ČLANOVI ŽIRIja
JURY MEMBERS
DA2 FILM FESTIVAL
2024
.png){kind=logo}
Dana Budisavljević
Izvorka Jurić
Martón Orosz
O pobjedničkom filmušestog izdanja DA2 Film Festivala odlučuje međunarodni žiri u sastavu: Dana Budisavljević, Izvorka Jurić i Martón Orosz.
Službena nagrada DA2 – Zagreb Design, Art & Architecture Film Festivala, Nagrada ISKRA za najinspirativniji film po ocjeni žirija dodjeljuje se s ciljem poticanja proizvodnje filmova koji tematiziraju dizajn, arhitekturu i umjetnost, razvoja kreativnog stvaralaštva te promocije hrvatske umjetnosti u svijetu.
The winning film of DA2 Film Festival’s fifth edition will be chosen by its International Jury members: Alemka Lisinski, Denise Zmekhol and Alen Žunić.
The official prize of DA2 – Zagreb Design, Art & Architecture Film Festival, is the SPARK Award for the most inspiring film according to the Jury votes. The Award is handed out with the aim of supporting production of films about design, architecture and arts, but also to encourage creativity as well as to promote Croatian art internationally.
ŽIRI O NAGRADI ISKRA
„Koža od stakla“ - Denise Zmekhol
2024. godine film Koža od stakla redateljice Denise Zmekhol jednoglasno je proglašen dobitnikom nagrade Iskra. Žiri je osobito istaknuo inovativnu narativnu strukturu filma, koja vješto isprepliće osobnu priču o redateljičinu ocu, Rogeru Zmekholu — sirijskom arhitektu imigrantu koji je svoj dom pronašao u Brazilu — s mnogo širim promišljanjem poslijeratne obnove i uspona modernizma u jednoj od najprogresivnijih i najgostoljubivijih južnoameričkih zemalja.
Ono što ovaj film doista izdvaja jest redateljičina majstorska izgradnja narativnog luka. Zmekhol uspješno zadržava pažnju gledatelja kroz gusto isprepleten slijed događaja koji su istodobno logički povezani i puni neočekivanih obrata. Prema ocjeni žirija, suptilna struktura filma ne samo da pojačava dramsku napetost već i produbljuje njegove tematske slojeve. Rezultat je djelo koje nadilazi okvir obiteljske kronike, nudeći intiman prikaz složenog odnosa između oca i kćeri, dok istodobno istražuje nasljeđe Pele de Vidro, kultne zgrade u središtu São Paula koju je 1960. izgradio Roger Zmekhol.
Daleko od tradicionalnog biografskog portreta, Skin of Glass smješta ovu osobnu priču u širi kontekst gorućih suvremenih društvenih pitanja. Film koristi Pele de Vidro — nekoć simbol brazilskog modernizma, koji je prvo služio kao korporativni ured i sjedište policije, a kasnije bio napušten i pretvoren u dom beskućnika — kao snažnu metaforu za istraživanje tema urbanog propadanja, stambene krize, društvenih nejednakosti i napetosti koje i dalje odjekuju na globalnoj razini. Suprotstavljajući prvotnu svrhu zgrade njezinu sadašnjem stanju, Zmekhol stvara dojmljiv dijalog između prošlosti i sadašnjosti, postavljajući ključna pitanja o urbanizaciji, društvenoj pravednosti i budućnosti naših gradova. To su izazovi ne samo za današnje donositelje odluka, već i za buduće generacije.
Žiri je također istaknuo redateljičino pronicljivo promišljanje o transformaciji očevih utopijskih arhitektonskih ideala u surove stvarnosti distopijske sadašnjosti. Ipak, kroz svoje pripovijedanje film naznačuje mogućnost iskupljenja — nadu da se ti distopijski ishodi mogu preokrenuti i da se može ostvariti nova utopijska vizija. Taj temeljni osjećaj optimizma, u kombinaciji s autentičnošću, emocionalnim odjekom i dojmljivom vizualnom naracijom filma, ostavio je dubok dojam na žiri, donijevši mu jednoglasne pohvale.
