Mehdi Mohammad, Katarina Draškovič, Mitja Primc, Maja Švara, Klara Slavec, Špela Uhelj, Jaka Ažman, Marko Kontestabile,
Gregor Kontestabile, Jaka Špiler, Katja Kramberger, Dana Terzič,
Pija Bodlaj, Tilen Colja, Mateja Babnik, Peter Sanovič, Špela Ivančič, Tanja Luketina, Tina Vareško, Nina Vareško, Anja Rostohar, Maja Malus, Petra Jagrič, Myriam Hure, Tomaž Pavkovič,
Nina Nagode, Oana Stopariu, Olaf Möller
Igor Bavčar, Barbara Stegel, Mirella Baruca, Franci Ohnjec,
Igor Radovič, Patrick Sebillotte, Andrej Božič, Janja Križman,
Dušan Novak, Karmen Škoda Piško, Bruno Korelič, Irena Bečaj, Mika Ajdovec, Barbara Verdnik, Irena Urbič, Slobodan Valentinčič, Tomaž Klepač, Gabrijela Barut, Nataša Segulin, Robert Apollonio, Mojca Kotnik, Branko Miklobušec, Boris Može, Alojz Pečan, Maksim Vergan, Petra Andrijašič, Samo Rugelj, Simon Popek,
Aleš Blatnik, Mateja Valentinčič, Zemira Alajbegovič, Pika Lindič, Natalija Morgan, Julij Zornik, Gustav Film, Dimitrij Gračner,
Frenk Selart, Ika Prušek, Jaka Munih, Drago Mislej, Jože Poboljšaj, Rok Žagar, Janja Blažkovič, Egidio Krajcar, Marko Mavrič, Filp Bole, Boštjan Lavrič, Dimitar Anakiev, Marino Domio, Željko Brkljača, Nevenka Gregorčič, Jože černelič, Neva Faganel, Danilo Markočič, Miran Žlogar, Mateja Peroša, Matjaž Zorc, Miha Maček, Gašper Demšar, Maja Matusinović, Božidar Plesnik, Valter Jenko,
Maja Potočnik, Nevenka Koprivšek, Irena Stamenkovič, Vasja Bibič, Jelka Stergel, Saša Jovanović, Iztok Polanc, Nataša Kočar,
Alenka Korpes, Ivan Nedoh, Marjan Rozman, Barbara Dolinar,
Darko Štrukelj, Viktor Bertoncelj, Mario Aubreht, Mojca Hudolin, Stojan Pelko, Zoran Pistotnik, Borut Brumen, Lucija čok, Boris T. Matić, Robert Smej, veleposlaništvo Slovenije v Ruski federaciji, Srečo Petrič, veleposlaništvo RS v Parizu, Gregor Klemenčič, generalni konzulat RS v Celovcu, Tanja Mljač, generalni konzulat
RS v Trstu, Tomaž Mencin, veleposlaništvo RS, New Delhi, Indija, Neelam Kapur & Shankar Mohan – Directorate of Film Festivals India, Muzaffar Ali, Shaji N. Karun, Girish Kasaravalli, Rada Šešić, Ms. Anubha Rele – NFDC; Buddhadeb Dasgupta, Adoor Gopalakrishnan, Ritaban Ghatak, Italo Spinelli, Shailja Gupta,
Uma da Cunha, Cis Bierinckx, Julie Pearce & Hilary Smith – National Film Theatre (BFI, London), Ana S. Martin (BFI Distribution, London), Eric Liknaitzky – Contemporary Films Ltd (London), Alexander Horwath, Regina Schlagnitweit, Österreichisches Filmmuseum (Dunaj), Aleksandra Dimitrijevič, Deepesh Salgia (Sterling Investment Corp.), S.R. Ashok Kumar, Bhavna Mistry (Eros International), Marie-Do de la Patelliere – Brussels Ave (Brussels), Katayoon Shahabi, Ximena Rodriguez García, Vincent Wang, Doris Hegner, Azita Ebadi, Jane Kim, Apichatpong Weerasethakul, Jorge D. Magańa, Kasia Klimpel, Kristal Oehlen, Aysegul Oguz, Marko Jocić, Stéphanie Iheritier, Sebastián Yablon, Markus Zeindlinger, Rock Demers, Sarah Simon, Alberto la Monica, Natalia Kuligina, Lidija Bobrova, Toto Chan, Aretta Vähälä, Neil Friedman, Michael Beaudry, Nicolas Ihermitte, Shankar Mohan, Ramesh Chandra, Ante Sarjanović, Lidija Soufek, Dunja Kukovec, Brian Park, Gina Kang, Anubha Rele, Karina Korenblum, Claudia Kim, Brian Park, Soojin Jung, Yong-Bea Lee, John A. Lent, Ante Sarjanović, Christoph Huber, Dick Moesker, Almir Palata, Martial Knabel, Pamela Macconi, Petr Šepotnik,
Ute Mader, Raimund Obkircher, Dietmar Zingl, Fritz Scmidt,
Hvala moštvu za obuditev pomena besede prostovoljstvo in – akcija!
