Cannes, Un Certain Regard
Polished, funny and utterly charming, Kazakhstan director Sergey Dvortsevoy's first feature film, "Tulpan", which won the top prize in the Un Certain Regard sidebar at the Festival de Cannes, tells of a family not only surviving but also relishing the harsh life of sheep- and goat-herders on a barren landscape.
Set on the bleak and windswept Hunger Steppe in southern Kazakhstan, 500 kilometers from the nearest city, it's about a nomadic peasant existence that demands hard work from everyone with pleasures few and far between. The film's universal story of conflict between generations and the way little eccentricities make life bearable will please audiences everywhere. "Tulpan" will thrive at festivals and art-houses and its accessible humor may lead the way to mainstream exposure.
Key to the movie's enjoyment is the unforced comedy that Dvortsevoy draws from the everyday activities of the family led by stern but loving shepherd Ondas (Ondasyn Beskikbasov), who tends his flock with the same care and attention he gives to his wife Samal (Samal Yeslyamova) and their little ones.
Ondas is worried because his lambs are arriving stillborn and it doesn't help that his main helper, Asa (Askhat Kuchinchirekov), Samal's brother, shows no signs of developing the skills and commitment required of a shepherd.
Asa wants his own herd but Ondas insists that he first take a wife. As a result, the boy is desperately wooing a neighboring shepherd's daughter whose name is Tulpan and who is said to be very beautiful but is never seen.
The film follows Asa's attempts, aided by madcap pal Boni (Tulepbergen Baisakalov), to convince Tulpan's parents that he is a good catch and his determination to show Ondas that he can make a good shepherd. His ability is tested when he finds himself alone in the desert with a stricken pregnant sheep badly in need of help.
The screenplay, written by Dvortsevoy and Gennady Ostrovskiy, is filled with delightful moments showing the children at play, the tactile affection of the parents, the dauntingly punishing work, and the impossible dreams of the young men. The acting is sublime and cinematographer Jola Dylewska captures the bleak terrain in all its unforgiving glory.
CAST: Askhat Kuchinchirekov, Samal Yeslyamova, Ondasyn Besiskbasov, Tulepbergen Baisakalov. DIRECTOR: Sergey Dvortsevoy. SCREENWRITERS: Sergey Dvortsevoy, Gennady Ostrovskiy. PRODUCER: Karl Baumgartner. DIRECTOR OF PHOTOGRAPHY: Jola Dylewska. PRODUCTION DESIGNER: Roger Martin. EDITORS: Isabel Meier, Petar Markovic. SALES AGENT: The Match Factory. No MPAA rating, running time 100 mins.
Polished, funny and utterly charming, Kazakhstan director Sergey Dvortsevoy's first feature film, "Tulpan", which won the top prize in the Un Certain Regard sidebar at the Festival de Cannes, tells of a family not only surviving but also relishing the harsh life of sheep- and goat-herders on a barren landscape.
Set on the bleak and windswept Hunger Steppe in southern Kazakhstan, 500 kilometers from the nearest city, it's about a nomadic peasant existence that demands hard work from everyone with pleasures few and far between. The film's universal story of conflict between generations and the way little eccentricities make life bearable will please audiences everywhere. "Tulpan" will thrive at festivals and art-houses and its accessible humor may lead the way to mainstream exposure.
Key to the movie's enjoyment is the unforced comedy that Dvortsevoy draws from the everyday activities of the family led by stern but loving shepherd Ondas (Ondasyn Beskikbasov), who tends his flock with the same care and attention he gives to his wife Samal (Samal Yeslyamova) and their little ones.
Ondas is worried because his lambs are arriving stillborn and it doesn't help that his main helper, Asa (Askhat Kuchinchirekov), Samal's brother, shows no signs of developing the skills and commitment required of a shepherd.
Asa wants his own herd but Ondas insists that he first take a wife. As a result, the boy is desperately wooing a neighboring shepherd's daughter whose name is Tulpan and who is said to be very beautiful but is never seen.
The film follows Asa's attempts, aided by madcap pal Boni (Tulepbergen Baisakalov), to convince Tulpan's parents that he is a good catch and his determination to show Ondas that he can make a good shepherd. His ability is tested when he finds himself alone in the desert with a stricken pregnant sheep badly in need of help.
The screenplay, written by Dvortsevoy and Gennady Ostrovskiy, is filled with delightful moments showing the children at play, the tactile affection of the parents, the dauntingly punishing work, and the impossible dreams of the young men. The acting is sublime and cinematographer Jola Dylewska captures the bleak terrain in all its unforgiving glory.
