Marija Perović is the first woman from Montenegro to become a film and television director. She is one of the three directors who started contemporary cinema in our country. After the films "We pack monkeys again", "Look at me" and several other projects, she did not create for almost 10 years. She returned recently with the mini-series "Breasts", which was broadcast on Radio-television of Montenegro, and she revealed to "Vijesti" that she continues to work.
Did you have any expectations from the series at the beginning and were they fulfilled?
The expectations at the beginning of the recording and at the very beginning, which was in 2010, are very different. It was close to my celebration of 20 years of graduation and then it was left in the air, because I was 'chasing' other projects. When the competition was announced, I realized that my original idea could be a good reason for the story to happen. The main motive was intimately related to the story. I sent the text to Dubravka Drakić, who, when she read it, called me at 2 a.m. and just said: 'I'm sorry, I had to call you, because you have to record this'. That was the right input. In the beginning, expectations were more modest, because since "Gledaj me" I haven't done anything specific in this business. However, as I sent the text to people and had them accept it, my ambitions grew as well. They continued to grow when people saw the roughly edited series, the material we had at our disposal, as well as during the filming and preparation.
The series specifically concerns women and is one of the first productions, as Dubravka Drakić mentioned earlier, in which women are not less valuable. Would you say that the series has a feminist touch?
I, as a woman from Nikšić from an intellectual, slightly conservative and slightly left-wing family, have emphasized for a long time that I support and am in favor of women's rights, but I am not a feminist. After some time, realizing that women are indeed treated as less valuable not only in Montenegro but also in the world, because the position of women is similar both in the USA and in Nikšić, I realized that I am essentially a feminist. I am aware that it is more difficult for women than men, and through personal experience, so I can say, with a touch of pride, that I am glad that the focus is on women here and that the male characters in the series are also feminists.
How would you describe the heroes of this series?
The heroines in the series also stick to women's jobs, but they say what women are normally 'not allowed' to say, which is that they have problems that every woman has, from those with children, to wanting to go to the hairdresser or choosing dresses . The heroines in the series don't hide that they need time to read or time to kiss or, as they say, make out with a guy. That's what every woman and every being wants, the only problem is that when a man says it, it's much more acceptable and normal. A positive spirit, here in the form of a man who unites all three heroines, brings a story about friendship and willingness for people to support each other, and that is necessary for all of us, in this and such a time. I am especially delighted by the reactions, comments and confirmations that show that the audience needed something like this.
Did you deliberately bring the topic related to breast cancer into focus or did it develop later?
No, it wasn't intentional. Somehow, every project of mine concerns the times we live in, concerns transition and the impossibility of living life to the fullest. On one occasion, during a similar series, I realized that if I don't talk about it or people like me keep silent on the subject, then it's very bad.
You have gathered people who are not only Montenegrins, namely those actors who are accomplished in their profession and known to the public, and you have given the opportunity to young people to collaborate with them on this project. How did that collaboration come about?
Fortunately or unfortunately, I grew up in a country called Yugoslavia, and I mean the Socialist Federal Republic. In addition, I am Montenegrin and I love my country and wherever I work I proudly represent it. Nevertheless, when I think about a cultural product, I still think of Yugoslavian. I think this is a great capacity, therefore, I follow the cultural scenes of all the countries of the former Yugoslavia. I did it according to plan, and the characters are motivated the same way: the heroines finished school in that former country, so one went to Split, another to Belgrade, and the third stayed in Nikšić. Because of all that, the series has that nostalgic undertone of a time that no longer exists. I have a theory that my generation is stuck in some sort of in-between space, even though everyone has suffered in some way because of the last 20 years. However, we were ready for a different time, and the complete opposite happened to us. It's easier for young people, relatively speaking, because they don't remember that time, and it's also easier for older people because they spent a good part or most of their lives in that country, which no longer exists. I was thinking about that before the shooting, and it didn't happen by accident. I believe that one of the basic values of a director is if he can gather good collaborators and let them talk about their roles themselves.
