OSVAJANJE SARAJEVA

TILVA ROŠ Nikole Ležaića osvojio je nagradu Srce Sarajeva na ovogodišnjem izdanju sarajevskog festivala, najprestižnijeg takmičenja u regionu.

TILVA ROŠ je pored glavne nagrade osvojio i nagradu za glavnu mušku ulogu Marka Todorovića.
Detalje o ostalim nagradama možete naći ovde.

Ova nagrada je jedan od najvećih uspeha naše kinematografije u poslednjih nekoliko godina.

Čestitamo!

ZDRAVKO RANDIĆ (1925-2010)

Pre nekoliko dana napustio nas je Zdravko Randić, filmski reditelj čiji je rad u našoj kinematografiji po svom značaju bio vezan ne samo za njegov autorski opus već i za njegov angažman na poziciji pomoćnika režije. Kao reditelj, Randić je pripadao generaciji Crnog talasa i njegov najznačajniji film TRAGOVI CRNE DEVOJKE iz 1972. godine, po scenariju koji su na osnovu proze Aleksandra Tišme napisali Živojin Pavlović i Dragoljub Ivkov, predstavlja jedan od vrhunaca ovog pravca kod nas - iako vrlo često nije ubrojen među klasike našeg filma, sa punim pravom spada u njih. Isto važi i za Randićev debitantski celovečernji film ZEMLJACI iz 1963. koji se izdvaja kao vrsna melodrama smeštena u ruralni hercegovački milje, sa retkom rediteljskom zrelošću za tu fazu u razvoju naše kinematografije.

Međutim, pogrešno je vezivati Randića isključivo za Crni talas jer je njegova formalno prva režija bila vrlo efektan segment u upečatljivom omnibusu CIPELICE NA ASFALTU iz 1956. godine koji je stilski više pripadao tadašnjem posleratnom glavnog toku, kao što ne treba zanemariti ni Randićevu aktivnost na mestu pomoćnika režije koja seže sve do devedesetih.

Pomoćnik režije je izuzetno važna profesija u savremenom filmu a u jugoslovenskom filmu šezdesetih i sedamdesetih to je vrlo često bilo mesto koje je u zanatskom smislu usmeravalo filmove jer mnogi reditelji gotovo da nisu imali nikakvo filmsko obrazovanje. Randić se može smatrati najznačajnijim pomoćnikom režije u istoriji našeg filma i profesionalcem koji je na najbolji mogući način uspevao da konkretizuje rediteljske vizije.

Randić je kao pomoćnik sarađivao sa pionirima kao što su Soja Jovanović i Vladimir Pogačić, zatim je pomogao ulazak u kinematografiju reditelja poput Gorana Paskaljevića i Slobodana Šijana sarađijući na njihovim prvim filmovima pa sve do generacije koja je krajem osamdesetih ušla u kinematografiju sa filmovima KAKO JE PROPAO ROKENROL i MI NISMO ANĐELI. Rasponom filmova na kojima je radio, Randić je uspeo da objedini praktično čitav dvadeseti vek srpskog filma u jednoj karijeri.

Randićev angažman je bio garancija da će film biti na nivou, radilo se o profesionalcu starog kova koji će biti upamćen i po vlastitoj umetničkoj viziji i po nenadmašnom poznavanju zanata i pomaganju drugima da ispričaju svoje priče.

OGNJENKA U BRITANIJI I AUSTRALIJI

Icon Home Entertainment, veliki distributer kako na bioskopskom tako i na tržištu kućnih formata, i kompanija poznata po tome što joj je jedan od vlasnika Mel Gibson, izdaće britansko i australijsko DVD izdanje filma ČARLSTON ZA OGNJENKU. Na DVDu će se naći tzv. Bessonova verzija filma pod naslovom TEARS FOR SALE. Australijski DVD izlazi tokom avgusta a britanski izlazi 20. septembra i odavde se već može naručiti preko Amazona.

FANTASIA@ZVANIČNO

I zvanični žiri je objavio nagrade u Montrealu na festivalu Fantasia. Evo izveštaja sa Twitcha. Među dobitbnicima zvaničnih nagrada su i SRPSKI FILM kao special mention za prvi film i PORNO BANDA sa zvaničnom nagradom za scenario.
ČARLSTON ZA OGNJENKU osvojio je nagradu Ecran Fantastique.

