Reditelj Jaron Šani stigao je na Palić sa filmom OKO-VAN, drugim delom pla-

nirane trilogije na temu ljubavi. Film je premijerno prikazan na ovogodišnjem Berlinalu dok je prošlogodišnji, OGOLJEN pre-mijeru imao u Veneciji. Završni deo, PONOVO ROĐEN trenutno je u post-produkciji. OKOVAN je studija lika Rašija (Eran Naim), policajca čiji se život brzo pre-tvara u katastrofu. Reditelj Šani za Festivalske novine govori, između ostalog, o njegovoj este-tici i o celovitom pejzažu izrael-skog filma.

U filmu OKOVAN protagonistu šaljete na silaznu putanju. Zbog čega ste ga postavili na tako te-žak put?U svakodnevnom životu uglav-nom želimo da imamo samo-pouzdanje i kontrolu. Način na koji to postižemo je da smo što više na poznatoj i sigurnoj stra-ni života, gde sve ide po planu. Problem je da život sve više gubi smisao što se više držimo te bezbedne zone. Svaka priča ja zasnovana na krizi – ono što se dešavalo pre i ono što se deša-va posle nije interesantno, ono što je interesantno i značajno je izazov suočavanja sa njom. Kroz poistovećivanje sa prota-gonistom filma OKOVAN, cilj mi je bio da odem do granice posto-janja i otkrijem nešto što se ne može napisati rečima.

Gde smeštate Vašeg protago-nistu u prikazu policajaca sa manom i koliko se on prilago-đava ili se udaljava od ranijih prikaza?Protagonista filma OKOVAN se udaljava od ranijih prikaza u smislu da on zapravo nije prikaz. Ulogu sam dodelio pravom poli-cajcu. Eran Naim je služio u po-liciji 16 godina. Njegovo životno iskustvo je slično iskustvu lika, pa je njegovo poznavanje ka-raktera mnogo dublje i ličnije od

bilo čega što mogu da zamislim. Kada smo snimali film on nije igrao ulogu – on je živeo život lika u stvarnosti. On ne glumi, on jeste. Ono što vidite na ekranu je pravi policijski rad i pravi od-govor na ekstremne situacije. U filmu OKOVAN nećete videti filmski prikaz policajca, videćete policajca od krvi i mesa koji pro-lazi kroz lično i autentično život-no iskustvo.

Koristite veoma ubedljiv natu-ralistički stil, uključujući i rad sa glumcima amterima. Zašto Vam odgovara ovaj metod u od-nosu na druge?U postmodernoj kulturi se laž smatra efektivnijom od istine. To uglavnom vidimo u biosko-pu. Najcenjenija ostvarenja su fikcija. Da bi se cenio rad, mo-ramo da se snažno identifikuje-mo sa rukom koja stvara – da vidimo “lepu” fotografiju sa “le-pim” licima, dobro osmišljenim zapletima, dobro napravljenim vizuelnim efektima i dobro arti-kulisanim političkim agendama, Ali ne možemo stvoriti istinu, nju možemo samo posmatrati.

OKOVAN je deo trilogije. Koje su prednosti i izazovi kada se radi tematska šema?Svaki film stoji za sebe. Svaki film priča drugu priču i zasebno je kinematografsko iskustvo. Možete pogledati samo jedan film i ništa neće nedostajati. Izazov je uglavnom praktične prirode. Neobično je snimati tri filma odjednom. To nikada nije rađeno u Izraelu.

Šta mislite da izraelska filmo-

grafija radi bolje od nekih dru-gih nacionalnih kinematogra-fija, i kako se vi uklapate u tu tradiciju?Izraelska kinematografija je ve-oma siromašna u finansijskom smislu. Izraelci su više zaintere-sovani za bezbednost nego za kulturu, pa je javno finansiranje filmova veoma slabo. Za razliku od zemalja trećeg sveta, troško-vi ekipe i materijala su visoki, a to izraelske filmske radnike stav-lja u skoro nemoguću situaciju. Ali svaka negativna strana ima i svoju suprotnost – tamo gde ne možete da zaradite, radite zbog nečeg drugog. Zato su izraelski filmski autori vrlo često u dubo-kim i opasnim vodama. Savrše-no se uklapam u te vode.

Director Yaron Shani arrives in Palics with CHAINED, the second entry in a

planned trilogy on the theme of love. The film premiered this year at the Berlinale, while last year’s STRIPPED premiered at Venice Film Festival. The forth-coming REBORN is currently in post-production. CHAINED is a character study on Rashi (Eran Naim), a policeman whose life quickly disintegrates into ca-tastrophe. The Director Shani talks about his aesthetic and also the overall landscape of Israeli cinema, among other things.

In CHAINED you send your pro-tagonist on a downward spiral from the beginning. What are

the implications of putting him on such a treacherous path?In our daily life we mostly want to feel confident and in control. The way to maintain this is by staying as much as we can on the familiar and safe side of life, where everything is going ac-cording to plan. The problem is that the more we stay in the safe zone, the more we lose meaning to our lives. Every story is pred-icated on a crisis – what hap-pened before and after it is not interesting, what is interesting and meaningful is the challenge of facing it. Through identifying with the main protagonist in CHAINED I aim to go the edge of our existence and discover something which cannot be written in words.

Where do you situate your pro-tagonist in the long history of flawed policemen in the cine-ma, and how does he conform to or depart from previous de-pictions?The protagonist in CHAINED de-parts from previous depictions in the sense that he is not really a depiction. I cast a real police-man. Eran Naim has served in the police for over 16 years. His personal life experience is quite similar to that of the main char-acter, so his knowledge about the character is much deeper and personal than anything I can imagine. When we shoot the film, he does not perform a role - he is living the life of the character in an actual reality. He is not acting, he is being. What you see on the screen is real po-lice work and real responses to extreme situations. In CHAINED you will not see a cinematic de-piction of a policeman, you will see a flesh and blood policeman going through a personal and authentic life experience.

You employ a very convincing naturalistic style, including the

use of non-professional actors. Why is this the right method for you, versus others?In postmodern culture the lie is perceived as more effective than the truth. We see it mainly in cinema. The most appreciat-ed cinema is fictional. In order to appreciate the work, we need to strongly identify the creating hand – to see “beautiful” de-signs of cinematography along with “beautiful” faces, well-de-signed plots, well-crafted visual effects and also well-articulated political agendas. But you can-not create truth, you can only observe it.

CHAINED is part of a planned trilogy. What are the advantag-es and challenges of working along such a thematic pattern-ing?Each film stands by itself. Each film tells a different story and so it is a whole cinematic experi-ence. You can watch only one of the movies and you will not miss a thing. The challenge is mostly practical. It is unusual to shoot three films at once. In Israel it has never been done.

What do you think contempo-rary Israeli cinema does better than most other national cin-emas, and how do you fit into that tradition, if at all?Israeli cinema is very poor in terms of finance. Israelis are much more concerned about security than culture, so the public funding for cinema is very low. Unlike third world countries, the cost of crew and material is high, and that puts Israeli film-makers in an almost impossible situation. But every negative side has its opposite – where you cannot make money, you work for something else. That is why Israeli filmmakers usual-ly find themselves in deep and dangerous water. I fit perfectly in this water.

FESTIVALSKE NOVINEFESTIVAL NEWSPAPER

www.palicfilmfestival.com

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

TEODOR KUN

LJUDI

PREPOZNAJU

JAKU EMOCIJU

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MARTA BEREŠ

PALIĆKI FESTIVAL

JE SVOJ I

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DANAS NA KONFERENCIJI ZA NOVINARENa današnjoj konferenciji za novinare, od podneva, na Velikoj terasi, govoriće: Jaron Šani, reditelj filma OKOVAN (Glavni program), Teodor Kun, reditelj filma OŠTRIM NOŽEM (Paralele i sudari), Angel Rueda i Ana Marija Domingez, organizatori S8 Festivala La Coruna, Snježana Mitrović, moderatorka Ekološke panel-diskusije “Zaštita biodiverziteta jezera Palić i Ludaš – radovi u toku”, kao i Maša Seničić, organi-zator Kritičkog kampa Filmkulture.

TODAY AT THE PRESS CONFERENCEAt today’s press conference, at noon, on the Great Terrace, speakers will be: Yaron Shani, director of CHAINED (Official Selection), Teodor Kuhn, director of BY A SHARP KNIFE (Parallels and Encoun-ters), Angel Rueda and Ana Maria Dominguez, organizers of S8 Festival La Coruna, Snježana Mitrović, moderator of eco panel discussion “Protection of biodiversity of lakes Palić and Ludaš – works in progress”, together with Maša Seničić, Critic Camp Filmkultura organizer.

GREG DE CUIR JR

INTERVJU: JARON ŠANI, REDITELJ FILMA OKOVANI

Laž efektnija od istineUlogu sam dodelio pravom policajcu. Eran Naim je služio u policiji 16 godina

INTERVIEW: YARON SHANTI, THE DIRECTOR OF CHAINED

LIE IS MORE EFFECTIVE THAN THE TRUTH

I cast a real policeman. Eran Naim has served in the police for over 16 years

24.07.2019. No5

U filmu OKOVAN necete videti

filmski prikaz policajca

JARON ŠANI, REDITELJ YARON SHANTI, THE DIRECTOR

Takmičarski program / Official selectionŽAO NAM JE ŠTO SMO VAS PROPUSTILI / SORRY, WE MISSED YOURežija: Ken LouchVelika Britanija, Francuska, Bel-gija 2019.

