“The Fruit”: Silence That Turns into Tragedy

When the walkie-talkie buzzes and you hear: “Quiet, action!”, then silence spreads throughout a beautiful yard and house in Kličevo, not far from the center of Nikšić... The silence echoes, it is concentrated in each individual, full of focus, attention, observation. Only the eyes move, breathing quietens, thoughts are clearly focused on the task, even the playful dogs, about five of them, remain still. The filming begins...

“Iii, stop”, will mark the end of that cinematic moment in the meantime, and then everyone present on and around the set will thaw. A few seconds later, everyone is buzzing with energy, smiles are spreading, words are returning to regular communication, vibrations are building, the whirlwind begins again. The crew members, like perfectly organized bees in a hive, rush about their work, scattering around the interior of the house, but also the spacious yard, reaching for mutual consultations, comments, reviewing the material and checking what has been realized.

"It's nice to see you," he can be heard between two shots, in passing, with a smile.

In short, this is the atmosphere of the third day of filming for the film “Plod”, which brings a young, enthusiastic, hard-working and cheerful crew to Nikšić, with an average age of only around 30. “Plod” is the debut feature film by the director Mase Sarovic, scripted Sara Đurović, and in production Marije Perović, while she is an executive producer Jelena Odalović.

The film deals with the topic of postpartum depression, dysfunctional family relationships and those silences that turn into tragedy. The topic is difficult, but necessary, unfortunately current - both eight years ago when it all started, and today, insufficiently present and treated in art. However, the way this team approaches it is not discouraging, but full of responsibility, precision, dedication. Proof of this is that they consulted with medical professionals, primarily from the psychiatric sector, in order to be sure of what they are doing, not wanting to create a surplus, shortage or misunderstanding in any segment.

Đurović wrote the script while still in college, and then developed it further together with the director.

"'Fruit' talks about family and depression," Đurović states briefly, and Šarović adds to "Vijesti" that she doesn't want to reveal much either.

"I wouldn't say much about the plot itself now, but as I mentioned, the film deals with two, to put it bluntly, dysfunctional, families with certain problems. When this certain collision of two young people in a situation they don't know how to get out of, something very terrible happens, which further leads to postpartum depression, and then to something even worse. And yet, in all of this there is a cheerfulness and something optimistic," the director hints.

Everyone agrees that the topic is important, so that is an additional motive and driving force for them.

"Everything we set out to do, we've done so far. The topic is, unfortunately, very topical. We all think it's important for people to hear a little more about postpartum depression, and in addition to that, the film also deals with a dysfunctional family, which all together leads to something very tragic, which shouldn't or shouldn't happen, but it does," she comments.

Odalović, during a short break on set, explains to "Vijesti" that the project itself is important to her for two reasons.

"On the one hand, it's a very important topic. From whatever point of view we look at this story, it's extremely important," Odalović emphasizes, adding: "I'm getting goosebumps just saying this."

He continues:

"This is a story about a young girl who suffers the consequences of being open and ready for anything, but not having support and love at key moments. It's really sad when a youth like that, I can't say it ends, but when it somehow passes in so much pain and suffering. On the other hand, I'm really happy and joyful that Sara and Maša decided to let the ending be the way it will be, because it gives us space to fantasize and dream for ourselves, because we all want that girl to succeed in the end," she points out.

Odalović further reminds that this is her first independent production and that she is grateful for the trust placed in her to lead the team and be the link between production and the creative sector.

"I'm more involved in field work and I'm more there to make sure everything is well planned, organized, prepared for the team, and that everything runs smoothly and is implemented according to plan. Big thanks to Marija and Vuk Perović "Because they trusted me and showed me," says Odalović.

Despite the demanding subject, there is a warmth, a sense of community and trust on the set. This is evident in the way people communicate, in the speed of reactions, in the silence that occurs when the camera rolls, in the gaze. Everything flows precisely, concentratedly and almost ritualistically. This is confirmed by producer Marija Perović, for whom this is also, in a way, a debut experience in a segment.

"This is the third day of filming in the so-called winter part. We will also film in the spring, when we will come to Kličevo again. So, first of all, I want to express my gratitude to the Radojičić family, who are our family friends. I can't really say that I feel at home here, because all this happened after I finished my childhood, but I am sure that for Maša Šarović and Sara Đurović this was an adequate environment in relation to what the story of the film tells. I always say that this is not the first film that I have produced, but it is the first film that I have produced and that I do not direct, which is specific," the prominent Montenegrin director told "Vijesti".

And she approached that job extremely professionally.

"In that sense, I work, as the slang would say, to shorten the language and commentary," he says with a smile, adding that he has absolute confidence in the director and the competent team.

