Festival Genre žanrskega Film filma Festival

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9. – 14. 4. 2019 Slovenska kinoteka & Kinodvor Ljubljana Kratko življenje ogorka življenje Kratko Alipato: an of Ember Life Very Brief The Alipato: 7. 4. /19.30 De La Cruz je posnel edini možen odgovor nakaoti odgovor edini možen je posnel Cruz La De Multitalentirani enfant terrible Filipini, Nemèija /Philippines, Germany,Khavn, 2016, 87’ Festivalsko ogrevanje / Festival Warm-Up /Festival ogrevanje Festivalsko Free admission! Free Critics and Pritlièje. Festival accreditations raffle! collaborationIn with the Associationof Slovenian Film cinema. engaged a radically of vision uncompromising An odyssey«. revenge future »no and ultraviolent singular, in this hallucinatory his hometown of face bleak lurid the us Manila show of to megacity the to returns Khavn and punk poet filmmaker Philippine underground Vstop prost! za sreèelov Sledi dve festivalski akreditaciji! z DruštvomV sodelovanju FIPRESCI Pritlièjem. in duha. in svobodnega drznega gledalca za filma angažiranega vizija brezkompromisna slumih. Divje vmanilskih oživljenju saga gverilska originalna skrajno je Alipato dežele. svoje brezvladje nasilje in perverzno / Pritlièje Pritlièje / filipinskega filma Khavn Khavn filma filipinskega č no no - Olaf Möller,- Olaf Film Comment sveèenik.« uporniški je silovit vresnici toda šaljivec, pankerski kot videti je morda festivala, filmskega rotterdamskega odkritje najbolj kul je tudi ki Khavn, kinematografije. digitalne podtalne skrivnosti varovanih najbolje je ena Khavn èlovek renesanèni »Filipinski zATV sodelovanju prost! Rog. Vstop performans manifesti/ projekcija/ pogovor/ delavnica/ sKhavnom Rogoviljenje 14. 4. /16.00 - Robert Koehler, Variety - Robert audiences.« change to cinema’s radical to capacity commitment his own except tradition or genre no to tethered major filmmaker, prolific world’s most the likely »Very admission! Free In collaboration with Autonomous Factory Rog. performance/ manifestos/ projection/ workshop/ discussion/ In Rog With Noise Khavn Making

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foto Allan Balberona

9. 4. torek / Tuesday 10. 4. sreda / Wednesday 11. 4. èetrtek / Thursday 12. 4. petek / Friday 13. 4. sobota / Saturday 14. 4. nedelja / Sunday 14.00 – 17.30 / Kinodvor 15.00 / Kinodvor Konferenca kultnega filma Matineja / Matinée V anglešèni. Vstop prost. Rjovenje Cult Film Conference Roar In English. Free admission.ission. Noel Marshall, 1981, 35mm, 102’

18.00 / Slovenska kinoteka 18.00 / Slovenska kinoteka 17.45 / Kinodvor 17.00 / Slovenska kinoteka 16.00 / Avtonomna tovarna Rog Ilsa, èuvajka haremov Tvoja pregreha je zaklenjena Nož v srce Balada o trobenti in oblaku Rogoviljenje s Khavnom naftnih šejkov soba in le jaz imam kljuè Un couteau dans le coeur The Ballad of the Trumpet pogovor/delavnica/projekcija/ Ilsa, Harem Keeper of the Il tuo vizio e` una stanza chiusa Knife + Heart and the Cloud performans. Vstop prost. Oil Sheiks e solo io ne ho la chiave Yann Gonzalez, 2018, DCP, 102’ France Štiglic, 1961, Making Noise With Khavn Don Edmonds, 1976, Your Vice Is a Locked Room 35mm, 79’ In Rog 35mm, 85’ and Only I Have the Key discussion/workshop/projection/ Sergio Martino, 1972, 35mm, 97’ performance. Free admission. 19.00 / Slovenska kinoteka 20.30 / Kinodvor 20.00 / Slovenska kinoteka 20.00 / Kinodvor 19.00 / Slovenska kinoteka 19.00 / Slovenska kinoteka Uvertura / Ouverture Otvoritev / Opening Torzo Spake Oboževalka Zakljuèek / Closing Cvet mladosti Ženska opica La donna I corpi presentano tracce di Freaks Der Fan Balangiga: Tuleèa divjina Hanagatami scimmia The Ape Woman violenza carnale Tod Browning, 1932, DCP, 64’ The Fan Balangiga: Howling Nobuhiko Obayashi, 2017, DCP, Marco Ferreri, 1964, Torso Eckhart Schmidt, 1982, Wilderness 168’ 35mm, 93’ Sergio Martino, 1973, DCP, 92’ 35mm, 92’ Khavn, 2018, DCP, 115’ + Master Class: Sergio Martino Pogovor / Talk: Khavn De La Cruz

22.30 / Slovenska kinoteka 21.45 / Kinodvor 21.00 / Slovenska kinoteka Kiborg Bambusovi psi Steklena kletka Vendetta dal futuro Bamboo Dogs Tras el cristal Hands of Steel Khavn, 2018, DCP, 83’ In a Glass Cage Sergio Martino, 1986, Agustí Villaronga, 1986, 35mm, 94’ 35mm, 107’

toèno okoli 23.30 / Kinodvor 23.30 / Slovenska kinoteka This Is Not A Lost Film Hello, Rain By Khavn C. J. ‘Fiery’ Obasi, 2018, DCP, 30’ Kino-koncert v Kinodvorovi Za krvnika ni milosti Kavarni. Vstop prost. Witchfinder General Film-Concert at Kinodvor Michael Reeves, 1968, DCP, 86’ Café. Free admission. 9. 4. torek / Tuesday 10. 4. sreda / Wednesday 11. 4. èetrtek / Thursday 12. 4. petek / Friday 13. 4. sobota / Saturday 14. 4. nedelja / Sunday URNIK /TIMETABLE 14.00 – 17.30 / Kinodvor 15.00 / Kinodvor Konferenca kultnega filma Matineja / Matinée V anglešèni. Vstop prost. Rjovenje Cult Film Conference Roar In English. Free admission.ission. Noel Marshall, 1981, 35mm, 102’

18.00 / Slovenska kinoteka 18.00 / Slovenska kinoteka 17.45 / Kinodvor 17.00 / Slovenska kinoteka 16.00 / Avtonomna tovarna Rog Ilsa, èuvajka haremov Tvoja pregreha je zaklenjena Nož v srce Balada o trobenti in oblaku Rogoviljenje s Khavnom naftnih šejkov soba in le jaz imam kljuè Un couteau dans le coeur The Ballad of the Trumpet pogovor/delavnica/projekcija/ Ilsa, Harem Keeper of the Il tuo vizio e` una stanza chiusa Knife + Heart and the Cloud performans. Vstop prost. Oil Sheiks e solo io ne ho la chiave Yann Gonzalez, 2018, DCP, 102’ France Štiglic, 1961, Making Noise With Khavn Don Edmonds, 1976, Your Vice Is a Locked Room 35mm, 79’ In Rog 35mm, 85’ and Only I Have the Key discussion/workshop/projection/ Sergio Martino, 1972, 35mm, 97’ performance. Free admission. 19.00 / Slovenska kinoteka 20.30 / Kinodvor 20.00 / Slovenska kinoteka 20.00 / Kinodvor 19.00 / Slovenska kinoteka 19.00 / Slovenska kinoteka Uvertura / Ouverture Otvoritev / Opening Torzo Spake Oboževalka Zakljuèek / Closing Cvet mladosti Ženska opica La donna I corpi presentano tracce di Freaks Der Fan Balangiga: Tuleèa divjina Hanagatami scimmia The Ape Woman violenza carnale Tod Browning, 1932, DCP, 64’ The Fan Balangiga: Howling Nobuhiko Obayashi, 2017, DCP, Marco Ferreri, 1964, Torso Eckhart Schmidt, 1982, Wilderness 168’ 35mm, 93’ Sergio Martino, 1973, DCP, 92’ 35mm, 92’ Khavn, 2018, DCP, 115’ + Master Class: Sergio Martino Pogovor / Talk: Khavn De La Cruz

PODNAPISI / SUBTITLES 22.30 / Slovenska kinoteka 21.45 / Kinodvor 21.00 / Slovenska kinoteka Filmi so predvajani s slovenskimi podnapisi. Kiborg Bambusovi psi Steklena kletka All films are subtitled or spoken in English. Vendetta dal futuro Bamboo Dogs Tras el cristal VSTOPNICE / TICKETS Hands of Steel Khavn, 2018, DCP, 83’ In a Glass Cage Posamezne vstopnice: 5 € redna / 4 € v predprodaji Sergio Martino, 1986, Agustí Villaronga, 1986, Matineja: 5 € redna / 4 € v predprodaji / 3 € Klub Kinobalon 35mm, 94’ 35mm, 107’ Paket Kinodvor: 18 € Paket Kinoteka: 30 € Vstopnice in paketi projekcij v Slovenski kinoteki in Kinodvoru so naprodaj pri blagajnah posameznih prizorišè. toèno okoli 23.30 / Kinodvor 23.30 / Slovenska kinoteka Single tickets: 5 € regular / 4 € presale This Is Not A Lost Film Hello, Rain Matinée: 5 € regular / 4 € presale / 3 € Club Kinobalon By Khavn C. J. ‘Fiery’ Obasi, 2018, DCP, 30’ Kinodvor Pack: 18 € Kino-koncert v Kinodvorovi Za krvnika ni milosti Kinoteka Pack: 30 € Kavarni. Vstop prost. Witchfinder General Tickets and packs for screenings at Kinodvor and Film-Concert at Kinodvor Michael Reeves, 1968, DCP, 86’ Slovenska kinoteka are available at the respective box offices. Café. Free admission. PREDPRODAJA / PRESALE: 26. 3. – 8. 4. UVODNIK

Kurja polt 6: Freaks

Družbena deviantnost, psihopatija in biološke anomalije od nekdaj burijo domišljijo žanrskega filma. Njegove zgodbe naseljujejo blazneži, fanatiki, spake in nakaze, v najboljšem primeru èudaki. In tako smo èudaki za marsikoga tudi mi, ljubitelji žanrskega filma. Toda kar je za nekoga škart, je za drugega bogastvo, pravijo. In tudi stigmo lahko nosiš kot simbol pripadnosti. Za naslov letošnje retrospektive smo zato izbrali izraz, ki je pomensko dovolj razgiban, da združuje vse omenjene deviacije, a je hkrati vrednostno dovolj fleksibilen, da poleg negativnega poseduje tudi pozitivni naboj. Ter ne nazadnje izraz, s katerim se v isti dih poklonimo še brezèasni kultni klasiki. Freaks! Beseda freak v svojih bolj ali manj slabšalnih in politièno nekorektnih razlièicah lahko oznaèuje spako; nato èudaka, ekscentrika; nazadnje navdušenca, obsedenca, fanatiènega privrženca – denimo žanrskega frika.

