The themes and the main characters in most of Žbanić's films, including the three works selected for this presentation, are focused solely on women, on the re-examining of relationships between women’s subjects and war experiences, the traumatic knot which Jasmila keeps revisiting persistently, questioning it again and again, always from a new angle.
With Images From the Corner, Jasmila tries for the first time to articulate the trauma of her own experience. The film focuses on the search for in situ information about the girl from her neighbourhood whom Jasmila knew and who had been wounded. This is the first of Jasmila’s experiences of the war and her first direct confrontation with death and destruction, with her own mortality. There is a moment in this film that re-confirms Jasmila’s particular authorship and her directorial courage. In one shot, Jasmila uses a fixed camera to film a part of the empty pavement on which that bloody day in 1992 her friend Biljana lay wounded by a mortal shell.
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