… was a public presentation of 9 stories by different organisations, which are Dealing with the Past. It took place yesterday at Hotel Europe, the centre for the Industry part of the Sarajevo Film Festival. The manager of the project Masa Markovic formulates “that the purpose is evident in its name. We believe that an open and honest discussion about our painful recent past is a prerequisite if we want to resolve the problems stemming from the wars in the former Yugoslavia that continue to be a burden on us…”

It would be wrong to say that it was a pleasure to attend the 90 minutes presentation – one horror story after the other – to an audience of – among others – filmmakers, who might be interested in turning the stories into films.

These are stories with many layers, said the moderator, Croatian

filmmaker Robert Zuber, who stressed that the people up here at the panel have done the research, dear filmmakers…

Let me mention two of the stories presented by Milica Kostic from the regional Humanitarian Law Centre, which is situated in Belgrade. A long quote from the text in the catalogue:

The fall of the UN’s “safe haven” of Srebrenica into the hands of the Army of Republika Srpska (VRS) commenced with the entry into the town of soldiers from the 10th Sabotage Detachment of the VRS on 11 July, 1995. Over the followjing days, VRS soldiers systematically captured and executed Bosniak men and boys found in Srebrenica, including many who were hunted down while they tried to flee. By 16 July, more than 8,000 Bosniak men and boys were executed. Some men managed to escape and reached the border at the Drina River, hoping they would be allowed to cross into Serbia and find protection there. However, their attempt to cross the border was prevented by the border guards of the then Federal Republic of Yugoslavia, who returned them to the VRS to be executed. By 1 August 1, at least 30 Bosniak men had been captured by border guards and turned over to the VRS.

The remains of 15 of these deported men were found in mass graves in Srebrenica; nine others are still reported missing; only six managed to survive…

In an emotionally strong interview, that Milica Kostic showed a clip from, the son of one of the missing persons – at the time he was 11 years old – remembers when he was taken away from his father: Normally people say goodbye when they split…

There is a film to be done here as there is about the work that they do at the Humanitarian Law Centre. When in preparation meetings for the presentations, that I took part in, Robert Zuber suggested that a film could be made about the Centre thus getting into some of the cases that Kostic mentioned. For instance they have just filed a criminal complaint against Serbian former members of the State Security Service.

Other organisations present were Centre for Civic Education, that came up with an interesting story about the concentration camp Mamula on an island in Montenegro which is on the edge of being turned into a holiday resort. And the Helsinki Committee for Human Rights in Serbia with “Serbia and Kosovo: Intercultural Icebreakers”. And Medica Zenica with a story about Zehra, a survivor of war time rape. And Association for Social Research and Communications with a touching story about Edhem, who was killed but could have been part of an prisoner exchange. A quote from the catalogue:

On October 13, Radio of Bosnia and Herzegovina reported on a prisoner exchange, as part of which the prisoners of the Batković prison camp were to be released. At that moment, Senija was at work on her new job at Himzo Bajrić’s hair salon in Gračanica. She was shaving a customer when the radio reported that 180 men from Brčko had been exchanged and that only Edhem was not among them. A few tears rolled down her cheeks, but nobody at the salon realised what was happening. She did not tell anyone. She thought she might have misunderstood the reporter or that maybe the reporter was wrong. However, in a new report broadcast at 11am, the reporter repeated that Edhem had been killed…

Finally there were 3 projects presented by Balkan Investigative Reporting Network (BIRN) that last year presented a project that became “Restless Dreams” which was shown at this year’s festival.

www.sff.ba

One hour is too little time, Joshua Oppenheimer said to me, when we met to prepare the masterclass with him here in Sarajevo, where a tribute was given to him in connection with the festival’s Dealing With the Past theme and program, organised by Masa Markovic.

I was to be the moderator, the easiest job I have had for a long time, as Oppenheimer is such a brilliant speaker – and we got almost 2 hours for the class, that followed just after the screening of The Look of Silence, described as the companion piece to ”Act of Killing” that was shown the day before. How can a man, who has met his audience hundreds of times in the decade he has been making these Indonesian films, keep on being so committed and enthusiastic and respectful to his audience. Amazing!

