Films as a Reflection of a New Reality that Waits for No One
Each festival edition brings something new, and if the last, decennial was important from a global perspective, showing that it can be done even in times like these, that interest in culture exists independently and despite external issues that surround us, the eleventh edition is important for many other reasons. Conceptually and to me personally.
The first festival was held in 2003, the second in 2004, and since then biannually. Then, last year, following a large number of submissions, preparations wrapped in uncertainty and a hybrid form, program viewership figures for the platform came in, erasing all the problems surrounding the covid- organisation – and a decision has been made, one that is quite unusual for these uncertain times. Namely, we decided not to wait two years. We decided to restart the annual edition. And we once more decided on a hybrid concept.
And without a shred of doubt, we are sure that we have made a good decision.
Because the films you have the opportunity to see at this year’s 11th One Take Film Festival prove it. Everything came to a halt for almost a year. Then we learned to live and work with covid – films are being prepared, shot, and finished, slowly but surely becoming a reflection of a new reality, a reality that cannot wait two years. And the audience doesn’t want to wait either.
We can fall into a pattern of yearning for past times, times when going to the cinema was a special, almost mystical experience of sitting in a darkened hall, waiting in silence for the film to begin. But times have changed, and we have changed along with them.
Just as we came to accept coexistence with covid, we gradually but surely did the same for the availability of festival film programmes online, watching films when we want and as many times as we want. And I don’t think that’s bad. On the contrary, our audience has expanded, and I consider every new viewer of such a specific film form a festival success.
And me, I have also adjusted, accepted that not many viewers will watch my carefully conceived slots from the comfort of their living room in the way that I had imagined. That I leave to the cinema audience. The at-home audience is sure to skip some films, fast-forward others, return to some more than once. To be perfectly honest, I have not yet accepted this reality but I am trying. Times and habits change.
I look at my twelve-year-old son who, might I say, genuinely enjoys watching films and, still, I see his restlessness and his impatience while doing so. It is clear that cinema cannot mean the same thing to me and to today’s generations, hooked to the internet day and night. But I try to teach him how to watch films, that films are not meant to be paused halfway through to check TikTok or status updates. And I try to teach him to appreciate the effort put into films by their authors. I try to have conversations about films with him. And I try to teach him that films are not meant to be watched on cell phones!
This is why this 11th One Take is extremely important to me personally. Precisely because of that twelve- year-old and the cell phone that’s glued to his palm – and the decreasing amount of time I have for him. From next year onwards, someone new, a younger colleague, will take over the organisation of the Festival. I will continue to choose films for you – I will always have time to watch films!
Last but not least, in addition to many excellent films and a number of new festival programmes, don’t miss out on Nomophobia, a film based on a true story, my “organisational” LAST TAKE.
|18:00 - 22:00||ONE TAKE IN SPACE||A Person Walking on Tiptoe|
|Every Skin Contains a Will|
|The Town of Forgotten Things|
|16:00||COMPETITION 1||Gladiator - Pt. 3|
|18:00||ONE TAKE IN INDIA||The Man & His Boat|
|The Story so far|
|16:00||COMPETITION 3||The Miracle of Saint Anthony|
|Allen Screw Loose|
|17:00||ONE TAKE (IN)EQUALITY||The Moth|
|All for One and One for All|
|18:00||COMPETITION 4||Radionički programi|
|When I Dance, the Earth Trembles|
|No Room for Myself|
|Witch Trilogy 13+|
|20:30||AWARD CEREMONY||Award presentation|
|Wining film screening – ONE TAKE FILM FESTIVAL GRAND PRIX|
|Wining film screening – VEDRAN ŠAMANOVIĆ AWARD|
|Last Take - Nomophobia|
|23. 10. 2021.|
Competition Program I, II, III i IV
One Take In India
|24. 10. 2021.|
Competition Program I, II, III i IV
One Take (In)Equality
To watch the films, you need to log in with your email address.
In the COMPETITION, ALMOST ONE, ONE TAKE (IN)EQUALITY, ONE TAKE IN INDIA I LAST TAKE menus, click on the image of the chosen film to open the link for viewing.
