Ismar Vejzović



27.03.1979, Doboj (Bosnia and Herzegovina)


School for Journalism, Utrecht, The Netherlands

SAE Institute for Filmmaking, Amsterdam, The Netherlands

Place of Residence:

Rotterdam (The Netherlands)

Writes in Languages:

Bosnian, English, Dutch


Ismar is a screenwriter, director and producer born in Bosnia and Herzegovina. During the ’90s he fled the war in his homeland and found refuge in The Netherlands where he studied Journalism and Filmmaking. Currently he is working as a TV/Film screenwiter, director & producer.

Sample of previous work

Projects in development


short fiction

An elderly woman takes weekly trips, driven by a refugee taxi driver, to a retirement home to visit a demented woman whom she shares a common WWII past with.

Attached to the project: co-writer, director
Looking for: producer, co-producer 

Keywords: War, drama, humanity, survival, love


feature narrative

A young engaged couple gets separated during the war attack on their town. Assuming that the other did not survive they both start new lives. Until their new lives intertwine with their old one.

Attached to the project: director
Looking for: co-writer, producer, co-producer

Keywords: War, drama, humanity, survival, love

More from Projects

Filmography and Awards

2019 ALEJA SNAJPERA, short film, writer/director
2018 AMEEN, short film, co-writer/co-director 
2015 DREAMING AWAY, short film, writer/director

My five favourite films

  1. La vita e bella (1997)
    by Roberto Benigni
  2. Jodaeiye Nader az Simin (2011)
    by Asghar Farhadi
  3. Incendies (2010)
    by Denis Villeneuve
  4. Cidade de Deus (2002)
    by Fernando Meirelles and Katia Lund
  5. Charlie en Hannah gaan uit (2017)
    by Bert Scholiers

Favourite scene I wrote



A SNIPER (37) in camouflage uniform, aims through the hole in the outside wall of a room without windows whose walls are covered with unfinished graffiti. Through his moving scope we see an empty street. ALEN enters the sniper scope. The sniper slowly cock his rifle. Alen spots a curly BOY on the window of the building across, looking at him and holding a piece of cardboard with the inscription: SNIPER! while pointing at the top of the building on the end of the street. Alen quickly turns his head and looks at the top of the building. He spots a reflection from the scope. Immediately he runs back and takes a cover behind the building wall. Through the scope we see the edge of the building where Alen is hiding – the scope is slowly moving up and down. Alen moves from the wall and looks at the street in front of him as if he is measuring it with his eyes. Suddenly he feels a gentle pull on his left sleeve. He turns his head left and sees the curly boy standing behind him with a red bicycle and holding two tin cans and a rope. The curly boy starts to bind the cans to the bicycle basket. Alen looks curiously at the boy.



Mister, on ‘three’ start running as fast as you can.



What are you going to do?

The curly boy makes three steps back, jumps on the bicycle and suddenly start biking forward fast. The cans start to rattle.


One!… Two!…

Through the sniper scope we see the curly boy riding the bicycle hastily. The scope is following the boy, trying to lock him in. Alen runs onto the street following the cycling boy. The scope now moves from the boy to running Alen trying to lock him in. A few steps away from the safety Alen throws himself forward and falls on the ground behind the building, while a single bullet hits the wall of the building. Through the moving scope we see the empty street. The sniper spits angrily on the floor.

My favourite film quote

“Let me give you a little inside information about God. God likes to watch. He’s a prankster. Think about it. He gives man instincts. He gives you this extraordinary gift, and then what does He do, I swear for His own amusement, his own private, cosmic gag reel, He sets the rules in opposition. It’s the goof of all time. Look but don’t touch. Touch, but don’t taste. Taste, don’t swallow. Ahaha. And while you’re jumpin’ from one foot to the next, what is he doing? He’s laughin’ His sick, fuckin’ ass off! He’s a tight-ass! He’s a SADIST! He’s an absentee landlord! Worship that? NEVER!”

The Devil’s Advocate (1997)