Borba za preživljavanjeNagrađivani majstor Ken Louč ovaj put dira u ono što su neki od nas zvali frilens posao, a što sada mnogi od nas zovu neza-visni rad, kao bi nesigurnosti posla dodao malo prestiža, ili barem kako bi učinio da zvuči savremeno. Možemo se samo diviti samopouzdanju sa kojim nas Ken Louč baca u središte sveta filma i ekonomije sa ko-jom postavlja scenu za odvi-janje narativa. U roku od pet minuta razumemo sve o po-rodici u fokusu, uključujući i sve što se tiče njihove borbe

za preživljavanje. Ali ovo je film Kena Louča, pa se određene teme i očekuju. Radnički milje, živopisan lokalni dijalekt, slabe šanse protiv birokratskog siste-ma, i ogoljena estetika, neop-terećena nepotrebnim stvarima i grandioznošću. Louč je na svom vrhuncu, nakon pedes-et godina beskompromisnog rada, što je značajno postig-nuće, koje ga čini možda i na-jznačajnijim sineastom Ujedin-jenog kraljevstva još od... Alfre-da Hičkoka? Sasvim britanska dijalektika!Greg de Cuir Jr

Struggle for existenceThe decorated master Ken Loach this time tackles the gig economy, what some of us used to call “freelancing”, and what many of us now call work-ing “independently”, to add a bit of prestige to the precarity, or at least to keep it sounding new. One can only admire the confi-dence with which Loach drops us into the world of the film in medias res, and the economy with which he sets the table for the narrative to unfold. In five minutes we understand everything about the family in focus, including everything at stake in their struggle for a bet-ter means of existence. But this is a Ken Loach film, so certain themes are to be expected. The working class milieu, the color-ful local dialect, the mounting odds in the face of a bureau-cratic system, and the stripped down aesthetic, free of the un-necessary and the grandiose. Loach remains on top of his game, after fifty years of un-compromising work, which is quite an accomplishment, also perhaps making him the most important filmmaker from the UK since… Alfred Hitchcock? Quite the British dialectic!Greg de Cuir Jr

Takmičarski program / Official selectionOKOVAN / CHAINEDRežija: Yaron ShaniIzrael, Nemačka, 2019.

Lekcije upozorenjaRaši (Eran Naim) je policajac čiji se svet raspada u pot-punosti bez nekog posebnog razloga osim malog uticaja sudbine. Maltretira pogrešnog maloletnog osumnjičenog, što

kasnije dovodi do preterane i nepravedne optužbe za seksu-alno uznemiravanje zbog koje biva suspendovan sa posla. To ga stavlja u loše odnose sa suprugom i poćerkom što dovodi do kraja braka, a što ga konačno isprovocira da izabere okrutan i nasilan način da siđe sa nemilosrdne silazne putan-je. Reditelj Jaron Šani slika priču na naturalistički način snimajući na lokaciji ručnom kamerom, sa glumcima am-aterima i improvizovanim dijalozima. Efekat nas prib-ližava savremenom gradskom životu u Izraelu koji se može činiti nasumičnim i okrutnim, ali i međusobno povezanim i neizbežnim. OKOVAN je drugi deo planirane trilogije na temu ljubavi. Možda je ovo priča upozorenja u serijalu. Kao što kaže slavna izreka u filmu ve-likog Žana Renoara “svi imaju svoje razloge”. Više nego što je u pitanju pravilo igre: prokleti smo da tu lekciju učimo iznova svaki put.Greg de Cuir Jr

Warning lessonsRashi (Eran Naim) is a police-man whose world totally crum-bles for no reason at all except the slight nudging of fate. He harasses the wrong teenage suspect, which leads to an exaggerated and unfair sexual assault charge, which leads to him being suspended from his job, which puts him at odds with his wife and stepdaughter, which prompts his marriage to end, and which provokes him to choose a cruel and violent way out of this relent-less downward spiral. Director Yaron Shani depicts this story in a naturalistic manner, shoot-ing on location with a handheld camera, with non-professional actors and improvised dia-logue. The effect brings us closer to contemporary Israe-li city life, which would seem cruel and random, yet intercon-nected and inevitable. Chained is the second part of a planned trilogy on the theme of love. Maybe it is the cautionary tale in the series. As famously stat-ed in the film by the great Jean Renoir, ‘everyone has their rea-sons’. More than a rule of the game, it is a lesson that we are cursed to learn time and time again.Greg de Cuir Jr

Paralele i sudari / Parallels And EncountersPREŽIVETI LETO / IŠGYVENTI VASARĄRežija: Marija KavtaradzeLitvanija, 2018.

Malo drugačiji summer tripU vreme kada Svetska zdravst-vena orgnizacija beleži ogro-man porast mentalnih bolesti film Marije Kavtaradze nam se čini kao preko potreban društveni događaj koji može doprineti destigmatizaciji ljudi kojima je konstatovana ovak-va vrsta poremećaja. Naravno, visok stepen etičnosti nije postignut na uštrub estetično-sti. Vizuelno snoliko i na mo-mente izuzetno komično delo uspeva da ne banalizuje ozbil-jnost teme. Sve vreme oseća-mo jedan preteći ton koji svak-og časa može da razbije privid-ni mir kojim zrače samoubica i manijakalni depresivac. Ko-risteći se oprobanim žanrom roud-muvija rediteljka nam pro-dubljuje karaktere likova koji su od strane šire društvene zajed-nice obično svedeni na „ekipu iz ludare“. Ne gurajući nam prst u oko, Litvanki polazi za rukom da nas suptilnom naracijom

ipak iznenadi završnicom fil-ma. Jer, iako sve vreme slu-timo, uvek se nadamo da će tragedija biti izbegnuta.Borislav Stanić

A different kind of summer tripAt the time when World Health Organization registers a tre-mendous increase in mental illnesses, Marija Kavtaradze’s film seems like a much needed social event with a potential to de-stigmatize the population diagnosed with such disor-ders. Naturally, film’s high level of ethics was not achieved at the expense of its aesthetics. Visually dream-like and occa-sionally funny, the film does not banalize the seriousness of the subject-matter. Omni-present is a dreadful tone that threatens to smash the char-acters’ (a suicidal and a manic depressive) illusion of tran-

quility at any moment’s notice. Using a proven formula of a road-movie genre, the director gives depth to the characters that would otherwise usually be reduced down to a “nut-house crew” stereotype. By us-

ing subtle narration technique and not beating its audience over the head, the Lithuanian filmmaker succeeds in surpris-ing us in the film’s finale. Even though we have our suspicions throughout the entire course of the film, we always kind of hope that the tragedy will be averted in the end.Borislav Stanić

Paralele i sudari / Paralleles And EncountersOŠTRIM NOŽEM / OSTRÝM NO-ZOMRežija: Teodor KuhnSlovačka, 2019.

Nema pravde za malog čovekaInspirisan stvarnim događajem iz 2005. godine, ovo ostvarenje mladog slovačkog reditelja Te-odora Kuna predstavlja hrabar, društveno angažovan umetnič-ki čin. Na početku filma desi

se ubistvo i svi očekujemo još jedan film sa temom “ko je ubi-ca?”. Međutim, naša nadanja bivaju izneverena kada ubrzo potom policija ekspresno reši slučaj i uhvati počinioce – gru-pu neonacista. Ali, kao što su brzo uhvaćeni oni još brže biva-ju oslobođeni optužbi uprkos očiglednim dokazima. I ovde zapravo počinje pravi zaplet. Otac nastradalog mladića kreće u borbu protiv stoglave ale institucionalne birokratije i apsurda pravosudnog apara-ta. Ušavši u nemoguću bitku protiv celog sistema u kojem su svi nerazmrsivo uvezani, od političara i policije, pa sve do

sudstva i organizovanih krimi-nalnih grupa, glavni junak biva poražen i na porodičnom pla-nu. Fotografija hladnih tonova dodatno potcrtava teskobni svet u kojem nema pravde za malog čoveka.Borislav Stanić

No justice for a common manInspired by the true events of 2005, young Slovakian film director Teodor Kuhn brings us a courageous, socially en-gaged work of art. The film opens with a murder, so the audience naturally expects an-other film that employs the old “whodonnit” formula. Howev-er, they get their expectations subverted soon after as the police rapidly cracks the case and apprehends the culprit for the crime – a group of neo-Na-zis. They get released as fast as they’ve been arrested – in

spite of the obvious evidence – and that’s where the film’s true plot begins. The father of the murdered boy plunges into a battle against the ma-ny-headed beast of bureaucra-cy and absurdity of the judicial system. Having engaged into an impossible fight against an entire system – in which every-one, from policemen and politi-cians to judges and criminals, is inextricably intertwined, the main hero faces defeat even at home. Desaturated tone of the film only enhances the vision of a grim world in which a com-mon man can find no justice.Borislav Stanić

Takmičarski program / Official Selection

TREZORHungary, 2018, 75’Režija/ Director: Bergendy PeterLetnja pozornica Palić / Summer Stage Palić, 21.00

BOG POSTOJI, IME MU JE PETRUNIJA / GOD EXISTS, HER NAME IS PETRUNYAMacedonia, Belgium, Slovenia, Croatia, France, 2019, 100’Režija/ Director: Teona Strugar MitevskaLetnja pozornica Palić / Summer Stage Palić, 23.00