CAST: Askhat Kuchinchirekov, Samal Yeslyamova, Ondasyn Besiskbasov, Tulepbergen Baisakalov. DIRECTOR: Sergey Dvortsevoy. SCREENWRITERS: Sergey Dvortsevoy, Gennady Ostrovskiy. PRODUCER: Karl Baumgartner. DIRECTOR OF PHOTOGRAPHY: Jola Dylewska. PRODUCTION DESIGNER: Roger Martin. EDITORS: Isabel Meier, Petar Markovic. SALES AGENT: The Match Factory. No MPAA rating, running time 100 mins.
- 5/27/2008
- The Hollywood Reporter - Movie News
What does home mean when you live thousands of miles from your native country? This question gets a boisterous, comic examination in Filippos Tsitos' "My Sweet Home". In the film, a bargain-basement wedding shower in a scruffy Berlin cafe turns into a wild night of alcoholic self-scrutiny by a collection of expatriates who happen to drop by.
"Home" is a classic co-production. This German-Greek collaboration, directed by a Greek who lives in Berlin, features actors from throughout the world, including the United States, Germany, Portugal, Russia, India, Algeria and Japan. The music is Balkanized Western European, and the comedy is international.
The movie is certain to provoke huge laughs in Berlin, where mispronunciations and in-jokes add to the comedy. But the story could take place in any large, multiethnic city where ex-pats wake up each morning and wonder what the hell they're doing there. This gem, screened in competition at the Berlin International Film Festival, is ripe for export as long as distributors don't get turned off to the low budget and a mostly unfamiliar cast.
Most of the film occurs on the eve of the wedding of Bruce (Harvey Friedman), an American drifter, and his German girlfriend of one month, Anke (Nadja Uhl). A polterabend, or wedding shower -- called a "poltergeist" by one foreigner -- begins in a cafe where Bruce works as a waiter. No real guests come by -- only a group of strangers -- and their one acquaintance, Anke's disapproving mother (Monika Hansen), who turns up uninvited, is thrown out by Anke.
Along with the miffed proprietor (Mario Mentrup), who wanted to go to Los Angeles with Bruce were he to return home, are a married Brazilian student about to be deported, two Russian street musicians who steal from each other, a young Asian woman unhappy in her marriage to an aging German, a Moroccan construction worker romancing a Greek woman in hopes of settling down at her father's resort hotel and a defeated East Berliner who reminiscences about the "glory" days of the Wall.
Bruce slips away to mull his hasty decision to marry and encounters a Pakistani man angry at everyone and a cab driver whose claim to lead a highly organized life is suspect.
Back at the cafe, one ex-pat challenges the next to place a long-distance call home and admit his failure. This catches on as a game of dare. Accompanying the celebration of misery is the Balkan All-Star Band, which cheerfully plays music to fit each moment's dramatic event -- a chase around the tables, a near-fistfight or dances between new partners that enrage old partners.
As the celebration builds, Tsitos probes the isolation and need for community that all of the ex-pats feel. The movie becomes a comic and even an existential version of "Casablanca", where international refugees are trapped in jobs and situations on foreign soil but can hope for no exit visas and truly have nowhere to go. The dream that spurred everyone to go abroad has long been forgotten as everyone lives a life of ad-libs and compromises that suit no final purpose.
Performances are uniformly strong. Friedman is a marvel at comic ambivalence, while Uhl shines as a woman tired of being wary and determined to start afresh.
The cafe set never feels claustrophobic thanks to Hanno Lentz's energetic cinematography and Petar Markovic and Nebojsa Stanojevic's rhythmic editing. "Home" is Tsitos' graduation work from the German Film and Television Academy. Give this guy his diploma.
MY SWEET HOME
Twenty Twenty Vision, Pandora Film
and Ideefixe Prods.
in collaboration with ZDF-Arte,
the Greek Film Center, Prooptiki,
Deutsche Film und Fernseh Akademie Berlin
and the Hellenic Broadcasting Corp.
Producer: Thanassis Karathanos
Screenwriter-director: Filippos Tsitos
Director of photography: Hanno Lentz
Production designer: Peter Weber
Music: Dr. Nelle Karajilic, Dejan Sparavalo
Costume designer: Nebojsa Lipanovic
Editors: Petar Markovic, Nebojsa Stanojevic
Color/stereo
Cast:
Bruce: Harvey Friedman
Anke: Nadja Uhl
Cafe proprietor: Mario Mentrup
Anke's mother: Monika Hansen
Ino: Neil de Souza
Hartmut: Peter Lewan
Hakim: Mehdi Nebbou
Running time -- 87 minutes
No MPAA rating...
