This was the longest personal journey I’ve ever been on. The process started back in 2008. when I felt that the strong bond I had with my granny had succumbed to the fact that she had gone to a pensioners home. My first attempt of avoiding the weekly “pay-a-visit-go-home” routine was a 2 hour open conversation with her that led me to believe that I was desperately craving the moments stored away in my childhood some 15 years ago. The way she made apple pies, how we endlessly played the same dice game on our balcony as the summer sun made the tapestries evaporate that warm dusty odour, walking to her lovely garden where we would together harvest a vast amount of strawberries. Time passed slowly those days. The fact that I recalled so many details of us spending time together made me wonder. Why someone with whom I’ve spent so many heart warming moments suddenly disappeared from my life? Being a random person I often deal with my problems in an intuitive way rather than facing them rationally.
So… the next step was – a marathon. Half of it actually. During one of my visits to her tiny room in a pensioners home she gave me a bunch of her family photos. We talked about Zagreb and how it used to be when she was young. Where she would take an evening stroll with her husband or a cafe where she went for an ice cream. I noticed that some of those pictures resonated on a much higher emotional note with her so I decided to connect the locations on those photos and draw a line. That line was 21 km long and ran all over Zagreb so I decided I would run through those photos in her honor, film it and show her how those locations looked today. As the time went past I dismissed the idea probably cause I was too lazy or I felt it wouldn’t change our relationship for the better. Then 2 long years had passed and I was still going through those 10 pictures. I needed distance to untangle the problem and find a solution that was noble and caring yet unpretentious in its execution.
And so I made a documentary. It took me a whole year and a lot of self questioning to filter out the cheesy bits, leaving, what I feel, is the most relevant and mature content I’ve ever created.
Official selection 60 seconds or less video festival 2015, Washington college, Maryland
Official selection Kratki na brzinu 2015, Sveti Ivan Zelina, Croatia
Official selection 62nd Belgrade Documentary and Short Film Festival, 2015, Belgrade, Serbia
45th Croatian film revue, Pula, Croatia, 2013., 2nd prize
2014 Belleville Documentary film festival official selection
2014 Dani hrvatskog filma selection, Zagreb, Croatia
Special mention 15th Mediteran film festival, Široki Brijeg, BIH
Best documentary award, Star film festival 2014, Sisak, Croatia
Nebojša Sljepčević Workshop, Liburnia Film Festival, 2014., Croatia
Drugonagrađeni naslov Tamo gdje živi Nada (32 min, samostalni autor, 2013) svojevrsno je ljubavno pismo mladog autora filma, Zagrepčanina Darija Bukovskog njegovoj baki Nadi koja je nekoć bila važna osoba u njegovu i životu njegove obitelji, a danas je, nastanjena u Domu za starije i nemoćne, slijedom životnih okolnosti otplutala na marginu zanimanja potomaka. Primjereno amaterskom, sam svoj majstor pristupu, Bukovski – koji je i snimatelj slike i tona, montažer, animator, suscenarist i suautor glazbe – ne stvara zanatski besprijekoran film. U njemu ima viškova, vrludanja, stilskih neurednosti i nedosljednosti, no autor se, izgleda, nije ni vodio idejom da zadovolji visoke normativne kriterije. Vodilja mu je, čini se, bila uz pomoć filma izraziti svoje misli i osjećaje izazvane bespomoćnim svjedočenjem prolaznosti, na primjeru odnosa s voljenom osobom iz vlastite obitelji. Oslobodivši se implicitnih pritisaka, pravila i očekivanja struke, okrenuvši se vlastitoj intuiciji, s gotovo dječjom vjerom u snagu nekalkulantske iskrenosti, polučio je rijetko ganutljivo ostvarenje i pogodio ton vrlo prepoznatljive, čovječne sentimentalnosti. Tamo gdje živi Nada Darija Bukovskog ogledna je potvrda zapažanja hrvatskog redatelja Zorana Tadića koji je jednoć, kao član žirija Revije, zapisao kako „u radovima tzv. profesionalaca često vještina postaje manom, a u radovima tzv. amatera često pak nevještina postane vrlinom“.