Kino Otok - Isola Cinema 2016: Festivalski katalog / Festival Catalogue by KinoOtok2016

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 791.65.079(497.4Izola)“2016“ 791(100) MEDNARODNI filmski festival (12 ; 2016 ; Izola) Kino Otok = Isola Cinema / 12. mednarodni filmski festival, International Film Festival, [1.-5. 6. 2016 Izola] ; [besedila, texts Anja Banko ... [et al.] ; uredila, editor Maja Ropret ; prevodi, translations Alenka Ropret, Maja Lovrenov ; fotografija, photo Lara Garvas]. - Ljubljana : Zavod Otok, 2016 ISBN 978-961-285-266-5 1. Gl. stv. nasl. 2. Vzp. stv. nasl. 3. Banko, Anja, 1992- 4. Ropret, Maja 284787712

12. Mednarodni filmski festival Kino Otok – Isola Cinema/12th International Film Festival Kino Otok – Isola Cinema uredila/editor Maja Ropret uredniški odbor/editorial board Varja Močnik, Maja Ropret prevodi/translations Alenka Ropret, Maja Lovrenov, Luka Pieri jezikovni pregled/proofreading Maja Ropret oblikovanje/design Špela Drašlar naslovnica/cover design Multipraktik fotografija/ photo Lara Garvas (72-73) tisk/print Collegium Graphicum naklada/print run 300 izdajatelj/published by Zavod Otok. Ljubljana, 2016.

FESTIVALSKI KATALOG/FESTIVAL CATALOGUE

BESEDILA/TEXTS

Anja Banko, Uroš Bonšek, Bojana Bregar, Nicola Falcinella, Helmut Groschup, Tanja Hladnik, Matevž Jerman, Karzan Kardozi, Maja Krajnc, Florence Ménard, Moreno Miorelli, Varja Močnik, Jan Mozetič, Michael Pattison, Lorena Pavlič, Metod Pevec, Bor Pleteršek, Tina Poglajen, Simon Popek, Goran Vojnović, Neil Young, Veronika Zakonjšek

VSEBINA

CONTENTS

Bližnji plan

Close Up

Film za človeka

Films to Address Our Humanity

LETNI KINO MANZIOLI 11 MANZIOLI OPEN-AIR CINEMA Flotel Evropa

Flotel Europa

Gora

Mountain

Jagnje

Lamb

Ribji spev

Fish Tail

Sence pozabljenih prednikov

Shadows of Forgotten Ancestors

V imenu ljubezni

Anna

Za eno samo uro s teboj

For One More Hour with You

SIGNALI 27 SIGNALS Akademija muz

The Academy of Muses

Baltski kratki: Litva, Latvija, Estonija

Baltic Shorts: Lithuania, Latvia, Estonia

Piknik ob cesti

Kaili Blues

Toponimija

Toponymy

Zora

Dawn

DOBRI SOSEDJE 39 GOOD NEIGHBOURS 14 kolutov

14 Reels

Abdul in Hamza

Abdul & Hamza

Destinacija Srbistan

Logbook_Serbistan

Lampedusa

Tudi vrtnice hočemo

We Want Roses Too

PRIJATELJI 51 FRIENDS Možnosti so neskončne

The Possibilities Are Endless

Kaj zdaj? Spomni me

What Now? Remind Me

Ni krave na ledu

No Cow On the Ice

SILVANOV ZALIV 59 SILVAN’S BAY Balada o izgnancih

Ballad of Exiles: Yılmaz Güney

Pot

Yol

PODMORNICA 65 SUBMARINE Čisto pravi gusar

A Real Pirate

Prosti pad

Everybody Sometimes Falls

Rumeni Slon

Yellow Elephant

Frišni filmski ulov

Fresh Film Catch

Projekcije za šole

School Screenings

VIDEO NA PLAŽI 73 VIDEO ON THE BEACH OTOK V LJUBLJANI 84 OTOK IN LJUBLJANA Kamen v žepu

Tall Stories

RE-ACT: Slovenija, Italija, Hrvaška 86 RE-ACT: Slovenia, Italy, Croatia TORINO FILM LAB 88 TORINO FILM LAB GOSTJE FESTIVALA 90 FESTIVAL GUESTS KAZALO 92 INDEX FESTIVALSKA EKIPA 96 FESTIVAL TEAM

Bližnji plan

Kino Otok že dvanajstič v središče zanimanja postavlja podobe v gibanju. Barvne ali črno-bele, nejasne ali ostre, vedno izhajajo iz želje po posredovanju občutenj sveta. Zgovorne avtorske vizije preteklosti, sedanjosti ali prihodnosti, ki v nas vzbujajo miselne in čustvene premike poljubnih razsežnosti.

Premiki, premisleki (in premise) so neizogiben del bivanja, njihova srž pa so vprašanja o starih in novih smislih. Veliki in mali vprašaji se nam koncentrirano utrinjajo od festivalskega jutra do festivalskega večera, pet dni zapored. V festivalskem času nas hiter ritem menjave podob in neštetih človeških srečanj nezadržno usmerja k novim, pogosto širšim pogledom na življenje in svet. Želimo pa si predvsem tistih, ki stremijo k odnosom med ljudmi, k bližnjim odnosom kot nasprotju vsakdanjih približkov odnosov.

Otok filmov je svet v malem, svet nakopičenih občutenj in uvidov, ki jih lahko nesemo s sabo v veliki svet na drugi strani morja. Tudi ko se srečamo tam, si privoščimo pogled od blizu in drznimo videti – človeka.

Lorena Pavlič, Tanja Hladnik

Close Up

For the twelfth time now, Kino Otok is bringing moving images to the centre of attention. In colour or black-and-white, in or out of focus, always originating in the desire to pass on oneâ&#x20AC;&#x2122;s experience of the world. Telling original visions of the past, present or future, evoking in us mental or emotional shifts of varying magnitude.

Shifts, deliberations (and postulates) are an unavoidable part of our existence, containing in their core questions about meanings old and new. Big and small question marks are flashing before us intensely from the festival morning all the way into the evening, five days in a row. During the festival, the quick rhythm of image sequences and countless human encounters directs us inexorably towards new, often broader views of life and the world. What we are hoping for, above all, are those aspiring towards relations among people, close relations as a contrast to their mundane approximations.

The film island is a microcosm, a world of accumulated senses and insights to take them with us into the wide world beyond the sea. And even when we meet there, we should allow ourselves a view from up close and dare see â&#x20AC;&#x201C; the human being.

Lorena PavliÄ?, Tanja Hladnik

Film za človeka

Kino Otok je majhen festival. A na Otoku majhnost ne spodbuja stokanja, ki smo ga v naši deželici vajeni: »Majhni smo ...« (Ti dve tako pogosto izrečeni besedi, pospremljeni s praznim obžalovanjem in skomigom ramen, pomenita: »... in zato to in to ni mogoče ... zato tega in tega ne moremo ... in ničesar ne moremo spremeniti ... saj je hudo, ampak, tako pač je ...«) Majhni okviri za Kino Otok pomenijo svobodo, omogočajo nam, da gremo globlje in zlasti tja, kamor želimo in kamor želimo popeljati naše občinstvo. Ti okviri so tesni, a tiste vrste, ki spodbujajo, da gledamo onkraj, da se oziramo dlje, čim dlje, in to daljino pripeljemo v našo bližino in ... majhnost. Zato se s programom vedno oziramo po filmih, ki govorijo na nove načine, ki odkrivajo nove poglede. S programom tako zadovoljujemo željo sodobnega človeka po tem, da mu ponudimo »novo, novo, novo«, le da to novo ni svetleče in dišeče in ne mehko in tudi ne preprosto. »Novo« je tukaj neredko ostro, bodeče, skeleče, vedno pa v stiku s časom in z okoljem, kjer je nastalo. In to je pomembno: da kot festival, kot okolje, ki spodbuja gledanje filmov in razmislek o njih, spodbujamo stik z realnostjo, razmislek o njej, in prav bi bilo, da tudi dialog in akcijo. Spoj ostrih pogledov ustvarjalcev in odprtih glav gledalcev je namreč zelo dragocen. V SSKJ piše: festivál -a m (â) večdnevna prireditev, ki omogoča pregled dosežkov na določenem kulturnem področju. Ha, so ta zapis oblikovali v stari Grčiji? Mali festival Kino Otok je sicer res prireditev in tudi pregled kulturnih dosežkov nam omogoča, a daje še več: stik ljudi različnih pogledov, misli in občutljivosti in spodbudo, da ta stik pusti sledi in posledice. Filmi, ki smo jih uvrstili na letošnji program, so raznoliki, posebni, samosvoji, gledali bomo nove izraze, spoznavali nove vidike in odkrivali nove svetove – a v tem bomo ugledali nekaj starega in poznanega. Žal ne tudi domačnega: zdi se, da je vso zgodovino človek največji sovražnik človeka. In tudi danes kljub hipermodernim, hiperpolitičnokorektnim časom ni nič drugače, le še bolj absurdno je in še bolj boleče. Dostojanstvo človeka se zdi pravljica za otroke. Filmi na sporedu Otoka nam bodo pokazali človeka in nas spomnili na to, da človek, tudi tisti, ki živi zelo daleč in v zelo drugačnih okoliščinah od naših, ni pojem in ne vitruvijec, da gre za dekleta in fante, otroke in njihovi starše, ki jedo, ljubijo, preklinjajo, se oblačijo, včasih dišijo ... Opozorili nas bodo, da moramo poskrbeti za svoje dostojanstvo in za dostojanstvo drugih, in nas spomnili, da to pravzaprav znamo in hočemo. Varja Močnik, selektorica filmskega programa

Films to Address Our Humanity

Kino Otok is a small festival. But, at this festival, the smallness does not incite the moaning we in our little land are used to: “We’re small…” (These so often used words accompanied with an empty regret and a shrug of the shoulders mean: “… so this or that is impossible… so we can’t do this or that… and we can’t change anything… it’s tough, but that’s how it is…”) For Kino Otok, the small framework means freedom, it enables us to delve deeper and especially to go where we want to and where we want to take our audience. The framework is tight, but the kind that encourages us to look beyond, further, as far as possible, and bring this farness into our vicinity and … smallness. This is why our programme always looks to films that use new modes of expression, reveal new views. The programme thus caters to the desire of the contemporary human being to always be given something “new, new, new”, but the difference is that our new is not shiny and fragrant or soft and it is also not simple. The “new” here is often sharp, prickly, stinging, but always in touch with the time and the environment it was made in. And this is important: that we as a festival, an environment that encourages viewing films and thinking about them, also encourage the viewers to get a grip on reality and reflect on it, and possibly encourage dialogue and action. The connection of the sharp views of filmmakers and the open minds of viewers is very precious. In the Dictionary of Standard Slovenian, a festival is defined as an event lasting several days that provides an overview of achievements in a certain cultural field. Ha! Was this definition formed in ancient Greece? Our small festival is an event indeed and it does provide an overview of cultural achievements, but it gives us even more: contact between people of different views, thoughts and sensitivities and an incentive to let this contact leave a trace and have consequences. The films in this year’s programme are diverse, special and unique; we will watch new expressions, get to know new aspects and discover new worlds – and yet see something old and familiar. But unfortunately not also homely: it seems that, throughout history, humans have been their own worst enemy. And even today, despite the hypermodern, hyper politically correct times, it is no different, only more absurd and more painful. The dignity of humanity seems a fairytale. The films in our programme will show the human being and remind us that the human being, also one living very far and in very different circumstances, is neither a concept nor the Vitruvian Man; that this is girls and boys, children and their parents, who eat, love, curse, dress, sometimes smell nice... They will alert us that we have to take care of our dignity and the dignity of others and remind us that we actually can and want to do this. Varja Močnik, Film Programme Selector

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA Flotel Evropa/Flotel Europa Gora/Mountain Jagnje/Lamb Ribji spev/Rabo de Peixe/Fish Tail Kinoteka 20! Sence pozabljenih prednikov/Teni zabitih predkov/Shadows of Forgotten Ancestors V imenu ljubezni/Per amor vostro/Anna Za eno samo uro s teboj/Unâ&#x20AC;&#x2122;ora sola ti vorrei/For One More Hour with You

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

FLOTEL EVROPA/FLOTEL EUROPA

Danska, Srbija/Denmark, Serbia, 2015 režija/directed by Vladimir Tomić scenarij/screenplay Vladimir Tomić zvok/sound Alex Pavlovic montaža/editing Srđan Keča producenta/ producers Srđan Keča, Selma Jusufbegović distribucija/distribution Vladimir Tomić format/format ProRes HQ dolžina/running time 70’

Težko bi našli posnetek, ki natančneje ujame bistvo begunstva, kot je to posnetek, v katerem VHS kamera počasi potuje med gledalci poročil na ladji Flotel Europa. Njihovi nepremični obrazi so na prvi pogled podobni nepremičnim obrazom katerihkoli gledalcev, a vendar so drugačni, zelo drugačni. Ta prostor je vakuum v vakuumu, pravi glas pripovedovalca, ki spremlja sliko, in tudi nam je kmalu jasno, da ti ljudje niso zares tu, v TV dvorani ladje, zasidrane ob obali Köbenhavna, v plavajočem begunskem taborišču, v nekakšnem birokratskem medprostoru, ustvarjenem posebej za tisoč bosanskih beguncev, ki naj bi se kmalu vrnili, od koder so prišli, čeprav tistega, iz česar so prišli, ni več.

It would be difficult to find a shot that better captures the essence of the refugee issue than the one in which a VHS camera slowly moves amidst news viewers on board the Flotel Europa ship. At first sight their immovable faces look like immovable faces of any viewers, but theirs are different, so much different. This space is vacuum within vacuum, says the narrator’s voice accompanying the image, and it soon becomes clear that these people are not really here, in the TV hall on the ship laying at anchor along the shore in Copenhagen, in a floating refugee camp, in some bureaucratic interspace created specifically for one thousand Bosnian refugees who are soon supposed to return to where they came from, although where they came from is no more.

Film Vladimirja Tomića je bolj kot drugim filmom z begunsko tematiko soroden literarnim zgodbam begunskih otrok, romanom Ivane Bodrožić Simić ali Alena Meškovića. Njegova pripoved je na podoben način grenko sladka, saj Vladimirjev glas skozi film pripoveduje klasično zgodbo o fantovskem odraščanju. Le kraj je nenavaden. A podobe filma, pravzaprav zbirka posnetkov, ki so jih begunci sami ustvarili na ladji, ob domišljeni montaži, simpatični pripovedi o najstniški zaljubljenosti, prvem pivu in cigareti iz minute v minuto dobivajo bolj črn ton. Ne vem sicer, ali je to le zato, ker v bosanskih beguncih in Evropi leta 1992 tako zlahka prepoznamo sirske begunce in Evropo leta 2016, a Tomićev Flotel Evropa z vsakim posnetkom bolj boli, pa čeprav večinoma prikazuje zabave in praznovanja, plesne in pevske točke. Bolj ko se ljudje v tem filmu smejejo, bolj ko poskušajo biti srečni, bolj je vse skupaj žalostno. Ker Flotel Evropa je film o žalosti.

More than to other films exploring refugee issues, this film by Vladimir Tomić is similar to literary narratives of children refugees, i.e. novels by Ivana Bodrožić Simić or Alen Mešković. His tale is bittersweet in a similar way, Vladimir’s voice narrating throughout the film a classic tale of a boy growing up. Only the setting is unordinary. However, despite the thoughtful editing, despite a lovely story of teenage infatuation, the first beer and cigarette, images of the film, which in fact are a collection of archive material shot by the very refugees on the ship, are growing darker minute by minute. I cannot tell whether it is because Syrian refugees and the Europe of 2016 are so easily recognised in Bosnian refugees and the Europe of 1991 respectively, but with each shot, Flotel Europa by Vladimir Tomić is more painful, despite mainly focusing on parties and celebrations, dance and singing numbers. The more people laugh in this film and the more they are attempting to be happy, the

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

Vladimir Tomić Vladimir Tomić (1980) je bil rojen v Sarajevu, zdaj pa živi in dela v Köbenhavnu. Leta 2009 je diplomiral na Kraljevi danski akademiji za likovno umetnost. Njegovi filmi se umeščajo na področje sodobne umetnosti in eksperimentalne dokumentacije. Za Flotel Evopa je prejel kopico nagrad, med drugim posebno omembo žirije na Berlinalu in nagrado za najboljši dokumentarni prvenec na festivalu v Jihlavi. Vladimir Tomić (1980) was born in Sarajevo, Bosnia and Herzegovina, and is now based in Copenhagen. In 2009 he graduated from the Royal Danish Academy of Fine Arts. His art films are played out in the field of contemporary art and experimental documentation. Flotel Europa has won multiple awards, including Special Jury Mention at Berlinale and Best Documentary Debut Film Award at Jihlava IFF.

Ker Evropa takrat je tako kot Evropa danes ena sama žalost.

sadder everything is. Because Flotel Europa is a film on sadness. Because Europe then as well as Europe now is sadness personified.

Goran Vojnović Goran Vojnović »Dedek mi je tik pred smrtjo dal staro VHS kaseto z oznako ‘Dedku s Flotela Europa’. Na njej je bil posnetek moje mame, brata in mene. Posneli smo ga leta 1993, ko je v Bosni divjala vojna in smo kot begunci živeli v Köbenhavnu. Ker so telefonske linije redko delovale, smo begunci začeli snemati svoje življenje in osebna sporočila na VHS kasete in jih s humanitarnimi konvoji Rdečega križa pošiljali sorodnikom. Kaseta, ki sem jo nekoč poslal dedku, me je popeljala spet v tisti čas in začutil sem, da je v tem zgodba, ki jo je treba povedati.« Vladimir Tomić

“Not long before his death, my grandfather gave me an old VHS tape with the inscription “To my grandfather from Flotel Europa”. On the tape was a recording of my mother, brother and me. We recorded it in 1993, at the time when there was a war in Bosnia and Hercegovina and we were living in Copenhagen, Denmark as refugees. As the phone line to Bosnia rarely worked, we the refugees started recording our lives and personal messages on VHS tapes and sending them to our relatives through Red Cross humanitarian convoys. The VHS tape I once sent to my grandfather brought me back to that time and I felt that there was a story that needed to be told.” Vladimir Tomić

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

GORA/MOUNTAIN

Izrael, Danska/Israel, Denmark, 2015 režija/directed by Yaelle Kayam scenarij/screenplay Yaelle Kayam fotografija/cinematography Itay Marom glasba/music Ophir Leibovitch zvok/sound Tully Chen, Itzik Cohen montaža/editing Or Ben David igrajo/cast Shani Klein, Avshalom Pollak, Haitham Ibrahem Omari producenti/producers Eilon Ratzkovsky, Yochanan Kredo, Yossi Uzrad, Lisa Uzrad, Guy Jacoel produkcija/production July August Productions distribucija/distribution Films Distribution format/format DCP dolžina/running time 83’

Oljska gora, Jeruzalem. Tik ob z belimi nagrobniki obdanem najstarejšem judovskem pokopališču se skriva skromen dom ortodoksne judovske družine, ki ga od pokopališča ločuje le skromna žičnata ograja. Protagonistka tega melanholičnega portreta vsakdana ženske, ki ne more prodreti iz okovov svoje družbeno opredeljene vloge gospodinje in matere, je Tzvia, ženska, ki hrepeni po polnejšem in razburljivejšem življenju, a je deležna le vse manjše intimnosti in pozornosti svojega moža. Beli nagrobniki s tisočletno zgodovino, a hkrati obdani s senco smrti in človeške minljivosti, so zanjo vse, kar v tem življenju pozna – medtem ko lahko preostali Jeruzalem opazuje le od daleč, sanjajoč o drugačnem življenju; življenju med živimi.

The Mount of Olives, Jerusalem. Right next to the oldest Jewish cemetery enclosed by white tombstones, there hides a modest home of an Orthodox Jewish family separated from the cemetery with only a simple wire fence. The protagonist of this melancholy portrait of the everyday of a woman who cannot break the fetters of her socially determined role of a housewife and a mother, is Tzvia, a woman who longs for a fuller and more exciting life, but all she gets is withering intimacy and attention from her husband. The white tombstones with a thousandyear history engulfed in the shadow of death and human transience are all she knows in this life – there, she can observe the rest of Jerusalem from afar; dreaming of a different life; a life among the living.

Tzvia se počuti vse bolj nevidno; kot da se tudi sama spreminja v senco, v spomin, ki so ga za sabo pustili umrli, ki jo obdajajo. Za to gre kriviti predvsem njenega moža, čigar fizična odsotnost, vse večja emocionalna distanca in vsestransko upadanje zanimanja za ženo, ki z očiščevalnim obredom mihvahe poskuša obuditi njun izgorel zakonski plamen, jo potiskajo v čedalje večji obup, dokler neke noči na enem izmed pokopaliških nagrobnikov ne naleti na neznanca, ujeta v momentu strasti. Prizor, ki jo obenem vzburi in prestraši, saj zajema vso spontanost in strast, ki sta v njenem zakonu že davno usahnili, v njej vzbudi radovednost za nadaljnje raziskovanje pokopališkega nočnega življenja. Prostitutke, zvodniki in prodajalci drog so skrivni nočni obiskovalci taistih poti med nagrobniki, med katerimi Tzvia dnevno postopa v upanju, da najde nekaj, kar bo njenemu praznemu, rutinskemu, nepotešenemu življenju dalo večji smisel.

Tzvia feels increasingly invisible; as if she herself were turning into a shadow, a memory the dead surrounding her had left behind. This is especially the fault of her husband, whose physical absence, increasing emotional distance and an all-round waning of his interest in his wife, who with the mikvah purifying ritual bath tries to rekindle their marital flame, are pushing her into ever greater despair until one night she comes across two strangers caught in a moment of passion on one of the tombstones. This scene that at the same time arouses and scares her as it contains all the spontaneity and passion that has dried up in her marriage a long time ago, piques her curiosity to further explore the cemetery nightlife. Prostitutes, pimps and drug dealers are the secret night visitors that frequent the same paths among the tombstones that Tzvia walks daily in the hope of finding something that will give her empty, routine, unfulfilled life a greater meaning.

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

YAELLE KAYAM Yaelle Kayam (1979) je režiserka in predavateljica na oddelku za film na izraelskem Sapir College. Študirala je film na Victorian College of the Arts v Melbournu in Sam Spiegel Film and Television School v Jeruzalemu. Njen diplomski film Diploma je bil prikazan na več kot 70 festivalih po svetu in prejel 14 mednarodnih nagrad, osvojil pa tudi tretje mesto v izboru Cinefondation na festivalu v Cannesu leta 2009. Gora, njen celovečerni prvenec, je bil predstavljen na beneškem festivalu v sekciji Obzorja. Yaelle Kayam (1979) is a filmmaker and a film lecturer at the Sapir College film department. She studied cinema at the Victorian College of the Arts in Melbourne, and the Sam Spiegel Film and Television School in Jerusalem. Her graduate film Diploma was screened at over 70 festivals worldwide, winning 14 international awards and third place at the Cinefondation, 2009 Cannes film festival. Mountain, her debut feature film, was presented in the Orizzonti section in Venice.

Filmski prvenec Yaelle Kayam je realistični portret ženske, ki ji v patriarhalni družbi ne uspe najti glasu, s katerim bi opozorila na svoje želje in pričakovanja. Počasni posnetki, ki se pogosto ustavijo v bližnjem planu Tzviinega v žalost in hrepenenje odetega obraza, in neprijetna redkost dialogov med družinskimi člani pripomorejo k melanholični atmosferi, ki obdaja film, medtem ko nočni posnetki, povsem kontrastni dnevnim, s soncem obdanim posnetkom historičnega pokopališča, opozarjajo na bitko, ki jo v sebi bije Tzvia. Njena identiteta verne ženske, žene in matere se vse bolj prepleta s skrivnostnim temačnim življenjem, ki vzkali ob sončnem zahodu in temelji na potešitvi mesenega poželenja in trenutnem užitku. A film nam s svojim dvoumnim koncem, ki v spomin za trenutek prikliče Kaurismäkijevo Dekle iz tovarne vžigalic, ne ponudi nobenega odgovora na to, katera plat njene razdvojene osebnosti prevlada in katero izmed dveh življenj bo predstavljalo njeno prihodnost.

Yaelle Kayam’s debut is a realistic portrait of a woman who, in a patriarchal society, does not manage to find a voice with which she could call attention to her desires and expectations. Slow shots often stopping in close-ups of Tzvia’s sad and yearning face and the unpleasant scarcity of dialogues among the family members contribute to a melancholy atmosphere permeating the film, while the night shots, in direct contrast to the sunlit shots of the historical cemetery, point to the battle that Tzvia is fighting within. Her identity of a religious woman, wife and mother is more and more intertwined with the mysterious dark life that comes out after the sunset and rests on the satisfaction of carnal desire and momentary pleasure. But with its dubious ending, for a moment calling into our mind Kaurismäki’s The Match Factory Girl, the film offers no answer as to which side of her split personality prevails and which of the two lives will be her future.

Veronika Zakonjšek

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

JAGNJE/LAMB

Etiopija, Francija, Nemčija, Norveška, Katar/Ethiopia, France, Germany, Norway, Qatar, 2015 režija/directed by Yared Zeleke scenarij/screenplay Yared Zeleke fotografija/cinematography Josée Deshaies glasba/music Christophe Chassol zvok/sound Till Heinrich Röllinghoff montaža/ editing Véronique Bruque igrajo/cast Rediat Amare, Kidist Siyum, Welela Assefa, Surafel Teka, Rahel Teshome, Indris Mohamed producenti/producers Laurent Lavolé (Gloria Films), Ama Ampadu (Slum Kid Films), Johannes Rexin (Heimatfilm) distribucija/distribution Films Distribution format/format DCP dolžina/running time 94’

Jagnje je prvi celovečerni film mladega etiopskega režiserja Yareda Zelekeja. Čeprav je zgodba zelo preprosta, gre za pripoved o globljih čustvih do domovine, narave in družinskega življenja. Zeleke nam pripoveduje o devetletnem Ephraimu, ki je izgubil mater. Oče ga odpelje daleč od doma, v kraj, kjer živi njegova teta. Edino, kar vzame s seboj, je njegovo jagnje Chuni, ki je hkrati njegov prijatelj, brat in igrača. A v ubožni Etiopiji jagnje predstavlja meso za hrano, hkrati pa ima zakol kot daritev za bogove religiozni pomen. Chuni je zato v nenehni nevarnosti.

This is the first feature film by the young Ethiopian director, Yared Zeleke. The story is very simple but it is a tale of deep feelings for homeland, nature and family life. Zeleke tells us the story of nine-year-old Ephraim, who has lost his mother. His father takes him to a place far from home where his aunt is living. The only thing he takes with him is his lamb, Chuni, who is his friend, brother, doll. But in poor Ethiopia, lamb is meat to eat, and slaughter for an offering to the gods also has a religious relevance. So Chuni is in constant danger.

Zeleke nam s svojim nizkoproračunskim filmom prinaša okus po državi, ki jo komajda poznamo. Jagnje je prvi etiopski film, ki se je predstavil v Cannesu – surovi svet podeželske vzhodne Afrike kot ostro nasprotje bleščeči festivalski prestolnici. Zeleke odnos med živaljo in otrokom na platnu prikaže na način, ki mu lahko rečemo visoka umetnost. Gledalec začuti bližino med njima in od samega začetka razume, da se Ephraim ne more ločiti od ljubljenega Chunija.

With this low budget film Zeleke brings us the taste of a country we hardly know. Lamb was the first Ethiopian film to be presented at Cannes – the bleak world of rural East Africa, a stark contrast to the glitzy film festival capital. It is high art the way Zeleke brings the relationship between the animal and the child to the screen. You can feel the closeness and you will understand from the outset that Ephraim is unable to part from his beloved Chuni.

Ephraim se ne zna vključiti v tuji svet svoje tete kot družinski član, saj ne more pozabiti matere in vsega, kar se je naučil pri njej, denimo kuhanja. Zeleke prelomi nekaj tradicionalnih pravil, ki vladajo vsakdanjemu življenju Etiopijcev, posebej na področju odnosov med spoloma. Čudovito je videti mlado dekle Tsion, ki se upre, ker noče slediti pravilom družbe. Vzpostavljeno je nasprotje med fantom, ki kuha, in dekletom, ki bere časopise, ter med njunima pričakovanima vlogama v družbi. Oba sta izrazita primera neprilagodljivosti.

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

In the strange world of his aunt, Ephraim is not able to integrate as a family member because he cannot forget his mother and everything he learned from her, for example cooking. Zeleke breaks with some traditional rules which regulate the daily life of Ethiopian people, especially the relationship between men and women. It is fantastic to see the rebellion of the young girl Tsion, who does not follow the rules of her society. So you have this contradiction between the cooking boy and the newspaper reading girl, and their expected roles in society. Both, strong examples of nonconformity.

YARED ZELEKE Yared Zeleke (1978) je študiral film na Univerzi v New Yorku. Preden se je posvetil režiji, je delal za različne nevladne organizacije v ZDA, Etiopiji, Namibiji in na Norveškem. Kot scenarist, producent, režiser in montažer je ustvaril več kratkih dokumentarnih in igranih filmov. V rodni Etiopiji je kot montažer sodeloval pri nastanku dokumentarcev za Organizacijo ZN za industrijski razvoj. Jagnje je njegov celovečerni prvenec. Yared Zeleke (1978) studied cinema at the New York University. He worked for a number of NGOs in the United States, Ethiopia, Namibia, and Norway, before embarking on a directing career. Zeleke has written, produced, directed and edited several short documentaries and fiction shorts. In Ethiopia, his native country, he has edited documentary films for UNIDO. Lamb is his feature-length debut.

Zeleke nam ponudi vizijo modernizacije, ne v gospodarskem, temveč v družbenem smislu. Po njegovem gospodarska zaostalost in preprosti arhaični kmečki svet predstavljata priložnost za vsesplošno odpravo postkolonialnega sistema, v primeru Etiopije pa za zmago nad fevdalno dediščino cesarja Haileja Selassieja. Na Zelekeja je s svojo protikapitalistično kritiko vplival Pier Paolo Pasolini, ki je tudi sam obiskal Etiopijo, da bi poiskal lokacije za snemanje filma Cvet tisoč in ene noči (Il fiore delle mille e una notte). Zeleke se je s Pasolinijevimi filmi srečal med študijem v ZDA in ob njih razvil lastno filozofijo o nerazvitosti in subproletariatu. Po mojem mnenju Yared Zeleke ni le velik filmski talent. Všeč sta mi tudi solidarnost in ljubezen do sodržavljanov, ki ju izkazuje v svojem delu.

Zeleke gives a vision for modernization not in an economic, but in a social sense. For him economic backwardness and the archaic simple world of farmers present an opportunity to overcome the postcolonial system in general, and in Ethiopian terms, to beat the feudalistic heritage of the Emperor Haile Selassie. Zeleke is influenced by Pier Paolo Pasolini and his anti-capitalistic criticism. Pasolini himself visited Ethiopia to find places for the shooting of Arabian Nights (Il fiore delle mille e una notte). It was while studying in the US that Zeleke saw Pasolini’s films and developed his own philosophy concerning underdevelopment and the subproletarians. For me Yared Zeleke is not just a big talent in making films. I also like the solidarity and love for his fellow citizens shown in his work.

