The Baltic Event Coproduction Market Awards at the 20th Tallinn Black Nights Film Festival
The Baltic Event Coproduction Market, taking place since 2005, is the largest coproduction platform in the region of Northern and Central Europe. With a complete overview of the year’s audiovisual production in the region and a range of programs open for feature film projects, Baltic Event is the key production platform to be at in November.
For its 15th edition, Baltic Event selected 14 projects from its traditional roster of new EU territories, Scandinavia and Russia, as well as a project from Georgia in collaboration with Eave and 2 projects from this year’s focus country, Luxembourg. The Baltic Event Coproduction Market presented these 17 projects from November 22 to 24, 2016 to international coproducers and buyers at more than 500 one-to-one meetings during the 20th jubilee edition of the Black Nights Film Festival.
The Baltic Event team was satisfied by the exceptionally...
The Baltic Event Coproduction Market, taking place since 2005, is the largest coproduction platform in the region of Northern and Central Europe. With a complete overview of the year’s audiovisual production in the region and a range of programs open for feature film projects, Baltic Event is the key production platform to be at in November.
For its 15th edition, Baltic Event selected 14 projects from its traditional roster of new EU territories, Scandinavia and Russia, as well as a project from Georgia in collaboration with Eave and 2 projects from this year’s focus country, Luxembourg. The Baltic Event Coproduction Market presented these 17 projects from November 22 to 24, 2016 to international coproducers and buyers at more than 500 one-to-one meetings during the 20th jubilee edition of the Black Nights Film Festival.
The Baltic Event team was satisfied by the exceptionally...
- 11/26/2016
- by Tara Karajica
- Sydney's Buzz
Screen Pitch competition line-up; Queen Of Spades opens Main Competition.
Films from Russia, the Baltic states, Poland, Croatia and Georgia are among 17 projects selected for the 15th edition of the Baltic Event’s Co-Production Market (November 21-24).
The projects will be competing, among other awards, for Screen International’s Best Pitch Award which has gone in the past to projects from Finland, Estonia and Russia as well as the first ever Baltic co-production of a fiction feature film, Lithuania’s Seneca’s Day.
The prize is decided by the Co-Production Market’s participants.
This year’s selection features new projects by Latvia’s Laila Pakalnina (Insect Night), Croatia’s Vinko Bresan (What A Country!) and Poland’s Wojciech Smarzowski (The Clergy) and Dariusz Gajewski (Trust).
In addition, the Tallinn forum will serve as the venue for up-and-coming filmmakers such as Russia’s Maxim Dashkin, Lithuania’s Tomas Smulkis and Sweden’s Maria Eriksson to present new film...
Films from Russia, the Baltic states, Poland, Croatia and Georgia are among 17 projects selected for the 15th edition of the Baltic Event’s Co-Production Market (November 21-24).
The projects will be competing, among other awards, for Screen International’s Best Pitch Award which has gone in the past to projects from Finland, Estonia and Russia as well as the first ever Baltic co-production of a fiction feature film, Lithuania’s Seneca’s Day.
The prize is decided by the Co-Production Market’s participants.
This year’s selection features new projects by Latvia’s Laila Pakalnina (Insect Night), Croatia’s Vinko Bresan (What A Country!) and Poland’s Wojciech Smarzowski (The Clergy) and Dariusz Gajewski (Trust).
In addition, the Tallinn forum will serve as the venue for up-and-coming filmmakers such as Russia’s Maxim Dashkin, Lithuania’s Tomas Smulkis and Sweden’s Maria Eriksson to present new film...
- 10/21/2016
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Philipp Bräuer also announces decision to leave Max Ophüls Prize Film Festival.
Bernd Buder is to step down from the post of artistic director of the East-West co-production market Connecting Cottbus in Germany, after his fourth edition this November.
Buder had headed the market as successor to Gabriele Brunnenmeyer since 2011. He will focus in future on his activities at the parallel FilmFestival Cottbus where he has served as head of the programme department since last year.
Buder has worked at the festival in Cottbus in various functions since 1996, most recently as a researcher and curator of the Focus sidebar.
The co-production event is now looking for a successor who would theoretically work in tandem with Buder on the 2014 edition (November 6-7) before taking over full responsibility from 2015, as he told Screen Daily at this week’s Odessa International Film.
In Odessa, he was serving on the jury along with Russian producer Evgeny Gindilis and Warsaw Film Fest...
Bernd Buder is to step down from the post of artistic director of the East-West co-production market Connecting Cottbus in Germany, after his fourth edition this November.
Buder had headed the market as successor to Gabriele Brunnenmeyer since 2011. He will focus in future on his activities at the parallel FilmFestival Cottbus where he has served as head of the programme department since last year.
Buder has worked at the festival in Cottbus in various functions since 1996, most recently as a researcher and curator of the Focus sidebar.
The co-production event is now looking for a successor who would theoretically work in tandem with Buder on the 2014 edition (November 6-7) before taking over full responsibility from 2015, as he told Screen Daily at this week’s Odessa International Film.
In Odessa, he was serving on the jury along with Russian producer Evgeny Gindilis and Warsaw Film Fest...
- 7/15/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Films never stop arriving at Mexico City's Cineteca Nacional and now, the 34th edition of their second most important event is ready to kick off. Cineteca's 34 Foro Internacional (International Forum) is, just like their Muestra, a fine selection of the world's most exciting recent cinema. This year's Foro starts on July 4, and brings to Mexico City the second volume of Lars von Trier's famous Nymphomaniac, the Dutch sensation Borgman (finally coming to Mexico!), the Academy Award nominated documentary The Missing Picture, and much more. This is the complete lineup of Cineteca's 34 Foro (there's a link to a Twitch review whenever possible): Nymphomaniac Volume II (Lars von Trier, Denmark-Belgium-France-Germany-uk, 2013)Review by Ard Vjn - Nymphomaniac Volume II Brings The Pain...The Priest's Children (Vinko Bresan,...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 6/24/2014
- Screen Anarchy
Protagonist Pictures, Wide, Gaumont and TF1 International have concluded fresh deals in Germany with features from this year’s European Film Market.
Protagonist sold Rebecca Miller’s next feature film, the romantic comedy of manners Maggie’s Plan, starring Berlinale jury member Greta Gerwig and Julianne Moore, to Christian Meinke’s Mfa+ FilmDistribution.
