I am particularly interested in stories that explore the relationship between individuals and society, especially in times of political and moral crisis: Dino Mustafić

 

What inspired you to make The Pavilion? Was there a specific event or theme that sparked the idea?

The inspiration for The Pavilion came from a strong feeling that our societies often remain silent about the position of elderly people. Nursing homes are frequently places pushed to the margins of public attention, as if the lives that continue inside them no longer belong to the visible world. Yet behind those walls, there are people with rich biographies and experiences who helped build the society we live in today.

The film grew out of the need to tell a story about the dignity of aging, but also about rebellion against humiliation. When I first encountered the screenplay, I immediately recognized the potential to tell a story about resistance through humor, absurdity, and collective action.

How did your personal and professional experience influence your approach to directing this film?

Coming from a theatre background, I have always been fascinated by ensemble work and collective energy among characters. In The Pavilion, I was particularly drawn to the opportunity to work with a large cast where every character carries a small universe within them.

My long experience in socially engaged theatre and film has also shaped my approach. For me, cinema is never only entertainment—it is also a space for public reflection and dialogue about the society we live in.

The film deals with serious issues such as elder abuse and social neglect. What message do you hope audiences will take away?

I would like audiences to leave the cinema asking themselves a simple but important question: what kind of society are we if we fail to care for our oldest members?

At its core, The Pavilion is about dignity, solidarity, and the human right to remain visible and respected regardless of age. Ultimately, it is a story about resistance—about people who refuse to accept being forgotten or discarded.

The film balances humor with serious themes. How did you manage that tone?

Humor is often the most precise way to speak about serious issues. In the cultural tradition of our region, tragicomedy has always been a powerful storytelling form—laughter that grows out of pain but also from defiance.

In The Pavilion, humor is not meant to trivialize the problem but to reveal the absurdity of the system. When elderly residents suddenly become protagonists of a rebellion, the humor actually becomes an expression of their vitality and freedom.

The characters in the film are both sympathetic and complex. How did you develop them?

Each character was conceived as a portrait of a generation. They all carry their own pasts—former professions, lost loves, disappointments, and dreams that have not disappeared with age.

During rehearsals, we talked extensively with the actors about the characters’ biographies, including aspects that never appear directly in the film. This helped create authenticity and emotional depth.

What was the casting process like?

Because the film has a large ensemble, it was essential to gather actors who could create a strong sense of community on screen. I was looking for performers with strong personalities and rich experience, since the characters are elderly people with long life stories behind them.

Once the cast came together, there was an immediate sense of chemistry—it felt as though these characters had always belonged together.

What were the biggest challenges during production?

One of the main challenges was managing a large ensemble within the confined setting of a nursing home. It required precise staging and rhythm to keep the narrative dynamic.

Another challenge was balancing the realistic atmosphere of institutional life with the almost grotesque dimension of the rebellion that gradually unfolds.

How did you approach the visual style and cinematography?

The visual approach attempts to combine the everyday reality of the institution with the growing energy of rebellion. The camera often stays close to the characters, emphasizing their intimacy and vulnerability.

At the same time, during collective moments of action, the camera becomes more dynamic, reflecting the characters’ sense of liberation and solidarity.

How have audiences reacted to the film?

Audience reactions have often been very emotional. People laugh, but at the same time, they feel a certain bitterness because they recognize the social reality behind the story.

What seems to resonate strongly is the moment when viewers realize that beneath the humor lies a serious question about how society treats those who become “invisible.”

What conversations do you hope the film will start?

I hope the film encourages discussions about how we care for elderly people and about the broader responsibility society has toward its most vulnerable members.

If the audience leaves the cinema thinking about their parents, grandparents, and the dignity they deserve, then the film has already achieved something meaningful.

Can you explain your use of communist iconography in the film?

The communist iconography in the film is not meant as nostalgia, but rather as a reminder of a historical era that shaped the lives of these characters.

For many of them, those symbols are connected to memories and ideals of solidarity and social justice. In the film, they also gain an ironic dimension, reminding us of promises of collective care that have largely disappeared.

How does music contribute to the film?

Music plays an important role in shaping the emotional atmosphere of the film. It moves between tones of nostalgia and rebellion, accompanying the transformation of the characters.

As the story progresses, the music helps underline their shift from passive residents to individuals rediscovering courage and collective strength.

Are there themes you would like to explore in your future projects?

I am particularly interested in stories that explore the relationship between individuals and society, especially in times of political and moral crisis.

I believe that art has the responsibility to open spaces for critical reflection and dialogue.

What role do you think cinema plays in addressing social issues?

Cinema alone cannot change the world, but it can change the way we perceive it.

When audiences develop empathy for the characters and their struggles, film becomes a powerful space where social problems can no longer be ignored.

Looking back, is there anything you would do differently?

Every film is a journey that transforms the filmmaker as well. The Pavilion reminded me how important it is to listen to the stories of people who are often overlooked.

If there is one lesson I have taken from this experience, it is that humor and humanity can be powerful tools against cynicism and indifference.