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Bilježenje nevidljivog: Filip Filković o prenošenju sjećanja u film

Bilježenje nevidljivog: Filip Filković o prenošenju sjećanja u film

di Loreta OLS Community Manager -
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Bilježenje nevidljivog: Filip Filković o prenošenju sjećanja u film


Filip Filković redatelj je i vizualni umjetnik iz Zagreba, čiji rad povezuje naoko prolazni svijet sjećanja s najnovijom digitalnom tehnologijom. Poznat po nagrađivanom filmu “Posljednji bunar”, Fillip je izgradio karijeru istražujući međusobnu igru emocije, sjećanja i vizualnog izraza. Od nekad znatiželjnog klinca koji je lutao zagrebačkim ulicama s kamerom i olovkom do priznatog digitalnog umjetnika koji bilježi prolazne trenutke u kinematografskoj formi, njegovo kreativno putovanje obilježeno je radoznalošću, eksperimentiranjem i hrabrošću za bezkompromisnim stvaranjem. U svom radu pokazuje kako autentičnost, vizija i snažna ideja mogu nadmašiti proračune, trendove pa čak i generacije, inspirirajući mlade umjetnike da istražuju, eksperimentiraju i ostave vlastiti trag u svijetu kreativnosti.


Izvor: Filip Filkovic, Philatz


Za početak, možete li se ukratko predstaviti Erasmus+ studentima i volonterima- tko je Filip Filković danas, a tko je bio na početku svog kreativnog puta?

Danas sam redatelj i vizualni umjetnik koji pokušava balansirati između najnaprednije tehnologije i najdubljih ljudskih sjećanja. Sebe vidim kao “digitalnog alkemičara“ koji koristi moderne alate da bi sačuvao emocije koje blijede. Na početku puta, bio sam samo znatiželjan klinac u Zagrebu s olovkom i kamerom u ruci, fasciniran time kako slika može zabilježiti trenutak koji se više nikada neće ponoviti. Ta inicijalna znatiželja je i dalje tu, ona je jedini motor koji me pokreće.

Izvor: Filip Filkovic, Philatz


Vaš film "Posljednji Bunar" osvojio je brojne međunarodne nagrade. Što za Vas znači uspjeh tog filma danas, s vremenskim odmakom?

Taj film mi je bio potvrda da lokalna priča, ako je iskrena, može komunicirati univerzalno. Danas ga vidim kao važnu lekciju o tome da ograničenja, bilo budžetna ili tehnička, zapravo rađaju najbolju kreativnost. Uspjeh mi je donio slobodu da istražujem dalje, ali i podsjetnik da je ideja uvijek jača od skupe opreme. Isto tako, Posljednji Bunar je dobar temelj za iduće radove, pripremam dugometražni igrani film i novi kratkometražni, jer je za dugometražni iznimno teško pronaći financiranje.


Kako izgleda Vaš kreativni proces- krećete li od slike, zvuka, teksta ili ideje?

Uvijek, svaki rad započinje u ljudskom teritoriju, u glavi i na papiru, odnosno, notes u iPhoneu. Prvo pišem crtice, detalje, scenarij; smatram da je verbalizacija misli čisto ljudska vještina u koju ne puštam algoritme. Tek kad priča “prodiše na papiru”, krećem u vizualizaciju. Ponekad je okidač miris ili zvuk koji prizove sjećanje, a onda pokušavam kreirati taj osjećaj.

Izvor: Filip Filkovic, Philatz


Da ste danas Erasmus+ student ili volonter koji dolazi prvi put u Zagreb, gdje biste tražili inspiraciju- na ulici, u ljudima, u arhitekturi ili u subkulturama?

Inspiraciju bi tražio kao i u svemu, uvijek iz potrebe da nešto naučim ili iskusim. Brdo knjiga, glazba, filmovima. No, inspiraciju bih tražio i u “pukotinama“ grada. U haustorima Donjeg grada, u brutalističkoj arhitekturi Novog Zagreba i u onim malim, starim obrtima koji još uvijek odolijevaju vremenu. Inspiracija je u kontrastu između starog bečkog šarma i sirove industrijske energije, ovako, generalno gledajući.


