Sarajevo is filled with anticipation for the annual international film festival that begins today July 22 and lasts until July 31, 2010. The festival will take place earlier than normal this year because Ramadan is in August, and they are expecting about 100,000 visitors for the event. Tourists have arrived in the city, posters advertising the festival hang in every shop window, and men are hard at work setting up outdoor stages and rolling down red carpets. The program is mainly focused on Southeast Europe but will feature films from around the world, and several theaters around the city will show the films all day long.
The website boasts that this is the 16th year of the event, but those from the city know that the festival has a longer history. According to the website, the festival was founded in 1995 after the siege, and the cultural event helps to “recreate civil society” in the city. However, film students from the city tell me something different. The festival did in fact take place during the siege and was organized by Haris Pašović, a theater and film director from Sarajevo. Pašović organized the first Sarajevo film festival in 1993 called “Beyond the End of the World.” The city had no food, water or electricity, let alone projectors and screens to show films. Somehow by petitioning the international community, Pašović received around 200 films from around the world. He found a projector and a generator, and hundreds of people waited out front of the National Theatre for tickets, despite the constant sniper fire around the city.
In the article he wrote in Oslobodjene newspaper that accompanied the festival program in 1993, Pašović addresses the city under siege and the people being annihilated. After comparing the genocide of the Bosnian Muslims to the Holocaust and Jews, he writes “Sarajevo is the city in which the world of the twentieth century, the world to which we were born and brought up, has died. In other places the dying is taking place. Here we live beyond the end of the world.” This statement reflects the title of the festival, and he describes the fundamental human need for art, even (or especially) at a time of war. He states that being constantly close to death means longing for things like art and love in the strongest way.
Pašović did not worry about picture quality or sound at the 1993 Sarajevo film festival. The list of international supporters was very long, and the organizers stated in their newspaper program that they “could not promise anything.” It did not stick to the schedule, and many of the promised films and guests did not show. In 1993, there was no glamor, parties or red carpet. This is a striking contrast from this year’s festival which will honor special guest Morgan Freeman, and other stars will be whisked off to Dubrovnik for post-festival parties. The glossy program and efficient box offices today seem well rehearsed after many years of this annual festival. The organizers of the festival have changed, and so they write that the festival began 16 years ago and they do not mention its start in 1993. I wonder how the “Beyond the End of the World” festival felt for people of the city- they risked their lives for a bit of culture in a time of war, and heard gun shots outside as they watched films from around the world. I am happy for the city of Sarajevo, that they have come so far since the end of the war, and that they host such a well-attended international event. However, as I walk around the city and see artsy foreigners claiming to be emerging directors with their bold clothes and oozing confidence, I cannot help but to wonder about the humble beginnings of the festival in 1993.
Hjorth, Daniel and Monika Kostera, ed. Entrepreneurship and the Experience Economy. Copenhagen Business School Press, 2007. (Found on Google Books)
Note: I will be attending films from this region, including Years Eaten By Lions, Sevdah for Karim, On the Path, As If I am Not There, Together, The Flood/Kapitalism, I Even Met Happy Gypsies, as well as Lebanon. The website contains a synopsis for each film. I look forward to writing about Southeast European film in a later post.