Our festival was born during the siege, from a very simple but at the time radical idea - that culture is not a luxury.

The 32nd Sarajevo Film Festival began with a screening of Pawel Pawlikowski’s Oscar-winning film Cold War on Thursday, marking the start of a lineup featuring numerous exciting premieres and notable guests. The festival, which has become one of the largest platforms for filmmakers in the region, opened just three days after its announcement. Director Jovan Marjanović spoke exclusively with Večernji list, discussing the festival's plans, anticipated stars, and challenges ahead. Marjanović expressed excitement over the culmination of months of work, emphasizing how the transition from planning to actual festival moments, when films meet audiences, venues open, and the city changes rhythm, is particularly meaningful. He highlighted the strength of the competitive program and the significance of new regional films engaging with the public for the first time. Among the many high-profile guests set to appear are Asghar Farhadi, Pawel Pawlikowski, Emily Watson, Diego Luna, and Woody Harrelson. The festival will also revisit Welcome to Sarajevo in 35mm format, nearly thirty years after its initial screening, and will screen the restored version of Ivo Matić’s The Woman with the Landscape the night before the festival opens. Bringing such prominent figures to Sarajevo each year requires careful coordination, yet Marjanović noted that this effort has become more routine over time. For instance, Emily Watson returns to Sarajevo after two decades, now serving as chair of the jury and recipient of the City Heart Award. Asghar Farhadi has maintained a long-standing relationship with the festival, while Woody Harrelson’s connection stems from his role in Welcome to Sarajevo, a film co-produced by the Obala Art Center. These ongoing relationships have enabled the festival to consistently align their schedules with these artists' availability. The festival’s approach focuses on the artistic rationale behind inviting certain creators rather than solely on their fame. The City Heart Award is not merely recognition of attendance but an acknowledgment of serious artistic achievement. The ability to attract such individuals and provide them with opportunities to present their works and engage with younger filmmakers and audiences reflects the credibility built over three decades. This trust has allowed the festival to maintain its reputation as a key international event. One of the festival’s highlights is the screening of No Man’s Land, the film that brought Bosnia and Herzegovina its first Oscar win. Marjanović acknowledged the profound impact of Danis Tanović’s success on subsequent generations of local filmmakers. Beyond the Oscar win, No Man’s Land gained critical acclaim at Cannes and embarked on an extensive international journey. Its success demonstrated that films from Bosnia and Herzegovina could hold a place in global cinema, inspiring future generations to pursue filmmaking without needing to prove their worth. Despite these achievements, Marjanović pointed out a paradox: Bosnia and Herzegovina has produced successful films despite lacking a stable film industry. While there are talented writers, producers, and professionals capable of competing internationally, the country has struggled with inconsistent funding systems. Many successful films emerged against the backdrop of an unstable system rather than due to its support. It is therefore especially meaningful that the festival concludes with the restoration of No Man’s Land, not as a nostalgic look back, but as part of the broader cinematic heritage of the region.