Chuck Pavlovski, Director

A pizza bar in Belgrade has a cinematic universe.

I direct AI-generated commercials, and I don't sell them one at a time. I build a comic world for a brand — the characters, the look, the rules, the running joke — and then we live in it. The first film pays for the world. Every film after it costs a fraction of that, and arrives in days.

Open for commissions & collaborations — autumn 2026

Selected work

Four countries, one argument.

“And why don't we have this pizza in our country?!”

CRUST · Ep. 02 · The Gulf Released Three shots Storyteller 369

Grade

Client — Pizza Bar CRUST, Belgrade

Everybody argues about Belgrade pizza

A serialised comedy campaign. Each episode lands somewhere else in the world, where people who ought to know better cannot explain why the best pizza they've heard of is in Serbia. Same joke, rising stakes, one brand mention held to the last beat — a taxi driver asking for a table, a sheikh repeating the name on a private jet.

Naples — "Selimo se u Beograd"

Two Neapolitans eliminate every explanation in the street — the flour, the water, the oven — until only one is left standing, and they are furious about it.

Released

The Gulf — "And why don't we have this pizza?"

A sheikh walks his palace granting that Serbia has perfect ćevapi, musaka and sarma. Pizza, though. He stops, and he wants to know two things. Built as a 30-second walking master, a four-second finger-flick, and one shout into an empty hall.

Released

Istanbul — "Bana da bir masa"

A Turkish couple argue in the back of a cab about a city they've never eaten in. The driver has heard every word, and would like a table for himself.

Delivered · unreleased

Episode four — untitled

A fourth country, a fourth room, the same impossible question. Announced when it's finished, the way it should be.

In production

The Gulf episode did something a commercial isn't supposed to do: the comments under it turned into a market signal, and the client is now working through a real question about their menu because of it.

“Selimo se u Beograd.”

CRUST · Ep. 01 · Naples Released Serbian, burned-in subtitles Storyteller 369

Dir. Antonio Pavlovski · Prod. Storyteller 369 · Belgrade

Two commutes. One clock.

Kosmaj Residence · Film 01 In production Real locations, replicated Storyteller 369

Grade

Client — Kosmaj Residence

Četrdeset minuta

Two commutes and one clock. A man crawls through Belgrade traffic; another is already home under Kosmaj. Nobody speaks on camera — a real recorded voice carries it, dry and a little cruel. Every location replicated from the real place, never invented, because an invented view is a lie the audience catches instantly.

In production, autumn 2026 · Dir. Antonio Pavlovski · Prod. Storyteller 369

The money that stopped being money

The Hidden Ledger · The Storyteller Documentary 44% average view duration Belgrade

Grade

Own productions

The Storyteller · The Hidden Ledger

Two documentary channels, Serbian and English, on financial history — currencies that stopped being currencies, banks that stopped being banks. The first film held a 44% average view duration on a 5.4% click-through. That number is why I trust a fully directed, faceless format over a presenter.

Written, directed and produced in-house · Belgrade

What it costs

Fixed fee, agreed before anything starts. Never an hourly rate — speed is the whole product, and I'm not going to charge you less for having it.

The Pilot

One film, 15–30 seconds. Concept, script, world bible, production, grade, delivery in every ratio. The world stays yours whether or not we make another.

from €2,900per film

The SeriesMost of my work

Four films in one world, released to a schedule. Priced as a campaign rather than as four pilots, because after the first one the expensive part is already built.

from €9,500per campaign

Standing Room

Continuous production for brands that publish weekly — six to twelve finished films a month, plus cutdowns, variants and platform versions.

from €4,500per month

Brand Film

Sixty to a hundred and eighty seconds. A single piece with a story in it, for a launch, a founding, or a room you need people to feel something about.

from €8,000per film

Usage rights are quoted separately, the way production has always done it — term, territory, exclusivity and buyout each have a price, and none of them is hidden inside the fee. Agency white-label is available at trade rates.

Where I won't take this.

I don't do sincere.

This technology is extremely funny and not yet moving. Comedy, absurdity, spectacle, places that cannot be built — yes. Your family at Christmas, a real grief, a real reunion — hire a crew and a human face. The brands that got this wrong in public all got it wrong in the same direction.

The joke is never on the nationality.

My characters are Neapolitan, Gulf Arab, Turkish, Chinese. Every one of them is right, likeable, and in on it. The joke is on something universal — money, distance, expertise, pride — that they happen to be wearing that day. Every premise gets checked against this before a frame is made.

Real places get replicated, not imagined.

If a location exists — a view, a street, a building someone can drive to — it gets rebuilt faithfully. Inventing it is a guaranteed fail, and the audience catches it before the client does.

No synthetic person without their written consent.

No real face, voice or likeness gets generated without documented permission from the person it belongs to. This isn't a legal posture, it's the line that keeps the work defensible.

What actually lands in your inbox.

Graded masters in every ratio9:16, 1:1 and 16:9, plus the cutdowns your media plan needs.

A provenance sheet for every assetWhich models were used at which stage, creation dates, version records, and a plain statement of who owns what. Procurement asks for this now. Almost nobody in this field can produce it.

An EU AI Act Article 50 disclosure recommendationThe transparency obligations came into force on 2 August 2026 and they reach any content used inside the EU, wherever it was made. You get a per-asset read on what needs disclosing and how, before it runs.

The world bibleCharacters, locations, look, rules — documented well enough that another production could pick it up. It's yours.

Bring me something that can't be filmed.

Commissions, series work, and collaborations with directors, writers and agencies who need this capacity and don't want to build it in-house.

hello@antoniopavlovski.com

@AntonioPavlovsk

Instagram

@REPLACE

Based in

Belgrade, Serbia — working in English and Serbian, delivering across Europe and the Gulf

A pizza bar in Belgrade has a cinematic universe.

Four countries, one argument.

Everybody argues about Belgrade pizza

Naples — "Selimo se u Beograd"

The Gulf — "And why don't we have this pizza?"

Istanbul — "Bana da bir masa"

Episode four — untitled

Četrdeset minuta

The Storyteller · The Hidden Ledger

Build the world

Direct the film

Run the series

What it costs

Where I won't take this.

I don't do sincere.

The joke is never on the nationality.

Real places get replicated, not imagined.

No synthetic person without their written consent.

What actually lands in your inbox.

Bring me something that can't be filmed.