Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking. Treat it as a searchable index of what was broadcast, not a quotation record.
00:00:00"I think that those people who were awakened
00:00:03by that wave that students caused
00:00:06with that small snowball that turned into an avalanche,
00:00:10I think that those people are now forever
00:00:13awakened and are just waiting for the moment when that
00:00:16energy that existed a year ago or during that year,
00:00:20this one that is now accumulated
00:00:23somewhere, when it will reappear, because I think that the
00:00:27changes that happened are really permanent. And as I
00:00:30said before, I think there's no, no turning back, this
00:00:34country is deeply divided and I think that
00:00:38uh, probably no government before this one, neither Slobodan
00:00:41Milošević's government nor his regime managed to
00:00:44divide the citizens of Serbia so much, so I think
00:00:48that we are now in that situation of some waiting in which I have
00:00:52the impression that this
00:00:54energy that students awakened
00:00:58is really something that... has enormous or the greatest power in
00:01:02this society, uh, now when you say that the government with the return
00:01:06of faculties and that normalization of work, although it's still not
00:01:09completely normal and we still see students at
00:01:13different protests that they organize, but when you say
00:01:16that they create an illusion that everything is normal, today when we are filming this
00:01:19show, it's the first time since the collapse of the canopy in Novi Sad
00:01:22that the president, Aleksandar Vučić, went to Novi Sad and
00:01:26those videos appeared on social media, he's eating a sandwich, an index sandwich in Novi Sad,
00:01:30then he went to open uh this
00:01:34homeland fair or whatever it's called,
00:01:38uh what does it tell you that for a year he didn't go to Novi Sad and
00:01:41then he went in this way in the early
00:01:44list and there are many different opinions, who should be on morning he appeared there in front of that sandwich shop and
00:01:46ate that, you know how they constantly create an illusion of some reality and they
00:01:50constantly create those Potemkin villages and this Cacakland was
00:01:54one big Potemkin village and a metaphor
00:01:58for what they are actually doing. Today we saw that video with those
00:02:01Former current ones on extras around him who are like some citizens who are surprised
00:02:05that they saw this president in front of
00:02:08the sandwich shop, which means everything is very controlled, just the other
00:02:12day there was the opening of an elementary school in Mladenovac
00:02:16where there wasn't a single student, not a single professor, this, so these are
00:02:19very controlled images that his media
00:02:23machinery actually sends to its voters, no longer
00:02:26to the citizens of Serbia, because a large part of the citizens of Serbia know... that
00:02:30these are all staged events,
00:02:33but he continued actually and continues to
00:02:37exclusively address his voters, so
00:02:40uh the first part of your question uh how I interpret
00:02:43the fact that someone, that the president of the country didn't come to Novi Sad for a year, well that
00:02:47uh your question itself is already the answer, this
00:02:51is it possible that after such a terrible tragedy that the president of the country
00:02:55doesn't appear for a year at the place where that tragedy happened and
00:02:58then in a... cynical way he actually appears in front of some
00:03:02sandwich shop where with the former prime minister he eats
00:03:05a sandwich, I think that that's that
00:03:08cynicism, uh a characteristic of
00:03:12this government, this regime, on the other hand, that terrible
00:03:15need to, from that Parizer, and then I don't know
00:03:19Sava Hleb and so on, to make it seem that these
00:03:23deeply rich people who completely destroyed this
00:03:26country, that they are ordinary people.
00:03:30And now we hear more and more often from the Serbian Progressive
00:03:34Party itself, for example, the former prime minister, the prime minister of the government that fell due to the collapse
00:03:37of Nastrašnica Miloš Vučević, who says that Aleksandar
00:03:41Vučić should lead the list in the next elections and be
00:03:44a candidate for prime minister, what would it mean for Serbia if
00:03:48Aleksandar Vučić continued to rule for another four years after the elections
00:03:52that will be sometime at the end of this year, in the spring of next year, or whenever
00:03:55they are announced? Well, I think that would be a complete dead end for
00:03:58Serbia. That would be the end of the road beyond
00:04:02which there is nothing, I don't believe that's possible,
00:04:05of course, all options exist and I think that's the only
00:04:09option for them at this moment, his presidential term expires in
00:04:122027, they will do everything
00:04:14to actually get another four
00:04:17years of their power, uh,
00:04:21but what would that mean for Serbia, Serbia is a privatized,
00:04:24robbed country, when I say robbed, I don't only mean
00:04:28resources and what... "that is literally robbed, above all
00:04:32I mean robbed and stolen institutions,
00:04:35this, that is much worse to me, so we
00:04:39live in a hijacked, privatized country, I
00:04:42think that one year is a lot for us, four
00:04:46years would be this
00:04:49terrible, you see that the foreign policy position
00:04:53of Serbia is changing, four or five years ago it
00:04:56was much better than it is now, so I think that is..."
