{"id":138,"date":"2013-04-09T19:23:19","date_gmt":"2013-04-09T23:23:19","guid":{"rendered":"http:\/\/aleksandarpetrovic.org\/english\/?page_id=138"},"modified":"2025-06-18T09:35:26","modified_gmt":"2025-06-18T13:35:26","slug":"when-love-has-gone-2","status":"publish","type":"page","link":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/when-love-has-gone-2\/","title":{"rendered":"Group Portrait With A Lady"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\"><strong>(Grupni Portret Sa Damom) <\/strong><\/h2>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>orig.&nbsp;<b>Gruppenbild Mit Dame<\/b><\/strong><\/h2>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-23.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-23.png\" alt=\"\"\/><\/a><\/figure>\n\n\n\n<p><strong><em>I wanted to underline the kindness, the human warmth of a Germany represented by Leni Gruyten, a woman who knows how to love and give in a world where everyone takes. &#8211; Aleksandar Petrovic<\/em><\/strong><\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-table\"><table class=\"has-fixed-layout\"><tbody><tr><td><strong>Co-Production:<\/strong><\/td><td>Stella-Film, M\u00fcnchen, Les Artistes Associ\u00e9s, Paris, Cin\u00e9ma 77 Betelinguns GMBH &amp; Co.<br>Produktions KG, ZDH, MAINZ. <strong>1977<br><\/strong><\/td><\/tr><tr><td><strong>Screenplay<\/strong>:<\/td><td>Aleksandar Petrovi\u0107, after the novel by Nobel prize winner Heinrich B\u00f6ll<\/td><\/tr><tr><td><strong>Director<\/strong>:<\/td><td>Aleksandar Petrovi\u0107<\/td><\/tr><tr><td><strong>Set Design<\/strong>:<\/td><td>Vlastimir Gavrik, Reinhard Seigmund<\/td><\/tr><tr><td><b>Cinematography<\/b>:<\/td><td>Pierre William Glenn<\/td><\/tr><tr><td><b>Art Director<\/b>:<\/td><td>Vlastimir Gavrik<\/td><\/tr><tr><td><b>Producer<\/b>:<\/td><td>Martin Hellstern, Hans Pfl\u00fcger<\/td><\/tr><tr><td><b>Film Editing<\/b>:<\/td><td>Marika Radvanyi, Agape von Dorstewitz<\/td><\/tr><tr><td><b>Choice of Music<\/b>:<\/td><td>Aleksandar Petrovi\u0107<\/td><\/tr><tr><td><b>Music<\/b>:<\/td><td>Nightingale (Russian poem)<br><br><audio controls=\"\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/mp3\/17.%20Ruska%20narodna%20pesma%20-%20Slavuj%20(Grupni%20portret%20sa%20damom,%201977).mp3\"><\/audio> <br>Wolfgang Amadeus Mozart, Franz Schubert<\/td><\/tr><tr><td>Cast:<\/td><td>Romy Schneider, Brad Dourif, Michel Galabru, Rudiger V\u00f6gler, Vadim Glowna, Richard M\u00fcnch, Milena Dravi\u0107, Vitus Zeplichal, Velimir Bata \u017divojinovi\u0107, Fritz Lichtenhahn, Rudolf Sch\u00fcndler, Gefion Helmke, Wolfgang Condrus, Peter Kern, Dieter Schidor, Isolde Barth, Milosav Aleksi\u0107, Elisabeth Bertram, Dragomir Gidra Bojani\u0107, Max Buchsbaum, Connie Diem, Christian Hanft, Karl Heuer, Hannes Kaetner, Bettina Kenter, Joachim Kerzel, Heinz Lieven, Evelyn Meyka, Annie Monange, Dorothea Moritz, K\u00e1roly Nagy, Witta Pohl, Kurt Raab, Alexander Radszun, Heidi Schaffrath, Erich Schwarz, Walter Tappe, Sabine Titze, Charlotte Adami, Carl Duering, Irmgard F\u00f6rst, Ingeborg Lapsien, Eva Ras, Manfred T\u00fcmmler<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic.png\" alt=\"\"\/><\/a><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Photo Gallery<\/h3>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-2.png\"><img decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-2-150x150.png\" alt=\"portrair de groupe avec dame FR Aleksandar Petrovic 2\" class=\"wp-image-382\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-3.png\"><img decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-3-150x150.png\" alt=\"portrair de groupe avec dame FR Aleksandar Petrovic 3\" class=\"wp-image-383\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-4.png\"><img decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-4-150x150.png\" alt=\"portrair de groupe avec dame FR Aleksandar Petrovic 4\" class=\"wp-image-384\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-7.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-7-150x150.png\" alt=\"portrair de groupe avec dame FR Aleksandar Petrovic 7\" class=\"wp-image-387\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-6.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-6-150x150.png\" alt=\"portrair de groupe avec dame FR Aleksandar Petrovic 6\" class=\"wp-image-386\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-5.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-5-150x150.png\" alt=\"portrair de groupe avec dame FR Aleksandar Petrovic 5\" class=\"wp-image-385\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-9.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-9-150x150.png\" alt=\"portrair de groupe avec dame FR Aleksandar Petrovic 9\" class=\"wp-image-389\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-101.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-101-150x150.png\" alt=\"portrair de groupe avec dame FR Aleksandar Petrovic 10\" class=\"wp-image-401\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom-aleksandar-petrovic-3.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom-aleksandar-petrovic-3-150x150.png\" alt=\"grupni portret s damom aleksandar petrovic 3\" class=\"wp-image-1613\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom-aleksandar-petrovic-4.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom-aleksandar-petrovic-4-150x150.png\" alt=\"grupni portret s damom aleksandar petrovic 4\" class=\"wp-image-1614\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-11.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-11-150x150.png\" alt=\"portrair de groupe avec dame FR Aleksandar Petrovic 11\" class=\"wp-image-391\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom-aleksandar-petrovic-5.