Ôá Âáë��íéá, ç ãåùãñáöé�� ðåñéï÷� ìå ôçí îå÷ùñéóô� öõóéïãíùì�á �áé ôç ãïçôåõôé�� ðïëõìïñö�á, ìå ôéò éäéá�ôåñåò éóôïñé�ïðïëéôé��ò äéåñãáó�åò ðïõ �öçóáí áíåî�ôçëï áðïôýðùìá óôéò æù�ò ôùí áíèñþðùí �áé ôçí �ïõëôïýñá ôïõò, âñ�ó�ïíôáé ãéá 16ç ÷ñïíé� óôï åð��åíôñï ôïõ ôì�ìáôïò �áôé�ò óôá Âáë��íéá óôï ðëá�óéï ôïõ 50ïõ Öåóôéâ�ë �éíçìáôïãñ�öïõ �åóóáëïí��çò, ðïõ ðñáãìáôïðïéå�ôáé áðü 13 �ùò 22 �ïåìâñ�ïõ 2009.

Ö�ôïò, áõô� ç ã�öõñá åðé�ïéíùí�áò áí�ìåóá óôïõò âáë��íéïõò �éíçìáôïãñáöéóô�ò �áé ôï äéåèí�ò �ïéíü óõíäõ�æåôáé éäáíé�� ìå ôçí åðéèõì�á ôïõ 50ïý Öåóôéâ�ë �éíçìáôïãñ�öïõ �åóóáëïí��çò íá áðïôåë�óåé ìéá áöïñì� ãéá ó��øç, äé�ëïãï �áé åðé�ïéíùí�á, �áèþò �áé íá äéáôõðþóåé ìéá ðñüôáóç åðáíáðñïóäéïñéóìïý ôçò �âäïìçò ô�÷íçò, ìå �åíôñé�ü óýíèçìá ôï åñþôçìá «Why cinema now?». «Óôü÷ïò ôïõ ðñïãñ�ììáôïò �áôé�ò óôá Âáë��íéá å�íáé ç ðñïþèçóç ôïõ âáë�áíé�ïý óéíåì� �áé ç äéåýñõíóç ôùí äõíáôïô�ôùí óõíåñãáó�áò ôùí �éíçìáôïãñáöé�þí äõí�ìåùí ôçò åõñýôåñçò ðåñéï÷�ò, ðïëéôé�� ðïõ ã�íåôáé ðñ�îç óå óõíäõáóìü ìå ôéò ðñùôïâïõë�åò ôïõ, �áôáîéùì�íïõ ðë�ïí, ôáìå�ïõ áí�ðôõîçò óåíáñ�ùí Balkan Fund �áé ôïõ Balkan Works in Progress», åðéóçìá�íåé ç äéåõèýíôñéá ôïõ Öåóôéâ�ë, Ä�óðïéíá �ïõæ��ç.

