- Debut film
Odpuščanje
Reconciliation
An 18-year-old girl is killed in a bitter family feud in the Albanian highlands. Her bereaved father is torn by the pressures from a local bishop and an NGO chairman from the capital, not only to forgive the imprisoned killer and his family, as a Christian, but to reconcile with them – as the age-old tribal code, Kanun, once required. A poignant and insightful account of a patriarchal society caught between a lingering past and a precarious present.
| Director | Marija Zidar |
|---|---|
| Awards | 8 awards |
| Director's statement |
Gallery
Crew
Direction
Production
Cinematography
Music
Editing
Sound design
Post production/editorial department
Organizations
production
technical services
Awards
Družinska tragedija, tradicionalna albanska vas sredi gorskih brezpotij. Nova gospoda in uprava, svečeniki in odvetniki, proces snemanja, ki je trajal šest let. Vse to je montaža uspela oblikovati v vizualno in dramaturško celoto. Glavni lik filma, dekle, ubito v družinskem sporu, ostaja prisoten v svoji bolečini, molku in pogledu njene matere. Moški liki – sosedje, sorodniki, uradniki in svečeniki – so okupirani z mačo temami: kdo je pomembnejši in kdo si je nagrabil več denarja. Sistem se je spremnil, a patriarhat je ostal.
Gre za premišljen film, ki odpira vpogled v neopatriarhalne strukture. Ob intimni družinski tragediji subtilno prikaže spotikanje populizma ob demokratizem, pri čemer v presojo gledalk in gledalcev ne posega.
Cine Balkan Panorama
Dokudoc žirija, v sestavi Uja Irgolič, filmska montažerka, Jan Gogola jr., filmski režiser, Rok Biček, filmski režiser in producent, je složno podelila naziv DOKUDOC IZBRANI 2021 dokumentarnemu filmu ODPUŠČANJE, režiserke Marije Zidar. Dokudoc žirija je svojo odločitev pojasnila:
Filmska drama Odpuščanje (Reconciliation) govori o konkretnih in globalnih razmerah hkrati. Konflikt med dvema družinama hkrati ponazarja tudi konflikt med družbenimi konteksti v sodobnem svetu. Pomeni ideologij so nam skriti, prav tako kot obrazi sosedov. Če se kot pijanec plota držimo samo in predvsem tradicije, potem izgubimo priložnost spoznati sedanjost in tudi prihodnost. Kot primer v filmu lahko vidimo prizor, ko dva moška s sovražnih bregov med popravljanjem vodnjaka sodelujeta, a le dokler se ne začne razprava o hierarhiji tradicionalnih in verskih pravil. Režiserka Marija Zidar je z upodobitvijo likov dosegla tako zelo intimne odnose, da se gledalec lahko popolnoma vživi v zgodbo. Precizna uporaba kamere iz roke izraža vidno in nevidno napetost, ko akterji poskušajo vzpostaviti spravo. Film Odpuščanje intenzivno analizira osebni svet, v katerem smo postavili zidove tako okoli sebe kot tudi znotraj sebe.
Avtorica Marija Zidar skozi zapleten konflikt med sorodniki izriše kompleksno podobo patriarhalne družbe. Z natančno in zadržano opazovalno tehniko nas popelje v samo jedro dveh sprtih družin in tako ustvari večplasten in presunljiv dokumentarni film.
The 2021 Young Onion Award Special Mention goes to Reconciliation. A beautiful film that takes us to a remote place and into a community stuck with lethal tradition. A film about irreconcilable tragedy with hope of resolution through dialogue by human will against all odds.
Screenings
Extended data
The Business of Revenge (english) (working title)
Reconciliation (english)
Technical data
Budget
All financial information is obtained from official sources. I.e. producers or organizations which provided the financial support.
What really goes on behind closed doors in patriarchal rituals, where men seem to make all the decisions? In 2013, I set out to answer this question. A year later, after thorough research, I set off f
What really goes on behind closed doors in patriarchal rituals, where men seem to make all the decisions? In 2013, I set out to answer this question. A year later, after thorough research, I set off from Slovenia to film a strongly patriarchal community in the Balkans, focusing on the male characters. I ended up filming over the course of five years and living in Albania for two years. I discovered a modern country in transition, with a traumatic past of an isolationist communist dictatorship that had destroyed tradition, religion, and tribal family ties. To fill the social void and provide meaning, the old, conflicting value systems have been brought back – yet half-remembered, reinterpreted, abused. Similarly, increasingly, elsewhere in Europe and the West, with the far-right neo-traditionalist populism on the rise, a revisiting of tradition, patriarchy, and religion is taking place, reviving old solutions to deal with modern problems. My film is an example of why this does not work.