Slovenski filmi 2005 −2006 Slovenian films 2005 −2006 0 zgod Ko se priægejo luËi Intro letu 100 letnice slovenskega filma, pravkar minulem letu zgodbi vojakov v Karavli, je zgodba o eksistenËni in socialni 2005, je bilo izbranih 10 najboljπih slovenskih filmov po stiski v Delu osvobaja, je zgodba o ekstravaganci socialnega roba izboru slovenskih filmskih kritikov. Med njimiSplav med- v filmu Norega se metek ogne… Uvodnik V uze, film Karpa Godine iz zaËetka osemdesetih let, s PrepriËani smo, da se bo uspeπna pot slovenskega filma nada- filmskimi podobami in idejami o Ëasu zgodovinskih avantgard, ljevala, z novimi avtorji, ki πele prihajajo in bodo zagledali svoj Ëasu, ki mu v nadaljevanju zgodovine morda ni bilo enakega, film na velikem platnu πele Ëez leto ali dve, in z æe uveljavljeni- Ëasu, ko je umetnost æivela z iluzijo, da je enakovredna politiËni mi avtorji, ki so æe dokazali ne le svoj avtorski kredo, temveË realnosti, da so umetniπki konstrukti enako kot politiËni tudi obËutljivost za sodobne, aktualne ali nove teme. Pa ne le z konstrukti moËi. Prav iz tega filma pa je tudi pomenljiva in avtorji - za temi stojijo πtevilni slovenski filmski profesionalci, simboliËna filmska scena, ki najbolje pojasnjuje to velikokrat ki ustvarjajo slovenski film na ravni velikega in zahtevnega ev- protislovno moË filma: gre za podobo starke, ki se ob bliænjem ropskega filma in jih ne vidimo v medijskih podobah sodobne sreËanju z umetniki in fotografskim aparatom, objektivom, slave; so tako kot starka in raje stojijo za kamero, ker vedo, tako ustraπi te naprave, da ji ta, kot pravijo ljudske vraæe o zrcalu, ne kot ona v filmu Splav meduze, kakπna je njena prava moË. bi ukradel duπe. Film krade in reπuje, duπe, æivljenja, upanje, Prihajajo filmi o ljubezni, o vseh njenih obrazih, o ljubezni do ponos, poniænost, ambicije… Zato ne gre verjeti filmarju, ki mu filma, o ljubezni do æivljenja, prihajajo filmi po uspeπnih to simboliËno oko kamere vsaj enkrat v æivljenju ni ukradlo duπe literarnih predlogah, tudi komedije, mladinski filmi. Vse veË in ki ne bi zmogel toliko poguma in potrebe, da se k njej ne bi projektov pridobiva mednarodne razseænosti, tudi kot odgovor vsaj πe kdaj vrnil, pa Ëeprav po dolgih letih molka. vËasih neproduktivnim debatam, kako in komu razdeljevati Najboljπe zgodbe nastanejo iz nuje, iz najbolj bistvene potrebe denar, debatam, ki pogovor o filmu oddaljuje od njegovega Ëloveka, da pove svojo zgodbo, s svojimi oËmi, s svojo domiπlji- bistva: kaj povedati, kako, komu in zakaj. jo in spretnostjo, da vanjo prepriËa druge, na koncu gledalca. V tem letu so to zgodbe skupine plesalcev, ki v realnosti zapuπË- Navsezadnje pa, slovenski film je ena sama ljubezen. In kot pra- enega rudnika ustvarjajo prostor neskonËne svobode v filmuKaj vijo, v vojni in ljubezni je vse dovoljeno... boπ poËel, ko prideπ ven od tu?. So raztrgane sanje minulega Ëasa ve- likega slovenskega cineasta Matjaæa KlopËiËa o Ljubljani svoje Irena Ostrouπka mladosti, o ljubezni, o vojni, o æenskah, kakrπnih slovenski film direktorica Filmskega sklada æe dolgo ni videl. So zgodbe o razpetosti med temo in svetlobo Republike Slovenije-javnega sklada velikega slovenskega nagrajenca Jana CvitkoviËa in njegovega drugega celoveËernega filmaOdgrobadogroba . So tankoËutno tka- ne zgodbe o ljubeznih, ki uhajajo vsem loËnicam in robovom, kakrπne zna ustvariti Igor ©terk. So zgodbe naπih meja, geograf- skih in zgodovinskih, tistih zaradi katerih Slovenija je to, kar je, na meji, na prepihu, malce zazrta vase, pa z neskonËno mo- Ëjo sanj v sivini vsakdanjosti. Ko prebijejo vsi ti filmi, in naπteli smo jih le nekaj, magiËno mejo, ki loËuje svetlobo platna od teme dvorane, potem zgodba ni veË zgodba ustvarjalca ali bolje ni veË samo njegova, je moja, tvoja, naπa, vaπa, njihova zgodba, je spretno vodena sestavljanka, potem prosta igra asociacij, skrivnosti, Ëistega uæitka nad uroËeno filmsko podobo. Postane zgodba o nekem Ëasu, ki se ga πe spominjamo s tesnobo, v 0 When The Lights Come On n 2005, the year of the 100th Anniversary of Slovenian Film, Slovenian We are convinced that the successful quest of the Slovenian film is going to film critics selected ten best Slovenian films. Among them The Raft of continue with both the new upcoming authors, who will see their films on Medusa, a film by Karpo Godina from the beginning of the 1980s, with the big screen in a year or two, as well as the already recognised authors, I its images and ideas about the avant-garde period, which perhaps has who have not only proved their principles as authors, but also their sensi- no comparison in later years, and about the times when art lived in illu- tivity for modern, contemporary or new topics. And not only with the au- sion that it is equal to political reality, that art