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PRAVO
LJUDSKI
HUMAN RIGHTS FILM FESTIVAL SARAJEVO
Sadržaj
Table of contents
PRAVA ARTikulacija!
REAL ARTiculation!
Nastojimo da ostanemo PRAVI i LJUDSKI
We are working hard to remain true and human: PRAVO LJUDSKI
Recenzije PRAVO LJUDSKI filmova
PRAVO LJUDSKI Films Synopses
Gdje počinju ljudska prava?
Where Human Rights begin?
Kratki prikazi ZUMIRAJ PRAVA filmova
ZOOM RIGHTS Films Short Synopses
Sponzori i partneri
Sponsors and Partners
Impresum
Program PRAVO LJUDSKI 2009
Program ZUMIRAJ PRAVA
ZOOM RIGHTS 2009
4. FILMSKI FESTIVAL O LJUDSKIM PRAVIMA - PRAVO LJUDSKI 2009.
PRAVA ARTikulacija!
Četvrti festival o ljudskim pravima PRAVO LJUDSKI funkcioniše na principima
sasvim čudnim, stranim, možda čak i pomalo uvrnutim za svaku osobu uronjenu
u svijet klišea, svedenoj na automatizovano ponavljanje fraza, osobi izgubljenoj u
terminima bez značenja, mnogobrojnim pojašnjenjima i rješenjima koja se nude na
akcionim prodajama (sa)znanja.
Ukratko, osobi predatoj pasivnosti i slučajnostima.
Festival PRAVO LJUDSKI je mjesto susreta koje ništa ne prepušta relativizaciji,
površnosti i indiferentnosti.
Prostor i vrijeme gdje svaka prisutna osoba ima glavnu ulogu.
Neznanje i ignoriranje problema ne znači da oni ne postoje.
Moderna sredstva komuniciranja i otvaranje svijetova, ne znače nužno da
komunikacija postoji i da svijet i ljudi jesu otvoreni prema sebi i jedni prema
drugima.
U petodnevnom programu kroz medij dokumentarnog filma artikuliramo brojne
nepravde i njihove posljedice na ljude. Filmovi koje prikazujemo pažljivo bilježe
sve ono što je ljudsko, krhko, a istovremeno tako snažno, nesalomljivo i emotivno.
U pitanju su životne priče ljudi koji svjedoče o najvećim zločinima savremenog
doba, koji nam, pripovjedajući o svom životu, pored strašnih fakata o nepravdi i
strahotama kroz koje su uspjeli proći, također svjedoče i o dugoročnim i različitim
posljedicama istih, ali i o snazi, o izdržljivosti, hrabrosti, o ljudskom u sebi, i u
drugima.
PRAVO LJUDSKI je festival o ljudima i njihovom kontinuiranom nastojanju
da se savladaju strah i bespomoćnost, da se pronađu načini i odgovori na pitanja za
koja se mnogi plaše i postaviti ih, da se sagleda čovjek sa svim svojim slabostima ali
i nevjerovatnom snagom, kao i društvo i kultura sa svim svojim determinacijama,
ali i mogućnostima.
Ne, ovaj Festival neće ništa promijeniti, ali samo ako Vi to ne dopustite.
PRAVO LJUDSKI tim
4TH HUMAN RIGHTS FILM FESTIVAL
REAL ARTiculation!
The fourth festival on human rights PRAVO LJUDSKI operates on principles entirely strange,
alien, perhaps even a little twisted to those emerged into the world of clichés, reduced to
automated phrasal repetitions, those lost in meaningless terms, numerous explanations and
solutions offered at discount sales of discovery and knowledge.
In short, it seems strange to those who surrendered to passive behavior and coincidences.
PRAVO LJUDSKI festival is a meeting place which does not concede to relativism, superficiality,
and indifference. It is a space and time in which every present person plays a leading role.
Ignoring of problems does not mean they do not exist.
Modern means of communication and the opening of worlds do not necessarily mean that
communication does exist and that people are open either towards themselves or others.
In a five-day program we will articulate numerous injustices and their consequences on
people through the medium of documentary film. The films we are screening carefully record
everything that is human, fragile, and at the same time so strong, unbreakable, and emotional.
These are life’s stories of people witnesses of greatest crimes of the modern age, people
whose stories tell us not only about horrible injustice and suffering, but also about various
consequences of these horrors, about strength, endurance, courage, humanity within oneself,
but also within others.
PRAVO LJUDSKI is a festival about people and their continuing effort to overcome fear and
helplessness, to find ways and answers to questions many fear to ask, to understand human
beings with all their weaknesses, but also their incredible strength, and to understand society
and culture with both its determinations and its possibilities.
No, this Festival will not change anything, unless you allow it.
PRAVO LJUDSKI team
U SUSRET ČETVRTOM FESTIVALU LJUDSKIH PRAVA
„PRAVO LJUDSKI“
NASTOJIMO DA OSTANEMO PRAVI I LJUDSKI
Razgovarao: Davor MARKO
Činjenica da filmska umjetnost posjeduje specifičnu moć obrazovanja, uticaja i stimulacije publike, jedan je
od glavnih motiva organizatora Filmskog festivala iz oblasti ljudskih prava „Pravo ljudski“ da sarajevskoj
publici po četvrti put prezentuju svjetske i regionalne napore da se ukaže na značaj ljudskih prava i njihovo
svakodnevno kršenje. O ideji, ovogodišnjem programu i budućim planovima, za „Nove poglede“ govore
Kumjana Novakova i Mario Hibert, selektori filmskog programa na Festivalu.
Izbjegavajući svjesno zamke „komercijalizacije“ (naplata ulaznica, komercijalni sponzori,
senzacionalistički sadržaji...), kao organizatori Festivala ističete da je glavni cilj promocija i
popularizacija „kulture ljudskih prava“. Šta ta kultura znači? Šta su
preduslovi za njeno širenje?
Kumjana NOVAKOVA: Nisam sigurna da li bih mogla napraviti razliku između
preduslova za širenje kulture ljudskih prava od elemenata, tj. manifestacije
same kulture ljudskih prava. Prema mom mišljenju, u istom trenutku kad se
stvori konsenzus da je kultura ljudskih prava ili demokratska kultura “the only
game in town”, a mislim da to jeste slučaj u BiH, to znači da su preduslovi tu.
A šta ta kultura znači, opet je pitanje kompromisa između svih nas o sistemu
vrijednosti koji je zasnovan na principima otvorenosti, tolerancije, javnog
dijaloga, transparentnosti. Glavni cilj Udruženja građana „Pravo ljudski“ jeste
podsticanje rasprave upravo o tim principima na kojima počiva kultura ljudskih
prava kroz programe, projekte i druženja koja “odmaraju” i kojima je uistinu cilj
nalaženje kompromisa o tome zašto smo kao društvo tu gdje jesmo. Pri tome ne
mislim samo na lokalna pitanja u vezi s tim „kada ćemo i kako dalje?“, već na šire područje promišljanja o
problemima koji nadilaze nacionalne granice, budući da svuda nailazimo na iste ili slične probleme koji se
tiču krize identiteta, ekonomije, politike, a nemamo svi jednake stavove u kojima bismo mogli bili složni.
Upravo su javni dijalog i otvorenost za “nečije” probleme inicijalna kapisla do koje je našem timu stalo, jer
ona može pokrenuti otvorenost, toleranciju, prihvatanje, a time i uvažavanje i poštovanje različitosti. Mi smo
itekako svjesni da je to jedan dug proces koji se neće završiti sa 4-tim, 5-tim ili n-tim filmskim festivalom
o ljudskim pravima, niti javnom debatom ili predavanjem o sistemu demokratskih vrijednosti. Međutim,
vjerujemo da to što će se novim izdanjem festivala nadopuniti i ukorijeniti jeste otvorenost ka “svačijim”
problemima (lokalnim, nacionalnim, grupnim, globalnim, itd.), odnosno da će posvećenost javnom dijalogu
biti istinska promocija kulture ljudskih prava.
Da li je sarajevska publika (ne smijemo reći bosanskohercegovačka, jer Festival još uvijek čeka svoja
izdanja u drugim gradovima BiH) „zrela“ za usvajanje osnovnih obrazaca „kulture ljudskih prava“?
Da li je veliko interesovanje, koje je prošle godine iskazano, neki indikator njegovog i vašeg uspjeha?
Mario HIBERT: Ja publiku nipošto ne bih (dis)kvalifkovao, a najmanje dijelio na „zrelu” i „nezrelu”.
Publika je uvijek „prava”, pogotovo kada dolazi na projekcije. Istina, prošle smo godine zabilježili
značajniju posjećenost, ne samo na otvaranju i zatvaranju festivala, kada su sale doslovno bile prepune, već
smo bili zadovljni posjetom i na ostalim projekcijama. Sa druge strane, popularizovati dokumentarni film
putem ljudskih prava možda se može činiti kao jako dobar, da ne kažem „unosan” način da se promoviše
demokratska kultura, međutim, u našem društvu imamo pregršt primjera kojima se usljed isprazne javne
retorike mnogo više razvija odbojnost prema ljudskim pravima nego što se otjelovljuje istinski vidljiv
napredak u demokratizovanju i zaštiti ljudskog dostojanstva. Zbog toga me uopšte ne bi čudilo da ljudi
naposljetku odluče bojkotovati sve što im se predstavlja kao „poziv na osvješćavanje”, izgleda neuvjerljivo
ili zvuči aktivistički otrcano. „Pravo ljudski” nema iluziju da može učiniti više nego oni koji svoje mandate
neodgovorno troše, umjesto da insistiraju i rade na primjeni mehanizama koji mogu garantovati provođenje
zakona koji se tiču prava čovjeka. Istina je da bez konsolidovanog civilnog društva ne može biti ni
adekvatnog pritiska na strukture vlasti koje Bosnu i Hercegovinu sistematski dezintegrišu stranačko-etničkom
demagogijom i potkupljivo-profiterskim politikanstvom. Stoga bih ja bio jako oprezan kada su u pitanju
poruke koje se upućuju javnosti s ciljem da „aktivišu“ građane, upravo želeći izbjeći mogućnost da neko
„Pravo ljudski” nazove samo još jednim festivalom koji se marketniški poigrava sa građanima.
Kako bi onda trebalo shvatiti ovaj festival?
Mario HIBERT: Smatram da bi ovaj festival trebalo shvatiti, prije svega, kao
priliku da svi oni koji već imaju svijest, želju i potrebu da promišljaju o značaju
razvijanja kulture ljudskih prava, tu svoju socijalno osjetljivu notu oplemene
dolaskom u kino i razgovorom o filmovima – u ambijentu koji ohrabruje
dijalog. Sve naše projekcije su, kao što znate, besplatne, a nadam se da to može
značiti kako organizator festivala nastoji naglasiti da pravo na informaciju ne
smije biti podložno diskriminatornim potezima koji bi spriječili put do kina
svima koji žele vidjeti filmska ostvarenja koja tematizuju globalne društvenopolitičke, socijalne probleme; filmovima koji pokazuju na koje sve načine se
ljudi bore za svoje dostojanstvo, te na koje sve načine globalna kriza podriva
uslove za „uživanje” ljudskih prava. Takođe, postoji mogućnost da neko ocijeni
kako „ono što se ne naplaćuje” zapravo ne posjeduje vrijednost te će stoga,
možda već unaprijed, odbaciti šansu za susret sa uzbudljivom kinematografijom
koju nudimo u javnom prostoru; kinematografijom koja itekako mnogo može
pružiti kada je u pitanju istinsko filmsko iskustvo. Međutim, to je već stvar
individualnog izbora – jer nema tog marketinga ni PR-a koji će nekoga ko u filmu vidi ili traži isključivo
zabavu, natjerati da preispituje sebe i svoje stavove ili da ih pokuša sagledati iz perspektive koja računa s
odgovornošću, empatijom i interesom za drugoga, dakle, iz perspektive koju nude filmovi na kojima insistira
program „Pravo ljudski”. Ovaj festival organizuje jako mali broj ljudi, uz entuzijazam i pomoć onih koji svoj
nesebičan angažman nužno ne uslovljavaju preambicioznim očekivanjima materijalnog karaktera. Iza naše
namjere da prikazujemo neke od najznačajnijih recentnih ostvarenja, iz izuzetno bogate dokumentarističke
filmske produkcije, ne stoji nikakva industrijsko-festivalska ambicija, reklamna mašinerija ili elitizam pa se
stoga nadamo da će posjetioci našeg programa biti svi oni kojima ne treba crveni tepih da bi se odlučili poći
u kino.
S obzirom da program Festivala nudi nekoliko svjetskih ekskluziva, koje biste filmove izdvojili iz
ovogodišnjeg sadržaja i s kojim ciljem su upravo ti filmovi odabrani? Kakvu reakciju publike/
posjetilaca očekujete?
Mario HIBERT: Zaista mi je drago što sam u mogućnosti da potvrdim vašu konstataciju o ekskluzivitetu
koji se tiče svjetskih pretpremijera filma „Tragovi” (španskog reditelja Guillerma Carreras-Candia) koji je
direktno vezan za postratnu generaciju bh. građana, te specijalne projekcije višestruko nagrađivanog filma
“Off and Running” (red. Nicole Opper), kao i domaće premijere dokumentarnog filma “Bećo Filipović,
čovjek XX vijeka”. Ipak, taj ekskluzivitet uopšte nema presudnu ulogu za karakter Festivala “Pravo ljudski”.
Jednostavno, tokom uspostavljanja kontakata sa producentima, distributerima i autorima, pojavili su se
interesi, ali i mogućnosti da se neke od premijera dogode upravo u Sarajevu, u sklopu Festivala „Pravo
ljudski“. Mi, naravno, nismo odbijali takve mogućnosti, ali je i dalje osnovni kriterij bio da se film koji
odaberemo moja kolegica Kumjana Novakova i ja, svojim „tematskim dokumentom” i kvalitetom uklopi
u našu zamisao o tome kakvu programsku koncepciju želimo. Iskreno, ja najviše očekujem od projekcija
filmova “El Sistema”, “Another Planet” i “Let’s Make Money”, međutim, moje subjektivno oduševljenje
ovim dokumentarcima ne mora da govori ništa više osim o mojoj ličnoj osjetljivosti na etiku i estetiku
kojom su oblikovana ta djela. Odabrani filmovi nisu zatvoreni u zasebne sekcije ili kategorije kojima bi se
na bilo koji način profilisao ili aktuelizovao neki poseban aspekt ljudskih prava, mnogo više smo insistirali
na tome da u ponuđenom programu bude što više različitih priča i autorskih rješenja koja su naposljetku
rezultirala dobrim filmovima. Nismo se, takođe, primarno vodili dobijenim nagradama i priznanjima,
mada su neki od filmova označeni i tim atributima (“The Cove” – nagrada publike na Sundance-u; “RIP!:
A Remix Manifesto” – nagrada publike na najprestižnijem festivalu dokumentarnog filma u Amsterdamu
IDFA; “Burma VJ, Reporting From the Closed Country” – film koji je osvojio priznanja na skoro svim
relevantnim festivalima, poput IDFA-e, Berlinalea, One World iz Praga, Sundance-a, ZagrebDox-a, itd.).
Naposljetku, posebno bih izdvojio panel-diskusiju o ratnom stradanju i kolektivnom sjećanju, koju ćemo
imati nakon projekcije izraelskog filma “Pizza in Auschwitz”, i to je možda jedini dan u kojem će projekcije
biti na izvjestan način povezane, budući da se u filmovima “Bećo Filipović, čovjek XX vijeka” i “Pizza
in Auschwitz” govori o sudbinama logoraša – bolnom iskustvu ljudi koji su na svojoj koži osjetili teror
totalitarnih ideologija.
S obzirom da nam predstoji četvrto izdanje Festivala, cijenjen je, vodi ga po godinama mlada ali po
znanju i iskustvu već dobro „potkovana“ ekipa, kakve durogoročne ciljeve ste postavili pred sebe?
Gdje vidite Festival za nekoliko godina? Šta očekujete od njegove publike? Koji su potencijalni planovi
za proširenje i dalji razvoj Festivala?
Kumjana NOVAKOVA: Kad pričamo o dugoročnim ciljevima onda pričamo o Udruženju „Pravo ljudski“
a ne o Festivalu, i to iz više razloga. Prvo, sam Festival nije nešto što će se vidljivo promjeniti jer on ne teži
bilo kakvoj spektakularizaciji, ne teži ekskluzivitetu i/ili elitizmu, već inkluzivitetu, socijalnom angažmanu i
približivanju svih nas. Tako i naša vizija o Festivalu za nekoliko godina jeste da on ostane pravo ljudski: da
svima nama nastavimo donositi najbolje što možemo od socijalno angažovane umjetnosti, da nastavimo raditi
vodeći se istim onim principima koji nas prate od samog početka. Stvarati uslove za kontinuisanu realizaciju
tih principa jeste vjerovatno naša najjasnija i istovremeno najzahtjevnija dugoročna vizija, a takođe i naš
najteži zadatak. Naime, u vrijeme apsolutne komercijalizacije vrijednosti, organizovati Filmskim festival o
ljudskim pravima je samo po sebi dovoljno težak posao, stoga je organizovanje filmskog festivala koji nudi
besplatne projekcije vrhunskih dokumentarnih ostvarenja je i organizaciono i finansijski Sizifov posao. Ono
čemu se iskreno nadamo je mogućnost da nakon par godina trošimo manje energije u animiranju donatora,
a više u outreach programe i projekcije izvan Sarajeva. Već nakon ovog „Pravo ljudski“ izdanja, dio našeg
srednjoškolskog programa „Zumiraj prava“ ide u Tuzlu, Mostar, Banjaluku i Bihać. Vjerujemo da će „Pravo
ljudski“ u budućnosti „putovati” u puno više gradova BiH, jer kada budemo u mogućnosti da svoj „Pravo
ljudski“ program ponudimo svakome u BiH tek tada ćemo moći govoriti o istinskoj promociji kulture
ljudskih prava.
Intervju put objavljen u časopisu Novi Pogledi, broj XV, 38-41 str.
Towards the 4th Human Rights Film Festival „PRAVO
LJUDSKI“
WE ARE WORKING HARD TO REMAIN TRUE AND HUMAN:
PRAVO LJUDSKI
Interview by: Davor MARKO
The fact that the art of the cinema possesses a particular power to educate, influence and stimulate the public
is one of the key motives of the organizers of the Film Festival on Human Rights „Pravo ljudski“, which
will for the fourth time present the Sarajevo audience with global and regional efforts to demonstrate the
importance of human rights and the problems which arise from their everyday violations. On the idea, this
year’s program, and future plans, we have spoken to the festival selectors, Kumjana Novakova and Mario
Hibert.
Consciously avoiding the traps of «commercialization» (charging tickets, commercial sponsors,
sensationalistic content,...), as organizers of the Festival you underline that the key goal is the
promotion and the spread of a «human rights culture». What does this culture signify? What are the
pre-conditions for its expansion?
Kumjana NOVAKOVA: I’m not sure I can differentiate between the preconditions for the expansion of a human rights culture and its very elements,
i.e. the manifestation itself of a human rights culture. In my opinion, at the
very moment a consensus is made that human rights culture or the culture of
democracy is “the only game in town”, and I believe this is the case in B&H,
this means the pre-conditions are here. What this culture implies is again a
question of compromise between all of us on a system of values founded on the
principles of honesty, tolerance, public dialogue, transparency. The key goal
of the “Pravo ljudski” Association is the generation of dialogue on these very
principles upon which the human rights culture lies. This is what we wish to
achieve through our programs, projects and opportunities to socialize, whose
goal truly is the reaching of a compromise on why we are at the stage we
are at as a society. By this, I do not simply refer to the local issues related to
“when and how are we to move on?”, but on the wider area of reflection on the
problems surpassing national barriers. We are encountering the problems of a
crisis of identity, economics, politics, etc. everywhere in the world, and we do not all hold the same position
on these issues, permitting us to unify our voice. Public dialogue and being open to understanding the
problems of others is the initial trigger of importance to our team, as it can bring about openness, tolerance,
acceptance, and through this, the recognition and the respect for differences. We are very aware that this is
a long term process which won’t be resolved with the 4th, 5th or nth film festival on human rights, nor will it
be resolved solely by public debate on the system of democratic values. However, we believe that something
that will be further supplemented and ingrained with the new edition of the festival is the openness towards
“everyone’s” problems (local, national, collective, global, etc.). In other words, the dedication to public
dialogue will engender a true promotion of a human rights culture.
Is the Sarajevo audience (we still cannot say the audience of Bosnia and Herzegovina as the festival still
awaits its editions in other cities in B&H) “mature enough” for the adoption of the base principles of a
“human rights culture”? Is the great interest engendered by last year’s festival a valuable indicator of
its - and of your - success?
Mario HIBERT: I would under no circumstances disqualify this audience, nor divide it on the basis of
“mature” and “immature”. The audience is always “true”, especially when it regularly attends the screenings.
It is true that we have witnesses an unparalleled attendance last year, not only at the festival’s opening
and closing, when the screening rooms were literally filled over capacity, but we were satisfied by the
attendance throughout the duration of the event. On the other hand, to render documentary film popular by
way of human rights can perhaps seems like a very good, not to say “profitable” way to promote democratic
culture. However, in our society, we have had numerous examples where empty public rhetoric engendered
a rebuttal of the human rights idea rather than helped personify true advancement of democratization
and the protection of human dignity. Due to this, I would not be surprised if people ultimately decided to
boycott all they are presented with under the umbrella of “awareness raising”, due to it being presumed as
untruthful or an example of “empty activism”. “Pravo ljudski” holds no illusions that it can do more than
all of those irresponsibly wasting their mandates instead of insisting and working on the application of
mechanisms which can guarantee actual implementation of legislation related to human rights. It is true that,
without a consolidated civil society, adequate pressure cannot be exercised upon the governing structures
systematically working on the disintegration of B&H by their party/ethnic demagogy and a political culture
based on bribery and profiteerism. I therefore remain very careful in what concerns messages directed
towards the public with the goal of “engaging” citizens, as I precisely want to avoid somebody calling “Pravo
ljudski” just another festival playing marketing tricks on its audience.
