Through the Graves the Wind Is Blowing

Travis and Erin Wilkerson move with their children from the United States to Split, on the Croatian coast, to make a film about the fall of Yugoslavia. How to realise such a project? For the Wilkersons, it’s by joining the dots between three seemingly unrelated elements. First, there is Ivan Peric, who became a detective to avoid life as a fisherman or in tourism, and must now solve the murders of three foreigners during the holiday season. There is the Hajduk Split football club, once affiliated with the partisans during the Second World War but which has now succumbed to the disease of the present, with a large part of its fanbase composed of fascists. Finally, there is Leonard Cohen’s version of an anti-fascist anthem written in 1943 by French resistance leader Emmanuel d’Astier de la Vigerie with music by Anna Marly, a former Russian noble exiled after the October Revolution. These three intertwined elements (one fictional, one historical and one audible) produce a map of the century that expands in all directions. Yet the filmmakers also face the omnipresent question of the current era: how did we end up here? (Lucía Salas)

In the presence of Travis Wilkerson.

Travis Wilkerson: ACCELERATED UNDER-DEVELOPMENT (1999), AN INJURY TO ONE (2002), WHO KILLED COCK ROBIN? (2005), PROVING GROUND (2009), DISTINGUISHED FLYING CROSS (2011), LOS ANGELES RED SQUAD (2013), MACHINE GUN OR TYPEWRITER? (2015), DID YOU WONDER WHO FIRED THE GUN? (2017), NUCLEAR FAMILY (2022, KO-REGIE), THE FUCKEE’S HYMN (2023)