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom-aleksandar-petrovic-5-150x150.png\" alt=\"grupni portret s damom aleksandar petrovic 5\" class=\"wp-image-1615\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-13.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-13-150x150.png\" alt=\"portrair de groupe avec dame FR Aleksandar Petrovic 13\" class=\"wp-image-393\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-danom-2.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-danom-2-150x150.png\" alt=\"grupni portret s danom 2\" class=\"wp-image-1604\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-141.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-141-150x150.png\" alt=\"portrair de groupe avec dame FR Aleksandar Petrovic 14\" class=\"wp-image-1676\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-15.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-15-150x150.png\" alt=\"portrair de groupe avec dame FR Aleksandar Petrovic 15\" class=\"wp-image-395\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom-aleksandar-petrovic-7.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom-aleksandar-petrovic-7-150x150.png\" alt=\"grupni portret s damom aleksandar petrovic 7\" class=\"wp-image-1617\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom-aleksandar-petrovic-8.png\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom-aleksandar-petrovic-8-150x150.png\" alt=\"grupni portret s damom aleksandar petrovic 8\" class=\"wp-image-1618\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portret-ge-gruoupe-avec-damme.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portret-ge-gruoupe-avec-damme-150x150.jpg\" alt=\"portret ge gruoupe avec damme\" class=\"wp-image-1990\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom18.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom18-150x150.jpg\" alt=\"grupni portret s damom18\" class=\"wp-image-2007\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom16.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom16-150x150.jpg\" alt=\"grupni portret s damom16\" class=\"wp-image-2005\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom14.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom14-150x150.jpg\" alt=\"grupni portret s damom14\" class=\"wp-image-2003\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom13.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom13-150x150.jpg\" alt=\"grupni portret s damom13\" class=\"wp-image-2002\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom12.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom12-150x150.jpg\" alt=\"grupni portret s damom12\" class=\"wp-image-2001\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom9.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom9-150x150.jpg\" alt=\"grupni portret s damom9\" class=\"wp-image-1999\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom7.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom7-150x150.jpg\" alt=\"grupni portret s damom7\" class=\"wp-image-1998\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom4.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom4-150x150.jpg\" alt=\"grupni portret s damom4\" class=\"wp-image-1996\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom3.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom3-150x150.jpg\" alt=\"grupni portret s damom3\" class=\"wp-image-1995\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom2.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom2-150x150.jpg\" alt=\"grupni portret s damom2\" class=\"wp-image-1994\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom1.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom1-150x150.jpg\" alt=\"grupni portret s damom1\" class=\"wp-image-1993\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrait-de-groupe-avec-dame_348433_11701.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrait-de-groupe-avec-dame_348433_11701-150x150.jpg\" alt=\"portrait-de-groupe-avec-dame_348433_11701\" class=\"wp-image-2008\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrait-de-groupe-avec-dame_348432_15777.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrait-de-groupe-avec-dame_348432_15777-150x150.jpg\" alt=\"portrait-de-groupe-avec-dame_348432_15777\" class=\"wp-image-2010\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom-aleksandar-petrovic-91.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom-aleksandar-petrovic-91.png\" alt=\"\"\/><\/a><figcaption class=\"wp-element-caption\">Romy Schneider as Leni Gruyten<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Plot Summary:<\/strong><\/h3>\n\n\n\n<p>In 1966, in the cemetery of a German convent, red roses grow on the grave of Sister Rachel, a Jewish woman who died of hunger and cold in 1943. A miracle, or fraud? Leni Gruyten, a former student of the convent, is suspicious. Leni and Sister Rachel were very close. But Leni was expelled because of her rebellious ways\u2026<\/p>\n\n\n\n<p>We now find Leni at around 50 years old. She lives with a Turkish man in the same terrible conditions as when she lived with a Russian soldier during the war: forty years of a life defined by the tragic consequences of war.