Human District International Film Festival / Beograd 20-25 Jun 2014
UREDNIŠTVO / EDITOR
HUMAN DISTRICT TIM
PREVOD / TRANSLATION
ANA MARKOVIĆ
DIZAJN / DESIGN
IVAN ĆULAFIĆ
Human District Film Festival
Vuka Karadzića 12,11000 Beograd NVO Radosni Centar/Joy Center
tel.+381112637721;+381112637721
www.humandistrictfestival.com;[email protected]
Sadržaj/Content
Uvod
/ Festival introduction
3
Žiri
/ Jury
9
Filmovi i Autori
/ Films and Autors
10
Lokacije
/ Locations
40
Takmičarski program-dokumentarni film
/ Competition Programme - Documentaries
Nagrade
/ Awards
-Prvonagrađeni / Firist Place "Human Fingerprints"
-Drugonagrađeni / Second Place "Human Hope"
-Trećenagrađeni / Third Place "Human Time"
41
Tim Festivala Human District
/ Tim Festival Human District
42
INTERNACIONALNI FILMSKI FESTIVAL LJUDSKIH PRAVA
INTERNATIONAL FILM FESTIVAL OF HUMAN RIGHTS
JUN 20–25, 2014
U vremenu porasta siromaštva, ekonomske i društvene nestabilnosti, izraženih nejednakosti, ostvarivanje i zaštita ljudskih prava zahtevaju momentalno i povezano delovanje svih
aktera u društvu. Festival ima za cilj promociju i unapređenje
poštovanja i zaštite ljudskih prava. Tema ovogodišnjeg festivala je Ljudska prava i životna sredina. Prva godina i početak
„Human District“ projekta pretenduje da postane jedan od uticajnijih projekata u Srbiji koji će svojim delovanjem poboljšati poštovanje, zaštitu i unapređenje ljudskih prava.
In the times of increasing poverty, economic and social instability and pronounced inequality, exercise and protection of
human rights demand momentary and interconnected actions on
the part of all social actors. The Festival aims for promotion
and fostering of the respect of human rights and their protection. This first year's Festival theme is Human Rights and
Human Environment. From this first year and the very beginning on, the “Human District“ project is striving to deserve
a place among most engaging projects in Serbia, which would
hopefully lead to betterment in the field of human rights
preservation, protection and improvement.
3
REČ GENERALNE DIREKTORKE
A WORD FROM THE EXECUTIVE DIRECTOR
Želim da iskažem svoju zahvalnost svima koji su učinili da moje iskustvo i rad stvore Human District u kome su satkani dani, emocije, suze,
radost, smeh, nadanja, čekanja…
Misija u kojoj smo svi borci za svoju humanost!
Hvala svim divnim ljudima koji su me izveli na put koji će ove godine
osnovati Filmski Festival a u koji je utisnut rad od 7 godina. Moja
ideologija su istina, radost, razumevanje, tolerancija i ljubav!
Početak je bio i više nego iskren, baveći se dečijim pravima nisam
mogla bolje učitelje da imam. Objedinjavanje ljudskih prava i filma u
edukativnu metodu komunikacije, čini celinu traganja za pravdom i
boljim mogućnostima za današnje društvo. Gledajući sve kroz vizuru
umetnika, jer sam umetnik, jer sam JA kao i ti samo čovek saosećajan,
sa suštim potrebama za normalnim i zdravim životom: boriću se i dalje,
misliću i radovaću se svakom novom susretu u borbi za slobodu...
Dobro došli na "Human District" Film Festival!
Aleksandra Kovačević
I wish to express my gratitude to all those people, who made possible
for my experience and work to produce Human District, where the days,
emotions, tears, joys, laughs, hopings, awaitings… are woven together.
The mission where we all are fighters for our humanity!
Thanks to all wonderful people who guided me on the path to this year’s
founding of the Film Festival, which bears mark of the seven year’s
work. My ideology is truth, joy, understanding, tolerance and love!
The beginning was more than genuine, dealing with children’s rights –
I could not have better tutors. Joining human rights and film together
in an educative method of communication, makes a whole of searching
for justice and better opportunities for today’s society.
Looking through the eyes of an artist, for I am an artist, for I am
like you, just a compassionate human being, with the essential need
for a normal and healthy life: I will continue to fight, I will be
thinking of, and looking forward to every new encounter in this fight
for freedom…
Welcome to the Human District Film Festival!
Aleksandra Kovačević
4
RIJEČ SELEKTORA
A WORD FROM THE SELECTOR
Pozvan da biram filmove za Human District, pomislio sam: za beskrajni prostor dokumentarca, ljudska prava su – suženo polje. I ubrzo
spoznao u kakvoj sam zabludi bio. Ono što je bezgranično jesu ljudska
prava,
a
još
bezgraničnija
su
–
njihova
kršenja-zanemarivanja-ugrožavanja-osporavanja-gaženja... Čini se da nema kutka
na ovoj nesrećnoj planeti na kome ljudska jedinka uživa baš sve što
joj, po prirodi njenog bivanja, na zemlji i u ljudskom društvu, pripada.
I površan uvid u to šta se sve čovjeku osporava, u kom obimu i na
koji način – daje zastrašujuću sliku svijeta u kome živimo. U pola
Azije žena ne postoji, osim kao poslušna bezglasna mašina za rađanje; još ima režima u kojima ne postoji čovjek, nego samo podanik; u
koliko na-religiji-ustrojenih država čovjek uopšte ne samo što ne
smije da odabere neku drugu vjeru, nego nema pravo da bude ni ateista
ni agnostik; režimi koji sebe predstavljaju kao usrećiteljske,
ispostavljaju se kao velika ruka Velikog brata; Majka zemlja, sva
njena bogatstva, i sva njena duboka značenja za njenu djecu rasutu
širom njenog šara, skoro da više i ne pripadaju toj njenoj djeci,
nego beskrupuloznim multinacionalnim kompanijama, čiji put u
napredak biva popločan krvlju... Rigidne okamenjene šeme tradicionalizma (religije, običajnih poimanja, kruto ideološki ustrojenih
režima) ili bezdušno pragmatični modernizam – kakva razlika!? I
definitivno, postoje manje vrijedni, bezvrijedni, nepostojeći, i...
nad-ljudi, nad-rasa, dakle i nad-prava... Bijeli čovjek nastavlja
prije pet vjekova započete genocide, i dalje nezajažljiv u
pljačkaškom otimanju od tzv. Trećeg svijeta (i dalje je neko Prvi, a
neko Treći svijet!...). Itd, itd, itd...
Sve se ugrožava. Sve nam se ugrožava! Pravo na vazduh. Pravo na sve
što priroda daje. Pravo na život. Pravo na rad. Pravo na obrazovanje.
Pravo na mišljenje. Pravo da odlučuješ o sopstvenom životu. Pravo da
budeš to što jesi, a ne što su ti nametnuli.
A o nekim pravima, osporavanjima i prisilama uopšte se ne priča. Kao
da se podrazumijeva da neko na njih – ima pravo! Kao da je registar
ljudskih prava i ugrožavanja napravljen i zapečaćen, konačan, bez
prava na dopune i izmjene. Bahati Zapad, koji je već ugrozio pola
svijeta u ime svog ekonomskog prosperiteta, blebeće o ugroženim
ljudskim pravima po svijetu, urla protiv političke ili religiozne
opresije ili kršenja ljudskih prava tamo-negdje-u-državicama-za-koje-ne-znamo-ni-gdje-su-ali-nam-ne-daju-naftu..., a balvane u oku
svome ne vidi... Demokratija se izvozi na krilima dronova.
5
Mnogo ljudi bavi se ljudskim pravima. Nedovoljno u odnosu na sve one
neizbrojive pojedince, grupe, organizacije, firme, političke,
para-političke, vojne, para-vojne, religiozne, para-religiozne,
udružbe, postrojbe, klanove, kartele, koncerne, korporacije, gangove, države, saveze... koji ljudsku jedinku, i čitave narode, i
čitave države, i čitave regione, ne gledaju drugačije do kao statističku grešku na njihovom putu napretka, kao beznačajne mrave koje
njihova slonovska noga, otvrdla od odsustva morala, ima pravo da
gazi, a da ne zapazi...
Imamo li, u takvom svijetu, makar pravo da sanjamo...!?
Svijet je sve više bez empatije. Duša je negdje nestala. (Ne ona
kojom tako bezdušno trguje firma zvana crkva...) Čovječe, sve je
tvoje ugroženo, najčešće od onih koji te tobož brane. I nije to tamo
daleko, tamo nekome. Ugroženo pravo domoroca iz Papua Nove Gvineje
ugrožava i mene.
I zato – još jedno mjesto odakle ćemo ispustiti vapaj, bolni krik,
urlik.
Human District, Beograd, Srbija, Zemlja, Sunčev sistem, Mliječni
put...
Vladimir Perović
At being invited to conduct the film selection for Human District Festival, it came to my mind: for the endless space of documentary, human
rights are – a narrowed field. As it was not long before I recognised
the error I was in. The matter unlimited here are the human rights,
and even more unlimited are their violations-disregards-imperilments-denials-tramplings on... It seems that there is no corner on
this unfortunate planet where a human being enjoys everything he or
she is entitled to by the very nature of existence.
Even a superficial look at that denial, its scope and its ways – gives
a horrific image of the world we live in. The half of Asia does not
recognise the woman, unless she is an obedient voiceless birth-giving
machine; there are still the regimes that recognise no humans, just
the vassals; and there are how many theocratic states, where a person
cannot choose some other religion, let alone exercise a right to be
an atheist or an agnostic; the regimes that present themselves as happiness-bringing, turn out to be the big hand of the Big Brother; the
Mother Earth, with all her great richness and deep meaning to all of
her children spread all around her globe, scarcely belongs to that
children any more, but to the ruthless multinational companies, whose
way to progress is being paved in blood...
6
Rigid ossified schemes of traditionalism (of religion, customery
beliefs, sternly ideologically structured regimes) or soullessly pragmatical modernism – what a difference!? And definitely, there are
those of lesser value, no value, the non-existent, and... super-humans, super-race, hence also the super-rights... The white man continues with genocides started five centuries ago, still insatiable when
it comes to seizure of the Third world countries’ goods (and still,
there is someone from the First and someone from the Third world!...).
And so on, and so on, and so on.
All is endangered. All is becoming endangered for us! The right to
breathe. The right to everything that is given by nature. The right to
live. The right to work. The right to education. The right to think.
The right to make decisions concerning your own life. The right to be
who you are, not who you should be by others.
And some rights, denials and coercions are not talked about. As if it
was assumed that someone, to them – would have their own right! As if
the register of human rights had been completed and sealed, definite,
with no rights to changes and amendments. The arrogant West, endangering half of the world in the name of its economic prosperity, waffles
on about endangered human rights around the world, shouts against the
political and religious oppression or human rights violations in
who-knows-where-these-countries-are-but-they-do-not-give-us-oil...,
and planks in its own eye it does not see... Democracy is being exported on the wings of the drones.
There is a lot of people who are dealing with human rights. Insufficient, compared to all those innumerable individuals, groups, organizations, firms, political, para-political, military, para-military,
religious, para-religious, fellowships, arrays, clans, cartels, concerns, corporations, gangs, states, alliances... that human individual, and whole peoples, and whole countries, and whole regions, do not
treat differently than as a statistical error in their way of progress,
as insignificant ants, that their elephant foot, hardened by the lack
of morality, has the right to step on, without having noticed them...
In that world, do we even have a right to dream?
The world is more and more lacking in empathy. The soul has gone to
some other place. (Not the “soul“, which is so soullessly being traded
by the firm called the church...) Humans, all yours is endangered, most
often by those who allegedly defend you. And it is not happening somewhere far away, to someone far away. The endangered rights of the
indigenous people of Papua New Guinea put me in danger too.
And therefore – there is yet another place from which we shall cry out
with a painful scream, a howl.
Human District, Belgrade, Serbia, Earth, Solar System, Milky Way...
