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Culture | Elitsa Georgieva, author and director: The regime imposed imperialism, allowed passage


Elitsa Georgieva, author and director: The regime imposed imperialism, allowed passage

© Julia Lazarova

Elitsa Georgieva is the writer and director of the journalist Svetla Kamenova. He was born in 1982 and is 18 years old and lives in Paris. He studied film and creative writing at the University of Paris-VIII in Saint-Denis. She gives literary performances, writes and currently works on her second feature film. Her first novel, "The Cosmonauts Only Passes", was published in French for the first time and won her first Andre Debbroy Award.

"Dnevnik" was his last film, "A Door to Each Wall", "Every Wall is a Gate" between 1988-1992 with the writer Svetla Kamenova and the personal archive "Variant M / Variant 2" published in BNT.

Today, BNT 2 at 10:30 am, on November 10, 1989, the end of communism and the beginning of democracy in Bulgaria will be published.

How did you get the idea of ​​the movie, why did you decide to do it?

"I found out more precisely the videotapes of my mother's transmission in a home cabin. Of course, I remember it very well because sometimes I was photographing. I played in the installation, somehow I've been involved. It's my memory. The transfer was young at that time, and it was particularly political and alert.

Before the fall of the regime, the language was much more metaphorical and codified, because it was impossible to say everything. In this film, I couldn't use the frames even before the 89th year, they didn't code, I didn't understand the associations. It was about censorship. We've watched it several times to find out what the bottom text is.

Elitsa Georgieva, author and director: The regime imposed imperialism, allowed passage

© Julia Lazarova

At the first entry stage my mother is an alien art expert and how to prepare if you accidentally come. After some observations, I realized that the aliens were actually foreign Europeans, foreigners. The speech looks abstract, but not in the 89th. Then people know what this is about.

Multilayered transmission of these archives. Perhaps people had to have more imagination to say otherwise.

What do the viewers want to show him?

"This extraordinary moment of the transition of people. They are warned, especially for those who are awake and maybe because they are – united. They become suddenly active.

There was a very strong faith, people were ready to be a society more than ever, there was a moment of disappointment. Ivan Krastev, one of the political scientists in the film, says there is a problem and the people are in danger. That's the case, but on the other hand, it's a moment when people are asking questions about what society is. More than we do, maybe.

I want to show with the film that these are not just events and histories that have happened in the past, but it's an interesting way of thinking as it is today.

You were a kid during the changes. Is that why you're telling the way through the child's eyes?

At that time, society was released from a purely paternalist regime. People were somehow childish. This is the point of view of a child, because as a child growing up in this period, I am in a way comparing the growing society.

A child asks mother, so people look for a new language. There are strange terms that exist and these terms are related to new phenomena of this unknown world.

Then questions arise about the meaning of concepts such as "civil disobedience". So far, there is no example of such a thing, as the translator of the book "Civil Disobedience" published at the time. People don't have their own experiences, so watch what foreign countries are doing. This is a phenomenon happening around the world and when I started the film, protests took place in Bulgaria in 2013. I found a great resemblance to d then um.

Elitsa Georgieva - author and director

© Julia Lazarova

Elitsa Georgieva – author and director

How do you view the film from viewers abroad?

Indeed, the film travels a lot, so I'm very happy. The film traveled all over South America, made its debut in Indonesia and won an award in Peru.

It turned out that people from different countries recognize different topics and dates from this period. In Chile, for example, the end of the dictatorship was in 1989 and the viewers were as impressed as if they were talking about their stories. They find common things that really excite them.

After the publication of kamu Every Wall One Door Kapı, I was surprised to hear that a lot of public discussions that I was very happy about woke up.

The common replay between film and novel is your child. What's the difference between your story and your story?

The book is about a little girl who wants to be an astronaut, but this is an excuse to tell the same period after 1989. Here it is much more advanced and covers a large part of the transition since the end of communism.

Elitsa Georgieva - author and director

© Julia Lazarova

Elitsa Georgieva – author and director

My approach is the same, because there is the same parallelism between the growth of little girls and the changing situation every day. The novel is explained very clearly, because it realizes how much the body has changed, how much the street has changed – that the holes are growing, there are new brands, the banks are bankrupt, the pyramids collapse. Everything is in a continuous metamorphosis.

For me, the image of the 1990s certainly collapsed on the one hand and the sudden changes. But the tone in the book is more funny and more fantasy.

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