Katalog 32. Liffe (2021)

Glavni pokrovitelj Main sponsor

Partner festivala Festival partner

Ustanovitelj in glavni sofinancer kulturno-umetniškega programa CD Founder and main co-funder of Cankarjev dom’s Arts and Culture programme

OGLEJTE SI USPEŠNICE LETOŠNJEGA LIFFE V VIDEOTEKI DKINO. Doma ali na poti.

32

2021 10 21 NOV

32nd Ljubljana International Film Festival

Klub Kinodvor.

Predober, da bi o njem govorili. www.kinodvor.org

Kino-uho

PREMIERA NOVE GLASBENE SPREMLJAVE

za film EROTIKON (Gustav Machatý, 1929) partitura: Andrej Goričar izvedba: Andrej Goričar (dirigent, klavir), Jakob Bobek (klarinet), Primož Fleischman (saksofon), Matej Haas (violina), Ana Julija Mlejnik (violina), Valentina Mosca (viola), Milan Hudnik (violončelo) svetovna premiera: 6. oktober ob 20.30, Teatro Verdi, Dnevi nemega filma v Pordenonu slovenska premiera: 29. december ob 20.00, Cankarjev dom, Ljubljana

www.kinoteka.si

Slovenska kinoteka, Miklošičeva 28, Ljubljana

Predani popolnosti

Smo vodilni ponudnik pro-avdio, pro-video, avdiovizualnih, svetlobnih in odrskih naprav, sistemov ter rešitev na področjih Adriatika in Balkana. Razvijamo visokotehnološke rešitve, ki vključujejo svetovanje, projektiranje, načrtovanje in končno izvedbo.

Zastopamo in distribuiramo vrhunske izdelke več kot 40 vodilnih znamk na področju profesionalne avdio, video, avdiovizualne, svetlobne in odrske opreme, vključno s priznanimi in cenjenimi podjetji kot so Sony, Harman Group, Shure, Riedel, Barco, Canon, Crestron, Genelec in druge.

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BARCO ClickShare

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SHURE MV7

Obiščite nas na www.avc-group.com

Kolofon Credits

32. Ljubljanski mednarodni filmski festival 2021 32nd Ljubljana International Film Festival 2021 programski direktor/programme director Simon Popek programski svet/programme board Koen Van Daele, Tina Poglajen; Kraken – Peter Cerov{ek in Matev` Jerman (kratki filmi/shorts); Barbara Kelbl, Petra Slatin{ek (Kinobalon) vodja projekta/project manager Brane Kodrin vodja slu`be za tr`enje programa in odnose z javnostmi/head of the marketing and public relations department Sa{a Globa~nik vodja promocije in tr`enja festivala/head of festival promotion and marketing Janina Pintar urejanje spletne strani/web page editor Tadeja Drolc urednica tiskovin/publications editor Damjana Kenda Hussu izdelava spletne strani/creation of website Jure Mo`ina dru`bena omre`ja/social media Medeja Medved celostna grafi~na podoba/identity design mag. Maja Gspan pokroviteljstvo, vodja glasovanja ob~instva/sponsorship, head of audience voting Zvezdana Lazar vodja prodaje/head of box office Andreja [teblaj vodja slu`be za goste/head of hospitality Simona Bra~un Rok koordinacija `irij/jury coordination mag. Anina Oblak vodja prostovoljcev/head of volunteers Ivana Vulanovi~ koordinacija projekcij za {olske skupine/coordination of schoolgroup screenings Kristina Jerman~i~ Golc tehni~ni vodja festivala/festival technical director Mensur Hod`i} pomo~nik tehni~nega vodja festivala/technical deputy director Janez @agar prevajalska slu`ba/translation services Nives Ko{ir, Brane Kodrin koordinacija prevajanja in podnaslavljanja/subtitling service and coordination Ga{per Vavtar, Niko Bogataj, Dejan Bjelajac kinooperaterja/projectionists Juro Gani}, Haris Ataji~

koordinator filmskih kopij/print coordination Brane Kodrin, Medeja Medved multimedija/multimedia Haris Ataji} voznik/driver Iztok Suhadolc varnostna slu`ba/security services Martin Remic, Dejan Ba`ec poslovna sekretarka/business secretary Tamara Habjani~ finan~no-ra~unovodska slu`ba/accounting department Du{an Lakner (vodja/head), Irena Balanti~, Vladana Jozi} producent festivala/producer

kulturni in kongresni center Ljubljana cultural and congress centre Ljubljana www.cd-cc.si E info�cd-cc.si generalna direktorica/director general Ur{ula Cetinski direktorica poslovnega sektorja/managing director Barbara [tukelj direktorica kongresno-komercialne dejavnosti/congress and event management director mag. Breda Pe~ovnik direktorica tehni~nega sektorja/technical director Karmen Klu~ar direktorica Kinodvora/Kinodvor director Metka Dari{ direktor Bovin, d.o.o. (Kino Komuna) Damjan Smodi{ direktorica Slovenske kinoteke/Slovenian Cinematheque director @enja Leiler direktor Kina Be`igrad/Kino Be`igrad director Klemen Toman direktor Maribox/Maribox director Stjepan Jeri} predsednik dru{tva Kina Metropol/head of Kino Metropol Borut Kramer ravnatelj Anton Podbev{ek Teatra/Anton Podbev{ek Theater general director Matja` Berger

www.liffe.si

katalog/catalogue

urednici/editors [pela Barli~, Damjana Kenda H. besedila/texts Matic Majcen, Janina Kos, Damijan Vinter, Tina Poglajen, [pela Barli~, Anja Banko (Kinobalon); Kraken (Evropa na kratko) prevajanje/translation mag. Anina Oblak lektoriranje/proof-reading mag. Sonja Ko{mrlj oblikovanje/design Toma` Perme, Mojca Vanelli

izdajatelj/issued by Cankarjev dom zanj/represented by Ur{ula Cetinski, generalna direktorica/ Director General oktober/October 2021

1

Uvodnik Foreword

O bojlerju in ~love{kih du{ah About a Boiler and People's Souls Simon Popek Vsega bo nazadnje kriv James Bond. Ker je vrnil gledalce v kinodvorane. Ker je vrnil upanje v skupinsko gledalsko izku{njo.

Ker je po letu in pol stihije, stagniranja, samoodrekanja rekel "dovolj" in {el z vsemi topovi nad nekaj, ~emur smo zadnje leto in pol rekli "doma~i kino". VOD, t. i. video-na-zahtevo, je nenadoma postal nepomemben, lastniki pravic, distributerji in prikazovalci so se ga naenkrat za~eli otepati. "Hibridna prireditev" je postala psovka, kar je potrdil Miroslav Mandi}, ki je ob slovenski premieri svojega zadnjega filma Sanremo pred polno Linhartovo dvorano povedal, da po slabem letu dni gostovanj na mednarodnih VOD ali hibridnih festivalih prvi~ stoji pred `ivim ob~instvom in da je kar malo zbegan. Tudi deloval je nekako tako, stal je ob robu odra, po malem mencal, koprnel po pravih besedah, iskanju, ne vem ~esa, daljinca? Pred njim pa polna dvorana `eljnega ob~instva. Dragi Miroslav, bilo je ganljivo, bil si prikupno zmeden.

Malo manj prikupni, a enako zmedeni smo na za~etku oktobra (kot tole pi{em) organizatorji pri~ujo~ega festivala. Lani ob istem ~asu sem se {el spekulativno fikcijo, premleval, tehtal, primerjal, tuhtal, in, no, {pekuliral z razli~nimi mogo~imi scenariji covid festivalske sezone. Lani se `al ni iz{lo, letos verjamem v normaliziranje razmer. Na poti so filmi in njihovi ustvarjalci, dogodki in pogovori v `ivo. Ob PCT-pogojih, ki bi jih – vsaj dolo~en sloj – lahko razglasil za psovko leta {t. 2. Dejstvo je, da v njih nih~e ne u`iva, ampak ~e `elimo v pravo normalnost, je treba izbrati. To ni izbira med Neovo modro in rde~o pilulo, temve~ med doma~im in javnim kinom.

Prikupno zmedeni Miroslav Mandi} je dobra metafora; pred polno Linhartovo dvorano je iskal daljinca, a na{el `ivo ob~instvo. ^e parafraziram s sloganom svojega najljub{ega postjugoslovanskega filma Pri stricu Idrizu Pjera @alice, je to "zgodba o ~loveku, ki je pri{el popravit bojler, a je popravil ~love{ke du{e".

2

In the end, it will all be James Bond's fault. Because he's brought audiences back to movie theatres. Because he's restored our hopes for a collective big-screen experience. Because after a year and a half of calamity, stagnation and self-denial, he said "enough" and unleashed a relentless onslaught against what we’ve come to know as "home cinema". VOD, video-on-demand, has suddenly become irrelevant, and copyright owners, distributors and exhibitors have all of a sudden begun to reject it.

A "hybrid event" turned into a curse. Director Miroslav Mandi} confirmed this at the Slovenian premiere of his last film, Sanremo, which was held in Cankarjev dom's Linhart Hall. He explained that after a year of international VOD or hybrid festivals, he was standing before a live audience for the first time and that he was slightly confused. In fact, he did convey that impression, standing on the edge of the stage, fidgeting a little, searching for the right words, looking for, perhaps, a remote control? And before him, a full house of eager viewers. Dear Miroslav, it was touching, you were endearingly confused. At the beginning of October (as I am writing this) the organizers of Liffe are equally confused, though less endearingly so. Same time last year I engaged in a round of speculative fiction, racking my brain, pondering, weighing up, comparing and, well, speculating about various possible Covid scenarios for the festival season.

Unfortunately, last year didn't work out, this year I believe that life will go back to normal. We have movies and their makers arriving, scheduled events and live talks. All this under compliance with the recovered-vaccinated-tested rule, a rule that could be declared – at least by a certain population stratum – this year's curse no 2. The fact is that no one enjoys this rule, but if we want to restore normality, it has to be complied with. This is not Neo's choice between a blue pill and a red pill, but a decision between home cinema and public cinema. The sweetly confused Miroslav Mandi} is the perfect metaphor: looking for a remote control in a packed auditorium, he found a live audience. To paraphrase using the slogan from my favourite post-Yugoslav film Days and Hours (Kod amidze Idriza) by Pjer @alica, it is "the story of a man who came to fix a boiler, but ended up fixing people's souls."

Vsebina Contents

2 Uvodnik Foreword 4 @irije, nagrade Juries, Awards Program Programme 7 21 43 57 73 79 85

Perspektive Perspectives Predpremiere Avantpremieres Kralji in kraljice Kings and Queens Panorama svetovnega filma Panorama of World Cinema Ekstravaganca Extravaganza Kinobalon Kinobalon Fokus Focus Gruzija Georgia 93 Retrospektiva Retrospective Prepovedane `enske Forbidden Women 107 Posve~eno Tribute Belmondo Belmondo 115 Evropa na kratko Europe in Short 120 Spremljevalni program Accompanying Programme 124 Kazalo Index 126 Nagrajenci LIFFe LIFFe Award Winners

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@irije, nagrade Juries, Awards

foto: Aljo{a Rebolj, arhiv MGL)

Nagrada vodomec (sklop Perspektive) – mednarodna `irija Kingfisher Award (Perspectives section) – International Jury Zsófia Ruttkay je diplomantka SZFE in ELTE, nato se je uveljavila kot scenaristka re`iserja Györgya Pálfija. Je avtorica z nagrado Sundance-NHK oven~anega scenarija za film Taksidermija ter je bila pristojna za dramsko zgodbo filmov Hukkle, I'm Not Your Friend, Gospodov glas in Zadnji rez – Dame in gospodje. Med ~akanjem na sredstva za druge projekte deluje kot poklicna dramaturginja (Ruben Brandt, The Collector, Kills on Wheels, Entropia idr.) in izvedenka za izbolj{avo scenarijev ter na FREE SZFE in MOME pou~uje pisanje filmskih scenarijev.

Zsófia Ruttkay finished her studies at SZFE and ELTE, then she started to work as a scriptwriter of György Pálfi. She wrote the Sundance-NHK Award winning script of Taxidermia and was in charge of the story of Hukkle, I'm Not Your Friend, His Master's Voice and Final Cut – Ladies&Gentlemen. Meanwhile waiting for their other projects to be financed, she works as a professional dramaturg (Ruben Brandt, The Collector, Kills on Wheels, Entropia for example) and script doctor and she teaches scriptwriting for film- and animation directors at FREE SZFE and MOME.

Leyla Yılmaz je bila rojena v tur{ki Bursi. Po diplomi na oddelku za arheologijo in umetnostno zgodovino Univerze v Istanbulu leta 1995 je v produkcijskih podjetjih sodelovala pri snemanju oglasov za {tevilna velika mednarodna podjetja. Da bi zanimanje za filmsko umetnost nadgradila v poklicno delo, je {tudirala film na Univerzi v New Yorku. Leta 2011 je napisala in re`irala A Handful of Sea, svoj celove~erni prvenec. Po ve~ nagradah na festivalih po svetu je film za Evropo odkupila HBO. Leta 2015 je za~ela pisati scenarij za drugi celove~erni projekt Not Knowing, 2020 pa dokon~ala produkcijo. Osvojil je {tevilne nagrade na treh od {tirih velikih tur{kih festivalov, v Antalyi, Ankari in Adani.

Leyla Yılmaz was born in Bursa in Turkey. After graduating from the Archaeology and Art History Department of Istanbul University in 1995, Leyla worked in production companies shooting commercials for many large international companies.

To turn her interest in filmmaking into a professional occupation, she studied Cinema at NYU. In 2011, Leyla wrote and directed her first feature film A Handful of Sea. After winning awards at a few festivals worldwide the film sold to HBO in Europe. In 2015 she began work on the script for her second feature project Not Knowing which completed production in early 2020. It has received many awards at three of the four big Turkish festivals, Antalya, Ankara, & Adana.

Sebastian Cavazza (1973, Kranj) se je leta 1992 vpisal na AGRFT ter {tudij dramske igre in umetni{ke besede kon~al v letniku Mileta Koruna in Matja`a Zupan~i~a. Pozneje se je vpisal {e na podiplomski specialisti~ni {tudij igre in filmske re`ije. `e kot {tudent je prejel Severjevo nagrado za vlogi v {tudentskih uprizoritvah Gospodi~na Julija in Kralj Lear. Med 1998 in 2007 je bil zaposlen v Slovenskem mladinskem gledali{~u. Leta 2007 se je podal na svobodno umetni{ko pot, igral je v ve~ slovenskih gledali{~ih. Hkrati je nastopil v {tevilnih slovenskih in tujih filmih.

V glavnih vlogah med drugimi v filmih Balkanska ruleta Zdravka Bari{i}a, Adrian Maje Weiss, Kratki stiki Janeza Lapajneta, Mo{ki ne jo~ejo Alena Drljevi}a, Ederlezi vzhaja Lazarja Bodro`e, Gajin svet Petra Bratu{e. Nastopil je tudi v {tevilnih slovenskih in tujih televizijskih filmih in nadaljevankah (Jezero, Sence nad Balkanom, Besa ...). Od leta 2010 je ~lan igralskega ansambla MGL. Na ljubljanski AGRFT predava igro pred kamero.

Nagrada FIPRESCI mednarodna `irija FIPRESCI Prize International Jury

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Sebastian Cavazza (1973, Kranj) entered the Ljubljana Academy of Theatre, Radio, Film and Television in 1992 and studied stage acting and the art of speech under Mile Korun and Matja` Zupan~i~. He then obtained a postgraduate degree, specialising in acting and film directing. As a student, he won the Sever Award for his acting achievements in Miss Julie and King Lear. Between 1998 and 2007, he was member of the Mladinsko Theatre. In 2007, he started his career as a freelance actor, playing in many Slovenian theatres. At the same time, he appeared in several Slovenian and international films. His lead roles include Balkan Roulette by Zdravko Bari{i}, Adrian by Maja Weiss, Short Circuits

by Janez Lapajne, Men Don't Cry by Alen Drljevi}, Ederlezi Rising

by Lazar Bodro`a, Gaja's World by Peter Bratu{a. He has also appeared in numerous Slovenian and international TV films and series (The Lake, Balkan Shadows, Besa ...). In 2010 he joined the MGL Ljubljana City Theatre. He teaches acting for the camera at the Ljubljana Academy of Theatre, Radio, Film and Television.

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 Jo`ko Rutar je filmski producent, ustanovitelj in direktor produkcijske hi{e SPOK Film. Po diplomi na Ekonomski fakulteti v Ljubljani je deloval kot producent kulturnih dogodkov, plesnih predstav in filmov. Med letoma 2011 in 2016 je bil direktor Slovenskega filmskega centra, javne agencije RS. Je diplomant mednarodnega producentskega izobra`evanja EAVE in njegov nacionalni predstavnik. Deluje tudi kot visoko{olski predavatelj filmske produkcije, je predsednik strokovno posvetovalnega telesa kolektivne organizacije AIPA in ~lan Evropske filmske akademije.

Marina D. Richter je beograjska filmska kriti~arka, svetovalka za scenarij, novinarka in pisateljica, ki deluje na Dunaju. Je ustanoviteljica (2018) in glavna urednica spletne platforme Ubiquarian, specializirane za kratke in dokumentarne filme. Od leta 2020 je ~lanica programskega odbora NIFFF (Mednarodni festival fantasti~nega filma v Neuchâtlu), od 2021 pa tudi programskega odbora azijskih kratkih filmov NIFFF. Asja Krsmanovi} je bila rojena leta 1988 v Sarajevu. Diplomirala je iz dramaturgije na Akademiji dramskih umetnosti v Sarajevu.

Kot dramaturginja je sodelovala pri {tevilnih gledali{kih produkcijah ter nekaterih radijskih in televizijskih projektih. Na Sarajevskem filmskem festivalu deluje kot programska vodja tekmovalnega sklopa, tekmovalnega sklopa kratkega filma in fokusa, od leta 2017 kurira {tudentski tekmovalni program.

Jo`ko Rutar is a film producer, the founder and CEO of SPOK Film production company. After graduating from the Faculty of Economics in Ljubljana, Jo`ko worked as a producer of cultural events, dance performances and films. From 2011 to 2016, he was the Managing Director of the national film funding body Slovenian Film Centre. He is EAVE graduate and its Slovenian national representative. He also works as a lecturer and is head of the expert committee at the Slovenian audio-visual collecting society, AIPA, and a European Film Academy member.

Marina D. Richter is a Belgrade-born, Vienna-based film critic, script advisor, journalist, and published writer. In 2018, Marina founded Ubiquarian, an online platform specialized in short films and documentaries, where she's acting as editor-in-chief.

Since 2020, she has been on the Selection Committee of NIFFF (Neuchâtel International Fantastic Film Festival), and since 2021 also on the Selection Committee of NIFFF Asian shorts.

Asja Krsmanovi} was born in Sarajevo in 1988. She graduated in dramaturgy from the Academy of Performing Arts in Sarajevo.

She worked as a dramaturg for numerous theatre productions, as well as some radio and television projects. She is manager of the Competition, Competition Short and In Focus Program at Sarajevo Film Festival, and since 2017 she has been running the Student Competition Program.

Nagrada mladinske žirije Kinotrip Kinotrip Young Jury Award

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@irije, nagrade Juries, Awards

Nagrada Art kino mre`e Slovenije Slovenian Art Cinema Association Award

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Ne`a Me`an z Mestnim kinom Dom`ale sodeluje `e vrsto let.

Prav zaradi kakovostnih filmov evropske in svetovne produkcije je za~ela razvijati svoj kriti~ni pogled, ki ga je izpopolnjevala tudi na delavnici filmske kritike pod mentorstvom Matica Majcna, letos pa se je prvi~ udele`ila seminarja Sofia Innovation Lab, ki vsakoletno poteka v okviru Mednarodnega filmskega festivala v Sofiji. Sodeluje tudi pri izvedbi filmskovzgojnih programov v Mestnem kinu Dom`ale.

Ne`a Me`an has worked for Mestni kino Dom`ale (Dom`ale Cinema) for a number of years. It is the quality of the Cinema's European and global film programme that encouraged Ne`a to develop her critical thought, also by participating in a film criticism workshop conducted by Matic Majcen. This year she attended the Sofia Innovation Lab held annually within the context of the Sofia International Film Festival. She also helps implement the Dom`ale Cinema's film-education programmes.

Matej Patljak je filmski poznavalec, neodvisni novinar, poro~evalec z najve~jih svetovnih filmskih festivalov, umetni{ki vodja, strokovni sodelavec in programski direktor kino verige Radi imamo kino (Kino Roga{ka, Kino Slovenska Bistrica, Kino Bre`ice in Kino Sevnica), voditelj, moderator in organizator filmskih premier.

Matej Patljak is a film expert, freelance journalist, reporter from the world's major film festivals, artistic director, professional associate and programme director of the movie theatre chain Radi imamo kino (We Love Cinema – Kino Roga{ka, Kino Slovenska Bistrica, Kino Bre`ice and Kino Sevnica), film premieres presenter, host and organizer.

Samo Seni~ar se s filmom ukvarja od leta 2010, ko je postal programski vodja Mestnega kina Metropol v Celju, prvega art kina v Sloveniji, hkrati skrbi tudi za filmsko vzgojo, ki predstavlja pomemben del Metropolovega programa. Bil je ~lan `irij na festivalih, kot so v Karlovih Varih, Festival slovenskega filma v Portoro`u, v Sarajevu in mednarodni filmski festival CineFest Mi{kolc. V letih 2017 in 2018 je bil programski vodja Festivala evropskega in mediteranskega filma v Piranu.

Samo Seni~ar has worked in film since 2010, when he was appointed Programme Manager of Celje’s Mestno kino Metropol (Metropol Cinema), Slovenia’s first arthouse cinema. He is also in charge of film education, an important part of Metropol's programme. He was member of various festival juries, most notably at Karlovy Vary, Festival of Slovenian Film Portoro`, Sarajevo Film Festival and CineFest Mi{kolc International Film Festival. In 2017 and 2018, he was Programme Director of the Festival of European and Mediterranean Film in Piran.

izbor filmov za nagrado Art kino mre`e Slovenije

films competing for the Slovenian Art Cinema Association Award

Bergmanov otok (Bergman Island) Za~etek (Dasatskisi) Junak (Ghahreman) O naklju~ju in domi{ljiji (Gûzen to sôzô) Ahedino koleno (Ha'berech) Pravi mo{ki (Ich bin dein Mensch) Jagnje (Lamb) Nemirni (Les intranquilles) Mala mama (Petite Maman)

Bergman Island Beginning (Dasatskisi) A Hero (Ghahreman) Wheel of Fortune and Fantasy (Gûzen to sôzô) Ahed's Knee (Ha'berech) I'm Your Man (Ich bin dein Mensch) Lamb (Dýrið) The Restless (Les intranquilles) Petite Maman

Perspektive Perspectives

10 11 12 13 14 15 16 17 18 19

Atlantida Atlantis Yuri Ancarani Azor Azor Andreas Fontana Inventura Inventory Darko Sinko Kala Azar Kala Azar Janis Rafa Kje je Venera? Looking for Venera Norika Sefa Morena Murina Antoneta Alamat Kusijanovi} Oblak v njeni sobi The Cloud in Her Room Zheng Lu Xinyuan Pohodi plin! Hit the Road Panah Panahi Slu`abniki Servants Ivan Ostrochovský Telesce Small Body Laura Samani

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Perspektive Perspectives

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Perspektive Perspectives

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Perspektive Perspectives

Atlantida Atlantide Atlantis Yuri Ancarani

Italija, Francija, ZDA, Katar Italy, France, USA, Qatar 2021

re`ija/directed by Yuri Ancarani scenarij/screenplay Yuri Ancarani fotografija/cinematography Yuri Ancarani glasba/music Francesco Fantini, Lorenzo Senni monta`a/editing Yuri Ancarani, Yves Beloniak igrajo/cast Daniele Barison, Bianka Berényi, Maila Dabalà, Alberto Tedesco, Jacopo Torcellan producenta/producers Marco Alessi, Marta Tagliavia produkcija/production Dugong Films Via Portuense 201 00149 Roma, Italy E info�dugong.it format/format DCP, barvni/colour dol`ina/running time 104' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2021

Utrip `ivljenja mladostnikov, ki ob dirkanju s ~olni, poslu{anju glasbe in prvih ljubeznih na videz brezskrbno pre`ivljajo dneve v Bene{ki laguni, skozi o~i priznanega italijanskega video umetnika Yurija Ancaranija.

Daniele je odra{~ajo~ fant z otoka na robu Bene{ke lagune. Dr`i se zase in se ne dru`i niti z vrstniki, katerih `ivljenje, obstoj in u`itki so osredoto~eni na motorne ~olne, imenovane "barchino".

S predelavo ~olnov `elijo mladostniki iz njih iztisniti kar najve~ mo~i in se dokazati na nevarnih dirkah. Tudi Daniele sanja o edinstvenem ~olnu, ki bi mu prinesel zmago in spo{tovanje. A mo{ka samopotrditev se zdi zaradi razmer, v katerih brezciljno odra{~ajo tamkaj{nje generacije, obsojena na propad.

"Film Atlantida je za~el nastajati brez scenarija. Zgodba se je razvila v {tirih letih opazovanja teh mladih, dialogi so vzeti iz njihovega nadvse resni~nega `ivljenja. Ta delovna metoda mi je omogo~ila prehajanje meja tradicionalnega filmskega ustvarjanja: kjer pisanju scenarija sledi snemanje. S tem je bil film na voljo za upodobitev trenutka velike spremembe za Benetke in njihovo laguno, z domala nezaznavne perspektive, gledi{~a, ugla{enega na miselnost teh mladostnikov." (Yuri Ancarani)

prodaja/world sales Luxbox 6, rue Jean-Pierre Timbaud 75011 Paris, France E fiorella�luxboxfilms.com distribucija/distribution Fivia d.o.o.

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

Daniele is a young man from Sant'Erasmo, an island on the edges of the Venice Lagoon. He lives on his wits, isolated even from his peer group who are busy exploring an existence of pleasure-seeking expressed in the cult of the 'barchino' (motorboat). Daniele too dreams of a record-breaking barchino, one that will take him to the top of the leader board and help him win respect from the others. Violent and destined to failure, the tale of male initiation explodes, dragging the ghost city along on a psychedelic shipwreck.

"Atlantide is a film that began without a screenplay. The story developed over four years of observation following these young people, their dialogues are taken from their very real lives. This working method gave me the opportunity to go beyond the limits of traditional film design: where first there is writing and then shooting. This way, the film was on hand to record a moment of great change for Venice and her lagoon, from an almost undetectable perspective, one attuned to the outlook of these adolescents." (Yuri Ancarani)

Yuri Ancarani

filmografija (izbor)/filmography (selection)

Rojen leta 1972 v Ravenni, Italija. Delo priznanega italijanskega video umetnika, ki ustvarja v rojstnem kraju in Milanu, je preplet sodobne vizualne umetnosti in dokumentarnega filma, s katerim v prvi osebi raziskuje povr{nemu opazovalcu neznane plasti vsakodnevnega `ivljenja.

2010 2010 2014 2016 2017 2021

Born in 1972 in Ravenna, Italy. A distinguished video artist and filmmaker who works in both Ravenna and Milan, Ancarani's works blend documentary cinema and contemporary art, and derive from personal research into hidden recesses of daily life, realities inaccessible to the casual observer.

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Renowned Italian video artist Yuri Ancarani's new film shows the dynamics between teenagers living in the Venetian Lagoon. With nothing else to do all day, they cruise around in their speed boats, listening to music, and experiencing their first loves.

Il capo (The Chief) (kratki dok./short doc.)

Da Vinci (kratki dok./short doc.)

Séance (kratki dok./short doc.)

The Challenge (dok./doc.)

Barchini (Motorboats) Atlantide (Atlantis/Atlantida)

Perspektive Perspectives

Azor Azor Azor Andreas Fontana

Argentina, [vica, Francija Argentina, Switzerland, France 2021

Nenavaden triler, postavljen v svet osebnega ban~ni{tva, prefinjen splet korupcije in kolonialisti~nih privilegijev.

A thriller set in the world of private banking, a rarefied milieu of corruption and colonial privilege.

Yvain De Wiel, osebni bankir iz @eneve, se v zgodnjih osemdesetih letih, ko je dr`ava {e globoko v prime`u diktature, odpravi v Argentino, da bi nadomestil svojega partnerja ter prevzel njegove bogate (in sumljive) stranke. Yvainov partner je izginil neznano kam, za njim pa so ostale le zaskrbljujo~e govorice. Sredi visoke dru`be se nekje med luksuznimi saloni, zasebnimi bazeni in varovanimi vrtovi bije dvoboj med bankirjema, ki sta, ~eprav uporabljata razli~ne metode, protagonista prikrite, a neusmiljene oblike kolonizacije.

Yvan De Wiel, a private banker from Geneva, is going to Argentina in the midst of a dictatorship to replace his partner, the object of the most worrying rumours, who disappeared overnight. Between hushed lounges, swimming pools and gardens under surveillance, a remote duel takes place between the two bankers who, despite different methods, are the accomplices of a discreet and merciless form of colonization.

"Film je v prvi vrsti triler, zato je zgodba najpomembnej{a. Hotel sem upodobiti tudi vi{ji razred skozi vedenje njegovih pripadnikov.

Prikazano je z na~inom kajenja pa tudi kako pokli~ejo natakarja za naro~ilo pija~e ali kako se gibljejo po prostoru in ga polnijo s svojo navzo~nostjo. Vse te podrobnosti opisujejo dolo~en odnos s svetom, v tem pogledu sem bil zelo precizen, ~eprav nisem perfekcionist. Pomembno je bilo, ker imajo podrobnosti politi~ni pomen." (Andreas Fontana)

re`ija/directed by Andreas Fontana scenarij/screenplay Andreas Fontana, Mariano Llinás fotografija/cinematography Gabriel Sandru glasba/music Paul Courlet monta`a/editing Nicolas Desmaison igrajo/cast Fabrizio Rongione (Ivan), Elli Medeiros (Magdalena Padel Camon), Stéphanie Cléau (Inés), Alexandre Trocki (Frydmer), Pablo Torre Nilson (Tatoski), Gilles Privat (Lombier), Juan Pablo Geretto (Dekerman), Carmen Iriondo (Viuda), Juan Trench (Padel Camon), Yvain Juillard (Lombier) producenta/producers David Epiney, Eugenia Mumenthaler produkcija/production Alina Film CP 1073 1211 Genève, Switzerland E info�alinafilm.com & Ruda Cine E ruda�rudacine.com.ar & Local Films & Radio Télévision Suisse (RTS) format/format DCP, barvni/colour dol`ina/running time 100' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2021, Jeruzalem/Jerusalem 2021, London 2021, San Sebastian 2021

"The film is, first and foremost, a thriller, and therefore, the story is the most important thing. But I also wanted to describe this upper class through their behaviour. It's shown in the way they smoke, but also how they call the waiter to order a drink, or how they move within a space and occupy it. All of these details describe a certain relationship with the world, and I was meticulous with them, although I am not a perfectionist, particularly. It was important because the details have a political meaning." (Andreas Fontana)

Andreas Fontana

filmografija (izbor)/filmography (selection)

Rojen leta 1982 v @enevi. Potem ko je na tamkaj{nji univerzi magistriral iz primerjalne knji`evnosti, se je preselil v Buenos Aires, kjer je delal kot asistent produkcije. Leta 2010 je v @enevi magistriral {e iz filmske produkcije. Azor je njegov prvi celove~erec.

2015 Pedro M, 1981 (kratki dok./doc. short) 2021 Azor

prodaja/world sales Be for Films Avenue des Villas, 28 boite 0A 1060 Brussels, Belgium E info�beforfilms.com distribucija/distribution Fivia d.o.o.

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

Born in Geneva in 1982. After obtaining his MA in comparative literature from the University of Geneva, he moved to Buenos Aires where he trained as production assistant. In 2010, he graduated with an MA in film production from the HEAD in Geneva. Azor is his first feature film.

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Perspektive Perspectives

Inventura Inventura Inventory Slovenija Slovenia 2021

Darko Sinko re`ija/directed by Darko Sinko scenarij/screenplay Darko Sinko fotografija/cinematography Marko Brdar glasba/music Matija Kre~i~ monta`a/editing Matic Drakuli} igrajo/cast Rado{ Bol~ina (Boris), Mirel Knez (Alenka), Dejan Spasi} (in{pektor/ inspector Andrej), Renato Jen~ek (Rudi), Mojca Partlji~ (Majda), Sa{a Tabakovi} (soimenjak/namesake) producenta/producers Vlado Bulaji}, Lija Poga~nik produkcija/production December Gori{ka ulica 35 1000 Ljubljana, Slovenia E vlado�decemberfilm.si & RTV Slovenija format/format DCP, barvni/colour dol`ina/running time 106'

Igrani prvenec slovenskega re`iserja Darka Sinka je nenavadna tragikomedija o ~loveku, ki spozna, kako napa~ne predstave je imel o svojem `ivljenju – predvsem o tem, koliko ljudi ga sovra`i.

festivali, nagrade (izbor)/ festivals, awards (selection) San Sebastian 2021

Nekega dne, ko Boris po ve~erji bere v svoji sobi, nekdo strelja nanj skozi okno. Pride policija in za~ne se preiskava pod vodstvom kriminalista Andreja. Ker je Boris povsem obi~ajen ~lovek, ki nima sovra`nikov in ni v sporu z nikomer, policija ne najde nobenih osumljencev in zadevo zaklju~i z ugotovitvijo, da je {lo za golo naklju~je. A Boris se s tem ne more sprijazniti. Poln dvomov se odlo~i in sam razi{~e, kdo mu stre`e po `ivljenju in zakaj.

"Inventura ponuja zgodbo o ~loveku, ~igar podoba sveta in njegovega mesta v njem je razkrojena. Ironija in mo~ tega moralnega zloma pripovedujeta o dana{njem ~asu, ko ne moremo ve~ lo~iti pristnega od la`nega, ko se krepi nezaupanje in za~nejo odnosi, ki smo jih neko~ imeli za samoumevne, razpadati."

(Darko Sinko)

prodaja/world sales December Gori{ka ulica 35 1000 Ljubljana, Slovenia E vlado�decemberfilm.si distribucija/distribution Fivia d.o.o.

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

Boris Zupan~i~ is a middle-aged man. One night at home, after a pleasant dinner, he is shot at through the window. Luckily, he doesn't get hit. The police arrive, detective Andrej as chief of the investigation. There are no suspects – Boris seems to be a completely uninteresting man to kill. He resumes his everyday routine and tries really hard to keep his spirits up. As the case seems a coincidence, the police close the investigation. Boris, full of doubt, cannot accept this so easily. He starts to investigate on his own.

"Inventory gives us the story of a man whose image of the world, and his place within it, is torn apart. The irony and strength of this moral collapse is a story of our times, when we can no longer tell the true from the fake, when mistrust is growing, and when the relationships we once took for granted start to fall apart."

(Darko Sinko)

Darko Sinko

filmografija (izbor)/filmography (selection)

Rojen leta 1979 v Slovenj Gradcu. Diplomiral je na Fakulteti za dru`bene vede v Ljubljani in na AGRFT, smer filmska re`ija. V {tudentskih letih je ustvarjal videe za razli~na slovenska gledali{~a, po kon~anem {tudiju pa se je posve~al predvsem snemanju dokumentarnih filmov. V zadnjem ~asu se je preizkusil tudi v producentski vlogi ter kot re`iser in scenarist igranih filmov.

2004 2005 2007 2014 2015 2021

Born in 1979 in Slovenj Gradec, Sinko graduated in communication from the Faculty of Social Sciences and in film direction from the Academy of Theatre, Radio, Film and Television in Ljubljana. As a student he made videos for various Slovenian theatres and, since graduation, has mostly devoted himself to making documentaries. Recently, he has focused on writing and directing fictional features and producing documentaries.

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Slovenian director Darko Sinko's debut feature is an unusual tragicomedy about a man who realizes that he has lived in delusion – making himself believe that people hated him.

[tejemo (We Count) (kratki/short) Angoraangora (kratki/short) Dedek Mraz (Grandpa Frost) (kratki/short) Hi{ke (Houses) (dok./doc.)

So{olki (Schoolmates) (kratki/short) Inventura (Inventory)

Perspektive Perspectives

Kala Azar Kala Azar Kala Azar Janis Rafa

Gr~ija, Nizozemska Greece, The Netherlands 2020

Distopi~en pogled vizualne umetnice Janis Rafe na razli~ne oblike odnosa med ljudmi in `ivalmi, pre`et z duhom civilizacije na robu razkroja.

Visual artist Janis Rafa's dystopic take on different types of relationships between humans and animals saturated with a sense of civilisation on the brink of collapse.

Na obrobju neimenovanega mesta nekje na jugu Evrope mlad par za~enja svoj delovni dan. Penelope in Dimitris po hi{ah zbirata pokojne hi{ne ljubljen~ke in jih vozita v `ivalski krematorij. Tudi zunaj svojega delovnega ~asa pobirata povo`ene `ivali, na katere naletita na svojih poteh, in jih prav tako kremirata. Stoi~na dr`a teh dveh mladih ljudi sredi opustele panorame ustvari prostor, v katerem se lahko njuna ljubezen razmahne. Vse dokler tudi sama v prometni nesre~i ne povozita `ivali ...

At the margins of a city somewhere in the south of Europe, a young couple start their day with their job routine: collecting deceased pets from homes and taking them to a pet crematorium. Outside of their job's constraints, they also collect and cremate roadkill found during their drives. In this desolate environment, the couples' stoic perseverance creates a space through which their love grows until the moment they have a car accident and cause a roadkill themselves ...

"Ker izhajam iz sveta umetnosti in sem filmski jezik spoznala skozi prizmo likovnega izraza, nikoli nisem ~utila potrebe po pripovedovanju zgodbe linearno, jasno premo~rtno. Prizor filma Kala azar, v katerem bend izvaja rekviem za pi{~ance, bi zlahka lahko {teli za primer video umetnosti. Namesto tega je bil ena od silnic, ki so me spodbujale k snovanju tega filma. Da bi jo lahko umestila, sem morala pripoved nadgraditi." (Janis Rafa)

"Coming from the art world and getting to know the cinematic language through art, I never felt the necessity to tell stories in a linear, clear way. In Kala azar, there is this scene of a band playing a requiem for the chickens, which could easily be a piece of video art. Instead, it became one of the forces driving me to make this film. I had to build up a narrative in order to accommodate it."

(Janis Rafa)

Janis Rafa

filmografija (izbor)/filmography (selection)

Rojena leta 1984 v Gr~iji. Na Univerzi v Leedsu je doktorirala iz umetnosti in se uveljavila kot video umetnica. Njena dela so bila razstavljena v {tevilnih galerijah in muzejih. Kala azar je njen celove~erni prvenec.

2020 Kala azar (Kala Azar)

re`ija/directed by Janis Rafa scenarij/screenplay Janis Rafa fotografija/cinematography Thodoros Mihopoulos glasba/music Gwil Sainsbury monta`a/editing Patrick Minks igrajo/cast Penelope Tsilika (Penelope), Dimitris Lalos (Dimitris), Michele Valley (mama/mother), Tasos Rafailidis (o~e/father) producenti/producers Digna Sinke, Konstantinos Kontovrakis, Giorgos Karnavas produkcija/production SNG Film Van Hallstraat 52 1051 HH Amsterdam The Netherlands E info�sngfilm.nl & Heretic format/format DCP, barvni/colour dol`ina/running time 85' festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam (najbolj{i nizozemski film/ KNF Award)

prodaja/world sales Heretic Outreach 3–5, Anaksagora Street 10552 Athens, Greece E outreach�heretic.gr

Born in Greece in 1984, Janis Rafa has a PhD in Fine Arts from the University of Leeds and has first asserted herself as a video artist. Her work has been exhibited at various arts venues. Kala Azar is her debut feature film.

13

Perspektive Perspectives

Kje je Venera?

Në kërkim të Venerës Looking for Venera Norika Sefa

Kosovo, Severna Makedonija Kosovo, North Macedonia 2021

re`ija/directed by Norika Sefa scenarij/screenplay Norika Sefa fotografija/cinematography Luis Armando Arteaga monta`a/editing Stefan Stabenow, Norika Sefa igrajo/cast Kosovare Krasniqi (Venera), Rozafa Celaj (Dorina), Basri Lushtaku (Venerin o~e/Venera’s father) producent/producer Besnik Krapi produkcija/production Circle Production Str. Muharrem Fejza, Art Construction Building, Floor 7, NoF47 XK 10000 Kosovo E besnik.krapi�gmail.com format/format DCP, barvni/colour dol`ina/running time 111' festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2021 (posebna nagrada `irije/Special Jury Prize), Cinema Jove Valencia 2021 (najbolj{i igralec/ Best Actor), Sarajevo 2021 (nagrada za promocijo spolne enakosti/ Award for Promoting Gender Equality), Hongkong/Hong Kong 2021 (najbolj{a igralka/Best Actress, najbolj{a re`ija/Best Director), IndieLisboa 2021

Vpogled v odra{~anje najstnice na kosovskem pode`elju, kjer dru`ina od dekleta pri~akuje predvsem skrb za svoj ugled.

Svobodomiselno dekle pa tradicionalno, hierarhi~no okolje utesnjuje in njena `elja po svobodi je vse mo~nej{a.

Venera je redkobesedna mladenka, ki odra{~a v majhni vasi, v hi{i, kjer se gnetejo tri generacije. Pod budnim, vsiljivim o~esom dru`ine, sorodnikov in celo sosedov se spoprijatelji z uporni{ko Dorino. Dekleti, ki bi radi `iveli sodobno, ne pa tako kot njuni materi, ki se nikoli ne poljubljata, za~neta na skrivaj odkrivati spolnost, alkohol in ~are mladostni{kega `ivljenja. "@elela sem povedati zgodbo s prizori{~em na Kosovu, vendar ne tak{ne, ki bi poustvarjala stereotipe, po katerih je dr`ava znana v tujini. Resni~no nisem `elela prikazati nekaj tradicionalnih no{ niti vzbuditi eksoti~nega priokusa. Nisem `elela, da bi film izkori{~al rev{~ino balkanskih dr`av. Vendar pa je tradicija sama po sebi jedro zgodbe, in prav tako dru`ina. Odra{~ala sem v veliki dru`ini in zato mi je tema ljuba. Zanimalo me je, kako se bodo razvijali liki in kako bi lahko vpogled igralcev vplival na film." (Norika Sefa)

prodaja/world sales Film Republic Hackney Picturehouse 270 Mare Street London E8 1HE, UK E zulfikar�filmrepublic.biz

Calm, reticent Venera lives in a small village in Kosovo. At home, three generations are constantly under one another's feet in their cramped house, so she has hardly any privacy. Outside too, it's not much better: the village is small and there's always a brother, nephew or neighbour keeping a beady eye on her. Her spirits lift when she makes friends with rebellious Dorina. The two girls go out having fun together, exploring sexuality and the delights of teenage life. One thing they know for sure: they don’t want to end up like their mothers.

"I wanted to tell a story based in Kosovo, but that wouldn't reproduce the stereotypes for which the country is known abroad. So basically, I didn't want to show some traditional costumes nor evoke an exotic feeling. I didn't want the film to exploit the poverty of Balkan countries. However, tradition itself is the very core of the story and so is family. I, myself, grew up in a big family and so this is a topic dear to me. I was curious about what would appear from the development of the characters and how the actors' interpretation might influence the film."

(Norika Sefa)

Norika Sefa

filmografija (izbor)/filmography (selection)

Kosovska re`iserka, ki `ivi v Pragi. Tam je dokon~ala tudi magistrski {tudij na priznani akademiji FAMU. V svojem delu pogosto bri{e meje med fikcijo in dokumentarnim. Svoj kratki film Desde Arriba je posnela pod mentorstvom Wernerja Herzoga. Kje je Venera? je njen celove~erni prvenec, ki ga je posnela na Kosovu. Premierno je bil prikazal v Rotterdamu, kjer je prejel posebno nagrado `irije.

2020 Desde Arriba (kratki/short) 2021 Në kërkim të Venerës (Looking for Venera/Kje je Venera?)

Norika Sefa is a Prague-based Kosovar director. She completed her master's degree at Prague's prestigious Film and TV School of the Academy of Performing Arts – FAMU. Her work often blurs the line between documentary and fiction. She made her short film, Desde Arriba, under the mentorship of Werner Herzog. Filmed in Kosovo, Looking for Venera is her feature-film debut. Premiering in Rotterdam, it received the Festival's Special Jury Prize.

14

A coming-of-age story, Looking for Venera follows the troubled life of a taciturn girl living in the Kosovar countryside, where she is expected to protect the family's good reputation. The traditional, hierarchic town feels even more oppressive when the free-thinking girl starts to break down patriarchal restraints.

Perspektive Perspectives

Morena Murina Murina Hrva{ka, Slovenija, Brazilija, ZDA Croatia, Slovenia, Brazil, USA 2021

Antoneta Alamat Kusijanovi}

re`ija/directed by Antoneta Alamat Kusijanovi} scenarij/screenplay Antoneta Alamat Kusijanovi}, Frank Graziano fotografija/cinematography Hélène Louvart glasba/music Evgueni Galperine, Sacha Galperine monta`a/editing Vladimir Gojun igrajo/cast Gracija Filipovi} (Julija), Danica Cur~i} (Nela), Leon Lu~ev (Ante), Cliff Curtis (Javier), Jonas Smulders (David) producenta/producers Danijel Pek, Rodrigo Teixeira produkcija/production Antitalent Produkcija B. J. Jela~i}a 54 10290 Zapre{i}, Croatia E info�antitalent.hr & RT Features format/format DCP, barvni/colour dol`ina/running time 92'

Na Hvaru, Kornatih in Kolo~epu posneta dru`inska psiholo{ka drama, v kateri odra{~ajo~e dekle kljubuje o~etovemu zatiranju ter se`e po del~ku prepovedane strasti in svobode.

Julija `ivi na samotnem hrva{kem otoku z mamo in o~etom.

Enoli~no `ivljenje najstnice razburka prihod bogatega in o~arljivega Javierja, stare ljubezni Julijine mame, ki se na otoku znajde zaradi poslovnih pogovorov z njenim o~etom. Med Julijo in Javierjem se razvije obojestranska naklonjenost, ~eprav ni povsem jasno, ali gre pri tem za Julijino iskanje o~etovskega lika, za upor proti strogosti in nadzorujo~emu vedenju njenega o~eta ali pa za spontano romanti~no navdu{enje ...

"Fizi~na osamitev te dru`ine je bila eno od orodij, saj je podprla zgodbo, okrepila pa je tudi njihovo ~ustveno osamljenost. Ko svojega polo`aja v resnici ne more{ primerjati z ni~imer, se navadi{ na nasilje – ne more{ ga niti ustaviti. Preprosto je del tvojega vsakdana. Nato pa prispe tujec in ponudi nasprotje.

Postane zrcalo. Tedaj zloraba postane o~itnej{a, vsaj njim."

(Antoneta Alamat Kusijanovi})

A psychological family drama shot on the Croatian islands of Hvar, Kornati and Kolo~ep about a girl on the brink of womanhood who fights against her father's oppression to get a taste of forbidden passion and freedom.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021 (zlata kamera/Camera d'Or)

Tensions rise between restless teenager Julija and her oppressive father Ante when an old family friend, Julija's mother's old flame, the charming Javier, arrives at their Croatian island home. As Ante attempts to broker a life-changing deal, their tranquil yet isolated existence leaves Julija wanting more from this influential visitor, who provides a taste of liberation over a weekend laid bare to desire and violence. It is not entirely clear whether Julija is seeking a father figure, rebelling against the parental authority of her controlling father, or experiencing a romantic encounter.

"The physical isolation of this family was one of the tools, as it helped the story, and it also reinforced their emotional isolation.

When you can't really compare your situation to anything else, you get used to violence – you can't even stop it. It's just a part of your everyday life. And then this foreigner arrives, and he provides the contrast. He becomes that mirror. It's when the abuse becomes more apparent, at least to them."

(Antoneta Alamat Kusijanovi})

Antoneta Alamat Kusijanovi}

filmografija (izbor)/filmography (selection)

Rojena leta 1985 v Dubrovniku. Na Akademiji dramskih umetnosti v Zagrebu je kon~ala {tudij produkcije, pozneje pa tudi re`ijo na Univerzi Kolumbija v ZDA. Pred Moreno je re`irala kratki film V modrino, ki je bil med drugim nagrajen na Berlinalu in v Sarajevu ter nominiran za {tudentskega oskarja.

2015 2013 2016 2017 2021

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

Oko za Oko: Eye for an Eye (kratki/short) Nonina (kratki/short) The Last Day of Charley E. Rays (kratki/short) Into the Blue (V modrino) (kratki/short) Murina (Morena)

distribucija/distribution Zavod SPOK Volarje 4 5220 Tolmin E jozko.rutar�gmail.com

Born in 1985 in Dubrovnik. She holds an MA from the Zagreb Academy of Dramatic Arts and an MFA in screenwriting and directing from Columbia University in New York. Before Murina, she made the short film Into the Blue that was nominated for a Student Academy Award, and won awards at the Berlin and Sarajevo film festivals.

15

Perspektive Perspectives

Oblak v njeni sobi Ta fang jian li de yun The Cloud in Her Room Hongkong, Kitajska Hong Kong, China 2020

Zheng Lu Xinyuan re`ija/directed by Zheng Lu Xinyuan scenarij/screenplay Zheng Lu Xinyuan fotografija/cinematography Matthias Delvaux glasba/music Tseng Yun-Fang monta`a/editing Liu Xinzhu, Zheng Lu Xinyuan igrajo/cast Jin Jing (Muzi), Liu Dan (Min), Chen Zhou (Fei), Ye Hongming (Feng), Dong Kangning (lastnik bara/ bar owner), Liang Cuishan, Wang Ruiwen producent/producer Wang Zijian produkcija/production Blackfin Production Room 2701, Block B, Star City International Tower Jiu Xian Qiao Road Chaoyang District 100020 Beijing, China E project�blackfin.cc format/format DCP, ~b/b&w dol`ina/running time 101'

Melanholi~en vizualni dnevnik mladega dekleta, ki ob vrnitvi domov za~uti, kako krhki in mimobe`ni so med~love{ki odnosi v velikem mestu. Zmagovalni film festivala v Rotterdamu.

festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2020 (najbolj{i film/ Best Film), Tajpej/Taipei 2020, Transilvanija/Transilvania 2020

prodaja/world sales Rediance 2701, Block B, Star City International Tower Jiu Xian Qiao Rd., Chaoyang District 100020 – Beijing, China E info�rediancefilms.com

Dvaindvajsetletna Muzi se odpravi domov v Hang~ou na praznovanje kitajskega novega leta. Tu se ponovno pogrezne v vloge h~erke, polsestre in partnerke. Ko pa neko~ pospremi svojo sestro v {olo, spozna lastnika lokalnega bara. Ta karizmati~ni mo{ki v njej prebudi spomine na starega prijatelja, ki je izginil brez sledu. So~asno v mesto nenapovedano pripotuje Muzijin fant.

Med pohajkovanjem po mestu, ki se zdi tako doma~e in hkrati tuje, Muzi i{~e svoj koti~ek pod soncem.

It's a wet winter in Hangzhou. Muzi, 22, comes home for Chinese New Year, where she plays her roles as a daughter, a half-sister, and a girlfriend. One day, Muzi accompanies her little sister to school and meets a local bar owner, the father of another student. The strange man reminds Muzi of an old friend, evoking memories of a man who suddenly disappeared into thin air. At the same time, Muzi's boyfriend arrives for a visit. Roaming in this city that feels so familiar yet distant, Muzi searches for a place where she belongs.

"Vse do`ivljamo skozi Muzijine o~i. Prehaja skozi `ivljenje razli~nih ljudi, s katerimi jo povezuje dolo~eno razmerje, vendar je od njih tudi v nekem smislu odtujena. Na nikogar se ne zana{a, tudi drugi se ne zana{ajo nanjo kot vzvod njihovega `ivljenja. Ta realnost mi je znana z vso svojo `ivostjo. V razmerju igra{ neko vlogo – h~erke, dekleta, ob sre~anju z novo simpatijo – vendar navsezadnje `ivljenje ljudi te~e svoj tok neodvisno od tebe."

(Zheng Lu Xinyuan)

"We’re experiencing everything through Muzi's point of view. She passes through people's lives, people that she's involved with but that in a sense she’s also alienated from. She's not relying on anyone, and they're not relying on her to keep their lives going.

That part is very real to me. In a relationship you play a role – as a daughter, a girlfriend, in an encounter with a new love interest – but at the end of the day, people’s lives move on independently."

(Zheng Lu Xinyuan)

Zheng Lu Xinyuan

filmografija (izbor)/filmography (selection)

Leta 2017 je {oli filmskih umetnosti USC v Los Angelesu magistrirala iz filmske produkcije. Po vrsti kratkih filmov je Oblak v njeni sobi njen celove~erni prvenec, ki ji je prinesel glavno nagrado na festivalu v Rotterdamu.

2012 2014 2016 2016 2017 2017 2018 2018

Zheng Lu Xinyuan graduated from School of Cinematic Arts, USC, with a Film Production MFA in 2017 and first made a series of short films. Her debut feature, The Cloud in Her Room, won the 2020 IFF Rotterdam's Tiger Award.

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A melancholy visual diary of a young girl becoming aware of the fragility and ephemerality of interpersonal relationships in a big city. Rotterdam IFF Tiger Award.

Dinner (kratki dok./doc. short) Women on Islands (kratki/short) Running in a Sleeping River (kratki/short) 5' Funeral in the Rain (kratki/short) Niu in the Last Day of Fall (kratki dok./doc. short) Smokers Die Slowly Together (kratki/short) Feverish (kratki/short) Gong che shang de bai se hu die (A White Butterfly on a Bus) (kratki/short) 2020 Ta fang jian li de yun (The Cloud in Her Room/Oblak v njeni sobi)

Perspektive Perspectives

Pohodi plin!

Jadde Khaki Hit the Road Iran Iran 2021

Panah Panahi

re`ija/directed by Panah Panahi scenarij/screenplay Panah Panahi fotografija/cinematography Amin Jafari glasba/music Payman Yazdanian monta`a/editing Ashkan Mehri, Amir Etminan igrajo/cast Hassan Madjooni (o~e/dad), Pantea Panahiha (mama/mom), Rayan Sarlak (mlaj{i brat/little brother), Amin Simiar (starej{i brat/big brother) producenta/producers Panah Panahi, Mastaneh Mohajer produkcija/production JP Productions 6, Bahar Alley 6, Takhty Street, Fereshteh Teheran, Iran E panahpanahi84�gmail.com format/format DCP, barvni/colour dol`ina/running time 93'

Prvenec sina Jafarja Panahija je ne`no duhovit, ve~plasten portret ljube~e dru`ine, pa tudi iranske dru`be, nezadovoljne z rigidnostjo iranske oblasti.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes – [tirinajst dni re`iserjev/ Director's Fortnight 2021

Jafar Panahi's son makes his directorial debut with a subtly humorous, multilayered portrait of a loving family, providing a reflection of the Iranian people’s discontent with the country's hard-line government.

Kaoti~na, a ljube~a dru`ina se z avtom vozi skozi divjo, skalnato iransko pokrajino. Ne vemo, kam potujejo. Na zadnjem sede`u sedi bradat o~e z zlomljeno nogo. Pa je noga zares zlomljena?

Mama se trudi biti dobre volje – kadar ne zadr`uje solz. @ivahen, zgovoren de~ek v avtu kar naprej uprizarja karaoke. Vsi se pri~kajo glede po{kodovanega psa in si drug drugemu hodijo po `ivcih. Le starej{i sin skrivnostno mol~i.

A chaotic yet tender family takes a road trip across a rugged landscape, but where to? In the back seat, Dad has a broken leg, but is it really broken? Mom tries to laugh when she's not holding back tears. The kid keeps exploding into choreographed car karaoke. All of them are fussing over the sick dog and getting on each other's nerves. Only the mysterious older brother is quiet.

"Nerad poudarjam ali poenostavljam, temve~ gledalcem pu{~am prostor za eksperimentiranje s filmom, uporabo lastnih ~utov in oblikovanjem lastnih razlag. @ivljenje in umetnost sta polna paradoksov, bogatej{a sta, ~e ju vsak zase lahko prosto raziskujemo. Namen je ustvariti okno, se dvigniti nad z normami dolo~ene omejitve, za ustvarjanje presene~enj, ki vznemirijo in o~arajo (vsaj upam tako). Lik o~eta mi je zagotovo precej nedoumljiv. Delno utele{a mojo prihodnost, tako kot brata predstavljata trenutke iz moje preteklosti." (Panah Panahi)

"I don't like to underline or simplify but to leave room for viewers to experiment with the film, using their own senses and forming their own interpretations. Life and art are packed with paradoxes, and they are richer if we are left to explore them individually. It's about creating an opening, a rise above the limitations set out by norms, to create surprises that trouble and enchant (I hope so at least). The Dad character is certainly something of a mystery to me. He partly embodies my future, just as the two brothers represent moments of my past." (Panah Panahi)

Panah Panahi

filmografija (izbor)/filmography (selection)

Rojen leta 1984 v Teheranu, Iran. Njegov o~e je znani iranski re`iser Jafar Panahi. Na Univerzi za umetnost v Teheranu je {tudiral film. Pohodi plin! je njegov celove~erni prvenec.

2021 Jadde Khaki (Hit the Road/Pohodi plin!)

prodaja/world sales Celluloid dreams 2 Rue Turgot 75009 Paris, France E info�celluloid-dreams.com

Born in Tehran in 1984. His father is the distinguished Iranian director Jafar Panahi. He studied cinema at the Tehran University of Art. Hit the Road is Panah Panahi’s first feature film.

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Perspektive Perspectives

Slu`abniki Slu`obníci Servants Ivan Ostrochovský

re`ija/directed by Ivan Ostrochovský scenarij/screenplay Rebecca Lenkiewicz, Marek Le{~ák, Ivan Ostrochovský fotografija/cinematography Juraj Chlpík glasba/music Miroslav Tóth, Cristian Lolea monta`a/editing Jan Danhel, Martin Malo, Maro{ [lapeta igrajo/cast Samuel Skyva (Juraj), Samuel Polakovi~ (Michal), Vlad Ivanov (dr.

Ivan), Vladimír Strnisko (dekan/ dean), Milan Mikul~ík (duhovni vodja/ spiritual), Tomá{ Turek (Ductor), Vladimír Zboron (tajnik/secretary), Martin {ulík (zdravnik/physician), Vladimír Ob{il (Coufar), Zvonko Lak~evi} (tajni sodelavec policije/ secret policeman) producenti/producers Ivan Ostrochovský, Albert Malinovský, Katarína Tomková produkcija/production Punkchart films Spitalska 20 811 08 Bratislava, Slovakia E ivan�punkchart.sk & Point Film & Negativ & Film and Music Entertainment & Libra Film Productions & Hai Hui Entertainment & Sentimentalfilm format/format DCP, ~b/bw dol`ina/running time 80'

Slova{ka, Romunija, ^e{ka, Irska Slovak Republic, Romania, Czech Republic, Ireland 2020

Univerzalna zgodba o dobrem in zlu oziroma o tem, kako pomembno je stati za svojimi na~eli, je postavljena v obdobje komunisti~ne vladavine, a pomenljivo odzvanja tudi v dana{njem ~asu.