He talked a lot about the gentle, sympathetic Adi (photo), the protagonist of The Look of Silence, the alter ego of Oppenheimer, and the way he was able to make the perpetrators talk about the killings they performed in 1965, including the one on Adi’s brother. The film is full of intimate, long silent scenes with the camera on the beautiful face of Adi, and for me – having seen the film several times – especially the scenes with Adi and his mother and father are emotionally so strong. The father who at the end does not know where he is without knowing that Adi is his son.

About lies, boasting, why Anwar suffers every night from what he has done – that he shows in ”Act of Killing” – and much much more from the intelligent Oppenheimer. Read all the words we have written on these two masterpieces here:

http://www.filmkommentaren.dk/blog/blogpost/2729/

www.sff.ba

There we are in the middle of the street that leads to cinemas and Festival Square in Sarajevo on a quiet sunday afternoon. A couple is waving at us from the pavement opposite us. We meet, it is dear friend Rada Sesic and her husband John. It’s my birthday, she says, we have to make a photo. John takes the picture, it is Rada in the middle, Ellen my wife to the left and me. Congratulations!

Rada Sesic is here, there and everywhere during the festival. She is running, together with Martichka Bozhilova the Rough Cut sessions at the Hotel Europe and she has selected the documentary competition films, where she makes introductions and Q&A sessions. Semper ardens!

www.sff.ba

Look at the photo from last night’s opening of the 23rd festival in Sarajevo. Surrounded by appartment buildings, a huge screen, a red carpet and how many spectators – thousands? – to watch Aki Kaurismäki’s ”On the Other Side of Hope”, the right choice for an opening film: It is an excellent piece of work by the Finnish auteur, it is about the most pressing issue in today’s Europe, how do we welcome refugees, who want to live in our countries – in a superb mix of humour and seriousness, and for someone like me from the North: this is also Finland as it used to be, flavoured by wonderful music performances. How lucky we northeners are to have original directors as Roy Andersson and Aki Kaurismäki. Enjoyed to be there with people smoking on our row, with a technical fault that gave a break, with a brilliant atmosphere. Open air screening. My wife and I were back at the hotel at midnight.

Before that – with good friend from Bolzano Georg Zeller and his girl friend Azra Frchko, raised in Sarajevo – we had meze at a restaurant facing the National Library, destroyed in 1992 and now restored to be the Town Hall of Sarajevo, a beauty, currently with an exhibition of paintings by local master Mersad Berber.

The bridge to the theme ”Dealing with the Past”, a focus of the festival.

www.sff.ba

Arrived in Sarajevo this afternoon surviving a pretty windy flight from Vienna – I’ll never get used to flight turbulence! And it feels provocative when several people around me has fallen asleep ignoring the most bumpy moments.

But wonderful to be in Sarajevo again invited by Masa Markovic, industry coordinator and responsible for the programme Dealing with the Past”, that includes a well deserved (and so obvious) Tribute to Joshua Oppenheimer, who has, if anyone, dealt with the past in his two films ”Act of Killing” and ”The Look of Silence”. Happy also to see that Danish Lars Feldballe-Petersen’s fine ”The Unforgiven” (photo) is included as is Bosnian ”Restless Dreams” by Muris Beglerovic. I will get back to the exciting initiative ”Dealing with the Past” later.

One who is also dealing with the past is Vanessa Redgrave, who was meant to come to Sarajevo – with me as the one asking some questions after her debut as a film director with ”Sea Sorrow” – but cancelled. I had seen her film or maybe it is better to say her visual statement on the situation for the refugees. She makes a personal journey back to her childhood during WW2, she interviews Lord Dubs, a brilliant man who came to England as a refugee with the Kindertransport and she and he make parallels to the refugee children of today, who come without parents to end up in the Calais ”jungle”, that Dubs and Redgrave have visited. She talks about the Human Rights Declaration that was presented by Elinor Roosevelt in 1948, about the Geneva Convention, about the declaration for rights of children. Redgrave is passionate, but not a filmmaker, and she also includes Shahespeare in her statement for humanity.

www.sff.ba

The annual international film festival of documentary, short, animated and experimental films “Message to Man”, which will be held from September 15 to 22, 2017 in St. Petersburg for the 27th time, has announced the competition programs.