How much did society lose or gain after Yugoslavia disappeared?
On the one hand, a lot has been achieved, especially in Montenegro. I am speaking specifically from my point of view, so I will point out that the question is whether the Faculty of Dramatic Arts in Cetinje would have existed at all if it had been different. The cultural scene in Montenegro has gained, but the cultural scene in Yugoslavia has also gained, even though Yugoslavia no longer exists. Jelena Đokić, Andrija Milošević, Ivan Salatić, Dušan Kasalica would probably not be known otherwise, and they all graduated from the university in Cetinje. It was also achieved with active theaters. Of course, there are always flaws, but I claim that we are at the level of the region. In the social context, my generation did not lose, because we quickly make connections and find each other. It goes without saying that you will always find similar ones at any address. On the other hand, much has been lost. Today's bureaucracy, at least to me, gives the feeling as if we are in a Kafka novel.
The younger generations have lost. It seems to them that everything that is outside their comfort zone is equally distant and uninteresting. I think the right thing would be to make people travel and get to know the differences and the world in its full capacity, although we are still inert and sluggish there, which is also the disadvantage of the new age. Also, I think that Montenegrins travel more now than during Yugoslavia, so I don't know how to give a specific answer.
I loved Yugoslavia because of Kviskoteka, "Jugoplastika", "Partizan", because of films, school programs, because of Radio-Television Belgrade, because of novels, books, because of the freedom that Yugoslavia had and because of the good balance between the Western and Eastern blocs. Whether such a thing is achievable or realistic today, I don't know. I also don't know if we should break down barriers and make contacts on some new basis.
You took a little longer break when it comes to your cinematographic work. After filming the series "Breasts", did your appetite for future achievements grow, do you have any plans?
First of all, I have to finish a movie based on this story, that's my first next task. There are two stories with which I have been struggling for a long time and which received the support of the Ministry of Culture, and they are related to my second city - Herceg Novi and Boka, and there is also a project for which I applied for the support of the Film Center of Serbia.
Why did I take a break... Sometimes in life you wonder, just like the heroines of this series, if I missed something, where I went wrong. That's how I realized that I missed some moments due to too much work, so I tried to make up for them during those 10 years, but at the wrong time and in the wrong way. I don't like to call that period a break because one lives this job. A break is unforgivable in this business. However, during that period of my time, some projects were cooked up.
Can you compare the attitude towards art, film, cinematography in Montenegro and abroad?
We can say outside Montenegro and in it. It's terribly funny. I was one of the three who started that contemporary Montenegrin film. The Film Center of Montenegro is booming, even though it has only existed for a year and a half, it is recognized as a quality and good institution abroad. But if you are from the Film Center of Serbia, then you have something to lean on, which is an extremely good Yugoslav film in which many artists from Serbia worked. It's the same in Croatia with HAVC... Only we don't have that history. We can only rely on Živko Nikolić, who is very important and significant, but even here the students wonder why the DVD says "Beauty of Vice" and not "Beauty of Vice". The thing is that the producer is from Serbia.
Živko Nikolić is someone who dealt with Montenegro in its essence and story. It is good that today people who want to work can return to Montenegro, come or stay, and this is the first time that this is happening. Although we don't have much to rely on, it is a big thing that we have a chance to do something big in Montenegro, and that is already happening.
Would you say that you are someone who returns to Montenegro, never left, or would you say that you left our country in pursuit of ambition?
When I studied at the Faculty of Drama in Belgrade, I never dealt with Belgrade stories. I am not Montenegrin in the sense that I went to or spoke about the village, nor did any of my characters ever wear black. I was thinking more broadly. Everything that is Montenegro and that is beautiful in Montenegro is a part of me and it is me, so I can neither say that I am coming back nor that I have ever left. When I land at the Podgorica airport, even though it sounds pathetic, I smell the Mediterranean and feel that I have come home, even though Nikšić is my city, not Podgorica. As the years go by, it's more pronounced, it seems to me, as soon as I set foot in our country, I'm home and it annoys me more and more, it affects me more, I care about everything more, I'm stricter and more inclined to criticize there than elsewhere .Nikšić is a city in the true sense of the word, with people with broad hearts
How much did Nikšić give you during the recording?
