ČLANOVI ŽIRIja
JURY MEMBERS
DA2 FILM FESTIVAL
2024
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Dana Budisavljević
Izvorka Jurić
Márton Orosz
O pobjedničkom filmušestog izdanja DA2 Film Festivala odlučuje međunarodni žiri u sastavu: Dana Budisavljević (filmska redateljica i producentica), Izvorka Jurić (dizajnerica i edukatorica) i Márton Orosz (kustos).
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: Dana Budisavljević (film director and producer), Izvorka Jurić (designer and educator) and Márton Orosz (curator).
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 FESTIVALA
KOŽA OD STAKLA
Denise Zmekhol
„Godine 2024., film Koža od stakla Denise Zmekhol jednoglasno je izabran za dobitnika nagrade ISKRA. Žiri je bio posebno impresioniran inovativnom naracijom filma, koja vješto spaja osobnu priču redateljičinog oca, Rogera Zmekhola—sirijskog imigrantskog arhitekta koji je svoj dom pronašao u Brazilu—s širim pregledom obnove nakon Drugog svjetskog rata i uspona modernizma u jednoj od najprogresivnijih i najgostoljubivijih nacija Južne Amerike.
Ono što ovaj film zaista izdvaja je redateljičino majstorsko oblikovanje narativnog luka. Zmekhol uspješno zadržava pozornost publike kroz čvrsto isprepleten slijed događaja koji su logično povezani, a istovremeno obiluju neočekivanim obratima. Prema ocjeni žirija, suptilna struktura filma ne samo da pojačava dramatičnu napetost, već i produbljuje tematske slojeve. Rezultat je djelo koje nadilazi obiteljsku kroniku, nudeći intiman prikaz složenog odnosa oca i kćeri, istovremeno istražujući naslijeđe Pele de Vidra, kultne visoke zgrade izgrađene u središtu São Paula 1960. godine, koju je dizajnirao Roger Zmekhol.
Daleko od tradicionalnog biografskog portreta, Koža od stakla postavlja ovu osobnu priču unutar šireg okvira suvremenih društvenih pitanja. Film koristi Pele de Vidro—nekada simbol brazilskog modernizma, prvo korporativni ured i sjedište policije, a kasnije napušten i preuzet od strane beskućnika kao zauzet dom—kao snažnu metaforu za istraživanje tema urbane propasti, stambene krize, društvenih nejednakosti i napetosti koje i dalje odjekuju na globalnoj razini. Suprotstavljajući izvornu svrhu zgrade njenom trenutnom stanju, Zmekhol stvara uvjerljiv dijalog između prošlosti i sadašnjosti, postavljajući ključna pitanja o urbanizaciji, društvenoj pravdi i budućnosti naših gradova. To su izazovi ne samo za današnje donositelje odluka, već i za buduće generacije.
Žiri je također istaknuo redateljičinu uvidnu refleksiju o transformaciji utopijskih arhitektonskih ideala njenog oca u surove stvarnosti distopijske sadašnjosti. Ipak, kroz svoje pripovijedanje, film nagovještava mogućnost iskupljenja—nudeći nadu da bi se ovi distopijski ishodi mogli preokrenuti i da bi se mogla ostvariti nova utopijska vizija. Taj osjećaj optimizma, u kombinaciji s autentičnošću filma, njegovom emotivnom snagom i snažnim vizualnim narativom, ostavio je dubok dojam na žiri, što mu je donijelo jednoglasno priznanje.
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THE JURY ABOUT THE FESTIVAL AWARD
SKIN OF GLASS
Denise Zmekhol
"In 2024, Denise Zmekhol's Skin of Glass was unanimously selected as the winner of the Spark 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 počasno priznanje filmu Anne Richard Van Gogh: Stvaranje majstora u znak priznanja za njegov jedinstven i maštovit pristup ponovnom promišljanju života jednog od najcjenjenijih umjetnika u povijesti. Umjesto da se usredotoči na već poznatu priču o Van Goghovim osobnim borbama ili umjetničkim postignućima, film se inovativno okreće istraživanju nasljeđa slikara kroz prizmu njegove recepcije i ključne uloge koju je odigrala njegova šogorica, Johanna Bonger, u oblikovanju njegove posmrtne reputacije. Ova nova perspektiva omogućila je žiriju da promatra Van Goghovo putovanje iz potpuno novog kuta.
Ono što ovaj film izdvaja je istraživanje podcijenjenog doprinosa Johanne Bonger Van Goghovom kasnijem usponu do slave. Kao nasljednica Vincentove ostavštine nakon smrti svog supruga Thea van Gogha, Bonger je morala prevladati značajne društvene prepreke, a ne najmanje važna bila je diskriminacija prema ženama, koja je bila raširena u njezino vrijeme. Film pažljivo prikazuje Bonger kao odlučnu, vizionarsku ženu koja je neumorno radila na promociji djela svog šogora, često označenog kao "lud". Kroz njeno metodično arhiviranje i zalaganje za njegova djela—prvenstveno kroz očuvanje pisama koje su razmjenjivali Vincent i Theo—postaje jasna Bongerinina uloga u izgradnji Van Goghove ostavštine. Njezina priča pruža ključnu, a često zanemarenu, protutežu dominantnoj priči o Van Goghu.
Žiri je također pohvalio tehničku izvrsnost filma. Korištenje animacije Oerda de Van Cuijlenborga, koja dinamično interagira s detaljima Van Goghovih slika, udahnjuje novi život umjetničkim djelima, stvarajući dijalog između statične i pokretne slike. Ovaj kreativni izbor učinkovito povezuje Van Goghovu umjetnost s suvremenim vizualnim jezikom, čineći slike neposrednim i živim. Osim toga, pažljivo uključivanje arhivskih materijala—poput povijesnih fotografija i filmskih isječaka s ključnih lokacija u Van Goghovu životu, posebice iz Auvers-sur-Oisea—dodaje sloj povijesne dubine koji obogaćuje narativ filma. Ovi elementi su isprepleteni s liričnom naracijom, koja vodi gledatelje kroz Bongerinino osobno putovanje i širi povijesni kontekst.
Žiri je također primijetio da narativni luk filma nije samo biografski prikaz Bongerinog truda; to je refleksija o širim izazovima s kojima su se suočavale žene njezinog doba, posebno u pogledu njihove uloge u očuvanju kulture i borbi za priznanje. Osvjetljavanjem Bongerinog ustrajnog napora da postigne priznanje za Van Goghova djela u vrijeme kada su ženska prava tek počela izlaziti na površinu kao značajno društveno pitanje, film naglašava isprepletenost roda, umjetnosti i povijesti.
Vizualno očaravajuć i narativno bogat, Van Gogh: Stvaranje majstora elokventno dočarava emocionalni intenzitet koji je Johanna Bonger proživljavala u svojoj dugoj borbi za uspostavljanje ostavštine Vincenta Van Gogha. Promišljeno spajanje povijesnog narativa, osobne biografije i vizualne kreativnosti nudi višeslojno iskustvo koje je duboko odjeknulo kod žirija.
THE JURY ABOUT 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 graduate 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.