Ilija Cvorovic, a reformed former Stalinist who spent several years in a prison as a political prisoner, is called in for a routine conversation. He returns home convinced that the police ... See full summary »
The story of a ten years old boy who, as most of the children in Yugoslavia of the fifties can hardly imagine his life without the great national leader - marshal Tito. In his school, he ... See full summary »
A small border post on the Yugoslav-Albanian border in the spring of 1987. Frustrated and always drunk, lieutenant Pasic feels a strange pain in his groins. He seeks help from the only ... See full summary »
Till recently an University professor, a bohemian writer, a member of Belgrade's intellectual circles and a passionate opponent of the Milosevic's regime, TEJA is today a manager of a big ... See full summary »
A man awakens from a two-month-long coma. Total amnesia. A bullet fired point blank. He doesn't remember anything. He's told that he had a wife and a son. They've been killed. He's revealed... See full summary »
"THE TRAP" is a modern film noir reflecting the true face of Serbian (Eastern European) 'society in transition.' It's a story that could happen to you. It is a film about an ordinary man, ... See full summary »
The film consists of three parallel stories that are interwoven and played in Vozdovac. In the first story, Braca tries to seduce Iris, a model from the city center. Although they try not ... See full summary »
Urban comedy, happening during a night in Belgrade. Mare, Pop and Gojko are three friends who grew up together. Mare and Pop have always been musicians, while Gojko (who was harassed by ... See full summary »
In this sequel of "We Are Not Angels", a highly successful Yugoslavian comedy, a former playboy must cope with his daughter's adolescence, as well as numerous boys that keep knocking at her... See full summary »
This movie is mainly a love story, and the scenery is the first day of the civil war in ex Yugoslavia (June 1991). The main character is Ratko, an ex con, from some Bosnian "never go there"... See full summary »
Srdjan Dragojevic dedicates his film 'The Wounds' to "post-Tito generations," and it can be seen as of a piece with his previous film 'Pretty Village, Pretty Flame,' an allegory concerning the Bosnian conflict that was one of the angriest, most jarring anti-war films I've seen. 'The Wounds' is an even more aggressive film, told in non-linear fashion, like 'Pretty Village,' beginning in 1996, coiling five years back in time, and progressing to its starting point, so that the events that follow from thereon have an even greater immediacy. The storyteller is a young man named Pinki, born on the day of Marshal Tito's death, named such because his father was arrested after naming him "Tito" -- in honor of the fallen leader, but interpreted by authorities as an insult.
Pinki and his pal Kraut idolize a gangster known as Dickie, who lives in the same housing project. Dickie, an impulsive sociopath who carries a gun at all times and fires it into his television set at random, takes them under his wing and grooms them to become violent criminals. The film, by this point, may begin to remind a viewer of 'GoodFellas,' or the more current 'City of God,' from Brazil. But while those films were stylistically bold, this film is stylistically outrageous. Srdjan Dragojevic slings acid in the face of the viewer, forever surprising his audience with uncompromising nastiness. One does not grow inured to the shocks, however, because the shocks have poetry and relevance, and the movie is tremendously entertaining. This is very exciting filmmaking, the likes of which dwarfs recent work from American filmmakers like Scorsese and Tarantino. Furthermore, it's probably better than anything else from the arguably competitive recent spate of films from the former Yugoslavia, all of which yield a collective cry of anger in the face of the Bosnian civil war, the social conditions of that region, and the region's recent history.
Like other Yugoslav films, 'The Wounds' employs a burlesque tone in its depiction of sexuality, violence, social revolt, and family strife, and yet it does so with such conviction that the movie becomes hypnotic. It would be satire, except its anger is so palpable. It would be allegory, except its writing is so vivid. Whatever it is, it's not easily forgotten.
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