Telecommunications titan Telekom Srbija is embarking on an ambitious journey to transform its role from a dominant force in local production to an undisputed regional powerhouse, setting its sights on the international stage. The company’s strategic blueprint aims to not only export compelling Serbian content to global audiences but also to firmly establish the Balkan nation as a premier destination for international film and television productions.
At the helm of this content revolution is Aleksandra Martinović, Telekom Srbija’s astute Chief Multimedia and Content Officer. Martinović articulates a clear vision for the path ahead: “Our next chapter is a deeper connection with our international partners, and presenting not only Telekom Srbija, but the whole Serbian creative industry, to the global market.” This statement underscores a dual commitment – to the company’s own growth and to the broader flourishing of Serbia’s vibrant creative landscape.
Speaking from Belgrade, the bustling capital that has become a nerve center for Balkan media, Martinović elaborated on the intricate strategy that will define Telekom Srbija’s trajectory in the coming years. This forward-looking plan builds upon an already impressive foundation of explosive growth. Over the past decade, the company has demonstrated remarkable prolificacy, bringing to life more than 300 distinct titles, a staggering figure that includes over 180 seasons of meticulously crafted scripted drama. This immense output has not only entertained local audiences but has also laid the groundwork for its current global ambitions.
This surge in production by Telekom Srbija is emblematic of a larger, dynamic boom within the Serbian creative sector. Since the dissolution of the former Yugoslavia, Serbia has consistently maintained its position as the preeminent hub for film and television production across the Balkan region. In recent years, this industry has experienced exponential growth, driven significantly by fierce but healthy competition. Major players like Telekom Srbija, alongside rivals such as United Media and the public broadcaster Radio Television of Serbia (RTS), have continually pushed the boundaries of content creation, investing heavily in diverse projects and fostering a robust ecosystem of talent and infrastructure.
Martinović reflects on this transformative period, noting a profound evolution within Telekom Srbija itself. She describes the transition from what was once a “traditional ecosystem” for film and TV content to what has become “a very open-minded and sophisticated regional production ecosystem in the last eight or nine years.” This shift signifies a departure from conventional, insular approaches to a more adaptive, internationally-aware strategy that prioritizes quality, global appeal, and collaborative innovation.
Part of this strategic refinement has involved a deliberate recalibration of production volume. Telekom Srbija is now focusing on producing a more curated selection of shows, emphasizing quality and international market suitability over sheer quantity. This thoughtful approach allows for greater investment in each project, elevating production values and narrative complexity to meet global standards. This strategic pivot is evident in their backing of ambitious co-productions, which serve as a powerful testament to their global aspirations and collaborative spirit.
One such groundbreaking endeavor is the Serbian-Spanish crime drama “Scar.” This ambitious series is a multi-national collaboration, involving Plano a Plano and produced by Cicatriz A.I.E. and Dopamine, in association with major international broadcasters and platforms including RTVE, Prime Video Spain, Canal Plus Poland, and RTL Hungary, alongside Telekom Srbija. Such intricate co-productions are not merely financial arrangements; they are vibrant cultural exchanges, blending diverse storytelling traditions, technical expertise, and market reach to create content that transcends national borders. “Scar” stands as a prime example of how Telekom Srbija is proactively seeking out partners to craft narratives with universal appeal.
Another promising project illustrating this new direction is the forthcoming romantic dramedy “Crosscurrents.” Filmed against the stunning backdrops of Montenegro, this series is a regional co-production with Montenegro’s public broadcaster, RTCG. These types of intra-regional collaborations are crucial for fostering a sense of shared cultural identity and strengthening the collective creative output of the Balkan states, while also providing unique local flavors that can captivate a global audience.
These series vividly illustrate Martinović’s overarching strategy: “to make choices more wisely and make choices more oriented to potential international partnerships and potential distribution to international markets.” This calculated approach ensures that every project undertaken has a clear pathway to broader viewership, maximizing its impact and commercial viability. The success of this strategy is already palpable through their existing catalog. One of the company’s most critically acclaimed and commercially successful shows, the compelling spy thriller “Civil Servant,” is now entering its highly anticipated fourth season. This series has achieved impressive international sales, reaching diverse markets through platforms like Disney+ Hotstar in India, the Brazilian streaming giant Globoplay, Telemundo, and FlixLatino. The global appeal of “Civil Servant” underscores the universal resonance of well-crafted storytelling, regardless of its origin.
Telekom Srbija is now preparing for perhaps its most audacious venture to date: “Sanctuary.” This English-language, post-apocalyptic thriller stars Nina Kiri, known for her role in “The Handmaid’s Tale,” and is directed by Filip Kovačević, acclaimed for “Incarnation.” Vertical, a prominent North American distributor, has already acquired the film for its market, signaling strong international confidence in the project.
