English version below

Šta znači slušati svijet kroz tuđe uši?

Bonefuzz, animirani kratki film mađarskog reditelja Márka Lászlóa, ne pokušava odgovoriti na to pitanje samo pričom. On ga gradi zvukom. Kada pratimo Vajka, tinejdžera oštećenog sluha, zvuk se mijenja, odzvanja i gubi onu jasnoću na koju smo navikli. Na trenutke postaje toliko drugačiji da više nemamo osjećaj da samo gledamo njegovo iskustvo. Kao da pokušavamo slušati zajedno s njim.

Upravo je taj osjećaj jedna od stvari koja ovaj film čini toliko neobičnim. Animacija je vizuelno upečatljiva, ali Bonefuzz svoju najveću snagu pronalazi u tome što ono što vidimo i ono što čujemo nikada ne odvaja jedno od drugog. Zvuk nas usmjerava, zbunjuje i povremeno izbaci iz očekivanog, baš kao što to čini i Vajkov način doživljavanja svijeta.

O filmu smo razgovarali s Márkom Lászlóm prije sarajevske projekcije, a ono što je posebno zanimljivo jeste koliko se njegova ličnost i način razmišljanja prepoznaju u samom filmu. Dok govori o zvuku, animaciji, muzici i svakom detalju koji je gradio godinama, postaje jasno da Bonefuzz nije nastao samo iz dobre ideje, nego iz potpune predanosti jednom svijetu.

Zvuk koji nas stavlja na njegovo mjesto

Márk je tokom našeg razgovora mnogo govorio o zvuku i percepciji, ali tek nakon gledanja Bonefuzza postaje potpuno jasno koliko su te dvije stvari za njega nerazdvojne. Zvuk u ovom filmu nije pratnja slici. On nas vodi kroz priču, mijenja način na koji gledamo prizor i, u pojedinim trenucima, gotovo nas fizički uvodi u Vajkov svijet.

Zajedno sa dizajnerom zvuka, Márk je izgradio tri različite zvučne perspektive: vanjski svijet filtriran kroz Vajkov slušni aparat, njegovo iskustvo koncerta i promjenu njegovog unutrašnjeg glasa.

Ali ono što je posebno zanimljivo jeste kako se ta razlika ne osjeća samo kao filmska tehnika. Kada se zvuk promijeni, mijenja se i naš odnos prema prizoru. Ono što smo do tog trenutka slušali odjednom postaje udaljeno, neobično, izobličeno. Zvuk odzvanja i dolazi iz pravca koji možda ne očekujemo. I tada prestajemo samo posmatrati Vajka.

Počinjemo slušati zajedno s njim.

Márka posebno zanima upravo moć tih malih pomjeranja, što je naglasio i tokom našeg razgovora – kako jedan neočekivani zvuk, detalj u slici ili trenutak tišine može biti dovoljan da promijeni smjer naše misli. U Bonefuzzu takvi trenuci nisu slučajni. Oni su dio jezika kojim film govori o percepciji, ali i o tome koliko se naš doživljaj svijeta može promijeniti kada samo jedan element više nije onakav kakvim smo ga očekivali.

Možda je upravo zato zvuk jedan od najmoćnijih elemenata filma. Ne govori nam samo kako Vajk sluša. Na trenutak nam omogućava da pokušamo slušati njegovim ušima.

Svijet koji je nastajao više od četiri godine

Na prvi pogled, Bonefuzz djeluje kao film koji jednostavno zna šta želi biti. Animacija je precizna, energična i vizuelno upečatljiva, a spoj 2D i 3D tehnika stvara svijet koji istovremeno djeluje stvarno i pomalo nestvarno.

Ali iza te lakoće na ekranu stoji više od četiri godine rada.

To nije bio jednostavan proces, niti nešto što je ekipa mogla samo preuzeti iz postojećeg načina rada. Tehnika je bila dovoljno specifična da je Márk morao pripremati vlastite tutorijale i materijale za nove članove ekipe kako bi ih uveo u način na koji su gradili svijet Bonefuzza.

