How can cinema engage with complicity in crimes against humanity and extreme violence without conniving in it? De Facto finds answers to these questions in a meticulously directed play of two actors, a precisely compiled film script and a deliberately reduced setting.
The question regarding the representation of historical atrocity, which was popularised by auteurs such as Resnais, Marker and Lanzmann, is one that cinema has been grappling with for the better part of the last century. And the myriad answers keep on flowing, just like History itself, posing the question again and again, with every unjust death, every mass murder, every war, and every genocide that cinema will have to grapple with representing — but how? De Facto offers one possible answer, by finding within a rigorous and very precise form a means to represent the perpetrators of the systematic crimes committed in modern times, probing their Weltanschauung without replicating its violence onto the spectator. The aesthetic and the political are far from being poles of a binomial formula, on the contrary — they are one and the same energy, committed to a challenging tour de force. (Flavia Dima)
Selma Doborac was born in Bosnia and Herzegovina, she lives in Vienna and is a film director and screenwriter working in the hybrid field of essay film and documentary feature film, as well as in the field of photography and site specific surroundings. From 2002 to 2007 study and graduation at the University of Applied Arts, Vienna, Department for Mixed Media Strategies (Bernhard Leitner). From 2008 to 2012 study and graduation at the Academy of Fine Arts, Vienna, Department for Art and Film (Harun Farocki). Film Festival participations and exhibitions, awards and grants nationally and internationally.