The producer from Montenegro talked to Cineuropa about the challenges she encounters in her industry and her expectations for the upcoming gathering in Cannes

(© Majda Turuskovic)

Bojana Radulović, who is representing Montenegro as part of EFP’s Producers on the Move this year, is the founder of Code Blue Production, which has put her country on the radar at festivals like Venice, Locarno, IFFR, Visions du Réel, DOK Leipzig, Sarajevo and Karlovy Vary. She is also a trained British Council cultural leader and Oxford cultural associate, and an alumna of Berlinale Talents, Sarajevo Talents, the IDFA Academy, EAVE and Ex-Oriente.

Cineuropa: Can you tell us about your career as a producer? You also have experience as a filmmaker, so could you describe how the two can go hand in hand?
Bojana Radulović: I think I’ve always had to produce, right from the start of my career. Coming out of the post-Yugoslavian conflict, in a climate shaped by rising nationalism and a return to traditional values, I immersed myself in video and multimedia installations. I created works under extremely limited, or sometimes non-existent, economic conditions, often bringing together technicians, actors and cultural workers with no financial return. This built a foundation in multimedia and performing arts, leading to three original productions presented in Europe and the USA. In 2014, I founded Code Blue Production as a platform for discovering and supporting emerging film talents in the Balkans. This was before Montenegro had even established a national film centre, the FCCG. Since then, Code Blue has grown into a recognised arthouse company, and we have built a strong presence despite a challenging regional production environment. As for my work as a filmmaker, I directed a short hybrid film called Separation, Vivid Dreams as part of a master’s degree, which premiered at IDFA Paradocs and DOK Leipzig Next Masters. Having that background helps me approach production as a creative process. I accompany directors from concept, through scenario development, casting and location scouting, to artistic choices. Having directed myself, I understand the vulnerability and complexity that come with that role. I think creative production is at the heart of arthouse cinema.

What do you think is the biggest challenge in the film production industry today? Can you give any specific examples?
Let’s be honest: it’s inflation. Global economic instability is hitting productions hard. From the moment we receive a grant to when we go into production, the value often drops significantly. In Montenegro, recent economic policies have doubled the minimum wage, which is great for workers, but it has also led to a 30% rise in prices within just a few years. Inflation is a structural risk; that’s why international co-productions are key and the only sustainable way to finance arthouse films today. But they bring their own challenges: aligning fund deadlines, legal frameworks and creative expectations. You can’t put all your eggs in one basket.

You have a strong international background. How has that influenced your work and your company?
Yes, I’ve lived in several countries – Serbia, Slovenia and Belgium. I did my master’s in Fine Arts and Cinema in Gent, at the University of Gent’s Kask School of Arts. That distance allowed me to understand my home country better. It helped me see both its limitations and its untapped potential. Montenegro is a small territory. In co-productions, it’s hard to match the 10% contribution needed to qualify under European schemes. Our national film centre’s support, while proportionate to our GDP, doesn’t stretch very far in bigger-budget productions over €1 million. That’s where a creative producer must also be a creative financier. At Code Blue, we aim to break the Balkan glass ceiling and link our stories with international cinema.

What do you hope to gain from Producers on the Move, and what can it offer the industry?
Firstly, I’m glad to be meeting like-minded, independent producers from across Europe. Producing can be an isolating experience, especially with the long hours and mental load. Just sharing this experience is meaningful. But of course, I also hope to find co-production partners. I’m particularly interested in attracting international shoots to Montenegro. The country offers amazing visual variety: dramatic mountains, wild beaches, quaint towns, socialist architecture, brutalist blocks and Mediterranean coastlines – all within two hours of each other. It can double for the Alps, for the Adriatic, or even for remote landscapes like Africa. We also have a competitive 25% cash rebate. We wish to find a world sales partner, and Producers on the Move will bring visibility to Code Blue within the global industry.

What projects are you taking to Cannes?
We are presenting Fires, Code Blue’s flagship project: a female-led psychological drama where adolescent desire, patriarchy and climate anxiety collide. Directed by Cannes alumna Eleonora Veninova and starring Anja Vujković in her breakout role, Fires is a bold, urgent story, blending intimacy with metaphor. We’re around 70% financed. Our co-producers include Slingshot Films (Italy), Erafilm (Albania) and Agent Double (Belgium). The project has received production support from the Film Centre of Montenegro. I am also glad that Ivan Djurovic (of Artikulacija Film), a Producers on the Move alumnus and an experienced producer in Montenegro, will co-produce Fires, and also bring shooting equipment to the project. We are also partners on Bleach, a minority co-production with Vera Film (Kosovo), directed by Kaltrina Krasniqi.