Should I see the Serbian film


 

CINEMATOGRAPHY TODAY: SERBIA

It may be premature to speak of a new Serbian cinema. Nobody, on the other hand, denies that there are currently fantastic films coming from Serbia. After the end of the Miloševic era, the Serbian film scene is on the move. Young talents like Nikola Ležaic, Stefan Arsenijevic and Vladimir Perišic are enjoying success at home and abroad, while the productions by Želimir Žilnik, Emir Kusturica and other experienced directors continue to enjoy international recognition and ensure that contemporary Serbian cinema is among the most exciting and exciting worldwide a wide variety of cinematographies counts. This awakening is accompanied and supported by a cultural policy that promotes Serbian film: a Serbian film festival has been held in Novi Sad since 2007 and the Film Center Serbia, founded in 2005, supports the international networking of filmmakers. In this country, however, far too few Serbian films are distributed, and a visit to a festival is still necessary to study the young film scene from Belgrade. The series KINEMATOGRAFIE HEUTE: SERBIA, which presents 19 feature and documentary films, is now for the first time presenting an extensive film show of contemporary Serbian cinema.

A film series in cooperation with the Embassy of the Republic of Serbia and with the kind support of the Film Center Serbia, special thanks to Bernd Buder, Kristina Jovanovic and Una Domazetoski.



CINEMATOGRAPHY TODAY: SERBIA
Beli lavovi
The White Lions
SRB / HR 2011, R: Lazar Ristovski, D: Lazar Ristovski, Gordan Kicic, Hristina Popovic, Vuk Kostic, 90 '35 mm, OV with english st

They actually wanted self-fulfillment and prosperity, but then came the crisis. The opera singer Bela sings her arias in old people's homes, the filmmaker Gruja makes her way through life with the production of wedding and funeral videos and the philosopher Baki survives as a night watchman. But then the porter Dile has another goal in mind: the patriarchal rebel who has fallen out of time sees the time has come to re-dream the old dream of the revolution. As a lone fighter, he takes on corrupt politicians, mafia businessmen and oligarchs, tries to redistribute the wealth of the seedy upper class and to give the unemployed back their dignity. Director, producer and actor Lazar Ristovski develops an unleashed all-against-all scenario, an angry, over-the-top collage that comments on the situation in Serbia with bitter humor between spectacle and cynicism. Beli lavovi adapts the stylistic devices of Yugoslav black-wave directors such as Dušan Makajevev or Bato Cengic, which are often ironically broken, to the present, in order, with a down-to-earth twinkle in his eye, to end the uprising with a brilliant "worker rap". "I wanted to make a film about the present. Not too dramatic, because the times we live in are dramatic, sometimes even tragic. From an artistic point of view, the film may not be what the critics and film festivals would like it to be. but I wanted to give the audience a reason to see him. " (Lazar Ristovski). (bb)

Introduction: Bernd Buder
on May 2nd, 2012 at 8 p.m.




KINEMATOGRAPHY TODAY: SERBIA
Beli beli svet
White White World
SRB / D / S 2010, D: Oleg Novkovic, D: Uliks Fehmiu, Hana Selimovic, Jasna Djurišic, Nebojša Glogovac, 121 '35 mm, OmeU

In 2010, two feature films were made in the eastern Serbian industrial city of Bor, which toured successfully at international festivals. While Tilva roš tells of the everyday life of a group of young people with a mix of cinéma vérité and American independents, Oleg Novkovic uses the form of Greek tragedy. In his films he describes the disorientation of ex-Yugoslavia's "lost generation" - those born in the mid-1960s, whose hopes were buried under the emotional and material ruins of the wars of disintegration. Beli beli svet shows the togetherness of a group of people around the bar owner and former boxer king, who is once again overwhelmed by love. Surprising relationships of dependency reveal themselves, profound, direct and highly emotional. The idea for Beli beli svet arose in 2005 when the screenwriter Milena Markovic adapted the "Threepenny Opera" with amateur actors in Bor. Beli beli svet is a total work of art between pathos and Brecht / Weill's down-to-earthness and far more than a political society metaphor: Novkovic and Markovic are not concerned with symbolic value, but rather with the soul of their protagonists. (bb)

on May 3, 2012 at 8 p.m.
on May 5th, 2012 at 6.30 p.m.