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Awards, honors, festivals&nbsp;:<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>International Films Festival<\/em><em>\u00a0<\/em>Cinema City, Novi Sad, Serbia,\u00a02009\u00a0&#8211;\u00a0Hommage to national auteur\u00a0Aleksandar Sacha Petrovi\u0107<\/li>\n\n\n\n<li>Documentaries Film Festival\u00a0of Rennes, November\u00a0(Special program), 1992<\/li>\n\n\n\n<li>FEST International Film Festival Belgrade, 1987<\/li>\n\n\n\n<li>Human Rights Film Festival Chicago, 1980<\/li>\n\n\n\n<li><strong>Golden Reel, <\/strong>German Film\u00a0Awards, 1977 &#8211; <strong>Romy Schneider<\/strong> \u2013 <strong>Best Performance as an Actress in a Leading Role\u00a0 <\/strong>&#8211; (Beste darstellerische Leistung Weibliche Hauptrolle)<\/li>\n\n\n\n<li><strong>Outstanding feature film<\/strong><strong> (<\/strong>Bester Spielfilm) German Film Awards, 1977<\/li>\n\n\n\n<li><strong>Nominated for Palme d&#8217;Or (Best Film)\u00a0<\/strong>XXX<sup>th<\/sup>\u00a0Cannes Film Festival,\u00a01977<\/li>\n\n\n\n<li><strong>Nominated for <\/strong>the <strong>Prize of the Ecumenical <\/strong>XXX<sup>th<\/sup>\u00a0Festival du film \u00e0 Cannes, 1977<\/li>\n<\/ul>\n\n\n\n<p class=\"has-text-align-center\"><figure><a href=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom-aleksandar-petrovic-10-224x300.png\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/grupni-portret-s-damom-aleksandar-petrovic-10-224x300.png\" width=\"224\" height=\"300\"><\/a><\/figure><\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/kan-sasa-petrovic.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/kan-sasa-petrovic.png\" alt=\"\" class=\"wp-image-1096\"\/><\/a><figcaption class=\"wp-element-caption\">Cannes Film Festival 1977 with Michel Galabru,<br>Romy Schneider, Aleksandar Petrovic<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Press Excerpts:<\/strong><\/h3>\n\n\n\n<p><a href=\"https:\/\/aleksandarpetrovic.org\/france\/filmographie\/longs-metrages\/portrait-de-groupe-avec-dame\/un-cineaste-yougoslave-ramene-aux-allemands-leur-star-egaree-romy-schneider\/\"><strong>A Yugoslavian filmmaker gives back the Germans their lost star: Romy Schneider<\/strong><\/a><\/p>\n\n\n\n<p>Translation of the newspaper article in the link above:<\/p>\n\n\n\n<p>L\u2019AURORE Guy Teisseire June 1st 1977<\/p>\n\n\n\n<p><em>\u201c<\/em><em>If Leni<\/em><em>\u2019<\/em><em>s hair was shorter and grayer, she could easily look 40 years old: however, she wears them long and wavy, creating an evident opposition between her juvenile hairdo and her aging face, making it seem like she is at least 50 years old<\/em><em>\u2026\u201d<\/em><\/p>\n\n\n\n<p><em>This is how Heinrich B<\/em><em>\u00f6<\/em><em>ll describes the heroine of his novel Group Portrait with a Lady. This is her appearance: we discover the rest through testimonies from <\/em><em>\u201c<\/em><em>informants<\/em><em>\u201d<\/em> <em>who speak with the author throughout a meticulous investigation, one that is almost manic where the novelist<\/em><em>\u2019<\/em><em>s method replaces the novel itself in a typically cinematic process made popular by Orson Welles<\/em><em>\u2019<\/em> <em>Citizen Kane.<\/em><\/p>\n\n\n\n<p><em>B<\/em><em>\u00f6<\/em><em>ll<\/em><em>\u2019<\/em><em>s novel naturally lends itself to film. Petrovic, the filmmaker behind I Even Met Happy Gypsies, gets his hands on the adaptation rights the second that the novel is published. <\/em><em>\u201c<\/em><em>Artistes Associ<\/em><em>\u00e9<\/em><em>s<\/em><em>\u201d<\/em> <em>tells him<strong>: <\/strong><\/em><strong><em>\u201c<\/em><\/strong><strong><em>If you get Romy Schneider on board, we will finance this film.<\/em><\/strong><strong><em>\u201d<\/em><\/strong> <strong><em>Romy accepted<\/em><\/strong><strong><em>\u2026<\/em><\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_28_17-Window.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_28_17-Window.png\" alt=\"\" class=\"wp-image-1097\"\/><\/a><\/figure>\n\n\n\n<p><em>&nbsp;<\/em><\/p>\n\n\n\n<p><em>In Berlin, in an old Reichstrasse hotel that was saved from the 1945 bombings, Petrovic creates Leni\u2019s apartment: a grey haired Romy with tired wrinkled eyes (her character evolves over 25 years, her makeup changed a dozen times) drinks tea and eats biscuits. This is where her old friends, people who have witnessed her life, will gather once again. The furniture, the paintings, the trinkets, the table cloths seem like they haven\u2019t changed in 40 years: a fossilized apartment populated by characters covered in spider webs\u2026<\/em><\/p>\n\n\n\n<p><em>It\u2019s cold outside but the projectors and lights heat the set and the crew works in t-shirts. Amongst this chaos filled with actors from the United States (the incredible Brad Douriff, the young suicide victim from One Flew Over the Cuckoo\u2019s Nest), Germany, Austria, Yugoslavia, France\u2026 I find Michel Galabru (in the role of Pelzer, Leni\u2019s loyal friend):<\/em><\/p>\n\n\n\n<p><em>\u201cMy dear, I say my lines in French, the response is sometimes in German, sometimes in English, sometimes in Serbian, but rarely in my own language, for me and Annie Monange, the only French on the set. And we\u2019re playing Germans, the American plays a Russian and the Serbs play Turks!\u201d<\/em><\/p>\n\n\n\n<p><em>Petrovic chimes in:&nbsp;<\/em><em>\u201cWe\u2019re working like crazy: ten weeks of filming when we truly need 13\u2026\u201d<\/em><\/p>\n\n\n\n<p><em>I must say that Petrovic cuts up his sequences quite a bit and changes shots for each line of dialogue.<\/em><\/p>\n\n\n\n<p><em>\u201cWhy did I choose Galabru? I loved him in The Judge and the Assassin by Tavernier.\u201d<\/em><\/p>\n\n\n\n<p><em>I know he had some issues with Romy. She is always a little disoriented when working with a filmmaker that she doesn\u2019t know and whose work ethic is pretty rough and rapid. But things worked out.<\/em><\/p>\n\n\n\n<p><em>Petrovic went to Berlin to find poetry in the ruins, just like he will go in search of snow in Austria the next week:<\/em><\/p>\n\n\n\n<p><em>\u201cThe story takes place in Cologne, but we could place it in any other martyr city. Here in Berlin, there is still a whole neighborhood of ruins that will soon be destroyed and restored. So we took it upon ourselves to help the demolition: some dynamite here and there and we find the face of war\u2026 It\u2019s crucial to this film.