How should one then understand this festival?
Mario HIBERT: I think this festival should primarily be understood as an
opportunity for those already conscientious, and having the desire and the need
to reflect on the significance of further developing a human rights culture, to
use this opportunity to further their social consciousness through coming to the
cinema and discussing about the films in an environment encouraging dialogue.
As you know, all of our screening are free of charge and I hope this can be
taken as a sign that the festival organizers are trying to emphasize that the right
to information must not be subjected to discriminatory approaches. Our aim is
not to prevent anyone who is willing and interested from accessing the cinema
and experiencing these cinematographic masterpieces depicting global sociopolitical problems - films showing diverse ways by which people are fighting
for dignity, and diverse ways the global crisis is impacting upon the capability
to “enjoy” human rights. There is also the possibility that someone will judge
that something which is “free of charge” has no value in reality and, based on
this notion, reject the opportunity to discover exciting cinematography on offer
in a public space, a cinematography which can truly offer an immense deal when it comes to the true film
making experience. However, this is a matter of individual choice. There is no such marketing or PR which
will incite somebody who looks at film simply as an entertainment medium to question him/herself and
their positions, or examine films from a perspective banking on responsibility, empathy and interest for the
other, a perspective being offered by the films that are a “Pravo ljudski” program priority. This festival is
organized by a very small number of people, and entirely based on the enthusiasm and the help of those who
do not condition their selfless engagement by ambitious material expectations. No festival industry ambition,
commercial machinery or elitist position lies behind our intention to show some of the most significant recent
realizations, part of an extremely rich documentary film production. We therefore hope that the visitors of
our program will be all of those who do not require a red carpet in order to decide to go to the cinema.
Seeing how the Festival program is offering several world exclusives, which films from this year’s
catalogue would you like to put an emphasis on and what were the reasons for choosing these very
films? What kind of reaction are you expecting from the audience?
Mario HIBERT: I am truly glad to be able to confirm your statement on exclusivity, which is related to
world avant-premiers of the film “Tragovi (Traces)” (of the Spanish director Guillermo Carreras-Candi),
which is directly connected to the post-war generation of B&H citizens, as well as to the special screenings of
the multiply awarded “Off and Running” (dir. Nicole Opper), as well as the local premier of the documentary
film “Bećo Filipović, the man of the XXth century”. Still, this exclusivity does not play a deciding role for
the “Pravo ljudski” Festival. Through the establishment of contact with film producers, distributors and
authors, it became possible to have some of the premiers occur precisely in Sarajevo, within the “Pravo
ljudski” Festival. We of course did not refuse such an opportunity. However, the key selection criteria for
both myself and my colleague, Kumjana Novakova, was that the thematic focus and the quality of the films
we choose fit our conceptualization of the Festival program. Honestly, I expect the most out of the screenings
of “El Sistema”, “Another Planet” and “Let’s Make Money”, though my subjective opinion about these
documentaries needs not imply more than my own sensitivity to the ethics and esthetics that shape these
works. The films selected are not enclosed into separate selections or categories profiling or emphasizing
a particular aspect of human rights. We put greater emphasis on offering many diverse stories and author’s
perspectives, which resulted in the placement of excellent films in the program. We also did not make the
awards and recognitions received by the works our priority in the selection process, though some of the
films are also honored by these attributes. (“The Cove” – audience award at Sundance; “RIP!: A Remix
Manifesto” – audience award at the most prestigious festival of documentary film in Amsterdam - IDFA;
“Burma VJ, Reporting From the Closed Country” – a film which won recognitions on almost all relevant film
festivals, such as IDFA, Berlinale, One World in Prague, Sundance, ZagrebDox, etc.). At the end, I would
like to especially point out the panel-discussion on war suffering and collective memory which will follow
the screening of the Israeli film “Pizza in Auschwitz”, which is perhaps the only day on which the screenings
will be interconnected, as both the films “Bećo Filipović, čovjek XX vijeka (Bećo Filipović, man of the XXth
century)” and “Pizza in Auschwitz” speak of the destinies of war camp prisoners - of painful experiences of
those who have felt the terror of totalitarian ideologies on their own skin.
Seeing how we are coming upon a 4th edition of the Festival – it is valued, it is lead by a team that is
young in terms of age, but experienced when it comes to knowledge and know-how, what long-term
goals have you put forth for yourselves? Where do you see the festival in a few years? What do you
expect of its audience? What are the potential plans for the expansion and development of “Pravo
ljudski”?
Kumjana NOVAKOVA: When we are discussing long-term goals, then we are talking about the “Pravo
ljudski” Association rather that the Festival, for several reasons. Primarily, the Festival itself is not something
that will drastically change, as it is not aiming towards any kind of spectacularisation, quest of exclusivity or
elitism, but rather inclusiveness, social engagement and bringing people together. In this context, our wish for
the Festival in a few years is for it to remain truly human (pravo ljudski): to bring to all of us the best it can
from the realm of socially engaged arts, and for us to continue working on it guided by the same principles
that founded the idea of the Festival. Creating conditions for continuous realization of these principles is
probably our clearest and at the same time most demanding long-term vision, as well as our toughest task. In
the time of absolute commercialization of values, organizing a Film Festival on human rights is hard enough
a task in itself. Organizing a film festival offering free of charge screenings of exceptional documentary
works is both organizationally as well as financially Sisyphus’ task. What we are hoping for in a few years
is the possibility to spend less energy on getting donors interested and more energy on our outreach program
and the screenings outside of Sarajevo. Already following this edition of “Pravo ljudski”, a part of our
program for high school students “Zoom rights” will be traveling to Tuzla, Mostar, Banja luka and Bihać.
We believe that, in the future, “Pravo ljudski: will travel to many more cities in B&H. It is only once we have
the opportunity to offer our “Pravo ljudski” program to everyone in B&H, that will we be able to talk about a
true promotion of a culture of human rights.
Originally first published in Novi Pogledi, No: XV, pp: 38 – 41.
PRAVO
LJUDSKI
HUMAN RIGHTS FILM FESTIVAL SARAJEVO
RECENZIJE PRAVO LJUDSKI FILMOVA
PRAVO LJUDSKI FILMS SYNOPSES
DIJETE RATA
Karim Chrobog , SAD | 2008 | 94’
NAGRADE:
Tribeca International Film Festival, New York 2008 – Nagrada publike
MAUI International Film Festival, 2008 – Nagrada publike
Truly Moving Pictures Film Festival – Crystal Heart (pobjednik)
Bologna International Film Festival, 2008 – nagrada za najbolji dokumentarni film
Bergen Internationl Film Festival, 2008, Norveška – nagrada za najbolji
dokumentarni film
O FILMU:
U dvije decenije građanskog rata u Sudanu, između sjevernog, predominantno arapskog
i južnog, kršćanskog dijela zemlje, stradalo je dva miliona ljudi, dok je četiri miliona
raseljeno. Emmanuel Jal je užase konflikta otkrio još kao sedmogodišnjak (izgubio
je majku, a otac ga je poslao u Etiopiju kako bi ga spasio od rata). Dokumentarni
prvijenac Karima Chroboga, rekonstruirajući Jalov put od siročeta do vojnika, od izbjeglice do hip-hop zvijezde,
ukazuje na izgubljenu generaciju afričke djece u čije ime danas govori muzika „vojnika“ čija životna priča iznevjerava
konvencionalne predodžbe o žrtvama rata. Kao i većina njegovih vršnjaka, Jal je donio odluku da se iz izbjegličkog
kampa (zapravo centara za vojnu obuku) u Etiopiji vrati u Sudan i priključi vojsci. U jednom intervjuu Jal pojašnjava
kako je u pitanju bila žudnja za osvetom ali i činjenica „da nisam to uradio danas bih bio rob, roba prodana za rad
na plantažama šećera“. Ipak, ratne strahote su ubrzo postale isuviše stvarne pa je, zajedno sa tri stotine supatnika,
odlučio da pobjegne iz redova SPLA (Sudan’s People Liberation Army). Prolazeći kroz jezovite trenutke nemoći, gladi
i beznadežnosti na koncu upoznaje britansku humanitarnu radnicu Emmu McCune koja ga izmješta u Keniju gdje
je prvi put u životu sjeo u školsku klupu. Ovo nevjerovatno iskustvo pretočeno u rime i filmske kadrove svjedoči o
preživljavanju, borbi, snazi duha i odrastanju sublimirajući sposobnost čovjekove volje da tragediju transformira u
nadu, bol u istinu, patnju u akciju. Emmanuel Jal je danas jedan od najaktivnijih ambasadora svoje zemlje koji svoju
energiju ulaže u poticanje obrazovnih programa u Sudanu (osnivač je fondacije Gua Africa www.gua-africa.org koja
pomaže školovanje djece u Africi).
O REDITELJU:
Producent i reditelj, Karim Chrobog, svoju je karijeru započeo u međunarodnom odjelu za javnu politiku Time
Warners-a gdje je usko surađivao sa kompanijama poput Warner Bros, HBO, Fortune i Turner. U 2005. godini osnovao
je nezavisnu filmsku kompaniju Tangier Pictures u Washington, D.C.-ju. Diplomirao je međunarodnu politiku, i ima
sertifikat iz biznisa i diplomatije sa Univerziteta u Georgetownu.
WAR CHILD
Karim Chrobog, USA | 2008 | 94’
AWARDS:
Tribeca International Film Festival, New York 2008 - Audience Award
MAUI International Film Festival, 2008 - Audience Award
Truly Moving Pictures Film Festival – Crystal Heart (winner)
Bologna International Film Festival, 2008- Best Documentary Film Award
Bergen International Film Festival, 2008, Norway – Best Documentary Film Award
ABOUT THE FILM:
During the two decades of the civil war in Sudan, between the northern, predominantly Arab and the southern,
Christian part of the country, two million people died, while four million have been displaced. Emmanuel Jal
discovered the horrors of the conflict as a seven-year old (he lost his mother, and his father sent him to Ethiopia
to save him from the war). Karim Chrobog’s documentary debut, while reconstructing Jal’s life from an orphan to
a soldier and from a refugee to a hip-hop star, points out to the lost generation of African children on whose behalf
the „music of the soldiers“ speaks today, soldiers whose life stories betray the conventional notions on war victims.
As most of his peers, Jal decided to leave the refugee camp in Ethiopia (which is in fact a military training camp) and
return to Sudan to join the army. In an interview, Jal explains that the reason was a longing for revenge, but he also
says: „if I hadn’t done it, today I would be a slave, a commodity sold to work on sugar plantations”. However, war
horrors soon became too real and together with three hundred of his co-sufferers, he decided to escape from the
SPLA (Sudan’s People Liberation Army). Going trough gruesome moments of weakness, hunger, and hopelessness he
finally met a British humanitarian worker Emma McCune, who sent him to Kenya, where he, for the first time in his
life, sat in a classroom. This unbelievable experience, transformed into rhymes and film shots, is a witness of survival,
struggle, strength of the spirit and is a growing up story, sublimating the ability of human will to transform tragedy
into hope, pain into truth, suffering into action. Emmanuel Jal is today one of most active ambassadors of his country
who devotes his energy into enhancing educational programmes in Sudan (he is the founder of Gua Africa Foundation
www.gua-africa.org which supports education in Africa).
ABOUT THE DIRECTOR:
Karim Chrobog, producer and director, started his career in the Time Warners international public policy office,
where he worked closely with companies like Warner Bros, HBO, Fortune and Turner. In 2005, he launched Tangier
Pictures, an independent feature film company based in Washington, DC. He holds a degree in International Politics,
and a certificate in Business and Diplomacy at the Georgetown University.
BURMA VJ: IZVJEŠTAVANJE IZ ZATVORENE ZEMLJE
Anders Østergaard, Norveška, Švedska, Danska, Velika Britanija | 2008 |
85’
NAGRADE:
2008 Amsterdam, IDFA – Joris Ivens Award
2009 Sundance Film Festival - World Cinema Documentary Film Editing
Amsterdam International Documentary Film Festival 2008 - Movies That Matter
Award
2009 Berlinale - Cinema for Peace Award
2009 Full Frame Doc Festival - Grand Jury Award
2009 One World, Prag - Vaclav Havel Special Award
O FILMU:
Digitalna demokratija, video novinarstvo, represivni režim, otpor. Ako bismo
izdvojili nekoliko ključnih riječi o filmu danskog autora Anders Ostergaarda, vjerovatno bismo morali spomenuti i
višestruka priznanja koja potvrđuju kako je priča o burmanskim videoreporterima oduševila publiku širom svijeta.
Dokumentarni film danskog režisera Andersa Ostergaarda govori o lokalnim herojima (budističkim svećenicima,
studentima i novinarima) koji su vodili zajedničku borbu protiv vojnog režima u Myanmaru i njegove propagande.
Bilježeći dramatične ulične momente iz septembra 2007. godine kada se protestima i demonstracijama sve glasnije
artikuliralo nezadovoljstvo i revolt usmjereni protiv države i njene vojne diktature, burmanski novinari su ispisali
nova poglavlja visokorizičnog novinarstva i borbe za ljudska prava. Uspijevajući napraviti i prokrijumčariti iz zemlje
snimke od neprocjenjive vrijednosti, te na taj način održavati pažnju i interes međunarodne javnosti i svjetskih medija
za zemlju u kojoj je stranim izvještačima zabranjen ulaz, burmanski novinari svjedočili su o borbi za slobodu služeći
se novim tehnologijama kao novim oružjem prodemokratskih aktivista. Film pripovijeda „Joshua“, vođa prerušenih
burmanskih reportera, objašnjavajući načine na koje su on i njegovih tridesetak kolega okupljenih oko Demokratskog
glasa Burme uspjeli kreirati televizijsku revoluciju novog informacijskog doba.
O REDITELJU:
Anders Høgsbro Østergaard rođen je 1965. godine. Diplomirao je na Danskoj novinarskoj školi 1991. godine. Radio
je kao copywriter u reklamnoj agenciji i kao istraživač dokumentarnog programa. Na međunarodnom filmskom
festivalu u Odenseu 1999. dobio je nagradu za najbolji dokumentarni film za svoj ‘Troldkarlen’. Scenarist je i redatelj
međunarodne koprodukcije ‘Tintin et moi’ (2003.), kao i dokumentarca o najpopularnijim danskim rock bendovima
‘Gasolin’ (2006). ‘Burmanski video reporteri’ njegov je najnoviji film.
BURMA VJ: Reporting from a closed country
Anders Østergaard, Norway, Sweden, Denmark, U.K. | 2008 | 85’
AWARDS:
2008 Amsterdam, IDFA – Joris Ivens Award
2009 Sundance Film Festival - World Cinema Documentary Film Editing
Amsterdam International Documentary Film Festival 2008 - Movies That Matter Award
2009 Berlinale - Cinema for Peace Award
2009 Full Frame Doc Festival - Grand Jury Award
2009 One World, Prag - Vaclav Havel Special Award
ABOUT THE FILM:
Digital democracy; video journalism; a repressive system; resistance. If we were to name the crucial facts about the
film of a Danish author by the name of Anders Østergaard, we would probably have to mention the numerous
acknowledgements. They confirm that the story of video reporters from Burma has left a huge impression on the
audience, worldwide. The documentary is about the local heroes (Buddhist priests, students and journalists) who
fought together against the military regime in Myanmar.
By recording the dramatic situations that took place in the streets, in September, 2007 and the demonstrations
and protests which articulated the dissatisfaction and rebellion against the state and its oppressive military force,
the reporters from Burma managed to write new chapters in the history of high-risk journalism and struggle for
the human rights. Moreover, by managing to make and smuggle these priceless reports across the borders of their
country, they managed to keep the world interested in what was going on in a place where no foreign reporters were
allowed. They were witnesses of the struggle for freedom, utilising new technologies as a weapon in pro-democratic
activism. The story is narrated by Joshua, the leader of Burma reporters who were in disguise, who explains all the
ways in which he and his thirty or so colleagues belonging to the Democratic Voice of Burma managed to create a TV
revolution in the new age of information.
ABOUT THE DIRECTOR:
Anders Hogsbro Østergaard was born in 1965. He graduated at The Danish School of Journalism in 1991. He worked
as a copywriter in an advertising agency, as well as a researcher in the documentary programme. He won a prize for
the best documentary in the Odense international film festival, for his film ‘Troldkarlen’. He is both the director and
screenwriter of ‘Tintin Et Moi’, an international coproduction, as well as of the documentary on the most popular
Danish rock bands, ‘Gasolin’ (2006). ‘Video reporters from Burma’ is his latest film.
LEKCIJE IZ NOĆI
Adrian Francis, Australija | 2008 | 9’
O FILMU:
Motiv za kratki film „Lekcije iz noći“ Adrian Francis je
pronašao u članku posvećenom čistačicama, „nevidljivoj
radnoj snazi“ koja posprema ono što ostavimo iza sebe
na kraju radnoga dana. Ovu kratku „meditaciju o prirodi
rada“, otjelovljenu u liku bugarske imigrantice Maje, autor
predstavlja kao istraživanje samoće, samopoštovanja i
društveno-političke izolacije.
O REDITELJU:
Adrian Francis je za svoj kratki dokumentarac „Soft words“ nagrađen studentskom nagradom, a film je s uspjehom
prikazivan na Melbourne International Film Festvialu, NewFest New York LGBT Film Festivalu itd. „Lessons from the
night“ premijerno je prikazan na ovogodišnjem SilverDocs Film Festivalu.
LESSONS FROM THE NIGHT
Adrian Francis, Australia | 2008 | 9’
ABOUT THE FILM:
Adrian Francis found the motive for the short film „Lessons from the night“ in an article dedicated to cleaning women,
„the invisible work force“ which cleans what we leave behind at the end of a work day. This short „meditation on
the nature of work“, embodied in the character of a Bulgarian immigrant, Maja, is represented by the author as an
exploration of solitude, self-respect, and social-political isolation.
ABOUT THE DIRECTOR:
Adrian Francis received a student award for his short documentary „Soft Words“, and the film was successfully
screened at the Melbourne International Film Festival, NewFest New York LGBT Film Festival, etc. „Lessons from the
Night“ had its premiere at this year’s SilverDocs Film Festival.
POGLEDAJ ŽIVOT KROZ MOJE OČI
Marija Džidževa, Makedonija | 2008 | 45’
O FILMU:
Svakodnevnica u malom selu nedaleko od Skoplja inspirirala je makedonsku
autoricu Mariju Džidževu da se pozabavi ruralnim koloritom etničke skupine
Albanaca koji žive u Studeničanima. Specifičnosti života 6000 stanovnika (od
kojih polovinu čine djeca) većinom okupljenih oko islamskog vjerskog učenja,
tradicionalnih religijskih vrijednosti koje brižno čuvaju protagonisti ovog
filma, prikazane su sa mnogo osjećajnosti i brige za estetske karakteristike
„lokalnog bića“ zajednice. Džidževa uspijeva sjajnim kretanjem kamere
dočarati ritam života domaćinstava koja, izolovana od vanjskog svijeta i
upliva modernih društvenih vrijednosti, zatvorena u sebe, njeguju pogled
na svijet koji ipak nije ni najmanje lišen uticaja popularne urbane kulture koja se, kroz televizijske ekrane, uspijeva
„ušunjati“ u njihove prestave o sebi i drugima. „Look at the life through my eyes“ je film u kojem dokumentarizam
ostaje zasjenjen izuzetno rafiniranom i suptilnom energijom autorskog izraza koji u konačnici rezultira kreativnim
dijalogom kamere i stanovnika Studeničana.
O AUTORU:
Marija Džidževa rođena je u Gevgeliji (Makedonija) 1970. godine. Diplomirala je na Filološkom fakultetu (1994.)
i na Fakultetu dramskih umjetnosti u Skopju (2000.). Njezin diplomski rad kratki dokumentarac ‘Miss Amnesia’
(2000.) prikazan je na brojnim festivalima. Dokumentarac ‘Toni Mandza’s List’ (2004.) nagrađen je na više
međunarodnih festivala. Godine 2005. režirala je 40-minutni igrani film ‘You are Alive’.
LOOK AT THE LIFE THROUGH MY EYES
Marija Džidževa, Macedonia | 2008 | 45’
ABOUT THE FILM:
Everyday life in a small village not far away from Skopje inspired the Macedonian author Marija Džidževa to deal with
the rural colours of the ethnic group of Albanians living in Studeničani. The specificities of life of the 6000 inhabitants
(half being children) mostly gathered around Islamic religious teaching, traditional religious values carefully guarded
by the protagonists of this film, are depicted with sensibility and care for the aesthetic characteristics of the ‘’local
being’’ of the community. With remarkable movements of the camera, Džidževa manages to portray the rhythm of life
of households which, isolated from the outer world and the influence of modern social values, closed in themselves,
nurture a worldview that is not at all deprived of the influences of the popular urban culture which somehow manages
to ‘’sneak into’’ their perception of themselves and others through their TV sets. Look at the Life through my Eyes is
a film in which documentarism remains in the shadow of an extremely refined and subtle energy of the author’s
expression, which in the end results in a creative dialogue between the camera and the people of Studeničani.
