ČLANOVI ŽIRIja
JURY MEMBERS
DA2 FILM FESTIVAL
2025
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Alemka Lisinski
Denise Zmekhol
Alen Žunić
O pobjedničkom filmušestog izdanja DA2 Film Festivala odlučuje međunarodni žiri u sastavu: Alemka Lisinski, Denise Zmekhol i Alen Žunić.
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
Žiri ističe da je sedmo izdanje festivala DA2 – Zagreb Design, Art and Architecture Film Festival donio pregršt zanimljivih filmova različitih tematskih orijentacija i pristupa. Tročlani je tim uživao gledajući to obilje, od biografije Davida Lyncha i Vasilija Kandinskog do uranjanja u umjetničke vizije arhitekata poput Sigurda Lewerentza i Rudolpha Schindlera sve do artističkih promišljanja ekoloških tema i urbanističko arhitektonskih intervencija.
NAGRADA ISKRA
„Tiranska urota“ - Manfredi Lucibello
Nagradu za najbolji film žiri je zajednički dodijelio dokumentarnom filmu Tiranska urota (Tirana Conspiracy) autora Manfredija Lucibella. Svjetski poznati talijanski fotograf Oliviero Toscani 2000. godine prihvaća poziv izdavača i art kritičara Giancarla Politija da bude kustos jedne od sekcija prvog izdanja Tiranskog bijenala. Toscani prezentira četiri autora/ice čija djela donose nelagodu, često su i više nego provokativna, u mjeri da bi mnogi dvojili ne samo oko umjetničke supstance ovih radova već i oko njihove temeljne etičke prihvatljivosti. No, što se ustvari dogodilo? Jesmo li gledali istinu ili (barem dijelom) obmanjujuću filmsku priču?
Tiranska urota u stilski snažnom izrazu na gledatelja 'baca' mnoštvo pitanja: je li provokacija u temelju svake umjetničke intervencije? Možemo li doista i do kraja vjerovati onome što vidimo vlastitim očima? Kako proniknuti u različite slojeve umjetničkog djela? Lucibellov film je lako gledljiv, ali nitko se ne bi trebao zavaravati da u toj vještoj i tečnoj strukturi nisu uključene temeljne etičke dileme – gdje počinje, a gdje završava umjetnička intervencija, i ima li umjetnost 'pravo' preskočiti sve moralne norme? Ukoliko bismo potražili igrano filmski pandan ovog dokumentarca, svakako asocijacije lete i prema švedskoj crnoj satiričnoj komediji Kvadrat Rubena Ostlunda (Zlatna palma, 2017.). I Tiranska urota, naime, dijelom zahvaća i kritički se odnosi prema često vrlo ciničnim praksama u suvremenom vrednovanju umjetničkih praksi i djela. Žiri vjeruje da nagrada Iskra – u skladu sa svojim imenom – ide u prave ruke, autoru odnosno radu koji zahvaća tzv. big picture suvremenog umjetničkog stvaranja, prelazeći granice svake pojedine umjetnosti i pitajući se što danas djelu, i naravno, umjetniku, daje vjerodostojnost?
JURY ABOUT THE SPARK AWARD
The jury notes that the seventh edition of the DA2 – Zagreb Design, Art and Architecture Film Festival brought a multitude of interesting films with different thematic orientations and approaches. The three-member team enjoyed watching this abundance, from the biographies of David Lynch and Wassily Kandinsky to immersions in the artistic visions of architects such as Sigurd Lewerentz and Rudolph Schindler, all the way to artistic reflections on ecological themes and urban-architectural interventions.
SPARK AWARD
"The Tirana Conspiracy" - Manfredi Lucibello
The jury jointly awarded the prize for best film to the documentary The Tirana Conspiracy by Manfredi Lucibello. The world-renowned Italian photographer Oliviero Toscani, in 2000, accepted the invitation of publisher and art critic Giancarlo Politi to curate one of the sections of the first edition of the Tirana Biennale. Toscani presented four artists whose works evoke discomfort, often more than provocative, to the extent that many would hesitate not only about the artistic substance of these works but also about their fundamental ethical acceptability. But what really happened? Did we see the truth or (at least partly) a deceptive film story?
