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[title] => Branko Karabatić tvrdi kako splitski festival nije radikalan i poziva publiku da pogledaju filmove koje neće više imati priliku vidjeti
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Na prvi pogled, plakat 27. izdanja STFF-a s repom kita na pučini može dijelom podsjetiti na poster blockbustera “U srcu mora” iz 2015. godine. No, ne bojte se. To ne znači da će STFF početi prikazivati blockbustere, a i rep kita je od 1996. zaštitni znak festivala, gotovo 20 godina prije nego što je Ron Howard snimio svoj film.
Plakat s jednom (ženskom) osobom kako sjedi na stolici s nogama u plićaku i gleda u daljinu/pučinu odgovara egzistencijalističkoj i promišljajućoj naravi STFF-a koja je oslikana i u temi ovogodišnjeg festivala “Tko sam? Kamo idem?”. Proteklih 27 godina STFF ne odstupa od takvog tipa filmova, eksperimentalnih i radikalnih ostvarenja nastalih u otklonu od vladajućih kanona filmske i videoprodukcije. Odstupanja nema ni ove godine, jamči direktor Branko Karabatić.
Koliko je STFF-u svih ovih godina teško zadržati radikalnost s obzirom na komercijalizaciju svega, pa tako i festivalskog filma? Je li vam trebalo dugo vremena za ovogodišnju selekciju? S kojom brojkom filmova počnete da bi ona stigla do trenutne?
– Nije festival nešto radikalan, samo ne prikazujemo industrijske, komercijalne filmove, koji nude površnu zabavu, te su vrlo uspješni na tržištu. Pa otvaramo festival kanadsko-francuskom komedijom “Babysitter”, osim toga ne producira se puno radikalnih filmova da bi se mogla složiti kvalitetna selekcija. Pregledano je više od tisuću filmova sa svih strana svijeta, ali vrlo mali postotak će se prikazati na festivalu.
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Ističete da su filmovi birani “ne po nagradama na svjetskim festivalima, već po izvrsnosti”, ali na kraju ispada kako dio njih jest imao premijeru na Sundanceu, Berlinaleu...
– Svi traže, žele izvrsne filmove, čak i “populistički” festivali poput Sundancea i Berlina, u raznim kategorijama tamo se nađe mjesta za filmove koji nisu blockbusteri, ali će ih vidjeti barem dio publike, što je popriličan uspjeh.
Kojih bi devet filmova svaki filmofil trebao pogledati s ovogodišnjeg STFF-a, dakle svakog dana festivala (barem) jedan?
– Treba iskoristiti priliku pa pogledati bar dva filma dnevno – neće ih se moći vidjeti nigdje drugdje, a za sve projekcije ulaz je slobodan.
Kako to da ste odabrali samo “Illyricvm” Simona Bogojevića Naratha od hrvatskih dugometražnih igranih filmova?
– Simon je stari prijatelj festivala, njegovi kratki animirani filmovi su često predstavljani na festivalu. Zanimalo nas je kako se snašao u režiji zahtjevnog povijesnog filma, u kojem se govori latinski i ilirski, za ovaj potonji nagađamo koji je to jezik.
Najavljuje se da se filmovi ove godine bave pitanjima identiteta današnje mladosti (rodni, poslovni, intimni, socijalni, migrantski...), a i nekolicinu njih potpisuju žene. Koliko vam je važno da STFF ide ukorak sa svijetom u tom smislu?
– Ne samo da festival ide ukorak, kako ste rekli sa svijetom, već je u svemu bio i ostao predvodnik, prvi u otkrivanju novih kreativnih pomaka, ne samo audiovizualnog medija, nego i novih tehnoloških mogućnosti pokretnih slika. Ne treba zaboraviti da je prvi i jedini festival, od samih početaka, koji to radi u segmentu novih medija.
Tema festivala ovaj put je “Tko sam? Kamo idem?”. Je li ovo pitanje danas, sada i ovdje, 2022., nikad aktualnije s obzirom na situaciju u svijetu?
