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During his professional career, every train driver inadvertently kills 20 to 30 people. Their victims are usually suicides,careless, drunken, or just absent-minded people. This is a tragic comedy about innocent murderers and their lives.
Statistics say that during his professional career every train driver unintentionally kills 15 to 20 people.

The victims are those who wanted to commit suicide, the careless ones,
drunken ones, or just absentminded ones. The fact is that a train can't stop for at least 700 meters - automatically relieves the train drivers of any responsibility. Being thus innocent of numerous deaths - makes these mass murderers a group of people with a special mental and psychological profile.
This is a story about the innocent murderers and their lives. Ilija is a 60-year-old train driver, close to retiring. He holds the infamous record of 28 kills committed during his career. Ilija's 19 years old adopted son Sima is preparing to take over the family trade and his father's job. During the long drives Ilija tells his son that accidents will happen.
Sima is afraid, unwilling to become a killer. He is most interested in time that usually elapses from the first run to the first kill. Old drivers say - encouraging him - that it will happen very quickly, within the first week. Sima starts with his daily drives. He is anxious, sweating, not sleeping at night. Days pass... First week, second week, third week... he just did not run anyone over. His tension is now unbearable.

Trying to help him, his father finds suicidal people, negotiates with them, offering them to swap jumping off a bridge or skyscraper with falling under the wheels of a train. "Try to understand", Ilija tells them - "It's about a young man's life!" But suicidal men usually decides to live. Having no choice, Ilija decides to lie down on the tracks to helps his only son. Fortunatelly, suicidal man jumps infront of Sima's train... Ilija smiles with satisfaction. His son has become a real train driver!


  • 2017 Balkan film festival, Uruguay - Special mention in the category Best movie
  • 2017 Prague International Film Festival - Golden star for the best movie/ Golden star for the best actor/ Grand prix award
  • 2017 64th Pula Film Festival (Croatian Minority Co-Production programme) – Best Director and Best Minority Co-Production award from Young Cinephiles Jury
  • 2017 International Film Festival The Golden linden/ Bulgaria – The Best Movie
  • 2017 Portland International Film Festival / USA – Best of Global Panorama sidebar
  • 2017 Winter Film Awards - Indie Film Fest, New York / USA – Best Director
  • 2017 Guadalajara International Film Festival / Mexico – The Golden Iguana
  • 2017 Balkan New Film Festival / Sweden – The Best Movie
  • 2017 Jaipur International Film Festival / India – The Best Director, Golden Camel Award
  • 2017 Shanghai International Film Festival
  • 2017 Palm Springs International Film Festival / USA
  • 2017 San Francisco Indie Fest / USA
  • 2017 LET's CEE Vienna / Austria
  • 2017 Cinequest Film & VR Festival, San Jose / USA
  • 2017 Bengaluru International Film Festival / India
  • 2017 Prague International Film Festival - Febiofest / Czech Republic
  • 2017 goEast Film Festival, Wiesbaden / Germany
  • 2017 International Film Festival of Thrissur / India
  • 2016 Moscow IFF – Audience Award
  • 2016 Festival International du Film de Bruxelles / Belgium – Grand Prix Award
  • 2016 ARPA International Film Festival / California – Best Feature Film / Best Screenplay
  • 2016 Internationales Filmfestival Manheim-Heidelberg – Special Mention of the Jury / Audience Award / Prize of the Ecumenical Jury / Cinema owners recommendation prize – Recommendation for theatrical release in Germany
  • 2016 European FF Palić – Special Jury Prize
  • 2016 Sarajevo FF – Young Audience Award
  • 2016 Delhi International Film Festival / India
  • 2016 International Film Festival of Kerala / India
  • 2016 CINEDAYS Festival of European Film / Macedonia
  • 2016 International Film Festival of Goa / India
  • 2016 Cinema City International Film Festival Novi Sad
  • 2016 Montenegro Film Festival Herceg Novi
  • 2016 Film Festival of Acting Achievements – Film Encounters in Niš
  • 2016 Stockholm International Film Festival / Sweden
  • 2016 Leiden International Film Festival / The Netherlands
  • 2016 Eastern Neighbours Film Festival – Hague
  • 2016 Montréal World Film Festival / Canada
  • 2016 Warsaw FF / Poland
  • 2016 Raindance Film Festival London / UK
  • 2016 Bratislava International Fim Festival / Slovakia
  • 2016 Sao Paulo International Film Festival / Brasil



