Viseči most In postproduction
- Short Fiction Film
- 2026
- Slovenia
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Synopsis
The short film explores a decades-long family rift and an attempt at reconciliation within a family that was torn apart in 1947, when a state border divided the population of the Gorizia region. The story is set in motion by two young artists, Martina from Gorizia and her peer Mark from Ljubljana, who are related but had never met before. They connected through social media and are now jointly or
The short film explores a decades-long family rift and an attempt at reconciliation within a family that was torn apart in 1947, when a state border divided the population of the Gorizia region. The story is set in motion by two young artists, Martina from Gorizia and her peer Mark from Ljubljana, who are related but had never met before. They connected through social media and are now jointly organizing a reunion between Mark’s grandfather Boris and Martina’s grandmother Giulia, Boris’s niece. A family that had been divided for many years is thus reunited by the third generation of descendants—the one no longer burdened by cultural, linguistic, and ideological barriers.
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Director's statement
The film speaks about bridges, about Slovenian and Italian identity, and about generations marked by division, yet also by a desire to overcome differences and achieve family reconciliation. Although
The film speaks about bridges, about Slovenian and Italian identity, and about generations marked by division, yet also by a desire to overcome differences and achieve family reconciliation. Although the film includes the bitter line that “Europe is a mess,” the overall narrative conveys a message of hope, optimism, and the possibility of a shared future.
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All financial information is obtained from official sources. I.e. producers or organizations which provided the financial support.
Comitee: Jasna Krajinović, Boris Palčič, Čedomir Kolar Explication
Projekt VISEČI MOST je zelo dobro zasnovan, tako s strani scenarija in režije, kot tudi produkcije. Zorni kot iz katerega se razvija pripoved je tenkočutno izbran, ne le zato, ker daje prednost mlajšim protagonistom, ampak ker gledalcu že na začetku odpira širši vpogled v obravnavano problematiko. Temu se pridruži edinstven vizualni pristop, ki kombinira kadre posnete s telefoni mladih, kot tudi posnetke s statično kamero, starejših članov družine za mizo. Gre za dva pripovedna tokova, ki ju režiserka uporabi kot metafori za dve različni miselnosti in dojemanji preteklosti in sedanjosti obeh generacij. Scenaristki pri tem spretno izkoriščata prehode od enega do drugega, ko se mestoma za trenutek ustavita, ustvarita dramaturški molk ali zamrzneta v obliki selfija, in nato pustita pripovedi steči naprej. Komisija ima zadržke glede manjših detajlov, scene pri mizi se zdijo na trenutke nepristne, liki mladih pa precej premočrtni. Vendar razumemo, da bo realizacija slonela na improvizaciji in igralskih vajah, ki bodo najbrž doprinesle k živosti in spontanosti prizorov. Menimo, da bi lahko vpliv zunanjih okoliščin, ki so tako radikalno posegle v intimno življenje družine, kljub doseženi spravi, še vedno odmeval nekje v ozadju.
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