THE TRAIN OF SHADOWS
by and in the presence of Nika Autor
Slovenia / 2017 / 39 min
Newsreel 63 follows newsreel-related practices and tries
to position and understand a particular image – a shred of video
taken on the once famous Belgrade – Ljubljana rail-line,
where refugees now travel not in couchettes but between the train’s wheels.
Newsreel 63 drifts into a visual investigation of railways and explores its historical,
social and political narrative. The essayistic and associative elements of Newsreel 63
link this historical narrative to our pursuit of happiness, the idea of voyage in the
current social constellation, where our longing for happiness is all too often tied
to the idea of travelling somewhere – or indeed the need to secure
the means for mere basic survival.
Obzornik 63 – Vlak senc
video, 39’, 2017
Film skuša umestiti in razumeti določeno podobo – drobec posnetka,
narejenega z mobilnim telefonom, z nekoč slavne železnice Beograd–Ljubljana,
kjer begunci danes ne potujejo v vagonih, temveč med kolesjem vlakov.
Obzornik 63 se poda v vizualno raziskovanje železnic, njihovega zgodovinskega,
socialnega in političnega konteksta. V esejističnih in asociativnih elementih
Obzornika 63 se te zgodbe povezujejo z zasledovanjem sreče in idejo potovanja
v trenutni družbeni formaciji, kjer lov na srečo vse pogosteje povezume
z idejo potovanja drugam – ali še raje z osnovno potrebo po varnosti
in golem preživetju.
The screenings are held on Wednesdays at 20.30 h.
Information will be published in advance.
All films are shown in original language with English subtitles.
TERRA DE NINGUÉM
No Man’s Land
A documentary by Salomé Lamas
Portugal / 2012 / 72 min
A mercenary sits in silence on a chair placed in an abandoned palace in Lisbon,
as if posing for a portrait. Facing the camera, he begins narrating and performing
his own history, constructing a record which slowly reveals in its turns of phrase
and mismatched events a series of doubts and contradictions.
The camera watches, relentlessly. Paulo narrates his involvement as a hired killer
for special military forces during the Portuguese colonial war, the part he played
in the GAL (Antiterrorist Liberation Group), a death squad illegally established
by the Spanish government to annihilate high officials of ETA,
and his work as a mercenary for the CIA in El Salvador.
Rather than being interested in affirming the veracity of the historical record
or in proving an official narrative, No Man’s Land dwells in the present moment
of witnessing, the space inhabited by the performance of a memory.
Refusing to linger on a static moral duality, throughout the film accuser and accused
are frequently asked to change positions – at a certain point, after describing
a series of crimes he committed, responding to a question by the director Paulo
replies with one of his own “How much is worth the life of a man?
A man like me or men like them?” As the film’s own processes of making
are slowly revealed, No Man’s Land creates a set or a stage where information
or document are peripheral to the question of how one plays out and affirms
as history his own personal truth.
Born in Lisbon, Salomé Lamas studied cinema and fine arts both
in Portugal and Amsterdam and has exhibited her work widely both in the context
of the gallery and the film theater. Rather than conventionally dwelling in the periphery
between cinema and the visual arts, fiction and documentary, she has made
these languages her own, challenging the lines between genres and modes of exhibition.
Salomé’s films are fearless, both in the formal and narrative risks they take,
and in their physical performance, as we see her trapped, hanging,
falling or in this case, sitting silently behind the camera,
in a fertile occupation of a no man’s land.
– Joana Pimenta, Film and Visual Studies PhD candidate, Harvard University
The art of resistance in Burkina Faso
A documentary by Iara Lee
Burkina Faso, USA, Bulgaria / 2018 / 72 min
+ Skype talk with Serge Bayala (social activist in Burkina Faso)
and in the presence of Gabriela Babnik
Burkinabè Rising, a new documentary from Cultures of Resistance Films,
showcases creative nonviolent resistance in Burkina Faso.
A small, landlocked country in West Africa, Burkina Faso is home to a
vibrant community of artists and engaged citizens, who provide an example of the type
of political change that can be achieved when people come together.
It is an inspiration, not only to the rest of Africa but also to the rest of the world.
Through music, film, ecology, visual art, and architecture, the people featured
in this film are carrying on the revolutionary spirit of Thomas Sankara.
After assuming the presidency in 1983, Sankara was killed in a 1987 coup d’état
led by his friend and close advisor Blaise Compaoré, who subsequently ruled the country
as an autocrat for twenty-seven years. In October 2014, a massive popular insurrection
led to his removal. Today, the spirit of resistance is mightier than ever in Burkina Faso.
