Estonia

An abandoned house in Estonia

Final Creative Project

Over a period of 4 months on Friday and Saturday nights I travelled across central London looking for queues and people in crowds. Reflecting from personal experience as a street walker, alone at nighttimes where I joined the crowds and travelled with them. I observed how people behaved during late nights at their leisure time and followed some of them until early morning until they all went separate ways. At night the main streets of Camden, Clapham, Shoreditch, Leicester Square were flooded with people wandering on the streets, where flaneur’s, street walkers also melt in. 

In the beginning there was an idea…

The first day of the festival was overwhelming. The fact that I met Vlado Skafar, the founder of the Isola International Film Festival assured me that the atmosphere at this seaside town is different to other film festivals and red carpet events.

At the Estorial Film Festival in 2010 he shared his thoughts on how he can help people to open doors for themselves. I can honestly say this notion of openness also reflects the spirit of this film festival. The festival is “about gathering people and if you want to have this kind of gathering then there must be no barriers. So for me, it was more important who was coming here, than what kind of film they made. For journalists, they can really bring something to their readers if they feel they are part of the festival. Only then can they feel the heart of the it.”

At a glance he was also curious to see if some ideas of socialism could work in this country. After 20 years new human connections, free speech, free space and the feelings not dominated by fear. And the fact that on Kino Otok’s 1^st edition nobody, including the people who worked during the first year of the festival, got paid nothing, has also contributed to the festival’s relaxed vibe and low-key reputation.

At the festival, his excellent fictional film ‘Dad’ (2010) was produced with a tight budget, nevertheless receiving excellent coverage at various film festivals. I am curious to ask, where does he get his positive energy from? “I don’t like to be dependent on money on very personal reasons. It is only a burden.” Having grown up in the era of communism he still resides in his home town, a rural location near the boarder of Croatia that he uses as a set in his films.

Skafar reflects profoundly on how his first experience with cinema and all its secrets moved him, feeling like he learnt something new about himself. But even today he still feels overwhelmed by his career as a filmmaker. “It is always funny to see my name or the name of my film in the catalogue or in the timetable because I never thought I would be there. Because I never thought about making my own films when I was visiting festivals all those years ago.” He laughs sincerely when saying: “This is still a little bit funny: "what is this name doing there in that?" pointing to a brochure. "It is a strange notion that comes everytime.”

As a person Skafar is sincere and smiles often. His concept of the Isola Film Festival, which is running for its 8^th year, is deeply rooted in establishing a personal connection. “I wanted to see this, that people are free. I see that everybody who comes here and talks to me, that my first feeling is not what he is talking about with me but that this is a free human being that is here.”

When asked about his hobbies, he notes with a warm laugh, “I don’t even understand the idea of a hobby. There are more loves, especially literature, sport, gardenin lately.” He nods when I share notion of hobby with him. As something that might be just the section of life you do after work. Personally I think it is wonderful that everything he does in life he fully enjoys. Where there isn’t an obligation in the morning to actually go to work.

I share my excitement to see the films presented by other film festivals in the Archipelago section, also called the group of islands. “Every year it gets new branches. This comes from a new thinking. We’ve reached this moment, when everybody wants to do something personal, something which is not usable by the society.” Suddenly Skafar notices a familiar face and greets the man with hair as white as snow. “He is the guy who made this possible." He is the director of Innsbruck Film Festival.

Briefly another acquaintance appears, Olaf M8ller, a friend of the festival who this year introduces "Alms for the Blind Horse." Observing Skafar and M8ller sharing a warm laugh I feel almost privileged to sit next to them. M8ller says: “I wouldn’t be involved in the festival since the beginning if I wasn’t very happy about it and if I didn’t feel that we were doing quite a good thing. Even if this time I could be around for only a few hours.” Skafar notes that M8ller is “actually the first friend we picked. He is like a monument here.”

Within minutes we are joined by Reza Serkanian, an Iranian filmmaker who now is here for the third time with his full feature film and waiting to catch up with friends.

I leave them to catch up at this lovely wine bar thinking I just me some of the most influential people at this festival. But hey!, as Vlado Skafar said “ordinary people become extraordinary when you meet them.”

Published in Otok Daily brochure, in association with Pina for Isola International Film Festival 2012. 

http://www.pina.si/otokdaily/

An artist’s dream?

Until yesterday I was very keen on moving to Berlin because of the city’s carefree reputation and the many artists it attracts. But this idea started to fade when I immersed myself to the world of Station Topolò in my research for this article. 

 

Yesterday afternoon, fashionably late, I went to the picnic with a mission. But first I had to throw away this invisible ‘journalist hat’ and enjoy a glass of local red wine. While swinging along the groovy dance beats in this idyllic beachside spot, I already spotted some familiar faces. But my mission was to find out what is Station Topolò and what exactly happens in this ‘artistic paradise’? The two Italian artists, Donatella Ruttar and Anja Medved kindly shared their story of Topolò, even though I had not seen the movies about it.