Mfa+ previously released Frances Ha, with Gerwig in the title role, and will open Korean film-maker Bong Joon-ho’s Snowpiercer, which screened in the Berlinale’s Forum section, in German cinemas on 3 April.
Deals by French sales agents
French sales company Wide signed a deal with Neue Visionen for Vinko Bresan’s top-grossing Croatian comedy The Priest’s Children, while its documentary sales arm Wide House sold Kenneth Elvebakk’s Norwegian documentary Ballet Boys to Cmv Laservision.
Munich-based distributor Prokino picked up Danish film-maker Jonas Alexander Arnby’s coming-of-age horror film When Animals Dream from Gaumont, and Pro-Fun acquired Chris Mason Johnson’s [link...
Protagonist sold Rebecca Miller’s next feature film, the romantic comedy of manners Maggie’s Plan, starring Berlinale jury member Greta Gerwig and Julianne Moore, to Christian Meinke’s Mfa+ FilmDistribution.
Mfa+ previously released Frances Ha, with Gerwig in the title role, and will open Korean film-maker Bong Joon-ho’s Snowpiercer, which screened in the Berlinale’s Forum section, in German cinemas on 3 April.
Deals by French sales agents
French sales company Wide signed a deal with Neue Visionen for Vinko Bresan’s top-grossing Croatian comedy The Priest’s Children, while its documentary sales arm Wide House sold Kenneth Elvebakk’s Norwegian documentary Ballet Boys to Cmv Laservision.
Munich-based distributor Prokino picked up Danish film-maker Jonas Alexander Arnby’s coming-of-age horror film When Animals Dream from Gaumont, and Pro-Fun acquired Chris Mason Johnson’s [link...
- 2/24/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Protagonist Pictures, Wide, Gaumont and TF1 International have concluded fresh deals in Germany with features from this year’s European Film Market.
Protagonist sold Rebecca Miller’s next feature film, the romantic comedy of manners Maggie’s Plan, starring Berlinale jury member Greta Gerwig and Julianne Moore, to Christian Meinke’s Mfa+ FilmDistribution.
Mfa+ previously released Frances Ha, with Gerwig in the title role, and will open Korean film-maker Bong Joon-ho’s Snowpiercer, which screened in the Berlinale’s Forum section, in German cinemas on 3 April.
Deals by French sales agents
French sales company Wide signed a deal with Neue Visionen for Vinko Bresan’s top-grossing Croatian comedy The Priest’s Children, while its documentary sales arm Wide House sold Kenneth Elvebakk’s Norwegian documentary Ballet Boys to Cmv Laservision.
Munich-based distributor Prokino picked up Danish film-maker Jonas Alexander Arnby’s coming-of-age horror film When Animals Dream from Gaumont, and Pro-Fun acquired Chris Mason Johnson’s [link...
Protagonist sold Rebecca Miller’s next feature film, the romantic comedy of manners Maggie’s Plan, starring Berlinale jury member Greta Gerwig and Julianne Moore, to Christian Meinke’s Mfa+ FilmDistribution.
Mfa+ previously released Frances Ha, with Gerwig in the title role, and will open Korean film-maker Bong Joon-ho’s Snowpiercer, which screened in the Berlinale’s Forum section, in German cinemas on 3 April.
Deals by French sales agents
French sales company Wide signed a deal with Neue Visionen for Vinko Bresan’s top-grossing Croatian comedy The Priest’s Children, while its documentary sales arm Wide House sold Kenneth Elvebakk’s Norwegian documentary Ballet Boys to Cmv Laservision.
Munich-based distributor Prokino picked up Danish film-maker Jonas Alexander Arnby’s coming-of-age horror film When Animals Dream from Gaumont, and Pro-Fun acquired Chris Mason Johnson’s [link...
- 2/24/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Top brass at the 25th annual Palm Springs International Film Festival (Psiff) have announced a new programme on Canadian Cinema as well as the traditionally strong roster of foreign-language films eligible for the Fipresci Award in the Awards Buzz section, and Modern Masters.
The festival will screen 45 of the 76 official foreign-language Oscar submissions under the umbrella of Awards Buzz.
“We’ve selected Canadian films for a special focus at this year’s festival for many reasons, not the least of which is the wealth of talent emerging from its relatively small, indigenous film industry, and the depth and richness of story and character portrayal its films exemplify,” said festival director Darryl Macdonald.
“Whether it’s established auteurs like Denis Coté, Denis Villenueve and Atom Egoyan, gifted actor-directors like Don McKellar and Sarah Polley or newly emerging talents like Chloé Robichaud, Craig Goodwill and Sébastien Pilote, Canadian creative ingenuity is on abundant display in its films. All of this...
The festival will screen 45 of the 76 official foreign-language Oscar submissions under the umbrella of Awards Buzz.
“We’ve selected Canadian films for a special focus at this year’s festival for many reasons, not the least of which is the wealth of talent emerging from its relatively small, indigenous film industry, and the depth and richness of story and character portrayal its films exemplify,” said festival director Darryl Macdonald.
“Whether it’s established auteurs like Denis Coté, Denis Villenueve and Atom Egoyan, gifted actor-directors like Don McKellar and Sarah Polley or newly emerging talents like Chloé Robichaud, Craig Goodwill and Sébastien Pilote, Canadian creative ingenuity is on abundant display in its films. All of this...
- 12/12/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Films from Russia, Kosovo and Serbia were the main winners at this year’s FilmFestival Cottbus and its parallel East-West co-production market Connecting Cottbus.
Russian director Aleksandr Veledinsky’s The Geographer Drank His Globe Away has continued its successful international festival career by picking up the Main Prize at Germany’s Cottbus festival with a cash award of €20,000.
The International Competition Jury praised Veledinsky’s “exquisite mastery of his craft and great playfulness” in its motivation.
Handled internationally by Moscow-based Ant!pode Sales & Distribution, The Geographer Drank His Globe Away was released theatrically on almost 500 screens in Russia last Thursday (Nov 7) as well as in the Ukraine, Belarus and Kazakhstan. Forthcoming festival invitations include the Black Nights Festival in Tallinn and festivals in Tromsø and Göteborg.
Winning the festival’s Main Prize also gives Veledinsky and his producers the opportunity to return to Cottbus next year as part of Connecting Cottbus’ Special Pitch Award for them to...
