OTVORENI UNIVERZITET GRAD SUBOTICA SUBOTICA

IMPRESSUM

OSNIVAČ FESTIVALA / Founder of the Festival MARKETING I KOMUNIKACIJE / Communications and Marketing Grad Subotica Martina Predojević

ORGANIZATOR I IZVRŠNI PRODUCENT / Organizer and Executive Producer PR SLUŽBA / Press Otvoreni univerzitet Subotica Monika Husar Tokin IZVRŠNI PRODUCENT / Executive Producer Tamara Markić Ilija Tatić Nikola Marković SAVET FESTIVALA / Festival Council PRESS KONFERENCIJE / Press Conferences Dušan Kovačević, predsednik Ivan Aranđelović Đorđe Kaćanski Radoslav Zelenović STEJDŽ MENADŽER / Stage manager Zoran Simjanović Vitomir Simurdić Miroslav Mogorović Gordana Đurđević VODITELJ PROGRAMA / Master of Ceremony Miloš Stanković Vladimir Grbić Silard Antal FESTIVALSKI ŽURNAL / Festival Journal DIREKTOR FESTIVALA / Director of the Festival Radoslav Zelenović UREDNIK / Editor Ivan Aranđelović PROGRAMSKI DIREKTOR / Program Director Miroslav Mogorović REDAKCIJA / Editorial Board SELEKTORSKI TIM /Programmers Greg de Cuir Jr Nenad Dukić Neil Young PREVOD / Translation Igor Toholj Boris Čegar ŽIRI FESTIVALA / Festival Jury Michelle Carey DIZAJN I PRIPREMA ZA ŠTAMPU / Design and Prepress Goran Radovanović Damir Lučić Ryo, Ferenc Rožumberski Igor Ivanov DIZAJN I PRIPREMA ZA ŠTAMPU / Design and Prepress FIPRESCI ŽIRI / FIPRESCI Jury Ivica Vojnić, Igor Irge Víctor Paz Morandeira Anton Sidorenko IT PODRŠKA / IT Support Esin Kücüktepepinar Vladimir Milodanović

ŽIRI KRITIKE / Critics Jury VIZUELNI IDENTITET / Visual Identity Zoran Janković Damir Lučić Ryo Greg de Cuir Jr Jelena Đurović PREVODILAČKA SLUŽBA / Translation Service DIREKTOR OPERACIJA / Operations Director Igor Prlja, Nada Prlja, Miloš Budinčević, Sanja Rađenović, Vladimir Perović Ivana Čurić, Dejan Jeremić , Aleksandar Dognar, Uroš Begović, Kristina Molnar, Željko Crnjaković, TEHNIČKI DIREKTOR / Technical Director Sonja Hampelić, Nina Radojčić Goran Dragaš IZDAVAČ / Publisher KOORDINATOR PROGRAMA / Programme Coordinator Otvoreni univerzitet Subotica Csilla Német KOORDINATOR DIREKCIJE / Head Office Coordinator ZA IZDAVAČA / For the Publisher Renata Rudić Ilija Tatić SLUŽBA ZA GOSTE/ Guest Service ŠTAMPA / Printed by Printex Subotica KOORDINATOR SLUŽBE ZA GOSTE / Guest Service Coordinator Eva Zrnić TIRAŽ / Circulation Jelena Štetić, Ena Jovančić Vidaković, Aleksandra Bačić, Danijela Knežević, 1.000 Dražen Vidaković, Nina Lukić, Nina Praštalo, Miroslav Borzaški ISSN 2217-2998 FILM OTVARANJA / OPENING FILM Ime naroda The Name Of A People

režija / director: Darko Bajić scenario / screenwriter: Milovan Vitezović producent / producer: Lazar Ristovski izvršni producent / executive producer: Zoran Janković fotografija / camera: Zoran Jovanović S.A.S. scenografija / set design: Dejan Anđelković kostim / costume: Boris Čakširan muzika / composer: Dejan Pejović maska / make up: Aleksandar Rasinac

uloge / cast: Ljubomir Bandović, Žarko Laušević, Katarina Žutić, Anja Pavićević , Andrija Kuzmanović, Nikola Ristanovski, Milutin Mima Karadžić, Dragan Petrović Pele, Radovan Vujović, Ana Franić, Arpad Mesaroš, Atila Girić, Aleksandar Matić, Ivan Bekjarev, Jovan Ristov- ski, Pavle Mensur, Isidora Janković… Svetozar Miletic was a respected lawyer, a member of the Hungarian Parliament and a lifelong fighter for the rights and independence of Serbs in Austro-Hungarian Vojvodina. After being repeatedly politically condemned, his fight is continued by his daughter, the Svetozar Miletić bio je ugledni advokat, član ugarskog parlamenta first female journalist in Serbia – Milica Miletic and Jasa Tomic, Mi- i doživotan borac za prava i nezavisnost Srba u austrougarskoj letic’s successor in the Serbian People’s Free Party who will declare Vojvodini. Nakon što je više puta politički osuđivan, njegovu borbu Vojvodina’s annexation to the Kingdom of Serbia in 1918. This movie is nastavljaju njegova ćerka, prva žena novinar u Srbiji – Milica Miletić the story of them and theirs fighting. i Jaša Tomić, Miletićev naslednik u Srpskoj narodnoj slobodoumnoj stranci koji će i proglasiti prisajedinjenje Vojvodine Kraljevini Srbiji ABOUT THE MOVIE 1918. Film IME NARODA je priča o njima i njihovoj borbi. The dramatic text by Milovan Vitezovic is not only an excellent screenplay for the film, which, while respecting the genre of O FILMU biographically historical film, illuminates a part of Serbian history, Dramski tekst Milovana Vitezovića nije samo izvrsna scenaristička it is a monumental drama about the unwavering belief in one’s ideals. podloga za film, koja poštujući žanr biografsko istorijskog filma, Persistence in the struggle to preserve the tradition and uniqueness osvetljava deo srpske istorije, to je monumentalna drama o nepoko- of the Serbian people is the light that illuminates and inspires future lebljivoj čovekovoj veri u svoje ideale. Istrajnost u borbi za očuvanje generations. The film about Svetozar Miletic is about a fighter who tradicije i posebnosti srpskog naroda, jeste svetlost koja obasjava seeks justice for his people, but also about the influence of the i nadahnjuje buduća pokoljenja. Film o Svetozaru Miletiću priča je powerful to create and remake history. The film is told through the o borcu koji traži pravdu za svoj narod, ali i o uticaju moćnih da stva- vision of Svetozar’s daughter Milica, who not only preserved the raju i prekrajaju istoriju. Film je ispričan kroz vizuru Svetozareve ideals of her father, but was one of the pioneers in the struggle for ćerke Milice koja ne samo što je očuvala ideale svoga oca, već je bila the emancipation of women, both in the Balkans and in the world. jedna od pionirki u borbi za emancipaciju žena, kako na Balkanu tako Milica’s perspective brings a more layered and deeper reflection on i u svetu. Miličina perspektiva donosi slojevitije i dublje razumevanje the epoch and social relations of the 19th century, which represent epohe i društvenih odnosa 19. veka koji predstavljaju temelje mo- the foundations of the modern Serbian state. With her strength, derne srpske države. Njenom snagom, Milica je uspela da prevaziđe Milica was able to overcome not only her intimate conflicts and ne samo svoje intimne sukobe i lokalne političke igre koje nastoje da local political games that seek to undo everything Svetozar Milietic ponište sve za šta se zalagao Svetozar Milietić, već i agresiju velikih advocated, but also the aggression of major European powers whose evropskih sila čiji se interesi slamaju preko naroda na Balkanu. Ona interests were being broken across the Balkan nations. Through se svojom borbom ustoličila kao istinska heroina u istoriji srpskog her struggle, she became a true heroine in the history of the Serbian naroda people. . Darko Bajić, reditelj Darko Bajić, director

3 2000. Društvo filmskih velikana evrope Miklós Milena Jancsó Dravić (Hungary) Nagrada „Aleksandar Lifka“, kojom Festival evropskog filma Palić nagrađuje domaće i strane filmske stvaraoce za izuzetan doprinos kinematografiji Evrope, dodeljuje se od 2000. godine. Prvi dobitnici 2001. ovog priznanja bili su srpska glumica Milena Dravić i mađarski sineasta Miklós Jancsó. Evo ko je u društvu filmskih velikana Starog kontinenta.

Dušan Jiří Makavejev Menzel Great European (Czech Republic)

Cineastes Company 2002. Aleksandar Lifka Award, established by the European Film Festival Palić for the exceptional contribution to the European cinema of Serbian and foreign film artists, has been assigned since 2000. First laureates were Serbian actress Milena Dravić and Hungarian filmmaker Miklós Jancsó. Here is the rest of the great European Lucian cineastes company. Gordan Pintilie Mihić (Romania)

2003. 2004.

Mladomir Krzysztof Živorad Margarethe Puriša Zanussi Žika von Trotta Đorđević (Poland) Mitrović (Germany)

2005. 2006.

Andrzej Velimir Theo Eva Bata Ras Wajda Angelopoulos (Poland) Živojinović (Greece)

2007. 2008.

István Ljubiša Goran Ken Samardžić Szabó Loach (Hungary) Paskaljević (UK)

4 2009. 2010.

Predrag Ken Constantin Miki Russell Goran Costa Gavras Manojlović (UK) Marković (Greece/France)

2011. 2012.

Lordan Jean-Marc Srđan Zafranović Zoran Barr Karanović (Croatia) Simjanović (France)

2013. 2014.

Nikita Claude Emir Mikhalkov Mira Lelouch Kusturica (Russia) Banjac (France)

2015. 2016.

Roy Ulrich Želimir Andersson Slobodan Seidl Žilnik (Sweden) Šijan (Austria)

2017. 2018.

Christopher Brian Slavko Hampton Rade Cox Štimac (UK) Šerbedžija (UK)

2019. 2020.

Miljen Rajko Ildikó -Kreka Grlić Mirjana Enyedi Kljaković (Croatia) Karanović (Hungary)

5 INTERVJU / INTERVIEW

INTERVJU: MIRJANA KARANOVIĆ, DOBITNICA NAGRADE “ALEKSANDAR LIFKA” Uvek sam želela maksimum

Nagrada “Aleksandar Lifka” za mene je potvrda moje energije, snage, ulaganja u sve te likove koje sam igrala

Glumica Mirjana Karanović ovogodišnja je domaća dobitnica nagrade “Aleksandar Lifka”, koju Festival evropskog filma Palić dodeljuje za izuzetan doprinos Rad na PETRIJINOM VENCU je za mene bila prva škola glume pred ka- evropskoj kinematografiji. merama. Sa Kusturicom je to bio drugi veliki posao i tu su stvari otišle dalje, jer je Emir tada bio mlad reditelj raskošne mašte za koju nije dozvoljavao da bude sputana bilo čime.

Od kojih reditelja ste još učili? Kao mlada glumica, na početku karijere, dobili ste nekoliko na- U zrelim godinama, za mene je prva značajna rediteljka bila Andrea grada za najbolju glumicu, za uloge u filmovima PETRIJIN VENAC Štaka, sa kojom sam radila film GOSPOĐICA u Švajcarskoj. Sa njom sam i OTAC NA SLUŽBENOM PUTU. Na koji način su vas te značajne prvi put radila lik žene koja je spolja potpuno zatvorena, ne ispoljava nagrade oblikovale kao glumicu, a kako se danas osećate kada, sa nikakve emocije, a ispod toga postoji užasno buran, nesrećan život 40 godina glumačkog staža za sobom, primate nagradu “Aleksan- žene koja krije šta oseća. Kako sam ja uvek bila ekstrovertna u glumi, dar Lifka”? za mene je to bio prvi veliki zadatak zbog kojeg sam sve to morala da Moj pogled na to vreme sada i tada su potpuno različiti. Ta priznanja sklonim sa strane, i da kao glumica radim na neki drugi način. Tu su su bila potvrda da sam dobra u onome što sam napravila. Tada nisam mi se otvorile mnoge stvari koje sam posle razvila kod Jasmile Žbanić znala da je to početak dugovečne i uspešne karijere koja traje 40 go- u GRBAVICI i posle u mom filmu DOBRA ŽENA, ali i na drugim snimanji- dina i u okviru koje sam primila toliko nagrada i za rad na pozorištu, ma. ali i na filmu. Nagrada “Aleksandar Lifka” za mene je potvrda moje energije, snage, ulaganja u sve te likove koje sam igrala. Nisam do- “Variety” vas je, nakon premijere rediteljskog debija DOBRA zvolila ni sebi, a ni ljudima sa kojima sam radila, da pravimo nešto što ŽENA na Sandens festivalu, uvrstio među 10 evropskih autorki bi bilo ispod optimalnog standarda koji sam ja imala za sve što sam na koje treba obratiti pažnju. Zašto ste se odlučili za rediteljski radila. Uvek sam želela maksimum, da film u kome igram bude dobar, poziv i šta vam je ta profesija donela? da ga ljudi primete, kako publika tako i kritičari. Po tom pitanju sam To je samo jedan širi prostor u kome mogu da iskažem svoju kreativ- uvek bila ambiciozna. Mislim da tada nisam razmišljala o tome, a sada nost. Pitanje je kontrole. Kada radim sa rediteljem niti želim, niti mislim da znam da sam ulagala u svoje nasleđe, u nešto što će ostati imam kontrolu nad celim sadržajem. Prosto se bavim svojom ulogom iza mene, nešto kvalitetno po čemu će ljudi da me pamte. i načinom na koji taj lik koji igram doprinosi ideji koju ima reditelj. Kada sam ja tvorac priče, onda je za mene logično da budem i reditelj. Među dobitnicima nagrade “Aleksandar Lifka” su i dva redite- To se u stvari desilo - želela sam da ispričam priču i ja sam tu priču lja značajna za vašu filmsku karijeru – Srđan Karanović i Emir napisala, ali nisam bila spremna da dam ikome da to režira, jer to za Kusturica. Kako se sećate saradnje sa njima? mene nije bilo tehničko već suštinsko pitanje. To sve zajedno je bio To su dva reditelja kod kojih sam stekla prva ozbiljna iskustva na fil- moj autorski čin - priča, taj lik koji igram i režija. Zato ja nemam, niti mu. Oni su dve potpuno različite energije i osobe. Bilo je iznenađujuće sam ranije imala ambiciju da postanem “reditelj”. To je moje autorsko i za mene, a i za mnoge ljude što je Srđan tako veliku i važnu ulogu delo u kojem pričam nešto što je možda mnogo ličnije, intimnije i teže dao početnici od 20 godina. Tada sam bukvalno bila kao prazan papir. nego da samo igram neki lik. Stekla sam neko samopouzdanje, i lično i profesionalno, da mogu sebe da vidim u toj ulozi.

