Lordan Zafranović

From Wikipedia, the free encyclopedia

Lordan Zafranović
Lordan Zafranovic 80-ih.jpg
Lordan Zafranović in the 1980s.
Born (1944-02-11) 11 February 1944 (age 77)
Maslinica, occupied Yugoslavia
Years active1961–present[1]
AwardsAcademy Awards
Candidate 1979 Occupation in 26 Pictures
Candidate 1985
Cannes Palme d'Or
Nominated 1979 Occupation in 26 Pictures
Big Golden Arena for Best Film at the Pula Film Festival
1978 Occupation in 26 Pictures
1981 The Fall of Italy
Golden Arena for Best Director at the Pula Film Festival
1981 The Fall of Italy
1986 Evening Bells
at the Pula Film Festival
1975 Passion According to Matthew
1978 Occupation in 26 Pictures

1981 The Fall of Italy

1967
1972

1985

2003

2003

2019 Lifetime Achievement Award

Lordan Zafranović (born 11 February 1944) is a Czech-Croatian film director, and a major figure of the Yugoslav Black Wave. He lives in Prague and Zagreb.

Early life[]

Lordan Zafranović was born in 1944 in Maslinica, island of Šolta, Dalmatia, during the fascist occupation of Yugoslavia. He spent the first two years of his life in the refugee camp of El Shatt, Sinai, together with his mother Marija and his older brother Zdenko. After the war, the family reunited with father Ivan and moved to Split, where younger brother Andrija was born. He graduated in ship-engineering from the Split Marine School in 1962 and continued with studies in literature and fine arts at the Split Pedagogical Academy (later University of Split) from 1963 to 1967.[2]

Work[]

Zafranović belongs to the Prague wave (sometimes also called Praška filmska škola), a generation of acclaimed Yugoslav directors who had studied at the Prague Film School (FAMU) around 1968. His peers were Rajko Grlić, Goran Marković, Goran Paskaljević, Srđan Karanović, and cameraman . A generation later, also director Emir Kusturica, cameraman Vilko Filač, and Lordan's younger brother, film editor studied at FAMU.[3] Lordan Zafranović started his film career as an amateur at in 1961 at age 15. From 1965 onwards, he worked as a professional, entering FAMU in 1967 as an already mature author with festival experience and awards, namely for his seminal experimental short (1968).[4][5][6] He was awarded Master of International Amateur Film in 1966 and graduated in film directing as a master student of Academy Award winner Elmar Klos in 1971.

Lordan Zafranović's first feature films are Sunday (1969), with Goran Marković in the leading role, and Passion According to Matthew (1975), which earned him the critics' award at the Pula Film Festival.[3][7][8][9] His best known work however is the cult film Occupation in 26 Pictures (1978), which he co-wrote, as his previous feature film, with acclaimed writer Mirko Kovač. The film reinvented the genre of the Yugoslav Partisan film with its lush Mediterranean setting of Dubrovnik and its aesthetics, contrasting the happiness of an affluent aristocratic family and her friends with the arrival of evil, through fascist occupation and violence, and the collapse of morale and society.[10] The film was a huge box office hit in Yugoslavia and in Czechoslovakia. It won the Big Golden Arena for Best Picture at the Pula Film Festival. It was nominated for the Cannes Film Festival and submitted as Yugoslavia's entry for the Academy Awards.[11] In Hollywood, the film was regarded as a favourite, if only the director agreed to shorten the scene of a brutal massacre in an autobus, the climax of the film.[12] Zafranović declined – and lost the Oscar. He continued his WWII trilogy with The Fall of Italy (1981), set in his native island Šolta during the Italian occupation, which evolves around the rise and fall of a young Partisan officer who is corrupted by power, and Evening Bells (1986), also co-written with Mirko Kovač, which tells the life of a village lad (played by Rade Šerbedžija) who went to the city and became a Partisan, and who then ended up first in internment in Nazi Germany and second, after the Tito-Stalin split in 1948, in a Yugoslav prison. The Fall of Italy won him the Big Golden Arena for the second time, Evening Bells the Golden Arena for Best Director at the Pula Film Festival. In the mid-1980s Zafranović returned to more intimate themes, with films such as An Angel's Bite (1984) and Aloa: Festivity of the Whores (1988), notable for their psychological drama and erotics. He also directed numerous TV productions for Radio Television Belgrade and Radio Television Zagreb.