"It's unusual when you have the responsibility to enable someone, and I do it together with Vuk Perović, what they want in order for the film to be good, and to do it as best you can, most adequately, and even as quickly as possible. On the other hand, the responsibility is also great, since it's Sara's script, and she is very thorough in her work, works in accordance with her age and always brings in something of her own experiences, emotions and feelings, so in that context the responsibility is additional, but also the opportunity to get to know someone who is a part of you better through what they do or write," says Perović.

The seriousness of the topic further heightened awareness of the difficulty of the task, but also the meaning of the work. The scenography does not idealize the space, does not seek a postcard-perfect Montenegro, but rather delves into everyday life, into mentality, into problems that are rarely talked about. A young woman from Nikšić is in charge of this segment, Angela Bozovic, for whom this is the first feature film on which she was hired as the main production designer.

"The topic is very serious. It is omnipresent. I am all the more pleased that we are dealing with it, although at times it is only now, when we see everything, that we realize how difficult and serious this is. When I read the script, I thought that this is exactly what I wanted to do. I am glad that the story is related to Montenegro, even more so because these things are not talked about enough. Here we have looked at a problem that exists and is present and we are showing Montenegro in a little more depth, which is not only the coast, tourism and nature, but also much more. We also spoke with doctors, neuropsychiatrists, psychologists who received us and talked to us about these topics, explaining its scale and presence, but also praise and encouragement for us to deal with it," Božović revealed.

The main set designer had to quickly return to filming, emphasizing that she was very satisfied and that everything was going great, and that a good crew was most responsible for that. Director Šarović, again somewhere between shots and in a hurry, added that the atmosphere on the set was relaxed and light, and that it was not dictated by the theme.

"We have fun on set and we get along well. While we were filming scenes in front of the Psychiatric Clinic in Podgorica (on Sunday), a certain scene was very difficult for me, but then I remembered that we do all this for a reason and that we don't let certain moments get us down or discourage us, on any level," she says, and Đurović confirms that filming is going well.

"The beginning is always beautiful, I look forward to new and upcoming experiences," she said.

Šarović, whom we introduce as a director from Serbia, revealed to "Vijesti" that she herself is originally from the Nikšić area.

"My great-grandfather is from the Nikšić area, and even though my father keeps telling me which village it is, I can't remember and I'm really ashamed. I've spent a lot of time here in the last two years and, honestly, I'm having a great time. I have a lot of friends from Nikšić, so I'll definitely be coming back to this town after the film," she says.

Odalović recalls that in the first three days of filming, they changed two cities, which was not easy or simple from a technical point of view, but everything was achieved. The first shots were taken on Saturday, at the Nikšić Railway Station. If that old building had been there, it would certainly have played a big role. The rest of the filming took place on the part of the Nikšić-Podgorica highway before the “Budoš” tunnel, in the neighborhood behind the hospital, on the Aleksa Backović Promenade and, of course, in the city center. The Podgorica Railway Station also made it into the film, as did the old Psychiatric Clinic at the Clinical Center of Montenegro.

"It was a little stressful for us, because everything is done twice - what is prepared for Nikšić must also be prepared for Podgorica. However, everything went great. The team is young, ready to work, everyone is here to help and everyone came out to meet our needs," said Odalović.

She added that they just finished the winter part of filming yesterday, and that they will start filming again in late April or early May.

"We still have about twenty days left of that summer filming, half of which is in Nikšić, half in Podgorica, so we're going back to Nikšić. I'm really looking forward to it because the people of Nikšić welcomed us with smiles, with joy, and we got everything we asked for, everyone was there for us, even outside of working hours, which is really beautiful," said Odalović.

Perović, from the perspective of a mother, educator and producer, also highlighted the young team. Among them are girls Miljana i Vladana Zirojevic at the age of nine and five, but also a prominent European, and young, Montenegrin actress Lidija Kordić.

"The pride I felt when the first clapper board fell was special and it was certainly greater than whenever I did something that I directed, and it will be the same when the premiere approaches. I can safely say that both Sarina and Maša's nervousness and excitement will be small, compared to mine, because it is incredibly important to me that all these young people are satisfied with what they have done, and after three days of filming I truly believe that it will be so," she said, emphasizing that she is confident in the serious festival and cinema success of the film "Plod" that the audience can expect in late 2026 or early 2027.

“Plod” is being produced under the auspices of the “Kino” Production Company, with the support of the film centers of Montenegro and Serbia, as well as within the “Support Program for Female Filmmakers” of the Uniqa See Future Foundation, in cooperation with the Sarajevo Film Festival (SFF) and Slano Film Days.

The team is completed by: director of photography Igor Lazic, costume designer Lina Lekovic, editor Vanja Kovacevic, sound recorder Dejan Kragulj, makeup artist and make-up artist Tijana Draguljevic.

Cast: Lidija Kordić, Vule Marković, Snježana Sinovčić, Nada Vukčević, Dubravka Drakić, Leon Lucev, Miloš Kašćelan, Omar Bajramspahić, Ivona Raković, Nevena Penava.