The Tirana Conspiracy, in a stylistically powerful expression, ‘throws’ at the viewer a multitude of questions: is provocation at the core of every artistic intervention? Can we truly and completely trust what we see with our own eyes? How can we penetrate the different layers of a work of art? Lucibello’s film is easy to watch, but no one should be misled into thinking that within this skillful and fluent structure there are not fundamental ethical dilemmas included – where does artistic intervention begin and where does it end, and does art have the “right” to overstep all moral norms? If we were to seek a feature-film equivalent to this documentary, associations would certainly lead to the Swedish black satirical comedy The Square by Ruben Östlund (Palme d’Or, 2017). The Tirana Conspiracy, too, in part touches upon and critically relates to the often highly cynical practices in the contemporary evaluation of artistic practices and works. The jury believes that the Spark Award – true to its name – goes into the right hands, to an author and a work that grasp the so-called big picture of contemporary artistic creation, transcending the boundaries of each individual art form and asking what, today, gives a work – and, of course, an artist – credibility?
ŽIRI O POSEBNOM PRIZNANJU
„Schindler: Arhitekt prostora“ - Valentina Ganeva
Žiri dodjeljuje posebno priznanje filmu za izuzetno suptilnu, višeslojnu i vizualno preciznu rekonstrukciju života jednog od najvažnijih, a često zanemarenih arhitekata moderne arhitekture 20. stoljeća. Redateljica vješto spaja arhitektonsku analizu, kulturnu povijest i poetski filmski izraz, stvarajući portret Rudolpha Schindlera koji nadilazi biografski okvir i postaje kontemplativno putovanje kroz samu bit njegove 'prostorne' filozofije čime stvara poligon za razumijevanje arhitekture i kao intimnog iskustva, a ne samo estetskog artefakta.
Prilikom žiriranja istaknuta je sjajno balansirana primjena arhivskih snimaka i ‘svjedočenja’ Schindlerovih mentora, rivala i idola kao što su Frank Lloyd Wright ili Richard Neutra, ali i osvrta suvremenih, živih sugovornika, redom svjetski etabliranih arhitekata, poput Franka Gehrya, Thoma Maynea i Stevena Holla. Kroz pažljivo komponirane kadrove, ritmiziranu montažu, promišljenu uporabu svjetla i prostora te sugestivno pripovijedanje Meryl Streep uspješno je prenesena poruka jedinstvenosti i hrabrosti Schindlera, da u vrijeme snažnog lecorbusierovskog modernizma, koji je dominirao globalnom scenom toga vremena, pronađe svoj svijet i svojevrsni stil kojem je ostao dosljedan do zadnjega projekta.
THE JURY ON SPECIAL MENTION
"Schindler Space Architect" - Valentina Ganeva
The jury awards a special mention to the film for its exceptionally subtle, multilayered, and visually precise reconstruction of the life of one of the most important yet often overlooked architects of modern architecture in the 20th century. The director skillfully weaves together architectural analysis, cultural history, and a poetic cinematic expression, creating a portrait of Rudolph Schindler that transcends the biographical frame and becomes a contemplative journey into the very essence of his ‘spatial’ philosophy – thus opening a field for understanding architecture as an intimate experience, not merely an aesthetic artifact.
During the deliberation, the jury particularly emphasized the film’s masterful balance between archival footage and ‘testimonies’ of Schindler’s mentors, rivals, and idols, such as Frank Lloyd Wright and Richard Neutra, as well as reflections by contemporary, world-renowned architects including Frank Gehry, Thom Mayne, and Steven Holl. Through carefully composed shots, rhythmic editing, thoughtful use of light and space, and the evocative narration of Meryl Streep, the film successfully conveys the message of Schindler’s uniqueness and courage – to find his own world and distinctive style, and to remain true to it until his very last project, in an era dominated by Le Corbusier’s modernism.
Alemka Lisinski diplomirala je komparativnu književnost i francuski jezik i književnost na Filozofskom fakultetu u Zagrebu. Novinarsku karijeru započela je osamdesetih u tjedniku Polet, a potom radila u Svijetu i Danasu, gdje je postala urednica. Pisala je o filmu za Hrvatski radio, Vjesnik i Studio, te uređivala filmske emisije na Hrvatskoj televiziji. Bila je urednica kulture i zamjenica glavnog urednika Tjednika, glavna urednica hrvatskih izdanja Cosmopolitana i Elle, te direktorica i glavna urednica tportala. Kasnije je bila povjerenica Festivala Francuske u Hrvatskoj, članica Vijeća za elektroničke medije, te vodila komunikacije u UNHCR-u, Hrvatskom telekomu i Hrvatskoj narodnoj banci.
