Lun Sevnik

A short but intense sequence that captures the viewer’s soul through profound glances and paints a conflicting paternal relationship in a gripping climax, in the silence of the abuse that too often drowns in the sea.

Lun Sevnik je že s prvim študijskim filmom Voyage, Voyage nakazal izjemen in izviren avtorski profil. V drugem, kratkem igranem filmu Igra, se je suvereno soočil z eno najtežjih tem: samomorom. Zgodbo je drzno, vendar hkrati režijsko izjemno premišljeno vodil med virtualno potvorjenostjo življenja mladih in dejansko generacijsko izpraznjenostjo. Odlika njegovega magistrskega filma Morje med nama je v prvi vrsti avtorski pogum, ki si upa večinski del zgodbe potopiti v suspenz, dobesedno pod morsko globino, na plitvini vidnega ostanejo: neprijeten okus in komaj vidni ostanki zgodbe, ki bodo šli z gledalcem domov, na pot, da jih premisli in pri svetlobi dneva še enkrat doživi.

In his filmmaking exercise, Lun Sevnik employs a series of unconventional decisions in the protagonists’ power play to cleverly toy with the viewer. With its calculated suspense, use of social media, “video” as the high point, carefully made concept, etc., the film comes dangerously close to a masterpiece!

Lun Sevnik’s Playing illustrates that a narrative can strike emotionally even when it is cold, dispassionate, and aloof. Two boys planning suicide before our very eyes arouse shock, angers, and helplessness. The jury recognises Playing as a bold, challenging film whose provocative methods elicit a strong emotional response. This is a skill, something only great masters of cinema can achieve.

Although there have lately been many films on the topic of refugees, Voyage voyage manages to surprise. Treating the subject in an apolitical way, with a clear ethical stance, it weaves the smuggler and their ‘goods’ into a profoundly humane message: We are all human. Lun Sevnik displays mature treatment of today’s social reality, confident use of the film language, and fine progress in his creative expression as an auteur.