(A)Torzija

(A)Torzija (2002), directed by Stefan Arsenijevic, is based on a true story from war-torn Sarejevo.

This 15 minute Slovenian movie is a tiny gem--half dream, half nightmare. It's amazing to me that a film this short can convey so much history, so much fear, and so much joy.

The film obviously hasn't been distributed widely. (We were lucky

to be able to see it at the Dryden Theatre in Rochester, where it

was shown with the Hungarian film Hukkle.)

If (A)Torzija comes to your community, seek it out. You won't be

disappointed!

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This is a collaborative project, a short film with Slovenian production, Serbian director, and Bosnian screenwriter and cast. A snapshot of gloomy and bizarre life in Sarajevo during the 90's siege. Local choir members try to make their way through the tunnel to the other side, and eventually reach Paris where they are to perform. They are delayed when neighbor's cow gets sick and determined to help her survive and potentially save lives of many she feeds. In the midst of the terrible demise, people join together to do a small but noble deed risking their own safety, everyone helping as they can.

The film is knitted with dark humor, so typical for the region, that exposes humans inside shadowy creatures worn out by their suffering. Well crafted, solid performances. However, it does not bring much new into the equation (see "No Man's Land", etc.), although it does keep a safe distance from risky political references (unlike "No Man's Land", and "Lepa sela lepo gore", for example). The last scene is a gem, as well as the one with the dogs.

(A) Torzija is a well made film if you consider only the most superficial aspects of movie making and its well polished TV-like style left me absolutely cold. Instead of depicting the complexity and ambiguity of human beings under extreme pressure, the director chooses to cram as much easy (or cheesy) emotion as possible into the short narrative and has no insight to offer other than an overstated and heavy handed "art relieves suffering" motif as the choir's singing drowns out the sound of the bombs.

I know nothing of the director and his background and it's possible he has first hand experience with living through war and bombing. But sadly this would make the film even more disappointing. We can only hope that there are other new directors from the former Yugoslavia area that are philosophically and artistically equipped to depict the complex situation they have lived through and which continue to shape their lives.