CINEMATOGRAPHY TODAY: SERBIA
Tilva roš
Tilva Rosh
SRB 2010, D: Nikola Ležaic, D: Marko Todorovic, Stefan Djordjevic, Dunja Kovacevic, 95 'DigiBeta, OmeU

The everyday life of a group of young people in Bor, Serbia, once Yugoslavia's largest copper mine, today a black hole in the industrial province. While a few adults demonstrate against the job cuts in the background, their children fight against boredom with self-made clips on YouTube. Director Nikola Ležaic, born in 1981, deliberately flirts with American independent narrative styles in his ensemble film and breaks with the rules of aging European auteur films. Its protagonists waste their post-socialist everyday life between skateboarding, "Jackass" and slacker movies. A vagabond attitude towards life, with which they look for their future in a politically free space after the failed attempts at model socialism, nationalism and market transition. Tilva roš playfully breaks with the pathos of political messages without being apolitical. On the contrary: the authentic mood shows how the political rituals of the opposition, too, get tangled up in their ends in themselves. The young people make the best possible party out of the remaining lack of prospects - and leave the industrial province after school for the capital. (bb)

on May 4th, 2012 at 9 p.m.
on 6.5.2012 at 9 p.m.




KINEMATOGRAPHY TODAY: SERBIA
Cordon
The cordon
SCG 2003, D: Goran Markovic, D: Marko Nikolic, Nebojša Milovanovic, Nikola Djuricko, Dragan Petrovic Pele, 87 '35 mm, OV with english st

Belgrade, spring 1997. The protests against the Miloševic regime have been going on for several months. The government has not been impressed so far, but nerves are on the lower levels. There are violent riots, arbitrary arrests and uncontrolled orgies of beating. Goran Markovic shows the events from the inside perspective of the executing violence, one day and one night in a police van that chases after the protesting schoolchildren and students. Conflicts develop between the overtired colleagues, which are carried out to passers-by and demonstrators. This also affects the families of those involved. The commandant of the police unit has his daughter's friend arrested and beaten up; his deputy does not find the time to visit his terminally ill son in the hospital. With psychological sensitivity, Kordon transforms the claustrophobic atmosphere in the crew car into a metaphor about the state of Serbian society at the time. The parents' generation alienates their children: Generational conflict in a country that was abandoned by thousands of young people at the time. (bb)

on May 5th, 2012 at 9 p.m.




CINEMATOGRAPHY TODAY: SERBIA
Cinema Komunisto
SRB 2010, D: Mila Turajlic, 101 'Blu-rayDisc, OmeU

Tito's passion for big cinema was legendary. At the film festival in Pula he was photographed with Sophia Loren, and world stars such as Orson Welles and Richard Burton were hired for large domestic productions. The Avala film studios in Belgrade and Jadran-Film in Zagreb reached international standards within a very short time. The so-called "Partisan Westerns", monumental films such as Sutjeska and The Battle of the Neretva, which glorify the anti-fascist liberation struggle, were made here. With numerous key figures and Tito's personal projectionist, contemporary witnesses have their say in Cinema Komunisto who reflect on the history of the Yugoslav film industry and Tito's penchant for film in a pointed and knowledgeable manner. Carefully selected film clips refer to the parallel national and international political developments up to the breakup of Yugoslavia. An entertaining and instructive journey through film and world history, which, however, neglects the tragic censorship cases in the Yugoslav film industry. (bb)

Introduction: Bernd Buder
on 6.5.2012 at 6.30 p.m.