<\/em><\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_29_24-Window.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_29_24-Window.png\" alt=\" Richard Manch as L\u00e9ni\u2019s father\" class=\"wp-image-1098\"\/><\/a><figcaption class=\"wp-element-caption\">Richard Manch as L\u00e9ni\u2019s father<\/figcaption><\/figure>\n\n\n\n<p><em>I wanted to show, as I think B<\/em><em>\u00f6<\/em><em>ll did as well, that the Germans suffered during the war: it<\/em><em>\u2019<\/em><em>s the tragedy of the executioners. For war is always lost, by the winners as well as the losers. And L<\/em><em>\u00e9<\/em><em>ni<\/em><em>\u2019<\/em><em>s character, one of the victims of this dark period in our global history, symbolizes this tragedy and shows its<\/em><em>&nbsp;relevance today.<\/em><\/p>\n\n\n\n<p><em>One thing attracted me the most in Heinrich B<\/em><em>\u00f6<\/em><em>ll<\/em><em>\u2019<\/em><em>s work: the mixture of the daily with the magical, which is very important to me in life.<\/em><em>\u201d<\/em><\/p>\n\n\n\n<p><em>We already saw this in Petrovic<\/em><em>\u2019<\/em><em>s I Even Met Happy Gypsies and The Master and Margarita. Petrovic thus found himself in communion with B<\/em><em>\u00f6<\/em><em>ll who he, coincidentally, looks very much like.<\/em><\/p>\n\n\n\n<p><strong>L<\/strong><strong>\u2019<\/strong><strong>AURORE-SPECTACLES &#8211; GUY TISSEIRE<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_30_45-Window.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_30_45-Window.png\" alt=\"\" class=\"wp-image-1099\"\/><\/a><\/figure>\n\n\n\n<p><strong>&nbsp;<\/strong><\/p>\n\n\n\n<p><strong>&nbsp;<\/strong><\/p>\n\n\n\n<p><strong>Romy Schneider for ELLE<\/strong><\/p>\n\n\n\n<p>June 6, 1977<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_31_22-Window.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_31_22-Window.png\" alt=\"\" class=\"wp-image-1100\"\/><\/a><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>Thirty years \u2014 and two hours of makeup \u2014separate these two images of Romy Schneider in <em>Group Portrait with a Lady<\/em> by Aleksandar Petrovic, presented at Cannes. Do you know how to face your age? Jacqueline Demonex in the next pages talks about the second image.<\/p>\n\n\n\n<p>While filming, Romy Schneider greets me with sarcasm: \u201cSo, is she not too ugly this old Romy?\u201d Since then, Romy has found her face again and the film represented Germany at Cannes. \u201cBut it\u2019s terrible, staring at the mirror, to see ourselves as we will eventually be\u2026\u201d she confides. But with a swift flick of her hand, she erases her wrinkles and her worries: \u201cThe solution? My solution? To make sure I\u2019m never bored again.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_32_09-Window.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_32_09-Window.png\" alt=\"\" class=\"wp-image-1101\"\/><\/a><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>GROUP PORTRAIT WITH A LADY<\/strong><\/p>\n\n\n\n<p>Cannes Official Selection<\/p>\n\n\n\n<p>Cinematography &#8211; Philippe Carcassonne<\/p>\n\n\n\n<p>Ten years after <em>I Even Met Happy Gypsies<\/em>, Aleksandar Petrovic comes back to Cannes with a film that includes Germans, French, Yugoslav, and Americans. He explains his multinational choice:<\/p>\n\n\n\n<p>\u201c\u2026 It seems that Petrovic has faith in the \u201cglobal autonomy\u201d of the film, meaning the idea that the film produces a rhythm, an emotion, a dramatic movement that are proper to the film itself. This requires an original linear system, a-chronological, the existence of an internal apprehension specific to each individual film. This is both its point and its limit. Petrovic conserved Heinrich B\u00f6ll\u2019s narrative structure, the enthusiastic scope of different phases of a plot, to try to establish a completely original logic whose terms, though more suggested than announced, end up creating a subtle lace of ideas and feelings.<\/p>\n\n\n\n<p>Thus, Petrovic contrasts the hysterical and desperate faces of wartime Germany with the serene \u201cgiver of joy\u201d, Leni Gruyten. Petrovic shows this without any didacticism, no matter how fond he is of his heroine. <em>Group Portrait<\/em> is a portrait that inverses the representation of narrative symbols: the decor becomes the intrigue, and the intrigue is in the decor. As opposed to making each plot point clear, he prefers to draw attention to long intense emotional moments. The scene with the coffee cup (that both B\u00f6ll and Petrovic call \u201cthe coffee moment\u201d) exercises this particular fascination: Romy Schneider cleans the cup over and over again, the object of her repulsion, thus giving the banality of domesticity a strong metaphorical embodiment. A corollary process is used later when the one-eyed soldier (the amazing Rudiger V\u00f6gler that marveled in two of Wim Wenders\u2019 films) <u>does o<\/u><u>ne too many actions that attract attention and he ends up executed.<\/u><\/p>\n\n\n\n<p>From this point of view, we find in Group Portrait a reference to a question of gratifying waiting, an effect of wonder paradoxically produced by the inevitable, widely evoked in literature, but that cinema has largely neglected, preferring a kind of spectacular surprise. This original journey and the almost impressionistic treatment of a slew of moral and metaphysical themes allow Petrovic to avoid the naive heaviness of \u201cmessage\u201d cinema, but don\u2019t stop him from tripping on the classic traps of cinematic adaptation. It\u2019s not about criticizing him for any infidelities to B\u00f6ll\u2019s novel (B\u00f6ll collaborated on the script) \u2014 quite the contrary: he scrupulously respected the text, which ended up flattening the specific relief of his cinematic creation. I can\u2019t help but think of what Peter Brook said about his King Lear adaptation: \u201cWhat can be reproached the most in an objective adaptation is bias.