Njegove misli se pred nami razgrinjajo skozi pogovore z neznanim Vergeom – groteskno me{anico sofizmov in otro{kega samopomilovanja, ki osmi{lja Jackove zapletene in tvegane podvige.

The highly intelligent Jack becomes a serial killer in the 1970s US. We experience the story from Jack's point of view and are introduced to the five murders that define his development as a serial killer. He views each murder as an artwork in itself, even though his dysfunction gives him problems in the outside world.

Despite the fact that the final and inevitable police intervention is drawing ever near, he is set on taking greater and greater chances. Along the way we experience Jack's thoughts through a recurring conversation with an unknown Verge – a grotesque mixture of sophistry mixed with an almost childlike self-pity and explanations of Jack's dangerous and difficult manoeuvres.

"Dolga leta sem snemal filme o dobrih `enskah, sedaj sem ustvaril film o zlem mo{kem." (Lars von Trier)

"For many years I've made films about good women, now I did a film about an evil man." (Lars von Trier)

Lars von Trier

filmografija (izbor)/filmography (selection)

Rojen leta 1956 v Köbenhavnu na Danskem. 1983 je diplomiral na filmski akademiji, nato pa je nekaj ~asa snemal reklame in glasbene spote. Leta 1995 je s Thomasom Vintenbergom sestavil filmski manifest Dogme 95. Od tedaj velja za enega najinovativnej{ih evropskih re`iserjev. Za svoje delo je prejel {tevilne nagrade na mednarodnih festivalih; za film Plesalka v temi tudi zlato palmo v Cannesu.

1984 1987 1991 1994 1996 1998 2000 2003 2005 2006 2009 2011 2013 2018

Born in 1956 in Copenhagen, Denmark, Von Trier graduated in 1983 from the Copenhagen Film Academy. He then directed commercials and music spots for a spell, and in 1995 formulated a film manifesto, Dogma 95, with Thomas Vinterberg. Considered one of the most innovative European directors, he has received numerous international festival awards; most notably the Palm d'Or at Cannes for Dancer in the Dark.

28

Forbydelsens Element (Element of Crime/Element zlo~ina) Epidemic Europa (Evropa) Riget I (The Kingdom/Kraljestvo) (TV) Breaking the Waves (Lom valov) Idioterne (The Idiots/Idioti) Dancer in the Dark (Plesalka v temi) Dogville Manderlay Direktoren for det hele (The Boss of It All/Glavni {ef) Antichrist (Antikrist) Melancholia (Melanholija) Nymphomaniac: Vol. I & II (Nimfomanka – 1. in 2. del) The House That Jack Built (Hi{a, ki jo je zgradil Jack)

Predpremiere Avantpremieres

Kafarnaum Capharnaüm Capernaum Nadine Labaki

Libanon, Francija Lebanon, France 2018

Presunljiva zgodba dvanajstletnega de~ka, ki to`i svoje star{e, ker je bil rojen v neusmiljeni svet brez prihodnosti, je posneta z natur{~iki in opozarja na tragiko `ivljenja otrok v najhuj{i rev{~ini.

A heart-rending story about a twelve-year-old boy suing his parents for bringing him into this unforgiving and futureless world, Capernaum draws attention to the tragic situation of children living in abject poverty.

Zain je star komaj dvanajst let, a ga je odra{~anje v hudi rev{~ini pripeljalo do spoznanja, da bi bilo bolje, da se sploh ne bi rodil. Njegova star{a se za pre`ivetje poslu`ujeta najbolj nizkotnih sredstev, kot je nova~enje s tramadolom prepojenih obla~il, s pomo~jo katerih Zainov brat v zaporu prideluje droge in jih prodaja sojetnikom. Ko nekega dne v zakon "prodajo" {e njegovo enajstletno sestro, Zain pobegne od doma. Spoprijatelji se z etiopsko ~istilko, a `ivljenje na ulici ne ponuja ni~ lep{e prihodnosti. Opogumljen s {tevilnimi programi, ki `elijo opozoriti na brezupen polo`aj revnih otrok, se odlo~i, da bo to`il svoje stra{e, ker so ga rodili, in se tako ma{~eval svetu, ki ga je zavrgel tisti trenutek, ko je privekal na svet.

Zain is only 12, but he's seen enough of this life to resent his own existence. With numerous children to care for, his parents resort to some inventive scams, such as saturating garments with tramadol, which they then pass along to Zain's incarcerated brother who reconstitutes the drug and sells it to fellow prisoners. More alarmingly, Zain's parents have sold his 11-year-old sister's hand in marriage, which prompts Zain to run away. But life in the streets offers Zain fewer and fewer places to hide. Encouraged by a current affairs program seeking to draw attention to child poverty, Zain files a lawsuit against his parents for giving birth to him. The trial provides the frame through which Zain's story unfolds, as he struggles to make sense of a world that has rejected him from the day that he was born.

"Nih~e od igralcev ni profesionalec. Nih~e. Prav vsak od njih domala igra samega sebe. /.../ Pravi Zain `ivi v natanko enakem polo`aju. Zadnje leto v Libanonu `ivi brez dokumentov – v dr`avi je nezakonito. /.../ Zato se mi je zdelo zelo pomembno, da nekako postanem sredstvo. @elela sem biti nevidna. Tako nevidna, kot je le mogo~e. Samo postati sredstvo za izpostavljanje zgodbe teh ljudi." (Nadine Labaki)

re`ija/directed by Nadine Labaki scenarij/screenplay Jihad Hojeily, Michelle Kesrouani, Nadine Labaki, Khaled Mouzanar, Geroges Khabbaz fotografija/cinematography Christopher Aoun glasba/music Khaled Mouzanar monta`a/editing Konstantin Bock igrajo/cast Nadine Labaki (Nadine), Zain Alrafeea (Zain), Yordanos Shifera (Rahil), Treasure Bankole (Jonas/ Yonas), Fadi Youssef (Selim), Alaa Chouchniye (Aspro), Cedra Izam (Sahar), Kawthar Al Haddad (Souad) producenta/producers Khaled Mouzanar, Michel Merkt produkcija/production Mooz Films 246, rue Furn El Hayeck, Achrafieh 1104–2020 Beirut, Lebanon E walidson�yahoo.com & Boo Pictures (France) format/format DCP, barvni/colour dol`ina/running time 120' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018 (nagrada `irije/Jury Prize, nagrada ekumenske `irije/Prize of the Ecumenical Jury), Melbourne 2018 (nagrada ob~instva/People's Choice Award), Sarajevo 2018 (nagrada ob~instva/Audience Award), Toronto 2018

"Nobody in the film is professional. Nobody. Every single one of those actors is almost playing himself. /.../ The real Zain is living in exactly the same situation. He's been living for the past year in Lebanon with no papers – he's illegal in the country. /.../ So it was very important for me to sort of become this tool. I just wanted myself to be invisible. As invisible as possible. Just become a tool for these people to be heard." (Nadine Labaki)

Nadine Labaki

filmografija (izbor)/filmography (selection)

Rojena leta 1974 v Baabdatu, Libanon. Je priznana libanonska igralka, scenaristka in re`iserka. Po diplomi iz avdiovizualnih medijev na bejrutski univerzi je posnela {tevilne reklame in glasbene videospote. Njen celove~erni prvenec Sukkar banat je bil prikazan na canskem festivalu in postal ena najve~jih mednarodnih uspe{nic v zgodovini libanonskega filma.

Kafarnaum je njen tretji celove~erec.

2007 Sukkar banat (Caramel) 2011 Et maintenant on va où? (Where Do We Go Now?/In kam gremo zdaj?)

2014 Rio, eu te amo (Rio, I Love you) – segment O Milagre 2018 Capharnaüm (Capernaum/Kafarnaum)

prodaja/world sales Wild Bunch 65 rue de Dunkerque.

75009 Paris, France E sales�wildbunch.eu distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Born in 1974 in Baabdat, Lebanon, Labaki is an acknowledged Lebanese actress, screenwriter and director. After graduating in audio-visual studies from Beirut University, she made several adverts and music videos.

Caramel, her debut feature, was first presented at Directors' Fortnight in 2007 and then screened worldwide, going on to become the biggest international hit in Lebanese film history. Capernaum is her third feature film.

29

Predpremiere Avantpremieres

Marguerite Duras: Spomini na vojno La douleur Memoir of War Emmanuel Finkiel

re`ija/directed by Emmanuel Finkiel scenarij/screenplay Emmanuel Finkiel, Marguerite Duras (roman/novel) fotografija/cinematography Alexis Kavyrchine glasba/music Nicolas Becker monta`a/editing Sylvie Lager igrajo/cast Mélanie Thierry (Marguerite Duras), Benoît Magimel (Pierre Rabier), Benjamin Biolay (Dionys Mascolo), Grégoire Leprince-Ringuet (François Mitterrand – alias François Morland), Emmanuel Bourdieu (Robert Antelme), Anne-Lise Heimburger (ga./Ms. Bordes), Patrick Lizana (Georges Beauchamp), Shulamit Adar (Madame Katz), Joanna Grudzinska (Thérèse) producenti/producers Julien Deris, Yael Fogiel, David Gauquié, Laetitia Gonzalez, Etienne Mallet, Michel Merkt, Vincent Roget, Nathalie Vallet produkcija/production Les Films du Poisson 54 rue René Boulanger 75010 Paris, France E contact�filmsdupoisson.com format/format DCP, barvni/colour dol`ina/running time 127' festivali, nagrade (izbor)/ festivals, awards (selection) San Sebastian 2017

Francija, Belgija, [vica France, Belgium, Switzerland 2017

Ko znamenita pisateljica Marguerite Duras odkrije svoja stara zvezka, se za~ne spominjati preteklosti in neznosne bole~ine ~akanja.

When she finds two old notebooks in a forgotten box, celebrated author Marguerite Duras remembers her past and the unbearable pain of waiting.

Leta 1944, v okupirani Franciji, mlada in nadarjena Marguerite Duras in njen mo` Robert Antelme delujeta kot ~lana odporni{kega gibanja. Ko Roberta zajamejo in deportirajo, je Marguerite trdno odlo~ena, da ga re{i. V ta namen nave`e srhljiv odnos z lokalnim kolaboratorjem vichyjske vlade Rabierom in se z njim sestaja na nepredvidljivih sre~anjih po vsem Parizu. Ji zares ho~e pomagati? Ali pa bi rad le pridobil informacije o odporni{kem gibanju? Kdo posku{a prelisi~iti koga? Ko se vojna kon~a in se tabori{~niki vrnejo, se za Marguerite za~ne dolgo obdobje trpljenja. Upanje kopni in zave`e se ob~utenju izgube.

In the 1944 Nazi-occupied France, the young and brilliant author is an active Resistance member with her husband Robert Antelme. When he is deported by the Gestapo, she throws herself into a desperate struggle to get him back. She develops a chilling relationship with a local Vichy collaborator, Rabier, and takes terrible risks to save Robert, playing a cat-and-mouse game of unpredictable meetings all over Paris. Does he really want to help her? Or is he trying to dig up information about the anti-Nazi underground movement? The war finally ends and camp victims return, an excruciating period for Marguerite. But she continues to wait, bound to the torment of absence even beyond hope.

"Izraz 'bole~ina' je zapleten, te`aven pojem. Zapletenost mora biti v absolutnem jedru na{ega projekta. Bolj kot kdaj koli je nujno povedati resnico. Primo Levi in Robert Antelme sta govorila resnico. Pripovedovala sta o zapletenosti in krivdi v zvezi s tabori{~i smrti. Zapletenost je opredeljevala tudi tiste, ki so ~akali na tabori{~nike doma. Med tistimi, ki so s ~akanjem morali `iveti."

(Emmanuel Finkiel)

prodaja/world sales TF1 Studio 6, place Abel Gance 92100 Boulogne-Billancourt, France E sales�tf1.fr distribucija/distribution Famous FOX Gub~eva cesta 19 8210 Trebnje E goran�famousfox.si

Emmanuel Finkiel

filmografija (izbor)/filmography (selection)

Rojen 1961 v Franciji. Dolga leta je delal kot asistent re`ije, med drugim tudi pri trilogiji Tri barve: Modra, Bela in Rde~a Kieslowskega. Od leta 1995 re`ira lastne avtorske filme. Njegov celove~erni prvenec Voyages je bil nagrajen na ve~ francoskih filmskih festivalih, med njimi tudi na canskem.

1999 2000 2001 2007 2008 2012 2015 2017

Born in 1961 in France, Finkiel worked an assistant director for many years, including on Kieslowski's Three Colours: Blue, White and Red. He has been writing and directing films himself since 1995. His feature début, Voyages, was awarded at several film festivals in France, including Cannes.

30

"The term 'douleur' is a complex, difficult concept. Complexity must lie at the absolute heart of our project. More than ever, the idea is to tell the truth. Primo Levi and Robert Antelme spoke the truth. They spoke of complexity and guilt in relation to the death camps. Well there was complexity among those waiting for people to come home too. Amongst those who had to live with the waiting." (Emmanuel Finkiel)

Voyages Du lundi au vendredi Casting (dok./doc.)

En marge des jours (TV) Nulle part terre promise Je suis (dok./doc.)

A Decent Man La douleur (Memoir of War/Marguerite Duras: Spomini na vojno)

Predpremiere Avantpremieres

Med policami In den Gängen In the Aisles Nem~ija Germany 2018

Thomas Stuber

re`ija/directed by Thomas Stuber scenarij/screenplay Clemens Meyer, Thomas Stuber fotografija/cinematography Peter Matjasko monta`a/editing Kaya Inan igrajo/cast Franz Rogowski (Christian), Sandra Hüller (Marion), Peter Kurth (Bruno), Andreas Leupold (Rudi), Michael Specht (Paletten-Klaus), Ramona Kunze-Libnow (Irina), Henning Peker (Wolfgang), Steffen Scheumann (Norbert), Matthias Brenner (Jürgen), Gerdy Zint (Tino) producenta/producers Jochen Laube, Fabian Maubach produkcija/production Sommerhaus Filmproduktion Kopischstrasse 2 10965 Berlin, Germany E jochen.laube�gmx.de format/format DCP, barvni/colour dol`ina/running time 125'

Preprost, a mojstrski prikaz `ivljenja delavcev v vzhodnonem{ki provinci, postavljen v zakulisje potro{ni{ke dru`be, pre`et s toplimi ~ustvi in posve~en posameznikom, za katere se zdi, da `ivljenje te~e mimo njih.

Christian je novinec med delavci v velikem supermarketu.

Polnjenje trgovskih polic je bolj ali manj samotarsko delo, {e posebej, ~e gre za ve~erno izmeno. Kljub temu se po~asi nave`e na sodelavce, {e zlasti na starej{ega Bruna z oddelka z alkoholnimi pija~ami, ki ga o~etovsko vzame za svojega, in na simpati~no Marion, ki ga o~ara s svojimi {alami in neposrednostjo. Vse ka`e, da bo Christian z novim prijateljstvom in obetajo~o se ljubezensko zvezo lahko kljuboval osamljenosti, ko je postavljen pred novo preizku{njo. Med Marionino dalj{o odsotnostjo namre~ izve, da je nesre~no poro~ena, in njegov krhki svet se za~ne ru{iti ...

"Nem{ka demokrati~na republika in razpustitev, o tem je bilo `e vse povedano, to me ne zanima. Zanima me obdobje po spremembah, kraji in `ivljenjski svetovi. Raziskovati `elim posebnosti teh ljudi in krajev. Obrobnim ljudem `elim podeliti glas. Pripovedovati `elim velike, silovite zgodbe, ki bi jih razumeli tudi v Bangkoku in New Yorku." (Thomas Stuber)

Christian is new to the superstore. Filling the endless aisles is a solitary pursuit, especially during nightshift. Still, his colleague Bruno from the drinks department takes him under his wing, soon becoming a fatherly friend. The charming Marion likes to have a bit of a laugh and a joke with Christian. His lonely days seem to be over when he falls in love with her. But Marion is married, albeit unhappily by all accounts. Christian now falls into a deep hole, and his miserable old life threatens to engulf him once more.

"GDR and the dissolution, that's all been told, that doesn't interest me, what interests me is the post-change, the places and lifeworlds. I'd like to explore what's special about these people and these places. I'd like to give voice to these marginal characters. I'd like to tell big, powerful stories, which one would understand in Bangkok and New York." (Thomas Stuber)

Thomas Stuber

filmografija/filmography

Rojen leta 1981 v Leipzigu. Prve filmske izku{nje je nabiral kot pripravnik in asistent na snemanjih, nato pa je {tudiral na Filmski akademiji BadenWürttemberg. Njegovi kratki filmi so bili opa`eni in nagrajeni na razli~nih nem{kih festivalih, {e zlasti Es geht uns gut in Teenage Angst, za diplomski film Von Hunden und Pferden pa si je leta 2012 prislu`il posebno omembo ob podelitvi {tudentskih oskarjev.

2004 2005 2006 2008 2011 2015 2016 2017 2018

Born in Leipzig in 1981. He gained experience in several internships and assistantships in the film industry before studying stage direction at the Filmakademie Baden-Württemberg. His shorts have received several awards at German festivals, most notably We're Fine and Teenage Angst.

His graduation film, Of Dogs and Horses, won the Silver Medal at the 2012 Student Academy Awards.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2018 (nagrada Guild Film/ Guild Film Prize)

Thomas Stuber's simple yet masterful In the Aisles, a behind-the-scenes glimpse at the consumerist society, gives a window on the world of ordinary workers in east German provinces, centring on individuals whom life has seemingly passed by.

prodaja/world sales Beta Cinema Gruenwalder Weg 28d 82041 Oberhaching/Munich, Germany E beta�betacinema.com

Picknick (kratki/short) Raus aus dem Garten der Liebe (kratki/short) Es geht uns gut (We're Fine) (kratki/short) Teenage Angst Von Hunden und Pferden (Of Dogs and Horses) Herbert (A Heavy Heart) Ein Mann unter Verdacht Kruso In den Gängen (In the Aisles/Med policami)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

31

Predpremiere Avantpremieres

Mektoub, ljubezen moja Mektoub, My Love: Canto Uno Mektoub, My Love: Canto Uno Francija, Italija France, Italy 2017

Abdellatif Kechiche re`ija/directed by Abdellatif Kechiche scenarij/screenplay Abdellatif Kechiche, Ghalia Lacroix, François Bégaudeau (roman/novel) fotografija/cinematography Marco Graziaplena monta`a/editing Nathanaëlle Gerbeaux, Maria Giménez Cavallo igrajo/cast Shaïn Boumedine (Amin), Ophélie Bau (Ophélie), Salim Kechiouche (Tony), Lou Luttiau (Céline), Alexia Chardard (Charlotte), Hafsia Herzi (Camélia), Kamel Saadi (Kamel), Estefania Argelich (Esmeralda), Delinda Kechiche (Dede), Meleinda Elasfour (Meleinda) producenti/producers Abdellatif Kechiche, Ardavan Safaee, Jérôme Seydoux produkcija/production Quat'sous Films 64 Rue Rebeval 75019 Paris, France T +33 1 42060287 & France 2 Cinéma (France) & Pathé (France) & Bianca Film (Italy) & Good Films (Italy) format/format DCP, barvni/colour dol`ina/running time 175'

Abdellatif Kechiche je Adelino `ivljenje nasledil z dih jemajo~o sago o odra{~anju, spolnosti in hedonizmu, postavljeno na jug Francije leta 1994.

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2017

prodaja/world sales Pathé International 2, rue Lamennais 75608 Paris, France E muriel.sauzay�pathe.com distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Amin je mlad scenarist, ki `ivi v Parizu in se poleti vra~a domov v ribi{ko vasico na jugu Francije, kjer pre`ivlja ~as s svojo dru`ino in prijatelji iz otro{tva. Mirni mladeni~ med pohajkovanjem po kavarnah in pla`ah spozna Ophélie in Céline, privla~ni dekleti, ki sta v obmorsko vasico pri{li na oddih iz Nice. Medtem ko se Aminov bratranec evfori~no spu{~a v mesene u`itke poletnih avantur, mladi pisec dogajanje raje opazuje od dale~ in s fotoaparatom i{~e navdih za svoje pisanje. Pri ljubezni ima namre~ zadnjo besedo zgolj "mektoub", kakor Arabci v svojem jeziku re~ejo usodi.

Amin, an aspiring screenwriter living in Paris, returns home for the summer, to a fishing village in the South of France. It is a time of reconnecting with his family and his childhood friends.

Together with his cousin and his best friend, he spends his time between the Tunisian restaurant run by his parents, the local bars and the beaches frequented by girls on holiday. Enchanted by the many female characters who surround him, Amin remains in awe of these summer sirens while his cousin throws himself into their carnal delights with euphoria. Armed with his camera, Amin seeks inspiration for his screenplays. When it comes to love, only mektoub ("destiny" in Arabic) can decide.

"Filmu bi rad povrnil njegovo sveto razse`nost, ob~utek, da z obiskom kina sodelujemo pri slavnostnem obredu. ^eprav {tevilni menijo, da je to iluzija, sem globoko prepri~an, da je film del nove ~love{ke dobe, ki ponuja resni~ne mo`nosti. Tako kot filmski ustvarjalec sem stvaritelj tega upanja. ^e bi v sebi opustil ta utopi~ni ideal, bi izgubil `eljo po filmskem ustvarjanju."

(Abdellatif Kechiche)

"I would like to restitute to cinema its sacred dimension, the sense of going to the movies as if partaking in a ceremony. Even if many think that this is an illusion, I have the intimately held conviction that cinema is part of a new human era that is a real possibility. And as much as a filmmaker, I am a craftsman of this hope. If I lost this utopian ideal within myself, I would not have the longing to make films." (Abdellatif Kechiche)

Abdellatif Kechiche

filmografija/filmography

Rojen leta 1960 v Tunisu, Tunizija. Pri {estih letih je s star{i emigriral v Francijo in odrasel v Nici. Poklicno pot je za~el kot gledali{ki in filmski igralec.

V osemdesetih je kot igralec nastopil tudi v ve~ filmih. Svoj prvenec La Faute a Voltaire je posnel leta 2000. Mednarodno prepoznavnost mu je prinesel film Kuskus, z Adelinim `ivljenjem pa je osvojil zlato palmo v Cannesu.

2000 2003 2007 2008 2010 2013

Born in 1960 in Tunis (Tunisia). At the age of six Kechiche immigrated with his family to France and grew up in Nice. He first worked as a theatre and screen actor. As an actor he was featured in several film productions in the 1980s. In 2000 Kechiche made his filmmaking debut with Blame It on Voltaire, and won international acclaim in 2007 with The Secret of the Grain.

Blue Is the Warmest Colour received Cannes Film Festival's Palm d'Or.

32

Abdellatif Kechiche's latest film is a breath-taking saga of coming of age, sexuality and hedonism set in 1994.

La faute à Voltaire (Blame It On Voltaire) L'esquive (Games of Love and Chance) La graine et le mulet (The Secret of the Grain/Kuskus) Sueur (Sweat) (kratki/short) Vénus noire (Black Venus/^rna Venera) La vie d'Adèle – Chapitres 1 et 2 (Blue Is the Warmest Colour/ Adelino `ivljenje) 2017 Mektoub, My Love: Canto Uno (Mektoub, ljubezen moja)

Predpremiere Avantpremieres

Obraz Twarz Mug Poljska Poland 2018

Małgorzata Szumowska

Zgodba o mladeni~u, ki po nesre~i ostane iznaka`en in se mora soo~iti z neprijetnimi odzivi okolja, so~utno, a pronicljivo razgalja dvoli~nost katoli{kega poljskega pode`elja.

Gradbeni delavec Jack s svojim uporni{kim videzom, navijanjem te`kometalne glasbe in divjo vo`njo vedno pritegne pozornost. [e posebej ~e se njegovo dekle raz`ivi na plesi{~u. Kot da bi se hotel s tak{nim vedenjem osvoboditi du{e~ih spon strogo katoli{kega in monotono zaspanega delavskega mesteca na poljsko-nem{ki meji. A ko se nekega dne ob postavljanju orja{kega betonskega kipa Jezusa ponesre~i in ostane njegov obraz povsem iznaka`en, se vse spremeni. Kljub za~etnemu optimizmu in statusu lokalnega junaka kaj kmalu ugotovi, kako pomembna je zunanja podoba in kako dvoli~no kruti (oziroma sebi~ni) lahko postanejo ljudje.

An insightful tale about the many problems an outsider has to confront after a facial disfigurement, Mug is an indictment of a prejudiced Polish community.

Construction-worker Jacek likes to attract attention with his rebellious attitude, propensity for heavy metal and reckless driving. When he and his girlfriend take to the dancefloor, everyone runs for cover. He seems to be an outsider longing to escape a deeply conservative rural community close to the PolishGerman border. But then one day, while at work with his mates building the world’s tallest statue of Christ, his life is thrown badly off course by an accident that completely disfigures him. Despite the initial optimism and the status of a national hero, he strives to cope not only with an unrecognisable reflection in the mirror but also with the prejudice and indifference of people.

"Film je nedvomno izjava o stanju na Poljskem. Dru`ba je popolnoma zaprta. To je paradoksno; da se ljudje dobro po~utijo, ker imajo denar itd., in nimamo beguncev. Sre~ni so, ker `ivijo v beli dr`avi za bele katoli~ane. Ustvarjajo izjemno zaprto, hermeti~no okolje, ki se zapira tudi pred neznanim, pred drugimi itd. Film je odziv na vse to. Polo`aj na Poljskem je zelo `alosten, zelo kompleksen, razmere so zelo zapletene. Bojim pa se, da to ni omejeno samo na Poljsko." (Małgorzata Szumowska)

"This film is definitely a kind of statement about what is going on in Poland. Like, people are completely locked. This is a paradox, that they are OK because they have money, etc, and we don't have refugees. They're happy that they live in a white country for white Catholics. They are creating an extremely locked, hermetic environment, which is also locked from the unknown, from the others, etc. So the movie is a reaction to that. And what is going on in Poland is very sad, a very complex, a very complicated situation. But I'm afraid it's not only Poland."

(Małgorzata Szumowska)

Małgorzata Szumowska

filmografija (izbor)/filmography (selection)

Rojena v Krakovu na Poljskem leta 1973. Po kon~anem {olanju na Nacionalni filmski {oli v Lod`u je re`irala {tevilne kratke, dokumentarne in igrane filme.

Je ena najvidnej{ih in najbolj cenjenih poljskih re`iserk ter rada posega po dru`benokriti~nih temah. Za svoje filme je prejela {tevilne nagrade na poljskih in mednarodnih festivalih; za film Telo na Berlinalu leta 2015 tudi srebrnega medveda za najbolj{o re`ijo.

1998 1999 2000 2001 2004 2005 2007 2008 2011 2012 2015 2018

Born in Krakow in 1973, Szumowska graduated from the National Film School in Łódz and subsequently began directing short, feature and documentary films. One of the most prominent Polish directors today, Szumowska’s films tend to present a critique of present-day society. Her movies have received many national and international festival awards. Her last feature, Body, received the Silver Bear for Best Director at the 2015 Berlin Film Festival.

re`ija/directed by Małgorzata Szumowska scenarij/screenplay Małgorzata Szumowska, Michał Englert fotografija/cinematography Michał Englert glasba/music Adam Walicki monta`a/editing Jacek Drosio igrajo/cast Mateusz Kosciukiewicz (Jacek), Agnieszka Podsiadlik (Jackova sestra/Jacek's sister), Małgorzata Gorol (Dagmara), Roman Gancarczyk (duhovnik/priest), Dariusz Chojnacki (Jackov brat/Jacek's brother), Robert Talarczyk (Jackov svak/ Jacek's brother-in-law), Anna Tomaszewska (Jackova mama/ Jacek's mother), Martyna Krzysztofik (Jackova svakinja/Jacek's sister-inlaw) producent/producer Jacek Drosio produkcija/production Nowhere Ul. Narbutta 27 lok. 4 02–536 Warszawa, Poland E nowhere�nowherefilm.pl format/format DCP, barvni/colour dol`ina/running time 91' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2018 (velika nagrada `irije/ Jury Grand Prix), Edinburg/Edinburgh 2018

prodaja/world sales Memento Films International 9 cité Paradis 75010 Paris, France E sales�memento-films.com

Cisza (kratki/short) Siedem lekcji miłosci (Seven Lessons of Love) (kratki/short) Szczesliwy człowiek (Happy Man) Dokument ... (Documentary ...) (kratki/short) Ono (Stranger) Mój tata Maciek (My Father, Maciek) (dok./doc.)

A czego tu sie ba}? (Nothing to Be Scared Of) 33 sceny z zycia (33 Scenes from Life/33 prizorov iz `ivljenja) Elles W imie ... (In the Name of .../V imenu ...)

Cialo (Body/Telo) Twarz (Mug/Obraz)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

33

Predpremiere Avantpremieres

Oni Loro Loro Italija, Francija Italy, France 2018

Paolo Sorrentino re`ija/directed by Paolo Sorrentino scenarij/screenplay Paolo Sorrentino, Umberto Contarello fotografija/cinematography Luca Bigazzi glasba/music Lele Marchitelli monta`a/editing Cristiano Travaglioli igrajo/cast Toni Servillo (Silvio Berlusconi), Elena Sofia Ricci (Veronica Lario), Riccardo Scamarcio (Sergio Morra), Kasia Smutniak (Kira) producentke/producers Carlotta Calori, Francesca Cima, Nicola Giuliano, Viola Prestieri produkcija/production Indigofilm Via Torino 135 00184 Rome, Italy E info�indigofilm.it format/format DCP, barvni/colour dol`ina/running time 145' festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2018

Satiri~en in ponekod domi{ljijski portret kontroverznega italijanskega politika in tajkuna Silvia Berlusconija ter njegovih krogov. ^edni mladeni~ Sergio ima eno samo ambicijo: zapustiti rojstno Taranto na jugu Italije in oditi v Rim, da bi se tam vklju~il v kroge ve~kratnega predsednika vlade Silvia Berlusconija. Svoj na~rt uresni~uje dosledno in brez moralnih pomislekov. Vrata v svet vplivnih in bogatih mu odpre trgovanje z lepimi mladimi dekleti, ki vplivne`e spremljajo na razli~ne dogodke in razvratne zabave. Medtem se Silvio v tem perverznem svetu korupcije in neprestanih zabav ukvarja s politi~nimi nasprotniki in svojo `eno, ki ji je dovolj njegove nezvestobe ...

prodaja/world sales Pathé 2, rue Lamennais 75008 Paris, France E thomas.paquereau�pathe.com distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Sorrentino places us in the seedy orbit of Sergio, a handsome young guy-on-the-make whose ambition is to leave his provincial southern city of Taranto for Rome and get close to Berlusconi.

His means of doing so is sordid but highly effective. Trafficking beautiful young women as escorts to attend parties and events proves to be his stepping stone into the halls of power.

Meanwhile, Berlusconi – a fallen PM abandoned by his political allies – is left to fumble with the private realities behind his public scandals.

"Zamisel za film o Berlusconiju se je porodila in razvijala v letih, ko je bil Berlusconi na{a vsakdanja stalnica. Veliko let ga je velik del Italijanov ljubil, druga tehtna polovica pa ga je sovra`ila. Vzbujal je zelo mo~na, popolnoma nasprotujo~a si ob~utja. Moj namen je bil upodobiti njega in tudi nekaj Italijanov, ki so si mu prizadevali slediti in se kakor koli povezati z njim." (Paolo Sorrentino)

"The idea for a film about Berlusconi came to me and grew during the years when Berlusconi was present among us. For many years, a large portion of Italians loved him while another substantial portion hated him. He sparked very strong, completely contrasting feelings. My ambition was to depict him and also some of the Italians who tried to follow his path and become connected to him any way they could." (Paolo Sorrentino)

Paolo Sorrentino

filmografija (izbor)/filmography (selection)

Rojen 1970 v Neaplju, Italija. Njegov prvenec L'uomo in più je bil leta 2001 uvr{~en na program bene{kega filmskega festivala, nato se je leta 2004 s srhljivko The Consequence of Love uvrstil na festival v Cannes ter po`el {tevilne dobre kritike in mednarodne nagrade. Leta 2008 je za film Mogo~ne` na festivalu v Cannesu prejel nagrado `irije, 2014 pa za Neskon~no lepoto {e oskarja za najbolj{i tujejezi~ni film.

1994 2001 2002 2004 2006 2008 2011 2013 2015 2016 2018

Born in 1970 in Naples, Italy. His debut film, One Man Up, was selected for the 2001 Venice Film Festival, and his 2004 Cannes entry, a thriller The Consequences of Love, garnered critical acclaim and won many international awards. Il Divo received the Jury Prize at the 2008 Cannes Film Festival. The Great Beauty received the 2014 Academy Award for Best Foreign Language Film.

34

Satirical and semi-fictional portrayal of controversial Italian politician and magnate Silvio Berlusconi and his entourage.

Un paradiso (kratki/short) L'uomo in più (One Man Up) La primavera del 2002 – L'Italia protesta, l'Italia si ferma (dok./doc.)

Le conseguenze dell'amore (The Consequences of Love) L'amico di famiglia (The Family Friend/Dru`inski prijatelj) Il divo (Mogo~ne`) This Must Be the Place La grande bellezza (The Great Beauty/Neskon~na lepota) Youth (Mladost) The Young Pope (Mladi pape`) (TV-serija/TV series) Loro (Oni)

Predpremiere Avantpremieres

Poj mi pesem Poj mi pesem Sing Me a Song Slovenija Slovenia 2018

Miran Zupani~

re`ija/directed by Miran Zupani~ scenarij/screenplay Miran Zupani~ fotografija/cinematography Maksimiljan Su{nik monta`a/editing Jaka Kova~i~, Miran Zupani~ producent/producer Bo{tjan Ikovic produkcija/production Arsmedia d.o.o.

Stegne 5 1000 Ljubljana E info�arsmedia.si format/format DCP, barvni/colour dol`ina/running time 106'

Dokumentarec, ki ponuja uvid v klju~ne dele ustvarjalne rasti Vlada Kreslina in obenem ori{e kulturni kontekst, znotraj katerega deluje `e ve~ kot {tirideset let.

A documentary chronicling the crucial stages of Vlado Kreslin’s musical career and outlining the cultural context whose main protagonist he has been for the past forty years.

Tista ~rna kitara, Namesto koga ro`a cveti, Od vi{ine se zvrti ... so `e ponarodele pesmi Vlada Kreslina. Vlado ima pri svoji publiki kultni status, ki ni posledica samopromocijskih strategij, ampak plod osebne karizme in sugestivnega glasbenega izraza. Ta temelji na prepletu tradicionalne panonske melodi~nosti, rockovskega uporni{tva in izvirne pesni{ko-glasbene govorice. To je film o glasbi in tistih, ki jo imajo radi.

Tista ~rna kitara, Namesto koga ro`a cveti, Od vi{ine se zvrti … are some of Vlado Kreslin's songs that have spread among the people and entered the national music canon. Vlado enjoys an iconic status among his fans, a status that is not self-generated but owed to a personal charisma and evocative music expression.

His idiosyncratic style is based on an interlacement of traditional Pannonian melodicism, rock rebellion and original poetic/musical idiom. It's a film about music and the people devoted to it.

"Nari{i nebo in ptice bodo same priletele." (Miran Zupani~) "Draw a sky and the birds will come flying." (Miran Zupani~)

Miran Zupani~

filmografija (izbor)/filmography (selection)

Rojen leta 1961 na Ptuju. Diplomiral je iz prava in filmske in televizijske re`ije na Univerzi v Ljubljani, kjer danes pou~uje filmsko re`ijo. Je re`iser dokumentarnih in igranih filmov. Njegova televizijska igrana filma Operacija Cartier in Radio.doc sta bila prikazana na {tevilnih mednarodnih filmskih festivalih in prejela ve~ nagrad.

1985 1991 1995 2001 2007 2007 2012 2018

Born in 1961 in Ptuj, Slovenia. He graduated in law, as well as film and TV directing from the University of Ljubljana, where he currently teaches film directing. He has made several documentary and fiction films. His awardwinning television fiction films, Operacija Cartier and Radio.doc, screened at various international festivals.

prodaja/world sales Arsmedia d.o.o.

Stegne 5 1000 Ljubljana E info�arsmedia.si

Sejalec Operacija Cartier (TV) Radio.doc (TV) Barabe!

Otroci s Petri~ka (TV dok./TV doc.)

Made in Slovenia (kratki/short) Moj prijatelj Mujo (dok./doc.)

Poj mi pesem (Sing Me a Song) (dok./doc.)

distribucija/distribution Continental film d.o.o.

Cvetkova ulica 1 1000 Ljubljana E video�continentalfilm.si

35

Predpremiere Avantpremieres

Sre~en kot Lazzaro Lazzaro felice Happy as Lazzaro Italija, [vica, Francija, Nem~ija Italy, Switzerland, France, Germany 2018

Alice Rohrwacher re`ija/directed by Alice Rohrwacher scenarij/screenplay Alice Rohrwacher fotografija/cinematography Hélène Louvart monta`a/editing Nelly Quettier igrajo/cast Adriano Tardiolo (Lazzaro), Agnese Graziani (Antonia), Alba Rohrwacher (odrasla/grown-up Antonia), Luca Chikovani (Tancredi), Tommaso Ragno (odrasli/grown-up Tancredi), Sergi Lopez (Ultimo), Natalino Balasso (Nicola), Gala Othero Winter (odrasla/grown-up Stefania), David Bennent (in`enir/engineer), Nicoletta Braschi (Marchesa Alfonsina de Luna) producent/producer Carlo Cresto-Dina produkcija/production Tempesta Via Broccaindosso, 20 40125 Bologna, Italy E info�tempestafilm.eu & Rai Cinema (Italy) & Amka Films Productions (Switzerland) & Ad Vitam Production (France) & KNM Prod (Switzerland) & Pola Pandora (Germany) & RSI-Radiotelevisione Svizzera (Switzerland) & ARTE France Cinéma (France) & ZDF/Arte (Germany) format/format DCP, barvni/colour dol`ina/running time 125' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018 (najbolj{i scenarij/Best Screenplay), München/Munich 2018

prodaja/world sales The Match Factory GmbH Domstrasse 60 50668 Cologne, Germany E info�matchfactory.de distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Alice Rohrwacher nas znova popelje v idili~no, brez~asno okolje italijanskega pode`elja s pripovedjo o prijateljstvu in neizmerni dobroti. Nagrada za najbolj{i scenarij v Cannesu.

Alice Rohrwacher has again opted for rustic Italy as the setting for her story about friendship and infinite kindness.

Cannes Film Festival Best Screenplay Award.

To je zgodba o sre~anju med Lazzarom, mladim kme~kim fantom, po srcu tako dobrim, da mu pogosto pripi{ejo po~asno pamet, in Tancredijem, mladim plemi~em pod prekletstvom svoje lastne domi{ljije. @ivljenje v osamljeni pastirski vasi Inviolata kroji stra{na Marchesa Alfonsina de Luna, "kraljica cigaret". Ko Tancredi poprosi Lazzara, naj mu pomaga uprizoriti lastno ugrabitev, se med fantoma razvije prijateljska vez. Njuno nenavadno zavezni{tvo je za Lazzara svojevrstno razodetje, tako mo~no in dragoceno, da bo pripravljen potovati v ~asu, da bi znova na{el svojega prijatelja. Ko se Lazzaro prvi~ znajde v velikem mestu, je kot fragment preteklosti, ujet v sodobnem svetu.

This is the tale of a meeting between Lazzaro, a young peasant so good that he is often mistaken for a simpleton, and Tancredi, a young nobleman cursed by his imagination. Life in their isolated pastoral village Inviolata is dominated by the terrible Marchesa Alfonsina de Luna, the queen of cigarettes. A loyal bond is sealed when Tancredi asks Lazzaro to help him orchestrate his own kidnapping. This strange and improbable alliance is a revelation for Lazzaro. A friendship so precious that it will travel in time and transport Lazzaro in search of Tancredi. His first time in the big city, Lazzaro is like a fragment of the past lost in the modern world.

"Sre~en kot Lazzaro je zgodba o manj{i vrsti svetosti, brez ~ude`ev, brez posebnih ali nadnaravnih sposobnosti, brez posebnih u~inkov. Gre za svetost `ivljenja brez slabih misli o komerkoli s preprosto vero v ~love{ki rod. Tudi druga pot je mogo~a, pot dobrote, ki so jo ljudje od nekdaj zanemarjali, vendar se vedno znova pojavi in jih preizpra{uje. Kot neka neuresni~ena mo`nost, ki si je pravzaprav nikoli nismo `eleli."

(Alice Rohrwacher)

"Happy as Lazzaro is the story of a lesser sanctity, with no miracles, no powers or superpowers, without special effects. It is the sanctity of living in this world without thinking ill of anyone and simply believing in human beings. Because another way was possible, the way of goodness, which men have always ignored but which always reappears to question them. Like something that might have been but that we've never wanted."

(Alice Rohrwacher)

Alice Rohrwacher

filmografija/filmography

Rojena leta 1981 v mestu Fiesole, Italija. {tudirala je v Torinu in Lizboni.

Sprva je delala kot glasbenica v gledali{~u ter kot monta`erka in re`iserka dokumentarnih filmov. Njen celove~erni prvenec Corpo celeste je posnela leta 2011, s svojim drugim filmom ^udesa pa je v Cannesu osvojila veliko nagrado `irije.

2011 2014 2015 2018

Born in 1981, in Fiesole (Italy), Rohrwacher studied in Turin and Lisbon. She initially worked as performing musician in theatre and as editor and director in documentary filmmaking. She made her first feature, Corpo Celeste, in 2011. Her second feature, The Wonders, received Grand Prix at the 2014 Cannes Film Festival.

36

Corpo celeste La meraviglie (The Wonders/^udesa) De Djess (kratki/short) Lazzaro felice (Happy as Lazzaro/Sre~en kot Lazzaro)

Predpremiere Avantpremieres

Stotnik Der Hauptmann The Captain Robert Schwentke

Nem~ija, Francija, Poljska Germany, France, Poland 2017

Po resni~ni zgodbi posnet film o dezerterju v zadnjih dneh Tretjega rajha. Stotnik pripoveduje o tem, kako je nacizem pokvaril samo jedro ~love~nosti Nemcev med vojno; je zgodba o ~loveku, ki se lahko iz `rtve ~ez no~ spremeni v storilca.

Based on a true story about a deserter during the last days of the Third Reich, The Captain shows how the blight of Nazism started to eat away at the very essence of the German people's humanity. A story of an overnight conversion from victim to perpetrator.

V kaoti~nih razmerah zadnjih dveh tednov vojne, aprila 1945, razcapani in sestradani devetnajstletni nem{ki vojak Willi Herold komaj pobegne pred streli svojih sovojakov. Ko posku{a na kmetiji ukrasti jajca, ubije kmeta – za~ne se njegova preobrazba iz obsojenca v sodnika, obupanega ~loveka, ki v sili tudi sam nima ve~ nikakr{nih zadr`kov do zla. Kmalu najde zapu{~en avto s stotni{ko uniformo, pla{~em in ~evlji. V preobleki stotnika zbere skupino dezerterjev ter z njimi {e sam za~ne moriti in pusto{iti po razdejani nacisti~ni Nem~iji; vloga ~loveka, ki lahko odlo~a o `ivljenju in smrti drugih, kakor se mu zazdi, mu je naenkrat pisana na ko`o.

In the chaotic last two weeks of World War II, in April 1945, Willi Herold, a 19-year-old private, ragged and starving, barely manages to escape being gunned down by his fellow countrymen. Trying to steal some eggs at a nearby farm, he ends up killing the farmer, which marks the beginning of his transformation from the condemned to the judge, a desperate man who in dire straits has no qualms of participating in the evil himself. He soon finds an abandoned car with a captain's uniform, a coat and shoes. Gathering a group of deserters, he proceeds to kill and plunder his way through a beaten Nazi Germany. The role of a man deciding the lives and deaths of others on a whim immediately starts feeling natural.

"Hotel sem posneti film o strukturni dinamiki nacionalsocializma. /.../ Zanimivo se mi je zdelo povedati zgodbo iz tistega ~asa, v kateri glavni lik svojih dejanj ne po~ne zaradi ideologije ali ambicij, temve~ zgolj zaradi `elje po pre`ivetju. Ta se s tem, ko lik pridobi mo~, razvije v nekaj povsem drugega. Hotel sem posneti film o ljudeh, potisnjenih v dolo~ene okoli{~ine, in kako se v njih znajdejo." (Robert Schwentke)

festivali, nagrade (izbor)/ festivals, awards (selection) San Sebastian 2017 (najbolj{a fotografija/Best Cinematography), Bari 2018 (najbolj{i film/Best Film), Vilna/Vilnus 2018 (nagrada FIPRESCI/ FIPRESCI Prize), Toronto 2017, Rotterdam 2018, Hongkong/Hong Kong 2018

"I wanted to make a film about the structural dynamics of national socialism. /.../ I found it interesting to make a film about that period of time with a character who was not motivated by ideology, or even by ambition, but simply by the desire to survive, a desire that of course evolves as he gains power. I wanted to make a film about people who are rushed into a situation and how they manage." (Robert Schwentke)

Robert Schwentke

filmografija (izbor)/filmography (selection)

Rojen 1968 v nem{kem Stuttgartu. Leta 1992 je diplomiral na filmski {oli Columbia College Hollywood v Los Angelesu. Kot re`iser in scenarist je zaslovel s filmi, kot so Pogre{ana na letalu in Upokojeni, oboro`eni, nevarni, ter Neupogljivi in Povezani iz trilogije Razcepljeni.

2005 2009 2010 2015 2016 2017

Born in Stuttgart, in 1968. In 1992, he graduated in filmmaking from the Los Angeles Columbia College Hollywood. A filmmaker and writer, he has gained renown with films that include Flightplan, RED and two films in the Divergent series: Insurgent and Allegiant.

re`ija/directed by Robert Schwentke scenarij/screenplay Robert Schwentke fotografija/cinematography Florian Ballhaus glasba/music Martin Todsharow monta`a/editing Michal Czarnecki igrajo/cast Max Hubacher (Willi Herold), Milan Peschel (Freytag), Frederick Lau (Kipinski), Bernd Hölscher (Schütte), Waldemar Kobus (Hansen), Alexander Fehling (Junker), Samuel Finzi (Roger), Wolfram Koch (Schneider) producent/producer Frieder Schlaich produkcija/production Filmgalerie 451 Esplanade 21 13187 Berlin, Germany E info�filmgalerie451.de & Alfama Films (France) & Opus Film (Poland) format/format DCP, ~b, barvni/b&w, colour dol`ina/running time 118'

prodaja/world sales Alfama Films 176, rue du Temple 75003 Paris, France E alfamafilms�orange.fr

Flightplan (Pogre{ana na letalu) The Time Traveler's Wife (@ena popotnika v ~asu) RED (Upokojeni, oboro`eni, nevarni) Insurgent (Neupogljivi) Allegiant (Povezani) Der Hauptmann (The Captain/Stotnik)

distribucija/distribution Famous Fox Gub~eva 19 8210 Trebnje E goran�famousfox.si

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Tati~i Manbiki kazoku Shoplifters Japonska Japan 2018

Hirokazu Kore-eda re`ija/directed by Hirokazu Kore-eda scenarij/screenplay Hirokazu Kore-eda fotografija/cinematography Rjuto Kondo glasba/music Haruomi Hosono monta`a/editing Hirokazu Kore-eda igrajo/cast Lily Franky (Osamu [ibata), Kirin Kiki (Hatsue [ibata), Maju Matsuoka (Aki [ibata), Jyo Kairi ([ota [ibata), Sôsuke Ikematsu (4 ban-san), Sakura Ando (Nobujo [ibata), Akira Emoto, Moemi Katajama, Joko Moriguchi, Kengo Kora (Takumi Maezono), Miju Sasaki (Juri), Chizuru Ikewaki (Kie Mijabe), Naoto Ogata, Juki Jamada producenti/producers Matsuzaki Kaoru, Yose Akihiko, Taguchi Hijiri produkcija/production Fuji Television Network Inc 2-4-8 Daiba Minato-ku 137–8088 Tokyo, Japan E kaoru.matsuzaki�fujitv.co.jp & Gaga Corporation (Japan) & AOI Promotion Inc. (Japan) format/format DCP, barvni/colour dol`ina/running time 121' festivali, nagrade (izbor) /festivals, awards (selection) Cannes 2018 (zlata palma/Palme d'Or), München/Munich 2018 (najbolj{i mednarodni film/Best International Film), Sydney 2018

Portret japonske dru`ine v prime`u rev{~ine, ki je re`iserju Hirokazu Kore-edi prinesel zlato palmo na filmskem festivalu v Cannesu.

An incredible story that deals with familial bonds, Hirokazu Kore-eda's Shoplifters won the Cannes Film Festival's Palme d'Or.

Osamu s sinom [oto `ivi v rev{~ini, skozi vsakdan pa se prebija z majhnimi tatvinami. Po enem od tatinskih podvigov o~e in sin naletita na majhno deklico, zapu{~eno v mrazu. Po za~etnem oklevanju jo vendarle sprejmeta k sebi, {e posebej potem, ko jima deklica pove podrobnosti o svojem te`kem `ivljenju. ^eprav raz{irjena dru`ina {e naprej ostaja revna, so njeni ~lani skupaj sre~ni. A le dokler nepri~akovani dogodek ne razkrije skrivnosti, ki bo trdne vezi med njimi postavila pred resen preizkus.

After one of their shoplifting sessions, Osamu and his son come across a little girl in the freezing cold. At first reluctant to shelter the girl, Osamu's wife agrees to take care of her after learning of the hardships she faces. Although the family is poor, barely making enough money to survive through petty crime, they seem to live happily together until an unforeseen incident reveals hidden secrets, testing the bonds that unite them...

"Prva stvar, ki mi je pri{la na misel, je bil slogan: 'Samo kriminal nas povezuje.' Na Japonskem na kazniva dejanja, kot so pokojninske goljufije in mladoletni tati~i, ki jih star{i silijo v krajo, gledamo z neprizanesljivo kritiko. Saj je ta dejanja treba obsojati, vendar se spra{ujem, zakaj se ljudje tako jezijo zaradi teh manj{ih prekr{kov, ko pa se dogajajo {tevilne veliko resnej{e kr{itve zakona brez obsodbe. [e zlasti po potresih leta 2011 mi je bilo nelagodno ob neprestanem zatrjevanju, da so dru`inske vezi pomembne. @elel sem jih raziskovati z upodobitvijo dru`ine, ki jo povezuje kaznivo dejanje." (Hirokazu Kore-eda)

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E edevos�wildbunch.eu distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Hirokazu Kore-eda

filmografija (izbor)/filmography (selection)

Rojen leta 1962 v Tokiu, Japonska. Po diplomi je pri neodvisni hi{i TV Man Union posnel vrsto nagrajenih dokumentarcev. Leta 1995 je zre`iral celove~erni igrani prvenec Maboroshi no hikari in z njim nastopil v tekmovalnem programu bene{kega festivala. Mednarodno prepoznavnost mu je prinesel drugi film Po `ivljenju. Njegovi filmi rahlo~utno obravnavajo klju~na `ivljenjska vpra{anja, pogosto z otroki v osrednjih vlogah.

1995 1998 2001 2004 2006 2008 2009 2011 2013 2015 2016 2017 2018

Born 1962 in Tokyo, Japan. After graduating, Kore-eda joined TV Man Union where he directed several prize-winning documentaries. In 1995, his directorial debut, Maborosi, entered the Venice International Film Festival's competition programme. His second film, After Life, brought him international acclaim. The director's works sensitively treat crucial human issues, often featuring children in leading roles.

38

"The first thing that came to my mind was the tagline: 'Only the crimes tie us together'. In Japan, crimes like pension frauds and parents making their children shoplift are criticised severely. Of course, these criminals should be criticised but I am wondering why people get so angry over such minor infractions even though there are many lawbreakers out there committing far more serious crimes without condemnation. Especially after the 2011 earthquakes, I didn't feel comfortable with people saying repeatedly that a family bond is important. I wanted to explore it by depicting a family linked by crime." (Hirokazu Kore-eda)

Maboroshi no hikari (Maborosi) Wandafuru raifu (After Life/Po `ivljenju) Distance Dare mo shiranai (Nobody Knows/Nih~e ne ve) Hana yori mo naho (Hana) Aruitemo aruitemo (Still Walking/[e vedno zdru`eni) Kuki ningyo (Air Doll) Kiseki (I Wish/@elim si) Soshite chichi ni naru (Like Father, Like Son/Kakr{en o~e, tak{en sin) Umimachi Diary (Our Little Sister/Sestrica) Umi yori mo mada fukaku (After the Storm/Po nevihti) Sandome no satsujin (The Third Murder) Manbiki kazoku (Shoplifters/Tati~i)

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Tranzit Transit Transit Christian Petzold

Z epskim pridihom obarvana zgodba o tihem upanju, zatajevanih ~ustvih in usodnih sre~anjih, ki jih ob nem{ki invaziji Francije spro`i prihod tihega mladeni~a v Marseille, je vizualno posodobljena in dru`beno aktualizirana priredba romana Anne Seghers, ki ga Petzold mojstrsko preme{a z elementi kultne Casablance.

Nem{ka vojska bo vsak ~as zavzela Pariz in Georg se skupaj s Heinzem odlo~i za tvegan beg iz francoske prestolnice. Heinz na poti tragi~no premine, Georgu pa uspe sre~no prispeti v Marseille. S seboj nosi pisma umrlega pisatelja Weidla, ki naj bi mu pomagala emigrirati v Mehiko. Med ~akanjem v pristani{kem mestecu, kjer {tevilni v tihem obupu ~akajo na odre{ilno ladjo, ki jih bo popeljala v obljubljeno de`elo, usoda spremeni njegov na~rt. Ker okleva, da bi z novico o Heinzevi smrti soo~il njegovo `eno, se, bolj kot si `eli, zbli`a z njegovim odra{~ajo~im sinom, ki se nanj hitro nave`e. Georgovo dilemo {e stopnjuje skrivnostna Marie, ki ob iskanju svojega mo`a v njem prebudi pozabljeno hrepenenje po ljubezni ...

"Ni mi v{e~, ko je pripovedovalec iz ozadja dozdevno nad vsem drugim, v nekak{nem polo`aju vsepri~ujo~ega Boga /.../. Zato sem se odlo~il, da bo zgodbo v tretji osebi pripovedoval to~aj. Ne prevara nas tako zelo, saj jo pove, kot bi jo slaba pri~a. /.../ Stvari se spominja neto~no, s tem pa sam postane del pripovedi. To je bila moja zamisel – prikazati tudi pripovedoval~evo hrepenenje in `elje." (Christian Petzold)

Nem~ija, Francija Germany, France 2018 re`ija/directed by Christian Petzold scenarij/screenplay Christian Petzold, Anne Seghers (roman/novel) fotografija/cinematography Hans Fromm glasba/music Stefan Will monta`a/editing Bettina Böhler igrajo/cast Franz Rogowski (Georg), Paula Beer (Marie), Godehard Giese (Richard), Lilien Batman (Driss), Maryam Zaree (Melissa), Barbara Auer (arhitektka/ arhcitect), Matthias Brandt (pripovedovalec/narrator), Sebastian Hülk (Paul) producenta/producers Florian Koerner von Gustorf, Michael Weber produkcija/production Schramm Film Koerner & Weber Naumannstr. 79 10829 Berlin, Germany E koerner�schrammfilm.de format/format DCP, barvni/colour dol`ina/running time 101'

An epic story about quiet hope, suppressed emotions and fatal encounters set in France under the Nazi occupation, Transit is a visually updated and socially relevant adaptation of a novel by Anna Seghers, masterfully interspersed with references to the iconic Casablanca.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2018, Jeruzalem/Jerusalem 2018, Sydney 2018

The German troops are just outside Paris. Georg escapes to Marseille at the last moment. His luggage contains the legacy of a writer named Weidel, who took his own life out of fear of persecution. This legacy comprises a manuscript, some letters and the Mexican Embassy's assurance of a visa. Only those who can prove that they will leave are allowed in this port town, and one needs an entry permit from a potential host country.

