Nebojša Jovanović is a Macedonian film director, producer, and festival founder whose work spans fiction, documentary, and socially engaged cinema. A graduate of the European Film Academy in Skopje, he has directed several acclaimed short films, including the award-winning “Unripe Cherries,” screened at international festivals such as Grenoble, Drama, and Dresden.
Deeply committed to inclusive cultural practices, Jovanović has led UNICEF-supported workshops and sand-animation programs for children and youth with disabilities. He is the founder and director of the Kinenova International Film Festival, president of ART CINEMA Skopje, and the initiator of the first Greek Film Festival in Skopje, actively fostering regional cultural exchange.
Jovanović was a member of the jury of the 43rd Fajr International Film Festival, Broken Olive Section, and in this interview with the festival’s press office, he reflects on judging this edition of FIFF, the role of poetry in cinema, and the possibility of future collaborations with Iranian filmmakers.
This was your first time at the Fajr International Film Festival and your first visit to Iran. How was your experience, both as a jury member and as a guest?
Yes, it was my first time both in Iran and at the festival. My overall impression was very positive. The organizers were incredibly kind and professional and did everything possible to make us feel welcome and comfortable. The city of Shiraz felt very special, the culture was extraordinary, and we were all excited about the opportunity to visit Persepolis.
In terms of the program, I watched several truly interesting films across different sections. The last two I saw were particularly strong. There were also a number of powerful works addressing the situation in Palestine and Gaza, which I found extremely important, as they offered perspectives that are not always visible in Europe.
As this was your debut experience at Fajr, what are your hopes for the future of the festival?
Despite some natural challenges that come with any large-scale event, I felt the potential was enormous. I genuinely hope the festival continues to grow, becomes even bigger and more professional, and gains wider international recognition in the coming years.
Did you have any interesting debates or differing opinions with the other jury members?
Absolutely. We were in constant contact, exchanging thoughts and experiences. We did not always agree, of course, and that was precisely what made the process stimulating. I expected — and welcomed — lively and productive discussions. For someone coming from Europe, from North Macedonia, this was a rare and valuable opportunity to immerse myself in cinema from this part of the world. Fajr clearly focuses on regional voices while still presenting films from across the globe, and that combination is genuinely enriching.
You also work extensively in documentary cinema. In your view, how can documentary achieve a poetic dimension?
It is much more difficult in documentary than in fiction. When dealing with raw reality — especially in films about Gaza that rely heavily on archival footage and direct reporting — there is less space for purely poetic construction. Most of those works adopt a very direct and uncompromising approach to convey the harshness of the situation. That said, one or two films did manage to find a more contemplative, almost poetic tone. Overall, however, I found the strongest poetic aesthetics this year in the fiction section.
What differences did you notice between contemporary European poetic cinema and what you encountered at Fajr?
In classic European examples — Godard comes to mind — jump cuts and rhythmic fragmentation are essential tools for creating a poetic effect. Here, the dominant language seemed to be long takes, patient observation, and a strong trust in the duration of the shot.
Interestingly, a significant part of contemporary European cinema, especially among younger filmmakers, is deeply influenced by Eastern and particularly Iranian aesthetics. Iranian films are extremely popular across Europe, including in my own country, where we organize special retrospectives almost every year. Audiences genuinely respond to this style of storytelling.
Another important wave is contemporary Romanian cinema, which also favors long takes, raw realism, and an unflinching look at everyday life — and there are clear parallels with what we see in this region.
As a producer and festival director, are you interested in future collaborations with Iranian cinema or in distributing Iranian films?
Definitely. Iranian films feel alive, subtle, and deeply human. We are very interested in continuing and expanding cooperation, whether through festival programming, co-productions, or distribution initiatives.
