Nikola Đorđević

In 1882, when Jelena Ilka Marković – the widow of Jevrem Marković, accused of participating in the Topolska Rebellion and summarily executed – attempted to assassinate King Milan Obrenović and thus avenge her husband. She was arrested, and a few months later she was found dead in her prison cell.

A team of friends Alice, Pavla and Crvena run the YUGODROM hostel in an old apartment, dedicated to Yugoslavian nostalgia and done in the manner of socialism, full of details that remember that time. Pavle inherited it, Alisa came up with the concept and the three of them, as if in some private utopia, share the hostel as a living and working space.

Boris and Anja go to Boris' cottage in the mountain. Shortly, it turns out they've known each other for only one night. While walking through the forest together, Anja gets to know Boris' passion for hunting and decides to go back to the cottage. During the road back, she starts to think about being alone with a complete stranger in the unknown, and tries to cope with fear she feels towards him.

ZG80 is a prequel of Metastaze. The movie brings back its characters to prewar Yugoslavia where they, as part of Bad Blue Boys, go on a football match in Belgrade to see Dinamo play against Crvena Zvezda. They encounter guest fans, their arch rivals Delije, in a series of events that lead to football fans war on the streets of Belgrade.

Monika and Nikola were sweethearts for some time. However, one night their exes show up again – Nikola’s ex-girlfriend Darija and Monika’s ex-boyfriend Kokan. In a stormy night their lives will be changed completely.

Two of the most popular Serbian actors discover a script that they immediately want to work on, forgetting that creating in Serbia isn't as easy as it seems.

A mini-series based on true events that addresses heavy social issues such as domestic violence, femicide, and the inefficiency of the system in protecting victims. When Milka happens to meet Jakša, their romantic love quickly turns into a nightmare after marriage. Jakša views marriage as complete ownership over a woman – controlling her time, making decisions for her, and tracking her every step. Milka finds herself trapped in a cycle of psychological and physical abuse. When she decides to fight for her freedom, she clashes with a slow and often ineffective state apparatus that reacts too late to protect the victim.