A universal story of good and evil illustrating the importance of adhering to your principles. Although set in communist Czechoslovakia, Servants resonates with contemporary relevance.

^e{koslova{ka, leta 1980. Michal in Juraj sta {tudenta teolo{kega semeni{~a. V strahu pred razpustitvijo {ole tamkaj{nji u~itelji prilagodijo program, da bi z njim zadostili pri~akovanjem vladajo~e komunisti~ne partije. Vsak {tudent se mora odlo~iti, ali bo izbral la`jo pot in sodeloval s totalitarnim re`imom ali pa bo vztrajal pri lastnih na~elih in se sprijaznil, da ga bo tajna policija imela nenehno pod nadzorom. Glede na njene zlove{~e metode je sku{njava kar velika ...

The year is 1980. Michal and Juraj are students at a theological seminary in totalitarian Czechoslovakia. Fearing the dissolution of their school, the tutors are moulding the seminarians into a shape satisfactory to the ruling Communist Party. Each of the young students must decide if he will give into the temptation and choose the easier way of collaborating with the regime, or whether he will subject himself to draconian surveillance by the secret police. Just a few years before the collapse of the totalitarian system, the servants of two powers and two belief systems collide.

"@ivimo v ~asu, ko politiki in tudi mediji dru`bo zastra{ujejo z vseh mogo~ih strani in ljudje `ivimo v strahu pred prihodnostjo.

Veselilo bi me, ~e bi bili gledalci po ogledu filma bolj pogumni, ~e ne bi dovolili, da jih obvlada strah, ki ga politiki namenoma vsadijo vanje. Pomembno je, da zagovarjamo vrednote, ki se nam jih pred prihodnjimi rodovi ni treba sramovati. Pape` Janez Pavel II. je neko~ dejal: 'Zgodovina nas u~i, da se demokracija brez vrednot hitro spremeni v odkrit ali prikrit totalitarizem.'" (Ivan Ostrochovský)

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2020

prodaja/world sales Loco Films 42 Rue de Sedaine 75011 Paris, France E international�loco-films.com

Ivan Ostrochovský

filmografija (izbor)/filmography (selection)

Rojen leta 1974 v @ilni na Slova{kem. Do{tudiral je dokumentarno re`ijo na Akademiji za uprizoritvene umetnosti v Bratislavi in na Umetni{ki akademiji v Banski Bystrici. Za svoje dokumentarne in igrane filme je bil ve~krat nagrajen, sicer pa je tudi solastnik produkcijskih hi{ Sentimentalfilm in Punckhart Films.

2010 2012 2013 2015 2015 2020

Born in 1974, in @ilina, Slovak Republic, Ostrochovský graduated in documentary filmmaking from the Academy of Performing Arts in Bratislava and the Academy of Arts in Banská Bystrica. He has made several award-winning documentaries and fiction films. He is a co-owner of Sentimentalfilm and Punkchart Films.

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"We're living in a time when our politicians, and the media, as well, intimidate the society from all possible sides and people live in fear of the future. I would be glad if the audience was a bit more courageous after watching the film, and wouldn't allow themselves to be controlled by fear, purposefully instilled in them by politicians. It's important that we stand by the values for which we won't have to be ashamed in front of the future generations. Pope John Paul II once said: 'The history teaches us that democracy without values quickly transforms into a blatant or disguised totalitarianism.'" (Ivan Ostrochovský)

Ilja (kratki dok./ doc. short) Celluloid Country (dok. TV-serija/doc. TV series) Zamatoví teroristi (Velvet Terrorists) Koza (Goat) Garda (The Guard) (TV dok./TV doc.)

Slu`obníci (Servants/Slu`abniki)

Perspektive Perspectives

Telesce Piccolo corpo Small Body Laura Samani

Italija, Slovenija, Francija Italy, Slovenia, France 2021

Surova, na starodavno kr{~ansko izro~ilo Furlanije - Julijske krajine oprta pravljica je re`ijski prvenec mlade italijanske re`iserke, ki raziskuje meje ~love{kega verovanja v ~ude`e.

Majhen otok na severovzhodu Italije leta 1900. Mlada kristjanka Agata povije mrtvega novorojen~ka, kar pomeni, da je njegova du{a obsojena na ve~no tavanje po onstranstvu. Da bi se izognila kruti usodi, se zate~e k mitu, da v gorah blizu Trbi`a obstaja kraj, kjer lahko dojen~ke obudijo od mrtvih, pa ~eprav le za trenutek.

To naj bi star{em omogo~ilo, da jih krstijo in tako odre{ijo njihovo du{o. Telesce mrtve h~erke skrije v {katlo in se v dru`bi osamljenega fanta Lynxa v upanju na ~ude` skrivaj odpravi na nevarno popotovanje v neznano ...

"Leta 2016 sem odkrila, da v Travi, v moji rodni Furlaniji - Julijski krajini, obstaja sveti{~e, kjer naj bi se vse do 19. stoletja dogajali posebni ~ude`i: mrtvorojene otroke so lahko za hip, za en sam dih, priklicali v `ivljenje. /... / Zgodba o teh ~ude`ih se je zasidrala v neki koti~ek mojega uma in tam klicala k pozornosti. Osupnila me je predvsem ena stvar: v glavnem so mo{ki v sveti{~a potovali s telesci svojih rojencev. Seveda so bile porodnice priklenjene na posteljo, vendar nisem mogla prezreti nemo~nega ~akanja, ki so ga utrpele." (Laura Samani)

re`ija/directed by Laura Samani scenarij/screenplay Marco Borromei, Elisa Dondi, Laura Samani fotografija/cinematography Mitja Li~en glasba/music Fredrika Stahl monta`a/editing Chiara Dianese igrajo/cast Celeste Cescutti (Agata), Ondina Quadri (Lince/Ris), Marco Geromin, Giacomina Dereani, Anna Pia Bernardis, Angelo Mattiussi, Luca Sera, Teresa Cappellari, Marzia Corinna Mainardis, Marisa Rupil, Ivo Ban producenta/producers Nadia Trevisan, Alberto Fasulo produkcija/production Nefertiti Film srl Via P. Amalteo 68/B 33078 San Vito al Tagliamento, Italy E info�nefertitifilm.it & Tomsa Films & Vertigo format/format DCP, barvni/colour dol`ina/running time 89'

The young Italian director's debut film, a raw fairy tale based on an ancient Christian tradition existing in the region of Friuli-Venezia Giulia, Small Body explores the boundaries of human belief in miracles.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021

Northeast Italy, 1900. Young Agata's baby is stillborn and so condemned to Limbo. A devout Christian, Agata hears about a place in the mountains, where infants can be brought back to life for just one breath, to baptize them and save their soul. She undertakes a voyage with her daughter's small body hidden in a box and meets Lynx, a solitary boy who offers to help her. They set off on an adventure which will enable both to come close to a miracle.

"In 2016, I discovered that in Trava, in my Friuli-Venezia Giulia, existed a sanctuary where up until the 19th century particular miracles were said to occur: that stillborn children could be brought back to life for the space of one breath. /... / The story of these miracles got snagged in some nook of my mind and stayed there, calling for attention. I was struck by one thing in particular: it was mainly men who would travel to these sanctuaries with the small bodies of their infants. Naturally, the women who had just given birth were confined to their beds but I couldn't get past the helpless wait they were subjected to." (Laura Samani)

Laura Samani

filmografija (izbor)/filmography (selection)

Rojena leta 1989 v Trstu. Po diplomi iz filozofije in literature v Pisi je {tudij nadaljevala na Centro Sperimentale di Cinematografia v Rimu, smer filmska re`ija. Po uspehu z diplomskim kratkim filmom La santa che dorme je leta 2018 vodila Città Visibile, prvo video delavnico v Trstu, na kateri so najstniki z dru`benega roba snemali dokumentarne filme o sebi. Telesce je njen celove~erni prvenec.

2013 2013 2016 2019 2021

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

Rosso Liquido (kratki/short) Io sono qui (dok./doc.) (segment "Gaetano") La santa che dorme (The Sleeping Saint) (kratki/short) Città Visibile (dok./doc.)

Piccolo corpo (Small Body/Telesce)

distribucija/distribution Vertigo Metelkova 6 1000 Ljubljana E info�vertigo.si

Born in 1989 in Trieste. After graduating in philosophy and literature from the University of Pisa, she studied directing at Centro Sperimentale di Cinematografia (Rome). She attained early success with her graduation short movie, The Sleeping Saint. In 2018, Samani conducted a participatory video workshop, Città Visibile, the first laboratory of this type ever conducted in Trieste that involved teenagers living in social marginality with the aim of making a self-narrative documentary. Small Body is her first feature.

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Atlas ptic Bird Atlas Olmo Omerzu Benedetta Benedetta Paul Verhoeven Bergmanov otok Bergman Island Mia Hansen-Løve Dogodek Happening Audrey Diwan Drive My Car Drive My Car Ryusuke Hamaguchi Izgubljene iluzije Lost Illusions Xavier Giannoli Jagnje Lamb Valdimar Jóhannsson Jezdeci pravice Riders of Justice Anders Thomas Jensen Junak A Hero Asghar Farhadi Mala mama Petite maman Céline Sciamma Najbolj grozen ~lovek na svetu The Worst Person in the World Joachim Trier Nebesa Heavens Above Srdjan Dragojevi} Nemirni The Restless Joachim Lafosse Nesre~ni fuk ali Nori porni~ Bad Luck Banging or Loony Porn Radu Jude Prasica, slab{alni izraz za žensko Bitch, a Derogatory Term for a Woman Tijana Zinaji} Spencer Spencer Pablo Larraín Vojvoda The Duke Roger Michell Vse je bilo v redu Everything Went Fine François Ozon Vzporedni materi Parallel Mothers Pedro Almodovar

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Atlas ptic Atlas ptáku° Bird Atlas ^e{ka, Slovenija, Slova{ka Czech Republic, Slovenia, Slovak Republic 2021

Olmo Omerzu re`ija/directed by Olmo Omerzu scenarij/screenplay Olmo Omerzu, Petr Pýcha fotografija/cinematography Luká{ Milota glasba/music Monika Omerzu Midriaková monta`a/editing Jana Vl~ková igrajo/cast Miroslav Donutil (Ivo), Alena Mihulová (Marie), Martin Pechlát, Eli{ka Krenková, Vojtech Kotek, Pavla Beretová producent/producer Jirí Kone~ný produkcija/production Endorfilm Prímetická 4, 140 00 Praha 4, Czech Republic E endorfilm�endorfilm.cz format/format DCP, barvni/colour dol`ina/running time 92' festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary 2021

Atlas ptic temelji na prepri~ljivi igri likov in posebni vrsti nežne ironije, s katero pokaže, da se moramo za ohranitev dostojanstva kdaj tudi osramotiti pred drugimi.

Ivo, prileten lastnik tehnolo{kega podjetja, ki je vse življenje posvetil delu, se na pragu starosti prvi~ spopade z resnej{imi zdravstvenimi težavami, obenem pa ga mo~no pretrese odkritje, da je nekdo v njegovem podjetju z dvojnimi fakturami prelival sredstva v tujino. Glavna osumljenka za to dejanje je njegova dolgoletna ra~unovodkinja, ki pa je nenadoma ni nikjer na spregled. Med okrevanjem Ivo spozna, da ne more zaupati prav nikomur, niti lastnim družinskim ~lanom, ki bi po njegovem radi prevzeli vodenje podjetja. A zdi se, da resnico o življenju poznajo ptice, ki gostolijo v kro{njah dreves ...

"Glavni lik postopno izgublja nadzor nad svojim lastnim življenjem, kar se mi zdi klju~no za ta film. Prva polovica je kot nekak{na detektivka, druga pa je portret frustracije, v katerem glavni lik pravzaprav posku{a izvedeti pravo resnico o samem sebi."

(Olmo Omerzu)

prodaja/world sales Cercamon 134 Al Hamoor St, Jumeirah 3, PO Box, 416 207 Dubai, United Arab Emirates E sebastien�cercamon.biz

Ivo, an ageing proprietor of a technology company has dedicated his whole life to his work, so it comes as a big blow when he discovers that payments to suppliers have been held up for months. But what can he do when the firm's accountant is nowhere to be seen? He can't rely on anyone or anything, not even his family who, in his view, would like to take over the control of the company. Perhaps the truth lies only with the Greek chorus of birds chirping somewhere up in the tree ...

"The main character is gradually losing control of his own life, which I consider crucial to this film. The first half resembles some kind of detective story, and the second becomes a portrait of frustration, where the main character is basically trying to find out the actual truth about himself." (Olmo Omerzu)

Olmo Omerzu

filmografija/filmography

Rojen 1984 v Ljubljani. Leta 2004 je iz{el njegov prvi avtorski strip, istega leta pa se je vpisal na {tudij filmske režije na pra{ki filmski {oli FAMU, kjer je 2011 tudi diplomiral. Njegov ve~krat nagrajeni celove~erni prvenec Mlada no~ je bil premierno prikazan na berlinskem festivalu, film Zimske muhe pa je bil leta 2018 v Karlovih Varih nagrajen za najbolj{o režijo. Atlas ptic je njegov ~etrti celove~erni film.

1998 2006 2006 2008

Born in 1984 in Ljubljana. In 2004, he published his first comic strip and began studying film direction at the Prague Film School FAMU, graduating in 2011. His award-winning debut feature film, A Night Too Young, premiered at the Berlin Film Festival. Winter Flies landed him the Best Director Award at Karlovy Vary Film Festival in 2018. Bird Atlas is his fourth feature film.

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Hinged on persuasive character acting, Slovenian director Olmo Omerzu's Bird Atlas uses a special brand of gentle irony to demonstrate that, in order to preserve our dignity, we occasionally need to lose face in the eyes of others.

2012 2015 2018 2021

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

Druhe dejstvi (Second Act/Drugo dejanje) (srednjemetražni/medium length) Príli{ mladá noc (A Night Too Young/Mlada no~) Roddiny film (Family Film/Družinski film) V{echno bude (Winter Flies/Zimske muhe) Atlas ptáku° (Bird Atlas/Atlas ptic)

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Benedetta Benedetta Benedetta Francija France 2021

Paul Verhoeven

Venomer provokativni Paul Verhoeven uprizarja neverjetno, a resni~no zgodbo o lezbi~nem razmerju dveh italijanskih nun v 17. stoletju.

Invariably provocative Paul Verhoeven recounts the incredible yet true story about a lesbian relationship between two seventeenth-century Italian nuns.

Toskana, 17. stoletje. Med revnim kme~kim prebivalstvom pusto{i kuga. [tevilni star{i edino re{itev za lep{e življenje svojih otrok vidijo v katoli{kih samostanih. Benedetta je v teatinski samostan vstopila že kot mlado dekle. Njeno življenje se spremeni nekaj let pozneje, ko med nune sprejmejo revno, a lepo Bartolomeo. Odnos med dekletoma se kmalu poglobi dale~ onkraj pravil strogega samostana. Na Benedettinem telesu se neke no~i pojavijo stigme, kar privabi pozornost cerkvenih veljakov.

Je Kristusove rane res mogo~e pripisati ~udežu ali pa gre zgolj za skrbno premi{ljeno prevaro? V nekdaj mirnem samostanu se za~ne hud boj za položaje mo~i, ki bi prej uslužnima mladenkama prinesel privilegij svobodnej{ega življenja.

Set in plague-ravaged Tuscany in the 17th century, the film follows the very real figure of Benedetta Carlini, a daughter of wealth betrothed to a hillside convent, who claimed to speak directly with Jesus. Into the convent comes Bartolomea, a farmer girl whose entry into the elitist space is funded by Benedetta's parents. The relationship between the two women soon deepens, far transgressing the stringent rules of the monastery.

There are plenty of skeptics milling about, holy sisters who simply do not believe in Benedetta's beatitude, never failing to mention that all her stigmata appear self-inflected and her prophecies invariably self-serving. A fierce struggle begins for the positions of power that would have granted the two formerly subservient young women the privilege of a freer life.

"Motiviralo me je dejstvo, da je bila Benedetta ženska iz 17. stoletja, ki si je pridobila resni~no mo~, tako v samostanu teatinskih nun kot v rodnem mestu Pescia. Benedetta je slovela kot svetnica in opatinja. Z nadarjenostjo, videnji, manipulacijami, lažmi in ustvarjalnostjo se je povzpela na visok položaj. Ne da bi izbirala sredstva, ji je uspelo v družbi in dobi, ki so jima vladali mo{ki. Ženske niso imele veljave, razen kot objekt za mo{ko spolno pote{itev in razmnoževanje." (Paul Verhoeven)

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021

"An aspect that motivated me was that Benedetta was a seventeenth-century woman who had acquired real power, both in her convent of Theatine nuns and in her town of Pescia.

Benedetta was famous as a saint and as abbess of the convent.

She reached positions of power through her talent, visions, manipulations, lies and creativity. Whatever the means, she managed it in a society and era totally dominated by men.

Women counted for nothing, except male sexual gratification and reproduction." (Paul Verhoeven)

Paul Verhoeven

filmografija (izbor)/filmography (selection)

Rojen leta 1938 v Amsterdamu, Nizozemska. Diplomiral je iz matematike in fizike, nato pa se je pridružil Kraljevi mornarici, kjer je za~el snemati dokumentarne filme. Njegovo prvo delo je bila TV-serija Floris, svoj prvi film Zapiski prostitutke pa je posnel 1971. V osemdesetih letih se je preselil v ZDA, kjer se je s filmi Robocop, Popolni spomin in Prvinski nagon prebil med najvidnej{e režiserje na svetu.

1969 1971 1973 1985 1987 1990 1992 1995 1997 2000 2006 2016 2021

Born in 1938 in Amsterdam, Verhoeven graduated in maths and physics and then joined the Royal Netherlands Navy, where he began his film career by making documentaries. In 1969, he directed the popular TV series, Floris. Verhoeven's first feature, Diary of a Hooker, was released in 1971.

Verhoeven moved to the US in the eighties, where Robocop, Total Recall and Basic Instinct earned him worldwide acclaim.

re`ija/directed by Paul Verhoeven scenarij/screenplay David Birke, Paul Verhoeven, Judith C. Brown (knjiga/book) fotografija/cinematography Jeanne Lapoirie glasba/music Anne Dudley monta`a/editing Job ter Burg igrajo/cast Virginie Efira (Benedetta Carlini), Charlotte Rampling (Felicita), Daphne Patakia (Bartolomea), Lambert Wilson (nuncij/nuncio), Olivier Rabourdin (Alfonso Cecchi), Louise Chevillotte (Christina), Hervé Pierre (Paolo Ricordati), Clotilde Courau (Midea Carlini), David Clavel (Giuliano Carlini), Guilaine Londez (Jacopa), Gaëlle Jeantet (Petra), Justine Bachelet (Juliana) producenti/producers Saïd Ben Saïd, Michel Merkt, Jérôme Seydoux produkcija/production SBS Productions 29 rue Danielle Casanova 75001 Paris, France E contact�sbs-productions.com format/format DCP, barvni/colour dol`ina/running time 127'

prodaja/world sales Pathé Films 2, rue Lamennais 75008 Paris, France E accueil.distri�pathe.com

Floris (TV-serija/TV series) Wat zien ik (Diary of a Hooker/Zapiski prostitutke) Turks fruit (Turkish Delight) Flesh+Blood (Meso in kri) Robocop Total Recall (Popolni spomin) Basic Instinct (Prvinski nagon) Showgirls (Sla~ipunce) Starship Troopers (Vesoljski bojevniki) Hollow Man (Mož brez telesa) Zwartboek (Black Book/^rna knjiga) Elle (Ona) Benedetta

distribucija/distribution Fivia d.o.o.

Preložnikova 1 3212 Vojnik E cenex�siol.net

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Bergmanov otok Bergman Island Bergman Island Mia Hansen-Løve

re`ija/directed by Mia Hansen-Løve scenarij/screenplay Mia Hansen-Løve fotografija/cinematography Denis Lenoir monta`a/editing Marion Monnier igrajo/cast Vicky Krieps (Chris), Mia Wasikowska (Amy), Tim Roth (Tony), Anders Danielsen Lie (Joseph), Melinda Kinnaman (Berit), Joel Spira (Jonas), Anki Larsson (Ase), Gabe Klinger (Ameri~an/American man), Wouter Hendrickx, Stig Björkman (Stig), Siri Hjorton Wagner (Wilma), Hampus Nordenson (Hampus), Oscar Reis (Josephov prijatelj/ Joseph's friend), Clara Strauch (Nicolette) producenti/producers Charles Gillibert, Erik Hemmendorff, Rodrigo Teixeira, Lisa Widén produkcija/production CG Cinéma 7/9 rue des Petites Ecuries 75010 Paris, France E production�cgcinema.eu & Scope Pictures & Neue Bioskop Film & Plattform Produktion & Piano & Arte France Cinéma & RT Features format/format DCP, barvni/colour dol`ina/running time 112' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021, Toronto 2021, Melbourne 2021

prodaja/world sales Kinology 30, rue Moret 75011 Paris, France E gmelin�kinology.eu distribucija/distribution Fivia d.o.o.

Preložnikova 1 3212 Vojnik E cenex�siol.net

Francija, [vedska, Nem~ija, Belgija, Mehika, Brazilija France, Sweden, Germany, Belgium, Mexico, Brazil 2021

Metafilm o iskanju navdiha se odpravi po stopinjah velikega Ingmarja Bergmana in obenem kaže o~itne avtobiografske elemente iz življenja režiserke Mie Hansen-Løve.

Director Mia Hansen-Løve's semi-autobiographical meta film about the quest for inspiration, Bergman Island pays homage to the great auteur Ingmar Bergman.

Chris in Tony sta poro~ena filmska režiserja, ki se odpravita na delovni dopust na {vedski otok Fårö. Gre za kraj, ki je imel posebno mesto v življenju Ingmarja Bergmana in danes velja za romarsko to~ko njegovih oboževalcev. Tako on kot ona upata, da bosta, obkrožena s slovito zapu{~ino, na{la navdih za svoja nova projekta. A v tej idili~ni pokrajini na dan privrejo razpoke v njunem zakonu. On, že uveljavljen filmar, je dve desetletji starej{i, ona pa {e vedno sku{a najti ravnovesje med poklicem in materinstvom.

Ko Chris tava po otoku ter spoznava tamkaj{njo naravo in ljudi, se spomini za~nejo me{ati s sedanjostjo, njeno delo z resni~nimi težavami, zabrisane meje med umi{ljenim in resni~nostjo pa par {e bolj potisnejo v negotovost.

Chris and Tony, a filmmaking couple, decide to spend a summer living and working on the Swedish island of Fårö. The island is one of the meccas of cinephiles: the long-time home of legendary auteur Ingmar Bergman. Both filmmakers are preparing new projects from different points in their careers and hoping that the island setting will provide them with inspiration. A full two decades older than his wife, Tony is an already established international reference; Chris, for her part, still struggles to balance her duties as filmmaker and mother. As their respective scripts progress, coming in contact with the wild landscapes of the place, souvenirs of a first love resurface, and the lines between fiction and reality blur, tearing the couple apart.

"Film se je porodil, {e preden je bil za prizori{~e izbran Fårö, kot ideja o režiserskem paru na filmski lokaciji, ki se ukvarja s težavami, skrivnostmi in prednostmi ustvarjalnega procesa ter mo~jo, ki jo ~lovek lahko najde v lastni ranljivosti, ko se z njo spoprime. Tako kot vsi Bergmanovi ob~udovalci Fårö od nekdaj {tejem za miti~en kraj. Ob njegovi smrti je {la vsa njegova lastnina na dražbo. To sre~anje med Bergmanom legendo in resni~no osebo, fizi~nim ~lovekom skozi njegove predmete, /.../ se mi je zdelo navdihujo~e." (Mia Hansen-Løve)

"My movie was born before it was set on Fårö, as an idea about a director couple out on location, dealing with the difficulties, mysteries and strengths of a creative process, and the power you can find in your own vulnerability once you face it. Fårö was already a mythical place for me, as it is for those who admire Bergman. When he died, there was an auction to sell off all of his belongings. And this meeting between the Bergman of the legends and the real person, the human being through his objects, /.../ felt inspiring to me." (Mia Hansen-Løve)

Mia Hansen-Løve

filmografija (izbor)/filmography (selection)

Rojena 1981 v Parizu. Preden je leta 2001 za~ela {tudirati na pari{kem Konservatoriju dramskih umetnosti, je pri sedemnajstih igrala v dveh filmih Oliviera Assayasa. Med 2003 in 2005 je pisala za revijo Cahiers du Cinéma in za~ela režirati kratke filme. Od leta 2007 je posnela sedem igranih celove~ercev.

2004 2007 2009 2011 2014 2016 2018 2021

Born in 1981 in Paris. She was cast by Olivier Assayas in two of his films before she began formal training at the Paris Conservatoire d'Art Dramatique in 2001. Between 2003 and 2005, Mia wrote for the Cahiers du Cinéma and directed several short films. She has made seven feature films since 2007.

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Après mûre réflexion (kratki/short) Tout est pardonné (All Is Forgiven/Vse je opro{~eno) Le père de mes enfants (Father of My Children/O~e mojih otrok) Un amour de jeunesse (Goodbye First Love/Zbogom, prva ljubezen) Eden L'avenir (Things to Come/Prihodnost) Maya Bergman Island (Bergmanov otok)

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Dogodek L'événement Happening Francija France 2021

Audrey Diwan

Filmska upodobitev romana francoske pisateljice Annie Ernaux, v katerem je avtorica opisala lastno soo~anje s splavom, ko je bil ta v Franciji {e prepovedan. Zmagovalec filmskega festivala v Benetkah.

An adaptation of Annie Ernaux's eponymous novel, looking back on her experience with abortion when it was still illegal in France in the 1960s. Winner of Golden Lion at the Venice Film Festival.

Francija leta 1963. Anne je nadarjena {tudentka iz delavske družine, ki ji napovedujejo svetlo prihodnost. A ko nepri~akovano zanosi, se svet okoli nje za~ne podirati. Želja po dokon~anju {tudija in po osvoboditvi od delavskega okolja se naenkrat zdi vse bolj oddaljena. Ker se zaklju~ni izpiti hitro približujejo, se Anne odlo~i, da bo ukrepala. Kolegice ji povedo za neko žensko, ki naj bi v zameno za izdatno pla~ilo v strogi tajnosti opravljala splave. Anne se mora na tej veliki preizku{nji soo~iti s sramom in bole~ino, a tudi z grožnjo zaporne kazni.

France, 1963. Anne is a bright young student with a promising future ahead of her. But when she falls pregnant, she sees the opportunity to finish her studies and escape the constraints of her social background disappearing. With her final exams fast approaching and her belly growing, Anne resolves to act, even if she has to confront shame and pain, even if she must risk prison to do so ...

"Kak{no pot lahko ubere mlada ženska, ki se odlo~a za skrivni splav? Pogosto o tem lahko samo ugibamo. Ko sem se odlo~ila za filmsko priredbo romana L'événement Annie Ernaux, sem posku{ala najti na~in za prikaz fizi~ne plati izku{nje, upo{tevati telesno razsežnost poti. Upam, da izku{nja presega ~asovni okvir zgodbe in spolno neenakost. Usoda mladih žensk, prisiljenih v tak{ne posege, je tvegana, nedopustna. Iskala sem preprosto gesto, bistvo, ki bi jo upodobilo." (Audrey Diwan)

"What path is there for a young woman faced with a clandestine abortion? Often, we can only guess at the response. When I decided to adapt Annie Ernaux’s L'événement, I tried to find a way to capture the physical nature of the experience, to take into account the fleshly dimension of the journey. My hope is that the experience transcends the period of the story and the gender barrier. The fate of the young women who have had recourse to such operations is risky, intolerable. All I did was to look for the simple gesture, the essence that could convey it."

(Audrey Diwan)

Audrey Diwan

filmografija (izbor)/filmography (selection)

Rojena leta 1980 v Franciji star{em libanonskega porekla. [tudirala je novinarstvo in politologijo. Sprva je delala kot scenaristka in novinarka. Je ~lanica kolektiva 50/50, ki zagovarja enakost med spoloma v filmski industriji.

Celove~erni prvenec Mais vous êtes fous je posnela leta 2019, njen drugi film Dogodek pa je osvojil zlatega leva v Benetkah.

2019 Mais vous êtes fous (Losing It) 2021 L'événement (Happening/Dogodek)

re`ija/directed by Audrey Diwan scenarij/screenplay Marcia Romano, Audrey Diwan, Annie Ernaux (roman/novel) fotografija/cinematography Laurent Tangy glasba/music Evgueni Galperine, Sacha Galperine monta`a/editing Géraldine Mangenot igrajo/cast Anamaria Vartolomei (Anne), Kacey Mottet-Klein (Jean), Luàna Bajrami (Hélène), Louise Orry-Diquero (Briggite), Louise Chevillotte (Olivia), Pio Marmai (prof. Bornec), Sandrine Bonnaire (Gabrielle), Leonor Oberson (Claire), Anna Mouglalis (Rivière), Cyril Metzger (Gaspard), Éric Verdin (Jacques), Alice De Lencquesaing (Laetitia), Medaleine Baudot (Lise) producenta/producers Alice Girard, Edouard Weil produkcija/production Rectangle Productions 21, rue du Faubourg Saint-Antoine 75011 Paris, France E contact�rectangleproductions. com & France 3 Cinéma (France) & Wild Bunch (France) & Srab Films (France) format/format DCP, barvni/colour dol`ina/running time 100' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2021 (zlati lev/ Golden Lion)

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

Preložnikova 1 3212 Vojnik E cenex�siol.net

Born in 1980 in France. A French film director of Lebanese descent. She studied journalism and political science. Prior to becoming a filmmaker, she worked as a journalist and a screenwriter. She is a member of Collectif 50/50, a French NGO promoting equality between men and women in the film industry. She made her feature debut, Losing It, in 2019. In 2021, Happening won the Golden Lion at Venice.

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Drive My Car Doraibu mai kâ Drive My Car Japonska Japan 2021

Ryusuke Hamaguchi re`ija/directed by Ryusuke Hamaguchi scenarij/screenplay Ryusuke Hamaguchi, Takamasa Oe, Haruki Murakami (kratka zgodba/ short story) fotografija/cinematography Hidetoshi Shinomiya glasba/music Eiko Ishibashi monta`a/editing Azusa Yamazaki igrajo/cast Hidetoshi Nishijima (Yusuke Kafuku), Toko Miura (Misaki Watari), Reika Kirishima (Oto), Yoo-rim Park (Lee Yoon-a), Dae-Young Jin (Kon Yoon-su), Sonia Yuan (Janice Chan), Satoko Abe (Yuhara), Masaki Okada (Koji Takatsuki), Perry Dizon, Ann Fite producenti/producers Tsuyoshi Goro, Misaki Kawamura, Osamu Kubota, Sachio Matsushita, Yoshito Nakabe, Keiji Okumura, Jin Suzuki, Teruhisa Yamamoto produkcija/production Bitters End 2F, 3-26-10 Shibuya 150-0002 Tokyo, Japan E sadai�bitters.co.jp & C&I Entertainment & Culture Entertainment Co. format/format DCP, barvni/colour dol`ina/running time 179'

Kratka zgodba Hurakija Murakamija je na velikem platnu zaživela kot refleksija o preseganju osebne travme s pomo~jo umetnosti. Nagrada za najbolj{i scenarij na filmskem festivalu v Cannesu.

Yusuke je gledali{ki režiser in igralec, sre~no poro~en s scenaristko Oto. Mož in žena nenehno snujeta ideje za nove zgodbe ter si jih pripovedujeta. Oto nato nenadoma umre, zaradi ~esar se Yusuke umakne iz družabnega življenja. Njegovo edino zato~i{~e je avto, v katerem zdaj med samotnimi vožnjami sam vadi dialoge s pomo~jo ženinih avdio kaset. Po dveh letih režiser sprejme ponudbo za nov gledali{ki projekt, vendar pa ga organizatorji soo~ijo z nenavadnim pogojem. Zavarovalnica zahteva, da se v službo ne sme voziti sam, temve~ mora to delo opravljati njegova voznica, tiha in zadržana Misaki. Nobenemu od njiju vožnje niso prijetne, a sta primorana razviti odnos, ki bo prekinil mu~no ti{ino.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021 (najbolj{i scenarij/Best Screenplay), Karlovi Vari/Karlovy Vary 2021, Toronto 2021

"S to kratko zgodbo sem se prvi~ sre~al, ko mi je prijatelj ob izidu leta 2013 omenil njeno sorodnost z mojim delom. In res: vožnja z avtom in možnost za zlagoma porajajo~e se intimne pogovore v tem zaprtem prostoru. /.../ Mislim pa, da sta me najbolj pritegnila mo~na lika, Kafuku in Misaki. Izjemno zanimiva sta. Sta zelo zadržani osebi, ki le s~asoma spregovorita o sebi."

(Ryusuke Hamaguchi)

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

Yusuke Kafuku, a stage actor and director, is happily married to Oto, a screenwriter. The couple constantly tell each other ideas for new stories that they come up with. However, Oto suddenly dies after leaving behind a secret. Kafuku withdraws from social life. Two years later, Kafuku, still unable to fully cope with the loss of his wife, receives an offer to direct a play at a theatre festival and drives to Hiroshima with his car. There, he meets Misaki, a reticent woman assigned to become his chauffeur. As they spend time together, Kafuku confronts the mystery of his wife that quietly haunts him.

"I first came to know this short story because when it came out in 2013, a friend of mine said that it was quite close to what I do in my work. And it was true: the fact that there was a car moving around and that you could have these intimate conversations coming up slowly in this closed-off space. /.../ But I think that the main interest for me was these strong characters, Kafuku and Misaki. They are very interesting. They are people that don't really reveal a lot of themselves and only slowly come to talk about themselves." (Ryusuke Hamaguchi)

Ryusuke Hamaguchi

filmografija (izbor)/filmography (selection)

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. Najve~ja uspeha je dosegel leta 2021, ko je s filmom O naklju~ju in domi{ljiji osvojil srebrnega medveda na Berlinalu, z Drive My Car pa nagrado za najbolj{i scenarij na festivalu v Cannesu.

2007 2008 2010 2012 2012 2013 2013 2015 2018 2021 2021

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. His biggest successes came in 2021, when Wheel of Fortune and Fantasy won the Silver Bear at Berlinale and Drive My Car the Best Screenplay Award at Cannes.

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A screen adaptation of Haruki Murakami's short story, Drive My Car looks at the prospect of processing personal trauma through art. Cannes 2021 Best Screenplay Award.

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) Gûzen to sôzô (Wheel of Fortune and Fantasy/O naklju~ju in domi{ljiji) Doraibu mai kâ (Drive My Car)

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Izgubljene iluzije Les illusions perdues Lost Illusions Francija France 2021

Xavier Giannoli

Razko{na filmska priredba istoimenskega Balzacovega romana je pripoved o ljubezni, poželenju, bolestnih literarnih ambicijah ter mo~i medijev in denarja.

A lavish screen adaptation of Balzac's eponymous novel, Lost Illusions is a tale of love, desire, driving literary ambitions and the power of media and money.

Francija, 19. stoletje. Mladi, {e ne uveljavljeni pesnik Lucien živi v podeželskem mestecu Angoulême. Podnevi dela v tiskarni, ob ve~erih pa pi{e pesmi in ljubimka z aristokratinjo Louise. Ko se po mestu o njiju raz{irijo zlobne govorce, skupaj pobegneta v Pariz, kjer pa Louise svojega mladega ljubimca kmalu zapusti.

Prepu{~en samemu sebi Lucien za~ne spoznavati zakulisje velemesta, ki ga poganjata sla po dobi~ku in brezsramna hinav{~ina v ~asopisnih medijih in ti v tistem ~asu pridobivajo vedno ve~jo mo~ in vpliv.

19th century France. Lucien is a young unknown poet living in the provincial town of Angoulême. He has great hopes and wants to forge his destiny. He works in the family printing house during the day, writes poems and makes love to an aristocratic patroness of the arts, Louise, in the evenings. He leaves his native province to try his luck in Paris on the arm of his benefactor. Quickly left to fend for himself in this fabulous town, the young man will discover what goes on behind the scenes in this world devoted to the law of profit and pretence.

"Balzacov roman razkriva matrico sodobnega sveta, trenutek, preden se je vsa civilizacija predala vladavini dobi~ka. Ta premik sem želel podalj{ati s pomo~jo kinematografije in si ob tem vzeti svobo{~ine z izvirnim besedilom, ki bi omogo~ile izraz njegovega duha." (Xavier Giannoli)

"Balzac's novel reveals the matrix of the modern world, that moment when an entire civilization was about to surrender to the rule of profit. I wanted to prolong that movement thanks to cinema, taking any liberties with the original text that would allow for expressing its spirit." (Xavier Giannoli)

Xavier Giannoli

filmografija (izbor)/filmography (selection)

Rojen leta 1972 v mestu Neuilly-sur Seine, Francija. Za kratki film L'interview je bil leta 1988 nagrajen z zlato palmo na canskem festivalu. Od 2003 do danes je posnel osem celove~ercev, ki so bili skoraj vsi prikazani na uglednih mednarodnih festivalih v Cannesu, Benetkah in San Sebastianu.

1993 1995 1998 2003 2005 2006 2009 2012 2015 2018 2021

Born 1972 in Neuilly-sur Seine, France. Giannoli's L'interview won the Palme d'Or for Best Short Film at the Festival de Cannes. Since 2003 he has made eight feature films, most of which screened at prestigious international festivals in Cannes, Venice and San Sebastian.

re`ija/directed by Xavier Giannoli scenarij/screenplay Xavier Giannoli fotografija/cinematography Christophe Beaucarne montaža/editing Cyril Nakache igrajo/cast Benjamin Voisin (Lucien), Cécile de France (Louise), Vincent Lacoste (Etienne Lousteau), Xavier Dolan (Nathan), Salomé Dewaels (Coralie), Jeanne Balibar (markiza/Marquise d'Espard), Gérard Depardieu (Dauriat), André Marcon (baron du Châtelet), Louis-Do de Lencquesaing (Finot), Jean-François Stévenin (Singali) producent/producer Riton Dupire-Clément produkcija/production Curiosa Films 7, avenue Franklin D. Roosevelt 75008 Paris, France E virginielacaze�curiosafilms.fr format/format DCP, barvni/colour dolžina/running time 142' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2021, San Sebastian 2021

prodaja/world sales Gaumont 30, avenue Charles de Gaulle 92200 Neuilly-Sur-Seine, France E alexis.cassanet�gaumont.com

Le condamné (kratki/short) J'aime beaucoup ce que vous faites (kratki/short) L'interview (kratki/short) Les corps impatients (Eager Bodies) Une aventure Quand j'étais chanteur (The Singer) À l'origine (In the Beginning) Superstar Marguerite L'apparition (The Apparition/Prikazovanje) L'Illusions perdues (Lost Illusions/Izgubljene iluzije)

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Jagnje Dýrið Lamb Valdimar Jóhannsson

re`ija/directed by Valdimar Jóhannsson scenarij/screenplay Sjón Jóhannsson, Valdimar Jóhannsson fotografija/cinematography Eli Arenson glasba/music Þórarinn Guðnason monta`a/editing Agnieszka Glinska igrajo/cast Noomi Rapace (Maria), Hilmir Snær Guðnason (Ingvar), Björn Hlynur Haraldsson (Pétur), Ester Bibi (~lan glasbene skupine/band member), Ingvar Sigurdsson producentki/producers Hrönn Kristinsdóttir, Sara Nassim produkcija/production Go to Sheep Sólvallagata 29 101 Reykjavik, Iceland E saranassim�gmail.com & Black Spark Film & TV & Madants format/format DCP, barvni/colour dol`ina/running time 106' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021

Islandija, [vedska, Poljska Iceland, Sweden, Poland 2021

Zgodba o mladem paru, ki skrivaj vzgaja nenavadno bitje, pol ovco, pol ~loveka, je prežeta z zna~ilno islandsko ~uda{kostjo in se spogleduje z žanrom grozljivke.

A story of a young couple secretly raising a half-sheep, halfhuman child, Lamb fuses typical Icelandic quirkiness with elements of horror.

Maria in Ingvar sta mlad islandski par. Živita na odro~ni kmetiji, sama s ~redo ovac. Svoj vsakdan zapolnjujeta s skrbjo za živali ter pogovori o traktorju, potovanjih in tudi o filmih. A njuno življenje prežema tiho obžalovanje, da nimata otroka. Ko sta nekega dne pri~i skrivnostnemu rojstvu nebogljenega bitja, pol ovce, pol ~loveka, se zdi, da je njuna tiha pro{nja usli{ana. A kar se zdi na prvi pogled blagoslov, se kaj kmalu izkaže za prekletstvo.

Icelandic couple María and Ingvar live with their herd of sheep on a beautiful but remote farm. They spend their days caring for the animals and having conversations about tractors, travel and even movies. But their lives are filled with a silent regret about not having had a child. When discovering a mysterious half-sheep, half-human newborn on their farmland, they decide to keep it and raise it as their own. This unexpected prospect of a new family brings them much joy, before ultimately destroying them.

"Je nadvse klasi~na zgodba, s samo eno nadrealisti~no prvino, mislim, da je dobro, da je tako preprosta. Ves ~as smo si želeli posneti umetni{ki film /.../. [tevilni me spra{ujejo, ali sem sedaj oboževalec grozljivk. Ampak jaz ga nisem videl kot grozljivko.

Lahko ga ozna~ite za 'žanrski film', jaz pa ga dojemam kot vizualno pesem." (Valdimar Jóhannsson)

prodaja/world sales New Europe Film Sales Puławska 152/5 02 670 Warsaw, Poland E office�neweuropefilmsales.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Valdimar Jóhannsson

filmografija/filmography

Islandski filmski ustvarjalec, ki se je preizkusil v razli~nih tehni~nih segmentih ustvarjanja, kot so kamera, osvetljevanje, opremljanje prizori{~a. Kot sodelavec za posebne u~inke je sodeloval pri Rogue one: Zgodba vojne zvezd, Transformerjih in Prometeju. Jagnje je njegov celove~erni režijski prvenec, pri katerem je tudi soavtor scenarija.

2008 Dolor (Harmsaga) (kratki/short) 2021 Dýrið (Lamb/Jagnje)

An Icelandic filmmaker who has tried his hand at various technical segments of filmmaking, including camera, lighting, movie set. He is known for his special effects work on Rogue One: A Star Wars Story, Transformers and Prometheus. He has co-written the screenplay for Lamb, his feature-length directorial debut.

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"This is such a classical tale, with just one surrealist element, and I think it's good that it's simple like this. We always wanted to make an arthouse film /.../. So many people ask me if I am a horror fan now. But I didn’t see it as a horror. You can call it a 'genre film', but for me, it’s a visual poem."

(Valdimar Jóhannsson)

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Jezdeci pravice Retfærdighedens ryttere Riders of Justice Danska Denmark 2020

Anders Thomas Jensen

Domiselna ~rna komedija s pridihom akcijskega trilerja in absurda, z izvirnim zapletom in nepri~akovanim koncem.

Nekdanji vojak Markus (Mads Mikkelsen) se vra~a domov, da bi po tragi~ni ženini smrti v železni{ki nesre~i skrbel za odra{~ajo~o h~erko. A po sre~anju z enim izmed preostalih ponesre~encev za~ne sumiti, da ni {lo zgolj za nesre~o, temve~ da je bila njegova žena na~rtno umorjena. S pomo~jo ra~unalni~arja Otta, ekscentri~nega kolega Lennarta in {e bolj ~uda{kega Emmenthalerja sklene ugotoviti, kdo je zakrivil njeno smrt ...

"Film je izmi{ljena zgodba, vstavljena v okvir realizma. Je pripoved o skupini ljudi, ki vsi na isti dan izgubijo ob~utek varnosti in svoj življenjski temelj. Ob skupnem sre~anju s~asoma vsak zase najdejo: ljubezen, samospo{tovanje, zaupanje in ob~utek pripadnosti kraju. Na koncu vsak izkusi nekak{no zaupanje, ali vase, v Boga ali v življenjska naklju~ja. Film prikaže, kako nepredstavljiv dogodek zaznamuje na{e življenje. Ko v ni~ ve~ ne verjamemo, kako obdržati vero v življenje?"

(Anders Thomas Jensen)

An ingenious black comedy containing elements of action thriller and absurdity, Riders of Justice's original plot and unexpected ending make it another highlight in Jensen's oeuvre.

festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2021, Glasgow 2021, München/Munich 2021

Markus (Mads Mikkelsen), a deployed military man, is forced to return home to care for his teenage daughter after his wife is killed in a tragic train accident. It seems to be plain bad luck – but it turns out that it might have been a carefully orchestrated assassination, of which his wife ended up being a random casualty. Together with data analyst Otto, his eccentric colleague Lennart and their even stranger friend Emmenthaler, Markus embarks on a mission to find those responsible.

"The film is a fable, set in a framework of realism. It is the tale of a group of people all of whom, on the same day, lose their sense of security as well as their life's foundation. In meeting each other they eventually respectively find: love, self-respect, trust and the feeling of belonging to a place. Everyone ends up experiencing a kind of trust, whether that is in themselves, in God or in life's coincidences. The film depicts how our lives are affected when the unthinkable occurs. How do we keep our faith in life when we no longer believe in anything?"

(Anders Thomas Jensen)

Anders Thomas Jensen

filmografija (izbor)/filmography (selection)

Rojen leta 1972 v mestu Frederiksværk na danskem otoku Sjælland. Za film se je za~el zanimati že v srednji {oli. Pri sedemindvajsetih je prejel oskarja za kratki film Valgaften, leta 2000 pa je posnel svoj celove~erni prvenec Blinkende lygten. Kot scenarist je sodeloval s priznanimi danskimi režiserji in režiserkami, kot sta Lone Schefrig in Susanne Bier.

1996 1997 1998 2000 2003 2005 2015 2020

Born in 1972 in Frederiksværk on the Danish island of Sjælland. He developed an interest in cinema in high school. He won an Academy Award for his short film Valgaften at age 27 and made his feature debut, Flickering Lights, in 2000. As a scriptwriter, he has worked with renowned Danish filmmakers like Susanne Bier and Kristian Levring.

re`ija/directed by Anders Thomas Jensen scenarij/screenplay Anders Thomas Jensen fotografija/cinematography Kasper Tuxen glasba/music Jeppe Kaas monta`a/editing Nicolaj Monberg, Anders Albjerg Kristiansen igrajo/cast Mads Mikkelsen (Markus), Nikolaj Lie Kaas (Otto), Andrea Heick Gadeberg (Mathilde), Lars Brygmann (Lennart), Nicolas Bro (Emmenthaler), Gustav Lindh (Bodashka), Roland Møller (Kurt) producentki/producers Sisse Graum Jørgensen, Sidsel Hybchmann produkcija/production Zentropa Entertainments Filmbyen 22 2650 Hvidovre, Denmark E receptionen�filmbyen.com & Magnet Releasing format/format DCP, barvni/colour dol`ina/running time 116'

prodaja/world sales TrustNordisk Filmbyen 28 2650 Hvidovre E info�trustnordisk.com

Ernst og lyset (Ernst & Iyset) (kratki/short) Wolfgang (kratki/short) Valgaften (Election Night) (kratki/short) Blinkende lygten (Flickering Lights) De grønne slagtere (The Green Butchers) Adams æbler (Addam's Apples) Mænd & høns (Men & Chicken) Retfærdighedens ryttere (Riders of Justice/Jezdeci pravice)

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

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Junak Ghahreman A Hero Iran, Francija Iran, France 2021

Asghar Farhadi re`ija/directed by Asghar Farhadi scenarij/screenplay Asghar Farhadi fotografija/cinematography Ali Ghazi, Arash Ramezani monta`a/editing Hayedeh Safiyari igrajo/cast Amir Jadidi (Rahim), Mohsen Tanabandeh (Bahram), Fereshteh Sadrorafaii (ga./Mrs. Radmehr), Sahar Goldust (Farkhondeh), Maryam Shahdaei (Malileh), Alireza Jahandideh (Hossein), Sarina Farhadi (Nazanin), Ehsan Goodarzi (NadeAli) producenta/producers Asghar Farhadi, Alexandre MalletGuy produkcija/production Memento Production 9 cité Paradis 75010 Paris, France E production�memento-films.com & Asghar Farhadi Production & Arte France Cinéma format/format DCP, barvni/colour dol`ina/running time 127' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021 (velika nagrada žirije/ Grand Prix)

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

Preložnikova 1 3212 Vojnik E cenex�siol.net

Dvakratni oskarjevec Asghar Farhadi se v rodni Iran vra~a s {e eno izvrstno napisano zgodbo o morali in dostojanstvu, ki mu je prinesla veliko nagrado žirije na filmskem festivalu v Cannesu.

Two-time Academy Award winner Asghar Farhadi returns to his native Iran with yet another exquisitely written tale of morality and dignity that won the Grand Prix at the Cannes Film Festival.

Rahim v iranskem mestu [iraz služi zaporno kazen zaradi dolgov, ki si jih je nakopal pri lokalnem trgovcu. Ko do~aka dva prosta dneva od prestajanja zaporne kazni, pa v njegovo življenje nenapovedano poseže usoda. Med pohajkovanjem po mestu skupaj s svojim dekletom na avtobusni postaji najde izgubljeno torbico s 17 zlatniki. Dogodek potrka na Rahimovo vest in odlo~i se lastnoro~no poiskati lastnico. ^astno dejanje hitro vzbudi pozornost javnosti in Rahim po televizijskem intervjuju celo postane lokalni junak. Vendar pa niso vsi navdu{eni nad njegovo nenadno slavo. Kmalu se za~ne pojavljati vse ve~ dvomljivcev, ki menijo, da se dogodki niso zares razpletli tako, kot jih je izpri~al zapornik.

Rahim is on a two-day leave from prison in the Iranian city of Shiraz, where he's serving a sentence for a debt. The money owed to a shopkeeper still hangs around his neck like the proverbial albatross. During his brief release from jail, there seems to be a way out of his predicament when Farkhondeh, the girl he intends to marry, finds a lost handbag at a bus stop containing 17 gold coins. Rahim considers selling the find, however, as his conscience nudges him, he makes an effort to find the owner of the bag, a dignified act that sees him celebrated by a television report. Yet there are plenty of skeptics milling about as doubt is thrown on Rahim's story via social media gossips.

"^e v Iranu komu dolgujete denar in ta vloži tožbo, lahko greste v zapor. Ampak ~e že dan zatem izjavi, da denarja no~e, ste prosti.

Enako velja za umor: ~e se družina žrtve odlo~i morilcu oprostiti, ga lahko iz zapora izpustijo. Gre za sistem, ki ga poganjajo jeza in predsodki. Na podlagi teh ~ustev naj bi ~lovek sprejel zelo pomembno odlo~itev o nekogar{nji usodi. Ni pravi~no."

(Asghar Farhadi)

"In Iran, if you owe someone money and they file a complaint, then you may go to jail. But the day after, if they say they don't want the money, you're free. It also applies to murder: if the family of the victim decides to forgive the killer, he may be released from prison. It's a system driven by anger and prejudice.

Through these emotions, you're supposed to make a very important decision on someone’s destiny. It's not fair."

(Asghar Farhadi)

Asghar Farhadi

filmografija (izbor)/filmography (selection)

Rojen leta 1972 v Isfahanu, Iran. Na teheranski univerzi je magistriral iz odrske režije. Nase je opozoril že s celove~ernim prvencem Dancing in the Dust, ki je takoj osvojil nekaj mednarodnih nagrad. Njegov peti film Lo~itev je postal mednarodno najuspe{nej{i iranski film vseh ~asov; med drugim je prejel oskarja za najbolj{i tujejezi~ni film. Slednjega je osvojil tudi za film Trgovski potnik.

2003 2004 2006 2009 2011 2013 2016 2018 2021

Born in 1972 in Isfahan, Iran, Farhadi graduated from the University of Tehran with a Masters in stage direction. Soon afterwards he asserted himself with his first feature film, Dancing in the Dust, which went on to win several international festival awards. Unprecedented for any Iranian film, A Separation, his fifth feature film, was an international success that won the Academy Award for Best Foreign Language Film. Farhadi won the best foreign language Oscar for a second time for domestic drama The Salesman.

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Raghs dar ghobar (Dancing in the Dust) Shah-re ziba (Beautiful City) Chaharshanbe-soori (Fireworks Wednesday) Darbareye Elly (About Elly) Jodaeiye Nader az Simin (A Separation/Lo~itev) Le passé (The Past/Preteklost) Forushande (The Salesman/Trgovski potnik) Todos lo saben (Everybody Knows/Vsi vejo) Ghahreman (A Hero/Junak)

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Mala mama Petite maman Petite maman Francija France 2021

Céline Sciamma

Céline Sciamma v svojem novem filmu znova raziskuje velika življenjska vpra{anja z izrazito ženske perspektive.

Céline Sciamma's new film once again examines the big questions in life from a resolutely female perspective.

Osemletna Nelly je izgubila ljubljeno babico in zdaj pomaga star{em pri ~i{~enju njene hi{e. Deklica med delom raziskuje domovanje in bližnji gozd, kjer se je njena mami Marion neko~ igrala in kjer je zgradila drevesno hi{ico, o kateri je tako veliko sli{ala. Nekega dne pa dekli~ina mati nenadoma odide. Prav takrat Nelly v gozdu sre~a dekle istih let, ki tam gradi drevesno hi{ico.

Njeno ime je Marion.

Eight-year-old Nelly has just lost her beloved grandmother and is helping her parents clean out her mother's childhood home. She explores the house and the surrounding woods where her mum, Marion, used to play and where she built the treehouse Nelly has heard so much about. One day her mother suddenly leaves. That is when Nelly meets a girl of her own age in the woods, building a treehouse. Her name is Marion.

"Moj ~asovni stroj lahko razumete kot referenco na spomin, vendar govori tudi o domi{ljiji. Ob opazovanju otro{ke fotografije svojih star{ev, o~eta ali matere, se lahko prestavite v to podobo, si sebe prestavljate nazaj v ~asu. Film posku{a razodeti to raven na{ega lastnega ~asovnega stroja, skritega v ~love{kem umu."

(Céline Sciamma)

"You can see my time-traveling machine as being about memory, but it's also about imagination. You can look at a picture of your parents, of him or her, as a child and you can put yourself in that picture, you can imagine yourself back in time. The film is trying to unlock this level of our own time-traveling machine, which is in our minds." (Céline Sciamma)

Céline Sciamma

filmografija (izbor)/filmography (selection)

Rojena leta 1978, odra{~ala v predmestju Pariza. Po magisteriju iz francoske literature je {tudirala scenaristiko na filmski {oli La Femis. V svojih prvih treh ve~krat nagrajenih celove~ercih se je osredoto~ala na tematiko odra{~ajo~ih deklet in nestalnost njihove spolne identitete. S filmom Portret mladenke v ognju je osvojila nagrado za najbolj{i scenarij v Cannesu.

2007 2010 2011 2014 2019

Born in 1978, Céline Sciamma grew up in suburban Paris. Having obtained a master's degree in French literature, Sciamma attended screenwriting courses at La Femis. Her first three award-winning features focused on adolescents or pre-adolescents, the fluidity of gender and sexual identity among girls during this formative period. Her film Portrait of a Lady on Fire won the Best Screenplay award in Cannes.

re`ija/directed by Céline Sciamma scenarij/screenplay Céline Sciamma fotografija/cinematography Claire Mathon glasba/music Jean-Baptiste de Laubier monta`a/editing Julien Lacheray igrajo/cast Joséphine Sanz (Nelly), Gabrielle Sanz (Marion), Nina Meurisse (mati/ mother), Stéphane Varupenne (o~e/ father), Margot Abascal (babica/ grandmother), Florès Cardo, Josée Schuller, Guylène Péan producent/producer Bénédicte Couvreur produkcija/production Lilies Films 22, rue Rambuteau 75003 Paris, France E contact�liliesfilms.com & France 3 Cinéma (France) format/format DCP, barvni/colour dol`ina/running time 72' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2021

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

Naissance des pieuvres (Water Lilies/Vodne lilije) Pauline (kratki/short) Tomboy (Pobalinka) Bande de filles (Girlhood/Banda punc) Portrait de jeune fille en feu (Portrait of a Lady on Fire/Portret mladenke v ognju) 2021 Petite maman (Mala mama)

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

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Najbolj grozen ~lovek na svetu Verdens verste menneske The Worst Person in the World Norve{ka, Francija, [vedska, Danska Norway, France, Sweden, Denmark 2021

Joachim Trier re`ija/directed by Joachim Trier scenarij/screenplay Joachim Trier, Eskil Vogt fotografija/cinematography Kasper Tuxen glasba/music Ola Fløttum monta`a/editing Olivier Bugge Coutté igrajo/cast Renate Reinsve (Julie), Anders Danielsen Lie (Aksel), Herbert Nordrum (Eivind), Hans Olav Brenner (Ole Magnus), Helene Bjørneby (Karianne), Vidar Sandem (Per Harald), Maria Grazia de Meo (Sunniva), Lasse Gretland (Kristoffer), Karen Røise Kielland (Tone), Deniz Kaya (Adil), Eia Skjønsberg (Synne), Marianne Krogh (Eva), Thea Stabell (Åse), Anna Dworak (Kathrine) producenta/producers Thomas Robsahm, Andrea Berentsen Ottmar produkcija/production Oslo Pictures Dronningens gate 8 a 0152 Oslo, Norway E post�oslo-pictures.com & MK Productions & Film I Väst & B-Reel Films & Snowglobe Film & Arte France Cinéma format/format DCP, barvni/colour dol`ina/running time 121'

Zaklju~ek Trierjeve trilogije filmov o norve{ki prestolnici prina{a vpogled v stanje uma dana{nje generacije tridesetletnikov. Nagrada za najbolj{o igralko na filmskem festivalu v Cannesu.

Julie bo kmalu dopolnila trideset let, njeno življenje pa je ena sama eksisten~na zmeda. Vrsta njenih talentov je zapravljenih, njen starej{i fant Aksel, uspe{en stripar, pa želi, da se ustalita.

Neke no~i Julie zatava na zabavo, kjer spozna mladega, o~arljivega Eivinda. Ne traja dolgo in že prekine razmerje z Akslom ter se spusti v novo zvezo, z upanjem, da ji bo to dalo nov pogled na življenje. A Julie kmalu spozna, da je za nekatere pomembne življenjske odlo~itve že prepozno.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021 (najbolj{a igralka/Best Actress), Karlovi Vari/Karlovy Vary 2021, Deauville 2021, Toronto 2021, New York 2021

prodaja/world sales mk2 Films 55, rue Traversière 75012 Paris, France E intlsales�mk2.com distribucija/distribution Fivia d.o.o.

Preložnikova 1 3212 Vojnik E cenex�siol.net

Julie is turning thirty and her life is an existential mess. Several of her talents have gone to waste and her older boyfriend, Aksel – a successful graphic novelist – is pushing for them to settle down. One night, she gate crashes a party and meets the young and charming Eivind. Before long, she has broken up with Aksel and thrown herself into yet another new relationship, hoping for a new perspective on her life. But she will come to realize that some life choices are already behind her.

