Kosovo

In recent years, it seems that a new identity is created in Kosovo cinema. This is my conclusion, based on the relinquichment of the conventional theme of conflict as well as a ‘brain drain’ among a young generation of filmmakers.
The revival of cinematographic identity will create a sociological interest in Kosovo and defines a new role for cinema in social development. Today’s filmmakers are often oriented on democratic culture, diversity and cultural pluralism. These films by diverse  filmmakers (mostly short films and documentaries) address urban and rural topics with unlimited passion!
According to these auteurs, social misery and unemployment are more noticeable in cities than in neglected villages. These filmmakers remind us that the public is irresponsible and meaningless, even if they are aware of social problems. Communication with the audience (through film festivals and television) not only tells us about the language of film, but also about awareness of all layers in an independent system established after 2008.
The revival of cinematographic identity refuses inherited habits (from 2000 all feature-length film dealt with the topic of the Kosovo-Serbia conflict) by building alternative aesthetic models. The film industry, which relies on the Kosovo Cinematographic Center, is consistently and enthusiastically supported by the Ministry of Culture; each calendar year there is a symbolic increase of budget. It presents an overview of personal vibration, provisional democracy, cultural isolation and fragmentation, which together create a feeling of collective guilt!
Young filmmakers use new forms of narrative, develop various techniques of shooting and rely on inexpensive production models. They turn their backs on conflict topics by authentically working in all available genres. Although very modest and not intrusive, they work more and talk less; creators who think only with the camera! In recent years, as in all of Europe, interest for the realization of Independent Film is growing! Modern technology makes their creation much less expensive, while in the meantime, the artists themselves have more creative freedom. The advantages of this ‘genre’ are the possibilities of experimentation until the last frame and of representing daily realities with little financial means. From a cultural objective, independent film creates opportunities for expression, independent from institutional monopoly, state corruption or closed financial resources. From an economic objective this ‘genre’ is currently the only way for each of us to become the producer/playwright/performer, without large financial investments.
For the development of Kosovo cinema in the future, we may need to once again find the answers to the traditional questions: Why? How? What? We probably have to redefine our goals, without fear and pessimism about the audience. For the audience, it isn’t important to become familiar with the styles of Lars Von Trier or Tarantino; for the audience it is enough to compare cinematographic codes with their individual and social realities.

Jeton Budima is a director and film critic.