Reviewed by Sunchica Unevska
Towards: "Quo Vadis, Aida?", directed and written by: Jasmila Zbanic, cast: Jasna Djuricic, Boris Isakovic, Izudin Bajrovic, Johan Heldenbergh, Emir Hadzihafizbegovic, photography: Christine A. Maier, editing: Jaroslaw Kaminski, Bosnia and Hercegovina 2020
Time cannot be overtaken
The movie “Quo vadis, Aida?” was supposed to be a kind of testament, something that will not allow some events to fall into oblivion, it was supposed to be a witness, a reminder, a monument, a work of great importance that speaks of absurd times, of horrific events, of hatred and bloodshed, of murders, of tragedies, of the destruction of lives, an act that may bring justice to many, and perhaps peace. "Quo vadis, Aida" is made in this way, with long preparations, with a great investment to get the data and the truth (based on the book by Hasan Nuhanovic "Under the UN Flag"), with a huge ambition to make an authentic film that will testify to something that many deny to this day. In fact, that is why the Bosnian director Jasmila Zbanic tackled this very big topic about the Srebrenica massacre, to tell what the consequences of such horrible historical events could be and what they are, and how easy those events could happen again and change the consciousness of people forever.
Objectivity when there is no distance - a double-edged sword
Srebrenica is a really huge topic, and very difficult, especially when there is no great historical distance, on the contrary, many things related to the genocide in this city are still alive and even unfinished. And the fact is, it is very ungrateful to deal with a topic for which there are still heated passions, and on top of that to try to be objective, and even talk about the future and some kind of reconciliation. It must be said that it is very bold and very risky, especially since objectivity in such a situation, when emotions are so strong, is almost impossible.
But, Jasmila Zbanic will dare to engage in such a feat, on the one hand, wanting to testify about the Srebrenica genocide, which no one can and should not dispute, with the message that such evil anywhere in the world must not be forgotten, much less denied. On the other hand, she seems to be doing it as a kind of bringing justice to those people who are still seeking that justice, to those people for whom that "story" is not over at all, because they still do not know where the bodies of their relatives are. And there is her desire to continue with the topics of the Bosnian war, which literally changed the lives of the people, which brought so many misfortunes, so many tragedies, so many crimes that one has to live with today, and as in the case of Srebrenica, with the same people, until recently neighbors, and then bloodthirsty enemies, who now live side by side again even though the wounds are far from closed.
However, this film does not have the meaning it was intended for, because of several reasons. What is especially unusual in this case is that Zbanic will somehow try to move forward, in some way to overtake the real events, which after such occurrences need a lot of time. This has always been and will always be the case, especially when it comes to (fratricidal) war, regardless of the hand extended, regardless of the alleged reconciliation, regardless of everything, it takes time for things to fall into place, although the question is whether that will ever happen. After all, we have the example of Nazism, which even after so many years is something that arouses the same emotions, the same horror and contempt, the same feeling of unbearable and something that simply cannot be accepted. And not, when things aren’t over yet, while Zbanic is trying to talk about the view of the future and some kind of acceptance...
When the absurd is brought to the extreme
We have to admit that Jasmila Zbanic is a good director and she will make a great choice of how to approach the story, to be visible even for people who have no idea what it is about, how to find the balance, to show the real events, without condemning, nor criticizing, or taking sides. That way, the film could be seen by audiences around the world, as a story of genocide that could happen anywhere, and as a story of a mother struggling to save her family, and even as a story of system failure, but without revolt, without condemnation, without negativity, on the contrary, even in spite of obvious omissions and nebulosity.
Yes, the choice to talk about Srebrenica through the fate of the translator Aida (a fascinating role of Jasna Djuricic) stationed at the Dutch headquarters of the United Nations, under whose protection Srebrenica is at that time, is excellent. The film is run at a furious pace, which at times resembles a thriller, while Aida tries in every way to protect her husband and two sons. Indeed, in all that race and desperate struggle, Zbanic manages to show the course of the real events, and at times archival recordings, for all that horror in July 1995 when Serbian troops entered the city, when in front of the gate where UN representatives are settled, 25,000 people will seek help. In fact, not only the inhabitants of the city but also the Dutch soldiers, some of whom were even taken as hostages, were cought in all this.
But, Zbanic, although doing extensive research on the events, still, will not allow the film to be buried in data and factography, but quite wisely will bring the story through human destiny, through everything that Aida's family survives, through emotions and hell they face during those few days, when it slowly becomes clear what follows. She inevitably puts her focus on everything that the leaders of the Dutch army will have to face, the decisions they have to make when they are left in the lurch by their command headquarters and when they have to negotiate with Mladic, so suggestively played by Boris Isakovic. Zbanic manages to show all the absurdity, all the unpreparedness, all the irony, horror and chaos they are all found in, while Mladic and his people enter with full weapons in those hangars where the civilians are located and hand out bread and chocolates.
Nothing can replace the natural course of events
Zbanic tries to show all the nebulosity in some details, and even the enjoyment of torment with yesterday's neighbors, but it is certainly not easy to cover in one film all aspects of this biggest massacre that took place after the Second World War. She will have to make a choice and find a way to tell a personal story, but also to capture the general picture, how to speak about people and the scale of horror, while maintaining pace, rhythm, course of events, consistency in rounding off the details that should draw the whole picture. She does not resort to an artistic approach, as many do when it comes to war films, but on the contrary will try to be very realistic, and even approach the film in a documentary way.
But, what is missing in a film of this capacity is the natural flow, which is why we talked about the overtaking of events, which is usually achieved through those personal, individual stories, through destinies, through time. There is no place for that here, and that is real. However, it cannot be said that it is not missing. The film is significant and I would agree with its nominations, but I would also agree with not winning awards. Because, this is a film that is effective, interesting and important, but it lacks many things, most of all distance. The human factor must be sacrificed here, and that is a great misfortune. Because, such stories are the most authentic, so to speak and the most important just when we experience them through individual destinies. Not through something forced, attractive, furious, something that should replace what is not really there. And it is felt, this is a film about Srebrenica, but not enough to bring or capture the tragedy we are talking about, except indirectly, again through numbers, facts, given scenes...
Experience teaches us that life comes first, then film
And especially, when in the end Aida finds herself in such an unimaginable situation (when one of the executioners lives in her apartment), when the absurdity, injustice and "coexistence" should be emphasized again, despite all that Zbanic in the same situation tries to finish talking about the future and reconciliation. It is impossible to impose anything. As we have said, time cannot be overtaken, the natural flow cannot be replaced by anything, much less the film which, according to Zbanic’s idea, should have many missions, to build a monument and make a testament, balance to reach the broad audience, and even send a message for both evil and good??
Yes, life goes on, but not forced, not invented, not for some purpose, which, in spite of everything, leads to a certain degree of flattery. The best in the film is Djuricic, who definitely deserves an Oscar. But the question - Quo vadis, Aida?, would be a more adequate question for Jasmila Zbanic, because she made good and important films and it is very important to know where she is going and where the borders are. Yes, the film is important, but it would be much more important if it followed the logical flow of things, if she was aware of the relentlessness of time. Authors have the right to their own fictions, but they cannot go against the natural laws, they must not and should not forget, the effect is then such, because it’s the experience that teaches us that life comes first, and then film. No matter how skilled and good you are at your job, settings don’t pass, especially not in film, especially not when it comes to such topics, especially not through the camera that unmistakably captures the nuances, those nuances from which our life is woven.
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