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Press

Posted on 16 September 2015

Mitrović and Aleksić establish a bridge to the past as comic video jockeys. (…) But their investigation of that enigmatic thing called memory is not naive in any sense. What could have come across as a clumsy Tito-Nostalgia is cinematically broken down, meta-cinematically ironised, and pimped up as the critique of capitalism. (…) Watching the spectators was also a part of theatre experience: a very different kind of distanciation than usual. At last! When on everyday basis we are bombarded with images of near and far atrocities, when the surge of adrenaline is triggered so often that the body is overwhelmed at the end of an already catastrophe-addicted nervousness, it feels good to observe the gradual build up of aesthetic excitement. In others as in oneself. (…) From this search of lost time you return with chalk dust on your hands and a poisoned apple in your mouth. - Tages-Anzeiger (in German), 24-08-2016

 

This is the last picture show of a country which no longer exists. (…) Whether Black Wave (Yugoslavia’s answer to the French Nouvelle Vague) or Red Wave (partisan films) Sanja Mitrović and Vladimir Aleksić enact all these film histories about love and war, frequently reinventing the scenes on the screen as their own personal stories. - Zürichsee-Zeitung (in German), 24-08-2016

 

An accomplished expression of the pain of remembrance and the misfortune of the future, an elaborate elegy filled to the brim with playfulness, skill, imaginative twists and turns, and a triumph of talent and precision. Two protagonists demonstrate stage artistry of the highest order which, in combination with fascinating film montages, results in an important and stylistically quite distinctive work. Personal statements, intertwined with quotations pulled out of films from different eras, create a complex investigation of both the meaning of socialist Yugoslavia and the sorrow of dissolution of this once strong and progressive country into multiple failed feudal statelets in which only misery, criminal and the lack of prospects thrive. (…) A picture of widespread devastation, which surrounds and marks all of us now, has found in this production an honest and multilayered interpretation. - Goran Cvetković (Radio Belgrade 2)

 

SRF Radio (in German), 26-08-2016  (from 16:45 till 28:52 min)

 

Beton (in Serbian), 28-06-2016

 

Composed of anecdotes from the lives of two performers, who are also close friends, the format is comparable to documentary theatre but it does not shy away from enticing laughter and emotions. In a spirit of good-humour and irreverence, the authors bring strong physicality to action and turn the stage into an impressive playground. (. . .)  Not unlike Germany which, decades after the fall of the Wall, developed a tendency towards “Ostalgie” and a more positive reassessment of the GDR-legacy, Yugoslavia too seems to be making a comeback tinged with regret. As they play partisans, sing, dance and exercise, waving red ribbons in the honour of Tito, youth and people, the performers not only attempt to relive the forgotten time but also to revitalise crucial values of collectivism and equality which are sorely lacking in the crises-ridden Europe today. - Sceneweb.fr, 03-02-2017