00:05:00that is going into some complete isolation,
00:05:03some political dead end from which I am afraid that
00:05:06Serbia will not be able to get out for a long time, I think that these
00:05:09elections for the next one are really crucial. I mean, we live
00:05:13in a country where every election is crucial, but these next
00:05:17ones will certainly be crucial and in a
00:05:20truly, as they say, referendum-like way, because here it is not
00:05:23a question of whether we are for a certain political option
00:05:27or for some other, here it is a question of returning the stolen
00:05:30state, of returning the stolen state, so that
00:05:34some new government, I hope uh gathered around
00:05:37the student list, in fact uh, restores
00:05:41the institutions that are... privatized, so that
00:05:44in two years we can live in a country that has an independent
00:05:48judiciary, which has independent media, which has
00:05:51institutions, independent police, which has institutions of the system that actually
00:05:55work as they should according to the constitution, this, so that is
00:05:59our main problem now often when
00:06:02some opponents of the student list talk about
00:06:05ideological uh
00:06:07ideological
00:06:10differences of people who are... close to that student list,
00:06:14I think that's good and I think that we now need to
00:06:17have one, we need to have a very broad front of very
00:06:21different people of ideological views who will
00:06:24actually do everything to return that hijacked,
00:06:28stolen, privatized state to the citizens,
00:06:31so that then some independent institutions will be created through which
00:06:35in two or three years we will be able to
00:06:38have some fair elections, fair
00:06:41elections through the media, judiciary, through
00:06:44voter lists, this, that is surely something that in a normal
00:06:48country would be a minimum of
00:06:51civic dignity of a society, now you mention the student
00:06:57it, who should not, where is the place
00:06:59for the opposition, what is your opinion, we now have this
00:07:03new idea that the opposition should somehow participate,
00:07:07but that there should be no opposition leaders on that student list,
00:07:10students said they don't want politicians.
00:07:14that list, how do you think that should look, when you say broad front, now
00:07:18I assume you mean those who are left and right oriented and we see
00:07:22different symbols that students wear at those protests,
00:07:25uh, how should it look to achieve the best possible result, well I
00:07:29think, when I said that I think there should be a referendum atmosphere, I think it would be
00:07:32best if there was one list, probably that's impossible, but
00:07:36if that's impossible, then at most two lists, I'm
00:07:40afraid that if there are three lists, that's already some space for
00:07:44manipulation to which this government is very prone,
00:07:48this, I would like it to be one list, that under
00:07:52that, under that umbrella would be everyone left, center and
00:07:55right, this, if not a student list and
00:07:58the opposition on one list, I say everything beyond
00:08:02that, actually uh is space for creating
00:08:05some phantom lists that are under complete
00:08:09control uh of Aleksandar Vučić's regime. and
00:08:13it seems to me that if an agreement is not reached
00:08:17and at most two lists, this,
00:08:20I think it will be very difficult to this regime, which is very
00:08:24capable, if it is capable of anything, it is
00:08:27that kind of media manipulation, election
00:08:31election fraud, this, if they have learned something, they have
00:08:34learned that, so I think that what the regime uh
00:08:38Vučić's fears, he fears that student list which.
00:08:42will be supported by, I don't know, Novak Đoković,
00:08:45Bodiroga, Nemanja Vidić, Emir Kusturica, Goran
00:08:49Marković, the most diverse people
00:08:51who truly have uh professional credibility, who
00:08:55are respected, who are successful, who
00:08:59simply uh, have not been involved in
00:09:03politics so far, this, and whose name means something
00:09:06to citizens, yes, let's go
00:09:09now into what is your narrower field, that is culture and art.
00:09:13Is it even possible now, in recent times, in the last couple of years, to shoot
00:09:16a film, uh, the state practically doesn't provide
00:09:20money except for projects of production
00:09:22companies that are close in one way or another to the authorities,
00:09:26how difficult is it to even be involved in film in Serbia today, not to mention
00:09:30some independent film, art house film, we'll talk about that of course, but
00:09:34how difficult is it? Well, you know, in the last year,
00:09:38not a single competition of the Film Center
00:09:40of Serbia has been announced, I think that... in the last 14 months
00:09:44in fact it has not been announced, meaning the Film Center which should
00:09:48have as its primary activity the announcement of elections,
00:09:51the announcement of competitions for
00:09:54co-financing films, it does that, on the other hand, for
00:09:58some longer period, four or five years, people
00:10:01who are critically inclined towards the regime, who speak
00:10:05uh against this regime practically cannot get
00:10:08this money for film production.