Assuming the identity of Weidel, Georg tries to obtain one of the few scarce passages on a ship. But when Georg meets the mysterious Marie, his plans change.

"I don't like it when the voice-over seems to be above everything else and in a God-like position /.../. That's why I decided to have the story narrated by the barkeeper in the third person. He doesn't con us so much as he tells the story like a bad witness would. /.../ He remembers things incorrectly, but by doing so he himself becomes part of the narrative. That was my idea – to also show the narrator's longing and desires." (Christian Petzold)

Christian Petzold

filmografija (izbor)/filmography (selection)

Glej stran 110 /see page 110.

Glej stran 110 /see page 110.

prodaja/world sales The Match Factory Domstraße 60 50668 Cologne, Germany E info�matchfactory.de distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

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Utøya – 22. julija Utøya 22. juli U – July 22 Norve{ka Norway 2018

Erik Poppe re`ija/directed by Erik Poppe scenarij/screenplay Siv Rajendram Eliassen, Anna Bache-Wiig fotografija/cinematography Martin Otterbeck glasba/music Wolfgang Plagge monta`a/editing Einar Egeland igrajo/cast Andrea Berntzen (Kaja), Aleksander Holmen (Magnus), Brede Fristad (Petter), Elli Rhiannon Müller Osbourne (Emilie), Solveig Koløen Birkeland (ranjeno dekle/injured girl), Sorosh Sadat (Issa), Ada Eide (Caroline) producenta/producers Finn Gjerdrum, Stein B. Kvae produkcija/production Paradox Film 7 Nedre gate 5 0551 Oslo, Norway E firmapost�paradox.no format/format DCP, barvni/colour dol`ina/running time 90'

V enem samem kadru posneta rekonstrukcija zloglasnega poboja devetin{estdesetih ~lanov podmladka norve{ke socialdemokratske stranke je radikalni filmski dose`ek, ki pretrese z ostrino dokumentaristi~nega naturalizma.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2018

22. julija 2011 se v poletnem taboru na oto~ku Utøya zbere pribli`no petsto otrok, med njimi devetnajstletna Kaja in njena mlaj{a sestra Emilie. A brezskrbno dru`enje z vrstniki se nepri~akovano spremeni v hladnokrven pokol – ni~ hudega slute~i otroci in najstniki postanejo tar~e s polavtomatsko pu{ko oboro`enega morilca, ki je tistega jutra podtaknil bombo v sredi{~u Osla.

"Doma je bilo veliko razprav o razli~nih vidikih 22. julija 2011, o tehni~nih zadevah, kot sta obnova poru{ene vladne stavbe v Oslu in kraj spomenika `rtvam, storilec pa je izkoristil {tevilne prilo`nosti za pritegnitev medijske pozornosti s prito`bami ~ez `ivljenje v zaporu ipd., kar je `ari{~e preusmerilo od resni~nih dogodkov tistega dne. Vsebino tega dogajanja je treba vnovi~ iskati pri `rtvah. Zato sem `elel povedati zgodbo s stali{~a pre`ivelih mladostnikov in njihovih sorodnikov." (Erik Poppe)

prodaja/world sales TrustNordisk Filmbyen 22 2650 Hvidovre, Denmark E info�trustnordisk.com distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

On 22 July 2011, five hundred young people are attending a summer camp on the island of Utøya. The camera follows 19-year-old Kaja who is spending a few days of the holiday there with her younger sister Emilie. But the carefree camping suddenly turns into a cold-blooded massacre. Unsuspecting children and teens are attacked by a heavily armed right-wing extremist who, shortly beforehand, has exploded a car bomb killing eight people in the centre of Oslo.

"Back home, there have been a lot of discussions on various aspects of 22 July 2011, technical matters like the reconstruction of the government building in Oslo that was destroyed, where to have a memorial to the victims, and the perpetrator of the massacre has taken many opportunities to get media attention, by complaining about his life in prison, etc. This has taken the focus away from what really happened that day. We need to get the ownership of these events back to the victims. Therefore, I wanted to tell the story from the point of view of the youngsters who survived, and their relatives." (Erik Poppe)

Erik Poppe

filmografija (izbor)/filmography (selection)

Rojen v Oslu leta 1960. Za~el je kot fotoreporter, a se je po po{kodbi, ki jo je staknil v Kolumbiji, odpovedal poro~anju in se vpisal na filmsko univerzo v Stockholmu, kjer je diplomiral kot direktor fotografije. Preden je posnel svoj celove~erni prvenec Schpaa, je kot direktor fotografije sodeloval pri {tevilnih filmih. Danes velja za enega najbolj priznanih skandinavskih filmskih re`iserjev.

1998 2004 2008 2013 2016 2018 2018

Born in 1960 in Oslo, Poppe started his career as a photographer. Being hospitalised after an assignment in Colombia, he decided to give up journalism and study filmmaking. He graduated in cinematography from the University College of Film, Radio, Television and Theatre in Stockholm.

Before making his debut feature, Bunch of Five, he worked as director of photography on several features. Poppe has recently gained prominence as a leading film director from Scandinavia.

40

A single-take reconstruction of the infamous massacre of sixty-nine junior members of the Norwegian socialdemocratic Labour Party, U – July 22 is a supreme example of radical cinema, featuring astoundingly acute on-screen naturalism and documentary drama.

Schpaa (Bunch of Five) Hawaii, Oslo DeUsynlige (Troubled Water) Tusen ganger god natt (A Thousand Times Good Night) Kongens nei (The King's Choice) Per Fugelli: Siste respect (dok./doc.)

Utøya 22. juli (U – July 22/Utøya – 22. julija)

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Zaton Napszállta Sunset Mad`arska, Francija Hungary, France 2018

László Nemes

László Nemes je po osvojenem oskarju za prvenec Savlov sin ustvaril razko{no zgodovinsko dramo o rojstvu 20. stoletja.

Leto 1913. Mlada Irisz Leiter prispe v Budimpe{to, da bi tam delala kot klobu~arka v legendarni prodajalni, ki je bila neko~ v lasti njenih pokojnih star{ev. Novi lastnik Oszkár Brill jo kljub temu dejstvu zavrne. Ko se izdelovalci klobukov pripravljajo na obisk uglednih gostov, Irisz ne zapusti mesta, temve~ se loti iskanja svojega brata, njene edine povezave z izgubljeno preteklostjo.

Med tavanjem zaide v tema~ne ulice Budimpe{te, kjer se ble{~i zgolj Leiterjeva prodajalna klobukov. Medtem je v zraku `e ~utiti nemir pred velikimi spremembami, ki bodo kmalu zajele celotno civilizacijo ...

"Film o civilizaciji na razpotju. Osebna zgodba mlade `enske v osr~ju Evrope na vrhuncu napredka in tehnologije, ne da bi bila zapisana v zgodovino, postane odsev vznika 20. stoletja. Od blizu spremljamo glavni lik Irisz, kar omogo~a zelo intimen vpogled v dramo. Od vsega za~etka sem si film zami{ljal kot sredstvo za poglobitev gledalca v osebni labirint ovir na poti iskanja brata in navsezadnje smisla sveta, ki ga junakinja `eli odkriti."

(László Nemes)

re`ija/directed by László Nemes scenarij/screenplay László Nemes, Clara Royer, Matthieu Taponier fotografija/cinematography Mátyás Erdély glasba/music László Melis monta`a/editing Matthieu Taponier igrajo/cast Juli Jakab (Írisz Leiter), Susanne Wuest (princesa/the princess), Vlad Ivanov (Oszkár Brill), Evelin Dobos (Zelma), Levente Molnár (Gaspar), Judit Bárdos (Szeréna), Björn Freiberg (mo{ki v belem/ man in white), Urs Rechn (Ismael), Mónika Balsai (ga./Mrs. Müller), Uwe Lauer (polkovnik/the colonel), Marcin Czarnik (Sándor), János Kulka (Leopold) producenta/producers Gábor Rajna, Gábor Sipos produkcija/production Laokoon Filmgroup Balzac street 37. I./2.

1136 Budapest, Hungary E sipos�laokoonfilm.com & Playtime (France) format/format DCP, barvni/colour dol`ina/running time 142'

From the director of Academy Award winning Son of Saul comes a lavish historical drama about the dawn of the 20th century.

1913, Budapest, in the heart of Europe. Young Irisz Leiter arrives in the Hungarian capital with high hopes to work as a milliner at the legendary hat store that belonged to her late parents. She is nonetheless sent away by the new owner, Oszkár Brill. While preparations are under way at the Leiter hat store to host guests of utmost importance, a man abruptly comes to Irisz, looking for a certain Kálmán Leiter. Refusing to leave the city, the young woman follows Kálmán's tracks, her only link to a lost past. Her quest brings her through the dark streets of Budapest, where only the Leiter hat store shines, into the turmoil of a civilisation on the eve of its downfall.

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2018 (nagrada FIPRESCI/FIPRESCI Prize), Toronto 2018, London 2018

"This film is about a civilisation at its crossroads. In the heart of Europe, at the height of progress and technology, without being written in history, the personal story of a young woman becomes the reflection of the birth of the 20th century. The film follows from close range its main character, Irisz, allowing a very intimate approach to the drama. From the outset, I imagined this movie as a vehicle for plunging the viewer into a personal labyrinth of obstruction along the heroine’s quest to find her brother and ultimately the meaning of the world she wants to discover."

(László Nemes)

László Nemes

filmografija/filmography

Rojen 1977 v Budimpe{ti. Leta 1989 se je z materjo preselil v Pariz, kjer je odra{~al. [tudiral je zgodovino in mednarodne odnose, nato pa vpisal {tudij filma na Sorboni. Sprva je delal kot asistent Béle Tarrja, med drugim pri filmu Mo` iz Londona (2007). Njegov prvenec Savlov sin je osvojil oskarja za najbolj{i tujejezi~ni film.

2007 2008 2010 2015 2018

prodaja/world sales Playtime 5, rue Nicolas Flamel 75004 Paris, France E info�playtime.group

Türelem (With a Little Patience) (kratki/short) The Counterpart (kratki/short) The Gentleman Takes His Leave (kratki/short) Saul fia (Son of Saul/Savlov sin) Napszállta (Sunset/Zaton)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Born in Budapest in 1977, Nemes spent his young adulthood in Paris, having followed his mother who started a new life in the French capital in 1989. He first studied history and political studies, then cinema at the Sorbonne. He first worked as Béla Tarr's assistant, among others on The Man from London (2007). His feature debut, Son of Saul, received the Best Foreign Language Film Academy Award.

41

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Zgodovina ljubezni Zgodovina ljubezni History of Love Sonja Prosenc

Slovenija, Italija, Norve{ka Slovenia, Italy, Norway 2018

re`ija/directed by Sonja Prosenc scenarij/screenplay Sonja Prosenc fotografija/cinematography Mitja Li~en monta`a/editing Frida Eggun Michaelsen igrajo/cast Doroteja Nadrah (Iva), Kristoffer Joner (Erik), Matej Zemlji~ (Ivin brat/ Iva's brother) producent/producer Rok Se~en produkcija/production Monoo Kvedrova 36 1000 Ljubljana, Slovenia E rok�monoo.si format/format DCP, barvni/colour dol`ina/running time 105' festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary 2018 (posebna omemba `irije/Special Jury Mention)

prodaja/world sales Monoo Kvedrova 36 1000 Ljubljana E rok�monoo.si distribucija/distribution Monoo Kvedrova 36 1000 Ljubljana E rok�monoo.si

Te`ko pri~akovani drugi film Sonje Prosenc ~uten pristop zdru`uje s potapljanjem v nadrealisti~en, skoraj sanjski svet.

Zgodbo pove izjemno prefinjeno, subtilno in jo pospremi z vizualno bogatimi podobami.

The eagerly anticipated second feature by Sonja Prosenc combines sensual style with images of a strange, almost dreamlike world. The narrative is constructed with the aid of the subtlest of suggestions and rich visual texture.

Sedemnajstletna Iva `aluje za svojo mamo, ki je umrla v prometni nesre~i, nato pa po naklju~ju odkrije, da je imela mama razmerje z dirigentom zbora, v katerem je pela. Iva svojo jezo in bole~ino usmeri nanj; skozi obsesijo, ki jo razvije, vstopi v svet nekje med resni~nostjo in sanjami, ki pa hkrati deluje tudi kot prostor in mo`nost katarze. Zgodovina ljubezni ohranja avtori~ino specifi~no poetiko, hkrati pa je v vizualnem smislu {e bolj razko{en od njenega prvenca.

Seventeen-year-old Iva is in the process of coming to terms with the death of her mother. Influenced by this deep personal loss and by the discovery that she didn’t know everything about her mom, the girl slowly immerses herself into an odd, hallucinatory world far from reality, which acts as a catharsis for all her painful feelings. Dominated by a distinctive filmmaking style, History of Love further develops Prosenc’s visually resonant aesthetic.

"Vsak avtor najde svojo govorico. Moj pristop izhaja iz tega, da filma ne jemljem kot ilustracijo zgodbe, ampak kot ustvarjanje filmske izku{nje skozi vse vidike filmskega jezika, ki so si med seboj enakovredni in delujejo {ele kot celota. /.../ ^e se re`iserka odlo~i za druga~en pristop, pri tem ne gre za posledico nekak{nih biokemi~nih procesov, ki se dogajajo v `enskah, kot si ljudje predstavljajo: '@enske ste druga~ne, bolj ob~utljive.'

Ne! Morebitne razlike v pristopu izhajajo iz tega, da avtorice diskriminacijska razmerja mo~i ob~utimo na svoji ko`i in imamo zato mo~na politi~na stali{~a. To je tisto, kar se lahko odra`a na na{em ustvarjanju." (Sonja Prosenc)

"Every filmmaker develops his own style. My approach stems from the view that a film's aim is not one of illustrating a story but creating a cinematic experience by means of the entire spectrum of cinematic aspects – elements that are equivalent and take full effect only as a seamless whole. /.../ If a woman director chooses a different approach, her decision is not influenced by some biochemical processes taking place in her body, as people tend to believe: 'You women are different, more sensitive.' No! The eventual differences in style arise from the fact that women directors have to deal with discriminatory power relations, and consequently hold strong political views. This is what might reflect in our work." (Sonja Prosenc)

Sonja Prosenc

filmografija/filmography

Rojena leta 1977 v Slovenj Gradcu. Po dokon~anem {tudiju se je udele`ila delavnic Berlinale in Sarajevo Talents, soustanovila produkcijsko hi{o Monoo, izbrali pa so jo tudi za sodelovanje na programu S&P TorinoFilmLab. Njen prvi celove~erni film, Drevo, so povabili na ve~ kot petdeset festivalov, dobil pa je tudi {tevilne nagrade. Cineuropa je Sonjo Prosenc leta 2016 uvrstila med osem obetavnih evropskih filmskih re`iserk.

2005 Ni~ novega, ni~ pretiranega (Free Spirited Friends) (kratki/short) 2012 Jutro (Morning) (kratki/short) 2012 Mo` s krokarjem (Man with a Raven) (srednjemetra`ni dok./ mid-length doc.)

2013 Drevo (The Tree) 2015 Impromptu (None) (kratki/short) 2017 Zgodovina ljubezni (History of Love)

Born in 1977 in Slovenj Gradec, Slovenia. After graduation, she attended the Berlinale and Sarajevo Talents, co-founded Monoo production house and was selected for the TorinoFilmLab – S&P programme. Her first feature film, The Tree, was invited to more than 50 festivals and received several awards.

In 2016, she was selected by Cineuropa as one of eight up-and-coming European female directors.

42

Predpremiere Avantpremieres

Zimske muhe V{echno bude Winter Flies ^e{ka, Slovenija, Poljska, Slova{ka Czech Republic, Slovenia, Poland, Slovakia 2018

Olmo Omerzu

Mladinski film ceste, ki je slovenskemu re`iserju Olmu Omerzuju prinesel nagrado za najbolj{o re`ijo na filmskem festivalu v Karlovih Varih.

A teenage road movie, Winter Flies earned Slovenian director Olmo Omerzu Best Director Award at the Karlovy Vary Film Festival.

Zima. Policija zasli{uje {tirinajstletnega Maro, potem ko so ga ujeli za volanom avtomobila dale~ stran od kraja, kjer `ivi. On in ekscentri~ni Hedu{ sta se v iskanju dogodiv{~in odpravila na vo`njo prek zamrznjene pokrajine. Nagajiv ton, v katerem Mara podaja svojo zgodbo policistom, pa njegovi razlagi dogodkov jemlje vso verodostojnost. Zimske muhe je film o muhah, ki ob~asno zabren~ijo sredi zime, in o tiste vrste mladostni{kem prijateljstvu, ki ga poganja mo~na `elja po novem izkustvu, ~eprav ni povsem jasno, po kak{nem.

Winter. Police interrogate 14-year-old Mára at the station after catching him behind the wheel far from where he lives. He and somewhat eccentric Hedu{ have set out for the frozen landscape down south to seek adventure, but the mischievous breeziness with which Mára relates his story gradually strips his statement of credibility. A movie about the flies that occasionally buzz around in winter, telling a story of boyhood friendship and the irrepressible desire to experience something, even if you don't exactly know what.

"Klju~ do razumevanja filma je ozadje likov; dogodki pred dogajanjem na zaslonu. Potem se lahko spra{ujemo, kaj se jima zgodi po odjavni {pici. Zima je del tega. Ko zunaj zmrzuje, je avto simbol toplega prostora, ki ga otroci nimajo doma."

(Olmo Omerzu)

"The key to understanding the film is the characters' background; what has happened before the action kicks off on the screen.

Then we can speculate what becomes of them after the closing credits. And winter is part of that. When it's freezing outside, the car is a symbol of a warm place the children don't have at home."

(Olmo Omerzu)

Olmo Omerzu

filmografija/filmography

Rojen 1984 v Ljubljani. Od leta 2001 do 2003 je bil urednik Stripburgerja, 2004 pa je iz{el njegov prvi avtorski strip. Istega leta se je vpisal na {tudij filmske re`ije na pra{ki filmski {oli FAMU, kjer je 2011 tudi diplomiral. Njegov ve~krat nagrajeni celove~erni prvenec Mlada no~ je bil premierno uprizorjen na berlinskem festivalu. Zimske muhe je njegov tretji celove~erec.

1998 2006 2006 2008

Born in 1984 in Ljubljana. Between 2001 and 2003 Omerzu was editor of the Stripburger comic magazine. In 2004, he published his first comic strip and began studying film direction at the Prague Film School, graduating in 2011.

His award-winning first feature film, A Night Too Young, premiered at the Berlin Film Festival. Winter Flies is his third feature film.

re`ija/directed by Olmo Omerzu scenarij/screenplay Petr Pýcha fotografija/cinematography Luká{ Milota glasba/music [imon Holý, Monika Midriaková, Paweł Szamburski monta`a/editing Jana Vl~ková igrajo/cast Tomá{ Mrvík (Mara), Jan Franti{ek Uher (Hedu{), Eli{ka Krenková (Brana), Lenka Vlasáková (policistka/ policewoman), Martin Pechlát (policist/policeman) producent/producer Jirí Kone~ný produkcija/production Endorfilm Prímetická 4 140 00 Praha 4, Czech Republic E jiri�endorfilm.cz & ^eská televize (Czech Republic) & Cvinger Film (Slovenia) & Koskino (Poland) & Punkchart Films (Slovakia) format/format DCP, barvni/colour dol`ina/running time 85' festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary 2018 (najbolj{a re`ija/Best Director, posebna omemba ekumenske `irije/ Ecumenical Jury Prize – Special Mention), FSF Portoro` 2018 (najbolj{a manj{inska koprodukcija/ Best Minority Co-production)

prodaja/world sales Cercamon Majara 1, #903 Dubai Marina PO BOX 113 222 Dubai, UAE E sebastien�cercamon.biz

Almir (kratki/short) Laska (Love/Ljubezen) (kratki/short) Slzy (Tears/Solze) (kratki dok./short doc.)

Druhe dejstvi (Second Act/Drugo dejanje) (srednjemetra`ni/medium length) 2012 Príli{ mladá noc (A Night Too Young/Mlada no~) 2015 Roddiny film (Family Film/Dru`inski film) 2018 V{echno bude (Winter Flies/Zimske muhe)

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

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44

Kralji in kraljice Kings and Queens

Divja hru{ka Ahlat agaci The Wild Pear Tree Nuri Bilge Ceylan

re`ija/directed by Nuri Bilge Ceylan scenarij/screenplay Akin Aksu, Ebru Ceylan, Nuri Bilge Ceylan fotografija/cinematography Gökhan Tiryaki monta`a/editing Nuri Bilge Ceylan igrajo/cast Dogu Demirkol (Sinan Karasu), Murat Cemcir (Idris Karasu), Bennu Yildirimlar (Asuman Karasu), Hazar Ergüçlü (Hatice), Serkan Keskin (Sulejman), Tamer Levent (Recep), Öner Erkan (Imam Nazmi), Ahmet Rifat Sungar (Ali Riza), Akin Aksu (Imam Veysel), Kubilay Tunçer (Ilhami), Ercüment Balakoglu (Ramazan), Kadir Çermik (`upan/ mayor Adnan) producentka/producer Zeynep Ozbatur Atakan produkcija/production Zeyno Film Baskurt Sok. Ürgüp Palas Apt. 19/3 Cihangir, Beyoglu 34433 Istanbul, Turkey E info�zeynofilm.com & Memento Films Production (France) & Detailfilm (Germany) & RFF International (Bulgaria) & Sisters and Brother Mitevski (Macedonia) & 2006 Produkcija Sarajevo (Bosnia and Herzegovina) & Film i Väst (Sweden) & Chimney Pot (Sweden) format/format DCP, barvni/colour dol`ina/running time 188'

Tur~ija, Makedonija, Francija, Nem~ija, BiH, Bolgarija, [vedska Turkey, Macedonia, France, Germany, BH, Bulgaria, Sweden 2018

Nuri Bilge Ceylan se vra~a s {e eno detajlno fresko dru`benih razmerij na tur{kem pode`elju, kjer mladi nihajo med idealisti~nim zasledovanjem svojih sanj in bole~o vdanostjo v usodo.

An intricate tapestry of social relations in rural Turkey, Nuri Bilge Ceylan's latest offering focuses on young people torn between idealistic pursuit of dreams and painful resignation to fate.

Mladi, ambiciozni pisatelj Sinan se z diplomo v roki vrne v doma~o vas. Mladeni~ se `eli poklicno ukvarjati s pisanjem, a se mora zdaj soo~iti z realnostjo pode`elskega `ivljenja: narediti bo moral izpite za poklic u~itelja, ki ga opravlja `e njegov o~e Idris. Ta je ves svoj ugled zapravil z odvisnostjo od kockanja. Sinan posku{a sam zbrati denar, da bi lahko izdal svojo knjigo, a ob dru`enju s prijatelji in dru`inskimi ~lani za~uti grenak priokus razo~aranja.

Morda ljudje okrog njega s svojimi usodami predstavljajo slutnjo njegovega bodo~ega poraza.

Sinan, an ambitious graduate and would-be writer comes back to his rural village with a diploma but no job. Now he has to decide whether to take the exams to be a teacher like his old man. Lack of money drives him back home, to a family being destroyed by his father Idris' gambling habit. The respect they once enjoyed in the village has eroded to finger-pointing and open demands for the repayment of loans. He senses defeat and disappointment with life in some of those local friends and family he has left behind – or is it that he has projected on to them his own dread of a failure yet to come.

"Film poku{a prikazati zgodbo mladeni~a, ki s krivdo ~uti, da je druga~en na na~in, s katerim se ne zna sprijazniti, da ga vase srka usoda, ki je ne zmore sprejeti, kot tudi {irokega razpona ljudi okoli sebe, ne da bi bil komu bolj naklonjen ali do koga krivi~en. Reklo pravi: 'Kar o~e skriva, se izrazi v sinu.' Od star{ev podedujemo dolo~ene lastnosti: npr. slabosti, navade, motnje. Film pripoveduje zgodbo o fantu, ki neizogibno sledi o~etovi usodi, na poti, prepredeni z bole~imi izku{njami." (Nuri Bilge Ceylan)

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018, Sydney 2018, Melbourne 2018

prodaja/world sales Memento Films International 9 Cité Paradis 75010 Paris, France E sales�memento-films.com

Nuri Bilge Ceylan

filmografija/filmography

Rojen leta 1959 v Carigradu. Velja za eno najve~jih odkritij evropskega filma v drugi polovici devetdesetih let. Velik preboj je dosegel s filmom Oddaljen, ki je v Cannesu osvojil veliko nagrado `irije, kar je pozneje ponovil {e s filmom Bilo je neko~ v Anatoliji. Z Zimskim spanjem je leta 2014 vendarle osvojil {e cansko zlato palmo.

1995 1997 1999 2003 2006 2008 2011

Born in 1959 in Istanbul, Bilge Ceylan is considered one of the greatest European cinema revelations of the late 1990s. Distant, which won the Grand Prix at Cannes, launched the director's international career. His following films also attracted notice at Cannes; Once Upon a Time in Anatolia received the Grand Prix, and Winter Sleep won the coveted Palme d'Or in 2014.

48

"This film attempts to tell the story of a young man who senses with a feeling of guilt that he is different in a way that he cannot come to accept, that he is being dragged towards a destiny that he cannot embrace, as well as the rich mosaic of people surrounding him, without favouring or being unfair to anybody.

As the saying goes, 'what a father keeps hidden is revealed in the son'. One cannot help but inherit certain traits from one's father: weaknesses, habits, tics, among other things. The film tells the story of a boy being inevitably dragged into the same destiny as his father, in a plot loaded with painful experiences."

(Nuri Bilge Ceylan) Koza (Cocoon) (kratki/short) Kasaba (Small Town/Mestece) Mayis sikintisi (Clouds of May/Majski oblaki) Uzak (Distant/Oddaljen) Iklimler (Climates/Podnebje) Üc maymun (Three Monkeys/Tri opice) Bir zamanlar Anadolu’da (Once Upon a Time in Anatolia/Bilo je neko~ v Anatoliji) 2014 Kis uykusu (Winter Sleep/Zimsko spanje) 2018 Ahlat agaci (The Wild Pear Tree/Divja hru{ka)

Kralji in kraljice Kings and Queens

Dnevnik mojih misli Journal de ma tête Diary of My Mind [vica, Francija Switzerland, France 2017

Ursula Meier

re`ija/directed by Ursula Meier scenarij/screenplay Ursula Meier, Antoine Jaccoud fotografija/cinematography Jeanne Lapoirie monta`a/editing Nelly Quettier igrajo/cast Fanny Ardant (Esther Fontanel), Kacey Mottet Klein (Benjamin Feller), Jean-Philippe Ecoffey (sodnik/Judge Mathieu), Carlo Brandt (psihiater/psychiatrist Butler), Stéphanie Blanchoud (Maître Rayet), Jean-Quentin Châtelain (Pierre Feller) producenti/producers Lionel Baier, Agnieszka Ramu, Françoise Mayor produkcija/production Bande à part Films Rue Mauborget 6 1003 Lausanne, Switzerland E info�bandeapartfilms.com format/format DCP, barvni/colour dol`ina/running time 70'

Portret nadarjenega dijaka, ki je hladnokrvno umoril svoja star{a, temelji na resni~nih dogodkih, Ursula Meier pa z izredno jasnostjo in intuitivno prodornostjo razkriva osebno stisko storilca ter hkrati preizku{a dru`bene moralne norme.

27. februarja 2009 se je mladoletni Benjamin Feller predal policiji in priznal umor svojih star{ev. Skrbno na~rtovanje, motiv in ob~utke, ki so ga pripeljali do tega {okantnega dejanja, je natan~no opisal v dnevniku, ki ga je poslal svoji u~iteljici knji`evnosti. U~iteljica je postala zaradi tega predmet policijske preiskave, hkrati pa se zdi, da je edina posku{ala razumeti stisko ranjene mladostni{ke du{e. Dnevnik mojih misli je segment {tiridelne serije, s katero je {vicarska televizija dala prilo`nost mladim re`iserjem, da interpretirajo tragi~ne dogodke, ki so pretresli tamkaj{njo javnost.

"V filmih so mi v{e~ obrobni liki, na videz druga~ni kot drugi ljudje, ki se po~utijo, kot da niso s tega sveta, saj ~utijo druga~e."

(Ursula Meier)

A portrait of a talented high school student who murders his parents in cold blood, Diary of My Mind is based on real-life events. Challenging the established moral norms, Ursula Meier depicts the inner anguish of the perpetrator with outstanding lucidity and intuitive acumen.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2018 – Panorama

On 27 February 2009, pupil Benjamin Feller turns himself in to the police, admitting the crime that he has meticulously described beforehand in a diary entry, outlining his motive, careful planning and state of mind that incited him to commit this horrible deed. He sends the diary to his teacher before shooting his parents. Although trying to understand the events in retrospect, the teacher herself – as the journal's addressee – is increasingly targeted by the police. Diary of My Mind is the first part in a series of four films on true cases, produced by the Swiss television in cooperation with young filmmakers and aimed at lending some insight into the tragic events that shocked the local public.

"I like marginal characters in movies, characters who don't look like other people, who feel out of this world, who feel differently.” (Ursula Meier)

Ursula Meier

filmografija (izbor)/filmography (selection)

Rojena leta 1971 v Besançonu, Francija. Re`ijo je {tudirala v Belgiji ter se najprej uveljavila s kratkimi in dokumentarnimi filmi. Njen re`ijski prvenec Dom je bil nominiran za presti`no francosko nagrado cezar v treh kategorijah, pri tretjem igranem celove~ercu Dnevnik mojih misli pa je ponovno sodelovala z izjemno nadarjenim igralcem Kaceyjem Mottetom Kleinom, ki mu je pred tremi leti posvetila kratki dokumentarni film.

1994 1998 2000 2001 2002

Born in 1971 in Besançon, France, Meier studied filmmaking in Belgium.

She then began her directing career with shorts and documentaries. Her feature debut, Home, was nominated for three César Awards. For her third feature film, Diary of My Mind, Meier again cast Kacey Mottet Klein, an incredibly talented actor to whom she dedicated a short documentary two years previously.

2008 2012 2014 2015 2017

prodaja/world sales Bande à part Films Rue Mauborget 6 1003 Lausanne, Switzerland E info�bandeapartfilms.com

Le songe d'Isaac (Isaac's Dream) (kratki/short) Des heures sans sommeil (Sleepless) (kratki/short) Autour de Pinget (About Pinget) (dok./doc.)

Tous à table (Table Manners) (kratki/short) Pas les flics, pas les noirs, pas les blancs (Not the Cops, not the Blacks, not the Whites) (dok./doc.)

Home (Dom) L'enfant d’en haut (Sister/Otrok iz zgornjega nadstropja) Les ponts de Sarajevo – segment Silence Mujo (Bridges of Sarajevo – segment Silence Mujo) Kacey Mottet Klein, naissance d'un acteur (Kacey Mottet Klein, Birth of an Actor) (kratki dok./short doc.)

Ondes de choc – Journal de ma tête (Shock Waves – Diary of My Mind/Dnevnik mojih misli)

49

Kralji in kraljice Kings and Queens

Dovlatov Dovlatov Dovlatov Aleksej German, ml.

re`ija/directed by Aleksej German, ml. scenarij/screenplay Aleksej German, ml., Julija Tupikina fotografija/cinematography Lukasz Zal monta`a/editing Darja Gladi{eva, Sergej Ivanov igrajo/cast Milan Mari} (Sergej Dovlatov), Danila Kozlovski (David), Helena Sujecka (Elena Dovlatova), Artur Bes~astni (Josif Brodski), Elena Ljadova (mlada urednica/young editor), Anton [agin (Anton Kuznecov), Svetlana Hod~enkova (igralka/actress), Piotr Gasowski (Semjon Aleksandrovi~), Eva Gerr (Katja Dovlatova), Hanna Sleszynska (urednica/ editor) producenti/producers Andrej Saveljev, Artem Vasiljev, Konstantin Ernst produkcija/production SAGa (Russia) & Metrafilms (Russia) & Channel One (Russia) & Message Film (Poland) & Art & Popcorn (Serbia) format/format DCP, barvni/colour dol`ina/running time 126' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2018, FEST Beograd/FEST Belgrade 2018 (nagrada FIPRESCI/ FIPRESCI Prize), Karlovi Vari/Karlovy Vary 2018

[est dni v `ivljenju upornega pisatelja Sergeja Dovlatova, ki je `e v sedemdesetih letih videl dale~ onkraj meja takratne Sovjetske zveze.

Six days in the life of Sergei Dovlatov, a political dissident and author whose breadth of mind far transcended the confines of the 1970s Soviet Union.

Leningrad, november 1971. Mesto je potopljeno v meglo.

Ljudje slavijo {e eno obletnico revolucije, dr`ava pa ne dosega nikakr{nega napredka. Mladi pisatelj Sergej to ob~uti tudi na svoji ko`i. Uradni mediji redno zavra~ajo njegove zapiske, saj njegov pogled na svet ni sprejemljiv, poleg tega pa iz dr`ave iz`enejo prijatelja Josifa Brodskega. Dovlatov `eli kljub temu ostati v dr`avi, skupaj z `eno Leno in h~erko Katjo. Pisal bo o odkrivanju resni~nosti – o ladijskih delavcih in o gradnji podzemne `eleznice.

Iz njegovega nihanja med uporni{tvom in asimilacijo, med bole~ino in naveli~anostjo bo zrasel portret obdobja dru`bene stagnacije in njenih uni~ujo~ih posledic.

Leningrad, November 1971. The city is shrouded in fog. Another anniversary of the revolution is being celebrated, but the country is not making any progress. Sergei has first-hand experience of this stasis. The young writer's manuscripts are regularly rejected by the official media; his view on things is not desired. Others are experiencing similar problems, including his friend Joseph Brodsky, who is forcefully exiled. Dovlatov is determined to stay and lead a normal life with his wife Lena and daughter Katya. He wants to write about discovering reality: about shipyard workers, or the construction of the metro. Out of a tragicomic rondeau of rebellion and assimilation, pain and fatigue, ensues a portrait of an era of stagnation and its destructive effects.

"Dovlatov je eden od absolutnih simbolov zadnjega ~etrtletja 20. stoletja. Je superzvezdnik ruske literature. Bil je impozantna osebnost, toda obenem subtilen in neverjetno nadarjen; {koda, da se tak{ni mo`je ne porajajo ve~." (Aleksej German, ml.)

prodaja/world sales Alpha Violet 18 rue Soleillet 75020 Paris, France E info�alphaviolet.com

"Dovlatov is one of the unconditional symbols of the last quarter of the 20th century. He is a superstar of Russian literature.

He was larger than life, yet subtle and incredibly talented; it's a shame that we do not produce such men anymore."

(Aleksei German Junior)

Aleksej German, ml.

filmografija (izbor)/filmography (selection)

Rojen leta 1976 v Moskvi. Od 1996 do 2001 je {tudiral na presti`ni ruski filmski {oli VGIK. @e med {tudijem je posnel tri kratke filme, za katere je prejel dr`avne in mednarodne festivalske nagrade. Za prvi celove~erec Zadnji vlak je leta 2003 na bene{kem festivalu prejel posebno omembo `irije za leva prihodnosti, film Pod elektri~nimi oblaki pa je leta 2015 osvojil berlinskega srebrnega medveda za izjemen umetni{ki prispevek.

1998 1999 2001 2003 2005 2008 2015

Born in Moscow in 1976. Between 1996-2001, German studied at the Russian Film School – VGIK, where he shot three short films that gained Russian and international film festival awards. His first feature, The Last Train, received a special mention of the Future Lion jury at the 2003 Venice festival. Under Electric Clouds won the Silver Bear for Outstanding Artistic Contribution to Cinematography at the 2015 Berlin IFF.

50

Rusija, Poljska, Srbija Russia, Poland, Serbia 2018

Znamja (Banner) (kratki/short) Bol{oje oseneje pole (Big Autumn Field) (kratki/short) Dura~ki (Fools) (kratki/short) Poslednji poezd (The Last Train/Zadnji vlak) Garpastum Buma`nji soldat (Paper Soldier/Papirnati vojak) Pod elektri~eskimi oblakam (Under Electric Clouds/Pod elektri~nimi oblaki) 2018 Dovlatov

Kralji in kraljice Kings and Queens

Knjiga slik Le livre d'image The Image Book [vica, Francija Switzerland, France 2018

Jean-Luc Godard

re`ija/directed by Jean-Luc Godard scenarij/screenplay Jean-Luc Godard monta`a/editing Jean-Luc Godard pripovedovalec/narrator Jean-Luc Godard producenta/producers Fabrice Aragno, Mitra Farahani produkcija/production Casa Azul Films Rue de Genève 97 1004 Lausanne, Switzerland E mail�casa-azul.ch & Ecran Noir Productions (France) format/format DCP, barvni/colour dol`ina/running time 90' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018 (posebna zlata palma/ Special Palme d'Or)

Legendarni Jean-Luc Godard nas skozi kalejdoskopsko zaporedje filmskih fragmentov vpelje v kripti~en razmislek o stanju sodobnega sveta.

Jean-Luc Godard's latest film, a mosaic of clips and fragments, is a kaleidoscopic bulletin on the state of our world.

Ali se {e spomnite, kako smo, dolgo tega, urili na{e misli? Po navadi smo za~eli s sanjami. Spra{evali smo se, kako se lahko v popolni temi v nas pojavijo tako intenzivne barve. Z mehkim, tihim glasom. Ki je govoril velike stvari. Presenetljive, globoke in to~ne re~i. Podobe in besede. Kot no~na mora, zapisana na nevihtni ve~er. Pod zahodnimi o~mi. Izgubljeni raji. Vojna je tu.

Do you still remember how, long ago, we trained our thoughts?

Most often we'd start from a dream. We wondered how, in total darkness, colours of such intensity could emerge within us.

In a soft, low voice. Saying great things. Surprising, deep and accurate matters. Image and words. Like a bad dream written on a stormy night. Under western eyes. The lost paradises. War is here.

"Film Knjiga slik pri~ara totemsko temo, ki se je ne more{ otresti.

Godard nam pove, da so ljudje v~asih hoteli biti Faust, sedaj pa si `elijo biti samo kralji. To je razlika med svetom religije in svetom ki~aste mo~i. Na{ svet je v filmu navsezadnje dohitel Godardovo, s pogubljenjem pre`eto videnje o njem. Dozdevno `eli povedati, da imamo vsi izbiro: spremeniti ga ali sedeti na televizijskih naslanja~ih in opazovati." (Owen Gleiberman, Variety)

"As you watch The Image Book, it conjures a totemic darkness that can't be shaken off. Godard tells us that people used to want to be Faust, and now they just want to be kings. That's the difference between a world of religion and a world of chintzy power. Our world, in The Image Book, has finally caught up to Jean-Luc Godard's doom-laden dream of it. He seems to be saying that we all have a choice: to change it, or to sit back in our TV armchairs and watch." (Owen Gleiberman, Variety)

Jean-Luc Godard

filmografija (izbor)/filmography (selection)

Rojen 1930 v Parizu. @e kot {tudent se je zanimal za film, leta 1952 pa je za~el pisati filmske kritike za Cahiers du cinéma. Leta 1960 mu je svetovno slavo prinesel film Do zadnjega diha. Je eden osrednjih predstavnikov francoskega novega vala in avtorske teorije. Njegov opus obsega ve~ kot sto filmskih naslovov.

1960 1961 1962 1963 1963 1964 1965 1965 2001 2004 2010 2014 2018

Born in 1930 in Paris, Godard became involved in cinema as a student, and in 1952 started publishing film reviews in Cahiers du cinéma. He rose to world fame in 1960 with Breathless. One of the most prominent representatives of the French New Wave and auteur theory, Godard has made over 100 films.

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E edevos�wildbunch.eu

À bout de souffle (Breathless/Do zadnjega diha) Une femme est une femme (A Woman is a Woman/@enska je `enska) Vivre sa vie (My Life to Live/@iveti svoje `ivljenje) Les carabiniers (The Soldiers/Karabinjerji) Le mépris (Contempt/Prezir) Bande à part (Band of Outsiders/Nesposobna banda) Alphaville, une étrange aventure de Lemmy Caution (Alphaville) Pierrot le fou (Nori Pierrot) Éloge de l'amour (In Praise of Love/Hvalnica ljubezni) Notre musique (Our Music/Na{a glasba) Film socialisme (Socialism/Socializem) Adieu au langage (Goodbye to Language/Zbogom jeziku) Le livre d'image (The Image Book/Knjiga slik)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

51

Kralji in kraljice Kings and Queens

Molitev La prière The Prayer Francija France 2018

Cédric Kahn re`ija/directed by Cédric Kahn scenarij/screenplay Fanny Burdino, Samuel Doux, Cédric Kahn fotografija/cinematography Yves Cape monta`a/editing Laure Gardette igrajo/cast Anthony Bajon (Thomas), Damien Chapelle (Pierre), Alex Brendemühl (Marco), Louise Grinberg (Sybille), Hanna Schygulla (sestra Miriam/ Sister Myriam), Antoine Amblard (O~e Luc/Father Luc), MagneHarvard Brekke (Olivier), Maïté Maille (Agnès) producenta/producers Sylvie Pialat, Benoît Quainon produkcija/production Les Films du Worso 38 Boulevard Raspail 75007 Paris, France E production�worso.com format/format DCP, barvni/colour dol`ina/running time 107' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2018 (najbolj{a mo{ka vloga/Best Actor), Istanbul 2018, Moskva/Moscow 2018

Zgodba o mladem odvisniku, ki se zate~e v kr{~ansko skupnost, da bi s pomo~jo vere in novih prijateljstev na{el pot v novo `ivljenje.

Cédric Kahn tells the story of a disoriented young drug addict who wants to end his habit through faith and friendship – by joining an isolated community of former addicts.

Dvajsetletni Thomas se ne more odvaditi od drog. Njegova zadnja mo`nost je skupnost fantov pod vodstvom katoli{kega duhovnika, ki se sredi pode`elja trudijo premagati svoje te`ave. Duhovnost, stroga pravila, fizi~no delo, medsebojno zaupanje in solidarnost se Thomasu sprva zdijo prevelik zalogaj, a po~asi – tudi s pomo~jo dekleta, ki ga spozna na bli`nji kmetiji – najde mo~ za nov za~etek ...

Twenty-year-old Thomas can't kick his drug habit. His last chance is a community of young men who want to overcome their addictions and are living together in a remote house in the mountains. Supervised by a Catholic priest, their days revolve around prayer, solidarity, discipline and hard labour. Every day is a struggle, but Thomas' spirits are raised by his acquaintance with a girl who lives on a neighbouring farm. Gradually, he begins to give his new life a chance.

"Mislim, da ne bi posnel filma o kateri od teh tem. Zanimalo me je njuno medsebojno oplajanje: pot teh mladeni~ev od drog do vere.

Zgodba me je dolgo zanimala. Najprej sem izvedel za vse izku{nje vernikov z zasvojenci, zatem sem se s temi mladimi sre~al.

Njihova pri~evanja so mi dala zamisel, da je o tem vredno posneti film." (Cédric Kahn)

prodaja/world sales Le Pacte Rue Darcet 5 75017 Paris, France E info�le-pacte.com

Cédric Kahn

filmografija (izbor)/filmography (selection)

Rojen leta 1966 v mestu Crest, Francija. Film ga je zanimal `e od najstni{kih let, zato se je po koncu {tudija v Parizu zaposlil kot monta`er in scenarist.

V za~etku devetdesetih je za~el snemati svoje filme, v katerih obravnava najrazli~nej{e dru`benoaktualne teme. Danes velja ze enega najbolj priznanih francoskih re`iserjev.

1991 1994 1996 1998 2001 2004 2005 2009 2011 2014 2018

Born in Crest, France, in 1966, Kahn first took an interest in cinema in adolescence and started working in the film industry as an editor and screenwriter after graduation. He embarked on a filmmaking career in the early 1990s, primarily addressing socially relevant issues. He enjoys widespread renown as a preeminent contemporary French director.

52

"I do not think I would have made a film about any of these two topics, it was the meeting of the two that fascinated me: the journey of these young people from drugs to faith. I have been interested in this story for a very long time. I first heard of all the experiences of the believers with drug addicts, then I went to meet these young people. It was their testimonies that gave me the idea that there was a film to be made." (Cédric Kahn)

Bar des rails (Railway Bar) Trop de bonheur (Happy, Too Happy) Culpabilité zéro (Zero Guilt) L'ennui (Dolg~as) Roberto Succo Feux rouges (Red Lights/Rde~a lu~) L'avion Les regrets (Regrets) Une vie meilleure (A Better Life) Vie sauvage (Wild Life/Divje `ivljenje) La prière (The Prayer/Molitev)

Kralji in kraljice Kings and Queens

Najljub{a The Favourite The Favourite Yorgos Lanthimos

Velika Britanija, Irska, ZDA Great Britain, Ireland, USA 2018

Zgodovinska drama o spletkah na angle{kem kraljevem dvoru s podpisom drznega gr{kega re`iserja Yorgosa Lanthimosa.

Za~etek 18. stoletja. Anglija je v vojni s Francijo, kljub temu pa sta lov na race in u`ivanje ananasa v polnem razcvetu. Slabotna kraljica Ana zaseda angle{ki prestol, vendar mora njena tesna prijateljica lady Sarah vse pogosteje prevzemati vladavino. Kmalu na dvor prispe Abigail, nova slu`kinja, ki se hitro prikupi Sarah, zato jo ta sprejme za svojo. Abigail v tem uvidi prilo`nost, da si ponovno povrne sloves svojih aristokratskih korenin. Ko Sarah vedno ve~ ~asa posve~a vojni s Francijo, Abigail zasede njen prostor ob vse {ibkej{i kraljici. Obeta si, da bo to prijateljstvo izpolnilo vse njene ambicije. Zdaj ji nobena `enska, noben mo{ki, nobena politika in noben zajec ne bo ve~ stal na poti.

Provocative Greek director Yorgos Lanthimos' The Favourite is a rule-bending take on the conventional royal drama.

Early 18th century. England is at war with the French.

Nevertheless, duck racing and pineapple eating are thriving. The frail Queen Anne occupies the throne and her close friend Lady Sarah governs the country in her stead while tending to Anne's ill health and mercurial temper. When a new servant, Abigail, arrives, her charm endears her to Sarah who takes her under her wing. Abigail sees a chance at a return to her aristocratic roots.

As the politics of war become quite time consuming for Sarah, Abigail steps into the breach to fill in as the Queen's companion.

Their burgeoning friendship gives her a chance to fulfil her ambitions and she will not let woman, man, politics or rabbit stand in her way.

"Ko posname{ film, ume{~en v neko zgodovinsko obdobje, je vedno zanimivo videti, kako se navezuje na dana{nji ~as. Takrat se zave{, kako malo stvari se je od takrat spremenilo, ~e odmislimo obla~ila in dejstvo, da imamo danes elektriko in svetovni splet. {e vedno obstaja ogromno analogij glede ~love{kega vedenja, dru`be in mo~i." (Yorgos Lanthimos)

"When you make a film set in another era it's always interesting to see how it relates to our times – and you realise how few things have changed, apart from the clothes and the fact that today we have electricity and the Internet. There are many similarities in behaviour, society and power." (Yorgos Lanthimos)

Yorgos Lanthimos

filmografija/filmography

Rojen leta 1973 v Atenah. Filmsko in televizijsko re`ijo je {tudiral na {oli za film Stavrakos v Atenah. Od 1995 re`ira celove~erce, gledali{ke predstave in televizijske oglase. V filmih Kinetta, Podo~nik in Alpe je razvil povsem samosvoje alegori~no pripovedovanje ter se z njim prebil med najvidnej{e evropske re`iserje. S filmom Jastog je za~el ustvarjati v angle{kem jeziku.

2001 2002 2005 2009 2011 2015 2017 2018

Born in 1973 in Athens, Lanthimos studied film and TV direction at the Stavrakos Film School in Athens. Since 1995 he has been involved in filmmaking as well as in direction of theatre productions and TV commercials. He gained international prominence by developing his own absurdist and allegorical style of storytelling in Kinetta, Dogtooth and Alps.

The Lobster was his first English-speaking film.

re`ija/directed by Yorgos Lanthimos scenarij/screenplay Deborah Davis, Tony McNamara fotografija/cinematography Robbie Ryan glasba/music Alexis Bennett, William Lyons monta`a/editing Yorgos Mavropsaridis igrajo/cast Olivia Colman (kraljica Ana/Queen Anne), Rachel Weisz (lady Sarah), Emma Stone (Abigail Masham), Nicholas Hoult (Robert Harley), Joe Alwyn (Samuel Masham), Mark Gatiss (John Churchill), James Smith (Godolphin), Jenny Rainsford (Mae), Emma Delves (kralji~ina spleti~na/ Queen's maid), Faye Daveney (Sarina spleti~na/Sarah's maid), Lilly Rose Stevens (Sally), Carolyn SaintPé (Madame Tournée) producenti/producers Ceci Dempsey, Ed Guiney, Yorgos Lanthimos, Lee Magiday produkcija/production Element Pictures 21 Mespil Road Dublin 4, Ireland E info�elementpictures.ie & Scarlet Films (GB) & Film4 (GB) & Waypoint Entertainment (USA) format/format DCP, barvni/colour dol`ina/running time 120' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2018 (velika nagrada `irije/Grand Jury Prize, najbolj{a igralka/Best Actress), Telluride 2018, New York 2018, London 2018

prodaja/world sales Fox Searchlight Pictures International 10201 W. Pico Blvd.

90064 Los Angeles, USA E roya.vakili�fox.com

O kalyteros mou filos (My Best Friend) Uranisco Disco (kratki/short) Kinetta Kynodontas (Dogtooth/Podo~nik) Alpis (Alps/Alpe) The Lobster (Jastog) The Killing of a Sacred Deer (Ubijanje svetega jelena) The Favourite (Najljub{a)

distribucija/distribution Blitz film & video distribution d.o.o.

Dolenjska cesta 258 1291 [kofljica E marketing�blitz-film.com

53

Kralji in kraljice Kings and Queens

Naprej Continuer Keep Going Belgija, Francija Belgium, France 2018

Joachim Lafosse re`ija/directed by Joachim Lafosse scenarij/screenplay Joachim Lafosse, Thomas Van Zuylen, Laurent Mauvignier (roman/novel) fotografija/cinematography Jean-François Hensgens monta`a/editing Yann Dedet igrajo/cast Virginie Efira (Sybille), Kacey Mottet Klein (Samuel), Diego Martín (Juan), Mairambek Kozhoev (Mairambek), Damira Ripert (Jamila), Belek Mamatkoulov (Bektash), Mukhit Raikulov (Toktogoul), Assel Kuanbayeva (Kamila) producenti/producers Sylvie Pialat, Jacques-Henri Bronckart, Benoît Quainon, Olivier Bronckart produkcija/production Versus Production 17, Mont Saint-Martin 4000 Liège, Belgium E info�versusproduction.be & Les Films du Worso (France) format/format DCP, barvni/colour dol`ina/running time 84'

Adaptacija romana priznanega francoskega pisatelja Laurenta Mauvignierja nam skozi popotovanje s pridihom vesterna vrne vero v mo~ dru`inskih vezi.

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2018 – Dnevi avtorjev/Venice Days

prodaja/world sales Le Pacte 5, rue Darcet 75017 Paris, France E contact�le-pacte.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Sybille je lo~ena mati, ki ste`ka opazuje, kako njen sin Samuel drsi v nasilno in brezciljno `ivljenje, hkrati pa se bori tudi s svojimi demoni, tako sedanjimi kot minulimi. Zadnjo mo`nost za re{itev tako zase kot za sina vidi v skupnem potovanju po pode`elski Kirgiziji. Sybille in Samuel se dolge poti lotita na konjskih hrbtih, skupaj spoznavata veli~astno, a tudi sovra`no okolje, tamkaj{nje ljudi, nevarnosti, pa tudi nagrade. Predvsem pa bosta na tem popotovanju na{la eden drugega.

Sybille, a divorced mother, can't stand watching her teenage son Samuel slip into a violent and meaningless life. She is also struggling with her own demons, past and present. As a last resort, she takes Samuel on a long journey across Kyrgyzstan.

Accompanied only by their two horses, mother and son face the magnificent yet hostile natural environment, its dangers, its rewards, its people and above all each other.

"Po branju romana Laurenta Mauvignierja se nisem mogel nehati spra{evati, ali ne bi bilo dobro, da bi potovanje, ki sem ga ravnokar podo`ivel, opravil s svojo materjo. Star sem 42 let in prvi~ sem za~util ta vzgib. Nisem takoj ob~util `elje po priredbi knjige, verjetno se mi je zdela preve~ intimna. Bi si drznil iti tja? /.../ S producenti smo se popolnoma strinjali, da to potovanje ne bi smelo biti samo moje lastno, temve~ za vsakogar ... naj bo mati ali sin." (Joachim Lafosse)

"When I finished reading Laurent Mauvignier's novel, I could not stop wondering if the journey I had just experienced was not one I should make with my own mother. I'm 42 years old and for the first time I felt that urge. I did not feel the immediate desire to adapt the book, perhaps it was too intimate. Would I dare go there? /.../ My producers and I discovered that we all shared a firm belief that this journey should not only be my own, but a journey for everyone ... whether mother or son." (Joachim Lafosse)

Joachim Lafosse

filmografija/filmography

Rojen 1975 v mestu Uccle, Belgija. [tudiral je na umetni{kem in{titutu IAD v Louvain-la-Neuvu. Njegov tretji film Nue Propriété je bil leta 2006 uvr{~en v tekmovalni program bene{kega festivala, naslednji, Najini otroci, leta 2012 v Posebni pogled v Cannesu, film Ko ljubezni ni ve~ pa leta 2016 v canski sklop [tirinajst dni re`iserjev.

2001 2004 2006 2006 2008 2010 2012 2015 2016 2018

Born in 1975 in Uccle, Belgium. Graduated from the IAD (Institut des arts de diffusion) in Louvain-la-Neuve. In 2006 Lafosse released his third feature, Private Property, which screened in the competitive section of the Venice Film Festival. His next film, Our Children, competed in the Un Certain Regard section at Cannes in 2012, and After Love screened in the Directors' Fortnight at the 2016 Cannes Film Festival.

54

Adapted from a novel by acknowledged French writer Laurent Mauvignier, Keep Going, a neo-western doubling as an emotional journey set against mighty-skied badlands, restores your faith in the power of family ties.

Tribu (kratki/short) Folie privée (Private Madness) Ça rend heureux (What Makes You Happy) Nue propriété (Private Property) Élève libre (Private Lessons) Avant les mots (kratki/short) À perdre la raison (Our Children/Najini otroci) Les chevaliers blancs (The White Knights/Beli vitezi) L’économie du couple (After Love/Ko ljubezni ni ve~) Continuer (Keep Going/Naprej)

Kralji in kraljice Kings and Queens

Pepel je sne`no bel Jiang hu er nv Ash Is Purest White Kitajska, Francija China, France 2018

Jia Zhang-ke

Portret sodobne Kitajske z `anrskim pridihom izpod rok Jia Zhang-keja, ki je v glavno vlogo znova postavil Zhao Tao, svojo muzo in `eno iz resni~nega `ivljenja.

A portrayal of present-day China flavoured with elements of gangster movie, Ash Is Purest White by Jia Zhang-ke stars Zhao Tao, the director's indispensable muse and spouse.

