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ISSN 1409-6900 | UDK 82+7     Blesok no. 57 | volume X | November-December, 2007



                     Peer-reviewed journal
Blesok no. 57November-December, 2007
Gallery Reviews

Upside Down

– or, how difficult it is to make a (good) movie –

p. 1
Vlatko Galevski

Director: Igor Ivanov
    Writers: Igor Ivanov and Venko Andonovski
    Cinematographer: Tomi Salkovski
    Editing: Igor Andreevski
    Music: Zoran Spasovski
    Cast: Milan Tocinovski, Sanja Trajković, Slaviša Kajevski, Nikola Ristanovski, Gjorgji Jolevski, Marija Kondovska, Jovica Mihajlovski

Immediately after the premiere screening of Upside Down in Bitola, the author of the novel The Navel of the World and co-author of the movie script, Venko Andonovski, told me: “It’s difficult for me to speak about something that I have signed under too… I have experienced this movies as an emergency plane landing.”


The Upside Down project had all the necessary attributes to create a solid art product from its development phase. There was The Navel of the World of Venko Andonovski – one of the most significant novels of the contemporary Macedonian prose, winner of the prestigious Balkanika award, there was Igor Ivanov, who had obtained a reputation of a serious and inventive author with his previous work (Subway and NEP), there was a team whose composition implied high professional level in the making of the movie. Many of these assumptions have been incorporated in the movie, so we can say that it is a movie with integrity and suggestive author’s mark. Still, a more detailed analysis will also show some semi-nuances which are a result of certain difficulties in the compilation of the final version.
Upside Down is quite a decent movie. Just as a reminder, the film, as no other narrative art, requires a precise, consistent and first of all, stylistically clear narrative line that will take us to the grand finale. Reading a book, we resolve any possible ambiguities by re-reading a passage or a page. With a movie, even a blink of an eye can be crucial, and what has been missed or misunderstood can only be compensated by watching the whole movie again (this only concerns cinema screenings, rather than DVD watching). So, the initial dilemmas concern the diffusion of the narrative structure of the action. The problem is not in the time that is upside-down, nor in the flesh back sequences, but in the time dosages of their duration. In other words, the category of time, or duration, seems to have gone out of control. The textual matrix, seems to have lost the necessary tension and suggestiveness in its movie variant, as if prolonging for too long the hinted resolution and catharsis. Still, the excellent solution of the movie finale partially covers

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