The film is a sort of family affair, and your interest in Luben is understandable. NB: Jackie even insisted on having only my name in the final credits, but I firmly refused. But this time around, he had the final word on decision making. Then, as in previous films, we worked together on the editing. It’s all his concept, and he also directed the shooting process as the younger one in our duo. Since My Uncle Luben is a film about my brother, I felt an inner inhibition about signing it as a director, and quite naturally, I asked him to assist. Jackie Stoev : We’ve been working together for a long time: Boshnakov edited my documentaries Bread and Spectacles and Good Morning, Captain. Was it challenging to change roles, and who did what? Nikola’s previous documentary Jackie, Johnny and Charlie Are Not Pet Dog Names features Jackie as a character, whil st here, you sit side by side as directors. When Jackie proposed I direct this film, I felt a responsibility to come up with a more inventive concept. I felt sad and guilty, so I abandoned the idea – documentaries about dead artists have always scared me, both as a genre and in practice. Suddenly, Luben was diagnosed with cancer and died shortly afterwards. Years went by, but I didn’t find the time to concentrate on his story. Over the years, Luben Stoev had put me in mind of a movie character who had just hopped off the screen to mingle with the audience for a while, but was always ready to get back on it. Nikola Boshnakov: That was the original idea, yes. Cineuropa: Watching My Uncle Luben feels like peeling an onion – it starts off as a random story about this German rock band’s frontman who is deal ing with a family property in Bulgaria, and it turns into a time machine and jumps between eras and places.
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