The group

Over the two year period of our existence, we’ve probably had several hundred people working with us on various small and big projects. Somehow, though, a group has crystalized itself. Here’s a little something about us…

Rajko Petrović, a film director. His mission is to maintain some law and order in the Atelier; other than that he simply wants to get great films made. Among some: Pulses (2004); East of Eden (2006)

Sara Stojković, a cineaste, passionate photographer and student of divinity. She’s the driving force behind our marketing department and a constant voice of Reason. She is the author of In The Meantime (2004).

David Solomon, a film-maker, father and something of a peace-maker. His activities include cooking good meals, shooting good people and talking to strangers – a lot. These lead him to a Roma settlement in Niš where he made Jewish Village (2004); and later paved the path for Simo of Montenegro (2006).

Srđan Keča, a film-maker, designer and a student of theoretical physics. His job is to tie all the various knots together and hope for the best. He made Hopscotch (2004) and later spent magical months in southern Kosovo making After the War (2006) while coordinating the production of Serbia Vérité together with David.

Nemanja Babić, a 45-shoesize film editor with a smashing sense of humor. His works include: Dobro poznata stvar (2002); Act 5 (2003); The Ultimate Survival Guide (2005); Hotline (2004); Sweet and Sour (2004); End of School (2006).

Aleksandar Stojanov, a focused and precise film editor and director, owner of one of the best film archives in town. In the Atelier he first edited Jewish Village, Lucky Draw and Abroad (all 2004), and later went on to direct his own End of School (2006), but also edited Simo of Montenegro the same Summer.

Jelena Jovčić, a film director whose Lucky Draw (2004) was the most successful film from the first series, shown and awarded in a number of international festivals. She later made Day of Youth (2006).

Dragan Nikolić, not to be confused with the famous actor. A scriptwriter and film director. In the Atelier he made Hot Line (2004) and National Park (2006). Outside the Atelier he wrote a number of films, including the famous documentary on Serbian porn industry – Made in Serbia (2005).

Mihajlo Jevtić (email him), film-maker, party animal and a lovable big guy. He spent weeks in an elevator making In the Box (2004), and later payed a visit to his lovely Grandmother in Alone, alone, you should never be alone (2006).

Barbara Tolevska, a film producer who once tried herself in directing and made Abroad (2004). She later returned to usual activities and produced the famous documentary Africa United (2005).

Marija Asanović, student of directing, a sensitive young lady who made her two personal video essays with us: Sweet and Sour (2004) and Ten Years Later (2006).

Staša Tomić, a high-on-adrenalin film-maker who made Dad’s Car (2004) and is now pitching for a new film (which has to remain a secret for now).

Other good people

We are grateful to many kind people who helped or are helping us with our work. This list is by definition incomplete, but it’s an attempt:

• Jean-Noel Cristiani, Renaud Personnaz, Leonardo di Constanzo and Claudio Martinez, our team of Ateliers Varan mentors with whom our pictures and stories become films
• Gauthier Morax, the ex-cultural atache of the French Cultural Centre in Belgrade, and the first person to blame for putting this group together
• Dominique Thierry, who took over from Gauthier and more than once saved the day
• Gordana Mijatović, who does our accounts with absolute perfection
• Nađa Petrovski, the French Embassy PR and Olja Iva from the French Cultural Centre, who we turn to whenever we’re organising an event
• Ivan Vuković and Marko Mamuzić, our French-Serbian translators
• Dragana Žarković, Jasmina Debeljak, Vjera Rujić and other nice people from the Media Fund, who always did a lot more for us than their job description said.
• Mila Turajlić, who helps us a lot with contacts and good advice and at one point almost joined the group to work on a film herself. We hope she’ll indeed do so in the future.

We also thank everyone who appeared in our films and the institutions that gave us permission to film inside their rooms or areas under their jurisdiction.