Category: Bosnia

CURE – ŽIVOT DRUGE / THE LIFE OF ANOTHER am Mi., 12.12.2018, 19:30h im Kaffee Stark

Im kalten Dezember machen wir uns auf den Weg ins sommerliche Dubrovnik, zurück in die 90er: Teenager Linda hat ihre Jugend in der Schweiz verbracht und kehrt nun, kurz nach der Belagerung, mit ihrem Vater nach Dubrovnik zurück. Sie freundet sich mit Eta an und bald schon verschwimmen die Grenzen. Nach einem folgenschweren Unfall stellt sich die Frage, wer ist wer und wer gehört wo hin?

CURE – ŽIVOT DRUGE / CURE – THE LIFE OF ANOTHER – Schweiz, Kroatien, Bosnien-Herzegovina, 2014 – Andrea Štaka – 83min – OmENGUT

Mi, 12.12.2018, 19:30h, Hinterzimmer Kaffee Stark (Wohlwillstr. 18, St. Pauli)

Mit: Leon Lučev, Mirjana Karanovič, Maria Škarišić et. al.

for further reading (Variety Review):

Film Review: ‘Cure — The Life of Another’

 

Der nächste Filmclub findet statt am 09.01.2019!

NO MAN’S LAND am 13.04.2016, 19.30h, (p)ostkartell Büro, Kulturetage Altona

NIČIJA ZEMLJA // NO MAN’S LAND, Bosnien Hercegovina, 2001 – Danis Tanović – 98min – OmENGLU

Mittwoch, 13. April 2016 //  19.30h // Ort: (p)ostkartell Büro – Kulturetage Altona, Große Bergstr. 160, 22767 Hamburg

Bitte bei Kulturetage klingeln.

Mit Einführung und Diskussion

nomansland

Danis Tanović’s NIČIJA ZEMLJA // NO MAN’S LAND erschien 2001 und gewann im Rennen um den Oscar für besten fremdsprachigen Film sogar gegen den Publikumsliebling AMELIE aus Frankreich. Tanović schrieb nicht nur das Buch und führte Regie, sondern komponierte auch die Musik zum Film. Darüber hinaus schaffte er es, Produzenten aus Bosnien, Frankreich, Italien, Belgien, Slowenien und Euroimages Förderung an Land zu ziehen – eine beachtliche Leistung für einen Debut-Spielfilm. Zugute kamen ihm hier die Erfahrungen als Verantwortlicher des Film-Archivs der Bosnischen Armee.

Worum geht`s?

In einem Schützengraben zwischen den Fronten des Bosnienkriegs irgendwann in den 1990ern treffen sich Čiki und Nino, jeweils Kämpfer der anderen Seite. Während sie versuchen, ihren lokalen Konflikt unter einander auszuhandeln und sogar Gemeinsamkeiten entdecken, bekommen die UN und die internationalen Medien Wind von der Situation. Ihr Versuch zu intervenieren lässt die ohnehin absurde Situation nur weiter eskalieren.

Tanović zeigt gekonnt die Absurdität und die schmerzhafte Ausweglosigkeit des Konflikts, und auch der trockene Humor bietet keine komische Auflösung sondern die alles unterliegende Ironie ist der verzweifelte Versuch, mit einer unerträglichen Situation umzugehen.

 

Quellen / further reading

Daniel J. Goulding: „Liberated Cinema: The Yugoslav Experience, 1945-2001“

Amy Corbin: „No Man’s Land“, Film Quarterly Autumn 2006

“WUNDBRAND – SARAJEVO, 17 DAYS IN AUGUST” plays Wednesday, February 2nd at Metropolis Kino, Hamburg

Metropolis Kino, one of the best art house cinemas in Hamburg, shows the 1994 documentary about the besieged city this Wednesday, February 2nd with the film maker in attendance!

about the film:

“This German documentary examines life in besieged Sarajevo. Included are interviews with young soldiers who share their feelings about killing, and being killed. One tells of his feelings regarding his accidental shooting of an old woman. Another tells of his life as an aspiring comedian before the conflict. The film might have been more detailed had not the risk in filming it been so great. The filmmakers felt lucky to escape the area with their lives. ~ Sandra Brennan, Rovi” (source)

didi_danquart_2

Oscar entries from SEE

The Academy Awards are around the corner, a  good reason to have a look at the entries from South East Europe!

Bosnia Herzegovina: Sa Mamom /  With Mom, Faruk Loncarevic
The Hollywood Reporter writes: “An emotionally charged portrait of family power struggles, budding sexuality and terminal illness set in contemporary Sarajevo, With Mom is a classy second feature from the young Bosnian writer-director Faruk Loncarevic. ”

Bulgaria: Bulgarian Rhapsody, Ivan Nitchev
Again, the Hollywood Reporter: “Rival filmmakers protested that 74-year-old director Ivan Nitchev is a member of the official body that selected his movie, though he reportedly played no part in the secret ballot process. A solidly middlebrow period piece with an old-fashioned moral message, Bulgarian Rhapsody is perfectly adequate Academy Awards material.” full Article here.