– Sve što se danas događa oko nas prelama se kroz pojedinca.
Oduvijek ljudska svijest balansira između meta stvarnosti i grube zbilje, bilo da se radi o oralnoj tradiciji ili modernim sredstvima komunikacije, posebno danas, fokusirajući se na Ukrajinu, istovremeno zaboravljajući, ignorirajući patnje i smrti diljem planeta, svijest virtualnog i stvarnog stvara konfuziju, tjeskobu, strah, nesigurnost, čežnju, očekivanja, kao i paničnu samovažnost, što je, mora se priznati, zgodno vizualizirano na plakatu.
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Pitate li se i što je (danas) STFF i kamo ide (sutra)?
– Festival je danas još uvijek najstarija filmska/medijska manifestacija utemeljena u zemlji 1996., koja ima zavidan status u svijetu, ne i u Hrvatskoj.
Ali, nema straha za festival, dolaze nove generacije, to se već može osjetiti na festivalskoj stranici i društvenim mrežama, koje će, nadamo se, poštovati tradiciju i profil festivala, producirati ga na svoj način.
Kako gledate na prošlogodišnje “online” izdanje festivala s odmakom od godinu dana?
– Inspirativno iskustvo, naravno smetaju ograničenja platforme, te geografska determiniranost, da samo određena regija može pratiti pojedini film, te nelagoda distributera da “posude” film “online”.
Jesu li se splitski filmofili zaželjeli STFF-a “uživo”?
– Neki jesu, pretpostavljam, nisu samo dugometražni filmovi u igri, tu su zanimljivi kratki filmovi u konkurenciji, drugim programima, među inima izbor studentskih filmova s akademija i fakulteta od Splita do Pekinga, od Berlina do Singapura. U Posebnom programu je prezentacija videa, opere koju je komponirala “AI” (umjetna inteligencija).
Žalite li što Carlos Reygadas nije mogao ni ove godine posjetiti Split?
– Zaista mi je žao, ali u međuvremenu smo postali dobri prijatelji.
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Na prvi pogled, plakat 27. izdanja STFF-a s repom kita na pučini može dijelom podsjetiti na poster blockbustera “U srcu mora” iz 2015. godine. No, ne bojte se. To ne znači da će STFF početi prikazivati blockbustere, a i rep kita je od 1996. zaštitni znak festivala, gotovo 20 godina prije nego što je Ron Howard snimio svoj film.
Plakat s jednom (ženskom) osobom kako sjedi na stolici s nogama u plićaku i gleda u daljinu/pučinu odgovara egzistencijalističkoj i promišljajućoj naravi STFF-a koja je oslikana i u temi ovogodišnjeg festivala “Tko sam? Kamo idem?”. Proteklih 27 godina STFF ne odstupa od takvog tipa filmova, eksperimentalnih i radikalnih ostvarenja nastalih u otklonu od vladajućih kanona filmske i videoprodukcije. Odstupanja nema ni ove godine, jamči direktor Branko Karabatić.
Koliko je STFF-u svih ovih godina teško zadržati radikalnost s obzirom na komercijalizaciju svega, pa tako i festivalskog filma? Je li vam trebalo dugo vremena za ovogodišnju selekciju? S kojom brojkom filmova počnete da bi ona stigla do trenutne?
– Nije festival nešto radikalan, samo ne prikazujemo industrijske, komercijalne filmove, koji nude površnu zabavu, te su vrlo uspješni na tržištu. Pa otvaramo festival kanadsko-francuskom komedijom “Babysitter”, osim toga ne producira se puno radikalnih filmova da bi se mogla složiti kvalitetna selekcija. Pregledano je više od tisuću filmova sa svih strana svijeta, ali vrlo mali postotak će se prikazati na festivalu.
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Ističete da su filmovi birani “ne po nagradama na svjetskim festivalima, već po izvrsnosti”, ali na kraju ispada kako dio njih jest imao premijeru na Sundanceu, Berlinaleu...