Kronološko prva in tista, ki retrospektivi podeljuje ime, èudaštva kot eksploatacijski in še zlasti seksploatacijski je razvpita kultna klasika Spake (Freaks, 1932). Tod film, v naši paradi filmskih frikov ne bo manjkala Browning je z osupljivo zasedbo resniènih cirkuških kraljica frikovskih likov: velièastna Dyanne Thorne v atrakcij ustvaril neustrašno odo vsem izobèencem najbolj vedri in humorni inkarnaciji zloglasne Ilse, kot sveta in enega najbolj edinstvenih filmov v zgodovini kratkohlaèna Ilsa, èuvajka haremov naftnih šejkov Hollywooda. Nadrealistièni genij povojnega italijanskega (Ilsa, Harem Keeper of the Oil Sheiks, 1976). Z zvoki filma, anarhièni nekonformist in mojster provokacije elektropopa in duhom osemdesetih prežeta Oboževalka Marco Ferreri je v eni najbolj èudaških ljubezenskih (Der Fan, 1982), skriti biser zahodnonemške žanrske zgodb na filmu, Ženska opica (La donna scimmia, kinematografije, vzame pod drobnogled bolestno 1964), v vlogo spake postavil priljubljeno Annie romantièno obsesijo najstnice, resnièno smrtonosni Girardot in škandaliziral obèinstvo v Cannesu. Tako amour fou, in ga slastno poèasi potencira do njegovega Browningov kot Ferrerijev film so producenti porezali. logiènega zakljuèka. Za krono retrospektivi še kronološko Kar so vzeli prvemu, se je izgubilo za vedno. Toda zadnji, toda prvi celoveèerec španskega auteurja Žensko opico, uradni otvoritveni film letošnje edicije, Agustíja Villaronge. Mraèna in morasta alegorija fašizma bomo gledali v neokrnjeni režiserjevi razlièici. Mladi in Steklena kletka (Tras el cristal, 1986) ni le osupljiv prezgodaj ugasli up britanske žanrske kinematografije, in osupljivo transgresiven režijski prvenec, temveè Michael Reeves, bo s filmom Za krvnika ni milosti brezprizivna filmska mojstrovina. (Witchfinder General, 1968) naše frikovstvo prestavil v polje verskega fanatizma. Reevesov tretji in poslednji Èastni gost letošnje edicije in avtor v fokusu sekcije film, ki ga je snemal pri rosnih triindvajsetih, velja za poklon je maestro Sergio Martino. Kultni režiser ultrakultno delo britanskega horrorja. Toda pod krinko italijanske žanrske kinematografije upravièeno slovi kot ruralne gotske grozljivke, ki jemlje svoj navdih pri njen renesanèni mož, mojster za vse žanre. V dobrih resnièni zgodovinski osebnosti Matthewa Hopkinsa, štirih desetletjih filmske kariere je ustvaril enega najbolj samooklicanega lovca na èarovnice, se skriva sodobna pisanih opusov: od zgodnjih mondo šokumentarcev in obsodba èloveške sprevrženosti in oportunizma. špageti vesternov, prek zloglasnih kanibalskih avantur, V soènem èarovniškem dvojèku bodo Hopkinsa postapokaliptiènih akcionerjev in znanstvene fantastike, izzvale tri afrofuturistiène èarovnice, britanskega pa priljubljenih seksi komedij in politiènih krimièev ali nigerijski upornik z razlogom, C. J. ‘Fiery’ Obasi, avtor poliziottescov, do vrhovnega in najbolj kultnega žanra kratkometražca Hello, Rain (2018). Ker nihèe ni zmožen giallo. V zakladnico italijanskih giallov je na zaèetku bolj razbrzdanega, ponorelega in prismuknjenega zlatih sedemdesetih prispeval nekaj prestižnih ter tako rekoè šolskih primerkov, poveèini z režiserjevo muzo kot se šika, z najbolj endemiènim med domaèimi žanri – Edwige Fenech v glavni vlogi. Nato je posnel Torzo (I partizanskim filmom. »Domaèe« kulte, klasike in žanrske corpi presentano tracce di violenza carnale, 1973), enega odpadnike bomo vselej opremili z angleškimi podnapisi najbolj razuzdanih in razigranih – najbolj »freakish« – ter jih tako ponudili v premislek in obravnavo gostujoèim primerkov gialla, ki s svojo neverjetno premiso in filmskim mislecem, teoretikom, kritikom in kuratorjem grozljivo-komiènimi umori hkrati velja za prototipski iz tujine. slasher. Ultrakultni Torzo je kajpak tudi pie`ce de résistance našega poklona maestru Martinu. Družinska matineja bo èas za male, mlajše, mlade po srcu in vsesplošne nostalgike, ki se radi vraèajo k svojim Sodobno sekcijo in sam festival letos oklepata dva fantastiènim, fantazijskim in pustolovskim zaèetkom, h skrajno samosvoja protivojna epa. Kultni mojster kultnim filmom naše in vaše mladosti. Ker se spodobi, japonske kinematografije, kleni nekonformist in goreèni da novi programski sklop inavguriramo z divje zabavno pacifist Nobuhiko Obayashi se s sanjsko fantazmagorijo in vznemirljivo pustolovšèino, bomo zaèeli z Rjovenjem Cvet mladosti (Hanagatami, 2017) vraèa k predveèeru (Roar, 1981), otvoritvenim filmom lanske sezone in napada na Pearl Harbor. Filipinski multitalent in kurjepoltno razlièico Levjega kralja. enfant terrible Khavn De La Cruz pa se s hipnotiènim Balangiga: Tuleèa divjina (Balangiga: Howling Petkovo popoldne bo zopet potekalo v duhu resnega Wilderness, 2018) vrne k zgodovinskemu pokolu, ki ga teoretskega razmisleka (in soènih video klipov) tretje je leta 1901 nad filipinskim prebivalstvom v Balangigi Konference kultnega filma v sodelovanju z Univerzo zagrešila ameriška vojska. Èeprav filma presegata Northumbria iz angleškega Newcastla. Dr. Jamie Sexton, žanrski okvir, pripadata tisti drzni, divji in drugaèni dr. Steve Jones in dr. Alison Peirse bodo pod taktirko dr. filmski govorici ter etosu, ki mu je festival Kurja polt Russa Hunterja tokrat preuèili vidike èudaštva v kultnem posveèen. Kot filma proti vojni pa navsezadnje morata filmu, podžanr slasherja in ženske avtorice žanrskih pripadati nam vsem. A tudi polnokrvnim žanrskim filmov. apetitom bo zadošèeno. Najprej s èudovito retro in na filmski trak posneto detektivko o umorih Nož v srce V okviru razstave Èudne barve Gillesa Vranckxa (Un couteau dans le coeur, 2018) Yanna Gonzaleza, bomo v Kinodvorovi Galeriji in kinoteèni Dvorani Silvana pravo reinkarnacijo sedemdesetih let. Nato s še drugim Furlana na ogled postavili dela belgijskega vizualnega najnovejšim filmom Khavna De La Cruza, politièno nabito umetnika in še enega gosta letošnje edicije. V Bruslju mešanico policijskega trilerja in filma ceste, Bambusovi delujoèi mojster risbe pripada drobni in dragoceni pešèici psi (Bamboo Dogs, 2018). In ker bosta z nami kar dva avtorjev, ki ohranjajo danes skorajda izginulo umetnost njegova filma, bomo tega »pankerskega šaljivca in roèno ilustriranih filmskih plakatov in jo povzdigujejo v uporniškega sveèenika« ter »Che Guevaro digitalne nove višave. revolucije« pripeljali na festival iz daljne Manile! Ne bodite èudaki in obstranci. Pridružite se fanatiènim V sekciji endemièni bomo odslej odkrivali prvine in ljubiteljem drznega, divjega in drugaènega filma – tendence žanrskega filma tudi znotraj slovenske in širše bodite žanrski friki! jugoslovanske kinematografije. S projekcijo mraènega ekspresionistiènega bisera Balada o trobenti in Maša Peèe in Festival Kurja polt oblaku (1961) se bomo poklonili stoletnici rojstva velikega slovenskega režiserja Franceta Štiglica in zaèeli, INTRO Kurja Polt 6: Freaks

Social deviancy, mental aberrations and biological anomalies have long dominated the obsessive imagination of genre cinema. Its stories are inhabited by fanatics, freaks, outcasts and weirdos, whose ranks we gladly join as genre freaks. After all, one man’s trash is another man’s treasure, and a stigma can be proudly worn as a badge of honour and a symbol of our strange fellowship. For this year’s retrospective, we have chosen a title that is broad enough to embrace all the aforementioned characters, flexible enough to carry not only negative but positive connotations, and a title which allows us to pay tribute to a timeless cult classic: Freaks! The word freak, in its more or less derogatory and politically incorrect terms, denotes the physically abnormal (freak of nature), the eccentric or weirdo, the enthusiast or fanatic. We have gathered a colorful troupe of film freaks inhabiting veritable cult classics, overlooked gems and genre-bending renegades that may not strictly belong in the pantheon of genre, but find a loving home among us freaks!

The earliest film from which this year’s Retrospective Ilsa, Harem Keeper of the Oil Sheiks (1976). takes its name is the notorious cult classic, and one Conjuring the sounds of electropop and the spirit of of the most unique films in Hollywood history: Tod the 1980s, The Fan (Der Fan, 1982) will transport us Browning’s Freaks (1932). With an astonishing to yet another fantastical dimension. This hidden gem cast of real circus performers, Browning issues an of West German genre cinema observes the morbid impassioned battle cry in this unflinching ode to romantic obsessions of a teenager, a truly deadly amour outcasts around the world. From surrealist genius of fou that creeps towards its inevitable conclusion with post-war Italy and anarchic maestro of provocation agonising languidness. The chronologically last of our Marco Ferreri comes one of cinema’s strangest love retrospective is Spanish auteur Agustí Villaronga’s debut stories. The Ape Woman (La donna schimmia, feature. The murky and nightmarish allegory of fascism 1964), starring beloved French actress Annie Girardot In a Glass Cage (Tras el cristal, 1986) is not simply an in the title role scandalized audiences at the 1964 astonishing and astonishingly transgressive film, but an Cannes Film Festival. Both Browning’s and Ferreri’s unmistakable cinematic triumph. films experienced a heavy hand from producers and censors. But while scenes from Freaks have been Our Homage this year goes to the maestro of Italian lost forever, we are delighted to officially open this genre cinema and all-round renaissance man, Sergio year’s festival with the integral director’s cut of The Martino. In a career spanning four decades, the Ape Woman. Michael Reeves, whose untimely death scope of his work is truly remarkable: from the early haunts the history of British genre cinema, will steer mondo shockumentaries and spaghetti westerns, to our freakery into the troubling realm of folk horror with cannibalistic adventures, post-apocalyptic action and his third and final film, Witchfinder General (1968), science fiction, beloved sex comedies, political crime a British cult horror classic. In an occult double bill, thrillers or poliziotteschi, through to the supreme and Witchfinder General will be foreshadowed by three most coveted of cult genres, the giallo. In the treasure afro-futurist witches rendered by Nigerian filmmaker trove of Italian giallo film from the beginning of the C.J. ‘Fiery’ Obasi in his short film Hello, Rain (2018). golden period of the 1970s, Martino made some of the Because nothing channels unbridled weirdness more most prestigious and seminal examples of the genre. than exploitation and in particular sexploitation film, Then came Torso (I corpi presentano tracce di violenza our parade of filmic freaks will include the queen of carnale, 1973), one of the most gleefully debauched outlandish characters, the magnificent Dyanne Thorne films of the period, with its unbelievable premise and in the Ilsa franchise’s most humorous incarnation: horrifically comedic murders constituting something of a prototype for the slasher film. This ultra-cult classic The new family Matinée welcomes audience members represents the pie`ce de résistance of our homage to the from the youngest to the young at heart to discover maestro. thrilling new favourites, or to return to their adventurous beginnings and re-discover cult classics. To inaugurate The Contemporary section will tie in two exceptionally our new section with an uproarious adventure, we shall unique anti-war epics. From cult auteur of Japanese commence if not with a bang then at least with a…Roar cinematography, non-conformist and impassioned (1981). Welcome to the jungle in the company of youth: pacifist Nobuhiko Obayashi comes Hanagatami (2017), we know who they’ll be rooting for… a fantasmagorical vision of the evening preceding Japan’s military attack on Pearl Harbor. While the Friday afternoon will run once again in the spirit of multitalented Filipino enfant terrible Khavn De La Cruz serious theoretical deliberation (and plenty of thrilling offers a surreal and reflective representation of the video clips) with the 3rd Cult Film Conference, created 1901 Balangiga massacre under American occupation in collaboration with the University of Northumbria. in Balangiga: Howling Wilderness (2018). Although Under the watchful eye of Dr. Russ Hunter, Dr. Steve these films transcend the generic frame, they decidedly Jones, Dr. Jamie Sexton and Dr. Alison Peirse will come belong to the wildly audacious, daring and different face to face with cult film’s freakery, the slasher cycle cinematic language and ethos to which our festival and women genre filmmakers. is dedicated. And as films against war, they simply must belong to us all. But have no fear, the festival The Strange Colors of Gilles Vranckx, a two-part will satisfy also the more full-blooded genre appetite. exhibition on display at the Slovenian Cinematheque and The brilliantly retro Knife + Heart (Un couteau dans Kinodvor Gallery, will present selected works by Belgian la coeur, 2018), shot on 35mm film by writer-director artist Gilles Vranckx. The Brussels-based master of Yann Gonzalez, is a thrilling whodunit and an eerie drawing and graphic design counts among the precious reincarnation of the 1970s. Khavn De La Cruz’s second few artists keeping alive the once vibrant tradition of newest feature, Bamboo Dogs (2018) is a politically hand-drawn film posters, elevating the art form to new loaded fusion of police thriller and road movie, charged heights. with a dark condemnation of systematic corruption in the Philippines. To present his films (and more), we are Do not be strange(rs). Join us for another fanatical thrilled to be welcoming the »prankster punk« and the celebration of the audaciously daring and different »ass-kicking rebel priest« himself all the way from far cinema, and be genre freaks! away Manila! Maša Peèe and Kurja Polt Festival Our newly created Endemic section will henceforth seek and explore genre tendencies in films made in Slovenia and other republics of former Yugoslavia. Commemorating the centenary of one of our central post-war filmmakers, France Štiglic, we shall commence with his dark moral parable and impressive expressionist gem The Ballad of the Trumpet and the Cloud (Balada o trobenti in oblaku, 1961) and, therefore, with a genre that is most endemic to our territories: the partisan film. POKLON / HOMAGE