Paralele i Sudari / Parallels and Encounters

IRINABulgaria, 2018, 96’Režija/ Director: Nadejda KosevaBioskop Abazija, Palić / Abazija cinema, Palić, 17.00

SKANDINAVSKA TIŠINA / SCANDINAVIAN SILENCEEstonia, France, Belgium, 2019, 81’Režija/ Director: Martti HeldeBioskop Abazija, Palić / Abazija cinema, Palić, 19.00

Mladi duh Evrope / Young Spirit of Europe

HIMNE VELIKE MOSKOVSKE KNEŽEVINE / THE HYMNS OF MUSCOVYRussia, 2018, 14’Režija/ Director: Dmitri VenkovALFONSO CUARON U BOJI / ALFONSO CUARON IN COLOURPortugal, 2018, 3’Režija/ Director: Luis AzevedoMERLIN MONRO ŽELI DA RAZGOVARA SA VORHOLOM / MARILYN MONROE WANTS TO SPEAK WITH WARHOLSpain, 2018, 4’Režija/ Director: Christian FloresDEKODIRANJE IPHONE XS-A: TEHNO-MAGIČNI PORTAL / DECODING THE IPHONE XS: A TECHNO-MAGICAL

PORTALAustria, 2018, 13’Režija/ Director: Karin FerrariGOVOR / SPEECHUK, 2018, 9’Režija/ Director: Steve HawleyINTERMEZZOSerbia, 2018, 5’Režija/ Director: Saša Petrović ZuljaMRAČNA KOMORA / DARK CHAMBERHungary, Sweden, 2018, 6’Režija/ Director: Otto BanovitsMELI MELOBelgium, 2018, 19’Režija/ Director: Julian WolfLetnji bioskop Abazija Palić / Abazija Summer Cinema, Palić 22.00

Grčka u fokusu / Greece In Focus

RUZMARIN / ROSEMARIECyprus, 2017, 112’Režija/ Director: Adonis FloridisArt bioskop Aleksandar Lifka / Art cinema Aleksandar Lifka, 17.00

Novi mađarski film / New Hungarian film

GLAS GOSPODARA / HIS MASTER’S VOICE / AZ UR HANGJAHungary, Canada, 2018, 108’Režija/ Director: Palfi GyorgyEurocinema – Otvoreni univerzitet / Eurocinema – Open University, 17.00

Specijalna projekcija / Special Screening

THE LOVE EUROPE PROJECT 102’BABYLONGermany, Czech RepublicReditelj/Director: Sebastian SternPART OF THE WORLDGermany, KazakhstanReditelj/Director: Alex SchaadPAIRED UPGreat BritainReditelj/Director: Charlotte ReganLIKE A BIRDCroatiaReditelj/Director: Michaela

KezeleTHE OLD MAN AND THE BUCKETPolandReditelj/Director: Tomasz Emil RudzikFLEEING IN EUROPEFranceReditelj/Director: Aline FischerFUN FACTORYNorwayReditelj/Director: Lisa Brooke Hansen, Even HafnorTHE ENTRANCEItalyReditelj/Director: Laura BispuriCEDAR WOLFGreeceReditelj/Director: Sofia GeorgovassiliBioskop Abazija, Palić / Abazija cinema, Palić 21.00

Eko Doks / Eco Dox

HEROJ OVACA / SHEEP HEROThe Netherlands, 2018, 108’Režija/ Director: Ton van ZantvoortFilmski klub – Otvoreni univerzitet / Film club – Open University, 17.30

Novi evropski dokumentarni film / New European Documentary

WONGARSerbia, 2018, 60’Režija/ Director: Andrijana StojkovićArt bioskop Aleksandar Lifka / Art cinema Aleksandar Lifka, 19.00

Velikani evropske kinematografije / The Great European Cineastes

LAVA I BOL / PAIN AND GLORYSpain, 2019, 113’Režija/ Director: Pedro AlmodovarEurocinema – Otvoreni univerzitet / Eurocinema – Open University, 19.00

DANAS NA PROGRAMU

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

Pre 13 godina grupa neo-nacista ubila je nedužnog mladića u Slovačkoj. Taj

slučaj potresao je celu zemlju. U nedostatku dokaza, zbog traljave istrage, počinioci su pušteni na slobodu. Reditelj Te-odor Kun, vršnjak nastradalog mladića, odlučio je da na osno-vu tragičnog događaja i farse oko istrage snimi igrani film OŠ-TRIM NOŽEM, koji je prikazan u programu Paralele i sudari.

Koji događaji su Vas inspirisali da snimite ovaj film?Godine 2005. u Slovačkoj se desio zločin koji je potresao celu zemlju. Grupa neonacista je ubila nedužnog mladića i to bez ikakvog konkretnog moti-va. Slučaj je prerastao u najveći događaj u istoriji moderne Slo-vačke. Pokrenuta je velika istra-ga koja je traljavo urađena i na kraju tužilac nije imao dovoljno dokaza protiv počinilaca. U či-tav slučaj su bili umešani poli-tičari koji su manipulisali celim procesom. To govori dosta o tome kako je celokupni sistem fukcionisao.

Deluje nam pomalo neverovat-no da se tako nešto dešava u zemlji članici Evropske unije.Morate da uzmete u obzir našu istoriju. Mi smo mlada zemlja koja je nezavisna od 1993. go-dine i prvih deset godina su bile izuzetno teške. Državu je zapravo vodila mafija. Danas je ostvaren veliki napredak ali i dalje su vidljivi tragovi tog prvog desetleća.

Da li je ova tema ekskluzivno istočnoevropska ili je univer-zalna?Uh, to je baš dobro pitanje. Znam da su i balkanske zemlje imale sličnih slučajeva. Među-tim, smatram da ovakav zločin može da se desi bilo gde, ali ono što je usledilo nakon tra-gedije, cela farsa oko istrage, mislim da se ne bi mogla do-

goditi u Zapadnoj Evropi. Tamo institucije imaju čvršće pravne temelje jer im je i demokratska tradicija značajno duža.

Smatrate li da je ovaj film druš-tveno angažovan?Da, očigledno. Jedan od razlo-ga zbog kojeg smo i snimili film jeste da se taj događaj ne zaboravi. Momak koji je ubijen je iz moje generacije. Dolazim iz sličnog socijalnog miljea, posećivao sam ista mesta kao i on i takođe dolazio u sukob sa neonacistima. Srećom, ja sam prolazio samo sa batinama dok je on ubijen. I zato me je ta priča toliko dotakla.

Kakve su reakcije publike u Slovačkoj?Ne smatram da sam napravio veliki film, ali ima izuzetno jaku emociju. I to ljudi prepoznaju. Prikazivan je širom Slovačke. Ljudima je bilo teško da ga gle-daju jer, kako mi se čini, u sva-koj generaciji se desi neko mon-struozno ubistvo koje potrese celu naciju, kao što je prošle godine bio slučaj sa ubistvom novinara. Pre jedne od projek-cija, jedan posetilac odbio je da uđe u salu obrazloživši to time mišljenjem da mu je dosta slič-nih slučajeva kojih se nagledao uživo.

Svedoci smo oživljavanja de-sničarskih ideologija širom Evrope. Kakva je situacija u Slovačkoj povodom tog pita-nja?Mislim da se trenutno deša-va preokret nabolje. Politički govoreći, Slovačka je najbolja zemlja za život u centralnoj Evropi. Imamo odličnog grado-načelnika glavnog grada kao i neverovatnu predsednicu. Na-dam se da ćemo na narednim parlamentarnim izborima imati vladu koja će konačno raditi u interesu svih građana.

U filmu ste prikazali apsurd in-

stitucionalne birokratije. Da li ima pravde za malog, običnog čoveka?To je pitanje koje i film postav-lja. Čini mi se da još niko nema odgovor na to pitanje. Iskreno se nadam da će Slovačka jed-nog dana postati zemlja u kojoj će pravde biti za svakoga po-djednako.

Mislite li da umetnost može da utiče na promenu društvenih odnosa?Smatram da umetnost, na neki način, ipak može da promeni ljude. To je čak i dokazano. Na primer, tokom pada komuniz-ma u Poljskoj, KRATAK FILM O UBIJANJU Kišlovskog je iza-zvao diskusiju koja je promenila čitav sistem. Na neki način film je doveo do toga da se ukine smrtna kazna.

KRITIKA / REVIEWS

Novi evropski dokumentarni film / New European DocumentariesVARDA OD ANJES / VARDA BY AGNESRežija: Agnes VardaFrance, 2019.