Å�ôüò áðü ôï ìåã�ëï áöé�ñùìá óôïí ó�ñâï �éíçìáôïãñáöéóô� Ã�üñáí �áó��ëéåâéôò, ôï ôì�ìá �áôé�ò óôá Âáë��íéá, õðåýèõíïò ôïõ ïðï�ïõ å�íáé ï Äçì�ôñçò �åñ�éíüò, ðáñïõóé�æåé ö�ôïò �íá ðëïýóéï ðñüãñáììá ìå ôéò ðéï óçìáíôé��ò ðñüóöáôåò ôáéí�åò áðü ôç Ñïõìáí�á, ôçí Óåñâ�á, ôçí Óëïâåí�á, ôçí Ôïõñ��á, ôçí �ëâáí�á, ôç Âïõëãáñ�á �áé ôçí �ñïáô�á. �é äçìéïõñãï� ôùí Âáë�áí�ùí áíôéðáñáâ�ëëïíôáé �áõóôé�� óôéò ìåëáí�ò óåë�äåò ôïõ ðáñåëèüíôïò, ïé ïðï�åò �áèüñéóáí ôéò �ïéíùíé��ò äõíáìé��ò �áé ôï ðïëéôéóôé�ü ã�ãíåóèáé óôéò ðáôñ�äåò ôïõò. �áñ�ëëçëá, ðñïóåãã�æïõí ì�óá áðü ôçí éäéá�ôåñç �éíçìáôïãñáöé�� ôïõò ãñáö� ôç óýã÷ñïíç ðñáãìáôé�üôçôá �áé üëåò ôéò åõá�óèçôåò å�ö�íóåéò ôçò, üðùò ôç ìåôáí�óôåõóç, ôïí �áðéôáëéóìü �áé ôéò áìö�âïëåò óõí�ðåé�ò ôïõ, ôá åèíé�� áëë� �áé ôá ðñïóùðé�� áäé�îïäá, ôçí ó�ëçñ� �áèçìåñéíüôçôá �áé ôá ðñïâë�ìáôá ôùí í�ùí, áñèñþíïíôáò �íáí äõíáìé�ü �éíçìáôïãñáöé�ü ëüãï ðïõ äéáè�ôåé ðáã�üóìéï áíô��ôõðï.  
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×áñá�ôçñéóôé�� ðåñ�ðôùóç áðïôåëïýí ïé äéåèíþò áíáãíùñéóì�íïé äçìéïõñãï� áðü ôç Ñïõìáí�á, ç ïðï�á �÷åé áíáäåé÷èå� ùò ì�á áðü ôéò ÷þñåò ðïõ ðáñá�ïëïõèïýí ìå æùçñü åíäéáö�ñïí óéíåö�ë, �ñéôé�ï� �áé öåóôéâ�ë óå üëï ôïí �üóìï. �é ñïõì�íïé �éíçìáôïãñáöéóô�ò äåí èá ìðïñïýóáí íá ëå�øïõí áðü ôï âáë�áíé�ü ðñüãñáììá ôïõ 50ïõ Öåóôéâ�ë �éíçìáôïãñ�öïõ �åóóáëïí��çò. Ôéìçì�íç ìå âñáâå�ï FIPRESCI �áé âñáâå�ï �ñéôé��ò åðéôñïð�ò óôï ôì�ìá Un Certain Regard ôïõ öåôéíïý öåóôéâ�ë ôùí �áíþí ç ôáéí�á Police, Adjective ôïõ Corneliu Porumboiu, áðïôåëå� �íá áðü ôá ðéï äõíáô� äå�ãìáôá �éíçìáôïãñáöé��ò ãñáö�ò áðü ôç Ñïõìáí�á. Â�æïíôáò óôï ìé�ñïó�üðéï ôá æçô�ìáôá åîïõó�áò �áé ôçí çèé�üôçôá ôïõ íüìïõ, ôï öéëì åðé�ñ�íåé ìå åõöõ� �áé ìåóô� áðëüôçôá ôá �áô�ëïéðá ôïõ ïëï�ëçñùôéóìïý �áé ôç óáèñüôçôá ôïõ óõóô�ìáôïò.

Äýï ñïõì�íïé ó�çíïè�ôåò, ðáëéï� ãíþñéìïé ôïõ Öåóôéâ�ë, ��íïõí ôï íôåìðïýôï ôïõò ìå ôáéí�åò ìåã�ëïõ ì��ïõò. �ïéíüò ôüðïò ôïõò, ç �ñéôé�� åðáíåî�ôáóç ôùí ðïëéôé�þí æõìþóåùí ðïõ äéáìüñöùóáí ôç óýã÷ñïíç Ñïõìáí�á. Óôï The Kino Karavan ôïõ Ôitus Muntean (óõììåôï÷� óôï Crossroads ôï 2007), ôï ïðï�ï èá ðñáãìáôïðïé�óåé åõñùðáú�� ðñåìé�ñá óôï 50ï Öåóôéâ�ë, äéåñåõí�ôáé ç ÷ñ�óç ôçò �âäïìçò ô�÷íçò ùò ì�óï �ïììïõíéóôé��ò ðñïðáã�íäáò. �áñ�ëëçëá, ùò «åðéìýèéï» ôçò �áô�ññåõóçò ôïõ �ïììïõíéóìïý, ç ãåííáéüäùñç óå óõíáéóè�ìáôá ôáéí�á The happiest girl in the world (âñáâå�ï C.I.C.A.E. óôï Forum ôïõ Öåóôéâ�ë Âåñïë�íïõ, óõììåôï÷� Balkan Fund ôï 2007) ôïõ Radu Jude – ôïõ ïðï�ïõ ôáéí�åò ìé�ñïý ì��ïõò �÷ïõí ðñïâëçèå� ôá ôåëåõôá�á ÷ñüíéá óôï Öåóôéâ�ë - óõíéóô� �íá ãëõ�üðé�ñï ó÷üëéï åð�íù óôïí �áôáíáëùôéóìü, ôç äéáö�ìéóç ùò ì�óï åîáð�ôçóçò, áëë� �áé ôéò áéþíéá ôåôáì�íåò ó÷�óåéò ìåôáîý åö�âùí �áé ãïíéþí. 

