‘Again to Visegrad’s’ Julie Biro, Antoine Jaccoud on Repairing the Previous – Selection

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“Again to Visegrad” opens, appropriately sufficient, with Miresha, a former scholar at Japanese Bosnia’s Visegrad Main Faculty, driving by way of a sequence of lengthy tunnels hacked right into a hillside. Miresha is in some ways nonetheless in a psychological tunnel herself. She’s about to attend a college reunion of her classmates on the college, whom she hasn’t seen in 26 years, after the 1992-95 Bosnian Struggle broke out, separating Muslim and Serbian college students seemingly for ever, forcing the previous to flee for his or her lives with their mother and father.

26 years later, Budimir Zecevic, the varsity’s former headmaster, and Djemila Krsmanovic, Miresha’s class trainer’s widow, get into Djemila’s Zastava automotive and begin a protracted journey to seek out the category’ typically nonetheless traumatized college students, asking them one after the other, in the event that they’d like to satisfy once more. Produced by Elisa Garbar at Lausanne’s Louise Productions, with Exterior The Field taking all rights to Switzerland, “Again to Visegrad” information these conversations with college students then a part of the ultimate reunion.

“What’s achieved is completed,” one scholar says: You’ll be able to’t change the previous. However individuals can definitely change how they really feel about it for the remainder of their lives. Zecevic and Krsmanovic’s mission is to recommend one other previous which the scholars had, nevertheless dashed.

Made by two now barely infirm individuals who, moderately like their Zastava, are usually not dome but , although barely battered – she has a ache within the stomach, he’s shedding his listening to – their mission is a transferring lesson in humanism.

Selection interviewed Biro about her first documentary and Jaccoud, a distinguished screenwriter, co-scribe of Ursula Meier (“Sister”) and Bettina Oberli (“With the Wind”) about his directorial function debut.

The scholars’ reminiscences of childhood appear, from their confessions, to be of Struggle. Merisha can’t even keep in mind her classmates earlier than that. The reunion will not be a lot to bury the previous, however to re-mould reminiscence by fore-fronting one other model, the ex-students younger lives earlier than the Struggle, the scholars’ schooldays which for a lot of look like a misplaced paradise. Are you able to remark?

Biro: It wasn’t simple for the ex-students to specific their emotions. A few of them have been afraid, some refused to come back, others have been excited, or hesitant. I used to be moved by their sincerity even in silence. Our intention was to not confront totally different variations of historical past or to contribute to the writing of historical past. We needed to present the viewers an opportunity to pay attention to private reminiscences of this technology who endured the conflict as kids. There are plenty of research reminding us that Tito’s Yugoslavia was not a paradise, which is true. However I perceive the youngsters of Visegrad within the late ‘80s saying that it was when in comparison with their experiences since 1992.

The image which emerged is present in different documentaries at Visions: Youth, right here very younger, the victims of the ambitions of an older technology. May you remark?

Jaccoud: It’s true that these youngsters had no alternative however to simply accept the divisions, hate, concern and violence that contaminated their nation at an age the place there isn’t any cause to concern or hate your neighbor, at an age the place propaganda and political communication sound so distant. They might not perceive it, and it appears they can not nonetheless. That’s the reason they typically have the sensation that their childhood was stolen. However, our movie reveals two “adults” who attempt to restore what was destroyed utilizing the type of a easy – however not really easy to organize- class reunion.  This aspect of the story touches me so much. Nothing obliged them to do it. It’s some inner drive from their souls.

Biro: This technology inherits silence. The children from the Struggle don’t discuss in regards to the previous to be able to discover some peace. They like laughing, singing and telling jokes, good instances. As Bojan says within the film, they’re torn between the necessity to keep in mind and the need to neglect. These days, nothing is taught in regards to the conflict at college. All that continues to be are the private tales of the older technology. A collective narrative is deeply lacking in Bosnia in addition to in Serbia. Current historical past remains to be a scorching matter.

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Again to Visegrad
Julie Biro

“Again to Visegrad” marks your function directorial debut, Antoine. How did you become involved and why determine to direct? 

Jaccoud: I used to be first requested, as a screenwriter who had labored within the Balkans, by Julie and her producer Elisa Garbar to assist to create the story from the weather Julie had already collected.  Then Julie advised that I board for the actual journey, making the movie. Having labored in Chile on Stephane Goël’s “Islanders,” I actually loved the thrilling, typically scary, freedom of capturing a documentary that may’t be written or over-planned like a fiction movie. On the set, Julie was definitely nearer to the characters, primarily as a result of she will be able to perceive and converse their language. I stayed a couple of steps again, the voice of our translator in my ear, considering of the filmic materials we had, and what we might nonetheless want to gather, to be able to inform this story correctly.

There are beautiful scenes of the battered Zastava touring the Bosnian countryside which appear to emerge organically as metaphors for the characters’ journey or emotions. Once more, may you remark?

I hope movie analysts and historians will see these scenes as deliberate metaphors. For the tunnel scene that opens the movie we took benefit of real-life. On the street from Sarajevo to Visegrad, there are many tunnels, some darkish and scary. As we’d determined to shoot Mersiha’s total street journey to the varsity assembly, with the concept that perhaps this journey would give us a type of body to the story, the editor determined with us to maintain these tunnel moments, that are intriguing and by some means threatening on the identical time. Nevertheless, saying we have been desirous about metaphors whereas capturing in these darker than hell tubes can be an exaggeration. With the drones, Julie and I by no means thought we might use such units for this movie. We had a small crew, and nobody had any expertise with drones.  However in the future our driver Ervin Blažević introduced one to us, a gift he had acquired, and in simply two hours we took these wonderful pictures you possibly can see within the movie. God’s viewpoint on the smallness of those two retired lecturers and their quest to assemble their pupils? Allegorical use of a standard image – the bridge- of Bosnian common tradition? We’ll go away the which means open…

The music which accompanies the journey colours the temper of the movie. May you clarify why you selected it and who performs it?

Budimir Zečević is an excellent accordionist who additionally sings with pleasure and conviction. Antoine and I made a decision we should always have accordion in our film early throughout capturing. Whereas modifying, Antoine heard about Mario Batkovic, a Swiss musician from Bosnia who has lived in Switzerland because the conflict (1992-1995). Each of us have been instantly seduced by his music: it’s accordion, however not folkish in any respect. That is up to date music, nostalgic, typically darkish and really expressive. Mario is nearly the identical age because the ex-students, he is aware of intimately what this technology went by way of. Another excuse the music suits so nicely with “Again to Visegrad.”

Jamie Lang contributed to this text.

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Julie Biro and Antoine Jaccoud
Courtesy: Julie Biro / Antoine Jaccoud



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