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March 14th–20th, 2016 / Cinema Muzeul Țăranului, Cinema Elvire Popesco, Universitatea Națională de Muzică / the 6th edition

Special Event Quinzaine des Réalisateurs Cannes - Peace to Us in Our Dreams, by Sharunas Bartas

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Only a few days after the prestigious Centre Pompidou honored him with a full retrospective, Romanian cinephiles have the privilege to see the latest work of one of the most prominent European arthouse filmmakers, Sharunas Bartas, the unsettling Peace to Us in Our Dreams. BIEFF presents the film in partnership with its longtime collaborator Quinzaine des Réalisateurs Cannes, with the kind support of Luxbox and Dacia, announcing an impressive focus on Lithuanian cinema coming up in only few months at Transilvania International Film Festival.
After its world premiere in Cannes's Quinzaine des Réalisateurs, Peace to Us in Our Dreams is presently having an outstanding career in the international cinema circuit, having just been launched a few days ago in theaters all over France and being screened/awarded at Stockholm International Film Festival, Riga International Film Festival, La Rochelle International Film Festival, Haifa International Film Festival, Batumi International Art-House Film Festival Georgia (Best Director Award) and many others. 

Peace to Us in Our Dreams, by Sharunas Bartas

In the same profound vein as Andrei Tarkovsky and Ingmar Bergman, Bartas’ films are meditative existential journeys, which immerse us into the deepest corners of the human soul. Undoubtedly his most personal film to date, where acting, reality and unseen archival footage from his personal collection intertwine, in Peace to Us in Our Dreams Bartas casts himself as the lead, stepping in front of the outstanding lens of cinematographer Eitvydas Doškus. He is joined by his daughter Ina Marija Bartaite and his real-life partner, violinist Lora Kmieliauskaite, both in their debut roles. The late actress Yekaterina Golubeva (well-known for her parts in films by Claire Denis, Bruno Dumont, Leos Carax), Ina Marija’s mother and frequentBartas’ lead, who passed away in 2011, also briefly appears in the film, during the screening of an old home video.
The respected film magazine Screen International notes: “Locked in tight close-ups, Bartas’ characters are constantly trying to reach out to each other in their own ways, and finding it difficult either to express their feelings and their fears or to provide the advice they are expected to give. (...) Wrapped in magical images of a peaceful, calm nature disturbed only by the presence of man, the film looks very much like a painful, meditative and sad reflection on life from the point of no return in a man's existence” (Dan Făinaru)
In an interview for Cineuropa by Fabien Lemercier, Bartas shares his thoughts on the filmmaking process: “In art, there is nothing to explain. It is more about raising questions or showing something. In general, in literature, in paintings, in music and in cinema, what we can do is show a piece of peoples’ lives. Our souls are very close, but we are all very isolated and we cannot see who we are from the outside. By showing these pieces of life of certain people, we can take a step back, we can just feel that we are close to them and feel less alone. That’s the main reason: being close to someone who is speaking straight from the soul, something that differs from the kind of dialogue we regularly have in our day-to- day lives”.
Sharunas Bartas is one of the most significant contemporary Lithuanian filmmakers. Known for refusing conventional storytelling, his preference for minimalism and his philosophical references, Bartas attracted the attention of international critics from the very beginning. In 1992, he won two awards at the prestigiousBerlinale with Three Days. His next films were The Corridor (1995), screened at Berlin, Karlovy Vary, Stockholm or ThessalonikiFew of Us (1996) and The House (1997) – bringing him his first selection atCannes, in Un Certain Regard – Freedom (2000), awarded with the Cinema Avvenire award in Venice, andSeven Invisible Men (2005), which premiered as well in Cannes’ Quinzaine des Réalisateurs”. (Bio-filmography by Transilvania International Film Festival)

The 6th edition of Bucharest International Experimental Film Festival BIEFF takes place between March 14th – 20th, 2016.
BIEFF is honoured and grateful to receive support and inspiration from its partners: Quinzaine des Réalisateurs Cannes, Berlinale Forum Expanded, International Film Festival Rotterdam, Oberhausen Film Festival, IDFA Amsterdam Paradocs, Centre Pompidou, Le Fresnoy - Studio National des Arts Contemporains, Cinedans - Dance on Screen Festival Amsterdam, Tampere Film Festival, Sixpackfilm Austria, LIMA, Portugal Film and EYE Film Institute Netherlands.
BIEFF would not be possible without the support of the Administration of the National Cultural Fund, the Romanian Cultural Institute, the Austrian Cultural Forum, Goethe-Institut Bukarest, British Council, the Embassy of the Kingdom of the Netherlands, Embassy of Israel, Embassy of Sweden, Embassy of Switzerland, Swiss Sponsors' Fund, the French Institute in Bucharest, Instituto Cervantes, Balassi Institute, Italian Cultural Institute, Dacia, TNT, JTI, NouMax, UniFrance, German Films, the National University of Theatre and Film Bucharest, the National University of Arts Bucharest, the Romanian Filmmakers' Union, MUBI, National Dance Centre Bucharest, Săptămâna Sunetului, Journey Pub, Control Club, Lente & cafea; ticketing by Eventbook.
Media partners: TVR, HotNews, Radio România Cultural, Radio Tanănana, Zile și Nopți, Cinemap, Cinemagia, CinemaRx, LiterNet, The Romania Journal, Societatesicultura.ro, Revista Arta, The Institute, VICE, Think Outside the Box, SUB25.ro, Decât o Revistă, Psychologies.ro, Graphic Front, Revista Arte & Meserii, Café Gradiva, PoliticALL, Igloo, Ziarul Metropolis, B365, Cinefan, All about Romanian Cinema, IQads, Cărturești, Cooperativa Urbană, Urban.ro, TeenPress, PLIC – o revistă, @FILM, Movienews.ro, Acoperișul de sticlă.