N jegov najnoviji film Na mlečnom putu , koji otvara ovogodišnji Fest, nakon što je svetsku premijeru imao na Venecijanskom festivalu, a domaću na Kustendorfu, prate apla- uzi, suze i smeh, seta i gorčina, po- nesenost... Uzvici „bravo“, čestitke, dirnutost... Impresivan film Emira Kusturice, raskošan i bogat vatromet lepote, bola, duhovitosti, očaja i spoznaje, nikoga nije ostavio ravnodušnim. Naprotiv. Knedla u grlu i suza u oku za uzbud- ljivu, umetnički snažnu filmsku pri- ču o ljubavnom trouglu između Ne- veste (Monika Beluči), Koste (Emir Kusturica) i Milene (Sloboda Mićalo- vić) koja se odvija u miljeu ratnog ra- zaranja devedesetih godina na ovim prostorima. Publika je očigledno s ushi- ćenjem ispratila film. S kojim osećanjima ste ga vi gledali na svetskoj premijeri u Veneciji ili na Kustendorfu? – Ustreptalost kakva obično ide sa razvojem događaja. Tu je u stvari uvek najvažnije ono osećanje da je to H is latest film,“On the Milky Road”, which opens this year’s Fest fol- lowing its world premiere at the Venice Film Festival and its do- mestic premiere at the Kustendorf Festival, is followed by applause, tears and laughter, melancholy and bitterness... Shouts of“bra- vo”and congratulations... Emir Kusturica’s impressive film, a lavish and rich firework of beauty, pain, humour, despair and cognition, leaves nobody feel- ing indifferent. On the contrary, it leaves a lump in the throat and tears in the eye for an exciting, artistically powerful story about a love triangle between Nevesta (Monica Bel- lucci), Kosta (Emir Kusturica) and Milena (Slo- boda Mićalović), which unfurls in the milieu of the destructive war years of the 1990s in this region. The audience obviously follows the filmwithfeelingsofexhilaration.What emotions did you feel when you wat- ched the world premiere in Venice or the screening at Kustendorf? - With the kind of thrilled quivering that usually accompanies such events. In that, the most important feeling is that you did what you did properly. Because as soon as a man gives up on extracting the maximum out of every square, out of every particle when it comes to the truth of God, and in fact the truth of the public, then it is evident, obvi-
što si radio urađeno kako treba. Čim čovek odustane od isterivanja mak- simuma iz svakog kvadrata, iz sva- kog delića kad dođe bogu na istinu, a zapravo publici na istinu, onda se to vidi, očita, prepozna. Vrednuje se osmesima, impulsima u duši, sagla- sjem ili nečim što je najgore, a to je indiferentnost, koja se javi kad film nema snagu. A ta se bitka ipak bije i dobija na terenu. U procesu rada. Ne govorim o dometima svojih filmova, govorim o tome da su se uvek ticali i doticali ljudi. Vaši filmovi slove za ostvare- nja koja imaju punu unutraš- nju snagu? – To je zato što je ona na njih tro- šena. Ja sam je trošio nemilice, sve što sam imao. Nema kalkulacije! Film„Namlečnomputu“ćeotvo- riti ovogodišnji Fest. Rekli ste da ste na Festu u filmskom smislu. – Otuda moja odluka. Bez obzi- ra na to šta se s Festom u međuvre- menu zbivalo. Bez obzira na to šta ja mislim da Fest treba da bude umesto ovog što danas pokušavaju s njim. Fest ima nasleđe, on je pregled naj- ous, recognised. It is evaluated by smiles, im- pulses in the soul, harmony or something which is even worse, and that is the indif- ference when a film has no power. And that battle is actually fought and won on the ground, in the process of the work itself. I’m not talking about the scope of my films. I’m talking about how they always concern and touch people. Your films are known as creations that have a lot of internal power, why is that? - That’s because all of my power is spent on them. I have spent it mercilessly, all that I had. There are no calculations! Yourfilm“OntheMilkyRoad”willopen this year’s Fest, the Belgrade film festi- val. You‘ve said that you will be at Fest only in a film sense... - Hence my decision. Regardless of what has happened with Fest in the meantime. Regardless of what I think Fest should be, in- stead of what they are trying to do with it today. Fest has a legacy, it is a review of the world’s best films, and that tradition should be adhered to. That and to help filmmakers, those who are marginalised. Fest emerged at a time when Hollywood was producing “The Deer Hunter”, while today it produc- es rubbish. Speaking of the greatest achievements of cinematography, the best it has to
boljih filmova sveta i treba to da sledi. Time i da pomogne autorima, dakle onima koji su marginalizovani. Fest je nastao u vremenu kad je Holivud proizvodio Lovca na jelene , a danas proizvodi gluposti. Govoreći o najvećim dometima kinematografije, najboljem u njoj, tvrdite da mora biti spoj zabave i pameti… – Dabome. I Fest sad treba tu pa- met i zabavu, koliko je u svetu ima, da skuplja i prikazuje. Ideja da će on neki film prikazati pre nego se razvije u hit, odnosno preduhitriti druge fe- stivale, neće biti uspešna. Mislim da treba nastaviti na onoj tački na kojoj su eksponirani veliki autorski svet- ski filmovi. Ima ih i danas koji mire u sebi zabavu i pamet. Možemo li za „Na mlečnom pu- tu“ reći da je vaš, da tako kaže- mo, najljubavniji film do sada? – Žene su tu u prvom planu. Kažu vaši likovi: „Kad je lju- bav prava, srce igra kao Ma- radona…“ – Pa zar nije tako. (smeh) To je i zamišljeno kao ozbiljna ideja metafo- offer, you claim that it must be a com- bination of fun and wit... - Precisely. And Fest now needs to col- lect and show that wit and fun, as much as there is in the world. That’s because the idea that it will screen some film before it devel- ops into a hit, or that it will pre-empt other festivals, will not succeed. I think we should continue on that point at which it expos- es great world films. There are still those to- day that have within them the capacity for fun and wit. Can we say that “On the Milky Road” is your, so to say, most loving film to date? - In it, women are at the fore. Your characters say: When love is true, the heart plays like Maradona... - Well, is that not so? (Laughs)... It is also intended to be a serious idea of metaphors - from those Old Testament ones to those that are written in the most exciting novels in the world. That which man essentially is. And that is love. Now, today, I would say, that is banally and profanely translated in- to the language of manifold sexuality. And as such it has received its twisted epilogue. But love stories that are romantic, that in their essence date back to the time of the Old Testament, have still remained the strong- est. This is one of these; in it a man fleeing from paranoia and a woman fleeing from a killer spawn a great love story that is not
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