History, memory, and female-driven stories mark some of the main themes in the six Serbian films selected for Locarno’s First Look, a pix-in-post strand that represents one of the high points of th…
History, memory, and female-driven stories mark some of the main themes in the six Serbian films selected for Locarno’s First Look, a pix-in-post strand that represents one of the high points of the mid-summer festival on the shores of Lake Maggiore.
Contemporary Serbian cinema is squarely on the international arthouse map, thanks to recent success stories such as Ognjen Glavonic’s Cannes Directors’ Fortnight player “The Load,” and Mirjana Karanovic’s “A Good Wife,” which world premiered in Sundance. For that reason, Duffner stressed that First Look eschews well-known directors in order to focus on up-and-coming talents. “We really want to be a launching pad for those projects,” he said.
Traveling further afield, “In Praise of Love,” by Tamara Drakulic, is set in the deserts of Mexico, where history and myth intertwine. Among the ruins of abandoned haciendas, where village teens perform a rendition of “Romeo and Juliet,” the documentary explores the repetitive life cycle of a dying village. Jelena Angelovski, of Monkey Production, is producing.
“For us, it’s a natural co-production to co-produce with ex-Yugoslavian countries. But when you get €600,000 from your country, then you can even co-produce with France, Germany, with the Nordic countries,” he continued. “More and more films are also getting support from [Creative Europe] Media and Eurimage. They are changing the style of the Serbian movie.”
As with much of contemporary Balkan cinema, several projects participating in First Look also cast a strong inward gaze. “Speak So I Can See You,” by first-time feature director Marija Stojnic, is a creative documentary charting the final year on-air for Radio Belgrade, Serbia’s only remaining radio station broadcasting cultural, science, art and dramatic programming. A mix of documentary and fantasy, “Speak” has received support from the Doha Film Institute and Eurimages.
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