Here they are, all the winners from Makedox 2017, with the jury motivations:

Onion Award for the Best Film in the Main Program

Jury: Choosing from the highly competitive films with an exceptional authorial voice, the jury decided to give the award to the film “21 x New York” by Pjotr Stasik, considering its mastery to complement the cinematic and visually sophisticated expression with the layered fluency of the film’s subject and content. The film by Pjotr Stasik radiates with its emotional dimensions as much as with its intellectualism.

Young Onion Award for the Best Film by First or Second Time Director – Jury: “A passionate trip of visual beauty, filmmaking at its best. A multilayered story of Georgia seen through the eyes of youth, and the fine balance and collaboration of these three filmmakers. For its unconventional and surprising visual narration, we award the prize to “When the Earth Seems to be Light.“

For succeeding in ambitious storytelling on an essential 21st century subject, we need to highlight Guillermo Garcia Lopez’s beautiful essay film, “Delicate Balance“ with a special mention.

Onion Seed Award for the Best Student Film – Jury: “To do a

documentary is to explore. You can move through space, even through time. Where you go is up to you. The award goes to a film that said: Take my hand, I’ll take you to the hearts of two people who have been in love for 45 years. Don’t worry, it’s only 18 minutes away. The title is “Close Ties”.

Sliced Onion Award for the Best Short Film – Jury: “1st place: I am not from here – Because we unanimously found it the best.

Special mention: Cucli – For the visual narration.”

Moral Approach Award for the Best Moral Approach in the Film – Jury: “The members of the Moral Approach Award jury, Aneta Duchevska, Brina Vogelnik and Vito Flaker decided to give this award to the film Machines by Rahul Jain. The film provides a profound portrayal of the lives of millions of people who live and work in the dilapidated buildings of the textile industry in India. Through the intense and striking depiction of the workers, as well as of the proprietors and the entrepreneurs, the film raises a number of questions regarding the moral and ethics of labor.”

http://nov.makedox.mk/en/awards/

Last night the award ceremony of the MakeDox festival took place outdoor in the Kurshumli An, a unique place for a festival in Skopje in August – one of two open air screening venues. I will announce all the winners when the motivation texts from the juries are available but allow me to start with the Main Program where we jurors – Anton Calleja, Vladimir Blazhevski and I – decided to give the Onion Award to Polish Piotr Stasik for his ”21 x New York”.

Here is a quote from the review I wrote long time ago about the film on this site:

What is it that makes Stasik’s film so attractive… Everything actually. It is a musical composition with a superb score, with use of music of very different nature, with a sound design that includes all that comes from the subway trains with an editing and a rythm, that is carried by the director’s fascination and ability to bring the film to a level of reflection on human existence…

Stasik was in Skopje and took part in the workshop on ”visual narration” – the photo with him and me and filmmaker and translator for Stasik Katarzyna Gondek is taken at the venue, the National Gallery. We are waiting for the light to be turned off so the clips to be shown could be more visible.

http://nov.makedox.mk/en/festival-2017/

Go home Alexandra, she kept on saying, the dog-lover from Karelia in Finland, producer Kristina Pervilä. We were on our way back from a restaurant half an hour from Skopje. Good food, amazing location at a lake, and good company, a tour of adventure organised by the Makedox festival couple Petra Seliskar and Brand Ferro.

Going to a festival means that you meet old friends and get new friends. For me a pleasure to see Pervilä again after many years, remembering years of teaching at Ex Oriente seminar, where we were having drinks at the teachers appartment at the Czech film school FAMU with a view to the bridge and the castle, where Vaclav Havel resided.

And Roberto Blatt who has been to this festival several times. Last

time I saw him – years back – was in Buenos Aires, where the man, who lives in Madrid and in Montevideo Uruguay, was in a panel for pitching at the time, where he was working for Multicanal in Spain. Blatt is now retired, writes books but when a panelist he was always great to have because of his clever and encouraging comments to filmmakers. And of course it is wonderful to meet a man, who is interested in and knows about football… in Buenos Aires we watched Atletico Madrid, his team, against Barcelona, my team, together with Jordi Ambros from TV3 Catalunya. Blatt was not happy with the result.

