Conversation with Srđan Dragojević at FUNK: Authenticity, challenges, and humor in the world of film
Srđan Dragojević, one of the most renowned and influential film directors from the former Yugoslavia, gathered students and film enthusiasts at the Rectorate of the University of Montenegro as part of FUNK Kino – a segment of the University’s Festival of Arts, Science, and Culture (FUNK). Following screenings of his iconic films over two nights, which included Lepa sela lepo gore, Parada, and Mi nismo anđeli, Dragojević held a fascinating and candid conversation where he shared career anecdotes, his views on the film industry, and personal challenges and experiences of filming in war conditions. (PHOTO)
Dragojević began the discussion, moderated by Bojana Šolaja, with an emotional reflection on his family, emphasizing how proud he is of his children’s achievements in art and sports. He expressed that his children’s careers and artistic accomplishments are his greatest pride, despite his many film successes.
The challenge of authenticity in the film industry
One key question posed to Dragojević was about the struggle for authenticity in an industry that often demands compromises. A student asked how artists can maintain their authentic voice in an industry that frequently forces them to conform to market rules and patterns. Dragojević responded that artistic authenticity requires perseverance and that, although academies sometimes limit creativity, they are necessary for acquiring technical skills. He stressed the importance of education, watching films, and discussion but also warned that directors must be prepared for challenges and should never give up on their fight for artistic freedom.
Filming in war conditions: Lepa sela lepo gore
One of the most emotional parts of the discussion was Dragojević’s description of filming Lepa sela lepo gore in war-torn Bosnia. He recalled working with the legendary actor Bata Živojinović, whose presence inspired awe among the local population and enabled the crew to film in dangerous areas. However, the crucial approval for filming in Višegrad was obtained thanks to a local official who ignored a prohibition issued by the leaders of Republika Srpska. Dragojević described how, on the last day of filming, as the crew was leaving Višegrad, the Srebrenica genocide occurred, adding an even greater sense of weight and tragedy.
*Parada* and audience reactions
Dragojević also spoke about his 2011 film Parada, which deals with LGBT rights in Serbia. The film sparked major controversies, and the production faced physical attacks, including the breaking of car windows. Despite this, Parada managed to reach audiences across Europe and the world, becoming one of the best-selling films in the region. Dragojević emphasized that the film was successful because it approached the topic with humor and irony, critiquing both homophobes and the LGBT community, which enabled dialogue between opposing sides.
Partisan films and aesthetic approach to war themes
In addition to discussing specific films, Dragojević reflected on the partisan films from the Yugoslav era, which he referred to as "poor products." He expressed his disagreement with traditional war films of that period, which he found slow and poorly directed, and explained that in making Lepa sela lepo gore, he aimed to create something different, aesthetically inspired by the work of Stanley Kubrick.
The craft of directing and critique of actor-directors
A key point in the conversation was Dragojević’s criticism of the growing trend of actors taking on directing roles. While he acknowledged that some actors, like Clint Eastwood and Dragan Bjelogrlić, successfully transition to directing, Dragojević emphasized that directing is not just about observing acting on set but requires a deep understanding of the technical and artistic aspects of film. He underscored the importance of skills like using sound, silence, and music in film, emphasizing that directing is a complex craft that cannot be mastered solely through acting experience.
Optimism in facing challenges and future projects
During the discussion, Dragojević mentioned ongoing projects he is working on, including several film ideas currently in development. One of them is an adaptation of the children’s film Mliječni zubi by Lana Bastašić, and another is a feminist film Osmi mart based on a script by Rumena Bužarovska. He particularly highlighted a project about Helena Vuković, a major in the Yugoslav People’s Army who changed gender, noting that this film is one of his favorites in current production. He wrote the script for this film in just 14 days.
However, Dragojević also addressed the financial difficulties he faces as a director in the region. He stressed how challenging it is to secure support for projects dealing with controversial topics.
At the end of the discussion, Dragojević concluded that, despite all the challenges artists face in the film industry, it is essential to stay true to oneself and one’s vision. He emphasized that artists must fight for their voice and that, even though the film industry often favors commercial projects, authentic stories always find their way to the audience.