Mateja Raičković, from personal experience to a universal film story

Questioning interpersonal relationships is the focus of a young Montenegrin director Mateje Raickovic, and this is precisely what connects her film projects to date. She deals with topics that touch her personally and deeply, whether it is about partnerships, friendships or family relationships, she points out in an interview with "Vijesti".

That Raičković brings much more to film than just artistic achievement is already demonstrated by her first short documentary film "Lavender", which has been extremely well-received throughout the country and region. It is an autobiographical story that raises issues of violence within relationships, rape, and how young people deal with the circumstances and problems they encounter - whether they are ready or not, whether they want to or not... "Lavender" is both the author's confession, after a decade of silence, but also encouragement and support for all who have the same or similar experiences.

Shame must change sides. It is not shame to be a victim, but shame to be a bully. We often ignore “small” comments and behaviors, and they can be indicators of deeper patterns. And when violence is later discovered, we often hear that someone was an “exemplary person” or a “good neighbor” - which shows how important it is to recognize such behaviors in time and not relativize them...

After last year's premiere at the International Documentary Film Festival, UnderhillFest in Podgorica, where it won the "Dandelion" award, "Lavender" has been on a mission of sorts through Montenegro, and has also been selected for a number of festivals. It is also on the program of the 19th edition of the International Documentary Film Festival Beldocs in Serbia, as part of the Special Screenings selection, on Sunday, May 24 at 15 p.m. at the "Tuckwood" cinema. After Belgrade, this intimate, brave and powerful story of trauma, healing and finding inner strength continues its journey through Montenegro. "Lavender" will be screened on May 28 in Žabljak, at the Cultural Center at 14 p.m., and after the screening, as has become the practice, there will be a conversation with the author and experts.

In addition, Raičković is working hard on his new short film, this time a feature film called “Južina” which is in the editing phase. The script was written by Vuk Draganic, and the story is based on subtle narration and emotional authenticity, without classic dramatic escalations. The focus is on silence, relationships and the inner states of the characters, which develop through everyday situations and dialogues, emphasizes the description of the Film Center of Montenegro (FCCG).

And this time, Raičković brings an important and big topic... Through the complex dynamics of a partnership in a moment of questioning and internal breakdowns, the audience is led by the actors. Lazar Đurđević i Luna Pilic, and in addition to them, the project brings together a team of authors who belong to the new generation of regional filmmakers. In addition, FCCG points out that the special significance of the project is reflected in the choice of locations - the road from Podgorica to Grahovo and the botanical garden area, which are not just an environment, but elements of the story whose landscapes and atmosphere contribute to the overall visual and emotional identity of the film.

“Director Mateja Raičković stands out with her authentic visual style and focus on intimate and socially engaged stories,” say the FCCG, which supported the project, as well as the Croatian Audiovisual Center. The production is being realized by Ponton Production, with the producer Jelena Šoškić Bokan, while the Croatian co-producer is the company Metar60, and the co-producer is Mirta Pahulovic.

Mateja Raičković talks to "Vijesti" about "Lavender", "Južina" and everything that film can and is.

The shooting of your new short feature film “Južina” has been completed, following the extremely successful and acclaimed short documentary “Lavender.” To what extent is this film a continuation of your personal questioning of interpersonal relationships, perhaps just from a different perspective?

All the projects I work on, including “Lavender” and “South”, are somehow interconnected because they stem from the same interest - questioning interpersonal relationships. I deal with topics that touch me personally and deeply, whether it's relationships between partners, friends or family.

The difference is that each film requires a different approach and perspective - both formally and emotionally. In that sense, I don't see them as a direct sequel, but as part of the same authorial exploration from different angles. I let the story take me in a direction that naturally arises from the theme and characters.

“Lavender” is your debut film, but also a testimony, a confession, spoken publicly after a decade of silence. Has the film helped you understand yourself, share your experience, and move on?

I believe that one of the most important roles of art is to help us get to know ourselves through it - whether we consume it or create it. For me, film is one of the most important tools through which I process my own inner processes. That is why I have explored myself and the topics that interest me through different forms - experimental, documentary and feature films.

At first, I didn't know that I would be talking about this topic in this way. I started with writing, which I normally use for therapeutic purposes, and through the development of the project, the form itself began to take shape. Each part of that work had its own role in understanding and accepting what happened to me, as well as in understanding myself and others.