introductions We accepted the Film Festival Isola Cinema – Kino Otok as a challenge and an opportunity. Izola is a rapidly developing tourist town. As the number of tourists is increasing every year, there is more need for cultural events in our town. The project of organising the festival of films from Africa, Asia, Latin America and Eastern Europe is a special challenge for our organisation (Centre for Culture, Sport and Events), which organises more than 100 events each year. In the community of Izola we accepted the opportunity the festival brings. We will support it financially and we will also help with the organisation, because we believe that the Isola Cinema – Kino Otok project will be a success. I wish that the festival will take on our Mediterranean spirit and that the visitors will be able to see and feel all the magic of the films screened at the festival.
We will be happy to have you as our guests and we hope that you will leave our town with a wish to come back.
Only two years ago I was loafing around ...
It happened fast. Only two years ago I was loafing around at the Motovun film festival, thinking how great it would be if we too had something like that. Or even something better ... But since I'm a guy who doesn't carry out ideas all too often I decided to get me a cappuccino, light a cigarette and then we'll see.
And so, my Beti and me were sipping our coffee and puffing on our cigarettes, and soon Vlado came along.
He's the one!, I thought, he loves films and besides he's always wandering around foreign festivals, why wouldn't he make one of his own, a domestic one? Then he would have a place where to wander.
In Tolmin, said Beti. For example, added Vlado and I.
So we began a conversation and soon the matter was settled. A few months later we showed up at the office of the mayor of Tolmin, happy and convinced that the mayor would be happy too. But he wasn't. His adjutant, who later turned out to be the head of local tourist organisation, seemed even somewhat angry ...
And since we aren't without pride and strong emotions we walked out of the office and said to ourselves: Let's go where they will like us!
And they like us in Izola.
And so we like Izola too.
See you there, then!
What do I wish?
In the first place something that probably does not befit the director of the festival in his introductory word: I wish that the festival ended, yes, that it would be over and that I would be freed and would peacefully and slowly count the days of June, July…
But nonetheless I know that in these moments something is being born before my eyes that recently has been mightily filling the vast space behind them. When I think of that I can wish concrete things: a clear and warm sky for the outdoor cinema, many people in the theatre with lively interest in films and present filmmakers, understanding local people, understanding guests, journalists and audience to forgive us our beginners' mistakes (which are of course unintentional), a pleasant atmosphere among all of us who from its very beginning consider the Izola film island ours.
I wish to finish this introduction quickly.
And I wish to thank the team of the festival, a group of people who with their voluntary work fulfilled the greatest wish that I had when I took over the direction of the festival: to show that we have not yet come that damn far that work could be done only for money.
Thanks to Mayor Breda Pečan – for everything.