00:10:13Uh, I say, before four or five years ago, it happened that someone
00:10:16slipped through, but now that thing is completely
00:10:19controlled, this, that's not just in
00:10:23film, you know, it's in publishing, it's in fine
00:10:26art, you saw the scandal surrounding the selection
00:10:30of candidates for representatives at
00:10:33the Venice Biennale, you know what is happening around the book fair and
00:10:36the purchase of books from publishers, so the entire
00:10:39culture is actually now under
00:10:42the control of the ruling party, but that's not strange
00:10:46this if you see for me the most interesting thing
00:10:50at this moment is actually this
00:10:53government considers its biggest enemies
00:10:56knowledge and justice, meaning it
00:10:59primarily deals with culture, with artists, and even
00:11:03more so with this with professors, what bothers
00:11:07them, for example, why would cultural workers bother
00:11:10anyone, why would someone be bothered by for example Goran Marković who, here
00:11:14he sat in one of the first shows and talked about how he was convinced that he would not
00:11:18shoot another film in this country, well Goran Marković has not received money for more
00:11:22than 10 years, this, I think he hasn't... received money even once
00:11:25in the competition of the financial center of Serbia this since the
00:11:29Serbian Progressive Party has been in power
00:11:33this and I think he has applied more than 10 times in
00:11:37fact this well you know how culture
00:11:40and people who are involved in culture are a cultural
00:11:43and social group that is actually most against this regime
00:11:46and they perceive all of us as their
00:11:50biggest enemies, among our
00:11:53colleagues there are very... few, really very few who support
00:11:57this regime, you saw yesterday at this
00:12:01meeting of the Film Center of Serbia in Zlatibor there were not
00:12:04more than five or six people who are involved in
00:12:07film, while at the Faculty of Dramatic Arts
00:12:11there were over 300 people from nine
00:12:14associations representing over a thousand film
00:12:18professionals, is that also a counterpart, now I wanted to ask you about that situation
00:12:21when you are doing that at the Faculty of Dramatic Arts, when there is talk...
00:12:25uh about film, about the film center, about competitions and so on, immediately we have a
00:12:29meeting in Zlatibor, this of a different kind where we see, I don't know, Laza
00:12:33Ristovski singing in a kafana, Gaga Antonijević sitting there next to
00:12:36him, or it doesn't even matter, those videos that were published, how does that look to you then, is this again
00:12:40what we talked about, that they always create a counterpart to something else, well you know, the meeting
00:12:44of the NFDU was a response to their invitation, the Film Center
00:12:47of Serbia invited all associations
00:12:51to, in Zlatibor, within the festival in Zlatibor, to hold
00:12:55a discussion about the problems of domestic cinematography, we
00:12:58considered it hypocritical
00:13:01and that it was something that could not be accepted, because all our
00:13:05associations, from the Association of Film Artists of Serbia to all
00:13:08professional associations, last year in September
00:13:11boycotted the festival in Zlatibor, the national festival in Zlatibor
00:13:15and we thought that our house, the Film Center
00:13:18uh by the fact that such a discussion, an important discussion, is being held
00:13:22at a festival that we all boycotted. That it was
00:13:25actually an invitation that they know we won't
00:13:29respond to, then it happened there that five or six people gathered
00:13:33there, this, when I saw the photos yesterday, I know
00:13:36five or six people who are really involved in film
00:13:40this, I don't know the other people, that in fact
00:13:43originally in the Cinematheque this meeting
00:13:46organized by nine professional associations was to be held, meaning
00:13:50the Association of Film Artists of Serbia, the Association of
00:13:53Directors, uh the Association of. Producers, the Association of
00:13:56Screenwriters, now not to list further, cinematographers,
00:14:00animators, this, acting
00:14:02organization, the Association of Film Actors of Serbia,
00:14:05this, that meeting was supposed to be in the
00:14:08Cinematheque, however, the Cinematheque, the director of the Cinematheque,
00:14:11banned it, i.e., cancelled the hospitality, and what is
00:14:15important to me and I think it is natural,
00:14:17this meeting happened at the Faculty of Dramatic
00:14:20Arts, in fact, it's interesting
00:14:23how this regime... does everything to make
00:14:27symbolically every gathering of people who actually
00:14:30want to fight for the dignity of their profession become an act
00:14:34of political resistance,
00:14:37uh, and is film
00:14:40creativity threatened in Serbia today by all this we
00:14:43are talking about now? Well, film creativity is terribly threatened for quite a
00:14:47long time, uh, I already told you that for some time it happened
00:14:50that in the last five or six years, some
00:14:54of the esteemed talented directors
00:14:57received money in the competition of the Film Center of Serbia,
00:15:01but that was more and more a rarity, it more and more became
00:15:05in fact, the Film Center of Serbia, a facade for
00:15:08producers and directors who are close to
00:15:11the regime, this, however, what is interesting, films are being shot,
00:15:15our films travel to festivals and win
00:15:18awards, because I think we have great talent, we have
00:15:22a lot of talented actors and screenwriters.