Vladimir Perović
7
REČ UMETNIČKOG DIREKTORA
A WORD FROM THE ART DIRECTOR
GLEDATI ( U ) PRAVO
Upravo na ulici, upravo na poslu, upravo u kući, upravo u crkvi, upravo u
bolnici, upravo na stanici, upravo u krevetu, upravo u avionu, upravo u
ljubavi, upravo u školi, upravo u seksu, upravo na času, upravo za volanom,
upravo u prodavnici, upravo u sudu, upravo na šalteru, upravo u policiji,
upravo u vrtiću, upravo na utakmici, upravo u pozorištu, upravo u staračkom
domu, upravo u parku, upravo na naplatnoj rampi, upravo na groblju, upravo
na operacionom stolu, upravo u kafani, upravo u dnevniku, upravo u kolektivnom centru, upravo za govornicom, upravo na pijaci, upravo u Obrenovcu,
upravo na reci, upravo na brodu, upravo na televiziji, upravo na koncertu,
upravo u hotelu, upravo u šumi, upravo u fabrici, upravo u gradskoj upravi,
upravo na gej paradi, upravo u rudniku, upravo na radiju, upravo u biblioteci, upravo u ateljeu, upravo na internetu, upravo pod Plavim mostom, upravo
na festivalu, upravo u Obrenovcu
UPRAVO ZATO SE FILMSKI FESTIVAL ODRŽAVA NA PARKINGU AUTOBUSKE STANICE, UPRAVO
ZATO IZNAD RESTORANA BETON HALE, UPRAVO ZATO U PARKU PORED MUZEJA PRIMENJENIH
UMETNOSTI U BEOGRADU, UPRAVO ZATO NA SPORTSKIM TERENIMA NA KALEMEGDANU,
UPRAVO ZATO U BIOSKOPU DOMA SINDIKATA
UPRAVO ZATO ŠTO SE LJUDSKA PRAVA KRŠE UPRAVO ISPRED NAS
Branko Stanojević
RIGHT (ON) VIEW
Right there in the street, right there at work, right there at the house,
right there in the church, right there at the hospital, right there at the
station, right there in the bed, right there on the airplane, right there in
love, right there at the school, right there having sex, right there in the
class, right there at the steering wheel, right there at the store, right
there at the court, right there at the counter, right there at the police
station, right there at the kindergarten, right there at the match, right
there at the theatre, right there at the nursing home, right there in the
park, right there at the toll booth, right there at the cemetery, right there
on the operating table, right there at the pub, right there on the news, right
there at the collective centre, right there at the rostrum, right there on
the market, right there in Obrenovac, right there on the river, right there
on the ship, right there on the television, right there at the concert, right
there at the hotel, right there in the woods, right there at the factory,
right there at the city management, right there at the gay pride parade,
right there in the mine, right there on the radio, right there at the library,
right there in the atelier, right there on the Internet, right there under
the Blue Bridge (Plavi most), right there at the festival, right there in
Obrenovac
THESE ARE THE RIGHT REASONS FOR THE FILM FESTIVAL TO BE HELD IN THE PARKING
AREA OF THE BUS STATION, RIGHT THERE ABOVE THE RESTAURANTS OF THE “BETON
HALA” (CONCRETE HALL), RIGHT THERE IN THE PARK IN FRONT OF THE MUSEUM OF THE
APPLIED ARTS IN BELGRADE, RIGHT THERE AT THE SPORT COURTS IN THE KALEMEGDAN
FORTRESS, RIGHT THERE IN THE “DOM SINDIKATA” (HOUSE OF THE SYNDICATE) CINEMA
RIGHT THERE RIGHT BECAUSE HUMAN RIGHTS ARE BEING VIOLATED RIGHT THERE IN
FRONT OF US
Branko Stanojević
8
ŽIRI
JURY
IVICA VIDANOVIĆ je reditelj i producent. Tokom svog višegodišnjeg
rada na raznim televizijskim stanicama u Srbiji, režirao je više od
200 TV dokumentarnih filmova i emisija. Potpisuje veliki broj muzičkih spotova, reklama i promotivnih filmova. Režirao je dokumentarni serijal “Druga strana Srbije” (50 epizoda) dokumentarni filmovi “O osetljivosti”, “Šest godina stariji”, “Mir svoj dajem vam”,
dokumentarno-igrani film "Krušedol- 500 godina u 12 slika", dokumentarni film "Bili smo prvaci sveta".
Osnivač i vlasnik producentske kuće “Cinnamon Production” od 2006.
godine.
IVICA VIDANOVIĆ is a director and producer. During the many years
of work at different television networks in Serbia, he directed more
than 200 documentary films and shows. A large number of music videos,
commercials and promotional films bear his signature. He directed
the documentary series “Druga strana Srbije“ (Other Side of Serbia),
in 50 episodes, documentaries: “O osetljivosti“ (On Sensitivity),
“Šest godina stariji“ (Six Years Older), “Mir svoj dajem vam“ (My
Peace I Give unto You), documentary/fiction “Krušedol – 500 godina
u 12 slika“ (Monastery of Krušedol – 500 Years in 12 Images), documentary “Bili smo prvaci sveta“ (We Were the Champions of the World).
He is the founder and owner of the production company “Cinnamon Production“, since 2006.
je reditelj i scenarista. Autor je više kratkih
MLADEN ÐORÐEVIĆ
igranih filmova: “Živi mrtvaci”, “Glad”, “Pena za brijanje”, kao i
srednjemetražnih i dugometražnih dokumentaraca: “ Ali Hamadova
priča”, “Pravo kroz vetar”, “Ratnici”, koji su sa uspehom prikazivani kod nas i u svetu.
Njegov poslednji film je dugometražni igrani film “Život i smrt
porno bande” , koji je do sada prikazan na domaćim festivalima
igranog filma i na oko četrdeset stranih festivala. Film je dobio
nekoliko domaćih i četrnaest stranih nagrada.
MLADEN ÐORÐEVIĆ
is a director and screenwriter. The author of a
number of short fiction films: “Živi mrtvaci“ (The Living Dead),
“Glad“ (Hunger), “Pena za brijanje“ (Shaving Foam), as well as documentaries in medium and feature length: “Ali Hamadova priča“ (Ali
Hamad’s Story), “Pravo kroz vetar“ (Straight through the Wind),
“Ratnici“ (Warriors), which were successfully presented in the country and abroad.
His most recent film is the feature fiction “Život i smrt porno bande“
(The Life and Death of a Porno Gang), which has been screened at home
feature film festivals and at about forty foreign festivals. The film
won several domestic awards and fourteen awards from abroad.
9
FILMOVI I AUTORI
FILMS AND AUTORS
10
|ZAMRAČENJE|Eva Veber|VELIKA BRITANIJA|47 min.|2012|
|BLACK OUT|Ewa Weber|UK|47 min.|2012|
Kada se u Konakriju, glavnom gradu Gvineje, drže završni ispiti, stotine učenika odlaze
na jedno čudno putovanje svakoga dana, hodajući do međunarodnog aerodroma, benzinskih
pumpi ili do bogatijih delova grada... što znači, do mesta na kojima će sigurno naći
ulično osvetljenje pod kojim mogu da se pripreme za svoje ispite. Sa sličnim teškoćama
suočeni su i njihovi profesori: svakoga dana oni moraju da nađu načina da privuku pažnju
odeljenja punih iscrpljenih učenika, kao i da se za naredni školski dan pripreme bez
svetla. Samo jedan čovek od petoro ljudi, u populaciji Gvineje od 10 miliona, ima pristupa električnoj energiji. Izvan gradskih područja, jedva da iko ima struju. Ovaj vizuelno
očaravajući film pokazuje koliko Gvinejci žude za obrazovanjem, prenoseći njihovu nadu
– posle decenije nasilja i despotizma – i nadahnjujući borbu za obrazovanje, usred borbe
same te zemlje za promenu.
When final examinations are held in Conakry, the capital of Guinea, hundreds of students
set out on a strange pilgrimage every evening, walking to the international airport,
petrol stations or wealthier parts of the city … that is, to places where they are sure
to find street lights under which they can prepare for their exams. A similar hardship
is faced by their teachers: Every day they have to work out how to attract the interest
of classes full of exhausted students and how to prepare for the next school day without
light. Only one in five in Guinea’s population of 10 million has access to electricity.
Outside urban areas, hardly anyone has power. This visually captivating film shows how
much Guineans long for education, capturing the hope they have – after a decade of
violence and despotism – and inspiring struggle for education in the face of the country’s own fight for change.
EVA VEBER, rediteljka. Poreklom iz Nemačke, Eva Veber kao filmska autorka živi u Londonu, i bavi se i dokumentaristikom i igranim filmom. Njeni mnogostruko nagrađivani filmovi prikazivani su na brojnim međunarodnim filmskim festivalima, između ostalih, na
Sandens festivalu, u Edinburgu, na festivalima SXSW, BFI filmskom festivalu u Londonu,
i na festivalu Telurid. Njeni filmovi su takođe bili emitovani na britanskoj i na
stranim televizijama, i prikazivani na umetničkim izložbama i u muzejima. Njen film “The
Solitary Life of Cranes“ („Usamljenički život kranova“) opisan je u britanskom „Obzerveru“ kao „jedan od najupečatljivijih dokumantaraca godine“. Eva se trenutno bavi razvojem
nekoliko igranih projekata, uključujući i jedan hibrid igranog i dokumentarnog filma,
pod nazivom “Ghost Wives“.
EVA WEBER, Director. Originally from Germany, Eva Weber is a London-based filmmaker
working in both documentary and fiction. Her multi-award-winning films have screened at
numerous international film festivals, amongst others, at Sundance, Edinburgh, SXSW, BFI
London Film Festival, and Telluride. Her films have also been broadcast on UK and international television, and shown at art exhibitons and museums. Her film ‘The Solitary
Life of Cranes’ was described as “one of the most absorbing documentaries of the year”
by The Observer newspaper in the UK. Eva is currently developing a number of feature
projects, including the fiction/documentary hybrid ‘Ghost Wives’.
11
|SPASAVANJE LICA|Šarmin Obaid Činoj, Denijel Džunge|PAKISTAN, VELIKA BRITANIJA|52 min.|2012|
|SAVING FACE|Sharmeen Obaid Chinoy, Daniel Junge|PAKISTAN, UK|52 min.|2012|
U Pakistanu žensko lice se smatra velikim preimućstvom. Onome ko želi da ženu kazni dovoljno je da
joj uništi lice pa da je trajno ozledi – i telesno i društveno. Spašavanje lica otkriva koliko
napadi kiselinom pogađaju žene u Pakistanu. Kad je podnela tužbu za razvod, Zakiju je muž napao
ispred suda, a Rukšanu njen u bračnom domu u kom ona i dalje živi jer nema mogućnosti da o deci
brine sama. Film prati Dr Mohamada Džavada, hrabrog čoveka koji pokušava da pomogne svojoj zajednici. Poreklom iz Pakistana, ovaj plasitčni hirurg koji radi u Londonu, kaže: „Ovo me zaista gnevi.
Te priče neću više da čujem!“ I ne samo da Zakiji dr Džavadovo lečenje pomogne, nego ona i sudski
goni muža zbog napada. Na njenom slučaju prvi put je isproban novi zakon u Pakistanu, po kom se
izvršioci napada kiselinom kažnjavaju doživotnim zatvorom. Spasavanje lica osvetljava medicinske i
zakonske odgovore na ovaj stravični problem, i plemeniti duh doktora Džavada, koji nudi zračak nade
ženama koje bi bez toga za društvo bile ’mrtve’.
In Pakistan, a woman's face is deemed to be her greatest asset. Someone seeking to punish a woman
need only destroy her face to do her permanent harm — both physically and socially. Saving Face
exposes how acid attacks affect women in Pakistan, including Zakia, whose husband attacked her
outside a courthouse when she filed for divorce, and Rukhsana, whose spouse attacked her in the
marital home where she still lives because she cannot afford to care for her children alone. The
film focuses on one courageous man trying to help this community, Dr. Mohammad Jawad. A plastic
surgeon originally from Pakistan and now practicing in London, he explains: "It makes me very angry.
I don't want to hear these stories anymore." Zakia not only benefits from Dr. Jawad's treatment,
she also goes to court to prosecute her husband for her attack. She becomes the first case tried
under a new law in Pakistan that punishes perpetrators of acid attacks with life imprisonment.
Saving Face highlights the medical and legal responses to this horrific problem, and the generous
spirit of Dr. Jawad, who offers a glimmer of hope for women who are otherwise 'dead' to society.
ŠARMIN OBAID ČINOJ je autorka dokumentaraca, dobitnica nagrada Oskar i Emi. Među njemi filmovima
su i: SPASAVANJE LICA; TRANSRODNI: PAKISTANSKA JAVNA TAJNA; PAKISTANSKA TALIBANSKA GENERACIJA, koji
su emitovani na PBS, Channel 4, CBC, SBS i Arte, a dobili su nagrade Alfred I Dupont i Udruženja
međunarodnih emitera. Šarmin je napravila više od tuceta filmova nagrađivanih u preko 10 zemalja
sveta, i prva je ne-Amerikanka dobitnica nagrade Livingston za najbolje međunarodno izveštavanje.
Magazin Tajm je uvrstio Šarmin Obaid Činoj među Tajmovih 100 za 2012 godinu, godišnju listu najuticajnijih ličnosti u svetu. 2007. Šarmin je dobila nagradu za televizijskog novinara godine u Velikoj
Britaniji, koju joj je dodelio One World Media za seriju dokumentaraca na Channel 4, CBC, Arte i
Diskaveri.
SHARMEEN OBAID CHINOY is an Academy Award and Emmy Award winning documentary filmmaker. Her films
include SAVING FACE; TRANSGENDERS: PAKISTAN’S OPEN SECRET; PAKISTAN’S TALIBAN GENERATION, which
aired on PBS, Channel 4, CBC, SBS and Arte and was the recipient of the Alfred I Dupont Award as
well as The Association for International Broadcasting award. Sharmeen has made over a dozen-multi
award winning films in over 10 countries around the world and is the first non-American to be awarded the Livingston Award for best international reporting. Time Magazine has named Sharmeen Obaid
Chinoy within their 2012 TIME 100, the magazine’s annual list of the 100 most influential people
in the world. In 2007, Sharmeen was awarded the broadcast journalist of the year award in the UK
by One World Media for her work in a series of documentary films for Channel 4, which included a
film about xenophobia in South Africa THE NEW APARTHEID. Her other films have been awarded The
Overseas Press Club Award, The American Women in Radio and Television Award, The Cine Golden Eagle
award and the Banff Rockie Award. Sharmeen has worked on 16 films for major networks in the United
States and Britain including CNN, PBS, Channel 4 (U.K.) CBC, Arte and the Discovery channel.
DENIJEL DŽUNGE je Oskarom nagrađen autor dokumentarnih filmova. Njegov prvi dugometražni film,
CHIEFS, osvojio je Nagradu glavnog žirija na Filmskom festivalu Tribeka, i emitovan je na celom
prostoru SAD na PBS. Njegov naredni igrani film, IRON LADIES OF LIBERIA, premijerno je prikazan na
Filmskom festivalu u Torontu, i emitovan je posredstvom više od pedeset emitera širom sveta,
uključujući PBS i BBC. THEY KILLED SISTER DOROTHY, njegov treći igrani film, osvojio je Nagradu
publike i Gran-pri Žirija na Filmskom festivalu South by Southwest, pre emitovanja na HBO i
nominacije za nagradu Emi u kategoriji Najboljeg istraživačkog novinarstva. Džungeov film THE LAST
CAMPAIGN OF GOVERNOR BOOTH GARDNER bio je nominovan za nagradu Američke filmske akademije za najbolji dokumentarni kratkometražni film, za 2010. godinu. Džunge živi u Koloradu, sa ženom, kćerkom i
jednim velikim psom.