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_33_33-Window.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_33_33-Window.png\" alt=\"\" class=\"wp-image-1102\"\/><\/a><figcaption class=\"wp-element-caption\">Romy Schneider and Alexandre Petrovic<br>during the filming of Group Portrait with a Lady<\/figcaption><\/figure>\n\n\n\n<p><strong>Aleksandar Petrovi\u0107 on <em>Group Portrait with Lady<\/em>:&nbsp;In conversation with the Cinematographer<\/strong><\/p>\n\n\n\n<p>(interviewed by Philippe Carcassonne)<\/p>\n\n\n\n<p><strong>Cinematographer:<\/strong> We\u2019re struck by the fractured structure of the film, of its story and rhythm. There\u2019s a constant alternation between quick montages and slower scenes, the coffee scene for instance\u2026<\/p>\n\n\n\n<p><strong>Aleksandar Petrovi\u0107:<\/strong> I should tell you that in B\u00f6ll\u2019s novel, this scene is minimally described, there\u2019s a fracture in the literary flow. I insisted on this \u201ccoffee moment\u201d to dramatize the material manipulation of small objects. I see an interaction, a dialectical rapport between the rhythm and the dramaturgy, the arc of the scene. Similarly, I tried to free myself from the unit of style by enmeshing elements belonging to different genres. The style needs to be a function of the story and not the other way around, or else we risk falling into formality and sclerosis. I don\u2019t think about \u201cstyle\u201d when I work. The importance lies in the feeling of truth. Style emerges from dramaturgy.<\/p>\n\n\n\n<p><strong>C:<\/strong> Did you find it difficult to work with actors from differing languages and backgrounds?<\/p>\n\n\n\n<p><strong>A.P.:<\/strong> Not at all! On the contrary, having Galabru, who speaks French, in front of Milena Dravi\u0107, who speaks Serbian, created original dynamism.<\/p>\n\n\n\n<p><strong>Michel Galabru<\/strong>: Absolutely! Filming \u201cGroup Portrait\u201d was for me an incredible experience, I found the actors excellent. What counts more than the words themselves is the intonation, the music of the dialogue; it\u2019s like an orchestra of multiple voices. The unfamiliar music of another language allows you to reinvent the dialogue.<\/p>\n\n\n\n<p><strong>C:<\/strong> Why did you choose Brad Douriff?<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_34_58-Window.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_34_58-Window.png\" alt=\"\" class=\"wp-image-1103\"\/><\/a><figcaption class=\"wp-element-caption\">Brad Douriff and Aleksandar Petrovic<\/figcaption><\/figure>\n\n\n\n<p><strong>A.P.:<\/strong> The role of the prisoner is a passive, silent one, meaning it is very difficult. It needed an actor gifted with a strong presence, that can suggest emotion without necessarily expressing it. Douriff looks like he\u2019s straight out of a Chekhov play: he\u2019s the spitting image of a young intellectual Russian; he fits the character perfectly. That said, some interesting things happened because of the different schools and backgrounds that you spoke of earlier. Douriff comes from an American acting school, meaning the Russian one; for example, during the arrest scene, he asked me before shooting if we could give him his \u201cmilitary booklet\u201d. I answered him that we won\u2019t need it until later in the evening. Well, he insisted, he needed the booklet in his pocket! That\u2019s peak identification. He would also always ask that his scene partners stay in front of him during the scene, even if they weren\u2019t in the shot. Galabru and Douriff were shooting a scene and Douriff asked him: \u201cMichel, would you like me to stay in front of you?\u201d Galabru answered: \u201cWhy, you\u2019re not in the shot\u2026!\u201d (laughter). In any case, these two schools complement each other, and what really counts is the actors\u2019 talent.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_35_54-Window.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_35_54-Window.png\" alt=\"\" class=\"wp-image-1104\"\/><\/a><figcaption class=\"wp-element-caption\">Michel Galabru in the role of Pelter<\/figcaption><\/figure>\n\n\n\n<p><strong>C:<\/strong> You\u2019ve now adapted Bulgakov and B\u00f6ll; do you intend to keep adapting?<\/p>\n\n\n\n<p><strong>A.P.:<\/strong> I don\u2019t have a preconceived system in place, I can\u2019t really say; I would like to film a script based on a number of Isaac Babel\u2019s novellas.<\/p>\n\n\n\n<p><strong>C:<\/strong> The scenes with the bombings are impressive; how did those happen?<\/p>\n\n\n\n<p><strong>A.P.:<\/strong> It turns out there was a whole neighborhood in Berlin that was going to be demolished; the Berlin Senate gave us permission to use it for the film. So we got in contact with the company in charge of demolishing, and we started lighting up houses, wall by wall. No one was hurt, which I\u2019m quite proud of, because these kinds of scenes almost always lead to some accident. Furthermore, I have to say that I gained a considerable amount of personal experience in Belgrade during the war to know what to do during bombings and explosions.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_37_01-Window.