"Film raziskuje, kako razmerja zrcalijo na{a eksistencialna pri~akovanja o življenju. V na{i kulturi smo vzgojeni v pri~akovanju, da je ljubezen prostor na{e izpolnitve, enako je s poslovnim uspehom. Je karakterni film o liku Julie; nisem želel podati splo{ne izjave o tem, kaj pomeni biti ženska danes, to bi bilo nemogo~e. /.../ Odli~na stvar pri umetnosti je, da ji ni treba biti analiza ali sociolo{ka {tudija: nadejamo se, da je lahko resnica o neki osebi, iz nje pa utegne iziti kak{en ve~ji razmislek."

(Joachim Trier)

"This film deals with how relationships mirror our existential expectations of life. In our culture, we are brought up to expect love to be the place where we fulfil ourselves, and the same with our careers. This film is a character piece about Julie; I did not want to make a general statement about what it means to be a woman today, that would be impossible. /.../ The great thing about art is that it doesn't have to be an analysis or sociological study: it can hopefully be a truth about one person, and out of that, there may be something bigger to think about."

(Joachim Trier)

Joachim Trier

filmografija (izbor)/filmography (selection)

Rojen leta 1974 v Köbenhavnu na Danskem. Odra{~al je v družini filmskih ustvarjalcev. V mladosti je posnel veliko skejterskih filmov, nato se je vpisal na Evropsko filmsko akademijo na Danskem in zatem {e na Britansko državno filmsko in televizijsko akademijo (NFTS). S celove~ernim prvencem Repriza je osvojil glavno nagrado v Karlovih Varih, vrsto nagrad pa je prejel tudi za film Oslo, 31. avgusta.

1999 2001 2002 2006 2011 2015 2017 2018 2021

Born in 1974 in Copenhagen, Trier grew up in a family of filmmakers. As a young artist, he made a fair number of skateboarding films and then enrolled in the European Film College in Denmark and subsequently in the National Film and Television School (NFTS) in the UK. His feature debut, Reprise, won the main prize at the Karlovy Vary Film Festival and his second film, Oslo, August 31, also won a number of awards.

34

The final instalment in Trier's trilogy about the Norwegian capital lends insight into the state of mind of the Millennials.

Best Actress Award at Cannes 2021.

Pietà (kratki/short) Still (kratki/short) Procter (Before Life, After Death) (kratki/short) Reprise (Repriza) Oslo, 31. august (Oslo, August 31st/Oslo, 31. avgusta) Louder Than Bombs (Glasnej{a od bomb) Thelma Den andre Munch (The Other Munch) (dok./doc.)

Verdens verste menneske (The Worst Person in the World/ Najbolj grozen ~lovek na svetu)

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Nebesa Nebesa Heavens Above Srdjan Dragojevi}

Srbija, Nem~ija, S. Makedonija, Slovenija, Hrva{ka, ^rna gora, BiH Serbia, Germany, N. Macedonia, Slovenia, Croatia, Montenegro, B&H 2021

Tri nadrealisti~ne zgodbe o božjih ~udežih so postavljene v razli~na ~asovna obdobja. Preplet tragike in komike v Dragojevi}evem prepoznavnem, simbolike polnem vizualnem slogu.

Three surreal stories about the impact of God's miracles on three characters living in different time periods. A tragicomedy in Dragojevi}'s signature, symbolistic visual style.

1993: Med begunci iz hrva{ke vojne živi Stojan, nesebi~en o~e in mož, ki se po ~uda{ki nesre~i zbudi s svetni{kim sijem nad glavo. Da bi se ga znebil, poslu{a ženin nasvet in se odlo~i gre{iti.

A sij nikakor no~e izginiti. 2001: Gojko je obsojen na smrt zaradi umora poslovneža in njegove žene. Verjame, da mu po mobilnem telefonu govori svetnik, sv. Petka. Ko bi moral stopiti pred strelski vod, v njegovi celici najdejo presene~enje. 2026: Gojko je slikar, ki boleha za shizofrenijo, Julija pa lastnica galerije sredi apokalipti~nega sveta. Ko ugotovijo, da ena izmed Gojkovih slik pote{i lakoto tistega, ki jo gleda, jo oblasti razglasijo za državno last.

The first segment is set in 1993 among refugees from the Croatian War. After a freak accident with a bulb, Stojan, a saintly, selfless man, wakes up with a halo. As a life-long communist, he wants none of it. After consulting with a TV priest, his wife forces him to sin. In the second chapter, set in 2001, the intellectually challenged Gojko is sentenced to death after killing a businessman and his wife. Gojko believes his saint, St Petka, is talking to him using mobile phones. When a prison warden arrives to take him to the firing squad, he finds a surprise instead of Gojko. In 2026, Julija is a gallery owner, and Gojko, now diagnosed with schizophrenia, is a painter. When it turns out that Gojko's art can sate hunger, the president proclaims it state property.

"Želel sem, da bi bil film kot sestavljanka in bi z razli~nimi metaforami zastavljal vpra{anja. Želel sem obravnavati religijo in posku{al tudi sam razumeti nekatere vidike ter se, na primer, spoprijeti s konceptoma boga ljubezni in boga ma{~evanja.

Zanimajo me tudi ~udeži in sku{njave. Živimo v ~asu, ki ima svoje zlato tele, izku{amo ga tudi v komercialni plati umetnosti. Seveda me kot filmskega režiserja zanima tudi vpra{anje, s kak{nim namenom ustvarjamo umetnost. Za denar, slavo in priznanje?"

(Srdjan Dragojevi})

"I wanted the film to be like a puzzle and to raise questions using different metaphors. I wanted to deal with religion and try to understand some aspects myself and to confront the concepts of a god of love and a god of revenge, for example. I am also interested in miracles and temptations. We live in an era that has its own golden calf, which we see also on the commercial side of art. And of course, as a film director, I'm also concerned with the question of what we do art for. For money, glory and recognition?"

(Srdjan Dragojevi})

Srdjan Dragojevi}

filmografija (izbor)/filmography (selection)

Rojen leta 1963 v Beogradu, Jugoslavija. Na tamkaj{nji univerzi je {tudiral klini~no psihologijo in filmsko režijo ter v letih od 2000 do 2004 predaval na beograjski filmski akademiji. Preden se je za~el resno ukvarjati s filmom, je bil priznan literat in avtor {tevilnih reklam.

1992 1996 1998 2005 2009

Born in Belgrade in 1963. He first trained as a clinical psychologist before taking up film studies at Belgrade University. Served as professor at Belgrade’s Film Academy between 2000 and 2004. He made several commercials and was a published poet before deciding to devote his energies to film.

re`ija/directed by Srdjan Dragojevi} scenarij/screenplay Srdjan Dragojevi} fotografija/cinematography Du{an Joksimovi} glasba/music Igor Perovi} monta`a/editing Petar Markovi} igrajo/cast Goran Navojec (Stojan), Ksenija Marinkovi} (Nada), Bojan Navojec (Gojko), Milo{ Timotijevi} (Petar), Milo{ Samolov (duhovnik/priest Anastasije), Nata{a Markovi} (Julija), Radoslav Milenkovi} (Smrda), Nikola Pejakovic (Beli mag), Danijela Mihajlovi} (Borka), Srdjan Todorovi} (profesor Mikrob), Ana Mandi} (Žirafa), Milo{ Timotijevi} (Petar), Andjelka Prpi} (Snežana), Deniz Abdula (mladi/young Monah), Dejan A~imovi} (Rajko) producenta/producers Srdjan Dragojevi}, Biljana Prvanovi} produkcija/production Delirium B. J. Jela~i}a 54 10290 Zapre{i}, Croatia E info�antitalent.hr & ma.ja.de Filmproduktions-GmbH & Sektor Film & Forum Ljubljana & Studio Dim & Montenegro Max Films & Novi Film format/format DCP, barvni/colour dol`ina/running time 120' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2021 (nagrada žirije mladih/ Junior Jury Award)

prodaja/world sales Pluto film Bayreuther Str. 9A D-10789 Berlin, Germany E info�plutofilm.de

Mi nismo an|eli (We Are Not Angels/Mi nismo angeli) Lepa sela lepo gore (Pretty Vilage, Pretty Flame/Lepe vasi lepo gorijo) Rane (Wounds/Rane) Mi nismo an|eli 2 (We Are Not Angels 2/Mi nismo angeli 2) Sveti Georgije ubiva azdahu (St. George Shoots the Dragon/ Sveti Jurij ubija zmaja) 2011 Parada (The Parade/Parada) 2014 Atomski zdesna (Holidays in the Sun/Atomski z desne) 2021 Nebesa (Heavens Above/Nebesa)

distribucija/distribution Forum Ljubljana Kersnikova 4 1000 Ljubljana E eva.rohrman�mail.ljudmila.org

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Nemirni Les intranquilles The Restless Belgija, Luksemburg, Francija Belgium, Luxembourg, France 2021

Joachim Lafosse re`ija/directed by Joachim Lafosse scenarij/screenplay Joachim Lafosse fotografija/cinematography Jean-François Hensgens glasba/music Antoine Bodson, Olafur Arnalds monta`a/editing Marie-Hélène Dozo igrajo/cast Leïla Bekhti (Leila), Damien Bonnard (Damien), Gabriel Merz Chammah (Amine), Jules Waringo (Jerome), Patrick Descamps (Patrick) producenti/producers Anton Iffland-Stettner, Eva Kuperman, Jani Thiltges, Alexandre Gavras, Antonino Lombardo produkcija/production Stenola Productions 9a rue des chartreux 1000 Bruxelles, Belgium E info�stenola.eu & Samsa Film & KG Productions & Prime Time format/format DCP, barvni/colour dol`ina/running time 118' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021

prodaja/world sales Luxbox 6 rue Jean-Pierre Timbaud 75011 Paris, France E info�luxboxfilms.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Drama o paru, ki raziskuje meje svojega razmerja, ko se ob soo~anju z bipolarno motnjo na preizku{nji znajdejo ljubezen, medsebojno sprejemanje in seveda upanje.

A film that explores the limits of romantic commitment, acceptance and lingering hope, The Restless portrays a couple struggling to make it work in the face of illness.

Damien, Leila in njun sin Amine preživljajo brezskrbne po~itni{ke dni na obali. A ko se Damien odpravi plavat in se po nekaj urah brez dodatnega pojasnila vrne, kot da se ni ni~ zgodilo, na družino leže temna senca. Damienove težave se stopnjujejo z nespe~nostjo in nenadnimi ~ustvenimi izbruhi, dokler zdravniki ne ugotovijo, da boleha za bipolarno motnjo. Po prihodu iz bolni{nice se vrne k svojemu delu, slikanju abstraktnih podob in restavriranju starega pohi{tva, Leila pa se znajde pred težko, na videz nemogo~o nalogo: živeti s ~lovekom, ki se kljub zdravilom izgublja v svoji nepredvidljivosti in je ob~asno le senca tistega, ki ga ljubi.

Damien, Leila and their son Amine are spending carefree holidays at the seaside. However much Leïla may love Damien, however much they might form a nucleus with their son Amine, the lives of this family of three are not an idyll. Because Damien's problems escalate with insomnia and sudden emotional outbursts until doctors diagnose him with a bipolar disorder. Returning from hospital, he resumes work, painting abstract pictures and restoring old furniture, while Leila faces a difficult, seemingly impossible task: living with a person who, despite his medication, is occasionally just a shadow of the man she loves.

"Scenarij so sprva navdihnile moje izku{nje z bipolarnim o~etom. Želel je biti fotograf in res se je s fotografijo nekaj ~asa ukvarjal, vendar v resnici ni izpolnil svojih sanj. Predal mi je veliko ob~udovanje predvsem portretnih umetnikov in že od za~etka sem razmi{ljal o delu Juliena Magra, v upanju, da najdem vsaj malo te izjemne preprostosti." (Joachim Lafosse)

"Initially, the script was inspired by my experiences with my bipolar father. He wanted to be a photographer and indeed was one for a while, but he didn't really fulfil his dream. He left me with a great admiration for portrait artists in particular, and right from the start, I was thinking of Julien Magre's work, hoping to find at least a little of that extraordinary simplicity."

(Joachim Lafosse)

Joachim Lafosse

filmografija (izbor)/filmography (selection)

Rojen leta 1975 v Uccleju, Belgija. [tudiral je na zasebni univerzi Institut des Arts de diffusion in se uveljavil kot pomemben predstavnik sodobne kinematografije. Njegovi filmi so bili predvajani in nagrajevani na {tevilnih mednarodnih festivalih.

2001 2004 2006 2006 2008 2012 2015 2016 2018 2021

Born in 1975 in Uccle, Belgium. Graduate of the Institut des Arts de Diffusion, Lafosse is an important figure in contemporary cinema. His awardwinning films have screened at major international festivals.

36

Tribu (kratki/short) Folie privée (Private Madness) Ça rend heureux Nue propriété (Private Property) Élève libre (Private Lessons) 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) Les intranquilles (The Restless/Nemirni)

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Nesre~ni fuk ali Nori porni~ Babardeala cu bucluc sau porno balamuc Bad Luck Banging or Loony Porn Radu Jude

Romunija, Luksemburg, ^e{ka, Hrva{ka Romania, Luxembourg, Czech Republic, Croatia 2021

Satira o spolnih {kandalih in dvoli~nih moralnih standardih na ravni najbolj{ih primerkov romunskega novega vala.

Zmagovalni film leto{njega Berlinala. Zaradi eksplicitnih prizorov spolnosti mladoletnim odsvetujemo ogled filma.

A satire on sex scandals and duplicitous moral standards on a par with the finest examples of Romania's New Wave cinema.

Golden Bear for Best Film at Berlinale 2021. Due to sexually explicit content the film is not suitable for minors.

Po spletu zaokroži video, v katerem imata zamaskirana mo{ki in ženska spolni odnos. Žensko v njem kmalu identificirajo in izkaže se, da gre za u~iteljico Emi, ki bi morala biti vsem za zgled.

Njen težko pridobljeni ugled se naenkrat sesuje kot hi{ica iz kart, a Emi se ne preda kar tako. Njen primer postane predmet žgo~e razprave, ki privle~e na plano vrsto pomembnih tem v postkomunisti~ni romunski družbi.

A video goes viral. It shows a man and a woman having sex while wearing masks. The woman is, nevertheless, identified. Too bad she is a teacher and supposed to be a role model. Forced to meet the parents demanding her dismissal, the schoolteacher Emi refuses to surrender. In a (post-socialist but ultimately any), society her case is about to get lost in a social network discourse of squeaky-clean attitudes, pseudo-political knowing-it-all and sanctimonious chauvinism. The debate turns into a tribunal that raises a series of issues affecting Romania’s post-communist society.

"Kaj je obsceno? Kaj nemoralno? Vajeni smo dejanj, ki so v nekem smislu veliko bolj obscena kot ta drobna �spolna�. ^e je družba tako prepolna obscenosti, potem se sprijaznimo: ta video ni ve~ obscen. To je bila moja zamisel, pokazati, da ena takoimenovana obscenost v pornografskem videu ni ni~ v primerjavi s tem, kar nas obdaja. Vendar temu ne posve~amo pozornosti. Filmska umetnost pa nam pomaga, da stvari bolje vidimo." (Radu Jude)

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2021 (zlati medved/Golden Bear), Moskva/Moscow 2021

"What is obscene? What is immoral? We are used to acts which are much obscener, in a way, than these small �sexual� acts. If society is so full of obscenity, then let’s face it: that video is not obscene anymore. This was my idea, to show that the one socalled obscenity in the porn video is nothing compared with what is around us. But we don't pay attention to it. And cinema can help us to see things better." (Radu Jude)

Radu Jude

filmografija (izbor)/filmography (selection)

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. Leta 2015 je v Berlinu za zgodovinsko dramo Bravo! prejel srebrnega medveda, 2021 pa za satiro Nesre~ni fuk ali Nori porni~ {e zlatega.

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 družini) 2015 Aferim! (Bravo!)

2016 Inmi cicatrizate (Scarred Hearts/Ranjena srca) 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) 2020 Uppercase Print 2020 Iesirea trenurilor din gara (The Exit of the Trains) (dok./doc.)

2021 Babardeala cu bucluc sau porno balamuc (Bad Luck Banging or Loony Porn/Nesre~ni fuk ali Nori porni~)

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. In 2015 his historical drama Bravo! won the Silver Bear Award, and the satire Bad Luck Banging or Loony Porn won the Golden Bear at the 2021 Berlinale.

re`ija/directed by Radu Jude scenarij/screenplay Radu Jude fotografija/cinematography Marius Panduru glasba/music Jura Ferina, Pavao Miholjevi} monta`a/editing Catalin Cristutiu igrajo/cast Katia Pascariu (Emilia), Claudia Ieremia (ravnateljica/headmistress), Olimpia Malai (ga./Mrs. Lucia), Nicodim Ungureanu (Gheorghescu), Alexandru Potocean (Marius Buzdrugovici), Andi Vasluianu (Otopeanu), Oana Maria Zaharia, Gabriel Spahiu, Florin Petrescu, Stefan Steel (Eugen), Alex Bogdan, Kristina Cepraga, Ana Ciontea, Ion Dichiseanu producentka/producer Ada Solomon produkcija/production microFilm Gramont Nr 23 A 040182 Bucharest, Romania E microfilm.romania�gmail.com & Paul Thiltges Distributions & endorfilm & Kinorama format/format DCP, barvni/colour dol`ina/running time 106'

prodaja/world sales Heretic Outreach 36, Alkmanos Street 11528 Athens, Greece E outreach�heretic.gr distribucija/distribution Fivia d.o.o.

Preložnikova 1 3212 Vojnik E cenex�siol.net

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Prasica, slab{alni izraz za žensko Prasica, slab{alni izraz za žensko Bitch, a Derogatory Term for a Woman Slovenija Slovenia 2021

Tijana Zinaji} re`ija/directed by Tijana Zinaji} scenarij/screenplay Iza Strehar fotografija/cinematography Milo{ Srdi} monta`a/editing Anže Verdel igrajo/cast Liza Marijina (Eva), Tosja Flaker Berce (Blaž), Anu{a Kodelja (Nina), Jure Henigman (Jakob), Lea Cok, Jernej Kogov{ek, Jožica Avbelj, Nika Rozman, [pela Rozin, Sebastijan Horvat, Davor Janji}, Matej Puc, Lovro Zafred, Nina Vali~, Ana Urbanc, Vesna Pernar~i~ producenta/producers Vlado Bulaji}, Lija Poga~nik produkcija/production December Gori{ka ulica 35 1000 Ljubljana, Slovenia E vlado�decemberfilm.si & RTV Slovenija & AAtalanta format/format DCP, barvni/colour dol`ina/running time 90'

prodaja/world sales December Gori{ka ulica 35 1000 Ljubljana, Slovenia E vlado�decemberfilm.si distribucija/distribution Fivia d.o.o.

Preložnikova 1 3212 Vojnik E cenex�siol.net

Celove~erni prvenec Tijane Zinaji} je subverzivna komi~na drama o dekletu, ki se v dolo~enem življenjskem obdobju zatakne in ne zna ve~ naprej.

Slovenian director Tijana Zinaji}'s debut feature, Bitch is a subversive comedy-drama about a period in your life when you get stuck and are at a loss to know how to move on.

Mlada slikarka Eva kadi, pije, se priložnostno drogira, žurira in ne najde navdiha za slikanje. Znajde se v ~udnem razmerju z mentorjem, najbolj{a prijateljica se seli v Berlin, za delo v knjigarni ne dobi pla~ila in povrh vsega ji že tri mesece izostaja menstruacija. Zave se, da mora spremeniti na~in življenja in se po pomo~ zate~e k spletnemu brskalniku ...

Eva is a young painter who smokes, drinks, occasionally takes drugs, parties and finds no creative inspiration. She has a strange love affair with her mentor, her best friend is moving to Berlin, her paycheck is three months overdue and, what's more, so is her period. Realizing she needs to change her lifestyle, she turns to a web browser for help.

"Kadar koli želim povedati, da ne~esa že dolgo nisem naredila, re~em, da tega nisem storila od leta 1991. Takrat se je porodil ta film. Protagonistka je ženska – neprilagojeno dekle, ki hlepi po enakih stvareh kot dobro prilagojene, le da ima druga~en pristop k spoprijemanju s svojimi željami. Kot režiserko me zanima ta neprilagojenost pa tudi kaj se zgodi, ko tak{ni ženski na prelomnici življenja, malo pred sedemindvajsetim rojstnim dnem, izostane menstruacija –, kako se z okoli{~inami spopade v svojem disfunkcionalnem slogu." (Tijana Zinaji})

"Whenever I want to express that it has been a long time since I have done something, I say that I have not done it since 1991.

That was when this film was born. The protagonist of the film is a woman – a maladjusted woman who longs for the very same things as well-adjusted ones, only that she has a different way of dealing with her desires. As a director, I am interested in this maladjustment as well as in what happens when such a woman loses her period at a turning point in her life, shortly before her 27th birthday – in how she deals with the situation in her dysfunctional way." (Tijana Zinaji})

Tijana Zinaji}

filmografija/filmography

Rojena leta 1973. Po {tudiju franco{~ine na Filozofski fakulteti je diplomirala na AGRFT, smer gledali{ka režija. Kot gledali{ka režiserka je za svoje delo prejela ugledne nagrade. Pri filmu se je do sedaj preizku{ala kot igralka in asistentka režije, Prasica, slab{alni izraz za žensko pa je po srednjemetražcu Zgodbe iz sekreta njen celove~erni igrani prvenec.

2014 Zgodbe iz sekreta (Toilet Stories) (srednjemetražni/mid-length) 2021 Prasica, slab{alni izraz za žensko (Bitch, a Derogatory Term for a Woman)

Born in 1973, Zinaji} studied French and philosophy at the Faculty of Arts in Ljubljana, but graduated in theatre direction from the Academy of Theatre, Radio, Film and Television. She works as a theatre director, film actress and assistant film director. For her work as a theatre director, she has received several Slovenian and international awards. After mid-length Toilet Stories, Bitch, a Derogatory Term for a Woman is her debut feature.

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Spencer Spencer Spencer VB, Nem~ija, ^ile GB, Germany, Chile 2021

Pablo Larraín

Priznani ~ilski režiser ponovno razkriva krhkost in mo~ ženske, ujete v primež javne podobe ter razpete med lastna ~ustva, formalne dolžnosti in pri~akovanja drugih.

Leto 1991. Zakon princese Diane in princa Charlesa že dolgo ne premore ve~ žara ljubezni. Kljub govoricam o morebitni lo~itvi se zdi, da bo kraljeva družina boži~ne praznike na posestvu Sandrigham preživela tako kot vedno – ob bogato obloženi mizi, obveznem lovu in tradicionalnem streljanju. Diana pozna to igro.

A to {e ne pomeni, da jo je pripravljena igrati tudi tokrat ...

"To je zgodba o princesi, ki je sklenila, da ne bo postala kraljica, temve~ sama zgradila lastno identiteto. Je na glavo obrnjena pravljica. Njena odlo~itev me je nadvse presenetila, in zdelo se mi je, da je morala biti zelo težka. To je osr~je filma. Želel sem raziskati Dianino ravnanje, ob nihanju med dvomom in odlo~enostjo, ko se je kon~no potegovala za svobodo. To je bila odlo~itev, ki je opredelila njeno zapu{~ino: zapu{~ino neprimerljive iskrenosti in ~love{kosti." (Pablo Larraín)

Acclaimed Chilean director once again delves into the fragility and the power of a woman caught between her public and private personas and the expectations placed on her by the people, as a mother, and as member of the royal family.

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2021

1991. The marriage of Princess Diana and Prince Charles has long since grown cold. Though rumours of affairs and a divorce abound, peace is ordained for the Christmas festivities at the Queen's Sandringham Estate. There's eating and drinking, shooting and hunting. Diana knows the game. But this year, things will be a whole lot different.

"This is the story of a princess who decided not to become a queen but chose to build her identity by herself. It's an upsidedown fairytale. I've always been very surprised by her decision and thought it must have been very hard. That is the heart of the movie. I wanted to explore Diana’s process, as she oscillates between doubt and determination, finally making a bid for freedom. It was a decision that would define her legacy: one of honesty and humanity that remains unparalleled." (Pablo Larraín)

Pablo Larraín

filmografija (izbor)/filmography (selection)

Rojen 1976 v Santiagu, ^ile. Po {tudiju filmske režije je ustanovil produkcijsko hi{o Fabula. Njegov tretji celove~erec Post Mortem je bil leta 2010 prikazan v glavnem programu bene{kega filmskega festivala, z Ne! pa se je dve leti pozneje potegoval za oskarja v kategoriji tujejezi~nih filmov.

Njegov film Jackie z Natalie Portman v glavni vlogi je bil leta 2017 nominiran za tri oskarje.

2006 2008 2010 2011 2012 2015 2016 2016 2019 2021

Born in 1976 in Santiago, Chile. After graduating in film direction, Larraín founded a production company, Fabula. Post Mortem, his third feature film, screened in the 2010 Cannes Film Festival's main selection, while No was nominated for a Best Foreign Language Film Academy Award. Jackie, starring Natalie Portman, was nominated for three Academy Awards in 2017.

re`ija/directed by Pablo Larraín scenarij/screenplay Steven Knight fotografija/cinematography Claire Mathon glasba/music Jonny Greenwood monta`a/editing Sebastián Sepúlveda igrajo/cast Kristen Stewart (Diana), Jack Farthing (Charles), Timothy Spall (Alistar Gregory), Sean Harris (Darren), Sally Hawkins (Maggie), Jack Nielen (William), Freddie Spry (Harry), Stella Gonet (kraljica/the queen) producenti/producers Juan de Dios Larraín, Jonas Dornbach, Paul Webster produkcija/production Fabula Holanda 3017 7770057 Santiago, Chile contacto�fabula.cl& & Komplizen Film & Shoebox Films format/format DCP, barvni/colour dol`ina/running time 111'

prodaja/world sales FilmNation Entertainment 150 W 22nd Street 9th Floor 10011 New York, USA info�filmnation.com

Fuga Tony Manero Post Mortem Prófugos (Fugitives) (TV-serija/TV series) No (Ne!) El Club (The Club/Klub) Neruda Jackie Ema Spencer

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

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

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Vojvoda The Duke The Duke VB GB 2020

Roger Michell re`ija/directed by Roger Michell scenarij/screenplay Richard Bean, Clive Coleman fotografija/cinematography Mike Eley glasba/music George Fenton monta`a/editing Kristina Hetherington igrajo/cast Jim Broadbent (Kempton Bunton), Helen Mirren (Dorothy Bunton), Fionn Whitehead (Jackie), Mathew Goode (Jeremy Hutchinson), Anna Maxwell Martin (ga./Ms. Gowling), Aimee Kelly (Irene Boslover), Craigh Conway (g./Mr. Walker), Simon Hubbard (policist/PC Myton), Jack Bandeira (Kenny Bunton), Heather Craney (Debbie) producent/producer Nicky Bentham produkcija/production Ingenious Media 15 Golden Square W1F 9JG London, UK E enquiries�ingeniousmedia.co.uk & Neon Films & Pathé Pictures format/format DCP, barvni/colour dol`ina/running time 96' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2020

prodaja/world sales Pathé Pictures International Kent House, 14–17 W1W 8AR London, UK E internationalsales�pathe-uk.com distribucija/distribution Fivia d.o.o.

Preložnikova 1 3212 Vojnik E cenex�siol.net

Zabavna, na resni~ne dogodke oprta zgodba o preprostem ~loveku, ki je s plemenitim namenom prekr{il zakon in postal legenda.

Based on true events, The Duke is an amusing story about a good man who breaks the law for a noble cause only to become a living legend.

Leta 1961 je {estdesetletni taksist Kempton Bunton iz Narodne galerije v Londonu ukradel znameniti Goyev portret vojvode Wellingtona. V zameno za vrnitev slike je zahteval nenavadno odkupnino – britanska vlada naj nameni ve~ pozornosti (in denarja) oskrbi ostarelih. To drzno dejanje je dodobra razburkalo britansko politiko in bilo deležno velikega medijskega odziva, Bunton pa je ob svojem poskusu re{evanja sveta uspel re{iti tudi svoj propadajo~i zakon.

In 1961, Kempton Bunton, a 60-year-old taxi driver, stole Goya's portrait of the Duke of Wellington from the National Gallery in London. He sent ransom notes saying that he would return the painting on condition that the government invested more in care for the elderly. What happened next became the stuff of legend.

This bold act stirred up British politics and received massive media coverage. An uplifting story about a man who set out to change the world and managed to save his marriage.

"O~itno je, kaj je privla~nost filma – ima poseben ton, ki precej spominja na komedijo studia Ealing (niz komi~nih filmov londonske produkcijske hi{e Ealing Studios iz petdesetih in {estdesetih let, op. prev.). Zaznamuje ga velika živahnost. Ne jemlje se preve~ resno, vendar ni komedija, ~e me razumete.

Govori o malem ~loveku, ki neverjetno ganljivo mó~ nagovori z resnico." (Roger Michell)

"It's self-evident what's attractive about the film – it has this particular tone which is rather like an Ealing comedy. It's got huge exuberance to it. It doesn't take itself too seriously but it's not a comedy, if you see what I mean. It's about a little man speaking truth to power in a wonderfully moving way." (Roger Michell)

Roger Michell

filmografija (izbor)/filmography (selection)

Rojen leta 1956 v Pretoriji, Južnoafri{ka republika. Kot sin diplomata je odra{~al v Libanonu, Siriji in na ^e{kem, danes živi v Angliji. Že med {olanjem v Bristolu in pozneje {tudijem na Univerzu v Cambridgeu je kot scenarist in režiser ustvarjal kratke gledali{ke igre, nato pa se je v priznanih gledali{kih hi{ah kalil kot gledali{ki režiser. Danes je uveljavljen filmski in televizijski režiser ter prejemnik treh nagrad BAFTA.

1995 1998 1999 2002 2003 2004 2006 2010 2012 2013 2017 2019 2020

Born in 1956 in Pretoria, South Africa. The son of a diplomat, he grew up in Lebanon, Syria and the Czech Republic, and is currently based in England.

While a student in Bristol and later at the University of Cambridge, he wrote and directed short theatre plays and then gained experience as a theatre director for renowned playhouses. Recipient of three BAFTA awards, Michell has since established himself as a major film and TV director.

40

Persuasion Titanic Town (Glas za mir) Notting Hill Changing Lanes (Nevarna smer) The Mother Enduring Love Venus Morning Glory (Jutranje veselje) Hyde Park on Hudson (Hyde Park na reki Hudson) Le Week-End My Cousin Rachel Blackbird The Duke (Vojvoda)

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Vse je bilo v redu Tout s'est bien passé Everything Went Fine François Ozon

Francija, Belgija France, Belgium 2021

François Ozon v ospredje filma postavi najtežjo pro{njo, ki jo lahko o~e naslovi na svojo h~erko: naj mu pomaga umreti.

François Ozon's film focuses on the hardest thing a father can ask from his daughter: to help him die.

Emmanuèlin o~e André pri petinosemdesetih letih doživi kap, po kateri ostane paraliziran po desni strani telesa. Ko se v bolni{nici soo~a z invalidnostjo, svojo h~erko prosi, naj mu pomaga kon~ati življenje. Emmanuèle je venomer imela zapleten odnos s svojim o~etom, kar je pustilo posledice na njeni osebnosti.

A ker gre vendarle za njenega roditelja, ki ga ima {e vedno rada, za~ne raziskovati razpoložljive možnosti. Evtanazija je v Franciji prepovedana, zato se obrne na organizacijo Pravica do dostojne smrti. André zadnje življenjsko obdobje tako preživi med poslednjimi sladkimi trenutki drobnih užitkov in upanjem na konec trpljenja.

When André, 85, has a stroke, Emmanuèle hurries to her father's bedside. Sick and half-paralyzed in his hospital bed, he asks Emmanuèle to help him end his life. The stroke and his request bring up memories from Emmanuèle's childhood and her times spent with her father. But rather than a nostalgic look back at happier times, the few flashbacks that punctuate the film are all examples of cold parenting, foundational wounds which the now grown-up Emmanuèle is clearly still hurting from. But because she still loves him, Emmanuèle looks at all the options available.

André thus spends his final hours enjoying the last small pleasures and hoping for an end to his suffering.

"Zanimalo me je razmerje med o~etom in h~erko. Res se me je dotaknilo. Ob pripovedovanju zgodbe sem zaslutil, kako težka je bila za h~erka ta preizku{nja z o~etom. /.../ Mislim, da film ne izre~e naklonjenosti ali nasprotovanja evtanaziji kot tak{ni.

Menim, da prikaže zelo osebno zgodbo, v kateri se mora vsak posameznik spoprijeti s lastnimi vpra{anji o življenju in smrti. To me je zanimalo." (François Ozon)

"What interested me in the story was the relationship between the father and the daughter. This was what really touched me.

By telling this story I sensed to what extent it must have been difficult for this woman to go through this ordeal with her father. /.../ I don't think that the film is for or against euthanasia per se. I think it shows a very personal story where each individual has to cope with his or her own questions about life and death. That's what interested me." (François Ozon)

François Ozon

filmografija (izbor)/filmography (selection)

Rojen leta 1967 v Parizu. Po magisteriju iz filma na Univerzi v Parizu I se je vpisal na oddelek za režijo na znameniti La Fémis. Njegove kratke filme so gostili {tevilni mednarodni festivali, leta 1998 pa se je s celove~ernim prvencem Sitcom uvrstil na program canskega festivala. Redka kombinacija humorja, rahlo~utnosti in psihologije mu je kmalu prinesla mednarodno slavo ter ga uveljavila kot enega najdrznej{ih in najizvirnej{ih francoskih režiserjev.

2000 Gouttes d'eau sur pierres brûlantes (Water Drops on Burning Rocks/ Hladne kaplje na vro~e kamne) 2002 8 femmes (8 Women/8 žensk) 2003 Swimming Pool (Bazen) 2004 5 x 2 2009 Ricky 2010 Potiche (Gospodinja) 2012 Dans la maison (In the House/V hi{i) 2013 Jeune et Jolie (Young and Beautiful/Mlada in lepa) 2014 Une nouvelle amie (The New Girlfriend/Nova prijateljica) 2017 L'amant double (Double Lover/Dvojni ljubimec) 2019 Grâce à Dieu (By the Grace of God/Božja milost) 2020 Été 85 (Summer of 85/Poletje '85) 2021 Tout s'est bien passé (Everything Went Fine/Vse je bilo v redu)

Born in 1967 in Paris. After obtaining a master's degree in cinema from Paris I University, he studied directing at the famous French film school, La Fémis.

Many of his short films have been in competition at various international festivals. Sitcom, his first feature, was in competition at the 1998 Cannes Festival. The rare combination of humour, sensitivity and psychology has earned him international acclaim and established him as one of the most daring and original French directors.

re`ija/directed by François Ozon scenarij/screenplay Emmanuèle Bernheim (roman/ novel), François Ozon fotografija/cinematography Hichame Alaouie glasba/music Julien Roig monta`a/editing Laure Gardette igrajo/cast Sophie Marceau (Emmanuèle), Charlotte Rampling (Claude), Hanna Schygulla ([vicarka/Swiss lady), André Dussollier (André), Géraldine Pailhas (Pascale), Nathalie Richard (komisarka/commissaire), Grégory Gadebois (Gérard), Judith Magre (Simone), Éric Caravaca (Serge), Jacques Nolot (Robert), Daniel Mesguich (odvetnik/lawyer), Alexia Chicot (Noémie) producenta/producers Eric Altmayer, Nicolas Altmayer produkcija/production Mandarin Production 22 rue de Paradis 75010 Paris, France E mandarin�mandarin-bbf.com & FOZ & France 2 Cinéma & Playtime & Scope Pictures format/format DCP, barvni/colour dol`ina/running time 113' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021

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

Preložnikova 1 3212 Vojnik E cenex�siol.net

41

Predpremiere Avantpremieres

Vzporedni materi Madres paralelas Parallel Mothers [panija Spain 2021

Pedro Almodóvar re`ija/directed by Pedro Almodóvar scenarij/screenplay Pedro Almodóvar fotografija/cinematography José Luis Alcaine glasba/music Alberto Iglesias monta`a/editing Teresa Font igrajo/cast Penelope Cruz (Janis), Aitana Sánchez-Gijón (Teresa), Israel Elejalde (Arturo), Milena Smit (Ana), Rossy de Palma, Julieta Serrano, Daniela Santiago producenta/producers Agustín Almodóvar, Esther García produkcija/production El Deseo D.A Francisco Navacerrada 24 28028 Madrid, Spain E eldeseo�eldeseo.es & Remotamente Films format/format DCP, barvni/colour dol`ina/running time 120' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2021 (najbolj{a igralka/Best Actress)

prodaja/world sales FilmNation Entertainment 150 West 22nd St. 10011 New York, USA E info�filmnation.com distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

Nova Almodóvarjeva zgodba, v kateri raziskuje zapleteno naravo ženske ali matere ter se hkrati dotika zgodovinskih dogodkov, povezanih s {pansko državljansko vojno.

The latest offering from Almodóvar explores the complex nature of a woman and mother while touching on historical events associated with the Spanish Civil War.

Ženski v pri~akovanju poroda si delita bolni{ko sobo. Obe sta samski in obe sta zanosili po naklju~ju. Janis, fotografinja srednjih let, se nestrpno veseli otroka, odra{~ajo~a Ana, ki obžaluje zanositev, pa je prestra{ena in travmatizirana. [e posebej ker dvomi, da ji bo njena mama, ambiciozna igralka, pri tem pomembnem življenjskem dogodku v pomo~. Janis v želji, da bi jo opogumila, na~ne pogovor, in med bodo~ima mamicama se hitro splete tesna vez. Novo prijateljstvo usodno zaznamuje njuni življenji: Ani pomaga pri soo~anju z negotovo prihodnostjo, Janis pa pri predelovanju težavne družinske preteklosti.

Two women in labour, Janis and Ana, share a hospital room.

Both are single and got pregnant by accident. Janis, a middleaged photographer, doesn't regret it, and is exultant. The other, adolescent Ana, is scared, repentant, and traumatized. Especially as she doubts that her mother, an ambitious actress, will stand by her in this life-changing event. Janis tries to encourage her while they move like sleepwalkers along the hospital corridors.

The few words they exchange in these hours will create a close bond between the two: helping Ana to face an uncertain future, and Janis to come to terms with a troubled family past.

"Vzporedni materi govori o prednikih in potomcih, o resnici zgodovinske preteklosti in najintimnej{i resnici likov. S pomo~jo treh zelo razli~nih mater govori o identiteti in materinski strasti.

Poleg Janis in Ane je tu Anina mama, sebi~na ženska brez materinskega ~uta. Kot pripovedovalca me najbolj privla~ijo nepopolnosti teh mater, zelo druga~nih od tistih, ki so do sedaj nastopile v moji filmografiji." (Pedro Almodóvar)

"Parallel Mothers talks about ancestors and descendants, about the truth of the historical past and the most intimate truth of the characters. It talks about identity and maternal passion through three very different mothers. Along with Janis and Ana, there is Ana's mother, selfish and without any maternal instinct. It's the imperfections of these mothers, very different from those who have appeared in my filmography to date, that attract me most as a narrator." (Pedro Almodóvar)

Pedro Almodóvar

filmografija (izbor)/filmography (selection)

Rojen leta 1949 v Calzada de Calatrava, [panija. ^eprav si zaradi politi~nih razmer ni mogel pridobiti formalne filmske izobrazbe na državni filmski akademiji v Madridu, se je na {tiridesetletni uspe{ni poti uveljavil kot prodoren in kontroverzen predstavnik sodobne {panske kinematografije. Je mojster barvitih in ~utnih melodram z neverjetnim ob~utkom za upodabljanje slikovitih ženskih likov.

1987 La ley del deseo (Law of Desire/Zakon poželenja) 1988 Mujeres al borde de un ataque de nervios (Women on the Verge of a Nervous Breakdown/Ženske na robu živ~nega zloma) 1989 Átame! (Tie Me Up! Tie Me Down/Zveži me!)

1991 Tacones lejanos (High Heels/Visoke pete) 1999 Todo sobre mi madre (All About My Mother/Vse o moji materi) 2001 Hable con ella (Talk to Her/Govori z njo) 2003 La mala educación (Bad Education/Slaba vzgoja) 2006 Volver (Vrni se) 2009 Los abrazos rotos (Broken Embraces/Zlomljeni objemi) 2016 Julieta 2019 Dolor y gloria (Pain & Glory/Bole~ina in slava) 2021 Madres paralelas (Parallel Mothers/Vzporedni materi)

Born in 1949 in Calzada de Calatrava, Spain. Although political circumstances prevented him from obtaining a formal education at the Madrid Film School, he has established himself as an iconic and controversial auteur throughout the forty years of his career. A master of colourful and sensual melodramas, Almodóvar has great flair for depicting vibrant female characters.

42

Kralji in kraljice Kings and Queens

46 47 48 49 50 51 52 53 54 55 56

Ahedino koleno Ahed's Knee Nadav Lapid Chiara A Chiara Jonas Carpignano Francoska depe{a The French Dispatch Wes Anderson Francoz The Frenchman Andrej Smirnov Intregalde Intregalde Radu Muntean Luknja Il buco Michelangelo Frammartino O naklju~ju in domi{ljiji Wheel of Fortune and Fantasy Ryusuke Hamaguchi Pariz, 13. okro`je Paris, 13th District Jacques Audiard Pravi mo{ki I'm Your Man Maria Schrader Sladka stvar Sweet Thing Alexandre Rockwell Vorteks Vortex Gaspar Noé

43

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Kralji in kraljice Kings and Queens

Ahedino koleno Ha'berech Ahed's Knee Nadav Lapid

re`ija/directed by Nadav Lapid scenarij/screenplay Nadav Lapid fotografija/cinematography Shai Goldman monta`a/editing Nili Feller igrajo/cast Avshalom Pollak (Y), Nur Fibak (Yahalom) producentke/producers Osnat Handelsman-Keren, Talia Kleinhendler, Judith Lou Lévy, Eve Robin produkcija/production Les Films Du Bal 77 Rue du Faubourg Saint Denis 75010 Paris, France E info�lesfilmsdubal.com & Komplizen Film GmbH & Pie Films & Mandarin Production & Nord-Ouest Films & Les Films Velvet & Arte France Cinéma & ZDF/Arte & Decia Films & Srab Films format/format DCP, barvni/colour dol`ina/running time 109' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021 (nagrada `irije/Jury Prize)

prodaja/world sales Kinology 30, rue Moret 75011 Paris, France E gmelin�kinology.eu distribucija/distribution Fivia d.o.o.

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

Izrael, Francija, Nem~ija Israel, France, Germany 2021

Izraelski re`iser Nadav Lapid je izjemen uspeh svojega filma Sinonimi nasledil s {e bolj neposrednim razmislekom o vlogi umetnikov v okupacijskih re`imih.

Israeli director Nadav Lapid follows up his immensely successful Synonyms with an even more direct contemplation on the role of artists in occupying regimes.

Y je izraelski filmski re`iser, ki se pripravlja na snemanje filma o Ahed Tamimi, palestinski aktivistki, ki je na obeh straneh meje zaslovela po protestih proti izraelski policiji. Re`iser vso razse`nost cenzure v dr`avi na lastni ko`i ob~uti {ele med potovanjem v mestece v pu{~avi Arava, kjer naj bi predstavil svoje delo. Med bivanjem ga vseskozi spremlja Yahalom, sicer njegova velika obo`evalka, ki pa opravlja tudi delo poro~evalke izraelskemu Ministrstvu za kulturo. Med re`iserjem in dekletom se razvije o~itna privla~nost, a njun odnos v ospredje vse bolj postavlja {e pomembnej{e vpra{anje o tem, kak{na je njuna vloga v sistemu, v katerem sta se zna{la na nasprotnih bregovih.

Y, an Israeli filmmaker, is furtively trying to cast a drama about Ahed Tamimi, the real-life Palestinian activist who became a household name on both sides of the border after protesting against Israeli police. But he doesn't quite understand the extent of the country's growing censorship problem until he travels to a small town in the Arava desert for a screening of his work and spends a day with his cheery young liaison. One of Y's biggest fans, Yahalom is a librarian who reports to the Minister of Culture.

There's palpable sexual tension between them, but the film director feels the need to confront his host, and himself, about their role in the system.

"^util sem, da je izraelska dr`ava zame postala nevzdr`na. Film Sinonimi je bil ozna~en kot zelo kriti~en do Izraela, vendar so ga ljudje zatem gledali bolj poglobljeno in ugotovili, da je tudi ljubezenska pesem Izraelu in protisloven. Popolnoma se strinjam.

S tem filmom sem se odlo~il, da protislovja ne bom ve~ dopustil. ^util sem potrebo po neposrednosti. Vendar me je ob ogledu filma {e vedno presunilo, kako se je moja intimnost do Izraela skrivaj prikradla vanj." (Nadav Lapid)

"I felt that the Israeli state had become unbearable for me.

Synonyms was presented as very critical towards Israel, but then people watched it more deeply and said it was also a love song for Israel, and that it was ambivalent. I totally agree. With this film, I decided I couldn't bear the ambivalence anymore. I felt a necessity to be frontal. However, when I watched this movie, I was still amazed that my intimacy towards Israel was sneaking in." (Nadav Lapid)

Nadav Lapid

filmografija (izbor)/filmography (selection)

Rojen leta 1975 v Tel Avivu. Po {tudiju filozofije in odslu`enem voja{kem roku se je preselil v Pariz, nato pa v Jeruzalemu diplomiral na filmski {oli Sam Spiegel. Za celove~erni prvenec Policeman si je prislu`il posebno nagrado `irije na festivalu v Locarnu. Danes je priznan re`iser, scenarist in ~lan `irij mednarodnih filmskih festivalov ter prejemnik najvi{jega francoskega naziva za kulturne dose`ke.

2003 2005 2006 2011 2013 2014 2015 2016

Born in Tel Aviv in 1975. After a degree in philosophy and military service, he moved to Paris before returning to Israel to graduate from the Sam Spiegel Film & Television School in Jerusalem. His debut feature film, Policeman, won the Special Jury Prize in Locarno. An acclaimed director and screenwriter, Lapid has served on international film festival juries and is recipient of the French honorary title Chevalier des Arts et des Lettres.

46

Proyect gvul (kratki dok./short doc.)

Kvish (Road) (kratki/short) Ha-chavera shell Emile (Emile's Girlfriend) (kratki/short) Policeman Footsteps in Jerusalem (dok./doc.)

Haganenet (The Kindergarten Teacher) Lama? (kratki/short) Myomano shell tzlam hatonot (The Diary of a Wedding Photographer) (kratki/short) 2019 Synonymes (Synonyms/Sinonimi) 2021 Ha'berech (Ahed's Knee/Ahedino koleno)

Kralji in kraljice Kings and Queens

Chiara A Chiara A Chiara Italija, Francija, [vedska, Danska Italy, France, Sweden, Denmark 2021

Jonas Carpignano

re`ija/directed by Jonas Carpignano scenarij/screenplay Jonas Carpignano fotografija/cinematography Tim Curtin glasba/music Dan Romer, Benh Zeitlin monta`a/editing Affonso Gonçalves igrajo/cast Swamy Rotolo (Chiara), Claudio Rotolo (Claudio), Grecia Rotolo (Giulia), Carmela Fumo (Carmela), Carmela Rotolo (Melo) producenti/producers Jon Coplon, Paolo Carpignano, Ryan Zacarias, Jonas Carpignano produkcija/production Stayblack Productions Lungotevere Testaccio 9 00153 Rome, Italy E stayblackprod�gmail.com format/format DCP, barvni/colour dol`ina/running time 121'

V o~arljive no~ne podobe ujeta zgodba najstnice, ki se je ob o~etovem izginotju prisiljena soo~iti z mra~nim podzemljem kalabrijske mafije in izbrati svojo `ivljenjsko pot.

V romski dru`ini Guerrasio vlada harmonija. Dru`inski ~lani se skupaj s prijatelji in sorodniki pripravljajo na praznovanje polnoletnosti najstarej{e h~erke. Sprva je vse, kot mora biti, vklju~no z brezskrbno tekmovalnostjo na plesi{~u med slavljenko in njeno mlaj{o sestro, petnajstletno Chiaro. A ko o~e z dru`bo bratrancev nenadoma izgine v ~rnem avtomobilu, Chiaro obide temna slutnja. Ker o~eta tudi naslednje jutro {e ni, se bistra najstnica odlo~i raziskati, kaj se dogaja, to pa jo popelje v temno podzemlje kalabrijske mafije in postavi pred pomembno odlo~itev.

"Mislim, da nisem oblatil romske skupnosti, ki jo ljubim z vsem srcem in {tejem za dru`ino. Pomembno je pokazati ~love{ko stran, se ozreti onkraj stereotipov. Posku{am se izogniti temu, da bi bil '~lovekoljub' za vsako ceno; izziv, ki sem si ga zadal in ga zastavljam tudi gledalcem, je bil pokazati njihovo pravo podobo in jih ljubiti nakljub vsemu. Raz{iriti ozave{~enost, da so ljudje kot mi, ~etudi kradejo." (Jonas Carpignano)

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021 (nagrada Europa Cinemas Label/Label Europa Cinemas Award), Zurich 2021

Told in captivating, nocturnal images, A Chiara recounts the story of a 15-year-old girl forced to confront the dark underbelly of the Calabrian mafia after her father's disappearance.

The Guerrasio family and friends gather to celebrate Claudio and Carmela's oldest daughter’s 18th birthday. There is a healthy rivalry between the birthday girl and her 15-year-old sister Chiara as they compete on the dancefloor. But when Chiara sees her father and her cousins leave the party abruptly in a black car, she becomes suspicious. When he is still not home the next morning, the bright teenager begins her own investigation. Her search takes her into the dark underworld of the Calabrian mafia where she faces a momentous decision.

"I don't think I've bad-mouthed the Roma community, whom I love with all my heart and consider as family. The important thing is to show the human side, looking beyond the stereotypes. I try to avoid being a 'do-gooder' at all costs; the challenge I set myself, and which I also set for the viewer, was to show what they really are, and love them in spite of everything, making people realise that they are people just like us, even if they steal."

(Jonas Carpignano)

Jonas Carpignano

filmografija (izbor)/filmography (selection)

Rojen v New Yorku leta 1984. Otro{tvo je pre`ivel med rojstnim mestom in Rimom, film je {tudiral na newyor{ki univerzi. V svojem opusu prete`no kratkih filmov, ki so osvojili {tevilna mednarodna priznanja, pogosto raziskuje problematiko svetovnih migracij in kesnofobije v Italiji, kjer trenutno `ivi in ustvarja kot re`iser in scenarist. Chiara je njegov tretji celove~erec.

2012 2014 2015 2017 2021

prodaja/world sales mk2 films 55 rue Traversière 75012 Paris, France E intlsales�mk2.com

A Chjàna (kratki/short) A Ciambra (kratki/short) Mediterranea (Sredozemlje) A Ciambra (V Ciambri) A Chiara (Chiara)

Born in 1984 in New York, spent his childhood between Rome and New York City, studied film at NYU. His award-winning cinematic output comprises mostly short films and often deals with world migration and xenophobia in Italy. He lives in Italy and works as a writer and director. A Chiara is his third feature film.

47

Kralji in kraljice Kings and Queens

Francoska depe{a The French Dispatch The French Dispatch ZDA, Nem~ija USA, Germany 2021

Wes Anderson re`ija/directed by Wes Anderson scenarij/screenplay Wes Anderson fotografija/cinematography Robert D. Yeoman glasba/music Alexandre Desplat monta`a/editing Andrew Weisblum igrajo/cast Benicio Del Toro (Moses Rosenthaler), Adrien Brody (Julian Cadazio), Tilda Swinton (J.K.L. Berensen), Léa Seydoux (Simone), Frances McDormand (Lucinda Krementz), Timothée Chalamet (Zeffirelli), Lyna Khoudri (Juliette), Jeffrey Wright (Roebuck Wright), Mathieu Amalric (komisar/the commissaire), Stephen Park (Nescaffier), Bill Murray (Arthur Howitzer Jr.), Owen Wilson (Herbsaint Sazerac), Christoph Waltz (Paul Duval), Jason Schwartzman (Hermès Jones), Anjelica Huston (pripovedovalka/narrator) producenti/producers Wes Anderson, Steven Rales, Jeremy Dawson produkcija/production Indian Paintbrush 1660 Euclid Street 90404 Santa Monica, USA E ba-asst�indianpaintbrush.com format/format DCP, barvni/colour dol`ina/running time 107' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021

prodaja/world sales Searchlight Pictures 10201 W. Pico Blvd., Bldg. 38 Los Angeles, CA 90035, USA

Kultni re`iser Wes Anderson se v najnovej{em celove~ercu z vrhunsko igralsko zasedbo prikloni novinarskemu poklicu in francoski kinematografiji.

Iconic director Wes Anderson's latest star-studded feature film pays homage to the journalistic profession and French cinema.

V zbirki filmskih vinjet za`ivijo tri reporta`e, ki naj bi iz{le v zadnji {tevilki Francoske depe{e, tedenske priloge izmi{ljenega ameri{kega ~asopisa, katere uredni{tvo ima sede` v slikovitem (a prav tako izmi{ljenem) francoskem mestecu Ennui-sur-Blasé.

Wes Anderson gledalca z duhovitimi namigi na razli~ne kulturne in dru`bene fenomene nedavno minulih ~asov ter s svojimi zna~ilno ekscentri~nimi re`ijskimi prijemi popelje v barviti svet novinarskih zgodb, ki nam nemalokdaj odstirajo najbolj neverjetne plati `ivljenja.

The magazine The French Dispatch has its editorial offices in the fictional French town of Ennui-sur-Blasé. Here, a cranky publisher and his even crankier authors commit the strangest stories to paper. Whether painting murderers, poisoned cornichons or stormy student revolutions – the writers of the French Dispatch take a very idiosyncratic look at the world in their articles. In his eccentric filmmaking style, playfully alluding to a series of cultural and social phenomena in recent history, Wes Anderson gives a vivid portrayal of the business of journalism.

"Ta film so pravzaprav tri stvari: zbirka kratkih zgodb, kar sem si `e od nekdaj `elel ustvariti; film, ki se navdihuje pri New Yorkerju in vrsti pisateljev, po katerih revija slovi; v minulih letih sem precej ~asa pre`ivel v Franciji, vedno sem si `elel posneti francoski film in film, ki bi bil povezan s francosko filmsko umetnostjo."

(Wes Anderson)

"This movie is actually three things: a collection of short stories, something I've always wanted to do; a movie inspired by The New Yorker and the kind of writer they're famous for publishing; and, I've spent a lot of time in France over the years and I've always wanted to do a French movie, and a movie that was related to French cinema." (Wes Anderson)

Wes Anderson

filmografija (izbor)/filmography (selection)

Rojen leta 1969 v Houstonu, Teksas. Zaradi edinstvenega sloga in od{tekanega humorja velja za enega najvplivnej{ih sodobnih ameri{kih re`iserjev. Njegovi najprepoznavnej{i celove~erni filmi so Veli~astni Tenenbaumi, Darjeeling Limited, Kraljestvo vzhajajo~e lune in Grand Budapest Hotel.

1996 1998 2001 2004 2007 2009 2012 2014 2018 2021

Born in 1969 in Houston, Texas. Known for his idiosyncratic style and offbeat humour, Anderson is considered one of America's most influential contemporary directors. His films include The Royal Tenenbaums, The Darjeeling Limited, Moonrise Kingdom, and The Grand Budapest Hotel.

48

Bottle Rocket Rushmore The Royal Tenenbaums (Veli~astni Tenenbaumi) The Life Aquatic with Steve Zissou (@ivljenje pod vodo) The Darjeeling Limited (Darjeeling Limited) Fantastic Mr. Fox (^udoviti lisjak) Moonrise Kingdom (Kraljestvo vzhajajo~e lune) The Grand Budapest Hotel (Grand Budapest Hotel) Isle of Dogs (Otok psov) The French Dispatch (Francoska depe{a)

Kralji in kraljice Kings and Queens

Francoz Francuz The Frenchman Rusija Russia 2019

Andrej Smirnov

Pohajkovanje po moskovskih ulicah v petdesetih letih prej{njega stoletja skozi o~i francoskega {tudenta, ~igar obisk ima tudi prikrit politi~ni pridih ...

An exchange student roaming the streets of 1950s Moscow in search of his roots, the Frenchman's visit resonates with political undertones...

Francoski {tudent Pierre Duran leta 1957 prispe v Moskvo, da bi na tamkaj{nji dr`avni univerzi za~el pripravni{tvo. Tam spozna balerino Kiro Galkino in fotografa Valerija Uspenskega. Pierre za~ne po njuni zaslugi spoznavati kulturno `ivljenje sovjetske prestolnice in tako prvi~ za`ivi s polnimi plju~i. S Kiro se kmalu zaplete v ljubezensko razmerje. Vendar pa njegov {tudij in spoznavanje mesta nista edina namena njegovega prihoda. Tu namre~ i{~e tudi svojega o~eta, oficirja Tati{~eva, ki so ga aretirali v tridesetih letih, v ~asu Stalinovih ~istk.

In 1957 French student Pierre Durand comes to Moscow to do an internship at Moscow State University. Here he meets ballerina Kira Galkina and photographer Valery Uspenskiy.

Together, they discover Moscow's cultural delights – not just the traditional offering, but the underground one as well. During his year in Russia’s capital Pierre leads an entirely different life. However, the internship and the experience of the Soviet people’s way of life are not the only things Pierre is after. He is searching for his father, White officer Tatishchev, who was arrested in the 1930s.

"Ob Francozu, zgodbi o dogodiv{~inah francoskega {tudenta na izmenjavi v Moskvi poznih petdesetih let prej{njega stoletja, se silovito zavemo izrednega filmskega uma in duha Smirnova: diskretnega, izobra`enega, dobrodu{nega, politi~no prodornega, a nikoli dogmati~nega – tipa javnega intelektualca, ki ga danes najverjetneje potrebujemo bolj kot kdaj koli. Ogled tega filma je kot zrenje izgubljenega sveta, v ve~ vidikih." (Filmski festival v Rotterdamu)

"A Frenchman, the story of a French exchange student's adventures in late 1950s Moscow, makes us painfully aware what a formidable cinematic mind and soul Smirnov has: discrete, educated, good-humoured, politically poignant while never dogmatic – the kind of public intellectual we perhaps need these days more than ever. Watching this film is like looking at a lost world, in more ways than one." (Rotterdam Film Festival)

Andrej Smirnov

filmografija (izbor)/filmography (selection)

Rojen 1941 v Moskvi. Leta 1962 je diplomiral na sloviti moskovski filmski {oli VGIK. Preboj je dosegel s filmom Beloruska postaja, s katerim je osvojil nagrado na festivalu v Karlovih Varih. Uveljavil se je tudi kot igralec – nastopil je v ve~ kot {tiridesetih filmih, za vloge pa je prejel ve~ nagrad. Leta 1979 je zaradi pritiskov sovjetske oblasti prenehal ustvarjati filme. K re`iji igranih filmov se je znova vrnil {ele 32 let pozneje.