Anja Medved, director of both films, talks about her journey to the station, a place she first joined as a spectator and where later on she presented her work. From there the snowball started to roll, she immersed herself in the task to capture the essence of this village and the Station Topolò’s. But what really stood out for me was when Medved said that the film it is not a documentary but rather an attempt trying to catch the spirit of the station and of the village that have grown into a one union over the years.  On the other hand, the most fascinating part of the film is that it features material shot by local youngsters aged 12 to 18 who grew up with the Station.  In the end “I also made an interview with them and asked how they imagine Topolò in 50 years,” said Medved. 

Until today the village of Topolò, which is tucked away in Italy next to the border of Slovenia, is still alive because of the ‘station’.  There are no shops, no bars and even finding a way to this remote location can be a mission. Donatella Ruttar, who founded the Station Topolo about 20 years ago with Moreno Miorelli, describes that the essence of the station was to “ make this the centre of the world and try to articulate this idea of ourselves.” She also adds that the idea is “all about sharing.”

Honestly at this point I cannot think of a better place where to dive into the artistic world and let the creative juices flow. How is it possible that there is a paradise for artists? Yet you have to support yourself to an extent but from an artist’s point of view: fantastic weather conditions, a roof over your head, a space for making your art and delicious Italian food from kind residents. This all sounds good enough for me to guarantee motivation.

But to join the community there is one requirement, in smooth terms. Just as Adam and Eve in the paradise had to stick to a rule, Medved noted that the art there should reflect the spirit of the village and the location. Ruttar corrected me when I classified the gathering with artists in July as a festival. In station Topolò, she said, they don’t classify things but they just do them.  Nowadays apart from the gathering during the summer month the only people who reside there are locals, and occasionally writers and poets.  

In the end Ruttar kindly thanked me. For a moment I did think, do I really want to spread the word about this little creative hub called station or not? But why not? It is not like I know where it exactly locates, which I think is the beauty of this village. 


Published in Otok Daily brochure, in association with Pina for Isola International Film Festival 2012. 
http://www.pina.si/otokdaily/

Koen's curtains

If film festivals are supposed to establish an interconnection among the audience, the press, the filmmakers, this is particularly true Kino OTOK, this elements having remained as the core of the festival for the past 8 years.

On a bright morning I met up with Koen Van Daele who is one of the programmers for the Isola International Film Festival. With the echo of children's laughter on a background van Daele dives into to the conversation clearly with a strong passion for film. »I am very much an old school believer in author cinema. So I believe that there is a person or a group of persons who are behind the film, so that is not a product, something which has grown on to the market and is there to sell and entertain. That it is an artefact, that it is a work of somebody with a vision and an idea to bring those ideas to the screen.»

Van Daele shares that he has been surrounded by films since his youth: from watching Austrian and catasthrope movies in the 70s to attending a film school in Brussels where he shortly after also got involved in writing about films. But he adds that his interest into films »took on many many different shapes and changed a lot. But I keep on being interested in very very different types of cinema«, from watching great Hollywood to Bollywood movies.

Listening to him I find that he almost portrays a visual image of the atmosphere in the 19th century «when the curtains roll open« and the moment when the filmmaker 'will tell you' something. He adds that this is totally lost today. All of a sudden I find myself taking a step back in my mind and thinking about my first experience with cinema. I remember in my home in southern Estonia the film nights took place at a local cultural house, where before the film screening the worn black curtains were pulled on a side and the screen rolled down. To an extent I agree with him and miss the notion of visiting a cinema as if watching a spectacle.

He has been a programer at Cinemathek in Ljubljana for 6 years now and coordinated many special programms. It was his position as a programmer for the documentary section in Kino OTOK that established his link with the Isola International Film Festival. He explains that as a programmer one of the key things for him is always to see the film and imagine the public before it is there.

Van Daele uses Yorgos Lanthimos film Alps as an example, explaining that what makes it a very strong film is »the language that it invents in a way. The total freshness of ideas, cinematic ideas. So its not that so much a tool to convey messages but that as a way of expression. To me film is really an art. Even it is also something to make money.»

When touching on the atmosphere he notes that »the goal here was that they (the directors) would be here the full period from the beginning to the end. And that we would also try to create a certain level of complicity between filmmakers, audience, critics and that we would all be part of the same thing.« The notion of no division and that of experiencing the festival as a collective way are deeply embedded in the connection the event establishes with its visitors. And what I have gathered over the last few days is that it still for the filmakers one of the most memorable festival experiences.

From my side I am still experiencing this euphoria moment. Like really? Was it the director of the Whore's glory whom I have seen when enjoying my morning splash at the local beach this week? And to be honest for me it was enough. Because this is what I enjoy here in Isola the most, we share s space where there are no barries no fences and no 'media hats'. I could actually say this experience for me is an invisible autogram by a renowed filmmaker.  

Published in Otok Daily brochure, in association with Pina for Isola International Film Festival 2012. 
http://www.pina.si/otokdaily/

Text: Katre Laan

Image: Blanca Selas Chao