Documentary “To Hold a Mountain” by Biljana Tutorov and Petar Glomazić is in the competition for the best feature documentary at the 27th Mediterranean Film Festival. Filmed over the course of more than seven years on Mount Sinjajevina, the film tells the story of the mountain's defense through the relationship between a mother and daughter, Gara and Nada, while also exploring themes of love, violence, patriarchy, memory, and dignity. It had its world premiere at Sundance, where it won the Grand Jury Prize for Documentary.

Biljana Tutorov: I first visited Sinjajevina about a year before the decision was made to use the area for military purposes. Petar took me there because I’m a bit afraid of heights, yet I love the mountains. Sinjajevina is a plateau situated at an altitude of around 2,000 meters, and its landscape was immediately extremely inspiring and interesting to me in an artistic sense. Sinjajevina is a plateau at about 2,000 meters above sea level and its landscape was immediately extremely inspiring and interesting to me in an artistic sense. I recognized elements of many films and paintings from art history in it that are close to me, from spaghetti westerns and adventure films to Iranian cinema, but also the landscapes of the old masters of European painting. That light and space seemed like a stage on which something was yet to happen.

Petar Glomazić: For me the story begins much earlier, in my childhood. My family was connected to the “katun” lifestyle in northern Montenegro, and as a boy, I spent my summers herding sheep. At the time, it seemed like an obligation, but through it, I developed a huge love for that space. Later, I realized that what truly drew me to hiking and mountaineering wasn't so much the sport itself, but the people I met in those areas. When we learned in 2017 that Sinjajevina could become a military training ground, we joined the fight of the local community for its protection. At the same time, the desire to make a film about that area and the people who live there grew.

Biljana Tutorov: When we met them, we didn’t know about their life story, but it was clear right away that they had something to say. They were extremely charismatic, and their special relationship was evident without many words. Gara is an exceptionally brave woman. While many people feared the potential consequences and the authorities' reactions, she spoke openly about her thoughts. Over time, we realised that their personal stories and the events unfolding in society overlapped in a very powerful way.

Petar Glomazić: This happened very naturally. From the start, they knew we were there filming the mountain, and our involvement in the fight to protect it aligned perfectly with their efforts. Over the years, trust and friendship developed. We became part of their family and spent a great deal of time with them. It was precisely through this relationship that their personal story began to unfold before us. We did not go looking for it, nor did we interview the protagonists with the intention of extracting anything. The story simply revealed itself to us.

Biljana Tutorov: Yes. Gara is very wise and realized that the filming process could be emancipating and empowering for Nada. She had a clear need to share her story, not only for herself but also for other women who might find themselves in a similar situation. We initially worked with the wider community, but the two gradually separated. It was a natural process.

Biljana Tutorov: A feminist western, there's something about it – the vastness, Gara on horseback, the way the camera connects wide landscapes and close-ups. When we talk about opera, we mean more about the way the story is structured. From the beginning, we wanted the mountain to become a character in the film, not just scenery. It is a kind of witness to their story, like the chorus in the Greek drama of their lives. That's how we started observing it. And the film is feminist because the story itself is feminist. At a time when militarization was once again intensifying worldwide, we began to consider how women might choose a different fate for the planet. This raised the issue of violence against women, as well as the alarming number of femicides—not only in Montenegro but across the globe. We were interested in the potential connection between these topics. At the same time, we did not want to give a platform to people and ideologies that already possess one.

Petar Glomazić: Men come occasionally to help and bring what is needed, but women live their own communities there, sharing time and talking to each other. Another reason, perhaps an even more important one, is the fact that women in our patriarchal societies and histories of warfare have been unjustly neglected and excluded from collective memory. Male heroes dominate our epic poetry and countless tales, as if women barely existed. And when we look at everyday life, we realise that it is precisely women who carry life, who make it possible, and who are its real, often invisible workforce. They are the backbone of society. That is why we wanted to tell their story through their eyes. This is a film about women, told from the perspective of their souls.

Biljana Tutorov: Yes, we were. During the production we had a huge support in the region, and then in Europe and the USA. This was a major regional co-production involving Serbia, Montenegro, France, Slovenia, and Croatia, and we also received support from funds and institutions within the region. At the same time, as we worked on the film, we gradually began to realise that the story could resonate much more widely, with diverse audiences. Every time we watch the film with a new audience, we discover a new layer. I think the reason is that the themes we address are, unfortunately, universal. It was very important for us to avoid what is often expected of films from the Balkans – portraying people merely as sufferers or victims, or presenting an exoticised image of the region. We wanted Gara and Nada to be exactly who they are.

Biljana Tutorov: We were very sensitive about that. At first, we even considered not addressing their intimate story at all. It was Gara who encouraged us and clearly stated that she felt a need to speak about it for the sake of other women.

Petar Glomazić: This was especially important to me because I come from Montenegro and I know how much this topic is still burdened with shame in our cultures. It often happens that a person becomes a victim twice over, first by experiencing violence, and then by being made to feel ashamed of it.

Biljana Tutorov: That is why we decided to let the layers of the story unfold on their own, without underscoring the emotions. We used the minimum number of elements necessary to convey the story to the audience. We were very careful even with the music. It plays an important role in the film and becomes part of the mountain’s character, yet it never serves to manipulate the audience's emotions. That ethical approach, towards the female protagonists as well as the wider community, guided us throughout the entire process. We were constantly questioning where we were, how we were approaching the story, and whether we were in the right place.

Biljana Tutorov: They watched it in the cinema before the world premiere and were deeply moved. Gara told us: "I can't believe how you managed to fit my entire life into two hours." It was especially important to her to see her life on the big screen.

Petar Glomazić: Nada was especially touched by the presence of people who are no longer there. Some characters are not physically present in the film, yet through memories and their significance to the protagonists, they become very real. In this way, we wanted to show that the mountain is not merely a place, but a living witness to everything that happened to these women and the generations before them.

Petar Glomazić: For me, this is a film about humanity. And when I say humanity, I mean, above all, the capacity to love, to be compassionate, to care for others, to make sacrifices for the sake of others, and to stand in solidarity. I believe that love can also be the greatest political tool. Our female protagonists demonstrate this in the most beautiful way. I think the audience embraces them so strongly precisely because they are full of love, courage, and dignity, and embody true, deeply humane values.

Biljana Tutorov: For me, it is a story about a special mountain, a special mother, and a special daughter.