JURY ABOUT THE SPARK AWARD
"Skin of Glass" - Denise Zmekhol
In 2024, Denise Zmekhol's Skin of Glass was unanimously selected as the winner of the Sparks Award. The jury was particularly struck by the film's innovative narrative, which skillfully weaves together the personal story of the director's father, Roger Zmekhol—a Syrian immigrant architect who made his home in Brazil—with a broader examination of post-World War II reconstruction and the rise of modernism in one of South America's most progressive and welcoming nations.
What truly sets this film apart is the director's masterful crafting of its narrative arc. Zmekhol successfully sustains the audience's attention through a tightly interwoven sequence of events that are both logically connected and rife with unexpected twists. Based on the jury's evaluation, the film's nuanced structure not only heightens the dramatic tension but also deepens its thematic layers. The result is a work that transcends a mere family chronicle, offering an intimate portrayal of the complex relationship between a father and daughter while simultaneously delving into the legacy of the Pele de Vidro, the iconic high-rise built in São Paulo's city center in 1960 by Roger Zmekhol.
Far from being a traditional biographical portrait, Skin of Glass places this personal narrative within the broader framework of urgent contemporary social concerns. The film uses the Pele de Vidro—once a beacon of Brazilian modernism, first serving as a corporate office and police headquarters, later abandoned and claimed by the homeless as an occupied home—as a powerful metaphor to explore themes of urban decay, housing crises, social inequalities, and tensions that continue to reverberate on a global scale. By juxtaposing the building's original purpose with its current state, Zmekhol creates a compelling dialogue between past and present, raising critical questions about urbanization, social justice, and the future of our cities. These are challenges not only for today's decision-makers but for the generations to come.
The jury also highlighted the director's insightful reflection on the transformation of her father's utopian architectural ideals into the harsh realities of a dystopian present. Yet, through her storytelling, the film hints at the possibility of redemption—offering hope that these dystopian outcomes might be reversed and a new utopian vision could be realized. This underlying sense of optimism, combined with the film's authenticity, emotional resonance, and compelling visual narrative, left a profound impact on the jury, earning it unanimous acclaim.
ŽIRI O POSEBNOM PRIZNANJU
„Van Gogh: Stvaranje majstora“ - Anne Richard
Žiri je dodijelio Posebno priznanje filmu Van Gogh: The Making of a Master redateljice Anne Richard, u znak priznanja za njegov jedinstven i maštovit pristup ponovnom promišljanju života jednog od najpoznatijih umjetnika u povijesti. Umjesto da se usredotoči na već mnogo puta ispričanu priču o Van Goghovim osobnim borbama ili umjetničkim uspjesima, film zauzima inovativan pristup promatrajući naslijeđe slikara kroz prizmu njegove recepcije i ključne uloge koju je u oblikovanju njegove posmrtne reputacije odigrala njegova šogorica, Johanna Bonger. Ova svježa perspektiva omogućila je žiriju da na umjetnikov put pogleda iz potpuno novog kuta.
Ono što ovaj film izdvaja jest istraživanje često zanemarenog doprinosa Johanne Bonger Van Goghovom kasnijem usponu na slavu. Kao nasljednica Vincentove ostavštine nakon smrti svog supruga, Thea van Gogha, Bonger se morala suočiti sa značajnim društvenim preprekama, među kojima je bila i izražena spolna diskriminacija njezina vremena. Film je pažljivo prikazuje kao odlučnu, vizionarsku ženu koja je neumorno radila na promoviranju djela svog šogora, kojeg su mnogi tada nazivali „ludim“. Upravo kroz njezino pomno arhiviranje i uporno zagovaranje njegovog rada — ponajprije kroz očuvanje pisama razmijenjenih između Vincenta i Thea — film jasno pokazuje presudnu ulogu koju je Bonger imala u izgradnji Van Goghovog nasljeđa. Njezina priča pruža ključan, a često zanemaren kontrapunkt dominantnoj naraciji o Van Goghu.