00:15:25directors and people simply have a tremendous
00:15:28need to make films, that
00:15:31need brings an authenticity and sincerity that
00:15:34manages to break through some barrier, because those
00:15:38films live and travel, on the other hand, if we look at the example
00:15:41of Croatia, Croatia has had a very well-organized
00:15:45film fund for about 15-20 years, uh,
00:15:48the Croatian audiovisual center and
00:15:51stable funding and continuity
00:15:54of funding, we already see in fact
00:15:57uh that that continuity leads to great
00:16:01successes, unfortunately they are slowly catching up with us and
00:16:05Fest was last year, right? it was held, we immediately
00:16:09got a new director
00:16:11of Fest, do you think that that it's possible to replace
00:16:15all people, if people of reputation and integrity leave
00:16:19various institutions, leave certain festivals,
00:16:22uh, certain festivals are boycotted, then a solution is always sought to
00:16:26replace them with someone else who will be obedient, who will uh
00:16:30listen to what they are told and work that way, will
00:16:33culture be able to survive that way or not? Well, culture is...
00:16:37in complete, complete decline, you said,
00:16:41you mentioned Fest, there was no Fest last year, there was no
00:16:45Bitef either, however, thanks to the people who run
00:16:48Bitef and Miloš Lolić, the artistic director,
00:16:51that non-Bitef happened, which was really
00:16:55fantastic and again an incredible
00:16:58act of uh vitality and resistance,
00:17:02but real civic resistance, this
00:17:05culture is completely... I tell you, I mean, no
00:17:09social group has so many people, artists,
00:17:13cultural workers who are against this
00:17:16undemocratic regime and that is punishment, I mean, for us it is punishment
00:17:19and Minister Nikola Selaković, he is a man
00:17:23who does not like culture, who has no
00:17:26connection with culture, who cannot stand contemporary art, he
00:17:29was probably appointed there as a punishment
00:17:33because he could not get a higher position,
00:17:37however. however, I see him as some kind of receiver of culture,
00:17:40someone who actually came to destroy the whole thing,
00:17:44this, because I say, it is unbelievable that
00:17:48knowledge, that is, professors this
00:17:50university professors and high school professors, you see what is
00:17:54happening in the Fifth Belgrade High School where I went,
00:17:58this, the biggest enemies of this
00:18:00regime along with justice, with people from the judiciary,
00:18:04the legal system, so these are two uh... segments
00:18:08of society that are at this moment absolutely
00:18:11the biggest enemies of Aleksandar
00:18:14Vučić's regime, and then again, despite such pressures, we have
00:18:18many actors, directors who speak uh publicly,
00:18:21they don't give up, they don't deviate from their views, they are not intimidated in some way, uh
00:18:25where does such courage come from, for example in uh in actors, in
00:18:29directors, in people who are involved in culture who, despite all the pressures,
00:18:33despite the fact that some lost their jobs, that they couldn't make films, where their existence
00:18:37was practically threatened, right, in some way, but they didn't back
00:18:40down from it, well I think that student protests and
00:18:44blockades completely changed the blood picture of the country
00:18:47and there are many of our colleagues, actors and directors who
00:18:51were quiet, quietly against this regime,
00:18:55however, all this that happened in those twelve months completely
00:18:59awakened people and I think there is no, no
00:19:02stepping back, no more gray areas and we are truly
00:19:06as a society... divided into black and white, this
00:19:10there are no longer people who are undecided,
00:19:13who are neutral, no, there
00:19:16is no, you can't be neutral anymore, when simply
00:19:19society is boiling in the way it is,
00:19:22this there is no more neutrality,
00:19:25this, so actors are prominent, people
00:19:28like to hear what they think, this
00:19:32and their voice is heard, on the other hand, I say
00:19:36us... "when it comes to film
00:19:38theater, we are all practically on the same side, there are very
00:19:42few people this whom
00:19:45the Serbian Progressive Party has under its wing, I'm telling you
00:19:48now in Zlatibor there were five or six of them, when it comes to
00:19:52theater, it's a similar thing, so they have few people,
00:19:56they rotate them in circles, this through various functions, administrative
00:20:00boards, councils and so on, this,
00:20:03but that circle is really small, now let's
00:20:07somehow..." to round off this story we're talking about an example is also