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_37_01-Window.png\" alt=\"\" class=\"wp-image-1105\"\/><\/a><figcaption class=\"wp-element-caption\">Romy Schneider and Brad Douriff<br>during a bombing scene<\/figcaption><\/figure>\n\n\n\n<p><strong>C:<\/strong> Apparently, you did not tie yourself into making the story a little clearer\u2026<\/p>\n\n\n\n<p><strong>A.P.:<\/strong> Everything is in the dialogue; with a little attention, I think we can understand everything. I don\u2019t think I made a difficult film. Simply, people are used to following a film in continuity; so <em>Group Portrait<\/em> troubles them a little.<\/p>\n\n\n\n<p><strong>C:<\/strong> There are however numerous scenes (the coffee cup, the hotel scene) that are very nice, but bring nothing to the comprehension of the plot\u2026<\/p>\n\n\n\n<p><strong>A.P.:<\/strong> If it\u2019s in the film it\u2019s important; every scene refers to not only the previous one but to the whole film. B\u00f6ll\u2019s novel is a hundred times more complicated; next to that, my film is a cartoon! (laughter). Seriously, I don\u2019t think one needs to be more explicit; I don\u2019t have any beliefs on the things I show, simply love and need to show them. I wanted to underline kindness, the human warmth of a certain Germany, represented by Leni Gruyten, a woman who knows how to love and give, at a time when everyone is taking. I think that B\u00f6ll wanted to show his compatriots who behaved like thieves for 10 years that there was another way to live; Leni Gruyten is smiley, and calm, despite all of the sadness that falls on her. Yesterday at the press conference, a previously deported woman who had lived through this period, tortured in a camp, told me that in watching the film she discovered something unknown, a new Germany, and this gave her a feeling of being reborn. I received this comment as a gift.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_38_11-Window.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_38_11-Window.png\" alt=\"\" class=\"wp-image-1106\"\/><\/a><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>A few years later:&nbsp;A resistance made of little things,La R\u00e9publique des Livres, le Monde &#8211; Pierre Assouline<\/strong><\/p>\n\n\n\n<p>September 2, 2007<\/p>\n\n\n\n<p>I saw this film back in 1977 but something tells me it would be worth seeing it again (this Monday night on France 3 at 11:25pm) with fresh eyes, the same as the novel that it is based on deserves a re-read. Aleksander Petrovic\u2019s film and Heinrich B\u00f6ll\u2019s novel have the same title: Group Portrait with Lady (Gruppenbild mit Dame). In my memory of the film, that the author co-signed, I remember pieces by Mozart and Schubert (which ones?), the expressive traits of Romy Schneider in the role of the Berlin bourgeois who falls for a Russian prisoner, the surprising apparition of Michel Galabru, the beautiful lighting by Pierre William Glenn\u2026 As for the novel, a meditation on the recuperation and the mixing of ideas of the previously anti-nazis in a current Germany, it poses questions of identity (after the execution of her Russian lover, she falls for a Turk) resonating with more contemporary thoughts: it invites us to revisit B\u00f6ll\u2019s universe, the very missed writer of present-day Germany, and its hero victims suffering from History, its Christian morality, its revolt without a revolution, its wisdom and the respect that it inspired across the board.<\/p>\n\n\n\n<p>B\u00f6ll evoked the storyline of his novel as the fate of a woman that carries the weight of her country\u2019s history from the 30s to the 70s on her shoulders. Looking back, Group Portrait with Lady seems a little dated; it seems as \u201cout of fashion\u201d as the political and social realities that it describes. It is saved not by its language but by the ethos of its community-oriented thesis of our societies, by the irony and the author\u2019s technique, a montage, and a writing style that seem to be documentarian. And Leni, the heroine, is unforgettable in the little things, the loaded gestures, the minute expressions, the smallest of words with which she manifests resistance to the unacceptable. No big words, no big actions, no big gestures. Only details, but sometimes, that\u2019s all you need.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_38_52-Window.png\"><img decoding=\"async\" src=\"https:\/\/aleksandarpetrovic.org\/english\/wp-content\/uploads\/sites\/5\/2019\/02\/2019-02-06-00_38_52-Window.png\" alt=\"\" class=\"wp-image-1107\"\/><\/a><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Reviews:<\/h3>\n\n\n\n<h4 class=\"wp-block-heading\">Lost and found: Group Portrait with Lady<\/h4>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"420\" height=\"315\" src=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2025\/06\/group-portrait-with-lady-poster_420.jpg\" alt=\"\" class=\"wp-image-5048\" style=\"aspect-ratio:1;width:188px;height:auto\" srcset=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2025\/06\/group-portrait-with-lady-poster_420.jpg 420w, https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2025\/06\/group-portrait-with-lady-poster_420-300x225.jpg 300w\" sizes=\"(max-width: 420px) 100vw, 420px\" \/><\/figure>\n\n\n\n<p><strong>Like so many films by the great Yugoslavian director Aleksandar Petrovic,&nbsp;<em>Group Portrait with Lady<\/em>&nbsp;is off the radar. By&nbsp;<a href=\"http:\/\/old.bfi.org.uk\/sightandsound\/contributors\/vlastimir-sudar.php\">Vlastimir Sudar <\/a><\/strong><\/p>\n\n\n\n<p>from our&nbsp;May 2012&nbsp;issue<\/p>\n\n\n\n<p>In the mid-1990s, a friend asked me to help track down the films of Aleksandar Petrovic (1929-1994), who had recently died, to screen at a possible retrospective in London. Petrovic was one of the greatest Yugoslav directors, best known for his influential and internationally acclaimed drama&nbsp;<em>I Even Met Happy Gypsies<\/em>&nbsp;(<em>Skupljaci perja<\/em>, 1967); since at that time in the 90s armed conflict was tearing Yugoslavia apart, perhaps the idea was to show the country in a different light from the then ubiquitous press coverage. While seeking out the films, I discovered for the first time that Petrovic had made a film outside Yugoslavia, the German\/French co-production&nbsp;<em>Group Portrait with Lady<\/em>&nbsp;(<em>Gruppenbild mit Dame<\/em>, 1977). It\u2019s a film that has haunted me ever since.