Ivan Marković, a director and cinematographer hailing from Belgrade, Serbia, and based in Berlin, brings his distinctive vision to the forefront with “Promised Spaces” (Obećani prostori). This film explores themes of social inequality, particularly focusing on the stark contrasts found within luxury housing developments in Cambodia. Marković’s work seeks to illuminate the complexities of urban development and its societal implications.

“Promised Spaces” is scheduled for its global debut at the Cannes Film Festival’s ACID sidebar. This prestigious section, curated by France’s association of film directors, is dedicated to championing the theatrical release of independent cinema. The film's premiere on Saturday, May 16, will be followed by an official screening on Monday, May 18, marking a significant moment for this France-Germany-Serbia-Cambodia co-production. It serves as Marković’s inaugural foray into fiction feature direction, offering a hybrid documentary-fiction narrative that examines the deeper meaning of 'home' amidst rapid urban transformation.

The narrative of “Promised Spaces” unfolds against the backdrop of Cambodia’s evolving urban landscape, where luxury estates stand in stark contrast to the living conditions of construction workers. The film features a cast including Vollak Kong, Chea Loch, Vita Vong, Lyer Von, Theara Or, and Kanitha Tith. Written, directed, and edited by Marković, with sound design by Luka Barajević, it is a collaboration between Bocalupo Films, Fiskultura Films, Big Time Production, and Anti-Archive, with Luminalia overseeing international sales. A ghost town emerges in the Cambodian countryside, characterized by gated communities, new constructions, suspended building sites, and remnants of past structures. This environment is silently inhabited by those who build it—construction workers, a solitary elderly man, housekeepers, gardeners, and secretaries—creating a dynamic space in constant flux, as described by ACID general delegate Pauline Ginot, who notes how urban landscapes inherently reveal political and class relations in tangible forms.

Marković’s directorial statement emphasizes that “Promised Spaces” delves into how architectural design can embody social stratification, inadvertently creating divisions among different socioeconomic groups. By blending fictional elements with authentic locations and involving non-professional actors, the film portrays characters from diverse social backgrounds, including construction workers and residents of affluent gated communities. Through fragmented yet interconnected realities, it meticulously illustrates how speculative urban growth profoundly alters personal identities, community structures, and the fundamental concept of what home truly signifies. The film challenges viewers to consider the impact of urban development on human lives and societal harmony, prompting reflection on the spaces we inhabit and the divisions they inadvertently reinforce.