Kino Otok - Isola Cinema 2015 / Katalog - Catalogue by KinoOtok2016

uredila/editor Maja Ropret uredniški odbor/editorial board Varja Močnik, Maja Ropret, Tanja Hladnik prevodi/translations Maja Lovrenov, Luka Pieri, Alenka Ropret, Tina Poglajen, Jakob Rotar jezikovni pregled/proofreading Maja Ropret oblikovanje/design Špela Drašlar naslovnica/cover design Multipraktik fotografija/photo Lara Garvas (78–79) izdajatelj/published by Zavod Otok. 2015.

FESTIVALSKI KATALOG/FESTIVAL CATALOGUE

BESEDILA/TEXTS

Anja Banko, Bojana Bregar, Peter Cerovšek, Nina Cvar, Donatello Fumarola, Silvan Furlan, Luca Giuliani, Tanja Hladnik, Matevž Jerman, Daniel Kasman, Nerina T. Kocjančič, Matjaž Ličer, Varja Močnik, Diana Nenadić, Ivana Novak, Michael Pattison, Lorena Pavlič, Maša Peče, Ana Peršič, Bor Pleteršek, Tina Poglajen, Ana Šturm, Helena Šukljan, Simon Tecco, Neil Young

VSEBINA

CONTENTS

Otok – prostor združevanja

Otok – A Place of Association

Najlepša jutra so zjutraj, je rekel pesnik

Most Beautiful Mornings are in the Morning, said a poet

LETNI KINO MANZIOLI 11 MANZIOLI OPEN-AIR CINEMA Biserni gumb

The Pearl Button

Človek na Luni

Man on the Moon

Fidelio – Alice na poti

Fidelio - Alice’s Journey

Let nad bojnimi polji

En dirigeable sur les champs de bataille

Poštarjeve bele noči

The Postman’s White Nights

Theeb

SIGNALI 25 SIGNALS Angeli revolucije

Angels of Revolution

Bx46

Jauja: Raj na zemlji

Jauja

Na robu raja

Eden’s Edge

Samo svoji

Solos

Soline

Salt Flats

Vojna

Chrieg

DOBRI SOSEDJE 41 GOOD NEIGHBOURS Hrvatski kratki: filmi Borisa Poljaka

Hrvatski kratki: Films by Boris Poljak

Hrvatski kratki: filmi Hane Jušić in Sonje Tarokić

Hrvatski kratki: Films by Hana Jušić and Sonja Tarokić

Hrvatski kratki: filmi Igorja Bezinovića

Hrvatski kratki: Films by Igor Bezinović

Íslenskar stuttmyndir: islandski kratki filmi

Íslenskar stuttmyndir: Icelandic Shorts

PRIJATELJI 53 FRIENDS ThuleTuvalu

ThuleTuvalu

Veliki skok naprej

The Great Leap Forward

Pranje možganov

Psychic Driving

Živan priredi punk festival

Živan Makes a Punk Festival

SILVANOV ZALIV 63 SILVAN’S BAY Krizno obdobje

The Time of Crisis

Okoliščina

The Circumstance

Vrnili se bodo travniki

Greenery Will Bloom Again

PODMORNICA 71 SUBMARINE Felix

Felix

Ko zorijo jagode

Strawberry Time

Mumini lovijo komet

Moomins and the Comet Chase

Mumin na Azurni obali

Moomins on the Riviera

Filmi mladih ustvarjalcev

Films by Young Artists

Projekcije za šole

School Screenings

VIDEO NA PLAŽI 79 VIDEO ON THE BEACH OTOK V LJUBLJANI 93 OTOK IN LJUBLJANA GOSTJE FESTIVALA 94 FESTIVAL GUESTS INDEKS 96 INDEX FESTIVALSKA EKIPA 100 FESTIVAL TEAM

Otok – prostor združevanja

V drugo festivalsko desetletje vstopamo s preletom nad bojnimi polji prve svetovne vojne; presunljivi posnetki, ki so bili skoraj stoletje izgubljeni v arhivih francoske vojske, nemo prikažejo nesmiselnost in razdejanje, ki ju je povzročilo pet let bojev in razdvajanja ljudi. A vendar je iz ruševin zaznati človeško željo po novih začetkih, življenju in skupnosti. V današnjem času pa prevlada občutek, da je vsa teža človeškega bivanja prepuščena slehernemu posamezniku, vsakemu posebej, vsakemu zase.

Otok ostaja in še bolj postaja prostor združevanja. Z našim filmskim preletom nadaljujemo v bližnje in oddaljene kraje, da spoznamo in si približamo zgodbe ljudi in teh krajev. Vse od Reykjavika do Trsta, od Peruja do Splita, od Avstralije do Izole, od Grenlandije do Pacifika, od velikih mojstrov do novih imen … da bo na Otoku dovolj časa in priložnosti za tkanje novih vezi in sodelovanj, tistih pravih, ki nastanejo iz iskrene želje po delovanju in radovednosti. Letošnjega filmskega in spremljevalnega programa ne povezuje rdeča nit, povezan je z nitko vedoželjnosti do razumevanja pogledov drugih in odprtostjo, da jim dovolimo zamakniti naš lasten pogled.

Vabljeni, da se nam pridružite in se z nami družite na filmskih projekcijah, seminarjih, delavnicah, v galerijah, pri družinskih in mladinskih filmih, na pogovorih z avtorji. Na Kino Otoku!

Lorena Pavlič Direktorica festivala

Otok – A Place of Association

We enter the festival’s second decade with a flight over the battlefields of WWI; the moving footage, lost for almost a century in the archives of the French army, silently shows the senselessness and devastation caused by five years of fighting and sowing discord among people. And, yet, from the rubble we can sense the human desire for new beginnings, life and community. Today, on the other hand, we get the feeling that all the weight of human existence is left to each individual alone.

Kino Otok remains and is becoming even more a place of association. With our film overflight, we continue to visit near and distant places to get to know and familiarize ourselves with the stories of the people there. From Reykjavik to Trieste, from Peru to Split, from Australia to Izola, from Greenland to the Pacific, from great masterpieces to new names… so there is enough time and opportunities at this year’s edition to forge new bonds and co-operations, genuine ones originating in curiosity and a sincere desire to do something. There is no common thread running through this year’s film programme and events, what holds it together is the thread of eagerness to understand the views of others and the openness to let them enrapture our own view.

You are invited to join us and associate with us at film screenings, seminars, workshops, galleries, family and teen film shows and the Q&As with filmmakers. At Kino Otok!

Lorena Pavlič Festival Director

Najlepša jutra so zjutraj, je rekel pesnik

Program Kino Otoka temelji na razmisleku – predvsem o tem, kaj vse film je, kaj vse film pomeni in kaj lahko s filmom spoznamo ter bolje razumemo. Pri tem nas vodi prepričanje, da videz pogosto vara in da moramo za razumevanje stvari, ljudi, okoliščin stopiti bliže, motriti bolj pozorno, širše odpreti misli, menjati kote pogleda. Kino Otok trdno stoji tudi na času enajstih let, v katerem nastaja in raste: preteklost ni nekaj, kar puščamo za seboj, v naših odločitvah dejavno odzvanja še danes. Najprej je bilo poslanstvo Otoka širiti pogled v kinematografije, ki niso bile vidne na bližnjih platnih. Rekli smo, da vrtimo filmska dela Azije, Afrike, Južne Amerike, vzhodne Evrope in drugih daljnih svetov. Danes, v času, ko se svet ne zdi več tako širen, Otok še naprej odkriva namenoma ali po nemarnosti skrite filmske svetove, ki pa nemara niso na drugih kontinentih, temveč pogosto še kako blizu. Geografija v oblikovanju programa ni več sporočilo v prvem planu, a ostaja vodilo, oziramo se blizu in daleč. Še kako pomembno vodilo in trden temelj, na katerem oblikujemo otoški program, je komunikacija, dialog. Ta je tisti, ki nam v resnici omogoča obstoj. Že omenjeni dialog s časom, pa dialog s prostorom, ki nas tesno ali ohlapno obdaja, na nas vpliva in bržkone mi vplivamo nanj. Zlasti pa dvogovor in večgovor s kolegi ter prijatelji, ki se prav kakor mi radovedno ozirajo naokoli in opozarjajo na tisto, kar je vredno pozornosti. In Kino Otok radovednost in pozornost posreduje gledalcem. Program v dialogu raste kot živ in živahen organizem, ki se, taka je naša naloga, oblikuje v celoto, ki pokaže, razgali, opozarja in kriči. Festivalski program nikakor ni trdna stavba z mogočnimi vhodnimi vrati, ki vodijo naravnost noter. Tudi nima zadnjih vratc, skozi katera bi lahko pobegnili. Ali štirih vogalov, ki bi gledalcu pokazali, kje mu je mesto. Program Kino Otoka je nežna, a včasih tudi groba in kruta snov, ki prši na naše čute in zbada naš um. Spet drugič je gost koncentrat, v katerega lahko vstopimo, a lahko nanj tudi stopimo. Otoški program je neredko lepljiva snov, ki se je še dolgo ne moremo otresti. In največkrat tega tudi nočemo. Varja Močnik, selektorica filmskega programa, in Tanja Hladnik, programska koordinatorica

Most Beautiful Mornings are in the Morning, said a poet

Kino Otok’s programme is based on a reflection about what cinema is, what all it can mean and what it can help us know and understand better. We are guided by the belief that appearances often deceive and that in order to understand things, people, circumstances, we have to step closer, observe more attentively, open our minds more and repeatedly change our perspectives. Kino Otok also stands firm on the shoulders of its eleven years in which it has developed and grown: the past is not something we leave behind and forget, it actively echoes in our decisions today. In the beginning, Kino Otok’s mission was to extend the gaze to cinemas that were not seen on near screens. We said we showed films from Asia, Africa, South America, Eastern Europe and other distant worlds. Today, at a time when the world does not seem so wide anymore, Kino Otok continues to reveal the deliberately or negligently hidden film worlds that might not even lie on other continents, but are in fact very very close. Geography is no longer the featured message in the creation of the programme, but it remains a guideline; we look near and far. An especially important guideline and a firm foundation of our programming is communication, dialogue. This is what actually enables our existence. The mentioned dialogue with time, and our dialogue with space, which tightly or loosely envelops us, affects us and is probably affected by us. But especially the dialogues and multilogues with colleagues and friends who just like us curiously look around and point out what deserves our attention. And Kino Otok imparts this curiosity and attention to the audience. In dialogue, the programme grows like a live and lively organism that, such is our task, forms into a whole that shows, reveals, lays bare, points out and screams. The festival programme is by no means a sturdy building with a mighty front door that leads one straight in. It also has no little backdoor through which one could flee or four corners showing the viewers their place. Kino Otok’s programme is a tender, but sometimes also a rough and cruel matter spraying our senses and pricking our minds. At other times, it is a thick concentrate which we can step into, but also onto. Frequently, our programme is a sticky substance that we cannot shake for a long time. Most often, we do not even want to. Varja Močnik, Film Programme Selector, and Tanja Hladnik, Programme Coordinator

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA Biserni gumb/El Botón de Nácar/The Pearl Button Človek na Luni/L’uomo sulla luna/Man on the Moon Fidelio – Alice na poti/Fidelio - L’odyssée d’Alice/Fidelio - Alice’s Journey Kinodvor na Otoku/Kinodvor at Otok: Let nad bojnimi polji/En dirigeable sur les champs de bataille Poštarjeve bele noči/Belje noči poštalona Alekseja Trjapicina/The Postman’s White Nights Theeb

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

BISERNI GUMB/EL BOTÓN DE NÁCAR/THE PEARL BUTTON

Francija, Čile, Španija/France, Chile, Spain, 2015 režija/directed by Patricio Guzmán scenarij/screenplay Patricio Guzmán fotografija/cinematography Katell Djian glasba/music Miranda & Tobar, Hughes Maréchal zvok/sound Álvaro Silva Wuth montaža/editing Emmanuelle Joly nastopajo/featuring Gabriela Paterito, Christina Calderon, Martin G. Calderon, Gabriel Salazar, Raul Zurita, Claudio Mercado, Paz Errazuriz, Martin Gusinde producent/ producer Renate Sachse (Atacama Productions) distribucija/ distribution Fivia – Vojnik format/format DCP dolžina/running time 82’

Dokumentarni film Biserni gumb iz obsežnega opusa čilskega režiserja in scenarista Patricia Guzmána je za nekoga, ki je moral po državnem udaru 11. septembra 1973 zapustiti Čile kot politični begunec, emotivno doživetje, saj na površje naplavi davno potlačena občutja nemoči in besa zaradi zločinov Pinochetove diktature (1973–1990). Guzmán prek iskanja resnice ustvarja zgodovinski spomin na dogodke iz bližnje in daljne preteklosti, ki so v uradni zgodovini zamolčani ali izkrivljeno prikazani. »Latinskoameriško zgodovino moramo odkrivati in na novo napisati, da bi postavili temelje za prihodnost, in dokumentarni film je prispevek k temu,« pravi režiser, ki svoj filmski žanr definira kot »subverziven« in »nevaren« za uradno ideologijo. Njegov najnovejši dokumentarec omogoča svojevrstno refleksijo zadoščenja preživelih in smisla žrtvovanja padlih. V njem razkriva resnične usode izginulih v času diktature, hkrati pa poskuša vzpostaviti simbolno stično točko z genocidi, storjenimi nad domorodci v Patagoniji od kolonialnih časov do danes. Po njegovem prepričanju mora biti dokumentarec umetniško delo, »drugače je zgolj pamflet«. V tem filmu je poetična nit in metafora voda kot materialni element v vseh pojavnih oblikah, stanjih in razsežnostih. V kapljici vode, ujeti v kocki kremena iz puščave Atacama, je denimo lahko ujet ves kozmos. »Voda ima spomin« in ohranja, kar so zločinci poskušali zatajiti. Pacifiški ocean in bitja v njem so »zabeležila svojska sporočila«, ki jih je treba razkriti: je pokopališče izginulih v diktaturi in pričevanje o izginotju domorodnih kultur. Toda Guzmánova umetniška pripoved o tragedijah nima želje izzvati očiščenja pri zločincih, temveč je njen

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

For someone who was forced to leave Chile as a political refugee following the coup d’état of 11 September 1973, the documentary The Pearl Button, one from the extensive range of works by Chilean director and screenwriter Patricio Guzmán, is an emotional trip, bringing to the surface the long suppressed feelings of helplessness and fury directed at crimes of Pinochet’s dictatorship (1973–1990). Searching for the truth, Guzmán is creating historical memory of events from recent and more distant past that in the official history have been either withheld or bent. “Latin American history needs to be uncovered and rewritten if we are to lay the foundations for the future, and documentaries are a contribution to this end,” says the director who has labelled his genre “subversive” and “dangerous” to the official ideology. His most recent documentary enables a unique reflection on the justice for the survivors and the purpose of sacrificing the fallen. In his film, he uncovers the real destinies of those who disappeared during the dictatorship, while also trying to establish a symbolic contact point with the genocide against the natives in Patagonia from colonial times until today. It is his belief that a documentary has to be a work of art, “otherwise it is just a pamphlet”. Serving as the poetic thread and metaphor in this film is water as a material element in all its manifestations, states and dimensions. A drop of water caught in a piece of flint from the Atacama Desert, for example, can hold the entire Universe. “Water has a memory,” thus preserving what the criminals were trying to conceal. The Pacific Ocean and the creatures living in it have “recorded extraordinary messages” that need to be revealed: this is the resting place of

PATRICIO GUZMÁN Čilski režiser Patricio Guzmán (1941) je bil po državnem udaru, ki je strmoglavil Salvadorja Allendeja, zaprt v samici, kjer so mu grozili z usmrtitvijo. Čile je zapustil novembra 1973 in zdaj živi v Franciji. Šest njegovih del je premiero doživelo na filmskem festivalu v Cannesu. Film Nostalgija po svetlobi je leta 2010 prejel veliko nagrado Evropske filmske akademije. Za Biserni gumb je Guzmán prejel srebrnega medveda za najboljši scenarij na Berlinalu 2015. After the coup d’etat that brought down Salvador Allende, Patricio Guzmán (1941) was held in solitary confinement and threatened with execution. He abandoned Chile in November 1973 and now lives in France. Six of his works have been premiered at Cannes film festival. Nostalgia for the Light was awarded the Grand Prix by the European Film Academy in 2010. The Pearl Button was awarded Silver Bear for Best Script at Berlinale 2015.

namen zgodovinska sodba kot oblika maščevanja in zadoščenja za žrtve – razkritje resnice kot obtožba storjenih dejanj in kolektivni zgodovinski spomin, ki to resnico ustvarja, kot sodba za vekomaj. Režiser pravi, da je nekaznovanost dvojni zločin. V tem sporočilu je Biserni gumb transcendentalen. Simon Tecco

those who disappeared during the dictatorship, and a testimony to the disappearance of native cultures. However, rather than wishing to provoke purification in criminals, Guzmán’s artistic narrative intends to deliver a historical judgement in the sense of revenge and justice for the victims – a revelation of the truth serving as an accusation for the deeds that were committed, and collective historical memory creating this truth, serving as a judgement for evermore. The director calls impunity a double crime. It is with this message that The Pearl Button is transcendental. Simon Tecco

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

ČLOVEK NA LUNI/L’UOMO SULLA LUNA/MAN ON THE MOON

Italija/Italy, 2014 režija/directed by Giuliano Ricci scenarij/screenplay Giuliano Ricci, Max Luvero fotografija/cinematography Davide Artusi, Sabina Bologna, Gianmarco Gaviani zvok/sound Paolo Benvenuti (II), Giacomo Boschi montaža/editing Giuliano Ricci producent/producer Giuliano Ricci, Alex Scorza produkcija/production Freim, Kenzi Productions distribucija/distribution Giuliano Ricci format/format blu ray dolžina/running time 60’

Po tem, ko se je človek dotaknil povrhnjice Lune, se je človeštvo s še večjim odskokom bliskovito pognalo naprej; zahodnjaški – razsvetljenski duh vere v človekov um, moč spoznanja in napredek skozi perspektivo absolutizacije znanosti vzpostavlja »resničnost« ter prepričuje, da sta človek in svet dojemljiva, izmerljiva, nedvomna in jasna. Človek na Luni je mejnik zgodovine, človeku pa se naprej od Lune razkriva le še celota – nadvlada vsemirja! Medtem ko človek drvi po sodobnosti brezglave modernosti, spregleduje bistvene stvari življenja. Predvsem nerazložljive, nejasne, dvomljive, ki kažejo na šibkost in umrljivost človeškega uma, duha in telesa, raje pušča v mrtvem kotu pogleda. Tak mrtvi kot sodobne družbe se zdi tudi Sardinija: otok Sredozemlja, ki v središču gorovja Barbagia skriva vasico, ki se zdi ukradena današnjemu času. Tukaj resničnost sveta ni enodimenzionalno izčiščena jasnina, temveč se ta linija trga med svetovi živih in mrtvih. Človeku postavlja drugačen koordinatni sistem obnašanja, vrednot, vednosti in posledično same resničnosti. Ogled dokumentarnega filma italijanskega režiserja Giuliana Riccija po izsledkih antropološke raziskave Bachisia Bandinuja je kot opazovanje topeče se magdalenice v lipovem čaju. Intimni portret skoraj izgubljenega časa je pripoved o krvavih, temnih plasteh človekovega bitja, skozi katerega nas vodijo glasovi postaranih ženic, zavitih v črnino. Te vaške vdove še živijo spomin in kulturo krvnega maščevanja, ki je moške potisnilo v temino grobov ali jih prisililo v skrivanje med sencami hiš. Središče pogleda zavzamejo ženske kot nosilke spomina, besede in opomina za prihodnje generacije. Njihova pričevanja o živahnem srečevanju

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

After man touched the surface of the Moon, humankind swiftly leaped forward with an even greater momentum; the Western – Enlightenment spirit of the faith in human reason, the power of knowledge and progress through the perspective of the absolutisation of science establishes “reality” and preaches that man and world are comprehensible, measurable, certain and clear. Man on the Moon is a historical milestone, while beyond the Moon man sees only an unmeasurable totality - the dominance of the universe! While humans rush through the contemporaneity of reckless modernity, they overlook the essential things of life. It is especially the unexplainable, unclear and doubtful things pointing to the weakness and mortality of human reason, spirit and body that they like to leave in the blind spot. Sardinia also seems to be such a blind spot of contemporary society: the Mediterranean island whose Barbagia mountain region hides in its centre a village that seems to be untouched by contemporary times. Here, the reality of the world is not a one-dimensional purified clarity; rather reality is torn between the world of the living and the world of the dead. It provides human beings with a different coordinate system of behaviour, values, knowledge and consequently reality itself. Viewing this documentary film by the Italian director Giuliano Ricci, based on the results of Bachisio Bandinu’s anthropological research, is like watching a madeleine melt in linden tea. An intimate portrait of an almost lost time is a story of the bloody, dark layers of human existence through which we are led by the voices of aged women veiled in black. These village widows still live the memory and the culture of vendetta which pushed the men into the darkness of the graves or

GIULIANO RICCI Giuliano Ricci (1980) je diplomiral na DAMS v Bologni in leta 2007 na filmski akademiji v Milanu, kjer je študij sklenil s celovečernim filmom La Piccola A. Z dokumentarcem Non c’è più una majorette a Villalba je sodeloval na več kot 40 festivalih po svetu in osvojil številne nagrade (Bellaria Film Festival, Semaines du Cinéma Méditerranéen à Lunel, Salina DOC fest). Giuliano Ricci (1980) graduated from DAMS Bologna and in 2007 from the Civic School of Cinema in Milan with the feature film La Piccola A. His documentary No more majorettes in Villalba participated in more than 40 festivals worldwide, winning numerous awards (Bellaria Film Festival, Semaines du Cinéma Méditerranéen à Lunel, Salina DOC fest).

obeh svetov se kot Šeherezadine zgodbe tkejo v živo preprogo človeškega, kolektivnega spomina, ki se dobesedno uteleša v karnevalskem obredju ter riše arhetipske obronke človekove zavesti. Ta se upira racionalistično-razsvetljenskemu kalupu sodobnosti, hrup katere med pripovedovanjem stalno vdira kot novice ali šov – spektakel s televizijskih zaslonov. Prav ta dvojnost zaslonov ustvarja dvojno perspektivo filma, ki je več kot živa slika preteklosti. Sodobnemu gledalcu nudi odsev njegove zavesti in ga opominja na globoko temino kolektivnega nezavednega v posamezniku. Anja Banko

forced them to hide in the shadows of the houses. The centre of the gaze is occupied by women as the bearers of memory, words and warning for future generations. Like Scheherazade’s stories, their testimonies about the lively meeting of both worlds are woven into a live carpet of human, collective memory which is literally embodied in carnival rituals and traces the archetypical edges of human consciousness. This consciousness resists the rational Enlightenment mould of modernity, whose noise constantly intrudes into the narrations as news or shows – spectacles from the TV screens. It is precisely this duality of the screens that creates a double perspective of the film, which is more than just a vivid picture of the past. It offers contemporary viewers a reflection of their consciousness and reminds them of the deep darkness of the collective unconscious in individuals. Anja Banko

»Ženske, ki se tega sveta še spominjajo, se morajo danes soočiti z novim kolektivnim nezavednim sodobne družbe, z nasprotnimi vrednotami. Podobe, ki ga napajajo, ne pripadajo več sanjam, temveč prihajajo iz zunanjega sveta, kjer je človek stopil na Luno. Podobe, ki so sprevrnile stara verovanja, sanje in zavest idiličnega sveta.«

“The women that still remember that world today must confront the new collective unconscious of modern society, with an opposite set of values. The images that fuel it don’t belong to dreams anymore, but come from the outside world, where mankind set foot on the Moon. Images that have subverted the ancient beliefs, dreams and consciousness of the pastoral world.”

Giuliano Ricci

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

FIDELIO – ALICE NA POTI/FIDELIO - L’ODYSSÉE D’ALICE/ FIDELIO - ALICE’S JOURNEY

Francija/France, 2014 režija/directed by Lucie Borleteau scenarij/screenplay Lucie Borleteau, Clara Bourreau fotografija/cinematography Simon Beaufils glasba/music Thomas de Pourquery zvok/sound MarieClotilde Chéry, Edouard Morin, Mélissa Petitjean montaža/editing Guy Lecorne igrajo/cast Ariane Labed, Melvil Poupaud, Anders Danielsen Lie, Pascal Tagnati, Jean-Louis Coulloc’h, Nathanael Maïni, Bogdan Zamfir, Corneliu Dragomirescu, Manuel Ramirez, Thomas Scimeca producenti/producers Pascal Caucheteux, Marine Arrighi de Casanova, Isabelle Tillou produkcija/production Apsara Films, Why Not Productions distribucija/distribution Pyramide International format/format DCP dolžina/running time 95’

Ladijska strojna inženirka Alice je imela svoje dni kot prava mornarka moškega v vsakem pristanišču. Zdaj jo zaposluje predvsem lepi Norvežan Felix, a ko jo vpokličejo na plovbo s tovorno čezoceanko Fidelio, začasno zapusti tudi njega. Odiseja, na katero se poda, se izkaže za razburljivo, erotično, pa vendar tudi poglobljeno in hkrati cinematično in fotografsko premišljeno filmsko izkušnjo. Gre za prvenec francoske režiserke Lucie Borleteau, ki osupne s svojo drznostjo, saj brez odvečnega dramatiziranja prikaže mlado žensko v vlogi, ki jo (vsaj) v pripovedih običajno zasedajo moški: inženirka na ladji, mornarka, ki jo doma čaka fant, človek svobodne seksualnosti brez zadržkov, za katerega monogamnost ni nič bolj naravna kot za nasprotni spol. Pri njeni odiseji gre za neobsojajoč, hkrati pa za povsem neprisiljen prikaz ženskega poželenja in seksualnosti, ki se v nasprotju z dominantnimi reprezentacijami, večinoma izpod moških rok, izkažeta za neukročeni in nesramežljivi. Stvari se zapletejo prvič, ko Alice kmalu po prihodu na ladjo presenečeno ugotovi, da je kapitan pravzaprav njen bivši ljubimec. Ironično poimenovani »Fidelio« tako postane mesto nekonvencionalno zastavljenega ljubezenskega trikotnika, skozi katerega scenaristka in režiserka filma raziskuje, kaj pomeni zvestoba, možnost ljubezenskih razmerij na daljavo, pa tudi samo (ne)uresničljivost ideala partnerskih odnosov. Pri tem njen lik, tako kot tudi film v celoti, med zvestobo in monogamnostjo začrta jasno ločnico. Alicina želja ne pristaja na uprizarjanje konvencionalne ženske seksualnosti, ki bi bila priklenjena predvsem na romantična

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Like a true sailor, freighter engineer Alice used to have a man in each port. Now she is mostly occupied by the handsome Norwegian Felix, but when she is enlisted to sail with the freight transoceanic ship Fidelio, she leaves him temporarily as well. The odyssey she embarks on turns out to be exciting and erotic, but also a profound and judicious cinematic experience. Without redundant drama, this bold first feature of the French director Lucia Borleteau shows a young woman in a role that is usually (said to be) taken by men: she is a ship engineer, a sailor, with a boyfriend waiting for her at home; a woman of unrestrained free sexuality to whom monogamy is no more natural than it is to the opposite sex. Her odyssey is a non-judging, yet an utterly natural depiction of female lust and sexuality, which, in contrast to dominant, mostly male representations, turn out to be untamed and unreserved. Soon after embarking the ship Alice is surprised to realise that the captain is actually her former lover, and this is when things get complicated for the first time. Ironically named “Fidelio”, the ship thus becomes the setting of an unconventionally set lovetriangle, by means of which the screenwriter - director is exploring the implications of unfaithfulness, the possibility of long-distance relationships, as well as the actual (un)realisability of the relationship ideal. There is a clear line drawn between fidelity and monogamy, both by the main character and the film as such. In her desire Alice refuses to conform to convectional female sexuality, which is mostly tied to romantic amorous feelings; she is liberated from restraints. Yet the film is also sensitive in depicting the contradiction of no-obligation flirting, meaning to one

LUCIE BORLETEAU Lucie Borleteau (1980) je študirala film na univerzi Saint Denis – Paris 8. Kot asistentka režije je delala z Loujem Yejem in Arnaudom Desplechinom, leta 2009 je sodelovala pri pisanju scenarija za film Claire Denis Belka, nato pa posnela tri srednjemetražne filme, Nievaliachka, la poupée qui ne tombe pas (2003), Les Voeux (2008) and La Grève des ventres (2012). Fidelio – Alice na poti je njen celovečerni prvenec. Lucie Borleteau (1980) studied film at Saint Denis – Paris 8. She has worked as an assistant director for Lou Ye and Arnaud Desplechin, contributed to the script for Claire Denis’ White Material in 2009, then made three medium-length films, Nievaliachka, la poupée qui ne tombe pas (2003), Les Voeux (2008) and La Grève des ventres (2012). Fidelio, l’odyssée d’Alice is her first feature film.

ljubezenska čustva; namesto tega je osvobojena spon. Vendar hkrati film senzibilno prikaže protislovje med svobodnim ljubimkanjem, ki enemu pomeni kvečjemu več, ne pa manj ljubezni za vse, drugemu pa (neizogibno) pomeni predvsem izdajo. Fidelio – Alice na poti institucije zakona, družine in subverzivnejše ljubimkanje izven njunih meja ves čas prevprašuje tudi s kompleksno rabo vizualnih pripovednih sredstev. Medtem ko so prizori z družino posneti v konvencionalnejših barvah in pri dnevni luči, so pomorske romance zavite v senco in temnejše odtenke, ki včasih skozi pobliske zelenih luči ladijskih aparatur razkrivajo le ključne elemente erotične situacije: pogled, dlani, hrbet in ramena, prsi in tako naprej. Morda prav ti igrajo bistveno vlogo pri prepletanju različnih ravni pripovedi, skozi katere Fidelio – Alice na poti postane izvrsten, četudi redek primer vzpostavljanja ženskega pogleda, s tem pa tudi neposrednega naslavljanja ženske – gledalke.

person more love towards everybody rather than less, and to the other (inevitably), betrayal. Fidelio – Alice’s Journey also explores the institutions of marriage and family as well as subversive flirting outside their limits by applying complex visual narration. Family scenes are recorded in daylight and in conventional colour schemes, whereas naval romance is wrapped in shadows and darker hues, at times only letting key elements of the erotic scene – gaze, hands, back, shoulders, breasts, etc. – be visible in the flashing green light of naval instruments. These elements might be playing the key role in intertwining the layers of the narrative, which makes Fidelio – Alice’s Journey an exquisite, albeit rare example of establishing the female perspective; and thereby also of directly addressing the – female – viewer. Tina Poglajen

Tina Poglajen

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LET NAD BOJNIMI POLJI/EN DIRIGEABLE SUR LES CHAMPS DE BATAILLE 1., 2. in 3. del/Première, deuxième et troisième partie Francija/France, 1919 Produkcija/The event is produced by: Kinodvor, Cineteca del Friuli, Kino Otok, Cinemazero. Dogodek, ki obeležuje stoletnico prve svetovne vojne, je nastal v okviru skupnega projekta občin Ljubljana in Videm (‘Storie in corso’) ter različnih kulturnih ustanov. The event is part of an ongoing cooperation project between the Municipalities of Ljubljana and Udine (‘Storie in corso’) and several cultural institutions marking the centenary of World War I. Film nam je prijazno posodil/The film was generously provided by: ECPAD. format/format DCP dolžina/running time 62’

