Sarajevo, mon amour

i have seen GRBAVICA at the berlinale in Germany and this is one of the best movies i ever seen. without any violent scenes this pictures burns the whole frightening war in former Yugoslavia in your head - without to accuse somebody directly. it is a film about accomplishment of the war, the state of the country now, the relationship between mother and daughter, the puberty and a love story too. very good actors and calmly produced. very earned won the golden bear in berlin! if you have the chance to see this movie, please use it... hopefully this movie will be internationally known, not only in Europe.

(excuse, my English is not so good)

This is Jasmila Zbanic's debut movie. It is about the painful aftermath of the Bosnian war and focuses on a Bosnian woman and her 12 years old daughter Sara. They are living in Grbavica, a quarter of the Bosnian capital Sarajevo. Esma needs money to pay a school trip for Sara, even though a certificate proving that Sara's father was a war hero would allow her to join free.

The movie won the Golden Berlin Bear in 2006, the main character is beautifully interpreted by Mirjana Karanovic as well as the daughter by Luna Zimic Mijovic, the looming reality of post war is crudely represented, but I wouldn't say this is a masterpiece. It lacks the real density of the story and, apart from the two main characters, the others are just sketched.

However this director deserves much attention as the movie "Quo vadis, Aida" will lately prove.

This film is about a woman who has to raise money for her daughter's school trip. Or she could produce a certificate to say that her daughter's father is a war hero, so that her daughter could go to the trip for free.

The film is down to earth and realistic. There are no grand sets, no expensive costumes and no fancy cars. Instead, we get to see a real side of life in Sarajevo. A bus ride, working in factories, picnic on the hilltop or women trying dresses on: all of these seemingly trivial matters reflect how people live. It brings out the soul of the characters, and we get to care for them.

The daughter, Sara's youthful rebellion is direct and raw. Her spectrum of emotions, from sadness to joy, on the final bus ride is remarkable. Esma's work in the night club is also memorable. Her shock and disgust with things that go on around her, and her self pity that she has to earn money like that is striking.

Esma's final confession in the group is touching and emotional. It crystallises anger, hate, despair, ambivalence and love into one. From the interaction between Esma and Sara throughout the film, who would have thought that Sara was in fact born in such circumstances?

This film is touching, not only because it exposes the scars of post war Bosnia, but also the everyday tragedies of the lower class.

Highly recommended.

Sarajevo is a raped city, Bosnia is a raped country and the culprit, although known, has never been convicted. How a person, and a nation, finds a strength to overcome the injustice? Very difficult, sometimes impossible.

I hoped and prayed that Sarajevo has that strength, and still do, however, this movie showed me how heavy the burden is. It is personal, a message to each one of the viewers to try to put themselves in victim's shoes and see how they would cope. Hard core stuff. The film tries to put on a positive spin at the end, however, it wasn't that convincing, I am afraid.

Mira Karanovic is absolutely stunning!

'Grbavica' is yet another superlative film coming from Bosnia. Firmly walking in the footsteps of Bosnian Best Foreign Language Film winner 'No Man's Land', the film trails a promising future for the fledging Bosnian film industry. This small, understated production is the proof-positive of the vibrancy of the Eastern European Cinema. A pioneering feature effort by the writer/director Jasmila Zbanic, the film has already been accoladed the prestigious Golden Bear at this year's Berlin International Film Festival and is sure to be a strong contender when it hits International festival circuit.

Ms Zbanic has created a quiet, sentimental and feminine picture of the war's aftermath and the emotional toll the war inflicts on a mother/daughter relationship. She assuredly, with a hand of a born film-maker, creates a small but potent film which is a startling reminder of cinema's transcendental powers.

'Grbavica' is sure to snuggle in the same underrated niche of anti-war movies that deal with lasting trauma on the psyche of war survivors. Movies like Hal Ashby's unforgettable 'Coming Home' or Russian 1959's classic 'Balad of a Soldier'.

The picture's lasting impact owes much to the haunting performance of Mirjana Karanovic, a consummate artist who has, for over a decade, been the most decorated and awarded actress coming from war-torn former Yugoslavia. In Esma, Mirjana has entered the body and soul of a tormented war victim with a dark secret, and thus given us yet another performance to talk about. Her daughter Sara is expertly played by the little Luna Mijovic in a film debut reminiscent of Natalie Portman's career-launching role in Luc Besson's 'The Professional'.

Variety's Russell Edwards pinpointed film's main shortcoming: '...the film is all set up and little pay off'. Indeed, although well-rounded and balanced, 'Grbavica' lacks complexity and dramatic density. A story thread is missing, a counterpoint of sorts, that would have enriched its thematic appeal and elevated its dramatic tension.

Even the best of war movies, intentionally or not, on some level or another could be seen as one-sided and propagandist. It took more than a hundred years of cinema for a film-maker to come along who realized this inherent danger in making war movies. 'Flags Of Our Fathers' is a solid war movie with a strong anti-war message. But who could blame some Japanese for seeing it as anti-Japanese. That's why the old man Clint, creating cinematic history, has given us 'Letters of Iwo Jima', the version of the same battle seen through the Japanese point-of-view.

Unspeakable atrocities are committed in any war. It would be idealistic if not idiotic to expect that a humane war could ever be waged. Both sides commit them, the stronger always more than the weaker. Had Ms. Zbanic weaved a story thread that would have touched upon this unfortunate reality, her subtle and soulful feature debut would have radiated universality of a true masterpiece.