Alemka Lisinski graduated in Comparative Literature and French Language and Literature from the University of Zagreb. She began her journalism career in the 1980s at the weekly Polet, later working for Svijet and Danas, where she became editor. She wrote about film for Croatian Radio, Vjesnik, and Studio, and edited film programmes on Croatian Television. She was culture editor and deputy editor-in-chief of Tjednik, editor-in-chief of the Croatian editions of Cosmopolitan and Elle, and director and editor-in-chief of tportal. She later served as Commissioner for the Festival of France in Croatia, member of the Council for Electronic Media, and headed communications at the UNHCR, Croatian Telecom, and the Croatian National Bank.
Denise Zmekhol započela je karijeru u São Paulu kao producentica i redateljica, a danas njezin rad obuhvaća Brazil, Europu, Afriku, Aziju i Sjedinjene Države. Kao nagrađivana brazilsko-američka filmašica, autorica je hvaljenih dokumentarnkih i multimedijalnih projekata, uključujući CHILDREN OF THE AMAZON, prikazan na PBS-u i međunarodnoj televiziji, i SKIN OF GLASS, o modernističkom remek-djelu njezinog pokojnog oca koje danas nastanjuju stotine beskućnih obitelji. Njezin je režijski rad prepoznat po elegantnom vizualnom stilu, osjetljivom pripovijedanju, humoru, strasti i empatiji. Nedavno je predstavila SKIN OF GLASS na proljetnoj turneji Pop-Up Magazina 2019. u sedam gradova te na konferenciji TEDWomen Bold + Brilliant u Palm Springsu.
Denise Zmekhol’s career began in São Paulo as a producer and director and now spans the globe from Brazil, Europe, Africa, and Asia to the United States. An award-winning Brazilian-American filmmaker, she has created acclaimed documentaries and multimedia projects, including CHILDREN OF THE AMAZON—broadcast on PBS and international television—and SKIN OF GLASS, about her late father’s modernist masterpiece now inhabited by hundreds of unhoused families. Her directing is recognized for its elegant visual style, storytelling sensitivity, humor, passion, and empathy. Recently, she presented SKIN OF GLASS on the Pop-Up Magazine Spring 2019 tour in seven cities and at the TEDWomen Bold + Brilliant conference in Palm Springs.
Alen Žunić profesor je na Katedri za urbanizam Arhitektonskog fakulteta u Zagrebu, usavršavao se na prestižnim svjetskim sveučilištima; 2015. završio je postdiplomski studij teorije i filozofije arhitekture na Harvard University (GSD) s dijelom programa na MIT-u; 2016. doktorirao je na Arhitektonskom fakultetu u Zagrebu; 2017./18. na postdoktorskom je usavršavanju na ETH u Zürichu; 2019. bio je gostujući istraživač na Columbia University NY (Academy for Advanced Studies). Voditelj je kreativnog studija ALBATROSS Architecture + Research Office. Objavio je 16 autorskih, koautorskih i uredničkih knjiga. Za svoj rad dobio je dvaput Nagradu Ranko Radović, godišnju Nagradu Radovan Ivančević, Nagradu Grada Zagreba, Nagradu Vera Johanides za najboljeg mladog znanstvenika u području tehničkih znanosti u RH i Nagradu Hrvatske akademije znanosti i umjetnosti.
Alen Žunić is a professor in the Department of Urbanism at the Faculty of Architecture, University of Zagreb. He completed advanced studies at several prestigious international universities; in 2015, he earned a postgraduate degree in the theory and philosophy of
architecture from Harvard University (GSD), with part of the program at MIT. He obtained his PhD from the Faculty of Architecture in Zagreb in 2016, pursued postdoctoral research at ETH Zurich in 2017–18, and was a visiting researcher at Columbia University in New York (Academy for Advanced Studies) in 2019. He is the founder and director of the creative studio ALBATROSS Architecture + Research Office. He has published 16 authored, co-authored, and edited books, and has received numerous awards, including the Ranko Radović Award (twice), the annual Radovan Ivančević Award, the City of Zagreb Award, the Vera Johanides Award for Best Young Scientist in Technical Sciences in Croatia, and the Croatian Academy of Sciences and Arts Award.