Newcomer Bagher Ahmadi stars in the most recent docu-fiction cross breed by productive Serbian essayist chief Zelimir Zilnik.
A carefully thoughtful and maturely estimated look into the day by day lives of Mideast displaced people looking for another home in western Europe, The Most Beautiful Country in the World (Das schönste arrive der welt) is the most recent in a long queue of socially dedicated docu-fiction cross breeds from veteran Serbian essayist executive Zelimir Zilnik.
Adopting a refreshingly serene strategy to hot-catch topic, Zilnik — without a doubt ex-Yugoslavia's nearest proportional to Ken Loach — evokes winning exhibitions from his non-master cast in this Austria-Serbia-Slovenia-Croatia co-generation essentially set and shot in Vienna. Warmly got on its reality debut at DocLisboa, it should pay its way around the celebration circuit in the coming months.
The way that February 2019 imprints the 50th commemoration of Zilnik winning the Golden Bear at the Berlinale at age 26 — for his apropos titled introduction include Early Works — won't do this most recent offering, something like his 27th full length work altogether, any damage whatsoever. Over the most recent few years alone, Zilnik has gotten significant reviews from Sao Paulo to St Petersburg, incorporating at DocLisboa in 2015 and Manhattan's Anthology Film Archives in 2017, establishing his status as a standout amongst the most regarded and vital auteurs from focal/eastern Europe.
The Most Beautiful Country in the World streams naturally from his past picture, 2015's Logbook Serbistan, which pursued the fortunes of damaged vagrants from war-torn and monetarily desolated territories in North Africa and the Mideast, inhabitant in Serbian refuge offices. Here, the emphasis is on those lucky ones who have made the subsequent stage into the European Union, and are steadily changing in accordance with life in the very much obeyed Austrian capital, Vienna.
Up front is the friendly figure of Bagher — screen newcomer Bagher Ahmadi as a result playing himself. A 23-year-old from Afghanistan, he touched base in Austria after a dangerous adventure through Iran, Turkey, Greece and the Balkans in 2015 and immediately learned German. Clever and cheery, he likewise quickly makes companions among Vienna's multi-social populace and tunes in to their individual accounts of mistreatment, constraint and break.
Zilnik conveys Ahmadi as a joyful crystal through which the social substances faces by those in his position can be tended to and comprehended. Such plot as there is spins around Bagher's granddad, Haydar (scenestealer Habib Tawhidi), who enters Austria illicitly by means of Slovenia and is considerably less ready to adjust to his new condition. "Are these mining burrows?" asks Haydar when Bagher takes him on Vienna's underground framework, the U-bahn.
Haydar is a conventionalist, amazingly sharp that his grandson ought to wed an appropriate female at the earliest opportunity; Bagher is impeccably content with his better half, and prepares a funny subterfuge intended to keep the two his family and his cherished upbeat. This gives the film an appreciated aiding of amusingness, setting up the group of onlookers pleasantly for a shaking, mixed finale.
These last minutes are effectively the most emotional in a film which is extremely mindful so as to keep away from drama or showmanship, rather taking the courageous, brassy course of demonstrating the more ordinary yet relatable parts of the characters' quotidian presences. There are, be that as it may, flashes of displeasure here, with Zilnik blaming the individuals who have financially abused spots like Afghanistan (the "excellent nation" of the title) and abandoned them to be assaulted by innate fighting.
There's shockingly minimal about political happenings in Austria amid the febrile 2016-17 time frame in which the film happens, however probably this is an impression of how Bagher and friends are basically worried about their very own issues and openings instead of getting to be locked in with improvements on a national dimension.
Practically shot in widescreen by cinematographer Peter Roehsler, its numerous strands intercut by proofreader Vuk Vukmirovic, The Most Beautiful Country in the World sticks to Zilnik's typical unfussy, unvarnished methodology. What's more, not surprisingly, the profits yielded may show up rather unobtrusive, however after looking into it further are hard-won, valuable and influential. Zilnik's is a little, still, sensible voice of essential significance in the present atmosphere of boisterous disinformation and reductively destructive talk.
Generation organizations: Nanook Film (in a joint effort with RTV Vojvodina, Tramal Films, Factum Documentary Film Project)
Cast: Bagher Ahmadi, Basima Saad Abed Wade, Ivana Nikolic, Habib Tawhidi, Negin Reziae
Chief screenwriter: Zelimir Zilnik
Makers: Zelimir Zilnik, Miha Cernec, Vanja Kranjac, Nenad Puhovski
Cinematographer: Peter Roehsler
Editorial manager: Vuk Vukmirovic
Sound: Gunther Tuppinger
Scene: DocLisboa
Deals: sixpackfilm, Vienna
In Pashto, German, English
102 minutes
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