constructs are equivalent to thors - the authors are backed by numerous Slovenian film professionals, the political constructs of power. And this very film contains a thoroughly shaping the Slovenian film at the level of the great and demanding Euro- meaningful and symbolic scene, which best explains this often contradic- pean film, professionals whom we do not see in the media images of con- tory power of films: an image of an old woman, frightened by the close en- temporary fame; they are similar to that old woman and they prefer to counter with artists, a camera and its lenses, because it might steal her soul, stand behind the camera, because they know - like this old woman in The like folk tales say about mirrors. Films steal and redeem; souls, lives, hope, Raft of Medusa - its real power. pride, humility, ambition... Thus I would not believe any filmmakers who We will see films about love and all its aspects, love of films, love of life; did not have their soul stolen by this symbolic eye of the camera at least films after successful literary works, and also comedies and youth films. An once in their life, and who did not have the courage and the need to return increasing number of films acquire international dimensions, sometimes to the camera sometime, even after long years of silence. also as an answer to unproductive debates about how and who to give the The best stories stem from necessity, from the most basic human need to tell money to, debates that alienate the film from its essence: what to tell, to our own story, with our own eyes, our own imagination and the skill need- whom and why. ed to convince others, including, ultimately, the viewer. This year these are the stories of a group of dancers, who in the reality of an abandoned mine And, after all, Slovenian film is all about love. create the space of endless freedom in the film What Are You Going To And, as they say, all is fair in love and war... Do When You Get Out Of Here? And the broken dreams of the past by the great Slovenian filmmaker Matjaæ KlopËiË about Ljubljana of his Irena Ostrouπka youth, about love, war, women, the likes of which we have not seen in any Managing director of Slovenian Film Fund-public fund Slovenian films for a long time. These are the stories about the conflict be- uvodnik | editorial tween darkness and light by the great Slovenian award winner Jan Cvitk- oviË and his second feature filmGravehopping . Delicate stories about love brimming over the edges and crossing the lines, which Igor ©terk is able to create. And the stories of our borders, geographic as well as historical, which make Slovenia what it is, on the frontier, exposed, a bit introspective, but with an endless power of dreaming in the dreary everyday life. When all these films (and we have pointed out but a few of them) break through this magic barrier which divides the light of the screen from the darkness of the cinema, then the stories no longer belong to the filmmakers; or, in other words, they are no longer their, my, your, our stories; they become skilfully designed puzzles, free games of associations, mysteries and pure admiration of the magical film image. They become a story of times we still remember with anxiety in Border Post; a story of existential and social anguish in Labour Equals Freedom; a story about the extravagance of the social edge in the filmBullets Miss the Fool, etc. 0 07 CeloveËerni filmi Full-length Films 1 Srednjemetraæni in kratki film Medium- and Short-length Films 9 Filmi v postprodukciji Films in Postproduction Filmi v produkciji Films in Production 9 Festival slovenskega filma priporoËa Festival of Slovenian Film Recommends 5 Distribucija v Sloveniji 2005 Distribution in Slovenia 2005 55 Predstavitev slovenskih filmskih institucij in festivalov VsebinaContents Presentation of Slovene film institutions and festivals: 56 Filmski sklad Republike Slovenije-javni sklad Slovenian Film Fund-public fund 57 Slovenska kinoteka The Slovenian Cinematheque 58 Kinodvor Kinodvor 59 Slovenski filmski arhiv Slovenian Film Archive 60 Filmski studio Viba film Ljubljana Film studio Viba Film Ljubljana 61 Akademija za gledaliπËe, radio, film in televizijo The Academy Of Theatre, Radio, Film and Televison 6 Druπtvo slovenskih filmskih ustvarjalcev The Association Of Slovenian Filmmakers 6 Gospodarsko interesno zdruæenje slovenskih filmskih producentov The Association Of Slovenian Film Producers 6 Festival slovenskega filma Festival of Slovenian Film 65 Ljubljanski mednarodni filmski festival Ljubljana International Film Festival 66 Kino Otok Isola Cinema 67 Stiki Contacts 00 Institucije Institutions 00 Producenti Production Companies 00 Distributerji Distribution Companies 00 Filmski studiji Film Studios 00 Profesionalna zdruæenja Professional