further diversionary tactics

also included in the list of deterrents-from-the-treatise-writing: a whole bunch of Bosnian films up at Loyola, where was held the really unique and exciting Bosnian and Hercegovinian Film Festival for an epic four solid days. i went up on Saturday afternoon (after another (adjectivally) epic in the form of conference on disciplined fatality, the (im)possibility (to be fair: most everyone was humanely hopeful, or at least politically correct) of interdisciplinary rigour, at school) and stayed for three of the films. Perfect Circle was a Kolya-esque account of wartime Sarajevo, complete with much scurrying. Borderline Lovers (as it was badly translated into English: a preposition makes a big difference in valence, not to mention the choice to alter one of the subjects of the original: Love on the Border), a documentary of various relationship permutations of B/S/C reminiscent of the following (from the Stevanovski play, Sarajevo):

Suljo: "how about the [joke] about the Serb, the Croat and the Muslim?"
Mujo: "You mean the Muslim, the Croat and the Serb?"
Suljo: "What's the difference?"
Mujo: "The Muslim is in the first place."
Suljo: "What's the difference?"
Mujo: "The difference is war!"
Suljo: "Well, then, the joke about the Croat, the Serb and the Muslim."
Mujo: "Why the Muslim in the third place, after the Serb?"
Suljo: "Well, then, the joke about the Serb and the Croat only."
Mujo: "Why not the joke about the Serb and the Serb and the Serb only."

during these two films, i stopped counting the number of times the camera moved, down a road, driving or walking, and i would know what was up ahead—in Sarajevo, in Mostar, on the coast near Bar.

in any case, concluded the evening with Go West, through whose entirety i fairly sobbed—although, moment to moment, the reason for such hysterics did not remain constant and found roots in such varied elements as: sheer force of history and wrongs perpetrated and perpetuated, accented language (that, boiled down and despite all flailed-hand cries about That Language, i understand Serbian best), both the complexity and shallowness of character, and subtitles-upon-subtitles. i have to say, that last one never fails in its raw emotive capacity.