Med avgustom in septembrom 1919 sta pilot Jacques Trolley de Prévaux in snemalec Lucien Le Saint z zračno ladjo francoske mornarice preletela zahodno fronto od belgijskega Nieuwpoorta ob Severnem morju do Marna. Posnela sta razdejanje in uničenje, ki ju je pustilo pet let bojev med prvo svetovno vojno. Film je bil posledica zahtev kinematografske službe francoske vojske (ki je mogoče želela pokazati škodo zaradi morebitnih odškodnin pri mirovnih pogajanjih) in duha dokumentiranja pokrajin, na katerem je temeljil projekt Les archives de la planète Alberta Kahna, ki s svojim znanstvenim vodjo Jeanom Brunhesom velja za ustanovitelja sodobne človeške geografije. Le Saint je bil glavni snemalec in je po vsem svetu beležil sledi in posledice človeških dejavnosti na območju. Te podobe so po sto letih posebej privlačne zaradi nenavadne počasnosti in fluidnosti zračne ladje, ki v nasprotju z letalom omogoča osredotočen pogled na podrobnosti in različne elemente ob robu kadrov. Ta fluidnost nas ob določeni razdalji od zemlje posebej prevzame: zorni kot je dovolj oddaljen, da si lahko oddahnemo ob misli na vse, kar se je dogajalo v petih letih spopadov, in se prepričamo, da je vojne resnično konec. Obenem pa je dovolj blizu, da izpostavi podrobnosti nesmiselne morije, človeškega trpljenja in uničenja zaradi tehnološke blaznosti, čeprav nam prihrani obup, blato, dim in smrad, ki so jih doživljali ljudje v boju. Zračna ladja se v dobi zgorevalnih motorjev in topov, ki se polnijo zadaj, pomika z ritmom iz davnih časov. Obuja dobo pionirjev kinematografije, bratov Lumière, ko je še veljalo, da je zunanji svet dovolj ujeti v kader, da bi ga prikazali. Ob tem se

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Between August and September 1919, pilot Jacques Trolley de Prévaux and cameraman Lucien Le Saint flew over the Western Front line aboard a French navy airship from Nieuwpoort on the North Sea in Belgium to Marne, recording the devastation and the destruction left by five years of battles during World War I. The film was the result of the demands of the French Army cinematographic service (perhaps aiming to show the damages to request war compensation at peace negotiations) and the spirit of landscape documentation that spawned the project Les Archives de la Planète (The Archives of the Planet) by Albert Kahn, the founder of modern human geography alongside his research director Jean Brunhes. As their head cameraman, Le Saint would travel the world filming the traces and the consequences of man’s actions in the region. Today, one hundred years later, these images are particularly fascinating due to the distinctive slowness and fluidity of the airship that, unlike airplanes, produces a concentrated vision of the details and of all that’s left at the margins of each shot. This fluidity is particularly striking at such a distance from the ground: far enough for us to feel relieved after what happened in five years of clashes, thus giving us the certainty that the war is over; yet close enough to bring out the details of the senseless massacre, the human suffering and the destruction caused by technological madness, albeit saving us the desperation, the mud, the smoke and the stanch experienced by those who were in the trenches. In an era of spark-ignition engines and breech-loading cannons, the airship has a pace and rhythm from

spremeni v lahkoten pogled, ki leti nad svetom in ga preprosto opazuje ter nam tako daje iluzijo, da ga lahko obvladamo. To ni morbiden vojni turizem, ki so mu bila priča bojišča že v časih napoleonskih vojn, temveč zorni kot, ki postavlja pod vprašaj smisel marsičesa in izpostavlja izgubljeno resonanco v tedanjem svetu. Že leta 1919 odraža primerno distanco zgodovine, nezadržno željo po premiku naprej, kar se nas še danes močno dotakne. Glasba skupine Insium, džezovske delavnice, ki sta jo navdihnila Glauco Venier (avtor koncerta za klavir za založbo ECM) ter mednarodni skladatelj in aranžer Michele Corcella, nas posrka v film in nas tako prevzame, da se izgubimo v njegovem času. Luca Giuliani, La Cineteca del Friuli

bygone days. It takes us back to a time of cinema pioneers, the Lumière brothers, when it was assumed that in order to show reality one just had to shoot it. The airship thus becomes the lightness of a glance flying over things, observing them with simplicity, and giving us the illusion that they can be controlled. This is not the morbid kind of war tourism that battlefields would experience during the Napoleonic Wars, but rather a point of view that questions the sense of things, highlighting the forlorn resonance with the world. It provides, as early as 1919, the right distance of history, an uncontrollable desire to go beyond, which is still striking today. The music by the Insium music research laboratory, the new jazz ensemble inspired by Glauco Venier (author of a solo piano concert for ECM), and internationally acclaimed composer and arranger Michele Corcella helps us to immerge ourselves in the film and get lost in time. Luca Giuliani, La Cineteca del Friuli

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POŠTARJEVE BELE NOČI/BELJE NOČI POŠTALONA ALEKSEJA TRJAPICINA/THE POSTMAN’S WHITE NIGHTS

Rusija/Russia, 2014 režija/directed by Andrej Končalovski/Andrei Konchalovsky scenarij/ screenplay Andrej Končalovski, Jelena Kiseljova fotografija/ cinematography Aleksander Simonov glasba/music Eduard Artemjev montaža/editing Sergej Taraskin igrajo/cast Aleksej Trjapicin, Irina Jermolova, Timur Bondarenko, Viktor Kolobkov, Viktor Berezin, Tatjana Silič, Irina Silič, Jurij Panfilov produkcija/production Andrej Končalovski distribucija/distribution Fivia – Vojnik format/format DCP dolžina/running time 101’

Film Andreja Končalovskega prispeva k ugledni tradiciji predelav kratkega dela Dostojevskega z naslovom Bele noči (1848), lirične zgodbe o samotarskem in dovzetnem moškem, flaneurju, ki s pogledom rehabilitira lepoto Sankt Peterburga – vse življenje investira v fantazije, v katerih, kot pravi, ljudje šele v prostem času popoldne in zvečer pridejo spet k sebi. Otipljivo priložnost za ljubezen nenadoma dobi v obliki mladenke, ki vstopi v njegovo življenje, vendar je do konca zgodbe zapravljena tudi ta priložnost. Junak rad doživi svoj bežni trenutek ljubezenske sreče, a na koncu odkrije, da ima vseeno raje večnost fantazije kakor še tako otipljivo, vendar kratkoročno realnost. Dostojevski na tehtnico postavlja različna »agregatna stanja« ljubezni, zgodbo pa lahko beremo morda predvsem kot kritiko romantične lepe duše, ki se ne želi umazati z realnim, konkretnim mesom. Režiserji, med njimi nosilci pomembnih gibanj v zgodovini filma, so doslej bolj ali manj svobodno interpretirali to romantično moralno zgodbo: Visconti (Le notti bianche, 1957), Pirijev (Belje noči, 1959), Bresson (Quatre nuits d’un rêveur, 1971) in James Gray (Two Lovers, 2008), če naj omenimo le bistvene. Končalovski jo je iz Sankt Peterburga preselil na rusko podeželje, kjer sublimna narava, ki se vije v neskončnost, za junaka postane mesto flaneurstva, nenehnega romantičnega sanjarjenja. Obrat Končalovskega, ki starejšo zgodbo postavi v dolgočasno ruralno življenje tukaj in zdaj, tiči v razcepu med podeželjem, ki je prostor in predmet sanjarjenja, ter njegovo banalno, materialno platjo, ki jo režiser sicer obravnava ljubkovalno. Zdi se,

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Andrei Konchalovsky’s film is a contribution to the eminent tradition of the adaptations of Dostoevsky’s White Nights (1848), a lyrical short story about a solitary and impressionable man, a flâneur, whose gaze rehabilitates the beauty of St. Petersburg – he invests his whole life into fantasies in which, as he says, people regain themselves only in their leisure time in the afternoon and in the evening. He suddenly gets a concrete chance of love in the shape of a young woman who enters his life, but by the end of the story this opportunity, too, has been wasted. The hero gladly experiences his fleeting moment of happiness in love, but finally discovers that he nevertheless prefers the eternity of fantasy to the ever so palpable, but short-lived reality. Dostoevsky weighs the various “physical states” of love, but perhaps we can read the story primarily as a critique of the romantic beautiful soul that does not want to dirty itself with the real, concrete flesh. Film directors, among them the proponents of important movements in the history of cinema, have, so far, more or less freely interpreted this romantic moral story: Visconti (Le notti bianche, 1957), Pyryev (Belye nochi, 1959), Bresson (Quatre nuits d’un rêveur, 1971) and James Gray (Two Lovers, 2008), to mention only the main ones. Konchalovsky has transplanted the story from St. Petersburg to the Russian countryside, where the sublime nature meandering into infinity becomes for the hero the place of flâneurism, constant romantic daydreaming. Konchalovsky’s turn which places the older story into the boring rural life here and now lies in a split between the countryside, a place and object

ANDREJ KONČALOVSKI/ANDREI KONCHALOVSKY Ruski filmski in gledališki režiser Andrej Končalovski (1937) je med študijem na slovitem ruskem filmskem inštitutu VGIK razvil tesno sodelovanje z Andrejem Tarkovskim. Leta 1965 je posnel režijski celovečerni prvenec Moj prvi učitelj (Pervyj učitel’), s katerim se je prvič uvrstil v tekmovalni program beneškega festivala. Epski portret sibirskega življenja Sibiriada (1979) mu je prinesel veliko nagrado žirije v Cannesu ter pozornost mednarodne javnosti in tujih producentov. Najnovejši film Poštarjeve bele noči mu je na beneškem festivalu leta 2014 prinesel srebrnega leva za najboljšo režijo. Russian film and theatre director Andrei Konchalovsky (1937) studied at the famed Moscow Film School VGIK, where he started his close cooperation with Andrei Tarkovsky. His debut feature film, The First Teacher (1965), was selected to screen In Competition at the Venice Film Festival. For his epic portrait of life in Siberia, Sibiriada (1979), he won the Grand Prix in Cannes and the attention of international audiences and foreign producers. His latest film, The Postman’s White Nights, won Silver Lion for Best Director at the Venice Film Festival, 2014.

da so ljudje popoldne in zvečer prisiljeni k temu, da prihajajo k sebi. To ni, kakor morda predstavlja za Dostojevskega, čas svobode ali rehabilitacije: delovno izčrpanost ozdravljajo v steklenicah alkohola. Zgodbice, ki jih pripovedujejo o zapravljenih priložnostih, so edino, kar lahko ohrani košček osebne integritete. V prenosu v sodobnost postane jasno, da zaspanega podeželja ni moč zbuditi niti s pomočjo liričnega pogleda ali besede. Edini poet v filmu je glavni junak, poštar, drugi prebivalci pa lahko oživijo le ob spremljanju romance tedna po televiziji. Čeprav je mogoče skupinske rituale in sosedske interakcije, ki jih vzpostavlja poštar, brati kot modus ohranjanja človeških ali družbenih vezi sredi večnih ciklusov narave in na ozadju sprememb sodobne civilizacije, nam ne uide pesimistična politična ost filma: bliskoviti trenutek dosežene sreče v življenju posameznika ne more odtehtati družbene večnosti, statusa quo, ki ga vzdržujejo natanko drobni trenutki sreče, popoldanske meditacije, večerne fantazije … Fikcija z dokumentarnim ozadjem. Prejel je leva za najboljšo režijo v Benetkah (2014). Ivana Novak

of daydreaming, and its banal, material side, which the director nevertheless treats in an affectionate way. It seems that in the afternoon and in the evening people are forced to regain themselves. This is not, as it was for Dostoevsky perhaps, a time of freedom or rehabilitation: they cure their job burnout by bottles of alcohol. The stories they tell of wasted opportunities are the only thing that can preserve a piece of personal integrity. This contemporary setting makes it clear that the sleepy countryside cannot be awakened even with the help of a lyrical view or word. The only poet in the film is the main character, the postman, while the other inhabitants can come to life only by watching the romance of the week on television. Although the collective rituals and the interactions between the neighbours established by the postman can be read as a mode of preserving human or social bonds amid the eternal cycles of nature and against the backdrop of the changes of contemporary civilisation, we cannot escape the film’s pessimistic political edge: the brief moment of achieved happiness in one’s life cannot outweigh the social eternity, the status quo sustained precisely by the little moments of happiness, afternoon meditations, evening fantasies… Fiction with a documentary background. Winner of the Silver Lion for best director in Venice (2014). Ivana Novak

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THEEB

Jordanija, ZAE, VB, Katar/Jordan, UAE, UK, Qatar, 2014 režija/directed by Naji Abu Nowar scenarij/screenplay Naji Abu Nowar, Bassel Ghandour fotografija/cinematography Wolfgang Thaler glasba/music Jerry Lane zvok/sound Dario Swade montaža/ editing Rupert Lloyd igrajo/cast Jacir Eid, Hassan Mutlag, Hussein Salameh, Jack Fox, Marji Audeh produkcija/production Bassel Ghandour, Rupert Lloyd distribucija/distribution Fivia – Vojnik format/format DCP dolžina/running time 100’

Arabski polotok. Piše se leto 1916. Sod smodnika je eksplodiral, svet je v vojni. Meje svetovnih imperijev pokajo po šivih in stara ureditev se kot puščavska fatamorgana razblinja pred očmi. V nekem drugem filmu, ki je postavljen v isti čas, modrooki T. E. Lawrence jaha na čelu arabske revolucije. Prelomni dogodki z začetka 20. stoletja in arabska osvoboditev izpod oblasti Otomanskega imperija v celovečernem prvencu jordanskega režiserja Najija Abuja Nowarja Theeb (2014) služijo predvsem kot ohlapen zgodovinski okvir, znotraj katerega se odvije intimna osebna drama o odraščanju.

The Arabian Peninsula. The year is 1916. The powder keg has exploded, the world is at war. The borders of world empires are bursting at the seams and the old order is dissipating before one’s eyes like a desert mirage. In another film set in the same time, the blue-eyed T. E. Lawrence rides at the head of the Arab Revolt. In Theeb (2014), the feature debut of the Jordanian director Naji Abu Nowar, the epochal events at the beginning of the 20th century and the liberation of Arabs from the rule of the Ottoman Empire serve above all as a loose historical framework within which an intimate and personal comingof-age drama takes place.

Mladega beduina Theeba na nevarni poti čez jordansko puščavo Wadi Rum, na kateri skupaj s svojim bratom Hassanom spremlja britanskega oficirja, pričaka kruta realnost vojnega stanja in posledično travmatična iniciacija v svet odraslih. Ko se odpravi na pot, sta on sam kot tudi njegov pogled na svet še popolnoma nedolžna. Le nekaj dni pozneje pa se ob spremljavi zahajajočega sonca kot kakšen prekaljen in vsega hudega vajen kavboj brez dolarja v žepu vrača v povsem drugo realnost.

Theeb, a young Bedouin boy on a dangerous journey through the Jordanian desert Wadi Rum undertaken with his brother Hassan to accompany a British officer to his destination, encounters the cruel reality of war and undergoes a consequently traumatic initiation into the world of adults. When he sets off on this journey, he himself and his world-view are still quite innocent. Only a few days later, against the backdrop of the sunset, he returns like some hardened cowboy used to everything and without a dime in his pocket to a completely different reality.

Na to, da pravzaprav gledamo nekakšno arabsko različico vesterna, nas napeljuje še kopica drugih indicev. Široka prostranstva slikovite jordanske puščave, v kateri je bil film v celoti tudi posnet in skozi katero se na kamelah v tišini prebija skupina osamljenih popotnikov, niso nič manj epska od legendarnih podob Monument Valleyja iz kakšnega klasičnega Fordovega filma. Dramatična napetost in vizualni minimalizem v redkih strelskih obračunih pa spomnita na špageti mojstrovine slovitega Sergia Leoneja.

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There are a lot of other signs suggesting that we are actually watching an Arab version of a Western. The vast expanses of the picturesque Jordanian desert in which the film was shot in its entirety and through which a group of solitary travellers on camels are making their way in silence are no less epic than the legendary images of Monument Valley from any John Ford classic, while the dramatic tension and the visual minimalism in the rare shoot-outs are reminiscent of the spaghetti masterpieces of the celebrated Sergio Leone.

NAJI ABU NOWAR V Veliki Britaniji rojeni režiser Naji Abu Nowar (1981) živi in dela v Amanu v Jordaniji. Filmsko kariero je nastopil leta 2005, ko je bil sprejet na scenaristično delavnico RAWI Middle East Screenwriters Lab, ustanovljeno ob podpori Inštituta Sundance. Celovečerni igrani prvenec Theeb je doživel premiero na beneškem festivalu leta 2014, kjer je Naji Abu Nowar prejel nagrado za najboljšega režiserja v sekciji Horizonti. Born in the UK, Abu Naji Nowar lives and works in Amman, Jordan. His career in film began with his selection to RAWI Middle East Screenwriters Lab 2005, organized in collaboration with the Sundance Institute. His first feature film Theeb premiered at the 2014 Venice Film Festival, where Naji Abu Nowar won the Best Director award in the Horizons.

Odmev samotnih jezdecev Divjega zahoda lahko slišimo tudi v glasbeni podlagi filma, kjer se melodije iz ameriških prerij srečajo s tradicionalno beduinsko poetiko. Slednja se prikrade tudi v čudovite, z ognjem osvetljene nočne prizore, ob katerih se nenadoma zavemo, da poleg zgodovinskega filma, ki se subtilno skriva pod plastjo neobičajnega vesterna, gledamo tudi nostalgičen portret neke v puščavsko noč izginjajoče beduinske skupnosti.

The echoes of the lone riders of the Wild West can also be heard in the film’s soundtrack, in which the melodies from the North American Prairies meet traditional Bedouin poetics. The latter also creeps into the wonderful, fire-lit night scenes, which suddenly make us aware that, in addition to a historical film subtly hidden under the layer of an unusual Western, we are also watching a nostalgic portrait of a Bedouin community disappearing into the desert night.

Ta melanholičen portret v svoje okvire lovi izumirajočo tradicijo, razpad nomadske skupnosti, izgubo povezanosti z naravo in nepovratno erozijo specifičnih vrst znanja, ki v sodobnem svetu niso več potrebne. O Nowarjevem prvencu je tako mogoče razmišljati tudi kot o filmskem dokumentu. Theebu namreč uspe mikroskopski delček beduinske kulture v filmski spomin ujeti in zapisati v trenutku, ko jo globalne politične sile začnejo nepovratno spreminjati.

This melancholy portrait captures in its frame the dying tradition, the disintegration of nomad communities, the loss of one’s connection with nature and the irreversible erosion of specific types of knowledge no longer needed in the contemporary world. Nowar’s debut can thus also be considered a film document. Theeb manages to engrave a microscopic part of Bedouin culture into film memory, recording it at the moment when global political forces are starting to change it irreversibly.

Ana Šturm

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

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SIGNALI/SIGNALS Angeli revolucije/Angely revoljucii/Angels of Revolution Bx46 Jauja: Raj na zemlji/Jauja Na robu raja/Edenâ&#x20AC;&#x2122;s Edge Samo svoji/Solos Soline/Alikes/Salt Flats Vojna/Chrieg

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ANGELI REVOLUCIJE/ANGELY REVOLJUCII/ ANGELS OF REVOLUTION

Rusija/Russia, 2014 režija/directed by Aleksej Fedorčenko/Aleksey Fedorchenko scenarij/ screenplay Aleksej Fedorčenko, Denis Osokin, Oleg Loevski fotografija/ cinematography Šandor Berkeši glasba/music Andrej Karasjov Maréchal zvok/sound Timofej Šestakov montaža/editing Roman Važenin igrajo/cast Darja Ekamasova, Pavel Basov, Georgij Iobadze, Konstantin Balakirev, Oleg Jagodin, Aleksej Solončev producenti/ producers Dmitri Vorobjov, Aleksej Fedorčenko, Leonid Lebedev produkcija/production 29 February Film Company, Krasnaya Strela Film Company distribucija/distribution ANT!PODE Sales & Distribution format/format DCP dolžina/running time 113’

V zgodnjih 30. letih sovjetske oblasti na posvečeni plemenski zemlji Hantov in Nencev ob reki Kazim v zahodni Sibiriji ustanovijo kulturno bazo, utrdbo boljševizma na odročnem severu, katere namen je privesti avtohtona poganska ljudstva pod duhovno okrilje Stalinove Sovjetske zveze (in se hkrati polastiti naravnih bogastev zahodne Sibirije). Toda šamani samojedskih plemen zavračajo nove, sovjetske ideje. Njihov boj za ohranitev lastne kulture in zoper nasilno kolektivizacijo se izteče v krvavo zadušeno kazimsko vstajo. Takšno je faktično, zgodovinsko okostje, ki ga Aleksej Fedorčenko, vrhovni magični realist sodobnega ruskega filma, izdatno obloži z ikoničnimi podobami sovjetske avantgardne in agitpropovske umetnosti, od živopisanega primitivizma do fantastičnih vdorov jeklenega konstruktivizma v idilo neokrnjene narave, da bi ustvaril to skrajno trpko in globoko humanistično satiro revolucionarnega idealizma in še kako aktualen komentar ruskega ekspanzionizma. Pod praporom kulturne evangelizacije se v sibirsko tajgo poda brigada avantgardnih umetnikov: kipar, gledališki režiser, arhitekt in propagandni filmar na čelu s slovito komunistično borko Polino »Revolucijo«. V utopični veri, da je »lepota močnejša od idej« in da lahko plemenite divjake »udomači samo umetnost«, jim bodo zgradili šolo in bolnišnico, jim zaigrali na theremin, živo utelešenje spoja znanosti in umetnosti, jim prinesli Leninov kip in Meyerholdovo metodo, pa rdečo zvezdo in Črni kvadrat. Toda samojedska kultura je kultura trikotnika, kot se izkaže v eni avtorjevih tisočerih komičnih aluzij, ki vodijo k tragičnemu trku dveh kultur.

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In the early 1930s, on the consecrated tribal land of the Khanty and the Nenets along the Kazym River in western Siberia, the Soviet authorities establish a cultural base, a fortress of Bolsheviks in the remote North, whose purpose is to bring the autochthonous pagan peoples under the spiritual wing of Stalin’s Soviet Union (and at the same time appropriate the natural wealth of western Siberia). But the shamans of the Samoyedic tribes reject the new, Soviet ideas. Their struggle for the preservation of their own culture and against the forcible collectivisation ends in the bloody repression of the Kazym Rebellion. Such is the factual, historical skeleton that Aleksey Fedorchenko, the supreme magical realist of contemporary Russian cinema, amply pads with iconic images of Soviet avant-garde and agitprop art, from colourful primitivism to the fantastic intrusions of the steel constructivism into the idyll of unspoilt nature, in order to create this extremely bitter and deeply humanistic satire on revolutionary idealism and a very topical commentary on Russian expansionism. Under the banner of cultural evangelisation, a brigade of avant-garde artists – a sculptor, a theatre director, an architect and a propagandistic filmmaker headed by the famed communist fighter Polina-Revoluzia – set off for the Siberian Taiga. In the utopian belief that “beauty is more powerful than ideas” and that noble savages can “be domesticated only by art”, they will build for them a school and a hospital, play the theremin, the vivid embodiment of the connection of science and art, bring them Lenin’s statue and Meyerhold’s method, the red star and the Black Square. But the Samoyedic culture is one of a triangle as it turns out in one of the

ALEKSEJ FEDORČENKO/ALEKSEY FEDORCHENKO Aleksej Fedorčenko (1966) je po diplomi in delu na področju vesoljskega inženiringa leta 2000 na sloviti ruski filmski šoli VGIK dokončal še študij scenaristike. Za filmski studio v Sverdlovsku je produciral več kot osemdeset filmov, nato pa leta 2004 ustanovil lastno produkcijsko hišo »29. fevralja«. Sledili so celovečerni filmi Železnaja doroga (2007), Nebesnye ženy lugovyh mari (2012), Tihe duše (Ovsjanki, 2010, predvajan na Kino Otoku leta 2011) in Angeli revolucije, s katerimi se je Fedorčenko dodobra uveljavil ko eden najizvirnejših glasov sodobnega ruskega filma. Alexey Fedorchenko (1966) studied dramaturgy at the famed Moscow Film School VGIK, after first graduating from and working in the field of space engineering. He was producer for more than 80 films at the Sverdlovsk State Studio, and then went on to set up his own production company 29 February. His feature films include The Railway (2007), Celestial Wives of Meadow Mari (2012), Silent Souls (2010, screened at Kino Otok in 2011). With Angels of Revolution, Fedorchenko established himself as one of the most original voices of contemporary Russian cinema.

A Fedorčenku gre tu za ozadje in resnično naravo ideološko sponzoriranega zatiranja in nasilja, za ničevost in fatalizem navideznega kulturnega spopada dveh v pragmatični politični igri tretjega. Nadrealistične inscenacije in obešenjaški humor mu služijo kot edina prikladna sredstva v poskusu upodobitve, refleksije in kritike tega skrajno brutalnega teatra absurda, v katerem vloga žrtve neizbežno doleti oba igralca. Skozi anekdotične digresije in teatralične tableaux vivants, ki kar prekipevajo od ambivalentnega trenja avantgardistične, leninistične, pravoslavne in folklorne ikonografije, Fedorčenko naslika fresko neizrekljive travme teh padlih angelov sovjetske kulturne revolucije – utopističnih revolucionarjev, umetnikov-vojakov in plemenskih vstajnikov, angelov kontrarevolucije. Maša Peče

filmmaker’s numerous comic allusions that lead to a tragic collision of two cultures. But what Fedorchenko is interested in here is the background and the true nature of ideologically sponsored repression and violence, the nothingness and fatalism of a seeming cultural clash between two parties in a pragmatic political game of a third party. Surrealist stagings and gallows humour serve as the only suitable means in his attempt to represent, reflect on and criticise this extremely brutal theatre of the absurd in which the role of the victim inescapably befalls both actors. Through anecdotic digressions and theatrical tableaux vivants, which simply brim with ambivalent friction among the avant-garde, Leninist, orthodox and folkloristic iconographies, Fedorchenko paints a fresco about the unspeakable trauma of these fallen angels of Soviet cultural revolution – the utopian revolutionaries, artists-soldiers and tribal rebels, the angels of counter-revolution. Maša Peče

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Bx46

Francija, ZDA/France, USA, 2014 režija/directed by Jérémie Brugidou, Fabien Clouette scenarij/ screenplay Fabien Clouette, Jérémie Brugidou fotografija/ cinematography Jérémie Brugidou zvok/sound Kenny Kusiak montaža/ editing Jeffrey Dunn Rovinelli produkcija/production Les plans du pélican distribucija/distribution Jérémie Brugidou, Fabien Clouette format/format DCP dolžina/running time 78’

Bx46 je v prvi vrsti film, ki se osredotoča na hrbtno plat glavnih slepil 21. stoletja. Na prelomu tisočletja smo, kot pogosto slišimo, vstopili v informacijsko družbo, družbo znanja, družbo človekovih pravic ali kakorkoli želimo to sprego ideoloških dispozitivov imenovati. Tovrstne etikete sodobnosti so kratke sape predvsem zato, ker spregledajo neizogibno hrbtno plat družbenih procesov, ki jih poveličujejo. Hrbtna plat vsakega visokotehnološkega izdelka je tako rudnik v tretjem svetu, kjer kopljejo surovine zanj, pa tudi odpad v New Yorku, kjer ta kos opreme zaključi svoje poslanstvo. Hrbtna plat razsvetljenskega imperativa človekovih pravic je zapor, skrajna institucija aparata, ki naj bi te pravice zagotavljal. Hrbtna plat vseh elitnih obrokov na Manhattnu so hektične in zaudarjajoče tržnice

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s hrano, kjer kuharski maestri kupujejo sestavine. Bx46 je preplet filmskih miniatur, ki krožijo med tremi prizorišči v Bronxu: ribjo tržnico, plavajočim zaporom na Vzhodni reki ter metropolitansko deponijo. Vsem trem lokacijam so skupni delavci, ki jih napolnjujejo, ter dejstvo, da so daleč stran od bleščeče prezence uspeha, ki ga omogočajo. Bx46 je film o nevidnih ljudeh, ki jih radi spregledamo, kadar nam iluzija svetle prihodnosti slepi pogled. Njihovi delavniki so bodisi prezgodnji bodisi prepozni, cigarete predrage, taksijev ni na spregled, delo pa opravljano s ponosom in nikoli končano. Neprizanesljivo, a dostojanstveno ovekovečenje kastnega sistema zahodnega sveta. Matjaž Ličer

JÉRÉMIE BRUGIDOU, FABIEN CLOUETTE Jérémie Brugidou (1988) in Fabien Clouette (1989) sestavljata francoski režiserski dvojec, ki je v sodelovanju posnel svoj prvi dokumentarni film, Bx46, ta je premiero doživel na festivalu FIDMarseille. Avtorja sta se spoznala na univerzi Columbia v New Yorku, kamor sta se preselila zaradi študija, oba pa delujeta na različnih področjih umetnosti. Jérémie Brugidou (1988) & Fabien Clouette (1989) are a French filmmaking duo who have collaborated to make their first documentary Bx46, which premiered at FIDMarseille. They met at Columbia University, New York, where they moved to study and pursue their creative projects.

Bx46 is first and foremost a film that focuses on the flipside of the main deceptions of the 21st century. At the turn of the millennium, we entered, as we often hear, the era of information society, a society of knowledge, a society of human rights, or however we wish to call this conjugation of ideological proclamations. Such contemporary labels tend to be short-lived because they ignore the inevitable flipside of the social processes they celebrate. The flipside of any high-tech product is a third-world mine where the raw material to make it is extracted, or a New York scrap yard where this piece of equipment will conclude its mission. The flipside of the enlightening imperative of human rights is prison, the utmost institution of the apparatus that is supposed to grant those very rights. The flipside of any elite meal on Manhattan are the hectic and fetid food markets where kitchen chefs buy their ingredients.

