Matjaž Ivanišin, Czech Republic, Slovenia, 2019o
When Oroslan dies, the news cause grief and emotion. By sharing memories about him, the villagers recreate his image.
Fractures, voids and dissonance have characterized the filmic style of Ivanišin to the point where it seems natural he should make the transition from documentary to fiction in a film about disappearance. Conceived in a series of narrative blocks, each typifying a different filmic convention, Oroslan is a hymn to cinema as a memory machine capable of generating legends, giving lasting life not only to an individual but to a whole countryDaniela Persico