Boris Despodov’s feature doc The Sinner, presented at this year’s CPH:DOX Rough Cut sessions, offers a deeply polarising, character-driven portrait of Petar Nizamov, a former Bulgarian boxer turned ultra-conservative vigilante.
Moderated by Dani Carlaw, Head of Unscripted at Screen Scotland, the presentation revealed a complex and highly political creative documentary tracing one man’s descent into ideological fervour and self-fashioned martyrdom.
Produced by Bulgaria’s Arthouse Blockbusters, with co-production support from Germany’s Pandora Film and Serbia’s Servia Film, The Sinner has secured backing from the Bulgarian National Film Center, Bulgarian National Fund Culture, Film- und Medienstiftung NRW GmbH, the Robert Bosch Foundation, and Film Center Serbia.
“This film is about a highly controversial figure in Bulgaria, who became notorious across Europe during the migrant crisis,” said Despodov, a seasoned filmmaker who previously scooped the Berlinale Ecumenical Jury Prize, the prize for Best Emerging Filmmakers at Hot Docs and the prize for Best Documentary at Sarajevo, among others. “Petar Nizamov is a man of extreme political views, but also someone who let us into his life for over eight years. It’s a character-driven film, but also a creative documentary – as are most of our projects – and it shows how political events can shape not just a person, but society as a whole.”
Structured into five chapters – A Merchant, A Guardian, A Hunter, A Representative, A Samaritan – the documentary combines observational footage with material drawn from Nizamov’s prolific online presence. “He’s obsessed with filming himself,” Despodov explained. “Some of the scenes come from YouTube or social media, but we still aimed to create a unified cinematic style through the editing. And, it’s very much an observational piece, but one that took form in the edit suite.”
Dragan von Petrovic, the film’s editor and co-producer, highlighted the role of Nizamov’s family in the narrative. “You also see his family, including his daughter. That’s what makes it humane, even though he does the things he does.” These “things” range from rescuing children wrongfully taken from poor families, to leading far-right vigilante patrols along the Bulgarian-Turkish border, and making citizen arrests of Afghan migrants in the name of Christian nationalism. These actions brought him infamy at home and recognition among Europe’s far-right circles, as well as regular appearances on national and international media.
“This is a film full of contradictions, just like its protagonist,” Despodov noted. “He starts by helping others and exposing corruption, but gradually reveals his darker sides. He’s a man who doesn’t let history unfold without trying to insert himself into it.”
Stylistically, The Sinner presents a collage of formats and moods, shaped over eight years of filming and reflecting the evolving nature of Nizamov’s own self-image. Carlaw praised the team’s efforts to find cohesion across such a diverse array of material. “The process was complex,” admitted Despodov, “but we feel we’ve managed to establish a clear visual language that supports the story.”
Looking ahead, the filmmakers are actively seeking festival premieres and broadcasters. Above all, however the team is on the lookout for a sales agent “to build together the best launch campaign.”
With its provocative themes and uncompromising protagonist, The Sinner stands poised to ignite debate as it enters the international circuit.
