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- The drama "Spring in January" is a story about families who started hiding in underground chambers during the Nazi occupation of Belgrade. With the help of adventurous profiteer Mark, they produce weapons for the resistance movement. This work continues even after the war, because their "benefactor" releases fictitious reports on German victories in order to maintain underground production and continue to get rich. Marko manages to convince his best friend Crni (Black) to stay hidden in the basement so that he can keep Natalia for himself, the woman they both love. After twenty years, Crni finds a way out into the "upper world". Although it is 1961, Crni believes that the Nazis are still in power because they managed to make a film showing the German occupation.
- Three generations - three different microcosms - are entangled in circle. They were all looking for love but ended up experiencing aggression and escape from reality.
- In the focus of Djurdjevic's only seemingly "simple" plot are three urban 30-year-olds, stuck somewhere on the first life curves - either because of an inferiority to an employed wife, or because of their inability to prove themselves through superficial sexual adventures, or the overwhelming urge to humiliate his friends behind the "mask" of innocent jokes. However, the equally important protagonist of the play "Don't Bet on the English" - the protagonist who is both inside and outside them - is one of the essential demons of human nature: a passion for gambling, more precisely betting. An emerging form of this obsessive passion is, for Djurdjevic's heroes, betting on the results of matches of various national football leagues.
- TV movie "Belgrade Trilogy" dedicated to young people who emigrated from Serbia. In essence, it is a story that deals with the drama of emigration and the loss of one's own roots. The three stories that change during New Year's Eve 1996, 1999 and 2018 represent three characteristic episodes of an entire generation that grew up between hatred, violence and death and left Serbia to follow the hope of a "possible" life. Their destinations are different and distant from each other (Prague, Sydney, Los Angeles), but this drama shows that in the "global" world there is not much difference in the places of residence of our young diaspora. In these three stories, the characters are connected by the same destiny: fitting in, or rejecting into a new reality, and sharing the pleasures and unrest of everyday life with their peers.