Poklon: Homage: Sergio Martino Sergio Martino

Èastni gost letošnje edicije in avtor v fokusu Our guest of honour Sergio Martino is the true sekcije poklon upravièeno slovi kot mojster za renaissance man of Italian genre cinema, a master vse žanre. Sprva se je kalil pri filmih svojega of all genres. He began his filmmaking career under brata, scenarista in producenta Luciana Martina, the tutelage of his brother, writer and producer ter kot asistent režije pri filmu Biè in telo (La Luciano Martino, and as second unit director on frusta e il corpo, 1963) Maria Bave. Kot režiser Mario Bava’s The Whip and the Body (La frusta e je debitiral leta 1969 z mondo filmom Mille il corpo, 1963). His directorial debut came in 1969 peccati... nessuna virtu`. Kot se rad pošali, je with Wages of Sin (Mille peccati... nessuna virtu`). naslov filma »tisoè grehov, nobena vrlina« med »A thousand sins and not a single virtue« says the zadržanimi kritiki postal kar njegov vzdevek. Toda film’s original title. But as fans and connoisseurs ljubitelji žanrskega filma vemo, da je v dobrih štirih will attest, Sergio Martino has demonstrated many desetletjih filmske kariere Martino nanizal cel a virtue in a career spanning over four decades and kup vrlin in ustvaril enega najbolj pisanih opusov: boasting a filmography of remarkable scope: from od zgodnjih mondo šokumentarcev in špageti mondo shockumentaries and spaghetti westerns, vesternov, prek zloglasnih kanibalskih avantur, to cannibalistic adventures, post-apocalyptic postapokaliptiènih akcionerjev in znanstvene action and science fiction (Hands of Steel, 1986), fantastike (Kiborg, 1986), seksi komedij in beloved sex comedies, political crime thrillers politiènih krimièev ali poliziottescov, do vrhovnega or poliziotteschi, through to the most coveted of in najbolj kultnega žanra giallo. V zakladnico cult genres, the giallo. From the beginning of the italijanskih giallov je na zaèetku sedemdesetih 1970s, Martino contributed some of the seminal prispeval nekaj prestižnih primerkov (poveèini examples to the treasure trove of the Italian giallo, z igralko Edwige Fenech v glavni vlogi), kot so with pictures such as The Case of the Scorpion’s Škorpijonov rep (La coda dello scorpione, 1971), Tail (La coda dello scorpione, 1971) and Your Vice Vse barve teme (Tutti i colori del buio, 1972) ter Is a Locked Room and Only I Have the Key (1972), Tvoja pregreha je zaklenjena soba in le jaz imam featuring Edwige Fenech. Then came Torso (1973), kljuè (1972). Nato je posnel Torzo (1973), enega one of the most gleefully debauched films of the najbolj razuzdanih in razigranih primerkov gialla, ki period, constituting something of a prototype for the s svojo neverjetno premiso in grozljivo-komiènimi slasher film. This ultra-cult classic also represents umori hkrati velja za prototipski slasher. the pie`ce de résistance of our homage to the maestro. Projekcije v prisotnosti režiserja Sergia Martina. Screenings in the presence of director Sergio Martino. POKLON / HOMAGE Il tuo vizio è una stanza chiusa e solo io ne ho la chiave Tvoja pregreha je zaklenjena soba in le jaz imam ključ Your Vice Is a Locked Room and Only I Have the Key Sergio Martino, Italija / Italy, 1972, 35mm, 1.85, barvni / colour, 97’ Filmska kopija / Print courtesy of CSC-Cineteca Nazionale

Oliviero je zafrustriran pisatelj in alkoholik. Namesto Oliviero, a frustrated writer and an abusive husband to da bi se posveèal pisanju, v razpadajoèi podeželski vili Irina, amuses himself by holding drunken hippy orgies in prireja razvratne orgije in trpinèi svojo ženo Irino. Toda their crumbling country villa. But when one of his lovers ko eno od njegovih bežnih ljubimk najdejo umorjeno, is found dead, he becomes the prime suspect to a series postane Oliviero glavni osumljenec za skrivnostne of mysterious murders. To complicate matters even umore, ki se kar množijo. Niè manj skrivnostno se further, Oliviero’s beautiful and seductive niece Floriana nekega dne pred vrati pojavi še pisateljeva zapeljiva arrives for an unexpected visit. neèakinja Floriana. Sergio Martino’s fourth foray into giallo, loosely based on Martinov èetrti giallo, posnet po navdihu kratke Edgar Allan Poe’s classic tale The Black Cat and featuring zgodbe Èrni maèek Edgarja Allana Poeja, se ponaša not one, but two iconic queens of the cultish genre, ne le z eno, temveè s kar dvema kraljicama najbolj Edwige Fenech and Anita Strindberg, is a lush, stylish and kultnega med italijanskimi žanri, Anito Strindberg in sensuous enigma, as twisted and allusive as its lavish title. (režiserjevo muzo ter svakinjo) Edwige Fenech. Èutna in èudovito stilizirana uganka, pregrešna in zamotana »Your Vice Is a Locked Room and Only I Have the Key kot njen razkošni naslov. is a lusciously Gothic, baroque opera of blood, lust and cruelty from one of the great under-rated giallo directors.« »Prièakujte Loliti sorodno neèakinjo Floriano - Sophia Satchell Baeza, CineVue (Martinova ljubljenka, èudovita Edwige Fenech), grozna oblaèila v duhu sedemdesetih, vedra krvi in en »Incorporates everything I love about the black gloved krožnik oèesnih zrkel. Tvoja pregreha je zaklenjena killers and J&B scotch bottles subgenre, from its smarmy soba in le jaz imam kljuè je razkošno gotska, protagonist, requisite brutality, gorgeous women, and a baroèna opera krvi, slasti in krutosti v režiji enega twisty narrative that’s difficult to nail down.« najveèjih in podcenjenih giallo mojstrov.« - Dread Central - Sophia Satchell Baeza, CineVue POKLON / HOMAGE I corpi presentano tracce di violenza carnale Torzo Torso Sergio Martino, Italija / Italy, 1973, DCP, 1.66, barvni / colour, 92’

Ko niz šokantnih umorov pretrese univerzitetni kampus When a series of sex murders shock a college campus v Perugii, se ameriška študentka Jane in njene radožive in the medieval university town of Perugia, exchange kolegice zateèejo v varno zavetje podeželske vile. Tam student Jane and her beautiful young girlfriends head for hitro pozabijo na nevarnost, se prepustijo èofotanju, the safety of an isolated country villa, where they skinny brsteèim èustvom in strastem. Toda brezskrbnega dip and dive into erotic desires. But their weekend of oddiha bo kmalu konec, saj je skrivnostni morilec pleasure is soon interrupted... dekletom že za petami. Sure, there’s a ski-masked, bow saw-wielding Že res, da je na pohodu morilski manijak, opremljen z murderous sex maniac on the prowl. But Sergio Martino’s žago in masko. Toda Martinov razbrzdani proto-slasher madcap proto-slasher Torso packs so much exhilarating je tako nabito poln razburljivega razvedrila, suspenza fun, suspense and titillation, even its victims can’t stay in vzburjenja, da niti žrtve same grozeèe nevarnosti ne serious in the face of danger. morejo vzeti resno. »Sergio Martino’s 1973 giallo Torso is a significant »Torzo predstavlja precejšen odmik od zgodnejšega departure from his earlier cycle of city-set paranoid gialli cikla urbanih, paranoidnih giallo filmov, ki so that made his name. Nearly all featuring the actress proslavili režiserja Sergia Martina. Te so zaznamovali Edwige Fenech, these preceding films were associated kozmopolitanski in stilistièni ekscesi, ki jih je filmom with the cosmopolitan and stylistic excesses that Fenech s svojo zvezdniško persono vdahnila igralka Edwige brought to the movies through her star persona. Paring Fenech. V Torzu pa Martino vse te ekscese oklesti down the excess of his Fenech vehicles, like Mario Bava /…/. Z uporabo posnetkov iz morilèeve perspektive two years before him in Twitch of the Death Nerve, ter divjostjo in pogostostjo s posebnimi uèinki Torso is the closest the giallo comes to being the podkrepljenih umorov Torzo potrjuje, da je giallo prototype for the American slasher movie.« predhodnik svojega ameriškega bratranca.« - Gary Needham, 100 European Horror Films - Gary Needham, 100 European Horror Films Film bo uvedel Master Class pogovor s Sergiom Martinom. Introduced by a Master Class with Sergio Martino.

+++++ STRAN 11: POKLON KIBORG slo+eng / ZNAKOV: 2248 + špica +++ POKLON / HOMAGE I corpi presentano tracce di Vendetta dal futuro violenza carnale Torzo Torso Kiborg Hands of Steel Sergio Martino, Italija / Italy, 1985, 35mm, 1.85, barvni / colour, 94’

IN 1997: THE GUARDIAN OF THE FUTURE IS MUCH MORE THAN A MAN Leto 1997, doba kiborgov. Paco Queruak je eden teh The future is 1997. The human race teeters on the verge bioniènih plaèancev v službi industrialca Francisa of extinction. Evil industrialist Francis Turner creates Turnerja, programiran za atentat na okoljskega aktivista a cyborg Paco Queruak, programmed to terminate the in preroka bližajoèe se apokalipse, Arthurja Mosleyja. leader of an environmentalist faction who stands in A v kiborgu se prebudi èloveška vest in ko pusti his way. But the cyborg’s conscience awakens and he Mosleyju živeti, se znajde na begu pred svojimi stvarniki. fails to eliminate the ecologist. Now on the run from his Prepoteni, mišièasti tovornjakarji, ki v beznici sredi creators, Paco finds shelter in a desert diner. pušèave polagajo roke? Martinov futuristièni akcioner Starring Daniel Greene, Luigi Montefiori (aka George in nizkoproraèunska variacija na Terminatorja se resda Eastman), John Saxon and Claudio Cassinelli, who was odvija v distopiènem svetu bližnje prihodnosti leta 1997, tragically killed in a helicopter crash during the making a kar kipi od soène B-filmske nostalgije osemdesetih let. of the film, Sergio Martino’s low-budget riff on The V glavnih vlogah: Daniel Greene, Luigi Montefiori (alias Terminator, set in the bleak futureworld of 1997 and George Eastman), John Saxon in Claudio Cassinelli, ki je populated by sweaty, muscular, denim-clad and arm- tragièno preminil v helikopterski nesreèi med snemanjem wrestling truckers, is a big juicy slice of ‘80s B-movie filma. nostalgia.

»Nikoli se ne bom navelièal gledati naoljenega Daniela »I’ll never tire of seeing a greased-up Daniel Greene Greena, ki se ruva s še bolj naoljenim Georgeom butting heads with an even more greased-up George Eastmanom. Kiborg režiserja Sergia Martina je odlièen, Eastman. Directed by Sergio Martino, this is a legit great pristen akcioner, poln klanja in barskih ravsov. Oh, za action film full of carnage and bar fights. Oh, and John èešnjo na torti pa je tu še John Saxon, èe so vam všeè Saxon is an added bonus, if you’re into handsome men.« postavni moški.« - Anthony Isaac Bradley, Diabolique Magazine - Anthony Isaac Bradley, Diabolique Magazine ENDEMIČNI / ENDEMIC Balada o trobenti in oblaku The Ballad of the Trumpet and the Cloud France Štiglic, Slovenija (Jugoslavija) / Slovenia (Yugoslavia), 1961, 35mm, 1.37, èb / bw, 79’

Èas druge svetovne vojne. Na samotni kmetiji sredi Èistini sprašuješ ob Walkerju, ki ga igra Lee Marvin: je zasneženih gora se Temnikarjevi pripravljajo na res živ ali pa je vse, kar se dogaja, le njegova predsmrtna praznovanje božièa. Starega Temnikarja (Lojze Potokar) blodnja? /…/ Je že mrtev ali pa se je vrnil od mrtvih, že od jutra muèijo prisluhi zlovešèih zvokov trobente, ko da bi lahko umrl junaško in dostojno, kot Peckinpahova se na vratih nenadoma pojavijo belogardisti in povedo, Divja banda, in da bi si zagotovil mesto v zgodovini ali da gredo pokonèat ranjene partizane, ki so skriti v neki pa, še raje, v muzeju novejše zgodovine? Je že mrtev ali votlini. Temnikar ve, da jim mora to prepreèiti. Èeprav je pa še vedno – tako kot križarski vitez (Max von Sydow) star mož in je sneg globok, pograbi sekiro ter se odpravi v Bergmanovem Sedmem peèatu – šahira s smrtjo, èez drn in strn, da bi belogardistom prekrižal pot. da bi svojo smrt odložil? Atmosfera – mrka, hladna, Mraèna, a razsvetljujoèa, blodna, a nedvoumno apokaliptièna – diši po obdukciji. V obeh filmih. Balada, jasna ekspresionistièna balada o težki (tu zlasti etièni) posneta v èasu, ko se intimizirali in subjektivizirali tudi eksistenci navadnih ljudi med narodnoosvobodilnim jugoslovanski partizanski, enobejevski filmi (Ðorðeviæeva bojem. Vrtoglavo atipièen partizanski film, ki ga vendarle trilogija Dekle/Sen/Jutro, Petroviæev Tri, Pavloviæeva podpirata tipièna stebra slovenske duše: secirana Zaseda), je le navidez klicala po parodiji – v resnici je psihologija »trenutkov odloèitve« ter sekira kot orodje in klicala po koncu filma.« orožje. - Marcel Štefanèiè, jr., Maškarada: Strašne fantazije slovenskega filma (1948–1990) »Štiglic je Baladi pustil, da je film. Filmu je pustil, da je film. Pustil mu je, da halucinira. Filmi so najboljši, ko halucinirajo. Ob Temnikarju se paè sprašuješ to, kar se v Scorsesejevem Taksistu sprašuješ ob Travisu Bicklu, ki ga igra Robert De Niro, ali pa to, kar se ob Boormanovi foto Gorgonij Staut / arhiv Slovenske kinoteke