Majstor esejističke formeAnjes Varda, istinski majstor esejističke forme na filmu, nije više među nama. Njeno konačno zaveštanje VARDA OD ANJES je adekvatna posveta u obliku samoispitivanja vremešne karijere – od začetaka francuskog novog talasa film-om LA POINTE COURTE (1954.) do prihvatanja digitalne slike i sloboda koje je taj medijum doneo početkom 20. veka , a preko njene vizuelne umetnosti i zvezdanog statusa u svetu bijenala i galerija. Vardino najnovije ostvarenje ot-počinje prizorom nje same kako se, na pozornici pred publikom punom simpati-ja, priseća vlastitog stvaralačkog života. Film potom stapa različita razdoblja i faze u jedan kolaž uspomena koji teče nelinearnim tokom – u pitanju je lično putovanje kroz izrazito lično poimanje filma. Složeno audio-vizuelno ustrojstvo ovog ostvarenja predstavlja Vardu kao vrhunskog montažera. Majstorstvo njene veštine u kontrolisanju vremena i prostora takođe je pozicionira među najbolje rediteljke svih vremena. Legenda još za života, nakon smrti konačno je dosegla besmrtnost. Počivaj na vrhu, draga Varda.Greg de Cuir Jr

Masters of the essayistic formOne of the true masters of the essayistic form in cin-ema, Agnes Varda is no longer with us. Her final tes-tament is a fitting tribute in the form of a self-exam-ination of her lengthy career, from inventing the French New Wave with LA POINTE COURTE in 1954, to em-bracing digital video and the freedoms it offered in the early 20th century, through her visual arts turn and star-dom in the world of biennials and galleries. This newest work by Varda starts with her on a theatre stage, recall-ing her creative life to a loving audience. It then melds various eras and settings into a collage of memories that flows in a nonlinear stream – a personal journey through a fiercely personal cinema. This film’s complex audiovisual layering really exposes Varda as one of the greatest of all editors. Her mastery of control over time and space also exposes her as one of the greatest of all directors. Already a legend while living, now that she is deceased she can finally become immortal. Rest in power, cherie Varda.Greg de Cuir Jr

FESTIVALSKE NOVINE INTERVJU / INTERVIEW 3

BORISLAV STANIĆ

Tell us something more about the circumstanc-es that inspired you to make the film?In 2005 a crime happened in Slovakia that shak-en the whole country. Group of neo-nazis killed the innocent boy without any concrete motif. The case became the greatest happening in the con-temporary Slovak history. A big badly processed investigation took place so that the public prose-cutor didn’t have enough proofs against the crim-inals. The whole place was additionally manipu-lated by the local politicians. This refers enough to the malfunctioning of the whole system.

It sounds a bit improbable for a European Union member.You have to take in consideration our history. We are young country, independent from 1993, and the first decade of independence was really hard. The country was led by a mafia. We have made a great progress but there are still some remains from the first decade.

Is the theme exclusively Eastern European or universal?

Oh, it’s really a good question. I heard Balkans countries had similar cases. Nevertheless, I think that such a crime cannot happen anywhere, but the things that followed the tragedy, the whole farce about the investigation couldn’t happen in Western Europe. Their institutions are founded in law because their democratic tradition is much longer.

Do you consider this film socially engaged?Yes, it is obvious. One of the reasons we shot the film is to prevent the oblivion. The murdered guy is from my generation. I come from the similar social milieu, I went to the same places he did and also was in fight with neonazis. Luckily for me, I only got beaten while he was murdered. That is why I’m so touched with the story.

What are reactions in Slovakia like?I don’t think that I have made a great film, but it has strong emotions. People recognize that. It was screened all around the Slovakia. It was hard for some people to watch it because in ev-ery generation there was a murder that shook the nation, such as last year’s murder of a journalist. Before one of the screenings a spectator refused to enter the theatre because he had seen many similar cases in his life.

We witness growing right-wing ideologies across the Europe. What is situatin in Slovakia like?I think that things are getting better. In a political sense, Slovakia is the best country for living in Central Europe. We have excellent capital’s may-or and incredible president. We hope for a gov-ernment that will work in every citizen’s interest, after next general elections.

You depicted the absurd of an institutional bu-reaucracy in your film. Is there any justice for a little common man?That is the question that the film asks. I believe nobody has the answer to this question. I sin-cerely believe that the Slovakia will someday be-come the country of justice for all equally.

Do you think that art can influence the change of social relations?I think that art can somehow change people. It has been even proved. For instance, during the fall of communism in Poland, A SHORT FILM ABOUT KILLING by Kieślowski provoked a dis-cussion that changed the whole system. The film contributed to abolition of a dead sentence.

INTERVJU: TEODOR KUN, REŽISER FILMA OŠTRIM NOŽEM

Ljudi prepoznaju jaku emociju

Umetnost, na neki način, ipak može da promeni ljude

INTERVIEW: TEODOR KUHN, DIRECTOR OF BY A SHARP KNIFE

People recognize the emotion of the film

Art can somehow change people

For years, actress Marta Bereš, a member of Ko-sztolányi Dezső Theatre

in Subotica, was the Palić Film Festival program moderator at the Summer Stage.This year, she’s a member of the jury in the Festival’s Official Selection, as the sole domestic representative. She is confident that she’ll soon grace the Palić Film Festival stage as an ac-tress of a European feature.

You share a special bond with

Palić Film Festival. What are your sen-timents towards it?I’m very proud of this Festival. Being born in Novi Sad, it was hard for me to get used to Suboti-ca at first, but now you couldn’t find a greater local-patri-ot than me. I feel pride towards all the innovative stuff that’s been cook-ing here, towards everything that possesses an in-ner-warmth – and that is exactly the essence of Palić Film Festival.

What is, in your view, the greatest value of Palić Film Festival?

The fact that it’s so authentic and has its own flare. There’s no need to pretend as if this is Berlin or Cannes. Instead, we cherish it for what it is – and I mean that in the best man-ner possible. Also, the Festival possesses a healthy dose of self-irony which can be seen in the saying “Some festivals have a beachfront and luxury, but ours has a lake that you can’t go swimming in”. I get an incredible feeling from the vibe of a full theatre just before the screening. There’s no greater feeling than that. The Summer Stage was packed during the opening ceremony. People were standing on the sides just to watch Pedro Almodovar’s film. It’s a powerful moment of a collective experience that binds people. To witness something together, a film, is a powerful thing. This social spectacle is what matters to me the most.

Was there a particular mo-ment that happened to you at Palić Film Festival that influ-enced you, your views on art and your profession?There was one – the last year’s meeting with Ildiko Enyedi. She asked me to audition for a leading female role in her film ON BODY AND SOUL that was screened at the last year’s Palić Film Festival opening night. From the first moment I felt a special chemistry be-tween the two of us. Eventu-ally, I did not get the part, but I was nevertheless very happy when I saw that wonderful film. She too was happy to see me last year when she was the head of the Official Selection’s jury. From that moment on, from our chance meeting and conversation, Palić Film Fes-tival has gotten a whole other dimension for me. I have this feeling, I am absolutely certain that the day is coming when I’ll be able to stand tall on this Festival’s stage as someone who’s representing her own film.

What was your reaction to the invitation to be a member of this year’s festival Official Se-lection jury?I’ve had my doubts whether I should accept the invite since I don’t have much experience on film – unlike my fellow jury members. Then I thought to myself: I’m a person who loves movies and who’s able to have a clear judgment. I’m so glad to have accepted the invitation because the rest of the jury is great. Just now, we spent two hours talking about cinema movements in London, Athens, Texas… Being able to talk nor-mally with people who have accomplished so much in their field of work is wonderful.

How would you rate films that you have seen in the Official Selection so far?It’s been only three days and we’ve watched a couple of excellent films. Afterwards, we spent hours talking about them, about the ways they moved each one of us – and they rightly did, because the European cinema does not en-tertain. It’s neither easy-going nor easy to digest. The film has fulfilled its purpose when it’s followed by such conversa-tions.

Glumica Marta Bereš, članica pozorišta “Deže Kostolanji” u Subotici, go-

dinama je bila voditeljka progra-ma Festivala evropskog filma Palić, na Letnjoj pozornici. Ove godine je u žiriju Glavnog pro-grama, kao jedini domaći pred-stavnik, a čvrsto veruje da će na pozornici Palićkog festivala biti uskoro i kao glumica u nekom evropskom filmu.

Palićki filmski festival i Vi ima-te posebnu vezu. Kakva su Vaša osećanja prema ovom festivalu?Jako sam ponosna na ovaj Festival. Teško mi je bilo kao rođenoj Novosađanki da se na-viknem na Suboticu, ali sada ne postoji veći subotički lokalpatri-ota od mene. Ponosna sam na sve ono inovativno što se ovde događa, na sve ono što u sebi nosi toplinu, a takav je Palićki filmski festival.

Šta je po Vašem mišljenju naj-veća vrednost Festivala evrop-skog filma Palić?To što je svoj i autentičan. Ne treba se praviti da je ovo Berli-nale ili Kan, nego ceniti ono što jeste i to kažem u najboljem smislu. Takođe, Festival ima i dozu samoironije, koja mi se sviđa, a koja se ogleda u reče-nici: “Neki festivali imaju more i luksuz, a mi jezero u kome ne može da se kupa”. Meni je neverovatan osećaj kada pre projekcije vidim i osetim tu atmosferu punog bioskopa. Lepšeg osećaja od toga nema. I sada je na otvaranju bila puna Letnja pozornica, ljudi su stajali sa strane da bi videli film Pedra Almodovara. To je tako moćan trenutak zajedničkog iskustva, koji povezuje ljude, jer nevero-

vatno je biti svedok iste stvari zajedno, istog filma. To je društveni spektakl i to mi najviše znači.

Da li postoji neki po-seban trenutak koji Vam se dogodio na Paliću, a koji je zna-čajno uticao, na Vas, na Vaše promišlja-nje o umetnosti, o Vašoj profesiji?Da, postoji jedan. To je prošlogodišnji su-sret sa Ildiko Enje-di. Inače, ona me je zvala na audiciju za glavnu žensku ulo-gu u filmu NA DUŠI I TELU, koji je tako-đe bio prikazan na Paliću, na otvaranju festivala. I od prvog trenutka sam osetila neku hemiju između nas dve. Međutim, nisam dobila ulogu, ali sam mnogo bila srećna kada sam pogledala taj divan film. I ona se obradovala našem su-sretu prošle godine, kada je bila predsednica žirija Glavnog pro-grama Festivala. Od tog trenut-ka, od tog našeg susreta i raz-govora, Palićki filmski festival je za mene dobio drugu dimen-ziju. Imam osećaj i znam da će se jednog dana dogoditi to da mogu ponosno da stanem na scenu ovog festivala kao neko ko predstavlja svoj film.