DANIEL JUNGE is an Oscar award winning documentary filmmaker. His first feature-length film,
CHIEFS, won the Grand Jury Prize at the Tribeca Film Festival and broadcast nationally on PBS. His
subsequent feature, IRON LADIES OF LIBERIA premiered at the Toronto Film Festival and aired on over
50 broadcasters worldwide including PBS and the BBC. THEY KILLED SISTER DOROTHY, his third feature
film, won the Audience and Grand Jury Prizes at the South by Southwest Film Festival before broadcasting on HBO and earning a 2010 Emmy nomination for Best Investigative Journalism. Junge's film
THE LAST CAMPAIGN OF GOVERNOR BOOTH GARDNER was nominated for an Academy Award for Best Documentary
Short in 2010. Junge lives in Colorado with his wife and daughter and large dog.
12
|TRANSRODNI-PAKISTANSKA JAVNA TAJNA|Šarmin Obaid Činoj|PAKISTAN|53 min.|2011|
|TRANSGENDERS-PAKISTAN'S OPEN SECRET|Sharmeen Obaid-Chonoy|PAKISTAN|53 min.|2011|
Mnogi unutar pakistanske transrodne zajednice sastavljaju kraj s krajem baveći se
plesom, pevanjem i prosjačeći na ulicama Karačija. Drugi zarađuju novac pružajući seksualne usluge muškarcima u delovima grada sa lošijom reputacijom. Izbačeni iz porodica još
kao deca, oni se obično probijaju do opasnijih delova grada, gde su se, skriveni od
konzervativne društvene matice, odbačeni transseksualci već udružili i formirali andergraund zajednice ili „porodice“. Ovaj film prati priče o troje ljudi transrodnog
identiteta, od kojih svaka predstavlja jedan drugačiji način života u zemlji. Megi je
prostitutka koja sanja o tome da postane stjuardesa, dok je Čahat njena porodica iz
srednje društvene klase prepustila ulici zbog feminiziranosti. Sana je najtraženija
transrodna igračica u Karačiju, koja hoće da napusti tu profesiju, nakon jednog
stravičnog grupnog silovanja. Transrodne osobe nisu do skora imale pravo na pakistansku
nacionalnu pripadnost. Još uvek retko imaju pristupa obrazovanju, zaposlenju ili zaštiti
garantovanoj od strane države, a često su žrtve nasilja, iako ih veći deo populacije u
Karačiju toleriše, delimično zahvaljujući verovanju da su u stanju da svojim blagoslovom
usmere na srećan i uspešan život, i jednako, zahvaljujući pretnji da mogu prokleti one
koji se prema njima ružno ponesu. Ali postoji nada: lokalna poreska kancelarija oglasila
se u potrazi za transrodnim osobama koje bi radile kao ubirači poreza. Dosetljivi vladini zvaničnici uvideli su da je faktor neugodnosti pri susretu sa grupom raznobojnih
transvestita koji pevaju, dovoljan da natera na plaćanje poreza čak i one koji najupornije to izbegavaju. Da li Sana može dobiti jedan od ovih poslova? Da li će Čahat ikada
umaći očajnom siromaštvu sa kojim se svakodnevno suočava? I da li će Megi ispuniti svoj
san da poleti?
Many among Pakistan’s transgender community scrape a living through dancing, singing and
begging on the streets of Karachi. Others earn money catering for the sexual needs of
men in the city’s seedier districts. Thrown out by their families as children, they
usually find their way to the tougher parts of the city where, hidden from the conservative mainstream, groups of outcast transsexuals have come together to create underground
communities or ‘families’. This film follows the stories of three transgender people,
each of whom represents a different way of life in the country. Maggie is a prostitute
who dreams of becoming an air hostess, while Chahat was abandoned to the streets by her
middle-class family for her feminine ways. Sana is Karachi’s most sought-after transgender dancer, who wants to give up the profession after a particularly gruesome gang rape.
Transgenders were until very recently not entitled to Pakistani nationality. They still
have scant access to education, employment or state protection, and are frequently
victims of violence, although most of Karachi’s population tolerate them, partly due to
beliefs that they can give blessings towards a happy and successful life and, equally,
the threat that they may curse those who treat them badly. But there is hope: the local
tax office has advertised for transgenders to work as tax collectors. Clever government
officials have realised that the embarrassment factor of a group of encountering a
multi-coloured singing she-males is enough to make even the most stubborn tax evaders
pay up. Can Sana get one of those jobs? Will Chahat ever escape the desperate poverty
she faces on a daily basis? And will Maggie fulfil her dream to fly away?
13
|MOGU TI SAMO POKAZAT’ BOJU|Fernando Rodriges Vilčes|PERU|25 min.|2014|
|I CAN ONLY SHOW YOU THE COLOR|Fernando Rodríguez Vilchez|PERU|25 min.|2014|
Godine 2009, na visokom platou peruanske džungle, u blizini granice sa Ekvadorom.
Kanadska kompanija za eksploataciju ruda, Dorato Risors Ink., probija se u dubine drevne
šume u potrazi za mineralnim bogatstvima, ni najmanje se ne obazirući na moguću štetu.
Oni to čine uz dozvolu vlade, ali bez saglasnosti starosedelaca, pripadnika naroda
Avahun. Poznati po neustrašivosti i smelosti, Avahuni se usprotive uljezima. Znaju da
je međunarodno pravo na njihovoj strani. Ali u borbi za njihovu zemlju brutalno ih
osujeti ultraliberalna vlada. Nasilje rađa kontra-nasilje. Reditelj, Fernando Vilčez
Rodrigez, prati tu stazu nasilja, a svestan je da je tamo jedino važno kako zauzeti pravu
poziciju.
2009, in the high plateau of the Peruvian jungle, near the border to Ecuador. The Canadian mining company, Dorato Resource Inc. forces their way into the depths of the primeval
forest to search for mineral resources, without any regard for damage. They do this with
the government's permission, but without consent from the indigenous people, the Awajún
natives who live there. Known for their fearlessness and courage, the Awajún stand up
to the invaders. They know that they have international law on their side. But in the
fight for their land they are brutally struck down by the ultraliberal government.
Violence breeds counter-violence. Director, Fernando Vílchez Rodríguez follows the
trail of violence and knows, that it is all about taking position.
FERNANDO RODRIGEZ VILČES. Lima / Madrid. Studirao je filozofiju u Limi i pozorište u
Madridu. Njegovi radovi su rezultat ispitivanja peruanskog društva i selektovani su za
London, Havanu, Karlove Vari, Buenos Ajres, Tokio i Montreal. Od prošle godine, nalazi
se na čelu programske selekcije za Međunarodni filmski festival nezavisnog filma u Limi.
Njegov najnoviji dokumentarac "I can just show up", premijerno je prikazan u zvaničnoj
selekciji kratkometražnog filma na Berlinalu 2014.
FERNANDO RODRÍGUEZ VILCHEZ. Lima / Madrid. He studied philosophy in Lima and Madrid
Theater. His works are the result of inquiries about Peruvian society and have been
selected in London, Havana, Karlovy Vary, Buenos Aires, Tokyo and Montreal. Since last
year, is head of programming Lima International Independent Film Festival. His latest
documentary, "I can just show up", had its world premiere in the Official Selection
Short Film at the Berlinale 2014.
14
|IZVAN OVOG SVETA|Viktor Nordenskjeld|ŠVEDSKA|10 min.|2014|
|OUT OF THIS WORLD|Viktor Nordenskiöld|SWEDEN|10 min.|2014|
Mohamad Rizvan, dvanaestogodišnjak, obožava braću i sestre. Život kod kuće pun je ljubavi. Ali kad prispeju prljave cisterne za gorivo, on prileže na posao. Ovde, pored drugog
po veličini pakistanskog skladišta goriva, deca se uvlače u mračnu unutrašnjost tankova
za dizel – uprokos izuzetno kancerogenim isparenjima. Za to, Mohamadu se plaća jedan
evro dnevno. Njegovoj porodici je potreban novac, a za školu se nema vremena. Ali Mohamad ne deluje nesrećno, on ne zna za neki drugi život. Izvan ovog sveta prati Rizvanove
misli i snove, i vodi nas na njegovo hazardno radno mesto. Poput nekog malog astronauta
iz zaboravljenog univerzuma on silazi dole, obavljajući klaustrofobičan posao u industriji koja je ključ naše ekonomije – to je upotreba dečijeg rada na ekstreman način.
Mohammad Rizwan, 12, adores his siblings. Life at home is full of love. But when the
filthy fuel tankers arrive, he gets busy. Here, next to Pakistan’s second largest oil
depot, children crawl inside the dark interior of the diesel tanks – in spite of the
extremely carcinogenic fumes. For this Mohammad is paid one euro a day. His family needs
the money and there’s no time for school. But Mohammad doesn’t seem unhappy; he knows
no other life. Out Of This World follows Rizwan's thoughts and dreams, and takes us
inside his hazardous workplace. Like a kid astronaut from a forsaken universe he climbs
down, doing a claustrophobic job in an industry that's key to our economy, that’s using
child labor in an extreme way.
VIKTOR NORDENSKJELD (1969, Geteborg, Švedska) nastoji da stvara inovativne i kreativne
filmove o identitetu i ljudskim odnosima.
Napisao je, snimio, režirao i producirao više dokumentarnih filmova za švedsku i strane
televizije. Posle istorije umetnosti njegove studije su ga dovele do diplome iz žurnalistike i on se istakao kao reporter i strani dopisnik za vesti na TV4 u Švedskoj, od
1993–2000. Snimao je u više od 50 zemalja širom sveta i posebno je zainteresovan za
pitanja identiteta, internacionalnih odnosa, ljudskih prava i ksenofobije. Nestrpljiv
da otkrije više produbljenih priča, otišao je, samostalno se aktivirao i 2011. godine
osnovao produkcijsku kompaniju FreetownFilms. Cilj je stvaranje obimnih narativa i dokumentarnih filmova u kojima su u prvom planu odnosi i interakcije u internacionalnom
okruženju. Viktor je radio u pedesetak zemalja širom sveta i 2009. godine oformio je
„kišobran“ organizaciju FreetownFilms; dve godine kasnije pokrenuo je FreetownFilms AB,
produkcijsku kuću.
VIKTOR NORDENSKIÖLD, (1969, Gothenburg, Sweden) strives to make innovative and creative
films about identity and human relations. He has written, filmed, directed as well as
produced several documentaries for Swedish and international television. After studying
Fine Arts, his university studies evolved into a Bachelor of Journalism (B.J.) and he
established himself as a reporter and foreign news correspondent at TV4 News in Sweden,
from 1993–2000. He has filmed in over 50 countries around the world and is especially
interested in identity, international relations, human rights and xenophobia. Eager to
unveil more in-depth stories, he left and set off on his own, and in 2011 founded the
production company FreetownFilms. The objective is to produce extensive narratives and
documentaries where relations and interactions in an international setting are on the
front line. Viktor has worked in some 50 countries around the world and in 2009 he formed
the umbrella organization FreetownFilms, two years later he launched FreetownFilms AB,
a production company.
15
|MUŠKI FILM|Nebojša Slijepčević|HRVATSKA|11 min.|2012|
|REAL MAN'S MOVIE|Nebojsa Slijepcevic|CROATIA|11 min.|2012|
Na Balkanu svaka generacija ima svoj rat. Sinovi nastavljaju bitke koje su započeli
očevi. Pušaka i pištoja ima u svakoj ruci. Koncentracija oružja dosegla je kritičnu
tačku. I najmanji incident može razoriti ovaj krhki mir. Gledajući decu kako se igraju
puškama igračkama, vi se pitate: šta to ostavljamo sledećoj generaciji!?
In the Balkans, every generation has its war. Sons are continuing fights started by
their fathers. There are rifles and pistols in every hand. Concentration of arms has
reached a critical point. Even the smallest incident would be disastrous to this fragile
peace. Watching children playing with toy guns makes you wander: what ar we leaving to
the next generation!?
NEBOJŠA SLIJEPČEVIĆ (1973, Zagreb) je diplomirao filmsku režiju na Akademiji dramskih
umjetnosti u Zagrebu. Režirao je brojne TV dokumentarce i serije, ali i kreativne i
autorske dokumentarce, za koje je dobio nagrade na raznim festivalima. Nebojša je autor
i kratkog animiranog filma Pas/Zec i kratkog igranog Šamar koji je deo igranog omnibusa
Zagrebačke priče, kao i najnovijeg, njegovog prvog dugometražnog dokumentarca Gangster
te voli. Nebojša je jedan od glavnih voditelja stalnih radionica koje drži Restart, za
mlade ljude, posebno iz manjih, siromašnijih gradova u Hrvatskoj, kao što je Vukovar.