Martinović candidly describes “Sanctuary” as “a huge risk and a huge challenge” for the company. The leap into an English-language production is a significant strategic move, designed to remove language barriers and directly tap into the vast global market. This endeavor presents considerable complexities, not only in terms of maintaining “authenticity” within a universal narrative framework but also in navigating the intricate landscape of international “financing.” However, the strong reception from “international partners and distributors recognizing the value of that project” has provided a significant boost to its backers, affirming the decision to invest in such a high-stakes production. This venture is a bold declaration of Telekom Srbija’s intent to compete at the highest levels of global entertainment, demonstrating its willingness to innovate and take calculated risks to achieve its ambitious goals.
The success of projects like “Sanctuary” reinforces Martinović’s conviction that Telekom Srbija is indeed “punching above its weight.” She acknowledges the geographical realities with refreshing candor: “We are completely aware that we come from a small country.” Yet, she immediately follows this with a powerful affirmation of their capabilities: “Having the kind of content which we were able to sell to HBO, Disney+ and others, for us is very important praise and proof [of what we can do].” This sense of pride and proven capability fuels their drive to continually push boundaries and challenge preconceived notions about content from smaller markets.
Beyond its impressive production arm, TS Media, Telekom Srbija is making significant strategic investments across the entire content ecosystem. A cornerstone of this strategy is its streaming platform, MOVE. Martinović envisions MOVE as a “regional Balkan Netflix,” a curated destination for high-quality local and regional content that caters specifically to the tastes and cultural nuances of audiences across the Balkans. This platform not only provides a direct distribution channel for Telekom Srbija’s own productions but also aims to become the go-to service for regional storytelling, offering a diverse library that competes with global streaming giants by focusing on unique, culturally relevant narratives.
Furthermore, Telekom Srbija is committed to “investing more in every element of the production chain.” This holistic approach seeks to integrate and optimize every stage of content creation, from initial concept development to final distribution. A key move in this comprehensive strategy was the acquisition of the Belgrade-based Firefly Studios earlier this year. This acquisition is a game-changer, bolstering Telekom Srbija’s infrastructure and capabilities significantly.
Martinović elaborates on this “360-degree approach regarding production.” She explains, “It’s production, distribution, offering infrastructure through our Firefly Studios, and, of course, selling our own content to international partners.” This integrated model allows for greater control over quality, efficiency, and creative vision, ensuring that Telekom Srbija can manage projects from inception to global reach. The Firefly purchase, in particular, underscores Telekom Srbija’s ambition to evolve into “a one-stop shop in this part of Europe.” This vision is underpinned by Serbia’s attractive incentives, including a competitive 25% cash rebate on local spend, coupled with access to some of the most highly skilled and experienced film crews in the region. These factors collectively position Serbia as an increasingly appealing destination for both local and international productions seeking efficiency, talent, and state-of-the-art facilities.
The success of this strategy is already being observed through high-profile international collaborations. For instance, parts of “Martin Scorsese Presents: The Saints,” the critically acclaimed Fox Nation docudrama series executive produced and narrated by the legendary Martin Scorsese and produced through Lionsgate Alternative Television, were filmed in Serbia. This prestigious project leveraged both the advanced facilities at Firefly Studios and the picturesque locations in and around Belgrade and Pančevo, demonstrating Serbia’s capacity to host productions of global magnitude and artistic significance.
It is important to acknowledge that this period of remarkable growth and strategic expansion for Telekom Srbija has unfolded against a backdrop of considerable socio-political turbulence within Serbia. The nation has experienced roiling protests for nearly two years, ignited in the wake of a devastating train station tragedy that tragically claimed 16 lives. This unrest has unfortunately spilled over into the country’s film and television industries, with some professionals alleging that they have been marginalized or “shut out” by state-backed media entities due to their political beliefs or perceived affiliations. These claims highlight a complex and challenging environment for the creative community.
In response to such criticisms, Martinović offers a firm rebuttal, emphasizing Telekom Srbija’s unwavering commitment to the broader industry. “We are completely aware of the social and political situation, but it doesn’t affect our general strategy,” she states, drawing a clear line between political dynamics and the company’s core mission. She articulates Telekom Srbija’s role as a champion for the entire creative ecosystem: “We are fighting for the whole creative industry in Serbia. And we open the door for the whole creative industry in Serbia through international projects, through selling our own projects to international broadcasters, through trying to attract international partners…to come here and see what we have to offer.”
Martinović further clarifies this collective vision, asserting, “Not ‘we’ only as TS Media, but ‘we’ as the Serbian creative industry.” She concludes with a powerful statement of solidarity and shared purpose: “We are fighting for all of us – not only for Telekom Srbija, but for all of us. Through Telekom Srbija, which is the biggest player, we are trying to [lift] our whole creative industry and to present them on the global scene.” Her words resonate as a commitment to fostering an inclusive and thriving creative environment, ensuring that the opportunities generated by Telekom Srbija’s global reach ultimately benefit every corner of Serbia’s vibrant artistic community. This unwavering dedication positions Telekom Srbija not just as a business entity, but as a pivotal force in shaping Serbia’s cultural future and its prominent place in the global entertainment landscape.