Qiao je zaljubljena v Bina, lokalnega gangsterja. Toda ~eprav se mu vsi prilizujejo, ona no~e igrati vloge {e ene podrejene `enske v neizprosnem mo{kem okolju. Ko Bina napade skupina mladih nasilne`ev na motorjih, ga Qiao re{i pred smrtjo s tem, da spro`i nekaj strelov iz pi{tole. Po prihodu policistov Qiao prevzame krivdo in si prislu`i pet let zaporne kazni. Nekaj let pozneje se po vrnitvi iz zapora znova odpravi iskat Bina, da bi nadaljevala tam, kjer sta neko~ kon~ala.

Qiao is in love with Bin, a local mobster. While everyone else is busy sucking up to Bin, Qiao is a woman who refuses to be intimidated by the macho environment. When Bin is targeted by a group of young thugs on motorcycles, Qiao saves him from being beaten to death by firing some warning shots. Her refusal to incriminate her boyfriend as the illegal weapon's owner gets her a five-year prison sentence. Upon her release, she goes looking for Bin to pick up where they left off.

"V moji domi{ljiji je bila ta `enska rojena v mojem doma~em kraju, rudarski regiji na severozahodnem Kitajskem, kjer je tudi odra{~ala. Ime ji je Qiaoqiao (na kratko Qiao) in zaljubi se v pripadnika odpadne skupine jianghu. Zgodba se za~ne s prikazom njune ljubezni in stiske. V letu 2006 sta oba srednjih let, mo` se odpravi v obmo~je Treh sotesk. Ona mu sledi, vendar je njuno razmerje skrhano. Vse, kar lahko sledi, je prosto napajalo mojo domi{ljijo." (Jia Zhang-ke)

"In my imagination, this woman was born and raised in my hometown, a coal-mining region in north-west China. She was named Qiaoqiao ('Qiao' for short) and fell in love with a jianghu type. Their love and torment would open the story. By 2006, they are both middle-aged and the man leaves for the Three Gorges area. She follows him there, but their relationship is broken.

Everything that would happen from then on gave free rein to my imagination." (Jia Zhang-ke)

Jia Zhang-ke

filmografija (izbor)/filmography (selection)

Rojen leta 1970 v Fenjangu v kitajski provinci [anksi. Kot diplomant Pekin{ke filmske akademije je svoj prvi film Xiao Wu posnel leta 1998. Sledil je niz priznanih neodvisnih celove~ercev. Leta 2006 je za Mirno `ivljenje na bene{kem festivalu prejel zlatega leva, 2013 pa za Dotik greha v Cannesu nagrado za najbolj{i scenarij. Velja za osrednjo osebnost tako imenovane {este generacije kitajskih re`iserjev.

1998 2000 2002 2004 2006 2006 2007 2008 2010 2013 2015 2018

Born in 1970, in Fenyang, in the Chinese province of Shanxi. Graduating from the Beijing Film Academy, he made with his first feature film, The Pickpocket, in 1998. Several critically acclaimed full-length films followed; Still Life received the 2006 Golden Lion at the Venice Film Festival. He is considered to be a central figure of the so-called 'Sixth Generation' of Chinese directors.

re`ija/directed by Jia Zhang-ke scenarij/screenplay Jia Zhang-ke fotografija/cinematography Eric Gautier glasba/music Giong Lim monta`a/editing Matthieu Laclau igrajo/cast Tao Zhao (Qiao), Fan Liao (Bin), Yi'nan Diao, Xiaogang Feng, Zheng Xu, Yibai Zhang, Casper Liang, Jiali Ding, Yi Zhang, Zijan Dong producenta/producers Shozo Ichiyama, Nathanaël Karmitz produkcija/production Shanghai Film Group Corporation (China) E office�sfs-cn.com & Xstream Pictures (China) & Huanxi Media Group Ltd. (China) & mk Productions (France) format/format DCP, barvni/colour dol`ina/running time 141' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018, München/Munich 2018, Jeruzalem/Jerusalem 2018

prodaja/world sales mk2 Films 55, rue Traversière 75012 Paris, France E juliette.schrameck�mk2.com

Xiao Wu (The Pickpocket) Zhantai (Platform/Peron) Ren Xiao Yao (Unknown Pleasures/Neznani u`itki) Shijie (The World/Svet) Dong (dok./doc.)

Sanxia Haoren (Still Life/Mirno `ivljenje) Useless (dok./doc.)

Er shi si cheng ji (24 City/24 City) Hai shang chuan q (I Wish I Knew) (dok./doc.)

Tian zhu ding (A Touch of Sin/Dotik greha) Shan he gu ren (Mountains May Depart/Gore lahko odidejo) Jiang hu er nv (Ash Is Purest White/Pepel je sne`no bel)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

55

Kralji in kraljice Kings and Queens

Poletje Leto The Summer Rusija, Francija Russia, France 2018

Kiril Serebrenikov re`ija/directed by Kiril Serebrenikov scenarij/screenplay Mikhail Idov, Lili Idova, Ivan Kapitonov, Kiril Serebrenikov, Natalija Naumenko (memoari/memoirs) fotografija/cinematography Vladislav Opeljants glasba/music Ilja Demutskij monta`a/editing Jurij Karikh igrajo/cast Roma Zver (Mike), Irina Star{enbaum (Nata{a), Teo Yoo (Viktor), Filipp Avdejev (Leonid), Evgenij Serzin (Oleg), Aleksandr Gor~ilin (Punk), Vasilij Mihajlov (I{a), Aleksandr Kuznecov (Skeptik/ Sceptic), Nikita Efremov (Bob), Anton Adasinski, Lija Ahed`akova, Julija Aug, Aleksandr Ba{irov, Nikita Elenev, Anastasija Evgrafova, Andrej Kodor~enkov producenti/producers Ilja Stewart, Murad Osmann, Pavel Buria, Mihail Finogenov produkcija/production Hype Film Malaya Nikitskaya st., 20s1 121069 Moscow, Russia E stewart�hypepro.ru & Kinovista (France) format/format DCP, ~b/b&w, barvni/colour dol`ina/running time 126'

Ruski re`iser Kiril Serebrenikov pri~ara ozra~je uporni{ke rockovske scene v Sovjetski zvezi osemdesetih let.

Leningrad, poletje v zgodnjih osemdesetih, tik pred uvedbo perestrojke. Podzemno dogajanje vre. Tihotapljenje plo{~ Louja Reeda in Davida Bowieja je v polnem teku. Mladi Viktor si `eli v tem okolju ustvariti ime. Nekega dne spozna svojega idola Mika in njegovo ~udovito `eno Nata{o. Sre~anje za vedno zaznamuje njegovo `ivljenje. Skupaj bodo spremenili usodo rock'n'rolla v Sovjetski zvezi, iz Viktorja pa ustvarili nesmrtno glasbeno ikono.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018, Karlovi Vari/Karlovy Vary 2018

"Poletje je rock'n'roll zgodba, ki se dogaja v osemdesetih letih v sovjetskem Leningradu. Gre za ljubezenski trikotnik zelo razli~nih posameznikov na ozadju izjemno nenavadne, v~asih eksoti~ne Sovjetske zveze. Vse to v okolju, ki je bilo sovra`no tako rock'n'rollu kot zahodni kulturi, vendar je vseeno postalo valilnica za novi val ruskega rocka. Na{a zgodba pripoveduje o veri, potrebni za premostitev tega dru`benega konteksta, ter brezskrbni dr`i junakov ob zoperstavljanju podedovanemu zatiranju. /.../ Gre za zgodbo o zadnjem poletju pred politiko perestrojke, pred popolno preobrazbo okolja likov v sodobno Rusijo." (Kiril Serebrenikov)

prodaja/world sales Charades 4 rue Manuel 75009 Paris, France E carole�charades.eu distribucija/distribution 2i Film Primorska 26 10000 Zagreb, Croatia E info�2ifilm.hr

Leningrad, one summer in the early eighties, just before the introduction of the perestroika policy. Smuggling LPs by Lou Reed and David Bowie, the underground rock scene is throbbing.

Mike and his beautiful wife Natasha meet young Viktor who is eager to make a name for himself. This encounter will change Viktor's life forever. Together, they will change the destiny of rock'n'roll in the Soviet Union, build Viktor's legend and make him immortal.

"Summer is a rock'n'roll story set in 1980s Soviet Leningrad. It is a love triangle of three very different individuals with a backdrop featuring a very strange, sometimes exotic, Soviet Union. All of this in an environment that was very hostile to both rock'n'roll and Western culture, but that nonetheless ended up being the nesting ground for a new wave of Russian rock. Our story deals with the faith necessary to overcome this social context, and the heroes' carefree attitude in the face of inherited oppression. /.../ It is a story of the last summer before perestroika, before the utter transformation of their environment into contemporary Russia." (Kirill Serebrennikov)

Kiril Serebrenikov

filmografija (izbor)/filmography (selection)

Rojen leta 1969 v Rostovu na Donu (Rusija). Svoje prve gledali{ke igre je uprizoril `e kot {tudent. Danes deluje kot gledali{ki, televizijski in filmski re`iser. Leta 2012 je postal umetni{ki direktor moskovskega gledali{~a Gogolj. Njegov film U~enec se je 2016 uvrstil na filmski festival v Cannesu.

23. avgusta 2017 so Serebrenikova aretirali, zato je film Poletje kon~al v hi{nem priporu in se tudi ni smel udele`iti svetovne premiere v Cannesu.

2004 2005 2006 2008 2012 2016 2018

Born in 1969 in Russia, in Rostov-on-Don. A Russian theatre, television and film director, Serebrennikov staged his first play when still a student. He has been Artistic Director of the Gogol Center in Moscow since 2012. In 2016, The Student premiered at the Cannes Film Festival. On 23 August 2017, Serebrennikov was arrested during production of The Summer. He edited his film under house arrest and was unable to attend its international premiere at Cannes.

56

Russian director Kirill Serebrennikov recreates the atmosphere of the rebellious rock scene in the mid-1980s Soviet Union.

Ragin Postelnje sceni (Bed Stories) Izobra`aja `ertvu (Playing the Victim) Jurev den (Yuri's Day) Izmena (Betrayal) (M)u~enik (The Student/U~enec) Leto (The Summer/Poletje)

Kralji in kraljice Kings and Queens

Poletne ptice Pájaros de verano Birds of Passage Cristina Gallego, Ciro Guerra

Kolumbija, Danska, Mehika, Francija Columbia, Denmark, Mexico, France 2018

Za~etki kolumbijske trgovine z mamili skozi o~i staroselske dru`ine, vpletene v cveto~ posel prodaje marihuane v sedemdesetih letih minulega stoletja.

The origins of the Colombian drug trade through the epic story of an indigenous family that becomes involved in the booming business of selling marijuana in the 1970s.

Mladi Raphayet med tradicionalnim obredom zaprosi za roko Zaido, h~erko lokalne matriarhinje Ursule, ki svojemu plemenu vlada s kombinacijo odlo~nosti in vra`everja. Ursula in Raphayetov modri stric Peregrino se uspeta dogovoriti glede dote, a je vsota za `enina prevelika. Med eno svojih kup~ij z alkoholom in kavo Raphayet in njegov partner Moises naletita na skupino ameri{kih hipijev, ki posku{ajo kupiti kanabis za preprodajo v ZDA. Raphayet zasluti svojo veliko prilo`nost in tako se za~ne njegov vzpon od majhnega trgovca do pomembnega vodje mamilarskega klana.

To pa bo na kocko postavilo kulturo in starodavne obi~aje celotne skupnosti.

Young Raphayet asks for Zaida's hand in marriage during her initiation rite. She is the daughter of a local matriarch, Ursula, who rules over her tribe with a mix of superstition and determination.

Ursula and Raphayet's uncle manage to agree upon the dowry.

But the amount is too much for the groom – who traffics in liquor and coffee beans – to handle. After one of his delivery runs, Raphayet comes across a band of American hippies who are looking for cannabis to sell back home. Raphayet thus rises from petty merchant to major player in a clan that will exponentially enrich itself over the next decade. But the newfound wealth will put their culture and their ancestral traditions at stake.

"Zares obstajajo {tevilni filmi o trgovini z narkotiki /.../. Obenem pa se nama je zdelo, da je primerno ime bonanza marinbera, kar pomeni ~as izva`anja marihuane v ZDA v sedemdesetih in osemdesetih letih, {e zlasti na polotoku Guajira /.../, pomembna zgodba, ki {e ni bila predstavljena. V kolumbijski umetnosti pogosto najdemo poveli~evanje nasilja ter prevzetost z mo~jo in najbolj brutalnimi vidiki te zgodbe, nih~e pa se ni podal v globljo refleksijo. Tak{na enostranska upodobitev se nama je zdela problemati~na." (Ciro Guerra)

"There have indeed been numerous films about narcotrafficking /.../. This said, the aptly named bonanza marinbera, a period of exportation of cannabis to the USA in the 70's and the 80's, particularly involving the Guajira desert /.../ was, in our opinion, a significant story that hadn't been told. In Columbian art, there's often a glorification of violence, as well as a fascination for power and the most brutal aspects of this story, yet no one seemed interested in venturing into a deeper reflection. This one-sided representation appeared problematic to us." (Ciro Guerra)

Cristina Gallego, Ciro Guerra

skupna filmografija/joint filmography

Cristina Gallego: Rojena leta 1978 v Bogoti, Kolumbija. Leta 2001 je z mo`em Cirom Guerro ustanovila podjetje Ciudad Lunar in od tedaj deluje kot producentka. Poletne ptice je njen prvi film v vlogi re`iserke.

Born in Bogotá in 1978, Columbia. In 2001, she created the company Ciudad Lunar together with her husband Ciro Guerra and has since worked as a producer. Birds of Passage is her directorial debut.

2018 Pájaros de verano (Birds of Passage/Poletne ptice)

re`ija/directed by Cristina Gallego, Ciro Guerra scenarij/screenplay Maria Camila Arias, Jacques Toulemonde Vidal fotografija/cinematography David Gallego glasba/music Leonardo Heiblum monta`a/editing Miguel Schverdfinger igrajo/cast Carmiña Martínez (Ursula), José Acosta (Raphayet), Jhon Narváez (Moisés), Natalia Reyes (Zaida), José Vicente Cotes (Peregrino), Juan Martínez (Aníbal), Greider Meza (Leonidas) producentki/producers Katrin Pors, Cristina Gallego produkcija/production Ciudad Lunar Producciones Carrera 13 # 49, 15 Oficina: 304 110011 Bogotá, Columbia E ciudadlunarproducciones�yahoo. com & Blond Indian Films (Columbia) & Pimienta Films (Mexico) & Snowglobe (Denmark) & Films Boutique (France) format/format DCP, barvni/colour dol`ina/running time 125' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018 – [tirinajst dni re`iserjev/Directors' Fortnight, Motovun 2018 (nagrada FIPRESCI/ FIPRESCI Prize), Odesa/Odessa 2018, Melbourne 2018, Locarno 2018

prodaja/world sales Films Boutique Köpenicker Str. 184 10997 Berlin, Germany E contact�filmsboutique.com

Ciro Guerra: Rojen leta 1981 v mestu Rio de Oro na jugu Kolumbije.

Njegova prva filma La sombra del caminante in Potovanja vetra sta osvojila ve~ kot {tirideset mednarodnih nagrad. Film Ka~ji objem je bil nominiran za tujejezi~nega oskarja.

Born in Río de Oro, Colombia, in 1981. His first two films, La sombra del caminante and The Wind Journeys, have won over 40 international awards.

Embrace of the Serpent was Colombia's entry for the Academy Award.

57

Kralji in kraljice Kings and Queens

Po`iganje Beoning Burning Lee Chang-dong

re`ija/directed by Lee Chang-dong scenarij/screenplay Oh Jungmi, Lee Chang-dong, Haruki Murakami (kratka zgodba/ short story) fotografija/cinematography Hong Kyung-pyo glasba/music Kim Da-won monta`a/editing Lee Seung-chul, Kim Hyun igrajo/cast Ah-In Yoo (Lee Jong-su), Steven Yeun (Ben), Jong-seo Jeon (Shin Hae-mi), Soo-Kyung Kim (Yeon-ju), Seung-ho Choi (Lee Yong-seok), Sung-Keun Moon (odvetnik/ lawyer), Bok-gi Min (sodnik/judge), Soo-Jeong Lee (to`ilka/prosecutor), Hye-ra Ban (Jong-sujeva mati/ Jong-su's mom), Mi-Kyung Cha (Hae-mijina mati/Hae-mi's mom), Bong-ryeon Lee (Hae-mijina sestra/ Hae-mi's sister) producenta/producers Lee Chang-dong, Ok Gwang-hee produkcija/production Pinehousefilm 2F, 104, Donggyo-ro, Mapo-gu 04029 Seoul, South Korea E pinehouse09�gmail.com & Nowfilm (South Korea) & NHK (Japan) format/format DCP, barvni/colour dol`ina/running time 148' festivali, nagrade (izbor)/f estivals, awards (selection) Cannes 2018 (nagrada FIPRESCI/ FIPRESCI Prize), München/Munich 2018, Karlovi Vari/Karlovy Vary 2018, Toronto 2018

Priredba kratke zgodbe Harukija Murakamija, s katero se ju`nokorejski re`iser Lee-Chang dong klanja literarni zapu{~ini Williama Faulknerja, je v hipu postala eden najbolj hvaljenih filmov leto{nje svetovne kinematografije.

A screen adaptation of a short story by Haruki Murakami, Burning is director Lee-Chang dong's tribute to the literary legacy of William Faulkner and one of this year's most critically lauded films.

Jongsu je preprost fant, ki opravlja slu`bo kurirja. Nekega dne po dolgem ~asu sre~a Haemi, dekle, ki je neko~ `ivelo v njegovi soseski. Dekle Jongsuja zadol`i, naj pazi na njeno ma~ko, medtem ko bo ona na potovanju v Afriki. Ko se Haemi vrne domov, s seboj pripelje novega fanta, skrivnostnega Bena, ki ga je spoznala med potovanjem. Ben je mlad in bogat, naokoli se vozi s Porschejem in v marsi~em spominja na Velikega Gatsbyja.

Jongsuju postane o~itno, da Haemi ne bo kar tako pustila svojega bogatega fanta. Ko za~ne ljubosumje v Jongsuju dosegati vreli{~e, pa tok dogodkov nenadoma spremeni spoznanje, da ima Ben tudi sila nenavaden hobi ...

Deliveryman Jongsu is out on a job when he runs into Haemi, a girl who once lived in his neighbourhood. She asks if he'd mind looking after her cat while she's away on a trip to Africa. On her return she introduces to Jongsu an enigmatic young man, the sophisticated and suave Ben, whom she met during her trip. Ben drives around in his Porsche and strongly resembles Jay Gatsby.

It's evident that Jongsu is suffering because Haemi is not about to jettison her big-bucks boyfriend for him, just as it's clear that the ever-passive Jongsu’s jealousy is slowly coming to a boil.

"Ko so mi prvi~ priporo~ili to kratko zgodbo, sem bil malce osupel.

Ker se je zdela skrivnostna, vendar se v njej ni~ zares ne zgodi.

Vendar /.../ je bilo v tej skrivnostnosti nekaj zelo filmskega. /.../ Zevajo~e vrzeli v sosledju dogodkov – manjkajo~i del~ek, iz katerega nikoli ne izvemo resnice – namigujejo na skrivnostni svet, v katerem `ivimo danes; svet, v katerem slutimo, da je nekaj narobe, vendar ne znamo popolnoma dolo~iti te`ave."

(Lee Chang-dong)

prodaja/world sales Finecut Patio House #102 (Bldg. C) 22–14 Bongeunsa-ro 26-gil, Gangnam-gu Seoul 135-907, South Korea E cineinfo�finecut.co.kr

58

"When I was first recommended this short story, I was a bit taken aback. Because the story felt mysterious, but nothing really happens in it. But /.../ there was something very cinematic about that mysteriousness. /.../ The gaping holes in the chain of events – the missing piece from which we can never know the truth – allude to the mysterious world we live in now; the world in which we sense that something is wrong but cannot quite put a finger on what the problem is." (Lee Chang-dong)

Lee Chang-dong

filmografija/filmography

Rojen 1954 v mestu Daegu, Ju`na Koreja. Pisatelj in filmski re`iser, v letih 2003 in 2004 tudi korejski minister za kulturo in turizem, je filmsko pot za~el kot scenarist in asistent re`ije pri filmu Geu seome gago shibda (Park Kwang-su, 1993). Leta 1996 je re`iral svoj prvi celove~erec Chorok mulkogi.

Njegovi filmi so mu prinesli {tevilne nagrade na presti`nih filmskih festivalih.

1997 1999 2002 2007 2010 2018

Born in 1954 in Daegu, South Korea. Author and film director, and between 2003 and 2004 also Korean Minister of Culture and Tourism. He embarked on his film career as scriptwriter and assistant director for To the Starry Island (Park Kwang-su, 1993). He made his feature debut, Green Fish, in 1996. His films have won numerous awards at prestigious film festivals.

distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

Ju`na Koreja, Japonska South Korea, Japan 2018

Chorok mulkogi (Green Fish) Bakha satang (Peppermint Candy) Oasis Milyang (Secret Sunshine) Shi (Poetry/Poezija) Beoning (Burning/Po`iganje)

Kralji in kraljice Kings and Queens

Trije obrazi Se rokh Three Faces Iran Iran 2018

Jafar Panahi

re`ija/directed by Jafar Panahi scenarij/screenplay Jafar Panahi, Nader Saeivar fotografija/cinematography Amin Jafari monta`a/editing Mastaneh Mohajer, Panah Panahi igrajo/cast Behnaz Jafari, Jafar Panahi, Marziyeh Rezaei, Maedeh Erteghaei, Narges Del Aram (mati/mother) producent/producer Jafar Panahi produkcija/production Jafar Panahi Film Production 6 Bahar Alley Takhty Street, Fereshteh 00 Tehran, Iran E solmazpanahhi�gmail.com format/format DCP, barvni/colour dol`ina/running time 100’

Jafar Panahi kljub prepovedi ustvarjanja {e naprej pripoveduje zgodbe o ovirah, ki obi~ajnim ljudem v Iranu stojijo na poti do izpolnitve njihovih sanj. Nagrada za najbolj{i scenarij v Cannesu.

Despite being issued with a ban on filmmaking, Jafar Panahi continues to make pictures of obstacles in the path of ordinary Iranians striving to realise their dreams. Winner of the Cannes Film Festival's Best Screenplay Award.

Znano igralko Behnaz Jafari pretrese video, ki ga je v obupu posnelo neko dekle iz province. Mladenka v videu pove, da ji njena dru`ina ne dovoli {tudirati na dramskem konservatoriju v Teheranu. Behnaz se po ogledu videa obrne na re`iserja Jafarja Panahija, da bi razre{il skrivnost dekletovih te`av. Igralka in re`iser z avtom odpotujeta na pode`elski severozahod dr`ave. Tam le`i gorska vas, kjer prebiva dekle iz videa. Pri{leka iz mesta kmalu odkrijeta, da je spo{tovanje tradicije v tem okolju ravno tako velikodu{no kot tamkaj{nja gostoljubnost.

Well-known actress Behnaz Jafari is distraught by a provincial girl's video plea for help – oppressed by her family forbidding her to pursue her studies at the Tehran drama conservatory. Behnaz abandons her shoot and turns to filmmaker Jafar Panahi to help solve the mystery of the young girl's troubles. They travel by car to the rural northwest where they have amusing encounters with the charming folk of the girl's mountain village. But the city visitors soon discover that the protection of age-old traditions is as generous as local hospitality...

"Dru`bena omre`ja so v Iranu izjemno priljubljena. Gre za blazno iskanje stika, {e zlasti s slavnimi osebami iz filmskega sveta.

Navkljub polo`aju re`iserja, ki mu je snemanje v domovini uradno prepovedano, Jafar Panahi prejema {tevilna sporo~ila, {e zlasti od mladih, ki si `elijo ustvarjati filme. /.../ Nekega dne je na Instagramu prejel sporo~ilo glede spornega vpra{anja, v istem obdobju pa so ~asopisi poro~ali o mladem dekletu, ki je storilo samomor zaradi prepovedi snemanja filmov. Zaradi tega si je zamislil, da bi po dru`benem omre`ju prejel video tega samomora, in spra{eval se je, kako bi se odzval."

(Jean-Michel Frodon)

"Social networks are extremely popular in Iran. There is a mad quest for contact, especially with film celebrities. Despite his position as a director officially forbidden in his own country, Jafar Panahi remains a very popular recipient of messages, many from young people who want to make films. /.../ One day, he received a message on Instagram that raised a concern, and during the same period the newspapers wrote about a young girl who had committed suicide because she had been banned from making movies. This made him imagine receiving a video of this suicide by social media, and he wondered how he would react to that."

(Jean-Michel Frodon)

Jafar Panahi

filmografija (izbor)/filmography (selection)

Rojen leta 1960 v kraju Mianeh, Iran. Po {tudiju se je posvetil dokumentarcem, delal je kot asistent A. Kiarostamija. S prvim celove~ercem Beli balon je v Cannesu osvojil zlato kamero za najbolj{i prvenec. Je eden najbolj cenjenih iranskih re`iserjev na Zahodu, doma pa eden najbolj preganjanih. Leta 2010 mu je iranska oblast za dvajset let prepovedala filmsko ustvarjanje, a {e naprej snema filme in jih po{ilja na festivale po svetu.

1991 1992 1992 1995 1997 2000 2003 2006 2011 2013 2015 2018

Born in 1960, in Mianeh, Iran, Panahi studied direction before starting his career as a documentarian and assistant to Abbas Kiarostami. His debut feature, The White Balloon, won the Camera d'Or for Best First Feature Film at Cannes. Though a highly appreciated Iranian director in the West, Panahi continues to endure severe persecution in his homeland. In 2010 the Iranian authorities issued Panahi with a twenty-year ban on filmmaking.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018 (najbolj{i scenarij/Best Screenplay), Karlovi Vari/Karlovy Vary 2018, Sydney 2018, Melbourne 2018

prodaja/world sales Celluloid Dreams 2 rue Turgot 75009 Paris, France E nadine�celluloid-dreams.com

Kish (dok./doc.)

Doust (The Friend/Prijatelj) (kratki/short) Akharin emtehan (The Last Exam) Badkonake sefid (The White Balloon/Beli balon) Ayneth (The Mirror/Ogledalo) Dayereh (The Circle/Krog) Talaye sorkh (Crimson Gold) Offside (Ofsajd) In film nist (This Is Not a Film/To ni film) Pardé (Closed Curtain/Zagrnjena zavesa) Taxi (Taksi) Se rokh (Three Faces/Trije obrazi)

59

Kralji in kraljice Kings and Queens

Videnje Vision Vision Japonska, Francija Japan, France 2018

Naomi Kawase re`ija/directed by Naomi Kawase scenarij/screenplay Naomi Kawase fotografija/cinematography Arata Dodo glasba/music Makoto Ozone monta`a/editing Yoichi Shibuya igrajo/cast Juliette Binoche (Jeanne), Masatoshi Nagase (Sato{i/Satoshi), Takanori Iwata (Rin), Mari Natsuki (Aki), Minami (Hana), Mirai Moriyama (Gaku), Min Tanaka (Minamoto) producentki/producers Naomi Kawase, Marianne Slot produkcija/production Slot Machine 10 rue Sainte-Anastase 75003 Paris, France E slotmachine�slotmachine.fr & Kumie (Japan) format/format DCP, barvni/colour dol`ina/running time 109' festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2018, San Sebastian 2018, Busan 2018

Misti~na, sanjava, v slikovito naravo potopljena in z drobci nadnaravnega posuta zgodba o `enski, ki sredi ~arobnega gozda i{~e redko zdravilno rastlino in najde sledove svoje preteklosti.

A mystical, dreamy story set in an ancient Japanese forest and sprinkled with supernatural elements, Vision focuses on a woman searching for a rare medicinal plant and uncovering traces of her past.

Francoska novinarka Jeanne prispe na Japonsko, da bi na{la rastlino, ki zraste vsakih 997 let ter naj bi ob zau`itju ~loveka odre{ila bole~ine in du{evne stiske. Ko Jeanne prispe v Naro, spozna mol~e~ega Toma in njegovo mentorico Aki, karizmati~no prerokinjo in ~uvarko gozda, ki trdi, da je stara tiso~ let. Nedolgo zatem ko Tomo sprejme Jeanne k sebi, Aki izgine, a se od nekod, kot da bi hotel zapolniti njen prostor, pojavi ~eden mladeni~.

Ko se bli`a trenutek vznika svete rastline, se minuli dogodki strnejo, ustvarijo se nove vezi, ~as pa kot da bi iztiril iz svojega navideznega reda in odprl nove mo`nosti ~love{ke eksistence.

Jeanne is a French journalist who has come to Japan in search of "vision", a herb that appears once every 997 years and is said to vanquish weakness and agony in those who consume it. Upon arriving in Nara, she meets the taciturn Tomo and his mentor Aki, a charismatic prophet and keeper of the forests who claims to be 1000 years old. Not long after Tomo agrees to let Jeanne stay with him, Aki vanishes, yet a young man appears almost as if in her place. As the sacred moment of vision's return looms, past events are summoned, new connections are forged, and time itself seems to slip from its perceived order – yielding new possibilities for human existence.

"Film Videnje se zdi eteri~en, vendar Kawasejeva poskrbi, da temelji na snovnih, ~utnih stvareh, kot so drevesa, hrana in ~love{ki dotik. Juliette Binoche in Nagase film navdata z odkritosr~nim, skoraj otipljivim ob~utjem hrepenenja, ~udenja in ~uje~nosti. Film govori o ne~em, kar ve~ina pre`ene na obrobje vsakdanjega `ivljenja, vendar je najverjetneje najbolj pomembna stvar, kar jih lahko v tem `ivljenju izkusimo: enost." (Cameron Bailey, Mednarodni filmski festival Toronto)

prodaja/world sales Elle Driver 66, Rue de Miromesnil 75008 Paris, France E sales�elledriver.eu distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

"Vision sounds ethereal, but Kawase takes care to ground her film in tangible, sensuous things, such as trees, food, and the human touch. Binoche and Nagase endow the film with an open-hearted, near-palpable sense of desire, wonder, and wakefulness. This is a film about something most of us relegate to the margins of our daily lives, yet is arguably the most important thing we can experience in this life: oneness." (Cameron Bailey, Toronto International Film Festival)

Naomi Kawase

filmografija (izbor)/filmography (selection)

Rojena leta 1969 v Nari, Japonska. Po lo~itvi od star{ev je odra{~ala pri dedku in babici, kar je zaznamovalo njeno ustvarjanje; njeni filmi, predvsem kratkometra`ni, so pogosto avtobiografski. V njih je obdelovala odnos z o~etom, ki ga dolgo sploh ni poznala. Prve filme je posnela na 8mm trak, danes pa uporablja digitalno tehniko. V Cannesu je za celove~erni film Moe no suzaku prejela nagrado za najbolj{i prvenec in veliko nagrado za Gozd `alovanja.

1997 2000 2003 2006 2007 2008 2010 2011 2014 2015 2017 2018

Born in 1969 in Nara, Japan. After being left by her parents, she was raised by her grandparents. She digested those experiences in her movies; often autobiographical, her films were predominantly short-length, treating her search for the father, whom she met only later in life. Her first films were in 8-mm formats, while today she is using digital camera. Her feature debut, Suzaku, won the Camera d'Or at Cannes, and The Mourning Forest won the 60 Grand Prix also at Cannes.

Moe no suzaku (Suzaku) Hotaru (Firefly/Kresnica) Sharasojyu (Shara/Sharasojyu/Drevo sorodnih du{) Tarachime (Birth/Mother/Rojstvo/Mati) Mogari ni mori (The Mourning Forest/Gozd `alovanja) Nanayomachi (Nanayo/Sedem no~i) Genpin (Misterij `enska) Hanezu no tsuki (Hanezu) Futatsume no mado (Still the Water/Umiri vodo) An (Sweet Bean/Okus `ivljenja) Hikari (Radiance/Proti svetlobi) Vision (Videnje)

Kralji in kraljice Kings and Queens

Visoka dru`ba High Life High Life Claire Denis

Francija, Nem~ija, Velika Britanija, Poljska, ZDA France, Germany, Great Britain, Poland, USA 2018

Znanstvenofantasti~na podoba osamljenosti sredi praznine vesolja kljub meditativnemu pridihu Kubricka in Tarkovskega nosi provokativen avtorski pe~at priznane francoske re`iserke, ki se drzno preizku{a v najrazli~nej{ih `anrih.

Despite recalling the contemplative science fiction of Kubrick and Tarkovsky, this vision of loneliness in outer space bears the acclaimed French director's provocative signature, a fearless curiosity that is Denis's own.

Globoko v vesolju, onstran na{ega Oson~ja. Monte in njegova komaj rojena h~i Willow prebivata na vesoljski postaji v popolni izolaciji. Mo{ki, vajen samote in obkro`en z neskon~no samodisciplino, ki naj bi ga varovala pred najrazli~nej{imi sku{njavami in po`elenjem, je bil neko~ med na smrt obsojenimi zaporniki, izgnanimi v praznino vesolja. Pravzaprav nikoli ni `elel postati o~e, uporabljena je bila le njegova sperma. Na poti v ~rno luknjo, kjer sta ~as in prostor brez pomena, mora spoznati novo, o~etovsko poslanstvo ...

Deep space. Beyond our solar system. Monte and his daughter Willow live together on board a spacecraft, in complete isolation.

A solitary man, who uses his strict self-discipline as protection against desire, Monte fathered the girl against his will. His sperm was used to inseminate a young woman. They were members of a crew of prisoners: space convicts, death row inmates.

Guinea pigs sent on a mission to a black hole. Now only Monte and Willow remain. And Monte is no longer the same. Through his daughter, for the first time, he experiences the birth of an all-powerful love.

"Moja estetika je bila preprosta: to je zapor. @elela sem, da je notranjost vesoljske ladje videti kot zapor. To je bil moj edini radikalni za~etek v zvezi z estetiko. Zunanjost je bila nekak{na utrdba. Ker je ladja zunaj Oson~ja, ji ni bilo treba imeti cevaste oblike. Tarkovski in Kubrick sta bila v mojih mislih, videla sem sem vse te filme, vendar sem bolj razmi{ljala o zaporih." (Claire Denis)

festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2018, San Sebastian 2018

"My aesthetic was simple: it's a jail. I wanted the interior of the space-ship to look like a prison. That was my only radical beginning in terms of aesthetics. The exterior was a sort of fortress. Because it is outside the solar system the ship didn't need to be shaped like a tube. Tarkovsky, Kubrick, they were in my mind, I have seen all those films, but I thought more about jails." (Claire Denis)

Claire Denis

filmografija (izbor)/filmography (selection)

Rojena leta 1948 v Parizu, Francija, do {tirinajstega leta je odra{~ala v Afriki.

Diplomirala je na presti`nem pari{kem filmskem in{titutu. Skrivnosti posla se je u~ila kot asistentka {tevilnih uveljavljenih re`iserjev, kot so Wim Wenders, Jim Jarmusch in Costa-Gavras. Kot scenaristka in re`iserka je debitirala leta 1988 s filmom Chocolat, z ve~ino svojih filmov pa je dosegla velik uspeh na svetovnih festivalih.

1988 1990 1994 1996 1999 2001 2002 2004 2008 2009 2013 2017 2018

Born in Paris in 1948 and raised in Africa until the age of 14. She graduated from the prestigious L'Institut des Hautes Études Cinématographiques, and honed her filmmaking skills as an assistant to a number of notable directors, including Wim Wenders, Jim Jarmusch and Costa-Gavras. She made her directorial and screenwriting debut in 1988 with Chocolate. Most of her films were screened at festivals around the world to notable success.

re`ija/directed by Claire Denis scenarij/screenplay Claire Denis, Jean-Pol Fargeau, Geoff Cox fotografija/cinematography Yorick Le Saux, Tomasz Naumiuk glasba/music Stuart Staples, Tindersticks monta`a/editing Guy Lecorne igrajo/cast Robert Pattinson (Monte), Juliette Binoche (Dr. Dibs), André Benjamin (Tcherny), Mia Goth (Boyse), Lars Eidinger (Chandra), Agata Buzek (Nansen), Claire Tran (Mink), Ewan Mitchell (Ettore), Gloria Obianyo (Elektra) producenti/producers Claudia Steffen, Christoph Friedel, Laurence Clerc, Olivier Thery Lapiney, Andrew Lauren, Oliver Dungey, Klaudia Smieja, D.J. Gugenheim produkcija/production Pandora Film Produktion Antwerpener Str. 6–12 50671 Cologne, Germany E info�pandorafilm.com & Alcatraz Films (France) & Andrew Lauren Productions (USA) & The Apocalypse Films Company (UK) & Madants (Poland) format/format DCP, barvni/colour dol`ina/running time 110'

prodaja/world sales Wild Bunch 65 rue de Dunkerque.

75009 Paris, France E acquisitions�wildbunch.eu

Chocolat (Chocolate) S'en fout la mort (No Fear, No Die) J’ai pas sommeil (I Can’t Sleep/Ne morem spati) Nénette et Boni (Nennette and Boni/Nénette in Boni) Beau travail (Good Work/Dobro delo) Trouble Every Day (Te`ave vsak dan) Vendredi soir (Friday Night/Petek zve~er) L'intrus (The Intruder/Vsiljivec) 35 rhums (35 Shots of Rhum/35 {ilc ruma) White Material (Belka) Les salauds (Bastards) Un beau soleil intérieur (Bright Sunshine In/@arek v srcu) High Life (Visoka dru`ba)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

61

Kralji in kraljice Kings and Queens

Vseeno mi je, ~e bomo v zgodovino zapisani kot barbari Îmi este indiferent dacaˇ în istorie vom intra ca barbari I Do Not Care If We Go Down in History as Barbarians Radu Jude

Romunija, Nem~ija, Bolgarija, Francija, ^e{ka Romania, Germany, Bulgaria, France, Czech Republic 2018

re`ija/directed by Radu Jude scenarij/screenplay Radu Jude fotografija/cinematography Marius Panduru monta`a/editing Catalin Cristutiu igrajo/cast Ioana Iacob (Mariana), Alexandru Dabija (Movila), Alex Bogdan (Traian), Ilinca Manolache (Oltea), Serban Pavlu (Stefan), Ion Rizea (Alexianu), Claudia Ieremia (pod`upanja/the vice-mayor) producentka/producer Ada Solomon produkcija/production Hi Film Productions 23A Gramont Street 040182 Bucharest, Romania E office�hifilm.ro format/format DCP, barvni/colour dol`ina/running time 138' festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary 2018 (najbolj{i film/Best Film)

Romunski mojster Radu Jude prevpra{uje napake prej{njih generacij, ki {e dandanes usodno zastrupljajo romunsko dru`bo. Zmagovalec festivala v Karlovih Varih.

Rumanian auteur Radu Jude explores Romania's complicity in the destruction of European Jews. Winner of the Karlovy Vary Film Festival's Grand Prix.

Mlad anga`iran umetnik se odlo~i, da bo pripravil gledali{ko uprizoritev poboja Judov, ki so ga na vzhodni fronti leta 1941 s pomo~jo romunske armade izvedle tedanje oblasti. Skozi rekonstrukcijo tega grozovitega dogodka postane jasno, da pot v barbarstvo ni tlakovana zgolj z nasiljem, temve~ predvsem z brezvestnostjo ljudi.

An idealistic theatre director is commissioned to stage a grand outdoor historical pageant. She is expected to celebrate the Romanian victory on the Eastern Front, but Mariana has other plans – she bases the pageant on a notorious wartime massacre.

This slowly unfolding film ingeniously updates Hannah Arendt’s incisive work on the banality of evil. It demonstrates that committing brutal acts is not the only path to barbarism, for even a mere stunted conscience is enough to lead a person to it.

"V razmi{ljanju o na{i tema~ni zgodovini se ozira{ z zgro`enim pogledom angela zgodovine Walterja Benjamina, katerega 'obli~je je obrnjeno v preteklost'. Kjer uzremo sosledje dogodkov, on vidi eno samo katastrofo, ki proizvaja eno opusto{enje za drugim in jih kopi~i pred njegovimi nogami." (Radu Jude)

prodaja/world sales Beta Cinema Gruenwalder Weg 28d 82041 Oberhaching, Munich, Germany E beta�betacinema.com distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Radu Jude

filmografija/filmography

Rojen v Bukare{ti leta 1977. Diplomiral je na filmski smeri tamkaj{nje Univerze za medije. Leta 2009 je posnel celove~erni prvenec Najsre~nej{e dekle na svetu, prikazan na festivalu Sundance in nagrajen na berlinskem festivalu. Tri leta pozneje si je za dru`insko dramo Vsi v na{i dru`ini prislu`il nagrado na sarajevskem festivalu, leta 2015 pa je v Berlinu za zgodovinsko dramo Bravo! prejel srebrnega medveda.

2006 Lampa cu caciula (The Tube with a Hat) (kratki/short) 2007 Alexandra (kratki/short) 2009 Cea mai fericita fata din lume (The Happiest Girl in the World/ Najsre~nej{e dekle na svetu) 2011 Film pentru prieteni (A Film for Friends) 2012 Toata lumea din familia noastra (Everybody in Our Family/Vsi v na{i dru`ini) 2013 O umbra de nor (Shadow of a Cloud) (kratki/short) 2014 Trece si prin perete (It Can Pass through the Wall) (kratki/short) 2015 Aferim! (Bravo!)

2016 Inmi cicatrizate (Scarred Hearts/Ranjena srca) 2017 The Dead Nation (Mrtvi narod) (dok./doc.)

2018 Îmi este indiferent daca în istorie vom intra ca barbari (I Do Not Care If We Go Down in History as Barbarians/Vseeno mi je, ~e bomo v zgodovino zapisani kot barbari)

Born in Bucharest in 1977, Jude graduated in film from Bucharest's Media University. In 2009, he came to worldwide attention with his debut feature, The Happiest Girl in the World, which screened at Sundance and was awarded at the Berlinale Forum. Three years later, his second feature, Everybody in Our Family, was awarded at the Sarajevo Film Festival. In 2015 his historical drama Bravo! won the Silver Bear Award at Berlin.

62

"Thinking about our dark history makes one look back with the horrified gaze of Walter Benjamin's angel of history, whose 'face is turned toward the past'. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet." (Radu Jude)

Panorama svetovnega filma Panorama of World Cinema

Aga Aga Aga Milko Lazarov

Bolgarija, Nem~ija, Francija Bulgaria, Germany, France 2018

re`ija/directed by Milko Lazarov scenarij/screenplay Milko Lazarov, Simeon Ventsislavov fotografija/cinematography Kalojan Bo`ilov glasba/music Penka Kouneva monta`a/editing Veselka Kirjakova igrajo/cast Mikhail Aprosimov (Nanook), Feodosia Ivanova (Sedna), Galina Tikhonova (Ága), Sergej Egorov (^ena), Afanasij Kilajev (voznik tovornjaka/truck driver) producentka/producer Veselka Kirjakova produkcija/production Red Carpet Gorubljane, 16 Seli{teto Str. 1138 Sofia, Bulgaria E redcarpetfilms.bg�gmail.com format/format DCP, barvni/colour dol`ina/running time 96' festivali/festivals Sarajevo 2018 (najbolj{i celove~erec/ Best Feature Film), Berlinale 2018, Sydney 2018

prodaja/world sales Beta Cinema GmbH Gruenwalder Weg 28d 82041 Oberhaching-Munich, Germany E beta�betacinema.com

Tiha, vizualno osupljiva zgodba o izginjanju tradicionalnega `ivljenja sredi neizprosne arkti~ne narave, pa tudi s pozabljenimi legendami, nasprotji med generacijami in ve~no ljubeznijo.

A quiet, visually stunning story about the disappearance of the traditional way of life in the harsh Arctic wilderness, about forgotten legends, the generational divide and eternal love.

Lovec Nanook in njegova `ena Sedna `ivita sama sredi brezmejnih ledeno-sne`nih prostranstev na skrajnem severu zemeljske oble, v spo{tovanju tradicije prednikov. Toda njuno okolje in z njim njuno `ivljenje se po~asi, a neizogibno spreminja. Led se za~enja topiti prej kot minula leta, `ivali umirajo iz nepojasnjenega razloga. Njuno samoto, ki jo zapolnita s pripovedovanjem zgodb, ob~asno zmoti prihod mladeni~a iz bli`njega naselja. Ko Sedna zaradi bolezni umre, se Nanook odlo~i izpolniti njeno poslednjo `eljo: poiskal bo njuno h~er Ago, ki je pred leti zbe`ala od doma in zdaj dela v rudniku diamantov.

Nanook bo moral prekiniti starodavno tradicijo in se podati v svet, ki mu je povsem tuj.

In a yurt on the snow, Nanook and Sedna live following the traditions of their ancestors. Alone in the wilderness, they look like the last people on Earth. Their traditional way of life starts changing – slowly, but inevitably. The game is disappearing, the animals around them die for inexplicable reasons, and the ice has been melting earlier every year. Their routine is broken only by the sporadic visits by Chena, a young man who lives in the closest settlement. When Sedna dies, Nanook decides to fulfil her last wish and find Ága – their daughter who ran away long ago, abandoning their traditions and choosing to live in the city.

"@e dolgo me zanima vpliv sodobnega in hitro razvijajo~ega se sveta na manj{e skupnosti /.../. S filmom sem `elel raziskovati, kako neprizanesljiva civilizacija dr`i obljubo o ohranjanju severnja{kih skupnosti. Zanima me, kako tem ljudem v `ivljenjskih okoli{~inah, ki bi bile za sodobnega ~loveka neznosne, uspeva ohraniti rahlo~utnost v medosebnih odnosih ter `ivljenje dojemati z nasmehom in naklonjenostjo." (Milko Lazarov)

"For a long time, I've been fascinated by how the modern and quickly developing world influences small communities /.../.

My intention with this movie is to look steadily at how the offensive civilization put to proof the conservation of Northern communities. I am interested in how these same people, who live in unbearable conditions for the modern man, have succeeded to preserve the delicacy in their interpersonal relations, and to perceive life with smile and sympathy."

(Milko Lazarov)

Milko Lazarov

filmografija (izbor)/filmography (selection)

Rojen leta 1967 v Bolgariji. Diplomiral je na Dr`avni akademiji za gledali{ko in filmsko umetnost (NAFTA) v Sofiji, kjer je pozneje za~el predavati na filmskem oddelku. Njegov prvenec Ot~u`denje je bil leta 2003 prikazan na bene{kem filmskem festivalu, sicer pa Lazarov danes velja za priznanega pisca, re`iserja in filmskega predavatelja.

2000 2001 2007 2007 2009 2013 2018

Born in 1967 in Bulgaria, Lazarov graduated from the National Academy for Theatre and Film Arts in Sofia, where he later took up a teaching post. He won the prize for Best Director of a Debut Film at Venice for Alienation, his first feature. He is an acknowledged writer, director and film lecturer.

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Roundabout (kratki/short) Erlkoenig (kratki/short) Hristo Botev (dok./doc.)

Stefan Stambolov (dok./doc.)

One Hundred Years of Solitude (dok./doc.)

Ot~u`denje (Alienation) Aga

Panorama svetovnega filma Panorama of World Cinema

Asako I & II Netemo sametemo Asako I & II Japonska, Francija Japan, France 2018

Ryusuke Hamaguchi

Filmska upodobitev romana Tomoka Shibasakija o izgubljeni in ponovno najdeni ljubezni postavlja temeljna vpra{anja o ~arobnosti in dolgoro~nih izzivih popolne romanti~ne zveze.

A screen adaptation of a novel by Tomoka Shibasaki about lost and rediscovered love, Asako I & II explores the magic and ongoing trials of a perfect romantic relationship.

[tudentka Asako se na fotografski razstavi zaljubi v o~arljivega Bakuja. @e nekaj minut zatem postaneta nelo~ljiv par, njuna ljubezen pa sanjska. Ko njuni prijatelji `e dvomijo, ali je tako idealna ljubezen sploh mogo~a, pa Baku nenadoma zapusti Asako. Dve leti pozneje se njej zazdi, da je spet videla svojega nekdanjega fanta. Izka`e se, da je v resnici videla Rjoheija, ki je Bakuju zgolj zelo podoben. Asako se za~ne videvati z njim, a mu ne pove za podobnost z njenim nekdanjim fantom. Je res zaljubljena vanj ali pa v njem vidi zgolj nadomestek za ljubezen iz preteklosti?

College student Asako locks eyes with the dashing Baku at a photography exhibit. Moments later, they're a happy couple, seemingly incapable of conflict. Asako's friends doubt the sincerity of such ideal love, and their suspicions are confirmed when Baku suddenly abandons Asako. Two years later in Tokyo, Asako thinks she spots Baku. But it's actually Ryohei, Baku's doppelganger. Asako starts dating the guy, but doesn't tell him about the physical similarities to an old flame. As Asako builds her life with Ryohei, it's unclear if she actually cares for the new guy or uses him as a placeholder.

"Osebno ne poznam ljubezenskega dela, ki bi bolj prepri~ljivo od romana Netemo Sametemo podajal ljubezen kot skrivnostno silo, primerljivo s ~arobnostjo ali pa prekletstvom. /.../ ^e dva vzajemno 'spo{tujeta ~ustva eden drugega', njuna skupnost ne prina{a samo radosti, temve~ obenem tudi nasilje, ki je lahko uni~ujo~e za oba. Ker se izvirni roman neposredno ukvarja s tak{no ve~plastnostjo ljubezenskega razmerja, je ~udovito ljubezensko delo, zaradi ~esar sem si ga tako silovito `elel upodobiti na filmu."(Ryusuke Hamaguchi)

"I personally don't know any other love novel than Netemo Sametemo that was so truly compelling in describing how falling in love is a mystic force akin to magic or else a curse. /.../ If two people mutually 'respect their own feelings', their being together does not simply bring joy, it bears at the same time the violence that can destroy them both. The fact that the original book deals straight on with this complexity of love relationships makes it a wonderful love novel, and is the reason why I intensely desired to adapt it as a film." (Ryusuke Hamaguchi)

Ryusuke Hamaguchi

filmografija/filmography

Rojen leta 1978 v Kanagavi, Japonska. Po pridobljeni diplomi na Univerzi v Tokiu je sprva delal v komercialni filmski industriji, potem pa je za~el snemati dokumentarne in avtorske filme. Njegov film Happî awâ je leta 2015 osvojil nagrado za najbolj{o igralko na filmskem festivalu v Locarnu. Asako I & II je njegov deveti celove~erec.

2007 2008 2010 2012 2012 2013 2013 2015 2018

Born in 1978, in Kanagawa, Japan. After graduating from the University of Tokyo, Hamaguchi worked in the commercial film industry for a few years before embarking on documentary and art filmmaking. Happy Hour won the 2015 Best Actress Award at the Locarno Film Festival. Asako I & II is his ninth feature film.

re`ija/directed by Ryusuke Hamaguchi scenarij/screenplay Sachiko Tanaka, Ryusuke Hamaguchi, Tomoka Shibasaki (roman/novel) fotografija/cinematography Yasuyuki Sasaki glasba/music Tofubeats monta`a/editing Azusa Yamazaki igrajo/cast Masahiro Higashide (Baku/Rjohei), Erika Karata (Asako), Sairi Ito (Harujo), Koji Nakamoto (Hirakava), Koji Seto (Ku{iha{i), Misako Tanaka (Eiko), Daichi Vatanabe (Okazaki), Rio Jamashita (Maja) producenti/producers Yuji Sadai, Teruhisa Yamamoto, Yasuhiko Hatori produkcija/production C&I Entertainment 10F Shibuya Garden Tower 16–17 Nanpeidai-cho Shibuya-ku Tokyo, 150-0036, Japan & Nagoya Broadcasting Network (Japan) & Comme des Cinémas (France) & Bitters End (Japan) format/format DCP, barvni/colour dol`ina/running time 119' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018

prodaja/world sales mk2 Films 55, rue Traversière 75012 Paris, France E juliette.schrameck�mk2.com

Solaris Passion The Depths Nami no oto (The Sound of Waves) (dok./doc.)

Shinmitsusa (Intimacies) Bukimi na mono no hada ni sawaru (Touching the Skin of Eeriness) Storytellers (dok./doc.)

Happî awâ (Happy Hour) Netemo sametemo (Asako I & II/Asako I & II)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

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Panorama svetovnega filma Panorama of World Cinema

Ne pu{~aj sledov Leave No Trace Leave No Trace ZDA USA 2018

Debra Granik re`ija/directed by Debra Granik scenarij/screenplay Debra Granik, Anne Rosellini, Peter Rock (roman/novel) fotografija/cinematography Michael McDonough glasba/music Dickon Hinchliffe monta`a/editing Jane Rizzo igrajo/cast Thomasin McKenzie (Tom), Ben Foster (Will), Jeff Kober (g./Mr. Walters), Isaiah Stone (Isaiah), Dale Dickey (Dale), Dana Millican (Jean), Peter Simpson (policist/ police officer), Michael Draper (teka~/runner), Derek John Drescher (Larry), Alyssa McKay (Valerie), Ryan Joiner (Tiffany), Michael J. Prosser (James), Spencer S. Hanley (`upnik/ pastor) producentke/producers Anne Harrison, Linda Reisman, Anne Rosellini produkcija/production Harrison Productions 29 East 10th St., 8th Floor 10003 New York, USA T +1 212 242 0744 & BRON Studios (USA) & Topic Studios (USA) & Reisman Productions (USA) & Still Rolling Productions (USA) format/format DCP, barvni/colour dol`ina/running time 109' festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2018, Cannes 2018 – {tirinajst dni re`iserjev/Directors' Fortnight, Sydney 2018, München/ Munich 2018, Karlovi Vari/Karlovy Vary 2018

prodaja/world sales Endeavor Content E dmcintosh�endeavorcontent.com distribucija/distribution Continental film d.o.o.

Cvetkova ulica 1 1000 Ljubljana E video�continentalfilm.si

Osem let po prebojnem filmu Na sledi o~etu nam re`iserka Debra Granik ponuja predelavo romana Petra Rocka o dru`inskem o~etu, ki s h~erko `ivi dale~ od sodobne civilizacije.

Eight years after her career-launching Winter's Bone director Debra Granik is back with a screen adaptation of a novel

by Peter Rock about a father and his daughter who have withdrawn from the world to live in seclusion.

Will z najstni{ko h~erko Tom `ivi globoko v gozdu v zvezni dr`avi Oregon. Njuno `ivljenje je skrajno preprosto, a skupaj sta sre~na – vso hrano pridelata sama, spita pa v {otoru. Njuno idilo nenadoma prekinejo predstavniki lokalne oblasti, ki ju aretirajo zaradi nedovoljenega vstopanja na tujo posest, ob tem pa ju s pomo~jo socialnih slu`b posku{ajo integrirati nazaj v dru`bo. Neutrudni Will si sprva prizadeva, da bi se sprijaznil s prisilno vrnitvijo v civilizacijo, vendar pa s Tom tu ne zdr`ita dolgo in se kmalu spet posku{ata vrniti v objem narave.

Will and his teen daughter Tom reside in the deep forests of Portland, Oregon, happy to live off the land and sleep in a tent far from civilization. But their rugged idyll is upset by the arrival of local authorities, who arrest them for trespassing and force them to meet with social service agencies and integrate into society.

At first, the restless Will tries to make the best of this imposed domesticity, but soon he and the adoring Tom head back into nature.

