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Sretna zemlja
Happy Land
© Petnaesta umjetnost
1/1
AUTEUR(S)-RÉALISATEUR(S)

Goran Dević

IMAGE

Almir Fakić, Jure Černec, Mario Oljača, Tamara Cesarec

MONTAGE

Vanja Siruček

MUSIQUE ORIGINALE

Svadbas

PRODUCTION / DIFFUSION

Petnaesta umjetnost, WHW

ORGANISME(S) DÉTENTEUR(S) ou DÉPOSITAIRE(S)

Petnaesta umjetnost

ISAN : non renseigné - en savoir plus
COMMENT VISIONNER CE FILM ?

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We follow preparations, journey and the arrival of the two busses to the final destination. The first bus (from Rijeka to Kumrovec) whose "victorious" passengers are to commemorate and celebrate Tito’s birthday by visiting Tito’s birth house; and the second bus (from Zadar to Bleiburg) which "ships" elderly and "defeated" ones as well as the youngsters of the ideology to the place of defeat. Though, what was going on there, in the two busses, has been an expression of the opposite ideo-logical positioning, for author it was something more. Being an outsider and observer, he was caught by the ways these events manifested themselves in dramatic and emotional "sameness". What appeared to be the most important thing was that the passengers in both busses lived in the past. This living in the past could have been perceived as "normal" and reasonable if the passengers in the busses were the eyewitnesses and participators of the Second World War. The point was that there was a gap of a few generations between the Great War generation and the majority of passengers in both busses. Still, the past has bridged the gap and the memory of it became trans-generational heritage.

We follow preparations, journey and the arrival of the two busses to the final destination. The first bus (from Rijeka to Kumrovec) whose "victorious" passengers are to commemorate and celebrate Tito’s birthday by visiting Tito’s birth house; and the second bus (from Zadar to Bleiburg) which "ships" elderly and "defeated" ones as well as the youngsters of the ideology to the place of defeat. Though, what was going on there, in the two busses, has been an expression of the opposite ideo-logical positioning, for author it was something more. Being an outsider and observer, he was caught by the ways these events manifested themselves in dramatic and emotional "sameness". What appeared to be the most important thing was that the passengers in both busses lived in the past. This living in the past could have been perceived as "normal" and reasonable if the passengers in the busses were the eyewitnesses and participators of the Second World War. The point was that there was a gap of a few generations between the Great War generation and the majority of passengers in both busses. Still, the past has bridged the gap and the memory of it became trans-generational heritage.

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