The Filmski Centar Srbije (FCS) is addressing the issue of 52 unfinished films that have received co-financing but remain incomplete. The FCS has invited directors and producers to a panel discussion in Zlatibor on February 6 and 7 to tackle the problem. This initiative is seen as a positive step by the FCS to show its commitment to the future of Serbian cinema. However, the involvement of the National Festival of Film and Television (NAFFIT), which was boycotted by major film associations last September, has raised concerns within the industry.
The NAFFIT festival, held in Zlatibor, was criticized by film associations for being politically instrumentalized and catering to those loyal to the ruling party. The Association of Film Directors and other groups described NAFFIT as an affront to the film community, highlighting its exclusion of top filmmakers who supported student protests. This context casts doubt on whether the upcoming panel will see participation from these associations, as their stance on NAFFIT remains unchanged.
The FCS’s decision to partner with NAFFIT for the panel has led to skepticism about whether the associations, such as the Association of Film Artists of Serbia and the Association of Film Producers, will engage with the event. The film community is questioning whether there has been any shift in the state’s approach to film since the previous boycott. Responses from these associations to the FCS’s invitation are anticipated, and a negative response could lead to the panel proceeding without their participation. NAFFIT has previously managed to bring in individuals claiming to be renowned film artists, despite the boycott.
In a related development, Serbian cinema is gaining international attention with its participation in the 76th Berlin International Film Festival. Jelica Jerinić’s short film “Imaginarni brojevi” has been selected for the Generation Kplus competition, marking the first Serbian short film to compete at the Berlinale in eight years. The film, set in post-transition Serbia, explores the relationship between a young girl and her father during a significant day in their lives.
Additionally, Serbia is involved in two co-productions featured at the Berlinale. “This Desirable Device,” a collaboration with Germany, examines the power dynamics of language and the costs of emigration. Meanwhile, the North Macedonian film “17,” with Serbian co-producer Miroslav Mogorović, tells the story of a school trip gone awry, leading to a lifelong bond between two girls.
The participation of Serbian films in such a prestigious international festival highlights the country’s cinematic potential, even as it faces domestic challenges. The ongoing issues with film financing and the political undertones in the industry underscore the complexities of cultural production in Serbia. The outcomes of the upcoming panel and the international exposure at the Berlinale could influence the future trajectory of Serbian cinema.
As the FCS seeks solutions to the unfinished films and the industry navigates its political landscape, the international recognition of Serbian films at the Berlinale offers a glimmer of hope. It