ABOUT THE AUTHOR:
Marija Džidževa was born in Gevgelija (Macedonia) in 1970. She graduated from the Faculty of Philology
(1994) and Faculty of Drama in Skopje (2000). Her diploma work, the short documentary Miss Amnesia (2000)
was screened on numerous festivals. The documentary Toni Mandza’s List (2004) received awards on many
international festivals.
In 2005, she directed the forty-minute-film You are Alive.
SISTEM
Paul Smaczny, Maria Stodtmeier, Njemačka | 2009 | 102’
NAGRADE:
ITF Golden Prague 2009 – Grand Prix
Best Documentary Orlando Hispanic Film Festival
Rodos Ecofilms Special Jury Prize 2009
Rodos Ecofilms Team Award Feature Film Competition Award 2009
O FILMU:
Šta je El Sistema? Fantastično uspješan, nacionalni projekat muzičkog obrazovanja, koji je animirao 265 hiljada
venecuelanske djece kroz nevjerovatno jednostavnu, vizionarski smjelu i politički iskrenu zamisao društvene integracije
za bolju budućnost – sistem koji je integrisao duhovnost, solidarnost, saosjećajnost i zadovoljstvo na način koji obećava
smisao društvu koje već odavno “velike riječi” rabi tek kao jeftinu propagandu za što “demokratičnije”, globalno ekonomsko
gospodarenje. Jose Antonio Abreu, maestro državnog modela uključivanja, tačnije spašavanja djece sa ulice, trideset je
godina osmišljavao i vjerovao u svoj san: da mladim ljudima ponudi muziku kao sredstvo za postajanje Čovjekom. Danas
se njegova istrajnost, upornost i prije svega, ljubav prema ljudima otjelotvorila kroz stotine horova i orkestara koji stvaraju
takve tonove društvenih promjena da, dok gledate ovaj nevjerovatno inspirativan film o “muzičkom blagostanju”, gotovo
da odbijate povjerovati da ovaj, na venecuelanski način revolucionaran pristup muzičkom odgoju može proizvesti toliko
radosti, ozbiljnosti i lakoće transformacije čitavih generacija građana koji žive u nimalo prosperitetnom ambijentu ulične
džungle. Odlučiti se pogledati ovaj film zaista znači podijeliti trenutke sreće sa muzičarima svih kategorija, od najmlađih
(koji uče osnove muzike na svojim papirnim instrumentima) do onih nešto starijih posvećenika omladinskog orkestra Simon
Bolivar koji osvajaju zajedništvom i muzičkom vještinom, a možda čak ponajviše činjenicom da se istinska izvrsnost postiže
tek u društveno poticajnom, ohrabrujućem okruženju u kome se sa prvim notama uče vrijednsti zajedništva i dijeljenja ili
kako to kaže sam maestro Abreu: “u početku umjetnost je stvarala manjina za manjinu, nakon toga je umjetnost stvarala
manjina za većinu, dok smo danas, na početku nove ere, u kojoj umjetnost stvara većina za većinu.”
Konačno, ukoliko možda strahujete od političe pozadine ovog društvenog eksperimenta, ne bi bilo loše napomenuti kako
se ime Huge Chaveza uopće ne spominje, a ako i dalje sumnjate u riječi koje El Sistemu vide kao “najznačajniju činjenicu
u klasičnoj muzici današnjice”, onda očigledno ili ne volite muziku ili gledate isuviše mnogo programa zapadnih medija
koji Venecuelu vide kao Kubu 21. stoljeća, omraženu zemlju globalnog svjetskog poretka koja se usudila odmetnuti od
neoliberalih modela kulturne regresije.
O AUTORIMA:
Paul Smaczny, producent, režiser i scenarista, studirao je pravo, francusku i njemačku književnost, film i teatar u
Njemačkoj i Parizu. Producirao je i režirao preko 150 filmova i televizijskih programa širom svijeta, bilježeći neke
od najznačajnihih muzičkih događaja u posljednjih 15 godina (renomirane orkestre i operske kuće poput Berliner
Philharmoniker, Lucern Festival Orchestra, Staatsoper Berlin i La Scala, Milano).
Filmografija: My Favourite Opera, serija (1989–1991); Opera Tales serija (1993–1994); Entre-Quatre-z-Yeux (1998);
Maestros in Democracy (2000); Multiple
Identities – Encounters with Daniel
Barenboim (2001 – Special Jury Prize,
Vienna TV Awards 2002); Claudio Abbado
– Entendre le silence (2003
– nagrada
e
Best Portrait Prize at 22 FIFA, Toronto);
Knowledge Is The Beginning (2006)
(International Emmy Award 2006, FIPA
D’OR Grand Prize 2007) .
Maria Stodtmeier radi na polju filmske
i muzičke produkcije, te projektima iz
oblasti književnosti. Prije četri godine
je diplomirala je na području kulture
na Univerzitetu primijenjenih nauka u
Potsdamu. Od 2001. godine radi zajedno sa
EuroArts Music.
EL SISTEMA
Paul Smaczny, Maria Stodtmeier, Germany | 2009 | 102’
AWARDS:
ITF Golden Prague 2009 – Grand Prix
Best Documentary Orlando Hispanic Film Festival
Rodos Ecofilms Special Jury Prize 2009
Rodos Ecofilms Team Award Feature Film Competition Award 2009
ABOUT THE FILM:
What is El Sistema? A fantastic success, a national project of music education, which has involved 265 thousands of
Venezuela children though an amazingly simple, brave and politically sincere idea of social integration for a better future
– a system that has put together spirituality, solidarity, compassion and pleasure in a way that promises to give sense to a
society that has for been using “big words” for along time as cheap propaganda for “a more democratic”, global economic
entrepreneurship. Jose Antonio Abreu, maestro of the state integration model, more precisely saving the children off the
street, has been planning and believed in his dream for thirty years: to offer music to young people as a tool of becoming
Man. Today his perseverance and most of all love towards people has been embodied through hundreds of choirs and
orchestras that create such tones of social changes that, while one watches an incredibly inspirational film about “musical
prosperity” one can almost refuse to believe that this Venezuelan revolutionary approach to musical education can generate
such joy, seriousness and easiness of transformation of generations of citizens who live in a less than prosperous environment
of a street jungle. Deciding to watch this film truly means sharing moments of happiness with musicians of all categories,
from the youngest (who learn the basics of music on their paper instruments) to those slightly older in the youth orchestra of
Simon Bolivar who win one over with their unity and musical skill, and perhaps even more with the fact that true perfection
can be achieved only in socially engaging, encouraging environment where with the first notes one learns the value of unity
and sharing or how maestro Abreu puts it: “in the beginning art created a minority for a minority, afterwards art creates a
minority for a majority, while today at the beginning of a new era art creates a majority for a majority”.
At last, if you perhaps fear a political background of this social experiment one should mention that the name of Hugo
Chavez is not at all mentioned, and if you still have doubts in the words that see El Sistema as “the most important fact in
the classical music of today” then obviously you either do not love music or you watch too much of western media that see
Venezuela as the Cuba of the 21st century, a odious country of the global world order that dared to steer clear of the neoliberal
model of cultural regression.
ABOUT THE AUTHORS:
Paul Smaczny, producer, director and screen writer, studied law,
French and German literature, film and theatre in Germany and
Paris. He has produced and directed over 150 films and TV programs
throughout the world, focusing on some of the most important
musical events in the past 15 years (renowned orchestras and opera
houses such as Berliner Philharmoniker, Lucern Festival Orchestra,
Staatsoper Berlin and La Scala, Milano).
Films: My Favourite Opera, serija (1989–1991); Opera Tales series
(1993–1994); Entre-Quatre-z-Yeux (1998); Maestros in Democracy
(2000); Multiple Identities – Encounters with Daniel Barenboim
(2001 – Special Jury Prize, Vienna TV Awards 2002); Claudioe
Abbado – Entendre le silence (2003 – award Best Portrait Prize at 22
FIFA, Toronto); Knowledge Is The Beginning (2006) (International
Emmy Award 2006, FIPA D’OR Grand Prize 2007) .
Maria Stodtmeier is active in film and musical production and
projects from the field of literature. Four years ago she got a degree in
culture at the University of Applied Sciences in Potsdam. Since 2001
cooperates with EuroArts Music.
DRUGA PLANETA
Ferenc Moldoványi, Mađarska | 2008 | 96’
NAGRADE:
39th Hungarian Filmweek (Green Raven – Best Documentary Award);
57th International Film Festival Mannheim-Heidelberg – Special Award
of the International Jury
31st Starz Denver Film Festival – Maysles Brothers award for Best
Documentary
8th Roma Independent Film Festival – Best Documentary Award
11th Thessaloniki Documentary Festival – ERT3 Award for the Best Documentary
Almaty International Film Festival – Best Documentary Feature Award
UNICEF, 2009 – Bouquet of Flowers
O FILMU:
«Another Planet», dokumentarni film koji je s pravom osvojio mnogobrojna priznanja diljem svijeta, svojevrsna je
«meditativno-esejistička“ drama o civilizaciji nadomak svoga svršetka. Film otvara kosmološka predaja Tarahumara šamana
(ritual posvećen rođenju novog života i san Indijanke koja odlazi u šumu kako bi upozorila djecu na «ostajanje bez duše»)
jukstaponirana sa sudbinama djece-radnika, „zatočenika razvoja“, maloljetnika prisiljenih na prostituciju, ubijanje, silovanje,
recikliranje, opstanak. Apokaliptična vizualnost fotografije Tibora Mathe, uznemirujuća muzička pratnja Tibora Szemzoa,
hipnotično ukomponiran ritam koji stoji na narativnoj podlozi o ekploataciji djece u Ekvadoru, Meksiku, Kongu i Kambodži,
tek su neki od atributa koji opisuju izuzetan rad Ferenc Moldovanyja koji je „Another Planet“ oblikovao nekoliko godina.
Riječ je o filmu čija atmosfera ovladava krvotokom gledatelja, savijest baca ničice pred ekran, dok se na platnu smjenuju
prizori o „tajnom licu planete“ gdje polovina njezinih stanovnika živi sa manje od 1$ dnevno.
Siromaštvo, izrabljivanje, zlostavljanje, bijeda, poniženje, opća mjesta ljudske sramote, neskriveno licemjerje globalne
politike deregulacije, planetarno obesmišljena borba za «milenijumske ciljeve» (Organizacija za evropsku kooperaciju i
razvoj u svom izvještaju iz oktobra prošle godine potvrdila je kako je «ekonomski rast proteklih decenija mnogo značajnije
doprinjeo razvoju bogatih, namjesto siromašnih»!?), mađarski autor simbolički smješta u glasove djece koja izgovaraju svoje
sudbine, dok nama koji sve to posmatramo ostaje ćutanje trijumfa kinematografije i poraza čovječnosti.
O REDITELJU:
Ferenc Moldovanyi je rođen u Debrecenu, 1960. godine., gdje je 1982. godine diplomirao na Debrecen Teacher Training
College, a u periodu između 1987 i 1990. godine diplomirao kao reditelj na Akademiji za dramu i film u Budimpešti.
Dobitnik je nagrade Međunarodnog instituta za ljudska prava ispred Vijeća Evrope za film «If we eat a beaver» 1995. godine.
Njegova televizijska serija o mađarskoj kinematografiji, napravljena povodom stogodišnjice filma «The Cinema and...»
smatra se obrazovnim klasikom. Iste godine Ferenc Moldovanyi osniva produkcijsku kuću Engram pa sada radi kao neovisni
reditelj i producent. Član je Udruženja filmskih radnika i novinara Mađarske kao i Federacije međunarodnih novinara i
Udruženja nezavisnih producenata Mađarske. Dobitnik je velikog broja međunarodnih nagrada i priznanja, a njegovi filmovi
su prikazivani na preko 120 festivala u preko 45 zemalja širom svijeta. Filmove Ferenc Moldovayija su prikazivali neki od
najpoznatijih svjetskih televizijskih emitera poput Canal +, Sundance Channel itd.
Ove godine je primio najviše priznanje UNESCO-a «Buket cvijeća», zahvalnicu za posvećenost temama koje se tiču djece.
ANOTHER PLANET
Ferenc Moldoványi, Hungary | 2008 | 96’
AWARDS:
39th Hungarian Filmweek (Green Raven – Best Documentary Award);
57th International Film Festival Mannheim-Heidelberg – Special Award of the International Jury
31st Starz Denver Film Festival – Maysles Brothers award for Best Documentary
8th Roma Independent Film Festival – Best Documentary Award
11th Thessaloniki Documentary Festival – ERT3 Award for the Best Documentary
Almaty International Film Festival – Best Documentary Feature Award
UNICEF, 2009 – Bouquet of Flowers
ABOUT THE FILM:
«Another Planet», a documentary that has earned numerous awards throughout the world is a kind of “meditative-essayist”
drama of a civilisation approaching its end. The film commences with the cosmic surrender of Tarahumar shaman (a ritual
dedicated to the birth of a new life and the dream of an Indian who enters the forest to warn her children of “losing the soul”
juxtaposed with the fates of children workers, “prisoners of development”, minors forced into prostitution, killings, rape,
recycling, survival. The apocalyptic sight of the photography by Tibor Mathe, the disturbing soundtrack by Tibor Szemzo,
the hypnotic rhythm based on the narrative core on exploiting children in Ecuador, Mexico, Congo and Cambodia, are only
few of the attributes that describe the exceptional work of Ferenc Moldovanyi who has shaped „Another Planet“ for several
years. It is a film whose atmosphere takes over the spectators, the conscience is thrown on its knees towards the screen, while
sights are projected of the “secret face of the planet” where half of its inhabitants live with less that 1$ per day.
Poverty, exploitation, abuse, desperation, humiliation, human shame, unhidden hypocrisy of global politics of deregulation,
the planetary senseless fight for the “millennium goals” (OSCE in its report from October of last year has confirmed that “the
economic growth in the past decades has contributed more to the enrichment of the wealthy rather than the poor»!?), that is
what the Hungarian author symbolically places into the voices of the children who share their fates, while those watching
them remain to ponder on the triumph of cinematography and the defeat of humanity.
ABOUT THE DIRECTOR:
Ferenc Moldovanyi is born in Debrecen in 1960, where he graduated in 1982 at the Debrecen Teacher Training College,
and in 1987-1990 got his degree as a director at the Academy for drama and film in Budapest. He is the award winner of the
International institute for human rights of the Council of Europe for the 1995 movie «If we eat a beaver». His TV series of the
Hungarian cinematography prepared for the occasion of the 100th airing of «The Cinema and...» is considered an educational
classic. The same year Ferenc Moldovanyi establishes the production studio Engram and works as an independent director
and producer. He is member of the Association of the Hungarian film workers and journalists as well as of the Federation of
international journalists and the Association of independent producers of Hungary. He received numerous prizes and awards
and his movies have been screened at over 120 festivals in over 45 countries throughout the world. Ferenc Moldovayi’s films
have been aired by some of the world famous TV channels such as Canal +, Sundance Channel etc.
This year he has been awarded the highest UNESCO award « Bouquet of Flowers », as gratitude for the topics related to
children.
UVALA
Louie Psihoyos, SAD | 2008 | 92’
NAGRADE:
Sundance Film Festival, 2009 – Nagrada publike
HOTDOCS Film Festival, 2009 – Nagrada publike
SilverDocs Film Festival, 2009 – Nagrada publike
Sydney Film Festival, 2009 – Nagrada publike
O FILMU:
Nevjerovatna filmska ekipa sastavljena od ronioca, surfera, podvodnih kamermana,
aktivista ekologa, znanstvenika i, naravno, reditelja Louisa Psihoyosa napravila je
šokantan, akcioni eko-dokumentarac koji govori o pokolju delfina u jednom malom
ribarskom gradiću u Japanu. Montiran i oblikovan u duhu špijunskog trilera, ovaj
film, koji je osvojio pažnju publike širom svijeta i za koji svjetska kritika ima samo
riječi hvale, zapravo opisuje aktivističku avanturu tima koji je zarad otkrivanja istine bio spreman riskirati fizičke napade,
hapšenje, policijski pritvor. U jednom intervjuu autor filma je izjavio kako mu je dosadilo da bude pasivan posmatrač
okrutnosti koje čovjek neprestano čini: „mi smo nacija posmatrača; posmatramo propadanje okoliša i čekamo nekoga drugog
da te probleme riješi“. „The Cove“ je istraživački dokumentarni film koji na veoma emotivan i uzbudljiv način tematizira
globalno pomanjkanje ljudskog odnosa prema krucijalnim pitanjima opstanka na planeti (pored otkrića jedne od najmračnijih
zaljevskih tajni, ovaj film također razotkriva i neodgovornost kada je u pitanju zaštita javnog zdravlja od strane japanskih
vlasti koje zajedno sa korporacijama promiču reklamiranje mesa delfina koje je, baš kao i meso kitova, toksično; Agencija
za ekološka istraživanja je objavila izvješće o tome da ovi mesni proizvodi sadrže čak 10% viši postotak žive nego je to
dozvoljeno). Potrebno je također napomenuti kako ovaj film ne bi bio moguć bez angažmana Rica O’Barryja koji je jedan od
najpriznatijih trenera delfina u svijetu i provjereni aktivist koji je pružio ekipi filma svesrdnu pomoć u razotkrivanju strahota
koje se događaju u zaljevu Taiji u kojem se brutalno ubijaju delfini čija tržišna cijena nekada dostiže i preko 150 hiljada
dolara. Na koncu, pored užasavajuće poruke o ljudskoj nehumanosti i neodgovornosti, ignoranciji koja čovječanstvo lišava
održive budućnosti, ovaj film posjeduje i jednu veoma specifičnu, gotovo lirsku, notu koja ublažava adrenalinski naboj ovog
fascinirajuće smjelog i proaktivnog dokumentarnog djela.
O AUTORU:
Louis (Louie) Psihoyos, jedan je od najcjenjenijih svjetskih fotografa (u karijeri dugoj preko trideset godina napravio je
preko stotinu naslovnica za neke od najpoznatijih svjetskih časopisa poput Smithsonian, Discover, Geo, Time, Newsweek,
The New York Times Magazine, a također radio za Discovery Channel, National Geographic i History Channel). Odmah
po završetku koledža dobio je angažman za National Geographic, a njegova karijera je prepuna humanih napora da kroz
znanstveno-istraživački i umjetnički angažman podigne svijest o nekim od najznačajnijih svjetskih ekoloških problema.
THE COVE
Louie Psihoyos, USA | 2008 | 92’
AWARDS:
Sundace Film Festival, 2009 – Audience Award
HOTDOCS Film Festival, 2009 – Audience Award
SilverDocs Film Festival, 2009 – Audience Award
Sydney Film Festival, 2009 – Audience Award
ABOUT THE FILM:
An incredible cast made up of divers, surfers, underwater cameramen, environmental activists, scientists and, of course,
Louis Psihoyos, the director of the film, has made a shocking action eco-documentary that deals with the dolphin slaughter
in a small fishing town in Japan. Edited in the spirit of a spy thriller, this film – which has won the attention of the audience
worldwide and for which the world’s critics have so far uttered nothing but words of praise – actually describes an adventure
of an activist team who was ready to risk physical assaults, arrests, detentions in order to find out the truth. In one of the
interviews, the author of the film said that he was tired of being a passive observer of the cruelty that people continuously
exercised: „We are a nation of observers; we observe the downfall of our environment and wait for others to solve those
problems“. The Cove is an investigative documentary film which, in a very emotional and exciting way, topicalises a
global deficiency when it comes to people’s attitude towards the crucial issues of the survival on the Planet (apart from the
discovery of one of the cove’s darkest secrets, the film also exposes the lack of accountability when it comes to public health
protection granted by Japanese authorities who, along with the corporations, promote the advertising of dolphin meat which
is as toxic as whale meat. the Agency for environmental research submitted a report on the fact that these meat products
contain more mercury than the allowed amount (by 10%). It is necessary to note that the production of this film would not
have been possible were it not for the engagement of Ric O’Barry, one of the world’s most acclaimed dolphin trainers and
a verified activist who generously provided his assistance in revealing the atrocities from the Taiji Cove where dolphins,
whose market price probably amounts to more that $150 thousand, are being brutally slaughtered. Finally, apart from the
horrifying message about human inhumanity and irresponsibility, about ignorance which deprives humanity of a sustainable
future, this film possesses a very specific, almost lyrical tinge which alleviates the adrenalin boost of this fascinatingly daring
and proactive documentary.
ABOUT THE AUTHOR:
Louis Psihoyos is one of the world’s most acclaimed photographers (in the thirty years of his career, he has shot hundreds
of covers for some of the world’s famous magazines including Smithsonian, Discover, Geo, Time, Newsweek, The New
York Times Magazine. He has also worked for the Discovery Channel, National Geographic and History Channel). Having
graduated from the college, he joined the National Geographic. His career abounds in humane efforts to raise the awareness
about some of the world’s leading environmental issues through his scientific, research and artistic engagement.
PROKLETI PONEDJELJCI I PITE OD
JAGODA
Coco Schrijber, Nizozemska | 2008 | 87’
NAGRADE:
Golden Calf at Netherlands Film Festival 2008 for Best Feature Documentary
Monterrey IFF 2009, Mexico (Award for Best Documentary and Best Editing)
DOKUFEST IDF 2009, Kosova (Audience Award)
HotDocs, Official Selection
O FILMU:
Holandska autorica Coco Schrijber je, kako to potvrđuje jedan od njezinih web intervjua, poticaj za ovaj dokumentarni
film pronašla u vlastitoj dosadi. Zvuči prilično čudno, čak i pomalo bizarno, odaslati poziv publici na projekciju filma
čija tema prijeti da odnese vrijeme koje biste možda mogli uzbudljivije iskoristiti, međutim, riječ je o veoma dojmljivom,
zanimljivom, eksperimentalnom filmskom djelu kroz koje nas vodi pripovjedački glas Johna Malkovicha. Literarni citati F.
