Milena Trobozic GarfieldUliks Fehmiu

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SynopsisIn 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 SongAnd when the day is goneAnd when the night fallsI am walking to my graveWhen spring is blooming And when there is rain.

Since I was a young girlI’ve been walking to my grave’Cause I have nobodyNobody to walk with me that way.

And when the day is goneAnd when the night fallsI am walking to my graveWhen spring is blooming And when there is rain.

Since I was a young girlI’ve been walking to my grave’Cause I have nobodyNobody to walk with me that way.

The earth is so coldAnd I wish I could haveI wish I could haveAll 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 sym-pathy 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 wan-dering 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 NovkovicOleg 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 ten-sions and hyper-realistic expression.” In his previous film, Tomorrow Morning, he was one of the first Serbian auteurs to address the problems of com-promised 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 ActressFestivals: 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) 1993Festivals: Moscow, Rotterdam, New York, Edinburgh, Cottbus,.TV: ARTE

Selection of documentary filmsRudarska Opera( Miners’ Opera) 2005Deca (Children) - Prix Europe,Berlin

Conversations over CoffeeQ&a with the director Oleg NovkovicThe Setting. BORBor is a mesmerizing place for me. It is in the Southeast Ser-bia 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. Be-cause 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 Rus-sia 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.

The Story. The moreI was interested in exploring modern tragedy, a story of fa-tality, sin, destiny and sacrifice. It is the story of a man who commits the worst crime without knowing it, like King Oedi-pus. 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 selfish-ness. 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 desti-nies 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 OperaMusic 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 stu-dio, 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 acting styleMost of the actors in the movie are theater actors They’ve done movies but they are theater stars. And except for Uliks (Fehmiu), Nebojsa (Glogovac) and Milica (Mihajlovic) who were in my previous movies, I worked with them for the first time. But it is an incred-ible cast.The acting is very minimalistic, almost no lighting, no make up, very realistic. And then you combine that with singing, which is very tricky, the song coming right out of that “crude” scene. We didn’t know whether it will really work. Because the song is very styl-ized element, it could take you away from the scene, it could stop everything -- but it didn’t. I think mostly because the actors had this ability to treat singing as pure continu-ation of the scene, as a text, not as a song. It was exciting to watch, as we were doing it how the scenes morph (transform) naturally into music. So, yeah, that’s what we tried to achieve: the acting without acting, the singing without singing. I don’t know if it makes any sense when I say it, but that’s what it is.

The cinematographyI 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 cap-ture 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 al-most 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, be-cause I spent long time here making a documentary about Bor. We made beautiful friend-ships. I think they were proud that we were doing a movie in Bor. That they are not forgot-ten or reduced to little byline in the news . Suddenly they became visible and real.

People and PoetryI think two things that provoke me most to do this the way I did it, are the people of Bor and Milena’s (Markovic, the writer) poetic sensibility, her poetry.Milena and I did a documentary in Bor, “ The Miners’ Opera”. We lived few months in Bor while Milena was doing an amateur theater production of Brecht’s “Three penny Opera” with the people of Bor, mostly unemployed miners and their families. And we shot a documentary of that, of the rehearsals and our life and encounters in Bor. They traveled with that performance all around Serbia. It was good. I think that was the inspiration, the sketch, for this bigger canvas which is “White White

World.” We came to know Bor, the people, their lives, the pov-erty 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 docu-mentary 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 stalk-ing 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 documen-tary 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 follow-ing through these ”private screenings” -- so much so that it was finally screened publicly as part of October Salon, a in-ternational 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 re-ally 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 real-ity 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 al-most 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...

The audience. Everyman

“ 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

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 plays2010 – Award Biljana Jovanovic for collection of poems.

Writer Milena Markovic

“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 contem-porary 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 mu-sic. 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, 2001CD Ballads at the End of Time, PIRANHA, Berlin, 2003CD DAMARI, Kachara, Bukovac, 2004CD World after History, PIRANHA, Berlin, 2005CD Songs from the Garden of Loves and Graves, theatre music, SNP, Serbia 2007DVD Before and after... Apocalypse, PIRANHA, Berlin 2008CD Chamber Music, Long Arms, Moscow, March 2010www.boriskovac.net

“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

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 PHOTOG-RAPHY. 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 musi-cal 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.

Director of photography Miladin Colakovic

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 simultane-ously 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.

Milena Trobozic Garfield

3) The music’s spontaneous combustion.We are often faced with the question: “Is this an opera? Is this a musical?” And the an-swer is: neither. It’s a neo-realistic tragedy with occasional singing. Ranier Werner Fass-binder 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 espe-cially 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’ chorusAnd 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

“ Life itself is a quotation”. Jorge Luis Borges

CastUliks Fehmiu

Hana SelimovicJasna Djuricic

Nebojsa GlogovacBoris Isakovic

Milica MihajlovicMarko Janketic

Meto JovanovskiMira Banjac

CREWDirected by OLEG NOVKOVIC written by MILENA MARKOVICDirector of Photography MILADIN COLAKOVIC

Music composed by BORIS KOVACEditor LAZAR PREDOJEV

Production Designer ALJOSA SPAJICCostume designer IRENA MARJANOV

Sound recordist BRANKO DJORDJEVICSound designer SEBASTIAN SCHMIDT

Re-recording Mixer Olaf MEHLProduction Manager Uros LAZIC

1st Assistant Directors LJUBOMIR BOZOVIC, NIKOLA IVANOVICExecutive Producer JEAN-LUC ORMIERES

Producers MILENA TROBOZIC-GARFIELD, ULIKS FEHMIUWEST END PRODUCTIONS (Belgrade)

Coproducers GUIDO SCHWAB & MARCEL LENZOSTLICHT FILMPRODUKTION (Germany)

HELENA DANIELSSON/HEPP FILMS (Sweden)