Director Biography – Nina Sorić
Nina Sorić was born in Ljubljana in 2003. After completing her high school education at the grammar school in Opatija, in 2021, she enrols in the Cultural Studies program at the Faculty of Humanities and Social Sciences of The University of Rijeka. She has a great passion for the visual arts, including films, graphic novels and performative art. However, her specific field of interest is film editing and its unique blend of the visual and the auditory.
Her film knowledge and experience in editing can be attributed to her participation in film festivals and professional workshops, while travelling throughout Croatia, Denmark and Norway. She is open to working on audio-visual shootings as well as editing commercial, documentary, art and video works. During her time at the Filmaktiv’s workshop Nova škola dokumentarnog filma (The New Documentary Filmmaking school) (2021/2022), she writes, directs, shoots and edits two short auteur films ‘That Much More’ and ‘Trail of memory’. Her latest film project ‘So many times’ (2023), premiered as a part of the closing ceremony for Student Cultural Centre (SKC) 10th anniversary.
Her film knowledge and experience in editing can be attributed to her participation in film festivals and professional workshops, while travelling throughout Croatia, Denmark and Norway. She is open to working on audio-visual shootings as well as editing commercial, documentary, art and video works. During her time at the Filmaktiv’s workshop Nova škola dokumentarnog filma (The New Documentary Filmmaking school) (2021/2022), she writes, directs, shoots and edits two short auteur films ‘That Much More’ and ‘Trail of memory’. Her latest film project ‘So many times’ (2023), premiered as a part of the closing ceremony for Student Cultural Centre (SKC) 10th anniversary.
SYNOPSIS
The film ‘So many times’ follows the author’s mother in the process of moulding a clay portrait of the daughter. Through the use of the medium of film, the portrait becomes a self-portrait.
The portrayal of the dynamics from a “static” place is indicative of a creative process in which the reciprocal self-doubt is vulnerable to the eyes of the audience: the mother’s uncertainty about creating a faithful portrait in a short amount of time and the author’s struggles in making the film as authentic as possible. The self-doubt and uneasiness of the creative process are realised in the uncertainty of the film’s ending.
The portrayal of the dynamics from a “static” place is indicative of a creative process in which the reciprocal self-doubt is vulnerable to the eyes of the audience: the mother’s uncertainty about creating a faithful portrait in a short amount of time and the author’s struggles in making the film as authentic as possible. The self-doubt and uneasiness of the creative process are realised in the uncertainty of the film’s ending.