M. Dostojevskog (Zapisi iz podzemlja) i Breta Eastona Ellisa (Američki psiho) već na samom početku filma gledatelja uvode
u imaginarni okvir djela koje očigledno nastoji isprovocirati interes publike pitanjem: šta (ne) možemo učiniti sa vlastitim
vremenom? Stiliziran sofisticiranim vizuelnim kadrovima, ovaj atipični dokumentarni projekat se tako vrlo neprimijetno
uspijeva „ugnijezditi“ u intelekt gledatelja postupno uvlačeći pažnju posmatrača u svoju fluidnu, pažljivo oblikovanu,
fragmentarnu strukturu. Mogli bismo ustvrditi kako pronicljiva energija ovog dokumentarca strpljivo gradi ambijent u
kome se meditativna usredotočenost intelekta, na koncu, veoma uspješno miješa sa perspektivama protagonista (burzovnim
mešetarom Wall Streeta, radnicom u tvornici kolača, umjetnikom koji 42 godine uporno slika „vrijeme“, umirovljenom
špijunkom iz II svjetskog rata, nomadom iz Sahare, Brendom Spencer koja je sa 16 godina u školi, iz dosade, usmrtila dvoje
i ranila jedanaestoro djece) koji svojim životnim putanjama dokumentuju beskrajnost potencijala lutanja ljudske imaginacije
zatočene u prostoru i vremenu čovjekovog uma. Za sve one koji žele napraviti „predah“ od tematskog fokusa našeg programa
posvećenog ljudskim pravima, gledanje „Blood Mondays and Strawberry Pies“ bit će izuzetna prilika za nešto drugačije,
evokativno, filmsko iskustvo.
O REDATELJICI:
Coco Schrijber je studirala audio-vizuelne umjetnosti na Umjetničkoj akademiji Rietveld u Amsterdamu. Snimila je sedam
filmova, a prvo djelo „First Kill“ ušlo je u Joris Ivens Award selekciju IDFA-e. Njezin film „Wonderfull world“ (2001)
osvojio je šest međunarodnih priznanja.
BLOODY MONDAYS AND STRAWBERRY PIES
Coco Schrijber, Netherlands | 2008 | 87’
AWARDS:
Golden Calf at Netherlands Film Festival 2008 for Best Feature Documentary
Monterrey IFF 2009, Mexico (Award for Best Documentary and Best Editing)
DOKUFEST IDF 2009, Kosova (Audience Award)
HotDocs, Official Selection
ABOUT THE FILM:
As one of her web interviews confirmed, the Dutch filmmaker Coco Schrijber found inspiration for this documentary in
her own idleness. It may sound quite strange, somewhat bizarre too, to invite the audience to a film screening whose topic
is threatening to waste the time you might have spent more excitingly otherwise. However, we are talking about a very
impressive, interesting and experimental film through which we are guided by the narrating voice of John Malkovich.
From its very beginning, literary quotations from F.M. Dostoyevsky (Notes from the Underground) and Bret Easton
(American Psycho), introduce the viewer to the film’s imaginary framework which clearly attempts to provoke the interest
of the audience by asking: what can we (not) do with our own time? Stylised with sophisticated visual shots, this atypical
documentary project manages to “nest” itself into the intellects of its viewers in a very subtle way, thus gradually absorbing
their attention into its fluid, carefully-shaped and fragmented structure. We could say that the poignant energy of this
documentary is patiently building the scenery in which the meditative focus of the intellect eventually succeeds to blend with
the perspectives of the protagonists (a Wall Street stockbroker, a worker in the
cake factory, a painter who has been
persistently painting “time” for 42 years, a retired lady spy from the Second World War, a nomad from the Sahara Desert
and Brenda Spencer who, at 16, killed two and injured eleven children because she was bored) who, as the paths of their lives
show, document the infinity of the wandering potential of human’s imagination which is trapped in the time and space of the
human mind. For all those who would like to “have a break” from the thematic focus of our programme which is dedicated to
human rights, watching “Bloody Mondays and Strawberry Pies” will be an outstanding opportunity for a somewhat different
and evocative film experience.
ABOUT THE DIRECTOR:
Coco Schrijber studied audio-visual arts at the Rietveld Art Academy in Amsterdam. She directed seven films. Her first
feature First Kill was in the selection for the Joris Ivens Award at IDFA. Her film Wonderful World (2001) won six
international prizes.
KRENI I TRČI
Nicole Opper, SAD | 2009 | 78’
NAGRADE:
Tribeca Film Festival – Top 10 Audience Favourite
Philadelphia Q Fest – Best documentary
Outfest – Jury Prize outstanding documentary
SilverDocs – WGA screenplay award
O FILMU:
Debitantski, cjelovečernji dokumentarni film Nicole Opper, „Kreni i trči“, tematizira
identitarni konflikt bruklinske tinejdžerke, Afroamerikanke Avery, koja se počinje
distancirati od svojih „generičkih roditelja“, lezbijskog para koji ju je usvojio.
Fokalna tačka ovog filma, potraga za identitetom, rezultira dramatičnim situacijama
unutar obiteljske zajednice u kojoj roditelji jevrejskih korijena odgajaju Avery sa još
dva usvojena dječaka od kojih je jedan Azijat. Nakon što Avery odluči stupiti u kontakt sa svojom biološkom majkom i
počne otkrivati komplicirane kulturološke, rasne, vjerske i rodne razlike, pojavljuju se neočekivana iskušenja, odnosno,
započinje „psihološka utrka“ sa vlastitom predodžbom o sebi, glasovima koji počinju mijenjati životnu perspektivu mlade
atletičarke. Snažan emotivni naboj kojim je protkan ovaj filmski portret savremene američke porodice beskompromisno
naglašava problematiku identitarne diferencijacije u multikulturalnom okruženju koja kompleksnu materiju (ne)pripadanja
čini izuzetno značajnom istraživačkom temom, ne samo za one koji razmišljaju o usvajanju djece, već također i za one koji
sociološke fenomene ovakvog tipa ne mogu „smjestiti“ u okvire svojih predodžbi od drugosti.
O REDITELJICI:
Nicole Opper je diplomirala filmsku produkciju na Univerzitetu New York. Učestvovala je u produkciji filma „The Killer
Within“, nominovanog za nagradu Emmy i prikazivanog na Discovery Channelu. Njezini kratki filmovi su višestruko
nagrađivani. Predaje režiju i medijsku pismenost u njujorškim gimnazijama kroz program The School of Cinema and
Performing Arts. Trenutno producira petodijelni dokumentarni serijal za LSS for Here! Networks, vodeću gay televizijsku
mrežu u SAD-u.
OFF AND RUNNING
Nicole Opper, USA | 2009 | 78’
AWARDS:
Tribeca Film Festival – Top 10 Audience Favourite
Philadelphia Q Fest – Best Documentary
Outfest – Jury Prize Outstanding Documentary
SilverDocs – WGA Screenplay Award
ABOUT THE FILM:
The debut, feature documentary film by Nicole Opper, Off and Running, displays the identity conflict of a Brooklyn teenager,
the African-American Avery, who is starting to distance herself from her „generic parents“, a lesbian couple who adopted
her. The focal point of this film, the search for identity, results in dramatic situations within the family in which the parents
who are of Jewish background raise Avery together with two other adopted boys, one of whom is Asian. After Avery decides
to establish contact with her biological mother, she starts discovering complicated cultural, racial, religious, and gender
differences, unexpected temptations emerge, shown as a „psychological race“ with the image of oneself, with voices which
start changing the life perspective of this young athlete. The strong emotional tension which runs through this film portrait
of a modern American family, highlights, without compromise, the problems of identity differentiation in a multi-cultural
surrounding which makes the complex matter of (not) belonging an extremely significant research topic, not only for those
who think about adopting children, but also for those who cannot place such sociological phenomena into the framework of
their own ideas about the Other.
ABOUT THE DIRECTOR:
Nicole Opper graduated in Film Production at New
York University. She took part in the production of the
film The Killer Within, nominated for the Emmy Award
and shown on the Discovery Channel. Her short films
have won multiple awards. She teaches directing and
media literacy at New York grammar schools through
the School of Cinema and Performing Arts program.
She is currently producing a five-part documentary for
LSS for Here! Networks, the leading gay television
network in USA.
DOBA GLUPIH
Franny Armstrong, Velika Britanija | 2008 | 92’
NAGRADE:
Birds Eye View Films Festival, 2009 – Best Documentary
Film
Best Green Doc 2008 – Grierson Award
Sunny Side of the Doc, 2008 – Best Green Doc
O FILMU:
U ozračju iščekivanja šta će za nekoliko mjeseci ponuditi
konferencija Ujedinjenih nacija o klimatskim promjenama u Kopenhagenu (da li će, nakon Kyota, doći do novog
međunarodnog sporazuma kojim bi se garantiralo odlučnije sprovođenje politika koje bi omogućile smanjenje emisije
stakleničkih plinova?), film Franny Armstrong „Doba glupana“ predstavlja izravan poziv globalnoj publici da svojim glasom
doprinese stvaranju ohrabrujuće atmosfere koja bi doprinijela pozitivnom ishodu pregovora okarakterziranih kao „najvažniji
koje je čovječanstvo ikada imalo“. Stoga je namjera autora da filmom lobiraju za potpisivanje Deklaracije u Kopenhagenu
ujedno postala i jedna od najambicioznijih filmskih kampanja. Naime, 22. septembra upriličena je najveća premijera ikada
održana u svijetu (satelitskim linkom sa New Yorkom je povezano 700 kina iz preko pedeset zemalja svijeta) kako bi se sa
„zelenog tepiha“ istovremeno poslala poruka upozorenja o opasnostima globalnog zagrijavanja što većem broju ljudi.
Uloga postapokaliptičnog pripovjedača u ovom dokumentarno-igrano-animiranom filmskom djelu, povjerena je Peteu
Postlethwaiteu (nominovan za Oskara u filmu „In the Name of Father“ i „Brassed Off“) koji u opustošenom, razorenom
svijetu gleda u ekran prošlog vremena pitajući se: „Zbog čega nismo spriječili klimatske promjene dok je bilo šanse?“.
Ovaj eko-futuristički alarm o „ljudskim postignućima“ podsjeća na neke od najvećih prirodnih katastrofa koje akcentiraju kako
održivost planete jeste u rukama nas koji na njoj živimo. Možda je vrijeme da se zapitamo kako ćemo na njoj umrijeti?
O REDITELJICI:
Frenny Armstrong (1974) britanska je eko-aktivistica i samostalna dokumentaristica čije je filmove vidjelo više od 56
miliona ljudi. Po završetku studija zoologije na Londonskom univerzitetskom koledžu, počela je producirati nezavisne
dokumentarne filmove upućujući snažnu kritiku društvu u vezi sa klimatskim promjenama. Njezin niskobudžetni film
„McLibel“ (McKleveta) o kontroverznoj sudskoj tužbi za klevetu koju je u Engleskoj protiv dva siromašna aktivista pokrenuo
McDonalds, jer su se odbili ispričati korporaciji (a što je rezultiralo najdužim suđenjem ikad zabilježenim u Velikoj Britaniji;
slučaj je okončan na Evropskom sudu za ljudska prava tek nakon sedam godina) odabran je za prestižnu seriju Britanskog
filmskog instituta “Deset dokumentaraca koji su promijenili svijet”.
Njezina kompanija, Spanner Films, pionir je modela finansiranja „crowd-funding“ koji rediteljima omogućava da podignu
budžet razumne vrijednosti istovremeno zadržavajući vlasništvo nad svojim filmom, te sistema distrubucije „Indie
Screenings“ koji svakome dozvoljava prikazivanje nezavisnih filmova.
Živi u Londonu.
THE AGE OF STUPID
Franny Armstrong, UK | 2008 | 92’
AWARDS:
Birds Eye View Films Festival, 2009 – Best Documentary Film
Best Green Doc 2008 – Grierson Award
Sunny Side of the Doc, 2008 – Best Green Doc
ABOUT THE FILM:
Expecting the outcome of the United Nations Climate Change Conference in Copenhagen which will happen in a few months
(will there be a new international treaty, after the Kyoto Protocol, which will guarantee more resolute implementation
of policies that would enable reduction of greenhouse gas emissions?), Franny Armstrong’s film “The Age of Stupid”
represents a direct invitation to the global audience to raise their voice and contribute to the creation of an encouraging
environment which would lead to the positive outcome of this meeting said to be “the most important meeting the humankind
has ever had”. Hence the intention of the author to lobby for signing of the Declaration in Copenhagen has at the same time
become one of most ambitious movie campaigns. Namely, on September 22nd, this film had the largest premiere the world
has ever seen (700 cinemas from more than fifty countries around the globe had a satellite link with New York), in order
for the warning message on global warming dangers to be sent from the “green carpet” simultaneously to as many people
as possible.
The role of the post-apocalyptic narrator in this documentary-feature-animation film was given to Pete Postlethwaite (Oscar
nominee for “In the Name of Father” and “Brassed Off”) who, in the devastated and ravaged world, is watching the footage
from the past wondering: Why didn’t we stop the climate change while we had the chance?
This eco-futuristic alarm about “humanity’s achievements” reminds of some of the biggest natural disasters that show how
the sustainability of this planet is in the hands of us who live on it. Perhaps it is now the time to ask ourselves how will we
die on it?
ABOUT THE DIRECTOR:
Franny Armstrong (1974) is a British eco-activist and a free-lance documentarian whose films have been seen by more than
56 million people. Upon completion of zoology studies at the London University College, she started producing independent
documentaries strongly criticising the attitude of the society towards the climate change. Her low-budget film “McLibel”
about the controversial libel lawsuit brought by McDonald’s Restaurants against two poor activists who refused to apologize
to the Corporation (which resulted in the longest proceeding Great Britain has ever seen, and only after seven years did the
case finally end at the European Court of Human Rights) was selected for the prestigious series of the British Film Institute
“Ten Documentaries that Changed the World”.
Her company, Spanner Films, is a pioneer in crowd-funding model of financing that enables directors to raise the budget
to a reasonable value while at the same time keeping the ownership over their films, and “Indie Screenings“ system of
distribution that allows anyone to show his/her independent film.
She lives in London.
TRAGOVI
Guillermo Carreras-Candi, Španija | 2009 | 92’
Predpremijera (Avant – Premiere)
O FILMU:
Kako i od čega žive, koga slušaju, kuda idu, čemu se nadaju, mladi ljudi u Bosni i Hercegovini? Čuje li se, uopće, njihov
glas?
Zamišljen kao hommage postratnoj generaciji mladih, dokumentarni film “Tragovi” španjolskog autora Gullermoa CarrerasCandija, publici nudi susret sa kompleksnom evokativnom mrežom odraza Sarajeva, Mostara i Zenice, koji natkriljuju
urbane jezgre u kojima se, poput duhova, kreću oni što negdje duboko u sebi skrivaju tragove rata. Ovo stilski čisto, vizuelno
dojmljivo i kinematografski zrelo dokumentarno djelo otkriva naprsline postratne stvarnosti u fragmentima koji aktualiziraju
nepovratne slike prošlosti, ali također i (ne)snalaženje mladih ljudi u Bosni i Hercegovini da u postratnim okolnostima
„uhvate korak“ sa tranzicijskom logikom urbanog života. Autorov naglasak na probleme prilagođavanja egzistencije
tegobnoj društvenoj realnosti u kojoj dominiraju korupcija, beznađe i sjene rata, u konačnici rezultira izuzetno empatičnom
i slojevitom strukturom čije veze oslikavaju napore preživjelih da oblikuju svoj pogled na svijet u skladu sa postratnim
okolnostima. „Tragovi“ su vrijedno dokumentarno istraživanje tišine koja u slikama progovara o identitetu generacije onih
koje ne pitaju za budućnost.
TRACES
Guillermo Carreras-Candi, Spain | 2009 | 92’
Avant – Premiere
ABOUT THE FILM:
How do young people in Bosnia and Herzegovina live? Who are they listening to? Where are they going? What are they
hoping for? Are their voices heard at all?
Intended as an homage to the post-war generation of young people, the documentary film Traces by the Spanish author
Guillermo Carreras - Candi is offering an encounter with a complex, evocative network of reflections of Sarajevo, Mostar
and Zenica – reflections that cover the urban cores in which we see those who, like ghosts, hide the traces of war deep inside
themselves. This stylistically pure, visually impressive and cinematographically mature documentary reveals the cracks
of post-war reality in fragments that actualise the irreversible images of the past, but it also reveals the (lack of) ability of
young people to cope with the transitional logic of urban life. The author’s focus on problems of adapting the existence to a
burdensome social reality dominated by corruption, hopelessness and shadows of the war, results in an extremely empathic
and layered structure whose relations depict the efforts of the survivors to shape their view of the world in accordance with
the post-war circumstances. The film Traces is a valuable documentary research on silence which, with the use of images,
speaks about the identity of a generation of those who are not asked about the future.
IZNENADA, PROŠLE ZIME
(IMPROVVISAMENTE L’INVERNO SCORSO)
Gustav Hofer, Luca Ragazzi, Italija | 2008 | 78’
NAGRADE:
58 Berlinale – Panorama Special Mention
EIDF 2008, Seoul – Special Jury Award
Bozner Filmtage – Winner, best documentary
Cordova Idemfestival – Winner, best documentary
TLVFEST, Tel Aviv – Winner, best documentary
DIVERSA, Buenos Aires – Winner, best documentary
RIDM 2008, Montreal – Winner, best documentary
Llamale Festival, Uruguay – Winner, best documentary
MIX Festival, Milano – Special mention
AFI, Dallas International Film Festival – Special Jury Prize
O FILMU:
Intiman, duhovit, ironičan, politički angažiran i svakako, građanski odgovoran, film „Iznenada, prošle zime“, bez
sumnje pripada onoj vrsti dokumentarnih ostvarenja koja preispituju granice tolerancije, granice slobode i prava
da se identitarna razlika društveno afirmira, postane vidljiva i moguća. Naime, nakon prošlogodišnjeg javnog linča
na organizatore Queer festivala, projekcija ovog filma predstavlja mogućnost da se pravo na razliku spolnih, rodnih
i seksualnih manjina još jedanput reakutalizira u javnom prostoru budući da dokumentarac Gustava Hofera i Luca
Ragazzija tematizira homofobiju na izuzetno šarmantan, odmjeren, hrabar i inspirativan način. Partnerski tandem
Hofer-Ragazzi istražuje mogućnosti i sudbinu borbe za ostvarivanje prava na alimentaciju, nasljeđivanje, usvajanje,
umjetnu opolodnju, doniranje organa i sl., partnera koji, bez obzira na seksualnu orijentaciju, žive zajedno odnosno
odbijanje italijanskog pravosuđa da prihvati zakone prema kojima bi se od diskriminacije zaštitili građani čije
„zajedništvo“ nije institucionalizirano brakom. Ova „vruća“ kulturno-politička debata, dokumentirana na ulicama,
trgovima, hodnicima vrhovnih političkih institucija Italije, gledateljima pruža mogućnost upoznavanja sa potencijalima
civilnog aktivizma, otkrivanje legitimnih razlika u mišljenjima između konzervativaca i liberala, ali razumijevanje zbog
čega odbrana sekularnih vrijednosti društva jeste čin otpora protiv totalitarnih, represivnih mehanizama lišavanja
slobode izbora.
O AUTORIMA:
Gustav Hofer je rođen 09.05.1976. godine u Sarntheinu (Južni Tirol, Italija). Nakon završenih studija komunikacijskih
znanosti na Univerzitetu u Beču i kinematografije na londonskom Univerzitetu Middlesex, preselio se u Rim. Radi kao
free-lance novinar i neovisni filmski autor. Na francusko-njemačkoj televizijskoj stanici „Arte“ vodi dnevni kulturni
program pod nazivom „Magazin kulture“ istovremeno radeći i kao dopisnik za kulturu iz Italije.
Filmografija: Men for all Seasons, 2005; Bush Back Home, 2004; Il sangue dell’Impero, 2004 (RAI TV, korežiser sa
Giovanni Sparo); Korea
Prioritaria, 2002, (Genova
Film Festival, special
mention).
Luca Ragazzi je rođen
20.02.1971. godine u
Rimu gdje je diplomirao
književnost i filozofiju na
Univerzitetu La Sapienza.
Radi kao novinar,
filmski kritičar i fotograf.
„Suddenly, last winter“ je
njegov režijski debi.
SUDDENLY LAST WINTER
Gustav Hofer, Luca Ragazzi, Italy | 2008 | 78’
AWARDS
58 Berlinale – Panorama Special Mention
EIDF 2008, Seoul – Special Jury Award
Bozner Filmtage – Winner, best documentary
Cordova Idemfestival – Winner, best documentary
TLVFEST, Tel Aviv – Winner, best documentary
DIVERSA, Buenos Aires – Winner, best documentary
RIDM 2008, Montreal – Winner, best documentary
Llamale Festival, Uruguay – Winner, best documentary
MIX Festival, Milano – Special mention
AFI, Dallas International Film Festival – Special Jury Prize
ABOUT THE FILM:
Intimate, humorous, ironic, political and, of course, socially responsible, “Suddenly, last winter” is one those documentaries
that reexamine boundaries of tolerance and freedom, as well as the right of those “different” than ourselves to be seen and
their identities possible and socially affirmed. Gustav Hofer’s and Luca Ragezzi’s documentary addresses homophobia on
a very charming, balanced, courageous and inspiring level. After the attacks on the organizers of the Queer Fest last year,
screening of this film presents an opportunity to once again, in a public life, emphasize and articulate rights of gender and
sexual minorities.
