Filmare per sopravvivere. Lo sguardo antropologico implicito e decoincidente di Vesna Ljubić sulle Guerre Jugoslave.

Abstract

With the death of General Tito, the dissolution phase of the Federal Socialist Republic of Yugoslavia began. The member states "celebrated" the definitive dissolution of the union with an escalation of military actions, violence and crimes against humanity, which History remembers as the phase of the Yugoslav Wars. Precisely in that period, between 1990 and 1995, the city of Sarajevo was the scene of one of the longest and bloodiest sieges that contemporary History remembers. The city became a container of pain, but also of survival and resistance methods and strategies put in place by the inhabitants. In this context, Vesna Ljubić, a Bosnian director who filmed Ecce homo, a short movie shot to tell from the inside the living and nonliiving conditions of all the Sarajevans. Telling the siege through the images, Ljubić seems to have shown what could be called an "implicit anthropological sensitivity", as well as her artistic modality to leave evidence of a troubled condition, to symbolically contrast the siege and, therefore, to put herself in a "de-coincident" way towards the contingency lived.