Director Jasmila Žbanić in Conversation

Talk

October 23, 2016 / 15:30

Pera Film proudly presents a selection of Bosnian director Jasmila Žbanić’s films as part of Bosnia Sancak Culture Days.” Presented as part of the program Poetry of Reality Director Žbanić will be in conversation following the screening of Love Island at 14:00.

Jasmila Žbanić won the Golden Bear Award at the 56th Berlin International Film Festival and the Grand Jury Award of the American Film Institute with Esma’s Secret. Žbanić graduated from the Department of Film and Stage Direction of the Sarajevo Academy of Performing Arts in 1996, attending Professor Lew Hunter’s screenwriting workshop and Professor Lee de Long’s puppet workshop at the Imaginary Academy Groznan the following year. The cinema of Bosnia-Herzegovina is regarded since the 1970s as a school of its own, and Jasmila Žbanić, who is one of its directors receiving critical attention at almost every international festival, says the characters in her films are not “black and white” since real people are not that simple.

The talk will be in English with simultaneous Turkish translation. Free of admissions. Limited space, drop in.

        

in collaboration

contribution by

Paris Without End (1959-1965)

Paris Without End (1959-1965)

In the 60s, Alberto Giacometti paid homage to Paris, the city where he lived, by drawing its streets, cafés, and more private places like his studio and the apartment of his wife, Annette. These drawings would make up his last book, Paris sans fin (Paris Without End). 

Cindy Sherman Look At Me!

Cindy Sherman Look At Me!

The exhibition Look at Me! Portraits and Other Fictions from the ”la Caixa” Contemporary Art Collection examines portraiture, one of the oldest artistic genres, through a significant number of works of our times. Through the exhibition we will be sharing about the artists and sections in Look At Me!.

The First Nudes

The First Nudes

Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.