Hofer-Ragezzi team explores possibility and the fate of the struggle for child support, inheritance, adoption, artificial
insemination, and organ donation of the partners who, regardless of their sexual orientation, live together in extramarital
relationships, thus focusing on refusal of Italian courts to adopt laws that would protect citizens, whose partnerships are not
legally institutionalized through marriage, against any discrimination.
This “hot” cultural and political debate, documented on the streets, piazzas and the main halls of the supreme Italian
institutions, offers viewers a possibility to find out potentials of civic actions, to recognize legitimate differences in thought
between conservatists and liberalists, but also an understanding that the defense of secular values of a society represents an
act of resistance against totalitarian, repressive mechanisms of the elimination of the freedom of choice.
ABOUT THE AUTHORS:
Gustav Hofer was born on September 5, 1976 in Sarnthein (South Tyrol, Italy). He moved to Rome after finishing
communication science studies at the University of Vienna and the cinematography at the Middlesex University in London.
He now works as a free-lance journalist and independent film director. He hosts a show called “Cultural Magazine” on a
German-French TV station and works as a correspondent for cultural affairs from Italy.
Biography: Men for all Seasons, 2005;
Bush Back Home, 2004; Il sangue
dell’Impero, 2004 (RAI TV, korežiser
sa Giovanni Sparo); Korea Prioritaria,
2002, (Genova Film Festival, special
mention).
Luca Ragazzi was born on February
20, 1971 in Rome where he majored
in philosophy and literature at the
University of La Sapienza. He works
as a journalist, film critic and a
photographer. ‘’Suddenly, last winter’’
is his directorial debute.
LJUBAV U INDIJI
Kaushik Mukherjee aka Q, Njemačka,
Indija, Finska | 2009 | 90’
PRIKAZIVANJA:
HOTDOCS – Canadian International
Documentary Festival
PornFilmFestival Berlin 2009, Germany
asiaticafilmmediale Rome 2009, Italy
San Francisco Int. South Asian FF 2009, USA
O FILMU:
Seksualnost je danas vjerovatno najprodavaniji
proizvod karnevaliziranog, globalnog društva.
Stoga, osobno istraživanje seksualnih sloboda, indijskog autora koji svoje filmove potpisuje pseudonimom Q, nastalo kao
rezultat redateljeve nutarnje potrebe da analizira vezu sa svojom partnericom Rii kako bi pokušao razumjeti odnos mlade
generacije Indijaca prema ljubavi, braku, nasilju, položaju žene, slobodi uopće, predstavlja zanimljivu priliku za susret sa
Indijom na granici između konzervativizma i liberalizma. Ispitujući kulturološke promjene obrazaca ponašanja koji utiču na
najintimnije aspekte međuljudskih odnosa, istražujući vlastita pitanja o seksualnosti, ali i “socijalizaciji ljubavi”, Q oblikuje
dokumentarnu filmsku priču koja razotkriva složenu mrežu odnosa između tradicije i (post)modernosti. Ovaj film uzima
ideju ljubavi za polazište iz kojeg se razgranavaju raznolike mitološke implikacije, sociopsihološka stanovišta, filozofske
interpretacije, ali i zanimljive kritičke opservacije stanovnika Indije o stanju društvene svijesti oblikovane u dominantno
muškom diskursu. “Love in India” istovremeno nastoji demistificirati stereotipne predodžbe o seksu, kao i o najstarijem
sačuvanom “udžbeniku o ljubavi” – Kama Sutri, Tantri, tabuima općenito, a također se čini kako autor nastoji naglasiti
važnost preispitivanja nekih ukorijenjenih strahova koji povlače osjećanja krivice i grijeha kada je u pitanju tjelesnost,
užitak, religija i moral. Riječ je o filmu koji itekako dobro pokazuje kako se ljubav teško da shvatiti kroz činjenice, te da
istina o njoj počiva na vidljivim i nedvidljivim vezama, nažalost, teško dokučivim oku kamere.
O AUTORU:
Nakon deset godina provedenih u marketingu, pisanju i upravljanju tržištem, Kaushik Mukherjee aka Q je sada režiser
nezavisnih filmova, sa punim radnim vremenom.
On vodi umjetničku platformu u Kalkuti, Overdose, i stvara nezavisne filmove.
Njegovo novo ostvarenje, BISHH (Bengal, fikcija) je otvoreno za sve ljubitelje nezavisnih filmova, kao i za kritičare, i
trenutno se prikazuje u teatrima u Kalkuti.
Q je radio 5 godina na filmu LJUBAV U INDIJI (LOVE IN INDIA).
Živi i radi van Kalkute.
LOVE IN INDIA
Kaushik Mukherjee aka Q, Germany, India, Finland | 2009 | 90’
SCREENINGS:
HOTDOCS – Canadian International Documentary Festival
PornFilmFestival Berlin 2009, Germany
asiaticafilmmediale Rome 2009, Italy
San Francisco Int. South Asian FF 2009, USA
ABOUT THE FILM:
Sexuality is probably the best selling product of the carnevalized, global society today. Therefore, the individual research
of sexual freedoms by an Indian author who signs his films under the pen name Q, has incurred as a result of the directors
internal surge to analyze the relationship with his lover Rii in order to try and understand the attitude of the young Indian
generation towards love, marriage, violence, the role of a woman, and freedom in general. This movie gives us an interesting
opportunity to meet with India on the verge of conservatism and liberalism. By analyzing the cultural changes in the behavioral
pattern that affect the most intimate aspects of interpersonal relations, by examining its own queries regarding sexuality, but
also regarding the “socialization of love,” Q shapes the documentary film story which unveils a tangled network of relations
caught between tradition and (post)modernism. The movie takes love as a starting point which then branches out into
various mythological implications, socio-psychological aspects, philosophical interpretations, but also interesting critical
observations of the Indian people on the condition of the social awareness shaped in the mainly male discourse. At the same
time, “Love in India” tends to demystify the stereotype perception of sex and the oldest preserved “book of love” – the Kama
Sutra, Tantra, and the taboos in general. It also seems that the author seeks to underline the importance of questioning certain
rooted fears that entail a feeling of guilt and sin regarding physical love, pleasure, religion, and moral. This movie clearly
portrays the difficulty of understanding love
through facts, and that the truth about love lies in
visible and invisible ties that are, unfortunately,
very difficult to capture with a camera lens.
ABOUT THE DIRECTOR:
After spending ten years in advertising, writing
and directing commercials, Kaushik Mukherjee
aka Q is now a full time independent film
director.
He runs an art platform in Kolkata, Overdose,
making underground films.
His new release, BISHH, (Bengali, fiction) has
opened to unprecedented audience and critical
review, and is currently running in theatres in
Kolkata.
Q has been working on LOVE IN INDIA for
five years.
He lives and works out of Kolkata.
REVOLUCIJA KOJE NIJE BILO
(REVOLUTSIOON, MIDA POLNUD)
Aliona Polunina, Finska, Estonija | 2008 | 95’
NAGRADE:
DOK Leipzig - 2008 Special Mention of the Jury
IDFF Jihvala 2008 - Special Price
Trieste Film Festival 2009 - Alpe Adria Cinema Award
Kiev Documentary Film Festival – The First Award
O FILMU:
Film Alione Polunina istražuje okolnosti pred predsjedničke izbore u Rusiji 2007. godine, fokusirajući se na dvije centralne
figure, oca i sina, gdje prvi odustaje od političke borbe i posvećuje se vjeri dok drugi nastavlja putem borbe za „novu“ Rusiju.
„Revolucija koja nije bila“ bavi se životima i aktivnostima političkih veterana – revolucionara Nacionalne boljševičke partije
koju je Vrhovni sud Rusije svrstao među ekstremističke organizacije. U širem kontekstu ovaj film istražuje ideološke odnose
dijametralno suprotstavljenih vrijednosti opozicije, koja baštini ljevičarski otpor spram neokonzervativnih, kapitalističkih
promjena u ruskom društvu, i vladajuće političke elite, „desnice“ koja se ne odriče totalitarnih mehanizama kontrole. Ovaj
vrijedan dokumentaristički zapis kojim se propituju odnosi moći, oportunizam, izdaja, ideali, nasilje, pa čak i metafizičke
konstelacije identiteta, u vrlo zanimljivo oblikovanom narativnom toku kombinira intimne životne priče protagonista sa
društveno-historijskim kontekstom. Film donosi snimke uličnih demonstracija oporbe, otkriva metode brutalne policijske
represije, opisuje strategije političke borbe, ali i na koncu predočava razočarenje, odnosno gubitak nade da se sistem može
nadmudriti i pobijediti.
O REDITELJICI:
Aliona Polunina (1977) članica je udruženja ruskih reditelja. Diplomirala je dokumentarnu filmsku režiju i filmsku
kritiku. Filmografija: „Yes Death“ (2004), „One of the Cases of Bird Flu“ (2005), „The Sacred“ (2005), „Festival“ (2007),
„Revolution that wasn’t“ (2008).
REVOLUTION THAT WASN’T
Aliona Polunina, Finland, Estonia | 2008 | 95’
AWARDS:
DOK Leipzig - 2008 Special Mention of the Jury
IDFF Jihvala 2008 - Special Price
Trieste Film Festival 2009 - Alpe Adria Cinema Award
Kiev Documentary Film Festival – The First Award
ABOUT THE FILM:
The film by Aliona Polunina explores the circumstances preceding the presidential elections in Russia in 2007. It focuses on
two central characters – a father and a son – the first gives up his political struggle and devotes himself to religion, while the
latter continues his struggle for the „new“ Russia. „Revolution that wasn’t“ deals with the lives and activities of political
veterans – revolutionaries of the National Bolshevik Party which the Supreme Court of Russia had classified as an extremist
organisation. In a wider context, this film explores the ideological relations of diametrically opposite values of the opposition
which cherishes a leftist resistance towards certain non-conservative, capitalist changes in the Russian society and the ruling
political elite, the „political right“ that would not abandon its totalitarian mechanisms of control. This valuable documentary
that explores the relations of power, opportunism, betrayal, ideals, violence and even the metaphysical constellations of
identity combines intimate life stories of its protagonists with the socio-historical context in a narrative flow shaped in
an amusing manner. The film provides footage of street demonstrations organised by the opposition, reveals brutal police
repression, describes the strategies of political struggles; however, it also demonstrates the disappointment and the loss of
hope that the system might be outsmarted and defeated.
ABOUT THE DIRECTOR:
Aliona Polunina (1977) is a member of the guild of directors in Russia. She graduated as a documentary filmmaker
and critic. Films: „Yes Death“ (2004), „One of the Cases of Bird Flu“ (2005), „The Sacred“ (2005), „Festival“ (2007),
„Revolution that wasn’t“ (2008).
ČOVJEK XX VIJEKA
Haris Prolić, Bosna i Hercegovina | 2009 | 65‘
Svjetska Premijera
Bećo Filipović (18. decembar 1923. – 2. februar 2009.)
O FILMU:
Logor je paradigma modernog doba.
Najstariji bosanskohercegovački logoraš zvao se Bećo Filipović. Hapsilo
ga je tri puta, tri puta oslobađalo: Mauthausen, 1942., Goli otok, 1949.,
banjalučki Vojno istražni zatvor „Mali logor“, 1995.
Bećo Filipović, počasni član Saveza logoraša Bosne i Hercegovine, kroz
prizmu vlastitog sjećanja, prelamajući krhotine svoje nevjerovatno vitalne memorije, ukazuje na zlo fašističke
demagogije, svjedočeći iskustvo izravnog susreta sa totalitarnim ideologijama nacizma, komunizma i nacionalizma.
Ispovijest trostrukog logoraša stavljenog na žrtvenik Historije na taj način razotkriva teror metanarativa
oprisutnjenih na Balkanu, ujedno demaskirajući paradigmatske ideološke iluzije prošlog vijeka, dok Slika i Pojam
„herojskog“ izranjaju u „maloj priči“ o postojanju koje nadrasta konflkt koji leži u osnovi modernosti.
Svaka obnova fašizma je proizvod neznanja o njegovoj povijesnoj genezi i imaginariju. Film o svjedoku i
subjektu totalitarne katastrofe, nije tek predstavljanje nesvakidašnje dokumentarne figure - „ono što ostaje“ kao
svjedočanstvo o nečovječnosti, osluškivanje je odsutnog, neizrečenog u ime preispitivanja što zjapi u srži svakog
sjećanja.
XX vijek potvrđuje filozofemu da je čist identitet zapravo smrt.
O REDITELJU:
Rođen u Sarajevu 1961, Bosna i Hercegovina.
Student generacije na Filozofskom fakultetu u Sarajevu, generacija 1986.
Potpisuje brojne filmske radove: Oj Medjejo jezerom se zvala, Sve je stalo samo djeca rastu, Sarajevski pas, Pjesma
ostaje ista, kao i višestruko nagrađivani Smrt u Sarajevu.
Živi i radi u Sarajevu i Ženevi.
THE 20TH CENTURY MAN
Haris Prolic, Bosnia and Herzegovina | 2009 | 65’
World Premiere
Bećo Filipović (December 18, 1923 – February 2, 2009).
ABOUT THE FILM:
A camp is a paradigm of modern times.
The oldest Bosnian and Herzegovinian detainee’s name was Bećo Filipović. Three times he was arrested and three
times he was released: Mauthausen, 1942, Naked Island, 1949, Military Investigative Detention ´Little Camp´ in Banja
Luka, 1995.
An honorary member of the Detainees Union of Bosnia and Herzegovina, by refracting the fragments of his extremely
vital memory through prism of his recollections, he speaks of the evil of fascist demagogy, testifying about his close
encounter with totalitarian ideologies of Nazism, communism and nationalism. The confession of the three-time
detainee put on the altar of History reveals the terror of metanarratives present at the Balkans. Taking the masks off
the paradigmatic ideological illusions of the twentieth century, through the Image and the Term of ˝humane˝, Beco
Filipovic testifies about the existence that surpasses the conflict at the basis of modernism.
Any renewal of fascism is a product of ignorance regarding its genesis and imaginarium. The movie about a witness
and a victim of totalitarian disaster is not a mere presentation of an unusual documentary figure - ˝what remains˝ as
a testimony on inhumanness is listening to the absent, the unpronounced, all in the name of reexamining that which
gapes at the core of every memory.
The twentieth century proves the phylosopheme that the pure identity is in fact death.
ABOUT THE DIRECTOR:
Haris Prolić was born in Sarajevo, Bosnia and Herzegovina in 1961.
He was best student at the Faculty of Philosophy, generation 1986.
Signs several films: Oj Medjedjo, should you be the lake, Everything has stopped only the children grew up, Sarajevo’s
dog, Song remains the same, as well as the award winning Death in Sarajevo.
He lives and works in Sarajevo and Geneve.
INTERVJU SA HARISOM PROLIĆEM
(reditelj filma Čovjek XX vijeka, Bosna i Hercegovina, 2009)
Na koji ste način oblikovali priču o čovjeku koji je proživio logorovanje u tri različita režima?
Bećinu sudbinu sam iz autorske perspektive shvatio kao sliku koja traži okvir. Film je postavljen gotovo kao
slikovnica, bez izvanjske, dopisane, «napumpane» dramatike. Cjelokupna zamisao da se napravi ovaj dokumentarni
film motivirana je namjerom da film ne postavlja pitanje «Ko je bio Bećo Filipović?» već da se zabilježenim prikaže
osoba koja svojom sudbinom nosi paradigmatska ideološka obilježja XX vijeka. Osim toga, želio sam također da Beću
«uokvirim» Bosnom, budući da se ovakva životna priča mogla desiti samo ovdje. Svakako da je činjenica o tri logora
bila dokumentaristički nezaobilazna, ali tokom snimanja sam otkrio kako je priča o ovom čovjeku ujedno i obilježena
njegovom porodičnom historijom, odnosno da je povezana sa prošlošću onoga što se izvornim Bošnjacima od davnina
dešavalo.
Koje biste momente izdvojili kao posebno upečatljive kada je u pitanju poznanstvo sa Bećom Filipovićem?
Raditi film sa Bećom je bilo izuzetno lako, on je bio veoma strpljiv i mudar čovjek. Duhovitost i mudrost koje mi je kao
poruku prenio pričom o svom životu, obogatile su moj život. Pamtit ću ga po mnogočemu, a za ovu priliku izdvojit ću
to da nam je Bećo na snimanju pao i dobro se udario, ali je to kao i sve u životu, stoički podnio. Jedino je bio zabrinut
da ne nasekira ženu i djecu. Stavio je šešir na glavu i nije ga skidao kako njegovi ne bi vidjeli zavoj kojim smo mu
previli glavu. Drugi detalj se tiče nečega što je jako teško prenijeti riječima, naime, trebalo je doživjeti manir kojim
je ovaj hrabri i inteligentni čovjek izbjegavao neugodna pitanja, način na koji je preusmjeravao situaciju. Također
se sjećam scene, kada smo zajedno kod njega u kući gledali televizijski prijenos fudbalskog susreta Turska – Bosna
i Hercegovina, sjedili pored njega navijali i galamili na sudiju, a Bećo koji je veoma pažljivo pratio meč u jednom
trenutku rekao : »(ONI) Ne mogu vas čuti!» Takav je bio Bećo, nije previše govorio, ali kada je to činio riječi su se
redale kao na «pravom putu».
Šta očekujete od ovoga filma i da li ste zadovoljni finalnom realizacijom?
Bećo nas je «napustio» usred snimanja, tako da smo morali preusmjeriti mnoge stvari. Žao mi je što nismo snimili,
između ostalog, razgovor sa jednim od čuvara u zatvoru u Banja Luci, sa kojim je Bećo ostao u vezi. Dobri se ljudi
naslanjaju jedan na drugog, a «velike» historijske ideje su tu, barem kada je o Balkanu riječ, da služe onima koji
su «gladni» vlasti. Na koncu, zadovoljan sam što smo uspjeli zabilježiti načela koja su činila Bećin život i koja su
istovremeno, osnovne dramaturške veze našeg filma. Na nastojanje da se Bećina sudbina podijeli sa svijetom ponosan
sam. Spasili smo od zaborava jednu sudbinu koja može biti uzorita društvu u cjelini, a istodobno smo ugradili još jedan
kamen u temelje onoga što se naziva bosanskohercegovačkim identitetom. Bećo daleko od svake pompe i crvenih
tepiha vječno živi u idealnoj Bosni - onakvoj kakvu sanjam «iza spuštenih trepavica».
PIZZA U AUSCHWITZU
Moshe Zimmerman, Izrael | 2008 | 65’
NAGRADE:
2008 Doc Leipzig - Prize of the Youth Jury of the Filmschule
2009 Doc Point - Best of Fest
49th Krakow Film Festival – Golden Dragon Award
2008 IDFA, the Netherlands - Best of Fest.
O FILMU:
Dokumentarni film izraelskog reditelja Moshe Zimmermana je film koji u prvi
plan ističe karakter i sudbinu sedamdesetčetverogodišnjaka koji je kao dijete
preživio holokaust. Autor prati putovanje Dannyja Hanocha, duhovitog, odlučnog
i upornog čovjeka koji povratkom na mjesta nacističkih zločina nastoji podijeliti
svoju traumu sa djecom koja ga prate na putu generacijskog suočavanja sa prošlošću, putu koje dokazuje kako „preživjeti“
holokaust zapravo nije moguće. Film u dinamičnom „road movie“ maniru gradira napetost odnosa roditelja i djece, kako
bi na koncu kulminirao u noći koju Dannyjeva djeca, Miri i Sagi, provode sa ocem u baraci Birkenaua naručujući pizzu.
Ovaj film, prepun crnog humora, ironičnog samoismijavanja i gorčine, između ostalog propituje mogućnost komuniciranja,
dijeljena, prenošenja vlastitog iskustva patnje naglašavajući konačnu nemogućnost prenošenja iskustva tragedije makar ona
bila izražena u najbližem, intersubjektivnom diskursu. Riječ je o izuzetno složenoj studiji ličnosti, filmu u kojem reditelj
vješto izbjegava intervencije koje bi mogle ugroziti intenciju da se objektivizira nastojanje jedne obitelji da, noseći teret
prošlosti, preradi transgeneracijska sjećanja na užase koncentracijskih logora. „Pizza u Auschwitzu“ također upozorava kako
intimni horizont očekivanja nije moguće usaglasiti sa političkom korektnošću vremena koje prolazeći ne uspijeva zaliječiti
rane koje je iza sebe ostavila historija.
O REDITELJU:
Moshe Zimmerman je scenarist i redatelj. Filmografija: ‘Cypress Love Story’ (2001-2008.), ‘The Sadness
of Ashkenazi Culture’ (1999-2008.), ‘A Whale at Sheraton Beach’ (1998.), ‘A Night without Na’ama’ (1992.),
PIZZA IN AUSCHWITZ
Moshe Zimmerman, Israel | 2008 | 65’
AWARDS:
2008 Doc Leipzig - Prize of the Youth Jury of the Filmschule
2009 Doc Point - Best of Fest
49th Krakow Film Festival – Golden Dragon Award
2008 IDFA, the Netherlands - Best of Fest.
ABOUT THE FILM:
This documentary film directed by an Israeli director Moshe Zimmerman primarily highlights the character and the fate of
a 74-year-old man who has survived the Holocaust concentration camp as a child. The author traces the journey of Danny
Chanoch, a witty, resolute and a relentless man who returns to the scenes of Nazi crimes and tries to share his trauma with
the children that accompany him on a trip of a generational confrontation with the past, a trip that proves that it is not actually
possible to “survive” the Holocaust. In a dynamic “road movie” manner, the film grades the tensions between the parents
and the children that eventually culminates in the night when Danny’s children, Miri and Sagi, spend a night in the Birkenau
barracks with their father, ordering a pizza. A movie full of black comedy, ironical self-mockery, and bitterness tends,
among other issues, to question the possibility of communication, sharing, relaying the personal experience of suffering and
underlining the ultimate inability to convey the experience of tragedy although it was expressed in the closest, interpersonal
discourse. This is a movie of an exceptionally complex personality study where the director artfully avoids interventions that
might blemish his intention to objectively portray the intentions of one family to process the cross-generational memories
of the concentration camp horrors by carrying the burden of the past. “Pizza in Auschwitz” also warns that it is not possible
to harmonize the intimate horizon of expectations with the political correctness of the passing time that does not succeed to
heal the wounds left behind by history.