Kako ste reagovali na poziv da ove godine bude u žiriju Glav-nog programa?Razmišljala sam da li ja to tre-ba da radim, jer nemam mnogo iskustva na filmu, kao druge moje kolege iz žirija. Ali onda sam pomislila: ja sam neko ko voli filmove i ko može da ima zdrav sud. I mnogo mi je drago da sam prihvatila poziv, jer su ostali članovi žirija divni. Upra-vo smo dva sata razgovarali o tome kako je na filmskim sce-nama u Londonu, Atini, u Teksa-su i divno je što sa nekim ljudi-ma, koji su već mnogo postigli u svom poslu, može tako ljudski da se priča.

Kako biste ocenili filmove koje ste do sada videli u Glavnom programu?Tek su tri dana prošla, a već smo videli nekoliko odličnih fil-mova, posle kojih smo satima o njima razgovarali o tome šta su

sve pokrenuli u nama, a pokre-nuli su štošta, jer evropski film ne zabavlja, on nije lak i pitak. I kada se posle filma dese takvi razgovori, onda je film učinio svoje

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: MARTA BEREŠ, GLUMICA, ČLANICA ŽIRIJA GLAVNOG PROGRAMA

PALIĆKI FESTIVAL JE SVOJ I AUTENTIČAN

Festival ima i dozu samoironije, koja mi se sviđa, a koja se ogleda u rečenici: “Neki festivali imaju more i luksuz, a mi jezero u kome ne može da se kupa”

THE INTERVIEW WITH MARTA BEREŠ, AN ACTRESS AND A MEMBER OF THE FESTIVAL JURY

Palić Film Festival is authentic and has its own flare

JELENA KNEŽEVIĆ

Autokuća TasićSubotica | Jagodina | Kragujevacwww.autokucatasic.rs

Ildiko Enjedi me je zvala na

audiciju za glavnu žensku

ulogu u filmu Na duši i telu

Ildiko Enyedi asked me to

audition for a leading role in

her film ON BODY AND SOUL

MARTA BEREŠ OVOGODIŠNJA JE DOBITNICA STERIJINE NAGRADE ZA ULOGU U PREDSTAVI “HASANAGINICA”

FESTIVALSKE NOVINE INTERVJU / INTERVIEW 5

U novoustanovljenom progra-mu Festivala Novi evropski do-kumentarni filmovi prikazano je delo PEPE, JEDAN UZVIŠEN ŽIVOT Emira Kusturice. Tim po-vodom prenosimo deo intervjua reditelja.

Na koji način je Muhika uspeo da se izdigne na nivo državnika o kojem se priča sa divljenjem, čija vladavina nije umrljano, već je slavljen i obožavan?Muhika je uradio pametnu stvar, napravio je ustupak Americi, za koju mislim da nije dobra, ali su mu dozvolili da ra-zvija ekonomiju. On je priznao gej brakove, uveo je slobodnu upotrebu marihuane za leče-nje. U političkim manevrima je uspeo da ih kupi potezima koji su mu dali rezervu da uzgoji de-set miliona krava. Na relativno maloj teritoriji za Latinsku Ame-riku napravio je nešto što je tih deset miliona krava učinilo za stanovništvo od tri miliona i do-velo ga u jedan status u kome je od njegovog dolaska stopa privrednog rasta došla do opti-malnih četiri odsto. Pored toga je smanjio siromaštvo sa 22 na sedam posto. To je čovek koji je činio stvari kao da je imao čarobni štapić, a pritom je bio vrlo konkretan. Svoje plate je davao sirotinji, a nije pozirao u tome. On zaista živi u kući koja jedva da ima beton na podu, koja je pokrivena kanceroge-nim salonitom, primao je 500 evra od Dojče Velea za komen-tare o Latinskoj Americi. Bio je pregovarač u Kolumbiji između kontraša i vladinih snaga. On je tip koji je uspeo da napravi uspešan kompromis koji ide u korist naroda. Mislim da Ame-rikancima nije stalo do krava nego do nafte, i zato je on još uvek bezbedan.

Da li je ta normalnost i jedno-stavnost jedne takve ličnosti možda bila i osnov Vaše inspi-racije? Pogotovo je to za nas začuđujuće jer su ovde gene-racije odrastale uz kult ličnosti, vođe, i masovne hipnoze. Ovde je hipnoza izvršena ele-mentarnim česticama, on je očarao svet svojom pojavom. Njegova žena u filmu kaže kao je on bio u stanju da se obrati i domaćici i intelektualcu. Pritom nije lagao. Sve što je izgovarao bilo je potkrepljeno empirijom. Njegova praksa je praksa čove-ka koji se žrtvovao za svoju na-ciju i koji je proistekao iz ulične borbe za tu vlast. On je otimao ljude, naplaćivao kidnapovanje, a onda tu lovu prosleđivao Tu-pamarosima. Bio je u zatvoru 13 godina i u poslednjoj fazi robije živeo je u jami u kojoj je razgovarao sa mravima. Izašao je iz zatvora kad je pala hunta, i počeo da se bavi politikom na isti način, ali nije imao oružje u ruci. Prodavao je cveće, voleo svoju ženu, i mislim da je ključ filma u onome što ja nisam osetio u prvom trenutku, a to je ta ljubav sa gospođom To-polanski. Kao u najuspešnijim brakovima, oni se nisu viđali toliko često, ali su imali vreme-na da maštaju jedno o drugom. Izgleda da je to formula za duge brakove, jer kad su ljudi stalno zajedno, onda to malo i dosadi, a još kad ste militantni političar to se diže na viši stepen. On je u određenom smislu svetac sa puškom. Kad je stigao prvi dan na posao Ministra poljopri-vrede, čovek na parkingu ga je pitao koliko će ostati, a Muhika je odgovorio “Bojim se da ću ostati malo duže”. Posle toga je sve bilo kao u bajci. Kad sam ga prvi put video, nisam bio siguran da li vidim stolarskog

pomoćnika iz Hadžića kod Sa-rajeva ili nekog ko je stvarno predsednik. Sve što je u filmu je stvarno, nije namešteno, on je svako jutro svom psu pravio doručak, i kako u filmu kaže, to je bio najverniji član njegove vlade.

Mi u našoj istoriji nikada nismo imali političara ili lidera koji bi mogao da se približi takvoj lič-nosti kao što je Muhika…Naša istorija je potpuno druga-čija, mi smo najviše trpeli zbog činjenice da su obaveštajne službe sa istoka i zapada pre-secale naš progres i upadale u naš sistem, ali na jedan dru-gi način. Naša istorija je ipak drukčija i nema taj anti-impe-rijalistički latinski zanos. Kod nas se to sve ipak deli između onog šta misle republikanci, odnosno šta misle monarhisti. Kad se pogleda taj deo naše istorije vrlo teško se može pro-naći jedan stabilni period. Uz to, mi smo na putu napravili kuću, a njihova kuća je daleko od magistralnog puta, i možda je to bila ključna stvar. Mi smo imali Patrijarha Pavla koji je bio i ostao uzor. Njihov odnos pre-ma životu i skromnost koja nije isfolirana bila je nešto što mi ovde nismo imali. Ovde su uvek vladali ljudi širokim potezima.

Naredni film snimaćete u Mon-goliji. Šta možete da kažete o tome?Film se zove BELI OBLAK Džingis Kana. Govori o jednoj nesrećnoj epizodi iz biografije Džingis Kana kada je na putu za osvajanje zapada zabranio rađanje dece, a onda je njegov najbolji prijatelj bez njegovog znanja odlučio da se dete rodi, pa je nastala panika u tom logo-ru koji se pomerao.

The newly established program of the Festival, New European documentary film presented Emir Kusturica’s work EL PEPE: A SUPREME LIFE. That is the reason we selected a part of the interview with the director.

How did Mujica manage to raise himself to the level of an admired statesman whose rule was unblemished, and who was celebrated and adored?Mujica did a clever thing, he made a compromise to Amer-ica, and I don’t think America is good, but they allowed him to develop the economy. He recognized gay marriages, he

introduced free use of marijua-na for medical purposes. In his political manoeuvres, he man-aged to buy them with moves which allowed him the reserves to breed ten million cows. On a relatively small territory for Latin America, he managed to do what the ten million cows did for the population of three million, and got him to the status in which the economic growth rate reached the opti-mal four percent. Apart from that, he reduced poverty from 22 percent to seven. He is a man who made things happen as if with a magic wand, and he was very concrete. He gave his salaries to the poor, and never posed for it. He really lives in a house which hardly has con-crete floors, which is covered with cancerogenic salonite, he received 500 Euros from the Deutsche Welle for comment-ing on Latin America. He was a negotiator in Colombia be-tween the insurgents and the government. He is a guy who managed to make a successful compromise which benefits the people. I think that the Ameri-cans don’t care about the cows, they care about oil, so he is still safe.