Films from the COMPETITION will be available for viewing from October 23 2021 from 00:01 UTC+02 till October 24 2021 till 23:59 UTC+02
Films from the ALMOST ONE and ONE TAKE IN INDIA programme will be available for viewing on October 23, 2021, from 00:01 UTC+02 till 23:59 UTC+02
Films from the ONE TAKE (IN)EQUALITY i LAST TAKE programme will be available for viewing on October 24, 2021, from 00:01 UTC+02 till 23:59 UTC+02
All films that are not in English have English language subtitles. To enable the subtitles, click on the CC icon in the video player and select English.
about the award
The Vedran Šamanović Award is presented in honour of the prematurely deceased Croatian cinematographer and director as the highest annual recognition to a film artist who expanded the boundaries of cinematic expression in Croatian filmmaking through an innovative approach in any area of filmmaking, both short and feature-length films, in the course of the current year.
In choosing the winner, the jury reviews the entire Croatian film production of the past twelve months and chooses an artist whose life and work best reflect the inquisitive and versatile profile of the artist that inspired the award.
According to the regulations agreed upon by the award’s five founding film associations, the Film Artists’ Association of Croatia, the Croatian Cinematographers Society, the Croatian Film Directors’ Guild, the Croatian Society of Film Critics, and the Croatian Film Association, eligible for the award are all Croatian films that have been publicly screened from June 30 of the previous year to July 1 of the current year, with the exception of the previous two years when the end date coincided with the submission date for Days of Croatian Film.
Croatian cinematographer, director, and photographer Vedran Šamanović (Split, 1968 – Zagreb, 2009), who received numerous awards at home and abroad, is the originator and long-time director of One Take Film Festival. In agreement with the associations that founded the Award, this year’s winner will again be announced at One Take Film Festival.
After the announcement, the audience will have the opportunity to watch the award-winning film at Zagreb’s Tuškanac Cinema on Sunday, October 24.
The winner of this year’s Award is director Mateja Zidarić for the experimental film The Pleiades.
This year’s Vedran Šamanović Award jury consists of director Dana Budisavljević, film critic Jelena Pašić, and film critic Diana Nenadić.
Dana Budisavljević graduated from the Academy of Dramatic Arts in Zagreb, Department of Film and TV Editing. She has worked as an editor, production assistant and film festival organiser. She made her directorial debut with the documentary Straight A’s and gained wider popularity with Family Meals, a family film about coming out. She has produced several documentaries and feature films. Her first feature-length film The Diary of Diana B. premiered at the Pula Film Festival in 2019 and won six awards, thus becoming the first ever film to win jury, critics and audience awards in the 66-year history of Croatia’s oldest festival and making Dana Budisavljević the first ever female director to receive the Grand Golden Arena for Best Film.
Jelena Pašić graduated in Art History and Cultural Anthropology from the Faculty of Humanities and Social Sciences. She has collaborated on various exhibition and research projects, coordinated and organised several exhibitions and workshops, and published articles on topics in the field of contemporary art practice, design, and architecture in the magazines Zarez, Život umjetnosti, Kvartal, and on the show Triptih on Croatian Radio. She regularly publishes texts and reviews in the film magazine Filmonaut. She has been employed by the arts Zagreb Film Festival since 2013.
Diana Nenadić graduated from the Faculty of Political Science in Zagreb. She has been published in Slobodna Dalmacija, Nedjeljna Dalmacija, Quorum, Vijenac, Kolo, Zarez, the Croatian Cinema Chronicle, etc., and film radio shows (Filmoskop, Filmološki ogledi and Teorija u prvom licu) on the Third Channel of Croatian Radio. Since 2000, she has served as publishing editor and curator of the Croatian Film Association’s film archive and accompanying programmes of ZagrebDox and Zagreb Film Festival. She is a two-time winner of the annual Vladimir Vuković Award for film criticism (1996 and 2006). She has been the Vice President of the Croatian Society of Film Critics from 2008 to 2013 and its President from 2013 to 2017.
