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ISSN 1409-6900 | UDK 82+7     Blesok no. 26 | volume V | May-June, 2002



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                     Peer-reviewed journal
Blesok no. 26May-June, 2002
Gallery Reviews

Macedonian Rashomon

interview with Milčo Mančevski, film director


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p. 1
Žarko Kujundžiski

* You have some experience as the humorist and satirist, you used to publish at the end of 70’s in “Osten”, a magazine for humor and satire. Two things can be noted: They are written in grammatical first person, as some kind of a film notification. In “Dust” we could see your sense of humor in few of its variants (irony, sarcasm, and anecdote) and through some different characters. Finally, the whole film is a kind of an ironic play with the narrative film. What function you give to the humor in your projects: to ease the communicability with the audience?
    MM:
Humor has two reasons in my films, and I think, in the film in general. The first one is – it makes it communicative. The second and much more important is – it’s a part of a life’s euphoria. Although I’m not the one who should say this, but this is the main difference between “Before the Rain” and “Dust”. “Dust” is more complex. And besides that enriched complexity, the greatest difference is e humor, more of that life euphoria is at the surface, and in the same time it’s quite “down” in the atmosphere. They don’t function well – one without the other. Both ends of the spectrum should be given to gain the real complexity. If the shadow isn’t there, the sun can’t be that strong. The humor in its essence is amazingly difficult phenomenon. Something you find funny, I don’t, and vice versa. Especially among the different cultures, so I did expect that it would travel with difficulties. What I was most pleasantly surprised of, was the fact that the audience reacts at the exact spots I wanted. It was of most importance for me. I did see that the audiences everywhere laugh at the same spots: in Toronto, in Tokio, as well as in Skopje. The very reason I’ve started to make films is the story itself, to make my stories more easily communicative with the recipient.
    


    * I personally agree that, when we spoke of art, that it should speak of universal things, and that every story, how intimate it is, the artist should present it in some collective frameworks. But, why Milcho is defensive as a devil himself when someone say that he made national, not nationalistic film, or even (God forbid!) chauvinistic one? If someone like Spielberg can do it, for






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