The film “The Frog”, which was screened as part of the official competition, was greeted greatly and with awe by the Macedonian audience. The story of coping with the post-war trauma of the main character, done according to the script by Pjer Zalica and Elmir Jukic, achieved great success with its film version, as well as the version before – as a theater play. The producer Ademir Kenovic, the Macedonian cinematographer Dejan Dimeski, the director Elmir Jukic and the co-producer Tomi Salkovski talked about the film.

A Macedonian team also worked on “The Frog”, as part of a complex co-production between Bosnia and Herzegovina, Macedonia, Serbia, Croatia and Slovenia.

The producer Ademir Kenovic got into the project because he thinks that the post-war stress is a subject which is very significant for this region, but these such subjects in films shouldn’t have a goal to scare people, but on the contrary, to get something positive out of it:

-Right when I saw the theater play “The Frog” I thought that this needs to be seen by many more people, and I was overjoyed that the circumstances came together in such a way to make this film which the people can identify with and experience it as a kind of a collective therapy. We as filmmakers have the responsibility to address these subjects and to try hard to move things in the society to the better with what we work – said Kenovic.

The producer Tomi Salkovski said that he is oversaturated with post-war films, but as he got to the end of the script he realized that this is, in fact, an optimistic film for a new beginning:

-This is an important subject which proves that we have strength in us and we can start over. I am filled with joy that all the ex-YU states saw the importance of the subject and came in as co-producers. The Macedonian part of the team participated with its own crew of cameramen and in the area of sound – said Salkovski.

The director Elmir Jukic pointed out that the story is not margined on the Balkans at all, but would work perfectly well in a broader context as well.

In terms of his part of the job, the cinematographer Dejan Dimeski pointed out that it was a challenge to work in an enclosed room with many windows and mirrors and with long takes which would capture the energy and the performance of the actors – to who the shooting has been adjusted.