The Gods Must Be Mistaken (WT)
The Gods Must Be Mistaken tells the personal story of a family across half a century of European history, marked by upheaval, hope, destruction and new beginnings. It is the story of a family who could never allow itself to separate the political from the personal.
The grandmother, fought as a partisan against fascism and for the revolution in former Yugoslavia. The mother rebelled against that revolution and saw her country go up in flames – in a new war. I, her son, am making a film about their stories entering into a dialogue with them. About missing gods, an end that is not, and the price that must be borne for never giving up.
The grandmother, fought as a partisan against fascism and for the revolution in former Yugoslavia. The mother rebelled against that revolution and saw her country go up in flames – in a new war. I, her son, am making a film about their stories entering into a dialogue with them. About missing gods, an end that is not, and the price that must be borne for never giving up.
Fiume o morte!
In the aftermath of the First World War, the future of the Adriatic city of Fiume (Rijeka) was uncertain. Although it was claimed by both Italy and Yugoslavia, the politicians negotiating in Versailles assigned it to neither of them.
In September 1919, the flamboyant Italian poet and military officer Gabriele D’Annunzio entered the city and ruled it for the next 16 months while waiting for the Italian politicians to annex it to Italy. Realising nothing is going to happen, he decided to proclaim it a Regency of his own.
D’Annunzio was supported by thousands of young Italian soldiers, who took the occupation as a heroic artistic and patriotic adventure. For the politicians on all sides however, it was a disgrace, which they didn’t know how to solve without starting a bloodshed.
One of the most photographed events of the pre-war gets re-enacted and reshot on the streets of Rijeka, solely by its citizens. The story is told from the perspective of the participants of the film, in the local languages from the past and the present.
In September 1919, the flamboyant Italian poet and military officer Gabriele D’Annunzio entered the city and ruled it for the next 16 months while waiting for the Italian politicians to annex it to Italy. Realising nothing is going to happen, he decided to proclaim it a Regency of his own.
D’Annunzio was supported by thousands of young Italian soldiers, who took the occupation as a heroic artistic and patriotic adventure. For the politicians on all sides however, it was a disgrace, which they didn’t know how to solve without starting a bloodshed.
One of the most photographed events of the pre-war gets re-enacted and reshot on the streets of Rijeka, solely by its citizens. The story is told from the perspective of the participants of the film, in the local languages from the past and the present.
Be Realistic, Demand the Impossible
The film explores themes of belonging, identity, integration, discrimination and immigration through the lives of a courageous and self-ironic couple in their mid 50s. She is a former professor of Croatian language and literature, SNJEŽANA KLARIĆ, and he is one of the leading Croatian conceptual artists, with a reputation as an enfant terrible, SINIŠA LABROVIĆ.
Frustrated by the socio-political situation in Croatia and wanting to achieve a better life, they embarking on a journey from Croatia to the “land of milk and honey” - Germany, with only one plan - “never to go back to Croatia”.
Upon their arrival in a foreign environment, they face a harsh reality. Grappling with language barriers, Snježana only finds employment as a cleaning lady in wealthy households. Siniša’s attempt to break into Berlin’s art scene results with failed performance.
The struggle of integration intensifies their life situation, leading to frequent and heated arguments. They opted to search for a larger apartment. A failed attempt at relocating and being forced to pay an Airbnb accommodation cast doubt on their decision to move to Berlin, triggering more frequent conflicts. Snježana's struggle plunges into depression, while Siniša's art commitments wane, prompting him to take a job in a tea factory.
During Snježana’s hospital treatment, she discovers a passion for becoming a theatre pedagogue and enrolls in training. Siniša receives an invitation from a prestigious Berlin theatre to showcase his performance to the Berlin audience. However, privately, their marriage comes apart, and Siniša has to find a new apartment.
After a successful graduation, Snježana finds a job as a theatre pedagogue. Siniša establishes connections with a German NGO that supports artists from the former Yugoslavia, enabling him to achieve his most ambitious performance yet.
In a nutshell, this film blends cinéma vérité and performative art, inviting us to witness the bare truth of life, without masks and acting.
Frustrated by the socio-political situation in Croatia and wanting to achieve a better life, they embarking on a journey from Croatia to the “land of milk and honey” - Germany, with only one plan - “never to go back to Croatia”.
Upon their arrival in a foreign environment, they face a harsh reality. Grappling with language barriers, Snježana only finds employment as a cleaning lady in wealthy households. Siniša’s attempt to break into Berlin’s art scene results with failed performance.
The struggle of integration intensifies their life situation, leading to frequent and heated arguments. They opted to search for a larger apartment. A failed attempt at relocating and being forced to pay an Airbnb accommodation cast doubt on their decision to move to Berlin, triggering more frequent conflicts. Snježana's struggle plunges into depression, while Siniša's art commitments wane, prompting him to take a job in a tea factory.
During Snježana’s hospital treatment, she discovers a passion for becoming a theatre pedagogue and enrolls in training. Siniša receives an invitation from a prestigious Berlin theatre to showcase his performance to the Berlin audience. However, privately, their marriage comes apart, and Siniša has to find a new apartment.
After a successful graduation, Snježana finds a job as a theatre pedagogue. Siniša establishes connections with a German NGO that supports artists from the former Yugoslavia, enabling him to achieve his most ambitious performance yet.
In a nutshell, this film blends cinéma vérité and performative art, inviting us to witness the bare truth of life, without masks and acting.