1964 1966 1971 1974 1979 2006 2011 2019

Born in 1941 in Moscow. He graduated from the famous VGIK film school in 1962. He made his filmmaking breakthrough with Belorussky Station, one of Soviet cinema's finest films that won an award at the Karlovy Vary International Film Festival. As an actor, Smirnov won several festival awards and is credited in more than 40 films and television productions. Bowing to intense pressure from the Soviet authorities, he abandoned filmmaking in 1979. He returned to directing narrative films after a hiatus of 32 years.

re`ija/directed by Andrej Smirnov scenarij/screenplay Andrej Smirnov fotografija/cinematography Jurij [ajgardanov monta`a/editing Alla Urazbaeva igrajo/cast Anton Rival (Pierre Durand), Evgenija Obrazcova (Kira Galkina), Evgenij Tka~uk (Valerij Uspenski), Aleksandr Baluev (Tati{~ev), Natalija Tenjakova (Maria Obrezkova), Nina Drobi{eva (Olga Obrezkova), Roman Madjanov (^uhnovski), Mikhail Efremov (Valerijev o~e/Valery's father), Vera La{kova (Ana Fedorovna), Thomas Alden (Louis), Marina Barsukova (Jeanne), Jérémie Duvall (JeanMarie) producenta/producers Andrej Smirnov, Elena Smirnova produkcija/production Marmot Film Ulitsa Krasina, 7 Moscow 123056, Russia E info�todorovsky-company.ru format/format DCP, ~b in barvni/b&w and colour dol`ina/running time 128' festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2020

prodaja/world sales All Media Company Malaya Gruzinskaya 3 Floor 9 Moscow 123242, Russia E larisa�allmediacompany.ru

Pjad zemli (A Span of Land) [uto~ka (The Small Joke) (TV) Belorusski vokzal (Belorussky Station/Beloruska postaja) Osen (Autumn) Veroj i pravdoj (By Faith and Truth) Svoboda po russki (dok./doc.) @ila-bila odna baba (Once Upon a Time There Lived a Simple Woman) Francuz (The Frenchman/Francoz)

49

Kralji in kraljice Kings and Queens

Intregalde Întregalde Intregalde Romunija Romania 2021

Radu Muntean re`ija/directed by Radu Muntean scenarij/screenplay Radu Muntean, Alexandru Baciu, Raazvan Radulescu fotografija/cinematography Tudor Vladimir Panduru monta`a/editing Andu Radu igrajo/cast Maria Popistasu (Maria), Ilona Brezoianu (Ilinca), Alex Bogdan (Dan), Luca Sabin (Kente), Toma Cuzin (Carjan), Gabor Bondi (Brebu), Radu Muntean (Radu), Carmen Lopazan (Cristina), Luca Elena (Mariuta), Luca Maria (Ina), Vlad Oancea (Biciu), Victor Neagoe (Matei), Aloman Florean (Voicu) producent/producer Dragos Vilcu produkcija/production Multimedia Est Str. Intr. Temisana Nr 5 7400 Bucharest, Romania E dragos.vilcu�mme.ro format/format DCP, barvni/colour dol`ina/running time 104'

Osrednji predstavnik romunskega novega vala Radu Muntean se v svojem novem celove~ercu spra{uje, kje so meje dobrodelnosti.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes – [tirinajst dni re`iserjev/ Directors' Fortnight 2021, Toronto 2021

Maria, Dan in Ilinca se ob koncu leta odpravijo na vsakoletni humanitarni izlet. S skupino sodelavcev se v dragih {portnih terenskih vozilih po blatnih gorskih cestah prebijajo do zakotnih vasi, kjer doma~ine obdarijo z vre~ami dobrot. Na poti naletijo na starca, ki jih prosi, naj ga odpeljejo do bli`nje `age. Avtomobil obti~i v blatu, zato je trojica dobrodelne`ev primorana pre`iveti no~ z naklju~nim sopotnikom, ta izku{nja pa korenito spremeni njihovo dojemanje empatije in dobrodelnosti.

"Kak{ne so meje empatije, ko razmi{lja{ o te`avah drugih? Smo bolj sre~ni, ko smo dobrodelni, ali smo dobrodelni le, ko smo sre~ni? Je resni~ni altruizem priznan le takrat, ko ga spremlja dolo~ena `rtev dobrodelne`a?" (Radu Muntean)

prodaja/world sales Voodoo Films Intrarea Serdarului 5 011377 Bucharest, Romania E contact�voodoofilms.ro

Maria, Dan and Ilinca are on their regular end-of-the-year humanitarian trip organised together with a bunch of friends from work. They all drive in their big SUVs along mountain dirt roads to reach distant villages and offer their standard bags of goodies to the locals. On the way, they meet a lonely old man and agree to take him over to a sawmill where he supposedly works. But when their car gets stuck in a ditch in the woods, the sawmill proves to be abandoned, and they're forced to spend the night together with the senile old man, their ideas about empathy and helpfulness start to be challenged.

"What is the limit of empathy when you think about the problems of others? Are we happier when we do a good deed, or do we only do good deeds when we are happy? Is true altruism tested only when it comes with a certain sacrifice on the part of the one who performs the act itself?" (Radu Muntean)

Radu Muntean

filmografija/filmography

Rojen leta 1971 v Bukare{ti, Romunija. Leta 1994 je diplomiral na Akademiji za film in gledali{~e v Bukare{ti. Sprva je delal v ogla{evalski industriji in zre`iral ve~ kot {tiristo reklamnih spotov, potem pa se je hitro uveljavil tudi v filmski re`iji. Za svoje filme je prejel {tevilne nagrade na mednarodnih festivalih.

2005 2006 2008 2010 2011 2015 2018 2021

Born 1971 in Bucharest, Romania, Muntean graduated from the Theater and Film Academy in Bucharest in 1994. Initially making a name for himself in advertising, he directed over 400 commercials and went on to achieve distinction as a filmmaker. His award-winning films have screened at numerous international festivals.

50

In his new feature film, a leading figure of Romania's new wave Radu Muntean explores the limits of charity.

Furia (Rage) Hârtia va fi albastra (The Paper Will Be Blue/Papir bo pomodrel) Boogie Marti, dupa Craciun (Tuesday After Christmas/Torek po bo`i~u) Vorbitor (Visiting Room) (dok./doc.)

Un etaj mai jos (One Floor Below/Spodnje nadstropje) Alice T. Întregalde (Intregalde)

Kralji in kraljice Kings and Queens

Luknja Il buco Il buco Michelangelo Frammartino

V osupljivih filmskih podobah posneta pustolov{~ina mladih jamarjev, ki so leta 1961 odkrili in raziskali najglobljo jamo v Evropi, katere dno sega sedemsto metrov pod zemeljsko povr{ino. [estdeseta leta, gospodarski razcvet. Na severu Italije je zgrajena najvi{ja stavba v Evropi. Na drugem delu dr`ave jamarji na nedotaknjeni kalabrijski planoti raziskujejo eno najglobljih jam na svetu, do dna katere ni uspelo prodreti {e nikomur. Njihov podvig opazi le stari pastir s planote Pollino. Njegovo srce in du{a postaneta del tega drznega popotovanja mladih raziskovalcev v zemeljske globine, kjer ~as in prostor preprosto izgineta.

"Januarja 2007 me je `upan kalabrijske vasi, kjer sem snemal film [tirikrat, peljal na ogled Pollina. 'Videti morate ~ude`e teh gora!' je dejal. Pripeljal me je do kotanje, kjer je bila v tleh manj{a vrzel. Bil sem zbegan, razo~aran. Navdu{ni in ponosni `upan pa je v vrzel zalu~al velik kamen. Pogoltnila ga je tema. Dno je bilo tako globoko, da ni bilo ni~esar ne videti ne sli{ati. To izginotje, pomanjkanje odziva, me je navdalo z zelo mo~nimi ob~utji. Ta nenavadni kraj je ostal v meni, me leta pozneje klical nazaj, da ga prou~im in v tihi ~rnini brezna Bifurto zasnujem projekt."

(Michelangelo Frammartino)

Italija, Francija, Nem~ija Italy, France, Germany 2021

A visual feast, this stunning cinematic journey depicts the 1961 discovery and exploration of the deepest cave in Europe, 700 meters below the surface of the earth.

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2021

During the economic boom of the 1960s, Europe's highest building is being built in Italy's prosperous North. At the other end of the country, speleologists visit the untouched Calabrian plateau. There, the young conquerors explore one of the deepest caves in the world, the bottom of which has never been reached.

The intruders' venture goes unnoticed by the inhabitants of a neighbouring village, but not by the old shepherd of the Pollino plateau. His heart and soul soon intertwine with the group's journey, a journey into the unknown where time and space simply fade away.

"In January 2007, the mayor of the Calabrian village where I was filming Le quattro volte, took me on a tour of the Pollino. 'You must see the wonders of these mountains!', he said. He brought me to a sinkhole where a meagre cut in the ground could be seen. I was perplexed, disappointed. The mayor, on the other hand, enthusiastic and proud, threw a large stone into that void.

It got swallowed by darkness. The bottom was so deep that nothing could be seen nor heard. That disappearance, that lack of response, gave me a very strong emotion. That strange place stuck with me, calling me back to it years later, to question it and create a project within the silent blackness of the Bifurto Abyss."

(Michelangelo Frammartino)

Michelangelo Frammartino

filmografija (izbor)/filmography (selection)

Rojen leta 1968 v Milanu. Pou~uje filmsko re`ijo na univerzi v Bergamu, poznan pa je kot avtor {tevilnih kratkih filmov, interaktivnih in video instalacij.

Njegov celove~erec Il dono je bil premierno prikazan na festivalu v Locarnu, film [tirikrat pa v okviru sklopa [tirinajst dni re`iserjev festivala v Cannesu.

1995 1997 2001 2002 2003 2010 2013 2021

Born in 1968 in Milan, Frammartino has been teaching film directing at the Università degli Studi in Bergamo since 2005. He has made several shorts, interactive installations and video installations. His first feature, The Gift, premiered at Locarno Festival. Le quattro volte screened at the Directors’ Fortnight in Cannes.

re`ija/directed by Michelangelo Frammartino scenarij/screenplay Michelangelo Frammartino, Giovanna Giuliani fotografija/cinematography Renato Berta monta`a/editing Benedetto Atria igrajo/cast Paolo Cossi, Jacopo Elia, Denise Trombin, Nicola Lanza, Antonio Lanza, Leonardo Larocca, Claudia Candusso, Mila Costi, Carlos Jose Crespo producenti/producers Marco Serrecchia, Philippe Bober, Michelangelo Frammartino produkcija/production Doppio Nodo Double Bind Via Bartolomeo Centogatti 22 00176 Roma, Italia E info�doppionodoublebind.com & Rai Cinema & Essential Filmproduktion & Société Parisienne de Production format/format DCP, barvni/colour dol`ina/running time 93'

prodaja/world sales Coproduction Office 24, rue Lamartine 75009 Paris, France E sales�coproductionoffice.eu

Tracce (kratki/short) L'occhio e lo spirito (kratki/short) Scappa Valentina (kratki/short) Io non posso entrare (kratki/short) Il dono (The Gift) Le quattro volte ([tirikrat) Alberi (Trees) (kratki dok./doc. short) Il buco (Luknja)

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

51

Kralji in kraljice Kings and Queens

O naklju~ju in domi{ljiji Guzen to sozo Wheel of Fortune and Fantasy Japonska Japan 2021

Ryusuke Hamaguchi re`ija/directed by Ryusuke Hamaguchi scenarij/screenplay Ryusuke Hamaguchi fotografija/cinematography Yukiko Iioka monta`a/editing Ryusuke Hamaguchi igrajo/cast Kotone Furukawa (Meiko), Kiyohiko Shibukawa (Segawa), Katsuki Mori (Nao), Fusako Urabe (Moka), Aoba Kawai (Nana), Ayumu Nakajima (Kazuaki), Hyunri (Tsugumi), Shouma Kai (Sasaki) producent/producer Satoshi Takata produkcija/production Neopa Inc. 4F, Takara Bldg.

1-26-30 Higashi, Shibuya-ku 150-0011 Tokyo, Japan E wff�neopa.jp & Fictive LLC format/format DCP, barvni/colour dol`ina/running time 121'

Tri zgodbe o prav toliko zaljubljenih `enskah in seriji naklju~ij, ki protagonistke vodijo v zapletena osebna razmerja. Velika nagrada `irije na Berlinalu.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2021 (velika nagrada `irije/ Jury Grand Prix), Moskva/Moscow 2021, Hongkong/Hong Kong 2021

Ryusuke Hamaguchi je film zasnoval kot venec treh kratkih zgodb, ki v svoji sugestivni povezanosti spominjajo na tridelno glasbeno kompozicijo. V prvi zgodbi spremljamo Meiko, ki je pretresena, ko ugotovi, da je mo{ki, za katerega se zanima njena prijateljica, v resnici njen biv{i. V drugi zgodbi Sasaki iz ma{~evanja na~rtuje potegav{~ino proti svojemu profesorju in v ta namen izkoristi svojo ljubimko Nao. V tretji zgodbi pa Natsuko sre~a `ensko, ki ju povezujejo skupni spomini iz preteklosti, kar vodi v priznanje skritih ~ustev, ki jih obe nosita v sebi. Tri prigode nas opomnijo, da so naklju~ja ravno tako pomemben del na{ega `ivljenja kot zavestne odlo~itve, ki jih na svoji `ivljenjski poti sprejmemo.

prodaja/world sales m-appeal Prinzessinnenstr. 16 10969 Berlin, Germany E films�m-appeal.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Ryusuke Hamaguchi's film weaves a pattern of three short stories whose evocative intertextuality resembles a musical composition in three movements. Meiko is startled when she realizes that the man whom her best friend starts to have feelings for, is her ex; Sasaki plots to trick his college professor out of revenge, using his class-friend-with-benefits Nao, while Natsuko encounters a woman who seems to be someone from her past, leading the two to confess the feelings they have harboured in their hearts – stories about the complexities of relationships, told through coincidences that happen in the lives of women in love.

"Tri zgodbe so bile zasnovane kot prve v seriji sedmih na temo 'naklju~ja in domi{ljije'. Naklju~je me je vedno zanimalo.

Njegovo upodabljanje je metoda, ki posebnosti, redkosti ne utemeljuje v realnosti, temve~ jo obravnava kot bistvo sveta.

Ob ustvarjanju dela s tem naslovom sem spoznal, da zgodbo razpira na nepri~akovane na~ine. Naj vam bo presene~enje nad nepri~akovanostjo sveta v u`itek." (Ryusuke Hamaguchi)

"These three stories were conceived as the first three in a series of seven stories with the theme of 'coincidence and imagination'. Coincidence has always been a subject of interest to me. Depicting coincidence is a manner that regards rarity as the essence of the world, rather than being based on reality.

By creating a work with this title, I realized how it opens up the story in unexpected ways. Please enjoy being surprised by the unexpectedness of the world." (Ryusuke Hamaguchi)

Ryusuke Hamaguchi

filmografija (izbor)/filmography (selection)

Rojen leta 1978 v Kanagavi, Japonska. Po diplomi na Univerzi v Tokiu je sprva delal v komercialni filmski industriji, potem pa je za~el snemati dokumentarne in avtorske filme. Njegov film Happy Hour je leta 2015 osvojil nagrado za najbolj{o igralko na filmskem festivalu v Locarnu, film O naklju~ju in domi{ljiji pa leta 2021 veliko nagrado `irije na Berlinalu.

2007 2008 2010 2012 2012 2013 2013 2015 2018 2021

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, and Wheel of Fortune and Fantasy won the Grand Jury Prize at the 2021 Berlin International Film Festival.

52

Each of the film's three episodes revolves around a woman in love and a series of coincidences leading the protagonists to complex personal relationships. 2021 Berlin International Film Festival Grand Jury Prize.

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) Guzen to sozo (Wheel of Fortune and Fantasy/O naklju~ju in domi{ljiji)

Kralji in kraljice Kings and Queens

Pariz, 13. okro`je Les Olympiades, Paris 13e Paris, 13th District Jacques Audiard

Francija France 2021 re`ija/directed by Jacques Audiard scenarij/screenplay Jacques Audiard, Léa Mysius, Céline Sciamma, Adrian Tomine fotografija/cinematography Paul Guilhaume glasba/music Clément Ducol, Rone monta`a/editing Juliette Welfling igrajo/cast Lucie Zhang (Émilie Wong), Makita Samba (Camille Germain), Noémie Merlant (Nora Ligier), Jehnny Beth (Amber Sweet), Geneviève Doang (Karin), Lumina Wang (Sandra), Pol White (Camillin o~e/Camille's father), Camille Léon-Fucien (Eponine), Oceane Cairaty (Stéphanie), Anaïde Rozam (Leïla), Rong-Ying Yang (Emilijina mati/Emillie's mother) producenta/producers Valérie Schermann, Jacques Audiard produkcija/production Page 114 30 rue de Charonne 75011 Paris, France & France 2 Cinéma format/format DCP, ~b/b&w dol`ina/running time 105'

^rno-bela drama preplete zgodbe {tirih samskih milenijcev, Pari`anov razli~nih etni~nih korenin, ki skozi svoje navidez lahkotne, nezavezujo~e odnose razkrivajo kompleksnost in prhkost sodobnih dru`benih razmerij.

A black-and-white drama interweaving the stories of four single millennials, a group of Parisian multi-ethnic youngsters, whose seemingly fluid and almost interchangeable relationships mask real interpersonal handicaps.

Ko se Émile, naveli~ana svoje slu`be, odlo~i preseliti v prostorno babi~ino stanovanje in objavi oglas za sostanovalko, ne pri~akuje, da si ga bo delila z duhovitim in predanim u~iteljem angle{~ine, ki mu je sicer ime Camille, a ve~ kot o~itno ni `enska. Sostanovalca kaj kmalu postaneta ljubimca, njun odnos pa se zakomplicira, ko za~ne Émile posve~ati ve~ ~asa Nori, {tudentki prava, ki se na {tudentski zabavi izdaja za Amber Sweet, zvezdo `ge~kljivih spletnih klepetalnic. Noro so{olke namenoma ignorirajo in ustrahujejo, vse dokler ne najde nove zaveznice v pravi Amber, s katero se spoprijatelji v pla~ljivih video klepetih ...

When Émilie, a telemarketer as bored with her job as she is festivals, awards (selection) with her life, puts an ad out for a roommate to move into her Cannes 2021, Toronto 2021 grandmother's spacious apartment, she doesn't expect Camille, a witty, hardworking English teacher who is decidedly not a woman.

One thing leads to another, and Émilie and Camille start hooking up, but sex complicates the apartment dynamic irrevocably. Soon enough, Camille starts hooking up with Nora, a 33-year-old law student. Nora wears a blond wig to a student party only to be mistaken for a well-known cam girl named Amber Sweet. The ostracism and bullying by her classmates are almost too much to bear until Nora finds an unlikely supporter in the real Amber Sweet herself, whom she befriends over a series of paid video chats.

"Les Olympiades se imenujejo stanovanjske stolpnice v 13. okro`ju Pariza, glavnem filmskem prizori{~u – posnet je v nesentimentalni ~rno-beli tehniki, ki mesta nikoli ne naslika z lepo podobo v slogu novega vala. Audiardovo filmsko pisavo zaznamujeta izjemna fluidnost in vizualni naboj; iz igralske zasedbe izvabi zavzeto igro in ima poseben ob~utek za umetnost pripovedovanja." (Peter Bradshaw, The Guardian)

festivali, nagrade (izbor)/

"Les Olympiades is the name of the high-rise apartment blocks in the 13th arrondissement of Paris where the action is mostly located – and the film is shot in an unsentimental black-andwhite that never makes the city look beautiful in any nouvelle vague style. /.../ there is tremendous fluency and visual charge in Audiard's filmmaking; he gets strongly engaged performances from his cast, and his storytelling has gusto. " (Peter Bradshaw, The Guardian)

Jacques Audiard

filmografija (izbor)/filmography (selection)

Rojen leta 1952 v Parizu. Prihaja iz filmske dru`ine, njegov o~e je uveljavljen scenarist in re`iser Michel Audiard. Filmsko pot je za~el kot monta`er, jo nadaljeval kot scenarist, leta 1994 pa s svojim prvim filmom {e kot re`iser.

Za svoje filme je prejel vrsto doma~ih in mednarodnih nagrad, med njimi tudi cansko zlato palmo za film Dheepan in bene{kega srebrnega leva za re`ijo filma The Sisters Brothers.

1994 Regarde les hommes tomber (See How They Fall/Poglej, kako ljudje padajo) 1996 Un héros très discret (A Self-Made Hero/Diskretni junak) 2001 Sur mes lèvres (Read My Lips) 2005 De battre mon coeur s'est arrêté (The Beat That My Heart Skipped/ Ko je zastalo moje srce) 2009 Un prophète (A Prophet/Prerok) 2012 De rouille et d'os (Rust and Bone/Rja in kost) 2015 Dheepan 2018 The Sisters Brothers 2021 Les Olympiades, Paris 13e (Paris, 13th District/Pariz, 13. okro`je)

Born in 1952 in Paris into a family of filmmakers. His father is a renowned screenwriter and director Michel Audiard. He started out in the film industry as an editor and then began his career as a screenwriter. He has won a series of French and international awards, most notably the Golden Palm in Cannes for Dheepan and the Venice Film Festival's Silver Lion for Best Director for The Sisters Brothers.

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

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

53

Kralji in kraljice Kings and Queens

Pravi mo{ki Ich bin dein Mensch I'm Your Man Maria Schrader

re`ija/directed by Maria Schrader scenarij/screenplay Jan Schomburg, Maria Schrader fotografija/cinematography Benedict Neuenfels glasba/music Tobias Wagner monta`a/editing Hansjörg Weißbrich igrajo/cast Maren Eggert (Alma), Dan Stevens (Tom), Sandra Hüller (uslu`benka/ employee), Hans Löw (Julian), Wolfgang Hübsch (o~e/father Felser), Annika Meier (Cora), Falilou Seck (Dean Roger), Jürgen Tarrach (Dr. Stuber), Henriette Richter-Röhl (Steffi) producentka/producer Lisa Blumenberg produkcija/production Letterbox Filmproduktion Jenfelder Allee 80 22043 Hamburg, Germany E l.blumenberg�letterboxfilmproduktion.de format/format DCP, barvni/colour dol`ina/running time 105'

Tragikomi~na zgodba, ki raziskuje ~lovekovo dojemanje ljubezni in hrepenenja ter se poglobi v vpra{anje, kaj nas dela ljudi.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2021

Alma je znanstvenica, zaposlena v slovitem Pergamonskem muzeju v Berlinu. Da bi si zagotovila finan~na sredstva za svoje raziskave, privoli v sodelovanje pri nenavadnem eksperimentu.

Tri tedne bo morala sobivati s humanoidnim robotom, ki naj bi se v tem ~asu preobrazil v Alminega idealnega partnerja. Tako znanstvenica spozna Toma, ~ednega robota v ~love{ki podobi, ki je ustvarjen za to, da jo osre~i. Le kaj bi lahko {lo narobe?

"Ni nezanimivo, da v na{em filmu glavni `enski lik veliko te`je objektivizira svojega mo{kega robota, ga te`je vidi kot sredstvo za u`itek. V primerjavi z mo{kim, ki ga spozna pozneje v filmu; ta ima svojo robotko in protagonistki zaupa: 'Ugotoviti moram, kak{na je njena cena, da jo obdr`im.' Ne `elim posplo{evati, vendar se zdi, da so mo{ki bolj nagnjeni k obravnavanju `ensk kot objektov." (Maria Schrader)

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

54

A tragicomical meditation on what makes us human, I'm Your Man explores our perceptions of love and longing.

Alma is a scientist at the famous Pergamon Museum in Berlin.

In order to obtain research funds for her studies, she accepts an offer to participate in an extraordinary experiment. For three weeks, she is to live with a humanoid robot whose artificial intelligence has been designed to allow it to morph into that of her ideal life partner. Enter Tom, a machine in (handsome) human form, created to make her happy. What could possibly go wrong?

"It's not uninteresting that in our film, the female lead finds it a lot more difficult to objectify her male robot, to see him as a tool for her own pleasure. Compared to the man she meets later in the film, who has his own female robot and tells her, 'I've got to find out how much she costs, so I can keep her.' I don’t want to generalize, but it does seem that men are more accustomed to seeing women as objects." (Maria Schrader)

Maria Schrader

filmografija (izbor)/filmography (selection)

Rojena leta 1965 v Hannovru, Nem~ija. Filmsko pot je za~ela kot igralka. Za svoj re`ijski prvenec Liebesleben je leta 2007 na festivalu v Locarnu prejela nagrado ob~instva, za re`ijo priljubljene nem{ke serije Unorthodox pa je bila kot prva nem{ka re`iserka nagrajena z emmyjem.

2007 Liebesleben (Love Life) 2016 Vor der Morgenröte (Stefan Zweig: Farewell to Europe/Stefan Zweig: Slovo od Evrope) 2020 Unorthodox (TV serija/TV series) 2021 Ich bin dein Mensch (I'm Your Man/Pravi mo{ki)

Born in Hanover, Germany, in 1965, Schrader rose to international prominence as an actor in 1999. She made her directing debut in 2007 with Love Life, which won an Audience Award at the 2007 Locarno Festival. In 2020, she was the first German director to win an Emmy for her work on the series Unorthodox.

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

Nem~ija Germany 2021

Kralji in kraljice Kings and Queens

Sladka stvar Sweet Thing Sweet Thing ZDA USA 2020

Alexandre Rockwell

re`ija/directed by Alexandre Rockwell scenarij/screenplay Alexandre Rockwell fotografija/cinematography Lasse Tolbøll monta`a/editing Alan Wu igrajo/cast Lana Rockwell (Billie), Nico Rockwell (Nico), Jabari Watkins (Malik), Will Patton (Adam), Karyn Parsons (Eve), ML Josepher (Beaux) producenti/producers Kenan Baysal, Louis Anania, Haley Elizabeth Anderson produkcija/production Black Horse Productions New York, USA format/format DCP, ~b in barvni/b&w and colour dol`ina/running time 91'

V grenkosladki zgodbi o odra{~anju v te`avnih okoli{~inah, ki slavi odre{ilno mo~ pustolovskega duha in otro{ke domi{ljije, je re`iser glavne vloge zaupal svojima otrokoma in soprogi.

Najstnica Billie, ki prelepo poje in sta jo star{a poimenovala po slavni pevki Billie Holiday, in njen mlaj{i brat Nico dan za dnem nabirata odpadno `elezo. Njun o~e ves tako prislu`eni denar zapije, mama pa `ivi ob morju z novim ljubimcem. Z njo bi morala Billie in Nico pre`iveti brezskrbno poletje, a sta zaradi Beauxovega nasilnega obna{anja prisiljena pobegniti. Lahko pa bi tudi rekli, da se skupaj z novim prijateljem Malikom odpravita na pot, po kateri si drznejo stopati le samooklicani izob~enci in odpadniki.

"Je pri~evanje o otro{ki odpornosti. Otro{tvo glavnih likov odra`a resni~no lepoto, ker se takoj pod povr{jem skriva tudi tragedija.

Otroci se lahko znajdejo v stra{nih okoli{~inah, vendar skoraj vedno najdejo neko ~arobnost. To je del njihovega naravnega ~uta za pre`ivetje. Film se na to vpra{anje usmeri in ga nekaj ~asa obdr`i v gori{~u. Ne gre za jasno izoblikovano sporo~ilo, vendar se film poglobi v del vsakogar od nas, vseh od nas." (Karyn Parsons)

A tragicomic story about the challenges of growing up in difficult circumstances, Sweet Thing celebrates the redemptive power of adventurous spirit and children’s imagination. The main characters are played by the director's real-life children and wife.

With a beautiful singing voice and named after Billie Holiday who she daydreams about, teenager Billie and her younger brother Nico spend their days scrounging up scrap metal in New Bedford, Massachusetts. For Billie and Nico, life with their father is a rollercoaster ride of playfulness and unease. When he is in the grip of alcohol, tears flow and their apparently idyllic family life collapses.

Their mostly absent and irresponsible mother is not much help either. But their friendship with Malik, a boy of Billie's age, frees them from their shackles. Together they embark on a journey full of intense moments of freedom.

"It's a testament to childhood resilience. There's a real beauty to the characters' childhood, because it's also tragedy right underneath it. Children can be in horrific situations, but there's this magic that kids often find. It's part of their natural survival.

The film goes there and lives there for a while. Not that there's a message, but the film taps into a piece of us, all of us."

(Karyn Parsons)

Alexandre Rockwell

filmografija (izbor)/filmography (selection)

Rojen leta 1958 v Bostonu, ZDA. Zanimanje za umetnost mu je bilo polo`eno `e v zibelko, saj je bil njegov dedek ruski animator Aleksander Aleksejev, o~e igralec in filmski re`iser, mama pa slikarka. Film V godlji ga je proslavil kot enega najzanimivej{ih ustvarjalcev ameri{ke neodvisne filmske scene.

Trenutno `ivi v Los Angelesu in pou~uje re`ijo na newyor{ki univerzi.

1979 1989 1992 1994 1995 1998 2002 2010 2014 2019

Born (Boston, Massachusetts, 1956) into an artistic family, Rockwell's grandfather was the Russian animator Alexandre Alexeieff, his father an actor and filmmaker, and his mother a painter. In the Soup established his reputation as one of the most interesting filmmakers on America's independent film scene. Currently based in Los Angeles, he was appointed head of directing at the graduate film department of the NYU Tisch School of the Arts in 2017.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2020 (kristalni medved za najbolj{i film Generation Kplus/Crystal Bear For Best Film Generation Kplus), Tribeca 2020

prodaja/world sales Urban Distribution International 75020 Paris, France E sales�urbangroup.biz

Lenz Sons In the Soup (V godlji) Somebody to Love Four Rooms (epizoda/episode The Wrong Man) Louis & Frank 13 Moons Pete Small Is Dead Little Feet Sweet Thing (Sladka stvar)

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Kralji in kraljice Kings and Queens

Vorteks Vortex Vortex Gaspar Noé

Francija, Belgija, Monako France, Belgium, Monaco 2021

re`ija/directed by Gaspar Noé scenarij/screenplay Benoît Debie fotografija/cinematography Benoît Debie monta`a/editing Denis Bedlow igrajo/cast Dario Argento (o~e/father), Françoise Lebrun (mati/mother), Alex Lutz (sin/son) producenti/producers Edouard Weil, Vincent Maraval, Brahim Chioua produkcija/production Rectangle Production 26 rue Danielle Casanova 75002 Paris, France E contact�rectangleproductions. com & Wild Bunch International format/format DCP, barvni/colour dol`ina/running time 142' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2021, San Sebastian 2021

Povsem druga~en film kontroverznega Noéja je tragi~en prikaz staranja in po~asne izgube stika z resni~nostjo, ki se pred gledalcem razre{i z dokumentaristi~no distanco v dvodelni sliki.

A solemn, documentary-like depiction of an elderly couple muddling through the last stretch of their time on this planet.

Controversial director Gaspar Noé uses the simple formal strategy of a split screen to embody this end-of-life struggle.

Dnevi levi~arskega francosko-italijanskega para v Parizu so zdaj ve~inoma prazni in le {e bled spomin na ~as, ko sta bila zakonca na vrhuncu sposobnosti. On si monotonijo posku{a zapolniti s pisanjem knjige o odnosu filma do nezavednega.

Ona, neko~ uspe{na psihiatrinja, se ironi~no izgublja v stra{ljivi praznini demence in simptomih Alzheimerjeve bolezni. Njun sin dobronamerno zaprosi za premestitev v ustanovo, kjer bi imela na voljo vso potrebno skrb ...

The days of a left-wing Franco-Italian couple in Paris are now mostly empty and hopeless to such an extent that a dull moment might turn into the day's highlight as it offers a quick reminder of the 'glory' of days gone by. Initially, the male character is even able to crack on with a piece of work: an ambitious book about cinema's relation to the unconscious. The female character, a former psychiatrist, is touched by the dramatic irony of her mind’s succumbing to dementia. The couple's son, having their best interests at heart, makes a plea for them to move into an assisted-living facility.

"Zamislil sem si film z izjemno preprosto pripovedjo, z osebo v du{evnem razkroju ob spoprijemanju z izgubo jezikovne sposobnosti in njenim vnukom, ki te {e ni obvladal, kot dve skrajnosti kratke izku{nje ~love{kega `ivljenja." (Gaspar Noé)

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

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

Gaspar Noé

filmografija (izbor)/filmography (selection)

Rojen leta 1963 v Buenos Airesu, Argentina. Sin argentinskega intelektualca in umetnika Luisa Felipeja 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.

1991 1998 2002 2009 2015 2018 2021

Born in 1963 in Buenos Aires, Argentina. Son of Argentinian intellectual and artist Luis Felipe Noé. His family immigrated 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.

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"I imagined a film with an extremely simple narrative, with one person in a state of mental deterioration losing the use of language, and her grandson who has not yet mastered it, as two extremes of this brief experience that is human life."

(Gaspar Noé)

Carne (Meso) (kratki/short) Seul contre tous (I Stand Alone/Sam proti vsem) Irréversible (Irreversible/Nepovratno) Enter the Void (V praznino) Love (Ljubezen) Climax (Vrhunec) Vortex (Vorteks)

Panorama svetovnega filma Panorama of World Cinema

60 Amparo Amparo Simón Mesa Soto 61 Balon Balloon Pema Tseden 62 Belle: zmaj in pegasta princesa Belle: The Dragon and the Freckled Princes Mamoru Hosoda 63 Dekle in pajek The Girl and the Spider Ramon Zürcher 64 Hi{a spominov Memory House João Paulo Miranda Maria 65 Kelti Celts Milica Tomovi} 66 Kupe {t. 6 Compartment Number 6 Juho Kuosmanen 67 Nitram Nitram Justin Kurzel 68 Pobesneli bivol Jallikattu Lijo Jose Pellissery 69 [katla spominov Memory Box Joana Hadjithomas, Khalil Joreige 70 Velika svoboda Great Freedom Sebastian Meise 71 Labodji spev Swan Song Todd Stephens

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Amparo Amparo Amparo Kolumbija, [vedska, Nem~ija, Katar Colombia, Sweden, Germany, Qatar 2021

Simón Mesa Soto re`ija/directed by Simón Mesa Soto scenarij/screenplay Simón Mesa Soto fotografija/cinematography Juan Sarmiento G. glasba/music Benedikt Schiefer monta`a/editing Ricardo Saraiva igrajo/cast Sandra Melissa Torres, Luciana Gallego Álvarez, Diego Alejandro Tobon, John Jairo Montoya Mazo producenta/producers Juan Sarmiento G., Simón Mesa Soto produkcija/production Ocultimo Via Portuense 201 00149 Roma, Italy E ocultimo�gmail.com format/format DCP, barvni/colour dol`ina/running time 95' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021, San Sebastian 2021

Presunljiva zgodba matere samohranilke, ki se bori za svojega sina v svetu, kjer vladajo mo{ki, podkupljivost in nasilje.

Kolumbija, leta 1998. Amparo je mati samohranilka, ki se znajde pred te`kim izzivom: kako osvoboditi oziroma obvarovati svojega odra{~ajo~ega sina, vpoklicanega v vojsko in poslanega na vojno obmo~je. Zaveda se, da ~as v tej kruti tekmi za `ivljenje ni njen zaveznik, a materinska ljubezen je nepremagljiva. Morda tudi zato, ker njeno ime pomeni zato~i{~e, zavetje oziroma nekoga, ki {~iti.

"Ko sem se za~el ukvarjati s filmom Amparo, sem ugotovil, da ima moja mama pomembno vlogo v mojem pisanju. Bil sem najstnik; z materjo sva obiskala mened`erja, da bi mi kupila svobodo pred kolumbijsko vojsko. To je bilo v devetdesetih letih zelo obi~ajno; ~e nisi izpolnil voja{ke dol`nosti, te je vojska lahko kadarkoli ugrabila. Nadvse srhljivo je bilo hoditi po ulicah. V tem ~asu je bil Medellín eno najbolj nasilnih mest sveta: prekup~evanje z mamili je uni~ilo institucionalni red v dr`avi." (Simón Mesa Soto)

prodaja/world sales The Match Factory Domstraße 60 50668 Cologne, Germany E info�matchfactory.de

Colombia 1998, Amparo, a single parent, struggles to free her teenage son after he is drafted by the army and assigned to a war zone. She is thrown into a race against time, but a mother's love is invincible. Maybe it's also because her name means sanctuary, shelter or one who protects.

"When I started working on Amparo, I realised that my mother was an important figure in my writing. I was a teenager; my mother and I paid a visit to a manager to buy my freedom from the Colombian army. It was very common in the 90s; if you didn't fulfil your military duties, you could be kidnapped by the army at any time. It was very scary to walk the streets. At the time, Medellín was one of the most violent cities in the world: drug trafficking had destroyed institutional order in the country."

(Simón Mesa Soto)

Simón Mesa Soto

filmografija (izbor)/filmography (selection)

Rojen leta 1986 v mestu Medellìn, Kolumbija. Po {tudiju audiovizualnih komunikacij je pridobil magisterij iz filma v Londonu in z diplomskim kratkim filmom Leidi osvojil zlato palmo na cannskem festivalu leta 2014. Amparo je njegov celove~erni prvenec.

2004 2009 2016 2021

Born in 1986 in Medellìn (Columbia). After graduating in audio-visual communication, Mesa Soto obtained an MA in filmmaking from the London Film School. His graduation short film Leidi won the Palme d'Or at the 2014 Cannes Film Festival. Amparo is his debut feature-length film.

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A moving story about a single mother fighting for her son in a society ruled by men, corruption and violence.

Leidi (kratki/short) Los tiempos muertos (kratki/short) Madre (Mother) (kratki/short) Amparo

Panorama svetovnega filma Panorama of World Cinema

Balon Qi qiu Balloon Kitajska China 2019

Pema Tseden

re`ija/directed by Pema Tseden scenarij/screenplay Pema Tseden fotografija/cinematography Lu Songye glasba/music Peyman Yazdanian monta`a/editing Liao Ching-Sung, Jin Di igrata/cast Sonam Wangmo (Drolkar), Jinpa (Dargje/Dargye), Yangshik Tso (nuna/ the nun) producenta/producers Huang Xufeng, Jacky Pang produkcija/production Factory Gate Films 10 Jiuxianqiao Street, Chaoyang District 100015 – Beijing, China E liangplusying�gmail.com & Mani Stone Pictures format/format DCP, barvni/colour dol`ina/running time 102'

Komi~en pogled na zagate kitajske politike enega otroka v zgodbi, postavljen v odro~no tibetansko skupnost, kjer sobivata tradicija in sodobnost.

A drily comic approach to China's one-child policy. In this world, there is no chasm between modernity and tradition; rather, the two gently rub against each other.

Zgodnja osemdeseta leta. Dargje in Drolkar na {irnih tibetanskih planjavah `ivita umirjeno s tremi sinovi in dedkom. Nekega dne pa fanta najdeta kondoma svojih star{ev in ju napihneta kot balona.

Njuna navihana zamisel med va{~ani spro`i val ogor~enja, Dargje in Drolkar pa se znajdeta v zagati tudi iz ~isto prakti~nih razlogov: ostala sta brez kondomov. @e zdaj imata tri potomce, Kitajska pa je ravno pred kratkim uzakonila politiko enega otroka. A Dargje je pohoten kot njegovi ovni in treba bo najti kak{en drug na~in kontracepcije ...

The early 1980s. On the sweeping plains of Tibet, Dargye and Drolkar lead a quite life with their three sons. When their two boisterous youngest sons have blown up their parents' condoms like balloons this not only outrages the entire village in Tibet, but more practically: they have no more condoms. The shepherd couple already have three children, and as China has recently introduced its one-child policy, they can't have any more. But Dargye is as horny as one of his stud rams, so some form of contraception is essential.

"Balon raziskuje razmerje med resni~nostjo in du{o. Tibetanci verjamejo, da odmre samo meso, medtem ko du{a `ivi naprej.

S tr~enjem budisti~ne vere ob realnost sodobne dru`be je ~as za odlo~itve." (Pema Tseden)

"Balloon explores the relationship between reality and soul.

Tibetan people believe that only the flesh perishes while the soul lives on. When the Buddhist faith crashes with the reality of modern society, they now have a choice to make." (Pema Tseden)

Pema Tseden

filmografija (izbor)/filmography (selection)

Rojen leta 1969 v okro`ju Trika v Tibetu. Sprva je diplomiral iz tibetanskega jezika in literature ter nekaj let delal kot u~itelj in javni uslu`benec, nato pa se je kot prvi tibetanski {tudent vpisal {e na Pekin{ko filmsko akademijo. Deluje kot pisatelj in filmski ustvarjalec. Za svoje filme je prejel vrsto nagrad.

2005 2009 2011 2014 2015 2018 2019

Born in in 1969 in Qinghai, Tibet. He graduated in Tibetan language and literature and first worked as a primary school teacher and a civil servant.

Then he pursued studies at China's most prestigious film school, Beijing Film Academy, where he became the Academy's first-ever Tibetan student.

A writer and filmmaker, Pema Tseden's films have earned him a number of awards.

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2019, Amiens 2019 (najbolj{i scenarij/Best Screenplay), Cabourg 2019 (posebna omemba/ Special Mention), Chicago 2019 (najbolj{i scenarij/Best Screenplay), Hainan 2019 (najbolj{i film, najbolj{a igralka/Best Film, Best Actress), Tokio/Tokyo FILMeX 2019 (najbolj{i film/Best Film), Toronto 2019, Busan 2019

prodaja/world sales Rediance 2701, Block B, Star City International Tower Jiu Xian Qiao Rd., Chaoyang District 100020 – Beijing, China E info�rediancefilms.com

Lhing vjags kyi ma ni rdo vbum (The Silent Holy Stones) Xunzhao zhimei gengdeng (The Search) Khyi rgan (Old Dog) The Sacred Arrow Tharlo Zhuang si le yi zhi yang (Jinpa) Qiqiu (Balloon/Balon)

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Panorama svetovnega filma Panorama of World Cinema

Belle: zmaj in pegasta princesa Ryu to Sobakasu no Hime Belle: The Dragon and the Freckled Princes Mamoru Hosoda

re`ija/directed by Mamoru Hosoda scenarij/screenplay Mamoru Hosoda glasba/music Ludvig Forssell, Yuta Bando monta`a/editing Shigeru Nishiyama igrajo/cast Kaho Nakamura (Belle – Suzu), Takeru Satoh (bitje/the creature – Kei), Koji Yakusho (Suzujin o~e/ Suzu's father), Lilas Ikuta (Hiro), Ryo Narita (Shinobu), Shota Sometani (Kamishin), Tina Tamashiro (Luka), Toshiyuki Morikaw (Justin), Fuyumi Sakamoto (Okumoto), Kenjiro Tsuda (Jellinek), Mami Koyama (labod/ swan), Mamoru Miyano (Hitokawa Muitaro – Gutto koraemaru), Michiko Shimizu (Kita), Ryoko Moriyama (Yoshitani), Sachiyo Nakao (Hatanaka), Yoshimi Iwasaki (Nakai) producenti/producers Yuichiro Saito, Genki Kawamura, Nozomu Takahashi, Toshimi Tanio produkcija/production Studio Chizu Suginami-ku Tokyo, Japan format/format DCP, barvni/colour dol`ina/running time 121' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2021, Jeruzalem/Jerusalem 2021

Animirani film avtorja uspe{nice Mirai je sodobna reinterpretacija zgodbe o lepotici in zveri, pripoved o negotovi najstnici, ki postane virtualna glasbena senzacija in se s skrivnostnim bitjem poda na vznemirljivo potovanje.

A re-imagining of Beauty and the Beast, Belle is a story of the first, tentative steps out into the world of a self-conscious teenage girl who, through her musical avatar Belle, finally discovers her true self.

Sedemnajstletna Suzu z o~etom `ivi na japonskem pode`elju.

Neko~ je rada prepevala s pokojno mamo, odkar nje ni, pa ne zmore ve~ peti. Poleg tega sta se z o~etom oddaljila in Suzu se je zaprla pred svetom. Nekega dne pa vstopi v U, virtualni svet, kjer se sre~uje pet bilijonov uporabnikov. Tam ugotovi, da lahko skrita za svojim avatarjem spet poje in kot Belle kmalu postane velika virtualna zvezda. Potem pa se pred njo nenadoma pojavi skrivnostno bitje, podobno zmaju ...

Suzu is a 17-year-old high-school student who lives in the countryside with her father. She loved singing with her late mother more than anything else, but as a result of her death she is no longer able to sing. She and her father have grown increasingly distant from each other, and Suzu closed her heart to the rest of the world. Feeling that writing music is her only remaining purpose in life, Suzu discovers a huge online platform known as 'U', where she assumes a stage persona, Belle. When she's inside 'U' as her avatar, Belle, Suzu can sing quite naturally and quickly becomes a rising star. However, a mysterious dragon-shaped creature suddenly appears before her.

"V preteklosti sem raziskoval, kako so danes ljudje povezani bolj kot kdaj koli in neiz~rpno temo povezljivosti na spletu, za katero upam, da bo mlaj{i generaciji omogo~ila pozitivno in zabavno spremeniti svet na bolje. Vendar se tudi zelo zavedam s spletom povezanih te`av, kot so spletne zlorabe, socialna izklju~enost in la`ne novice. Vendar sem {e vedno prepri~an, da je lahko tudi koristno orodje za izbolj{anje `ivljenja vseh. Ker se splet nenehno razvija, sem si obljubil ustvariti film, ki bo pokazal njegove prednosti." (Mamoru Hosoda)

prodaja/world sales Charades 4 rue Manuel 75009 Paris, France E festivals�charades.eu

"In the past I have dealt with the way in which people have become more connected than ever before, as well as the infinite subject of connectivity via the internet, which I hope will enable the younger generation to change the world for the better in a positive and fun way. But I am also very conscious of the problems associated with the internet such as online abuse, social exclusion and fake news. However, I remain convinced that the internet can also be a useful tool, to improve the lives of all. As the internet is constantly evolving, I promised myself that I would make a film that would show its benefits." (Mamoru Hosoda)

Mamoru Hosoda

filmografija (izbor)/filmography (selection)

Rojen leta 1967 v Tojami na Japonskem. Diplomiral je na Kolid`u za umetnost v Kanazavi in se uveljavil kot avtor animiranih filmov. Leta 2011 je skupaj z Yuichirom Saitom ustanovil animacijski studio Studio Chizu. Na Japonskem so njegovi filmi velike uspe{nice, velik mednarodni preboj pa je do`ivel s filmom Mirai, ki je bil med drugim nominiran za oskarja za najbolj{i animirani film.

2000 Digimon: The Movie 2005 One piece: Omatsuri danshaku to himitsu no shima (One Piece: Baron Omatsuri and the Secret Island) 2006 Toki o kakeru shôjo (The Girl Who Leapt Through Time) 2009 Samâ uôzu (Summer Wars) 2012 Ôkami kodomo no Ame to Yuki (Wolf Children) 2015 Bakemono no ko (The Boy and the Beast) 2018 Mirai no mirai (Mirai) 2021 Ryu to Sobakasu no Hime (Belle: The Dragon and the Freckled Princess/Belle: zmaj in pegasta princesa)

Born in 1967 in Toyama, Japan. He graduated from the Kanazawa College of Art and established himself as an animation filmmaker. In 2011, Yuichiro Siato and Hosoda founded Studio Chizu. With Mirai, which was nominated for an Oscar in the Best Animated Film category, Hosoda gained international recognition.

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Japonska Japan 2021

Panorama svetovnega filma Panorama of World Cinema

Dekle in pajek Das Mädchen und die Spinne The Girl and the Spider Ramon Zürcher

[vica Switzerland 2021 re`ija/directed by Ramon Zürcher scenarij/screenplay Ramon Zürcher, Silvan Zürcher fotografija/cinematography Alexander Haßkerl monta`a/editing Ramon Zürcher, Katharina Bhend igrajo/cast Henriette Confurius (Mara), Liliane Amuat (Lisa), Ursina Lardi (Astrid), Flurin Giger (Jan), André M. Hennicke (Jurek), Ivan Georgiev (Markus), Dagna Litzenberger-Vinet (Kerstin) producenta/producers Adrian Blaser, Aline Schmid produkcija/production Beauvoir Films Rue des Deux-Ponts 12 CH-1205 Genève, Switzerland E info�beauvoirfilms.ch format/format DCP, barvni/colour dol`ina/running time 99'

Pripoved o skritem po`elenju in neizre~enih ~ustvih v tesnem objemu majhnega stanovanja. Na videz povsem banalna selitev odkrije skrito ljubosumje, zapeljevanje ter ob~utke zapu{~enosti in izdaje.

A tale of secret desire and unspoken emotions in the close intimacy of a small flat. A seemingly completely uneventful move exposes hidden feelings of jealousy, seduction, and a sense of abandonment and betrayal.

Ko se Lisa odlo~i, da bo najela svoje lastno stanovanje in se za~ne seliti, njena dotedanja sostanovalka Mara ne ve, kaj bi po~ela sama s sabo. Nesre~no tava iz ene sobe v drugo in opazuje dogajanje; namesto da bi pomagala, pa stvari v~asih {e ote`uje.

Pa sta bili res samo sostanovalki, res samo prijateljici? Herpes, ki ga ima najprej Mara, potem pa ga dobi {e Lisa, govori druga~e.

Seksualna napetost in nepojasnjene skrivnosti tudi v drugem filmu trilogije o ~love{ki bli`ini oblikujejo zna~ilni slog bratov Zürcher, ki je navdu{il festivalsko ob~instvo po vsem svetu.

When Lisa decides to rent her own apartment and starts moving house, her roommate Mara doesn't know what to do with herself. She wanders unhappily from one room to another and watches the move instead of helping, sometimes even getting in the way. Were the girls actually just roommates, just friends?

The cold sore, which Mara first develops, and then Lisa breaks out with, says otherwise. Done in the Zürcher brothers’ signature style, which has captivated festival audiences around the world, the second part of the filmmakers’ trilogy about human intimacy abounds in sexual tension and unexplained mysteries.

"Ob ogledu filmov najbolj ceniva njihovo nepredvidljivost.

V{e~ so nama liki, pa tudi zapleti, ki vodijo v sprva neslutene, presenetljive smeri. Kar zadeva dvoumnost, so mi na primer v{e~ liki, ki nimajo ene posebne zna~ajske poteze: lahko so prijazni do drugih, obenem pa imajo tudi po{astne ali krute strani. Najin slog nekako opredeljuje nadzor – na primer nadziranje gibanja likov ali razporejanja rekvizitov –, vendar obstaja tudi lepota v kaosu."

(Silvan Zürcher)

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2021 (nagrada za najbolj{o re`ijo in nagrada FIPRESCI v sklopu Sre~anja/Best Director Encounters Award, FIPRESCI Encounters Award), Molodist 2021

"What we enjoy when watching films is when they're not too predictable. We like characters but also plots that lead you to places that you don't foresee at the beginning, which surprise you. Talking about ambiguity, with me, for instance, what I like are characters that don't have one specific trait: they may be kind to others, but they could also incorporate monstrous or cruel sides. Our style, in a way, is determined by control – for instance, our controlled character movements, or the way the props are staged – but there’s also this beauty in chaos." (Silvan Zürcher)

Ramon, Silvan Zürcher

filmografija (izbor)/filmography (selection)

Dvoj~ka Ramon in Silvan Zürcher sta bila rojena leta 1982 v {vicarskem Aarbergu in se filmskega ustvarjanja lotevata skupaj. Dekle in pajek je njun drugi skupni projekt, ~etudi je kot re`iser podpisan Ramon, Silvan pa kot sore`iser in producent. Tudi njun prvenec Das merkwürdige Kätzchen je premiero do`ivel na Berlinalu, potem pa so ga prikazali {e v Torontu, Cannesu, na Viennalu in v New Yorku.

2013 Das merkwürdige Kätzchen (The Strange Little Cat) 2021 Das Mädchen und die Spinne (The Girl And The Spider/Dekle in pajek)

prodaja/world sales Cercamon World Sales 134 Al Hamoor Street Jumeirah 3 – PO Box 416 207 Dubai, United Arab Emirates E hello�cercamon.biz

Twins Ramon and Silvan Zürcher, a filmmaking duo, were born in 1982 in Aarberg, Switzerland. The Girl and the Spider is their second joint project, although Ramon is credited as director and Silvan as co-director and producer. Their debut feature, The Strange Little Cat, premiered at Berlinale, and screened in Toronto, Cannes, Vienna and New York.

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Panorama svetovnega filma Panorama of World Cinema

Hi{a spominov Casa de antiguidades Memory House João Paulo Miranda Maria

Brazilija, Francija Brazil, France 2020

re`ija/directed by João Paulo Miranda Maria scenarij/screenplay João Paulo Miranda Maria fotografija/cinematography Benjamín Echazarreta glasba/music Nicolas Becker monta`a/editing Benjamin Mirguet igrajo/cast Antônio Pitanga, Ana Flavia Cavalcanti, Sam Louwyck producentke/producers Paula Cosenza, Denise Gomez, Didar Domehri produkcija/production BeBossa (Brazil) & Maneki Films (France) format/format DCP, barvni/colour dol`ina/running time 93' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2020, San Sebastian 2020, Toronto 2020

Lik potomca brazilskih staroselcev kanalizira sedanjost in preteklost, realizem in spiritualnost v zlove{~ simbolni in politi~ni potop v brazilsko kolektivno nezavedno.

V sodelovanju:

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

Sodobna Brazilija, a izgubljena v ~asu. Cristovam, temnopolt staroselec z ruralnega severa, se preseli v mesto na jugu, v nenavadno avstrijsko kolonijo, kjer je dobil zaposlitev v mlekarni.

Obkro`en s konservativnimi, ksenofobnimi sova{~ani se ~uti izoliranega in odtujenega od sveta belcev. Nekega dne pa odkrije zapu{~eno hi{o, polno predmetov in spominkov, ki mu prikli~ejo spomine na njegovo preteklost. Vseli se v hi{o in se ponovno pove`e s svojimi koreninami. Zdi se, kot bi bila hi{a spominov `iva – svojemu prebivalcu ponuja vedno nove predmete. Cristovam po~asi stopa na pot preobrazbe.

Modern day Brazil, but lost in time. Cristovam, an indigenous man from the rural north, moves to a southern town, a strange sort of Austrian colony, to work in a milk factory. Confronted with xenophobic conservative people, he feels isolated and estranged from the white world. He discovers an abandoned house, filled with objects and memorabilia reminding him of his origins. He settles in, reconnecting with his roots. As if this memory house were alive, more objects start to appear. Slowly, Cristovam begins a metamorphosis.

"Film portretira revolucionarni lik severnjaka, ki utele{a duha 'boiadeira' (brazilskega kavboja). Cristovam kuje ma{~evanje v o~i{~enje svojih grehov, saj se ~uti odgovornega za nestrpno dru`bo. Skozi opu{~eno hi{o se pove`e s svojo daljno preteklostjo, bo`anstvom in `ivalmi ter se preobrazi tako v bika kot v kavboja. Opolnomo~en je za svoje poslednje, veliko dejanje."

(João Paulo Miranda Maria)

"The film portrays the revolutionary figure of the Northern man who incarnates the spirit of the 'Boiadeiro' (Brazilian cowboy).

Cristovam seeks revenge to exculpate his sins as he feels responsible for the intolerant society. Through the abandoned house, he connects with his remote past, to animals and his deity, and transforms into both a bull and a cowboy. He is empowered to make his final, great gesture." (João Paulo Miranda Maria)

João Paulo Miranda Maria

filmografija (izbor)/filmography (selection)

Rojen leta 1982 v Porto Felizu, São Paulo, Brazilija. Po {tudiju filma v Riu de Janeiru je ustanovil skupino Kino-Olho, ki si prizadeva v gibljive slike preliti zgodbe in folkloro brazilskega pode`elja. Hi{a spominov je njegov celove~erni prvenec.

2014 Ida do Diabo (kratki/hort) 2015 Command action (kratki/hort) 2016 A moça que dançou com o Diabo (The Girl Who Danced with the Devil) (kratki/hort) 2017 Meninas Formicida (kratki/hort) 2020 Casa de antiguidades (Memory House/Hi{a spominov)

Born in 1982 in Porto Feliz (Sao Paulo), an inland city of Brazil. After studying film in Rio de Janeiro, he launched Kino-Olho, a cinema group that aims to film stories and folklore from the Brazilian countryside. Memory House is his first feature film.

64

João Paulo Miranda Maria's first full-length film melds past and present, realism and fantasy, to offer a mesmerising symbolic and political immersion into the Brazilian collective subconscious.

Panorama svetovnega filma Panorama of World Cinema

Kelti Kelti Celts Srbija Serbia 2021

Milica Tomovi}

re`ija/directed by Milica Tomovi} scenarij/screenplay Tanja [ljivar, Milica Tomovi} fotografija/cinematography Dalibor Tonkovi} monta`a/editing Jelena Maksimovi} igrajo/cast Dubravka Kovjani} (mama/mother), Stefan Trifunovi} (o~e/father), Nikola Rako~evi} (stric/uncle), Slaven Doslo (Ne{a), Jovana Gavrilovi} (Tanja), Milica Gruji~i} (Anka), Olga Odanovi} (babica/grandmother), Nada [argin (Zaga), Jelena Djoki} (Ceca), Jovan Belobrkovi} (stric/uncle) producent/producer Vladimir Vasiljevi} produkcija/production EED Productions Vojvode Stepe 118 11000 Beograd, Serbia E vladimir�eed.rs format/format DCP, barvni/colour dol`ina/running time 106'

[tiriindvajset ur v dru`inskem stanovanju na robu Beograda, kjer osemletnica praznuje rojstni dan, njena dru`ina in vsa srbska dru`ba pa do`ivljata viharno obdobje nepovratnega razkola.

Leta 1993 je Srbija v vojni. Zaradi mednarodnih ukrepov in inflacije je `ivljenje te`ko, Marijana, mama osemletne Minje, kljub apati~nemu mo`u, te`avam najstni{ke h~ere pankerice ter svoji nesre~ni sestri in njeni te`avni nekdanji punci posku{a ohraniti pogum. Za mlaj{o h~er pripravi rojstnodnevno zabavo, pa ~eprav je v torti namesto masla margarina, v steklenicah kokakole cenej{a pija~a, dru`inski pes izposojen, kostumi pa narejeni doma. Pod vplivom alkohola na dan privrejo praznina v odnosih, prepiri na temo razpada Jugoslavije in frustracije, ki se spro{~ajo z drobnimi nasilnimi dejanji. Na kaoti~en dan in nemirno no~, ki mu sledi, potret dru`ine naslika mikrokozmos dru`be v negotovih ~asih.

festivali, nagrade (izbor)/ festivals, awards (selection) Sarajevo 2021 (najbolj{a re`ija/Best Director), Molodist 2021 (najbolj{i film/Best Film, nagrada FIPRESCI/ FIPRESCI Prize), Berlinale 2021, Jeruzalem/Jerusalem 2021, Bruselj/ Brussels 2021

An intimate and honest, 24-hour insight into the life of one Belgrade family in which political identities clash and entangled relationships cause conflicts.

