Izgubljeni zavicaj (1980) [Yugoslavia]

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Izgubljeni zavicaj (1980) [Yugoslavia]

Postby ARTHORIUS » Mon Nov 17, 2014 1:57 pm  1 likes


I've seen the scene mentioned on RFF and is really h...OT lol but the age of girl i don't know...so i've posted here

the movie is online here

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Re: Izgubljeni zavicaj (1980) [Yugoslavia]

Postby Warg » Wed Oct 25, 2017 7:06 pm  0 likes

Link is dead ... this one works: https://www.youtube.com/watch?v=YzuHxxM7Fwc

Could the girl be the same as this croatian woman? The name seems to be the same ("Stošić" maybe due to marriage?) and there is a remarkable similarity even after decades (or is it just me?). If so she was 16 in 1980 (*1964). However, it's just guess work, of course ...

https://www.vecernji.hr/premium/jasmink ... 083?page=1
https://www.tportal.hr/kultura/clanak/i ... a-20130711
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Re: Izgubljeni zavicaj (1980) [Yugoslavia]

Postby Phuzzy4242 » Wed Oct 25, 2017 10:07 pm  1 likes

YouTube wrote:Coming to the funeral of a family member, a hero comes to the island of his birth. Departing to the cemetery, where archeologists make excavations, returns him to childhood. As a boy, he lived on the estate of Valeria, whose manager was his father. There he met Ines, Valeria's niece, and with it she reveals a lifelong experience of life. She participates with her father in hunting for tuna, in making mocha, harvesting grapes. However, over time, the unfaithfulness of father's relationship with the peasants and humiliating susceptibility to the master are evident. Immediately after the end of the war, he returns to the island.
Poetic film. expression and slow rhythm (characteristic of the director), Lost homeland is more thoughtful and inventive work than a film of certain events, actions, which also contributes to Monteverdi's music. Ante Babaja (Imotski, October 6, 1927 - Zagreb, January 14, 2010) is played with the motley motif of the memory stirred by the sloth - the sound of the screen through which archaeologists purify the earth. Through such a metaphorical site passes and is a hero, cleansing himself from life spans, and returns to pure childhood, and this is also the most impressive part of the film, in which the director excellently reflects the aspects of Mediterranean rural life. The moody erotic (the scene in the boat) also contributes to the lyrical Trbuljak's photograph. Something weaker is the presentation of contemporaryity, though the film is also intellectually challenging (especially the end).

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