Međunarodni žiri 26. Festi-vala evropskog filma Palić

2019, koji je održan u Paliću i Subotici od 20. do 26. jula, ra-dio je u sastavu: glumac Tom Burke (Velika Britanija), pred-sednik, reditelj Silas Cumerkas (Grčka), reditelj Lorens Tuli (Nemačka), producent Aleš Pavlin (Slovenija) i glumica Marta Bereš (Srbija), članovi.Pošto je pogledao devet filmo-va u Glavnom programu, žiri je doneo sledeće odluke:

ZLATNI TORANJ ZA NAJBOLJI FILM dodeljuje se francuskom filmu JADNICI, u režiji Lađa Lija, “za uspešnu kombinaciju žanrovskog narativa sa živim istraživanjem problema koji govore ne samo o obespravlje-nima u Francuskoj već i širom sveta”.

PALIĆKI TORANJ ZA NAJBO-LJU REŽIJU dodeljuje se Juri-su Kursietisu, za režiju leton-sko-belgijsko-francuskog filma OLEG, “reditelju koji majstorski prepliće brutalnost i humanost, profano i sveto, beznađe i snaž-nu lepotu, kako bi nam prikazao organski tačan portret našeg vremena”.

Žiri dodeljuje SPECIJALNA PRIZNANJA reditelju Jaronu Šaniju i glumcu Eranu Naimu “za detaljan prikaz jedinstve-nog anti-junaka u izraelsko-ne-mačkom filmu OKOVAN”, kao i Ana Mariji Rosi, rediteljki srp-skog filma AJVAR “za prihvata-nje univerzalne dileme globa-lizovanog sveta, kroz prizmu veze u raspadanju”.

International Jury of 26th Euro-pean Film Festival Palić 2019,

held in Palić and Subotica from 20th to 26th July, was composed of: actor Tom Burke (Great Britain), jury president, director Syllas Tzoumerkas (Greece), director Lawrence Tooley (Ger-many), producer Aleš Pavlin (Slovenia) and actress Marta Bereš (Serbia), the members.After they saw nine films in the Official Selection, jury came with following decisions:

GOLDEN TOWER FOR THE BEST FILM goes to French film LES MISERABLES by Ladj Ly “for the successful combina-tion of a genre narrative with the vivid exploration of issues that speak not only for those oppressed in France, but world-wide”.

PALIĆ TOWER FOR THE BEST DIRECTOR goes to Juris Kursi-etis for OLEG, realized as a Latvian-Belgian-French copro-duction, “to a director who man-ages to masterfully interweave brutality and humanity, the pro-fane and the holy, bleakness and strange beauty, to give us an accurate and visceral por-trait of our times”.

The jury decided to give a SPECIAL MENTION to director Yaron Shani and actor Eran Naim “for the detailed por-trayal of a unique anti-hero in CHAINED”, and also to Anna Maria Rossi, director of Serbian film AJVAR, “for embracing a universal dilemma of a global-ized world through the lenses of an unraveling relationship”.

THE HARVEST BEST FILM IN PARALLELS AND ENCOUNTERSDECISION OF INTERNATIONAL CRITICS’ JURY FOR PARAL-LELS AND ENCOUNTERS COM-PETITION PROGRAM

International Critics’ jury for the Parallels and Encounters pro-gram of the 26th European Film Festival Palić 2019 was com-posed of: British critic Kieron Corless, the president, Serbi-an film critic Vesna Perić and American critic Nick Pinkerton, the members. After they saw ten films in Parallels and En-counters program, international critics’ jury unanimously decid-ed:

AWARD FOR THE BEST FILM IN PARALLELS AND ENCOUN-TERS PROGRAM goes to Geor-gian film THE HARVEST by Misho Antadze.“For its conceptual rigour cine-matographic ingenuity and the lyric manner in which it shows us the very 21st century con-sistence of traditional analogue and ultramodern digital cul-tures, tying together the local and global; a work of extraordi-nary sophistication from a first – time feature filmmaker”.

SPECIAL MENTION goes to

Martina Apostolova for the main role in Bulgarian film IRI-NA directed by Nadejda Kose-va.“The art of screen acting isn’t always about commanding a room – sometimes it’s about commanding only the area an inch outside your own body. In a film very much about con-trolling one’s body, Apostolova exemplifies this, in a luminous performance of fiery concen-tration”.

FIPRESCI AWARD TO LES MISERABLES

DECISION OF THE OFFICIAL SE-LECTION FIPRESCI JURY

During the 26th European Film Festival Palić 2019, FIPRESCI jury was composed of: Norwe-gian film critic Jan Storø, the president, French film critic Ei-thne O’neill and Polish film critic Barbara Kosecka, the members.After they saw nine films in the Official Selection, jury came with following decisions:

FIPRESCI AWARD FOR THE BEST FILM IN OFFICIAL SELEC-TION goes to French film LES MISERABLES by Ladj Ly.“The film is a powerful and bril-liantly crafted drama of social unrest, set in the ethnic suburbs of a European capital, bearing universal resonance”.

FESTIVALSKE NOVINEFESTIVAL NEWSPAPER

www.palicfilmfestival.com

26. FESTIVAL EVROPSKOG FILMA, PALIĆ 2019. / 26th EUROPEAN FILM FESTIVAL, PALIĆ 2019

ANA MARIA ROSI

U RUDNIKU INTIME

3

MIŠO ANTADZE

SVET

TEHNOLOGIJE

JE IMITACIJA

STVARNOSTI

4

SONJA ĐEKIĆ

ČOVEK SE

PREVIŠE ODRODIO

OD PRIRODE

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ŽETVA NAJBOLJI FILM U PARALELAMA I SUDARIMAODLUKA MEĐUNARODNOG ŽI-RIJA KRITIKE TAKMIČARSKOG PROGRAMA PARALELE I SU-DARI

Međunarodni žiri kritike takmi-čarskog programa Paralele i sudari 26. Festivala evropskog filma Palić 2019, radio je u sa-stavu: britanski kritičar Kiron Korles, predsednik, srpska filmska kritičarka Vesna Perić i američki filmski kritičar Nik Pinkerton, članovi.Pošto je odgledao 10 filmova iz selekcije Paralele i sudari, me-đunarodni žiri kritike jednogla-sno je doneo odluku:

NAGRADA ZA NAJBOLJI FILM PROGRAMA PARALELE I SUDARI dodeljuje se gruzij-skom filmu ŽETVA u režiji Miše Antadzea.“Za koncepcijski rigoroznu ki-nematografsku genijalnost i lirski manir kojim nam pokazuje suštinu 21. veka, kroz konzi-stenciju tradicionalne analogne i ultramoderne digitalne kulture, povezujući lokalno i globalno u neobično sofisticiranom delu za reditelja kome je ovo prvi du-gometražni film.”

SPECIJALNO PRIZNANJE do-

deljuje se Martini Apostolovoj za glavnu ulogu u bugarskom filmu IRINA u režiji Nadejde Ko-seve.“Umetnost glume nije uvek u kontroli okruženja – ponekad je i u kontroli prostora svega nekoliko centimetara izvan sopstvenog tela. U filmu koji je umnogome upravo o kontroli tela, Apostolova to pokazuje u sjajnom nastupu vatrene kon-centracije.”

FIPRESCI NAGRADA FILMU JADNICI

ODLUKA FIPRESCI ŽIRIJA GLAVNOG PROGRAMA

Tokom 26. Festivala evropskog filma Palić 2019, FIPRESCI žiri radio je u sastavu: norveški film-ski kritičar Jan Storo, predsed-nik, francuska filmska kritičarka Ejtn O’Nil i poljska filmska kriti-čarka Barbara Kosecka, članovi.Pošto je pogledao devet filmova u Glavnom programu, žiri je do-neo odluku:

FIPRESCI NAGRADA ZA NAJ-BOLJI FILM GLAVNOG PRO-GRAMA dodeljuje se francu-skom filmu JADNICI u režiji Lađa Lija.“Film je snažna i briljantno sni-mljena drama socijalnih nemira, smeštena u etničko predgrađe jedne evropske prestonice, koja nosi univerzalni odjek.”

DECISION OF OFFICIAL SELECTION INTERNATIONAL JURY

GOLDEN TOWER TO LES MISERABLES

ODLUKA MEĐUNARODNOG ŽIRIJA GLAVNOG PROGRAMA

ZLATNI TORANJ FILMU JADNICI

26.07.2019. No7

Takmičarski program / Official SelectionAJVARRežija: Ana Maria RossiSrbija, Crna Gora, 2019.

