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Šta vam je na umu
/ What’s on your mind
peja Bitka na Neretvi (1969) i
do danas najveći i najskuplji
projekat južnoslovenske film-
ske industrije?
Tajna uspeha je u tome
što je festival u privatnom vla-
sništvu i što je u najvećoj meri
okrenut filmskom biznisu.
Nije previše poznato da je
Mirsad Purivatra, osnivač i di-
rektor, privatni vlasnik, pa ima
autorska i ostala prava na festi-
val koji je uspeo da se razvije u
dobar posao, umesto da se pre-
tvorio u jedan od egzibicioni-
stičkih poduhvata lokalne ad-
ministracije.
Ministarstva i javne kul-
turne institucije uvek generi-
šu neproporcionalne troškove
kad priređuju „reprezentativ-
ne“ priredbe, što profesionalce
koji bi svojim prisustvom i de-
lima trebalo da im pridaju smi-
sao, uvek učini krajnje skeptič-
nim. A bez njih i bez jasnog po-
slovnog rezona, ubrzo propad-
nu, kao Pulski festival i nekada
kultni beogradski FEST.
Suprotno onome što mno-
gi misle, SFF nije samo vešto
brendiran politički i kulturtre-
gerski poduhvat koji u Bosnu
dovodi filmadžije s Bliskog i
Dalekog istoka, te međunarod-
ne slavne ličnosti privučene
aurom stradalništva na nekada-
šnjem ratnom poprištu, nego
pametno osmišljen projekat
koji siromašnim producenti-
ma iz zemalja bez velike film-
ske tradicije omogućuje da se
primaknu bogatim evropskim
fondovima za podsticanje kine-
matografije.
U Evropi se manje-više
odustalo od konkurencije ame-
ričkoj komercijalnoj produkciji,
pa jedino Francuska proizvodi
nešto za svoje, a skandinavske
zemlje male izvozne filmove
za američko i svetsko tržište.
e
Cannes, Venice or Berlin, but
the enthusiasm of the audience
and the response of internation-
al film professionals did prompt
IndiWIRE to compare it with
the Toronto Festival, which is
ten times bigger.
This year in Sarajevo some
100,000 people watched 250
films from 60 countries, while
the jury was led by legendary
Hungarian filmmaker Béla Tarr.
Many lesser European stars of
acting and directing made an ap-
pearance, as well as Oscar win-
ners and filmmakers awarded at
Cannes and Berlin, while film
and fashion artist Agnes B also
returned once again. The festival
included the premieres of films
from the region, as well as trans-
European co-productions.
Also emerging in Sarajevo
this year were some gems of
Eastern European production,
as well as some from the Middle
East, but in a modern, western
spirit that shows how the enter-
tainment industry and modern
mass media have a greater im-
pact than any political or reli-
gious radicalism... That’s why
the Sarajevo Film Festival is a
positive, optimistic story.
What is the secret of the
global success of such an event,
in a small city on the periphery
of Europe that is best known for
the assassination that sparked
World War I and that only had
any serious historical link to the
seventh art when it premiered
the Partisan epic “The Battle
of Neretva” (1969) – the largest
and most expensive film ever
made in Eastern Europe?
The secret of success is that
the festival is privately owned
and primarily orientated to-
wards movie business.
It is not common knowl-
edge that Mirsad Purivatra, the
festival’s founder and director, is
also the private owner, thereby
enjoying copyrights and other
rights to this festival that he has
succeeded in developing into a
good business, instead of being
turned into one of the many ex-
hibitionist enterprises of the lo-
cal administration.
The Culture Ministry and
public culture institutions al-
ways generate disproportion-
ate costs when applying “repre-
sentative” events, which gener-
ate extreme scepticism among
the professionals whose pres-
ence and actions should attach
meaning to these happenings.
And without them, and without
clear business reasoning, they
soon fail, just like the Pula Film
Festival and Belgrade’s once
iconic FEST.
Contrary to the beliefs of
many, the SFF is not merely a
cleverly branded political and
cultural venture that brings
filmmakers from the Middle and
the Far East to Bosnia, as well as
international celebrities attract-
ed by the aura of martyrdom in
the former war zone. Rather it is
a cleverly designed project that
enables impoverished filmmak-
ers from countries without a
major film tradition to approach
wealthy European funds for pro-
moting cinema.
Europe has more or less
surrendered to American com-
petition in commercial produc-
tion, with only France produc-
ing something of its own and
the small Scandinavian coun-
tries exporting movies for the
American and global markets.
State money for promoting
film has thus remained free, at-
tached only to the obligation
that funds must be used to “en-
gage” projects, films with “so-
cially relevant topics”. Due to
the global crisis resulting in a
confrontation between West
and the East, it is precisely in
this area where a suitable base
has been found for the connec-
tion of money and ideas, giv-
ing producers the opportuni-
ty to supply the world market
with the ideas of local genius-
es who have something impor-
tant to say, something that con-
cerns us all. ..
In this sense “local” is a
very broad term and includes,
for example, Romania and its
most successful producer, Ada
Solomon, who says that the SFF
has done more for the promo-
tion of modern Romanian cine-
ma than any other European or
world festival. And the critics
agree that it Romanian films
Festival je u privatnom
vlasništvu, i u najvećoj
meri je okrenut
filmskom biznisu, što
je i tajna njegovog
uspeha
e
The festival is
privately owned and
primarily orientated
towards the movie
business, which is
also the secret of its
success
Festivalski ulični crtači „trodimenzi-
onalnih“ slika, na platou nazvanom
„Tin arena“
e
Festival 3D street paintings,
Sarajevo Teen Arena
Erol Mintaš
, režiser pobedničkog
filma „Pesma moje majke“
e
Erol Mintas
- Director
of the film SONG OF MY
MOTHER - Best feature film
