Twenty-five years ago more than eight thousand fathers, husbands and sons disappeared forever from the lives of Bosniak women. One of Europe’s most prominent filmmakers surveys the massacre carried out in Srebrenica by the Bosnian Serbs, and this through the eyes of her charismatic titular heroine, an interpreter for Dutch soldiers sent by the UN to war-ravaged former Yugoslavia. A highly evocative drama, Quo vadis, Aida was nominated for an Academy Award as Best International Feature.
Twenty-five years ago more than eight thousand fathers, husbands and sons disappeared forever from the lives of Bosniak women. One of Europe’s most prominent filmmakers (Golden Bear for the film Grbavica: The Land of My Dreams from 2006) surveys the massacre carried out in the ill-famed city of Srebrenica by the Bosnian Serbs under General Mladić. The story is seen through the eyes of her charismatic titular heroine (the astonishing Jasna Đuričić), an interpreter for Dutch soldiers sent by the UN to war-ravaged former Yugoslavia. This breathtaking, highly evocative drama competed at Venice last year and was one of the prestigious group of five works nominated for an Academy Award as Best International Feature.
Karel Och
101 min / Color, DCP
Director Jasmila Žbanić
/ Screenplay Jasmila Žbanić
/ Dir. of Photography Christine A. Maier
/ Music Antoni Lazarkiewicz
/ Editor Jarosław Kamiński
/ Art Director Zeljka Burić, Sabine Engelberg
/ Producer Damir Ibrahimović, Jasmila Žbanić
/ Production Deblokada Produkcija
/ Coproduction Coop99 Filmproduktion, Digital Cube, N279 Entertainment, Razor Film Produktion GmbH, Extreme Emotions, Indie Prod, Torden Film, TRT, ZDF arte
/ Cast Jasna Đuričić, Izudin Bajrović, Boris Ler, Dino Bajrović, Boris Isaković
/ Sales Indie Sales
/ Distributor Aerofilms
Jasmila Žbanić (1974, Sarajevo). Selected filmography: Grbavica: The Land of My Dreams (2006), On the Path (Na putu, 2010), For Those Who Can Tell No Tales (Za one koji ne mogu da govore, 2013), Love Island (Otok ljubavi, 2014), Quo vadis, Aida? (2020).
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