The year is 1943. On a solitary mountain farm old Peace (Dolina miru, 1965) competed for the Cannes Temnikar is awakened by an ominous sound of trumpets, Palme d’Or for best direction and won John Kitzmiller the calling him to duty. As his family prepares for Christmas Palm d‘Or for best actor, while The Ninth Circle (Deveti celebrations, they are disrupted by the arrival of three krug, 1960) was nominated for the Academy Award for men, members of the collaborationist Home Guard. In Best Foreign Film. Štiglic has also played a vital role in song and dance they reveal their plan to execute a group the beginning and development of the Slovenian national of wounded partisans who lay hidden in a mountain film production. For a number of years, he would share cave. The snow is deep and the terrain treacherous, but his knowledge as the professor of film direction at the the old man knows he must pick up his axe and stop the Academy for Theatre, Radio, Film and Television. traitors before they reach the cave. A dark but illuminating, delusional but undoubtedly clear expressionist ballad about the (ethical) struggle of the common folk during the partisan resistance. A dizzily atypical partisan film.

2019: The Slovenian Year of France Štiglic Already at the beginning of his forty-year career, France Štiglic (1919–93) asserted himself as one of the most talented film directors. His short documentary Youth V sodelovanju s Slovenskim filmskim centrom ob Builds (Mladina gradi, 1946) won the Bronze Lion in stoletnici rojstva Franceta Štiglica. Venice, his feature film debut On Our Own Land (Na In collaboration with the Slovenian Film Centre on the svoji zemlji, 1948) qualified for Cannes, The Valley of centenary of France Štiglic. MATINEJA / MATINÉE Roar Rjovenje Noel Marshall, ZDA / USA, 1981, 35mm, 2.35, barvni / colour, 102’ Filmska kopija / Print courtesy of Slovenska kinoteka Ne joči, Peter (France Štiglic, (France 1964) Ne joči, Peter

Znanstvenik Hank je na svoje malo afriško posestvo Hank (Noel Marshall) is an energetic scientist, living Slovenska kinoteka naselil veè kot sto divjih levov, tigrov, gepardov in še in East Africa, alongside a menagerie of over 100 wild nekaj slonov za povrh. Njihovo sožitje je na videz mirno lions, tigers, panthers and an elephant or two. They all misliti film, onstran vsakršnih zahtev trga, okusa, in harmonièno. Prav tistega dne, ko iz Chicaga pripotuje live together in apparent harmony. Until one day, just as predvidevanj in pričakovanj Hankova niè hudega sluteèa družina, pa se med levi his wife and children (real-life wife Tippi Hedren, step- razvname bitka za prevlado. daughter Melanie Griffith and his sons John and Jerry Rjovenje slovi kot »najnevarnejša filmska produkcija Marshall) arrive from Chicago, a battle for dominance maj/junij september/oktober vseh èasov«, saj je režiser Noel Marshall pred kamero in erupts between the lions. • Retrospektiva: Boris Lehman • Retrospektiva: Jean Renoir v pravi levji brlog neustrašno postavil vso svojo družino, It took director Noel Marshall and his wife Tippi Hedren • Teden italijanskega filma • Jesenska filmska šola soprogo in igralko Tippi Hedren (Ptièi), njeno hèerko (The Birds) 11 years to produce Roar, during what is Melanie Griffith in svoja sinova Johna in Jerryja. Med considered »the most dangerous film shoot in history«. • 19. Festival migrantskega filma • 100 let Franceta Štiglica: snemanjem ni bila poškodovana nobena žival, bolj ali But the result is beyond compare. A hilarious, bonkers • Kino Otok v Kinoteki retrospektiva, razstava, monografija manj velike praske pa je utrpelo kar 70 èlanov ekipe. mad and sweat-in-your-seat action adventure where julij/avgust • Mesto žensk Vznemirljiva akcijska pustolovšèina in divja grozljiva every frame is filled to the brim with volatile wildcats. komedija, ki od divjih maèk kar poka po šivih. Welcome to the jungle! • Poklon Radku Poliču • Letni kino Muzeja slovenskih filmskih »Z levi je zares težko igrati. Ne zato, ker bi bili »Fortunately, the passage of time affords us the igralcev v Divači nevarni, paè pa zato, ker so tako smešni! Èisto vsakiè perspective to view Roar for what it truly is: the most • Poletje na platnu in med platnicami: te zasenèijo. Èe si v kadru skupaj z levom, si lahko epic and amazing animal thriller ever made. It plays out Med podobami in besedami žensk Vabljeni v Kinoteko, vabljeni na film! preprièan, da bodo vse oèi uperjene v maèko.« like a fever-dream Disney movie.« - Melanie Griffith - Tim League, Birth. Movies. Death. • 5. FeKK – festival kratkega filma www.kinoteka.si

V osnovi film ni bil narejen za otroke, menimo pa, da je V sodelovanju s Kinodvorovim programom za otroke in primeren za družinski ogled s starejšimi otroki, ki imajo mlade Kinobalon. radi napete pustolovske filme. Priporoèena starost: 10+ In collaboration with Kinodvor’s programme for children and youth Kinobalon. Ne joči, Peter (France Štiglic, (France 1964) Ne joči, Peter Slovenska kinoteka misliti film, onstran vsakršnih zahtev trga, okusa, predvidevanj in pričakovanj maj/junij september/oktober • Retrospektiva: Boris Lehman • Retrospektiva: Jean Renoir • Teden italijanskega filma • Jesenska filmska šola • 19. Festival migrantskega filma • 100 let Franceta Štiglica: • Kino Otok v Kinoteki retrospektiva, razstava, monografija julij/avgust • Mesto žensk • Poklon Radku Poliču • Letni kino Muzeja slovenskih filmskih igralcev v Divači • Poletje na platnu in med platnicami: Med podobami in besedami žensk Vabljeni v Kinoteko, vabljeni na film! • 5. FeKK – festival kratkega filma www.kinoteka.si SODOBNI / CONTEMPORARY Hanagatami Cvet mladosti Nobuhiko Obayashi, Japonska / Japan, 2017, DCP, 1.85, barvni / colour, 168’

Japonska, spomladi 1941. Mladi Toshihiko se iz Japan, 1941. Young Toshihiko returns from Amsterdam Amsterdama vrne v idilièno obalno mestece Karatsu, to the small and idyllic seaside town of Karatsu to visit da bi obiskal svojo teto in bolno sestrièno Mino. Vpiše his aunt and sick cousin Mina. He soon befriends a se v tamkajšnjo šolo in se kmalu spoprijatelji s pisano colourful entourage of the town’s youth. But while they drušèino vrstnikov. A medtem ko se cvet mladosti explore young love and the meaning of life, the shadows prepušèa odkrivanju mlade ljubezni in smisla življenja, of an imminent war loom heavy. na obzorju že grozi neizbežna vojna. Master Obayashi returns to his very first screenplay Avtor ultrakultne psihedeliène horror komedije (written before the surreal cult classic Hausu) to fulfil Hausu (1977) se je vrnil k svojemu prvemu, nikoli a decades-long filmmaking dream. In the hands of this realiziranemu scenariju in pri dobrih osemdesetih ageless and forever unconventional filmmaking genius a uresnièil dolgoletne filmske sanje. Brezèasna alegorija timeless story about youth sacrificed at the altar of war nedolžne mladosti, žrtvovanje na oltarju vojne, se v becomes an avant-garde cinematic fever dream. rokah veèno nekonvencionalnega filmskega vizionarja A hallucinatory pacifist masterpiece. in goreènega humanista prelevi v avantgarden vroèièni sen. Halucinantna in presunljiva pacifistièna »In a short prologue that adds a personal dimension, mojstrovina. the narrator/director reminds the audience that what follows is not nostalgia, but the heartache of everything »Obayashi naèrtno sprevraèa konvencije igre, that has been devoured and lost by war. This urgent scenografije in filmske fotografije, s èimer publiki but general message might well have been lost in a zastavi izziv, toda ne traja dolgo, da se privadiš. In more conventional film. Here it bursts out in a jarring, kmalu se ti zdi, da so gledališke kulise in posnetki iconoclastic directing style of inspired rule-breaking.« morja, projicirani na ozadje, edini možen naèin - Deborah Young, The Hollywood Reporter za upodabljanje neizrekljive misli: da je mladost sprejemljiva žrtev.« »Nobuhiko Obayashi’s latest is like nothing else around.« - Deborah Young, The Hollywood Reporter - Robbie Collin, The Telegraph SODOBNI / CONTEMPORARY Un couteau dans le coeur Nož v srce Knife + Heart Yann Gonzalez, Francija, Mehika, Švica / France, Mexico, Switzerland, 2018, DCP, 1.85, barvni / colour, 102’

Pariz, poletje 1979. Anne (Vanessa Paradis) je Paris, the summer of 1979. Anne (Vanessa Paradis) is režiserka tretjerazrednih gejevskih pornièev. Ko jo a 40-something gay porn director with titles like Anal zapusti ljubimka, montažerka Lois, se Anne odloèi Fury and Homocidal under her belt. After her editor posneti svoj najbolj ambiciozen film, da bi znova and lover Lois leaves her, she tries to win her back by osvojila Loisino srce. Toda njeni igralci zaènejo drug za shooting her most ambitious film yet. But a mysterious drugim skrivnostno umirati. killer starts murdering her actors one by one. Misteriozen, atmosferièen, èudovito stiliziran in retro Yann Gonzalez’s ultra-stylish and gorgeously campy nostalgièen morilski triler Yanna Gonzaleza, posnet na murder mystery, shot on 35mm, is not merely an ode but 35-milimetrski filmski trak, ni le oda, temveè prava a reincarnation of the seventies, the golden age of giallo, reinkarnacija sedemdesetih let, zlate dobe grindhouse grindhouse and porno chic. kinematografov, ko sta bila šik tako porno kot giallo. Dobitnik nagrade Jean Vigo za neodvisnega duha in »If Dario Argento, Brian De Palma and Kenneth Anger slogovno izvirnost. conceived a three-way love child while watching Cruising and listening to a Giorgio Moroder mix tape, »Èe bi Dario Argento, Brian De Palma in Kenneth the result would be something like French director Yann Anger med gledanjem Vabe (Cruising) in poslušanjem Gonzalez’s Knife + Heart. /…/ Knife hits you from its glasbenega miksa Giorgia Moroderja spoèeli otroka very first frame – and this is really a frame of celluloid ljubezni, bi bil videti kot Nož v srce. /…/ Nož, posnet and not a file of gigabytes – as a work engulfed in the na 35 milimetrov in podkrepljen s pulzirajoèo retro pleasures of filmmaking’s past.« glasbeno podlago galskih elektro rokerjev M83, vas - Jordan Mintzer, The Hollywood Reporter zgrabi že ob prvi slièici – in to ni datoteka gigabajtov, paè pa prava slièica celuloida – kot film, ki je »Gonzalez has a strong sense of what makes those old popolnoma pogreznjen v užitke filmske preteklosti.« no-budget pornos fun and an equally strong sense of - Jordan Mintzer, The Hollywood Reporter how and where those films intersect with the likes of Godard and Hitchcock.« - Walter Chaw, Film Freak Central SODOBNI / CONTEMPORARY Bamboo Dogs Bambusovi psi Khavn, Filipini / Philippines, 2018, DCP, 2.35, barvni / colour, 83’