NEBOJSA SLIJEPCEVIC (1973, Zagreb, Croatia) graduated with Film Directing from the Academy of Drama and Art, Zagreb. He directed numerous documentaries and TV series, but also
creative and author driven documentaries for which he received awards from various
festivals. Nebojsa is also an author of a short animation Dog/Rabbit, and a short
fiction Slap, which is part of the fiction omnibus Zagreb Stories, as well as the most
recent, his first feature documentary Gangster of Love. Nebojsa is one of the main
tutors at the regular documentary workshops held by Restart, aimed at young people,
especially in smaller, poorer towns in Croatia, like Vukovar.
|VISOKA CENA ZLATA|Ros Domoni|DR KONGO, VELIKA BRITANIJA|47 min.|2012|
|THE HIGH PRICE OF GOLD|Ross Domoney|DEMOCRATIC REPUBLIC OF CONGO, UK,|47 min.|2012|
Film beleži neprilike žena i dece koji žive u istočnoj Demokratskoj Republici Kongo,
bogatoj mineralima, a koji bivaju proterivani sa svoje zemlje od strane milicije, uz
višestruka napastvovanja. Prisiljeni su da rade u rudnicima zlata i drugih ruda u
uslovima robovanja, kako bi se zaštitili od silovanja. Uhvaćeni su u unakrsnu razmenu
suparničkih milicija na toj teritoriji, koje se bave ispiranjem minerala i krijumčare
ih izvan regiona, kako bi ih „ugledne“ korporacije obradile za proizvodnju. Pre nego što
je konflikt sa susednom Ruandom kasnih devedesetih godina otvorio vrata pohlepi za ovim
bogatstvima, žene i muškarci u regionu nikada nisu bili mnogo zainteresovani za ove
minerale. Živeli su mirnim životima, a žene su bile zadovoljne da se bave obradom
zemlje. Ironija je u tome što su sada prinuđeni da rade u rudnicima u nastojanju da se
zaštite od napada milicija. Oni igraju značajnu ulogu u nabavljanju minerala za milicije, ali uprkos ogromnom bogatstvu koje se proizvodi njihovim radom, plaćeni su manje od
dolara dnevno, a ponekada nimalo za svoje mučenje. U međuvremenu, silovanja se nastavljaju.
The film documents the plight of women and children living in the mineral rich eastern
Democratic Republic of Congo who have been driven off their land by militias who repeatedly rape them. They have been forced to work at gold and other mines in conditions of
slavery in order to protect themselves from rape. They are caught in the crossfire of
competing militias on the ground who launder the minerals and smuggle them out of the
region to be processed for manufacture by 'respectable' corporations. The women and men
in the region were never very interested in these minerals before conflict with neighbouring Rwanda in the late 1990s unleashed the greed for these riches. They lived peaceful lives and the women were content to farm their land. The irony is that now they are
forced to work in the mines in a bid to protect themselves from repeated militia attacks.
They play an important role in procuring the minerals for the militias but despite the
vast wealth generated by their work they are paid less than a dollar a day and sometimes
nothing at all for their toil. Meanwhile the rapes continue.
ROS DOMONI. Rođen 1988. godine, Ros Domoni je frilens filmski stvaralac i fotograf iz
Velike Britanije, koji trenutno živi u Londonu. Njegovo bavljenje dokumentarnim filmom
usmereno je na probleme društva i ljudskih prava, urbanu geografiju, studije karaktera,
i uticaja koji politički protest može imati na gradsku sredinu; takođe je usmeren na
pitanja vlasti i andergraund pokreta. Ros je studirao na Londonskom koledžu za komunikacije (London College of Communication), diplomirao na temi iz foto-žurnalistike, a
zatim nastavio studije filma na Metropoliten školi za film (Metropolitan film school).
Osvajao je nagrade za dokumentarce, uključujući i one na festivalima Short Cuts,
Primecuts i na Solunskom filmskom festivalu. Radove su mu objavili Guardian, Time Out,
Foto 8, The Discovery Channel, Channel 4, The Wall Street Journal, a pažnju mu je poklonio i BBC. Ros trenutno studira dokumentarnu filmsku režiju na Nacionalnoj školi za film
i televiziju.
ROSS DOMONEY. Born 1988, Ross Domoney is a freelance filmmaker and photographer from the
UK who is currently based in London. His documentary work focuses on social/human right
issues, urban geography, character studies and the effect of political protest on
cities; authorities and underground movements. Ross studied at London College of Communication, completing a degree in photojournalism and went onto study filmmaking at the
Metropolitan film school. He has won awards for his documentaries, including Short Cuts,
Primecuts and Thessaloniki film festival. His work has been published by the Guardian,
Time Out, Foto 8, The Discovery channel, Channel 4, The Wall Street Journal, and has
been recognised by BBC. Ross is currently studying directing documentary at the National
Film & Television School.
17
|ODLOŽENA BUDUĆNOST|Ros Domoni|GRČKA, VELIKA BRITANIJA|35 min.|2013|
|FUTURE SUSPENDED|Ross Domoney|GREECE, UK|35 min.|2013|
Kako svetska ekonomska kriza prožima prostore svakodnevice u jednom gradu? Naš tridesetpetominutni dokumentarac ulazi u trag višestrukim transformacijama atinskog javnog
prostora pod teretom krize, i onima koji se kroz njega kreću.
Film Odložena budućnost podeljen je u tri dela. “Privatizovano” istražuje ono što je
preostalo iza masovnih privatizacija koje su prethodile Olimpijadi iz 2004. godine,
postavljajući ih u kontekst današnjih privatizacionih shema. “Obezvređeno” posmatra sve
suženiji prostor za migrante u gradu i devalvaciju vrednosti njihovih života koja iz
toga rezultira. “Militarizovano” pokazuje kako se, u suočenju sa krizom, ova devalvacija
pretvara u opšte stanje.
Kretanjem kamerom po današnjoj Atini, Odložena budućnost prati uspon autoritarno-finansijskog kompleksa i kako on utiče na sve veće umanjenje javnog prostora u gradu,
podstičući zauzvrat socijalno beznađe i ogorčenost.
How does a global financial crisis permeate the spaces of the everyday in a city? Our
final 35' documentary film traces the multiple transformations of crisis-ridden Athenian
public space and those who traverse it.
Future Suspended is divided in three sections. “Privatised” explores the legacy of mass
privatisation projects that preceded the 2004 Olympics, placing them in the context of
present day privatisation schemes. “Devalued” gazes at the ever-shrinking spaces of
migrants in the city and the devaluation of their lives that comes as a result. “Militarised” shows how, in face of the crisis, this devaluation turns into a generalised
condition.
Through its cinematic traversal of today's Athens, "Future Suspended" traces the rise
of the authoritarian-financial complex and how this shrinks public space in the city,
fuelling social despair and anger in return.
Ros Domoni Rođen 1988. godine, Ros Domoni je frilens filmski stvaralac i fotograf iz
Velike Britanije, koji trenutno živi u Londonu. Njegovo bavljenje dokumentarnim filmom
usmereno je na probleme društva i ljudskih prava, urbanu geografiju, studije karaktera,
i uticaja koji politički protest može imati na gradsku sredinu; takođe je usmeren na
pitanja vlasti i andergraund pokreta. Ros je studirao na Londonskom koledžu za komunikacije (London College of Communication), diplomirao na temi iz foto-žurnalistike, a
zatim nastavio studije filma na Metropoliten školi za film (Metropolitan film school).
Osvajao je nagrade za dokumentarce, uključujući i one na festivalima Short Cuts,
Primecuts i na Solunskom filmskom festivalu. Radove su mu objavili Guardian, Time Out,
Foto 8, The Discovery Channel, Channel 4, The Wall Street Journal, a pažnju mu je poklonio i BBC. Ros trenutno studira dokumentarnu filmsku režiju na Nacionalnoj školi za film
i televiziju.
Ross Domoney. Born 1988, Ross Domoney is a freelance filmmaker and photographer from the
UK who is currently based in London. His documentary work focuses on social/human right
issues, urban geography, character studies and the effect of political protest on
cities; authorities and underground movements. Ross studied at London College of Communication, completing a degree in photojournalism and went onto study filmmaking at the
Metropolitan film school. He has won awards for his documentaries, including Short Cuts,
Primecuts and Thessaloniki film festival. His work has been published by the Guardian,
Time Out, Foto 8, The Discovery channel, Channel 4, The Wall Street Journal, and has
been recognised by BBC. Ross is currently studying directing documentary at the National
Film & Television School.
18
|ÐAVO|Žan-Gabrijel Perio|FRANCUSKA|7 min.|2012|
|THE DEVIL|Jean-Gabriel Périot|FRANCE,|7 min.|2012|
Montirane na zvuk moćne i preteće pesme francuske grupe Boogers, vidimo slike Afroamerikanaca i njihove borbe tokom pedesetih i šezdesetih. Njihovo političko buđenje ispoljava
se u govorima i demonstracijama, i oni iskorišćavaju njihov zamah. Sloboda je tu da se
zgrabi, a metaforični duh je pušten iz boce. Rečima pevača iz Boogersa: „Ako pogledaš u
moje lice, tada gledaš u đavola“. Iz ove perspektive, sve je u projekciji, sa belcem
koji tumači šta to crnac hoće i vidi ovu pobunu kao pretnju. Stranca – nekoga koga nikada
niste susreli niti mu se obratili, najlakše je žigosati – kao đavola, i zauzdati ga
silom. U fragmentu jednog govora, poznati crni aktivista, Stokli Karmajkl, ohrabruje
publiku da pronađe svoje samopoštovanje. U međuvremenu, drugi aktivista kaže da crnci
treba da prestanu da imitiraju belce.
Edited to the sound of a powerful and menacing song by the French band Boogers, we see
images of African-Americans and their struggles in the 1950s and 1960s. Their political
awakening takes shape in speeches and demonstrations, and they capitalize on their
momentum. Freedom is up for grabs, and the metaphorical genie is out of the bottle. In
the words of the Boogers singer, "If you look upon my face, you are watching now the
devil." From this perspective, it's all about projection, with the white man interpreting what the black man wants and seeing his rebellion as a threat. The easiest thing to
do is to brand a stranger - someone you've never met or spoken to - as the devil, and
to contain him with violence. In a fragment of a speech, prominent black activist Stokely Carmichael encourages his audience to find their self-respect. Meanwhile, another
activist says black people should stop imitating white people.
Žan-Gabrijel Perio (1974) bebisiter, barmen, prodavac odeće i rukotvorina, službenik za
program videotraka, asistent reditelja, montažer, pantomimičar, asistent prodaje na
aukcijama, novinar, umetnik… filmadžija koji je režirao više kratkih filmova, u video i
filmskoj varijanti. Razvija svoj osobeni stil s arhivom. Između dokumentarca, animacije
i eksperimentalnog, mnogi od njegovih radova bave se nasiljem i istorijom.
Jean-Gabriel Périot (1974) baby-sitter, barman, clothes and handcrafts salesman, videotapes program clerk, assistant director, editor, mime, auction sales assistant, journalist, artist… filmmaker who directed several short movies, both in video and cinema. He
develops his own editing style with archives. Between documentary, animation and experimental, most of his works deal with violence and history.
|NAFTONOSNO POLJE|Ivan Galavnjov|RUSIJA|26 min.|2012|
|OIL FIELD|Ivan Golovnev|RUSSIA|26 min.|2012|
U udaljenim oblastima Sibirske tajge, tradicionalni način života domorodačkog stanovništva opstaje i u 21. veku. Pogoni za proizvodnju nafte, kojom se obezbeđuju uvećane
potrebe civilizacije, polako ali sigurno zatvaraju krug oko Hanti-Mansijske autonomne
oblasti. Za jedne, ta teritorija je mesto gde su rođeni, a za druge – samo naftonosno
polje…
The 21st century in the remote corners of the Siberian taiga sees a traditional lifestyle of the North of Russia natives still preserved. Oil production, providing the
increasing needs of civilization, constantly encompasses the territories of Khanty-Mansi Autonomous Area. For some, this territory is their birthplace, for others, it is just
an oil field.
Ivan Galavnjov (1978) diplomirao je na Omskom državnom univerzitetu, na odseku za Istoriju. Završio je koledž na Filmskom studiju Sverdlovsk u Jekaterinburgu, a najviše
kurseve za filmske scenariste i reditelje u Moskvi.
Ivan Golovnev (1978) Graduated from the Omsk State University, History department.
Finished college at the Sverdlovsk Film Studio in Ekaterinburg and the Highest Courses
of Film Writers and Directors in Moscow.
|ELEKTRONSKA PUSTOŠ|Dejvid Fedele|AUSTRALIJA, GANA |20 min.|2012|
|E-WASTELAND|David Fedele|AUSTRALIA, GHANA|20 min.|2012|
Svake godine stvori se blizu 50 miliona tona elektronskog otpada. Najveći deo tog električnog i elektronskog otpada izvozi se u zemlje trećeg sveta, gde dalje ide na second
hand market i ilegalnu prodaju. Bez dijaloga ili naracije, David Fedele slika ilegalni
centar otpada u Gani, gde elektronske komponente nisu ono što su bile, nego ono što mogu
biti.
Nearly 50 million tons of electronic waste are generated every year. Most of this waste
electrical and electronic equipment is exported to third world countries where it is
processed for the second hand market and sold illegally. Without using dialogue or
narration, David Fedele portrays an illegal e-waste center in Ghana, where the electronic components are not seen for what they were but what they can be turned into.
David Fedele je nagrađivani dokumentarista iz Australije. Njegovi filmovi pokrivaju
širok opseg tema, od seče drveća u Papua Novoj Gvineji do elektronskog otpada u Gani.
Posebno ga interesuje istraživanje pitanja kulture, životne sredine, humanitarne i socijalne pravde. Uglavnom radi kao jedan-čovek-tim, režira, producira, snima i montira
svoje sopstvene filmove. Njegova dela su višestruko prikazivana na televizijama i u
bioskopima i dobila su brojne nagrade na međunarodnim filmskim festivalima.
David Fedele is an award-winning documentary filmmaker from Australia. David’s films
cover a wide range of issues, from logging in Papua New Guinea to electronic waste in
Ghana. He is particularly interested in exploring cultural, environmental, humanitarian
and social justice issues. David generally works as a one-man filmmaker – directing,
producing, shooting and editing his own films. His work has been broadcast and screened
widely, winning numerous awards on the International Film Festival circuit.
