{"id":111,"date":"2013-03-17T00:25:48","date_gmt":"2013-03-17T04:25:48","guid":{"rendered":"http:\/\/aleksandarpetrovic.org\/english\/?page_id=111"},"modified":"2014-01-12T16:43:51","modified_gmt":"2014-01-12T16:43:51","slug":"the-days","status":"publish","type":"page","link":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-days\/","title":{"rendered":"Days"},"content":{"rendered":"\n\n\n
\n

\"dani_en\"<\/a><\/h2>\n<\/td>\n

\n

(Dani)<\/h2>\n

“The voice of new Yugoslav cinema.”<\/i><\/b><\/h4>\n

Daniel Goulding<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n\n
Production company:<\/strong><\/td>\nAvala film, Beograd 1963<\/strong><\/td>\n<\/tr>\n
Screenplay:<\/strong><\/td>\nAleksandar Petrovi\u0107, Bora \u0106osi\u0107, Du\u0161an Mati\u0107, Du\u0161an Stojanovi\u0107<\/td>\n<\/tr>\n
Director:<\/strong><\/td>\nAleksandar Petrovi\u0107<\/td>\n<\/tr>\n
Set Design:<\/strong><\/td>\nNikola Raji\u0107<\/td>\n<\/tr>\n
Cinematography:<\/strong><\/td>\nAleksandar Petkovi\u0107<\/td>\n<\/tr>\n
Producer:<\/strong><\/td>\nVeljko Despotovi\u0107<\/td>\n<\/tr>\n
Film Editing: <\/strong><\/td>\nMirjana Miti\u0107<\/td>\n<\/tr>\n
Music: <\/strong><\/td>\nVasilije Belo\u0161evi\u0107<\/td>\n<\/tr>\n
Cast:<\/strong><\/td>\nOlga Vujadinovi\u0107, Ljubi\u0161a Samard\u017ei\u0107, Tatjana Lukijanova<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

Plot Summary:<\/b><\/h3>\n
\"\"<\/a>
Olga Vujadinovi\u0107 and Ljubi\u0161a Samard\u017ei\u0107<\/figcaption><\/figure>\n

Far from the realism in style in Yugoslav films from the sixties, Alexander Petrovic connects people’s individuality to their psychologica lconflicts, eroticism, and poetic discourse. This intimate film is a meditation about solitude broken by a brief meeting between a married woman and a student.<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

Awards, honors, festivals<\/b>:<\/h3>\n\n\n\n
\n\"\"<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

\"\"<\/a><\/p>\n

Press excerpts<\/b>:<\/b><\/h3>\n

\u00a0“Petrovic not only knows how to lead adventures, accumulate “signs,” or incessantly\u00a0 show\u00a0 “the\u00a0 other\u00a0 side\u00a0 of\u00a0 things,”\u00a0 he\u00a0 is\u00a0 also\u00a0 an\u00a0 exceptional talent,\u00a0 penetrating,\u00a0 in\u00a0 describing\u00a0 “the\u00a0 voices,”\u00a0 the\u00a0 alternatives.\u00a0 In reducing\u00a0 the\u00a0 narration\u00a0 and\u00a0 the\u00a0 description\u00a0 to\u00a0 its\u00a0 smallest\u00a0 state,\u00a0 he develops\u00a0 “situations,”\u00a0 not\u00a0 events;\u00a0 this\u00a0 lyrical\u00a0 movie\u00a0 possesses\u00a0 an unforgettable\u00a0 charm,\u00a0 and\u00a0 so\u00a0 do\u00a0 the\u00a0 actors\u00a0 in\u00a0 his\u00a0 film.\u00a0 He\u00a0 feeds\u00a0 the spectators’ eyes while simultaneously feeding thoughts and feelings. His films, which could only be a cautious and personal meditation,\u00a0 touch us directly,\u00a0 because\u00a0 they\u00a0 relate\u00a0 to\u00a0 a\u00a0 hurt\u00a0 love,\u00a0 to\u00a0 solitude,\u00a0 to\u00a0 a\u00a0 deep unhappiness; all with death present.”<\/em> – ARTS – Gilbert Guez<\/p>\n

<\/h6>\n

“Freed film” INDIAN UNIVERSITY PRESS BLOOMINGTON
\nThe films When Love Has Gone<\/strong> and Days<\/strong> greatly shook Yugoslav socialist cinematography\u00a0 because\u00a0 they\u00a0 were\u00a0 the\u00a0 first\u00a0 films\u00a0 that’s\u00a0 didn’t\u00a0 portray propaganda.\u00a0 Alexander\u00a0 Petrovic was\u00a0 called\u00a0 by\u00a0 the western\u00a0 press\u00a0 “the voice of new Yugoslav cinema.” The Yugoslav press spoke of occidental decadence\u00a0 and\u00a0 collusion\u00a0 with\u00a0 the\u00a0 west.\u00a0 Petrovic’s\u00a0 new\u00a0 style\u00a0 bothers people. Alexander Petrovic did not expect to film a feature film easily. He returned\u00a0 to his documentaries and short\u00a0 films, and\u00a0 treated\u00a0 them with a poetic modernity.<\/em><\/p>\n