6 INTERVIEW: MIRJANA KARANOVIĆ, “ALEKSANDAR LIFKA” AWARD LAUREATE I always wanted maximum

For me Aleksandar Lifka Award is the confirmation of my energy, strength, investment in all those characters I played

Foto: Nebojša Babić

then I was literally like a blank piece of paper. Working on PETRIA’S Actress Mirjana Karanović is this year’s Serbian WREATH was the first school of acting for me in front of the camera. winner of the Aleksandar Lifka Award, traditionally Another big deal was with Kusturica, and things went further the- assigned by Palić European Film Festival for exceptional re, because Emir was then a young director of a lavish imagination he contribution to European cinema. did not allow to be constrained by anything.

Who were other directors you have learned from? In these mature years, the first important director for me was As a very young actress, at the very beginning of your career, Andrea Štaka, with whom I worked on MISS in Switzerland. For the you received several awards for the best actress, for roles in first time, I worked on the character of a woman who is completely PETRIA’S WREATH and WHEN FATHER WAS AWAY ON BUSINESS. closed as person, does not show any emotions, and below that mask How did these significant awards shape you as an actress in your she is terribly turbulent, unhappy woman who actually hides what formative acting years, and how do you feel today, with 40 years she feels. As I have always been extrovert in acting, for me the first of acting experience behind you, receiving Aleksandar Lifka big task was to put all knew aside, and work as an actress in some ot- Award for your contribution to European cinema? her way. In fact, many things opened up to me, which I later developed At that time, I did not know that this was the beginning of a long with Jasmila Žbanić in GRBAVICA and later in my film GOOD WIFE, but and successful career that has lasted for 40 years and within which also on other shootings. I received so many awards for my work in theater and film. For me Aleksandar Lifka Award is a confirmation of my energy, strength, The prestigious magazine “Variety”, after the premiere of your engagement in all the characters I played. I did not allow myself or directorial debut GOOD WIFE at the Sundance Festival, placed the people I worked with to make something that would be below the you among 10 European authors to pay attention to. Why did you optimal standards I had for everything I did. I always wanted the decide to become a director and what did this profession bring maximum, but only mine engagement cannot be valid in a collective you that acting could not? act, because neither the theater nor the film depends only on me, It is just a wider space in which I can express my creativity. It’s a but also on other people. I always wanted the film I play in to be very matter of control. When I work with a director, I neither want to good, for people to notice, both audiences and critics. Regarding nor I have control over the entire content. I just deal with my role that I have always been ambitious. I don’t think I thought about it and the way the character I play contributes to the director’s idea. in the past, and now I think I know that I invested in my heritage, in When I am a creator of a story, then it is logical for me to be a dire- something that will stay behind me, something good that I will be ctor as well. That actually happened - I wanted to tell a story and remembered for. I wrote that story, some people helped me there, but I wasn’t ready to let anyone direct it, because for me it wasn’t a technical but an Among the previous winners of Aleksandar Lifka Award are two essential issue. All that together was my author’s act - the story, the directors very important for your film career - Srđan Karanović character I play and the direction. That is why I have never had the and Emir Kusturica. What was it like to collaborate with them? ambition to become a “director” before. It is my own work in which From these two directors I gained my first serious experiences in I tell something that is perhaps much more personal, intimate and film. They are two completely different energies and persons. It was difficult than just playing a character. I gained some self-confiden- very surprising for me, and for many people, that Srđan gave such ce, both personally and professionally, and I’m able to see myself in a big and important role to a complete 20-year-old beginner. Back that role.

7 INTERVJU / INTERVIEW

INTERVJU: ILDIKO ENJEDI, DOBITNICA NAGRADE “ALEKSANDAR LIFKA” Nagrada mi je ugrejala srce

SCENA IZ FILMA "NA DUŠI I TELU"

Postoji nešto veoma iskreno u vezi Festival evropskog filma tradicionalno dodeljuje nagradu “Aleksandar Lifka” istaknutim filmskim stvaraocima koji Palićkog festivala. Mi koji dolazimo tu, su svojim angažmanom dali izuzetan doprinos evropskoj osetimo to u svakom detalju. I veoma kinematografiji ostavivši neizbrisiv trag. Ovogodišnja dobitnica nagrade u kategoriji stranih stvaralaca je smo zahvalni na tome mađarska rediteljka Ildiko Enjedi koja je za svoj poslednji film NA DUŠI I TELU dobila jednu od najprestižnijih raju istoj vrsti očekivanja. A postoje i manji festivali, takozvani butik nagrada – “Zlatnog medveda” na Berlinalu. Pre dve festivali, gde je karakter festivala presudan faktor. U tim slučajevima godine bila je gošća festivala na Paliću, kao predsednica izbor ljudi koji vode, definišu festival ima veći značaj, veću odgo- žirija Glavnog takmičarskog programa. vornost. Oni oblikuju karakter a time i značaj festivala. Vođstvu Palićkog festivala mogu samo da čestitam: stvorili su toplo mesto visokog kvaliteta, kombinaciju koju nije lako postići. Postoji nešto Šta vam nagrada “Aleksandar Lifka” Festivala evropskog filma veoma iskreno u vezi Palića. Mi koji dolazimo tu, osetimo to u svakom Palić znači u ovom trenutku vaše kinematografske karijere? detalju. I veoma smo zahvalni na tome. Velika je čast dobiti ovu nagradu. Biti sineasta znači plutati usred nesigurnog, neodređenog, to znači iznova stvarati sebe sa svakim Pre nekoliko godina, u vašem filmu NA DUŠI I TELU, govorili ste novim filmom koji snimite. To znači biti frilenser na ekstremni način. o intimnosti i društveno nametnutim granicama. Kako vidite Za razliku od običnih poslova, ovde se gubite u tunelu intenzivnog intimnost u ovom kovid i budućem post-kovid svetu bez ljudskog rada i ulažete svu svoju energiju tokom nekoliko godina u jedan dodira, sa pravilima društvene distance? Da li je situacija inspira- jedini projekat, bez garancija da će na kraju biti prihvaćen od strane tivna za nove filmske priče o ljudima 21. veka? publike. Kada sam primila pismo o nagradi sedela sam u studiju za Svaka teška situacija je šansa. Dobili smo šansu da počnemo da ceni- miks u Berlinu, praveći poslednji korak trogodišnjeg putovanja, mo druženje, magiju zagrljaja, osećaj kada smo deo gomile na koncer- post-produkciju mog novog filma. Završavanje post-produkcije je tu. Pre razmišljanja o pričanju nove priče potrebno mi je da proživim, posebno osetljiva faza pravljenja filma. Tenzija u vama raste kako se iskusim stvarna dešavanja oko mene i u meni. Učim i pokušavam da približava trenutak suočavanja sa publikom. Poruka festivala mi je stupim u intimni odnos sa samom sobom – jer često zaboravljamo na stigla usred tog perioda i ugrejala mi je srce. Značilo mi je što mislite nama najbližu osobu – same sebe. na mene, moj rad, što ga cenite. Nagrada mi je poslužila kao sidro u ovom dugom, nepodnošljivom plutanju usred neodređenog. Potvrdi- Vaš novi film PRIČA MOG ŽIVOTA je u post-produkciji. Šta planirate la je da postojim, da moje postojanje na zemlji ima smisla. sa filmom po pitanju premijere, festivala...? Da, u finalnoj smo fazi, i trenutno imamo sesije na daljinu između Vaš film NA DUŠI I TELU prikazan je na otvaranju FEF 2017, a godi- Berlina (gde stručnjak za kolor i ja radimo) i Los Anđelesa (gde se nu kasnije bili ste predsednica žirija. Kako vidite Palićki festival Marsel Rev, naš direktor fotografije trenutno nalazi). Nakon pauze imajući u vidu glavni takmičarski program i koncept festivala (moramo da sačekako da svi VFX snimci budu gotovi) završavamo film uopšte? u oktobru a onda sedimo i čekamo da vidimo šta će se desiti u svetu. Postoje veliki festivali, te velike, teške, kompleksne mašinerije. Oni Danas je iluzorno praviti bilo kakve planove. svakako imaju svoj karakter, ali na izvestan način moraju da odgova-

8 INTERVIEW: ILDIKO ENYEDI, “ALEKSANDAR LIFKA” AWARD LAUREATE The award warmed my heart

There is something very sincere about The European Film Festival Palić traditionally awards Palić. We, who are coming here, feel it the Aleksandar Lifka Award to prominent filmmakers, who have made an exceptional contribution to European in every bit, in every detail. And we are cinema, leaving an indelible mark. This year’s winner of extremely thankful for it the award in the category of foreign filmmakers is the Hungarian director Ildiko Enyedi, who received one of the most prestigious awards in the world – the Golden with the same sort of expectations. And, there are the small ones, Bear at the Berlinale for her latest film ON BODY the so called Boutique ones where the character, the “personality” AND SOUL. Two years ago, this author was a guest of the festival is a decisive factor. In these cases the choices of the of the Palić Festival, as the jury president for the Main people leading, defining the festival has an augmented importance, Competition Program - Official Selection. an augmented responsibility. They shape the character and through that, the importance of the festival. I can just congratulate the lea- dership of this festival: they created a homey, welcoming place with What does Aleksandra Lifka Award from European film festival high quality, a combination not easy to achieve. There is something Palić mean to you, at this point of your moviemaking career? very sincere about Palić. We, who are coming here, feel it in every bit, It is a great honour to receive this award. Being a filmmaker means in every detail. And we are extremely thankful for it. to float in the middle of the uncertain, the undefined, it means to invent and reinvent yourself with each film you make. It means to be Few years ago you were talking about the intimacy in your movie a freelancer in an extreme way. Instead of small jobs you disappear in ON BODY AND SOUL, and borders made by our society. What do a tunnel of intense work and put all your energies for several years you think of intimacy in this covid and future post-covid world into one single project not being ever sure how, at the end it will without a human touch and with rules of “social distancing”? Is be received by the world. When I got the letter about receiving this this situation (unfortunately) inspiring for new movie stories prize I was sitting in a mixing studio in Berlin, making the last steps about the humans of 21th century? of a three years journey, the post production of my new film. The Every tough situation is a chance. We got a chance to learn to appre- finishing of the post production is an especially vulnerable phase of ciate the company of others, the magic of a hug, the flow of being filmmaking. The tension grows in you as the moment to step out and part of a crowd on a concert. Before thinking about new stories to face the audience gets closer and closer. Your message reached me in tell it is worthwhile to live, to experience to really process what the middle of this period and it warmed my heart. It meant to me, that is happening around me and also what happens really in me. I am you think of me, of my work, that you think about it with appreciati- learning and try to get in an intimate relationship with myself – we on. It worked as an anchor in this long, unbearable floating in the forget so often about the closest person to us – ourselves. middle of the undefined. It meant to me that I exist, that my existence has a meaning on the face of Earth. Your new movie STORY OF MY WIFE is in postproduction. What are your plans for this movie, regarding the premiere, festivals…? Your movie ON BODY AND SOUL was featured on festival in 2017, Yes, we are in the final phase, for the moment doing remote grading and you were the Jury president one year later. What’s your sessions between Berlin (where the colorist and I am working) and perspective on Palić festival from this “insider” position and Los Angeles (where Marcell Rév, our DOP is stuck at the moment). regarding the main competition selection and concept? After a break we finish the film in October (we have to wait to all the There are the big festivals, these huge, heavy, complex machineries. VFX shots to be ready) and then, we sit and wait to see what happens They have their character, for sure, but in a way they have to comply in the world. It is illusory to make any plans nowadays.

9 INTERVJU / INTERVIEW

INTERVJU: NENAD DUKIĆ, SELEKTOR GLAVNOG PROGRAMA Bez publike filmski festival nije festival

Selektor Glavnog programa Nenad Dukić govori zašto ne želi online festivale, otkriva sa kakvim izazovima se suočavao programirajući filmove za 27. FEF i čemu treba da se nadamo u budućnosti

Dosledni ste u stavu da festivala nema bez publike i da Palićki filmove na Mostru, čuvajući ih za “normalnije okolnosti”, čitaj, Berlinale. U festival ne treba da bude online. Koliko je važno festival takvima okolnostima, nije bilo jednostavno sklopiti program a da on sadrži održavati pred publikom? relevantne filmove. Oslonac je bila ponuda Berlina i privatna istraživanja Nikome ko se u ovom trenutku bavi predstavljanjem umetničko-kre- među balkanskim kinematografijama. Zadovoljan sam time kako izgleda aktivnih sadržaja koja su namenjena većem broju ljudi - mislim na program jer ono što imamo u Glavnom programu jeste, u velikoj meri, ono pozorišta, bioskope, koncerte - nije lako. Da, zahvaljujući novim teh- što je najkvalitetnije u ponudi evropskog filma zaključno sa početkom nologijima i medijima postoji mogućnost da se online (putem mreže) pandemije. komunicira sa potencijalnom publikom. Ali, to nije filmski festival. Nećemo valjda da se vraćamo više od 100 godina unazad, kada je Glavni program i ove godine sadrži jedan srpski film i to svetsku Tomas Edison insistirao na tome da film ne izlazi iz kutije, iz njegovog premijeru. Koliko taj eksluzivitet znači festivalu na Paliću koji se kineskopa, već da je samo namenjen pojedinačnom gledaocu. Mi smo oduvek trudio da domaći filmovi budu zastupljeni u programima? i dalje u eri koju su spektakularno započeli braća Limijer kada su u Za bilo koji međunarodni festival dobro je i važno da na programu ima bar dvorani, na kinematografu, prikazali film većem broju ljudi i tako jedan ili više domaćih filmova. Kada je Palić u pitanju, sve, naravno, zavisi od započeli eru bioskopa. Filmski festivali su izmišljeni i postoje iz dva ponude srpskih filmova te proizvodne godine, odnosno toga da li postoje razloga: da predstave onaj deo produkcije koji poseduje izrazite filmovi relevantnog kvaliteta kao i od uslova da taj film mora da bude srpska sinematičke i estetičke vrednosti i, drugo, da budu mesta na kojima premijera. Ovoga puta imamo dobar biografski film, “Ime naroda”, jednog od će publika i stručna javnost razmenjivati mišljenja i iskustva među značajnjih reditelja starije generacije Darka Bajića i, pri tom, projekcija na sobom i sa sineastama. Bez publike, filmski festival nije festival. palićkom festivalu biće njegova svetska premijera. To je tzv. idealna situacija. Tome značajno doprinosi i to što je film tematski vezan za Vojvodinu. Šta su glavne teme filmova u Glavnom programu? Filmove sam birao prema njihovim sinematičkim vrednostima, bez ob- Ovo je vaša treća godina kao selektora na Paliću. Posle prethodne dve zira na temu ili iz koje kinematografije dolaze. Na kraju se ispostavilo godine i ovogodišnjeg izdanja koji je obeležen pandemijom covid-19 da program nudi raznovrsnost i po temama kojima se autori bave i po čemu se nadate za narednu godinu? Treba li strahovati za budućnost tome iz kojih evropskih sredina dolaze. Teme su od ljubavnih, preko festivala i treba li očekivati jaču borbu za nove filmove? socijalnih do tema iz Drugog svetskog rata i staljinističkog totali- Nadam se da ovo što nam se svima, globalno događa neće trajati dugo. Ber- tarizma. Ali, ono što je najvažnije, gotovo svi filmovi nose izrazit au- lin bi trebalo, iskreno očekujem, da pokaže da počinje ozdravljenje svetskih torski pečat, odražavaju poetiku reditelja, njen/njegov odnos prema kinematografskih poslova a Kan bi, u maju, mogao da označi veliki povratak društvu bez obzira u kom se istorijskom periodu priča filma odvija. “normalnom stanju”. Ima puno skeptika, čak i među epidemiolozima i naučni- cima ali ja sam optimista. Ništa nije izvesno ali, ako mislimo pozitivno, onda, Koliko vas je pandemija korona virusa omela u programiranju verujem, postoje veće šanse. Što se Palića tiče, festival je proteklih godina filmova za 27. FEF, u smislu da nisu održani kanski, festival u ustalio programsku šemu koja je kvalitetna i čvrsta i kao takva prepoznata Karlovim Varima... i da je gotovih filmova manje u ponudi ili ih od strane MEDIA Creative Europe programa koji, posledično, podržava i producenti čuvaju za neka bolja vremena? finansijski pomaže festival. Izveštaji međunarodnih i domaćih medija i pro- Pandemija je unela pometnju u sve oblasti svetske kinematografije. Ot- fesionalaca govore i o dobrom, reprezentativnom odabiru novih evropskih kazani su festivali A kategorije, Kan i Karlove Vari, Venecija je održana filmova. Otuda, ako budemo nastavili sa ovakvim programskim i organizaci- ali, prema programu u kojem imate samo tri nova filma poznatijih auto- onim modelom i ako budemo držali visok nivo kvaliteta filmova, i dalje ćemo ra, jasno je da većina producenata i značajnijih reditelja nije poslala biti među pet najboljih festivala evropskog filma.