ABOUT THE DIRECTOR:
Moshe Zimmerman is a scriptwriter and a director. Filmography: ‘Cypress Love Story’ (2001-2008.), ‘The
Sadness of Ashkenazi Culture’ (1999-2008.), ‘A Whale at Sheraton Beach’ (1998.), ‘A Night without Na’ama’ (1992.),
OBRAČUN:
BITKA ZA MEÐUNARODNI KAZNENI
SUD
Pamela Yates, Paco de Onis, Peter Kinoy | SAD | 2009 | 95’
PRIKAZIVANJA:
Movies that Matter Film Festival, The Hague
San Francisco International Film Festival
Berkshire International Film Festival
Santa Barbara Human Rights Film Festival
Human Rights Watch International Film Festival, USA
Rio Film Festival
NOS Documentary Festival, the Netherlands
O FILMU:
„The Reckoning“ je priča o prvih šest burnih godina postojanja Međunarodnog krivičnog suda (International Criminal
Court), prvog stalnog tijela nadležnog za suđenja za međunarodna krivična djela (zločine počinjene na teritoriji ili od strane
država koje su pristupile sudu). Međunarodni krivični sud je osnovan Rimskim statutom i odgovoran je za pokretanje tužbi
protiv pojedinaca koji se terete za ratne zločine, zločine protiv čovječnosti i genocid počinjene nakon 1. jula 2002. godine.
Ambiciozna zadaća koja je postavljena pred tužitelje ICC-a zainteresirala je iskusnu autoricu dokumentarnih filmova Pamelu
Yates da preispita i podsjeti na povijesne okolnosti koje su dovele do osnivanja Međunarodnog krivičnog suda, ali i otkrije
na koji način argentinski tužitelj Luis Moreno-Ocampo i njegov suradnički tim obavljaju svoj izuzetno kompleksan posao
istraživanja zločina u konfliktnim područjima Sudana, Ugande, Kolumbije i Konga. Film, osim što iznutra tematizira rad
Haškog suda, ukazuje na stravične posljedice zločina, daje glas preživjelima koji opisuju brutalna zvjerstva od silovanja
do sistematskog ubijanja, također problematizira zakulisne političke igre moći (administracija G. Busha je obavijestila
Ujedinjene nacije da Sjedinjene Američke Države neće sebe smatrati članicom suda odnosno da potpisivanje Rimskog
statuta neće smatrati pravno obvezujućim) koje podrivaju temelje međunarodnog prava. „The Reckoning“ artikulira snažnu
autorsku potrebu da se dokumentarnim filmom da doprinos razumijevanju složenosti odnosa koji kreiraju (ne)mogućnosti
dosezanja pravde na međunarodnom nivou, stoga nema sumnje kako njegovo prikazivanje u Sarajevu jeste od posebnog
značaja.
O REDITELJICI:
Pamela Yates je dobitnica stipendije Guggenheim za 2008. godinu.
Rediteljica je filma „When the Mountains Tremble“, nagrađenog na festivalu Sundance, producentica filma „Loss of the
Innocence“ koji je osvojio nagradu Emmy, te izvršna producentica filma „Witness to War“ nagrađenog Oskarom.
Suosnivačica je multimedijalne kompanije Skylight Pictures, Inc. iz New Yorka, koja se bavi produkcijom umjetničkih,
društveno relevantnih i nezavisnih dokumentarnih filmova posvećenih ljudskim pravima i borbi za pravdu.
THE RECKONING:
THE BATTLE FOR THE INTERNATIONAL CRIMINAL COURT
Pamela Yates, Paco de Onis, Peter Kinoy | SAD | 2009 | 95’
SCREENINGS:
Movies that Matter Film Festival, The Hague
San Francisco International Film Festival
Berkshire International Film Festival
Santa Barbara Human Rights Film Festival
Human Rights Watch International Film Festival, USA
Rio Film Festival
NOS Documentary Festival, the Netherlands
ABOUT THE MOVIE:
“The Reckoning” is a story on the first six turbulent years of the existence of the International Criminal Court, the first
permanent body competent for the trials against international criminal actions (crimes committed on the territory of the
states or by the states which approached the court). The International Criminal Court was established by the Rome Statute
and is responsible for prosecuting individuals who are charged with war crimes, crimes against humanity, and genocide
committed after 1 July, 2002. The ambitious goal set before the prosecutors of the ICC has made the veteran maker of
documentary films, Pamela Yates, to reexamine and remind of the historical circumstances which led to the establishing
of the International Criminal Court. Also, she has to discover how the prosecutor from Argentina, Luis Moreno-Ocampo,
and his team of associates perform their extremely complex job of crime investigations in the conflict areas of Sudan,
Uganda, Columbia, and Congo. The Film, not only thematically displays the work of the Court in The Hague, but also
points to the monstrous consequences of the crimes, provides a voices to survivors who describe the brutal monstrosities
ranging from raping to systematic killings, and questions
the political games of power going on behind the scenes
(the George Bush administration notified the United Nations
that the United States of America will not consider itself to
be a member of the Court, that is, that it will not consider
the Rome Statute to be legally binding) which undermine
the foundations of international law. “The Reckoning”
articulates the strong need of the author to contribute
to the understanding of the complexity of the relations
which create the (im)possibility of reaching justice at an
international level by making documentaries, and therefore
there is no doubt that the projection of the film in Sarajevo
is of special significance.
ABOUT THE DIRECTOR:
Pamela Yates was awarded the Guggenheim fellowship for
2008.
She is the director of “When the Mountains Tremble”, a
film awarded at the Sundance Film Festival, the producer
of “Loss of the Innocence”, a film which won the Emmy
Award, and the executive producer of the film “Witness to
War”, which won an Academy Award.
She is the co-founder of Skylight Pictures, Inc. from New
York, a multimedia company which produces artistic,
socially relevant, and independent documentary films
dedicated to human rights and the fight for justice.
Selekcija dokumentarnih filmova je napravljena od strane CLAM Medjunarodnog filmskog festivala solidarnosti
Navarcles (Katalonija), kao dio kulturnog programa kooperacije katalonske organizacije IGMAN-Accio Solidaria
THE OBLIVION OF THE MEMORY
(EL OLVIDO DE LA MEMORIA)
Iñaki Elizalde, Spain | 1999 | 28’
NAGRADE:
Nominiran u kategoriji za najbolji kratki dokumentarni film, XIV
NAGRADE GOYA, 2000.
Najbolji kratki film, XVI Sedmica baskijskog filma, Vitoria
Najbolji kratki film, VIII GALA NAGRADE ‘’EL MUNDO’’ ZA
BASKIJSKI FILM
Najbolji dokumentarni film, II MEDITERANSKO TAKMIČENJE DOKUMENTARNOG I IGRANOG FILMA, Mallorca
2000.
Najbolji dokumentarni film IX MEĐUNARODNI FILMSKI FESTIVAL BADALONA. 2003.
Najbolji evropski film, IX MEĐUNARODNI FILMSKI FESTIVAL BADALONA. 2003
Najbolji film, IV MEĐUNARODNI FILMSKI FESTIVAL NAVARCLES, 2004
O FILMU:
Djeca osjećaju ono što ih odrasli nauče da osjećaju. Kada djeca žive okružena mržnjom i osvetama naučit će da mrze i da
imaju želju za osvetom. Ovaj dokumentarac se bavi šokantnim pričama kosovske i srpske djece koja su proživjela ratne
strahote koje su ih okrenule jedne protiv drugih. Film se bavi i pričama drugih, sada već starih osoba, koje prizivaju sjećanja
o djetinjstvu provedenom u jednom drugom ratu.
O REDITELJU:
Iñaki Elizalde rođen je 17.5.1970. godine u Pamploni. Studirao je geografiju, historiju i estetiku filma na Univerzitetu u
Navarri i filmsku režiju na CECC-u (Centar za kinematografske studije u Kataloniji)
Bio je scenarista, režiser i montažer 5 kratkih filmova na 35mm. Dobitnik je preko 20 međunarodnih nagrada, uključujući i
onu na Međunarodnom filmskom festivalu Bilbao. Jedno od njegovih djela ušlo je u širi izbor za nominacije za Oskara 1999.
godine. Trenutno paralelno radi u reklamnoj industriji i režira svoj prvi dugometražni igrani film Pietà.
The selection of the documentaries was made by the CLAM-International Solidarity Film Festival of Navarcles
(Catalunya), as part of the Catalan IGMAN-Acció Solidària organisation’s Cultural Cooperation Programme
THE OBLIVION OF THE MEMORY
Iñaki Elizalde, SPAIN | 1999 | 28’
AWARDS:
Nominated in the category best short documentary XIV GOYA AWARDS 2000.
Best short movie XVI Week of Basque Cinema, Vitoria
Best short movie VIII GALA AWARDS ‘’EL MUNDO’’ TO THE BASQUE CINEMA.
Best documentary II FILM AND DOCUMENTARY COMPETITION OF THE MEDITERRANEAN. Mallorca 2000.
Best Documentary IX INTERNATIONAL FILM FESTIVAL BADALONA. 2003.
Best European movie IX INTERNATIONAL FILM FESTIVAL BADALONA. 2003
Best movie, IV INTERNATIONAL FILM FESTIVAL NAVARCLES, 2004
ABOUT THE FILM:
Children feel what their elderly teach them to feel. When they live surrounded by hatred and revengeful behavior they
learn to hate and to be revengeful. This documentary portrays the shocking stories of Kosovar and Serb children who have
experienced the horrors of the war which turned them against each other. It also presents stories of the older generation
reflecting on their childhood during another war.
ABOUT THE DIRECTOR:
Iñaki Elizalde was born on May 17, 1970 in Pamplona. He studied geography, history and film esthetics at the University of
Navarra and film directing at CECC (Center of Cinematographic Studies of Catalonia)
He has been a screenwriter, director and editor of five short 35mm films and received over 20 international awards, including
the award on the International Film Festival of Bilbao. In 1999 one of his works entered the wider selection for Academy
Award nominations. He was nominated for Goya Awards twice in the categories of Short Fiction Film and Short Documentary.
He is a member of the Spanish Academy of Arts and Cinematographic Sciences and the European Film Academy.
Currently he works in the advertising industry and directs his first feature film Pietà.
Selekcija dokumentarnih filmova je napravljena od strane CLAM Medjunarodnog filmskog festivala solidarnosti
Navarcles (Katalonija), kao dio kulturnog programa kooperacije katalonske organizacije IGMAN-Accio Solidaria
IT’S OUR NEIGHBOURHOOD
(EL BARRI ÉS NOSTRE)
Quim Crusellas, Spain - Catalonia | 2009 | 45’
O FILMU:
Film „It’s Our Neighborhood“, u kojem se prikazuju susjedi Osone (četvrt u gradu
Vic), zamišljen je kao opravdanje koje nam dopušta jačanje odnosa i društvenu
solidarnost.
Susjedstvo je smješteno u južnom dijelu grada i izgrađeno je u ranim sedamdesetim.
U prethodnih 20 godina susjedstvo je doživjelo rast od 40% uslijed dolaska
imigranata iz Indije, Maroka i Subsaharske Afrike.
„It’s Our Neighborhood” je projekat općine Vic koji podržava Provincijsko vijeće
Barselone i Vlada Katalonije. To je također projekat saradnje između Udruženja
susjeda Osone, Zajednice kućevlasnika četvrti Osona i Udruženja za socijalni i
kulturni razvoj Indije u Osoni.
O REŽISERU:
Quim Crusellas, rođen 1972, diplomirao je na filmskoj režiji na CETC-u (Centar za kinematografijske studije u Kataloniji).
Od juna 2009. predsjednik je organizacije CINEMA CLUB VIC (osnovan 1958). Također je osnivač i partner kompanije
Moviola Productions koja trenutno producira sedmičnu televizijsku emisiju El Cinematògraf, koja se prikazuje na više od
trideset privatnih i lokalnih televizijskih stanica diljem Katalonije, Balearskih ostrva i Andore. Dobio je nagradu Zapping za
najbolji program i intervjue o aktuelnim događajima u 2008. godini.
Zadužen je za produkciju događaja i ceremonija zatvaranja na Međunarodnom filmskom festivalu Muntanya de Torell,
na Festivalu kratkih filmova Cambrils, Festivalu evropskog filma Reus i na Festivalu kratkih filmova Julius. Sarađuje sa
Međunarodnim filmskim festivalom katalonskog filma (SITGES), Filmskim festivalom crnaca u Manresi i Međunarodnim
festivalom filmova solidarnosti Navàrcles.
Organizator je filmskih festivala i kulturnih aktivnosti Noći orijentalnog filma i Festivala Julius u Vicu. Također je zadužen
za produkciju, odabir filmova, koordinaciju aktivnosti, i uređivanje audio-vizuelnih projekata. Urednik je žurnala CINEASIA
(azijski film) i producent pilot programa ‘’Video Space’’ koji je osvojio nagradu AMC (Audiovisual Market of Catalonia
– katalonsko audio-vizuelno tržište) 2009. godine kao najbolji program iz kulture.
The selection of the documentaries was made by the CLAM-International Solidarity Film Festival of Navarcles
(Catalunya), as part of the Catalan IGMAN-Acció Solidària organisation’s Cultural Cooperation Programme
IT’S OUR NEIGHBOURHOOD
Quim Crusellas, Spain - Catalonia | 2009 | 45’
ABOUT THE FILM:
It’s our neighborhood, in which main stars are the neighbors of the neighborhood Osona in the town of Vic, is conceived as
an excuse that allows us strengthening of associations and social cohesion.
The neighborhood is located in the southern part of the town and was built in the early seventies. During the last twenty
years there has been seen a growing of 40% of the immigrant population from India, Morocco and Sub-Saharan Africa
It’s our neighborhood, is a project of the municipality of Vic which has the support of Barcelona Provincial Council
and the Government of Catalonia and as well cooperation with the Association of neighbors of Osona, Community of
homeowners of the square Osona and the Association for social and cultural development of India in Osona.
ABOUT THE DIRECTOR:
Quim Crusellas (1972). Graduated in film directing at the CECC (Center of Cinematographic Studies of Catalonia). President
of the organization CINEMA CLUB VIC (founded in 1958) since June 2009. Founder and managing partner of the company
Moviola Productions that currently works in the production of weekly television show El Cinematògraf, which is being
shown on more than thirty private and local televisions around Catalonia, Balearic Islands and Andorra. Zapping Award
winner for Best current affairs program and interviews 2008
He is in charge in producing the sessions and closing ceremonies at the International Film Festival Muntanya de Torell,
Festival of short movies Cambrils, Festival of European Cinema Reus and Festival of short movies Julius. He collaborates
with the International Film Festival of Catalan Cinema (SITGES), Film Festival of Black Cinema Manresa and International
Festival of Solidary Cinema Navàrcles.
He is the organizer of the film festivals and cultural activities, Nights of Oriental Cinema and Festival Julius in Vic, in
charge of production, selection of movies, coordination of activities and edition of all the audiovisual projects. Is an editor
of the journal CINEASIA (Asian Cinema) and producer of the pilot program ‘’Video Space’’ winner of the AMC award
(Audiovisual Market of Catalonia) in the year 2009 as the best program in culture.
RIPUJ!: MANIFEST REMIKSOVANJA
Brett Gaylor, Kanada | 2008 | 80’
NAGRADE:
IDFA (International Documentary Festival Amsterdam) – Dioraphte
Audience Award
Whistler Film Festival – People’s Choice Award
Festival du noveau cinema Montreal – Jury honourable mention
O FILMU:
U kakvoj vezi stoje Internet, kultura, vlasništvo, sloboda, prošlost i budućnost? Upravo u istoj vezi kao i softver,
remiksovanje, dijeljenje, kontrola, kreativnost, Mickey Mouse i Girl Talk?
Manifest ripovanja, iznimno važna CC (Creative Commons) filmska poruka koju Brett Gaylor šalje korisnicima Mreže,
pojašnjava jedan od najaktuelnijih problema današnjice – rat za ideje, rat za informacijsko dobro. Istražujući pravo na
informaciju i slobodu izražavanja u digitalnom dobu, Gaylor kreira uzbudljivo, aktuelno, aktivističko dokumentarno
ostvarenje koje upozorava kako je informacijsko-komunikacijska tehnologija isuviše značajna komponenta našeg
života da ne bismo osvijestili kako je stavljena u službu korporacijskih lobija koji grčevito nastoje zadržati dominaciju
nad kulturnim tržištem (na zakonskom nivou pooštravanjem režima intelektualnog vlasništva; na tehničkom
nivou, kontrolom nad javnom sferom putem otežavanja ili onemogućavanja slobodnog pristupa informacijama; na
ekonomskom nivou, eksploatacijom coyprighta itd.) U iznimno dinamičnom i provokativnom duhu ovaj film nas
poziva da razmilslimo da li smo spremni podržati kontrakulturni (copyleft) projekat onih koji vjeruju da slobodna
razmjena ideja ne bi smjela biti zapriječena od strane onih koji putem mehanizama zaštite intelektualnog vlasništva
nastoje uspostaviti kontrolu nad globalnom ekonomijom ideja. RIP!: A Remix manifesto nipošto nije dokumentarac
koji se tiče isključivo kiberetike, naprotiv, radi se o filmu koji propituje “etiku piratstva” pojašnjavajući kako kršenje
autorskih prava zapravo najmanje ugrožava same autore, te da su stvarni “gubitnici” korporacijski giganti koji pod
svaku cijenu žele spriječiti “remix kulturu” kako bi nastavili umnožavati svoj profit.
Centralni protagonist filma je muzičar Girl Talk koji svojim semplovima uveseljava svoju generaciju, Lawrence Lessing
tvorac Creative Commons licence, profesor prava na Stenfordu i dokazani Copyleftist, Ministar kulture Brazila,
muzičar Gilberto Gil, kritičar digitalne kulture, Cory Doctorow,
ali i predstavnici, zagovornici, zaštitnici “copyright sile”,
visokopozicionirani politički i zakonodavni autoriteti, među
kojima stoje sve sami dušebrižnici kulture, izvršni direktori
i “zvijezde” poput Arnold Swarzenegera ili Lars Ulricha
(Metallica).
Na koncu, koliko god vam to čudno zvučalo, ovaj film ne morate
pogledati u kinu, možete ga slobodno preuzeti na oficijelnoj
web stranici (novčano ga podržavajući onoliko koliko smatrate
da vrijedi), upravo zato što bi bilo poželjno da ga koristite
kao platformu za daljni razvoj “dokumentarne radnje” i tako
demokratski učestvujete u kreiranju RIP!: A Remix Manifesto
2.0 projekta stvarajući nove informacije koje će pomoći da
se što više kibernauta uključi u borbu za odbacivanje lanaca
prošlosti. Informacijski rat je osovina umreženog društva:
pogledajte zašto!
O REDITELJU:
Kanadski dokumentarist i video aktivist Brett Gaylor je tvorac
Kina otvorenog koda (Open Source Cinema) zajednice koja
promovira remix kulturu dozvoljavajući slobodu semplovanja
online proizvoda (posebice putem YouTube-a i Flick-a).
Njegov aktivizam na području online kulture podstiče borbu
za smanjivanje digitalnog jaza između „informacijski bogatih”
i „informacijski siromašnih”. Jedan je od prvih kanadskih
videobloggera i instruktor Gulf Islands filmske i televizijske
škole.
RIP!: A Remix Manifesto
Brett Gaylor, Canada | 2008 | 80’
AWARDS:
IDFA (International Documentary Festival Amsterdam) – Dioraphte Audience Award
Whistler Film Festival – People’s Choice Award
Festival du noveau cinema Montreal – Jury honourable mention
ABOUT THE FILM:
What’s the connection between internet, culture, ownership, freedom, past and the future? Is it the same as the
connection between software, remix, distribution, control, creativity, Mickey Mouse and the Girl Talk?
RIP Manifesto, an extremely important Creative Commons’ film message that Brett Gaylor is sending to the users
of the Web explains one of the most talked-about problems of today – the war of ideas, the war for information
goods. Researching a right of information and the freedom of expression in a digital era, Gaylor creates an exciting,
current and advocating documentary piece that warns about the extreme importance of communication technology
on our lives and should not be put in the hands of the corporate lobbyists who are trying to keep their reign over the
cultural market (by strengthening the regime of the intellectual property, on the judicial level; on the technical level,
by controlling public sphere by limiting or disabling free access to information; on economic one, by exploitation of
copyrights etc.).
In a quite dynamic and provocative spirit, this movie invites us to think about whether or not we are ready to support
“contra-cultural , copyleft, project” of those who believe that a free exchange of ideas should not be prevented by
those who aspire to establish a control over global economy of ideas by using mechanisms of intellectual property
protection. RIP!: A Remix Manifesto is not a documentary that deals with the topic of cybernetics only; it is also a
documentary that examines the “ethics of piracy”, explaining how copyright violations are least damaging for the
authors themselves and that true “losers” are actually the corporate giants that strive to stop the spread of the “remix
culture” so they could continue accumulating profit.