Ako tome dodamo tri nagrade publike koje su osvojili SRPSKI FILM i EDIT I JA, na ovogodišnjem festivalu nagrađena su četiri naša filma sa ukupno šest nagrada!

You might have noticed the coverage of this years ultra-sized Fantasia film festival in the Reviews and Interviews column of the site from a number of contributors taking in the festival: Mack, Shelagh, Peter, Todd, and myself, as well as a plethora of other Twitch writers hither and yon. Covering a festival of this size is a massive undertaking and I hope you enjoyed all the updates, interviews, and reviews. Rest assured there are still a few more to come. As Fantasia winds down with a screening of Metropolis Extended Edition and full orchestra, it seems to have been a raging success this year across the board. The festival announced its Jury and Audience awards, and they are below. It seems that the Subversive Serbia sidebar was a big hit, with controversial A Serbian Film getting one of the big audience awards.

Montreal, Wednesday, July 28, 2010 - As the 14th edition of the Fantasia Film Festival draws to a close the festival team is already seeing the positive fallout from this year's programming! Audience enthusiasm and curiosity is evidenced by a record number of sold-out screenings and ever-growing attendance numbers. The numbers are still being tallied, but we can already confirm that this year we surpassed 100, 000 audience members! Thanks to an intensely diversified selection of the best international films, the festival was able to attract a huge audience this year, with 44% of the screenings completely sold out. More than 100 local and international guests were in town to witness first-hand the overwhelming passion of Fantasia audiences.

Among the noteworthy events at this year's festival, we must mention the opening film, THE SORCERER'S APPRENTICE presented by the star himself, Jay Baruchel; the honourary awards presented to Ken Russell, Don Bluth & Gary Goldman; and our tribute to Serbian cinema: Subversive Serbia. As well, let's not forget our special events such as the presentation of Stuart Gordon's acclaimed stage play NEVERMORE: AN EVENING WITH EDGAR ALLAN POE, the special screening of Cocteau's LE SANG DU POÈTE live-scored by Steven Severin, the Fantastic Weekend of Quebec Shorts and of course our gala event: a sold-out presentation of THE COMPLETE METROPOLIS in a 3000-seat hall with an entirely new orchestral score performed live, composed specially for the occasion by Gabriel Thibaudeau. Also worth mentioning are our conferences and round table discussions, which proved to be a big hit and food for thought for the artists and creators in attendance.

Among the Canadian, North American and International premieres of our lineup, Fantasia is proud to have screened SCOTT PILGRIM VS THE WORLD, CENTURION, LITTLE BIG SOLDIER, BLACK DEATH, HIGH SCHOOL, IP MAN 2, DREAM HOME, LEMMY, RED, WHITE & BLUE, THE PERFECT HOST and THE LAST EXORCISM. We should also point out that three titles which had their World premieres at Cannes, had their North American premieres at this year's edition of the festival: namely, Franck Richard's LA MEUTE, Quentin Dupieux's RUBBER and Jorge Michel Grau's WE ARE WHAT WE ARE. Nearly ten percent of the feature films screened in our lineup were world premieres, including PHASMA EX MACHINA, NEVERLOST, I SPIT ON YOUR GRAVE and THE SHRINE.

The festival closed with the Canadian premiere of the Sundance hit TUCKER & DALE VS EVIL.

Numerous juries deliberated this year's programming and we are happy to announce the winners in the various categories:

FEATURE FILM JURY

The feature film jury was presided over by Jean-Claude Lord and composed of Ian Lauzon, Don Lobel, Pawa Up First and Éric Tessier.

BEST FEATURE FILM: Yuya Ishii's SAWAKO DECIDES (Japan)

SPECIAL JURY PRIZE: Lee Hae-jun's CASTAWAY ON THE MOON (South Korea)

"Castaway on the moon earned the special jury prize due to its fresh quality, raw emotion and originality." Jean-Claude Lord

BEST ACTOR: Noah Taylor - RED, WHITE & BLUE (United States)

BEST ACTRICE - UNANIMOUSLY : Hikari Mitsushima - SAWAKO DECIDES (Japan)

BEST DIRECTOR : Lee Jun-ik - BLADES OF BLOOD (South Korea)

BEST SCREENPLAY: Mladen Djordjevic - LIFE AND DEATH OF A PORNO GANG (Serbia)

JURY PRIZE FOR BEST FIRST FEATURE

The first feature jury was presided over by Steven Severin and composed of Susan Curran, Brad Miska, Tom Quinn and Basil Tsiokos.

