Social realist drama Daybreak by Albanian director Gentian Koci, which won the best actress award for Ornela Kapetani when it premiered at Sarajevo Film Festival, competed in the 1-2 section at the 33rd Warsaw Film Festival.
Daybreak is a very harrowing story about what it takes to survive. What inspired you to tell it?
This story comes from my inner sensations, condensed from my daily observations of people walking on the streets of Tirana and other European cities. I tend to observe their faces and try to wonder how they feel; what their struggles are. I wanted to awaken the political nerve of people. I strongly believe that the pressure on them comes from the political and socio-economic structure and the indifference of those with power over them. I seem them as part of a chain. Because of pressures from above, the links of this chain break and people start to fight against each other, in order to keep the small things they have in their lives at any cost.
What reaction do you hope and expect audiences to have?
I believe artists are idealists at their core. I really hope that this film could make the audience deeply reflect on things happening around them, on their relations with other people, and on how difficult it is to survive in the society we’re living in. From these kind of reflections I really hope they could find the strength to change something, even if it’s a very small change in their lives.
The tagline for the film is “When the going gets tough, the tough get going”. Did you intend main protagonist Leta to be morally ambiguous?
None of us is perfect. I don’t like to create black-and-white characters. I prefer grey zones, because there you have both visible and invisible elements of a character. All of the characters are grey somehow; they are with Leta and try to help her, but they have to keep their own things together. Because of the socio-political system we’re living in, we are with each other and at the same time against each other. The audience has to ask themselves important questions about the characters’ complex intentions.
Ornela Kapetani is outstanding as Leta. Did her performance come easily?
It was very difficult of course. We had so many long takes. But she’s a very talented actress, and we worked really closely to build a character who reaches that level of psychological realism. I was very happy to find her after a lot of interviews and video casting.
What inspired the documentary feel of Daybreak?
Working on documentaries before helped me to envision the style of the film, because I wanted to shoot the scenes in a realist, concrete way, as if I could capture the actual reality of things. From the beginning I had a clear idea of what style the film would be, and aesthetic choices I would make. I wanted to cut away all cinematic language artifice, and make a deal with the audience. They’re coming into the dark theatre to watch a movie but will follow the story with their own eyes, without feeling this kind of intermediary presence or even over-presence of the director. Of course this made my work very difficult, especially when it came to working with the actors or my DoP, and sometimes we were on the edge, but I just went for it. In terms of other filmmakers, Abbas Kiarostami was an inspiration.
FIPRESCI Young Critics Warsaw Project
Călin Boto is a Romanian emergent film critic and the editor-in-chief of Film Menu, a film magazine edited by students of the Film University in National University of Film and Drama in Bucharest (UNATC). He has written articles for several cultural publications such as Dilema Veche,Dissolved Magazine, SUB25 and he coordinates Film Menu’s weekly cineclub. At the moment he’s working on a bachelor's degree on the films and film criticism of Jonas Mekas.
Barbara Majsa was born and raised in Hungary, but currently resides in Sweden and attends Stockholm University for Cinema Studies. She has worked as a journalist since 2009, and has covered several film festivals. Barbara is the managing editor at Cinema Scandinavia, where she interviews film-makers and focuses her work on artistic and cultural products that reflect upon society - films concerning social, societal, economic and political issues.
Yulia Kuzischina is a film journalist, based in Moscow. She studied visual culture at Higher School of Economics and later started to write for two film-related websites, RussoRosso and Kinomania.ru. Currently she also works at a film sales company Ant!pode Sales & Distribution. Her main field of interest is Eastern European cinema.
Tomáš Hudák is a programmer and a film critic based in Bratislava, Slovakia. Programming at independent cultural centre A4 – Space for contemporary culture, which focus on challenging and experimental art, is his main occupation throughout a year. He is also associated with IFF Cinematik in Pieštany, Bratislava IFF, and Film Festival 4 Elements in Banská Štiavnica. Regularly writing for film magazine Kinečko, his texts also appeared in other publications such as Senses of Cinema, Tess Magazine etc. In past, he worked as a film archivist at Slovak Film Institute and his archival research resulted in two papers on local film history.
Daria Badior is a film critic and a Culture Editor of LB.ua, one of Ukraine’s biggest online newspapers. Focuses on writing about contemporary Ukrainian cinema. Also she co-curates a project on LB.ua named Short-list about young Ukrainian filmmakers. Since 2017 takes part in selecting films for Kyiv Film Critics Week, a new film festival held at the end of October. A member of FIPRESCI.
Łukasz Mańkowski Half of the Asian Cinema focused blog ‘Referat Filmowy’, Japanese Studies and Film Theory graduate from Nicolaus Copernicus University in Toruń, specializing in Asian Film. Occasionally photographer, translator and theatre-film journalist who simply loves ramen. Previously member of 5 Flavours Film Festival People’s Jury, FEFF Udine Student Campus and EIFF Student Critics Competition.
TUTORS of FIPRESCI Young Critics Warsaw Project
Yoana Pavlova is a Bulgarian writer, researcher, and programmer currently based in Paris.Her field of work includes cinema, VR, digital culture, and the New East. She is the foundingeditor of Festivalists.com (a playform for experimental media criticism), with bylines fornumerous print and online publications in Bulgarian, English, and French. Contributor to thefollowing books: Cinemas of Paris (2016, St Andrews Film Studies), Eastern Promises (2014,Festival Internacional de Cine de Donostia – San Sebastián), The Bulgarian Nouvelle Vague(2012, Edno).
Tommaso Tocci is based in Italy, where he works as a film critic and translator covering filmfestivals across Europe for international publications. He has also worked for BerlinaleTalents and for the Edinburgh International Film Festival, and he currently serves as Co-Programmer for the Saas-Fee Film Festival in Switzerland.