"Zgodba o o~etu in h~erki, ki brez elektrike in teko~e vode `ivita v gozdovih na tihooceanski obali severozahodnih ZDA, se je izkazala za popolno filmsko gradivo Na sledi o~etu re`iserke Debre Granik. Re`iserka, ki slovi po v`ivetem upodabljanju ljudi z roba, ustvari rahlo~utno dramo o kulturnih in generacijskih razmejitvah, izmenjaje pretresljivo in melanholi~no, vendar vseskozi pre`eto z nezmotljivimi odtenki resnice. Delo prevzemajo~e, zadr`ane mo~i, ki mi je preprosto vzelo dah." (Mark Kermode, The Guardian)

"A tale of a father and daughter living off the grid in the forests of the Pacific north-west of the US proves the perfect material for Winter's Bone director Debra Granik. Renowned for her empathetic portrayal of marginalised outsiders, Granik here conjures a low-key drama about cultural and generational divides that is alternately gripping and melancholic, but always shot through with the unmistakable ring of truth. The result is work of overwhelming, understated power that quite simply took my breath away." (Mark Kermode, The Guardian)

Debra Granik

filmografija/filmography

Rojena leta 1963 v Cambridgeu, ZDA. Film je {tudirala Univerzi v New Yorku in `e kot {tudentka prejela nagrado za kratki film Snake Feed. Filmskemu ob~instvu se je s svojim celove~ernim prvencem Down to the Bone predstavila leta 2004 na festivalu Sundance, kjer je bila nagrajena za najbolj{o re`ijo. Z drugim filmom Na sledi o~etu se je za~el zvezdni{ki vzpon igralke Jennifer Lawrence.

1997 2004 2010 2014 2018

Born in 1963 in Cambridge, USA. While a student of film at the New York University, Granik received Best Short Award for Snake Feed. Her featurelength debut, Down to the Bone, entered the 2004 Sundance Film Festival, winning the Dramatic Directing Award. Winter's Bone, her second feature film, launched A-list actress Jennifer Lawrence's career.

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Snake Feed (kratki/short) Down to the Bone Winter's Bone (Na sledi o~etu) Stray Dog (dok./doc.)

Leave No Trace (Ne pu{~aj sledov)

Panorama svetovnega filma Panorama of World Cinema

Divje `ivljenje Wildlife Wildlife ZDA USA 2018

Paul Dano

Izjemni re`ijski prvenec igralca Paula Dana nas z redko videno rahlo~utnostjo postavi v ko`o odra{~ajo~ega fanta, ki v {estdesetih letih minulega stoletja opazuje lo~itev svojih star{ev. [tirinajstletni Joe je edini otrok Jeanette in Jerryja iz mesteca v Montani. Ona je gospodinja, on dela kot pomo~nik na igri{~u za golf. Jerry se vse bolj utaplja v alkoholu, da bi zatrl misel na neobetavne, nestalne slu`be, ki zrcalijo njegove izgubljene sanje.

V bli`ini, ob meji s Kanado, divjajo gozdni po`ari in ko Jerry izgubi slu`bo, se odlo~i in odide pomagat gasit ogenj, `eno in otroka pa prepusti samim sebi. Najstnik Joe mora zdaj na hitro odrasti ...

re`ija/directed by Paul Dano scenarij/screenplay Paul Dano, Zoe Kazan, Richard Ford (roman/novel) fotografija/cinematography Diego García glasba/music David Lang monta`a/editing Louise Ford, Matthew Hannam igrajo/cast Carey Mulligan (Jeanette Brinson), Jake Gyllenhaal (Jerry Brinson), Ed Oxenbould (Joe Brinson), Bill Camp (Warren Miller), Zoe Margaret Colletti (Ruth-Ann), Sara Moore ({tudentka/student), JR Hatchett (gasilec/firefigher), Darryl Cox (Clarence Snow), Kami King (dijakinja/high school student), Travis W Bruyer (Forester), Mollie Milligan (Esther) producent/producer Alex Saks produkcija/production June Pictures (USA) E cchidsey�junepictures.com & Nine Stories Productions (USA) & Sight Unseen Pictures (USA) format/format DCP, barvni/colour dol`ina/running time 104'

Actor Paul Dano's impressive directorial debut adopts the viewpoint of a teenage boy observing the gradual dissolution of his parents' marriage.

Fourteen-year-old Joe is the only child of Jeanette and Jerry, a housewife and a golf pro, in a small town in 1960s Montana.

Nearby, an uncontrolled forest fire rages close to the Canadian border, and when Jerry loses his job, and his sense of purpose, he decides to join the cause of fighting the fire, leaving his wife and son to fend for themselves. Suddenly forced into the role of an adult, Joe witnesses his mother’s struggle as she tries to keep her head above water.

"Divje `ivljenje je film o mladostniku, ki opazuje spremembe svojih star{ev in razpad njunega zakona – in je zaradi napak svojih star{ev prisiljen hitro odrasti. Je zgodba o odra{~anju vseh treh: matere, o~eta in sina. ^eprav govori o boju in sr~ni bole~ini ter razo~aranju, film vodi ljubezen. Sedaj, ko je ~as, da film predstavim ob~instvu, tako kakor moj protagonist Joe vidim, da sem ustvaril dru`inski portret kot sredstvo za sprijaznjenje in prebolevanje." (Paul Dano)

"Wildlife is about a kid seeing his parents change and their marriage break – and through his parents' failures, having to grow up. It is a coming of age story for all three: mother, father, and son. While it is about struggle and heartbreak and disillusionment, it is a film guided by love. Now that it is time for me to share this film, I can see that – like our protagonist Joe – I made a family portrait as a means of acceptance, and of letting go." (Paul Dano)

Paul Dano

filmografija/filmography

Rojen 1984 v New Yorku, ZDA. @e pri dvanajstih letih je za~el nastopati na Broadwayu, prvo ve~jo vlogo pa je imel v filmu L.I.E. (2001). Z naslednjimi, kot so Na{a mala mis (2006), Tekla bo kri (2007) in Ugrabljeni (2013), je postal eden najbolj prepoznavnih obrazov sodobnega ameri{kega filma.

Divje `ivljenje je njegov re`ijski prvenec.

2018 Wildlife (Divje `ivljenje)

festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2018, Cannes 2018 – Teden kritike/Critics' Week, Karlovi Vari/Karlovy Vary 2018, Odessa 2018

prodaja/world sales Filmnation 150 West 22nd St 9th Floor 10011 New York, USA E ssaldana�filmnation.com distribucija/distribution Continental film d.o.o.

Cvetkova ulica 1 1000 Ljubljana E video�continentalfilm.si

Born in 1984 in New York. At age 12, Dano was noted for roles in classical plays on Broadway, landing his first major film role in L.I.E. (2001). He has built up an illustrious acting career with movies Little Miss Sunshine (2006), There Will Be Blood (2007) and Prisoners (2013). Wildlife marks his directorial debut.

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Panorama svetovnega filma Panorama of World Cinema

Druga stran vsega Druga strana svega The Other Side of Everything Mila Turajli}

Srbija, Francija Serbia, France 2017

re`ija/directed by Mila Turajli} scenarij/screenplay Mila Turajli} fotografija/cinematography Mila Turajli} glasba/music Jonathan Morali monta`a/editing Sylvie Gadmer, Aleksandra Milovanovi} producentki/producers Mila Turajli}, Carine Chichkowsky produkcija/production Dribbling Pictures Bitoljska 2 11030 Belgrade, Serbia E info�dribblingpictures.com & Survivance (France) format/format DCP, barvni/colour dol`ina/running time 100' festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2017, Mednarodni festival dokumentarnega filma Amsterdam/ International Documentary Film Festival Amsterdam 2017 (najbolj{i celove~erni dokumentarec/Best Feature-length Documentary)

Film o moralni dr`i posameznika, ki se ~uti dol`nega, da se odzove na dru`bene spremembe v kriznih obdobjih.

Staro me{~ansko stanovanje v sredi{~u Beograda je bilo po drugi svetovni vojni, ob nacionalizaciji, razdeljeno na dva dela. Na eni strani zape~atenih vrat `ivi sedemdesetletna Srbijanka Turajli}, na drugi so omare njene sosede. Mila Turajli} skozi pripoved o razla{~enem stanovanju svoje mame, rojene takoj po vojni, opi{e zgodbo nekega ~asa in prostora, komunizem, ki Srbijanki kot univerzitetni profesorici ni bil naklonjen, obdobje razpada skupne dr`ave, dviga srbskega nacionalizma, Milo{evi}a, revolucijo leta 2000 in ponovni dvig nacionalizma med volitvami 2015, ko je srbski narod izglasoval vzpon nekdanjega Milo{evi}evega ministra za informiranje.

"O svoji dr`avi `elim govoriti z zelo osebnega stali{~a in zelo preciznega izhodi{~a – kraja, kjer prebivam. Bolj kot strmim v zaklenjena vrata, ki jih poznam `e vse `ivljenje, bolj ugotavljam, kako globok uvid v Srbijo lahko dobimo z razkrivanjem razdeljenih prostorov. Zgodba filma se zapleta spiralno: osebno raziskovanje razdvojenih prostorov razkriva dru`insko kroniko, ki preraste v oris viharnih ~asov in navsezadnje potret dr`ave." (Mila Turajli})

prodaja/world sales Dribbling Pictures Bitoljska 2 11030 Belgrade, Serbia E info�dribblingpictures.com

A locked door in an apartment in Belgrade, which has not been opened for more than 65 years, drives the desire to explore what comes after a democratic revolution. Faced with the symbol of how the political becomes the personal, the chronicle of a family in Serbia becomes a portrait of choices one makes, from struggling against repression to dealing with disillusion under transition.

"I want to speak of my country from a very personal angle, and from a very precise point of departure – the place where I live.

The more I stare at the locked doors that I have been faced with all my life, the more I realise how much about Serbia can be understood by talking about divided spaces. The plot of the film grows like a spiral: a personal investigation into divided space unfolds a family chronicle which becomes an account of turbulent times that ends up portraying a story of a country." (Mila Turajli})

Mila Turajli}

filmografija/filmography

Rojena leta 1979 v Beogradu, Srbija. Na Londonski {oli za ekonomske in politi~ne vede je diplomirala iz politike in mednarodnih odnosov ter magistrirala iz medijev in komunikacij, nato pa je na Fakulteti za dramsko umetnost v Beogradu diplomirala {e iz filmske in TV produkcije. Deluje kot re`iserka dokumentarnih filmov in producentka.

2010 Cinema komunisto 2017 Druga strana svega (The Other Side of Everything/Druga stran vsega)

Born in 1979 in Belgrade, Serbia. She studied politics and international relations (BSc) and media and communications (MSc) at the London School of Economics, and graduated in film and TV production from the Faculty of Dramatic Arts in Belgrade. She is a documentary filmmaker and producer.

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Mila Turajli}'s film explores the moral standpoint of an individual who feels a responsibility to react to social change in times of crisis.

Panorama svetovnega filma Panorama of World Cinema

Iz o~i v o~i Person to Person Person to Person ZDA USA 2017

Dustin Guy Defa

Ekscentri~ne anekdote o dnevu v New Yorku: mlada novinarka in ~uda{ki {ef, ki raziskujeta smrt, povezano z ro~no uro, uporni{ka najstnica, ki svoje ideale le ste`ka usklajuje z `eljami, mladeni~, ki se mora za vsako ceno pobotati z biv{o, in ljubitelj glasbe na lovu za redko vinilko.

Newyor~ani se na lep jesenski dan soo~ajo z razli~nimi te`avami: ~asopisni novinar Phil uvaja `iv~no in nerodno preiskovalno novinarko Claire, {tiridesetletnemu Bennyju ponudijo glasbeno dragocenost, a se prodajalec izka`e za prevaranta, Ray se je zapletel v prepir z bratom svojega nekdanjega dekleta, ker je na spletu objavil njene gole fotografije, srednje{olka Wendy pa odkriva svojo seksualnost, ki morda ni tak{na, kot bi hotela.

Skupek komi~nih vinjet s svojim analognim pristopom in stiliziranim naturalizmom deluje kot posvetilo zgodnjim ameri{kim neodvisnim filmom.

"Posku{am ne biti melanholi~na oseba, vendar sem. Izmenjaje sem `alosten in vesel. V~asih `elim ustvariti sme{en film ali pa samo `alostnega – vendar mi to ne uspeva. V scenarij vpletam oboje. K temu se vse bolj nagibam. /.../ Z igralci se dolgo pripravljam v `elji, da bi se liku svobodno prepustili, ga samostojno ustvarili. V dolo~eni to~ki, ko `e resni~no snemamo, imam ob~utek, da vedo ve~ od mene." (Dustin Guy Defa)

re`ija/directed by Dustin Guy Defa scenarij/screenplay Dustin Guy Defa fotografija/cinematography Ashley Connor glasba/music Jessica Berndt monta`a/editing Dustin Guy Defa igrajo/cast Abbi Jacobson (Claire), Michael Cera (poro~evalec/reporter), Tavi Gevinson (Wendy), Bene Coopersmith (Bene), George Sample III (Ray), Isiah Whitlock Jr. (Buster) producenti/producers Sarah Murphy, Toby Halbrooks, James Johnston produkcija/production Bow and Arrow Entertainment 6525 W Sunset Blvd Los Angeles, CA 90028, USA E contact�bowandarrow.la & Forager Films format/format 35 mm, barvni/colour dol`ina/running time 84'

Defa interweaves multiple eccentric stories taking place over one day in New York: a young journalist and her bizarre boss are investigating a suspicious death case that comes to hinge upon the victim's watch, a rebellious teenager has trouble balancing her ideals with her ambitions, a young man has to make it up with his ex against all odds and a music lover centres his life around attaining a rare vintage LP.

festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2017, Locarno 2017, London 2017, Viennale 2017, Mar del Plata 2017

Over the course of one fine autumn day in New York, various characters go about their business. Newspaper reporter Phil breaks in a nervous and awkward new investigative trainee Claire. Fortyish Benny is tipped to the availability of a valuable recording, but the transaction turns out to be a scam. Ray posted some nude pics of his girlfriend online, and now her musclebound brother is looking to teach him a lesson. Mopey teen Wendy is theoretically bi, but so far only lesbian in practice.

The movie's grainy, natural-lighting style is an homage to the early indie era.

"I try not to be too melancholic a person, but I am melancholic.

I go back and forth between sad and happy. Sometimes I want just to make a funny movie or just to make a sad movie – I can't seem to manage to do that. I just write both those things. I'm embracing that more and more. /.../ I go through a lot with my actors to let the character do what they want, to create the character on their own. At some point, I feel like they know more than I do, once we're actually rolling." (Dustin Guy Defa)

Dustin Guy Defa

filmografija (izbor)/filmography (selection)

Rojen leta 1978 v Salt Lake Cityju, ZDA. Posnel je ve~ kratkih filmov, vklju~no s Family Nightmare, ki ga zaznamuje obe{enja{ki humor, sestavljen pa je iz ve~ ur dru`inskih doma~ih posnetkov. V zadnjem desetletju je posnel nekaj ekscentri~nih komedij, ki pa gledalcev onstran filmskih festivalov ve~inoma niso dosegle. Iz o~i v o~i se v zasnovi vra~a k istoimenskemu kratkemu filmu iz leta 2014, ki ga je re`iser zelo svobodno raz{iril.

2011 2011 2013 2014 2016 2017

prodaja/world sales Celluloïd Dreams 2 rue Turgot 75009 Paris, France E info�celluloid-dreams.com

Family Nightmare (kratki/short) Bad Fever Lydia Hoffman Lydia Hoffman (kratki/short) Person to Person (kratki/short) Dramatic Relationships (kratki/short) Person to Person (Iz o~i v o~i)

Born 1978 in Salt Lake City, Utah. He has made several shorts, including Family Nightmare, a film full of grim humour, which he compiled from dozens of hours of family home films. Through the last decade, he made several off-kilter comedies that mostly stayed within the festival-circuit. His current film, Person to Person, revisits the eponymous short from 2014, which he expanded quite freely.

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Panorama svetovnega filma Panorama of World Cinema

Matangi/Maya/M.I.A. Matangi/Maya/M.I.A. Matangi/Maya/M.I.A. Steve Loveridge

Velika Britanija, ZDA Great Britain, USA 2018

re`ija/directed by Steve Loveridge monta`a/editing Dhani Harrison, Paul Hicks igrajo/cast Matangi "Maya" Arulpragasam – M.I.A. producenti/producers Lori Cheatle, Andrew Goldman, Paul Mezey produkcija/production Cinereach 126 Fifth Avenue, Fifth Floor New York, NY 10011, USA E info�cinereach.org & Hard Working Movies (USA) & Doc Society (UK) format/format DCP, barvni/colour dol`ina/running time 90' festivali, nagrade (izbor)/festivals, awards (selection) Sundance 2018 (posebna nagrada `irije/Special Jury Prize), Berlinale 2018, IndieLisboa 2018, Sydney 2018

prodaja/world sales Dogwoof Ground Floor, 19–23 Ironmonger Row London EC1V 3QN, UK E info�dogwoof.com

Biografski portret kontroverzne glasbene izvajalke Maye Arulpragasam, bolj znane pod psevdonimom M.I.A.

A biographical portrait of controversial singer and pop icon Maya Arulpragasam, alias M.I.A.

Arulpragasamova je bila rojena leta 1975 na [ri Lanki kot h~erka ustanovitelja razvpitega tamilskega gibanja za neodvisnost.

Pri devetih letih se je z materjo preselila v London, kjer je kot najstnica za~ela snemati dokumentarne filme. Obisk [ri Lanke s kamero v roki je mo~no izoblikoval njen umetni{ki in politi~ni ~ut, zato je za~ela ustvarjati glasbo z mo~nim pridihom aktivizma.

Po podpisu pogodbe z glasbeno zalo`bo XL Recordings je postopoma prodrla med svetovne zvezdnice, a se je je zaradi politi~ne note prijel sloves avtsajderke v svetu popularne kulture.

Pevkin tesni prijatelj Steve Loveridge je dokumentarni film sestavil z veliko koli~ino nikoli videnih posnetkov iz pevkinega osebnega arhiva, ki jih je snemala vse od najstni{kih let.

Born in Sri Lanka in 1975 to the founder of the infamous Tamil independence movement, 'Maya' Arulpragasam fled to London with her mother at the age of nine and became a documentary filmmaker. Her return to Sri Lanka and her experiences with Sri Lanka's military regime have shaped her artistic and political sensitivities, and led to music with a strong activist flavour.

Having signed a contract with XL Recordings, M.I.A. gradually acquired worldwide fame. However, her engaged political stance has been harshly criticised by mainstream media, making her an outsider to the world of popular culture. In making the film, the singer's close friend, Steve Loveridge, used archival material from the last twenty-two years, most of which was shot by Maya herself.

"@elel sem ustvariti nekaj povsem druga~nega od tradicionalnega glasbenega dokumentarca. /.../ Moja miselna naravnanost je bila tak{na. @elim ustvariti film, umetni{ki dokumentarec, ki se poda v dokumentarni svet, saj o njeni zgodbi razmi{ljam kot o nekak{nem dru`beno-politi~nem dokumentu, pa tudi o resni~no osupljivem `ivljenjepisu osebe, ki je izkusila veliko bolj poglobljeno potovanje kot samo pot premo~rtne slave." (Steve Loveridge)

"I wanted to do something quite different from a traditional music doc. /.../ I was like, no. I want to make a film, an art-house documentary that goes out into documentary world, because I think of her story as a kind of socio-political document, as well as a really amazing biography of someone who's been on a much wider journey than just the fame trajectory." (Steve Loveridge)

Steve Loveridge

filmografija/filmography

Digitalni umetnik in filmski re`iser iz Londona, obenem pa dolgoletni prijatelj Maye Arulpragasam. Matangi/Maya/M.I.A. je njegov celove~erni dokumentarni prvenec.

2018 Matangi/Maya/M.I.A. (dok./doc.)

A digital artist and filmmaker from London, Loveridge is long-standing friend of Maya Arulpragasam. Matangi/Maya/M.I.A. is his debut feature-length documentary.

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Panorama svetovnega filma Panorama of World Cinema

Meja Gräns Border Ali Abbasi

[vedska, Danska Sweden, Denmark 2018

Nordijski noir iranskega re`iserja Alija Abbasija nam z izdatnim ~uda{kim humorjem dokazuje, da tudi najve~ji izob~enci na koncu najdejo svojo sorodno du{o.

Suffused with outlandish humour, Border, a Nordic noir drama by Iranian director Ali Abbasi, shows that even ultimate misfits can eventually find a soulmate.

Carinsko policistko Tino vsi poznajo po njeni izredni sposobnosti zaznavanja vonja. Njen ~ut je tako razvit, da lahko zavoha celo ob~utek krivde pri mimoido~ih, ki posku{ajo ~ez mejo pretihotapiti {e tako majhen prepovedani predmet. Nekega dne pa mimo nje prikoraka sumljivi Vore, ki njene sposobnosti nenadoma postavi pod velik vpra{aj. Tina ~uti, da Vore nekaj skriva, ampak ne zna ugotoviti, kaj. [e huje, zdi se ji, da jo mo{ki nekako nenavadno privla~i. Ko Tina postopoma razvije vez z Vorejem in pri tem spoznava njegovo resni~no identiteto, za~ne odkrivati tudi novo resnico o sebi. Zdaj mora izbrati: ali bo {e naprej `ivela v la`i ali pa bo sprejela Vorejeva grozljiva razkritja.

Customs officer Tina is known for her extraordinary sense of smell. It's almost as if she can sniff out the guilt on anyone trying to smuggle something. But when Vore, a suspicious-looking man, walks past her, her abilities are challenged for the first time.

Tina can sense Vore is hiding something she can't identify. Even worse, she feels a strange attraction to him. As Tina develops a special bond with Vore and discovers his true identity, she also realises the truth about herself. Now she has to choose: keep living the lie or embrace Vore's terrifying revelations.

"Filmi so edinstveni v tem, da so zrcala, ki lahko z varljivo natan~nostjo posnemajo ~love{ko `ivljenje. Ljudi vidim kot visoko razvite `ivali, zanimajo me dogodki, ko na{i `ivalski instinkti pridejo v nesoglasje z dru`benim ustrojem. Ko se za~ne krhka plast civilizacije, v kateri `ivimo, krhati in so protagonisti primorani v skrajnosti. Ne samo zato ker so skrajnosti zanimive. Zanima me njihov odziv. Zahtevnost tega dejstva je njegova lepota, ne `alost."

(Ali Abbasi)

re`ija/directed by Ali Abbasi scenarij/screenplay Ali Abbasi, Isabella Eklöf, John Ajvide Lindqvist (kratka zgodba/ short story) fotografija/cinematography Nadim Carlsen glasba/music Martin Dirkov monta`a/editing Olivia Neergaard-Holm, Anders Skov igrajo/cast Eva Melander (Tina), Eero Milonoff (Vore), Viktor Åkerblom (Ulf), Matti Boustedt (Tomas), Ann Petren (Agneta), Sten Ljunggren (Tinin o~e/ Tina's father), Jörgen Thorsson (Roland), Kjell Wilhelmsen (Daniel), Andreas Kundler (Robert), Joakim Olsson (turist/tourist) producenti/producers Nina Bisgaard, Peter Gustafsson, Petra Jönsson produkcija/production Meta Film Lille Strandstræde 20c, 2 1254 København K, Denmark E info�metafilm.dk & Spark Film & TV (Sweden) & Kärnfilm (Sweden) format/format DCP, barvni/colour dol`ina/running time 108' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018 (nagrada Posebni pogled/Un Certain Regard Award), Karlovi Vari/Karlovy Vary 2018, München/Munich 2018

"Movies are unique because they are mirrors that can be a deceitfully close simulation of human life. I see humans as well-developed animals and I'm interested in the situations when our animal instincts clash with society's structure. When the thin layer of civilization we are living under starts to crack and protagonists are pushed into the extreme. Not just because the extreme is interesting. Their answer interests me. The complexity of this situation is its beauty, not its sadness."

(Ali Abbasi)

Ali Abbasi

filmografija/filmography

Rojen 1981 v Iranu. [tudiral je na Politehni{ki fakulteti v Teheranu. Sprva se je ukvarjal s pisateljevanjem; v perzij{~ini je objavil ve~ kratkih zgodb. Leta 2002 je odpotoval v Evropo in se v Stockholmu vpisal na {tudij arhitekture.

Po diplomi 2007 se je lotil {e {tudija re`ije na Dr`avni filmski {oli na Danskem. Svoj prvenec Shelley je leta 2016 predstavil na Berlinalu.

2011 M for Markus (kratki/short) 2016 Shelley 2018 Gräns (Border/Meja)

prodaja/world sales Films Boutique Köpenicker Str. 184 10997 Berlin, Germany E louis�filmsboutique.com distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Born in 1981, in Iran, Abbasi studied at Tehran Polytechnic University. He has a background in literature with several short stories published in Persian.

In 2002, he went to Europe and settled in Stockholm to study architecture.

In 2007, he graduated with a BA in architecture and subsequently enrolled at the National Film School of Denmark, where he studied directing. His first feature, Shelley, premiered at the 2016 Berlinale.

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Panorama svetovnega filma Panorama of World Cinema

Petra Petra Petra Jaime Rosales

re`ija/directed by Jaime Rosales scenarij/screenplay Michel Gaztambide, Clara Roquet, Jaime Rosales fotografija/cinematography Hélène Louvart glasba/music Kristian Eidnes Andersen monta`a/editing Lucía Casal igra/cast Bárbara Lennie (Petra), Alex Brendemühl (Lucas), Joan Botey (Jaume), Marisa Paredes (Marisa), Petra Martínez (Julia), Carme Pla (Teresa), Oriol Pla (Pau), Chema del Barco (Juanjo), Natalie Madueño (Martha) producenti/producers Antonio Chavarrías, Jérôme Dopffer, Katrin Pors produkcija/production Fresdeval Films C/Gran Vía de les Corts Catalanes 672 4' 1' Bis 08010 Barcelona, Spain E info�fresdevalfilms.com & Wanda Visión (Spain) & Oberon Cinematogràfica (Spain) & Les Productions Balthazar (France) & Snowglobe (Denmark) format/format DCP, barvni/colour dol`ina/running time 107'

[panija, Francija, Danska Spain, France, Denmark 2018

[panska pripoved o iskanju dru`inskih skrivnosti, ki skozi presenetljive preobrate razkrije resni~no identiteto glavne protagonistke.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018 – [tirinajst dni re`iserjev/Directors' Fortnight

prodaja/world sales Film Factory Entertainment Lincoln 11, 2' 4' 08006 Barcelona, Spain E info�filmfactory.es

Petra ne ve, kdo je njen o~e, saj so njegovo identiteto celo `ivljenje skrivali pred njo. Po materini smrti se zato odpravi iskat zamol~ane dru`inske skrivnosti, kar jo pripelje do Jaumeja, slavnega umetnika, ki velja za mo~nega, trdosr~nega mo`a.

Med iskanjem resnice spozna tudi njegovo `eno Mariso in sina Lucasa. Na tej to~ki se preplet njihovih usod zavrti v spiralo zlobe in nasilja, ki vse skupaj pripelje do samega roba. A le dokler kruta logika usode ne uprizori preobrata, s katerim se odpre pot do upanja in odre{itve.

Petra doesn't know who her father is. Her entire life, this information has been hidden from her. After the death of her mother, she embarks on a search that leads her to Jaume, a famous artist and a powerful, ruthless man. On her path to uncovering the truth, Petra also meets Jaume's son, Lucas, as well as Marisa, his mother and Jaume's wife. That is when the story of these characters begins to intertwine in a spiral of malice, family secrets and violence that drives them all to the edge. But fate's cruel logic is derailed by a twist that opens a path to hope and redemption.

"V filmu Petra ni ene same teme. Vsak gledalec bo teme opredelil sam. Vendar je identiteta pomembna. Kot sta tudi usoda in boj med dobrim in zlim. Ves zaplet preveva tragi~no ob~utje. ^e bi moral povzeti vodilni motiv, bi rekel, da gre za film o iskanju in odre{enju." (Jaime Rosales)

"There is more than one theme to Petra. Each viewer will define the themes for themselves. But identity is important. As are fate and the conflict between good and evil. A tragic vein runs through the entire plot. If I had to summarise the subject of Petra, I would say it is a film about search and redemption." (Jaime Rosales)

Jaime Rosales

filmografija/filmography

Rojen leta 1970 v Barceloni. Po {tudiju poslovnih ved je leta 1996 dobil {tipendijo za {tudij filma. Njegov prvenec Las horas del día je osvojil nagrado FIPRESCI v sklopu {tirinajst dni re`iserjev v Cannesu. [tevilne mednarodne nagrade je prejel tudi njegov drugi film La soledad. Ustvarja pri produkcijskem podjetju Fresdeval Films.

1998 1998 1999 2003 2007 2008 2012 2014 2014 2018

Born in 1970 in Barcelona. Following his business studies, he was given a grant in 1996 to study film. His debut film, The Hours of the Day, (FIPRESCI Prize at the 2003 Directors' Fortnight) was followed by award-winning Solitary Fragments. He makes films under the aegis of Fresdeval Films, his own production company.

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Leading its titular heroine through unexpected twists and turns, Petra tells a dramatic story of buried secrets and lies.

Yo tuve un cerdo llamado Rubiel (kratki/short) Episodio (kratki/short) The Fish Bowl (kratki/short) Las horas del día (The Hours of the Day) La soledad (Solitary Fragments) Tiro en la cabeza Sueño y silencio Hermosa juventud (Beautiful Youth) Spain (kratki/short) Petra

Panorama svetovnega filma Panorama of World Cinema

Prevajalec Tlmo~ník The Interpreter Martin [ulík

Slova{ka, ^e{ka, Avstrija Slovakia, Czech Republic, Austria 2018 re`ija/directed by Martin [ulík scenarij/screenplay Martin [ulík, Marek Le{~ák fotografija/cinematography Martin [trba glasba/music Vladimír Godár monta`a/editing Olga Kaufmanová igrajo/cast Peter Simoni{ek (Georg Graubner), Jiríˇ Menzel (Ali Ungár), Zuzana Mauréry (Edita), Anna Rakovska (Truda), Eva Kramerová (Berta) producenta/producers Rudolf Biermann, Martin [ulík produkcija/production Titanic s. r. o.

Bratislava, Slovakia E sulikm�chello.sk & In Film Praha (Czech Republic) & coop99 (Austria) format/format DCP, barvni/colour dol`ina/running time 113'

Kdo bolj trpi – sin `rtve ali sin morilca? Tragikomi~ni film ceste o dveh povsem razli~nih mo{kih, resnobnem Aliju in bonvivantu Georgu, ki ju kljub nerodnostim in pri~kanju na poti povezuje tragi~na zgodovina njunih star{ev.

Who suffers more – the son of a victim or the son of a murderer? A tragicomic road movie involving two elderly men – serious Ali and bon vivant Georg linked by the bond of their parents' tragic history.

Osemdesetletni prevajalec Ali Ungár naleti na knjigo nekdanjega oficirja SS. V enem od poglavij prepozna opis usmrtitve svojih star{ev, zato pograbi pi{tolo in se odpravi na Dunaj, da bi se ~loveku ma{~eval. Tam najde le oficirjevega sina, sedemdesetletnega alkoholika Georga, ki se je svojemu o~etu `e zdavnaj odpovedal. Mo{ka se skupaj odpravita na potovanje po Slova{kem – ter s tem odkrivanje bremena njunih star{ev, ki skozi zgodovino njunih dru`in in de`el {e vedno te`i tudi njiju.

When 80-year-old interpreter Ali Ungàr suddenly discovers surprising facts about the Nazi past, he decides to travel to Vienna and confront the alleged murderer of his parents. But instead, he only finds his son, seventy-year-old acoholic Georg.

Although Georg never wanted to deal with his father's past, his interest is aroused by Ali and the two of them go on a roadtrip to Slovakia in search of answers. What they find out about the country, the past, and themselves brings the two men, who at first don't seem to have anything in common, to a point of mutual understanding.

"Potovali smo po obse`nem predelu osrednje Slova{ke in brez te`av naleteli na ljudi, ki bi z veseljem koga poslali v plinsko celico ali postrelili celotno etni~no manj{ino. /.../ [tevilnih Slovakov preteklost ne zanima, trpijo zaradi sodobnih dru`benih problemov.

Ne zavedajo se ve~ konteksta, ne da bi trenili z o~esom, so sposobni sprejeti katero koli politi~no demagogijo, ki manipulira z zgodovinskimi dejstvi in ponuja radikalne re{itve. Podobno kot smo mi, lika na poti sre~ata razli~ne ljudi, ki predstavljajo {tevilne poglede na na{o preteklost in skupaj ustvarjajo sliko sveta, v katerem `ivijo, njegovih vrednot." (Martin [ulík)

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2018, Karlovi Vari/Karlovy Vary 2018, Jeruzalem/Jerusalem 2018

"We travelled across a large part of Central Slovakia and had no trouble finding people who would be keen to send someone to the gas chamber or shoot a whole ethnic minority. /.../ Many Slovaks are not interested in the past, they are absorbed by contemporary social problems, they have lost all awareness of the context and, without batting an eyelid, are capable of accepting any political demagogy manipulating history and offering radical solutions. Our heroes, just like we did, encounter various people on their road, people who represent a variety of views of our past and together create a picture of the world they live in, of its values." (Martin [ulík)

Martin [ulík

filmografija/filmography

Rojen leta 1962 v @ilini na Slova{kem. [tudiral je na Akademiji za uprizoritvene umetnosti v Bratislavi. Njegov najuspe{nej{i film, Záhrada, so v petih razli~nih kategorijah nagradili s ~e{kim levom. Deloval je tudi kot scenarist ter se posve~al dokumentarim in televizijskim produkcijam. Leta 2005 se je s komedijo Slune~ní stát aneb hrdinové delnické trídy vrnil k celove~ernim filmom.

1995 Záhrada (The Garden) 2000 Krajinka (Landscape) 2002 Klí~ k ur~ování trpaslíku podle deníku Pavla Jurá~ka (The Key to Determining Dwarfs) 2005 Slune~ní stát aneb hrdinové denické trídy (The City of the Sun) 2011 Cigan (Gypsy) 2018 Tlmo~ník (The Interpreter/Prevajalec)

prodaja/world sales Celluloïd Dreams 2 rue Turgot 75009 Paris, France E info�celluloid-dreams.com

Born in 1962 in @ilina, Slovakia, [ulík studied at the Academy of Performing Arts in Bratislava. His most successful film to date, The Garden, won the Czech Lion Award in five different categories. He has also worked as a screenwriter and has focused on documentary and television productions.

In 2005, he returned to making feature films with the comedy The City of the Sun.

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Panorama svetovnega filma Panorama of World Cinema

Rde~e Rojo Rojo Benjamín Naishtat

re`ija/directed by Benjamín Naishtat scenarij/screenplay Benjamín Naishtat fotografija/cinematography Pedro Sotero glasba/music Vincent van Warmerdam monta`a/editing Andrés Quaranta igrajo/cast Dario Grandinetti, Andrea Frigerio, Alfredo Castro, Diego Cremonesi producenti/producers Barbara Sarasola-Day, Emmanuel Chaumet, Federico Eibuszyc, Rachel Daisy Ellis, Marleen Slot, Ingmar Trost, Dan Wechsler, Jamal Zeinal Zade produkcija/production Pucará Cine E hola�pucaracine.com & Ecce Films (France) & Desvia Produções (Brazil) & Viking Film (The Netherlands) & Sutor Kolonko (Germany) & Bord Cadre films (Switzerland) format/format DCP, barvni/colour dol`ina/running time 109' festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2018, San Sebastian 2018

Argentina, Brazilija, Francija, Nizozemska, Nem~ija, [vica Argentina, Brazil, France, The Netherlands, Germany, Switzerland 2018

Hipnoti~na drama z elementi trilerja nas po~asi vsrka v zgodbo, v kateri ni ni~ tako, kot je videti na prvi pogled, in razkrije gnilo jedro de`ele, ki je izgubila svoj moralni kompas.

A spellbinding, slow-burn suspense drama, Rojo draws us into a scenario where nothing is as it seems – exploring a country that has lost its moral compass.

Argentina sredi sedemdesetih let. V miren pode`elski kraj prispe tujec. V neki restavraciji navidez brez razloga napade znanega odvetnika Claudia. Sokrajani se postavijo odvetniku v bran, poni`ajo tujca in ga vr`ejo iz restavracije. Pozneje pa Claudiu in njegovi `eni Susani pot ponovno prekri`a skrivnostni tujec, trdno odlo~en, da se odvetniku ma{~uje. Claudio se tako poda na pot brez vrnitve, na pot smrti, skrivnosti in zamol~anih resnic.

In the mid-70s, a stranger arrives in a quiet provincial town in Argentina. In a restaurant, for no apparent reason, he sets about attacking Claudio, a well-known lawyer. The community supports the lawyer, humiliates the stranger and throws him out. Later, on the way home, Claudio and his wife Susana are once again intercepted by the stranger, who is determined to wreak his terrible revenge on Claudio. The lawyer embarks on a road of noreturn, of death, secrets and silences.

"Zelo so me zanimala in privla~ila sedemdeseta leta. To obdobje je zaznamovalo dr`avo in {e vedno mo~no odzvanja v veliki dru`beni in politi~ni napetosti, s katero se spoprijemamo danes. Sem tudi velik ljubitelj filmov iz sedemdesetih, posku{al sem ustvariti delo, ki uporablja slog tistega ~asa." (Benjamín Naishtat)

prodaja/world sales Luxbox 6 rue Jean-Pierre Timbaud 75011 Paris, France E info�luxboxfilms.com

Benjamín Naishtat

filmografija (izbor)/filmography (selection)

Rojen leta 1986 v Buenos Airesu, Argentina. [tudiral je na tamkaj{nji Universidad del Cine. Rde~e je njegov tretji celove~erec.

2010 2011 2013 2014 2015 2018

Born in 1986 in Buenos Aires. He studied at the Universidad del Cine in Buenos Aires. Rojo is his third feature film

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"I was very interested in and appealed by this whole 1970s decade, I mean, it has marked the country and still resonates a lot in the current big social and political tensions we are facing today. I am also a big fan of the films from the 1970s, and I tried to create one that employs the grammar of the time."

(Benjamín Naishtat)

El juego (kratki/short) Historia del Mal (kratki/short) Colecciones (kratki/short) History of Fear The Movement Rojo (Rde~e)

Panorama svetovnega filma Panorama of World Cinema

Sarah in Saleem: Prepovedana ljubezen The Reports on Sarah and Saleem The Reports on Sarah and Saleem Muayad Alayan

Palestina, Nizozemska, Nem~ija, Mehika Palestine, The Netherlands, Germany, Mexico 2018

Zgodba o prepovedanem razmerju med poro~enima Palestincem in Izraelko, razkritem po zaslugi vseprisotnega javnega video nadzora, se iz psiholo{kega portreta osebne stiske nevarno prevesi v politi~ni triler.

Beginning as a psychosocial drama, the story about an extramarital affair between a Palestinian man and an Israeli woman takes on a dangerous political dimension when their amorous activity is caught on video surveillance camera.

Nekajkrat na teden se Sara po ve~ernem zaprtju kavarne in Saleem po kon~ani dostavi skrivaj sestajata in predajata spolnim u`itkom. ^eprav sta oba poro~ena, nih~e od njiju ne pomisli, kak{ne posledice bi ta ljubezenska afera lahko imela zanju – in za njuni dru`ini. [e posebej ker je sredi razdeljenega in napetosti polnega Jeruzalema te`ko ostati neopa`en. Obve{~evalne slu`be z obeh bregov njunim sre~anjem kmalu pripi{ejo politi~novohunski pridih, saj je Sarin mo` visok oficir izraelske vojske.

Furtive lovemaking in the back of a van: this is what Sarah and Saleem's relationship consists of. A few times a week, when Sarah has closed her café and Saleem is done with his delivery rounds. Being married, they are risking their domestic happiness.

In Jerusalem, a city divided and fraught with tension, an illicit relationship between a Jewish woman and a Palestinian man goes way beyond the private. Their adulterous affair becomes a spy sensation, which is given an extra political dimension by the fact that Sarah's husband is a high-ranking officer in the Israeli army.

"Ne gre za pravljico v smislu vil in ~arobnosti. Gre za pravlji~nost teme, likov, ob~utja in sloga. Film si prizadeva upodobiti kolektivno palestinsko izku{njo pod okupacijo, z liki, ki predstavljajo vpletene strani: izraelske agente, palestinsko voja{ko policijo, korumpirane uradnike, tuje diplomate ter obi~ajne osiroma{ene ljudi v nizu dogodkov in naklju~ij, ki bi se posami~no ~isto verjetno lahko zgodili v Palestini, vendar kolektivno ustvarjajo fiktivno ob~utje z upodabljanjem splo{nih razmer v dr`avi in so~asnim sledenjem osrednjega konflikta ali problema zgodbe." (Muayad & Rami Alayan)

re`ija/directed by Muayad Alayan scenarij/screenplay Rami Alayan fotografija/cinematography Sebastian Bock glasba/music Frank Gelat, Charlie Rishmawi, Tarek Abu Salameh monta`a/editing Sameer Qumsiyeh igrajo/cast Adeeb Safadi (Saleem), Sivane Kretchner (Sara/Sarah), Maisa Abd Elhadi (Bisan), Ishai Golan (David), Kamel El Basha (Abu Ibrahim) producenti/producers Muayad Alayan, Rami Alayan, Hans de Wolf, Hanneke Niens, Rebekka Garrido, Rodrigo Iturralde, Georgina Gonzalez, Alejandro Duran produkcija/production PalCine Productions Betlehem, Palestine E muayad�palcine.ne & KeyFilm (The Netherlands) & Manderley Films (Germany) & Monofilms (Mexico) format/format DCP, barvni/colour dol`ina/running time 127' festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2018 (posebna omemba/ Special Mention, nagrada ob~instva/ Audience Award), Seattle 2018 (velika nagrada `irije/Grand Jury Prize)

"It is not a fairy tale in terms of having fairies and magic. It is a fairy tale in terms of its theme, characters and feel or style. The film tries to depict the collective Palestinian experience under occupation with characters representing all parties involved: Israeli agents, Palestinian militias, corrupt officials, foreign diplomats and everyday impoverished people through a series of events and coincidences that, individually, could very well happen in Palestine but collectively give a fairy-tale feeling representing the overall situation in the country while following the central conflict or problem of the story." (Muayad & Rami Alayan)

Muayad Alayan

filmografija (izbor)/filmography (selection)

Palestinec, rojen leta 1985 v Kuvajtu. [tudiral je v San Franciscu, potem pa se je vrnil v Betlehem, da bi tam snemal filme o vsakdanu mladih Palestincev. Njegov prvi kratki film Lesh Sabreen? je bil premierno uprizorjen na filmskem festivalu v Clermont-Ferrandu, zatem pa so ga predvajali na ve~ kot {estdesetih mednarodnih festivalih. Njegov celove~erni prvenec Ljubezen, tatvina in drugi zapleti je bil premierno prikazan na festivalu v Berlinu.

2005 2009 2010 2011 2015

prodaja/world sales Heretic Outreach Promitheos Str. 18 15234 Athens, Greece E info�heretic.gr

Exiles in Jerusalem (kratki dok./doc. short) Lesh Sabreen? (Why Sabreen?) (kratki/short) Mute (kratki/short) Al-hijara al-muqadasa (Sacred Stones) (dok./doc.)

Al-hob wa al-sariqa wa mashakel ukhra (Love, Theft and Other Entanglements/Ljubezen, tatvina in drugi zapleti) 2018 The Reports on Sarah and Saleem (Sarah in Saleem: Prepovedana ljubezen)

A Palestinian born in Kuwait in 1985, Alayan studied in San Francisco before returning to Bethlehem to make films about the realities of life for young Palestinians. His first short film, Why Sabreen?, premiered at the International Short Film Festival in Clermont-Ferrand and screened at over 60 international festivals. His debut feature, Love, Theft and Other Entanglements, premiered at the Berlin IFF.

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Panorama svetovnega filma Panorama of World Cinema

So~utje Oiktos Pity Babis Makridis

re`ija/directed by Babis Makridis scenarij/screenplay Efthimis Filippou, Babis Makridis fotografija/cinematography Konstantinos Koukoulios monta`a/editing Yannis Chalkiadakis igrajo/cast Yannis Drakopoulos (odvetnik/ lawyer), Evi Saoulidou (`ena/ wife), Nota Tserniafski (sestra/ sister), Makis Papadimitriou (lastnik ~istilnice/dry cleaner owner), Georgina Chryskioti (soseda/ neighbour), Evdoxia Androulidaki (tajnica/secretary), Nikos Karathanos (brat/brother) producenti/producers Amanda Livanou, Christos V. Konstantakopoulos, Klaudia Smieja, Beata Rzezniczek produkcija/production Neda Film 5, Karytsi Sq 10561Athens, Greece E amanda�nedafilm.gr & Faliro House Productions & Madants & Beben Films format/format DCP, barvni/colour dol`ina/running time 97'

S ~rnim humorjem za~injena drama Babisa Makridisa, obetavnega gr{kega re`iserja novega vala, govori o tem, kako hitro in globoko lahko postanemo zasvojeni z odzivom soljudi in kaj vse smo pripravljeni storiti, da ne izgubimo njihovega so~utja.

Premo`ni odvetnik se vsako jutro prebudi v solzah ob zavedanju, da je njegova `ena {e vedno v komi. A kljub bole~ini ni zagrenjen.

Pravzaprav je videti sre~en. Mu pri tem pomaga pomilovanje, ki ga vsak dan razbere iz o~i in objemov tajnice, sorodnikov in sosedov? Je mogo~e postal odvisen od so~utja, ki mu ga izkazujejo ljudje v bli`ini? Na to vpra{anje si mora odgovoriti, ko mu iz bolni{nice sporo~ijo, da se je `ena zbudila in bo povsem okrevala.

festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2018, Sundance 2018, Glasgow 2018

prodaja/world sales New Europe Film Sales Czerniakowska 73/79 00–718 Warsaw, Poland E jan�neweuropefilmsales.com

A drama by Babis Makridis, a promising representative of the Greek new wave, Pity finds dark humour in a man hopelessly addicted to the sympathy of others, going to increasingly desperate lengths to continue receiving it.

A well-heeled lawyer is distraught. With his wife lying in a coma, each day begins in tears. But despite this sadness, he is not embittered. Actually, he seems to be happy. Is this happiness fuelled by the pity he receives from people – from his secretary to his relatives and neighbours? He's grown accustomed to pity, addicted even. What a vexing dilemma he'd face were his wife ever to recover.

"Tega ne `elimo priznati, vendar ljudje u`ivamo v so~utju drugih.

Navda nas z ob~utkom pomembnosti; kot bi bili sredi{~e vesolja. Menim, da obstajata dve vrsti so~utja. Prvo za~utimo ob brezdomcu na ulici. Podarimo mu nekaj denarja in se ob tem dobro po~utimo. Mi, ne on. Drugo vrsto sem `elel raziskovati v filmu. So~utje, ki si ga prizadevamo vzbuditi v ljudeh in kako dale~ smo pripravljeni iti, da bi si ga zagotovili." (Babis Makridis)

"It's not something we like to admit, but as human beings, we revel in other people’s pity. It makes us feel important; like we are the centre of the universe. I believe there are two kinds of pity. One happens when you see a homeless person in the street, so you give him some money and you feel good about it.

You – not him. The other kind is the one I decided to explore in the film. It’s about the pity we are trying to get from the others and how far we are willing to go in order to get it."

(Babis Makridis)

Babis Makridis

filmografija (izbor)/filmography (selection)

Rojen leta 1970 v Kastoriji na severu Gr~ije. [tudiral je na Filmski {oli Stavrakos v Atenah ter sprva re`iral reklame in videospote. Bil je nagrajen za svoj kratki film O teleftaios fakiris, njegov prvenec L pa je do`ivel odmevno premiero na festivalu v Sundanceu. So~utje je njegov drugi celove~erni film.

2005 O teleftaios fakiris (The Last Fakir) (kratki/short) 2012 L 2018 Oiktos (Pity/So~utje)

Born in 1970, in the city of Kastoria, in northern Greece. Graduating in film direction from the Stavrakos Film School in Athens, he embarked on his cinematic career as director of commercials and videos. He earned an award for the short The Last Fakir, while his debut feature, L, was selected for the competition at Sundance. Pity is his second feature film.

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Gr~ija, Poljska Greece, Poland 2018

Panorama svetovnega filma Panorama of World Cinema

Ljubljeni Benzinho Loveling Gustavo Pizzi

Brazilija, Urugvaj, Nem~ija Brazil, Uruguay, Germany 2018 re`ija/directed by Gustavo Pizzi scenarij/screenplay Gustavo Pizzi, Karine Teles fotografija/cinematography Pedro Faerstein glasba/music Maximiliano Silveira monta`a/editing Lívia Serpa igrajo/cast Karine Teles (Irene), Otávio Müller (Klaus), Adriana Esteves (Sonia), Konstantinos Sarris (Fernando), César Troncoso (Alan) producentka/producer Tatiana Leite produkcija/production Bubbles Project Rio de Janeiro, Brasil E info�bubblesproject.com format/format DCP, barvni/colour dol`ina/running time 95'

Subtilno ~ustvena zgodba o materi, ki se mora sprijazniti z otrokovo osamosvojitvijo.

A sensitive emotional portrayal of a mother coming to terms with her son's independence.

Irena v svojem skromnem, a topline in sre~e polnem domu skupaj z mo`em vzgaja {tiri razigrane sinove. Ob materinskih obveznostih se trudi opraviti zapoznelo maturo in finan~no podpira {e svojo sestro Sonio, ki se je k njej zatekla pred nasilnim mo`em.

Ko najstarej{i sin, {estnajstletni Fernando, nekega dne oznani, da bo zapustil dom in se pridru`il nem{kemu rokometnemu mo{tvu, se Irena zave, kako te`ko je sprejeti dejstvo, da so otroci odrasli in stopajo na svojo pot, dale~ stran od varnega materinega zavetja. [e posebej ker ima za slovo na voljo le slabe tri tedne ...

Irene is raising four rambunctious sons in a home that is physically crumbling but warm and happy. As Irene simultaneously shelters her sister Sonia (who just left a volatile marriage), supports her own husband through a financial crisis, and plans her own long-awaited high school graduation, Irene's eldest son, Fernando, suddenly announces he has been recruited by a professional handball team in Germany and will be leaving in just three weeks. Consummate caretaker Irene prickles at the idea of emancipating the 16-year-old so he can travel and live alone, and she becomes increasingly anxious about what her future holds.

"@elela sva spregovoriti o nevidnih `enskah. Irene je obi~ajna. `enska, mimo katere gre{ na ulici in je sploh ne opazi{. /.../ Pomembna ni nikomur razen sebi in svoji dru`ini. Zato sva hotela slaviti njeno delo. @elela sva ga osvetliti ter prikazati njegovo poeti~no in lepo stran ter njegov pomen. Kajti vsak ima mater ali jo je neko~ imel, in dru`inska razmerja so osnova tvoje identitete.

V~asih je tvojo odnos z dru`ino slab in zaradi tega postane{ bolj{a oseba, v~asih pa je odnos z dru`ino dober in si zaradi tega bolj{a oseba." (Gustavo Pizzi in Karine Teles)

festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2018, Rotterdam 2018, Malaga 2018 (najbolj{i film/Best Film, nagrada FIPRESCI/FIPRESCI Prize), San Francisco 2018, Karlovi Vari/Karlovy Vary 2018

"We wanted to talk about invisible women. Irene is your everyday woman, the one you pass by on the street and you don't even notice. /.../ She's not important to anyone except for herself and her family. So, we wanted to praise that work. We wanted to take that and bring it out and show the poetic and the beautiful side of it and the importance of it. Because everybody has or had a mother and your relationship to your family is somehow the basis of who you are. Sometimes you have a bad relationship with your family and that makes you become a better person, sometimes you have a good relationship with your family and it makes you a better person." (Gustavo Pizzi and Karine Teles)

Gustavo Pizzi

filmografija (izbor)/filmography (selection)

Rojen leta 1977 v Braziliji. Diplomiral je na filmski univerzi Universidade Federal Fluminense v Rio de Janeiru. Temu velemestu, natan~neje javnim hi{am v njem, pa je posvetil svoj dokumentarni prvenec Pretérito Perfeito.

Ljubljeni je Pizzijev drugi igrani celove~erec, navdihnilo pa ga je rojstvo dvoj~kov re`iserju ter njegovi `eni in sodelavki, igralki Karine Teles.

2006 Pretérito Perfeito (Simple Past) (dok./doc.)

2010 Riscado (Craft) 2018 Benzinho (Loveling/Ljubljeni)

prodaja/world sales New Europe Film Sales Czerniakowska 73/79 00718 Warsaw, Poland E kat�neweuropefilmsales.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Born in 1977, in Brazil, Pizzi graduated from Universidade Federal Fluminense (UFF) in Rio de Janeiro. In 2006, he made his first documentary, Simple Past, about Rio de Janeiro's most famous brothels. Gustavo Pizzi and his spouse, actress Karine Teles, were inspired by the birth of their twins to make Loveling – Pizzi’s second feature film.

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80

Fokus Focus

Vzhod-severovzhod East-Northeast Simon Popek Ko so se iz republik nekdanje Sovjetske zveze sredi devetdesetih let pojavili zanimivi novi re`iserji, smo se veselili dejstva, da so se dr`ave z mlado (kakor kje) demokracijo otresle {~ita in nadzora velikega imperija ter za`ivele v bolj ali manj samostojnem produkcijskem okolju. Potem smo hitro ugotovili, zakaj stare, konservativne evropske filmske institucije produkcijska okolja delijo na "mo~na" in "manj razvita" oziroma, ~e uporabimo evfemizem, na "avdiovizualno manj zmogljiva". Vsa ta mlada in neraziskana produkcijska okolja, od baltskih dr`av in Ukrajine do dr`av ob Kaspijskem jezeru in obmo~ja t. i. – stanov (Kazahstan, Uzbekistan itd.) vsem tem sve`im imenom niso uspela zagotoviti stalnega ustvarjalnega okolja, zato so se uspe{ne poti {tevilnih (npr. Amirja Karakulova in Ardaka Amirkulova iz Kazahstana, Djamsheda Usmonova iz Tad`ikistana ...) kon~ale, {e preden so se dobro za~ele. Tisti, ki so se zna{li, so se podali v tuja produkcijska okolja (npr. Bahtijar Hudojnazarov iz Tad`ikistana), tam pa vemo, kako se zgodbe praviloma kon~ajo, ~e je re`iser iztrgan iz svojega kulturnega konteksta.

Nekaterim se je vendarle uspelo obdr`ati in opus nadaljevati vse do danes, najve~krat asketskim minimalistom ali dokumentaristom, ki ob~asno gostujejo v igrani formi, npr. Laili Pakalnini iz Latvije, [arunasu Bartasu iz Litve, Sergeju Loznici iz Ukrajine, Seriku Aprimovu in Dare`anu Omirbajevu iz Kazahstana ali Aktanu Abdikalikovu iz Kirgizije, za katerega sem bil prepri~an, da je po letu 2000 ustvarjalno potonil, nakar sem presene~en ugotovil, da je prvi prejemnik nagrade ob~instva na Liffu (leta 1998 za izjemni prvenec Deseti brat) spremenil ime in da sedaj ustvarja kot Aktan Arim Kubat, ki s Kentavrom na leto{njem festivalu najlep{e premo{~a razlike med staro in novo generacijo.

Mlada garda, ki jo predstavljamo v sklopu Vzhod-severovzhod, je v resnici mlada, razen Abdikalikova/Kubata in Loznice so med osmerico re`iserji (in tri re`iserke) pove~ini s prvenci ali najve~ drugim filmom. Vsi se skoraj ekskluzivno ukvarjajo z lastnim kulturnim okoljem – in sedanjostjo. Z izjemo Darje @uk, ki v Kristalnem labodu prikazuje tragikomi~no usodo ambiciozne mladenke v tranzicijski Belorusiji kmalu po osamosvojitvi, so vse teme sodobne: Mariam Ha~vani (Dede) se ukvarja s polo`ajem `ensk v strogo patriarhalni dru`bi ruralne Gruzije, Ana Uru{adze (Grozna mama) z enako temo, samo v urbanem okolju, Renars Vimba (Mehko blato) z izgubo iluzij prehitro odra{~ajo~ih najstnikov in Emir Baigazin s trkom arhai~nega in modernega Kazahstana.