Neverstvo kao posledicaNataša Ninković i Sergej Trifunović igra-ju glavne uloge u drami o propaloj vezi, koja krah doživljava nakon putovanja kući u Srbiju iz Švedske, u kojoj par uživa u visokom standardu. AJVAR ima svoju svetsku premijeru na Paliću i obećava-jući je rediteljski debi Ane Marije Rosi. Strukturni motiv je ukusni ajvar, koji je eksplicitno opisan u uvodnim scenama, i služi kao podsetnik na domaća pravila koja mogu ljude staviti u krut kalup. Par uviđa da su jedno drugom neverni, ali kako Vida (Ninkovićeva) kaže na vrhun-cu filma, to je samo posledica, ne uzrok. U poslednjoj sceni, koja je i iskrena u svo-joj celovitosti i srceparajuća u konačno-sti, par pokušava da “podeli” imovinu na podu na aerodromu, i svako odlazi svo-jim putem. AJVAR je možda malo kon-zervativan zbog suptilnog nagoveštaja da je brak bez dece osuđen na neuspeh, ali Rosijeva ima mnogo više da kaže i na kraju stvara sliku (međunarodne) sredn-je klase u Srbiji u 21. veku.Greg de Cuir Jr

Infidelity as a consequenceNataša Ninković and Sergej Trifunović star in this broken relationship drama that revolves around a trip home to Ser-bia from Sweden, where the two enjoy a good standard of living but are not able to have children. AJVAR is a world pre-miere at Palić and a promising debut for director Ana Maria Rossi. As structuring motif, the delicious ajvar that is explicitly described in the opening credits serves as a reminder of the domestic rules that can wrap people in stiff packaging. The couple realises that each is being un-faithful to the other, but as Vida (Ninkov-ić) states at the climax of the film that is only a consequence, not the cause. The final scene of the couple trying to “split” their belongings on the floor at the airport as they go their separate ways is honest in its awkwardness and heart-breaking in its finality. AJVAR may be a touch conservative through the subtle hint that without children a marriage is doomed to failure, but Rossi has much more than that to say, and she ultimately creates an illuminating depiction of the state of the (international) middle class in Serbia of the 21st century.Greg de Cuir Jr

Takmičarski program / Official SelectionDELO BEZ AUTORA / NEVER LOOK AWAYRežija: Florian Henckel von Donners-marckNemačka, 2018.

Trajna ideološka borbaOva epska drama pokriva nekoliko decenija nemačke istorije kroz život mladog umetnika Kurta kojeg tumači Tom Šiling. Kao dete, posećuje izložbu “degenerisane” umetnosti tokom na-cističkog perioda, sa tetkom koju glumi prelepa mlada glumica Zaskija Rozen-dal i koja mu govori da nikad “ne skreće pogled” u potrazi za istinom i lepotom. Taj čin prkosnog gledanja kasnije utiče na Kurtovo umetničko sazrevanje, iako on zaista skreće pogled od lažne nacis-tičke estetske kategorizacije i nametn-ute strukture soc-realizma Demokratske Republike Nemačke. Možemo osetiti da se reditelj Florijan Henkel fon Doners-mark, koji uglavnom pravi zrele filmove, stavlja unutar te trajne ideološke borbe.

Nemački naslov filma se bukvalno može prevesti kao “delo bez autora” (prevod sa engleskog je “Ne skreći pogled”) što nagoveštava da Fon Donersmark zna da ima još dosta toga da prođe u potrazi za prosvetljenim načinima izražavanja.Greg de Cuir Jr

Ongoing ideological struggle

This epic drama covers multiple de-cades of German history in tracing the life of a young artist named Kurt, played by Tom Schilling. As a child in the Nazi era, he visits an exhibition of “degener-ate art” with his aunt, played by the beau-tiful young actress Saskia Rosendahl, who eventually tells him to “never look away” in the search for truth and beauty. This act of defiant looking shapes Kurt’s later artistic maturation, though he actu-ally looks away from both the false Nazi aesthetic categorisation and the forced structures of GDR socialist realism. One can sense that director Florian Henckel von Donnersmarck, still in the dawn of his film career but making very mature work, places himself within this ongoing ideological struggle. The German title of the film can be literally translated as “artwork without an artist”, hinting that von Donnersmarck knows he has further to go in his search for an enlightened means of expression.Greg de Cuir Jr

Paralele i sudari / Paralells and Encoun-tersŽETVA / THE HARVEST / MOSAVALIRežija: Misho AntadzeGruzija, 2019.

TehnoskepticizamGradeći ceo film na kontrastu, kao os-novnom izražajnom sredstvu, Antadze nam donosi studiju o čuvenom vinogr-adrskom region u Gruziji kojeg je zahva-tila zlatna, sajber groznica. Krajolik koji je do juče predstavljao pastoralnu idilu, da-nas se ubrzano menja instalacijom infra-strukture neophodne za kripto-rudaren-

je. Slike ruralnog pejzaža, poput one u kojoj gledamo stada ovaca nad kojima dominiraju telekomunikacioni tornjevi, navode nas da se zapitamo koji je obim promene što zahvata, ne samo prirodu, već i svakog pojedinca. Kadrovima u ko-jima se pretapa pesma zrikavaca i zujan-je drona, reditelj nas dovodi do jednog od ključnih problema savremenog društ-va – gde je granica između prirode i vir-tuelnog sveta. Trudeći se da ne zauzima ni jednu određenu stranu, ovo ostvarenje se ipak doima kao blagi tehnoskeptici-zam.Borislav Stanić

TechnoskepticismBuilding the entire film on contrast as the main means of expression, Antadze brings us a study of a famous vineyard region in Georgia which got into a gold-en cyber rush. The scenery which was a pastoral idyll as much as yesterday is to-day rapidly changing due to the set-up of installations necessary for crypto-min-ing. The images of rural landscape, like the one in which we see flocks of sheep and telecommunication towers which loom over them, make us wonder about the scale of the change which influenc-es not only nature, but each individual as well. The scenes in which cricket song is replaced with the humming of drones, the director brings us to one of the cru-cial problems of the contemporary so-ciety – where is the of the line between the nature and the virtual world. Trying to not take sides, this film still has a feel of mild technoskepticism.Borislav Stanić

Paralele i sudari / Paralells and Encoun-tersNEKA BUDE SVETLOST / LET THERE BE LIGHT / NECH JE SVETLORežija: Marko ŠkopSlovačka, 2019.

Skriveno zlo

NEKA BUDE SVETLOST je porodična drama o odnosu očeva i sinova u kon-tekstu nabujalog desnog eksteremizma koji zahvata ne samo Slovačku, nego i čitavu Evropu. Glavni junak, vaspitavan od strane hladnog i religioznog oca, pokušava da promeni odgojni model i bude blizak sa svojom decom. Međutim, odsustvujući od kuće kako bi u inostran-stvu zaradio novac kojim bi obezbedio dobro školovanje svojim potomcima, Milan gubi vezu sa decom pa mu na-jstariji sin biva uvučen u lokalnu paramil-itarnu, klero-fašističku organizaciju. Na snašavši se u situaciji koja zahteva de-likatan pristup, on pribegava nasilju, koje u datim okolnostima samo pogoršava poziciju cele porodice. Ni jednom nam ne prikazujući bilo kakavu neljudskost od strane članova ove ekstremističke or-ganizacije, čak ih vidimo kako, zajedno sa lokalnim sveštenikom, pomažu star-ijim sugrađanima, Škop na majstorski način prikazuje potmulo, skriveno zlo koje je zahvatilo celu zajednicu.Borislav Stanić

Hidden evilFamily drama about the relationship be-tween fathers and sons in the context of swelling rightwing extremism which en-compassed not only Slovakia, but entire Europe as well. The protagonist, raised by a cold and religious father, tries to change the parenting method and be close to his children. However, being away from home, working abroad to make money for kids’ education, Milan loses connection with them, and his son is dragged into a local paramilitary, cle-ro-fascist organization. Not up to the sit-uation which requires delicate approach, he resorts to violence, which under given circumstances makes the position of the entire family worse. Not showing us even one inhumane act of the members of this extremist organization, we can even see them helping the older mem-bers of the community together with the priest. Škop masterfully shows us the dull, hidden evil which took over the en-tire community. Borislav Stanić

Takmičarski program / Official Selection

CEREMONIJA DODELE NAGRADE / ZATVARANJE FESTIVALA / CLOSING CEREMONYMLADI AHMED / YOUNG AHMED (van konkurencije / out of competition)Belgium, France 2019, 84’Režija/ Director: Jean-Pierre Dardenne, Luc DardenneLetnja pozornica Palić / Summer Stage Palić, 21.00

Grčka u fokusu / Greece In Focus

VITEZ / CHEVALIERGreece, 2015, 105’Režija/ Director: Athina Rachel TsangariArt bioskop Aleksandar Lifka / Art cinema Aleksandar Lifka, 17.00

Novi mađarski film / New Hungarian film

NAS DVOJE / THE TWO OF US/ KETTENHungary, Canada, 2018, 49’Režija/ Director: Gyorgy Dobray

ŠIBICE / MATCHESHungary, 2019, 11’Režija/ Director: Geza M. Toth

DO SADA / AS UP TO NOW /AHOGY EDDIGHungary, 2018, 24’Režija/ Director: Moldvai KatalinEurocinema – Otvoreni univerzitet / Eurocinema – Open University, 17.00

Eko Doks / Eco Dox

DOBRODOŠLI U SODOMU / WELCOME TO SODOMAustria, Ghana, 2018, 92’Režija/ Director: Florian Weigensamer, Christian KronesFilmski klub – Otvoreni univerzitet / Film club – Open University, 17.30

Short Matters!