10 INTERVIEW: NENAD DUKIĆ, PROGRAMMER OF THE OFFICIAL SELECTION Without the audience, a film festival is not a festival

The selector of the Official Selection, Nenad Dukić, talks about why he does not want online festivals, reveals what challenges he faced while programming for the 27th EFF and what we should expect in the future

You are consistent in your opinion that there is no festival without easy to put together a program without containing relevant films. an audience and that the Palić Festival should not be online. How Berlin’s program and private research among Balkan cinemas was the important is it to hold the festival in the presence of audience? mainstay. I am satisfied with what the program looks like because our This is not easy time for anyone who is currently engaged in presenting Official Selection is, to a large extent, of the highest quality in Europe- artistic and creative content that is intended for a larger number of pe- an film until the beginning of the pandemic. ople - I mean theaters, cinemas, concerts. Yes, thanks to new technologies and media, there is a possibility to communicate online (via the network) The main program this year also shows one Serbian film, the with potential audiences. But it’s not a film festival. We are not going world premiere. How much does that exclusivity mean to the Palić to go back more than 100 years ago, when Thomas Edison insisted that Festival, that has always had national films in its programs? the film does not come out of the box, out of his kinescope, but that it is It is good and important for any international festival to have at only intended for an individual viewer. We are still in the era that Limier least one or more national films in programs. When it comes to Palić, brothers started spectacularly when they screened film to a larger everything, of course, depends on the offer of Serbian films by certain number of people in the hall, at the cinema, and thus started the era of ci- production year, whether there are films of relevant quality, as well nema. Film festivals were invented and exist for two reasons: to present as on the fact that the film must be Serbian premiere. This time we have the part of the production that has distinct cinematic and aesthetic va- a good biographical film, THE NAME OF A PEOPLE, by one of the impor- lues, and, secondly, to be places where the audience and the professional tant directors of older generation, Darko Bajić, and, at the same time, public will exchange opinions and experiences with each other and with the screening at the Palić Festival will be its world premiere. This is the filmmakers. Without an audience, a film festival is not a festival. so-called ideal situation. The fact that the film is related to Vojvodina by its theme also significantly contributes to that. What are the main themes of the films in the Official Selection? I selected the films according to their cinematic values, regardless of the This is your third year as a programmer at Palić. After the topic or the cinematography they come from. In the end, it turned out previous two years and this year’s edition, marked by the that the program offers diversity both in the topics that the authors covid-19 pandemic, what do you expect for the next year? Should deal with and in European regions they come from. Themes range from we fear for the future of the festival and should we expect a love, over social to themes from World War II and Stalinist totalitariani- stronger struggle for new films? sm. But, most importantly, almost all films bear a distinct authorial sign, I hope that what is happening to all of us globally will not last for reflecting the poetics of a director, his / her attitude towards society, long time. Berlin should, I sincerely expect, show that the recovery regardless of the historical period in which the film story takes place. of world cinema affairs is beginning, and Cannes, in May, could mark a great return to the “normal operating”. There are a lot of skepti- How much did the coronal virus pandemic hinder you in cs, even among epidemiologists and scientists, but I am an optimist. programming films for the 27th EFF, having In mind that the Nothing is certain, but if we think positively, then, I believe, we have Cannes, Karlovy Vary festivals were not held... and that there greater chances. As far as Palić is concerned, in recent years the festi- are fewer offered films or producers keep them for better times? val has established a program scheme that is high quality and solid, The pandemic has caused confusion in all areas of world cinema. A recognized by the MEDIA Creative Europe program, which, consequen- category festivals, Cannes and Karlovy Vary, were canceled, Venice tly, financially supports the Festival. Reports from international was held, but, according to the program with only three new films by and Serbian media and professionals confirm good, representative well-known authors, it is clear that most producers and important selection of new European films. Hence, if we continue with this pro- directors did not send films to Venice, keeping them for “more normal gram and organizational model and if we maintain a high level of film circumstances”, read, Berlinale. In such circumstances, it was not quality, we will still be among the five best European film festivals.

11 INTERVJU / INTERVIEW

INTERVJU: DARKO BAJIĆ, REDITELJ FILMA IMA NARODA Vreme idealizma

Foto: Gordan Jović

Nikada nisam napuštao ideju da je klasičan filmski junak najpouzdaniji borac protiv zaborava

Pred svetsku premijeru filma IME NARODA na otvaranju FEF-a, reditelj Darko Bajić pita da li danas sa podsmehom i nevericom govorimo o idealistima

I danas se trudimo da sačuvamo ime naroda, baš kao i tokom 19. ostali su maštovit zapis o bivšim epohama, a CRNI BOMBARDER je bio veka, kada se dešava radnja vašeg filma. Kakve su paralela tog i moj prvi retro futuristički film. Uvek mi je epoha izazov zato što to ovog vremena? podrazumeva istraživanje i upoznavanje sa junacima tog vremena, Nekada je istorija bila sakrivena u knjigama pa su samo učeni znali da se njihovim mislima, kulturom i specifičnim pokušajima da ostave trag za istorija ponavlja, a danas je svakom ponavljaču dostupna gugl istorija. buduće čitače njihovih zagonetnih iskustava i poruka. Tako sam se i sada Danas se do istorije dolazi brže ali se brže i zaboravlja. Skloni smo osetio kao istraživač piramida, koji u pustinji pronalazi dragocena zaboravu jer je jednostavnije prihvatiti mit o nadmoćnoj sadašnjosti. artefakta zaboravljenih civilizacija. 19. vek je epoha revolucionarnih U svom opusu nikada nisam napuštao ideju da je klasičan filmski junak promena, vreme naučnog napretka, trenutaka kada su se radnici borili najpouzdaniji borac protiv zaborava. Film prati Svetozara Miletića za svoja prava, kada su žene prvi put pokušale da se izbore za rodnu i njegovu borbu u Austrougraskoj monarhiji za autonomiju crkve, ravnopravnost. Delovalo je da će početak 20. veka doneti prosperitet pisma, jezika, škole i pravo na ime naroda. A danas, kao da svet profita i slobodu. Ali doneo je Veliki rat i dotad najveći broj žrtava. Kao da je na globalnom nivou i briše imena naroda i nacija. Time nestaje pravo to bila osveta za pokušaj osvajanja slobode. Ovaj fim je za mene značio na različitost. A to je bogatstvo sveta. Ključ čitanja ovog filma je: da li plodno tlo da se i sam obračunam sa mojim vremenom idealizma, rata, danas sa podsmehom i nevericom govorimo o idealistima? Da li danas pljačke, tranzicije i potpunog uništavanja sistema ljudskih vrednosti. uopšte postoje ljudi koji su spremni da se žrtvuju za svoje ideale? Balkan 19. veka i Balkan danas kao da služi velesilama istoka i zapada Stilski i estetski, koliko se se IME NARODA razlikuje od vaših da se utrkuju pokazujući svoju moć. To nepogrešivo čine vekovima. prethodnih radova? Trudio sam se da svi moji filmovi budu potpuno različiti i po stilu i po Jesmo li svesni koliko su Svetozar Miletić i njegova ćerka Milica rediteljskom postupku. Tako sam uvek osećao svežinu novih talasa u važni za naš narod i sredinu? meni . Promena koje je donosilo vreme u kome sam živeo i promena koje Nismo, a razloga je mnogo, a pre svega, zato što je početak ovog veka je donosila zrelost koja me je vodila do današnjih dana. IME NARODA doneo uniformnost, brze popularne trendove koji se velikom brzinom je istorijski spektakl, sa elementima psihološkog trilera i ljubavne šire i prihvataju na celoj planeti. Nama na Balkanu i istoku tranzicija melodrama. Ta sprega različitih žanrova dovela me je do pokušaja je označila pljačku ne samo fabrika već i naše istorijske i duhovne oslobađanja od formalnog pričanja priče. Dovela je i do zanimljivog vrednosti. Promene društvenog sistema i tranzicija najavili su novi postupka da se kroz filmski eksperiment svi ovi žanrovi stope u kolonijalizam. Možda mi je zato prijalo bekstvo u prošlost. Mislim da jedinstvenu sliku života posmatranu kroz vizuru Svetozareve ćerke smo napravili nesvakidašnji, istorijski film. Film oSvetozaru Miletiću, Milice. snažnoj političkoj figuri, junaku koji se žrtvuju za svoj narod. O njegovoj ćerki Milici Miletić Tomić koja je uspela da u jednom takvom Koliko vam je važna svetska premijera filma na otvaranju FEF-a? rodnom zarobljeništvu 19. veka postane simbol slobode i borbe za Imao sam čast da na ovom festivalu i primam i dodeljujem nagrade. A ravnopravnost žena. sada kada budem tu kao autor filma koji je inspirisan ovim podnebljem i njenom istorijom biće mi važno kako će publika reagovati i prihvatiti ovo Koliko vam je epoha izazov? ostvarenje. Siguran sam da će autorska ekipa i izvanredni glumci poput Kad moj opus pogledam iz današnjeg ugla svi moji filmovi su epoha. To Ljube Bandovića, Žarka Lauševića, Igora Benčine, Andrije Kuzmanovića, i jeste fenomen filma. Da se poigravate sa prošlim, sadašnjim i budućim Raše Vujovića kao i vanserijske debitatkinje Anje Pavićević, i njenih vremenima. Reditelj ostavlja zabeleške svojih misli, osećanja, maštom koleginica Ane Franić i Katarine Žutić biti dočekani zasluženim ispisanih slika svoga vremena. Neki moji filmovi su u međuvremenu aplauzom. Ovo će biti prva premijera domaćeg filma posle virusa koji postali epoha (SIVI DOM, ZABORAVLJENI, RAT UŽIVO, NA LEPOM PLAVOM je naterao planetu da krene unazad. Zato sam siguran da će publika, DUNAVU), neki od njih (BALKANSKA PRAVILA i BIĆEMO PRVACI SVETA) festival i autori, poput filmskih junaka, na kraju pobediti.

12 INTERVIEW: DARKO BAJIĆ, DIRECTOR OF THE NAME OF A PEOPLE The time of idealism

I never abandoned the idea that a classic movie hero is the most reliable fighter against oblivion

Expecting the world premiere of THE NAME OF A PEOPLE at the opening of EFF, director Darko Bajić asks if we are talking about idealists with ridicule and disbelief today become an epochal (GRAY HOME, THE FORGOTTEN, WAR LIVE, ON THE BEAUTIFUL BLUE DANUBE), some of them (BALKAN RULES and WE WILL BE THE WORLD CHAMPIONS) have remained an imaginative record of Even today, we try to save THE NAME OF A PEOPLE, just like during the former epochs, and BLACK BOMBARDER was my first futuristic film. 19th century, the time when the action of your film takes place. What The epoch is always a challenge for me because it means exploring and are the parallels between that and this time? getting to know the heroes of that time, their thoughts, culture and History used to be hidden in books, so only scholars knew that history specific attempts to leave a mark for future readers of their enigmatic repeats itself, and today, Google history is available to everyone. Today, experiences and messages. That is how I still feel, as a researcher of the history comes faster, but it is also forgotten faster. We are prone to pyramids, who finds precious artifacts of forgotten civilization in a de- oblivion because it is easier to accept the myth of a superior present. In sert. The 19th century is the epoch of revolutionary changes, the time of my opus, I never abandoned the idea that the classic film hero is the most scientific progress, the century when workers fought for their rights, reliable fighter against oblivion. The film followsSvetozar Miletić and when women tried to fight for gender equality. It seemed that the be- his struggle in the Austro-Hungarian Monarchy for the autonomy of ginning of the 20th century would bring prosperity and freedom. But it church, alphabet, language, school and the right to have THE NAME OF brought the Great War and the largest number of victims until then. As A PEOPLE. And today’s world of profit, on a global level, erases names of if it was revenge for the attempt to win freedom. For me, this film means peoples and nations. This eliminates the right on diversity. And diversity solid ground to deal with my time of idealism, war, plunder, transition is the wealth of the world. The key to this film is: are we talking about and the complete destruction of the human values’ system. idealists with ridicule and disbelief today? Are there people today who are willing to sacrifice for their ideals? The Balkans of the 19th century How different is THE NAME OF A PEOPLE, in the sense of style and and the Balkans today seem to serve to superpowers of the East and the esthetics, from your previous works? West to demonstrate their power. They have been doing that unmistaka- I tried to make all my films completely different in style and direction. bly for centuries. That's how I always dealt with freshness of new waves I felt. Change the time I lived in brought and change that brought maturity that has led Are we aware of importance Svetozar Miletić and his daughter me to the present day. THE NAME OF A PEOPLE is a historical spectacle, Milica had for our people and the society? with elements of a psychological thriller and a romantic melodrama. We are not, and there are many reasons for it, above all, because the That combination of different genres led me to attempt to break free beginning of this century has brought uniformity, fast popular trends from the formal storytelling. It also led me to an interesting procedure that are spreading over the whole planet at high speed. For us in the through a film experiment that merged all these genres into a unique pi- Balkans and the East, the transition is marked by the plunder not only of cture of life observed through the vision of Svetozar's daughter Milica. our factories but also of our historical and spiritual values. Changes in the social system and transition heralded new colonialism. Maybe that's How important is the world premiere at the opening of EFF to you? why I enjoyed escaping into the past. I think we made an unusual, histori- I had the honor of receiving and awarding prizes at this festival. And cal film. A film aboutSvetozar Miletić, a strong political figure, a hero now that I am here as the author of the film inspired by this climate and who sacrifices himself for his people. And also about his daughterMilica its history, it is important to see how the audience will react and accept Miletić Tomić, who managed to become a symbol of freedom and the fight this achievement. I am sure that the author team and extraordinary for women's equality in tough gender inequality of the 19th century. actors such as Ljubo Bandović, Žarko Laušević, Igor Benčina, Andrija Kuzmanović, Raša Vujović as well as the extraordinary debutante How challenging was this era for you? Anja Pavićević, and her colleagues Ana Franić and Katarina Žutić will When I look at my opus from today's angle, all my films are connected be greeted with deserved applause. This will be the first Serbian film to some epoch. That is the crucial phenomenon of the film. To play with premiere after the virus pandemic made the planet go backwards. That past, present and future times. The director leaves notes of his thoughts, is why I am sure that the audience, the festival and the authors, like the feelings, fictional images of his time. Some of my films have meanwhile film heroes, will win in the end.

