Copyright 2021 IWM Publishing & Communication Pvt Ltd. All rights reserved. The whole space was crowded. Everything in the film is the one other tank, which we had to dress very quickly in a few hours of shooting. I found it interesting that it is a socialist factory from the exterior and that they are surrounded by machines. Some funny people, some sad people — not a uniform mass. I have no shame in admitting I wept through much of this film.As should all of civilization which thinks war is heroic .This is a film that wil be talked for many years to come.The editing(Jarosław Kamiński), the cinematography(Christine A. Maier) , the tightly-wound narrative structure and every actor playing every civilian and officer on that doomed camp is wedged in my head. [Karremans and Franken were the two UN officials who were on the ground in Srebrenica, whose job it was to negotiate with the Serbian army and protect the townspeople]. ', 'My film is a very anti-war movie because it shows that even if you are a wonderful person and have a wonderful family and life, the circumstances diminish you into a form which you find humiliating. Written & Directed by Jasmila Žbanić. It is her who is saying this. Then, once we finished the film, they said, “Okay, you can have [tanks].” We got an announcement that we would get two tanks for just one day. Film “Quo vadis, Aida?” govori o genocidu u Srebrenici i prvi je igrani film na ovu temu. Her focus is squarely on protecting her family. Jasmila Žbanić: Christine and I met when we were students. Me and my partner, Damir Ibrahimovick, produced the film together. 7R: How did you find the location for the UN shelter? This is something audiences have the power to imagine. Quo Vadis, Aida? Žbanić lebt weitgehend in Berlin. We stayed for a few days in the apartment where we were shooting [the scenes in their family home]. Film „Quo vadis, Aida?“ jedne od najboljih bosanskohercegovačkih rediteljica Jasmile Žbanić, nominiran je za prestižnu nagradu Oskar u kategoriji Međunarodni igrani film. 'We really wanted to keep the dialogue almost exact transcript. Žbanić lebt weitgehend in Berlin. Writer-director Jasmila Žbanić discusses her blistering film about the Bosnian genocide, Quo Vaids, Aida?, which is Bosnia and Herzegovina's entry for the Best International Feature Oscar. Or [their other son] Hamdija broke up with his girlfriend, and he’s crying, so how will the family help him? This harrowing masterpiece, shot with the vividness of a flying bullet, hits home reminding us of the ravages of war during times when countries perpetrating war extol their soldiers as messiahs saving the border from enemies. Jaroslow came and watched what we had and said, “Aida is running all the time, so we need a few additional shots where she is doing nothing in order to have changes in the rhythm.” So we did additional shots that were not in the script where she is just calm and the situation is calm, to let the audience breathe a little bit. Mouni Roy sets internet on fire with latest golden shimmery outfit, wa... Hina Khan has a serious question to ask her fans, your golden chance t... Kundali Bhagya spoiler alert: Karan and Preeta MISS each other. I researched the Srebrenica story many years before deciding to do the film. Quo vadis, Aida? This is what happened in on 11 July 1995 in the small idyllic town of Srebrenica where the Bosnian Serb army entered and killed thousands of men and boys. It’s not just three days in July, but a whole life is ruined for so many people, and still is. All of this footage is available on YouTube, so Mladić’s appearance [in the film] and his sentences are almost [an exact] transcript. This stunningly vivid unforgettable anti-war drama is a shrieking war cry. Minute by minute , brick by brick writer-director Jasmila Žbanić builds the dramatic tension inside the camp as safety becomes a retreating myth, and death an impending reality. ', 'I always thought, we have to be with Aida and see what her life is like after this; then we have a full picture of what the tragedy means. Even though it’s translation, her mouth is producing these words. 7R: What about Aida’s apartment? Der Film richtet sich gegen das Vergessen und für die Versöhnung – und er vermittelt politisch wirkungsvoll zwischen Hollywoodpublikum und post-jugoslawischer Realität. There is nothing spectacular or erotic in it, and we wanted to show that in every scene. The road to making Quo Vadis, Aida? Over the course of a few days, the Serbian army invades Srebrenica, and the townspeople gather in and around a nearby UN shelter, like sitting ducks at the mercy of Serbian General Mladić (Boris Isakovic). I couldn’t start a new film, but the subject of women searching for bodies and getting information about where the bodies are buried deserves a whole new two hours. We started working then, and since then, we have worked very closely. Another journey was [trying to] film it in Bosnia. We did change certain things, or we had to squeeze several things into one [scene], but we really wanted to keep it [almost exact transcript]. Jasmila Žbanić: This scene was in the script because I always thought it’s very important to understand these things were not happening to people because they are Muslims or because they are from Balkan tribes who are constantly fighting each other. Jasmila Žbanić’s Quo Vadis, Aida?, about the 1995 Bosnian genocide in Srebrenica, has stuck with me since I first saw it at TIFF last September (read my TIFF review). You understand what is necessary for clarity and what is necessary for the emotions. Also, having an experience of war, I know the human side of you shrinks. Grbavica – Golden Bear Berlinale 2006 2 3 Even when she is not in the scene, she is metaphorically in the scene, because of her husband, or she is thinking about what is going on at these meetings, even if she’s not there. Click here to subscribe to the Seventh Row newsletter, In their own words: Fiction directors – an ebook on filmmaking, Roads to nowhere: Kelly Reichardt’s broken American dreams – an ebook to prepare you for, Portraits of Resistance: The Cinema of Céline Sciamma, Beyond Empowertainment: Feminist Horror and The Struggle for Female Agency, Tour of Memories: on Joanna Hogg’s The Souvenir.