�é åõá�óèçôåò éóïññïð�åò ðïõ «öùëé�æïõí» áí��áèåí óôïõò �üëðïõò ìéáò ïé�ïã�íåéáò, ç ìåôáí�óôåõóç �áé ï óõíåðá�üëïõèïò äé÷áóìüò áí�ìåóá óå äýï ðáôñ�äåò, áëë� �áé ôï áô�ñìïíï �õí�ãé ãéá ôçí �áô��ôçóç ôçò åõôõ÷�áò áðïôõðþíïíôáé ìå �á�ñéï óõíáéóèçìáôéóìü óôï ïé�ïãåíåéá�ü äñ�ìá First of all, Felicia (âñáâåõì�íç óôï Balkan Fund ôï 2007), ôï íôåìðïýôï ôïõ Razvan Radulescu, óåíáñéïãñ�öïõ ôçò ôáéí�áò Ç ïäýóóåéá ôïõ �õñ�ïõ Ëáæáñ�ó�ïõ.
�é áíïé÷ôï� ëïãáñéáóìï� ìå ôï ðáñåëèüí åíõð�ñ÷ïõí �áé óôçí ôáéí�á Katalin Varga ôïõ âñåôáíïý Peter Strickland, õðü ôç ìïñö� åíüò óõã�ëïíéóôé�ïý road movie ìå öüíôï ôï ó�ïôåéíü öõóé�ü ôïð�ï ôçò Ôñáíóõëâáí�áò, ôï ïðï�ï ïõóéáóôé�� áðïôåëå� ôçí éóôïñ�á å�ä��çóçò ôçò ïìþíõìçò çñù�äáò, éäùì�íç ì�óá áðü ôï åé�áóôé�ü ðñ�óìá ôïõ åîðñåóéïíéóôé�ïý ñåáëéóìïý. �î�æåé íá óçìåéùèå� üôé ï Peter Strickland, ïëï�ë�ñùóå ôçí ôáéí�á ôïõ, ì�óá áðü ôéò åðáö�ò ðïõ ðñáãìáôïðï�çóå óôï ðëá�óéï ôçò �ãïñ�ò ôï 2007.

Ç ãõíá��á ðñùôáãùíéóôå� �áé óôçí ôáéí�á Slovenian girl ôïõ óëïâåíïý Damjan Kozole, ç ïðï�á ðñïóåãã�æåé ôï è�ìá ôçò ðïñíå�áò ùò ôñáãé�� óõí�ðåéá ôùí áìö�âïëùí áîéþí ôïõ �áðéôáëéóìïý �áé ôçò áôïìé��ò ïé�ïíïìé��ò ðñáãì�ôùóçò ùò áõôïó�ïðïý, äõï öáéíüìåíá ðïõ åîáðëþèç�áí ñáãäá�á óôéò ÷þñåò ôçò í�áò Åõñþðçò.

Óôçí ôáéí�á Here and Ôhere (âñáâå�ï Best New Narrative Filmmaker �áé Best New York óôï Öåóôéâ�ë Tribeca, âñáâå�ï óôï Balkan Fund ôï 2006) ï ó�ñâïò ó�çíïè�ôçò Darko Lungulov è�ãåé ìå åõáéóèçó�á ôï è�ìá ôçò ìåôáí�óôåõóçò, ðñïóè�ôïíôáò ôéò óùóô�ò äüóåéò ìåôáðïëåìé��ò «ðáñ�íïéáò», áíáôïëé�ïåõñùðáú�ïý ÷éïýìïñ �áé ñïìáíôé��ò äé�èåóçò – ìéá ôáéí�á «äñ�ìá �áé �ùìùä�á ìáæ�, üðùò ç �äéá ç æù�», óýìöùíá ìå ôïí �äéï ôïí äçìéïõñãü.