13 KRITIKE / REVIEWS

VALAN – DOLINA VALAN – VALLEY ANĐELA OF ANGELS

Béla Bagota Mađarska, 2019, 98 min

Béla Bagota Hungary, 2019, 98 min

Debitantski igrani film rediteljaBagota Béle je brutalna priča o The debut feature film byBéla Bagota is a savage tale about the dark- mraku savremenog sveta. Peti je policajac u velikom gradu. Radi ness of the modern world. Peti is a crusading big city cop who works na slučajevima seks trefikinga, većinom zbog, još od detinjstva, sex trafficking, in part because of the unsolved disappearance of his sis- nerešenog nestanka njegove sestre. Novi slučaj vodi ga u rodni ter when they were kids. His newest case brings him home to the small grad, Valan, gde ubrzo shvata da je ovo malo mesto trulo do srži, a town of Valan, where he quickly realises that the place is rotten to the bolest društva pogađa ga jače no što je mogao zamisliti. core, and the ills of society hit closer than he could have imagined.

Film je ispunjen tonovima poražavajuće tuge i nezdravog bledila. There is an oppressive sadness to this film and a pallor that hangs over Smatrajte ga, recimo, mađarsko-rumunskim izlivom morbidnosti the visuals. Consider it almost like a Hungarian-Romanian channel- koju poseduje film SEDAMDavida Finčera. U filmu nema žene koja ing of David Fincher’s SEVEN. There is not a woman in the film who is nije zlostavljana, na jedan ili drugi način, i koja nije prikazana not abused in one way or another, or who is not depicted as mentally, mentalno ili emocionalno slomljena, a sve zbog muškaraca koji ih emotionally or spiritually broken. And it is all because of the predatory vide kao svoju imovinu, pa njima trguju, prodaju ih, ili nešto gore. men in society, who see women as their property to be traded or sold, Ni crkva nije izbegla udarce kritike, prvenstveno zbog forsiranja or worse. The church also takes a heavy amount of critique in this film, beznačajne ideje iskupljenja, koje služi samo za prikrivanje preda- for peddling a redemptive narrative that only serves to obscure the torske naravi ovih muškaraca. true intents and nature of men.

Film, uz sve svoje ćudi, na kraju, konačno podleže potrebi otkroven- For all of its captivating moody atmosphere the film ultimately suc- ja. Je li kriv pijani šef policije? Crkveni pastor? Lokalni kriminalac? cumbs to a formulaic structure of revelation. Is the drunken police Tihi ujak? Kako se polako približavamo istini, postaje jasno da svi chief the guilty party? The church pastor? The local gangster? The imaju svoju ulogu u održavanju statusa kvo. Valan se, naravno, soft-spoken uncle? As we slowly close in on the truth it becomes clear ne nalazi samo ovde, i to je prava tragedija. A činjenica da je za that all have a role to play in maintaining the status quo. Valan of promene potrebna samo jedna posvećena osoba ne smatra se pobe- course could be in any country, anywhere. That is the true tragedy. And dom, koliko očajničkom molbom za angažman na duže staze. Jer, na- that it takes one dedicated soul to intervene and change things is some- kon što se Peti vrati poslu u velikom gradu, društvene nejednakosti how less a victory and more a desperate plea for sustained care and će ostati, i neće učiniti ništa manje od potpunog uništenja slabijih. engagement. Because when Peti leaves and returns to his big city job, the societal inequities will remain, which do no small part to provoke U sred filma, kada Peti upada u jednu kuću i spašava ženu od the malfeasance that rots weak people to the core. samoubistva, njen ljigavi muž nudi mu pivo u znak zahvalnosti. U neverici, Peti ga pita hoće li ići sa njom u bolnicu, a muž odgovara: In the middle of the film when Peti bursts into a home and saves a “Samo će joj isprati želudac. Otići ću po nju sutra”. Ali ne ode. I ako woman from poisoning herself her cruel husband offers him a beer in je ovo ono najgore što vam se tokom dana može dogoditi u gradu gratitude. Peti, in disbelief, asks if he does not want to accompany her Valanu, imate sreće. to the hospital. His response: “They’ll just pump her stomach. I’ll pick her up tomorrow.” Of course he doesn’t. And if that is as bad as your day gets in the town of Valan, consider yourself fortunate.

14 18 % SIVE 18 % GREY

Viktor Čoučkov Bugarska, Nemačka, Belgija, Severna Makedonija, Srbija, 2020, 110 min

Viktor Chouchkov Bulgaria, Germany, Belgium, North Macedonia, Serbia, 2020, 110 min

Ono što se u početku čini retrospektivnim proučavanjem braka u What seems at first a retrospective study of a marriage in dissolution raspadu, postaje preispitivanje života na raskršću. Zek, fotograf becomes a forward-looking examination of a life at the crossroads. Zack, iz Bugarske u usponu (ili “mogućnost”, kako ga ravnodušni a promising Bulgarian photographer (or a “possible”, as he is called by a vlasnik galerije naziva), odlučuje da ode na proputovanje callous gallery owner), decides to take a road trip from London to Berlin od Londona do Berlina, u potrazi za uzrokom raspada svoje in search of the answers to why his relationship fell apart. The trip quickly veze. Ovo putovanje ubrzo postaje potraga za svojim ja, usled becomes a search for the answers to who he is, and the man he wants to upoznavanja Evropljana uz čiju pomoć saznaje mnogo o sebi. become, as he meets a cross-section of European characters who each teach Najkorisniji savet dobija od flamanskog prodavca koji Zeku him something about himself. Perhaps the best advice he is offered comes nudi smeštaj na noć i, nakon Zekove priče o zategnutom odnosu from a Flemish shopkeeper, who gives him a place to sleep for the night, and sa bratom, objašnjava da “nije sve u njemu”. who tells Zack “It is not all about you”, after he mentions that he is not on speaking terms with his brother because of a drunken fight. Zek kroz film pliva u samosažaljenju i potrazi za odgovorima na pitanja koja zadovoljavaju samo njegova očekivanja. On je, Zack floats through the terrain of the film feeling sorry for himself, and u stvari, povučeni umetnik, tačno procenjen od strane drugog looking for answers to questions that only satisfy his expectations. He is an vlasnika galerije, koji ima aferu sa njegovom ženom i neko je ko aloof artist, correctly sized by another gallerist, this one having an affair koristi svoj integritet kao cinični štit i izgovor za neuspeh. I Zek with his wife, as someone who uses his integrity as a cynical shield and an je, takođe, sebičan, iako se na kraju usuđuje da kaže otuđenom excuse for underachievement. Zack is also selfish, though at the end of the bratu da ga voli. Šteta je što nije bio sposoban da tu iskrenost film he is able to tell his estranged brother that he loves him. Unfortunate i osećajnost pruži i svojoj ženi, zbog čega film dobija neku vrlo that he could not provide the same honesty and sensitivity to his wife. As tragičnu i hipermuževnu notu. such, there is something very tragic and hyper-masculine about this film.

Struktura filma je spoj dva poznata stila: nelinearni obrazac The structure of the film melds two familiar styles: a nonlinear flashback flešbeka, koji otkriva delove slagalice, pa objašnjava neprilike pattern, which reveals pieces of the puzzle that explain the main charac- glavnog junaka; i hronike putovanja koje gura napred, a ovde ter’s predicament; and the road movie, which is usually characterized by je predstavljeno kao implicitna funkcija mogućnosti nisko- a forward progression, and expressed here as an implicit function of the budžetnih evropskih koprodukcija malih zemalja. Sa svakim realities of European co-productions for modestly-budgeted films from gradom, i likom koji ga predstavlja, mogu se osetiti opravdani smaller countries. With each city on the stop, and each actor-personality budžetski zahtevi, bilo u pogledu lokacije ili filmske ekipe. Tako representing that region, one can feel practical funding demands that come onda, 18 % SIVE, što je Zek objasnio kao tačku na skali vrednosti with certain necessities, whether locations or crews. The 18% GREY then, ex- crno-bele fotografije, može biti i simbol mogućnosti savremene plained in the film by Zack as a point on a scale of values for black and white evropske narativne kinematografije. Jedino pitanje je, onda, photography, might also symbolize the realities of contemporary European koja je pravilna ravnoteža, šta je idealno, kako za producenta i narrative cinema. The only question then is what is the proper balance, reditelja Viktora Čoučkova i njegovu viziju, tako i za budućnost what is the ideal, both for producer-director Viktor Chouchkov and his kinematografije na kontinentu generalno. vision as well as for the future of cinema on the continent in general.

15 INTERVJU / INTERVIEW

INTERVJU: NIL JANG, SELEKTOR PROGRAMA PARALELE & SUDARI I MLADI DUH EVROPE Očekivanje neočekivanog

Rast posećenosti programa Mladi duh Evrope 2018. i 2019. veoma ohrabruje

Filmski kritičar i selektor Nil Jang sarađuje sa Festivalom evropskog filma Palić već godinama, a Laureat Undergorund Spirit nagrade je Sara Fgaier. Šta je trenutno programira dve selekcije Paralele i sudare i značajno u njenom radu na polju nezavisnog filma? Mladi duh Evrope. Sara Fgaier je osvojila Evropsku filmsku nagradu za film GODINE (GLI ANNI) koji je režirala, napisala scenario, montirala i producirala. Ali Koji su osnovni elementi selekcije Paralele i sudari ove godine? poznato je da sebe najpre doživljava kao montažerku, pa je njen rad Moj kolega Miroslav Mogorović i ja izabrali smo ukupno 15 filmova, u toj sferi, tokom proteklih 15 godina, rangira visoko kada je reč o kratkih i dugometražnih, od kojih će se 10 takmičiti za nagradu. najvažnijim kreativcima u evropskoj konematografiji. Publika uglav- Paralele i sudari su program uspostavljen kao prikaz kinematogra- nom obraća pažnju na glumice i glumce, filmski kritičari su opsednuti fija centralne i istočne Evrope – gde često prednječe političke teme rediteljima, ali proučavenjem istorije filma postaje jasno da manje kao i uticaj prošlosti na sadašnjost – odakle mi pozivamo etablirane eksponirani saradnici kao što su scenaristi, snimatelji i montažeri umetnike zajedno sa novajlijama koji su tek na početku svojih, kako zaslužuju mnogo više pažnje. Kao što je Orson Vels jednom prilikom nam se čini, uzbudljivih karijera. Što se prvih tiče tu je cenjeni poljski rekao: “Čitav uspeh kinematografije ostvaren je u sobama za monta- animator Mariusz “Wilk” Wilczyński (56) sa jedinstvenom vizijom žu”. I ne mislim da je slučajno što su možda polovina velikih montaže- pokazanom u filmu UBIJ PA NAPUSTI GRAD, dok među onima koji tek ra u istoriji filma (uključujući imena kao što suThelma Schoonmaker, dolaze obratite pažnju na Kristinu Sivolap (28) iz Ukrajine, čiji je film Anne Coates i Dede Allen) bile žene, a retko su isticane u onoj meri u VIDANA raskošna sinematska gozba. kojoj to zaslužuju. Nagrade kao što je ova mogu pomoći da se smanji disbalans, barem malo. Šta možemo očekivati u programu Mladi duh Evrope? Srećom, Mladi duh Evrope je očekivanje neočekivanog! Kao i protekle Koliko će se festivali promeniti s obzirom na virus covid-19? dve godine, nakon što sam nasledio Petra Mitrića, osnivača ovog Filmski festivali postoje od 1932. i, dok su prolazili kroz različite programa, trudio sam se da se fokusiram na kratki film pa sam pre- promene od tada, većina njih poštuje obrazce uspostavljene u Veneciji tresao prošlogodišnje filmske festivale tragajući za najhrabrijim, pre 88 godina. Korona virus ima mnogo uticaja, dobrih i loših, i mislim najizazovnijim, najriskantnijim i uvrnuto-sjajnim radovima koji da organizatori festivala moraju da iskoriste šansu kako bi preispita- spadaju u kategoriju pokretnih slika. Tamo ćete naći muzičke videe li svaki aspekt svog rada – ne samo u smislu higijene i distanciranja, zajedno sa animiranim, dokumentarnim pa čak i mnoštvom igranih već u smislu prilagođavanja ovom novom, drugačijem svetu. Novac filmova, od kojih su mnoge snimili mladi umetnici koji se možda i ne je svakako bitan faktor i moramo se postarati da kinematografija smatraju primarno filmskim radnicima. Mnoštvo ovih radova spada uopšte, a posebno filmski festivali, budu prepoznati kao dragocen u kategoriju eksperimentalnog ili avangardnog filma, ali ja smatram element kulture, da zaslužuju stalnu i uvećanu podršku u vreme kada da su te odrednice beskorisne pa čak i odbijajuće za neke gledaoce. su – u mnogim zemljama – ograničeni resursi pod većim pritiskom Ali kada se odvaže da pogledaju nešto od navedenog, često otkriju da nego ikada pre. Filmski festivali su divne manifestacije velike sedme je ova vrsta filma zapravo stimulativna i zabavna. Rast posećenosti umetnosti, ali su takođe razlozi – moglo bi se reći i izgovori – za razne programa Mladi duh Evrope 2018. i 2019. veoma ohrabruje! ljude (razne gradove, razne zemlje, različite kontinente) da se okupe. To se može i mora nastaviti.