"Home" is a classic co-production. This German-Greek collaboration, directed by a Greek who lives in Berlin, features actors from throughout the world, including the United States, Germany, Portugal, Russia, India, Algeria and Japan. The music is Balkanized Western European, and the comedy is international.
The movie is certain to provoke huge laughs in Berlin, where mispronunciations and in-jokes add to the comedy. But the story could take place in any large, multiethnic city where ex-pats wake up each morning and wonder what the hell they're doing there. This gem, screened in competition at the Berlin International Film Festival, is ripe for export as long as distributors don't get turned off to the low budget and a mostly unfamiliar cast.
Most of the film occurs on the eve of the wedding of Bruce (Harvey Friedman), an American drifter, and his German girlfriend of one month, Anke (Nadja Uhl). A polterabend, or wedding shower -- called a "poltergeist" by one foreigner -- begins in a cafe where Bruce works as a waiter. No real guests come by -- only a group of strangers -- and their one acquaintance, Anke's disapproving mother (Monika Hansen), who turns up uninvited, is thrown out by Anke.
Along with the miffed proprietor (Mario Mentrup), who wanted to go to Los Angeles with Bruce were he to return home, are a married Brazilian student about to be deported, two Russian street musicians who steal from each other, a young Asian woman unhappy in her marriage to an aging German, a Moroccan construction worker romancing a Greek woman in hopes of settling down at her father's resort hotel and a defeated East Berliner who reminiscences about the "glory" days of the Wall.
Bruce slips away to mull his hasty decision to marry and encounters a Pakistani man angry at everyone and a cab driver whose claim to lead a highly organized life is suspect.
Back at the cafe, one ex-pat challenges the next to place a long-distance call home and admit his failure. This catches on as a game of dare. Accompanying the celebration of misery is the Balkan All-Star Band, which cheerfully plays music to fit each moment's dramatic event -- a chase around the tables, a near-fistfight or dances between new partners that enrage old partners.
As the celebration builds, Tsitos probes the isolation and need for community that all of the ex-pats feel. The movie becomes a comic and even an existential version of "Casablanca", where international refugees are trapped in jobs and situations on foreign soil but can hope for no exit visas and truly have nowhere to go. The dream that spurred everyone to go abroad has long been forgotten as everyone lives a life of ad-libs and compromises that suit no final purpose.
Performances are uniformly strong. Friedman is a marvel at comic ambivalence, while Uhl shines as a woman tired of being wary and determined to start afresh.
The cafe set never feels claustrophobic thanks to Hanno Lentz's energetic cinematography and Petar Markovic and Nebojsa Stanojevic's rhythmic editing. "Home" is Tsitos' graduation work from the German Film and Television Academy. Give this guy his diploma.
MY SWEET HOME
Twenty Twenty Vision, Pandora Film
and Ideefixe Prods.
in collaboration with ZDF-Arte,
the Greek Film Center, Prooptiki,
Deutsche Film und Fernseh Akademie Berlin
and the Hellenic Broadcasting Corp.
Producer: Thanassis Karathanos
Screenwriter-director: Filippos Tsitos
Director of photography: Hanno Lentz
Production designer: Peter Weber
Music: Dr. Nelle Karajilic, Dejan Sparavalo
Costume designer: Nebojsa Lipanovic
Editors: Petar Markovic, Nebojsa Stanojevic
Color/stereo
Cast:
Bruce: Harvey Friedman
Anke: Nadja Uhl
Cafe proprietor: Mario Mentrup
Anke's mother: Monika Hansen
Ino: Neil de Souza
Hartmut: Peter Lewan
Hakim: Mehdi Nebbou
Running time -- 87 minutes
No MPAA rating...
What does home mean when you live thousands of miles from your native country? This question gets a boisterous, comic examination in Filippos Tsitos' "My Sweet Home". In the film, a bargain-basement wedding shower in a scruffy Berlin cafe turns into a wild night of alcoholic self-scrutiny by a collection of expatriates who happen to drop by.
"Home" is a classic co-production. This German-Greek collaboration, directed by a Greek who lives in Berlin, features actors from throughout the world, including the United States, Germany, Portugal, Russia, India, Algeria and Japan. The music is Balkanized Western European, and the comedy is international.
