Struje

Program

Začini koje nismo birali, riječi koje su zapinjale u grlu, nježni dodiri koje smo možda propustili — mogu li se tokovi koji nas nose ipak preusmjeriti? Četiri filma, četiri osobna svijeta u mijeni — između djetinjstva i odrastanja, rutine i pobune, srama i prepuštanja, iluzija i prihvaćanja.

U Fabuli rasi (animirani, Hrvatska, r. Dora Klanac), Špiro raste u loncu punom začina, gdje svaki novi okus ostavlja trag i oblikuje njegov svijet. Film Rijeka (igrani, Srbija, r. Uglješa Ranisavljević) vodi nas u malo vojvođansko selo, gdje mladić Mirko provodi ljeto u sjeni očevog gubitka, dok prve ljubavi i obiteljske tenzije oslikavaju njegovu burnu adolescenciju.

U seidlerovskom maniru, dokumentarac Sve ostalo (Hrvatska, r. David Gašo) pretvara oglasnike i internetske postove u mapu usamljenosti i ljudske potrebe za povezivanjem.

A u njemačkoj animaciji Detlev (r. Ferdinand Ehrhardt), svakodnevni ritual jednog muškarca na benzinskoj postaji polako se urušava pod teretom nakupljenog srama i pogledom svjedoka.

Spices we didn’t choose, words stuck in our throats, gentle touches we may have missed — can the currents that carry us still be redirected? Four films, four personal worlds in transition — between childhood and coming of age, routine and rebellion, shame and surrender, illusion and acceptance.

In Fabula Rasa (animation, Croatia, dir. Dora Klanac), Špiro grows up in a pot full of spices, where each new flavour leaves a mark and helps shape his world. The River (fiction, Serbia, dir. Uglješa Ranisavljević) takes us to a small village in Vojvodina, where a boy named Mirko spends the summer in the shadow of his father’s absence, while first loves and family tensions quietly ignite his turbulent adolescence. In a Seidlian style, the documentary Everything Else (Croatia, dir. David Gašo) turns classified ads and online posts into a map of loneliness and the human need for connection. And in the German animation Detlev (dir. Ferdinand Ehrhardt), the daily ritual of a man at a gas station slowly crumbles under the weight of accumulated shame and the gaze of a witness.