When observing the emergence of compelling new directors from post-Soviet states in mid 1990s, we rejoiced in the fact that these young democracies had shed the weight and influence of the grand empire and created more or less independent filmmaking conditions. Then we quickly realised why the old, conservative European film institutions distinguish between major and less developed motion picture industries, or, to use a euphemism, industries with 'limited audio-visual capacity.'

Because all these young and unexplored cinematographies, ranging from the Baltic states and Ukraine, to countries bordering the Caspian Sea and the area of the -stans (Kazakhstan, Uzbekistan, etc.) were unable to provide these new names with a permanent creative environment the careers of many of these directors (e.g. Amir Karakulov and Ardak Amirkulov from Kazakhstan, Jamshed Usmonov from Tajikistan ...) were over before truly taking off. Some tried their luck abroad (e.g. Bakhtyar Khudojnazarov from Tajikistan), but when a filmmaker is uprooted from his cultural context these stories tend to have a sad ending.

Some were able to ride out the storm and have continued filming to this very day, mostly austere minimalists or documentarists with occasional detours to fiction film, e.g. Laila Pakalnina from Latvia, Sharunas Bartas from Lithuania, Sergei Loznitsa from Ukraine, Serik Aprimov and Darezhan Omirbayev from Kazakhstan, and Aktan Abdykalykov from Kirgizstan whose career I believed to have ended in 2000 but was surprised to learn that the first winner of Liffe's Audience Award (in 1998 for his astonishing debut Beshkempir the Adopted Son) only adopted a pseudonym. Working under the name of Aktan Arym Kubat, the director's Centaur serves as a bridge linking the old and the new generations.

The young generation featured in the East-Northeast section actually is young. Except for Abdykalykov/Kubat and Loznitsa, the section's eight names (including three female directors) are predominantly first- or second-time directors examining almost exclusively their own cultural environments – and the current situation. Apart from Darya Zhuk, whose Crystal Swan depicts tragicomic experiences of an ambitious young woman in post-Soviet Belarus, all films address modern-day issues; Mariam Khatchvani (Dede) explores the position of women in rural Georgia's strictly patriarchal society, Ana Urushadze (Scary Mother) looks at the same issue in an urban setting, Renars Vimba (Mellow Mud) deals with disillusioned youth and Emir Baigazin reflects on the clash between the archaic and modern Kazakhstan.

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Fokus Focus

Dede Dede Dede Mariam Ha~vani

re`ija/directed by Mariam Ha~vani scenarij/screenplay Vladimer Ka~arava, Mariam Ha~vani, Irakli Solomona{vili fotografija/cinematography Konstantin Esadze glasba/music Mate ^amgeliani, Tako Jordania monta`a/editing Levan Kuka{vili igrajo/cast George Babluani (Gegi), Natia Vibliani (Dina), Nukri Ha~vani (David), Gir{el ^elidze, Spartak Par`iani, Sofia ^arkviani, Mose Ha~vani producenti/producers Mike Downey, Vladimer Ka~arava, Igor Nola, Sam Taylor produkcija/production 20 Steps Productions Akhmeteli 10a 0159 Tbilisi, Georgia E info�20steps.ge & Film and Music Entertainment (UK & Ireland) & MP Film Production (Croatia) & JaJa Film Productions (The Netherlands) format/format DCP, barvni/colour dol`ina/running time 97'

Gruzija, Hrva{ka, Velika Britanija, Irska, Nizozemska, Katar Georgia, Croatia, Great Britain, Ireland, The Netherlands, Qatar 2017

Mlado dekle posku{a ube`ati stari dru`beni tradiciji, ki {e danes kroji `ivljenje na odro~nem gruzijskem pode`elju.

Leto 1992. Dina `ivi v oddaljeni gorski vasici, kjer vsakdan kroji stroga ve~stoletna tradicija. Ded ji je `e izbral mo`a – Davida, ki se pravkar vra~a iz vojne. Vendar pa z njim domov prispe tudi postaven Gegi in Dina se zaljubi vanj. Ali je mogo~e prese~i trdno ukoreninjeni dru`beni red? In ~e je, kak{na je cena, ki jo bo moralo dekle pla~ati za to? Med ~udovitimi kulisami gruzijskega pode`elja bomo pri~e Dininemu boju s tradicijo, ona pa bo poiskala svobodo in pravico do sprejemanja odlo~itev o lastnem `ivljenju.

festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary 2017 (posebna omemba v sklopu Vzhodno od zahoda/East of West Award – Special Mention), Peking/ Beijing 2017 (najbolj{a re`ija/Best Director, najbolj{a fotografija/Best Cinematography), Montpellier 2017 (najbolj{i film/Best Film)

"Film je osnovan na resni~nih `ivljenjskih izku{njah moje babice in je njej posve~en. Zato se mi je zdelo pomembno ohraniti otipljiv ob~utek pristnosti in prikazati na~in `ivljenja skupnosti, ki do sedaj na filmu {e ni bil upodobljen. /.../ Sodelovanje z doma~ini v rojstnem kraju je obogatilo izku{njo snemanja in pripomoglo k podobi filma, ki sem jo `elela ustvariti. Njihov kraj je nekak{en pribli`ek raja, zaradi tega ga ne zapustijo, ~eprav zna biti `ivljenje v~asih te`ko." (Mariam Ha~vani)

prodaja/world sales WIDE 9, rue Bleue 75009 Paris, France E infos�widemanagement.com

It's 1992. Young Dina lives in a remote mountain village where life is strictly governed by centuries-old tradition. Dina's grandfather has promised her to David, who is returning from the war. But with him comes a comrade-in-arms, the handsome Gegi, and Dina falls in love. Is it possible to defy the firmly established order? And, if so, at what price? The ravishing beauty of the majestic, unyielding natural surroundings only serves to accentuate the heroine's struggle with tradition as she seeks to acquire her freedom and the right to make her own decisions.

"The story of Dede is based upon and dedicated to my grandmother's real-life experience. As such, it was important to me to retain a palpable sense of authenticity and to show a community and a way of life, which has not been seen on film before. /.../ Working with natives in my birthplace has enriched the filmmaking experience and helped make the film that I wanted to make. It's something of a paradise there, and this is the reason why the locals don't leave this place, even though life can be difficult." (Mariam Khatchvani)

Mariam Ha~vani

filmografija (izbor)/filmography (selection)

Rojena 1986 v vasi U{guli na severu Gruzije. Filmsko re`ijo je {tudirala na gruzijski dr`avni univerzi. Najprej se je ukvarjala z dokumentarnimi filmi, nakar je leta 2013 posnela kratki film Dinola, prikazan na ve~ kot tridesetih festivalih po svetu, osvojil pa je tudi ve~ nagrad. Dede je njen celove~erni prvenec.

2006 2007 2009 2009 2013 2017

Born in 1986, in the village of Ushguli, in north Georgia, Khatchvani studied film direction at the Georgia State University. She first made documentaries, and in 2013 shot Dinola, an award-winning short feature that screened at more than thirty festivals all over the world. Dede is her feature film debut.

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A young girl challenges the deep-rooted traditions of her patriarchal culture, customs that still survive in Georgia's remote rural areas.

Verdzoba (dok./doc.)

Panjris mighma (Beyond the Window) (dok./doc.)

Li~ani{i (dok./doc.)

Kvirikoba (dok./doc.)

Dinola (kratki/short) Dede

Fokus Focus

Donbas Donbas Donbass Sergej Loznica

Ukrajina, Nem~ija, Francija, Nizozemska, Romunija Ukraine, Germany, France, The Netherlands, Romania 2018 re`ija/directed by Sergej Loznica scenarij/screenplay Sergej Loznica fotografija/cinematography Oleg Mutu monta`a/editing Daniellus Kokonauskis igrajo/cast Valeriu Andriuta (poveljnik/ commander), Thorsten Merten (Nemec/German), Boris Kamorzin (Mihali~/Mikhalych), Irina Plesnjejeva (lepotica/pretty woman), Sergej Kolesov (Beka/Bekha), Svetelana Kolesova (Gujrza/Guyrza), Georgi Eliev (Batjanja/Batyanya) producent/producer Heino Dekert produkcija/production Ma.ja.de. Filmproduktions GmbH Gottschedstr. 18 04109 Leipzig, Germany E leipzig�majade.de format/format DCP, barvni/colour dol`ina/running time 121'

Neprizanesljiva ~rna komedija, antimilitaristi~na protiruska farsa, postavljena v Ukrajino, je v svoji univerzalni grotesknosti zgovoren opomin vsem nam, ki `ivimo v dru`bi izkrivljene resni~nosti in la`ne identitete.

Donbas, pokrajina v vzhodnem delu Ukrajine. Razli~ne kriminalne zdru`be se enkrat borijo proti uradni ukrajinski vojski, drugi~ proti ruskim silam in tretji~ obra~unavajo med seboj. Kakor jim pa~ ustreza. Neprestani spori so idealen pogoj za anarhijo, v kateri si posamezniki nekaznovano prisvajajo tujo lastnino in poni`ujejo civilno prebivalstvo. Strah, prevare, sovra{tvo, nasilje in smrt pre`ijo na vsakem koraku. ^e pre`ivite Donbas, ste pripravljeni na Pekel.

Donbass, a region in Eastern Ukraine, occupied by various criminal gangs fighting at once with the Ukrainian regular army, with other gangs and with Russian troops. The context in which the action takes place is a hybrid war, happening alongside an open armed conflict, mass-scale robberies and gradual degradation of the civilian population. There is fear, deception, hatred and violence everywhere. Society is collapsing, and death and deadly silence lie upon the place. Surviving Donbass equals a practical guide to inferno.

"Ko je leta 2014 izbruhnila vojna v Donbasu, sem pazljivo spremljal dogodke. Kmalu je postalo jasno, da so poleg konvencionalnih virov informacij (objave in ~lanki, videi in fotografije poklicnih poro~evalcev) pomembni amaterski spletni videi {tevilnih pri~ in udele`encev teh dogodkov. V {tevilnih primerih so bili bolj informativni in pomenljivi kot vojne reporta`e poklicnih dopisnikov.

V dolo~enem trenutku sem ugotovil, da `elim po tem stvarnem gradivu posneti igrani film." (Sergej Loznica)

"When the war in the Donbass broke out in 2014, I followed the events very closely. It soon became obvious that one important source of information, apart from conventional ones, (professional news reports and articles, videos and photographs) was the amateur videos posted on the Internet by numerous witnesses and participants in these events. In many cases, they were more informative and substantial than professionally made war reportage. At some point I realised that I wanted to make a fictional film based on these real-life materials." (Sergei Loznitsa)

Sergej Loznica

filmografija (izbor)/filmography (selection)

Rojen leta 1964 v mestu Baranovi~i (dana{nja Belorusija), velja za ukrajinskega re`iserja. Odra{~al je v Kijevu, kjer je diplomiral iz matematike, pozneje pa delal kot znanstvenik v kibernetiki in prevajalec iz japon{~ine. [ele nato je v Moskvi {tudiral film. Od leta 1996 je posnel vrsto dokumentarcev in prejel ve~ mednarodnih nagrad, leta pa je za~el snemati {e igrane celove~erce.

1996 Segodnja mi postrojim dom (Today We Are Going to Build a House/ Danes bomo zgradili dom) (kratki dok./short doc.)

2001 Poselenije (Settlement/Naselbina) (dok./doc.)

2003 Pejsa` (Landscape/Pokrajina) (dok./doc.)

2004 Fabrika (Factory/Tovarna) (kratki dok./short doc.)

2005 Blokada (Blockade/Blokada) (dok./doc.)

2009 Predstavlenije (Revue/Predstava) (dok./doc.)

2010 S~aste moje (My Joy) 2012 V tumane (In the Fog) 2014 Maidan (dok./doc.)

2015 Sobitje (The Event/Dogodek) (dok./doc.)

2017 Krotkaja (A Gentle Creature/Krotko dekle) 2018 Donbas (Donbass/Donbas)

Born in 1964 in the city of Baranovichi, in Belarus, considered to be a Ukrainian filmmaker. Loznitsa grew up in Kiev, and graduated with a degree in mathematics. Later he worked both as a scientist in the field of cybernetics and a translator from Japanese. Graduated in filmmaking in Moscow in 1997. He has directed several documentary films since 1996 and has received numerous international awards. Loznitsa debuted as a fiction filmmaker in 2010.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018 – Poseben pogled/Un Certain Regard (nagrada za re`ijo/ Directing Prize)

An unforgiving black comedy and an anti-militant antiRussian farce set in Ukraine, Donbass depicts a world lost in post-truth and false identities.

prodaja/world sales Pyramide International 32 rue de l'Echiquier 75010 Paris, France E sales�pyramidefilms.com

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Fokus Focus

Grozna mama Sa{i{i deda Scary Mother Ana Uru{adze

re`ija/directed by Ana Uru{adze scenarij/screenplay Ana Uru{adze fotografija/cinematography Konstantin Esadze monta`a/editing Alexander Kuranov igrajo/cast Nato Murvanidze (Manana), Ramaz Ioseliani (Nukri), Dimitri Tati{vili (Anri), Avtandil Makharadze (Jarji), Anastasia ^anturaia (Dea), La{a Gabunia (Sergi), Luka Ka~ibaja (Toma), Darejan Khar{iladze (Manananina mama/Manana's mother), Lili Khuriti (Nunu), Nana Khuriti (Nino) producenta/producers Tinatin Kajri{vili, La{a Khalva{i produkcija/production Artizm 33 Lado Asatiani str.

0105 Tbilisi, Georgia E studioartizm�gmail.com & Allfilm (Estonia) format/format DCP, barvni/colour dol`ina/running time 107'

Ekscentri~na ~rna komedija o `enski, ki ima raje pisateljevanje kot otroke in mo`a. Samosvoja interpretacija izjave Virginie Woolf, da mora imeti `enska, ~e ho~e pisati, lastno sobo.

festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2017 (najbolj{i prvenec/ Best First Feature), Sarajevo 2017 (najbolj{i film/Best Film), GijĂłn 2017 (najbolj{i film/Best Film, najbolj{a re`ija/Best Director)

Manana je poro~ena `enska srednjih let in mati treh odraslih otrok, ki ves svoj ~as in mo~i posve~a pisanju romana. Njen odnos z dru`ino se popolnoma spremeni, ko se izka`e, da v svojem romanu v slikovitih prispodobah pi{e predvsem o tem, kako odve~ so ji mo` in otroci. Njeno dru`ino vsebina tako "prevratni{kega" romana neskon~no raz`ali: Manano morajo ~im prej vrniti v okvire tradicionalno `enske vloge `ene in matere!

prodaja/world sales Artizm 33 Lado Asatiani str.

0105 Tbilisi, Georgia E studioartizm�gmail.com

An eccentric black comedy about a woman who prefers writing to her family. A unique take on Virginia Woolf's claim that "a woman must have a room of her own if she is to write fiction."

A 50-year-old housewife and mother of three grown-up children, Manana is forced to confront her opposing identities as a dedicated mother, and a brilliant, yet unconventional writer. When faced with a choice between her family and her passion, she decides to plunge fully into writing, sacrificing to it both mentally and physically.

"Morda je sli{ati ~udno, vendar se med pisanjem ni~esar ne spra{ujem. Preprosto sledim toku in svojim mislim, ko jih prelivam na papir. [ele pozneje, ko se zgodba ustali, razumem izvir svojega navdiha in zakaj je zgodba izbrala dolo~eno smer.

V filmu Grozna mama je navdih morda pri{el od ~lanov moje dru`ine, kot se to pogosto zgodi. Mati je imela nestalen odnos do pisanja, moja sestra pa pi{e svoj prvi roman. Babica si je `elela postati re`iserka, vendar se je potem odlo~ila za druga~en poklic.

Tako je bila vodilna tema samouresni~itve `e ob~utena v mojem okolju in vlivala name." (Ana Uru{adze)

"It may sound weird, but when I'm writing, I never ask myself anything. I just follow the flow and my thoughts as I put them down on paper. It's only afterwards, when the story settles down, that I understand the original source of my inspiration and why the story followed the path that it has. In Scary Mother, the source of inspiration perhaps came from members of my family, as is usually the case. My mother had an on and off relationship with writing, and my sister is a writer working on her first novel.

My grandmother also wanted to be a director but then she decided to follow a different profession. So, the main theme of self-realisation was already around me, affecting me."

(Ana Urushadze)

Ana Uru{adze

filmografija (izbor)/filmography (selection)

Rojena leta 1990 v Tbilisiju, Gruzija, kjer je do{tudirala filmsko re`ijo in posnela nekaj kratkih filmov. Lani je predstavila svoj prvi celove~erni film Grozna mama, ki je nemudoma osvojil festivalsko ob~instvo po vsem svetu.

2010 Ideas (kratki/short) 2012 One Man Loved Me (kratki/short) 2017 Sa{i{i deda (Scary Mother/Grozna mama)

Born in Georgia in 1990, Urushadze graduated in Tbilisi in film directing, and made several short films. In 2017, she presented her feature debut, Scary Mother, which immediately became a festival favourite.

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Gruzija, Estonija Georgia, Estonia 2017

Fokus Focus

Kentaver Centaur Centaur Aktan Arim Kubat

Kirgizija, Nizozemska, Nem~ija, Francija Kyrgyzstan, The Netherlands, Germany, France 2017

Film, v katerem re`iser Aktan Arim Kubat igra tudi glavno vlogo, je alegori~na pripoved o ljudeh, ki `ivijo v so`itju z `ivalmi in naravo, ujeti med vero in praznoverjem, sodobnostjo in tradicijo.

Featuring director Aktan Arym Kubat in the leading role, Centaur is an allegorical tale about people living in harmony with nature and animals, caught between faith and superstition, modernity and tradition.

Centaur je tih in skromen mo`, ki z gluhonemo `eno Maripo in njunim sinom `ivi spokojno v odro~ni kirgi{ki gorski vasici.

Sova{~ani ga spo{tujejo, a mo` globoko v sebi neguje nenavadno prepri~anje. Verjame namre~, da so Kirgizi potomci kentavrov, a ker naj bi neko~ zlorabili svojo bo`ansko mo~, so se nebesa zarotila proti njim. Centaur tako postane konjski tat, saj verjame, da lahko le samotni no~ni jezdec, ki bo prosil nebesa za odpu{~anje, pre`ene urok, ki `e stoletja pre`i nad kirgi{kim ljudstvom.

Centaur is a quiet, small and modest man, a loving father of a little boy and the husband of young, deaf-mute Maripa. Together they lead a simple life in a small village of Kyrgyzstan. Centaur is a respected man among his neighbours, but he has a belief deeply rooted inside him. He still believes that Kyrgyz people – once united and invincible thanks to their horses – have been punished by Heavens for misusing that power to achieve their mercenary goals. Centaur becomes a horse thief, as he thinks only a genuine racer riding at night and praying for forgiveness can break the curse.

"Filmov ne snemam dosledno po scenariju, ampak se zana{am na intuicijo, be`no slutnjo in nekak{en nerazlo`ljiv ~ude`.

Nepredvidljivi tok `ivljenja v~asih narekuje zaplet, ki si ga ni mogo~e izmisliti v pisarni, in vedenje resni~nih ljudi je v~asih tak{no, da ga niti izjemni poklicni igralci ne morejo upodobiti.

Teh trenutkov ni mogo~e poustvariti, lahko jih samo ujamemo."

(Aktan Arim Kubat)

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2017

"I don't shoot my films strictly according to the screenplay, but rely on my intuition, casual foresight and some inexplicable miracle to happen. Live streams of life sometimes dictate such plots that can't be thought out in an office and real people behave in a certain manner that can't be played by highly professional actors. These moments can't be reconstructed, they only can be captured." (Aktan Arym Kubat)

Aktan Arim Kubat

filmografija (izbor)/filmography (selection)

Rojen leta 1957v Kirgiziji. Po diplomi na Umetnostni akademiji v kirgi{ki prestolnici Bi{kek je sprva delal kot scenograf, nato pa je leta 1998 posnel celove~erni prvenec Deseti brat, za katerega je prejel {tevilne mednarodne nagrade, med drugimi tudi srebrnega leoparda v Locarnu. Njegov film Svet-ake je bil uvr{~en v program sklopa {tirinajst dni re`iserjev v Cannesu.

1992 1993 1998 2001 2009 2010 2017

Born in Kyrgyzstan in 1957. After graduating from the Art Academy in Bishkek, he first worked as a production designer before making his feature debut in 1998 with The Adopted Son. The film won several prizes including the Silver Leopard at Locarno. The Light Thief was selected for the Directors' Fortnight at Cannes.

re`ija/directed by Aktan Arim Kubat scenarij/screenplay Ernest Abdijaparov, Aktan Arim Kubat fotografija/cinematography Hasan Kidiralijev glasba/music Andre Matthias monta`a/editing Petar Markovi} igrajo/cast Nurali Tursunkojoev (Nurberdi), Zarema Asanaljeva (Maripa), Aktan Arim Kubat (Centaur), Taalajkan Abazova ([arapat), Ilim Kalmuratov (Sadir), Bolot Tentimi{ov (Karabaj), Maksat Mamirkanov (Tejt) producenti/producers Marc Baschet, Martin Hampel, Thanassis Karathanos, Altinai Koi~umanova, ^edomir Kolar, Yûji Sadai, Danis Tanovi}, Denis Vaslin produkcija/production ASAP Films 1 rue Alfred de Vigny 75008 Paris, France E ckolar�noos.fr format/format DCP, barvni/colour dol`ina/running time 87'

prodaja/world sales The Match Factory GmbH Domstraße 60 50668 Cologne, Germany E info�matchfactory.de

Gde tvoj dom, ulitka? (Where Is Your House, Snail?)

Sel'kincek (The Swing) Be{kempir (The Adopted Son/Deseti brat) Maimil (The Chimp) Raj dlja mami (Mothers Heaven) Svet-ake (The Light Thief) Centaur (Kentaver)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

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Fokus Focus

Kristalni labod Khrustal Crystal Swan Darja @uk

re`ija/directed by Darja @uk scenarij/screenplay Darja @uk, Helga Landauer fotografija/cinematography Carolina Costa glasba/music Andreas Lucas monta`a/editing Sergej Dmitrenko, Michal Leszczylowski igrajo/cast Alina Nasibulina (Velja), Ivan Mulin (Stepan), Anastazija Garvej (Vika), Ilja Kapanec (Kostja), Jurij Borisov (Alik), Ljudmila Razumova (Alja), Svetlana Anikej (Veljina mama/ Velya's mother), Natalja Oni{enko (Angela), Vja~eslav [akalido (Mihalji~) producenti/producers Valerij Dmitro~enko, Birgit GernbÜck, Olga Goister, Debbie Vandermeulen produkcija/production Demarsh-Film Nezavisimosti av., 98 Minsk, 220114, Belarus E dvfilm91�gmail.com & Unfound Content (USA) & Turnstyle TV LLC (USA) format/format DCP, barvni/colour dol`ina/running time 95'

Belorusija, Rusija, ZDA, Nem~ija Belarus, Russia, USA, Germany 2018

Kafkovska komedija o ameri{kih sanjah Belorusinje, ki ho~e po razpadu Sovjetske zveze postati did`ejka v Chicagu. @ivahen prvenec z barvito, stilizirano vizualno podobo, ki je postal tudi prvi beloruski kandidat za oskarja.

Minsk, devetdeseta, ~as analognih telefonov in avdio kaset.

Svobodomiselna Velja, ki s svojim prijateljem prireja zabave v skladi{~u kipov sovjetskih voditeljev, se v beloruski prestolnici ne po~uti najbolje, a njen odhod v ZDA zaplete izmi{ljena telefonska {tevilka, ki jo je navedla na vlogi za vizum in zaradi katere se znajde v vasi sredi ni~esar. Kristalni labod se tako kot njegova junakinja ne uklanja pri~akovanjem. Re`iserka je del mlade generacije filmarjev, ki posku{ajo z ustvarjanjem novega vala prese~i poseganje dr`ave v umetni{ko ustvarjanje.

festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary 2018, Odesa/Odessa 2018 (velika nagrada/ Grand-Prix)

"Po padcu `elezne zavese je vsa moja generacija zbe`ala v iskanju bolj{ega `ivljenja. Neko~ sem na ulicah Manhattna sre~ala soseda in nih~e od naju ni bil pretirano presene~en. Tako obi~ajno je bilo emigrirati. /.../ Film se navezuje na resni~ne zgodbe iz devetdesetih, ko pretoka informacij ni omogo~al svetovni splet. Zdele so se zelo osebne; resni~no sem ob~udovala te `enske, ki so se odpravile na divje iskanje svojih ameri{kih sanj.

Devetdeseta leta so bila obdobje velikanskih sprememb za Belorusijo in tudi norih prilo`nosti. Vedno se mi je zdelo, da o njem ni bilo dovolj refleksije." (Darja @uk)

prodaja/world sales Loco Films Rue Sedaine 42 75011 Paris, France E info�loco-films.com

Post-Soviet Minsk, 1990s, a time of analogue phones and audio cassettes. Young Velya has a law degree, but dreams of going to the US and becoming a professional DJ. Belarus is suffering an economic crisis with high unemployment, and its citizens receive payment in kind. In order to obtain a visa and fulfil her dream, Velya needs to provide evidence at the embassy that she has a permanent job. But then fortuitous events lead her to a backwater village where her destiny interlocks for a time with a local family planning a wedding.

"As the Iron curtain fell, my whole generation rushed out to seek a better life. Once I ran into my neighbour on the streets of Manhattan and neither of us were particularly surprised. It was so common to emigrate. /.../ The setup in this story is based on real stories from the 90s, when the flow of information was not facilitated by internet. They felt very personal; I really admired these women who went on a wild chase after their American Dream. The 90s were a time of tremendous change for Belarus but also a time of wild opportunities. I always thought we haven't reflected on it enough." (Darya Zhuk)

Darja @uk

filmografija/filmography

Beloruska re`iserka Darja @uk je filmsko ustvarjanje odkrila med {tudijem ekonomije na Harvardu, kar je popolnoma spremenilo njeno `ivljenje. Do danes so njene filme prikazali in pogosto tudi nagradili na festivalih po vsem svetu, kot so SXSW, Palm Springs, Listapad in Odesa. Prizadeva si, da bi pripovedovala zabavne zgodbe o mo~nih, druga~nih in osupljivih `enskah. @ivi in ustvarja med Minskom in Brooklynom.

2011 2014 2015 2015 2018

The Belarusian-born director Darya Zhuk discovered filmmaking while studying economics at Harvard and it derailed her life. Today, her films have been shown and often awarded at numerous film festivals around the world, including SXSW, Palm Springs, Listapad and Odessa. She strives to tell fun stories about strong, diverse, and shocking women. She lives and works between Minsk and Brooklyn.

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A Kafkaesque comedy about a Belarusian girl's dream to earn a living as a professional DJ in Chicago. This energetic debut from director Darya Zhuk, pulsating to the rhythm of 90s house, was the first Belarusian candidate for Best Foreign Language Academy Award.

The Air Inside Her (kratki/short) Eat the Tourists (kratki/short) What Doesn't Kill You (kratki/short) The Real American (kratki/short) Khrustal (Crystal Swan/Kristalni labod)

Fokus Focus

Mehko blato Es esmu {eit Mellow Mud - Vimba Renars

Latvija Latvia 2016 re`ija/directed by Renars Vimba scenarij/screenplay Renars Vimba fotografija/cinematography Arnar Thorisso monta`a/editing Georgios Mavropsaridi igrajo/cast Elina Vaska (Raja/Raya), And`ejs Janis Lilientals (Robis), Edgars Samitis (u~itelj/teacher Oskars), Zane Jan~evska (socialna delavka/ social worker Daina), Ruta Birgere (babica/grandmother), Oskars Viksne (Jurka) producentki/producers Alise Gelze, Aija Berzin produkcija/production Tasse Film Ciekurkalna 4 1026 Riga, Latvia E alise�tasse.lv format/format DCP, barvni/colour dol`ina/running time 105'

Celove~erni prvenec obetavnega latvijskega re`iserja gledalcem razkriva nezavidljivo usodo otrok, ki so jih star{i v `elji po bolj{em `ivljenju pustili v gospodarsko propadajo~i domovini, hkrati pa izpostavlja mo~ in odlo~enost odra{~ajo~ega dekleta, da uresni~i svoje sanje.

Sedemnajstletna Raja in njen mlaj{i brat Robis se na odmaknjenem pode`elju po~utita prepu{~ena sama sebi. O~e je umrl, mama je od{la v Veliko Britanijo in je ni~ kaj pretirano ne zanima, kako je z njenima otrokoma, babica, pri kateri `ivita, pa grozi, da bo prodala svojo hi{o. Njena nepri~akovana smrt za otroka pomeni novo breme. ^e bi kdo izvedel, bi ju lo~ili in uporni{kega Robisa poslali v rejni{ko dru`ino. Zatorej babico skrivaj pokopljeta in odgovorno prevzameta skrb za gospodinjstvo, pri tem pa pred socialno delavko in okolico skrbno prikrivata svojo samostojnost.

"Pomislil sem, kako to, da smo v Latviji posneli toliko filmov o tistih, ki odhajajo, in kako tam shajajo. Ugotovil sem, kako nepo{teno je, da nimamo filma, ki bi pokazal drugo stran medalje – kaj se dogaja s tistimi, ki ostajajo. To je bilo izhodi{~e."

- Vimba) (Renars

In rural Latvia, 17-year-old Raya and her younger brother Robis have endured a traumatic childhood. Following the death of their father, they have had to cope with being abandoned by their mother. Living with an acidic grandmother they lead a life with no comforts and precious little affection. The alternative to a harsh existence in a run-down farmhouse is being sent to an orphanage. When her grandmother unexpectedly dies Raya is forced to become protector of her younger brother. To prevent the pair being taken into care she buries her grandmother in a neighbouring field.

"I thought to myself, how come that in Latvia we have done so many films about those who leave and how they cope with life there and I realised it is kind of unfair that we don't have any film that would look at the other side of the coin – what is happening with those who stay. That was the starting point.”

- Vimba) (Renars

- Vimba Renars

filmografija (izbor)/filmography (selection)

Rojen leta 1975 v Rigi, Latvija. Filmsko re`ijo in fotografijo je {tudiral na latvijski Akademiji za kulturo v Rigi in na Balti{ki filmski in medijski {oli v Talinu, Estonija. Njegovi {tudentski in kratki filmi, {e posebej dokumentarci, prepri~ajo z `ivostjo svojih likov in so bili nagrajeni na {tevilnih mednarodnih festivalih. Mehko blato je njegov celove~erni igrani prvenec.

2006 A Touch (kratki/short) 2006 Alle (Alle!) (kratki dok./short doc.)

2007 Man patik kas rita bus (I Like What’s Gonna Be Tomorrow) (kratki dok./short doc.)

2008 Tetis lelle (Daddy Doll) (kratki/short) 2009 Mols (Breakwater) (kratki/short) 2016 Es esmu {eit (Mellow Mud/Mehko blato)

Born in 1975 in Riga, Latvia, Vimba studied film directing and cinematography at the Latvian Academy of Culture in Riga and the Baltic Film and Media School in Tallinn. From his student work to his awarded short films he has been showing a knack for storytelling and bringing characters to life. Mellow Mud is Vimba’s first fiction feature film.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2016 – Generacija 14plus/ Generation 14plus (kristalni medved za najbolj{i film/Crystal Bear for Best Film), Karlovi Vari/Karlovy Vary 2016, Sarajevo 2016, Seattle 2017

In his strong debut feature, promising Latvian director Renars Vimba tackles the delicate theme of coming-of-age and a young girl's fight for what's left of her family.

prodaja/world sales Pluto film Schliemannstraße 5, Quergebäude D–10437 Berlin, Germany E info�plutofilm.de

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Fokus Focus

Reka Ozen The River Emir Baigazin

re`ija/directed by Emir Baigazin scenarij/screenplay Emir Baigazin fotografija/cinematography Emir Baigazin glasba/music Justyna Banaszczyk monta`a/editing Emir Baigazin igrajo/cast @algas Klanov (Aslan), @asulan Userbajev (Jerlan), Ruslan Userbajev (Turlan), Bagdaulet Sagindikov (Murat), Sultanali @aksibek (Kenjeh), Kuandik Kistikbajev (o~e/father), Aida Ilijaskizi (mati/mother), Erik Tazabekov (Kanat) producent/producer Emir Baigazin produkcija/production Emir Baigazin Production 176 al Farabi Avenue 050023 Almaty, Kazakhstan E kino1984�inbox.ru & Madants (Poland) & Norsk Filmproduksjon AS (Norway) format/format DCP, barvni/colour dol`ina/running time 108' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2018, Toronto 2018

prodaja/world sales Films Boutique Köpenicker Str. 184 10997 Berlin, Germany E contact�filmsboutique.com

Kazahstan, Poljska, Norve{ka Kazakhstan, Poland, Norway 2018

Zgodba o veliki spremembi, ki jo na kazahstansko pode`elje prinese digitalna tehnologija, in o posledicah, ki jih ima za tamkaj{nje obi~aje.

A story about threats to the stability of life in rural Kazakhstan posed by digital technology and how intrusions from the outside world affect age-old customs.

Dru`ina s petimi sinovi `ivi v oddaljeni vasici v Kazahstanu.

V skladu s tamkaj{njo tradicijo mora najstarej{i sin, trinajstletni Aslan, postati o~etov namestnik, ki opravlja vse njegovo delo.

Mladeni~ nekega dne svoje mlaj{e brate odpelje k reki. Njihova sre~a je nepopisna, a za vedno zasuka tok njihovega `ivljenja.

V vas kmalu prispe skrivnostni Kanat, ki otrokom poka`e svojo ra~unalni{ko tablico z igrami in tako preme{a karte v dru`inski hierarhiji. Naenkrat Kanat postane vodja otro{ke skupnosti – oseba, ki otrokom odpira vrata v svet.

A family with five sons lives in a remote Kazakh village. In accordance with the Eastern tradition, the eldest son Aslan (13) becomes the father's deputy, in charge of all the work, and delegating the tasks. One day Aslan takes his brothers to the river for a swim – a moment of deep happiness. From then on, life is different. And when Kanat, an unknown cousin, unexpectedly arrives at the village, the structured life of the family begins to fall apart. Suddenly it's Kanat with his gadget who becomes the new leader, opening a door to the outer world.

"Dru`ina `ivi v izolaciji – po odlo~itvi despotskega o~eta, ki `eli otroke za{~ititi pred svetom in njegovimi sku{njavami. Film Reka nima dolo~enega ~asovnega okvirja. Vsak od filmskih likov pooseblja dolo~eno idejo: najstarej{i otrok Aslan sanja o ustvarjanju raja za svoje sorojence, vendar podle`e lastnim sku{njavam. Kanat, gost iz mesta, s svojo po`eljivo pripravo v izolirani svet dru`ine vstopi kot sodobni Prometej, ki predstavlja samo civilizacijo." (Emir Baigazin)

"The family lives in isolation – the decision of the despotic father, who wants to shield his children from the world and its temptations. The River is not set in any specific time period.

Each of the film's characters personifies a certain idea: Aslan, the oldest of the siblings, dreams of creating a paradise for his brothers, but yields to his own temptations. With his coveted gadget, Kanat, their guest from the city, arrives to the family's secluded world as a new Prometheus who represents the civilization itself." (Emir Baigazin)

Emir Baigazin

filmografija/filmography

Rojen 1984 v Kazahstanu. Med letoma 2002 in 2004 je v Aktobeju delal kot gledali{ki igralec, potem se je vpisal na {tudij filmske in televizijske re`ije na kazahstanski Narodni akademiji za umetnost. Leta 2007 je sodeloval na Azijski filmski akademiji v Pusanu, Ju`na Koreja, 2008 pa na Talent Campusu Berlinala.

2006 2007 2008 2009 2013 2016 2017 2018

Born in Kazakhstan in 1984, Baigazin worked as a theatre actor in Aktobe in Kazakhstan between 2002 and 2004 before studying film and television directing at the Kazakh National Academy of Arts. In 2007 he participated in the Asian Film Academy in Pusan, South Korea, and was also an alumnus of the 2008 Berlinale Talent Campus.

90

Cheerful and Offended Steppe (kratki/short) Fatshedder (kratki/short) Jean's Video Diary (kratki/short) Uroki garmonii (Harmony Lessons/U~ne ure harmonije) Ranenij angel (The Wounded Angel) Hotite posmotret' na zvezdi? (Would You Like to Stargaze?)

Ozen (The River/Reka)

Ekstravaganca Extravaganza

Ederlezi vzhaja Ederlezi Rising Ederlezi Rising Srbija Serbia 2018

Lazar Bodro`a

re`ija/directed by Lazar Bodro`a scenarij/screenplay Dimitrije Vojnov, Zoran Ne{kovi} (zgodba/story) fotografija/cinematography Kosta Glu{ica glasba/music Nemanja Mosurovi} monta`a/editing Milena Z. Petrovi} igrajo/cast Sebastian Cavazza (Milutin), Stoya (Nimani), Maru{a Majer (socialna in`enirka/social engineer) producenta/producers Aleksandar Proti}, Jonathan English produkcija/production Mir Media Group Mitrovi}ev prolaz 3 a 11000 Beograd, Serbia T +381 11 245 8291 format/format DCP, barvni/colour dol`ina/running time 85'

Stilizirana, v bli`njo prihodnost postavljena znanstvenofantasti~na zgodba prevpra{uje razmerje mo{kega in `enske, ~loveka in stroja.

A stylised sci-fi film set in the near future, Ederlezi Rising examines the relationship between man and woman, and between man and machine.

Multinacionalka Ederlezi za svojo prvo misijo na Alfa Kentavro najame Milutina, v na novo reformirani Sovjetski zvezi iz{olanega kozmonavta slovanskega rodu. Na misiji ga spremlja Nimani, androidka, programirana za izpolnjevanje vseh njegovih `elja.

Potem ko se naveli~a njenega vnaprej programiranega vedenja in neskon~nega sosledja razli~nih spolnih igric, se Milutin odlo~i, da bo Nimani ponovno zagnal in ponastavil tako, da bo delovala le na osnovi izku{enj, ki jih je pridobila z njim. Nimani je zdaj precej bolj podobna ~loveku, a obenem postaja vse bolj depresivna in destruktivna. Milutin se zave, da Nimani zdaj ne ogro`a le misije, ampak tudi samo sebe.

Ederlezi recruits Milutin, a Slav cosmonaut trained in the newly reformed futuristic Soviet Union and accompanies him with Nimani, a female android programmed to fulfil Milutin's desires.

Bored by an endless succession of sexual games and preprogrammed behaviours, Milutin decides to reboot Nimani and make her work based on custom settings generated from her experiences with him. That way he turns her into something closest to a person that an android can ever become. However, upon becoming a person, Nimani gets depressed and destructive.

Milutin realizes that Nimani's behaviour may not only jeopardize their mission but also lead to self-destruction.

"@eleli smo povedati metafori~no, sanjavo ljubezensko zgodbo in ustvariti vizualno ekspresiven film. /.../ V svojem jedru je film globoko melodramati~en in vsebuje veliko ne`nosti, ki je v nasprotju s filmskim distopi~nim kontekstom, togo prihodnostjo, spominjajo~o na radikalizirano razli~ico kitajskega korpokomunizma." (Lazar Bodro`a)

"Our idea was to tell a metaphorical, dreamy love story and to make a visually expressive film. /.../ The film is essentially deeply melodramatic in its core and carries a great deal of tenderness that is in antagonism with the dystopian context in which the film unfolds, a rigid future resembling a radicalized version of Chinese corpo-communism." (Lazar Bodro`a)

Lazar Bodro`a

filmografija/filmography

Rojen leta 1983 v Beogradu. Diplomiral je na tamkaj{nji Fakulteti za uporabne umetnosti. Ederlezi vzhaja je njegov celove~erni prvenec.

2010 Uber Life: An Interactive Movie (kratki/short) 2018 Ederlezi Rising (Ederlezi vzhaja)

festivali, nagrade (izbor)/ festivals, awards (selection) FEST Beograd 2018 (najbolj{i doma~i film/Best Film in the National Program, najbolj{i re`iser/ Best Director, najbolj{a igralka/Best Actress, najbolj{i igralec/Best Actor)

prodaja/world sales Arclight Films 8730 Wilshire Blvd, Suite 508 Beverly Hills, CA 90211, USA E ryan�arclightfilms.com

Born in 1983 in Belgrade. He graduated from the Faculty of Applied Arts in Belgrade. Ederlezi Rising is his debut feature film.

93

Ekstravaganca Extravaganza

Mandy Mandy Mandy ZDA, Belgija USA, Belgium 2018

Panos Cosmatos re`ija/directed by Panos Cosmatos scenarij/screenplay Panos Cosmatos, Aaron StewartAhn fotografija/cinematography Benjamin Loeb glasba/music Jóhann Jóhannsson monta`a/editing Brett W. Bachman, Paul Painter igrajo/cast Nicolas Cage (Red Miller), Andrea Riseborough (Mandy Bloom), Linus Roache (Jeremiah Sand), Ned Dennehy (Swan), Olwen Fouéré (Marlene), Richard Brake (kemik/ the chemist), Bill Duke (Caruthers), Line Pillet (Lucy), Clément Baronnet (Klopek), Alexis Julemont (Hanker), Stephan Fraser (Lewis), Ivailo Dimitrov (Skratch), Hayley Saywell (Sis) producenti/producers Nate Bolotin, Daniel Noah, Adrian Politowski, Josh C. Waller, Elijah Wood produkcija/production Umedia Avenue Louise 235 1050 Bruxelles, Belgium E info�umedia.eu & Spectrevision (USA) & XYZ Films (USA) format/format DCP, barvni/colour dol`ina/running time 121'

Izliv `anrskega ~uda{tva z izjemno igralsko izvedbo Nicholasa Cagea in eno zadnjih stvaritev filmske glasbe prezgodaj preminulega skladatelja Jóhanna Jóhannssona.

festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2018, Cannes 2018 – [tirinajst dni re`iserjev/Directors' Fortnight

prodaja/world sales XYZ Films 3103–B S. La Cienega Blvd.

90016 Los Angeles, CA, USA E info�xyzfilms.com

Leto 1983. Red Miller je lesar, ki skupaj z izbranko Mandy Bloom `ivi v oddaljeni gozdni ko~i. Dekle nekega dne pade v o~i blaznemu voditelju kulta, ki zbere skupino motociklisti~nih demonov, da bi ustrahovali zaljubljen par. Vendar pa Mandy med mu~enjem umre in Redu se v trenutku poru{i `ivljenje, ki ga je tako skrbno gradil. Popolnoma zlomljen zdaj `ivi samo {e za en cilj: s svojim samostrelom in sekiro bo izsledil huligane ter se jim ma{~eval za storjena grozodejstva.

1983. Red Miller is a lumberjack who lives in a secluded cabin in the woods. His artist girlfriend Mandy Bloom spends her days reading fantasy paperbacks. Then one day, she catches the eye of a crazed cult leader, who conjures a group of motorcycle-riding demons to kidnap her. Red, armed with a crossbow and custommade axe, stops at nothing to get her back, leaving a bloody, brutal pile of bodies in his wake.

"Klju~ni koncept je bil film ma{~evanja, ki se osredinja na ma{~evano osebo. @elel sem, da ima ta lik pri tem glavno vlogo, da njen duh dejanja tega mo{kega vodi iz nesmrtne razse`nosti.

Skorajda kot bi se preobrazila v prvinskega bo`jega duha, ki ga opolnomo~i." (Panos Cosmatos)

"The core concept of the film was to create a revenge movie that orbited around the person being avenged. I wanted her to be integral to that, that her spirit is guiding this man's action from an immortal plain. It's almost as if she has transmogrified into a primal god spirit that is empowering him." (Panos Cosmatos)

Panos Cosmatos

filmografija/filmography

Rojen leta 1974 v Rimu. Med odra{~anjem v predmestju Vancouvra se je obsedeno zanimal za heavy metal, umi{ljeno umetnost, znanstveno fantastiko in grozljivke. Po materini smrti je za{el v obdobje samouni~enja, iz njega pa iz{el odlo~en, da posname film. Leto zatem je nastal njegov prvenec Beyond the Black Rainbow. Mandy je njegov drugi celove~erec.

2010 Beyond the Black Rainbow 2018 Mandy

Born in Rome in 1974, Cosmatos grew up in the suburbs of Vancouver, where he obsessed over the minutiae of heavy metal, fantasy art, science fiction and horror films. After his mother's passing, he descended into a vortex of self-destruction and emerged having made the decision to make a movie or die trying. A year later, his first feature, Beyond the Black Rainbow, was born. Mandy is his second feature.

94

A genre-bending extravaganza, Mandy features Nicholas Cage giving the performance of a lifetime and the final completed score by the Icelandic composer Jóhann Jóhannsson who died before his time.

Ekstravaganca Extravaganza

Ma{~evanje Revenge Revenge Francija, Belgija France, Belgium 2017

Coralie Fargeat

Neizprosen pu{~avski boj na `ivljenje in smrt, skozi katerega se ranjena lepotica na novo rodi kot simbol ma{~evanja za mo{ko izkori{~anje.

Leading a fierce life-and-death struggle in the middle of a desert hell, Revenge's wounded heroine comes back to life to wreak vengeance on her male assailers.

Trije bogati poro~eni mo{ki se zberejo na tradicionalnem vsakoletnem lovu v pu{~avskem kanjonu. Tokrat je eden od njih s sabo pripeljal mlado ljubimko, privla~no Jen, ki hitro vzbudi pozornost preostalih dveh mo{kih. Posku{ata se polastiti Jen in ko ju ta zavrne, se osvajanje hitro stopnjuje v nasilje. Mo{ka dru`ba dekle po krutem napadu prepusti smrti sredi pu{~ave.

Vendar pa se Jen vrne v `ivljenje, mo{ka zabava pa se s tem dokon~no prelevi v neizprosno ma{~evanje.

Jen joins her married lover, Richard, for a romp at his secluded desert villa before his annual hunting vacation. However, when his leering pals arrive, they're a far cry from Richard's millionaireAdonis charms, and they feel entitled to make their own advances on Jen and ignore her rejections. After being violently assaulted and left for dead in the middle of the desert, Jen comes back to life, and the men's hunting game is transformed into a ruthless manhunt.

"Ma{~evanje je zgodba o levitvi neke `enske. Mladi, lahkomiselni in naivni Loliti, ki je predmet mo{kega po`elenja in jo mo{ki vidijo samo kot spolni objekt. Objekt, ki mora zadovoljiti njihovo po`elenje. ^etudi to pomeni smrt. ^eprav junakinja fizi~no ne umre, umre simbolno. Telesno ranjena, ljubka in neznatna lutka se vnovi~ rodi kot ostra, zverinska in neizprosna `enska. S katero nih~e ne more manipulirati ali je zlorabljati." (Coralie Fargeat)

"Revenge is the story of the sloughing of a woman. A young, frivolous and naïve Lolita, subject to men's desires and whom men only see as a sexual object. An object that has to satisfy their desire. Even if it means dying. Even though she doesn't die physically, the character dies symbolically. Physically wounded, this sweet and inconsequential doll will be reborn as a harsh, beastly and unforgiving woman. One that no one can manipulate or abuse." (Coralie Fargeat)

Coralie Fargeat

filmografija/filmography

Rojena 1976 v Parizu. Film je {tudirala na {oli La Fémis. Poklicno pot je za~ela kot asistentka re`ije pri filmih ameri{ke produkcije, snemanih v Franciji. Njen kratki prvenec Telegram je osvojil trinajst festivalskih nagrad, prav tako uspe{en pa je bil njen kratki film Reality+. Ma{~evanje je njen prvi celove~erni film.

2003 2008 2014 2018

re`ija/directed by Coralie Fargeat scenarij/screenplay Coralie Fargeat fotografija/cinematography Robrecht Heyvaert glasba/music Robin Coudert monta`a/editing Jerome Eltabet, Coralie Fargeat, Bruno Safar igrajo/cast Matilda Lutz (Jen), Kevin Janssens (Richard), Vincent Colombe (Stan), Guillaume Bouchède (Dimitri), Jean-Louis Tribes (Roberto) producenti/producers Marc-Etienne Schwartz, Jean-Yves Robin, Marc Stanimirovic produkcija/production M.E.S. Productions 69, rue de Turenne 75003 Paris, France E market�mesproductions.fr & Monkey Pack Films (France) & Charades (France) & Logical Pictures (France) & Nexus Factory (Belgium) & Umedia (Belgium) format/format DCP, barvni/colour dol`ina/running time 108' festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2017, Sundance 2018

prodaja/world sales Charades yohann�charades.eu

Le télégramme (The Telegram) (kratki/short) Les fées cloches (miniserija/mini series) Reality+ (kratki/short) Revenge (Ma{~evanje)

distribucija/distribution Blitz film & video distribution d.o.o.

Dolenjska cesta 258 1291 [kofljica E marketing�blitz-film.com

Born in 1976 in Paris, Fargeat studied at La Fémis. She began her career as an assistant director on American productions in France. Her debut short film, The Telegram, won 13 awards at multiple film festivals, and her sci-fi short film Reality+ won several awards on the festival circuit. Revenge is her first feature film.

95

Ekstravaganca Extravaganza

Smrt v enem kadru Kamera o tomeru na!

One Cut of the Dead Japonska Japan 2017

Shin'ichirô Ueda re`ija/directed by Shin'ichirô Ueda scenarij/screenplay Shin'ichirô Ueda fotografija/cinematography Takeshi Sone glasba/music Kairu Nagai monta`a/editing Shin'ichirô Ueda igrajo/cast Yuzuki Akiyama, Takuya Fujimura, Ayana Gôda, Takayuki Hamatsu, Manabu Hosoi, Hiroshi Ichihara, Satoshi Iwagô producentka/producer Kôji Ichihashi produkcija/production ENBU Seminar E ichihashi�enbuzemi.co.jp format/format DCP, barvni/colour dol`ina/running time 96' festivali, nagrade (izbor)/ festivals, awards (selection) Fantaspoa Brazilija/Brasil 2018 (najbolj{i film/Best Film), Tokio/Tokyo 2017, Karlovi Vari/Karlovy Vary 2018

prodaja/world sales Third Window Films 18B The Vale London, NW11 8SG, UK E adam�thirdwindowfilms.com

Komi~na grozljivka, ki dokazuje, da lahko od mrtvih vstane celo `anr zombijevske apokalipse. Duhovita satira nizkoprora~unskega snemanja filmov, ki lahko postane zelo zapleteno, ko so nastopajo~i pijani, {e bolj pa, ko se za~nejo zares spreminjati v zombije.

A comedy horror film proving that even the zombie apocalypse genre can be raised from the dead. A satire of low-budget filmmaking, which gets very complicated when the cast gets drunk, and even more, when they start becoming real zombies themselves.

Majhna filmska ekipa z zme{anim re`iserjem na ~elu v zapu{~eni tovarni, kjer je med drugo svetovno vojno japonska vojska izvajala poskuse o`ivljanja trupel, snema poceni film. Ne mine dolgo, ko se igralci in ekipa za~nejo spreminjati v resni~ne `ive mrtvece.

Re`iser, pravi perfekcionist, kljub temu vztraja pri snemanju filma v neprekinjenem kadru, ki ga televizijska postaja predvaja v `ivo. Obseden je z ne~im, kar ima za "pristno umetnost", zato v nastali zme{njavi teka naokrog in {e naprej snema, medtem pa zombijevska epidemija kosi vsepovprek. Kot ka`e, je re`iser za popoln posnetek pripravljen `rtvovati vse.

A small crew with a director – who has a screw loose – is shooting a low-budget zombie flick in an abandoned factory where the Japanese Army experimented with reanimation of dead bodies during WWII. It doesn't take long before the actors and crew start changing into real live corpses themselves. The perfectionist director refuses to cancel the shoot and, obsessed by a fixation on "true art", he runs about filming while the zombie epidemic claims one victim after another. He seems willing to sacrifice it all to get the perfect shot.

"Ta film je bil res problemati~en, z njim so bile same te`ave! /.../ V scenariju smo na~rtovali, da gre izmi{ljeni ekipi v filmu vse narobe, a v resnici je {lo, ko smo snemali v enem kadru, narobe {e veliko ve~. V nekem trenutku kamero po{kropi kri. Videti je, kot da smo to hoteli, v resnici pa se je zgodilo po nesre~i, zato je nekdo res moral obrisati kamero. Stvari, za katere smo hoteli, da gredo narobe, in tiste, ki so {le narobe nena~rtovano, smo v filmu zdru`ili. Mislim, da ne bi bilo tako razburljivo, ~e bi vse predvideli."

(Shin'ichirô Ueda)

"This film was so hard, it was nothing but trouble trying to make it! /…/ In the script we had planned some things to go wrong for the fictional crew, but on top of that we had a lot of other things that went wrong while we were filming the one shot. There's a moment where blood splashed on the camera, it looked planned but that happened completely by chance and someone really had to wipe it off the screen. We had planned for some things to go wrong, and then we had other things go wrong in reality, so we ended up amalgamating the two into the film. I think if we had scripted everything then it wouldn't have been as exciting."

(Shin'ichirô Ueda)

Shin'ichirô Ueda

filmografija (izbor)/filmography (selection)

Rojen leta 1984 v Kjotu na Japonskem. Leta 2010 je po kon~anem {tudiju ustanovil filmsko produkcijsko hi{o Panpokopina. Prizadeva si snemati filme, ki jih je zabavno gledati, in Smrt v enem kadru je odli~en primer.

2014 2014 2014 2018

Born in 1984 in Kyoto, Japan. After graduating, in 2010, Ueda established the Panpokopina film company. He strives to make entertaining films and his latest work, One Cut of the Dead, is a perfect example.

96

Kanojo no kokuhaku ranking (kratki/short) Last Wedding Dress (kratki/short) Take 8 (kratki/short) Kamera o tomeru na! (One Cut of the Dead/Smrt v enem kadru)

Ekstravaganca Extravaganza

Suspiria Suspiria Suspiria Italija, ZDA Italy, USA 2018

Luca Guadagnino

Poustvaritev kultne grozljivke Daria Argenta izpod rok italijanskega re`iserja Luce Guadagnina s sijajno glasbeno podlago Thoma Yorka in Dakoto Johnson v glavni vlogi.

Featuring Thom York's stunning original score and starring Dakota Johnson, Luca Guadagnino's Suspiria is a reimagining of an iconic horror film by Dario Argento.

Mlada ameri{ka plesalka Susie Bannion v sedemdesetih letih prispe v Berlin, da bi sodelovala na avdiciji za svetovno znano plesno {olo Helene Markos. Dekle na preizkusu s svojim surovim darom osupne glavno koreografinjo Madame Blanc. Ko glavna plesalka v nastajajo~i predstavi do`ivi zlom in ob tem direktorico {ole obto`i ~arovni{tva, Susie prevzame njeno vlogo. Pritisk pred premiero se stopnjuje, Susie in Madame Blanc pa se mo~no zbli`ata, kar drugim daje slutiti, da Susiejin polo`aj v {oli presega vlogo obi~ajne plesalke. V zunanjem svetu se znani psihoanalitik medtem loti preiskave tema~nih skrivnosti plesne {ole.

S pomo~jo ene od plesalk odkrije skrite podzemne sobane, kjer ga pri~akajo grozljiva razkritja ...

