Activity linked to the seminar Love for what? Changing love to change everything? of the exhibition Kao malo vode na dlanu (Like a little water in the palm of the hand), a project about love in Serbia, by Mireia Sallarès.
What fictions must we create to signify the link between the love scene and the construction of the great collective narratives? These two films suggest fruitful approaches in addressing the challenge of documenting reality by way of very different cinematic strategies.
Ljubav (1972) is a short film without dialogue, widely acclaimed as one of the finest documentaries to come out of the former Yugoslavia. The film’s writer-director, Vlatko Gilić, has received numerous international awards in the course of a distinguished career.
Kao malo vode na dlanu (2018) is a full-length film with a continuous dialogue, somewhere between literature and philosophical essay, in which the visual artist Mireia Sallarès narrates, within the format of a police interrogation, her research into love in Serbia over a period of four years.
Venue: Filmoteca de Catalunya.
Video: Agustín Ortiz Herrera.