Belgrade, 1993. Serbia is at war, people are suffering on account of sanctions and inflation, but everyone is doing what they can.

Mother Marijana is holding the family together. It is Minja's eighth birthday. Instead of a cocker spaniel of her own, there's the neighbour's three-legged dog to play with, and the cake has been made with margarine instead of butter. In the living room, she and her classmates romp happily while the adults congregate in the kitchen. There are heated discussions about who is to blame for the collapse of Yugoslavia, and they all agree that it doesn't take more than a bit of sperm to become a mother. A boozy evening of unrestrained smoking, flirting and drinking takes its course, the family portrait becoming a society in miniature.

"Scenarij sem razvila iz spominov na tak{ne rojstnodnevne zabave, malenkosti, ki oblikujejo razpolo`enje. Nostalgije za devetdesetimi leti. Liki so zasnovani po mojih star{ih in prijateljih.

V~asih ne more{ opredeliti, kaj je {lo narobe – ali je stvar v zakonski zvezi, pomanjkanju komunikacije ali v celotni dr`avi? @elela sem obravnavati lastno otro{tvo in odraslo `ivljenje obenem, ko jih za en dan ujamem v en dom." (Milica Tomovi})

"I developed the screenplay from my memories of these kinds of birthday parties, the details that shape the atmosphere. The nostalgia for the nineties. The characters are based on my parents and friends. Sometimes you can't tell what went wrong – is it the marriage, the lack of communication, or is it the whole country? The idea was to simultaneously deal with my childhood and with my adult life, by trapping them inside one house and one day." (Milica Tomovi})

Milica Tomovi}

filmografija (izbor)/filmography (selection)

Srbska re`iserka, rojena 1986. Leta 2011 je s kratkim filmom v omnibusu Oktobar diplomirala na Univerzi umetnosti v Beogradu. Njen drugi kratki film, Tranzicija, je bil premierno prikazan v Locarnu, nato pa je bil nagrajen za najbolj{i kratki film na beograjskem festivalu dokumentarnega filma in na tamkaj{njem festivalu kratkega filma, pa tudi za najbolj{i kratki film v Sarajevu. Kelti je njen celove~erni prvenec.

2021 Kelti (Celts/Kelti)

prodaja/world sales m-appeal Prinzessinnenstraße 16 10969 Berlin, Germany E films�m-appeal.com

Milica Tomovi} (1986) is a Serbian director. In 2011, she graduated from the Faculty of Dramatic Arts at the University of Arts in Belgrade with the anthology film Oktobar. Her second short film, Tranzicija, premiered in Locarno, and went on to screen at Belgrade’s documentary and short film festivals, where it won Best Short Film. It also won the Best Short Film Award in Sarajevo. Celts is her debut feature film.

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Panorama svetovnega filma Panorama of World Cinema

Kupe {t. 6 Hytti nro 6 Compartment Number 6 Juho Kuosmanen

re`ija/directed by Juho Kuosmanen scenarij/screenplay Andris Feldmanis, Livia Ulman fotografija/cinematography Jani-Petteri Passi monta`a/editing Jussi Rautaniemi igrajo/cast Jurij Borisov (Vadim), Seidi Haarla (Laura), Dinara Drukarova (Irina), Julija Aug (Natalia) producenti/producers Emilia Haukka, Jussi Rantamäki, Natalia Drozd, Riina Sildos, Jamila Wenske produkcija/production Aamu Filmcompany Hiihtomäentie 34 00800 Helsinki, Finland E info�aamufilmcompany.fi & CTB Film Company 10, Kamennoostrovsky prospekt St. Petersburg, 197101, Russia E kino�ctb.ru format/format DCP, barvni/colour dol`ina/running time 107' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021 (velika nagrada `irije/ Grand Prix), Jeruzalem/Jerusalem (najbolj{i tuji film/Best International Film)

Rusija, Finska, Estonija, Nem~ija Russia, Finland, Estonia, Germany 2021

Na potovanju do oddaljenega ruskega mesta v polarnem krogu se sre~ata finska {tudentka in ruski delavec. Med dolgo vo`njo z vlakom se med njima kljub razlikam splete nenavadna vez.

An encounter between a Finnish student and a Russian worker on their way to a remote Russian city in the Arctic Circle.

Although the two make odd bedfellows, an unusual bond forms between them during the long train ride.

Laura in Ljoha prihajata iz dveh razli~nih svetov: ne prihajata le iz razli~nih dr`av in govorita razli~na jezika, lo~ujejo ju tudi dru`beni razred, spol, svetovni nazor in {e marsikaj drugega. Laura, ki se je poslovila od svojega ruskega dekleta, se je na vlak za Murmansk usedla, da bi videla tamkaj{nje petroglife, Ljoha pa gre tja delat v rudnik in `e prvo no~ izprazni steklenico vodke. Na dolgi vo`nji skozi prostrano rusko pokrajino se za podobama, ki si ju sku{ata prikazati, za~nejo kazati razpoke in ranljivost, pa tudi predsodki, ki jih imata eden do drugega.

When we first meet the two passengers in compartment no. 6, they seem unlikely friends. They're divided by class, nationality, and language. Laura, a Finnish grad student, has just said goodbye to her Russian lover and boarded a train headed for Murmansk, a remote city in the Arctic Circle, to see the rock drawings. The loutish Ljoha, who polishes off a large bottle of vodka the first night of the trip, is reporting for work at the massive mine in the region.

As the journey drags on, though, cracks appear in the facades they present, and their vulnerabilities force them to recognize each other as far more complex than the fronts they present to the world — or what their own prejudices dictate.

"Mislim, da so bila izhodi{~a pokrajina, vlak, Rusija in ~love{ka vez med zelo razli~nima likoma. Navdu{en sem bil nad mo`nostjo snemati film na ruskih tleh; dr`avo sem ve~krat obiskal, mdr. sem se z vlakom odpeljal v Sankt Peterburg, Moskvo, celo v Ulan Bator. V{e~ mi je njena podoba, v{e~ so mi njeni ljudje, rad imam vlake, nadvse so mi pri srcu filmi na vlaku. Glede Murmanska sem imel ob~utek, da je zaradi mraza in bli`ine morja kraj, kjer ~lovek la`je diha. Film ni priredba istoimenske knjige, temve~ v njej najde navdih." (Juho Kuosmanen)

"I think the starting points were the scenery, the train, Russia and the human connection between these two very different characters. I was fascinated to be able to make a film on Russian soil; it's a country I’ve visited many times, also by train, to Saint Petersburg, to Moscow, and even to Ulaanbaatar. I like the way the country looks, I like the people, I like trains, and I really like train films. For Murmansk, I felt the coldness and the proximity to the sea make it a place where it’s easy to breathe. The film is inspired by the book Compartment No. 6, rather than being an adaptation."

(Juho Kuosmanen)

prodaja/world sales Totem Films 8 Impasse Druinot 75012 Paris, France E hello�totem-films.com

Juho Kuosmanen

filmografija (izbor)/filmography (selection)

Finski scenarist in re`iser, rojen leta 1979 v Kokkoli. Diplomiral je na Filmski {oli ELO v Helsinkih. Dejaven je v filmski, gledali{ki in operni umetnosti.

Njegovi celove~erni prvenec Najsre~nej{i dan Ollija Mäkija je prejel nagrado za najbolj{i film v sklopu Posebni pogled na festivalu v Cannesu.

2010 Taulukauppiaat (The Painting Sellers) (srednjemetra`ni/mid length) 2016 Hymyilevä mies (The Happiest Day in the Life of Olli Mäki/ Najsre~nej{i dan Ollija Mäkija) 2021 Hytti nro 6 (Compartment Number 6/Kupe {t. 6)

distribucija/distribution Continental film d.o.o.

Cvetkova ulica 1 1000 Ljubljana E video�continentalfilm.si

Finnish film director and screenwriter born in 1979 in Kokkola. Since graduating from ELO Film School in Helsinki, Kuosmanen has worked in cinema, theatre, and opera. His feature debut, The Happiest Day in the Life of Olli Mäki, won the Un Certain Regard Prize at the 2016 Cannes Film Festival.

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Panorama svetovnega filma Panorama of World Cinema

Nitram Nitram Nitram Avstralija Australia 2021

Justin Kurzel

re`ija/directed by Justin Kurzel scenarij/screenplay Shaun Grant fotografija/cinematography Germain McMicking monta`a/editing Nick Fenton igrajo/cast Caleb Landry Jones (Nitram), Essie Davis (Helen), Anthony LaPaglia (o~e/dad), Judy Davis (mama/ mother), Sean Keenan (Jamie) producenti/producers Nick Batzias, Shaun Grant, Justin Kurzel, Virginia Whitwell produkcija/production GoodThing Productions 42 Glasshouse Rd Collingwood VIC 3066, Australia format/format DCP, barvni/colour dol`ina/running time 112'

Kaj naredi mno`i~nega morilca? Film, posnet po resni~nih dogodkih, ki so vodili k enemu najhuj{ih pokolov v sodobni avstralski zgodovini, masakru v Port Arthurju leta 1996, v katerem je mo{ki 35 ljudi ubil in jih 23 ranil. Nagrada za najbolj{ega igralca v Cannesu.

What makes a mass murderer? The film is based on actual events that led to the worst massacre in modern Australia, the 1996 Port Arthur mass shooting in which 35 people were killed and 23 others were wounded. Best Actor Award at Cannes.

Nitram je vzdevek osamljenega in nesre~nega mladeni~a, ki se ne zna vklopiti v dru`bo in ne premore empatije. Vzdevek mu nadenejo vrstniki, ki se ga hkrati bojijo in se mu posmehujejo, kmalu pa izgubi {e svojo edino prijateljico. Njegova star{a sta od vzgoje napornega otroka `e nekoliko otopela in ne najdeta zadostne podpore ne v zdravstvu ne v dru`bi, ki dovoljuje kup~evanje z oro`jem.

Nitram is the nickname of a lonely and disturbed young man, a misfit with no empathy. His peers both fear and mock him. His parents are at a loss to understand their difficult offspring and find help in neither health services nor a society that allows for firearm purchase. He lives a life of frustration until he unexpectedly finds a close friend in a reclusive heiress. However, when that relationship meets a tragic end, Nitram begins a slow descent that leads to disaster.

"Ob~util in videl sem u~inek pokola v Port Arthurju na skupnost.

Ljudje te`ko govorijo o tem. Rana je tako globoka. Zgodbe ne bi mogel povedati, ~e bi poustvarili streljanje. Nenehno smo se spra{evali: 'Je to pravi na~in?', z védenjem, kako ob~utljiva je tematika. Obi~ajno bi v filmu, naravnanem zoper posedovanje strelnega oro`ja, zrli z vidika odvetnika v sodni dvorani. @elel sem gledalce za nekaj ~asa postaviti v ~evlje tega lika, da bi ob njegovem vstopu v trgovino z oro`jem pomislili: 'Da, zaradi tega potrebujemo nadzor nad strelnim oro`jem.'" (Justin Kurzel)

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021 (najbolj{i igralec/Best Actor), Cinefest Oz 2021, London 2021

"I have felt and seen the effect of the Port Arthur massacre on that community. It's very difficult for people to talk about. There is a wound that is so deep. I would never have been able to tell this story if we had been showing the shootings. We were interrogating each other all the time, going 'is this the right way to do it?' because we knew how sensitive it was. Typically, in an anti-gun film, you would see from the point of view of a lawyer standing in front of a courtroom. I wanted people to walk in the shoes of this person for a while so when he walks into the gun shop, you think 'yes, this is why we need gun control'."

(Justin Kurzel)

Justin Kurzel

filmografija (izbor)/filmography (selection)

Rojen leta 1974 v Gawlerju, Avstralija. Re`iser in scenarist, ki `e vse od za~etka poklicne poti v avstralski film vna{a bridke pripovedi s tema~no poetiko. Njegove filme, vklju~no s prvencem The Snowtown Murders, zaznamuje zna~ilen hladen, na trenutke grozljiv avtorski izraz. Klju~ni preobrat v njegovi karieri se je zgodil leta 2015 s filmom Macbeth, v katerem sta nastopila Michael Fassbender in Marion Cotillard.

2011 2015 2016 2019 2021

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

The Snowtown Murders Macbeth Assassin's Creed (Asasinov nazor) True History of the Kelly Gang Nitram

distribucija/distribution Karantanija Cinemas Ro`na dolina, Cesta 3/18 1000 Ljubljana E info�kcs.si

Born in Gawler, Australia, in 1974. A director and screenwriter whose darkly poetic, bitter narratives have featured prominently in Australian cinema since the beginning of his career. His works, including his debut film, The Snowtown Murders, are marked by a cold, occasionally uncanny filmmaking style. Macbeth, starring Michael Fassbender and Marion Cotillard, was a major breakthrough in his career.

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Panorama svetovnega filma Panorama of World Cinema

Pobesneli bivol Jallikattu Jallikattu Indija India 2019

Lijo Jose Pellissery re`ija/directed by Lijo Jose Pellissery scenarij/screenplay S. Hareesh, R. Jayakumar fotografija/cinematography Girish Gangadharan glasba/music Prashant Pillai monta`a/editing Deepu Joseph igrata/cast Anthony Varghese (Antony), Chemban Vinod Jose (Kaalan Varkey), Sabumon Abdusamad (Kuttachan), Santhy Balachandran (Sophie), Jaffar Idukki (Kuriachan) producent/producer Thomas Panicher produkcija/production Opus Penta Near Kinfra Hi-Tech Park Main Rd North Kalamassery 683503 Kerala, India E support�zerobulb.com & Chembosky Motion Pictures & Kasargod Aadmi Pictures & Lijo Jose Pellissery Movie House format/format DCP, barvni/colour dol`ina/running time 95' festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2020, Montreal 2019, Rotterdam 2020

prodaja/world sales Opus Penta Pictures Near Kinfra Hi-Tech Park Main Rd North Kalamassery 683503 Kerala, India E support�zerobulb.com

Drzni indijski re`iser Lijo Jose Pellisery ponuja eksplozivno zgodbo o pobeglem bivolu, ki v zakotni vasici povzro~i vsesplo{ni kaos in blaznost ekstati~nega nasilja.

A bold new voice in Indian cinema, Lijo Jose Pellissery paints a portrait of a remote village where an escaped buffalo causes a frenzy of ecstatic violence.

Kalan je mesar, ki prebivalce majhne indijske naselbine oskrbuje s sve`im mesom. A nekega dne rutinski zakol bivola povzro~i pravi preplah, saj `ival ponori in pobegne ter za~ne pusto{iti po vasi.

Ko se policijska intervencija in najeti lovec na `ivali ne izka`eta za najbolj u~inkovita, vzamejo va{~ani zadeve v svoje roke. Nedol`en lov na `ival se spremeni v krvavi obra~un pod vodstvom lokalcev, ki `elijo zme{njavo izrabiti za poravnavo starih ra~unov ...

Kalan is a buffalo butcher on whom the entire village relies for fresh meat. A regular ritual of buffalo slaughter goes haywire when the animal breaks loose and creates havoc across the village. The police are called in, and the villagers get sucked into catching the errant animal. Mob mentality soon prevails. The entire village is led by two adversaries with old scores to settle who take the matter into their own hands.

"Ne `elimo posredovati politi~nega sporo~ila ali politi~ne alegorije o dogajanju okoli nas. Film vidim kot ~love{ko zgodbo, zaplet z univerzalno temo. Ni~ nimam proti, ~e si ljudje iz videnega ustvarjajo dolo~ene predstave, vendar si jim ne prizadevam vsiljevati idej. /.../ @elim si samo ustvarjati filme. No~em se vpletati v razprave, ki mi ne bi dopu{~ale snemanja. Moje delo je ustvarjanje. Sporo~ila ni treba izpostaviti, poda{ tak{nega, ki se ponuja samo po sebi." (Lijo Jose Pellissery)

"We are not making a political statement or a political allegory about what is happening around us. I consider the film to be a human story, a plot that has a universal theme. If people get ideas from what they see, I don't mind, but it's not like I am trying to push the idea towards them. /.../ All I want to do is make films. I don't want to get involved in debates that don't allow me to make films. My job is to create. You don’t have to push out a statement, rather you make a statement that gets communicated on its own." (Lijo Jose Pellissery)

Lijo Jose Pellissery

filmografija (izbor)/filmography (selection)

Rojen leta 1979 v Chalakudyju, Indija. Kljub {tudiju poslovnih znanosti se je brez formalne filmske izobrazbe posvetil filmu ter se uveljavil kot re`iser, igralec in producent. Danes velja za enega najvplivnej{ih ustvarjalcev indijske kinematografije. Njegova dela zaznamujejo nelinearno pripovedovanje zgodb, estetiziranje nasilja in dolgi prizori.

2010 Nayakan 2011 City of God 2013 Amen 2015 Double Barrel 2017 Angamaly Diaries 2018 R.I.P 2019 Jallikattu (Jallikattu/Pobesneli bivol)

Born in 1979 in Chalakudy, India, Pellissery is a self-trained filmmaker, actor and producer who abandoned the bright future promised by an MBA degree.

He is widely considered to be one of the most important and influential filmmakers of Indian cinema. His films are characterized by nonlinear storylines, aestheticization of violence and very long takes.

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Panorama svetovnega filma Panorama of World Cinema

[katla spominov Memory Box Memory Box Libanon, Francija, Kanada, Katar Lebanon, France, Canada, Qatar 2021

Joana Hadjithomas, Khalil Joreige

Nenadejana po{iljka po ve~ letih znova odpre rane libanonske dr`avljanske vojne in obenem ponudi prilo`nost za njihovo dokon~no zacelitev.

Alex in njena mati Maia na bo`i~ni ve~er v Montrealu po po{ti prejmeta nenapovedano po{iljko. V njej najdeta ve~je {tevilo zvezkov, kaset in fotografij. Vse te zapiske in predmete je Maia kot najstnica iz Bejruta po{iljala svoji najbolj{i prijateljici, ki je pred vojno zbe`ala v Pariz. Maia nikakor ne `eli raziskati te Pandorine skrinjice, medtem ko Alex za~nejo zanimati pri~anja o neki neznani preteklosti. Pred njenimi o~mi se za~ne razkrivati burno obdobje maminega odra{~anja, za~injeno s prvo ljubeznijo in peklensko vojno. Z razkritjem teh skrivnosti Alex svojo mater prepri~a, da se po 25 letih znova vrne v Libanon in se tam soo~i z duhovi preteklosti.

An unexpected package reopens old wounds from Lebanon's civil war while creating an opportunity to finally heal them.

On Christmas Eve in Montreal, Alex and her mother Maia receive a package in the mail. Inside are the countless notebooks, cassettes and photographs that Maia, between the ages of 13 and 18, sent from Beirut to her best friend who had left for Paris to escape the war. Maia refuses to open this Pandora's box. Alex, on the other hand, is irresistibly attracted to these testimonies of an unknown past and discovers, between fantasy and reality, her mother's tumultuous adolescence, her first love and the murderous war bringing to the surface well-kept secrets. With these revelations, Alex will convince her mother to return to Lebanon, after 25 years of exile, to face the ghosts of her past.

"Film temelji na zapisih in posnetkih, ki sem jih po{iljala prijateljici, primorani zapustiti Bejrut. Ostala sem v domovini, {est let sva si vsak dan pisali. Potem sva izgubili stik. Ko sva se 25 let pozneje vnovi~ sre~ali, sva izmenjali te bele`nice. Lastno zgodovino vedno na novo napi{e{. Nekatere spomine obdr`i{, druge preprosto pozabi{. Toda ob branju teh dnevnikov ali poslu{anju svojega glasu si nisem mogla lagati. Gre tudi za na{e sanje – kaj smo storili z njimi? Kdo smo postali? To vpra{anje je lahko zelo ganljivo." (Joana Hadjithomas)

"This film is based on the notebooks and tapes I would send to my friend who had to leave Beirut. I stayed, and we wrote to each other every day for six years. Then we lost touch, and when we met again 25 years later, we exchanged these notebooks.

You always rewrite your own history. You keep some memories, while others you just forget. But I couldn't lie to myself when I was reading these diaries or listening to my own voice. It's also about your dreams – what have you done with them?

Who have you become? This question can be very moving."

(Joana Hadjithomas)

Joana Hadjithomas, Khalil Joreige

filmografija (izbor)/filmography (selection)

Oba rojena leta 1969 v Bejrutu (Libanon). Nista akademsko izobra`ena filmarja, a sta `e kot mlada avtorja v filmu in umetnosti na{la na~in za soo~anje s posledicami libanonske dr`avljanske vojne. Ustvarjata v razli~nih medijih, njuna dela pa se formalno in tematsko navezujejo med seboj. Njuni filmi so osvojili vrsto mednarodnih nagrad; leta 2017 sta prejela nagrado Marcela Duchampa.

1999 2000 2002 2003 2005 2007 2007 2008 2012 2016 2021

The two filmmakers were both born in Beirut, Lebanon, in 1969. They did not formally study art or cinema but were drawn to both in their youth as a way to respond to the aftermath of the Lebanese civil war. Their work in several media is thematically and formally interrelated. Their feature films have won awards at international festivals. In 2017, they received the Marcel Duchamp Prize.

re`ija/directed by Joana Hadjithomas, Khalil Joreige scenarij/screenplay Gaëlle Macé, Joana Hadjithomas, Khalil Joreige fotografija/cinematography Josée Deshaies glasba/music Radwan Ghazi Moumneh, Charbel Haber monta`a/editing Tina Baz igrajo/cast Rim Turki (Maia), Manal Issa (mlada/ young Maia), Paloma Vauthier (Alex), Clémence Sabbagh (Téta), Hassan Akil (Raja), Halim Abiad (mladi/young Halim), Michelle Bado (mlada/young Michelle), Rita Bado (Michelle), Patrick Chemali (Halim), Rea Gemayel, Reina Jabbour, Reem Khoury, Rabih Mroue (Raja) producenti/producers Carole Scotta, Georges Schoucair, Christian Eid, Barbara Letellier, Luc Déry, Kim McCraw, Jasmyrh Lemoine produkcija/production Haut et Court 38, rue des Martyrs 75009 Paris, France E production�hautetcourt.com & Abbout Productions & micro_scope & Abbout Production format/format DCP, barvni/colour dol`ina/running time 100' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2021, [anghaj/Shanghai 2021

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

Al Bayt al Zaher (Around the Pink House) Khiam (dok./doc.)

Al Film Al Mafkoud (The Lost Film) (dok./doc.)

Ramad (Ashes) (kratki/short) Yawmoun Akhar (A Perfect Day) Open the Door, Please (kratki/short) Enfances (omnibus) Je veux voir (I Want to See) The Lebanese Rocket Society (dok./doc.)

Ismyrne (dok./doc.)

Memory Box ([katla spominov)

distribucija/distribution Fivia d.o.o.

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

69

Panorama svetovnega filma Panorama of World Cinema

Velika svoboda Grosse Freiheit Great Freedom Avstrija, Nem~ija Austria, Germany 2021

Sebastian Meise re`ija/directed by Sebastian Meise scenarij/screenplay Sebastian Meise, Thomas Reider fotografija/cinematography Crystel Fournier glasba/music Nils Petter Molvaer, Peter Brötzmann monta`a/editing Joana Scrinzi igrata/cast Franz Rogowski (Hans), Georg Friedrich (Viktor), Anton von Lucke (Leo), Thomas Prenn (Oskar), Ulrich Faßnacht, Fabian Stumm producenti/producers Benny Drechsel, Sabine Moser, Oliver Neumann produkcija/production Rohfilm Productions GmbH Turmburggasse 2/5/2 1060 Vienna, Austria E welcome�freibeuterfilm.at & FreibeuterFilm GmbH (Germany) format/format DCP, barvni/colour dol`ina/running time 117' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021 (nagrada `irije Posebni pogled/Un Certain Regard Jury Prize), Sarajevo 2021 (najbolj{i film/ Best Film, najbolj{i igralec/Best Actor)

Zgodba iz povojne Nem~ije, ko so oblasti kljub padcu nacisti~nega re`ima {e naprej mno`i~no zapirale istospolno usmerjene.

A story from postwar Germany, a time when the authorities continued to imprison homosexuals despite the fall of the Nazi regime.

Hansa po drugi svetovni vojni vedno znova po{iljajo v zapor samo zaradi tega, ker je homoseksualec. Komajda pozna `ivljenje v zunanjem svetu in ta ustanova je edini prostor, kjer lahko razvije trajna razmerja. Prav tukaj Hans kon~no najde ljubezen, in sicer pri mo{kem, ki ne bi mogel biti bolj druga~en od njega – pri Viktorju, obsojenem morilcu. Odlok, s katerim so oblasti v Nem~iji zapirale homoseksualce, je bil v veljavi dolgih 123 let. V povojnem obdobju je samo v Zahodni Nem~iji pred sodnika z gro`njo ve~letne zaporne kazni stopilo ve~ kot sto tiso~ mo{kih.

In postwar Germany Hans is imprisoned again and again for being homosexual. Behind prison bars is the only place where he can seek love. The one steady relationship in his life becomes his long-time cell mate, Viktor, a convicted murderer. What starts as revulsion grows into something called love. For 123 years, Paragraph 175 criminalized homosexuals. Those convicted were sentenced to prison terms of up to ten years. During the postwar years 100,000 men were brought to trial in West Germany alone.

"Na{ protagonist Hans ponazarja {tevilne usode mo{kih, ki so vedno znova pristali v zaporu, katerih `ivljenje in razmerja so bila uni~ena ter katerih zgodbe so izginile v birokratskih arhivih.

Hansova pripoved temelji na njegovih zapornih kaznih. Zaporni{ki zidovi in re{etke postanejo ponavljajo~a se stalnica, ki preraste v neskon~no ~asovno zanko. Hans je, kar je, ne more opustiti svoje nravi. Vztrajati mora, ker je ljubezen bistvo ~love{ke narave.

Njegova bit je upor." (Sebastian Meise)

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

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

Sebastian Meise

filmografija (izbor)/filmography (selection)

Rojen leta 1976 v Kitzbühlu v Avstriji, re`ijo pa je {tudiral na dunajski filmski akademiji. @e s kratkimi filmi Prises de vues, Random in Dämonen se je uvrstil na ve~ evropskih filmskih festivalov. Njegova prva filma Tiho`itje in Outing sta se ukvarjala z vpra{anjem pedofilije. Je soustanovitelj produkcijskega podjetja FreibeuterFilm, v okviru katerega ustvarja svoje filme.

2003 2005 2006 2011 2011 2021

Born in 1976 in Kitzbühel, Austria, Meise studied directing at the Vienna Film Academy. His shorts, Prises de vues, Random and Dämonen, screened at several European film festivals. His first features, Still Life and Outing, dealt with the topic of paedophilia. He co-founded the Vienna-based FreibeuterFilm which produces his films.

70

"Our main character, Hans, exemplifies the many fates of men who ended up in prison over and over again, whose lives and relationships were destroyed, and whose stories disappeared in the files of bureaucracy. Hans' story is told based on his imprisonments. The walls and bars become a recurring constant that turns into a never-ending time loop. Hans can't stop being who he is. He needs to continue because love is the essence of human nature. His very existence is rebellion." (Sebastian Meise)

Prises de vues (kratki/short) Random (kratki/short) Dämonen (kratki/short) Stillleben (Still Life/Tiho`itje) Outing (dok./doc.)

Grosse Freiheit (Great Freedom/Velika svoboda)

Panorama svetovnega filma Panorama of World Cinema

Labodji spev Swan Song Swan Song ZDA USA 2021

Todd Stephens

Komi~no, grenko-sladko iskanje izgubljene `ivljenjske iskrice s sijajnim Udom Kierom v glavni vlogi.

Pat Pitsenbarger je bil neko~ eden najbolj{ih frizerjev v Ohiu, a zdaj so dnevi slave dale~ za njim. Nekega dne ga dose`e novica, da si je ena njegovih nekdanjih strank pred smrtjo za`elela, naj ji prav on posthumno uredi njeno zadnjo pri~esko. Pat se takoj odpravi na vznemirljivo pot, na kateri se mora soo~iti z duhovi lastne preteklosti, a tudi nakupiti vse potebne lepotilne izdelke za nenavadno nalogo. Tudi za slovitega frizerja je to {e zadnja velika zabava, preden svoje {karje dokon~no postavi v kot.

re`ija/directed by Todd Stephens scenarij/screenplay Todd Stephens fotografija/cinematography Jackson Warner Lewis glasba/music Chris Stephens monta`a/editing Spencer Schilly, Santiago Figueira W. igrajo/cast Udo Kier (Pat Pitsenbarger), Jennifer Coolidge (Dee Dee Dale), Linda Evans (Rita Parker Sloan), Michael Urie (Dustin), Roshon Thomas (Shaundell), Ira Hawkins (Eunice), Annie Kitral (Gertie), Tom Bloom (Shanrock), Eric Eisenbrey (David), Dave Sorboro (Josiah), Bryant Carroll (Lyle), Catherine L. Albers (Janie), Shanessa Sweeney (Ro Ro), Ray Perrin (Scottie) producenti/producers Eric Eisenbrey, Stephen Israel, Tim Kaltenecker, Todd Stephens produkcija/production Magnolia Pictures 49 West 27th Street, 7th Floor 10001 New York, USA E international�magpictures.com & Luna Pictures & House of Gemini format/format DCP, barvni/colour dol`ina/running time 105'

Starring the brilliant Udo Kier, Swan Song is a comical and bittersweet journey about rediscovering oneself and looking gorgeous while doing so.

Once one of Ohio's leading hairdressers, Pat Pitsenbarger's glory days seem long behind him. But when he gets word that a former client's dying wish was for Pat to style her final hairdo, he sets out on an epic journey across Sandusky to confront the ghosts of his past – and collect the beauty supplies necessary for the job. The spree includes one last escape from his rest home in a search for reconciliation, and one last great party.

"Labodji spev je ljubezensko pismo hitro izginjajo~i 'gejevski kulturi' Amerike. Ko danes bolj sprejemljivo postaja biti kvir, se nekdaj `ivahna skupnost hitro zliva s preostalo dru`bo. /.../ Posve~en je vsem pozabljenim zavzetim cvetli~arjem in frizerjem, ki so zgradili gejevsko skupnost in utrli pot pravicam, ki se jih {tevilni danes oklepamo. Predvsem mi pomeni film o spoznanju, da nikoli ni prepozno za novo `ivljenje." (Todd Stephens)

"Swan Song is a love letter to the rapidly disappearing 'gay culture' of America. As it has become more acceptable to be queer, what used to be a thriving community is rapidly melting back into society. /.../ Swan Song is dedicated to all the forgotten flaming florists and hairdressers who built the gay community and blazed the trail for the rights many of us cling to today. But, above all, for me this film is about learning that it's never too late to live again." (Todd Stephens)

Todd Stephens

filmografija (izbor)/filmography (selection)

Rojen v mestu Sandusky (Ohio, ZDA), kjer se dogaja ve~ina njegovih filmov.

Njegove zgodbe praviloma prikazujejo `ivljenje pripadnikov LGBT-skupnosti.

Uveljavil se je kot scenarist najstni{ke komedije Edge of Seventeen (1998).

Prvenec Gypsy 83 je posnel leta 2001, najbolj pa je znan po gejevski komediji [e en gejevski film, ki mu je sledilo nadaljevanje [e en gejevski del: Podivjani geji.

2001 Gypsy 83 2006 Another Gay Movie ([e en gejevski film) 2008 Another Gay Sequel: Gays Gone Wild! ([e en gejevski del: Podivjani geji) 2021 Swan Song (Labodji spev)

festivali, nagrade (izbor)/ festivals, awards (selection) South by Southwest 2021, New York LGBT Film Festival 2021 (nagrada ob~instva/Audience Award), Cleveland 2021, Helsinki 2021, Zürich 2021, Brisbane 2021

prodaja/world sales Magnolia Pictures 49 West 27th Street, 7th Floor New York, NY 10001, USA E international�magpictures.com

Born in Sandusky, Ohio, which has served as the setting for several of his films, many of which are gay-themed. He rose to prominence as the writer of a coming-out film, Edge of Seventeen. He made his first film, Gypsy 83, in 2001. He is best-known for Another Gay Movie, and the follow-up Another Gay Sequel: Gays Gone Wild!

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Ekstravaganca Extravaganza

75 Cenzorka Censor Prano Bailey-Bond 76 Neskon~ni dve minuti Beyond the Infinite Two Minutes Junta Yamaguchi 77 Policistova skrivnost Cop Secret Hannes Thór Halldórsson 78 Titan Titane Julia Ducournau

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Ekstravaganca Extravaganza

glej str. 77/see page 77

glej str. 75/see page 75 glej str. 78/see page 78

glej str. 76/see page 76

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Ekstravaganca Extravaganza

Cenzorka Censor Censor VB GB 2021

Prano Bailey-Bond

Psiholo{ka grozljivka o filmski cenzorki, ki fikcijo vse bolj vpleta v svojo resni~nost in brutalnost grozljik iz osemdesetih let inteligentno pre{ije z ostrim dru`benim komentarjem.

Filmska cenzorka Enid je ponosna na svoje delo. Z brezkompromisno natan~nostjo pregleduje in ocenjuje filme, da bi ni~ hudega slute~e ob~instvo obvarovala pred {kodljivimi vplivi grozljivih obglavljanj in izkopavanj o~i. Njen za{~itni{ki ~ut je {e toliko izrazitej{i, ker ga napaja ob~utek krivde – Enid si ne more priklicati v spomin podrobnosti izginotja svoje sestre izpred ve~ let. Pred kratkim je bila sestra razgla{ena za mrtvo, ~eprav trupla nikoli niso na{li. Potem pa Enid dobi v pregled film, ob katerem za~nejo njeni spomini iz otro{tva dobivati jasnej{e obrise in vse bolj ji postaja jasno, da utegne biti to srhljivo delo povezano z njeno preteklostjo.

"V za~etku do sredine osemdesetih let, ko so se videokasete prvi~ pojavile, je pri{lo do razcveta nizkoprora~unskih grozljivk /.../ ter izbruha dru`bene histerije in moralne panike – ljudje so mislili, da bodo ti videoposnetki izpridili dru`bo /.../. Obenem je tu {e ozadje Margaret Thatcher na ~elu britanske vlade, zloma industrije, izgube delovnih mest. Zdi se mi res zanimivo – ob poro~anju o porastu kriminala, verjetno zato ker je bilo pomanjkanje vseprisotno, so se pojavile {e videokasete in nasilje na filmu – zelo primeren gre{ni kozel za politi~no dogajanje."

(Prano Bailey-Bond)

re`ija/directed by Prano Bailey-Bond scenarij/screenplay Prano Bailey-Bond, Anthony Fletcher fotografija/cinematography Annika Summerson glasba/music Emilie Levienaise-Farrouch monta`a/editing Mark Towns igrajo/cast Niamh Algar (Enid Baines), Michael Smiley (Doug Smart), Nicholas Burns (Sanderson), Vincent Franklin (Fraser), Sophia La Porta (Alice Lee), Adrian Schiller (Frederick North), Clare Holman (June), Andrew Havill (George), Felicity Montagu (Valerie), Danny Lee Wynter (Perkins), Clare Perkins (Anne), Guillaume Delaunay (Beastman), Richard Glover (Gerald) producentka/producer Helen Sara Jones produkcija/production Silver Salt Films St Oswalds Studios 82a Sedlescombe Rd London, SW6 1RH, UK E info�silversaltfilms.co.uk format/format DCP, barvni/colour dol`ina/running time 84'

A psychological horror story about a film censor who embarks on a quest that dissolves the line between fiction and reality, Censor artfully blends the brutality of 1980s horror movies with sharp social commentary.

festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2021, Berlinale 2021, Seattle 2021

Film censor Enid takes pride in her meticulous work, guarding unsuspecting audiences from the deleterious effects of watching the gore-filled decapitations and eye-gougings she pores over.

Her sense of duty to protect is amplified by guilt over her inability to recall details of the long-ago disappearance of her sister, recently declared dead in absentia. When Enid is assigned to review a disturbing film from the archive that echoes her hazy childhood memories, she begins to unravel how this eerie work might be tied to her past.

"In the early to mid-1980s when VHS first came about there was a boom in low-budget horror being created /.../ there was an outburst of social hysteria and moral panic - people thought that these videos were going to corrupt society /.../. At the same time, you have the backdrop of Thatcher, industrial collapse, job losses.

I find it really interesting – you have this rise in crime being reported, probably because there was a lot of poverty, and then there's VHS and violence in film – the easy scapegoat for what was going on politically." (Prano Bailey-Bond)

Prano Bailey-Bond

filmografija (izbor)/filmography (selection)

Rojena leta 1982 v Aberystwythu v Veliki Britaniji. Vali`ansko scenaristko in re`iserko sta ~asopisa Variety in Screen International uvrstila na svoja sezama nadarjenih prihodnosti. Njen prvenec Cenzorka je odprl polno~ni sklop festivala Sundance, uvrstil pa se je tudi v Panoramo leto{njega Berlinala.

2012 2013 2015 2021

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

Man vs Sand (kratki/short) The Trip (kratki/short) Nasty (kratki/short) Censor (Cenzorka)

distribucija/distribution Fivia d.o.o.

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

Born in Aberystwyth, UK, in 1982. The Welsh director and writer was named a 'Director to Watch' by Variety and a Screen International 'Star of Tomorrow'. Prano's debut feature film, Censor, opened the Midnight section of the 2021 Sundance Film Festival and went on to be selected for the 2021 Berlin Film Festival's Panorama section.

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Ekstravaganca Extravaganza

Neskon~ni dve minuti Droste no hate de bokura Beyond the Infinite Two Minutes Junta Yamaguchi

Japonska Japan 2021

re`ija/directed by Junta Yamaguchi scenarij/screenplay Makoto Ueda fotografija/cinematography Junta Yamaguchi glasba/music Koji Takimoto monta`a/editing Junta Yamaguchi igrajo/cast Kazunori Tosa (Kato), Aki Asakura (Megumi), Riko Fujitani (Aya), Gota Ishida (Komiya), Masashi Suwa (Tanabe), Yoshifumi Sakai (Ozawa), Haruki Nakagawa (Narita), Takashi Sumita (Furuya), Munenori Nagano (Kinjo), Chikara Honda (Ishizuka) producenta/producers Takahiro Otsuki, Kazuchika Yoshida produkcija/production Tollywood E tollywood�nifty.com & Europe Kikaku format/format DCP, barvni/colour dol`ina/running time 70' festivali, nagrade (izbor)/ festivals, awards (selection) Bruselj/Brussels 2021

prodaja/world sales Third Window Films Lueur Sala 306, 3-20-13 Chuoo Nakano-ku, Tokyo, Japan E adam�thirdwindowfilms.com

Odbita obe{enja{ka komedija, ki se poigrava z znanstvenim fenomenom ~asovnega odmeva oziroma napovedovanja prihodnosti.

An oddball story full of gallows humour, Beyond the Infinite Two Minutes toys with the scientific phenomenon of time loop or time travel.

Kato prebiva tik nad kavarno, ki je v njegovi lasti. Nekega dne za~uden spozna, da je televizijski zaslon, name{~en v njegovi kavarni, nekaj posebnega. Dogajanje na njem je namre~ vedno dve minuti pred sedanjostjo, na televizijskem zaslonu zagleda samega sebe, kako maha iz prihodnosti. To ugotovijo tudi njegovi prijatelji, ki se sprva zabavajo, nato pa sklenejo s tem nenavadnim pojavom zaslu`iti. A stvari se zapletejo – {e posebej ko se vpleteta Katova simpatija iz sosednje brivnice in jakuza, ki ima pisarno v isti stavbi …

Cafe owner Kato lives right above his cafe. Suddenly he gets a message from himself. He learns that the TV screen in his cafe is two minutes ahead of time. Confused, Kato goes to the TV in the cafe as told by the two minutes into the future version of himself, and begins talking to himself in the past. His friends enjoy this unusual phenomenon and decide to make a profit with it. What’s more, Kato's crush Megumi from the barbershop next door and the yakuza with an office in the same building become involved as the 'time loop' accelerates the fiasco ...

"Ko me vpra{ajo: 'Kaj `elite posneti?', so moj odgovor najprej zgradba in sredstva, povezana z dramatiko in sceno. Ker sem v gledali{ki skupini, `elim tudi dolge prizore z igralci, kot bi bili na odru. Mislim, da je dobro izkoristiti lastne prednosti za ustvarjanje izvirnih del in uspe{en prodor v filmskem svetu.

Pi{em tudi filmske scenarije za druge, vendar sem za na{ projekt izbral metodo, ki je drugje ne bi mogel uporabiti. Resni~no verjamem, da smo projekt uspe{no sklenili zaradi sodelovanja na{e gledali{ke skupine. Prisluhnili so vsem mojim nerazumnim pro{njam in s tem olaj{ali eksperimentiranje. ^e bi moral scenarij napisati za koga drugega, ne bi bil tako eksperimentalen."

(Makoto Ueda, scenarist)

"For me, when I'm asked, 'What do you want to shoot?', the answer is, first of all, the devices and structure that are associated with drama and scenery. Furthermore, since I'm in a troupe, I'd like to do long takes with the actors as if they're on stage. I think it's good to utilize these strengths that we have, to produce original works in order to compete in the cinema world. I have been writing film scripts for other people's projects before, but finally, since this is our own project, I chose a method that I couldn't use elsewhere. I genuinely believe we were able to complete this project because it was this troupe. They listened to all my unreasonable requests, so it was easy to experiment. If I had to write this for anybody else, I wouldn't have written such an experimental script." (Makoto Ueda, screenwriter)

Junta Yamaguchi

filmografija (izbor)/filmography (selection)

Rojen leta 1987 v Osaki, Japonska. Kot re`iser ustvarja kratke in dokumentarne filme, gledali{ke predstave in reklame. Leta 2005 se je pridru`il gledali{ki skupini Europe Kikaku, poznani po uprizarjanju izvirnih komedij, postavljenih v znanstvenofantasti~ni ali fantazijski svet in osnovanih na video igrah.

2021 Droste no hate de bokura (Beyond the Infinite Two Minutes/ Neskon~ni dve minuti)

Born in 1987 in Osaka, Japan. He directs short films, theatre plays, commercials, and documentaries. In 2005, Yamaguchi joined Europe Kikaku, a theatrical troupe with a knack for lively comedy that takes place in sci-fi and fantasy worlds or tricky landscapes reminiscent of video games.

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Ekstravaganca Extravaganza

Policistova skrivnost Leynilögga Cop Secret Hannes Thór Halldórsson

Islandija Iceland 2021

Zabavna islandska parodija na hollywoodske fran{ize, kot je Hitri in drzni, ki ob obilici adrenalinskih akcijskih prizorov duhovito ponuja tudi razmi{ljujo~ podton na temo aktualnih dru`benih vpra{anj.

An amusing commentary on major action-film productions, such as the Fast & Furious series, offering several layers of complexity and an intelligent way of dealing with important social issues.

Najpopularnej{a policista islandskega glavnega mesta, Bússi in Klemenz, posredujeta pri ropu banke. Ko storilka na motorju pre~ka mestno mejo Reykjavika, jo morata prepustiti Hörðurju, kolegu iz sosednjega okro`ja. To je samo uvod v razkritje podlih na~rtov premetenega zlo~inca Rikkija, ki je pred leti izginil, zdaj pa ponovno terorizira de`elo s svojimi morilskimi podvigi. V ta namen morata obi~ajno neobriti in neurejeni Bússi ter samozavestni Hörður, ki se vedno obla~i po zadnji modi, vozi BMW-ja in ponosno razkazuje mi{ice, zdru`iti mo~i. In se bolje spoznati.

To pa pripelje do dodatnih zapletov, saj Hörður ne skriva svoje biseksualne usmerjenosti, Bússi pa se na vse pretege trudi zatreti oziroma prikriti svoja homoseksualna nagnjenja ...

Bussi is a tough 'super-cop', breaking rules and winning acclaim despite his reputation as a troublemaker. After a string of suspicious bank robberies across the Icelandic capital city, which cannot be considered as such since nothing gets stolen, Bussi is assigned a new partner. Hordur is the total opposite of Bussi as a suave, cultured, pansexual, former model. The new super-cop team soon find their actual nemesis, a criminal mastermind named Rikki, who stands behind the phantom robberies. A series of complications ensures as Hordur does nothing to hide his bisexual orientation, and Bussi is in denial about his deep-seated homosexual tendencies ...

"Za~el sem s konceptom humoristi~nega ske~a in med pisanjem scenarija za~util, da mu moramo dati du{o, globljo vsebino in poseben preobrat. V prvi vrsti je moral biti film komi~en, vendar sem upal, da bom z njim lahko posredoval tudi kaj pozitivnega in osvetlil pomembna vpra{anja. Posku{al sem jih obravnavati s ~im ve~ spo{tovanja." (Hannes Thór Halldórsson)

"I started with the concept of a comedy sketch, and while writing the script, I felt we had to give a soul to it, some substance and a special twist. It had to be, first and foremost, a funny movie, but I was looking forward to being able to also convey something positive through it and to shed light on important issues. I tried to treat the issue with as much respect as possible." (Hannes Thór Halldórsson)

Hannes Thór Halldórsson

filmografija (izbor)/filmography (selection)

Rojen leta 1984 v Reykjaviku, Islandija. Je filmski re`iser in hkrati vratar islandskega nogometnega mo{tva. Ob profesionalnem ukvarjanju z nogometom je posnel {tevilne oglase in glasbene videospote ter dve televizijski seriji. Akcijska komedija Policistova skrivnost je njegov celove~erni prvenec.

2021 Leynilögga (Cop Secret/Policistova skrivnost)

re`ija/directed by Hannes Thór Halldórsson scenarij/screenplay Nína Petersen, Sverrir Thór Sverrisson, Hannes Thór Halldórsson fotografija/cinematography Elli Cassata glasba/music Kristján Sturla Bjarnason monta`a/editing Guðni Halldórsson igrajo/cast Auðunn Blöndal (Bússi), Egill Einarsson (Hörður), Sverrir Thór Sverrisson (Klemenz), Steinunn Ólína Thorsteinsdóttir (Thorgerður), Vivian Olafsdottir (Stefania), Björn Hlynur Björnsson (Rikki), Júlíana Sara Gunnarsdóttir (Lilja), Gunnar Hansson (Softý) producentka/producer Lilja Ósk Snorradóttir produkcija/production Pegasus Pictures Sóltúni 24 105 Reykjavík, Iceland E info�pegasus.is format/format DCP, barvni/colour dol`ina/running time 98' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2021

prodaja/world sales alief 16 Clapton Passage, Hackney E5 8HS London, UK E info�alief.co.uk

Born 1984 in Reykjavik, Iceland. Halldórsson is both a filmmaker and the goalkeeper for the Iceland national team. He has directed two TV comedy series and hundreds of commercials and music videos. The action comedy Cop Secret is his feature-length debut.

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Titan Titane Titane Julia Ducournau

re`ija/directed by Julia Ducournau scenarij/screenplay Julia Ducournau fotografija/cinematography Ruben Impens glasba/music Séverin Favriau, Jim Williams monta`a/editing Jean-Christophe Bouzy igrajo/cast Vincent Lindon (Vincent Legrand), Agathe Rousselle (Alexia/Adrien), Garance Marillier (Justine), Laïs Salameh (Rayane), Mara Cisse (Jeantet), Marin Judas (Charrier), Diong-Kéba Tacu (Sissoko), Myriem Akheddiou (Adrienova mati/Adrien's mother), Bertrand Bonello (Alexijin o~e/Alexia's father), Céline Carrère (Alexijina mati/Alexia's mother), Adèle Guigue (mlada/young Alexia) producent/producer Jean-Christophe Reymond produkcija/production Kazak Production 21 boulevard Voltaire 75011 Paris, France E camille�kazakproductions.fr & Frakas Productions & Arte France Cinéma format/format DCP, barvni/colour dol`ina/running time 108' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2021 (zlata palma/Palme d'Or), Sarajevo 2021, Toronto 2021, New York 2021

Brutalen `anrski tour de force, s katerim je francoska re`iserka Julia Ducournau navdu{ila filmski svet in presenetljivo osvojila zlato palmo v Cannesu.

A brutal genre film and a tour de force of filmmaking, Titane has taken cinema audiences by storm and unexpectedly earned French director Julia Ducournau the 2021 Palme d'Or.

Alexia je imela kot deklica hudo prometno nesre~o. Da bi ji re{ili `ivljenje, so ji kirurgi v glavo vstavili plo{~ico iz titana. Ko odraste, se pre`ivlja kot plesalka v no~nem klubu, a njen vsakdan zaznamujejo neukrotljivi nasilni izpadi. Po enem izmed njih se mora skriti pred policijo, zato si spremeni videz in se za~ne pretvarjati, da je sin mi{i~astega {efa gasilcev Vincenta. Med njo in Vincentom se razvije nenavadno razmerje, vendar pa je njena krinka vse manj prepri~ljiva. Na Alexijinem telesu se namre~ za~nejo dogajati spremembe, ki jih je vse te`je spregledati.

Surviving a major car crash as a young girl, Alexia had a titanium plate installed just above the right ear. Today a full-grown woman, she works as a dancer for hire. Her attractions are of an almost magnetic nature, although it's not at all clear why this young pyro sets fire to her home and then claims to be the long-lost son of a lonely fire chief, Vincent. At a certain point, assuming the identity of a long-missing boy seems like Alexia's best gamble for getting away from the cops. Vincent so desperately wants to believe that Alexia really is his lost son that he looks past the glaring clues to the contrary. And then there’s the small matter of her pregnancy to conceal.

"Da bi Titan dokon~no izkristalizirala, sem se osredoto~ila na lik Vincenta in njegove fantazije: idejo, da lahko z la`jo ljubezen in ~love~nost prikli~e{ v `ivljenje. @elela sem posneti delo, ki se sprva zaradi nasilja morda dozdeva 'nev{e~no', potem pa se na lika globoko nave`emo in na koncu film do`ivljamo kot ljubezensko zgodbo. Bolje re~eno, zgodbo o 'rojstvu ljubezni', ker je tu vse vpra{anje izbire." (Julia Ducournau)

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

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

"To give Titane its definitive shape, I honed in on the character of Vincent and his fantasy: this idea that through a lie, you can bring love and humanity to life. I wanted to make a film that initially may seem 'unlovable' because of its violence, but then we grow deeply attached to the characters, and ultimately, we receive the film as a love story. Or rather, a story about the 'birth of love' because here, everything is a question of election."

(Julia Ducournau)

Julia Ducournau

filmografija (izbor)/filmography (selection)

Rojena leta 1983 v Franciji. Na pari{ki filmski {oli La Fémis je {tudirala scenaristiko. S kratkim prvencem Junior je leta 2011 vzbudila pozornost `irije v Cannesu, njen celove~erni prvenec Surovo pa je bil na tem presti`nem filmskem festivalu uvr{~en v sklop Mednarodni teden kritike. Titan je njen drugi celove~erec.

2011 Junior (kratki/short) 2016 Grave (Raw/Surovo) 2021 Titane (Titan)

Born in 1983 in France, Ducournau studied screenwriting at La Fémis in Paris. Her first short film, Junior, came to the notice of the jury at the 2011 Cannes Film Festival, and her feature-film debut, Raw, screened in the International Critics' Week section at this prestigious festival. Titane is her second feature film.

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Program za otroke in mlade Programme for Young Audiences 81 Kapa The Beanie Slobodan Maksimovi} 82 Moje `ivljenje kot Lotta My Life As Lotta – Bingo Flamingo Neele Leana Vollmar 83 Bertov dnevnik Bert's Diary Michael Lindgren 84 Preko meje The Crossing Johanne Helgeland

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glej str. 83/see page 83

glej str. 103/see page 103

glej str. 84/see page 84 glej str. 82/see page 82

glej str. 81see page 81

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Kapa Kapa Beanie Slobodan Maksimovi}

za otroke od 6. leta for children aged 6+ v sloven{~ini in Slovenian

Slovenija, Slova{ka, Luksemburg, Hrva{ka Slovenia, Slovakia, Luxembourg, Croatia 2021

re`ija/directed by Slobodan Maksimovi} scenarij/screenplay Sa{a Er`en fotografija/cinematograhpy Sven Pepeonik glasba/music Michal Novinski monta`a/editing Jurij Mo{kon igrajo/cast Gaj ^rni~ (Erik), Kaja Podreber{ek (Lu~ka), Ajda Smrekar (Barbara), Mojca Fatur (Ana), Frano Ma{kovi} (Boris), René [túr (Bo`i~ek ropar/ Santa thief), Mila Maksimovi} (Maja), Tilen Kolbe (Filip), Emil Kulovi} (Janko) producentka/producer Ida Weiss produkcija/production Senca Studio Trg prekomorskih brigad 1 1000 Ljubljana, Slovenija E info�senca-studio.si format/format DCP, barvni/colour dolžina/running time 85'

Za bo`i~ se izpolnijo tudi najbolj skrite `elje – to v prvem slovenskem bo`i~nem celove~ercu spoznata de~ek, ki nima ni~, in deklica, ki ima vse.

Erik ima devet let in `ivi v mladinskem domu. Na glavi ves ~as nosi kapo. Ko mu je {e posebej hudo, si jo povezne kar ~ez nos.

Kapo mu je namre~ spletla mama. Ker je Erik tih in zadr`an fant, mu v domu ni lahko – nanj se {e posebej rada spravlja skupina starej{ih varovancev. Ko je za bo`i~ iz`reban, da praznik pre`ivi pri premo`ni dobrodelni dru`ini, ga to prav ni~ ne razveseli. Najraje bi {el domov, k star{em. Nad Erikovim bo`i~nim obiskom pa ni prav ni~ navdu{ena niti sedemletna Lu~ka. Ona bi raje deklico, za bo`i~ pa ku`ka. A kljub za~etnemu nesoglasju je njun bo`i~ni ve~er poseben: ko pri smre~ici zalotita Bo`i~ka, mu brez oklevanja sledita v avto in se odpravita na pustolov{~ino po prazni~o okra{enem mestu.

Christmas is the time of year when one's most secret wishes come true. A boy who has nothing and a girl who has everything are full of expectations in Slovenia’s first Christmas movie.

Erik is a nine-year-old boy, living in a youth home because of his problematic parents. He never parts from his beanie. When he's feeling particularly low, he pulls it right over his nose. Because the cap was knitted by his mother. Life in the home is not easy for Erik, a quiet and reserved boy who tends to get bullied by a gang of older boys. His only wish is to go home for Christmas.

Instead, he gets to spend the holiday with a wealthy family and their seven-year-old daughter Lu~ka, who wishes for a puppy and a sister. In the middle of the night, Erik and Lučka encounter Santa in the family’s living room. They hide in his car and embark on an extraordinary adventure ...

"Delati s Kajo in Gajem je bila zame neponovljiva izku{nja.

Na za~etku snemanja sem ju gledal kot nadarjena otroka, na koncu pa sta zame izjemna igralca in odli~na prijatelja. Vsak dan sem u`ival v njuni iskrenosti, neverjetni igri in vzdr`ljivosti.

Ve~mese~no snemanje, sicer prilagojeno delu z otroki, je celo za izku{ene igralce velik zalogaj." (Slobodan Maksimovi})

"Working with Kaja and Gaj was a one-of-a-kind experience for me. At the beginning of the shoot, I saw them as talented kids and now, when we've wrapped the movie, I consider them great actors and good friends. I enjoyed their sincerity, incredible acting skills and stamina every day. While the schedule was adjusted for child actors, the monthslong filming can prove quite strenuous even for experienced professionals." (Slobodan Maksimovi})

Slobodan Maksimovi}

filmografija (izbor)/filmography (selection)

Rojen leta 1975 v Sarajevu. Je re`iser in scenarist. Njegov celove~erni prvenec Hvala za Sunderland je leta 2012 osvojil vesno za najbolj{i slovenski film, opa`en pa je bil tudi njegov drugi mladinski celove~erec Nika. Re`ira tudi uspe{ne televizijske serije, kot sta Mame in Primeri in{pektorja Vrenka.

2012 Hvala za Sunderland 2015 Tehnika ljudstvu (dok./doc.)

2016 Nika 2017 Nevidna roka Adama Smitha (kratki/short) 2017–2018 Mame (TV serija/TV series) 2021 Primeri in{pektorja Vrenka (TV serija/TV series) 2021 Kapa (Beanie)

A director and screenwriter born in 1975 in Sarajevo. His feature debut, Hvala za Sunderland, won the 2012 Vesna Award for Best Slovenian Film, and his second feature-length film, Nika, garnered widespread praise.

He also directs successful TV series, most notably Mame and Primeri in{pektorja Vrenka.

distribucija/distribution Fivia d.o.o.

Preložnikova 1 3212 Vojnik E cenex�siol.net

distribucija/distribution Fivia d.o.o.

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

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Moje `ivljenje kot Lotta Mein Lotta-Leben – Alles Bingo mit Flamingo My Life As Lotta – Bingo Flamingo

za otroke od 7. leta for children aged 7+ v nem{~ini s slovenskimi in angle{kimi podnapisi in German with Slovenian and English subtitles

Nem~ija Germany 2019

Neele Leana Vollmar

re`ija/directed by Neele Leana Vollmar scenarij/screenplay Bettina Börgerding, Daniele Kohl (knjiga/book), Alice Pantermüller (knjiga/book) fotografija/cinematograhpy Daniel Gottschalk glasba/music Oliver Thiede monta`a/editing Bernd Schlegel igrajo/cast Meggy Marie Hussong (Lotta Petermann), Yola Streese (Cheyenne), Levi Kazmaier (Paul), Laila Ziegler (Berenike), Laura Tonke (Sabine Petermann), Oliver Mommsen (Rainer Petermann), Carolin Kebekus (Frau Kackert), Milan Peschel (Heiner Krishna) producenti/producers Tom Blieninger, Dagmar BlumeNiehage, Philipp Budweg, Robert Marciniak produkcija/production Dagstar Film Dagmar Blume-Niehage Trajanstraße 27 50678 Köln, Germany E info�dagstarfilm.de & Lieblingsfilm (Germany) format/format DCP, barvni/colour dolžina/running time 93' festivali, nagrade (izbor)/ festivals, awards (selection) Filmfest München 2019

prodaja/world sales Pink Parrot Media 6630 Hutchison, suite #300 Outremont, Quebec Canada H2V 4E1 E info�pinkparrotmedia.ca

Navihana filmska priredba istoimenske knji`ne zbirke o malih in velikih dramah v povsem vsakdanjem `ivljenju enajstletne Lotte Petermann.

A playful screen adaptation of the eponymous book series about the haps and mishaps of the completely ordinary life of eleven-year-old Lotta Petermann.

Lotta in Cheyenne, svojeglavi enajstletnici, sta najbolj{i prijateljici!

Skupaj s so{olcem Paulom, ki ima ~udovito hi{ico na drevesu, ustanovijo frajersko dru{tvo Divji zajci. Vse bi bilo krasno, ~e ne bi bilo trapastih mlaj{ih bratcev, z ajurvedo obsedene mame, mrkega o~eta in domi{ljave so{olke Berenike z njenimi na~i~kanimi prijateljicami. Za povrh vsega Berenike prireja super glamurozno rojstnodnevno zabavo, kamor so povabljeni vsi, razen Lotte in Cheyenne. Navzven je videti, da jima je vseeno. Pa vendar deklici kaj kmalu za~neta kovati na~rt, kako priti do vabila.

