Milena Trobozic Garfield
Uliks Fehmiu
Guido Schwab,
Marcel Lenz
Helena Danielsson
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Synopsis
In the town of Bor, a deteriorating mining center in southeast Serbia, lives King. He is a man of about 40, once a miner, now a local bar owner, a solitary
man answering only to himself and living only for what today might bring, without regrets or ever looking back. His one love is his mighty motorcycle, his
only means of escape from the hopelessness of his surroundings.
He was once involved with Ruzica, the town beauty and the wife of his boxing coach and mentor Animal. When Animal found out about their affair and flew
into a murderous rage, Ruzica killed him. She went to jail; King went abroad, returning a few years later on a bike with enough money to open the bar. More
reclusive than ever, he avoids everybody but Zlatan, Animal’s mentally-challenged younger brother whom King takes care of, out of pity or out of guilt.
After seven years in jail Ruzica comes back to Bor. She wants to start a new life with Whitie, a man who has long loved her, who visited her in jail and was
taking care of her father and daughter while she was serving her sentence. She is preparing her wedding to Whitie but despite her father’s warnings, she
cannot resist the temptation to go and see King once more.
King spends the night with her, but she realizes that this man will never belong to her. Ruzica settles with Whitie and tries to restore some order to her
life. But her teenage daughter, Rosa, is not the orderly type. She is wild and damaged, raised in the shadow of her mother’s crime. She spends her days
with nothing to do and nowhere to go but getting drunk and stoned with her childhood friend, a small thief and drug dealer called Tiger, the only person
who cares about her. One night, wandering around drunk Rosa enters King’s bar and meets this mysterious man who recently came back to town from a
far away world. King comes after her, attracted by her young, untamed nature similar to his, and olso her resemblance to her mother. He doesn’t know
and he doesn’t care. Soon Ruzica finds out that something is happening between her former lover and her young daughter. She goes mad with pain and rage and tries to prevent
them from being together, not knowing that she is already too late. In her mad rage, she beats Rosa cruelly, cursing the day she bore her. Frightened and
angry, Rosa runs to King. The next day he takes her away from Bor on his motorcycle, but it is an unsustainable escape. He is soon tired of her and wants
to go back to his life such as it was. Rosa begs him to stay and tells him that she’s pregnant with his child. Things are going to change.
Ruzica’s Song
And when the day is gone
And when the night falls
I am walking to my grave
When spring is blooming
And when there is rain.
And when the day is gone
And when the night falls
I am walking to my grave
When spring is blooming
And when there is rain.
Since I was a young girl
I’ve been walking to my grave
’Cause I have nobody
Nobody to walk with me that
way.
Since I was a young girl
I’ve been walking to my grave
’Cause I have nobody
Nobody to walk with me that
way.
The earth is so cold
And I wish I could have
I wish I could have
All that I never had.
KRALJ/
KING
(Uliks Fehmiu)
In the deteriorating mining town of Bor in southeast Serbia
lives KING, the owner of the local bar. He is a handsome 40
year old guy, a former boxing champion. He has a bad scar on
his head from the old boxing times. He is unpredictable and
dangerous, but also irresistible. He can have any woman he
wants and he can beat every man who stands in his way.
Women love him, but he doesn’t love anybody. Nothing can
touch him, because he doesn’t allow it. He likes to ride his
motorcycle and sometimes he likes to sit alone and play
his accordion. He has a certain honor and pride of his own.
In a way he is a king in this deteriorating town: people fear
him and admire him because of his independence and his
strength. He had an affair with a local beauty – Ruzica- long
time ago and she killed her husband because of that. She
served seven years in prison. But he never showed any sympathy for her fate and is now more interested in her young
daughter Rosa.
RUZICA/ROSIE
(Jasna Djuricic)
Ruzica is a woman in her late thirties. She used to be the local beauty in
the town of Bor, fresh and pretty like a rose. She was married to, at that
time, the strongest man in town. King’s boxing coach Animal. But she fell
in love with his protégé King and cheated on her husband. Her jealous
husband beat her and in order to protect herself she stabbed him with
a butcher’s knife. She served seven years in prison for that, leaving her
young daughter Rosa to be raised by her father Blackie. She is a tough,
bitter woman. She has no illusions or dreams any more, and after getting
out of prison she tries to start a normal life with Whitie, her long time
admirer who was taking care of her father and daughter. But she still
loves King.
