We open Green Years with the film December, Radio Romania, by Ana Vîjdea, winner of the Best Green Years Director Award in 2017. The programme comprises the competition—19 films from 17 different countries—and a series of films from the Academy of Dramatic Art in Zagreb, the invited school of this year’s edition. We enter the 10th edition of Green Years confident that the future of cinema rests in the resilience of these new filmmakers.
The Green Years section resumes its collaboration with international film schools, this time partnering with the Academy of Dramatic Art, University of Zagreb (ADU). In this selection of films directed by current and former students, we have a glimpse of the first steps taken by major Croatian directors such as Nenad Puhovski (current director of the ZagrebDox festival), Vinko Brešan and Zrinko Ogresta.
We begin with a fragmented portrait of Činča, between the stories she tells and the thoughts of those surrounding her. In The Head, a girl is confronted with the possibility of dying. Intermezzo focusses on the moments of abstraction amid the hustle and bustle of a city. In Our Stock Exchange, unemployed people seek work. Second Floor, Basement shows us a hospital where only two floors separate birth and death.
Mother’s Name: Orange is a poetic journey into the life of a troublesome young man who figures a chance to find himself once again in the cathartic fusion with nature. Osijek – The Sky Below is a road movie reflecting upon the wounds left by the war. In Duel, a mother and her son alternate between conflict and tenderness. Park paints a common day at a park. In I’ll Kill Ya!, the murderers of a drug dealer face the consequences of such action.
Beauty parlours as places of listening between 3 women in Women Women Women. The young stripper Kika has a troubled night. In Naftalan, the mother of the director is being treated for psoriasis in a specialised hospital and in White Trash a dumping ground is inhabited by hundreds of gulls in a dense fog. Now I Am Irena confronts a past pregnancy and Welcome to Igrane shows a region’s resistance to touristification.