NOMINACIJE KRATKIH FILMOVA ZA EVROPSKU FILMSKU NAGRADU 2018. / SHORT FILM NOMINEES FOR THE EUROPEAN FILM AWARDS 2018

KAPITALIZAM / CAPITALISMFrance, Belgium, 2017, 15’

BURKINA BRANDENBURG KOMPLEKS / BURKINA BRANDENBURG COMPLEXGermany, 2018, 19’

MATURA ’97 / GRADUATION ’97Ukraine, 2018, 19’

MERYEMThe Netherlands, 2017, 16’

GNU / WILDEBEESTBelgium, 2017, 20’Bioskop Abazija, Palić / Abazija cinema, Palić 13.00

KRITIKE / REVIEWS www.palicfilmfestival.com2

IMPRESUM FESTIVALA

OSNIVAČ FESTIVALA / Founder of the Festival

Grad SuboticaORGANIZATOR I IZVRŠNI

PRODUCENT / Organizer and Executive Producer

Otvoreni univerzitet SuboticaIZVRŠNI PRODUCENT / Executive

ProducerIlija Tatić

SAVET FESTIVALA / Festival Council

Dušan Kovačević, predsednikĐorđe Kaćanski

Radoslav ZelenovićZoran Simjanović

Miroslav MogorovićGordana ĐurđevićMiloš Stanković

Silard AntalDIREKTOR FESTIVALA / Director

of the FestivalRadoslav Zelenović

PROGRAMSKI DIREKTOR / Program Director

Miroslav MogorovićSELEKTORSKI TIM /Programmers

Nenad DukićNeil YoungIgor Toholj

ŽIRI FESTIVALA / Festival JuryTom BurkeAleš Pavlin

Syllas TzoumerkasMárta Béres

Lawrence TooleySEKRETAR ŽIRIJA / Jury

SecretaryIvana Rađenović

FIPRESCI ŽIRI / FIPRESCI JuryEithne O’Neill

Jan StorøBarbara Kosecka

ŽIRI KRITIKE / CRITICS JuryNick PinkertonKieron Corless

Vesna PerićDIREKTOR OPERACIJA /

Operations DirectorVladimir Perović

TEHNIČKI DIREKTOR / Technical Director

Goran DragašKOORDINATOR PROGRAMA /

Programme CoordinatorCsilla Német

KOORDINATOR DIREKCIJE / Head Office Coordinator

Renata RudićSLUŽBA ZA GOSTE/ Guest

ServiceKOORDINATOR SLUŽBE

ZA GOSTE / Guest Service Coordinator

Eva ZrnićSaradnici / Associates: Jelena Štetić,Ena Jovančić Vidaković,

Danilo Šarčević, Aleksandra Bačić, Nikola Popov, Danijela Knežević, Uglješa Grubačić, Sonja Ninkov, Milica Lojpur, Goran Radaković,

Smiljana Šolaja, Dražen Vidaković, Miljana Vukmanov Šimokov, Milana Kalić, Miloš Janjić,

Szudárevity Dániel.MARKETING I KOMUNIKACIJE / Communications and Marketing

Renata RudićEva Zrnić

PR SLUŽBA/ PressMonika Husar Tokin

Tamara MarkovićNikola Matković

PRESS KONFERENCIJE / Press Conferences

Ivan AranđelovićSTEJDŽ MENADŽER / Stage

managerVitomir Simurdić

Stejdž asistent / Stage assistantBojan Stanin

VODITELJI PROGRAMA / Masters of Ceremony

Vladimir GrbićTimea Fülöp

Video dokumentacija / Video Documentation

DinovizijaWEB SITE

Mladen Prijić, Boris ČegarHosted by: YUnet International

Web Site Cms: Concord SoftIT PODRŠKA / IT Support

Vladimir MilodanovićTEHNIČKA SLUŽBA / Technical

Support Sekretarica / Secretary

Hegedüs Edit SARADNICI / Staff

Ekrem Bajramović, Imre Gorotva, Dušan Keča, Gordana Keča,

Mirjana NovkovićSLUŽBA ZA FINANSIJE / Finance

DepartmentMarica Vujadinović

PREVODILAČKA SLUŽBA / Translation Service

Igor Prlja, Nada Prlja, Miloš Budinčević, Sanja Rađenović,

Ivana Čurić, Dejan Jeremić , Ivana Tajti, Aleksandar Dognar, Uroš

Begović, Kristina Molnar, Željko Crnjaković

TITLOVI/ SubtitlingŠef službe / Head of the Service

Fodor ZoltánSLUŽBA ZA TRANSFER GOSTIJU/

Guest Transfer ServiceŠef službe / Head of the Service

Goran DragašINFO BIRO / Info BiroNOVINAR / journalist

Tatjana Kiš ČegarSNIMATELJI / CameramansVlado Šućur, Noemi Dedović,

Bojan NikolićMONTAŽER / Editor

Josip HorvatVIZUELNI IDENTITET / Visual

IdentityDamir Lučić Ryo

TV SPOTDamir Lučić Ryo, Darko Maletin,

Metlok Melnik

DANAS NA PROGRAMU

Film AJVAR, koji je na 26. Festivalu evropskog filma na Paliću imao svetsku

premijeru, prati intimnu dramu dvoje ljudi iz Srbije koji imaju uspešne karijere u Švedskoj, ali im je brak u krizi. Glavne likove igraju Nataša Ninković i Sergej Trifunović. “Osim što su sjajni glumci, s njima je rad uzbudljiv jer imaš odakle da ‘kopaš’. Ne verujem da im je bilo uvek lako. Ali mislim da se taj ulazak u rudnik sopstvene intime ispla-tio i da su napravili odlične ulo-ge”, ističe rediteljka Ana Maria Rosi.

Dugo ste radili na svom prvom dugometražnom igranom fil-mu. S kakvim emocijama ste dočekali svetsku premijeru na Festivalu evropskog filma Pa-lić?Vreme rada na filmu ima smisla meriti od trenutka kad dođeš do novca za film, u ovom slučaju – prođeš na konkursu Filmskog centra Srbije, do trenutka kad ga završiš. U slučaju AJVARA to je tri godine. To je neki pro-sek. Završili smo ga u januaru i dogovorili se da sačekamo s distribucijom jer nam je bilo važno da nam film ode na neki pristojan festival. Kada smo dobili poziv sa Palića za Glav-ni program, znali smo da je to pravo mesto za festivalsku pre-mijeru, gde će domaća publika biti u prilici da ga vidi, zajedno s drugim dobrim i relevantnim evropskim filmovima. To će nam omogućiti da i pre bio-skopske distribucije osetimo kako film diše pred publikom, a i da vidimo gde se u ovom trenut-ku nalazimo među evropskim kolegama, koga koje muke muče, kakve su teme, kakav je kvalitet ovogodišnje produkcije i kako mi tu plivamo.Za Palić sam i emotivno ve-zana. Omnibus NEKE DRUGE PRIČE, koji sam snimila zajed-no s još četiri rediteljke 2010, prikazan je u selekciji Paralele i sudari i dobio je nagradu. Ovog puta mi je, takođe, drago što su u Glavnom programu filmovi još dve rediteljke, iz Makedonije i Slovenije. Priče iz ženske vizu-re, problemi žena na filmu – to je važno za svaku kinematogra-fiju i značajno je što je Palićki festival to umeo da prepozna.

Kakvu simboliku nosi naslov filma?Ajvar je sastavni deo putne tor-

be srpskog iseljenika. Ta crve-na tegla predstavlja onu jednu stvar koju ne možemo da ku-pimo tamo gde živimo, ne pro-daje se po rafovima luksuzno opremljenih samoposluga jer su je pravile mama ili baba. Aj-var je sentimentalna vrednost, znak onoga iz čega potičemo, naš stalni podsetnik da ima-mo život i tamo negde. On je metafora naših mnogobrojnih izbegličkih života koja ima ukus i miris, nalik nijednom drugom. Ajvar je ovom filmu dao ime, igrajuću rekvizitu, geografsku i emotivnu odrednicu. Možda je simbolika u tome da je ajvar i naš koren i naš usud.