ROSA
(Hana Selimovic)
ROSA is a girl of 18, Ruzica’s daughter. She is beautiful like her mother. She grew
up with her grandfather, Blackie, longing for her mother to come back from jail.
She is wild and difficult to control. She spends her days wandering around town
and smoking dope with Tiger, her childhood friend. Nobody ever took care of her.
She was mostly taking care of her grandfather. She is still young and tender like a
morning dew. She hopes that something new and exciting is about to happen in her
life and takes her far away from the crumbling Bor.
TIGAR/TIGER
(Marko Janketic)
TIGER is a young man, about Rosa’s age. He grew up without parents, with his
grandmother and sister in a shabby two-room shack. He is a petty thief and a drug
dealer raised up on the streets of Bor, after the mine was shut down. He got used to
life from day to day, hoping for nothing, smoking and selling little dope, just wandering around. But he always loved Rosa and was always hoping that one day she
will be his.
CRNI/BLACKIE
(Meto Jovanovski)
BLACKIE is Ruzica’s father and Rosa’s grandfather. He is a desperate man and
an alcoholic He used to be a miner but he lost his arm, and then lost his job, his
dignity and his hope. He spends time cursing life, while drinking cheap booze
till he faints. He longs for past times when the mine was working and he was a
decent man. He loves his daughter Rosie and his granddaughter Rosa but he is
not capable of doing anything for them. He hates King for ruining his daughter’s
life but he also despises Whitie, his future son-in-law because he understands
that he is a looser who can not provide a decent life for Rosie and Rosa.
BELI/WHITIE
(Boris Isakovic)
WHITIE, in his mid-forties, is a former miner,
now a looser and a drunkard. He has a job
as a receptionist in the local hostel for
singles, but he mostly drinks his money
away. He has been in love with Rosie all his
life. He was the only one visiting her in jail
and waiting for her to come out so they can
be together. He has a good heart but he is
weak and impotent to do anything in his
life. He is jealous of King, as he understands
that Rosie will never love him the way she
loves King.
Director Oleg Novkovic
Oleg Novkovic is one of the most important of Serbia’s New Filmmakers. His sensitive portrayals of ex-Yugoslavia’s “lost generation” have won him the
attention of international film festivals and audiences. According to Variety, “His movies have the delicate balance of well measured emotional tensions and hyper-realistic expression.” In his previous film, Tomorrow Morning, he was one of the first Serbian auteurs to address the problems of compromised morality in the post-civil-war culture, and harrowing choice between emigration and self-isolation that has tormented his generation. Serbian
film critics proclaimed Tomorrow Morning one of the most important Serbian films of the decade. Its blend of bitter sincerity and documentaristic reality
caught attention of the film festivals and won several awards.
AWARDS :
“Sutra Ujutru“ (Tomorrow Morning) 2006:
Cottbus Festival- Best Film, Fipresci prize, Distribution Prize,
Karlovy Vary- East Of The West Award/Special Mention,
Haifa –Best screenplay, Best Actress
Festivals: Montreal, Sao Paolo, San Francisko,Palm Springs, Haifa,
London, Minsk,. Ljubljana, Alexandria, Copenhagen…
“Normalni ljudi” ( Normal People) 2001.
Festivals: Cottbus, Mannheim, Moscow, TV: ARTE,
“Kazi zasto me ostavi” ( Why Have You Left Me) 1993
Festivals: Moscow, Rotterdam, New York, Edinburgh, Cottbus,.TV: ARTE
Selection of documentary films
Rudarska Opera( Miners’ Opera) 2005
Deca (Children) - Prix Europe,Berlin
Conversations over Coffee
Q&a with the director Oleg Novkovic
The Setting. BOR
The Story. The more
Bor is a mesmerizing place for me. It is in the Southeast Serbia and it is surrounded with wonderful nature, woods, a big
lake, like the most beautiful resort. There is even a spa in the
vicinity. But you wouldn’t come to spend a summer there. Because there everything is polluted: the water, the air, the soil,
contaminated, poisoned for many years to come.
Bor used to be the biggest copper mine in that part of Europe,
the symbol of industrial prosperity. Now it is a dying city. The
mine is working only partially and is suffocating every living
being in its surrounding with huge clouds of acid smoke. It
used to be a symbol of industrial prosperity, now it is just a
crumbling contaminated city full of drugs with people living
on the edge of existence with no jobs and no air to breathe.
It’s a devastating reality but to me it is also a symbol of
postindustrial future that is the same everywhere, in Russia in America, in China or in Serbia. A Dirty monument of the
times that have passed. And nobody knows what to do with
these huge industrial complexes, with these people left with
no hope and no place to go.
