London Film Festival’s ‘Tarika’ Inspired by Director’s Desire to ‘Express Humanity’: ‘Art Is a Powerful Ally of Beauty and Justice’ (EXCLUSIVE)

As a seasoned film critic with over three decades of experience under my belt, I’ve seen my fair share of cinematic masterpieces from across the globe. However, “Tarika” stands out as one of the most profound and thought-provoking films I’ve had the pleasure to watch in recent years.

The Bulgarian drama “Tarika” makes its global debut at the London Film Festival. I had a conversation with its director, Milko Lazarov, who previously unveiled his film “Ága” in the main competition of the Berlin Film Festival, and now presents its trailer (as shown below).

The movie primarily focuses on Ali and his daughter Tarika, who reside harmoniously yet secluded from their community in rural Bulgaria. Tarika has recently been exhibiting a bone condition akin to “butterfly wings,” an inherited trait from her mother that has long been shrouded in village superstition. Determined to avoid intrusive treatments and shield his daughter, Ali takes action when the villagers’ intolerance escalates into a potentially harmful situation.

Vesela Valcheva plays Tarika, Zachary Baharov plays Ali, and Ivan Savov plays the mayor.

In this production, the talented trio of Lazarov, Ekaterina Churilova, and Simeon Ventsislavov are credited as scriptwriters. Behind the lens, Kaloyan Bozhilov skillfully handles the cinematography.

Veselka Kiryakova serves as the main producer for Bulgaria’s Red Carpet project. Joining her are co-producers Eike Goreczka and Christoph Kukula, based at 42film in Germany, as well as Alexander Dumreicher-Ivanceanu and Bady Minck from Amour Fou in Luxembourg. The film is being handled by the sales company, Films Boutique.

Lazarov’s debut film, “Alienation,” initially showcased at the Venice Days in 2013, bagged two accolades: a special recognition by Europa Cinemas Label and the award for Best Emerging Director from Fedeora.

In 2018, his second movie titled “Ága” made its debut in the primary competition of the Berlin Film Festival. This cinematic work garnered over 40 awards, including the Best Film Grand Prix at Fajr and the Heart of Sarajevo for Best Film at Sarajevo Film Festival.

Here’s the interview. The trailer follows.

What was the inspiration for your film?

I find myself drawn to tackle challenging questions, as if driven by an innate desire for understanding. This pursuit fuels my longing to convey our shared humanity, not just globally, but within each individual. Art serves as a potent ally in the quest for both aesthetic appeal and justice.

Did magic realist writers like Gabriel García Márquez inspire you at all?

I respect the art of expression displayed by the great literary masters, and Marquez is definitely one such master. Several years ago, I journeyed to Colombia to create a documentary based on one of his books, “A Hundred Years of Solitude.” What an extraordinary novel! The subtle hints in it must have left me feeling both moved by the raw pain depicted and yearning for the beauty that lies beyond our sight.

Did folk tales and fairy tales have any influence?

In the course of our discussion, it’s striking how fitting your question is. Since we embarked on this movie project, our goal has always been to weave a story about a magical girl. The narrative framework follows from that idea. The visual style of the film was guided by our perception of the enchanting world of fairy tales. This approach extended to how we dealt with the actors as well.

Can you explain the relevance of the scenes when the border fence is being erected?

In the movie, constructing the fence symbolizes something else. As we transitioned into an era of global economic unity, a new era emerged – one focused on controlling human spirits. This control is achieved by dividing and asserting dominance over previously seized spiritual territories. The Latin phrase “Divide et impera” (divide and conquer) encapsulates this concept.

How important is the cinematography to the film?

When crafting a fictional universe, every detail matters significantly. It’s often not immediately apparent how multiple storylines intertwine to form a single, coherent narrative. The visual style, in this context, embodies the intended message. It serves as a narrator parallel to the plot development. This principle holds true for films, where the overall ambiance is instrumental in conveying the intended message to viewers.

Does the atmosphere of suspicion and superstition of the villagers have parallels to the political and social atmosphere in Bulgaria now?

Regrettably, this issue is prevalent not just in my nation but globally as well. Earlier, I mentioned how the control and conquest of physical and spiritual territories have escalated to concerning degrees. The sanctity of fundamental human rights is being eroded under the pretext of progress and wealth. For instance, the freedom to express one’s thoughts openly in public discourse and the ability to distinguish between political debates beneficial for the public good versus those that serve the powerful few. Both liberal and authoritarian societies are swift to implement seemingly effective solutions that later become standard practice. The normalization of these practices fosters a false belief in the necessity of a firm grip. We appear to be on the brink of overt xenophobia. History has shown us this pattern before, and it’s crucial we remember and educate ourselves from past experiences.

What qualities did you look for in the actress who played Tarika?

Talent. The only quality that has value in art.

2024-09-18 19:17