Ko v igro stopi {e slavni najstni{ki zvezdnik Marlon, se navihana zme{njava lahko za~ne!

Lotta and Cheyenne, both eleven years old, are BFFs (best friends forever)! Together with their classmate Paul, who has an awesome treehouse, they have a very cool gang called The Wild Rabbits. Everything would be great if it wasn’t for the immature younger siblings, Ayurveda-obsessed moms, and the snooty Berenike and her tacky friends. To make matters worse, Berenike is now having a super-glamorous birthday party to which everyone is invited – except for Lotta and Cheyenne. The two girls are not going to put up with that and start to work out a master plan on how to score an invitation. When Lotta accidently bumps into the famous teen star Marlon, the wild rumpus is set to begin.

Neele Leana Vollmar

filmografija (izbor)/filmography (selection)

Rojena leta 1978 v Bremnu, Nem~ija. [tudirala je na filmski akademiji BadenWürttemberg Ludwigsburg. Moje `ivljenje kot Lotta je njen {esti celove~erni film.

2005 2008 2009 2014 2016 2019

Born in 1978 in Bremen, Germany, Vollmar graduated from the BadenWürttemberg Film Academy in Ludwigsburg. My Life As Lotta – Bingo Flamingo is her sixth feature-length film.

distribucija/distribution Fivia d.o.o.

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

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Urlaub vom Leben Friedliche Zeiten Maria, ihm schmeckt's nicht!

Rico, Oskar und die Tieferschatten Rico, Oskar und der Diebstahlstein Mein Lotta-Leben – Alles Bingo mit Flamingo (My Life As Lotta – Bingo Flamingo/Moje `ivljenje kot Lotta) 2019 Auerhaus

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Bertov dnevnik Berts dagbok Bert's Diary Michael Lindgren

za otroke od 10. leta for children aged 10+ sish with Slovenian subtitles v {ved{~ini s slovenskimi podnapisi in Swedish with Slovenian subtitles

[vedska Sweden 2020 re`ija/directed by Michael Lindgren scenarij/screenplay Tapio Leopold fotografija/cinematography Erik Vallsten glasba/music Andreas Grill, Erik Hjärpe monta`a/editing Joakim Tessert-Ekström igrajo/cast Hugo Krajcik (Bert), Julia Pirzadeh (Amira), Frank Dorsin (Åke), Yussra El Abdouni (Leila), Arvid Bergelv (Lill-Erik), Frode Östlin Westman (Klimpen) producentki/producers Anna Anthony, Rebecka Lafrenz produkcija/production FLX Birger Jarlsgatan 58 11429 Stockholm, Sweden E info�flx.se format/format DCP, barvni/colour dol`ina/running time 89'

Bert je obi~ajen trinajsletnik: obo`uje superjunake, ne mara koriandra in rad sanjari. Na primer o tem, da je najbolj kul sedmo{olec na {oli, ki ga lahko ljubi le najbolj kul dekle na {oli. In {e to: Bert pi{e dnevnik!

Bert is your regular 13-year-old kid: He loves superheroes, hates coriander and likes to daydream. For example, about being the coolest seventh-grader in school loved by the coolest girl in school. And another thing: Bert keeps a diary!

Prvi {olski dan dobi v dnevniku kar {tiri zvezdice in pol. Bert se namre~ zaljubi v najbolj kul deveto{olko, ki jo vsi kli~ejo "Jogurt Lejla". Kmalu ugotovi, da je Amira, njegova nova so{olka, Lejlina sestra. Da bi se pribli`al svoji simpatiji, se spoprijatelji z Amiro.

A ko Bert na Lejlini postelji najde dnevnik, ga zasrbijo prsti.

Kako bolje o~arati dekle in si utreti pot do njenega srca, ~e ne s poznavanjem njenih skrivnosti? Bert sledi dnevni{kemu zapisu, a ga usoda in srce odpeljeta drugam. Film je posnet po motivih uspe{ne knji`ne serialke Bertovih dnevnikov {vedskega pisateljskega dueta Andersa Jacobssona in Sörena Olssona, sicer avtorjev {e enega {vedskega otro{kega knji`nega in filmskega junaka Suneja.

The first day of school gets as many as four and a half stars in his diary. This is because Bert falls in love with the coolest ninthgrader also known as 'Yogurt Leila'. Luckily, Leila's sister Amira is in his class. To get closer to the older sister, he makes friends with the younger one. When Bert finds a diary on Leila's bed, he’s tempted to read it. How better to impress a girl and pave the way to her heart, if not by knowing her secrets? But is that really fair? Bert certainly makes a mess of things ... The film is based on a series of novels written in the form of a diary, by Swedish writers Anders Jacobsson and Sören Olsson, best known for their books about Sune.

"Tudi sam sem kot desetletni otrok igral v veliki {vedski produkciji, ki je bila takrat zelo popularna na televiziji. Kot otro{ki igralec sem imel torej kar nekaj izku{enj, vendar niso bile najbolj prijetne. Zato sem bil odlo~en, da tega ne ponovim. Bertova zgodba je prijetna, ne zaidemo v tema~ne globine, zato se s tem ni bilo treba spoprijemati." (Michael Lindgren)

festivali, nagrade (izbor)/ festivals, awards (selection) Tallinn Black Nights Film Festival 2020, Cinekid 2020

"I acted as a 10-year-old myself, in a big Swedish production that was very popular on television. I had quite extensive experience as a child actor, but it wasn't always enjoyable. That's why I was determined not to go there again. Bert's story is nice, we don't plumb the dark depths, so we didn’t have to face that." (Michael Lindgren)

Michael Lindgren

filmografija (izbor)/filmography (selection)

Rojen leta 1978 v Stockholmu. Je scenarist, producent, re`iser in igralec, ki nastopa `e od malih nog. Zaslovel je predvsem kot ~lan satiri~nega kolektiva Grotesco, s katerim je pod psevdonimom DJ Trexx nastopal na gledali{kih odrih in po televiziji. Re`iral je tudi ve~ znanih {vedskih televizijskih serij, Bertov dnevnik pa je njegov prvi celove~erni igrani film.

2014 Pulver (TV serija/TV series) 2012–2013 Kontoret (TV serija/TV series) 2014–2015 Folkets främsta företrädare (TV serija/TV series) 2015 Boy Machine (TV serija/TV series) 2007–2017 Grotesco (TV serija/TV series) 2020 Berts dagbok (Bert's Diary/Bertov dnevnik)

prodaja/world sales REinvent Studios Wilders Plads 8a, 1403 Copenhagen, Denmark E info�reinvent.dk distribucija/distribution Fivia d.o.o.

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

Born in 1978 in Stockholm, Lindgren's a screenwriter, producer, director and actor who has been on stage since a young age. He has gained fame mainly as member of Grotesco, a comedy collective with which he performed in theatres and on television under the pseudonym DJ Trexx. He has directed several well-known Swedish television series. Bert's Diary is his first feature film.

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Preko meje Flukten over grensen The Crossing

za otroke od 10. leta for children aged 10+ v norve{~ini s slovenskimi podnapisi in Norwegian with Slovenian subtitles)

Norve{ka Norway 2020

Johanne Helgeland

re`ija/directed by Johanne Helgeland scenarij/screenplay Maja Lunde fotografija/cinematograhpy John-Erling Holmenes Fredriksen glasba/music Stein Berge Svendsen monta`a/editing Jon Endre Mørk igrajo/cast Anna Sofie Skarholt (Gerda), Bo Lindquist-Ellingsen (Otto), Samson Steine (Daniel), Bianca GhilardiHellsten (Sarah), Henrik Siger Woldene (Per), Luke Neite (Herman) producentka/producer Cornelia Boysen produkcija/production Maipo Film & TV Produksjon AS Mølleparken 4 0459 Oslo, Norway E maipo�maipo.no format/format DCP, barvni/colour dolžina/running time 96' festivali, nagrade (izbor)/ festivals, awards (selection) Zlin 2020 (najbolj{i otro{ki celove~erec/Best Feature Film for Children), Norve{ki mednarodni filmski festival Haugesund/ Norwegian International Film Festival Haugesund 2020 (nagrada za najbolj{i norve{ki otro{ki celove~erec/Best Norwegian Feature Film for Children)

Dih jemajo~a, napeta pustolov{~ina, v kateri otroci na nevarni poti mimo voja{kih nadzornih to~k, pe{ po zimskih poljanah in gozdovih spoznajo, da jim pobeg lahko uspe le, ~e si med seboj zaupajo in si pomagajo.

Norve{ka, december 1942. Desetletna Gerda se, ogrnjena z modrim pregrinjalom in lesenim me~em, preganja po hi{i in o`ivlja pustolov{~ine svojih najljub{ih treh mu{ketirjev. Vojna se je skoraj ne dotakne – dokler ji tik pred bo`i~em ne odpeljejo star{ev, ki naj bi sodelovala z odporni{kim gibanjem in v kleti skrivala judovska otroka. Ko s starej{im bratom Ottom, ki se `e naivno spogleduje z nacizmom, v kleti po o~etovih navodilih res odkrijeta brata in sestro, Daniela in Sarah, se Gerda v mu{ketirskem duhu poguma, pravi~nosti in zvestobe dani besedi odlo~i, da jima bosta z Ottom pomagala pobegniti na [vedsko, kjer ju ~aka o~e. Vsi {tirje se podajo na nevarno pot.

"Eden od na{ih ciljev je bil ustvariti klasi~no napeto zgodbo z resnim tonom, ki bi pritegnila vso dru`ino, od otrok do starih star{ev in celo prastar{ev. Mlado ob~instvo spodbujamo, da dru`inske ~lane spra{ujejo o njihovi vojni izku{nji, ko so se bili narodi in ljudje prisiljeni postaviti na eno stran v zgodovinskem scenariju, tako prepolnem zla in tako strahotno smrtonosnem, da ga je skoraj nemogo~e doumeti. Tega se moramo spominjati."

(Johanna Helgeland)

prodaja/world sales TrustNordisk ApS Filmbyen 12 2650 Hvidovre, Denmark E info�trustnordisk.com

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Norway, December, 1942. 10-year-old Gerda enjoys an idyllic life in the countryside, dressing up as a musketeer, running in the woods wearing an apron for a cloak, and arguing with her older brother, Otto. Wholly unaware that their parents are members of the Resistance, the siblings are untouched by the German occupation of their country. One day, just before Christmas, they are arrested, leaving the siblings on their own. Gerda and Otto discover two Jewish children, Sarah and Daniel, hidden in a secret cupboard in their basement. It is now up to them to finish what their parents started: To help Sarah and Daniel flee from the Nazis and cross the border to neutral Sweden.

"One of our ambitions was to make a classic thriller story with a serious tone that would engage the whole family, from kids to grandparents, or even great grandparents. We encourage the young audience to ask questions about their own family's wartime experiences, when nations and people were forced to choose sides in a scenario so evil it is almost impossible to comprehend, and at such an enormous cost of human lives. This needs to be remembered." (Johanna Helgeland)

Johanne Helgeland

filmografija (izbor)/filmography (selection)

Rojena leta 1973. Je del prve generacije filmskih re`iserjev Norve{ke filmske {ole in velja za eno trenutno najbolj izku{enih norve{kih komercialnih re`iserk. Re`irala je reklame, videospote ter humorne in otro{ke televizijske oddaje. Preko meje je njen celove~erni prvenec.

2006 2014 2015 2020

Born in 1973. Hailed as one of Norway's most experienced female commercial filmmakers, Helgeland belongs to the first alumni of directors from Norwegian Film School. She has made commercials, music videos, as well as comedies and children's TV shows. The Crossing is her feature debut.

distribucija/distribution Cinemania group d.o.o.

Roj~eva ulica 1 1000 Ljubljana E cg�cinemania-group.si

A spellbinding, suspense-ridden adventure. A group of children on a dangerous journey past Nazi checkpoints, traversing great distances in the dead of winter, realize they can flee across the border only if they trust and help each other unquestioningly.

Hvis jeg faller (kratki/short) Kampen (TV serija/TV series) Den magiske kroppen (TV serija/TV series) Flukten over grensen (The Crossing/Preko meje)

Fokus Focus

Gruzija Georgia 88 89 90 91

Bebia, moji edini `elji Bebia, à mon seul désir Juja Dobrachkous Brighton, ~etrta ulica Brighton 4th Levan Koguashvili In potem sva zaplesala And Then We Danced Levan Akin Kaj vidimo, ko se ozremo v nebo? What Do We See When We Look at the Sky? Alexandre Koberidze 92 Za~etek Beginning Dea Kulumbegashvili

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Gruzijski film Georgian Cinema Tina Poglajen V Sovjetski zvezi so gruzijski filmi z namenom, da bi lahko izrazili kriti~ne poglede na totalitarni sistem, izumljali nove filmske jezike, polne alegorij in metafor. Trideset let pozneje filmskim ustvarjalcem in ustvarjalkam ne stoji ve~ nasproti re`im, temve~ gruzijska dru`ba sama. Producentka filma In potem sva zaplesala, Ketie Danelia, ki pripoveduje o strastnem razmerju med mo{kima v sami simbolni sr~iki konservativne, patriarhalne dru`be – nacionalni plesni skupini – je vedela, da bo imela s projektom nemalo te`av. In res: ekipa je dobivala odpovedi za dogovorjene lokacije snemanja v zadnjem trenutku, njej in nastopajo~im so grozili skrajni desni~arji, ob gruzijski premieri filma so izbruhnili celo protesti.

In the Soviet Union, in order to express critical views of the totalitarian system, Georgian films invented new cinematic styles replete with allegories and metaphors. Thirty years later, filmmakers are no longer confronting the regime, but Georgian society itself. Ketie Danelia, producer of And Then We Danced, an account of a passionate relationship between two male members of a national dance group – the symbolic core of a conservative, patriarchal society –, knew the project would encounter numerous difficulties. Sure enough: in addition to last-minute cancellations of filming locations, threats by far-right extremists were made against the cast and the crew, while the Georgian premiere even sparked protests.

Morda je zato {e toliko bolj osupljivo, koliko gruzijskih filmov v zadnjih letih je uspe{nih na mednarodnih filmskih festivalih.

Petim filmom v leto{njem fokusu je – bolj ali manj – skupno, da pripovedujejo zgodbe, ki jih dolo~a njihovo okolje, na primer Gruzija kot dr`ava, gruzijska konservativna dru`ba z mo~no prevlado pravoslavne cerkve ali gruzijska izku{nja izseljenstva, vendar jih hkrati postavi v globalni kontekst, bodisi z obravnavo tematik, ki so prav tako relevantne v Gruziji kot drugod po svetu, bodisi s {irjenjem pogleda zunaj meja dr`ave. Film In potem sva zaplesala s svojo kvirovsko zgodbo ni edini, ki pogled upira drugam, kot bi si to morda zami{ljala konservativna dru`ba.

Za~etek po besedah re`iserke Dee Kulumbegashvili v glavno vlogo postavi 'stranski lik', `eno pastorja Jehovih pri~, ki ji vnaprej dolo~ena vloga v patriarhalnem okolju za~ne presedati. V filmu Bebia, moji edini `elji ima osrednjo vlogo mlada junakinja Ariadna, manekenka, ki se v Gruzijo vrne iz tujine, ko ji umre babica, in se soo~i z ljudskimi obi~aji, s katerimi prej ni imela stika. Brighton, ~etrta ulica je ganljiva pripoved o ne`ni o~etovski ljubezni, Kaj vidimo, ko se ozremo v nebo? pa hudomu{na ljubezenska zgodba z magi~norealisti~nim zapletom. Junaki in junakinje filmskih zgodb leto{njega fokusa do svoje identitete Gruzijcev in Gruzijk v dr`avi, kakr{na Gruzija je, zavzamejo razli~na stali{~a. Pogosto jih ta utesnjuje in jim onemogo~a, da bi `iveli, kot bi si `eleli, v~asih je tudi vir ponosa, ~etudi le ko je treba navijati za nogometno ekipo ali se izkazati v rokoborbi.

Perhaps it is then all the more astonishing that such a great number of Georgian films has enjoyed success at international film festivals over the past years. The common thread – more or less – running through the five films of this year's Focus is a narrative determined by its environment, for example, Georgia as a state, Georgia's conservative society with a strongly felt dominance of the Orthodox Church, or Georgian experience of emigration. However, at the same time, these narratives are put in a global context, either in addressing subjects whose relevance is immediate both in Georgia and worldwide, or, in broadening the perspective beyond the state borders. And Then We Danced, with its queer story, is not the only film directing its focus on subjects contradicting the expectations of a conservative society.

According to director Dea Kulumbegashvili, Beginning casts a 'minor character' in the lead role, wife of Jehovah's Witnesses congregation leader, a woman discontented with the role she has been assigned in the patriarchal society. In Bebia, à mon seul désir the main role is played by Ariadna, a young model who, returning to Georgia to attend her grandmother's funeral, is forced to confront ancient traditions with which she has had no contact. Brighton 4th is a touching tale of gentle paternal love, and What Do We See When We Look at the Sky? a witty love story with a magico-realistic plot twist. The film characters of this year's Focus take different positions on their Georgian identity in a country that is Georgia. Their homeland often restricts them and prevents them from living a life they want, but then again it can be a source of pride, if only when rooting for a football team or trying one’s hardest at wrestling.

Nekateri izmed filmov so od svojih prednikov, sovjetskih gruzijskih filmov, podedovali enigmati~nost, prenesene pomene in poigravanje s filmskim jezikom. Dobitnik nagrade FIPRESCI na leto{njem Berlinalu, Kaj vidimo, ko se ozremo v nebo?, izhaja iz prepri~anja, kako je film lahko karkoli, da lahko, na primer, z ob~instvom komunicira ~isto neposredno, denimo tako da mu naro~i, naj zapre o~i. Za~etek, ki je v San Sebastiánu pobral skoraj vse pomembnej{e nagrade, zaznamujejo dolgi, stati~ni prizori z natan~no premi{ljeno kompozicijo in pogosto osupljivo lepimi podobami gruzijskega pode`elja. Velik del zgodb ti filmi podajajo skozi ~love{ko telo, v~asih estetizirano, izoblikovano, napeto kot struna, drugi~ postarano, ki zbira svoje zadnje mo~i, potem telo `enske, manekenke, ki se pre`ivlja tako, da ga obla~i in li~i po zamislih drugih, ali pa `ensko telo, ki se ga tako ali druga~e pola{~a patriarhat, in nenazadnje telo, ki se lahko ~ez no~ nepri~akovano spremeni v nekaj povsem drugega ter s tem klju~no spremeni potek `ivljenja in pripovedi. Telesnost ni ve~ v vlogi zadovoljitve gledalca, temve~ nastopa kot bole~e `ivo pripovedno sredstvo.

From their predecessors, the Soviet Georgian cinema, some films inherited mysteriousness, figurative meanings and playful use of cinematic language. Winner of the FIPRESCI Prize at this year's Berlinale, What Do We See When We Look at the Sky?, is the result of a belief that a film can be anything, that, among other things, it can communicate directly with the audience by, for example, instructing them to close their eyes. Beginning, which bagged almost all major prizes in San Sebastián, features long, static takes, meticulously executed compositions and often stunningly beautiful views of Georgia's landscape. In these films, a large part of the story is related through the human body, sometimes aestheticized, shaped, as taut as a bowstring, sometimes an aged body mustering its last strength, then the body of a woman, a model who makes a living by dressing her body and making up her face in accordance with other people’s ideas, or a woman's body appropriated, one way or another, by patriarchal society and last but not least, a body that unexpectedly morphs into something completely different overnight, thus crucially altering the course of lives and the narrative. Corporality is no longer a vehicle for ensuring viewer satisfaction, but has become a painfully vivid narrative tool.

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Bebia, moji edini `elji Bebia, à mon seul désir Bebia, à mon seul désir Juja Dobrachkous

re`ija/directed by Juja Dobrachkous scenarij/screenplay Juja Dobrachkous fotografija/cinematography Veronica Solovjeva monta`a/editing Andrej Kli~nikov igrata/cast Anastasia Davidson (Ariadna), Anushka Andronikashvili (mlada/ young Ariadna), Guliko Gurgenidze (Bebia), Aleksander Glurjidze (Temo), Ana Chiradze (mama v mladosti/ mother when young), Anastasia Chanturaia (mama/mother), Giga Datiashvili (o~e/father) producentki/producers Juja Dobrachkous, Olga Dykhovichnaya produkcija/production Twice a Day & Teo Films Tbilisi. 256/6, 62058 Georgia E info�teofilms.ge format/format DCP, ~b/b&w dol`ina/running time 113' festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2021, Sarajevo 2021, Seattle 2021, goEast Wiesbaden 2021 (najbolj{a re`iserka/Best Director, nagrada FIPRESCI za najbolj{i igrani film/FIPRESCI Prize for Best Fiction Film)

Ganljiva zgodba o mladi `enski, ki se po babi~ini smrti vrne v domovino, kjer se je prisiljena soo~iti z bole~imi spomini na svoje otro{tvo.

A touching story about a young woman forced to relive painful childhood memories when performing an ancient ritual following her grandmother’s death.

Sedemnajstletna manekenka Ariadna se vrne v rodno Gruzijo, da bi se udele`ila pogreba svoje babice. Sorodniki jo pri~akajo s precej nenavadno zahtevo: po tamkaj{nji {egi ima kot najmlaj{a v dru`ini dol`nost, da znova zdru`i telo in du{o svoje babice, kar pomeni, da mora med krajem babi~ine smrti in njenim poslednjim po~ivali{~em razviti klob~i~ niti. ^eprav sprva okleva, se dekle v spremstvu dru`inskega prijatelja Tema vendarle odpravi na pot. Na petindvajsetkilometrskem popotovanju po neokrnjenem gruzijskem pode`elju se Ariadna vedno znova izgublja v blodnjaku grenkih spominov na oblastno in nemalokrat tudi okrutno babico.

Seventeen-year-old model Ariadna returns to Georgia to attend her grandmother's funeral. Back in her motherland, she receives an unusual request: according to an ancient tradition, Ariadna, as the youngest member of the family, is responsible for reuniting the body and soul of her grandmother by connecting a thread from the place of her death to the resting body. At first reluctant to fulfil such a bizarre-sounding ritual, Ariadna soon finds herself carrying a single line of thread across unspoiled Georgian countryside, accompanied by Temo, a family friend. Over a number of days and nights, Ariadna is forced to confront the impact that the complex, sometimes cruel matriarch had on her childhood.

"Ljudi preganja globok ob~utek eksistencialne zmede: Kdo sem?

Od kod prihajam? Kam me `ivljenje vodi? Da bi na{li odgovore, tavamo po blodnjakih, kjer so slepe ulice usodne, izhod pa je zmaga nad smrtjo. To je pot iniciacije in izpolnitve, ki jo mora prehoditi vsak od nas." (Juja Dobrachkous)

prodaja/world sales Endorphin Film Sales E viki�endorphinfilmsales.com

"Humans are haunted by a deep sense of existential bewilderment; Who am I? Where am I from? Where is this life taking me? To find answers, we wander labyrinths, where dead ends are fatal, and the way out is victory over death. This is the path of initiation and accomplishment that each of us must overcome." (Juja Dobrachkous)

Juja Dobrachkous

filmografija (izbor)/filmography (selection)

Rojena v nekdanji Sovjetski zvezi. Diplomirala je na moskovski Akademiji za likovno umetnost, trenutno pa `ivi v Londonu. Je slikarka, pisateljica in re`iserka. Njene kratke zgodbe so bile objavljene v razli~nih antologijah sodobne ruske proze in {tevilnih literarnih revijah. Bebia, moji edini `elji je njen celove~erni prvenec.

2021 Bebia, à mon seul désir (Bebia, moji edini `elji)

Juja Dobrachkous is a director, writer and painter based in London. Born in Soviet Russia, she graduated from the Academy of Fine Arts in Moscow.

Juja has published two works of fiction and her short stories have appeared in several anthologies of modern Russian literature, as well as a number of magazines. Bebia, à mon seul désir is Juja's feature-film debut.

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Gruzija, VB Georgia, GB 2021

Fokus Focus

Brighton, ~etrta ulica Brighton 4th Brighton 4th Gruzija, Rusija, Bolgarija, Monako, ZDA Georgia, Russia, Bulgaria, Monaco, USA 2021

Levan Koguashvili

re`ija/directed by Levan Koguashvili scenarij/screenplay Boris Frumin fotografija/cinematography Phedon Papamichael monta`a/editing Nikolai Metin igrajo/cast Levan Tedaishvili (Kakhi), Giorgi Tabidze (Soso), Kakhi Kavsadze (Sergo), Nadezhda Mikhalkova (Lena), Laura Rekhviashvili (Kakhijeva `ena/Kakhi's wife), Yuriy Zur (Amir) producenti/producers Levan Koguashvili, Olena Yershova, Irakli Rodonaya produkcija/production Kino Iberica 13 Melikishvili street 0179 Tbilisi, Georgia format/format DCP, barvni/colour dol`ina/running time 90'

Upokojeni gruzijski rokoborec pre~ka ocean, da bi obiskal sina v Brooklynu, tam pa ugotovi, da je ta v hudih te`avah. ^rnohumorna, a ne`na pripoved o o~etovski ljubezni.

A retired Georgian wrestler crosses the Atlantic to visit his son in Brooklyn, only to discover he's in serious trouble. A darkly funny yet gentle story of parental devotion and sacrifice.

Kakhi, nekdanji olimpijski {ampion v rokoborbi, je dobrosr~en, umirjen ~lovek, ki mora iz te`av vedno znova re{evati svojega brata, zasvojenega s kockanjem. Njegov edinec Soso naj bi v ZDA {tudiral medicino, a ko se Kakhi s polnim kov~kom gruzijskega sira odpravi na obisk, ugotovi, da si je tudi ta pri lokalnem gangsterju nakopal ogromen dolg. Kljub morebitnemu razo~aranju sta o~e in sin eden na drugega mo~no navezana, pri re{evanju te`av pa jima pridejo prav tudi o~etove rokoborske spretnosti ...

Former wrestling champion Kakhi always has his family on his conscience. After making arrangements to cover for his brother's gambling debts, Kakhi departs his humble home in the Republic of Georgia to pay a visit to his son Soso in outer Brooklyn. As Kakhi settles into Soso's Brighton Beach boarding house – which constitutes a popup community of fellow Georgian immigrants – he learns that Soso has also accrued a huge debt to the local mob boss, a roadblock to Soso's future in medicine. Despite a sense of frustration, the bonds between father and son are still strong, and Kakhi's wrestling skills come in handy when trying to solve their problems.

"Za glavno vlogo sem posku{al anga`irati mo{ke, ki so videti kot rokoborci, nato pa sem pre{el na prave rokoborce. Levan je v Gruziji legenda; imenovan je bil za najbolj{ega {portnika 20. stoletja. Vendar smo zasledili, da ima te`ave z zdravjem in sluhom, zato je bil zadnji na mojem seznamu. Neko~ je bil iranski {ah nad njim tako navdu{en, da ga je povpra{al po `eljah. V zaporu je na izvr{itev smrtne kazni ~akal rokoborec.

Levan je dejal: 'Rad bi, da ga izpustite!' Z rokoborbo mu je pridobil svobodo! Je nepremagljiv prvak, vendar je v vojni izgubil sina – skupaj sta {la nanjo, umrl je v njegovem naro~ju. Vse to lahko prebere{ na njegovem obrazu. Ni~ ~udnega, da je tako edinstven." (Levan Koguashvili)

festivali, nagrade (izbor)/ festivals, awards (selection) Tribeca 2021 (najbolj{i mednarodni igrani celove~erec, najbolj{i igralec, najbolj{i scenarij/Best International Narrative Feature, Best Actor, Best Screenplay)

"For the main role, I tried to cast men who looked like wrestlers, and then I moved onto wrestlers. Levan is a legend in Georgia; he was named the best athlete of the 20th century. We heard that he was struggling with his health and his hearing, however, so he was the last on my list. Once, in Iran, the Shah was so impressed that he asked him what he wanted. There was another wrestler in jail, sentenced to death. So, Levan said: 'I want you to release this guy!' He earned him his freedom through wrestling! He is this unbeatable champion, but he also lost a son in the war – they went there together, and he died in his arms. You can see all of that in his face. No wonder it's so unique." (Levan Koguashvili)

Levan Koguashvili

filmografija (izbor)/filmography (selection)

Rojen leta 1973 v Tbilisiju. Po izbruhu dr`avljanske vojne v Gruziji je delal kot novinar za neodvisno televizijsko postajo, pozneje pa je v Moskvi {tudiral na Gerasimovem filmskem in{titutu. Po dodatnem izobra`evanju v New Yorku je posnel ve~ kratkih filmov in dokumentarcev. Njegov celove~erni prvenec Quchis dgeebi je bil prikazan na festivalu v Rotterdamu, njegov drugi film Brma paemnebi pa na festivalu v Torontu.

2010 2013 2016 2021

prodaja/world sales Loco Films 8 passage Piver 75011 Paris, France E laurent.danielou�loco-films.com

Quchis dgeebi (Street Days) Brma paemnebi (Blind Dates) Gogita's New Life (dok./doc.)

Brighton 4th (Brighton 4th/Brighton, ~etrta ulica)

Born in 1973 in Tbilisi. After the outbreak of Georgian Civil War, he worked as a journalist for an independent television station before studying at the Gerasimov Institute of Cinematography in Moscow. After furthering his studies in New York, he made several short films and documentaries. His debut film, Street Days, premiered at International Film Festival Rotterdam, and his next film, Blind Dates, premiered at Toronto International Film Festival.

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In potem sva zaplesala Da chven vitsek'vet And Then We Danced Levan Akin

Gruzija, [vedska, Francija Georgia, Sweden, France 2019

re`ija/directed by Levan Akin scenarij/screenplay Levan Akin fotografija/cinematography Lisabi Fridell monta`a/editing Levan Akin, Simon Carlgren igrata/cast Levan Gelbakhiani (Merab), Bachi Valishvili (Irakli), Ana Javakishvili (Mary), Kakha Gogidze (Aleko) producentki/producers Ketie Danelia, Mathilde Dedye produkcija/production French Quarter Film Arbetargatan 32 11245 Stockholm, Sweden E mathilde�frenchquarter.se & Takes Film format/format DCP, barvni/colour dol`ina/running time 113' festivali, nagrade (izbor)/ festivals, awards (selection) Montreal 2019 (nagrada za mir/ Peace Award), NewFest New York 2019 (nagrada ob~instva/Audience Award), Odesa/Odessa 2019 (najbolj{i film/Best Film, najbolj{a igra/Best Acting), Sarajevo 2019 (velika nagrada ob~instva/Grand Audience Award)

prodaja/world sales Totem Films International Sales 8 Impasse Druinot 75012 Paris, France E hello�totem-films.com

Zgodba o mladostni zaljubljenosti in odra{~anju v konservativnem Tbilisiju, kjer ni prostora za seksualno svobodo. V Gruziji je film zaradi gejevske tematike zanetil proteste.

A story about young love and growing up in conservative Tbilisi where no measure of sexual freedom can be exercised. In Georgia, the film’s gay theme sparked a wave of public protests.

@ivljenje Meraba, mladega in nadarjenega plesalca, ki `e od malih nog vadi ples pri gruzijski nacionalni plesni skupini, se obrne na glavo s prihodom novega plesalca, uporni{kega Iraklija. Merab se vanj strastno zaljubi, Irakli pa tako postane predmet njegovih `elja in hkrati njegov najve~ji tekmec. Na njuno prijateljsko tekmovanje za prosto mesto med nastopajo~imi in na porajajo~o se ljubezen me~ejo senco govorice, da se je prostor, ki si ga oba tako `elita, izpraznil, ker so prej{njega plesalca ujeli z drugim mo{kim, ga pretepli in odpustili.

Young and talented dancer Merab has been training from a young age at the National Georgian Ensemble with his dance partner Mary. His world turns upside down when the carefree Irakli arrives and becomes both his strongest rival and desire.

A friendly rivalry forms as they compete for a coveted spot in the main ensemble, though Mary learns that the spot is vacant because the previous male dancer had been caught having sex with another man, leading him to be severely beaten by the other dancers and sacked.

"Leta 2013 sem gledal novice o okoli {tiridesetih do petdesetih mladih, ki so se v Tbilisiju odlo~ili organizirati parado ponosa.

Pravoslavna cerkev je z domnevno pomo~jo nekaterih ruskih zvez organizirala protidemonstracije – posnetek je pokazal na tiso~e teh 'protestnikov'. Udele`enci parade so se skrili v majhen avtobus, ki ga je mno`ica dobesedno razcefrala. Videti je bilo kot pravi zombijevski film. Sem ob~utljiva du{a in predan vegan, ki ima zaradi oglji~nega odtisa celo slabo vest glede letenja v Cannes. Zdi se mi, da mora biti moje delo ve~ kot le razvedrilo.

Ko ustvarjanje filma vzame ve~ kot {tiri leta, mora imeti precej{en pomen." (Levan Akin)

"I watched a news clip in 2013 where some 40–50 young people had decided to do a pride parade in Tbilisi. There was also a counter-demonstration by the Orthodox Church with the probable aid of some Russian connections – the clip showed thousands of these 'protesters'. The paraders hid in a little bus, which was literally torn apart by the mob. It looked like a proper zombie movie. I'm a sensitive soul and a devoted vegan who even feels bad about flying to Cannes because of the fossil fuels. I feel like my work needs to be more than just a fun ride. When it takes some four years to make a film, it needs to mean something."

(Levan Akin)

Levan Akin

filmografija (izbor)/filmography (selection)

[vedski re`iser in scenarist gruzijskega rodu, rojen leta 1979. Njegovi star{i so se na [vedsko priselili v {estdesetih, Akin pa v Gruziji pre`ivlja poletja, da ne bi izgubil stika z jezikom in kulturo. Delal je na {vedski televiziji, leta 2011 pa je posnel svoj prvi celove~erni film Nekateri ljudje. In potem sva zaplesala je prejel lepo {tevilo nagrad in kriti{kih priznanj.

2011 Katinkas kalas (Certain People/Nekateri ljudje) 2019 Da chven vitsek'vet (And Then We Danced/In potem sva zaplesala)

A Swedish director and screenwriter of Georgian descent, born in 1979.

His family immigrated to Sweden in the 1960s, but Akin keeps spending his summers in Georgia to stay in touch with its language and culture. He worked for the Swedish television, and made his debut feature film, Certain People, in 2011. And Then We Danced has won critical acclaim and a number of awards.

90

Fokus Focus

Kaj vidimo, ko se ozremo v nebo?

Ras vkhedavt, rodesac cas vukurebt?

What Do We See When We Look at the Sky? Alexandre Koberidze

Gruzija, Nem~ija Georgia, Germany 2021 re`ija/directed by Alexandre Koberidze scenarij/screenplay Alexandre Koberidze fotografija/cinematography Faraz Fesharaki monta`a/editing Alexandre Koberidze igrajo/cast Giorgi Bochorishvili (Giorgi), Ani Karseladze (Lisa), Oliko Barbakadze (Lisa), Giorgi Ambroladze (Giorgi), Vakhtang Fanchulidze (lastnik kavarne/café owner) producentka/producer Mariam Shatberashvili produkcija/production Deutsche Film & Fernsehakademie Berlin (DFFB) Potsdamer Strasse 2 10785 Berlin, Germany E c.marx�dffb.de format/format DCP, barvni/colour dol`ina/running time 148'

Topla, duhovita, ekscentri~na sodobna filmska pravljica o ljubezni na prvi pogled, nogometu in potepu{kem psu s fantasti~nim zapletom.

A tender, eccentric comedy with a fantastic plot twist, Koberidze's second feature depicts love at first sight, football and a stray dog.

Farmacevtka Lisa in nogometa{ Giorgi se zaletita eden v drugega pred {olskimi vrati v gruzijskem mestu Kutaisi. Na prvi pogled se zaljubita in se dogovorita za zmenek, ne da bi se sploh predstavila. A usoda ima zanju druga~ne na~rte: ~ez no~ ju doleti prekletstvo in zjutraj se zbudita kot popolnoma druga~ni osebi.

Njuno medsebojno iskanje na slepo v objemu starodavnega mesta, ki ~ude`no o`ivi pred na{imi o~mi, spremljajo nostalgi~na nogometna himna ^arobne no~i Gianne Nannini in nagajivo poigravanje s filmskimi izraznimi sredstvi, ki ob~instvo vabijo k aktivnemu gledanju filma.

A chance encounter at the gates of a school in Kutaisi, Georgia.

Lisa and Giorgi bump into each other. Clearly dazed, they arrange a date without even having told each other their names. It is love at first sight, but, as if enchanted, the lovers are cursed, condemned to wake up the next day looking completely different. But it is precisely this supernatural obstacle to them meeting again that becomes their ticket to a world ruled entirely by the magic of the everyday. Their blind search for each other takes place against the backdrop of an ancient city that miraculously comes to life, Gianna Nannini's Magic Nights, the 90' World Cup Italy anthem, and the juggling with the cinematic means of expression that actively engage the viewer.

"Neke no~i, v poznih urah, sem se spra{eval, kak{ne filme `elim ustvarjati. Odlo~il sem se, da bo nekaj mojih naslednjih filmov pravlji~nih. Prebral sem veliko pravljic, nato pa za~el pisati scenarij za film. Ob obse`nem branju pravljic spoznate, da se vse lahko zgodi in se po~utite veliko bolj svobodne. Je lepo sredstvo za razmislek o folklori kot o ne~em, kar te razbremeni omejitev upo{tevanja pravil realnosti." (Alexandre Koberidze)

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2021 (nagrada FIPRESCI/ FIPRESCI Prize), Pesaro 2021 (posebna omemba/Special Mention), Fünf Seen 2021, IndieLisboa 2021, Transilvanija/Transilvania 2021

"One evening, late at night, I was asking myself what sort of films I want to make. I decided that I wanted my next few films to be fairy tales. I read a lot of fairy tales, and then started writing a script for a film. When reading a lot of fairy tales, you see that anything can happen, and you feel much freer than you did before. That's a nice way to think about folklore, as something that releases you from the restriction of having to stick to the rules of reality." (Alexandre Koberidze)

Alexandre Koberidze

filmografija (izbor)/filmography (selection)

Rojen leta 1984 v Tbilisiju ter tam {tudiral mikroekonomijo in filmsko produkcijo, nato pa se je preselil v Berlin, kjer je na Nem{ki akademiji za film in televizijo {tudiral filmsko re`ijo. Pred filmom Kaj vidimo, ko se ozremo v nebo? je posnel ve~ kratkih filmov in celove~erni prvenec Naj nikoli ve~ ne bo poletje, ki je osvojil vrsto festivalskih nagrad.

2017 Lass den Sommer nie wieder kommen (Let the Summer Never Come Again/Naj nikoli ve~ ne bo poletje) 2021 Ras vkhedavt, rodesac cas vukurebt? (What Do We See When We Look at the Sky?/Kaj vidimo, ko se ozremo v nebo?)

prodaja/world sales Cercamon World Sales 134 Al Hamoor Street Jumeirah 3 – PO Box 416 207 Dubai, United Arab Emirates E hello�cercamon.biz

Born in Tbilisi in 1984, Koberidze studied microeconomics and film production in his hometown before moving to Berlin, where he studied film directing at the German Film and Television Academy. Before What Do We See When We Look at the Sky? Koberidze made several shorts and a feature debut, Let the Summer Never Come Again, which won awards at several festivals.

91

Fokus Focus

Za~etek Dasatskisi Beginning Dea Kulumbegashvili

re`ija/directed by Dea Kulumbegashvili scenarij/screenplay Dea Kulumbegashvili, Rati Oneli fotografija/cinematograhpy Arseni Khachaturan glasba/music Nicolas Jaar monta`a/editing Matthieu Taponier igrajo/cast Ia Sukhitashvili (Jana), Rati Oneli (David), Kakha Kintsurashvili (Alex), Saba Gogichaishvili (Giorgi), Ia Kokiashvili, Mari Kopchenovi, Giorgi Tsereteli producenti/producers Ilan Amouyal, Rati Oneli, David Zerat produkcija/production O.F.A. 17 Irakli Abashidze street #18 0179 Tbilisi, Georgia E academia�gmail.com & First Picture & Zadig Productions format/format DCP, barvni/colour dolžina/running time 125' festivali, nagrade (izbor)/ festivals, awards (selection) San Sebastian 2020 (najbolj{i film, najbolj{a re`ija, najbolj{i scenarij, najbolj{a igralka/Best Film, Best Director, Best Screenwriter, Best Actor), Toronto 2020 (nagrada FIPRESCI/FIPRESCI Prize), Cannes 2021, Rotterdam 2021

V zadr`anih, natan~no komponiranih, med eteri~no lepoto in klini~no distanco ujetih prizorih podan portret `enskega prebujenja.

A portrait of a woman's awakening presented in restrained, minutely composed frames hovering between ethereal beauty and clinical distance.

V odro~nem gruzijskem mestecu skupina skrajne`ev po`ge sveti{~e Jehovovih pri~. Za Jano, `eno sve~enika Jehovovih pri~, ki jo `e tako razjedajo dvomi, je to kaplja ~ez rob. Rada bi zapustila Gruzijo, a njen mo` David je ne jemlje resno. Ko David odpotuje v Tbilisi, da bi stare{ine zaprosil za sredstva za obnovo cerkve, Jano obi{~e mo{ki, ki trdi, da je policist, in jo zasli{uje z vedno bolj intimnimi vpra{anji. ^eprav ji je popolnoma jasno, da pravno, moralno in ~ustveno podpisuje svojo smrtno obsodbo, se Jana odlo~i za dejanje, ki zamaje temelje patriarhalne skupnosti.

When extremists burn down the church of the Jehovah's Witnesses, it's the last straw for Yana, wife of David, a congregational leader. She wants to leave rural Georgia, where she and her fellow believers have just started building a new community. But David waves off her fears as irrational oversensitivity and goes to the council of elders to arrange money to rebuild their church. While he's away, Yana is visited by a police officer who asks her some extremely intimate questions.

Knowing full well that she is legally, morally and emotionally signing her own death warrant, she decides to strike at the very roots of patriarchal society.

"Zanima me ustvarjanje filmov o `enski na splo{no. Kaj pomeni biti `enska, v `enskem telesu, z `enskimi ~uti, ob~utji, umom. To je kompleksno bivanje." (Dea Kulumbegashvili)

prodaja/world sales Wild Bunch International E edevos�wildbunch.eu distribucija/distribution Fivia d.o.o.

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

"I'm interested in making films in general about being a woman.

What does it mean to be a woman, in your body, in your senses, feelings, your mind? It's a complex existence."

(Dea Kulumbegashvili)

Dea Kulumbegashvili

filmografija (izbor)/filmography (selection)

Rojena leta 1986 v ruskem Orjolu, odra{~ala je v malem gruzijskem mestu Lagodekhi ob vzno`ju Kavkaza. Iz filmske re`ije je magistrirala na Umetni{ki akademiji Univerze Kolumbija. @ivi in dela v Tbilisiju. Za~etek je njen celove~erni prvenec, ki je na festivalu v San Sebastianu osvojil kar {tiri najpomembnej{e nagrade.

2014 Ukhilavi sivrtseebi (Invisible Spaces) (kratki/short) 2016 Léthé (kratki/short) 2020 Dasatskisi (Beginning/Za~etek)

Born in 1986 in Oryol, Russia, and raised in a small town called Lagodekhi at the foot of the Caucasus Mountains in Georgia. She earned a Master of Fine Arts in Film Directing at Columbia University School of the Arts. Her debut feature, Beginning, won as many as four major awards at the festival in San Sebastián.

92

Gruzija, Francija Georgia, France 2020

Retrospektiva Retrospective

Prepovedane `enske Forbidden Women 96 97 98 99 100 101 102 103 104 105

Viridiana Viridiana Luis Buñuel Asjina sre~a Asya's Happiness Andrej Kon~alovski Be`na sre~anja Brief Encounters Kira Muratova Rajski sade`i Fruit of Paradise Vera Chytilová Ma{karada Masquerade Bo{tjan Hladnik Obljubljene de`ele Promised Lands Susan Sontag Vzpon The Ascent Larisa [epitko Zlo~in v Cuenci The Cuenca Crime Pilar Miró Zasli{anje Interrogation Ryszard Bugajski Alica v mestu ~udes Alice in Wondertown Daniel Díaz Torres

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Retrospektiva Retrospective

Prepovedane `enske Banned Women Simon Popek Dobre ideje se nemalokrat rodijo iz zagate. Po lanski okrnjeni festivalski izdaji in izpadu retrospektivnega dela festivala smo iskali nekaj konkretnega, pomembnega, "velikega". Obletnice so lahko izhodi{~e. Tri dekade od leta 1991 kot prelomnice – slovenske osamosvojitve, ruskega pu~a, "konca zgodovine".

Dolgo~asno? Morda ne, zagotovo pa pre`ve~eno. Prepovedani filmi nekdanjih socialisti~nih dr`av ob de facto koncu Sovjetske zveze? Enako.

Good ideas are often born out of predicament. After having to curtail Liffe's 2020 edition and omit the festival's Retrospective section, we were looking for something concrete, important, "big". Anniversaries can be a starting point. Three decades after 1991, a historical milestone: Slovenia's declaration of independence, Russian coup d'état, "the end of history". Boring?

Perhaps not, but definitely threadbare. Banned films by former socialist filmmakers at the end of the Soviet Union? Equally so.

Medtem se je za~el oblikovati program sve`e filmske letine in prvi~ se je jasno izoblikovala mo~na, vidna navzo~nost avtoric.

Prvi~ so bili filmi re`iserk povsod, ne kot okrasek ali politi~no korekten dodatek ("Dajmo {e njim glas"), temve~ kot gonilna sila festivalskega vrvenja. Festivali seveda niso spreminjali svojega okusa in agende, sistemsko se je morala spremeniti produkcija.

Follow the money je tudi v umetni{kem oziroma avtorskem filmu vodilo, brez katerega ni uspeha. Podobno kot novi val ni nastal toliko zavoljo entuziazma nekdanjih kritikov, temve~ predvsem kot posledica dr`avnih subvencij ("predujem na dohodek"), ki je producente spodbudil k anga`iranju mladih cineastov, se "`enski film" ni mogel zgoditi brez konkretne podpore avtoricam. In se je zgodil, celo v tako zadrto patriarhalnih dru`bah kot npr. gruzijski ali kosovski. Slednjo skoraj v celoti vodijo mlade avtorice, posvetil se jim bom `e v kratkem.

In the meantime, while devising a programme of new releases, a strong, visible presence of female directors emerged very clearly.

For the first time, female directors' films were everywhere, not as an ornament or a politically correct addition ("Let's give them a voice, too") but as a driving force behind the festival circuit.

It wasn't that festivals changed their tastes and agendas, but that a systemic change took place in production. 'Follow the money' is a maxim also in arthouse or auteur cinema, a vital prerequisite for results. Like the New Wave, which did not arise out of the enthusiasm of former critics so much, but was primarily the result of state subsidies ("income advance") which motivated producers to engage young filmmakers, "female cinema" could not have happened without concrete support to female filmmakers. And it did happen, even in societies as rigidly patriarchal as, for example, Georgian or Kosovar. What's more, young female directors have established a dominant presence in Kosovar cinema. We will soon place our focus on them.

Dolo~eno ustvarjalno skupino, npr. filmske re`iserke, lahko na filmu zelo preprosto prepove{ ali marginalizira{; odtegne{ jim sistemsko podporo in glasovi so uti{ani. Zgodovina filma je polna uti{anih `ensk, po katerih scenariji nikoli niso bili realizirani – ali pa so jih re`irali mo{ki – iz mo{kega zornega kota.

Ker retrospektive nikoli posnetih filmov ni mogo~e sestaviti, je mogo~e organizirati kve~jemu retrospektivo prepovedanih, {ikaniranih ali onemogo~enih avtoric. [tevilne re`iserke formalno niti niso bile prepovedane, toda ustvarjale so v tako ma~isti~nih in nespodbudnih okoljih, da je bila svojevrstna kazen `e dolgoletno vztrajanje v ustvarjalno toksi~nem ozra~ju. Mehi~anka Matilde Landeta, avtorica Pocestnice (1951), je dober primer "nevidnosti", v {tirih desetletjih je lahko re`irala le {tiri filme in {e teh danes ni mogo~e predvajati; `eleli smo jo uvrstiti na program, toda kopije, primerne za predvajanje, ni na voljo. Njeni filmi niso restavrirani in ponujeni svetu.

Vzhodni blok je po drugi svetovni vojni, logi~no, poskrbel za ve~ino bunkeriranja; Larisa [epitko, Kira Muratova in Vera Chytilova so bile redne gostje cenzorskih komisij. Slednjima so oblasti prepovedale celo ve~ kot en film, toda ker retrospektive nismo `eleli omejiti na socialisti~no kulturno okolje, smo dodali {e Susan Sontag, katere francosko produkcijo je blokirala izraelska dr`ava in Pilar Miro. Njen Zlo~in v Cuenci ostaja edini prepovedani film po uveljavitvi demokracije v [paniji.

Po drugi strani so bili cenzorjem te`avni tudi mo~ni `enski liki v filmih, ki so jih re`irali mo{ki; to so samosvoje, uporne, emancipirane ali preprosto ekstravagantne `enske. Zgovorni so `e naslovi, Asjina sre~a, Viridiana, Alica v mestu ~udes. In zgovorna so njihova dejanja; junakinja Ma{karade z mo{kimi manipulira, zapornica svojega izpra{evalca v Zasli{anju celo ideolo{ko prevzgoji. Kako so bile `enske vsebine v teh filmih dojemane, pove `e preprosta povr{inska analiza; medtem ko se je z `enskami, njihovo (a)seksualnostjo in uporom ukvarjal predvsem mo{ki avtorski pogled, so bile [epitko, Muratova, Chytilova, Miro in Sontag kriti~no pove~ini obravnavane zavoljo kontroverznih politi~nih ali ideolo{kih vpra{anj.

In cinema, a certain creative group, e.g., female filmmakers, can be easily banned or marginalised; you cut off systemic support and their voices are silenced. The history of film is dotted with silenced women whose scripts never turned into movies – or were directed by men, from a male perspective. Since it is impossible to feature a retrospective of films never made, we can at least programme a retrospective of banned, countermined or thwarted filmmakers. While many female directors were not even formally banned, their dogged perseverance in the toxic, creativity stifling work climate of their macho environments was punishment enough. The Mexican-born Matilde Landeta, director of Streetwalker (1951), is a fine example of "invisibility". Over the course of four decades, she could only make four films, which cannot be shown still today. We wanted to programme her work, but a screenable copy is unavailable. Her films are not being restored and distributed worldwide.

After World War II, the Eastern Bloc, logically, did the lion's share of shelving; Larisa Shepitko, Kira Muratova and Vera Chytilova were regular censor targets. Muratova and Chytilova had more than one film banned, but because we did not want to limit our retrospective to the socialist cultural milieu, we included Susan Sontag, whose French production was blocked by the Israeli state, and Pilar Miro. Miro's The Cuenca Crime remains a singular example of a film banned even after the establishment of democracy in Spain.

On the other hand, censors were also unhappy with powerful female characters in films directed by men; these are headstrong, defiant, emancipated or simply extravagant women. The titles are telling in themselves: Asya's Happiness, Viridiana, Alice in Wondertown. Their deeds are telling, too: the protagonist of Masquerade manipulates men, in Interrogation the female prisoner ideologically re-educates her interrogator. A simple superficial analysis reveals how women's issues were perceived in these films: While women, their (a)sexuality and resistance were mainly subjected to the male gaze, Shepitko, Muratova, Chytilova, Miro and Sontag came in for criticism because of the controversial political or ideological issues they addressed.

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Retrospektiva Retrospective

Viridiana Viridiana Viridiana Mehika, [panija Mexico, Spain 1961

Luis Buñuel re`ija/directed by Luis Buñuel scenarij/screenplay Julio Alejandro, Luis Buñuel fotografija/cinematography José F. Aguayo glasba/music Gustavo Pittaluga monta`a/editing Pedro del Rey igrajo/cast Silvia Pinal (Viridiana), Francisco Rabal (Jorge), Fernando Rey (Don Jaime), José Calvo (Don Amalio), Margarita Lozano (Ramona), José Manuel Martín (El Cojo), Victoria Zinny (Lucia), Luis Heredia (El Poca), Joaquín Roa (Don Zequiel), Lola Gaos (Enedina), Teresa Rabal (Rita) producent/producer Gustavo Alatriste produkcija/production Uninci S.A. & Films 59 format/format DCP, ~b/b&w dol`ina/running time 90' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 1961 (zlata palma/Golden Palm)

[kandalozna mojstrovina Luisa Buñuela je bila v Cannesu leta 1961 dele`na stoje~ih ovacij in nagrajena z zlato palmo, nato pa v Vatikanu obto`ena blasfemi~nosti in v [paniji prepovedana vse do 1977.

Luis Buñuel's scandalous masterpiece received a standing ovation and the Golden Palm at the 1961 Cannes Festival before being denounced by the Vatican as blasphemous and banned in Spain until 1977.

Redovni{ka pripravnica Viridiana pred posvetitvijo obi{~e svojega edinega {e `ive~ega sorodnika Dona Jaimeja, ki jo je dolga leta finan~no podpiral. Ko Don Jaime zagleda ne~akinjo, je presunjen nad njeno podobnostjo pokojni `eni. Viridiana postane objekt njegove obsesivne `elje, a vztrajno zavra~a opolzko zapeljevanje.

Don Jaime v obupu naredi samomor, svoje posestvo pa zapusti nezakonskemu sinu Jorgeju in Viridiani. Ker se po~uti odgovorno za Don Jaimejevo smrt, se Viridiana odre~e redovni{tvu in na posestvu uredi zaveti{~e za brezdomce. Toda njena dobrota grdo tr~i ob pokvarjenost brezdomcev, obenem pa postaja vse bolj o~itno, da se je vanjo zagledal Jorge ...

The story follows the life of a young novice, Viridiana, on the verge of taking her final vows as a nun. Before doing so, she visits her uncle, her long-standing benefactor. Viridiana becomes the victim of her depraved uncle's lust, owing to her resemblance to his late wife. After she refuses to capitulate to his seduction, Viridiana's uncle commits suicide, leaving the estate to his illegitimate son Jorge and Viridiana. She decides to use the estate as a social experiment, in which she attempts to help an assortment of beggars by giving them a place of refuge.

While their corruption overpowers her goodness in a series of increasingly shocking scenes, it is becoming increasingly clear that Jorge has lost his heart to her.

"Kot pri {tevilnih Buñuelovih filmih je vizualni u~inek Viridiane podan neposredno. V glavnem se vse zdi, kot bi se v milijonu let ni~ ne spremenilo, pa vendar zaznamo nenehno ob~utje blaznosti, ki bo zdaj zdaj preplavilo pogled. S~asoma se to tudi zgodi, v enem od znamenitih prizorov ve~erje v zgodovini filma." (Lee Hill, Senses of Cinema)

prodaja/world sales Films Sans Frontières 70, boulevard de Sébastopol 75003 Paris, France E info�films-sans-frontieres.fr

"Like so many Buñuel films, Viridiana's visual punch is delivered through indirection. In the main, everything looks as if nothing has changed in a million years and yet there is a constant sense of a madness that is about to flood the frame. Eventually it does, in one of the great dinner scenes of the movies." (Lee Hill, Senses of Cinema)

Luis Buñuel

filmografija (izbor)/filmography (selection)

Rojen leta 1900 v vasi Calanda v [paniji, umrl 1983. Na Univerzi v Madridu je {tudiral filozofijo, potem pa se je preselil v Pariz, kjer se je za~el ukvarjati s filmom. Leta 1929 je s soscenaristom Salvadorjem Dalijem posnel kratki film Andaluzijski pes in se uveljavil kot o~e nadrealisti~nega filma. Emigriral je tudi v ZDA, kjer je opravljal prilo`nostna dela pri filmu, in v Mehiko, kjer je posnel velik del svojih filmov.

1929 1930 1950 1958 1962 1961 1964

Born in 1900 in the village of Calanda, Spain, died in 1983. He studied philosophy at the University of Madrid before moving to Paris, where he became involved in cinema. In 1929, with co-writer Salvador Dalí, Buñuel made a short film, An Andalusian Dog, which established him as the father of surrealist cinema. He later immigrated to the United States, where he lived from one unsatisfactory crumb of work to another, and then to Mexico, where he made the bulk of his films.

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1967 1969 1972 1974 1977

Un chien andalou (An Andalusian Dog/Andaluzijski pes) (kratki/short) L'Age d'Or (Age of Gold/Zlata doba) Los Olvidados (The Young and the Damned/Pozabljeni) Nazarin (Nazarenec) El ángel exterminador (The Exterminating Angel/Angel uni~enja) Viridiana Le journal d'une femme de chambre (The Diary of a Chambermaid/ Dnevnik sobarice) Belle de Jour (Lepotica dneva) La voie lactée (The Milky Way/Rimska cesta) Le charme discret de la bourgeoisie (The Discreet Charm of the Bourgeoisie/Diskretni {arm bur`oazije) Le fantôme de la liberté (The Phantom of Liberty/Fantom svobode) Cet obscur objet du désir (That Obscure Object of Desire/Ta mra~ni predmet po`elenja)

Retrospektiva Retrospective

Asjina sre~a Istorija Asi Klja~inoj, kotoraja ljubila, da ne vy{la zamu` Asya's Happiness Andrej Kon~alovski

Sovjetska zveza Soviet Union 1966 re`ija/directed by Andrej Kon~alovski scenarij/screenplay Juri Klepikov fotografija/cinematography Georgi Rerberg monta`a/editing L. Pokrovskaja igrajo/cast Ija Savina (Asja Klja~ina), Ljubov Sokolova (Marija), Aleksandr Surin (Stepan), Genadij Jegor~ev (Sa{a ^irkunov), Ivan Petrov, Nikolaj Pogodin (Mi{a) produkcija/production Mosfilm format/format 35 mm, ~b/b&w dol`ina/running time 99'

Ne`na, ve~inoma z natur{~ki posneta zgodba o ljubezni in `enskem dostojanstvu je bila zaradi svojega iskrenega, neolep{anega pogleda na `ivljenje po ruskem pode`elju kar dve desetletji `rtev paranoi~ne sovjetske cenzure.

Nekje na {irnih poljih osrednje Rusije sre~amo Asjo – zdravo, lepo, delavno dekle. Vdovec Sa{a iz velikega mesta, ki v svoji rodni vasi pre`ivlja po~itnice, ji pove, da jo ljubi in bi se rad poro~il z njo. Asja se ne zmeni zanj. Medtem opazujemo va{ki vsakdan v zna~ilni ruski vasici: matere med `etvijo skrbijo za svoje otroke, mo{ki se z bole~ino v o~eh spominjajo vojne in povojnih tabori{~.

Asjino `ivljenje se zaplete, ko ugotovi, da je nose~a z nekim drugim mladeni~em – Stepanom. Ona ga ljubi, a on z njo ravna vse prej kot lepo, Sa{a pa jo je pripravljen sprejeti tudi s tujim otrokom. Kako se bo odlo~ila?

