The Winter Edition of the Network of Festivals in the Adriatic Region will take place between 22 January and 5 February, offering audiences in Slovenia, Croatia, Bosnia and Herzegovina, Serbia, Montenegro, and North Macedonia the opportunity to watch a selection of award-winning regional films for free – in cinemas and as video-on-demand.
The following award-winning regional films will be on view: Forever Hold Your Peace (Živi i zdravi by Ivan Marinović), Family Therapy (Odrešitev za začetnike, by Sonja Prosenc), Mother Mara (Majka Mara, by Mirjana Karanović), My Late Summer (Nakon ljeta, by Danis Tanović) and Planet 7693 (Planeta 7693, by Gojko Berkuljan).
The programme begins on 22 January with free cinema screenings in Ljubljana, Zagreb, Belgrade, Sarajevo, Herceg Novi, and Skopje, while from 23 January all films will also be available for streaming on the platform ondemand.kinomeetingpoint.ba.
On 22 January at 19.00, as part of the opening of the Network of Festivals in the Adriatic Region Winter Edition, the film Forever Hold Your Peace (Živi i zdravi) by Ivan Marinović will be screened free of charge in Cankarjev dom's Kosovel Hall. Marinović's film is a bitterly comic story about a wedding that takes place despite the bride’s decision to give up on marriage. The screening will be followed by a Q&A with the director Ivan Marinović.
My Late Summer (Nakon ljeta, by Danis Tanović) is a comedy-drama about a young woman who comes to an island to claim her inheritance, only to be confronted with her own past, family secrets, and identity issues. Mother Mara (Majka Mara, by Mirjana Karanović) is an intimate drama about loss, grief, and the unexpected bond that develops between a mother and her deceased son's friend. Planet 7693 (Planeta 7693, by Gojko Berkuljan) is a warm family story about a boy who, with the help of an unusual friend, tries to repair his family’s damaged relationships. Family Therapy (Odrešitev za začetnike, by Sonja Prosenc) follows a seemingly perfect family whose idyllic existence is shattered by the arrival of a young stranger. His presence exposes their internal issues, fears, and dysfunctional relationships
The Network of Festivals in the Adriatic Region Winter Edition brings together the region’s leading film festivals, including the Ljubljana International Film Festival – Liffe, the Zagreb Film Festival, the Auteur Film Festival Belgrade, the Sarajevo Film Festival, the Herceg Novi Film Festival and the Manaki Brothers festival from North Macedonia.
Running for the fourth consecutive year, the Winter Edition of the Network of Festivals in the Adriatic Region has been designed with the aim of increasing the visibility, accessibility, and promotion of outstanding European films across the Adriatic region.
The Network of Festivals in the Adriatic Region is supported by the MEDIA sub-programme of Creative Europe.
Kelly Reichardt has established herself as a seminal figure in contemporary American independent cinema. She is a filmmaker who persistently directs her gaze elsewhere – to the margins and the details of daily living, unearthing the overlooked, the marginalized, the invisible. Within the context of American mythology, which she subtly yet consistently undermines, these are stories of women, the working class, the barely visible footprints of indigenous peoples, the lively traces of animals that profoundly affect the nature of her images, and above all, the long takes of landscape that invariably highlight both human alienation and our inherent inalienability from the world. Reichardt, who was born and raised in the perilous swamps of Florida, chose the Oregon landscape as the backdrop for her vision of American society, and later moved there herself.
The urban peripheries used as settings in her films are surrounded on one side by rocky high deserts and on the other by deep conifer forests, whose vastness faithfully reflects her cinematic narratives. A foremost example here is Reichardt’s debut film, River of Grass (1994), set in a sleepy Florida suburb. Echoing the great American Bonnie and Clyde legend, a bored and listless housewife Cozy sets off on a journey with Lee, an aimless young dropout – in a road movie without the road, a love story without the love, and a crime story without the crime. Reichardt adopts a realistic filmmaking style through the use of non-professional actors, actual locations, and absence of any major stylistic interventions in cinematography.
Although receiving plaudits at Sundance with her debut film, Reichardt spent the next twelve years trying to finance a second film: Old Joy (2006) marked a stylistic shift for the filmmaker, one that she largely continues to employ today – a neo-neorealist style, defined by an in-depth dialogue with nature, and enhanced through Slow Cinema pacing, a detail-picking pace that allows for the emergence of the unspoken through a carefully constructed gaze, while viewer-wise opening up a field of empathy and sensitivity in relation to the film image. The screenplay for Old Joy, a film about estranged friends, was written in partnership with John Raymond, an Oregon-based author who went on to become the director's indispensable collaborator. Reichardt decided to edit the film herself, and has continued to serve as her own editor in all her subsequent projects.
There followed another road movie without the road or destination – Wendy and Lucy (2008), Reichardt’s first collaboration with the actress Michelle Williams. Set during an economic crisis, the film’s protagonist Wendy travels to Alaska with her (the director's) dog Lucy in search of a better life. Casting Williams, the director went on to create a whole range of female characters, including Certain Women (2016) and Showing Up (2022), banking on Williams’ talent for extremely ruminative deadpan performance in relation to the emotions and social (sexual) positions of her characters.
On yet another endless road, Meek's Cutoff (2010) depicts a group of settlers lost in the middle of the Oregon countryside. Here, the filmmaker draws on a unique form of American mythology – the Western. But instead of an action spectacle, Reichardt opts for a careful study of gender and myth through a decolonizing and feminist perspective. In similar fashion, she reappropriates and redefines Western tropes in the film The First Cow (2019), shattering the myths of neoliberal America with a gentle tale of male friendship and the relationship between ownership, capital, and theft.
Reichardt's affinity for exploring film genres is further reflected in Night Moves (2013) and The Mastermind (2025). However, echoing her use of the Western, the filmmaker shows that genre tropes are merely a starting point for her to examine perhaps unexpected thematic and conceptual points – the ecological thriller thus becomes a quiet meditation on guilt, and a heist film becomes a sensitive study of character and coincidence, as well as cinematic colour and composition. In subverting all cinematic expectations and paying scrupulous attention to the medium itself, Reichardt has solidified in every way her position as a giant of American and world cinema.
Anja Banko
The Kelly Reichardt Retrospective has been organised in cooperation with the Slovenian Cinematheque and the Kino Otok – Isola Cinema International Film Festival.
Jure Novak
Director General of Cankarjev dom
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