Manila, 1995. Policista Esquivel in Corazon prejmeta On what should have been just another night on the job, navidez enostaven ukaz: èlane zloglasne roparske police officers Esquivel and Corazon receive an order that tolpe morata odpeljati na policijsko centralo, kjer bodo seems simple enough at first: fix an arrest mix-up by taking izpušèeni, saj je prišlo do napaène aretacije. Toda sredi a notorious group of robbers to Camp Crame where they prevoza se ukaz spremeni in policista se znajdeta pred will be let go. But mid-transport the orders change and odloèitvijo: naj poslušata nadrejene ali ravnata po Esquivel and his fellow cops find themselves having to svoji vesti? choose between carrying out orders and doing what’s right. Štirje zloèinci, štirje policisti in en kombi so Four criminals, four cops and a van are the ingredients sestavine tesnobnega križanca kriminalnega trilerja in of Khavn’s tense, pitch-dark and claustrophobic crime filma ceste, posnetega po resniènem dogodku. Jedka thriller and road movie mixture, based on the Kuratong obsodba moralnega razkroja in razpada sistema v Baleleng Rubout Massacre of 1995. Mondomanili, kjer so možje postave zgolj orodje in orožje v rokah vladajoèe elite. Mondomanila is festering. Death is slow and hard to come by. Leta 1986 filipinska vojska za boj proti komunistièni Who knows the cure? gverili osnuje paravojaško skupino, poimenovano Surely, it’s not in this ride. Kuratong Baleleng. Konec osemdesetih se iz skupine Everyone’s a henchman. razvije moèna kriminalna združba, ki deluje pod Villains & their humanity. zašèito policije. Leta 1995 v Quezonu èlani posebne The weightless pressure and suffocating freedom felt predsedniške enote za boj proti organiziranemu zloèinu by men throwing away their entire belief systems in the pod poveljstvom Panfila Lacsona usmrtijo 11 èlanov course of one ride. tolpe, vkljuèno z mladoletnikom. Proti Lacsonu in 33 How does one act with the full and appalling drugim predstavnikom policije je sprožen postopek. consciousness of the wrong one is doing, the wreckage Tožba je zaradi pomanjkanja dokazov nazadnje one is creating? opušèena. Lacson je leta 2001 izvoljen v državni senat, - Khavn kjer sedi še danes. Projekcija v prisotnosti režiserja Khavna De La Cruza. Screening in the presence of director Khavn De La Cruz. SODOBNI / CONTEMPORARY Balangiga: Howling Wilderness Balangiga: Tuleča divjina Khavn, Filipini / Philippines, 2018, DCP, 1.85, barvni / colour, 115’

Leto 1901, Balangiga. Osemletni Kulas se z dedkom in Philippines, 1901. A young boy flees the town of vodnim bivolom znajde v pregnanstvu. Dom so zapustili Balangiga with his grandfather and their buffalo to na begu pred mašèevalnim pohodom ameriške vojske escape the American occupation. As they travel through pod vodstvom generala Smitha. Na odisejadi, ki jih vodi the countryside strewn with carnage, they find an infant skozi morja trupel in požgane vasi, najdejo preživelo amid a sea of corpses. Together, the two boys struggle dete. to survive in the howling wilderness. Uporniški poet Khavn De La Cruz se s hipnotiènim Filipino rebel poet Khavn returns to the site of the filmom Balangiga: Tuleèa divjina vrne k še 1901 Balangiga massacre under American occupation enemu resniènemu dogodku iz filipinske preteklosti, with this masterful, hypnotic and hallucinatory, brutal k zgodovinskemu pokolu, ki ga je leta 1901 nad yet soulful anti-war odyssey of a boy and a child. prebivalstvom v Balangigi zagrešila ameriška vojska. Film proti vojni, halucinanten, brutalen in ganljiv. »Occupation is not a thing of the past. Balangiga, 1901 may as well be Philippines, 2017. We remain a country »Balangiga leta 1901 so Filipini leta 2017. Ostajamo occupied, still struggling to come into its own, torn by dežela pod okupacijo, ki se še vedno trudi postaviti conflict within and without. We are victims of poverty, na lastne noge, ki jo še vedno razdirajo notranji capitalism, and globalization /…/. Until all of humanity in zunanji boji. Smo žrtve revšèine, kapitalizma in understands that no one wins in a war – no one walks globalizacije /…/. Dokler ne bo vse èloveštvo doumelo, home whole, not even the victors, Balangiga: Howling da v vojni nihèe ne zmaga, da se nihèe ne vrne domov Wilderness is a film that needs to be made: as an brez ran, niti zmagovalec, bo Balangiga: Tuleèa evidence of war, as a plea for peace.« divjina film, ki ga moramo posneti: kot dokaz vojne, - Khavn kot poziv k miru.« - Khavn

»/…/ lirièen in ganljiv testament èloveškemu boju za Sledi pogovor z režiserjem Khavnom De La Cruzom. svobodo pred vsako in vsakršno obliko zatiranja.« V sodelovanju s festivalom Kino Otok – Isola Cinema. - Francis Joseph Cruz, Rappler Followed by a talk with director Khavn De La Cruz. In collaboration with Kino Otok – Isola Cinema Film Festival. KINO-KONCERT / FILM-CONCERT This Is Not A Lost Film By Khavn

Kino-koncert z živo glasbeno spremljavo na elektronskih orglah in tolkalih obsega »trilogijo izgubljenih filmov« ter izsek iz celoveèerca. Filmi, glasba in perfromans: Khavn. Film-concert featuring »The Lost Film Trilogy« and an excerpt from Nitrate: To The Ghosts Of The 75 Lost Philippine Silent Films (1912-1933). Films, music & performance by Khavn.

Filipiniana, 2016, 13’ Zgodovina je mrtva krava v lijaku, ki se izdaja za razglašeni fagot, pojoè podoknice razpolovljeni luni, ki so jo spodjedla prièakovanja, a ne tako velika, da bi novi Aswang (1933), 2017, 7’ cesarji sklanjali svoje odsekane glave, toda trije kolaèi so Prvi film, posnet na Filipinih, ki je vseboval zvoèno sled, je bil vedno boljši od treh centov v tem divje vrteèem se svetu, Ang Aswang (Vampir) Georgea Musserja. Ta je leta 1932 ki kukajoèe kljuva bebave race za polnoèni prigrizek na v državo uvozil 50.000 filipinskih pesov vredno opremo za begu. optièno snemanje zvoka in iz svojega doma napravil studio. History is a dead cow in a funnel pretending to be Film je snemal eno leto. Po prièevanjih zvok na žalost ni bil ves a detuned bassoon serenading the moon halved by èas sinhron s sliko, mestoma pa ga ni bilo slišati. expectations not so great that new emperors bow their The first film made in the Philippines to feature optically decapitated heads but 3 cakes are always better than recorded sound was George Musser’s Ang Aswang (The 3 cents in this madly turning world peeking pecking Vampire). In 1932, Musser imported 50,000 PHP worth of ducktards for a midnight snack on the run. optical sound equipment and turned his house into a studio. Unfortunately, according to some observers, the sound was sometimes out of sync and inaudible.

Khavn, filipinski filmar, glasbenik, pesnik in filmski aktivist, je podpisal 23 albumov, 47 celoveèernih in 112 kratkih filmov (v èasu nastajanja tega besedila in ko ga boste brali, jih bo bržkone že veè). Postavil je tudi svetovni rekord v najdaljšem solo koncertu za klavir brez premorov s 13-urno živo spremljavo svojega filma Simulacrum Tremendum na rotterdamskem festivalu leta 2016. Nedavno je prejel nagrado Gawad Urian za najboljšo glasbo v filmu Balangiga: Tuleèa divjina (Balangiga: Howling Wilderness), zakljuènem filmu letošnjega festivala Kurja polt. Nastopa tudi kot èlan zasedb The Brockas, Fando & Lis in Vigo. Juan Tamad Goes To The Moon (1898), 2018, 4’ Tri leta pred Georgesom Mélie`som in deset let pred Nitrate: To The Ghosts Of The Segundom de Chomónom je filipinski proto-nadrealistièni 75 Lost Philippine Silent Films filmar Narding Salome Exelsio posnel svoje potovanje na (1912–1933), 2013, 30’ (izsek / excerpt) Luno, Nagtungo si Juan Tamad sa Buwan. Bilo je leta Iz najdenih posnetkov zgrajena abstraktna grozljivka s 1898, ko je Španija prodajala Ameriki Filipine za dvajset pomoèjo devetih ohranjenih filmov, posnetih v obdobju milijonov dolarjev. 1952–1980, na novo zamišlja, rekonstruira, simulira, Three years before Georges Mélie`s and ten years before se spominja in soèustvuje s 75 izgubljenimi filipinskimi Segundo de Chomón, indigenous proto-surrealist Philippine nemimi filmi, ustvarjenimi med letoma 1912 in 1933. filmmaker Narding Salome Exelsio made Nagtungo si Juan Abstract found-footage horror using nine existing films Tamad sa Buwan in 1898 while the Philippines were being from 1952 to 1980 to reimagine, reconstruct, simulate, sold by Spain to America for twenty million dollars (VAT not commemorate, and commiserate with the seventy-five included). lost Philippine silent films from 1912 to 1933.

Khavn is a composer, pianist, singer, and songwriter with 23 albums, 47 feature films and 112 shorts under his belt (that is, at the time when this text was written, by the time you are reading it, these numbers will surely have grown). He holds the world record for the longest-ever solo piano concert without breaks for the 13-hour live score of his 13-hour film Simulacrum Tremendum at the Rotterdam International Film Festival 2016. He recently won the 2018 Gawad Urian for Best Music for his soundtrack to Balangiga: Howling Wilderness. His other bands include The Brockas, Fando & Lis, and Vigo. RETROSPEKTIVA / RETROSPECTIVE Freaks Spake Tod Browning, ZDA / USA, 1932, DCP, 1.37, èb / bw, 64’

Lepa, a zahrbtna cirkuška artistka Cleopatra kani Beautiful and conniving trapeze artist Cleopatra zapeljati pritlikavega Hansa, da bi se z njim poroèila, conspires with her strongman lover to marry and murder nato pa ga umorila in pobegnila z njegovim bogastvom. the dwarf Hans for his fortune. But when his fellow Toda Hansovi tovariši razkrijejo zaroto in hladnokrvni ’freaks’ discover her scheme, she becomes the target of Cleopatri pripravijo grozljivo mašèevanje. their horrifying vengeance. Browning je za svojo groteskno in mraèno komièno Browning gathered an incredible cast of real sideshow melodramo o mašèevanju zbral osupljivo zasedbo performers for his grotesque and darkly comedic revenge resniènih cirkuških atrakcij. Publika je bila ogorèena, melodrama. The studio brass cut almost half an hour studijski šefi so film drastièno porezali – in kar from the film’s original runtime. But Freaks remain so zavrgli, se je izgubilo za vedno. Toda Spake one of the most unique works in Hollywood history. ostajajo ena najbolj edinstvenih stvaritev v zgodovini An infamous cult classic and a fearless ode to the Hollywooda. Razvpita kultna klasika in neustrašna oda disenfranchised and the outcast. vsem izobèencem sveta. »Reading contemporary 1932 reviews of Tod Browning’s »Ob prebiranju takratnih kritik Browningove subversive masterpiece of compassion and disgust subverzivne mojstrovine soèutja in studa se vam bo is a great way to make yourself feel better about the današnji svet nemudoma zdel veliko lepši. ’Nemogoèe modern world. ‘It is impossible for the normal man or je, da bi normalen moški ali ženska soèustvovala s woman to empathise with the aspiring midget,’ bellowed povzpetniškim pritlikavcem,’ je tulil Variety /…/. Ironija Variety /…/. The irony, of course, is that Browning had je seveda, da si Browning niti najmanj ni prizadeval absolutely no interest in pleasing this mythical ‘normal’ ugajati temu mitskemu ’normalnežu’. /…/ Spake so man. /…/ no wonder the beauty-obsessed Hollywood eden najsilovitejših filmov o potrebi po èloveènosti in studio system had no idea what to do with it. It’s one solidarnosti sprièo krutosti in tiranije, kar jih je bilo kdaj of the most powerful films ever made about the need posnetih.« for humanity and solidarity in the face of cruelty and - Tom Huddleston, Time Out oppression.« - Tom Huddleston, Time Out RETROSPEKTIVA / RETROSPECTIVE La donna scimmia Ženska opica The Ape Woman Marco Ferreri, Italija, Francija / Italy, France, 1964, 35mm, 1.37, èb / bw, 92’ Filmska kopija / Print courtesy of CSC-Cineteca Nazionale