Što mislite da mladi umjetnici danas mogu naučiti od DIY pristupa- stvaranja bez velikog budžeta, ali s jakom idejom?

Apsolutno sve, naime DIY pristup vas uči snalažljivosti. Mi smo back in the day, dok smo snimali low i high budget spotove sklapali takve aparatuse za snimanje koji su bili funkcionalni i davali nam mogućnost kreativnosti. Danas, kad svatko u džepu ima moćan alat za snimanje i montažu, izgovori o “nedostatku budžeta“ više ne drže vodu. Mladi trebaju shvatiti da je nedostatak novca zapravo prilika da budu inovativniji. Jaka ideja će uvijek naći put, dok skupi vizuali bez duše brzo ispare. Naravno, veliki budžeti mogu samo proširiti vaše vidike i kreativnost, za gotovo sve moje trenutačne projekt potreban je budget jer sam prerastao zadovoljavanje svojih strasti kroz jednostavne ideje.


Izvor: Filip Filkovic, Philatz

 

Primjećujete li razliku između generacije koja je odrastala bez interneta i današnjih digitalnih generacija u načinu razmišljanja i stvaranja?

Svi nekako ističu te razlike, odnosno, spominju ih i time stvaraju nepotrebne podjele. Mi koji smo odrasli bez interneta imali smo “beskrajno vrijeme“ i mir analognog svijeta. Morali smo čekati na informacije, a to čekanje je poticalo maštu. Današnje generacije imaju nevjerojatnu brzinu i povezanost, ali se ponekad bore s fokusom zbog “digitalne buke“. Razlika je u teksturi sjećanja, naša su bila zrnata i rijetka, novije generacije imaju sjećanja visoke rezolucije i u golemim količinama. No, generalno, ljudskost, ono što nas čini nama, uvijek je isto i tu nema razlika. Vremena se mijenjaju, ja, iako recentno radim projekt “Spomenara”, koji podsjećaju na stara vremena, odbijam živjeti u prošlosti, već mi je apsolutni fokus na budućnosti. Prošlost nam samo daje jasnoću što je funkcioniralo a što nije i stvara nam vezu s nasljeđem.

 

Koju biste grešku savjetovali mladima da obavezno naprave dok su još studenti?

Treba raditi što više, s tim radom dolaze i greške. Dolaze krivi suradnici, dolaze suze, dolaze propali odnosi, krive odluke, dobre odluke, još suza kojih se ne treba bojati i skrivati, možda dođe depresija, možda dođe uspjeh, ali na kraju, bitno je biti čovjek. Naime, bitno je napraviti i krivi projekt, onaj koji nitko neće lajkati, koji nije u trendu i koji je potpuno nekomercijalan. Studentski dani su vrijeme kad si možete priuštiti potpunu neproduktivnost u potrazi za vlastitim glasom. Iz neuspjeha koji nastane iz čiste strasti nauči se više nego iz sigurnog uspjeha. I onda na kraju, kada znate da ste vlastitim rukama nešto stvorili, to je divan osjećaj.

 

Izvor: Filip Filkovic, Philatz


Koja je najveća snaga mladih danas- brzina, povezanost, hrabrost ili nešto četvrto?

Najveća snaga je povezanost. Bitno je surađivati s nekim s drugog kraja svijeta u realnom vremenu. To ruši granice i stvara hibridne forme umjetnosti i kreativnosti koje prije nismo mogli ni zamisliti. Ta globalna empatija koju mogu razviti kroz tehnologiju je golema moć.

 

Mislite li da je danas teže ili lakše izgraditi autentičan umjetnički glas nego prije 20 godina?