I was interested in exploring modern tragedy, a story of fatality, sin, destiny and sacrifice. It is the story of a man who
commits the worst crime without knowing it, like King Oedipus. It is the story of the Mother who sees her lover falling
in love with her younger self, her daughter. It is the story of
Elektra who seeks revenge for the mother’s crime and selfishness. These tragedies are still happening, not only between
king’ and queens’, but among us. Not because the gods have
condemned us, but because of us. And as Fassbinder said “
The more real things get the more like myths they become”.
What is horrifying and almost unthinkable is that our destinies are the same today as long time ago, the same things are
happening over and over again and we come to realize that our
intentions and wishes do not coincide with the events in our
lives..That we do things without even being able to imagine
what the consequence of our doing will be. That is frightening.
Bor has a very high crime rate, murder rate, among the
highest in Serbia. Maybe because of the extreme conditions of
living, I don’t know but I wanted to explore that: human
passion, desires, misunderstanding and suffering within the
extreme conditions of life. The focus becomes sharper.
The Music. Balkan Opera
Music is an essential part of this movie. I used to call this movie “The Balkan Tango” because of
the tango rhythm that our composer Boris Kovac combined with the authentic Balkan melodies,
even the Hungarian romances. But it’s not a tango, it’s more like an opera because the singing
comes directly from the action, it’s like a long monologue or, at the end, like a Greek chorus.
It was very challenging to do these scenes because the singing was not recorded in the studio, it was recorded in “real time’ directly on the set. It was a particular challenge working with
the chorus at the end. Because what you hear in the end is the real singing of real miners of
Bor, recorded on the set.
It’s particularly moving to me, these real faces, real people singing a “final song”, the song
of the forgotten, and the song of the rebellion. “And then we will come” Personally it is very
important to me, because I know these people; I know that it is their song.
The cinematography
I work always with the same DP, Miladin Colakovic. To me he is a great cinematographer
and even more, he is a painter. I call him Hopper (Edward Hopper) because he can capture the moment, the atmosphere in the light and the danger in the shadows. I wanted
to achieve some sort of hyper realism. There was almost no set design. Everything was
done in “natural “settings- real apartment, real building, and very little intervention.
And I wanted wide shots of Bor, very wide so that people and actors sometimes are almost lost in a shot. And then I wanted faces, close ups of actors and also some real people
on the streets. I wanted sometimes actors to be lost among the real life in the street.
Miladin made some incredible pictures of Bor when we were scouting. And he mounted
enlarged photos of Bor and we mounted an exhibition in Bor before we started shooting.
We wanted to show the people of Bor how magnificant their city is to us. The beauty of it
and the sadness of its decay. It was an exciting moment.
We worked with more than 500 extras, all people of Bor, some of them my friends, beThe acting style
Most of the actors in the movie are theater actors They’ve done movies but they are cause I spent long time here making a documentary about Bor. We made beautiful friendtheater stars. And except for Uliks (Fehmiu), Nebojsa (Glogovac) and Milica (Mihajlovic) ships. I think they were proud that we were doing a movie in Bor. That they are not forgotwho were in my previous movies, I worked with them for the first time. But it is an incred- ten or reduced to little byline in the news . Suddenly they became visible and real.
ible cast.
The acting is very minimalistic, almost no lighting, no make up, very realistic. And then People and Poetry
you combine that with singing, which is very tricky, the song coming right out of that I think two things that provoke me most to do this the way I did it, are the people of Bor
“crude” scene. We didn’t know whether it will really work. Because the song is very styl- and Milena’s (Markovic, the writer) poetic sensibility, her poetry.
ized element, it could take you away from the scene, it could stop everything -- but it Milena and I did a documentary in Bor, “ The Miners’ Opera”. We lived few months in Bor
didn’t. I think mostly because the actors had this ability to treat singing as pure continu- while Milena was doing an amateur theater production of Brecht’s “Three penny Opera”
ation of the scene, as a text, not as a song. It was exciting to watch, as we were doing it with the people of Bor, mostly unemployed miners and their families. And we shot a
how the scenes morph (transform) naturally into music.
documentary of that, of the rehearsals and our life and encounters in Bor. They traveled
So, yeah, that’s what we tried to achieve: the acting without acting, the singing without with that performance all around Serbia. It was good.
singing. I don’t know if it makes any sense when I say it, but that’s what it is.
