Still: Desire Lines - Dane Komljen

Bosnian auteur Dane Komljen’s Desire Lines (receiving its world premiere in International Competition in Locarno and sold by Square Eyes) is described by its director as a film “about walking, movement and shape shifting,” falling between “fairy-tale and horror.” 

The taciturn but charismatic protagonist Branko (Ivan Čuić) is first shown roaming through shadowy Belgrade malls and parks, a ghostly presence. He then embarks on a mysterious journey deep into the forests. He seems to be searching for his missing brother but his quest is as much about making sense of his own life as it is about following someone else.

The project has taken many years to complete. “That is the unfortunate fate of European co-productions,” sighs the film’s Serbian (now Dutch-based) producer Nataša Damnjanović.

Her company Dart Film, which she founded 20 years ago with Vladimir Vidić, produced Komljen’s first feature, All The Cities Of The North (2016), a big festival hit that was distributed in the US by Grasshopper Film. Desire Lines was originally supposed to be made straight after that - but it has taken far longer than anticipated.

“Due to the nature of the project - it’s a very distinctive art house film - it was very difficult to secure initial funding in Serbia, in our home country,” Damnjanović recalls the early struggles to kick start the movie.

In the end, Desire Lines benefitted at a crucial time in its development from Hubert Bals Fund (HBF) backing in the Netherlands as well as financing from the Netherlands Film Fund.

This is the third Dart Film project to have been funded by HBF, which Damnjanović describes as

“one of the most open-minded film funds out there…nowadays one of the very rare islands where there is still care and understanding for arthouse film. In that sense, I would say the Netherlands is a very important partner for us.”

There is a Dutch co-producer, Marc Thelosen of SeriousFilm (which has recently also opened its own distribution arm) and the Dutch were also involved in heavily involved in sound mixing, colour grading and post-production. 

Six years ago, Damnjanović herself moved to the Netherlands. She now lives in the Hague. Dart Film remains a Serbian company but a core ambition is to open Dutch offices. It was a “huge decision” for her to leave Belgrade but it was becoming harder and harder both to live and work there. 

For now, Damnjanović’s focus is firmly on Desire Lines. The film was eventually put together as a Serbian/Dutch/Croatian/Bosnian/German co-production supported by Eurimages and Creative Europe Media.

“For me, it is first and foremost a film about togetherness,” Damnjanović, sums up what she sees as the key themes. She also notes that the film has a strong ecological undertow as it foregrounds the healing power of nature.

Komljen was shooting in beautiful but remote forests in Bosnia within a region which has become a migration route for refugees trying to reach the EU. “This geographical space has been a battleground of one kind or another throughout history,” the producer observes of how the Second World War, the Balkan conflict in the 90s and now the migration crisis have all played out against this seemingly idyllic backdrop.

“This was also a very distinct experience for the crew and the actors. The time they spent in Bosnia, they were really like a small community, all together all the time. They formed friendships with the local people. All of them came back from this part of the shoot with very strong emotions,” Damnjanović says of how the communal feeling shown in the movie (what the director refers to as “radical solidarity”) was also reflected off-screen.

The casting of Čuić as the lead, Branko, was crucial.

“When Ivan showed up, that was it. It’s a very demanding role. There is not a lot of dialogue to begin with…Ivan Čuić just has this presence. Even without saying a word, you can look at a close-up of his eyes for five minutes.”

Desire Lines will screen at the Sarajevo Film Festival shortly after its Locarno premiere. It is then expected to continue its festival run before being distributed theatrically in the co-production countries and hopefully further afield too.

Dart Film, meanwhile, is shortly to start production on Lee Filipovski’s The Myth Of A Real Man, a debut feature about a Serbian family hoping to immigrate to Canada during the bombing of Belgrade in the 1990s. This has been put together as a Serbian-Canadian co-production. 

Having spent six years living in the Netherlands, what does Damnjanović make of the Dutch?

“First of all, I have to say I am very happy here…the thing that I like is the openness that exists here and what they call the famous Dutch directness,” the producer reflects. “Maybe sometimes it is not the most pleasant thing to hear, but it is easier to deal with people because there are no double meanings or hidden social cues and so forth!”