(And to those who always stand by me.)
And Matija Cerar sings:
I only have one wish,
She has a million wishes,
But I love her and therefore
I would like to fulfil
Her every wish,
Because I would like to fulfil
Her every wish,
I have a million wishes ...
managing and artistic director
Zwei Orte, die verschiedener nicht sein können, bekommen durch das nicht kommerzielle Kino eine gemeinsame Bedeutung. Es ist der Beginn einer Freundschaft, die es nicht leicht haben wird, da die politischen Zeichen eine andere Sprache sprechen. Seit dem 1. Mai gehören beide Orte zur selben Wirtschafts- und Wertegemeinschaft, die sich immer mehr von der Welt jenseits der Modernisierung abkapselt. Wir wollen unser Fenster und vor allem die Leinwände der Kinos weit öffnen, um fremden fernen Kulturen eine Möglichkeit zu geben, sich darzustellen.
Dazu brauchen wir solidarische Netzwerke, die uns auch mit einem kleinen Budget erlauben, dieses Fenster so weit es geht zu öffnen, und es braucht Menschen, die mehr oder weniger selbstlos dafür arbeiten. In Innsbruck machen wir diese Arbeit schon 13 Jahre lang. Es ist uns gelungen, die Tourismusverbände miteinzubeziehen und es ist uns gelungen, die lokalen Politiker und Politikerinnen zu überzeugen von der Notwendigkeit unserer Arbeit. Dabei ist es natürlich auch immer wichtig, das Gleichgewicht zu wahren zwischen unseren politischen Absichten und den Rahmenbedingungen unserer Arbeit, die, wie ich eingangs erwähnte, nicht unbedingt für uns sind.
Ich wünsche unseren Freunden und Freundinnen der Kinemathek in Ljubljana einen ähnlichen Erfolg mit Kino Otok-Isola cinema, und wir werden mit unseren Kräften versuchen dazu beizutragen, daß sich dieses neue Festival etablieren kann. Für uns ist es natürlich auch wichtig, unsere Möglichkeiten durch eine enge Kooperation mit Izola zu steigern. Durch eine gemeinsame Logistik der Organisation der Festivals und durch einen regen Informationsaustausch haben wir die Festivals des Jahres 2004 vorbereitet. Wir hatten natürlich großartige Ideen und erst in der Umsetzung wurden wir mit den Problemen vertraut. Aber schlußendlich hängt es vom gemeinsamen Wollen und vom Durchhaltevermögen ab, wie unsere Kooperation sich entwickeln wird. Mittelfristig peilen wir ein gemeinsames Fundraising an, um unsere kleinen, aber schmucken Festivals finanziell abzusichern. Einesreits geht es um einen Austausch von Ideen, aber wichtig ist auch der Respekt vor der Eigenständigkeit der Festivals. Eines steht fest: rote Teppiche haben wir nicht nötig, wir stellen fliegende Teppiche zur Verfügung, um unser Publikum in ferne Länder zu bringen.
Director of International Film Festival Innsbruck
What can a man, a film man, expect from a trip to Innsbruck?
There was an idea to make our own festival with relaxed atmosphere, you know, really relaxed, not relaxed in a way every festival presents itself but then there is all business. No business for business on our Island Cinema, we said. And no selling of festival hits, instead a serious concept of presenting African, Asian, Latin American and Eastern European cinema with Friends. To promote the films that don't have money but have a heart. But "with friends" was actually the most important. We wanted to have a small number of films and authors for all of them on our Island. Selection followed our hearts; films and authors we have met all over the world had to make them warm. But that was later.
When I was cruising on the Internet for information about festivals with similar concept, I found out that Innsbruck IFF is just finishing. The next moment I was in my car going 160 to arrive before they close it. I sat in the bar to wait for director Dr. Groschup. I didn't know really what to expect: the picture in the catalogue looked sharp. Well he didn't have time for me, as expected. But then suddenly, he found time and I found that this Dr. in front of his name actually means crazy doctor. We found many common grounds and our hearts. On my way back, going 120, I was thinking of that famous Casablanca line about friendship. And for the first time I was sure that the idea of Island Cinema in Izola will come true.