A documentary by Vladimir Tomic
Denmark, Serbia / 2015/ 70 min
+ Skype talk with Vladimir Tomic
In 1992 a wave of refugees from the war in Bosnia and Herzegovina reached Denmark.
With existing refugee camps completely full, the Red Cross pulled a giant ship
into the canals of Copenhagen. The ship, Flotel Europa, became a temporary home
for a thousand people waiting for decisions on their asylum applications.
Among them was a 12 year old boy, Vladimir, who fled Sarajevo
together with his mother and older brother.
They spent two years in the limbo of Flotel Europa.
Two decades later, Vladimir Tomic takes us on a journey of growing up
on this ship filled with echoes of the war — and other things
that make up an adolescence. The coming-of-age story is juxtaposed
with personal VHS archive material shot by refugees
who shared the “space-time vacuum” of the Flotel.
Alles Flex? (All Flex?)
A documentary by Abel Heijkamp (NL) and Julij Borštnik (SI)
and in the presence of Julij Borštnik
Netherlands / 2018 / 75 min
In the 4 episode web-documentary “The Future of Work”
Abel Heijkamp (NL) and Julij Borštnik (SI) research the consequences
of the ongoing precarisation of work and living in the Netherlands,
Slovenia, Germany and Europe. In Episode 1 “Alles Flex?” (All Flex?)
they are in the Netherlands to investigate: What kind of society do we get
if both work and housing are flexibilised?
a documentary by Andrei Dascalescu
Romania / 2016 / 80 min
+ Skype talk with Andrei Dascalescu
As miners in the Romanian town of Petrila go down into the mine for the last time,
artist and ex-miner Ion Barbu is working on his mission:
preserving Petrila’s coalmine as cultural heritage.
But in accordance with EU agreements on the closure of the mine,
the authorities are committed to demolishing it completely.
This would bring an abrupt end to a history with which the mining community
still feels a deep affinity, but one that doesn’t appear to interest the politicians
in the slightest. Barbu refuses to back down, doing all he can to keep the memories
of the mine alive. He covers the mine buildings in murals and organizes performances,
street protests and an underground theater festival.
His resolve is a match for that of his opponents, and his art,
which samples freely from art history,
is charged with an absurdism well suited to the situation.
Nonetheless, his actions prove to be more than just a frivolous protest;
they become a channel for the collective mourning of a redundant industry.
THE SHOE – KURPE
by and in the presence of
Latvia / Germany / France / 1998 / 83 min
Every night, Soviet tractors comb the coast of Latvia
looking for signs of anyone who could have
infiltrated the Soviet border from the sea.
One morning, three Soviet patrolmen discover a woman’s shoe
in the sand and footsteps leading to the quaint little village of Liepaja.
END OF THE WORLD
by Monika Pawluczuk
Poland / 2015 / 40 min
+ Skype talk with the producer Katarzyna Ślesicka
END OF THE WORLD is an intimate, creative and very immensely
visual documentary where couple of stories weave into one narrative
during in one night. In a big city, many people are joined in one need
– troubled by loneliness, they want to talk to someone.
Some of them call an emergency number 112,
even if it’s not really necessary, others call the radio.
This time the subject of the broadcast is the end of the world
predicted by the Mayan calendar. The speaker asks the listeners
what it actually means to each one of them. They talk about things that are tragic
and painful, and sometimes small and funny.
Their need to be heard, to communicate, to share their experience
with someone else is evident and moving. The radio is a motif linking
this night’s events – we hear it in the ambulance, in a city’s monitoring centre,
where we observe the night life of the city presented on dozens of screens.
The radio binds the elements of the film together in terms of structure and meaning:
it is the source of the most important questions.
by and in the presence of
Czech Republic / 2014 / 84 min
This picturesque Ukrainian farm is not surrounded by fields,
but by huge housing developments. Ominous cranes overlook Natasha’s land
at the edge of Kiev, which year after year is being pushed deeper
into a pit by new panel buildings. The brave owner
protects not only acres of land, but also traditional family values,
faith and ownership. From a bird’s-eye view of the farm,
a sharp contrast emerges between the village and the city.
This peculiar family business model is set forth in a four-year chronicle
from the point of view of foreign visitors who don’t interfere
with the way of life that the family has lived for generations.
SOMETHING BETTER TO COME
by Hanna Polak
Poland / Denmark 2014 / 94 min
Ten-year-old Yula has but one dream – to lead a normal life.
For 14 YEARS, Oscar-nominated filmmaker Hanna Polak follows Yula
as she grows up in the forbidden territory of Svalka, the garbage dump
located 13 miles from the Kremlin in Putin’s Russia.