Bx46 is an intertwinement of film miniatures circling among three locations in the Bronx – a fish market, a prison barge on the East River and a metropolitan junkyard. What all three sites have in common are the labourers cramming them, and the fact that they are far from the dazzling presence of the success they enable. Bx46 is a film about the invisible people we tend to overlook when our eyes are blinded by the illusion of a bright future. Their shifts are either too early or too late, cigarettes too expensive, taxis nowhere to be found, while their work is done with pride and is never finished. A brutal, but dignified portrait of the caste system of the Western world. Matjaž Ličer

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JAUJA: RAJ NA ZEMLJI/JAUJA

Argentina, Danska, Francija, ZDA, Mehika, Brazilija, Nemčija, Nizozemska/Argentina, Denmark, France, USA, Mexico, Brazil, Germany, the Netherlands, 2014 režija/directed by Lisandro Alonso scenarij/screenplay Lisandro Alonso, Fabián Casas fotografija/cinematography Timo Salminen glasba/music Viggo Mortensen, Buckethead montaža/editing Natalia López, Gonzalo del Val igrajo/cast Viggo Mortensen, Viilbjørk Mallin Agger, Ghita Nørby, Adrián Fondari, Esteban Bigliardi, Diego Román, Mariano Arce, Misael Saavedra, Gabriel Márquez, Brian Patterson produkcija/production Lisandro Alonso, Viggo Mortensen, Ilse Hughan, Andy Kleinman, Sylvie Pialat, Jaime Romandia, Helle Ulsteen distribucija/distribution Demiurg format/format DCP dolžina/running time 108’

Občudovalci Alonsovega dela vedo, da so njegovi filmi dobesedno pustolovščine; potovanja, ki so naporno fizično, telesno prebijanje skozi pokrajino. Tudi Jauja: Raj na zemlji, zgodba iz 19. stoletja o danskem vojaškem inženirju, ki se poda v golo Patagonijo, da bi našel pobeglo hčer, je takšen – a še vedno radikalen. Radikalen, ker v vlogo omenjenega inženirja postavi Vigga Mortensena, ker ga pripravi do tega, da govori dobro dansko in okorno špansko ter da postane telo, ki se odtisne na Alonsove predzgodovinske pokrajine. Radikalen zaradi svoje staromodnosti, posnetkov z zaobljenimi robovi v razmerju 1:1.33, na katerih vidimo nebo in zemljo in ki jih tako kot pri Johnu Fordu razpolavlja horizont – in neki čudovito posneti sončni zahod v skrajno intimnem, low-fi slogu dejansko poustvari Fordovo technicolor tehnologijo iz štiridesetih let. Radikalen tudi kot praznik ekscesa, zaradi minimalističnega pristopa k skoraj vsemu razen k snovnosti in teksturi slike. Radikalen torej ne v enem samem trenutku, ampak v resničnem, občutenem kopičenju – kot da naj se prejšnji posnetki ne bi izgubili v megli spomina, pač pa da se slika za sliko nalagajo drug na drugega, v plasti tiho utripajočih trenutkov, ki so gosti in otipljivi kot terakotne ploščice. Daniel Kasman, Notebook

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A fan of Alonso’s work knows that his films are literally adventures, travels that are physical, bodily travails pushing through landscape. Jauja, his 19th century tale of a Danish military engineer who sets off into barren Patagonia to search for his runaway daughter, is more of the same, but still radical. Radical for getting Viggo Mortensen to play that engineer, to speak good Danish and stilted Spanish, and to become a body to press upon Alonso’s prehistoric landscapes. Radical for its old fashionedness, shot in curved-edge 1.33 on film with sky and ground in frame, with that frame bisected by the horizon, like John Ford compositions. (And indeed, one dusk-set shot gorgeously re-imagines the 1940s Technicolor palette of Ford in the most intimate, low-fi manner.) Radical, too, for its minimalism of nearly everything but materiality and image texture. Radical, then, not in a single moment but in a real, felt aggregation, as if the previous shots were not lost to be fogged by memory, but that image after image of the film stacks on top of one another, layers of quietly pulsing moments thick and tactile like terracotta tiles. Daniel Kasman, Notebook

LISANDRO ALONSO Lisandro Alonso (1975) je študiral film na Universidad del Cine v Buenos Airesu, nato pa začel delati kot mojster zvoka in pomočnik režije pri filmih svojih prijateljev, Nicolasa Sarquisa in Pabla Trapera. Slednji je kasneje soproduciral Alonsov prvenec Svoboda (La libertad, 2001), ki je bil premierno prikazan na festivalu v Cannesu in ga je dunajski Filmski muzej kasneje uvrstil med sto najpomembnejših del filmske zgodovine. Za film Jauja: Raj na zemlji je v Cannesu prejel nagrado FIPRESCI v sekciji Posebni pogled. Lisandro Alonso (1975) studied film at Universidad del Cine in Buenos Aires, and went on to work as sound engineer and assistant director for his friends’ films: he worked with Nicolas Sarquis and Pablo Trapero. The latter was producer for Alonso’s first feature film, La Libertad (2001), which was screened at Cannes and listed by the Austrian Film Museum as one of the 100 most important works in film history. For Jauja, Alonso won the FIPRESCI prize (Un Certain Regard) at Cannes.

»Pred nekaj leti sem prejel e-mail, v katerem je pisalo, da je bila moja tesna prijateljica umorjena daleč stran od svoje domovine. Rada je pisala in govorila o filmih, včasih celo malo preveč. Kakorkoli že, dogodek me je zelo pretresel in začela je nastajati ta zgodba. Upoštevajoč njen nasvet sem tokrat več prostora namenil besedam, pa tudi lastnim željam. Morda se sliši čudno, ampak čutim, da je ta film našel pot do mene in prevzel svojo nestvarno obliko zato, da bi mi pomagal razumeti svet in čas, v katerem živimo, kako izginemo, da bi se nerazložljivo vrnili na skrajno skrivnostne načine.«

“A few years back I received an email telling me that a close friend had been assassinated in a land far away from her place of birth. She loved to write and to talk about films, a bit too much at times. In any case, I was strongly disturbed and shocked by what had happened to her and I began to think of this story. Following her advice, I have devoted more space to words here, and to my own desires. Oddly enough, I feel that this film has come to me and taken its unreal form as a way of helping me to grasp the world and the time we live in, how we vanish in order to inexplicably return, in utterly mysterious ways.”

Lisandro Alonso

Film je posvečen Niki Bohinc in Alexisu Tiosecu.

The film is dedicated to Nika Bohinc and Alexis Tioseco.

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NA ROBU RAJA/EDEN’S EDGE

Avstrija, ZDA/Austria, USA, 2014 režija/directed by O.N.L.S.D, Gerhard Treml, Leo Calice scenarij/ screenplay Gerhard Treml fotografija/cinematography Gerhard Treml, Leo Calice zvok/sound Ronit Kirchmann, Gerhard Treml, Leo Calice montaža/editing Gerhard Treml, Leo Calice produkcija/ production O.N.L.S.D, Universität für Angewandte Kunst Wien distribucija/distribution Sixpack film format/format DCP dolžina/running time 61’

Na robu raja, vizualno minimalističen, a zato nič manj prepričljiv, s premišljeno zasnovo raziskuje izmuzljivo razmerje med prostorom, naracijo in subjektom. Četudi ne gre za primer klasičnega dokumentarca, je devet predstavljenih zgodb edinstven dokument sodobne ameriške kulture – med drugim tudi njene obsedenosti s puščavo. Ta v filmu, ki z rabo CG-ja in offa prevprašuje tudi lastne temelje, zadobi status nekakšnega pribežališča, zaradi neskončne praznine pa omogoči edinstveno potencialnost za generiranje avdiovizualne ustvarjalnosti. V tem oziru ne gre za ponovitev antonionijevske geste, ki deluje po principu praznjenja kadra, saj smo v filmu Na robu raja priča njegovemu polnjenju z digitalno estetiko. Kontrapunkt estetskemu modernizmu šestdesetih še intenzivneje prihaja do izraza v narativnih pasusih posamezne življenjske zgodbe. Te so reprezentirane skozi eksperimentiranje z robovi klasičnega filma, preizkušajoč, do kam lahko sploh sežeta klasična filmska in t. i. digitalna podoba v njunih prikazovalnih zmožnostih. Preiskovanje vidnega dopolnjuje repetetivna zvočna kulisa, ki jo tkejo monologi posameznic in posameznikov, ki jih nikoli ne ugledamo en face, saj se nam odkrivajo zgolj z daljave, s t. i. ptičje perspektive. Premik od ene k drugi zgodbi je nakazan s pomenljivim mednapisom ter s spremembo prostorske razporeditve in njej pripadajočih scenskih predmetov, ki so imanentni predstavljeni življenjski zgodbi. Ker se montaža odvija na ravni povezovanja posameznih zgodb, posamezni prizor funkcionira kot samostojna enota, kot nekakšen tableaux

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With its thought-out conception, the visually minimalist, but therefore no less convincing Eden’s Edge explores the elusive relation between space, narrative and subject. Even though it is not an example of a classic documentary, the nine presented stories are a unique document of contemporary American culture – including its obsession with the desert. In the film, which questions its own foundations with the use of CG and voice-over, the desert acquires the status of a sort of a refuge, while its infinite emptiness enables a unique potentiality for generating audio-visual creativity. In this regard, the film does not repeat Antonioni’s gesture of emptying the shot since we are witness to it being filled with digital aesthetics. The counterpoint to the 1960s aesthetical modernism is even more intensively asserted in the narrative passages of individual life stories. These are represented through experimenting with the edges of classical cinema, testing the limits of the classical filmic and the so-called digital image in their representational capacities. The examination of the visible is complemented by the repetitive background soundscape created from the monologues of individuals that we never see en face since they are revealed to us only from afar, from the so-called bird’s-eye view. The shift from one story to the next is indicated by a telling intertitle and a change in spatial arrangement and the corresponding props, which are intrinsic to the presented life story. Because the editing takes place at the level of connecting particular stories, an individual scene functions as an independent unit, as a sort of a tableaux vivant, since the only movement that we

LEO CALICE Leo Calice je sprva delal kot kuhar, potem pa na dunajski Univerzi uporabnih umetnosti študiral krajinsko arhitekturo. Zanimajo ga začasne intervencije, ki omogočajo reinterpretacijo ali vzpostavitev (umišljenih) prostorov. After working as a chef, Leo Calice studied Landscape Design at the University of Applied Arts Vienna. He is interested in ephemeral interventions allowing for a new interpretation of places and the creation of (imaginative) spaces. GERHARD TREML Gerhard Treml je ameriško-avstrijski umetnik, ki raziskuje narativne strategije za prilastitev, preučitev in preoblikovanje prostorskih relacij, ki so temeljne za naše vzpostavljanje realnosti. Gerhard Treml is an American/Austrian artist, whose practice explores narrative strategies in order to appropriate, investigate, and reconfigure spatial relations basic to our construction of reality. Leo Calice in Gerhard Treml sta člana multidisciplinarnega kolektiva O.N.L.S.D, ki se ukvarja z narativno naravo krajin. Na robu raja je njihov prvi film. Leo Calice and Gerhard Treml are members of O.N.L.S.D (Office for Narrative Landscape Design), a multi-disciplinary team investigating the narrative nature of landscapes. Eden´s Edge is their first film.

vivant, saj je edino gibanje, ki ga je moč spremljati, tako rekoč statično stopicanje zabrisane osrednje figure. To referira na hojo kot na produktivno prakso proizvajanja pomena, ki povezuje gibanje, podobo in gledalca, ustvarjajoč transfer, katerega edinstvenost se manifestira tudi v zabrisanosti figure, ki pomembno prispeva k vzpostavitvi specifične atmosfere. Skorajda že eterična atmosfera tako preigrava »šamansko« konotacijo puščave kot vzpodbuja, da se gledalec bolj kot na vizualno osredotoči na govorjene besede, s čimer se vzpostavlja edinstvena intima med njim in govorjeno besedo. Sinergija med vizualnim, zvočno krajino in pomensko igro proizvaja zgodbe, ki funkcionirajo na ravni reprezentacije, performativnosti in na ravni dogodkovnosti, znotraj česar je vsaka zgodba vzpostavljena kot avtonomen dogodek. Toda navkljub njihovi različnosti se med njimi spleta prav posebna energija, ki v harmonično celoto tke vizualno in zvočno sliko.

can follow is the practically static pattering of the indiscernible main figure. This refers to walking as a productive practice of generating meaning which connects movement, image and viewer, creating a transference whose uniqueness is also manifested in the indiscernibility of the figure, which importantly contributes to the establishment of a specific atmosphere. Thus, the almost ethereal atmosphere both plays on the “shamanistic” connotation of the desert and encourages the viewer to concentrate more on the spoken words than on the visual, whereby a unique intimacy is established between the viewer and the spoken word. The synergy between the visual, the soundscape and the play of meaning produces stories that function at the level of representation, performativity and at the level of eventness within which each story is established as an autonomous event. But despite their diversity, a special energy develops among them, weaving the visual image and the sound into a harmonious whole.

Nina Cvar

SIGNALI/SIGNALS

SAMO SVOJI/SOLOS

Peru, 2015 režija/directed by Joanna Lombardi Pollarolo scenarij/screenplay Joanna Lombardi Pollarolo fotografija/cinematography Inti Briones glasba/music Andrej Karasjov Maréchal zvok/sound Rosa Maria Oliart montaža/editing Eric Williams igrajo/cast Wendy Vásquez, Alberto Rojas Apel, Diego Lombardi, Rodrigo Palacios producent/ producer Miguel Valladares Vives produkcija/production Tondero, el árbol azul distribucija/distribution EZ Films format/format DCP dolžina/running time 92’

Trije mladi perujski filmarji se po propadlem poskusu osvojitve komercialnih kinematografov Lime z mobilnim kinom odpravijo na deželo, bližje gledalcem, ki so dlje od Hollywooda. Vzdušje odprave, ki jo zaokroža postavljavec letnih kinov iz Argentine, je sprva optimistično, a dobra volja in zanos z vsako slabo ali sploh ne-obiskano vaško projekcijo vztrajno plahnita. Navidezna lahkotnost bivanja med uživanjem v tišini in duhovito gostobesednostjo postopno prehaja v refleksijo njihovega početja. Vse dokler se skozi vijuge zakotnih cest fotogenične perujske džungle postopoma ne izoblikuje véliko vprašanje: je snemanje filma, ki le stežka najde pot do gledalcev, vredno truda ustvarjalcev? Samo svoji (2015), drugi celovečerec perujske režiserke Joanne Lombardi, je film ceste skozi gosto džunglo, ki se brez zadrege, z le malo grenkobe in dobro mero humorja sprašuje o smislih in nesmislih ustvarjanja ter prikazovanja neodvisnih, avtorskih filmov. Po festivalsko uspešnem in kritiško hvaljenem igranem prvencu Casadentro (2013), ki je nastal zvesto po zapisanem scenariju, želi avtorica tokrat z uporabo pravih imen igralcev in improviziranimi dialogi poustvariti občutek dokumentarnosti. Avtentičnost imitacije dokumentarnega filma je podprta z zaporednim nizanjem prizorov, v katerih se preizpraševanje o filmih in kinu prepleta z razmislekom o prijateljstvu, intimnosti in življenju. O svojeglavosti, samo-svojosti in neizbežni osamljenosti, ki se napaja iz prvih dveh. Tik pred vrnitvijo v Limo si Wendy, Beto, Diego in Rodrigo priredijo brezplačno projekcijo na prostem

SIGNALI/SIGNALS

After a botched attempt at conquering commercial cinemas in Lima, three young Peruvian filmmakers set off with a mobile cinema to the countryside, closer to the viewers that are further from Hollywood. At first, the mood of the expedition complemented with an erector of open-air cinemas from Argentina is optimistic, but with every poorly attended or unattended village screening their high spirits and enthusiasm persistently wane. The seeming lightness of being between pleasure in silence and witty verbosity gradually passes into a reflection on what they are doing. All until, through the meanders of the remote roads in the photogenic Peruvian jungle, there gradually emerges the big question: is making a film that only arduously finds its way to the viewers worth the effort of its creators? Solos (2015), the second feature by the Peruvian director Joanna Lombardi, is a road movie, set in the thick of the jungle, that unabashedly and with merely a pinch of bitterness and a good measure of humour questions the sense of making and screening independent auteur films. After Casadentro (2013), her critically acclaimed feature debut that did very well at the festivals and was made by faithfully following the script, the filmmaker wanted to convey a feeling of documentariness by using the actors’ real names and improvised dialogues. The authenticity of this imitation of a documentary film is supported by the sequence of scenes in which the questioning of films and cinema is intertwined with a reflection on friendship, intimacy and life; on self-will, individuality and the inescapable loneliness that feeds on the former two. Just before their return to Lima, Wendy, Beto, Diego

JOANNA LOMBARDI Joanna Lombardi je svoj celovečerni prvenec Casadentro (2012) prikazala po vsem svetu in z njim osvojila številne nagrade, med drugim nagrado Ibermedia za razvoj kinematografskih projektov, zlati zenit na filmskem festivalu v Montrealu in nagrado FIPRESCI. Za drugi celovečerec Samo svoji je prejela postprodukcijsko podporo perujskega ministrstva za kulturo. Snema tudi kratke filme. Joanna Lombardi’s first feature film Casadentro (2012) has screened and been awarded worldwide. It won the Ibermedia for the Development of Cinematographic Goods prize, as well as the Gold Zenith at the Montreal Film Festival and the FIPRESCI Prize. Solos, her second feature film, won the Peruvian Culture Ministry’s post-production Award. Lombardi also makes short films.

v praznini južnoameriške pampe. Štirje mušketirji sodobne sedme umetnosti pred platnom stojijo vsak zase kot edini štirje gledalci, a – tako se zdi – trdno odločeni vztrajati do zadnjega tona in vrstice odjavne špice. Tanja Hladnik

and Rodrigo put on a free-of-charge outdoor show for themselves in the emptiness of the South American pampas. The four musketeers of contemporary cinema stand in front of the screen, each alone, as the only four viewers, but – so it seems – resolutely determined to persist to the last tone and line of the end credits. Tanja Hladnik

»Ko sem razmišljala o Samo svojih, me je vodilo predvsem dvoje. Eno je bila želja o tem, da bi govorila o filmih. O vseh tistih filmih, ki jih posnamemo in na koncu pred javnostjo pogorijo. Da bi naredila film, v katerem imaš priložnost spregovoriti o tem, kakšen je občutek, ko mesece ali celo leta pripravljaš film, ki ne bo imel več kot sedmih dni pojavnosti na oglasnih plakatih. Druga motivacija je šla v povsem drugo smer. Po tem, ko sem pri filmu Casadentro imela opravka z natančno določenim scenarijem, sem čutila potrebo po liberalnejšem filmu, ki bi ga lahko postopno, po malo, gradila kot dokumentarec.«

“When I was thinking about Solos I had two distinctive motivations. One of them was the desire to speak about movies. About those movies many of us make and end up being a public failure. Making a film in which you can have the opportunity to talk about what it feels like to dedicate many months and even years to make a film that won’t last more than seven days of exposure in a commercial billboard. My second motivation goes a different way. After working with a rigid script in Casadentro, I felt the need for a more liberal movie, one that could be constructed little by little like a documentary.” Joanna Lombardi

Joanna Lombardi

SIGNALI/SIGNALS

SOLINE/ALIKES/SALT FLATS

Grčija/Greece, 2014 režija/directed by Ira Dika, Yorgos Savoglou fotografija/ cinematography Ira Dika, Iliana Driva, Yorgos Savoglou zvok/sound Ilias Flammos producenta/producers Ira Dika, Yorgos Savoglou distribucija/distribution Ira Dika, Yorgos Savoglou format/format DCP dolžina/running time 36’

Ira Dika je soline, ki se nahajajo le nekaj deset kilometrov jugozahodno od njenega domačega Soluna, odkrila po naključju. »Nemudoma očarana nad prizorom«, ki se ji je razprl pred očmi, se je skupaj z Yorgosom Savogloujem odločila, da to močno prvo impresijo »ujameta« na film. Rezultat je kratkometražni film Soline – presunljiva avdiovizualna meditacija, ki v odsotnosti govorjene besede dokumentira postopke pridobivanja soli v severnogrškem Angelochoriju.

Ira Dika discovered the salt flats situated only a few tens of kilometres southwest of her hometown of Thessaloniki by chance. “Immediately entranced by the spectacle” unfolding before her eyes, she decided, together with Yorgos Savoglou, to “capture” this powerful first impression on film. The result is the short film Salt Flats – a moving audio-visual meditation which in the absence of the spoken word documents the procedures of harvesting salt in Angelochori in Northern Greece.

Njune ustvarjalne poti so se prekrižale že pri Dikinem zgodnejšem filmu Stavroula (2012), ki ga je Savoglou produciral. Polurni dokumentarni film je razigrano beležil tipičen dan v življenju 86-letne Stavroule, njena pripovedovanja, spominjanja in opravila. Tokrat pa sta ubrala drugačen, oblikovno mnogo bolj strukturiran pristop in, sledeč uvodni misli madžarskega cineasta Bele Tarra: prostor je vedno lik, film zasnovala kot niz statičnih posnetkov, ki v premišljene kompozicije uokvirjajo delovni vsakdan na angelochorških solinah. Ko so solinski delavci še med snemanjem prvič videli in slišali nastale posnetke, so po pripovedovanju le stežka prepoznali svoje delovno okolje, tako nenavadno in tuje se jim je zdelo. Film se pravzaprav ne osredotoča neposredno nanje, temveč prej na razmerje med njihovim delom in okolico, ki ga obdaja; to pa doseže z motrenjem vsega, kar ta prostor dnevno »naseljuje«: obmorska pokrajina, delavci, stroji, mimoidoči, živali, pri čemer se kamera nobenemu od teh »elementov« nikoli ne približa do te mere, da bi ga lahko videli kot izoliranega od drugega. To načelo pa sta avtorja še

Their creative paths already crossed when Dika was making her earlier film Stavroula (2012), which Savoglou produced. The 30-minute documentary cheerfully recorded a typical day in the life of the 86-year-old Stavroula, her stories, reminiscences and chores. This time, they took a different, formally much more structured approach, and, following the introductory thought by the Hungarian cineaste Bela Tarr, a place is always a character, they conceived the film as a series of static shots that frame the workday at Angelochori’s salt flats into thought-out compositions. When during the shooting the salt flat workers first saw and heard the filmed footage, they apparently had difficulty recognising their work environment; it seemed so strange and foreign to them. Actually, the film does not focus on the workers directly, but rather on the relationship between their work and the environment surrounding it, which it does by observing everything that daily “inhabits” this space: the seaside landscape, workers, machines, passers-by and animals, with the camera never coming close to any of these “elements” to the extent of them appearing as isolated from others.

SIGNALI/SIGNALS

IRA DIKA V Tirani rojena Ira Dika (1990) je študentka filma na solunski akademiji. Njen dokumentarni prvenec Stavroula (2012) je bil uvrščen v uradni izbor 14. Solunskega festivala dokumentarnega filma in drugih festivalov po Grčiji. Film Soline je premiero doživel na 16. izdaji Solunskega festivala dokumentarnega filma. Born in Tirana, Albania, Ira Dika (1990) is a student of Film Department at the Thessaloniki School of Fine Arts. Her first documentary Stavroula (2012) participated in the official selection of the 14th Thessaloniki Documentary Festival and other national festivals. Salt Flats premiered in the official selection of the 16th Thessaloniki Documentary Festival. YORGOS SAVOGLOU Yorgos Savoglou je podiplomski študent filma na solunski akademiji. Od leta 2007 je kot montažer, režiser in producent sodeloval pri nastanku trinajstih kratkih in treh celovečernih filmov. Ti so osvojili več nagrad, med drugim nagrado občinstva na 7. Solunskem festivalu dokumentarnega filma in nagrado združenja grških filmskih kritikov za najboljši kratki film. Yorgos Savoglou is a post graduate student of Film Department at the Thessaloniki School of Fine Arts. Since 2007 he has worked on thirteen short films and three feature films as an editor, director and producer. The awards the films won include Audience Award at 16th Thessaloniki Documentary Festival and Hellenic’s Film Critics Association Award for Best Short Film.

toliko bolj učinkovito udejanjila v kompleksni zvočni podlagi, kjer se, denimo, »zvok stroja in zvok morja včasih zaletavata, spet drugič pa prekrivata«, kakor da bi šlo, po Savogloujevih besedah, za »ljubezensko zgodbo z izbruhi konfliktov in pobotanj«. Bor Pleteršek

The filmmakers implemented this principle even more effectively in the complex soundtrack in which, for example, “the sound of a machine and the sound of the sea are sometimes colliding and at other times overlapping”, just like, according to Savoglou, in “a love affair, with bouts of conflict and reconciliation”. Bor Pleteršek

»Hotela sva, da najine podobe govorijo same zase. V najinem dokumentarcu so leteča ptica, zvok morja ali kolesar, ki opazuje prizorišče, enako pomembni kot ljudje, ki delajo na solinah.«

“We wanted our images to speak for themselves. In our documentary, the flying bird, the sound of the sea or the biker who observes the scenery are equally important as the people.”

Ira Dika

SIGNALI/SIGNALS

VOJNA/CHRIEG

Švica/Switzerland, 2014 režija/directed by Simon Jaquemet scenarij/screenplay Simon Jaquemet fotografija/cinematography Lorenz Merz zvok/sound Jean-Pierre Gerth montaža/editing Christof Schertenleib igrajo/cast Benjamin Lutzke, Ste, Ella Rumpf, Sascha Gisler, John Leuppi, Livia S. Reinard producenta/producers Christof Neracher, Christian Davi produkcija/production Hugofilm distribucija/distribution Picture Tree International format/format DCP dolžina/running time 108’

V impresivnem celovečernem prvencu švicarskega filmarja Simona Jaquemeta družinska bremena moškosti trčijo z družbenim nasiljem, ki ga pomagajo podpirati. Čeprav petnajstletni Matteo ni posebej neubogljiv, pa zaradi njegovega tipičnega mladostniškega uporništva njegova starša poskrbita, da ga nekega večera strpajo v zadnji del kombija in ga odpeljejo iz njegovega nezanimivega predmestnega življenja v to, kar je na prvi pogled videti kot vojaški kamp za urjenje, zasnovan za to, da mulce prisili v podreditev. V sublimno zelenem alpskem okolju mora Matteo prestati iniciacijski postopek, ki ga nadzoruje tesno povezan klan približno enako starih nepridipravov in kmet, lastnik posestva in opotekajoči se alkoholik. Na začetku protagonistu pobrijejo njegovo mlahavo grivo pobarvanih las, vendar pa ima to merjenje moči tudi temnejšo in fizično zahtevnejšo plat, ki se konča z dramatičnim prizorom, (v resnici!) posnetim na grozljivo visokem stolpu. Odtlej je Matteo zavezan svojemu novemu načinu življenja, čeprav vse večja privlačnost, ki jo čuti do pripadnice gorečnežev, obeta nadaljnje probleme v prihodnosti ... Jaquemetov prvi celovečerec, posnet z zasedbo mladostnih naturščikov, je dobrodošel dokaz tega, kako daleč lahko pozorna režija in angažirane izvedbe pripeljejo relativno enostaven, čeprav grenko humorno značilen koncept. Režiserjev lastni scenarij, ki se izogiba enostavnim stereotipom, prekipeva od tonalno kompleksne energije, oživita pa ga – med drugim – živopisna vizualna paleta direktorja fotografije Lorenza Merza in impozantna

SIGNALI/SIGNALS

In Swiss filmmaker Simon Jaquemet’s impressive debut feature, the domestic burdens of manhood collide with the social violence they help to underpin. Though not especially unruly, fifteen-year-old Matteo’s typical adolescent rebelliousness results in his parents arranging for him to be forced into the back of a van one evening and driven from his unremarkable suburban life to what looks at first glance to be a military-style bootcamp designed to wallop young tykes into submission. Against a sublimely green, low alpine backdrop, Matteo must undergo an initiation process supervised by a close-knit clan of similarly-aged tearaways and the farmer whose land it is—a bumbling alcoholic. To begin with, our protagonist’s floppy mop of dyed hair is shaved off, but there’s also a darker and more physically gruelling edge to this power play, which concludes with a set-piece filmed (for real!) on a terrifyingly high pylon. Thereafter, Matteo is bound to this new way of life, though his growing attraction to one of the other firebrands promises further problems ahead… Working with a cast of non-professional youths, Jaquemet’s first feature-length work is welcome evidence of how far a relatively simple if wryly idiosyncratic concept can be taken by attentive direction and committed performances. Eschewing easy stereotypes, the director’s own script bristles with a tonally complex energy, and is brought to life by—among other things—a vibrantly colourful visual palette from cinematographer Lorenz Merz and a commanding central performance from newcomer Benjamin Lutzke, who conveys with quiet

SIMON JAQUEMET Simon Jaquemet (1978) je leta 2005 s kratkim filmom Die Burg diplomiral na filmskem oddelku züriške visoke šole za umetnost (ZHdK). Odtlej kot svobodni filmski režiser in avtor posnel več kratkih filmov, režira pa tudi glasbene videe, za katere je prejel številne nagrade. Osvojil je nagrado EDI, švicarsko filmsko priznanje na področju oglaševanja. Simon Jaquemet (1978) graduated in film from the Zurich University of the Arts (ZHdK) in 2005 with the short film Die Burg. Since then, he has been working as a freelance film director and author, directing music videos and making short films. He received a number of awards for his music videos as well as the Swiss advertising film prize known as the EDI.

osrednja izvedba novinca Benjamina Lutzkeja, ki s tiho prezgodnjo zrelostjo izrazi vso muko, bolečino, zmedenost in vznemirjenje, ki jih prinese najstništvo: dolgčas, odtujenost, ustrahovanje, spoprijateljevanje, prvo ljubezen.

precociousness all the anguish, hurt, confusion and exhilaration that come with being a teenager: boredom, estrangement, being bullied, making friends, first love.

Čeprav je naslov Chrieg preveden z »vojna«, pa v tej temačno komični drami odraščanja ni nobenih militarističnih deklaracij, pač pa se drama odvije na bolj notranjem in bolj psihološkem bojišču. Kot pravi Jaquemet: »Pritisk na najstnike je visok. Preplavljeni so s podobami o tem, kako naj se obnašajo in kako naj izgledajo, malo pa je prostora za uporništvo in neorganizirano dejavnost. Želim preučiti in vizualizirati zapeljivost nasilja. Zasvajajoče vznemirjenje delovanja izven vseh meja. Raziskati dinamiko v skupini, ki ga izvaja, in posledice za glavnega junaka, ki je posrkan v ta svet.«

Though Chrieg’s title translates to ‘war,’ there are no militaristic declarations in this darkly comic coming-ofage drama. Rather, the drama unfolds on a more interior and more psychological battlefield. As Jaquemet says, “The pressure on teenagers is high. They are flooded with images of how to behave and how to look, while there is little room for rebellion and unorganized activity. I want to explore and visualise the seduction of violence. The addictive thrill of operating outside of all limits. Investigate the dynamics inside the group doing it and the consequences upon my main character, who is sucked into this world.”