Zato sem izbral ta film za prikazovanje na Kino Otoku.

Therefore I have selected this film for Kino Otok.

Helmut Groschup,

član mednarodnega sveta Kino Otoka in kulturni ambasador Izole

Member of the International Board of Kino Otok and Cultural Ambassador of the City of Izola

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

RIBJI SPEV/RABO DE PEIXE/FISH TAIL

Portugalska/Portugal, 2015 režija/directed by Joaquim Pinto, Nuno Leonel scenarij/screenplay Joaquim Pinto, Nuno Leonel fotografija/cinematography Joaquim Pinto, Nuno Leonel zvok/sound Joaquim Pinto, Nuno Leonel montaža/ editing Joaquim Pinto, Nuno Leonel nastopajo/featuring Pedro Moniz, Artur Carreiro, Rui Melo, Manuel Moniz, Bruno Moniz, Marco Moniz produkcija/production Presente distribucija/distribution Presente format/format DCP dolžina/running time 103’

Joaquim Pinto in Nuno Leonel ob koncu leta 1999 kupita letalske vozovnice za kratke počitnice na Sao Miguelu na Azorih. Najameta hišo v ribiški vasi Rabo de Peixe, v bližini prijatelja Arturja. Nekaj tednov opazovanja ljudi, srečevanja s tistimi, ki še ribarijo v oceanu. 1. januarja se z mladim Pedrom in njegovo ekipo odpravita na morje lovit mečarice. Po tej izkušnji ribiča vprašata za dovoljenje, da bi njegovo delo snemala dlje časa. Joaquim in Nuno vse leto 2000 snemata v Maroku in v Rabo de Peixe se vrneta šele spomladi 2001. Za več mesecev postaneta del skupnosti, tako na čolnu kot v vasi. Leta 2003 sta dokončala krajšo različico dokumentarca, ki ga televizijska družba ni sprejela v predvajanje, po velikem uspehu filma Kaj zdaj? Spomni me pa sta se odločila za montažo še ene različice. Nastal je zelo oseben in ganljiv film. Delo ribičev je prikazano od znotraj, z veliko mero empatije: življenjska pot avtorjev se prekriža z življenjem vaščanov. Joaquim se sooči z izčrpanostjo zaradi hepatitisa C, Nuno se rad potaplja in tega nauči še nekega mladeniča. Medtem ko je eden od njiju pod vodo, se drugi spopada s tesnobo in čudnimi prividi. Film ne opisuje samo krajev in človekovega delovanja; glasova avtorjev se izmenjujeta pri pripovedovanju o ljubezni, o odkrivanju in tihem opazovanju ter o doumevanju. Rešita tudi zapuščenega psa Rufusa, ki ostane z njima zelo dolgo. Njune podobe morja so poetične tako na sanjav kot na nostalgičen način. Film je portret skupnosti, ki je zaradi velikih industrijskih ribiških ladij iz Južne Koreje in od drugod morda blizu koncu. Oda svobodi ribičev, kot je leta 1934 zapisala Simone Weil. Na morju ni

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

At the end of 1999, Joaquim Pinto and Nuno Leonel book a flight to Sao Miguel in the Azores for a short holiday. They rent a house in the fishermen’s village of Rabo de Peixe, near their friend Artur. Few weeks looking at people, meeting those who still fish in the ocean. On 1 January, they head to the sea for swordfishes with young Pedro and his crew. An experience that makes them ask the fisherman for consent to shoot his work for a longer period of time. Throughout 2000, Joaquim and Nuno are on a set in Morocco, and it is not until the spring of 2001 that they return to Rabo de Peixe. For months they are part of the community, on the boat, in the village. The shorter version of the documentary they made in 2003 wasn’t accepted by a TV company for broadcasting, and after What now? Remind Me’s large success the directors decided to edit another version. The result is a very personal and touching film. Fishermen’s work portrayed from the inside, with strong empathy: the life of the filmmakers crosses paths with that of the villagers. Joaquim experiences fatigue due to hepatitis C, Nuno loves diving and teaches a young boy how to dive. While one is underwater, the other has anxiety and strange visions. There are not only descriptions of places and human activity; the filmmakers alternate their voices to tell a tale of friendship and love, of discovery and silent observation and comprehension. They rescue the abandoned dog Rufus, who will stay with them for a long time. Their images of the sea are poetic in both a dreamy and nostalgic way. This is a portrait of a community, maybe one close to its end due to big industrial fishing ships coming from South Korea and elsewhere. A hymn to fishermen’s freedom, as

JOAQUIM PINTO Joaquim Pinto (1957) je kot mešalec zvoka sodeloval pri več kot 100 filmih režiserjev, kot so Manoel de Oliveira, Raul Ruiz, Werner Schroeter in André Techiné. Med letoma 1987 in 1996 je produciral okoli 30 filmov, tudi Recordações da Casa Amarela in A Comédia de Deus režiserja Joãa Césarja Monteira, ki sta bila nagrajena na beneškem festivalu. Joaquim Pinto (1957) was sound mixer for more than 100 films, working with directors such as Manoel de Oliveira, Raul Ruiz, Werner Schroeter and André Techiné. Between 1987 and 1996 he produced around 30 films, including João César Monteiro’s Recollections of the Yellow House and God’s Comedy, both awarded at the Venice Film Festival. NUNO LEONEL Nuno Leonel (1969) od 16. leta deluje kot samouk na področju animacije, scenografije, snemanja in montaže zvoka, igre, tehnike in filmske fotografije. Nuno Leonel (1969) started working in film at the age of 16 as a self-taught animator, rostrum operator, set designer, sound recordist and editor, electrician, actor, grip assistant and cinematographer. Pinto in Leonel skupaj ustvarjata od leta 1996. Film Ribji spev je bil med drugim nagrajen na festivalih Cinéma du Réel in Indie Lisboa./Pinto and Leonel have been making films together since 1996. Fish Tail was awarded at several festivals including Cinéma du Réel and Indie Lisboa.

nobenega šefa, nobene lastnine, četudi se Pedro in drugi ves čas ukvarjajo z zakoni, ki njihovo dejavnost strogo določajo. Na ribarjenje lahko gledamo z različnih vidikov, kot na hobi ali plenilsko panogo. In jasno je, na kateri strani sta Joaquim in Nuno. Ribiči imajo željo po izpopolnjevanju: Rui se hoče naučiti plavati in potapljati, Pedro in Manuel se vrneta v šolo. Morje kot izziv, morje kot grobnica. Eduardo, Pedrov brat dvojček, gre nekega dne ribarit s prijateljem in se nikoli ne vrne. Režiserja s kamero sta del celotnega dogajanja, razpetega med tragedijo in poezijo. Naše bivanje v tem koščku raja spremljajo zvoki iz narave in glasba, od azorskih tradicionalnih pesmi in Caetana Velosa do rapa.

Simone Weil wrote in 1934. There are no bosses on the sea, there is no property, even if Pedro and others are always dealing with laws that impose strict rules on their activity. Fishing can be seen in many ways, as a hobby or as a predatory industry. And it is clear which side Joaquim and Nuno are on. Fishermen also want to improve themselves: Rui wants to learn how to swim and dive, Pedro and Manuel go back to school. Sea is a challenge, sea is a tomb: one day Eduardo, Pedro’s twin brother, goes fishing with a friend and never comes back. Between tragedy and poem, the filmmakers with their camera are part of it all. Sounds of nature and music, from Azorean traditional songs, Caetano Veloso, to rap, accompany our stay in this piece of paradise.

Nicola Falcinella Nicola Falcinella

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

SENCE POZABLJENIH PREDNIKOV/TENI ZABITIH PREDKOV/ SHADOWS OF FORGOTTEN ANCESTORS

Sovjetska zveza/Soviet Union, 1965 režija/directed by Sergej Paradžanov/Sergei Parajanov scenarij/ screenplay Ivan Čendej, Sergej Paradžanov fotografija/ cinematography Jurij Iljenko zvok/sound S. Sergejenko montaža/ editing M. Ponomarenko igrajo/cast Ivan Mikolajčuk, Larisa Kadočnikova, Tatjana Bestajeva, Spartak Bagašvili, Nikolaj Grinko produkcija/production Dovženko Film Studios distribucija/ distribution Kinoteka format/format 35 mm dolžina/running time 97’

Sence pozabljenih prednikov je zanesljivo eden velikih filmov zgodovine, eden najbolj nenavadnih in tudi najbolj kinetičnih in filmičnih. Film z le malo dialoga in s tako rekoč nič klasične ali nam domače dramaturgije, pač pa v galopu polnih in pomenljivih podob in zvokov, pripoveduje o neizpolnjeni ljubezni, o hrepenenju, o težkem življenju v odročnih krajih. Od otroštva spremljamo Ivana, ki večino življenja trdo dela, in njegovo ljubezen do dekleta, njegovo bridko hrepenenje, a morda bolje kakor Ivana spoznamo okolje, v katerem živi. Pravzaprav spoznamo spoj Ivana in okolja ter spoj Ivanovega doživljanja in okoliščin. Film se dogaja v ukrajinskih Karpatih v nedoločljivi preteklosti, kjer živi starodavno ljudstvo Huculov, in veliko vsebine je etnografske – spremljamo smrti, poroke in razne običaje, spoznavamo vraževerje, domovanja, oblačila, glasbo in petje. A Paradžanov se te snovi loti silovito in samosvoje. Od prvega trenutka filma naš pogled odločno vodi divja, na nekaterih mestih skoraj podivjana gibajoča se kamera, neredko iz roke se suče, obrača in spremlja zapletene mizanscene ter se odloča za nenavadne rakurze. Kamera je akter dogajanja, a ne eden izmed protagonistov, temveč nosilka vzdušja, misli, čustev. Kamera izraža, kar je v filmu najbolj silovito, a neoprijemljivo, abstraktno, pojmovno. Še ena močna prvina pripovedi so barve in njihove kompozicije: splošen monokromatski videz (del filma je tudi res v črno-beli tehniki) naseljujejo nasičeni barvni poudarki, rdeča in rumena, kakršnih ne vidimo drugod. Pa teksture – obrazov, oblačil, lesa, ognja, kamenja, vode ... Vse to se zliva nenavaden tok filma, to neverjetno pripoved obrazov, predmetov, barv, narave, simbolike

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

Shadows of Forgotten Ancestors is certainly one of the great works from the history of film, one of the most unusual and the most kinetic and cinematic ones. In a gallop of rich and meaningful images and sounds, this film, with very little dialogue and practically no classical or familiar dramaturgy, tells a story of unfulfilled love, yearning and hard life in remote places. Starting with his childhood, the film follows Ivan, who works hard all his life, and his love for a girl, his bitter yearning. However, through the film, we perhaps get to know Ivan’s environment even better than Ivan himself. We actually come to know the fusion of Ivan and his environment and the fusion of Ivan’s experiencing and the circumstances. The film is set in the Carpathian Mountains of Ukraine in an undetermined past among the ancient Hutsul people, with much of the content being ethnographical – we follow the deaths, marriages and various customs, we are presented with their superstitions, dwellings, clothes, music and singing. However, Parajanov tackles this subject matter powerfully and uniquely. From the first moment of the film, our gaze is resolutely led by a wild, occasionally almost runaway moving camera, which, often handheld, spins, turns and follows complicated mise-en-scènes and employs unusual angles. The camera is a player in the happening; not one of the protagonists but the carrier of the atmosphere, thoughts, emotions. The camera expresses that in the film which is most powerful, but intangible, abstract, conceptual. Another strong element of the narration is colours and their compositions: the general monochromatic appearance (part of the film is actually in black-and-white) is inhabited by saturated colour emphases, red and yellow, which we do not see

SERGEJ PARADŽANOV/SERGEI PARAJANOV Sergej Paradžanov (1924), eden največjih filmskih imen 20. stoletja, je v 60. letih ustvaril dve mojstrovini zapored, Sence pozabljenih prednikov (1965) in Sajat Nova (1969), ter se tako uveljavil kot fenomen brez primere v svetu umetnosti. Za v Gruziji rojenega potomca armenskih staršev ni bilo pričakovati, da se bo pri delu podredil strogemu socialističnemu realizmu po okusu sovjetskih oblasti. Zaradi podpore ukrajinskim disidentom in nacionalistom se je znašel na črni listi in velik del 70. let preživel v zaporu. Pred smrtjo leta 1990 mu je uspelo posneti še dva filma. One of the 20th century’s greatest masters of cinema, Sergei Parajanov (1924) made in the 1960s two masterpieces in a row: Shadows of Forgotten Ancestors (1965) and The Colour of Pomegranates (1969), emerging as a phenomenon with no analogy in the art world. As a native of Georgia born to Armenian parents, it was always unlikely that his work would conform to the strict socialist realism that Soviet authorities preferred. Blacklisted by the authorities for his support of the Ukrainian dissidents and nationalists, he spent most of the 1970s in prison, but was later able to make two more films before his death in 1990.

in simbolov. Včasih je veliko dogajanja zgoščeno v en sam bežen kader, drugič v sekvence, ki drvijo čez platno, in ni se težko povsem potopiti, se povsem prepustiti temu veličastnemu poklonu dostojanstvu človekovega boja za obstanek. Slovenska kinoteka 20. obletnico praznuje tudi na Kino Otoku, v katerega začetke in razgibano življenje je bila vedno močno vpeta in vpletena, zlasti zaradi močne volje dolgoletnega direktorja in vsestranskega cinefila Silvana Furlana in vedno filmu predane kinotečne ekipe. Kinoteka je v duhu svojega delovanja na Otok pripeljala 35-milimetrski filmski projektor, ki bo očarljivo platno na Manziolijevem trgu osvetlil s tem bleščečim draguljem zgodovine filma. Varja Močnik

elsewhere. And the textures – of faces, clothes, wood, fire, stones, water… All this merges into an unusual flow of the film, the unbelievable story of faces, objects, colours, nature, symbolism and symbols. Sometimes a lot of action is condensed in a single fleeting shot and sometimes in sequences rushing across the screen, making it difficult to immerse completely, surrender completely to this magnificent homage to the dignity of the human struggle for existence. The Slovenian Cinematheque celebrates its 20th anniversary also at Isola Cinema, in whose beginnings and eventful life it has always been intensely involved, especially due to the strong will of its long-time director and an all-round cinephile Silvan Furlan and its team ever committed to cinema. In the spirit of its operation, the Cinematheque brought to Isola Cinema its 35-mm projector, which will light up the charming screen in Manzioli Square with this shiny jewel of film history. Varja Močnik

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

V IMENU LJUBEZNI/PER AMOR VOSTRO/ANNA

Italija/Italy, 2015 režija/directed by Giuseppe M. Gaudino scenarij/screenplay Giuseppe M. Gaudino, Isabella Sandri, Lina Sarti fotografija/ cinematography Matteo Cocco glasba/music Epsilon Indi zvok/ sound Daniele Maraniello montaža/editing Giogiò Franchini igrajo/ cast Valeria Golino, Massimiliano Gallo, Adriano Giannini, Salvatore Cantalupo, Rosaria De Cicco, Elisabetta Mirra producenti/producers Riccardo Scamarcio, Viola Prestieri, Dario Formisano, Gaetano Di Vaio, Giuseppe M. Gaudino, Isabella Sandri, Giovanni Cottone, Gianluca Curti distribucija/distribution Rai Com format/format DCP dolžina/running time 110’

Ljubezen v naslovu navadno zveni zapeljivo. Film Per amor vostro, za vašo ljubezen, pa že z nepričakovanim svojilnim zaimkom nakazuje, da ne bo šlo za sentimentalno ljubezensko zgodbico. In ne gre. Že res, da glavna junakinja Anna v ekspoziciji naravnost zacveti z nalezljivim romantičnim šarmom, primerljivim z očarljivostjo francoske sorodnice Amelie. Tudi Annina služba v filmskem studiu, kjer z velikimi plonk listi pomaga igralcem telenovel pri srce parajočih ljubezenskih dialogih, se približa proizvodnji ljubezenskih iluzij. Vendar Giuseppe Gaudino o naslovni ljubezni razmišlja zelo poglobljeno in odgovorno. Ljubezen postavlja med žensko in svet. To pomeni med njo in družino, med njo in tradicijo in, nenazadnje, med njo in moške. Cela vrsta ljubezni iz enega srca. Anna vse te ljubezni nosi z ljubeznijo, z lahkoto in lepoto, dokler na samoumevni povrhnjici njenega sveta ne nastane razpoka in v njeno ranljivost ne vdre skeleča svetloba ali dušeča tema. Morda je prav skrita ranljivost sevala tisto posebno lepoto, ki je ne morejo dati ne zunanje mere ne zunanja skladnost. Ko pa se njena ranljivost razkrije, postane Anna navaden človek, Anna dobi svojo zgodbo, obremenitve in slabosti. Lahko se začne italijanski film, ki ve, kam postaviti žensko: v družino, v njeno sredino in na vse njene vogale: trije otroci, mož v mafijskih poslih, pomoči potrebni stari starši, služba s patriarhalno posesivnimi dedci, predvsem pa tradicija na vsakem koraku in pod njim – tudi dobesedno, kajti pod ulicami Neaplja so katakombe, kosti, pokojniki in duhovi, je had, ki čaka, da zgoraj spodobno opraviš svojo nalogo in se vrneš v prah. Spodobno za

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

Love in the title usually sounds enticing. However, in the film title Per amor vostro, the unexpected plural possessive indicates that this is not a sentimental love story. And indeed it is not. True, in the exposition the heroine Anna blooms thanks to her infectious romantic charm, which is quite comparable to that of her French counterpart Amelie. Also by working in a film studio where she assists actors in a soap opera by holding large cheat sheets for their heartbreaking amorous dialogues, Anna is close to producing romantic illusions. However, Giuseppe Gaudino reflects on the love from the title in a very deep and mature way, placing love between the woman and the world. Which means between her and the family, between her and tradition, and last but not least, between her and the men. All kinds of love from the same heart. Anna bears all this love with love, with ease and grace, until a crack appears on the unquestionable surface of her world, and stinging light or stifling darkness begin to invade her vulnerability. Maybe it was this hidden vulnerability that emitted the special beauty which no external measures or symmetry can provide. However, when her vulnerability surfaces, Anna becomes a normal human being, she acquires her own story, her burdens and weaknesses. Now we can have an Italian film where the woman is put in her place: in the family, in the midst of it and at all of its corners: three children, a husband mixed up in Mafia business, grandparents in need of help, a job permeated with patriarchal possessive bastards, and, above all, tradition at her every step and below it – also literally, because under the streets of Naples there are catacombs, there are bones, the

GIUSEPPE M. GAUDINO Giuseppe Mario Gaudino (1957) je italijanski režiser, scenarist, dokumentarist in scenograf, ki se pri delu večinoma posveča družbeni odtujenosti in kulturni tujosti. Njegov celovečerni prvenec, eksperimentalna drama Giro di Lune tra Terra e Mare (1997), je bil prikazan v glavnem tekmovalnem programu beneškega festivala in je prejel nagrado tiger za najboljši film v Rotterdamu. V imenu ljubezni je bil uvrščen v glavni tekmovalni program 72. beneškega festivala, Valeria Golino pa je zanj prejela nagrado Coppa Volpi za najboljšo žensko vlogo. Giuseppe Mario Gaudino (1957) is an Italian director, screenwriter, documentarist and set designer with main focus on social alienation and cultural displacement. His feature film debut, the experimental drama Moonspins Between Land and Sea (1997), was shown in the main competition of the Venice Film Festival, and won the Tiger Award in Rotterdam. Per amor vostro was screened in the main competition of the 72nd Venice International Film Festival and for her performance in the film Valeria Golino won the Volpi Cup for Best Actress.

žensko pa očitno še vedno pomeni nekaj drugega kot za moškega. Spodobno za žensko pomeni samoumevno darovanje ljubezni vsem, ki so je potrebni: staršem, otrokom, možu, bogu; tudi šefi pričakujejo ljubezenske usluge. Skratka: daj nam danes našo vsakdanjo ljubezen. Ko pa Anna sama začuti potrebo po ljubezni, ko se ji ta celo približa, pa čeprav v zelo nezanesljivi podobi igralca lepotca, je Anna že vnaprej obsojena. Njeni najbližji, njeni ljubljeni, njen bog imajo za njeno ljubezen drugo ime: greh. In ne pozabimo: Neapelj je čutno mesto, Neapelj je nevarno mesto. Metod Pevec

deceased and ghosts, there is Hades waiting for you to complete your tasks aboveground decently and return into dust. But apparently for a woman decently still has another meaning than for a man. For a woman, decently means to give love unquestionably to everybody who needs it: to parents, children, husband, God; even her bosses expect love services from her. In short: give us today our daily love. But when Anna herself feels the need for love, and when love even reaches her, although in the very unreliable form of an actor, a looker, she is doomed in advance. Her near ones, her loved ones, her God have another name for her love: sin. And let us not forget: Naples is a sensual city, Naples is a dangerous city. Metod Pevec

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

ZA ENO SAMO URO S TEBOJ/UN’ORA SOLA TI VORREI/FOR ONE MORE HOUR WITH YOU

Italija/Italy, 2002 režija/directed by Alina Marazzi scenarij/screenplay Alina Marazzi zvok/sound Remo Ugolinelli, Alessandro Feletti, Benni Atria montaža/ editing Ilaria Fraioli producenti/producers Alina Marazzi, Gianfilippo Pedote, Francesco Virga (Venerdí), Giuseppe Piccioni (Bartlebyfilm) distribucija/distribution Alina Marazzi format/format DCP dolžina/running time 55’

Za eno samo uro s teboj ni film in ni dokumentarec. Prežema ga življenje; življenje Liseli Hoepli, mame Aline Marazzi, ženske, režiserke, ki je sestavila njej dotlej nepoznani mozaik materinega življenja. Sestavila ga je s pomočjo posnetkov super 8, ki jih je zbral njen dedek, Liselijin oče, in besed same Liseli, ki jih je našla v njenih pismih in dnevnikih, vse do hladnih kartotek, ki so razkrivale nemoč zdravstva tistih časov pri zaviranju samouničevanja prelepe in nemirne ženske. Alina je bila stara sedem let, ko je njena mati sklenila, da ne bo več prenašala takega životarjenja, in odtlej je njena podoba za dolga leta, celo desetletja obtičala v limbu tabujev, skrivnosti in negotovosti. Ampak Liseli Hoepli je ponovno zaživela, ko je njena hči Alina sklenila obuditi spomin nanjo. Če pomislimo, kaj vse je terjala ta odločitev, kakšni so bili meseci, ko se je materina podoba prvič oblikovala pred hčerinimi očmi, kako težko je bilo ohranjati ravnovesje med čustveno vpletenostjo in neprizadetostjo, potrebno za tako neponovljiv načrt, nikakor ne moremo opredeliti kot »film« ali »dokumentarec« tako močne življenjske izkušnje, ki že v naslovu zajema veliko pomenov in ki prek filmskega medija razkriva izjemno dejanje ljubezni. Moreno Miorelli

For One More Hour with You is neither a film nor a documentary. It is permeated by life, the life of Liseli Hoepli, mother of Alina Marazzi, the woman, the director who has composed the mosaic of her mother’s life, previously unknown to her. She made it by assembling the super 8 shots collected by her grandfather, Liseli’s father, and Liseli’s own words which she had encountered in her letters and diaries, as well as cold medical records exposing the helpless healthcare system of the time, unable to prevent a stunning and restless woman from destroying herself. Alina was seven when her mother decided that she would no longer put up with barely scraping along. Since then, her image had been stuck in limbo for years, permeated by taboos, secrets and uncertainties. However, Liseli Hoepli came back to life when her daughter Alina decided to revive the memory of her. To just consider what this decision must have demanded, what the months were like when mother’s image was first formed in front of daughter’s eyes, how difficult it must have been to maintain the balance between emotional involvement and detachment that was required for such an inimitable plan; it would be impossible to use the label “film” or ”documentary” for such a strong experience, its title, to begin with, encompassing so many meanings, and its contents exposing through the medium of film an astonishing act of love. Moreno Miorelli

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

ALINA MARAZZI Alina Marazzi (1964) je režiserka dokumentarnih in igranih filmov, ki se pri svojem delu večinoma posveča ženski subjektivnosti, materinstvu in spominu. Kot asistentka režije je sodelovala pri nastajanju celovečernih filmov in umetniških videoprojektov, kot kuratorica se je podpisala pod vizualno opremo za gledališki projekt. Za svoj kritiško hvaljeni film Za eno samo uro s teboj (2002) je prejela nagrado za najboljši italijanski dokumentarni film na festivalu v Torinu. Alina Marazzi (1964) is a documentary and fiction film director. Her main body of work focuses on female subjectivity, motherhood, and memory. She has also worked as assistant director for feature films and video art projects, and has curated multi-screen visuals for theatre. Her critically acclaimed For One More Hour with You (2002) won Best Italian Documentary award at the 2002 Torino Film Festival.

»K filmu Za eno samo uro s teboj me je gnala močna osebna želja, da opredelim svojo identiteto v odnosu do mame, protagonistke filma. Moja osebna pot iskanja dolgo izgubljene matere, ki si je leta 1972 vzela življenje, se je spremenila v vizualno in besedno pripoved, ki mi je povrnila osebno zgodbo in mi obenem začrtala vizualni slog pri filmskem ustvarjanju. /.../

“I have made Un’ora sola ti vorrei urged by a strong personal issue, the one of defining my own identity in relation to my mother, the protagonist of the film. My personal quest and search for my long-lost mother, who took her life 1972, turned into a visual and verbal narration that has given me back my personal story, and has also defined my visual style as a filmmaker. /.../

Film pripoveduje o ženski, ujeti v toge moralne norme družbe, družbe, ki ni bila sposobna razumeti njene eksistencialne stiske in duševne bolezni, najverjetneje posledic poporodne depresije. V tistem času je bilo nepojmljivo, da bi bila premožna, lepa in inteligentna ženska v vlogi žene in matere nesrečna.«

The film tells the story of a woman who suffered from the moral constraints of society that was unable to understand her condition of existential malaise and her mental illness, most probably results of a postnatal depression; at the time it was unconceivable for a wealthy, beautiful and intelligent woman to feel unhappy in her wife and mother role.”

Alina Marazzi

LETNI KINO MANZIOLI/MANZIOLI OPEN-AIR CINEMA

SIGNALI/SIGNALS

SIGNALI/SIGNALS Akademija muz/Lâ&#x20AC;&#x2122;Accademia delle Muse/The Academy of Muses Baltski kratki: Litva, Latvija, Estonija/Baltic Shorts: Lithuania, Latvia, Estonia Piknik ob cesti/Lu bian ye chan/Kaili Blues Toponimija/Toponimia/Toponymy Zora/Ausma/Dawn

SIGNALI/SIGNALS

AKADEMIJA MUZ/L’ACCADEMIA DELLE MUSE/ THE ACADEMY OF MUSES

Španija/Spain, 2015 režija/directed by José Luis Guerín scenarij/screenplay José Luis Guerín zvok/sound Amanda Villavieja, Jordi Monrós, Marisol Nievas montaža/editing José Luis Guerín igrajo/cast Raffaele Pinto, Emanuela Forgetta, Rosa Delor Muns, Mireia Iniesta producent/producer José Luis Guerín produkcija/production PC Guerin & Los Films de Orfeo distribucija/distribution PC Guerín & Los Films de Orfeo format/format DCP dolžina/running time 92’

Kje se hrepenenje prelomi v poželenje, kje ljubezen postane seks in kje se visokozveneči glas muze spremeni v rime banalnega vsakdana?

Where does yearning break into lust, where does love become sex and where does the high-sounding voice of a muse turn into the rhymes of the banal everyday?

Kot je pisal že Heziod, je pesništvo način življenja – strukturiranja sveta, vnašanja reda v kaos. Je Eros, ki drži priprta vrata v Had in zapeljuje kot Orfej s svojo liro. Pesništvo se dotika Lepega, ki se razliva na krilih ljubečega hrepenenja, pesem pa je potok, ki privre iz ust muze in ki ga z vrčem, narejenim iz besednih lupin, lovi pesnik.

As Hesiod had already written, poetry is a way of life – a way of structuring the world, introducing order into chaos. It is Eros, keeping the doors to the Hades ajar and seducing like Orpheus with his lyre. Poetry touches the Beautiful, flowing over the wings of a loving yearning, while a poem is a stream that comes rushing out of a muse’s mouth for a poet to catch with a jug made of verbal shells.