I think that was the inspiration, the sketch, for this bigger canvas which is “White White
The audience. Everyman
World.” We came to know Bor, the people, their lives, the poverty and poetry of it. The dramas, the passions and what they
sing about. There is a song two of our Bor friends are singing
to Milena before her departure after we finished the documentary film. It says something like this ”Milena, you little
girl, you are leaving now and you will forget us, but we will
never forget you.” But we didn’t forget them. We couldn’t. The
people of Bor, faces of people we met in Bor – they were stalking me. I had to go back to that. I had to go back and tell their
story, their opera . Because when I think now, the documentary was more than a sketch for White White World, because
this film is the miners ‘opera: the big story of love and doom.
Because the documentary was something we did just for
us. We never distributed it. We were showing it to friends
in our living room, and then friends were showing it to their
friends, but somehow it grew, it gained a significant following through these ”private screenings” -- so much so that it
was finally screened publicly as part of October Salon, a international visual art biennale in Belgrade. When I think of it,
there is something in those intimate settings, the drama of
discovering. But I believe it was the reality of those faces and
stories that attracted people.
So the reality of the place and Milena’s poetry in the writing.
Milena is a playwright and she is a poet, a very established
play writer and poet in Europe. She writes scripts only with
me. This is our second collaboration (the first was “Tomorrow
Morning”)
It’s very challenging collaboration because I have to do many
drafts (I think we did 15 drafts of White White World) to strip
it to that astute realism, to come to the essence, to the very
heart of the matter and still keep the poetry at the end of it.
It’s like whittling an arrow, slicing the shaft till it becomes really lean and sleek
If you think of the scene as the arrow, a stream of actions
that lead you to the end toward this sharp, shiny beautiful tip
of the arrow. That is the scene after all the whittling: a sleek
arrow very pointed towards its shiny and sharp tip in the end
which is the song, the poem, and that tip of the arrow hits you
right in the heart.
If the movie is an arrow who is the target? Right?
Well, Women. Women are the target. Because its’ a big story.
Women love stories. Because it’s a tragic story. And women
love to cry. It’s cathartic. So I would say chercher la femme.
But it is also a movie about Everyman, because there are no
heroes in it and it is aimed at Everyman. It is an old story, a
man’s fight against his destiny, against himself, against the
circumstances.
And its universal story and I think it can be for every man
-- except maybe young people, under 18, because serious
stories can be disturbing. Kids should not face too much reality too early, as in our story. So I believe this movie should be
rated R.
White White World /rated R... It sounds right, when you think
of the world today, quite often it’s so disturbing it should be
restricted for kids. White White World? Rated R…Sounds almost like a metaphor.. or something… Milena would say it
better. She is the expert for these figures of style. I am just a
filmmaker...A documentarian, if you wish...
“ Any life is made up of a single moment in which a man finds out, once and for all,who he is.”
Jorge Luis Borges
Writer Milena Markovic
Milena Markovic is one of the most acclaimed playwrights and poets in Serbia.
A 1998 graduate of the Academy for Drama in Belgrade, her theater plays are performed all over Europe, including Paviljoni
(“Pavilions”) and Sine (“Tracks”) in Austria, Macedonia, Poland, Germany, Slovenia and Serbia. Sine was published by
Theater Heute, the most prestigious European theater magazine. Suma Blista (“The Forest is Glowing”) was produced by
Schauspilhaus in Zurich in February 2005. Three times she has been awarded the biggest National Theater Award for her
plays, including in 2009 for her play, Boat for Dolls.
Markovic wrote the documentary The Miners’ Opera. She authored the screenplay for Oleg Novkovic’s Tomorrow Morning. She
has also published two collections of poems, the second one presented in public reading in the Royal Theater in Stockholm.
Awards:
1998 – Special Award in Viennese Theater for Paviljoni.
2004 – Special Award of the National Theater Festival Sterijino Pozorje for the
play Tracks.
2005 – Special Achievement in Theater for the play Boat of Dolls.
2006 – Best Screenplay (Tomorrow Morning) at Alexandria and Minsk Film
Festivals and Serbian National Screenplay Festival in Vrnjacka Banja.
2007 – Best Award of the National Theater Festival Sterijino Pozorje for Nahod Simeon.
2009 - Best Award of the National Theater Festival Sterijino Pozorje for Boat for Dolls.
2009 –Best Award Todor Manojlovic for collection of plays
2010 – Award Biljana Jovanovic for collection of poems.