CINEMATOGRAPHY TODAY: SERBIA
Montevideo, bent te video!
Montevideo, Taste of a Dream!
SRB 2010, R: Dragan Bjelogrlic, D: Miloš Bikovic, Petar Strugar, Viktor Savic, Andrija Kuzmanovic, 138 '35 mm, OmeU

At the Football World Cup in 1930 in Uruguay's capital, Montevideo, the Yugoslav national team reached 3rd place. A success that, in the first directorial work of the popular actor Dragan Bjelogrlic, is directly linked to the sporting achievements of the capital city club Belgrade Sports Club, today Partizan. Montevideo, bent te video! doesn’t skimp on the description of the political side scenes with national accents, from the intrigues dubbed the "Serbian-Croatian football war" about the home of the football association in the then Kingdom of Yugoslavia to the martyrdom of the father of the film hero Tirke, who fell for Serbia in the First World War. Tirkes father appears again and again in daydream-like sequences to motivate his son to carry on - against sporting setbacks, but above all against the opponent Moša, who quickly turns out to be a vicious competitor rather than a teammate. The central plot of the fiction film, which was made from a 15-part television series, develops along a conventional football film dramaturgy that focuses on fairness instead of "ego" and leads its heroes out of the poverty of the suburbs and into the center of society. A Serbian football fairy tale. (bb)

on May 10th, 2012 at 8 p.m.




KINEMATOGRAPHY TODAY: SERBIA
Zavet
Promise me!
SRB / F 2007, D: Emir Kusturica, D: Marija Petronijevic, Uroš Milovanovic, Ljiljana Blagojevic, Aleksandar Bercek, 125 '35 mm, OV with German + French subtitles

Because of his political views, in which he combines anti-globalism with pre-modern ethno-Serbism, which relies on the village small town as the cradle of civilization and which brings him into spiritual closeness with Serbian nationalists, Emir Kusturica has come under criticism in international feuilletons. He also proves his nationalist positions in concerts with his rock band No Smoking Orchestra, whose songs include: "Ko ne voli Radovana, ne video Ðurdevdana" (German: "If you don't love Radovan, like St. George's." -Tag not (no longer) experience ", an encrypted dedication to Radovan Karadžic). Notwithstanding this, Kusturica, who was baptized with the traditional Serbian first name Nemanja in 2005, is arguably the most artistically influential Yugoslav and Serbian director since the 1980s. With Promise Me !, a cheeky ethno outfit, whose phantasmagoric humor oscillates perfectly between Harold Lloyd and Monthy Pyton, he once again proves himself to be a master of the genre of folkloric farce he has created himself. This time it is the residents of a remote village who, on the verge of a runaway man-seeking-woman story, are delirious into the state of a palatable here and now. (bb)

on May 12, 2012 at 9 p.m.




KINEMATOGRAPHY TODAY: SERBIA
Guca!
Gucha - Distant Trumpet
SRB / BG / A / D 2006, D: Dušan Milic, D: Marko Markovic, Mladen Nelevic, Aleksandra Manasijevic, Slavoljub Pešic, 92 '35 mm, OmU

Every year the largest trumpet festival in the world takes place in the middle Serbian town of Guca with a population of 3,000. Dušan Milic captured the myth in an emotional entertainment film. With Gucha he would like to transfer the "special characteristics and qualities of Bollywood cinema to the Balkans". But the romance, an integral part of every Bollywood film, develops in secret: Romeo, young star of a Roma band, lives with his family of 14 in a small house on the outskirts of Belgrade. Juliana is the daughter of Satchmo, who does not want his daughter to go with a "gypsy" and is the head of a troupe that is dedicated to rustic folklore. With which Gucha alludes to the competition between "black" and "white" music, two sides of the Serbian brass music medal, but repeatedly divided by racist feuds. Milic's film is determined by the rhythm of a music whose lustful melancholy cannot escape even declared opponents of brass music. Its protagonists move between all kinds of bustling small animals, fat prostitutes and a trumpeter in a plum tree - a bizarre foundation above which, brightly colored, the starry sky of forbidden love rises. With Marko Markovic, a real young star of the music scene has been hired for the main role of the reserved Romeo. (bb)

on May 13th, 2012 at 9 p.m.
on May 16, 2012 at 8 p.m.




