Überschrift
Vera Lacková, 1989 in der Slowakei geboren, und Roma (Romnja?), studierte Medienwissenschaft und Journalismus an der Masaryk-Universität in Brünn/CZ und lebt seit einigen Jahren als Autorin, Regisseurin und Produzentin in Wien. Ihr Dokumentarfilmdebüt “HOW I BECAME PARTISAN” (2021) wurde vielfach ausgezeichnet. Vera ist Gründerin der Produktionsfirma “Media Voice“ und seit 2023 Mitglied der Europäischen Filmakademie. Für das Startstipendium 2024 hat sie sich mit dem Dokumentarfilmprojekt “Bittersüße Träume” beworben, das vom ehemaligen slowakischen Präsidenten Andrej Kiska handelt, der eine Roma-Modemarke gründete und damit bald auf Probleme stieß.
What is the documentary film project you applied for the Startstipendium with about?
Vera Lacková: Originally, I intended to follow the efforts of the former President of the Slovak Republic, Andrej Kiska, to establish a Roma fashion brand. However, the project, conceived as a celebration of Roma cultural heritage, gradually encountered challenges. Sales stagnates and the brand relied on a romanticized image of the Roma community—women dancing around a fire and celebrations in a Roma settlement. This made me reflect on the question: who and what determines how the image of Roma people is portrayed and how are we ultimately perceived? The representation of Roma—whether in cinema, media, history, or public discourse—has a profound impact on the coexistence of the majority and the largest minority in Europe.
In this documentary essay, I question whether an authentic depiction of Roma life even exists. Archival footage has traditionally been filmed from the perspective of the majority and such representations are largely absent from historical records. From World War II, there are almost no recordings. During communism, films about Roma were used as tools for assimilation, focusing on hygiene, education, and employment for “unadaptable” Roma. After the 1990s, new efforts emerged to depict Roma life, but these often fell into stereotypes, as they were also created from a majority perspective.
Even mainstream films present Roma as criminals, exotic wanderers, dancers, and musicians (such as the character Carmen, embodying the stereotype of the “passionate and dangerous Gypsy woman,” Esmeralda in The Hunchback of Notre Dame as an exotic dancer with mystical elements, or Emir Kusturica’s characters, where Roma are used as caricatures). The perceptions of the majority and the Roma community about what it means to be Roma differ vastly.
My goal is to offer a critical reflection on the traditional portrayal of Roma and to deconstruct these narratives by creating a new, liberated image of Roma identity.
–> eigentlich zu lange noch?
In your submission for Startstipendium, you write that you not only want to portray the former president, but also the integrated Roma designer Monika Vontszemu and the manufacturing employees Martina, Sami and Vlasta, who live on the margins of society and are representative of the difficult living conditions of the ethnic group in the region. What goal are you pursuing with this multi-perspective view?
Vera Lacková: I want to capture a complex and nuanced portrayal of the reality of the Roma community, one that transcends simplified or stereotypical depictions. The film will not only explore stereotypes present in archival records but also delve into deeper systemic issues affecting the lives of the Roma community. Each perspective – whether that of the integrated Roma fashion designer Monika Vontszemu, the factory workers Martina, Samo, and Vlasta, or the former president Andrej Kiska – illuminates a different aspect of the life, challenges and hopes of this community.
I aim to connect these diverse perspectives and showcase the diversity and complexity of Roma experiences. My focus is not only on how the majority society represents the Roma but also on how the Roma see themselves and how they wish to be seen. The stories of the Romade workshop employees – Vlasta, Samo, and Martina – will not merely serve as a documentary record of their life journeys. Together with them, I want to seek an image that truly reflects their reality and dreams. This is an act of resistance and imagination, calling for a fair representation of marginalized communities.
How did you come up with the topic of your documentary film project and how does the research process work? How difficult or easy is it to have all the desired protagonists on board?
Vera Lacková: The research process is complex and involves careful observation, interviews with protagonists and analysis of historical, social contexts and archival records. I focus on the stories of specific individuals and families to capture an authentic portrayal of their lives. This includes visits to marginalized areas where the fashion brand employees live and the factories where they work. It is a process full of challenges as it requires a sensitive approach to building trust and respecting intimacy.
Engaging the protagonists has been somewhat challenging. Some showed openness and enthusiasm for the project, while others were skeptical, particularly due to past disappointments. For me, it is essential to present their stories in their full complexity and avoid distorted or oversimplified portrayals. Therefore, I strive to build relationships based on trust and honesty while giving them space to express themselves.
The film seeks not only to document but also to critically reflect on how social, economic and political conditions impact their lives. My intention is to capture not only the challenges but also the joy, hope and determination of the protagonists as they navigate the struggles of everyday life.
What kind of films are you interested in or what kind of films come closest to how you make films?
Vera Lacková: I am interested in films that combine a documentary approach with a personal perspective and poetics and are not afraid to tackle complex themes such as family traumas, identity, or social inequalities. The films closest to my style of filmmaking are those that break established narratives and experiment with form while remaining honest to reality. For example, works by directors like Kirsten Johnson (Cameraperson), Sarah Polley (Stories We Tell) or Asmae El Moudir (Mother of All Lies).
Trailer for the documentary film “HOW I BECAME PARTISAN” (2021, 90 Min.), explores the forgotten stories of four Roma partisans, including her great-grandfather Ján Lacko. The film premiered at the goEast Film Festival in Wiesbaden in 2021, where it received the Federal Foreign Office for Cultural Diversity Award.
What stage is the project currently at and what are the major challenges at the moment?
Vera Lacková: The project is currently in the development phase, where I am finalizing the research. I am gathering archival materials and conducting in-depth interviews with the involved individuals. Building a trusting relationship with the protagonists is crucial to ensure their stories are authentically and respectfully represented.
https://www.youtube.com/live/dgzI5aUe5tA
–> irgendwie bekomme ich den nicht richtig eingebettet
HILFE, bitte 😉
Vera participated in a panel discussion “Roma (in) Filmaking” at the Marché du Film 2024 in Cannes addressing stereotypes in media depictions of Europe’s largest minority, the Roma community.
