Tourism films often impress, but rarely truly touch

My goal is precisely that. To make the viewer pause for a moment.
To feel, before moving on, the desire to be there, among those people, in that story.

My films are not advertisements, they are, in fact, an invitation to reality.

In the film “Operation 4”, through children’s play and a shared search, we discover the beauty of Omiš and its people. The story is rooted in a real event from my own family, a game once played by my son that naturally unfolded into a film. What began as a simple, truthful moment became a way of observing the city through curiosity, movement, and connection.

In “Echoes of Šolta”, the starting point was equally authentic. Sandra, a local woman who leads storytelling tours dressed as a traditional Šolta woman, became the bridge between past and present. Her presence inspired the encounter of two women, one from 1925 and the other from the present day, transforming the island into a space where time does not flow linearly, but returns, like a wave. The island lives and breathes through their gazes, touches, and smiles.

Klara, a professional actress, and Marica, a local woman with no acting experience, together embodied what is most important in the film, the union of past and present in a natural, perfect synergy. Their connection was not directed, but allowed to emerge.

The same approach continues in my latest film “Destination Selca”, a story of two elderly locals who welcome visitors with genuine joy and pride. Through their encounters, the island becomes a place of movement, belonging, and renewal.

In my films, the destination is not a backdrop, it is the main character.
It is not decoration, but essence.

Because tourism is not a collection of images, it is a feeling of belonging.

That is why I do not film commercials or trips, but create stories that live and travel.
Stories that get under the skin and stay there.