KINEMATOGRAPHY TODAY: SERBIA
Medeni mesec
Honeymoons
SRB / AL 2009, D: Goran Paskaljevic, D: Nebojša Milovanovic, Jelena Trkulja, Jozef Shiroka, Mirela Naska, 95 '35 mm, OmU

In search of happiness, two couples leave the Balkans and head west. Maylinda and Nik are drawn from the Albanian mountains to Italy, Vera and Marko from Belgrade to Vienna. But all four fail indirectly because of the political turmoil in their homeland. In the first and so far only co-production between Serbia and Albania, the old Serbian director Goran Paskaljevic and his Albanian colleague Genc Permeti point out the self-destructive character of the enmity between Serbs and Albanians that has been handed down for centuries. Both couples, who share the same dream of a better life, fail not because of the supposed enemy, but because of the nationalists in their own ranks. But even Europe does not give the young people a chance: Because the Albanian Nik has several Kosovar entry stamps in his passport and the Serb Marko was born in the Serbian-dominated Kosovska Mitrovica, they are associated with an attack on an Italian KFOR patrol in Kosovo and Arrested at the Schengen external border. A thoughtful political statement about the destructive power of ethnic stigma. (bb)

on May 18th, 2012 at 7 p.m.
X




KINEMATOGRAPHY TODAY: SERBIA
Ljubav i drugi zlocini
Love and other crimes
SRB / D / A / SLO 2008, D: Stefan Arsenijevic, D: Anica Dobra, Vuk Kostic, Hanna Schwamborn, Milena Dravic, 105 '35 mm, OmeU

New Belgrade, the 300,000-inhabitant prefabricated housing estate at the gates of the Serbian capital. The concrete facades from happier years have taken on a mossy patina, unemployment and crime rates are high, and social prestige is correspondingly low. Anica lives in New Belgrade and wants to run away with the money of her lover, a local protection racketeer, in order to build a good life abroad. As an accomplice, she needs Stanislav, who has kept an eye on Anica since he was at school. Love and other crimes stages the psychogram of a vain lover who is repeatedly exploited by those around him. A still youthful anti-hero who oscillates between compassion and unscrupulousness, between tragedy and euphoria. Love and Other Crimes is the first feature film by Stefan Arsenijevic, whose short film (A) Torzija was awarded the "Golden Bear" at the 2003 Berlinale. (bb)

on May 18th, 2012 at 9 p.m.




KINEMATOGRAPHY TODAY: SERBIA
Srbija godine nulte
Serbie, année zéro
F / SRB 2011, D: Goran Markovic, 80 '35 mm, OmeU

Belgrade in October 2000. After ten years, the Miloševic government was overthrown. The mood is characterized by euphoria, but Serbia is faced with the task of finding its way back to normal social life. How is this possible after several wars and years of hate propaganda? How does responsibility for the past arise? What are the survival strategies for the future? Goran Markovic, an internationally renowned representative of the "Prague School", which also includes Srdjan Karanovic and Emir Kusturica, critically dealt with the Miloševic era in several films, the consequences of which can still be felt today for Serbia's political culture. His essay film Serbie, année zéro is one of the first films to relentlessly deal with the media and psychological contamination of the 1990s - and was hardly shown in Serbia at the time. (bb)

on May 19, 2012 at 7 p.m.
on May 20th, 2012 at 9 p.m.




CINEMATOGRAPHY TODAY: SERBIA
Octobar
October
SRB 2011, D: Ivan Pecikoza, Senka Domanovic, Ognjen Isailovic, Dane Komljen, Damir Romanov, Ognjen Glavonic, Milica Tomovic, 110 'Blu-ray, OmeU

On October 5, 2000, the street protests in Belgrade culminated in an uprising against the government of Slobodan Miloševic, and a period of hope for more democracy followed. But the murder of the pro-European Prime Minister Zoran Djindjic came as a shock to many Serbs.In October, seven students from the Belgrade Film Academy, who were still teenagers when Miloševic was overthrown, asked about the human condition of their society. Seven different artistic manuscripts between reflection and farce; seven personal insights into a society between autocracy and the European Union, between war and reconciliation, on the way from the old system to a new world, of which one does not yet know what it should look like. A society that moves through: through nationalism from the right, clientele economy from within, lack of mobility to the outside. Young people between the past and the future. Was there something A vision? A departure? (bb)

on May 19, 2012 at 9 p.m.