Michael Pattison

SIGNALI/SIGNALS

DOBRI SOSEDJE/GOOD NEIGHBOURS

DOBRI SOSEDJE/GOOD NEIGHBOURS Hrvatski kratki: filmi Borisa Poljaka/Films by Boris Poljak Hrvatski kratki: filmi Hane Jušić in Sonje Tarokić/Films by Hana Jušić and Sonja Tarokić Hrvatski kratki: filmi Igorja Bezinovića/Films by Igor Bezinović Íslenskar stuttmyndir: islandski kratki filmi/Icelandic Shorts

DOBRI SOSEDJE/GOOD NEIGHBOURS

Hrvatski kratki: filmi Borisa Poljaka/Films by Boris Poljak Snemalec in režiser Boris Poljak že trideset let stoji za različnimi kamerami. Filmsko je spregledal skozi okence »osmičke«, s katero že od zgodnjih 80. let snema filme t. i. četrte generacije avtorjev Kino kluba Split, kamor sodijo tudi Mustać, Batinović, Štambuk in drugi. Od začetka 90. let do danes je kot poklicni direktor fotografije preizkusil tako rekoč vse analogne in digitalne filmske formate ter zbral zavidanja vredno zbirko nagrad za fotografijo. Čeprav je njegova avtorska fotografija oplemenitila vrsto filmov drugih režiserjev, se je odločil poskusiti tudi kot filmski avtor v pravem pomenu besede. Če Poljaka postavimo v kontekst »splitskega kroga« eksperimenta, iz katerega izhaja, lahko njegov dokumentarizem razumemo kot nadaljevanje specifične lokalne tradicije »oplemenitenega dokumentarizma«, ki ga je gojilo več generacij Kino kluba Split, začenši z generacijo Ivana Martinca v 60. letih. Naklonjene so bile nenarativnim, poetičnomeditativnim formam, eksistencialnim motivom in atmosferičnemu filmu. Filma, s katerima je Poljak začel svojo nedokončano observacijsko trilogijo, pa kažeta na to, da se v eksperimentatorju s kamero v roki, ki še kako spoštuje tradicijo, skriva tudi avtor z antropološkim potencialom. Čeprav sta oba filma (in tudi tretji, ki še nastaja) sestavljena iz fragmentov in nenarativno strukturirana kakor splitski underground klasiki, pa v nasprotju s filmi »splitske šole« na neki način raziskujeta vedenje ljudi v specifičnih javnih prostorih, namenjenih uživanju v brezdelju. Taka je na primer mestna plaža v filmu Splitski akvarel ali kulturno-zgodovinska znamenitost v filmu Autofocus. Po drugi plati pa gre tudi za filme presenetljivih fotografskih kompozicij in inovativnih jukstapozicij ter kumulativno močnega vizualnega učinka, ki bi lahko stal tudi samostojno oziroma bi bil sam sebi namen. Diana Nenadić, Filmonaut 11/2015 »Moj prejšnji film Splitski akvarel (2009) je bil začetek svojevrstnega raziskovanja snemanja z močnim teleobjektivom, naznanil pa je tudi stilske smernice filma Autofocus. Snemal sem od daleč in preprosto so se dogajale stvari, ki so se mi zdele zanimive, med drugim ljudje, ki snemajo sami sebe. Sem bolj snemalec kot režiser in ko se sprehajam po Splitu, pogosto vidim turiste, ki kaj snemajo ali fotografirajo. Včasih me radovednost premaga, da pogledam, kaj. Nekateri fotografirajo arhitekturo, večina pa jih snema same sebe in vseeno jim je, kaj je v ozadju. In to mi je dalo zamisel za film.« Boris Poljak

Boris Poljak is a cinematographer and a director that has stood behind different cameras for thirty years. He gained his film sight through the viewfinder of an 8mm camera, which he has used since the early 1980s to make films of the so-called fourth generation of the Split Cine Club filmmakers, who include Mustać, Batinović, Štambuk and others. Since the beginning of the 1990s, he has worked with practically all analogue and digital film formats as a professional director of photography, garnering an enviable collection of awards for cinematography. Although his authorial cinematography enriched a number of films by other directors, he decided to try his hand as a film auteur proper. If we place Poljak in the context of the “Split circle” of experiment, which he comes from, we can understand his documentary filmmaking as a continuation of a specific local tradition of “enriched documentary filmmaking” fostered by several generations of the Split Cine Club, starting with Ivan Martinac’s generation in the 1960s. They were inclined to non-narrative, poetical and meditative forms, existential motifs and atmospheric film. The two films with which Poljak began his unfinished observational trilogy suggest that in the experimentalist holding a camera who very much so adheres to tradition hides a filmmaker with an anthropological potential. Although both films (and the third which is still in the making) consist of fragments and are non-narratively structured like the Split underground classics, they, as opposed to the films of the “Split school”, in a way explore the behaviour of people in specific public places intended for enjoyment in idleness. Such, for example, is the city beach in The Split Watercolour or the cultural and historical sight in Autofocus. On the other hand, his films are characterised by astonishing cinematographic compositions, innovative juxtapositions and a cumulatively strong visual effect that could stand on its own or function as an end in itself. Diana Nenadić, Filmonaut 11/2015 “The Split Watercolour (2009), my previous film, was the beginning of a peculiar exploration of filming with a powerful telephoto lens, announcing the stylistic directions of Autofocus. I filmed from afar and there were simply things going on that seemed interesting to me, among others, people filming themselves. I am more of a cinematographer than a director, and when I walk around Split, I often see tourists filming or photographing something. Sometimes curiosity gets the better of me and I take a look at what. Some photograph architecture, but most film themselves and do not care what is in the background. This is what gave me the idea for the film.” Boris Poljak

DOBRI SOSEDJE/GOOD NEIGHBOURS

AUTOFOCUS Boris Poljak, Hrvaška/Croatia, 2013, 26’

Cerkev sv. Nikolaja iz 12. stoletja vsako leto pritegne množice turistov. Nahaja se na slikovitem griču ob osamelem drevesu in zdi se, kot da kraj postane oder, na katerem se zvrstijo različni nenavadni dogodki. In turisti, ki se ne zavedajo bližine kamere, postanejo igralci v predstavi. Every summer, St. Nicholas Church (12th century) draws large crowds of tourists. Situated on a picturesque hill and next to a lone tree, it is as if the site becomes a stage where various unusual events take place. Unaware of the proximity of the camera, the tourists become performers in a show. LUČONOŠA/THE TORCHBEARER Damir Čučić, Boris Poljak, Hrvaška/Croatia, 2009, 6’

Film temelji na optičnem eksperimentu s točkastimi viri svetlobe in povezanimi filtri. Svetloba prehaja skozi oviro, človeške roke, gibanje rok in prstov pred objektivom pa pri tem ustvarja zanimive kromatične oblike. Končni rezultat je optična avantura, v kateri je svetloba instrument, na katerem prsi ustvarjajo vizualno glasbo. The film is based on an optical experiment with point light sources and the corresponding filters. The light passes through a barrier, human hands. Movements of hands and fingers in front of the lens result in interesting chromatic forms, producing an optical adventure in which light is an instrument, and the fingers perform a kind of visual music. SKY SPIRITS Damir Čučić, Boris Poljak, Hrvaška/Croatia, 2010, 6’

Osnova za eksperimentalni film Sky Spirits so posnetki ognjemetov, ki sta jih avtorja zbirala med letoma 2001 in 2008. Eksperiment prevprašuje naravo ognjemeta kot vira svetlobe, pri čemer videoobdelava dokumentiranih dinamičnih svetlobnih vzorcev privede do kromatično bogatega animiranega rezultata. The basis of the experimental film Sky Spirits are real-life shots of fireworks, collected by the authors between 2001 and 2008. The experiment explores the ultimate limits of fireworks as sources of light, showing this through real-life dynamic light patters which are led through video processors, resulting in chromatically rich animated samples. SPLITSKI AKVAREL/THE SPLIT WATERCOLOUR Boris Poljak, Hrvaška/Croatia, 2009, 15’

Splitska plaža Žnjan, ki se uporablja tudi kot parkirišče, velja za mestno plažo za ne preveč bogate meščane. Ljudje so z zmogljivim teleobjektivom posneti v vsakdanjem dogajanju, značilnem za življenje na plaži. Kopalci, morje, avtomobili in čolni valujejo v vročini poletnega dne kot gibljiva pointilistična slika, kot da njihov počasni ritem ustvarja sliko njihovega golega obstoja. Žnjan, one of the beaches in Split, used also as a parking lot, is considered a city beach for not so wealthy citizens. People are filmed there with a powerful telephoto lens in everyday situations that are typical for beach life. The swimmers, the sea, the cars and boats vibrate in the hotness of a summer day like a moving pointillist painting. It is as if their slow rhythm creates a picture of their bare existence.

DOBRI SOSEDJE/GOOD NEIGHBOURS

Hrvatski kratki: filmi Hane Jušić in Sonje Tarokić/Films by Hana Jušić and Sonja Tarokić

Hana Jušić in Sonja Tarokić kljub mladosti že vrsto let sodita med vrhove hrvaške filmske ustvarjalnosti, saj sta nase glasno opozorili že s filmi iz študentskih dni. V otoški program in tudi sicer v svet stopata kot uspešen ustvarjalni tandem, ki s filmskim izrazom proučuje in secira na prvi pogled vsakdanje in povsem neosupljive okoliščine. A prav radovedno in neizprosno brskanje po površini vsakdana nas v filmih avtoric popelje do nenavadnih in čudnih notranjih svetov posameznikov in novih zornih kotov na širen, a hermetičen svet družbenih in intimnih odnosov. Razkrije se nenehen trk ali trenje med (s tradicijo obremenjeno) družbo in živahnim, čeprav podrejenim čustvenim in čutnim svetom posameznikov. Kakor okoliščine tudi liki v filmih praviloma niso nenavadni ali uporniški, a s svojo vsakdanjostjo in vpetostjo v spone razmer tako ali drugače, bolj ali manj, hlastajo po svobodi. Počnejo običajne reči, dialogi med njimi so preprosti, banalni, a pod vsem tem »že videnim« vre. In filmarki nas precizno vodita po tem nevarno nepredvidljivem robu. Svet njunih filmov je filigransko izdelan: natančno kadriran in montiran ustvarja celoto, polno ločnic in ločevanj: svetovi likov so kljub »funkcionalnemu« sistemu ostro ločeni; scenografija, kostum, zvok, barvna skala ... vsi sporočajo o svetu navidezne harmonije, ki se zaradi spontanih miselnih in čustvenih reakcij protagonistov neprenehoma in zanesljivo sesuva v kaos. In ta razpad vseskozi spremlja humor v različnih pojavnih oblikah – ob katerem nas neredko strese smeh, a prav enako pogosto spreleti srh. Kljub skupnim tematskim in pripovednim afinitetam pa sta si filmska izraza ustvarjalk, cinefilk in prijateljic, ko gre za njune samostojne projekte, močno in nadvse različna: Sonja Tarokić ostaja v polju realizma in njen filmski svet v vseh slojih sestavljajo precizne in izluščene podrobnosti, sestavni delci velike slike o malih ljudeh. Filmski izraz Hane Jušić pa je že na prvi pogled bolj kričav: svoje slike vsakdana napolni z značilnim humorjem, erotiko, nasiljem, ki dajo nemudoma slutiti trhle temelje tradicije, na katerih tako samozavestno slonimo. Varja Močnik

Despite their young age, Hana Jušić and Sonja Tarokić have been at the very top of Croatian cinema for years now, having resoundingly drawn attention to themselves already with their student films. They enter the Kino Otok programme and the world in general as a successful creative duo, using film expression to examine and dissect the seemingly everyday and quite unastounding circumstances. But it is precisely the curious and relentless browsing through the surface of the everyday in their films that takes us to the unusual and weird inner worlds of individuals and to the new perspectives on the broad, but hermetical world of social and intimate relations. They reveal a constant collision or friction between society (burdened with tradition) and a lively, although subordinate emotional and sensuous world of individuals. Like the circumstances, the characters in their films are as a rule not unusual or rebellious, but with their ordinariness and their entrapment in the circumstances they in one way or another, more or less, yearn for freedom. They do ordinary things, the dialogues among them are simple, banal, but underneath the “already seen” it seethes. In a precise way, the filmmakers lead us along this dangerously unpredictable edge. The world of their films is meticulously crafted: precisely framed and edited, it creates a whole full of dividing lines and divisions: despite the “functional” system, the characters’ worlds are sharply divided; set design, costumes, sound, colour scheme ... they all convey a world of seeming harmony which due to the protagonists’ spontaneous mental and emotional reactions is constantly and surely collapsing into chaos. Throughout, this crumbling is accompanied by humour in different forms – which frequently makes us laugh, but often also shudder. But despite their common thematic and narrative affinities, when it comes to their independent projects, the film expressions of the two filmmakers, cinephiles and friends strongly differ: Sonja Tarokić remains in the field of realism, with all the layers of her film world composed of precise and refined details, composite parts of a big picture about the little man. Hana Jušić’s film expression is flashier already at first sight: it fills its pictures of the everyday with characteristic humour, eroticism and violence that immediately give an inkling of the rotten foundations of tradition on which we so selfconfidently lean. Varja Močnik

DOBRI SOSEDJE/GOOD NEIGHBOURS

ČE BI BILA HIŠA DOBRA, BI JO TUDI VOLK IMEL/DA JE KUĆA DOBRA I VUK BI JE IMAO/NO WOLF HAS A HOUSE Hana Jušić, Hrvaška/Croatia, 2015, 25’

Sandra je pretirano občutljivo dekle, ki pod pritiskom ne zna razlikovati med stvarnostjo in svojimi nenavadnimi fantazijami. Na moževi zabavi za rojstni dan mora preživeti dan z njegovo družino. Ob njihovi komaj prikriti sovražnosti počasi začne izgubljati razum. Sandra is an overly sensitive young woman who, when under pressure, has trouble distinguishing between reality and fantasies. At her husband’s birthday party, she has to spend a day with his family. Their barely concealed hostility makes her gradually lose her mind. PAMETNJAKOVIČKI/PAMETNICE Hana Jušić, Sonja Tarokić, Hrvaška/Croatia, 2010, 24’

Marija ima fanta, njena sostanovalka Nikolina pa je še devica. A ko spozna, da so se družbene konvencije spremenile, mora izpolniti nove obveznosti in premisliti svoje nazore. While Marija is set with her boyfriend, her roommate Nikolina is still a virgin. But realising that the social practices have changed, she has to follow her duties and restructure her beliefs. TLA POD NOGAMI/TLO POD NOGAMA/ON SHAKY GROUND Sonja Tarokić, Hrvaška/Croatia, 2014, 29’

Ko oče zaradi finančnih potez, ki jih je dotlej tajil, zapade v hudo depresijo, se odnosi v družini znajdejo na preizkušnji. Dogajanje najbolj prizadene njegovega 18-letnega sina Tonija. After father becomes seriously depressed because of the financial transactions he had previously kept secret, this brings crisis upon his family. His son, 18-year-old Toni, is affected by this situation the most.

DOBRI SOSEDJE/GOOD NEIGHBOURS

Hrvatski kratki: filmi Igorja Bezinovića/Films by Igor Bezinović

Igor Bezinović: amater, profesionalec

Igor Bezinović: An Amateur and a Professional

Igor Bezinović pripada mladi generaciji hrvaških avtorjev, ki so nase opozorili predvsem v formi kratkega filma z izjemno zrelimi, izvirnimi in festivalsko uspešnimi deli. Rojen v Reki je zaključil študij primerjalne književnosti, sociologije in filozofije na Filozofski fakulteti v Zagrebu ter režijo na Akademiji dramskih umetnosti v Zagrebu. Je velik poznavalec filma in kot mentor svoje znanje predaja na številnih filmskih delavnicah, deluje kot moderator na filmskih dogodkih in se profesionalno posveča predvsem dokumentarnemu filmu.

Igor Bezinović belongs to the younger generation of Croatian filmmakers who drew attention to themselves principally with their short films, which are exceptionally mature and original works that have done well at festivals. Bezinović, who was born in Rijeka, graduated in comparative literature, sociology and philosophy from the Faculty of Humanities and Social Sciences in Zagreb and in film directing from the Academy of Dramatic Arts in Zagreb. He is a great film connoisseur who shares his knowledge as a mentor at numerous workshops, moderates over film events, but in his professional life mostly makes documentary films.

Gledalci ga zagotovo najbolje poznajo po celovečernem dokumentarnem filmu Blokada, v katerem je dokumentiral študentske proteste v Zagrebu, vendar pa so njegovi kratki metri tisti, v katerih najjasneje vidimo svojevrsten avtorski izraz, ki je kljub temu, da je raznolik in razsežen, vedno tudi izostren, intriganten in svež, skozi njega pa veje veter velikih imen jugoslovanskega dokumentarizma. Igor je režiser, ki ga vseskozi čutimo za podobo na platnu in ta navidezna prisotnost je tista, ki iz njegovih filmov naredi več kot samo avdiovizualno izkušnjo. Zvok in slika dobita pravi pomen šele, ko se preslikata skozi zadnji filter, njega samega, in tu film oblikuje svojo srž in osebnost, ki je klesana iz igrivega kadriranja in montaže, nenavadnih pripovedovalcev zgodbe in, kar je najpomembnejše, iskrenosti do medija, gledalca in ustvarjalca. Sam zase pravi, da se skuša ravnati po besedah Borisa Budena: »Svi mi smo započeli kao amateri. Samo najbolji među nama to su i ostali./Vsi smo začeli kot amaterji. Samo najboljši med nami so to tudi ostali.« Niz njegovih kratkih filmov – nekatere med njimi bomo lahko gledali tudi na Otoku – temelji prav na principu hitrega odzivanja »akcija-reakcija« na povsem spontane dogodke, kar je tudi ena izmed kakovosti, ki krasijo amaterski film. Tako lahko zaključimo, da je Igor Bezinović velik amater, ki ustvarja izjemno profesionalne filme. To pa ne pomeni, da mu je profesionalna produkcija tuja. Prav nasprotno: s svojim zadnjim filmom Veruda – film o Bojanu v produkciji HRT je še enkrat dokazal, da je avtor z izjemno širino in filmskim znanjem, ki je domač v filmskem izražanju ne glede na žanr, formo, tehniko, tematiko ali produkcijo. Peter Cerovšek

Viewers surely know him best for his The Blockade, a feature-length documentary film about the student protests in Zagreb, but it is in his shorts that we can see most clearly his unique auteur expression which is, despite being diverse and extensive, always also sharp, intriguing and fresh, while echoing the big names of Yugoslav documentary filmmaking. Igor is a director that we constantly sense behind the image on the screen, and it is this seeming presence that makes his films something more than just an audiovisual experience. The sound and picture gain their proper meaning only when they are projected through the last filter, the filmmaker himself, and it is here that the film’s essence and personality are formed by playful framing and editing, unusual narrators and, most importantly, honesty towards the medium, the viewers and the artist himself. He says of himself that he tries to follow the words of Boris Buden: “We all started as amateurs. But only the best of us have remained ones.” The series of his short films – some of which we will see at Kino Otok – is based precisely on the principle of a quick “actionreaction” response to quite spontaneous events, which is one of the qualities gracing amateur film. We can thus conclude that Igor Bezinović is a great amateur making very professional films. But this does not mean that he is a stranger to professional production. Quite the opposite: with his last film Veruda – A Film about Bojan, produced by the Croatian Radiotelevision, he proved once more that he is an auteur with exceptional breadth and film knowledge who is at home in film expression regardless of the genre, form, technique, topic or production. Peter Cerovšek

DOBRI SOSEDJE/GOOD NEIGHBOURS

BENJAMIN Samoprodukcija/self-produced, Hrvaška/Croatia, 2015, 4’

Igorjeva sestra se je odločila, da svojega sina poimenuje Benjamin. Igor’s sister decided to name her son Benjamin.

CARTOLINA DE MOMJAN 2 Produkcija/production Visura aperta, Hrvaška/Croatia, 2013, 3’

Psihogeografsko raziskovanje istrskega mesteca Momjan. A psychogeographic exploration of the Istrian town of Momiano.

ČAKANJE/ČEKANJE/WAITING Samoprodukcija/self-produced, Hrvaška/Croatia, 2014, 3’

Vrhunec turistične sezone. Stavkajoči delavci, ki že mesece niso dobili plače, in turisti, ki so prisiljeni čakati v razbeljeni pločevini. Workers on strike who have not been paid for months and tourists who are forced to wait in their steamy cars in the middle of the tourist season.

DOM JE TAM, KJER JE SRCE/DOM JE TAMO GDJE JE SRCE Samoprodukcija/self-produced, Hrvaška/Croatia, 2013, 4’

Dom gospe Marije Janeković iz Petrinje. Home of Mrs Marija Janeković from Petrinja.

DOBRI SOSEDJE/GOOD NEIGHBOURS

KIERKEGAARD Produkcija/production Fade In, Hrvaška/Croatia, 2014, 4’

Danski filozof Søren Aabye Kierkegaard (1813–1855) je pokopan v Københavnu, kjer je tudi živel. V življenju je veliko razmišljal o smrti in nato je umrl. Danish philosopher Søren Aabye Kierkegaard (1813-1855) was buried in Copenhagen, where he spent his entire life. He spent his life thinking about death, and then he died.

OD KRŠANA DO PEROJA Produkcija/production HRT, Hrvaška/Croatia, 2015, 6’

Po navdihu dela Draga Orlića, Istarski bordel muza. Inspired by Istarski bordel muza by Drago Orlić.

VERUDA – FILM O BOJANU/VERUDA – A FILM ABOUT BOJAN Produkcija/production HRT, Hrvaška/Croatia, 2015, 33’

Bojan ima 24 let. Štiri leta in pol svojega življenja je preživel v zaporih v Turopolju, Sisku, Glini, Remetincu, Pulju, Zagrebu in Reki. Dvajset let je preživel v Verudi v Pulju. Bojan is 24 years old. Four and a half years of his life he spent in prisons Turopolje, Sisak, Glina, Remetinec, Pula, Rijeka and Zagreb. Twenty years of his life he spent in Pula’s quarter of Veruda.

ZELO KRATEK IZLET/VRLO KRATKI IZLET/A VERY BRIEF EXCURSION Produkcija/production MonFilmFest, Hrvaška/Croatia, 2014, 15’

Čeprav se je zdelo, da Roko ve, kam gre, je postalo jasno, da smo se izgubili. A zdelo se mi je najbolje, da gremo naprej. Na misel mi je prišla tista pesem Americe, We Had No Real Summer Last Year. Although Roko seemed to know where he was going, it started to become clear we were lost. In spite of this, I thought it was best to keep going. I remembered that song by America, We Had No Real Summer Last Year.

DOBRI SOSEDJE/GOOD NEIGHBOURS

Íslenskar stuttmyndir: islandski kratki filmi/Icelandic Shorts Islandija, kako primerno, je otoška dežela.

Iceland, how befitting, is an island country.

Njeno obširno telo je prekrito z ledom, fjordi, peščenimi tundrami in hribovji in v njenem osrčju se človeška bitja niso mogla ustaliti, saj zanje tam ni ničesar. Ljudje niso otoki, je nekdo rekel nekoč davno, in to velja tudi za Islandce. Še posebej zanje, ki jih je na drugem največjem evropskem otočju precej manj kot pol milijona. Samota je breme in že na samem začetku izvemo, kako nevarno, kako usodno je biti izobčen, nezaželen v skupnosti. Sedem čolnov pluje vsak zase po grenkem črnem morju in se ne meni zanj, ki je zapisan smrti. Brezbrižni so kot življenje samo, kadar smo na poti navzdol – in preostane nam le, da se borimo in brcamo in premagamo strahove, ki smo jih srečali na poti. V kratkem dokumentarnem filmu Helgi Valur islandski indie rock zvezdnik za zvedavo kamero dokumentira svoje lastne vzpone in padce, boj z drogami in maničnimi izbruhi, pobarvanimi v odtenke frantičnih vizij v slogu Hunterja S. Thompsona. Življenje je težko tudi za rock zvezde, ampak lažje za ljudi, ki imajo v sebi glasbo, in prav o tem se lahko prepričamo v plesni zgodbi Koreomanija. Glasba in ples sta v njem dve neustavljivi, magnetni sili, ki ženeta v gibanje skrivnostnega obiskovalca klubov – videvajo ga po klubih v Reykjaviku, kjer skoraj dve desetletji s svojim plesom hipnotizira množice in jih privablja na plesišče, kot da je mesto nekakšnega skupnega, svetega obreda.

Its extensive body is covered in ice, fjords, sand tundra and hills; in its heartland, humans could not settle since there is nothing for them there. No man is an island, someone said a long time ago, and this is something that holds for Icelanders; especially for them, a people of less than half a million living on the second biggest European archipelago. Solitude is a burden, and at the very start we learn how dangerous, how fatal it is to be exiled, unwanted in a community. Seven Boats sail, each by itself, on the bitter black sea, taking no notice of the one consigned to death. They are careless like life itself when we are on our way down – all we can do is fight and kick and overcome the fears we have met on the way. Helgi Valur is a short documentary film featuring an Icelandic indie rock star who for an inquisitive camera documents his own ups and downs, his struggle with drug addiction and manic episodes carrying a note of frantic visions reminiscent of Hunter S. Thompson. Life is hard for rock stars, too, but it is easier for people with music in their hearts, as evidenced by the dance story in Choreomania. In it, music and dance are two unstoppable, magnetic forces that drive a mysterious clubber – for almost two decades, he has been seen in Reykjavik clubs mesmerising the masses with his dancing, inviting them to the dance floor as if it were a place of a sort of a collective holy ritual.

Ponos Strathmoora je animiran poklon žanru južnjaške gotike, v katerem se fiktivni zapiski pastorja iz Georgie prelevijo v ekspresionistično grozljivko, kjer so vse razlike absorbirane v obstoju črne ali bele, teme ali luči, zla ali dobrega, Satana ali Boga. In naposled zmaga dobro, četudi z nekoliko črne; bolje rečeno, z nekoliko črnega humorja. V komičnem kratkem filmu Mleko in kri se cedita mleko in, no, kri, toda pretakanje telesnih tekočin nam konec koncev daje vedeti, da smo živi! Živi, kot je živ Artun, deček, ujet sredi neznansko lepega poletja odraščanja, pa čeprav soočen s problemi, ki pestijo vse živahne fante, ko se izvijejo iz popka pubertete. Še dobro, da je na drugi strani zaliva Reykjavik, obljubljena dežela, mesto izpolnjenih želja, ki čaka, da vanj ugrizne kot v prepovedano jabolko. Islandski kratki filmi pa čakajo na vas, da na letošnjem Kino Otoku postanete njihovi Dobri sosedje. Bojana Bregar

The Pride of Strathmoor is an animated homage to the genre of southern gothic in which a fictitious journal by a pastor from Georgia is transformed into an expressionistic horror film in which all differences are absorbed into the existence of black or white, dark or light, evil or good, Satan or God. Finally, good prevails, albeit with a bit of black; or rather a bit of black humour. The comic short film Milk and Blood flows with milk and, well, blood, but, at the end of the day, the juices flowing is what lets us know that we are alive! Alive like Artun, a boy caught in the midst of an incredibly beautiful summer of growing up, even though he is faced with problems plaguing all vivacious boys breaking out of the bud of puberty. It is a good thing that at the other end of the bay lies Reykjavik, the promised land, the city of fulfilled dreams, waiting like the forbidden fruit for the boy to take a bite. And at this year’s edition of Kino Otok, the Icelandic shorts are waiting for you to become their Good Neighbours. Bojana Bregar

DOBRI SOSEDJE/GOOD NEIGHBOURS

ÁRTÚN/ARTUN Guðmundur Arnar Guðmundsson, Islandija/Iceland, 2014, 21’

Deček si želi prvega poljuba, a v vasici, kjer živi, nima sreče. Prijatelji mu povedo o dekletih v mestu, ki jih kajenje cigaret zadane in razvname. Odloči se, da gre z njimi in se prepriča na lastne oči. A young boy wants to have his first kiss but has no luck in the small village he lives in. His best friends tell him about girls in the city that get high and horny when they smoke cigarettes. He decides to go with them to find out for himself. HELGI VALUR Marta Óskarsdóttir, Islandija/Iceland, 2014, 13’

Kratek dokumentarni film o pevcu Helgiju Valurju. Short documentary about singer Helgi Valur.

KOREOMANIJA/CHOREOMANIA Choreography Reykjavík, Islandija/Iceland, 2014, 15’

Plesni dokumentarec Koreomanija, ki se dogaja v Reykjaviku, obudi spomin na znamenitega plesalca. Za mnoge islandske skupine je predstavljal »kralja« njihovih nastopov v zdaj porušenih prizoriščih po Reykjaviku. Choreomania is a dance documentary that takes place in Reykjavík, Iceland. Memories of a distinguished dancer are recalled. He was the ‘champion of gigs’ for many Icelandic bands during concerts that took place in the now destroyed venues in Reykjavík. MLEKO IN KRI/MILK AND BLOOD Markus Englmair, Islandija, ZDA/Iceland, USA, 2014, 10’

Na mlekarski farmi se kmet z laktozno intoleranco maščuje gospodovalnemu očetu, ki ga po krivem obtoži, da je uničil cisterno za mleko. A lactose intolerant dairy farmer takes revenge on his overbearing father after being wrongly accused for breaking the milk tank.

DOBRI SOSEDJE/GOOD NEIGHBOURS

PONOS STRATHMOORA/THE PRIDE OF STRATHMOOR Einar Baldvin, Islandija, ZDA/Iceland, USA, ProRes, 2014, 9’

Odlomki iz dnevnika pastorja Johna Deitmana. Strathmoor, Georgia, junij in julij 1927. Extracts from the journal of Pastor John Deitman, Strathmoor, Georgia. June & July, 1927.

SEDEM ČOLNOV/SEVEN BOATS Hlynur Pálmason, Danska, Islandija/Denmark, Iceland, 2014, 10’

Na odprtem morju smo, mož se bori za življenje. Obkroža ga sedem čolnov. We are out in the open sea, a man is fighting for his life. He is surrounded by seven boats.

DOBRI SOSEDJE/GOOD NEIGHBOURS

PRIJATELJI/FRIENDS

PRIJATELJI/FRIENDS Helmut Groschup: ThuleTuvalu Michael Pattison: Veliki skok naprej/El gran salto adelante/The Great Leap Forward Neil Young: Pranje možganov/Psychic Driving Živan priredi punk festival/Živan pravi punk festival/Živan Makes a Punk Festival

PRIJATELJI/FRIENDS

THULETUVALU

Švica/Switzerland, 2014 režija/directed by Matthias von Gunten scenarij/screenplay Matthias von Gunten fotografija/cinematography Pierre Mennel S.C.S. glasba/music Marcel Vaid zvok/sound Valentino Vigniti montaža/editing Caterina Mona, Claudio Cea nastopajo/featuring Lars Jeremiassen, Susanne Jeremiassen, Rasmus Avike, Qulutannguaq Simigaq, Patrick Malaki, Takuao Malaki, Lauti Malaki, Vevea Tepou, Kaipati Vevea, Foini Tulafono producenta/producers Valentin Greutert, Simon Hesse produkcija/production HesseGreutert Film, Odysseefilm distribucija/distribution Accent Films format/format DCP dolžina/running time 96’

V dokumentarnem filmu Matthiasa von Guntena, ThuleTuvalu, sta izpostavljena otoka Thule in Tuvalu ter njuni prebivalci. A takih otočkov je veliko več. Skozi pripovedovanje zgodb domačinov spoznamo njihovo življenje, način razmišljanja in težave, s katerimi se soočajo.

This documentary film by Matthias von Gunten, ThuleTuvalu, focuses on islands Thule and Tuvalu as well as their inhabitants. But there are many more islands like this. As natives tell their stories, we learn of their life, their way of thinking and the troubles they are faced with.

Film je posnet v krajih, kjer morajo prebivalci svoje kosilo pred pripravo najprej sami poiskati, nato uloviti in pripraviti, kar je v filmu brez zadržkov in olepšav prikazano. Za preživetje je potrebno in samoumevno biti »le« dober lovec. Morda zveni čudno, a družine niso lačne, saj je hrane vedno dovolj.

Where the film was shot, to have a meal people first have to find it, hunt it down and prepare it, which is shown without restraint and embellishments. The “only” thing that unquestionably guarantees survival is to be a good hunter. It might sound weird, but in the abundance of food no family is ever hungry.

Ves film lahko občudujemo čudovite posnetke narave in portrete ljudi, zato začetek filma zavede v misel, da bomo spoznali prečudovito, neokrnjeno, rajsko pokrajino in njene prebivalce, ki znajo in še zmorejo živeti v tesnem stiku z naravo. A se film sprevrže v prepričljiva pričevanja o izgubljanju domov in življenjskega okolja. Prek intervjujev s prebivalci začutimo stisko, ki jo povzroča globalno segrevanje. V filmu navedeni podatki so jasni. Na otoku Thule se za življenje nujno potrebni led tali, Thuvalu pa vse hitreje izginja pod gladino vode.