SOMETHING BETTER TO COME is Yula’s story – a dramatic tale of coming of age
and maturing to the point of taking destiny into one’s own hands.
It is a story of hope, courage, and life, all shot in gripping vérité style that stuns
with its directness and immediacy.
“An enriching experience and a remarkable project that aims
and achieve to give voice to the voiceless, this film is at once strikingly real
and impressively poetic due to its genuine portrayal of the situation
of extreme poverty with an underlying sentiment of optimism.”
– Matt Micucci for Cinecola
1. International Documentary Festival Amsterdam, (IDFA)
2014: Special Jury Award (Netherlands)
2. Trieste Film Festival: The Alpe Adria Cinema Award: Best Documentary (Italy)
3. FIFDH, Geneva: The Youth Jury Price, Creative Documentary (Switzerland)
4. Art DocFest Moscow: Grand Prix of ArtDoc (Russia)
5. ZagrebDox 2015: Special Mention (Croatia)
6. EuroDok: Jury Award, Best Documentary (Norway)
7. One World Brussels: Special Mention (Belgium)
8. Documenta Madrid: Second Price of the Jury (Spain)
9. Doc.fest Munich: VIKTOR Main Competition DOK.international (Germany)
10. Docs Against Gravity: Millennium Award for Best Feature Documentary Film (Poland)
INGEN KO PÅ ISEN / NO COW ON THE ICE
by Eloy Domínguez Serén
Spain 2015 / 63 min
+ Skype talk with Eloy Domínguez Serén
Language and landscape as a gate into a new life.
A young Galician filmmaker emigrates to Sweden,
where he performs different part-time jobs.
His learning of a new language and fascination for the Swedish landscape
become a driving force against the difficult life conditions.
As he learns about the culture, society and lifestyle,
he develops a new identity.
Evoking Jonas Mekas might not be inapropriate to introduce
this personal filmed diary, especially in regard to the richness of the situations
and the delicate and visually graceful approach.
Having in mind the historical perspective of his grandparent’s emigration,
Domínguez Serén’s core focus – and the one underlying today’s human migration
– is undoubtedly the acquisition of a new language, which allows to develop
a deep relationship with both a new landscape and a different human culture.
Filmed over several years, the filmmaker manages, with a very accurate editing,
to capture this long process, which starts with silent solitary thoughts
and evolves into communication.
World Premiere at Visions du Réel (Switzerland), Official Competition.
National Premiere at Göteborg Film Festival.
Award for the Best Film at Play-Doc.
Award for the Best Documentary Film at Festival du Cinéma Espagnol de Toulouse.
Award for the Best National Film at Filmadrid.
Award for the Best Screenplay at L’Alternativa. Barcelona Independent Film Festival.
Award DOCMA for the Best Film at Alcances.
Special Mention of the Jury at CEME DOC (Mexico).
THEME PARTY FILM
enjoy our COCKTAIL BAR with famous film cocktails
and win a nice prize in our TOMBOLA.
to come to Rog and present their documentaries in Živko Skvotec.
In February our first guest will be Jiří Stejskal,
who will come from Prague with his documentary “Jama”.
Other films from January to March will be
“No Cow on the Ice” from Eloy Dominguez Seren,
“Something Better to Come” from Hanna Polak and
“End of the World” by Monika Pawluczuk.
Other guests, such as Pietro Pasquetti, Loredana Bianconi,
Laila Pakalnina and Salomé Lama are planned
to attend screenings of their films during the year.
Thank you for your support!
Dom / Home
by and in the presence of
Slovenia 2015 / 82 min
As a result of the privatization process, a five-storey building with three entrances,
originally built as a temporary workers home mainly for guest construction workers
from Bosnia, is now shared by nineteen owners.
Men that live there, came to Slovenia as young lads and spent 30 years
working on various construction sites throughout Slovenia.
When the construction companies they worked for went bankrupt,
they lost everything, and their bankrupt employers owe them lot of money.
The first floor is occupied by adolescents who come from disturbed families
and prefer the welfare youth home.
A few tenants found refuge here in this cheapest accommodation facility,
because they had been evicted from their former apartments.
The house is large, but for most of its residents the accommodation here
means that they have just a bed and not much else.
Nobody calls it a home; they all thought it would be just a temporary solution,
but sometimes this temporariness drags on endlessly.
Besides social marginalization they have something else in common: stories.
Pet nadstropij, tri vhode in devetnajst lastnikov ima po privatizaciji dom,
ki je bil zgrajen kot samski dom gradbenih delavcev.