21
|HRABRE ŽENE IZ ENADŽEHA|Širaz Buzidi|TUNIS|23 min.|2013|
|ENNAJEH, BRAVE WOMEN|Chiraz Bouzidi|TUNIS|23 min.|2013|
Silijana, malo selo nazvano „Enadžeh“, što znači „uspeh“. Smeštena u srcu tuniskog
severno-zapadnog regiona, poznatog kao jedan od najzanemarenijih krajeva, barem u
poslednjih pedeset godina, Silijana je dom za nekih dvadeset porodica. Svakoga dana,
mnoge od seoskih žena odlaze na opštinsku deponiju da sakupljaju ono što se može
reciklirati.
U Silijani, u postrevolucionarnom Tunisu, ovi ekscentrici računaju samo na svoje snage.
Siliana, a little village named “Ennajeh”; meaning “success.” Based at the heart Tunisia
north-west region known as one of the most underserved regions for at least the past
fifty years, the Siliana is the home for about twenty families. Every day, many of the
village women go to the municipal dump to collect what can be recyclable.
In Siliana, in post revolutionary
Tunisia, the eccentrics count only on their own
strengths.
Širaz Buzidi, tuniska rediteljka; započela je svoj umetnički život baveći se teatrom,
1994. Godine. Načinila je nekoliko kratkih filmova koji su prikazivani na više međunarodnih filmskih festivala.
Chiraz Bouzidi – a Tunisian filmmaker; she started her art life in the field of Theatre
in 1994. She has made several short films which were screened in a number of International Film Festivals.
|GILČIN|Nazlı Eda Nojan|TURSKA|5 min.|2013|
|GULCIN|Nazlı Eda Noyan|TURKEY|5 min.|2013|
U jednom selu, u blizini tursko-sirijske granice, živi devojčica po imenu Gilčin, nazvana po cvetu. Istovremeno s ljubavlju prema svom gradu koji se nalazi tik uz minsko polje,
Gilčin pokušava da razume značenje pojma granica. Na ovom lepom parčetu zemlje Gilčin
uviđa da granice nisu iscrtane samo pomoću prirodnih objekata, poput reka, planina,
rastinja ili prostranstva, već su u isto vreme određene zidovima i onime što je skriveno
ispod zemlje. Gilčin nam priča svoju priču bez nogu, koje je izgubila od mine, ali na
njen sopstveni način, utkan u ćilim koji je sama izatkala.
In a village, near the Turkey- Syrian border, there lives a girl called Gülçin, named
after flowers. While loving her hometown that is right next to an area with landmines,
Gülçin tries to figure out the meaning of the concept border. In this beautiful piece
of land Gülçin learns the borders are not drawn by only the pieces of nature such as
rivers, mountains, bushes or distances but at the same time they are defined by walls
and what is hidden underneath the ground. Gülçin tells us her story without her legs,
lost to landmines, but with her own style woven on a carpet in her own loom.
Nazli Eda Nojan (Izmir, 1974) stekla je diplomu osnovnih studija i master iz grafičkog
dizajna uz stipendije univerziteta Dokuz Eilul, Bilkent univerziteta i Univerziteta
Florida. Njena master teza uključuje teme postera za turske melodrame i grafički dizajn
za zonu opšteg društvenog dobra. Radila je kao unutrašnji dizajner u UNICEF-u, u Gani.
Doktorirala je na Tehničkom univerzitetu u Istanbulu na temu dizajniranja filmskih
naslova u turskoj kinematografiji. Asistent je na Fakultetu za komunikacije, Univerziteta Bahcesehir u Istanbulu. Radi kao frilens ilustratorka, dizajnerka i spisateljica za
različite magazine i knjige.
Njeno umetničko zaleđe i dizajnerski bekgraund sastoje se od raznovrsnih formi i sadržaja, sa naglaskom na društvenim temama iz urbanog života i na istraživanju interaktivnih
grafičkih medija. Radovi poput “Map of Awareness“ i “Home Truths“ dizajnirani su kao
alati kojima se postiže svesnost i polemiše na temu ljudskih prava i nesreća kroz narativne strategije, radoznalost, humor i interagovanje. To su ispitivanja načina upotrebe
interaktivne i saučesničke naracije, dostupnosti, prepoznatljivosti, igre i strategije
u dizajnu i javnom prostoru.
NEN je svoja dela izlagala u SAD, Nemačkoj, Ukrajini, UAE i Engleskoj, kao i u Turskoj,
na mnogim grupnim izložbama, umetničkim sajmovima i aukcijama. Nastavlja svoje
istraživanje grafičkog dizajna, kao i umetničke i dizajnerske projekte u različitim
medijima.
Nazlı Eda Noyan (Izmir, 1974) Earned her BA and MFA degrees in graphic design on scholarship from Dokuz Eylül University, Bilkent University and University of Florida. Her
master thesis topics include posters of Turkish melodrama and graphic design for social
good. Worked as an intern designer in UNICEF, Ghana. Received her Ph.D. degree from
Istanbul Technical University with her thesis on film title design in Turkish cinema.
She’s an assistant professor in Faculty of Communications, Bahçeşehir University in
Istanbul. She has been working as a freelance illustrator, designer and writer in various magazines and books.
Her artistic and design background consists of diverse form and content with an emphasis
to social issues in urban life and the explorations of interactive graphic mediums.
Works such as Map of Awareness and Home Truths are designed as tools to create awareness
and debate on human rights and disasters through narrative strategies, curiosity, humour
and interactivity. They are investigations of how to utilize interactivity & participatory narration, accessibility, perceptibility, play and strategy in design and public
space.
NEN’s works have been exhibited in USA, Germany, Ukraine, United Arab Emirates and
England as well as Turkey in many group exhibitions, art fairs and auctions. She continues her research on graphic design and her art and design projects in different mediums.
|POČELO JE SA DRVEĆEM|Tomaš Doruška|ČEŠKA|29 min.|2013|
|IT STARTED WITH TREES|Tomas Doruska|CZECH REPUBLIC |29 min.|2013|
Juna 2013. godine, Akile Nazli Kaja i Tomaš Doruška bili su pozvani na festival Dokumentarist: Šesti istanbulski dani dokumentarizma, kako bi učestvovali u projekciji svog
filma. Kada su na trgu Taksim započeli nemiri, odlučili su da uzmu kameru i otpočnu
snimanje u parku Gezi. Nekoliko meseci kasnije, film je bio gotov.
Ovaj kratki dokumentarac svedoči o protestima koji su izbili u Turskoj krajem maja 2013.
godine, kada je lokalni protest u ime zaštite životne sredine prerastao u nacionalni
prodemokratski pokret.
Ovo je jedna vrsta aktivističkog dnevnika.
In June 2013, Akile Nazli Kaya and Tomas Doruska were invited to Documentarist 6th
Istanbul Documentary Days in order to participate the screening of their fi lm. When the
revolts started in Taksim they have decided to pick up their camera and start shooting
in Gezi Park. A few mounths later they’ve ended up with this film.
The short documentary film witnesses the protests that erupted in Turkey by the end of
May 2013 where a local environmental protest bloom into a nationwide pro-democracy movement.
It is a kind of activist's diary.
Tomaš Doruška (1977) predavač i filmski stvaralac. Rođen u Češkoj, montažer je, reditelj
i producent dokumentarnih filmova. Diplomirao je na Odseku za montažu na FAMU 2001. Kao
montažer učestvovao je u pedesetak projekata, kako igranih filmova tako i kreativnih
dokumentaraca. Profilisan takođe i kao producent, koproducirao je sopstveni kratki debi
u igranom filmu, Radhošť (2001), njegov diplomski film koji je pušten u bioskope i osvojio je nagradu FICC za 2002. Doruška je predavao na različitim radionicama montaže i na
kursevima tokom poslednjih 12 godina, na različitim univerzitetima i filmskim školama.
Od 2006. radi kao mentor pri radionici na Odseku za montažu FAMU, na FAMU International
i kao frilens producent, reditelj i montažer u svojoj kompaniji Tomáš Doruška Film
s.r.o.
Tomáš Doruška (1977) academic & filmmaker. Czech-born Editor, Director and Producer of
documentary films. He graduated from FAMU’s Editing Department in 2001. As an Editor,
he has participated in about 50 projects, both feature films and creative documentaries.
Also profiled as a producer, he co-produced his own short fiction debut Radhošť (2001),
his graduation film which was released in cinemas and won the 2002 FICC prize. Doruška
has taught at a variety of editing workshops and courses during the past 12 years at
different universities and film schools. Since 2006, he works as a workshop mentor at
FAMU (Film and TV School of the Academy of Performing Arts in Prague) Editing Department, FAMU International and works as a freelance producer, director and editor in his
own company Tomáš Doruška Film s.r.o.
24
|STAZA KA DOSTOJANSTVU|Elen Bruno|INDIJA, AUSTRALIJA, TURSKA|28 min.|2012|
|PATH TO DIGNITY|Ellen Bruno|INDIA, AUSTRALIA, TURKEY |28 min.|2012|
Jedna osoba može da promeni stvari u rešavanju problema u društvu. Uspele prakse ilustruju kakva je moć edukacije o ljudskim pravima u transformaciji ljudskih života, vodeći
pojedince na stazi ka dostojanstvu i osnažujući ih da uzrokuju pozitivne promene u
njihovim zajednicama i društvima. Staza ka dostojanstvu prati tri priče koje ilustruju
uticaj edukacije o ljudskim pravima na decu školskog uzrasta u Indiji, na agencije za
sprovođenje zakona u Australiji, i na žene žrtve nasilja u Turskoj.
One person can make a difference in solving problems in society. Successful practices
illustrate the power of human rights education in transforming people's lives, guiding
individuals on a path to dignity and empowering them to bring about positive change in
their communities and societies. A Path to Dignity follows three stories that illustrate
the impact of human rights education on school children in India, law enforcement agencies in Australia, and women victims of violence in Turkey.
Dokumentarni rad Elen Bruno usmeren je na centralne probleme ljudskih prava, uključujući
prostituciju u Burmi, tibetanske kaluđerice, zdravstvenu zaštitu u Kambodži i
beskućništvo. Njeni filmovi koriste se u mnogim školama i na univerzitetima, kao instrumenti za lobiranje u Kongresu SAD, i u sakupljanju sredstava za lokalne inicijative i
projekte izvan Amerike. Njenim filmovima dodeljena je Specijalna nagrada žirija na
Sandens festivalu, Nagrada za najbolji film na Nacionalnom festivalu edukativnog filma,
i Gran-pri na Filmskom festivalu u Oberhauzenu, među ostalim nagradama. Osim Staze ka
dostojanstvu, njeni filmovi uključuju i filmove Samsara (Kambodža), Satya: A Prayer for
the Enemy (Tibet i Indija), i Sacrifice (Burma i Tajland). Elen je stekla stepen mastera
u dokumentaristici na Stanford univerzitetu. Dobitnica je stipendija Gugenhajm i Rokfeler, nagrade Goldi (Goldie) za izuzetnog umetnika/umetnicu, i nagrade “Anonymous Was A
Woman“ za umetnost, za 2006. godinu.
Ellen Bruno’s documentary work has focused on issues at the forefront of human rights
including Burmese prostitution, Tibetan nuns, health care in Cambodia, and homelessness.
Her films have been used extensively in schools and universities, as lobbying tools in
the US Congress, and to raise funds for local initiatives and projects overseas. Ellen’s
films have been awarded a Special Jury Award at Sundance Film Festival, Best of Festival
at the National Educational Film Festival, and Grand Prize at the Oberhausen Film Festival, among many other awards. In addition to A Path to Dignity, her films include Samsara
(Cambodia), Satya: A Prayer for the Enemy (Tibet and India), and Sacrifice (Burma and
Thailand). Ellen completed a Master’s Degree in documentary film at Stanford University.
She is a recipient of Guggenheim and Rockefeller Fellowships, a Goldie Award for
Outstanding Artist, the Alpert Award for the Arts, and a 2006 Anonymous Was A Woman Award
for the Arts.
25
|USPAVANE DUŠE|Aleksander Abaturov|FRANCUSKA|51 min.|2013|
|SLEEPING SOULS|Alexander Abaturov|FRANCE,|51 min.|2013|
Ačinsk, na više od 4000 km udaljenosti od Moskve. U domaćinstvu koje je bezmalo u predgrađu grada, stanovnici se mimoilaze na stepenišu. Nisu baš raspoloženi da razgovaraju
o politici. Posebno ne o kampanji za predsedničke izbore, koja je u toku. Napolju, grad
je okupiran hladnom zimom. Jedino što preostaje jeste udaljeni zvuk radija sa koga
odjekuju antivladine demonstracije, koje se dešavaju u Moskvi. Ovi prizori iz jednog
uspavanog grada dočekuju one koji kao plaćeni aktivisti rade za Putinovu partiju. Jurij,
politički unajmljenik koji radi za „Ujedinjenu Rusiju“, hladnokrvno mi objašnjava mehanizam sistema, dok nam usipa sve više votke u čaše. Nekako, demokratski život se ukazuje
kao pozorište...
Atchinsk, 2500 miles away from Moscow. In a household almost in the suburbs of the city,
inhabitants pass each other in the stairways. They are not really kin on talking politics. Especially not about the present campaign for presidential elections. Outside, the
city is stuck on a cold winter. Only remains a remote sound of a radio echoing anti-government demonstrations going on in Moscow. These images of a sleeping city meet the ones
of paid-activists working for Putin’s party. Iouri, political hireling working for
“United Russia” explains me coldly the inner mechanic of the system, pouring more and
more vodka into our glasses. Somehow, democratic life appears to be a theatre…
Aleksandar Abaturov. Rođen u Novosibirsku 1984. godine, Aleksandar Abaturov diplomirao
je na Univerzitetu Gorki u Jekaterinburgu. Pošto je radio kao novinar za agenciju Federalpress, preselio se u Francusku radi master studija kreativnog dokumentarizma na Lussac
školi dokumentaristike. Njegov diplomski film, Kinophasie (2011), našao se u selekciji
nekoliko festivala. Pri kraju studija radio je kao urednik u novinskoj agenciji u Jekaterinburgu “Uralpolit.ru”, zatim je postao izvršni urednik u novinskog agenciji Federalpress. Godine 2010. upisao je master studije iz kreativne dokumentaristike, na Univerzitetu u Grenoblu. Film Uspavane duše njegov je prvi dugometražni dokumentarac.