Russian director Aleksandr Veledinsky’s The Geographer Drank His Globe Away has continued its successful international festival career by picking up the Main Prize at Germany’s Cottbus festival with a cash award of €20,000.
The International Competition Jury praised Veledinsky’s “exquisite mastery of his craft and great playfulness” in its motivation.
Handled internationally by Moscow-based Ant!pode Sales & Distribution, The Geographer Drank His Globe Away was released theatrically on almost 500 screens in Russia last Thursday (Nov 7) as well as in the Ukraine, Belarus and Kazakhstan. Forthcoming festival invitations include the Black Nights Festival in Tallinn and festivals in Tromsø and Göteborg.
Winning the festival’s Main Prize also gives Veledinsky and his producers the opportunity to return to Cottbus next year as part of Connecting Cottbus’ Special Pitch Award for them to...
- 11/11/2013
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Mexican feature The Golden Dream (La jaula de oro) and French drama Suzanne take top prizes at Greek festival.Scoll down for full list of winners
Diego Quemada-Diez’s Cannes winner The Golden Dream (La jaula de oro) added more trophies to its collection at the 64th Thessaloniki International Film Festival on Saturday (Nov 9).
The road movie about teenage Guatemalan immigrants and their journey to the Us scooped the Golden Alexander for best film, the best director nod for Quemada, the audience (Fischer) award and the Greek Parliament trophy for “human values”.
The film won the Un Certain Regard – A Certain Talent Prize at Cannes, where it debuted in May, and also picked up Best International Feature Film at the Zurich Film Festival.
Suzanne, the portrait of a chaotic, unpredictable and fragile woman directed by Katell Quillevere was awarded second prize - the Silver Alexander.
The French drama also won the actress award for Sara Forestier, in the...
Diego Quemada-Diez’s Cannes winner The Golden Dream (La jaula de oro) added more trophies to its collection at the 64th Thessaloniki International Film Festival on Saturday (Nov 9).
The road movie about teenage Guatemalan immigrants and their journey to the Us scooped the Golden Alexander for best film, the best director nod for Quemada, the audience (Fischer) award and the Greek Parliament trophy for “human values”.
The film won the Un Certain Regard – A Certain Talent Prize at Cannes, where it debuted in May, and also picked up Best International Feature Film at the Zurich Film Festival.
Suzanne, the portrait of a chaotic, unpredictable and fragile woman directed by Katell Quillevere was awarded second prize - the Silver Alexander.
The French drama also won the actress award for Sara Forestier, in the...
- 11/11/2013
- by alexisgrivas@yahoo.com (Alexis Grivas)
- ScreenDaily
German sales agents have revealed a raft of market premieres to be presented at the forthcoming American Film Market (Afm) (Nov 6-13).
Ida Martins’ Cologne-based Media Luna will have screenings of five new titles as market premieres:
Stijn Coninx’s romantic feel-good drama Marina, based on the childhood memories of the Italian-Belgian singer Rocco Granata;
Menno Meyjes’ psychological drama-thriller The Dinner, based on Herman Koch’s eponymous international bestseller, which had its world premiere at last month’s Toronto International Film Festival;
Jan Verheyen’s courtroom drama The Verdict, which received the Best Award at the Montreal World Film Festival;
Julia von Heinz’s German-Israeli romantic comedy Hanna’s Journey which celebrates its German premiere on at this week’s Hof Film Days and is nominated for the Millbrook Authors Prize;
Bettina Blümner’s coming of age drama Broken Glass Park which was awarded the Goethe Institut’s Youth and Children’s Film Prize at the Schlingel...
Ida Martins’ Cologne-based Media Luna will have screenings of five new titles as market premieres:
Stijn Coninx’s romantic feel-good drama Marina, based on the childhood memories of the Italian-Belgian singer Rocco Granata;
Menno Meyjes’ psychological drama-thriller The Dinner, based on Herman Koch’s eponymous international bestseller, which had its world premiere at last month’s Toronto International Film Festival;
Jan Verheyen’s courtroom drama The Verdict, which received the Best Award at the Montreal World Film Festival;
Julia von Heinz’s German-Israeli romantic comedy Hanna’s Journey which celebrates its German premiere on at this week’s Hof Film Days and is nominated for the Millbrook Authors Prize;
Bettina Blümner’s coming of age drama Broken Glass Park which was awarded the Goethe Institut’s Youth and Children’s Film Prize at the Schlingel...
- 10/23/2013
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
WikiLeaks founder to judge films at the 21st Raindance Film Festival; 2013 line-up unveiled.Scroll down for full line-up of films
Julian Assange has joined the jury of the 21st Raindance Film Festival (Sept 25 - Oct 6), a London-based event that celebrates independent film in the UK and around the world.
The appointment is a controversial one. The Australian editor-in-chief and founder of WikiLeaks took refuge in the Ecuadorean embassy in London in June 2012 to avoid extradition to Sweden, where he is wanted for questioning about sexual assault allegations.
It is understood that he fears Sweden would extradite him to the Us, where he believes he is wanted in relation to WikiLeaks’ disclosure of a significant amount of classified Us military and diplomatic documents.
Commenting on Assange’s appointment, Raindance founder Elliot Grove said: “Every year Raindance invites interesting people to join our jury. In the past we have had musicians like Mick Jones, Marky Ramone and [link...
Julian Assange has joined the jury of the 21st Raindance Film Festival (Sept 25 - Oct 6), a London-based event that celebrates independent film in the UK and around the world.
The appointment is a controversial one. The Australian editor-in-chief and founder of WikiLeaks took refuge in the Ecuadorean embassy in London in June 2012 to avoid extradition to Sweden, where he is wanted for questioning about sexual assault allegations.
It is understood that he fears Sweden would extradite him to the Us, where he believes he is wanted in relation to WikiLeaks’ disclosure of a significant amount of classified Us military and diplomatic documents.
Commenting on Assange’s appointment, Raindance founder Elliot Grove said: “Every year Raindance invites interesting people to join our jury. In the past we have had musicians like Mick Jones, Marky Ramone and [link...
- 9/3/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
French sales outfit Wide Management has added a slew of titles in recent months.
Tiff contemporary world cinema premiere Ningen, about a Japanese CEO under pressure to save his company, is the second feature from Noor directors Cagla Zencirci and Guillaume Giovanetti.
Portuguese drama Bobo, by Ines Oliveira, plays in the Tiff discovery programme. The feature follows two women who unite over their mutual desire to protect a child.