Žiri je također pohvalio tehničku vještinu filma. Korištenje animacije Oerda de Van Cuijlenborga, koja dinamično stupa u interakciju s detaljima Van Goghovih slika u krupnom planu, udahnjuje novo značenje umjetninama, stvarajući dijalog između statične i pokretne slike. Taj kreativni izbor učinkovito povezuje Van Goghovu umjetnost s suvremenim vizualnim jezikom, čineći slike živima i neposrednima. Nadalje, pažljivo uključivanje arhivskih materijala — poput povijesnih fotografija i filmskih snimki s ključnih lokacija iz Van Goghovog života, osobito iz Auvers-sur-Oisea — dodaje sloj povijesne dubine koji obogaćuje narativ filma. Ti su elementi isprepleteni liričnom naracijom koja gledatelje vodi kroz osobno putovanje Johanne Bonger, ali i kroz širi povijesni kontekst.
Žiri je također primijetio da narativna struktura filma nadilazi puki biografski prikaz Bongerinog rada; ona ujedno predstavlja promišljanje o širim izazovima s kojima su se suočavale žene njezina vremena, osobito u pogledu njihove uloge u očuvanju kulturne baštine i borbi za priznanje. Rasvjetljavajući Bongerin uporan trud da Van Goghov rad dobije priznanje u razdoblju kada su se prava žena tek počela afirmirati kao važno društveno pitanje, film naglašava isprepletenost roda, umjetnosti i povijesti.
Vizualno očaravajući i narativno bogat, Van Gogh: The Making of a Master dojmljivo prenosi emocionalni intenzitet koji je Johanna Bonger proživljavala tijekom svoje dugotrajne borbe da učvrsti nasljeđe Vincenta Van Gogha. Promišljeno spajanje povijesne naracije, osobne biografije i vizualne kreativnosti rezultira višeslojnom filmskom cjelinom koja je duboko odjeknula kod žirija.
THE JURY ON SPECIAL MENTION
"Van Gogh: The Making of a Master" - Anne Richard
The jury awarded an Honorable Mention to Anne Richard's film Van Gogh: The Making of a Master in recognition of its unique and imaginative approach to revisiting the life of one of the most celebrated artists in history. Rather than focusing on the well-trodden narrative of Van Gogh's personal struggles or artistic achievements, the film takes an innovative turn by examining the painter's legacy through the lens of his reception and the pivotal role played by his sister-in-law, Johanna Bonger, in shaping his posthumous reputation. This fresh perspective allowed the jury to view the artist's journey from an entirely new angle.
What sets this film apart is its exploration of Johanna Bonger's underappreciated contribution to Van Gogh's eventual rise to fame. As the heir to Vincent's estate following the death of her husband, Theo van Gogh, Bonger had to overcome significant societal barriers, not least the gender discrimination that was rampant in her time. The film carefully portrays her as a determined, visionary woman who tirelessly worked to promote the works of her brother-in-law, who was frequently labeled as "mad." It is through her meticulous archiving and championing of his work—primarily through her preservation of the letters exchanged between Vincent and Theo—that Bonger's role in building Van Gogh's legacy is made clear. Her story provides a crucial, yet often overlooked, counterpoint to the dominant narrative about Van Gogh.
The jury also commended the film's technical prowess. Oerd de Van Cuijlenborg's use of animation, which dynamically interacts with close-up details of Van Gogh's paintings, breathes new life into the artwork, creating a dialogue between the static and the moving image. This creative choice effectively bridges Van Gogh's art with contemporary visual language, making the paintings feel immediate and alive. Moreover, the careful integration of archival materials—such as historical photographs and film footage from key locations in Van Gogh's life, particularly Auvers-sur-Oise—adds a layer of historical depth that enriches the film's narrative. These elements are woven together with a lyrical narration, guiding viewers through both Bonger's personal journey and the broader historical context.
The jury also noted that the film's narrative arc is more than just a biographical recount of Bonger's efforts; it is a reflection on the broader challenges faced by women of her time, particularly in terms of their roles in cultural preservation and their struggle for recognition. By shedding light on Bonger's perseverance in gaining acceptance for Van Gogh's work during an era when women's rights were beginning to surface as a significant social issue, the film underscores the intersections of gender, art, and history.
Visually captivating and narratively rich, Van Gogh: The Making of a Master eloquently captures the emotional intensity Johanna Bonger experienced in her long battle to establish Vincent Van Gogh's legacy. The film's thoughtful blending of historical narrative, personal biography, and visual creativity offers a multifaceted experience that resonated deeply with the jury.
