Review: A River Runs, Turns, Erases, Replaces (2021)
At first, there is no river. Heck, there is no sound either. All we get to see is a surveillance-type of camera footage, observing one of the downtown streets.
DokuFest
Review: Displaced (2021)
Samir Karahoda’s short ‘Displaced’ ia a blend of absurdist comedy, societal tragedy and documentary-quality anecdotes about the fortunes of a ping-pong club from Prizren, Kosovo and the struggle of the two men to keep it going.
Review: Infidel (2020)
For the most of people outside of Bosnia and Herzegovina, the name of Dino Pečenković doesm’t ring any bells. His involvement with Mevlid Jašarević’s terrorist attack on the American Embassy in Sarajevo, for which he was also tried as an accomplice, is more of a footnote.
Review: Outside the Oranges Are Blooming (2019)
‘Outside the Oranges Are Blooming’ premiered at the last year’s edition of Dok.Leipzig, before opening domestically at Doc.Lisboa (it is a Portuguese-Serbian co-production). Currently it plays at DokuFest’s online edition in Balkan competition.
Review: Homelands (2020)
Homelands is structured in two principal acts, one set during the winter season and the other at the time of a less busy summer, with a couple of archive material interludes along the way.
Review: Once Upon a Youth (2020)
Raw in its appearance and genuine regarding the motivations of all the people involved, Once Upon a Youth is a multi-layered work of art that goes deep in painting a portrait of a unique person, a landscape of a certain place in a certain time, the philosophical aspects of friendship and the generation that tried to do something against all odds.
Review: Speak So I Could See You (2019)
As a project, ‘Speak So I Could See You’ was developed over the course of years, and the richly textured, layered, top-quality work shows.
Review: Then the Evening Comes (2019)
Like their relationship towards the life and the civilization, Vinka and her mother Obrenija remain completely untouched by the fact that someone is filming them in order to tell their story.
Review: The Visit (2020)
Montenegro is often portrayed as a patriarchal, macho society where being gay is regarded as an embarrassment for himself and his family, but Vojvodić and his co-writer Maja Todorović are taking a step further to expose the gerantocracy and the oppression that the elders impose on the younger generations as the core of the problem.
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