Vinko Bresan’s Karlovy Vary competition comedy The Priest’s Children has sold to a number of European territories while Jean-Louis Daniel’s Paris-set Shanghai Belle, also in-demand, tells the story of young models discovering a life of drugs, sex and prostitution.
Also on the slate are Snails in the Rain by Yariv Mozer, Letters of a Portuguese Nun, Rene Feret’s The Film to Come, and Us comedy Only in New York, in which a stand-up has a novel take on the Israel-Palestine conflict.
Wide has also...
Tiff contemporary world cinema premiere Ningen, about a Japanese CEO under pressure to save his company, is the second feature from Noor directors Cagla Zencirci and Guillaume Giovanetti.
Portuguese drama Bobo, by Ines Oliveira, plays in the Tiff discovery programme. The feature follows two women who unite over their mutual desire to protect a child.
Vinko Bresan’s Karlovy Vary competition comedy The Priest’s Children has sold to a number of European territories while Jean-Louis Daniel’s Paris-set Shanghai Belle, also in-demand, tells the story of young models discovering a life of drugs, sex and prostitution.
Also on the slate are Snails in the Rain by Yariv Mozer, Letters of a Portuguese Nun, Rene Feret’s The Film to Come, and Us comedy Only in New York, in which a stand-up has a novel take on the Israel-Palestine conflict.
Wide has also...
- 8/30/2013
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Chicago – The 2013 Chicago International Film Festival is almost here and the programmers have unveiled their first slate of titles, including hits from other festivals like “Blue is the Warmest Color,” “Heli,” “The Inevitable Defeat of Mister and Pete.” The 49th annual fest runs from October 10-24, 2013. Official, Ciff-provided descriptions below of what we know will play there so far:
Big Bad Wolves (Directors: Aharon Keshales, Navot Papushado • Israel): When the lead suspect in a brutal child murder is released due to a police blunder, a vigilante police detective and a grieving father take the law into their own hands in this fantastically intense, darkly funny revenge thriller from one of the pioneers of Israeli horror cinema.
Blue is the Warmest Color (Director: Abdellatif Kechiche • France): Teenager Adèle’s life is turned upside down the night she meets blue-haired Emma in this scandalous winner of the top prize at Cannes.
Big Bad Wolves (Directors: Aharon Keshales, Navot Papushado • Israel): When the lead suspect in a brutal child murder is released due to a police blunder, a vigilante police detective and a grieving father take the law into their own hands in this fantastically intense, darkly funny revenge thriller from one of the pioneers of Israeli horror cinema.
Blue is the Warmest Color (Director: Abdellatif Kechiche • France): Teenager Adèle’s life is turned upside down the night she meets blue-haired Emma in this scandalous winner of the top prize at Cannes.
- 8/19/2013
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
After the snowy hype of Sundance, the bustle in Berlin and the sheer craziness of Cannes, the Karlovy Vary International Film Festival comes as sweet respite.
Now in its 44th edition, the Czech festival acts as a calm way station for cinema buffs and industry folk to regroup post-Cannes and pre-Venice and enjoy film without the adjunct "business."
The setting -- a West Bohemian spa town -- provides the necessary isolation while the screening schedule carefully balances recent festival winners with established art house faves and new work from independent directors the world over.
The competition vying for the 2009 Crystal Globe is strictly indie -- highlights include German comedy "Whisky with Vodka" from Andreas Dresen ("Cloud 9"), Sophie Barthes' directorial debut "Cold Souls" starring Paul Giamatti and minimalist drama "Twenty" from Iranian director Abdolreza Kahani.
But Karlovy Vary has also found space for mainstream entertainment such as Sam Mendes...
Now in its 44th edition, the Czech festival acts as a calm way station for cinema buffs and industry folk to regroup post-Cannes and pre-Venice and enjoy film without the adjunct "business."
The setting -- a West Bohemian spa town -- provides the necessary isolation while the screening schedule carefully balances recent festival winners with established art house faves and new work from independent directors the world over.
The competition vying for the 2009 Crystal Globe is strictly indie -- highlights include German comedy "Whisky with Vodka" from Andreas Dresen ("Cloud 9"), Sophie Barthes' directorial debut "Cold Souls" starring Paul Giamatti and minimalist drama "Twenty" from Iranian director Abdolreza Kahani.
But Karlovy Vary has also found space for mainstream entertainment such as Sam Mendes...
- 6/25/2009
- by By Scott Roxborough
- The Hollywood Reporter - Movie News
SPLIT, Croatia -- Croatian director Vinko Bresan's "Will Not End There" ("Nije Kraj") is a colorful, at times moving yet ultimately unsatisfying love story set against ongoing Serb-Croat tensions. Despite incorporating what have become staple elements of many Balkan movies -- brash and violent men, vulgar and scantily clad women and festive gypsies -- the title will probably have a harder time traveling out of the former Yugoslavia, or off the festival circuit, than the director's previous films ("Marshal", "How the War Started on My Island").
"Will Not End There" opens with Djuro (Predrag Vusovic), a gypsy porn actor, commenting on how Serbs and Croats are overly complicated before he begins playing his nose, a twangy tune that runs through the film and quickly begins to grate.
Martin (Ivan Herceg) buys a porn DVD from a street vendor, tracks down its star Djuro and coerces the latter into helping him get co-star actress Desa (Nada Sargin). She lives in an alcoholic stupor in the Serbian capital, where her pimp/producer agrees to sell her for 30,000 euros. Martin comes up with the money illegally and takes her back to his apartment in Croatia to what appears to be a platonic arrangement as he asks nothing of her and justifies his actions even less.
Of course, there's a reason to all of the over-the-top antics and gypsy platitudes in the intentionally enigmatic prologue, which is explained as the film unfolds. It has to do with Martin's role in the death of Desa's husband, a Serbian officer, in the recent war. Thrown into the mix are Martin's former fellow soldiers, now petty criminals, who recognize Desa and want her dead before she eventually figures out who they are.
Sargin gives the most solid performance of the film. Adding depth to her role as a decent woman turned hooker/porn actress after tragedy struck, she is a reminder of how few male Balkan directors offer actresses multifaceted roles today. Unfortunately, Herceg is wooden throughout and offers little credibility as a man harboring a guilt-ridden love for years, although stage and screen star Vusovic is amusing as the super-endowed porn actor whose wife thinks he makes his living playing music in the west.
