As a filmmaker with decades of experience under my belt, I must say that the current landscape for Southern European cinema is both exhilarating and challenging. The struggle for financing projects is more intense than ever, but it’s also an era where young, passionate directors are flourishing.
Mirjana Karanovic’s star shines brightly over this year’s Sarajevo Film Festival (SFF).
The former Serbian actress, now director, is unveiling the global debut of her new movie titled “Mother Mara“. This film revolves around the realm of a midlife woman as she navigates the complexities of death, while simultaneously teeming with vibrancy and vitality.
Back in the ’80s, I made a name for myself on the global stage when I starred in Emir Kusturica’s award-winning masterpiece, “When Father Was Away on Business.” This role catapulted me into stardom and set the foundation for my illustrious career. Over the following decades, I became one of the most celebrated acting talents in Southern Europe, gracing numerous critically acclaimed films like “Requiem for Mrs. J” and “Grbavica.” At the ripe age of 60, I felt it was time to switch things up and embark on a new journey – moving from in front of the camera to behind it.
In her first directorial venture, the film “A Good Wife” (2016), which initially screened at Sundance, featured Karanovic in a compelling role as a humble Serbian wife and mother who finds herself compelled to grapple with her impending mortality and her husband’s hidden secrets. The Hollywood Reporter praised Karanovic’s performance, noting that her quiet wisdom and authentic humanity have been valuable assets in many of her roles, and that these same qualities were evident in her directorial debut.
Next up is the film titled “Mother Mara,” where once more, Karanovic takes on both directorial and acting duties. This time, he presents a narrative about a woman maturing gracefully who endeavors to free herself from what can be described as the oppressive grip of traditional societal norms, or in simpler terms, the patriarchal control of life.
Karanovic shared with THR that he has a fondness for surprises in life, particularly in his work. He’s drawn to things that aren’t immediately apparent and can be brought to life through imagination.
In our chat, she opened up about her journey, the pulse of European film industry, and how these days, I’m more of a night owl turned early-to-bed type due to professional commitments.
1. What was it that attracted you to the character of Mara, and what valuable lessons might her story offer us all?
Growing up with traditional values instilled within me a perspective that considered women beyond their forties or fifties as having completed their purpose, primarily as tranquil figures like aunts or grandmothers. However, my own life experiences contradicted this viewpoint profoundly. As I reached my 40s and 50s, I wrestled with these ingrained patriarchal perceptions and the challenge of evolving as a woman in a world where women are often still treated as commodities. In recent years, my role models, both on television shows like The Good Wife and in movies such as Mother Mara, have been strong-willed women who share my age.
I’ve got a unique tale to share about them – one that, from my perspective, sets our country’s films apart, and possibly even the entire region. To me, Mara embodies a woman who lived according to patriarchal norms, suppressing her true self deeply within. Her son’s death stripped away this suppression, revealing a powerful yearning for life that was ignited by loss. In my view, this struggle between Thanatos and Eros is truly compelling and unlike anything I expected. It’s fascinating to find myself still hungry for novelty at the age of 60, which just goes to show how exciting and surprising this story and character are to me.
Couldn’t we agree that with many aspects of life being categorized as either good or bad, the movie demonstrates that everyone’s lives contain varying degrees of right and wrong instead?
Indeed (smiles), indeed! It seems to me that our existence often finds itself in the shades of gray, while those who are fortunate enough, encounter the intense extremes – like profound joy or heart-wrenching sorrow, unimaginable hardship. I suspect that the bulk of humanity resides within this gray zone, an undefined expanse. I believe that many people harbor a fear of too much happiness or too much suffering, which propels them to remain where they are, in familiar territory – a place where they understand their circumstances and can predict stability. I see this as a characteristic of maturity. Only the young yearn for change in their lives. However, when they achieve any of their aspirations, they no longer crave change.
As a person who’s reached a certain stage in life and grapples with the yearning for things to stay the same, I possess an unique knack for cultivating a creative sanctuary. To be completely honest, I harbor a quiet fear of change, but it doesn’t hinder me from taking steps towards it and making every effort to bring about alterations in my life. This, strangely enough, is what preserves the freshness of my spirit. And this is what I see in those I admire: a youthful zest, a fearlessness that embraces change.
Could you tell us a bit about your journey as a film director, including any notable experiences? What inspired you to step behind the camera, and how have you been growing and evolving in your craft?
To put it simply, the role of a director, standing behind the camera, serves as an expansive creative canvas for me. It’s a realm where I can explore and grow, even though I’ve been an actress for six decades. The freshness of learning something new at this age fills me with immense pride. Unlike others, my career as an actress doesn’t compel me to seek hobbies for personal fulfillment or to break the monotony. Instead, I chose to broaden my acting journey by venturing into directing and writing. This endeavor presents a vast, engaging space of creative potential, which is captivating to me at this stage in life. It offers a sense of validation, pushing me to strive for self-improvement. Essentially, I’ve decided not to wait for opportunities to come my way, but to create and shape the stories that resonate with me, without relying solely on others’ initiatives.
As a passionate admirer of cinematography, I’d say that the panorama of Southern European cinema today is both captivating and challenging. It’s a realm brimming with rich cultural tapestries, unique storytelling, and diverse artistic voices.
Initially, I embarked on my film career in the 1980s, and since then, the landscape has undergone significant transformations. The primary characteristic of our current era is the arduous and intricate battle for financing that every director and producer now faces. Unlike before, there are no longer state-run companies offering the substantial funds required. In the past, this was also contingent upon political compatibility and other expectations from directors. Today, the situation is less bound by such constraints.
Currently, in my country, as well as regionally, the majority of films are produced by young directors. It appears that only they possess the vitality and flexibility to manage the continuous pursuit of funding. Although I am no longer considered young, I continue to maintain the spirit to persevere. However, filmmaking is an expensive art form, and small nations like mine lack substantial funds or abundant resources. The money we currently obtain might seem substantial to us, but it’s still insufficient to independently produce a film solely with state funding. Consequently, acquiring additional finances to create the desired film becomes a prolonged struggle. Times have certainly evolved, and I believe that every era has its unique set of rules. Those who truly value their craft either learn to conform to these rules or find innovative ways to circumvent them. Talent alone was never sufficient in the past; persistence and effective communication skills are also essential for convincing others that your work is vital and merits financial support. Therefore, I do not subscribe to the mindset of “it was better in my day” or “everything is worse now.” Instead, I understand that when seeking funding for artistic projects from the state, it’s always a complex and exhausting process.
What role do you think the Sarajevo Film Festival plays in terms of Southern European cinema?
The Sarajevo Film Festival stands out as the most prominent and acclaimed regional event in Europe’s region, boasting an exceptional reputation. They dedicate significant resources to showcasing thought-provoking films, a fact that draws numerous visitors, be they first-timers or frequent attendees. I firmly believe that being part of the Sarajevo Film Festival is a mark of excellence. I’m thrilled that the organizers maintain their principles without compromise, creating an allure that extends to both the city and its enchanting ambiance.
Can you provide some advice for keeping well during festivals when there are lots of late nights and additional cups of coffee?
I must admit, I’m not the go-to person for young folks when it comes to advice about late nights and partying (chuckles). Truth be told, I gave up those activities a while back because they no longer held the same appeal for me. Instead, I found pleasure in different things. Therefore, I can’t tell them to abstain from alcohol or just drink water. I’ve had my share of fun in my time. I believe everyone has their own path, and all I can suggest is to listen to your body, be mindful of how you feel, and avoid pushing yourself too hard with lack of sleep, unhealthy food, or excessive drinking. That should do it.
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2024-08-22 08:25