2012 · short fiction film · film
Independent Croatian short drama where a minor traffic crash exposes hidden ties and unresolved responsibilities.
Kratka hrvatska drama u kojoj mali prometni sudar otkriva skrivene veze i neraščišćene odgovornosti dviju žena.
I like this one because it shows the part of the job nobody sees. Osiguranje ce sve srediti was Romina's debut, and my task was to make it real on paper before it could be real on screen: signed directing and screenwriting contracts in Pula on 30 July 2014, a named crew, and three budget versions that all held at 142.403,63 HRK while I moved the pieces around HAVC, Istria County and Zagreb.
What I am proudest of is not the plan, it is that some money actually arrived - Aquarius records, Canon Hrvatska, and a real partnership with Mango Media in Pula - which is harder than any application. And I will be honest: the public decisions we were waiting on never resolved in a way the archive can show, and the film did not reach its Clermont-Ferrand target. It stayed in late development. I would rather say that plainly than dress up a package as a finished film. The packaging was the deliverable that actually happened.
- Matija Radeljak
Osiguranje ce sve srediti was built as a ten-minute fiction short that stays small on purpose. A morning traffic collision throws two women together, and instead of escalating into confrontation the film turns inward, toward responsibility, class pressure, fatigue, and the awkward ways strangers turn out to be connected. It was conceived as Romina Vitasovic's first complete auteur work, developed through the Palunko screenwriting program in 2013 and 2014, with Matija Radeljak producing through Aning usluge d.o.o.
The point of the project, from a producer's side, was to prove that a debut could be packaged like a real production rather than left as a hopeful concept note. By 30 July 2014 both a directing and a screenwriting authorship contract were signed in Pula. The creative team was named and committed: Lana Gojak and Ivana Krizmanic as the two women, Sanja and Vlasta; Damir Kudin on camera; Mislav Muretic editing. The schedule was written down and defended - development through mid-2014, pre-production in the autumn, shooting and post by the end of the year, with a February 2015 premiere aimed at Clermont-Ferrand and HRT as the target broadcaster.
The money was worked just as concretely. Three budget versions across 2014 (25 July, 31 July, 26 September) all hold the same total of 142.403,63 HRK while the financing mix keeps shifting. Public applications went to the Croatian Audiovisual Centre (86.500 HRK), Istria County (42.903,63 HRK), and later the City of Zagreb (35.000 HRK). What made it more than a wish-list was the private money already in hand: sponsor cash from Aquarius records and Canon Hrvatska, and a 12.000 HRK partnership with Mango Media in Pula. Costs leaned where a debut needs them - fees, postproduction, and a heavy promotion and distribution line - a package built for a market entry, not just a shoot.
And then it stalled at the gate. No public-funding decision letters survive in the archive, no premiere confirmation, no result from Istria or HAVC. Aning Film's own profile filed the title honestly as "late development." What the project actually proves is the service beneath it: taking a first-time director's idea and turning it into a contracted, cast, budgeted, part-financed production package - the unglamorous development and producing work that has to exist before anyone yells action, whether or not the funding ever lands.
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