Crna Gora ne mora da brine za budućnost dokumentarnog filma, jer sve više mladih autora njeguje ovu formu koja, iako ne mijenja stvarnost, uspijeva da je proziva, potkazuje, pa i stavlja na optuženičku klupu, sve zadržavajući društvenu odgovornost. To je ocijenio selektor selekcije dokumentarnog filma, reditelj Vladimir Perović, koji je kazao da i ovogodišnja selekcija u okviru 38. Filmskog festivala u Herceg Novom ponovo potvrđuje da je ključna riječ – kvalitet.

„Možda ta riječ zvuči izlizano, ali ona podrazumijeva da dokumentarni film nađe pravu srazmjeru između aktuelnosti sadržaja, njegove društvene relevantnosti, promišljenosti… i forme u koju ga je autor upakovao“, kazao je Perović u izjavi za PR Centar.

Selekcija dokumentarnog filma u okviru FFHN trajeće od 24. do 28. avgusta, a početak projekcija zakazan je svake večeri za 21 čas u bašti Kuće nobelovca Iva Andrića, koja se već nekoliko godina unazad pokazala kao sjajan ambijent za uživanje u dokumentarnim filmovima i druženje sa autorima.

Tokom pet dana biće prikazana 22 filma autora iz cijelog svijeta, od kojih 21 u takmičarskoj selekciji, i jedna specijalna projekcija – „Stanić, stoljeće“ reditelja Andra Martinovića, film o jednom od najvećih crnogorskih slikara, Voju Staniću, koji je Herceg Novi birao za svoj dom

Perović je da pojasnio da aktuelnost sama po sebi nije dovoljna da bi film bio uvršten u selekciju.

„Može biti ne znam kako važan događaj na svijetu, ako je oslikan samo reporterski, ako je urađen na način koji bi mogla da uradi nadzorna kamera ili slučajno upaljena, izgubljena kamera, to nije za naš festival“, naveo je Perović.

Prema njegovim riječima, festival koji on selektuje prati pravac modernog dokumentarizma, onaj koji uvijek uključuje umjetničku dimenziju, pojašnjavajući da forma nosi jednaku težinu kao i sam sadržaj.

Podsjetio je da je tokom ranijih godina u okviru FFHN, kada bi se za to ukazala prilika, pravio tematske večeri, vezane uz određene motive – žene, planine, društvene turbulencije.

„Ove godine to nisam mogao uraditi, ali to ne znači da nema zajedničkih tema“, dodao je Perović.

Kazao je da je jedna od najvidljivijih tema koja prožima ovogodišnju selekciju jeste nasilje.

„Od genocida izraelske države nad palestinskom populacijom, ali naravno ne iskazane direktno kroz razaranje i ubijanje, do „Muškog svijeta“u Gruziji u kome dominacija tradicionalnih normi, nametnutih od muškaraca, a održavanih od žena, prosto steže jedinku da se ne osjeća slobodnom“, naveo je Perović.

Ukazao je da zapaženo mjesto u selekciji zauzima i film jednog autora iz Srbije, koji na izuzetno moderan, a istovremeno težak način, promišlja rat koji mu je bio nametnut.

„Onda, recimo, nasilje nad ženama, gdje imamo dva zanimljiva filma. Naša autorka, sjajna Mateja Raičković, i slučajnost je htjela da se i jedna slovačka autorka bavi sličnim problemom, koji obje hrabro uspijevaju da artikulišu. Ima tu još tema koje se provlače…“, naveo je Perović.

Ocijenio je da su ove godine mladi autori iz regiona pokazali visoku umjetničku i tematsku zrelost.

Pored Raičković, Perović ističe Aleksu Bujišića kao „novi glas crnogorskog dokumentarizma“, a ukazuje i na Zuka Garagića, mladog autora iz Bosne, koji studira u Americi.

Kazao je da su u selekciji i Ilir Hasanaj sa Kosova sa filmom Radnička krila, kao i David Lušićić iz Hrvatske koji na zanimljiv način promišlja brod Galeb, simbol nekadašnje Jugoslavije, i kroz njega daje fine reminiscencije na onu lijepu zemlju.

