Director’s statement:

 The first thing I knew about Vinča was its historical and cultural significance. What once was a cradle of European civilization, now presents a mirror of contemporary lifestyle shaped by overconsumption. At first, I thought this would be the topic of my film. But my first visit to the landfill was a mind blowing
experience: the cinematic scenery captured me immediately. It revoked scenes from ‘Mad Max’, and then I saw hundreds of collectors piercing through the rain of seagulls - and trash.
I met Bottlemen and their leader Yanika, and this group got my attention immediately - the people from the margin, cut off from the society and practically invisible, yet resilient and high-spirited, carrying the vivid spirit of their Roma community. I also choose to follow the plastic collectors, as plastic is one of
today’s major problems, an arising catastrophe swamping our cities, oceans and waterways, still without a long term solution.
The irony in the bottle collecting business is that the bottlemen, who are doing a hard and dirty job can earn more than double the average Serbian salary and this is their incentive to stay and continue working on the landfill.
The approach is observational, depicting scenes from real life and events without the use of the interviews. By using lenses that range from wide to mid length, I intend to put the viewer in an intimate position, right in front of the subject. On the other hand, with telephoto lenses the characters are “glued” with the surrounding, being a layer in the landfill landscape. Besides strong visual compositions, the key role is the sound - sometimes realistic, sometimes subjective and very ominous.