Nikola Vukčević is a graduate film and theater director, a full professor teaching Film and TV Direction, and the head of the Film and Media program at the Faculty of Dramatic Arts in Cetinje, University of Montenegro. He worked as the Artistic Director of the City Theater Podgorica for seven seasons and is a Fulbright IVLP program scholar of the U.S. State Department. His previous films include A View from the Eiffel Tower (2005) – ranked as the third mostwatched Serbian minority co-production in the first two decades of the 21st century (according to the Serbian Film Center) – and The Kids from Marx and Engels Street (2014), the first Montenegrin film to be officially distributed in Croatian cinemas and Montenegro’s 2014 Oscar submission.
Mr. Vukčević, your film “The Tower of Strength” (“Obraz”) is inspired by a true story and motifs from the short story by Montenegrin writer and academic Zuvdija Hodžić. What drew you most to this story, and why did you decide to adapt it for the big screen?
First and foremost, this is a story I grew up with, a sort of myth about Nur Doka – a man of one religion who risked the lives of his own family to save a child of another religion in perilous circumstances. While working on “The Tower of Strength”, what attracted me most to Zuvdija Hodžić’s story was its profound human dimension. It is not just a tale about an individual but also about society, heritage, and the moral dilemmas that shape us as human beings. This blend of universal themes – honor, family, and responsibility – in the context of Montenegrin tradition and contemporary challenges made the story exceptionally relevant and emotionally powerful. I felt that it contained something that transcends time and place, while also deeply reflecting our mentality and way of life. Hodžić’s prose carries a poetic power but also a raw truth, and I wanted to bring that to the big screen – so that the audience not only watches but feels the weight of the choices the film’s characters face.
I believe that film is a medium capable of deepening the understanding of this story and conveying its message to new generations. For me, this was an opportunity to use art to address themes that are often left unspoken and to give a voice to the everyday heroes whose struggles often go unnoticed. The audience’s reactions at festivals and the critical acclaim suggest that the message resonated, and that understanding fulfills me.
The film “The Tower of Strength” was in development for over eight years. Spanning 36 hours of events, the story confronts universal moral dilemmas. How did you approach directing such a complex narrative, particularly balancing between the human drama and its historical context?
For me, the film “The Tower of Strength” was both a challenge and a privilege throughout those eight years – precisely because of its complexity. The story unfolds over just 36 hours, but within that limited timeframe, it captures intricate moral dilemmas and emotional conflicts. As a director, my primary task was to balance the personal drama of the characters with the broader historical context, ensuring that neither overshadowed the other.
The key lay in meticulous preparation, from script development to working with the actors, through filming and dedicated post-production. While developing the script, I collaborated with a team (Ana Vujadinović, Melina Pota, two international script doctors, and my assistant directors Ivica Vidanović and my former student Nemanja Lakić) to ensure that every detail—from dialogue to the visual language—authentically reflected the story. It was crucial for the audience to feel the intensity and tension of the situation while also connecting with the inner world of the characters. These characters are not just products of history; they are people with fears, hopes, and weaknesses.
We achieved this balance by combining powerful, intimate performances with careful use of historical elements and lighting in interiors (masterfully executed by our director of photography, Đorđe Stojiljković), as well as the selection of outdoor locations filmed at the most beautiful times of day. We adhered to specific markers defining the period in which the story took place, but without letting them take center stage. Instead, the historical context became a backdrop that heightened the dramatic tension.
I was particularly helped by the exceptional actors, whose talent breathed life into these complex characters. Their performances added emotional depth to the story, while the camera captured every nuanced moment—whether in their gazes or in silence, which often speaks louder than words. Ultimately, I believe the most important element was staying true to the universal questions the film poses: What does it mean to be human? How do we bear the weight of our decisions? And how to face one’s own morals? These questions transcend historical boundaries and resonate with everyone, including audiences in distant cultures where the film has already been shown.
In just three weeks, the film premiered on three continents at three prestigious festivals: Cottbus in Germany, and two festivals on FIAPF’s A-list: the 45th Cairo International Film Festival and the 55th IFFI GOA Film Festival. What does such international recognition mean to you and Montenegrin cinema?
