NA PUTU ‘ON THE PATH’
(2010)
Directed by Jasmila Zbanic

Introspectively, Na Putu, or ‘On The Path’ precisely defines itself. An essential piece of a transformative nature, Na Putu’s presence in the cinema defines a realistic perspective into the journey of it’s characters; spiritually; and existentially. Furthermore; Na Putu is a cross examination; one that dissects both the individual from both a micro and macro scale exploring key conflicts in Sarajevo today. These real-world conflicts transport into the story-world of Na Putu; and into the world of it’s characters. Here we view both internal and external conflicts bold in their own forms of relativity. Internally, Luna and Amar are both struggling with infertility; a key motif in the conceptualization of Zbanic’s Na Putu; but also in Grbravia. This concept of having options; to bring; or to not bring a human being into existence, is examined in both pieces yet the conditions are varied. In Na Putu we are introduced into a compassionate; intimate relationship; we evolve in the story world with the characters as early signs of dysfunction begin to surface. Yet the digression from love; to hate with Luna and Amar are paramount in the tone of Zbanic’s work; a tone of harsh reality and truth in the evolution of her characters. We cover our eyes to hide ourselves from the grim reality; but must not; as it’s the artist’s purpose to view, understand, and create as we are all products of our environment. Zbanic forces one to explore these universal internal conflicts; in Grbavica Esma’s options are parallel to the same conflict; to keep this child; or not. We do not see the events leading up onto the birth; nor are we aware of this heartbreaking truth until it is revealed to Sara. We view a similar digression of love into hate; as Esma and her daughter grow more impatient of one another; leading onto the climax: Sara threatening Esma with the handgun, an ultimate betrayal of trust not only to her mother; and her self; but also to her friend. In Grbavicia we are voyeurs as well; spectators in the literal complications and antiquities of life, but it is this distinct style in which Zbanic creates a unified, cohesive piece; one in which we peer into the real lives of people; there are no explosions; CGI animation, or exaggerated fables, only the possible exists within this realm. The focus is fixed on something more important, more relevant, more real than plastic identities motivated by materialism, we’re focused on more here; the focus is on humanity and the essence of the present. Na Putu is a film about the present; about a real world; in which these characters could quite possibly exist. In the narrative various subtexts exist; creating very literal meanings giving life to the entire piece; beyond the internalized conflict of infertility; Luna and Amar also have individualized (and contradictory) perspectives and conflicts of the greater whole. (which masterfully is also the external conflict) Luna’s two key conflicts; one being the problem of infertility and second; being Amar’s detachment and unhappiness. From the introductory scenes we view Amar in an traffic control tower drinking alcohol in his mug as he directs planes; a coworker catches this; thus leading to his suspension and failed rehabilitation. An obvious problem exists within the mind of Amar; but it is an ambiguous problem. No surface issues are triggered in Amar and Luna’s relationship, other than the inability to conceive a child. We see two people coexisting in what appears to be a healthy; compassionate, and typical monogamous relationship. Zbanic leads us to believe Amar is troubled. Why would I say that? He’s drinking on the job; leading us to believe he dislikes his job and is dissatisfied with his current state of being. Amar finds a solution; radicalized religion. It is evident a void exists within Amar and the void was filled once he found solidarity with the Wahhabi group. Introduction into Amar’s choice to practice as a Wahhabi delivers us to the third larger external conflict that penetrates the world of both characters; and genuinely distinguishes Na Putu apart from other films in the region; the adoption of radical spirituality by a key character. This confrontation of the hard-hitting issue of regarding fundamentalist Islam is monumental for the region; as to the best of my knowledge is the first feature film regarding this growing trend in the Bosnian region. The presence of this topic is relevant and imperative as the Wahhabi group is growing in recruits; and known for targeting Muslims and non-Muslims alike; often violently. “This strict adherence to the literal interpretation of the Koran has caused Bosnian officials to begin operations targeting against people whom set up criminal organizations, aiming to destabilize the country and its constitutional order, incite inter-ethnic, racial and religious hatred and intolerance". 1 It is this conflict that rises Na Putu into the climactic level;. Luna’s understanding of this Bosnian subculture; and it’s intense nature as well as the audience’s connection with these inter-cultural experiences are the driving force in not only the cerebral subject; but also it’s of a taboo nature. At times; the audience laughs finding comedy within the lighter moments. Moments, that resonate with the feeling of absurdity to Luna; and to the audience as well. Particularly, the moment in which she is begging Amar to ‘turn back’ into whom he was before as he worships early in the morning as Luna rests; many of the spectators identify with the Luna’s reaction; and examine the same situation: What if? What if my loved one converted into a Wahhabi? Would I conform as well? Would I leave my lover? These are all questions discussed within my social circle when speaking of this film, yet Zbanic forces one to further examine these very real, yet hypothetical situations within Bosnian culture. Zbanic’s intentions with On the Path; she engages one to analyze the course in which one will take; in pursuit of happiness; in pursuit of god and spirituality, and in Luna and Amar’s relationship. Their moments in the film dictate their actions, and their actions dictate their destiny; hence the ambiguous ending; one of an open nature. As an audience member we are left with the uncertainty of the end; do they remain together? Do they drift apart? At the height of the tension Zbanic cuts us off and forces us to decide their fate, just as if we were Amar and Luna. Zbanic’s style is truly unique and complex; one of precise research and predetermination. It is through a rigid story structure; sensible actors and actresses, and solid direction that this director follows through with her intention: an audience completely attached and immersed in the lives of the two characters. The open-ended narrative; linear yet circular replicate the paradoxical theme of existence within these two characters; our last shot is framed with Luna and Amar at the airport just as they had been found in the beginning film; another cryptic sentiment that reinforces their interpersonal discourse; a clouded circle of abstraction based solely on relativity and the perception of truth.
Similar to Zbanic’s earlier work; her Shots are subtle and naturalistic; carefully orchestrated in an asymmetrical fashion. A follower of Zbanic’s; I have known her to play with asymmetrical compositions as ‘In Love’ and ‘Grabvicia’ Na Putu is framed slightly more naturalistic; whereas her earlier work mirror that of German expressionism, or perhaps an intriguing example to define her earlier work would be that of the Greek director: Vardis Marinakis; in his feature ‘Black Field.’ Na Putu’s frames are arranged in a way more symmetrical to the Swedish film ‘Fucking Amal’ directed by Lukas Moodysson yet I feel that in regards to cinematography her own film feature Grbravica, is most similar. Of course; elements of abstraction and intense character-play exist yet she frames her subjects objectively; the camera is a mere instrument that exists in the realm of the spectator. The audience is aware of it’s movement; allowing for a thorough subjective analysis of the present as the film takes place. With the correct conventional cuts in post-production, the film exists with the abstraction it requires to deliver what I perceive as Zbanic’s final intention; to evoke thought, meaning, and purpose.

1 Austrian Film Commision Interviews

http://www.afc.at/jart/prj3/afc/main.jart?rel=de&reserve-mode=active&content-id=1164272180506&tid=1264962693821&artikel_id=1264962693661

2 Ljubav je / Love Is – Short Film
http://www.youtube.com/watch?v=3UtPKUz81VU