Film katalonskega režiserja Joséja Luisa Guerína (1960) Akademija muz stke gostobesedne podobe v psevdo-dokumentarnem tonu prav ob romantizirani ideji muze. Če se film odpira v najčistejši smisel platonske akademije, s predavanjem profesorja Raffaela Pinta o pesništvu in pesniškem navdihu, ki ga avditorij večinoma ženskih slušateljic spremlja z navdušenim občudovanjem, se ta platonistični simpozij kmalu spremeni v navadno večerjo, woodyallenovsko tragikomedijo, kjer se hrepenenje zamenjuje za poželenje, ljubezen za seks, poezijo velikih mojstrov pa bere kot carte blanche, s katero Pinto svoje študentke kot Dante Beatrice zapeljuje v slonokoščeni raj besed. A kljub gostobesednosti in živahnim intelektualnim preigravanjem zapeljuje Guerín predvsem s podobo. Ujeta v odsevih avtomobilskih in okenskih stekel se njena harmonija nezadržno lomi in množi v posameznih sekvencah. Tako predvsem skozi bližnje plane obrazov žensk, ki vsaka na svoj način hrepenijo, ujete v banalno strukturo kvaziplatonističnega in obenem izrazito patriarhalnega razmerja, ki ga dokumentaristično

SIGNALI/SIGNALS

In a pseudo-documentary tone, The Academy of Muses by the Catalan filmmaker José Luis Guerín (1960) weaves a terse texture of images precisely about the romanticised idea of muses. If the film opens in the purest sense of the Platonic Academy, then, with the lecture by the university professor Raffaele Pinto about poetry and poetical inspiration, which a predominantly female audience follows with rapture and admiration, this Platonistic symposium soon turns into an ordinary supper, a Woody-Allen-style tragicomedy, where yearning is substituted with lust, love with sex, and the poetry of the great masters is read as a carte blanche with which Pinto seduces his students just like Dante seduced Beatrice into an ivory paradise of words. But despite the film’s verboseness and lively intellectual referencing, Guerín seduces primarily with the image. Caught in the reflections of car and window glasses, its harmony unstoppably breaks and multiplies in individual sequences. Especially through the closeups of women’s faces, each in her own way yearning, caught in the banal structure of a quasi-Platonistic and

JOSÉ LUIS GUERÍN José Luis Guerín (1960) je kot režiser vso svojo kariero na sledi novim oblikam pripovedi in dramaturgije na meji med fikcijo in stvarnim, pri čemer raziskuje različne formate, tudi umetniške instalacije. Z eno takih je sodeloval na beneškem bienalu (2007). Leta 2001 je prejel špansko nacionalno filmsko nagrado. Kot pedagog po vsem svetu predava na delavnicah, univerzah in filmskih akademijah. Throughout his career José Luis Guerín (1960) has worked as a filmmaker in search of new forms of narrative and dramaturgy at the border of fiction and non-fiction, exploring several formats, such as art installations, participating at the Venice Biennale (2007). In 2001, he received the Spanish National Film Award. As a teacher has been invited all over the world for workshops, to universities and film schools.

zasnovani ekskurzi v bukolično idilo sardinskih pastirjev ali romantični pobegi v antične Pompeje le še poglobijo. Čeprav se pripovedne niti v začetku tkejo skozi moškega, postajajo ženski liki bolj individualizirani in s svojo prezenco premikajo težišče pripovedi proti prej le stransko zarisanim pripovedim – v dreyersko bližnjem planu izrisanim portretom profesorjevih »muz«, ki se konceptu pasivne lepote vse bolj izmikajo: od razumevajoče-ljubosumne žene, indoktrinirane ljubice, sodobne feministke do pesnice svobodnega verza. Anja Banko »Vsak umetnik se trudi zapeljati s svojim diskurzom. Gledalec se nekako spremeni v pozornega študenta. V filmu se učitelj hrani s svojimi študentkami in one se hranijo z njim. Med njimi poteka transakcija moči. Rad si domišljam, da taka transakcija poteka tudi med gledalcem in mojim delom, izvira pa iz tistega, kar vidite na platnu.« José Luis Guerín

at the same time distinctly patriarchal relation, only deepened by the documentarily conceived excursuses into the bucolic idyll of Sardinian shepherds or romantic escapes into ancient Pompeii. Even though, at the beginning, the narrative threads are woven through a man, the female characters become more individualised and with their presence move the centre of gravity towards the previously only laterally traced narrations – the portraits of the professor’s “muses” captured in Dreyerian close-ups, who, as the film progresses, increasingly elude the concept of passive beauty: from the understandingjealous wife, indoctrinated lover and contemporary feminist to a poetess of the free verse. Anja Banko “Every artist aims to seduce with their discourse. The viewer is somehow transformed into an attentive student. In the film, the teacher feeds off his students and they, in turn, feed off him. There is a transaction of power taking place between them. I always like to think that this transaction also exists between the viewer and my work, stemming from what you see on screen.” José Luis Guerín

SIGNALI/SIGNALS

Baltski kratki: Litva, Latvija, Estonija/Baltic Shorts: Lithuania, Latvia, Estonia Našteti glavna mesta Litve, Latvije in Estonije je eno, povezati jih z ustrezno državo pa nekaj povsem drugega. V igro, ki nikoli ne zastara, Kino Otok letos vstopa z novim, filmskim adutom. Program kratkometražcev z Baltika je osredotočen na mlade ustvarjalce z odločnim avtorskim podpisom, dva eksperimentalna in trije igrani filmi tako naznanjajo novo pomlad treh nacionalnih kinematografij. Kratke produkcije z Baltika se v zadnjih letih pogosto družno predstavljajo na festivalih po svetu in tako vztrajno dosegajo vse večjo prepoznavnost. Čeprav ‘baltski film’ kot nadnacionalna entiteta ne obstaja, nekatere skupne poteze predstavljenih kratkih filmov napeljujejo k ideji o ‘baltski filmski pokrajini’. V njej je najti odsev ravninskih dežel ob Baltskem morju, kjer se čas razliva v mehko širino, včasih tudi v srhljivo praznino. V skrbno spletenih pripovedih je slutiti dvojno nujnost: tako kot so kratke filmske zgodbe morale biti povedane, morajo biti tudi videne in slišane. Med plitvimi vdihi od kadra do kadra ni prostora za nepozornost. Odmerjene minute zgoščajo ne-vsakdanje prigode protagonistov, najsi ljudi ali stvari. Ujamemo jih nekje na vijugasti poti med začetkom in koncem, med ne-izpolnjenimi hrepenenji ali v pričakovanju vélikega dogodka, s katerim se bo vse začelo na novo. Tilda (2015), poetičen eksperiment litvanskega režiserja Vytautasa Plukasa, se v odtenkih sivine poigrava s tekom časa, ki ni nujno usmerjen v prihodnost. Latvijski Utrip praznine (2015) Reinisa Spaileja je s filigransko natančnostjo izrisan portret dečka, ki raste v moža, obenem edinstven in občečloveški. Impresionistični Kastrat merjasec (2014) je večkrat nagrajeno delo latvijskega režiserskega dvojca Raitisa in Laurisa Ābeleja o mladeniču z veliko skrivnostjo v majhni vaški skupnosti. Riba mojega življenja (2014) litvanskega režiserja Juliusa Sičiūnasa je filmska miniatura v pravem pomenu besede, vaja v kratkem slogu z – tudi dobesedno – dih jemajočim zasukom. Iztek programa baltskih kratkih sledi maniri veščih pripovedovalcev, ki na mesto tekočega razpleta zgodbe postavijo zasnutek nove. Estonska produkcija Gibalo mita (2015) režiserja Kevina Molloyja je vizualno in zvočno prepričljiv eksperiment, ki buri čute in domišljijo. Smo pod platnom priča zaključku ali novemu začetku? Nabor tem in prijemov, ki povezuje izbrane kratkometražce iz baltske filmske pokrajine, je izzivalen, ganljiv in navdihujoč1. Predvsem pa jim je skupna surova iskrenost, ki za dobro uro ne pusti odmakniti pogleda. Tanja Hladnik 1 Ne glede na zmožnost ali nezmožnost povezave Vilne z Litvo, Rige z Latvijo in Talina z Estonijo. 30

SIGNALI/SIGNALS

To name the capital cities of Lithuania, Latvia and Estonia is one thing, whereas to connect each of them to their respective country is quite another. This year, Kino Otok will be joining the game that never gets old with a new trump card, one from the sphere of film. The Baltic Shorts programme focuses on young filmmakers with a strong signature style. Two experimental and three live action films are thus harbingers of three national cinemas’ new spring. In recent years, Baltic shorts were often jointly presented at international festivals, which has increasingly resulted in greater visibility. Although there is no “Baltic film” as a supranational entity, certain common traits in the presented short films are hinting at the idea of “a Baltic film landscape”. What it contains is a reflection of flat lands along the Baltic Sea where time spills out into gentle broadness, sometimes into eerie emptiness. The delicately joined narratives give an inkling of a double necessity: just as these short film stories had to be told, they have to be seen and heard. There is no space for inattention during the shallow breaths between one shot and another. The scarce time available embraces a concise array of un-usual events that happen to protagonists, either people or things. They are captured along their winding path between the beginning and the end, during their un-fulfilled yearnings or while anticipating a major event after which everything begins anew. Tilde (2015), a poetic experiment by Lithuanian director Vytautas Plukas, toys in shades of grey with the course of time, not necessarily directed towards future. Latvian Beats of the Empty Land (2015) by Reinis Spaile is a portrait of a boy growing into a man, work of filigree delicacy, unique as well as universal. Having won a series of awards, the impressionist Castratus the Boar (2014) by the Latvian directors’ duet, Raitis and Lauris Ābele, tells the story of a young man hiding a great secret amidst a small village community. The Fish of My Life (2014) by Lithuanian director Julius Sičiūnas is a cinematic miniature in the proper sense of the word: an exercise in short style with an – also literally – breath-taking twist. In its final part, the Baltic Shorts programme, quite in the manner of expert storytellers, offers the beginnings of a new story instead of unravelling the current one. The Estonian film The Vehicle of Myth (2015) by Kevin Molloy is a visually and sonically convincing experiment stirring our senses and imagination. While watching this, are we witness to an ending or a new beginning? The range of topics and procedures that are common to the selected shorts from the Baltic film landscape is challenging, moving and inspiring.1 What they share, particularly, is sincerity, which holds your gaze throughout the programme. Tanja Hladnik 1 Regardless of our (in)ability to relate Vilna to Lithuania, Riga to Latvia, and Tallinn to Estonia.

TILDA/APYTIKSLIAI/TILDE Vytautas Plukas, Litva/Lithuania, 2015, 6’

Za avtom v počasnem mimovozu plapola trak. Na krilih vetra odpleše ples eteričnih, urbanih figur, polnih življenja in svobode. Nazadnje se spusti na avtomobilski keson in razkrije njegovo vsebino. A ribbon flies out of a car, slowly passing by. Blown away by the wind, it performs a dance of ethereal and harmonious figures, full of life and liberty. Eventually, it falls on the boot of a car and reveals its content. UTRIP PRAZNINE/TUKŠĀS ZEMES RITMI/BEATS OF THE EMPTY LAND Reinis Spaile, Latvija/Latvia, 2015, 28’

Štirinajstletni Arvids živi v majhni vasi in večino časa sanjari o prihodnosti v družbi najboljšega prijatelja Klavsa. Fourteen-year-old Arvids lives in a small village and spends most of his time daydreaming about his future plans together with his best friend Klavs. KASTRAT MERJASEC/KASTRĀTS KUILIS/CASTRATUS THE BOAR Raitis Ābele, Lauris Ābele, Latvija/Latvia, 2014, 23’

Valter živi v majhnem mestu, kjer redi prašiče in poje v cerkvenem zboru, a se zaradi skrivnosti iz otroških let ne zmore vključiti v skupnost. Po očetovi smrti poskusi navezati stik z Aijo. To ne bo začetek običajne ljubezenske zgodbe. Small town resident Valter breeds his pigs and sings in the local church choir. His childhood secret however prevents him from integrating in the community. After the death of his father he tries to establish contact with Aija. This is not the beginning of an ordinary young couple love story. RIBA MOJEGA ŽIVLJENJA/MANO GYVENIMO ŽUVIS/THE FISH OF MY LIFE Julius Sičiūnas, Litva/Lithuania, 2014, 6’

Nekoč pred davnimi časi je sredi ničesar stala kmetija. Tam je živel starejši par. Dolgo, dolgo tega sta se zares ljubila. Zdaj je njuno življenje ena sama rutina. Zgodba je osnovana na resničnem dogodku. To je zgodba o osamljenosti. O neskončnih hotenjih. In palačinkah. Once upon a time in the middle of nowhere there was a farmhouse. Two seniors lived there. Long, long ago they truly loved each other. Now their life is nothing but a routine. This is a story based on a true story. This is a story about loneliness. About endless aspirations in life. And pancakes. GIBALO MITA/THE VEHICLE OF MYTH Kevin Molloy, Estonija/Estonia, 2015, 12’

Eksperimentalni antropološki dokumentarec popelje gledalca na pot skozi običajen stanovanjski blok v središču Talina. S preskušanjem odziva na vidne in slušne dražljaje za gledalca ustvarja nadrealistično izkušnjo. An experimental anthropological documentary, taking the viewer on a journey through a regular apartment building in the heart of Tallinn, Estonia. It tests the viewer’s reaction to both visual and audible stimulus, aiming to create a surreal experience for the viewer.

SIGNALI/SIGNALS

PIKNIK OB CESTI/LU BIAN YE CHAN/KAILI BLUES

Kitajska/China, 2015 režija/directed by Gan Bi scenarij/screenplay Gan Bi fotografija/ cinematography Tianxing Wang zvok/sound Kai Liang montaža/ editing Yanan Qin igrajo/cast Yongzhong Chen, Daqing Zhao, Feiyang Luo, Lixun Xie, Shuai Zeng producenti/producers Zijian Wang, Zuolong Shan, Zhaoyu Li distribucija/distribution China Film International format/format DCP dolžina/running time 113’

Piknik ob cesti pripoveduje zgodbo o nekdanjem zaporniku, ki dela kot zdravnik v kitajskem mestecu in poskuša poskrbeti za malega nečaka, ki ga brat zanemarja. In veliko se je zgodilo pred tem in marsikaj se še bo. A Piknik ob cesti ni zgodba o ..., temveč tudi skozi zgodbo govori predvsem o dojemanju časa in s tem o dojemanju naše lastne, subjektivne realnosti. Pripoved na samosvoj in zelo filmski način teče ali, bolje, vijuga po sedanjosti, preteklosti in prihodnosti, zelo umetelno, a zelo organsko. Socialni realizem prostorov in dejanj ljudi, ki jih naseljujejo, se nenasilno spaja s sanjami, sanjarjenji, spomini. Čas, njegov tok in njegova pretočnost, prežema pripoved filma na vsaj treh nivojih: na osebnem nivoju junakov, ki živijo preteklost, sedanjost in prihodnost hkrati, ki lovijo svoj čas, a ta polzi in se hkrati lepi po stenah življenja; na nivoju okolja, kjer se film dogaja: Kaili v pokrajini Guižu z okolico (kjer je avtor preživel otroštvo) je prostor močne tradicije (zelo prisotna je kultura etnične manjšine Miao), a videti je, kakor da smo morda v osemdesetih letih prejšnjega tisočletja in čisto verjetno tudi v novem tisočletju; in nenazadnje je filmska pripoved vedno ujeta v čas – realen in filmski. In mladi režiser Bi Gan v svojem prvencu – v tesnem sodelovanju z enako osupljivo mojstrskim začetnikom, direktorjem fotografije Tianxingom Wangom – natančno in suvereno uporabi filmski čas za širšo in močno pripoved o času posameznika. Svetloba in tema, uokvirjanje in trajanje kadrov in nenazadnje montaža (in njena odsotnost) spletajo čase, ki se združujejo v dojemanje realnosti, a kljub navidezni zapletenosti dobi gledalec jasno predstavo o občutjih in stanju

SIGNALI/SIGNALS

Kaili Blues tells the story of a former prisoner, now working as a doctor in a Chinese town and trying to provide for his young nephew, whom his brother has been neglecting. And much has happened earlier and much is still to come. Yet Kaili Blues is not a story about...; rather, it uses the story mainly to explore the perception of time, and in turn the perception of our own subjective reality. In a unique and very cinematic way, the narration runs, or rather meanders through the present, past and future, very neatly, yet coherently. The social realism of spaces and actions by the people inhabiting them is merged gently with dreams, fantasies, memories. The time, its course and its fluidity are permeating the film narrative on at least three levels: the personal level of characters living simultaneously in the past, present and future, chasing after their time, which in turn is slipping away, while also sticking to the walls of life; the level of the setting where the film takes place: Kaili in the Guizhou province and its surroundings (where the author spent his childhood) make for a setting of powerful tradition (with a strong presence of the Miao ethnic minority culture), but it seems as if we might be positioned in the 1980s, and quite possibly also in the new millennium; and last but not least, the film story is always caught in time – the real time and cinematic time. And in his debut film, young director Bi Gan – in close cooperation with the equally remarkably artful first-timer, director of photography Tianxing Wang – used the cinematic time precisely and masterfully to tell a broader striking story of the time of an individual. Light and darkness, framing and the length of shots, and eventually the editing (and its absence) are combined to merge differing time

GAN BI Mladi kitajski režiser in pesnik Gan Bi (1989) je svoj prvi kratki film, Diamond Sutra, posnel leta 2012 in si z njim prislužil posebno omembo v kategoriji novi azijski glasovi na 19. festivalu IFVA v Hongkongu. Piknik ob cesti je njegov prvi narativni celovečerni film. Zdaj pripravlja drugi celovečerec The Last Night on Earth. Gan Bi (1989), a young Chinese director and poet, made his first short, Diamond Sutra, in 2012, and won the Special Mention award in the Asian New Force Category at the IFVA Festival in Hong Kong. Kaili Blues is his first narrative feature film. Currently Gan Bi is preparing his second feature film, The Last Night on Earth.

protagonistov filma – in to tudi kljub temu, da so ti precej stoični in neizrazni. Poleg vsakdanjika, spominov in sanj, tistih nočnih in tistih dnevnih, je pomemben del filma poezija, ki jo piše (in v off-u bere) glavni junak. Poezijo je v resnici spisal režiser sam, in kakor je rekel v nekem intervjuju, je ta precej povprečna, kakor je povprečen njegov glavni junak. A te »povprečne« pesmi so še ena osvetlitev skupka podrobnosti, ki je posameznikovo dojemanje sebe v danem »trenutku«. Z vsem tem in s številnimi žalostnimi, melanholičnimi in temačnimi, a neredko živahnimi in duhovitimi slikami realnosti se skozi film izrazi modrost tistega, ki ničesar ne razume, a marsikaj sluti. In enemu izmed junakov filma se morebiti celo posreči zavrteti čas nazaj. Varja Močnik

frames in the perception of reality, yet despite the seeming complexity the viewer forms a clear idea of the protagonists’ emotions and situations – despite their considerably stoical and plain traits. Alongside the everyday life, memories and dreams, night-time as well as daytime, a substantial element in the film is the poetry written (and read in voice-over) by the main protagonist. It was actually written by the director himself, who in an interview has labelled it quite average, just like his protagonist is quite average. However, these “average” poems serve as another elucidation of the cluster of details, by means of which an individual perceives themselves in a given “moment”. All this, as well as numerous sad, melancholy, and dark, but frequently also lively and funny images of reality are used in the film to express the wisdom of a man who understands nothing, yet intuits much. And one of the protagonists might even succeed in turning back time. Varja Močnik

SIGNALI/SIGNALS

TOPONIMIJA/TOPONIMIA/TOPONYMY

Argentina, 2015 režija/directed by Jonathan Perel scenarij/screenplay Jonathan Perel fotografija/cinematography Jonathan Perel zvok/sound Jonathan Perel montaža/editing Jonathan Perel producent/ producer Jonathan Perel distribucija/distribution Jonathan Perel format/format DCP dolžina/running time 82’

V nagrajenem, nevpadljivo čarobnem filmskem eseju Jonathana Perela Toponimija, mejniku v dokumentaristiki 21. stoletja, so v središču pozornosti Teniente Berdina, Capitán Caceres, Soldado Maldonado in Sargento Moya – štiri nekoliko zakotne vasice v nekoliko zakotni provinci severozahodne Argentine, Tucumánu.

A true landmark in 21st century documentary, Jonathan Perel’s award-winning, quietly magisterial essay-documentary Toponymy focuses intently on Teniente Berdina, Capitán Caceres, Soldado Maldonado and Sargento Moya – four somewhat obscure villages in Tucumán, a somewhat obscure province of north-western Argentina.

Vsako od štirih vasic je zasnovala, načrtovala in zgradila zvezna vlada sredi 70. let, po (vsaj zanjo) nadvse zadovoljivem razpletu brutalne operacije Neodvisnost (1973–4), ki je nasilno zadušila levičarski gverilski upor na tem kruto obubožanem kmečkem območju v okolici Andov, polnem hribov in džungle, ki ga je vodila ljudska revolucionarna vojska s pomočjo ‘Montoneros’, ki so delovali mestih.

Each of this quartet were designed, laid out and constructed in the mid-seventies by the federal government following what was for them the highly satisfactory outcome of the brutal ‘Operativo Independencia’. Operation Independence (1973-4) resulted in the crushing of a left-wing guerilla uprising in this cruelly impoverished rural, peri-Andean zone of hills and jungles, led by the Ejército Revolucionario del Pueblo (ERP) – the People’s Revolutionary Army – with assistance from the more urban-based ‘Montoneros’.

Vlada, ki si je zelo želela imeti nadzor nad poraženim, nezadovoljnim prebivalstvom, je mesece pred svojim padcem zaradi vojaškega udara nasilno preselila preživele, hribovske prebivalce v štiri ravninske vasi. Vsaka je bila poimenovana po vojaku, ki je padel v operaciji – Perelov naslov se nanaša na prakso poimenovanja krajev po ljudeh. Vasi, ki sicer niso bile identične, so imele veliko skupnega: športno igrišče, cerkev, trgovino, park s kipi. Ključno je, da se je v središču nad vasjo dvigoval (in se še) visok, pravokoten stražni stolp, okrašen s patriotskimi slogani – neizbežno neposrednimi manifestacijami zatiralskega nadzora v slogu velikega brata. Skoraj štirideset let pozneje se je režiser/snemalec/ montažer Perel podal v vsako vas posebej, njegova statična, nepremična kamera pa je zajela njihove paradoksne kombinacije zunanje vsiljene uniformnosti

SIGNALI/SIGNALS

Keen to keep a lid on the defeated, disgruntled population, the government – months before being overthrown in a military coup – forcibly resettled the surviving, hill-dwelling residents into four flat-land villages. Each were named after servicemen who had fallen in the Operativo – Perel’s title ‘Toponymy’ refers to the practice of naming places after people. The villages, while not identical, had many features in common: sports field; church; shop; park with statuary. Crucially, they were (and are) dominated by a tall, square, watchtower in the centre, bedecked with a patriotic slogan – inescapably blatant manifestations of oppressive, Big Brother-style surveillance. Nearly forty years later, director/cinematographer/ editor Perel ventured to each of the villages in

JONATHAN PEREL Jonathan Perel (1976) je diplomiral iz umetnosti na filozofski fakulteti v Buenos Airesu. Posnel je tri kratke in štiri celovečerne filme, ki so bili predvajani in nagrajeni na številnih mednarodnih filmskih festivalih, med katerimi so FIDMarseille (“Prix Camira”), Viennale, IFFR Rotterdam, First Look (Muzej gibljivih slik, New York), Rencontres Internationales Pariz/Madrid/Berlin. Jonathan Perel (1976) earned a degree in Arts from the Faculty of Philosophy and Letters, Buenos Aires. He has made three short and four feature films, which have been screened and awarded at numerous international film festivals, such as: FIDMarseille (“Prix Camira”), Viennale, IFFR Rotterdam, First Look (Museum of the Moving Image, New York), Rencontres Internationales Paris/Madrid/Berlin.

in notranje izražene individualnosti s pomočjo matematičnega, metodičnega pristopa. Perel zbere nepristranske, vendar predano radovedne portrete teh zaspanih, redko obiskanih zakotij – katerih zlovešči izvor in tragične zgodovine so zdaj napol pozabljeni, napol pokopani pod odluščeno barvo in propadajočimi kamnitimi konstrukcijami. S svojo formalno strogostjo v slogu Perelovega idola Jamesa Benninga se Toponimija, ki je osvojila nagrado kritikov na lanskem FIDMarseille, pozneje pa požela precejšnje odobravanje v New Yorku, Avstriji in drugje, sprva zdi kot zahtevno asketska, grozeče odločna vaja v mišljenju reakcionarnega urbanizma. Toda medtem ko se simetrično štiridelni format počasi razkrije in potem kumulativno gradi, postopno mikavno pridejo na plan Perelovi prefinjeno igrivi nameni – poleg občutljivega ušesa in ostrega očesa za pomenljive vizualne detajle, ki štiridesetletnega domačina iz Buenos Airesa odlikujejo kot umetnika in etnoantropologa. Rezultat je stimulativno inteligentna in izvirna uporaba obstoječih strukturno-dokumentarnih tehnik na pikro politični vsebini. Zelo redko sta oblika in vsebina tako drzno in vznemirljivo zliti. Neil Young

turn, his static, unblinking camera capturing their paradoxical combinations of externally-imposed uniformity and internally-expressed individuality by means of a mathematical, methodical approach. He compiles dispassionate but curious portraits of these sleepy, rarely-visited backwaters – their sinister origins and tragic histories now semi-forgotten, half-buried beneath peeling paint and crumbling masonry. Formally rigorous in the manner of Perel’s idol James Benning, Toponymy – which won the critics’ prize at FIDMarseille last year and later played to considerable acclaim in New York, Austria and beyond – is at first glance a demandingly austere, foursquare exercise in the contemplation of reactionary urban planning. But as the symmetrically quadripartite format slowly reveals itself and then cumulatively builds, Perel’s subtly playful intentions gradually and absorbingly emerge – alongside an acute ear and a sharp eye for telling detail that marks the 40-year-old Buenos Aires native out as both artist and ethno-anthropologist. The result is a stimulatingly intelligent application of structural-documentary techniques to pungently political subject-matter; exceedingly seldom have form and content been so boldly and thrillingly fused. Neil Young

SIGNALI/SIGNALS

ZORA/AUSMA/DAWN

Latvija, Poljska, Estonija/Latvia, Poland, Estonia, 2015 režija/directed by Laila Pakalnina scenarij/screenplay Laila Pakalnina fotografija/cinematography Wojciech Staroń zvok/ sound Anrijs Krenbergs montaža/editing Kaspar Kallas igrajo/cast Vilis Daudziņš, Andris Keišs, Wiktor Zborowski, Liena Šmukste, Rūdolfs Plēpis, Antons Georgs Grauds producenti/producers Laila Pakalniņa (Hargla Company, Latvia), Kaspar Kallas (Miracle Worker, Poland; Digitaalne Sputnik, Estonia), Malgorzata Staroń (Staron Film, Poland) distribucija/distribution Laila Pakalnina format/format DCP dolžina/running time 96’

Raznolikost in nadzor

Diversity and Control

Slovensko občinstvo je imelo priložnost spoznati Lailo Pakalnino že leta 2014, ko ji je Kinoatelje podelil nagrado Darko Bratina. Ena najdrznejših evropskih režiserk se je rodila v Latviji, ko je ta še spadala pod Sovjetsko zvezo, in doštudirala režijo na slavnem VGIK v Moskvi. Njena poetika je tako od nekdaj globoko zasidrana v estetiki ruskih režiserjev, od Vertova do Eisensteina in naprej. Če so ruski pionirji režije poskušali zajeti v eni sapi kolektivno življenje novonastale družbe, pa Pakalnina poskuša razkriti kontradiktornost, norost, shizofreničnost novih burnih časov.

Slovenian audiences first met Laila Pakalnina back in 2014, when she was presented the Darko Bratina Award by Kinoatelje. One of the most audacious European female directors was born in Latvia, then still part of the USSR, and studied direction at the famed VGIK, Moscow. Her poetics has thus always relied on the aesthetics of Russian directors, beginning with Vertov and Eisenstein. But if it was the collective life of a newly formed society that Russian pioneering directors were trying to capture, for her it is the contradiction, folly, and schizophrenia of turbulent new times.

V Zori izbere za osnovo star Eisensteinov nerealiziran projekt. V središče postavi resnični lik Pavlika Morozova, ki je v Stalinovi Sovjetski zvezi dobil mitološke razsežnosti, ko je zaradi nasprotovanja novonastalemu režimu prijavil lastnega očeta. Čeprav v filmu deček postane Janis, je zgodba skoraj enaka. Oče je nasprotnik sovjetskega režima v Latviji, pijanec z grdimi zobmi, ki do smrti pretepe ženo. Njegov sin je lep, čist, poln dostojanstva in vere v novo dobo. Novo očetovsko figuro poišče v vodji kolektivne kmetije Karlisu, ki nenehno skrbi, da vsi delajo za dobro nove družbe in novega človeka. Tako v tej kot v drugih totalitarnih ideologijah so v osrčju vsega otroci. V Hanekejevem filmu Beli trak morajo otroci prevzeti vlogo odraslih, ko pred prvo svetovno vojno pripadniki različnih slojev niso več sposobni opravljati svojih družbenih vlog. V tej nasilni atmosferi poskušajo otroci postati odrasli,

Dawn is based on Eisenstein’s old unrealised project. In the focus is a real figure, Pavlik Morozov, who in Stalin’s Soviet Union turned into a myth by reporting his own father for opposing the newly established regime. Although the boy is renamed Janis, the story is almost the same. An opponent to the Soviet regime in Latvia, father is a drunkard with bad teeth who beats his wife to death. Son, on the contrary, is handsome, pure, full of dignity and faith in the new era. He finds a new fatherly figure in Karlis, head of a collective farm, who never ceases to make sure that everyone acts for the good of the new society and the new man. As is typical of totalitarian ideologies, children are the main focus. In Haneke’s White Ribbon, children have to assume the parts of adults, members of various classes who in the pre-WWI era are no longer able to fulfil their social roles. In the violent atmosphere, they attempt to become adults, but are naturally unable to cope. It is this generation

SIGNALI/SIGNALS

LAILA PAKALNINA Ena mednarodno najbolj prepoznavnih latvijskih režiserk, Laila Pakalnina (1962), je v mednarodnih krogih za izjemen avtorski glas obveljala že po prvih kratkih filmih. Njeno delo je bilo prikazano na najpomembnejših filmskih festivalih, kot so Cannes, Berlin, Benetke, Locarno, Toronto. Dvakrat je bila nominirana za nagrado Evropske filmske akademije, leta 2014 je prejela nagrado Darko Bratina. Dan prične s 15- do 20-kilometrskim tekom. One of the most internationally recognized Latvian film directors, Laila Pakalniņa (1962) was already deemed an exceptional film auteur in international circles with her first shorts. Her works have been screened at the most noted film festivals worldwide, including Cannes, Berlin, Venice, Locarno, Toronto. She has twice been nominated for a European Film Academy award, in 2014 she was given the Darko Bratina Award. She begins her day with a 15-20 km run.

a temu seveda niso kos. Generacija teh otrok bo kasneje nastopila na zgodovinskem odru pod okriljem nacistične ideologije. V Zori slojev ni več, kontradiktornost starih navad in novih idealov mora posameznik razrešiti sam. Tako je vsak prisiljen služiti neki ideji in se omejiti, najbolj pa so temu podvrženi prav otroci. Nizanje črno-belih kadrov, kjer vidimo fragmente kokoši, podgan, glav, religioznih kipov, strojev in steklenic, se vrsti pred orjaškimi ostanki stare in nove dobe, od mostov do tovarn. Vse to ustvari s čudovito uporabo zvokov in glasbe shizofreno simfonijo dogodkov, v katerih se osnovna zgodba Janisa, požrta od skupne energije časa, skorajda izgubi. Moralo Janisa, njegovo človeškost zasenči kolektivni spektakel, hrup ideologije. Janis ni več deček, temveč dvodimenzionalni heroj neustavljivega kolektivnega baleta. Pakalnina ni samo izredna režiserka, je tudi ženska in kot taka se zaveda, da so zgodovino predolgo pisali in ustvarjali samo moški. Ti so se vedno zgledovali po absolutnih abstraktnih idejah in idealih, ki pa najbrž pripadajo prej nebu kot raznolikosti in kontradiktornosti matere zemlje. Pakalnina v čudoviti, bogati fotografiji zajame prav to protislovje sveta: živahno raznolikost stvarstva in nevidne sile, ki ga poskušajo nadzorovati. Protislovje, ki nam veliko pove tudi o današnjem času.

of children that will later appear on the stage of history as part of the Nazi ideology. In Dawn, social classes have disappeared. It is up to each individual to solve the contradiction of old habits and new ideals. Everybody, and nobody more so than children, is thus forced to serve an idea and set their limits. B/W shots of fragments of hens, rats, heads, religious statues, machines and bottles, are lined against the background of gigantic remnants of old and new ages, from bridges to factories. Adding a magnificent selection of sounds and music, a schizophrenic symphony of events is created, in which the central story of Janis is almost devoured by the total energy of time. Janis’ morals and humanity give way to the collective spectacle, the noise of the ideology. Janis is no longer a boy; he is a two-dimensional hero in an unstoppable collective ballet. Not only is Pakalnina an outstanding director, she is also a woman, and one who is aware that for too long history was written and created only by men. Men have always aspired to absolute abstract ideas and ideals, which belong to the sky rather than the diverse and contradictory Mother Earth. Pakalnina embraces this contradiction in her wonderful, rich photography: the lively diversity of the creation, and the invisible forces seeking to control it. A contradiction that also says a lot about our times. Jan Mozetič

Jan Mozetič

SIGNALI/SIGNALS

DOBRI SOSEDJE/GOOD NEIGHBOURS

DOBRI SOSEDJE/GOOD NEIGHBOURS 14 kolutov/14 Reels Abdul in Hamza/Abdul & Hamza Destinacija Srbistan/Destinacija Serbistan/Logbook_Serbistan Lampedusa Tudi vrtnice hoÄ?emo/Vogliamo Anche Le Rose/We Want Roses Too

DOBRI SOSEDJE/GOOD NEIGHBOURS

14 KOLUTOV/14 REELS

2015 režija/directed by Jaap Pieters (Amsterdam), Chantal Partamian (Bejrut/Beirut), Mirco Santi (Bologna), Boris Lehman (Bruselj/Brussels), Massimo Bacigalupo (Genova/Genoa), Guido Tosi (Hamburg), Davorin Marc (Ljubljana), Astrid Carlen-Helmer (Los Angeles), Julien Lingelser (Lyon), Joana Preiss (Marseille), Alina Marazzi (Milano/Milan), Roberto Nanni (Rim/Rome), Tonino De Bernardi (Torino/Turin), Luca Chinaglia (Benetke/Venice) kurator/curated by Luca Chinaglia produkcija/ production Barnabil Produzioni (Luca Chinaglia, Florence Ménard, Raffaele Putortì) distribucija/distribution Barnabil Produzioni format/format ProRes HQ dolžina/running time 51’

14 kolutov je kolektiven eksperiment na temo mesta, posnet v formatu super 8.