Alexander Abaturov. Born in Novossibirk in 1984, Alexander Abaturov graduated from Gorky
University in Ekaterinburg. After working as a journalist for the Federalpress agency,
he moved to France to study for a Master's in creative documentary filmmaking at the
Lussac documentary school. His diploma film, Kinophasie (2011), was selected for screening at several festivals. At the end of his studies he worked as an editor at the news
agency of Ekaterinburg “Uralpolit.ru”, then became executive editor at the news agency
“Federalpress“. In 2010, he joined the Master Production Creative Documentary at the
University of Grenoble.SLEEPING SOULS is his first feature-lenght documentary.
|ONAJ KOJI HODA ZA MIR |Geri Forester|TAJLAND, VELIKA BRITANIJA |21 min.|2012|
|PEACEWALKER|Gary Forrester|THAILAND UK|21 min.|2012|
Ašin Sopaka je izgnanik iz Burme. Vojni režim oduzeo mu je politički status i pravo na
izražavanje. Ali nisu mu oduzeli pravo da hoda. Ašin je Onaj koji hoda za mir. Sledeći
duh Gandijevih mirnih protesta, Ašin je ohrabrivao ljude sa svih stana sveta da hodaju
u ime mira i slobode. Godine 2007, otpočeo je Hod za mir koji bi trebalo da pokrije
dužinu Tajlanda. Tokom hoda, Ašin i njegovi sledbenici trpe neprekidna uznemiravanja i
pretnje od strane vojnih vlasti, koje pokušavaju da sabotiraju šetnju. U ovom dokumentarcu, Ašin se priseća svojih iskustava tokom Hoda za mir i svoje nade u bolju budućnost
za Burmu i njen narod.
Ashin Sopaka is a Burmese exile. The military government has taken away his political
status and his right to express himself. But they havent taken his right to walk. Ashin
is a Peacewalker. Following in the spirit of Gandhis peaceful protests, Ashin has
encouraged people from all over the world to walk in the name of peace and freedom. In
2007, he started a Peacewalk that would span the length of Thailand. During the walk,
Ashin and his followers were continuously harassed and threatened by military authorities that tried to sabotage the walk. In this documentary, Ashin recounts his experiences of the Peacewalk and his hope for a better future for Burma and her people.
Geri Forester
Geri se bavi montažom dokumentaraca i reklama poslednjih pet godina.
Sarađivao je sa Soul Rebel Films, režirajući i montirajući dokumentarne filmove
posvećene društvenim i političkim temama, u koje spada i film The Peacewalker.
Gary Forrester
Gary has been editing documentaries and commercials for the past 5
years. Gary has worked collaboratively with Soul Rebel Films directing and editing documentaries covering social and political topics, including The Peacewalker.
|OPEKA|Htu Taj Zar, Min Tu Aung, Htu Lou Rae, Jan Naing Ho, Zin No
No Zav |POLJSKA, BURMA |15 min.|2013|
|THE BRICK|Htoo Tay Zar, Min Thu Aung, Htuu Lou Rae, Yan Naing Kho,
Zin No No Zaw|POLAND, BURMA|15 min.|2013|
Na samo sat i po vožnje od Jangona, nalazi se selo u kojem svi stanovnici zarađuju za
život od istog posla: pečenja opeke. To je zahtevan proces koji uključuje muškarce, žene
i decu, koji formiraju jedan neverovatan lanac proizvodnje. Ovaj filmski portret kolektivnog napora cele jedne zajednice i s m je rezultat jednog kolektivnog napora. Pod
umetničkom supervizijom Jana Čarlevskog, film su za šest dana načinili učesnici radionica
Solidarity Shorts, koji su kamere imali u rukama po prvi put u životu. Ove radionice je
za burmansku mladež organizovao septembra 2013. Institut Leh Valesa, kao deo Festivala
WATCH DOCS u Jangonu.
Just an hour and a half drive from Yangon, there is a village where all the inhabitants
make a living from the same activity: baking bricks. It is a demanding process involving
men, women, and children who form an incredible chain of production. This film portrait
of the collective efforts of the entire community is in itself the result of a collective
effort. Under the artistic supervision of Jan Czarlewski, the film was made in six days
by the participants of Solidarity Shorts workshops, who had cameras in their hands for
the first time in their lives. These workshops for Burmese youth were organized in
September 2013 by the Lech Walesa Institute as part of the WATCH DOCS festival in
Yangon.
Htu Taj Zar, Min Tu Aung, Htu Lou Rae, Jan Naing Ho, Zin No No Zav burmanski su filmski
stvaraoci, koji su učestvovali u Internacionalnim radionicama kratkog metra solidarnosti, pod vođstvom Jana Čarlevskog, tokom trajanja Filmskog festivala WATCH DOCS u Jangonu. Opeka je rezultat rada u takvoj radionici.
Htoo Tay Zar, Min Thu Aung, Htuu Lou Rae, Yan Naing Kho, Zin No No Zaw are Burmese filmmakers who took part in the 'Solidarity Shorts International Workshops' led by Jan
Czarlewski during Watch Docs Film Festival in Yangon. “The Brick” has been made as a
result of the workshop.
|NIČIJA ZEMLJA |Majkl Graversen |DANSKA, VELIKA BRITANIJA |29 min.|2013|
|NO MAN'S LAND|Michael Graversen|DENMARK, UK|29 min.|2013|
Svake godine stotine dece i tinejdžera iz Avganistana, Irana i Etiopije napušta svoje
porodice i roditelje, i samostalno putuje u Dansku u nadi da će steći azil. Deca se šalju
u posebne centre za osamljenu decu u potrazi za azilom, u kojima čekaju godinama pre
nego što njihov slučaj prođe obradu. Deca se nalaze u nečemu što liči na beskrajni limb,
i provode vreme nasamo ili sa drugom decom, koja su odbijena, ili im je dat azil, ili
čekaju na odluku. Ona deca koja su odbijena, moraju da čekaju dok ne napune 18 godina,
pre nego što budu poslata natrag. Svakodnevne napetosti i frustracije projektuju se na
zaposlene, koji i sami padaju pod uticaj ovih stresnih okolnosti. Oni su zabrinuti za
decu, ali im zapravo ne mogu pomoći.
Ovaj film je jedan intimni portret pažljivo posmatranog života, sa iščekivanjem i
razočaranjem u centru pažnje. Kamera putuje kroz različite prostorije i situacije; u
hodniku jedan dečak sedi držeći glavu u rukama, psihe vidno uznemirene iščekivanjem. Noću
nastupa osećaj samoće, ali u isto vreme javlja se i tračak nade u dečaku, koji se obraća
jednoj danskoj devojčici i sa njom popriča putem četa na internet sajtu za upoznavanje.
Život u Centru ide svojim tokom, dok se zaposleni pripremaju da trojici dečaka saopšte
teške vesti o odbijanju; oni su na konačnu presudu čekali po nekoliko godina – na presudu
o odbijanju koje ima sudbonosne posledice za dečake i izaziva agresivnu reakciju, koja
potom utiče na celi Centar.
Every year hundreds of children and teenagers from Afghanistan, Iran and Ethiopia have
left their family and parents and travelled alone to Denmark in the hope to get asylum.
The kids are sent to special centers for lone asylum-seeking children where they wait
for years before their case is processed. The kids find themselves in what seems to be
an endless Limbo and spend their time alone or with other kids who have been rejected,
given asylum or waiting. The ones who have been rejected have to wait until they are 18
years before they can be sent back. Daily tension and frustration is being projected on
to the staff that themselves are being affected by the stressful conditions. They care
for the kids but ultimately can’t help them.
The film is an intimate and observational portrait of the life, waiting and frustrations
at the center. The camera is travelling between different rooms and situations; in the
corridors a boy is sitting with his head in his hands and with noticeable psychological
damage from the waiting. At night the loneliness comes out but at the same time there
is a glimpse of hope in a boy who is reaching out and chatting to a Danish girl on a
dating site on the internet.
Life is unfolding at the Centre while the staff is preparing to give a difficult rejection to three boys who have been waiting for their final verdict for several years – a
rejection that has fatal consequences for the boys and creates an aggressive response
that affects the whole Centre.
Majkl Graversen. Ja sam diplomac iz klase 2013. Nacionalne škole za film i televiziju iz Velike
Britanije. Na školovanju u NFTS razvio sam sopstveni stil intimnog i poetičnog filmskog stvaranja, koje
se bavi egzistencijalnim temama u kompleksnim emocionalnim situacijama i okruženjima.
Moj film sa NFTS The Last Night Shift, o ljudima koji svoje slobodno vreme koriste kako bi pravili
društvo usamljenim ljudima čiji se životi bliže kraju, doneo mi je nominaciju za nagradu Liv&Død Prisen
u mojoj rodnoj Danskoj.
Diplomirao sam film, studije medija i psihologiju na Univerzitetu u Kopenhagenu. Pre nego što sam
upisao NFTS, radio sam kao novinar u oblasti kulture, na Nacionalnom radiju i televiziji Danske (DR),
a takođe režirao i dokumentarac Jorden er giftig, o zagađenju u mom rodnom gradu, Grindstedu. Film
Zemlja je otrovna emitovan je na DR2 i bio je odabran za CPH:DOX (Internacionalni festival dokumentarnog filma u Kopenhagenu).
Michael Graversen. I am a 2013 graduate from the National Film and Television School in
UK. At the NFTS I have developed my own style of intimate and poetic filmmaking that
deals with existential themes in complex emotional situations and environments.
My NFTS film “The Last Night Shift” about people who use their spare time to keep lone
dying people company earned me a nomination for the Liv&Død Prisen in my native Denmark.
I have a BA in Film, Media Studies and Psychology from Copenhagen University. Before
joining the NFTS I have worked as a cultural journalist at the national broadcaster in
Denmark (DR) as well as directed the documentary “Jorden er giftig” about pollution in
my hometown, Grindsted. “Toxic Ground” aired on DR2 and was selected for CPH:DOX.
|ČOVEK PTICA SA CRVENOG DRUMA |Kris Lesli|ŠKOTSKA(VELIKA BRITANIJA) |7 min.|2012|
|THE BIRD MAN OF RED ROAD|Chris Leslie|SCOTLAND (UK)|6 min.|2013|
Izgrađeni 1967. godine, stanovi Red Roud (Crveni drum) u Glazgovu bili su nekada dom za
više od 4500 ljudi. Sada je najveći deo blokova ispražnjen i otpočelo se sa rušenjem.
Džamal Hamad, irački Kurd kome nije uspelo da stekne azil, živeo je s m u jednom od blokova nekoliko meseci. Kompanija za rušenje nestrpljiva je da nastavi sa pripremama, ali
Džamal odbija da se iseli. Ukoliko se bude iselio, boji se izbacivanja iz Velike
Britanije, a ako se bude vratio u svoju zemlju, kako nalaže Agencija za čuvanje granica
Velike Britanije, veruje da će ga tamo ubiti, upravo kao što su ubili njegove roditelje
i braću nekoliko godina ranije. Živeti u bloku s m opasno je; ali Džamal ne vidi neki
drugi izbor.
Built in 1967, the Red Road flats in Glasgow were once home to over 4500 people. Now
most of the blocks have been emptied and demolition has already begun. Jamal Hamad, a
failed Iraqi Kurdish asylum seeker, has lived alone in one block for several months. The
demolition company are keen to move on with the demolition preparation but Jamal is
refusing to move. If he does move out, he fears eviction from the UK- and if he returns
to his homeland, as instructed by the UK Border Agency, he believes he will be killedjust like his parents and brothers several years ago. Living in the block alone is
dangerous; but Jamal sees no other choice.
Kris Lesli je škotski dokumentarist i dobitnik nagrade BAFTA, fotograf i vizuelni umetnik sa boravištem u Glazgovu, u Škotskoj. Godine 2010. stekao je master sa odlikom na
kursu dokumentarne fotografije, za projekat “Nada, sećanja, gubitak i zajednica”, koji
priča skrivene priče o regeneraciji širom Glazgova; taj rad on nastavlja i danas, putem
svog dugoročnog multimedijalnog projekta “The Glasgow Renaissance”. Izvan Glazgova i
Velike Britanije, putuje širom sveta, dokumentujući niz društvenih tema i problema u
zdravstvenoj zaštiti, za niz međunarodnih NVO i dobrotvornih ustanova, kao i za televiziju i vesti, uključujući period posle zemljotresa na Haitiju za CNN, kao što radi na
dugoročnom projektu dokumetovanja stanja u državnim institucijama namenjenim deci širom
Istočne Evrope. Snimio je, režirao i producirao kratkometražne filmove za razne klijente
iz korporativnog domena ili dobrotvornih aktivnosti. Godine 2014. dobio je dve nagrade
BAFTA za Škotsku (Novi talenat), za najbolje faktualno utemeljen rad i za najbolji novi
rad, namenjene njegovom prvom dugometražnom dokumentarcu: Finding Family. Kao vizuelni
umetnik takođe je izlagao fotografske, multimedijalne i društveno-dokumentarne projekte
širom Velike Britanije i Evrope u rasponu od dešavanja u Donjem domu u Londonu do Barou
Marketa u Glazgovu. Godine 2012. osmislio je “tajm-leps” projekciju dokumentovanog
stanja državnih institucija za decu u Istočnoj Evropi, koja je bila izložena u Evropskom
parlamentu u Briselu. Živi u Glazgovu sa ženom i troje dece.