Being selected for these festivals is both an honor and an exceptional incentive. Premiering at prestigious festivals like Cottbus, Cairo, and GOA places our film art (since I believe we cannot yet speak of a film industry in Montenegro) on the global map, giving us the opportunity to present our work to an international audience. Just as with a series of other films by my colleagues, we are opening doors for each other.
For me personally, these festivals prove that universal stories and emotions can transcend cultural and linguistic barriers. “The Tower of Strength” deals with themes of moral dilemmas, honor, and humanity, which, though deeply rooted in the Montenegrin context, are recognizable worldwide. Seeing how these themes resonate with audiences from diverse cultures is an invaluable experience. For Montenegrin cinema, this is an opportunity to showcase the wealth of talented filmmakers, actors, and professionals we have, even with limited resources. Selections and screenings at such significant festivals pave the way for future projects and confirm that our stories hold value beyond our borders. I hope “The Tower of Strength” inspires young creators in Montenegro and encourages further international collaboration in the art of film.
Numerous international and regional talents participated in the production. How did you manage to assemble such a diverse and high-quality team, and what was your experience working with them?
Bringing together such a diverse and talented team was both a challenge and a process filled with great enthusiasm and mutual trust. When you have a story that carries universal depth and strength, it naturally attracts people eager to contribute to something meaningful. From the very beginning, “The Tower of Strength” was recognized as a project exploring universal themes through a specific and authentic perspective, which drew collaborators from various parts of the region and even Europe.
We had the privilege of working with exceptional professionals from the region and beyond, both in front of and behind the camera, and I believe they all deserve to be mentioned. Montenegrin actors Aleksandar Radulović, Branimir Popović, Ana Vučković, and the legendary Zef Bato Dedivanović (famous for his role as Joksim in Živko’s Đekna), in his final film role, left an indelible mark on the film. The lead role is played by Edon Rizvanolli (Netherlands), while other roles feature Nikola Ristanovski (North Macedonia), Igor Benčina (Serbia), Alban Ukaj (Bosnia and Herzegovina), and Selman Jusufi and Xhejlane Terbunja (Kosovo). The children’s roles were portrayed by Elez Adžović, Vuk Bulajić, Merisa Adžović, and Hana Pavlović, who were cast after an extensive weeks-long audition process.
The film is inspired by motifs from a real event, which Montenegrin academic Zuvdija Hodžić portrayed in his anthology short story Obraz. It was developed into a screenplay by Ana Vujadinović (Montenegro) and Melina Pota (Serbia), refined through international workshops such as MIDPOINT Int. MNE, AlbScript, and the Balkan Film Market. The film’s visual identity was shaped by director of photography Đorđe Stojiljković (Serbia). The late Stanislav Nikičević (Montenegro) served as the production designer, while the costume design was crafted by Lidija Jovanović (Serbia). The music was composed by Dušan Maksimovski (Croatia), and the editing was handled by Olga Toni (Slovenia). Visual effects were created by Đuro Mihaljević (Montenegro) and Đorđe Stojiljković (Serbia). Makeup and special effects were led by Nataša Sevčnikar (Slovenia), while sound design and mixing were the work of Igor Vujović (Montenegro) and Dario Domitrović (Croatia). The executive producers were Milorad Radenović (Galileo Production Montenegro) and Jelena Filipović (professor at FDU Cetinje). Co-producers included Nevena Savić and Ivica Vidanović from the Belgrade-based Cinnamon Films, Dario Domitrović from Zagreb’s Embrio, and associate producers Christoph Thoke (Mogador Film, Germany) and Boris Raonić on behalf of RTVCG and its public competition. A significant number of Montenegrin colleagues contributed behind the camera, including Nemanja Lakić, Budimir Bečić, Dejan Vuković, Nikola Čavor, Farah Ademović, Darko Bjelobrković, Majdana Ljuljđuraj, Đoko Jablan, Niko Tripunović, Boris Vuković, Ilija Kaluđerović, Bojana Kojičić, Mila Nenezić, Dunja Sekulović, Nataša Milićević, Mila Čelebić, Milica and Maša Vujadinović, Balša Dabetić, Strahinja Vuković, and Goran Živković… Working with this team was an inspiring experience. Each member brought their creativity, professionalism, and experience, as well as an openness to collaboration. The energy on set reflected the shared passion for creating something greater than ourselves. This process not only enriched the film but also me personally, as I learned immensely from interacting with individuals from diverse artistic and cultural backgrounds. This