Republic of Bosnia
Born in Podgorica, graduated from the Faculty of Architecture, University of Belgrade, Vlatko Gilić is now a professor at the University of Novi Sad, Academy of Arts, Department of Directing and professor at the Faculty of Fine Arts in Cetinje. University Senate, Rector's Collegium, University of Novi Sad, conferred the title of the Professor Emeritus on Vlatko Gilić. For his feature-length and short films, that he writes the scripts for, he has received numerous awards and honours at many national and international film festivals.
"Mr. Gilic's films are called documentaries. But he's superb at finding the astonishing images that lurk in the ordinary world. It's as if he'd nabbed some magic from the air and wedded it to facts. And it's a privilege to see through his eyes: Whatever interests him assumes a contagious excitement for us. It's evident that a major talent is already well developed, and since Mr. Gilic is in his mid-30's, we have a lot to look forward to."
"Vlatko Gilic and Sanja Iveković both started working with film and video in the 70s . . . Sanja Ivekovic, the first artist in communist Yugosiavia to take a clear feminist position, was included in MOCA's exhibition, WACK! Art and the Feminst Revolution. Both artists' works are politically engaged, but not in a "battle against the darkness of Communist totalitarianism," but, paradoxically in a way that took socialist ideology more seriously than the cynical politcal elite ever did, fighting for complete self-realization of individuals and culture and against bureaucratic limitations."
"In Continuo opens with a woman scrubbing a wall. Very soon, as burly men put on their white aprons, we realize that we are inside the world of the abattoir. Wordlessly the men begin to sharpen their knifes and their hatchets. The soundtrack is the music of the abattoir floor. We see none of the slaughter but we see the after-effects of the butchery and we hear the sounds of death. Finally, we see the blood and waste seep into the earth, and we are left to contemplate the brutality of something called civilization."
"Moisture makes dried blood flow again: there's a shock in that discovery as a hand scrubs the stained walls of a slaughterhouse, where men in white aprons prepare for the day's killing. . .
Within the slaughterhouse, the preparations are quite ritualistic, as the men carefully wash the floor and sharpen knives that aren't intended for carving cooked meaT - but for cutting into live flesh. Suspense builds up to the carnage that we know will come. The animals' slaughter isn't shown; instead, thick blood oozes and swirls toward the gutters, and the evocation is more powerful than seeing the act itself. The men's serious, intent faces imply that there are no jokes on this job. At first, they seem like soldiers getting ready for battle - later, as though they're in the middle of a war."
One Day More centers on a murky stream outside a small Yugoslav town, where the mud-baths are said to cure even deadly diseases. Old and young sink to their chins in the dark liquid, some rub parts of their bodies with jetty slime. Heads seem to float on the water, while mist rises in a shot that Fellini might envy. The atmosphere is dense with concentration and bleak hope. You feel that these
people are terribly worried and fearful about their bodies. They wait as though for a miracle. Finally, they shower, cheer up and chat noisily - in contrast to the anguished hush that held while they were in the stream."
A Masterpiece! .This is a short movie dealing with human desire to continue life more and more. Superb photography and camera, naturalistic approach to human body and its expression. Each frame is loaded with lots of naked human bodies in mud, and muddy water. They cover parts of their bodies with healing mud making completely horrifying picture. The sound in movie is made by chorus voices which completely integrates in this visual experience. Moreover, this is a story about believe in curing capabilities of mud and water in one place in South Serbia. A lot of people, (most of them very old) gather there in quest for cure or to make their life longer for a day or more. . .
Juda / Judas (1971) takes a hard look at a man and women whose daily routine in a remote, rocky mountain terrain includes coping with snakes, which slither along their every step. . . .
High on the scaffolding of a colossal bridge being built over a ravine somewhere in Yugoslavia, the construction workers are dwarfed by the giant project and from a distance they cannot be distinguished from one another. At noon one of them painstakingly climbs down the structure to have lunch with his wife, who has packed a picnic basket and has walked down the valley just to share this brief period with him. Merely by observing their actions during the time they are together, this film conveys the love these ordinary people have for each other. Awards: International Film Festival, Oberhausen.
"Deep concentration and preparation - while waiting for something to happen - are themes that recur in Mr. Gilic's work, whether his subjects are profoundly absorbed in butchery or in trying to regain lost health or - as in "'To Love" - in one another. This film begins with a piece of machinery slowly moving in space: You can't tell what it is, but it's fascinating to watch it reach its destination. Again, there's suspense, which mounts to the satisfaction of seeing something accomplished. Eventually, we learn that two sides of a bridge are meeting in mid-air, and that we've been watching the key piece going into place. The mystery is solved in one shot, which also suggests the peril of working at great heights.
One of the construction workers climbs to the ground, where his wife waits with a picnic. All their feelings are conveyed through their expressions; there are almost no words. While waiting, she looks both eager and apprehensive: Clearly, she's anxious about his safety. She spreads a white cloth in the wilderness and sets forth a feast with as much care and deliberation as the men give to working on the bridge. Affection surges through brief gestures: She pats his knee, he pushes a strand of hair out of her eyes while she beams at him. Mainly, they gaze at each other and eat, and that simple act reveals an extraordinary sense of intimacy."
"An insight into the lecture 'How to rule the others' given by Mr. Siobodan Cirxovic Roko, a well known Yugoslav experimentalist on telepathy and hypnosis."
