Srdan golubovic biography of martin

She was born inso she was already an older woman at that time. She lived a long time, all the way until my own father died in She was left without a husband at the end of World War II and raised three children on her own. She was the dominant figure in the whole family; everyone from the neighbourhood came to her for advice. She was like some Mafia boss.

Srdan golubovic biography of martin: The Trap director Srdan

She raised me, quite traditionally and strictly. And also for my love for Montenegro, which I learned from her! He recognised very early on what his father did for a living, firstly by attending smoky conversations in the house, as well as endless stories about the film at the Pula festival. I was taken care of by their children, Miljko and Jelena, and I was in charge of fetching wine from the cellar for Bata and his company.

I walked plenty of kilometres daily. I adored Bata. It was because of him that I fell in love with film, because of him that I trained basketball. I imitated him and probably subconsciously wanted to be like him. I was very attached to my father. That presumably intensified my love for him. The heroes of other kids were Superman or who were other superheroes at the time?

My superhero was Bata. After that film, I was absolutely certain that I would work in film. I hope, however, that he will do some more secure job. He was at the premiere of Father; he watched the film, and I think he was very proud of his parents. My father was always my role model.

Srdan golubovic biography of martin: A touching tale of a father

He heard many wonderful and inspiring stories from the two of them:. He was a measured, systematic, genuinely great professor. I am very grateful to him. He was the first to give me a chance to work, who believed in me and was my support and keeper for years. Or at each of these great festivals. Yugoslav cinematography was one of the largest in the world.

Huge, brave and special. We should be happy that we belonged to that cinematography and culture. I agree with that statement. A director includes all of his dreams and misconceptions in his first film. After that calculations begin, consciously or unconsciously. Next followed the film The Trap, then Circles. He says that he had to make Circles… because of his own view of the world and life; because of his understanding of humanity and courage.

Srdan golubovic biography of martin: Browse 41 srdan golubovic photos and

And in that, he somehow discovered some distant meaning in that terrible war and those terrible times. It was on 21st January that a group of members of the Republika Srpska Army were checking the legitimacy of people at the Trebinje market. The last sequence of the film is a dedication and homage to his short film U predahu [In a Pause]. To me, that sequence is key to the film, emotional, philosophical and poetic.

I almost shot the entire film because of that scene. About solidarity, about the nonsense of greed for material things. This film actually represents the harshest critique of a society in which the main hero fails in his fight with the system:. Unfortunately, that reality is what it is, just as the scenes of this beautiful and torn apart country are what they are.

I made no attempt to portray reality as worse than it actually is. Unfortunately, the reality is what it is, as are the sights and locations of this beautiful yet devastated country. And what ended up being utterly devastated is man, his dignity and any kind of individual integrity. I was born and raised in Belgrade, so I was not familiar with the locations the film was made in.

I found it exciting to discover my own country. The first and third act are a social drama similar to films by Ken Loach, with the middle one providing a more open mental space. Why did you opt for this structure? I wanted the film to start as a realistic drama about a bureaucratic and corrupt society, and then slowly turn into a picture about a man who, through the mythic journey he embarks on as a loser and a castaway, turns into a hero.

Starting off as a social drama, it becomes a fairy tale. This is what our hero Nikola is like. Through the conflict and contrast between the bureaucratic, dramatic content and the fairy tale-like world of his trip across the country, I tried to make a film about the physical and emotional journey of an ordinary man. After the central part, dedicated to the inner world of the hero, we return to the corrupt, grey, bureaucratic reality.

How did you pick Goran Bogdan and work with him? Goran came to the casting, and as soon as we had rehearsed the first scene, I knew he was our Nikola. To je uvek bila odlika srpskog fima. U tom kontekstu vidim i svoj film. To je dobro. To je bilo neko drugo vreme i druge okolnosti. Put ka priznanju je put ka katarzi, a put kroz katarzu je put unapred.

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Srdan golubovic biography of martin: Directing. Birthplace: Belgrade, Serbia, Yugoslavia. Born:

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