Glavne uloge veoma uverljivo igraju Nataša Ninković i Sergej Trifunović. Kako ste odabrali upravo njih dvoje i kako ste sa-rađivali u kreiranju likova?I Nataša i Sergej su ljudi s koji-ma sam već radila, pritom obo-je odavno uspešni i ostvareni u svom poslu. Nije tu bilo nika-kvih iznenađenja. Znala sam zašto želim njih i šta s njima film dobija. Osim što su sjajni glumci, s njima je rad uzbudljiv jer imaš odakle da “kopaš”. To je vrlo važno za svaki film, a u ovako intimnoj i suptilnoj drami o odnosu dvoje ljudi, to je neop-hodno. Da pričaš, da istražuješ, da probaš, da se ne složiš uvek, pa da opet pričaš i probaš. Ne verujem da im je bilo uvek lako. Ali mislim da se taj ulazak u rudnik sopstvene intime ispla-tio i da su napravili odlične ulo-ge. Znam da je meni rad s njima bio dragocen.

Film u celini odiše melanholi-jom, a poseban utisak ostavlja scena raskida na aerodromu. Koliko je ta psihološka duo dra-ma bila zahtevna za snimanje?Bila je. Ako je studio najlakši za ovu vrstu scena, aerodrom je nešto najudaljenije od toga što možete da zamislite. Niti se za-tvara, niti možete u potpunosti da ga kontrolišete, imate sta-tiste i sve što uz aerodrom ide, a snimate dugačku i za film važnu scenu. Ako ćemo iskre-no, ja im se prva divim kako su to uradili.

Kako ste pripremali živopisne scene porodičnog ručka u Uži-cu ili večere u kafani s kumovi-ma, koje plene autentičnošću i daju širi kontekst priči?Na probama. Ali bez sve šale.

Probe su divna stvar jer rešava-ju većinu problema i odgovaraju na pitanja i dileme, podstiču te da preispituješ i tekst i ulogu i daju ti prostora da na snimanju uživaš u procesu rada. Što se Užica tiče, to mi je bio najdra-ži deo snimanja jer sam imala mnogo glumaca koje volim u

jednoj sceni, na okupu. To uži-vanje u njihovom društvu i nji-hovo bezrezervno davanje vidi se i na filmu.

Kakvi su planovi za plasman AJVARA?Posle Palića idemo na festivale u Herceg Novi, Vrnjačku Banju i Niš. Film će, u distribuciji “Tara-mount filma”, stići u bioskope na jesen, posle beogradske pre-mijere.

FESTIVALSKE NOVINE INTERVJU / INTERVIEW 3

ZORICA DIMITRIJEVIĆ

AJVAR, the film that had its world premiere at 26th European Film Festival

Palić, tells an intimate drama between a Serbian married cou-ple that made it in Sweden. The film stars Nataša Ninković and Sergej Trifunović. “Beside both of them being great actors, to

work with them was exciting because they offer a deep well from which to retrieve mate-rial up. I don’t suppose it was always easy for them. But I do believe that this trip down the well of their own intimacy paid-off and they both created great roles” director Ana Maria Rossi said.

You’ve spent a long time work-ing on your fist full-length film. How emotional was it for you

when the film premiered at Eu-ropean Film Festival Palić?Time spent working on a film is measured from the moment the funding is secured (in this case, the project passed a com-petition by Film Centre of Ser-bia) until the film is complete. In the case of AJVAR, that pe-riod spanned three years which

is an average. We wrapped-up filming in January and all agreed to postpone the theatre distribution for awhile. It was really important to us for the film to be featured at a respect-able film festival first. When we received the invitation to par-ticipate in Palić Film Festival’s Official Selection we immedi-ately knew this was the right place for the film to have its festival premiere, a good place for domestic audience to see it alongside relevant European films. For us, it’s also an oppor-tunity to test the film in front of the audience prior to its theatre run, but also to determine our own position among fellow Eu-ropean filmmakers in regard to their subject matter, production quality, etc. I, personally share an emotional bond with Palić Film Festival. SOME OTHER STORIES, an omnibus that me and four fellow directors filmed in 2010, was screened at Paral-lels and Encounters – and won an award. I’m also very glad that Official Selection features two other films by women-di-rectors from Macedonia and

Slovenia. Stories told from the perspective of women, prob-lems of women on film, are important in any cinematogra-phy and Palić Film Festival was successful in recognizing that.

What is the symbolism embed-ded in the film’s title?Ajvar is a mandatory item in the suitcase of every Serbian im-migrant. The red jar represents one thing that we can never buy in those fancy supermarkets mainly because it is some-thing custom-made by mothers and grandmothers. Ajvar rep-resents a sentimental value, a symbol of our heritage, a con-stant reminder that we there is another life for us, someplace else. It’s a metaphor for many immigrants lives that has a fla-vor and a smell unlike any other. Ajvar was this film’s title, a prop and a geographic and emotion-al keyword. Maybe symbolism lies in the fact that ajvar is both our root and our fate.

Leading roles are portrayed convincingly by Nataša Ninković and Sergej Trifunović. How did you end up casting them and how did you collabo-rate in creating the characters?I have already worked with both Nataša and Sergej, both of whom already have success-ful careers. No surprises there. I knew exactly why I wanted to bring them on-board and in which way the film would bene-fit from it. Beside both of them being great actors, to work with them was very exciting because they offer a deep well from which to retrieve material up. That’s important in every film, especially for such an in-timate and subtle relationship drama. To talk, to explore, to try, to not always to agree but then to talk again and try again. I don’t suppose it was always easy for them. But I do believe this trip down the well of their own intimacy paid off and they both created great roles. I do know that working with them was a precious experience for me.

The film as a whole oozes with melancholy. Especially moving is the break-up scene, at the airport. How demanding was it to film that psychological duo-drama?It was very demanding. If the soundstage is the easiest solu-tion for this type of scene, then an airport is as furthest as you can get from there. Filming a scene that is both long and im-portant for the storyline... you can’t close the airport down nor can you fully control it, you have all these stand-ins around, etc. To be honest, I admire the way they handled it.

How did you set up the viv-id scenes of a family lunch in Užice or the dinner in tavern? These improve the sense of authenticity and give the story more scope.At the rehearsals. No kidding. Rehearsals are great because they can solve most of the problems and answer most of the questions and dilemmas. Rehearsals encourage you to question the script and ques-tion the characters and they also allow you to later enjoy the process, during the filming. As far as Užice scene is con-cerned, that was my favorite part of filming because I had a lot of actors I admire together in a scene. Their joy is visible in the film itself.

What are the future plans for the distribution of AJAVR?After Palić, we are headed for the film festivals in Herceg Novi, Vrnjačka Banja and Niš. After the Belg rade premiere this Fall, “Taramount Film” should distribute AJVAR into theaters.

INTERVJU: ANA MARIA ROSI, REDITELJKA FILMA AJVAR

U rudniku intimeAjvar je sentimentalna vrednost, znak onoga iz čega potičemo, naš stalni

podsetnik da imamo život i tamo negde

INTERVIEW: ANA MARIA ROSSI, THE DIRECTOR OF AJVAR

DOWN THE WELL OF INTIMACYAJVAR represents a sentimental value, a symbol of our heritage, a constant

reminder that we there is another life for us, someplace else

I, personally share an

emotional bond with Palić Film Festival. SOME

OTHER STORIES, an omnibus that

me and four fellow directors filmed in 2010, was screened at Parallels and

Encounters – and won an award

Za Palić sam emotivno vezana: omnibus NEKE DRUGE PRIČE, koji sam snimila zajedno s još četiri rediteljke 2010, prikazan je u selekciji Paralele i sudari i dobio je nagradu

Just 20 years ago, Georgia was experiencing daily shortages in electric ener-

gy supply. Today, this country is one of the world’s leading exporters of the bitcoin cryp-to-currency.

Without a conventional narra-tive and almost no dialogue and in a visually impressive manner, Misho Antadze’s film study depicts a way in which a tradi-tional rural area, best known for their vineyards, changes and how computer technology influences social relations. In his interview for the Festival Newsletter, he reveals his views on the post-industrial society in relations to rural Georgia.

You are dealing with a pret-ty current subject-matter that everyone’s talking about. However, the topic itself (the crypto-mania that has taken Georgia by storm) is still pretty abstract and incomprehensible to most. When did it all began and where is it all going?Sudden popularity you refer to is in connection to most peo-ple’s unstable economic situa-tion. People are trying to solve their existential problems any way they can. In the last couple of years, many of them tried their hand in crypto-mining, but I don’t see how such a thing can last.

You made a film without con-ventional narration and with al-most no dialogue. Contrasting is the principal stylistic device you employed. Do you consider

the nature and the world of new technologies to be in an irrec-oncilable opposition?While we were shooting the film, I noticed a lot of similari-ties between the agricultural labor and IT work. If you think about it, technology was cre-ated in response to nature. Nowadays, digital technology is completely different, but it’s still dependent on nature - the same way the earlier, agricultur-al technology was.

