Love For Films Is Rooted In Indian Culture: Pavo Marinković
Sayali K | Panjim
Croatian filmmaker Pavo Marinković, the creative force behind the cinematic marvel 'Bosnian Pot' eloquently revealed, "Love for films is rooted in Indian culture." Sharing his cinematic journey at IFFI 54 in Goa, the director, known for his mastery, emphasised that his film's genesis stemmed from personal trials as a Croatian navigating the transition to Austria.
In a nuanced exchange with media and film aficionados, Marinković unveiled the cultural roots of his cinematic passion, emphasising the intertwining of his creative spirit with the vibrancy of Indian culture. 'Bosnian Pot,' presented in both Croatian and German, earned its place in the International Competition Section at the festival.
This cinematic opus delves into the intricate themes of immigration, identity, and the transformative power of the arts. The narrative weaves around Faruk Šego, a Bosnian writer grappling with potential deportation from Austria amid stringent immigration policies. To secure his stay, Faruk must demonstrate a cultural impact on Austrian society. The crux of his redemption lies in an off-theatre group willing to stage a play from his youth, propelling Faruk on an artistic journey that unravels profound self-discovery.
Marinković's artistic evolution, transitioning from a theatre writer to a director and film writer, is exemplified by 'Trešeta / Tressette – a Story of an Island,' a film he co-directed, garnering international acclaim with numerous awards. His repertoire includes the 2013 Czech-Croatian documentary 'Occupation the 27th Picture.' Steering the helm at the 'Pula Film Festival' since 2021, Marinković stands as a luminary in the cinematic realm.
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| Abdelhai Laraki and Pavo Marinković during a media interaction at IFFI-54 |
Reflecting on the challenges behind 'Bosnian Pot,' Marinković shared the collaborative effort involving actors from Croatia, Austria, and Bosnia. Rooted in his own experiences, the film portrays the nuanced struggles of an outsider—paralleling his own encounters as a Croatian in Austria. Beyond political narratives, the film unravels Faruk's internal battles, echoing the broader societal challenge of undervalued contributions.
The film's title, 'Bosnian Pot,' holds metaphorical significance, drawing parallels with the traditional Bosnian dish where each member contributes an ingredient, symbolising unity and brotherhood. The movie mirrors these values through its exploration of identity, community, and acceptance.
Expressing profound admiration for the Indian audience, Marinković recounted the unexpected warmth received at Film festivals in Kerala. His journey attests to the global resonance of cinematic narratives, transcending geographical and cultural boundaries.
The freedom struggle
Fez Summer’ 55 portrays the Moroccan freedom struggle through the eyes of a child, said Director Abdelhai Laraki while interacting with delegates and media at the 54th International Film festival of India (IFFI) here in Goa. The film which had its Asian premiere at IFFI 54 is made in Arabic and French language.
Fez Summer’ 55 is a political drama that explores the tumultuous events of the Moroccan struggle for independence in the summer of 1955. Kamal, a 11-year-old boy of the ‘Medina of Fez’, is experiencing the last months before Morocco's independence. In contact with Aïcha and her fellow students of the Qaraouiyine University, he discovers and takes part in the fight for freedom.
Director Abdelhaï Laraki is known for tackling sensitive themes in works that have been hailed by critics and acclaimed by audiences. The common thread running through his films is a reflection on people’s relationship with history, power and religion. Fez Summer’55 also explores these themes in the backdrop of the Moroccan struggle for independence which turned violent when the French executed Moroccan nationalists in Casablanca.
Talking about his inspiration for the movie, Laraki explained how it was very close to his heart. “I was born in this very Medina of Fez, grew up in the neighbouring city which was a film-loving one” he shared. He wanted to recreate a brief part of the Moroccan history and interviewed real-life resistance fighters to understand their story.
“One of them told me an anecdote – about how as a child he had taken part in the resistance. That was the moment I knew how to approach the subject - through the eyes of a child,” he added. Laraki said he was more interested in the innocent child who would choose the ideology for a higher goal of freedom for Morocco.
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