The film “The Frog” was greeted greatly and with awe by the Macedonian audience
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.