CINEMATOGRAPHY TODAY: SERBIA
Stara škola kapitalizma
The Old School of Capitalism
SRB 2009, D: Želimir Žilnik, D: Živojin Popgligorin, Robert Paroci, Zoran Paroški, Lazar Stojanovic 122 '35 mm, OV with english st

Želimir Žilnik, enfant terrible and old master of Serbian film, has repeatedly spoken out, not only in his country, with pointed political comments: In Rani radovi, the winner of the Golden Bear at the Berlinale in 1969, he criticized the Yugoslav path of socialism from the left and had to leave the country, only to offend shortly afterwards in German exile with Public Execution, a vicious commentary on the RAF hysteria at the time. Back in Yugoslavia, Žilnik, with his provocative, analytical essays, is still one of the critics of any government practice to this day. The Old School of Capitalism deals with the managed decline of the Serbian economy since the Miloševic era. Many of the companies, often privatized under dubious conditions, went bankrupt. There were shutdowns and layoffs, mass protests and factory occupations. As an example, Žilnik works out the mechanism of the economic crisis typical of many Eastern European transition countries: the sell-out of economic resources to business people aiming for short-term profit and the anger of the unemployed who are left with nothing. A Darwinian shark tank, in which all kinds of sect-like political groups cavort, who sense the approaching revolution and thus find applause from the desperate 'precariat'. An astute analysis of the present as a consciously naively staged political farce. (bb)

on May 20th, 2012 at 6.30 p.m.




CINEMATOGRAPHY TODAY: SERBIA
Pešcanik
The Hourglass
SRB / H / SLO 2007, D: Szabolcs Tolnai, D: Slobodan Custic, Nebojša Dugalic, Jasna Žalica, David Vojnic Hajduk, 107 'DVD, OmeU

A writer in search of his childhood: Andreas Sam, son of a Jewish Hungarian-Serbian family, searches Vojvodina for his family history and the father who disappeared in World War II. Childhood memories meet a present where the shadows of war, persecution, nationalism and ideological dogma dance trauma. Instead of answers, Sam finds more and more questions in the bilingual Hungarian-Serbian border region. Born in Subotica, near the Hungarian border, Szabolcs Tolnai works in Hungary and Serbia. In Pešcanik he describes the story in fragments as a mosaic of memories, seen from the perspective of the now grown-up son who returns to his homeland to reconstruct the past. The fragmentary, oppressive approach to an era that was marked by mutual hatred and prejudice. (bb)

on May 23, 2012 at 8 p.m.




CINEMATOGRAPHY TODAY: SERBIA
Klopka
The trap
SRB / D / H 2007, D: Srdan Golubovic, D: Nebojša Glogovac, Nataša Ninkovic, Anica Dobra, Miki Manojlovic, 106 '35 mm, OmU

A completely normal family man becomes a lonely killer against his will: In order to be able to pay for his son's life-saving operation, Mladen commits a contract killing in the mafia milieu. But soon he becomes emotionally harassed. The hiding of the deed from his wife Marija turns into emotional poker. When you betray your own moral standards, your conscience does not go along for long. Director Srdan Golubovic describes his precisely staged psychological thriller as the "Balkan version of Guilt & Atonement". From the perspective of a confession, he dissects the changes in a personality, insistently and with respect for his protagonists. The trap also tells the story of the decline of a middle class that should actually be one of the pillars of society everywhere: "Mladen and Marija are educated people who cannot find a green branch in these new times because 'to make it', like Marija says in one scene that would mean crossing the boundaries of morality. " (Srdan Golubovic). (bb)

on May 25, 2012 at 7 p.m.
on May 26th, 2012 at 9 p.m.




CINEMATOGRAPHY TODAY: SERBIA
Besa
Solemn Promise
SRB / SLO / HR / F / H 2010, D: Srdjan Karanovic, D: Miki Manojlovic, Iva Krajnc, Nebojša Dugalic, Radivoje Bukvic, 106 '35 mm, OmeU

1914. Filip, headmaster of a Serbian small-town high school, is called up for military service. In order not to leave his wife, whom he met while studying in Western Europe, alone, he is looking for someone to look after her while he is away. But nobody wants to take care of the young Slovenian, with the exception of the Albanian caretaker Azem. With the educated Slovenian and the illiterate Azem, two different worlds collide. Committed to his patriarchal tradition, Azem swears his "besa": to protect those entrusted to him, even if he has to give his life for it. But behind the alliance of convenience between the Muslim and the Christian, a deeper affection soon develops. With Besa, Srdjan Karanovic dedicates himself to a key problem in Serbian society after the 1989 film without a name: the relationship to the population of Albanian origin. However, Karanovic does not go as far as his colleague Goran Paskaljevic, who treats the subject in honeymoons as a contemporary drama. Besa exemplifies the conflict in a period film in which the Albanian Azem is played by the Serbian actor Miki Manojlovic. (bb)

on May 25, 2012 at 9 p.m.




