Bruno and Duša, who live in the same nursing home, enjoy each other’s company. However, their moments together are always soon forgotten, as both of them suffer from dementia. Each time they meet feels like the first. This unique relationship is evoked by Gigliola Cinquetti’s song Non ho l’eta, performed at the Sanremo Festival back in the 1960s – the only shared memory from their youth. When Bruno is alone, his past resurfaces, causing him to retreat to his old life – his home, his wife, and his dog, which are, in reality, no longer around. One night, he has trouble finding his room. He accidentally walks into Duša’s and falls asleep next to her. In the morning, they start arguing, each of them convinced the other one is in the wrong bed, only to rediscover their mutual affection. Moments later, dressed in her finest clothes, Duša waits for Bruno at their breakfast table in vain.

 

The screening will be followed by a Q&A with the movie’s director of photography, Peter Zeitlinger, hosted by Patricija Maličev.

The 32nd Liffe is continuing a partnership with Poklon viziji (Omaggio a una visione), a transborder film festival organised by Kinoatelje in cooperation with partners from Slovenia and Italy. This year’s winner of the Darko Bratina Award and the principal guest at the Poklon viziji festival is cinematographer Peter Zeitlinger. A retrospective of works by Prague-born Austrian filmmaker will be held in seven cities across Slovenia and Italy, to conclude with a showing of Losses to be Expected at Cankarjev dom.

Winter 1992. In a small Austrian village near the Czech border lives Sepp Paur, a widower. The food supply that his late wife stored in the freezer is running low. It is time for Sepp to look for another wife. He looks across the border, where the widow Paula lives. Two people, two neighbouring villages. And in between? The border. The film is about all these things, and so much more. It’s also about the loss of borders, the loss of home, the loss of youth, the loss of love.

The Petersburg Chronicle (published in Slovenian by Goga) is the general name of Dostoyevsky’s feuilletons in the newspaper "St. Petersburg Vedomosti." The young author writes on the subject of Petersburg and perceives life critically, addressing the Russian national idea and independence. On this occasion, our esteemed guest will be Tatyana Kasatkina, Doctor of Philology, Head Researcher at the Gorky Institute of World Literature RAS, Head of the Centre “Dostoevsky and World Culture” at the Gorky Institute of World Literature RAS, president of the Research Committee for Dostoyevsky's Artistic Heritage within the Scientific Council for the History of World Culture, RAS.

The panel will be chaired by Dr. Urša Zabukovec and joined by two Slovenian panelists.
 

After watching The Student of Prague by Stellan Rye, an ex-soldier named Slobodan Antić (Bata Živojinović), a hard-working and respected member of socialist society referred to by a friend as one of the last idealists, finds himself losing control over his own life when a man identical to him starts following him around, claiming to be a friend but behaving suspiciously. Before long, his dealings with this doppelganger begin to cost him, and his professional and romantic lives grow increasingly out of joint.

Concurrently, Pavlović made a screen adaptation of The Student of Prague, setting it in the post-war building of a new Yugoslavia, a time when an individual has no chance of surviving the fight against a solid and collective communist nucleus.
 

Based on a short story by Fyodor Dostoevsky. One day, a woman receives the parcel she sent to her incarcerated husband some time earlier. Confused and deeply concerned, she decides to go to the prison in a remote area of Russia, to seek information. So begins the story of a journey rife with humiliations and violence, the story of an absurd battle against an impenetrable fortress. The ‘prison town’ she arrives at is a zone of lawlessness and total dehumanization, a place where machismo reigns, an utterly merciless world.

Arguably the best-masked reworking of any Dostoyevsky’s work, a film that sums up the state of mind of many of the writer's characters, especially Raskolnikov. An incomparable story of crime and redemption from the French auteur Robert Bresson follows Michel, a young pickpocket who spends his days working the streets, subways, and stations of Paris. A cornerstone in the career of this filmmaker, Pickpocket is an elegantly crafted, tautly choreographed study of humanity. Bresson’s much more faithful screen adaptations of A Gentle Creature (1969) and White Nights (1971) reflect his great admiration for Dostoyevsky’s work.

Kaurismäki's feature debut. That the filmmaker’s attitude to the classic novel is neither faithful nor respectful is self-evident, the Finn’s entire output breathes his signature unorthodox approach.

A disaffected slaughterhouse worker, Rahikainen, murders the wealthy businessman who, years ago, destroyed his tenuous hold on life. Through his act he finally drifts out of society and into loneliness. Only a young girl who accidentally arrives at the scene of the crime wants to follow him. Guilt and the tightening net of the police throw a shadow over their desperate love affair.

Maj '68 se verjetno nikdar ni tako jasno odražal kot v tretjem celovečernem filmu Bertoluccija, ohlapni priredbi Dvojnika, zgodbi o mladem Jakobu (Pierre Celementi), ki v nekem trenutku razvije svojega zlobnega dvojnika, militantno marksistično različico doktorja Jekylla. Zlobni Jakob dobrega vseskozi nagovarja k nasilni dejavnosti, kritizira potrošništvo, v nekem trenutku celo demonstrira proces izdelave molotovke. Godardov vpliv je tule neizpodbiten; Partner od uvodne špice do zadnjega prizora nosi značilni novovalovski podpis, vključno z nelinearno strukturo, montažnimi preskoki in koketiranjem junakov s kamero.

Performed by: Špela Frlic, Andrej Fon and Tea Vidmar; Production: Homo Narrans

On the 200th anniversary of the death of Fyodor Mikhailovich Dostoyevsky, the 2500th anniversary of the death of Siddhartha Gautama Buddha and in memory of Cvetka Hedžet Tóth

In the world we live in, a dialogue needs to be established, more than ever, between different thinkers and those who think differently. Thinkers who support a pluralism of ideas and beliefs aiming towards spiritual openness. The 8th Miklavž Ocepek Symposium again seeks to encourage dialogue among people who think differently whilst plumbing the depths of the human spirit. Fyodor Mikhailovich Dostoyevsky had a profound influence on both existentialism as initiated by Soren Kierkegaard and art that raises questions about the human condition and achieving freedom that renders life meaningful.

This theme, which is inspired by Kierkegaard's thought, will engage in a dialogue with Buddhist philosophy – addressed in various segments that similarly transcend the notions of being and substance and the self-sufficiency of Self, which is, among others, reflected in the inner truth "We are all Buddhas".