Montenegrin Film Relies on Enthusiasm: Insights from Producer Ivan Đurović
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Loading... - Anastasia Gabris
- 02 Apr 2025
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Ivan Đurović, a prominent producer and member of the European Film Academy, shared his insights on the current state of Montenegrin cinematography, cinema attendance, and the financial challenges faced by filmmakers. He emphasized that despite the potential of cinema to offer a rich cultural experience, several factors hinder its growth and audience engagement in Montenegro.
The Value of Cinema
Đurović believes that cinema provides significant value in terms of cultural and entertainment content relative to the money and time invested. However, he notes a pervasive neglect regarding the consumption of cultural content, which affects cinema attendance. This neglect is influenced by various factors, including historical context and societal phenomena specific to Montenegro.
Key Challenges: Infrastructure and Financing
According to Đurović, two primary challenges are the availability of adequate cinema halls and the aspirations of filmmakers. He points out that many cinemas lack proper technical equipment, comfort, and effective promotion of available content. While the Film Center of Montenegro has made strides in digitizing cinemas, with ten theaters currently operational and contracts for four more, the success of these initiatives depends on having passionate and capable management.
He cites Bar as a positive example, where the local cinema has seen a steady increase in visitors due to effective management and digitization efforts. In contrast, he highlights the disinterest of some cinema operators in promoting films and increasing viewership, which hampers the overall growth of the industry.
The Dilemma of Filmmaking Aspirations
Another significant challenge is the financial landscape for filmmakers. Đurović notes that many domestic filmmakers focus on creating festival-oriented films, often at the expense of commercial viability. This focus can limit the potential audience and financial success of their projects. He argues that a successful film can possess both artistic qualities and commercial appeal, and that filmmakers should strive to create works that resonate with broader audiences.
Finding financing for films that aim for commercial success is particularly challenging in Montenegro, where film funds often prioritize projects with artistic rather than commercial goals. This situation makes it difficult for filmmakers to produce films that can recoup their investments, even in the case of record attendance.
Representation of Montenegrin Films
When discussing the representation of Montenegrin films in cinema repertoires, Đurović points out that private cinema chains, such as Cineplexx, prioritize profit and tend to show films with proven commercial potential. While there is some understanding for domestic films, the viewership often remains low, making it difficult for private exhibitors to justify screening them.
He emphasizes the need for enthusiasm and initiative from those managing cultural centers to promote local cinema effectively. Despite the investment in digitization, some cinema operators lack the ambition to engage with local filmmakers and audiences.
The Role of Audience and Ticket Pricing
Đurović also addresses the relationship between cinema offerings and audience needs, noting that ticket pricing is a crucial factor in attracting viewers. He observes that while blockbuster franchises have dominated the market, recent successes like "Oppenheimer" and "Barbie" indicate a shift in audience preferences. He believes that the cinema experience remains valuable, offering a unique cultural engagement that cannot be replicated at home.
The Path Forward
To improve the state of Montenegrin cinema, Đurović advocates for continued investment in digital infrastructure, the employment of qualified personnel in management positions, and a commitment to producing high-quality films that appeal to both festival circuits and general audiences. He stresses the importance of innovative marketing strategies and storytelling that resonate with social issues to attract wider audiences.
He concludes by highlighting the need for a broader social responsibility among stakeholders, including telecommunications companies, to support local film projects. By fostering a culture of collaboration and investment in the film industry, Montenegro can enhance its cinematic landscape and create opportunities for filmmakers to thrive.