CINEMATOGRAPHY TODAY: SERBIA
Ordinary People
F / SRB / CH 2009, R: Vladimir Perišic, D: Relja Popovic, Boris Isakovic, Miroslav Stevanovic, 80 'DigiBeta, OmeU

A barracks outside the combat zone. Among the young professional soldiers is 20-year-old Džoni, a "newcomer". As the unit is driven to an abandoned agricultural area, a nerve-wracking wait begins. At some point, trucks come with men who are referred to as "enemies". The seven soldiers are ordered to liquidate these "enemies" without, according to the commanding officer, "ever having given an order." In his multi-award-winning feature film debut, Vladimir Perišic poses the question of personal responsibility with a strictly calculated staging concept. Cold images under the scorching sun record the genesis of a war crime, the inner routine of which is shaped by social group pressure, fear of superiors, military discipline, moral dullness and subsequent processes of repression. On the way back the young men talk: "How many shots did you fire?" - "Don't know. As many as the others." (bb)

on May 26th, 2012 at 7 p.m.
on May 27, 2012 at 9 p.m.




CINEMATOGRAPHY TODAY: SERBIA
Dovidenja, kako ste?
Goodbye, How Are You?
SRB 2009, D: Boris Mitic, 80 'DigiBeta, OmU

In Serbia, against the background of various historical crises from the Ottoman occupation to the Miloševic era and the NATO bombing, a tradition of black humor has been refined, with which the current situation and the recent past are commented on - aphorisms that become satirical Sharpness and the play on words with colloquial topoi and proverbs stand out: "The black cat ran across the street in front of us, the next day it was dead". Pointed and with philosophical quality, the mentality and zeitgeist of an entire region are targeted, whose internal contradictions are accurately described in just a few words: "We hold our mentality responsible for all our mistakes - that is our mentality", "We should forgive our enemies, only to destroy them as friends ". Former journalist and self-taught film artist Boris Mitic poses in his essay Dovidjenja, kako ste? the challenge of filming the intellectual puns of the aphorists. On several trips across Serbia and in the archives, he found scenes from society, everyday life and war. The result was a profoundly sarcastic arc of images with cleverly compiled recordings that mix martial gestures and snapshots, shock and grotesque - bitterly ironic, sometimes cynical, right at the heart of the nation. (bb)

on May 27, 2012 at 7 p.m.




CINEMATOGRAPHY TODAY: SERBIA
Žena sa slomljenim nosem
Belgrade radio taxi
SRB / D 2010, D: Srdan Koljevic, D: Anica Dobra, Nebojša Glogovac, Branka Katic, Nada Šargin, 104 '35 mm, DF

On the bridge that connects the satellite city of New Belgrade with the historic center of the Serbian capital, traffic is slowing down again. The prisoners of the permanent traffic jam include the taxi driver Gavrilo and his passenger Jasmina. When the young woman suddenly gets out and jumps off the bridge, the teacher Anica and the pharmacist Biljana also witness the incident. The lonely Bosnian refugee Gavrilo, meanwhile, stands perplexed in the back seat of the taxi on which Jasmina left her baby. After a bang-like start, director Srdjan Koljevic condenses the character studies of his protagonists into a mentality study of the city of Belgrade. With psychological sensitivity, he brings life paths and unfinished liaisons together to create a laconic mood. According to Koljevic's credo, Gavrilo, Anica, Biljana and the others cannot cope with their private strokes of fate. It gnaws the wounds of war, responsibility, guilt perhaps. Before that there were happier times: the protagonists are permanent listeners to a small radio station that has oldies and hits from a more carefree era in its program. Music whose jazzy minor alludes to the blue and gray tones of the present and reconstructs the principle of hope with restrained melancholy. (bb)

on May 30th, 2012 at 8 p.m.