In his long and productive career, Zafranović succeeded in realizing his films without betraying his creative vision and professional ethos, against all odds. He has been praised as "one of the great masters of modernism" (Dina Iordanova), "one of the great masters of Yugoslav film", and "a Mediterranean classic whose films can be compared with those by Angelopoulos, Bertolucci or Liliana Cavani" (Ranko Munitić), whereas his enemies denounced him as a "regime's director" indulging in "manierism" (Nenad Polimac).[13] British-Bulgarian film researcher Dina Iordanova correctly states that his "main occupation has been to explore the pressures experienced by ordinary people under extreme historical circumstances. His films challenge the deepest foundations of nationalism and question the justification of historical violence."[14] As in the case of other authentic and free thinking Yugoslav directors, namely Dušan Makavejev or Želimir Žilnik, Zafranović's films often caused controversy. This culminated in his occupation with the crimes of the NDH and the Ustaše during World War II and his documentaries (1983) and (1993) about the war crimes trial against NDH Minister of Interior Andrija Artuković.[15][16][17] His rich and eminent opus is currently rediscovered throughout the former Yugoslavia and beyond, also in Croatia. As Jasna Nanut puts it, Lordan Zafranović's work as a whole awaits critical valorization as "an indispensable and essential part of Croat cinematography."[18]

Exile and return to Croatia[]

Shortly before the break-up of Yugoslavia in 1991, Zafranović joined the Central Committee of the League of Communists of Croatia in 1989 for a short period.[19] Because of his movie Jasenovac: The Cruelest Death Camp of All Times (Krv i pepeo Jasenovca), when Franjo Tuđman came to power as the first President of Republic Croatia and after Croatia became independent country, Zafranović was declared by Croatian President as "Enemy of Croatian people" and forced to leave the country. He took along his film on Artuković, which he finished in exile as a personal account on the reemergence of fascist ideology and violence in Croatia: His (1993) is, in the words of Dina Iordanova "a powerful indictment of past and present-day Croatian nationalism".[20] He settled in Prague and continued to work for Czech Television. More than a decade later, he returned to Zagreb to make his monumental TV series on Josip Broz Tito, Tito – the Last Witnesses of the Testament (2011), co-produced by Radio Television Zagreb.[21]

Filmography[]

Amateur short films at

  • Sunday (Nedelja; 1961)
  • The Boy and the Sea (Dječak i more; 1962)
  • City of Split (Splite grade; 1962)
  • Ranko the Producer (Proizvođac Ranko; 1962)
  • Story (Priča; 1963)
  • Diary (Dnevnik; 1964)
  • Breath (Dah; 1964)
  • Aria (Arija; 1965)
  • Night and After Night's Night (Noć i poslije noći, noć; 1965)
  • Concerto (Koncert; 1965)
  • Rainy (An Innocent Saturday) (Kišno (Nevina subota; 1965)
  • Sunny (Sunčano; 1965)
  • Mistral (Maestral; 1967)

FAMU student films

  • Rondo (1968)
  • Lady Cleaner (Gospođa čistačica; 1969)
  • The Last Tape (Posljedjna vrpca; 1970)

