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ISSN 1409-6900 | UDK 82+7     Blesok no. 46 | volume IX | January-February, 2006



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                     Peer-reviewed journal
Blesok no. 46January-February, 2006
Gallery Reviews

Differences are also Part of the Unity

On the occasion of the 46th International Film Festival in Thessalonica


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Georgi Vasilevski

    The International Festival of Thessalonica is one of the festivals that establish both the innovative spirit of the new production and the dignity of the classical film; in November 2005 it had its 46th anniversary. An impressive number of years that have turned the city at Baes Kule into a favorite destination of the film makers praised or criticized in their environments as big hope for the future of the film, as enfant terrible that will soon turn into a conformist or a heretic beyond control. The hosts have tried to have the list of esthetically opposite authors and films thematically set as a call for battle with conformism as diverse as possible. This tendency was recognizable in the concept of the festival program of last year, and in the films shown one, two and more decades ago, and in the work of the participants of the 46th Thessalonica Festival.
    

Ramin Bahrani, Man Push Cart

    The thick, decomposed mosaic of festival films included not only in the competition, but also in the programs: Days of Independent Film; Balkan View; Young Americans; Oeuvre; Greek Film 2005, could easily recruit you to the idea that the modern film, on the run from the conformism of classical esthetic schools, had dispersed its perspectives in shattered idea fragments. In its unfinished stories, it has cowardly escaped from the poetic context in which both the winners and the losers are the children of their environments and in which the harsh clashes of the individuals and the collectives go hand in hand with the situation of apathy and powerlessness.
    

Roland Vranik, Black Brush (Fekete Kefe)

    But, this is an impression that only seemingly shows the current cinematographic situation in the world, projected, of course, to the program of the 46th International Festival in Thessalonica, where there were more than 250 films from all five continents. Judging by the films that we saw, it is more than obvious that the young authors today have more trust in the specifics of their own perception, no matter how much it misses sharpness, clearance and readability, than in the postulates of the monolithic esthetic systems.
    Therefore the frequent tendency that they put their imagination in the service of the articulation of individual destinies rather than in the analysis of the collective emotions. They avoid to group themselves around one school of movement, as it was the case in the last century. The time of fascination with the poetics of a movement and the force






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