"Upodobitev preprostega `ivljenja v zgodbi o Asji je v ob~instvo zarezala s svojo bole~ino, bedo, ledenostjo. Ker v sovjetski Rusiji ni bilo mogo~e biti nesre~en. Ni bilo dovoljeno. Vsi so bili sre~ni.

Ampak kri je {e kar tekla ... in je~anje ni prenehalo."

(Andrej Kon~alovski)

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 1988 (nagrada FIPRESCI – posebna omemba/FIPRESCI Prize – Honorable Mention), nagrade Ruske filmske akademije/Russian Academy of Cinema Awards 1989 (najbolj{i re`iser/Best Director, najbolj{i scenarij/Best Screenplay)

A tender story of love and female dignity featuring largely non-professional cast, Asya's Happiness was banned by the Soviet authorities for two long decades for its straightforward, unadorned portrayal of life in the Russian countryside.

During harvest time Asya, a beautiful and healthy girl, works at a field camp where she renews acquaintance with Sasha, a driver returned from the city, who announces that he loves her and wants to marry her. The camera captures glimpses of the typical village life in a Soviet rural setting: Mothers look after their children amid the harvest; the men reminisce about the Patriotic War and about the post-war prison camps. Complications to Asya's life start when she discovers she is pregnant by another youth, Stephan. Asya actually loves Stepan although he treats her atrociously. Sasha insists; he wants to marry her even though she is pregnant with another man's child. What will her decision be?

"The representation of the simple life in the story of Asya pierced the audience with its pain, its misery, its frozenness. Since it was not possible in Soviet Russia to be unhappy. It was not permitted.

All were happy. But the blood flowed ... and the moans did not cease." (Andrei Konchalovsky)

Andrej Kon~alovski

filmografija (izbor)/filmography (selection)

Rojen leta 1937 v Moskvi. Odrasel je v ugledni umetni{ki dru`ini. Njegov o~e je bil pisatelj Sergej Mihalkov, mati pa pesnica Natalija Kon~alovska.

Kot {tudent je bil scenarist pri filmih Andreja Tarkovskega. Leta 1980 se je preselil v ZDA, kjer je posnel vrsto komercialnih `anrskih filmov. Zadnjih trideset let ponovno snema v Rusiji. V minulem desetletju je osvojil dva srebrna leva in posebno nagrado `irije na festivalu v Benetkah.

1965 Pervi u~itel (The First Teacher/Prvi u~itelj) 1966 Istorija Asi Klja~inoj, kotoraja ljubila, da ne vy{la zamu` (Asya's Happiness/Asjina sre~a) 1974 Romans o vljubljonih (A Lover's Romance/Romanca o zaljubljenih) 1984 Maria's Lovers (Marijini ljubimci) 1985 Runaway Train (Pobesneli vlak) 1989 Tango & Cash (Tango in Cash) 1991 The Inner Circle (Peklenski krog) 2002 Dom durakov (House of Fools) 2014 Belje no~i po~taljona Alekseja Trjapitsina (The Postman's White Nights/ Po{tarjeve bele no~i) 2016 Raj (Paradise/Raj) 2019 Il peccato (Sin) 2020 Dorogi tovari{i (Dear Comrades/Dragi tovari{i)

Born in Moscow in 1937 into a family of acclaimed authors, writer Sergey Mikhalkov and poet Natalia Konchalovskaya. As a student, Konchalovsky wrote screenplays for Andrei Tarkovsky. He immigrated to the US in 1980 and made a series of commercial genre movies there. He has been filming in Russia for the past thirty years. Over the last decade Konchalovsky has won two Silver Lion Awards and a Special Jury Prize at the Venice Film Festival.

97

prodaja/world sales Mosfilm Cinema Concern 1 Mosfilmovskaya str.

Moscow, 119991, Russia E reg�mosfilm.ru

Retrospektiva Retrospective

Be`na sre~anja Korotkie vstrechi Brief Encounters Kira Muratova

Sovjetska zveza (Ukrajina) Soviet Union (Ukraine) 1967

re`ija/directed by Kira Muratova scenarij/screenplay Kira Muratova, Leonid @uhovitski fotografija/cinematography Gennadij Karjuk glasba/music Oleg Karavaj~uk monta`a/editing O. Kharakova igrajo/cast Nina Ruslanova (Nadja), Vladimir Visotski (Maksim), Kira Muratova (Valja), Jelena Bazilska, Olga Viklandt, Aleksej Glazirin, Valerij Isakov (Stjopa), Tatjana Midnaja, Kirill Marin~enko, Svetlana Nemoljajeva (frizerka/hair-dresser), Sandu Kogan produkcija/production Odessa Film Studios Frantsuzskyy blvd., 33 Odessa, Ukraine T +380 (482) 33-95-25 format/format DCP, ~b/b&w dol`ina/running time 96' festivali, nagrade (izbor)/ festivals, awards (selection) nagrada Ruske filmske akademije za najbolj{o igralko/The Russian Academy of Cinema Award for Best Actress 1988

Avtorska, formalno inventivna provincialna melodrama, cenzurirana zaradi dvoumnega sporo~ila in na~ina pripovedi, ki kr{i konvencije socialnega realizma – zlasti zapoved, da mora biti film lahko razumljiv {irokim mno`icam.

Nadja in njena prijateljica zapustita rodno vas in se odpravita v veliko mesto. Nekje na poti Nadja najde slu`bo v ~ajnici, kjer spozna o~arljivega mladega geologa Maksima, ki brezskrbno vandra po pode`elju. Nadja se zaljubi vanj, a Maksim `e ima izbranko, lokalno funkcionarko Valjo, zgledno sovjetsko `ensko, uspe{no, a zelo konvencionalno ter ujeto v svet pravil in zapovedi.

Nadja pusti delo v ~ajnici in se odpravi naprej. Ko se znajde v Valjinem mestu, jo ta zaposli kot svojo slu`kinjo in jo nastani v svojem domu. Ne ve pa, da si nekaj delita – Maksima.

"Vedno ustvarjam z dodelanim scenarijem, med snemanjem pa je {e vedno mogo~e dodajati ali spreminjati stvari. Nekaj sli{im ali vidim; nekdo o ne~em nekaj pripomni ali pa se razvijejo posebne asociacije. Film se nenehno spreminja in poglablja. Vedno za~nem s strogo kronolo{ko zgodbo, napisano v prozi. Ko gre film skozi vse razli~ne stopnje (priprava scenarija, vaje, snemanje in navsezadnje monta`a) –, vsa kronologija izgine in delo sestavljajo samo pogledi v preteklost, spomini, ponovitve in asociacije."

(Kira Muratova)

prodaja/world sales Dov`enko center 1 Vasylkivska St Kyiv, Ukraine T +380 (44) 257 76 98

After leaving their native village, Nadia and her friend travel to the big city. Along the way, Nadia gets a job in a teashop and meets Maxim, a charming young geologist of whom she becomes enamoured. Maksim has traded his comforts and lovely wife Valya, a model Soviet woman who is imprisoned in her successes and conventionalities, for the freedom of the open field. When Nadia ends up in Valya's town, the latter hires her as a maid and puts her up at her house not being aware that they have Maxim in common.

"I always work with an elaborate screenplay, but during the shoot it remains possible to add or change things. I hear something, see something; someone remarks about something, or particular associations develop. The film is constantly changing and deepening. I always start with a strictly chronological story, written in prose. When the film has been through all the various stages – script preparation, rehearsals, shooting, and finally, editing – all chronology has disappeared, and the film consists only of flashbacks, memories, repetitions, and associations."

(Kira Muratova)

Kira Muratova

filmografija (izbor)/filmography (selection)

Rojena leta 1934 ruskim star{em v Soroci, takrat v Romuniji, danes Moldavija. Diplomirala je iz re`ije na Filmskem in{titutu Gerasimov v Moskvi.

Zaradi izrazito avtorskega re`ijskega sloga, ki ni ustrezal normam socialnega realizma, je pogosto prihajala navzkri` z oblastjo. Njeni filmi so bili prikazani na najpomembnej{ih mednarodnih festivalih, nemalokrat pa so bili tudi nagrajeni. Umrla je leta 2018.

1962 1964 1971 1983 1989 1994 1997 2001 2002 2004 2007 2009 2012

Born in 1934 in Soroca, Romania (present-day Moldova). Graduated in directing from the Gerasimov Institute of Cinematography in Moscow in 1959. Muratova's films came under constant criticism of the Soviet officials due to her idiosyncratic film language that did not comply with the norms of socialist realism. Her films screened at major international festivals and won several awards. She died in 2018.

98

A film d'auteur and a formally innovative provincial melodrama, Brief Encounters was censored for its ambiguous message and a narrative style that did not conform to the conventions of socialist realism – particularly the requirement that cinema be intelligible to the masses.

U krutogo jara (By the Steep Ravine) Na{ ~estnji hleb (Our Honest Bread) Dolgje provodi (The Long Farewell) Sredi serjih kamnej (Among Grey Stones) Asteni~eskij sindrom (The Asthenic Syndrome) Uvle~enja (Passions) Tri istori (Three Stories) Vtorostepenje ljudi (Second Class Citizens) ^ehovskije motivi (Chekhov's Motifs) Nastroj{~ik (The Tuner) Dva v odnom (Two in One) Melodija dlja {armanki (Melody for a Street Organ) Ve~noje vozvra{~enje (Eternal Homecoming)

Retrospektiva Retrospective

Rajski sade`i Ovoce stromu rajských jíme Fruit of Paradise ^e{koslova{ka Czechoslovakia 1970

Vera Chytilová

Avantgardna, nadrealisti~na priredba svetopisemske zgodbe je zadnji film Vere Chytilove, preden so oblasti svobodomiselni, progresivni re`iserki zaradi njene subverzivnosti in odklanjanja realizma za nekaj let prepovedale filmsko ustvarjanje.

This avant-garde, surreal re-imagining of a Biblical story is Vera Chytilova's last film before the authorities – not taking kindly to her subversiveness and rejection of realism – temporarily banned the freethinking and progressive director from filmmaking.

V rajskem vrtu luksuzne po~itni{ke vile Eva poda jabolko svojemu mo`u Josephu, ki si ravno ogleduje druge `enske gostje. Idili~ni mir zmoti sumljiv mo{ki, oble~en v rde~o `ametno obleko, ki takoj pritegne Evino pozornost. Mo{kemu je ime Robert in Eva ga za~ne odkrito osvajati, ~eprav on flirta z vsemi drugimi `enskami, le z njo ne. Joseph njeno vedenje obsoja, ~eprav se pozneje izka`e, da je tudi on `enskar. Eva med brskanjem po Robertovi sobi najde kov~ek z rde~im `igom s {tevilko 6. Kmalu zatem izve, da je na pohodu serijski morilec, ki svoje `rtve posebej ozna~i.

Zdaj ona postane plen ...

In the Garden of Eden of an East European spa, Eva hands an apple to her husband Joseph, but he prefers ogling the other female guests. This precarious idyll is interrupted by the appearance of a suspicious man in red velvet, Robert. Eva is compelled towards him, while for his part Robert is put on guard by her presence and flirts with every woman in the community.

Josef resents her wanderings but is later revealed to be a philanderer himself. Then Eva finds a red stamp of the number 6 in Robert’s room. The next scene reveals that a serial killer has been leaving a red 6 stamped on each of the victims. Now Eva becomes prey herself ...

"Film na splo{no govori o neenakosti boja med mo{kim in `ensko.

In nad vsem tem je vpra{anje sposobnosti sprejemanja resnice – ali bi oseba res lahko `ivela z ideali, ki jih zagovarja, si jih bila sposobna zaslu`iti. Veliko la`je se je za resnico boriti, kot `iveti z njo." (Vera Chytilová)

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 1970, Chicago 1970

"Generally speaking, the film is about the unequal struggle between a man and a woman. And over it all is the question of the ability to accept the truth – whether a person would actually be capable of living with the ideals they advocate, capable of deserving them. It is much easier to fight for truth than to live with it." (Vera Chytilová)

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, ki ji je za nekaj let celo prepovedala 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. For several years 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.

re`ija/directed by Vera Chytilová scenarij/screenplay Vera Chytilová, Ester Krumbachová fotografija/cinematography Jaroslav Kucera glasba/music Zdenek Liska monta`a/editing Miroslav Hájek igrajo/cast Jitka Nováková (Eva), Karel Novak (Josef), Jan Schmid (Robert), Julius Albert (starec/old man), Alice Auspergerová (teta/aunt), Jan Klusák (Robert), Helena Ruzicková (pavovka/ peacock woman), Ludek Sobota (mo{ki z ro`ami/man with flowers), Josef Somr (Josef), Jaromír Vomácka (stric/uncle) producenti/producers Pavel Jurácek, Jaroslav Kucera, Bronka Ricquier produkcija/production Barrandov Film Studios Kri`eneckého nám. 322/5 152 00 Praha 5 – Hlubo~epy Czech Republic E production�barrandov.cz & Elisabeth Films format/format 35 mm, barvni/colour dol`ina/running time 99'

1987 1988 1998 2001 2006

prodaja/world sales Národní filmový archiv Male{ická 12 130 00 Praha 3 Czech Republic E e-podatelna�nfa.cz

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 sídliste (Prefab Story/Monta`na zgodba) Kalamita (Calamity/Nezgoda) Faunovo velmi pozdní odpoledne (The Very Late Afternoon of a Faun/ Popoldne nekega Favna) Vlci bouda (Wolf's Hole/Vol~ji brlog) Sasek a královna (The Jester and the Queen/Nor~ek in kraljica) Pasti, pasti, pasticky (Trap, Trap, Little Trap/Past, past, mala past) Vyhnání z ráje (Expulsion from Paradise/Izgon iz raja) Hezké chvilky bez záruky (Pleasant Moments)

99

Retrospektiva Retrospective

Ma{karada Ma{karada Masquerade Bo{tjan Hladnik

Jugoslavija (Slovenija) Yugoslavia (Slovenia) 1971

re`ija/directed by Bo{tjan Hladnik scenarij/screenplay Vitomil Zupan fotografija/cinematography Jure Pervanje glasba/music Bojan Adami~ monta`a/editing Mari~ka Pirkmajer igrajo/cast Vida Jerman (Dina), Igor Galo (Luka), Miha Baloh (Gantar), Blanka Jenko (Petra), Bojan [etina (sin/son), Iva ^ade`, Marjan Feren~ak, ^rt Kanoni, Franjo Kumer, Sonja Lamber{ek, Rok Lasan, Miran Miljkovi~, Branko Oman, Rado Prajs, Tone Sojer produkcija/production Viba film & Kinematografi Zagreb format/format DCP, barvni/colour dol`ina/running time 86'

Najbr` najdrznej{i slovenski film, cenzuriran zaradi nazornih eroti~nih prizorov. Film so v okrnjeni razli~ici premierno predvajali leta 1971 v Kinu Sloga, v polni dol`ini pa {ele 1982.

Dina, mlada `ena direktorja Gantarja, je v svojem zakonu sicer povsem zadovoljna in dobro preskrbljena, a se vseeno zagleda v postavnega {tudenta Luko. Da bi se lahko pogosteje dobivala z njim, ga najame kot in{truktorja svojega sina. Gantar zasluti, da se med Dino in Lukom nekaj plete in na zabavi, kjer je tudi Luka s svojim dekletom Petro, od `ene izsili priznanje. Gantar v pijanem besu posili Dino, nakar se ga Luka loti s pestmi, nato pa razo~aran odide in se s Petro odpravi na potovanje. Po njegovi vrnitvi se dogodki zapletejo, Luka pa se znajde usodno razpet med dve `enski, ki ga ljubita.

"Stanley Kubrick je leta 1962 posnel Lolito, ki so jo propagirali s sloganom: 'Le kako jim je sploh uspelo posneti Lolito?' Kubrick kakopak ni videl Hladnikove Ma{karade. ^e bi jo, bi Hladniku dejal, naj jo propagira s sloganom: 'Le kako jim je sploh uspelo posneti Ma{karado?'" (Marcel [tefan~i~ Jr., Mladina)

prodaja/world sales Slovenski filmski center Miklo{i~eva cesta 38 1000 Ljubljana, Slovenija E info�film-center.si

Possibly the boldest Slovenian film of all time, Masquerade was banned for over a decade for its sexually explicit content.

An abridged version received its premiere in 1971 at Kino Sloga, while the final cut was not released until 1982.

Although perfectly satisfied and well-provided for in her marriage, Dina, young wife of a sports director Gantar, falls for a handsome student Luka. In order to spend as much time with him as possible, she hires him as a tutor to her son. Gantar senses that there's something going on between them. At a party attended

by Luka and his girlfriend, Petra, Gantar forces a confession from his wife. When Gantar rapes Dina in a drunken frenzy, Luka punches him. Downhearted, he then leaves the party and goes on a trip with Petra. Things get complicated upon his return, and Luka finds himself fatefully torn between the two women who love him.

"Stanley Kubrick made Lolita in 1962 – and it was promoted with the slogan: 'How did they even manage to film Lolita?' Of course, Kubrick didn't see Hladnik's Masquerade. If he had, he would have suggested to Hladnik that he promotes it using the slogan 'How did they ever manage to film Masquerade?'"

(Marcel [tefan~i~ Jr., Mladina)

Bo{tjan Hladnik

filmografija (izbor)/filmography (selection)

Rojen leta 1929 v Kranju, umrl 2006. Velja za pionirja slovenskega modernisti~nega filma. [tudiral je na ljubljanski AGRFT, nato pa je {olanje nadaljeval v Franciji, kjer je ve~krat asistiral Claudu Chabrolu. Njegov Ples v de`ju so slovenski filmski kritiki razglasili za film stoletja. Je prejemnik Badjurove nagrade in viktorja za `ivljenjsko delo ter zlatega reda Republike Slovenije za zasluge pri filmskem ustvarjanju.

1954 1961 1962 1963 1968 1971 1972 1976 1979 1985

Born in Kranj, Slovenia, in 1929, died in 2006. Considered a pioneer of Slovenian modernist film, he studied at the Academy of Theatre, Radio, Film and TV in Ljubljana before continuing his studies in France where he assisted Claude Chabrol on several of his films. Slovenian film critics chose Dancing in the Rain as the best Slovenian film of the century. He is the recipient of the Badjura Award, the Viktor Award for Lifetime Achievement, and the Golden Order of the Republic of Slovenia for his achievements in filmmaking.

100

Pravljica o ljubezni (kratki/short) Ples v de`ju (Dancing in the Rain) Pe{~eni grad (Sand Castle) Erotikon – Karussell der Leidenschaften Son~ni krik (The Sunny Whirlpool) Ma{karada (Masquerade) Ko pride lev (The Lion Is Coming) Bele trave Ubij me ne`no (Kill Me Gently) ^as brez pravljic (Times Devoid of Fairy Tales)

Retrospektiva Retrospective

Obljubljene de`ele Promised Lands Promised Lands Francija France 1974

Susan Sontag

re`ija/directed by Susan Sontag scenarij/screenplay Susan Sontag fotografija/cinematography Jeri Sopanen monta`a/editing Florence Bocquet, Annie Chevalley nastopata/with Yoram Kaniuk, Yuval Ne'eman producentka/producer Nicole Stéphane produkcija/production Ancinex format/format 16 mm, barvni/colour dol`ina/running time 87'

Susan Sontag je svoj edini dokumentarec posnela ob izteku jomkipurske vojne leta 1973. Portret Izraela, kjer se kre{ejo nasprotujo~e si sile militarizma, potro{ni{tva in verske nacionalne identitete, so izraelske oblasti prepovedale.

Pogled na Izrael ob koncu tritedenske jomkipurske vojne in po njej, ko so arabske dr`ave pod vodstvom Egipta in Sirije presenetljivo napadle in skoraj porazile Izrael, je eklekti~en kola` podob zoglenelih trupel vojakov v pu{~avi, opusto{enih pokrajin, starodavnih sinagog in mo{ej, voja{kih cestnih patrulj, vernikov ob Zidu `alovanja, sodobnih trgovin in kinodvoran, pa tudi muzeja vo{~enih lutk, ki podaja uradno zgodovino Izraela. Skozi te podobe pronicata nasprotujo~a si komentarja dveh uveljavljenih izraelskih mislecev – pisca in zagovornika pravic Palestincev Yorama Kaniuka, ki v Izraelu opa`a premik od socialisti~nih korenin k potro{ni{ki kulturi po ameri{kem vzoru, ter fizika Yuvala Ne'emana, ki neizogibnost konflikta med narodoma pripisuje endemi~nemu arabskemu antisemitizmu.

"Obljubljene de`ele nikakor ne pove vse resnice o sporih na Bli`njem vzhodu, o oktobrski arabsko-izraelski vojni, o ozra~ju v Izraelu danes, o vojni, izgubi, spominu in pre`ivetju. Vendar film pove resnico. Tako je zares bilo. Povedati resnico (~etudi samo njen drobec) je `e ~udovit privilegij, odgovornost, dar."

(Susan Sontag)

Susan Sontag's sole documentary project, shot in Israel in the final days of the 1973 Yom Kippur War. Banned by Israeli authorities upon its initial release, Promised Lands is a visceral portrait of a land torn apart by the competing values of militarism, consumerism and religious national identity.

Flooded with strikingly rendered observations of a modern Israel, Promised Lands is replete with war-torn desert landscapes, ancient synagogues and mosques, roadside military patrols, devotions at the Wailing Wall, modern shops and movie theatres and a wax museum depicting official state history.

Intercut throughout the harshly beautiful imagery are conflicting commentaries by two noted Israeli thinkers: Yoram Kaniuk, who sees Israel shifting from its socialist roots to an American-style commercial culture; and physicist Yuval Ne'eman, who argues that the endemic nature of Arab anti-Semitism makes continual conflict between these historically related peoples inevitable.

"Promised Lands hardly tells all the truths there are about the conflicts in the Middle East, about the October War, about the mood of Israel right now, about war and loss and memory and survival. But what the film does tell is true. It was like that. To tell the truth (even some of it) is already a marvellous privilege, responsibility, gift." (Susan Sontag)

Susan Sontag

filmografija/filmography

Rojena v New Yorku leta 1933. [tudirala je na Univerzi v Chicagu, na Harvardu, Oxfordu in Sorbonni. Uveljavila se je kot pisateljica, filozofinja, profesorica, politi~na aktivistka in tudi kot filmarka. S pogosto provokativnimi idejami je postala mednarodna kulturna in intelektualna ikona. Vrsto svojih esejev je posvetila filmskim temam, {tirikrat se je tudi sama preizkusila kot re`iserka. Umrla je leta 2004.

1969 1971 1974 1984

Duet for Cannibals Brother Carl Promised Lands (Obljubljene de`ele) (dok./doc.)

Per un viaggio in Italia: Letter from Venice (TV)

prodaja/world sales Gaumont 30 Avenue Charles de Gaulle Neuilly-Sur-Seine 92200 France E louise.paraut�gaumont.com

Born in New York City in 1933, educated at the University of Chicago, Harvard, Oxford and the Sorbonne. A novelist, philosopher, essayist, political activist, film director and playwright, Sontag's frequently controversial ideas made her a global cultural and intellectual icon. Among her essays, which are by far her most complete aesthetic achievement, many are devoted to film. She made four films. She died in 2004.

101

Retrospektiva Retrospective

Vzpon Vosho`denje The Ascent Larisa [epitko

re`ija/directed by Larisa [epitko scenarij/screenplay Juri Klepikov, Larisa [epitko, Vasilij Bikov (roman/novel) fotografija/cinematography Vladimir ^uhnov, Pavel Lebe{ev glasba/music Alfred [nitke monta`a/editing Valerija Belova igrajo/cast Boris Plotnikov (Sotnikov), Vladimir Gostjuhin (Ribak), Sergej Jakovljev (va{ki stare{ina/ village elder), Ljudmila Poljakova (Dem~iha), Viktorija Goldentul (Basja), Anatolij Solonicin (Portnov), Marija Vinogradova (`ena va{kega stare{ine/village elder's wife), Nikolaj Sektimenko (Sta{) producentka/producer Larisa [epitko produkcija/production Trete Tvorcheskoe Obedinenie & Mosfilm format/format 35 mm, ~b/b&w dol`ina/running time 105' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 1977 – najbolj{i film/Best Film, nagrada FIPRESCI/FIPRESCI Prize, nagrada OCIC/OCIC Award, nagrada Interfilm, posebna omemba/ Interfilm Award, Special Mention

Sovjetska zveza (Ukrajina) Soviet Union (Ukraine) 1976

Zadnji, z berlinskim zlatim medvedom nagrajeni film Larise [epitko, pretresljivo hvalnico neupogljivosti ~love{kega duha, je oblast ozna~ila za "religiozno parabolo z misti~nim pridihom", cenzuri pa je u{el, ko je do solz ganil funkcionarja komunisti~ne partije.

Belorusija, zima 1942. Borca partizanskega odreda Sotnikov in Ribak se odpravita iskat `ivila zase in za svoje soborce. Na domu nem{kega poveljnika najdeta ovco, a njuna vrnitev v tabor prestre`e nem{ka patrulja. V ujetni{tvu Sotnikov ostane na~elen – kljub mu~enju ne popusti in ne odgovarja na vpra{anja svojih krvnikov. Ribak pa meni, da bi morala za pre`ivetje narediti vse, kar je v njuni mo~i. Le eden od njiju bo ostal `iv. A za kak{no ceno?

"Vsi filmi so osebni, vendar je bila `elja po snemanju Vzpona tako reko~ fizi~na potreba. Ne posneti tega dela bi bilo zame pogubno.

Nobenega drugega gradiva nisem na{la, s katerim bi lahko podala svoj pogled na `ivljenje, na smisel `ivljenja." (Larisa [epitko)

prodaja/world sales Mosfilm Cinema Concern Mosfilmovskaya Str. 1 119 991 Moscow, Russia E international�mosfilm.ru

Exploring conscience, duty and spiritual heroism, Larisa Shepitko's last film won the Golden Bear Award at the Berlin Film Festival. Although the authorities believed that a "religious parable with a mystical tinge" was shot instead of a partisan story, the film escaped censorship after having moved the First Secretary of the Communist Party to tears.

In a freezing cold World War II winter, two pro-Soviet partisans – Sotnikov and Rybak – head off to find food for themselves and their compatriots. Their return to camp is interrupted when they are arrested by a Nazi patrol. Taken prisoner, Sotnikov stands true to his beliefs and refuses to answer any questions despite torture. Rybak on the other hand argues that they should simply do whatever they can to stay alive. One of them will live, but at a very heavy cost.

"All motion pictures are personal but the desire to film The Ascent was almost a physical need. If I had not shot this picture, it would have been a catastrophe for me. I could not find any other material with which I could transmit my views on life, on the meaning of life." (Larisa Shepitko)

Larisa [epitko

filmografija (izbor)/filmography (selection)

Rojena leta 1938 v Artemivsku, Ukrajina, nekdanja Sovjetska zveza.

Diplomirala je na Filmskem in{titutu Gerasimov (VGIK) in `e s prvencem Znoj osvojila vrsto nagrad. Zaradi svojega avtorskega, izrazito humanisti~nega, misti~nega sloga je imela pogosto te`ave s sovjetskimi cenzorji. Posnela je pet igranih celove~ercev. Umrla je na vrhuncu uspe{ne poti, leta 1979, v prometni nesre~i med pripravami na svoj naslednji film.

1960 1962 1963 1966 1967

Born in 1938 in Artemivsk, Ukraine, former Soviet Union. She graduated from the Gerasimov Film Institute (VGIK) and won several awards for her debut film Heat. Owing to her truly individual voice, an expressly humanistic, mystical style, Shepitko often faced censure from Soviet authorities. She made five fictional feature films. She died at the height of her career, in 1979, in a car crash while scouting locations for her next film.

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Slepoj kuhar (kratki/short) @ivaja voda (kratki/short) Znoj (Heat) Krilja (Wings) Na~alo nevedomogo veka – segment Rodina elektri~estva (Beginning of an Unknown Era – segment Motherland of Electricity) 1969 V trinadtsatom ~asu no~i (13 PM) (TV) 1971 Ti i ja (You and Me) 1976 Vosho`denje (The Ascent/Vzpon)

Retrospektiva Retrospective

Zlo~in v Cuenci El crimen de Cuenca The Cuenca Crime [panija Spain 1979

Pilar Miró

Po resni~nih dogodkih posneti film o dveh po krivem obsojenih mo`eh je kulturni minister zaradi raz`alitve civilne garde prepovedal, re`iserki je grozila zaporna kazen. Ko je sodi{~e opustilo primer na podlagi dejstva, da je bil sistem cenzuriranja v demokrati~ni [paniji opu{~en, pa je podrl vse rekorde gledanosti. [panija, 1913. Nekega dne v vasi Osa de la Vega skrivnostno izgine pastir Jose Maria. Vsi so prepri~ani, da sta ga umorila njegova kolega Gregorio in Leon. Osumljenca trdita, da sta nedol`na, a pod pritiskom brutalnega mu~enja priznata krivdo.

Obsojena sta na osemnajst let zapora. Po ve~ kot desetletju se izka`e, da je Jose Maria, domnevna `rtev, `iv in zdrav ter `ivi v sosednjem mestu ...

Based on real events, the film focuses on two village men convicted of a crime they did not commit. As the film's depiction of torture referenced the brutality of Franco's police, the premiere was blocked, and the director prosecuted for slandering the Civil Guard. When finally released, years after censorship was abolished, it became the highest grossing film in Spanish box-office history.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 1980, Chicago 1983

Spain, 1913. José María, a shepherd from the village of Osa de la Vega, disappears mysteriously. Everyone believes he has been murdered by his two companions, Gregorio and León. Although they declare themselves to be innocent, they end up confessing to the crime under torture and are condemned to 18 years in prison.

More than a decade later, Jose María, the man they are supposed to have killed, turns up alive.

Pilar Miró

filmografija (izbor)/filmography (selection)

Rojena 1940 v Madridu, umrla 1997. [panska re`iserka in scenaristka, katere filmi so bili predvajani na najpomembnej{ih mednarodnih festivalih, med drugimi v Benetkah, Cannesu in Berlinu, kjer je leta 1992 za film Beltenebros prejela srebrnega medveda za izjemen umetni{ki dose`ek. Zelo veliko se je ukvarjala tudi s televizijsko re`ijo, med letoma 1986 in 1989 pa je bila {e generalna direktorica {panske nacionalne televizijske hi{e RTVE.

1976 1979 1980 1982 1986 1991 1993 1996 1996

Born in 1940 in Madrid, died in 1997. A Spanish screenwriter and film director whose films screened at major international festivals, including Venice, Cannes and Berlin. In 1992, her film Beltenebros won the Silver Bear for an outstanding artistic contribution at the Berlin International Film Festival. She devoted much of her career to TV directing and was Director General of RTVE from 1986 to 1989.

re`ija/directed by Pilar Miró scenarij/screenplay Pilar Miró, Lola Salvador Maldonado, Juan Antonio Porto (ideja/idea) fotografija/cinematography Hans Burmann glasba/music Antón García Abril monta`a/editing José Luis Matesanz igrajo/cast Amparo Soler Leal (Varona), Héctor Alterio (Isasa), Daniel Dicenta (Gregorio), José Manuel Cervino (León), Mary Carrillo (Juana), Francisco Casares (Taboada), Eduardo Calvo (Amo), José Vivó (Don Rufo) producent/producer Alfredo Matas produkcija/production In-Cine Compañía Industrial Cinematográfica Manuel Montilla 1 28016, Madrid, Spain & Jet Films format/format DCP, barvni/colour dol`ina/running time 88'

La petición (The Request) El crimen de Cuenca (The Cuenca Crime/Zlo~in v Cuenci) Gary Cooper que estás en los cielos Hablamos esta noche Werther Beltenebros (Prince of Shadows) El pájaro de la felicidad El perro del hortelano (The Dog in the Manger) Tu nombre envenena mis sueños (Your Name Poisons My Dreams)

prodaja/world sales Egeda E victoria.bernal�egeda.com

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Retrospektiva Retrospective

Zasli{anje Przesłuchanie Interrogation Poljska Poland 1982

Ryszard Bugajski re`ija/directed by Ryszard Bugajski scenarij/screenplay Ryszard Bugajski, Janusz Dymek fotografija/cinematography Jacek Petrycki glasba/music Danuta Zankowska monta`a/editing Katarzyna Maciejko-Kowalczyk igrajo/cast Krystyna Janda (Tonia Dziwisz), Adam Ferency (Tadeusz Morawski), Janusz Gajos (major Zawada "Kapielowy"), Agnieszka Holland (komunistka/communist Witkowska), Anna Romantowska (Mira Szejnert), Bo`ena Dykiel (Honorata), Olgierd Łukaszewicz (Konstanty Dziwisz) producent/producer Tadeusz Drewno produkcija/production Zespół Filmowy X format/format DCP, barvni/color dol`ina/running time 118' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 1990 (najbolj{a igralka/Best Actress), Chicago 1990 (najbolj{a re`ija/Best Director)

Film, ki z brutalno nazornostjo prika`e mehanizme komunisti~nega nasilja, si je kljub prepovedi prikazovanja na Poljskem utrl pot med ob~instvo na ilegalnih VHS-kasetah in postal kulten leta pred svojo kinematografsko premiero.

Stalinisti~na Poljska, 1951. Tonia, pevka v neuglednem kabaretu, se nekega ve~era po sporu z mo`em napije z dvema neznancema. Mo{ka jo opito odpeljeta v zapor, ne da bi ji povedala zakaj. Po~asi se ji posveti, kako bi jo oblast rada prisilila, da la`no pri~a proti svojemu nekdanjemu ljubimcu ter ga obto`i izdaje in vohunjenja. ^eprav Tonia vztraja pri njegovi nedol`nosti, jo meseci poni`evanj, gro`enj in mu~enja privedejo na rob norosti ...

"Po Zasli{anju sem prejel pismo zapornice v stalinisti~ni dobi, ki je menila, da sem vse jetnike komunizma raz`alil z upodabljanjem agentov tajne policije kot ljudi s ~love{kimi odzivi. /.../ Obenem pa svet ni ~rno-bel. Poleg podajanja zanimive zgodbe morate zlo prikazati humanizirano." (Ryszard Bugajski)

prodaja/world sales Filmoteka narodowa ul. Wałbrzyska 3/5 02–739 Warszawa Poljska

Despite the film's controversial initial reception and subsequent banning, Interrogation – a brutally explicit rendering of the mechanisms of communist violence – garnered a cult fanbase through the circulation of illegally taped VHS copies.

Stalinist Poland in the early 1950s. Tonia Dziwisz, a thirdrate cabaret singer, tours the country to perform for rather undiscerning audiences. One day, after a quarrel with her husband, two men make her drunk and take her, intoxicated, to what turns out to be a prison. Slowly, it dawns on her that what the interrogators want is for her testimony to incriminate her former lover as a traitor and spy. Refusing to sign the interrogation report, Tonia is threatened, tortured and humiliated, all of which pushes her to the brink of madness…

"After Interrogation I got a letter from a woman prisoner from the Stalinist era, who thought I had offended all the prisoners of communism by showing secret police agents as people with human reactions. /.../ Meanwhile the world is not black and white. In addition to telling an interesting story you have to show evil in a humanized way." (Ryszard Bugajski)

Ryszard Bugajski

filmografija (izbor)/filmography (selection)

Rojen leta 1943 v Var{avi, umrl 2019. Na Univerzi v Var{avi je {tudiral filozofijo in na Narodni filmski {oli v Lod`u re`ijo. Zaradi filma Zasli{anje je bil pod drobnogledom komunisti~nih oblasti, zato je v osemdesetih letih emigriral v Kanado, kjer je snemal popularne tv-serije. Na Poljsko se je vrnil leta 1995. Je tudi avtor knji`ne predelave in dveh romanov, ki nadaljujeta zgodbo njegovega kultnega filma Zasli{anje.

1979 1980 1982 1990 1995 2009 2013 2016

Born in Warsaw in 1943, died in 2019. He studied philosophy at the University of Warsaw and directing at the National Film School in Łódz.

Persecuted by the communist authorities in the wake of Interrogation, Bugajski decided to immigrate to Canada in 1985, where he directed episodes of popular television series. He returned to Poland in 1995. Apart from a book version of his iconic film, Interrogation, he published two novels that continue the story of its protagonists.

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Kobieta i kobieta (A Woman and a Woman) Zajecia dydaktyczne (Classes) Przesłuchanie (Interrogation/Zasli{anje) Clearcut Gracze (Players) Generał Nil (General Nil) Układ zamkniety (The Closed Circuit) Za}ma (Blindness)

Retrospektiva Retrospective

Alica v mestu ~udes Alicia en el pueblo de maravillas Alice in Wondertown Kuba Cuba 1991

Daniel Díaz Torres

Atraktiven preplet komedije in hororja, absurdisti~no satiro na temo socialisti~ne birokracije, korupcije in slabega upravljanja, so kubanske oblasti po nekaj odli~no obiskanih projekcijah po hitrem postopku pospravile v bunker.

Kot junakinja Lewisa Carrolla se tudi Díaz Torresova Alica, vodja dramskih kro`kov, v odlo~ilnem trenutku `ivljenja znajde sredi pustolov{~ine. Ko odpotuje na rutinsko kulturni{ko misijo v mestece Maravillas, presene~ena ugotovi, da so tam skrajno bizarni dogodki del vsakdanjika. Alica spozna, da so prebivalci nekak{ni "padli angeli", nekdanji uradniki, neko~ zaposleni v dr`avnih slu`bah, zdaj pa obto`eni korupcije in izgnani v to ~udno mesto, ki ga ne morejo zapustiti. Ogledala postanejo vrata, cirku{ke `ivali tavajo po ulicah – zdi se, da se tu lahko zgodi karkoli, in vsi, razen Alica, so povsem sprijaznjeni z danimi okoli{~inami.

Díaz Torres creates a visual feast of absurd situations in which different film genres such as horror and Hollywoodstyle comedy combine with animation. Satirizing the inefficiency, opportunism and indolence embedded in Cuban bureaucracy, Alice in Wondertown was banned by the authorities shortly after its release.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 1991 (filmska nagrada za mir/Peace Film Prize), Chicago 1993

As with the original Lewis Carroll character, Díaz Torres's Alice, a drama teacher, embarks upon a journey at a crucial point in her life. She decides to go to Maravillas (Wondertown) to find herself, and, hopefully, to find a way to become useful to society. But Maravillas is populated by 'fallen angels', bureaucrats who used to work for the state until they were found guilty of corruption and exiled to this Purgatory. Mirrors become doors, circus animals walk the streets – it seems anything can happen, and everyone except Alice seems resigned to the situation.

"Sam ne lo~ujem med filmi, ki dajo ljudem misliti, in tistimi, ki so zabavni. /.../ Seveda obstajajo slabe komedije kot tudi slabe drame in vsakomur se film lahko ponesre~i, a to nima nobene zveze z `anrom." (Daniel Díaz Torres)

"I don't distinguish between movies that make people think and the ones that are fun. /.../ Of course, there are bad comedies, as well as bad dramas, and anyone's movie can go wrong, but it has nothing to do with genre." (Daniel Díaz Torres)

Daniel Díaz Torres

filmografija (izbor)/filmography (selection)

Rojen leta 1948 v Havani, umrl 2013. Leta 1968 je za~el delati za kubanski filmski in{titut ICAIC, sprva kot filmski kritik, nato kot asistent re`ije in nazadnje kot re`iser. Po nekaj dokumentarnih filmih se je lotil {e igranih celove~ercev, mednarodno prepoznavnost pa mu je prinesel prav film Alica v mestu ~udes. Danes velja za enega najbolj cenjenih kubanskih re`iserjev.

1976 1978 1980 1985 1986 1991

Born in Havana in 1948, died in 2013, Díaz Torres began working at the Cuban film institute ICAIC in 1968, first as a film critic and later as a director's assistant and director in his own right. After making a few documentaries, he focused on feature films. Alice in Wondertown brought him international recognition. Since the mid-1980s, Díaz Torres has been considered one of Cuba's most renowned filmmakers.

re`ija/directed by Daniel Díaz Torres scenarij/screenplay Aldo Busto Hernández, Luis Felipe Calvo Bolaños, Daniel Díaz Torres, Jesús Díaz, Eduardo del Llano fotografija/cinematography Raúl Pérez Ureta glasba/music Frank Delgado monta`a/editing Jorge Abello igrajo/cast Thais Valdés (Alica/Alica), Alberto Pujol (Ali~iin prijatelj/Alice's friend), Carlos Cruz (Pérez), Reynaldo Miravalles (diktator/The Dictator), Raúl Pomares, Jorge Losada, Idalmis del Risco producent/producer Humberto Hernández produkcija/production Instituto Cubano del Arte e Industrias Cinematográficos Calle 23, no. 1155, Entre 10 y 12 El Vedado–Municipio Plaza de la Revolución La Habana, Cuba format/format 35 mm, barvni/colour dol`ina/running time 90'

1994 1997 2001 2004 2010 2012

Granma (dok./doc.)

La casa de Mario (dok./doc.)

Los dueños del río Madero (dok./doc.)

Jíbaro Otra mujer Alicia en el pueblo de maravillas (Alice in Wondertown/Alica v mestu ~udes) Quiéreme y verás...

Tropicanita (Little Tropikana) Hacerse el sueco (Playing Swede) Una isla en la corriente (dok./doc.)

Lisanka La película de Ana (Ana's Movie)

prodaja/world sales Instituto Cubano del Arte e Industria Cinematográficos Calle 23 No. 1155 e/ 10 y 12. Plaza de la Revolución La Habana, Cuba CP. 10400 E prensa�icaic.cu

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Posve~eno Tribute

Belmondo Belmondo 110 111 112 113

Leon Morin, duhovnik Léon Morin, Priest Jean-Pierre Melville [picelj The Finger Man Jean-Pierre Melville Nori Pierrot Pierrot le Fou Jean-Luc Godard Belmondo veli~astni The Man from Acapulco Philippe de Broca

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Posve~eno Tribute

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glej str. 110/see page 110

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Posve~eno Tribute

"Monstre sacré" Anja Banko Jean-Paul Belmondo – filmski velikan, neovrgljiva zvezda in ve~na referenca, kakr{ni je v franco{~ini namenjen prav poseben izraz: "monstre sacré" ali v dobesednem prevodu "sveta po{ast". Pri Belmondu zvenita obe besedi: njegovo ime je ikoni~no zapisalo rojstvo novega vala, obenem pa kraljevalo ob naslovih francoske komercialne kinematografije vse do konca osemdesetih.

Neustavljiva privla~nost njegove lahkotne igre, svoboda gibov ter nenavaden, po vseh pravilih naravnost grd obraz s polomljenim nosom in {irokimi, mesnatimi ustnicami so za Belmonda predstavljali hkrati prekletstvo in blagoslov.

Jean-Paul Belmondo – a cinema giant, an undisputed star and ageless reference – a venerable public figure for whom the French have invented a special term: "monstre sacré" or, in literal translation, "sacred monster". Both words ring true for Belmondo: his name iconically inaugurated the French New Wave, and headlined French commercial cinema until the late 1980s. The irresistible attraction of his frivolous acting, free body movement and a unique, by any definition downright ugly, face with a broken nose and wide, fleshy lips, were both a curse and a blessing for Belmondo.

Rodil se je leta 1933 v premo`ni pari{ki dru`ini: mati je bila slikarka, o~e pa kipar in strogo zapisan visoki umetnosti. Dru`ina je nedelje pre`ivljala v Louvru, ob ve~erih pa je v salonu gostila pomembne kulturnike takratnega ~asa. @e v otro{tvu se je Belmondo navdu{il nad {portom, predvsem boksom. Ko se je pri {estnajstih odlo~il, da `eli postati igralec, so ga star{i podprli pod pogojem, da se vpi{e na konservatorij. [olanje je kon~al z bu~nimi aplavzi ob~instva ob interpretaciji enega od Molièrovih likov ter s poraznimi ocenami profesorjev, stare in zapra{ene garde, ki je uni~ila njegove sanje o uspe{ni karieri na odru Comédie-Française. Komi~nost, skorajda klovnovskost njegove interpretacije in izjemna telesnost igre sta presegala okvire takratne gledali{ke etikete.

He was born in 1933 into a wealthy Parisian family: his mother was a painter, his father a sculptor devoted strictly to high art. The family spent their Sundays in the Louvre, and hosted important cultural figures in the evenings. As a child, Belmondo developed an interest in sport, particularly boxing. When, at 16, he decided to become an actor, his parents offered to support his decision on the condition that he enter the conservatoire.

He graduated playing one of Molière's characters to thunderous applause from the audience, and earning poor grades from his professors, an old-fangled and stale circle of academicians who ruined his dreams of a successful career in the ComédieFrançaise. The comical, almost clownish approach to character interpretation and the remarkable physicality of his acting overstepped the boundaries of the then theatrical decorum.

A ravno opustitev konvencij in spontanost geste je iskal takrat {e neznani Jean-Luc Godard, ki je Belmondu ponudil glavno vlogo v svojem prvencu Do zadnjega diha (A bout de souffle, 1960) in z njim kinematografijo prelomil v modernost. Film, v katerega nista verjela ne Belmondo ne soigralka Jean Seberg, je oba ~ez no~ izstrelil med zvezde. @e v naslednjem letu je Belmondo posnel kar pet filmov, med njimi tudi Duhovnika Léona Morina. V njem JeanPierre Melville, mojster filma noir, spretno izigrava pri~akovanja in napetost teles preusmerja v idejne preobrate, medtem ko Belmondov lik duhovnika v nenavadni disonanci s svojo magnetno podobo stalno izziva pogled. V bolj klasi~ni vlogi Melville in Belmondo sodelujeta v filmu [picelj, v katerem je Belmondo ovit v ~rno-belo eleganco gangsterskega podzemlja, z zanj nenavadno, skorajda delonovsko hladnostjo in ve~no cigareto, ki non{alantno visi iz koti~ka ustnic. Belmondov uspeh v cinefilskem krogu je zakoli~ilo {e eno sodelovanje z Godardom v filmu Nori Pierrot, v katerem za`ivi v vseh barvah naivnega klovna, ki ga Godard vodi skozi {tevilne dru`beno-politi~ne reference in metafilmsko `anrsko preigravanje do njegovega nesre~nega konca.

Po nekaj neuspehih se je Belmondo odvrnil od avtorskega filma, a hitro postal zvezda akcijskih kriminalk in spektakularnih razli~ic bondiad, v katerih je ve~inoma sam izvajal vratolomne kaskaderske podvige. Eden teh filmov, ki ga odlikuje parodi~en `anrski obrat, je tudi Belmondo Veli~astni, v katerem je Belmondo v neizprosno komi~ni gesti upodobil pisatelja {und romanov, ki fikcijo vse bolj prepleta z resni~nostjo in se zliva s svojo persono, superagentom Bobom. A ko se je konec osemdesetih `anr francoske akcijske kriminalke iz~rpal, se je tudi ob~instvo naveli~alo Belmonda. Zanj je to pomenilo novo prilo`nost in zgodila se veli~astna vrnitev na odrske deske, s ~imer je kot igralec kon~no izpolnil svoje mladostni{ke sanje. Belmondo je do zadnjega diha `ivel polno, z vso silo in ve~nim nasmehom, ki je neovrgljivo zaznamoval filmsko zgodovino.

But it was the break with convention and spontaneous body movement that the then still unknown Jean-Luc Godard was looking for. Belmondo was offered the lead role in Breathless (A bout de souffle, 1960), Godard’s debut film that ushered in modernist cinema. The film that neither Belmondo nor his costar Jean Seberg believed in rocketed both of them to stardom overnight. As early as the following year, Belmondo made five films, including Léon Morin, Priest. Its director, Jean-Pierre Melville, a master of film noir, deftly confounds expectations and redirects sexual tension into conceptual twists, while Belmondo's priest, curiously in dissonance with his magnetic allure, constantly attracts the gaze. Playing a more classic role in Melville's Le Doulous, Belmondo is cloaked in the gangster underworld’s black-and-white elegance, sporting an atypical, almost Alain Delon-esque coldness and a cigarette dangling permanently and casually from his lower lip. Belmondo's success with cinephiles was solidified by another Godard film, Pierrot le Fou. Here, the actor comes alive in all the complexities of a naïve clown, with Godard leading the hero through several socio-political references and metacinema genre juggling to the bitter end.

After a few setbacks, Belmondo was deterred from auteur cinema, but quickly became a star of action crime films and spectacular versions of James Bond movies, mostly performing death-defying stunts himself. One of these films, distinguished by a parodic genre reversal, is The Man from Acapulco (Le Magnifique), in which Belmondo gives a relentlessly comic portrayal of a pulp novelist who increasingly blends fiction and reality and morphs into the lead character from his own book, super-spy Bob. But as the French action crime genre ran its course in the late 1980s, the audiences also became satiated with Belmondo. He saw a new opportunity in this, and a glorious return to the stage ensued, thus finally fulfilling his youthful dream of a career in theatre. Belmondo lived his life breathlessly, to the fullest, and with a permanent smile on his face that left an indelible mark on the history of film.

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Posve~eno Tribute

Leon Morin, duhovnik Leon Morin pretre Léon Morin, Priest Jean-Pierre Melville

Francija, Italija France, Italy 1961

re`ija/directed by Jean-Pierre Melville scenarij/screenplay Jean-Pierre Melville, Béatrix Beck (knjiga/book) fotografija/cinematography Henri Decaë glasba/music Martial Solal monta`a/editing Jacqueline Meppiel, Nadine Trintignant, Marie-Josèphe Yoyotte igrajo/cast Jean-Paul Belmondo (Léon Morin), Emmanuelle Riva (Barny), Irène Tunc (Christine Sangredin), Patricia Gozzi (France), Nicole Mirel (Sabine Levy), Gisèle Grimm (Lucienne), Marco Behar (Edelman), Monique Bertho (Marion) producenta/producers Georges de Beauregard, Carlo Ponti produkcija/production Rome Paris Films format/format 35 mm, ~b/bw dol`ina/running time 117' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 1961 (nagrada mesta Benetke/Award of the City of Venice), London 1961

Jean-Paul Belmondo v subtilno ~utni, za Melvillov film nezna~ilni vlogi privla~nega duhovnika, ki ga pritegne mlada, spolno frustirana vdova.

Jean-Paul Belmondo delivers a subtly sensual performance as the hot-under-the-collar priest Léon Morin. Unusual, to say the least, is the role director Jean-Pierre Melville assigns to the French superstar.

Mlada vdova Barny `ivi v francoskem okupiranem mestecu, h~erko pa je zaradi varnosti poslala na pode`elje. Zaposlena je kot lektorica in ~uti mo~no privla~nost do vodje pisarne, Sabine.

Nekega dne kljub svojemu ateizmu vstopi v spovednico in naleti na o~eta Leona Morina, ki ni prav ni~ presene~en nad njenim nasprotovanjem katoli{ki veri, temve~ v Barny vidi sorodno du{o, ki ji mora pomagati na pravo pot. Barny si izposodi nekaj knjig, njuna sre~anja in pogovori pa postajajo vse pogostej{i in vse bolj sta si naklonjena …

The French actor plays a devoted man of the cloth who is desired by all the women of a small village in Nazi-occupied France.

He finds himself most drawn to a sexually frustrated widow, a religious skeptic whose relationship with her confessor turns into a confrontation with both God and her own repressed desire.

Rather than disconcerted by her opposition to the Catholic faith, the priest sees a kindred spirit in the woman and provides spiritual guidance to assist her in finding the right path.

Jean-Pierre Melville

filmografija (izbor)/filmography (selection)

Rojen leta 1917 v Parizu. Po vojni se je za~el kot popoln samouk ukvarjati z re`ijo, postal je neodvisni producent in zaslovel z minimalisti~nimi filmi noir, navdihnjenimi z ameri{kimi gangsterskimi filmi iz tridesetih in {tiridesetih let 20. stoletja. Sodeloval je z igralci, kot so Alain Delon, Jean-Paul Belmondo in Lino Ventura, ter s svojo neodvisnostjo in prepoznavnim slogom mo~no vplival na pojav francoskega novega vala. Umrl je leta 1973.

1949 Le Silence de la Mer (Ti{ina morja) 1950 Enfants terribles (The Terrible Children/Grozni otroci) 1953 Quand tu liras cette lettre (When You Read This Letter/Ko bo{ brala to pismo) 1956 Bob le Flambeur (Hazarder Bob) 1961 Leon Morin pretre (Léon Morin, Priest/O~e Leon Morin) 1962 Le Doulos (The Finger Man/[picelj) 1963 L'aîné des Ferchaux (Magnet of Doom) 1967 Le samouraï (Bledoli~ni ubijalec) 1968 Le Deuxième Souffle (Drugi dih) 1969 L'Armee des ombres (Army of Shadows/Armada senc) 1970 Le Cercle Rouge (Rde~i krog) 1972 Un flic (A Cop/Policaj)

V sodelovanju:

prodaja/world sales Tamasa Distribution 5 rue de Charonne Ile-de-France 75011 Paris, France E contact�tamasadistribution.com

Born in Paris in 1917. After the war, he started out in the film industry as a self-taught director, became an independent producer and rose to fame with minimalist film noirs inspired by the 1930s and '40s American gangster films. He worked with prominent actors, most notably Alain Delon, Jean-Paul Belmondo and Lino Ventura. His independence and distinctive style were highly instrumental in the emergence of the French New Wave Cinema. He died in 1973.

110

Posve~eno Tribute

[picelj Le Doulous The Finger Man Francija, Italija France, Italy 1962

Jean-Pierre Melville

Mra~ni Melvillov film noir, v katerem imajo vsi liki dva obraza. Labirint neuravnove{enega sveta, v katerem vladajo malopridne`i, ki ne znajo pre`iveti druga~e kot s sleparstvom, la`mi in prevarami.

Maurice in Silien sta prijatelja iz kriminalnega podzemlja. Maurice je pravkar prestal zaporno kazen, a takoj spet pride v navzkri`je z zakonom – najprej ubije prijatelja in mu ukrade dragulje, potem pa se loti priprav na ve~ji rop, pri katerem naj bi mu pomagal Silien. Policija ju med ropom preseneti in Maurice med begom ustreli in{pektorja Salignarija, Silienovega znanca. Maurice za~ne sumiti, da je Silien policijski ovaduh. Da bi re{il svojo kriminalno ~ast, mora Silien policaje odvrniti od Mauricea, zato posku{a uboj Salignarija naprtiti lastniku kluba Nutthecchiu ...

"Moj film ~rpa iz mitologije ameri{kih gangsterskih filmov tridesetih let, ki sledi zelo specifi~nemu kodeksu ravnanja, kot vesterni. Pravzaprav je kodeks gangsterskega filma enak vesternu: junak mora biti najhitrej{i, najpametnej{i, najbolj{i od vseh." (Jean-Pierre Melville)

Melville's film noir peopled by two-faced characters. A world out of joint ruled by villains who thrive on fraudulence, dishonesty and deceit.

Maurice and Silien are friends inhabiting the criminal underworld.

Safe-cracker Silien has the reputation of a 'doulos' because of his friendship with a cop. Maurice is just out of prison and now on the run again because his latest robbery was interrupted by Silien's inspector friend, whom Maurice shoots dead before escaping. Silien is suspected of fitting him up, so he realises that to redeem his criminal honour, he must get the law off Maurice's back by framing an alternative suspect for the cop killing: creepy club-owner Nutthecchio.

"My film draws on the mythology of American gangster films of the '30s, which follows a very distinct code of behaviour, like Westerns. Actually, the code is the same in gangster films as in Westerns: the hero must be the quickest, the smartest, the best of them all." (Jean-Pierre Melville)

Jean-Pierre Melville

filmografija/filmography

Glej stran 110/See page 110.

Glej stran 110/See page 110.

re`ija/directed by Jean-Pierre Melville scenarij/screenplay Jean-Pierre Melville, Pierre V. Lesou (knjiga/book) fotografija/cinematography Nicolas Hayer glasba/music Paul Misraki monta`a/editing Monique Bonnot, Michele Boehm igrajo/cast Jean-Paul Belmondo (Silien), Serge Reggiani (Maurice Faugel), Jean Desailly (komisar/ commissioner Clain), René Lefèvre (Gilbert Varnove), Philippe March (Jean), Fabienne Dali (Fabienne), Monique Hennessy (Thérèse), Carl Studer (Kern), Jacques De Leon (Armand), Paulette Breil (Anita), Philippe Nahon (Remy), Michel Piccoli (Nuttheccio) producenta/producers Georges de Beauregard, Carlo Ponti produkcija/production Rome-Paris Film & C.C. Champion format/format 35 mm, ~b/b&w dol`ina/running time 108' festivali, nagrade (izbor)/ festivals, awards (selection) Mar del Plata 1963

V sodelovanju:

prodaja/world sales Tamasa Distribution 5 rue de Charonne Ile-de-France 75011 Paris, France E contact�tamasadistribution.com

111

Posve~eno Tribute

Nori Pierrot Pierrot le Fou Pierrot le Fou Francija, Italija France, Italy 1965

Jean-Luc Godard re`ija/directed by Jean-Luc Godard scenarij/screenplay Jean-Luc Godard, Lionel White (knjiga/book) fotografija/cinematography Raoul Coutard glasba/music Antoine Duhamel monta`a/editing Françoise Collin igrajo/cast Jean-Paul Belmondo (Ferdinand Griffon – Pierrot), Anna Karina (Marianne Renoir), Graziella Galvani (Maria), Roger Dutoit, Samuel Fuller producenta/producers Georges de Beauregard, Dino De Laurentiis produkcija/production Films Georges de Beauregard format/format 35 mm, barvni/colour dol`ina/running time 110' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 1965, nagrada BFI za najbolj inovativen film/BFI Award for the Most Original Film 1965

Igriv romanti~ni kriminalni film mojstra Godarda, ki prepoznavne `anrske poteze preme{a z razmi{ljanjem o literaturi, filmu, umetnosti in `ivljenju nasploh.

A playful romantic crime film by the inimitable French auteur, Pierrot le Fou blends genre conventions with reflections on literature, cinema, art and life.

Ferdinand Griffon, zdolgo~aseni pripadnik malome{~anske elite, se po~uti ujetega v nesre~en zakon. Ko v Parizu sre~a svoje nekdanje dekle, otro{ko varu{ko Marianne, se v hipu odlo~i zapustiti dru`ino. Z Marianne se zate~eta v njeno stanovanje, kjer najdeta mo{ko truplo. Ferdinand ugotovi, da so Marianne za petami pripadniki tajne desni~arske organizacije, ki se bori proti osvoboditvi Al`irije izpod francoske kolonialne oblasti.

S kabrioletom ubitega mo{kega in popolnoma brez denarja se z Marianne, ki mu vseskozi pravi Pierrot, odpravita proti morju.

Ferdinand Griffon is unhappily married. After attending a mindless party full of shallow discussions in Paris, he feels a need to escape and decides to run away with ex-girlfriend Marianne, leaving his wife and children and bourgeois lifestyle. Following Marianne into her apartment and finding a corpse, Ferdinand soon discovers that Marianne is being chased by OAS gangsters.

Marianne and Ferdinand go on a crime spree from Paris to the Mediterranean Sea in the dead man's car.

