The Balkan Cinema descends to the fall of the Festival after the year of the Banner for the Region

It was a slightly strong year for the Balkan cinema, with film cameras from the southeastern angle of Europe – often against all chances – to bring their stories on the screen, despite challenges ranging from civil unrest to be used by the State Funding Authority.

However, this year saw the return of old masters, such as Romanian provocation work Jude (“Dracula“) And the occurrence of fresh votes, such as Slovenia, Djukic (“Girls for small problems“) In addition to triumph, including the North Macedonian director Georgi M. Dual Sundance Prosinner”DJ Ahmet“And the Croatian director Igor Bezinović’s Rotterdam-Vinning Docu-Drama”Fiumume Death!”

All Festivals of Autumn, where the northern Macedonian directors of Teona Strugar Mitevska (“the happiest man in the world”) and award at the two-way Award of Tamara Kotevska Award (“Honeyland“) They both launched their last papers on Venice Film Festival. Joined Lido Veteran Bulgarian Film Film Stephan Commandarev (“LESSON CALLS“), As well as Romanian director Mihai Mincan (” in the north “), which made his second performance at the festival. Meanwhile, Srpska Goran Stanković – most famous as a co-creator of award-winning reward drama in Canaries”Saber“- Premiere His player in Toronto” Our Father “.

In a complex corner of Europe, in which political stability and uncertainty are often the norm, these and other filmmakers continue to fail regional cinema at new heights. The most encouraging all encouraging, crop directors of the Balkan Balkans are “creating all courageous parties, in the range of religion, family, gender policy, civil levels,” according to Dorota Lech, leading programmer TIFs.

That daring spirit found its way into films such as Serbian director of Ivan Mladenović’s entry of the Ivan Mladenović’s competition “Sister closed“Nekon’s portrait of an air tyrizume on what the obsession with the old pop star and Mitevska” mother “, which the director describes as”Punk Rock“Body biopypes Stars Noomi Rapace like a young mother Teresa.

Opening the horizon of the Slag Festival in Venice, “Mother” shows the future saint as a frustrated mother of superior to separation of colacts, waiting for the Vatican to determine its order. In Tereza’s fight against the Catholic structure of the Catholic Force in which he is dominated by Male, Mitevska says that something herself seen as in the formation of filmmakers in the Balkans, where “lasted for years (for women) to be taken seriously.”

The iconoclastic director who was, like Teresa, born and grew up in Skopje, Mitevska is among Trailački numbers that opened the way for a younger generation of Balkan women behind the camera. Composing the “courage” of those directories for the “right to just say,” Mitevska insists “always struggles to have the same part in the world in which we live”, “Senement echoed in” Mother ” Steeli-Eied Place. “I’m a woman in a system leading men,” complains about her confession. “Men, men, people.”

The patriarchy is on the soil in the closed world of “Our Father”, which are prime ministers in the Inserved Serbian Filk, whose Orthodox patriarch is used by unorthodox methods that are often more extreme than effective in obtaining results.

“Our Father”, which is based on real events, is the study of the study of authoritarian power and its abuse, a topic that speaks directly to our current historical moment. “When you look at the mechanics of such a group and such a leader, I think you can draw parallels with our modern reality,” says Stankovic. “Whether it’s Serbia, are all these countries that have strong leaders who abuse the trust of the people and using fear.”

Since last year, Serbia has been attacked by civil unrest which began with student protests and has now expanded to a broader movement against the government of President Aleksandar Vučić. Although “our father” was written before these protests began, the director says that the film still uses the energy of this first typical moment for his country. “It’s a warning opportunity,” he says. “It requires action.”

The turbulence had a dramatic impact on film and television production, where Stanković said “the entire industry, which is a crisis, which is an ambulance in Southeast Europe, a region that Maša Marković, Head of Impact Industrial Industry Sarajevo Films The festival, insists on and insistenting “always in some kind of unrest.”

Fortunately, the individual industries in the Balkans often rise and fall in “cycles”, says Markovic, but “filmmakers in the region are very (pro-active) in finding new ways to finance films.” More often than not, adds, “must be very flexible” to adapt to the political landscape that changes.

Croatia and the Slovenian industry enjoy long-term periods of stability, while Northern Macedonia – reinforced by changes in the management in its state film agency – had an excessive year, with trio movies in class festivals. Meanwhile, in the meantime tried to correct the ship after several years of bad governance in the Romanian film center and a crowd of unpaid debts from their program of rebates cash that the government is finally close to being completely settled.

System seems to be returned to the trackBut Mihai Mankan – whose latest film, “milk teeth”, premieres in the lateral side lateral side in Venice – says that he still feels “completely unsupported by the Romanian state”. Although small groups of film nuts continue to work in their own “small churches”, while describing it, Mincan insists: “I don’t think we have industry.”

“Milky teeth” complain to the director of his own aging, eventually the ends of the communist era in Romania, just as the country made an insecure transition to democracy – the time the director describes as the “most beautiful moment” of his life.

“There was so much hope in the air,” he says. “We had expectations, and we had dreams, like all young people. But Romania has this amazing talent to raise your dreams very quickly.”

It may be partly, because the fall of strong Nicolae Ceausescu, who was in Romania, in Romania, according to a turbo-freight model of capitalism, which can be felt in a calamitic, long-lasting impact – in Romania and through her former former former neighbors of the Eastern Bloc.

There is in recent Romanian films, including Mladenovic’s “Sister closed“I Jude’s 2024 Berlin Modeviner”Continental ’25“As in Venice Stephan Commandarev”, followed by the Coronavirus in Bulgarian sweatsticks. The film describes the director as “one of the poorest regions in Europe”, emphasizes what is called Bulgarian ethos “works until you call and barely live.”

If the film registrators of Southeast Europe are jointly a common experience of today’s difficulties, they join the spirit of community: most films appear from the region are more-land of co-production that largely rely on cooperation with neighboring nations.

However, cultural support to many countries in the region is declining, with Minčan, and does not notice that it is “harder and harder to build co-productions”. The director believes that the Balkan Film Matter should take inspiration from the US movement in the 90s, when directors like Jimushch, Kelly Reichardt, Kelly Reichardt and Kuentin Tarantino made “movies with lots of not interested … about financial support.”

This revolutionary decade, which has produced the results of “super-budget films, (with) universal topics, done very quickly without money,” gave voice to directors that were determined to make their films, with or without the support of the study system.

It’s a ghost that would also be for Balkan movie cats that are determined to fulfill the urgency of this moment, with Minkno insistenting, “We live in the world where you have something to say, it’s important to say that now.”