14 Reels is a collective experiment in Super 8 on the theme of the city.

Ko je Luca Chinaglia od studia La Camera OtticaCREA kot darilo ob diplomi prejel 16 kolutov filmskega traku Super8 Kodak Vision 2 200T, je začel razmišljati, kako bi darilo osmislil s pomočjo staromodne tehnologije.

When Luca Chinaglia received 16 reels of Super8 Kodak Vision 2 200T as a graduation present from La Camera Ottica-CREA, he started thinking of a way to give the present meaning through an oldfashioned technology.

Po uspešnem preizkusu na dveh kolutih, ki ga je preprosto poimenoval 2 koluta – in je bil prikazan na lanskem Kino Otoku, se je Luca odločil kolute razposlati po svetu in jih zaupati trinajstim režiserjem, ki jim je kot navodilo dal le splošno temo: mesto.

After a successful test on two reels called simply 2 Reels - shown at Kino Otok last year, Luca decided to spread the reels around the world and entrust thirteen other directors with one real each, giving them just a general theme: the city.

Režiserji so k temi pristopili povsem svobodno in mesto predstavili bodisi kot pravi lik, bodisi kot ozadje ali kot izhodišče. V film je vsak ujel svoj najintimnejši odnos z mestom, pri tem pa so uporabljali kar najbolj raznolike žanre. Pri nagovarjanju avtorjev, ki smo se jim predstavili kot skromno društvo za filmsko kulturo, smo posebej skrbno izbirali mojstre underground filma kot tudi mlade filmarje, ki pa so vseeno seznanjeni s formatom super 8. Na naše veliko presenečenje smo, polni pričakovanj, vse kolute dobili nazaj zapolnjene. Med postopkom razvijanja so se naša pričakovanja le še krepila. Vedno obstaja tveganje, da boš delo v celoti izgubil, a zahvaljujoč sposobnostim in predanosti naših partnerjev iz družb Six Gates Film in Home Movie je bilo naposled mogoče razviti prav vse filme. Lepota formata super 8 je v nenavadnem občutku vznemirjenja ob čakanju, pa tudi v sprejemanju

DOBRI SOSEDJE/GOOD NEIGHBOURS

The directors approached the theme with utmost freedom, depicting their city as a proper character, as background, or as a pretext. They all captured their most intimate relation to the city in as much variety of genres. Introducing ourselves as a modest association for film culture, we contacted all the directors with particular attention for selecting masters of underground cinema together with younger artists who are nevertheless familiar with the Super 8 format. To our great surprise, we received back all the reels shot, filled with expectations. The anticipation grew further still with the process of development. There was always a risk of losing all the work, but thanks to the savoir-faire and passion of our partners at Six Gates Film and Home Movies, all the films could ultimately be processed. In addition to this peculiar feeling of waiting in excitement, the beauty of Super 8 lies in the acceptance of mistakes. “The unexpected” is even

LUCA CHINAGLIA Luca Chinaglia (1982) je diplomant filmskih študij, scenarist in režiser kratkih filmov, predsednik kulturnega društva za filmsko produkcijo Barnabil Produzioni. Po predstavitvi na beneškem festivalu leta 2013 zdaj razvija celovečerni projekt. Luca Chinaglia (1982) is a Film Studies graduate, screenwriter and short film director, President of Barnabil Produzioni, a cultural association for film production. After a pitch during the Venice Film Festival in 2013 he is now developing a feature film project. DAVORIN MARC Med letoma 1976 in 1986 posname okrog 150 filmov, večinoma na S-8mm trak. Trenutno se največ ukvarja z digitalno filmsko umetnostjo. Živi v Izoli. Made around 150 films between 1976 and 1986, mostly on super 8. Now focuses on digital cinema. Lives in Izola. ALINA MARAZZI glej str. 25/see page 25

napak. »Nepričakovano« celo pozdravljamo kot nekaj, kar se pač zgodi in oplemeniti prvotno zamisel, pri tem pa pusti fizično sled na živem materialu, kot nekakšno ganljivo hibo. Ljudje, ki se ukvarjajo s filmom, nimajo druge izbire, kot da se prepustijo, kot da so odprti za neznano. Deset let po izteku roka uporabnosti so se koluti spet znašli v goriškem laboratoriju CREA, da bi jih digitalizirali. Rezultati so bili popolno odkritje, saj filmi prikazujejo različne senzibilnosti in načine, kako z mestom vzpostaviti odnos. Ker je 14 kolutov nemi film, kliče po dodatnem eksperimentiranju. Na Kino Otoku ga bo z živo glasbo spremljal izolski glasbenik Elvis Šahbaz. Občinstvo bo vpeljal v film in nežno dal prostor razmišljanju, raziskovanju in pustolovščini. Hkrati je to lahko priložnost za premislek o našem lastnem odnosu do mesta, in to v privilegiranem prostoru kinematografa, prostoru, namenjenem introspekciji in intimnim potovanjem po velikem platnu. In ta premislek se mora zgoditi kolektivno.

welcome as something that just happens and enriches the original idea, leaving a physical trace on living material, like a touching imperfection. People involved with film do not have any other choice but to let go, be open to the unknown. Ten years after their date of expiry, the reels were back at the CREA laboratory of Gorizia to be digitalized. The result has been a complete revelation because the films show different sensibilities and “ways to be” in relation to the city. As 14 Reels is a silent film, it calls for more experimentation. At Kino Otok, it will be accompanied with live music by Izola-based artist Elvis Šahbaz. He will guide the public into the film and gently allow contemplation, exploration and adventure. This can also be a moment of reflection about our own relationship to the city, in the privileged space of a cinema theatre, a space dedicated to introspection and intimate journey on the big screen. And this reflection must happen collectively. It is this experience that 14 Reels proposes.

Prav to izkušnjo nudi film 14 kolutov. Florence Ménard Florence Ménard

DOBRI SOSEDJE/GOOD NEIGHBOURS

ABDUL IN HAMZA/ABDUL & HAMZA

Srbija/Serbia, 2015 režija/directed by Marko Grba Singh scenarij/screenplay Marko Grba Singh fotografija/cinematography Marko Milovanović, Staša Bukumirović zvok/sound Milan Andjelović montaža/editing Jelena Maksimović nastopata/featuring Abdul Akin, Hamza Amash produkcija/production Nevena Tomić, studAVP distribucija/ distribution Marko Grba Singh format/format DCP dolžina/running time 49’

Abdul in Hamza je film o odsotnosti. Dogaja se v prostorih, ki so večino časa prazni. Ljudje jih bodisi zapuščajo ali vanje vstopajo, v vsakem primeru pa tam ne ostanejo dolgo. Tako kot protagonista iz naslova. Abdul in Hamza sta prišla iz Somalije in živita v zapuščeni počitniški hiši blizu majhnega mesta ob srbsko-romunski meji. Za seboj imata dolgo in nevarno pot, pred seboj negotovo prihodnost ilegalnih migrantov. Približno petdeset minut živimo z njima, vendar dosti več od tega, da ju nekje čakata ženi z otroki, ne izvemo. Toda tudi sama ne vesta veliko več. Vsaj nič, kar bi bilo lahko pomembnejše od poti, ki ju še čaka. In medtem ko čakata, se ne zgodi veliko. Sprehajata se po gozdu, počivata, igrata karte, poslušata glasbo in včasih odideta v mesto. Predvsem pa čakata. Da bosta odšla in da se njuno življenje nekoč lahko spet začne. Od začetka. Ob tem se zastavlja vprašanje, kaj ostane ljudem, ko jim vzameš zgodbe. Živi so, ampak v resnici nimajo življenja. Abdul in Hamza živita, a sta nevidna. Počutita se kot duhova v hiši strahov. Kot dve senci med neštetimi drevesi. Kot gledalci se zavedamo, da imata oba svojo preteklost, da sta nekoč imela svojo zgodbo, in neki drugačen film bi nam poskusil pokazati in dokazati prav to – da sta Abdul in Hamza prav takšna kot mi. Zaslužita si biti kot mi, imeti dom, službo, dovolj hrane, ljubezen svojih otrok in družine. Nenazadnje sta prav zato tvegala vse in prišla sem k nam, na Zahod. Da bi lahko obstajala v tem svetu še naprej. Toda film nam tega ne pove. Abdul in Hamza nam tega ne povesta. Zgodbe, ki jih slišimo, so

DOBRI SOSEDJE/GOOD NEIGHBOURS

Abdul & Hamza is a film on absence. Taking place in rooms that are empty most of the time. People either leave or enter, but never stay there very long. Just like the title protagonists. Originally from Somalia, Abdul and Hamza live in a deserted holiday house close to a small town along the border between Serbia and Romania. They have had a long and dangerous journey, and ahead of them is an insecure future as illegal migrants. We spend about fifty minutes with them, but never learn much more than the fact that somewhere their wives and children are waiting for them. And even they don’t know much more. At least nothing that could be more important that the journey they still have to make. And nothing much happens while they are waiting. They take walks through the forest, they rest, play cards, listen to the music, and sometimes visit the town. But mostly they are waiting. To leave and to have their lives begin again someday. From scratch. The question thus poses what remains to people once you take their stories away. Although alive, they have no real life. Abdul and Hamza live, but are invisible. They feel like ghosts in a haunted house. Like two shadows amidst endless trees. As viewers we are aware that both of them have a past, that both used to have their own stories, and this is what a different kind of film would try to show and prove: that Abdul and Hamza are just like us. They deserve to be like us, to have a home, a job, food to eat, the love of their children and families. At the end of the day, this is why they risked coming here, to the West. To be able to continue to exist in this world.

MARKO GRBA SINGH Marko Grba Singh (1988) je študent filmske režije na beograjski Akademiji dramskih umetnosti. Posnel je več kratkih dokumentarnih filmov, med drugim Pozno smo se srečali (2011), s katerim se je predstavil na Kino Otoku 2012. Za film Abdul in Hamza je prejel posebne omembe na festivalih v Jihlavi, FIDMarseille in ZagrebDox. Marko Grba Singh (1988) is currently studying film direction at the Faculty of Dramatic Arts in Belgrade. His filmography to date includes a number of short documentaries including At Least We’ve Met (2011), which was shown at Kino Otok in 2012. For Abdul & Hamza, he won Special Mentions at Jihlava IDFF, FIDMarseille and ZagrebDox.

tiste o idiličnem sobivanju različnih religij, etnij in drugih kultur v času pred zlomom dobrega velikega političnega sistema, pa spet neke druge, o zgodovini velike utrdbe, v kateri so se nekoč davno tega pred domačimi zasledovalci skrivali turški vojaki, malo manj davno pa partizani, ki so želeli ubežati nacistom. Toda čeprav tudi sama bežita in čeprav tudi sama pripadata drugačni veri, etniji in kulturi, Abdul in Hamza v teh zgodbah očitno nimata kaj početi. Uradno ne obstajata, uradno ju ni, niti si nihče ne želi, da bi obstajala in živela kot vsi drugi. Nočemo zares njunih zgodb skupaj z našimi. Zato ostaneta nema. In čakata, dokler ne napoči trenutek, ko je treba oditi dalje proti Beogradu in nato vedno naprej, vedno dalje na Zahod. Zapustita svojo izposojeno hišo, svoje izposojeno mesto in potem še film. Zbledita. Za njima ostaneta samo prazen kader in režiser, za katerega se zdi, da se sprašuje, kako dolgo, preden bosta zbledela tudi iz njegovega spomina. Bojana Bregar

But this is something the film does not tell. Something Abdul and Hamza do not tell. We hear stories on the idyllic coexistence of diverse religions, nations and other cultures before the collapse of a splendid grand political system, and other stories on the history of a great citadel where a long time ago Turkish soldiers were hiding from local pursuers, and less long ago, Partisans were hiding in the attempt to flee the Nazis. However, despite being in flight themselves, and despite belonging to a different religion, nation and culture, it is obvious that Abdul and Hamza have no place in these stories. Officially, they do not exist, they aren’t there and nobody wishes for them to exist and to live like other people. We don’t really want their stories to merge with ours. Which is why they remain silent. Waiting for the moment to come, to continue towards Belgrade and onwards, always onwards towards the West. They leave their borrowed house, their borrowed town, and ultimately the film. They fade out. What they leave behind is an empty shot and the director, who seems to be wondering how long it would take before they fade from his memory as well. Bojana Bregar

DOBRI SOSEDJE/GOOD NEIGHBOURS

DESTINACIJA SRBISTAN/DESTINACIJA SERBISTAN/ LOGBOOK_SERBISTAN

Srbija/Serbia, 2015 režija/directed by Želimir Žilnik scenarij/screenplay Želimir Žilnik fotografija/cinematography Miodrag Milošević, Orfeas Skutelis glasba/music Meho Puzić, Gabriella Benak, Milan Nenin zvok/ sound Filip Vlatković montaža/editing Vuk Vukmirović nastopajo/ featuring Stanley Akumbe, Mohamed Lee, Ibrahim Karabo, Duru Jelad producentka/producer Sarita Matijević produkcija/production Playground produkcija distribucija/distribution Playground produkcija format/format DCP dolžina/running time 94’

Želimir Žilnik – avtor, ki je v svojem opusu nanizal na desetine igrano-dokumentarnih del, že na samem začetku svoje filmske kariere postavi film na ustvarjalno križišče kritične teorije, družbenopolitičnega angažmaja in prakse vsakdanjega življenja. Nekoč je dejal, da film ni odvisen od realnosti kot take, ampak od filmarjeve transformacije realnosti: »Zame je edina neizčrpna tema filma tista, ki je povezana z odnosom med individualnimi usodami in družbo na splošno. Dokumentaristični impulz lahko še zlasti močno izraža splošno skrb za človeške usode. Dolžnost filma bi morala biti onkraj golega beleženja dejanskosti, v iskanju, analiziranju, zastavljanju vprašanj in tudi navduševanju občinstva.« Protagonist ne le jugoslovanskega novega, ampak (s strani oblasti pejorativno etiketiranega) »črnega« vala v šestdesetih v svoje filmsko ustvarjanje vpelje uporabo dokumentarno-dramatičnega režijskega pristopa, neke vrste »doku-drame« ali dramatiziranega dokumentarca, ki na eni strani izvira iz delovanja v dokumentarnem polju, na drugi strani pa iz neposrednega soočenja z realnostjo. Žilnikov preplet dokumentarnega in fiktivnega postane njegova slogovna znamka, ki ji je zvest še danes. V svojih filmskih zavzemanjih vselej sodeluje z lokalnim prebivalstvom in družbenimi akterji, v njegovih filmih nastopijo naturščiki, ki odigrajo najboljšo mogočo verzijo samih sebe, grobo sopostavljene podobe pa dajejo njegovim filmom občutek spontanosti. V doku-drami Destinacija Srbistan, ki jo je Žilnik snemal v letu 2014 na različnih lokacijah v Srbiji

DOBRI SOSEDJE/GOOD NEIGHBOURS

It was already at the beginning of his career that Želimir Žilnik, a filmmaker who has made dozens of documentary fiction films, placed film on the creative intersection of critical theory, socio-political engagement and the practice of everyday life. He once said that film does not depend on reality as such but on the filmmaker’s transformation of reality: “For me, the only inexhaustible topic of cinema is the one concerning the relation between individual fates and society in general. The documentary impulse can express the concern for human destinies particularly strongly. The duty of film should lie beyond the mere recording of reality, in searching, analysing, posing questions and inspiring the audience.” In the 1960s, the protagonist not only of the Yugoslav new, but also the “black” wave (as it was pejoratively labelled by the authorities) started using the documentary-dramatic directorial approach, a sort of docu-drama or dramatised documentary, which originates, on the one hand, in his work in the documentary field and, on the other, his direct encounter with reality. Žilnik’s intertwinement of documentary and fictional became his stylistic trademark, which he has remained faithful to to this day. In his filmic endeavours, he always cooperates with the local population and social agents, his films feature nonprofessional actors playing the best possible versions of themselves, while the crudely juxtaposed images give his films a feeling of spontaneity. Logbook_Serbistan, a docu-drama that Žilnik made in 2014 on various locations in Serbia (Subotica, Sjenica, Tutin, Novi Pazar, Bogovađa, Banja Koviljača, Belgrade and Novi Sad), follows illegal immigrants

ŽELIMIR ŽILNIK Žilnik (1942) velja za enega najbolj produktivnih, kritičnih in odmevnih filmskih ustvarjalcev s področja nekdanje Jugoslavije. Mednarodni sloves je požel že s kultnim prvencem Zgodnja dela (Rani radovi, 1969), ki mu je doma prinesel oznako »črnovalovec«. V 70. letih je v Nemčiji posnel vrsto družbenokritičnih del. Po vrnitvi v Jugoslavijo je v 80. letih ustvaril povsem samosvojo filmsko govorico, hibrid dokumentarnega in igranega. Žilnik (1942) is considered one of the most productive, critical and resonating filmmakers in the region of former Yugoslavia. He received international acclaim with his cult debut Early Works (Rani radovi, 1969), which earned him the label “black-waver”. In the 1970s, he made a number of socially critical works in Germany. After returning to Yugoslavia, in the 1980s, he created a unique docu-drama language, a hybrid of documentary and fiction film.

(Subotica, Sjenica, Tutin, Novi Pazar, Bogovađa, Banja Koviljača, Beograd in Novi Sad), sledimo ilegalnim priseljencem in prosilcem za azil, ki so iz Severne Afrike in z Bližnjega vzhoda pobegnili pred vojno in revščino. Nastanjeni so v zbirnih centrih. Pot jih je zanesla v Srbijo, kjer so morali skozi kompliciran proces prilagajanja na novo družbeno okolje, sedaj pa želijo doseči »boljši jutri« na končni destinaciji – v eni izmed držav EU. Skozi usode posameznikov film razgrne družbeno-politični kontekst, v katerem se nahajajo migranti.

and asylum seekers from North Africa and the Middle East who have fled war and poverty and are now accommodated in refugee centres. On their route, they found themselves in Serbia, where they had to go through a complicated process of adapting to a new social environment, but now want to reach a “better tomorrow” at their final destination – one of the EU countries. Through the fates of individuals, the film traces the socio-political context in which the migrants find themselves.

»Pred 25 leti se je na svetovni ravni pozivalo k spremembam, ki bi povrnile dostojanstvo in boljše življenje našim narodom. Sedaj je slika nasprotna. Grajenje zidov med državami zaradi imigrantov ruši vse tisto, zaradi česar je bil porušen Berlinski zid. Vse tisto, v imenu česar so rušili Berlinski zid, je sedaj porušeno. Zid predstavlja konkreten primer, kako politiki pljunejo lastnemu narodu v obraz.« (Ž. Ž.)

“25 year ago, there were global appeals for changes that would give our nations back their dignity and a better life. Now, the situation is the opposite. Building walls between countries because of migrants is destroying everything that the demolition of the Berlin Wall aimed at. Everything that the Berlin Wall was demolished for has been destroyed. The wall is a concrete example of how politicians spit in the face of their own people.” (Ž. Ž.)

Maja Krajnc

DOBRI SOSEDJE/GOOD NEIGHBOURS

LAMPEDUSA

Avstrija/Austria, 2015 režija/directed by Peter Schreiner scenarij/screenplay Peter Schreiner fotografija/cinematography Peter Schreiner zvok/sound Johannes Schmelzer-Ziringer montaža/editing Peter Schreiner igrajo/ cast Giuliana Pachner, Zakaria Mohamed Ali, Pasquale De Rubeis, Anna Matina, Awad Elkish produkcija/production Peter Schreiner Filmproduktion - echt.zeit.film distribucija/distribution echt.zeit.film format/format DCP dolžina/running time 130’

Giulia je na Lampedusi ob pomoči starejšega para prebredla osebno stisko. Zakaria se je tja zatekel pred državljansko vojno v rodni Somaliji, zdaj pa je novinar in živi v Rimu. Oba sta se vrnila na ta majhen mediteranski otok – eno izmed najbolj obleganih vstopnih točk v trdnjavo Evropo in cilj številnih, ki iščejo zatočišče na najnevarnejši migrantski poti na svetu.

On Lampedusa, Giulia had worked through her personal distress with the help of an older couple. Zakaria had fled to Lampedusa from civil war in his native Somalia, and now works as a journalist in Rome. They both returned to this small Mediterranean island – one of the most beleaguered entry points to Fortress Europe and the destination of many who seek refuge on the most dangerous migrant route in the world.

Za avstrijskega eksperimentalnega dokumentarista Petra Schreinerja so pred leti zapisali, da ustvarja filme, kot drugi pišejo poezijo. Snemati je začel v zgodnjih osemdesetih in po daljšem premoru nadaljeval leta 2006, ko je naposled poprijel za digitalno kamero. Tako kot v zgodnejših delih Schreiner tudi tokrat snema visokokontrastne črnobele podobe, ki v dolgih, umirjenih sekvencah in ob subtilnem bučanju Sredozemskega morja odpirajo prostor za intuitivno, zgoščeno pozornost. Skopa, krhka krajina otoka Lampeduse pod njegovo taktirko postaja malodane abstrakten prostor srečanja, kjer protagonisti naslavljajo svoje najintimnejše misli in strahove. Poskušajo se orientirati na poti iskanja smisla, ki pa venomer ostaja fragmentarna, ujeta nekje med spomini in sedanjostjo. Preteklost se ob navzočnosti večplastne filmske podobe nenehno vriva v monologe in pogovore; vtisnila se je v njihovo kožo, obraze in telesa, ki jih Schreiner raziskuje v bližnjih posnetkih. Čeprav jih sprožajo tudi politično ozadje otoka in usode posameznikov na njem, so vprašanja, ki se jim zastavljajo in v katerih se združujejo travme, sanje, upanje ter izkustva, univerzalnega značaja in le redko tudi odgovorjena.

Years ago, the Austrian experimental documentarian Peter Schreiner was said to make films like others write poetry. He started making films in the early 1980s and after a longer break continued in 2006, when he finally picked up a digital camera. Like in his earlier works, Schreiner shoots high-contrast blackand-white images that in long, unrushed sequences and with a subtle roaring of the Mediterranean Sea open the space for intuitive, condensed attention. Under his direction, the bare, fragile landscape of Lampedusa becomes an abstract place of meetings where the protagonists address their innermost thoughts and fears. They try to orient themselves on the path of searching for a meaning, a path that remains fragmentary, caught somewhere between their memories and the present. In the presence of multilayered film images, the past constantly intrudes in the monologues and conversations; it has been impressed in their skin, faces and bodies, which Schreiner explores in their close-ups. Although also triggered by the political background of the island and the fates of individuals on it, the questions that they pose and that bring together their traumas, dreams, hopes and experiences, are universal and rarely answered.

DOBRI SOSEDJE/GOOD NEIGHBOURS

PETER SCHREINER Peter Schreiner (1957) je študiral na oddelku za film in televizijo Akademije za glasbo in uprizoritvene umetnosti na Dunaju in od leta 1982 ustvarja eksperimentalne dokumentarne filme. Njegova dela so bila prikazana na številnih festivalih po svetu, med drugim v Benetkah, Karlovih Varih, Rotterdamu in na Dunaju. Peter Schreiner (1957) graduated in film and television from the Vienna University of Music and Performing Arts, and has been making experimental documentary films since 1982. His works have been shown at numerous festivals worldwide, including Venice, Karlovy Vary, Rotterdam, Vienna.

Schreinerjeva Lampedusa je film, osvobojen potrebe po pojasnjevanju, ki govori bolj o eksistencialni kot družbeni ali politični negotovosti, pri čemer sam postaja svojevrstno iskanje in preizpraševanje – svojih protagonistov, filmske forme in stvarnosti, v kateri je nastajal.

Schreiner’s Lampedusa is a film freed of the need to explain, one which says more about the existential than the social or political uncertainty, itself becoming a sort of search or questioning – of its protagonists, film form and the reality in which it was made. Bor Pleteršek

Bor Pleteršek »Glavni cilj zato ni prikazati ‘zgodbo’, pač pa dopustiti, da se razvije in postane vidna notranja naracija. Omogočen bo proces, ki se – na globljih ravneh – lahko odvije le v trenutku snemanja. Kako se proces kot celota, pa tudi manjše sekvence ali celo tudi le en posnetek dejansko zgodijo, je nekaj, kar mora v končni fazi ostati odprto. /.../ To je tisto, kar igralkam in igralcem omogoči, da igrajo od znotraj ali, še bolje, da so tam kot oni sami, hkrati pa vseeno postanejo del notranje naracije filma.« Peter Schreiner

“The main objective is therefore not to display a ‘story’, but to let an inner narrative develop itself and become visible. A process shall be made possible, which - on its deeper levels - can only take place in the moment of recording. How the process as a whole, but also the smaller sequences, or even just a single shot, actually happen, is something that ultimately needs to remain open-ended. /.../ It is this which allows the actors and actresses to act from within themselves, or - even better - to simply be there as themselves, and still, at the same time, become part of the film’s inner narrative.” Peter Schreiner

DOBRI SOSEDJE/GOOD NEIGHBOURS

TUDI VRTNICE HOČEMO/VOGLIAMO ANCHE LE ROSE/ WE WANT ROSES TOO

Italija/Italy, 2007 režija/directed by Alina Marazzi scenarij/screenplay Alina Marazzi fotografija/cinematography Mario Masini glasba/music Ronin zvok/sound Benni Atria montaža/editing Ilaria Fraioli glasovi/ voices Anita Caprioli, Teresa Saponangelo, Valentina Carnelutti producenti/producers Gianfilippo Pedote, Francesco Virga, Andres Pfaeffli, Elda Guidinetti produkcija/production MIR Cinematografica, RAI CINEMA distribucija/distribution MIR Cinematografica format/format DVD dolžina/running time 84’

Ne le kruha, tudi vrtnic

Not only bread, but roses too

Najvplivnejša dela Carle Lonzi, matere italijanskega feminizma v zgodnjih sedemdesetih, niso njene kritike psihoanalitične konstrukcije ženske seksualnosti. Nasprotno – italijanske feministke in feministi se najpogosteje sklicujejo na njene dnevnike, ki jih imajo za pomembne zgodovinske dokumente, vendar tudi za nekaj, s čimer se lahko identificirajo. Osebni dnevnik, pogovor, manifest, tradicionalno »manjvredne« izrazne forme, tako izumijo in definirajo na novo, s sloganom feminizma drugega vala: osebno je politično. Tudi nasploh se je italijanski feminizem, namesto da bi se zavzemal zgolj za enakost – podobno kot francoski –, ves čas spraševal tudi o tem, kako je feminilno drugačno od maskulinega, ter pod vprašaj postavljal »nevtralno«, ki je pogosto narejeno po kopitu slednjega.

The most influential works by Carla Lonzi, the mother of Italian feminism of the 1970s, are not her critiques of the psychoanalytical construction of female sexuality. On the contrary, Italian feminists most often refer to her diaries, which they consider to be important historical documents, but also something they can identify with. Personal diaries, conversations, manifestos, the traditionally “inferior” forms of expression, are thus invented anew with the slogan of second-wave feminism: The personal is political. In general, too, Italian feminism did not argue merely for equality – like the French did – but rather constantly explored how the feminine differs from the masculine and called into question the “neutral” that was often modelled on the latter.

Če so sedemdeseta torej v kolektivni zavesti še danes prežeta s podobami uličnih protestov in pretepov ter družbenih sprememb, za katere je bila bistvena umestitev na ulico – v javni prostor, se Tudi vrtnice hočemo Aline Marazzi namesto tega osredotoči na osebne dnevnike iz tistega časa, na filme, posnete s super 8, na eksperimentalne filme – saj namesto javnega išče predvsem podobe notranjosti domov. »Medtem, ko so bili moški zunaj na ulici in so metali kamenje, so ženske sedele pri kuhinjskih mizah, počele nove stvari, zase, in se pogovarjale o svojih osebnih problemih.« Pri tem niso delovale le proti tradicionalnim vladajočim strukturam. Izkazalo se je, da so »establišment«

DOBRI SOSEDJE/GOOD NEIGHBOURS

If in the collective consciousness, the 1970s are still permeated with images of street protests, fighting and social changes whose essential characteristic was their placement in the streets – in public space, Alina Marazzi’s We Want Roses Too instead focuses on personal diaries of the time, films shot on Super 8, experimental films – since what it searches for is not the public but primarily the images inside homes. “In fact, what women were doing – at the same time that the men were out in the street and throwing pebbles – they were discussing things, sitting around kitchen tables, doing new things, for them, talking about their own personal issues.” They thus acted not only against the traditional ruling structures, it turned out that the “establishment” also included

tudi njihovi starši in celo partnerji, včasih »tovariši« revolucionarji: ti so prva izpostavljanja problematik spolnosti, materinstva, splava in gospodinjstva v primerjavi z drugimi prevratniškimi gibanji pogosto videli kot trivialna. »Vse imamo korist od sprememb, ki so se zgodile, ne vemo pa, kako težko je bilo in kaj je to za ženske pomenilo takrat, saj so morale skozi osebno revolucijo v svojem življenju.« Carla Lonzi je zapisala, da si feministično gibanje ne želi moške moči – namesto tega mora sam koncept moči postaviti pod vprašaj. In res: četudi Tudi vrtnice hočemo nemudoma pritegne s svojim vizualno navdušujočim, živahnim združevanjem arhivskih posnetkov, oglasov in animiranih in drugih barvitih podob, ki pospremijo osebne izpovedi treh Italijank v sedemdesetih, je bistvo vsega tega drugje: tako kot njihove pripovedi združujejo umetniško in izobraževalno, osebno in politično, koristno in poetično – kruh in vrtnice –, je tudi forma filma Tudi vrtnice hočemo v svojem bistvu pravzaprav feminilen, subjektiven upor proti konvencijam tradicionalne, objektivne in maskuline forme zgodovinskega dokumentarnega filma.

their parents and even their partners, sometimes “comrades” in revolution: in comparison to other revolutionary movements, these comrades often saw the first instances of raising the issues of sexuality, motherhood, abortion and housekeeping as trivial. “And we all benefit from the change that happened there, but we don’t actually know how hard it was and what it implied for women then, having to go through a personal revolution in their lives.” Carla Lonzi wrote that the feminist movement does not want male power – instead, it has to call into question the very concept of power. Indeed: even though We Want Roses Too immediately draws attention with its visually impressive, lively compilation of archival footage, advertisements and animated and other colourful images that accompany the personal stories of three Italian women in the 1970s, the essence lies elsewhere: just like their narratives join the artistic and the educational, the personal and the political, the useful and the poetical – bread and roses – so the form of We Want Roses Too is essentially a feminine, subjective resistance against the conventions of the traditional, objective and masculine form of historical documentary cinema.