Dana Budisavljević diplomirala je na Akademiji dramske umjetnosti u Zagrebu. Radi kao filmska redateljica i producentica te je suosnivačica produkcijske kuće Hulahop. Njezin redateljski debi bio je dokumentarni film "Sve 5!" (Factum, 2004.), a popularnost je stekla obiteljskim filmom o svom coming outu "Obiteljski ručak" (Hulahop, 2012.). Njezin prvi igrani film, dokudrama "Dnevnik Diane B." (Hulahop, 2019.) s velikim je uspjehom prikazan u Hrvatskoj i regiji bivše Jugoslavije. Film je osvojio Veliku zlatnu arenu na Pulskom filmskom festivalu, čime je postala prva redateljica koja je osvojila glavnu festivalsku nagradu od 1957. godine. Film je također osvojio nagradu za najbolji debitantski film u Cottbusu i nekoliko međunarodnih nagrada. Kao producentica, Dana potpisuje visoko cijenjenu dokumentarnu seriju "Betonski spavači" o modernističkoj arhitekturi u bivšoj Jugoslaviji, koju je režirao Saša Ban (Hulahop za HRT, 2017.-2023.), a koju predstavlja TVF International Sales i koja je prodana diljem svijeta. Dana također potpisuje produkciju za nekoliko kreativnih dokumentaraca hrvatskih autora te je koproducentica filma "Automobili koji su nas odvezli u kapitalizam" autora Missirkova/Bogdanova (Agitprop, 2022.) i filma "Kada dođe rat" Jana Gerbera (Pink Productions, 2018.).
Dana Budisavljević graduated from the Academy of Dramatic Art in Zagreb. She works as a film director and producer and is the co-founder of Hulahop production company. Her directorial debut was the documentary “Straight A's” (Factum, 2004), and she has gained popularity with a family film on her coming out “Family Meals” (Hulahop, 2012). Her first feature, docu-drama “The Diary of Diana B.” (Hulahop, 2019) was released in Croatia and the ex-Yu region with great success. It was awarded Grand Golden Arena at the Pula Film Festival, making her the first female director to receive the main festival award since 1957. The film also won Best Debut at Cottbus and several international awards. As a producer Dana signs highly acclaimed docu-series “Slumbering Concrete” about modernist architecture in former Yugoslavia, directed by Saša Ban (Hulahop for HRT, 2017-2023) that is represented by TVF International Sales and has been sold worldwide. Dana also signs production for several creative documentaries by Croatian authors and is co-producer of “The Cars We Drove Into Capitalism” by Missirkov/Bogdanov (Agitprop, 2022) and “When the War Comes” by Jan Gerber (Pink Productions, 2018).
Izvorka Jurić diplomirana je dizajnerica i edukatorica s bogatim iskustvom u području dizajna. Nakon završetka Studija dizajna pri Arhitektonskom fakultetu Sveučilišta u Zagrebu 2000. godine, s dvoje partnera osniva TRIDVAJEDAN tržišne komunikacije gdje djeluje kao managing partnerica i dizajnerica, zatim kao art direktorica, te kao kreativna i art direktorica. Od 2011. godine samostalno djeluje kroz Design Bureau Izvorka Jurić na brojnim dizajn projektima. Profesionalni status potvrđuje s preko 25 godina iskustva u različitim projektima vizualne komunikacije i kroz edukaciju u dizajnu. Iza sebe ima brojne uspješno realizirane projekte na hrvatskom i globalnom tržištu. Godine 2023. udružila je snage s Juricom Kosom i preimenovala studio u Dig Studio, koji danas vodi okupljajući tim različitih stručnjaka. Od samih početaka karijere aktivno je uključena u obrazovanje u dizajnu. Zaposlena je kao docentica na Studiju dizajna pri Arhitektonskom fakultetu Sveučilišta u Zagrebu, gdje na preddiplomskom studiju predaje kolegije "Strategije brendiranja 1" i "Strategije brendiranja 2", dok na diplomskom studiju predaje kolegije "Upravljanje dizajnom" i "Održivi dizajn". Vanjska je suradnica na Sveučilištu Algebra, gdje predaje na kolegiju "Vizualno oblikovanje 5 – Ambalaža" te mentorira studente u izradi završnih radova. Projekti su joj objavljivani u mnogim stručnim publikacijama, redovito sudjeluje na stručnim izložbama i konferencijama te je dobitnica mnogih domaćih i međunarodnih nagrada i priznanja od kojih su najznačajnije: četiri puta dobitnica Red Dot, tri puta dobitnica Pentawards, dva puta Ed-Awards nagrade, The Dieline Award, WorldStar, nominaciju za President’s Award, BEDA European Design Award, Creativity Gold Award, Eurobest, ADI New Designer Award, IdejaX, CroPak, RegPak, Art Directors Club Croatia, HOW Award, Graphis “G” Gold Award, D&AD, Cresta International i mnoge druge.