As he was not happy with the development of television at the Under the Fig Tree Talk yesterday at the festival. This daily event starts at 6 and goes on until around 7.30, where the call for prayer from the mosques makes a fine and natural end of the session. How to get to the audience was one of the themes, what about all these pitching sessions, are they good, is there money around, are there too many of them, how to build networks… etc.etc. Pervilä and I could talk about the privileged situation in our Northern part of Europe, with well functioning public support of documentaries, Ilona Bicevska from Latvia advocated for the (upcoming, the 21st edition!) Baltic Sea Forum, and I dared to say that one of the reasons for the success of Georgian documentaries right now is that the filmmakers have travelled, made contacts, raised a bit of money here and there, won awards. Made themselves visible. Georgian documentaries are in focus at the festival (as it will be at DOKLeipzig this year) with 7 films, including ”City of the Sun” by Rati Oneli, who won in Sarajevo a while ago, ”When the Earth Seems to be Light” by Salome Machaidze, Tamuna Karumidze, David Meskhi, the beautiful ”Listen to the Silence” by Mariam Chacia. They are building a documentary culture in Georgia that also is strong right now in fiction – There is a festival, CinéDoc-Tbilisi run by Ileana Stanculescu and Artchil Khetagouri, and there are Sakdoc filmmakers who have for years arranged courses for pitch and projects development Anna Dziapshipa and Salomé Jashi.

Jashi was here at the festival, showed her ”The Dazzling Light of Sunset”, and was one of the four filmmakers, who took part in the  sessions of the workshop called ”Visual Narration”, where she talked about her camerawork and showed clips. For those of you who have seen the film: we talked about the beginning of the film, the only camera movement in the film, a unique emotional start of the brilliant film. Audrius Stonys was there to talk about the camerawork done by Audrius Kezemys in the mountains of Kazahkstan for ”Woman and the Glacier” as was Piotr Stasik with his amazing ”21 x New York” 100% filmed by himself and Miroslav Janek with ”Normal Autistic Film”. The veteran who has been to film school but stressed that he has been at ”The School of Life”. Oh, you see that in his films. We showed clips from his masterpieces ”Unseen” and ”Cha-Ci-Pe”, both of them dealing with kids.

People come, people leave at this – as with other festivals. I have just had a nice morning coffee with Kristina Pervilä and Selin Murat, Turkish/Canadian producer and programmer for the RIDM festival in Montréal. The two of them are in the Young Onion jury for newcomers/talents together with Talal Derki, the Syrian documentarian who made ”Return to Homs”. He should have been here but could not get a travel insurance… I know which film they will award, but I will not tell you before tomorrow!

Go home Alexandra… Kristina Pervilä did not give up. It was obvious that the dog, who had been with us during the dinner, wanted to come with us. Of course not possible but she led us to the car and ran ahead. We saw her looking at us from the side, when we passed in Brand Ferro’s big car. Emotional moment in real life, as we have seen so many of at this unique festival in Skopje, Macedonia.

Photo from the opening film of the festival, title ”Avec l’Amour” which is made by Ilija Cvetkovski, a very sweet film and a precise description of the feeling you sense that the organisers want to communicate to us visitors.

I have been here in Skopje for three days and the festival is exactly like I expected it to be. High quality selection, totally relaxed atmosphere, outdoor screenings at Kurshumli An in the old city, a workshop with the title ”visual narration” and the legendary talks under the fig tree. Tonight we are going to announce the jury decisions, including the one where I was a juror together with Anton Calleja from Eurimages and Vladimir Blazhevski, filmmaker and teacher from here and there – Macedonia and Serbia. I will tell you about the winners tomorrow, but here you have the titles of the 8 films in the main competition, we were watching – with links to the reviews, which have previously been brought on this site:

21 x New York by Piotr Stasik

http://www.filmkommentaren.dk/blog/blogpost/3578/

The Girl Down Loch Änzi by Alice Schmid

Dixieland by Roman Bondarchuk and Darya Averchenko

http://www.filmkommentaren.dk/blog/blogpost/3877/

Woman and the Glacier by Audrius Stonys

http://www.filmkommentaren.dk/blog/blogpost/3818/

Machines by Rahul Jain

http://www.filmkommentaren.dk/blog/blogpost/3772/

Normal Autistic Film by Miroslav Janek

http://www.filmkommentaren.dk/blog/blogpost/3816/

Chavela by Catherine Gund and Daresha Kyi

Untitled by Michael Glawogger and Monika Willi

http://www.filmkommentaren.dk/blog/blogpost/3788/

http://nov.makedox.mk/en/main-program-2017/

This review is written by Mina Stanikic, young Serbian film critic, who took part at 23rd SFF as part of Talent Press.

After having his debut PARALYSES screened at the majority of regional festivals, up-and-coming Serbian director Dušan Zorić hits the international scene with his second short LOVE. This new production moves Zorić to the next level, as the film premiered at Visions du Réel in Nyon early on this year. At just finished 23^rd Sarajevo Film Festival, LOVE was competing for the Heart of Sarajevo in the official student selection. Unfortunately, LOVE did not grab the Heart of Sarajevo, but it surely grabbed and gripped hearts of many in the audience.