Professional films

  • Long Live the Youth (Diary 2) ([Živjela mladost (Dnevnik 2); 1965)
  • Portraits (Passing by) (Portreti (u prolazu); 1966)
  • Little Rascal (Mali vagabund; 1966)
  • Johnny Dear they Stole Your Gold (Dragi Džoni kradeju ti zlato; 1966)
  • Day and Night (Piazza) (Dan i noć (Pjaca); 1966)
  • Upper City (Gornji grad; 1966)
  • Cavalcade (three films) (Kavalkada (tri filma]; 1967)
  • Girl X (Djevojka X; 1967)
  • People (Passers-by) (Ljudi (u prolazu); 1967)
  • Afternoon (Rifle) (Poslije podne (puška); 1967)
  • Sunday (Nedjelja; 1969)
  • Waltz (My First Dance (Valcer (moj prvi ples; 1970)
  • Ave Maria (My First Bender (Ave Marija (moje prvo pijanstvo; 1971)
  • Antique (Antika; 1971)
  • The Seas (Mora; 1972)
  • Suburbs of Isis (Predgrađe (Ibisa); 1972)
  • Zavnoh (1973)
  • Murder on the Night Train (Ubistvo u noćnom vozu; 1973)
  • Chronicle of Crime (Kronika jednog zločinca]]; 1973)
  • Labour Builds the City (Rad zida grad; 1974)
  • Sleep (de natura sonoris) (San (de natura sonoris); 1975)
  • Passion According to Matthew (Muke po Mati; 1975)
  • Zagreb Fair (Zagrebački velesajam; 1976)
  • Film on Guests and Workers (Film o gostima i radnicima; 1977)
  • Occupation in 26 Pictures (Okupacija u 26 slika; 1978)
  • A Free Interpretation (Slobodna interpretacija; 1979)
  • Zagreb Lives with Tito (Zagreb živi s Titom; 1980)
  • The Fall of Italy (Pad Italije; 1981)
  • Homeland (Vladimir Nazor) (Zavičaj (Vladimir Nazor); 1982)
  • Angel's Bite (Ujed anđela; 1983)
  • Jasenovac: The Cruelest Death Camp of All Times]] (Krv i pepeo Jasenovca; 1985)
  • Evening Bells (Večernja zvona; 1986)
  • Mare adriaticum (1986)
  • Amorella (1987)
  • Aloa (The Whores' Festival) (Haloa (Praznik kurvi); 1988)
  • Decline of the Century: The Testament of L.Z. (Zalazak stoljeća: Testament L.Z.; 1993)
  • Lacrimosa (The Vengeance is Mine (Lacrimosa (Má je pomsta; 1995)
  • Who is M.Š. (Kdo je M.Š.; 2000)
  • Terracotta Faces (Lica terakota; 2003)
  • The Eyes of Beijing (Oči Pekinga; 2003)
  • Celestial City Symphony (Simfonija nebeskog grada; 2003)
  • Tito – the Last Witnesses of the Testament: 1. Prologue (Tito – posljednji svjedoci testamenta: 1. Proslov; 2011)
  • Tito – the Last Witnesses of the Testament: 2. Underground (Tito – posljednji svjedoci testamenta: 2. Ilegala; 2011)
  • Tito – the Last Witnesses of the Testament: 3. Daybreak (Tito – posljednji svjedoci testamenta: 3. Praskozorje; 2011)
  • Tito – the Last Witnesses of the Testament: 4. Uprising (Tito – posljednji svjedoci testamenta: 4. Ustanak; 2011)
  • Tito – the Last Witnesses of the Testament: 5. Pain and Hope (Tito – posljednji svjedoci testamenta: 5. Patnja i nada; 2011)
  • Tito – the Last Witnesses of the Testament: 6. The Fight (Tito – posljednji svjedoci testamenta: 6. Borba; 2011)
  • Tito – the Last Witnesses of the Testament: 7. Creation (Tito – posljednji svjedoci testamenta: 7. Stvaranje; 2011)
  • Tito – the Last Witnesses of the Testament: 8. Victory and Reprisal (Tito – posljednji svjedoci testamenta: 8. Pobjeda i odmazda; 2011)
  • Tito – the Last Witnesses of the Testament: 9. Conquest (Tito – posljednji svjedoci testamenta: 9. Conquest; 2011)
  • Tito – the Last Witnesses of the Testament: 10. Blossoming (Tito – posljednji svjedoci testamenta: 10. Procvat; 2011)
  • Tito – the Last Witnesses of the Testament: 11. 777 Weeks (Tito – posljednji svjedoci testamenta: 11. 777 sedmica; 2011)
  • Tito – the Last Witnesses of the Testament: 12. Discord (Tito – posljednji svjedoci testamenta: 12. Razdor; 2011)
  • Tito – the Last Witnesses of the Testament: 13. Death (Tito – posljednji svjedoci testamenta: 13. Smrt; 2011)
  • Zeitgeist (Duh vremena; 2018)