Tehnički je lakše stvarati, ali je teže biti čujan. Živimo u moru generičkog sadržaja. Autentičnost je danas skuplja valuta nego ikad prije. Da bi te se čulo, ne moraš vikati glasnije, nego moraš govoriti iskrenije. Glas se više ne gradi opremom, nego integritetom i vizijom.

 

Kako je odrastanje u Zagrebu oblikovalo Vašu estetiku i pogled na svijet?

Za mene Zagreb ima specifičnu “radnu temperaturu“, spoj austrougarske melankolije i socijalističke discipline. To je grad koji nije prevelik da te proguta, ali je dovoljno velik da u njemu nađeš bezbroj svjetova. Ta mješavina uređenosti i skrivenog kaosa je inspirirajuća. No, najbitnije stvari o životu i svojem poslu naučio sam kroz putovanja. Što više putovanja, edukacije, literature i odnosa s ljudima kako bi se definiralo ono što možda fali ili na čemu treba poraditi.


Izvor: Filip Filkovic, Philatz


Koji dio Zagreba za Vas nosi najviše kreativne energije- centar, Novi Zagreb, industrijske zone ili kvartovi?

Miks svega, evo zaista, teško je odabrati. Centar, Gornji grad, Novi Zagreb i industrijske zone. Postoji nešto u tom betonu i prostranstvu što ostavlja mjesta za maštu. Centar je lijepa fasada, ali rubni dijelovi grada su tamo gdje se osjeća stvarni život i transformacija. I ono na čemu još treba raditi. Primjerice, na dan kada sam najmanje motiviran, jedna šetnja gornjim gradom može apsolutno sve preokrenuti.


Izvor: Filip Filkovic, Philatz

 

Rođeni ste 1983.- koliko su Vas obilježili vizualni i glazbeni utjecaji kasnih 80-ih i ranih 90-ih?

Duboko. To je moj vizualni DNK. Više, naravno, 90te. Moj brat je bio jako u glazbi, pa je to prenio i na mene. Dok su svi u školi slušali E.T. i neke domaće gluposti, ja sam slušao The Prodigy, Leftfield, Autechre, Aphex Twin, The Chemical Brothers. To je sve jako utjecalo na mene. Otac je u tom periodu imao videoteku, tako da sam imao pristup svim mogućim filmovima svih žanrova, iz toga sam upijao i definirao svoju današnju nišu.


Izvor: Filip Filkovic, Philatz


Što mislite da današnje generacije mogu naučiti od kreativne slobode i subkulturnog bunta 80-ih?

Ukratko, mogu naučiti da se umjetnost ne radi za algoritme. U 80-ima se stvaralo jer se moralo, bez razmišljanja o tome koliko će ljudi to vidjeti sutradan. Taj bunt protiv “savršenog“ i “prihvatljivog“ je nešto što nam danas kronično nedostaje u svijetu gdje se sve optimizira za klikove.

Jesu li 80-e bile hrabrije u eksperimentiranju nego današnje vrijeme ili je to samo nostalgija?

Bile su hrabrije jer nije bilo straha od trenutne javne osude. Danas svatko ima platformu za kritiku, što umjetnike često tjera u “sigurnu zonu“. U 80-ima je eksperiment bio autentičniji jer je bio izoliran od vanjskih pritisaka globalnog tržišta pažnje.


Izvor: Filip Filkovic, Philatz


Koliko su analogne tehnologije (VHS, kazete, plakati, grafiti) oblikovale način na koji danas gledate na vizualnu kulturu?