The film clearly depicts the way in which new technologies alter the landscape. However, the question of all questions is in which measure the vir-tual world influences social relationships. How much so at individual level? The film shows a scene in which boys are playing football as a video game, but also a group of boys playing football live, on a field.My experience tells me that ev-erything we find in the world of technology usually is just an im-itation of the real world. Hence, an analogy exists between vir-tual and real, conventional work and between virtual and real play.

Everything that is new and modern, we tend to associate with younger generations, by habit. How are the older citi-zens of Kakheti region feeling towards the oncoming chang-es? People are not fully aware of the undergoing changes because they happen pretty gradually. I was expecting only youth to be

involved with crypto-mining. I was very surprised to learn that a great deal of elders got into it.One of the most important questions of contemporary society is where the real ends and where the virtual begins. Do you consider the border between the two to be slowly erased and what are the conse-quences going to be?Sure, the Internet contributed a lot to the said phenomenon and we do not notice all the chang-es that lead up to the blurring of the border. Just take our addiction to smartphones, for example.

Do you consider yourself more a techno-optimist or a tech-no-skeptic?Generally speaking, I am more of a pessimist.

Not often are we in opportunity to witness Georgian cinema. How developed is your film in-dustry? Is there a government support for non-commercial works?Fortunately, in the last couple of years, there has been a change towards the better. National film centre is doing their best to help out so that the young authors’ films could become a part of cinema life. They en-courage the work of directors and producers. Of course, the majority of films produced are still, formally speaking, very conservative. However, it does seem to me that the younger directors are taking more risks and are approaching the cre-ative process more freely.

Do pre samo 20 godina u Gruziji su se dešavale sva-kodnevne restrikcije struje

dok je ova zemlja danas jedan od najvećih svetskih izvoznika kriptovalute bitkoina. U filmskoj studiji bez klasične naracije i gotovo bez dijaloga, Mišo An-tadze nam, na vizuelno upečat-ljiv način, predstavlja na koji na-čin se menja izgled jednog tra-diconalno poljoprivrednog kraja najpoznatijeg po vinogradima i kako nova, računarska tehnolo-gija utiče na odnose u društvu. U razgovoru za Festivalske no-vine otkriva nam svoje poglede na postindustrijsko društvo u kontekstu ruralne Gruzije.

Bavite se veoma aktuelnom te-mom o kojoj svi govore, a ona je zapravo veoma apstraktna i većini ljudi neshvatljiva. Reč je o kripto-groznici koja trese Gruziju. Kada je sve počelo i u kom pravcu se razvija?Ta iznenadna popularnost je povezana sa nesigurnom eko-nomskom situacijom u kojoj se mnogi ljudi nalaze i na sve načine pokušavaju da reše svo-je egzistencijalne probleme. U poslednjih nekoliko godina dosta njih se okušalo u kripto rudarenju, ali ne vidim da će sve to potrajati.

Snimili ste film bez klasične naracije i gotovo bez dijaloga, a osnovno stilsko sredstvo kojim se koristite je kontrast. Smatrate li da su svet novih tehnologija i sama priroda u nepomirljivoj suprotnosti?Ono što sam zapravo uvideo tokom snimanja filma je da po-stoji mnogo sličnosti između poljoprivrednog rada i rada sa informatičkom tehnologijom. Ako se malo dublje razmisli o svemu tome, tehnologija i jeste nastala u odnosu na prirodu. Sada je digitalna tehnologija sasvim drugačija, ali još uvek zavisi od prirode, kao i najranije, poljoprivredne tehnologije.

U filmu ste jasno pokazali kako nove tehnologije utiču na izme-nu krajolika. Međutim, pravo pitanje leži u tome u kojoj meri virtuelni svet utiče na društve-ne odnose. Koliko na samog pojednica? U filmu vidimo sce-ne dečaka koji igraju fudbal kao video-igru, ali i grupu dece koja fudbal igraju na terenu, uživo.Iskustvo mi govori da je ono što pronađemo u svetu tehnologije često imitacija stvarnog sveta. Dakle, postoji analogija između virtuelnog i stvarnog, klasičnog rada, kao i virtuelne i stvarne igre.

Sve što je novo i savremeno nekako po navici povezujemo

sa mladima. Kakav je odnos starijih stanovnika regiona Kakheti prema nadolazećim promenama?Ljudi nisu u potpunosti svesni promena koje se događaju, jer su one prilično postepene. Oče-kivao sam da se samo mlađi ljude bave kripto rudarenjem, međutim, dosta starijih se upu-stilo u taj posao što me je dosta iznenadilo.

Jedno od važnijih pitanja ko-jima je okupirano savremeno društvo jeste i to gde prestaje stvarnost, a gde počinje virtu-elno. Mislite li da se polako bri-še granica između ta dva sveta i koje su posledice toga?Svakako, internet je dosta do-prineo tome, a mi ni ne primeću-jemo sve promene koje dovode do brisanja te granice. Uzmite samo našu zavisnost o pamet-nim telefonima, na primer.

Vidite li sebe kao tehno-opti-mistu ili više kao tehno-skep-tika?Uopšteno govoreći, više sam pesimista.

Nemamo baš često prilike da se susrećemo sa gruzijskim kinematografijom. Koliko je razvijena filmska industrija? Postoji li podrška držvnih insti-tucija nekomercijalnim ostva-renjima?Srećom, došlo je do promene na bolje, barem u poslednjih nekoliko godina. Nacionalni filmski centar se svom snagom trudi da pomogne u tome kako bi radovi mlađih autora bili deo filmskog života. Podstiču rad i reditelja i producenata. Narav-no, većina snimljenih filmova, gledajući formalni plan, je prilič-no konzervativna, ali mi se čini da mlađi reditelji preuzimaju više rizika i slobodnije prilaze kreativnom procesu.

INTERVJU / INTERVIEW www.palicfilmfestival.com4

PREVOZ ZA GOSTE I AKREDITOVANE NOVINARE FESTIVALAMINI BUS16.30 – Mala gostiona Palić (parking) – Bioskop Eurocinema (kod parking kućice / rampe) – Bioskop Aleksandar Lifka (autobusko stajalište) 18.30 – Mala gostiona Palić (parking) – Bioskop Eurocinema (kod parking kućice / rampe) – Bioskop Aleksandar Lifka (autobusko stajalište) 19.15 – Bioskop Aleksandar Lifka (autobusko stajalište) – 19.20 – Bioskop Eurocinema (kod parking kućice / rampe) – Mala gostiona Palić (kod parking kućice / rampe) 21.00 – Bioskop Aleksandar Lifka (autobusko stajalište) – 21.305 – Bioskop Eurocinema (kod parking kućice / rampe)– Mala gostiona PalićAUTOBUS20.15 – Železnička stanica Subotica – Mala gostiona Palić (parking)Oko 1h posle ponoći (nakon završetka drugog filma Glavnog programa) sa parking Male gostione do Subotice.

TRANSPORT FOR GUESTS AND ACCREDITED JOURNALISTSMINIBUS16.30 – Little Tavern Palić (parking lot) – Eurocinema (parking lot check point) – Art Cinema Aleksandar Lifka (bus stop) 18.30 – Little Tavern Palić (parking lot) – Eurocinema (parking lot check point) – Art Cinema Aleksandar Lifka (bus stop) 19.15 – Art Cinema Aleksandar Lifka (bus stop) – 19.20 – Eurocinema (parking lot check point) – Little Tavern Palić (parking lot) 21.00 – Art Cinema Aleksandar Lifka (bus stop) - 21.35 - Eurocinema (parking lot check point) – Little Tavern Palić (parking lot)BUS 20.15 – Railway Station Subotica - Little Tavern Palić (parking lot) Around 1am (after Official Selection second screening) - Little Tavern Palić (parking lot) – Railway Station Subotica.

SERVISNE INFORMACIJECena jednodnevne ulaznice za dva filma Glavnog programa je 300 dinara. Ulaznice mogu da se kupe na blagajni Letnje pozor-nice od 20 sati do početka prvog i drugog filma. U slučaju loših vremenskih uslova, filmovi Glavnog programa biće prikazivani u bioskopu Eurocinema (Otvoreni univerzi-tet Subotica, Trg cara Jovana Nenada 15) u predviđenom terminu.Jednodnevne ulaznice za reprizne projekcije filmova iz Glavnog programa (dve projekci-je u bioskopu Eurocinema, od 12 i 14 sati) koštaju 200 dinara i mogu da se kupe na blagajni bioskopa Eurocinema (Otvoreni uni-verzitet Subotica), sat vremena pre početka projekcije u podne.Jednodnevne ulaznice za dva filma selekcije Paralele i sudari iznose 200 dinara i mogu da se kupe na blagajni bioskopa Abazija na Paliću, pola sata pre početka projekcije.Cena ulaznice za projekciju filma iz progra-ma Velikani evropske kinematografije (bio-skop Eurocinema od 19 sati) je 200 dinara. Ulaznice za ovu selekciju mogu da se kupe na blagajni bioskopa Eurocinema (Otvoreni univerzitet) sat vremena pre početka projek-cije, svakog dana od 21.07. do 25.07.2019.Ulaz na sve ostale festivalske projekcije je besplatan!Za posetice Festivala organizovan je bespla-tan autobuski prevoz. Polazak iz Subotice do Palića je svakog dana (od 20. do 26. jula 2019.) u 20.15h ispred Železničke stanice. Povratak sa Palića je organizovan svakog dana sa parkinga restorana “Mala gostiona”, nakon druge projekcije Glavnog programa (oko jedan sat posle ponoći).