BEST FIRST FEATURE: Eli Craig's TUCKER AND DALE VS EVIL

"It ultimately came down to TUCKER & DALE VS EVIL and A SERBIAN FILM as the front runners for the jury, but the final decision found TUCKER & DALE VS EVIL on top - Eli Craig has achieved what I thought impossible: a laugh out loud, original & sharp horror spoof." Steven Severin

SPECIAL MENTION : Srdjan Spasojevic's A SERBIAN FILM

"Undoubtedly, A SERBIAN FILM is an important film and there is much to admire about the craft and audacious tunnel vision of the makers but there is nothing to 'like' about it - since viewing it, it has upset me more than I thought possible. For it to have such an effect, it deserves a special mention." Steven Severin

JURY PRIZE FOR BEST ANIMATION (short and feature length)

The short and feature length animation film jury was presided over by Pierre Hébert and composed of Élène Dallaire, Marco de Blois and Claude Robinson.

BEST ANIMATED FEATURE FILM: Sunao Katabuchi's MAI MAI MIRACLE

SPECIAL MENTION: Shinsuke Sato's OBLIVION ISLAND

BEST ANIMATED SHORT: Bastien Dubois' MADAGASCAR

SPECIAL MENTION: Don Hertzfeldt's WISDOM TEETH

JURY PRIZE FOR BEST INTERNATIONAL SHORTS

The international short film jury was presided over by Maurice G. Dantec and composed of Jean-François Caissy, Kurt Halfyard, Carolina Lucchesi Lavoie and Jean-François Rauger.

GRAND PRIZE: Firas Momani's THE ADDER'S BITE

SPECIAL MENTION: Mian Adnan Ahmad's HEAL

JURY PRIZE FOR BEST QUEBEC SHORT

The Quebec short film jury was presided over by Danielle Ouimet and composed of Martin Henri and Izabel Grondin.

BEST SHORT: Serge Marcotte's THE GREENS

BEST DIRECTION : Cynthia Tremblay's À VIF

BEST CINEMATOGRAPHY: Pedro Pires' DANSE MACABRE

BEST PERFORMANCE (tie) : Laurence Leboeuf in SANS TITRE (the young girl with the matress) and Brent Marrale in THE GREENS

BEST SCREENPLAY: Simon Olivier Fecteau's LE TECHNICIEN

JURY'S PICK: Emanuel Hoss-Desmarais' MARIUS BORODINE

JURY PRIZE FOR BEST DIY QUEBEC SHORT

The DIY Quebec short film jury was presided over by India Desjardins and composed of Martin Dubreuil, Simon Laganière and Jean-Pierre Normand.

BEST SHORT: Frédérick Tremblay's LE TIROIR ET LE CORBEAU

BEST DIRECTION: Kris Happy Jack-McKenzie's WINDIGO

BEST SCREENPLAY: Carnior's HERO

BEST SPECIAL EFFECTS: Igor Simonnet's ASTUKO'S LEGEND

JURY'S PICK: Louis Allard's LES QUEBECERS CONTRE LES ZOMBIES 2

AQCC PRIZE

The AQCC jury was presided over by Mathieu Li-Goyette and composed of Martin Gignac and Patricia Bergeron.

For its rigorous presentation, complex characters and sober illustration of death and violence, the AQCC jury awards an honourable mention to Choi Jin-ho's THE EXECUTIONER. Unanimously picked for its poetic portrayal of every day life, its soft realism, its social criticism and its masterful grasp of cinematography in this modern retelling of Pinocchio, the jury awards the best Asian film prize to Hirokazu Kore-eda'a AIR DOLL.

SÉQUENCES PRIZE

The Séquences jury was presided over by Pascal Grenier and composed of Julie Séguin and Mathieu Séguin-Tétreault.

The Séquences prize for best international feature film is awarded ex-aequo to Jorge Michel Grau's SOMOS LO QUE HAY (WE ARE WHAT WE ARE) and Simon Rumley's RED, WHITE & BLUE.