While the plot is compelling at moments, despite an uneven blend of comedy and drama, it gets tangled up in all the dangling threads of a mystery and revelation that ultimately detracts from a very human story at its core.
Production companies: InterFilm, Vans, HRT. Cast: Ivan Herceg, Nada Sargin, Predrag Vusovic, Drazen Kuhn, Damir Orlic, Leon Lucev, Mladen Vulic, Voja Brajovic. Director: Vinko Bresan. Screenwriters: Bresan, Mate Matisic, Franjo Mogus. Producer: Ivan Maloca. Director of Photography: Mogus. Production Designer: Mario Ivezic. Music: Mate Matisic. Costume designer: Zeljka Franulovic. Editor: Sandra Botica-Bresan. Running time: 108 minutes.
"Will Not End There" opens with Djuro (Predrag Vusovic), a gypsy porn actor, commenting on how Serbs and Croats are overly complicated before he begins playing his nose, a twangy tune that runs through the film and quickly begins to grate.
Martin (Ivan Herceg) buys a porn DVD from a street vendor, tracks down its star Djuro and coerces the latter into helping him get co-star actress Desa (Nada Sargin). She lives in an alcoholic stupor in the Serbian capital, where her pimp/producer agrees to sell her for 30,000 euros. Martin comes up with the money illegally and takes her back to his apartment in Croatia to what appears to be a platonic arrangement as he asks nothing of her and justifies his actions even less.
Of course, there's a reason to all of the over-the-top antics and gypsy platitudes in the intentionally enigmatic prologue, which is explained as the film unfolds. It has to do with Martin's role in the death of Desa's husband, a Serbian officer, in the recent war. Thrown into the mix are Martin's former fellow soldiers, now petty criminals, who recognize Desa and want her dead before she eventually figures out who they are.
Sargin gives the most solid performance of the film. Adding depth to her role as a decent woman turned hooker/porn actress after tragedy struck, she is a reminder of how few male Balkan directors offer actresses multifaceted roles today. Unfortunately, Herceg is wooden throughout and offers little credibility as a man harboring a guilt-ridden love for years, although stage and screen star Vusovic is amusing as the super-endowed porn actor whose wife thinks he makes his living playing music in the west.
While the plot is compelling at moments, despite an uneven blend of comedy and drama, it gets tangled up in all the dangling threads of a mystery and revelation that ultimately detracts from a very human story at its core.
Production companies: InterFilm, Vans, HRT. Cast: Ivan Herceg, Nada Sargin, Predrag Vusovic, Drazen Kuhn, Damir Orlic, Leon Lucev, Mladen Vulic, Voja Brajovic. Director: Vinko Bresan. Screenwriters: Bresan, Mate Matisic, Franjo Mogus. Producer: Ivan Maloca. Director of Photography: Mogus. Production Designer: Mario Ivezic. Music: Mate Matisic. Costume designer: Zeljka Franulovic. Editor: Sandra Botica-Bresan. Running time: 108 minutes.
- 6/17/2008
- The Hollywood Reporter - Movie News
SPLIT, Croatia -- The Split Mediterranean Film Festival kicks off its first edition Tuesday night with opening film "The Edge of Heaven" by Fatih Akin. The Festival takes place in the ancient center of the city of Split, Croatia's major city on the Adriatic coast, and runs May 27-31. A total of nine features and five shorts are featured in competition.
Other competition titles include festival hits such as Nadine Labaki's "Caramel", Julian Schnabel's "The Diving Bell and the Butterfly," Samuel Benchetrit's "I Always Wanted to Be a Gangster," "Suddenly Last Winter" by Gustav Hofer and Luca Ragazzi, Abdel Kechiche's "The Secret of the Grain" and Juan Antonio Bayona's "The Orphanage".
Screening out of competition is the much-anticipated "Will Not Stop There" ("Nije Kraj"), the latest film by Vinko Bresan ("Marshal Tito's Spirit", "How the War Started on My Island"), Croatia's most international director.
Further sidebar sections include a retrospective of Mediterranean-themed films from the 1930s through the 1990s and a two-day roundtable discussion on issues such as politics, shifting demographics, religion, tourism and ecology and how they influence the various cultural scenes of a region that spans three continents: Europe, Africa and Asia.
Other competition titles include festival hits such as Nadine Labaki's "Caramel", Julian Schnabel's "The Diving Bell and the Butterfly," Samuel Benchetrit's "I Always Wanted to Be a Gangster," "Suddenly Last Winter" by Gustav Hofer and Luca Ragazzi, Abdel Kechiche's "The Secret of the Grain" and Juan Antonio Bayona's "The Orphanage".
Screening out of competition is the much-anticipated "Will Not Stop There" ("Nije Kraj"), the latest film by Vinko Bresan ("Marshal Tito's Spirit", "How the War Started on My Island"), Croatia's most international director.
Further sidebar sections include a retrospective of Mediterranean-themed films from the 1930s through the 1990s and a two-day roundtable discussion on issues such as politics, shifting demographics, religion, tourism and ecology and how they influence the various cultural scenes of a region that spans three continents: Europe, Africa and Asia.
- 5/26/2008
- The Hollywood Reporter - Movie News
BERLIN -- "Svjedoci" (Witnesses) is a masterful piece of storytelling that looks at events surrounding a murder and the possible execution of its only witness through various points of view. Croatian director Vinko Bresan, whose first two films were political satires, abandons irony here for an honest and emotional account of how war and ethnic hatred corrupt moral behavior. With top-notch production values, especially fluid and sharp-focused cinematography by Zivko Zalar, this Berlinale competition film makes an excellent candidate for art houses everywhere.
Bresan follows a recent filmmaking trend that eschews linear narration in favor of a fractured story wherein the same events are recounted from different viewpoints, letting motivations and back story gradually fill in a picture that is only completely clear in the film's final moments.
Bresan is being anything but trendy, however, as the multiple retellings underscore the movie's theme -- that everybody has reasons for behaving as he or she does. Episodes over a couple of days -- retold with subplots, digressions and seemingly minor characters along with flashbacks to a war raging nearby -- reveal a web of deceit that stems from desperation and despair.