Did the normalcy and simplic-ity of such a person serve as inspiration to you? It is espe-cially strange for us here, as generation after generation grew up with personality cults, leaders and mass hypnoses.Here, the hypnosis happened with elementary particles, he charmed the world with his personality. In the film his wife says that he was able to speak to both homemakers and intellectuals. And not to lie. Everything he said was empir-ically corroborated. His prac-tice is a practice of a man who sacrifices himself for his nation and who came to power from street fights. He kidnapped people, was compensated for the kidnap, and then he for-warded the money to the Tu-pamaros. He was imprisoned for 13 years, and he spent the last stage of imprisonment in a pit talking to ants. He got out of prison after the fall of the Junta, and he got into politics the same way, but without the weapon in his hand. He used to sell flowers, he loved his wife, and I think that the key of the film is in the thing I didn’t feel in that first instant, and that is his love with Mrs. Topolansky. Like

in most successful marriages, they didn’t meet all that much, but they could fantasise about each other. That seems to be the formula for long marriag-es, because when people are always together, that tends to become boring, and when you are a militant politician, that goes even a notch higher. He is, in a sense, a saint with a rifle. On his first day as Minister of Agriculture, the parking securi-ty officer asked him how long he was going to stay, and Muji-ca answered, “Quite a while, I’m afraid”. After that, everything was like in a fairy tale. When I first saw him, I wasn’t sure if I’m looking at a carpenter’s aid from Hadžić near Saraje-vo, or someone who is actu-ally a president. Everything in the film is real, nothing is set, he made breakfast for his dog every morning, and as he says in the film, he was the most loy-al member of his government.

We never had a politician or a leader who could come close to a person like Mujica in all of our history… Our history is completely dif-ferent, we suffered the most due to the fact that intelligence services from the East and the West had been stopping our progress and infiltrated our system, but in a different way. However, our history is different and it doesn’t have that anti-im-perialist Latin zest. Here, it is all divided by what the republi-cans or the monarchists think. When you look at that part of our history, you can hardly find one stabile period. In addition, we built our house by the road, and their house is far from the main road, and maybe that was crucial. We had Patriarch Pavle who was and remained a role model. Their relation to life and the modesty that isn’t phoney was something we didn’t have here. Here, people always ruled with broad strokes.

You’ll make your next film in Mongolia. What can you tell us about that? The name of the film is GENG-HIS KHAN’S WHITE CLOUD. It is about an unfortunate episode of Genghis Khan’s biography when he prohibited child birth on the way to conquering the West, and then his best friend decided to allow for a child to be born, creating panic in a moving camp.

INTERVIEW: EMIR KUSTURICA, DIRECTOR OF EL PEPE: A SUPREME LIFE

COMPROMISE FOR THE BENEFIT OF THE PEOPLE

The key in the film about Mujica is in the thing I didn’t feel in that first instant, and that is his love with Mrs. Topolansky

INTERVJU: EMIR KUSTURICA, REDITELJ FILMA PEPE, JEDAN UZVIŠENI ŽIVOT

Kompromis u korist narodaKljuč filma o Muhiki je u onome što ja nisam osetio u prvom trenutku, a to je ta

ljubav sa gospođom Topolanski

KAMP KRITIKE ZA SREDNJOŠKOLCEKritični kamp zamišljen je i pokrenut kao besplat-na radionica filmske kritike i kritičkog mišljenja koja je namenjena srednjoškolcima, a kao inicija-tiva Filmkulture, udruženja za edukaciju u oblasti audiovizuelne kulture. U ovom uzrastu neophod-no je stvoriti i negovati kritični prostor – kako doslovan, fizički, tako i medijski – sa kog će omla-dina progovoriti o sadržajima koje konzumira.Tokom 2017. godine održano je prvo izdanje Kri-tičnog kampa, koji je iniciralo udruženje Filmkul-tura, a u okviru internacionalnog festivala kratko-metaržnog igranog filma u Bajinoj Bašti, Bašta festa. Tokom 2018. partneri Kritičnog kampa su bili festivali Dok’n’Ritam, Bašta fest i Festival au-torskog filma, uz podršku Akademskog filmskog centra (Dom kulture Studentski grad). Treće iz-

danje Kritičnog kampa omogućilo je proširenje teritorije do Palićkog jezera, pa je novi partner edukativnog programa upravo Festival evropskog filma Palić – na kome se održava prva sesija ge-neracije 2019. godine. Medijska pismenost i analitička misao predstav-ljaju polazište u formiranju prostora za filmsku praksu, teoriju i kritiku. Deca i omladina, kao ključna i mnogobrojna publika audiovizuelnih sadržaja, okružena su medijski posredovanom stvarnošću i nije im potebna edukacija u polju tehnologije, već podstrek za promišljanje, razgo-vor, kontekstualizaciju i aktivno gledanje. Upravo zbog toga, edukativni program mora biti u pot-punosti isprepleten sa savremenim filmskim ten-dencijama (u praksi, kritici i teoriji), ali on takođe mora ostati u komunikaciji sa svetskim i doma-ćim filmskim nasleđem.Kritični kamp ove vode Maša Seničić i Dunja Ne-šović.

INTERVJU / INTERVIEW www.palicfilmfestival.com6

Sanacija jezera Palić i Lu-daš i ovog leta je bila tema panel diskusije koja

je održana u okviru debatnog programa Festivala evropskog filma, u organizaciji Regional-nog Arhus centra Otvorenog univerziteta Subotica.Pozitivni pomaci su vidljivi, mada se mnogima čini da se projekat odvija suviše sporo, osnovni su utisci sa skupa održanog juče u Maloj gostioni na Paliću. Broj prisutnih bio je manji nego prethodnih godina, ali je u živoj diskusiji učestvo-valo više zainteresovanih gra-đana, predstavnika različitih udruženja i resornih službi.Voditeljka panela Snježana Mitrović podsetila je da je ovo četvrta panel diskusija o zašti-ti biodiverziteta i voda Palića i Ludaša od kada je nemačka vlada krajem 2015. donirala 6,5 miliona evra za sanaciju ovih jezera. Projekat se finan-sira preko Nemačke razvojne banke KFV, koja ima završnu reč u svakoj fazi ovog slože-nog procesa.Deo novca određen je za iz-gradnju, odnosno proširenje kanalizacione mreže naselja Palić, čime će se bitno smanjiti zagađivanje jezera.Direktor subotičkog JKP Vodo-vod i kanalizacija Đerđ Šugar izjavio je da je tender okončan, izabran je izvođač i nakon ad-ministrativne procedure oče-kuje se da gradnja 15 kilome-tara gravitacione kanalizacio-ne mreže, koja se sliva u jednu crpnu stanicu, počne sredinom avgusta, a predviđeno je da traje osam meseci. Posle toga gradiće se crpna stanica i još pet kilometara mreže, za šta tek treba da se raspiše tender.“Mi imamo gotov projekat, ali pošto je to donacija – nemač-ka strana je ta koja daje zeleno svetlo, a njihovi konsultanti žele da unesu neke izmene”, rekao je Šugar.Mreža bi trebalo da ima oko 500 priključaka. Otpadna voda će se putem potisnog voda prebacivati na gradski preči-stač u Subotici, tako da neće biti opasnosti od zagađivanja kada se bude vraćala u jezero.Direktorka preduzeća “Palić Ludaš” Marta Dobo istakla je da su u okviru projekta dobi-jeni specijalni čamac i mreže, pa je početkom godine u se-lektivnom izlovu izvađeno više od 20 tona invazivne vrste ribe babuške.“Rezultati se već vide. Naši korisnici – jedriličari, veslači, pecaroši kažu kako je dobra voda, posebno u poređenju sa stanjem od pre tri-četiri godine. Povećan je broj je-dinki smuđa, a zna se da oni vole samo čistu vodu”, rekla je Marta Dobo. Kako je dodala, selektivni izlov će se ponavljati prema potrebi dve-tri godine i tek zatim će imati smisla po-ribljavanje jezera različitim vr-stama ribe.Što se tiče kupanja u palićkom jezeru, neki građani su se već odvažili i tvrde da je kvalitet vode prihvatljiv.Sledeći posao je zaštitni po-jas. Eksproprijacija zemljišta na Paliću je završena, a na Lu-

dašu još traje, jer je bilo zasto-ja u vreme štrajka katastarske službe. U toku je izrada doku-mentacije za “bafer zonu” za oba jezera, gde će se krčiti i ozelenjavati prostor uz obalu u rasponu od pet do 20 metara. Prema rečima Marte Dobo, to su veliki poslovi koji zahtevaju puno prethodnog usaglašava-nja, te će radovi početi možda ove jeseni, a možda tek nared-nog proleća.Predstoji i izrada plana bicikli-stičke staze u četvrtom sekto-ru jezera Palić, što će takođe ići na tender.Projektni menadžer Ervin Mol-nar skrenuo je pažnju na slo-ženu proceduru odobravanja svake faze projekta od strane KFV-a, koji pored austrijske konsultantske kuće, angažova-ne prošle jeseni, za neke delo-ve traži i mišljenje nezavisnog stručnjaka.“Za neke mere su potrebna do-datna istraživanja i evaluacija. To je to vreme u kojem građani ne vide da se nešto radi, a po-trebno je da bi se neko aktivno

uključio u projekat”, rekao je Molnar.Jedna od investicionih mera je unapređenje rada prečistača otpadnih voda u Subotici, koji je u pogonu od 2009. godine. Taj deo posla još nije započeo. Inače, prečistač koji funkcioni-še po svim ekološkim propisi-ma Evropske unije bio je jedan od glavnih preduslova da upra-vo Subotica dobije donaciju nemačke vlade.U diskusiji je bilo reči i o pospe-šivanju organske proizvodnje uz obalu, o uklanjanju biomase iz jezera, o potrebi da se nad-ležnost inspekcije za otpadne vode prebaci sa Pokrajine na Grad, radi efikasnijeg izlaska na teren, kao i o predlogu da se organizuje međunarodno ta-kmičenje ribolovaca koji bi lo-vili samo invazivne vrste ribe, o većem uključivanju civilnog sektora i drugim temama.Novina je da je ceo projekat dobio svoju veb stranicu, pa će se građani lakše informisati o svim detaljima.

