Report of the Selection committee



The Selection Committee of the 27th International Festival of Ethnological Film reviewed 120 films submitted for this year's festival programmes: In Competition, Informative Programme and Student Programme. Twenty-five of them were submitted by local production studios and 95 came from other countries. The ratio between local and international submissions is roughly 1:4, indicating that the previously poor interest of Serbian authors for participating in one of the most important specialized festivals in the region is now reinvigorated. Generally speaking, that the majority of festival submissions are, so to speak, one-man orchestra works, or films with a strong author’s imprint made with the assistance of cinematographers and editors. If we observe local submissions as a distinct group, it is encouraging that the so-called ‘major television companies’ still see their focuses as relevant to the topics and approaches promoted by the International Festival of Ethnological Film. The primary vocation gained through formal education and the specific cinematographic experiences of the authors from this selection cycle confirm that an explorative approach to the ethnological/anthropological field of interpretation of the modern environment is not an exclusive privilege of anthropologists. Accordingly, the mastering of the full range of technological possibilities for filming and high-quality postproduction are equally involved in creating the final message.

If we observe the films submitted to the Selection Committee as a clip reflecting the spirit of the time, it is apparent at first glance that authors are focused on the challenges that have become an essential part of the festival programme over the past several years: voluntary or forced migrations and, consequently, the dual identity of migrants; the struggle of individuals against the social system of values in the environment where their habitus is shaped; the growing waves of addictive substances and alternative addictive identities, all marked by the escape from reality, as opposed to standardized ethnological/anthropological topics and their cinematographic (re)solutions: ritual pageants related to the annual cycle, work processes in production economy, the life of small, exotic, and often isolated social communities. In this context, and keeping in mind that some of the submitted films often involved collaboration between ‘external observers’ and members of the local or wider community, it is right to say that the messages conveyed by this year's selection of ethnological film are an expression of consensually shaped attitudes on numerous problems of modern life. Drawing on these observations, as well as on the insight into the parallels, divergence and indicators used in the thematic determination of the international, regional and, finally, local cinematographic works, it should be pointed out that international films reveal a trend towards introspection through the observation of the Others, and an anthropological examination, the so-called look from aside, of distant civilizations and cultures that authors often (and still!) see as exotic, accompanied with some sort of ‘a global look into the processes of globalization’. Quite the contrary, local films, as well as those from the countries in the Balkan region, largely focus on the identification of the former markers of identity, their deconstruction and the resulting processes of building new identity levels and units in the ongoing decades-long processes of the post-war Yugo-transition. The corpus for selection marked by this spirit laid on the back of this year's Selection Committee a burden of exceptional responsibility in determining the duration and quality of programme segments. It was more difficult to select the best films within the framework of rather ‘specified topics’ and standardized approaches. On the other hand, the decision process was facilitated by the fact that a great number of films were high in quality. Therefore, seeking to maintain uniform criteria, the Selection Committee highlights that the films that shift the boundaries of ethnological film in terms of their style have especially contributed to the Festival's mission: BE' JAM BE the never ending song, which is a testament to the guerrilla defence of forests, filmed in the jungles of Borneo; Tackled, which is a sensory ethnographic dealing with the preparation of rugby players for a match in Lyon; In Praise of Nothing, which presents the frames of ‘nothing’ collected by 62 cameramen in 70 countries seeking to approach the universal impression of ‘nothing’.



In Competition

1. THE CONFUCIUS VILLAGE, Jiandong Huang, 93’, China

2. ARCHIPELAGO, Camilla Insom, Giulio Squillacciotti, 61’, Iran, Italy

3. A GIRL FROM OUESSANT, Eléonore Saintagnan, 28’, Belgija

4. SHARDS OF LIGHT, Kullar Vimnne, 59’, Estonia

5. PORTRAITS IN MALGA, Michele Trentini, 50’, Italy

6. FOR YOU, LORD, FOR YOU, Cedric Dupire, Gaspard Kuentz, 92’, France

7. GOING SOUTH, Dominic Gagnon, 104’, Canada

8. BECOMING WHO I WAS, Chang-yong Moon, Jin Jeon, 95’, South Korea

9. RONDA DE PONIENTE, Kepa Sojo & Sonia Pacios, 16’, Spain

10. The Wizard of Mutanj, Branko Lazić, 56’, Bosnia and Herzegovina

11. AFTER THE UPRISING, Emilien Bernard, 74’, France

12. THE LAND OF LOVE, Liivo Niglas, 78’, Estonia

13. TACKLED, Florian Geyer, 52’, France

14. SEE YOU TOMORROW, GOD WILLING!, Ainara Vera, 62’, Spain

15. TAUROMACHY, Jaime Alekos, 28’, Spain

16. PANI; WOMEN, DRUGS AND KATHMANDU, Raul Gallego Abellan, 87’, Spain, Thailand

17. THE GOOD FIGHT, Ben Holman, 16, Brazil, United Kingdom

18. BE' JAM BE the never ending song, Caroline Parietti, Cyprien Ponson, 85’, France, Switzerland

19. SHAMAN, David Gómez Rollán, 60’, Spain

20. WIVES, Lisbet Holtedahl, 85’, Norway

21. Banatian Blues, Radovan Đerić, 15’, Serbia

22. In Praise of Nothing, Boris Mitić, 59’, Serbia, Croatia, France

23. CIPOVKA, Jelena Vukomanović, 21’, Serbia

24. Blacksmith’s Fire, Dobrivoje and Dobrila Pantelić, 7’, Serbia

25. Jeru mi prosi dulger Nikola: the Serbs of Gallipoli, Svetlana Miljanić, 26’, Serbia

26. DEJAN, Slađan Stojanovic, 15’, Serbia

Total duration 23.75 hours




1. Ponos on Pelješac, Davor Borić, 26’, Croatia

2. Danuša’s Mara, Davor Borić, 31’, Croatia

3. AN ANIMAL LIKE ANY OTHER, Carlos Cuadrado, 15’, Spain

4. BOGDAN'S JOURNEY, Michal Jaskulski, Lawrence Loewinger, 86’, Poland

5. SA O ROMA, 50 years viewing, Daniel Petrovski, 21’, Macedonia

6. SLAVE CHILDREN. THE BACK DOOR, Ana Palacios, 25’, Spain

7. THE FIGHT, Violeta Ayala, 29’, Australia, Bolivia

8. HOUSE, Ivo Kuzmanić, 30’, Croatia

9. GATEWAY OF THE GYPSIES, Melitta Tchaicovsky, 54’, USA, India

10. Wedding Customs in the Kosmaj Region, Dalibor Pešić, 44’, Serbia

11. See You in Prayer, Gordana Pajić, 21’, Serbia

Total duration 7.85 hour




1. LUKOMIR, MY HOME, Manca Filak, Žiga Gorišek, 62’, Sloveni

2. OTHER FIRE, Guilherme Moura, 22’, Brazil, France

3. THOSE WHO STAY, Arianna Nacci, 20’, Italy, United Kingdom

4. TOGETHER APART, Maren Wickwire, 57’, Cyprus, USA

5. ARTEMIO, Sandra Lus Lopes Barroso, 48’, Mexico

Total duration 3.48 hours




Marko Stojanović

Ivana Todorović