ÉCRAN FANTASTIQUE PRIZE

The Écran Fantastique jury was presided over by Yves Rivard.

The Fantasia 2010 Écran Fantastique prize goes to the Serbian film TEARS FOR SALE from director Uros Stojanovic. There are many reasons for this choice, so we'll only name the exceptional aesthetics which created such fantastic images that they were burned into your eyes long after leaving the theatre, its classical cinema direction (something that is becoming somewhat of a rarity) and its simultaneously poetic and subversive dialogue issuing from a still little-known area. The great performances of Sonja Kolacaric (Ognjenka) and Katarina Radivojevic (Mala Boginja) as the two sisters should also be mentioned.

Last but not least, the fans were also asked to share their favourites by voting for various public prizes. These are their choices:

AUDIENCE AWARDS

BEST ASIAN FILM

Gold - IP MAN 2 (Hong Kong)

Silver - SELL OUT! (Malaisia)

Bronze (ex-aequo) - CASTAWAY ON THE MOON (Corée du Sud), DREAM HOME (Hong Kong)

BEST EUROPEAN, NORTH AMERICAN OR SOUTH AMERICAN FILM

Gold - A SERBIAN FILM (Serbia)

Silver - AT WORLD'S END (Denmark)

Bronze - REC 2 (Spain)

BEST ANIMATED FILM

Gold - SUMMER WARS (Japan)

Silver - TECHNOTISE: EDIT AND I (Serbia)

Bronze (ex-aequo) - KING OF THORNS (Japan), SPACE BATTLESHIP YAMATO: RESURRECTION (Japan)

BEST CANADIAN OR QUEBECOIS FEATURE

Gold - THE SHRINE

Silver - SUCK

Bronze (tie) - FRANKENSTEIN UNLIMITED (Quebec) NEVERLOST (Canada)

GURU PRIZE FOR MOST ENERGENTIC FILM

Gold - IP MAN 2 (Hong Kong)

Silver - REC 2 (Spain)

Bronze - SYMBOL (Japan)

MOST INNOVATIVE FILM

Gold (tie) - SYMBOL (Japan), A SERBIAN FILM (Serbia)

Silver - SELL OUT! (Malaisia)

Bronze - RUBBER (France)

BEST DOCUMENTARY

MARWENCOL (United States)

BEST INTERNATIONAL SHORTS

Gold - CLEAN CAROUSEL (Denmark)

Silver (tie) - JACK (Canada), NINJAS (Brasil), TOUS LES HOMMES S'APPELLENT ROBERT (Quebec)

Bronze - LAMBS (United States)

BEST DIY QUEBEC SHORT

Francis Gélinas' L'HISTOIRE DU MÉCHANT DRAGON

EDIT & MONTREAL

Radovanje koje je usledilo povodom osvajanja dve nagrade publike za SRPSKI FILM učinilo je da previdimo još jedan veliki uspeh srpskog filma a to je srebrna nagrada publike za film EDIT I JA Alekse Gajića osvojena u konkurenciji animiranih filmova. Ovo je srebro koje sija zlatnim sjajem, kako kažu klišei sportskih komentatora, ako imamo na umu da je Gajić imao još težu konkurenciju jer se nadmetao sa animacijama iz celog sveta, uključujući i Japan.

Čestitamo ekipi filma EDIT I JA.

SRPSKI FILM osvaja montreal

SRPSKI FILM je osvojio dve nagrade publike na Fantasia festivalu u Montrealu!

Debitantsko ostvarenje Srđana Spasojevića osvojilo je nagrade za najbolji euroamerički film i za najinovativniji film a među dobitnicima su zaista naslovi koji su obeležili žanrovsku scenu u protekloj sezoni.

Naročito treba naglasioti da publika dodeljuje zlatnu, srebrnu i bronzanu nagradu u svakoj kategoriji i da je SRPSKI FILM u obe uzeo zlato.

Momci, čestitamo!
Detaljne informacije možete pronaći ovde.

uvod u INCEPTION - strip

Kada se uživanje u filmu INCEPTION omasovilo i kod nas, vreme je da se pogleda i prequel u formi stripa THE COBOL JOB koji besplatno možete čitati ili skinuti ODAVDE.