16 INTERVIEW: NEIL YOUNG, PROGRAMMER OF PARALLELS & ENCOUNTERS AND YOUNG SPIRIT OF EUROPE Expecting the unexpected

The growth in Young Spirit attendance from 2018 to 2019 was very encouraging

Neil Young is primarily known as a film critic. At European Film Festival Palić he is programmer of the sections The winner of the Undergorund Spirit award is Sara Fgaier. What Parallels & Encounters and Young Spirit of Europe. is significant about her work in the field of independent film? Sara Fgaier won the European Film Award for The Years (Gli Anni), which she directed, wrote, edited and produced. But I know she What are the basic elements of the Parallels and Encounters primarily identifies herself as an editor, and her work in that sphere selection this year? What kind of movies await viewers? Which over the last decade and a half entitles her to high rank when we’re topics dominate? talking about the most important creative presences in European Myself and my colleague Miroslav Mogorović have selected a total film. The general public largely concentrates on actresses and of 15 films, including shorts and features, and 10 of the latter will actors, film critics obsess over directors, but any examination of compete for this year’s prize. Parallels & Encounters is of course film history makes it obvious that less high-profile collaborators well established as a showcase of CEE (Central & Eastern Europe- such as screenwriters, cinematographers and editors deserve much an) cinema – political themes, and the influence of the past on the more attention. As Orson Welles once said: “The whole eloquence present, are often to the fore here – and we always like to include of cinema is that it’s achieved in the editing room”. And I don’t think well-established artists alongside newcomers who are just at the it’s a coincidence that maybe half of the great editors in film history start of what we think will be exciting careers. Among the former, (including Thelma Schoonmaker, Anne Coates and Dede Allen) have there is the esteemed Polish animator Mariusz “Wilk” Wilczyński (56) been women, and that they’ve seldom been given the spotlight they with his unique vision as expressed in KILL IT AND LEAVE THIS TOWN, deserve. Awards like this one can help to rectify the imbalance, just while among the “up-and-comers” keep an eye on Christina Sivolap a little. (28) from Ukraine, whose VIDDANA is a sumptuous feast of cinema. Will the festivals change in the future due to the covid-19 virus? What can we expect in the Young Spirit of Europe program? Film festivals have been going since 1932 and, while they’ve undergo- Hopefully, Young Spirit is all about expecting the unexpected! As in ne various changes during that period, most of them still basically the last two years, after I “inherited” from the section’s founder adhere to the templates established at Venice 88 years ago. Corona- Petar Mitrić, I’ve tended to focus on short films for this section, and virus will have many impacts, some good and some bad, and I think I’ve scoured film-festivals for the past year (and more) in search of festival organisers need to take this opportunity to reassess every the most daring, challenging, risk-taking and weirdly brilliant work aspect of what they do - not just in terms of hygiene and distancing, that falls into the “moving-image” category. So you’ll find music-video but in terms of how they are going to adapt to this new, different alongside animation, documentary and even a handful of narrative world. Money is of course a crucial factor, and we have to make sure fictions, much of it made by younger artists who may not even consi- that cinema in general, and film festivals in particular, are reco- der themselves primarily filmmakers. A lot of this work falls into the gnised as a valuable element of culture, one deserving of continued category which is often dubbed “experimental” or “avant-garde” but and increased support at a time when - in many countries - limited I often find that these labels are unhelpful and even off-putting for resources will come under greater pressure than ever before. Film some audience-members. But when they dip their toes into the water, festivals are wonderful showcases of a great art-form, but they’re they often discover that this kind of film is actually stimulating, also in a way reasons – you could even say “ecuses” – for people from entertaining and rewarding. The growth in Young Spirit attendance different places (different cities, different countries, different con- from 2018 to 2019 was very encouraging! tinents) to congregate. This can and must continue.

17 INTERVJU / INTERVIEW

INTERVJU: SARA FGAIER, DOBITNICA NAGRADE “UNDERGROUND SPIRIT” Jake žene na filmu

Montažer bi mogao da zna, čak bolje i od reditelja, šta da očekuje od filma, uvek tražeći njegovo pravo značenje

Italijanska rediteljka i montažerka Sara Fgaier je ovogodišnja dobitnica nagrade “Underground spirit” koju Festival evropskog filma Palić dodeljuje za izuzetan rad na polju nezavisnog filma, kao i za jedinstven pristup filmskom jeziku i autentičnu autorsku poetiku izgrađenu van glavnih tokova industrije. Najpoznatija je po svom ostvarenju GLI ANNI početka bio je da se snima i montira, motira i snima. Nismo počeli sa (THE YEARS), za koje je pre dve godine osvojila Evropsku scenarijem: radili smo na konstrukciji priče i istovremeno montirali, filmsku nagradu (EFA) za najbolju kratki film. dan za danom, pa je film napisan tokom same motaže. U ovakvoj vrsti projekata počnete da maštate a potom napišete svoj film oslanja- Šta je glavna odgovornost ili prioritet montažera u pristupu jući se na materijalno dok ga montirate. Montažer i reditelj mogu poslu? razviti veoma važan i kompleksan odnos. Montaža sa istovremenom Montažer bi mogao da zna, čak bolje i od reditelja, šta da očekuje podrškom čine da film postane zajednički. To nije jednostavna stvar od filma, uvek tražeći njegovo pravo značenje. Na izvestan način, jer montaža znači učestvovanje sa drugom osobom, ko god daj je u on mora da sledi put kako bi izgradio priču: što uopšte nije lako... S pitanju, u ljubavi prema filmu. vremenom dobija osećaj da donosi mnogo toga filmu, doprinoseći njegovoj strukturi. Montažer mora da bude skroman i da pruža svu Koje žene iz istorije filma su vas inspirisale, bilo da je reč o svoju osećajnost, inteligenciju i kreativnost kako bi potpuno podržao montažerkama ili rediteljkama? reditelja u njegovom projektu. Važno je poznavati mehanizam priče: Ima ih mnogo: Agnes Varda, Džejn Kempion, Larisa Šepitko… Kad je morate biti sposobni da stopite elemente priče sa osećajem za vreme i filmska montaža u pitanju, žene su svakako uvek bile više zastupljene naraciju i da pronađete oblike harmonije kako na površini priče tako nego na drugim poljima. Mislim da su žene često bivale na marginama i u najdubljim slojevima. Ključno je posedovati sintetičke i analitičke moći i hijerarhije u glavnim tokovima filmske industrije, pa su često veštine, kritičko mišljenje, dobru vizuelnu memoriju, istrajnost, nalazile svoj prostor u sobama za montažu. Možda zbog toga što su upornost, strpljenje, veštine slušanja i razumevanja. Potom, sve bolje za saradnju a i dobro se snalaze u prostoru između osećajnosti zavisi od vaše vlastite senzibilnosti – od istog materijala različiti i misaonosti. montažeri mogu napraviti potpuno različite filmove. Na čemu sada radite? Postoje li neki posebni izazovi u montaži filmova koje sami Upravo završavam, kao rediteljka, pisanje scenarija mog prvog dugo- režirate? metražnog igranog filma. Tokom svoje karijere uglavnom sam radila na nezavisnim filmovima, u kojima sam uvek pratila ceo proces stvaranja jer je moj doprinos uvek Kako gledate na trenutno stanje u italijanskoj kinematografiji? prevazilazio samu montažu, počevši od istraživanja pa do asistenta Misli da je za italijansku kinematografiju veoma dobar trenutak. Ima režije. Uvek sam počinjala montažu veoma brzo. ČELJUSTI VUKA Pjetra nekoliko autora, uključujući i mlađe, koji su izašli na međunarodnu Marčela je primer takvog rada. Osnovni pristup filmu od samog scenu.

18 INTERVIEW: SARA FGAIER, “UNDERGROUND SPIRIT” AWARD LAUREATE Strong woman in film

An editor might know what to look for in a film, even better than a director, always seeking its real meaning

Italian director and editor Sara Fgaier is this year’s Underground Spirit Award laureate assigned by the Palić European Film Festival for outstanding work in the field of independent film, as well as for a unique approach to film language and authentic authorial poetics built outside the mainstream industry. She is famous for GLI ANNI (THE LA BOCCA DEL LUPO by Pietro Marcello is symbolic of this approach. YEARS), for which she won the European Film Award Our main approach to the film, since the beginning, has been to shoot and to edit, to edit and shoot. We didn’t start from a screen-play: we (EFA) for best short film two years ago proceeded in the construction of the story while editing, day after day, the film had been written during its editing. More than going What do you feel is the first responsibility or priority of the back to reality, in these sorts of projects, you start dreaming and editor when approaching their work? then writing your film from the first material, while editing it. An An editor might know what to look for in a film, even better than editor and a director can develop a highly important and complex a director, always seeking its real meaning. Somehow, he has to relationship to manage. Editing while giving support takes possession follow a path to build up a story: not easy at all… At times you have of the film, too. It is not a simple matter because editing deals with the feeling to bring a lot of things in the construction of the film, sharing with another person, whoever it is, a desire for a film. contributing to its structure and writing. An editor has to be humble providing all his sensitivity, intelligence and creativity to Who are the women that have inspired you in the history of fully support the director in his project. I think it is important to cinema, whether editors or directors or both? know the mechanisms of the story: you have to be able to melt the They are many: Agnes Varda, Jane Campion, Larisa Shepitko… story elements with the sense of time and narration and to find Regarding film editing, certainly women have always had a place in forms and harmonies both in the surface and in the deepest levels. this field much more than in others fields. I believe that women have It is essential to possess synthesis and analytical skills, a critical often been on the margins of power hierarchies in the mainstream thinking, a good visual memory, perseverance, tenacity, patience, industry, and they have often found a space in the editing room. listening and comprehension skills. Then it depends on your own Perhaps, because they tend to be more collaborative and handle well sensibility – from the same material different editors can create the alternation between sensitivity and synthesis. completely different films. What are you working on now? Are there particular challenges in editing films that you also I’m just finishing writing the script of my first feature film of fiction direct? as a director. In my career, I have mainly worked in independent films, in which I have always followed the whole process because my contribution What are your thoughts on the current state of Italian cinema? has always gone beyond the editing, from the searches to working I think it’s a really good time for Italian cinema. There are several as the first director’s assistant. I’ve always started editing very soon. authors, including young ones that are emerging internationally.

19 INTERVJU / INTERVIEW

INTERVJU: KRISTINA SIVOLAP, REDITELJKA FILMA SLUŠKINJA Vreme izazova

Ukrajinska rediteljka Kristina Sivolap Kako vidite savremenu ukrajinsku kinematografiju i kakve su joj predstaviće se na 27. FEF sa filmom šanse u budućnosti? SLUŠKINJA u programu Paralele i sudari Teško, ali važno pitanje. Proteklih godina imali smo priličan uspon filmske industrije u Ukrajini, i to zbog jasne strategije naše Državne filmske agencije. Ukrajina je otkrila mnoga nova imena filmske indu- Na koje izazove ste naišli pri prelasku sa televizijske režije na strije i imala filmove koji su pobeđivali na međunarodnim filmskim režiranje igranih filmova za bioskope? festivalima. Situacija se međutim promenila pa sineasti ne razumeju Karijeru sam počela sa kratkim filmom a potom sam režirala tri serije, sasvim načine na koji Državna filmska agencija podržava filmsku ali mi je snimanje igranog filma uvek bilo na prvom mestu. Da, bilo je produkciju. Zaista se nadamo da će nastaviti da podržavaju ukrajin- mnogo izazova. Jedan od njih je rad sa timom za vizuelne efekte. Ni- ske filmske autore, jer nažalost, veoma je teško snimiti film u Ukrajini kada pre nisam radila tako veliku stvar pa mi je trebalo više vremena bez državne pomoći. da razumem proces i da pronađem način da objasnim zadatke. Druga stvar koju sam otkrila kao izazov je bila nejasna motivacija glavne junakinje Stefe. Nije bila svesna svojih životnih ciljeva. Radi se o indi- vidualnosti i poenti priče, ali je to istovremeno postala velika teškoća za glumicu i za mene da pronađemo njenu motivaciju za svaku scenu.

Kako ste rešili problem složenih pokreta kamerom i specijalnih efekata u filmu? Imali smo sjajan tim za vizuelne efekte, pa to i nije bio veliki problem. Zajedno sa direktorom fotografijeAleksom Lamakom napravila sam detaljnu knjigu snimanja sa specijalnim efektima u skladu sa vizuelnim stilom čitavog filma, tako da je tim za efekte znao tačno šta da očekuje.

Koji su planovi za film narednih meseci? Neki planovi su izmenjeni pandemijom, pa nisam sigurna da li će se sve planirano i dogoditi. Očekuje nas nekoliko projekcija. Jedna od njih je planirana u Varšavi u oktobru, čime smo počastvovani, jer su dva glumca iz SLUŠKINJE Poljaci. Sem toga naš film je u julu bio najgleda- niji na poljskoj onlajn platformi CDA. Veoma smo uzbuđeni što ćemo upoznati gledaoce u Poljskoj lično.

20 INTERVIEW: CHRISTINA SIVOLAP THE DIRECTOR OF FELIX AUSTRIA (VIDDANA) Challenge time

Ukrainian director Christina Sivolap will present at the 27th FEF with the film FELIX What is your outlook on contemporary Ukrainian cinema and its AUSTRIA (VIDDANA) in the selection future prospects? Parallels and Encounters Hard, but relevant question. Over the last few years, we have had a promising development of the film industry in Ukraine, because of the clear strategy our State Film Agency had. Ukraine discovered a lot of new names in the film industry and had films that won at What were the unique challenges of moving from directing international film festivals. Now the situation has changed and so television to directing a feature film for the cinema? far the filmmakers do not quite understand the direction of State I started my career with a short film and then directed three series, Film Agency about the support of film production. We really hope but shooting a feature film was always my priority. Yes, there were that they will continue to support Ukrainian filmmakers, because a lot of challenges for me. One of them is working with VFX team. I unfortunately, it is very difficult to make a film in Ukraine without never did it before in that size so it took me more time to understand state support. the process and to find a way to explain the tasks. Another thing that I discovered as a challenge was a not clear motivation of main character Stefa. Her life goals are unconscious. It is individuality and a point of a story, but at the same time became a big difficulty for the actress and for me to find her motivations for every scene.

How did you approach the complex camera movements and special effects in the film? We had a great and experienced VFX team, so it wasn’t a big problem. Together with DOP Alex Lamakh we created detailed storyboard of the scenes with special effects according to the visual style of the whole movie, so the VFX team knew exactly what to expect.

What are your plans for this film in the coming months? Some plans were changed by pandemic situation, so I’m not sure if everything planned is going to happen. There are few screenings ahead. One of them is planned in Warsaw in October, which is an honor for us, because two actors of FELIX AUSTRIA (VIDDANA) are from Poland. Also, our film became a bestseller on the Polish online platform CDA in July. So we are very excited to meet polish viewers in person.