The Vedran Šamanović Award winner for 2021 is the film The Pleiades by Mateja Zidarić. Digital technologies have radically expanded the cinematic field and its possibilities on stylistic and formal as well as aesthetic and semantic levels. In one of her texts, German artist and theorist Hito Steyerl suggested that art history of the 20th century should be interpreted as an attempt at anticipating the mechanical image, at making images produced by machines for other devices more understandable to man, for humankind to, in time, adopt a posthuman view that is increasingly dictating everyday life. There might indeed be something emancipatory in this idea, but shouldn’t the task of the digital image, developed as a consequence of humankind’s unquenchable thirst for knowledge, be to return us to the quintessentially human, to expand our understanding of the world?
The Pleiades by Mateja Zidarić is a film that does just that. Different types of digital image interweave into a dense visual fabric, a film garment that deftly dissolves into an associative network of visual and linguistic concepts and ingenious analogies. Starting from the personal, in an effort to come to grips with her own fears, the author of The Pleiades looks up both into the universe and ahead – at an ultrasound image that poses a threat of an unwanted diagnosis and into the computer screen from which she ventures into the process of confrontation and acceptance of uncertainty.
Images edited into different layers – from WhatsApp messages, satellite images of the Moon’s surface, and ultrasound images of the female body to scrolling through Google search results and footage of the author herself – correspond to the sedimentation of meaning and symbols that have its roots in classical antiquity. The author uses them as means of telling a story about fear and hope, weakness and strength, the particular and the eternal, all within the duration of twelve minutes of film. The ancient here fuses with the present, mythology with reality, the unknown with the known, micro turns to macro, what is far becomes close, and the (female) body comes in tune with the universe. The personal is in this case transposed into the universal (Latin universalis, from Latin universus = taken collectively), and movement in the (film) image is in line with the movements of a mind in a constant search for answers. And this motion gives rise to emotion.
experimental, Croatia, 2021.
colour, black/white, 12 min
director / Mateja Zidarić
screenwriter / Mateja Zidarić
cinematographer / Mateja Zidarić
producer / Mateja Zidarić (Kinoklub Zagreb)
about the film
There has been a small shift in one of the microcosms. To this shift, I purposefully ascribe meaning borrowed from mythology. Myth as a metaphor, or myth as a means of destruction of everyday fears that might arise...
about the author
Mateja Zidarić graduated in Mathematics from the Faculty of Science in Zagreb. She dedicated her dissertation to research of mathematical content in literary works, subsequently adopting a similar focus in her work in film. In 2016, she enrolled in the beginner’s Film School workshop at Cinema Club Zagreb (KKZ) and joined acting workshops in the following years (2017/18, Kubus). Since 2018, she has attended a number of KKZ’s workshops (I wasn't born yesterday, Glitch Art, Sketch-Rehearse-Play, Summer Adventure, Film Essay) and the online workshop Enigmatic Images with Fred Kelemen at Cine Club Split. In this period, she made the films Nepovrat (2018, workshop I wasn’t born yesterday), Space Deposits (2019, workshop Sketch-Rehearse-Play), Hamilton Walk (2020), Crvena (2020, workshop Film Essay), and The Pleiades (2020/21, workshop Film Documentalism). Two years ago, she put together and led a programme Research Saturday within KKZ’s Screening Saturdays, combining experimental film and hand-picked scientific concepts. This year, she won the award for Best Experimental Film at the 30th Days of Croatian Film in Zagreb for her film The Pleiades.
LENDITA ZEQIRAJ (Kosovo)
Producer, screenwriter, and director. Lendita Zeqiraj, who sometimes signs her films as production designer as well, was born in 1972 in Pristina. This filmmaker and visual artist completed her graduate and postgraduate studies in Visual Arts at the Kosovo Academy of Sciences and Arts in Pristina and studied Film Aesthetics in Paris at Université Paris 8 Vincennes-Saint-Denis. In 2014, she was named National Film Author of the Year and received a recognition from the Kosovo Ministry of Culture, while her short films Balcony and Fence have screened at more than 250 festivals around the world. The 2013 film Balcony premiered at the 70th Venice Film Festival and travelled to festivals in Warsaw, Palm Springs, Busan, and several others, winning over 35 awards that include a Special Jury Award at the American Film Institute's Festival in 2013. The film Fence also screened at numerous festivals, including the Palm Springs International Festival of Short Films ShortFest, and has been awarded at a dozen international festivals including last year’s One Take Film Festival. The author made her feature-length debut in 2019 with the humorous drama Aga's House, which shares part of the plot and most of the cast with Fence.
