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ISSN 1409-6900 | UDK 82+7     Blesok no. 14 | volume III | April-May, 2000



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                     Peer-reviewed journal
Blesok no. 14April-May, 2000
Gallery Reviews

Defending the Artistic Honour of the Film

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p. 1
Aleksandar Rusjakov

    The film, for many years now, is endangered by the phenomena of total commercialization, industrialization and popularization, which, basically, brings it to the level of common pattern production – unacceptable for any kind of art discipline. With that, the film is in danger of loosing title the “seventh art” title.
    It concerns, above all, the Hollywood film-production, but – unfortunately – it is more and more often in the European cinematography, as well. As a proof for this, we can bring that huge number of films – “blockbusters”: films with the budgets of millions of dollars, and with the aesthetic qualities that equals the pop-corn snacks.
    Anyway, as a some kind of a comfort in this tragic film-situation, there are a few authors-directors, who are still able to make a real art-films, once they set themselves into that, although with ridiculous budgets and in so much worse conditions than those “pop-corn” movies, mentioned above. In this short text, we are going to say something about the art-film as we wish for – in our cinematography.
    It is the film FUCKING ÅMÅL (SHOW ME LOVE), by the Swedish tandem: the director Lukas Moodysson, and the director of photography Ulf Brantas. Let us mention that this film was shown at the latest International Film Camera Festival “Manaki Brothers” in Bitola. This low-budget film was real artistic refreshment at the Festival, and for our film audience in general, which can rarely manage to see a little bit of art in our cinema-theaters (the rare exceptions gratefully excluded).
    So, at last, those of our film lovers with some higher aesthetic taste (and with the little different criteria than the American “pop-corn” audience), finally had a rare opportunity to see something different from the usual Hollywood lemonades he is usually bombed with – in our cinema-theaters.
    This film is one warm, human, emotional, joyful – but in the same time strong and serious story, in which the author, with a new and specific film language, presents us a new approach on the – maybe old already –theme of a lesbian love.
    This film which is among the twenty-five films nominated for the European Film Academy Award, is a coherent sum of many segments. As most significant, there is the sophisticated language of film directing – made upon the ingeniously prepared scenario and the camera perfectionism, with the unusual and original use of the camera zoom. Also, there is the beautiful naturalistic






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