The Film Center of Serbia (FCS) has not announced any film competitions for nearly two years, raising concerns about the future of Serbian cinema and adherence to legal obligations. This delay persists despite Minister of Culture Nikola Selaković’s expression of hope that competitions would be announced before the conclusion of the National Film and Television Festival (NAFFIT) in Zlatibor, which ended on September 6, 2026, without any such announcements.
The FCS is legally obligated to announce two competitions annually. However, the last competition was announced on October 17, 2024, and accepted only four projects out of 59 submissions. The budget for this year’s competitions is set at 732,343,000 dinars, yet no competitions have been scheduled, potentially leading to legal violations if the situation is not rectified soon.
Miloš Škundrić, president of the Association of Film Directors of Serbia, highlighted the urgency of the matter, stating that if competitions are not announced within the next few weeks, the opportunity for this year’s cycle will be lost. The competition cycle typically spans about 100 days, including a 30-day period for submissions, a 60-day review period by a commission, and additional time for the board to finalize decisions.
The absence of competitions has been attributed to various factors, including the unfinished status of 53 funded films from previous years, although this claim has been contested. The delay in announcing competitions has sparked criticism from industry professionals, who argue that the lack of transparency and efficiency in past competitions continues to plague the process.
Minister Selaković, while expressing hope for the announcement of competitions, did not make any formal promises. His role in the cultural sector has been contentious, with previous calls for his resignation by the Association of Film Directors of Serbia citing legal and constitutional grounds.
The implications of these delays are significant for the Serbian film industry, as the absence of competitions stifles new film projects and hampers the development of local talent. The situation has also drawn attention to the broader issues of governance and accountability within the country’s cultural institutions.
The NAFFIT festival itself has faced its share of controversies, including criticism over its organization and transparency. Despite being positioned as a national festival, it has been criticized for not adequately showcasing Serbian film and television production. The festival’s alignment with foreign partners, particularly from Russia and China, has further complicated its narrative amid geopolitical tensions.
As the Serbian film community awaits the announcement of competitions, the legal and cultural ramifications of the delays remain a pressing concern. The outcome of this situation will likely influence the future trajectory of Serbian cinema and the role of governmental bodies in supporting the arts.