TWITCH vs EDIT

EDIT I JA Alekse Gajića prikazan je na festivalu Fantasia u Montrealu i ispraćen je kritikom na sajtu Twitch.

Fantasia 2010: TECHNOTISE: EDIT & I Review

by Kurt Halfyard, July 13, 2010 5:30 PM

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Action, Animation, Continental Europe & Russia, Fantasia 2010, Sci-Fi & Fantasy

There is a moment at about the halfway point in manga inspired Serbian animated film Technotise: Edit & I where the lead character has intense consensual sex with her own central nervous system. The moment is a transcendent one both on a visual level but also in looking how identity can be divorced from the flesh but still used for physical gratification. Think of the Merovingian computer program giving another digital construct an orgasm in Matrix: Reloaded, yet have this one take place more in the real world from a machine merging into the body of its protagonist. I wish there were more moments like this in Technotise which often confines itself to a more straightforward chase and action extravaganza with only a scant cerebral morsels hidden along the way. Based on Aleksa Gajić's comic book, Edit & I is the solid but not perfect first feature from animation house Black White 'N' Green and it puts contemporary Serbia on the map as a place to watch not just in gory-graphic political films, but also digital pop entertainment.

Set in Belgrade 2074, when flying cars are finally here (along with those neato Back To The Future hover-boards) and robots have achieved near sentience (Super Toys last all summer long!) yet remain in the accepted place in society as tools and playthings. The cast off and obsolete homeless 'bots lay about desultory but conscious on the streets like drowsy homeless people (trash with limited upward mobility) but nobody seems to mind. At least when the heroine has her animatronic teddy bear go kaput, she gives it a proper burial in the robot pet cemetary. Perpetual psychology student Edit Stefanović, when not mourning the loss of her technological companion, struggles to balance her personal life, her needy boyfriend and shrill mother, with her academics and her internship as a care-giver at a technology firm that (for some unclear reason) is keeping a near-catatonic mathematician on staff. An attempt at cheating on her (sixth attempt) at passing final examinations and a moment of trust at her work add up to possibly the birth of an artificial intelligence. The usual shady corporate and government forces give chase, but since the A.I. is wedded to the flesh of Edit (and growing), there is an interesting dialogue between woman and machine. All life is born out of an accident and at the expense of something else as a fuel source (just ask the cows or the wheats and grains), so the central question that the film wrestles with (albeit not too hard) is what is the worthiness of this new life form, and it is it a better person than us. Technotise draws on a number of the usual science fiction sources from Philip K. Dick to Isaac Asimov (a satisfying nod to Darren Aronofsky's pi was a surprise) but really it is in love with Japanese Manga. I am not sure if it adds anything new to the science fiction conversation, but the creators certainly do not embarass themselves. The mix of Serbian humour, a glimpse of Slobodan Milošević, a dollop of social commentary, and more than a little sexual attitude in the heroine qualify it as a worthy film to seek out.

While Technotise never quite achieves the thematic maturity of the best of hard science fiction or the technical polish (various animated layers do not always satisfyingly mesh together) of the recent output Mamoru Oshii or Satoshi Kon (and is that really a fair thing to put a first time studio up against?) it is nontheless a very accomplished first film. Since the director explicitly references Katsuhiro Otomo with Edit's childhood teddy-bear, I will concede that this film could very well be Serbia's AKIRA, a fascinating introduction point into (hopefully) a burgeoning animation scene in an unexpected place.

[Technotise is already sold and licensed for the inevitable Hollywood life-action remake which may tighten up the shaggier character stuff and amp up the stakes, but without a little more brains, will stand a sad chance at being just another Matrix clone]

EDITOVANJE MOTOVUNA I HRVATSKE

Imamo radosnu vest za fanove filma EDIT I JA Alekse Gajića. Kako smo već najavili, srpski selektor filmova za nagradu BAUER Vladan Petković nominovao je EDIT za ovu nagradu i posle prvog kruga glasnja, našla se među tri kandidata.
Evo zvaničnog saopštenja motovunskog festivala:

Motovun Film Festival ove je godine pokrenuo novu, nagradu Bauer, koja se dodjeljuje najboljem filmu u regiji. Cilj iste je da filmski profesionalci iz sedam kinematografija - Bosne i Hercegovine, Crne Gore, Hrvatske, Kosova, Makedonije, Slovenije i Srbije – zajednički i ravnopravno zastupljeni odaberu najbolji film sezone iz spomenutih zemalja.