film was co-financed through the funds of several public competitions, and it is an honor for me that this film is Montenegrin, Serbian, Croatian, and German. “The Tower of Strength” was created with co-financing support through public competitions starting in 2017, including support from the Ministry of Culture of Montenegro, the Film Centre of Montenegro, the Film Centre of Serbia, the Croatian Audiovisual Centre, Radio and Television of Montenegro, and CEKUM. Notably, in November 2020, the project ranked first in a co-production competition in Serbia, ahead of fifty other entries, securing funding of approximately €60,000. The majority of the film was shot in Bar and along several rivers near Lake Skadar. Before its festival premieres in Cottbus, Cairo, and Goa, OBRAZ was presented at the Industry showcase of the Cannes Film Festival’s Marché du Film 2023, where it held two private screenings, and was then selected and presented in a special selection of films in production (Work in progress International) at the festival in Tallinn – in a group of only five films from around the world.
Culture often faces a lack of support and understanding. As one of Montenegro’s leading directors, how do you assess the current state of culture and the arts in Montenegro? Do you think institutions adequately recognize the importance of investing in the arts, particularly in film?
Culture is a resource that must be managed responsibly and seriously. However, what Montenegro lacks is clear and long-term strategic planning in this field, beyond trivial party interests. Culture has immense potential to contribute to social and economic development, but it must be understood as a priority that requires continuous investment and support. While institutions are often focused on short-term goals and effects, managing culture as a resource must be long-term and sustainable. This requires not only financial investment but also strategic support through education, promotion, and the creation of conditions for the development of creative industries. I believe that film, as the most recognizable and global art form, deserves to be recognized as a key segment of cultural policy. Despite the challenges, I must say that I am pleased with the work of the Film Centre of Montenegro. It has achieved significant results and, with timely support, can become a key institution that fosters the growth of Montenegrin arts, not just cinema. Film is a complex and costly endeavor, and its success requires long-term plans and clear support. Although film in Montenegro is not yet fully recognized as an economic and cultural resource, the Film Centre is undoubtedly demonstrating that significant results can be achieved when there is a clear vision and dedication. In any case, culture in Montenegro deserves greater attention, and the role of institutions should be understood as a responsibility to create conditions for the development of the arts in all their forms.
Considering that you are a professor of Film and TV Directing at the Faculty of Dramatic Arts in Cetinje, how can young talents in Montenegro be motivated to pursue a career in the film industry, and how can they be provided with adequate support?
Film as an art form is unique because it’s one of those vocations that people dream about from a very young age. Many young talents who choose to pursue film do so out of passion, driven by an inner need to tell stories, explore, create, and communicate with the world through visuals and sound. Because of this, young people entering this field are, in a way, already highly motivated. There’s no need to push them further because, for them, film is not just a career; it’s a calling, a dream they wish to realize through hard work, education, and creativity.
As a professor of Film and TV Directing at the Faculty of Dramatic Arts Cetinje, I frequently witness the deep dedication and passion students bring with them. Their choice of this path is never accidental – it’s something ingrained in them, something they have carried and recognized since their early years. Our role as educators is to provide them with the necessary tools, professional knowledge, and practical experience to help them fulfill those big dreams. The support they need goes beyond motivation; it includes quality education, mentoring, and opportunities for real-world creative practice. In Montenegro, while we are still in the developmental stages of the film industry, it’s crucial as a society to recognize the importance of investing in education and opportunities for young filmmakers. This involves creating job opportunities, supporting the formation of production teams, and strengthening institutional support. If we want to motivate young talents, we need to offer them a clear perspective, showing them that their dreams are not just fantasies but achievable goals through proper education, hard work, and perseverance.