Croatian miniseries “The Last Socialist Artefact” was the big winner at the Heart of Sarajevo TV Awards, which were handed out Sunday night during the Sarajevo Film Festival.
The six-part limited series, which is adapted from Robert Perišić’s novel “No-Signal Area,” tells the story of two urban transplants who take over an abandoned turbine factory for a mysterious client in a remote, economically depressed Balkan town. The show took home awards in five of the eight categories for drama series, including best series, best leading actor for Izudin Bajrović and best director for Dalibo Matanić.
Created by Ankica Jurić Tilić and Dalibor Matanić, “The Last Socialist Artefact” is produced by Tilić for Zagreb-based Kinorama, in co-production with Serbia’s Sense Production, Slovenia’s Perfo Production and Finland’s Citizen Jane. The series was part of the official selection at Series Mania last year, where it won the top prize in the International Panorama competition.
The six-part limited series, which is adapted from Robert Perišić’s novel “No-Signal Area,” tells the story of two urban transplants who take over an abandoned turbine factory for a mysterious client in a remote, economically depressed Balkan town. The show took home awards in five of the eight categories for drama series, including best series, best leading actor for Izudin Bajrović and best director for Dalibo Matanić.
Created by Ankica Jurić Tilić and Dalibor Matanić, “The Last Socialist Artefact” is produced by Tilić for Zagreb-based Kinorama, in co-production with Serbia’s Sense Production, Slovenia’s Perfo Production and Finland’s Citizen Jane. The series was part of the official selection at Series Mania last year, where it won the top prize in the International Panorama competition.
- 8/15/2022
- by Christopher Vourlias
- Variety Film + TV
Produced in conjunction with Serbia, Slovenia and Finland, Croatian six-part mini-series The Last Socialist Artefact had the perfect pedigree to take top honors in the Hearts of Sarajevo Awards for TV Series, a regional award set up to celebrate the past year’s best small-screen talent from Bosnia and Herzegovina, Croatia, Serbia, Montenegro, North Macedonia, Kosovo and Slovenia.
A study of today’s post-industrial world presented with humor and warmth, The Last Socialist Artefact tells the story of two city guys who take over a disused turbine factory in a depressed backwater with the intention of reopening it. The series’ near-grand slam of awards, winning five of the eight available, was contested by two detective mysteries from Serbian: Awake and Black Wedding.
The inaugural Comedy awards were a little more evenly spread, with the main awards split between Bosnia and Herzegovina’s Advokado, once memorably described as being a kind...
A study of today’s post-industrial world presented with humor and warmth, The Last Socialist Artefact tells the story of two city guys who take over a disused turbine factory in a depressed backwater with the intention of reopening it. The series’ near-grand slam of awards, winning five of the eight available, was contested by two detective mysteries from Serbian: Awake and Black Wedding.
The inaugural Comedy awards were a little more evenly spread, with the main awards split between Bosnia and Herzegovina’s Advokado, once memorably described as being a kind...
- 8/14/2022
- by Damon Wise
- Deadline Film + TV
In some ways it’s a year of transition for the Sarajevo Film Festival, which sees former industry head and co-director Jovan Marjanović take the helm as festival director, while long-time staffer Maša Marković takes over as head of industry. For Marković, who began her career at the long-running Bosnian fest 15 years ago, the change “was kind of organic,” offering the kind of smooth transition that has allowed Sarajevo to retain its position as the leading industry confab in Southeast Europe.
For nearly three decades, the festival has identified and launched local talent while serving as a think tank of sorts for the region’s rapidly evolving screen industries. This year’s CineLink Industry Days program will stick to that time-tested formula, even as it tries to adjust to dramatic shifts in the way that content in the region and around the globe is being produced and distributed.
The disruptions...
For nearly three decades, the festival has identified and launched local talent while serving as a think tank of sorts for the region’s rapidly evolving screen industries. This year’s CineLink Industry Days program will stick to that time-tested formula, even as it tries to adjust to dramatic shifts in the way that content in the region and around the globe is being produced and distributed.
The disruptions...
- 8/11/2022
- by Christopher Vourlias
- Variety Film + TV
It may be Maša Marković’s first year as head of industry at the Sarajevo Film Festival, but for the long-time festival staffer, it’s business as usual.
CineLink Industry Days has long been considered the leading industry hub for Southeast European film professionals and has played a critical role in shaping talent and expanding content and co-productions in the region. This year marks the 20th anniversary of its co-production market, which presents ten of the most promising feature film projects in development from the region and, says Marković, this year’s strand is better than ever.
“We really focus heavily on the quality of projects and what we can co-create,” she says. “That’s been our focus for a really long time, and this is why our place in the European market is very important because it’s really focused on a high level of curation.”
The industry strand...
CineLink Industry Days has long been considered the leading industry hub for Southeast European film professionals and has played a critical role in shaping talent and expanding content and co-productions in the region. This year marks the 20th anniversary of its co-production market, which presents ten of the most promising feature film projects in development from the region and, says Marković, this year’s strand is better than ever.
“We really focus heavily on the quality of projects and what we can co-create,” she says. “That’s been our focus for a really long time, and this is why our place in the European market is very important because it’s really focused on a high level of curation.”
The industry strand...
- 8/5/2022
- by Diana Lodderhose
- Deadline Film + TV
It may only be six months since 2021’s pandemic-delayed edition of Series Mania took place, but the annual Lille, France-based drama festival returns once again but this time in its traditional slot of March 18-25.
It’s been “challenging” for the Series Mania team to pull together 2022’s program so soon after last year’s event, says general director Laurence Herszberg.
However, it hasn’t been hard to attract projects to the festival. In a reflection of both Series Mania’s growing stature and the buoyant state of the scripted TV market, the event had 331 submissions from 46 different countries to the competition program. She says Series Mania, which was created in Paris in 2010 and moved to Lille in 2018, is very different from a giant TV sales market, which she reckons the industry is shifting away from. Rather it’s a place where scriptwriters, producers and platforms can build relationships and make connections,...
It’s been “challenging” for the Series Mania team to pull together 2022’s program so soon after last year’s event, says general director Laurence Herszberg.
However, it hasn’t been hard to attract projects to the festival. In a reflection of both Series Mania’s growing stature and the buoyant state of the scripted TV market, the event had 331 submissions from 46 different countries to the competition program. She says Series Mania, which was created in Paris in 2010 and moved to Lille in 2018, is very different from a giant TV sales market, which she reckons the industry is shifting away from. Rather it’s a place where scriptwriters, producers and platforms can build relationships and make connections,...
- 3/17/2022
- by Tim Dams
- Variety Film + TV
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