“each man kills the thing he loves
some do with a bitter look,
some with a flattering word,
the coward does it with a kiss.
the brave man with a sword”
Oscar Wilde
Music Boris Kovac
Boris Kovač (1955) is a composer, instrumentalist and multimedia artist from Vojvodina,
Serbia. A composer and conductor of chamber works, he also often composes for theater.
From 1991to 1995 he mainly lived and worked in Italy, Slovenia and Austria. In 1996 he
returned to Serbia to lead the RITUAL NOVA ensemble, LaDaABa orchest, La Campanella
orchestra, Chamber Theatre of Music OGLEDALO, Academy of Fine Skills and to work with
students to reestablish the contemporary music/theater scene in his country.
Kovač has performed his works in 500 concerts and 250 festivals globally and contemporary theater in 30 countries on four continents. His CD albums were three times in the
Top 10 of European Broadcast Union (World Music Charts Europe). His CD album, The Last
Balkan Tango, was chosen in the best “50 essential albums” ever in the UK magazine
Songlines. In 2007, Kovač got the biggest Serbian theatre prize - STERIJA AWARD - for music. In the 2008 Serbian National Cinema City festival, he was awarded with the prize for
best music His DVD Before and after Apocalypse, received the prize of the German Critics
Association.
Selected published works:
CD The Last Balkan Tango, PIRANHA, Berlin, 2001
CD Ballads at the End of Time, PIRANHA, Berlin, 2003
CD DAMARI, Kachara, Bukovac, 2004
CD World after History, PIRANHA, Berlin, 2005
CD Songs from the Garden of Loves and Graves, theatre music, SNP, Serbia 2007
DVD Before and after... Apocalypse, PIRANHA, Berlin 2008
CD Chamber Music, Long Arms, Moscow, March 2010
www.boriskovac.net
Director of photography Miladin Colakovic
Born in Obrenovac in 1964, Miladin Colakovic finished Secondary School of Design in Belgrade
in 1983. During 1985 and 1986 he worked as a photographer for the Politika newspaper. In
the year 1991 he graduated at the Film & TV Camera Department, the Faculty of Dramatic Arts,
University of Arts in Belgrade, where he now works as a Professor of FILM CAMERA and PHOTOGRAPHY. He received his MA degree in PHOTOGRAPHY at the Faculty of Applied Arts and Design in
Belgrade. His works include documentary, artistic and advertising photography, both musical clips and commercials, experimental, documentary and feature films, TV serials and other
television forms. He is a member of the ASSOCIATION OF FINE ARTISTS OF SERBIA, the Group for
New Media. He has received many awards for his work.
“It isn’t easy to accept that suffering can also be beautiful…it’s difficult. It’s something you can only understand if you dig deeply into yourself”
R.W. Fassbinder
Milena Trobozic Garfield
What would I say if anybody asked me? (written on the kitchen counter)
First of all I am not really a film producer; I am a part-time theater producer. Neither my partner Uliks Fehmiu nor I have ever before
fully produced a movie. That’s why we don’t even have a web site. All we could put on it would be our confusing addresses, as we
live in three cities – Belgrade, New York and Washington, DC -- on two continents. I was producing this movie while simultaneously doing laundry and cooking dinner, and Uliks while he was running his artisan New York City bakery. Our telephone bills and
plane fares (across the ocean almost every month for three years) amounted to more than our producers fees. Still, contrary to
what naysayers predicted (including, sometimes, I admit, me), we pulled it off. But then again the whole movie was a challenging
combination of contradictions. And that’s why we couldn’t resist it.
And here are the reasons why.
1) The story’s poetry.
I like how the head of the Serbian film fund, Miroljub Vuckovic described the film, “It’s Tennessee Williams in Chernobyl.”
When we first read the script, we were struck with the grand, passionate story of love, loneliness and despair. We were taken
by the fatality of it and with poetry of it. The screenwriter, Milena Markovic, probably the most recognized modern playwright
in Serbia, is first and foremost a poet. Her screenplay was a sort of epic poem with the framework of Greek tragedy. Surely
it’s a story of love, longing and betrayal. In this tragedy, though, the characters’ destinies are not decided by the gods, but by
circumstances.
2) The setting’s grim reality.
