Dee Kay knew when he started his directorial career that there is no good film without a big star. Aware that unexpected plots are the most important for a good story, he saved short video clips and put together scripts, waiting for the opportunity to direct the first Montenegrin film spectacle since the restoration of statehood. While he was hanging out with Montenegrin stars, he hid his interest in directing, and he only played video works and radio dramas for his soul. Taught by the experience of the guys from the nineties, he hid his talent, aware that there is no place for new directors in the small market dominated by Grand production and TV Tara. That's why he wrote, recorded and waited for the opportunity to present himself to the audience.
The most influential Montenegrin filmmaker, Em DJ, probably did not even think that he could get the main role in a film that he did not direct. After the unsuccessful attempts of a foreign production to give him the lead role in "Italian Connection" and "From Moldova with Love", the first Montenegrin star was mostly behind the camera, leaving the roles to ambitious collaborators. He quickly became known as a director who does not tolerate bravado, so his actors were already forgotten after the first film. From his first episodic role in "Streets of Fire" and his Oscar-worthy role in the historical spectacle "Darling, I Privatized the State", during three decades he accustomed the audience to soap operas and family dramas with an expected ending. Even the most ardent fans understood that the action spectacle "The Russians Are Coming" was directed for foreign producers, and that "The Battle of Konik" was just a pale attempt by the competition to take over the market. Cradled on the throne of Balkan Hollywood, where talent for directing and acting was shown only by Aca Beogradski, the celebrated Montenegrin cinematographer was unprepared for Dee Kay's series.
The average Montenegrin viewer didn't believe in the directorial abilities of the Zeta businessman when the first trailers started on Instagram. Remembered for low-budget trials with glamorous presenters and Pamela Anderson's walk around Podgorica construction sites and the mayor's office, the new hope of the Montenegrin film school seemed inexperienced in the eyes of the average viewer for a production directed by godfathers and guns.
The story of a disgraced tycoon whose former comrades steal millions and real estate was reminiscent of already seen series in which the main character ends up behind bars or undergoing treatment abroad. Only seasoned film connoisseurs predicted that his British melodrama could become a thriller with a chance to end as a historical spectacle. If "Envelope for a schoolboy" went well only with those familiar with the elective subject, "My friend's house" and "Vacation in Dubai" opened the audience's eyes and ignited Instagram. Satisfied with serials about 1918, the audience eagerly awaited new titles, while film fanzines turned their heads scornfully to the other side, waiting for the signal from the main filmmaker. Unaccustomed to competition, the only Montenegrin Oscar winner at that time sweated in front of the cameras and threatened to shut down the Instagram account from London.
However, foreign distributors have so far shown no interest in the new Montenegrin thriller, just as in the case of the radio drama "Jelić counts the employees" and the script for "Deep Sister's Pocket", which quickly ended up in the basements. Although DJ's series "And the rich cry" has been going on for almost a month, the reactions from the biggest Montenegrin production, which has held the film market for the last three decades, are lukewarm. Unaccustomed to serious competition and a boss who foams and threatens in front of the cameras, Em DJ's first associates wisely keep silent and pray that they don't end up like the main Migo of the school and twenty hoodlums. Stuck between the fear of the boss and the ambitions of the new director's hope who threatens with two thousand hours of video material, pretend to be dead like a hunter under a bear's muzzle and wait for the end of the film. While his first collaborator calls for the help of the institution, and the former main co-writer is silent in Belgrade, the most famous Montenegrin director has not yet offered the audience a film that would reduce the viewership of the British series. The desire of film critics to diminish the value of Dee Kay's work has not drawn the audience's attention so far, while the attempt to remake "Deep Pocket" in which the leading role would be played by a Zeta businessman instead of the sister is reminiscent of comedy. During that time, the eternal episodic actors of Montenegrin cinema wrote announcements and asked for joint meetings. Lulled into directing street performances and promo films of B production, they continued to sit in the audience and wait for the biggest production company to collapse on its own. As many times before, they did not feel the needs of the audience or smell the opportunity to go on the big stage. As a habit, they waited for others to direct their film.
A banker who sees the future in the film industry promises that there will be more blockbusters. Carried away by fame and pressed by accusations, the disillusioned slave of the Montenegrin mentality matrix that forces people to get closer to the government, now promises earthquakes and tsunamis. As long as the London series lasts, the stars of the main Montenegrin producer will fade, and his collaborators and eternal episodic actors will be waiting for a chance for co-production. Foreign distributors will weigh whether it was worth letting the Montenegrin mastermind down the drain, and the audience will retell movie hits and enjoy the games. Bread is running out anyway.
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