{"id":70,"date":"2014-01-09T20:29:50","date_gmt":"2014-01-09T20:29:50","guid":{"rendered":"http:\/\/aleksandarpetrovic.org\/english\/?page_id=70"},"modified":"2025-01-30T17:20:49","modified_gmt":"2025-01-30T22:20:49","slug":"when-love-has-gone","status":"publish","type":"page","link":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/when-love-has-gone\/","title":{"rendered":"When Love Has Gone"},"content":{"rendered":"

(Two), original title Dvoje<\/h2>\n

This film marks the beginning of modern Yugoslavian film<\/b><\/h4>\n

The new european sensitivity of the 60s<\/b><\/h4>\n

\"\"<\/a><\/b><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
<\/b>Production company<\/strong>:<\/td>\nAvala film, Beograd 1961<\/b><\/td>\n<\/tr>\n
Screenplay: <\/b><\/td>\nAleksandar Petrovi\u0107<\/td>\n<\/tr>\n
Director: <\/b><\/td>\nAleksandar Petrovi\u0107<\/td>\n<\/tr>\n
Art Director: <\/b><\/td>\nMiodrag Nikoli\u0107<\/td>\n<\/tr>\n
Cinematography:<\/b><\/td>\nIvan Marin\u010dek<\/td>\n<\/tr>\n
Set Design: <\/b><\/td>\nZoran Zor\u010di\u0107<\/td>\n<\/tr>\n
Producer: <\/b><\/td>\nZoran Zor\u010di\u0107<\/td>\n<\/tr>\n
Film Editing:<\/b><\/td>\nMirjana Miti\u0107<\/td>\n<\/tr>\n
Music: <\/b><\/td>\nLjiljana Popovi\u0107<\/td>\n<\/tr>\n
Choice of Music: <\/b><\/td>\nAleksandar Petrovi\u0107<\/td>\n<\/tr>\n
Cast<\/b>:<\/td>\nDesanka Beba Lon\u010dar, Miha Baloh, Nada Kasapi\u0107, Branka Pal\u010di\u0107, Borislav Radovi\u0107, Dragan Vladi\u0107, Milos \u017duti\u0107<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

Plot Summary:<\/h3>\n

\"\"<\/a>A romantic encounter. Love. The end of a relationship and the death of a feeling.
\nAlexander Petrovic examines the chaos and romance of a couple in an intimate and poetic way. In this work he revolutionizes the language of cinematography.<\/p>\n

<\/h3>\n

<\/h3>\n

<\/h3>\n

Awards, honors, festivals:<\/h3>\n\n\n\n
\n
    \n
  • VIII th Festival of Yugoslav film in Pula 1961<\/li>\n
  • Week of International film in Mannheim (Germany),1961<\/li>\n
  • October Award of the Town of Beograd, 1961<\/li>\n
  • Cannes Film Festival, May 1962<\/li>\n
  • IV th Mostra Internazionale del Cinema Libero, Poretta Terme, 1966<\/li>\n
  • Centres Georges Pompidou, Paris, Yugoslav cinema, 1986<\/li>\n
  • International Film Festival in La Rochelle, 1986<\/li>\n
  • Europe around Europe Festival, Paris-Normandy, 2008<\/li>\n
  • International Film Festival Cinema City, Novi Sad,<\/li>\n
  • Serbia 2009 – Hommage to national auteur Aleksandar Sacha Petrovi\u0107<\/li>\n<\/ul>\n<\/td>\n
\"\"<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

This was Petrovic\u2019s first fiction film. French and Italian critics at the Cannes Film Festival in 1962 said that this was also the first film with socialist cinematrography that, in its own way, corresponded with the cinematographic movement of the time (\u2018new wave\u2019).<\/p>\n

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

Press excerpts:<\/h3>\n

\u201cWe will find the best solution to problems in Alexander Petrovic\u2019s When Love\u00a0 Has\u00a0 Gone<\/strong>,\u00a0 a\u00a0 film\u00a0 that\u00a0 is\u00a0 magnificiently\u00a0 deep\u00a0 and\u00a0 realistically personal.\u00a0 It\u2019s\u00a0 the\u00a0 first\u00a0 yugoslav\u00a0 film\u00a0 (among\u00a0 those\u00a0 that\u00a0 I\u00a0 have\u00a0 seen) where\u00a0 the\u00a0 director\u00a0 reigns\u00a0 completely\u00a0 on\u00a0 the\u00a0 material\u00a0 of\u00a0 his\u00a0 work,\u00a0 he knows\u00a0 it\u00a0 so\u00a0 well\u00a0 that\u00a0 instead\u00a0 of\u00a0 looking\u00a0 for\u00a0 a\u00a0 more\u00a0 expressive\u00a0 filmed language,\u00a0 he\u00a0 accesses\u00a0 his\u00a0 creation\u00a0 and\u00a0 therefore\u00a0 expresses\u00a0 what\u00a0 he wants\u00a0 to, with\u00a0 richness and accuracy.\u201d<\/em> THE FILM OF TODAY \u2013 Donald Rich<\/p>\n

\u201c\u2026We\u00a0 can\u00a0 attribute\u00a0 to\u00a0 Alexander\u00a0 Petrovic\u00a0 numerous\u00a0 pleasant discoveries,\u00a0 like\u00a0 the waltz\u00a0 that\u00a0 the\u00a0 two\u00a0 lovers dance\u00a0 in\u00a0 the street,\u00a0 taken away by the distant music, witnesses of a charming invention. \u00a0<\/em><\/p>\n