„Mladih autora je puno i ja s ponosom moram da kažem da Crna Gora, sem ovo dvoje koji su na ovogodišnjem festivalu, ima zaista još nekoliko vrijednih autora koji su ili već izgradili svoje ime u dokumentarnom prostoru ili ga grade sigurnim koracima“, rekao je Perović.

Dokumentarni film je, kako je istakao, u posljednjih tridesetak godina dobio status koji mu pripada – priznanje da jeste umjetnost.

 „On je to i bio, da se ne lažemo, još od Flahertyja, Vertova, Vigoa… Ali je žurnalizam preovladao, posebno u zapadnoj dokumentaristici, i stvar je do jedne mjere banalizovana“, smatra Perović.

Uprkos tome, savremeni dokumentarizam, ili kako ga Perović naziva „kreativni dokumentarac“, nije izgubio svoju društvenu odgovornost.

„Nisu to premudrovanja umjetnička koja razumije troje ljudi, nego su direktna obraćanja društvu. Tu su prozivke, ili što bi Duško Kovačević rekao, potkazivanja društva – ukazivanja na određene negativnosti koje u njemu postoje“, rekao je Perović.

Dokumentarni film, kako je pojasnio Perović, ne može da nudi rješenja, „ali postavljanjem milion pitanja i ukazivanjem na probleme, on budi društvenu svijest i poziva na akciju“.

„Ako jedan antiratni film probudi svijest u jednom čovjeku da to na šta je on natjeran (izuzimamo oslobodilačke ratove) nije dobro, da on ubija nekog živog stvora, taj dokumentarni film je postigao svoj cilj. Ako jedan ekološki film probudi svijest u jednom gledaocu da odnos prema prirodi ne može biti ovako divljački kako to čine korporacije, a bogami i građani, onda je naš cilj postignut, film je djelovao“, naveo je Perović.

Istakao je da dokumentarac ne može da mijenja stvarnost, ali može da je „postavlja na optuženičku klupu“.

„Sa zadovoljstvom mogu da kažem da mlada generacija kreće da stvara i da gradi jedan divan prostor, uključuje se u veliko bratstvo dokumentarista i kreativnog dokumentarca. Mislim da Crna Gora za svoj dokumentarizam u budućnosti apsolutno ne mora da brine“, zaključio je Perović 

Takmičarski program dokumentarnog filma otvoriće u nedjelju, 24. avgusta ostvarenje „Vibracije iz Gaze“ palestinskog reditelja Rehaba Nazzala, „Selekcija Čilea“ italijanskog reditelja Giulia Pacinia, „Tramontana“ koju potpisuje španski reditelj Martí Madaula Esquirol, grčki film „9:30“ čiji autor je reditelj Constantine Venetopoulos i njemački „Zemlja muškaraca“ rediteljskog dua Mariam Bakacho Khatchvani i Teimuraz Chkhvimiani.

Dan kasnije, 25. avgusta pred publikom u bašti Kuće nobelovca biće: „Plavo“ – Ana Vijdea (Rumunija), „Radnička krila“ – Ilir Hasanaj (Kosovo), „Mjesto koje zovem dom“ – Parisa Aminolahi (Nizozemska), „Galeb“ – David Lušičić (Hrvatska) i „Samo ako beba zaplače“ – Shadab Farooq (Indija).

U utorak, 26. avgusta na programu su: „Autobiografija mog dijabetesa“ – Mathew Lancit (SAD), „Ritual“ – Mikhail Zheleznikov (Rusija, Izrael), „Izlaz kroz ludaru“ – Nikola Ilić (Srbija, Švajcarska), „Lavanda“ – Mateja Raičković (Crna Gora, Bosna i Hercegovina, Mađarska).

Za srijedu, 27. avgusta pred publikom će biti još četiri ostvarenja: „Ispovijest“ – Rebeka Bizubova (Slovačka), „Hrabrost“ – Star Bazancir,  Jasmina Pusök (Švedska), „Cvijeće stoji tiho, i svjedoči“ – Theo Panagopoulos,  Scottish Doc (SAD, UK), „Ipak, ostaje“ – Arwa Aburawa, Turab Shah (Alžir).