That's my Niksic. These are my people who are now around the world or at home, and of whom I have always been proud. To people, I used to be incompatible with Nikšić because they associated it with something else, and that's why I always gave myself the task of portraying the real Nikšić, a city that is a city in the true sense of the word and a city where people are real people. From citizens and younger people, whom I barely know, I encountered a wide and open heart - these are the people in Nikšić. I wouldn't talk about the institutions, because I didn't have any support, but I hope that will change because there are a lot of quality young people in Nikšić, and it seems to me that the Municipality of Nikšić doesn't have enough understanding for them either. Even that is not understanding, but simply does not recognize them, is irrelevant to them, does not try to support them in any way. Nikšić does not need to bind young people, because like art, life is also communicative and goes beyond borders, but the municipality does not consider it important that these good people and artists grew up and were formed in that city.
Besides the support of the municipality, what do you find difficult in Nikšić?
One of the things that I find very difficult is that nowhere like in Nikšić you hear every time you come back that someone of yours has died. Nikšić is a city where going to a funeral is still a social event and where it's a shame if you don't go to the funeral. You still go to every chapel, whether you know the people or not. Nikšić is considered an urban city of rock and roll and, without false modesty, the people of Nikšić listen to good music, they read and create, and on the other hand, it is an environment that does not think about progress but is a slave to the traditional, which is sometimes good, sometimes bad. Indeed, that chapel in Nikšić is beautiful, because a chapel can be. The cemetery in Nikšić is also beautiful, because it is also part of the city. But then you see neat women who buy flowers only when someone is not around.Young people should not be broken with vanities
From your perspective, as someone who also deals with work with young people, how important is it to raise topics in society that are not taboo, but are not everyday and are not sufficiently represented?
I communicate with young people simply and directly. I consider it my task, as someone who is a pedagogue, to draw attention to such topics. My principle is that young people should think freely. We don't have to have the same views, but it is important that everyone has arguments for their views. The second part I draw their attention to is that craft is not a matter of attitude and that there are rules they must learn and can break when they mature and become masters of their craft. The third thing is that regardless of the availability of media and search engines, the possibility to 'spit' on someone or something is great, but courage is never less. Nothing will change on social networks - we need to act publicly and in society. It is natural and logical that the youth are dissatisfied and that the youth do not have the ambition to work from 9 to 5. It is natural and logical that the youth want to work, and it seems to me that today's generations do not know what they want. I am lucky to work with a small number of students and somehow I know them all by heart, although I often pretend to be distant, in order to preserve their vanities. Artists, young people, everyone must have vanities and we must not crush them on each other. Despite this, in the mentoring relationship I have with them, I often want, not literally of course, to pull their ears, scold them or praise them too much. That relationship is immediate and direct. If I work on something with them, it is to talk about topics that concern them and I try to make the fear disappear, at least that fear of college. It is important to motivate students to make the most of their freedom, which will be their support and foundation for the future.
Is the situation regarding young people similar abroad?
Young people everywhere today are less active or less courageous. It seems to me that all those ideas for change and for a better life are exhausted in a bunch of digital possibilities and technologies that make us seem to live a full life, when in fact we are occupied with all some things that we should not be dealing with. Today, everything is available to us if you just open some windows on the Internet.
On the other hand, I think these things are similar everywhere. Some politicians, much wiser and more experienced than us, ordinary people, at the world level have used digital technologies, tabloid newspapers to draw attention to some other contents that people could hardly wait for. It's not so much about the offer, a lot is up to us, people. What is a reflection of our mentality is that here you don't know when you are an adult, not even when you turn 40.
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