{"id":3973,"date":"2018-08-27T08:39:47","date_gmt":"2018-08-27T08:39:47","guid":{"rendered":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/?p=3973"},"modified":"2018-09-10T10:31:27","modified_gmt":"2018-09-10T10:31:27","slug":"mila-turajlic-on-rewriting-pieces-of-missing-history-through-documentary-filmmaking","status":"publish","type":"post","link":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/mila-turajlic-on-rewriting-pieces-of-missing-history-through-documentary-filmmaking\/","title":{"rendered":"Mila Turajlic on rewriting pieces of missing history\u00a0through documentary filmmaking"},"content":{"rendered":"<p>One thing 39 years old Serbian filmmaker Mila Turajlic wants us to think about is the contra-narrative of a story. Maybe we get to the end of one, <a href=\"http:\/\/independent-magazine.org\/2017\/10\/making-no-truth-claims-historical-complexity-mila-turajlics-side-everything\/\">she says<\/a>, and we don\u2019t find out the truth, but we accept the weight of all parts involved.<\/p>\n<p>Mila studied political science and she was a debater, then a peace activist all around Serbia. In 2000, she was 21 when a revolution overthrew serbian <a href=\"https:\/\/en.wikipedia.org\/wiki\/Slobodan_Milo%C5%A1evi%C4%87\">Slobodan Milo\u0161evi\u0107<\/a>, at that point president of the Federal Republic of Yugoslavia. In the following years, the political situation wasn\u2019t a steady rock for Serbia.<\/p>\n<p>Mila felt she didn\u2019t identify with a political, resistance voice anymore, so she started looking for a new language of her own. After seeing <a href=\"https:\/\/www.theguardian.com\/film\/2000\/nov\/13\/artsfeatures\"><em>The Gleaners and I<\/em><\/a>, a deconstruction of what it means to be a documentary filmmaker, she realized that\u2019s the language she should be speaking in. As she likes to dig up the archives, her first documentary, <a href=\"https:\/\/www.rottentomatoes.com\/m\/cinema_komunisto\/\"><em>Cinema Komunisto<\/em><\/a>, is a journey through the rise and fall of the illusion called Yugoslavia.<\/p>\n<p>Cinema helps the Serbian filmmaker put together pieces of missing history. \u201eOn an official public level almost none of the post Yugoslav republics have managed to narrate their old identity or their new identity, and we really have a problem narrating our own past\u201d, Mila said in an <a href=\"http:\/\/independent-magazine.org\/2017\/10\/making-no-truth-claims-historical-complexity-mila-turajlics-side-everything\/\">interview.<\/a> \u201eI really think that maybe documentary film allows you to say: OK, there\u2019s a new arena in which we can open a conversation. One that can be more nuanced and subtle and to me makes no truth claims.\u201d<\/p>\n<p>This duality is encapsulated as well in her second documentary <a href=\"https:\/\/www.othersideofeverything.com\/\"><em>The Other Side of Everything<\/em><\/a>, which takes us into her family history and an unseen part of Yugoslavia\u2019s past. When her mother (a well known civil society defender) was a child, the state took hold of her place and divided it into multiple living spaces, so from the \u201850s, her family kept living in the same apartment with someone else, divided by a locked door. Mila uses this as a metaphor to open the doors of an international discussion.<\/p>\n<p>The filmmaker believes personal memory documentaries like<em>\u00a0The Other Side of Everything<\/em> will soon weight more on the journalistic scale, as an\u00a0intimate, particular story\u00a0can\u00a0speak\u00a0on a collective level.<\/p>\n<p>Mila\u2019s next documentary to complete a Yugoslav trilogy \u2013 <a href=\"https:\/\/dokweb.net\/database\/films\/synopsis\/48749507-bd32-43db-baae-4bfcb4d96a26\/the-labudovic-reels\"><em>The Labudovic Reels<\/em><\/a> (title in progress) \u2013 will be about the role that Yugoslavia played in the Algerian movement for independence, and other liberation movements around the world.\u00a0\u201eI was always interested in this role Yugoslavia played in the creation of this kind of borderline movement of third world countries coming together in the 1950s, 1960s\u201d, Mila <a href=\"http:\/\/independent-magazine.org\/2017\/10\/making-no-truth-claims-historical-complexity-mila-turajlics-side-everything\/\">recalls<\/a>, \u201eIn Algeria, I discovered that the man who filmed all these summits was still alive, that he was 90 years old, that he lived in the suburbs of Belgrade, that no one has ever heard of him, and that he was a hero in Algeria.\u201d<\/p>\n<p>Although some disagree, she\u2019s always looking for balance in her work. \u201eThat\u2019s where we really get stuck. Every time someone decides to tell you the truth of what happened.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p><em>Mila Turajlic is speaking at the 8th edition of The Power of Storytelling.\u00a0<a href=\"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/registration\/\">Register here<\/a>\u00a0to meet her and the other amazing speakers who will tackle this year\u2019s theme:\u00a0<\/em>Rewrite<em>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>One thing 39 years old Serbian filmmaker Mila Turajlic wants us to think about is the contra-narrative of a story. Maybe we get to the end of one, she says, and we don\u2019t find out the truth, but we accept the weight of all parts involved. Mila studied political science and she was a debater, &hellip; <a href=\"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/mila-turajlic-on-rewriting-pieces-of-missing-history-through-documentary-filmmaking\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Mila Turajlic on rewriting pieces of missing history\u00a0through documentary filmmaking<\/span><\/a><\/p>\n","protected":false},"author":4,"featured_media":4049,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[24],"tags":[60,147,152],"_links":{"self":[{"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/posts\/3973"}],"collection":[{"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/comments?post=3973"}],"version-history":[{"count":5,"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/posts\/3973\/revisions"}],"predecessor-version":[{"id":4061,"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/posts\/3973\/revisions\/4061"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/media\/4049"}],"wp:attachment":[{"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/media?parent=3973"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/categories?post=3973"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/tags?post=3973"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}