INTERVIEW with Dino Musstafic
After years of enduring torture from the staff and receiving increasingly poor service for their money, a group of residents of the nursing home 'Pavilion' decides to stage an armed uprising. A group of elderly men and women, armed with illegally acquired weapons, occupy the 'Pavilion,' taking the management and medical staff hostage, and entering into conflict with the authorities. The rebels turn a seemingly hopeless situation into their advantage, drawing media attention and manipulating the political elite, whose reactions are influenced by the fact that the hostage crisis occurred during an election year. The police are targeted whenever they attempt to put an end to the protest. The uprising in the 'Pavilion' results in the establishment of a new internal order whose initiators do not shy away from brutal violence in an attempt to seek revenge for all the injustice and suffering they have endured. While the police and politicians search for ways to suppress the uprising, the rebels benefit from their own old age, in which, unlike their opponents in the outside world and even the captives, they have the least to lose. Because of this, negotiations with them are nearly impossible, while their determination for life to triumph over death is endless.
How long have you been doing movies? How did you decide to start making movies?
I have been working in film and theatre for more than three decades. Although I am widely recognized as a theatre director, cinema has always been an essential part of my artistic expression. Coming from a generation shaped by historical transitions and social upheaval, filmmaking became a way to reflect on memory, identity, and human resilience. My films grow from the same artistic impulse as my theatre work — to explore the relationship between the individual and society.
Why did you do this project?
Paviljon/ Pavillion continues my cinematic exploration of intimate human situations within contemporary society. I wanted to create a film built on atmosphere, observation, and emotional presence rather than classical narrative structure. The pavilion itself becomes a metaphorical space — public yet deeply personal — where silent encounters reveal loneliness, vulnerability, and the need for connection.
(If you can say). How much budget did you have to do this project?
The film was realized with a modest independent budget. Working within limitations allowed us to develop a more intimate visual language and focus strongly on performance, rhythm, and atmosphere.
Was it self-funded or did you get budget/producers/investors?
The film was supported through a regional collaboration and financed by five Western Balkan countries: Bosnia and Herzegovina, Serbia, North Macedonia, Montenegro, and Croatia. This cooperation reflects a shared cultural space and demonstrates how regional co-production can strengthen independent auteur cinema.
How long did it take from the initial idea to being able to release?
From the first idea to completion, the process took approximately five years. The film developed organically through writing, filming, and post-production, allowing its tone and cinematic language to mature gradually.
Are you happy with the result?
Yes. A film always transforms during the creative process, but Paviljon preserved its emotional honesty and contemplative nature. For me, that authenticity is the most important achievement.
What phase is this project in right now? Are you in the initial phase of sending it to festivals, middle phase or finishing the circuit?
The film is currently at the beginning of its international festival journey, meeting audiences in different cultural contexts and opening new dialogues.
How has your experience been with the festivals so far? Where do you think they should improve?
Festivals remain essential spaces for encounter and exchange. My experience has been very positive, especially through conversations with audiences and fellow filmmakers. Festivals could further improve by providing stronger long-term visibility and support for independent films beyond the festival circuit.
Could you tell us which platforms you use to submit your entries to festivals?
Most submissions are made through FilmFreeway, combined with direct communication with festivals that focus on auteur and independent cinema.
Normally, filmmakers use many references, favorite directors, favorite movies, etc. Were you inspired by any director or film? If so, tell us your references.
My cinematic approach is influenced by filmmakers who understand cinema as a philosophical and visual art form — directors such as Andrei Tarkovsky, Michelangelo Antonioni, Krzysztof Kieślowski, and Béla Tarr. Their work shaped my interest in duration, silence, and emotional space.
Your favorite movie?
One film that deeply influenced my understanding of cinema is Stalker, because it transforms cinema into a philosophical and sensory experience.
Favorite series?
I admire series that approach storytelling with cinematic depth, especially The Wire, which portrays society itself as a dramatic structure.
Do you see yourself making movies in 5 years? Where do you see yourself?
Yes, absolutely. Film is becoming an increasingly central part of my artistic future. I see myself continuing to develop films that combine strong visual expression with socially engaged themes, working internationally while remaining rooted in my cultural and regional context.
Do you have any other project in mind?
I am currently preparing my new feature film Trake (Armband). While Paviljon is contemplative and observational, Trake (Armband) moves toward a more dynamic cinematic form, exploring memory, identity, and psychological tension through precise camera movement and visual choreography. The project represents a new phase of my cinematic research and artistic evolution.
What do you ask for the future? (cinematographically speaking)
I hope cinema will preserve its artistic freedom and remain a space for reflection and human dialogue. In an era dominated by speed and algorithms, cinema must continue to offer depth, empathy, and critical thinking.
Your best experience in a movie theater?
The most powerful experiences are collective moments — when silence fills the cinema after the film ends and the audience needs time before reacting. That shared silence is the true essence of cinema.