Michael Podgorac
Michael Podgorac, aka Mikal Maldoror, is a filmmaker and producer based in Vienna. Born in 1980, he studied Social and Economic Sciences as well as Theater, Film, and Media Studies in Belgrade and Vienna. His work focuses on themes of migration, identity, belonging and plural remembrance.
An active figure in the arts, subculture, and DIY underground scenes, Mikal co-founded the art association LINE IN and the experimental gallery AU. His passion for storytelling and community engagement is further reflected in his book AUZINE (2021), which captures the vibrant and multifaceted Vienna music scene.
Currently, Mikal serves as co-director of the initiative Bunker 16 - Erinnern in Zukunft, dedicated to fostering a plural culture of remembrance, and works as a project coordinator at Brunnenpassage. His recent projects include the award-winning film Permanently Temporary, which delves into migration and belonging, and the acclaimed music video Homohandikus, a critique of overreliance on technology.
Michael Podgorac or Mikal Maldoror? Introduce yourself to our readers.
Miki :) I'm based in Vienna, focusing on stories about (trans)migration, identity, belonging and a plural culture of remembrance. My work aims to amplify underrepresented voices and connect audiences through bold, emotional narratives and creative experiments.
Did you study in Belgrade as well as Vienna? How and why did you move to Vienna?
Yes, I studied Social and Economic Sciences in Belgrade and later pursued Theater, Film, and Media Studies in Vienna. My move was fueled by a desire to broaden my perspective, experience a more vibrant cultural landscape, and deepen my understanding of plural remembrance in the arts, culture and society.
In the 90s, there was a civil war in the former Yugoslavia. Were you a part of it personally, or were you already in Vienna at that time?
I experienced the war firsthand while living in Bosnia and Herzegovina. Luckily, I was a teenager, so I wasn't forced to fight, but like everyone who lived through that time, the war had a profound impact on me. I would say we were all deeply traumatized, both personally and artistically. The sense of displacement, loss, and resilience shaped much of my worldview and ultimately inspired my creative direction.
Did this historical event in your country influence your work?
Absolutely. The war and its aftermath influenced not only my understanding of identity and migration but also my desire to amplify marginalized voices through my films and work in general.
Tell us what the Permanently Temporary project is about.
It's a socio-psychological fiction featurette that follows Miška, a Bosnian migrant in Vienna. The film explores themes of migration, identity, and plural remembrance, portraying Miška's struggle with bureaucracy and belonging in a society that often sees migrants as "temporary."
Where was it filmed, how long did you film it, and how many people participated in the project?
The film was primarily shot in Vienna (Austria) as well as in Prnjavor, Banja Luka, and Sarajevo (Bosnia and Herzegovina) over the course of several weeks. The production brought together a diverse team of approximately 50 collaborators, all deeply passionate about the film's themes.
What expressive elements did you use in your project?
I combined elements of realism and surrealism, using fragmented storytelling and intimate cinematography to reflect Miška's inner world. Music and sound design played a crucial role in conveying emotional depth.
How would you characterize your work?
My work is bold and eclectic, blending realism with experimental elements. I often explore the intersections of personal and political narratives, emphasizing themes like plural remembrance, identity and belonging.
For which audience group is Permanently Temporary intended?
The film is a kind of "reminder" for Austrians to reflect on the challenges migrants face, but it also speaks to anyone interested in socially conscious storytelling. Its exploration of plural remembrance and identity resonates universally, especially with those passionate about justice and inclusion.
What motivated you to become a filmmaker?
Storytelling has always been my way to process the world. Film allows me to connect with audiences on both emotional and intellectual levels, which motivates me to keep creating. My passion for storytelling and my desire to give a voice to the voiceless inspired me to become a filmmaker.
What themes do you like to explore most in your work?
I gravitate toward topics like migration, queerness, DIY culture, and a plural culture of remembrance, striving to challenge societal norms and spotlight underrepresented stories.
What is your favorite genre and why?
I don't limit myself to one genre. I love all genres and mixing styles. I'm very eclectic and maximalist. This approach allows me to create works that reflect the complexity of plural remembrance and contemporary life.
Tell us about the Homohandikus project. Why was this video clip created, and who is it addressed to?
The Homohandikus music video was made for my band, Soda Gomorra. It critiques overreliance on smartphones, highlighting how it diminishes real communication and self-reflection. It's a wake-up call to rethink our relationship with technology, created for audiences who value critical perspectives on modern life.
What project would you like to film one day, and what would it be about?
I'm currently developing a feature film that mixes documentary and fiction to celebrate Vienna's underground culture and its fight against gentrification. The project ties together themes of migration, resilience, and a plural culture of remembrance, showcasing the fragility and strength of DIY communities.
What do you do when you're not thinking about film, work, or filming?
I enjoy playing drums, spending time with friends, embracing solitude, or recharging in nature. But I also immerse myself in Vienna's vibrant cultural scene: attending concerts, theaters, and happenings, while staying connected to grassroots movements and activism.
What projects do you plan to film in the future?
Alongside the feature film about Vienna's underground scene, I'm developing works that merge storytelling with activism, emphasizing themes like plural remembrance, belonging, and identity.
