Macedonian director wins two court cases to release funds for new film

The film industry in North Macedonia has long operated under a centralized state agency, a system that director Milcho Manchevski argues stifled creative output for nearly four years. On October 30, the 67-year-old filmmaker premiered his eighth feature, Sister Brother Manhole Cover, at the Tokyo International Film Festival. The project had its world debut after the director finally secured the financing that was held up by bureaucratic disputes and legal battles.

Manchevski explained that he initially reported corruption at the film agency in 2020 and again in 2022. Those reports escalated to the prime minister, leading to a formal blacklisting of the director. During that period, his projects were frozen, including the completed film Kaymak. The agency blocked the release of funds, preventing the payment of final crew costs. The director stated that the Anti-Corruption Commission and the State Audit Office confirmed the issues he reported.

Despite the administrative freeze, a smear campaign followed in government press, and criminal charges were filed against the director. Manchevski countered by suing the film agency in court. He won two cases, which forced the agency to release the funds for Sister Brother Manhole Cover. He noted that the investigation into the original corruption reports remains active, citing 39 projects that were partially or fully funded but never made.

While fighting the agency, Manchevski self-funded a documentary feature titled Good People, which examines the aftermath of a nightclub fire in Kočani. He paid for the production personally to avoid further politicization. The documentary premiered in Sarajevo and had a theatrical run in Macedonia. Both films are scheduled for release within two months of each other. The director said the contrasting tones of the two projects helped him maintain creative balance during the litigation.

Manchevski criticized the current trend of "neo-social realism" in global filmmaking, a style he associates with the communist era of his youth. He argued that many modern films function as pamphlets, prioritizing message over cinematic craft. He prefers to evaluate films by their artistic merit rather than the background of the creator. His new film explores themes of wealth disparity and sibling bonds, using satire to avoid what he described as a lecturing tone.

The director’s next project, Homecoming, is described as a story about forgiveness and a happy ending. He has kept this idea for years but said it recently became feasible to pursue. The film is currently in development following the release of his latest work. Manchevski continues to split his time between Macedonia and New York, where he also works as an educator and photographer.