Toolbox for Green Innovation

Case Studies / Croatia

Sustainable Film Production in Croatia: A Case Study Report

Flag of Croatia with red, white, and blue horizontal stripes and a checkered shield emblem in the center.

Client: Dalmati d.o.o
Production company: BMP s.l.
Production country: SPAIN/CROATIA
Production year: 2024
Certificate: GREEN FILM (TRENTINO FILM COMMISSION) Director: Alvaro Barranco
Length: 13 + 9 minutes
Screenings/premiere: 1/07/2025
Budget: 1.3 million EUR
Funded by: Dalmati d.o.o. and co-founded by the European Union - NextGenerationEU

Morana is educated in social sciences and philosophy. After the war in Croatia, she worked with children and adults from affected areas, running creative and nonviolent communication workshops. Her entry into film began with a documentary shown at Sundance in 2001, after which she spent 25 years producing and directing, often out of necessity rather than choice. She has received national awards and teaches media financing at the Academy of Dramatic Arts.

Her motivation for sustainable production grew from a desire to improve both the environmental and social aspects of filmmaking. She observed that traditional production environments could be stressful and hierarchical, and she sought to create more collaborative, meaningful, and responsible working conditions.

Approach and Methodologies

Morana’s approach to sustainability is comprehensive, following ISO 14001 standards and the Green Film rating system, which includes social as well as environmental criteria. She emphasizes that sustainability is not just about tracking carbon emissions but also about community engagement and communication.

In the project, these key practices were implemented:

- Waste management was handled by contracted services to track and dispose of waste daily or at pre-arranged intervals, with exact amounts monitored.

- Transport was optimized by minimizing travel, encouraging public transport, cycling, and jogging to set. Electric vehicles were used where possible, though the infrastructure is limited. They organized a competition honoring the most sustainable commuting.

- Catering involved serving meals in large dishes rather than individual packages, measuring leftovers, and donating surplus food to the Red Cross. The remaining food waste was composted.

- Costumes and props were rented from Prague (for a period piece), and deliveries were coordinated with other productions to reduce transport. Costumes were borrowed from local heritage societies, with repairs done using traditional methods. Only borrowed props were used, except for a few items that were later donated.

- Energy and lighting relied on LED and natural lighting where possible. The Zagreb studio had solar panels, though energy use was shared with other offices.

- Makeup and hair used only certified organic cosmetics (Dr. Hauschka), requiring extra preparation and testing.

- Water and beverages were provided as filtered tap water and drinks in bulk to reduce single-use plastics. Glass bottles were used for certain departments.

- Accommodation was chosen in hotels in the process of certification or close to shooting locations, as fully certified options were unavailable.

- Social initiatives included arts and dance workshops for child actors and crew, fostering a sense of community and well-being.

- Technical aspects included using color-based paints for green screen work, minimizing new purchases, and adapting to the specific needs of each production.

Team Engagement and Cultural Shifts:

Morana found that sustainable practices often brought the team closer together, creating a sense of shared purpose beyond the film itself. Activities like workshops and communal meals helped reduce stress and fostered collaboration.

However, challenges included limited infrastructure (such as few electric vehicles and lack of certified hotels), resistance from some crew members, and skepticism from producers who saw sustainability as an EU-imposed trend rather than a necessity. Certification processes were also costly and required external audits.

Financial Aspects

While some sustainable measures involved extra costs (such as organic makeup and electric vehicles), savings were found in areas like transport and catering. Morana advocates for "horizontal budgeting," where savings in one area can offset costs in another, especially when planning across multiple productions.

What Worked Well:

- Early and clear communication with department heads, though more time for preparation would have been beneficial.

- Social and community activities, which improved morale and engagement.

- Flexibility and creativity in problem-solving, especially when infrastructure was lacking.

What Could Be Improved

- More time for heads of department to understand and plan for sustainability.

- Greater national support and incentives for green production.

- Improved infrastructure for electric vehicles and certified accommodation.

Broader Industry Context:

Morana notes that while some regions in Croatia (like Istria) are more receptive to sustainability, national-level support is still lacking. She has contributed to handbooks and green address books to share knowledge and resources. There is growing interest among younger producers and students, but skepticism and resistance remain, especially due to perceived costs and lack of incentives.

HAVC works closely with Morana Ikić Komljenović, film producer and sustainability manager (certified by Bureau Veritas ISO 14001:2015, and ALBERT Sustainability training by AFI). Together with Tanja Ladović Blaževi, Morana Ikić Komljenović is member of the “Eurimages sustainability group”.

Tanja Ladović Blaževi is the Head of the Filming in Croatia department at the Croatian Audiovisual Centre (HAVC) since 2018. With a background in history and philosophy from the University of Zagreb, she has over 15 years of experience in PR and film production. In her current position, Tanja Blaževi plays a pivotal role in coordinating Croatia’s production incentive program, bringing green principles into mainstream filmmaking. As a representative of EUFCN, she actively promotes eco-friendly practices and collaborates internationally to develop sustainable film policies.

Morana Ikić Komljenović, Associate Professor, Producer and Sustainability Expert in Film and Media, is a leading advocate for sustainability in the film and media industry. With over 25 years of experience as a producer, consultant, and educator, she focuses on embedding environmental and social responsibility in all stages of production.

Founder of Little Red Dot, she works internationally on sustainable project development, financing, and education. Morana is a certified ISO 14001:2015 auditor, a graduate of the ALBERT BAFTA and Green Film Lab programs, and an active member of the Eurimages Sustainability Working Group.

She teaches at the Academy of Dramatic Art in Zagreb, collaborates with Creative Europe Desk, Eurimages, and the Croatian Audiovisual Center, and serves as President of the Production Branch at the Filmmakers Association of Croatia.