The movie is certain to provoke huge laughs in Berlin, where mispronunciations and in-jokes add to the comedy. But the story could take place in any large, multiethnic city where ex-pats wake up each morning and wonder what the hell they're doing there. This gem, screened in competition at the Berlin International Film Festival, is ripe for export as long as distributors don't get turned off to the low budget and a mostly unfamiliar cast.
Most of the film occurs on the eve of the wedding of Bruce (Harvey Friedman), an American drifter, and his German girlfriend of one month, Anke (Nadja Uhl). A polterabend, or wedding shower -- called a "poltergeist" by one foreigner -- begins in a cafe where Bruce works as a waiter. No real guests come by -- only a group of strangers -- and their one acquaintance, Anke's disapproving mother (Monika Hansen), who turns up uninvited, is thrown out by Anke.
Along with the miffed proprietor (Mario Mentrup), who wanted to go to Los Angeles with Bruce were he to return home, are a married Brazilian student about to be deported, two Russian street musicians who steal from each other, a young Asian woman unhappy in her marriage to an aging German, a Moroccan construction worker romancing a Greek woman in hopes of settling down at her father's resort hotel and a defeated East Berliner who reminiscences about the "glory" days of the Wall.
Bruce slips away to mull his hasty decision to marry and encounters a Pakistani man angry at everyone and a cab driver whose claim to lead a highly organized life is suspect.
Back at the cafe, one ex-pat challenges the next to place a long-distance call home and admit his failure. This catches on as a game of dare. Accompanying the celebration of misery is the Balkan All-Star Band, which cheerfully plays music to fit each moment's dramatic event -- a chase around the tables, a near-fistfight or dances between new partners that enrage old partners.
As the celebration builds, Tsitos probes the isolation and need for community that all of the ex-pats feel. The movie becomes a comic and even an existential version of "Casablanca", where international refugees are trapped in jobs and situations on foreign soil but can hope for no exit visas and truly have nowhere to go. The dream that spurred everyone to go abroad has long been forgotten as everyone lives a life of ad-libs and compromises that suit no final purpose.
Performances are uniformly strong. Friedman is a marvel at comic ambivalence, while Uhl shines as a woman tired of being wary and determined to start afresh.
The cafe set never feels claustrophobic thanks to Hanno Lentz's energetic cinematography and Petar Markovic and Nebojsa Stanojevic's rhythmic editing. "Home" is Tsitos' graduation work from the German Film and Television Academy. Give this guy his diploma.
MY SWEET HOME
Twenty Twenty Vision, Pandora Film
and Ideefixe Prods.
in collaboration with ZDF-Arte,
the Greek Film Center, Prooptiki,
Deutsche Film und Fernseh Akademie Berlin
and the Hellenic Broadcasting Corp.
Producer: Thanassis Karathanos
Screenwriter-director: Filippos Tsitos
Director of photography: Hanno Lentz
Production designer: Peter Weber
Music: Dr. Nelle Karajilic, Dejan Sparavalo
Costume designer: Nebojsa Lipanovic
Editors: Petar Markovic, Nebojsa Stanojevic
Color/stereo
Cast:
Bruce: Harvey Friedman
Anke: Nadja Uhl
Cafe proprietor: Mario Mentrup
Anke's mother: Monika Hansen
Ino: Neil de Souza
Hartmut: Peter Lewan
Hakim: Mehdi Nebbou
Running time -- 87 minutes
No MPAA rating...
"Home" is a classic co-production. This German-Greek collaboration, directed by a Greek who lives in Berlin, features actors from throughout the world, including the United States, Germany, Portugal, Russia, India, Algeria and Japan. The music is Balkanized Western European, and the comedy is international.
The movie is certain to provoke huge laughs in Berlin, where mispronunciations and in-jokes add to the comedy. But the story could take place in any large, multiethnic city where ex-pats wake up each morning and wonder what the hell they're doing there. This gem, screened in competition at the Berlin International Film Festival, is ripe for export as long as distributors don't get turned off to the low budget and a mostly unfamiliar cast.
Most of the film occurs on the eve of the wedding of Bruce (Harvey Friedman), an American drifter, and his German girlfriend of one month, Anke (Nadja Uhl). A polterabend, or wedding shower -- called a "poltergeist" by one foreigner -- begins in a cafe where Bruce works as a waiter. No real guests come by -- only a group of strangers -- and their one acquaintance, Anke's disapproving mother (Monika Hansen), who turns up uninvited, is thrown out by Anke.