The film being an uninterrupted series of beautiful shots of nature and portraits of people, the beginning seduces the viewer into thinking it would be a portrayal of a wonderful, intact, heavenly landscape and its inhabitants, who still have the knowledge and ability to live in close contact with nature. However, the narrative turns into a convincing testimony to losing homes and the living environment. Interviews with the inhabitants clearly show their anguish brought on by global warming. The data stated in the documentary is clear. The ice required for the life on Thule is melting, and Tuvalu is increasingly disappearing under the surface of the sea.

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MATTHIAS VON GUNTEN V Baslu rojeni Matthias von Gunten (1953) je študiral na münchenski Fakulteti za televizijo in film in diplomiral s celovečernim filmom Quelle Günther (1980). Nato je sodeloval pri več filmskih produkcijah kot montažer, snemalec in asistent režije. Od leta 1986 je režiral številne dokumentarne kinematografske in televizijske filme. Born in Basel, Switzerland, Matthias von Gunten (1953) graduated from the University of Television and Film Munich with his feature film Quelle Günther (1980). He then worked as an editor, cinematographer and assistant director on several film productions. Since 1986 he has directed numerous documentary films for cinema and television.

Neizogibni sta vprašanji »kaj storiti« in »oditi ali ostati«. Srednja generacija in starejši prebivalci ne podajo istih odgovorov, a obe generaciji združujejo tako žalost kot upanje in vera. Njihova umirjenost, prizemljenost in ljubezen do življenjskega okolja so zavidljivi in posnemanja vredni. Vedo, da v kratkem ne bo ničesar več. Ves njihov svet bo izginil. Lov ne zadostuje več za življenje in preživetje. Komu bi moralo biti mar?

This raises the unavoidable questions, “What to do” and “Whether to leave or to stay”. The answers given by middle and older generations are not the same, but they are all joined in sadness, as well as hope and faith. Their calm, down-to-earthness, and love towards their living environment are enviable and worth following. They know there will soon be nothing left. Their whole world is going to disappear. Hunting no longer suffices for a living and survival.

(Za začetek) priporočam ogled filma.

Who should be concerned?

Helena Šukljan

(To begin with) I recommend you watch the film. Helena Šukljan

PRIJATELJI/FRIENDS

VELIKI SKOK NAPREJ/EL GRAN SALTO ADELANTE/THE GREAT LEAP FORWARD

Španija/Spain, 2014 režija/directed by Pablo Llorca scenarij/screenplay Pablo Llorca fotografija/cinematography Julián Pérez zvok/sound Leticia Pedrosa igrajo/cast Antonio Dechent, Israel Elejalde, Alberto Jiménez, Nuria García, José Luis Torrijo, Fabiola Vargas, Efraín Rodríguez, Vera Quintana, Sara Illán, Luis Daniel Pérez produkcija/production La Cicatriz/La Bañera Roja distribucija/distribution La Cicatriz/La Bañera Roja format/format blu ray dolžina/running time 87’

V več kot petnajstletnem obdobju je neodvisni filmar Pablo Llorca nakopičil repertoar celovečernih, kratkih in dokumentarnih filmov, ki razkrivajo umetnika, ki se globoko in konsistentno ukvarja s svetom. Ta brezsramni levičar in nepretenciozni auteur, ki je neupravičeno spregledan zunaj svoje rodne Španije, je ustvaril zdrav delujoč model za samofinancirano snemanje filmov, pri čemer je proizvedel korpus del, ki jih zaznamuje nezahteven, nizkoproračunski estetski slog, oster politični fokus in zbadljiv smisel za humor, ki le okrepi resnejše notranje komentarje. Llorcova dela so po svojih tematikah enako konsistentna, kot je neutrudna njegova delovna učinkovitost. Lani smo bili priča premieri ne enega, pač pa dveh celovečernih dosežkov, vključno s País de TODO a 100, filmskim esejem o spreminjajočem se finančnem in infrastrukturnem ustroju Madrida. Drugi film, Veliki skok naprej, je pritajeno močna in dostopno nevpadljiva drama, v kateri Andrés, stavkajoči osnovnošolski učitelj, sreča Eleno, mehiško ženo starejšega Španca v finančnih težavah, čigar bolehnost ga priklene na dom. Medtem ko se vez med Andrésom in Eleno krepi, njun svet zapletejo ekonomska bremena neizprosnega sistema. Llorca tu ustvari zanimiv portret sodobne Španije v krizi s prepoznavnim humorjem, neolepšanim realizmom in osvežujočim ter občasno presenetljivim zaupanjem v svoje igralce in material, s katerim delajo – tudi ko karakterizacija tako prve kot drugega sili k nelagodnim resnicam. Llorcov pripovedni slog je nekako primerno neposreden. Na tipičen način, ki se izogne potrebi

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Across a period of more than 15 years, independent filmmaker Pablo Llorca has amassed a repertoire of features, shorts and documentaries that reveal an artist deeply and consistently engaged with the world. Unfairly overlooked outside his native Spain, this unrepentant leftist and unassuming auteur has carved out a healthy working model for self-financed filmmaking, producing a body of work characterised by an unfussy, low-budget aesthetic style, a sharp political focus and a spiky sense of humour that only boosts the more serious commentaries within. Llorca’s output is as consistent in its themes as his workrate is indefatigable. Last year saw the premiere of not one, but two, feature-length efforts, including Palace Without Stairs, an essay film on Madrid’s changing financial and infrastructural makeup. The other film, The Great Leap Forward, is a quietly powerful and accessibly low-key drama in which Andrés, a primary school teacher on strike, crosses paths with Elena, the Mexican wife of an older, financially embattled Spaniard whose ailing health renders him housebound. As Andrés and Elena’s bond strengthens, their world is complicated by the economic burdens of an unforgiving system. Llorca accumulates here an absorbing portrait of contemporary, crisis-ridden Spain, with trademark humour, unvarnished realism and a refreshing and at times startling trust in his actors and the material they work with—even when the characterisation compels both toward discomfiting truths. There’s something suitably direct about Llorca’s storytelling style. In typical fashion, eschewing the need for showy credits, the director throws us straight

PABLO LLORCA Pablo Llorca (1963) je filmski režiser, pisec, scenarist, producent in založnik. Diplomiral je iz umetnostne zgodovine in se v publicističnem delu ukvarja z arhitekturo in likovno umetnostjo. Kariero v filmu je začel v 80. letih z ustanovitvijo produkcijske hiše La Bañera Roja. Posnel je številne kratke in celovečerne filme, med slednjimi La espalda de Dios (2001), Todas hieren (1998) in Jardines colgantes (1993). Pablo Llorca (1963) is a film director, screenwriter, producer and Spanish publisher. He has a degree in Art History and is writing on architecture and fine arts. He started his career as a filmmaker in the 1980s with the creation of La Bañera Roja production, for which he made numerous short and feature films. His feature films include Behind God’s Back (2001), Todas hieren (1998) and Hanging Gardens (1993).

po vpadljivi špici, nas režiser vrže naravnost v dogajanje, ko Andrés poskuša voziti po cesti, ki jo je zabarikadiral protestni pohod. Hkrati je Llorcov opus subtilen in topel: ker ugotovijo, da je tudi on delavec, protestniki naredijo izjemo in Andrésa spustijo skozi. Llorcov enajsti celovečerec, ki je moralen, a nikoli moralizirajoč, zahteven, a nikoli prisiljen, nesentimentalen, a nikoli hladen, se nekaterih problemov, ki vzniknejo iz krize, loti in jih predela s sočutjem in občutljivostjo.

into the action, as Andrés tries to drive along a street that has been barricaded by a protest march. At the same time, Llorca’s cinema is one of subtlety, and warmth: discovering he is a fellow worker, the protesters make an exception to allow Andrés through. Moral but never moralising, challenging but never forced, unsentimental but never cold, Llorca’s eleventh feature addresses and works through some of the problems emerging from the financial crisis with compassion and sensitivity.

Z besedami režiserja samega: »Moji liki tvorijo drugo skupino ljudi, ki se po najboljših močeh trudijo preživljati ... Vsi živijo v Madridu, kjer se njihove poti stalno križajo v kontekstu Španije v krizi. Vsi so liki, ki živijo v Madridu naših dni, vendar nekateri poosebljajo preteklost, drugi pa prihodnost.«

In the words of the director himself: “My characters make up another group of people doing their best to make a living… They all live in Madrid where their paths cross constantly against the background of a Spain in crisis. All of them are characters that live in the Madrid of our days, but some personify the past while others the future.”

Michael Pattison

PRIJATELJI/FRIENDS

PRANJE MOŽGANOV/PSYCHIC DRIVING

ZDA/USA, 2014 režija/directed by William E. Jones zvok/sound Paul Hill montaža/ editing Paul Hill produkcija/production William E. Jones distribucija/ distribution David Kordansky Gallery format/format mov dolžina/running time 15’

Kaj se je tam zares dogajalo? / Imamo le ta odlomek: - The Fall, Cruiser’s Creek (1985)

What really went on there? / we only have this excerpt: - The Fall, Cruiser’s Creek (1985)

Enkrat leta 1979 je American Broadcasting Corporation (ABC) predvajala petnajstminutno posebno poročilo o eksperimentih, ki naj bi jih v 60. letih domnevno izvajala kanadska psihiatrična ustanova pod okriljem ameriške Centralne obveščevalne agencije (CIE). Ta oddaja je bila posneta na kaseto sistema domačega videa (VHS), ki je končala v državnih arhivih (NARA) Združenih držav Amerike (ZDA). To je veliko kratic za en odstavek in tukaj so še tri: LSD (dietilamid lizergične kisline). Glede na poročilo ABC so »pacienti«, ki so bili vključeni v »teste«, prejemali doze LSD-ja kot del raziskovanja tehnik pranja možganov in nadzora uma s tajnim imenom MKUltra pod vodstvom na Škotskem rojenega dr. Ewena Camerona.

Some time in 1979, the American Broadcasting Corporation (ABC) aired a 15-minute Special News Report about 1960s experiments allegedly performed in a Canadian psychiatric institution under the auspices of the American government’s Central Intelligence Agency (CIA). This emission was recorded onto a Video Home System (VHS) tape, which ended up in the National Archives and Records Administration (NARA) of the United States of America (USA). That’s a lot of initials for one paragraph, and here are three more: LSD (Lysergic acid diethylamide). According to the ABC report, the “patients” involved in the “tests” were given doses of LSD as part of research into brain-washing and mind-control techniques, codenamed MKUltra, under the supervision of Scottish-born Dr Ewen Cameron.

35 let kasneje je VHS hiše ABC končal v rokah WEJ: Williama E. Jonesa, kralja manipulacije found footage materiala ameriške avantgarde. Psihedelični rezultat je Pranje možganov – kratki film, ki ga je vaš ponižni pisec uvrstil na prvo mesto med novimi filmi leta 2014 ne glede na dolžino. Jones v celoti obdrži avdio zapis poročila (»povedan prek najbolj meglenih podrobnosti in imen, z raztresenimi, izoliranimi in neverjetnimi dejstvi in enim samim, osamljenim intervjujem z žrtvijo«, kot je napisal Danny Kasman), vizualno pa podvrže divji manipulaciji in popačenju. Utrinki izvirnika so redki in na splošno bežni, namesto tega smo bombardirani s ploho barv in oblik, ki bi lahko izvirale iz »naravnega« razkroja digitalne informacije, a so dejansko rezultat skrbne manipulacije.

35 years later, the ABC VHS ended up in the hands of WEJ: William E Jones, the American avant-garde’s king of found-footage manipulation. The mind-expanding result is Psychic Driving—a short which your humble correspondent ranked as #1 among 2014’s new films, regardless of length. Jones retains the news report’s audio in full (“told through the vaguest of details and names, with scattered, lone and remarkable facts and a single, solitary victim interviewee”, as Danny Kasman wrote) but subjects the visuals to wild manipulation and distortion. Glimpses of the original are few and generally fleeting, instead we are bombarded with a blizzard of colours and shapes that could derive from the “natural” decay of digital information but are in fact the result of painstaking manipulation.

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WILLIAM E. JONES William E. Jones je umetnik in filmski ustvarjalec, ki na umetnostni akademiji Art Centre College of Design v Pasadeni predava filmsko zgodovino. Posnel je več eksperimentalnih filmov, celovečerni dokumentarec Je res tako čudno? (2004, prikazan je bil na 3. Kino Otoku) in številne videoinstalacije. Njegovi filmi in videi so bili prikazani v več retrospektivah, med drugim v galeriji Tate Modern v Londonu (2005), filmskem arhivu Anthology v New Yorku (2010), pa tudi v Momi, Louvru, Palais de Tokyo in drugih umetnostnih ustanovah. William E. Jones is an artist and filmmaker who teaches film history at the Art Center College of Design in Pasadena. He has made several experimental films, the feature length documentary Is It Really So Strange? (2004, screened at 3rd edition of Kino Otok), and many video installations. His films and videos were the subject of a number of retrospectives, including at Tate Modern, London, in 2005, and at Anthology Film Archives, New York, in 2010, and have been shown at MoMA; Musee du Louvre, Palais de Tokyo, and other art institutions.

Konkretno se tako vda kaosu abstraktnega, ki se mu ni moč upreti, pri čemer zrcali dezorientacijo Cameronovih pacientov/žrtev, mnogi od katerih so bili podvrženi pomanjkanju spanja, s hipnozo povzročenemu »razvzorčenju« in »ogromnim dozam« elektrošokov in izmed katerih so nekateri končali v trajno komatoznih stanjih. Jonesov material je resnično videti kot nočna mora Davida Cronenberga (Cameron je umrl ducat let pred predvajanjem poročila ABC v primerno skrivnostnih okoliščinah), je paranojo vzbujajoča vizija znanosti, ki je sprevrnjena zato, da služi nevidnim, podlim vladnim silam. Radikalno, pereče in na žalost vedno aktualno Pranje možganov je eksperimentalni film 21. stoletja v svoji najbolj vitalni in dostopni obliki, temačno duhovita mojstrovina domišljije in konciznosti, ki prevpraša pretekli fragment množičnih medijev in ga preoblikuje v nekaj trajno bogatega in čudnega. QED.

The concrete thus yields to the irresistible chaos of the abstract, mirroring the disorientation of Cameron’s patients/victims, many of whom were subjected to sleep deprivation, hypnotically-induced “de-patterning” and “massive doses” of electroshock—and some of whom ended up in permanently comatose states. Jones’ material is truly the stuff of a David Cronenberg nightmare (Cameron died a dozen years before the ABC report aired, amid suitably mysterious circumstances), a paranoia-stoking vision of science perverted to the service of unseen, nefarious governmental forces. Radical, urgent and regrettably ever-topical, Psychic Driving is 21stcentury experimental cinema at its most vital and accessible, a darkly witty masterpiece of imagination and concision that interrogates and reconfigures a bygone mass-media fragment into something indelibly rich and strange. QED. Neil Young

Neil Young

PRIJATELJI/FRIENDS

ŽIVAN PRIREDI PUNK FESTIVAL/ŽIVAN PRAVI PUNK FESTIVAL/ ŽIVAN MAKES A PUNK FESTIVAL

Srbija/Serbia, 2014 režija/directed by Ognjen Glavonić scenarij/screenplay Ognjen Glavonić fotografija/cinematography Relja Ilić zvok/sound Pavle Dinulović, Jakov Munižaba montaža/editing Sara Santini igra/cast Živan Pujić producenta/producers Mladen Bulbuk, Ognjen Glavonić produkcija/production Non-Aligned Films distribucija/distribution Ognjen Glavonić format/format DCP dolžina/running time 64’

Od vseh filmov, ki so bili prikazani v Izoli, odkar se je leta 2004 začel Kino Otok, jih ni moglo veliko odsevati osrednjega duha te prireditve natančneje kot ta nežni, odrezavi poklon golemu trmastemu obstoju in radostim umetniških podvigov v malem mestu.

Of all the films shown in Izola since Kino Otok began in 2004, few can have mirrored the essential spirit of the event more closely than this tender, terse tribute to sheer stubborn persistence and the joys of smalltown artistic enterprise.

Mladega navdušenega glasbenika Živana Pujića spremljamo v toku štirih vse bolj mrzličnih dni ob pripravah na koncert, ki ga organizira v domači vasi Tomaševac (1.765 prebivalcev) v Vojvodini. Četudi ni prave bojazni, da bi festival z zelo omejenim proračunom po številu obiskovalcev ogrozil bližnji svetovno znani Exit, počasi postaja nekakšna vsakoletna solsticijska tradicija v tem zaspanem kraju, ki se nahaja približno 15 km od romunske meje. Živan se je ob šesti ponovitvi odločil razširiti obzorja in k nastopu povabiti tujo zasedbo – a logistika, ki je potrebna, če naj skupino pripelje iz Slovaške, se izkaže za hudo preizkušnjo njegovih vodstvenih sposobnosti ...

Over the course of four increasingly hectic days, we follow young music-enthusiast Živan Pujić in the build-up to the concert he’s organising in his home village of Tomaševac (pop. 1,765) in Vojvodina, Serbia. While never exactly threatening to eclipse the province’s world-famous Exit in terms of audiencenumbers, the shoestring-budgeted gig has become something of an annual mid-summer tradition in this sleepy spot, some 15km from the Romanian border. For its sixth edition Živan has decided to broaden his horizons and invite a foreign band to perform—but the logistics of bringing the outfit all the way from Slovakia prove a tough test of his managerial skills...

Režiser Ognjen Glavonić – ki sam ni le kitarist v punkovski zasedbi Nesto Najgore, temveč tudi umetniški direktor malega, a lepega filmskega festivala v Pančevu – je sestavil simpatično vseobsegajočo kroniko zasebnega in profesionalnega garanja svojega ubogega, a neustavljivega kolega. Ob tem spoznamo, da punkovski naredi-sam etos navdihuje in postavlja izzive z enako silovitostjo kot vedno. Kljub vsemu se film Živan priredi punk festival ogne grobi estetiki, ki bi jo glede na tematiko morda pričakovali. V Glavonićevih digitalnih posnetkih visoke ločljivosti namreč nekaj zanemarjenih prizorišč bogu za hrbtom zaživi v posebnem razpoloženju z opojnim čarom. Tomaševac: kjer se uresničijo sanje! Neil Young

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Director Ognjen Glavonić—himself not only the guitarist for punk-troupe Nesto Najgore, but also artistic director for the small-but-beautiful Pančevo Film Festival—compiles a sympathetic, access-allareas chronicle of his hapless but irrepressible pal’s domestic and professional travails. Along the way we see that the DIY ethos of punk has lost none of its power to inspire and provoke. Živan Makes a Punk Festival, however, eschews the roughedged aesthetic one might expect from its subjectmatter, Glavonić’s high-def digital images endowing some scruffily back-of-beyond locations with an atmospheric, intoxicating allure. Tomaševac: where dreams come true! Neil Young

OGNJEN GLAVONIĆ Ognjen Glavonić (1985) je diplomiral iz filmske režije na Fakuleti dramskih umetnosti v Beogradu. Njegovi kratki filmi so bili prikazani na več kot petdesetih mednarodnih filmskih festivalih. Živan priredi punk festival, ki je premiero doživel na festivalu Cinéma du Réel (2014), je njegov prvi celovečerni dokumentarec. Trenutno pripravlja svoj prvi celovečerni igrani film, Teret. Ognjen Glavonić (1985) graduated in film directing from the Faculty of Dramatic Arts, Belgrade. His short films have been screened at more than fifty international film festivals. Živan Makes a Punk Festival, which premiered at Cinema du Reel (2014), is his first feature documentary film. He is currently producing his first fiction feature film, The Load.

»Živan je moj dolgoletni prijatelj. Skozi leta sem ga spoznal kot pesnika, organizatorja koncertov in festivalov, radijskega moderatorja, frontmana v punk bendu (Živan & the Razorblades), managerja, slaščičarja, pouličnega prodajalca časopisov ... Sam se označi za člana sodrge iz Tomaševca, klateškega punkerja, outsiderja, podeželsko legendo, jaz pa bi dodal, da z vsemi temi nazivi in besedami ni mogoče zajeti vsega, zaradi česar je zanimiv in poseben. Ko sem premišljeval o razlogih, zaradi katerih se mi Živan zdi tako privlačen lik, sem se zavedel, da si, naj se zdiva še tako različna, deliva zelo podobne cilje. Zavedel sem se, da so moje sanje – snemanje filmov, postopki in poti, ki jih ob tem prehodiš, obsesije – zelo blizu Živanovim lastnim utopijam in ciljem. Napori in borbe za sanje, naj se zdijo še tako nerazumni in oddaljeni, vse navdušenje, ki ga vložiš v nekaj, a na koncu ni pretirano vidno, vse težave in posmeh, ki ti jih včasih nameni tvoja okolica, a tudi vse ovire in nemoč, ki izvirajo iz tvojih lastnih omejitev, vse to sodi med občutja, ki opisujejo in barvajo našo generacijo in naša življenja.«

“Živan is my long-time friend. Over the years I got to know him as a poet, organiser of concerts and festivals, radio host, frontman of a punk band (Živan & the Razorblades), manager, confectioner, street newspaper seller... He describes himself as a lowlife from Tomaševac, a punk drifter, an outsider, a rural legend but I would add that all of these titles and words cannot embrace all the things that make him interesting and special. Thinking about the reasons that made Živan as a character so attractive to me, I realised that, however different we might seem, we share very similar goals. I realised that my dreams— making films, the process and path you go through, the obsessions—are really close to Živan’s own utopias and aims. The struggle, fighting for the dreams however unreasonable and far they might seem, all the enthusiasm you put into something that ends up being not very visible, the troubles and ridicule your surrounding sometimes gives you, but also the obstacles and powerlessness that come from your own limitations, are some of the feelings that describe and colour our generation, and our lives.” Ognjen Glavonić

Ognjen Glavonić

PRIJATELJI/FRIENDS

SILVANOV ZALIV/SILVAN’S BAY

SILVANOV ZALIV/SILVAN’S BAY 20 let Slovenskega filmskega centra!/20 Years of Slovenian Film Centre! Krizno obdobje/The Time of Crisis Okoliščina/La circostanza/The Circumstance Vrnili se bodo travniki/Torneranno i prati/Greenery Will Bloom Again

SILVANOV ZALIV/SILVAN’S BAY

KRIZNO OBDOBJE/THE TIME OF CRISIS

Slovenija (Jugoslavija)/Slovenia (Yugoslavia), 1981 režija/directed by Franci Slak scenarij/screenplay Franci Slak fotografija/cinematography Radovan Čok zvok/sound Hanna Preuss Slak montaža/editing Sonja Peklenk igrajo/cast Ana Avbar, Roberto Battelli, Vili Bitežnik, Peter Božič, Ivan Brecelj, Jože Breskvar, Anka Cerlini, Marko Derganc, Emil Filipčič, Niko Goršič, Mila Kačič, Jože Kadunc, Marko Marin, Alojz Milič, Joži Pepeluh, Bruno Perič, Tanja Premk, Janez Puh, Marija Radovič, Tanja Rener, Dušanka Ristić, Zora Rosa, Josip Rukavina, Andrej Slak, Franci Slak, Dora Škerjanc, Srečo Špik, Franc Uršič, Ivan Volarič Feo, Tončka Žgajnar produkcija/production RTV Ljubljana, Viba film - Ljubljana, Inex film - Beograd, Art film 80 – Beograd distribucija/ distribution Viba film - Ljubljana format/format DCP dolžina/running time 89’

Z digitalizirano restavrirano verzijo filma obeležujemo dvajsetletnico Slovenskega filmskega centra.

With a digitalised restored version of the film, we mark the 20th anniversary of the Slovenian Film Centre.

»Nobenih ‘velikih’ stvari ni v tem filmu,« pravi Franci Slak na koncu scenarija za svoj prvenec Krizno obdobje, »nobenih globokih doživetij ali pretresljivih besed«. In potem svojo odločitev za takšno pripoved, kjer pridejo v narekovaje temeljni pripovedni izrazi, kot so »zgodba«, »prizor« in podobno, utemelji v naravi kriznega obdobja. Zveni skoraj kot opravičilo. Danes, trideset let pozneje, je razumevanja za nedramatično filmsko pripovedovanje še manj. Če že ne moreš ponuditi spektakla, ponudi vsaj dramo.

“There are no ‘great’ things in this film,” says Franci Slak at the end of the script for his directorial debut The Time of Crisis, “no deep experience or soulstirring words”. He goes on to justify his decision for a narrative where basic terms like “plot”, “scene” and the such are put in quotation marks, with the nature of the time of crisis. It almost sounds like an apology. Today, more than thirty years later, there is even less understanding for his lack of dramatic narrative. If you won’t offer something spectacular, the least you can do is give us drama.

Slak ponuja, kar piše, nizanje situacij, ki jih ne razvija v »prizore«, ampak jih povečini pušča kot črtice brez začetkov in koncev, kakor je edino mogoče gledati tuje življenje. S tihim, oddaljenim opazovanjem sestavlja podobo mladega človeka, v katerem so ravno ugasnili prvi ustvarjalni, družbeni in čustveni zanosi. Ko spremlja vsak njegov korak in z njim zahaja na mestne in podeželske stranpoti, se iz ozadja vse bolj jasno kaže družbena slika, gola podoba neme generacije, ki je zamudila val šestdesetih, na pragu novega vala osemdesetih, ki jo bo odplaknil.

Slak gives what he writes. A series of situations that he does not develop into “scenes”, but mostly leaves as sketches without beginnings and ends, which is the only way to look at somebody else’s life. Silently observing from a distance, he composes an image of a young man whose first creative, social and emotional verve has just faded away. As he follows his every step, accompanying him along urban and country sideways, the social picture becomes ever clearer in the background; the bare image of a voiceless generation that has missed the wave of the sixties and is now about to be washed away by the wave of the eighties.

Franci je bil vse prej kot podoba svojega prvega »junaka«. Vselej so ga krasili strast, pogum, razsvetljenost človeškega duha. Prav njegova

SILVANOV ZALIV/SILVAN’S BAY

Franci was anything but the image of his first “protagonist”. He was always graced by the passion,

FRANCI SLAK Franci Slak (1953–2007) je doštudiral filmsko režijo na AGRFT v Ljubljani in na Akademiji za film v Lodzu na Poljskem. Z ženskim portretom Eva (1985) in satiričnim apologom Butnskala (1985) se je uveljavil kot eden zanimivejših avtorjev mlajšega rodu. Bil je scenarist, režiser, producent eksperimentalnih, igranih, dokumentarnih in TV filmov, videa in multimedijev ter ustanovitelj produkcijske hiše Bindweed Soundvision (1992) in redni profesor filmske režije na AGRFT. Krizno obdobje (1981) je njegov prvi celovečerec. Franci Slak (1953–2007) studied film direction at the Academy for Theatre, Radio, Film and Television in Ljubljana and in the Polish city of Lodz. With Eva (1985) and Butnskala (1985) he emerged as one of the most original young filmmakers of the time. He wrote, directed and produced experimental, fiction, documentary and television films, videos and multimedia. He founded the Bindweed Soundvision production house (1992) and taught film direction at AGRFT. The Time of Crisis (1981) was his debut feature film.

neutrudna dejavnost, njegova živost, je lahko toliko močneje doživela mrtvilo mladih ljudi. Ko se ob koncu na televizijskem ekranu pojavijo džezisti, njihovi ekstatični obrazi, zadoni prepad med tema dvema človekoma, avtorjem in njegovim junakom. Kino Otok, 2009

the courage and the enlightenment of the human spirit. It was his tireless activity, his liveliness that made him feel young people’s stagnation so much stronger. When the jazz musicians appear on the TV screen at the end with their ecstatic faces, an abyss blares between the two men, the author and his protagonist. Kino Otok, 2009

Film je tako z zgodbo kot ustvarjalci vezan na primorski prostor, zato je projekcija v Izoli še posebej slavnosten dogodek, ki obeležuje tudi tesno sodelovanje med festivalom in Slovenskim filmskim centrom.

The film’s plot and creators are linked to the Primorska region which is why the screening in Izola is an especially celebratory event, also marking the close cooperation between the festival and the Slovenian Film Centre.

Krizno obdobje je Slakov prvenec, ki se je v filmsko zgodovino zapisal kot »minimalistična drama in eden najboljših prvencev slovenske kinematografije«. /.../ Franci Slak je edini slovenski režiser, ki se je s svojimi filmi trikrat uvrstil na filmski festival v Berlinu, s prvencem Krizno obdobje leta 1982 v program Forum. Tistega leta je bil Slakov film, kot piše Ekranov poročevalec iz Berlina Bojan Kavčič (Ekran št.1–2, 1982), edini uradni jugoslovanski predstavnik na Berlinalu. Bojan Kavčič v nadaljevanju piše, da je film »… tudi pri občinstvu naletel na dober odziv, o čemer je zgovorno pričala polna dvorana med projekcijo, prav tako pa tudi precejšnje zanimanje za razgovor z režiserjem po predvajanju filma.«

The Time of Crisis is Slak’s debut that has gone down in history as a “minimalist drama and one of the best debuts of Slovenian cinema”. /.../ Franci Slak is the only Slovenian director whose films have been selected for the Berlin International Film Festival three times, his 1982 debut The Time of Crisis for the Forum programme. That year, Slak’s film was, as Ekran’s reporter from Berlin Bojan Kavčič (Ekran, no.1–2, 1982) writes, the only official Yugoslav representative at the Berlinale. Bojan Kavčič then continues that the film “was also received well by the audience as evidenced by the full hall during the screening and quite an interest in the Q&A with the director after the screening”.

Nerina T. Kocjančič, Slovenski filmski center

Nerina T. Kocjančič, Slovenian Film Centre

SILVANOV ZALIV/SILVAN’S BAY

OKOLIŠČINA/LA CIRCOSTANZA/THE CIRCUMSTANCE

Italija/Italy, 1974 režija/directed by Ermanno Olmi scenarij/screenplay Ermanno Olmi fotografija/cinematography Elvidio Buratini glasba/music Alberto Radius, Vince Tempera, Gabriele Lorenzi, Lucio Battisti, Toni Cicco montaža/editing Ermanno Olmi igrajo/cast Ada Savelli, Gaetano Porro, Raffaella Bianchi, Mario Sireci, Massimo Tabak, Barbara Pezzuto, Giorgio Roncaglia, Enrico Bertoni, Rodolfo Bignami producent/producer Ermanno Olmi produkcija/production RAI – Radiotelevisione Italiana distribucija/distribution INC - Deltavideo format/format 35 mm dolžina/running time 96’ Projekcijo smo pripravili v sodelovanju z/Screened in collaboration with: Centro Sperimentale di Cinematografia - Cineteca Nazionale Biografija avtorja na strani 69./For author’s biography see p. 69.

Ermanno Olmi je predstavnik generacije filmskih ustvarjalcev, ki je v začetku šestdesetih let spremenila uveljavljanje estetske in idejne osnove tedanje filmske prakse. »Novovalovci« v Franciji in nosilci neodvisnega »underground« filma v Ameriki so se uprli tradiciji, njenim stilizmom in navidezni ideološki indiferentnosti. Preobrazbo v dotedanjem razvoju italijanske kinematografije pa označuje vračanje k temeljnim izhodiščem povojnega neorealizma. Mladi avtorji, Elio Petri, Vittorio de Seta, Francesco Rossi, Bernardo Bertolucci in Ermanno Olmi so se v imenu neorealističnih programskih teženj postavili v boj zoper izumetničeno konvencionalnost in konfekcijsko banalnost, za neposredno, večplastno in kritično prikazovanje problemov posameznika in družbe. Razumljivo je, da so te načelne postavke dobile času in družbenim, ekonomskim in političnim razmeram odgovarjajočo vsebino.