21 KRITIKE / REVIEWS

FOMO – STRAH OD PROPUŠTANJA FOMO – FEAR OF MISSING OUT

Atila Hartung Mađarska, 2019, 93 min

Attila Hartung Hungary, 2019, 93 min

FOMO je sirov prikaz života grupe tinejdžera iz Mađarske koji svoje FOMO is a raw slice of the lives of a group of Hungarian teenagers who use raskalašno ponašanje dokumentuju i postavljaju na Jutjub. Đergđo, their YouTube account to document themselves pushing their behavior jedan od dečaka iz grupe, odlazi sa prijateljima na žurku gde to the limits of normalcy and decency. Gergo, one of the boys in the group, upoznaje Lilu, ćerku učitelja. Nakon zloupotrebe alkohola i droge, goes to a wild party with his friends and meets Lilla, the daughter of a prijatelji ga nagovaraju da Lilu snimi onesvešćenu u krevetu, što re- school teacher. After extreme drinking and drug use his friends urge him zultira silovanjem. I tako se živahna komedija o mladima i društven- to record her while she is passed out on a bed, which results in rape. And im mrežama pretvara u usporenu dramu o raspadanju ideja srednje then a fast-paced, quick-cut comedy about youth and social media turns into klase i posledicama jednog lošeg skretanja. a slow burn drama about the disintegration of middle class values and the consequences one bad decision can have. Tema filma je vrlo aktuelna, usred #MeToo pokreta, što bi zapravo više odgovaralo kao naslov filma od #FOMO (Fear of Missing Out The topic of this film is very current, in the midst of #MeToo, which would – Strah od propuštanja). U ovom slučaju, strah od propuštanja actually be a more accurate hashtag title than #FOMO. Here the fear of odnosi se na prilike u životu koje donosi novac i društveni položaj. missing out is for the advantages in life that money and status can provide. Na kraju, Đerđo priznaje Lili svoj greh, i okončava toksično prijatel- At the end Gergo confesses his sin to Lilla, and he breaks with his careless jstvo sa svojom grupicom, znajući da je to jedini način na koji može friends, knowing that is the only way he can live with himself and the živeti sa sobom. Reditelj Atila Hartung je u svom dugometražnom choices he has made. Director Attila Hartung, with this first feature film, debiju odabrao put milosti za svoje likove, obezbeđujući sebi dobar has chosen to light a merciful path forward for his characters, making him glas u savremenoj mađarskoj kinematografiji. a welcome and promising voice in contemporary Hungarian cinema.

MATER MATRIARCH

Jure Pavlović Hrvatska, Srbija, Francuska, Bosna i Hercegovina, 2019, 95 min

Jure Pavlović Croatia, Serbia, France, Bosna and Herzegovina, 2019, 95 min

Film MATER jeste klaustrofobična slika života žene koja se vraća kući The film MATRIARCH presents a claustrophobic view of a woman who da bi se brinula o bolesnoj majci. Jasna je davno napustila svoju rod- returns home to take care of her sick mother. Jasna long ago left her native nu Hrvatsku i započela nov život u Nemačkoj, ali nerazrešeni odnosi Croatia and has her own family in Germany, but it soon becomes apparent sa majkom sada joj ponovo postaju teret. Predstavljena nam je napeta that she has unfinished emotional business with her mother. The film plays psihološka drama, a ta napetost splašnjava tek na kraju, kada njeni out as a tense psychological drama that steps back from the edge right at likovi dolaze do predaha. Da li su taj predah zaslužili je, međutim, the end, when the characters are given a joyful respite. Whether they have pitanje za sebe. earned it, in the context of the narrative, is an entirely different question. Kraj je nedorečen, pa i neočekivan, uzimajući u obzir da se većina The conclusion is a non-ending to be sure, but maybe also something of a ovakvih drama završava barem delimičnom, ako ne potpunom katastro- surprise ending, given that most gritty dramas of this type tend to finish in fom. Kada Jasnina porodica iz Nemačke iznenada doputuje, Jasna pri- stasis if not outright catastrophe. Jasna’s German family pays her a surprise ređuje svojoj okrutnoj majci rođendansku zabavu koja joj na kratko visit, and she throws a birthday party that lifts her cruel mother’s spirits popravlja raspoloženje. Tokom filma, fokus je bio na Jasninom licu, dok for a brief spell. This is when we get the final shot of the film, focusing on je poslednji kadar lice njene majke, i ona se konačno smeši. Potrebna je the mother smiling for once, after the rest of the film sticks exclusively odlična glumica da bi zadržala pažnju kamere na ovaj način, a Daria to Jasna’s face. It takes a great actress to satisfy such an extended visual Lorenc-Flatz s lakoćom zadovoljava taj zahtev. Debitant Jure Pavlović, dedication, and Daria Lorenc-Flatz is effortless in the main role. First-time bez sumnje veruje u njene sposobnosti, što je neophodna osobina za director Jure Pavlović believes fully in her, and this faith is an admirable dalji tok njegove karijere pa zaslužuje divljenje. and necessary quality to take into the next step of his career.

22 UBIJ PA NAPUSTI GRAD KILL IT AND LEAVE THIS TOWN

Mariuš Vilčinski Poljska, 2020, 88 min

Mariusz Wilczyński Poland, 2020, 88 min

Dejvid Linč obavezno mora da pogleda UBI, PA NAPUSTI GRAD. Sigurno je David Lynch must watch KILL IT AND LEAVE THIS TOWN immediately. Surely the da bi ovaj severnoamerički maestro nadrealnog i mračnog stila prepozn- North American maestro of the surreal and the macabre would recognise his ao svoj uticaj, ili bar estetski spektar, u često neobjašnjivim i stravičnim influence, or at least his aesthetic register, in the inexplicable and often hor- animacijama poljskog animatora Mariuša Vilčinskog. Ovo je debitansko rific imagery created by Polish animatorMariusz Wilczynski. Here Wilczynski dugometražno ostvarenje Vilčinskog, u kome on animacijom prikazuje makes his feature-length debut with an animated vision that sketches the city grad Lođ kao montažu ličnih sećanja na granici noćnih mora. of Lodz as a montage of personal memories that border on nightmares. Ovo je hrabar projekat, ne samo zbog tehnike koju umetnik koristi, već i There is a boldness to the film, not just in the way the artist uses low-tech zbog njegove smelosti da izbegne racionalnu linearnost. Ruka reditelja animation techniques but also in the willingness to abandon rational linearity. je prisutna tokom čitavog filma: bukvalno opipljiva na umrljanom The hand of the director is present throughout the film, literally in the papiru na kom crta svoje skice; u slobodnom stilu predstavljanja figura i tactile qualities of the smudged paper he draws his sketches on, and in the oblika, i najočiglednije – u autobiografskoj prirodi celokupnog projekta. loose nature of his rendering shapes and figures – and most obviously in the Poput ljudsko-ribljih tela koja bira za prikazivanje i uređivanje, da li za autobiographical nature of the entire project. Like the fish and human bodies masovnu potrošnju ili večnu internaciju, reditelj nudi i svoj duh i telo he depicts being selected, cut, and organised either for mass consumption or kao umetnički materijal. Ne traži mišljenje, ni razumevanje, već strpljivo for eternal internment, the director here offers his own body and soul as oko koje se ne boji da zadre u dubinu. artistic material. He asks not for judgment, not even understanding, but rather a patient eye that is unafraid to affix a gaze into the depths. Lođ je jedan od onih postindustrijskih, postsocijalističkih gradova Evrope koji svoju starost nosi na sumornim fasadama, a njegov karakter Lodz is one of those post-industrial, post-socialist cities in Europe that wears često počiva u percepciji posmatrača. Međutim, ovo je takođe grad its age on its dreary façade, its various qualities often residing in the eye of the koji čuva bogato kulturno nasleđe Poljske, posebno filmske umetno- beholder. But it is also a city that contains a rich cultural heritage in Poland, sti, uzimajući u obzir da je Lođ mesto nacionalne filmske škole koja je particularly the heritage of film art, as the site of the national film school that iznela zlatnu generaciju umetnika 50-tih i 60-tih. A Vilčinski možda čak produced a golden generation of auteurs in the 1950s and 60s. Wilczynski just i pripada uzvišenoj tradiciji Vajde i Polanskog. No, budući da mu je ovo might belong in that lofty tradition of Wajda and Polanski (the former makes debitansko ostvarenje, konačnu procenu zadržaćemo za kasnije, iako je a posthumous cameo as a voice on a city train). But as this is only his debut, we svoj prvi javni test položio trijumfom koji obećava još mnogo toga. will reserve a final assessment for a later day, even though he has passed his first public test with a triumph that augurs more unique treasures to come.

SLUŠKINJA VIDDANA (FELIX AUSTRIA)

Kristina Sivolap Ukrajina, 2020, 103 min

Christina Sivolap Ukraine, 2020, 103 min

Raskošna priča o kućnoj pomoćnici, potpuno posvećenoj služenju mlade za rediteljku Kristinu Sivolap, koja je pre ovog debitantskog dugometražnog gospodarice uz koju je odrastala, smeštena između dva veka Austrougarskog ostvarenja snimala televizijske serije. Filmom SLUŠKINJA, ona dokazuje i carstva. Stefa, sobarica, veći deo filma provodi u emotivnom rastrojstvu, sposobnost baratanja na velikom platnu. Možemo očekivati slična izvanredno između Adele, gospodarice sa kojom je odgajana, i Adelinog muža, mladog predstavljena dela širokog istorijskog opsega i u budućnosti. sveštenika koji prema sluškinji gaji naklonost iz prošlosti. Središte Adelinog i Stefinog konflikta jeste dečak čija je majka poginula u nesreći. Priča se, Film završava reprizom tragedije koja ga je otvorila i pokrenula njegovu većinom, odvija kroz Stefinu perspektivu, uz naslove poglavlja i različite naraciju. Govori se o neminovnom razdvajanju u cilju mentalnog rasta, kao i vremenske odrednice, što doprinosi književnom tonu filma. ideji da je porodica koncept koji se neguje, ali ne sili. Stefa odlučuje da ostavi sve iza sebe i pođe u novi život, što je, na neki način, odluka koju svi moramo doneti. Pored toga, velika pažnja posvećena je i detaljima u scenografiji, fotografiji Na raskršću epohe i tradicije, prijatelja i sudbine, koji put birate? i vizuelnim efektima. Priča je ispričana sa darom, a svakako je izuzetan uspeh

23 COVID-19 CORONAVIRUS MERE OPREZA

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OBAVEZNO JE MOLIMO VAS PRIDRŽAVAJTE SE NOŠENJE MASKE PROPISANE DISTANCE PREKO LICA TOKOM PRILIKOM ODABIRA SEDIŠTA. BORAVKA U BIOSKOPU.

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MOLIMO VAS DA MOLIMO VAS OČISTITE U BIOSKOPSKU SALU DEZINFIKUJETE OBUĆU NA ULAZU. SE ULAZI I IZLAZI RUKE PRI ULASKU. UZ FIZIČKU DISTANCU. MOLIMO VAS PRIDRŽAVAJTE SE PRAVILA! INTERVJU: INTERVIEW: JURE PAVLOVIĆ, REDITELJ FILMA MATER JURE PAVLOVIĆ, THE DIRECTOR OF MATRIARCH Moj najličniji film My most personal film

Director Jure Pavlovic graduated directing from the Academy of Dramatic Arts in Zagreb. His short films have been screened and awarded at numerous international Reditelj Jure Pavlović diplomirao je režiju na Akademiji film festivals, including the Berlin International Film dramskih umetnosti u Zagrebu. Njegovi kratki filmovi Festival. For the short film PICNIC (2015), he won the prikazani su i nagrađivani na brojnim međunarodnim European Film Academy Award (EFA) for Best Short Film. filmskim festivalima, uključujući Međunarodni filmski MATRIARCH is his feature film debut. festival u Berlinu. Za kratki film PIKNIK 2015. osvojio je nagradu Evropske filmske akademije (EFA) za najbolji kratki film. MATER je njegov igrani celovečernji debi. What prompted you to deal with the mother-daughter relationship in your feature debut? I like to joke that I made a short film about a father-son relationship, Šta vas je podstaklo da se pozabavite odnosom majke i ćerke u and that I needed a feature-length film for a mother-daughter rela- svom celovečernjem debiju? tionship, this relationship is much more complicated. The idea for the Volim da se šalim da sam o odnosu oca i sina napravio kratki film, a film came from my family situation, a personal experience that was the da mi je za odnos majke i ćerke trebao dugometražni. Međutim, ipak starting point for a story that I had long wanted to realize. Whatever su ti odnosi mnogo komplikovaniji. Ideja za film je proizašla iz moje I do in the future, I believe this will remain my most personal film. porodične situacije, ličnog iskustva koje je bilo polazna tačka za When you have two actresses (Daria Lorenci Flatz and Neva Rošič) priču koju sam jako dugo želeo da realizujem. Šta god budem napravio like this, do you let them play and follow them with your camera or... u budućnosti, verujem da će ovo ostati moj najličniji film. You still have to go through some work, process, but it is always a Kad imate ovakve dve glumice u filmu (Daria Lorenci Flatz i Neva question of how much to let them create on their own and how much Rošić), da li ih pustite da se igraju i pratite ih kamerom ili? to direct. Neva gave herself a lot and it is felt it in the film. As forDaria , Morate ipak proći neki rad, proces, ali uvek je pitanje koliko pustiti njih the special challenge was that she was at close-up, and that the shots da kreiraju svoje a koliko ih usmeravati. Neva je dala jako puno sebe i lasted three, four minutes each. It has to be perfect in every sense, to se oseti u filmu. ZaDariju je bio poseban izazov to što je u krupnom from the beginning to the end of the scene, in technical sense, camera, planu, i što su kadrovi trajali po tri-četiri minuta. Treba od početka sharpness, acting, choreography… In that sense, the process was do kraja scene biti savršen u svakom smislu, tehničkom, kamera, šarf, challenging because we shot one shot all day, there was no fragmentary gluma, koreografija… U tom smislu je proces bio izazovan jer smo shooting from multiple angles where you have room to manipulate, snimali jedan kadar ceo dan, nije bilo fragmentarnog snimanja iz više prolong or shorten the silence… The moment you made on the set is uglova gde imate prostor da izmanipulišete, produžite ili skratite filmed and remains forever, there is no safety net. tišinu… Momenat koji ste napravili na setu se zabeleži i ostane zauvek, The other actors in the film are non-professional actors. How nema sigurnosne mreže. did you work with them? Ostali glumci u filmu su naturščici. Kako ste radili sa njima? There is another actress, she is from that milieu, from that village. I Ima još jedna glumica, ona je iz tog miljea, iz tog sela. Dugo sam znao da had known for a long time that for these very interesting supporting želim za te vrlo zanimljive sporedne likove da uzmem koloritne likove characters I wanted to take colorful characters from that area, I iz tog kraja. Mislim da unose autentičnost, trodimenzionalnost. U think they bring authenticity, three-dimensionality. At first, I was a početku sam bio malo nesiguran, pa sam pitao Dariju i Nevu da urade little insecure, so I asked Daria and Neva to do rehearsals with them, probe sa njima, ali nakon toga su se toliko opustile i jako dobro se but after that they relaxed so much and the professional and amateur slagala profesionalna i amaterska gluma. Neva je u Hrvatskoj poznata acting got along really well. Neva is known in Croatia as a great kao velika pozorišna glumica koja je glumila krležijanske likove theatre actress who played high-status Krleza characters, so she was visokog statusa, tako da je ona bila atipičan izbor za tu ulogu. Pitao an atypical choice for the role. I wondered how it would work when sam se kako će funkcionisati kad uparim Nevu, koja je tako velika I paired Neva, who is such a great actress, with someone from that glumica, sa nekim iz tog sela, ali na probama su sve sumnje nestale i village, but at the rehearsal all doubts disappeared and after that it posle je to funkcionisalo vrlo dobro. Mislim da su naturščici doneli worked very well. I think the non-professional actors brought a touch dašak nekog čistog života koji nas je sve inspirisao. of pure life that inspired us all.