"Power" shows a hypnotist giving his disciples - six young men with ultra-white skin and dead black hair - a lesson in dominating the will of others. They follow the master's wordless instructions like zombies, repeating many of his actions. They also direct one another's behavior. He slides a giant black needle through both his cheeks without apparent pain; they do the same, but some can't help wincing. A hand moves in front of eyes that look momentarily terrified - as though watching something hideous that we can't see. There's some groveling and hand-kissing and also some ecstasy afoot. The portrayal of the master's control of his followers is repellent - as it's obviously meant to be. But "Power" hasn't the same brilliance as the first three films ("In Continue," "One Day More," "To Love") partly because the subjects seem self-conscious."
Kicma / The Spine / Backbone
drama, 91 minutes, color
"A group of tall apartment houses, similar to fortresses, is surrounded with smog one night, causing panic among the tenants. Common danger reveals wasted interpersonal relationships, selfishness, lack of love and returns the sense for universal meaning of human existence to a man, developing sense for humanism and compassion for another human being." - Filmska Banka
An unbearable stench makes in Belgrade quite wide and confusion among residents - the microbiologist Pawle can not remember exactly the stench from his childhood, it is the smell-burning people. A visit to the crematorium gives him the assurance: The high number of suicides in the city has meant that the ovens are in continuous operation and also will probably be - because the stench is so unbearable so slowly that other people commit suicide. . .
The number of discoveries of obscure cinematic gems from the former Yugoslavia does not stop: I was at first of the categorization as a horror film has become aware of Kicma, he seems rather to be an existentialist drama - but one of an immense sadness and gloom. All the inhabitants of Belgrade languish just as if to himself, suicide seems the only logical consequence. . .
. . . the compositions, the actors, the score and the sound design are of the highest quality.
"In the ambient of wide, sun-burnt fields, a young girl spends her summer vacation keeping a flock of sheep. It seems impossible that anything will change the slow rhythm of everyday's life and her solitude. From the near airport, planes are flying over the field in which she is keeping her flock. One of them separates. The pilot of that plane and the girl start youthful and spontaneous game. The place where the girl has found her peace soon becomes the place of search for true love. But, maybe this is just a dream." - Filmska Banka
1980 French Poster
(press image to enlarge)
OTHER FILM DIRECTORS
Abramovic is NOT a film director.
Serbian-born performance artist, Marina Abramović, began her career in the early 1970s. Her work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind. Active for over three decades, today she is based in New York and has recently begun to describe herself as the "grandmother of performance art."
In the 1976 Abramović and Ulay (performance artist Uwe Laysiepen) "went to the desert in Australia to live with aborigines. She said that answers were found in the desert because one . . ." Marina Abramović lecture
at the MONA, N.Y, March 1st, 2010
Aleksandar Ilic was a complete author (script, directing, editing and music) more than 120 short films and short subjects. A total of 393 edited short documentaries and feature films, and more than ten feature films of other directors: Skanata, Golubovic, Paskaljevic, Lazic, Zecevic, Gilic, Zaninovic et al.
As pointed out UFUS, Ilic left works of lasting value and beauty in the field of documentary films on topics from the world of nature. First of all films Pheasant, wild duck, embryo, Spring, Trap, Visokoletac and Canon, in particular the owl and Sledgehammer.
Ilic films have a strong emotional effect, turning into the image of the animal world in dramatic and poetic metaphor of the struggle for survival.
For the films on the national and international festivals, won more than 70 top awards, including the Silver Bear at the Berlin Film Festival, October Award, Charter UFUS a contribution to Serbian cinematography, and a top award for contribution to national culture in Serbia.
Alexander - Aca Ilic died on 25 February, 2012 in Belgrade. He was 85 years old."
p.s. Iveković is NOT a film director.
Sanja Iveković, Personal Cuts
Sanja Iveković was the first artist in communist Yugosiavia to take a clear feminist position. Today she is a Croatian photographer, sculptor and installation artist. Considered to be one of the leading artists from the former Yugoslavia . . . "Her artistic career began during the Croatian Spring in the early 1970s when, together with other artists, she broke away from mainstream settings, pioneering video, conceptual photomontages and performance. Much of her work is centered on her own life and the place of women in today's society. She was the first artist in Croatia to label herself a feminist artist. She has been a key player at the Centre for Women's Studies in Zagreb since it opened in 1994
"Most of the films made so far are examples not of creative use of motion-picture devices and techniques, but of their use as recording instruments only. There are extremely few motion pictures that may be cited as instances of creative use of the medium, and from these only fragments and short passages may be compared to the best achievements in the other arts."
"two conditions must exist to transform a film into a form of art: there must be a kinaesthetic organisation of movement and, at the same time, the literal meaning of the shots must be transcended; the shots must become images."
"My principle interest is whether film can become an autonomous form of art."
"A photograph of a work of art is not a work of art. Simply recording a scene which depends on photography of acting alone will simply make a photo-chemical recording of something....A true work of art lives right here. It has the quality of presence; It's a living creature."
Pure Cinema Celluloid
Yugoslavian film directors
Including Serbian, Croatian, Bosnian, Slovenian, Macedonian and Montenegro directors. Also includes directors who started directing after break up of Yugoslavia in 1992. . .