Interview with Sarunas Bartas

Interview with Sarunas Bartas

„We don’t actually live in a real world, but in one we quietly agreed to call “real”. It’s limited by what we saw and heard. Or, more like, what we allow ourselves to see and hear. So, it turns out each of us constructs his own internal reality.

„By the way, I am trying to avoid the word “narrative” – I think it has become outdated in relation to cinema.“

another short comment on life: http://fresques.ina.fr/europe-des-cultures-en/fiche-media/Europe00236/sharunas-bartas-about-few-of-us.html

A HOUSE 1997vlcsnap-2013-07-01-01h39m50s113

KORIDORIUUS 1994vlcsnap-2013-07-01-01h45m09s3

SEVEN INVISIBLE MEN 2005vlcsnap-2013-07-01-01h47m19s6 vlcsnap-2013-07-01-01h48m55s205THREE DAYS 1992 vlcsnap-2013-07-01-01h49m23s208

FREEDOM 2000vlcsnap-2013-07-01-01h41m31s109

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Seven Invisible Men, Sarunas Bartas – 2005

a group of four unknown people steal a mercedes in a city. the police comes looking for them in their hide out. so they leave the city torwards the countryside, some poor place in ex USSR. they split for a while. whilst the main character, a blonde man with blue eyes who never smiles, hides in a poor farm with some women he seems to know from earlier in his life. he seems to have a special relation to one of the younger women. maybe once his love or maybe his prostitute. in the first scene when they meet at the farm, she says “that she is on vacation now”. He replies that he has money and has always had money”. At the end of the film she asks him “what he wants”, he replies that “he wants everything and that it is never enough”. during the film they seem to have one single dialogue which is scattered though time and never ends. in the mean time the rest of the group from the beginning join at the farm. they have a rather pathetic as much as touching party with a lot of booze and retro pop music in a tiny room around a poorly lit table. Bartas seems to have directed these scenes by putting some vodka on the table and ordered everybody to get drunk. this is when you get stuck in this uncanny small house together with drunken men, half naked children and melancholic and hysterically crying naked women. these creatures seem to live from nothing else than cigarettes and misery. the best part is during something like a love scene where the naked woman is lying on the bed and turned to the opposite direction of the camera. at first she shows her middle finger, then a V for victory and then a closed fist. Was it for us or was it for Bartas? there is no escape. at the end everything burns down and everybody dies, only the sad and crazy survive. a great film told with few words rather than with beautiful landscape scenes and a very special feeling for poetry in film.

 

for further reading: http://www.screendaily.com/seven-invisible-men/4023669.article

RENCONTRES INTERNATIONALES, Haus der Kulturen der Welt 25.-30.6. Berlin

pbm-6

Internationales Filmfestival mit Beiträgen von:

Anna Ådahl, Sandro Aguilar, Eija-Liisa Ahtila, Rosa Barba, François Bucher, Daya Cahen, Clément Cogitore, Tony Cokes, Pedro Costa, Peter Downsbrough, Redmond Entwistle, Johan Grimonprez, Crispin Gurholt, Marina Landia, John Menick, Christian Merlhiot, Aurelia Mihai, Eleonore de Montesquiou, Charly Nijensohn, Dirk Peuker and Bettina Nürnberg, Sasha Pirker, Katja Pratschke and Gusztáv Hámos, Nada Prlja, Nicolas Provost, Lina Selander, Tejal Shah, Sarah Vanagt, Phillip Warnell, Apichatpong Weerasethakul, Myriam Yates, Tobias Zintel and others.

FREE ENTRY!

SHARUNAS BARTAS: Trys Dienos (Three Days) 1991

three-days

Three Days (1991), Bartas’ maiden feature length work, unfolds in a harbor town in Lithuania where two men and a women search for a shelter in the largely uncaring place, possibly to make love. The first Bartas film to feature his would-be collaborator (and muse) Yekaterina Golubeva, Three Days plays out as a post-apocalyptic tale set in an industrial wasteland, complete with decrepit structures and murky waters, where both positive communication (Even the meager amount of dialogue in the film turns out to be purely functional) and meaningful relationships (Almost everyone in the film seems to be a vagrant) have been rendered irrelevant. Every person in this desolate land seems to be an individual island, stuck at a particular time in history forever.

http://theseventhart.info/2010/04/24/the-films-of-sharunas-bartas/