S velikim veseljem javljamo vam da je cetrnaesteroclano biracko tijelo odabralo tri filnalista koji su u posljednjoj utrci za nagradu: rijec je o filmovima„Crnci“ Gorana Devica i Zvonimira Jurica, „Kenjac“ Antonia Nuica i „Technotise – Edit i ja“ Alekse Gajica!

Nakon sto spomenuti filmovi budu prikazani u Motovunu, sedmeroclani ziri medju njima bira laureata, a redatelj odabranog filma prima nagradu Bauer za najbolji film godine i novcani iznos od 5000 eura.

PORNO BANDA u MONTREALU

Program SUBVERSIVE SERBIA na Fantasia festivalu u Montrealu je privukao pažnju stručne javnosti i evo prvih kritika ŽIVOTA I SMRTI PORNO BANDE koje stižu posle tamošnje projekcije. O BANDI se oglasio eminentni sajt Twitch koji je već podržao SRPSKI FILM i imao značajnu ulogu u podršci novom talasu filmova iz Srbije.

A PORNO GANG Review

by Kurt Halfyard, July 11, 2010 12:56 PM

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Continental Europe & Russia, Cult, Drama, Fantasia 2010, Horror

One of the most exciting programmes at Fantasia this year is its Subversive Serbia, a showcase of a wide variety of aesthetics and styles in the exciting new wave of Serbian filmmakers. It is stuff like this, getting a major coup over other prestige festivals such as Venice, Berlin or Toronto, that makes Fantasia so much more than a simply a fan and genre festival.

Mladen Djordevic's wonderfully transgressive The Life and Death of A Porno Gang is a romantic lust-for-life road movie that happens to be covered is blood, sweat, cum, vomit and more than a few honest tears. In a round about way, the film could almost, but not quite, slot into formula: love and passion broken on the rocks of eastern Europe. But its grungy near-documentary style, it lies somewhere in between The Misfortunates, Ex-Drummer and Dusan Makavejev's Sweet Movie, elements seemed to loosely evoke the Otto Muehl segments, and manages to tuck some of the more 'it was our time and place' elements away from the obvious.

The story follows Marko, a struggling young director fresh out of film school, as he attempts to combine his passion for genre films with his desire to make something of artistic or political relevance. Finding nobody who seems to understand his vision, he eventually appropriates some money from a pornography producer to shoot a few scenes of a sexual zombie flick involving drug horticulture and political satire. The porn director is none to happy with Marko stealing his actors and his money to make something nobody is interested in. Violence ensues and pretty soon Marko and his porno-gang, along with his failed-actress girlfriend on the road performing live sex cabaret for small villages far out of Belgrade. The low-rent, but comically broad shows are actually well received by some of the more adventerous farmers, shits and giggles mostly, until say a horse penis is whipped out. Shock and Awe. And then the town leaders and sheriffs are out in force with torches and shotguns. Marko may not be living in the lap of luxury, but there is plenty of passionate sex and his autobiographical documentary seems to be coming along just fine.

In watching the Herschell-Gordon Lewis documentary recently at the festival, John Waters commented (in a talking heads interview) that Splatter and Cutie-Nudie pics were much more fun when it pissed people off and while within Life and Death of a Porno gang, there is certainly outrage generated both within the world of the film and in any modern viewing audience. But let's face it, in terms of unusual sexual acts, there is little cannot be seen on the internet. Thus, the film is taken to the next level when a British Journalist offers the troupe to combine their sexual cabaret with snuff filmmaking. He is a devious sort, the clearly Mephistopheles of the film, as he promises Marko both cash (of which the group who are living out of a van are are desperate need) and the potential for great art, 'the impressive junction of creativity and cruelty, Eros and Thanatos and commentary on the fallout of the war and violence of Milošević era and its collapse. To make it even more palatable, the journalist with designs on being a niche producer, will only provide victims who are willing to be killed; who are either suicidal or are willing to take a large cash stipend to help out with their surviving family members. The individual stories of the snuff victims are as compelling and realized as the stories of each of the troupe members. These are broken people, looking for something, anything to validate life as being more than a bleak struggle. Humour and family (literal or surrogate) can only seem to go so far in abject and insurmountable poverty. It creates humour of the gallows variety. A signature moment in the film has the gang being violently raped by the local townhall folks, it becomes an inside joke, hysterical laughter in fact, because they know that one of the actors has AIDS and he will be passing it along to his rapist. It's a knee-slapper laced with tears of despair. As the gang begins to disintegrate under the weight of guilt, persecution and perceived absolute failure in the original artistic intent, ("We started this journey to fuck, not to kill!' is a late film lament from one of the troupes actors) The Life and Death of A Porno Gang layers on an apocalyptic 'live fast die young and leave a good looking corpse,' Bonnie and Clyde romanticism that is especially bleak because the romantic notion of we did out best, fucked it up royalty and regret it with every fibre of our being is played less to be tragic than to be oddly sweet. Can Serbia be born again despite its past sins and wounds? It takes a lot of effort to get to that kind of place, and the film indeed manages it.

