LOS ANGELES, CA, April 23, 2022 /24-7PressRelease/ — Saidin Salkic, also known as Mido, survived the 1995 Srebrenica genocide at the age of 13 and inspired by his experiences, he became the one of the most unique and prolific artists and filmmakers of his generation.
“Salkic is one of the most singular and uncompromising filmmakers currently working in Australia” (Senses of Cinema on Saidin Salkic, July 2021)
This view was also shared by legendary Australian film pioneer John Flaus who compared Saidin Salkic’s place in the history of cinema to that of Gertrude Stein in the history of literature, as “a great explorer “. It’s Flaus, 88, who now lives with Alzheimer’s disease, who stars as Salkic’s on-screen collaborator in his acclaimed new film ‘The Last Days of Loneliness’.
Dealing with themes of loneliness, death, and human connection, the film perhaps takes on added resonance following recent experiences of forced human disconnection from those they love. Salkic, through his background, perhaps understands the weight of this feeling better than others and The Last Days of Loneliness makes us experience the depth of these emotions “in a very visual and poetic way”.
The film has been chosen to screen at the highly regarded Southeast European Film Festival in Los Angeles in April and May 2022. This will be the first showing of Salkic’s work in America.
As a survivor of the biggest genocide in European history since World War II, the Srebrenica genocide, Salkic’s experiences come across as very insightful and relevant to the current situation in Europe and his work affects his audience. in a deeply phycological, intense and unique way.
Many of Salkic’s works such as “Silence’s Crescendo” and “Swan Lake and the Atomic Bomb” are horrifying nightmares that highlight the madness of conflict and war and their consequences. The Last Days of Loneliness, however, is a softer film with love at its heart, but no less heavy when it comes to human emotions.
This is a unique cinematic experience by a filmmaker like no other, and this first presentation of his work in the United States is not to be missed, especially by serious cinephiles, interested in the medium of cinema and its contemporary evolution away from the general public.
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