Tina Poglajen Tina Poglajen

DOBRI SOSEDJE/GOOD NEIGHBOURS

PRIJATELJI/FRIENDS

PRIJATELJI/FRIENDS Jan Cvitkovič: Možnosti so neskončne/The Possibilities Are Endless Nicola Falcinella: Kaj zdaj? Spomni me/E Agora? Lembra-me/What Now? Remind Me Ribji spev/Rabo de Peixe/Fish Tail sekcija Letni kino Manzioli/section Manzioli Open-Air Cinema Helmut Groschup: Jagnje/Lamb sekcija Letni kino Manzioli/section Manzioli Open-Air Cinema Michael Pattison: Ni krave na ledu/Ingen ko på isen/No Cow On the Ice Rumena opečnata cesta/Den gula tegelvägen/Yellow Brick Road

PRIJATELJI/FRIENDS

MOŽNOSTI SO NESKONČNE/THE POSSIBILITIES ARE ENDLESS

Velika Britanija/UK, 2014 režija/directed by James Hall, Edward Lovelace fotografija/ cinematography Richard Stewart glasba/music Edwyn Collins zvok/sound Christopher Barnett montaža/editing David Charap nastopajo/featuring Edwyn Collins, Grace Maxwell, William Collins producenti/producers Pulse Films (Julia Nottingham, Lucas Ochoa, Thomas Benski) distribucija/distribution Solo Positivo format/format DCP dolžina/running time 83’

Ko gledamo Edwyna Collinsa, kako leta 1995 samozavestno sedi pri zvezdniškem Conanu O’Brienu, se nam zdi, da bo njegova samozavest samo še rasla skupaj z njegovo glasbeno kariero in da gre za še en linearno zastavljen dokumentarec o veliki glasbeni karieri (kmalu se izkaže, da je skrb odveč). Še ko mu O’Brien pripomni, kako lepo da je vzgojen in vljuden, mu Collins še samozavestneje odgovori, da je pač preprosto božanski.

Looking at Edwyn Collins how self-assured he is on the show of celebrity host Conan O’Brien in 1995, we can imagine his confidence only to grow further with his music career, and expect to see another linear documentary on a major music career (we needn’t have worried, it soon turns out). Even as O’Brien comments on how mild-mannered and polite he is, Collins replies with growing confidence that he is simply divine.

No, zdi se, da se Collins le svojemu božanskemu statusu lahko zahvali, da je 10 let po gostovanju v Late Night Show preživel hude možganske krvavitve, ki so ga sklatile na raven novorojenčka in mu v možganih pustile le štiri besede oziroma fraze: da, ne, ime žene Grace Maxwell ter morda najpomembnejšo: Možnosti so neskončne.

Well, it is only Collins’ divine status he can thank, it seems, that ten years after visiting the Late Night Show he survived a severe brain haemorrhage, which knocked him to the state of a new-born and only left four words, or phrases, more precisely, in his mind: yes, no, his wife’s name Grace Maxwell, and, perhaps the most important one: The possibilities are endless.

Lahko bi se predal, lahko bi se … No, lahko ugibamo, ampak Collins se odloči za to, da se bo boril. In ravno ta njegova izjemna borba, da si pribori nazaj svoje (glasbeno) življenje, je čudovito filmsko potovanje, potovanje vredno samega Terrencea Malicka. Tako gledamo fragmente Collinsovega življenja, ki se spajajo z izjemnimi posnetki škotskega podeželja (vrhunska fotografija Richarda Stewarta), oboje je podloženo s klavirjem, in nam prek pripovedi iz ust Collinsove žene in ponovno učečega se Edwyna odkrivajo tudi njun neizmerno ljubeč odnos, ki bi ga režiserja Edward Lovelace in James Hall lahko romantično zbanalizirala, a ga k sreči nista.

He could have given up, he could have... Well, we can only assume, but Collins decides to fight. And it is this exceptional fight of his to win his (music) life back that makes for a wonderful film journey, a journey worthy of Terrence Malick himself. We are thus watching fragments of Collins’ life merged with stunning shots of the Scottish countryside (excellent cinematography by Richard Stewart), accompanied by piano music, while the narration by Collins’ wife and the newly learning Edwyn exposes their infinitely loving relationship, which directors Edward Lovelace and James Hall could choose to turn banally romantic, but fortunately haven’t.

Collinsu uspe. Tri leta po možganskem udaru že stoji na odru Glastonburyja (ta veliki povratek morda v filmu pogrešamo), še prej pa dokonča in

PRIJATELJI/FRIENDS

Collins makes it. Only three years after the brain stroke he is on stage in Glastonbury (his major comeback was missing in the film, it could be said), and even before this, he completes and releases

JAMES HALL, EDWARD LOVELACE Lovelace in Hall sta leta 2006 diplomirala na prestižni britanski filmski akademiji Bournemouth. Za produkcijsko hišo Pulse sta najprej snemala glasbene videe. Njun prvi film, Werewolves Across America, je dokumentarec o neodvisni garažni glasbeni sceni v ZDA. Leta 2012 je sledil film Part of Me, ki prinaša intimni vpogled v življenje svetovne pop zvezdnice Katy Perry in se je po izidu zavihtel na 4. mesto najdonosnejših glasbenih dokumentarcev v zgodovini. Lovelace and Hall graduated from the UK’s prestigious Bournemouth Film School in 2006. They were making music videos for Pulse before making their first film, Werewolves Across America, a documentary about the DIY indie music scene in the US. They followed up in 2012 with Part of Me, an intimate look into the life of global pop star Katy Perry, which on release became the 4th highest grossing music documentary of all time.

izda zaradi bolezni nedokončani album, nauči se čudovito risati in spet hodi po svojem najljubšem snemalnem studiu … In se prvič po bolezni (še pred velikimi festivali) na odru pojavi še s kitaro, seveda v družbi žene Grace Maxwell. Edwyn Collins je glasbeni zvezdnik iz sredine 90. let prejšnjega stoletja, najbolj znan po svoji megauspešnici A Girl Like You, ki nam jo režiserja, najbrž da bi poučila vse nevedne, servirata, še preden se samozavestni Collins zaklepeta z O’Brienom.

the album that was previously unfinished due to his illness, he learns to draw beautifully and again treads the floors of his favourite recording studio ... And for the first time after his illness (before playing major festivals) appears on stage with his guitar accompanied, naturally, by his wife Grace Maxwell. Edwyn Collins is a music celebrity from mid-1990s, best known for his mega hit A Girl Like You, which is served by the directors, possibly to advise all the ignorant spectators, even before the self-assured Collins engages in conversation with O’Brien.

Uroš Bonšek Uroš Bonšek Film na Kino Otok prihaja v sodelovanju s festivalom Solo Positivo, vodilnim festivalom glasbenega dokumentarnega filma v jugovzhodni Evropi, ki z zvenečimi imeni iz filmskega in glasbenega sveta ter pozitivnim vzdušjem prispeva k popularizaciji tega filmskega žanra v regiji. Možnosti so neskončne je zmagovalec šeste izdaje festivala, prve po selitvi v Opatijo po petih uspešnih letih v Starigradu - Paklenici.

Screened at Kino Otok in collaboration with the Solo Positivo Film Festival, the leading music documentary festival in South East Europe. With big names from the worlds of cinema and music, and good atmosphere, the festival contributes to the popularisation of this film genre in the region. The Possibilities Are Endless is the winner of the 6th edition, the first after the festival began a new chapter last year in Opatija. Croatia, following five successful years in Starigrad - Paklenica.

PRIJATELJI/FRIENDS

KAJ ZDAJ? SPOMNI ME/E AGORA? LEMBRA-ME/ WHAT NOW? REMIND ME

Portugalska/Portugal, 2013 režija/directed by Joaquim Pinto scenarij/screenplay Joaquim Pinto fotografija/cinematography Joaquim Pinto, Nuno Leonel zvok/ sound Joaquim Pinto, Nuno Leonel montaža/editing Joaquim Pinto, Nuno Leonel nastopajo/featuring Joaquim, Nuno, Jo, Deolinda, Cláudia, Nelson producenti/producers Joana Ferreira, Isabel Machado, Christine Reeh distribucija/distribution Presente format/format DCP dolžina/running time 164’

»Za začetek se nasmehnem,« in pokaže rentgensko sliko svojih brezzobih ust. Tako se začne mojstrovina Joaquima Pinta Kaj zdaj? Spomni me. Prvoosebni film nekje med dnevnikom in spominom, ki bi ga težko primerjali s čimerkoli, razen morda s filmom Agnèsine plaže in drugimi deli Agnès Varda. Joaquim Pinto, sicer mojster zvoka in producent, je v 80. in 90. letih kot režiser podpisal tri filme: Kamen v žepu (1988), Onde bate o sol (1989) in Das Tripas Coração (1992). Zatem je posnel nekaj kratkih in dokumentarnih filmov, potem pa ponovno pritegnil pozornost velikih festivalov s filmom Kaj zdaj? Spomni me, za katerega je leta 2013 v Locarnu prejel posebno nagrado žirije.

“I start with a smile” and he shows a radiography of his toothless mouth. It’s the beginning of What now? Remind Me, Joaquim Pinto’s masterpiece. Between diary and memoir, a first person film with few comparisons other than The Beaches of Agnès and other Agnès Varda’s works. Sound technician and producer, Pinto realized three feature films as a director between the 80s and 90s: Uma pedra no bolso (1988), Onde bate o sol (1989) and Das Tripas Coração (1992). Then, he made some shorts and documentaries, before re-attracting the interest of big festivals with What now? Remind Me, the winner of Special Jury Prize in Locarno 2013.

Pinto beleži svoje življenje preko celotnega leta od novembra 2011 do božiča 2012, ko prestaja novo eksperimentalno zdravljenje za virus HIV. Meseci potovanj v Madrid in terapij, šibkosti in skrbi. Hkrati s svojim partnerjem Nunom Leonelom snema in montira film O Novo Testamento de Jesus Cristo Segundo João, v katerem Luis Miguel Cintra bere Janezov evangelij.

For an entire year, from November 2011 to Christmas 2012, Pinto films his life when dealing with a new experimental therapy for HIV. Months of travels to Madrid and treatments, weakness and worries. At the same time, with his companion Nuno Leonel, he’s filming and editing The New Testament of Jesus Christ According to John (O Novo Testamento de Jesus Cristo Segundo João), with Luis Miguel Cintra reading John’s Gospel.

Prisoten je tudi Nuno, ki se sicer v filmu noče pojavljati, vendar je vedno ob njem, pa zvesti Rufus in drugi psi. Kot bi se dogajanje odsevalo v njem, ima Rufus, ki sta ga našla in posvojila leta 2001, tudi sam zdravstvene težave, njegovo stanje je vse slabše. In potem je tu obdelovalna zemlja, ki sta jo kupila, da bi gojila zelenjavo in sadila drevesa. Narava in zdravila, žuželke in injekcije, tišina podeželja in bolnišnic. To je film nasprotij. Pintu se razpoloženje lahko spremeni iz melanholičnega v ironično, pa spet nazaj k bolečini in skrbem,

There is also the presence of Nuno, who doesn’t want to be in the film but shares everything with him, the faithful Rufus and their other dogs. As in a mirror, Rufus, which they found and adopted in 2001, has health problems and its condition is deteriorating. And the farmland they bought to grow vegetables and plant trees. Nature and drugs, insects and syringes, the silence of the country and hospitals. This is a film of contrasts: Pinto can change mood from melancholy to irony, and back to pain and concerns, but never fall into despair. While his health

PRIJATELJI/FRIENDS

JOAQUIM PINTO Joaquim Pinto (1957) je kot mešalec zvoka sodeloval pri več kot 100 filmih režiserjev, kot so Manoel de Oliveira, Raul Ruiz, Werner Schroeter in André Techiné. Med letoma 1987 in 1996 je produciral okoli 30 filmov, tudi Recordações da Casa Amarela in A Comédia de Deus režiserja Joãa Césarja Monteira, ki sta bila nagrajena na beneškem festivalu. Film Kaj zdaj? Spomni me je bil prikazan v 34 državah in prejel številne nagrade, med drugim posebno nagrado žirije in nagrado Fipresci na festivalu v Locarnu leta 2013. Joaquim Pinto (1957) was sound mixer for more than 100 films, working with directors such as Manoel de Oliveira, Raul Ruiz, Werner Schroeter and André Techiné. Between 1987 and 1996 he produced around 30 films, including João César Monteiro’s Recollections of the Yellow House and God’s Comedy, both awarded at the Venice Film Festival. What now? Remind-me was screened in 34 countries and received multiple awards, including Special Jury Prize and Fipresci Prize at Locarno 2013.

a nikoli ne zapade v obup. Medtem ko se mu zdravstveno stanje izboljšuje in slabša, se v spominih vrača k svojemu delu in življenju, k ljudem in prijateljem, ki jih je spoznal. Izjemno ganljivi film je posnet kot mozaik, ki ga sestavljajo filmi, spomini, stiske, ljudje, virus, samota, psi, bolezen, upanje, preteklost in prihodnost. Od leta 1974, ko je z očetom potoval po Evropi, študija v nekdanji Vzhodni Nemčiji, srečanja z režiserjem Joãom Césarjem Monteirom, ki ga je spodbudil, naj študira film. Potem njegova dolga kariera ob boku velikanov, kot so Manoel de Oliveira, Raoul Ruiz, João Botelho in André Téchiné. In potem še diagnoza HIV-pozitiven, ki jo je odkril leta 1996, prijatelji, ki jih je pokosil aids, leta, ki jih je preživel na zdravljenjih. Portugalska gospodarska kriza. Zgodba, ki preseneti ob vsakem obratu in nikoli ne postane sentimentalna. Pinto brez sramu razkriva svoja najintimnejša občutja in bolečine, deli jih z občinstvom in pri tem vedno ostane spoštljiv do sebe in do gledalcev. Kaj zdaj? Spomni me nam pove nekaj o svetu, o življenju, o nas samih. Veličastno umetniško delo, ki nam pomaga živeti. Kot palica, na katero se opremo, opozorilo za vsakogar, razglas vere v človeka.

condition goes up and down, he looks back at his work and life, people and friends he met. A deeply moving film made as a patchwork, made of cinema, memories, distress, people, virus, loneliness, dogs, sickness, hopes, past and future. From 1974, when he travelled around Europe with his father, the studies in the former East Germany, the meeting with director João César Monteiro that pushed him to study cinema. Then a long career, side by side with great names such as Manoel de Oliveira, Raoul Ruiz, João Botelho and André Téchiné. Also the HIV-positive status he discovered in 1996, friends killed by Aids, years spent in treatment. Portugal’s economic crisis. A story that surprises at every turning point and never becomes sentimental. Without shame, Pinto reveals his most intimate feelings and suffering, sharing them with the audience, always respecting himself and the spectators. What now? Remind Me teaches us something about the world, about life, about ourselves. A magnificent piece of art that helps our existence. A cane supporting us, a warning for everybody, a declaration of faith in the human being. Nicola Falcinella

Nicola Falcinella

PRIJATELJI/FRIENDS

NI KRAVE NA LEDU/INGEN KO PÅ ISEN/NO COW ON THE ICE

Švedska/Sweden, 2015 režija/directed by Eloy Domínguez Serén fotografija/ cinematography Eloy Domínguez Serén zvok/sound Ricardo Atienza, Niklas Billström, Johanna Byström & Sara Campanella montaža/ editing Eloy Domínguez Serén produkcija/production Eloy Domínguez Serén distribucija/distribution Eloy Domínguez Serén format/format DCP dolžina/running time 63’

Delo Eloya Domíngueza Seréna se vrača na Kino Otok dve leti po otoškem fokusu na novi val galicijske kinematografije. Takrat je bil na festivalu prikazan režiserjev prvenec, kratki film Pettring, lastnoročno posnet dnevnik o njegovih prvih mesecih življenja na Švedskem, kjer se je leta 2012 preživljal kot gradbeni delavec. Tisti, ki so videli ta film, bodo prepoznali in cenili segmente Serénovega Ni krave na ledu, ki vključuje Pettring, pa tudi In the New Sky (2014), domiselno zasnovan kratki film o nespremenljivi orientacijski točki v spreminjajočem se urbanem okolju, ki ga je režiser posnel v Stockholmu.

Eloy Domínguez Serén’s work returns to Kino Otok two years after the festival’s focus on a new wave of filmmaking from Galicia, Spain. On that occasion, the festival screened the director’s debut short, Pettring, a self-shot diary about his first months living in Sweden as a construction worker in 2012. Those who saw the film will recognise and appreciate segments of Domínguez Serén’s No Cow On the Ice, which incorporates Pettring as well as In the New Sky (2014), an ingeniously conceived short about a fixed landmark in a changing urban terrain that the director shot in Stockholm.

To ni zgolj leno avtoplagiatorstvo. Razlog za vključitev teh dveh zelo različnih kratkih filmov v večjo celoto je, da Ni krave na ledu dokumentira Serénov lastni razvoj v letih ukvarjanja z očarljivo tujim kulturnim in geografskim prostorom. Ker se je na Švedsko sprva preselil zaradi ljubezni, je tam ostal zaradi občutka, da bi se njegova naraščajoča naklonjenost do pokrajine in ljudi vedno zdela nepopolna, če ne bi dovolj zadovoljivo osvojil tamkajšnjega jezika.

This is not merely lazy self-plagiarism. The reasons for including these two very different shorts into a larger whole is that No Cow On the Ice documents Domínguez Serén’s own evolution, across a number of years, in engaging with an appealingly foreign cultural and geographical space. Having initially moved to Sweden for love, he stayed there out of a feeling that his increasing affinity to the landscape and its people would always seem incomplete if he didn’t conquer the native language satisfactorily enough.

Tu sta jezik in pokrajina tesno povezana. Medtem ko se švedščina tega neskončno radovednega filmarja izboljšuje, se širi tudi njegov filmski besednjak: če je bil Pettring na neki način strukturno surov, je In the New Sky eden najboljših konceptualnih krajinskih filmov zadnjih let. Poleg tega je ta enourni filmski esej – ki je nedavno osvojil nagrado za najboljši mednarodni dokumentarec na Play-Doc v Tuiju – avtoportret mladega filmarja na tuji grudi, ki ne raziskuje le novih umetniških strategij, pač pa podrobno prikaže njegovo napredovanje. Ko vidimo tega Galicijčana daleč od doma, kako končno eksperimentira z bolj prefinjeno filmsko obliko v lepi

PRIJATELJI/FRIENDS

Here, language and landscape are deeply connected. As this endlessly curious filmmaker’s Swedish improves, his cinematic vocabulary also expands: where Pettring was texturally crude in ways, In the New Sky is one of the finest conceptual landscape films in recent years. Beyond that, this hour-long cineessay — which recently took the Best International Documentary prize at Play-Doc in Tui — is a selfportrait of a young filmmaker on foreign ground, not only investigating new artistic strategies, but detailing his progress along the way. As we see this Galician, far away from home, finally experimenting with a more

ELOY DOMÍNGUEZ SERÉN Eloy Domínguez Serén (1985) je pred režijskim debijem delal kot filmski kritik. Leta 2012 se je iz rodne Galicije preselil na Švedsko in tam posnel kratki film Pettring (prikazan na Kino Otoku 2014). Film Ni krave na ledu je doživel premiero na festivalu Visions du Reel in prejel nagrado za najboljši mednarodni film na festivalu PlayDoc v Galiciji. Film Rumena opečnata cesta je bil premierno prikazan v Jihlavi. Serén trenutno dokončuje film Vintersolverv, norveško produkcijo, posneto znotraj arktičnega kroga. Eloy Domínguez Serén (1985) worked as a film critic before debuting as a filmmaker. In 2012 he immigrated from Galicia to Sweden, where he made his short film Pettring (shown at Kino Otok 2014). No Cow On the Ice premiered at Visions du Reel, and won Best International Film award at Play-Doc, Galicia. Yellow Brick Road premiered at Jihlava Film Festival. Serén is currently working in the postproduction of Midwinter, a Norwegian production shot in the Arctic Circle.

skandinavski zimi, nas to lahko spomni na Umetnikov mladostni portret Jamesa Joycea, čigar literarni slog se razvije od enostavne, otroške proze do sofisticiranega in samozavestnega branja sveta. Kot večni popotnik se je Domínguez Serén že odpravil novim dogodivščinam naproti. Skupaj z Ni krave na ledu bo prikazan tudi njegov zadnji film Rumena opečnata cesta. Ta prikladno naslovljeni kratki film je nastal, ko je režiser leta 2014 dva meseca delal v saharskih begunskih taboriščih v alžirskem Tindoufu in prostovoljno poučeval na Saharski filmski šoli. Nekega popoldneva je začel snemati razbite karoserije starih, zapuščenih avtomobilov, ki so vseprisoten del puščavske krajine. »Toda medtem ko sem snemal star tovornjak,« omeni režiser, »se je v kadru pojavil radoveden, živahen in ostroumen deček, ki je nepreklicno spremenil tok dogodkov.«

refined film form against a beautiful Scandinavian winter, we might be reminded of James Joyce’s Portrait of the Artist As a Young Man, whose literary style develops from simple, child-like prose to a sophisticated and confident reading of the world. Ever the traveller, Domínguez Serén has since moved on in search of new adventures. Screening with No Cow On the Ice is his latest film, Yellow Brick Road. This suitably titled short emerged from the two months the director spent in 2014 working in the Sahrawi refugee camps in Tindouf, Algeria, and as a volunteer teacher at the Sahara Film School. One afternoon, he began to film the wrecked shells of old, abandoned automobiles that are a ubiquitous part of the desert landscape. “But while I was shooting an old truck,” the director notes, “a curious, spirited and sharp little boy showed up in the frame and transformed irrevocably the course of events.”

Michael Pattison Michael Pattison

RUMENA OPEČNATA CESTA/ DEN GULA TEGELVÄGEN/ YELLOW BRICK ROAD Švedska, Španija/Sweden, Spain, 2015, 14’

PRIJATELJI/FRIENDS

SILVANOV ZALIV/SILVANâ&#x20AC;&#x2122;S BAY

SILVANOV ZALIV/SILVAN’S BAY Balada o izgnancih/La Ballade des Exiles/Ballad of Exiles: Yılmaz Güney Pot/Yol

SILVANOV ZALIV/SILVAN’S BAY

BALADA O IZGNANCIH/LA BALLADE DES EXILES/ BALLAD OF EXILES: YILMAZ GÜNEY

Velika Britanija, Turčija/UK, Turkey, 2016 režija/directed by İlker Savaşkurt scenarij/screenplay Mehmet Kala fotografija/cinematography İlker Savaşkurt glasba/music Uğur Ateş zvok/sound Güçlü Basak, Burak Erseçgen montaža/editing İlker Savaşkurt igra/cast Bariş Atay nastopajo/featuring Ali Berktay, İsmail Yıldırım, Ayşe Emel Mesçi, Ahmet Zirek, Sema Kuray producent/ producer Abbas Nokhasteh produkcija/production Openvizor distribucija/distribution İlker Savaşkurt format/format DCP dolžina/running time 69’

Balada o izgnancih je dokumentarec, ki ga lahko zavedemo v več podkategorij, kot biografski film oziroma portret avtorja, film o snemanju filma, predvsem pa kot delo o ustvarjanju v tujem okolju, ko je umetnik iztrgan iz matičnega kulturnega miljeja in prisiljen sprejemati kompromise.

Ballad of Exiles: Yılmaz Güney is a documentary that could be assigned several subcategories: a biographical film or the portrait of an author, a making-of film, or, most notably, a work on an artist in a foreign environment, torn from their original cultural milieu and forced to compromise.

Film İlkerja Savaşkurta je kljub vsemu v največji meri dokument snemanja filma Zid (Duvar), poslednjega kreativnega napora Yılmaza Güneyja, najvidnejše figure turškega filma šestdesetih in sedemdesetih let, popularnega zvezdnika akcijskih filmov in žanrskih smeti, po katerih je turški film v tistem času slovel (igral je tudi v dvajsetih filmih letno!), pa seveda kontroverznega avtorja, ki je kmalu zatem položil temelje turškemu političnemu filmu. Güneyjevi režijski dosežki so bili logični podaljšek njegove militantne politične drže; vseskozi je pozival k revoluciji ter zagrizeno nasprotoval seriji vojaških udarov in militarizaciji Turčije, ki je zasužnjila večino prebivalstva.

That said, İlker Savaşkurt’s film is primarily a document on shooting the film Duvar, the final creative effort by Yılmaz Güney, the most prominent figure in the 1960s and 1970s Turkish cinema, a popular star of action films and genre trash, which the Turkish cinema of the time was famed for (he appeared in up to twenty films per year!), and indeed a controversial author who soon afterwards laid the foundations for the Turkish political film. Güney’s achievements in directing were a logical extension of his militant political stance: he had been continually calling for a revolution and resolutely opposing the series of military coups and the militarisation of Turkey, which enslaved the majority of population.

Ko je Güney leta 1982 v pariških predmestjih pričel snemati film Zid, svoj prvi ne-turški in (kot se bo izkazalo) poslednji film, je imel status političnega begunca z odvzetim državljanstvom, saj je ušel iz turškega zapora in pobegnil na Zahod. V Franciji je skrivaj zmontiral film Pot (Yol), ki ga je režiral iz zapora (!) in s katerim je v Cannesu pobral zlato palmo. Če je Pot Turčijo slikala kot družbo, kjer niti ljudje na prostosti niso pretirano svobodni (vsa Turčija je zapor, gibanje je omejeno, nadzor vsesplošen …), je Zid zaporniško represijo slikal neposredno in skrajno nazorno, kot pekel na Zemlji, kjer se pazniki izživljajo nad otroškimi zaporniki, brutalno sankcionirajo najmanjšo nepokorščino in prakticirajo pedofilijo.

SILVANOV ZALIV/SILVAN’S BAY

As Güney began filming Duvar, his first non-Turkish and (as it would turn out) his last ever film, in the suburbs of Paris in 1982, he held the status of a political refugee deprived of citizenship, having escaped from a Turkish prison and fled to the West. In France, he secretly edited the film Yol, which he directed while being imprisoned (!) and which won him a Palme d’Or in Cannes. If Yol showed Turkey as a society where even people at large are not really free (the entire Turkey as a prison, movement is restricted, surveillance universal, etc.), Duvar showed prison repression in a direct and extremely graphic manner, depicting it as hell on

İLKER SAVAŞKURT İlker Savaşkurt je režiser, igralec in glasbenik. Študiral je na oddelku za film in televizijo univerze Yeditepe v Istanbulu. Kot glasbenik je sodeloval s skupinami, kot sta Altar in UCK Grind. Kot režiser je delal gledališke, filmske in komercialne oglasne projekte. Kot glavni igralec je nastopil v nagrajeni drami Film in filmu Qüfür. İlker Savaşkurt is a director, actor and musician. He studied Cinema&Television at the Yeditepe University in İstanbul. In music industry he has worked bands such as Altar and UCK Grind. As a director, he has worked in theatre, on film projects as well as commercial assignments. He was the lead actor in the award-winning drama Film and in Qüfür.

Drugi Güneyjevi politični filmi so praviloma vsebovali dobršno mero humanizma in sentimentalnosti. Zid je v tem smislu čista antiteza, dramatizacija resničnega zaporniškega upora, ki se je zgodil v sredini sedemdesetih let, ko je Güney zaradi svojih prepričanj in subverzivnih podtonov v filmih (med drugim se je zavzemal za pravice Kurdov) tudi sam preživljal dolgoletno zaporno kazen. Güney je bil spreten provokator in goreč aktivist, kar so odražali njegovi nemalokrat anarhično zrežirani filmi; ideje so bile zanj vedno pomembnejše od dramske čvrstosti, slikanje socialnega obupa nujnejše od razvoja prepričljivih likov in zgodbe. Človeku, ki je v seštevku v zaporih preždel več kot desetletje, tradicionalna filmska sintaksa pač ni mogla biti merilo. Ali kot izjavi v Baladi o izgnancih: »Ključne točke mojega razvoja so se zgodile v zaporih.« Simon Popek

Earth where guards are bullying children prisoners, brutally sanctioning each minute disobedience, and practicing paedophilia. Other Güney’s political films typically contained a substantial amount of humanism and sentimentality. In this sense, Duvar is a complete antithesis. It is a dramatization of a real prison mutiny that happened in the mid-1970s, when Güney himself was serving a lengthy prison sentence because of his beliefs and subversive undertones in his films (advocating the rights of Kurds, among other things). Güney was an artful troublemaker and ardent activist, which was reflected in his often anarchically directed films. To him, ideas always mattered more than the dramatic consistency, to paint social despair was more essential than to develop convincing characters and story. To a man who in grand total spent over a decade in prisons, the traditional film syntax could hardly be the point of reference. As he says in Ballad of Exiles: Yılmaz Güney, “Crucial points of my evolution always occurred in prison.” Simon Popek

SILVANOV ZALIV/SILVAN’S BAY

POT/YOL

Turčija, Švica, Francija/Turkey, Switzerland, France, 1982 režija/directed by Şerif Gören, Yılmaz Güney scenarij/screenplay Yılmaz Güney fotografija/cinematography Erdogan Engin glasba/ music Sebastian Argol, Zülfü Livaneli zvok/sound Loïs Koenigswerther montaža/editing Hélène Arnal, Yılmaz Güney, Elisabeth Waelchli igrajo/cast Tarik Akan, Şerif Sezer, Halil Ergün, Meral Orhonsay, Necmettin Çobanoğlu producenti/producers Edi Hubschmid, K. L. Puldi, Yılmaz Güney distribucija/distribution Kinoteka format/format 35 mm dolžina/running time 114’

Pot je dragulj kurdskega filma, morda celo najboljši kurdski film, kar jih je kdaj nastalo, in še vedno najbolj nagrajen med vsemi kurdskimi filmi, saj je leta 1982 na festivalu v Cannesu prejel zlato palmo in nagrado FIPRESCI. Za scenarij, so-režijo in po pobegu iz ječe tudi za montažo je poskrbel Yılmaz Güney, ki je bil v zaporu zaradi domnevnega umora nekega sodnika. Septembra 1980 je nova turška vojaška hunta sprejela zakon, s katerim je prepovedala vsa Güneyjeva dela, vključno z njegovimi filmi, knjigami in objavami. Vedoč da bo vojska cenzurirala tudi vsa njegova prihodnja dela, je Güney dejal: »Samo dve možnosti sta – da se borim ali vdam, in hočem se boriti,« uprl pa se je tako, da je posnel film Pot.