– Svi traže, žele izvrsne filmove, čak i “populistički” festivali poput Sundancea i Berlina, u raznim kategorijama tamo se nađe mjesta za filmove koji nisu blockbusteri, ali će ih vidjeti barem dio publike, što je popriličan uspjeh.
Kojih bi devet filmova svaki filmofil trebao pogledati s ovogodišnjeg STFF-a, dakle svakog dana festivala (barem) jedan?
– Treba iskoristiti priliku pa pogledati bar dva filma dnevno – neće ih se moći vidjeti nigdje drugdje, a za sve projekcije ulaz je slobodan.
Kako to da ste odabrali samo “Illyricvm” Simona Bogojevića Naratha od hrvatskih dugometražnih igranih filmova?
– Simon je stari prijatelj festivala, njegovi kratki animirani filmovi su često predstavljani na festivalu. Zanimalo nas je kako se snašao u režiji zahtjevnog povijesnog filma, u kojem se govori latinski i ilirski, za ovaj potonji nagađamo koji je to jezik.
Najavljuje se da se filmovi ove godine bave pitanjima identiteta današnje mladosti (rodni, poslovni, intimni, socijalni, migrantski...), a i nekolicinu njih potpisuju žene. Koliko vam je važno da STFF ide ukorak sa svijetom u tom smislu?
– Ne samo da festival ide ukorak, kako ste rekli sa svijetom, već je u svemu bio i ostao predvodnik, prvi u otkrivanju novih kreativnih pomaka, ne samo audiovizualnog medija, nego i novih tehnoloških mogućnosti pokretnih slika. Ne treba zaboraviti da je prvi i jedini festival, od samih početaka, koji to radi u segmentu novih medija.
Tema festivala ovaj put je “Tko sam? Kamo idem?”. Je li ovo pitanje danas, sada i ovdje, 2022., nikad aktualnije s obzirom na situaciju u svijetu?
– Sve što se danas događa oko nas prelama se kroz pojedinca.
Oduvijek ljudska svijest balansira između meta stvarnosti i grube zbilje, bilo da se radi o oralnoj tradiciji ili modernim sredstvima komunikacije, posebno danas, fokusirajući se na Ukrajinu, istovremeno zaboravljajući, ignorirajući patnje i smrti diljem planeta, svijest virtualnog i stvarnog stvara konfuziju, tjeskobu, strah, nesigurnost, čežnju, očekivanja, kao i paničnu samovažnost, što je, mora se priznati, zgodno vizualizirano na plakatu.
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Pitate li se i što je (danas) STFF i kamo ide (sutra)?
– Festival je danas još uvijek najstarija filmska/medijska manifestacija utemeljena u zemlji 1996., koja ima zavidan status u svijetu, ne i u Hrvatskoj.
Ali, nema straha za festival, dolaze nove generacije, to se već može osjetiti na festivalskoj stranici i društvenim mrežama, koje će, nadamo se, poštovati tradiciju i profil festivala, producirati ga na svoj način.
Kako gledate na prošlogodišnje “online” izdanje festivala s odmakom od godinu dana?
– Inspirativno iskustvo, naravno smetaju ograničenja platforme, te geografska determiniranost, da samo određena regija može pratiti pojedini film, te nelagoda distributera da “posude” film “online”.
Jesu li se splitski filmofili zaželjeli STFF-a “uživo”?
– Neki jesu, pretpostavljam, nisu samo dugometražni filmovi u igri, tu su zanimljivi kratki filmovi u konkurenciji, drugim programima, među inima izbor studentskih filmova s akademija i fakulteta od Splita do Pekinga, od Berlina do Singapura. U Posebnom programu je prezentacija videa, opere koju je komponirala “AI” (umjetna inteligencija).
Žalite li što Carlos Reygadas nije mogao ni ove godine posjetiti Split?
– Zaista mi je žao, ali u međuvremenu smo postali dobri prijatelji.
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11. svibanj 2024 11:05