Ermanno Olmi is a representative of the generation of filmmakers that at the beginning of the 1960s changed the established aesthetical and ideal bases of the then film practice. The members of the New Wave in France and the protagonists of the independent underground cinema in America rebelled against tradition, its stylistic elements and seeming ideological indifference. The transformation in the theretofore development of Italian cinema was marked by a return to the fundamental principles of post-war neorealism. In the name of neorealist programmatic tendencies, young filmmakers, Elio Petri, Vittorio de Seta, Francesco Rossi, Bernardo Bertolucci and Ermanno Olmi, took up a fight against artificial conventionality and ready-made banality for a direct, multilayered and critical depiction of the problems of individuals and society. It is understandable that these general presuppositions received a content that corresponded to the social, economic and political circumstances.

Olmi v svojem predzadnjem filmu Okoliščina nadaljuje neorealistične tendence v novi obliki. Film je zgrajen iz posameznih zgodb, okoliščin, ki so med seboj povezane v mrežasto strukturo. Vodilni princip, ki omogoča takšno obliko, je dinamična montaža, tako v smislu povezovanja kadrov znotraj enega samega prostora kakor tudi oddaljenih in ločenih prostorov. Tak pristop k organiziranju gradiva je razviden že v samem začetku filma, vendar ne deluje moteče ali izzivalno, saj se ob nadaljnjem gledanju nanj »prilagodimo« oziroma ga »pozabimo«. Dejstvo pa je, da v Olmijevem primeru takšna montažna sintaksa pogojuje, kakor bi dejal Umberto Barbaro, preseganje resničnosti, ki je značilno za vsako umetnost. Zunanji, objektivni prostor je razstavljen in vstavljen v niz, ki se odvija v specifični, »lokalni« filmski dimenziji časa. Kontinuiteta

In his penultimate film The Circumstance, Olmi continues the neorealist tendencies in a new form. The film consists of individual stories, circumstances, connected into a web-like structure. The chief principle enabling such a form is dynamic editing, in the sense of connecting shots both within one single space and in distant and separate spaces. Such an approach to organising the material can be seen at the very beginning of the film, but it is not disturbing or challenging as we “adapt” to or “forget” it in our further viewing of the film. Actually, in Olmi’s case, such an editing syntax conditions, as Umberto Barbaro would say, the transcending of reality characteristic of every art. The external, objective space is deconstructed and inserted in a series that takes place in a specific, “local” film dimension of time. The continuity of real duration and

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realnega trajanja in dogajanja je tako prekinjena in z montažnimi elipsami transformirana. Iz neprekinjene, neskončne osi fizičnega časa so odvzeti posamezni deli ter sestavljeni v novo celoto, ki pa ohranja smer objektivnega časa, matematičnega »časa ure«, ki poteka od sedanjosti (ta je obenem že preteklost) k bodočnosti. Ta dimenzija je ohranjena kljub montažni skokovitosti in faktičnim odsotnostim realnega trajanja prav zavoljo prepletenosti različnih zgodb, okoliščin in njihovega razvoja. Čas filma in njegova naracija sta tako zgrajena iz ambivalentnega odnosa med manifestacijami stvarnega časa in filmskega videnja stvarnosti, v katerem čas zavzema bistveno mesto. Na ta način Okoliščina odstopa od preverjenih principov dramske pripovedi in na prvi pogled deluje kot »cinema-verite«. Vtis avtentičnosti stopnjuje Olmijeva dosledna uporaba neprofesionalnih igralcev, kar je očitna dediščina neorealizma. Tako se zdi, da je vse, kar se dogaja na platnu, naključno, stvarno, zgolj preslikan zunanji svet. Pozorno gledanje filma pa nam takoj razkrije, da se za navidezno mehanično kopijo skriva premišljena individualna odločitev. Lucidna in neopazna avtorjeva moč je namreč z uporabo strukturalnih izraznih elementov pretvorila iz stvarnosti prevzete materiale v osmišljeno in kompaktno celoto. In to tako, da predmeti niso izgubili dvojnega pomena: na eni strani kot sestavni del neke stvarne sredine, na drugi pa kot del asociativne pomenske zveze. Stvari, dogodki, pripetljaji se pojavljajo na platnu kot taki, sami zase in oddvojeno, hkrati pa kot elementi pripovednega modela in kot označevalci sporočila. V tej dvojnosti obstaja Olmijev ustvarjalni potencial, ki združuje predstavljeno predmetnost z vso v njej zaobjeto kritično naravnanostjo. V estetsko informacijo je tako nerazdvojeno vključena kritična opredelitev do obstoječega sistema. V namigih se kaže prikrita obsodba industrijske družbe, njenih vrednostnih sistemov in kapitalističnih proizvodnih odnosov. »Tihi govor« Olmijeve filmske govorice, ki ga občasno vznemirjajo dramatične okoliščine, nas tako ob gledanju posledic nekega družbenega in ekonomskega reda prisili, da premislimo tudi njihove vzroke. Prisotna problematika industrijske družbe, kriza družine, načini in intenziteta komuniciranja, pragmatizem … pa presegajo vprašanja o obliki družbenega sistema ter imajo občo vrednost. Znakovna struktura, »nabita s konkretno gostoto stvari« in obča kritična dimenzija določata filmu Okoliščina status pomembne stvaritve. Silvan Furlan, Ekran, 7–8/1978, str. 43–44 Pripravil Vlado Škafar, kurator programa Silvanovega zaliva

happening is thus broken and transformed through editing ellipses. Out of the continuous, infinite axis of physical time, particular parts are taken and composed into a new whole that preserves the direction of objective time, the mathematical “time of the clock” passing from the present (which is at the same time the past) to the future. This dimension is preserved despite the editing jumps and the factual absences of real duration precisely due to the intertwinement of various stories, circumstances and their development. The time of the film and its narration are thus constructed from an ambivalent relation between the manifestations of real time and the film’s perception of reality in which time occupies an essential place. In this way, The Circumstance diverges from the tested principles of dramatic narration, and at first sight comes across as “cinéma vérité”. The impression of authenticity is intensified by Olmi’s consistent use of non-professional actors, which is an apparent heritage of neorealism. It thus seems that everything that happens on the screen is accidental, real, merely a copied external world. But an attentive viewing of the film immediately reveals that behind the seemingly mechanical copy there hides a thought-out individual decision. For, with the use of structural expressive elements, the author’s lucid and unnoticeable power transformed the materials taken from reality into a sensible and compact whole. And this was done in a way that did not make the objects lose their double meaning: as composite parts of a certain real environment, on the one hand, and as part of an association of meanings, on the other. Things, events, occurrences appear on the screen as such, by themselves and in isolation, but at the same time as elements of the narrative model and as the signifiers of the message. In this duality resides Olmi’s creative potential which unites the represented objectivity with all the critical orientation contained in it. The critical stance towards the existing system is thus inseparably included in the aesthetical information. In the allusions, we see a concealed condemnation of industrial society, its value systems and the capitalist relations of production. When watching the consequences of a certain social and economic system, the “quiet speech” of Olmi’s film language occasionally excited by dramatic circumstances thus forces us to also think about their causes. The present issues of industrial society, the crisis of the family, the modes and intensity of communication, pragmatism … transcend the questions about the form of the social system and have a universal value. Its semiotic structure charged with a concrete density of things and a general critical dimension grant The Circumstance the status of an important creation. Silvan Furlan, Ekran, 7–8/1978, pp. 43–44 Selected by Vlado Škafar, curator of Silvan’s Bay

SILVANOV ZALIV/SILVAN’S BAY

VRNILI SE BODO TRAVNIKI/TORNERANNO I PRATI/GREENERY WILL BLOOM AGAIN

Italija/Italy, 2014 režija/directed by Ermanno Olmi scenarij/screenplay Ermanno Olmi fotografija/cinematography Fabio Olmi glasba/music Paolo Fresu zvok/sound Francesco Liotard montaža/editing Paolo Cottignola igrajo/cast Claudio Santamaria, Alessandro Sperduti, Francesco Formichetti, Andrea di Maria, Camillo Grassi, Niccolò Senni, Domenico Benetti, Andrea Benetti produkcija/production Cinemaundici, Ipotesi Cinema, Rai Cinema distribucija/distribution Rai Com format/format DCP dolžina/running time 78’

Tu je Srce teme avtorja, ki spada v najožji krog ali na sam vrh najbolj kritičnih (proti kulturnemu sistemu, v katerem živimo) živečih italijanskih režiserjev, Apokalipsa danes oblasti, ki pahne svoje ljudi v prosti pad ter jih enkrat in do nadaljnjega nauči najbridkejšo in najtežjo lekcijo: ubogaj. Tu je odgovor Ermanna Olmija, njegovo uporniško dejanje, njegovo iskanje svetlobe, iskanje pobliska v dolgi noči 20. stoletja – njegova bojevita duša. Tu je kinematografija, kakršna je bila in kakršna bi lahko bila. Barve, za katere se zdi, da morajo vsak hip zagoreti, kot nitratni film (na katerega je zapisana prva svetovna vojna po zaslugi vztrajnosti in rahločutnosti Luce Comeria, ki je na fronti med Italijo in Avstrijo posnel kopico 35-milimetrskih filmov, ter po zaslugi Yervanta Gianikiana in Angele Ricci Lucchi, ki sta Comeriove podobe našla in jim v svojih filmih dala novo življenje). Črno-belo, ki je prej temno-svetlo. Nepremičnost pogleda, ki je, ne da bi kaj videl, videl preveč. Slepota vojne. Revež, ki je odkril zlo – vojak (prodan, zato v angleščini sold-ier).

Here’s the Heart of Darkness of (one of) the most critical (against the cultural system which we live in) Italian living directors, the Apocalypse Now of a power that throws its people in an endless fall, teaching them, once and for the time being, the saddest and heaviest lesson: obey. Here’s the answer of Ermanno Olmi, his rebellious act, his search for light, a blip, in the long night of the XX century – his warlike soul. Here’s cinema how it has been and how it could be. The colours that seem they have to catch fire at any moment, like Nitrate (on which the WWI is printed – filmed thanks to the persistency and the sensitiveness of Luca Comerio, who shot a lot of 35mm films on the war front between Italy and Austria, and thanks to Yervant Gianikian and Angela Ricci Lucchi, who discovered the images shot by Comerio and gave them a new life in their own films). The black & white which is more like ‘dark & light’. The fixity of the eye that without having seen anything saw too much. The blindness of the war. The poor devil who discovered evil – the soldier (because he has been “sold”).

Vrnili se bodo travniki je čista in prikrita mojstrovina. Ironično gre za film, ki uradno obeležuje stoletnico prve svetovne vojne (kot je ironija tudi v tem, da je katolik Olmi z zadnjima dvema deloma – Vas iz kartona in Vrnili se bodo travniki – ustvaril najbolj politična filma zadnjega desetletja, tovariš Moretti pa filme o družini, papežu ...).

Torneranno i prati is a pure and obscure masterpiece. Ironically it’s the film that officially commemorates the centenary of WWI (as is ironic that Olmi, a catholic, has made with his last two films the most political films of the decade – Il villaggio di cartone and Torneranno i prati – and comrade Moretti films about the family, the Pope...).

Donatello Fumarola

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ERMANNO OLMI Ermanno Olmi (1931) velja za enega najpomembnejših avtorjev italijanskega filma. Ustvarjalno pot je začel kmalu po koncu vojne kot režiser dokumentarcev. Leta 1959 je izšel njegov prvenec Il tempo si e fermato. V naslednjih desetletjih je posnel opus odmevnih filmov, med njimi Il posto (1961), Drevo za cokle (L’albero degli zoccoli, 1978) in La leggenda del santo bevitore (1988). Za svoje delo je prejel številne nagrade na mednarodnih festivalih. Ermanno Olmi (1931) is considered to be one of the most important auteurs of Italian cinema. He started his career soon after WWII as a documentary filmmaker. In 1959, he made his first film Time Stood Still. In the following decades, he created an oeuvre of notable films, including The Job (1961), The Three of Wooden Clogs (1978), and The Legend of the Holy Drinker (1988). For his work, he has received numerous awards at international festivals.

»Želim, da bi bil to koristen film, prej kot lep. Film, ob katerem se bomo vprašali, zakaj je sploh prišlo do te svetovne vojne. Uradne razlage o teh stvareh niso nikoli resnično zanesljive. Po sto letih jih je zato najbolje proslaviti tako, da razumemo, kaj se je zgodilo, pa tudi, zakaj smo še danes priča takšnim sporom. Prav je biti neposlušen. Ta junaka namreč uveljavljata svojo vest pred vojaškimi zahtevami. Njuna neposlušnost je v tem primeru moralno dejanje.« Ermanno Olmi

“Rather than beautiful, I would like this film to be useful. A film that makes us ask ourselves why this World War happened in the first place. The official versions of these things are never really credible. So one hundred years on, the best way to celebrate is to understand what happened, and why today we still speak of conflicts. Disobedience is good. These two characters, in fact, put their conscience before military requirements. In this case, disobedience is a moral act.” Ermanno Olmi

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PODMORNICA/SUBMARINE

PODMORNICA/SUBMARINE Kinobalon na Otoku/Kinobalon at Otok: Felix 20 let Slovenskega filmskega centra!/20 Years of Slovenian Film Centre! Ko zorijo jagode/Strawberry Time Mumini lovijo komet/Muumi ja punainen pyrstötähti/Moomins and the Comet Chase Mumin na Azurni obali/Muumit Rivieralla/Moomins on the Riviera Filmi mladih ustvarjalcev/Films by Young Artists Projekcije za šolske skupine/Screenings for Schoolchildren

PODMORNICA/SUBMARINE

FELIX

Južnoafriška republika/SAR, 2013 režija/directed by Roberta Durrant scenarij/screenplay Shirley Johnston fotografija/cinematography Natalie Haarhoff glasba/music Murray Anderson montaža/editing Maryke Kruger igrajo/cast Hlayani Junior Mabasa, Linda Sokhulu, Thapelo Mofokeng, Royston Stoffels idr. producentka/producer Roberta Durrant produkcija/production Penguin Films for Sabido Productions distribucija/distribution e.tv format/format DCP dolžina/running time 97’

ROBERTA DURRANT Roberta Durrant je začela svojo pot v filmskem svetu kot igralka, kasneje pa se je preusmerila v režijo in produkcijo. Po številu ustvarjenih serij in nanizank je na prvem mestu med južnoafriškimi filmarji. Njen režijski celovečerni prvenec Felix je prejel številne nagrade na filmskih festivalih v Afriki, Evropi in Ameriki. Leta 2012 je prejela nagrado za življenjske dosežke Nacionalnega filmskega in video sklada Južne Afrike. Roberta Durrant started her career in film as an actress, and has since this initial period worked as a director and producer. She has created and directed/produced more drama series and sitcoms than any other one producer in South Africa. Her debut feature film as director, Felix, has won a number of awards at film festivals in Africa, Europe, and America. She received a 2012 Lifetime Achievement award from the National Film and Video Foundation of South Africa.

14-letni Felix sanja o tem, da bi postal znan saksofonist kot njegov pokojni oče, vendar mama ne odobrava džeza, »hudičeve glasbe«, in mu zato prepove učenje instrumenta. Ko deček dobi štipendijo na elitni zasebni šoli, mora zapustiti prijatelje iz otroštva ter se spopasti z zavračanjem in zasmehovanjem med novimi sošolci. Avdicija za šolski džez koncert je kot nalašč, da si Felix pridobi ugled na novi šoli, zato prosi za pomoč ostarelega glasbenika, ki je ustvarjal glasbo skupaj z njegovim očetom.

14-year-old Felix Xaba dreams of becoming a saxophonist like his late father, but his mother Lindiwe thinks jazz is the devil’s music. When Felix leaves his township friends to take up a scholarship at an elitist private school, he has to face humiliation from his new schoolmates. An audition notice for the school jazz concert is the spur Felix needs to overcome his loss of status. He turns to an aging member of his father’s old band for help. Ana Peršič

Ana Peršič »Rada bi sporočila: nikoli ne nehajte sanjati! /…/ Zame je bilo pomembno, da sem posnela film o upanju, pozitivnem odnosu do življenja in spremembah. Felix se v teku filma spreminja, prav tako se spremeni njegova mama. Ona se nauči, kako odpustiti pokojnemu možu in vzljubiti, kar počne sin.« Roberta Durrant

PODMORNICA/SUBMARINE

“That is one thing I would like to communicate: do not stop dreaming! /.../ It was important for me to make a film about hope, about feeling good in life and about change. Felix is changing in the course of the film, but his mother is, too. She has to learn to forgive her late husband and to love what Felix is doing.” Roberta Durrant

KO ZORIJO JAGODE/STRAWBERRY TIME

Slovenija (Jugoslavija)/Slovenia (Yugoslavia), 1978 režija/directed by Rajko Ranfl scenarij/screenplay Ivan Potrč fotografija/cinematography Tomislav Pinter glasba/music Jože Privšek zvok/sound Jože Trtnik montaža/editing Pika Lukežič igrajo/ cast Tanja Gobec, Roman Goršič, Lucija Grm Hudeček, Rajko Koritnik, Ladko Korošec, Lidija Kozlovič, Irena Kranjc, Sandi Krošl, Jerca Mrzel, Anton Petje, Metod Pevec, Majda Potokar, Ivan Radič, Živa Škodlar, Ksenija Teminović, Matjaž Turk produkcija/production Viba film – Ljubljana distribucija/distribution Viba film - Ljubljana format/format HD cam dolžina/running time 98’

RAJKO RANFL Rajko Ranfl (1937) je začel na ljubljanski televiziji kot režiser in novinar-redaktor v različnih uredništvih. Njegov dosedanji opus obsega okrog trideset kratkih filmov in pet celovečernih igranih filmov. Za svoje filmske stvaritve je prejel številne nagrade, med njimi nagrado Prešernovega sklada, grand prix v Locarnu, grand prix na TV festivalu v Pragi … Rajko Ranfl (1937) started his career at the Ljubljana-based national TV as a director and journalist/editor for various programmes. Since then, he has made about 30 short films and five live action feature films. For his work, he has received numerous awards, including Slovenian national award for achievements in art, Grand Prix in Locarno, Grand Prix at Prague TV festival, etc.

Film pripoveduje zgodbo o najstnici, o njenih prvih bridkih izkušnjah v ljubezni in grenkih spoznanjih o nasprotnem spolu. V Jagodo je zaljubljen prijatelj Nejc, njo pa bolj zanima nekoliko starejši Dragi. Zgodba o odraščanju in odkrivanju sveta odraslih, pa tudi zgodba o tistih lepih trenutkih, ki delajo življenje čarobno.

The film tells the story of a teenage girl, her first heartaches and bitter disappointment with the opposite sex. Jagoda is friends with Nejc, who is in love with her, but she is more interested in the slightly older Dragi. A tale about growing up and entering the world of adults, but also about the beautiful moments that make life magical.

PODMORNICA/SUBMARINE

MUMINI LOVIJO KOMET/MUUMI JA PUNAINEN PYRSTÖTÄHTI/ MOOMINS AND THE COMET CHASE

Finska/Finland, 2010 režija/directed by Maria Lindberg scenarij/screenplay (po romanu Tove Jansson/based on novel by Tove Jansson) Iivo Baric, Minna Karvonen, Joel Backström, Anders Larsson glasba/music Björk, Sjón Sigurdsson, Andrzej Rokicki zvok/sound Asko Ahonen, Iivo Baric montaža/editing Maria Lindberg glasovi/voices David Hudnik, Štefan Kušar, Miran Pibernik, Lija Pečnikar, Predrag Lalič, Miha Rodman, Mira Berginc, Klemen Mauhler, Marko Potrč, Ljerka Belak; Jure Lavrin, Igor Potočnik, Andrej Srebrnjak, Veronika Ložak producent/producer Tom Carpelan produkcija/ production Oy Filmkompaniet Alpha Ab distribucija/distribution Continental film format/format mp4 dolžina/running time 75’ sinhronizirano v slovenščino/in Slovenian

Razburljiva pustolovščina Mumintrola in prijateljev! Komet iz vesolja bo padel na Zemljo čez 4 dni, 4 minute in 44 sekund, morda 4 sekunde pozneje. Le kaj bodo junaki storili? Filmska pravljica iz Mumindola za vse generacije. Avtorica glasbe je pevka Björk, velika oboževalka Muminov.

PODMORNICA/SUBMARINE

An exciting adventure of Moomintroll and friends! A comet will fall on Earth in 4 days, 4 minutes and 44 seconds, perhaps 4 seconds later. Whatever will the characters do? A film fairytale from Moominvalley for all generations. The music was composed by Björk, who is a great fan of the Moomins.

MUMIN NA AZURNI OBALI/MUUMIT RIVIERALLA/MOOMINS ON THE RIVIERA

Finska, Francija/Finland, France, 2014 režija/directed by Xavier Picard scenarij/screenplay (po stripih Tove Jansson in Larsa Janssona/based on comic books by Tove and Lars Jansson) Leslie Stewart, Annina Enckell, Hanna Hemilä, Xavier Picard, Beata Harju animacija/animation Zewen Wang glasba/music Olli Pärnänen montaža/ editing Thomas Belair glasovi/voices Gašper Jarni, Maja Kunšič, Andrej Murenc, Maša Derganc, Iztok Luzar, Borut Veselko, Vesna Pernarčič producentka/producer Hanna Hemilä produkcija/production Handle Productions Oy, Pictak Cie distribucija/distribution Fivia – Vojnik format/format DCP dolžina/running time 80’ sinhronizirano v slovenščino/in Slovenian

»Živi v miru, sadi krompir in sanjaj,« pravi Muminočka v novi risanki o prikupnih junakih s severa, ki ob preprostem življenju v naravi iz radovednosti kdaj pa kdaj pokukajo še drugam. Tokrat na Azurno obalo, ki stavi na drugačno bogastvo kot Mumini.

“Live in peace, plant potatoes and dream,” says Moominpappa in the new animated film about the cute characters from the North, whose curiosity sometimes makes them take a peek at places beyond their simple life in nature. This time, it is the French Riviera, which bets on a different wealth than the Moomins do.

PODMORNICA/SUBMARINE

FILMI MLADIH USTVARJALCEV/FILMS BY YOUNG ARTISTS Programi kratkih filmov, ki so nastali v okviru delavnic za mlade. Spremljajo jih pogovori z mladimi filmskimi ustvarjalci in njihovimi mentorji. Programmes of shorts made at workshops for children and youth. Accompanied by discussions with young authors and their mentors.

PROJEKCIJE IN PREDSTAVITVE FILMOV MLADIH USTVARJALCEV I/ SCREENINGS AND PRESENTATION OF FILMS BY YOUNG ARTISTS I, 60’

PROJEKCIJE IN PREDSTAVITVE FILMOV MLADIH USTVARJALCEV II/ SCREENINGS AND PRESENTATION OF FILMS BY YOUNG ARTISTS II, 90’

GoNGlab

Filmska delavnica Podmornica: premierna projekcija kratkih filmov delavnice Podmornica/ The Submarine Film Workshop: premiere screening of shorts produced at the workshop

ZVVIKS Slovenski osnovnošolci/ Slovenian Primary Schools

ENIMATION Kinobalonove delavnice/Kinobalon workshops Luksuz Produkcija Slovenski osnovnošolci/ Slovenian Primary Schools

PODMORNICA/SUBMARINE

PROJEKCIJE ZA ŠOLSKE SKUPINE/SCREENINGS FOR SCHOOLCHILDREN

Medved Bojan/Bojan the Bear (3+) 9 kratkih animiranih filmov/9 animated shorts, Slovenija/Slovenia, 35 mm, 40’ brez dialogov/no dialogue

Učna leta izumitelja Polža/Apprenticeship of the Inventor Polž (10+) Jane Kavčič, Slovenija/Slovenia, 1982, 35 mm, 89’

Felix (10+) Roberta Durrant, Južnoafriška republika/SAR, 2013, DCP, 97’ v angleščini s slovenskimi podnapisi/In English with Slovenian subtitles

Svet oceanov/Oceanworld (6+) Jean-Jacques Mantello, VB/UK, 2009, DigiBeta, 85’ sinhroniziran v slovenščino/In Slovenian

Deček in svet/O Menino e o Mundo/The Boy and the World (7+) Alê Abreu, Brazilija/Brazil, 2013, DCP, 80’ brez dialogov/no dialogue

PODMORNICA/SUBMARINE

VIDEO NA PLAŽI/VIDEO ON THE BEACH

VIDEO NA PLAŽI/VIDEO ON THE BEACH VIDEO NA PLAŽI/VIDEO ON THE BEACH

VIDEO NA PLAŽI/VIDEO ON THE BEACH

Svet ni eden, svetov je več. Filmi nam posredno ali neposredno pogosto razkrivajo paralelne realnosti, v katere navadno nimamo uvida. Slednji včasih umanjka tudi zato, ker so obrobne zgodbe in forme preprosto spregledane v vsakodnevnem medijskem diskurzu in drugih mehanizmih družbe spektakla. Ravno ta vsiljuje prevladujoče normative, ki obenem afirmirajo ustaljeni družbeni red, hkrati pa z zamejevanjem vedno znova poustvarjajo obrobja, enoumje in nekritičnost. Temu se rubrika Video na plaži zoperstavlja s ponujanjem drugačne perspektive in tudi tokrat na platno pod zvezdnatim nebom nad plažo Svetilnik prinaša eklektičen program filmov še neuveljavljenih domačih in tujih avtorjev. Izbrane tematike in avtorske poetike znotraj kratke forme poganja imperativ angažiranega in neobremenjenega raziskovanja omejitev sveta, ki nas obdaja, kakor tudi omejitev filmskega izraza samega. Letošnji izbor obsega 49 naslovov, ki so bili izbrani izmed skoraj 120 prijavljenih, med katerimi je bila izdatno zastopana slovenska produkcija, preostala dela pa so prispela iz sosednjih in drugih evropskih držav (Danska, Nizozemska, Nemčija, Francija, Španija, Portugalska, Poljska, Romunija, Bosna in Hercegovina, Srbija, Kosovo, Velika Britanija), Bližnjega vzhoda (Iran), Azije (Macao), Severne Amerike (ZDA, Kanada) in Latinske Amerike (Brazilija, Peru). Izbrana dela večinoma odražajo aktualne problematike sveta, za katerega se zdi, da bo vsak čas padel s tečajev. Filme ne glede na formalno usmeritev – zastopane so tako rekoč vse filmske zvrsti; igrani, dokumentarni, animirani, eksperimentalni – namreč vežejo intimne zgodbe in refleksije, v katerih se zrcali doba nenehne ekonomske, politične, socialne in ekološke krize, ki z zaostrovanjem razmer vse bolj prehaja tudi v eksistencialno. Tako bomo soočeni s prevpraševanjem množičnih migracij s kriznih območij, ki jih vse pogosteje zaznamujejo tragični epilogi, z izkoriščanjem migrantskih delavcev, ki so odsotni iz lastnih življenj, z vprašanjem delavskih odnosov, z religioznimi in družbenimi konstrukti, ki so v konfliktu s humanističnimi ideali, z družbeno percepcijo spolnih vlog, s političnimi manipulacijami in omejitvami svobode govora, s svarilnimi odmevi iz časov fašističnega barbarstva, z izginjanjem zgodovinskega spomina, z vprašanjem podnebnih sprememb in izumiranja vrst ter obenem tudi

VIDEO NA PLAŽI/VIDEO ON THE BEACH

The world is not one, worlds are many. Often, films indirectly or directly reveal parallel realities into which we usually have no insight. This sometimes escapes us also because the marginal stories and forms are simply overlooked in everyday media discourse and other mechanisms of the society of the spectacle. It is precisely the latter that imposes predominant norms that affirm the established social order, while with their limitation they again and again recreate the margins, uniformity and lack of criticism. The Video on the Beach section opposes this by offering a different perspective and so again brings to the screen under the starry sky above the Lighthouse beach an eclectic programme of films by nonestablished filmmakers from Slovenia and abroad. The selected topics and authorial poetics within the short form are driven by the imperative of committed and unburdened exploration of the limitations of the world surrounding us as well as the limitations of film expression itself. This year’s pick includes 49 titles selected among almost 120 applications, which consisted of a large share of Slovenian productions, while the rest of the films came from the neighbouring and other European countries (Denmark, the Netherlands, Germany, France, Spain, Portugal, Poland, Romania, Bosnia and Herzegovina, Serbia, Kosovo, the UK), the Middle East (Iran), Asia (Macau), North America (USA, Canada) and Latin America (Brazil, Peru). The selected works mostly reflect the current problems of the world which, it seems, is about to come off its hinges. Regardless of their formal orientation – almost all film genres (fiction, documentary, animated experimental) are represented – what all the films have in common are intimate stories and reflections mirroring the age of a constant economic, political, social and ecological crisis, which, due to the worsening conditions, is becoming more and more also an existential crisis. We will thus be faced with the questioning of mass migrations from the trouble spots that are increasingly often marked by tragic epilogues, with the exploitation of migrant workers absent from their lives, with the question of labour relations, with religious and social constructs in conflict with humanistic ideals, with the social perception of gender roles, the political manipulations and limitations of the freedom of speech, alarming echoes from the times of fascist barbarity, the disappearing of historical memory,

s čustvenimi osebnimi zgodbami o ljubezni. A filmov v večini ne zaznamuje utrujeni cinizem, temveč humanistična perspektiva in težnja po opolnomočenju, ki ju pogosto plemenitijo fascinantni trenutki domiselne in pomenljive lepote ter igriva duhovitost. Tako svoje mesto terjajo tudi komedija, poezija, vizualna estetika in arhitektura, na svoj račun pa bodo tokrat še posebej prišli žanrski sladokusci, saj se v sklopu gostovanja tujih festivalov z jagodnim izborom najboljših kratkih filmov zadnjih let predstavlja sloviti tržaški festival znanstvene fantastike Trieste Science+Fiction, ki ga bo zastopal sosedski festivalski kurator kratkometražnega programa, Luca Luisa. Posebna pozornost bo odmerjena še Avstralski šoli za film, televizijo in radio (AFTRS), najuglednejši izobraževalni instituciji na področju filma v Avstraliji, in njenim trem izbranim diplomantom, ki nas obiščejo tudi osebno. Tako bo prikazan izbor del prejemnice filmske nagrade Evropske unije, Maline Marie Mackiewicz, filmske skladateljice Yunyu Ong in režiserja Alexa-Georgea Nagla. Med poudarki pa velja omeniti tudi novost: Video na plaži letos predstavlja poseben sklop vznemirljivih eksperimentalnih in konceptualnih filmskih del, ki bodo v času festivala vsakodnevno na ogled v izolski galeriji Salsaverde. Mimogrede, Video na plaži kot platformo za predstavitev vzhajajočih avtorjev in stičišče z občinstvom, drznimi formami in vsebinami na izolsko obalo naplavlja že deseto leto. Zaplavajte z nami! Matevž Jerman, selektor programa

the question of climate changes and the extinction of species and at the same time also emotional personal love stories. Nevertheless, most films are not characterised by a weary cynicism, but rather by a humanistic perspective and an empowerment tendency often exalted by fascinating moments of imaginative and meaningful beauty and playful humour. Thus, comedy, poetry, visual aesthetics and architecture claim their place, while genre lovers in particular will have a field-day since, in the framework of our hosting other festivals, Luca Luisa, the neighbouring festival curator of the short film programme, will present the notable Trieste Science+Fiction festival and its selection of the best short films of recent years. Special attention will be given to the Australian Film, Television and Radio School (AFTRS), the most renowned educational institution in the film field in Australia, and its three selected graduates who will visit us in person. We will show a selection of works by the recipient of the European Union Film Award Malina Maria Mackiewicz, film composer Yunyu Ong and director Alex-George Nagle. We should also mention this year’s addition to the programme: Video on the Beach will present a special programme of exciting experimental and conceptual films, which you will be able to see at the Salsaverde gallery in Izola every day during the festival. As a platform for presenting emerging filmmakers and a point of contact with the audience, daring forms and content, Video on the Beach will be washed ashore on the beach in Isola for the tenth year. Come and take a swim with us! Matevž Jerman, selector

VIDEO NA PLAŽI/VIDEO ON THE BEACH

VIDEO NA PLAŽI I/VIDEO ON THE BEACH I Filmi, izbrani v okviru natečaja Video na plaži./Films selected in the Video on the Beach call for shorts.