Chris Leslie is Scotland BAFTA award winning Documentary Filmmaker, Photographer and
Visual Artist located in Glasgow, Scotland. In 2010 he gained a distinction award for a
Masters in Documentary Photography course for his project – Hope, memories, loss and
community – telling hidden stories of regeneration throughout Glasgow – he continues
that work today with his long-term multimedia project – The Glasgow Renaissance.
Out-with Glasgow and the UK he travels across the world documenting a range of social
and healthcare issues for a range of International NGO’s and charities as well as TV and
news, including documenting post earthquake Haiti for CNN, as well as working on a long
term project of documenting state institutions for children across Eastern Europe. He
has shot, directed and produced short films for a range of corporate and charity
clients. In 2014 he received two BAFTA Scotland (New Talent) awards – Best Factual and
Best New Work for his first feature length documentary: Finding Family. As a visual
artist he has also exhibited photography, multimedia and social documentary projects
across the UK and Europe in a range of venues from the House of Commons in London to the
Barra’s Market in Glasgow. In 2012 he designed a projection of timelapse documenting
state institutions for children in Eastern Europe that was exhibited at the European
Parliament in Brussels. He lives in Glasgow with his wife and three children.
30
|KO POLICAJIŠE POLICAJCE? |Ken Fero|VELIKA BRITANIJA|52 min.|2012|
|WHO POLICES THE POLICE? |Ken Fero|UK|52 min.|2012|
Šon Rig misteriozno umire u policijskoj stanici Brikston i Nezavisna komisije za žalbe
na postupanje policije otpočinje istragu. Šonova porodica je šokirana njegovom smrću,
ali se to pretvara u bes kada Komisija počne da pravi grešku za greškom u svom radu –
da li je posredi nekompetentnost ili zavera? Šonova porodica kreće u samostalno
istraživanje kontroverzne smrti, i time se deo po deo razotkriva odjek koji ima jedna
smrt u policijskom pritvoru. Ovaj uznemirujući, inspirativan i radikalan film spaja
potresna svedočanstva, poeziju i političku analizu policijskog nasilja. Fragmenti realnosti, sećanja i otpora ugrađuju se u snažan film o jednoj borbi za pravdu.
Sean Rigg dies mysteriously in Brixton Police Station and the Independent Police
Complaint Commission begin an investigation. Sean’s family are shocked at the death but
this turns to anger when the IPCC make error after error in its inquiry – is it incompetence or collusion? Sean’s family investigate the controversial death themselves and
this blow-by-blow account lays bare the impact of a death in police custody. This
harrowing, inspiring and radical film combines moving testimonies, poetry and a political analysis of police violence. Fragments of reality, memory and of resistance build
into a powerful film about a struggle for justice.
Ken Fero. Ja sam predavač na teme medija, što temeljim na iskustvima iz prakse, usmeren
na produkciju, a imam i internacionalnu reputaciju kao dokumentarista. Takođe raspolažem
dvadesetogodišnjim iskustvom u televizijskoj dokumentaristici. Imam ozbiljnu potvrdu
kvaliteta rada u iskustvu praktičnog rada na međunarodno priznatim dokumentarnim filmovima, uključujući i inovativni film Injustice.
Moja praksa i pedagogija izgrađeni su oko političkog filmskog stvaralaštva i aktivizma
u zajednici. U skorije produkcije ubraja se Newspeak, eksperimentalni dokumentarni
esejistički film na temu cenzure, rata i otpora. Takođe je završen i Defeat of the Champion, na temu ravnoteže između borbe protiv terorizma i prava na privatnost. Raniji
projekti uživo uključivali su snimanje u Rasel Tribunalu o Palestini. Trenutno se bavim
produkcijom jednog dugometražnog eksperimentalnog dokumentarnog filma, o smrtima u
policijskom pritvoru. Još jedna oblast mog velikog interesovanja jeste istraživanje i
dokumentovanje pružanja otpora rasizmu. Jedan sam od osnivačima Migrant Media, nezavisnog medijskog kolektiva, koji je pružio i mogućnost obuke. Takođe sam i konsultanat u
Centru za istraživačko novinarstvo.
Ken Fero. I am a practice-based media lecturer with a focus on production and an international reputation as a documentary filmmaker. I also have 20 years’ experience in television broadcast documentaries. I have a strong profile of practice work with internationally acclaimed documentaries to my credit including the groundbreaking film Injustice.
My practice and pedagogy is based around political film-making and community activism.
Recent productions include Newspeak an experimental documentary essayist film on censorship, war and resistance. Also completed is Defeat of the Champion on the balance
between counter-terrorism and the right to privacy. Previous live projects have included
filming of the Russell Tribunal on Palestine. I am currently producing a feature length
experimental documentary about deaths in police custody. Another strong area of interest
is research and documentation into resistance to racism. I am a founding member of
Migrant Media, an independent media collective which undertook training schemes. I am
also a project consultant at the Centre for Investigative Journalism.
|99,9% KRIVI|Sandro Kakabadze|GRUZIJA|27 min.|2012|
|99,9% GUILTY|Sandro Kakabadze|GEORGIA|27 min.|2012|
U postsovjetskog Gruziji 99.9% svih ljudi optuženih za kršenje zakona na sudu bivaju
proglašeni krivima, što znači da, ukoliko odlazite na sud, vaše šanse za oslobađanje
gotovo da su jednake nuli. Autor filma je proveo dve nedelje na ulazu u jedan gruzijski
sud i zabeležio očajanje običnih građana koji se suočavaju sa sudskim gonjenjem.
Okolnosti: Gruzija je mala zemlja na istočnoj granici Evrope, koja je bila proglašena
predvodnicom postsovjetske demokratije, što je usledilo iza njene mirne „Revolucije
ruža“ iz 2004. godine. Sa mladim i energičnim predsednikom, Mihailom Sakašvilijem na
čelu, zemlja je uspešno sprovela reforme ekonomskih i civilnih službi – ali na račun
liberalnih vrednosti. Vladajuća stranka držala je apsolutnu većinu u parlamentu osam
godina, sva tri kanala nacionalne televizije bila su pod čvrstom državnom kontrolom, a
sudije su se jednostavno pokoravale naređenjima tužilaca. Kao rezultat, Gruzija je imala
najveću stopu boravka u zatvoru u Evropi, i treću po visini u svetu. Posle izlaska ovog
filma, stranka Mihaila Sakašvilija izgubila je parlamentarne izbore, a jedno od glavnih
predizbornih obećanja stranke koja je došla na vlast, bila je reforma gruzijskog sudskog
sistema.
In Post-Soviet Georgia 99.9% of all people accused of crimes in court are found guilty,
which means that if went to a court your chances of being acquitted were almost zero.
The filmmaker spent two weeks at the entrance of a Georgian court and captured the
despair of ordinary citizens who face prosecution.
The Background: Georgia is a small country on the eastern edge of Europe that was
pronounced a flagship of post-soviet democracy following its peaceful 2004 “Rose-revolution”. With a young and energetic president Mikheil Saakashvili at the helm, the country
successfully reformed its economic and civil services - but at the expense of liberal
values. The ruling party hold an absolute majority in parliament for 8 years, all three
national TV channels were firmly under state control and judges simply obeyed the orders
of prosecutors. As a result Georgia had the highest rate of imprisonment in Europe and
the third highest in the world. After the film's release Mikheil Saakashvili's party
lost the parliament election, one of the main pre-electional promises of the party that
won the power was a reform of the Georgian court system.
Sandro Kakabadze je dokumentarista potekao iz novinarstva. Radio je za različite gruzijske televizijske kanale kao izveštač, takođe i kao dopisnik iz inostranstva. Njegov
prvi dokumentarni film All Day Strolling osvojio je Nagradu za najbolji dokumentarni
film na Studentskom filmskom festivalu u Mančesteru. Trenutno živi u Sao Paulu, u
Brazilu, i radi na jednoj televizijskoj dokumentarnoj seriji.
Sandro Kakabadze is a documentary filmmaker with a journalistic background. He worked
for various Georgian TV channels as a reporter, as well as a foreign correspondent. His
first documentary film “All Day Strolling” won a Best Documentary Film Prize at Manchester Student Film Festival. Right now he is living in São Paulo, Brasil and working on
TV docu-series.
|NIŽE OD RAJA|Logan Mjuka|AUSTRALIJA|5 min.|2013|
|BENEATH HEAVEN|Logan Mucha|AUSTRALIA|5 min.|2013|
Istraživanje o tome kako zlostavljanje u detinjstvu može da utiče na kasniji život neke
osobe. Sintija se seća neočekivanog susreta licem u lice sa svojim zlostavljačem, mnogo
godina nakon događaja.
Jedne noći u kampu Hrišćanskog podmlatka, šestogodišnja Sintija odlutala je u šumu sa
nepoznatim tinejdžerom. Budi se naga, seksualno napadnuta pa ostavljena tokom noći.
Mučena osećajem krivice i gubitkom vere, ona se ponovo združuje sa svojim napadačem,
sedamnaest godina kasnije, prilikom jednog slučajnog susreta. Da li je oproštaj pitanje
moralnog izbora ili je to jednostavno njena odgovornost prema Bogu?
An exploration of how childhood abuse can affect a person for life. Cynthia recounts an
unexpected face-to-face encounter with her abuser years after the fact.
One night on Christian youth camp, six-year-old Cynthia wanders into the woods with an
unknown teenager. She wakes up naked, having been sexually assaulted and abandoned
during the night. Plagued with guilt and a loss of faith, she reunites with her assailant
17 years later in a chance meeting. Is forgiveness a moral choice or simply her responsibility to God?
Logan Mjuka je dokumentarista. Njegov dugometražni debi, East Bloc Love, istraživao je
prava LGBT populacije širom Istočne Evrope, usmerivši pažnju na jednu malu grupu aktivista u Minsku, u Belorusiji. Film je prikazan na festivalu Amnesti Internešnal “Movies
That Matter“, a osvojio je Nagradu za najbolji dokumentarni film na Filmskom festivalu
Merlinka, u Beogradu. Njegov kratkometražni film, Niže od raja, osvojio je Nagradu za
najbolji australijski kratkometražni film, na filmskom festivalu Human Rights and Arts,
u Melburnu.
Logan Mucha is a documentary director. His feature debut, East Bloc Love, explored LGBT
rights across Eastern Europe, focusing on a small group of activists in Minsk, Belarus.
The film has screened at Amnesty International’s Movies That Matter and won Best Documentary at the Merlinka Film Festival, Belgrade. His short film, Beneath Heaven, won
Best Australian Short at the Human Rights and Arts Film Festival.
|ZAČARANA ŠUMA |Sara Grimaldi|ITALIJA|10 min.|2013|
|THE ENCHANTED FOREST|Sara Grimaldi|ITALY|10 min.|2013|
Zatvorski zid deli žene zatvorenice od šume topola koja ih okružuje. Razmak između njih
kao da je nepremostiv. Čak je i tokom jedne radionice, u korektivnoj ustanovi sa slobodnijim kretanjem za žene sa decom, napravljena drvena ploča, i na njoj su žene ponovo
otkrivale – kroz svoje glasove i sećanja – vezu sa prirodom za koju je izgledalo da ju
je nemoguće pronaći. Priča istražuje osećanja i misli ovih žena, i postaje metafora i
simbol za proces preporoda koji će ih otvoriti za neiscrpne mogućnosti koje život nudi.
A prison wall separates the women inmates from the surrounding poplar wood. The distance
between the two seems unbridgeable. Yet with the construction of a wooden panel painted
during a workshop held in the low-security correctional institution for women with children, the women have recovered - through their voices and memories - a relationship with
nature that seemed impossible to find. The story explores the emotions and thoughts of
these women, becoming a metaphor and symbol for a rebirthing process that will open them
to life’s infinite opportunities.
Sara Grimaldi je pohađala profesionalni kurs filmske i televizijske režiju na Filmskoj
školi u Milanu. Potom je preselila u Pariz, da se usavršava i otvori za nove perspektive.
Njeni kratki igrani i dokumentarni filmovi su prikazivani na brojnim festivalima i na
televiziji. Trenutno radi na svom prvom dugometražnom filmu.
Sara Grimaldi attended a professional a course in film and television direction at the
Cinema School in Milan. Soon after she moved to Paris, to improve her skills and open
to new perspectives. Her shorts and documentaries have been screened in several festivals and broadcasted on TV. She's currently working on her first feature length film.
|LJUBAV I SMEĆE|Hana Polak|RUSIJA, POLJSKA|8 min.|2013|
|LOVE AND RUBBISH|Hanna Polak|RUSSIA, POLAND|8 min.|2013|
Ako živite u siromaštvu, da li možete priuštiti snove? Procenjeno je da u Rusiji ima pet
miliona beskućnika, a milion njih su deca. Ovaj film nudi hrabar ali istovremeno i bolan
pogled na živote jedne grupe dece na deponiji smeća izvan Moskve, prikazujući tegobe sa
kojima se suočavaju i snove u koje se uzdaju. Neki snovi su tužni, neki su zabavni ili
nestvarni, svi su lepi na svoj način. Ovaj film je načinjen kao deo projekta Why Poverty?, inovativnog transmedijskog dešavanja, iz novembra 2012, kao podsticaja ljudima
širom sveta da postavljaju ovo pitanje. Podržano od strane sedamdeset emitera širom
sveta, dešavanje je imalo za cilj da pokrene debate na nacionalnom i globalnom nivou,
na temu siromaštva u 21. veku.
