AGAINST THE DAY

NASUPROT VREMENU

By Katarina STANKOVIC

DART FILM - as PROD

First film - Development 2016

Our lives, no matter how individual, go through stages and the freedom we have is always measured against time.

    • Year of production
    • 2016
    • Genres
    • First film, Drama
    • Countries
    • SERBIA, GERMANY, FRANCE
    • Languages
    • SERBIAN, GERMAN, FRENCH
    • Budget
    • 0.6 - 1 M$
    • Duration
    • 100 mn
    • Director(s)
    • Katarina STANKOVIC
    • Writer(s)
    • Katarina STANKOVIC
    • Producer(s)
    • Natasa DAMNJANOVIC (DART FILM)
    • Synopsis
    • The story revolves around characters who are based on real people and director’s experiences. The main part of the film takes place in Serbia, from where the connecting character 30-year-old Lidija is from. She assumes her importance as the connecting character inasmuch as her path constantly crosses with paths of other recurring characters. The Serbian part is framed by two other places. At the beginning it is Lidija’s stay in Paris and in the end it is Lidija’s return to Berlin where she has been living prior to where the story begins. And the story begins with a wrap up party of Lidija’s shooting in Paris. There we are introduced to little girl from Serbia named Zoe who played in Lidija’s film and who has a rather unconventional family which stands in contrast to Lidija’s family structure. And we learn about Lidija’s upbringing when she visits the people and the places of her past back in Serbia. All other important characters beside Zoe are either Lidija’s age or older. And their life stories and the little situations they find themselves in are the stuff this film is made of. Everything has already happened in the past, and so the characters are charged with it. They have made their choices in the past, and so the past is invisible in the film. But what one senses is that the social and political changes in Serbia for the past quarter of a century have influenced the characters’ choices in life. But to what extent are those choices deliberate and to what extent are they really coincidental or determined by external forces? And how much does this influence the decision of whether to return home or the need to escape home.
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