Zorić used the trick we have already seen in Gaspar Noe’s latest film: naming it LOVE, but dealing with what, at first, rather seems to be sex.

Zorić, however, does not show endless soft porn scenes, but moves straight to the point, which turns out to be porn itself. LOVE is a documentary on porn industry in the Serbian capital, for whose questionable existence Zorić had interest, saying “I wanted to see if porn is still being made in Belgrade”. As it comes to light, porn is indeed still shot in Belgrade, which gave Zorić the chance to meet young porn actor Stefan, the protagonist of the film, whose example he uses to depict Serbian porn industry.

I will be free to divide the film’s narrative into three chapters. In the first one the director focuses on Stefan’s character and personality in a very subtle, yet efficient way, by asking questions such as “Who is your favourite Harry Potter character?”. This simple question frames Stefan in the “Harry Potter generation”, immediately making him a part of a community seen as harmless and even desirable, making a juxtaposition to his porn actor label. There are numerous similar examples, making film’s content relatable for the audience, who, as assumed, has little knowledge on personal lives of porn actors.

As the narrative unfolds, the film moves on to the porn film set, where Stefan is accompanied by a porn director and two actresses. The aesthetics of this, second, part of the film is striking – porn is being shot in a ruined house exterior on an improvised bed. Even though Zorić’s focus is still on Stefan and his relations to the rest of the porn film crew, the DOP Milan Petković manages to capture this unique surrounding that even feels somewhat indie, and attributes to the overwhelming impression of this almost absurd scene. Speaking of camerawork, it is hard not to notice the appearance of the fingers and microphone in the mise-en-scéne, but it fits in the friendly atmosphere and character’s casual behaviour in front of the camera, adding to the afterimage of the LOVE crew being fully accepted by the porn actors and vice versa. 

LOVE presents a story that develops in a logical continuum: in the last chapter Zorić moves his characters out of the natural habitat of a porn industry professional, into the crowded public spaces. Nevertheless, this does not happen without a tiny sparkle in the second part hinting where the film is heading – towards love. However, it never becomes clear what drives Stefan or his co-workers, what their motives for getting involved in the porn industry are. Further on, it seems that LOVE could easily be transformed into a feature-length film, as the viewer is left with a significant number of unanswered questions that tickle curiosity, causing the “I want more” effect. The film’s end opened to the viewer’s imagination only adds up to this effect, but also creates the possibility for the sequel, that I would be hoping for.

With this being Zorić’s first documentary, brave and interest-catching as it is, I suggest we should keep a close eye on his future projects.

Serbia, 2017, 16 mins.

www.sff.ba

I had come to Sarajevo with the idea to discover this city apart from memories of war and violence in order to honour the city’s life and present instead of concentrating on its  grim past. I soon discovered this idea to be very naive. In a place where parks are cemeteries and schools bear plates with the names of their dead pupils on the still granade-sprinkled walls, how could one deal with the past by just forgetting it?

The wonderful Sarajevo Film Festival, an important referring point for the Balkan region and beyond, seems to point at the elaboration of this dark heritage in its entire selection of films. „Dealing with the past“ is thus the perfectly fitting title not only for a section within the festival of already existing documentaries as well as projects still to be done.

It even fits with the red-carpet screenings I have been able to watch during the week, where the question whether it is possible to forgive and how, is a sort of red thread. With Aki Kaurismäki’s  „The other side of hope“ as festival opener, signs were given that

the hope lies in the change of ourselves dusty habits towards a new humanity, which may improve not only the lives of those arriving in search for a future, but also our owns.

Fatih Akin’s “In the fade“ instead, proposes a grim solution for his protagonist, who doesn’t succeed to achieve state punishment for the neo-nazi couple who has murdered her husband and son. „If my husband was at my place, he would have smashed their heads“ is the sense of the leading idea of a film which doesn’t reach the deepness of Akin’s earlier works, a pity as it is based on real facts of contemporary Germany.

The Bosnian-Croatian-Slovenian-German co-production „Men don’t cry“ (Photo) is a very courageous attempt to put the post-war situation in the Balkans into a well-written screenplay: a group of men from the former enemy states Serbia, Bosnia and Croatia has accepted the paid-for invitation to a sort of psychological reconciliation meeting held by a Slovenian NGO. Obviously there are strong words, a lot of alcohol and violence and even burning cars and bloody fights before some little sign of mutual confidence shows up, when the apparently strongest and most exasperate men in the group leave some of their protective shields behind. It is not easy to imagine a similar situation in the real world, but still it recounts a parable of what may be the way to make people with deep inner wounds live again close to each other.