"Pred dvema letoma ali tremi me je prevevalo ob~utje, da je vse `e narejeno, da ni ~esa ve~ ustvariti. /.../ Ivan Grozni je bil ustvarjen, prav tako Na{ vsakdanji kruh. Snemaj filme o ljudstvu, so mi dejali; vendar je bil film Mno`ica `e posnet, zakaj se lotiti predelave? Skratka, bil sem pesimisti~en. Po Pierrotu tega ne ~utim ve~. Da. Vse je treba posneti – govoriti o vsem. Vse je {e treba ustvariti." (Jean-Luc Godard)

prodaja/world sales Studio Canal 1 Place du Spectacle Issy-Les-Moulineaux Cedex 92863 Paris, France E pauline.sainthilaire�studiocanal. com

"Two or three years ago I felt that everything had been done, that there was nothing left to do today. /.../ Ivan the Terrible had been made, and Our Daily Bread. Make films about the people, they said; but The Crowd had already been made, so why remake it?

I was, in a word, pessimistic. After Pierrot, I no longer feel this.

Yes. One must film everything – talk about everything. Everything remains to be done." (Jean-Luc Godard)

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

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.

112

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)

Posve~eno Tribute

Belmondo veli~astni Le Magnifique The Man from Acapulco Philippe de Broca

Romanti~na akcijska komedija Philippa de Broce, v kateri Belmondo v dvojni vlogi obubo`anega pisca vohunskih romanov in juna{kega bondovskega lika do`ivlja napete romanti~ne prigode na obali Tihega oceana.

François pi{e svoj novi vohunski roman, za katerega jemlje navdih iz lastnega `ivljenja. Njegov junak je, za razliko od Françoisa, samozavesten in inteligenten tajni agent Bob Sinclair. Tokrat se znajde v Mehiki, kjer mu na pomo~ prisko~i zapeljiva Tatjana, ki mo~no spominja na Françoisovo sosedo, mlado sociologinjo Christine. Na eksoti~nih pla`ah Acapulca ju napade horda sovra`nikov pod vodstvom zloglasnega Karpova, vodje albanske tajne slu`be in dolgoletnega Bobovega sovra`nika ...

Francija, Italija, Mehika French, Italy, Mexico 1973

Philippe de Broca's romantic action comedy about an impoverished writer who turns out pulp novels, and about a glamorous James Bond-type of hero thrown into thrilling adventures on the Pacific coast. Jean-Paul Belmondo plays both roles with as much verve and style.

Francois, a reclusive novelist, becomes the lead character from his own book, the dashing spy-hero Bob Saint-Clair. Francois is dragged into his latest espionage case. The enticing Tatyana, who uncannily resembles Francois' beautiful neighbour, young sociologist Christine, comes to his aid in Mexico. With Christine's help the author can save the world from his editor, who has been transformed into dastardly secret agent Karpof, Bob's longtime enemy. Together, our duo gets caught in a hilarious whirlwind of chases, confrontations and mutual attraction.

Philippe de Broca

filmografija (izbor)/filmography (selection)

Rojen leta 1933 v Parizu, Francija. Kot asistent si je nabiral izku{nje ob dveh mojstrih francoskega novega vala, Claudu Chabrolu in Francoisu Truffautu.

V {tirih desetletjih je posnel ve~ kot trideset celove~ercev, med njimi {tevilne uspe{nice v `anru zabavnih akcijskih pustolov{~in in romanti~nih komedij.

Umrl je leta 2004.

1960 1961 1962 1964 1966 1970 1972 1973 1979 1988 1997 2003

Born in 1933 in Paris, France. He worked as an assistant for Claude Chabrol and Francois Truffaut, two leading New Wave names. Over the course of four decades, he directed over thirty full-length feature films, including the highly successful adventure movies and romantic comedies. He died in 2004.

re`ija/directed by Philippe de Broca scenarij/screenplay Philippe de Broca, Jean-Paul Rappeneau, Vittorio Caprioli fotografija/cinematography René Mathelin glasba/music Claude Bolling monta`a/editing Henri Lanoë igrajo/cast Jean-Paul Belmondo (Bob Saint-Clar, François Merlin), Jacqueline Bisset (Tatjana/Tatiana, Christine), Vittorio Caprioli (Karpof, Charron), Hans Meyer (polkovnik/colonel Collins), Monique Tarbès (ga./Mrs. Berger), Mario David (policist/policeman), Bruno Garcin (Pilu), Raymond Gérôme (general Pontaubert), Jean-Pierre Rambal (predavatelj/the lecturer) producenti/producers Georges Dancigers, Alexandre Mnouchkine, Jean-Paul Belmondo produkcija/production Les Films Ariane & Mondex Films & Cerito Films format/format 35 mm, barvni/colour dol`ina/running time 94'

Les jeux de l'amour (The Love Game) L'amant de cinq jours (Five Day Lover) Cartouche L'homme de Rio (That Man from Rio/Mo` iz Ria) Le roi de coeur (King of Hearts) Les caprices de Marie (Give Her the Moon/Podari ji luno z neba) Chère Louise Le Magnifique (The Man from Acapulco/Belmondo veli~astni) Le Cavaleur Chouans!

Le bossu (On Guard/Grbavec) Viper au poing (Viper in the Fist/Ka~a v pesti)

prodaja/world sales Tamasa Distribution 5 rue de Charonne 75011 Paris, France E contact�tamasadistribution.com

113

114

Evropa na kratko Europe in Short

Tekmovalni program Competitive Programme 1. sklop Section 1 116 Maalbeek Maalbeek Ismaël Joffroy Chandoutis Tovari{ Tito, moja dedi{~ina Comrade Tito, I Inherit Olga Kosanovi} Kazenski strel Penalty Shot Rok Bi~ek Igra The Game Roman Hodel 117 Normalno Normal Julie Caty 2. sklop Section 2 Enakono~je Equinox Daria Kasperek Delo dobrih Nemcev Good German Work Jannis Alexander Kiefer Otrok mo~erad The Salamander Child Théo Degen Steakhouse Steakhouse [pela ^ade` 118 Zgrabi jih Grab Them Morgane Dziurla-Petit Altötting Altötting Andreas Hykade 3. sklop Section 3 Naya Naya Sebastian Mulder Stric Tudor Uncle Tudor Olga Lucovnicova 119 Poslednji dan patriarhata The Last Day of Patriarchy Olmo Omerzu Plavalec Swimmer Jonatan Etzler Arka Arka Natko Stipani~ev

115

Evropa na kratko Europe in Short

Tekmovalni program Competitive Programme

maalbeek

Past Perfect

Kazenski strel

Tovari{ Tito, moja dedi{~ina

Tekma

1. sklop Section 1

Maalbeek

Kazenski strel

Francija France 2020

Hrva{ka, Slovenija Croatia, Slovenia 2021

re`ija/directed by Ismaël Joffroy Chandoutis scenarij/screenplay Ismaël Joffroy Chandoutis, Perrine Prost fotografija/cinematography Pierre de Wurstemberger, Ismaël Joffroy Chandoutis kontakt/contact wouter�squareeyesfilm.com format/format DCP, barvni/colour dol`ina/ running time 15'

re`ija/directed by Rok Bi~ek scenarij/screenplay Rok Bi~ek fotografija/ cinematography Fabio Stoll igrajo/cast Gabrijel Dolenec, David Ivanovi}, Karlo @ganec, David [afari}, Jakov Feher, Simon Herperger, Radovan Ko~ila kontakt/contact rok.bicek�gmail.com format/format DCP, barvni/colour dol`ina/running time 15'

Sabine je pre`ivela napad na postajo metroja Maalbeek v Bruslju 22. marca leta 2016, a se dogodka ne spominja. Film si prizadeva rekonstruirati manjkajo~e podobe te medijsko odmevne tragedije.

Prijatelja pre`ivita popoldne na nogometnem igri{~u in sanjarita o igranju za lokalno mo{tvo. Vendar pa imajo sanje svojo ceno. Ko njuno igro zmoti skupina starej{ih fantov, eden za~uti prilo`nost, da se doka`e, medtem ko drugi sluti nekaj zlove{~ega.

Maalbeek Maalbeek

Survivor of the attack on Maalbeek metro station on 22 March 2016 in Brussels, Sabine is searching for the missing pieces of an over-mediatised event of which she has no recollection.

Tovari{ Tito, moja dedi{~ina Genosse Tito, ich erber Comrade Tito, I Inherit

Nem~ija, Avstrija Germany, Austria 2021 re`ija/directed by Olga Kosanovi} scenarij/screenplay Olga Kosanovi} fotografija/cinematography Olga Kosanovi} kontakt/contact info�refreshingfilms.com format/format DCP, barvni/colour dol`ina/ running time 27'

Dom je zapletena stvar, dedi{~ina je lahko breme in Tito postane simbol ne~esa, kar je neko~ obstajalo. Filmski pregled tistega, kar je ostalo.

Home is complicated, heritage may be a burden, and Tito becomes a symbol of something that once existed – a filmic examination of what remains.

116

Kazneni udarac Penalty Shot

Two best friends spend an afternoon on a football field, dreaming of making it onto the local team. However, dreams come with a price: when a group of older boys interrupts their game, one of them sees it as an opportunity to prove himself, while the other one senses something more sinister is at play.

Tekma

Das Spiel The Game [vica Switzerland 2020 re`ija/directed by Roman Hodel scenarij/screenplay Roman Hodel fotografija/cinematography Lukas Gut, Ramón Königshausen, Kezia Zurbrügg kontakt/contact inga.diev�ouatmedia.com format/format DCP, barvni/colour dol`ina/running time 17'

@vi`g pi{~alke. Na tribunah postaja vse glasneje. Igralci se besno prito`ujejo. Komentatorja spremljata dogajanje na igri{~u.

V sredi{~u vsega je sodnik. Stadion ga opazuje. Zdaj se mora odlo~iti.

A whistle. It gets loud in the spectator stands. The players protest angrily. The commentators follow the action on the field. In the middle of it, the referee. The whole stadium watches him. Now he has to decide.

Evropa na kratko Europe in Short

Normalno

Delo dobrih Nemcev

Enakono~je

Otrok mo~erad

Steakhouse

Normalno

Delo dobrih Nemcev

Francija France 2020

Nem~ija Germany 2020

re`ija/directed by Julie Caty scenarij/screenplay Julie Caty animacija/ animation Julie Caty kontakt/contact ron�sacrebleuprod.com format/ format DCP, barvni/colour dol`ina/running time 11'

re`ija/directed by Jannis Alexander Kiefer scenarij/screenplay Jannis Alexander Kiefer fotografija/cinematography Adam Graf kontakt/ contact sales�interfilm.de format/format DCP, barvni/colour dol`ina/ running time 14'

Normal Normal

Bogat dedi~ Dany svojo eksistencialno praznino zapolnjuje z nebrzdanim u`ivanjem ~arobnega pra{ka – droge s psihedeli~nim in uni~ujo~im u~inkom. V trenutku odtegnitve sre~a Karla Marxa, ki mu namigne, naj uni~i kapitalizem, ~e `eli re{iti ~love{tvo.

Kakorkoli `e, Dany se odzove in se spremeni v superjunaka.

When Dany, a rich heir making up for his existential emptiness by the unbridled consumption of Magic'Powder – a drug with psychedelic and annihilating effects – meets Karl Marx by chance when going through withdrawal, the latter enjoins him to destroy capitalism in order to save the world of men. For better or for worse, Dany yields to his request and turns into a superhero.

2. sklop Section 2

Enakono~je Równonoc Equinox

Kollegen Good German Work

Va{ka obrtnika Uli in Didi v svoji delavnici izdelujeta svastike in se ~udita nenavadnim pri{lekom.

Two craftspeople, Uli and Didi, are working on a swastika in their workshop somewhere between rural idyll and village dreariness, wondering about the strange newcomers to the village.

Otrok mo~erad L'enfant salamandre The Salamander Child Belgija Belgium 2020 re`ija/directed by Théo Degen scenarij/screenplay Théo Degen fotografija/cinematography N'gare Falise igrajo/cast Florian Villez, Elsa Blero,Vincent Villez kontakt/contact elations.exterieures�insas.be format/format DCP, barvni/colour dol`ina/running time 26'

Poljska Poland 2021 re`ija/directed by Daria Kasperek scenarij/screenplay Daria Kasperek fotografija/cinematography Michal Modlinger igrata/cast Weronika Asinska, Dorota Kielkowicz, Dawid Ptak kontakt/contact office�studioindeks.pl format/format DCP, barvni/colour dol`ina/running time 22'

Enakono~je – ~as, ko sta dan in no~ enako dolga. Vonj po vla`ni zemlji. Zvok morja. Veter. Obdobje najpomembnej{ih sre~anj in slovesov. Popotovanje proti lastnemu bistvu `ivljenja.

Equinox – the time when day equals night. The smell of damp earth. The sound of the sea. Wind. The time of the most important meetings and final goodbyes. A journey towards your own essence of life.

Petnajstletni Florian je prepri~an, da lahko skozi ogenj govori z mrtvimi. Zaradi njegovih prepri~anj ga imajo sova{~ani za ~udaka.

Nekega dne ga okli~ejo za po{ast in tedaj po{ast tudi postane.

At the age of 15, Florian thinks he can communicate with the dead through fire. That belief makes him the weirdo in his home village. One day, by dint of being called a monster, he becomes one.

Steakhouse Steakhouse Steakhouse

Slovenija, Nem~ija, Francija Slovenia, Germany, France 2021

117

Evropa na kratko Europe in Short

Tekmovalni program Competitive Programme

V{teto v ceno

Zgrabi jih

Naya

Altötting

re`ija/directed by [pela ^ade` scenarij/screenplay Gregor Zorc animacija/animation Zarja Menart, Anka Ko~evar, [pela ^ade`, Clémentine Robach glasova/voices Maru{a Majer, Marko Mandi} kontakt/contact mail�finta.si format/format DCP, barvni/colour dol`ina/running time 10'

Zrezek `e ve~ dni le`i v marinadi. Ponev je vro~a. Franc je ravno prav la~en. Lizo pa so v slu`bi presenetili z rojstnodnevno zabavo.

Ji bo uspelo pravo~asno priti domov?

The steak has been marinating for a few days now. The pan is heated. Franc’s stomach is rumbling. But Liza's co-workers surprise her with a birthday party. Will she be home in time?

Atric Tudor

Veste, ko sem bil majhen, sem se zaljubil v Devico Marijo. Zgodilo se je v majhnem bavarskem mestu Altötting.

You know, when I was a boy, I fell in love with the Virgin Mary. It happened in a little Bavarian town called Altötting.

3. sklop Section 3

Naya Naya Naya

Nizozemska The Netherlands 2021

Zgrabi jih Grab Them Grab Them

re`ija/directed by Sebastian Mulder scenarij/screenplay Sebastian Mulder fotografija/cinematography Amos Mulder kontakt/contact wouter�squareeyesfilm.com format/format DCP, barvni/colour dol`ina/ running time 24'

[vedska Sweden 2019 re`ija/directed by Morgane Dziurla-Petit scenarij/screenplay Morgane Dziurla-Petit fotografija/cinematography Filip Lyman nastopa/cast Evalena Ljung-Kjellberg kontakt/contact mf�premium-films.com format/ format DCP, barvni/colour dol`ina/running time 13'

Dokumentarni film spremlja Nayo, z GPS-ovratnico ozna~eno volkuljo, ki je prehodila pot med Vzhodno Nem~ijo in Belgijo. Po stotih letih je to prvi volk, ki se je naselil v Belgiji. Naya postane medijska senzacija, njeno navzo~nost pa zaznamuje skrivnostni zaplet.

[estdesetletna Sally si `eli le sre~e in ljubezni, a izpolnitev `elja ji prepre~uje fizi~na podobnost z novoizvoljenim ameri{kim predsednikom. Svetovni sloves in dejanja norega politika postanejo za to osamljeno `ensko hudo `ivljenjsko breme.

A documentary following Naya, a wolf that walked from East Germany to Belgium tagged with a GPS collar. The first wolf in Belgium in 100 years, she suddenly makes headlines – but her presence takes a mysterious turn.

60-year-old Sally is longing for happiness, and love. Lately her searching has been complicated by the fact that she resembles the newly-elected American president. One man's crazy tour around the world is a lonely woman's heavy burden to bear.

Altötting Altötting Altötting

Nem~ija, Kanada, Portugalska Germany, Canada, Portugal 2020 re`ija/directed by Andreas Hykade scenarij/screenplay Andreas Hykade animacija/animation Elena Walf Andreas Hykade Anselm Pyta Orion Schweitl kontakt/contact studio�filmbilder.de format/format DCP, barvni/colour dol`ina/running time 11'

118

Stric Tudor Nanu Tudor Uncle Tudor

Belgija, Portugalska, Mad`arska Belgium, Portugal Hungary 2020 re`ija/directed by Olga Lucovnicova scenarij/screenplay Olga Lucovnicova fotografija/cinematography Olga Lucovnicova kontakt/ contact info.sintlukas�luca-arts.be format/format DCP, barvni/colour dol`ina/running time 20'

Kamera zajema intimne detajle in idili~ne prizore, za katere se zdi, da pripadajo drugemu obdobju: zrele ~e{nje, ~rno-bele fotografije in dru`inska hi{a na pode`elju, polna brezskrbnih

Evropa na kratko Europe in Short

Poslednji dan patriarhata

Plavalec

otro{kih spominov {tevilnih generacij. Ostarele tete se spominjajo preteklosti, z njimi pa na vpra{anja re`iserke odgovarja tudi stric Tudor. Korak za korakom ga re`iserka soo~a s travmati~nim dogodkom, ki ga je zakrivil sam.

Arka

Plavalec Badaren Swimmer

[vedska Sweden 2020

In intimate close-ups the camera captures an idyllic scene that seems to belong to a different era: ripe cherries, black-and-white photographs and a summerhouse full of seemingly carefree childhood memories of several generations. Old aunties talk about the past and Uncle Tudor, too, answers the filmmaker's questions. Little by little, she confronts him with her trauma, for which he is responsible.

Poslednji dan patriarhata Poslední den patriarchátu The Last Day of Patriarchy

Slovenija, ^e{ka Slovenia, Czech Republic 2020 re`ija/directed by Olmo Omerzu scenarij/screenplay Petr Pýcha, Olmo Omerzu fotografija/cinematography Luká{ Milota igrajo/cast Eli{ka Krenková, Franti{ek Nemec, Vojtech Vondrá~ek kontakt/contact lea�salaudmorisset.com format/format DCP, barvni/colour dol`ina/ running time 16'

Nina je nose~a z Jakubom, ki jo danes predstavi svoji dru`ini.

Vsi so zbrani v bolni{nici ob postelji umirajo~ega dedka, ki Nino preseneti s svojim odzivom – videti ho~e njene prsi. Naj usli{i poslednjo patriarhovo `eljo?

Nina is pregnant by Jakub. Today, he introduces her to his family. They're all gathered in the hospital at the bedside of his grandfather. Nina is faced with the surprising reaction of the dying relative: he wants to see her breasts. Should the patriarch's last wish be granted?

re`ija/directed by Jonatan Etzler scenarij/screenplay Jonatan Etzler fotografija/cinematography Nea Asphäll igrajo/cast Pontus Liedberg, Tove Wiréen, Victor Iván kontakt/contact sales�interfilm.de format/format DCP, barvni/colour dol`ina/running time 13'

Policija vstopi v bazen in plavalcu uka`e, naj pride iz vode, da ga lahko aretirajo. Plavalec se z ukazom policistov ne strinja.

The police arrive at an indoor swimming pool and order a man to vacate the pool so he can be arrested, but the man refuses.

Arka Arka Arka

Hrva{ka Croatia 2019 re`ija/directed by Natko Stipani~ev scenarij/screenplay Natko Stipani~ev, Ma{a Seni~i}, Damir Juri~i} animacija/animation Natko Stipani~ev, Pavao Stanojevi} kontakt/contact vanja�bonobostudio.hr format/format DCP, barvni/colour dol`ina/running time 15'

Veli~astna ~ezoceanska kri`arka pluje po morju.

A majestic transoceanic cruise liner sails the seas.

119

Spremljevalni program Accompanying Programme

Podoba – Glasba Image – Music Matic Majcen

MTV pri {tiridesetih

40 Years of MTV

1. avgust 1981 je za glasbeni video ravno tako pomemben, kot je bil 28. december 1895 za film. Podobno kot je film obstajal `e pred prvo javno projekcijo bratov Lumière v Parizu, je bil tudi glasbeni video `e pred za~etkom oddajanja MTV-ja razmeroma uveljavljen. A dogodki, ki so se zgodili na ta dva datuma, so tako za eno kot drugo formo v tok pognali kolesje razvoja na vseh ravneh, ki ga ni bilo ve~ mogo~e zaustaviti.

Oba dogodka imata {e eno skupno lastnost: da je njuno podo`ivljanje pre`eto z izkrivljeno mitologijo. V primeru bratov Lumière pogosto sli{imo pretirane anekdote, da so gledalci kri~ali in be`ali iz dvoranice v Salon Indien, ko so videli Prihod vlaka na postajo Ciotat (film, ki ga tisti ve~er sploh nista vrtela). Podobno se tudi za sekvenco, v kateri je astronavt zapi~il MTV-jevo zastavo na Luno in je na zaslon udaril komad Video Killed The Radio Star skupine Buggles, intuitivno zdi, kot da se je revolucija nezmotljivo odvila prav v tistih nekaj minutah. V resnici pa je vojna za globalni vpliv tega kanala trajala leta in je bila pre`eta s hudimi boji, med katerimi bi lahko vse skupaj tudi padlo v vodo. Ironi~no zgodovinsko dejstvo je, da tistih ikoni~nih prvih minut MTV-ja v `ivo ni videl skorajda nih~e, kajti kanal je bil leta 1981 tako minoren in obskuren, da je bila verjetnost njegove ume{~enosti v kabelsko shemo podobna zadetku na lotu. Manj znano je denimo tudi, da je bilo oddajanje `e po nekaj minutah za~asno prekinjeno zaradi tehni~ne okvare. In nenazadnje se je prebojno vpeljevanje `anrov, kakr{en je hip hop, na tej postaji za~elo {ele v drugi polovici osemdesetih z oddajo Yo! MTV Raps. Do tedaj je bil MTV izrazito belski kanal (celo do razse`nosti rasizma), usmerjen v pop in rock glasbo za predmestno in urbano ob~instvo.

A prav ti porodni kr~i so imeli nepri~akovano pozitivno posledico.

Ko je MTV za~el oddajati, so video klipe zaradi pomanjkanja ponudbe jemali z vseh vetrov, ve~inoma je {lo zgolj za posnete studijske in koncertne performanse. MTV pa je bil prva medijska platforma, na kateri so se tovrstni glasbeni kratki filmi soo~ili med sabo, kar je spro`ilo srdit boj za to, da bi zalo`be in glasbeniki svoje videe naredili bolj{e, bolj zanimive, bolj izvirne. In to je bil tisti revolucionarni premik – ideja, da bi za snemanje videa k sodelovanju povabili uveljavljene televizijske in filmske re`iserje, ne pa zgolj snemalce, ki so tisti dan stali za kamero na dnevni izmeni. V nadaljnjem poteku osemdesetih in devetdesetih let je prav ta ideja dosegla vrhunec v razmahu avtorske videospotovske ustvarjalnosti, ki je pogosto imela ogromen vpliv povprek celotne globalne pop kulture.

Ob 40. obletnici MTV-ja je zato pomembno zavedanje, kako veliko je ta kanal naredil za glasbeni video, kakr{nega danes gledamo v povsem druga~nih okoli{~inah na spletnih platformah, kakr{na je YouTube. Res, s spletom in digitalizacijo smo izgubili centraliziran sistem distribucije, ki je iz videov delal instanten in vseobse`en globalni fenomen, a namesto tega smo dobili izredno demokratizirano, bogato, {iroko in razpr{eno ponudbo, ki je ohranila vso spremljajo~o ustvarjalno zmogljivost. Videospotovske mojstrovine lahko danes vzniknejo kjerkoli: lahko gre za pop izvajalca na veliki zalo`bi in z velikim re`iserskim imenom, lahko pa za majhen, neodvisen, doma narejen video, ki ga nadarjen najstnik posname na telefon. Vznemirljivo je `iveti v ~asu, ko je ustvarjalnost tako raznovrstna in dosegljiva, da lahko vznikne na povsem nepri~akovanih krajih. Na{a naloga v tej postemtivijevski dobi je tako predvsem ta, da se potrudimo pogledati mimo trmastih spletnih algoritmov, kako bi odkrili nove preboje, ki se skriti pred o~mi dogajajo onkraj komercialnih in ideolo{kih predal~kov.

The date 1 August 1981 is just as important for music video as 28 December 1895 was for cinema. Much like film existed before the Lumière brothers' first public showing in Paris, the music video led a relatively established existence before MTV began broadcasting. But the events that unfolded on these two dates irreversibly accelerated the far-ranging development of both formats.

Both events have another thing in common: their reconstruction is imbued with distorted mythology. In the case of the Lumière brothers, an exaggerated anecdote is often related that spectators, on seeing L'arrivée d'un train en gare de La Ciotat (this film was not even showing that night), started screaming and running out of the theatre to Salon Indien. Similarly, MTV's opening sequence of a shuttle launch, an astronaut plating an MTV flag on the moon followed by Buggles' Video Killed the Radio Star, intuitively seems to have unmistakably launched a revolution in those few minutes.

The truth of the matter is, however, that efforts to spread this channel's influence all over the globe took years, and ran the risk of failure. An ironic historical fact is that almost nobody saw those iconic first live minutes of MTV, because in 1981 the channel was so marginal and obscure that the likelihood of its being included in a cable-TV scheme equalled the odds of winning the lottery.

It is also little known that broadcasting was suspended after the initial few minutes due to a technical failure. And, ultimately, this station didn't start its revolutionary promotion of genres like hip hop until the second half of the 1980s with Yo! MTV Raps. Until then, MTV was a distinctly white channel (even to the extent of racism), focused on pop and rock music for suburban and urban audiences.

However, it was these launch problems that unexpectedly produced a positive outcome. When MTV began broadcasting, music videos – due to their scarcity – were sourced from the four corners of the earth and mostly included just recorded studio and concert acts.

MTV, however, was the first media platform on which short music clips of this kind were contrasted and compared in a showcase, which sparked a heated rivalry among publishers and musicians to make these videos even better, more interesting, more original. And that was the legendary revolutionary shift – the idea of inviting established TV and film directors to work on a video, and not simply engaging the cameramen who were operating the camera that day. In the 1980s and 1990s, it was this idea that helped fuel a boom in music-video creativity, which often hugely impacted pop culture across the globe.

On the 40th anniversary of MTV, it is therefore important to recognize how much this channel has done for the music video, the videos we watch today in completely different circumstances on social media platforms such as YouTube. Indeed, the internet and digitisation have put an end to a centralised distribution system that made videos an instant and wide-ranging global phenomenon. Instead, what we've come by is an extremely democratised, rich, broad and dispersed supply that has retained all its inherent creative power. Music video masterpieces tend to emerge anywhere today: it could be a pop artist, a big label and a notable director, or a small, independent, home-made video shot with a smartphone by a talented teenager. It is exciting to live in times when creativity is so diverse and accessible to emerge in completely unexpected places. Our task in this post-MTV era is to try to look past the persistent online algorithms to discover new breakthroughs that, hidden from sight, exist beyond commercial and ideological categorizations.

V sodelovanju s festivalom Tresk.

In cooperation with the Tresk Festival.

120

Spremljevalni program Accompanying Programme

Hania Rani: F Major PE, 12. novembra, ob 19. uri FRI, 12 November, at 19.00 Cankarjev dom, Dvorana E1–2 Cankarjev dom, Hall E1–2

Podoba – Glasba 7. Mednarodni tekmovalni program glasbenih videospotov Javna predstavitev najbolj{ih videospotov leta

Image – Music 7th International Competitive Music Video Section Public presentation of best 2021 music videos

Monolink: The Prey (4:16) Irska, Nem~ija/Ireland, Germany, 2021 re`ija/directed by Páraic Mc Gloughlin NF: Story (5:05) ZDA/USA, 2021 re`ija/directed by Patrick Tohill, Nathan Feuerstein MYD: Let You Speak (4:18) Francija/France, 2021 re`ija/directed by Dan Carr

Hania Rani: F Major (4:56) Francija, VB, Poljska/France, GB, Poland, 2020 re`ija/directed by Neels Castillon Waze & Odyssey, George Michael, Mary J. Blige & Tommy Theo: Always (3:31) ZDA/USA, 2020 re`ija/directed by Nelson De Castro FKA twigs: Sad Day (7:34) ZDA, VB/USA, UK, 2020 re`ija/directed by Hiro Murai Kelly Lee Owens ft. John Cale: Corner Of My Sky (6:20) Norve{ka, VB/Norway, UK, 2020 re`ija/directed by Kasper Häggström Idles: War (3:08) VB/UK, 2020 re`ija/directed by Will Dohrn Duck Sauce: Mesmerize (4:28) ZDA/USA, 2020 re`ija/directed by Keith Schofield Maslo ~ernogo tmina: Nevedomi mir (3:20) Kazahstan/Kazakhstan, 2020 re`ija/directed by Aisultan Seitov

121

Spremljevalni program Accompanying Programme

Torek, 16. novembra, ob 10. uri Dvorana E1–2, Cankarjev dom Art kino mre`a Slovenije, strokovno sre~anje

Tuesday, 16 November, at 10.00 E1–2 Hall, Cankarjev dom Slovenian Art Cinema Association, expert meeting

Cinnovate

Cinnovate

Predstavitev projekta ob vzpostavitvi podpornega okolja za vpeljavo obogatene kinematografske ponudbe

Presentation of the project aimed at establishing a supportive environment for an enhanced theatrical experience

Art kino mre`a Slovenije je v letih 2021 in 2022 del evropskega projekta Cinnovate, ki raziskuje ustanavljanje nove digitalne platforme in podpornega okolja, ki bo s celo paleto novih digitalnih in fizi~nih produktov in zmogljivosti lokalnim kinom omogo~ala vpeljavo obogatene kinematografske ponudbe in izku{enj.

Partnerji v projektu so tri pomembne Evropske kino mre`e: Folkets Hus och Parker ([vedska), Access Cinema (Irska) in Art kino mre`a Slovenije, ki skupaj pokrivajo tri dr`ave ter upravljajo s kar 288 filmskimi platni. Koordinatorji projekta so izvedenci za digitalno distribucijo Rushlake Media iz Kölna in neodvisni svetovalec Jan Runge. Drugi partnerji projekta so: Event Cinema Association (Velika Britanija), Spielfabrique (Nem~ija) in IMZ International Music + Media Centre (Avstrija).

Na strokovnem sre~anju bomo predstavili glavnih pet modulov projekta: spletno ponudbo filmov, gaming in VR (virtualno resni~nost), alternativne vsebine, kino na zahtevo (Jukebox cinema) in filmsko vzgojo. Pri vsakem modulu bomo s partnerji projekta pregledali specifike modulov, predstavili stanje na posameznih podro~jih in predstavili potek projekta. kot sredstvo promocije glasbe, a tudi kot svojevrsten umetni{ki izdelek. Pogovor z gostom bo vodil Matic Majcen.

In 2021–22, Slovenian Art Cinema Association joins Cinnovate, a European cinema innovation project seeking to create a new digital platform and supportive environment that will enable local cinemas to complement the theatrical experience with a palette of new digital audience engagement and content features.

The high-profile partnership gathers three Europe's arthouse cinema networks: Folkets Hus och Parker (Sweden), Access Cinema (Ireland) and Slovenian Art Cinema Association, which jointly cover the three countries and have as many as 288 film screens at their disposal. The project coordinators are digital distribution experts, Rushlake Media Cologne, and independent consultant, Jan Runge. Other project partners: Event Cinema Association (United Kingdom), Spielfabrique (Germany) and IMZ International Music + Media Centre (Austria).

The expert meeting will outline the main five modules of the project: cinema offers online, gaming and VR (virtual reality), alternative content, on-demand cinema (Jukebox Cinema) and film education. The project partners will look at the specifics of each module, review the situation in each area and present the course of the project.

Ponedeljek, 15. novembra, ob 10. uri Dvorana E1–2, Cankarjev dom

Monday, 15 November, at 10.00 E1–2 Hall, Cankarjev dom

Re`iserke na ustvarjalni poti

Female Directors Carving Out a Space for Themselves

Predavanja, pogovori

Lectures, talks V prvem delu bomo pregledali, kaj so do danes mehki ukrepi spodbujanja uravnote`ene zastopanosti obeh spolov prinesli v nacionalno filmsko produkcijo, v drugem bomo predstavili ustvarjalnost na{ih `e uveljavljenih re`iserk in tudi mlaj{e generacije, tretji del pa bo namenjen pogovorom, kako je ustvarjati kot re`iserka v Sloveniji in drugih dr`avah.

Slovenski filmski center, javna agencija, v sodelovanju z Dru{tvom slovenskih re`iserjev in Liffom

The first part is dedicated to examining how soft measures promoting gender equality have impacted the national film production, the second part will focus on the creativity of the country's established female directors as well as the younger generation, and the third part is devoted to female experience in filmmaking in Slovenia and elsewhere.

Slovenian Film Centre, public agency, in cooperation with the Directors Guild of Slovenia and Liffe

Ponedeljek, 15. novembra, ob 15.30 Linhartova dvorana

Monday, 15 November, at 15.30 Linhart Hall

MMC premiera

MMC Premiere

Izgubljene iluzije (Lost Illusions) Re`ija: Xavier Giannoli

Lost Illusions By: Xavier Giannoli

Izgubljene iluzije, zgodbo o literarnih ambicijah in neizprosnem svetu novinarstva, literarna zgodovina uvr{~a med klju~na dela monumentalnega cikla ^love{ka komedija. Obenem je v tem romanu Balzac novinarstvo opisal kot "naj{kodljivej{o obliko intelektualne prostitucije". Ob visokoprora~unski poustvaritvi Francije 19. stoletja se bomo z gostoma iz sveta medijev pogovarjali o izvoru in naravi la`nih novic ter o statusu novinarstva v dru`bi sto osemdeset let po Balzacu.

The history of literature considers Lost Illusions, a story of literary ambitions and the merciless world of journalism, a major work in Balzac's monumental collection of interlinked novels, La Comédie humaine. At the same time, it is a novel in which Balzac denounces journalism, presenting it as "the most pernicious form of intellectual prostitution." A screening of this high-budget recreation of 19th-century France will feature a talk with guests from the world of media focusing on the roots and nature of fake news and the status of journalism in a society 180 years after Balzac.

122

Spremljevalni program Accompanying Programme

Pionirski dom na 32. Liffu

Pionirski dom at the 32nd Liffe

Sreda, 10. novembra 2021, od 16. do 18. ure Dvorana E3, Cankarjev dom

Wednesday, 10 November 2021, 16.00–18.00 E3 Hall, Cankarjev dom

Filmska delavnica

Film Workshop

Od 8. leta Na filmski delavnici bomo posneli kratek akcijski prizor, v katerem bodo imeli glavno vlogo udele`enci delavnice. Dinami~ne premike igralcev bomo posneli s kamero, pritrjeno na Gimbal. Nastale posnetke bomo na koncu zmontirali v aktivno sekvenco.

For participants aged 8 + The participants will shoot a short action scene with themselves in the lead role. The dynamic movements of the actors will be filmed using a Gimbal camera mount. The filmed material will be edited into an active sequence.

Sreda, 17. novembra 2021, od 16. do 18. ure Dvorana E3, Cankarjev dom

Wednesday, 17 November 2021, 16.00–18.00 E3 Hall, Cankarjev dom

Delavnica animiranega filma

Animated Film Workshop

Od 6. leta Na delavnici se bomo pobli`je seznanili z risano animacijo, ki jo bomo ustvarili z aplikacijo Flipaclip; nalo`ili si jo bomo na svoje telefone ali tablice. Preizkusili se bomo v klasi~ni risani tehniki kot tudi v digitalni 2D-animaciji in ju med seboj primerjali.

For participants aged 6 + The participants will learn about drawn animation and create it with the Flipaclip application; they’re going to upload the app to their Smartphones or tablets. They will try their hand at and compare both the traditional hand-drawn and the 2D digital animation techniques.

Prijave: kultura�pionirski-dom.si Applications: kultura�pionirski-dom.si

Kinotripova mladinska `irija

Kinotrip Young Jury

^lani `irije si bodo ogledali pet celove~ernih filmov iz razli~nih programskih sklopov, ki prikazujejo zgodbe njihovih (filmskih) vrstnikov oziroma se dotikajo tem, pomembnih za mlade. Med njimi bodo izbrali najbolj{ega in ga razglasili na sklepni prireditvi festivala. Na posameznih projekcijah nominiranih filmov bodo poskrbeli tudi za zanimive uvode.

Kinotripovo mladinsko `irijo letos sestavljajo tri ~lanice 6. Kinotripovega filmskega kluba, ki so sodelovale pri zasnovi in izvedbi 6. mednarodnega filmskega festivala Kinotrip: Zoja Eva Bartolj, Eneja Golob D`ananovi} in Brina Gramc.

Nominirani filmi: Morena, Kje je Venera, Atlantida, Chiara, Dogodek

Members of the Kinotrip Young Jury will see five full-length films that address issues concerning their peers, or, deal with topics relevant to young people. The Kinotrip Young Jury Award will be presented at the concluding ceremony, and pre-screening film introductions featured within the context of the Kinotrip selection.

The Kinotrip Young Jury comprises three members of the 6th Kinotrip Film Club who have helped curate and organise the 6th Kinotrip International Film Festival: Zoja Eva Bartolj, Eneja Golob D`ananovi} and Brina Gramc.

Nominated films: Murina, Looking for Venera, Atlantis, A Chiara, Happening

123

Kazalo Index

izvirni naslovi original titles A A Chiara 47 Alicia en el pueblo de maravillas 105 Altötting 118 Amparo 60 Arka 119 Atlantide 10 Atlas ptáku 24 Azor 11 B Babardeala cu bucluc sau porno balamuc 37 Badaren 119 Bebia, a mon seul désir 88 Benedetta 25 Bergman Island 26 Berts dagbok 83 Brighton 4th 89 Buco, Il 51 C Casa de Antiguidades 64 Censor 75 Crimen de Cuenca, El 103 D Da chven vitsek'vet 90 Das Mädchen und die Spinne 63 Dasatskisi 92 Doulos, Le 111 Drive my Car 28 Droste no hate de bokura 76 Duke, The 40 Dyrid 30 E Eenfant salamandre, L' 117 Eevenement, L' 27 F Flukten over grensen 84 Francuz 49 French Dispatch, The 48 G Genosse Tito, ich erber 116 Ghahreman 32 Grab Them 118 Grosse Freiheit 70 Guzen to sôzô 52 H Ha'berech 46 Hytti nro 6 66 I Ich bin dein Mensch 54 Illusions perdues 29 Intranquilles, Les 36 Intregalde 50 Inventura 12 Istorija Asi Klja~inoj, kotoraja ljubila, da ne vy{la zamu` 97 J Jaddeh Khaki 17 Jallikattu 68 K Kala Azar 13 Kapa 81 Kazneni udarac 116 Kelti 65 Kollegen 117 Korotkie vstre~i 98 L Léon Morin, pretre 110 Leynilögga 77 M Maalbeek 116 Madres paralelas 42 Magnifique, Le 113 Ma{karada 100 Mein Lotta-Leben 82 Memory Box 69 Murina 15

124

slovenski naslovi slovene titles N Nanu Tudor 118 Naya 118 Në kërkim të Venerës 14 Nebesa 35 Nitram 67 Normal 117 O Olympiades, Paris, Les 13e 53 Ovoce stromu rajskych jime 99 P Petit maman 33 Piccolo corpo 19 Pierrot le Fou 112 Poslední den patriarchátu 119 Prasica, slab{alno ime za `ensko 38 Promised Lands 101 Przesluchanie 104 Q Qi qiu 61 R Ras vkhedavt, rodesac cas vukurebt? 91 Retfardighedens ryttere 31 Równonoc 117 Ryu to Sobakasu no Hime 62 S Slu`obnici 18 Spencer 39 Spiel, Das 116 Steakhouse 117 Swan Song 71 Sweet Thing 55 T Ta fang jian li de yun 16 Titane 78 Tout s'est bien passé 41 V Verdens verste menneske 34 Viridiana 96 Vortex 56 Vosho`denje 102

A Ahedino koleno 46 P Alica v mestu ~udes 105 Altötting 118 Amparo 60 Arka 119 Asjina sre~a 97 Atlantida 10 Atlas ptic 24 Azor 11 B Balon 61 R Bebia, moji edini `elji 88 S Belle: zmaj in pegasta princesa 62 Belmondo veli~astni 113 Benedetta 25 Bergmanov otok 26 [ Bertov dnevnik 83 Be`na sre~anja 98 T Brighton, ~etrta ulica 89 C Cenzorka 75 Chiara 47 D Dekle in pajek 63 V Delo dobrih Nemcev 117 Dogodek 27 Drive my Car 28 E Enakono~je 117 F Francoska depe{a 48 Francoz 49 H Hi{a spominov 64 I In potem sva zaplesala 90 Z Intregalde 50 Inventura 12 Izgubljene iluzije 29 J Jagnje 30 Jezdeci pravice 31 Junak 32 K Kaj vidimo, ko se ozremo v nebo? 91 Kala Azar 13 Kapa 81 Kazenski strel 116 Kelti 65 Kje je Venera? 14 Kupe {t. 6 66 L Labodji spev 71 Leon Morin, duhovnik 110 Luknja 51 M Maalbeek 116 Mala mama 33 Ma{karada 100 Moje `ivljenje kot Lotta 82 Morena 15 N Najbolj grozen ~lovek na svetu 34 Naya 118 Nebesa 35 Nemirni 36 Neskon~ni dve minuti 76 Nesre~ni fuk ali Nori porni~ 37 Nitram 67 Nori Pierrot 112 Normalno 117 O O naklju~ju in domi{ljiji 52 Oblak v njeni sobi 16 Obljubljene de`ele 101 Otrok mo~erad 117

Pariz, 13. Okro`je 53 Plavalec 119 Pobesneli bivol 68 Pohodi plin! 17 Policistova skrivnost 77 Poslednji dan patriarhata 119 Prasica, slab{alno ime za `ensko 38 Pravi mo{ki 54 Preko meje 84 Rajski sade`i 99 Sladka stvar 55 Slu`abniki 18 Spencer 39 Steakhouse 117 Stric Tudor 118 [katla spominov 69 [picelj 111 Tekma 116 Telesce 19 Titan 78 Tovari{ Tito, moja dedi{~ina 116 Velika svoboda 70 Viridiana 96 Vojvoda 40 Vorteks 56 Vse je bilo v redu 41 Vzpon 102 Vzporedni materi 42 Za~etek 92 Zasli{anje 104 Zgrabi jih 118 Zlo~in v Cuenci 103

Kazalo Index

angle{ki naslovi english titles A A Chiara 47 Ahed's Knee 46 Alice in Wondertown 105 Altötting 118 Amparo 60 And Then We Danced 90 Arka 119 Ascent, The 102 Asya's Happiness 97 Atlantis 10 Azor 11 B Bad Luck Banging or Loony Porn 37 Balloon 61 Beanie 81 Bebia, a mon seul désir 88 Beginning 92 Belle: The Dragon and the Freckled Princes 62 Benedetta 25 Bergman Island 26 Bert's Diary 83 Beyond the Infinite Two Minutes 76 Bird Atlas 24 Bitch, a Derogatory Term for a Woman 38 Brief Encounters 98 Brighton 4th 89 Buco, Il 51 C Celts 65 Censor 75 Cloud in Her Room, The 16 Compartment No. 6 66 Comrade Tito, I Inherit 116 Cop Secret 77 Crossing, The 84 Cuenca Crime, The 103 D Drive my Car 28 Duke, The 40 E Equinox 117 Everything Went Fine 41 F Finger Man, The 111 French Dispatch, The 48 Frenchman, The 49 Fruit of Paradise 99 G Game, The 116 Girl and the Spider, The 63 Good German Work 117 Grab Them 118 Great Freedom 70 H Happening 27 Heavens Above 35 Hero, A 32 Hit the Road 17 I I'm Your Man 54 Interrogation 104 Intregalde 50 Inventory 12 J Jallikattu 68 K Kala Azar 13 L Lamb 30 Last Day of Patriarchy, The 119 Léon Morin, Priest 110 Looking for Venera 14

re`iserji, re`iserke directors Lost Illusions 29 M Maalbeek 116 Man from Acapulco, The 113 Masquerade 100 Memory Box 69 Memory House 64 Murina 15 My Life as Lotta 82 N Naya 118 Nitram 67 Normal 117 P Parallel Mothers 42 Paris, 13th District 53 Penalty shot 116 Petit maman 33 Pierrot le Fou 112 Promised Lands 101 R Restless, The 36 Riders of Justice 31 S Salamander Child, The 117 Servants 18 Small Body 19 Spencer 39 Steakhouse 117 Swan Song 71 Sweet Thing 55 Swimmer 119 T Titane 78 U Uncle Tudor 118 V Viridiana 96 Vortex 56 W What Do We See When We Look at the Sky? 91 Wheel of Fortune and Fantasy 52 Worst Person in the World, The 34

A Akin, Levan 90 Alamat Kusijanovi}, Antoneta 15 Almodóvar, Pedro 42 Ancarani, Yuri 10 Anderson, Wes 48 Audiard, Jacques 53 B Bailey-Bond, Prano 75 Bi~ek, Rok 116 Broca, Philippe de 113 Bugajski, Ryszard 104 Buñuel, Luis 96 C Carpignano, Jonas 47 Caty, Julie 117 Chandoutis, Ismaël Joffroy 116 Chytilova, Vera 99 ^ ^ade`, [pela 117 D Degen, Théo 117 Diaz Torres, Daniel 105 Diwan, Audrey 27 Dobrachkous, Juja 88 Dragojevi}, Srdjan 35 Ducournau, Julia 78 Dziurla-Petit, Morgane 118 E Etzler, Jonatan 119 F Farhadi, Asghar 32 Fontana, Andreas 11 Frammartino, Michelangelo 51 G Giannoli, Xavier 29 Godard, Jean-Luc 112 H Hadjithomas, Joana 69 Halldorsson, Hannes Thor 77 Hamaguchi, Ryusuke 28, 52 Hansen-Love, Mia 26 Helgeland, Johanne 84 Hladnik, Bo{tjan 100 Hodel, Roman 116 Hosoda, Mamoru 62 Hykade, Andreas 118 J Jensen, Anders Thomas 31 Jóhannsson, Valdimar 30 Joreige, Khalil 69 Jude, Radu 37 K Kasperek, Daria 117 Kiefer, Jannis Alexander 117 Koberidze, Alexandre 91 Kogua{vili, Levan 89 Kon~alovski, Andrej 97 Kosanovi}, Olga 116 Kulumbega{vili, Dea 92 Kuosmanen, Juho 66 Kurzel, Justin 67 L Lafosse, Joachim 36 Lapid, Nadav 46 Larrain, Pablo 39 Lindgren, Michael 83 Lucovnicova, Olga 118 M Maksimovi}, Slobodan 81 Meise, Sebastian 70 Melville, Jean-Pierre 110, 111 Mesa Soto, Simon 60 Michell, Roger 40 Miranda Maria, Joao Paulo 64 Miro, Pilar 103 Mulder, Sebastian 118 Muntean, Radu 50

Muratova, Kira 98 N Noe, Gaspar 56 O Omerzu, Olmo 24, 119 Ostrochovsky, Ivan 18 Ozon, François 41 P Panahi, Panah 17 Pellissery, Lijo Jose 68 R Rafa, Janis 13 Rockwell, Alexandre 55 S Samani, Laura 19 Schrader, Maria 54 Sciamma, Celine 33 Sefa, Norika 14 Sinko, Darko 12 Smirnov, Andrej 49 Sontag, Susan 101 Stephens, Todd 71 Stipani~ev, Natko 119 [ [epitko, Larisa 102 T Tomovi}, Milica 65 Trier, Joachim 34 Tseden, Pema 61 V Verhoeven, Paul 25 Vollmar, Neele Leana 82 Y Yamaguchi, Junta 76 Z Zheng Lu, Xinyuan 16 Zinaji}, Tijana 38 Zürcher, Ramon 63

125

Nagrajenci Award Winners

vodomec Kingfisher Award 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 2010

Podo~nik Kynodontas, Yorgos Lanthimos

126

Nagrajenci Award Winners

zlati kolut (nagrada ob~instva) Golden Reel (Audience Award) posebni omembi/special mentions:

Na morje Alamar, Pedro González-Rubio

Potovanja vetra Los viajes del viento, Ciro Guerra 2011

Zakloni{~e Take Shelter, Jeff Nichols 2012

Klip Clip, Maja Milo{ 2013

Miele

Miele, Valeria Golino posebna omemba/special mention:

Obramba in za{~ita (Obrana in za{tita) Bobo Jel~i} 2014

Lahko no~, mamica

Goodnight Mommy, Veronika Franz, Severin Fiala 2015

Ovna

Rams, Grimur Hakonarson posebna omemba/special mention:

2000

Pot domov

Wo de fu qin mu qin, Zhang Yimou 2001

Pet minut slave

Iedereen beroemd!, Dominique Deruddere 2002

Sestre magdalenke

The Magdalene Sisters, Peter Mullan 2003

Pesem za malega razcapanca Song for a Raggy Boy, Aisling Walsh 2004

Zboristi

Les Choristes, Christoph Barratier 2005

Zveza Kebab

Kebab Connection, Anno Saul 2006

Zajtrk na Plutonu

Breakfast on Pluto, Neil Jordan 2007

Povratne steklenice Vratné lahve, Jan Sverák

Projekt stoletja The Project of the Century, Carlos M. Quintela 2016

Dobra `ena

A Good Wife, Mirjana Karanovi} posebna omemba/special mention:

Teden in en dan One Week and a Day, Asaph Polonsky 2017

Columbus

Columbus, Kogonada posebna omemba/special mention:

Arabija Araby, Affonso Uchoa, Joao Dumans 2018

Bojevnica

Kona fer i strid, Benedikt Erlingsson posebna omemba/special mention:

Ne bom ve~ luzerka My Last Year As a Loser, Ur{a Menart

Tovor

Teret, Ognjen Glavoni} 2019

Prekla

Dilda, Kantemir Balagov posebna omemba/special mention:

Angelo Angelo, Markus Schleinzer

Lara

Lara, Jan Ole Gerster 2020

Sade`i pozabe

Mila, Christos Nikou posebna omemba/special mention:

Moj jutranji smeh My Morning Laughter, Marko Djordjevi}

127

Nagrajenci Award Winners

nagrada zmaj (nagrada ob~instva) Dragon Award (Audience Award) 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 2018

Aga Aga, Milko Lazarov 2019

Vsak dan je dober dan

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 Izi, Spar Mobil, Hip mobil in Me2.

Poslana sporo~ila so obra~unana po veljavnem ceniku operaterja.

Dragon Audience Award text-message voting 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 posted 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 per 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 the operators' relevant pricelists.

Every Day a Good Day, Tatsushi Ohmori

nagrada mladinske `irije Kinotrip Young Jury Award

nagrada za najbolj{i film 360˚ Best 360˚ Film

2016

2016

Rde~a `elva

La tortue rouge, Michael Dudok de Wit 2017

Torta napad

Pokli~i me po svojem imenu

Cake Attack, Monika Janjilovi~, Maks Bernard, Tadej Anclin, Jan Uderman 2017

Jezdec

Freedom, with No Excuses, Matej Lozar, Anja ^otar, Rok Jagodnik, Uro{ Kokol, Sa{o Stojak

Call Me by Your Name, Luca Guadagnino 2018 The Rider, Chloé Zhao 2019

Medtem ko vas ni bilo

Sorry We Missed You, Ken Loach

128

Svoboda, brez izgovorov

Nagrajenci Award Winners

nagrada FIPRESCI FIPRESCI Prize 2004

^e{ke sanje ^esky sen, Filip Remunda, Vít Klusák 2005

Kaj je Iva posnela 21. oktobra 2003 [to je Iva snimila 21. listopada 2003, Tomislav Radi} 2006

Bele dlani Fehér tenyér, Szabolcs Hajdu 2007

In s kom ti seksa{?

Et toi t'es sur qui?, Lola Doillon 2008

Balast

2016

Rde~a `elva La tortue rouge, Michael Dudok de Wit 2017

Mo{ki ne jo~ejo

Men Don't Cry, Alen Drljevi} 2018

Stiks

Styx, Wolfgang Fischer 2019

Monos

Exile, Alejandro Landes 2020

Izgnanstvo

Monos, Visar Morina

Ballast, Lance Hamer 2009

Prinesi mi ro`marin Go Get Some Rosemary, Ben Safdie, Joshua Safdie 2010

Neljubljena The Unloved, Samantha Morton 2011

Zgodbe, ki se jih spominjamo Historias que so existem quando lembradas, Julie Murat 2012

Otrok iz zgornjega nadstropja L'enfant d'en haut, Ursula Meier 2013

Salvo

Salvo, Antonio Piazza 2014

Mrhovinar

Buzzard, Joel Potrykus 2015

Družinski film

Family Film, Olmo Omerzu

nagrada `irije Art kino mre`e Slovenije Slovenian Art Cinema Association Award 2019

Ema

Ema, Pablo Larraín 2020

Martin Eden

Martin Eden, Pietro Marcello posebna omemba/special mention:

[vic Sweat, Magnus von Horn

129

Nagrajenci Award Winners

nagrada za najbolj{i kratki film Best Short Film Award 2008

Zemlja in kruh

Tierra y pan, Carlos Armella posebna omemba/special mention:

Vu~ko

2017

Nisem od tukaj

I'm not from here, Maite Alberdi, G. @. Alberdi in Giedre Zickyte posebni omembi/special mentions:

Wolfy, Matev` Luzar 2009

Zverina

Missen, Jochem de Vries posebna omemba/special mention:

"�...� Craving for Narrative", Max Grau 2018

The Ground Beneath, Rene Hernandez 2010

Matria, Álvaro Gago Díaz posebna omemba/special mention:

A Bike Ride, Bernard Attal 2011

The Box, Du{an Kastelic 2019

The External World, David O’Reilly posebna omemba/special mention:

Last Year When the Train Passed By, Pang-Chuan Huang posebna omemba/special mention:

Onda vidim Tanju, Juraj Leroti} 2012

The Christmas Gift, Bogdan Muresanu 2020

Tuba Atlantic, Hallvar Witzo posebna omemba/special mention:

Invisivel Heroi, Cristèle Alves Meira posebna omemba/special mention:

La France qui se lève tôt, Hugo Chesnard 2013

Talv vihmametsas, Anu-Laura Tuttelberg

Odsotna

The Beast, Samantha Nell, Michael Wahrmann

"�...� Hlepenje po pripovedi"

Tla pod nogami

Matria

Vo`nja s kolesom

Celica

Svet zunaj

Lani, ko je vlak {el mimo

Potem zagledam Tanjo

Bo`i~no darilo

Tuba Atlantic

Nevidni heroj

Francija, ki se zgodaj prebuja

Zima v de`evnem gozdu

Terarij

Terrarium, Hana Ju{i} posebna omemba/special mention:

Prenagljen

Premature, Gunhild Enger 2014

Roke proti nebesom

Hands Up to Heaven, Ulrike Putzer, Matthias van Baaren posebna omemba/special mention:

Koko{ka

The Chicken, Una Gunjak 2015

Piknik

Picnic, Jure Pavlovi} posebni omembi/special mentions:

Disciplina

Discipline, Christophe M. Saber

Vsaj pu{ke nam {e ostanejo

As Long as Shotguns Remain, Caroline Poggi, Jonathan Vinel 2016

Figura

Figure, Katarzyna Gondek

130

Od 1 do 31 From 1 to 31

30. Ljubljanski mednarodni filmski festival 30th Ljubljana International Film Festival

Ljubljanski mednarodni filmski festival Ljubljana International Film Festival

Glavni pokrovitelj Main sponsor

Spletni medijski pokrovitelj Online media sponsor

Medijska pokrovitelja Media sponsors



liffe.si REPUBLIKA SLOVENIJA MINISTRSTVO ZA KULTURO

S podporo programa Evropske unije Ustvarjalna Evropa – MEDIA With the support of Creative Europe - MEDIA Programme of the European Union

temlplate naslovnica in hrbet.indd 1

10/10/2019 09:59

131

V sodelovanju z Zvezo društev slovenskih likovnih umetnikov – Ilustratorsko sekcijo

Donatorica razstave: Pivovarna Laško Union, d.o.o.

Ilustracija Milan Erič; ilustrirani napis Silvan Omerzu, oblikovanje Maja Gspan Vvapetič

16. 11. 2021–31. 3. 2022

CIRQUE LE ROUX

JELEN V ŽAROMETIH (A DEER IN THE HEADLIGHTS)

28.

31. 12.

DO

GALLUSOVA DVORANA Generalni pokrovitelj abonmaja Veličastnih 7

Spletna medijska pokroviteljica abonmaja

POPUST ZA DRUŽINE! Ustanovitelj in glavni sofinancer kulturnoumetniškega programa Cankarjevega doma



REPUBLIKA SLOVENIJA MINISTRSTVO ZA KULTURO

9.–16. marec 2022 9.-16. March 2022

24. Festival dokumentarnega filma – FDF 24th Documentary Film Festival – DFF Aktualen vpogled v raznovrstno svetovno produkcijo dokumentarnega filma, predavanja, pogovori z ustvarjalci, filmske delavnice, seminarji ter program za otroke in mladino.

Festivalski sklopi: tekmovalni sklop na temo človekovih pravic; aktualni, družbenokritični; miti, ikone, mediji; intimni in globalni portreti; posvečeno V sodelovanju z Amnesty International Slovenije Kosovelova dvorana, Kinodvor, Slovenska kinoteka

A relevant and diversified insight into the world’s current documentary film production, lectures, interviews with filmmakers, film workshops, seminars and a programme for children and youth.

Festival sections: Human Rights Films competitive section; Current, Socio-critical; Intimate and Global Portraits; Tribute In cooperation with Amnesty International Slovenia

Punčka Petite fille Nagrada AIS 2021

Kosovel Hall, Kinodvor Cinema, Slovenian Cinematheque

Glavni pokrovitelj festivala Main festival sponsor:

V sodelovanju z In cooperation with:

Ustanovitelj in glavni sofinancer kulturnoumetniškega programa Cankarjevega doma Founder and main co-funder of Cankarjev dom‘ Arts and Culture programme:



REPUBLIKA SLOVENIJA MINISTRSTVO ZA KULTURO

USTVARJAJ ZELENO PRIHODNOST. TVOJ ODSLUŽEN MOBITEL NAJ OŽIVI KOT MEDOVITO DREVO.

Mineva 30 let, odkar smo v Sloveniji dobili mobilno telefonijo, ki nam je spremenila življenja. S tem, ko mobitele menjamo za sodobnejše, pa se v predalih nabirajo tisti, ki so nam že odslužili. Poiščite jih in jih prinesite na katerokoli prodajno mesto Telekoma Slovenije. Za vsak mobitel boste prejeli posebno Treecelet zapestnico, mi pa bomo zbrane mobitele reciklirali in v naslednjem letu v Sloveniji posadili 1000 medovitih dreves. Skupaj ustvarjamo zeleno prihodnost.

www.telekom.si



REPUBLIKA SLOVENIJA MINISTRSTVO ZA KULTURO