I upravo tu možda najbolje počinje priča o njegovoj posvećenosti filmu.

Jer dok gledamo deset minuta animacije, ne razmišljamo o tome koliko je puta jedan kadar morao biti napravljen, promijenjen, ponovo nacrtan ili pomjeren. Ne vidimo sve pokušaje koji su prethodili konačnom pokretu, zvuku ili prijelazu.

Márk nam je govorio o važnosti svakog detalja. U kratkom filmu nema mnogo prostora za ono što je višak. Svaki pokret, kadar, zvuk, riječ ili trenutak tišine mora imati svoje mjesto.

Zato je možda najimpresivnija stvar kod Bonefuzza upravo ono što publika ne vidi.

Više od četiri godine rada, istraživanja i eksperimentisanja pretočene su u film koji traje tek nekoliko minuta.

A kada Márk o tom procesu govori uživo, teško je ne primijetiti koliko je cijeli taj svijet još uvijek živ u njemu. Dok objašnjava kako su rješavali probleme s animacijom, zvukom ili muzikom, ne govori kao neko ko samo prepričava završen projekt. Govori kao neko ko je još uvijek potpuno unutra.

Možda je upravo zato Bonefuzz toliko precizan. Ne djeluje kao film u kojem je nešto urađeno samo zato što je bilo moguće. Djeluje kao film u kojem je neko dugo tražio kako nešto napraviti baš onako kako je zamislio.

I ta razlika se osjeti.

Kada muzika postane dio priče

Muzika je još jedan važan dio tog svijeta.

Márk je, osim što je režirao i animirao film, radio i na njegovoj muzici. Njegova povezanost s muzikom nije samo profesionalna. Govoreći o svom odrastanju, instrumentima, rock muzici i alternativnim supkulturama, bilo je jasno koliko mu je muzika važna i koliko ga fascinira način na koji isti zvuk može proizvesti potpuno različita iskustva kod ljudi.

U Bonefuzzu ta fascinacija dobija svoje mjesto.

Bend koji se pojavljuje u priči nije samo kulisa za koncert. U njegovom centru nalazi se ideja o muzici koja može promijeniti čovjeka.

„Fascinirala me ideja benda koji stvara muziku koja zaista može promijeniti ljude, ne samo tako što utiče na njihove emocije u trenutku, već ih fizički transformiše“, rekao nam je Márk.

I ta rečenica možda najbolje objašnjava zašto su muzika i zvuk u filmu toliko važni. Oni nisu samo elementi atmosfere. Oni utječu na tijelo, percepciju i način na koji gledamo ono što se događa pred nama.

Film koji je nastao iz potpune predanosti

Razgovarati s Márkom nakon gledanja Bonefuzza značilo je film početi gledati iz još jedne perspektive.

Već tokom razgovora bilo je teško ne primijetiti koliko je Márk duboko uronjen u svijet koji je napravio. Dok govori o filmu, rukama pokazuje pokrete, zvukove i odnose između elemenata koje je stvarao. Prelazi s animacije na muziku, sa zvuka na percepciju, pa se vraća na neki mali detalj koji bi većini gledalaca možda lako promakao.

Ali taj entuzijazam nije bio prisutan samo dok je govorio o filmu. Vidio se i neposredno prije projekcije, u uzbuđenju i ponosu s kojim je iščekivao trenutak kada će Bonefuzz biti prikazan pred publikom.

I upravo zbog toga ovaj film djeluje kao nešto više od tehnički impresivnog studentskog rada.

Iza njega stoji mladi autor koji je svoju ideju godinama razvijao, preispitivao, testirao i ponovo gradio. Više od četiri godine rada nisu samo podatak o trajanju produkcije. One govore o spremnosti da se jednoj ideji vraćaš sve dok ne pronađeš način da je napraviš onako kako si je zamislio.