INTERVJU: MIŠO ANTADZE, REDITELJ FILMA ŽETVA

Svet tehnologije je imitacija stvarnosti

Uopšteno govreći, ja sam tehno-skeptik. U poslednjih nekoliko godina dosta ljudi u Gruziji se okušalo u kripto rudarenju, ali ne vidim da će sve to potrajati

THE INTERVIEW: MISHO ANTADZE, THE DIRECTOR OF THE HARVEST

THE WORLD OF TECHNOLOGY IS AN IMITATION OF REALITY

Generally speaking, I am a techno-skeptic. In the last couple of years, many people in Georgia have tried their hand in crypto-mining, but I don’t see how

such a thing can last

BORISLAV STANIĆ

Autokuća TasićSubotica | Jagodina | Kragujevacwww.autokucatasic.rs

FESTIVALSKE NOVINE INTERVJU / INTERVIEW 5

Specijalna projekcija britansk-og muzičkog dokumentarca ČOVEK SA MO’WAXA, reditel-ja Metjua Džonsa, održana je sinoć u bioskopu Abazija. Film govori o neverovatnoj karijeri čuvenog muzičkog producenta i DJ-a Džejmsa Lavela, koji je gost Palićkog filmskog festiva-la, kao i producent ovog ostva-renja Majkl Mekmahon.Džejms Lavel jedna je od na-jintrigantnijih i najuticajnijih figura savremene britanske muzičke scene. Imao je samo 17 godina kada je osnovao kult-nu izdavačku kuću “Mo’Wax” i brzo postao veoma uspešan. Sarađivao je sa muzičarima kao što su Robert Del Naj iz benda “Massive Attack”, Tom Jork iz “Radioheada”, Džoš Ome iz “Queen of the Stone Age”... Stvarao je novi muzički izraz. Zato ne treba d ačudi što u do-kuemntarnom filmu ČOVEK SA MO’WAXA pratimo njegov raz-vojni put od dečaka, zaljubljeni-ka u muziku do muzičkog mo-gula. A taj put bio je turbulentan i kao stvoren za film.“Za mene je snimanje ovog fil-ma, koje je trajalo deset godina, bilo katarzično iskustvo. Mislim da smo ga napravili hrabro i u neku ruku iskreno, jer mislim da sve što se snima nikada ne može da bude do kraja iskreno. U ovom filmu od sat i po vreme-na je 30 godina mog života. I više od svega sam zadovoljan kako film komunicira sa pub-likom, kako im drži pažnju”, rekao je Džejms Lavel u razgov-oru za Festivalske novine.“Džejms od pre 30 godina je potpuno drugačija osoba od mene sada. To je čudno, znate. Čini mi se kao da ne znam mnogo o tom Džejmsu od pre

tri decenije. Sve je bilo drugači-je tada. Jezik je bio drugačiji, tehnologije nisu imale toliko upliva u naš život. Bilo je veo-ma uzbudljvo živeti i stvarati u to vreme i srećan sam što sam imao tu priliku”, dodao je Lavel.U ovoj vrlo ličnoj filmskoj priči mogu se videti i arhivski snimci iz Džejmsove privatne kolekci-je.“Džejms je otvorio vrata svog života u filmu. Dozvolio je da ga snimaju na putovanjima, na sastancima, koji nisu uvek pri-jatni. Dozvolio je pristup snim-cima iz njegove tridesetotogo-dišnje arhive, a to je oko 500-600 sati materijala. Montaža filma je trajala dve godine. Tre-balo je te stotine sati pretočiti u sat i po vremena. Na Palićkom festivalu smo prikazali posled-nju verziju filma, koja se razli-kuje od one premijerne, jer je u međuvremu Džejms pronašao svoje izgubljene arhivske snim-

ke koje smo ubacili u film. Prva verzija filma je u Velikoj Britaniji premijerno prikazana prošle godine u avgustu”, rekao je pro-ducent ovog ostvarenja Majkl Mekmahon.U toku svoje karijere Džejms je radio u različitim medijima, ali film zauzima posebno mesto: „Volim da radim na filmu i voleo bih da radim više. Prošle godine sam sarađivao sa Denijem Boj-lom na seriji TRUST i sa Alfon-som Kuaronom na filmu ROMA. Obojica su divni ljudi, mislim i kao umetnici i kao osobe. Smatram da su reditelji najveći vizionari među kreativcima. Vo-lim reditelje. Film je tako moć-na umetnost i sveobuhvatna. Znate, bio sam na koncertu ‘Massive Attack’ deset puta, ali sam Kopolinu APOKALIPSU DANAS gledao sto puta”, iskren je muzička legenda.Džejms Lavel će večeras svojim nastupom otvoriti muzički festi-val Summer3p na Paliću.

A special screening of THE MAN FROM THE MO’VAX, a British music documentary di-rected by Matthew Jones, was held last evening at Abazia Cinema. The film tells the story of music producer/DJ James Lavelle’s incredible career. He’s the guest of Palić Film Festival along with Michael McMahon, the film’s producer.James Lavelle is one of the most intriguing and most in-fluential figures of Britain’s modern music scene. He was only 17 when he founded the cult record label Mo’Wax and success followed soon after. He had collaborated with such musicians as Robert del Naja of Massive Attack, Thom Yorke of Radiohead, Josh Homme of Queens of the Stone Age... He had created new musical ex-pressions. Therefore, it’s not surprising that THE MAN FROM MO’WAX chronicles his journey from a music enthusiast boy to a music mogul. The journey was quite turbulent and like made for the big-screen.“For me, making of this film - which lasted 10 years - was a cathartic experience. I think we made it bravely and somewhat honestly because I believe that nothing on film can be 100% honest. This hour-and-a-half film contains 30 years of my life. More than anything, I am happy of the way the film con-nects with the audience, the way it keeps their attention”, James Lavelle said in the inter-view for the Festival Newsletter. “James from 30 years back is a completely different person from the one today. It’s kind of weird, you know. It feels like

I know very little about that James from three decades ago. Everything was much different back then. The language was different, the technology didn’t interfere with our lives that much. It was an exciting time to be alive and creative and I am very happy to have had such an opportunity”, Lavelle added.This very intimate film story contains archive footage from James’ personal collection.“James has opened the door of his life for this film. He allowed to be filmed on the road, at the meetings that aren’t necessari-ly pleasant. He provided access to footage from his 30-year long archive. Those hundreds of hours had to be put into an hour-and-a-half film. At Palić Film festival we screened the final version of the film which differs from the one that pre-miered because, in the mean-time, James had found his lost archival footage, so we added it to the film. The first version

was premiered in the U.K. last August”, producer Michael Mc-Mahon said.During the span of his career, James had worked in different media, but film holds a special place:“I like working on film and I’d love to do more. Last year, I worked with Danny Boyle on TV show TRUST and with Alfonso Cuarón on ROMA. They’re both great as artists and as people. I consider directors to be the most visionary among the cre-ative people. I like directors. Film is such a universal and powerful art form. You know, I’ve been to a Massive Attack concert a dozen times, but I must’ve seen Coppola’s APOC-ALYPSE NOW a hundred”, the music legend honestly admit-ted.James Lavelle’s show will open Summer3p music festival at Palić tonight.

A SPECIAL SCREENING OF THE MAN FROM MO’WAX

The life of a music mogulI’ve been to a Massive Attack concert a dozen times, but I must’ve seen

Coppola’s APOCALYPSE NOW a hundred times, DJ James Lavelle admitted

JELENA KNEŽEVIĆ

SPECIJALNA PROJEKCIJA FILMA ČOVEK SA MO’WAXA

Život muzičkog mogulaBio sam na koncertu ‘Massive Attack’ deset puta, ali sam Kopolinu APOKALIPSU DANAS gledao sto puta, iskren je DJ Džejms Lavel

Last year, I worked with

Danny Boyle on TV show TRUST and with Alfonso Cuarón on ROMA,

James Lavelle said

NEKA BUDE SVETLOSTProgram Paralele i sudari završen je sinoć u bioskopu Abazija u Paliću projekcijom nekoliko filmova, među kojima je viđena i drama NEKA BUDE SVETLOST u režiji Marka Škopa, realizovana u slovačko-češkoj koprodukciji. Reč je o novom delu autora čiji rad publika Festivala evropskog filma dobro poznaje, s obzirom da je njegov prethodni film EVA NOVA prikazan u istom programu pre tri godine. Glumac Milan Ondrik, koji je igrao lik sina u drami EVA NOVA, u filmu NEKA BUDE SVETLOST ostvario je glavnu ulogu, lik oca Milana. Sa Nilom Jangom, selektorom programa, posle projekcije razgovarao je agent za prodaju filma Loren Danielou.