If you live in poverty, can you afford to dream? An estimated five million people are
homeless in Russia, and one million of them are children. This film takes an unflinching
yet poignant look at the lives of a group of children living in a garbage dump outside
of Moscow, showing the hardships they face and the dreams they hold on to. Some dreams
are sad, some are funny or unreal, all are beautiful in their own way. This film is part
of Why Poverty?, a groundbreaking cross-media event taking place in November 2012,
urging people around the world to ask this question. Supported by 70 broadcasters around
the world, the event aims to jump-start national and global debates about poverty in the
21st century.
Hana Polak (1967, Katovice, Poljska). Rediteljka i producentkinja, nominovana za Oskara. Od 1987–88
nastupala je u Pozorištu zabave u Hožovu. Od 1989–91 Polak je studirala glumu i pozorište u Školi za
glumu u Vroclavu i Varšavi. Diplomirala je na Odeljenju za kinematografiju Kinematografskog instituta
Ruske Federacije, u Moskvi. Godine 2002. dodeljena joj je Nagrada za najboljeg producenta/producentkinju dokumentarnog i kratkog igranog filma na Međunarodnom filmskom festivalu u Krakovu, u Poljskoj,
za film Railway Station Ballad. Godine 2004, završila je rad na filmu The Children of Leningradsky,
koji je dobio mnoga priznanja, uključujući: nominaciju za Oskara, Nagradu za najbolji dokumentarni film
Internacionalnog udruženja za dokumentarni film, dve nominacije za nagradu Emi. Hana se zalaže za
pitanja dece-beskućnika širom sveta. Na molbu UNICEF-a, napisala je članak na temu dečijeg beskućništva, povodom UNICEF-ovog obeležavanja dvadesetogodišnjice Deklaracije o pravima deteta. Polakova radi
na različitim dokumentarnim i igranim filmovima. Uključena je u dobrotvorne akcije u Rusiji, počev od
1995. godine, i za to je nagrađena prestižnom Nagradom zlatnog srca, 2006. godine. Fotografski i
snimateljski radovi Polakove pojavili su se na velikim televizijskim mrežama širom sveta, kao i u
različitim časopisima i novinama. Njene fotografije su bile u velikoj meri od koristi pri aktivnostima
za pomoć deci u Rusiji. Godine 2006. radovi Polakove doneli su joj Treću nagradu na UNICEF-ovom Međunarodnom takmičenju u fotografiji: fotografija godine. Predavala je na mnogim univerzitetima u svetu.
Godine 2005. dodeljena joj je nagrada Kristalno ogledalo, od strane poljskog magazina Zwierciadło
(Ogledalo), nagrada kojom se odaje priznanje „ljudima od dijaloga, koji spajaju, a ne dele“.
Hanna Polak (1967, Katowice, Poland). Oscar-nominated director and producer. From
1987–88 she worked as a stage performer in the Theatre of Entertainment, Chorzow. From
1989–91 Polak studied acting and theatre at the Acting School in Wroclaw and Warsaw. She
graduated from the Cinematography Division of the Cinematography Institute of the
Russian Federation in Moscow. In 2002, she was awarded Best Producer of Documentary and
Short Fiction Movies at the International Film Festival in Krakow, Poland for Railway
Station Ballad. In 2004, she completed work on The Children of Leningradsky which
received many awards, including an Oscar nomination, an International Documentary Association Award for Best Documentary, two Emmy nominations. Hanna has been advocating for
the case of homeless children all over the world. At the request of UNICEF, she wrote
an article on the subject of child homelessness for UNICEF’s twentieth anniversary of
the Declaration of the Right of the Child. Polak has worked on various documentaries and
feature films. She has been involved in charitable activities in Russia since 1995 and
for that was awarded the prestigious Golden Heart Award in 2006. Polak’s photographer
and cinematographer works have appeared on major television networks worldwide as well
as in various magazines and newspapers. Her photography has been greatly instrumental
in helping the children of Russia. In 2006, Polak’s works won her third prize in the
UNICEF International Photography Competition: Photo of the Year. She has lectured at
many Universities worldwide. In 2005, she was awarded the Crystal Mirror award by the
Zwierciadło (Mirror) magazine in Poland, an award that recognizes “people of dialogue,
those who unite, not divide.”
|SKRIVENA DOLINA|Džesi Bojlan|AUSTRALIJA|23 min.|2013|
|HIDDEN VALLEY|Jessie Boylan|AUSTRALIA|23 min.|2013|
"Da li je ovaj razvoj od koristi meštanima ili vlasnicima akcija u Australiji i Južnoj
Africi? - Hauard Sindana
Rudnik zlata i srebra „Skrivena dolina“, u Papua Novoj Gvineji, uništava zajednice
naseljene uz Vatut, dugu i brzu reku sa planina koje bujaju od života, u provinciji
Morobe. Evokativan i lepo snimljen kratki dokumentarni film ilustruje kako se starosedelački modeli razvoja sukobljavaju sa onima koje nameću rudarske kompanije i vlada.
Imamo prilike da čujemo najrazličitije predstavnike lokalnih zajedica, aktiviste
angažovane na unapređenju uslova života zajednice, zemljoposednike i eksperte, dok
opisuju uticaje koje na njihove živote imaju rudnici u australijskom i južnoafričkom
posedu, i dok diskutuju o putu ka stabilnijoj budućnosti.
Film Skrivena dolina rađen je u produkciji Instituta za politiku rudarstva (Mineral
Policy Institute), međunarodne organizacije civilnog društva, usmerene na pomoć zajednicama pogođenim projektima u rudarstvu, i na sprovođenje industrijske reforme, putem
poboljšanja u domenu uprave, zakonodavstva i prakse
"Is this development for the benefit of local people or for the shareholders in Australia and South Africa?" - Howard Sindana
The Hidden Valley gold and silver mine in Papua New Guinea is devastating communities
living along the Watut River, a long and fast-flowing river in the lush mountains of the
Morobe Province. This evocative and beautifully shot short documentary illustrates how
indigenous models of development are clashing with those imposed by mining companies and
government.
We hear from a diverse range of local community representatives, community workers,
landowners and experts as they describe the impacts of this Australian / South African
owned mine on their lives, and discuss the way forward to a more sustainable future.
Hidden Valley was produced by the Mineral Policy Institute, an international civil society organisation that focuses on assisting communities affected by mining projects and
on achieving industry reform through improvements to policy, law and practice.
Džesi Bojlan (1986, Sidnej). Ja sam fotografkinja, filmska autorka, radio producentkinja, nastanjena u Kaslmejnu, u centralnoj Viktoriji, u Australiji. Trenutno se bavim
master studijama fotomedija, na Univerzitetu Monaš, sa antinuklearnim pokretom u
Australiji u središtu interesovanja. Moj rad je usmeren na ljudski uticaj na zemljište
i zajednice, u vezi sa uništenjem životne i društvene sredine: poput nuklearnih proba,
miniranja širokih razmera, i ratova; takođe, usmeren je na koncepte istorije i prostorne
lokacije u povezanosti sa savremenim australijskim identitetom, zajednicom i aktivizmom. Takođe jednom nedeljno produciram polučasovni radio segment pod nazivom “Radioaktivni šou” (“The Radioactive Show”), koji se bavi nuklearnim problemima u Australiji i
svetu. Članica sam udruženja Atomic Photographers Guild, koje ima za cilj da iznese na
videlo sve aspekte nuklearnog doba. Trenutno sam uključena u projekat pod nazivom
“Nuclear Futures”, koji istražuje nasleđe nuklarnog doba kroz kreativne umetnosti.
Takođe sviram i bubnjeve za melburnški folk/buš pank bend Glitter Rats.
Jessie Boylan (1986, Sydney). I am a photographer, filmmaker, and radio producer based
in Castlemaine, Central Victoria, Australia. I am currently undertaking my MFA (photomedia) at Monash University focusing on the anti-nuclear movement in Australia. My work
looks at the human impact on the land and communities in relation to environmental and
social devastation – like nuclear testing, large-scale mining and war – it also looks
at ideas of history and place in relation to contemporary Australian identity, community
and activism. I also produce a weekly half hour radio segment called “The Radioactive
Show” – which covers nuclear issues in Australia and Internationally. I am a member of
the Atomic Photographers Guild, who aim to render visible all aspects of the nuclear
age. I am currently part of a project called “Nuclear Futures” which is exploring the
legacy of the nuclear age through creative arts. I also play drums for Melbourne folk /
bush punk band Glitter Rats.
|KRATKA PORUKA |Vardan Danieljan|JERMENIJA|12 min.|2013|
|SHORT MESSAGE|Vardan Danielyan|ARMENIA|12 min.|2013|
Ovo je film o pamćenju…
This is a film about remembrance…
Vardan Danieljan je 2005. diplomirao na Državnom mašinskom fakultetu Jermenije. Od 2005.
do 2007. odslužio obaveznu vojnu službu, a 2011. diplomirao na Državnom institutu za
pozorište i film u Jerevanu, odsek za režiju dokumentarnog filma.
Vardan Danielyan. In 2005 he graduated from State engineering University of Armenia. Was
in obligatory military service from 2005 to 2007. In 2011 he graduated from the Yerevan
State Institute of Theatre and Cinema, department of documentary film directing.
37
|ČVRSTE KOSTI|, Gordana Simonović Veljković |SRBIJA|25 min.|2014|
|FIRM BONES|Gordana Simonovic Veljkovic|SERBIA|25 min.|2014|
Dokumentarni film „Čvrste kosti“ je priča o Dragici Timotijević iz Kuršumlije, koja je
sa sedamdeset godina odlučila da se aktivira i pomogne sebi i siromašnim, nezaposlenim
ženama. Film predstavlja dirljivo svedočanstvo o empatiji, podršci, motivaciji i nesebičnom angažovanju žena u borbi protiv siromaštva.
The documentary "Firm Bones" is about Dragica Timotijević from Kuršumlija who, at the
age of 70, decided to make major life changes in order to help herself and the poor,
unemployed women. The documentary is a significant and touching evidence of empathy,
support, motivation and unselfish engagement of women in their fight against women's
poverty.
Gordana Simonović Veljković, nezavisna novinarka i filmska autorka deset godina bavi se
dokumentarizmom u oblasti etnologije, antropologije i društveno angažovanih tema.
Autorka je više dokumentarnih filmova i serijala koji tretiraju razlike u savremenom
društvu i dobitnica nagrada i priznanja na međunarodnim i domaćim festivalima dokumentarnog filma i novinarske reportaže.
Gordana Simonovic Veljkovic, an independent journalist and filmmaker, is working more
than ten years on documentary films that cover ethnology, anthropology and socially
engaged issues. She is the author of several documentaries and series that deal with the
differences in modern society, and won numerous awards at international and national
festivals of documentary film and journalistic reportage.
38
|AFRIKANAC|Mihailo Vulović|SRBIJA|26 min.|2013|
|THE AFRICAN|Mihailo Vulovic|SERBIA|26 min.|2013|
Film predstavlja život mladog i ambicioznog Roma koji uspeva da pored teških životnih
okolnosti školuje sebe i svojom borbom omogući sebi i svojoj porodici bolji život...
The film presents a life of a young and ambitious Roma man who manages, inspite of difficult living conditions, to put himself through school and with his struggle make possible a better life for himself and his family...
Mihailo Vulović, student televizijske režije na Akademiji umetnosti u Beogradu. Do sada
je bio angažovan na brojnim studentskim i profesionalnim projektima kao asistent i
pomoćnik režije. Sa dokumenatrnim filmom „Afrikanac“, iz prve godine studija osvojio je
internacionalnu nagradu INTERFER za kategoriju najbolje TV reportaže, 2013. godine.
Mihailo Vulović, student of television directing at the Academy of Arts in Belgrade.
Until now he has been engaged in numerous student and professional projects as an assistant and assistant director. With his documentary film “The African“, from his first
year of studies, he won the international award INTERFER, in the category of the best
TV reportage, in 2013.
39
LOKACIJE
LOCATIONS
Svečano otvaranje Dvorana Doma Sindikata
20:00 Premijera filma “Saving Face”
Opening: Dom Sindikata
20:00 Saving Face
Filmovi će se tokom festivala prikazivati na sledećim lokacijama:
During the festival movies will be shown at these locations:
(21.6)
(22.6)
(23.6)
(24.6)
Beton Hala parking,
Simpo parkiralište na autobuskoj stanici,
Kalemegdan,
Park Palas,
(21.6)
(22.6)
(23.6)
(24.6)
Beton Hala parking,
Simpo parking at the bus station,
Kalemegdan,
Park Palas,
25. juna od 19 sati u Jevremovoj ulici je zatvaranje festivala i
dodela nagrada.
25. of June starting at 19h in Jevremova street is the festival closing ceremony.
Forum će se održati UK Parobrod:
(21-25) 11:00 -17:00
Forum will be held at Parobrod Cultural Centar:
(21-25) 11:00 -17:00
40
NAGRADE
AWARDS
1."Human Fingerprint" - Sharmeen Obaid Chinoy - "TRANSGENDERS"-Pakistan'Open Secret
Šarmin Obaid Činoj - “TRANSRODNI-pakistanska Javna Tajna”
2."Human Hope" - Michael Graversen "NO MAN'S LAND"
Majkl Graversen “NIČIJA ZEMLJA”
3."Human Time" - Logan Mucha "BENEATH HEAVEN"
Logan Mjuka “NIŽE OD RAJA”
41
HUMAN DISTRICT TIM
HUMAN DISTRICT TIM
Glavna direktorka festivala | Aleksandra Kovačević
/ Executive Director
Umetnički direktor festivala | Branko Stanojević
/Art director
Umentnički direktor filmskog programa | Ivica Vidanović
/Art director of film program
Dizajner | Ivan Ćulafić
/Designer
Koordinator društvenih mreža | Katarina Ercegović
/Social media manager
42
Download

Ovde - human district