Yet another summer, the main topic of the Palić Film Festival’s debate pro-

gram (organized by Regional Arhus Centre of Subotica Open University) was the Lake Palić and Ludaš recovery process.The event was held yesterday in Small Tavern at Palić. The gen-eral consensus was that - even though progress is visible - the project itself is moving along way too slow. The number of attendees in the audience was smaller than the previous year, however the discussion was more lively with many interest-ed parties (local citizens, asso-ciation spokesmen, officials) taking part.Snježana Mitrović, the panel discussion moderator, remind-ed the audience that this is the 4th debate on Lake Palić and Lake Ludaš biodiversity since German government donated 6.5 million euro for the recovery process in 2015. The project is being funded through KFV, a German bank for development, which has a final say in every

stage of this complex venture.A large portion of funding was allocated for the construction and development of the sew-er system in the near-by Palić Town – a move that is expected to decrease the pollution level in the lake significantly.Đerđ Šugar, the head of Suboti-ca Sewerage Systems, said that the bidding process was com-pleted and the main contractor has been selected. After the administration process is done, he expects the construction of 15km of sewer network to begin this August. The work is expected to last for 8 months. Next will be the construction of the collector station and addi-tional 5km of network, but the bidding process is yet to be an-nounced.“We have the project complete. However, this being a donation – it’s up to our German partners to approve it and their consul-tants wish to incorporate cer-tain changes”, Šugar said.The newly-built sewer network is expected to have around 500 access-points. The waste will be pumped into Subotica City’s water-purifier system, so there will be no danger of polluting the water of the lake.Marta Dobo, the head of “Palić Ludaš” company, said that a special boat and fishing nets were acquired as part of the project. Earlier this year, more than 20 tons of “babushka” - an invasive species of fish - has been caught in the process of selective fishing. “The results are already visi-ble. Our target audience – the sailboat owners, row crew, fishermen – they can all testify that the water quality is good, especially in comparison to how it was 3-4 years prior. The number of perch specimens has been increased and it’s

generally known that perch only likes clean water setting”, Mar-ta Dobo said.She added that in the next cou-ple of years the selective fishing will be carried out as necessary. Only then will it make sense to populate the lake with different fish species.As for the swimming in Lake Palić, some of the braver cit-izens have already tried their luck. They claim water quality is acceptable.The next step is creating an eco-ring. The land expropriation at Palić has been completed. The process is still on-going at Ludaš due to the strike of the Cadastre Service. Acquisition of all the necessary papers for creating a “buffer zone” around both lakes is in progress. The shore area surrounding the lakes will be cleared out and re-forested in a 5-20m radius. Marta Dobo further explained that these are all massive un-dertakings that require a lot of administrative regulation. She expects the work to commence this fall or maybe even next spring.The draft for the bicycle route project in Lake Palić Sector 4 is in plans and the bidding pro-cess for the contractor is to be announced.Ervin Molnar, the project man-ager, pointed out that every stage of the project undergoes a very complex approval pro-cess by the KFV. Apart from an Austrian consulting agency that has been contracted last fall, KFV also seeks the opinion of an independent expert for cer-tain project areas.“Additional research and eval-uation are needed for certain actions. That’s a period during which citizens are under the impression that the work on the project has stalled. Howev-er, it is needed in order to bring someone in on the project”, Molnar said.One of the investments is the upgrade of the water waste purifier system in Subotica that has been operating since 2009. Work on that project has not begun yet. This water-purifier system complies with every EU eco-regulation. That was one of the main conditions that made city of Subotica eligible to win the German government dona-tion.Also discussed were: the pos-sible advancements in the or-ganic production along the lake shore, the removal of biomass from the lake, the urge to trans-fer the Waste-water inspection jurisdiction from Province to City (in order to improve its ef-ficiency in the field), proposal for organizing an international invasive species fishing compe-tition, more prominent inclusion of the NGO sector, etc.What’s also new is that the proj-ect is now online so it will be much easier to acquire all de-sired information.

ZAŠTITA BIODIVERZITETA JEZERA PALIĆ I LUDAŠ – RADOVI U TOKU

Smud se već vratio u jezero PalićStanovnike i ljubitelje Palića obradovaće vest da je voda u jezeru čistija, ali će

na garanciju o bezbednom kupanju morati da sačekaju još nekoliko godina

PROTECTING THE BIODIVERSITY OF LAKE PALIĆ AND LAKE LUDAŠ – THE WORK IN PROGRESS

THE PERCH HAS ALREADY RETURNED TO LAKE PALIĆ

Local residents and Lake Palić enthusiast will be happy to hear that the water is cleaner – however they’ll probably have to wait a year or two for a safe swim

ZORICA DIMITRIJEVIĆ

PROGRAMIFESTIVALSKE NOVINE 7

Kad kažemo Ken Louč, onda mislimo na filmove o običnim ljudma koji ne uspevaju u živo-tu. Ponekad, delimično i samo na izgled zbog svog karaktera i ponašanja, a uglavnom zato što im život i država ne pružaju mnogo šansi ili im se naprosto ne dâ. Ti ljudi retko ili skoro ni-kada ne propadaju, ali, takođe, ne dobijaju presudne bitke. Oni ostaju u začaranom vrtlogu koji ih neprestano vuče na dno, a samo povremeno izbacuje na površinu, tek da bi ih održao u životu. Oni su od rođenja žrtve nepravde, a Ken Louč se bori za pravdu od početka karijere koja traje šest decenija. Njegov opus čine desetine TV radova i skoro 30 igranih filmova koja se mogu podeliti na nekoliko celina. Pri-tom se uvek mora imati u vidu jaka socijalno-politička nit koja prožima i objedinjuje ceo Lou-čov opus.U prvoj fazi koja se vezuje za “Slobodni film” (Free Cinema), u filmovima DŽOJ, JADNA DEVOJKA (POOR COW, 1967) zatim KES (1969) i PORODIČNI ŽIVOT (FAMILY LIFE, 1971), u miljeu radničke klase Louč se bavi sazrevanjem jedinke u po-rodici i u društvu koji tu jedinku sputavaju. DŽOJ mu je donela nominaciju za “Zlatni globus”, KES pobedu u Karlovim Vari-ma, a PORODIČNI ŽIVOT tri nagrade u Berlinu – nezvanične ali važne, kao što je nagrada kri-tike FIPRESCI. Od tada je Louč prepoznatljiv po dokumentari-stičkoj uverljivosti, jasnoj i uvek dosledno sprovedenoj ideji, bez nepotrebnih objašnjenja i dramaturških meandriranja, s jakim humanističkim nabojem (neko bi rekao levičarskim, a on otvoreno i jeste na toj stra-ni) s nepogrešivim osećajem za pravdu, neverovatnim sao-sećanjem i naklonošću za svoje junake koje će uvek stavljati na probu i čije mane nikada neće kriti. Zarad uverljivosti, uzimaće naturščike ili će od vrhunskih profesionalaca, na primer Pi-tera Malena i Roberta Karlajla, izvući neposrednost koja ne može da se odglumi već se, ako je glumac ima, oslobodi i pokaže.U tom ključu, samo s jačim do-datkom gorke ironije, cinizma, neophodne doze brzog i otre-žnjujućeg britanskog humora beznađa, treba gledati ŠLJAM (RIFF-RAFF, 1991), KIŠU KA-MENJA (RAINING STONES, 1993), ZOVEM SE DŽO (MY NAME IS JOE, 1998), ŽELE-ZNIČARE (THE NAVIGATORS, 2001), SLATKE ŠESNAESTE (SWEET SIXTEEN, 2002) i AN-ĐEOSKI DEO (THE ANGELS’ SHARE, 2012). Taj deo Loučo-vog opusa može se smatrati filmskom istorijom britanske

radničke klase u kojoj su pobro-jane i opisane sve pogubnosti državne socijalne i ekonomske politike. Budući da se time bavi 50 godina, autorov stav je jasan, s tim da se iz filma u film me-nja njegov odnos prema dragim gubitnicima, pa im u ANĐEO-SKOM DELU nedvosmisleno daje nadu da je spas moguć.Drugi korpus Loučovih filmova (svi su njegovi filmovi politički angažovani) govori o odnosu imigranata i države. I tu nai-lazimo na nekoliko zaista po-tresnih ostvarenja: BUBAMA-RA, BUBAMARA (LADYBIRD LADYBIRD, 1994), KARLINA PESMA (CARLA’S SONG, 1996), HLEB I RUŽE (BREAD AND ROSES, 2000), SAMO POLJUBAC (AE FOND KISS, 2004) i OVO JE SLOBODAN SVET (IT’S A FREE WORLD, 2007). U tim filmovima, snima-nim na različitim kontinentima, Louč upozorava na nehuma-nost i brutalno licemerje vlasti (prvi put udario je i na CIA) koja

