The undisputed international success, which this film enjoyed very soon, proved that with the insistence on such a production, despite its increasingly evident discontinuity, the Macedonian feature film could find itself in the most current trends in world cinematography.
The text used as the basis of the film was written by Mirko Kovac; its final structure was designed by the director Stole Popov and the Belgrade cinematographer Zhivoin Pavlovic.
The director Stole Popov in this way slightly departs from the suggested pre-text of the screenplay and endeavors to make a specific visual structure where this absurdity will find its place of expression. In the realm of “Tattoo” the existential problems and issues confront the problems of man’s faith, which does not necessarily have to be a religious act, and all of these lead the protagonist to an ethical confrontation with himself and also the others.
His approach is at times strictly realistic and at others has naturalistic layers but all of these elements simply facilitate the release of true dramatic energy that this film undoubtedly possesses in great quantity. The entire artistic ensemble in charge of the setting and the acting is maximally involved with the atmosphere in the prison. Here we highlight the brilliant performance by Meto Jovanovski who remains a pillar of strength for this ensemble throughout the film. The cast also includes Kiril Pop-Hristov, Dancho Chevrevski, Svetozar Cvetkovic, Slave Jolevski, Stevo Spasovski, Blagoja Chorevski, Stole Arangjelovic, Petar Arsovski, Jovica Mihajlovski, Liljana Megjesi, Zaim Muzaferija, Kiril Ristovski, Mladen Krstevski, Aleksandar Chaminski, Shishman Angelovski, Vancho Petrushevski, etc.
The cameraman Misho Samoilovski manages to achieve optimal functionality in every shot, which can also be said for the set design of the decorator Nikola Lazarevski