Kod Márka se ta predanost ne mora posebno objašnjavati. Vidi se u načinu na koji govori o filmu, ali i u načinu na koji ga doživljava. Dok ga opisuje, ne djeluje kao da govori o nečemu što je ostavio iza sebe. Djeluje kao da je još uvijek potpuno u tom svijetu.

Možda je upravo to ono što je najljepše vidjeti kod mladog autora: trenutak u kojem talent više nije samo potencijal, već nešto što je, uz mnogo rada, znatiželje i ljubavi prema onome što radiš, počelo dobijati svoj oblik.

Iza filma ostaje i pitanje pristupačnosti

Bonefuzz otvara i temu o kojoj se u filmskom svijetu još uvijek ne govori dovoljno – koliko su bioskopi zaista dostupni ljudima s oštećenjem sluha i drugim invaliditetima.

Tokom razgovora s Márkom dotakli smo se zatvorenih titlova, odnosno CC titlova, koji osim dijaloga mogu pružiti informacije o zvukovima, muzici i drugim elementima važnim za razumijevanje scene.

Postoje i tehnologije poput Personal Captioning Devices, uređaja koji omogućavaju gledateljima da titlove prate individualno, bez njihovog stalnog prikazivanja na platnu.

Možda je jedan od najvažnijih efekata filma upravo taj što nas ne ostavlja samo s pričom o Vajku, nego i s pitanjem koliko prostora u našim bioskopima i filmskim iskustvima postoji za ljude čije iskustvo gledanja nije isto kao naše.

Kada svijet koji napraviš počne živjeti s tobom

Nakon projekcije u Sarajevu uslijedio je dug aplauz publike.

A i nama je, nakon razgovora s Márkom, bilo lako razumjeti zašto je Bonefuzz ostavio takav utisak.

Ne samo zbog vrhunske animacije. Ne samo zbog zvuka. Ne samo zbog muzike. Već zbog toga što su svi ti elementi pronašli svoje mjesto u jednoj priči o percepciji, identitetu, strahu i transformaciji.

Na njegovim notesima i kačketu nalazi se Bonefuzz sticker koji je sam napravio – mali detalj, gotovo nevažan u odnosu na sve što se nalazi u filmu. Ali nekako savršeno pristaje uz Márka.

Jer nakon razgovora s njim postaje jasno da Bonefuzz za njega nije samo film koji je napravio i završio. To je svijet u koji je uložio godine, znanje, muziku, crteže, zvukove i ogroman dio sebe.

Možda je upravo zato teško iz Bonefuzza izaći samo s pričom o Vajku. Film nas tjera da razmišljamo o tome kako slušamo druge ljude, koliko malo znamo o tuđem iskustvu i koliko se naš pogled na svijet može promijeniti kada na trenutak pokušamo izaći iz vlastite perspektive.

A Márkov rad pokazuje i koliko jedna ideja može narasti kada joj se zaista posvetimo. Više od četiri godine rada, brojni pokušaji, istraživanje i stalno traženje boljeg načina da se ispriča jedna priča danas su spojeni u nekoliko minuta filma.

I možda je upravo zato Bonefuzz više od neobičnog animiranog filma. To je priča o tome šta nastane kada se znatiželja, talent i ljubav prema onome što radiš spoje s potpunom predanošću.

Više informacija o programu Sarajevo Film Festivala pronađite na službenoj stranici festivala:
*^{Sarajevo Film Festival – Takmičarski program studentski kratki film 2026}

Razgovor pripremili: Kamo Sutra
Sagovornik: Márk László, reditelj filma Bonefuzz

When a Film Changes the Way We Listen to the World: Márk László and Bonefuzz

What does it mean to listen to the world through someone else’s ears?

Bonefuzz, an animated short film by Hungarian filmmaker Márk László, does not attempt to answer that question through the story alone. It builds the answer through sound. As we follow Vajk, a hearing-impaired teenager, the sound changes, echoes and loses the clarity we are accustomed to. At certain moments, it becomes so different that we no longer feel as though we are simply watching his experience. It feels as though we are trying to listen alongside him.