<\/p>\n\n\n\n<p><em>Group Portrait with Lady<\/em>&nbsp;is an adaptation of the epic German novel that many believe played a key role in winning its writer Heinrich B\u00f6ll the Nobel Prize in Literature in 1972. Like his other frequently adapted fellow countryman G\u00fcnter Grass, B\u00f6ll believed that a writer should operate as the conscience of his nation, and he never flinched from probing the most sensitive issues residing in its collective psyche \u2013 the rise of Nazism in the 1930s being the most obvious one. In his voluminous novel B\u00f6ll explores the period from the rise of fascism to the mid-1960s, when Germany was at the height of its economic boom. Following several key characters, the writer finds some of the roots of fascism in what he sees as the repressively dogmatic culture of the Catholic church; more importantly, however, he emphasizes that the spirit powering the post-war economic boom and rapacious capitalist expansion was the same spirit Nazism thrived on.<\/p>\n\n\n\n<p>It was clear to B\u00f6ll, who collaborated on the script with the Petrovic, that the novel would have to be severely abridged for the screen. Petrovic took charge here, turning this into a World War II story focusing on young German woman Leni Gruyten (played by the Austrian-born star of French cinema, Romy Schneider) and her affairs with two soldiers during the war. In the pre-credits prologue to the film, Petrovic rescues one 1930s episode from the novel, set in the Catholic convent where young Leni was schooled and then expelled. He also sets the final scene in 1960s Germany \u2013 the main part of the film is one long flashback narrated by Leni\u2019s wartime employer (played by another stalwart of French cinema, Michel Galabru).<\/p>\n\n\n\n<p>Petrovic was criticized for including these brief snippets of the 1930s and the 1960s, which were seen as unnecessary appendixes inadvertently left hanging. But the director was a modernist who didn\u2019t subscribe to the idea of fixed endings in his work; in this instance, too, he perhaps wanted to provide a framework for his group portrait of wartime Germany. Following the source novel, the rise of Nazism and the economic boom were the necessary bookends to the story.<\/p>\n\n\n\n<p>The film\u2019s portrayal of wartime Germany differs markedly from the usual stereotypes. Leni\u2019s first boyfriend Erhard, an officer in the German army, and his younger brother Heinrich have nothing but a profound contempt for the Nazis and their vision of Germany. The two of them decide to escape to Sweden, but fail and are shot as deserters. Leni\u2019s father, a rich industrialist, is exposed as a saboteur of the Reich, and promptly dispatched to a concentration camp. Leni, facing financial ruin, starts working at the local florist, busy making wreaths for dead German soldiers. As the shop can\u2019t handle the demand, a Russian prisoner of war is brought to help out: Boris, a bespectacled young engineer who speaks fluent German (played by the American actor Brad Dourif). Slowly, Boris and Leni fall for each other, and she secures a fake German ID for him. But as Americans enter the city, Boris is arrested as a German soldier and dies in a French prisoner-of-war camp.<\/p>\n\n\n\n<p>Petrovic directs the story as a low-key chamber piece, creating a quietly languid atmosphere, particularly in the scenes at the florist \u2013 albeit an atmosphere overshadowed by ominous events outside. Only in one scene does he throw down the gauntlet, foregrounding the war and revealing the film as a high-budget affair. Allied bombardments provide the spectacle as the city\u2019s buildings are torn apart, but it\u2019s a rapid montage of the overexposed faces of those who are bombed that\u2019s most affecting \u2013 bringing home the horrors of the war in the most immediate way.<\/p>\n\n\n\n<p>As Leni, Romy Schneider effortlessly embodies the character\u2019s confident persona, which only slips during her breakdown in a bombed-out shelter. Brad Dourif \u2013 fresh from his breakthrough role in&nbsp;<em>One Flew over the Cuckoo\u2019s Nest<\/em>&nbsp;(1975) for another itinerant East European, Milos Forman \u2013 is also convincing as an intelligent and educated Russian, cautiously coy in a hostile environment. With Galabru and New German Cinema regular R\u00fcdiger Vogler in supporting roles, the stellar international cast shows that this was a major arthouse affair, not without a whiff of Europudding about it. But Petrovic\u2019s use of a multinational cast also has a point, expanding the book\u2019s notion that wars between nations are futile affairs since nations themselves are fragile constructs \u2013 the film ends with a Russian buried in a German grave. So it\u2019s a shame the Petrovic retrospective we researched never materialized, as screening this anti-war film by a Yugoslav director would have been all too timely in the mid-1990s, as his country fell apart.