Along with the miffed proprietor (Mario Mentrup), who wanted to go to Los Angeles with Bruce were he to return home, are a married Brazilian student about to be deported, two Russian street musicians who steal from each other, a young Asian woman unhappy in her marriage to an aging German, a Moroccan construction worker romancing a Greek woman in hopes of settling down at her father's resort hotel and a defeated East Berliner who reminiscences about the "glory" days of the Wall.
Bruce slips away to mull his hasty decision to marry and encounters a Pakistani man angry at everyone and a cab driver whose claim to lead a highly organized life is suspect.
Back at the cafe, one ex-pat challenges the next to place a long-distance call home and admit his failure. This catches on as a game of dare. Accompanying the celebration of misery is the Balkan All-Star Band, which cheerfully plays music to fit each moment's dramatic event -- a chase around the tables, a near-fistfight or dances between new partners that enrage old partners.
As the celebration builds, Tsitos probes the isolation and need for community that all of the ex-pats feel. The movie becomes a comic and even an existential version of "Casablanca", where international refugees are trapped in jobs and situations on foreign soil but can hope for no exit visas and truly have nowhere to go. The dream that spurred everyone to go abroad has long been forgotten as everyone lives a life of ad-libs and compromises that suit no final purpose.
Performances are uniformly strong. Friedman is a marvel at comic ambivalence, while Uhl shines as a woman tired of being wary and determined to start afresh.
The cafe set never feels claustrophobic thanks to Hanno Lentz's energetic cinematography and Petar Markovic and Nebojsa Stanojevic's rhythmic editing. "Home" is Tsitos' graduation work from the German Film and Television Academy. Give this guy his diploma.
MY SWEET HOME
Twenty Twenty Vision, Pandora Film
and Ideefixe Prods.
in collaboration with ZDF-Arte,
the Greek Film Center, Prooptiki,
Deutsche Film und Fernseh Akademie Berlin
and the Hellenic Broadcasting Corp.
Producer: Thanassis Karathanos
Screenwriter-director: Filippos Tsitos
Director of photography: Hanno Lentz
Production designer: Peter Weber
Music: Dr. Nelle Karajilic, Dejan Sparavalo
Costume designer: Nebojsa Lipanovic
Editors: Petar Markovic, Nebojsa Stanojevic
Color/stereo
Cast:
Bruce: Harvey Friedman
Anke: Nadja Uhl
Cafe proprietor: Mario Mentrup
Anke's mother: Monika Hansen
Ino: Neil de Souza
Hartmut: Peter Lewan
Hakim: Mehdi Nebbou
Running time -- 87 minutes
No MPAA rating...
- 2/21/2001
- The Hollywood Reporter - Movie News
A hit at festivals in Montreal, Los Angeles and Palm Springs and a big success in its native Yugoslavia, "Pretty Villages, Pretty Flames" is a challenging but entertaining war film that presents both the Serbian and Muslim characters as victims of idealism and cultural hatreds that cause atrocities and countless tragedies.
In the running for an Academy Award nomination, the $2 million production is a spectacle in the tradition of Kusturica, Fellini and Peckinpah. From the bloody clashes in Bosnia-Herzegovina to the camaraderie of soldiers trapped by their former countrymen, the film (in Serbian and English) is a powerful emotional and sensory experience worthy of wider exposure.
One of the best antiwar films to appear in many seasons, with a terrific ensemble cast of male actors and one notable American female, "Pretty Villages" has impressive battle scenes and a long, tense showdown in a tunnel.
Based on a 1992 true story, the screenplay is co-written by director Srdjan Dragojevic and journalist Vanja Bulic, who reported many times on the war. Dragojevic reunites with many actors from his 1992 film, "We Are Not Angels".
Dragan Bjelogric ("Black Bomber") is excellent as the Bosnian Serb lead, a man shocked by the viciousness of modern warfare. His boyhood friend, a Muslim (Nikola Pejakovic), is now his sworn enemy, and they fatefully cross paths in a difficult standoff when a half-dozen Serb soldiers are cornered with no hope of escape.
An American journalist (Lisa Moncure) with a video camera goes through the ordeal as well, with the lack of food and water driving the trapped ones to extraordinary lengths just to stay alive and sane. Scenes of Bjelogric's character in a hospital later, where he seeks revenge on a nearby Muslim patient, are intercut with flashbacks from the characters' lives.
A tour de force of men in peril reminiscent of Wajda's "Kanal" and a surreal but brutal combat film in the fashion of "Apocalypse Now", Dragojevic's unsettling vision provides no easy answers. The result is both rivetingly visceral and effortlessly thought-provoking.
