Balancing Art and Boundaries: Inside the Role of Serbia’s First Intimacy Coordinators
In the film industry, there is an increased need for specialized professions that ensure safety and creativity during the filming of intimate scenes. A professional association, whose goals include supporting the academic development of transactional analysis, TAUS is a pioneer in this field, setting standards and organizing the first trainings for intimacy coordinators. We spoke with members of their team Kristina Brajović Car, a supervisor for psychological safety in film production, Anđela Rajić and Marko Marčec, intimacy coordinators, about the challenges and significance of this profession in Serbia, their responsibilities on set, as well as the experiences of the first generation of coordinators. We will also reflect on how this role has evolved and why it is essential for creating a harmonious working environment in film production.
When did the need for this profession arise in Serbia?
A remarkably small number of actors from our region had the opportunity to collaborate with intimacy coordinators in film production before 2020. The need arose the moment younger generation actors realized that simulated intimacy is much easier, more spontaneous, safer, and even quicker when approached as an artistic product that can (and should) result from free exchange, play, and clear agreements between the director, film partner, and someone responsible for keeping the personal intimacy of all involved aside, as much as they need.
Can you briefly describe the responsibilities of an intimacy coordinator on set? Has there been interest from film professionals to undergo your training?
The primary responsibility of an intimacy coordinator on a film set is to provide a safe and confidential working environment where respect and mutual trust among all participants are prioritized. This role involves working on scenes that include intimacy—whether it’s physical closeness, kissing, sexual relations, or other emotionally sensitive situations. The coordinator supports the actors and production by defining clear boundaries that protect all participants while also fostering creativity and freedom in the work. Growing interest from film professionals in this profession reflects the need for intimacy coordination to be permanently integrated into the film industry.
The first generation of intimacy coordinators consists of psychologists with a strong creative inclination, whose expertise in mental health prevention and understanding boundaries allows this process to occur at the highest ethical level. Although this pioneering group primarily included psychologists, future training is expected to be open to professionals from other fields, ensuring a broader spectrum of knowledge and experience in this important area of film production.
How do you see the impact of the first generation of intimacy coordinator trainees so far? How often have productions sought your advice and assistance on set?
The greatest impact has been made by a colleague who is qualified in both acting and psychology. The reason may lie in her contacts and the trust colleagues have in her, given her complete understanding of the actor’s position. I believe that this is currently encouraging openness and freedom of expression, both skepticism and interest in what her contribution could specifically represent in their work.
At this stage, most contacts are being made with film festivals and professional organizations where the profession is just being introduced, both at major festivals like SFF and at those specialized in themes of sexuality in film, such as the Cherry Pop festival in Zagreb.
Recently, two trainees from your program were engaged as intimacy coordinators for a Libresse advertisement, produced by the local company Emote Production. How did the preparation process for this project go?
The preparation process for filming the Libresse ad “It’s never just a period” required careful planning due to the sensitivity and specificity of the scenes. It started with analyzing all available documentation and the script to precisely define all technical aspects of the shoot. Following that, through detailed discussions with the production, director, and costume designers, a clear approach was established for each scene, with particular emphasis on protecting all participants, including babies and minors, in scenes of an intimate nature.
Collaboration with the costume team was crucial, as the proper use of costumes allowed for a realistic depiction of scenes while ensuring maximum safety. As the intimacy coordinator, my job was to set clear boundaries for all actors, allowing them to feel secure throughout the entire process. It was also essential for everyone to adhere to the agreed-upon guidelines to achieve a perfect balance between the artistic vision of the director and the protection of the privacy and integrity of the actors.
In the preparation process, do you pay more attention to working with the actors or with the directors and producers? How did other team members react to their presence?
In the preparation process, we carefully balance our work with actors, directors, and producers, as collaboration with each segment of the team is key to the project’s success. Every step in our work is directed toward creating an atmosphere of trust and respect, where boundaries are clearly defined, and creative freedom is maximized.
When it comes to collaborating with the rest of the team, for most, this was their first encounter with an intimacy coordinator on set, which naturally brought some skepticism. However, they quickly recognized the benefits of our presence—for both the actors and the entire production team. In the end, everyone realized that this role is essential for creating a harmonious working environment and achieving outstanding performance without compromising the artistic vision.
Your job isn’t limited to scenes of intimacy between adult actors. Have you had experience with scenes involving children or extras?
One of the most interesting experiences on set occurred when we had a mother with a six-month-old baby. During the shoot, the baby needed to be breastfed on camera, which certainly added an element of unpredictability to the entire process. Understanding that such situations can be challenging, especially due to the need for adaptability and flexibility, was crucial.
When I spoke with the mother and offered her support, emphasizing that she could focus solely on the baby’s needs and that the filming would proceed accordingly, I noticed her tension transform into gratitude. This support allowed the mother to relieve stress and concentrate on her task, making the shoot much easier and more efficient. Thanks to this approach, the filming went smoothly and within the planned timeframe, further confirming the importance of providing support and understanding in challenging situations on set.
You’ve had the opportunity to work with foreign instructors and learn about practices outside of Serbia. What is the status of this position abroad? What elements of their experience could you directly use as inspiration and apply in designing training for intimacy coordinators?
During our training, as well as during our participation at this year’s Sarajevo Film Festival, we met some of the most prominent intimacy coordinators from America and Europe. They spoke about the positive acceptance of this profession, which is best seen in the contractual obligation to engage coordinators on projects where there’s potential for it. In fact, coordinators increasingly participate in projects from their early phases to provide insight into possible risks and precautionary measures.
What was most inspiring from their experience is that they agreed that their work on each project was different. They emphasized that, during training, the profession seemed much more systematic than it is in practice and that one must be ready to apply various approaches. This is precisely the aspect we have focused on, finding ways to apply psychological knowledge in a very specific context. This involves a good, often quick assessment of the actors and their relationship to what is being asked of them, as well as aligning that with the director’s vision and other team members involved in the scene.
The recent period has been intense for you. What are your plans moving forward?
To start with, we are forming a program and engaging competent instructors to implement training in Serbia according to the competencies and protocols established by SAG-AFTRA (Screen Actors Guild and the American Federation of Television and Radio Artists), thereby enabling international recognition and the necessary qualifications for professionals from the country and region. Additionally, we are initiating independent work for the association of intimacy coordinators in Serbia and collaborating with lawyers to define and establish a legal framework, general standards, and professional legal acts that will regulate the work of intimacy coordinators and set general rules for film production when filming intimate scenes.
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DAT was part of the CGAccelerator program, which aimed to equip creative studios with business skills to improve their workflow and help them become more competitive in the European and global markets. What was the most useful thing you learned from that program, what have you implemented, and how has it affected your collaborations with clients and the projects you work on?
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The underpinned artistic value of “The Peasants” is that it reflects styles in both the literature and paintings of the era. The cultural landscape of all co-production countries (Poland, Lithuania, Ukraine, Serbia) must have contributed to it with their art heritage. What were the key thematic elements that brought you as producers closer to the final cinematic narrative? 
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CGAccelerator is new project run and designed by Serbia Film Commission to boost the skills in business and marketing of individuals leading creative businesses and studios. Creative industries are people’s business and therefore improving the understanding of business strategies on top of your creative work will enhance the ability to reach better clients and projects.
Partners: Serbian Chamber of Commerce, Stakeholders include, Serbian Gaming Association, University of Arts Belgrade, University of Arts Novi Sad, Belgrade Polytechnics and Higher School for Arts, 54 private companies