Dalibor Matanić and writer Damir Karakaš in Lika during pre-production for KINO LIKA / LIKA CINEMA, based on Karakaš’s novel — before what became one of the wildest shoots in Matanić’s filmography. News & Archive
Dalibor Matanić i književnik Damir Karakaš u Lici tijekom priprema za KINO LIKA / LIKA CINEMA, film prema Karakaševu romanu — prije snimanja koje je postalo jedno od najluđih u Matanićevoj filmografiji. News & Archive
Dalibor Matanić, age 24, on the set of his first feature film BLAGAJNICA HOĆE IĆI NA MORE / THE CASHIER WANTS TO GO TO THE SEASIDE.
Dalibor Matanić, s 24 godine, na snimanju svog prvog dugometražnog filma BLAGAJNICA HOĆE IĆI NA MORE / THE CASHIER WANTS TO GO TO THE SEASIDE.
KINO LIKA / LIKA CINEMA, based on the novel by Damir Karakaš, is one of Dalibor Matanić’s wildest productions — built around local non-professional performers, improvisation and an atmosphere that constantly pushes the fiction close to documentary reality.
The energy of the shoot does not stop when filming ends. According to a local story that circulates afterwards, group of extras even want to make their own version of the film. The story later takes a darker, reportedly tragic turn — one of the extras is said to have drowned — and continues to circulate as part of the film’s local mythology.
Out of that raw, unpredictable energy comes a film that feels just as alive off screen as on it. Kino Lika wins two Golden Arenas and the Breza debut award at the Pula Film Festival, the Grand Prix “Golden Olive Tree” at the Festival del Cinema Europeo in Lecce, the Matad’or Grand Prix and Student Jury Award at the Noordelijk Film Festival in the Netherlands, and the Young Jury Award at Cinemed in Montpellier.
KINO LIKA / LIKA CINEMA, snimljen prema istoimenom romanu Damira Karakaša, jedno je od najluđih snimanja Dalibora Matanića — oslonjeno na lokalne naturščike, improvizaciju i atmosferu koja igrani film neprestano gura blizu dokumentarne stvarnosti.
Energija snimanja ne prestaje završetkom seta. Priča se o grupi statista koja čak želi snimiti vlastitu verziju filma. Priča kasnije dobiva mračniji, navodno tragičan obrat — prema lokalnoj priči, jedan od statista navodno se utopio — i nastavlja kružiti kao dio lokalne mitologije filma.
Iz te sirove i nepredvidive energije nastaje film koji jednako snažno živi izvan ekrana kao i na njemu. Kino Lika osvaja dvije Zlatne arene i debitantsku nagradu Breza na Pulskom filmskom festivalu, Grand Prix “Golden Olive Tree” na Festival del Cinema Europeo u Lecceu, Matad’or Grand Prix i nagradu studentskog žirija na Noordelijk Film Festivalu u Nizozemskoj te nagradu mladog žirija na Cinemedu u Montpellieru.
DADDY / ĆAĆA was shot using an improvisational approach in just 10 shooting days, with much of the film made in director Dalibor Matanić’s family house in Lika.
In the film’s unsettling atmosphere, Ivo Gregurević fits perfectly, bringing a powerful presence to the story. Matanić had already successfully collaborated with him on Kino Lika. At the 2011 Pula Film Festival, Daddy won the Golden Arena for Best Director, Golden Arena for Best Cinematography for Vanja Černjul and Golden Arena for Best Supporting Actress for Iva Mihalić. The film also received the FEDEORA Award for Best Film in the national programme.
ĆAĆA / DADDY snimljen je improvizacijskim pristupom u samo 10 dana snimanja, velikim dijelom u obiteljskoj kući redatelja Dalibora Matanića u Lici.
U jezovitu atmosferu filma sjajno se uklopio i Ivo Gregurević, donoseći priči snažnu glumačku prisutnost. Matanić je s njim već uspješno surađivao na filmu Kino Lika. Na Pulskom filmskom festivalu 2011. Ćaća je osvojio Zlatnu arenu za najbolju režiju, Zlatnu arenu za kameru Vanje Černjula i Zlatnu arenu za najbolju sporednu žensku ulogu Ive Mihalić. Film je osvojio i nagradu FEDEORA za najbolji film u nacionalnom programu.
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