Svaki film se vremenom mijenja, zavisno u kakvom se društvenom kontekstu gledao. Niko ko se rodio u 1980-im ne može gledati film iz 1960-ih na isti način kao neko ko se rodio u 1940-im. Mlađi kritičari, zapravo, donose drugačije, vrijedne perspektive njihovim kritikama filmova iz ‘daleke prošlosti’, neopterećeni nostalgijom, koju stariji kritičari teško mogu odstraniti.

Ronald Bergan

Uvodni tekst za dvobroj 41-42 Camere Lucide je impresivna studija “Za veću raznolikost u francuskoj filmskoj kritici” (“Pour une plus grande diversité dans la critique cinéphilique française”), koju potpisuje F. Clémentine Dramani-Issifou, istraživačica i članica komiteta za selekciju dugo-metražnih filmova Nedjelje kritike, koja naglašava važnost kulturne raznolikosti u filmskoj kritici. Tu su i regularni Lucidni autori: Jean-Michel Frodon, Ronald Bergan i Jonathan Rosenbaum.

U različitim tekstovima, Jean-Michel Frodon analizira kako su se filmovi, 30 godina nakon pada Berlinskog zida, bavili ovom istorijskom prekretnicom; objašnjava zašto je Ursulin MacFarlane-in dokumentarac o Harvey Weinsteinu neuspjeli filmski projekat; daje kritičku analizu filma Optužujem, Romana Polanskog (ovogodišnjeg dobitnika Srebrnog lava grand nagrade žirija na festivalu Venecije); predlaže rijetka DVD izdanja filmova koji bi se trebali otkriti u toku novogodišnjih praznika; nijansirano analizira Robert Guédiguianovu Gloriu Mundi i njen morbidni ples neo-liberalizma; osvrće se na Damien Manivelov film Isidorina djeca, zanosni filmski ples.

Jonathan Rosenbaum se fokusira na nedavno preminulog umjetnika Roberta Franka i njegovo neobično filmsko nasljeđe; analizira strukturne principe Jane Campioninog filma Piano (ovogodišnji broj 1 na BBC Culture Top listi filmova koje su režirale žene). Rubrika Lucidno je veličanstveno zaokružena Ronald Berganovim specijalnim poklonom za Cameru Lucidu, iskrenim i pronicljivim esejom, rijetkim u današnjoj filmskoj kritici, o filmskoj nostalgiji, filmofiliji i generacijskim razlikama među filmskim kritičarima. 

U Retrospektivama Jonathan Rosenbaum se vraća Luis Bunuelovom zanemarenom remek-djelu Mladi; komparativno analizira razlike i sličnosti dva filma, Veliki Lebowski i Sumrak, oba smještena u savremeni Los Angeles, oba označavajući neobičan odmak od vesterna; osvrće se na sjajni film Michael Powella, Na ivici svijeta; pronicljivo reinterpretira Neobičnu bandu, Jean-Luc Godarda; istražuje popularnost Judexa iz 1917.; redefiniše političku analizu Jean-Luc Godarda i Jean Pierre Gorina u filmu Pismo Jane (1972).

Rubrika Festivali obiluje izvještajima i analizama sa raznih festivala: prvo iksustvo Kiriakosa Peftitselisa na FF u Sarajevu; analize Internacionalnog Filmskog Festivala Venecije u tekstovima Jean-Michel Frodona i Maje Bogojević, sa temeljnim osvrtom Chiare Spagnoli Gabardi na ovogodišnjeg pobjednika Džoker; specijalni dugi izvještaji jubilarnog, 40. izdanja Manaki braća Festivala IFFC u Bitolju, koje potpisuju Kiriakos Peftitselis i Maja Bogojević, koja se, takođe, fokusira na ogromni makedonski filmski uspjeh Medene zemlje; reportaža sa BIFED-a, Međunarodnog Festivala Ekološkog Dokumentarnog Filma, u Bozcaadi, uključujući intervjue sa ekipom filma Ovacik: režiserkom Aysegul Selenga Taskent i producentkinjom Delizom Flaccavento, i sa Christine Bouteiller, autorkom filma Geograf i ostrvo, oba filma nagrađena na ovom festivalu; još jedan izvještaj sa BIFED-a potpisuje Kiriakos Peftitselis, a Chiara Spagnoli Gabardi izvještava sa Filmskog Festivala Torina, sa specijalnim fokusom na film Bog postoji i njeno ime je Petrunija,  Teone Strugar Mitevske; video-reportaža razgovora sa proslavljenim direktorom fotografije Manuelom Albertom Clarom,  specijalnim gostom Podgorica Film festivala; osvrt na Festival filma o ljudskim pravima Ubzaj, Podgorica sa posebnim fokusom na film otvaranja u tekstu Maje Bogojević: Dnevnik Diane Budisavljević, autorke Dane Budisavljević; naći ćete i nagrade sa Green Montenegro IFF, Žabljak, Sarajevo FF, Portorož Festival Slovenačkog Filma i Tirana FF. 

