THE WOMAN WITH A BROKEN NOSE
This is a film about impossible loves.
That can save lives.
A young woman (25) with a baby and a freshly broken nose steps out of a taxi caught in a traffic jam on the Belgrade bridge, leaving the baby behind in the car, and throws herself off the bridge.
This suicide attempt connects the destinies of three witnesses. It triggers the emotionally “frozen” lives of three people – all indirect victims of the social turbulences, violence and destruction of previous years – making them intersect and begin to move forward.
The taxi driver Gavrilo (40), a hard-boiled Bosnian refugee in Belgrade, is stuck with the abandoned baby; the highschool teacher Anica's (36) trauma of losing her son when an unsentenced jeep driver ran him over, is evoked; and the pharmacist Biljana (30) suddenly realizes that she doesn’t want to marry her elegant fiancé, and runs away.
Gavrilo searches the hospitals for the identity of the woman with the broken nose, in order to know what to do with the baby. He finds her, she is in coma, her identity is a mystery.
Anica, the highschool teacher, is for some reason very shaken up when she encounters her student Marko (17), she tries to avoid him, and her reactions only provoke his falling in love with her.
Biljana, the pharmacist, while visiting the grave of her long-lost and only love encounters his brother Stefan (29), who became a priest, who is married, and his wife is pregnant.
Each of them experience a clash with impossible love, in a different form: Gavrilo, asocial misanthrope, starts to fight for the life of the unknown woman, by talking to her in attempts to wake her from coma, and reluctantly taking care of the baby – expiriencing a change through building a reason for living for another human being.
Anica harshly refuses any communication with the teenager student Marko, who doesn’t give up attempts to get closer to his intriguing teacher, and learns the secret behind her behaviour.
Biljana too late realizes that maybe Stefan (the priest) is the one she loves – while for Stephan she was always the one.
SCENARIO / WRITTEN BY
Jelena Mitrović, Srdan Golubović, Alexander Ris
DIRECTOR OF PHOTOGRAPHY
Zorana Petrov, Lana Prolić
Nebojša Glogovac - Gavrilo
Anica Dobra - Anica
Vuk Kostić - Stefan
Nada Šargin - Žena sa slomljenim nosem
Jasna Žalica - Jadranka
Nikola Rakočević - Marko
Dubravka Kovjanić - Milica
Vojin Ćetković - Goran
Ljubomir Bandović - Rajko taksista
Rada Đuričin - Dragica
Miodrag Milovanov - Bogdan
Srđan Todorović - Bariton
Dara Đokić - Direktorka škole
In clashes with impossible loves, unexpected saviors in different ways save each other and discover a reason for living.
It’s a film about Belgrade today, in a moment when the pendulum of energy and emotions is swinging from the years of wars, destruction, hatered – to the other end: to life, the rediscovery of love, and overcoming the scars of the past.
It’s a film about people fixing their messed up lives. Film about people in the “emotional transition”.
The story is interwoven and integrated through driving of the taxi driver Gavrilo (on the background of Belgrade in this specific moment), like a ‘city road movie’ in stylistic and rhitmical sense. (Though the story is seemingly built from three character driven narrative lines, they blend into one.)
Directorial style of narration will combine emotions and humor which naturaly arises from realisticly treated and established situations.
In directors sense – this is a film as direct as possible, drowned in the story and actors, sad but funny at the same time and serious in the core, with discreet directors means and conduct, with discreet transitions, in order to avoid the formalistic ‘distance’ in perception.
It means reduced acting expresion, with slight accents on chosen places.
Visualy – wide shots of city spaces are discreetly reflecting or juxtaposing the characters emotions, this way creating the ‘tone’ of the film. Visual leit-motiv is the bridge, and some repeating visual elements (walking, driving) and camera positions, which blend the narrative lines and in ‘musical’ sense control the structure.
Lots of rain, water, and night scenes, but a warm film (warm colours juxtaposed to gray/blue surrounding).
After a furious beginning – slower tempo of narration, subordinated to the characters which are ‘driving’ the story.
The result should a film which unpretentiously offers gentle positive energy, without closing the eyes in front of harsh reality.
| Srđan Koljević |
Srđan Koljević FILMOGRAPHY
“Kaži zašto me ostavi" (1993, co - scriptwriter)
"Ubistvo s predumišljajem" (1996, script assistant)
"Stršljen" (1998, co - scriptwriter)
"Nebeska udica" (2000, co - scriptwriter)
"Normalni ljudi" (2001, co - scriptwriter)
"Nataša" (2001, scriptwriter)
"Sivi kamion crvene boje" (2004, director i scriptwriter)
"Eduart" (2007, supervisor - script assistant)
“Klopka” (2007, co - scriptwriter)
"Ljubav i drugi zločini" (2008, co - scriptwriter)