Work in Progress and Preproduction

  • Karuso
  • Moć Ljubavi
  • Djeca Kozare
  • Jasenovac
  • Miss Sarajevo
  • Sestre
  • Posljednja priča stoljeća (Ostrvo Balkan)
  • Bizarno

References[]

  1. ^ "Lordan Zafranović režiser i scenarist". Lordanzafranovic.com. Retrieved 20 January 2019.
  2. ^ "Lordan Zafranović režiser i scenarist".
  3. ^ Jump up to: a b Daniel J. Goulding: Liberated Cinema. The Yugoslav Experience, 1945–2001. Bloomington: Indiana University Press 2002.
  4. ^ Branka Benčić, Diana Nenadić and Adriana Perojević: Splitska škola filma – 60 godina Kino kluba Split. 3 vols. Split 2012.
  5. ^ "Archived copy". Archived from the original on 25 August 2016. Retrieved 22 August 2016.CS1 maint: archived copy as title (link)
  6. ^ "HFS – Hrvatski filmski savez – Zapis – 68/2010". Hfs.hr. Retrieved 20 January 2019.
  7. ^ Nenad Polimac: Leksikon YU Filma. Zagreb 2016, 294f.
  8. ^ "Archived copy". Archived from the original on 19 September 2016. Retrieved 22 August 2016.CS1 maint: archived copy as title (link)
  9. ^ "Lordan Zafranović režiser i scenarist". Lordanzafranovic.com. Retrieved 20 January 2019.
  10. ^ Daniel J. Goulding: Occupation in 26 pictures (Cinetek). Flicks Books 1998.
  11. ^ "ZAFRANOVIC Lordan". Festival de Cannes. Retrieved 20 January 2019.
  12. ^ "DEN TANA O FILMU OKUPACIJA U 26 SLIKA: Zbog scena u autobusu nije dobio Oskara". Kurir.rs. Retrieved 20 January 2019.
  13. ^ Nenad Polimac: Leksikon YU Filma. Zagreb 2016, 105.
  14. ^ Dina Iordanova: Cinema of Flames. Balkan Film, Culture and the Media. London: Palgrave Macmillan 2001, 99.
  15. ^ Krtinić, Piše: Marija (2 April 2015). "Lordan Zafranović: Shvatio sam da su svi naši filmovi bili uzalud". Dnevni list Danas. Retrieved 20 January 2019.
  16. ^ "Controversies by Lordan". Kino Tuškanac. Retrieved 20 January 2019.
  17. ^ "Sunčani inferno Lordana Zafranovića – P.U.L.S.E Magazin za umetnost i kulturu". Internet portal za umetnost i kulturu "P.U.L.S.E". 1 April 2010. Retrieved 20 January 2019.
  18. ^ 55 godina umjetničkog stvaralaštva filmskog autora Lordana Zafranovića, 16–19 May 2019. DHFR Društvo hrvatskih filmskih redatelja, Zagreb 2019.
  19. ^ Davorka Budimir: Hrvatska politička elita na početku demokratske tranzicije Archived 9 August 2014 at the Wayback Machine, Anali 2010., p. 81
  20. ^ Dina Iordanova: Cinema of Flames. Balkan Film, Culture and the Media. London: Palgrave Macmillan 2001, p. 100.
  21. ^ "Tito je fenomen koji se treba istražiti". Radio Slobodna Evropa. Retrieved 20 January 2019.

External links[]

Retrieved from ""