Pulski filmski festival 2016. – Velika Zlatna Arena za najbolji film; Zlatna Arena za režiju (Zrinko Ogresta); Zlatna Arena za scenarij (Mate Matišić i Zrinko Ogresta); Zlatna Arena za najbolju glavnu žensku ulogu (Ksenija Marinković); Zlatna Arena za najbolju glavnu mušku ulogu (Lazar Ristovski); Zlatna Arena za montažu (Tomislav Pavlic); Zlatna Arena za oblikovanje zvuka (Martin Semenčić i Ivan Zelić); nagrada Hrvatskog društva filmskih kritičara “Oktavijan”

Al Este del Plata 2016. –  posebno priznanje

Međunarodni filmski festival u Haifi 2016.

Međunarodni filmski festival u Solunu 2016.

Ljubljanski međunarodni filmski festival LIFFe 2016.

CPH PIX 2016.

Filmski festival u Arrasu 2016.

Filmski festival u Stockholmu 2016.

Međunarodni filmski festival u Bratislavi 2016.

“Black Nights” filmski festival u Tallinu 2016.

Mostar Film Festival 2016. – Nagrada za najbolju žensku ulogu

”Zatvori”

Leskovački internacionalni festival filmske režije – LIFFe 2016. – Grand Prix Živojin Žika Pavlović

BFI – Filmski festival u Londonu 2016.

CinEast – Festival srednjeeuropskog i istočnoeuropskog filma 2016.

Međunarodni filmski festival u Varšavi 2016.

Indijski međunarodni filmski festival, Goa 2016.

Međunarodni filmski festival u Palm Springsu 2017.

Međunarodni filmski festival u Chennaiju 2017.

Filmski festival u Trstu 2017.

Međunarodni filmski festival u Santa Barbari 2017.

Međunarodni filmski festival u Bengaluru (program Cinema of the World) 2017.

Balkan Firenca ekspres 2017.

Filmski festival A l’Est du Nouveau 2017. –  Grand prix za najbolji film; Nagrada publike

Filmski festival Europske unije u Chicagu 2017.

Međunarodni filmski festival u Clevelandu 2017.

Filmski festival LET’S CEE 2017.

”Zatvori”

At face value, the newest addition to Ogresta’s resume — joining the likes of European Film Award nominee Fragments and Karlovy Vary special jury prize winner Tu — recalls another recent effort involving a wife wronged in war-torn times, Christian Petzold’s Phoenix. On the Other Side also shares that film’s struggle with forgiveness and search for normality, understanding how long-held affection can resurface even after acts of violence or betrayal. After premiering in Berlin’s Panorama section, this Croatian-Serbian production may similarly mirror its German predecessor’s warm international reception, particularly on the festival circuit.

The parallels continue, with both features dedicating their bulk to the psychological impact of their protagonists’ ordeals; however On the Other Side doesn’t simply transport familiar elements to a new setting. Instead, it takes yet another communal component — the minutiae of everyday routines, especially in providing slivers of solace during trying periods — and burrows into it more deeply. As co-written with playwright Mate Matišić, Ogresta’s film is one of precision and repetition, and not only in a narrative that follows the threads of connected conversations. Order reigns visually as well, as seen in recurring, setting-specific shots that highlight the movie’s focus on control in the face of looming chaos.

Flitting between her humble apartment, her roving nursing duties, and the commute between the two, Vesna (Ksenija Marinković) certainly does all that she can to adhere to a regular schedule. Assisting her son Vladimir (Robert Budak) and his wife Nives (Tena Jeić Gajski) by babysitting her young grandson may help break up the monotony of her days, as does helping her soon-to-be-married daughter Jadranka (Tihana Lazović) secure post-university work, but a pattern remains — until a phone call disrupts her carefully constructed existence.

The voice on the end of the line bears the name of Žarko (Lazar Ristovski), and beckons an unwelcome blast from the past. And yet, though Vesna is initially hesitant to talk to the war criminal she remains married to but hasn’t seen for more than two decades, she starts to feel sympathetic towards him as they keep conversing. Her children disapprove; Vladimir rages about the stigma it could brand his own son with, while Jadranka’s job search is jeopardised by the family name and heritage.

Tension emanates from the film’s many clashes: of a husband and wife reunited under less than happy circumstances, of their offspring fretting about the past’s influence on their future, and of the deeds of a previous life resurfacing into a challenging present. Indeed, On the Other Side makes for anxious viewing. However, in enlisting acclaimed theatre performers Marinković and Ristovski, Ogresta ensures that the stress that seeps through the feature does so with a subtle touch. Their astute, inward-looking portrayals bubble with pressure, yet also seethe with empathy. That’s a delicate balance, but a pivotal one in an effort concerned with the interplay of extraordinary backgrounds and ordinary people.

Of course, with Ogresta ever the meticulous and restrained director, they’re not the only part of the feature designed to linger. Or lurk, as cinematographer Branko Linta’s camera does, and editor’s Tomislav Pavlic’s sense of pacing, too. Shooting from afar, peering through windows, curtains and doorframes, and containing each scene within uninterrupted long takes imbues the film with a wholly disquieting mood. There’s never any doubt that that’s by design; On the Other Sidedoesn’t just make its characters confront their multifaceted situation, but, almost by stealth, makes its viewers face the many sides to every story as well.

”Zatvori”