Dragan Pešikan

Dragan Pešikan

약력

Dragan Pesikan is a media executive and producer with over 20 years of experience on television. Executive producing the feature film "Jelena, Katarina, Marija" (which was shot entirely on location in New York City); producing documentary Cinema Komunisto (Internationally the most award-winning documentary film from Serbia), and producing feature film "The F#@king Dog" (he is also a screenwriter and film director).

프로필 사진

Dragan Pešikan

참여 작품

기적: 세 가지 이야기
기적: 세 가지 이야기
Narator
난민촌에서 살던 공산주의자 스토얀의 머리에 성인의 광배가 생기면서 벌어지는, 종교와 전쟁과 예술에 대한 우화같은 이야기를 다룬 영화
The F#@king dog
The F#@king dog
Director
Usually it is us who choose the dog, but sometimes the dog chooses us. By choosing one dog, Aleksandra, Jovana and Marija come into conflict with a criminal gang led by Sergej, a ruthless dealer. Aleksandra's American ID and her fiancee's FBI pass lead the criminals to mistake this for an international operation, and since the local cops are corrupt, the three girls are left with no choice but to take matters in their own hands.
The F#@king dog
The F#@king dog
Writer
Usually it is us who choose the dog, but sometimes the dog chooses us. By choosing one dog, Aleksandra, Jovana and Marija come into conflict with a criminal gang led by Sergej, a ruthless dealer. Aleksandra's American ID and her fiancee's FBI pass lead the criminals to mistake this for an international operation, and since the local cops are corrupt, the three girls are left with no choice but to take matters in their own hands.
Jelena, Katarina, Marija
Jelena, Katarina, Marija
Executive Producer
Three young women from Belgrade, Jelena, Katarina and Marija, meet by accident in New York City. Each has her reasons for leaving Belgrade: Katarina left in the mid 90s in search of a better life, Jelena fled the bombing in the late 90s... Marija's boyfriend, whom she was going to marry, was killed in the war, prompting her to leave the country for good.
Cinema Komunisto
Cinema Komunisto
Producer
This eye-opening and bittersweet chronicle of the Yugoslavian film industry recounts how the cinema was used—often with direct intervention from President Josip Broz Tito—to create and recreate the young nation’s history, replete with heroes and myths that didn’t always hew closely to reality.