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1999.
19-20

FESTIVALS AND EVENTS

TOMISLAV PINTER’S FILMOGRAPHY

From an early age, Tomislav Pinter (born Zagreb, June 16, 1926), decided to pursue a career in cinematography, so immediately following World War II (and after passing the entrance exam to the Academy of Fine Arts in Zagreb), and with no practical experience, he was hired by Jadran film, where he worked as an assistant to Hrvoje Šarić. After his apprenticeship and the shooting of reports for the Film Journals, the first feature film that he worked on was Little Jole by Nikša Fulgosi. Since this film was never finished, his feature film debut was in 1960 with Mate Relja’s Kota 905.

This was the beginning of a period of intensely creative camera work that attested to his skill as an exceptional artist of image and light. During the 60’s he was the director of photography on the best of the best films of that time including: Prometheus from the Island of Viševice and Monday or Tuesday by Vatroslav Mimica, The Key (Waiting) by Krsto Papić, Rondo by Zvonimir Berković and The Birch Tree by Ante Babaja. He was also the director of photography in many significant films by Serbian authors as well: The Way Things Really Are by Vladan Slijepčević, Three and The Feather Gatherers by Aleksander Petrović. Pinter was the recipient of nine Golden Arenas at the national film festival in Pula as well. Pinter’s indisputable artistic achievements during the 60s (he shot 15 feature films, most of them authorial and »against the grain«) brought him the job of lead cinematographer in two nationalistic super-productions: The Battle for the Neretva (1969) by Veljko Bulajić and Sutjeska (1973) by Stipe Delić.

From 1969, Pinter began working for foreign producers as well, both in coproductions and in completely foreign productions, and as a result, he became an internationally renowned cinematographer. Outstanding achievements during this period include his association with Orson Welles (The Merchant of Venice), for whom he shot about ten kilometers of 16 mm film for a hidden camera project on the themes of how Italians speak with their hands and how Italians view women (a portion of this material was used in the film F for Fake and in the TV series Orson Welles Around the World). Even today, after half a century of camera work, this renowned cinematographer still continues to work with a camera in his hands.



Boris Vidović

THE LAST PICTURE SHOW — PULA 1999
THE FIRST MOTOVUN FILM FESTIVAL
IN SEARCH OF HIS OWN LIGHT: TOMISLAV PINTER
OPEN, PERSONAL, RADICAL, SUBVERSIVE, SPLIT 1999
FROM KUBRICK TOWARD FINCHER — VENICE 1999

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