Emilija Gašić skillfully employs the home-video format of Hi8 tapes to depict a family’s experience in Serbia during the spring of 1999 and narrate a fictional story in her feature-length debut, 78 Days, which debuted recently in the Bright Future section of IFFR. The narration of a family in springtime when aerial bombardment was conducted by the North Atlantic Treaty Organisation (NATO) against the Federal Republic of Yugoslavia on account of the Kosovo War. Airstrikes were conducted between March 24 and June 10, 1999. 78 Days is narrating every single day through its specific lenses with three sisters and the stories around them.
People from different groups may have their own narration of the 78-day springtime period. The adult men were drafted, and women and the elderly were struggling to follow the news and protect the family as the mother of the family (Jelena Đokić) does. Emilija Gašić Milica Gicić, Tamara Gajović, and Viktorija Vasiljević, who portray the three sisters Sonja, Dragana, and Tijana, respectively, begin documenting their daily lives on the household camcorder inadvertently. The dynamic between them is profoundly altered when Mladen and his sister Lela, two siblings hailing from Belgrade, commence residing in the neighboring residence. While precious little dictator Tijana and Lela instantly become great friends, a schism develops between the two older, secondary-school-aged sisters because they both have an interest in Mladen.
In the chronicle narrative of 78 Days, each day is portrayed with its own set of characteristics. Sonja is documenting the languid, idyllic moments of life as the sight of spring’s splendor combines with the children’s and adolescents’ lighthearted demeanor. In contrast, the dark days of war obscure the happy times of youth. The grim reality is that life resembles the dark, disconnected scenes in a film when the air-raid siren rings. Whether it be a pandemic, war, or calamity, life moves at its own pace. Gašić is recreating her memories in a subtle, unique way that is familiar to many of us. By skillfully selecting non-professional actors for the lead roles and professionals for the supporting roles and by consistently employing vintage, low-quality filming technology, she accomplishes this.
Perhaps one of the most remarkable accomplishments of the film is its effective recreation of a comprehensive historical representation using footage. The cinematography technique, costume design, and miniature objects from 1991 have all been chosen deftly to evoke that era; at times, it is difficult to distinguish between a film and the precise moments of that era. Sonja’s memoir captures impromptu moments with her sisters Tijana and Dragana, as well as their neighbors Mladen and his younger sister Lela, thereby compelling the audience to relive the atrocities of the NATO conflict.
The number of conflicts that occur in different regions of the globe escalates over time, consequently worsening the existing conflict. Although it is accurate to say that everyone has witnessed documentaries portraying conflicts and historical occurrences, the brilliant concept of integrating everyday life into a documentary demonstrates the tenacity of individuals throughout the turbulent era of war. Emilija Gašić’s cinematic work, as opposed to other war-themed films, exposes the invaluable moments that are concealed within the mundaneness of everyday existence—moments that war has the capacity to steal away. 78 Dayscomplicates the conventional distinction between a feature-length film and a documentary, presenting viewers with a thought-provoking reality.
The presence of a camera can be characterized as that of another person, the wise eyes through which we can discover the surrounding incidents. While it turns around and stops on different objects, we can feel we are an important part of the story, and the feeling of intimacy can be observed. It is like we are a part of Sonja and her sisters’ journey, Tijana’s resentment, Dragana’s jealousy, or even their mother’s consideration to control things around them. Yes, we become family members thanks to the nostalgic camera and filming style.
Emilija Gašić different narration goes beyond the screens of cinema and, with a sense of closeness, takes us to the real identity of life, no matter whether in war or peace. 78 Days, with the power of its distinguished style in IFFR, brings us the never-ending ways of creation in storytelling that make us connected and close.
© 2020-2024. UniversalCinema Mag.
It´s Serbia, not Siberia
I join told all above. We can communicate on this theme.