Based on Jurica Pavicic's novel "Alabaster Sheep", which evidently did tell its story in a traditional narrative, the script by the novelist, director and cinematographer traces a murder and police investigation in a small town in Croatia near the front line of the civil war more than a decade ago. Fueled by alcohol, three Croatian soldiers try to plant a bomb at the home of a Serb alleged to be a smuggler and black marketer. Startled to find him home -- he is supposed to be away -- they are forced to shoot him. Then they discover a witness whom they capture and hide in a garage belonging to the mother of one soldier.
The mother (Mirjana Karanovic), who the next day must bury a husband who was killed at the front, enlists a political uncle to cover up the crime. An honest cop (Drazen Kuhn) and a female journalist (Alma Prica) launch separate investigations. Then a crippled soldier (Leon Lucev), the boyfriend of the journalist and the mother's elder son, returns home, and more secrets and lies spill out.
The different viewpoints reveal the interconnections of nearly everyone in the small town, a microcosm for what happened in Croatia, where terrible things occurred during the war and everyone, in a sense, bore witness to these crimes against humanity.
Bresan's superb cast plays these roles with arresting intensity. Life, once measured in months and years, during civil carnage now boils down to a matter of moments. Everything gets speeded up and frantic, yet by fracturing the narrative, Bresan succeeds in slowing things back down so we can appreciate the moral vacuum created by war.
The mother, the movie's initial focal point, struggles to hold her family together. But as the movie continues to shift viewpoints, the dilemma of the three soldiers comes into view. Then the film explores the inquiry by the police officer, whose wife lies dying from a bullet wound in the hospital, and finally the older brother and his journalist girlfriend, so worried about the fate of the witness, who is a little girl.
Few films could handle so many shifts in protagonists, but with this cast under the guidance of a director in full command of the language of cinema and the art of storytelling, these shifts come off with startling ease.
Bresan follows a recent filmmaking trend that eschews linear narration in favor of a fractured story wherein the same events are recounted from different viewpoints, letting motivations and back story gradually fill in a picture that is only completely clear in the film's final moments.
Bresan is being anything but trendy, however, as the multiple retellings underscore the movie's theme -- that everybody has reasons for behaving as he or she does. Episodes over a couple of days -- retold with subplots, digressions and seemingly minor characters along with flashbacks to a war raging nearby -- reveal a web of deceit that stems from desperation and despair.
Based on Jurica Pavicic's novel "Alabaster Sheep", which evidently did tell its story in a traditional narrative, the script by the novelist, director and cinematographer traces a murder and police investigation in a small town in Croatia near the front line of the civil war more than a decade ago. Fueled by alcohol, three Croatian soldiers try to plant a bomb at the home of a Serb alleged to be a smuggler and black marketer. Startled to find him home -- he is supposed to be away -- they are forced to shoot him. Then they discover a witness whom they capture and hide in a garage belonging to the mother of one soldier.
The mother (Mirjana Karanovic), who the next day must bury a husband who was killed at the front, enlists a political uncle to cover up the crime. An honest cop (Drazen Kuhn) and a female journalist (Alma Prica) launch separate investigations. Then a crippled soldier (Leon Lucev), the boyfriend of the journalist and the mother's elder son, returns home, and more secrets and lies spill out.
The different viewpoints reveal the interconnections of nearly everyone in the small town, a microcosm for what happened in Croatia, where terrible things occurred during the war and everyone, in a sense, bore witness to these crimes against humanity.
Bresan's superb cast plays these roles with arresting intensity. Life, once measured in months and years, during civil carnage now boils down to a matter of moments. Everything gets speeded up and frantic, yet by fracturing the narrative, Bresan succeeds in slowing things back down so we can appreciate the moral vacuum created by war.
The mother, the movie's initial focal point, struggles to hold her family together. But as the movie continues to shift viewpoints, the dilemma of the three soldiers comes into view. Then the film explores the inquiry by the police officer, whose wife lies dying from a bullet wound in the hospital, and finally the older brother and his journalist girlfriend, so worried about the fate of the witness, who is a little girl.
Few films could handle so many shifts in protagonists, but with this cast under the guidance of a director in full command of the language of cinema and the art of storytelling, these shifts come off with startling ease.
A moderately involving political fable and rare Croatian comedy, "Marsal" (aka "Marshal Tito's Spirit") is the country's entry for the 73rd Annual Academy Awards. It's a long shot at best for a nomination and has no domestic commercial future beyond film fest and ethnic cineaste engagements. The film was showcased recently in the American Cinematheque series "Wednesdays in Croatia".
The second feature-length project from director Vinko Bresan ("How the War Started on My Island"), "Marsal" opened in Zagreb in December 1999 and was a boxoffice success. It was greeted as a reconciliation-themed comedy with a remarkable timeliness. Bresan collaborates again on the provocative and irreverent screenplay with his playwright father, Ivo.
Considered so touchy a film when it premiered in Croatia that television advertising for it was censored, "Marsal" is set on a small unnamed island so isolated that a "red" revival occurs when superstitious locals come to believe the ghost of Yugoslavia's former dictator is walking among them. In fact, it's a mental patient bearing an uncanny resemblance to Josip Broz (Marshal Tito), who died in 1980, but many of the island's aging communists take the opportunity to seize power.
Led by cynical zealot Marinko (Ilija Ivezi), the old World War II partisan fighters go one step further than the mayor (Ivo Gregurevic), who has dreams of opening a Tito-themed tourist attraction. An investigating policeman from the mainland, Stipan (Drazen Kuhn), is a local boy who has the most success with attracting the fetching daughter (Linda Begonja) of the bewildered Tito impersonator.
Evenhanded in its skewering of Croatian social strata and lampooning of generational bad habits but hardly incendiary or particularly urgent for non-Europeans, "Marsal" employs communist symbols and traditions for gags, while the humor varies widely from fart jokes to screwball comedy. The actors are more memorable than the material, but "Marsal", like mild medicine, plays out more rewardingly the less one complains about the experience.
MARSAL
Interfilm
Director: Vinko Bresan
Screenwriters: Ivo Bresan, Vinko Bresan
Producers: Ljubo Siki, Ivan Maloa
Director of photography: Zivko Zalar
Production designer: Mario Ivezi
Editor: Sandra Botica Bresan
Costume designer: Vesna Plese
Music: Mate Matesi
Color/stereo
Cast:
Stipan: Drazen Kuhn
Slavica: Linda Begonja
Marinko: Ilija Ivezi
Luka: Ivo Gregurevic
Jakov: Boris Buzancic
Running time -- 91 minutes
No MPAA rating...
