We compare the past with the reality of the present and we observe it attentively and unobtrusively, when this past engages in a dialogue with the surrounding world.
Ralitsa Dimitrova graduated in Film Directing from the All-Russian State University of Cinematography, Moscow and in Philology from Sofia University “St. Kliment Ohridski”. Ralitsa Dimitrova works as a screenwriter, assistant-director and director. She has worked on more than 100 documentaries on various topics, 50-series of documentaries on Bulgarian history for Bulgarian National television, science fictions, children, musical films and TV programmes.
Ralitsa Dimitrova has received several awards: 2018 – “SAGA FOR THE WASTED OPPORTUNITIES” Award of the History Film Festival in Poland; 2015 – “DIMITAR SHISHMANOV, FOR REFLECTION” – Nomination for the prize of Sofia city for Best Film.
Nomination for the prize of Sofia city for Best Film, 2015 – I AM HAPPY – Award of the festival “Golden Vityaz”, Russia; 2015 – DIMITAR SHISHMANOV, FOR REFLECTION – Nomination for Best Documentary Film and for Best Director, Best Director of Photography and Best Scenography from Bulgarian Film Academy; 2014 – DIMITAR SHISHMANOV, FOR REFLECTION – Award of the Union of Bulgarian Filmmakers at the Bulgarian National Documentary’s Film Festival Zlaten Rhyton.
Member of the Union of Bulgarian Filmmakers from 1989.
Full Artist’s Statements
“We are in pursuit of methods devised in his expeditions to track the shadows of the past. We compare the past with the reality of the present and we observe it attentively and unobtrusively, when this past engages in a dialogue with the surrounding world. What can still be found in the village are artefacts (remnants of the factory and railways that have been falling apart since their abandonment), photographies of forgotten and already unnecessary ancestors, flawed and dusty remains of a heritage whose value people have no clue about. It is only the desperate dreamer Metody who is able to look under the layers of negligence and ignorance and find out there the treasure that could recover the memory. A rusty nail can make him happy, and he establishes utmost aesthetics in the carving of this same nail’s head. He would usually be confronted with the distrust typical of our compatriots: if someone is interested in a matter, for many it means this artefact is precious and could help earning some money, or a ruder way to put it, they would consider the person to have lost their mind and attack them with ‘Do not mess with your nonsensical stuff, I have so much other things on my mind!’ (more extreme versions are left aside).
The film visualises this transformation of the atmosphere of the time, taking a sight beyond the common observation and adding up the images of various epochs. It is not the usual sociological observation; yet, alike our character, it digs up the sparkles of the past to see their reflections in the present.
This game of real past and ghosted future is among the keys to the film stylistics.” (translation : Rosen Dimov)