"World War III" triumphed in Belgrade

At the recently closed FEST, it was possible to see a variety of carefully selected novelties from national cinematography, both by genre and by genre (among the feature films there were also documentaries). However, it would be most accurate to say that this year's festival unfolded in a female key, with a feminist (or feminine) intoned program. A large number of films shown focused on empowering women's experience, on charismatic female figures, mostly with female authors. In those ten days, through many of the hundred or so selected titles, we got an artistic representation, i.e. a celluloid print of different experiences and key contemporary themes, all through female gaze.

This year's edition of the festival opened with the international premiere of the comic melodrama with a criminal subplot, Mon crime by François Ozon, which, in addition to light entertainment, is a warm dedication to almighty female friendship and solidarity, because in the film, two poor, but smart and gifted girls use their joint forces to outwit a group of sleazy / corrupt male authorities in positions.

Great Lubna

That triumphant women's streak continued with Laura Poitras' documentary film, which was awarded in Venice, about the artistically and socially powerful photographer Nan Goldin, who with a handful of fellow activists achieved a miracle by defeating the infamous Sackler pharmaceutical dynasty (All The Beauty And The Bloodshed). This was followed by a small romanticized biographical story about the founder of the female Franciscan order and, as it is portrayed, the free-thinking visionary and rebel Klara Asiska (Klara / Chiara). The character of the mother (played by the phenomenal Lubna Azabal) in the Belgian Rebel, whose perseverance to save her son from the chaos of war in Raka overcame the pathology of ISIL, should also be noted.

There is also the (anti)heroine of the refreshing psychological horror Pearl as an unusual example of determination to step out of bad social circumstances, then the mother in the Moroccan-French-Belgian existential road drama Les damnés ne pleurent pas, who in her contradiction is the protagonist to remember. A strong female character is also carried by the Algerian Huria, talented dancer there due to a serious injury will never realize her dream of becoming a member of the National Ballet, but succeeds in many other things.

It is also important to mention the woman from the Ivory Coast in the French drama Mother and Son (Un petit frère) who raises her two boys in the suburbs of Paris, and we follow her throughout the twenty-year period in her struggle for dignity and a happier future. An important moment in the program is Women talking, a historical drama about a group of women in an isolated religious colony, as well as a Turkish film with a criminal plot about a young nurse who finds herself involved in the case of a missing man on a snowy night, in the remote town where she works. (Snow And The Bear), which was awarded as the best in the region.  Read the full article at KINO FILM.HR

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