25 INTERVJU / INTERVIEW

INTERVJU: IGOR TOHOLJ, SELEKTOR PROGRAMA ECO DOX I NOVI EVROPSKI DOKUMENTARNI FILM Lični autorski svetovi

O programima Eco Dox i Novi evropski dokumentarni film govori dokumentarac profesora Dragana Stojmenovića, koji nam otkriva jednu drugu stranu morske flore i faune. Morske životinje su u ovom selektor Igor Toholj filmu personalizovane, reditelj ih je predstavio ponaosob kroz poeziju.

Prošle godine je uveden novi program Novi evropski Šta publiku očekuje ove godine u Eco Dox programu? Koji su to dokumentarci. Šta je Palićki festival dobio tim programom? filmovi i kakvih tema? Palićki festival je kao prestižna manifestacija ovim programom dobio Iako živimo u epohi epidemije jednog od najopasnijih virusa u istoriji mogućnost da publici predstavi jedan mali ali reprezentativan isečak čovečanstva, suočavamo se sa drugim, ne manje dramatičnim iz ogromne produkcije evropskog dugometražnog dokumentarnog problemima u našoj životnoj sredini. Ovaj program i dalje pokušava filma, što je nimalo lak posao za selektora. U pitanju je izbor od da osvetli autorski pogled na dominantne i neuralgične ekološke pet filmova koji se izdvajaju stilom, temom, pristupom i izražajnim teme današnjice. U ovogodišnjoj selekciji, izdvajaju se filmovi nastali sredstvima. Dokumentarci koje prikazujemo su lični, hermetični ali sa ženskim rukopisom sa mnogo poštovanja prema esenciji ovozemaljskog druge strane i angažovani i aktivistički. Uglavnom su imali festivalski života u svom čistom pojavnom obliku. Pri tome mislim na žene sa obe život na nekim od najznačajnijih festivala, i onim A kategorije. strane kamere, kako protagonistkinje tako i rediteljke. Takoreći to Takođe, uvek se trudimo da imamo poneki film doajena evropske su male Apoteoze ovozemaljskog života. Upravo rediteljke filmova kinematografije, kao što je to ove godineUlrike Otinger, dontnica KIRUNA, KADA PARADAJZ SRETNE VAGNERA, A SAD SE SPUŠTA VEČE, nagrade “Camera Berlinale” za životno delo. pokazuju empatiju i vizuelni rafinman u portretisanju malih-velikih ljudi. Sa druge strane, reditelji filmova WOLVES AT THE BORDERS, BUT Kakav izbor novih evropskih dokumentaraca gledamo na 27. FEF-u? BEAUTIFUL i TRITONOV VRT se izdvajaju angažovanošću i otkrivanjem Surova stvarnost kojom smo okruženi nas svakodnevno prestiže u istine u tretmanu kako globalnih tako i naizgled lokalnih tema u svojoj neumitnosti. Ono što nas, ipak, još uvek inspiriše i intrigira su lični aktuelnom ekološkom dokumentarizmu. autorski svetovi često zaodenuti u intimizam koji pobeđuje dominantnu i agresivnu medijsku sliku o savremenom svetu. Naročito kada su u Trudite se da u Eco Doxu uvek budu i domaći autori. Ove godine tu pitanju filmovi obeleženi ženskim senzibilitetom. U ovogodišnjem su dva filma? Na koje teme i kakvih autorskih izraza? programu dominiraju upravo takvi filmovi, od introspektivnog PARIS Ove godine su to dva kratkometražna filma. A SADA SE SPUŠTA VEČE, CALLIGRAMMES doajenke Ulrike Otinger, filma NORHERN DRIFT, koji nas maestralan filmMaje Novaković koji je obišao svet, prikazan na u prvom licu jednine Aleksisa Destopa, u maniru saspensa upozorava na stotinak festivala, dobio desetine nagrada i kvalifikovao se da se geopolitička strujanja na dalekom severu Evrope, do filma PUNTA SACRA, kandiduje za nominaciju za Oskara. U pitanju je poetski dokumentarac, debitantkinje Frančeske Macoleni, poetičnog portreta jedinstvene čije protagonistkinje su dve stare žene u brdima oko Podrinja, čiji socijalne zajednice na jugu Italije, nedaleko od mitske Ostije u kojoj je život je potpuno uronjen u prirodne cikluse, obeležen ritualima, stradao P. P. Pazolini. Tu su i dva filma na ruske teme - TOWN OF GLORY, drevnim obredima i bajalicama. Na likovnom planu, film je pregnantna, groteskna slika militantne omladine u svetlu tradicije Drugog svetskog prirodnim bojama zasićena slika težačkog života daleko od civilizacije. rata i WOMANS DAY jedinstvena posveta rediteljke Dolje Gavanski TRITONOV VRT s druge strane je duhovit, dramatizovan podvodni heroinama sovjetskog feminizma.

26 INTERVIEW: IGOR TOHOLJ, PROGRAMMER OF ECO DOX AND NEW EUROPEAN DOCUMENTARIES Personal authorial worlds

Programmer Igor Toholj on Eco Dox and New European Documentary film program

WHEN TOMATOES MEETS WAGNER What can audience expect from Eco Dox program this year? What are the films and their themes like? New European Documentaries program was introduced last Although we live in the era of the epidemic of one of the most year. What did Palić Festival get with that program? dangerous viruses in the history of mankind, we are facing other, no As a prestigious event, Palić Festival was given an opportunity to less dramatic problems in our environment. This program continues present small but representative selection from a huge production to shed light on the author’s view on the dominant and neuralgic of European feature-length documentaries, which is not an easy environmental themes of today. In this year’s selection, films made by job for a programmer. It is a selection of five films that stand out women stand out with a lot of respect for the essence of earthly life with their style, theme, approach and means of expression. The in its pure form. I am talking about women on both sides of camera, documentaries we show are personal, hermetic, but on the other both the protagonists and the directors. In other words, these are the hand they are also engaged. They mostly had a festival life at some small apotheosis of earthly life. Directors of KIRUNA, WHEN TOMATOES of the most important festivals, and those of the A category. Also, MEETS WAGNER, and THEN COMES THE EVENING, show empathy and we always try to have some films by the doyen of European cinema, visual refinement in portraying little but great people. On the other such as Ulrike Ottinger this year, Camera Berlinale Award laureate hand, directors of WOLVES AT THE BORDER, BUT BEAUTIFUL and THE for her life’s work. GARDEN OF THE TRITON stand out by engaging and revealing the truth, treating both global and seemingly local themes in current What kind of New European Documentaries shall we watch at environmental documentarism. the 27th EFF? The harsh reality we are surrounded with, surprises us daily in You always insist to have local authors in Eco Dox program. There its inevitability. What still inspires and intrigues us, however, are two such films this year? What are their topics and authorial are the personal authorial worlds often clothed in intimacy expressions like? that overcomes the dominant and aggressive media image of This year there are two short films. THEN COMES THE EVENING, a the modern world. Especially when it comes to films marked masterpiece by Maja Novaković that has toured the world, presented by female sensibility. This year’s program is dominated by such her film at about hundred festivals, won dozens of awards and films, beginning with the introspective PARIS CALLIGRAMMES by qualified to run for Oscar nomination. It is a poetic documentary, doyenne Ulrike Ottinger, NORHERN DRIFT, which in the first person whose protagonists are two old women in the hills around Podrinje, singular of Alexis Destoop, in the manner of suspense warns us of whose lives are completely immersed in natural cycles, marked by geopolitical currents in the far north of Europe, to PUNTASACRA, rituals, ancient rituals and charms. In terms of art, the film is a by debutante Francesca Mazzoleni, a poetic portrait of a unique pregnant, saturated with natural colors, images of peasant life far social community in the south of Italy, not far from the mythical from civilization. THE GARDEN OF THE TRITON, on the other hand, is Ostia where P. P. Pasolini was killed. There are also two films on a witty, dramatized underwater documentary by Professor Dragan Russian themes - TOWN OF GLORY, a grotesque image of militant Stojmenović, which reveals another side of marine flora and fauna. youth in the light of the World War II tradition and WOMAN’S DAY, In this film sea animals are personalized, the director presented them a unique tribute of the director Dolya Gavanski to the heroines of individually through poetry. Soviet feminism.

27 IZLOŽBA / EXHIBITION

IZLOŽBA: SVETLANA BOJKOVIĆ EXHIBITION: SVETLANA BOJKOVIĆ UMETNOST GLUME ILI THE ART OF ACTING OR TRAGANJE ZA ISTINOM THE SEARCH FOR TRUTH

Pozorišni muzej Vojvodine i Sterijino pozorje, povodom 50 godina umetničkog rada i Sterijine nagrade za naročite zasluge na unapređenju pozorišne umetnosti i kulture (2019) dramske umetnice Svetlane Bojkovic, priredili su izložbu “Svetlana Bojkovic ‒ umetnost glume ili traganje za istinom”. Izložba je posvecena bogatom glumačkom radu Svetlane Bojkovic The Theater Museum of Vojvodina and Sterijino Pozorje organized an u pozorišnom, televizijskom, filmskom i radiodramskom stvaralaštvu, ali i exhibition “Svetlana Bojković – the Art of Acting or Searching for Truth” njenom pedagoškom i društvenom angažmanu. on the occasion of fifty years of her artistic work and 2019 Sterija’s Postavkom izložbe “Svetlana Bojkovic ‒ umetnost glume ili traganje Award for special merits in the improvement of theater art and culture. za istinom” upoznacemo javnost i podseticemo je na umetničku The exhibition is dedicated to the rich acting work of Svetlana Bojković karijeru i doprinos ove naše dramske umetnice pozorišnom, filmskom, in theater, television, film and radio drama, but also to her pedagogical radiodramskom i televizijskom stvaralaštvu i kulturi naše zemlje. S and social engagement. obzirom na to da je Svetlana Bojkovic ostvarila značajne role koje su Artifacts used in the realization of the exhibition are the testimony doprinele njenoj umetničkoj veličini, verujemo da ce izložba to na najbolji to the artistic career of Svetlana Bojković. Exhibition is based on način predstaviti i potvrditi. a rich and diverse material consisting of: documents, awards and U realizaciji izložbe korišceni su materijali koji su svedočanstvo umetničke recognitions, audio and video recordings of plays, television and radio karijere Svetlane Bojkovic. Ono se zasniva na bogatoj i raznovrsnoj građi programs and films, posters, program booklets, photographs, costume koju čine: dokumenta, nagrade i priznanja, audio i video zapisi predstava, sketches, costumes, awards, etc. The research and organization of the televizijskih i radio-programa i filmova, plakati, programske knjižice, exhibition with the catalog are based on documentation possessed fotografije, skice kostima, kostimi, nagrade i sl. Istraživanje i priređivanje by Svetlana Bojković, Branislava Atanacković, Theater Museum of izložbe s katalogom zasnovani su na dokumentaciji koju poseduju Svetlana Vojvodina, Association of Drama Artists of Serbia, Museum of Theater Bojkovic, Branislava Atanackovic, Pozorišni muzej Vojvodine, Udruženje Arts of Serbia, National Theater in Belgrade, Yugoslav Drama Theater, dramskih umetnika Srbije, Muzej pozorišne umetnosti Srbije, Narodno Atelier 212, Serbian National Theater, National Theater of Republika pozorište u Beogradu, Jugoslovensko dramsko pozorište, Atelje 212, Srpsko Srpska in Banja Luka, “Puž” Theater, Belgrade Drama Theater, Sterija’s narodno pozorište, Narodno pozorište Republike Srpske u Banjaluci, Pozorje and other theater festivals and theaters, then the RTS Pozorište “Puž”, Beogradsko dramsko pozorište, Sterijino pozorje i drugi Program Archive, Radio Belgrade Drama Program Documentation, pozorišni festivali i teatri, potom i Programski arhiv RTS, Dokumentacija Novosti Company, Media & Reform Center from Niš, Academy of Fine Dramskog programa Radio Beograda, Kompanija Novosti, Media & Reform Arts in Belgrade, RTV, RTS, Center Film, Yugoslav Film Archive and other centar iz Niša, Akademija lepih umetnosti u Beogradu, RTV, RTS, Centar film, cultural institutions. Arhiv i Muzej Jugoslovenske kinoteke i druge ustanove kulture. Author of the exhibitions and catalog: Zoran Maksimović, museum advisor Autor izložbe i kataloga: Zoran Maksimovic, muzejski savetnik. Co-author: Branislava Atanacković Koautor: Branislava Atanackovic Exhibition design and setup: Bojan Jovanović Dizajn i postavka izložbe: Bojan Jovanovic Catalog design and technical arrangement: Nenad Bogdanović Dizajn i tehničko uređenje kataloga: Nenad Bogdanovic Catalog cover design: Attila Kapitany Dizajn korica kataloga: Atila Kapitanj Lecturer: Olivera Cibula Lektorka: Olivera Cibula Associates: Milisanda Milović and Maja Vitić Saradnici: Milisanda Milovic i Maja Vitic What makes Svetlana Bojković an actress who masters her role and Šta je to što Svetlanu Bojkovic čini glumicom koja gospodari svojom rules the stage? – is the starting point for the author in his work on this ulogom i vlada scenom? – polazište je autora u radu na ovoj izložbi. exhibition. Ova izložba je samo mali trag jedne velike, sjajne karijere, a iza This exhibition is just a small trace of a great, great career, and behind predstavljenih slika (na njoj) stoje biografije, događaji i priče koje su takav the presented paintings are biographies, events and stories that built životni i profesionalni put gradile i obeležile. and marked such a life and professional path. Katalog izložbe sadrži autorske i kritičke tekstove, biografiju i tekstove The exhibition catalog contains authorial and critical texts, biography Svetlane Bojkovic, osvrt na repertoar, izvode iz kritika, selektivnu and texts by Svetlana Bojković, review of the repertoire, excerpts bibliografiju, rezime na engleskom jeziku i bogatu dokumentacionu i from reviews, selective bibliography, a summary in English and a rich fotografsku ilustraciju. documentary and photo materials.

