Home World News Why Quo Vadis, Aida? Oscar-worthy | Art culture news

Why Quo Vadis, Aida? Oscar-worthy | Art culture news

Quo Vadis, Aida?, Jasmila Žbanić’s heartbreaking film about the 1995 genocide in Srebrenica, the end of the Bosnian war, is this year’s Bosnian work for the Foreign Film category of the Academy Awards. Directed by Directbanić and produced by her small independent agency Deblokada, the film is set to rival the film industry’s favorite – Another Round, a comedy-drama. Denmark on the relationship between men and women, the crisis between life and drinking. The contrast between the worlds the two films live and represent cannot be greater.

In the eyes of those of us who experienced the horrors of the Bosnian War, Quo Vadis, Aida? is a truly Oscar-worthy masterpiece.

This is a feature film about mass political violence that took place in Srebrenica, where 8,372 Bosnian Muslim men and boys were killed in the so-called “single post-World genocide. second war in Europe “. What distinguishes genocide from a massacre or mass shooting, even to a large number of victims, is that it is a pre-planned, planned and executed act of violence. The system is aimed at a target audience.

Quo Vadis, Aida? resolves this all-important difference dramatically. The story of the film focuses on a fictional Bosnian interpreter for the UN – a local English teacher named Aida played by Jasna Ðuričić – who tries to save her husband and son’s life.

Many viewers will immediately recognize the involvement of real events in some important scenes: for example, the Bosnian Serb Army under the command of General Ratko Mladić entered the “safe zone” of the United Nations. The National Guard and thousands of civilians flocked to Colonel Thom Karremans and his Dutch peacekeeping battalion to seek protection. Actual violence isn’t depicted in the movie – and it doesn’t have to be.

Because the movie successfully conveys the feeling that everyone knows that violence is coming but still can’t stop it – that its performance is much more astounding than any bloody visualization. With astonishing intensity, with almost never losing Aida’s face, the film is a mixture of hope and existential situations and the inevitability of genocide; between the urgency to act before the predetermined conclusion, the death, and the bureaucracy and the inertia of the United Nations. Amid the confusion of the international community, death – foreshadowing – found its gruesome place.

Twenty-five years after Srebrenica, knowledge of heralded but unhindered death is still passed down – as the film depicts in the haunted post-conflict coda – by the surviving women of Srebrenica.

But there are those who carry this knowledge, there are also those who deny. Today, not only politicians in Republika Srpska and Serbia, whose powers have relied on genocidal denial, but are also questioned by some Western intellectuals. Just two years ago, Sweden’s Nobel Prize-giving committee shocked genocide survivors by awarding a Nobel Prize to longtime genocide denier Peter Handke. Called the “massacre,” the Bosnian genocide is also used skeptically by the Russian government in its distorting rhetoric that threatens to invade Ukraine.

The international community’s inaction against the genocides in Bosnia and Rwandan prompted it to develop a new international legal infrastructure – first international courts and then courts. Criminal International. This has resulted in re-examining of UN peacekeeping operations and developing new normative frameworks – Women, Peace and Security and Responsibility to Protect – to ensure countermeasure. with future violence.

But in the politics and geopolitics of the past two decades, those advances were wasted through the dire US-led “war on terror,” among other erroneous interventions. Action, in the name of life, once again appeared confiscated.

With incredible dignity, chínhbanić’s protagonist searches for the remains of her husband and sons while teaching the perpetrator’s children in a school in Srebrenica. In the film’s ending scene, the kids cover and open their eyes with their hands during a school performance, as if the world continues to do involve systematic political violence that has always been imagined as far away. great and other people’s problem.

Oscar for Quo Vadis, Aida? can signal a determination in the West to honor and privilege people’s lives when threatened by doom. Such choices are, without a doubt, always political. During the pandemic, many governments granted their own economic privilege and political survival to the lives of their citizens – especially if those citizens were once also a minority. appearance.

Quo Vadis, Aida? asking viewers to not only open their eyes but also speak out against wrongdoing. More than just a cry for peace and reconciliation, the movie is a moral and political appeal of responsibility. Quo Vadis, Aida? The Oscar-deserving award for her mastery of cinematic language strongly represents an ineffable event. It deserves an Oscar for Srebrenica’s mothers and genocide survivors who are still fighting to be heard. But it also deserves an Oscar to remind us of the depths of the moral abyss that we fall whenever we fail to stop the so clearly heralded violence.

The views expressed in this article are those of the author and do not necessarily reflect the editorial views of Al Jazeera.



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