Dom / 82 min / 2014
Vertigo sofinanciral Slovenski filmski center

Pet nadstropij, tri vhode in devetnajst lastnikov ima po privatizaciji dom, ki je bil zgrajen kot samski dom gradbenih delavcev. V njem živijo možje, ki so kot mladeniči prišli iz Bosne, trideset let kot gradbeni delavci gradili Slovenijo in po bankrotu teh podjetij ostali brez vsega, propadli lastniki pa so jim ostali dolžni veliko denarja. V prvem nadstropju stanujejo mladostniki, ki so ušli iz ponesrečenih družin in jim je ljubše socialno skrbstvo mladinskega doma. Tukaj so deložiranci, ki iščejo najcenejšo streho nad glavo. Hiša je velika, vendar ima večina v njej samo ležišče; nihče ne reče, da je tukaj doma; vsi so prišli začasno, vendar se včasih začasnost zelo zavleče. Poleg socialne odrinjenosti imajo še nekaj skupnega: zgodbe. režiserjeva izjava Živim v delavskem predmestju, ki so mu v boljših časih rekli tudi rdeči becirk. Tovarne so se preselile ali propadle. V sosednji ulici stoji delavski dom. Pogosto sem se sprehajal mimo njega in gledal v okna brez zaves, za okni gole stene, na stropu žarnice brez lestencev, na vrvicah so se sušile nogavice in delavske obleke. Včasih je bilo videti kak obraz na oknu, utujen, zgaran in zamišljen. Slutil sem, da so za temi okni tudi težke zgodbe. Vedel pa sem tudi, da bo težko priti do njih, čeprav so z ulice samo ena vrata. Bilo je zelo težko vstopiti. Izstopil pa še vedno nisem. Metod Pevec, režiser filma

AVTORJI


METOD PEVEC Rojen leta 1958 v Ljubljani. Filmski režiser in scenarist; pisatelj in igralec. Diplomiral filozofijo in primerjalno književnost na Filozofski fakulteti v Ljubljani. Pred in med študijem je intenzivno nastopal kot igralec v številnih slovenskih in jugoslovanskih celovečernih filmih in TV serijah. Znano je njegovo igralsko sodelovanje s srbskim režiserjem Živojinom Pavločićem, najpomembnejši med filmi je slovenski celovečerni film Nasvidenje v naslednji vojni (1981), v katerem je Pevec odigral glavno vlogo partizana Berka. celovečerni filmi: Home, 2015, celovečerni documentarni; Vaje v objemu, 2012, celovečerni; Aleksandrinke, 2011, celovečerni documentarni; Lahko nč, gospodična, 2011, celovečerni; Hit sezone, 2008, TV celovečerni film; Estrellita – Pesem za domov, 2007, celovečerni; Pod njenim oknom, 2003, celovečerni; Carmen, 1995, celovečerni

KOLOFON


režiser, scenarist, kamera Metod Pevec montaža Janez Bricelj, Jurij Moškon dramaturški svetovalec Ivo Trajkov glasba Aldo Kumar kolorist Teo RIžner oblikovalec zvoka Julij Zornik producent Danijel Hočevar produkcija Vertigo sofinanciral Slovenski filmski center

SYNOPSIS


As a result of the privatization process, a five-storey building with three entrances, originally built as a temporary workers home mainly for guest construction workers from Bosnia, is now shared by nineteen owners. Men that live there, came to Slovenia as young lads and spent 30 years working on various construction sites throughout Slovenia. When the construction companies they worked for went bankrupt, they lost everything, and their bankrupt employers owe them lot of money. The first floor is occupied by adolescents who come from disturbed families and prefer the welfare youth home. A few tenants found refuge here in this cheapest accommodation facility, because they had been evicted from their former apartments. The house is large, but for most of its residents the accommodation here means that they have just a bed and not much else. Nobody calls it a home; they all thought it would be just a temporary solution, but sometimes this temporariness drags on endlessly. Besides social marginalization they have something else in common: stories. director’s comment I live in a working-class suburb; in good old times it was referred to as “the red uptown”. Factories moved out or were closed down. In the neighbouring street, there’s a workers home. I often walked past it and looked at the windows without curtains, saw the bare walls behind them and ceiling lamps consisting of a single light bulb without a shade, or blue overalls and socks hung on ropes across a room to dry. Sometimes I saw some face in the window, tired and wrinkled, and absorbed in thought. I sensed that bitter stories must be hiding behind those windows. I also knew it would be difficult to get to them, although they were just a doorstep away. It was hard to enter that home… and I still haven’t exited from it. Metod Pevec, Director