As an image to encapsulate Director Nenad Cicin-Sain's film "Kiss The Future", and the heart-rending siege of Sarajevo, one scene repeatedly unfolds in my mind. It's a familiar sight, replayed in different mediums – an album cover, a poster, an atmospheric backdrop for a music video or a rock concert, raw film footage. It's a scene from a beauty pageant held in what looks like a modest dance hall. Ten women, dressed in bathing suits, parade around with dazzling smiles. Everything feels ordinary, unremarkable even – until they come together to unveil a banner. In bold letters it reads, 'DON'T LET THEM KILL US'.
Isolated in the basement while chaos reigns above, the people of Sarajevo lived under the oppressive regime of their president, Slobodan Milošević. His strategy was as devastating as it was simple – use nationalist beliefs and ethnic cleansing to suppress and kill the city's diverse populace. With little means to physically fight back, the people of Sarajevo displayed a spirit that shone brighter than any munition. They were artists, punk rockers, humorists, fans, and pageant contestants. "Kiss the Future" tells the story of how art became a paladin of hope, standing against the raining bullets during the day while providing a steadfast sanctuary at night.
Enter Enes Zlatar, charismatic lead singer of the punk band Sikter, who soon found himself in the unlikely role of a volunteer firefighter. Amid the destruction, he recognized the need to sustain some semblance of normalcy. Taking shelter in the dimly lit underground discos, he and his band performed powered by generators. Other artists followed suit, sparking a vibrant, defiant underground art and punk movement that found regular coverage on a local media station, RAT ART.
The global community turned a blind eye. The United Nations played the ignorance card. The atrocities were largely unreported until independent journalist Bill Carter aimed his camera towards Sarajevo. On the off-chance that the famous rock band U2 might care about what was unfolding there, he decided to get an interview with them during their groundbreaking Zoo TV tour in Europe. He recounts with a touch of humor his circuitous plan which ended up with a backstage interview with Bono.
Cicin-Sain captures U2's interest in Sarajevo in his film. The band used their global coverage to spotlight the war-raged city, conducting live interviews with its citizens during their concerts. Although their efforts were appreciated, Carter includes a critical moment when a woman questions Bono on how he is actually helping them, temporarily silencing the enthusiastic crowd.
Fast forward to the late '90s when U2 played a concert in Sarajevo – a fulfilling climax in the film and a symbol marking the end of war for many in the city. Cicin-Sain's "Kiss the Future" isn't just a recounting of historical events; it peels back the layers of resilience, with art as the driving force against oppressive power. The film also includes the important point that U2 had insisted the film be about Sarajevo’s people, not about the band themselves.
"Kiss the Future" offers a straightforward presentation of a city and its people who found spirit and hope amidst despair, where art became not just a mode of survival, but a unifying force against those that sought to divide and conquer. Cicin-Sain effectively delivers this message. The film opens on February 23rd, with special screenings scheduled for February 21st in select markets.