2 koluta 2 Reels

Aha. Ok. Slovenija/Slovenia, 2015

Italija/Italia, 2015 režija/directed by Luca Chinaglia nastopata/featuring Borut Luca Chinaglia, Guido Tosi tehnična ekipa/technical crew Luca Chinaglia, Guido Tosi produkcija/production Barnabil Produzioni, Six Gates Films dolžina/running time 12’

2 koluta je eksperimentalni film v pravem pomenu eksperimentiranja. Da bi preizkusila performativno stanje šestnajstih Super 8 Kodak Vision 2 kolutov s pretečenim rokom uporabe, sta avtorja v Milanu posnela in razvila dve kopiji iz omenjene zaloge. 2REELS is an experimental movie in the true meaning of experimentation. In order to to check the performance conditions of a couple of reels from a stock of 16 expired Super 8 Kodak Vision 2 film reels, the authors filmed and developed these 2 reels in Milan.

3600 padlih dreves 3600 Fallen Trees

Slovenija/Slovenia, 2015 režija/directed by Rok Oblak dolžina/running time 10’

3600 je naziv naprave, s katero je bil posnet video. Posebna konstrukcija naprave omogoča kameri GoPro, da se s pomočjo vetra nepredvidljivo premika in kroži tako po X kot po Y osi. Naslov označuje drevesa, ki so bila v januarju 2014 prizadeta v žledolomu. Zvok filma sestavljajo posnetki agregatov, ki so med reševanjem posledic žledoloma preskrbovali domove z energijo, kjer je bil prekinjen električni tok. 3600 is the name of the device used to shoot this video. A special construction of the device enables the GoPro camera to move unpredictably with the wind and circle both along the X and the Y axis. The title is a reference to the trees damaged in the devastating sleet of 2014. The sound of the film consists of the recordings of power generators that provided electricity to the affected population.

VIDEO NA PLAŽI/VIDEO ON THE BEACH

režija/directed by Ester Ivakić scenarij/screenplay Ester Ivakić nastopata/featuring Teja Miholič, Špela Šafarič tehnična ekipa/ technical crew Ester Ivakič, Gregor Kocjančič produkcija/ production VŠU dolžina/running time 6’

Včasih ti pač ne uspe pobegnit od doma, ker si lačen, pa je doma še veliko hrane. Sometimes you just can’t run away from home because you’re hungry, and there’s a lot of food at home.

Čakajoč Axla Waiting for Axel

Slovenija/Slovenia, 2014 režija/directed by Simona Jerala, Andrea Celija scenarij/screenplay Simona Jerala, Andrea Celija tehnična ekipa/technical crew Simona Jerala, Andrea Celija produkcija/production Ekvilib Inštitut dolžina/ running time 18’

Dokumentarni film o mladi, transrodni (FTM – female to male) osebi iz Hrvaške. Axel bi že zdavnaj moral začeti s hormonsko terapijo, a se je namesto tega primoran boriti z ignorantskim in brezbrižnim zdravstvenim sistemom. A documentary about a young transgendered (FTM – female to male) individual from Croatia. Axel was supposed to start his hormone treatment a long time ago, but is forced to deal with the negligent and perfunctory healthcare system instead.

Ednina Singular

Slovenija, Italija/Slovenia, Italy, 2014 režija/directed by Jan Mozetič scenarij/screenplay Jan Mozetič nastopata/featuring Tomaso Isabella, Pavla Hvalič tehnična ekipa/ technical crew Jan Mozetič, Simone Peraz produkcija/production M.B.E. d.o.o. dolžina/running time 15’

V nebotičniku zamrznjenega mesta živi zbiratelj, ki ne zbira razglednic ali kovancev, temveč zgodbe ljudi. Dogodki in osebe se nenazadnje tako pomešajo, da le s težavo ločimo zbiratelja od zbirke in vse postane del nejasne ter osamljene sodobne množine. In a skyscraper of a frozen city, a collector lives, not collecting postcards or coins, but other people’s stories. Eventually, events and people become interwoven to a point where it’s impossible to tell the collector apart from his collection. It all merges into a hazy, lonely contemporary plural.

Elinkine Velika Britanija/UK, 2014 režija/directed by Enrique Verdugo scenarij/screenplay Enrique Verdugo nastopa/featuring Aliou Zarr tehnična ekipa/technical crew Enrique Verdugo produkcija/production Inge Laursen, Amadou Fall dolžina/running time 14’

Od roba morja do roba obzorja se pojavljajo otoki kot mreža odskočnih točk za doseganje različnih ciljev. V zadnjem desetletju je več tisoč imigrantov po svetu zapustilo svoje domove. Da bi sledili sanjam in ustvarili nov začetek, so se podali na tvegano pot in za seboj pustili spomine. V sodelovanju s Festivalom migrantskega filma. From the edges of the sea to the edges of the horizon, islands emerge as a net of starting points to reach various goals. In the past ten years, several thousand migrants all over the world have left their homes. In pursuit of their dreams and new beginnings, they undertook a risky path, leaving behind only their memories. With the cooperation of the Festival of Migrant Film.

Fak ju

Hradeckega most Hradecky Bridge

Slovenija/Slovenia, 2014 režija/directed by Jerica Polončič scenarij/screenplay Jerica Polončič dolžina/running time 12’

Most je ena najlepših arhitekturnih stvaritev, ki povezuje bregove, zbližuje in je mesto srečanja za ljudi. V svoji zgodovini je Hradeckega most stal na treh različnih lokacijah v Ljubljani, zaradi katerih je tudi spremenil ime iz Hradeckega v Čevljarski in Mrtvaški most. A bridge is one of the most beautiful architectural creations, connecting riverbanks, bringing people closer and serving as a meeting place. The history of Hradecky bridge situates it at three different locations, changing the name from Hradecky to Shoemaker’s and Mortuary Bridge.

IMAGO #2 Slovenija, Italija/Slovenia, Italy, 2015 režija/directed by Paride Di Stefano scenarij/screenplay Paride Di Stefano dolžina/running time 5’

Imago je video serija organske mešanice slike in zvoka, ki nastaja od leta 2015. Figurativne forme prehajajo v abstraktne podobe s psihedeličnimi učinki. Video serija kot potovanje v turbulentni “Imago” vesolja. Imago is a video series born in 2015. The videos are an organic fusion of image and sound. The figurative forms transform in abstract images with psychedelic effect. The videos are a trip into a turbulent “Imago” of the universe.

Industrijska pripoved Un racconto industriale

Slovenija/Slovenia, 2014 Italija/Italia, 2014 režija/directed by Fabris Šulin scenarij/screenplay Fabris Šulin nastopata/featuring Lara Vouk, Voranc Boh tehnična ekipa/ technical crew Andraž Kadunc, Patrik Kogoj, Iris Čeh, Žan Aldžič Matiš, David Wetter, Dominik Ozimek, Tilen Perko, Špela Gliha, Petra Tomažič, Tamara Babič, Ana Bezeljak dolžina/running time 18’

Dva študenta se spoznata v Ljubljani in se zaljubita. Two students in Ljubljana meet and fall in love.

režija/directed by Walter Ronzani scenarij/screenplay Walter Ronzani tehnična ekipa/technical crew Walter Ronzani produkcija/ produzione Sali & Tabacchi dolžina/running time 12’

Industrijska pripoved prikazuje zaporedje mehaničnih operacij v majhni tovarni s tekstilom. Stari stroji v nedogled ponavljajo iste gibe. Linearen potek časa obvisi v ponavljajoči se zanki, znotraj slednje pa mehanično delo postane metaforična pripoved o svetu, ki izginja. An industrial story shows the sequential operations of a little knitwear factory’s line production. The old

VIDEO NA PLAŽI/VIDEO ON THE BEACH

machines repeat continuously the same actions. The linear progress of time is suspended in a repetitive loop in which the mechanical work becomes a metaphorical narration of a disappearing world.

In memoriam Slovenija/Slovenia, 2014 režija/directed by Martin Agostini Pregelj scenarij/screenplay Martin Agostini Pregelj, Dean Pellizer, Matej Deisinger, Rok Žigon, Sara Rožič nastopa/featuring Dean Pellizer tehnična ekipa/ technical crew Salem Pulsifer, Alice Tedde, Pierre Maroni produkcija/ production Escale Kinomada dolžina/running time 5’

Moški vstopi v rudnik Puit Couriot, kar obenem izzove odmeve težkih in trdih življenj rudarjev iz Saint-Etienna. The struggles and harsh lives of the Saint-Etienne miners are presented through one man’s journey back to the Puit Couriot mine.

Jebo vas volilni molk Screw You and Election Silence! Slovenija/Slovenia, 2014 režija/directed by Diego Menendes scenarij/screenplay Diego Menendes tehnična ekipa/technical crew Diego Menendes produkcija/production Do it yourself production dolžina/running time 9’

Dan pred volitvami stranke na vse pretege tekmujejo za čim večjo naklonjenost Ljubljančanov. Na Fužinah svoji postojanki postavita tudi Pozitivna Slovenija in Socialni demokrati. Prefrigani domačini se najprej zastonj okrepčajo na račun prvih, nato pa se premaknejo še na gostijo drugih. Film je bil prvič javno objavljen na spletu na dan volilnega molka. Only a day before the general elections, the political parties are in fierce competition for the votes of Ljubljana citizens. In Fužine district, Positive Slovenia and Social Democrats set up their stands as well. The cunning locals first snack at one stand and then move to feast at the other. The movie premiered online, during election silence.

Kje je Don? Ku eshte Doni? Where is Don? Kosovo, 2015

VIDEO NA PLAŽI/VIDEO ON THE BEACH

režija/directed by More Raca scenarij/screenplay More Raca nastopata/featuring Flutra Zymi, Bekim Mulaj tehnična ekipa/ technical crew Ilir Ahmeti produkcija/production Arena dolžina/ running time 10’

Epizoda v življenju novinarke, ki se zaradi svojega dela sooča z resnimi grožnjami. Nihče ji noče pomagati in dan se prevesi v nočno moro. An episode in the life of a journalist exposed to threats because of the work she does. Nobody will help her and the day slowly turns to a nightmare.

Ko obmolknejo galebi The Silence of the Seagulls Slovenija/Slovenia, 2014 režija/directed by Aleš Gregorič, David Jeseničnik scenarij/ screenplay Aleš Gregorič, David Jeseničnik tehnična ekipa/ technical crew Aleš Gregorič, David Jeseničnik produkcija/ production Aleš Gregorič, David Jeseničnik dolžina/running time 6’

Benetke, mesto živahnega utripa neskončnih teles, prikazano skozi pogled popolne odsotnosti človeškega faktorja z uporabo time lapse fotografije in animacije. The city of Venice; a lively throb of endless bodies through a gaze emptied of the human factor, using time lapse photography and animation.

Kraj, ki ga ni Nowhere Place

Nizozemska/The Netherlands, 2014 režija/directed by Susanne Opstal scenarij/screenplay Susanne Opstal tehnična ekipa/technical crew Juul Op den Kamp, Chris Stenger, Kasper de Bont, Laura Solleveld, Robin Berk, Nick Rozenberg, Lennart Altgenug, Eren Önsoy produkcija/production Arena dolžina/running time 27’

Dokumentarni esej o različnih posameznikih in ekstremih, do katerih so pripravljeni iti, da bi našli bistvo svojega obstoja. Nekateri najdejo smisel v osvajanju vrhov najvišjih gora, drugi ciljajo više, na neposeljene planete, s katerih ni vrnitve, za nekatere pa smisel leži v temačnih in bolečih globinah, ki jih za sabo neizbrisno pušča absurdnost morilskega razdejanja. Where do you find the essence of your existence? On the peaks of the highest mountains of the world? Even higher, on an uninhabited planet from which you can never escape? Or is it in the deepest sorrow, by leaving a trail of destruction that will never be forgotten? This documentary essay follows various people on their quest and inevitably leads to the question: how far do you want to go?

Kruh življenja Bread of Life

Portugalska/Portugal, 2015

Macao/Macau, 2014 režija/directed by Cheong Kin Man scenarij/screenplay Cheong Kin Man produkcija/produzione Cheong Kin Man dolžina/running time 30’

Les

Filmar k preizkušnjam v življenju pristopa kot k dilemi med posnetim in ne-posnetim, prevodom in onemogočeno komunikacijo, pripovedovalcem in podnapisi. S tem, ko združuje svoje banalno vsakdanjost, preteklost in proces snemanja filma, avtor zastavi različna antropološka in življenjska vprašanja o naravi, izvoru, jeziku, ne-obstoju, identiteti, vizualnih medijih in vladajočih kulturah. The filmmaker approaches his life struggles as a dilemma between the filmed and the non-filmed, translation and the impossibility of communication, voice-over and subtitles. Mixing his banal daily life, his past, and the filmmaking process, the filmmaker raises several anthropological and life questions on nature, origin, language, non-existence, identity, visual media and dominant cultures.

Slovenija/Slovenia, 2014

Oddaljeni spomin

režija/directed by Valerie Wolf Gang scenarij/screenplay Valerie Wolf Gang nastopata/featuring Martinho Soares, Silvana Soares tehnična ekipa/technical crew Valerie Wolf Gang, Podington Bear produkcija/production Famul VideoLab, Visoka šola za umetnost Univerza v Novi Gorici dolžina/running time 6’

Eksperimentalno poetični film, ki skozi tiho opazovanje tradicionalne peke kruha metaforično razkrije pomembne življenjske modrosti in skrivni recept, kako ustvariti dobro in kvalitetno življenje. An experimental, lyrical film that uncovers life wisdom and a secret recipe for a good and quality life by quietly observing the traditional way of baking bread.

Wood

režija/directed by Uroš Marolt scenarij/screenplay Uroš Marolt tehnična ekipa/technical crew Živa Sem Stojanovič produkcija/ production Žakeljokrogmačka dolžina/running time 4’

Eksperimentalna upodobitev gozda, notranjosti dreves in zvoka, ki prihaja iz naravnih materialov. An experimental portrayal of a forest, the insides of a tree and the sounds made by natural materials.

Morning Glory Slovenija/Slovenia, 2014 režija/directed by Florence Guenaut, Kato Drobysh scenarij/ screenplay Florence Guenaut, Kato Drobysh tehnična ekipa/ technical crew Florence Guenaut, Kato Drobysh produkcija/ production Luksuz produkcija dolžina/running time 8’

Prvi jutranji žarki božajo ribiče, delavce, plavalce, sprehajalce in vztrajne žurerje, katerih poti se križajo na idiličnem obrobju Kino Otoka. At the first light of dawn, at the Isola Cinema festival, an incongruous set of workmen, fishermen, party animals and passers-by cross each other’s paths nearby the sea.

Neuporabna fikcija A Useless Fiction

Distant Memory

Hrvaška, Slovenija/Croatia, Slovenia, 2014 režija/directed by Valerie Wolf Gang scenarij/screenplay Valerie Wolf Gang nastopa/featuring Ulay tehnična ekipa/technical crew Valerie Wolf Gang produkcija/production Ministrstvo za kulturo RS, Visoka šola za umetnost Univerza v Novi Gorici, Adriart, Famul VideoLab dolžina/running time 3’

Eksperimentalna poema o časih pred razpadom Jugoslavije, o tem, kaj prinese vojna in o kratkem človeškem spominu. Pesem o Titovi ladji Galeb, ki nosi simbolno vrednost in ponuja različne interpretacije. An experimental lyricisation of the times before the break-up of Yugoslavia, about the casualties of war and the shortness of human memory. A poem about Tito’s ship, The Seagull, imbued with symbolic meaning and offering itself to various interpretations.

Odeon Slovenija/Slovenia, 2014 režija/directed by Vesna Klančar scenarij/screenplay Vesna Klančar nastopajo/featuring Borut Jerman, Srečko Stepančič, Petra Božić, Sasha Hajzler, Jurij Meden, Morena Fortuna, Matej Pivec, Vlado Škafar tehnična ekipa/technical crew Valentina Cvijetković, Florence Guenaut produkcija/production Luksuz produkcija dolžina/running time 12’

Ljubeč dokumentarni portret znamenitega izolskega Art kina Odeon, ki s kvalitetnim programom

VIDEO NA PLAŽI/VIDEO ON THE BEACH

že vrsto let uspešno kljubuje tržnim silnicam in tekmovalnemu okolju distribucijskega sistema. A loving documentary portrait of the famous Izola art house, Odeon follows the cinema’s resistance to the market forces and the competitive environment of the distribution system by maintaining a quality programme.

Piknik (25 seconds per frame)

Slovenija/Slovenia, 2014 režija/directed by Eva Matarranz, Florence Guenaut scenarij/ screenplay Eva Matarranz, Florence Guenaut tehnična ekipa/ technical crew Eva Matarranz, Florence Guenaut produkcija/ production Luksuz produkcija dolžina/running time 9’

Grčija. Prijeten avgustovski dan, rahel vetrič in prelepa peščena plaža. Dan, kot nalašč za ležerno poležavanje na soncu. Greece. A pleasant, windy August day, suitable for casually enjoying the hot sun on a beautiful sandy beach.

Še en delovni dan. Makedonec, Bosanec in Albanec postavljajo novo slovensko železniško progo. Človeške figure v sivi pokrajini in mehaničnem delovnem procesu izstopajo zgolj po svojih oranžnih varnostnih jopičih. Serijo tihih portretov ozvočijo le glasovi migrantskih delavcev, odsotnih iz lastnih življenj. Another day at work. Macedonian, Bosnian and Albanian workers are building the new Slovenian railway. A mechanical working process in a greyish landscape, human figures set apart by their orange safety suits. As series of silent portraits, carried by the voices of the immigrant workers, absent from their own lives.

Plavanje

Po vino v Krčevino

Swimming

Let’s Get Some Wine

Slovenija/Slovenia, 2014

režija/directed by Katarina Rešek scenarij/screenplay Katarina Rešek, Blaž Gracar nastopajo/featuring Merisa Porić, Edina Mehić Silić, Nadja Štradjot, Nika Rozman tehnična ekipa/technical crew Rok Kajzer Nagode, Andrej Avanzo, Milan Prebil, peter Žerovnik, Kukla Kesherović, Neža Zinajić, Mateja Fajt, Petra Hartman, Jerca Jerič, Maja Križnik, Jaka Krivec, Marjan Jelnikar produkcija/production AGRFT (producentka: asist. mag. Jožica Blatnik) dolžina/running time 24’

režija/directed by Vinko Krč scenarij/screenplay Vinko Krč tehnična ekipa/technical crew Viktor Radić, Tomaž Pavkovič, Marko Cvejić, Izvanredni Bob, Jure Černec produkcija/production Iran dolžina/running time 11’

Picnic (25 seconds per frame) Slovenija/Slovenia, 2014

režija/directed by Davorin Marc scenarij/screenplay Davorin Marc produkcija/production Davorin Marc dolžina/running time 11’

Dvanajstletna Sanela uživa v plavanju in si želi tekmovati na šolskem plavalnem tekmovanju, a ji pot prekriža menstruacija, ki zanjo in za njeno tradicionalno muslimansko družino predstavlja korenito spremembo v življenju. Tema filma je versko-kulturni konflikt med zahodom in islamom kot ga doživljajo otroci in mladostniki, ki odraščajo v primežu med vrednotami zahodne družbe spektakla in islamske tradicije. The twelve-year-old Sanela enjoys swimming and would like to compete at the school swimming competition. Her plans are ruined by her period, which signifies a radical life change for her as well as for her traditional Muslim family. The film deals with the cultural conflict between the West and Islam as experienced by children and the youth, growing up caught between the values of the western society of spectacle and the traditions of Islam.

Pola-pola

VIDEO NA PLAŽI/VIDEO ON THE BEACH

Dokumentarec o tem, kako mlada dama obišče pridelovalca vina. Ta je očitno pregloboko pogledal v kozarec, saj se pred damo postavlja s prostaškimi domislicami, ne da bi se zavedel, kako trapasto izpade. A documentary about a young lady’s visit to a wine manufacturer. He seems to have drunk too much: he tries to impress the lady with vulgar remarks, without realising he comes across as ridiculous.

Prespana pomlad The Springtime Sleep Slovenija/Slovenia, 2014 režija/directed by Dominik Mencej scenarij/screenplay Dominik Mencej nastopajo/featuring Anja Novak, Gal Ambrožič, Draga Potočnjak, Lara Vouk, Domen Martinčič tehnična ekipa/technical crew Rok Kajzer Nagode, Tina Novak, Milan Prebil, Peter Žerovnik, Domen Finžgar, Peter Perunović, Andrej Vrhovnik, Petra Hartman, Teo Rižnar, Dominik Mencej, Domen Martinčič, Simon Intihar, Marjan Jelnikar produkcija/production AGRFT LJ (producentka: asist. mag. Jožica Blatnik) dolžina/running time 20’

Svet je za Jasno naenkrat postal drugačen. Morda pa je bil tak že od nekdaj. Tega ne namerava ugotoviti in ga raje izkuša zdaj, takšnega kot je. Tako spozna Perota, mlajšega fanta, ki ji je malo sumljiv, ampak ji je “kul”, in skupaj se napotita k spoznanju, kako nepomembno je to, kar je bilo in kar ju še čaka. Suddenly, the world is different for Jasna. Perhaps it’s always been like that. She doesn’t intend to find out, instead experiencing it now, just the way it is. That’s how she meets Pero, a young man who to her, seems a bit suspicious, but “cool”. Together, they set on the path of the realisation of how unimportant the things that were and the things that will be actually are.

Re-cycling Project

Resnično smrtonosna tišina Seriously Deadly Silence Danska/Denmark, 2014 režija/directed by Sara Koppel scenarij/screenplay Sara Koppel nastopa/featuring Sara Koppel tehnična ekipa/technical crew Sara Koppel, Sune Køter Kølster produkcija/production Koppel Animation & Naked Love Film dolžina/running time 1’

Trenutek, dolg šestdeset sekund, trenutek, dolg šestdeset ogroženih vrst. A moment of 60 seconds, a moment of 60 endangered species.

Sonce številka 35

Italija/Italy, 2014

Sun Number 35

režija/directed by Regina Pessoa, Joni Männistö, Vessela Dantcheva, Gábor Ulrich, Ülo Pikkov, Rastko Ćirić, Petra Zlonoga, Špela Čadež, Marina Rosset, Magda Guidi. scenarij in umetniški vodja/screenplay and art direction Paola Bristot tehnična ekipa/technical crew Andrea Martignoni, Gianluca “Shango” Pellegrino, Fosca Pozzar Colinassi, Giuseppe Tissino, Claudio Zorzenon, Arte Video (Palmanova), Film Scan Restart – Zodiac (Ljubljana) produkcija/production Arte Video snc/ Associazione Viva Comix Film dolžina/running time 15’

Slovenija/Slovenia, 2014

Eksperimentalni animirani omnibus, ki ga je z risanjem na filmski trak ustvarilo deset avtorjev iz desetih različnih evropskih držav. Brez dodatnih informacij so si avtorji med seboj anonimno izmenjali deset predmetov in vsak izmed predmetov je v sistemu reciklaže postal motiv za film. Posvečeno Normanu McLarnu ob stoletnici rojstva. Ten authors from ten European countries have made a collective experimental film, drawing directly on film celluloid. Ten objects were exchanged among the authors, without any information about the original senders’ identities, and these ten objects became the ten subjects of the film in a recycling system. Dedicated to Norman McLaren in the year of the 100th anniversary of his birth.

Reflections Slovenija/Slovenia, 2014 režija/directed by Toma Zidić scenarij/screenplay Toma Zidić tehnična ekipa/technical crew Toma Zidić produkcija/production Luksuz produkcija dolžina/running time 9’

režija/directed by Umetniški kolektiv Hroščodlak scenarij/screenplay Umetniški kolektiv Hroščodlak tehnična ekipa/technical crew Umetniški kolektiv Hroščodlak produkcija/production VŠU dolžina/running time 3’

Anonimni ustvarjalni nadobudneži se igrajo umetnost. Anonymous aspiring artists, playing art.

Spin off Slovenija/Slovenia, 2014 režija/directed by Izvanredni Bob scenarij/screenplay Izvanredni Bob nastopa/featuring Florence Guenaut tehnična ekipa/technical crew Izvanredni Bob produkcija/production Luksuz produkcija dolžina/ running time 3’

Vertigo!

S sestro sva sami Man va khaharam tanhayim My Sister and I Are Alone Iran, 2014 režija/directed by Afsaneh Pakroo, Saeideh Pakroo (Pakroo Sisters) scenarij/screenplay Afsaneh Pakroo, Saeideh Pakroo nastopata/ featuring Afsaneh Pakroo, Saeideh Pakroo tehnična ekipa/technical crew Milad Hosseini, Mansoor Shahbazi, Roghieh Saleh Ghadimi, Hossein Pakroo, Afsaneh Pakroo, Saeideh Pakroo produkcija/production Iran dolžina/running time 15’

Moji odhodi in moja potovanja so moja večna samota. My departures and my travels are my eternal loneliness.

VIDEO NA PLAŽI/VIDEO ON THE BEACH

Elnaz s sestro išče stanovanje v Teheranu, kar se za samski dekleti izkaže za izjemno težaven podvig. Elnaz and her sister are searching for a house to rent in Tehran. But finding a house for two single girls is a difficult job.

Tovarna tistega večera L’usine, l’autre nuit The Other Night Factory

Večplastna refleksija enigmatične ideje migracij in potovanja čez Sredozemsko morje v času konfliktov in nasilja. Film kontemplativno povezuje antične ostanke grških kolonij v južni Italiji ter izseke iz etnografskih filmov in novic o vse pogostejših tragičnih nesrečah na morju. A multi-layered meditation on the enigmatic concept of emigration and travelling the Mediterranean Sea in the times of conflict and violence. The film contemplatively connects the antique ruins of Greek colonies in southern Italy with excerpts from ethnographic films and news of the tragic, yet increasingly frequent shipwrecks.

Francija/France, 2014 režija/directed by Nathalie Giraud, Timothée Corteggiani scenarij/ screenplay Nathalie Giraud, Timothée Corteggiani nastopajo/featuring Émilie, Éric Defosse, Sylvie Peteilh, Xavier Pierre tehnična ekipa/technical crew Marie-Pierre Frappier, Romain Le Bonniec, Fabien Dalzin produkcija/ production Les Films des 3 Marches dolžina/running time 16’

Andrea se nemočna in zmedena vrne v tovarno, v kateri je nekoč delala. V želji po preživetju se želi oprijeti preteklosti, a surova realnost ji dokončno potepta še zadnje iluzije. Helpless and confused, Andrea goes back to the factory where she used to work. Clinging to her past, she tries to survive, but the violence of reality will shatter all of her illusions.

Ukradena imena Stolen Names

Slovenija/Slovenia, 2014 režija/directed by Vida Habjanič, Ana Bahor, Benjamin Friškovec scenarij/screenplay Vida Habjanič, Ana Bahor, Benjamin Friškovec nastopa/featuring Severino Coretti tehnična ekipa/technical crew Vida Habjanič, Ellisiv Flack, Isaac Penha, Benjamin Friškovec produkcija/production Visoka šola za umetnost, Univerza v Novi Gorici dolžina/running time 6’

Kratki dokumentarni film nam prek osebne izpovedi gospoda Severina Correttija razpre zgodovino nasilnega poitalijančevanja med letoma 1919 in 1945. The short documentary delves into the history of forced Italianisation between 1919 and 1945 through the personal story of Mr Severino Corretti.

Več kot naše morje Other than Our Sea Italija/Italy, 2014 režija/directed by Valentina Ferrandes scenarij/screenplay Valentina Ferrandes tehnična ekipa/technical crew Valentina Ferrandes produkcija/production Valentina Ferrandes dolžina/running time 10’

VIDEO NA PLAŽI/VIDEO ON THE BEACH

Vse najboljše Happy Birthday

Slovenija/Slovenia, 2014 režija/directed by Tosja Flaker Berce, Juš Premrov, Slovenija scenarij/screenplay Tosja Flaker Berce, Andraž Jerič, Juš Premrov, Gašper Tesner nastopajo/featuring Luka Marčetič, Boj Nuvak, Nika Jurman tehnična ekipa/technical crew Juš Premrov, Andraž Jerič, Gašper Antauer, Gašper Tesner produkcija/production Temporama dolžina/running time 8’

Borut je obseden z zabavami presenečenja, njegovi bližnji pa so jih že siti. Nato nastopi Borutov rojstni dan … Borut is obsessed with surprise parties while the people around him have had enough. Then, Borut’s birthday comes...

VIDEO NA PLAŽI II/VIDEO ON THE BEACH II Fokus: Avstralija/Focus: Australia V sodelovanju Avstralsko šolo za film, televizijo in radio (AFTRS) prikazujemo izbor del, nagrajenih in uvrščenih v ožji krog za filmsko nagrado Evropske unije, ki študentom in mladim diplomantom šole omogoči predstavitev njihovih del v Evropi.

In cooperation with the Australian school for film, television and radio (AFTRS), we are showing a selection of works by winner of, and candidates shortlisted for the 2015 European Union Film Award, which enables students and young college majors to present their work in Europe.

Predmet

Mackiewicz nastopajo/featuring Chloe Bayliss, Poppy Guy, Dominic Allburn, Naomi Livingstone tehnična ekipa/technical crew Burak Oguz Saguner, Jessica Giacco, James Hills, Sam Zubrycki, Nicholas Redmond produkcija/production Australian Film, Television & Radio School dolžina/running time 10’

Object

Avstralija/Australia, 2013 režija/directed by Alex-George Nagle scenarij/screenplay Alex-George Nagle nastopata/featuring April Rose Pengilly, Boris Brkic tehnična ekipa/technical crew Dane Howel, Teresa Meoli, Michael Drake, Joel Geist produkcija/production Sabrina Organo dolžina/running time 8’

Mlada in lepa manekenka na setu ugotovi, da karizmatičen fotograf vselej dobi, kar želi. Ne glede na vse. Kritika spolne objektifikacije. When a beautiful young model arrives on set for a shoot she soon discovers that the charismatic photographer always gets what he wants. No matter what. A critique of sexual objectification.

Pritisni dremež Just Hit Snooze

Avstralija/Australia, 2013 režija/directed by Malina Mackiewicz scenarij/screenplay Malina Mackiewicz nastopata/featuring Morgan Griffin, Damian de Montemas tehnična ekipa/technical crew Jack McAvoy, Lauren Sillato, Remi Luxford, Nic Alexander produkcija/production Australian Film, Television & Radio School dolžina/running time 10’

Zunaj je mraz in Joey ni zapustila stanovanja svojega starejšega ljubimca, že vse odkar sta pred tednom dni prvič spala skupaj. Ko jo prosi, da odide, ga ona zapelje in ostane še en dan. It’s cold outside and the twenty-something Joey hasn’t left her older lover’s studio since a week ago when they first slept together. When he asks her to go, she seduces him to stay for another day.