<\/p>\n\n\n\n<p><em>Group Portrait with Lady<\/em>&nbsp;premiered in Cannes in 1977, but is now completely unavailable, while all of Petrovic\u2019s films remain very hard to come by even in his native Serbia. This is mainly because one of the largest studios of Socialist Yugoslavia \u2013 Avala Film in Belgrade, which produced his home-grown films \u2013 has been teetering on the edge of bankruptcy since the break-up of the country, and its precious back-catalog seems to be forgotten.<\/p>\n\n\n\n<p><em>Group Portrait<\/em>, however, is not in that treasure trove \u2013 in fact it had backing from United Artists. Considering its A-list arthouse cast, its disappearance below the radar is perplexing \u2013 all the more so since the frank manner in which it deals with the greatest tragedy of the 20th century makes it a searing reminder of the futility of armed conflicts.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">What the newspapers said<\/h3>\n\n\n\n<p>\u201cIt\u2019s appropriate that this portrait of the German war tragedy be done by a foreign helmer, not by a native one \u2013 for critical repercussions might possibly outweigh the integrity of the theme, and a backlash could result\u2026 Credits are top-notch, particularly Pierre-William Glenn\u2019s lensing of the greenhouse to lend mood and atmosphere to the main line of the story. The performance by Romy Schneider is a good cut above her usual star status\u2026 Galabru as the greenhouse proprietor steals some scenes, but it\u2019s he who gives the story its unity by drawing all the characters together. Dourif is more than credible as the starving Russian POW. United Artists may have a critical winner at Cannes.\u201d<br>\u2014&nbsp;<em>Variety<\/em>, 21 May 1977<\/p>\n\n\n\n<p>Read more: <a href=\"http:\/\/old.bfi.org.uk\/sightandsound\/feature\/49856\" target=\"_blank\" rel=\"noopener\">http:\/\/old.bfi.org.uk\/sightandsound\/feature\/49856<\/a><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>(Grupni Portret Sa Damom) orig.&nbsp;Gruppenbild Mit Dame I wanted to underline the kindness, the human warmth of a Germany represented by Leni Gruyten, a woman who knows how to love and give in a world where everyone takes. &#8211; Aleksandar Petrovic Co-Production: Stella-Film, M\u00fcnchen, Les Artistes Associ\u00e9s, Paris, Cin\u00e9ma 77 Betelinguns GMBH &amp; Co.Produktions KG, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":43,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-138","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.3 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Group Portrait With A Lady - Aleksandar Petrovic<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/when-love-has-gone-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Group Portrait With A Lady - Aleksandar Petrovic\" \/>\n<meta property=\"og:description\" content=\"(Grupni Portret Sa Damom) orig.&nbsp;Gruppenbild Mit Dame I wanted to underline the kindness, the human warmth of a Germany represented by Leni Gruyten, a woman who knows how to love and give in a world where everyone takes. &#8211; Aleksandar Petrovic Co-Production: Stella-Film, M\u00fcnchen, Les Artistes Associ\u00e9s, Paris, Cin\u00e9ma 77 Betelinguns GMBH &amp; Co.Produktions KG, [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/when-love-has-gone-2\/\" \/>\n<meta property=\"og:site_name\" content=\"Aleksandar Petrovic\" \/>\n<meta property=\"article:modified_time\" content=\"2025-06-18T13:35:26+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-23.png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"38 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/when-love-has-gone-2\/\",\"url\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/when-love-has-gone-2\/\",\"name\":\"Group Portrait With A Lady - Aleksandar Petrovic\",\"isPartOf\":{\"@id\":\"https:\/\/aleksandarpetrovic.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/when-love-has-gone-2\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/when-love-has-gone-2\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-23.png\",\"datePublished\":\"2013-04-09T23:23:19+00:00\",\"dateModified\":\"2025-06-18T13:35:26+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/when-love-has-gone-2\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/when-love-has-gone-2\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/when-love-has-gone-2\/#primaryimage\",\"url\":\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-23.png\",\"contentUrl\":\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/04\/portrair-de-groupe-avec-dame-FR-Aleksandar-Petrovic-23.png\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/when-love-has-gone-2\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\/\/aleksandarpetrovic.org\/fr\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Filmography\",\"item\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Feature films\",\"item\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/\"},{\"@type\":\"ListItem\",\"position\":4,\"name\":\"Group Portrait With A Lady\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/aleksandarpetrovic.org\/#website\",\"url\":\"https:\/\/aleksandarpetrovic.org\/\",\"name\":\"Aleksandar Petrovic\",\"description\":\"Film Director (Official Website)\\n\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/aleksandarpetrovic.org\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Group Portrait With A Lady - Aleksandar Petrovic","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/when-love-has-gone-2\/","og_locale":"en_US","og_type":"article","og_title":"Group Portrait With A Lady - Aleksandar Petrovic","og_description":"(Grupni Portret Sa Damom) orig.&nbsp;Gruppenbild Mit Dame I wanted to underline the kindness, the human warmth of a Germany represented by Leni Gruyten, a woman who knows how to love and give in a world where everyone takes. &#8211; 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