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ISSN 1409-6900 | UDK 82+7     Blesok no. 45 | volume VIII | November-December, 2005



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                     Peer-reviewed journal
Blesok no. 45November-December, 2005
Gallery Reviews

The New Macedonian Film

A fresh frame for the new frames of the seventh art


/4
p. 1
Ana Vasilevska

The cinematography exceeds the traditional matrix, but it's still in transition towards the contemporary European film

Great Water

    Hey, they're filming!? This grammatically poor statement, is more and more often used comment by the common citizens of Skopje. It initiates the thought about the actual contemporary film production, which is recently so common phenomenon through the city that the film crews are simply demistificated as a curiosity. One can see those crews all around various locations in the city. The new Macedonian film production that doesn't intent to compete in quantity to some of the major European countries, enterprises to do so in quality and to overcome the local context with it, making progress at the European film markets and film festivals. Using the co-production model of filming, we got the average of two feature films and a few short length features and documentary films per year. At the moment, the most actual event is the filming of “The Navel of the World” by Igor Ivanov-Izi; also, we wait for the opening of the film “Karaula” by Rajko Grlić; the film “Contact” by Sergej Stanojkovski is participating at the many international film festivals; “Balkankan” is blockbusting the regional Balkan movie theatres; Teona Mitevska is preparing to start filming her new film “I'm from Titov Veles”. Including the last two years' productions – as “The Big Water” by Ivo Trajkov and the “Mirage” by Svetozar Ristovski, we can notice almost three-films-per-year film production.
    Every each of these films has its own film poetics, so it can be said that we have refreshed and mobilized the film genres at our film production, too. In principle, this is a new wave of various young and fresh film authors with modest filmography – in creative and in technical crew segments both. At the other side, they all benefit from the participation of the attractive and the affirmed film names at the foreign part of each co-production.
    Slowly, but not necessarily certain too, we overcome the matrix where the films had to have some hermetic fable stuck to various pathetic historical attitudes and stands. Mostly, our film production enters the area of personal drama fables, or the undefined area of the experimental film genre.
    

Mirage

    The motivations of the new film authors is a slightly social-orientated engagement in the film, thematically covering the actual social context at this time.
    But at the same time, this authors succeed (more or less) to integrate various






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