At a time when the cinema repertoire is characterized by the sovereign rule of blockbusters, we are confronted with a production with a soul that fits far more into the trends set by European cinema and American independent film than into local cinematic templates. THE TRAIN DRIVER'S DIARY is a small film, but also an important indication that domestic cinema can head in another direction, towards more universal, more intellectual, less pretentious themes. The story about train drivers, about their profession and desperation for becoming killers of careless individuals and those who consciously choose to end their life, is nevertheless not so grim. Director and screenwriter Milos Radovic has opted in favor of tragicomedy, even a romantic and melodramatic and witty story about sense of guilt, compassion, solidarity, and forgiveness. The plot of the film is built up by a strange texture of comic-absurd situations which lead to a potentially happy epilogue - despite tragic outcomes. The focus is on the tender parental relationship between a train driver on the threshold of retirement - played by Lazar Ristovski, and his adopted son that chose the same job, albeit fearing that he shall become a killer like his father. Even though he has more than 70 roles under his belt, including appearances in previous Radovic's films - MALI SVET and FALLING INTO THE PARADISE (Pad u raj), the experienced actor confronted the challenging role of Ilija the train driver. A challenge that might have well generated the performance of his life. Impressive "cameo" roles have been rendered by the effective Danica Ristovski, the authentic Mirjana Karanovic, and the charismatic Jasna Djuricic. Sympathies have been earned by the young Petar Korać as the adopted son Sima. Based on imaginative direction, the film is clean and without exhibitions. The protagonists introduce us to their small living space, at times even into a world of fantasy, leading to the impression that the structure and style of the film mirrors the works of the cult Finnish filmmaker Aki Kaurismaki. Linking seemingly incompatible elements and introducing hints of a poetic fairy tale, the director placed the heroes in their somewhat utopian railway-defined micro-world that the viewer easily sympathizes with. Humanistic, unpretentious, and humorous THE TRAIN DRIVER'S DIARY is a simply charming production that reconciles art film with the taste of the wider audience. The happy ending with the optimistic message is well earned by Radovic's appealing heroes, and deserved by the viewers. SANDRA PEROVIĆ, "WORD OF THE CRITIC" (CULTURE NEWS RTS 20.09.2016.)


Goran Jovanovic

"It's been a long time since our film industry last originated such an honest and professional film like Train Driver's Diary by Milos Radovic. Sensitized against scams by young lions and spent elderly performers, against garage-based spiritually defaulted artists, revolutionary ignoramuses and festival oriented sycophants, we've learned to consider with great caution and skepticism anything related to domestic films. The Train Driver's Diary is a film that restores faith in the ability of telling a story, a film that loves its heroes and their mission, and a film that charms with the coherence of the whole as well as with exciting and attractive segments, witty inserts of folk and black humor, with acting that goes beyond mannerism for the elderly, and a performance that knocks on the door of revelation for the younger. The Train Driver's Diary is a completely unexpected soothing balm for the wounds of Serbian film and a spiritual ascent for the spectators who still believe in it."

