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ISSN 1409-6900 | UDK 82+7     Blesok no. 06 | volume II | January, 1999



                     Peer-reviewed journal
Blesok no. 06January, 1999
Gallery Reviews


A New Challenge for the Macedonian Cinematography?

p. 1
Ilindenka Petruševa

   We can start this text with the unavoidable conclusion that by a many things, the Aleksandar Stankovski’s film is… unusual. As first – with its production: with a lot of love, enthusiasm and sacrifices, for almost four years – the story of Maklabas, that mythic creature of the imaginary Mousedonian country’s mountains – was being filmed. It was filmed with the basic necessary equipment, like S-VHS camera, almost with no money. But, with the strong and sane idea for the 15 minutes long fiction documentary. That idea gathered around itself a significant number of wide known personalities from the Skopje’s underground scene, so it developed in richness and deepness, so at the end it got its final dramaturgy shape, so we’ve got the provocative, by its expression experimental, and ecological thriller Maklabas. It’s very positive the gesture of the Ministry of culture helped this expressive story to be transferred on celluloid, so it could face the wide cinema audience.
    Aleksandar Stankovski is exclusively talented painter. In front of his paintings the recipient first stands in shock and wonder, and then he comes up with a numerous stories and meanings about them… And it’s not even a bit modest for such a person as Aleksandar is, to get the wish for animating those art of his, at first by two mid-meter video products, and now with a whole-length experimental feature film. Exactly with the placing his art in other medium, and with the placing of the intellectual energy in that same medium – the film, we discover the most unusual and rare expression of a film narration. It’s possible that the strength, the mighty power of the digital graphic animation and the power of the dynamic editing procedure to be a problem for some, eventually, but that phenomena placed in this film-making procedure is only in the cause / in the context of the wholeness of the film.
    The screenwriter of this film is also Aleksandar Stankovski, who putted, in the basics of his idea, the eternal struggle between the Good and Evil. And, that struggle also based – as he claims himself – upon “the child mythology of the game of CAMAY”. So, the first progressive line, the EVIL, in a “Camay” manner, moves through the intrigues and the bloody games of the underground and the political upper-ground, with a big help of the outside power centers. All of the thriller

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