Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ...

nikakvih kritičkih masovnih reakcija na
taj očiti čin nasilja nad osnovnim ljudskim
pravima.
Protagonisti Žilnikovih filmova predstavljaju
mješavinu fikcije i dokumentarizma,
u pitanju su uvijek marginalizirani likovi,
neuklopivi u postojeće društvene okvire. U
prvim filmovima krajem 60-ih i početkom
70-ih to su nezaposleni, beskućnici,
zlostavljana romska djeca; u skorije vrijeme
to su žrtve kontradikcija liberalne
politike i demokratizacije Europe te tržišne
ekonomije. Jedan od njih je upravo Kenedi
Hasani, koji dočekuje prinudno vraćene
Rome na beogradskom aerodromu.
U svojim ranijim filmovima Žilnik ukazuje
na paradoks jugoslavenskog društva, na
brutalne državne mehanizme na jednoj
strani i proklamirane humanističke
vrijednosti na drugoj, koji predstavaljaju
materiel d’apprentissage za razumijevanje
mehanizma raspada Jugoslavije, daleko od
prikaza egzotične plemenske zemlje Balkana.
Žilnikovi filmovi sadrže važnu liniju
kritičnosti i političke angažiranosti, i to ne
samo u razdoblju socijalizma nego i danas,
u općenitoj europskoj stvarnosti.
U opisu projekta Gdje se sve tek treba
dogoditi stoji: “Projekt također promatra
regiju Balkana kao svojevrsno ogledalo
koje odražava novi trenutak i paradokse
društvene i političke konstelacije u Europskoj
Uniji i zapadnim neoliberalnim
demokracijama općenito: redifiniranje
pojma kolektiviteta, krizu kapitalizma,
nacionalnih država, zajedničkih nacionalnih
identiteta…” Nakon posjeta Banja
Luci vraćala sam se Varšavi, gdje trenutno
živim i radim. Dok je Banja Luka
u meni budila gore navedene asocijacije
i još pregršt konkretnih političkih pitanja
i problema koje nisam imenovala u
ovom tekstu, kod mojih kolega i prijatelja
spomen na Banja Luku izazivao je smijeh.
time that the war in Yugoslavia began.
After that they lived in Germany, first of
all as refugees, and later on were allowed
to get jobs, they had children, and had the
sense of a normal life. During 2002 and
2003, without any public debate, hundreds
of Roma and their families were secretly
deported from Germany to their “countries
of origin”. They had to leave everything
behind them in Germany. In Serbia
these families were faced with an enormous
tragedy, were considered marginal,
deprived of all the rights that they had in
Germany, while the younger members of
their families knew no language but German.
To date, neither in Germany nor in
Serbia have there been any critical mass
reactions to this patent action of violence
against fundamental human rights.
The protagonists of Žilnik’s films represent
a mixture of fiction and documentary film,
with still marginalised people at issue, who
cannot be fitted into the existing social
frameworks. In the first films, at the end of
the 60s and in the early 70s, these were the
unemployed, the homeless, abused Roma
children; in more recent times they were
the victims of the contradictions of liberal
politics and the democratisation of Europe
and the market economy. One of them was
this very Kenedi Hasani, who is waiting
for the other forcibly repatriated Romas at
Belgrade airport. In his earlier films, Žilnik
refers to the paradox of Yugoslav society,
to the brutal mechanisms of the state on
the one hand and the vaunted human
values on the other, and represent the materiel
d’apprentissage for the understanding
of the mechanisms of the breakdown
of Yugoslavia, very far from a depiction
of an exotic tribal country of the Balkans.
Žilnik’s films contain an important line of
criticism and political engagement, and
not only in the period of socialism, but
today too, and in the universal European