uništava sve što je različito od njenih pravila i interesa.U treću grupu spadaju filmovi o zvaničnoj britanskoj politici prema Irskoj, Severnoj Irskoj, Iraku... Već prvi takav film, TAJNI RASPORED (HIDDEN AGENDA, 1990), koji govori o surovostima britanske policije u Belfastu uznemirio je duhove u zvaničnom Londonu. Hrabar i uporan autor snimiće o Kruni i Ircima VETAR KOJI NJIŠE JE-ČAM (THE WIND THAT SHA-KES THE BARLEY, 2006) koji će mu doneti dugo očekivanu “Zlatnu palmu” u Kanu. Sledi IRSKA RUTA (ROUTE IRISH, 2010), teška optužba protiv dr-žave zbog učešća u ratu u Ira-ku. Prema ovim delima sasvim romantično izgleda film ZA ZE-MLJU I SLOBODU (LAND AND FREEDOM, 1995) o Španskom građanskom ratu i propasti ko-munističkih ideala u redovima republikanaca.Ken Louč važi za autora koji se nikada nikome nije prodao i koji nikada ne preza da kaže ono što misli. Pitanje je samo kako će to reći. On je mudar, odme-ren, duhovit, strpljiv i dobrona-meran gospodin. On je u pet-naestak sati, koliko je boravio na Paliću, u maniru vrhunskog profesionalca uradio sve što se od njega očekivalo: primio nagradu, imao konferenciju za novinare, dao skoro 20 inter-vjua, prošetao Palićem, uživao i rekao: “Sledeći put, nemojte me zvati dva puta!”

* Tekst je preuzet iz knjige “Do-dir večnosti”, Nebojše Popovića i Ivana Aranđelovića, 2018.

When someone says Ken Loach, the first thing that comes to mind is

his films about ordinary peo-ple who don’t reach success in life. Sometimes it is seemingly because of their nature and be-havior, but mainly it is because life or the government doesn’t give them enough chance or they simply cannot do it. These people rarely or almost never fail completely, but they don’t win the crucial battles, either. They remain in the whirlpool pulling them down, occasional-ly pushing them to the surface, just to keep them alive. From the minute they were born, they suffer injustice, and Ken Loach fights for justice from the be-ginning of his career that spans half a century. His body of work consists of dozens of television works and almost thirty feature films that could be divided into several groups. But we should always have in mind the strong social-political tie that binds the complete work of Loach.In the first, Free Cinema group, with films POOR COW (1967), KES (1969) and FAMILY LIFE (1971), set in the working-class surroundings, Loach deals with the maturing of an individual within the family and the soci-ety that oppress the individual. POOR COW got a Golden Globe nomination, KES won in Karlo-vy Vary, and FAMILY LIFE three awards in Berlin - unofficial, but important, like the FIPRESCI award. From then on, Loach is known by his documentary co-gency, clearly conveyed idea, without needless explanations and narrative dodging, with a strong humanist power (some would say leftist, and indeed he doesn’t hide his political orien-tation), with impeccable sense of justice, enormous empathy for his heroes, always testing them, never hiding their faults. In order to be more convinc-ing, he takes non-professional actors, or when he takes Peter Mullan or Robert Carlyle, for in-stance, he draws out the most spontaneous reactions that cannot be acted, that can only be revealed.With that in mind, but with added bitter irony, cynicism, a necessary grain of fast and so-bering British humour of hope-lessness, one should watch RIFF-RAFF, (1991), RAINING STONES, (1993), MY NAME IS JOE, (1998), THE NAVIGA-TORS, (2001), SWEET SIX-TEEN, (2002) and THE ANGELS’ SHARE, (2012). This part of Loach’s work can be regarded as a film history of the British

working class, showing all the deadly consequences of the social and economic policy. Since he’s been doing this for fifty years, his stance is clear, he just changes his approach to his beloved losers, and in THE ANGELS’ SHARE he gives an unambiguous hope that salva-tion is possible.The second group of films by Ken Loach (all of his films are politically engaged) is about the relationship between the immi-grants and the government. Among them, some are really touching: LADYBIRD LADYBIRD, (1994), CARLA’S SONG, (1996), BREAD AND ROSES, (2000), AE FOND KISS, (2004) and IT’S A FREE WORLD (2007). In these films, shot on various locations across the globe, Ken Loach warns about the inhuman and brutal government hypocrisy (for the first time he targeted the CIA) which destroys every-thing that differs from its rules and interests.The third group of films deals with the official British policy to-wards Ireland, Northern Ireland, Iraq... Already the first film HID-DEN AGENDA (1990), about the cruelties of the British police in Belfast sparked harsh reac-tions of the official London. Al-ways brave and persistent, Ken Loach made a film about the Crown and the Irish, THE WIND THAT SHAKES THE BARLEY (2006) winning the long-await-ed Palme D’Or in Cannes. The next film, ROUTE IRISH (2010) is a severe accusation against the government for taking part in the war in Iraq. Compared to these films, his LAND OF FREE-DOM (1995), about the Spanish Civil War and the collapse of the Communist ideals among the Republicans looks like a roman-tic drama.Ken Loach is known as an au-teur who never sold out, and who never hesitates to speak his mind. It is only a question of how he speaks his mind. He is a wise, tactful, humorous, patient and affectionate gentle-man. Being a true professional, during his fifteen-hour stay in Palić he did everything that was expected of him: received the award, was present at the press conference, had almost 20 in-terviews, walked across Palić, enjoyed it and said “Don’t call me twice next time!”

* The text is taken from the book “Touch of Eternity” by Nebojša Popović and Ivan Aranđelović, 2018.

Koncert pod nazivom “Pannon jazz night: Four Fat Horses” biće održan večeras od 23 sata u dvorištu bioskopa Abazija. Koncert se organizuje u sklopu projekta Colourful Cooperation koji se finansira kroz Interreg–IPA program prekogranične sa-radnje Mađarska-Srbija, a ulaz je slobodan.“Four Fat Horses” je muzički sastav kog čine Luka Malko (gitara), Pavle Zvekić (gitara i klavir) i Nikola Vladušić (bub-njevi), Armand Mesaroš (bas) i Nikola Spasojević (saksofon).

Do sada su svirali zajedno u raznim projektima kao što su “Oslobodi se i sviraj”, “Studio 11 sessions” , “Vertigo band”, “Guštenice”, “Luka Malko trio”, “Iz principa”. Four Fat Horses je sastav jazz muzičara koji u svom izrazu koriste i spajaju elemente mađarske i srpske nacionalne kulture kombinuju-ći ih sa savremenim muzičkim izrazom.Projekat Colourful Cooperation – Raznobojna saradnja, kao što i sam njen naziv nagoveštava, jeste raznobojna, dinamična

saradnja stanovništva i poseti-laca pograničnog područja Ma-đarske i Srbije, na čije progra-me su svi dobrodošli. Zahvalju-jući lokalnim običajima i kultur-noj raznobojnosti u jednoj od najzanimljivijih regija Evrope, na teritoriji Evroregije DKMT nalaze se županije Bač-Kiškun i Čongrad, kao i Autonomna po-

krajina Vojvodina. Na ovim po-dručjima već vekovima zajedno žive mnoge nacije, čuvajući svoju tradiciju i svoje običaje, čineći tako svakodnevicu ra-znobojnijom. Colourful Cooperation promo-više regionalne umetnike i kul-turne programe i ovaj raznoboj-ni projekat će uskoro iznedriti Mađarski kulturni centar na Paliću, buduće mesto susreta i razmena ideja, mesto u kome će se pružati podrška regional-nim umetnicima i promovisati najrazličitiji trendovi u kulturi.

NEBOJŠA POPOVIĆ*

ZA PRAVDU I SLOBODU

Povodom prikazivanja novog filma Kena Kouča ŽAO NAM JE ŠTO SMO VAS PROPUSTILI

FOR JUSTICE AND FREEDOM

On the occasion of new Ken Loach film screening SORRY WE MISSED YOU

Drugu “Zlatnu palmu” Ken

Louč je dobio za film Ja, Danijel

Blejk 2016. godine

KEN LOUČ NA PALIĆU 2008, TOKOM URUČENJA NAGRADE “ALEKSANDAR LIFKA”

SCENA IZ FILMA ŽAO NAM JE ŠTO SMO VAS PROPUSTILI

MUZIČKI PROGRAM

PANNON JAZZ NIGHT: FOUR FAT HORSES

PHOTO GALLERY www.palicfilmfestival.com8

FAJT HELMER, REDITELJ FILMA BRUSHALTER, TOKOM INTERVJUA

SRDAČNOST I OSMESI GLAVNE SU ODLIKE FESTIVALSKOG TIMA

U IŠČEKIVANJU VEČERNJIH IZDANJA U ODELIMA: MIROSLAV MOGOROVIĆ I NENAD DUKIĆ

PAZI, SNIMA SE

VAŠE PRAVO DA ZNATE SVE - ZAN-ŠARL I TOKOM INTERVJUA ZA RTS

ZA LIČNU ARHIVU: DIREKTOR FESTIVALA RADOSLAV ZELENOVIĆ

KAKO TANJUG JAVLJA: MIRA BANJAC POSLE KONFERENCIJE ZA NOVINARE

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.