That feeling is one of the things that makes the film so unusual. The animation is visually striking, but Bonefuzz finds much of its strength in the fact that what we see and what we hear are never separated from one another. Sound guides us, confuses us and occasionally pushes us away from what we expect, much like Vajk’s own way of experiencing the world.

We spoke with Márk László before the Sarajevo screening, and what is particularly interesting is how clearly his personality and way of thinking can be recognized in the film itself. As he talks about sound, animation, music and every detail he spent years building, it becomes clear that Bonefuzz was not born simply from a good idea, but from complete devotion to a world of his own.

Sound That Puts Us in His Place

Márk spoke extensively about sound and perception during our conversation, but it is only after watching Bonefuzz that it becomes fully clear how inseparable these two things are for him. Sound in this film is not simply an accompaniment to the image. It guides us through the story, changes the way we perceive a scene and, at certain moments, almost physically draws us into Vajk’s world.

Together with the sound designer, Márk created three distinct sound perspectives: the outside world filtered through Vajk’s hearing aid, his experience of the concert, and the transformation of his inner voice.

What is particularly interesting is that these differences do not feel like mere filmmaking techniques. When the sound changes, our relationship with the scene changes as well. What we have been listening to suddenly becomes distant, unfamiliar, distorted. The sound echoes and seems to come from a direction we may not expect. And that is when we stop simply observing Vajk.

We begin listening alongside him.

Márk is particularly interested in the power of these small shifts, as he emphasized during our conversation – how an unexpected sound, a detail in an image or a moment of silence can be enough to change the direction of our thoughts. In Bonefuzz, these moments are not accidental. They are part of the language through which the film speaks about perception, but also about how much our experience of the world can change when even a single element is no longer what we expected it to be.

Perhaps that is why sound is one of the film’s most powerful elements. It does not simply tell us how Vajk listens. For a moment, it allows us to try to listen through his ears.

A World That Took More Than Four Years to Build

At first glance, Bonefuzz feels like a film that simply knows what it wants to be. The animation is precise, energetic and visually striking, while the combination of 2D and 3D techniques creates a world that feels both real and slightly unreal.

But behind that apparent ease on screen lies more than four years of work.

The team developed a specific way of combining 2D and 3D animation. Instead of recreating highly detailed backgrounds for every camera movement, they digitally painted the backgrounds and projected them onto 3D models. This allowed them to preserve the depth and freedom of three-dimensional space while maintaining the texture and character of hand-painted imagery.

It was not a simple process, nor something the team could simply adopt from an existing workflow. The technique was specific enough that Márk had to prepare his own tutorials and materials for new members of the team, introducing them to the way they were building the world of Bonefuzz.

And this is perhaps where the story of his dedication to the film truly begins.

When we watch ten minutes of animation, we do not think about how many times a single shot had to be created, changed, redrawn or repositioned. We do not see all the attempts that came before the final movement, sound or transition.

Márk spoke to us about the importance of every detail. In a short film, there is little room for anything unnecessary. Every movement, frame, sound, word or moment of silence has to have its place.

Perhaps that is why the most impressive thing about Bonefuzz is precisely what the audience does not see.

More than four years of work, research and experimentation have been condensed into a film that lasts only a few minutes.

And when Márk talks about that process in person, it is difficult not to notice how alive that entire world still is within him. As he explains how they solved problems with animation, sound or music, he does not speak like someone simply recounting a finished project. He speaks like someone who is still completely inside it.

Perhaps that is why Bonefuzz feels so precise. It does not feel like a film in which something was done simply because it was possible. It feels like a film in which someone spent a long time searching for how to make something exactly the way he imagined it.

And that difference can be felt.

When Music Becomes Part of the Story

Music is another important part of that world.

In addition to directing and animating the film, Márk also worked on its music. His connection to music is not simply professional. Speaking about growing up around instruments, rock music and alternative subcultures, it was clear how important music is to him and how fascinated he is by the way the same sound can create completely different experiences for different people.