Young American dancer Susie Bannion arrives in 1970s Berlin to audition for the world-renowned Helena Markos Dance Company, stunning the troupe's famed choreographer, Madame Blanc, with her raw talent. When she vaults to the role of lead dancer, Olga, the previous lead, breaks down and accuses the company's female directors of being witches. As rehearsals intensify for the final performance of the company's signature piece, Susie and Madame Blanc grow strangely close, suggesting that Susie's purpose in the company goes beyond merely dancing.

Meanwhile, an inquisitive psychotherapist trying to uncover the company's dark secrets enlists the help of another dancer, who probes the depths of the studio’s hidden underground chambers, where horrific discoveries await.

"Proces vpliva filma na mojo du{o se verjetno mora {e kon~ati, kar se pogosto zgodi ob sre~anju z resnim umetni{kim delom, kot je Suspiria. Mislim, da moj film nekako predstavlja nekatere plasti moje vzgoje, prvi ogled filma, razmi{ljanje o njem in obsedenost z njim. /.../ Nagibam se k mi{ljenju, da je moj najbolj oseben film, zaradi tega, kako se je z njim vse za~elo.« (Luca Guadagnino)

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2018, Sitges 2018, London 2018

"The process of how that movie influenced my psyche probably has yet to stop, which is something that happens often when you bump into a serious work of art like Suspiria. I think the movie I made, in a way, represents some of the layers of my upbringing, watching the movie for the first time and thinking of it and being obsessed by it. /.../ I like to think that it's my most personal movie, because of the way that everything started with it."

(Luca Guadagnino)

Luca Guadagnino

filmografija/filmography

Rojen leta 1971 v Palermu, Italija. Otro{tvo je pre`ivel v Etiopiji. Z diplomskim delom o Jonathanu Demmu je na rimski univerzi La Sapienza diplomiral iz zgodovine in filmske kritike. Njegov celove~erni prvenec The Protagonists je bil predvajan na filmskem festivalu v Benetkah. Od tedaj so njegove filme zaznamovala pogosta sodelovanja z britansko igralko Tildo Swinton.

1999 2002 2003 2005 2009 2013 2015 2017 2018

Born in 1971 in Palermo, Italy, Guadagnino spent his childhood in Ethiopia.

He graduated in history and film criticism from Rome's La Sapienza University, with a thesis on film director Jonathan Demme. His feature debut, The Protagonists, screened at the Venice Film Festival. Since then his films have often featured British actress Tilda Swinton.

re`ija/directed by Luca Guadagnino scenarij/screenplay Dario Argento, Daria Nicolodi, David Kajganich fotografija/cinematography Sayombhu Mukdeeprom glasba/music Thom Yorke monta`a/editing Walter Fasano igrajo/cast Dakota Johnson (Susie Bannion), Tilda Swinton (Madame Blanc, Dr. Josef Klemperer), Mia Goth (Sara), Angela Winkler (ga./Ms. Tanner), Ingrid Caven (ga./Ms. Vendegast), Elena Fokina (Olga), Sylvie Testud (ga./Ms. Griffith), Renée Soutendijk (ga./Ms. Huller), Christine Leboutte (ga./Ms. Balfour), Fabrizia Sacchi (Pavla), Malgorzata Bela (mama/ mother), Jessica Harper (Anke), Chloë Grace Moretz (Patricia Hingle) producenti/producers Luca Guadagnino, David Kajganich, Francesco Melzi d'Eril, Marco Morabito, Gabriele Moratti, William Sherak, Silvia Venturini Fendi produkcija/production Frenesy Film Piazza Premoli 3 26013 Crema, Italy E office�frenesyfilm.com & Videa (Italy) & First Sun (Italy) & Memo Films (Italy) & Mythology Entertainment (USA) format/format DCP, barvni/colour dol`ina/running time 152'

prodaja/world sales FilmNation Entertainment 150 W. 22nd street, 9th floor 10011 New York, USA E nyoffice�filmnation.com

The Protagonists Tilda Swinton: The Love Factory (kratki dok./doc. short) Mundo civilizado (dok./doc.)

Melissa P. Io sono l'amore (I Am Love) Bertolucci on Bertolucci A Bigger Splash (Nemirna obala) Call Me By Your Name (Pokli~i me po svojem imenu) Suspiria

distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

97

Ekstravaganca Extravaganza

Vrhunec Climax Climax Gaspar Noé

re`ija/directed by Gaspar Noé scenarij/screenplay Gaspar Noé fotografija/cinematography Benoît Debie monta`a/editing Denis Bedlow, Gaspar Noé igrajo/cast Sofia Boutella (Selva), Romain Guillermic (David), Souheila Yacoub (Lou), Kiddy Smile (Daddy), Claude-Emmanuelle Gajan-Maull (Emmanuelle), Giselle Palmer (Gazelle), Taylor Kastle (Taylor), Thea Carla Schott (Psyche), Sharleen Temple (Ivana), Lea Vlamos (Lea), Alaia Alsafir (Alaya), Kendall Mugler (Rocket), Lakdhar Dridi (Riley), Adrien Sissoko (Omar), Mamadou Bathily (Bats) producenti/producers Brahim Chioua, Richard Grandpierre, Richard Grandpierre, Edouard Weil produkcija/production Rectangle Productions 26 rue Danielle Casanova 75002 Paris, France E contact�rectangleproductions. com & Wild Bunch (France) & Les Cinémas de la Zone (France) & ESKWAD (France) & KNM (Monaco) & Arte France Cinéma (France) & Artemis Productions (Belgium) & VICE International (USA) format/format DCP, barvni/colour dol`ina/running time 95'

Po resni~nih dogodkih posneta ekstravaganca Gasparja Noeja, polna divjih re`iserskih prijemov in sijajne elektronske glasbe devetdesetih let.

Based on real-life events, Gaspar Noé's dizzily extravagant and formally audacious Climax is set to throbbing 1990s electronic dance music.

Leto 1996. Skupina francoskih plesalcev se odpravlja na turnejo po ZDA. Pred odhodom se {e zadnji~ zberejo na poslovilni zabavi v zapu{~enem skladi{~u. Na ta posebni ve~er si rasno in spolno me{ani plesalci v cvetu `ivljenja dajo du{ka in se brez zavor zabavajo ob ritmih sodobne elektronske glasbe. Po obi~ajnem za~etku ve~era pa se nekateri ~lani skupine za~nejo po~utiti nenavadno. Plesalci nehote postanejo del popolnega kaosa, ki izbruhne dale~ od o~i preostalega sveta.

It's 1996. The film focuses on the experiences of dancers in a remote hangar, assembled in a troupe that's scheduled to tour France and the US. They’re all in their early twenties, a racially and sexually diverse crew, bursting with hipster street confidence. The troupe begins an all-night celebration that turns nightmarish as the dancers discover they've been pounding cups of sangria laced with potent LSD. Tracking their journey from jubilation to delirium and anarchy, Noé observes crushes, rivalries, and violence amid a collective psychedelic derangement.

"Od nekdaj me je navdu{evalo dogajanje, v katerem se nenadoma raz{irita kaos in anarhija, najsi gre za uli~ne pretepe, z mamili poglobljeno izku{njo {amanskega obreda ali zabave, na katerih udele`enci pod vplivom prevelikih odmerkov alkohola kolektivno izgubijo nadzor. Enako velja za moj pristop k snemanju. Najbolj u`ivam, ko nimam scenarija in vnaprej ne pripravim ni~esar ter dogajanju ~im bolj pustim, da se razvije vpri~o mene, kot pri dokumentarcu. Ko vmes pose`e kaos, sem celo bolj sre~en, v vedenju, da bo obrodil podobe resni~ne silovitosti, bli`je resni~nosti kot gledali{~u." (Gaspar Noé)

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2018 – [tirinajst dni re`iserjev/Directors' Fortnight, Sydney 2018, Odesa/Odessa 2018, Melbourne 2018, Toronto 2018

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E obensalah�wildbunch.eu distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

"I've always been fascinated by situations where chaos and anarchy suddenly spread, whether street brawls, psychoactivelly enhanced shamanistic sessions, or parties at which the revellers lose control collectively under the influence of excessive alcohol.

The same applies to my film shoots. My greatest pleasure lies in having written and prepared nothing in advance, and as much as possible allowing situations to happen in front of me, as in a documentary. And whenever chaos sets in, I'm even happier, knowing that it will generate images of real power, closer to reality than to theatre.' (Gaspar Noé)

Gaspar Noé

filmografija (izbor)/filmography (selection)

Rojen leta 1963 v Buenos Airesu, Argentina. Sin argentinskega intelektualca in umetnika Luisa Felipe Noéja. Njegova dru`ina je v sedemdesetih emigrirala v ZDA, nato pa se za stalno naselila v Franciji, kjer Gaspar `ivi in ustvarja {e danes. Poznan je po svojih kontroverznih filmih, pre`etih s spolnostjo in nasiljem. Poro~en je z bosansko-francosko re`iserko Lucile Had`ihalilovi}.

1998 2002 2009 2015 2018

Born in 1963 in Buenos Aires, Argentina. Son of Argentinian intellectual and artist Luis Felipe Noé. He immigrated with his family to the US in the 1970s, and then took up permanent residence in France, where Gaspar is still based today. He is known for his controversial films suffused with sexuality and violence. He is married to a Bosnian-French director, Lucile Had`ihalilovi}.

98

Francija, Belgija, ZDA France, Belgium, USA 2018

Seul contre tous (I Stand Alone/Sam proti vsem) Irréversible (Irreversible/Nepovratno) Enter the Void (V praznino) Love (Ljubezen) Climax (Vrhunec)

Kinobalon Kinobalon

Gordon in Paddy Gordon och Paddy Gordon and Paddy

za otroke od 5. leta for children aged 5+ v {ved{~ini s pripovedovanjem v sloven{~ini in Swedish with Slovenian narration

[vedska Sweden 2017

Linda Hambäck

re`ija/directed by Linda Hambäck scenarij/screenplay Jan Vierth, Ulf Nilsson (knjiga/book), Gitte Spee (knjiga/book) animacija/animation Johan Sonestedt, Veronica Wallenberg, Anders Worm fotografija/cinematography Gabriel Mkrttchian glasba/music Martin Landquist pripovedovanje v sloven{~ini/ Slovenian narration Katja Pre{a producentki/producers Linda Hambäck, Lina Jonsson produkcija/production Lee Film Brännkyrkagatan 13 118 20 Stockholm, Sweden E linda�leefilm.se format/format DCP, barvni/colour dolžina/running time 62'

Animirana gozdna pravljica o sodelovanju in zaupanju v skupnosti. Film bo v `ivo intepretiran v sloven{~ini.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlin Generation 2018, TIFF Kids Toronto 2018, Buenos Aires CFF 2018, Kristiansand CFF 2018, BUFF Malmö 2018, Ciné Jeune de'l Aisne 2018

Filmmaker Linda Hambäck creates an engrossing forest world filled with magical creatures in this charming tale of friendship.

In{pektor Gordon, lokalni {ef policije, `e vrsto let skrbi za prebivalce gozda in jih {~iti pred nevarno lisico. Kmalu se namerava upokojiti, zato i{~e pomo~nika. Paddy, pametna mi{ka z dobrim vohom, se zdi prava kandidatka. Skupaj morata re{iti Gordonov zadnji primer – skrivnostno izginotje veveri~nih le{nikov. Jih je morda vzela lisica? Gordon in Paddy bosta kmalu ugotovila. Film je narejen po knji`nih predlogah {vedskega Roalda Dahla Ulfa Nilssona s {~epcem skandinavske detektivke.

The forest's police chief Gordon is about to retire and he needs to find a new assistant. Paddy, a clever mouse with a great sense of smell, seems to be the right candidate. Together they have to solve Gordon's last case – the mystery of squirrel's missing nuts.

Could it be the fox that took them? Gordon and Paddy will soon find out. Based on the book series by Ulf Nilsson, with a sly nod to the Scandinavian detective fiction genre.

"Zahajam v majhno knjigarno na vogalu. Ob~asno kupim nekaj knjig in tako sem zasledila zgodbe o detektivu Gordonu in Paddyju. Pritegnile so me ilustracije, ko pa sem za~ela brati zgodbo z naslovom Prvi primer, sem se zares zaljubila v pripovedni ton. Ulf Nilsson zgodbo pripoveduje s posebno umirjenostjo. Svetuje, naj bomo prijazni in prijateljski med seboj, obenem pa je knjiga resni~no napeta – `eli{ izvedeti, kak{en bo razplet." (Linda Hambäck)

"I always go to this little bookshop around the corner. Every once in a while I buy some books and that's how I found stories about Detective Gordon and Paddy. I really liked the illustrations, but when I started to read one called The First Case, I really fell in love with the tone. There is certain calm in the way Ulf Nilsson tells this story. He advises us to be nice to each other and friendly, but at the same time it's a real page-turner – you want to understand what is happening." (Linda Hambäck)

Linda Hambäck

filmografija/filmography

Rojena 1974 v Seulu. V filmski in televizijski industriji dela `e od leta 1988, ko je kon~ala {tudij na Akademiji za film, radio, televizijo in gledali{~e v Stockholmu. Sodelovala je pri snemanju TV-serij, kratkih filmov in oglasov, od 2004 pa dela predvsem na podro~ju animacije. Gordon in Paddy je njen prvi animirani celove~erec.

2013 2014 2016 2017

Fighting Spirit (kratki dok./short doc.)

Tänk om... (kratki/short) Bajsfilmen – Dolores och Gunellens värld (kratki/short) Gordon och Paddy (Gordon and Paddy/Gordon in Paddy)

prodaja/world sales New Europe Film Sales Czerniakowska 73/79 00–718 Warsaw, Poland E ewa�neweuropefilmsales.com

Born in Seoul, in 1974, she has worked in the film and TV industry since 1998, after finishing her studies at the University College of Film, Radio, Television and Theatre in Stockholm. She has a background in TV series, shorts and commercials. Since 2004, she has worked mainly in animation.

Gordon and Paddy is her first animated feature.

101

Kinobalon Kinobalon

Kapitan Morten in kraljica pajkov Captain Morten and the Spider Queen Captain Morten and the Spider Queen

za otroke od 7. leta for children aged 7+ v {ved{~ini s slovenskimi

v angle{~ini s slovenskimi podnapisi podnapisi in English with Slovenian subtitles

in Swedish with Slovenian subtitles

Kaspar Jancis, Henry Nicholson

Estonija, Belgija, Irska, Velika Britanija Estonia, Belgium, Ireland, Great Britain 2018

re`ija/directed by Kaspar Jancis, Henry Nicholson scenarij/screenplay Kaspar Jancis, Mike Horelick animacija/animation Märt Kivi, Sam Turner glasba/music Pierre Yves Drapeau producenti/producers Arvo Nuut, Kerdi Oengo, Andrus Raudsalu produkcija/production Nukufilm Niine 11 10414, Tallinn, Estonia E nukufilm�nukufilm.ee & Áras Telegael (Ireland) & Calon (GB) & Grid Animation (Belgium) & Umedia (GB) format/format DCP, barvni/colour dol`ina/running time 76' festivali, nagrade (izbor)/ festivals, awards (selection) Annecy 2018, Animafest 2018, Cardiff 2018, New Horizons 2018

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Pomorska dogodiv{~ina v pomanj{anem svetu `u`elk.

Desetletni de~ek Morten `ivi v obalnem kraju. O~e je kapitan ladje Vix in pogosto na poti, mama pa se je, kot pravi Mortenov o~e, spremenila v pingvina. Morten razume, da to ne more biti res.

Sam je zagrizen izdelovalec ladjic, z Elisabeth pa pripravljata tudi predstavo. V predstavi nastopajo~i {~urek s ~ude`nim prahom Mortena pomotoma pomanj{a in naenkrat postane kapitan svoje ladjice, ki pluje po poplavljeni kavarni. Tu se sre~a s skrivnostno kraljico pajkov in drugimi ~arobnimi `u`elkami, ki prevzamejo ladjo v svoje roke …

A maritime adventure from the shrunken perspective of insects.

Morten is a 10-year-old dreamer. His father sails the seas on his ship, The Salamander. Morten is taken care of by Aunt Anna, who is an evil task-master. Morten plays with a toy boat with insects for crew. One day, Morten is magically shrunk and awakes on his toy boat! He is thrilled to be a Captain, but the bugs are as big as he is and they eerily resemble adults from his "real" world. A storm is coming and the toy ship is sinking. Morten must save the ship and return to the real world.

"Osrednje sporo~ilo filma je, da moramo slediti svojim sanjam, ne glede na preizku{nje in sku{njave na poti." (Kaspar Jancis)

"My main message is that you should stay true to your dream despite the individuals who want to steal it from you and despite the temptation to exchange it for golden nails." (Kaspar Jancis)

Kaspar Jancis, Henry Nicholson

filmografija (izbor)/filmography (selection)

K. J.: Rojen leta 1975 v Talinu, Estonija. Deluje kot glasbenik, animator in re`iser. Animacijo je {tudiral na Umetni{ki in medijski fakulteti v Turkuju na Finskem.

Born in 1975 in Tallinn, Estonia. A musician, animator and director, Jancis graduated in animation from the Turku Arts and Media School in Finland.

K. J.: 2002 Weitzenbergi tänav (kratki/short) 2004 Frank ja Wendy (Frank in Wendy) 2009 Krokodill (kratki/short) 2012 Villa Antropoff (kratki/short) 2016 Piano (kratki/short) 2018 Captain Morten and the Spider Queen (Kapitan Morten in kraljica pajkov)

H. N.: @e ve~ kot deset let dela kot medijski tehnik v {tevilnih produkcijah doma in po svetu. Nazadnje je sodeloval pri animiranju Jamskega ~loveka (Nick Park) v studiu Aardman. Sodeluje tudi pri tv-produkciji, reklamah in glasbenih spotih.

Nicholson has over 10 years experience as a stop motion animator, working on a wide range of productions, from childrens' TV series, commercials, music videos and film. Most recently he was an animator on Early Man (Nick Park, Aardman Animations).

102

H. N.: 2018 Captain Morten and the Spider Queen (Kapitan Morten in kraljica pajkov)

Kinobalon Kinobalon

Pi{kujeve sanje Halkaa Pichku's Dream

za otroke od 7. leta for children aged 7+ v {pan{~ini s slovenskimi podnapisi v hinduj{~ini in angle{~ini s slovenskimi in Spanish with Slovenian podnapisi subtitles in Hindi and English with Slovenian subtitles

Indija India 2018

Nila Madhab Panda

re`ija/directed by Nila Madhab Panda glasba/music Shankar Mahadevan, Loy Mendonsa, Ehsaan Noorani monta`a/editing Archit D Rastogi igrajo/cast Tathastu (Pi{ku/Pichku), Ranvir Shorey (o~e/father), Paoli Dam (mama/mother), Kumud Mishra (prijatelj/friend) producenti/producers Roshni Nadar Malhotra, Akshay Parija, Nila Madhab Panda produkcija/production Shiv Nadar Foundation Corporate Towers, SEZ Campus Plot No.3A, Sector 126 Noida – 201303 India E amy�shivnadarfoundation.org format/format DCP, barvni/colour dol`ina/running time 110'

Komedija o otro{kih sanjah v barakarskem naselju v Indiji.

A comedy about a young boy's dream in an Indian slum.

Pi{ku `ivi v Indiji, natan~neje v enem od starej{ih barakarskih naselij v Delhiju, kjer ni teko~e vode in kanalizacije. Ljudje opravljajo veliko potrebo kar na `elezni{kih tirih. Devetletni fant je srame`ljiv in njegove najve~je sanje so, da bi lahko kakal na strani{~u, ki si ga zami{lja kot miren, ~ist in pisano obarvan prostor. Odlo~i se, da bo sledil svojim sanjam in naredil vse, kar je v njegovi mo~i, da dobi svoje strani{~e. Za za~etek bosta morala s prijateljem zaslu`iti za strani{~no {koljko ...

Pichku lives in a shabby slum in Delhi, with no running water or sewage system. People defecate out in the open on railway tracks. The 9-year-old-boy is shy and dreams of his own toilet, a quiet, clean and colourfully decorated place. He will follow his dreams and spare no effort to get a toilet for his home with the help of his new friend.

"Gre za film o iztrebkih. /.../ To je najte`ji film, kar sem jih posnel. /.../ S filmom prina{am nekaj preprostega o otrokovih pravicah, ~esar ob~instvo morda {e ni videlo. Medtem ko se ves svet tako hitro vrti, se moramo ustaviti pri ~isto osnovnih potrebah.

Pi{kujeve sanje so le en primer tak{ne potrebe. /.../ Samo upam lahko, da tovrsten film za otroke u~inkuje globlje od le zabave – da morda v otro{kemu gledalcu zbudi njegovo notranjo zavest."

(Nila Madhab Panda)

"It's a film about shit. /.../ This was the most difficult film I ever made. /.../ I'm bringing something simple that people haven't seen yet regarding children's rights. While the world is going so fast, we should recognise simple, basic needs. Pichu's Dreams only sets one example. /.../ I can only hope that this type of children's cinema is effective not only in terms of entertainment, but also in making a child aware of its inner consciousness.”

(Nila Madhab Panda)

Nila Madhab Panda

filmografija/filmography

Rojen leta 1973 v Subarnapurju, Indija. @e s prvencem I am Kalam je po`el kar 24 mednarodnih nagrad. Zanimajo ga v klasi~ni bollywoodski maniri izpeljane socialne in pedago{ke teme, s katerimi `eli prispevati k bolj{i ozave{~enosti gledalcev. Ukvarja se s trenutnimi potrebami Indije po pitni vodi in dostopu do infrastrukture, pri tem pa je kriti~en tudi do ljudstva, ki denar za obnovo porablja druga~e.

2002 2005 2010 2012 2014 2015 2017 2018

Born in 1973, in Subarnapur, India. His debut feature, I am Kalam, received as many as 24 international awards. Employing the classical Bollywood style of filmmaking, he deals with social and educational issues, aiming to raise public awareness. His works address the critical shortage of drinking water and denied access to infrastructure in India, whilst being critical also of the local people who misspend the funds allocated for renovation.

festivali, nagrade (izbor)/ festivals, awards (selection) FIFEM 2018, Montreal 2018 (glavna nagrada `irije/Grand Prix), Kinolub 2018 (glavna nagrada `irije/Grand Prix), Zlin 2018, Tel Aviv 2018

Swajaldhara (TV) Climate's First Orphans (kratki dok./doc. short) I Am Kalam Jalpari: The Desert Mermaid Babloo Happy Hai Kaun Kitney Paani Mein Dark Wind Halkaa (Pichku's Dream/Pi{kujeve sanje)

prodaja/world sales Siffcy Jitendra Mishra C/O Smile Foundation V-11, Level One, Green Park Extn.

New Delhi – 110016, India E smilefilms.india�gmail.com

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Kinobalon Kinobalon

100% Coco 100% Coco 100% Coco

za otroke od 8. leta for children aged 8+ v sloven{~ini v nizozem{~ini s slovenskimi podnapisi in Slovenian in Dutch with Slovenian subtitles

Nizozemska The Netherlands 2017

Tessa Schram re`ija/directed by Tessa Schram scenarij/screenplay Anne-Louise Verboon fotografija/cinematography Luuk Zonnenberg monta`a/editing Joost van de Wetering glasba/music Roel Gommans, Jules Reivers igrajo/cast Nola Kemper (Coco), Valentijn Avé (Bruno), Merel de Zwart (Amanda), Firy Beuk (Jada), Thom Vendrik (Vince) producenta/producers Tom de Mol, Marcel de Block produkcija/production Tom de Mol Productions PO Box 76866 1070 KD Amsterdam, The Netherlands E erik�tdmp.nl format/format DCP, barvni/colour dol`ina/running time 88' festivali, nagrade (izbor)/ festivals, awards (selection) Cinekid Amsterdam 2017 (nagrada ob~instva/Audience Award), Leeds Young Film 2018, Kristiansand CFF 2018

prodaja/world sales Tom de Mol Productions PO Box 76866 1070 KD Amsterdam, The Netherlands E erik�tdmp.nl

Najstnica Coco skrivoma vodi izjemno popularen modni vlog in se postopoma u~i, kako biti stoodstotno ona sama, brez bojazni, da mora ustrezati pri~akovanjem okolice.

Teenage Coco secretly keeps a highly popular fashion vlog and learns that she just has to be herself without worrying about conforming to societal expectations.

Trinajstletna Coco obo`uje modo in ni ~udno, da se obla~i ustvarjalno. Sanja, da bi postala znana modna oblikovalka. V {oli jo zmerjajo, da se obla~i kot klovn, saj kombinira rabljena obla~ila z leopardjimi {kornji in ~rtastimi nogavicami. V televizijski oddaji objavijo vlogersko modno tekmovanje. Coco izkoristi prilo`nost, se prijavi kot vlogerka pod anonimnim imenom Style Tyger in ~ez no~ postane velika uspe{nica. Vsi v {oli se spra{ujejo, kdo se skriva za tem imenom. Bo Coco uspelo postati modna ikona? Bo pritegnila pozornost so{olca Bruna? Postopoma se nau~i, da je najpomembneje, da je stoodstotno ona sama.

13-year-old Coco is fond of fashion and wears her own eccentric style. She dreams of becoming a famous style icon. But on the first day of school, when she is called Coco the Clown for the way she is dressed, she decides to leave her vintage dresses, leopard boots and striped socks at home and go through life at school as a 'grey mouse'. Anonymously, she runs a fashion vlog as the 'Style Tiger', which becomes a big hit. Would she become a famous style icon after all? And would she finally draw the attention of Bruno, that quirky boy at school? Slowly but surely, Coco learns that she just has to be herself.

Tessa Schram

filmografija/filmography

Rojena 1988 v Amstelveenu na Nizozemskem. Je igralka in re`iserka. Leta 2012 je na Nizozemski filmski in televizijski akademiji diplomirala s filmom Lost and Found.

2011 2012 2014 2015 2016 2017

Born in 1988 in Amstelveen, Holland, Schram is a director and actress. In 2012 she graduated in directing with Lost and Found from the Dutch Film and Television Academy (NFTA).

104

Sammie is zoek (kratki/short) Lost and Found (kratki/short) Pijnstillers Dagboek van een callgirl (TV-serija/TV series) Kappen!

100% Coco

Kinobalon Kinobalon

Vojne igrice Krig The War Game

za otroke od 11. leta for children aged 11+ v franco{~ini s slovenskimi

[vedska Sweden 2017

Goran Kapetanovi}

Ti lahko znanje strate{kih iger in zgodovine vojskovanja pride prav, ko se znajde{ sredi resni~nega spora med skupinama otrok?

Enajstletni Malte se z mamo preseli v novo blokovsko sosesko.

Skupini otrok sta sprti zaradi posedovanja skate parka v zapu{~eni stavbi. Malte se odlo~i, da bo uporabil svoje izurjeno strate{ko razmi{ljanje in re{il nesoglasja. Sta obe vodji sprtih skupin resni~ni vodji? Je to spor ali `e prava vojna? Lahko Maltejevo posredovanje stvari {e poslab{a? Napeta drama, ki jasno poka`e, kako resni so lahko prepiri med otroki in kako nestabilna so zavezni{tva v njih, predvsem pa kak{ne so lahko re{itve.

"Z Vojnimi igricami sem ustvaril film, kakr{nega bi `elel gledati s svojimi otroki. Film, ki premore pustolov{~ino in humor, a tudi resnost, ki odpira mo`nost razmisleka in pogovora. Kdo sem jaz v okviru skupine, kdo si `elim biti? Si upam in se postavim za tisto, v kar verjamem? Kdo bo odlo~il, kaj je res in kaj je prav? Je nekaj vedno prav ali narobe? Na katero stran naj se postavim in ali se moram zares vedno izre~i za ali proti?" (Goran Kapetanovi})

v {ved{~ini s slovenskimi in angle{kimi podnapisi podnapisi inSwedish Frenchwith with Slovenian in Slovenian and English subtitles) subtitles re`ija/directed by Goran Kapetanovi} scenarij/screenplay Jannik Tai Mosholt fotografija/cinematography Ita Zbroniec-Zajt glasba/music Nathan Larson monta`a/editing Andreas Nilsson igrajo/cast Meja Björkefall (Mira), Esmeralda Brandt Kinberg (Tina), Milan Dragisic (u~itelj/teacher), Loke Hellberg (Malte), Alfred Kolgjini (Fritz), Knut Körsell (William), Malin Levanon (Emma) producenta/producers Per Janérus, Rodrigo Villalobos produkcija/production Copenhagen Bombay Sweden / CB Sverige Markvardsgatan 14 S-113 53 Stockholm, Sweden E rodrigo.villalobos� copenhagenbombay.com format/format DCP, barvni/colour dol`ina/running time 84'

Can a good head for strategy help when you land in the middle of a conflict between two gangs of children?

When 11-year-old Malte moves with his mother to a new neighborhood, he quickly finds himself in a feud between two rivaling gangs. His cunning and skill helps him find a place in this new world. But his methods also serve to escalate the conflict, and it's not long until war is inevitable.

"The War Game is a movie I'd like to see with my children. A film that has adventure, humour, as well as serious moments, a film that opens up possibilities of reflection and discussion. Who I am within a group, who I want to be. Do I have the nerve to stand up for what I believe in? Who's to decide what's true and what's right? Are some things always right or always wrong? Which side do I take and do I always have to choose sides?"

(Goran Kapetanovi})

Goran Kapetanovi}

filmografija/filmography

Rojen leta 1974 v Sarajevu, odra{~al je na [vedskem. Tam je diplomiral na Stockholmski dramski akademiji in zatem re`iral nekaj kratkih filmov.

Ve~ priznanj je prejel za kratki film Kiruna-Kigali, med drugimi nagrado za najbolj{i kratki film v Torontu, bil pa je tudi nominiran za oskarja. Za svoj prvi celove~erni film Moja teta v Sarajevu je prejel {vedsko nacionalno nagrado za najbolj{o re`ijo.

2004 2004 2007 2012 2016 2016 2017

En familj (kratki/short) Flickan som ville fira jul året om (kratki/short) Memfis: The Wind Up (kratki/short) Kiruna-Kigali (kratki/short) Min faster i Sarajevo (Moja teta v Sarajevu) Refugee 532 (kratki/short) Krig (The War Game/Vojne igrice)

prodaja/world sales Copenhagen Bombay Sweden, CB Sverige Markvardsgatan 14 S-113 53 Stockholm, Sweden E rodrigo. villalobos�copenhagenbombay.com

Born in 1974 in Sarajevo, grew up in Sweden. Kapetanovi} graduated from the Stockholm Academy of Dramatic Arts and has directed several award winning shorts including Kiruna-Kigali, awarded for Best Short at Toronto IFF and shortlisted for the Academy Awards. He won the 2017 Swedish National Film Award for Best Director with My Aunt In Sarajevo.

105

Kinobalon Kinobalon

Wallay Wallay Wallay

za otroke od 11. leta for children aged 11+ v franco{~ini s slovenskimi v franco{~ini in diuli s slovenskimi in podnapisi angle{kimi podnapisi in French in French andwith DyulaSlovenian with Slovenian and subtitles English subtitles

Berni Goldblat

Francija, Burkina Faso France, Burkina Faso 2017

re`ija/directed by Berni Goldblat scenarij/screenplay David Bouchet, Berni Goldblat fotografija/cinematography Martin Rit glasba/music Vincent Segal monta`a/editing Laurent Senechal igrajo/cast Makan Nathan Diarra (Ady), Ibrahim Koma (Jean), Hamadoun Kassogue (Amadou), Josephine Kabore (Mame), Mounira Kankole (Yéli) producent/producer Nicolas Anthome produkcija/production Bathysphere 40, Rue des Petites Ecuries 75010 Paris, France E festivals�bathysphere.fr format/format DCP, barvni/colour dol`ina/running time 84' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2017, Fespaco 2017, Cannes Ecrans Junior 2017, FIF Namur 2017, BFI London 2017, Cinekid 2017 (nagrada `irije/Jury Award), Festival del Cinema Africano 2017 (nagrada ob~instva/Audience Award), Dunaj/Vienna 2018 (nagrada Unicef/Unicef Award), Innsbruck 2018 (nagrada mladinske `irije/Youth Jury Award), Banglade{/Bangladesh ICFF 2018 (najbolj{i film/Grand Prix), EFA 2018 (nagrada mladega ob~instva/Young Audience Award)

prodaja/world sales Bathysphere 40, rue des petites écuries 75010 Paris, France E festivals�bathysphere.fr

Dobitnik evropske nagrade mladega filmskega ob~instva.

Mladi iz 46 evropskih mest so za svoj najljub{i evropski film izbrali zgodbo o trinajstletnem Adyju, ki se iz ju`ne Francije odpravi na po~itnice k stricu v Burkina Faso.

Ady z nahrbtnikom na rami, telefonom in francoskim rapom v slu{alkah prispe v odmaknjeno vasico v Burkina Fasu, kjer `ivi njegov strogi stric Amadou. Hitro se mora navaditi na trdo va{ko `ivljenje in se mu prilagoditi. Kmalu ugotovi, da so njegove materialne te`ave nepomembne v primerjavi s povezanostjo v dru`ini. Fant se postopoma nau~i sprejeti svoje pozabljene korenine.

Winner of the EFA 2018 Young Audience Award. Swiss director Berni Goldblat depicts everyday life in Burkina Faso through the eyes of 13-year-old Ady. Ady lives in France, but his father has decided to send him off on a long journey to relatives in West Africa. The boy is super excited at the prospect of a laid-back vacation in his father's country of origin, but when he finally gets there his uncle's welcome is cold and reproachful. The other members of the family are happy to see this visitor from afar and try to conciliate but Ady soon realises that his trip will not provide much in the way of relaxation.

"Nisem `elel posneti komedije, ki vseskozi vzbuja smeh, niti drame, ki izvablja samo jok. Vseeno sem hotel delo s treznim ozra~jem. Obenem pa ne preve~ glasbe ali dialoga. Preve~ govorjenja in razlaganja ve~inoma razblini ~arobnost filma. @elel sem, da je trezen in realisti~en. /.../ Wallay je film o odra{~anju, o odpiranju sebe svetu." (Berni Goldblat)

"I didn't want to make a comedy, where you laugh all the way through, and I didn't want to do a drama where you just want to cry, but I wanted to have something that is sober in tone. I also didn't want to have too much music or too much dialogue.

I think too much talking and explaining destroys the magic of cinema most of the time. I wanted to make it sober and realistic. /.../ Wallay is a coming of age film about opening yourself to the world." (Berni Goldblat)

Berni Goldblat

filmografija (izbor)/filmography (selection)

Rojen leta 1970 v Stockholmu na [vedskem, zadnjih dvajset let `ivi in ustvarja v Burkina Fasu. Na obmo~ju Zahodne Afrike je produciral in re`iral `e precej filmov, ki se pogosto ukvarjajo z ve~kulturnostjo, medkulturnimi razlikami in odra{~anjem. V igralski zasedbi rad ne{olane igralce zdru`uje z izku{enimi profesionalnimi.

2001 Doni-doni b'an bela - Nous avons tous une part de responsabilité (dok./doc.)

2009 Ceux de la colline (dok./doc.)

2015 Ciné Guimbi souvenirs (kratki dok./short doc.)

2017 Wallay

Born in 1970 in Stockholm, Goldblat has lived and worked in Burkina Faso for the past twenty years. In West Africa he has produced and made several films dealing with multiculturalism, intercultural differences and coming of age. He tends to cast both experienced actors and nonactors.

106

Posve~eno Tribute

Christian Petzold Christian Petzold Tina Poglajen ^e so "berlinsko {olo" izumili kritiki in ne filmarji sami, gotovo dr`i, da si ustvarjalci, ki jih ime opisuje (med njimi sta tudi Thomas Arslan in Valeska Grisebach), vendarle delijo oblikovno domiselnost, politiko, pa tudi tematiko, s katero se v svojih filmih ukvarjajo.

V filmih nem{kega re`iserja Christiana Petzolda hitro opazimo, da je ena izmed njih razdeljena nem{ka zgodovina. Njegov film Yella je tretji v "trilogiji duhov", ki jo sestavljata {e Duhovi in Notranji mir, v svoji obravnavi Nem{ke demokrati~ne republike pa deluje kot ostro nasprotje filmom, kot je @ivljenje drugih (Das Leben der Anderen, 2006) Floriana Henckla von Donnersmarcka, ki je nastal leto prej in postal mednarodna uspe{nica.

Namesto da bi se v Yelli z olaj{anjem veselil, da je vzhodnonem{kega obdobja in Stasija konec, Petzold sodobne (zahodne) nem{ke poslovne prakse naslika kot stanje razpadanja dru`benih in moralnih norm, Zahod pa kot duhovno pu{~o. Lahko bi rekli, da film kritiko kapitalizma oblikuje na podlagi njegove podobe, ki jo v filmskem smislu posku{a izumiti na novo.

Mimogrede, denar ima v Petzoldovih zgodnej{ih filmih nasploh glavno vlogo v `ivljenju likov – v Jerichowu, denimo, nastopi kot ~etrti ~len ljubezenskega trikotnika.

Barbara je ob svojem nastanku pomenila prelomnico v smislu reprezentacij Vzhoda; v nasprotju z Yello pa je tudi ume{~ena v ~as Nem{ke demokrati~ne republike. NDR je v filmu o zdravnici, ki jo za kazen po{ljejo v bolni{nico na pode`elju, vseeno prikazana nenavadno toplo, v svetlih barvah: film bi lahko brali celo kot ljubezensko zgodbo na vasi. S tak{nim prikazom NDR film dekonstruira konvencionalno filmsko paradigmo dvojnih upodabljanj storilcev in `rtev ter ustvari ve~plastno podobo zgodovine, ki prevladujo~i diskurz o Vzhodu in Zahodu postavlja pod vpra{aj.

S Phoenixom, njegovim najbolj metafori~nim filmom dotlej, je Petzold opustil povojno razdeljenost ter se lotil obdobja pred tem – nem{ke zgodovine nacizma – in vojne krivde. Kabaretski pevki, Judinji, po tem ko pre`ivi koncentracijsko tabori{~e, operirajo izmali~eni obraz, nato pa se vrne k svojemu mo`u. Ta jo je morda izdal gestapu, morda pa tudi ne – a zdaj je ne prepozna in jo zaposli kot igralko, ki naj bi igrala njegovo `eno; Phoenix neposredne posledice holokavsta tako prika`e skozi nadrealisti~no me{anico filmskih `anrov.

Z zadnjim filmom Tranzit je Petzold nastopil {e veliko bolj oblikovno drzno. Film je njegova tretja "zgodovinska drama" zapored, ki dedi{~ino preteklosti v sedanjosti prika`e s preprosto, a osupljivo konceptualno domislico: zgodbo istoimenske knji`ne predloge Anne Seghers (1942) o politi~nem beguncu, ki skozi okupirano Francijo i{~e prehod v Ameriko, postavi v dana{nji Marseille. Petzold v filmu tako potegne pretresljive vzporednice med preteklostjo in sedanjostjo, dogajanjem med drugo svetovno vojno in dana{njo begunsko krizo ter vzponom nacizma – in to tako, da ga ve~ini zgodovinskih dram uspe izraziti zgolj metafori~no.

Morda se zdi nenavadno, da gre za ustvarjalca, ki naj bi v nekem smislu zavrnil snemanje eksplicitno politi~nih filmov. Petzold s svojim filmskim ustvarjanjem ponovno odpira vpra{anje o tem, kaj sploh je politi~no – ali politi~na kritika lahko deluje tudi skozi preoblikovanje narave filmskih podob? Zdi se, da zanj "politi~na umetnost" ni tak{na, da bi gledalcu nekaj sporo~ala, temve~ da jo odlikuje posebna estetska narava dela. Prav gotovo ga tak{na ustvarjalna dr`a uvr{~a med najpomembnej{e in najzanimivej{e sodobne nem{ke re`iserje.

Although the term 'Berlin School' was coined by the critics and not the filmmakers constituting the group, these directors (including Thomas Arslan and Valeska Grisebach) display a common formal inventiveness, a unifying belief, as well as shared motifs running through their works.

A major theme explored by German director Christian Petzold is divided Germany. In its treatment of the German Democratic Republic, Yella, the third film in Petzold's 'ghosts trilogy' that includes Ghosts and The State I Am In, stands in stark contrast to other films addressing this topic, most notably Florian Henckel von Donnersmarck's The Lives of Others (Das Leben der Anderen, 2006), which received widespread acclaim.

Instead of finding a cause for rejoicing in the fall of the East Germany and its State Security Agency, Petzold's Yella represents the (West) German business community as a world of decaying social and moral norms, and the West as a spiritual desert. One could maintain that the film's criticism of capitalism is based on its representation, a portrayal reinvented through cinematic means.

Unlike Yella, Barbara – breaking new ground with an alternative representation of the East – is set in the German Democratic Republic. The film about a physician transferred to a small town as punishment for her transgression is an unusually warm and brightly coloured depiction of East Germany: it could also be perceived as a rural love story. Such representation of the GDR deconstructs the conventional cinematic paradigm of dual representations of perpetrators and victims, creating a multifaceted historical perspective that challenges the prevailing East-West discourse.

In Phoenix, his metaphorically most resonant work, Petzold abandoned post-war Germany in favour of the preceding period – German Nazism – and war guilt. After managing to survive a concentration camp, a Jewish cabaret singer undergoes a facial reconstruction surgery and then decides to return to her husband, who may – or may not – have been the one to betray her to the Gestapo. He does not recognise her and hires her to impersonate his wife; through a surrealistic blend of film genres, Phoenix thus explores the short-term effects of the Holocaust.

Petzold's latest offering displays an even greater formal daring.

His third 'historical drama' in a row, Transit retrieves historical memory with a simple yet surprising conceptual solution: he relocates the story based on the eponymous book by Anna Seghers (1942) about a political refugee seeking passage to North America in Nazi-occupied France to modern-day Marseille.

Petzold thus draws achingly moving parallels between the past and the present, tracing connections between cinematic narrative and the contemporary rise in neo-Nazism and anti-refugee sentiment – recontextualising history in a way that most historical dramas manage to navigate only metaphorically.

It might seem unusual that Petzold is a director who has renounced, to a degree, making explicitly political films. Petzold's filmography reopens the debate on the political – can political criticism be expressed by re-inventing the nature of cinematic representation? It seems that to Petzold 'political art' is not one that communicates something to a viewer but one that reflects a special aesthetic tendency. This creative creed ranks him among the most prominent and compelling contemporary German filmmakers.

109

Posve~eno Tribute

Notranji mir Die innere Sicherheit The State I Am In Nem~ija Germany 2000

Christian Petzold re`ija/directed by Christian Petzold scenarij/screenplay Christian Petzold, Harun Farocki fotografija/cinematography Hans Fromm glasba/music Stefan Will monta`a/editing Bettina Böhler igrajo/cast Julia Hummer (Jeanne), Barbara Auer (Clara), Richy Müller (Hans), Bilge Bingül (Heinrich), Katharina Schüttler (Paulina), Bernd Tauber (Achim) producent/producer Florian Koerner von Gustorf produkcija/production Schramm Film Koerner & Weber Buelowstrasse 90 10783 Berlin, Germany E info�schrammfilm.de format/format 35 mm, barvni/color dol`ina/running time 100' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2000, Solun/ Thessaloniki 2000 (najbolj{i scenarij/ Best Screenplay), Rotterdam 2001

Bistroumna kombinacija najstni{ke romance, zrele drame in paranoi~ne politi~ne srhljivke, pripovedovana z zornega kota petnajstletnice.

A lucid melange of teenage romance, hard-hitting drama and paranoid political thriller, told from the perspective of a fifteen-year-old girl.

Jeanne je najstnica, ki odra{~a na portugalskih pla`ah, kamor sta se njena star{a zatekla pred petnajstimi leti. Nekdanja terorista RAF-a tam `ivita v ilegali, nekega dne pa se odlo~ita odpotovati v São Paulo v Brazilijo, kjer bi si lahko uredila legalno bivanje in za`ivela obi~ajno `ivljenje. Zaradi spleta okoli{~in – zastra{evanja nem{ke vlade, ki preganja ilegalne priseljence – se je dru`ina prisiljena vrniti v Nem~ijo. Tam pa se Jeanne zaljubi. Njen stik z obi~ajnim zunanjim svetom preti paranoi~ni hi{ici iz kart, ki sta jo zgradila njena star{a. Tako ne bodo nikoli prispeli do Brazilije.

Jeanne is a teenager who grew up along the beaches of Portugal, for the last 15 years her German parents' place of refuge. Former political activists and members of Red Army Faction, who are wanted for terrorism, they live underground. One day her parents decide to travel from Le Havre to Sao Paulo, to lead an ordinary legal life in Brazil. Jeanne's parents have to return to Germany by force of circumstances, an anxious and repressive Germany that is hunting illegal immigrants. There, Jeanne falls in love. The puberty of their increasingly rebellious daughter imposes a threat on the parents' security, a paranoid house of cards. This way, they will never get to Brazil.

"Pri filmu mi je v{e~, da je teroristi~na dru`ina vzorna. Te`ave in nesoglasja z otrokom star{i re{ujejo popolnoma odprto. Vendar uvajajo tudi disciplino in strogost. Ljudje, ki jih Jean spozna zunaj dru`ine, pa so prete`no preostali ~lani razpadlih skupnosti, otroci lo~enih star{ev, sirote in podobno, izgubljeni in propadli, {e preden se je njihovo `ivljenje dodobra za~elo. Kot bi si ljudje, ki so se zna{li v tranzicijskem prostoru mednarodnega teorrizma, prizadevali ohraniti, podobno kot priseljenci, nekaj, kar v resnici ne obstaja ve~." (Christian Petzold)

prodaja/world sales Schramm Film Koerner & Weber Buelowstrasse 90 10783 Berlin, Germany E info�schrammfilm.de

"What I liked about the film was that the terrorist family in the film is a model family. They negotiate problems and conflicts with their child in a totally open manner. Yet, there is also discipline and strictness, and the people Jean meets outside are mostly remainders, children of divorces, orphans, etc., who are lost and already destroyed before their life ever had a chance to begin. It is as if the people who ended up in the transit spaces of international terrorism wanted to maintain, like immigrants, something that really does not exist anymore." (Christian Petzold)

Christian Petzold

filmografija (izbor)/filmography (selection)

Rojen 1960 v Hildenu. Po {tudiju nem{kega jezika in literature ter dramatike se je vpisal na berlinsko Akademijo za film in televizijo. Med {tudijem je bil asistent pri H. Farockiju. Po {tudiju je sprva snemal tv-filme, za katere je prejel {tevilna priznanja, celove~erni prvenec Notranji mir pa je posnel leta 2001.

V mednarodnem prostoru se je z deli, kot sta Duhovi in Yella, dokon~no uveljavil kot eden vidnej{ih predstavnikov mladega nem{kega filma.

1995 2001 2002 2003 2005 2007 2008 2012 2014 2018

Born in Hilden in 1960. He first studied German language and literature as well as drama, followed by studies at the German Film and Television Academy in Berlin, during which time he was assistant director to Harun Farocki. He started out in his own right directing award-winning TV films, and made his first feature film, The State I Am In, in 2001. He has attained international renown as one of the most prominent young German filmmakers with Ghosts and Yella.

110

Cuba Libre (TV) Die innere Sicherheit (The State I Am In/Notranji mir) Toter Mann (Something to Remind Me/Mrtvec) (TV) Wolfsburg Gespenster (Ghosts/Duhovi) Yella Jerichow Barbara Phoenix Transit (Transit/Tranzit)

Posve~eno Tribute

Duhovi Gespenster Ghosts Christian Petzold

Nem~ija, Francija Germany, France 2005 re`ija/directed by Christian Petzold scenarij/screenplay Harun Farocki, Christian Petzold fotografija/cinematography Hans Fromm glasba/music Marco Dreckkötter, Stefan Will monta`a/editing Bettina Böhler igrajo/cast Julia Hummer (Nina), Sabine Timoteo (Toni), Marianne Basler (Francoise), Aurélien Recoing (Pierre), Benno Fürmann (Oliver), Anna Schudt (Kai), Phillip Hauss (Mathias) producenta/producers Florian Koerner von Gustorf, Michael Weber produkcija/production Schramm Film Koerner & Weber Buelowstrasse 90 10783 Berlin, Germany E info�schrammfilm.de format/format 35 mm, barvni/colour dol`ina/running time 85'

Naklju~no sre~anje odra{~ajo~e sirote in `enske iz psihiatri~ne ustanove je izhodi{~e za razmi{ljanje o duhovih, ujetih med `ivljenjem in smrtjo. O osebah, ki ~akajo, da jim bo ljubezen bli`njih povrnila `ivljenje.

Nina je brezdomna sirota na pragu polnoletnosti, ki jo ob~asno pestijo du{evne te`ave. Brezciljno postopa po mestu in se s prilo`nostnimi krajami prebija iz dneva v dan. Zaljubljena je v Toni, ki pa njune veze ne jemlje tako resno. Nekega dne naletita na tavajo~o `ensko srednjih let, ki je prepri~ana, da je Nina njena ugrabljena h~erka. Izka`e se, da je bila Françoise ravnokar izpu{~ena iz psihiatri~ne bolni{nice in da ponjo iz Pariza prihaja njen mo` Pierre, da bi jo odpeljal domov. ^eprav je jasno, da je vse skupaj samo plod blodenj, se Nina za~ne poigravati z mislijo, da je Françoise v resnici njena mama ...

A chance meeting between a teenage orphan and a psychiatric patient triggers a reflection on ghosts – the spirits of those who refuse to believe they're dead. They haunt the realms in between life and death, hoping that love will help them regain life.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2005

A man travels from Paris to Berlin in search of his wife. He finds her in a psychiatric hospital in Spandau and takes her back to Paris. Every year, the wife makes the journey to Berlin, desperately searching for her daughter who was abducted at the age of three. The wife meets a young vagabond named Nina.

A drifter who doesn't seem to have a home of her own, Nina roams about the city, taking the world as it comes. The wife is convinced that Nina is her lost daughter.

"Duhovi govore o teh `enskah – francoski materi, tatici Toni in mladostnici Nini. Vse tri v sebi nosijo zgodbe, za katere ne vedo, ali so pravzaprav izmi{ljene. Vse tri sanjajo o tem, da bi na{le zgodbo, ki bi jim omogo~ila varnost, identiteto, gledi{~e. Vendar vse te zgodbe niso ve~ oprijemljive." (Christian Petzold)

"Ghosts are about three women – the French mother, the thief Toni and the young Nina. All three are carrying stories withing them, not knowing exactly whether they are invented. All three dream of finding a story that gives them security, an identity, a viewpoint. But all these stories are no longer conceivable."

(Christian Petzold)

Christian Petzold

filmografija (izbor)/filmography (selection)

Glej stran 110 /see page 110.

Glej stran 110 /see page 110.

prodaja/world sales Bavaria Film International Bavariafilmplatz 8 82031 Geiselgasteig, Germany E thorsten.ritter�bavaria-film.de

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Posve~eno Tribute

Yella Yella Yella Nem~ija Germany 2007

Christian Petzold re`ija/directed by Christian Petzold scenarij/screenplay Christian Petzold fotografija/cinematography Hans Fromm glasba/music Stefan Will monta`a/editing Bettina Böhler igrajo/cast Nina Hoss (Yella), Devid Striesow (Philipp), Hinnerk Schönemann (Ben), Christian Redl (Yellin o~e/ Yella's father), Burghart Klaußner (dr. Gunthen), Barbara Auer (Barbara Gunthen), Selin Barbara Petzold (h~erka dr. Gunthna/dr. Gunthen's daughter) producenta/producers Florian Koerner von Gustorf, Michael Weber produkcija/production Schramm Film Koerner & Weber Buelowstrasse 90 10783 Berlin, Germany E info�schrammfilm.de format/format 35 mm, barvni/colour dol`ina/running time 89' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2007 (najbolj{a igralka/Best Actress), Chicago 2007

Zgodba o mladi `enski iz vzhodnonem{kega mesteca, ki `eli pozabiti preteklost in na novo za`iveti, gledalca soo~a z globoko zakoreninjeno `eljo po pre`ivetju ter tanko mejo med resni~nostjo in prividi.

Yella wants to leave her past behind and make a new life for herself away from the small town in Eastern Germany.

A reflection on human survival instinct and the fine line between reality and illusion.

Yella se je odlo~ila. Za seboj bo pustila propadel zakon, neizpolnjene sanje in hrome~e okolje vzhodnonem{kega mesteca. V Hannovru spozna Philippa, mladega poslovne`a, ki ji ponudi obetavno slu`bo asistentke. Njena hladnost in skrivnostna prera~unljivost se v poslovnem svetu, kjer ni prostora za moralne dileme, kmalu izka`eta za zelo dragoceni lastnosti. Vse ka`e, da bo lahko za~ela znova in da lahko s Philippovo pomo~jo dose`e vse, kar si je od nekdaj `elela. Vse dokler je ne za~nejo preganjati neznani glasovi in podobe iz preteklosti, zaradi katerih podvomi o svoji sre~i. Strah pred izgubo novega `ivljenja se le {e okrepi, ko se pojavi njen posesivni mo`, pa tudi nova slu`ba visi na nitki ...

Yella has decided to leave her small town in eastern Germany for a promising job and a new life on the other side of the Elbe, leaving behind a failed marriage and broken dreams. In Hanover, Yella meets Philipp, a young executive at an equity firm, who gives her a job as his assistant. Yella soon discovers she has a knack with ruthless businessmen. Negotiations become a thrilling game of quick wits in which Yella's looks and icy demeanour are major assets. She could finally get everything she has ever wanted. But strange voices and sounds are plaguing her – truths from her past coming back to haunt her.

"Yella je zgodba o `enski, ki zapusti brezizhoden zakon in slu`bo ter odide na zahod, kjer uspe v poslovnem svetu tveganega kapitala. [ele na koncu spozna, da je `e dolgo mrtva – torej grozljivka." (Christian Petzold)

prodaja/world sales The Match Factory Domstraße 60 50668 Cologne, Germany E info�matchfactory.de

"Yella is the story of a woman leaving her broken marriage and job and moving west, where she succeeds in venture capital circles.

Only at the end does she learn that she has been long dead – a horror film, then." (Christian Petzold)

Christian Petzold

filmografija (izbor)/filmography (selection)

Glej stran 110 /see page 110.

Glej stran 110 /see page 110.

112

Posve~eno Tribute

Jerichow Jerichow Jerichow Nem~ija Germany 2008

Christian Petzold

Nem{ka razli~ica kultne filmske uspe{nice Po{tar vedno zvoni dvakrat je drama o hrepenenju, krivdi in neiz`ivetih strasteh, ki protagoniste, zapletene v ljubezenski trikotnik, silijo k izdaji in prevari.

A German reworking of the cult novel The Postman Always Rings Twice, the drama explores longing, guilt and repressed passion, forcing the protagonists who find themselves in a desperate ménage-a-trois to resort to betrayal and deceit.

Po materini smrti se nekdanji vojak Thomas vrne v rodni Jerichow, kjer si namerava poiskati slu`bo in prenoviti materino hi{o. Neke no~i spozna tur{kega priseljenca Alija, ki ima v lasti verigo bistrojev s hitro prehrano. Thomas Aliju pri pri~i postane v{e~, zato mu ponudi slu`bo. Alijeva `ena, ~udovita svetlolaska Laura, se do njega sprva vede hladno, skoraj zani~evalno. Thomas opazuje razmerje med Alijem in Lauro, in ~eprav se navidez vedeta kot vsi drugi pari, se mu zdi nekaj narobe. Nekega dne se, medtem ko se Ali predaja alkoholni pozabi, Thomas pribli`a Lauri in tako nezavedno spro`i tok dogodkov, ki za vedno spremenijo njihovo `ivljenje.

