THOSE SHOCKING SHAKING DAYS (AT/BA, 2016, Selma Doborac)
This April marks the 15th anniversary of the escalation of the Bosnian War, pictures of which might still roam in some of yours heads. Now, the relation between cinema and war has always been a problematic and critical one and one raising seemingly endless questions. But only rarely were these questions really tackled in and through cinema itself. Austrian filmmaker Selma Doborac does just that in her most recent film THOSE SHOCKING SHAKING DAYS, which takes the Bosnian War as a starting point for her cinematic reflections, resulting in an essayistic film that is certainly not easy to watch and one that invokes to discuss. Therefore, we’re very happy to have the director Selma Doborac coming to the screening on 09 April, 7pm at Schaubühne Lindenfels for a Q&A and for talking with us about her film.
Read more about THOSE SHOCKING SHAKING DAYS below and over at sixpackfilm.com.
Director Selma Doborac will be present.
THOSE SHOCKING SHAKING DAYS
AT/BA 2016, Doc, D: Selma Doborac, German OV, 88’, DCP
Thematized and considered are the act of failing, ineffabilty, also, and not least, the feeling of being overchallenged. As a filmmaker and as an addressed audience. However, Selma Doborac never reconciles herself in her essay film THOSE SHOCKING SHAKING DAYS. Long and static pictures of abandoned houses rest in square format without leaving anything too much at peace here. Language overgrows the picture like branches, bushes and grasses that once inhabited buildings. Textual inserts fray out, undermine the visual information presented and encode themselves into their structure like the plants into the houses’ facades. In doing so, however, these sprawling sentential formal landscapes of challenging questions do not overlay but lay open: a method, a complexity, a discomfort, a necessity. This cinematic approach to the Bosnian war and to war in general is among other things about “trying to sing the praise of a mutilated world”, like Doborac describes it once referring to a poem of Adam Zagajewski. It is an approach conscious of the confines of both visualization and verbalization, that still does not beat about the bush, being weary of merely stating things, of pure observer status, and which instead brings up many painful topics. A self-reflexive, sharp-witted philosophizing, “a film with bruises” (Jean-Pierre Rehm). Committed to individual fate. Dedicated to the universal.
09 April, 7pm – Schaubühne Lindenfels
€ 6,5 (5,5 red.) / € 9 (8 red.) for a double ticket
incl. the Ursula Biemann “Border activities” programme