It\u00a0 is\u00a0 a\u00a0 film with\u00a0 no\u00a0 claims, which makes,\u00a0 at\u00a0 a moment when\u00a0 cinema\u00a0 is about\u00a0 reflexion, makes\u00a0 this artist appear\u00a0 like a man\u00a0 that has\u00a0 felt a very important thing.\u201d Eug\u00e8ne Fabre, THE GENEVA JOURNAL 05\/21\/1962 <\/em><\/p>\n

\u201cYugoslavia has presented a film that we cannot avoid, When Love Has Gone<\/strong> by Alexander Petrovic, that, in the modern context of boredom and solitude,\u00a0 tells\u00a0 a\u00a0 love\u00a0 story\u00a0 that\u00a0 lives\u00a0 only\u00a0 one\u00a0 year,\u00a0 the\u00a0 lifespan\u00a0 of\u00a0 a goldfish. We do not know who\u00a0 is more miserable \u2013 him, who\u00a0 is\u00a0 fed up first or her, who\u00a0 is abandonned. Only\u00a0 tears at\u00a0 this\u00a0 festival!\u201d Leo Pesteli LA STAMPA 05\/19\/1962 <\/em><\/p>\n

Michel Menso\u00a0 (L\u2019Express,\u00a0 05\/24\/1962)\u00a0 singles\u00a0 out\u00a0 the most\u00a0 interesting films at\u00a0 the Cannes Festival of 1962. He names Michelangelo Antonioni and Alain Resnais as two of the most interesting people in world cinema and suggests\u00a0 that When Love Has Gone<\/strong>\u00a0 is\u00a0 the result of\u00a0 the\u00a0 legacy\u00a0 that L\u2019aventurra\u00a0 and Marienbad\u00a0 have\u00a0 left.\u00a0 There\u00a0 is\u00a0 inherently\u00a0 an\u00a0 error\u00a0 here because Alexander Petrovic could not have seen neither Marienbad, that was\u00a0 filmed at\u00a0 the same\u00a0 time as When Love Has Gone<\/strong>, not L\u2019aventurra, that was only diffused in Yugoslavia after the end of the filming for When Love Has Gone<\/strong>.<\/em><\/p>\n

\"\"<\/a>
Beba Lon\u010dar and Miha Baloh<\/figcaption><\/figure>\n

Alexander\u00a0 Petrovic\u00a0 about\u00a0 When\u00a0 Love\u00a0 Has Gone (Dvoje)<\/em>:<\/h3>\n

I started with\u00a0 the\u00a0 fact\u00a0 that Art\u00a0 is Truth.\u00a0 I\u00a0 tried not\u00a0 to wander\u00a0 far\u00a0 from\u00a0 the truth of\u00a0 life, by showing\u00a0 the\u00a0 face of daily\u00a0 truth, discovering some\u00a0 truths about life and the existence of man.<\/em>
\n The film does not aspire to dramatic situations but rather to an image of life. I do not make a film based on an actor, and not even on the person that\u00a0 he\/she\u00a0 represents,\u00a0 but\u00a0 on\u00a0 an\u00a0 idea\u00a0 or\u00a0 an\u00a0 emotion.\u00a0 For\u00a0 me,\u00a0 it\u00a0 is essential\u00a0 that a movie\u00a0 today be sincere and\u00a0 true, a confession of some sort,\u00a0 the\u00a0 image\u00a0 of\u00a0 life\u00a0 seen\u00a0 from\u00a0 one\u2019s\u00a0 own\u00a0 eyes,\u00a0 a\u00a0 part\u00a0 of\u00a0 the consciousness of modern man.<\/em>
\n My documentary\u00a0 films are made with\u00a0 the principals of a\u00a0 fiction\u00a0 film,\u00a0 so When Love Has Gone<\/strong> has documentary elements. I have concluded that fiction\u00a0 films miss vitality, but\u00a0 the abstract and narrative aspect of\u00a0 fiction films are missing from documentary films.<\/em>
\n One more thing: as time went by, I had many opportunities to analyze old photographs. Believe me, that is an easier way to learn about life than to observethe\u00a0 environment\u00a0 around\u00a0 us.\u00a0 To\u00a0 a\u00a0 certain\u00a0 point,\u00a0 I\u00a0 tried\u00a0 to make When Love Has Gone on the basis of the interactions between images of life and life itself.<\/em>
\n My goal has never been to create something that has been preconceived but rather to express what I feel.<\/em>
\n I always start from an experience that has touched and inspired me and I look\u00a0 for\u00a0 the\u00a0 solution\u00a0 in\u00a0 the\u00a0 materials\u00a0 that\u00a0 I\u00a0 use.\u00a0 One\u00a0 can\u00a0 literally transpose a\u00a0 subject\u00a0 (for example, when\u00a0 two\u00a0 lovers part); but one must subjectively live it for its\u2019 rational construction to harmonise with it.<\/em><\/p>\n

\"\"<\/a>
Beba Lon\u010dar<\/figcaption><\/figure>\n

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

\u00a0“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<\/strong><\/em> 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

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

(Two), original title Dvoje This film marks the beginning of modern Yugoslavian film The new european sensitivity of the 60s Production company: Avala film, Beograd 1961 Screenplay: Aleksandar Petrovi\u0107 Director: Aleksandar Petrovi\u0107 Art Director: Miodrag Nikoli\u0107 Cinematography: Ivan Marin\u010dek Set Design: Zoran Zor\u010di\u0107 Producer: Zoran Zor\u010di\u0107 Film Editing: Mirjana Miti\u0107 Music: Ljiljana Popovi\u0107 Choice of […]<\/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-70","page","type-page","status-publish","hentry"],"yoast_head":"\nWhen Love Has Gone - 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\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"When Love Has Gone - 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