\"\"<\/a>
Olga Vujadinovi\u0107<\/figcaption><\/figure>\n

Alexander Petrovic about cinema:<\/h3>\n

\u00ab It was never my goal to create something preconceived, but to express what I was feeling.<\/em><\/p>\n

<\/h6>\n

Sometimes\u00a0 a\u00a0 photograph\u00a0 or\u00a0 a\u00a0 row\u00a0 of\u00a0 trees\u00a0 can\u00a0 be\u00a0 of\u00a0 better\u00a0 use\u00a0 than 5,000\u00a0 replies. Why would a\u00a0 character’s psychology be better explained through a face or a word. Facial expressions is overrated. I always start from an experience\u00a0 that\u00a0 touched and\u00a0 inspired me, and\u00a0 I search\u00a0 for\u00a0 the solution\u00a0 in\u00a0 the materials\u00a0 I use. We can\u00a0 transpose a subject\u00a0 literally,\u00a0 for example\u00a0 a\u00a0 breakup\u00a0 between\u00a0 two\u00a0 characters;\u00a0 but\u00a0 we\u00a0 must\u00a0 live\u00a0 it subjectively for a rationalist construction harmonizes with it.<\/em><\/p>\n

<\/h6>\n

I do not make a\u00a0 film about one actor, not even about\u00a0 the\u00a0 character he plays, but on an idea or an emotion.<\/em><\/p>\n

<\/h6>\n

For me, it is essential that a film today be sincere and true, a confession of sorts, a picture of life from one’s own eyes, a part of the modern man’s conscience.<\/em><\/p>\n

<\/h6>\n

There are no lies in art. Art knows only truth. We are not judges, nor are we prophets or propagandists.<\/em><\/p>\n

<\/h6>\n

\u2026 The logical evolution of cinematographic art and the film market push us\u00a0 to\u00a0 make\u00a0 simultaneously\u00a0 artistic\u00a0 and\u00a0 commercial\u00a0 films,\u00a0 which\u00a0 I\u00a0 can assure\u00a0 you\u00a0 is\u00a0 extremely\u00a0 complicated.\u00a0 I\u00a0 think\u00a0 that\u00a0 it\u00a0 is\u00a0 crucial,\u00a0 in\u00a0 the context of global cinematography, to separate the dilettante exhibitionism from\u00a0 true\u00a0 poetic\u00a0 adventure. When\u00a0 we\u00a0 will\u00a0 have\u00a0 succeeded\u00a0 in\u00a0 filtering these concepts, we will have a significantly more artistic cinematography, and the public will grow accordingly. “<\/em><\/p>\n

\"\"<\/a>
1962 Aleksandar Petrovic on the shooting of Days<\/figcaption><\/figure>\n

Eclisse\u2019s insinuation:<\/h3>\n

“My\u00a0 films When\u00a0 Love\u00a0 Has\u00a0 Gone<\/strong><\/em>\u00a0 and\u00a0 Days\u00a0<\/strong> <\/em>were\u00a0 screened\u00a0 last\u00a0 year during my\u00a0 retrospective at La Rochelle\u00a0 (1986). During a\u00a0 very animated press conference, Marcel Martin asked me if these two films were filmed under the influence of Czech cinema, and if I had seen Czech films prior to\u00a0 filming\u00a0 (Forman,\u00a0 Passek\u00a0 etc.).\u00a0 I\u00a0 responded\u00a0 that\u00a0 I\u00a0 had\u00a0 not\u00a0 had\u00a0 the opportunity to see these films prior to filming because those Czech films had not yet been produced at that point in time. Those cinematographers could have possibly seen my films, but it was impossible for me to have seen theirs. Today, I don’t want to talk about whether they have seen my films or not. But it is certain that I could not have seen their films in 1961 (the year of the filming if When Love Has Gone<\/strong><\/em>) since their movies were filmed\u00a0 in\u00a0 1963.\u00a0 This\u00a0 resembles\u00a0 the Antonioni\u00a0 story\u00a0 and\u00a0 the\u00a0 insinuation that When Love Has Gone was inspired by Eclisse (Eclipse)<\/strong><\/em>. That film was also made later (1962)… And remember that the scenario for When Love Has Gone<\/strong><\/em> was written in 1959. A.P.<\/p>\n