The second feature-length project from director Vinko Bresan ("How the War Started on My Island"), "Marsal" opened in Zagreb in December 1999 and was a boxoffice success. It was greeted as a reconciliation-themed comedy with a remarkable timeliness. Bresan collaborates again on the provocative and irreverent screenplay with his playwright father, Ivo.
Considered so touchy a film when it premiered in Croatia that television advertising for it was censored, "Marsal" is set on a small unnamed island so isolated that a "red" revival occurs when superstitious locals come to believe the ghost of Yugoslavia's former dictator is walking among them. In fact, it's a mental patient bearing an uncanny resemblance to Josip Broz (Marshal Tito), who died in 1980, but many of the island's aging communists take the opportunity to seize power.
Led by cynical zealot Marinko (Ilija Ivezi), the old World War II partisan fighters go one step further than the mayor (Ivo Gregurevic), who has dreams of opening a Tito-themed tourist attraction. An investigating policeman from the mainland, Stipan (Drazen Kuhn), is a local boy who has the most success with attracting the fetching daughter (Linda Begonja) of the bewildered Tito impersonator.
Evenhanded in its skewering of Croatian social strata and lampooning of generational bad habits but hardly incendiary or particularly urgent for non-Europeans, "Marsal" employs communist symbols and traditions for gags, while the humor varies widely from fart jokes to screwball comedy. The actors are more memorable than the material, but "Marsal", like mild medicine, plays out more rewardingly the less one complains about the experience.
MARSAL
Interfilm
Director: Vinko Bresan
Screenwriters: Ivo Bresan, Vinko Bresan
Producers: Ljubo Siki, Ivan Maloa
Director of photography: Zivko Zalar
Production designer: Mario Ivezi
Editor: Sandra Botica Bresan
Costume designer: Vesna Plese
Music: Mate Matesi
Color/stereo
Cast:
Stipan: Drazen Kuhn
Slavica: Linda Begonja
Marinko: Ilija Ivezi
Luka: Ivo Gregurevic
Jakov: Boris Buzancic
Running time -- 91 minutes
No MPAA rating...
BERLIN -- "Svjedoci" (Witnesses) is a masterful piece of storytelling that looks at events surrounding a murder and the possible execution of its only witness through various points of view. Croatian director Vinko Bresan, whose first two films were political satires, abandons irony here for an honest and emotional account of how war and ethnic hatred corrupt moral behavior. With top-notch production values, especially fluid and sharp-focused cinematography by Zivko Zalar, this Berlinale competition film makes an excellent candidate for art houses everywhere.
Bresan follows a recent filmmaking trend that eschews linear narration in favor of a fractured story wherein the same events are recounted from different viewpoints, letting motivations and back story gradually fill in a picture that is only completely clear in the film's final moments.
Bresan is being anything but trendy, however, as the multiple retellings underscore the movie's theme -- that everybody has reasons for behaving as he or she does. Episodes over a couple of days -- retold with subplots, digressions and seemingly minor characters along with flashbacks to a war raging nearby -- reveal a web of deceit that stems from desperation and despair.
Based on Jurica Pavicic's novel "Alabaster Sheep", which evidently did tell its story in a traditional narrative, the script by the novelist, director and cinematographer traces a murder and police investigation in a small town in Croatia near the front line of the civil war more than a decade ago. Fueled by alcohol, three Croatian soldiers try to plant a bomb at the home of a Serb alleged to be a smuggler and black marketer. Startled to find him home -- he is supposed to be away -- they are forced to shoot him. Then they discover a witness whom they capture and hide in a garage belonging to the mother of one soldier.
The mother (Mirjana Karanovic), who the next day must bury a husband who was killed at the front, enlists a political uncle to cover up the crime. An honest cop (Drazen Kuhn) and a female journalist (Alma Prica) launch separate investigations. Then a crippled soldier (Leon Lucev), the boyfriend of the journalist and the mother's elder son, returns home, and more secrets and lies spill out.
The different viewpoints reveal the interconnections of nearly everyone in the small town, a microcosm for what happened in Croatia, where terrible things occurred during the war and everyone, in a sense, bore witness to these crimes against humanity.
Bresan's superb cast plays these roles with arresting intensity. Life, once measured in months and years, during civil carnage now boils down to a matter of moments. Everything gets speeded up and frantic, yet by fracturing the narrative, Bresan succeeds in slowing things back down so we can appreciate the moral vacuum created by war.
The mother, the movie's initial focal point, struggles to hold her family together. But as the movie continues to shift viewpoints, the dilemma of the three soldiers comes into view. Then the film explores the inquiry by the police officer, whose wife lies dying from a bullet wound in the hospital, and finally the older brother and his journalist girlfriend, so worried about the fate of the witness, who is a little girl.
Few films could handle so many shifts in protagonists, but with this cast under the guidance of a director in full command of the language of cinema and the art of storytelling, these shifts come off with startling ease.
Bresan follows a recent filmmaking trend that eschews linear narration in favor of a fractured story wherein the same events are recounted from different viewpoints, letting motivations and back story gradually fill in a picture that is only completely clear in the film's final moments.
Bresan is being anything but trendy, however, as the multiple retellings underscore the movie's theme -- that everybody has reasons for behaving as he or she does. Episodes over a couple of days -- retold with subplots, digressions and seemingly minor characters along with flashbacks to a war raging nearby -- reveal a web of deceit that stems from desperation and despair.
Based on Jurica Pavicic's novel "Alabaster Sheep", which evidently did tell its story in a traditional narrative, the script by the novelist, director and cinematographer traces a murder and police investigation in a small town in Croatia near the front line of the civil war more than a decade ago. Fueled by alcohol, three Croatian soldiers try to plant a bomb at the home of a Serb alleged to be a smuggler and black marketer. Startled to find him home -- he is supposed to be away -- they are forced to shoot him. Then they discover a witness whom they capture and hide in a garage belonging to the mother of one soldier.
The mother (Mirjana Karanovic), who the next day must bury a husband who was killed at the front, enlists a political uncle to cover up the crime. An honest cop (Drazen Kuhn) and a female journalist (Alma Prica) launch separate investigations. Then a crippled soldier (Leon Lucev), the boyfriend of the journalist and the mother's elder son, returns home, and more secrets and lies spill out.