Main protagonists in this movie are musician Girl Talk, whose samples “entertain” his generation; a creator of Creative
Commons license, professor of law, a minister of culture of Brazil and an acclaimed “copyleftist”, musician Gilberto
Gil; a critic of the digital culture, Cory Doctorow, but also many other representatives, advocates, “copyright power”
protectors, high position political and legal authorities, among whom are such “caretakers” of culture as Arnold
Schwarzenegger or Lars Ulrich (Metallica).
In the end, no matter how strange it might sound, you don’t have to see this film in a theater – you can freely download
it from the official website (and of course, donate money if you think it’s worth it) precisely so you can use it as a
platform for further development of “documentary action” and in this way participate in a democratic creation of RIP!:
A Remix Manifesto 2.0 project, thus creating new information that will help include more cybernauts in a fight against
the chains of the past. Information war is a centerpiece of a digital society – see why!
ABOUT THE DIRECTOR:
Canadian documentary filmaker
and video activis, Brett Gaylor, is
a creator Open Source Cinema, a
community that promotes remix
culture by allowing free „sampling”
of online products (especially via
YouTube and Flick). His activism on
the field of online culture ignites the
fight for for elimination of a digital
gap between the „informationally
rich” and the „informationally
poor.” He is one of the first canadian
videobloggers and the instructor at
the Gulf Island School of Movie and
Television.
SLIJEDEĆI SPRAT
Denis Villeneuve Canada | 2008 | 11’ 34’’
NAGRADE:
Cannes International Film Festival 2008 - Cannes, France
International Critics’ Week
Best short film (Canal+ Award)
Grand Prize – 14th International Short Film Festival 2008 – Drama,
Greece
Best Live Action Short Film – Calgary International Film Festival Calgary, Canada
Best International Fiction – Izmir International Short Film Festival 2008
– Izmir, Turkey
Best Live Action Short Film – 17th St. Louis International Film Festival
2008 – St. Louis, USA
Audience Award – L’Étrange Festival de Lyon 2009 – Lyon, France
Be-TV Award – Brussels International Fantastic Film Festival – Brussels,
Belgium
Best Short Film Fiction – Mediawave Film and Music Awards 2009 – Gyor, Hungary
Audience Award: Best Short Film – Dead by Dawn International Film Festival 2009 – Edinburgh, Scotland
Best International Short Film: Jury Award and Press Award – Expresion en Corto International Film Festival – San
Miguel de Allende Mexico
Grand Prize Best International Film – 24th International Odense Film Festival 2009 – Odense Denmark
O FILMU:
Crna komedija o bizarnom, grotesknom banketu “visokog društva” - “Slijedeći sprat”, kanadskog autora Denisa
Villeneuvea, proglašena je za najbolji kratki film na prošlogodišnjoj Međunarodnoj sedmice kritike u Cannesu. Ovaj
satirični kratki film fantastične vizuelne snage, besprijekorne scenografije, baroknih kadrova i savršene kompozicije,
referira se na društvenu kritiku prepoznatljivu u radovima Luisa Buñuela i predstavlja istinsku horor metaforu o
proždrljivosti, halapljivosti i dekadenciji.
O REDITELJU:
Denis Villeneuve je za kratko vrijeme stekao priznanje javnosti i privukao pažnju kritike svojim filmovima koje
karakterizira moćan i osobit filmski jezik. Njegova dva igrana filma, Un 32 août sur terre i Maelström, sa velikim su
uspjehom prikazivana na mnogobrojnim svjetskim festivalima uz veoma pozitivne kritike.
NEXT FLOOR
Denis Villeneuve Canada | 2008 | 11’ 34’’
AWARDS:
Cannes International Film Festival 2008 - Cannes, France
International Critics’ Week
Best short film (Canal+ Award)
Grand Prize – 14th International Short Film Festival 2008 – Drama, Greece
Best Live Action Short Film – Calgary International Film Festival - Calgary, Canada
Best International Fiction – Izmir International Short Film Festival 2008 – Izmir, Turkey
Best Live Action Short Film – 17th St. Louis International Film Festival 2008 – St. Louis, USA
Audience Award – L’Étrange Festival de Lyon 2009 – Lyon, France
Be-TV Award – Brussels International Fantastic Film Festival – Brussels, Belgium
Best Short Film Fiction – Mediawave Film and Music Awards 2009 – Gyor, Hungary
Audience Award: Best Short Film – Dead by Dawn International Film Festival 2009 – Edinburgh, Scotland
Best International Short Film: Jury Award and Press Award – Expresion en Corto International Film Festival – San
Miguel de Allende Mexico
Grand Prize Best International Film – 24th International Odense Film Festival 2009 – Odense Denmark
ABOUT THE FILM:
A black comedy on a bizarre and grotesque “high society” banquet - Next Floor by Canadian author Denis Villeneuve
that was awarded best short film at last week’s International Critics’ Week at Cannes. This satirical short film which
possesses amazing visual strength, flawless scenery, baroque shots, and perfect composition, referrers to the social
critique recognizable in the works of Luis Buñuel, and represents a true horror-metaphor of gluttony, greed, and
decadence.
ABOUT THE DIRECTOR:
Denis Villeneuve has rapidly achieved both public and critical appraisal for films showcasing his powerful and
distinctive cinematic voice. His first two feature films “Un 32 août sur terre” and “Maelström” were screened to critical
acclaim at many international festivals.
HAJDEMO ZARADITI
Erwin Wagenhofer, Austrija | 2008 | 108’
NAGRADE:
Nominacija za nagradu u kategoriji World Cinema (Grand Jury
Prize) – Sundance Film Festival.
O FILMU:
Godinu dana nakon što se rekapituliraju posljedice globalne, svjetske
ekonomske krize, šalju «optimistične» medijske poruke o stabilizaciji,
oporavku, «izlasku iz recesije», izgleda kako zatvoriti festival filmom
o globalnoj finansijskoj kontroli itekako ima smisla.
Projekcija posljednjeg filma austrijskog reditelja Erwin Wagenhofera „Let’s make money“ će nas u potpunosti lišiti iluzija
o dostojanstvenoj budućnosti, naime preživljavanje pod čizmom MMF-a i njenih ekomonskih egzekutora mnogo više liči na
scenarij za horor film od kojeg je strašnije još samo zatvaranje očiju. Šokirajuće koncizno, analitički temeljito i istraživački
jasno, ovaj dokumentarni film pojašnjava okolnosti koje doslovno čitav svijet drže u klopci neoliberalizma, nevidljive ruke
slobodnog tržišta, privatizacije, investicijskog mešetarenja i umnožavanja profita. Gotovo je nevjerovatno koliko poveznica
možemo naći kada je u pitanju i naša „tranzicijska zbilja“ zbog čega bi, u najmanju ruku, bilo pošteno pogledati ovaj film
kako bi se informirali šta tačno znači potpisivanje ugovora sa Svjetskom bankom. Zaduživanje ili doslovno potpisivanje
smrtne presude društvu, jeste mehanizam (kako to smireno i hladno pojašnjava John Perkins, bivši finansijski egzekutor)
ucjenjivanja koji funkcionira poput mafije - ukoliko neki svojeglavi politički lider odbije suradnju (odbije prodati svoj narod,
resurse, odnosno odbije otvoriti tržište korporacijskim investitorima) za takve situacije postoji nemilosrdno rješenje: slanje
«šakala» koji će likvidirati «neposlušnika», a ako, ne daj Bože, ni to ne uspije, slanje vojnika na teren (baš kao u slučaju Iraka)
nikada ne ostavi posao nedovršenim. Krajnji cilj „kreditiranja“ je, kako to ovaj film na koncu pojašnjava, dovesti građane
u poziciju vječnog dugovanja, države u potpunosti lišiti ekonomskog suvereniteta omogućavanjem slobodnog ulaska na
domaće tržište inozemnih investicijskih fondova (odnosno ulagača, razvojnih «korporacijskih trupa») koje će preko banaka
«isisati» i prebaciti kapital iz zemlje, a potom ga premjestiti na bankovne račune carinskih oaza koje osiguravaju privatnost
svojih klijenata, pa tako nikada nećemo saznati imena globalnih moćnika, nekolicine hipermilijardera koji ekonomski
iskorištavaju, kontrolišu i upravljaju svjetskim resursima tj. našim životima.
Čak i ukoliko vas ne interesuju kompleksne ekonomsko-političke mahinacije (ili možda mislite da nemaju nikakve veze
sa raznovrsnim planetarnim problemima) ovaj dokumentarni film će itekako dobro poslužiti razumijevanju na koji način
globalni tokovi novca utiču na naše živote tj. razumijevanju uzroka zbog kojih «bolje sutra» može donijeti tek konačni slom
svjetskog monetarnog tržišta. Ako ništa drugo, možda barem zapamtimo riječi Hermann Scheera (člana njemačkog parlamenta
i dobitnika alternativne Nobelove nagrade): «Privatizacija je riječ latinskog porijekla i znači «oduzeti, lišiti». Kada se dešava
privatizacija javna dobra zaposjedaju privatnici ili se prodaju u bescjenje...što je jednako pljačkanju zajednice.»
Zvuči stravično poznato, zar ne?
O AUTORU:
Austrijski reditelj Erwin Wagenhofer karijeru je započeo sa kratkim filmovima, a osamdesetih godina je radio kao kamerman
na nekoliko igranih i dokumentarnih filmskih projekata ORF produkcije. Od 1987. godine radi kao free-lance reditelj, a
svjetski publicitet je dobio 2005. godine nakon prikazivanja filma «We feed the world», dokumentarnog ostvarenja koje
je u Evropi vidjelo preko 800 hiljada gledatelja (FIPRESCI nagrada, Amnesty International Human Rights Award). Nakon
velikog uspjeha filma «We feed the world», koji je sa kritičkog stanovištva propitivao međunarodnu agrikulturnu politiku,
prošle godine u oktobru je predstavio svoj novi film «Lets make money» o globalnom finansijskom sistemu i nepravičnoj
distribuciji.
LET’S MAKE MONEY
Erwin Wagenhofer, Austria | 2008 | 108’
AWARDS:
Nomination for the Grand Jury Prize in the World Cinema category, Sundance Film Festival.
ABOUT THE FILM:
One year after the evaluation of the consequences of the global economic crisis and the emergence of “optimistic”
media messages about stabilization, recovery, and the end of the recession, closing a festival with the film about global
financial control makes seems to make sense. Screening of “Let’s make money”, a latest film by the Austrian director
Erwin Wagenhofer, will completely eliminate any illusions we might have about our dignified future. The story of
survival under the boot of World Monetary Fund and its economic executors resembles a screenplay for some horror
movie; the only thing more horrifying that this is turning a blind eye to what is happening around us.
In a shockingly concise, analytically thorough and crystal clear manner, this documentary depicts the circumstances
that make the whole world hostage to the neoliberalism and the invisible hand of free market, privatization,
investigative brokerage and profit accumulation. It’s almost unbelievable how many connections we can find between
this story and our own “transitional reality” which makes watching this movie a “must” if we are to make an informed
decision about signing an agreement with WMF. A loan from WMF means a certain death of a society. Like John
Perkins, former WMF financial executor, calmly and indifferently pointed out, it is a mechanism of blackmail, not
much different from that of a mafia, which makes sure that any political leader who refuses cooperation (read: refuses
to sell out his people and resources and to open his country’s market to the corporate investors) will be dealt with
in a proper and merciless manner: liquidated by the hand of ruthless jackals. In case that does not work, sending in
ground troops (like in the case of Iraq) always gets the job done.
An ultimate goal of WMF “loans”, as this film points out, is get people in a bottomless debt and to completely eliminate
states’ economic sovereignty by allowing foreign investment funds, or “corruption troops”, to enter domestic market,
suck out any existing capital and then transfer it over to some off-shore bank accounts that protect privacy of their
clients, thus making it impossible to ever find out names of the handful hyper-millioners, powerful men that use and
exploit world economic resources, and in turn control our lives.
Even if you are not interested in complex economic and political interactions, or you think they have nothing to do
with everyday worldly problems, this documentary can serve a purpose of better understanding a way in which
global money transfers affect our lives and the causes that might bring about final financial breakdown of the global
monetary market. If nothing else, we might at least remember the words of Hermann Scheer ( a member of a German
parliament and a Nobel Prize winner): “Word ‘privatization’ comes from a Latin word meaning ‘to seize, to take away.’
During privatization, common goods are either seized by private owners or sold for a fraction of their actual worth …
both equaling to a robbing of societies.”
Sounds frighteningly familiar, doesn’t it?
ABOUT THE DIRECTOR:
Austrian director Erwin Wagenhofer launched his career with short movies. In the 80’s he worked as a cameraman on
several motion picture and documentary
movies for the ORF Production Company.
In 1987, he started working as a free lance
director and in 2005 he received a world
renown publicity for his film “We feed
the world”, a documentary masterpiece
that had 800,000 viewers in Europe
alone (this movie won FIPRESCI award
and the Amnesty International Human
Rights Award). After the big success of
“We feed the world,” which took a critical
stand on a global agricultural politics, in
October 2008 he introduced his new film
“Let’s make money,” a story about global
financial system and unjust distribution of
world wealth.
ZUMIRAJ PRAVA
Gdje počinju ljudska prava?
“U malim mjestima, blizu naših domova – toliko blizu i tako malim da se čak i ne vide
niti na jednoj karti svijeta. Ipak ta mjesta su svijet neke osobe; naselje u kojem on ili ona živi;
škola ili fakultet koju on ili ona pohađa; fabrika, farma ili ured gdje on ili ona radi.
Takva su mjesta u kojima svaki muškarac, žena ili dijete traže jednaku pravdu,
jednaku mogućnost, jednako dostojanstvo bez diskriminacije.
Ako ta prava tu nemaju nikakvo značenje onda ona jako malo znače bilo gdje drugo.
Bez rada odgovornih građana/ki na očuvanju ovih prava u blizini svojih domova, naša potraga za napretkom u
cijelom svijetu je uzaludna.”
Eleanor Roosvelt,
Predsjedavajuća Komisije Ujedinjenih Naroda koja je napisala Univerzalnu deklaraciju 1948
Sa konceptualizacijom svog “mladog” programa ZUMIRAJ PRAVA/ZOOM RIGHTS, PRAVO LJUDSKI se
postavlja kao alternativna edukacijska platforma za mlade. Program otvara prostora i ohrabruje slobodni izraz,
potičući dijalog i moderirajuci ili inicirajuci proces senzibilizacije mladih za ljudska prava. Svaka od tri programske
komponente: projekcije dokumentarnih filmova o ljudskim pravima, radionice, kao i natječaj za najbolju fotografiju
na temu ZUMIRAJ DOSTOJANSTV(en)O, na kreativan i interaktivan način podstiču razumijevanje socijalno-političke
realnosti i/ili iniciraju socijalnu akciju.
Filmski program uključuje kratke dokumentarne filmove, snimljene u okviru programa Mladi Iniciraju
Promjene (Youth Producing Change Programme) od strane filmskih stvaralaca koji su u vrijeme produciranja filmova
imali manje od 19 godina. Na ovaj način će se inicirati virtualna i, nadamo se, kreativna “komunikacija”, kao i
razmjena ideja među vršnjacima koji preuzimaju inicijativu i dokumentiraju svoju osobnu percepciju problema
koje uočavaju u svom intimnom okruženju, kako kroz film, tako i kroz fotografiju. Nevjerovatni i dirljivi Dijete rata
(C. Karim Chrobog, SAD, 2008) i Kojim putem kući (Rebecca Cammisa, Meksiko/SAD, 2009), osvještavaju o patnji
djece i o njihovoj diskriminaciji na etničkom, socijalnom i/ili ekonomskom osnovu. Kreni i trči (Nicole Opper, SAD,
2009) dokumentira „trnoviti“ put koji vodi do ulaska u svijet odraslih, oslikavajući kroz međukulturalnu perspektivu
„specifične“ krize identiteta. Ovaj film ne samo da ruši etničke, rasne ili seksualne predrasude, već je i vrlo moćno
sredstvo komunikacije za mlade širom svijeta, obzirom da predstavlja svuda prisutna unutarnja (identitarna ili
različite) “buđenja” kroz koja tinejdžeri prolaze. Film Druga Planeta (Ferenc Moldoványi, Mađarska, 2008) nas
transcedentira do Ekvadora, Meksika, Konga i Kambodže, fotografirajući eksploataciju djece. Baca nas na koljena,
dajući dodatnu snagu argumentu o univerzalnosti ljudske patnje, jezikom razumljivim publici programa ZUMIRAJ
PRAVA.
99% Iskreno (Rune Denstad Langlo, Norveška, 2008) portretira mlade muzičare različitog porijekla okupljene u
rap bendu, koji unose sve svoje različitosti u muziku koju stvaraju zajedno. I konačno, dokumentarni film mlade
bosanskohercegovačke autorice Sabrine Begović (SUNČANA DJECA, 2008) nas uvlači u svakodnevni život djece sa
Daunovim sindromom, koja žive u društvu, koje, kako u svojoj javnoj sferi, tako i u svojim najintimnijim dijelovima,
daje vrlo malo prostora svojoj Sunčanoj Djeci.
Nadamo se da će nas Program ZUMIRAJ PRAVA / ZOOM RIGHTS voditi do mjesta gdje počinju ljudska prava.
Kumjana Novakova, Selektorica programa
ZOOM RIGHTS
Where Human Rights begin?
“In small places, close to home - so close and so small that they cannot be seen on any
maps of the world. Yet they are the world of the individual person; the neighborhood s/he
lives in; the school or college s/he attends; the factory, farm or office where s/he works.
Such are the places where every man, woman, and child seeks equal justice, equal
opportunity, equal dignity without discrimination. Unless these rights have meaning
there, they have little meaning anywhere. Without concerned citizen action to uphold
them close to home, we shall look in vain for progress in the larger world.”
Eleanor Roosevelt,
Chair of the United Nations Commission that wrote the Universal Declaration in 1948.
With the conceptualization of the “young” ZOOM RIGHTS / ZUMIRAJ PRAVA program PRAVO LJUDSKI acts
as an alternative education platform for youth. It is a stage for the young people to express themselves, inspiring
a dialogue and ultimately moderating or at least initiating a process of human rights sensitivisation. Each of the
program’s three components: human rights documentaries screenings, workshops and human rights photography
contest ZOOM DIGNITY, catalyze understanding of our socio-political reality and/or instigate social action.
The film programme unwraps with human rights shorts (Youth Producing Change programme), produced by
filmmakers who were under the age of 19 at the time of production! This will initiate virtual and hopefully creative
“communication” and exchange of ideas between same-age youth who took initiative and documented their intimate
concerns of the world we live in, either through film or photography.
The remarkable and heart-breaking War Child (C. Karim Chrobog, USA, 2008) and Which Way Home (Rebecca
Cammisa, Mexico/USA, 2009) raise awareness on children’ suffering and discrimination on ethnic, social and/or
economic grounds. Off and Running (Nicole Opper, USA, 2009) documents the “not-so-smooth” entry of a teenager
into adulthood, bringing in cross-cultural perspective to often seen “specific” identity struggles. The film not only
breaks ethnic, racial or sexual stereotypes, but is a powerful tool of communication for youth worldwide as it presents
the everywhere present internal (identity or different) “awakening” teenagers go through. The contemplative Another
Planet (Ferenc Moldoványi, Hungary, 2008) transcends us to Ecuador, Mexico, Congo and Cambodia photographing
children exploitation, bringing us on our knees, so to make with greatest strength the argument of universality of
suffering also in language close to ZOOM audience. 99% Honest (Rune Denstad Langlo, Norway, 2008) portrays young
musicians from different backgrounds gathered in a rap band which transcends all their differences into music. Finally,
the documentary of the young Bosnian author Sabrina Begovic, (SUNČANA DJECA, 2008) encapsulates the daily life of
children with Down syndrome in a society which as in its public life, also in its most intimate cells, gives very little or
no room for expression to its Sunny Children.
ZUMIRAJ PRAVA / ZOOM RIGHTS program will hopefully lead us to the place where human rights begin.
Kumjana Novakova, selector
Youth Producing Change Programme (Human Rights Watch & Adobe Youth Voices):
Leila
Leila je djevojčica koja živi sa roditeljima i sedmero braće u jednom malom selu. Nakon loše godine i slabe žetve,
teški uslovi pretvaraju Leilu u magarca.
Sako
U svojih 13 godina, Sako je putovao po mnogim mjestima u Armeniji kako bi gradio groblja. Život nije lak kada radiš
u fabrici nadgrobnih spomenika, a škola ostaje samo san.
Mozambik
Mozambik je dom devet miliona djece mlađih od 15 godina. Od toga, njih 500 hiljada su siročad, čiji su roditelji umrli
od HIV/AIDS-a. Alcides Soares je jedno od te djece. Gubitkom roditelja, njegova porodica se raspala. Alcides se sada
prepušta traganju da bi opet uspostavio svoju mrežu podrške.
Šta za mene znači hrabrost
Hrabrost znači: nikada nemoj odustati i pokušaj iznova. Hrabrost takođe znači borbu za slobodu, borbu za očuvanje
svoje kulture i prakticiranje svoje religije. U vrlo ranoj dobi djeca iz tibetanskog Dječijeg sela su postigla potpuno
razumijevanje o tome šta znači biti hrabar/hrabra.
Youth Producing Change Programme (Human Rights Watch & Adobe Youth Voices):
Leila
Leila is a young girl who lives with her parents and her seven brothers in a small village. One poor harvest season,
hardship transforms Leila into a donkey.