Following his mother's death, a former soldier, Thomas, returns to his hometown Jerichow. He has inherited his mother's house and plans to renovate it and look for a job. One night, Thomas meets Ali, a Turkish immigrant who owns a chain of snack bars in the area. Ali takes an unusual liking to Thomas. He trusts him and offers him a job. Laura, Ali's restless, beautiful wife, treats Thomas coolly, almost disdainfully. Thomas notices Laura and Ali's strained relationship. He watches them perform everyday rituals, like any married couple, but something doesn't seem right. One day, Thomas sits next to Laura while Ali dances, drunken and absentmindedly, unknowingly setting in motion a series of events that will change the course of their lives forever.

"Zanima me tema iskanja doma kot tudi ljudje, ki navkljub nenaklonjenosti usode do konca vztrajajo pri uveljavitvi svoje volje. /.../ Ti 'graditelji domov' so pogosto zadr`ani. So kot otoki.

Ideja o ~loveku kot otoku me spominja na Robinsona Crusoeja: trgovske poti, sodoben kapitalizem, hrepenenje ljudi po tem, da bi vse skupaj razumeli in za~eli znova – nastane rekonstrukcija.

To stori Robinson, svet znova poustvari. Ko v njegov svet vdrejo drugi ljudje, prijateljstvo in ljubezen, se sesuje." (Christian Petzold)

re`ija/directed by Christian Petzold scenarij/screenplay Christian Petzold fotografija/cinematography Hans Fromm glasba/music Stefan Will monta`a/editing Bettina Böhl igrajo/cast Beno Fürmann (Thomas), Nina Hoss (Laura), Hilmi Sözer (Ali Özkan), André Hennicke (Leon), Claudia Geisler (uslu`benka/clerk), Marie Gruber (blagajni~arka/cashier), Knut Berger (policist/police officer) producenti/producers Florian Koerner von Gustorf, Jochen Kölsch, Bettina Reitz, Andreas Schreitmüller, Michael Weber produkcija/production Schramm Film Koerner & Weber Buelowstrasse 90 10783 Berlin, Germany E info�schrammfilm.de format/format 35 mm barvni/colour dol`ina/running time 93' festivali (izbor)/ festivals (selection) Benetke/Venice 2008

"Finding a home is something that interests me, as well as people who manage to get their way against all odds. /.../ Often these 'home-builders' are withdrawn. They are like islands. The idea of being an islander reminds me of Robinson Crusoe: trade routes, modern capitalism, the yearning of people to understand it all and to begin anew – the result is reconstruction. That is what Robinson does, he reconstructs the world again. When other people, friendship, and love intrude into his world, it falls apart." (Christian Petzold)

Christian Petzold

filmografija (izbor)/filmography (selection)

Glej stran 110 /see page 110.

Glej stran 110 /see page 110.

prodaja/world sales The Match Factory GmbH Michael Weber Balthasarstrasse 79–81 50670 Cologne, Germany E info�matchfactory.de

113

Posve~eno Tribute

Barbara Barbara Barbara Nem~ija Germany 2012

Christian Petzold re`ija/directed by Christian Petzold scenarij/screenplay Christian Petzold fotografija/cinematography Hans Fromm glasba/music Stefan Will monta`a/editing Bettina Böhler igrajo/cast Nina Hoss (Barbara), Ronald Zehrfeld (André), Mark Waschke (Jörg), Rainer Bock (Klaus Schütz), Jasna Fritzi Bauer (Stella) producenta/producers Florian Koerner von Gustorf, Michael Webe produkcija/production Schramm Film Koerner & Weber Buelowstrasse 90 10783 Berlin, Germany E info�schrammfilm.de format/format 35 mm, barvni/colour dol`ina/running time 105' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2012 (najbolj{i re`iser/Best Director), Buenos Aires 2012, Karlovi Vari/Karlovy Vary 2012, Nem{ke filmske nagrade 2012/German Film Awards (srebrna nagrada/Silver Award)

Prodorna in ~ustveno nabita {tudija `ivljenja v nekdanji Vzhodni Nem~iji, v katere sredi{~u je znova `enski lik, za katerega se zdi, da skozi `ivljenje pluje kot duh.

An incisive, emotionally charged study into the former GDR, again centred on a female character, who seems to be floating through life like a ghost.

Poletje 1980 v Vzhodni Nem~iji. Zdravnica Barbara zaprosi za dovoljenje za odhod iz dr`ave, zaradi ~esar jo oblasti kaznujejo s premestitvijo iz prestolnice v odro~no mestece. Jörg, njen ljubimec, ki `e `ivi na Zahodu, pripravlja njen pobeg. Za Barbaro se za~ne ~akanje na odhod, zaradi ~esar je do vseh, ki so tako ali druga~e povezani z njenim `ivljenjem, od sosedov do kolegov v bolni{nici, zadr`ana in hladna. Prepri~ana je namre~, da bo v resnici za`ivela {ele po pobegu iz dr`ave. A ~eprav ji sprva uspeva ohraniti razdaljo, ji ~ez ~as André, njen novi {ef, s pozornostjo, predanostjo in prijaznostjo vse bolj leze pod ko`o. Njena odlo~enost, da odide in vse zapusti za seboj, je vse bolj majava.

GDR in the summer of 1980. Barbara, a doctor, has submitted an application to emigrate to the West. She is punished by being posted away from the capital to a hospital in a small town. Jörg, her lover in the West, is busy planning her escape. It's a waiting game for Barbara. Her old life no longer holds any charms for her and she is deliberately detached and cool around her colleagues and neighbours. Her life, she thinks, will begin later. Although she succeeds in retaining her aloofness, her new boss, the caring, committed and kind André gets under her skin. Barbara begins to lose her grip on herself and her planned escape.

"^eprav sem bil rojen v Zahodni Nem~iji, so moji star{i prebegnili iz NDR. V nekdanji NDR sem snemal svoje zadnje filme in tam sem ob~util nekak{no domoto`je. Ne vem, od kod je to ob~utje pri{lo. V filmu sem hotel raziskovati NDR, /.../ temi propadajo~ih sistemov in ljubezni. Zato smo za predlogo filma Barbara vzeli novelo Hermanna Brocha in prizori{~e prestavili v Vzhodno Nem~ijo." (Christian Petzold)

prodaja/world sales The Match Factory Balthasarstrasse 79–81 50670 Köln, Germany E info�matchfactory.de

"Although I was born in the West, my parents fled the GDR. I went in the former GDR to shoot my last films and while I was there, I felt a certain homesickness. I don't know where it came from. The idea was to talk about the GDR, /.../ about the collapsing systems and about love. So we took the Hermann Broch's novella, set it in the East, and turned it into the film Barbara." (Christian Petzold)

Christian Petzold

filmografija (izbor)/filmography (selection)

Glej stran 110 /see page 110.

Glej stran 110 /see page 110.

distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

114

Posve~eno Tribute

Phoenix Phoenix Phoenix Nem~ija Germany 2014

Christian Petzold

re`ija/directed by Christian Petzold scenarij/screenplay Christian Petzold fotografija/cinematography Hans Fromm monta`a/editing Bettina Böhler igrajo/cast Nina Hoss (Nelly Lenz), Ronald Zehrfeld (Johannes 'Johnny'), Nina Kunzendorf (Lene Winter), Michael Maertens (zdravnik/doctor), Imogen Kogge (Elisabeth), Kirsten Block, Uwe Preuss (lastnik kluba/ club owner) producenta/producers Michael Weber, Florian Koerner von Gustorf produkcija/production Schramm Film Koerner & Weber Buelowstrasse 90 10783 Berlin, Germany E info�schrammfilm.de format/format DCP, barvni/colour dol`ina/running time 98'

Po Barbari se Petzold vrne s {e eno dramo o odlo~ni `enski (in globoko razdvojeni dru`bi, ki ji pripada), ujeti med tragi~no preteklost in negotovo sedanjost.

Nelly Lenz je pre`ivela koncentracijsko tabori{~e, toda iz njega je pri{la z iznaka`enim obrazom. Zdaj je konec vojne in Nelly sanja le o tem, da bi bilo spet vse kot neko~. Ko s kirur{ko rekonstrukcijo dobi nov obraz, v Berlinu poi{~e svojega mo`a Johnnyja. Ta je sprva ne prepozna, a ker se mu zdi podobna njegovi `eni, za katero verjame, da je mrtva, prosi Nelly, ali bi mu lahko pomagala priti do `enine zajetne dedi{~ine. Nelly privoli in tako postane svoja lastna dvojnica – `eli namre~ izvedeti, ali jo je Johnny v resnici sploh kdaj ljubil ali pa jo je morda celo on izdal nacistom.

"V filmu Phoenix nisem `elel uporabiti zbitega, zatohlega zvoka, temve~ odprto okno, skozi katero se sli{ijo hrup in zvoki mesta, zaradi ~esar se zavemo, da se po katastrofi `ivljenje nadaljuje. Ker duh preneha biti duh, ko je obkro`en z `ivljenjem. ^e je vse okoli nas stra{ljivo, se strah razblini." (Christian Petzold)

festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2014, London 2014, Hongkong/Hong Kong 2015 (nagrada SIGNIS – posebna omemba/SIGNIS Award – Special Mention)

Following the success of his previous film, Barbara, Petzold returns with another story of a fiercely determined woman – and the deeply divided society to which she belongs – caught between a tragic past and an uncertain future.

Nelly Lenz is a concentration camp survivor who has been left severely injured with a disfigured face. The war has ended and all Nelly dreams about is getting her life back to normal. Following a facial re-construction surgery, Nelly returns to Berlin in search of her husband Johnny. Although Johnny does not recognise her, he approaches her with a proposal. Since she resembles his wife, whom he believes to be dead, he asks her to help him claim his wife's considerable inheritance. Nelly agrees, and becomes her own doppelganger – she needs to know if Johnny ever loved her, or if he betrayed her to the Nazis.

"I didn't want a tight, musty sound in Phoenix, but an open window through which the noise and the patter of the city could be heard, so that one realises that life goes on after the disaster.

Because a ghost is not a ghost when surrounded by life. If everything is spooky, nothing is spooky." (Christian Petzold)

Christian Petzold

filmografija (izbor)/filmography (selection)

Glej stran 110 /see page 110.

Glej stran 110 /see page 110.

prodaja/world sales The Match Factory Balthasarstrasse 79–81 50670 Köln, Germany E info�matchfactory.de

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116

Retrospektiva Retrospective

^rni Peter ^erny Petr Black Peter ^e{koslova{ka Czechoslovakia 1964

Milo{ Forman re`ija/directed by Milo{ Forman scenarij/screenplay Milo{ Forman, Jaroslav Papou{ek fotografija/cinematography Jan Neme~ek glasba/music Jirí Slitr monta`a/editing Miroslav Hájek igrajo/cast Ladislav Jakim (Peter), Pavla Martínková-Novotná (Pavla), Jan Vostr~il (Petrov o~e/Peter's father), Vladimír Pucholt (Cenek Samarad), Pavel Sedlá~ek (Lada), Zdenek Kulhánek (Zdenek), Franti{ek Kosina (poslovodja/shop manager), Josef Koza (prostozidar/master mason), Bo`ena Matu{ková (Petrova mama/ Peter's mother) producent/producer Rudolf Hájek produkcija/production CBK & Filmové studio Barrandov & Sebor format/format DCP, ~b/b&w dol`ina/running time 85' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 1964 (zlati leopard/Golden Leopard), Helsinki 1967 (najbolj{i tujejezi~ni re`iser/Best Foreign Director)

V sredi{~u Formanovega celove~ernega prvenca je najstnik Peter, komi~ni simbol zmedene ~e{ke mladine v {estdesetih.

Humor se odra`a v neskladju med formo ter resni~no vsebino gest in besed.

Forman's debut feature centres on teenage Peter, a comic representative of misguided youth in the 1960s Czechoslovakia. Humour results from the inconsistencies between form and actual significance of gestures and words.

Film podrobno opisuje neverjetne pripetljaje vsakodnevnega `ivljenja {estnajstletnega Petra, ki se nenehno krega s pedantnim o~etom. Kakor pri osvajanju dekleta, pri ~emer se dekle le zaradi ponesre~enega niza nerodnosti kmalu za~ne ozirati za drugim, je neuspe{en tudi pri ohranjanju svoje prve slu`be prodajalca v supermarketu, saj se te`ave za~nejo, ko ne ustavi sumljive stranke.

A detailed account of the incredible everyday experiences of young Peter, a sixteen-year-old in perpetual conflict with his fussy father. His courtship of a girl is doomed to a sequence of unfortunate failures. She repulses her would-be lover's advances and starts paying a lot of attention to another male friend. Just as unsuccessful as a supermarket trainee in charge with spotting shoplifters, Peter loses his job when failing to stop a suspicious looking customer.

"Najte`ji prizor v ^rnem Petru je pri{el proti koncu snemanja.

Bil je produkcijska no~na mora. Potrebovali smo dolg prizor plesa, a nismo imeli denarja za najem statistov. Bilo je poletje, zato smo se odlo~ili za najem drsali{~a in glasbene skupine v Kolinu.

V soboto zve~er smo organizirali plesno zabavo, na vrata obesili napis 'brezpla~no' in posneli prizor z ljudmi, ki so se pojavili.

V {tirih urah – od osme do polno~i – bi morali dobiti sedem uporabnih minut za film. Ne bi bilo drugih mo`nosti."

(Milo{ Forman)

prodaja/world sales Národní filmový archiv Male{ická 14 130 00 Praha 3, Czech Republic E katerina.fojtova�nfa.cz

"The most difficult scene in Black Peter came towards the end of the shoot, and it was a production nightmare. We needed a long scene at a dance, but didn’t have the money to hire extras.

It was summer, so we decided to rent an ice rink and a band in Kolin, throw a free dance on a Saturday night, write 'for free' on the door and shoot the scene with people who'd show up.

In four hours – from eight to midnight – we would have to get seven minutes of screen time on film. There were going to be no second chances." (Milo{ Forman)

Milo{ Forman

filmografija (izbor)/filmography (selection)

Rojen leta 1932 v ^aslavu. V ~e{ki novi val je vstopil kot diplomiranec FAMU in pravne fakultete z nekaj dokumentarnimi filmi. Dr`ava je pionirje novih estetskih smernic in njihova dela simptomati~no prepoznavala kot nasprotnike sistema. Iz `elje po ustvarjalni svobodi je Forman emigriral v ZDA. Njegov kultni film Let nad kukavi~jim gnezdom je osvojil oskarja v petih glavnih kategorijah, Amadeus pa jih je prejel osem. Bil je filmski re`iser, producent in scenarist, umrl pa je aprila letos.

1963 1964 1965 1967 1973 1975 1979 1981 1984 1989 1996 1999 2006

Born in 1932 in ^aslav. Graduate of Prague's FAMU Film Academy and Faculty of Law, he joined the Czech New Wave with some documentary films. The authorities symptomatically categorised pioneers of new aesthetic tendencies as enemies of the system. Seeking creative freedom, Forman immigrated to the US. His iconic One Flew Over the Cuckoo's Nest won all major five Academy Awards, and Amadeus won eight. A film director, 120 producer and writer, Forman died in April 2018.

Konkurs (The Audition/Avdicija) (dok./doc.) ^erny Petr (Black Peter/^rni Peter) Lásky jedné plavovlásky (Loves of a Blonde/Plavolaskine ljubezni) Horí, má panenko (The Firemen's Ball/Gori, gospodi~na!)

Visions of Eight (Vizije osmih) One Flew Over the Cuckoo's Nest (Let nad kukavi~jim gnezdom) Hair (Lasje) Ragtime Amadeus Valmont The People vs. Larry Flynt (Ljudstvu proti Larryju Flyntu) Man On the Moon (Mo` z Lune) Goya's Ghosts (Goyeve prikazni)

Retrospektiva Retrospective

Plavolaskine ljubezni Lásky jedné plavovlásky Loves of a Blonde Milo{ Forman

Grenka komedija, nominirana za tujejezi~nega oskarja, je Milo{a Formana izstrelila v mednarodno orbito. Film povzema temeljne zna~ilnosti ~e{kega novega vala – vse od globokega ~lovekoljublja, intimizma, do palete humornih prvin in izjemnega vitalizma.

V tovarni ~evljev v zakotnem ~e{kem mestecu delajo samo `enske, zato dekleta ne morejo najti fanta, kaj {ele mo`a.

O mo{kih lahko samo sanjarijo in tudi re{itev, ki jo je za njihovo osamljenost na{el njihov direktor tovarne, je vse prej kot primerna. Na njegovo pro{njo se v mestecu nastani enota rezervistov, neprivla~nih mo`akarjev srednjih let, ki so v glavnem poro~eni. [e najbolje jo odnese mlada Andula, ki se zaljubi v ~lana glasbene skupine iz Prage in tako ube`i dolg~asu svojega sicer{njega `ivljenja. Toda njen sen o sre~ni ljubezni se kmalu razblini.

^e{koslova{ka Czechoslovakia 1965

Nominated for Best Foreign Language Film Academy Award, Loves of a Blonde rocketed Milo{ Forman to international major-league stardom. This caustic comedy incorporates the core elements of Czech New Wave – ranging from humanitarianism and intimism to a broad spectrum of humour and extraordinary vitalism.

re`ija/directed by Milo{ Forman scenarij/screenplay Milo{ Forman, Jaroslav Papou{ek, Ivan Passer, Václav [a{ek fotografija/cinematography Miroslav Ondrí~ek glasba/music Evzen Illín monta`a/editing Miroslav Hájek igrajo/cast Hana Brejchová (Andula), Vladimír Pucholt (Milda), Vladimír Men{ík (Vacovský), Ivan Kheil (Manas), Jirí Hrubý (Burda), Milada Je`ková (Mildina mati/Milda's mother), Josef [ebánek (Mildin o~e/Milda's father), Josef Kolb (Pokorný), Marie Sala~ová (Marie), Jana Nováková (Jana), Tána Zelinková (dekle/girl), Zdena Lorencová (Zdena), Jan Vostr~il (poro~nik/colonel), Antonín Bla`ejovský (Tonda) producenta/producers Doro Vlado Hreljanovi}, Rudolf Hájek produkcija/production Filmové studio Barrandov format/format 35 mm, ~b/b&w dol`ina/running time 90' festivali, nagrade (izbor)/ festivals, awards (selection) New York 1966, Karlovi Vari/Karlovy Vary 2018

Women working in a shoe factory in a small Czech town are deprived of male company. They can only dream about men. The factory manager realises that the gender disparity is impairing productivity, so he comes up with a solution to their problems.

He bargains with the army to send men to the area, to boost the morale of his young female workers, but these are reservists, unattractive and mostly married middle-aged men. A romance with member of a music band from Prague briefly relieves young Andula's ennui. But her dreams of romantic love are soon crushed.

"Nau~il sem se, da je uporaba profesionalnih igralcev in natur{~ikov pomagala obema skupinama. Ampak sodelovati je treba z igralci, ki se lahko zoperstavijo izzivu nenau~enega, pristnega vedenja ne{olanih igralcev. /.../ Igralska zasedba Plavolaskinih ljubezni je vzpostavila popolno ravnote`je med profesionalnimi igralci in natur{~iki ter teh nekaj mesecev v Zru~u leta 1964 se spominjam kot enih najbolj son~nih na svoji filmski poti." (Milo{ Forman)

"I learned that mixing professional actors and nonactors actually helped both groups, but you had to have actors who could stand up to the challenge of the unstudied, natural behaviour of nonactors, /.../ The cast of Loves of a Blonde was a perfect balance of actors and nonactors, and I remember those few months in Zru~ in 1964 as some of my sunniest days in the movie business." (Milo{ Forman)

Milo{ Forman

filmografija (izbor)/filmography (selection)

Glej stran 120/see page 120.

Glej stran 120/see page 120.

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Retrospektiva Retrospective

Intimna svetloba Intimní osvetlení Intimate Lighting ^e{koslova{ka Czechoslovakia 1965

Ivan Passer re`ija/directed by Ivan Passer scenarij/screenplay Ivan Passer, Jaroslav Papou{ek, Václav [a{ek fotografija/cinematography Miroslav Ondrí~ek, Josef Strecha glasba/music Josef Hart, Oldrich Korte monta`a/editing Jirina Lukesová igrajo/cast Zdenek Bezu{ek (Peter), Karel Bla`ek (Bambas), Miroslav Cvrk (Kaja), Vera Keesadlová (Stepa), Dagmar Redinová (mlada Marie/young Marie), Jaroslava [tedrá (Marie), Karel Uhlík (lekarnar/pharmacist), Vlastimila Vlková (babica/grandmother), Jan Vostr~il (dedek/ grandfather) producent/producer Karel ^erný produkcija/production ^e{koslovenský Státní Film format/format DCP, ~b/b&w dol`ina/running time 71' festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary 1965, nagrada ameri{kega nacionalnega zdru`enja filmskih kritikov/National Society of Film Critics Award USA 1970

Melanholi~na minimalisti~na komedija velja za enega najpomembnej{ih filmov ~e{kega novega vala; bila je uvr{~ena med prvih deset doma~ih filmov vseh ~asov.

Passerjev prvenec je tudi njegov edini film, posnet na ^e{koslova{kem.

A melancholy minimalist comedy, Intimate Lighting is a prominent example of the 1960s Czech New Wave; ranked among the top ten domestic films of all time. Passer's debut feature is his only feature-length film to have been shot in Czechoslovakia.

V tej izvirno oto`ni komediji se v pode`elskem mestecu po desetih letih sre~ata so{olca, oba glasbenika. Prvi je medtem postal ~lan violon~elist v pra{ki filharmoniji, drugi je prilezel na polo`aj vodje lokalne glasbene {ole in postavlja dru`ini vilo, igra na pogrebih ... Zdaj se pripravljata za skupni koncert.

In this original sad comedy, two former classmates, both musicians, meet in a small town after ten years: one is a member of the regional symphony orchestra, the other made it to the director of a local music school, building a family villa and playing at funerals... They get involved in some daring exploits, including a possible symphony concert.

"Ko smo izbirali igralce za Intimno svetlobo, pripoved o skupini prijateljev, ki skupaj muzicirajo, sem se moral odlo~iti, ali `elim igralce, ki se pretvarjajo, da igrajo in{trumente, ali glasbenike, ki bi jih lahko pripravil do igranja. Odlo~il sem se za natur{~ike. Na glasbeni {oli sem dobesedno pograbil ravnatelja na hodniku in ga vpra{al, ali bi odigral glavno vlogo violon~elista. Sprva ni hotel sodelovati, ko pa je prebral scenarij, je dejal: 'O meni govori.'"

(Ivan Passer)

prodaja/world sales Národní filmový archiv Male{ická 14 130 00 Praha 3, Czech Republic E katerina.fojtova�nfa.cz

"When casting Intimate Lighting, which was about a group of friends who play music together, I had to decide whether to have actors pretending to play instruments, or musicians who I could get to act. I settled for non-actors. We were at a music school, and I literally grabbed the principal in the corridor and asked him if he would play the lead role of the cellist. At first he didn't want to do it, but after he had read the script, he said, 'It's about me'."

(Ivan Passer)

Ivan Passer

filmografija (izbor)/filmography (selection)

Rojen leta 1933 v Pragi. ^e{ki novovalovec je diplomiral na pra{ki filmski akademiji FAMU. Skupaj s prijateljem iz otro{tva Milo{em Formanom je napisal scenarija za Formanova filma Plavolaskine ljubezni in Gori, gospodi~na!. V izgnanstvu v ZDA je posnel mojstrovini Born to Win in film noir Cutter's Way.

1964 1965 1971 1974 1976 1977 1981 1985 1988 1991 1999 2005

Born in 1933 in Prague. A significant figure in the Czech New Wave, Passer graduated from the FAMU Prague Film Academy. Together with childhood friend Milo{ Forman, Passer wrote the scripts for Forman's Loves of a Blonde and The Firemen's Ball. Defecting to the West in 1968, he made two masterpieces in the US: Born to Win and a film noir, Cutter's Way.

122

Fádní odpoledne (kratki/short) Intimní osvetlení (Intimate Lightning/Intimna svetloba) Born to Win Law and Disorder Ace Up My Sleeve Silver Bears Cutter's Way Creator Haunted Summer Pretty Hattie's Baby The Wishing Tree Köshpendiler

Retrospektiva Retrospective

Strogo nadzorovani vlaki Ostre sledované vlaky Closely Observed Trains ˇ Menzel Jirí

^e{koslova{ka Czechoslovakia 1966 re`ija/directed by ˇ Menzel Jirí scenarij/screenplay ˇ Menzel, Bohumil Hrabal Jirí fotografija/cinematography Jaromír [ofr glasba/music ˇ Sust Jirí monta`a/editing Jirina Lukesová igrajo/cast Václav Neckár (Milo{ Hrma), Jitka Bendová (Ma{a), Vladimír Valenta (na~elnik postaje/stationmaster), Josef Somr (Hubi~ka), Libu{e Havelková (`ena na~elnika postaje/ stationmaster's wife) producent/producer Zdenek Oves produkcija/production Filmové studio Barrandov & ^e{koslovensky Film format/format DCP, barvni/colour dol`ina/running time 93'

Menzlov kultni satiri~ni prvenec, absolutni hit ~e{kega novega vala, oven~an tudi z oskarjem za tujejezi~ni film, je nastal po istoimenskem Hrabalovem romanu; scenarij, ki sta ga napisala skupaj, pa pomeni za~etek njunega plodnega sodelovanja.

One of the pinnacles of the Czech New Wave, Menzel's iconic debut feature won the Academy Award for Best Foreign Language Film. Based on an eponymous novel by Bohumil Hrabal, the movie's adaptation launched a fruitful cooperation between the two artists.

Ob koncu druge svetovne vojne je v ~e{kem mestecu Kostomlaty mladi Milo{ Hrma kon~al prometni te~aj in za~el delati na `elezni{ki postaji, da bi s~asoma postal odpravnik vlakov. [efa postaje zanimajo predvsem golobi, tedanjega odpravnika vlakov pa `enske. Tudi srame`ljivi Milo{ ima dekle, sprevodnico Ma{o.

Ko z njo pre`ivi neposre~eno no~, se ho~e ubiti, a ga re{ijo in zdravnik mu svetuje, naj si najde bolj izku{eno `ensko. Medtem ko se na postaji ukvarjajo z ljubezenskimi te`avami, se okrog njih dogajajo vojne grozote, Nemci do`ivljajo na boji{~u poraze, pa tudi vlaki jim vse pogosteje letijo v zrak ...

During the Nazi occupation of Czechoslovakia, young Milo{ Hrma starts his first job as a trainee signalman at Kostomlaty train station. The stationmaster is more interested in caring for his doves than heading the station, and the train dispatcher is a ladies' man. The shy Milo{ flirts with Ma{a, a train conductor.

When unable to consummate his first night alone with Ma{a, Milo{ makes a suicide attempt. The doctor advises he find a more experienced woman. While the train station personnel attend to their love lives, war is ranging on around them; the Nazis are suffering defeats and having their trains blown up.

"Menim, da resni~na poezija tega filma ni v absurdnem dogajanju kot takem, ampak v sopostavljanju teh dogodkov z obscenostjo in ˇ Menzel) tragedijo." (Jirí

"In my opinion, the true poetry of this movie, if it has any, lies not in the absurd situations themselves, but in their juxtaposition ˇ Menzel) with obscenity and tragedy." (Jirí

ˇ Menzel Jirí

filmografija (izbor)/filmography (selection)

Rojen leta 1938 v Pragi. [tudiral je na pra{ki filmski akademiji FAMU. @e s prvencem Strogo nadzorovani vlaki je osvojil oskarja za najbolj{i tujejezi~ni film, [krjan~ki na vrvici, ki so ga doma~e oblasti prepovedale, pa je prejel berlinskega zlatega medveda. Doma in v tujini se je uveljavil tudi kot gledali{ki re`iser.

1960 Domy z panelu (Prefabricated Houses) (kratki/short) 1966 Ostre sledované vlaky (Closely Observed Trains/Strogo nadzorovani vlaki) 1968 Zlo~in v {antánu (Crime in a Music Hall/Zlo~in v kabaretu) 1968 Rozmarné léto (Capricious Summer/Muhasto poletje) 1976 Na samote u lesa (Seclusion Near the Forest/Vikend na de`eli) 1985 Vesni~ko má stredisková (My Sweet Little Village/Moja mala vas) 1989 Konec starých ~asu (The End of the Old Times/Konec starih ~asov) 1990 Skrivánci na niti (Larks on a String/[krjan~ki na vrvici) 1991 @ebrácká opera (The Beggar's Opera/Bera{ka opera) 2006 Obsluhoval jsem anglického krále (I Served the King of England/ Stregel sem angle{kemu kralju) 2013 Don{ajni (The Don Juans/Don Juani)

Born in 1938, in Prague. He studied at the Film and TV School (FAMU) of the Academy of Performing Arts in Prague. His first feature film, Closely Observed Trains, received an Academy Award for Best Foreign Language Film, and Larks on String, banned by the Czechoslovakian authorities, received a Golden Bear in Berlin. Menzel also gained national and international recognition as a theatre director.

festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary (velika nagrada/Grand Prix), Pilsen (nagrada ob~instva/Audience Award)

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Retrospektiva Retrospective

Marjetice Sedmikrásky Daisies ^e{koslova{ka Czechoslovakia 1966

ˇ Chytilová Vera re`ija/directed by ˇ Chytilová Vera scenarij/screenplay ˇ Chytilová, Ester Krumbachová, Vera Pavel Jurá~ek fotografija/cinematography Jaroslav Ku~era glasba/music

Jirí [litr, Jirí [ust monta`a/editing

Miroslav Hájek igrajo/cast Ivana Karbanová (Marie II), Jitka Cerhová (Marie I), Marie ^e{ková, Jirina My{kova, Marcela Brezinová, Julius Albert, Oldrich Hora, Jan Klusák, Josef Koní~ek, Jaromír Vomá~ka, Jirina Cesková, Václav Chochola, Ester Krumbachová, Jaroslav Ku~era, Jarosmir Kuvacha produkcija/production Barrandov Film Studios Kri`eneckého nám. 322/5 152 00 Praha 5 – Hlubo~epy, Czech Republic E production�barrandov.cz format/format 35 mm, barvni/colour dol`ina/running time 74'

Eden izmed biserov ~e{kega novega vala, zmes anarhije in filmskega eksperimenta, zaradi katerega je Veri Chytilovi oblast za ve~ let prepovedala ustvarjanje filmov.

One of the Czech New Wave true gems, a mixture of anarchy and cinematic experiment, which earned its director, Vera Chytilova, a temporary ban on filmmaking.

Najstnici Marie I in Marie II zavra~ata pravila patriarhalne kulture okrog sebe, zato eno za drugim ru{ita dru`bena pravila.

Odpravita se na la`ni zmenek z mo{kima, na katerem obilno jesta, obilno pijeta, obilno la`eta, samo zato, da se ju na koncu znebita. Te`ave povzro~ata na vsakem koraku, bodisi v stanovanju bodisi v no~nih klubih. Njune dogodiv{~ine vseskozi spremlja vizualno eksperimentiranje z izmenjavanjem barvnih in ~rno-belih posnetkov, igranjem z barvnimi filtri, inovativnimi posebnimi u~inki in triki s kamero. V vsakem prizoru se zgodi za gledalca kaj nepri~akovanega.

The two teenage protagonists, Marie I and Marie II, refuse to play by the rules of the patriarchal culture around them, tearing up the world: exploiting weak-willed older men, consuming enormous amounts of food and drink, and lying through their teeth to get rid of them. They make trouble everywhere they go, either in their flats or in night clubs. Using both black-and-white and colour film stock, the girls' antics are enhanced by innovative special effects, visual experimentation and camera tricks. Something unexpected occurs in virtually every shot, images are juxtaposed with dissonant sounds and colour filters abruptly changed within scenes.

"Film Marjetice iz leta 1966, ki ga je Chytilová posnela neposredno po delu Biseri na dnu, je njena do danes najbolj omenjana stvaritev, divja, dadaisti~na filmska eksplozija, ki predstavlja formalno najbolj radikalno in navdu{ujo~e prismuknjeno stopnjo ~e{kega novega vala. Nekonvencionalni film Marjetice je ustvarila nekonvencionalna avtorica. /.../ Navsezadnje gre za tema~no, subverzivno delo, ki tiste, ki bi se jim zdel `aljiv, silovito skritizira, {e preden se utegnejo prito`iti." (Criterion Collection)

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"It is Chytilová's 1966 Daisies, made directly after Pearls of the Deep, that is her most frequently discussed work to this day, a madcap, Dadaist explosion of a movie that represents the Czech New Wave at its most formally radical and kookily captivating.

The unconventional Daisies was the product of an unconventional filmmaker. /.../ It is ultimately a dark, subversive work, aggressively critiquing those who might find it offensive before they even have a chance to complain." (Criterion Collection)

Vera Chytilová

filmografija (izbor)/filmography (selection)

Rojena leta 1929 v Ostravi, ^e{ka. Ker je v svojih filmih neusmiljeno kritizirala polo`aj `enske v socialisti~ni dru`bi in spodbujala ob~instvo, naj razmi{lja s svojo glavo, je nenehno prihajala v spore z oblastjo. Med letoma 1969 in 1975 so ji oblasti prepovedale snemanje filmov. Kot profesorica re`ije na pra{ki filmski akademiji FAMU je pustila neizbrisen pe~at na {tevilnih mladih generacijah ~e{kih re`iserjev.

1966 1966 1970 1976 1980 1982 1983

Born in 1929 in Ostrava, Czechoslovakia. For relentlessly criticising the situation of women in socialist society and encouraging the viewers to think independently, she was constantly in trouble with the authorities.

Between 1969 and 1975, Chytilová was thus prohibited from making films.

As professor of directing at the Prague Film School FAMU she had profound influence on numerous generations of young Czech directors.

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1987 1988 1998 2001 2006

Perlicky na dne (Pearls of the Deep/Biseri na dnu) (omnibus) Sedmikrásky (Daisies/Marjetice) Ovoce stromu rajských jíme (Fruit of Paradise/Sade`i rajskih dreves) Hra o jablko (The Apple Game/Igra z jabolkom) Panelstory aneb Jak se rodí sídli{te (Prefab Story/Monta`na zgodba) Kalamita (Calamity/Nezgoda) Faunovo velmi pozdní odpoledne (The Very Late Afternoon of a Faun/ Popoldne nekega Favna) Vl~i bouda (Wolf's Hole/Vol~ji brlog) [a{ek a královna (The Jester and the Queen/Nor~ek in kraljica) Pasti, pasti, pasti~ky (Trap, Trap, Little Trap/Past, past, mala past) Vyhnání z ráje (Expulsion from Paradise/Izgon iz raja) Hezké chvilky bez záruky (Pleasant Moments)

Retrospektiva Retrospective

O slavnosti in gostih O slavnosti a hostech A Report on the Party and Guests ˇ Jan Nemec

^e{koslova{ka Czechoslovakia 1966 re`ija/directed by ˇ Jan Nemec scenarij/screenplay ˇ Jan Nemec, Ester Krumbachová fotografija/cinematography Jaromír [ofr glasba/music Karel Mare{ monta`a/editing Miroslav Hájek igrajo/cast Ivan Vysko~il (gostitelj/host), Jan Klusák (Rudolf), Jiríˇ Nemec (Josef), Pavel Bosek (Franti{ek), Karel Mare{ (Karel), Evald Schorm (Manzel), Jana Pracharová (Paní) producent/producer Jan Procházka produkcija/production Filmové studio Barrandov format/format DCP, barvni/colour dol`ina/running time 71' festivali, nagrade (izbor)/ festivals, awards (selection) New York 1966, Cannes 1968

Kafkovska satira, zaznamovana z estetiko absurda, velja za enega politi~no najbolj spornih filmov v ~e{koslova{ki kinematografiji.

A Kafkaesque absurdist satire on power relations and the most controversial film ever produced by Czechoslovak cinematography.

Skupina prijateljev na idili~nem pikniku do`ivi neprijetno sre~anje s skupino avtoritarnih nasilne`ev. Piknik se v nadrealisti~ni zgodbi neusmiljeno preoblikuje v lekcijo o politi~ni hierarhiji.

Alegorijo o zatiranju in konformizmu, nastalo po scenariju, ki ˇ ga je Nemec napisal skupaj z avtorico zgodbe, scenografko, muzo in sivo eminenco novega ~e{kega filma {estdesetih let, Ester Krumbachovo, so na ^e{koslova{kem kmalu prepovedali, do`ivela pa je uspeh na mednarodni premieri na filmskem festivalu v New Yorku.

A group of men and women enjoying an idyllic picnic in the woods are accosted and interrogated by several thuggish ˇ strangers. In Nemec's surreal fable, the picnic is rudely transformed into a lesson in political hierarchy. This allegory about ˇ oppression and conformity, based on a script written by Nemec and Ester Krumbachová, a screenwriter, 1960s Czech New Wave muse and grey eminence, was banned in its home country but became an international success after it premiered at the New York Film Festival.

"Ne verjamem v neposreden vpliv – prebrana knjiga ti ne more povedati, kako narediti film. Obstajajo pa posredni vplivi, ki imajo mo~, ~etudi se tega ne zavedate. Skrivnostni in abstraktni liki filma O slavnosti in gostih so vzniknili zaradi na{ega boja proti cenzuri. ^e bi bil film bolj konkreten, ga ne bi mogli posneti.

Uporabili smo prekomerno stilizacijo, da bi zmedli komunisti~ne cenzorje. Da ti ne bi takoj ugotovili, da je film uperjen proti njim." ˇ (Jan Nemec)

"I do not believe in direct influence, that someone reads a book which tells him how to make a film. But I think there are indirect influences that affect you even when you're not aware of it.

The mysterious and abstract characters in the film A Report on the Party and the Guests arose because of our fight against censorship. We would have had no chance of making the film if it had been more concrete. We used 'over-stylisation' to confuse the Communist censors so they would not immediately realise ˇ that it was aimed against them." (Jan Nemec)

ˇ Jan Nemec

filmografija (izbor)/filmography (selection)

Rojen leta 1936. Diplomiral je na FAMU. Njegov film O slavnosti in gostih je prepovedal sam takratni predsednik Antonín Novotný, sodelovanje je opustilo tudi produkcijsko podjetje Barrandov Studios in leta 1974 je moral zapustiti ^e{koslova{ko. Emigriral je v Nem~ijo, Francijo, Nizozemsko, na [vedsko in v ZDA. Na ^e{ko se je vrnil leta 1989 in na FAMU pou~eval dokumentaristiko. Umrl je leta 2016.

1964 Démanty noci (Diamonds of the Night) 1966 Podvodníci (Pearls of the Deep) (kratki/short) 1966 O slavnosti a hostech (A Report on the Party and the Guests/ O slavnosti in gostih) 1967 Mu~edníci lásky (Martyrs of Love) 1968 Oratorio for Prague (dok. kratki/doc. short) 1990 V záru královské lásky (The Flames of Royal Love) 1996 Jmeno kodu: Rubin (Code Name: Ruby) 2001 No~ní hovory s matkou (Late Talks with my Mother) (dok./doc.)

2004 Krajina mého srdce (Landscape of My Heart) 2005 Toyen 2009 Holka Ferrari Dino (The Ferrari Dino Girl) 2010 Heart Beat 3D 2016 Vlk z Královských Vinohrad (The Wolf from Royal Vineyard Street)

Born in 1936. Graduated in directing from FAMU. A Report on the Party and the Guests was personally banned by the President of Czechoslovakia, ˇ Antonín Novotný, and Nemec's contract with the Barrandov Studios was terminated. He was forced to leave Czechoslovakia in 1974, and went to Germany, France, The Netherlands, Sweden, eventually settling in the US. He returned to his native country in 1989 and taught documentary filmmaking at FAMU. He died in 2016.

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125

Retrospektiva Retrospective

Gori, gospodi~na! ˇ má panenko Horí, The Firemen's Ball Milo{ Forman

re`ija/directed by Milo{ Forman scenarij/screenplay Milo{ Forman, Jaroslav Papou{ek, Ivan Passer fotografija/cinematography Miroslav Ondrí~ek glasba/music Karel Mare{ monta`a/editing Miroslav Hájek igrajo/cast Jan Vostr~il (vodja odbora/head of committee), Josef [ebánek, Josef Valnoha, Franti{ek Debelka, Vratislav ^ermák, Josef Rehorek, Václav Novotný, Franti{ek Reinstein, Franti{ek Paska (~lani odbora/ committee members), Josef Kolb (Josef), Jan Stöckl (upokojeni poveljnik gasilcev/retired fire chief), Stanislav Holubec (Karel), Josef Kutálek (Ludva) producent/producer Rudolf Hájek produkcija/production Carlo Ponti Cinematografica & Filmové studio Barrandov format/format DCP, barvni/colour dol`ina/running time 73'

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^e{koslova{ka Czechoslovakia 1967

^rna komedija, alegorija z brez~asno zgodbo, razkrije ~love{ko neumnost, omejenost in aroganco ter prazno retoriko vpra{ljivih oblasti.

A black comedy, The Firemen's Ball is a timeless allegory of human stupidity, narrow-mindedness and arrogance, and the empty rhetoric of questionable authorities.

Gasilska zabava s sre~elovom in lepotnim tekmovanjem v zakotni ~e{ki vasici: cela plejada nepri~akovanih pripetljajev moti zabavni program in povzro~a preglavice ~lanom prostovoljnega gasilskega dru{tva. Ko jim na primer uspe zbrati nagrade za sre~elov, v dvorani za kratek ~as zmanjka lu~i in v temi nekdo ukrade vse nagrade ...

An annual firemen's ball and a beauty pageant take place in a secluded Czech village: the plot depicts a series of disasters that occur during the evening, causing trouble to members of the volunteer fire department. When finally securing enough raffle prizes, lights suddenly go out in the auditorium and all the prizes vanish from the table.

"Prva javna projekcija je bila v Vrchlabiju. Kulturni komunisti~ni simpatizerji so mesto izbrali, saj so mislili, da se bodo prebivalci po~utili zasmehovane, ko bodo videli, kako sem jih portretiral na filmskem platnu. /.../ Ko se je za~ela razprava, se je oglasil prvi partijec s pripravljenim govorom o tem, kako je film u`alil delovne ljudi. Ko je kon~al, je eden od gasilcev /.../ vstal. 'No, ne vem, tovari{i, res ne vem. Ta tovari{ pravi, da je to `alitev za nas in morda tudi je, ampak ali se spomnite, ko je po`ar zajel Jirino kozjo {talo? Mi vsi pa smo popivali v taverni? In kako smo, ko smo se kon~no primajali do tja, pozabili gasilsko cev? /.../ [e vedno se spominjam, kako je Jirina koza zgorela. V tem filmu sploh nismo videti tako slabo.'" (Milo{ Forman)

"The first public preview of The Firemen's Ball was scheduled for Vrchlabi. The cultural communist sympathizers chose the place because they figured that the Vrchlabi folks would feel ridiculed once they saw the way I portrayed them on the screen. /.../ When the discussion started, the first of the Party plants rose and gave this by-the-numbers speech about how the film insulted the working people. He finished and one of the firemen /.../ raised his hand. Mr. Novotny got up. 'Well, I don't know, comrades, I just don't know. This comrade says this is an insult to us, and maybe it is, but do you people remember when Jira's goat shed caught fire? And we were all drinking in the tavern? And how by the time we finally staggered out there, we forgot the nozzles? /.../. I still remember how Jira's goat burned up. Hell, we don’t even look that bad in this movie.'" (Milo{ Forman)

Milo{ Forman

filmografija (izbor)/filmography (selection)

Glej stran 120/ see page 120.

Glej stran 120/ see page 120.

126

Retrospektiva Retrospective

Muhasto poletje Rozmarné léto Capricious Summer ˇ Menzel Jirí

^e{koslova{ka Czechoslovakia 1968 re`ija/directed by ˇ Menzel Jirí scenarij/screenplay ˇ Menzel, Václav Nývlt, Jirí Vladislav Van~ura (knjiga/book) fotografija/cinematography Jaromír [ofr glasba/music ˇ [ust Jirí monta`a/editing ˇ Jirina Luke{ová igrajo/cast Rudolf Hrusinsky (Antonin Dura), Vlastimir Brodsky (Hugo), Franti{ek Rehak (duhovnik/priest Ro~), Mila Myslikova (Arno{tkova pomo~nica Ana/Arnostek's assistant Anna), ˇ Menzel (vrvohodec/tightrope Jirí walker Arno{tek) producent/producer Zdenek Oves produkcija/production Filmové studio Barrandov & ^eskoslovensky film format/format DCP, barvni/colour dol`ina/running time 74'

Film, posnet po ~e{ki humoristi~ni klasiki iz leta 1926, je komedija o lepi cirkusantki, ki povzro~i vznemirjenje med mo{kim prebivalstvom mesteca.

Nekega muhastega poletja v prvih desetletjih prej{njega stoletja Antonin Dura, ki upravlja zanemarjeno krajevno kopali{~e, s prijateljema lenari na kopali{~u – skupaj srkajo vino in se hudujejo nad de`evnim poletjem. Pravo vznemirjenje v kraj prineseta cirku{ka artista, vrvohodec in akrobat Arno{tek ter njegova privla~na pomo~nica Ana. Njuni ve~erni nastopi so prava krajevna zanimivost, {e posebej zaradi ljubke in spogledljive Ane. Ta vname srca treh prijateljev, ki za~nejo tekmovati za dekletovo naklonjenost. Antonina kmalu zapusti besna `ena, Arno{tku ni povsem vseeno za Ano ... muhasto poletje postaja vse bolj nagajivo.

"Leta 1967 sem posnel Muhasto poletje in 1968 je bilo na{e muhasto poletje. Leta 1988 sem kon~al Konec starih ~asov, naslednje leto pa smo videli konec starih ~asov. /.../ Potemtakem ˇ Menzel) moram biti prerok." (Jirí

Based on a 1926 Czech comic novel, a true classic, Capricious Summer depicts a humorous story about a beautiful circus artist who causes havoc among the male population in a small town.

A wet summer in early 20th century. Antonin Dura, keeper of the dilapidated local watering place, is lounging with his friends – drinking wine and complaining about the rainy weather. The appearance of circus artists, a tightrope walker, an acrobat and his attractive assistant Anna, shakes up the quiet community. The evening shows are a popular local attraction, especially because of the lovely and coquettish Anna. She steals the hearts of the three friends, who start vying for the girl's affection. Antonin's angry wife leaves him and Arnostek is not quite ready to let Anna go... The capricious summer is becoming naughtier and naughtier.

festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary (velika nagrada/Grand Prix), Pilsen Film Festival (nagrada ob~instva/Audience Award)

"In 1967 I finished Capricious Summer, and in 1968 we had our capricious summer... In 1988 I finished The End of Old Times, and in 1989 we indeed saw the end of old times. /.../ Then you must ˇ Menzel) be a prophet." (Jirí

ˇ Menzel Jirí

filmografija (izbor)/filmography (selection)

Glej stran 123/ see page 123.

Glej stran 123/ see page 123.

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127

Retrospektiva Retrospective

Najlep{a doba ˇ vek ˇ Nejkrásnej{í The Most Beautiful Age ^e{koslova{ka Czechoslovakia 1968

Jaroslav Papou{ek re`ija/directed by Jaroslav Papou{ek scenarij/screenplay Jaroslav Papou{ek fotografija/cinematography Jozef Ort-Snep glasba/music Karel Mare{ monta`a/editing Jirina Lukesová igrajo/cast Hana Brejchová (Vránová), Jan Stöckl (Hanzlík), Josef [ebánek (Jindra Vosta), Milada Je`ková (Vostová), Vladimír [meral (profesor/professor), ˇ Sýkora (Láda Vrána) Jirí producent/producer Jaroslav Solni~ka produkcija/production Filmové studio Barrandov format/format 35 mm, barvni/colour dol`ina/running time 80'

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Ena od prijetnih elipti~nih ~e{kih komedij, kakr{ne so se razcvetele v {estdesetih letih prej{njega stoletja.

One of those pleasingly elliptical Czech comedies which flourished briefly during the 1960s.

Umetni{ki studio napolni skupina upokojenih mo{kih z mlado damo, ki za pla~ilo pristane na golo poziranje. Komedija se nadaljuje, ko se {tudentje in lokalni birokrati odzovejo na t. i. modele, ki potrebujejo dodaten denar. Zvrsti se nekaj gegov, ki mejijo na burlesko, saj uradniki in {tudentje ne vedo, kaj storiti z golimi modeli.

An artist's studio is descended upon by a group of retired men and a young mother who agree to model in the nude for money.

Comedy ensues as the students and the local bureaucracy react to the models, all in need of extra money. Several running gags border on slapstick as the officials and the students don't know what to do with the nude models.

"Nagnjenost filmskega re`iserja k mo{kim slabostim dokazuje, da v okvirjih totalitarizma prikazovanje ~isto ~love{kih vrednot postane ideolo{ko." (Amos Vogel, Film as Subversive Art)

"The film director's tendentious preoccupation with man's foibles proves that, under totalitarianism, the portrayal of purely human values becomes itself ideological." (Amos Vogel, Film as Subversive Art)

Jaroslav Papou{ek

filmografija (izbor)/filmography (selection)

Rojen leta 1929 v Velkij Bi~kov. Bil je slikar, kipar, re`iser, pisatelj in scenarist. {tudiral je kiparstvo in se pre`ivljal kot risar. Nato je napisal roman ^rni Peter, ki je globoko prevzel Milo{a Formana, da je po njem posnel film.

Tako se je za~elo tesno sodelovanje troj~ka Milo{ Forman, Ivan Passer in Jaroslav Papou{ek, ki sta ga prekinili Formanova in Passerjeva izselitev. Je najznamenitej{i scenarist ~e{kega novega filma.

1968 1970 1970 1972 1974 1976 1979 1984 1984

Born in 1929 in Velykyi Bychkiv. He was a painter, sculptor, writer and scriptwriter. He studied painting and lived freelance as a cartoonist.

Fascinated by his novel ^erný Petr, Milo{ Forman decided to adapt it for the screen. That's how the collaborative trio Milo{ Forman, Ivan Passer and Jaroslav Papou{ek, which ended with Forman's and Passer's emigration, began. He is the most prominent scriptwriter of the Czech New Wave.

128

ˇ vek ˇ (The Most Beautiful Age/Najlep{a doba) Nejkrásnej{í Ecce homo Homolka (Behold Homolka/Ecce homo Homolka) Hogo fogo Homolka Homolka a tobolka Televize v Bublicích aneb Bublice v televizi Kone~ne si rozumíme @ena pro tri mu`e Cesta kolem mé hlavy (Round My Head in 40 Days) V{ichni musí být v py`amu

Retrospektiva Retrospective

[ala @ert The Joke ^e{koslova{ka Czechoslovakia 1969

Jaromil Jire{

re`ija/directed by Jaromil Jire{ scenarij/screenplay Jaromil Jire{, Milan Kundera, Zdenek Bláha fotografija/cinematography Jan ^urík glasba/music Zdenek Pololáník monta`a/editing Josef Valu{iak igrajo/cast Josef Somr (Ludvik Jahn), Jana Dítetová (Helena Zemánková), Ludek Munzar (Pavel Zemánek), Evald Schorm (Kostka), Vera Kresadlová (Brozová), Milan [vr~ina (Jaroslav), Milo{ Rejchrt (Alexej), Jaroslava Obermaierová (Markéta) producent/producer Milo{ Stejskal produkcija/production Filmové studio Barrandov & Smida-Fikar format/format DCP, ~b/b&w dol`ina/running time 81'

Kontroverzen in proti komunisti~nemu sistemu naperjen film je nastal ob koncu gibanja ~e{kega novega vala po predlogi romana legendarnega pisatelja Milana Kundere, s katerim je Jire{ sodeloval pri pisanju scenarija, {e preden je bil roman objavljen.

Ludvika, zagrenjenega in cini~nega glavnega junaka in pripovedovalca (svoje fragmentarne zgodbe), v petdesetih letih izklju~ijo iz komunisti~ne partije zaradi politi~ne {ale oziroma humoristi~ne razglednice, ki jo je poslal svojemu dekletu, zaprise`eni komunistki. Po "rehabilitaciji" – desetletnem slu`enju v vojski, delu v rudnikih in zaporu – skuje na~rt, s katerim se bo ma{~eval nekdanjemu prijatelju, ki ga je izdal.

"La` v umetnosti bi morala biti z zakonom kaznovana! In neodgovornost tudi. Za dejanje in besedo. Vsak mora odgovarjati za svoja dejanja. Samo tako se bo posre~ilo na{emu delu vrniti ˇ Chytilová) izgubljeno ~ast." (Vera

Controversial and anti-communist, The Joke is one of the last films of the Czech New Wave movement. An adaptation of a novel by the legendary Milan Kundera who co-wrote the script with Jire{ before publishing his own work.

festivali, nagrade (izbor)/ festivals, awards (selection) San Sebastian 1969, Moskva/ Moscow 1979, Berlinale 1983

Ludvik, the embittered and cynical protagonist and first-person narrator (recounting his fragmentary tale), is expelled from the Communist Party because of a political joke, a funny postcard he has sent to his girlfriend, a sworn communist. After 'rehabilitation' in the mines and a stint in prison, he hatches a revenge plot against the former friend who betrayed him.

"Lying in art should be outlawed! And irresponsibility too. For words and for actions. Everyone should be deemed responsible for their actions. Only thus would we be able to restore honour to ˇ Chytilová) our work." (Vera

Jaromil Jire{

filmografija (izbor)/filmography (selection)

Rojen leta 1935 v Bratislavi. V Prago se je preselil, da bi {tudiral na filmski ˇ Chytilove in Jana Nemca ˇ akademiji FAMU. Poleg na primer Vere je sodil k ~e{kim novovalovcem, usmerjenim k splo{nemu. [ala je bila do leta 1989 prepovedana. V sedemdesetih in osemdesetih letih je snemal umetni{ke dokumentarce, na mednarodno prizori{~e pa se je vrnil po padcu komunisti~nega sistema po letu 1991.

1964 1966 1969 1970 1979 1982 1991

ˇ (The Cry) Krik Perli~ky na dneˇ (Pearls of the Deep – segment Romance) @ert (The Joke/[ala) Valerie a týden divu (Valerie and Her Week of Wonders) Mladý mu` a bílá velryba (The Young Man and Moby Dick) Neúplné zatmení (Incomplete Eclipse) Labyrinth

prodaja/world sales Národní filmový archiv Male{ická 14 130 00 Praha 3, Czech Republic E katerina.fojtova�nfa.cz

Born in 1935 in Bratislava, Jire{ moved to Prague to study at the FAMU Film ˇ Chytilová and Jan Nemec, ˇ School. Alongside Vera Jire{ is among the roster of Czech New Wave voices who dealt with general themes. The Joke was banned until 1989. In the 1970s and '80s he worked on art documentaries, but returned to the international scene in 1991 following the fall of the Communist regime.

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Retrospektiva Retrospective

Upepeljevalec Spalova~ mrtvol The Cremator ^e{koslova{ka Czechoslovakia 1969

Juraj Herz re`ija/directed by Juraj Herz scenarij/screenplay Ladislav Fuks, Juraj Herz fotografija/cinematography Stanislav Milota glasba/music Zdenek Li{ka monta`a/editing Jaromír Janá~ek igrajo/cast Rudolf Hru{ínský (Karel Kopfrkingl), Vlasta Chramostová (Lakmé), Jana Stehnová (Zina), Milo{ Vogni~ (Mili), Zora Bo`inová (Erna Reinkeová), Ilja Prachar (Walter Reinke), Eduard Kohout (Bettleheim), Jirí Menzel (Dvorák), Jirí Lír (Strauss) producent/producer Zbynek Hloch produkcija/production Filmové studio Barrandov & Sebor format/format DCP, ~b/b&w dol`ina/running time 95' festivali, nagrade (izbor)/ festivals, awards (selection) Sitges 1972 (najbolj{i film/Best Film, najbolj{i igralec/Best Actor, najbolj{a fotografija/Best Cinematography), Zagreb 2016

Kultno horor-komedijo, navdahnjeno z romanom Ladislava Fuksa, {tevilni pojmujejo kot enega najbolj{ih ~e{kih filmov.