Prošle godine sam sarađivao sa Denijem Bojlom na seriji Trust i sa Alfonsom Kuaronom na

filmu Roma, rekao je Džejms Lavel

DJ ASISTENT DŽORDŽ STJUART I DJ DŽEJMS LAVEL

PRODUCENT FILMA MAJKL MEKMAHON

INTERVJU / INTERVIEW www.palicfilmfestival.com6

Sve u ovom filmu je nau-ka i misterija, odlazak na Mesec i u utrobu Zemlje,

raditi za čovečanstvo i biti sam, život u pećini – kroz vizuru medija i kroz intimne dnevničke beleške Milutina Veljkovića, pa tako i sama forma filma prati ovu suprotstavljenost – kaže Sonja Đekić, rediteljka filma SPELEONAUT – POD KAMENIM NEBOM koji je pri-kazan u programu Eco Dox.

Šta Vas je podstaklo da snim-ite priču o Milutinu Veljkoviću, naizgled običnom čoveku koji je svojom podvigom zadivio celu nekadašnju Jugoslaviju?Istok Srbije me je dugo privlačio zbog zaborava, skrajnutosti, divlje prirode i živih, duboko ukorenjenih legendi. Sela koja nestaju, napušteni rudnik urani-

juma, brojni tragači za zakopa-nim blagom, sve je to zvučalo privlačno, ali znala sam da to nije blago za kojim tragam. I onda, naiđoh gotovo slučajno na svega par rečenica: neki naš čovek proveo je 15 mese-ci u pećini kod Svrljiga i time višestruko oborio rekord u pećinskom samovanju. Tako veliki i nesvakidašnji podvig, zapisan i u Ginisu, a gotovo se ništa o njemu ne zna! Istražu-jući još malo, otkrila sam da je Milutin Veljković za vreme svog boravka u pećini pisao i

dnevnik, koji je posle i objavljen pod naslovom “Pod kamenim nebom”. Uspela sam nekako da nađem primerak i već posle ne-koliko stranica više nisam ima-la sumnji da je to moj novi film. Kakva ideja, kakav lik, kakav novi svet, kakva volja i hrabrost, kakvo iskušenje i nemoguća misija. Milutin je ušao u pećinu svega nekoliko nedelja pre nego što će čovek stupiti na Mesec i ovaj svemirski zanos čitljiv je i između redova njegovih dnevničkih zabeleški: zamišljao je pećinu kao zatvoreni sistem, vrstu svemirskog broda.

Koliki značaj je imao njegov podvig?Jugoslovenska štampa je od juna 1969. do septembra 1970. brujala o odlasku dotad anonimnog Milutina Veljkovića

u podzemni svet. Električar, spe-leolog, student fizike i svaštar, koji se po rečima njegovog oca “još kao dečak najradije zav-lačio po podrumima čitajući fizike, Njegoša i Maksima Gork-og”, postao je preko noći zvezda i predmet interesovanja naučne javnosti. Novine paralelno iz-veštavaju o dva prodora: van planete – na Mesec, i u dubinu planete – gde se uputio Milutin. O njenu su pisali i moskovska “Pravda”, “Corriere Della Sera”, brojne američke novine, bio je na naslovnoj stranici magazina

“British Caver”, čak i u renomi-ranom “Science News”.

Šta je za Vas bio najveći izazov tokom snimanja?Najveći izazov bio je kako da prenesem razne aspekte i ritam pećine koje je Milutin doživljavao tokom 11.111 sati, a više od svega kako da pre-nesem svet lišen čulnih nad-ražaja savremenom gledaocu naviknutom na stalne, izrazite stimulacije. Cilj mi je bio da od nedostatka događaja, svetlosti, likova i pokreta – ukratko, sve-ga onog što čini film – načinim film. Da ovo nije bio lak zadatak, svedoči i činjenica da sam sa Nemanjom Babićem u montaži provela gotovo isto onoliko vre-mena koliko i Milutin u pećini.

Zašto je važno prikazati Miluti-nov susret sa prirodom i borbu sa samim sobom?Nema sumnje da se današn-ji čovek previše odrodio od prirode i da time postaje opas-an i po sebe i po nju, ali čini se da kreće da pobija i one njene duboko ukorenjene principe borbe i napora, neophodne da bi se raslo i razvijalo, da bi se osetilo zadovoljstvo. Milutin na više načina demonstrira drugačiji način. Nije bilo lako doći do podataka o Milutinu. Kad god bi mi se činilo da sam uspela da se približim Milutinu i saznam neku “konačnu” is-tinu o njemu, on bi uzmicao, poput nedokučive tajne. Čini se da se na sličan način i pećina ponašala prema Milutinu. On je u njoj živeo, merio je, pos-matrao, učio, peo se i provlačio i osvajao njene brojne kanale, kopao po njoj vraćajući se u zoru čovečanstva, i stavljao se u poziciju putnika kroz svemir.

Koliko Vam znači projekcija na Festivalu evropskog filma Palić?Projekcija filma na Paliću desiće se svega nekoliko dana nakon tačno pola veka od sle-tanja na Mesec, u leto kada je i Milutin pre 50 godina ušao u pećinu. Smatram da je festival-ska projekcija pravi način da se ovaj veliki jubilej proslavi. Na Festivalu evropskog filma Palić bila sam još kao student i veo-ma mi je drago da se vraćam sa profesionalnim radom. Čast mi je da će moj film biti deo jedne angažovane, pažljivo birane i uzbudljive selekcije kakva je Eco Dox.

Everything in this film is sci-ence and mystery, going to the Moon and to the belly

of the Earth, working for man-kind and being alone, life in a cave – through the point of view of the media and the inti-mate journal entries of Milutin Veljković, so the form of the film itself follows this opposi-tion – says Sonja Đekić, direc-tor of SPELEONAUT - UNDER THE STONE SKY which was shown in Eco Dox program.

What instigated you to film the story Milutin Veljković, a seemingly ordinary man who impressed the whole ex-Yugo-slavia with his feat?The east of Serbia attracted me for a long time because it was forgotten, effaced. It has wild nature and deep seeded legends that are still alive. Dis-appearing villages, abandoned uranium mine, numerous trea-sure hunters, it all sounded at-tractive, but I knew that wasn’t the treasure I was meant to look for. And then, almost ac-cidentally, I stumbled upon a couple of sentences: a man from here spent 15 months in a cave near Svrljig and so broke multiple records in cave hermitage. Such a great and unusual feat was recorded for the Guinness book, but we don’t know almost anything about it! I did some more research, and I found out that Milutin Veljković kept a journal during his time in the cave, and that it was later published with the title “Under stone sky”. I managed to find a copy somehow, and after a cou-ple of pages I had no doubts that that was my new film. What an idea, what a character, what new world, what willpower and courage, what temptation and an impossible mission. Mi-lutin went inside the cave just several weeks before man land-ed on the Moon and the space buzz can be read between the lines of his journal entries: he imagined the cave as a closed system, a kind of a space ship.

What was the significance of his feat?

In the period between June 1969 and September 1970, the Yugoslavian press was humming about the descent of a so far anonymous Milutin Veljković to the underworld. An electrician, speleologist, student of physics and a jack-of-all-trades who, according to his father, “loved to go to the basement as a child, and read physics, Njegoš and Maxim Gorky” became a star overnight and a person of interest of the scientific public. Parallelly, the newspapers report on two breakthroughs: off the planet – on the Moon, and into the plan-et – where Milutin was headed. “Pravda” from Moscow wrote about him, as did “Corriere Del-la Sera”, numerous American newspapers, he was on the cov-er of the “British Caver” maga-zine, as well as on the cover of the renown “Science News”.

What was the biggest chal-lenge for you during filming?The biggest challenge was to transfer the various aspects and the rhythm of the cave to film, as Milutin Veljković ex-perienced it during the 11.111 hours he spent inside, and most of all, how to relay the world devoid of senses to the con-temporary viewer who is used to continuous, distinctive stim-ulation. My goal was to make film from the lack of events, light, characters and movement – everything that makes a film. This not being an easy task is corroborated by the fact that I spent almost as much time editing with Nemanja Babić as long Milutin spent in the cave.