Telo mlade in plašne Marie je povsem poraslo z Maria is a timid young woman whose body is completely dlakami. Pred svetom se skriva v neapeljskem covered in hair. Hiding away in the kitchens of a Naples samostanu, kjer jo nekega dne odkrije z vsemi žavbami nunnery, she is discovered by a sleazy swindler Antonio. namazani in podjetni Antonio. Zapelje jo z obljubami He sweeps her off her feet with promises of life outside o življenju onkraj samostanskih zidov, se z njo poroèi, her confines, even marries her, only to put her on display nato pa jo postavi na ogled kot cirkuško spako. as a sideshow freak. Yet love sometimes blooms in the Toda ljubezen vèasih vzklije v najbolj neprièakovanih most unusual of circumstances. okolišèinah. Marco Ferreri’s tragicomic satire and perverse love Tragikomièna satira in ena najbolj èudaških story, starring Annie Girardot and Ugo Tognazzi, bears ljubezenskih zgodb na filmu, z Annie Girardot in Ugom all the marks of its maker, the surreal humanism and Tognazzijem v glavnih vlogah, nosi peèat svojega compassionate nihilism of an anarchic anti-conformist. avtorja: nadrealistièni humanizem in globoko soèutni In an act of preventive censorship producer Carlo Ponti nihilizem Marca Ferrerija, mojstra provokatorja, eliminated the final sequence, deeming it too shocking. anarhiènega nekonformista in vizionarskega genija. While the French co-producer demanded a different Producent Carlo Ponti je v dejanju samocenzure filmu ending to be shot. We will present the original odrezal zakljuèno sekvenco, na zahtevo koproducenta director’s cut. pa so morali posneti še povsem nov konec za francoski trg. Na festivalu si bomo kajpak ogledali režiserjevo »At Cannes they booed and yelled, because the French izvorno in integralno verzijo. didn’t like a hairy Annie Girardot. They thought she was in bad taste. /.../ When it came out they said it was »Eden Ferrerijevih najzgodnejših in najbolj priljubljenih badly made. What does it mean that it was badly made? filmov /…/. Hkrati huronsko smešno in groteskno, Is it a drama? Is it a comedy? No idea! I don’t make predvsem pa neobrzdano satiro Ženska opica distinctions between the genres: you laugh when you zaznamujeta brezsramni humor in anarhièna energija laugh.« Ferrerijevih najboljših del.« - Marco Ferreri - Film Society of Lincoln Center RETROSPEKTIVA / RETROSPECTIVE Witchfinder General Za krvnika ni milosti Michael Reeves, VB / UK, 1968, DCP, 1.85, barvni / colour, 86’

Leto 1645, Anglijo razdvaja državljanska vojna. Kaotièno stanje The year is 1645. England is engulfed in the Civil War. negotovosti in nasilja s pridom izrablja samooklicani lovec na Taking advantage of the state of chaos and anarchy, èarovnice Matthew Hopkins (Vincent Price). Ta potuje po deželi, Matthew Hopkins (Vincent Price), a lawyer turned hujska prebivalce proti domnevnim èarovnicam in z muèenjem Witchfinder General, tours the country instigating witch izvablja njihova priznanja. hunts and extracting confessions through torture. But Tretji in poslednji film mladega režiserja Michaela Reevesa, when he executes a village priest, Hopkins initiates a velikega upa britanske žanrske kinematografije 60. let, ki blood feud with young Richard Marshall, a trooper in je kratek èas po nastanku filma tragièno preminil pri rosnih Cromwell’s army, who is betrothed to the priest’s niece. petindvajsetih. Reevesov mašèevalni vestern v preobleki ruralne The third and final film from director Michael Reeves, gotske grozljivke, posnet na lokaciji in po navdihu resniène who died shortly after the film’s release at the tender zgodovinske osebnosti Matthewa Hopkinsa, zavrže nadnaravno age of twenty-five, depriving Britain’s horror cinema razlago poèela zla in usmeri svoje kopje v tusvetno sprevrženost of one of its greatest talents. Shot on location and in èloveški oportunizem. based on the real historical figure of Matthew Hopkins, Reeves’ revenge western cloaked as a rural Gothic »Takratni kritiki so film obsojali, èeš da gre za sadistièno vajo v locates the origins of evil not in the supernatural, but in samovolji ’brez sporoèila’. Ker je Reevesov film v resnici eden the very natural opportunism, corruption and depravity najbolj drznih in razmišljajoèih svojega èasa – po vrhu pa še of men. srdita obsodba cerkvene hinavšèine in kvarnih, nalezljivih uèinkov nasilja –, s težavo sprejemamo te zgrešene poglede. »Now, Michael Reeves has become the attendant ghost Reeves, ki je bil med snemanjem star komaj 23 let, do popolnosti of British film history. He is our directorial James Dean, obvladuje svoj medij. /…/ Film je preprosto mojstrovina.« our lost auteur of Sixties nihilism, Hitchcock’s vanished - Michael Doyle, Rue Morgue’s 200 Alternative Horror Films heir.« You Need to See - Matthew Sweet, The Telegraph

»Danes je Michael Reeves vseprisotni duh britanske filmske »The 1968 British horror movie Witchfinder General zgodovine. Naš režiserski James Dean, naš izgubljeni auteur (also known as The Conqueror Worm) has long been nihilizma šestdesetih let, Hitchcockov izginuli dediè. /…/ Njegov a cult item – in part because its talented 25-year-old film prikaže Anglijo kot prostor, kjer verski fundamentalisti director, Michael Reeves, died of a drug overdose /…/, zatirajo nestrinjanje s sežiganjem in utapljanjem; kjer sta stara but mainly because it is an extraordinarily bleak story of in mlada generacija ujeti v morilskem spopadu.« political evil.« - Matthew Sweet, The Telegraph - J. Hoberman, The Village Voice SODOBNI / CONTEMPORARY Hello, Rain

C. J. ’Fiery’ Obasi, Nigerija / Nigeria, 2018, DCP, 2.35, barvni / colour, 30’

Èarovniške znanstvenice Rain, Philo in Coco s Through a potent but dangerous combination of juju and pomoèjo nevarne mešanice uroka in tehnologije technology, three scientist witches Rain, Philo and Coco ustvarijo èarobne lasulje, ki jim podelijo nezaslišane create magical wigs that grant them untold supernatural nadnaravne moèi. Toda moè èloveka pokvari in Rain powers. But power corrupts and Rain soon finds herself se kmalu znajde v spopadu s prijateljicama. Obasijev in a confrontation with her friends. Based on Hello, afrofuturistièni kratkometražec, posnet po kratki Moto, an afrofututuristic short story by World Fantasy, zgodbi Hello, Moto nigerijsko-ameriške pisateljice Nebula and Hugo award winner Nnedi Okorafor. Nnedi Okorafor, je prejel posebno nagrado žirije na festivalu Fantasia v Montrealu. »A wild ride of sorcery, science, sisterhood and supervillainy /…/ is brought to eye-popping life by »’Ognjeni’ Obasi se v hipnotièni svarilni basni, Nigeria’s rebel with a cause, C.J. ’Fiery’ Obasi, ki prispeva svojo edinstveno vizijo k eksploziji director of O-Town and Ojuju.« afrofuturistiènih triumfov v letu 2018, od Èrnega - Rupert Bottenberg panterja (Black Panther) do Dirty Computer Janelle Monáe, naveže na dolgo žanrsko tradicijo zoperstavljanja trenutnih družbenih problemov in težavne preteklosti ter svetle, obetavne prihodnosti. /…/ Filma Za krvnika ni milosti in Hello, Rain ponudita sila raznoliki in edinstveni viziji realnosti, ki preiskujeta vprašanja identitete, nasilja in moralne korupcije na mestu spopada tradicije in modernosti. Vznemirljiv filmski dvojèek.« - Kim Tance, Kinoteènik midnight movie »Nigerijski upornik z razlogom /…/ uprizori divje ———— barvito vratolomno vožnjo po poteh èarovništva, double znanosti, sestrske ljubezni in superzlobnosti.« - Rupert Bottenberg bill RETROSPEKTIVA / RETROSPECTIVE Ilsa, Harem Keeper of the Oil Sheiks Ilsa, čuvajka haremov naftnih šejkov Don Edmonds, Kanada / Canada, 1976, 35mm, 1.66, barvni / colour, 85’

Èuvajka Ilsa s svojima zulujskima priboènicama Saten Ilsa, harem keeper for a depraved sheik, and her lethal in Žamet bdi nad haremom izprijenega naftnega lesbian guards Satin and Velvet run the most sadistic šejka El Šarifa. V njenem suženjstvu se znajdejo Holly slavery ring in the Middle East. An American millionaire’s Acheson, dedinja ameriškega kralja trgovskih verig, daughter, a movie star, and an attractive equestrian Inga Lindström, prsata diva pogrošnih švedskih filmov, are among their latest sex slaves. But an American in Alina Cordova, evropska prvakinja v dresurnem diplomat threatens to expose the perverse secrets of jahanju. Toda pokonèni ameriški diplomat grozi, da bo Ilsa’s domain. hudodelsko združbo razkril. The one and only Dyanne Thorne returns as the Enkratna Dyanne Throne se vraèa kot kratkohlaèna whip-cracking, mini-shorts-wearing harem keeper in the pušèavska domina v drugi, najbolj vedri inkarnaciji second – most sun-drenched and bubbly – instalment zloglasne Ilse – enega najbolj priljubljenih in of the infamous ILSA series. One of the most beloved osovraženih likov v zakladnici filmov o ženskah za and reviled characters in the history of Women In Prison zapahi. Vrhovno utelešenje èudovitega èudaštva films, Ilsa is the embodiment of exploitation cinema’s filmske eksploatacije! glorious freakery!

»Ko je ameriška igralka Dyanne Thorne študirala igro »We are in the realm of the so-called horrotica, the pri slovitih newyorških gurujih Stelli Adler in Leeju gruesome bodily hybrid of horror and eroticism. But Strasbergu, najbrž ni slutila, da se bo v srca ljubiteljev this is caricatured, cartoonish violence – whatever else kultnega filma za vselej zapisala kot nacistièna domina you might call it, a WIP film is first and foremost a zloglasne kanadske tetralogije o Ilsi. /…/ Ona je Indiana comedy. And the series of films featuring Ilsa are a true Jones, odrasla razlièica.« adventure comic. /…/ She is Indiana Jones, adult film - Maša Peèe, Ekran version.« - Maša Peèe, Ekran »Kdor ni videl niti enega Ilsinega filma, se je prikrajšal za radostni užitek ene poslednjih velikih sag »To have never seen an Ilsa film is to have truly been eksploatacijskega filma.« deprived the joys of one of the last great exploitation - Wade Major, Boxoffice Magazine film sagas.« - Wade Major, Boxoffice Magazine RETROSPEKTIVA / RETROSPECTIVE Der Fan Oboževalka The Fan

Eckhart Schmidt, Zahodna Nemèija / West Germany, 1982, 35mm, 1.85, barvni / colour, 92’ Filmska kopija / Print courtesy of Filmmuseum im Münchner Stadtmuseum

R (Bodo Staiger, frontman nemških novovalovcev Simone (Désirée Nosbusch) is a teenage girl with a fatal Rheingold) je najljubši pevec sedemnajstletne Simone crush on her favourite singer R (Bodo Staiger, frontman (Désirée Nosbusch). Noro je zaljubljena vanj. Cele dneve for the Neue Deutsche Welle band Rheingold). She spends sanjari o njem, posluša njegovo glasbo in mu piše hours listening to his music, writing him letters and zaupna pisma. Nekega dne pobegne od doma, odloèena, daydreaming about their love affair. Then one day she runs da ga spozna. Kot po èudežu se ji to tudi posreèi. Toda away from home, determined to meet him. Miraculously, ali je R res tako sanjski ali pa se bo njuno sreèanje she does. But can R live up to her fantasy, or will the sprevrglo v noèno moro? fantasy turn into a nightmare? Skriti biser in vse premalo znana kultna klasika West German genre cinema’s hidden treasure and zahodnonemške žanrske kinematografije, ki utripa unsung cult classic Der Fan, oozing with teen angst and v duhu osemdesetih in vibrira v zvokih elektropopa, pulsating with eighties’ electro pop, is a delicious slow slastno poèasi gradi naelektreno napetost in vodi temo burner, patiently propelling its theme of fanatic, all- fanatiène obsesije vse do njenega logiènega, a skrajnega consuming obsession to its logical and extreme conclusion. zakljuèka. »Der Fan exists in its own netherworld. /…/ It’s a full- »Oboževalka naseljuje svoj lasten, sanjski in podzemen blown auteur film that feels way more like Rainer Werner svet. /…/ To je odloèno avtorski film, ki veliko bolj Fassbinder than Lucio Fulci, and also features a punk spominja na Fassbinderja kot Fulcija, ima pa tudi izrazito aesthetic. This unloved teen wandering through a dystopic punk estetiko. Njegova neljubljena najstnica, ki tava po European society is almost like spin-off fan fiction from the distopièni evropski družbi, bi lahko bila lik iz fanovske universe of A Clockwork Orange.« fikcije po navdihu Peklenske pomaranèe.« - Nicholas McCarthy, Vice - Nicholas McCarthy, Vice »Imagine a John Hughes vehicle with Michael Haneke in the »Predstavljajte si film Johna Hughesa, ki ga režira driver’s seat and you’re getting close.« Michael Haneke, pa boste že bližje.« - Spectacle Theater - Spectacle Theater RETROSPEKTIVA / RETROSPECTIVE Tras el cristal Steklena kletka In a Glass Cage Agustí Villaronga, Španija / Spain, 1986, 35mm, 1.85, barvni / colour, 107’