Goran Jovanovi

Dnevnik Mašinovođe
COMPETITION Dir. Miloš Radović

Devising a proper concept means half the job is done. Audacity is another half. It took certain courage from Miloš Radović to concoct death in all its possible shapes and forms without turning his film into a rampaging black comedy. Or, in spite of the fact it’s ultimately a comedy, to make the audience feel deeply sorry for some characters, although not those who, almost like in Charlie Chaplin films, stupidly end up under a train. “Train Driver’s Diary” is conceptual in the sense that there are certain laws operating in its world which presume death under a train is anything but a tragedy. But I suppose the authors didn’t have to work too hard to make up this concept. It was on the surface, all they had to do was develop the idea further and add a pinch of grotesque. It is almost weird no one had done that before.
The most curious element of the movie is the odd combination of routine railroad regulations and such an extraordinary thing as death. After all, the introduction is not a fruit of the screenwriter’s imagination: statistics knows for certain how many people a train driver will kill during their career (in Russia, 8 to 10 on average). The line between “might” and “should” is indeed very fine. Radović merely shifts the focus from the former to the latter, much like his characters shift gear in the cab, braking more in accordance with the rule than in an attempt to prevent the inevitable. Moreover, real laws from this side of the screen do allocate to the driver a certain number of days off after such an unfortunate incident. Just a bit of film magic can turn this unfortunate incident into a fortunate occasion. The Todorović clan, four generations of which have been driving locomotives, industriously and with a certain pride keep count and occasionally visit the victims’ graves – not their victims, mind, rather the victims of some higher justice whose tools the Todorovićs and thir colleagues think themselves to be. There is some classic element to it, especially to this unusual perception of death, as classic art didn’t share the fear and reluctance we feel towards it nowadays. The characters of “Train Driver’s Diary” live almost like one big family in written-off carriages; their wives and kids sometimes get killed by a train driven by one of their colleagues. But young Simo only feels frightened at first. They don’t mind lying on the tracks themselves for some tactic reason, which again gives out the classic belief that death is not the end. The appearance of grey-haired Ilija Todorović’s long since deceased wife who doesn’t seem a day older, might serve as an indirect proof of it. On the other hand, everyone believes old Ilija has simply gone nuts. Without departing even for a second from the logic of the real life, Miloš Radović miraculously combines it with huge doses of grotesque, which makes watching one Todorović growing old and another maturing incredibly funny.
While coming of age is more or less clear (with first sex as an initiation ritual naturally turning into first incident on the railroad), growing old obtains one more level of meaning. It has nothing to do with comic situations or the theme of implacable fate that can’t be stopped. It is an accurate study of callousness that grows in a person with age if they haven’t experienced enough love. However, Radović chooses to end this storyline be melting the ice in Ilija’s heart as he at last plucks up courage to hold his son and tell him something encouraging. After all, the film must contain something the audience is used to. And classic finale where everyone dies might’ve betn a bit too much for them.

Igor Savelyev

Train driver's diary   logo


In collaboration with

EURIMAGES sponyori



Lazar Ristovski-Ilija
Petar Korac-Sima
Pavle Erić – Mali Sima
Mirjana Karanović-Jagoda
Jasna Đurisic-Sida
Mladen Nelevic – Dragan Dizel
Nina Jankovic – Danica
Danica Ristovski - Upravnica
Haris Burina – Ljuba Manijak
Tihomir Stanic – Samoubica
Đurđina Radić-Sneža
Nenad Ciric – Direktor škole
Natasa Markovic - Mama
Nikola Bulatovic – Tata
Bojan Dimitrijevic – Psiholog
Jovan Ristovski – Romeo
Teodora Ristovski – Vaspitačica Nada
Bojan Zirovic - Vaspitač
Žena iz Pirota -Radmila Đorđević
Muž iz Pirota- Dragan Marjanović
Branka Šelić – Vozacica tramvaja
Jelena Trkulja – Koleginica psiholog
Jovo Maksić - Luster
Goran Šušljak – Doktor
Tamara Belošević - Novinarka
Aleksandar Gligorić - Salama
Aleksandar Letic – Fotograf
Marko Bacovic - Inspektor


Milos Radovic


Milos Radovic


Lazar Ristovski
Petar Ristovski

Associate producer
Ivan Maloca

Executive producer
Miodrag Stevanovic

Second Unit Assistant Director
Petar Ristovski

Director of Photography
Dušan Joksimovićs.a.s.

