‘It Wasn't Difficult to Step Into the Future’ – Igor Benčina on His Role in Volja Sinovljeva, Working with His Brother Petar, and Žarko Laušević

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After Nemanja Ćeranić’s film Volja Sinovljeva (The Will of the Son), produced in collaboration between the production house Režim and Telekom Srbija, premiered in cinemas across the country and region, lead actor Igor Benčina couldn’t hide his satisfaction.

This dramatic artist began his on-screen career two decades ago in Radivoje Andrić’s Kad Porastem Biću Kengur (When I Grow Up, I’ll Be a Kangaroo). Since then, he has delivered many notable performances. His popularity grew with series such as Žigosani u Reketu, Žmurke, Pet, and Grupa. In 2015, he starred in Poslednji Panteri (The Last Panthers), which was filmed in Serbia, England, and France

When it comes to the big screen, Volja Sinovljeva holds a special place in Igor’s career for several reasons. Told in the style of traditional epic poetry with elements of contemporary neo-western, the film takes viewers into a devastated post-apocalyptic world revealed through the verses of a mysterious blind guslar (a traditional bard). Interestingly, the script began development a decade ago..

Were you eagerly anticipating the premiere because of this long process?

“After watching the film, I couldn’t wait for the audience to see it too. I think it’s excellent and will appeal to a wide range of people.”

How did your relationship with the film evolve over the seven years it took to make?

“Seven years is a long time, and we’ve all changed individually during that period. Our relationship with the film evolved as well. The film and script underwent several adaptations and changes during this time. However, what remained constant was the original idea, playfulness, enthusiasm, and love for the project.”

Your character, Jovan, is described as a true Serbian highlander from a post-apocalyptic era. It seems easier to step into the past when we know something about it. How did you prepare for a role set in the future?

“By knowing the past, we can speculate about the future, although this is complete fiction written by the skilled screenwriter Strahinja Madžarević. I don’t think we are as complex as we like to believe, as history has shown that the past often repeats itself. This story addresses themes and problems that have been written about for over 2,000 years. So, it wasn’t hard to step into the shoes of a man from an imagined future.”

Did working on this film make you think about what the world might look like one day?

“Of course. It was thrilling to experience one version of the end of the world—at least Nemanja and Strahinja’s version—through this film.”

The cast is quite impressive, and it’s inevitable to mention Žarko Laušević. A year has passed since his passing. Do you recall any of his words?

“As a kid, Žarko and his roles had a huge impact on me. After meeting him, he continued to hold a special place in my life. Now that he’s gone, it doesn’t feel right to speak about him, especially since there are many people who knew him far better than I did. What’s undeniable is that he was a great man and is deeply missed. We were fortunate that he contributed a part of himself to this film.”

You also shared the screen with your brother, Petar. He mentioned in an interview with TV Ekran that working with you brought a sense of ease, though there were moments of laughter and serious discussions that interrupted filming. How would you describe your brother as a colleague?

“It was enough for me just to have the chance to share the frame with him. That alone was a unique and meaningful experience. I wouldn’t describe my brother as a colleague because, to me, it’s more important that he’s my brother.”

In many scenes, you handle a sabre. Did you need special training, or was it all movie magic?

“Training was necessary, but I didn’t have a stunt double.”

Was it challenging to work in costume? Do all these transformations on screen and stage make acting exciting?

“Costumes certainly add to the excitement of acting by enabling transformation. Especially in this film, the costumes significantly contribute to the atmosphere and the narrative.”

Looking back, is there anything you would change after seeing the film?

“I try to resolve those issues during or before filming so that I don’t have to deal with self-criticism afterward. I’m satisfied with the film.”

Kurir/Jasmina Antonijević Milošević