V njem živijo možje, ki so kot mladeniči prišli iz Bosne,
trideset let kot gradbeni delavci gradili Slovenijo in po bankrotu teh podjetij
ostali brez vsega, propadli lastniki pa so jim ostali dolžni veliko denarja.
V prvem nadstropju stanujejo mladostniki, ki so ušli iz ponesrečenih družin
in jim je ljubše socialno skrbstvo mladinskega doma.
Tukaj so deložiranci, ki iščejo najcenejšo streho nad glavo.
Hiša je velika, vendar ima večina v njej samo ležišče; nihče ne reče,
da je tukaj doma; vsi so prišli začasno, vendar se včasih začasnost zelo zavleče.
Poleg socialne odrinjenosti imajo še nekaj skupnega: zgodbe.
Rogumentary meets Luksuz
On Wednesday, 20.12. at 20 h Rogumentary will host a movie night
of short films from Luksuz production from Krško.
We will watch 8 short documentaries from 2003 until today with
English subtitles. The screening includes snacks, drinks and a debate.
Občinski svetnik, 5’16” (2003)
Jabolčne migracije, 10’12” (2009)
Domoljub, 4’56” (2009)
The Invisibles, 9’50” (2011)
Lenča Ferenščak, 7’30” (2013)
Pri našem delu, 8’13” (2013)
Food anarchy, 8’10” (2014)
Brez žice, 4′ (2016)
Luksuz production is a video production of the Society of allies for soft landing (DZMP),
which was created as a reaction to “the apathy of cultural events for youngsters and
general insensitivity for distress of other people”. With their action they offer practical
film education to young people and contribute to the recognition of independent film. A
number of awarded films was made under their mentorship. On FSF (Slovene Film
Festival) in 2003 they also received the Vesna Award for special achievements.
V sredo, 20.12, bodo v Rogumentary potekale projekcije kratkih filmov Luksuz
produkcije iz Krškega. Ogledali si bomo 9 kratkih dokumentarnih filmov od leta 2003 pa
do danes z angleškimi podnapisi. V ogled so vključeni prigrizki, pijača in debata.
Luksuz produkcija je video producija Društva Zaveznikov Mehkega Pristanka (DZMP), ki
je nastalo “kot odziv na pomanjkanje kulturnega dogajanja za mlade in splošno
neobčutljivost za stisko drugih”. S svojim delovanjem nudijo mladim praktično filmsko
izobrazbo ter prispevajo k uveljavljanu neodvisnega filma.
Pod njihovim menstorstvom je nastalo že veliko nagrajenih filmov,
2013 so na FSF prejeli tudi Vesno za posebne dosežke.
Mama je ena sama / Tatjana in motherland
by and in the presence of
Slovenia 2014 / 60 min
Tatjana in Motherland is a partly animated documentary essay about Slovenia and its men.
It is a “documentary-tale” of how Slovenian society has been disintegrating in an invisible way.
The story will unveil a Slovenian Oedipus archetype of the possessive martyr mother type
and her relationship with her son, in which she through emotional manipulation,
by constantly creating feelings of guilt, burdens her son to such a degree,
that he remains dependant on her for the rest of his life. In order to put this relationship
to its best use, all Slovenian governing structures have elevated mother figure on the level
of a saint and have assigned to it the cultish role. The result of the Slovenian maternal cult
is a typical Slovene male, who is pathologically obsessed with his mother.
Due to an absent father he is not morally introduced into society, whereas the mother
continually rewards his childish behaviour. He is stuck in his development,
filled with envy and jealousies. On average, he enters society only after 32,
highly educated but with a low self-esteem and an insatiable need for admiration.
He usually becomes an alcohol-addicted compulsive-creative artist or a narcissistic businessman,
who treats people like figures, a politician who can only lead according to the principle
of Divide and Conquer or even a sociopath murderer. Slovenia is one of the smallest
European countries with a population of 2 million. It has a most unusual geographical shape,
reminiscent of a protective mother-hen guarding her eggs.
More information at: https://rogumentary.wordpress.com/films/mama-je-ena-sama/
60 min / dokumentarni, srednjemetražni film
Mama je ena sama je delno animirana dokumentarna filmska zgodba,
ki razkriva značilen slovenski arhetip mučeniško – posesivne matere.
Gre za odnos pri katerem mati s čustveno manipulacijo, vlogo žrtve,
telesnimi kaznimi ali čustveno zlorabo, v otroštvu tako močno zaznamuje sina,
da ta ostane od nje odvisen vse svoje življenje. V Sloveniji kjer ima mati v družbi
kultno vlogo pa s tem likom že od protestantizma naprej manipulirajo tudi vsi vladajoči režimi,
na čelu s slovensko katoliško cerkvijo. Rezultat materinskega kulta in režimskih manipulacij
pa je tipičen slovenski moški, ki je patološko okupiran sam s sabo in s svojo materjo in
ob šibkem očetu v svojem življenju in družbi lahko deluje le retrogradno in razdruževalno.