Naučile su me cijeniti teksturu. U analognom svijetu, greška je bila dio karaktera, onaj “glitch“ na traci ili oguljeni plakat na zidu pričali su priču. Današnja digitalna savršenost je često sterilna i bez duše. Kada sam bio klinac imao sam prilike učiti o fotografiji od majstora Josipa Božića, naime njega se malo tko danas sjeća. On je svojevremeno u osamdesetima i devedesetima ručno crtao plakate za filmove koji su se prikazivali u kinu SC. On me naučio prvim zanatskim smjerovima za fotografiju, o važnosti svjetla i duše. Sjećam se da mi je rekao kako neki samo nose okolo foto aparat, a da mi kao kreativni ljudi moramo nositi apart kao naše treće oko. I sjećam se da je nakon toga otvorio ogroman album s aktovima žena i rekao mi je “a nekada, nešto moramo fotkati i za dušu”. Što je bilo interesantno i simpatično. Na neki način, shvaćao sam ga, ali to što mi je htio reći sam interpretirao na svoj način i apliciram na svoje radove dan danas, to “za dušu”, zapravo radim kroz svoje radove jer ih radim primarno za sebe, da se meni svide.

Izvor: Filip Filkovic, Philatz

Da danas snimate film inspiriran estetikom 80-ih u Zagrebu, kakvu bi atmosferu imao? Planirate li nešto slično u budućnosti?

Budžet bi eksplodirao, zbog točnosti na kojoj bi inzistirao. Imao bi blue hour atmosferu, onaj trenutak sumraka kad se pale ulične svjetiljke, a grad utihne. Bio bi to film o tišini i malim gestama. Kroz serijal “Spomenar“ ja zapravo već snimam taj film, fragment po fragment. Planiram te fragmente jednog dana spojiti u veću cjelinu koja će biti posveta tom zaboravljenom osjećaju sigurnosti.

Izvor: Filip Filkovic, Philatz

Što biste poručili Erasmus+ studentima i mladim volonterima koji žele ostaviti trag u kreativnim industrijama?

Znatiželja je ključ. Budite znatiželjni istraživači, a ne samo potrošači. Iskoristite vrijeme u drugoj zemlji da vidite ono što lokalci više ne primjećuju. Ne bojte se tehnologije, ali je nemojte pustiti da misli umjesto vas. I najvažnije, tražite priče u ljudima, u njihovim sjećanjima i snovima. Ljudi nekad pričaju a ne slušaju, potrebno je slušati i zaista čuti a ne samo biti protok informacija. Trag koji ostavite neće biti u tehnologiji koju koristite, nego u emociji koju ćete probuditi u drugima. Tehnologija je alat, vi ste duša.


Izvor: Filip Filkovic, Philatz


Hvala što ste odvojili vrijeme da pročitate ovu priču! Rado bismo čuli vaše mišljenje ili bilo što što želite podijeliti- slobodno ostavite komentar ispod.

Loreta, OLS Community Manager- Hrvatski



In riposta a Loreta OLS Community Manager

Re: Bilježenje nevidljivog: Filip Filković o prenošenju sjećanja u film

di Loreta OLS Community Manager -

Capturing the Invisible: How Filip Filković- Philatz Turns Memory into Cinema


Filip Filković is a Zagreb-born director and visual artist whose work bridges the ephemeral world of human memory with the cutting edge of digital technology. Known for his award-winning film The Last Well, Filković has built a career exploring the delicate interplay between emotion, memory, and imagery. From a curious child wandering the streets of Zagreb with a camera and a pencil to a “digital alchemist” capturing fleeting moments in cinematic form, his creative journey is defined by curiosity, experimentation, and the courage to create without compromise. In his work, he demonstrates how authenticity, vision, and a strong idea can transcend budgets, trends, and even generations, inspiring young artists to explore, experiment, and leave their own mark in the creative world.


To start, could you briefly introduce yourself to Erasmus+ students and volunteers – who is Filip Filković today, and who was he at the beginning of his creative journey?
Today, I am a director and visual artist trying to balance between the most advanced technology and the deepest human memories. I see myself as a “digital alchemist” using modern tools to preserve fading emotions. At the beginning of the journey, I was just a curious kid in Zagreb with a pencil and a camera in hand, fascinated by how an image could capture a moment that would never repeat. That initial curiosity is still there; it is the only engine that drives me.


