Wednesday, April 14, 2021

‘Quo Vadis, Ada?’ Review: Life and death in Srebrenica

In July 1995, the Bosnian Serb army, under the command of General Ratko Mladic, marched over the city Sribrenica, Which was declared a safe haven by the United Nations. Muslim citizens took refuge at a nearby UN base, but were handed over to Mladic’s troops, who separated them from the linga and loaded them into buses and trucks. About 8,000 men and boys were murdered, their bodies buried in mass graves One of the worst atrocitiesFor the wars that blamed the former Yugoslavia for decades.

At the time, many in the West wondered how this could happen – how genocidal violence could erupt in Europe 50 years after the end of World War II. “Quo Vadis, Ada ?,” Jasmila Zambik’s unbreakable and surprising new film, shows exactly how. This is not the same as explaining that, although Zambik’s rash, hour-by-hour, theatrical dramatization of events collectively shed some shining light on that question.

Mladic (Boris Ijkovic) is an informally familiar figure. A self-inflicted bully who travels everywhere with a cameraman pauses his displays of power with complaints lawsuits. But the film is not really about him. He and his executives may be the authors of Nightmare, but the audience suffers through it in the company of Ida Selmanjik (Jasna Durick), who works as a translator for the United Nations.

In her previous life, Aida was a teacher. Her husband, Nihad (Izudin Bajrovic), was the principal of the local high school. In one particularly tense moment, he and a Serb soldier exchange polite greetings: He is an alumnus who sends Ida’s sons, Hamidja (Boris Ler) and Sejo (Dino Bajarovic). This encounter is one of many memories of the preceding general, when Serbs and Muslims lived with each other and Aida and his family pursued an uneven middle-class existence. A flashback shows her taking part in a whimsical spectacle dedicated to “East Bosnia’s best hairstyle”.

Now, he runs a desperate gantlet to contradictory demands. Her UN identity badge gives her some protection, which she tries to extend to her husband and children. She accompanies the UN commander in joint talks with Manalik to convince Nihad to volunteer as a volunteer, and uses her access to restricted areas of the base to find hiding places for Cijo and Hamdija .

In her official capacity, Ada dutifully translated the Serbian lies and UN equations, a role that becomes both sinister and absurd. She must tell the condensed public on the grounds – some of them her friends and neighbors – that she knows she lies. Amid the promises of security, she can clearly see what is going to happen.

Durick’s performance is somehow charismatic and self-wistful. Ada is determined and resourceful, and also overwhelmed and overwhelmed by the circumstances. The story she moves on swiftly and tirelessly, but sometimes nothing seems to go away. Victims-in-waiting are trapped. Their ostensible protectors are paralyzed, and the hunters are in no hurry. Who can stop them?

Here is the suspense of relentless, ferocious fuel, and a kind of procedural efficiency that reminds me of Paul Greengrass’s fact-based films, such as “bloody Sunday” And “United 93.” “Quo Vadis, Aida?” ‘S harsh honesty is partly excruciating, as it shatters many of the expectations that quietly attach themselves to films about historical trauma. We often see them not to cope with the brutality of history, but to rest with redemption stories of resistance, resilience, and heroism.

Ada may have some of those qualities, but her brave attempts to escape only emphasize how trapped he really is. The title asks where she is going. The available answers are serious. If she can save herself, can she save her family as well? And if so, what about the thousands of people whose lives are in crisis?

Her situation is dramatic with exquisite sympathy. Mercy in sports is not just emotion; It fights with shame and hatred. The failure of the United Nations is almost as frightening as Mladic’s viciousness. Aadhaar’s rule-bound, well-off Dutch officers become the general’s hostages and then his allies. The massacre was a war crime committed by peacekeepers – a failure of civilizational, institutional resolution.

Eventually, Mladic was tried in the Hague and sentenced to life in prison. The final act of Bosnia and Herzegovina’s official Oscar entry “Quo Vadis, Ada” makes it clear that many others escaped by catching criminals. The war ended, and some versions of normalcy returned, but the Zambik banquet takes no solace in the observation that life goes on. It is true that time passes, this memory fades, this history is a record of mercy as well as humility. But it is also true – as emphasized in this unforgettable film – that the loss is permanent and unmistakable.

Q Vadis, Idea?
Not rated. In Bosnian, English and Dutch with subtitles. Running Time: 1 hour 41 minutes. In theaters and on Lemmal’s virtual cinema. Please consult guidelines Outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.

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