Life and Death of a Porno gang, despite its aggressively violent and shocking imagery, high body count and splatter, still retains a whole-hearted universal theme, namely the wrong things we do for the right reasons and the effects (regrets) they have on us for posterity. This makes it simultaneously personal and political.

At the Q&A after the film it was revealed that Synapse Films will be putting out a fully and uncut DVD of The Life and Death of A Porno Gang possibly including Mladen Djordevic's loose documentary, "Made In Serbia" a sort-of prequel doc on the production of Serbian pornography as a supplemental.

O BANDI je pisao i Montreal Mirror i taj tekst možete naći OVDE

KLIP set report

Od kada je zahvaljujući SRPSKOM FILMU Srđana Spasojevića, naša kinematografija ispraćena na AICNu, počele su polako da se dešavaju i AICN stvari kod nas. Akcije poput praćenja snimanja najočekivanijih projekata, organizovanih odlazaka na projekcije hypeovanih filmova i sl. Tako je recimo na blogu KARNEVAL - REAL TIME BIOGRAPHY izašao jedan set report sa snimanja najočekivaijeg srpskog filma iduće sezone - KLIPA Maje Miloš.

Kliknite ovde da biste videli fotografije i izveštaj sa snimanja kome su prisustvovali autori ovog bloga.

SRPSKI FILMOVI U MOTOVUNU

U zvaničnom programu ovogodišnjeg motovunskog festivala biće nekoliko filmova iz Srbije. Pored motovunskog usual suspecta BESE Srđana Karanovića i 32. DECEMBRA Saše Hajdukovića iz Republike Srpske - ovaj festival će overiti i SRPSKI FILM Srđana Spasojevića kome će u programu društvo praviti i ENTER THE VOID Gaspara Noea, apostola te vrste filma. Srpski debitanti će biti zastupljeni i u omnibusu NEKE DRUGE PRIČE kao i kroz prikazivanje neopravdano i mučki oklevetanog FLEŠBEKA Saše Jankovića kome je prisustvo u Motovunu značajno priznanje i pokazatelj kako je agresivna reakcija srpske kritike u vreme FESTa bila potpuno neumesna.
Ipak, verovatno najznačajnija stvar vezana za Motovun je nominacija filma EDIT I JA Alekse Gajića za nagradu Bauer za najbolji regionalni film. Nagrada Bauer dobila je ime po čuvenom jugoslovenskom reditelju Branku Baueru a ne Jacku Baueru tako da nisu velike šanse da je dobije žanrovski film, iako je Branko umeo da snimi rasna repertoarska dela. O samoj nagradi, sajt festivala kaže:

Dodjeljuje se za najbolji film godine snimljen u Bosni i Hercegovini, Crnoj Gori, Hrvatskoj, Kosovu, Makedoniji, Sloveniji i Srbiji. Izborno tijelo u kojem su ravnopravno zastupljeni filmski profesionalci svih teritorija ocjenjuje ukupnu godišnju produkciju (od 1.6. prošle do 1.6. tekuće godine), tako bira tri nominirana filma, među kojima izabire film godine. Ova nagrada, koja se po ovom konceptu prvi puta dodjeljuje 2010. plod je želje Motovun Film Festivala da doprinese dodatnom otvaranju granica uskih nacionalnih filmskih tržišta regije.