site.btaFilm Producer Katya Trichkova: Oscar Nomination Is Important, but What Matters Far More Is the Emotion a Film Evokes

Katya Trichkova believes that an Oscar nomination is important, but what matters far more is the emotion a film evokes. She is the Bulgarian producer of The Man Who Couldn’t Rmain Silent and was speaking to BTA after it transpired that the film - a co-production of Croatia, France, Bulgaria, and Slovenia - is nominated for an Oscar in the Best Live Action Short Film category, among a total of 180 contenders.

"This is a story about the strength of an individual to stand up for their values and do the right thing in a situation where everyone else chooses to stay silent. It transcends political borders, prejudices, and historical legacies," said Trichkova. According to her, the film has received overwhelmingly positive and emotional reactions worldwide.

The film of writer/director Nebojsa Slijepcevic recounts the events of February 27, 1993, in Bosnia and Herzegovina, when a passenger train from Belgrade to Bar was stopped by paramilitary forces during an ethnic cleansing operation. While innocent civilians were being taken off the train, only one of the 500 passengers dared to stand up to the assailants.

The cinematography is by Gregor Bozic, and the cast includes Goran Bogdan, Alexis Manenti, Dragan Micanovic, and Silvio Mumelas.

"We discussed what would be Bulgaria's most meaningful contribution to the making of this film, as that is the essence of co-productions. In the film, we have a Bulgarian costume designer, Geo Pavlov, and the lead makeup artist is Magdalena Boyadzhieva. Ivan Andreev worked on the sound post-production. Sound on set was recorded by Veselin Zografov and Sofia Zhecheva. In my team, Kristina Samsarova also assisted as an associate producer. I’m incredibly grateful because every member of the team was vital, and I’m happy my colleagues were pleased with the Bulgarian team. In fact, we are planning to collaborate on the director’s next feature-length project," Trichkova added.

Following is the full interview by BTA’s Dahnyelle Dymytrov:
 
Mrs. Trichkova, how did Bulgaria get involved in this production?

This project came to fruition after two years of applying for funding -not just in Bulgaria but also in other European countries, including Denmark, Croatia, Slovenia, and France. We heard "no" much more often than "yes" when seeking funding for the film.

The project came to me through Croatian producers Danijel Pek and Katarina Pervan, who are friends I’ve known for years. We share a common taste for cinema. We’ve attempted joint productions several times before, so it was natural for them to approach me with this short film project.

Luckily, we managed to secure funding from Bulgaria on our second attempt. Later, French and Slovenian producers joined, which allowed us to complete the film.

We held meetings and discussions with the director about how Bulgaria could make the most meaningful contribution to the film. That’s the essence of co-productions - not just finding funding or cultural exchange but active participation from each co-producing country. I’m proud that the film includes Bulgarian contributions: costume design by Geo Pavlov, lead makeup by Magdalena Boyadzhieva, sound post-production by Ivan Andreev, and on-set sound by Veselin Zografov and Sofia Zhecheva. Kristina Samsarova, an associate producer in my team, also helped immensely. Every member of the team was vital, and I’m happy my colleagues were pleased with the Bulgarian team. In fact, we are planning to collaborate on the director’s next feature-length project.

Was there a possibility for a Bulgarian actor to be cast?

Not in this film, because the story is very local. Language also plays an important role. Dragan Micanovic is a Serbian actor. Goran Bogdan, a big Croatian star, plays the man who remains silent on the train. Silvio Mumelas is from Bosnia, and there is also a Slovenian actor.
Interestingly, Alexis Manenti, a French actor of Croatian descent, was cast as well—he spoke perfect Serbian. So it made sense and felt authentic for the cast to include people who speak the language naturally.

What does this nomination mean to you?

The film has already had a very successful journey. It won the Palme d’Or at Cannes, which is an incredible honour. After that, we won the European Film Award - the equivalent of the Oscars in Europe. Currently, the film has been selected for over a hundred festivals.

Of course, the news of the Oscar nomination is something incredibly glamorous and coveted by almost everyone in the film industry. 
So, this nomination is important, but what matters even more is the emotion the film evokes and the incredible journey it has had.

Has any reaction to the film stood out?

I don’t travel much for the film’s screenings because there is a lot of other work to do... But I was at the premiere in Cannes. The audience reacted very well, and the reviews were incredible. Even now, every time I watch the film - which I’ve seen more than 20 times - it still impacts me emotionally.
The Bulgarian premiere [during the Kinomania festival in November 2024] was also remarkable. People left the screening asking how such a powerful story could be told in just 14 minutes and grip them so intensely.

Interestingly, the film was also shown in Serbia, despite it addressing the conflict in former Yugoslavia, the Serbian paramilitary forces, in which, somehow, there was a catch. You know that wounds remain after these conflicts.

The screening at the Free Zone Festival in Serbia, however, was attended by 3,000 people and was received extremely well. Nebojsa told me he was really concerned how the screening will go and that it might trigger some kind of nationalistic reactions. What really happened was that two additional screenings were scheduled, both of which sold out. This shows that a story about the strength of an individual to stand up for their values and do the right thing in a situation where everybody else choses to stay silent, transcends political borders, prejudices, and historical legacies.

The reception has been overwhelmingly positive and deeply emotional everywhere. People relate to it...

Do you think the Palme d’Or and the European Film Award influenced the Oscar nomination and improved the film’s chances of winning?

There are no guarantees (laughs). I haven’t seen the other nominated films yet. I’m very curious to watch them, but I’d say this is a good starting position. From here on, we’ll have to wait and see what happens on March 2 [when the Oscars ceremony will take place at the Dolby Theatre in Los Angeles]. I believe it’s the powerful story and the way Nebojsa tells it that led to the nomination. 

Some successful short films evolve into feature-length projects. Have you considered this for The Man Who Couldn’t Remain Silent?

We haven’t discussed it. Currently, the director is working on another project, which I hope we’ll produce together.

What is the future of the film and its path to a wider audience beyond its festival circuit?

My hope is that it will be shown on Bulgarian television but there hasn’t been such a proposal yet. There have been sporadic screenings in Sofia but I would love for it to reach a larger audience.

As you know, short films are difficult to program and rarely make it to television. This is a major challenge. We rely on digital distribution or streaming platforms. We’ll see what opportunities arise.