I thought the whole process ended after the film was produced, but I realized that it actually only continued after the screening and sharing with the audience. The amount of support I received, as well as the exchange with people who recognized themselves in the film, is one of the most valuable experiences for me. Seeing that film can help others accept themselves and their experiences is truly priceless.

How difficult was it to tell such a personal story?

I wouldn't be honest if I said that it was easy to tell such a personal story. There was fear and trepidation, but I tried to follow my inner feeling. While working, I allowed myself not to think about when and how the film would be shown, which helped me focus on the creation itself. When the film was finished, it was clear to me that I wanted to share it, despite the fear, because I felt it had the potential to reach others. And I'm glad I did.

About experiences like yours and similar ones, even today there is a certain "pact" of silence, taboo, even a stigma of shame, despite the psycho-physical trauma... How to overcome all of that, empower women and victims in general to speak out about their experiences, to work on empowerment, to defeat violence in all its forms?

From a lecture by a psychologist from the Center for Women's Rights Ane Jaredić, As well as from my own experience, I have learned that the most important moment when we confide in someone is the first moment - whether that person will support and trust us, or judge us. That first response often has a decisive impact on how we deal with the experience. I believe that sharing what happened to us with a trusted person is important for the healing process, but I also emphasize that not every victim needs to speak publicly about their experience, as it is often a very complex and difficult process. Everyone needs to find their own way and pace, and to surround themselves with people who instill safety in them.

For those who do not have a trusted person, or for whatever reason cannot speak up in their environment, there is the Women's Rights Center, which provides free professional support and assistance.

On a broader societal level, it is important that we talk about these issues and develop zero tolerance for violence. It is especially important for men to join this fight - not to remain silent in the face of misogynistic comments and behaviors in their environment.

I believe that shame must change sides. It is not shame to be a victim, but shame to be a perpetrator. We often ignore “small” comments and behaviors, and they can be indicators of deeper patterns. And when violence is later discovered, we often hear that someone was an “exemplary person” or a “good neighbor” - which shows how important it is to recognize such behaviors in time and not to relativize them.

"Južina" tells the story of relationships where there is love but not healthy communication. What inspired you to work on these themes, who are the characters and how close are they to us?

As someone who analyzes both myself and the relationships around me, I have come to the conclusion that love alone is not enough to make a relationship work - unlike the image we often get growing up. A healthy relationship requires effort, respect and, above all, open communication. Through "Južina" we deal with precisely this gap between emotion and the ability to communicate it. The characters are very close and recognizable - they are not extreme or distant from reality, but people in whom you can easily recognize different sides of modern relationships. This is not a story that concerns only young people, but a universal experience. It often happens that people love each other, but that their characters, needs or beliefs do not match, and then it is crucial to know how to talk about it, and not remain unspoken.

The question of “when to stay and when to leave” carries a lot of weight, especially for young people, perhaps especially women. While working on the film, did you come up with any answers yourself, and to what extent does this question actually concern everyone, and to what extent do the answers depend on the individual, or on society?

In the film, the question of "when to stay and when to leave" is raised on two levels - through relationships, that is, when to fight for a relationship and when to accept its end, but also through the broader dilemma of leaving one's own environment, seeking opportunities elsewhere, or staying and trying to change something here.

I think that young people, not only in Montenegro, but also in the region, very often find themselves between these two choices. Through “Južina” I wanted to open a space for questioning these decisions through characters that are close to us and recognizable. The central character of Hana carries this inner uncertainty - and “južina” itself in her head becomes a metaphor for this state of confusion, overloaded with thoughts and emotions.

Of course, the answers to these questions always depend on the individual, but it is society that shapes us through expectations and standards. In the process of working on the film, I realized how universal this experience is - and how, in a way, reassuring it is to know that many people face the same dilemmas.

You're talking about a generation that has many choices, but also deep loneliness... How is this contradiction between freedom and loss reflected in us today?

Young people have never had more choices than they do today - which is extremely positive on the one hand, because we have the opportunity to travel, get to know new cultures, educate ourselves and broaden our horizons. However, this freedom often brings with it a feeling of loss, because we make many decisions for the first time and without clear guidance as to what awaits us. Between the courage to embark on an unknown path and the fear of making the wrong choice, pride and insecurity constantly alternate.

Do the selected locations where you filmed contribute to this atmosphere?

The locations where we filmed further enhance this atmosphere of the South - the feeling of congestion, inner confusion and emotional saturation of the characters, because the space in the film follows their inner states and becomes an extension of their psychology. “The South” does not provide exact answers, but rather asks questions and invites the audience to recognize their own experiences and dilemmas. The film opens up space for introspection and shows the complexity of decisions and relationships, without simple solutions. At some point, however, we are all faced with the choice of which reality we want to remain in.