Led by Bjelogric and Nikola Kojo, the performances are robustly on target. Velimir-Bata Zivojinovic, Dragan Maksimovic and Zoran Cvijanovic are standouts among the rugged fighters. Moncure is strong in the comic, tragic and political dimensions of her emblematic role.
Filmed where the real events occurred, "Pretty Villages, Pretty Flames" has first-rate production values, from Dusan Joksimovic's memorable imagery to Mile Jeremic's meaty production design.
PRETTY VILLAGES, PRETTY FLAMES
Cobra Film
In association with MCRS and RTS
Director Srdjan Dragojevic
Producers Goran Bjelogrlic, Dragon Bjelogrlic, Nikola Kojo
Executive producer Milko Josifov
Writers Vanja Bulic, Srdjan Dragojevic,
Nikola Pejakovic
Director of photography Dusan Joksimovic
Editor Petar Markovic
Music Laza Ristovski
Production designer Mile Jeremic
Costume designer Tanja Dragojevic
Color/stereo
Cast:
Milan Dragan Bjelogric
Velja Nikola Kojo
Gvozden Velimir-Bata Zivojinovic
Petar Dragan Maksimovic
Brzi Zoran Cvijanovic
Halil Nikola Pejakovic
Lisa Linel Lisa Moncure
Running time -- 133 minutes
No MPAA rating...
In the running for an Academy Award nomination, the $2 million production is a spectacle in the tradition of Kusturica, Fellini and Peckinpah. From the bloody clashes in Bosnia-Herzegovina to the camaraderie of soldiers trapped by their former countrymen, the film (in Serbian and English) is a powerful emotional and sensory experience worthy of wider exposure.
One of the best antiwar films to appear in many seasons, with a terrific ensemble cast of male actors and one notable American female, "Pretty Villages" has impressive battle scenes and a long, tense showdown in a tunnel.
Based on a 1992 true story, the screenplay is co-written by director Srdjan Dragojevic and journalist Vanja Bulic, who reported many times on the war. Dragojevic reunites with many actors from his 1992 film, "We Are Not Angels".
Dragan Bjelogric ("Black Bomber") is excellent as the Bosnian Serb lead, a man shocked by the viciousness of modern warfare. His boyhood friend, a Muslim (Nikola Pejakovic), is now his sworn enemy, and they fatefully cross paths in a difficult standoff when a half-dozen Serb soldiers are cornered with no hope of escape.
An American journalist (Lisa Moncure) with a video camera goes through the ordeal as well, with the lack of food and water driving the trapped ones to extraordinary lengths just to stay alive and sane. Scenes of Bjelogric's character in a hospital later, where he seeks revenge on a nearby Muslim patient, are intercut with flashbacks from the characters' lives.
A tour de force of men in peril reminiscent of Wajda's "Kanal" and a surreal but brutal combat film in the fashion of "Apocalypse Now", Dragojevic's unsettling vision provides no easy answers. The result is both rivetingly visceral and effortlessly thought-provoking.
Led by Bjelogric and Nikola Kojo, the performances are robustly on target. Velimir-Bata Zivojinovic, Dragan Maksimovic and Zoran Cvijanovic are standouts among the rugged fighters. Moncure is strong in the comic, tragic and political dimensions of her emblematic role.
Filmed where the real events occurred, "Pretty Villages, Pretty Flames" has first-rate production values, from Dusan Joksimovic's memorable imagery to Mile Jeremic's meaty production design.
PRETTY VILLAGES, PRETTY FLAMES
Cobra Film
In association with MCRS and RTS
Director Srdjan Dragojevic
Producers Goran Bjelogrlic, Dragon Bjelogrlic, Nikola Kojo
Executive producer Milko Josifov
Writers Vanja Bulic, Srdjan Dragojevic,
Nikola Pejakovic
Director of photography Dusan Joksimovic
Editor Petar Markovic
Music Laza Ristovski
Production designer Mile Jeremic
Costume designer Tanja Dragojevic
Color/stereo
Cast:
Milan Dragan Bjelogric
Velja Nikola Kojo
Gvozden Velimir-Bata Zivojinovic
Petar Dragan Maksimovic
Brzi Zoran Cvijanovic
Halil Nikola Pejakovic
Lisa Linel Lisa Moncure
Running time -- 133 minutes
No MPAA rating...
- 1/31/1997
- The Hollywood Reporter - Movie News
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