Inspired by a novel by Ladislav Fuks, this iconic horror comedy is considered one of the best Czech films ever made.

Zgodba, ki sledi upepeljevalcu Karlu Kopfrkinglu, se dogaja v tridesetih letih v Pragi, v obdobju politi~ne radikalizacije Evrope.

Obseden s tibetansko filozofijo in upepeljevanjem Karel verjame, da njegovo delo osvobaja du{e umrlih. Da bi pove~al obseg svojega najljub{ega po~etja, brez te`ave za~ne sodelovati z nacisti. Ko dobi zahtevo, da s svojimi ve{~inami sodeluje pri "skrivnem projektu" nove oblasti, pade v delirij, saj se mu ponudi nepri~akovana prilo`nost, da tiso~e trupel spremeni v prah.

Karl Kopfrkingl works in a crematorium and is obsessed with Tibetan philosophy and body cremation. His story takes place in Prague in the 1930s, during the radicalisation of the political situation in Europe. Karl believes that his job helps free the souls of the dead. Using every opportunity to find more and more work, he joyfully collaborates with Nazis. When told to apply his professional skills in a 'secret project' of the new regime, Karl is ecstatic because he has an unexpected chance to incinerate thousands of human bodies.

"Sli{al sem za knjigo Ladislava Fuksa z zanimivim naslovom, Upepeljevalec. Prebral sem jo in bil razo~aran. Vseeno sem se zmenil za sre~anje s Fuksom in dve leti sva se ukvarjala s scenarijem. Med snemanjem se je izkazalo, da je to edinstvena prilo`nost, ki ne ponovi kar tako. Bilo je leta 1968 in imel sem popolno svobodo pri ustvarjanju, lahko sem snemal, kar sem hotel. Pri Upepeljevalcu me je navdu{il humor. Obiskal sem razne projekcije v kar nekaj razli~nih dr`avah – vse od Nizozemske pa do Neaplja in bilo mi je drago videti povsem razli~ne odzive ob~instva." (Juraj Herz)

prodaja/world sales Národní filmový archiv Male{ická 14 130 00 Praha 3, Czech Republic E katerina.fojtova�nfa.cz

"I heard about a book with an interesting title, The Cremator, written by Ladislav Fuks. So I read it and I was actually disappointed. But I arranged a meeting with Fuks anyway, and we worked on the script for about two years. During shooting, it became clear that this was a unique chance which wouldn't come again. It was in 1968, and I had absolute liberty in my work. I could film whatever I wanted to. In The Cremator, I was fascinated by the humour. I went to various screenings of the film in many different countries, from the Netherlands to Naples, and I was keen to see how the reactions of the audience were completely different in every country." (Juraj Herz)

Juraj Herz

filmografija (izbor)/filmography (selection)

Rojen na Slova{kem leta 1934. [tudiral je na pra{ki gledali{ki akademiji DAMU. Bil je ~e{ki filmski in televizijski re`iser, igralec in scenograf. Njegov film Petrolejke je bil leta 1972 prikazan v Cannesu, Dan za mojo ljubezen pa na 27. Berlinalu.

1969 1971 1972 1976 1978 1982 1986 2010 2010

Born in 1934, in Slovakia, Herz graduated from the Theatre Faculty (DAMU) of the Academy of Performing Arts in Prague. He was a Czech film director, actor, and set designer. His 1971 film Oil Lamps was screened at the 1972 Cannes Film Festival, and Day for My Love at the 27th Berlinale Festival.

130

Spalova~ mrtvol (The Cremator/Upepeljevalec) Petrolejové lampy (Oil Lamps/Petrolejke) Morgiana Den pro mou lásku (Day for My Love/Dan za mojo ljubezen) Panna a netvor (Beauty and the Beast/Lepotica in zver) Upír z Feratu (Ferat Vampire) Zastihla me no~ (The Night Overtakes Me) T.M.A. Habermann

Retrospektiva Retrospective

Uho Ucho The Ear ^e{koslova{ka Czechoslovakia 1970

ˇ Karel Kachyna

re`ija/directed by ˇ Karel Kachyna scenarij/screenplay ˇ Jan Procházka, Karel Kachyna fotografija/cinematography Josef Illík glasba/music Svatopluk Havelka monta`a/editing Miroslav Hájek igrajo/cast Radoslav Brzobohatý (Ludvík), Jirina Bohdalová (Ana/Anna), Jirí Císler, Miroslav Holub, Milica Kolofiková, Borivoj Navrátil (Cejnar) producent/producer Karel Vejrík produkcija/production Filmové Studio Barrandov format/format DCP, ~b/b&w dol`ina/running time 94' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 1990, Moskva/Moscow 2012

Uho je zadnji film v seriji avtorjevih intimnih stiliziranih alegorij. Ker je bil nemudoma prepovedan, je premiero do`ivel {ele po dvajsetih letih.

The last in the filmmaker's series of intimately-stylised allegories, The Ear was immediately banned and premiered only after a twenty-year hiatus.

Film pripoveduje o zagrenjenem paru – Ludviku, vi{jem uradniku komunisti~ne partije, in alkoholi~arki Ani. Ko se vrneta z ve~erje politi~ne stranke, opazita, da je nekdo vlomil v njun dom. Nekaj ~udnih pripetljajev, med njimi izginotje rezervnih hi{nih klju~ev in mrtve telefonske linije, ju napelje k prepri~anju, da ju nadzoruje vlada. V nadaljevanju no~i vse bolj prihaja na plano njun skrhani odnos.

The film depicts an embittered married couple – Ludvik, a senior official of Prague's ruling Communist regime, and his alcoholic wife Anna. They return home after attending a political party dinner and notice their home has been broken into. Several strange occurrences, including the disappearance of their spare house keys and dead phone lines, lead them to believe that they are under surveillance by the government. As the night progresses, the flaws of their marriage become increasingly exposed.

"V{e~ so mi intimne zgodbe, v katerih ~ustveno razpolo`enje zarisujejo podoba, glasba in pogosto tisto, ~esar ni mogo~e izraziti – je del na{ega `ivljenja, vendar ni konkretno in ga niti ni mogo~e opisati. Slutnje, upi, sanje, dotik ... vse to `elim v svojih filmih. Mislim, da so pomemben del `ivljenjske resnice. In o tej resnici govori film. Nikoli ne bo umetni{ko delo, ~e ne bo odra`al te resnice, ne glede na to, kako subtilno si bo druga~e prizadeval ˇ izraziti najbolj sublimno misel." (Karel Kachyna)

"I like drawing-room stories set in an atmosphere of feelings, where the leading role is played by image, music, and often by what cannot be expressed, that which is a part of our lives but is not concrete and cannot be described. Apprehensions, hopes, dreams, someone's touch... I would always like to have these things in my films. I think they are an essential part of the truth of life. And this truth is what film is mainly about. A film will never be a work of art unless it mirrors that truth, however subtly it may strive in other ways to express the most sublime thought." ˇ (Karel Kachyna)

ˇ Karel Kachyna

filmografija (izbor)/filmography (selection)

Rojen leta 1924 v kraju Vy{kov. Bil je eden prvih diplomirancev pra{ke filmske akademije FAMU in predstavnik ~e{kega novega vala. Leta 1964 je za film Vysoká zed' prejel nagrado za najbolj{i prevenec ne festivalu v Locarnu.

1950 1964 1966 1967 1969 1970 1970 1971 1973 1974 1976 1994 1999

Born 1924 in Vy{kov. He was one of the first graduates from the Film and TV School (FAMU) of the Academy of Performing Arts in Prague, and a major Czech New Wave voice. In 1964, Vysoká zed' was awarded Best Debut Feature in Locarno.

Není stále zamra~eno (dok./doc.)

Vysoká zel' Ko~ár do Vídne No~ nevesty Sme{ný pán U` zase ská~u pres kalu`e Ucho (The Ear/Uho) Tajemství velikého vyprave~e Legenda Pavlínka Malá morská víla Kráva Hanele

prodaja/world sales Národní filmový archiv Male{ická 14 130 00 Praha 3, Czech Republic E katerina.fojtova�nfa.cz

131

Retrospektiva Retrospective

Ecce homo Homolka Ecce homo Homolka Behold Homolka Jaroslav Papou{ek

^e{koslova{ka Czechoslovakia 1970

re`ija/directed by Jaroslav Papou{ek scenarij/screenplay Jaroslav Papou{ek fotografija/cinematography Jozef Ort-Snep glasba/music Karel Mare{ monta`a/editing Jaroslav Papou{ek igrajo/cast Josef Sebánek (dedek/grandfather), Marie Motlová (babica/grandmother), Franti{ek Husák (Ludva), Helena Ru`i~ková (Hedu{), Petr Forman (Péta), Matej Forman (Twin Máta) producent/producer Rudolf Hájek produkcija/production Filmové studio Barrandov & Sebor format/format DCP, barvni/colour dol`ina/running time 83' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 1970, Locarno 1970

Realisti~no portretirano dru`insko komedijo, ki zdru`uje tri generacije in velja za kultno predstavnico novega ~e{kega filma, zaznamujeta absurd in ostro opazovanje.

Zakonca Ludva in Hedu{ Homolka `ivita s svojima dvoj~koma in Ludvinimi star{i v stanovanju v Pragi. V nedeljo se vsi odpravijo na potovanje po pode`elju, da bi u`ivali in se nadihali sve`ega zraka.

Tako se dru`ijo gospodovalni dedek, skrbna, a brezkompromisna babica, nesposobni Ludva, nezadovoljna Hedu{ in radovedna fantka. Vsi ~lani dru`ine so ujeti v svoje osebne te`ave. Dan je nabit z neznatnimi spori in dlakocepskimi argumenti.

"To je bur`oazija v groteskni tragikomediji likov in okoli{~in, ki se jim ni mogo~e upreti." (Jaroslav Papou{ek)

prodaja/world sales Národní filmový archiv Male{ická 14 130 00 Praha 3, Czech Republic E katerina.fojtova�nfa.cz

An iconic Czech New Wave movie replete with absurd humour, this family comedy film gives scrupulous attention to detail in realistically portraying the lives of three generations.

Spouses Ludva and Hedu{ Homolka live with their twin boys and Ludva's parents in a Prague apartment. On a Sunday, they all set out on a trip to the countryside to enjoy healthy air. The extended family includes a domineering grandfather, a caring but uncompromising Grandma, dork Ludva, dissatisfied Hedu{ and inquisitive twins. The whole day is full of petty disputes and hairsplitting arguments.

"Here is the bourgeoisie in a grotesque tragicomedy of characters and situations which are ultimately irresistible."

(Jaroslav Papou{ek)

Jaroslav Papou{ek

filmografija (izbor)/filmography (selection)

Glej stran 128/ see page 128.

Glej stran 128/ see page 128.

132

Evropa na kratko Europe in Short

Tekmovalni program Competitive Programme

Ponovitve

Tresavica

Kratka zgodovine Princese X

Mravlji{~na dekleta

1. sklop Section 1

Tresavica

Mravlji{~na dekleta

Poljska Poland 2018

re`ija/directed by Dawid Bodzak scenarij/screenplay Dawid Bodzak fotografija/cinematograpy Adam Suzin igrajo/cast Natan Berkowicz, Tomasz Gonzi Haladaj, Wiktor Korneluk, Sara Celler Jezierska, Jolanta Olszewska kontakt/contact dawidebodzak�gmail.com format/format DCP, barvni/colour dol`ina/running time 22'

Francija, Brazilija France, Brazil 2017

Predstavljajte si, da ste v gozdu, ki je tema~en, tih in prazen. Ne veste, zakaj ste tu. Nenadoma zasli{ite zavijanje. Ne `elite si biti tu. Bojite se. Zagledate volka, zatem {e enega in {e enega. Vedno bolj se pribli`ujejo, obkolijo vas. Kaj boste storili?

V brazilskem mestecu najstnica vsak dan v evkaliptovem gozdu z insekticidi uni~uje parazitske mravlje. Pravi boj pa se dogaja v njeni notranjosti.

Drzenia Tremors

Imagine that you are in a forest which is dark, quiet and empty.

You do not know why you are here. Suddenly you hear a howl.

You feel you do not want to be here. You are afraid. You see a wolf, and a second one, and a third. They come closer and closer, surrounding you. What are you going to do?

Ponovitve Reruns Reruns

Francija, Belgija, Nizozemska France, Belgium, The Netherlands 2018 re`ija/directed by Rosto scenarij/screenplay Rosto fotografija/ cinematograpy Stephan Schmidt, Freek Zonderland igrajo/cast Jurriaan de Vos, Rosie Templeton, Juan Tajes kontakt/contact rostoad.com format/format DCP, barvni/colour dol`ina/running time 14'

Vse je druga~e, vendar se ni ni~ spremenilo. Potovanje po potopljenem labirintu spominov in sanj.

Everything is different, but nothing has changed. A trip through a sunken maze of memories and dreams.

134

Meninas formicida Ant Killers

re`ija/directed by João Paulo Miranda María scenarij/screenplay João Paulo Miranda María fotografija/cinematograpy Thiago Ribeiro Pereira igrajo/cast Amanda Araujo, Karolina Corbinatto, Luciene Raissa, Cynthia Sales, Sirlene dos Santos, Taisa Luciano kontakt/contact jpmiranda82� yahoocom format/format DCP, barvni/colour dol`ina/running time 13'

In a small Brazilian town, a teenage girl works every day in a eucalyptus forest where she uses insecticides to get rid of parasitic ants. Yet the real fight turns out to be her inner struggle.

Poi{~i popravi pokon~aj Find Fix Finish Find Fix Finish

Nem~ija Germany 2017 re`ija/directed by Mila Zhluktenko, Sylvain Cruiziat scenarij/screenplay Mila Zhluktenko, Sylvain Cruiziat fotografija/cinematograpy Nikolai Huber kontakt/contact festivals�fff-film.com format/format DCP, barvni/colour dol`ina/running time 20'

"V Afganistanu sem videl par med ljubljenjem na strehi." Zelo malo vemo o vsakodnevnem delu pilotov, ki z voja{kimi droni izvajajo "ciljno usmerjene atentate". Trije Ameri~ani so privolili v pri~anje o svojih izku{njah, paradoksno pre`etih tako z intimnostjo kot s krutostjo. Kot pripovedovalci v ozadju ob letalskih posnetkih, ki bi jih lahko ustvarili sami.

"In Afghanistan, I saw a couple making love on a roof." We know very little of the day-to-day work of the pilots carrying out "targeted assassinations" with military drones. Three Americans agreed to testify in voiceover about their experience, which is paradoxically one of intimacy and cruelty, over aerial images that they could have filmed themselves.

Spremljevalni program Accompanying Programme

Podoba – Glasba Image – Music Matic Majcen

138

Ironija

Irony

V devetdesetih so bile stvari zelo preproste. Beck je bil eden vodilnih izvajalcev (in tudi re`iserjev) na videospotovski sceni in je v svojih intervjujih redno razlagal, kako preprosta je pravzaprav ironija. Vzame{ nek pretekli vizualni izdelek – {e posebej iz {estdesetih let – in njegovo estetiko s ~im bolj resnim izrazom na obrazu uporabi{ za svoj video, s ~imer bo zaradi zastarelosti `e sam po sebi pre`et z ironi~nim humorjem. Plod tak{nega razmi{ljanja so bili videi Where It's At (1996), The New Pollution (1996), Sexx Laws (1999) in Mixed Bizness (2000), ki so bili vsi po vrsti intenzivno predvajani na takrat {e enotnem MTV. Pripovedni postopki, ki jih udejanjajo ti videospoti, s sabo ne nosijo nekega sporo~ila, globljega smisla ali afirmativnega afekta.

Ne razmi{ljajo, samo nor~ujejo se.

Potem pa so nekje po prelomu stoletja stvari postale nekoliko bolj zapletene. Na sceno so po~asi za~eli stopati re`iserji in izvajalci, ki so odra{~ali v osemdesetih letih ter se niso bili pripravljeni tako hitro nor~evati iz kulture zgodnjih video iger, sentimentalnih zvokov sintetizatorjev in ~igumijasto roza estetike.

S tem je v popularno kulturo vse opazneje za~ela stopati praksa postironije. Na prvi pogled je pristop {e vedno enak – neka odslu`ena estetika postane osnova novim izdelkom –, toda zdaj se odnos izvajalca do te preteklosti za~ne me{ati z lastnim ~ustvenim vlo`kom. Videografija Warrena Fuja z videospoti kot 11th Dimension (2009) za Juliana Casablancasa, Derezzed (2011) skupine Daft Punk ali If I Could Change Your Mind (2014) skupine Haim so ob filmih, kot so Scott Pilgrim proti vsem (2010) ali Vozi!

(2011), najpriro~nej{i primer tak{ne prakse, ki niso zgolj ironi~na predelava preteklosti, temve~ globok priklon nekemu minulemu obdobju.

Seveda na tej to~ki postane zelo te`ko lo~iti, kaj je tu nor~evanje in kaj afektiranost. V~asih eno sledi drugemu, v~asih sta obe lastnosti povsem pome{ani, predvsem pa se danes zdi, da je afekt prek ironije in postironije prehodil cel krog ter da je postal nerazlo~ljivo pome{an s tovrstno estetiko distanciranja.

Predvsem pa je mogo~e re~i, da so s hitrim vzponom dru`benih omre`ij v prej{njem desetletju tovrstne prakse ve~plastnega odzivanja dobile nov smisel. V be`nem na~inu sporo~anja, ki mora biti lahkoten in zabaven, a mora obenem izra`ati po{iljateljev ~ustveni namen, je tak{no me{anje dobilo status povsem novega sloga v pop kulturi. Vzemimo primer leto{njih videospotov, kakr{ni so New Light Johna Mayerja, Everybody Wants To Be Famous skupine Superorganism ali Vapors skupine Kunzite. Vsi trije so zabavni, barviti, nor~avi, a so obenem videti kot meta izdelki, v katerih estetika dobi neko povsem prakti~no funkcijo in jo je, denimo v obliki animiranih gif datotek, mogo~e uporabiti kot orodje spletnega komuniciranja.

Dana{nji splet je glasbene videospote tako za~el po{iljati na presenetljiva obmo~ja, ki do zdaj niso bila povsem zna~ilna zanje.

V obdobju, ko so prora~uni videospotov ni`ji kot v {e ne tako daljni preteklosti, je to prizori{~u dalo nov zagon in pokazalo eno mogo~ih poti za nadaljnji razvoj. Dale~ od tega, da bi ti trendi predstavljali karkoli revolucionarnega, a ~e se bo glasbeni video tako zvesto odzival na venomer presenetljiv razvoj spletnih tehnologij, potem si tudi v tej formi filmskega ustvarjanja tudi v prihodnje lahko obetamo novih `anrov, pristopov in estetik, ki jih z dana{njega vidika {e ni mogo~e napovedati.

Things were very simple in the 1990s. Beck, a leading music video artist (and director) of that time, tended to repeatedly stress in his interviews how simple irony actually was. You take a visual product – especially those from the 1960s – and adopt its aesthetic in your own video with an earnest expression on your face, whereby its outdatedness will generate ironic humour as a matter of course. Upshots of this approach, e.g. Where It's At (1996), The New Pollution (1996), Sexx Laws (1999) and Mixed Bizness (2000), were all aired intensively on MTV. The narrative procedures employed in these videos did not aim at conveying a message, deeper meaning or affirmative feeling. They did not think, they were just making fun.

At the turn of the century things became a bit more complicated.

Directors and artists coming onto the scene grew up in the 1980s and were reluctant to make fun of the earlier video games, sentimental sounds of synthesisers and bubble-gum pink aesthetic. Pop culture thus came to be pervaded by the practice of post-irony. At first glance the approach remained unchanged – a disused aesthetic providing the basis for new products –, but now an artist’s attitude to the past began to coalesce with their own emotional input. Warren Fu's videography, for example 11th Dimension (2009) for Julian Casablancas, Derezzed (2011) for Daft Punk or If I Could Change Your Mind (2014) for Haim, are some of the most referential examples of the practice that is not merely an ironic reworking of the past, but a tribute to a bygone era.

At this point it becomes difficult to distinguish between ridicule and affection. Sometimes one follows the other, and sometimes both aspects blend seamlessly. Above all, it seems that affection has gone full circle from irony and post-irony to become inseparably linked with this kind of aesthetic distance.

And, primarily, it can be claimed that through the swift rise of social networks over the past decade these practices of multilayered responses acquired a new meaning. In the superficial type of communication, which has to be entertaining and light-hearted whilst also conveying a communicator's emotional intent, this kind of blending acquired the status of an entirely new style in pop culture. Let's consider some of this year's music videos, for example John Mayer's New Light, Everybody Wants to Be Famous for Superorganism or Vapors for Kunzite. All three are fun, colourful, playful, but at the same time resemble meta-products whose aesthetic performs an entirely practical function and can be used, e.g. in animated gif formats, as a vehicle of online communication.

Present-day online trends have thus mapped out surprising, as yet unexplored music-video territories. This has provided the scene with a new impetus, paving the way for further development at a time when video budgets are lower than in the not-so-recent past. Although not introducing radical innovation, such immediate response to rapid development of web technologies means this type of filmmaking is bound to yield new, unforeseeable genres, approaches and styles.

Spremljevalni program Accompanying Programme

John Mayer: New Light PE, 9. novembra, ob 19. uri FRI, 16 November, at 19.00 Kino [i{ka, mala dvorana Kino [i{ka Cinema, Small Hall

Podoba – Glasba 5. Mednarodni tekmovalni program glasbenih videospotov Javna predstavitev najbolj{ih videospotov leta

Image – Music 5th International Competitive Programme of Music Videos Public presentation of best 2018 video spots The Academic: Bear Claws Irska/Ireland, 2017; 6'18'' re`ija/by The Academic Slowdive: Don't Know Why VB, ZDA/UK, USA, 2017; 4'41'' re`ija/by Grant Singer

Anderson .Paak: Til It's Over ZDA/USA, 2018; 4'01'' re`ija/by Spike Jonze Arcade Fire: Money + Love ZDA, VB/USA, UK, 2018; 15'58'' re`ija/by David Wilson Childish Gambino: This Is America ZDA/USA, 2018; 4'04'' re`ija/by Hiro Murai John Mayer: New Light ZDA/USA, 2018; 3'48'' re`ija/by Fatal Farm The Carters: Apeshit ZDA/USA, 2018; 6'05'' re`ija/by Ricky Saiz

Alt-J: Pleader VB/UK, 2017; 6'34'' re`ija/by Isaiah Seret OK Go: Obsession ZDA, Japonska/USA, Japan, 2017; 3'43'' re`ija/by Damian Kulash, Jr. & Yusuke Tanaka Superorganism: Everybody Wants To Be Famous VB/UK, 2018; 3'16'' re`ija/by Robert Strange Kunzite: Vapors ZDA/USA, 2018; 5'11'' re`ija/by Dugan O’Neal MGMT: Me and Michael ZDA/USA, 2018; 6'46'' re`ija/by Joey Frank & Randy Lee Maitland

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Spremljevalni program Accompanying Programme

Filmska nagrada LUX

LUX Film Prize

Evropski parlament vsako leto podeljuje filmsko nagrado LUX z namenom zagotoviti {ir{e predvajanje evropskih filmov v Evropi in spodbuditi vseevropsko razpravo o poglavitnih dru`benih vpra{anjih.

Nagrado spremljajo Filmski dnevi LUX, na katerih se predstavijo trije filmi, uvr{~eni v najo`ji izbor. Ljubitelji filma si v 28 dr`avah Evropske unije izbrane filme lahko ogledajo s podnapisi v vseh 24 uradnih jezikih EU. V skladu z Listino Evropske unije o temeljnih pravicah Evropski parlament tako dejavno spodbuja kulturno in jezikovno razli~nost in sooblikuje politike Evropske unije, ki vplivajo na vsakodnevno `ivljenje petsto milijonov Evropejcev. O tem, kako bomo skupaj `iveli v prihodnje, se bomo odlo~ali `e na naslednjih evropskih volitvah maja 2019.

Filmska nagrada LUX opozarja na filmske zgodbe, ki govorijo o iskanju odgovorov na dru`bena vpra{anja, o iskanju identitete ali utehe ter o odkrivanju razli~nih danosti.

Ve~ o filmski nagradi LUX: www.luxprize.eu, www.europarl.si

The European Parliament has been awarding the annual LUX Film Prize with the aim of boosting circulation of European films across European cinemas and encouraging dialogue and discussion on important social issues in all European countries.

The LUX Film Days project aims to bring the screenings of the finalists (subtitled in the 24 official languages of the EU) of the LUX Film Prize Official Competition closer to European citizens across all 28 countries of the European Union.

The European Parliament is actively committed to promoting cultural and linguistic diversity, as stated in the EU Charter of Fundamental Rights. In addition, its legislative powers make it a crucial player in shaping EU policies which affect the everyday lives of 500 million Europeans. The next Elections to the European Parliament, expected to be held in May 2019, will determine out common future. The Lux Prize covers key issues such as immigration, integration, poverty, freedom of expression and women's rights.

More on the LUX Film Prize: www.luxprize.eu, www.europarl.si

Evropski parlament sodeluje z evropsko filmsko industrijo Filmska nagrada LUX je partnerica {tevilnih filmskih festivalov v Evropi, med drugimi berlinskega festivala Berlinale, festivala 14 dni re`iserjev v Cannesu, Bene{kih dni, festivalov v Karlovih Varih, Sofiji, Stockholmu, Solunu, na Dunaju (Viennale), v Talinu (^rne no~i), Corku, Bratislavi in Sevilli ter Ljubljanskega mednarodnega filmskega festivala – Liffe.

Brezpla~ne projekcije filmov v o`jem izboru za nagrado LUX 2018 ^E, 8. novembra, ob 19. uri Kosovelova dvorana, Cankarjev dom Stiks (Styx) Re`ija: Wolfgang Fischer; Nem~ija, Avstrija PE, 16. novembra, ob 11. uri Kosovelova dvorana, Cankarjev dom Druga stran vsega (Druga strana svega) Re`ija: Mila Turajli}; Srbija, Francija, Katar Pogovor pred projekcijo SO, 17. novembra, ob 16.45 Kosovelova dvorana, Cankarjev dom Bojevnica (Kona fer í stríð) Re`ija: Benedikt Erlingsson; Islandija, Francija, Ukrajina Vsi trije filmi so prikazani v programu 29. Ljubljanskega mednarodnega filmskega festivala LIFFE.

The European Parliament works hand in hand with the film industry The LUX Film Prize is a permanent feature of numerous European films festivals, including the Berlin (Berlinale), Cannes (Directors' Fortnight), Karlovy Vary, Venice (Venice Days), Sofia, Stockholm, Thessaloniki, Vienna (Viennale), Tallinn (Black Nights), Cork, Bratislava and Seville film festivals, as well as the Ljubljana International Film Festival – Liffe.

Free screenings LUX 2018 finalists at the 29th Liffe Festival THU, 8 November, at 19.00 Kosovel Hall, Cankarjev dom Styx By: Wolfgang Fischer; Germany, Austria FRI, 16 November, at 18.00 Kosovel Hall, Cankarjev dom The Other Side of Everything (Druga strana svega) By: Mila Turajli}; Serbia, France, Qatar Discussion before screening SAT, 17 November, at 16.45 Kosovel Hall, Cankarjev dom Woman at War (Kona fer í stríð) By: Benedikt Erlingsson; Island, France, Ukraine All three films form part of the 29th Ljubljana International Film Festival's regular programme.

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Spremljevalni program Accompanying Programme Spremljevalni program je v slovenskem jeziku, ~e pri prireditvi ni navedeno druga~e.

Conducted in Slovenian unless otherwise specified.

MAF – Mad About Film Enostavno nori na film

MAF – Mad About Film Simply mad about film

Seminar za mlade

Seminar for young people

Zavod za uveljavljanje vizualne kulture Vizo s programom Mad About Film (MAF) vzpostavlja prostor, ki mladim ponuja prilo`nost, da se o filmu in filmskem neformalno kakovostno izobrazijo. Na Liffu se brezpla~ni seminar izvaja `e peto leto (sicer je `e sedemnajsti) in je namenjen predvsem mladostnikom od 15. leta. Seminar je uveljavljen ter neguje mlado filmsko kritiko in scenaristiko. Udele`enci bodo u`ivali tudi v festivalskih filmih in spoznavali festivalske goste.

Aimed primarily at young people, the Vizo Institute for the Promotion of Visual Culture and its Mad About Film (MAF) programme present a platform for informal yet quality film education. The 29th Liffe will host the seminar targeted at audiences aged fifteen plus for the fifth time. By means of multimedia lectures, the attendees will gain insight into the production process of filmmaking, and learn the rudiments of film criticism and screenwriting. The participants will attend film screenings and meet featured filmmakers.

Further information: www.madaboutfilm.si

Od TO, 6., do PE, 16. novembra Delavnici Filmska kritika Vodi: Jasmina [epetavc Scenaristika Vodi: Kaja Balog Prijave: www.madaboutfilm.si PE, 16. novembra, ob 18. uri, Dvorana E1, Cankarjev dom Predstavitev izdelkov z delavnic Vsi nastali izdelki bodo objavljeni tudi na spletni strani www.madaboutfilm.si.

SR, 7. novembra, ob 17. uri, Dvorana E1, Cankarjev dom Posledice: predstavitev nastajanja filma Ve~medijsko predavanje Po predavanjih Matev`a Luzarja, Jo`ka Rutarja, Mihe ^erneca in Leva Predana Kowarskega bodo letos za kateder stopili ustvarjalci novega slovenskega filma Posledice, ki je na Festivalu slovenskega filma prejel vrsto nagrad. Nastajanje filma, ustvarjalni proces, izzive in ustvarjalne re{itve bosta predstavila re`iser in scenarist filma Darko [tante ter producentka Jerca Jeri~.

TUE, 6th – FRI, 16 November Workshops Film Criticism Conducted by: Jasmina [epetavc Screenwriting Conducted by: Kaja Balog Applications: www.madaboutfilm.si FRI, 16 November, at 18.00, E1 Hall, Cankarjev dom Presentation of practical works and film programme The works will also be on view at www.madaboutfilm.si.

WED, 7 November, at 17.00, E1 Hall, Cankarjev dom Posledice (Consequences): An insight into the making of a film Multimedia lecture After lectures by Matev` Luzar, Jo`ko Rutar, Miha ^ernec and Lev Predan Kowarski, director and writer Darko [tante and producer Jerca Jeri~ will discuss the making of Posledice (Consequences), a new Slovenian film that bagged several awards at this year's Slovenian Film Festival.

141

Spremljevalni program Accompanying Programme

Pionirski dom

Pionirski dom

Center za kulturo mladih

Youth Culture Centre

TO, 6. novembra, ob 16.30, Dvorana E2, Cankarjev dom SO, 10., in NE, 11. novembra, ob 17. uri, Dvorana E2, Cankarjev dom Delavnica animiranega filma Za otroke od 8. leta Vodita: Andreja Goetz, Lene Lek{e Posnemamo naravo. V animiranih filmih ne premikamo le lutke. ^e ho~emo dose~i ve~ji u~inek naravnega gibanja, moramo premikati tudi stvari, ki so del scenografije. V na{em primeru bo to narava. Tako bomo poleg preprostih lutk `ivali, ki jih bomo izdelali iz plastelina ali papirja premikali tudi vodo, ogenj, oblake.

Kako bomo to naredili? Pridite in preizkusite.

TUE, 6 November, at 16.30, E2 Hall, Cankarjev dom SAT, 10th, and SUN, 11 November, at 17.00, E2 Hall, Cankarjev dom Animated Film Workshop For children aged 8+ Conducted by: Andreja Goetz, Lene Lek{e Imitating nature. Animated cinema is not only about moving puppets. To achieve an effect of natural movement, we need to move the things that make up the set design. In our case nature.

In addition to simple puppets of animals made of plasticine or paper, we will move water, fire, clouds. How is this going to be achieved? Join us and find out for yourselves.

SR, 7. novembra, ob 16.30, Dvorana E2, Cankarjev dom SO, 10., in NE, 11. novembra, ob 17. uri, Dvorana E2, Cankarjev dom Filmska delavnica Za otroke od 10. leta Vodi: Sandi Skok @anrski film, kaj je to `anr in kaj je to trailer? Na delavnici bomo spoznali razli~ne `anre, povedali nekaj o `anrskem filmu in za izmi{ljen film v izbranem `anru posneli napovednik.

WED, 7 November, at 16.30, E2 Hall, Cankarjev dom SAT, 10th and SUN, 11 November, at 17.00, E2 Hall, Cankarjev dom Film Workshop For children aged 10+ Conducted by: Sandi Skok Film genre. What is a genre film and what a trailer? The workshop will provide a valuable insight into different genres and include practical workshop on movie-trailer making.

Prijave: kultura�pionirski-dom.si

Applications: kultura�pionirski-dom.si

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Spremljevalni program Accompanying Programme

TO, 13. novembra, ob 10. uri, Klub Lili Novy, Cankarjev dom

TUE, 13 November, at 10.00, Lili Novy Club, Cankarjev dom

Kak{en art kino potrebujemo

The Arthouse Cinema We Need

Art kino mre`a Slovenije in Zavod Motovila (Center Ustvarjalna Evropa v Sloveniji)

Arthouse Cinema Network Slovenia and Motovila (Creative Europe Desk Slovenia)

Tako kot celotna avdiovizualna industrija se tudi kinematografi spoprijemajo s hitrimi spremembami v modelih filmske distribucije in prikazovanja. Filmske vsebine so dostopne v vedno ve~jem {tevilu oblik in platform, kar izbolj{uje dostopnost in spreminja navade ob~instva. Kinematografi se morajo kot eden od pomembnej{ih stebrov filmske kulture vedno znova spra{evati o svoji vlogah in nalogah, {e posebej pri promoviranju kakovostnega in umetni{kega filma, razvoju ob~instva ter izvajanju programov filmske vzgoje. Na seminarju se bomo z gosti iz tujine in ~lani Art kino mre`e Slovenije spra{evali o razli~nih oblikah art kinematografov, predstavljali primere dobrih praks in se spra{evali o tem, kak{en art kino potrebujemo?

Cinemas, like the entire audio-visual industry, is grappling with the rapidly changing models of film distribution and screening. Films are available in different formats and platforms, which enhances their accessibility and alters viewing practices. Movie theatres, a major pillar of film culture, need to continually re-assess their roles and goals, especially concerning quality/arthouse cinema promotion, audience development and film education programmes. Featuring foreign guests and members of the Arthouse Cinema Network Slovenia, the seminar will present different models of arthouse cinemas, good practice examples and determine what kind of arthouse cinema is required.

SR, 14. novembra, ob 18. uri, Klub Lili Novy, Cankarjev dom

WED, 14 November, at 18.00, Lili Novy Club, Cankarjev dom

Sre~anje Prodornih producentov in Wima Vanackerja

Emerging Film Producers and Wim Vanacker

Re`iser in scenarist Wim Vanacker je dolgoletni pobudnik evropske platforme za razvoj kratkega filma European Short Pitch.

Od 2018 je ~lan programskega odbora za izbor kratkih filmov tekmovalnega programa filmskega festivala v Cannesu.

Sre~anje bo namenjeno pogovoru o nacionalnih politikah podpore kratkih filmov, o skrivnostih festivalskih selekcij in mo`nostih distribucije kratkih filmov.

Director and screenwriter Wim Vanacker is the long-standing 'driving force' behind the European Short Pitch, a platform aimed at promoting European short film. Since 2018 Vanacker has been member of the Selection Committee for the Cannes Film Festival's Official Short Film Competition.

The meeting will focus on national policies concerning the support of short film, the secrets of festival sections and options of short film distribution.

Pogovor bo zaprtega tipa in bo potekal v angle{kem jeziku.

Prijave do 5. novembra: prodorniproducenti�gmail.com.

The discussion is closed to the general public and will be conducted in English.

Applications until 5 November: prodorniproducenti�gmail.com

143

Spremljevalni program Accompanying Programme

PE, 16. novembra, ob 16. uri, Klub Lili Novy, Cankarjev dom

FRI, 16 November, at 16.00, Lili Novy Club, Cankarjev dom

Kratka scena

Short Film Scene

Scenaristi~na delavnica za kratki film

Screenwriting workshop

Vodi: Jelena Paljan Je kratki film le priprava na celove~erni film ali pa se tudi v kratkometra`ni obliki lahko ustvari resno, ambiciozno in celostno filmsko delo? Kaj je skupno kratkometra`nim filmom, ki so do`iveli velik uspeh na filmskih festivalih? Obstaja razlog, zakaj nekateri odli~ni kratki filmi ostanejo neopa`eni? Je za kratki film bolj primerna klasi~na dramaturgija z zapletom, vrhom in razpletom ter enotnostjo kraja in ~asa dogajanja, ali nelinearna dramaturgija s prostorno in ~asovno razvejano zgodbo?

Ob primerih filmov iz prej{njih let in na podlagi izku{enj, ki jih je pridobila kot svetovalka za kratke filme na HAVC (2013–14) in kot scenaristka {tevilnih filmov, bo Jelena Paljan posku{ala odgovoriti na ta in {e kak{na vpra{anja o kratkem filmu.

Na predavanju si bomo ogledali tudi kratki film ^e{nje re`iserke Dubravke Turi}, za katerega je scenarij napisala predavateljica in je nastal po motivih kratke zgodbe. Film je bil uvr{~en v program [tirinajst dni re`iserjev (Quinzaine des Réalisateurs) filmskega festivala v Cannesu leta 2017.

Scenaristi~na delavnica je nastala kot skupni projekt produkcijske hi{e EnaBanda in Dru{tva za uveljavljanje kratkega filma Kraken.

Conducted by: Jelena Paljan Is short film merely a preliminary to feature film or does it constitute a serious, ambitious and coherent motion picture?

What do short films that have generated interest at film festivals have in common? Is there a reason why some brilliant short films fail to attract attention? Is the classical dramaturgy with an exposition, climax and denouement and a uniform setting and timeframe more appropriate for the short film than a non-linear one with a story that branches out in space and time?

Based on her professional experience as short film advisor at the Croatian Audio-visual Centre HAVC (2013–2014) and as a soughtafter screenwriter, Jelena Paljan will address all of these burning issues.

Jelena Paljan based her screenplay for Tre{nje (Cherries), a short fiction film by Dubravka Turi} that will also be screened at the workshop, on a short story. The film was selected for the 2017 Cannes Film Festival's Directors' Fortnight (Quinzaine des Réalisateurs).

The screenwriting workshop is a joint project by EnaBanda production company and the Kraken Society for Short Film Promotion.

144

Nagrajenci Award Winners

vodomec Kingfisher Award 1996–2017 1996

@iveti v pozabi Living in Oblivion, Tom DiCillo 1997

Vzhodna pala~a, zahodna pala~a Dong gong, xi gong, Zhang Yuan 1998

@ivljenje, kot ga sanjajo angeli La vie reveé des anges, Erick Zonca 1999

Deseti brat

Beshkempir, Aktan Abdikalikov 2000

Vzhod je vzhodno East is East, Damien O'Donnell 2001

Kruh in mleko (Kruh in mleko, Jan Cvitkovi~ 2002

Sobota Sábado, Juan Villegas 2003

Vrnitev Vozvra{~enje, Andrej Zvjagincev posebna omemba/special mention:

Pod njenim oknom Pod njenim oknom, Metod Pevec 2004

Popolni preobrat Somersault, Cate Shortland posebna omemba/special mention:

Pogre{ana Bu jian, Li Kang-sheng 2005

Skriti adut Voksne mennesker, Dagur Kári posebna omemba/special mention:

Odgrobadogroba Odgrobadogroba, Jan Cvitkovi~ 2006

1:1 Ena na ena 1:1 En til en, Annette K. Olesen posebna omemba/special mention:

Namizni tenis Pingpong, Matthias Luthard 2007

Okna v ponedeljek Montag kommen die Fenster, Ulrich Köhler 2008

Lakota Hunger, Steve McQueen 2009

^rnci Crnci, Zvonimir Juri}, Goran Devi} posebna omemba/special mention:

Policijski, pridevnik Politist, adj., Corneliu Porumboiu

146

Nagrajenci Award Winners

nagrada zmaj (nagrada ob~instva) Dragon Award (Audience Award) 2008–17 2008

Katin Katyn, Andrzej Wajda 2009

Ubil sem svojo mamo I Killed My Mother, Xavier Dolan 2010

Technotise: Edit in jaz Technotise: Edit i ja, Aleksa Gaji} 2011

Onstran Beyond, Pernilla August 2012

Lore Lore, Cate Shortland 2013

Dekle na poziv Call Girl, Mikael Marcimain 2014

^arlijeva de`ela Charlie's Country, Rolf De Heer 2015

Druga mama The Second Mother, Anna Muylaert 2016

Med morjem in zemljo Between Sea and Land, Carlos del Castillo, Manolo Cruz 2017

Ognji{~e Heartstone, Gudmundur Arnar Gudmundsson

Glasovanje za nagrado ob~instva zmaj s sporo~ili SMS Tudi letos bodo gledalci med celove~ernimi filmi izbirali svojega favorita. Film z najvi{jo povpre~no oceno bo prejel nagrado ob~instva zmaj. Seznam filmov je objavljen na www.liffe.si.

Gledalci svoje glasove oddajo na glasovalnih listi~ih ob odhodu iz dvorane ali pa za film glasujejo prek mobilnikov. Na~in glasovanja prek SMS-sporo~il je omogo~il glavni pokrovitelj festivala Telekom Slovenije, d.d.

Ocene filmov lahko do 6. ure zjutraj posredujete na telefonsko {tevilko 2929. V sporo~ilo vpi{ite: LIFF (presledek), {ifro filma (presledek) in oceno od 1 do 5. [ifra filma je na vstopnici in festivalski spletni strani.

Z iste telefonske {tevilke lahko za vsak film glasujete le enkrat.

Izidi glasovanja bodo objavljeni na www.liffe.si prihodnji dan.

Glasujejo lahko naro~niki storitev mobilnega omre`ja Telekoma Slovenije, uporabniki Mobi ter uporabniki Izi, Spar Mobil, Hip mobil in Me2.

Poslana sporo~ila so obra~unana po veljavnem ceniku operaterja.

SMS Voting Dragon Audience Award for best-rated film Selecting from a range of feature films, the spectators will be able to vote for their favourite picture, which will receive the Dragon Audience Award. The list of films is published on www.liffe.si. Votes can be cast when exiting the cinema or by a mobile phone. The voting via text-messaging has been made possible by Telekom Slovenije, d.d., main Festival sponsor.

Vote for a film by texting the following message to 2929 by 6 a.m.: LIFF (space), film code (space), and your vote from 1 to 5.

Please find the film codes on your admission ticket and on the LIFFE website. Only one vote for a specific film will be accepted from each phone number.

The voting results will be announced on www.liffe.si the following day.

Eligible voters include subscribers to the cellular networks of Telekom Slovenije, and the users of Mobi, Izi, Spar Mobil, Hip mobil and Me2.

Messages will be charged according to operators' relevant pricelists.

nagrada mladinske `irije kinotrip Young Jury Award 2016–17

nagrada za najbolj{i film 360˚ Best 360˚ Film 2016–17

2016

2016

Rde~a `elva

La Tortue Rouge, Michael Dudok de Wit 2017

Pokli~i me po svojem imenu

Call Me by Your Name, Luca Guadagnino

Torta napad

Cake Attack, Monika Janjilovi~, Maks Bernard, Tadej Anclin, Jan Uderman 2017

Svoboda, brez izgovorov

Freedom, with No Excuses, Matej Lozar, Anja ^otar, Rok Jagodnik, Uro{ Kokol, Sa{o Stojak

148

Kazalo Index

izvirni naslovi original titles 100% Coco 104 A Aga 66 Ahlat Agaci 48 All I Imagine 135 B Barbara 114 Benzinho 79 Beoning 58 C Capharnaüm 29 Celica 135 Centaur 87 Cerny Petr 120 Climax 98 Continuer 54 D Dede 84 Den skyldige 10 Der Hauptmann 37 Die Innere Sicherheit 110 Dogman 25 Donbass 85 Doppelgänger 136 Doubles vies 26 Douleur, La 30 Dovlatov 50 Druga strana svega 70 Drzenia 134 E Ecce homo Homolka 132 Ederlezi Rising 93 Entschuldigung, Ich Suche Den Tischtennisraum Und Meine Freundin 137 Es esmu seit 89 Everything 137 F Favourite, The 53 Figlia mia 27 Find Fix Finish 134 Flores 136 G Gespenster 111 Girl 24 Gordon and Paddy 101 Gräns 73 H Halkaa 103 Hannah 13 Herederas, Las 12 High Life 61 Hori, má panenko 126 House That Jack Built, The 28 Hrustal 88 I Imi este indiferent daca in istorie vom intra ca barbari 62 In den Gängen 31 Intimní osvetlení 122 Is~elitel 18 J Jerichow 113 Jiang hu er nv 55 Journal de ma tête 49 K Kamera o tomeru na! 96 Kapten Morten lollide laeval 102 Kona fer i strid 11 Krig 105 L Lásky jedné plavovlásky 121 Lazzaro felice 36 Leave No Trace 68 Leto 56 Livre d'image, Le 51 Loro 34

150

slovenski naslovi slovene titles M Manbiki kazoku 38 100% Coco 104 Mandy 94 112 10 Matangi/Maya/M.I.A. 72 A Aga 66 Matria 135 Asako I & II 67 Mektoub, My Love: Canto Uno 32 B Barbara 114 Meninas Formicida 134 Bojevnica 11 Mentirita Blanca, La 15 C Celica 135 N Napszállta 41 ^ ^rni Peter 120 Ne bom ve~ luzerka 19 D Dede 84 Nejkrásnej{í vek 128 Dedinji 12 Netemo sametemo 67 Dekle 24 O O slavnosti a hostech 125 Divja hru{ka 48 Ostre sledované vlaky 123 Divje `ivljenje 69 Ozen 90 Dnevnik mojih misli 49 P Pajaros de verano 57 Dogman 25 Peacekeeper, The 135 Donbas 85 Person to Person 71 Dovlatov 50 Petra 74 Druga stran vsega 70 Phoenix 115 Duhovi 111 Pity 78 Dvojna `ivljenja 26 Poj mi pesem 35 Dvojnik 136 Prière, La 52 E Ecce homo Homolka 132 Proch 136 Ederlezi vzhaja 93 R Reports on Sarah and F Flores 136 Saleem, The 77 G Gordon in Paddy 101 Reruns 134 Gori, gospodi~na 126 Retour 137 Grozna mama 86 Revenge 95 H Hannah 13 Rider, The 14 H~i moja 27 Rojo 76 Hi{a, ki jo je zgradil Jack 28 Rozmarné léto 127 I Intimna svetloba 122 S Sashishi deda 86 Iz o~i v o~i 71 Se rokh 59 J Jerichow 113 Sedmikrásky 124 Jezdec 14 Spalova~ mrtvol 130 K Kafarnaum 29 Styx 16 Kapitan Morten in kraljica Suspiria 97 pajkov 102 T Teret 17 Kentaver 87 Tlmo~ník 75 Knjiga slik 51 Transit 39 Kristalni labod 88 Tudo o que imagino 135 L Ljubljeni 79 Twarz 33 M Mala bela la` 15 U Ucho 131 Mandy 94 Utoya 22. juli 40 Marguerite Duras: Spomini na V Vision 60 vojno 30 V{echno bude 43 Marjetice 124 W Wallay 106 Ma{~evanje 95 Wave 136 Matangi/Maya/M.I.A. 72 Wildlife 69 Matria 135 Y Yella 112 Med policami 31 Z Zgodovina ljubezni 42 Mehko blato 89 @ @ert 129 Meja 73 Mektoub, ljubezen moja 32 Mirovnik 135 Molitev 52 Mravlji{~na dekleta 134 Muhasto poletje 127 N Najlep{a doba 128 Najljub{a 53 Naprej 54 Ne bom ve~ luzerka 19 Ne pu{~aj sledov 68 Notranji mir 110 O O slavnosti in gostih 125 Obraz 33

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Oni 34 Oprostite, i{~em sobo za namizni tenis in svoje dekle 137 Pepel je sne`no bel 55 Petra 74 Phoenix 115 Pi{kujeve sanje 103 Plavolaskine ljubezni 121 Poi{~i popravi pokon~aj 134 Poj mi pesem 35 Poletje 56 Poletne ptice 57 Ponovitve 134 Po`iganje 58 Prah 136 Prevajalec 75 Rde~e 76 Reka 90 Sarah in Saleem: Prepovedana ljubezen 77 Smrt v enem kadru 96 So~utje 78 Sre~en kot Lazzaro 36 Stiks 16 Stotnik 37 Strogo nadzorovani vlaki 123 Suspiria 97 [ala 129 Tati~i 38 Tovor 17 Tranzit 39 Tresavica 134 Trije obrazi 59 Uho 131 Upepeljevalec 130 Utoya – 22. julija 40 Val 136 Videnje 60 Visoka dru`ba 61 Vojne igrice 105 Vrhunec 98 Vrnitev 137 Vse 137 Vse, kar si lahko predstavljam 135 Vseeno mi je, ~e bomo v zgodovino zapisani kot barbari 62 Wallay 106 Yella 112 Zaton 41 Zdravilec 18 Zgodovina ljubezni 42 Zimske muhe 43

Kazalo Index

angle{ki naslovi english titles 100% Coco 104 A Aga 66 All I Imagine 135 Ant Killers 134 Asako I & II 67 Ash Is Purest White 55 B Barbara 114 Behold Homolka 132 Birds of Passage 57 Black Peter 120 Border 73 Box, The 135 Burning 58 C Capernaum 29 Capricious Summer 127 Captain Morten and the Spider Queen 102 Captain, The 37 Centaur 87 Climax 98 Closely Watched Trains 123 Cremator 130 Crystal Swan 88 D Daisies 124 Daughter of Mine 27 Dede 84 Diary of My Mind 49 Dogman 25 Donbass 85 Dovlatov 50 Dust 136 E Ear, The 131 Ederlezi Rising 93 Everything 137 Excuse Me, I'm Looking for the Ping-pong Room and My Girlfriend 137 F Favourite, The 53 Find Fix Finish 134 Firemen's Ball, The 126 Flores 136 G Ghosts 111 Girl 24 Gordon and Paddy 101 Guilty, The 10 H Hannah 13 Happy as Lazzaro 36 Heiresses, The 12 High Life 61 History of Love 42 House That Jack Built, The 28 I I Do Not Care If We Go Down in History as Barbaria 62 Image Book, The 51 Interpreter, The 75 In the Aisles 31 Intimate Lighting 122 J Jerichow 113 Joke, The 129 K Keep Going 54 L Leave No Trace 68 Little White Lie 15 Load, The 17 Loro 34 Loveling 79

re`iserji, re`iserke directors Loves of a Blonde 121 M Mandy 94 Matangi/Maya/M.I.A. 72 Matria 135 Mektoub, My Love: Canto Uno 32 Mellow Mud 89 Memoir of War 30 Most Beautiful Age, The 128 Mug 33 My Last Year As a Loser 19 N Non-Fiction 26 O One Cut of the Dead 96 Other Side of Everything, The 70 P Party and the Guests, The 125 Peacekeeper, The 135 Person to Person 71 Petra 74 Phoenix 115 Pichku's Dream 103 Pity 78 Prayer, The 52 R Reports on Sarah and Saleem, The 77 Return 137 Revenge 95 Rider, The 14 River, The 90 Rojo 76 S Scary Mother 86 Secret Ingredient 18 Shoplifters 38 Sing Me a Song 35 State I Am In, The 110 Styx 16 Summer 56 Sunset 41 Suspiria 97 T Three Faces 59 Transit 39 Tremors 134 U Utoya – July 22 40 V Vision 60 W Wallay 106 War Game, The 105 Wave 136 Wild Pear Tree 48 Wildlife 69 Winter Flies 43 Woman at War 11 Y Yella 112

A Abbasi, Ali 73 Alayan, Muayad 77 Alzamora, Tomas 15 Assayas, Olivier 26 B Baigazin, Emir 90 Bispuri, Laura 27 Bodro`a, Lazar 93 Bodzak, Dawid 134 C Ceylan, Nuri Bilge 48 ˇ 124 Chytilová, Vera Cleary, Benjamin 136 Cosmatos, Panos 94 Cruiziat, Sylvain 134 D Dano, Paul 69 Defa, Dustin Guy 71 Denis, Claire 61 Dhont, Lukas 24 Díaz, Álvaro Gago 135 Dumora, Pierre Edouard 135 E Erlingsson, Benedikt 11 F Fargeat, Coralie 95 Finkiel, Emmanuel 30 Fischer, Wolfgang 16 Forman, Milo{ 120, 121, 126 G Gallego, Cristina 57 Garrone, Matteo 25 German ml., Aleksej 50 Glavoni}, Ognjen 17 Godard, Jean-Luc 51 Goldblat, Berni 106 Granik, Debra 68 Guadagnino, Luca 97 Guerra, Ciro 57 H Ha~vani, Mariam 84 Hamaguchi, Ryusuke 67 Hambäck, Linda 101 Herz, Juraj 130 Huang, Pang-Chuan 137 J Jácome, Jorge 136 Jakub, Radej 136 Jancis, Kaspar 102 Jia, Zhang-ke 55 Jire{, Jaromil 129 Jude, Radu 62 ˇ Karel 131 K Kachyna, Kahn, Cedric 52 Kapetanovi}, Goran 105 Kastelic, Du{an 135 Kawase, Naomi 60 Kechiche, Abdellatif 32 Kore-eda, Hirokazu 38 Kubat, Aktan Arim 87 L Labaki, Nadine 29 Lafosse, Joachim 54 Lanthimos, Yorgos 53 Lazarov, Milko 66 Lee, Chang-dong 58 Loveridge, Steve 72 Loznica, Sergej 85 M Madhab Panda, Nila 103 Makridis, Babis 78 Martinessi, Marcelo 12 Meier, Ursula 49 Menart, Ur{a 19 ˇ 123, 127 Menzel, Jirí

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Miranda María, João Paulo 134 Möller, Gustav 10 Naishtat, Benjamin 76 ˇ Jan 125 Nemec, Nemes, László 41 Nicholson, Henry 102 Noé, Gaspar 98 Noivo, Leonor 135 Omerzu, Olmo 43 O'Grady Peyton, TJ 136 O'Reilly, David 137 Pallaoro, Andrea 13 Panahi, Jafar 59 Papou{ek, Jaroslav 128, 132 Passer, Ivan 122 Petzold, Christian 39, 110–115 Pizzi, Gustavo 79 Poppe, Erik 40 Prosenc, Sonja 42 Rohrwacher, Alice 36 Rosales, Jaime 74 Rosto 134 Schram, Tessa 104 Schwentke, Robert 37 Serebrennikov, Kirill 56 Sorrentino, Paolo 34 Stavreski, Gjorce 18 Stuber, Thomas 31 Szumowska, Malgorzata 33 [ulik, Martin 75 Taschek, Michaela 136 Trier, Lars von 28 Turajli}, Mila 70 Ueda, Shin'ichiro 96 Unt, Riho 102 Uru{adze, Ana 86 Vimba, Renars 89 Wenge, Bernhard 137 Zhao, Chloé 14 Zhluktenko, Mila 134 Zupani~, Miran 35 @uk, Darja 88

151

Zapiski Notes

152

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