Yol is the gem of the Kurdish cinema, it is perhaps the best Kurdish film to have come out of the Kurdish cinema and still is the most honoured of all the Kurdish films, having won Palme d’Or and the FIPRESCI Prize at Cannes Film Festival in 1982. The film was written, partially directed and then after his escape from prison edited by Yılmaz Güney, who was in jail for alleged murder of a judge. In September 1980, the new Turkish military junta passed a law to ban all of Yılmaz Güney’s works, including his films, books and publications. Knowing that all his future work will also be censured by the military, Güney declared, “There are only two possibilities: to fight or to give up, I chose to fight” and he fought back by making Yol.

Pot sledi potem petih pogojno izpuščenih zapornikov, ki dobijo teden dni odpusta. Film se začne v ječi na otoku Imrali, od koder se zaporniki v iskanju svobode podajo na pot po prostrani turški pokrajini. Vsi razen enega se odpravijo v Adano v Kurdistan in bližnjo okolico, kjer se vsak srečuje s svojimi preprekami in sooča z napakami iz preteklosti. Güney nam tako ponudi epski pogled na turško pokrajino pod nadzorom vojaške hunte, na posameznikovo iskanje pravice in svobode. Ker je film ustvarjal, ko je bil v zaporu, je Turčijo pod vojaško diktaturo prikazal kot odprto ječo, pri čemer se zunanji svet zdi precej bolj nevaren in večja grožnja zapornikom kot ječa sama.

Yol charts the journey of 5 prisoners on paroles who are given a week’s leave. The film opens in the island prison of Imrali, the prisoners take their journey in the vast landscape of Turkey in search of their freedom. All but one travel to Adana in Kurdistan and the surrounding areas, each encountering obstacles and having to face their past mistakes. This is Güney’s epic vision of the Turkish landscape under the control of the military junta, a man’s search for their right and liberty. Making the film while in prison, Güney portrayed Turkey under the military dictatorship as an open prison, the outside world seeming far more dangerous and more of a threat to prisoners than the prison itself.

Dramatični prihod legendarnega Yılmaza Güneyja na filmski festival v Cannesu in prejem zlate palme po pobegu iz ječe – in po stoječih ovacijah in solzah publike, ki je med ploskanjem skandirala njegovo ime »Güney, Güney« – vse to je bil poklon človeku,

The dramatic appearance of the legendary Yılmaz Güney at the Cannes Film Festival and his winning of Palme d’Or after his escape from prison – and after a standing ovation and weeping from the audience chanting his name “Güney, Güney” while applauding –,

SILVANOV ZALIV/SILVAN’S BAY

YILMAZ GÜNEY Yılmaz Güney (1937–1984) je bil turški režiser, scenarist, romanopisec in igralec kurdskega rodu. Pred začetkom režiserske kariere je veljal za najpriljubljenejšega igralca v Turčiji. Ko so njegovi filmi postajali čedalje bolj politični, je padel v nemilost pri oblasteh in bil zaradi različnih političnih prekrškov večkrat zaprt. Po pobegu iz zapora leta 1981 je prebegnil v Francijo in leto pozneje v Cannesu osvojil zlato palmo za film Pot, ki ga je po njegovih natančnih iz zapora posredovanih navodilih zrežiral njegov asistent Serif Gören. Yılmaz Güney (1937–1984) was a Turkish film director, screenwriter, novelist, and actor of Kurdish origin. Before he became a director, he was Turkey’s most popular actor. As his films got more political, he came under the scrutiny of Turkish authorities and was jailed several times for various political offenses. After escaping from prison in 1981 and fleeing to France, Güney was greeted at the Cannes Film Festival with a Palme d’Or for Yol, a film directed by his assistant Serif Gören according to his precise instructions from prison.

ki danes velja za začetnika kurdskega filma, človeku, ki je neskončno dolgo preživel v ječi, ker se je postavil za temeljne človekove pravice drugih. Zaradi nasprotovanja turške vlade so njegov prihod v Cannes in uvrstitev filma Pot v festivalski progam napovedali zadnji hip. Francoska vlada je Güneyju zagotovila imuniteto pred izročitvijo Turčiji in mu dovolila začasno bivanje v Franciji. Film Pot je zaznamoval tako žirijo in kritike kot občinstvo. Zagotovil je večno slavo in potrditev Yılmazu Güneyju, ki je v Turčiji znan kot »grdi kralj,« lik, ki je večji od življenja, nekakšna mešanica Cheja Guevare, Jamesa Deana, Clinta Eastwooda in Piera Paola Pasolinija. Še danes se njegovo ime tesno povezuje s filmom Pot, obe imeni pa še vedno odzvanjata tako med mladimi kurdskimi filmarji kot med kritiki. Yılmaz Güney več kot 30 let po smrti še vedno navdihuje vse nas. Karzan Kardozi

was a tribute to a man who is by now considered the founding father of the Kurdish cinema, a man who spent timeless time in prison for standing up for the basic human rights of others. His arrival and the entry of Yol at Cannes were announced at the last minute due to objections of the Turkish government. The French government gave Güney immunity from extradition to Turkey and allowed him to stay in France temporarily. Yol had an everlasting impact on the jury, the critics and the audience, bringing an everlasting fame and recognition to Yılmaz Güney, who is known as “The Ugly King” in Turkey, a bigger than life character, a mix between Che Guevara, James Dean, Clint Eastwood and Pier Paolo Pasolini. Even today the name Yılmaz Güney is closely connected to Yol, and the two names are still echoed by young Kurdish filmmakers and critics alike. More than 30 years since the death of Yılmaz Güney, he is still an inspiration for all. Karzan Kardozi

SILVANOV ZALIV/SILVAN’S BAY

SILVANOV ZALIV/SILVANâ&#x20AC;&#x2122;S BAY

PODMORNICA/SUBMARINE Čisto pravi gusar/A Real Pirate Jagnje/Lamb sekcija Letni kino Manzioli/section Manzioli Open-Air Cinema Prosti pad/Tutti Giù/Everybody Sometimes Falls Rumeni Slon: Animatekin sklop filmov za najmlajše/Yellow Elephant: Animated films for the youngest audience Frišni filmski ulov/Fresh Film Catch Projekcije za šolske skupine/Screenings for schoolchildren

PODMORNICA/SUBMARINE

ČISTO PRAVI GUSAR/A REAL PIRATE

Slovenija (Jugoslavija)/Slovenia (Yugoslavia), 1987 režija/directed by Anton Tomašič scenarij/screenplay Marcel Buh fotografija/cinematography Jure Pervanje glasba/music Jani Golob zvok/sound Igor Laloš montaža/editing Ana Zupančič igrajo/cast Marko Miklavčič, Janez Albreht, Slavko Cerjak, Vesna Jevnikar, Jurij Souček, Majda Koroša produkcija/production Viba film – Ljubljana, RTV Ljubljana distribucija/distribution Slovenski filmski center format/format 35 mm dolžina/running time 109’ v slovenščini s srbohrvaškimi podnapisi/In Slovene with SerboCroatian subtitles

Foto: arhiv Slovenske kinoteke

ANTON TOMAŠIČ Anton Tomašič (1937) je diplomiral na ljubljanski AGRFT. Posnel je vrsto TV dram in nadaljevank ter tri celovečerne filme: Kormoran (1986), Čisto pravi gusar (1987), Rabljeva freska (1995). Leta 1977 prejel nagrado Prešernovega sklada za TV dramo Vrnitev. Anton Tomašič (1937) graduated from the Ljubljana film school (AGRFT). He has directed a number of TV plays and series, as well as three feature films: Cormorant (1986), A Real Pirate (1987), The Executioner’s Fresco (1995). In 1977 he received the Prešeren Fund Award for the TV play The Return.

Foto: arhiv Slovenske kinoteke

Peter s starši in sestro preživlja počitnice v majhnem obmorskem mestu in po svoje »presanja« sicer enolični in zanj nezanimiv počitniški čas. V istem mestecu filmska ekipa snema otroški gusarski TV film. Kot običajno v ekipi pride do nesporazumov: avtor pravljice, ki je predloga za film, se ne strinja z novo, spremenjeno različico svoje zgodbe, zato jezno strga liste iz knjige in se odpove avtorstvu. Dogodek tako razburi Petrovo domišljijo, da prevzame »strgane« niti zgodbe v svoje roke. Resničnost se pomeša s pravljico in domišljijske osebe se znajdejo v današnjem svetu – kot se lahko zgodi samo v otroških glavicah.

PODMORNICA/SUBMARINE

Events revolve around Peter, a boy on vacation with his parents and sister in a small coastal town. His daydreams take him away from his otherwise monotonous and dull holiday. In the same town, a film crew is shooting a children’s pirate TV film. As usual, the crew ends up in dispute. The author of the tale the film is based on disagrees with the new altered version of his story. He angrily tears the pages from his book and resigns. This incident fires Peter’s imagination: he picks up the torn threads of the story, and reality mingles with fantasy. This is a film that brings fictional characters into the real world - in a way only a child’s mind can conceive.

PROSTI PAD/TUTTI GIÙ/EVERYBODY SOMETIMES FALLS

Švica/Switzerland, 2012 režija/directed by Niccolò Castelli scenarij/screenplay Niccolò Castelli fotografija/cinematography Pietro Zuercher glasba/music Kovlo zvok/sound Sandro Hess montaža/editing Claudio Cea igrajo/ cast Yanick Cohades, Lara Gut, Nicola Perot producent/producer Villi Hermann distribucija/distribution Imago Film v sodelovanju s Kinoateljejem/in collaboration with Kinoatelje format/format DCP dolžina/running time 90’ v italijanščini s slovenskimi podnapisi/In Italian with Slovene subtitles

NICCOLÒ CASTELLI Niccolò Castelli (1982) je svojo medijsko kariero začel že leta 1998 s sodelovanjem s švicarsko nacionalno radiotelevizijo RSI. Med letoma 2001 in 2006 je kot scenarist, režiser in montažer ustvaril več kratkih in dokumentarnih filmov ter videov. Sodeloval je pri projektu ipotesICinema pod vodstvom režiserja Ermanna Olmija. Med letoma 2008 in 2010 je kot pomočnik režiserja soustvaril več celovečercev. Prosti pad je njegov prvi celovečerni film. Niccolò Castelli (1982) began his media career in 1998 contributing to RSI (Swiss National Radio & TV). From 2001 to 2006 he wrote, directed and edited several shorts, documentaries and music videos. He collaborated in the ipotesICinema project, supervised by the Italian director Ermanno Olmi. From 2008 to 2010 he worked as assistant director on several feature films. Everybody Sometimes Falls is his first feature film.

Jullo, Chiara in Edo: trije mladostniki, tri zgodbe o sanjah in strahovih, zmagah in neuspehih. Jullo je navdušen rolkar, ki se mu življenje obrne na glavo, ko mu zdravnik postavi diagnozo srčne napake. Chiara je pri 17-ih letih že profesionalna smučarka z osvojeno srebrno medaljo na svetovnem prvenstvu. Toda naporni treningi in zahtevni sponzorji ji postajajo odveč; želi si povsem navadno najstniško življenje. Edo je grafitar, njegove poslikave so umetnine in sprej je več kot le orodje za packanje po stenah. Vsakega od njih življenje postavi pred svoj izziv, vsak odraste na svoj način.

Jullo, Chiara and Edo: three youngsters, three stories about dreams and fears, victories and failures. Jullo is an enthusiastic skateboarder whose life turns upside down when he gets diagnosed with a heart disease. At the age of 17, Chiara is already a ski champion with a silver medal from the World Championship. But the gruelling training routine and demanding sponsors are beginning to get to her; she longs for a normal teenage life. Edo is a graffiti artist who considers a can of spray to be more than just a tool for defacing walls. Life places each before a challenge and they grow up each in their own way.

PODMORNICA/SUBMARINE

RUMENI SLON: ANIMATEKIN SKLOP FILMOV ZA NAJMLAJŠE/ YELLOW ELEPHANT: ANIMATED FILMS FOR THE YOUNGEST AUDIENCE Izbor najboljših animiranih filmov, ki so navdušili gledalce na festivalu animiranega filma Animateka.

A selection of favourites from the International Animation Film Festival Animateka.

PRINC KI-KI-DO: BALON/PRINCE KI-KI-DO: BALOON Grega Mastnak, Slovenija/Slovenia, 2015, 4’54’’

Jutro nad gozdom. Princ Ki-Ki-Do spokojno pije svoj jutranji čaj. V gozd z balonom prileti lovec, ki na obronek jase postavi pasti za divje živali. The morning breaks in the forest, and Prince Ki-Ki-Do takes his morning tea. Then a hunter flies in in a red balloon to set up traps.

DEŽEVKO/KIŠNI/RAINY Ivana Guljašević, Hrvaška/Croatia, 2015, 5’35’’

Kako in zakaj začne deževati? Mogoče je na nebu možiček, ki dežju pomaga padati. How and why does the rain start to fall? Maybe there is a little man in the sky who helps it fall.

SUPER GRAND Marjolaine Perreten, Švica/Switzerland, 2014, 1’32’’

Supervelik superjunak, ki pa ni tako zelo supermočan. A super-tall superhero, but not so super-strong.

PODMORNICA/SUBMARINE

KRAVATA/THE TIE An Vrombaut, Belgija/Belgium, 2014, 8’39’’

Naključno se srečata majhna žirafa in velika žirafa. Kljub očitni razliki v rasti odkrijeta sorodnost. A small giraffe and a tall giraffe have a chance meeting. Despite their obvious difference in stature, they discover a kinship.

NEKOČ NA MODRI LUNI/ONCE UPON A BLUE MOON Steve Boot, Velika Britanija/UK, 2015, 3’29’’

Robot na misiji fotografiranja kamenja sreča Vesoljca, ki želi samo družbo pri igri. A Robot on a mission to photograph rocks meets an Alien who just wants someone to play with.

DARILO/THE PRESENT Jacob Frey, Nemčija/Germany, 2015, 4’26’’

Jake večino časa doma igra igrice, dokler se njegova mama ne odloči, da mu nekaj podari. Jake spends most of his time playing videogames indoors until his mum decides to give him a present.

SANJSKI GOST/PERFECT HOUSEGUEST Ru Kuwahata, Max Porter, ZDA/USA, 2015, 1’35’

Hišo obišče snažen, urejen, lepo vzgojen gost. A house is visited by a clean, organized, well-mannered guest.

PODMORNICA/SUBMARINE

FRIŠNI FILMSKI ULOV/FRESH FILM CATCH

Filmi osnovnošolcev, ki so nastali na filmskih delavnicah, krožkih in taborih. Films made by primary school children in film workshops, classes, and camps. Lovska sreča (delavnica ZVVIKS, 2013, 1’) Čudak za župana (Delavnica Muzeja slovenskih filmskih igralcev in Luksuz produkcije, 2015, 6’) V tej hiši nekaj smrdi (Delavnica Muzeja slovenskih filmskih igralcev in Luksuz produkcije, 2015, 6’) Šopek (filmski krožek OŠ Most na Soči, 2014, 2’) Zviti, bistri, močni (filmski krožek, OŠ Dobrovo, Ustanova Silvana Furlana, 2016, 8’) Smrtonosna želja (filmski tabor, Ustanova Silvana Furlana. 2015, 5’) Ujemi nekaj življenja/Catch Some Life (tekmovanje Slovenščina ima dolg jezik, OŠ Hrvatini, 2016, 9’)

Filmi srednješolcv, ki so nastali na filmskih delavnicah, krožkih in taborih. Films made by high school students in film workshops, classes, and camps. Obraz hinavščine (tekmovanje Slovenščina ima dolg jezik, Gimnazija Koper, 2015, 10’) Telečja pečenka (tekmovanje Slovenščina ima dolg jezik, GEPŠ Piran, 2015, 10’) Julija ali nova Heloiza (tekmovanje Slovenščina ima dolg jezik, Gimnazija Koper, 2016, 6’) Sam sebi (tekmovanje Slovenščina ima dolg jezik, SEPŠ Koper, 2016, 10’) Kruh in mleko (Jestival Kobarid, Emerald Mountain Productions, 2015, 4’) Prvi delovni dan/First day at work (Gimnazija Tolmin, 2015, 7’) Pismo nonotu/Lettera al nonno (Kinoatelje v sodelovanju s Srednješolskim centrom Cankar-Zois-Vega, 2015, 8’)

Drugi filmi mladih avtorjev, predvajani pred celovečernimi filmi programa Podmornice. Other young filmmakers’ works screened with the feature films from the Submarine programme. Cirkus (delavnica ZVVIKS, 2016, 2’) Čas (Gimnazija Koper, 2014/2015, 6’) Spomin na vojno/Ricordi di una guerra (Kinoatelje v sodelovanju z Večstopenjsko šolo s slovenskim učnim jezikom, Doberdob, 2015, 9’) Športno maščevanje 2 (delavnica Muzeja slovenskih filmskih igralcev in Luksuz produkcije, 2015, 4’) Z majhnimi koraki do velikih spretnosti/Piccoli passi alla conquista di grandi abilità (vrtec Scuola dell’infanzia »La Coccinella«, 2016, 4’) Zvoni! (Vrtec Mavrica, 2015, 18’)

PODMORNICA/SUBMARINE

PROJEKCIJE ZA ŠOLSKE SKUPINE/SCREENINGS FOR SCHOOLCHILDREN

Hiša pravljic/Kérity la maison des contes/Eleanor’s Secret (4+) Dominique Monféry, Francija, Italija/France, Italy, 2009, 76’ sinhronizirano v slovenščino/In Slovenian

Prosti pad/Tutti Giù/Everybody Sometimes Falls (14+) Niccolò Castelli, Švica/Switzerland, 2012, 90’ v italijanščini s slovenskimi podnapisi/In Italian with Slovenian subtitles

Fantomski deček/Phantom Boy (9+) Alain Gagnol, Jean-Loup Felicioli, Belgija, Francija/Belgium, France, 2015, 84’ v francoščini s slovenskimi podnapisi/In French with Slovenian subtitles

Bekas (8+) Karzan Kader, Švedska, Finska, Irak/Sweden, Finland, Iraq, 2012, 97’ v kurdskem jeziku s slovenskimi podnapisi/In Kurdish with Slovenian subtitles

Rdeči balon/Le ballon rouge/The Red Balloon (5+) Albert Lamorisse, Francija/France, 1956, 34’ brez dialogov/No dialogue

Mustang (12+) Deniz Gamze Ergüven, Francija, Nemčija, Turčija, Katar/France, Germany, Turkey, Qatar, 2015, 94’ v turščini s slovenskimi podnapisi/In Turkish with Slovenian subtitles

PODMORNICA/SUBMARINE

VIDEO NA PLAÅ½I/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

Video na plaži že enajsto leto zapored na izolsko plažo Svetilnik naplavlja filme, ki skozi najrazličnejše žanre obravnavajo tudi najbolj pereče spektre realnosti in znotraj forme iščejo inovativne načine izraza. Termin video v imenu sekcije je včasih označeval »paleto raznovrstnih filmskih del, ki niso doživela povečave na filmski trak zaradi različnih razlogov«, s tem pa ciljal predvsem na neodvisne, nizkoproračunske, alternativne in avtorske vizije. Digitalni format je medtem postal norma tudi največjih filmskih produkcij, digitalni načini snemanja, obdelave in distribucije so postali domala vsedostopni, video v naslovu pa vztraja in opominja na izhodiščno vodilo sekcije, ki ob uradnem festivalskem programu odpira prostor prodornim in perspektivnim, a v večini še neuveljavljenim avtorjem. Možnosti, ki jih je prinesla digitalna revolucija, so zaslužne za to, da je brezproračunska produkcija tudi pri nas dozorela in s sabo – v vse večjem številu – prinaša vznemirljiva dela, ki jih ne zaznamujejo samo drzne ideje, temveč vse bolj tudi vrhunska izvedba. K temu vsekakor pripomorejo tudi kreativna žarišča v obliki kvalitetnih filmskih delavnic in predavanj, visokih šol, živahnih neformalnih cinefilskih koooperativ in drugih kreativnih ojačevalcev. O tem pričajo različni (raz)igrani, dokumentarni, eksperimentalni in animirani kratkometražci slovenskih avtorjev, ki jih bomo tudi letos predstavili in postavili ob bok ter v dialog s filmi in z avtorji iz mednarodne selekcije. V tej znova posebno pozornost namenjamo delom iz sosedskih držav Italije, Hrvaške in Avstrije, obenem pa smo med več kot 150 prijavljenimi prejeli tudi filme iz Belgije, Bosne in Hercegovine, Francije, Južnoafriške republike, Kitajske, Nemčije, Nizozemske, Poljske, Srbije, Švedske, ZDA in od drugod. O tem, da gre za program, ki ga ne gre zamuditi, priča tudi dejstvo, da bo eden od letošnjih VnP vrhuncev tudi slovenska premiera kratkometražca Snežna ptica starega otoškega znanca Seana Bakerja, med drugim pa bomo prikazali tudi v Berlinu nagrajeni Piknik Jureta Pavlovića, ki je bil ovenčan za najboljši evropski kratki film leta 2015. Ker enega od temeljnih imperativov pri selekciji predstavlja družbena refleksija, se bomo le lučaj od Jadranskega morja zazrli v zgodbe, ki jih piše eno najbolj turbulentnih obdobij v sodobni zgodovini. Misliti nam bodo dali eksperimentalna

VIDEO NA PLAŽI/VIDEO ON THE BEACH

For the eleventh year in a row, Video on the Beach brings to the Lighthouse beach in Izola films that employ various genres to examine the most pressing spectrums of reality and search for innovative forms of expression. The term video in the name of the section used to refer to a “range of variegated works that were not blown up to film due to various reasons”, and thus primarily to independent, low-budget, alternative and auteur visions. In the meanwhile, the digital format has become the norm also in the biggest film productions, while the digital modes of shooting, processing and distribution have become available to practically everyone; nevertheless, the video in the title remains, reminding us of the initial guideline of this section, which, alongside the official festival programme, opens up space for edgy and promising but mostly non-established filmmakers. The possibilities brought by the digital revolution have enabled the no-budget production to mature also in Slovenia, bringing with it an increasing number of exciting works characterised not only by daring ideas but increasingly also by first-rate execution. This is by all means also a result of creative hotbeds in the form of high-quality film workshops and lectures, colleges, lively informal cinephile cooperatives and other creative boosters. This is evidenced by various fiction, documentary, experimental and animated short films by Slovenian filmmakers, which will again be presented and placed side by side and in dialogue with films and filmmakers from our international selection. Here, special attention is again devoted to works from our neighbouring countries, Italy, Croatia and Austria, but other countries will also be represented since the 150 submitted films also included works from Belgium, Bosnia and Herzegovina, France, South Africa, China, Germany, the Netherlands, Poland, Serbia, Sweden, the US and elsewhere. With one of its highlights being the Slovenian premiere of Snowbird by our old acquaintance Sean Baker and with the screening of Jure Pavlović’s Picnic, the winner of the 2015 European Film Award for Best Short Film in Berlin, this year’s programme is not to be missed. Since one of the fundamental imperatives of this section is reflection on social reality, we will, sitting only a stone’s throw away from the Adriatic Sea, gaze into the stories written by one of the most turbulent periods in contemporary history. We will get food for

pamfleta italijanskega kolektiva Malastradafilm o padcu Zahoda, insajderski filmski dokumenti ter dokumentarci o migrantih, beguncih, glasni nestrpnosti ter vse bolj eksplicitnem ponavljanju najtemnejših poglavij zgodovine. V tej luči pri oblikovanju programa nadaljujemo sodelovanje s Festivalom migrantskega filma, v gosteh pa bomo imeli tudi film po izboru mariborskega festivala Student Cuts.

thought from two experimental pamphlets about the fall of the West by the Italian collective Malastradafilm, insider film documents and documentaries about migrants, refugees, roaring intolerance and increasingly explicit repetition of the darkest chapters of history. In this light, our programming partly relies on our continued cooperation with the Festival of Migrant Film, and we will also host a film selected by the Student Cuts film festival from Maribor.

Za ljubitelje animacije in sladokusce bo poskrbel festival v gosteh Piccolo festival dell’animazione, ki iz sosednjega Trsta v Izolo prinaša bisere sodobne italijanske kratkometražne animacije. DVD zbirka Animazioni je projekt kuratorjev Paole Bristot in Andree Martignonija, ki si prizadevata za pregledno umestitev vse prevečkrat spregledane in mačehovsko podprte animirane produkcije na nacionalni in svetovni zemljevid. Predstavljeni italijanski animatorji delujejo tako znotraj domačih kot mednarodnih produkcij, vse pa odlikujeta jasna avtorska vizija in dejstvo, da zavoljo pogoste odsotnosti vsakršne javne ali zasebne finančne podpore ustvarjajo z absolutno avtonomijo. Aktualna, četrta izdaja, je izšla maja 2016 in vključuje številne večkrat proslavljene animacije, ki datirajo med 2014 in 2016, ter rariteto – mojstrovino znamenite Fusako Yusaki.

Our guest festival Piccolo festival dell’animazione from Trieste will cater to animation lovers and connoisseurs, bringing to Izola the pearls of contemporary animated short films. The DVD series Animazioni is a project curated by Paola Bristot and Andrea Martignoni, who endeavour to place the all too often overlooked and insufficiently supported animated production on the national and world maps. The presented Italian animators are involved in both Italian and international animation projects. What they all have in common is a clear signature vision and the fact that, due to a frequent absence of any public or private financial support, their art is absolutely autonomous. The latest, fourth edition, came out in May 2016 and features a number of repeatedly celebrated animations made between 2014 and 2016, and a rarity: a masterpiece by the famed Fusako Yusaki.

In če za konec povemo, da smo z naštetimi namigi zgolj ošvrknili površino programa, ki se bo v družbi filmskih ekip in drugih gostov zavrtel na Svetilniku, bi to moralo zadostovati.

And if I conclude by saying that the above hints only scratch the surface of the programme which will be screened at the Lighthouse in the presence of filmmakers and other guests, it should suffice.

Matevž Jerman, selektor programa

Matevž Jerman, programme selector

VIDEO NA PLAŽI/VIDEO ON THE BEACH

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

22 dni v Skandinaviji 22 Days in Scandinavia

Slovenija/Slovenia, 2014 režija/directed by Maruša Puhek scenarij/screenplay Maruša Puhek tehnična ekipa/technical crew Maruša Puhek, Timotej Slekovec produkcija/production Maruša Puhek dolžina/running time 7’

Poetičen in estetsko dovršen dokumentarni potopis dvaindvajsetih dni v Skandinaviji. Film po izboru festivala Student Cuts. A poetic and aesthetically refined documentary travelogue of 22 days spent in Scandinavia. Selected by Student Cuts festival.

Alarm! Italija/Italy, 2015 režija/directed by Malastrada film scenarij/screenplay Maria Héléne Bertino, Alessandro Gagliardo tehnična ekipa/technical crew Maria Héléne Bertino, Alessandro Gagliardo, Andrea Coppola produkcija/production Malastrada film dolžina/running time 6'

Slovenija/Slovenia, 2015 režija/directed by Medijski korektiv tehnična ekipa/technical crew Medijski korektiv produkcija/production Medijski korektiv dolžina/ running time 8'

Surovi, skrivaj posneti in neobdelani dokumentarni posnetki razmer v begunskem centru Dobova jeseni 2015. Raw, secretly filmed and unedited documentary footage showing the situation in the Dobova refugee centre in the autumn of 2015.

Grčiji naproti Alla Grecia Towards Greece

Italija/Italy, 2015 režija/directed by Malastrada film scenarij/screenplay Malastrada film tehnična ekipa/technical crew Malastrada film produkcija/ production Malastrada film dolžina/running time 8'

Alarm, opozorilo o razmerah, ki spremljajo aktualno spreminjanje sveta. Jasno pozicionirana drža in provokacija, v času, ko ni nič več nevtralno.

Grčiji naproti. Padcu Aten naproti. Prihajajoči revoluciji naproti. Naj v nočeh, ki prihajajo, zadonijo melodije rajanja ljudstev.

Alarm, a warning about the conditions brought on by the current changes in the world. A clear stance and a provocation in the time when nothing is any longer neutral.

Towards Greece. Towards the fall of Athens. Towards the forthcoming revolution. Let the nights ahead resound with the music of rejoicing peoples.

Die in a Megabyte Slovenija/Slovenia, 2015 režija/directed by Anne Tassel scenarij/screenplay Anne Tassel tehnična ekipa/technical crew Anne Tassel produkcija/production Visoka šola za umetnost, Univerza v Novi Gorici dolžina/running time 4'

Eksperimentalni dokumentarec, v katerem se poraja vprašanje »Kam gre človek?« An experimental documentary posing the question “Where is the human race headed?”

Gopro Dobova

VIDEO NA PLAŽI/VIDEO ON THE BEACH

Hana, Hano, Hanica Hana, Hano, Hanice Hana, Hana, Honey

Hrvaška/Croatia, 2016 režija/directed by Karlo Vorih, Marko Bičanić scenarij/screenplay Karlo Vorih, Marko Bičanić nastopajo/featuring Ian Tomljenović, Lidija Penić-Grgaš, Anton Malbašić tehnična ekipa/technical crew Veronika Milinović, Rino Rusmir, Dijana Bosnić produkcija/production Aleksandra Giljević dolžina/running time 12'

Hana in njena prijatelja so nerazdružljiva trojica, ki jo druži nenehno medsebojno flirtanje, površinski

pogovori in razvratna zabava. Nedolžne najstniške igre pa nekega večera prerastejo v nekaj, čemur bi težko rekli ljubezen. Hana and her two friends form an inseparable trio engaging in constant mutual flirting, frivolous chatter, and raunchy parties. One night, innocent teenage fun escalates into something that could hardly be called love.

Indigo

Idomeni ghetto

Zgodba o paru, ki ga združujeta le še obala in soba, v kateri živi.

Slovenija/Slovenia, 2016 režija/directed by Julia Minet scenarij/screenplay Julia Minet tehnična ekipa/technical crew Julia Minet produkcija/production Luksuz produkcija dolžina/running time 8'

A story of a couple held together by nothing more than a shared room and the coast.

Meja med Grčijo in Makedonijo se je decembra 2015 zaprla za vse, ki niso iz Sirije, Iraka in Afganistana. Idomeni gosti številne, ki so obtičali in tu v negotovosti čakajo svoj naslednji korak. In December 2015, the border between Greece and Macedonia closed for everyone except people from Syria, Iraq, and Afghanistan. Idomeni became home to many of those stuck and waiting in agony for their next move.