Klaus je nekdanji nacistièni zdravnik, ki je v taborišèih Klaus is a former Nazi doctor who conducted fatal izvajal okrutne poskuse na mladih deèkih. Po vojni experiments on young boys during the war. After je pobegnil v Španijo in po spodletelem poskusu escaping to Spain, he continued to perpetrate his samomora ostal hrom in vklenjen v stekleno komoro, atrocious crimes. But a failed suicide attempt left ki mu služi kot umetna pljuèa. Z ženo Griseldo in him paralysed and confined to an iron lung inside a hèerko zdaj životari v odmaknjeni grašèini. Nekega mansion which he shares with his wife Griselda and dne se na vratih pojavi mladi Angelo in se družini their daughter. One day, a mysterious young man Angelo ponudi v službo kot bolnièar. appears at their door to offer his services as a nurse. Osupljiv režijski prvenec španskega auteurja Agustí Villaronga’s astonishing directorial debut is a Agustíja Villaronge nas pogrezne v mraèen, morast dark and disturbing descent into the horrors and parallels in brezizhoden labirint, kjer se prepletajo stranpoti of fascism, forbidden sexual fantasy and sexual violence. fašizma, spolnih tabujev, perverzije in nasilja. Transgresivna filmska mojstrovina. »In a Glass Cage explores the dialectic relationship between executioner and victim in an ambivalent tale »Zares edinstven film – Steklena kletka z obsedeno of lust, death and transcendence. /…/ It is inspired natanènostjo izriše tabu, ki je za mnoge preprosto by Georges Bataille’s account of the historical child preveè odvraten, da bi lahko služil kot filmska snov. murderer Gilles de Rais, along with the writings of /…/ zasluži resno pozornost in razmislek kot film, ki Marquis de Sade, blended with a totalitarian vision that se spopade z resnièno težko temo in vendar nikoli ne links the film to Pier Paolo Pasolini’s Fascism parable, prestopi meja odgovorne inteligence. Film, ki je vse S a l o` , or the 120 Days of Sodom.« prej kot cenen užitek za izprijence, se postavlja ob - Marcus Stiglegger, 100 European Horror Films bok Pasolinijevemu S a l o` kot delo mraène, tesnobne briljantnosti.« »A master filmmaker! A bizarre, haunting and violently - Stephen Thrower, Eyeball disturbing film!« - Judy Stone, The San Francisco Chronicle »Morasta mojstrovina! Najbolj impresiven režijski prvenec desetletja!« - Elliot Stein, The Village Voice RAZSTAVA / EXHIBITION Čudne barve Gillesa Vranckxa The Strange Colors of Gilles Vranckx 1. 4.–22. 4. 2019 | Slovenska kinoteka, Kinodvor

Kurja Polt Festival is proud to present an exhibition of PETEK 12. 4.selected / 14.00 works – 17.30 by /Belgian Kinodvor artist Gilles Vranckx. The Konferenca kultnegaBrussels-based filma master of drawing and graphic design Žanrski obstranci?counts amongFriki, feministke the precious in fewmorilski artists zobarji keeping alive the once vibrant tradition of hand-drawn film posters, elevating the art form to new heights. Vranckx’s contemporary film posters draw their inspiration from seventies horror iconography and sixties psychedelia, merging techniques from the old masters of poster art with current forms of illustration to create the artist’s recognizable signature. His artwork is featured in books and on DVD and LP covers produced by the world’s leading genre and cult film labels, such as Arrow Films, Festival Kurja polt s ponosom predstavlja razstavo Cult Epics and Mondo Macabro. He has created original izbranih del belgijskega vizualnega umetnika Gillesa Vranckxa. film posters for cinema’s cults and classics, from V Bruslju delujoèi mojster risbe in grafiènega oblikovanja Argento, Cronenberg, Lynch and Larraz to the works of pripada drobni in dragoceni pešèici avtorjev, ki ohranjajo Hitchcock, Bun~uel, Lelouch and Wakamatsu. Perhaps danes skorajda izginulo umetnost roèno ilustriranih filmskih most widely known are Vranckx’s iconic film posters plakatov in jo povzdigujejo v nove višave. Vranckxovi for neo-giallo filmmaking duo Bruno Forzani and Héle`ne plakati za sodobne filme èrpajo navdih iz horror ikonografije Cattet: Amer (2009), The Strange Color of Your sedemdesetih in psihedeliènih šestdesetih, toda nauke starih Body’s Tears (L’étrange couleur des larmes de ton mojstrov plakatne umetnosti avtor vešèe spaja s sodobnimi corps, 2013) and Let the Corpses Tan (Laissez bronzer formami ilustracije v prepoznaven lastni peèat. Njegova dela les cadavres, 2017). krasijo knjižne izdaje, DVD in LP ovitke vodilnih žanrskih založb, kot so Arrow Films, Cult Epics in Mondo Macabro. The two-part exhibition on display at the Slovenian Izvirne filmske plakate ustvarja za filme kultnih in klasiènih Cinematheque’s Silvan Furlan Hall and Kinodvor Gallery avtorjev, od Argenta, Cronenberga, Lyncha in Larraza do combines commissioned works, personal projects and Hitchcocka, Bun~uela, Leloucha in Wakamatsuja. Najbolj an examination of the artist’s working process, along prepoznavni in zdaj že ikonièni pa so Vranckxovi plakati za with newly created works fresh from the drawing filme neo-giallo dvojca Bruno Forzani in Héle`ne Cattet: Amer board. (2009), Èudna barva solz tvojega telesa (L’étrange couleur des larmes de ton corps, 2013) in Naj trupla porjavijo (Laissez bronzer les cadavres, 2017).

Dvodelna razstava v Dvorani Silvana Furlana Slovenske kinoteke in Kinodvorovi Galeriji vkljuèuje uradne filmske plakate in naslovnice, ki so nastali po naroèilu, zasebne projekte, prikaz dela v nastajanju in povsem nove stvaritve, ki prihajajo k nam naravnost iz Vranckxovega ateljeja. KONFERENCA

PETEK 12. 4. / 14.00 – 17.30 / Kinodvor Konferenca kultnega filma Žanrski obstranci? Friki, feministke in morilski zobarji

Vstop prost. Predavanja potekajo v angleškem jeziku. Kultni film in ’frikovstvo’ Konferenca je odprta za javnost. Projekt nastaja v sodelovanju z Univerzo Northumbria iz britanskega Dr. Jamie Sexton, višji predavatelj filmskih in Newcastla. Konferenco bo povezoval dr. Russ Hunter, televizijskih študij na Univerzi Northumbria, Velika višji predavatelj filmskih in televizijskih študij na Univerzi Britanija Northumbria. Več o gostujočih predavateljih na spletni strani kurjapolt.org. Predavanje jemlje pod drobnogled kultne filme, ki vsebujejo reprezentacije spaèenosti in èudaštva Film se od nekdaj spogleduje z obstranci, s tistimi, (freakery) – zlasti reprezentacije ’nenormativnih’ ki odstopajo od norme (kakorkoli že je ta norma èloveških teles –, v filmih kot so Spake (Freaks, Tod skonstruirana). Letošnja predavanja bodo osvetlila zelo Browning, 1932), Otok izgubljenih duš (Island of Lost razliène vidike te dinamike in se, na tak ali drugaèen Souls, Erle C. Kenton, 1932), Krt (El Topo, Alejandro naèin, posvetila ideji outsiderjev in obrobnežev. Dr. Jodorowsky, 1970), Tudi škratje so prièeli majhni Jamie Sexton bo vzel pod drobnogled pester nabor (Auch Zwerge haben klein angefangen, Werner Herzog, filmov, ki se osredotoèajo na nenormativna èloveška 1970), Sveta gora (La montaña sagrada, Alejandro telesa in – bolj ali manj uspešno – prevprašujejo fizièno Jodorowsky, 1973) in Eraserhead (David Lynch, 1977). drugaènost. Jamie bo preiskal tudi povezavo in odnos Analiziral bom naèine, na katere so se te estetske med to raznoliko skupino filmov ter kontrakulturniško reprezentacije spaèenosti navezale na diskreditirano publiko v sedemdesetih letih prejšnjega stoletja. tradicijo cirkuških atrakcij (freak show) in jo deloma Dr. Alison Peirse bo osvetlila povsem drugaèno nadaljevale še po njenem zatonu. Dotaknil se bom marginalno figuro: žensko avtorico žanrskega filma. tudi politike kultnega ’frikovskega’ filma (cult freak Skozi študijo pogosto spregledanega poglavja žanrske film): dejstva, da so bili kultni filmi, ki so prikazovali filmografije se bo spraševala, kako je pretežno moški spaèenost ali èudaštvo, pogosto politièno ambivalentni, kritiško-teoretski establišment zaznamoval zgodovino saj so spajali tako regresivne (eksploatacija spaèenosti ženske žanrske ustvarjalnosti in kaj se zgodi z v imenu užitka drugih) kot progresivne tendence žanrskim filmom, ko lahko ženske svoje lastne zgodbe (reprezentacija in slavljenje drugaènosti). Kultni status pripovedujejo same. Dr. Steve Jones bo preuèil spet teh filmov je bil povezan tudi z njihovim gledalstvom: drugaèno vrsto obstrancev, tisti èudaški sortiment obiskovalce polnoènih projekcij, ki so cvetele v 70. likov, ki jih poraja neskonèni ciklus slasher filmov. Skozi letih, so imeli pogosto za èudake, frike, tako da je med študijo izvorov in evolucije slasherja bo skušal izlušèiti, kontrakulturniško publiko in nenormativnimi telesi na kaj je tisto, kar dela filmski slasher, njegove neumorne platnu obstajalo nekakšno empatièno zavezništvo. Kultna (in pogosto prismuknjene) morilce ter naivne žrtve avra frikovstva se je ohranila vse do danes, tudi po za enega najbolj priljubljenih podžanrov med ljubitelji zaslugi kultnih besedil, kot sta Freaks: We Who Are Not grozljivk. As Others (1976) Daniela P. Mannixa in roman Geek Love (1989) Katherine Dunn. Ženske snemajo grozljivke: film, Na smrt izčrpani: slasher ciklus feminizem, žanr Dr. Steve Jones, predstojnik medijskih študij na Dr. Alison Peirse, predavateljica filmskih in medijskih Oddelku za sociologijo Univerze Northumbria, Velika študij na Univerzi v Leedsu, Velika Britanija Britanija

V zadnjih petih letih beležimo izjemen porast števila Si želite izvedeti, zakaj v toliko filmih, èe omenimo ženskih avtoric, režiserk, producent in scenaristk, ki zgolj Noè èarovnic (Halloween, 1978) in Tiho noè, snemajo grozljivke. Filmi kot Nasty (Prano Bailey-Bond, strašno noè (Black Christmas, 1974), nekdo mori 2015), Évolution (Lucile Hadzihalilovic, 2015), Prelude: najstnike med poèitnicami in prazniki? Ste se kdaj A Love Story (England Simpson, 2017) in Bestia spraševali, kaj pripravi èisto obièajnega zobarja do (Gigi Saul Guerrero, 2017) prièajo tako o globalnih tega, da postane morilec? Bi radi dognali, zakaj imamo razsežnostih tega pojava kot o bogati raznolikosti toliko pornografskih parodij na Moro v Ulici brestov pripovednega talenta, ki je danes na delu v žanrskem (A Nightmare on Elm Street, 1984)? Predavanje bo filmu. Vendar teorija poveèini identificira zgodovino zaèrtalo evolucijo slasher filma od njegovih izvorov v horror filma kot domeno moških avtorjev, ki ustvarjajo Hitchcockovem Psihu (Psycho, 1960) in italijanskem filmske tekste, utemeljene na podobah ženskega strahu giallo filmu, prek zlate dobe 80. let z razcvetom za domnevno moško publiko in moški užitek. V teoriji franšiz, kot je serija filmov Petek trinajstega (Friday ženske ne snemajo grozljivk. One so na platnu, zato da the 13th, 1980–), do današnje poplave rimejkov jih gledamo; v najboljšem primeru lahko danes gledajo klasiènih slasherjev, kot sta Krvava maturantska tudi same. Kljub temu obstaja nevidna zgodovina noè (Prom Night, 1980) in Krvavo valentinovo (My avtoric, ki ustvarjajo v domeni horror žanra že vse od Bloody Valentine, 1981). Spotoma se bomo spomnili 60. let. Kot zgodnji primeri nam lahko služijo filmi Blood ponesreèene plesne toèke Crispina Gloverja v filmu Bath (1966) in The Velvet Vampire (1971) režiserke- Friday the 13th: The Final Chapter (1984), podivjanih scenaristke Stephanie Rothman, The Mafu Cage (1978) posebnih uèinkov v Prom Night II: Hello Mary Lou režiserke Karen Arthur ali pa prispevek scenaristke Darie (1987) in bizarnih umorov iz filmov Intruder (1989) Nicolodi k filmu Suspiria (1977). Toda zgodovine horror in The Town That Dreaded Sundown (1976). To filma, ki jih pišejo moški avtorji o moških ustvarjalcih, so znaèilnosti, zaradi katerih je slasher bil in ostaja teh prispevkov ne omenjajo. Zgodovinska, analitièna priljubljena stalnica horror filma. in metodološka vrzel je tako oèitna in eksplicitna, da se morajo s problematiko zdaj spopasti filmarke same. V svojem predavanju bom osvetlila zamolèano in nepriznano zgodovino žensk scenaristk, producentk in režiserk filmskih grozljivk. Nato pa se bom skozi študijo primera severnoirske režiserke Aislinn Clarke, njenega kratkega filma Childer (2016) in celoveèerca The Devil’s Doorway (2018) dotaknila še novega vala horror avtoric in si zastavila vprašanje: kaj se zgodi z grozljivko, ko njeno zgodbo pripoveduje ženska, namesto da bi se ženski zgolj pripetila? CONFERENCE