Zlahka postane ojdipovski umetnik, sociopatski morilec ali narcisoidni politik,
ki zna ljudi voditi le po načelu Devide and conquer!
Glavna protagonistka filma je Tatjana Kneževič, učiteljica angleščine in voditeljica
na alternativnem ljubljanskem radiju – Radio Študent. Tatjanin motiv v zgodbi
pa je povsem nepolitičen in praktičen; pri svojih 33 letih si želi poiskati slovenskega
fanta s katerim bi lahko ustvarila partnerstvo in družino.
»Ko sem se lotila raziskave slovenskih moških sem ob štirih najbolj znamenitih odkrila
šokantno podrobnost; Največji slovenski pisatelj, največji pesnik, svetovno znani slovenski diktator
in največji slovenski serijski morile, so zrastli ob močni posesivni materi in odsotnem očetu…«
ROGumentary provides free documentary screenings in
Živko Skvotec (Tovarna Rog), Trubarjeva 72 in Ljubljana (Slovenia)
from December 2017 on. The screenings will be
held every two weeks on Wednesdays at 20hs.
Concrete dates will be provided in advance.
We already screened the following two films during the
Ordinary October Revolution Festival
AUSMA (DAWN / ZORA ) – a film by LAILA PAKALNINA
Latvia, Estonia, Poland 2015 / 96 minutes
Eleven‐year‐old Janis denounces his father. As an exemplary pioneer living
on a Soviet collective farm called Dawn, he realizes enemies of the system
lurk everywhere. Even his loved ones could be conspiring against the collective
and its authority. The boy’s father is not beholden to him and starts a vendetta.
The starting point for Janis’s story in Laila Pakalnina’s Dawn comes from the
life of Pavlik Morozov, one of Stalin’s martyrs, who, in the early 1930s,
betrayed his family and was murdered. At the same time, the director
was inspired by the screenplay to Sergei Eisenstein’s Bezhin Meadow.
Dawn portrays the oppressive, suffocating world of the Soviet system,
which was dominated by absurdity. Pakalnina and cinematographer
Wojciech Staron have created one of the most interesting and most
original snapshots of totalitarian reality.
This is Pakalnina’s fifth feature film.
Laila Pakalnina, sicer priznana dokumentaristka, se v svoji tragikomediji
o kolhozu, Zora, pokloni mitom sovjetskega mučenika Pavlika Morozova,
sovjetske režiserske legende Sergeja Eisensteina in estetike sovjetskega filma.
Ob tem ji uspe proizvesti film, ki osupne s svojo izbiro kadrov, perspektiv
in premikov s kamero. Komičnost je subtilna,
kritika ostra in vsak detajl je pomemben.
DO YOU REMEMBER REVOLUTION
a documentary by LOREDANA BIANCONI
Belgium 1997 / 116 minutes
In Italy, in the mid-1970s, Adriana, Barbara, Nadia and Susanna
were 20 years old when they decided to join the armed struggle
and leave behind their social life and their families in order to make
the revolution the centre and the aim of their existence. Today they
reappear, after many years in prison, and they try,
each of them, to recount their own experiences.
They speak about the political reasons which initially sustained them,
the conflicts, the doubts, and the moments of being torn apart, which marked
out their lives as women caught up in the vortex of war. A course of events
which ended in the condemnation of the armed struggle and the pain of the lives
that were destroyed – their victims’ lives and their own.
– Loredana Bianconi
“Italija, sredi sedemdesetih: Adriana, Barbara, Nadia in Susanna so stare
dvajset let, ko se pridružijo oboroženemu gibanju. Odrekle so se družabnemu
življenju in družinam in se posvetile revoluciji, ki je postala središčna točka
in smisel njihovega življenja. Danes, po mnogih letih zaporniškega življenja,
poskuša vsaka zase ponovno pretehtati svoje izkušnje. Pripovedujejo
o političnih razlogih, ki so jim sledile, o konfliktih, dvomih in uničujočih
trenutkih, ki so zaznamovali njihovo življenje, ujeto v vrtincu vojne.
Razvoj dogodkov je pripeljal do dokončne obsodbe oboroženega
boja in povzročil bolečine ob uničenih življenjih –
tako žrtev kot njihovih lastnih.”
– Loredana Bianconi