Interview with Zrinko Ogresta, Director of A Blue Flower, Winner of the Grand Golden Arena at the 68th Pula Film Festival – for Danas Newspaper

The Croatian film *A Blue Flower*, directed by Zrinko Ogresta, won the Grand Golden Arena for Best Film at the 68th Pula Film Festival. Ogresta also received the Golden Arena for Best Director, while Vanja Ćirić won the Golden Arena for Best Leading Actress for her role as the film’s protagonist.

The film had its regional premiere at the 28th European Film Festival Palić, where it moved many viewers. Film experts noted the presence of Chekhovian elements and discussed the involvement of Lazar Ristovski as a co-producer. The screenplay was written by Ivor Martinić, the author of *Drama About Mirjana and Those Around Her*, which also influenced discussions about the film.

The main character of *A Blue Flower*, Mirjana, is a factory worker in Zagreb. On the day of a modest ceremony recognizing her 20 years of service, her interactions and conversations with those around her shed light on her past, present, and future. The film deeply immerses the viewer emotionally, exploring the mother-daughter relationship in a profound way. The three central female roles were masterfully played by Vanja Ćirić, Anja Šovagović Despot, and Tea Harčević.

How did you experience your film’s premiere at Palić alongside the audience? Do you follow their reactions, and is that important to you?
— “When I watch my film with the audience, I pay attention to the moments of silence during scenes that I believe deserve complete quiet. That happened at Palić as well, and it gave me a sense of peace. That silence speaks volumes—when there is no rustling, when viewers are glued to their seats, fully focused on the film.”

You mentioned that with this film, you wanted to move away from socially engaged topics like the pandemic or refugees. Why do you think family themes are not considered ‘engaged’ topics? Did you worry that focusing on something universally personal would make the film seem less provocative?
— “Family-related themes can be ‘engaged’ even today, but it is difficult to address them without resorting to overused mainstream narratives—domestic violence, abuse of women and children, or discrimination against LGBTQ individuals within families. While I do not diminish the importance of these issues, they have become a common trend, sometimes exploited by those who genuinely care and those who do not. Nowadays, it seems that to be artistically intriguing, one must explore extreme human conditions. I wanted to return to ordinary, familiar patterns of behavior—ones filled with intrigue, excitement, sadness, pain, humor, and beauty—elements that often get overlooked amid sensationalized portrayals of extreme behavior.”

Your film focuses on Mirjana, her mother, and her daughter. You convincingly depict the dynamics between three generations of women. Do you find it easier to express your emotions and worldview through female characters?
— “Quite possibly. As a man, I undoubtedly recognize and embrace my so-called ‘feminine side’—my heightened sensitivity. I am not afraid to fully express and explore it in my creative work.”

Your film uniquely addresses generational competition between women within the same family, a theme rarely explored in Balkan cinema. Why was this important for you to highlight?
— “It is a common behavioral pattern among women in families, which I find psychologically intriguing and artistically inspiring. By exploring it, I aim to achieve catharsis for the characters and provoke catharsis in the audience as well. For me, this is an exciting artistic endeavor.”

The three main female characters in the film constantly nag and often forget to say something important, brushing it off as irrelevant. In our fast-paced lives, do we truly forget what is important?
— “Absolutely. What we often dismiss as insignificant is actually crucial for our relationships with loved ones. These are the moments when we should pause, turn to those closest to us, look them in the eyes, and show them how much we love them. We may think we express our care through daily responsibilities and sacrifices, but pure, direct emotional moments—free from pragmatism—are just as important.”

Mirjana wears a blue dress at her 20-year work anniversary and receives a blue flower. Why did you name the film after this?
— “I wanted the title to be poetic and beautiful, yet not burdened with symbolism—something that naturally emerges from the film’s essence.”

The film’s co-producer, Lazar Ristovski, is a well-known Serbian actor who has supported Serbian President Aleksandar Vučić. Were you aware of this, and does it influence your choice of collaborators?
— “Yes, I was aware. When it comes to political views, each person makes their own choices for their own reasons. We wanted democracy, and we have it—at least in Croatia, to a large extent. If we allow someone’s personal political stance to shape our perception of them, it says more about us than about them. It reflects our narrow-mindedness and inability to embrace the true essence of democracy and free thought.”

Your statement, ‘Whenever you’re in doubt, listen to what President Tuđman said,’ confused many. Did you mean political pragmatism, or do you fully agree with Franjo Tuđman’s ideology?
— “The perception of Tuđman’s ideology differs between Croatia and Serbia. To me, it represents national independence, complete equality regardless of nationality, race, class, or gender, openness toward neighbors, and a mature and honest relationship with history—both its bright and dark chapters. For me, it is crucial to know who I am, but also for others to know it.”

How important is an artist’s political affiliation in Croatia?
— “Political views do not affect an artist’s opportunities or access to public funding in Croatia. The film industry is a prime example—films are made by creators of all political backgrounds. The only criterion I consider important when evaluating someone is whether they are mature. A mature person must be capable of putting themselves in another’s shoes. Just as a director must understand every character’s perspective, a mature individual must strive to see situations and people from different angles. Only then can we build bridges between different views. For me, knowing who I am is essential, but just as important is ensuring that others recognize and understand that as well. I believe this is the foundation of my strong and positive relationship with many Serbian colleagues and friends.”

Aleksandra Ćuk
July 26, 2021

Read the original interview here.