Ohjaus:
Goran PaskaljevicKäsikirjoitus:
Gordan MihicKuvaus:
Aleksandar PetkovicSävellys:
Zoran HristicNäyttelijät:
Slavko Stimac, Danilo 'Bata' Stojkovic, Mija Aleksic, Mira Banjac, Sanja Vejnović, Ivana Mihic, Andrija Mrkaic, Neda Arneric, Miodrag Radovanovic (lisää)Arvostelut (2)
My first movie by Gorana Paskaljevič and it is already clear to me that he is a sort of Jiří Menzel of the Balkans. A subtly funny, nice, and poetic movie that tells the story of Petar who is experiencing his first love and she is, coincidentally, from Czechoslovakia. The link to our country is very beautiful, by the way, and it added at least one star to the movie for me. It doesn’t matter at all that the girl speaks Czech about as well as I speak Slovak.
()
An extraordinarily poetic and kind portrait of one fateful summer, one family, one adolescence and one tragic period in European history. Paskaljevič does not establish any metaphor mirroring the fate of the great world in the small world - on the contrary, the fate of the family of District Judge Cvetkovič is deliberately set aside and student storms from Paris, Belgrade, and the political unrest of the Prague Spring are only seen through the television, the politically active daughter and bearded student-rebel Cile. The sequence of love outbursts of his son Petar is full of Amarcordian kindness, foresight and well-modeled characters, which are led by the typical Yugoslav "grandfather" Mija Aleksič and the categorical general of the family, Veselin Cvetkovič, in an excellent performance by Danilo Stojkovič. Petar's search for true love symbolically culminates on August 20, 1968, at night with Czech girl Růženka. When the young man finally finds great love, the big world intervenes in the small world and mixes the fates of insignificant characters on the chessboard of European history. Nevertheless, The Elusive Summer of '68 amounts to praise of the harmonious and basically peaceful petty-bourgeois family, which lives at its own pace and hides from the noise of historical events, for example, by the father taking away the television. Goran Paskaljevič imbued his film with a calm rhythm that, more than the wild rides of the Balkan brass band music, resembles Romance for Bugle with peaceful humor. I must repeat myself - Yugoslav cinematography is good for my soul and The Elusive Summer of '68 is no exception. In a way, it’s the Yugoslav answer to Cosy Dens.
()