Posljednje večeri programa selekcije dokumentarnog filma, 28. avgusta biće prikazani: „Šapat koji čujem“ – Aleksa Bujisić (Crna Gora), „Anatomija izgubljenog zvuka“ – Zuko Garagić (Bosna i Hercegovina, Češka, SAD), „Ljupki duet“ – Azar Mehrabi (Iran), i u vantakmičarskom dijelu programa – „Stanić, stoljeće“ – Andro Martinović (Crna Gora).

Žiri koji će odlučivati o nagradama u okviru takmičarske selekcije dokumentarnog filma čine: Barbara Orlič-Sčipula, organizatorka filmskih događaja i predavačica na Univerzitetu u Krakovu, Ajzak Najts-Vošborn, filmski stvaralac sa Novog Zelanda, Valentina Jusufhodžajeva, filmska producentkinja, direktorka Nacionalnog filmskog centra Moldavije i članica Evropske filmske akademije, Božidar Kalezić, reditelj i Marija Ivanović-Nikičević, novinarka i filmska kritičarka, članica Federacije filmskih kritičara Evrope i Mediterana (FEDEORA) i Raco Nikolić.

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Perović: More and more young authors are turning to documentary film

Montenegro has no reason to worry about the future of documentary film, as an increasing number of young authors are embracing this form which, although it does not change reality, has the power to confront it, expose it, and even put it “on trial”—all while preserving social responsibility.

This was stated by the selector of the Documentary Film Selection, director Vladimir Perović, who emphasized that this year’s program at the 38th Herceg Novi Film Festival once again confirms that the key word is quality.

“Perhaps the word sounds overused, but what it really means is that a documentary must strike the right balance between the relevance of its content, its social significance, thoughtfulness… and the form in which the author has wrapped it,” said Perović in a statement for PR Center.

The Documentary Film Selection at FFHN will run from August 24 to 28, with screenings beginning every evening at 21:00 in the garden of the Nobel Prize winner Ivo Andrić House—an ambience that has for years proved to be a perfect setting for both watching documentaries and meeting their authors.

Over five days, 22 films from around the world will be screened—21 in competition, and one special screening: Stanić, a Century by director Andro Martinović, a film about one of Montenegro’s greatest painters, Vojo Stanić, who chose Herceg Novi as his home.

Perović stressed that topicality alone is not enough for a film to be included in the selection.

“No matter how important an event may be, if it is portrayed only in a reportorial manner—done in a way that could just as well be captured by a surveillance camera or a randomly switched-on, misplaced camera—then it does not belong at our festival,” he explained.

According to him, the festival he curates follows the path of modern documentary filmmaking—one that always integrates an artistic dimension, where form carries as much weight as the content itself.

He recalled that in previous years, when possible, he would organize thematic evenings around specific motifs—women, mountains, social upheavals.

“This year I couldn’t do that, but it doesn’t mean that common themes are missing,” Perović added.

One of the most prominent themes running through this year’s selection is violence.

“From the genocide of the Israeli state against the Palestinian population—not shown directly through destruction and killing—but also in A Man’s World in Georgia, where the domination of traditional norms, imposed by men and upheld by women, suffocates the individual and denies freedom,” said Perović.

He noted the inclusion of a remarkable film by a Serbian author who, in a highly modern yet profoundly heavy way, contemplates a war that was imposed on him.

“Then there is violence against women, with two striking films: one by our talented Mateja Raičković, and coincidentally, another by a Slovakian author tackling the same issue. Both courageously manage to articulate this theme. And there are more recurring topics throughout the selection…” Perović pointed out.

He assessed that this year, young authors from the region have demonstrated a high level of artistic and thematic maturity.

Alongside Raičković, Perović highlighted Aleksa Bujišić as “a new voice of Montenegrin documentary film,” and also pointed to Zuko Garagić, a young Bosnian author studying in the United States.

The selection also features Ilir Hasanaj from Kosovo with Workers’ Wings, and David Lušičić from Croatia, who, in an original way, reflects on the ship Galeb—a symbol of former Yugoslavia—and through it offers subtle reminiscences of that once beautiful country.

