(excerpt from the review)
Milan Peca Nikolić
Dragoslav Živković’s painting contains a timeless dimension, more precisely, it is not contextualized in the time in which it was created, nor is it measured by his fashions and measures. In the deep tonal values of darkness, which the painter knows deeply and calmly observes from within, there is a smoldering ember that makes him live his measure in the categories of universal flow, the overall sensitivity of humanity. It is not even a hidden subconscious strategy of patience, devotion to the state of the world, but the power to be related without pathos to the darkness in which talent and meticulous, hard-cultivated skill for eternity maintain the spark of the spirit given to it by God.
The film, unobtrusively and without restraint, represents the work. This is primarily due to the extraordinary, well-thought-out script based on an essential understanding of this timid art and the complex personality of the author. The key is a perfect selection of interlocutors who discreetly suggest individual keys to understanding the deeper layers of the artist’s work and character. Of great importance is the director’s safe approach based on a calm rhythm and adequate pace of changing sequences and interlocutors, which allows the presented images and watercolors to be seen and experienced in the right light and gradually, without unnecessary subsequent interpretation of effects and placing suggestions. A rare example of the harmonization of topic and procedure consistently carried out in detail. To be commended, there is a selection and order of the presented works, which certainly leads through Dragoslav’s opus and represents it in detail but concisely without error. The minimum of biographical information given honestly made it possible to obtain a meticulous portrait of the author from the statements of the artist’s close colleagues. In a word, the film is in good proportions and balanced, which makes it useful and purposeful in the best sense. By purpose I mean the future reception of the author’s work and contextualization in the pantheon of lasting values in a deeper and more thoughtful revision that any time inevitably experiences.
In the technical sense, it impresses with correctness and unpretentiousness, the ability not to go beyond the production possibilities into unnecessary stunts that distract the viewer’s attention. The exceptional contribution of quality photo documentation is also noticeable, which creates an encouraging impression that the museological profession and its branches have not completely disappeared in the chaotic practice of the scarce present. The montage is discreet and unobtrusive, carried out with consistent imperceptible safe cuts, so the former logical with a stable rhythm contributes to directing the viewer to the essence.