Special guest Joshua Oppenheimer offers a similar vision during his exhaustive masterclass on „The Act of Killing“ and „The Look of Silence“, when a woman in the audience tells about the supposed existance of a „gene of evil“. Oppenheimer replies that he discovered during the shooting of his two films, that violence may start from small violent acts, which then request a following bigger act in order to justify the former one within the violent person’s inner psychology. According to him the „trick“ to overcome their boasting and the genocide offender’s lies to themselves, was to remind them they were humans by sending the protagonist Adi (the brother of one of their many victims in „The Look of silence“) as an optometrist curing their eyesight.

A different approach to a similar issue is Danish Lars Feldballe-Petersen’s „The Unforgiven“ within the same festival section „Dealing with the past“. It obviously cannot reach Oppenheimer’s multi-faceted and deep-layered masterpieces,  but nevertheless is very worth watching. Bosnian muslim soldier Esad has committed multiple war crimes during his two months of serving as a guard in a prison for Serbian war prisoners. After his own arrest and ten years of prison, Esad is not able to find a way back into life and feels the need to apologize and ask forgivness to who has been between his victims. The scenes of the actual encounters with the few victims who accept to meet their perpetrator, unfortunately have a very staged look and atmosphere, and someone in the audience says he doesn’t believe Esad’s will to truely apologize. On the other hand, it is rare to hear a war criminal saying that there is no kind of excuse to what he did and that no one had forced him to do so. 

I found it particularly interesting to observe my own prejudices and inner cries for help, when during the screening I tried to put in order my own vision of good and evil, of victims and perpetrators.

The Sarajevo Film Festival and the invited filmmakers show us some impressive idea of how to deal with the past and how to approach the future of this region, and, by the way, it may be good ideas for other regions of the world, too.

Georg Zeller is a filmmaker based in Bolzano/Italy.

www.sff.ba

Tuesday night back to the region. After Sarajevo comes Skopje in Macedonia. I will be in the jury, 8 films to watch, creative documentaries – indeed they are. More about them later. But here are copy-pastes of two lyrical texts from the organisers with filmmaker Petra Seliskar leading MakeDox that is much more than a festival:

“On 19th August, when the storks are taking off, we are opening the eighth edition of MakeDox, honoring Louis Daguerre, the Sputnik, Belka and Strelka. The savoring of grapes has already begun, so let’s enjoy its descents as a toast to Dionisys.”

“Doc Talks under the Fig Tree… Someday, hundreds of years from now, who knows if people would believe that every summer, countless storytellers would gather under the old magnificent fig tree in the backyard of the unique Kurshumli An in Skopje just to talk until nightfall. Just to give words to the images in their heads, words that created unbelievable images in front of the listener’s eyes… every summer, for years. Join us in the shade of the fig tree, lets’s enjoy while we still can.”

http://nov.makedox.mk/en/home/makedoxfestival/

Whenever my wife and I need a break (she from Netflix series, me from documentaries), we watch the Fawlty Towers series with John Cleese. His wife Sybil does what she can to make the hotel owner Basil (Cleese) behave but he can not resist to humiliate German guests – ”don’t mention the war”, she says, but he does – and the French get their treatment as well, when one of them complain about the wine. Hilarious. Still wonderful even if 40 years old.

John Cleese (photo), master of silly walking, got the Honorary Heart of Sarajevo Film Festival the other day. So well deserved for his long contribution to film and television.

But many others got awards as well – I focus on documentaries and documentarians:

The Bulgarian cat activists (see post above) Mina Mileva and Vezela Kazakova got €6000, the Arte International Relations Cinelink Award for their project ”Cat in the Wall”, Macedonian producer Atanas Georgiev and his directors Ljubo Stefanov and Tamara Kotevska got €30.000 from TRT (Turkish Radio and Television) for their ”Honeyland” which is in post-production. I saw material from the film at the RoughCut Boutique, looked good, very promising. As is another one presented at the Boutique event, ”What Comes Around” by Reem Saleh, a close-up of a poor family in a poor district of Cairo. It got the Restart Award, €20.000 in kind support.

My friends in the documentary jury Gitte Hansen (First Hand Films) and Claas Danielsen (CEO of MDM in Leipzig) chose together with renowned Serbian director Zelimir Zilnik to play safe and go for both aesthetics and content with ”City of the Sun” by Rati Oneli from Georgia and ”Kinders” by Brothers Riahi from Austria/Iran. You can read about all the awards on link below.

http://www.sff.ba/en/news/10756/23rd-sarajevo-film-festival-awards