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ISSN 1409-6900 | UDK 82+7     Blesok no. 07 | volume II | February-March, 1999



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                     Peer-reviewed journal
Blesok no. 07February-March, 1999
Gallery Reviews

The Second International Film Festival in Skopje

- how proud it sounds -


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p. 1
Vladimir Angelov

    I really thought that The International Film Festival in Skopje would be a manifestation with the short breath, some kind of an exhibition that will not repeat itself again. But, thankfully to the persistence of the organizers, this year, again – we had the opportunity to update with the modern and avant-garde flows of the International cinema and, our capitol city of Skopje, as our small country to be the hosts of another “traditional” cultural event. So by it, in this case, we can expend our intellectual horizons and art curiosity.
    As first, let me inform you about the basic data of the Festival:
    – duration: 12th to 21st of March;
    – six program parts: A View on the British Film, Festival Films, World Window, Retrospectives – Lars Von Trier, Andy Warhol, Kiril Cenevski;
    – 42 films were shown (which means: only one was cancelled);
    – guest-authors were presented;
    – the projections were at the cinema of the Cultural Army Center, except the Andy Warhol Retrospective, which was attained at the Museum of Contemporary Arts (where it should've been attained anyway);
    – no awards were given (it is a non-competitive character of the Festival).
    According the selection, it can be concluded that the accent was given on the – a little forgotten here – European cinematography, and when we're talking about the US-made cinematography, the selector Tatiana Janevska gave the primate to the art/indi-authors. Because of the festival's large quantum of shown films, and in the interest of giving the whole picture of it, we'll make this division: well known directors/authors (liken Boorman, Jordan, Trier, Cohen brothers, Bertolucci, Gilliam, Hermann), and from other side – national representatives of some European countries (the most of them from G. Britain and France), and the Japanese one at the end. So, from this, we can draw a conclusion that: authors who are already proven were at the level of their reputation, and the national representatives are the authors of small, well done technically and ambient-efficient films. But, they're always with some lack of charm that we can see at the deeds of the affirmed authors. I'm generalizing, of course, because I couldn't cover all of it. That's not only because of almost always-overcrowded theater, intensive programs or because of the uncomfortable sits in the theatre (made for the though army bottoms), but also because of the films themselves – and their themes – all that what were given to us by






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