Directing
The intertwined lives of numerous characters set in 1990s Belgrade who all try to live happily during rather unhappy times.
The series follows the incidents and accidents of the wealthy Belgrade family Lazarevic. No one got over the death of the mother, who was the pillar of the family. Bogdanova's new wife, Kaća, is morally unfit. She is temperamental and often creates problems within the family. She also harbors secrets from her past that haunt her. Basically, he is an insecure person and is ashamed of his peasant roots.
Ljubav, navika, panika is a Serbian television sitcom, originally broadcast from February 6, 2005 to April 1, 2007 on RTV Pink. This series is named one of the best television sictoms by Golden Rose of Montreux in 2005. This is one of the most popular Serbian television series in 2000s. The lead roles were portrayed by some of the Serbian best comediographies, Seka Sablić, Nikola Simić and Zijah Sokolović; and young actresses Marija Karan and Mirka Vasiljević. Karan was replaced by Borka Tomović in 2006. Supporting and guest roles include Nada Macanković, Ljiljana Stjepanović, Gorica Popović, Vesna Trivalić, etc. The sitcom was shot in Belgrade.
The series tells the story of several successful people from Belgrade, among whom is Bojana, an aesthetic surgeon. At first glance her life looks perfect: husband, friends and success at work, soon her life changes radically.
The plot of the film is set in 1964, in a small provincial town, inside the Golubović pharmacy, which was once famous. Immobile Gustav Golubović spends his last days of life in the attic of the house.
Maksim is a retired music professor, a widower, nice, a bit shy, but a good and lonely man. Milena is a retired teacher, a widow, somewhat strict, but with a sense of humor - and also lonely. The two have been coming every week for years to the city cemetery, if it doesn't rain. They don't know each other and never have met, even though they are neighbors, so to speak.
Spring 2020. The coronavirus pandemic has broken out. Theaters have stopped working. Rehearsals of plays have been suspended. Silence, emptiness, ominous silence. Nevertheless, director Ana receives an offer to dramatize and direct “The Goalkeeper's Fear of Penalties”, a masterpiece by Peter Handke. It is a great challenge and a chance to jumpstart her stalled career. The problem is that the creative process emotionally inhibits her and blocks her sexuality, but with the persuasion of her best friend Sanja – Ana nevertheless embarks on the creative process. The director is faced with typical theatrical folklore.