Oleg took this poetic tragedy and put it in realistic setting of the town of Bor, a dying mining center in southeast Serbia. Once a symbol
of socialist prosperity and hope, now it is the apotheosis of contamination and decay. The mine is almost shut down, but still pollutes
the air and water all around the city. Bor is a city with no jobs, with the country’s highest murder rate and with a life expectancy of
about 50 years. Every second teenager is a drug addict -- because drugs are cheaper then the booze, there is nothing else to do and no
place to escape. This tale happens to be set, all too realistically, in Serbia, but it could have easily been shot in Latin America, Siberia,
Greece, the Paris suburbs or downtown Detroit. You don’t have to travel to Bor to see the ruins of the post-industrial age.
3) The music’s spontaneous combustion.
We are often faced with the question: “Is this an opera? Is this a musical?” And the answer is: neither. It’s a neo-realistic tragedy with occasional singing. Ranier Werner Fassbinder saw the outbreak of song as the purest expression of emotion.( but that doesn’t
make him either Puccini or Oscar Hammerstein). I do not believe that in today’s world we
can neatly define genres or even media themselves. Opera and theater performances are
shown on HD and filling the empty movie theaters all over the world. Film directors’ work
is presented in museum and galleries, like Tim Burton right now in MOMA. What I especially was drawn to in Milena’s script was this mash-up, the meta-genre. And this movie
bravely combines the grand story of tragic mistake, the hyper stylistic singing and the
documentary reality of the world today. The result is a universal tragedy rooted in the
peculiar rhythms of its Serbian setting. In short...
4) The fatality of a Balkan tango. It’s a danse macabre in the idiom of Eastern European
melodies.
The songs that actors sing and the original score were composed by Boris Kovac, who
combined traditional Balkan music with the cadences of the tango. Why tango? Because
it is poor-peoples’ poetry -- about love and death, pride and destruction – danced, as I
like to say, with the passion in the eye and a knife in the belt. It comes from the fringes
of society, the thieves and the thugs with heads upright and boots muddy, full of poetry
but dirty of poverty. It’s sensual and threatening and fatalistic all at the same time.
But this is just my personal opinion and I’m just an accidental producer who happened to
be lucky to do a very challenging first movie.
“I have a theory that opera is born when people are no longer capable of expressing their feelings through speech... when their emotions are so overpowering, all they can do is sing.”
R.W. Fassbinder
Miners’ chorus
And now we will eat,
And now we will drink,
From the rich man’s table,
From the cloth of silk,
From the silky covers,
With a golden spoon,
With a golden knife,
From the golden plate,
When the darkness falls and
The sweet, sweet night.
When nobody can see
Our sorry eyes,
Our bare feet,
And what is left,
And what is left,
We’ll take to our kids
To eat, to eat.
And so today, and so tomorrow,
And day after day,
The king will be with his queen
And merchant will sell
And merchant will sell
And street will be our mother
Produced with the support of The EURIMAGES FUND OF THE COUNCIL OF EUROPE, FILMSKOG CENTRA SRBIJE, GRADSKOG SEKRETARIJATA ZA KULUTURU GRADA BEOGRADA,
MINISTARSTVA ZA KULTURU REPUBLIKE SRBIJE (SERBIA), MITTELDEUTSCHE MEDIENFOERDERUNG GMBH (GERMANY), SVENSKA FILMINSTITUTET (SWEDEN),
In collaboration with CINELINK/SARAJEVO FILM FESTIVAL, ATELIER DE LA CINEFONDATION, NIPKOW PROGRAMM, SVERIGES TELEVISION
Cast
Uliks Fehmiu
Hana Selimovic
Jasna Djuricic
Nebojsa Glogovac
Boris Isakovic
Milica Mihajlovic
Marko Janketic
Meto Jovanovski
Mira Banjac
CREW
Directed by OLEG NOVKOVIC
written by MILENA MARKOVIC
Director of Photography MILADIN COLAKOVIC
Music composed by BORIS KOVAC
Editor LAZAR PREDOJEV
Production Designer ALJOSA SPAJIC
Costume designer IRENA MARJANOV
Sound recordist BRANKO DJORDJEVIC
Sound designer SEBASTIAN SCHMIDT
Re-recording Mixer Olaf MEHL
Production Manager Uros LAZIC
1st Assistant Directors LJUBOMIR BOZOVIC, NIKOLA IVANOVIC
Executive Producer JEAN-LUC ORMIERES
Producers MILENA TROBOZIC-GARFIELD, ULIKS FEHMIU
WEST END PRODUCTIONS (Belgrade)
Coproducers GUIDO SCHWAB & MARCEL LENZ
OSTLICHT FILMPRODUKTION (Germany)
HELENA DANIELSSON/HEPP FILMS (Sweden)
“ Life itself is a quotation”. Jorge Luis Borges