Your film The Last Well has won numerous international awards. What does the success of that film mean to you today, with some perspective?
That film was a confirmation that a local story, if sincere, can communicate universally. Today, I see it as an important lesson that limitations, whether budgetary or technical, actually foster the best creativity. Its success gave me the freedom to explore further, but also a reminder that the idea is always stronger than expensive equipment. Likewise, The Last Well is a solid foundation for future projects- I am preparing a feature film and a new short film, as securing funding for a feature is extremely difficult.

What does your creative process look like – do you start with an image, sound, text, or idea?
Always, every work begins in the human territory, in the mind and on paper- or rather, the Notes app on my iPhone. I first write down sketches, details, scripts; I believe verbalizing thoughts is a purely human skill in which I don’t involve algorithms. Only when the story “breathes on paper” do I begin visualization. Sometimes, a smell or sound triggers a memory, and then I try to recreate that feeling.


If you were today an Erasmus+ student coming to Zagreb for the first time, where would you seek inspiration- in the streets, in people, in architecture, or in subcultures?
I would seek inspiration, as always, from the need to learn or experience something. Mountains of books, music, films. But I would also look for inspiration in the “cracks” of the city: in the courtyards of Donji Grad, in the brutalist architecture of New Zagreb, and in those small, old crafts that still resist time. Inspiration lies in the contrast between old Viennese charm and raw industrial energy, generally speaking.

What do you think young artists today can learn from the DIY approach- creating without a big budget but with a strong idea?
Absolutely everything, because the DIY approach teaches resourcefulness. Back in the day, when we filmed low and high-budget spots, we built setups that were functional and allowed creativity. Today, when everyone has a powerful tool for filming and editing in their pocket, excuses about “lack of budget” no longer hold. Young people need to understand that lack of money is actually an opportunity to be more innovative. A strong idea will always find a way, while expensive visuals without soul quickly fade. Of course, large budgets can expand your horizons and creativity; for almost all my current projects, a budget is necessary because I’ve outgrown satisfying my passions with simple ideas.

Do you notice a difference between the generation that grew up without the internet and today’s digital generations in the way they think and create?
Everyone emphasizes these differences, often creating unnecessary divisions. Those of us who grew up without the internet had “endless time” and the calm of an analog world. We had to wait for information, and that waiting encouraged imagination. Today’s generations have incredible speed and connectivity, but sometimes struggle with focus due to “digital noise.” The difference is in the texture of memories- ours were grainy and rare, theirs are high-resolution and abundant. But fundamentally, humanity- the essence of who we are- is always the same. Times change. Even though I recently worked on the project Spomenara, which evokes old times, I refuse to live in the past; my absolute focus is on the future. The past only gives clarity on what worked and what didn’t, creating a connection to heritage.


What mistake would you advise young people to definitely make while still students?
Work as much as possible; mistakes come with work. Wrong collaborators, tears, failed relationships, wrong decisions, good decisions, more tears- not to be feared or hidden- maybe depression, maybe success, but in the end, it’s important to be human. Specifically, it’s important to undertake the wrong project, one that no one will like, that isn’t trendy, and that is completely non-commercial. Student days are a time when you can afford complete unproductivity in search of your own voice. You learn more from failure born of pure passion than from safe success. And in the end, when you know you’ve created something with your own hands, it’s a wonderful feeling.


What is the greatest strength of young people today- speed, connectivity, courage, or something else?
Connectivity is the greatest strength. Collaborating with someone on the other side of the world in real time breaks boundaries and creates hybrid forms of art and creativity that were unimaginable before. The global empathy they can develop through technology is a huge power.

Do you think it is harder or easier today to build an authentic artistic voice than 20 years ago?
Technically, creating is easier, but being heard is harder. We live in a sea of generic content. Authenticity is a more valuable currency than ever. To be heard, you don’t have to shout louder; you must speak more honestly. Voice is no longer built with equipment but with integrity and vision.

