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 S one strane(2016) on IMDb

Pre 20 godina Vesna se s decom preselila u Zagreb, bežeći od događaja koji su im gotovo uništili živote. Međutim, nakon jednog neočekivanog poziva, na površinu će isplivati tajna koju je kroz sve te godine pokušavala da sakrije.

Produkcijske kuće: Interfilm, Zillion Film.
Producent: Ivan Maloča
Scenario: Mate Matišić, Zrinko Ogresta
Kinematograpfija: Branko Linta
Montaža: Tomislav Pavlic
Scenograf: Tanja Lacko
Muzika: Mate Matišić, Šimun Matišić

Uloge:

Ksenija Marinković, Lazar Ristovski, Tihana Lazović, Robert Budak, Toni Šestan, Vinko Kraljević, Alen Liverić, Marija Tadić, Ivan Brkić, Tena Jeić Gajski.

REŽISER

Zrinko Ogresta
/scenarista/reditelj/

(5. oktobar 1958. – u Virovitici, Hrvatska),scenarista, reditelj i profesor filmske režije na Akademiji dramskih umjetnosti u Zagrebu i član Evropske filmske akademije u Berlinu. Diplomirao na Akademiji dramskih umetnosti u Zagrebu, odsek za filmsku i TV režiju, januar 1982. godine.

Pohvaljen zbog svog snažnog vizuelnog stila, dobro artikulisane mise-en-scène i inovativnog pripovedanja, njegovi filmovi fokusiraju se na zabrinutosti koje vrebaju iza dobro kultivisane buržoaske fasade likova, koristeći njihove emocionalne i psihološke frakture kako bi osvetlili komplekse koji opsedaju društvu uopšteno, dok suptilno analizira društvene i političke snage koje stoje iza njega.

Ogrestini filmovi prikazivani su i nagrađivani na renomiranim međunarodnim i lokalnim festivalima (Venecija, Karlove Vari, London, Montpellier, Haifa, Denver, Milano, Pula…). Neke od najznačajnijih nagrada su nominacija za nagradu za evropski film u kategoriji najboljeg mladog reditelja (Krhotine / Fragments, 1991), Prik Italia, Grand Prik Pula FF i GP Rome IFF MEDFILM (Isprani / Vashed out, 1995/1996) , Grand Prik Haifa IFF, GP Rim IFF MEDFILM, nagrada za najbolju režiju i publiku Pula FF (Crvena prašina, 1999) Specijalna nagrada žirija Cristal Globe na IFF Karlovi Vari, Grand Prik Denver IFF, GP Milan IFF, GP Pula FF (Tu / Here, 2003/2004), Nagrada publike Motovunski IFF (Iza stakla / Iza stakla, 2008)…

  • Krhotine (Fragments) 1991. – Jadran film / HRT
  • Isprani (Washed out) 1995. – Jadran film / HRT
  • Crvena prašina (Red dust) 1999. – Interfilm/ HRT
  • Tu (Here) 2003. – Interfilm/ HRT
  • Iza stakla (Behind the glass) 2008. – Interfilm/ HRT
  • Projekcije (Projections) 2013. – Interfilm/ HRT
  • S one strane (On the other side) 2016. – Interfilm/ Zillion film/ HRT
  • Vraćam se odmah (I’ll be back soon) 1984. – Zagreb film
  • Zabranjena igračka (The forbidden toy) 1985. – Zagreb film
  • Konzerva (Can) 1986. – Zagreb film
  • Prizori s virovitickog bojista I, II, III (1991.) – HTV
  • Doli – krhotine moga djetinjstva (1992.) – HTV
  • Duet za jednu noc (1983.) – TV Zagreb
  • Dvije karte za grad (1983.) – TV Zagreb
  • Posjet (1985.) – TV Zagreb
  • Olujna noc (1987.) – TV Zagreb
  • Tečaj plivanja (1988.) – TV Zagreb
  • Leo i Brigita (1989.) – TV Zagreb
  • Milijun dolara (1990.) – HTV
  • Lift (2006.) – 4 FILM & ZAGREB FILM
  • Nikola (1978.) – ADU Zagreb
  • Intermezzo (1979.) – ADU Zagreb
  • Zelite li čaj? (1980.) – ADU Zagreb
  • Izlaz za nuzdu (1981.) – ADU Zagreb
  • Neprijatelji (1981.) – ADU Zagreb

Festivali i nagrade

Međunarodni filmski festival u Berlinu, Program Panorama, 2016. – Posebno priznanje žirija Europa Cinemas Label

FEST – Međunarodni filmski festival u Beogradu 2016. – najbolji film u kategoriji manjinskih koprodukcija, najbolja režija u kategoriji manjinskih koprodukcija, nagrada „Nebojša Đukelić“ za najbolji film zemalja u susjedstvu

Međunarodni filmski festival u Hong Kongu 2016.

Karlovy Vary Film Festival 2016

Festival International de La Rochelle 2016

Transilvania International Film Festival

Festival Al Este de Lima

Art Film Fest Slovakia 2016

”Pročitaj”

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”

Five Lakes Film Festival 2016.

Sarajevo Film Festival 2016.

Filmski Festival Herceg Novi 2016. – Velika Zlatna mimoza (najbolji film)

Međunarodni filmski festival Espoo Ciné 2016.

Filmski susreti u Nišu 2016. – najbolja strana glumica (Ksenija Marinković), najbolja glavna muška uloga (Lazar Ristovski)

Avvantura Film Festival Zadar 2016. – najbolja glumica (Ksenija Marinković)

Međunarodni filmski festival ‘Ljubav je ludost’ 2016.

Filmfestival Oostende 2016.

Međunarodni filmski festival Film by the Sea 2016.

”Pročitaj”

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”

Press

ON THE OTHER SIDE’: BERLIN REVIEW

 

The perils of the past keep echoing through the cinema of the present, and On the Other Side is the latest film to contemplate the contemporary consequences of historical conflict. In Croatian filmmaker Zrinko Ogresta’s seventh feature, a Bosnian war survivor reluctantly reconnects with the man who forced her to fear for her safety, flee her home, and forge a new life. That he happens to be her husband significantly complicates matters.

OGRESTA DOESN’T JUST MAKE HER CHARACTERS CONFRONT THEIR MULTIFACETED SITUATION, BUT, ALMOST BY STEALTH, MAKES THE VIEWERS FACE THE MANY SIDES TO EVERY STORY AS WELL.

”Pročitaj”

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”

Sarah Ward

Galerija