1395 Days Without Red
1395 dana bez crvene
- Sejla Kameric, Anri Sala
United Kingdom, Bosnia & Herzegovina
From the director of FOREVERAWHILE presented at Hong Kong Asia Financing Forum
“The first time I ran from Point A to Point B, the fear was unspeakable indeed. Pain in your stomach, as if a big steel ball is grinding your bowels. Blood throbbing in your neck veins. Wet heat inside your eyeballs. Numbness of your limbs, increasing as you’re running.”*
Reliving emotions; emotions experienced by others at another time, in another place and now relived in the exact place where the incidents that provoked the emotions actually happened. The Siege of Sarajevo lasted one thousand three hundred and ninety five days, between 1992 and 1996. During the siege, thousands of citizens had to run the gauntlet of Snipers’ Alley every day: to go to work, buy food, visit friends, relatives and lovers, keep on living. The film follows a woman as she makes her way through this route. The city is the city of today. The time of the film is, at one and the same time, the present and the past. At every intersection, she feels exposed to what were once the sight lines of the snipers up in the hills. Running could be as dangerous as walking. Too fast could be as hopeless as too slow. She stops, hesitates, and runs. She waits, she calculates, she runs and ducks down. Each intersection is a new calculation. She hides behind invisible shelters. She straightens up when she feels she is safe. The geography of the city delineates a topography of exposure and protection, relief and fear. The rhythm of the film evolves slower or faster following the pace of her walk. Another tempo emerges: a music playing in her head. A mismatch between the pace of her movements and the tempo of the music occurs… The woman who runs and stops and runs and stops is reliving the experience of others in the place where the trauma occurred. It is her individual journey in their collective past. Whatever has happened beforehand is happening again, now.
“One is not advised to wear strong colours. Avoid red at all costs. The sniper is like a bull. Motley colors are also a bad choice. The sniper is a fool by definition and every fool loves motley colors. Wear grey, brown, burgundy.” *
- Maribel Verdú
- Anri Sala
- Sejla Kameric
- Patrick Ghiringhelli
- Penda Houzangbe
- Nelly Ollivault
- Ari Benjamin Meyers
Art is not a goal, but a means of self-identification
Šejla Kamerić is a Bosnian artist specialized in video art, films, art installations, and book design. She studied at the Academy of Fine Arts in Sarajevo, at the Department of Graphic Design and works on concepts such as adapting Balkan society to capitalism and the process of creation and disintegration of national identities, often telling stories from her own experience as someone who has experienced war in the Balkans. She collaborates with other prestigious artists such as Anri Sala and has been invited to present her project for her first feature at CPH:FORUM. Her first short film, WHAT DO I KNOW, premiered at the 64th Venice Film Festival and circulated over 40 film festivals. Her latest film, 1395 DAYS WITHOUT RED, premiered at Manchester International Festival. Her works have been exhibited throughout Europe, in the USA and in Japan and have been included in some prestigious European collections. KAMERIC received the ECF Routes Princess Margriet Award for Cultural Diversity in 2011. The project AUNTS (in collaboration with Mirjana Karanović, Andrea Štaka and Kim Longinotto) is taking part in Pitching du Réel 2018.
Anri Sala was born in 1974 in Tirana, Albania. He studied art at the Albanian Academy of Arts from 1992 to 1996. He also studied video at the Ecole Nationale des Arts Décoratifs, Paris and film direction in Le Fresnoy-Studio National des Arts Contemporains, Tourcoing. He lives and works in Berlin, Germany.