We (Allan Berg and I) have seen five of the ten films in the full-length international competition. About “A Modern Man” wrote Allan (in Danish, here a clip, shortened, translated by me): Maybe she (Eva Mulvad, director) wants to build a new modern film style, where the characteristic is, that the film – freed from the literary progressive narration, and freed as well from the journalistic investigative drama – functions on old cinematographic conditions by putting scene by scene next to each other… Only Connect as said English director Lindsay Anderson

“Cameraperson”  by Kirsten Johnson is also competing, one of the

most acknowledged documentaries of the last year, no surprise it is here, happily surprised on the other side I am to see Georgian Mariam Chacia with her “Listen to the Silence” (Photo)  – after the screening in Leipzig I wrote: …an impressive work by the director and her producer Nik Voigt. It has a wonderful 9 year old boy as the main character. He is deaf, lives in a public school with other deaf kids, that is his world, and this is where his parents come to see him for a very short time before they want to go home again…

And ”Stranger in Paradise” is there, by Guido Hendrikx, got these words on this site: …A chamber play, original and intelligent, unfolds according to (that’s where the documentary part comes in) Dutch and European rules for getting an asylum…

And finally one I have seen but not written about, a graduation film from Zelig film school, by Cecilia Bozza Wolf, ”Vergot” , a strong family and identity drama with two brothers as leading characters.

More information about selected films in the competition categories, check

http://message2man.com/en/ 

One more good example from the wave of the new, well deserved, praised Georgian documentaries that offer an artistically formed interpretation of life and people in the country in the Caucacus. This time the location is Chiatura, a dying city that used to live from its mining industry. It is now falling apart, a future is difficult to see – and yet the population tries to find ways out of the misery.

A miner goes to perform in local amateur theatre, when he is not underground. A music teacher – apart from when he is teaching and performing local songs, and some he has composed himself – hammers to destroy abandoned buildings to set free metal that he can sell. Thirdly two young women run to stay fit.

These are the characters in a film that makes them represent the society falling apart. Their stories are intertwined and you follow

them into sequences: the miner in the theatre, the teacher at rehearsal lessons etc. But the ambition of the director goes beyond the character description, he wants to create an elegiac atmosphere in his narrative construction. He is in and out of buildings, he is up – many drone shots – and down on ground and underground. He plays with light and shade, he puts the characters (especially the miner) in positions, where we as viewers are invited to be with them, to interpret the sad life situation they and the city is in.

It feels too much sometimes, there is a bit of cinematic overkill and a pretty schematic montage, where you don’t really get close to the characters – expect for a longer sequence towards the end where the music teacher comes to what used to be ”Ministry of Communications”, where a party is being held, where the guests dance, where he, the music teacher sings ”I long for you, for you my magnolia”, and his own composition. And there he is afterwards, alone, eating the remains from the table. Here there is a sense of true presence contrary to scenes, which are too much ”did you get it viewer”, like the three miners underground toasting the greyness of the city and their life, and the scene at the end where you follow a man from behind his back walking to see the demolition of a concrete building.

The impressive film is in competition in Sarajevo this coming week.

Georgia, 104 mins.

http://www.sff.ba/ 

At the Krakow Film Festival I saw convincing clips from a film that I had heard about/seen pitched for a couple of years – and wrote this:

… If I was a festival programmer (and I am for Magnificent7 Belgrade and DocsBarcelona) I would keep an eye on…:  Elwira Niewiera and Piotr Rosolowski, who made ”Domino Effect”, are working on ”The Prince and The Dybbuk”, which is announced to be ready this September. It is a fascinating story about Michal Waszynski, ”the son of a poor Jewish blacksmith from Ukraine, died in Madrid as Prince MW, Hollywood producer and exiled Polish aristocrat. The producer Malgorzata Zacharko showed wonderful material, including an archive clip where the Prince is smoking a cigarette in his palazzo in Rome. He could have played in a Visconti film with that appearance…

It was taken for premiere at the Venice International Film Festival, in the VENICE CLASSICS – Documentary on Cinema competition section.

Kasia Wilk brought the good news on Polish Docs, link below. A small quote outlines the film: “The Prince and the Dybbuk” is a cinematic journey on the trail of Michał Waszyński, filmmaker and human chameleon, who in flight from the spirit of intolerance continually changed his identity, rejecting his Jewish origins and hiding homosexuality.

Photo: Waszynski with Sophia Loren.

http://polishdocs.pl/en/news/3628/the_prince_and_the_dybbuk_at_the_venice_international_film_festival