“There are many young authors, and I must proudly say that Montenegro, besides the two represented at this year’s festival, has several more valuable filmmakers who have either already built a name in documentary cinema or are steadily building it,” said Perović.

He emphasized that documentary film has, over the last thirty years, finally gained the recognition it deserves—as an art form.

“It always was, to be clear—even since Flaherty, Vertov, Vigo… But journalism dominated, particularly in Western documentary filmmaking, which led to a certain degree of banality,” Perović observed.

Despite this, contemporary documentary filmmaking—or what Perović calls “creative documentary”—has not lost its social responsibility.

“These are not overly intellectualized works understood by only three people, but direct addresses to society. They call out, they expose society’s flaws—what Duško Kovačević would call potkazivanja (denunciations),” he said.

Perović explained that documentaries cannot offer solutions, but “by raising a million questions and pointing out problems, they awaken social awareness and call for action.”

“If one anti-war film awakens the conscience of a single person, making him realize that what he is forced into (excluding wars of liberation) is wrong—that he is killing another human being—then the film has achieved its purpose. If one ecological film awakens in a viewer the realization that our treatment of nature cannot continue to be as destructive as it is under corporations and, indeed, citizens themselves, then our goal is achieved—the film has had an effect,” he said.

He stressed that while a documentary cannot change reality, it can “place it on the defendant’s bench.”

“With great satisfaction, I can say that the young generation is starting to create and build a wonderful space, joining the great fellowship of documentary filmmakers and creative documentary cinema. I believe Montenegro has absolutely no reason to worry about the future of its documentary film,” Perović concluded.

The Competition Program of Documentary Film will open on Sunday, August 24 with:

• Vibrations from Gaza by Palestinian director Rehab Nazzal

• The Chilean Selection by Italian director Giulio Pacini

• Tramontana by Spanish director Martí Madaula Esquirol

• 9:30 by Greek director Constantine Venetopoulos

• Land of Men by German directing duo Mariam Bakacho Khatchvani and Teimuraz Chkhvimiani

On Monday, August 25, the lineup includes:

• Blue – Ana Vijdea (Romania)

• Workers’ Wings – Ilir Hasanaj (Kosovo)

• The Place I Call Home – Parisa Aminolahi (Netherlands)

• Galeb – David Lušičić (Croatia)

• Only If the Baby Cries – Shadab Farooq (India)

On Tuesday, August 26:

• Autobiography of My Diabetes – Mathew Lancit (USA)

• Ritual – Mikhail Zheleznikov (Russia, Israel)

• Exit Through the Madhouse – Nikola Ilić (Serbia, Switzerland)

• Lavender – Mateja Raičković (Montenegro, Bosnia and Herzegovina, Hungary)

On Wednesday, August 27:

• Confession – Rebeka Bizubova (Slovakia)

• Courage – Star Bazancir, Jasmina Pusök (Sweden)

• The Flowers Stand Silent, and Testify – Theo Panagopoulos, Scottish Doc USA, UK)

• Still, It Remains – Arwa Aburawa, Turab Shah (Algeria)

On the final night of the Documentary Selection, August 28, the program features:

The Whisper I Hear – Aleksa Bujišić (Montenegro)

• Anatomy of a Lost Sound – Zuko Garagić (Bosnia and Herzegovina, Czech Republic, USA)

• Lovely Duet – Azar Mehrabi (Iran)

• and in the non-competition program – Stanić, a Century – Andro Martinović (Montenegro).

The jury deciding on the awards in the Competition Program of Documentary Film includes:

• Barbara Orlič-Sčipula, film event organizer and lecturer at the University of Kraków

• Isaac Knights-Washbourn, filmmaker from New Zealand

• Valentina Iusufhodzhaeva, film producer, Director of the National Film Center of Moldova, and member of the European Film Academy

• Božidar Kalezić, director

• Marija Ivanović-Nikičević, journalist and film critic, member of the Federation of Film Critics of Europe and the Mediterranean (FEDEORA).