Restart Croatia

Izrazno izviren, zgodovinsko zanimiv in politično aktualen film Fiume o Morte! Igorja Bezinovića predstavlja svež in izjemno avtentičen ustvarjalni vzlet dokumentarnega filma v širši regiji.

We were impressed by the film’s playful use of archival footage and reenactment to shed light on a too-little-known episode of European history. Whilst full of dry, self-reflexive humour, the film manages to use its creative exploration of history to provide in-depth commentary on worrying contemporary political developments, specifically the rise of the global far-right. We applaud the film’s effortless combination of experimentation and accessibility – not least due to its excellent editing – which serves to convey a timely warning against the formation of authoritarianism.

Montenegrin: Živimo u vremenu koje nas svakodnevno podsjeća na opasnosti prošlosti. Ideologije za koje smo vjerovali da su poražene – poput fašizma – vraćaju se, perfidnije i maskirane savremenim jezikom, ali i dalje razorne. U trenutku kada gledamo rat u Ukrajini, genocid u Gazi i nove sukobe širom svijeta, film Fiume o Morte dolazi kao snažno upozorenje. Kroz priču o fašističkoj vladavini Gabrijela D’Anuncija u Rijeci, reditelj Igor Bezinović nas vraća u period između dva rata i pokazuje kako moć, kada nije obuzdana zakonom ni moralom, ostavlja duboke ožiljke na društvu. Ovo nije samo film o prošlosti. Fiume o Morte je hrabar autorski komentar, pun ironije, zasnovan na manje poznatoj arhivi i preciznom uvidu u današnji trenutak. Bezinović ne izbjegava teške teme – on razotkriva mitove i suočava se s revizionizmom u savremenoj Hrvatskoj.

This is a film where people and public spaces are used as co-conspirators in exploring the past through the prism of contemporary Europe. At times of the rise of ultra-nationalism within a contemporary European context, the film playfully grapples with the past not as a closed chapter, but as a living reality. Unless we engage the past as a living present it will insist in ways that are not only a warning for the future, but threaten the very possibility of equitable co-existence and a life livable for not only those that have recourse to assert power. The film’s clash of staged reconstruction with real life refreshingly sheds light on the way history is continually present rather than preserved in aspic. While it is a playful and mischievous film, it presents a mirror to our present day.

Recourse to ultra nationalism, and even fascism, resides in the core of national identity, it is already inside of us as a form of knowledge we should be afraid to forget, and continuously need to process in order to forgo its grip. It is a reality we remember from movies, literature, billboards and books. These are memories that travel as far as the history of a nation. So we need to make history anew, again and again, to not only unforget, but beget the world we wish there was, for all of us.

“Fiume o morte” – 6.000 EUR Festival

Days of Madness all but scares us by raising second thoughts whether mental illness is perhaps merely a combination of the infinite vulnerability of life, human powerlessness and evil demons that roam our midst. Without moralising, the film raises harrowing questions of how one responds to psychological distress; and how the system, the medical science, the pharmaceutical industry react. Thanks to well-thought-out yet only seeming absence of the author, what is left is an honest, brutally compelling document that leaves the viewer with an almost physical effect.