Pršice z naplavljenega lesa Driftwood Dustmites

Avstralija/Australia, 2014 režija/directed by Malina Mackiewicz scenarij/screenplay Malina

Pomladne počitnice, hladna noč le nekaj trenutkov pred zoro in leto dni po materini smrti. Mlada Aishe opazuje očeta, kako poljublja svojo novo izvoljenko. Ker ne more zaspati nazaj, zbudi spečo sestrico. A bit over a year since the death of her mother and now ten minutes before dawn on a cool night of spring holidays, Aishe watches her dad kissing his new love. Unable to go back to sleep, she wakes up her little sister for company.

Večno vračanje Eternal Return

Avstralija/Australia, 2014 režija/directed by Vedrana Music scenarij/screenplay Alex-George Nagle nastopata/featuring Catherine Zealand, Ariel Santiego Lalaurette tehnična ekipa/technical crew Alexandra Hickmott, Lara Benwell, Yunyu Ong, Ashleigh Wadebrook, Wen Yi Yan dolžina/running time 5’

Sophie se znajde v skrivnostni sobi in ples se začne. Sophie finds herself in a strange room with a dance about to begin...

Za devetimi gorami Over the Hills and Far Away Avstralija/Australia, 2014 režija/directed by Luke Marsden scenarij/screenplay Rebecca Johnstone nastopajo/featuring Durcey Wilson, Anna Cocquerel, Genevieve Lemon tehnična ekipa/technical crew Samuel Phibbs, Courtney Mulvay, Jenna Bowden, Yunyu Ong, Audrey Houssard, Jonathan Rodgers dolžina/running time 12’

Osamljena deklica odtava v gozd, kjer sreča čarobno prijateljico. A lonely girl wanders into the woods, finding a magical new friend. VIDEO NA PLAŽI/VIDEO ON THE BEACH

VIDEO NA PLAŽI III/VIDEO ON THE BEACH III Trieste Science+Fiction: gostovanje festivala/festival on a visit Trieste Science+Fiction je vodilni italijanski filmski festival znanstvene fantastike iz bližnjega Trsta, ki bo letošnji program letnega kina Videa na plaži obogatil z žanrsko obarvano selekcijo znanstvenofantastičnih, grozljivih in fantazijskih kratkih filmov.

Trieste Science+Fiction, a leading Italian film festival of science fiction from the nearby Trieste, will add to this year’s Video on the beach programme a selection of science fiction, horror and fantasy short films.

Izbor/Selected by: kurator/curator Luca Luisa, Trieste Science+Fiction

BIO-COP Kanada/Canada, 2012 režija/directed by Steven Kostanski scenarij/screenplay Steven Kostanski nastopajo/featuring Robert Homer, Marko Balaban, Jamal Alexander tehnična ekipa/technical crew Pierce Derks produkcija/ production Astron-6, Banner Entertainment dolžina/running time 5’

Grozovita biološka nesreča spremeni policista v mutiranega spaka z nenasitnim hrepenenjem po smrti in pravici. A horrific biological accident turns a cop into a walking biohazard with a literal death wish and hunger for justice.

šefa Hasana, se Misha ne more upreti skušnjavi in eno od epruvet izprazni na dušek. Attempted burglary didn’t go as planned; Misha, Yumiko and Chinatsu end up in a parked car, with a huge amount of test tubes filled with different substances in the backseat. While Yumiko tries to calm down their Albanian boss Hasan on the phone, Misha can’t resist the temptation. He opens up a test tube and drinks it to the drop...

Primer: Zajec Case Rabbit

Finska/Finland, 2012

ON/OFF Francija/France, 2013 režija/directed by Thierry Lorenzi scenarij/screenplay Thierry Lorenzi nastopata/featuring Carole Brana, Arben Bajraktaraj tehnična ekipa/ technical crew Reynald Capurro, Nicolas Sarkissian, Jean-Jacques Hertz produkcija/production Black Box Production dolžina/running time 13’

Da bi ostala povezana s človeštvom, se astronavtka Meredith odloči soočiti s paradoksalnim pogojem skrivnostnega glasovnega sporočila. Obsessed by a mysterious voice message, astronaut Meredith will face its paradoxical condition in order to stay connected to her humanity.

Popolna droga

Psihiater se ubada z mlado pacientko s plišastim zajcem, ki ji pravi, da bo jutri pomemben dan. Psihiatra torej čaka razrešitev napornega primera »Zajec«. A Psychiatrist has a patient, a Girl. The Girl has a rabbit puppet, who told her that tomorrow would be an important day. The Psychiatrist will have a tricky Case Rabbit to solve.

Vesoljska razbitina Blikkboks Spacewrecked

Perfect Drug

Norveška/Norway, 2012

Belgija/Belgium, 2013

režija/directed by Kalle Doniselli Gulbrandsen scenarij/screenplay Kalle Doniselli Gulbrandsen nastopata/featuring Helge Jordal, Yngve Skomsvoll tehnična ekipa/technical crew Martin Larsen, Patrick Larsgaard, Magnus Murel, Espen Rosseland Pattersen produkcija/ production Epidemic dolžina/running time 14’

režija/directed by Toon Aerls scenarij/screenplay Toon Aerls nastopajo/ featuring Misha Downey, Fehmi Emsha, Yumiko Funaya tehnična ekipa/technical crew Nicolas Karakatsanis, Martin Leroy produkcija/ production Epidemic dolžina/running time 14’

Rop se ponesreči in Misha, Yumiko ter Chinatsu obtičijo v avtu, polnem čudnih testnih substanc. Medtem ko Yumiko po telefonu pomirja mafijskega

režija/directed by Joonas Makkonen scenarij/screenplay Joonas Makkonen nastopajo/featuring Raimo Hytti, Enni Ojutkangas, Leena Autio, Jari Manninen tehnična ekipa/technical crew Tero Saikkonen, Joonas Makkonen, Tero Malinen produkcija/production Jo-Jo the Dog Films & Fernando’s Barrels dolžina/running time 5’

VIDEO NA PLAŽI/VIDEO ON THE BEACH

Po tem, ko sta bila pred dvajsetimi leti priči popolnemu uničenju planeta Zemlje, se dva norveška astronavta na majavi vesoljski postaji borita s preganjanjem hudega dolgčasa.

After witnessing the total destruction of planet Earth 20 years earlier, two Norwegian astronauts must fight extreme boredom while living inside a cramped space station.

Vlak duhov

Zacarias M. De la Riva, Patrick Rizzotti, Brett Forbes produkcija/ production Fortress Features dolžina/running time 20’

Kaj, če bi se nekega dne zbudili in ugotovili, da je ves svet sanjal o vas? What if you wake up one day and realize the entire world has dreamed about you?

Ghost Train

Irska, Finska/Ireland, Finland, 2013 režija/directed by Lee Cronin scenarij/screenplay Lee Cronin nastopajo/featuring Owen McDonnell, Steve Wall, Matthew Dillon, Sean Gormley, Matthew Broe tehnična ekipa/technical crew Tom Comerford, Colin Campbell, Tapani Siirtola, John Keville produkcija/ production Rank Outsider Production dolžina/running time 17’

Odtujena brata Michael in Peter enkrat letno obiščeta odsluženi lunapark, v katerem je pred tridesetimi leti izginil njun prijatelj Sam. Tokrat se Michael odloči, da bo razodel svojo skrivnost. Once a year, estranged brothers Michael and Peter make a reluctant pilgrimage to the old fairground where their friend Sam went missing three decades ago. This time, Michael has a secret to confess.

Vrata

The Gate Velika Britanija/UK, 2012 režija/directed by Matt Westrup scenarij/screenplay Matt Westrup nastopajo/featuring John Mawson, Elle Lewis, Robert Rowe, Tryphena Russel, Jonathan Andrews tehnična ekipa/technical crew Matt Westrup, Jonas Mortensen, Pete Ellmore, Niki Porter, Luke Morisson produkcija/production joyride films dolžina/running time 12’

Forenzični patolog Dr. Bill Ackerman je poklican na ponovno zaslišanje. Vlada ga izprašuje glede nedavnega javnega zdravstvenega preplaha in skrajno občutljive preiskave, ki je temu sledila. In a review hearing, forensic pathologist Dr Bill Ackerman is being questioned by the government about a recent public health scare and the ensuing highly sensitive investigation.

Zaporedje Sequence

ZDA/USA, 2013 režija/directed by Carles Torrens scenarij/screenplay Carles Torrens nastopajo/featuring Joe Hursley, Ronnie Gene Blevins, Marcus Dunstan tehnična ekipa/technical crew Kyle Klutz, Andrew Coutts,

VIDEO NA PLAŽI/VIDEO ON THE BEACH

OTOK V LJUBLJANI/OTOK IN LJUBLJANA

OTOK V LJUBLJANI/OTOK IN LJUBLJANA Kinodvor Angeli revolucije/Angely revoljucii/Angels of Revolution sekcija Signali/section Signals Felix sekcija Podmornica/section Submarine Poštarjeve bele noči/Belje noči poštalona Alekseja Trjapicina/The Postman’s White Nights sekcija Letni kino Manzioli/section Manzioli Open-Air Cinema Theeb sekcija Letni kino Manzioli/section Manzioli Open-Air Cinema Vrnili se bodo travniki/Torneranno i prati/Greenery Will Bloom Again sekcija Silvanov zaliv/section Silvan‘s Bay

Slovenska kinoteka Okoliščina/La circostanza/The Circumstance sekcija Silvanov zaliv/section Silvan‘s Bay

OTOK V LJUBLJANI/OTOK IN LJUBLJANA

FESTIVALSKI GOSTJE/FESTIVAL GUESTS

Martin Agostini Pregelj, režiser/director (In memoriam, Slovenija/Slovenia, 2014) –– Igor Bezinović, režiser/director (Benjamin, Hrvaška/Croatia, 2015, Cartolina de Momjan 2, Hrvaška/Croatia, 2013, Čakanje/Waiting, Hrvaška/Croatia, 2014, Dom je tam, kjer je srce/Dom je tamo gdje je srce, Hrvaška/ Croatia, 2013, Kierkegaard, Hrvaška/Croatia, 2014, Od Kršana do Peroja, Hrvaška/Croatia, 2015, Veruda – film o Bojanu/Veruda – A Film about Bojan, Hrvaška/Croatia, 2015, Zelo kratek izlet/A Very Brief Excursion, Hrvaška/Croatia, 2014) –– Leo

Calice, režiser/director (Na robu raja/Eden‘s Edge, Avstrija, ZDA/Austria, USA, 2014) –– Boris Cavazza, filmski boter/film godparent –– Cheong Kin Man, režiser/ director (Neuporabna fikcija/A Useless Fiction, Macao/Macau, 2014) –– Tosja Flaker Berce, Juš Premrov, režiserja/directors (Vse najboljše/Happy Birthday, Slovenija/Slovenia, 2014) –– Benjamin Friškovec, Vida Habjanič, režiserja/directors (Ukradena imena/Stolen Names, Slovenija/Slovenia, 2014) –– Donatello Fumarola, Silvanov zaliv/Silvan‘s Bay –– Luca Giuliani, filmski boter/ film godparent –– Ognjen Glavonić, režiser/director (Živan priredi punk festival/Živan Makes a Punk Festival, Srbija/Serbia, 2014) –– Tom Gomizelj, Dženi Rostohar, Video na plaži/Video on the Beach –– Helmut Groschup, selektor sekcije Prijatelji/programmer for Friends –– Matthias von Gunten, režiser/director (ThuleTuvalu, Švica/Switzerland, 2014) –– Ester Ivančič, Video na plaži/ Video on the Beach –– Simon Jaquemet, režiser/director (Vojna/Chrieg, Švica/Switzerland, 2014) –– Hana Jušić, režiserka/director (Če bi bila hiša dobra, bi jo tudi volk imel/No Wolf Has a House, Hrvaška/Croatia, 2015, Pametnjakovički/Pametnice, Hrvaška/Croatia, 2010) –– Jelena Kiseljova, soscenaristka/co-screenwriter (Poštarjeve bele noči/The Postman‘s White Nights, Rusija/Russia, 2014) –– Vesna

Klančar, režiserka/director (Odeon, Slovenija/Slovenia, 2014) –– Hrvoje Laurenta,

izvršni direktor in vodja Kina Europa, Zagreb, ter predsednik Hrvaške mreže neodvisnih kinematografov/ Executive Director and manager of Zagreb’s Europa cinema and President of Croatia‘s Association: Cinema Network –– Luca

Luisa, selektor kratkometražne sekcije tržaškega festivala Science+Fiction/ Machalski, scenarist

programmer for shorts at Trieste Science+Fiction Film Festival –– Miguel

dramaturg, svetovalec, mentor Scenaristične delavnice Centra Ustvarjalna Evropa/story editor, advisor, tutor for Screenwriting Workshop organised by the Creative Europe Desk Slovenia –– Malina

Mackiewicz,

režiserka/director (Pritisni dremež/Just Hit Snooze, Avstralija/Australia, 2013, Pršice z naplavljenega lesa/ Driftwood Dustmites, Avstralija/Australia, 2014) –– Davorin

Marc, režiser/director (Piknik (25 seconds per frame)/Picnic (25 seconds per frame), Slovenija/Slovenia, 2014) –– Hrönn Marinósdóttir, direktorica Mednarodnega filmskega festivala v Reykjavíku/Director of Reykjavik International Film Festival –– Uroš

Marolt, Živa Sem Stojanovič (Les/Wood, Slovenija/Slovenia, 2014) –– Dominik Mencej, režiser/director (Prespana pomlad/The Springtime Sleep, Slovenija/Slovenia, 2014) –– Jan Mozetič, režiser/director (Ednina/Singular, Slovenija, Italija/Slovenia, Italy, 2014) –– Rok Oblak, režiser/ director (3600 padlih dreves/3600 Fallen Trees, Slovenija/Slovenia, 2015) –– Yunyu Ong, skladateljica/ composer (Večno vračanje/Eternal Return, Avstralija/Australia, 2014, Za devetimi gorami/Over the Hills and

FESTIVALSKI GOSTJE/FESTIVAL GUESTS

Far Away, Avstralija/Australia, 2014) –– Michael

Pattison, selektor sekcije Prijatelji/programmer Petejan, filmska botra/film godparent –– Katja Petelin, Video na plaži/ Video on the Beach –– Boris Poljak, režiser/director (Autofocus, Hrvaška/Croatia, 2013, Lučonoša/

for Friends –– Saša

The Torchbearer, Hrvaška/Croatia, 2009, Sky Spirits, Hrvaška/Croatia, 2010, Splitski akvarel/The Split Watercolour, Hrvaška/Croatia, 2009) –– Jerica

Polončič, režiserka/director (Hradeckega most/ Ricci, režiser/director (Človek na Luni/ Man on the Moon, Italija/Italy, 2014) –– Walter Ronzani, režiser/director (Industrijska pripoved/Un racconto industriale, Italija/Italia, 2014) –– Marjuta Slamič, filmska botra/film godparent –– Sonja Tarokić, režiserka/director (Pametnjakovički/Pametnice, Hrvaška/Croatia, 2010, Tla pod nogami/On Shaky Ground, Hrvaška/Croatia, 2014) –– Gerhard Treml, režiser/director (Na robu raja/Eden‘s Edge, Avstrija, ZDA/Austria, USA, 2014) –– Erik Valenčič, filmski boter/film godparent –– Neil Young, selektor sekcije Prijatelji/programmer for Friends

Hradecky Bridge, Slovenija/Slovenia, 2014) –– Giuliano

OTOK V LJUBLJANI/OTOK IN LJUBLJANA

INDEKS/INDEX

IZVIRNI NASLOVI/ORIGINAL TITLES

SLOVENSKI NASLOVI/SLOVENIAN TITLES

Alikes 36

Angeli revolucije 26

Angely revoljucii 26

Ártún 50

Autofocus 43

Benjamin 47

Belje noči poštalona Alekseja Trjapicina 20

Biserni gumb 12

Benjamin 47

Bx46 28

Cartolina de Momjan 2 47

Čakanje 47

Choreomania 50

Če bi bila hiša dobra, bi jo tudi volk imel 45

Chrieg 38

Človek na Luni 14

Čekanje 47

Dom je tam, kjer je srce 47

Da je kuća dobra i vuk bi je imao 45

Felix 72

Dom je tamo gdje je srce 47

Fidelio – Alice na poti 16

Eden‘s Edge 32

Helgi Valur 50

El Botón de Nácar 12

Jauja: Raj na zemlji 30

El gran salto adelante 56

Kierkegaard 48

En dirigeable sur les champs de bataille 18

Ko zorijo jagode 73

Felix 72

Koreomanija 50

Fidelio – L’odyssée d’Alice 16

Krizno obdobje 64

Helgi Valur 50

Let nad bojnimi polji 18

Jauja 30

Lučonoša 43

Kierkegaard 48

Mleko in kri 50

Ko zorijo jagode 73

Mumin na Azurni obali 75

Krizno obdobje 64

Mumini lovijo komet 74

La circostanza 66

Na robu raja 32

Lučonoša 43

Od Kršana do Peroja 48

INDEKS/INDEX

ANGLEŠKI NASLOVI/ENGLISH TITLES

REŽISERKE, REŽISERJI/DIRECTORS

A Very Brief Excursion 48

Abu Nowar, Naji 22

Angels of Revolution 26

Alonso, Lisandro 30

Artun 50

Baldvin, Einar 51

Autofocus 43

Bezinović, Igor 47, 48

Benjamin 47

Borleteau, Lucie 16

Bx46 28

Brugidou, Jérémie 28

Cartolina de Momjan 2 47

Calice, Leo 32

Choreomania 50

Choreography Reykjavík 50

Chrieg 38

Clouette, Fabien 28

Dom je tamo gdje je srce 47

Čučić, Damir 43

Eden‘s Edge 32

Dika, Ira 36

En dirigeable sur les champs de bataille 18

Durrant, Roberta 72

Felix 72

Englmair, Markus 50

Fidelio - Alice‘s Journey 16

Fedorčenko, Aleksej 26

Greenery Will Bloom Again 68

Glavonić, Ognjen 60

Helgi Valur 50

Guðmundsson, Guðmundur Arnar 50

Jauja 30

Gunten, Matthias von 54

Kierkegaard 48

Guzmán, Patricio 12

Man on the Moon 14

Jaquemet, Simon 38

Milk and Blood 50

Jones, William E. 58

Moomins and the Comet Chase 74

Jušić, Hana 45

Moomins on the Riviera 75

Končalovski, Andrej 20

No Wolf Has a House 45

Lindberg, Maria 74

Od Kršana do Peroja 48

Llorca, Pablo 56

On Shaky Ground 45

Lombardi, Joanna 34

Pametnice 45

O.N.L.S.D 32

INDEKS/INDEX

IZVIRNI NASLOVI/ORIGINAL TITLES

SLOVENSKI NASLOVI/SLOVENIAN TITLES

L‘uomo sulla luna 14

Okoliščina 66

Milk and Blood 50

Pametnjakovički 45

Muumi ja punainen pyrstötähti 74

Ponos Strathmoora 51

Muumit Rivieralla 75

Poštarjeve bele noči 20

Od Kršana do Peroja 48

Pranje možganov 58

Pametnice 45

Samo svoji 34

Psychic Driving 58

Sedem čolnov 51

Seven Boats 51

Sky Spirits 43

Soline 36

Solos 34

Splitski akvarel 43

Theeb 22

The Pride Of Strathmoor 51

ThuleTuvalu 54

Theeb 22

Tla pod nogami 45

ThuleTuvalu 54

Veliki skok naprej 56

Tlo pod nogama 45

Veruda – film o Bojanu 48

Torneranno i prati 68

Vojna 38

Veruda – film o Bojanu 48

Vrnili se bodo travniki 68

Vrlo kratki izlet 48

Zelo kratek izlet 48

Živan pravi punk festival 60

Živan priredi punk festival 60

INDEKS/INDEX

ANGLEŠKI NASLOVI/ENGLISH TITLES

REŽISERKE, REŽISERJI/DIRECTORS

Psychic Driving 58

Olmi, Ermanno 66, 68

Salt Flats 36

Óskarsdóttir, Marta 50

Seven Boats 51

Pálmason, Hlynur 51

Sky Spirits 43

Picard, Xavier 75

Solos 34

Poljak, Boris 43

Strawberry Time 73

Ranfl, Rajko 73

The Circumstance 66

Ricci, Giuliano 14

The Great Leap Forward 56

Savoglou, Yorgos 36

The Pearl Button 12

Slak, Franci 64

The Postman’s White Nights 20

Tarokić, Sonja 45

The Pride Of Strathmoor 51

Treml, Gerhard 32

The Split Watercolour 43 The Time of Crisis 64 The Torchbearer 43 Theeb 22 ThuleTuvalu 54 Veruda – A Film about Bojan 48 Waiting 47 Živan Makes a Punk Festival 60

INDEKS/INDEX

FESTIVALSKA EKIPA/FESTIVAL TEAM

MEDNARODNI SVET FESTIVALA/ INTERNATIONAL FESTIVAL BOARD Jan Cvitkovič, Helmut Groschup, Lorena Pavlič, Breda Pečan, Igor Prinčič, Vlado Škafar, Varja Močnik DIREKTORICA/DIRECTOR Lorena Pavlič PROGRAMSKA KOORDINATORICA/PROGRAMME COORDINATOR Tanja Hladnik SELEKTORICA FILMSKEGA PROGRAMA/ FILM PROGRAMME SELECTOR Varja Močnik PROGRAMSKI SVET/PROGRAMME BOARD Jan Cvitkovič, Erwin van’t Hart, Tanja Hladnik, Matevž Jerman, Jurij Meden, Varja Močnik, Michael Pattison, Lorena Pavlič, Vlado Škafar, Neil Young PODMORNICA – Otok za mularijo/SUBMARINE – Otok for Kids Florence Ménard, koordinatorica Ana Peršič, Martina Fortuna, Klara Cerar, Stefania Grosso VIDEO NA PLAŽI/VIDEO ON THE BEACH Matevž Jerman, selektor/selection Bojana Bregar, Peter Cerovšek VESELA KAMERA Mert Güncüer, Denis Dziuba Luksuz produkcija FILMSKI BOTRI/FILM GODPARENTS Boris Cavazza, Erik Valenčič, Luca Giuliani, Marjuta Slamič, Saša Petejan, Simon Tecco ODNOSI Z JAVNOSTMI/PUBLIC RELATIONS Mirela Šućur, vodja odnosov z javnostmi/Head of PR Ana Škreblin Pirjevec, Tanja Žohar, Darja Oražem, Tina Kocjančič, Filip Capuder Katja Stojić, Kriss Dassena, prevajanje/translations ORGANIZACIJA/ORGANISATION Anja Avdič Batista ADMINISTRACIJA IN RAČUNOVODSTVO/ADMINISTRATION AND ACCOUNTING Vesna Štimac SLUŽBA ZA GOSTE/HOSPITALITY Petra Strban, vodja službe za goste/Head of hospitality service Maja Ropret, Marc Hofmann, Valentina Nedeljko, Emilija Kastelic, Neža Grum

100 FESTIVALSKA EKIPA/FESTIVAL TEAM

KOORDINATORICA PROSTOVOLJCEV/VOLUNTEER COORDINATOR Ines Hvala TEHNIČNA EKIPA IN INTERVENTNI VOD/TECHNICAL CREW AND INTERVENTION SQUAD Rok Petrič, tehnični direktor/technical manager Vid Avdič Batista, Alessio Graldi, Andrej Pugelj, Goran Jović, Tadej Koren Šmid, Antonia Partl, Rok Ziherl, Lorenz Fehrer, Leonardo Roverato KAMP ŠKAMP/FESTIVAL CAMP Daša Čok, Leon Hrvatin, Julia Minet, Theia Zamboni, David Skuk, Alen Rivič, Aljoša Škorjanc, Ajda Zupan POSTAVITEV LETNEGA KINA IN KINA KULTURNI DOM/OPEN AIR CINEMA AND HOUSE OF CULTURE CINEMA L’image srl SVETOVALCA ZA FILMSKO IN VIDEO TEHNIKO/TECHNICAL ADVISOR FOR FILM AND VIDEO SCREENINGS Joop van Lagen, Polona Kuzman KINOOPERATERJI/PROJECTIONISTS Antonio Mastrolia, Bortolo Bertoldi, Martin Putto, Vid Gladovič, Tatjana Podlogar KOORDINATOR KOPIJ/PRINT TRAFFIC Kaja Bohorč PREVAJALCI IN VIDEOPODNASLAVLJALCI FILMOV/FILM TRANSLATORS AND VIDEOSUBTITLERS Daša Cerar, Domen Kavčič, Maja Lovrenov, Nika Ambrožič, Barbara Bizjak, Denis Debevec, Ana Kristina Dodič, Diana Grden, Luka Pieri BLAGAJNA IN FESTIVALSKE STOJNICE/BOX OFFICE AND FESTIVAL STANDS Nataša Makovšek, vodja blagajne/box office Janja Govekar, Nina Keserič, Rok Teržan, Teja Colja, Gaja Velnar Milčinović, Maja Šumi AKREDITACIJE/ACCREDITATIONS Ana Peršič VOZNI PARK/DRIVERS Božidar Pogačar, vodja voznikov/transfers Miha Žnidar, Tomaž Zarifa, Gašper Markun, Piervittorio Vittori FOTOGRAFIJA/PHOTOGRAPHY Vesna Lutar, Beti Stragar, Maja Lesar, Alessio Graldi, Leonardo Roverato

VODJE LOKACIJ/LOCATION MANAGERS LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA Blaž Javornik, vodja/coordinator Andreja Černe, Danijel Štukelj ART KINO ODEON/ART CINEMA ODEON Vanessa Biljan, vodja/coordinator Mojca Sovdat, Nika Zbašnik MANZIOLIJEVA PALAČA/MANZIOLI PALACE Jaka Zalar KULTURNI DOM/HOUSE OF CULTURE Vanessa Biljan RIIBA Brigita Marinč VODJA KUHINJE/CHEF Cristian Herrera, David Macleod PROSTOVOLJCI EVROPSKE PROSTOVOLJNE SLUŽBE/ EVS VOLUNTEERS Giuseppe Armenio, Vanessa Biljan, Lorenz Fehrer, Barbara Ghersi, Alessio Graldi, Stefania Grosso, Marc Hofmann, Aristea Klanac, Josip Kuštera, Maja Lesar, Valentina Nedeljko, Leonardo Roverato, Antonia Elisabeth Partl, Maria Unterluggauer PROSTOVOLJCI FAKULTETE ZA HUMANISTIČNE ŠTUDIJE Filip Capuder, Tina Kocjančič, Brigita Marinč, Karin Marinič, Katja Stojić, Ana Škreblin Pirjevec, Gaja Velnar Milčinović, Jaka Zalar, Rok Ziherl ITALIJANSKA SAMOUPRAVNA NARODNA SKUPNOST/COMMUNITÀ AUTOGESTITA DELLA NAZIONALITÀ ITALIANA Agnese Babič, Marko Gregorič, Bruno Orlando, Lilia Pavlič Hodžič, Loredana Bertok, Ferdinando Possega KINODVOR. MESTNI KINO./KINODVOR. CITY CINEMA. Nina Peče Grilc, Koen Van Daele, Bojan Bajsič, Ana Cimerman, Petra Gajžler, Vid Grafenauer, Špela Grmek, Marko Horvat, Aliki Kalagasidu, Barbara Kelbl, Irena Plešivčnik, Ana Seta Pucihar, Petra Slatinšek, Tjaša Smrekar, Nataša Šintler, Maja Zrim in številna študentska ekipa.

OBLIKOVANJE CELOSTNE PODOBE/FESTIVAL VISUAL IDENTITY Multipraktik OBLIKOVANJE KATALOGA/CATALOGUE DESIGN Špela Drašlar UREJANJE TISKOVIN/PRINT COMMUNICATIONS EDITOR Maja Ropret SPLETNI ADMINISTRATOR/WEB ADMINISTRATOR Borut Mrak, 9bit IT INFRASTRUKTURA/IT INFRASTRUCTURE Marko Milutinovič, Titania RAČUNOVODSTVO/ACCOUNTING Finares d.o.o. ZAHVALE/THANKS Blaž Svetina, Alen Pušpan, Danijela Ščavničar, Matej Zaro, Nina Peče, Andrej Šavko, Irena Ostrouška, Denis Bele, Bernarda Močilnik, Mateja Zorn, Sebastjan Šik, Nikolai Jeffs, Ana Beguš, Ivan Nedoh, Matej Sukič, Maja Švara, Jožko Rutar, Nerina Kocjančič, Špela Šmid, Luca Giuliani, Tina Tišljar, Katarina Prpić, Svava Lóa Stefánsdóttir, Barbara Mencin, Koen van Daele, Moreno Miorelli, Sabina Briški, Edi Miandrušič, Agnese Babič, Petra Božič, Jana Grilc, Majda Skočaj, Ivana Ivišić, Boris Cavazza, Saša Petejan, Marjuta Slamič, Simon Tecco, Erik Valenčič, Angelo Izzo, Maja Lovrenov, Maksimiljana Ipavec, Ana Lampret, Alenka Ropret, Nina Vrhovec, Špela Drašlar, Nataša Žebovec, Erika Mischitz, Anna Brusarosco, Chiara Torassa, Ivana Pavelić Šprajc, Valentina Parovel, Eva Požar, Kaja Pinter, Janez Kobal in Župnijski urad Izola, Polona Zavratnik, Hostel Alieti, Marko Kovač, Klara Cerar, Luca Luisa (Trieste Science + Fiction), Tina Poglajen, Maša Peče, Uroš Čefarin, Tomaž Kejžar, Novica Rudnik, Boris Petrič, Drago Čuk, Damjan Jurič, Jana Otočan, Artur Steffè, Bojan Krkač, Mirko Orlač, Miro Renko, Srečko Stepančič, Andrej Babič, Darko Grad, Dorijana Šalgaj, KID PiNA, Dom upokojencev Izola, Obalni alpinistični klub.

SLOVENSKA KINOTEKA/SLOVENIAN CINEMATEQUE Ivan Nedoh, Varja Močnik, Kaja Bohorč, Matevž Jerman, Marta Matičič, Anja Naglič, Marko Turkuš, Gašper Milkovič Biloslav, Gregor Brzin, Darja Gartner, Darko Štrukelj, Bojana Živec, Nadja Šičarov, Viktor Bertoncelj, Andrej Šprah, Nil Baskar, Metka Dariš, Špela Čižman, Gregor Štrukelj, Samo Jurečič in ekipa biljeterk. CENTER ZA KULTURO, ŠPORT IN PRIREDITVE IZOLA/CULTURAL CENTER IZOLA Boris Kobal, Nevenka Gregorčič, Branislava Lipar, Viljem Vičič, Tomaž Kovačič, Petra Božič, Aleksander Janev, Robert Janev, Tatjana Podlogar, Srečko Stepančič, Jolanda Pavšič

FESTIVALSKA EKIPA/FESTIVAL TEAM 101

ORGANIZATOR/ORGANIZED BY

KOPRODUCENTI/CO-PRODUCERS

PODPORA/SUPPORTED BY

PARTNERJI/PARTNERS

POKROVITELJI/SPONSORS

MEDIJSKI PARTNERJI/MEDIA PARTNERS