In Bonefuzz, that fascination finds its place.

The band that appears in the story is not simply a backdrop for a concert. At its centre is the idea of music that can change a person.

“I became fascinated by the idea of a band creating music that could truly change people, not simply influencing their emotions in the moment, but transforming them physically,” Márk told us.

And that sentence perhaps best explains why music and sound are so important in the film. They are not simply elements of atmosphere. They affect the body, perception and the way we look at what is happening in front of us.

A Film Born from Complete Devotion

Speaking with Márk after watching Bonefuzz meant beginning to see the film from yet another perspective.

During our conversation, it was difficult not to notice how deeply Márk is immersed in the world he created. As he talks about the film, his hands illustrate movements, sounds and relationships between the elements he created. He moves from animation to music, from sound to perception, and then back to a small detail that most viewers might easily overlook.

But that enthusiasm was not present only while he was talking about the film. We could also see it immediately before the screening, in the excitement and pride with which he was waiting for the moment when Bonefuzz would be shown to an audience.

And that is precisely why the film feels like more than a technically impressive student project.

Behind it is a young filmmaker who spent years developing, questioning, testing and rebuilding his idea. More than four years of work are not simply a production statistic. They speak to a willingness to return to the same idea again and again until finding the right way to bring it to life.

With Márk, that dedication does not need much explanation. It can be seen in the way he talks about the film, but also in the way he experiences it. When he describes it, he does not seem like someone talking about something he has already left behind. He seems as though he is still completely inside that world.

Perhaps that is one of the most beautiful things to witness in a young filmmaker: the moment when talent is no longer simply potential, but something that, through hard work, curiosity and love for what you do, has begun to take shape.

Beyond the Film: The Question of Accessibility

Bonefuzz also raises a subject that is still not discussed enough in the film world – how accessible cinemas really are for people with hearing loss and other disabilities.

During our conversation with Márk, we also discussed closed captions, or CC, which, in addition to dialogue, can provide information about sounds, music and other elements that are important for understanding a scene.

There are also technologies such as Personal Captioning Devices, which allow viewers to access captions individually without having them permanently displayed on the cinema screen.

The subject feels particularly relevant because Bonefuzz asks the audience to think about how someone else hears the world.

Perhaps one of the film’s most important effects is that it leaves us not only with Vajk’s story, but also with a question about how much space our cinemas and film experiences actually make for people whose experience of watching a film is different from our own.

When the World You Create Starts Living With You

The screening in Sarajevo ended with long applause from the audience.

And after speaking with Márk, it was easy for us to understand why Bonefuzz made such an impression.

Not only because of its outstanding animation. Not only because of its sound. Not only because of its music. But because all of these elements find their place in a story about perception, identity, fear and transformation.

On his notebooks and cap, there is a Bonefuzz sticker that he designed himself – a small detail, almost insignificant compared to everything contained within the film. Yet somehow, it suits Márk perfectly.

Because after speaking with him, it becomes clear that Bonefuzz is not simply a film he made and finished. It is a world into which he invested years, knowledge, music, drawings, sounds and a huge part of himself.

Perhaps that is why it is difficult to leave Bonefuzz with only Vajk’s story. The film makes us think about how we listen to other people, how little we know about someone else’s experience, and how much our view of the world can change when, even for a moment, we try to step outside our own perspective.

And Márk’s work also shows how far an idea can grow when we truly dedicate ourselves to it. More than four years of work, countless attempts, research and a constant search for a better way to tell a story have now been condensed into a few minutes of film.

And perhaps that is precisely why Bonefuzz is more than an unusual animated film. It is a story about what can emerge when curiosity, talent and love for what you do come together with complete dedication.

More information about the Sarajevo Film Festival programme can be found on the festival’s official website:

Sarajevo Film Festival – Competition Programme: Student Short Film 2026

Written by: Maida K. for KamoSutra
Conversation with: Márk László, director of Bonefuzz