Considering that it is in the editing phase, can we already see the form of what "Južina" brings us and how did the filming days go?

Even while reading Vuk Draganić's script, I could see the film in my head. However, being on set and watching that vision materialize in real time and space is a special experience.

We still have editing ahead of us, which I'm looking forward to, but I can already see the clear outlines of what "Južina" is. Actors - Luna Pilić, Lazar Đurđević, Olivera Vukovic, Mladen Nelevic i Stevan Vuković - with their acting, they managed to convey the emotion of complex relationships in front of the camera, and I believe that this will reach the audience.

I can honestly say that “Južina” is the most beautiful set I’ve ever been on. Anyone who works in the film industry knows how stressful production can be, but the filming went smoothly because the entire crew believed in the film and in each other. Any potential problems were resolved through discussion, cooperation, and a great deal of mutual respect.

Given your strong commitment and the topics you raise in both of your works, how do you see the society and value system in which your generation, as well as younger ones, grew up? How important is it to talk about all of this, and through different channels?

It is often said that we no longer need feminism and that women have already achieved all their rights, but I believe that the reality is more complex. Although we have made significant progress, we still cannot talk about complete equality. The same applies to other marginalized groups in society - there is progress, but we have not yet reached the level of equal opportunities and security for everyone. Personally, I advocate for the rights of all people, regardless of nationality, religion, sexual orientation, gender identity or any other affiliation, and I believe that it is important to talk about this through different channels - especially through art, which has the power to open space for dialogue and change perspectives. We are not free until each of us is free.

Your films communicate strongly with the audience, and it seems that they will continue to do so... Would you like to add anything?

I do not see these films as closed stories, but as a space that continues to live through the audience and their reactions. And I think that this exchange is precisely what makes a film in the first place. In the coming period, I plan to participate in festivals and film residencies, as a way to continue developing my work and learning through different processes and collaborations. However, I grow most through contact with people - through conversations, exchange of experiences and audience reactions, because it constantly changes and deepens the way I watch film and the stories I tell.

Women's voices bring new perspectives that have long been underrepresented.

The team working on “Južina” is a true “women's team.” How important was it to you that this film be born from that shared female experience and sensibility, and why are women's voices important to us today?

The film was written by Vuk Draganić, and from the beginning it was important to me that it had both male and female perspectives. Although the protagonist is a woman, the male characters are written to have equal complexity and space. In this way, the relationships in the film arise from upbringing, social patterns, and the way we all, regardless of gender, learn to communicate.

At the beginning, I did not have a preconceived idea that the film had to be an exclusively female team, but rather the team naturally formed through people I had previously collaborated with or met through work and whose approach was close to me. Producer Jelena Šoškić got involved in the process, and I chose many of the collaborators based on their work, sensibility and professional trust. It was especially important to me that the key creative positions were taken by women - director of photography Nađa Stanišić, production designer Jelena Ivančević and costume designer Mia Đurović - because their experience and way of working contributed to a calm, thoughtful and focused atmosphere on the set.

I wouldn't necessarily attribute it solely to gender, but rather to the way of working and mutual understanding within the team, where communication was open, precise and without unnecessary tension. It's important to me that women's voices are heard in cinema today, because they bring additional perspectives and experiences that have long been less present, both in front of and behind the camera.

"Lavender" encouraged girls to share their experiences

In collaboration with the Women's Rights Center, a series of screenings of "Lavender" were organized, along with discussions with the audience. Given that you had several direct encounters with viewers, can you share some impressions, words that remained in your memory, perhaps girls and women who came forward with similar stories?

The screenings we did in collaboration with the Women's Rights Center were among the most important for me, because through them we visited different communities, and I would especially single out high schools. Considering that I myself went through the same experience when I was in high school, I feel that it is extremely important to open up topics that are still, unfortunately, often taboo.

At almost every screening, at least one girl would come forward to share her experience, and often there would be more. It was especially emotional for me to listen to the stories of girls at that age who carry very difficult experiences. At the same time, I felt a great responsibility, but also gratitude that they decided to share them in that very space. Many of them spoke their experiences out loud for the first time, and for some it was the beginning of a personal process. As emotionally demanding as these encounters were, for me they represent one of the most important and profound exchanges I have had through this work.