Izvorka Jurić is a designer and educator with extensive experience in the field of design. After completing her studies at the School of Design, Faculty of Architecture, University of Zagreb, in 2000, she co-founded TRIDVAJEDAN Market Communications with two partners. Since then, she has taken on various roles within the company, including managing partner, designer, art director, and creative director. In 2011, she launched her independent practice, Design Bureau Izvorka Jurić, where she worked on numerous design-related projects. With over 25 years of experience in diverse visual communication projects and educational initiatives, she has established herself as a seasoned professional and has a track record of successfully executing projects in both the Croatian and global markets. In 2023, she partnered with Jurica Kos and changed the name of her studio to Dig Studio, which she leads today, and collaborates with a team of experts on a variety of visual communication projects. She has been actively involved in design education from early in her career. She is employed as an assistant professor at the School of Design, Faculty of Architecture, University of Zagreb, where she teaches undergraduate courses such as "Branding Strategies 1" and "Branding Strategies 2," as well as graduate courses, including "Design Management" and "Green Design." Additionally, she is an external collaborator at Algebra University, where she teaches "Visual Design 5 – Packaging" and mentors students on final projects. Her work has been widely published in professional journals, and she frequently participates in exhibitions and conferences. She has received numerous domestic and international awards and recognitions, including four Red Dot Awards, three Pentawards, two Ed-Awards, the Dieline Award, WorldStar, a nomination for the President’s Award, BEDA European Design Award, Creativity Gold Award, Eurobest, ADI New Designer Award, IdejaX, CroPak, RegPak, Art Directors Club Croatia, HOW Award, Graphis “G” Gold Award, D&AD, Cresta International, and more.
Márton Orosz osnivač je i kustos Zbirke fotografije i medijske umjetnosti u Mađarskoj narodnoj galeriji. Od 2014. godine obnaša dužnost direktora Muzeja Vasarely u Budimpešti. Kurirao je brojne izložbe diljem svijeta, napisao knjige i članke o raznim temama vezanim uz umjetnost te održao predavanja na nizu lokacija, uključujući Europu, Sjedinjene Američke Države i Aziju. Njegovo istraživanje obuhvaća širok raspon područja, uključujući medije temeljene na svjetlu, fotografiju, avangardne kolekcije, apstraktnu geometrijsku i kinetičku umjetnost, računalnu umjetnost, film i animirani film. Njegov debitantski dokumentarni film, „György Kepes – Međurazmišljanje umjetnosti + znanosti“, dovršen je 2023. godine. Osvojio je nagradu Iskra za najbolji film na filmskom festivalu DA2 u Zagrebu te je prepoznat na brojnim međunarodnim festivalima i događajima, uključujući New Media Film Festival u Los Angelesu.
Márton Orosz serves as the founder and Curator of the Collection of Photography and Media Arts at the Hungarian National Gallery. Since 2014, he has been the Director of the Vasarely Museum in Budapest. He has curated numerous exhibitions across the globe, written books and articles on various art-related subjects, and delivered lectures in several locations, including Europe, the United States, and Asia. His research encompasses a wide range of fields, including light-based media, photography, avant-garde collecting, abstract geometric and kinetic art, computer art, motion picture, and animated film. His debut documentary, “György Kepes – Interthinking Art + Science”, was completed in 2023. It won the Iskra Award for Best Film at the DA2 Film Festival in Zagreb and has been recognized at numerous international festivals and events since, including the New Media Film Festival in Los Angeles.