Women in Bosnia and Herzegovina’s Film Industry Driving Social Change

This progress has not been easy. Before the war, only two female directors in Bosnia and Herzegovina — Vesna Ljubić and Suada Kapić — made feature films. Today, a growing number of women filmmakers are achieving notable success both in the country and internationally — from Oscar nominations to screenings and awards at prestigious festivals in Venice, Cannes, Berlin and Locarno.

More importantly, film in Bosnia and Herzegovina has become a space where women can express themselves freely and contribute to addressing overlooked societal issues.

As award-winning film director Aida Begić points out, this progress is the result of a long-term struggle.

“It is the result of years of work, effort and success of all of us who, decades ago, courageously entered a space dominated by men. Although the struggle continues, attitudes toward women in the industry and the arts are changing for the better.”

This shift is also visible among younger generations. More and more young women are entering the industry — not only as directors, screenwriters and producers, but also as cinematographers, editors and students of audiovisual arts.

The Association of Filmmakers has also noted a rise in the number of women and their influence in the profession. Through projects focused on student film, they are seeing an increasing number of young female filmmakers achieving notable results both in Bosnia and Herzegovina and at international festivals, addressing themes relevant to young women in contemporary society.

Films as drivers of positive change

In a society where women’s perspectives on history often remain unheard, films that address complex issues such as war from a female perspective carry particular value. Many women filmmakers have sparked public discussions on topics that were both necessary and difficult to address.

“The first film that initiated a change in the law on civilian victims of war was ‘Grbavica’ by Jasmila Žbanić,” says Aida Begić.

Asja Krsmanović, Head of CineLink at the Sarajevo Film Festival, also emphasizes the importance of this film not only for cinema in the country but for society as a whole. It sparked a broad public debate about the consequences of wartime sexual violence and the rights of survivors and their children, triggering a sustained campaign which, years later, led to changes to the law recognizing children born because of wartime sexual violence as a distinct category of civilian victims of war. 

As she notes, the impact of film is not always direct, but it is profound:

“A film cannot directly change things, but it can be a tool of influence, encouraging the public to start thinking about a particular issue, and it can restore dignity to those who have survived tragedies. It can also open dialogue that is far more nuanced than media discourse and far more accessible than academic debate about issues that shape certain societies and that they must confront,” says Krsmanović.

Aida Begić notes that several other films followed, dealing with the immediate consequences of the war and the challenges women face in peacetime. In her film Snow, she explores patriarchal norms and women’s role in sustaining communities in the absence of men; Elma Tataragić’s The Happiest Man in the World addresses confrontation and forgiveness; and Una Gunjak’s debut Excursion examines the stigmatization of female sexuality and peer violence among schoolchildren.

However, Melina Alagić from the Association of Film Workers says that we still live in a highly patriarchal society, and that art should point to problems and bring about change.

“In that sense, we need more films that speak about the position of women in our society.” 

Awards as a boost for women filmmakers

Despite these successes, challenges remain. Like many sectors, the film industry in Bosnia and Herzegovina faces financial instability, which poses a major challenge for many women working in this area. A sector that once symbolized social prestige and offered stable working conditions now brings significant uncertainty. For most, filmmaking is not their primary occupation. Instead, they rely on other jobs, such as teaching or commercial projects, to secure their livelihoods, explains Asja Krsmanović. She also notes that this instability paradoxically creates more opportunities for women:

“That may also be one of the reasons why the field is becoming less attractive to men, while more women are managing to establish themselves within it. It is important to view this in the context. Bosnia and Herzegovina has a highly unstable film industry, yet in such an industry women are achieving outstanding results.” 

In this context, awards that recognize effort and provide financial support are particularly important, as they also encourage women filmmakers to continue their work. As part of the Sarajevo Film Festival, the Female Voices award supports the development of projects by women filmmakers from around the world.

At last year’s festival, the grant was awarded to Turkish filmmaker Zeynep Köprülü for the project Rain Country. Aida Begić, who was member of the jury, notes that such awards help films stand out and facilitate future financing, which is especially important in a time of hyperproduction.

“Awards that include financial support are particularly valuable, because without some of them many films would never see the light of day,” Begić says.

In addition, the “Amira Lekić” award, established by the Association of Filmmakers, supports emerging women filmmakers through grants and mentorship. 

Last year’s recipient, producer Lara Grozdanić, highlights how proud she is for that moment in her career as well as how important this support is for her professional development:

“I am currently writing my first screenplay, so one of the key goals of the mentorship is to develop my screenwriting skills alongside my career as a producer. I know my mentor, Adis Đapo, very well, as we have collaborated for five years on various projects through the Association ‘Sarajevo Center for Contemporary Art – pro.ba’. That is why this mentorship is particularly valuable to me – he knows my work so far, my strengths and weaknesses, and understands in which aspects of my professional development I still need to work on.”

The initiative “Women Lead the Way to Peace and Security in Bosnia and Herzegovina”, jointly implemented by UN Women, UNFPA and IOM with the support of the United Nations Secretary-General’s Peacebuilding Fund (PBF), has been supporting these awards. 

Edita Miftari, WPS Programme Specialist at UN Women, explains why supporting women artists is an important part of the initiative:

“In Bosnia and Herzegovina, many topics remain very difficult to talk about, even though they are essential for reconciliation and healing. Art creates space to overcome such barriers and gives a voice to women who have long been unheard. Through the Women, Peace and Security agenda, we believe that artistic projects can contribute to social change while also supporting the individual development of those involved in the creative process.”

Engaging in art is a privilege, and working in film does not mean doing it only for today, but also for the future. Film is also a document of its time that will allow someone a hundred years from now to better understand how we live today, what occupies our daily lives, what shapes the way we live and how we deal with it, says Asja Krsmanović.

“That is why it is important for women to work in film today, and why they should be supported, despite all the discouraging factors that we as a profession collectively have to face,” she concludes.