Digby Warde-Aldam

Emir Kusturica interview: why Slavoj Žižek is a fraud

Last month I was invited on a press trip to Serbia. The whole thing sounded great; free accommodation, free food, free travel. I said yes, obviously. But there was a catch; it involved an interview with the film director Emir Kusturica.

Now, the first thing you should know about Emir Kusturica is that he’s huge, a proper man-mountain. His hands look like they could do more damage than your average battle tank, and at 6’3″, he must be at least a head taller than me. Not that I’m thinking this lucidly when finally the interview moment comes. Before I begin my questions, I’m more than a little scared that, at any moment, he might grab my throat and make himself two heads taller than me.

Because the second thing you should know about Emil Kusturica is that he is, to put it mildly, a volatile character. The third thing, which concerns me more than it does you, is that he is glaring at me and the two other interviewers in a terrifying way.

He has granted this group interview to promote his film festival, an annual booze-up on the mountainous border between Serbia and Bosnia. It’s about as far from a red carpet affair as you get. There are no tickets, and no clear aim at making a profit. The point is, he insists, to draw attention to young film-makers who otherwise wouldn’t have a chance to get their work shown.

A bit of light entertainment at the2015 Küstendorf Film Festival

A bit of light entertainment at the2015 Küstendorf Film Festival

But aside from those in competition for prizes, I don’t think many people are here to watch films. No, the draw is the place, and by extension Kusturica himself. Because Küstendorf – a hamlet of comically cute wooden houses – is entirely Kusturica’s creation.

Kusturica is best known over here as the auteur behind the Palme d’Or-winning films When Father was away on Business (1985) and Underground (1995).

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