Second Unit Director of Photography
Tatjana Krstevski

Art Director
Aljosa Spajic

Film editor
Đorđe Marković
Costume Designer Assitant

Jovana Grahovac
Marija Carapina

Key Grip
Cedomir Subotic

Music Composers
Mate Matišić & Šimun Matišić

Costume Designer
Dragica Lausevic

Finance Manager
Jelica Rosandic

Production Coordinator
Vanja Repac

Ruzica Miljkovic

Animal handler
Mirko Sirkovic

Dejan Vidic
Pavle Petkovic

Branislav Ristovski

Make/up Artist
Jasmina Lilic
Aleksandra Mitic
Dušica Vuksanovic
Production Manager
Natalija Neškovic

Unit Manager Assistant
Pavle Stevanovic
Nikola Zokic

Vođa snimanja
Nikola Zokic

First Assistant Director
Srđan Spasic
Branko Vučic

Second Assistant Directors
Petar Mijin

Camera Operator
Ivan Kostic
Andreja Leko

Stedicam operator
Ales Belak

Camera Assistant
Milan Milisic
Aleksa Radunovic
Milos Ristic
Nenad Ristic

Focus Puller
Drazen Mrkonja

Focus Puller Second Unit
Dragan Vildović

Film Editor

Đorđe Markovic

Slobodan Gojkovic

Lighting Technician
Zoran Peclenkovic
Vladimir Bodiroga
Dragan Stefanovic

Sound Recordist
Nenad Vukadinovic
Milan Stojanovic
Vlada Jankovic
Branko Radosavljevic

Boom Operator
Branko Radosavljevic

Script Supervisor
Aleksandra Volf
Jelena Volf

Special Effects
Muhamed M’Barek
Zamel M’Barek

Visual Effects
Ivan Pribicevic
Miodrag Popovic
Ada Sokolović
Alan Robertson
Ivan Arsic
Marko Milašinovic
Branko Brkovic
Ana Pakljanac
Sasa Nikolic
Aleksandar Đorđevic
Nikola Filipovic
Deana Petrovic
Petra Stojanovic
Aleksandar Letic

Marko Crnogorac
Rade Janicijevic
Milivoje Jovanovic
Milovan Mijovic
Milan Strbac
Jovan Ristovski

Jovana Ristic

Stunts coordinator
Milan Perovic
Dragoslav Vulanovic

Special Thanks To
Miroslav Stojcic

Serbian Railways JSC

Kombinovani prevoz d.o.o

Stojan i Branko Petković

IMS Institute

Dragisa Misovic Medical Centar

Zgop a.d.
Privredno drustvo za građenje, remont i odrzavanje pruga

oup Sopot
Policijska stanica Sopot

Opština Sopot
Municipality Of Sopot

City Institute for Emergency Medical Services

Transportation Department Belgrade
Cardboard Factory Umka

Local Community Center Parčani
Municipality of Zemun

Geriatrics Centre of Belgrade

Emergency Department Belgrade

PAJPER Kasting agencija



milos radovic2

Milos Radovic


Milos Radovic is a Serbian scriptwriter and director. He has received around 60 international awards for his work (including the Jury Prize at Cannes Film Festival for a short feature film). He has written and directed three feature films Small World, Falling Into Paradise, Train Driver's Secret, four TV series and five theatre plays (one of them was staged OFF Broadway).


Fairy tales and songs from weddings and funerals 2006
Falling in the Paradise 2004
A Small World 2003
Svastara (TV mini-series) 1994-1995

Otvorena vrata / Open doors (TV series)
Zagreb-Beograd preko Sarajeva (TV movie) 1991
Brod plovi za Sangaj (TV movie) 1989
Balkan ekspres 2 (TV series) 1989
Happy end 1988
Balkan Express 2 1987
Iznenadna i prerana smrt pukovnika K.K / The sudden and premature death of Colonel K.K. (short) 1987
Vidim ti ladju na kraju puta (TV movie) 1987