Besa DVDRip



Year: 2009
Genre: Drama
DIRECTED BY/Rezija
Srdjan Karanovic
SCENARIO / WRITTEN BY
Srdjan Karanovic
PRODUCED BY
Jelena Mitrovic, Srdan Golubovic
CO-PRODUCERS
Dragan Djurkovic, Danijel Hocevar, Cedomir Kolar. Denes Zsekeres
EXECUTIVE PRODUCER
Igor Kecman
DIRECTOR OF PHOTOGRAPHY
Slobodan Trninic
PRODUCTION DESIGNER
Goran Joksimovic
EDITED BY
Branka Ceperac
COSTUME DESIGNER
Sasa Kuljaca
MUSIC BY
Zoran Simjanovic

Cast:
Predrag Miki Manojlovic - Azem
Iva Krajnc - Lea
Rasa Bukvic - Porucnik
Nebojsa Dugalic - Filip
Peter Ferenc - Mita


Code: 
Download Link
Radnja filma odvija se u osvit Prvog svetskog rata, kada se mladi bracni par ucitelja, Srbin Filip, koga glumi Nebojša Dugalic, i Slovenka Lea, ciji lik tumaci slovenacka glumica Iva Kranjc, sele na jug Srbije. Zaplet pocinje kada se proglasi opšta mobilizacija i Filip dobija poziv za vojsku, pa je primoran da ostavi svoju mladu i zgodnu suprugu. Filip moli školskog poslužitelja, nepismenog i patrijahalnog Albanca Azema, koga glumi Miki Manojlovic, da mu, dok je na ratištu, pripazi na ženu. Azem Filipu daje „besu“(zadatu rec koja se mora održati po cenu casti i života) da ce cuvati Leu i da joj se ništa nece dogoditi. Dvoje ljudi, potpuno razlicitih kultura i navika, prinudeni su na nelagodan suživot u napuštenoj školi, dok u pozadini bukti rat. Njihov odnos se razvija od mržnje, netrpeljivosti, do tolerancije i neobicnog prijateljstva, koje na kraju evoluira u u višestruko zabranjeni odnos, neku vrstu ljubavne veze. Situacija se još više komplikuje kada se pojavljuje porucnik srpske vojske (igra ga Raša Bukvic), koji se takode zaljubljuje u Leu.
„Besa“ je prica kroz koju se preplicu mnogobrojna pitanja o ljubavi, obecanju, kulturološkim, etnickim, društvenim, jezickim i klasnim barijerama i, kao najvažnije, namece se pitanje - da li je iskrena ljubav jaca i veca od zadate reci.


Serbia's foreign-language Oscar submission boasts a pair of terrific, richly inhabited performances by Miki Manojlovic and Iva Krajnc that have been given ample room to breathe by veteran filmmaker Srdjan Karanovic.

Shortly after arriving in a small Serbian town, the new school principal (Nebosja Dugalic) is called away to Belgrade to do his part for the war effort. While he doesn't want to leave his pretty, young Slovenian wife (Krajnc) alone to fend for herself in the empty schoolhouse, finding anyone to look after Lea proves difficult in a hostile environment where she's regarded as an Austrian sympathizer.

He ultimately secures a protector in Azem (Manojlovic), the school's illiterate Albanian Muslim caretaker, who gives him his "besa," his solemn word that no harm will come her way.

Initially, the steadfast Azem takes his promise a little too closely to heart, treating the feisty Lea like a virtual prisoner inside the eerily empty building. Little by little, though, the two outsiders form an odd but captivating bond.

The film may have been based on a real-life incident, but Karanovic's two leads masterfully make the story all their own. With very little dialogue to fall back on, the spirited Krajnc (who brings to mind a young Nicole Kidman) and the sad-eyed Manojlovic put an endearingly human face on this intimate, intriguing byproduct of international conflict.









director's concept



The film BESA, partly inspired by a true story, is conceived as a subtle, small-scale, intimate and sometimes witty love story, which would take place in the former multi-ethnic Kingdom of Serbia. Except for the beginning and end, the film would unfold inside a school from which the pupils and teachers have been evacuated. The inevitable – and intentional – claustrophobia would contribute considerably to the dramatic tension and desired development of the story. Certain situations and rituals would be rhythmically repeated (mornings, bedtime, visits, meals). In this way a sense of the passage of time would be achieved and the development of the relationship between Leah and Azem would be clearly noticed. The appearance of the Lieutenant and 'real life' would, just for a moment, destroy this increasingly pleasant rhythmic routine.
Views from the window of the village street and school yard would represent a kind of 'subjective air' that finds its way into the claustrophobic interior, and also some sort of connection with the outside world. Those shots would always be purposely narrow and 'untidy' – framed by the cut-off edges of windows or curtains.
The exterior scenes would be dominated by open ('democratic') compositions which would give the impression that, out-of-shot, many interesting things are happening that are impossible to see from that particular spot. In short: the camera would not, except at the beginning and end of the film, 'go outside' into the exterior.


DOWNLOAD
Code: 
Download Link