Iluzija

Slovenija/Slovenia, 2015 režija/directed by Fabris Šulin scenarij/screenplay Fabris Šulin, Voranc Boh, Lara Vouk nastopajo/featuring Voranc Boh, Lara Vouk tehnična ekipa/technical crew Andraž Kadunc, Iris Čeh, Matej Srebrnič, David Wetter, Fabris Šulin, Anja Medved, Tamara Babić produkcija/production Kinokašča, Railworks independent dolžina/running time 15'

Iskanje ravnovesja na meji BoB – Balancing on the Border

Slovenija/Slovenia, 2015 režija/directed by več avtorjev/collective tehnična ekipa/technical crew Frode Søbstad, Isabel Aboim Ingles, Anja Medved, Rene Rusjan, Boštjan Potokar, Miha Hvale, Metod Blejec, Marija Veljanovska Nemec, Urša Bonelli produkcija/production Visoka šola za umetnost, Univerza v Novi Gorici dolžina/running time 17'

Študentski omnibus filmov različnih zvrsti, vsebinsko vezanih na mejo in migracije.

Illusion

An omnibus of student-made films of various genres discussing the themes of borders and migration.

Slovenija/Slovenia, 2015 režija/directed by Domen Lo scenarij/screenplay Domen Lo nastopajo/ featuring Jure Lesar, Teo Collori, Bogdaj Sojich, Rok Druscovich tehnična ekipa/technical crew Primož Vodušek, Simon Jovanovič produkcija/ production Domen Lo dolžina/running time 5'

Izvor človeka

Animirani videospot, v katerem protagonist od suhoparnega vsakdana beži s pomočjo pijače. Prikaz med fantazijo in resničnostjo razpete notranje borbe. An animated video of protagonist trying to escape his dreary everyday life by drinking. An inner battle fought between fantasy and real life.

Imago #1 Italija, Slovenija/Italy, Slovenia, 2015 režija/directed by Paride di Stefano scenarij/screenplay Paride di Stefano tehnična ekipa/technical crew Paride di Stefano produkcija/ production Autoproduction dolžina/running time 4'

Imago je eksperimentalna video serija, ki svoj začetek beleži leta 2015. Videi so organska mešanica slike in zvoka ter hipnotičen trip v turbulentno »Imago« vesolje. Having started in 2015, Imago is an experimental series of videos that are an organic compound of image and sound, a hypnotic trip into the turbulent “Imago” universe.

Origin of the Human Being Slovenija/Slovenia, 2016 režija/directed by Uroš Marolt scenarij/screenplay Uroš Marolt tehnična ekipa/technical crew Uroš Marolt produkcija/production Žakeljokrogmačka dolžina/running time 3'

Mikroskopski pogledi v drevesa razkrivajo nevidni del gozda, abstraktna slika pa izzove nepredvidljive asociacije. Kako sta povezana človek in gozd? A microscopic look at trees reveals what is invisible in the forest, while the abstract image inspires unexpected associations. How do humans connect with the forest?

Jašek Manhole

Slovenija/Slovenia, 2015 režija/directed by Urban Zorko scenarij/screenplay Urban Zorko nastopajo/featuring Anže Zevnik, Tina Potočnik, Adriana Vučković, Ivo Barišič, Rok Kunaver, Klemen Mauhler tehnična ekipa/technical crew Lev Predan Kowarski, Peter Žargi, Sara Gjergek, Maša Cvetko, Minka Rozman, Marko Kumer produkcija/production Smehomat produkcija dolžina/running time 20'

VIDEO NA PLAŽI/VIDEO ON THE BEACH

Nedelja je in mesto je mrtvo. Na praznem parkirišču poleg supermarketa Eurodil se v komunalnem jašku zbudi podiplomski študent in potiskač vozičkov, Miha. Njegovi kriki prikličejo mimoidoče, ki so polni idej, nasvetov ali prezira, Miha pa je za vse nekako uporaben. Toda Mihi se mudi ven. It is Sunday and the city is dead. In an empty parking lot next to the Eurodil supermarket, postgraduate student and trolley collector Miha wakes up in a sewer pit. His screams attract the attention of passers-by, who are full of ideas, advice, or contempt, and they all can find a use for him there. But Miha is in a hurry to get out.

Kaj delaš

Ma che fai What are You Doing Avstrija/Austria, 2015 režija/directed by Alfred Grubbauer tehnična ekipa/technical crew Alfred Grubbauer produkcija/production Alfred Grubbauer dolžina/ running time 4'

Stvari se pospravljajo same od sebe. Par se pogovarja na črnem ozadju. Animacija, ki išče nove pomene z razdruževanjem in sestavljanjem posameznih podob iz znamenite neorealistične klasike Tatovi koles. Things are moving by themselves. A couple in conversation against a black projection screen. Aa animated film which seeks new meanings by separating or combining images from the famed neorealist classic Bicycle Thieves.

Klic nostalgije The Call of Nostalgia

Slovenija, Italija/Slovenia, Italy, 2015 režija/directed by Valerie Wolf Gang scenarij/screenplay Valerie Wolf Gang tehnična ekipa/technical crew Valerie Wolf Gang produkcija/ production Pro Loco Buri, v sodelovanju s Comune di Buttrio, di Vinibuoni d'Italia, della BCC di Menzano dolžina/running time 7'

Pot mimo starega vinograda prebudi spomine na preteklost in spodbudi k posebnemu telefonskemu klicu že davno pozabljene osebe. Poetični eksperimentalni film združuje različne realnosti, časovna obdobja, kraje in usode. Sneman je na področju Furlanije in skozi narativno pripoved poskuša brisati meje med dvema državama, pa tudi meje v našem kolektivnem spominu. Passing by an old vineyard awakes memories about the past and encourages a special call to a person long forgotten. A poetical experimental film shot in Friuli-Venezia Giulia merging different realities, times, places and destinies. Through its narrative, it tries to

VIDEO NA PLAŽI/VIDEO ON THE BEACH

erase the border between the two countries, as well as any borders in our collective memory.

Ko hodiš, pojdi zmeraj do konca When You Walk, Follow Your Way to the End

Slovenija/Slovenia, 2015 režija/directed by Noemi Zonta scenarij/screenplay Noemi Zonta tehnična ekipa/technical crew Noemi Zonta, Martin Belac, Zarja Zrinski, Vanja Korenč produkcija/production Visoka šola za umetnost, Univerza v Novi Gorici dolžina/running time 3’

Animirani sprehod med verzi Pavčkove poezije. S klavirjem preletavamo oblake, lovimo rožne cvetice in se sprehajamo med pisanimi hribi, z leteče ladje opazujemo hiše na pecljih in se na koncu soočimo s Pavčkovim »načelom«: poskusi vnovič in zopet in znova. An animated journey among Pavček’s verses. A piano takes us above the clouds, we chase flowers and roam colourful hills, board a flying ship to watch houses growing on stems, to ultimately come to a metaphoric depiction of Pavček’s “principle”: Try again and again and again.

Kompozicija Composition

Slovenija/Slovenia, 2015 režija/directed by Mitja Manček scenarij/screenplay Mitja Manček tehnična ekipa/technical crew Borko Radešček produkcija/ production Mitja Manček dolžina/running time 4'

Zvok in slika sta najpomembnejša elementa človeške komunikacije. Narejena sta z istimi črtami, ki so prostoročno spraskane na 35mm filmski trak, da ustvarijo najbolj harmoničen odnos med njima. V tem filmu lahko vidite zvok in slišite sliko. Sound and image are the most important things human beings communicate through. They are made by the same lines engraved directly on a 35mm film stock in order to create the most harmonic relationship between them. In this film you can see the sound and hear the image.

Koreni zla The Roots of Evil

Srbija/Serbia, 2015 režija/directed by Želimir Gvardiol scenarij/screenplay Želimir Gvardiol tehnična ekipa/technical crew Radoslav Vladić, Damjan Cirilović, Ivan Bulbuk, Marko Mitrović, Duško Sevo, Biljana Stanojević produkcija/production PRADOK dolžina/running time 23'

Če se potrudimo razumeti izvor zla, nehamo obsojati in začnemo razumevati. Mozaični esej v poetični tradiciji cinema verité prikazuje izpovedi najhujših zločincev in razčlenjuje njihove družinske travme. Attempting to understand the roots of evil is where judgments stop and insight starts. An essay of a mosaic structure, filmed in the poetic tradition of cinema verité, contains confessions of people who have committed serious crimes, analysing their family traumas.

Mare Mediterraneum Avstrija/Austria, 2016 režija/directed by Markus Keim, Beate Hecher scenarij/screenplay Markus Keim, Beate Hecher tehnična ekipa/technical crew Markus Keim + Beate Hecher produkcija/production Markus Keim + Beate Hecher dolžina/running time 9'

Sedem eksperimentalnih sekvenc in sedem nevarnosti, ki jih za ubežnike predstavlja pot čez Sredozemsko morje.

Obzornik 62 v formi filmskega eseja sopostavlja na videz nepovezane časovne fragmente preteklosti in sedanjosti, da bi v svetu, ki je vse bolj podoben »brezsvetju«, ustvarili novo izkušnjo in poiskali »ustreznejšo« podobo. V sodelovanju s Festivalom migrantskega filma. In the form of a film essay, Newsreel 62 juxtaposes seemingly unrelated time fragments of the past and the present, in order to create a new experience and find a more “fitting” image in the world that is increasingly turning into “worldlessness”. In collaboration with the Festival of Migrant Film.

Peter Peter Slovenija/Slovenia, 2015 režija/directed by Katarina Nikolov scenarij/screenplay Katarina Nikolov tehnična ekipa/technical crew Doša, Tanja Semion, Jure Lavrin, Urška Vavpetič, Anja Vrdlovec, Mihaela Trupi, Miha Černec produkcija/production Tramal Films dolžina/running time 11'

Seven experimental sequences and seven risks refugees have to take when crossing the Mediterranean Sea.

V medsebojnih odnosih celo med najmlajšimi velja zakon močnejšega. Vendar ni nujno, da je temu vedno tako. Animirana variacija na Petra Klepca v ritmih hip hopa.

Nedotaknjeno: Domača baza

In interpersonal relationships, the law of the strongest applies even among the youngest. But this should not necessarily be the case. An animated take on Slovenian fictional hero Peter Klepec in hip hop rhythms.

Untouchedproject: Homebase

Slovenija/Slovenia, 2014 režija/directed by Mitja Legat scenarij/screenplay Mitja Legat, Katja Pokorn, Matej Gostinčar, Jure Niedorfer nastopajo/featuring Bine Žalohar, Matevž Maček, Domen Bizjak, Matevž Pristavec, Luka Podlogar, Žiga Rakovec, Žiga Erlač, Mitja Kodrič, Andraž Šparovec tehnična ekipa/technical crew Mitja Legat, Katja Pokorn, Matej Gostinčar, Jure Niedorfer produkcija/production LegitFilms dolžina/running time 4'

Kratek dokumentarni film o dolgi tradiciji slovenske obsedenosti z gorami in z njo povezanih zimskih športov. Od začetkov v Blokah 17. stoletja, do današnjega kolektiva »Nedotaknjeno« ter progresivnih pristopov k smučanju zunaj urejenih smučišč. A documentary short about the long tradition of the Slovenian obsession with mountains and the related winter sports. From the very beginnings in Bloke in the 17th century, to the Untouchedproject and progressive approaches to off-piste skiing.

Piknik Picnic

Hrvaška/Croatia, 2015 režija/directed by Jure Pavlović scenarij/screenplay Džejna Avdić, Jure Pavlović nastopajo/featuring Emir Mušić, Aleksandar Seksan, Senad Alihodžić tehnična ekipa/technical crew Almmir Fakić, Dragan Von Petrović, Marko Grgić, Vladimir Božić, Barbara Vekarić produkcija/ production Sekvenca dolžina/running time 13'

Sarajevo, gneča na cesti, Emir se v spremstvu socialnega delavca odpravlja na obisk k očetu Safetu v zapor. Emir zamuja. Sarajevo, rush hour. Accompanied by a social worker, Emir is on his way to meet his father Safet in a semiopen penitentiary. Emir is running late.

Obzornik 62 Newsreel 62

Slovenija/Slovenia, 2015 režija/directed by Obzorniška fronta scenarij/screenplay Obzorniška fronta tehnična ekipa/technical crew Obzorniška fronta produkcija/production Obzorniška fronta dolžina/running time 11'

VIDEO NA PLAŽI/VIDEO ON THE BEACH

Pod soncem

Na igrišču se igrajo prijazne in hudobne živali.

Ri Guang Zhi Xia Under the Sun

Good and bad animals play in the courtyard.

Kitajska, Avstralija/China, Australia, 2015 režija/directed by Qui Yang scenarij/screenplay Qui Yang nastopajo/ featuring Sun Zhongwei, Zhu Ping, Gong Weiming, Bai Lihong tehnična ekipa/technical crew Tarun Hansen, Qui Yang, Mei Zhu, Livia Ruzic, Peter Frost produkcija/production Qui Yang, Natalie Erika James dolžina/ running time 19'

Seat

Starejša gospa se zgrudi ob sestopu z avtobusa. Mlajši fant ji pomaga in jo odpelje v bolnico. Svojci starke krivdo za nesrečo zvalijo nanj in ga tožijo za odškodnino, za altruistično dejanje pa ga obsodi tudi oče. Pod soncem nič novega. A woman is injured when getting off the bus. A young man takes her to the hospital. The woman’s family puts the blame on him and sues him for damages, and even his father responds with nothing but accusations. There’s nothing new under the sun.

Richard pride jutri Richard Is Coming Tomorrow

Slovenija/Slovenia, 2015 režija/directed by Jani Sever scenarij/screenplay Jani Sever nastopajo/featuring Alen Kobilica tehnična ekipa/technical crew Lev Predan Kowarski, Andrej Nagode, Nina Bučuk, Boštjan Kačičnik, Janez Ferlan, Darko Miladinović, Nina Jeglič produkcija/production Sever in Sever produkcija dolžina/running time 15'

Alen, ki je pred šestimi leti oslepel zaradi možganskega tumorja, pred božičem prejme telefonski klic. Na drugi strani je Richard, ki mu pove, da ima napravo, s katero bo Alen lahko spet videl. Pričakovanja so visoka. Po dolgem čakanju mu nekega večera Richard naposled preda napravo. Bo Alen res spregledal? Alen is blind from a brain tumour six years ago. Just before Christmas, he receives a phone call. It is Richard, who tells him he has a device that will make Alen see again. Alen’s expectations are high. One evening after a long wait, Richard gives him the device. Will Alen really see again?

Ringelšpil vikend Ringelšpil Weekend

Slovenija/Slovenia, 2015 režija/directed by Ester Ivakič, Teja Miholič scenarij/screenplay Ester Ivakič, Teja Miholič nastopajo/featuring Viktoria Monhor, Martin Pavlovec, Filip Košnik, Anne Tassel, Saša Mrak tehnična ekipa/technical crew Gregor Kocjančič, Filip Košnik, Ester Ivakič, Katja Petelin produkcija/ production Visoka šola za umetnost, Univerza v Novi Gorici dolžina/ running time 17' 80

VIDEO NA PLAŽI/VIDEO ON THE BEACH

Slovenija/Slovenia, 2016 režija/directed by Lun Sevnik scenarij/screenplay Lun Sevnik nastopajo/featuring Alija Đogić, Luka Počivalšek, Klemen Robida, Anja Novak, Vojko Zidar tehnična ekipa/technical crew Sašo Štih, Miran Bratuš, Luka Cvetko, Jan Senčur dolžina/running time 10'

Sredi travnika ob kapelici trije prijatelji čakajo na klic četrtega prijatelja, ki je pred letom dni umrl, a jim pred tem obljubil, da jih leto kasneje pokliče. Njihovo čakanje zmoti francoski par, ki pride mimo. On a meadow next to a small chapel, three friends are waiting for a call from a fourth friend, who died a year ago but had promised to call them one year later. Their waiting is interrupted by a French couple passing by.

SnegoKipar Snowcreature

Slovenija/Slovenia, 2016 režija/directed by Matej Ocepek scenarij/screenplay Matej Ocepek tehnična ekipa/technical crew Matej Ocepek produkcija/ production LabDss – kreativni laboratorij dolžina/running time 7'

Pesniška izpoved nekega umetnika, ki si hrani dušo z izdelovanjem sneženih skulptur, ki jih napaja s krvjo svojega deviškega uma. Bizarno, odkrito in neboleče! A poetic account of an artist who feeds his soul on making sculptures of snow and supplying them with the blood of his immaculate mind. Bizarre, unreserved, and painless!

Snežna ptica Snowbird

ZDA/USA, 2016 režija/directed by Sean Baker scenarij/screenplay Sean Baker nastopajo/featuring Abbey Dee, Clarence Williams III. tehnična ekipa/technical crew Alexis Zabe, Stephnik Youth, Sean Baker produkcija/production Darren Dean, Shih-Ching Tian dolžina/ running time 13'

Dekle se odloči podeliti domačo torto s svojimi sosedi v hipijevski komuni in z ljubeznijo svojega življenja. Najnovejši kratkometražec Seana Bakerja. A girl decides to share a homemade cake with her neighbours in a hippie commune and with the love of her life. The latest short film by Sean Baker.

Sošolki

Umetnost združuje

Slovenija/Slovenia, 2015 režija/directed by Darko Sinko scenarij/screenplay Darko Sinko nastopajo/featuring Maruša Majer, Olga Kacjan, Mojca Partljič, Barbara Vidovič, Sabina Kogovšek tehnična ekipa/technical crew Lev Predan Kowarski, Jani Virk, Edo Brzin, Barbara Daljavec, Robert Černelič produkcija/production RTV Slovenija dolžina/running time 26'

Slovenija/Slovenia, 2015 režija/directed by Ada Trkulja, Vesna Klančar scenarij/screenplay Ada Trkulja, Vesna Klančar nastopajo/featuring člani ter mentorji delavnice »BITI« tehnična ekipa/technical crew Ada Trkulja, Vesna Klančar produkcija/production Luksuz produkcija dolžina/running time 3'

Schoolmates

Mlada učiteljica Sonja želi razrešiti spor med sošolkama, a otroški prepir dobi absurdne razsežnosti, ko na prizorišče vstopijo starši. Vpogled v zakulisje posledic bizarnih praks šolske administracije. Young teacher Sonja tries to resolve a conflict between two girls. When their parents get involved, the kids’ squabble escalates to absurd proportions. An insight into the repercussions of bizarre school administration practices.

Svitanje Dawning

Slovenija/Slovenia, 2015 režija/directed by Tina Ščavničar scenarij/screenplay Tina Ščavničar, Sandi Jesenik nastopajo/featuring Anja Drnovšek, Jurij Drevenšek, Vanja Plut, Miloš Djurović tehnična ekipa/technical crew Sašo Štih, Rado Jauševec, Peter Perunovič, Lazar Kerezović, Tijana Todorović, Kristina Rešek, Matjaž Jamnik, Eva Ferlan, Tia Bonča produkcija/ production Tina Ščavničar, Sandi Jesenik, Žan Žveplan, FDU Beograd, FLU društvo Ljubljana, KUD Cerkno dolžina/running time 29'

Zgodba o ljubezni ter iskanju samega sebe v njej in svetu. A story of love and finding yourself in it and in the world.

Številka 3 Number 3

Slovenija/Slovenia, 2015 režija/directed by Pierre Martin, Camille Tang Quynh, Kris Van Den Bulck, Jasna Merklin scenarij/screenplay Pierre Martin, Camille Tang Quynh, Kris Van Den Bulck, Jasna Merklin nastopajo/featuring Hamdija Mahmić tehnična ekipa/technical crew Pierre Martin, Camille Tang Quynh, Kris Van Den Bulck, Jasna Merklin produkcija/ production Luksuz produkcija dolžina/running time 7’

Dokumentarni portret osamljenega migrantskega delavca v tujem okolju, ko sta njegova družina in življenje daleč stran.

Art Connecting

Prikaz razmišljanja udeležencev mednarodne filmske delavnice in dokaz, da umetnost združuje tudi na videz nezdružljivo. An insight into the way of thinking of participants of an international filmmaking workshop, and a proof that art has the ability to reconcile the seemingly irreconcilable.

Visoška kronika The Visoko Chronicle

Slovenija/Slovenia, 2015 režija/directed by Toni Mlakar, Ivan Šušnjar scenarij/screenplay Jana Fojkar, Ivan Šušnjar tehnična ekipa/technical crew Toni Mlakar, Ivan Šušnjar, Grega švabič produkcija/production Loški muzej Škofja Loka, TI produkcija dolžina/running time 8'

Visoška kronika Ivana Tavčarja v sedmih animiranih minutah! The Visoko Chronicle by Ivan Tavčar in seven animated minutes!

Vsi ti glasovi All These Voices

ZDA, Poljska/USA, Poland, 2015 režija/directed by David Henry Gerson scenarij/screenplay David Henry Gerson, Martin Horvat, Brennan Elizabeth Peters nastopajo/ featuring Harrison Thomas, Beata Pozniak, Kristof Konrad tehnična ekipa/technical crew Eli Arenson, Dani Medeiros, Spencer Koobatian, Brian McOmber produkcija/production American Film Institute dolžina/running time 15'

Zapuščeno gledališče na Poljskem po koncu druge svetovne vojne. SS oficir na begu se je primoran soočiti s skupino preživelih poljskih umetnikov in z lastno odgovornostjo. An abandoned theatre in Poland after World War II. A Nazi officer has to face a troupe of survivors, Polish artists, and come to terms with his complicity in their grief.

A documentary portrait of a lonely migrant worker in an alien environment, with his family and his life far away.

VIDEO NA PLAŽI/VIDEO ON THE BEACH

Zmagovalec Champion

Švedska/Sweden, 2015 režija/directed by Måns Berthas scenarij/screenplay Måns Berthas, Daniel Burman nastopajo/featuring Sten Ljunggren, Lena Strömdah, Christer Holmgren produkcija/production Low Key Film AB dolžina/ running time 19'

Koča globoko v gozdu sredi trde zime. Ostareli par iz zimskega mrtvila zbudi prihod nekdanjega ženinega ljubimca. Prične se hladen, a srdit boj in večno rivalstvo bo naposled dobilo svoj epilog. Harsh midwinter. A frozen marriage in a remote cabin. A man from the past returns to seek revenge, and long lost feelings come alive. A wordless battle begins and the eternal triangle finally comes to an end.

Zunaj Outside

Slovenija/Slovenia, 2015 režija/directed by Juš Premrov scenarij/screenplay Juš Premrov nastopajo/featuring Anja Novak, Dan Mrevlje, Benjamin Krnetić tehnična ekipa/technical crew Darko Herič, ZFS, Juš Premrov, Ina Ferlan, Gašper Antauer, Simon Penšek, Žan Flaker Berce, Miran Bratuš produkcija/ production Filmsko društvo Temporama dolžina/running time 12'

Mlad par se sprehaja po divjini. Ona se prepušča toku, on ji z nekaj oklevanja sledi. Po deževni noči, ki jo prevedrita v skalnem zavetju, se jima pridruži nekdo iz njene preteklosti. Skupaj prispejo do ceste. A young couple is taking a walk in the wilderness. She is going with the flow, and he follows, hesitantly. After a rainy night spent in a shelter in the rocks, someone from her past joins them. Together, they reach a road.

VALOVANJA: sodobna italijanska animacija/ WAVES: Contemporary Italian Animation Letošnji gostujoči program bo na Video na plaži prinesel bisere sodobne italijanske kratkometražne animacije. DVD zbirka Animazioni je projekt kuratorjev Paole Bristot in Andree Martignonija, ki si prizadevata za pregledno umestitev vse prevečkrat spregledane in mačehovsko podprte animirane produkcije na nacionalni in svetovni zemljevid. Predstavljeni italijanski animatorji delujejo tako znotraj domačih kakor mednarodnih produkcij, vse pa odlikujeta jasna avtorska vizija in dejstvo, da zavoljo pogoste odsotnosti vsakršne javne ali zasebne finančne podpore ustvarjajo z absolutno avtonomijo. Aktualna, četrta izdaja, je izšla maja 2016 in vključuje številne večkrat proslavljene animacije, ki datirajo med 2014 in 2016, ter rariteto – mojstrovino znamenite Fusako Yusaki. Program smo pripravili v sodelovanju s festivalom Piccolo festival dell’animazione in društvom Viva Comix.

This year’s visiting programme is bringing to Video on the Beach best of contemporary Italian animation. DVD series Animazioni is a project through which curators Paola Bristot and Andrea Martignoni endeavour to place the too often overlooked and insufficiently supported animation production on the national and world maps. The featured Italian animators are involved in both Italian and international animation projects. What they all have in common is a clear signature vision and the fact that, due to the frequent lack of any public or private financial support, their art is absolutely autonomous. The latest, 4th edition came out in May 2016, and features a number of celebrated’ animated shorts dating from 2014 to 2016, plus a rarity: a masterpiece by the famed Fusako Yusaki. The programme was developed in collaboration with Piccolo festival dell’animazione and the Viva Comix association.

VIDEO NA PLAŽI/VIDEO ON THE BEACH

AUBADE Mauro Carraro, Švica/Switzerland, 2014, 6’

POKLON PINI

Omaggio a Pina/Homage to Pina Michele Bernardi, Italija/Italy, 2015, 5’

COSMOETICO Martina Scarpelli, Italija/Italy, 2015, 5’

CVET VETROV

La rosa dei venti/The Rose of the Winds Fusako Yusaki, Italija/Italy, 1993, 4’

ČRNO SEME

Must Seeme/Black Seed Francesco Rosso, Estonija/Estonia, 2014, 7’

DALILA Magda Guidi, Italija/Italy, 2015, 5’

POTUJOČI TRGOVCI Venditori Ambulanti/Barrow Boys Michele Bernardi, Italija/Italy, 2015, 5’

PRST JE ŽIVA Soil is Alive

Beatrice Pucci, Italija/Italy, 2015, 8’

RALPH ODIGRA D’OH! Ralph Plays D’oh!

Fabio Tonetto, Italija/Italy, 2016, 1’

STRIŽENJE Haircut

FLÈCHE DELTA

Virginia Mori, Francija, Italija/France, Italy, 2015, 8’

Francesco Vecchi, Italija, Francija/Italy, France, 2014, 9’

VEJICA V PREDALU

The Flèche Delta

La virgola nel cassetto/Comma in the Drawer

FOK NABO DISTORIO Francesco Rosso, Estonija/Estonia, 2014, 7’

GOLI IN KRUTI

Pene e cruditè/Nude and Crude

Marco Capellacci, Italija/Italy, 2016, 7’

ZARJAVELA DOBA The Age of Rust

Francesco Aber, Alessandro Mattei, Italija/Italy, 2014, 7’

Mario Addis, Italija/Italy, 2014, 4’

OTTO Salvatore Murgia, Dario Imbrogno, Italija/Italy, 2015, 2’

PANDEMONIJ Pandemonio

Valerio Spinelli, Italija/Italy, 2015, 3’

VIDEO NA PLAŽI/VIDEO ON THE BEACH

OTOK V LJUBLJANI/OTOK IN LJUBLJANA Kinodvor V imenu ljubezni/Per amor vostro/Anna sekcija Letni kino Manzioli/section Manzioli Open-Air Cinema Ribji spev/Rabo de Peixe/Fish Tail sekcija Letni kino Manzioli/section Manzioli OpenAir Cinema Slovenska kinoteka Balada o izgnancih/La Ballade des Exiles/Ballad of Exiles: Yilmaz Güney sekcija Silvanov zaliv/section Silvan’s Bay Kamen v žepu/Uma Pedra no Bolso/Tall Stories Toponimija/Toponimia/Toponymy sekcija Signali/section Signals Za eno samo uro s teboj/Un’ora sola ti vorrei/For One More Hour with You sekcija Letni kino Manzioli/section Manzioli Open-Air Cinema

OTOK V LJUBLJANI/OTOK IN LJUBLJANA

KAMEN V ŽEPU/UMA PEDRA NO BOLSO/TALL STORIES

Portugalska/Portugal, 1987 režija/directed by Joaquim Pinto scenarij/screenplay Eduarda Chiotte, Joaquim Pinto fotografija/cinematography Joaquim Pinto zvok/sound Francisco Veloso montaža/editing Joaquim Pinto igrajo/cast Luis Miguel Cintra, Manuel Lobão, Inês Medeiros, Bruno Leite, Isabel de Castro producent/producer João Pedro Bénard produkcija/production G.E.R. (Grupo de Estudos e Realizações) distribucija/distribution Presente format/format 35 mm dolžina/running time 91’

JOAQUIM PINTO Joaquim Pinto (1957) je kot mešalec zvoka sodeloval pri več kot 100 filmih režiserjev, kot so Manoel de Oliveira, Raul Ruiz, Werner Schroeter in André Techiné. Med letoma 1987 in 1996 je produciral okoli 30 filmov, tudi Recordações da Casa Amarela in A Comédia de Deus režiserja Joãa Césarja Monteira, ki sta bila nagrajena na beneškem festivalu. Film Kaj zdaj? Spomni me je bil prikazan v 34 državah in prejel številne nagrade, med drugim posebno nagrado žirije in nagrado Fipresci na festivalu v Locarnu leta 2013. Joaquim Pinto (1957) was sound mixer for more than 100 films, working with directors such as Manoel de Oliveira, Raul Ruiz, Werner Schroeter and André Techiné. Between 1987 and 1996 he produced around 30 films, including João César Monteiro’s Recollections of the Yellow House and God’s Comedy, both awarded at the Venice Film Festival. What now? Remind-me was screened in 34 countries and received multiple awards, including Special Jury Prize and Fipresci Prize at Locarno 2013.

Dvanajstletnega Miguela za kazen, ker ga šola ne zanima, prisilijo, da poletne počitnice preživi v skromnem obmorskem penzionu pri teti. Mladenič je najprej nesrečen v kraju, kjer se nikoli nič ne zgodi, a kmalu se spoprijatelji z natakarico Luiso, ki ga nauči plesati, in z lokalnim ribičem Joãom. Prihod novega gosta, skrivnostnega gospoda Fernanda, pa sproži niz dogodkov, ki porušijo ravnovesje v hotelu in Miguelov mir. Film, ki ga zadnjih petindvajset let zaradi težav s pravicami nismo mogli videti, je Pintov prelep celovečerni prvenec, zgodba o odraščanju, o nekonvencionalnih prijateljstvih in porajajoči se seksualnosti.

As punishment for his lack of interest at school, 12-year-old Miguel is forced to spend his summer vacation at his aunt Martha’s modest seaside boarding house. Upset at first by the prospect of staying in a place where nothing ever happens, the young boy befriends Luisa, a waitress who teaches him to dance, and João, a local fisherman. But the arrival of another guest, the mysterious Dr. Fernando, initiates a series of events that will disrupt the hotel’s equilibrium and Miguel’s peace of mind. Virtually unseeable for the last 25 years due to rights issues, Pinto’s beautiful feature-length debut is a comingof-age tale about unconventional friendships and burgeoning sexuality.