FRIDAY 12. 4. / 14.00 – 17.30 / Kinodvor Cult Film Conference Genre Outsiders? Freaks, Feminists and Killer Dentists

Free admission. The talks will be conducted in English. Cult Film and Freakery The conference is organized in collaboration with Northumbria University (Newcastle, UK), and chaired by Dr Jamie Sexton, Senior Lecturer in Film and Dr Russ Hunter, Senior Lecturer in Film and Television Television Studies at Northumbria University, UK at Northumbria. More about the guest speakers can be found at kurjapolt.org. This talk will look into a number of cult films that have represented freakery – in particular, the representation Cinema has a long history of looking at the outsider, at of ‘non-normative’ human bodies – on screen, including those who might be considered different from the norm Freaks (Browning, 1932), Island of Lost Souls (however the norm is constructed). Our talks examine (Kenton, 1932), El Topo (Jodorowsky, 1970), Even very different aspects of that dynamic and, in one way Dwarfs Started Small (Auch Zwerge haben klein or another, deal with the idea of those at the margins, angefangen, Herzog, 1970), The Holy Mountain on the outside looking in. Dr Jamie Sexton looks at a (Jodorowsky, 1973), and Eraserhead (Lynch, 1977). number of different films that have taken non-normative I will analyse some of the ways in which aesthetic human bodies as their central focus and – with varying representations of freakery drew upon the discredited degrees of success – have explored physical difference. traditions of the human freak show and partly The extent to which these representations have been continued such traditions beyond their demise. The progressive or regressive is complex and Jamie explores politics of the cult freak film will also be discussed: the the connection between a varied body of films and fact that many cult films depicting freaks were often the countercultural audiences of the 1970s. Dr Alison politically ambivalent, merging regressive (exploitation Peirse shines a light on a very different kind of marginal of freakery for the pleasure of others) and progressive figure: the female genre filmmaker. Exploring an often- tendencies (representing freakery and celebrating overlooked source of genre films, she considers what the it). The cult status of such films was also related to impact of a predominantly male critical establishment audiences: during the 1970s, midnight movie audiences has been upon the history of women in genre and asks were often considered freaks themselves, so there what happens to genre when women tell their own was a position of empathy between countercultural stories for themselves. Dr Steve Jones examines a very audiences and the non-normative bodies on screen. The different cast of outsiders, that of the odd assortment cult credentials of freakery have continued up until this of characters that has made up the slasher film. By day, spurred by cultist texts such as Daniel P. Mannix’s unpacking its origins and development he will underline Freaks: We Who Are Not As Others (1976) and Katherine just what has made the slasher, its relentless (and Dunn’s cult novel Geek Love (1989), and I will conclude sometimes very quirky) killers and feckless victims such by discussing more contemporary examples of cult a firm favourite amongst horror fans. freak films. Women Make Horror: Done to Death: The Slasher Cycle Filmmaking, Feminism, Genre Dr Steve Jones, Head of Media in the Department of Dr Alison Peirse, Lecturer in Film and Media at the Social Sciences at Northumbria University, UK University of Leeds, UK Want to know why so many films depict teens being In the past five years there has been an unprecedented murdered on national holidays in films such as increase in the numbers of women directors, producers Halloween (1978) and Black Christmas (1974)? Ever and screenwriters making horror films. Films such as wondered what would motivate a dentist to kill? Need to Nasty (Prano Bailey-Bond, 2015), Évolution (Lucile figure out why there are so many porn parody versions Hadzihalilovic, 2015), Prelude: A Love Story (England of A Nightmare on Elm Street (1984)? This talk will Simpson, 2017) and Bestia (Gigi Saul Guerrero, chart the progression of the slasher film from its origins 2017) demonstrate not only the global nature of this (with Psycho [1960] and Italian giallo movies), through phenomenon, but also the rich diversity of storytelling its hey-day in the ’80s (revolving around franchises such talent now working in the genre. However, these as the Friday the 13th series [1980-]), up to the present filmmakers lack a women-centered genre history era (dominated by remakes of slasher classics like Prom to draw upon for inspiration. Much scholarship has Night [1980] and My Bloody Valentine [1981]). Along identified horror film history as the domain of the male the way, we’ll revisit Crispin Glover’s bad dancing in auteur, creating texts based on images of female fear Friday the 13th: The Final Chapter (1984), Prom for a presumed male audience and male pleasures. In Night II: Hello Mary Lou’s (1987) wild special FX, and academia, women do not make horror films. They are the bizarre homicides found in films such as Intruder on screen, to be looked-at, or, at best, they are now (1989) and The Town That Dreaded Sundown (1976). able to look. Furthermore, there is an invisible history These are the traits that make the slasher a fan-pleasing of women working in the horror genre since the 1960s. staple of horror cinema. We only have to look to writer-director Stephanie Rothman’s Blood Bath (1966) and The Velvet Vampire (1971), Karen Arthur’s The Mafu Cage (1978), writer Daria Nicolodi’s contribution to Suspiria (1977), or writer and producer Debra Hill’s work on Halloween (1978) and The Fog (1980) for early examples. However, the contributions of these women are undiscussed in horror film histories, which are written by male writers about male practitioners. In this paper I illuminate the unspoken and unacknowledged history of women screenwriters, producers and directors in horror film. I then consider the new wave of women horror filmmakers through a case study of Northern Irish filmmaker Aislinn Clarke, her short film Childer (2016) and her feature The Devil’s Doorway (2018). Here I ask, what happens to horror when the storytelling is done by women, rather than done to women? DELAVNICI / WORKSHOPS Naježimo dlako, ostrimo pogled! Delavnica pisanja o filmu 9. 4.–14. 4. 2019 / Rok za prijave: 1. 4.

Za vse, ki se sprašujete, kako avtorjem žanrskih klasik ali bolj obskurnih del uspe spraviti vaše dlake v pokonèno držo, in tiste, ki bi radi o filmskih »èudakih« premišljali skozi pisano besedo, bo Društvo za širjenje filmske kulture KINO! priredilo šestdnevno filmsko-kritiško delavnico za udeležence 18+. Po ogledih izbranih poslastic bomo v kavarni Slovenske kinoteke skozi poglobljeno Naredi si fanzin debato ostrili jezik in pogled. Udeleženci delavnice bodo ob Delavnica izdelave festivalskega fanzina pomoèi mentorice in asistenta premišljali o filmskih obravnavah 9. 4.–14. 4. 2019 / Rok za prijave: 1. 4. »èudaških« subjektov v razliènih filmskozgodovinskih obdobjih in skušali prepoznati posebnosti ter subverziven znaèaj žanrskega Brezplaèna delavnica izdelave fanzina je namenjena filma. Konèna besedila bodo objavljena na spletni strani festivala ljubiteljem žanrskega filma in vsem tistim, ki obožujete in na spletnem portalu Ostrenje pogleda. festivale in obfestivalsko dogajanje. Èe si vešè/a Delavnico vodi dr. Maja Krajnc, filmska teoretièarka in odg. urednikovanja, kritike, novinarstva, oblikovanja, urednica revije KINO! ter izvajalka Kino-katedre za srednješolce v ilustriranja, fotografiranja, snemanja ali pa te našteto Slovenski kinoteki. Asistira Robert Kuret, filmski mislec in kritik. vsaj minimalno zanima, boš lahko med festivalom spoznal/a osnovne prvine izdelave fanzina. Delavnica bo potekala v obliki predhodnega sreèanja in rednih Shivering Skin, dnevnih sestankov. Vsak udeleženec prejme brezplaèno Sharpening Gaze festivalsko akreditacijo (za vse filme in dogodke). Film Criticism Workshop Delavnico vodi Nejc Bahor, grafièni oblikovalec ter 9. 4.–14. 4. 2019 / Application deadline: 1. 4. dolgoletni urednik in avtor fanzina PAF. Still wandering how all those genre masters manage to make your hair stand on end? Tempted to explore cinema’s How To Make A Fanzine »freakery« in written form? Then join us for the six-day film Festival Fanzine Workshop criticism workshop, organized by KINO! Film Society for 9. 4.–14. 4. 2019 / Application deadline: 1. 4. participants aged 18 and above. Meetings will take place in the pleasantly thrilling festival atmosphere at the Slovenian The free-of-charge workshop is intended for genre film Cinematheque. The viewings of selected genre treats will be fans and all those enamoured with festival frenzy. followed by in-depth discussions and examinations of the Participants, whether experts or enthusiastic novices, specifics and subversions of genre cinema, preparing the will tackle the elements of fanzine art, from editorial participants for their own writing. All finished work will be work, film criticism and journalism, to graphic design, published on Kurja Polt and Ostrenje Pogleda websites. illustration, photography and video making. The Workshop mentor is Dr Maja Krajnc, editor-in-chief of KINO! workshop will include prior preparation and working magazine, assisted by film critic Robert Kuret. sessions during the festival. Participants will receive free of charge festival accreditations (access to all films and events). Workshop mentor is Nejc Bahor, graphic designer, editor and author of PAF fanzine.

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ZAHVALA / THANK YOU Sergio Martino & Federica Martino, Khavn De La Cruz, Eckhart Schmidt & Gorana Dragaš, C. J. Obasi, John Marshall, Gilles Vranckx, Dirk Van Extergem, Russ Hunter, Steve Jones & Jamie Sexton (Northumbria University), Alison Peirse (University of Leeds), Laura Argento (CSC-Cineteca Nazionale), Monica Giannotti (Surf Film), Cesarina Marchetti & Michela Lanzieri (Titanus), Stephanie Hausmann (Filmmuseum im Münchner Stadtmuseum), Guillermo Antun~a (Filmax International), Anders Lundgren (Klubb Super8), Cassandra Fradley (Screenbound Pictures), Momoko Nakamura (Free Stone Productions), Lison Hervé (Stray Dogs), Sandra Kinahan (Park Circus), Domagoj Cigit (2i Film), Nataša Buèar, Nerina Kocjanèiè (SFC), Beno Žigon, Andrej Pangeršiè (Logix by Analitica), Ciril Oberstar (Ekran), Jelena Lièanin (Radio Študent), Maja Krajnc (KINO!), Tanja Hladnik (Kino Otok), Tina Poglajen (FIPRESCI), Barbara Rajgelj (Pritlièje), Jasmina Mustafi (AT Rog), Petra Arnold (B&B Slamiè), Grega Šmid (Bevog), Ana Cimerman & Eni Vidmar, Marko Makuc – Maki, Jakob Šimon, Gaj Gosnik, Polona Janežiè, Polona Petek, Koen Van Daele, Nina Peèe, Petra Slatinšek, Ana Cimerman, Tjaša Smrekar, Aliki Kalagasidu, Maja Zrim, Nika Autor & ekipa / team Kinodvor, Ivan Nedoh, Kaja Bohorè, Igor Prassel, Varja Moènik, Metka Dariš, Ana Šturm & ekipa / team Slovenska kinoteka, Marta Matièiè, Nejc Bahor, Domen Pal, Denis Debevec, Maja Lovrenov, Anja Nagliè, Diana Jenko, Elida Hamziæ, Domen Kavèiè, Kim Tance, Mojca Hudolin, Samo Jureèiè, Bojan Bajsiè, Marko Turkuš, Matevž Jerman, Jurij Meden & ekipa festivala / festival team.

EKIPA / TEAM IMPRESSUM Maša Peèe, Petra Radoja, Pia Nikoliè, Neža Kos, Tomaž Perme, Jan Drozg, besedila / texts Maša Peèe, Russ Hunter, Jamie Sexton, Alison Peirse, Ondra Maršíèek & Pero. Steve Jones, Maja Krajnc, Nejc Bahor, Pia Nikoliè prevod / translation Maša Peèe, Kim Tance jezikovni pregled Mojca Hudolin oblikovanje / design Kinetik tisk / print Collegium Graphicum KINOSLOGA. RETROSEX.

Valentinovo v bivši Slogi!

HALLOWEEN HORROR MARATON

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