28 VESTI / NEWS

GORKI LIST GORKI LIST AUDIENCE AWARD AUDIENCE AWARD FOR FOR THE BEST FILM THE BEST FILM

Kroz ovogodišnji, 27. Festival na Paliću nastavlja se Years of cooperation between Gorki List and European višegodišnja saradnja “Gorkog lista” i Festivala evropskog Film Festival Palić continue with the 27 edition. For filma. Duže od 20 godina “Gorki list” upotpunjuje 20 years now Gorki List has been contributing to the atmosferu i festivalski ambijent, ali i podstiče gledaoce na Festival atmosphere and ambience, as well as supporting razmišljanje i reakciju, i poziva ih da otvorenih čula prate audience to think and act, to imbibe the surrounding svet oko sebe. world with all senses. By the Audience Award for the Best Film, Gorki List proves that audience can take an Nagradom publike za najbolji film, “Gorki list” dokazuje da active role and judge Festival films from their point publika preuzima aktivnu ulogu i iz svog ugla sagledava of view. That way, beside Official Jury, reflections of dela filmske umetnosti prikazana na Festivalu. Na taj način “the most numerable jury”, those who have been loyal uvaženo je, pored mišljenja stručnog žirija, i mišljenje and dedicated to the Festival all these years, are being najbrojnijeg “žirija” odnosno, onih zahvaljujući čijoj recognized. According to their assessment, the audience lojalnosti i posvećenosti filmu Festival traje svih ovih will be able to vote for the best film after film screenings godina. Publika će za najbolji film po njihovoj proceni in the cinema or via site on the GORKI LIST audience moći da glasa u bioskopu nakon gledanja filma ili putem awards page. sajta na stranici GORKI LIST nagrada publike. With the respect to the fact that the Best Film Award Uvažavajući činjenicu da se izbor najboljeg filma po by audience and by Official Jury may refer to different mišljenju publike često zasniva na drugačijim kriterijumima films, Gorki List and European Film Festival invite the od kriterijuma stručnog žirija, Festival evropskog filma i audience to choose their favorite film from the rich opus “Gorki list” ovom nagradom pozivaju posetioce Festivala of European cinema presented at the Festival, by voting da glasanjem na zvaničnom sajtu izaberu svog favorita u at the official Festival’s website. bogatom filmskom opusu evropske kinematografije, koji će biti prikazan na ovogodišnjoj filmskoj smotri. Film chosen by the audience is going to receive specially designed statue GORKI LIST AUDIENCE AWARD. Film koji od strane publike bude imenovan kao laureat GORKI LIST NAGRADE PUBLIKE dobiće posebno dizajniranu statuu. RADIONICA FILMSKE KRITIKE FILM CRITICS’ WORKSHOP

Počevši od 2015. godine, Radionica filmske kritike ima za cilj da od Festivala Starting in the year 2015 Film Critics Workshop aimed to make the European evropskog filma Palić stvori mesto okupljanja filmskih kritičara, urednika Film Festival Palic a gathering place for film critics, editors and journalists i novinara kako bi razmenjivali znanje, iskustvo i davali savete mlađim with the goal to exchange their knowledge, experience and advice their kolega iz cele Evrope. Ona je zamišljena kao mesto okupljanja radi younger colleagues from the Europe. Workshop is organized with the promišljanja nekoliko tehnika i koncepata koji omogućavaju dubinsku support of Serbian Film Center and aimed for young film critics who analizu filma kao i njegovog predstavljanja publici. periodically publish in local and international magazines. Radionica je organizovana uz podršku Filmskog centra Srbije, a The results of the workshop - articles, interviews and reviews on films namenjena je mladim filmskim kritičarima koji periodično objavljuju svoje presented at European Film Festival Palic are published at Festival`s and Film kritike u lokalnim i međunarodnim časopisima. Učinak Radionice – članci, Centre Serbia`s website. intervjui i kritike filmova prikazanih na Festivalu evropskog filma Palić objavljuju se na festivalskom i sajtu Filmskog centra Srbije. Due to the current situation with covid-19 virus epidemic, workshop will be organized with participation of 10 promising young film critics from Serbia. S obzirom na trenutnu situaciju u vezi epidemije kovida-19, Radionica filmske Film Critics Workshop 2020 is conceived as a meeting point to reflect upon kritike na Paliću okupiće 10 obećavajućih mladih studenata iz Srbije, iz the several techniques and concepts that allow a deep analysis of cinema Beograda i Novog Sada, a pod mentorstvom britanskog filmskog kritičara and its presentation to audiences. Nila Janga, selektora programa Paralele i sudari i Mladi duh Evrope. This year’s program will provide tools to the participants on how to Ovogodišnji program obezbediće polaznicima radionice tehnike pristupa approach the always changing moving image, will also function as an uvek promenljivim pokretnim slikama, a ujedno će biti i uvod u vizuelni introduction to the visual essay as a form of criticism that has no need esej kao oblik kritike koji neposeže za pisanom reči a pokriva glavne of the usually prevailing written word and cover themain aspects of aspekte odnosa prema filmu. programming films.

29 SERVISNE INFORMACIJA / SERVICE INFORMATION

PROTOKOL O BEZBEDNOSTI I PROTOCOL ON SECURITY MERAMA ZAŠTITE TOKOM AND PROTECTION MEASURES 27. FEF PALIĆ DURING THE 27TH EFF PALIĆ

Otvoreni univerzitet Subotica, izvršni producent Festivala evropskog The Open University Subotica, executive producer of the Palić European filma Palić, organizuje 27. festival od 12. do 18. septembra 2020. godine Film Festival, organizes the 27th edition of the Festival from September 12 to uz pridržavanje i poštovanje svih mera Vlade Republike Srbije i Kriznog 18, 2020, in compliance with all measures ordered by Serbian Government štaba za suzbijanje zarazne bolesti Covid-19. Organizacionom timu and the Crisis Staff for Prevention from Infectious Diseases Covid-19. The Festivala je pre svega prioritet zdravlje i bezbednost svih učesnika organizing team of the festival prioritizes the health and safety of all Festivala. participants in the Festival.

Sve informacije o COVID-19 u Srbiji može pročitati na sajtu All information about COVID-19 in Serbia can be found on https://covid19.rs/ https://covid19.rs/

Rad bioskopa u Srbiji počeo je 1. septembra 2020. godine po sledećim uslovima: Cinemas in Serbia are opened on September 1, 2020, under the following ◆ Obavezno je nošenje maske preko lica tokom boravka u bioskopu, foajeu conditions: i toaletu. ◆ It is mandatory to wear a mask over your face in the cinema, lobby and ◆ Obavezno je merenje temperature pri ulasku u bioskop. Osobama sа toilet. tеmpеrаturоm višоm оd 37,0 stepeni Clezijusovih nеćе biti dоzvоljеn ◆ It is obligatory to measure body temperature when entering the cinema. ulаzак u bioskopsku salu. People with a temperature higher than 37.0 C will not be allowed to ◆ Molimo vas da se pridržavate propisane distance prilikom odabira enter cinema hall. sedišta (razmak od jednog sedišta). ◆ Please respect one seat distance when choosing a seat. ◆ Molimo vas da dezinfikujete ruke pri ulasku u bioskopsku salu. ◆ Please disinfect your hands when entering cinema hall. ◆ Molimo vas da očistite obuću pri ulazu u bioskopsku salu. ◆ Please clean your shoes at the entrance to the cinema hall. ◆ Molimo vas da se pridržavate propisane distance od metar i po (1,5 m) ◆ Please respect the prescribed distance of 1.5m while entering the cinema prilikom ulaska u bioskopsku salu. hall. ◆ U bioskopsku salu zabranjeno je unositi hranu i piće. ◆ Food and drinks are not allowed. ◆ Molimo vas da se pridržavate rasporeda za sedenje koji ste dobili ◆ Please respect the seating schedule provided with a ticket or lobby prilikom kupovine karte ili uputstva redara u sali. attendant instructions. ◆ Molimo sve posetioce da ukoliko osete simptome respiratornih ◆ If you experience respiratory infections’ symptoms please stay at home. infekcija ostanu kod kuće. Thank you for your understanding and respecting the protection and Hvala na razumevanju i poštovanju mera zaštite i bezbednosti! safety measures! Budimo odgovorni! Let’s be responsible!

SERVISNE INFORMACIJE ◆ Cena ulaznice za svaki film iz selekcija Glavni takmičarski program, Sve informacije u vezi sa programom Festivala možete dobiti na info pulto- Paralele i sudari i Best of Europe 2019. iznosi 250 dinara. vima Festivala: Info pult, Otvoreni univerzitet Subotica - Trg cara Jovana ◆ Ulaznice za filmove iz selekcija Glavni takmičarski program i Best of Nenada 15, Info pult - Trg Slobode Subotica, Direkcija Festivala, Elitte Palić Europe 2019. mogu se kupiti na blagajni bioskopa Eurocinema od 13. - Mala gostiona do 18. septembra 2020. godine od 9.00 do 22.00 sata, za filmove koji se prikazuju istog dana. ORGANIZOVAN PREVOZ ◆ Karte za projekciju filma IME NARODA, koja će biti održana u subotu, 12. Organizovan prevoz za akreditovane novinare, kritičare i goste festivala septambra u 20.30 sati, moći će da se kupe pola sata pre početka projekci- iz Palića do Subotice polaziće svakog dana u 17.30 sati, ispred Male gosti- je na blagajni bioskopa Eurocinema. one, osim za veče otvaranja (12. septembra) kada će krenuti u 19.00 sati. ◆ Ulaznice za takmičarski program Paralele i sudari mogu da se kupe sat Povratak iz Subotice za Palić organizovan je svake večeri, nakon projekcije vremena pre početka projekcije na blagajni bioskopa Abazija na Paliću. drugog filma (koji počinje u 22 sata), sa parkinga Otvorenog univerziteta. ◆ Broj mesta je ograničen za svaku bioskopsku salu u skladu sa trenutno propisanim merama opreza u cilju sprečavanja širenja virusa covid-19. PRESS SUSRETI ◆ Ulaz na sve ostale projekcije je besplatan! Konferencije za novinare biće održavane svakog dana (osim na dan otva- ranja Festivala, 12. septembra) od 12 sati u bašti bioskopa “Abazija”.

30 VESTI / NEWS

Velikani The Greats srpskog glumišta of Serbian Theater

Udruženje građana Žanka Stokić, Rabrovo i Centar za Non government organization Žanka Stokić, Rabrovo kulturu Veljko Dugošević, Kučevo, raspisali su konkurs (Serbia) and Cultural Center Veljko Dugošević, Kučevo za izradu portreta glumaca zarad stalne izložbene (Serbia), had announced a competition for making portraits postavke “Velikani srpskog pozorišta” koja je otvorena of actors for the permanent exhibition “The Greats of u Maloj sali Doma kulture u Rabrovu. Budući da je Serbian theater”, which was opened in the Small Hall of the velika srpska glumica Žanka Stokić značajan deo života House of Culture in Rabrovo. Since the great Serbian actress provela u Rabrovu, mestu u kome se od 2002. održavaju Žanka Stokić spent a significant part of her life in Rabrovo, Pozorišne svečanosti “Žanki u čast”, ukazala se prilika the place where Tribute to Žanka Theater Festival has been da se na jednom mestu objedine velikani pozorišne scene held since 2002, it was an opportunity for us to unite the Srbije, kroz stalnu izložbenu postavku, portretima greats of the Serbian theater scene in one place, through a glumaca koji su ostavili neizbrisiv trag u istoriji srpskog permanent exhibition, with portraits of actors who left an pozorišta i filma. indelible mark in the history of Serbian theater and film. Kao odgovor na konkurs pod nazivom “Velikani srpskog In response to the competition called “The Greats of Serbian glumišta” pristiglo je stotinu radova od kojih je 61 Theater”, about hundred works arrived, 61 of which were uvršten u izložbu. Izabrani radovi svojim kvalitetom included in the exhibition. The selected works, with their ispunjavaju kriterijume konkursa, svojim izrazom, quality, meet the criteria of the competition, with their snagom, psihološkom uverljivošću daju svojevrstan expression, strength, psychological persuasiveness, they omaž ljudima teatra koji su svojim delom obeležili epohu. give a kind of homage to theater people who, by their work, marked the epoch. Izložba “Velikani srpskog glumišta” ove godine gostovala je u mnogim gradovima na značajnim This year, the exhibition The Greats of Serbian Theater was a pozorišnim i filmskim festivalima. Autor projekta je guest exhibition in many cities at important theater and film Dragan Despot Đorđević. festivals. Author of the project is Dragan Despot Đorđević.

DEBATNI PROGRAM DEBATE PROGRAM 27. FESTIVALA EVROPSKOG FILMA – PALIĆ 2020 OF THE 27TH EUROPEAN FILM FESTIVAL – PALIĆ 2020 Panel diskusija na temu: Panel discussion on: “Žensko preduzetništvo i kovid-19 – zatvaranje biznisa ili nova šansa” “Women's Entrepreneurship and Covid 19 - End of Business or a New Chance” Utorak, 15. septembar, od 10 do 11 sati na onlajn platformi ZOOM Tuesday, September 15, from 10 a.m. to 11 a.m. on the ZOOM online platform

Tema je u skladu sa aktuelnom situacijom sa pandemijom korona virusa, The topic is in line with the current situation with the corona virus pandemic, a najčešće izgovarana rečenica jeste da u “danu posle” ništa neće biti kao where the most common sentence is that in the “day after” nothing will be što je bilo. Kada strah od zaraze više ne bude preokupacija, preovladaće as it was. When the fear of infection is no longer a preoccupation, economic ekonomska nesigurnost kod svih, pa i u ženskom preduzetništvu. A kako insecurity will prevail in everyone, even in women's entrepreneurship. And opstaje žensko preduzetništvo u ovom pandemijskom vremenu, da li je i how women's entrepreneurship survives in this pandemic time, is the state kako država spremna da ih finansijski podrži, koliko im pomaže njihova ready to support it financially, how much their intuition and resourcefulness intuicija i snalažljivost, da li će neki slučaj biti inspiracija za snimanje helps them, would it be an inspiration for making films, or at least filmova, pa i dokumentaraca na temu npr. cirkularne ekonomije svojstvene documentaries on the topic of e.g. circular economies typical women, because ženama, jer je u pitanju briga o životnoj sredini... Preduzetnički, ekspertski, it deals with environment... Entrepreneurial, expert, journalistic, cinematic... novinarski, filmski... pogled na ovo, daće se iz različitih uglova, a panelisti views on the topic will be given from different angles, and the panelists su: dipl. ing. Nenad Novaković - direktor kuće za kontrolu i sertifikaciju are: civil engineer Nenad Novaković, director of control and certification u organskoj proizvodnji OCS, Sonja Vuković - Slap iz Osijeka, Hrvatska; company in organic production OCS; Sonja Vuković, organization Slap from dipl. ing. Ana Dolovac - PR proizvodnje kandiranog voća “Dolovac organic Osijek, Croatia; civil engineer Ana Dolovac, PR of candied fruit production i tradicija”, dipl. ekonomista Angelina Bertović - direktorka “Eco Fenix “Dolovac Organic and Tradition”; economist Angelina Bertović, director B Team” i Igor Toholj, reditelj i selektor dokumentarnog programa FEF of “Eco Fenix B Team”and Igor Toholj, director and programmer of EFF Palić Palić. Panel diskusiju organizuje Regionalni Arhus centar Otvorenog documentary program. The panel discussion is organized by the Regional univerziteta Subotica u saradnji sa Udruženjem TERRA’S, a uz podršku Aarhus Center of the Open University Subotica in cooperation with the Misije OEBS u Srbiji. TERRA’S Association, and with the support of the OEBS mission in Serbia.

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