Sako
In his 13 years, Sako has travelled to many places in Armenia, in order to build graveyards. Working at a tombstone
factory, life is not easy, and school remains but a dream.
Mozambique
Mozambique is home to 9 million children under the age of 15. Out of this, 500 000 are orphans, who lost their
parents to HIV/AIDS. Alcides Soares is one of these kids. His family pulled apart by the loss, he embarks on a quest
to re-establish his network of support.
What Courage Means to Me
Courage means: never give up, and try again. Courage also means the struggle for freedom, struggle to preserve
one’s culture and to practice one’s fait. At a very early age, the kids of the Tibetan Children Village have gained a
profound understanding of what it means to be courageous.
Youth Producing Change Programme (Human Rights Watch & Adobe Youth Voices):
ROPSKA MARKA
Studenti Filozofije sa Queen Elizabeth School u partnerstvu sa Whitewood & Fleming / Velika Britanija /
2007 / 18’
1833. godine ropstvo je proglašeno protuzakonitim u Britanskoj Imperiji. Godine 1948. Univerzalna Deklaracija o
ljudskim pravima je donijela odluku o zabrani ropstva u svijetu.
Prije ukidanja ropstva, trgovalo se sa oko 10 miliona robova diljem svijeta.
Ali danas, 27 miliona ljudi su žrtve prinudnog rada., izloženi istim ponižavajućim uvjetima života na rubu
egzistencije, jednako kao i robovi u kolonijalnom periodu. Veliki broj njih radi u fabrikama u zemljama Trećeg
svijeta., gdje proizvode odjeću za svjetski poznate prodavnice u zemljama Prvog svijeta.
Film Slave Label istražuje našu ulogu, kao konzumenta, u savremenoj trgovini robljem.
AQUAFINITO
Annalise Littman u suradnji sa Fast Forward programom Instituta za Savremenu Umjetnost / SAD / 2009 /
10’
U 2006. godini samo u Sjedinjenim Američkim Državama je konzumirano 31, 2 billiona litara vode. U periodu od
1997. do 2005. godine konzumacija flaširane vode je porasla za više od 700%.
Da li je flaširana voda uistinu bolja od vode sa slavine? Šta podrazumijeva privatizacija elemanata neophodnih za
naš opstanak? Šta to znači za okolinu? Da li je voda roba ili ljudsko pravo? Aquafinito nas osvještava o nužnosti
postavljanja ovih važnih pitanja.
U MOJOJ KOŽI
produkcija 12 mladih reditelja sa Urban Arts Partnership-a / SAD / 2008 / 8’
Istražujući životne priče Clevina i Jackie, koji su dobar dio svog života proveli živeći na ulici, ovaj dokumentarac traži
od nas da suosjećamo ali i da stanemo protiv uslova koji doprinose da mladi postanu beskućnici.
Youth Producing Change Programme (Human Rights Watch & Adobe Youth Voices):
SLAVE LABEL
Philosophy students from the Queen Elizabeth School in partnership with Whitewood & Fleming / UK /
2007 / 18’
In 1833, slavery is made illegal in the British Empire. In 1948, the Universal Declaration on Human Rights puts a ban
on slavery globally.
Before the abolition of slavery, around 10 million slaves have been trafficked worldwide. But today, 27 million people
work as forced labourers, subjected to the same humiliating conditions of life on the brink of subsistence as slaves in
the colonial period. A large number work in third world factories producing garments for high-street stores in the first
world. Slave Label examines our role as consumers in this modern day slave trade.
AQUAFINITO
Annalise Littman in cooperation with Fast Forward program of the Institute for Contemporary Art / USA /
2009 / 10’
In 2006, 31.2 billion liters of water in plastic bottles were consumed in the US alone. In the period from 1997 to 2005,
the consumption of bottled water went up by more than 700%.
Is bottled water truly better than tap water? What does the privatization of an element essential for our survival really
imply? What does it mean for the environment? Is water a commodity or a human right? Aquafinito makes us aware
of the pressing need to start asking these important questions.
IN MY SHOES
production of 12 young directors from Urban Arts Partnership / USA / 2008 / 8’
Through exploring the life stories of Clevins and Jackie, both of who had spent an important part of their childhood
living in the street, this documentary asks of us to sympathize, but also to take a stand against the conditions that
contribute to youth homelessness.
SUNČANA DJECA
Sabrina Begović / Bosna i Hercegovina / 2008 / 19’
Ko su Sunčana djeca? Kako ona izgledaju? Kakvo mišljenje o njima imaju njihovi vršnjaci i vršnjakinje?
Ovaj dokumentarni film nam omogućava pogled na život djece rođene sa Daunovim sindromom (Down syndrome),
kao i na napore njihovih majki, koje se trude da im omoguće ravnopravnu šansu za odrastanje i obrazovanje. Ovaj
film propituje još uvijek mali interes društva za stvaranje ozračja koje odgovara potrebama svih ljudi u društvu.
SUNNY CHILDREN
Sabrina Begović / Bosna i Hercegovina / 2008 / 19’
Who are the sunny children? What are they like? What do their peers think of them?
This documentary provides a look into the life of children born with Down syndrome, as well as into the struggle
their mothers face in raising them. It questions the still marginal interest of society to really create a space
responding to the needs of all.
Youth Producing Change Programme (Human Rights Watch & Adobe Youth Voices):
VRATITE MI MOJE RODITELJE
Aaron Dominguez, Euniz Gonzalez, Argenis Herrera, Garrett Hayes, Khirye Rice, Melly Jenny, Nathan
Villalobos, Omar Flores i Cody Marshall sa Media Arts Centra u San Diegu / SAD, Meksiko / 2007 / 11’
Vratite mi moje roditelje
Nakon 11. septembra 2001. formirano je Ministarstvo domovinske sigurnosti SAD, kako bi preuzelo pitanja
migracije. Od tada, na migraciju se gleda kroz prizmu borbe protiv terorizma. Traganje za ilegalnim imigrantima
u javnom prevozu i racije po kvartovima su, umjesto da postanu uspješan način borbe protiv terorizma, uništile
zajednice i uzrokovale razdvajanje porodica.
KOJIM PUTEM KUĆI
Rebecca Cammisa / Meksiko, SAD / 2009 / 82’
O FILMU:
Mama, nadam se da si dobro. […] Mnogo te volim i žao mi je što patiš zbog svih ovih
problema. Odlučio sam da pronađem posao u Sjedinjenim Američkim Državama kako
biste ti i moji rođaci bili dobro i imali sve što trebate. Reci mojim rođacima da ih mnogo
volim. Kada dođem lući, ići ćemo zajedno na rijeku. Juan Carlos, 13 godina, Gvatemala
Među hiljadama ilegalnih imigranata koji putuju meksičkim teretnim vozovima
u Sjedinjene Američke Države, nalazi se i 5% djece koja putuju sama, 1450 milja
dugom prugom, iz Centralne Amerike, .
Svake godine američke granične patrole uhapse oko 100 000 djece.
Ovaj dokumentarac nam donosi priču o Kevinu, Fitou, Juan Carlosu, Jairo, Yurico, Olgi i brojnim drugima koji su se
odlučili na ovo opasno putovanje, vođeni nadom koja ih čeka na drugoj strani.
Youth Producing Change Programme (Human Rights Watch & Adobe Youth Voices):
I WANT MY PARENTS BACK
Aaron Dominguez, Euniz Gonzalez, Argenis Herrera, Garrett Hayes, Khirye Rice, Melly Jenny, Nathan
Villalobos, Omar Flores i Cody Marshall from Media Arts Centre, San Diego / USA, Mexico / 2007 / 11’
I want my parents back
After September 11th 2001, the US Department of Homeland Security had been created to take over immigration
issues. Since then, immigration is looked upon from the scope of the war against terror. More than being a successful
tool in the fight against terrorism, the search for illegal immigrants on public transport and through persistent
neighbourhood raids has resulted in the destruction of community networks and the separation of families.
WHICH WAY HOME
Rebecca Cammisa / Mexico, USA / 2009 / 82’
ABOUT THE FILM:
Mommy, I hope that this letter finds you well. […] I love you very much and I don’t like to see you suffering with all these
problems. So I have decided to find work in the United States so that you and my siblings will be all right and never
want for anything. Tell my siblings that I love them a lot. When I return, we will go to the river. Juan Carlos, 13 years
old, Guatemala
Among thousands of illegal migrants who ride Mexican freight trains towards the US border, 5% are kids covering
the 1450-mile track from Central America alone. Some 100 000 children are apprehended by the US border patrol
every year.
This documentary tells the stories of Kevin and Fito, Juan Carlos, Jairo and Yurico, Olga, and many others who have
decided to undertake this treacherous journey, driven by the hope of what is waiting on the other side.
99% ISKRENO
Rune Denstad Langlo / Norveška / 2008 / 74’
O FILMU:
Amina je došla u Oslo kada je imala 3 ili 4 godine. Porijeklom je iz
Ugande. S obzirom da u kući ne govore norveški, ona ulaže dodatne
napore na časovima norveškog u svojoj srednjoj školi.
Haji, koji je iz Iraka, najstariji je od troje djece. Njegova majka je
nedavno preminula tako da on sada radi nekoliko poslova i stara se
o mlađem bratu i sestri.
Emir i njegova porodica su u Norvešku došli kao izbjeglice, bježeći od konflikta u Bosni i Hercegovini. Iako osjeća da je
izgubio dosta od svog bosanskog identiteta, smatra da se isto tako nije lako uklopiti ni u norveško društvo.
Assad je rođen na Grenlandu. Stavovi njegovih roditelja i pakistanske zajednice kojoj pripada, nisu baš naklonjeni
prema njegovim ambicijama da postane reper.
Spojeni zajedničkim interesom za muziku i kroz grupu koja se zove Ujedinjene manjine, njihove priče pratimo
paralelno uz nastojanja da naprave svoj prvi zajednički album- 99% ISKRENO.
99% HONEST
Rune Denstad Langlo / Norveška / 2008 / 74’
ABOUT THE FILM:
Amina came to Oslo when she was 3 or 4 years old. She is originally from Uganda. As they do not speak Norwegian at
home, she is trying to make an extra effort in Norwegian class in her High School.
Haji, from Iraq, is the eldest of 3 siblings. His mother just passed away, and he works several jobs, trying his best to
care for his younger brother and sister.
Emir and his family came to Norway as refugees, fleeing the conflict in Bosnia and Herzegovina. Though he feels that
he has lost a lot of his Bosnian identity, he finds it is not always easy to fit into the Norwegian society either.
Assad was born in Greenland. The views of his parents, and of the Pakistani community he belongs to, are not very
favourable towards his aspirations of becoming a rapper.
Brought together by their interest in music and through a youth group called United Minorities, their stories are told
as we follow their efforts to make their first music album – entitled 99% HONEST.
SPONZORI I PARTNERI / SPONSORS AND PARTNERS
Direkcija festivala
Zdravko Grebo, direktor festivala
Kumjana Novakova, kreativna direktorica
Monja Šuta Hibert, izvršna direktorica
Mario Hibert, glavni i odgovorni urednik kataloga festivala
Selektori programa
Kumjana Novakova i Mario Hibert, selektori glavnog programa
Kumjana Novakova, selektorica ZOOM RIGHTS / ZUMIRAJ PRAVA programa
Koordinatorice programa
Melina Sadiković, koordinatorica glavnog programa
Olja Latinović, koordinatorica ZOOM RIGHTS / ZUMIRAJ PRAVA programa
Odnosi sa javnošću
HOCHEGGER BiH
Press centar
Tatjana Ljubić, Davor Marko
Dnevna izvješća
Melina Sadiković, Olja Latinović, Sara Nikolić
Prevoditelji/ice festivala
Dario Borčak, Nedžla Idrizbegović, Velida Handžić, Sabina Bečić, Vildana Aljović, Merima Dervišić, Nermina Tipura-Dervišić
Aida Spahić, Jakov Čaušević, Mariana Hadžijusufović, Aldina Džebo,
Lektura i koordinacija
Sandra Zlotrg
Prijevod filmova i filmska adaptacija
Gorana Mlinarević, Olja Latinović, Sara Nikolić
Vizuelni identitet PRAVO LJUDSKI
Snežana Škundrić
Vizuelni identitet ZUMIRAJ PRAVA/ZOOM RIGHTS
Aleksandra Nina Knežević
Festivalski fotograf
Emir Nalo
Web
Snežana Škundrić, / e-srbija design
Računovodstvo
Belma Hodžić
Volonteri/ke:
Aldin Smajkan, Alexander Habash, Irina Pejić, Marina Stojaković, Mirza Sehovic, Renata Ćuk, Sandra Ikanović, Selma Zulić
Tijana Morača, Zdenko Voloder.
Kontakt
Filmski festival o ljudskim pravima
PRAVO LJUDSKI
Zmaja od Bosne 8
71 000 Sarajevo
Bosna i Hercegovina
Tel: +387 33 668 683 / 668 685
Fax: +387 33 668 687
[email protected]
www.pravoljudski.org
SPECIJALNU ZAHVALNOST DUGUJEMO / SPECIAL THANKS
Svim uposlenicama/cima CIPS-a i ACIPS-a, Međunarodni centar za djecu i omladinu Novo Sarajevo
Udruženje mladih lingvista i prevodilaca u BiH, Adis Memović, Belma Alić, Aleksandra Nina Knežević
Snežana Škundrić, Zorica Miličević, Restaurant Grapperia Barhana, Club Podroom, Balkan Café
… kao i svim volonterkama/ima čije je nesebično djelovanje omogućilo da se ostvari PRAVO LJUDSKI.
18:00 PRAVO LJUDSKI Otvaranje
18:15 DIJETE RATA (WAR CHILD), C. Karim Chrobog / SAD / 2008 / 94’
Razgovor sa rediteljem
20:00 Cocktail
21:30 BURMA VJ – IZVJEŠTAVANJE IZ ZATVORENE ZEMLJE (BURMA VJ - REPORTING FROM A CLOSED COUNTRY)
Anders Østergaard / Norveška, Švedska, Danska, Velika Britanija / 2008 / 85’
17:00 LEKCIJE IZ NOĆI (LESSONS FROM THE NIGHT), Adrian Francis / Australia / 2008 / 9’
POGLEDAJ ŽIVOT KROZ MOJE OČI (LOOK AT THE LIFE THROUGH MY EYES)Marija Džidževa/Makedonija
/2008/45’
18:00 SISTEM (EL SISTEMA), Paul Smaczny, Maria Stodtmeier / Njemačka / 2009 / 102’
Razgovor sa rediteljima
20:00 DRUGA PLANETA (ANOTHER PLANET), Ferenc Moldoványi / Mađarska / 2008 / 96’
Razgovor sa rediteljem
22:00 UVALA (THE COVE), Louie Psihoyos / SAD / 2008 / 92’
12:00 PROKLETI PONEDJELJCI I PITE OD JAGODA (BLOODY MONDAYS AND STRAWBERRY PIES)
Coco Schrijber / Nizozemska / 2008 / 87’
14:30 BALKAN CAFE: PRAVO LJUDSKI crno/bijela kafa. Izložba fotografija, Stole Angelov, Makedonija
16:00 Special screening: KRENI I TRČI, Nicole Opper / SAD / 2009 / 78’
18:00 DOBA GLUPIH (THE AGE OF STUPID), Franny Armstrong / Velika Britanija / 2008 / 92’
20:00 Predpremijera: TRAGOVI, Guillermo Carreras-Candi / Španija / 2009 / 92’
Razgovor sa rediteljem
22:00 IZNENADA, PROŠLE ZIME (IMPROVVISAMENTE L’INVERNO SCORSO)
Gustav Hofer, Luca Ragazzi / Italija / 2008 / 78’
Razgovor sa rediteljem
23:30 PRAVO LJUDSKI Party
12:00 LJUBAV U INDIJI (LOVE UN INDIA), Njemačka, Indija, Finska / 2009 / 90’
15:00 REVOLUCIJA KOJA NIJE BILA (REVOLUTSIOON, MIDA POLNUD), Aljona Polnaine / Finska, Estonija/2008/ 95’
17:00 Svjetska Premijera: ČOVJEK XX VIJEKA (XX CENTURY MAN), Haris Prolić / Bosna i Hercegovina / 2009 / 65’
Razgovor sa rediteljem
18:30 PIZZA U AUSCHWITZU (PIZZA IN AUSCHWITZ), Moshe Zimmerman / Izrael / 2008 / 65’
Razgovor sa protagonistom filma
19:45 Panel diskusija: Kolektivna sjećanja – Prikaz ratnih stradanja u umjetnosti (Panel Discussion: Collective
Memory - Representation of War Suffering in and through Arts)
21:00 OBRAČUN: BITKA ZA MEĐUNARODNI KAZNENI SUD (THE RECKONING:
THE BATTLE FOR THE INTERNATIONAL CRIMINAL COURT), Pamela Yates, Paco de Onis, Peter Kinoy / SAD
/ 2009 / 95’
Razgovor sa koautorom filma
16:00 Predstavljanje Katalonskog CLAM Festivala: International Solidarity Film Festival of Navarcles i IGMAN - Acció
Solidària:
EL OLVIDO DE LA MEMORIA, Iñaki Elizalde / Spain / 1999 / 28’
EL BARRI ÉS NOSTRE, Quim Crusellas / Catalonia - Spain / 2009 / 45’
Razgovor sa rediteljem filma El Olvido de la Memoria, direktorom CLAM festivala i direktorom IGMAN - Acció
Solidària
18:00 RIPUJ!: MANIFEST REMIKSOVANJA (RIP!: A REMIX MANIFESTO), Brett Gaylor / Kanada / 2008 / 80’
20:00 SLIJEDEĆI SPRAT (NEXT FLOOR), Dennis Villeneuve / Kanada / 2008 / 11’
HAJDEMO ZARADITI (LETŠS MAKE MONEY), Erwin Wagenhofer / Austrija / 2008 / 108’
Razgovor sa rediteljem
◄PROGRAM PRAVOLJUDSKI 2009.
PROGRAM ZUMIRAJ PRAVA / ZOOM RIGHTS 2009
▼
Međunarodni centar za djecu i omladinu Novo Sarajevo
16:00 Zumiraj DOSTOJANSTV(en)O! Izložba: Otvaranje
16:30 Youth Producing Change Programme (Human Rights Watch & Adobe Youth Voices):
LEILA, 16 mladih reditelja/rediteljica sa Camera-etc. / Burkina Faso / 2007 / 4’
SAKO, Aram Abrahamyan i David Martirosyan / Armenija / 2005 / 5’
MOZAMBIK (MOZAMBIQUE), Alcides Soares u suradnji sa Bykids / SAD, Mozambik /2008 / 14’
ŠTA ZA MENE ZNAČI HRABROST? (WHAT COURAGE MEANS TO ME), Lekphel, Lungsang, Pema, Tashi, i
studenti Tibetan Children Village-a u suradnji sa Bridges to Understanding / SAD, Tibet / 2008 / 4’
SUNČANA DJECA, Sabrina Begović / Bosna i Hercegovina / 2008 / 19’
Razgovor sa rediteljem
17:45 DIJETE RATA (WAR CHILD), C. Karim Chrobog / SAD / 2008 / 94’
Međunarodni centar za djecu i omladinu Novo Sarajevo
11:00 Youth Producing Change Programme (Human Rights Watch & Adobe Youth Voices):
VRATITE MI MOJE RODITELJE (I WANT MY PARENTS BACK), Aaron Dominguez,Euniz Gonzalez, Argenis
Herrera, Garrett Hayes, Khirye Rice, Melly Jenny, Nathan Villalobos, Omar Flores i Cody Marshall sa Media Arts
Centra u San Diegu / SAD, Meksiko / 2007 / 11’
11:15 KOJIM PUTEM KUĆI (WHICH WAY HOME), Rebecca Cammisa / Meksiko, SAD / 2009 / 82’
13:00-14.15 ZUMIRAJ PRAVA / ZOOM RIGHTS Radionica: Razumjevanje ljudskih prava Kino Meeting Point
16:00 Specijalna projekcija - međunarodna predpremijera: KRENI I TRČI (OFF AND RUNNING), Nicole Opper / SAD
/ 2009 / 78’
Međunarodni centar za djecu i omladinu Novo Sarajevo
11:00 Youth Producing Change Programme (Human Rights Watch & Adobe Youth Voices):
ROPSKA MARKA (SLAVE LABEL), Studenti Filozofije sa Queen Elizabeth School u partnerstvu sa Whitewood
& Fleming / Velika Britanija / 2007 / 18’
AQUAFINITO, Annalise Littman u suradnji sa Fast Forward programom Instituta za Savremenu Umjetnost /
SAD / 2009 / 10’
U MOJOJ KOŽI (IN MY SHOES), produkcija 12 mladih reditelja sa Urban Arts Partnership-a / SAD / 2008 / 8’
12:30 99% ISKRENO (99% HONEST), Rune Denstad Langlo / Norveška / 2008 / 74’
14:00-15:15 ZUMIRAJ PRAVA / ZOOM RIGHTS Radionica: Fotografija i Ljudska prava
15:30 ZUMIRAJ PRAVA / ZOOM RIGHTS natječaj za fotografiju na temu Zumiraj DOSTOJANSTV(en)O!:
Dodijela nagrade
15:45 DRUGA PLANETA (ANOTHER PLANET), Ferenc Moldoványi/ Mađarska / 2008 / 96’
www.pravoljudski.org
PRAVO
LJUDSKI
HUMAN RIGHTS FILM FESTIVAL SARAJEVO
KATALOG
CATALOGUE
4ti FILMSKI FESTIVAL
O LJUDSKIM PRAVIMA
PRAVOLJUDSKI 2009.