Innsbruck-Izola Kooperativa is more than partnership – it is touching of souls.
Festival's competition section; projected on the big screen at the Open Air
Summer Cinema Odeon on Manzioli Square. Films are competing for the audience's awards, which will assure Slovenian cinematographic (and other)
distribution for the winning film.
Selection of the latest works by acclaimed directors from all 'four continents'.
Films freely selected by members ot the festival's international programme board.
posebna priloznost/special occasion
Films accompanying and supplementing the festival's main programme and its guests. Plus a taste of animation.
nove obale/new shores
From Bollywood to Ray: a great retrospective of Indian classical and popular film.
Rusija, Francija/Russia, France 2003
Nina Šubinová, Olga Oniščenko, Anna Ovsjannikova, Vladimir Kulakov, Sergej Anufrijev
10, Kamennoostrovsky Ave
St. Petersburg 197101
tel. 007 812 326 8381
faks 007812 326 8383
83 A rue Bobillot
75013 Paris – France
tel. 0033 1 43 13 10 60
faks 0033 1 43 13 10 66
festivali, nagrade (izbor)/
festivals, awards (selection):
Cottbus 2003 (nagrada za najboljši film, nagrada žirije/best film, Grand Prize), Karlovy Vary 2003 (posebna omemba žirije, nagrada Don Kihot, nagrada ekumenske žirije/Special jury prize, Don Kichot Award, Award of Ecumenical Jury),
Mednarodno filmsko srečanje Pariz 2003/International Film Meetings in Paris 2003 (nagrada Arte, nagrada občinstva/Award Arte, Audience Award), Festival evropskega filma Francija 2003/5th European film festival in France 2003 (glavna nagrada/Main Prize), Moskva/Moscow 2003, Rotterdam 2004
Tusya has been a mainstay in her daughter's life and that of her grandchildren for many years. Then things change – her daughter becomes an invalid and her sister, Anna, has to go into hospital. Gradually, she realises that her relatives, though willing to profit from the sale of her house, are unwilling to look after her in her old age.
To this day I remember vividly a scene from the film In That Land by Lidiya Bobrova, which tells the story of the fall of the Russian man in the countryside in the light of the new era: a man and a boy are walking toward each other on a snowed-in country road. The scene is filmed in a long shot, but we see the two well enough to notice that they are dressed identically. They are not father and son; they pass each other without greeting. But they are nevertheless fatally connected: the boy will follow in the footsteps of the man, who is already virtually ruined by alcohol.
We do not find any such crystal-image in Granny, but we do again find a genuine contact with Russian countryside and non-professional actors, who help Bobrova create her recognisable world of poetic naivety. The era of new Russia proves disastrous also for Granny, who all of a sudden becomes a burden to all her family. With what unbearable lightness did Russians ride the wave of the new era and buried underneath all that ties them to their origins, which they would prefer to disown like a forgotten mother!
The plot is based on the story of an older woman that I knew but felt unable to help. The protagonist could be any one of thousands of pensioners, rejected by their children, surviving on miniscule pensions in the harsh climate of the Russian countryside. Perhaps it is naïve, but I want to help others who are still alive."
"Lidia Bobrova's film is strongly rooted in its country locations, emphasising a sense of tradition and community that contrasts strongly with the world of the 'New Russians', devoted to their jobs and possessions. Inspired by the traditions of village literature, references to music and folk culture run throughout and Bobrova, who found Shubina in a small village, uses unknown actors. But this perceptive study of interpersonal relationships in post-Communist Russia is also a very human film and suggests that the dream of social harmony may not be entirely lost." Peter Harnes