The different viewpoints reveal the interconnections of nearly everyone in the small town, a microcosm for what happened in Croatia, where terrible things occurred during the war and everyone, in a sense, bore witness to these crimes against humanity.
Bresan's superb cast plays these roles with arresting intensity. Life, once measured in months and years, during civil carnage now boils down to a matter of moments. Everything gets speeded up and frantic, yet by fracturing the narrative, Bresan succeeds in slowing things back down so we can appreciate the moral vacuum created by war.
The mother, the movie's initial focal point, struggles to hold her family together. But as the movie continues to shift viewpoints, the dilemma of the three soldiers comes into view. Then the film explores the inquiry by the police officer, whose wife lies dying from a bullet wound in the hospital, and finally the older brother and his journalist girlfriend, so worried about the fate of the witness, who is a little girl.
Few films could handle so many shifts in protagonists, but with this cast under the guidance of a director in full command of the language of cinema and the art of storytelling, these shifts come off with startling ease.
COLOGNE -- Ron Howard's dark western The Missing is one of the early selections for competition at the 2004 Berlin International Film Festival, scheduled to kick off in February next year, organizers said Monday. The film, which stars Cate Blanchett and Tommy Lee Jones, was one of five competition entries announced by Berlin Festival director Dieter Kosslick. Also in the running for the 2004 Golden Bear will be Nightsongs, from German director Romuald Karmakar; Your Next Life, from Spain's Manuel Gutierrez; Croatian entry Witnesses, directed by Vinko Bresan; and In Your Hands from Danish helmer Annette K. Olesen. "[The entries] range from tragic love story to political psychodrama, from historical thriller to intimate family saga," Kosslick said, adding that the combination of Oscar-winning director Howard and art house favorites such as Gutierrez and Karmakar were a guarantee for "a versatile program, both in theme and style."...
- 12/1/2003
- The Hollywood Reporter - Movie News
A moderately involving political fable and rare Croatian comedy, "Marsal" (aka "Marshal Tito's Spirit") is the country's entry for the 73rd Annual Academy Awards. It's a long shot at best for a nomination and has no domestic commercial future beyond film fest and ethnic cineaste engagements. The film was showcased recently in the American Cinematheque series "Wednesdays in Croatia".
The second feature-length project from director Vinko Bresan ("How the War Started on My Island"), "Marsal" opened in Zagreb in December 1999 and was a boxoffice success. It was greeted as a reconciliation-themed comedy with a remarkable timeliness. Bresan collaborates again on the provocative and irreverent screenplay with his playwright father, Ivo.
Considered so touchy a film when it premiered in Croatia that television advertising for it was censored, "Marsal" is set on a small unnamed island so isolated that a "red" revival occurs when superstitious locals come to believe the ghost of Yugoslavia's former dictator is walking among them. In fact, it's a mental patient bearing an uncanny resemblance to Josip Broz (Marshal Tito), who died in 1980, but many of the island's aging communists take the opportunity to seize power.
Led by cynical zealot Marinko (Ilija Ivezi), the old World War II partisan fighters go one step further than the mayor (Ivo Gregurevic), who has dreams of opening a Tito-themed tourist attraction. An investigating policeman from the mainland, Stipan (Drazen Kuhn), is a local boy who has the most success with attracting the fetching daughter (Linda Begonja) of the bewildered Tito impersonator.
Evenhanded in its skewering of Croatian social strata and lampooning of generational bad habits but hardly incendiary or particularly urgent for non-Europeans, "Marsal" employs communist symbols and traditions for gags, while the humor varies widely from fart jokes to screwball comedy. The actors are more memorable than the material, but "Marsal", like mild medicine, plays out more rewardingly the less one complains about the experience.
MARSAL
Interfilm
Director: Vinko Bresan
Screenwriters: Ivo Bresan, Vinko Bresan
Producers: Ljubo Siki, Ivan Maloa
Director of photography: Zivko Zalar
Production designer: Mario Ivezi
Editor: Sandra Botica Bresan
Costume designer: Vesna Plese
Music: Mate Matesi
Color/stereo
Cast:
Stipan: Drazen Kuhn
Slavica: Linda Begonja
Marinko: Ilija Ivezi
Luka: Ivo Gregurevic
Jakov: Boris Buzancic
Running time -- 91 minutes
No MPAA rating...
The second feature-length project from director Vinko Bresan ("How the War Started on My Island"), "Marsal" opened in Zagreb in December 1999 and was a boxoffice success. It was greeted as a reconciliation-themed comedy with a remarkable timeliness. Bresan collaborates again on the provocative and irreverent screenplay with his playwright father, Ivo.
Considered so touchy a film when it premiered in Croatia that television advertising for it was censored, "Marsal" is set on a small unnamed island so isolated that a "red" revival occurs when superstitious locals come to believe the ghost of Yugoslavia's former dictator is walking among them. In fact, it's a mental patient bearing an uncanny resemblance to Josip Broz (Marshal Tito), who died in 1980, but many of the island's aging communists take the opportunity to seize power.
Led by cynical zealot Marinko (Ilija Ivezi), the old World War II partisan fighters go one step further than the mayor (Ivo Gregurevic), who has dreams of opening a Tito-themed tourist attraction. An investigating policeman from the mainland, Stipan (Drazen Kuhn), is a local boy who has the most success with attracting the fetching daughter (Linda Begonja) of the bewildered Tito impersonator.
Evenhanded in its skewering of Croatian social strata and lampooning of generational bad habits but hardly incendiary or particularly urgent for non-Europeans, "Marsal" employs communist symbols and traditions for gags, while the humor varies widely from fart jokes to screwball comedy. The actors are more memorable than the material, but "Marsal", like mild medicine, plays out more rewardingly the less one complains about the experience.
MARSAL
Interfilm
Director: Vinko Bresan
Screenwriters: Ivo Bresan, Vinko Bresan
Producers: Ljubo Siki, Ivan Maloa
Director of photography: Zivko Zalar
Production designer: Mario Ivezi
Editor: Sandra Botica Bresan
Costume designer: Vesna Plese
Music: Mate Matesi
Color/stereo
Cast:
Stipan: Drazen Kuhn
Slavica: Linda Begonja
Marinko: Ilija Ivezi
Luka: Ivo Gregurevic
Jakov: Boris Buzancic
Running time -- 91 minutes
No MPAA rating...
- 12/28/2000
- The Hollywood Reporter - Movie News
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