00:20:10the series you made, the series "Absolute 100" after the film, right, and we'll talk about
00:20:14your career in the second part of the show, uh that
00:20:17series was never broadcast here in foreign countries, why
00:20:21not? Well, uh the series was shown last
00:20:25year, the series was filmed two years ago, two and a half years ago in fact
00:20:28and this for a very long time it stood finished
00:20:32in some drawer, last year I got
00:20:35stubborn and insisted that the series
00:20:39be shown at one of the big film festivals and we were lucky
00:20:43enough to receive an invitation from the Karlovy Vary festival,
00:20:46one of the biggest festivals in the world. Uh,
00:20:50the people from Telekom were against the series being
00:20:54shown there, but I was persistent and
00:20:57stubborn, the series was shown there, which I think is very
00:21:01important, because it is a big festival, as a
00:21:04consequence of that, the series was sold all over
00:21:08the world, uh, primarily two or three
00:21:11of the most important television channels that deal
00:21:15with artistic content, that is Arte France, Arte Germany and
00:21:19Channel 4. Great Britain and Ireland and they bought the series
00:21:22three days ago, February 2nd, the series started on
00:21:26the Arte platform in Germany and
00:21:29France, it will be on the platform until February 2nd,
00:21:332027. This, it was important for me that some people see
00:21:36it, first at a festival which is always, how can I say, a
00:21:40springboard for both film and series, and this
00:21:44well, people in Europe will watch it, when people in Serbia will see
00:21:47the series, I don't know, this. "I'm not in
00:21:51contact with the people from Telekom, it's obvious, there are some of their
00:21:54reasons why they won't show it, in my opinion those
00:21:58reasons are, perhaps above all my political
00:22:02affiliation and the loudness of what I say,
00:22:05some revenge on all of us who actually
00:22:09say what we think, although it is
00:22:12completely absurd, you know, a television series of
00:22:15six episodes costs somewhere between
00:22:18800,000 and a million." Euros that Telekom invested
00:22:22in that product which now serves no purpose and
00:22:25gathers dust this in some
00:22:28drawer, yes thank you for this part of the conversation, we are taking a short
00:22:31break, we continue the conversation, stay with
00:22:33360°,
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00:28:42You are watching 360°, director Srdan Golubović, my interviewee
00:28:46tonight, Srdan, Absolute 100, here we have just finished this story
00:28:49about the series that has not yet been broadcast here, uh,
00:28:53by Telekom's decision, 2001, that was your first feature
00:28:56film, right, Absolute 100 was filmed and it participated in
00:29:00over 30 festivals worldwide. It won 10 international and 19
00:29:04domestic awards uh and was that at
00:29:07that moment when you were working on Absolute 100 somewhere your
00:29:11stance uh anger or stance regarding the time
00:29:15we lived in and and your stance towards the system after all
00:29:18we lived in and quite bold, right? For musicians, the first album
00:29:22is always important, it's always somewhere what will come of it
00:29:26if it doesn't turn out well, then it's hard for anything else to happen after that.
00:29:29How difficult was it to make such a film and
00:29:32for it to be the first? Well, yes, well, I think it was completely some
00:29:36anger of mine, some cry in that time
00:29:39of the 90s and Milošević and somehow, I was
00:29:4328 years old when I was filming, when the film came out,
00:29:4629, uh, we started writing the film a couple of years
00:29:49before that and it is indeed some
00:29:52generational feeling of powerlessness at that moment
00:29:56and the need to change that whole world around us, this,
00:30:00I was, there was no funding for the film at all then, so
00:30:04I lived by making music videos, at
00:30:07one point I even thought I would make music videos my whole life,
00:30:11commercials, so that this,
00:30:14what I enrolled in college for, I wouldn't do then the idea of
00:30:18Absolute 100 happened, luckily
00:30:21we managed to finance that film, we started filming it during
00:30:25Milošević's rule, actually filming
00:30:28was underway during October 5th.
00:30:32So when it was October 5th, we had three days off and then
00:30:36continued filming,
00:30:39so during that filming, that
00:30:43event happened which actually changed our lives, which we had been waiting for
00:30:46for so long, but that film is really angry
00:30:50somehow and reflects not only my, but
00:30:54above all my uh
00:30:56entrapment, some feeling of claustrophobia.