Telekom Srbija, a leading telecommunications company, is aiming to establish itself not only as the premier production center in Serbia but also as a dominant force in the former Yugoslav region. Their strategy involves exporting local content and drawing international productions to the Balkans.
“Our upcoming phase focuses on strengthening our ties with international partners and showcasing not just Telekom Srbija, but the entire Serbian creative industry, to the world,” says Aleksandra Martinović, the company’s chief multimedia and content officer.
In an interview with Variety from Belgrade, Martinović detailed Telekom Srbija’s plans for the future, building on a decade of significant growth marked by the production of over 300 titles and more than 180 seasons of scripted dramas.
This growth has been part of a production surge in Serbia, which has been the leading hub for film and television production in the Balkans since the former Yugoslavia’s dissolution. Recently, the Serbian industry has expanded rapidly, largely due to competition between Telekom Srbija and rivals like United Media and the public broadcaster Radio Television of Serbia.
According to Martinović, this time has seen Telekom Srbija transition from a “traditional ecosystem” for film and TV content to a “very open-minded and sophisticated regional production ecosystem” over the past eight to nine years.
The company has also scaled back in some areas, opting to produce fewer shows that are more globally oriented. This includes ambitious projects like the Serbian-Spanish crime drama “Scar,” a co-production created by Plano a Plano and produced with Cicatriz A.I.E. and Dopamine, alongside RTVE, Prime Video Spain, Telekom Srbija, Canal Plus Poland, and RTL Hungary. Another example is the upcoming romantic dramedy “Crosscurrents,” filmed in Montenegro and produced as a regional co-production with RTCG, Montenegro’s public broadcaster.
These projects highlight Telekom Srbija’s strategy to “make choices more wisely and focus on potential international partnerships and distribution to global markets,” as Martinović describes. One of the company’s notable successes, the spy thriller “Civil Servant,” now entering its fourth season, has been sold to Disney+ Hotstar in India, Brazilian streamer Globoplay, Telemundo, and FlixLatino.
The company’s next major venture is the English-language, post-apocalyptic thriller “Sanctuary,” featuring Nina Kiri from “The Handmaid’s Tale.”
Martinović considers this film, directed by Filip KovaÄŤević and acquired for North America by Vertical, a “huge risk and a huge challenge” for the company. She notes that it is challenging in terms of authenticity and financing, but the recognition from international partners and distributors has been beneficial for its supporters.
Martinović emphasizes that Telekom Srbija is exceeding expectations. “We are fully aware that we come from a small country,” she says. “Selling content to HBO, Disney+, and others is significant praise and proof of our capabilities.”
Courtesy Telekom Srbija
Alongside its dynamic production division, TS Media, Telekom Srbija is heavily investing in its streaming platform, MOVE, described by Martinović as a “regional Balkan Netflix.” This includes increased investment in all aspects of the production chain, highlighted by the acquisition of Belgrade-based Firefly Studios earlier this year.
“We have a comprehensive approach to production,” says Martinović. “It involves production, distribution, providing infrastructure through Firefly Studios, and selling our content to international partners.”
The acquisition of Firefly Studios supports Telekom Srbija’s ambition to become “a one-stop shop in this part of Europe,” according to Martinović. She highlights Serbia’s 25% cash rebate on local spending and the skill and experience of local crews. A recent success filmed in Serbia is “Martin Scorsese Presents: The Saints,” a Fox Nation docudrama executive produced and narrated by Scorsese, with parts shot at Firefly Studios and locations around Belgrade and PanÄŤevo.
Serbia has faced significant challenges, including protests following a train station tragedy that claimed 16 lives. The unrest has also affected the film and television sectors, with some professionals alleging exclusion by state-backed media due to political views.
Martinović dismisses these criticisms, stating, “We are fully aware of the social and political situation, but it doesn’t impact our overall strategy. We are advocating for the entire creative industry in Serbia. We open doors for the Serbian creative industry through international projects, selling our projects to international broadcasters, and attracting international partners to explore what we offer.”
She emphasizes that it is not just TS Media, but the entire Serbian creative industry that benefits. “We are fighting for all of us, not only Telekom Srbija. Through Telekom Srbija, as the largest player, we aim to elevate our entire creative industry and present it on the global stage.”
