As a film enthusiast with a deep understanding of the intricacies of human emotions, I find myself deeply moved by the stories of Aleksander and Olivia Kralj, as portrayed by Prosenc in her latest work. Having spent years immersed in the world of cinema, I’ve come to appreciate the nuances that make characters relatable and real – their prejudices, fears, and hidden desires.
Slovenian filmmaker Sonja Prosenc is preparing for the release of her fourth movie, an unnamed drama focused on “sisterhood and women’s freedom.” This new project builds upon the success of her work, “Family Therapy,” a sharp blend of social satire and family drama that had its U.S. debut at the Tribeca Film Festival. Currently, this thought-provoking piece is competing in the European premiere during the Sarajevo Film Festival this week.
Additionally, she’s collaborating with the North Macedonian director Teona Strugar Mitevska in creating the dark comedy-horror series titled “Little Yugoslavia”. This project will be presented at the Bosnian film festival by the two of them.
In her explanation, Prosenc referred to her upcoming film as a “drama that includes suspenseful aspects.” She described the film’s structure as reminiscent of a puzzle, with each piece of the story carefully placed to create the intricate worlds of three different women. The movie takes place in Slovenia and Italy, providing a backdrop for the separate lives of these women as they inch towards an unavoidable intersection. Their intertwined narratives gradually come together, building tension until they ultimately collide in a climactic, dramatic scene.
In the movie that Prosenc is making, you can expect themes of freedom, sisterhood, and the influence of unexpected meetings to be delved into, all within a context of societal limitations. This project will bring back some familiar faces from previous collaborations, such as Mitja Ličen who worked on Family Therapy’s cinematography, and also contributed to Laura Samani’s Cannes Critics’ Week premiere “Small Body.” Currently, the film has producers based in Italy and Norway, but they are actively seeking a partner for co-production from France.
In terms of her ongoing journey as a movie director, Prosenc described this new project as occupying an artistic space that lies between her previous work “Family Therapy,” which blends tragedy and comedy, and her initial two films. Her first film, titled “The Tree,” made its debut in the East of West competition at Karlovy Vary in 2014, and was selected to represent Slovenia in the race for the Academy Award for Best International Feature Film. Her second film, “History of Love,” premiered in the main competition at the Czech festival in 2018, and once again represented her country in the Oscars.
Titled “Family Therapy,” this film made its debut at the International Narrative Competition of Tribeca this year. It tells the story of a seemingly idyllic family whose peaceful existence is shattered when an enigmatic young person enters their lives, revealing underlying anxieties, imperfections, and aspirations. This stranger’s arrival peels back layers of the family’s complex issues, exposing the intricate dysfunction that has been lurking within their relationships. The stellar ensemble includes Mila Bezjak, Aliocha Schneider, Marko Mandić, and Katarina Stegnar.
As a devoted admirer, I’d like to share that this film is masterfully crafted by Prosenc, both in writing and direction. It’s a joint venture with Rok Sečen under Monoo, based in Ljubljana. The production also sees the involvement of Marta Zaccaron and Fabiana Balsamo from Incipit Film (Italy), Tamara Babun and Matija Drniković from Wolfgang&Dolly (Croatia), Jarle Bjørknes from Incitus Film (Norway), and Dimče Stojanovski from Living Pictures (Serbia).
Discussing with EbMaster prior to Sarajevo, Prosenc referred to “Family Therapy” as an examination of solitude. She depicted the film’s characters, whom she labeled as figures embodying Slovenia’s “post-transitional nouveau riche,” in a narrative where their progressive and humanistic values are challenged when they find themselves in a situation where they must aid another family in distress.
“The director pondered over the inconsistency between our beliefs and our behaviors when faced with real-life situations. She noted that her principal characters seem utterly detached from the larger community, and they yearn for this separation. This is a reflection of contemporary society, not only in Slovenia but also globally.”
Mandić portrays Aleksander, a pretentious patriarch who’s both a writer grappling with a two-decade dry spell since his last triumph, and is married to Olivia (Stegnar), a gallery owner whose personal aspirations are stifled by her deteriorating marriage. On the surface, they appear refined and globetrotted, but beneath this veneer, they are ensnared by their own biases and apprehensions following an unexpected visit.
Rather than making the Kralj family capitalist, conservative, and rich as it would have been simple to do so, Prosenc opted to place them in a more culturally diverse setting. She expressed that she didn’t want to solely target characters with values differing from her own.
“She aimed to create an atmosphere that encourages empathy among the viewers, as she emphasized that life isn’t always clear-cut. This approach, she explained, provides a chance for the audience to recognize aspects of themselves – in the privacy of the cinema where they can remain unseen by others – perhaps identifying with the actions portrayed.”
Prosenc is joining North Macedonian filmmaker Mitevska in Sarajevo to present the dark comedy-horror series “Little Yugoslavia.” This project will be showcased during Sarajevo’s CineLink Industry Days, which takes place from August 17th to 22nd.
“The story unfolds in a chilling, ex-socialist housing estate, where people mysteriously disappear, and the main characters are two aging vampire queens, who are addicted to drugs and have a goal to cleanse the world.”
Mitevska, the brainchild behind the eight-episode series, revealed to EbMaster that she had become increasingly disenchanted with TV shows from the Balkan region and aimed to produce something that would captivate her own interest – a project that was daring, eccentric, liberating, and enjoyable. Prosenc also expressed fascination with the idea’s “punk-rock spirit” and quickly agreed to join the team.
“She expressed that it seemed fitting for us to collaborate on something, aiming to bring fresh perspectives to the regional drama scene. She pointed out a gap in the market: there aren’t many series featuring strong female leads, characters who are authentic and imperfect, much like herself and others.”
The upcoming series will be manufactured by Labina Mitevska via her company Sisters and Brothers Mitevski, along with Prosenc’s Slovenian production house Monoo, acting as co-producers. Over the past year, Teona Mitevska and Prosenc have been refining the series through the French CNC’s Going European fund, a program aimed at authors working on international series collaborations. They are currently seeking broadcasters and pre-sales during the CineLink Industry Days.
Last year, the film “21 Days Until the End of the World,” directed by Teona Mitevska, was premiered at the Venice Film Festival’s section called Venice Days. Her earlier feature film, titled “The Happiest Man in the World,” debuted in the festival’s Horizons section in 2022.
Previously, EbMaster revealed that a renowned filmmaker is presently developing their first English production titled “Mother.” This movie features Noomi Rapace portraying the historic figure Mother Theresa, a Catholic saint. The storyline will focus on a crucial seven-day period in her life when she chooses to depart from the Loreto Entally convent in Calcutta and establish her own order. Currently, Rapace is serving as a member of the jury for a feature film in Sarajevo this week, following her roles in “The Girl With the Dragon Tattoo” and “Prometheus.”
The Sarajevo Film Festival runs Aug. 16 – 23.
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2024-08-16 12:47