BISFF Correspondence 通信计划
为了跨越种种障碍，开辟更多交流空间，我们设置了“BISFF Correspondence 通信计划”，对部分国际单元的参展作者进行系列访谈，这些访谈将在作品放映后发布在联展各个媒体平台。
Anna Fernandez De Paco｜Spain, Bosnia and Herzegovina, UK｜Bosnian｜0:14:39｜2022
Chinese Mainland Premiere
Director导演：Anna Fernandez De Paco
Q：I noticed that both your works were finished this year. I didn’t make it to love her tells the story of a couple living in Sarajevo (the husband is a poet), while Boja tells the story of a brother and sister living in a ghost village in the mountains above the city of Sarajevo.
Could you talk about the source of inspiration for Boja?
我注意到您的两部作品都是今年制作完成的，《I didn’t make it to love her》讲述了一对生活在萨拉热窝城区的夫妻（丈夫是诗人），《Boja》则讲述了一对居住在山区“鬼村”的兄妹。可以聊聊《Boja》的灵感来源吗？
A：True, both films are about relationships. Boja inspired me from the first time I met her. Initially, I wanted to make a feature fiction film with her. I visited Boja and her family many times. It was important for me to spend time with her if I wanted to make a film with her. I observed the dynamics of their family and was filming them along the way to make some sketches and ideas for the film. I was also pregnant at that time and eventually had to pause the project when my kid arrived. Unfortunately, Boja died before I could return to the project and we had to abandon the idea of making the feature fiction film with her. However, because she was such an inspiration for me, I decided to put together the ‘sketch’ material I had into a documentary that will be screened at your festival.
Q：It seems that both of your works mentioned the influence of the war. In Boja, the ruins of houses often appear, and the lyrics sung by the characters are also rich in meaning. They seem to be immersed in the nostalgia for the past. What I don't quite understand is that their "memory" is the memory of when? And how to understand their feelings?
A：I agree, the mood in the film is very nostalgic. Boja and her family felt dysfunctional after collapse of the Yugoslavia, the war, and after being forced to move to a ghost village alone, without their community. Their song in the film is about their sentiment of belonging - about their missing friends and loved ones. So, the ‘when’ of the nostalgia of the characters of the film could be at least twofold - for Yugoslavia and their life with friends and loved ones. Having said that, I do not want to restrict the mood to these two meanings. I hope that it will resonate with the viewers and they will find their own personal interpretations of it.
Q：There are three characters in Boja. I am not sure the identity of the third character besides the brother and the sister. Is she the mother of them? Or the brother's wife?
And how to understand the patriarchy embodied by the brother in front of his sister? Is it an inherited mark or a post-traumatic reaction?
A：I think it is both. It reflects persisting patriarchal norms and inequality between men and women in rural Bosnia. But it is also an expression of their feeling hopeless after a traumatic experiences of a dysfunctional Bosnian state after the collapse of Yugoslavia and the war that followed it immediately. Having lost everything and everyone, Boja went to live with her brother Jovan and his wife in exchange for helping them in a farm. So, the only way for Boja to survive and belong to her brother’s life was to work hard in the farm accepting his norms and conditions.
Q：I feel there is a strong interaction between characters and spaces in your work. Could you talk about the role of spaces in conveying people's feelings/desires?
A：We humans are very fragile without our home. In I didn’t make it to love her, this relationship is portrayed in a situation of moving homes, unstable and temporary living arrangements. In Boja, it is depicted in nostalgia for the lost home. Boja invites us to see her need for home, for a nest. Even though Boja’s universe is not made of walls, when she visits the ruins of a house, we can sense the nostalgic motifs of home. It is as if she walked into photographs of the past, revisiting memories.
Q：All the characters in your works seem to have difficulty communicating and lack the enthusiasm to break the deadlock.
A：In I didn’t make it to love her, I chose to portray certain aspects of a couple who are distant but who have not yet given up on each other. I chose to portray them from the different corners of their world, from their perspectives, without any pointless conversations between them. In Boja, there is a sister and brother who re-unite under one roof for survival. What separates them from one another is more their social and hierarchical roles than their inability to communicate. The characters in my films are not superheroes. They are just trying to deal with their circumstances the best they can.
Q：How would you introduce your style and inclination to the audiences in China?
What’s your next film plan?
A：I wouldn’t like to restrict my work to a specific style, especially at this stage. The process and intentions in each of the films I’ve made were very different but ended up having similar aspects in the outcome, as you noticed. I guess instead of working with a script dominated with dialogues, the scenes I presented were more atmospheric moments through the lens.
At the moment, I am developing a feature film about a group of young Bosnians travelling to EU/ Spain. It will partly explore interplays between expectations, visions, and reality.