Croatia: Kauboji / Cowboys, Tomislav Mrsic
“it’s a pleasant tale on its own modest terms, one with more laughs than it requires and a refreshing unwillingness to oversentimentalize its de rigueur last-act melodrama. When you have faux-cowpoke Croatians doing a tap dance in formation, who wants tears and a string section?” says the Hollywood Reporter (here). Kauboji / Cowboys screened as part of the Meditereanean Film Festival in Houston last year.

Hungary: Feher isten / White God, KornÈl Mundruczo
Won the “un certain regard” prize in Cannes, “the film follows the mixed-breed dog Hagen who moves, along with his guardian Lili, in with Lili’s father. Unwilling to pay a harsh “mongrel” fine imposed by the government, Lili’s father abandons him. Determined to find Lili again, Hagan soon attracts a large pack of half-breed followers who start a seemingly organised uprising against their human oppressors.”

Kosovo: Tri Dritare dhe një Varje / Three windows and a hanging, Isa Qosja
Kosovo’s first entry to the Oscars, “set in a traditional Kosovar village in 2000, a year after the war with Serbia, Isa Qosja’s “Three Windows and a Hanging” is a critical look at a patriarchal culture threatened by the knowledge that the enemy violated their women. When a local femme anonymously reveals to an international journalist that she and others were raped, the fallout from this once-repressed secret threatens to tear apart the fabric of village life in this finely written and directed drama”, says Variety here.

Macedonia: Do balcak / To the Hilt, Stole Popov
Action adventure Western set in Ottoman rules Macedonia.

Moldova:  La limita de jos a cerului / The Unsaved, Igor Cobileanski
“A shiftless Moldovan teen slowly tries to climb out of the gutter in The Unsaved, the bleak but effective feature debut of Moldova-born director Igor Cobileanski. Written by renowned Romanian New Wave helmer Corneliu Porumboiu (Cannes Camera d’Or winner 12:08 East of Bucharest) and the director, this is a quiet and slow-footed character study punctuated by blackly comic moments in which, in typical New Wave fashion, the characters’ bad behavior and good intentions slowly turn into a noose around the protagonist’s neck.” writes the Hollywood Reporter here.

Montenegro: Dječaci iz Ulice Marksa i Engelsa / The Boys from Marx and Engels Street, Nikola Vukcevic
“A highly uneven revenge thriller drenched in the heady perfume of hot-blooded Balkan melodrama”, writes the Hollywood Reporter (here).

Romania: Câinele japonez / The Japanese Dog, Tudor Cristian Jurgiu
Hollywood Reporter calls the film a “a leisurely, lyric and clear-eyed study of the changes in the life of an elderly man following the 2010 floods that devastated the northeast of the country. Viewers anticipating the bleakness and grim humor that characterizes much of the Romanian New Wave will instead find here a gentle film which, while entirely unsentimental, is gently upbeat, and while slow-moving, carefully avoids indulgence” (full review here).

Serbia: Montevideo, vidimo se! / See You in Montevideo, Dragan Bjelogrlic
Variety remarks “The film follows the fortunes of the Yugoslav soccer team at the World Cup in 1930 in Uruguay.” (here).

Slovenia:  Zapelji me / Seduce me, Marko Santic
“A pair of emotionally scarred 19-year-olds seek refuge from a harsh adult world in each other’s arms (..) the Hollywood Reporter writes, but ” feels like a low-voltage festival movie, as earnest and self-absorbed as its adolescent protagonists” here.

LGBT films from SEE

(photo source: Balkanist Magazine)

The other day at a filmmakers gathering I had the pleasure to chat with Kristian Salinas, the artistic director of Houston’s Q-Fest, a queer and LGBT film festival. I mentioned the topic of the Sworn Virgins to him and what a coincidence that an Italian-Albanian co-production shown on this year’s Berlinale picked it up (see my post here).
Three years ago, the gay pride parade in the city of Split, Croatia, was cancelled due to protests and threats from religious and nationalistic groups of society.
I vividly remember the support march some friends organised in Rijeka, where I was living at the moment. We met on a square above the city centre on one of these cool spring days, when the weather cannot decide on rain or shine. Maybe 70 people had gathered, but there was no glitter nor revealing costumes, as you see in abundance on the big Christopher Street Day parades elsewhere. After a short speech, the crowd descended on the city’s main pedestrian precinct. A little down the hill, there was riot police to protect the demonstrators. Continue reading