 She was 22 when she won the Golden Arena at the Pula Film Festival, and in Berlin in 2006 for the roles in Jasmila Žbanić’s film Grbavica, while in Andrea Štaka’s film Fräulein she was nominated for Europe’s best actress! In the meantime, she did scores of roles on film and TV. She has been a member of the Yugoslav Drama Theatre from the outset of her acting career.
Mirjana Karanović received the Wining of Freedom award in Belgrade this autumn. This is a recognition that friends of Civic Alliance of Serbia activist Maja Maršićević-Tasić present in her memory to successful women. In a way, this is logical because in a man’s world a woman needs to do much more to win freedom of expression:
– There are various reasons and causes for this, but essentially, it’s a matter of the spiritual legacy women acquire here at birth and develop through their upbringing. Daughters, as opposed to sons, are brought up to always harbour some doubts in themselves, in their choices, and not to pursue as easily things about which they are not sure. Men attempt anything because their self-confidence is abundant. Many things that men are not reproached for - whether in private life or in terms of social norms - are held against women.
What was your first, personal, winning of freedom?
– I was in my first year at university when I wanted to stay on and spend the night at my then boyfriend’s place. The previous summer was the first time I had gone to the seaside on summer holiday by myself. I phoned and my father answered. I knew it would not be easy for them, but I did not want to have to lie to them. I wanted them to have trust in me, and not to lose this trust by having to lie to them. My father listened in silence to my decision to sleep over at a friend’s house and the next day, when I came home, we did not discuss it.
As an actress and a citizen of this country, what is it in Serbia that irks you the most at this time?
– It bothers me that there is no certainty, no security from the system. In well-ordered countries, there is a solid system, and you may complain about it. But, as an ordinary person, a consumer, you feel protected; you can rely on that system, even when it errs. This is because you may fight the system. I want our society to be like that. However, it is impossible for me to live in another milieu or in some other place, because I am like a plant that can live in only environment.
You have made some successful films with women directors who were not from Serbia.
– Yes, but that was because they needed an actress like me. I did not have to adjust for those roles. It was just the opposite – I was supposed to be exactly who I am. I cannot image living in any other place save Belgrade. It provides inspiration for my art; this is where my creative batteries are charged; here I live most intensely. More within, and increasingly less without. Acting is the most important part of my life and I enjoy what I do, regardless of formal success or failure. I am the happiest person in the world because I earn money through my love.
What, in your view, can realistically be expected from the culture of a small country like Serbia?
– In wanting to approach that which we admire, we strive to change, to resemble that to which we aspire. The example of teenagers proves this. In their desire to stand out in the environment, they all look alike – they all have the same hairdos, same sneakers, jeans, jackets...Only authentic oddballs appear different and attract attention. We should be who we are, and as such be interesting to the rest of the world. I watched Romanian films that have been attracting attention of late, and that’s a story unto itself. These films are highly steeped in Romanian reality; there are no cosmetics applied to liken them to other people – handsomer, better, wealthier. Each one of us is attracted to someone else because of their authenticity and originality; attracted by their inner sincerity. The same applies to a country. We should not try to appear as something we are not; let us not be afraid to be who we are and let us not feel ashamed of being who we are. There are many bad things here among us, too, but we should not deny this and behave as if they did not exist.
Your film career in recent years – as well as in the examples of other actors such as Miki Manojlović or Slavko Štimac – shows that film seems to be rallying artists from the former Yugoslav republics?
– This is no news to me, let alone a surprise. It appears that that is the only thing that makes sense because, even commercially, it is the only profitable thing to do considering that most people in the former country understand each other well. Technically, they speak different languages but they do not need subtitles. If I were film a director or producer, I would approach casting as someone who can choose actors from the former Yugoslavia. When I was shooting with Vinko Brešan, the question was raised why he had signed a Serbian woman to play a Croatian woman; but I think this question should be left unanswered. In recent years, I have played a Croatian woman, a Bosnian woman, an Albanian woman and I enjoyed having been able to test myself in these roles.
How do you today perceive the so-called socially or politically engaged film?
– I don’t think our moviemakers need to be engaged in this way at any cost. I do think that issues such as friendship, trust, loyalty and family are very important to any society, including our own. However, they are not found in our films, or are found in a rudimentary way, not to mention topics such as domestic violence, homosexuality, disease, disabilites, AIDS ... I believe that politics is not the only thing one should talk about, nor do I believe that culture has a sound basis in a society when only commercial films are produced. In my view, a country should not lend financial backing to such productions. Good cultural policy must extend support to films that stand a good chance at international events; where they can represent Serbia in the best possible manner. Only two of our film directors are known internationally today - Emir Kusturica and Goran Paskaljević. And that’s all. But, what about young, fresh, clever, vigorous, aggressive film directors who should show the world a new sensibility and a new image of Serbia?
Today, you teach third year drama students at the BK Academy. What is it you would like to teach them, apart from acting, of course?
– I would like them to appreciate just how important it is that they show they care about something – acting, a song, love, friendship; but care indeed. And show it. Young people fear showing that they really care about something because – for heaven’s sake – being cool is what matters. This may be OK at the high school level, but I think it is very important in life to show people just how much something matters to you. These young people coming to my classes are, as a rule, not having an easy time. They cannot afford to sit and wait for life to come and knock on their door. They must engage it and usher it into their acting. Acting is not a career to be tested in some scientific manner. An actor is alone with himself and has only passion and the desire to do something. Essentially, everything comes down to a single word – struggle. Also, they should not hide their dreams, even if they follow them.
But living conditions today are not overly fair to these young people?
– They never are; they were not fair yesterday, nor the day before, nor will they be tomorrow. No one on the way to maturity is having an easy time. Objective problems are somehow easier to hurdle than subjective ones, the greatest problems are those that one must overcome within oneself. This implies assuming responsibility; in other words, the point at which one must make a decision. As long as parents decide for us, we maintain the illusion that one day we will prove (something) to them. When that point in time arrives, we all feel some fear of that responsibility. It’s easy to rebel against authority, but when it’s your turn to become part of it – then it becomes a big step. And we frequently think how it’s best to remain mama’s and papa’s kid.
What are you engaged in these days?
– I have just finished shooting Jasmila Žbanić’s new film Na Putu (On the Road) in Sarajevo. I have a nice but not too big role. It’s a love story about people in their 30s trying to find their path in life. Over here, I have played in Miroslav Momčilović’s new movie called Čekaj Me, Ja Sigurno Neću Doći (Wait for Me, I’ll Be Sure Not to Come). This film, too, focuses on people in their 30s. I play the mother of one of the main characters. Her story seems to reflect a possible future for these young people. The underlying issue is an experience of unrequited love. He loves her, she loves someone else, and that someone loves yet someone else… And so it runs in circles. And no one returns each other’s love, as everyone wants someone else. A slightly bitter, slightly cautionary story about our choices and the consequences of our choices.
You long ago set out that you have calculated the cost into every choice you have made?
– Naturally. I never did what I did not want to. Just as I could never live with one person while desiring another. | 
