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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.