OTOK V LJUBLJANI/OTOK IN LJUBLJANA

RE-ACT: Slovenija, Italija, Hrvaška/ RE-ACT: Slovenia, Italy, Croatia

Program kratkih filmov, s katerim se predstavlja platforma za spodbujanje koprodukcijskega sodelovanja Slovenije, Furlanije – Julijske krajine in Hrvaške na regijski ravni. Strokovna delavnica REACT bo na Kino Otok pripeljala sedem režiserskoproducentskih ekip iz Slovenije, Italije in Hrvaške, ki bodo v Izoli razvijale nove projekte. Prva iz serije delavnic je potekala leta 2015 na mednarodnem filmskem festivalu v Motovunu na Hrvaškem. Sklad za skupni razvoj RE-ACT je pobuda Slovenskega filmskega centra, Hrvaškega avdiovizualnega centra in Avdiovizualnega sklada Furlanije – Julijske krajine v sodelovanju s platformo TorinoFilmLab.

A programme of short films presenting an initiative aimed at encouraging audio-visual co-productions with Slovenia, Friuli Venezia Giulia and Croatia at regional level. The RE-ACT workshop will bring to Isola Cinema seven film teams consisting of a director and a producer from Slovenia, Italy and Croatia to develop new projects. The first in the series of RE-ACT workshops was held at the Motovun Film Festival, Croatia, in 2015. The RE-ACT fund for joint development is an initiative of the Slovenian Film Centre, Croatian Audiovisual Centre and Friuli Venezia Giulia Audiovisual Fund in cooperation with TorinoFilmLab.

Mentorji delavnice/trainers: Stefano Tealdi (vodja skupine/head of workshop), Rada Šešić (mentorica za dokumentarni film/trainer for documentary films), Danijel Hočevar (mentor za produkcijo/production trainer) in strokovnjaki organizacije TorinoFilmLab/and TorinoFilmLab experts. Izbrane ekipe udeležencev/selected teams: Jasmina Kallay (scenaristka/writer), Kristijan Milić (režiser/director), Stanko Babić (producent/producer) –– Vanja Sviličić (scenaristka, režiserka/writer, director), Damir Terešak (producent/producer) –– Giordano Bianchi, Martina Marafatto (scenarista, režiserja/writers, directors), Paolo Sponda (producent/producer) –– Lorenzo Bianchini (scenarist, režiser/writer, director), Fabrizio Bozzetti (soscenarist/co-writer), Samantha Faccio, Thomas Bertacche (producenta/producers) –– Martin Turk (scenarist, režiser/writer, director), Gorazd Trušnovec (soscenarist/co-writer), Ida Weiss (producentka/producer) –– Jurij Gruden (scenarist, režiser/writer, director), Tanja Gruden (producentka/producer) –– Marko Šantić (scenarist, režiser/writer, director), Goran Vojnović (soscenarist/co-writer), Zala Opara, Danijel Hočevar (producenta/producers)

OTOK V LJUBLJANI/OTOK IN LJUBLJANA

DOBRO UNOVČENO POPOLDNE/A WELL SPENT AFTERNOON Martin Turk, Slovenija/Slovenia, 2016, 7’30’’

Po neuspešnem razgovoru za službo oče preživlja popoldne s sedemletnim sinom. Na poti domov sin najde denarnico, polno denarja. Oče je odločen, da je denarnico treba vrniti lastniku. After failing yet another job interview, father is spending an afternoon with his seven-year-old son. They happen to find a wallet full of money, and father teaches his son the right thing to do. OČETOVA ŽELJA/FATHER’S WISH Marko Šantić, Slovenija/Slovenia, 2010, 17’

Vlado se odloči, da bo sinu pomagal pri zaposlitvi, zato v goste pokliče znanca, ki je pripravljen ponuditi službo v dimnikarskem podjetju. Sina ta posel ne zanima, kar Vladota še bolj motivira, da ga prepriča. Vlado decides to help his son find a job. One of his friends is willing to offer his son a job with a chimney sweepers’ company. Son is not interested, and this makes Vlado even more eager to convince him. THE ROOM Stefano Etter, Silvia Cremaschi, Italija/Italy, 2015, 17’

Mlada klobučarka v skrivnostnem prostoru na železniški postaji skrivaj sanja o drugačnem življenju. Morda ima že sama ključ do rešitve iz ujetništva. In a mysterious room in a train station, a young hat maker secretly dreams of a different life, and may herself hold the key to escaping her imprisonment. WE LOVE OUR CLIENTS Beppe Tufarulo, Italija/Italy, 2010, 5’42’’

Nočna izmena v supermarketu je na smrt dolgočasna ... Dokler uslužbenci ne začnejo skrbeti za zadovoljstvo strank na nov, zabaven način. The night shift in the supermarket is deadly boring... until the employees start providing customer satisfaction in a new and enjoyable way!

OTOK V LJUBLJANI/OTOK IN LJUBLJANA

TORINO FILM LAB

Program kratkih filmov in odlomkov celovečernih filmov, ki ga pripravlja platforma za razvoj filmskih projektov TorinoFilmLab, na evropski ravni ena najprepoznavnejših platform za razvoj filmskih projektov. Program FrameWork izobražuje kreativne ekipe scenaristov, režiserjev in producentov v fazi razvoja prvega ali drugega celovečernega filma. Delavnice kreativnega razvoja in produkcijskih strategij, ki privabljajo filmske avtorje z vsega sveta, vodijo svetovno uveljavljeni strokovnjaki z najpomembnejših področij filmskega ustvarjanja. Prvi del delavnice FrameWork za leto 2016 bo potekal na Kino Otoku, drugi pa med filmskim festivalom v Torinu. Program FrameWork med drugim podpira platforma za spodbujanje koprodukcijskega sodelovanja RE-ACT (Avdiovizualni sklad Furlanije – Julijske krajine, Hrvaški avdiovizualni center, Slovenski filmski center).

Programme of short films and feature film excerpts presented by TorinoFilmLab, one of the most recognisable film project development platforms in Europe. Attracting interest of filmmakers from around the world, the FrameWork programme supports creative teams consisting of screenwriter, director and producer in developing their first or second feature film projects. In the workshops focusing on artistic and creative aspects as well as production strategies, the selected participants work under the guidance of world-renowned experts from various fields of filmmaking. The first session of FrameWork 2016 will take place at Kino Otok, while the second session will be held during the Torino Film Festival. FrameWork is realized with the support of, among others, RE-ACT (Fondo Audiovisivo FVG, Croatian Audiovisual Center, Slovenian Film Center).

Mentorji delavnice/trainers: Franz Rodenkirchen, Marietta von Hausswolff von Baumgarten, Anita Voorham (svetovalci za razvoj scenarija/script consultants), Thanos Anastopoulos (režiser/film director), Marko Brdar (direktor fotografije/ cinematographer), Katriel Schory (izvršni direktor Izraelskega filmskega sklada/Israel Film Fund Executive Director), Niko Remus (strokovnjak za postprodukcijo/post-production expert), Didar Domehri (producentka/ producer), Tatiana Vialle (mentorica za igro in vodja igralske zasedbe/acting coach and casting director), Joanna Solecka (svetovalka za promocijo/film promotion consultant). Izbrane ekipe udeležencev/selected teams: Maya Da-Rin (scenaristka, režiserka/writer, director), Leonardo Mecchi (producent/producer) –– Duccio Chiarini (scenarist, režiser/writer, director), Tommaso Arrighi (producent/producer) –– Tudor Cristian Jurgiu (scenarist, režiser/writer, director), Bogdan Craciun (producent/producer) –– Shahrbanoo Sadat (scenaristka, režiserka/writer, director), Katja Adomeit (producentka/producer) –– Danielle Lessovitz (scenaristka, režiserka/writer, director), Virginie Lacombe (producentka/producer) –– Tom Shoval (scenarist, režiser/writer, director), Gal Greenspan (producent/producer) –– Sonja Tarokić (scenaristka, režiserka/ writer, director), Ankica Jurić Tilić (producentka/producer) –– Carlo Zoratti (scenarist, režiser/writer, director), Cosimo Bizzarri (soscenarist/co-writer), Henning Kamm (producent/producer) –– Massoud Bakhshi (scenarist, režiser/writer, director), Mahmoud Bakhshi (producent/producer)

OTOK V LJUBLJANI/OTOK IN LJUBLJANA

THE SPECIAL NEED Carlo Zoratti, 2013, Nemčija, Italija, Avstrija/Germany, Italy, Austria, 78’ (odlomek/excerpt: 15’)

29-letni Enea išče ljubezen – telesno ljubezen. Toda za avtista v Italiji je to vse prej kot lahka naloga. Z najboljšima prijateljema se odpravi na pot in naposled najdejo veliko več, kot so iskali. 29-year-old Enea is looking for love - physical love that is. But for an autist living in Italy, this is anything but easy. With his two best friends they set out on a journey, to eventually find a lot more than they were looking for. NOT AT HOME Shahrbanoo Sadat, Katja Adomeit, Danska, Afganistan, Nemčija/Denmark, Afghanistan, Germany, 2013, 65’ (odlomek/excerpt: 15’)

V Kabulu nasprotja med tradicijo in realnostjo zaostrujejo napetost v neki družini. V Nemčiji dekle iz Afganistana čaka v zapuščenem begunskem centru. Film sledi vzporednima zgodbama o odtujenosti in življenju v negotovosti. In Kabul, tensions within a family keep on increasing as tradition and reality clash. In Germany, an Afghan girl waits in a desolate refugee centre. Not at Home closely follows two parallel stories of alienation and living in uncertainty. YOUTH Tom Shoval, Izrael, Nemčija/Israel, Germany, 2013, 107’ (odlomek/excerpt: 15’)

Brata ugrabita sošolca, da bi pomagala staršem v finančnih težavah. Two brothers kidnap a schoolmate to contribute to the family’s income. NEON HEARTACHE Danielle Lessovitz, ZDA/USA, 2013, 9’

Dekle se skrivaj izmuzne v bratovo sobo in najde nekaj, kar bo povzročilo razkol. A girl sneaks into her brother’s room and what she finds will tear them apart. 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.

OTOK V LJUBLJANI/OTOK IN LJUBLJANA

FESTIVALSKI GOSTJE/FESTIVAL GUESTS

Raitis Ābele, režiser/director (Kastrat merjasec/Castratus the Boar, Latvija/Latvia, 2014) — Flavio Armone, Greta Fornari (Zmagovalec/Champion, Švedska/Sweden, 2015) — Paola Bristot, Piccolo festival dell‘animazione — Luca Chinaglia, režiser, kurator/director, curator (14 kolutov/14 Reels, 2015) — Jan Cvitkovič, selektor sekcije Prijatelji/programmer for Friends — Admir Ćulumarević, festival Solo Positivo/Solo Positivo Festival — Mate Dolenc, filmski boter/film godparent — Eloy Domínguez Serén, režiser/director (Ni krave na ledu/No Cow On the Ice, Švedska/Sweden, 2015) — Nicola Falcinella, selektor sekcije Prijatelji/programmer for Friends — Giuseppe M. Gaudino, režiser/director (V imenu ljubezni/Anna, Italija/Italy, 2015) — Helmut Groschup, selektor sekcije Prijatelji/programmer for Friends — Alfred Grubbauer, režiser/director (Kaj delaš/What are You Doing, Avstrija/Austria, 2015) — Ester Ivakič, Teja Miholič, režiserki/ directors (Ringelšpil vikend/Ringelšpil Weekend, Slovenija/Slovenia, 2015) — Sandra Jovanovska, Katarina Kogoj, Rajat Sharma, režiserji/directors, Taja Košir Popovič, Una Rebić, Rawan Hourani, ekipa/cast and crew (Iskanje ravnovesja na meji/BoB – Balancing on the Border, Slovenija/Slovenia, 2015) — Mitja Legat, režiser/director, Katja Pokorn, fotografija/ cinematography (Nedotaknjeno: Domača baza/Untouchedproject: Homebase, Slovenija/Slovenia, 2014) —

Domen Lo, režiser/director (Iluzija/Illusion, Slovenija/Slovenia, 2015) — Mitja Manček, režiser/ director (Kompozicija/Composition, Slovenija/Slovenia, 2015) — Alina Marazzi, režiserka/director (Za eno samo uro s teboj/For One More Hour with You, Italija/Italy, 2002; Tudi vrtnice hočemo/We Want Roses Too, Italija/Italy, 2007; 14 kolutov/14 Reels, 2015) — Davorin

Marc, režiser/director (14 kolutov/14 Marolt, režiser/director, Laura Krajnc, producentka/producer (Izvor človeka/Origin of the Human Being, Slovenija/Slovenia, 2016) — Sarita Matijević, producentka/ producer (Destinacija Srbistan/Logbook_Serbistan, Srbija/Serbia, 2015) — Medijski korektiv (Gopro Dobova, Slovenija/Slovenia, 2015) — Jasna Merklin, režiserka/director, Romana Biljak Gerjevič (Številka 3/Number 3, Slovenija/Slovenia, 2015) — Julia Minet, režiserka/director, Dženi Rostohar, produkcija/production (Idomeni ghetto, Slovenija/Slovenia, 2016) — Toni Mlakar, Ivan Šušnjar, režiserja/directors, Jana Fojkar, srenaristka/writer (Visoška kronika/The Visoko Chronicle, Slovenija/Slovenia, 2015) — Katarina Nikolov, režiserka/director, Tanja Semion, ekipa/ crew (Peter Peter, Slovenija/Slovenia, 2015) — Matej Ocepek, režiser/director, Sandra Pucelj, producentka/producer (SnegoKipar/Snowcreature, Slovenija/Slovenia, 2016) — Laila Pakalnina, režiserka/director (Zora/Dawn, Latvija, Poljska, Estonija/Latvia, Poland, Estonia, 2015) — Michael Pattison, selektor sekcije Prijatelji/programmer for Friends — Breda Pečan, filmska botra/film godparent — Gianfilippo Pedote, producent/producer (Za eno samo uro s teboj/For One More Hour with You, Italija/Italy, 2002) — Metod Pevec, filmski boter/film godparent — Giuliano Ricci, režiser/director — Peter Schreiner, režiser/director (Lampedusa, Avstrija/Austria, 2015) — Jani Sever, režiser/director, Nina Bučuk, Nina Jeglič, tehnična ekipa/technical crew (Richard pride Reels, 2015) — Uroš

FESTIVALSKI GOSTJE/FESTIVAL GUESTS

jutri/Richard Is Coming Tomorrow, Slovenija/Slovenia, 2015) — Lun

Sevnik, režiser/director, Eva Zibler, asistentka produkcije/assistant producer (Seat, Slovenija/Slovenia, 2016) — Darko Sinko, režiser/director (Sošolki/Schoolmates, Slovenija/Slovenia, 2015) — Paride di Stefano, režiser/ director (Imago #1, Italija, Slovenija/Italy, Slovenia, 2015) — Tina Ščavničar, režiserka/director, Sašo Štih, tehnična ekipa/technical crew (Svitanje/Dawning, Slovenija/Slovenia, 2015) — Fabris Šulin, režiser/director, Andraž Kadunc, fotografija/cinematography (Indigo, Slovenija/Slovenia, 2015) — Anne Tassel, režiserka/director, Taja Košir Popovič, asistentka režije/assistant director (Die in a Megabyte, Slovenija/Slovenia, 2015) — Nataša Tič Ralijan, filmska botra/film godparent — Ada Trkulja, Vesna Klančar, režiserki/directors (Umetnost združuje/Art Connecting, Slovenija/ Slovenia, 2015) — Karlo Vorih, Marko Bičanić, režiserja/directors (Hana, Hano, Hanica/Hana, Hana, Honey, Hrvaška/Croatia, 2016) — Valerie Wolf Gang, režiserka/director, Urša Bonelli Potokar, kamera/camera (Klic nostalgije/The Call of Nostalgia, Slovenija, Italija/Slovenia, Italy, 2015) — Yared Zeleke, režiser/director (Jagnje/Lamb, Etiopija, Francija, Nemčija, Norveška, Katar/Ethiopia, France, Germany, Norway, Qatar, 2015) — Noemi Zonta, režiserka/director (Ko hodiš, pojdi zmeraj do konca/When You Walk, Follow Your Way to the End, Slovenija/Slovenia, 2015) — Urban Zorko, režiser/ director, Nina Cijan, asistentka režije/assistant director (Jašek/Manhole, Slovenija/Slovenia, 2015) — Želimir Žilnik, režiser/director (Destinacija Srbistan/Logbook_Serbistan, Srbija/Serbia, 2015)

OTOK V LJUBLJANI/OTOK IN LJUBLJANA

INDEKS/INDEX

IZVIRNI NASLOVI/ORIGINAL TITLES

SLOVENSKI NASLOVI/SLOVENIAN TITLES

14 Reels 40

14 kolutov 40

Abdul & Hamza 42

Abdul in Hamza 42

Accademia delle Muse, L' 28

Akademija muz 28

Apytiksliai 31

Balada o izgnancih 60

Ausma 36

Čisto pravi gusar 66

Ballade des Exiles, La 60

Darilo 69

Čisto pravi gusar 66

Destinacija Srbistan 44

Den gula tegelvägen 56

Deževko 68

Destinacija Serbistan 44

Flotel Evropa 12

E Agora? Lembra-me 54

Gibalo mita 31

Flotel Europa 12

Gora 14

Ingen ko på isen 56

Jagnje 16

Kastrāts Kuilis 31

Kaj zdaj? Spomni me 54

Kišni 68

Kamen v žepu 85

Lamb 16

Kastrat merjasec 31

Lampedusa 46

Kravata 69

Lu bian ye chan 32

Lampedusa 46

Mano Gyvenimo Žuvis 31

Možnosti so neskončne 52

Mountain 14

Nekoč na modri luni 69

Once Upon a Blue Moon 69

Ni krave na ledu 56

Per amor vostro 22

Piknik ob cesti 32

Perfect Houseguest 69

Pot 62

Possibilities Are Endless, The 52

Princ Ki-Ki-Do: Balon 68

Present, The 69

Prosti pad 67

Princ Ki-Ki-Do: Balon 68

Riba mojega življenja 31

Rabo de Peixe 18

Ribji spev 18

INDEKS/INDEX

ANGLEŠKI NASLOVI/ENGLISH TITLES

REŽISERKE, REŽISERJI/DIRECTORS

14 Reels 40

Ābele, Lauris 31

Abdul & Hamza 42

Ābele, Raitis 31

Academy of Muses, The 28

Bacigalupo, Massimo 40

Anna 22

Bi, Gan 32

Ballad of Exiles: Yılmaz Güney 60

Boot, Steve 69

Beats of the Empty Land 31

Carlen Helmer, Astrid 40

Castratus the Boar 31

Castelli, Niccolò 67

Dawn 36

Chinaglia, Luca 40

Everybody Sometimes Falls 67

De Bernardi, Tonino 40

Fish of My Life, The 31

Domínguez Serén, Eloy 56

Fish Tail 18

Frey, Jacob 69

Flotel Europa 12

Gaudino, Giuseppe M. 22

For One More Hour with You 24

Gören, Şerif 62

Kaili Blues 32

Grba Singh, Marko 42

Lamb 16

Guerín, José Luis 28

Lampedusa 46

Guljašević, Ivana 68

Logbook_Serbistan 44

Güney, Yılmaz 62

Mountain 14

Hall, James 52

No Cow On the Ice 56

Kayam, Yaelle 14

Once Upon a Blue Moon 69

Kuwahata, Ru 69

Perfect Houseguest 69

Lehman, Boris 40

Possibilities Are Endless, The 52

Leonel, Nuno 18

Present, The 69

Lingelser, Julien 40

Prince Ki-Ki-Do: Baloon 68

Lovelace, Edward 52

Rainy 68

Marazzi, Alina 24, 40, 48

Real Pirate, A 66

Marc, Davorin 40

INDEKS/INDEX

IZVIRNI NASLOVI/ORIGINAL TITLES

SLOVENSKI NASLOVI/SLOVENIAN TITLES

Super Grand 68

Rumena opečnata cesta 56

Teni zabitih predkov 20

Sanjski gost 69

Tie, The 69

Sence pozabljenih prednikov 20

Toponimia 34

Super Grand 68

Tukšās zemes ritmi 31

Tilda 31

Tutti Giù 67

Toponimija 34

Uma Pedra no Bolso 85

Tudi vrtnice hočemo 48

Un'ora sola ti vorrei 24

Utrip praznine 31

Vehicle of Myth, The 31

V imenu ljubezni 22

Vogliamo Anche Le Rose 48

Za eno samo uro s teboj 24

Yol 62

Zora 36

INDEKS/INDEX

ANGLEŠKI NASLOVI/ENGLISH TITLES

REŽISERKE, REŽISERJI/DIRECTORS

Shadows of Forgotten Ancestors 20

Mastnak, Grega 68

Super Grand 68

Molloy, Kevin 31

Tall Stories 85

Nanni, Roberto 40

Tie, The 69

Pakalnina, Laila 36

Tilde 31

Paradžanov, Sergej 20

Toponymy 34

Partamian, Chantal 40

Vehicle of Myth, The 31

Perel, Jonathan 34

We Want Roses Too 48

Perreten, Marjolaine 68

What Now? Remind Me 54

Pieters, Jaap 40

Yellow Brick Road 56

Pinto, Joaquim 18, 54, 85

Yol 62

Plukas, Vytautas 31 Porter, Max 69 Preiss, Joana 40 Santi, Mirco 40 Savaşkurt, İlker 60 Schreiner, Peter 46 Sičiūnas, Julius 31 Spaile, Reinis 31 Tomašič, Anton 66 Tomić, Vladimir 12 Tosi, Guido 40 Vrombaut, An 69 Zeleke, Yared 16 Žilnik, Želimir 44

INDEKS/INDEX

FESTIVALSKA EKIPA/FESTIVAL TEAM

MEDNARODNI SVET FESTIVALA/INTERNATIONAL FESTIVAL BOARD Jan Cvitkovič, Koen Van Daele, Helmut Groschup, Lorena Pavlič, Breda Pečan, Nina Peče Grilc, Igor Prinčič, Vlado Škafar

KOORDINATORICA PROSTOVOLJCEV/VOLUNTEER COORDINATOR Maja Vidrih, vodja/head Maja Alibegović

DIREKTORICA ZAVODA/DIRECTOR Lorena Pavlič

TEHNIČNA EKIPA IN INTERVENTNI VOD/TECHNICAL CREW AND INTERVENTION SQUAD Rok Petrič, tehnični direktor/technical manager Andrej Zubin, Vitezslav Chovanes, Andrej Pugelj, Miha Smaka, Charlene Biju, Mark Aguinaldo, Selma Fijuljanin, Diana Ntahimpera, Goran Jović, Klemen Strušnik,

DIREKTORICA FESTIVALA/FESTIVAL DIRECTOR Tanja Hladnik PROGRAMSKA KOORDINATORICA/PROGRAMME COORDINATOR Ana Cerar SELEKTORICA FILMSKEGA PROGRAMA/FILM PROGRAMME SELECTOR Varja Močnik PROGRAMSKI SVET/PROGRAMME BOARD Jan Cvitkovič, Nicola Falcinella, Helmut Groschup, Tanja Hladnik, Matevž Jerman, Varja Močnik, Michael Pattison, Lorena Pavlič, Vlado Škafar, Mateja Zorn PODMORNICA – Otok za mularijo/SUBMARINE – Otok for Kids Mateja Zorn, Ana Cerar, vodji/heads Ana Peršič, koordinatorica/coordinator Sara Blazinšek, Dora Bartal, Ana Bajt VIDEO NA PLAŽI/VIDEO ON THE BEACH Matevž Jerman, selektor/selection Peter Cerovšek, Patrik Rek FILMSKA DELAVNICA PODMORNICA RAZISKUJE OTOK/ FILMMAKING WORKSHOP Jan Mozetič, Urban Košir Kinoatelje Gorica, GoNGlab FILMSKI BOTRI/FILM GODPARENTS Mate Dolenc, Breda Pečan, Metod Pevec, Nataša Tič Ralijan ODNOSI Z JAVNOSTMI/PUBLIC RELATIONS Nadina Štefančič, vodja/head Tanja Žohar, Anja Bajda, Valentina Nedeljko, Esma Hajdarpašić, Urška Pečevnik, Tine Bele Katja Stojić, prevajanje/translations ORGANIZACIJA/ORGANISATION Anja Avdič Batista VODJA PISARNE/HEAD OF OFFICE Vesna Štimac SLUŽBA ZA GOSTE/HOSPITALITY Barbara Poša Belingar, vodja/head Tadeja Pungerčar, Henrike von Dewitz, Danijel Zalesjak, Nina Bačar

FESTIVALSKA EKIPA/FESTIVAL TEAM

KAMP ŠKAMP/FESTIVAL CAMP David Skuk, vodja/head Peter Erzetič, Alen Rajšp, Viktorya Vasileva, Dominika Nowotna, Karolina Mierzwa, Kalina Cyk POSTAVITEV LETNEGA KINA IN KINA KULTURNI DOM/OPEN-AIR CINEMA AND HOUSE OF CULTURE CINEMA L‘image srl: Antonio Mastrolia, Bortolo Bertoldi SVETOVALCA ZA FILMSKO IN VIDEO TEHNIKO/TECHNICAL ADVISORS FOR FILM AND VIDEO SCREENINGS Green DCP: Joop van Lagen, Polona Kuzman KINOOPERATERJI/PROJECTIONISTS Antonio Mastrolia, Bortolo Bertoldi, Tatjana Podlogar KOORDINATORICA KOPIJ/PRINT TRAFFIC Kaja Bohorč PREVAJALCI IN VIDEOPODNASLAVLJALCI FILMOV/FILM TRANSLATORS AND VIDEOSUBTITLERS Daša Cerar, Domen Kavčič, Maja Lovrenov, Denis Debevec, Diana Grden, Lorena Dobrila, Tita Cvetković, Neža Loštrek Študijsko usposabljanje/Student training: Lev Pirc, Maša Odar, Maruša Bajc, Nuša Molan, Helena Milost, Marjeta Gojič, Nika Durnik, Lea Trdan, Miha Bizjak, Sara Savarin, Nika Stegovec, Darinka Mujkanović, Jaka Zalar, Kristijan Murgec, Maša Tihel BLAGAJNA IN FESTIVALSKE STOJNICE/BOX OFFICE AND FESTIVAL STANDS Natalija Gajić, vodja/head Tamara Mihalič, Anastasiya Pruyidze, Aleksandra Malenšek, Ivana Riganova, Pavla Škerjanec BILJETERJI/USHERS Blaž Javornik, Vanessa Biljan, vodji/heads Katja Škerjanc, Andreja Černe, Mojca Sovdat, Aleš Arh Kos VOZNI PARK/DRIVERS Božidar Pogačar, vodja/head Miha Žnidar, Miha Bizjak, Peter Cividini Peloza, Renata Štebih

FOTOGRAFIJA, VIDEO/PHOTOGRAPHY, VIDEO Boštjan Mejak, vodja/head Mateja Nikolić, Clara Ferrando Costa, Andreja Kranjec, Olga Muradyan KUHINJA/CHEF Cristian Herrera, David Macleod Noemi Miklos, Rajat Sharma ROTACIJA/RUNNERS Julia Minet, Neža Vilhelm, Jera Topolovec, Špela Ziherl, Filip Ljevar RAZISKAVA OBČINSTVA/AUDIENCE RESEARCH Bine Slovnik, Katja Bušić, Vanja Erhatič ITALIJANSKA SAMOUPRAVNA NARODNA SKUPNOST/COMMUNITÀ AUTOGESTITA DELLA NAZIONALITÀ ITALIANA Marko Gregorič, Agnese Babič, Clio Diabaté, Lilia Pavlič Hodžič, Ferdinando Possega, Bruno Orlando

IT INFRASTRUKTURA/IT INFRASTRUCTURE Marko Milutinovič, Titania RAČUNOVODSTVO/ACCOUNTING Finares d.o.o. ZAHVALE/THANKS Agnese Babič, Ana Beguš, Villi Hermann, Nina Mežek, Breda Pečan, Nataša Tič Ralijan, Mate Dolenc, Metod Pevec, Boris Palčič, Nikolai Jeffs, Senija Smajlagić, Paola Bristot, Donatello Fumarola, Lea Škerlič, Marina Uzelac, Jaka Polutnik, Zoja Skušek, KC Mostovna, Tomaž Belingar, Sabljaški klub Izola, KUD Balerima, Hangar Bar, Sašo Rutar, Okrepčevalnica-Gril pri Perotu, Janez Kobal, Martin Lissiach, Urška Kumše, Tamara Pagnanelli, Boštjan Berčan, Igor Govednik, Boštjan Račič, Karaka bar, Mini Cafe Golf, Tomislav Valant, Boris Petrič, Nina Vrhovec, Alenka Ropret

KINODVOR. MESTNI KINO./KINODVOR. CITY CINEMA. Nina Peče Grilc, Koen Van Daele, Bojan Bajsič, Nataša Bučar, Ana Cimerman, Vid Grafenauer, Špela Grmek, Marko Horvat, Živa Jurančič, Aliki Kalagasidu, Barbara Kelbl, Mojca Pagon, Ana Seta Pucihar, Petra Slatinšek, Tjaša Smrekar, Maja Zrim in številna študentska ekipa. SLOVENSKA KINOTEKA/SLOVENIAN CINEMATHEQUE Ivan Nedoh, Darja Gartner, Varja Močnik, Kaja Bohorč, Matevž Jerman, Anja Naglič, Marta Matičič, Marko Turkuš, Gašper Milkovič Biloslav, Gregor Brzin, Darko Štrukelj, Bojana Živec, Gregor Štrukelj, Viktor Bertoncelj, Andrej Šprah, Nil Baskar, Metka Dariš, Špela Čižman, Martin Podržavnik, Samo Jurečič, Rastislav Potočnik in ekipa biljeterjev. CENTER ZA KULTURO, ŠPORT IN PRIREDITVE IZOLA/CULTURAL CENTER IZOLA Zvonka Radojevič, Branislava Lipar, Viljem Vičič, Tomaž Kovačič, Petra Božič, Erik Toth, Tina Cerkvenik, Aleksander Janev, Robert Janev, Tatjana Podlogar, Srečko Stepančič, Jolanda Pavšič KINOATELJE GORICA Aleš Doktorič, Orjana Velikonja Grbac, Karin Kocijančič, Martina Humar, Jan Mozetič, Urban Košir, Barbara Poša Belingar, Mateja Zorn 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

FESTIVALSKA EKIPA/FESTIVAL TEAM

BELEÅ½KE/NOTES

ORGANIZATOR/ORGANISED BY

KOPRODUCENTI/CO-PRODUCERS

PODPORA/SUPPORTED BY

MEDIJSKA PARTNERJA/MEDIA PARTNERS

PARTNERJI/PARTNERS

Ot(r)ok

POKROVITELJI/SPONSORS

Hostel MM Amor

MATERIALNI POKROVITELJI/IN-KIND SPONSORS