IRENA MARKOVIĆ (Croatia)
Produced. Born 1965 in Zagreb. Graduated Mathematics and Computer Science at Faculty of Science, University of Zagreb. Irena is also a graduate from EAVE programme for European and international audiovisual producers. In 2003 Irena co-founded the production company Focus Media where she works as managing director and producer of various projects. In 2006 she produced her first feature film, Slow Days directed by Matija Kluković, which won the Best Croatian Film Award at the Zagreb Film Festival (2006) and was internationally premiered at the 2007 International Film Festival Rotterdam. The film has screened at several other film festivals winning both audience and critical acknowledgements. In 2009 she produced short film Caio Mama directed by Goran Odvorčić, which was screened in competition of Cannes Film Festival 2009 and won the special mention by the Sarajevo Film Festival Jury 2009. She is a coproducer of the feature film Penelope by Ben Ferris (Australia, shooting was in Croatia) and TIR by Alberto Fasulo (Italy, Award for the Best Film at Rome Film Festival). She is a coproducer of the feature film Catalina by Denijal Hasanović (Poland) and coproducer of the feature film Voevoda by Zornitsa Sophia (Bulgaria). In 2020 she produced feature film Tereza37 directed by Danilo Šerbedžija, which won Golden Arena Awards for Best Film, BestDirector, Best Screenplay, Best Supporting Actress, Best Editing and Best Make up at the Pula Film Festival 2020. She is a coproducer of the feature film Mother by Zornitsa Sophia (Bulgaria) which is in postproduction.
DAVID LUŠIČIĆ (Croatia)
Director, production designer, architect. David Lušičić was born in 1976 in Rijeka, Croatia. He works as an independent audio-visual expert, film director, producer and contemporary art project manager. He finished his MA studies in TV and Film directing at Academy of Dramatic Art in Zagreb. He holds a Master degree in Scenography from Central Saint Martins College of Arts and Design in London, and MA in Architecture from Faculty of Architecture in Ljubljana. He is a founder of Greta Creative Network, an organisation that launched the Greta Gallery and Interface Vide Art Festival. He has worked as an independent audiovisual expert on project evaluations at the EACEA in Brussels. He teaches at the Academy of Fine Arts and at the University of Algebra in Zagreb the courses Visualisation of storytelling, Visual interactive media and Presentation techniques. After completing the production of his first film project, the feature omnibus Trasmania, which premiered at the Sarajevo Film Festival in 2016, he dedicates himself entirely to filmmaking and launches an independent production through which he has produced a number of audiovisual projects. He is the author of several short films, the last of which Faceless has been awarded with the first prize at Revenue of Croatian Filmmaking, as well as the Best Regional Film at Liburnia Film Festival 2020. He is currently finishing his first feature length documentary Mlungu – The White King and developing his second documentary film project Via Roma.
ONE TAKE FILM FESTIVAL GRAND PRIX
The Grand Prix is awarded to the best film in the Main Program. The Grand Prix of One Take Film Festival is a 10 cm3 cube made of transparent matt plexiglass glued together. A glance through the round aperture on one side of the cube reveals the text fitting to the One Take Film Festival.
ABOUT THE AUTHOR
Margareta Lekić was born in 1982 in Osijek. She graduated Sculpture from the Academy of Fine Arts in Zagreb. Since 2004, she has exhibited her work at group exhibitions (for instance Essl Award – finals in the GALUrija gallery in Zagreb, 2005; Pasionska baština in the Krištof Stanković gallery in Zagreb, 2006, the second prize; Inter(Aktiv) in the Students’ Center gallery in Zagreb, 2006; Glass Cube within the Frankfurt Luminale 2006 in Mainz). Her works include public displays (for instance, the sculpture Rooster on Hvar island, 2005), performances Problem deconstructed in Indiana (USA).