{"id":6081,"date":"2024-10-11T10:45:47","date_gmt":"2024-10-11T10:45:47","guid":{"rendered":"https:\/\/duff.kinematografi.org\/?page_id=6081"},"modified":"2024-10-11T10:49:05","modified_gmt":"2024-10-11T10:49:05","slug":"fiction15-20","status":"publish","type":"page","link":"https:\/\/duff.kinematografi.org\/en\/fiction15-20\/","title":{"rendered":"FICTION 15-20"},"content":{"rendered":"

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THE ODDLY DEATH OF MARKO \u017dIVKOVI\u0106<\/h4>\n

Niko Vrabec; 14’32”; FKVKZ Zapre\u0161i\u0107; Croatia<\/h5>\n

\u201cThe truth is, believe it or not, this story from Donja Mahala.\u201d Which one? See for yourself\u2026
\n\u201cWell shot and directed, the script is well thought through. The movie has a natural flow and pacing. In the beginning, there are hints of Wes Anderson\u2019s cinematography and aesthetics, but they are excellently incorporated into local humour. The story has depth and progression, with classic narrative composition. The sound could have been recorded better, which is something the authors might work on in the future.\u201d<\/p>\n

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\n\n

NO ONE<\/h4>\n

Grupa autora \/ Group of authors; 9’30”; IES Rodanas; Spain<\/h5>\n

School life is interrupted due to decisions that have nothing to do with the education of boys and girls.
\n\u201cMasterful use of cinematic language when retelling events. Excellent acting and well shot gradual destruction of the set adds to the weight of the situation in which the characters found themselves.\u201d<\/p>\n

 <\/p>\n

\n\n

\nUNDER THE BRIDGE<\/h4>\n

Andrej Tomin; 10’47”; Northern Sheep Cinema; Serbia<\/h5>\n

Sitting on the river bank under the bridge, two teenagers recall their first hangout and the past, in an attempt to comprehend the change in their relationship.
\n\u201cA lovely story about two people. Visually excellent, actors are natural and sincere, music complements and rounds the whole story up.\u201d<\/p>\n

 <\/p>\n

\n\n

THE TAPE<\/h4>\n

Pablo Iranzo Pineda; 8’13”; Independent; Spain<\/h5>\n

Enrique is alone at home, until someone arrives unexpectedly early. The situation takes an unexpected turn when he realizes that the person in his house is not who he claims to be.
\n\u201cInteresting and sound realization of the film on assumptions and prejudices in life.\u201d<\/p>\n

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\n\n

MAINADES<\/h4>\n

Eleni Papastergiou; 15’00”; Independent; Greece<\/h5>\n

In Greek mythology, maenads, Ancient Greek: \u03bc\u03b1\u03b9\u03bd\u03ac\u03b4\u03b5\u03c2 [mainades] were nymphs, the female partners of god Dionysus. The word \u03bc\u03b1\u03b9\u03bd\u03ac\u03c2 comes up in Homeric epic where is associated with mania. Their characteristic was the ecstatic violence, the beyond reason, hyperactive and violent behavior.
\n\u201cPainful to watch, but that is just a compliment to the film which has managed to portray in such a brutal way the unimaginable conditions in which, unfortunately, many women still live in today\u2019s world. It also addresses the inertia of the society and normalization of violence against women. All this leads to the conclusion that the only solution \u2013 although coincidental at first \u2013 is murder. The choice of black-and-white aesthetics adds to the bleakness and cruelty of life with a violent man and leaves the sense of emptiness and disassociation. Excellently acted and directed.\u201d<\/p>\n

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\n\n

AFFECTUM<\/h4>\n

Bu\u011fra \u00d6zen\u00e7; 3’13”; Mimar Sinan Fine Arts Highschool; Turkey<\/h5>\n

A girl enters an audition and gives a performance.
\n\u201cExcellent acting elevates the entire movie.\u201d<\/p>\n

 <\/p>\n

\n\n

WITH LOVE FROM BRATISLAVA<\/h4>\n

Martin Zadravec; 14’00”; Blank_filmski inkubator; Croatia<\/h5>\n

Eighteen-year-old Martin spends his holidays on a family trip to Bratislava. During their stay there, he is forced to share his room with his older brother Aleks. In the city, Martin buys postcards to his crush, Maria, but when she stops responding to his calls, he finds comfort in brotherly love.
\n\u201cBrotherly love often has negative connotations and is associated with topics of roughness and aggression, but anyone with siblings knows that it can be very gentle and is desperately needed in difficult life situations. The film is a bit too long for the message it tries to convey, but this is compensated by excellent \u201cnatural\u201d acting and repetition of the scene from the room which places the two brothers into an intimate space where they share their troubles and joys.\u201d<\/p>\n

 <\/p>\n

\n\n

KKIEV<\/h4>\n

Bruno Ra\u0161i\u0107; 5’24”; Academy of Dramatic Arts Zagreb; Croatia<\/h5>\n

The janitor helps the kidnappers in?
\n\u201cImpressive use of \u201cone-shot\u201d technique, the choreography of the actors and the acting itself are well executed. Atmosphere and the framing emphasise the seriousness of the crime that had been committed and add to the anxiety gripping the protagonist, and the much-anticipated ending of the film is left to interpretation.\u201d<\/p>\n

 <\/p>\n

\n\n

WHO DID YOU DREAM OF?<\/h4>\n

Frane Pekica, Matija Restovi\u0107; 4’35”; Gimnazija Pula; Croatia<\/h5>\n

During a New Year’s Eve party a group of friends talk about their various problems and opinions.
\n\u201cGood dialogues, acting leaves room for improvement and an unexpected twist.\u201d<\/p>\n

 <\/p>\n

\n\n

SCHOOL DAZE<\/h4>\n

Group; 7’11”; Liceo Artistico “Nervi Severini” Ravenna; Italy<\/h5>\n

Dreams, nightmares, desires of a first-grade class before the arrival of the math teacher…
\n\u201cA clever way of portraying different experiences of time spent waiting. Acting is excellently performed, cuts from one \u201cstory\u201d into the next are consistent and don\u2019t disrupt the continuity of the film as a whole. The lack of dialogue, which is essentially replaced by noise, adds to the atmosphere of boredom, contemplation and wandering thoughts.\u201d<\/p>\n

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[vc_row][vc_column][vc_column_text]  THE ODDLY DEATH OF MARKO \u017dIVKOVI\u0106 Niko Vrabec; 14’32”; FKVKZ Zapre\u0161i\u0107; Croatia \u201cThe truth is, believe it or not, this story from Donja Mahala.\u201d Which [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-6081","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/duff.kinematografi.org\/en\/wp-json\/wp\/v2\/pages\/6081","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/duff.kinematografi.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/duff.kinematografi.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/duff.kinematografi.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/duff.kinematografi.org\/en\/wp-json\/wp\/v2\/comments?post=6081"}],"version-history":[{"count":2,"href":"https:\/\/duff.kinematografi.org\/en\/wp-json\/wp\/v2\/pages\/6081\/revisions"}],"predecessor-version":[{"id":6083,"href":"https:\/\/duff.kinematografi.org\/en\/wp-json\/wp\/v2\/pages\/6081\/revisions\/6083"}],"wp:attachment":[{"href":"https:\/\/duff.kinematografi.org\/en\/wp-json\/wp\/v2\/media?parent=6081"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}