Óôï ôì�ìá �áôé�ò óôá Âáë��íéá ôïõ 50ïõ Öåóôéâ�ë �éíçìáôïãñ�öïõ �åóóáëïí��çò, ç Ôïõñ��á å�ðñïóùðå�ôáé áðü äýï ôáéí�åò. Ç ðñþôç, ôï Wrong Rosary ôïõ Mahmut Fazil Coskun (1ï âñáâå�ï óôï Öåóôéâ�ë Ñüôåñíôáì), äéçãå�ôáé ìéá áóõí�èéóôç åñùôé�� éóôïñ�á, ðïõ áíáäåé�íýåé åýóôï÷á ôï «ðïëý÷ñùìï» �ïéíùíé�ïðïëéôéóôé�ü �áé èñçó�åõôé�ü ôïð�ï ôçò �ùíóôáíôéíïýðïëçò. �õôü ôï óôáõñïäñüìé äéáöïñåôé�þí ðïëéôéóìþí, ïíå�ñùí �áé ðñïóäï�éþí ã�íåôáé, åð�óçò, ï éäáíé�üò áöçãçìáôé�üò �áìâ�ò ãéá íá îåôõëé÷èå� ç �áèçìåñéíüôçôá ôñéþí áíäñþí óôç ãåì�ôç ñåáëéóìü ôáéí�á Men on the bridge ôçò Asli Ozge, ôáéí�á ðïõ �áôáëýåé ôá üñéá ìõèïðëáó�áò �áé íôï�éìáíô�ñ.

Óôç ìáýñç �ùìùä�á East, West, East - The Final Sprint ï ðïëõâñáâåõì�íïò áëâáíüò ó�çíïè�ôçò Gjergj Xhuvani ãõñí� ð�óù ôï ÷ñüíï ë�ãï ðñéí ôçí �áô�ññåõóç ôïõ �ïììïõíéóìïý óôç ÷þñá ôïõ �áé åðéë�ãåé ùò ïäçãïýò ôïõ ôçí åèíé�� ïì�äá ðïäçëáôïäñïì�áò ôçò �ëâáí�áò, ðñï�åéì�íïõ íá áðïìõèïðïé�óåé �îõðíá ôçí ðáñá�óèçóç ôïõ «ðáñ�äåéóïõ» ôçò Äýóçò. Ç ôáéí�á èá ðñáãìáôïðïé�óåé åõñùðáú�� ðñåìé�ñá óôï 50ï Öåóôéâ�ë �éíçìáôïãñ�öïõ �åóóáëïí��çò.

Óôñ�öïíôáò ôïõò ðñïâïëå�ò óôç í�á ãåíé� �áé ôéò �ïéíùíé��ò áíá�áôáô�îåéò ôùí Âáë�áí�ùí, ôï å�ñç�ôé�ü íôåìðïýôï Eastern Plays ôïõ Kamen Kalev - ç ðñþôç, �ðåéôá áðü 29 ÷ñüíéá, âïõëãáñé�� ôáéí�á ðïõ óõììåôå�÷å óôï öåôéíü Öåóôéâ�ë ôùí �áíþí- å�íáé ìéá äõíáìé�� �éíçìáôïãñáöé�� ðñïó�ããéóç ôçò áíüäïõ ôïõ íåïíáæéóôé�ïý �éí�ìáôïò �áé ôùí ñáôóéóôé�þí åðéè�óåùí óôéò ãåéôïíé�ò ôçò Óüöéáò. Åö�ìéëëç ðñïâëçìáôé�� ìå åð��åíôñï ôïõò í�ïõò �õñéáñ÷å� �áé óôçí ôáéí�á Metastases ôïõ �ñï�ôç Branko Schmidt (ìíå�á Balkan Fund ôï 2007), �íá áé÷ìçñü ó÷üëéï ãéá ìéá áõôï�áôáóôñïöé�� ìåôåìöõëéá�� ãåíé�, ç ïðï�á áäõíáôå� íá ðñïóáñìïóôå� óôá í�á äåäïì�íá ðïõ �öåñå ç óáñùôé�� �ëåõóç ôïõ �áðéôáëéóìïý.

�é ôáéí�åò áðü ôá Âáë��íéá äéáìïñöþíïõí ôï óýã÷ñïíï �éíçìáôïãñáöé�ü ôïð�ï ôçò ðåñéï÷�ò, áðï�áëýðôïíôáò ôéò å�ëå�ôé��ò óõãã�íåéåò, ôïõò �ïéíïýò ðñïâëçìáôéóìïýò, áëë� �áé ôçí �íôïíç åõáéóèçó�á ó�çíïèåôþí ïé ïðï�ïé �áôïñèþíïõí íá óõã�éíïýí ìå ôçí áöçãçìáôé�� äýíáìç �áé ôçí ôïëìçñ� ôïõò ìáôé�.

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