Biljana Tutorov is a director, producer, film curator, and VJ. In 2010 she founded Wake Up Films, an independent film production company dedicated to young European talent. She is now in post-production on “Paper Boats Floating Into The Fragrant Night.”

“When Pigs Come” premiered at the 2018 Hot Docs Canadian International Documentary Film Festival on April 30.

W&H: Describe the film for us in your own words.

BT: The film is a feature documentary about a witty lady who changed five countries without ever leaving her living room. She shares her time between three small grandchildren, two friends she plays cards with, her husband, and five television devices with an unceasing stream of daily politics. Her name is Dragoslava. She fought against [former President of Serbia] Slobodan Milošević for democracy that is now drifting away like a dream.

We are in Serbia, in a small border town. It’s nearly a chamber play, but speaks about problems which are more and more relevant in the actual world: the misuse of the democratic system to establish new dictatorships, the confusion between reality brought by media and our daily reality, and the failure of post-war politics.

In that context, for Dragoslava every single gesture from morning till night is an act of responsibility, which sparks changes in the world.

W&H: What drew you to this story?

BT: I am myself a political being and feel very concerned to notice the general public’s state of apathy and loss of interest — probably due to the multiple deceptions we’ve endured. We were deceived so many times by people we voted for — those we chose to govern in our countries.

We sometimes react when we are in front of immediate danger, but often we don’t (re)act and behave like ostriches by putting our head in the sand. I wanted to find out what is the bare minimum of engagement which is necessary to make a critical mass and start the change. I found out that it’s enough to at least be aware. We have no right to thoughtlessness — in a sense, that’s what Hannah Arendt defined when she spoke about “the banality of evil.”

It’s our duty to know what is going on around us and to find out if it’s not obvious. For example, do we know what is going on in all wars led by our countries which are financed by our money? We have to remain awake and participate in life. It’s the bare condition of humanity. Dragoslava represents that attitude for me.

W&H: What do you want people to think about when they are leaving the theater?

BT: I would like them to feel inspired by Dragoslava’s attitude [and stance]: Whatever happens, never give up your dignity of citizenship. You are responsible for your life. Maybe you can’t choose your life’s path, but you can choose your attitude and thoughts.

Wake up — be active in spirit, at least. Be thoughtful and be joyful because life has both sides. There is something of Eastern wisdom in Dragoslava. She is like a samurai — a warrior, but also a poet of life.

W&H: What was the biggest challenge in making the film?

BT: I will tell you a secret: Dragoslava is my aunt. It was hard to maintain distance, but also hard to come too close and be insistent and provocative which probably would’ve been good for this film.

On the other hand, I’m always going around with my camera and nobody gives too much importance to it. They are used to being observed through a lens and behave naturally.

W&H: How did you get your film funded? Share some insights into how you got the film made.

BT: It was not easy to fund this film. At the time I started to think about it, the National Film Center had hardly any financial means. The project was selected in Lisbon Docs, East Doc Platform, and Paris Doc — all European platforms for development of documentaries. It helped to think the film through, but I didn’t make many pre-sales.

Two regional broadcasters did finally commit, and I got post-production funding, but I had to hide a political side to the film and present it like a film about a grandma with her children. Luckily we had our own gear and great picture and sound team, so the film looks very well produced.

W&H: What does it mean for you to have your film play at Hot Docs?

BT: To have a North American premiere in Hot Docs actually feels like a new premiere and life for the film. I feel extremely happy and satisfied.

W&H: What’s the best and worst advice you’ve received?

BT: My best advice came from Peter Brook, one of the greatest theater directors whom I had a chance to meet in Paris. He told me not to be afraid to make even radical changes until the very end of production, to search until the premiere to improve the story, to cut without pity, and to play all impossible combinations.

My worst advice came from my parents, who taught me to beware of life as an artist, to not to trust myself, and go for security. Art without risk is impossible. For me life without art is impossible.

W&H: What advice do you have for other female directors?

BT: Be honest, precise, and brave. Don’t be modest, but instead exaggerate in creativity. Don’t be afraid to ask for the best possible conditions or to approach the best collaborators. Be patient with your films, never rush. Always dig deeper under the appearances of reality to bring new feelings and emotions — which is maybe[a skill] more natural and closer to women. The world needs this desperately.

W&H: Name your favorite woman-directed film and why.

BT: “Toni Erdmann,” by Maren Ade. It surprised me with its intelligence, humor, and clownish desperation.

W&H: Hollywood and the global film industry are in the midst of undergoing a major transformation. Many women — and some men — in the industry are speaking publicly about their experiences being assaulted and harassed. What are your thoughts on the #TimesUp movement and the push for equality in the film business?

BT: Pushing for equality is essential — it must happen, and of course I support the #TimesUp movement. I feel, in Europe at least, that all kinds of radicalization can make women even more vulnerable. We have to change the paradigm quickly, but the question is how? In the beginning we are always intimidated and not sure of ourselves. Equality has to “give a floor” to women to search for ways to change this paradigm.