Why is it important to show Milutin’s encounter with nature and the struggle with himself?There is no doubt that the peo-ple today are too alienated from nature and that makes them a danger to themselves, as well as for nature. Still, it seems that mankind starts to oppose those deeply rooted principles of struggle and effort which are essential for growth and devel-opment, for feeling pleasure. Milutin demonstrates different

ways in several ways. Getting information on Milutin wasn’t easy. Whenever I felt that I man-aged to get close to him, to find out the “final truth” about him, he would back away, like an unfathomable secret. It seems that the cave behaved the same way with Milutin. He lived in it, measured it, observed it, studied it, climbed it, crawled through it and conquered her many canals, dug through it and went back to the dawn of mankind, and put himself into the position if a space traveler.

What does it mean to you to be able to show the film at the Eu-ropean Film Festival Palić?The film will be shown in Palić only several days after the five-decade anniversary of the Moon landing, and the sum-mer when Milutin went inside the cave. I think that the Fes-tival presentation is the real way to mark this big jubilee. I was at the European Film Fes-tival Palić as a student, and I am really happy to be back as a professional. It’s an honour that my film will be a part of an engaged, carefully chosen and exciting selection as e Eco Dox.

Milutin Veljković je ušao u pećinu svega nekoliko

nedelja pre nego što će čovek stupiti

na Mesec i ovaj svemirski zanos

čitljiv je i između redova njegovih

dnevničkih zabeleški

Milutin Veljković went inside the

cave just several weeks before man

landed on the Moon and the

space buzz can be read between the lines of his journal entries

INTERVJU: SONJA ĐEKIĆ, REDITEKLJA FILMA “SPELEONAUT – POD KAMENIM NEBOM”

Čovek se previše odrodio od prirode

Najveći izazov bio je kako da na film prenesem razne aspekte i ritam pećine koje je Milutin Veljković doživljavao tokom 11.111 sati boravka u njoj

INTERVIEW: SONJA ĐEKIĆ, DIRECTOR OF SPELEONAUT - UNDER THE STONE SKY

MAN IS TOO ALIENATED FROM THE NATURE

The biggest challenge was to transfer the various aspects and the rhythm of the cave to film, as Milutin Veljković experienced it during the 11 111 hours he spent

inside

MARIJA JAKOVLJEVIĆ

SVETSKA PREMIJERA / WORLD PREMIEREFESTIVALSKE NOVINE 7

Za svetsku premijeru srpskog igranog filma AJVAR, na 26. Festiva-lu ervopskog filma, tražila se karta više. Letnja pozornica sinoć je bila ispunjena do poslednjeg mesta, a mnogi posetioci sedeli su na stepenicama ili stajali sa strane.Obražajući se prepunom gledalištu na Letnjoj pozornici u paliću, rediteljka Ana Maria Rosi rekla je da, kada je počinjala da radi na filmu, jedino što je znala je da će se zvati AJVAR i da naslov neće prevoditi.“Ajvar se ne prevodi, on se prenosi. Njega prave naše mame i bake, pakuju u tegle, umotaju u novine ili foliju, i to se prenosi preko gra-nice. Ajvar je simbol rastanka sa zemljom, ali se nadam da je film AJVAR više od toga”, kazala je Rosi.Nakon projekcije gromoglasnim aplazuom pozdravljen je prisutni deo ekipe filma. Pored rediteljke i koscenaristkinje Rosi, publici su se poklonili glumci Sergej Trifunović, Vesna Čipčić, Pavle Pekić, Ivana Šćepanović, kostimograf Ksenija Terzović, montažer Mateja Rackov i producent Nikolina Vučetić Zečević.M. J.

At the world premiere of Serbian feature film AJVAR, at 26 Europe-an Film Festival, there was no place for all the spectators. Summer stage was last night overcrowded with many spectators left out-side, sitting on the stairs or standing aside.Addressing overcrowded open-air cinema theater of Summer Stage in Palić, director Ana Maria Rossi said that at the very begin-ning she only knew the title of the film will be AJVAR and that it will not be translatable.“You do not translate Ajvar, you can only carry it over. It is made by our mothers and grandmas, poured into the jars, wrapped it into a newspaper, and then you can carry it over a border. Ajvar is a sym-bol of a separation from your home country, but I hope that AJVAR is more than that”, said Rossi.After the screening, the present part of the crew was greeted by a loud applause. Beside the director and co-writer Rossi, actors Sergej Trifunović, Vesna Čipčić, Pavle Pekić, Ivana Šćepanović, costume designer Ksenija Terzović, editor Mateja Rackov and pro-ducer Nikolina Vučetić Zečević bowed to the audience.M. J.

Po tradiciji, odmah po zavr-šetku Festivala evropskog filma na Letnjoj pozornici u Paliću počinje revija fil-mova – Bioskopski hitovi. Sutra, u subotu 27. jula, na početku revije biće prika-zan rusko-srpski ratni film BALKANSKA MEĐA Andreja Volgina u kojem igraju i srp-ski glumci Milena Radulo-vić, Miloš Biković, Aleksan-dar Radojičić, Aleksandar Srećković Kubura i Miloš Radonjić. Mlade filmske zvezde Bikovića i Radonjića publika će videti i u nedelju,

28. juna u krimi filmu JUŽNI VETAR Miloša Avramovića, domaćem filmu koji je obe-ležio kraj prošle godine, sa više od 600.000 gledalaca, samo u Srbiji. U filmu igraju i Dragan Bjelogrlić, Miloš Ti-motijević, Jovana Stojiljko-vić, Srđan Žika Todorović, Bogdan Diklić, Aleksandar Berček, a u tom delu jednu od poslednjih uloga imao je i prerano preminuli glumac Nebojša Glogovac. U pone-deljak 29. jula na programu je SF akcija OSVETNICI: KRAJ IGRE, koja je tokom

protekle nedelje stekla sta-tus najispaltivijeg filma svih vremena sa dve milijarde i 791 milionom zarađenih dolara u bioskopima širom sveta. U utorak, 30. jula biće prikazan triler OTROVNA RUŽA sa Morganom Frime-nom i Džonom Travoltom, a u sredu, 31. jula premijerno – akcija PAKLENE ULICE - HOBS I ŠO sa Dvejnom Džonsonom, Džejsonom Statamom, Idrisom Elbom i Helen Miren u glavnim ulo-gama. Svi filmovi se prika-zuju od 21 sat.

BIOSKOPSKI HITOVI

EKIPA FILMA AJVAR TOKOM POKLONA NA LETNOJ POZORNICI

SVETSKA PREMIJERA FILMA ANA MARIJE ROSI NA FESTIVALU EVROPSKOG FILMA

AJVAR NAPUNIO LETNJU POZORNICUWORLD PREMIERE OF ANA MARIA ROSSI FILM AT THE EUROPEAN FILM FESTIVAL

AJVAR FILED SUMMER STAGE

ZA SVETSKU PREMIJERU AJVARA TRAŽILA SE KARTA VIŠE

PREMIJERI JE PRISUSTVOVAO KAJL SKOT, AMBASADOR SAD U SRBIJI, U DRUŠTVU RADOSLAVA ZELENOVIĆA,

DIREKTORA FESTIVALA

GLEDALIŠTE JE BILO ISPUNJENO DO POSLEDNJEG MESTA

VESNA ČIPČIĆ

SERGEJ TRIFUNOVIĆ

ANA MARIAROSI

PHOTO GALLERY www.palicfilmfestival.com8

UZ FESTIVAL STASAVAJU NOVE GENERACIJE: IVAN DUKIĆ

BOG POSTOJI, IME JOJ JE PETRUNIJA: REDITELJKA TEONA STRUGAR MITEVSKA

PETER BERGENDI (TREZOR) TOKOM INTERVJUA ZA JAVNI SERVIS VOJVODINE

RAZGOVOR S POVODOM: MIRA BANJAC I GORAN VUKČEVIĆ (RTV VOJVODINE)

EKIPA RTV VOJVODINE U PAUZI SNIMANJA HRONIKA FESTIVALA

HVALA OSOBLJU MALE GOSTIONE, NA ČELU SA ANĐELKOM

MIRKA NOVKOVIĆ (FESTIVAL STAFF) I JELENA LEMAJIĆ (VEČERNJE NOVOSTI)

FESTIVALSKE NOVINE / FESTIVAL NEWSPAPER

ISSN 2217 2998

UREDNIK / EDITORIvan Aranđelović

REDAKCIJA / EDITORIAL BOARD

Zorica Dimitrijević, Jelena Knežević, Marija Jakovljević,

Greg de Cuir Jr, Borislav Stanić

PREVOD / TRANSLATIONDragana Bošnjak, Uroš Begović, Boris Čegar

DIZAJN I PRIPREMA ZA ŠTAMPU / DESIGN AND

PREPRESSBoris Cupać, Refresh

FOTOGRAFI / PHOTOIvica Vojnić, Igor Irge

FESTIVAL WEBwww.palicfilmfestival.com

FESTIVAL E-MAILpress@palicfilmfestival.com

TIRAŽ / NUMBER OF COPIES300

ŠTAMPA / PRINTED BYRotografika

since 1985.