As a film critic with a background in Eastern European studies, I found “Beautiful Evening, Beautiful Day” to be a poignant and powerful exploration of the repressive nature of communist regimes and the resilience of art and love in the face of oppression.
Having grown up under the shadow of Soviet-era censorship myself, I could not help but empathize with the struggles faced by Lovro, Nenad, and their fellow artists as they navigated a society where artistic freedom was stifled and dissenting voices were silenced. The film’s unflinching portrayal of life on Barren Island, a penal colony for “undesirables,” serves as a stark reminder of the lengths to which totalitarian regimes will go to maintain control and suppress dissent.
One of the film’s greatest strengths lies in its ability to convey a sense of the suffocating atmosphere of fear and distrust that permeated daily life under communism, making it clear that no one could truly trust anyone else. The tension between the characters, fueled by Emir’s insidious efforts to sabotage Lovro’s film production, is palpable throughout the movie, creating a sense of unease that keeps the audience on edge.
However, I must admit that there were moments when the storyline felt contrived and the characters made decisions that seemed out of character. In particular, the portrayal of violence against marginalized communities was sometimes heavy-handed and lacked nuance. It’s important to remember that art has a responsibility to be sensitive and respectful when depicting real-life struggles, and at times I felt that the film failed to meet this standard.
Despite these shortcomings, “Beautiful Evening, Beautiful Day” is ultimately a powerful and thought-provoking film that speaks to the enduring power of art and love in the face of oppression. It’s a reminder that even in the darkest of times, there are those who dare to dream, create, and resist.
And on a lighter note, I couldn’t help but chuckle at the scene where Lovro and Nenad go skinny dipping – it’s a refreshing moment of rebellion and defiance in an otherwise bleak world, and a reminder that even in the most repressive societies, there are always ways to find joy. After all, as we say in my homeland, “Even in Siberia, they have vodka!
In “Beautiful Evening, Beautiful Day,” it takes some time to get to Barren Island, a infamous penal colony from the former Yugoslavia. This place didn’t require cells because armed guards relied on the sea to maintain control over the imprisoned. However, it doesn’t take long for this prison without bars to become apparent in Ivona Juka’s stark and sometimes excessively intense black-and-white drama. The story unfolds in 1957, shortly after the country was freed from the danger of Nazi fascism, but soon found itself under the control of communist leader Josef Broz Tito, who wasn’t hesitant to silence opposing voices, including those from the LGBTQ+ community.
During Tito’s rule, he kept the public captivated with propaganda. On the other hand, the movie “Beautiful Evening, Beautiful Day” paints a starkly different picture of his leadership, focusing on two filmmakers, Lovro (Dado Cosic) and Nenad (Djordje Galic), who are romantically involved. Since they had an ally in high government positions due to their military service, they were able to work on set without much interference. They even dared to hold hands at Lovro’s family dinner table without worry. However, things seem to take a turn for the worse when Lovro plans to film a scene suggesting a border guard and a soldier from Yugoslavia’s Peoples army fleeing together to Italy. This scenario catches the eye of a censorship board member on set.
Juka’s casual disregard for proper oversight becomes apparent immediately upon starting “Beautiful Evening, Beautiful Day” with an explicit sex scene between Lovro and Nenad, a depiction that would likely not meet the standards of even today’s review committees. Interestingly, after being chosen as Croatia’s representative for the Oscars, the director has claimed that they received significantly less financial support for their awards campaign compared to recent Croatian entries. The narrative then revolves around a figure of authority, Emir, who is a mid-level bureaucrat appointed by the state to supervise Lovro’s next film and secretly undermine the production. Emir Hadzihafizbegovic portrays Emir with a stoic demeanor that suggests he has seen it all, making it plausible to believe he is as skeptical of those in power above him as those below.
In this film, Juka skillfully constructs a society where trust is scarce and the government seems intent on widening the rifts even more by making anyone into an informant. Regrettably, at times, the narrative’s requirements overshadow the characters’ actions, leading to hasty decisions that may not align perfectly with their personalities. The director could potentially overemphasize his opposition to prejudice to such an extent that he overlooks the sensitivity required when portraying marginalized groups. When violence erupts for Lovro, Nenad, and their friends Stevan (Slaven Doslo) and Ivan (Elmir Krivalic), it provokes anger for reasons other than intended. A particularly intense scene, a beating of a kind-hearted gay man, appears to focus more on his kindness rather than his sexuality as the reason for the brutality’s appalling nature. The film also forgoes an honorable attempt to make sex between two men appear natural on screen; there isn’t much distinction in how rape is depicted during scenes set on Barren Island.
As a filmmaker myself, I find “Beautiful Evening, Beautiful Day” to be a captivating exploration of artistic freedom and the struggle against oppressive narratives. Having spent many years in the industry, I can relate to Lovro and his band of bohemians, striving to express themselves authentically despite societal constraints. The film’s lack of rebellion against narrative conventions is less important to me than its raw and unfiltered portrayal of passion and emotion.
The moments where the film veers into gratuitous dance scenes can be frustrating, but I understand the intention behind them – a desperate attempt to express the beauty and freedom that Lovro and Nenad feel in their moment of rebellion. The scene where they go skinny dipping on the coast is one of the most powerful moments in the film because it symbolizes the fight against erasure and silencing, a fight that many artists, including myself, have faced throughout our careers.
I am grateful for Juka’s courage to pick up her camera and capture these moments, as they serve as a reminder that our stories matter and deserve to be told, even if we are the only ones who know they exist. “Beautiful Evening, Beautiful Day” is a testament to the power of art in defying oppressive narratives and asserting our existence.
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2024-12-31 06:47