How did growing up in Zagreb shape your aesthetic and worldview?
For me, Zagreb has a specific “working temperature,” a mix of Austro-Hungarian melancholy and socialist discipline. It’s a city not too big to swallow you, but large enough to find countless worlds. This mix of order and hidden chaos is inspiring. However, I’ve learned the most important lessons about life and my craft through travel. The more travel, education, literature, and interactions with people, the clearer what might be missing or needs work becomes.

Which part of Zagreb carries the most creative energy for you- the center, New Zagreb, industrial zones, or neighborhoods?
A mix of everything- it’s really hard to choose. Center, Upper Town, New Zagreb, and industrial zones. There’s something about that concrete and open space that leaves room for imagination. The center has a beautiful facade, but the outskirts are where real life and transformation are felt. And that’s where work still needs to happen. For example, on a day when I’m least motivated, a walk through the Upper Town can absolutely turn everything around.

You were born in 1983- how much were you influenced by the visual and musical culture of the late ‘80s and early ‘90s?
Deeply. That is my visual DNA. More, of course, from the ‘90s. My brother was very into music and passed it on to me. While everyone at school listened to E.T. and some local nonsense, I listened to The Prodigy, Leftfield, Autechre, Aphex Twin, The Chemical Brothers. That all had a huge influence on me. My father had a video rental store at the time, so I had access to all kinds of films, from which I absorbed and defined my current niche.


What do you think today’s generations can learn from the creative freedom and subcultural rebellion of the ‘80s?
In short, they can learn that art is not made for algorithms. In the ‘80s, we created because we had to, without worrying about how many people would see it the next day. That rebellion against the “perfect” and the “acceptable” is something we chronically lack today, in a world optimized for clicks.

Were the ‘80s braver in experimentation than today, or is that just nostalgia?
They were braver because there was no fear of immediate public judgment. Today, everyone has a platform to critique, often pushing artists into a “safe zone.” In the ‘80s, experimentation was more authentic because it was isolated from external pressures of the global attention market.

How much did analog technologies (VHS, cassettes, posters, graffiti) shape the way you view visual culture today?
They taught me to value texture. In the analog world, mistakes were part of character- the “glitch” on a tape or a peeled poster on a wall told a story. Today’s digital perfection is often sterile and soulless. As a kid, I learned photography from master Josip Božić, who few remember today. In the ‘80s and ‘90s, he hand-drew posters for films shown at the SC cinema. He taught me the craft basics, the importance of light and soul. I remember him saying some people just carry cameras, but as creative people, we must carry the camera as our third eye. Then he opened a huge album of female nudes and said, “sometimes, we must photograph for the soul too.” I understood him in my own way, and I apply that lesson in my work to this day- “for the soul,” I make work primarily for myself, because I like it.

If you were shooting a film today inspired by the ‘80s aesthetic in Zagreb, what kind of atmosphere would it have? Do you plan something similar in the future?
The budget would explode due to the level of precision I’d insist on. It would have a blue hour atmosphere- the moment of twilight when streetlights turn on and the city quiets. It would be a film about silence and small gestures. Through the series Spomenar, I am already filming that film, fragment by fragment. I plan to eventually combine these fragments into a larger work that pays homage to that forgotten sense of security.


What message would you give Erasmus+ students and young volunteers who want to leave a mark in the creative industries?
Curiosity is key. Be curious explorers, not just consumers. Use your time in another country to see what locals no longer notice. Don’t be afraid of technology, but don’t let it think for you. And most importantly, seek stories in people, in their memories and dreams. People sometimes speak but don’t listen; you need to listen and truly hear, not just process information. The mark you leave will not be in the technology you use, but in the emotion you awaken in others. Technology is a tool; you are the soul.

Thank you for taking the time to read this story! We would love to hear your thoughts or anything you’d like to share- feel free to leave a comment below.

Loreta, OLS Community Manager- Croatian