Specijalan intervju ovog velikog dvo-broja je moj razgovor sa Andrew Reid-om, glavnim producentom na lokaciji za planetarno popularnu TV seriju Igre prijestola, koji je posjetio Crnu Goru kao specijalan predstavnik Audio-Vizuelne Agencije Sjeverne Irske. 

Većina tekstova će biti prevedena na regionalne jezike u sljedećem 2020. broju Camere Lucide.

In memoriam odaje počast Peter Fondi, Carol Lynley, Valerie Harper, Diahann Caroll i Anni Karini u tekstovima Ronalda Bergana, Branku Lustigu u potpisu tima Camere Lucide.

Ova impresivna knjiga o filmu se završava sa Top listom najvećih filmova koje su režirale žene,  BBC Culture

Srećna Nova 2020. godina! 

Maja Bogojević

Each film changes over the years, depending on the social context in which it is viewed. Nobody born in the '80s could see a '60's movie in the same way as somebody born in the 40s. In fact, the younger critics bring a different, valuable perspective to their critiques of films of the 'distant past', completely without any trace of nostalgia, which the older critics cannot eliminate.

Ronald Bergan

The opening text for Camera Lucida 41-42 double issue is an impressive study “Pour une plus grande diversité dans la critique cinéphilique française”, authored by F. Clémentine Dramani-Issifou, researcher and committee member of feature film selection at Semaine de la critique, who highlights the importance of cultural diversity in film criticism. Then, there are Lucid regulars: Jean-Michel Frodon, Ronald Bergan and Jonathan Rosenbaum. 

In his various texts, Jean-Michel Frodon discusses how films, within thirty years after the fall of the Berlin wall, deal with this historical turning point; explains in which ways Ursula MacFarlane’s documentary on Harvey Weinstein is flawed; offers critical analysis of Roman Polanski’s J’accuse (this year’s Venice festival Silver lion Grand jury prize winner); proposes DVD editions of films to discover this Christmas; analyses Robert Guédiguian’s Gloria Mundi and its macabre dance of neo-liberalism; elaborates on Damien Manivel’s Les enfants d’Isadora and its beautiful film dance. Jonathan Rosenbaum focuses on artist Robert Frank’s cinema and his unusual legacy of moviemaking; discusses structural principles of Jane Campion’s The piano (this year’s number 1 on BBC Top list of films directed by women). Lucid section closes marvelously with Ronald Bergan’s special gift for Camera Lucida, an honest and insightful essay, rarely found in today’s film criticism, on film nostalgia, cinéphilie and generational differences among film critics. 

In Retrospectives, Jonathan Rosenbaum revisits Luis Bunuel’s neglected masterpiece The young one; analytically compares differences and similarities of two films, The big Lebowski and Twilight , both with Los Angeles contemporary settings and an unusual detour of the western; revisits Michael Powell’s great The edge of the world; insightfully reinterpretes the historical significance of Jean-Luc Godard’s Bande à part; explores popularity of 1917 Judex; and reviews the political analysis of Jean-Luc Godard’s and Jean Pierre’s Gorin’s 1972 Letter to Jane. 

Festivals section abounds in reports of many festivals: amazing first-time experience of Sarajevo Film festival, by Kiriakos Peftitselis; Venice International Film festival includes analyses by Jean-Michel Frodon and Maja Bogojević, and a en extensive review on this year’s winner Joker, by Chiara Spagnoli Gabardi; special reports on the 40th jubilee edition of Manaki brothers IFFC, Bitola, by Kiriakos Peftitselis and Maja Bogojević, who also focuses on huge Macedonian film success, Honeyland; a report on BIFED, International Festival of Ecological Documentary, Bozcaada, including interviews with Ovacik film director Aysegul Selenga Taskent and producer Delizia Flaccavento, and with Christine Bouteiller, director of The geographer and the island, both festival winning films; another BIFED report is written by Kiriakos Peftitselis, while Chiara Spagnoli Gabardi reports from Torino FF, with a special focus on Teona Strugar Mitevska’s film God exists, her name is Petrunija; a video reportage of talks with celebrated director of photography Manuel Alberto Claro, special guest at Podgorica Film festival; a view on Fast forward Film Festival of Human Rights, Podgorica and a special focus on its opening film by Maja Bogojević: Dana Budisavljević’s Diary of Diana Budisavljević; there are also awards reports from Green Montenegro International Film festival, GMIFF Žabljak, Montenegro, Sarajevo FF, Festival of Slovenian Film, Portorož and Tirana IFF. 

The special interview of this double-issue is my conversation with Andrew Reid, Location manager for the globally popular TV series Games of thrones, who visited Montenegro as a special guest of Northern Ireland Screen agency. 

Most text will be translated for the next 2020 Camera Lucida issue.

In memoriam pays tribute to Peter Fonda, Carol Lynley, Valerie Harper, Diahann Caroll, and Anna Karina by Ronald Bergan, and to Branko Lustig by Camera Lucida team.

This impressive book on cinema ends with the BBC Culture Top list of films directed by women. 

Happy New 2020 year!

Maja Bogojević