An aging porn star agrees to participate in an "art film" in order to make a clean break from the business, only to discover that he has been drafted into making a pedophilia and necrophilia themed snuff film.
A New York University professor returns from a rescue mission to the Amazon rainforest with the footage shot by a lost team of documentarians who were making a film about the area's local cannibal tribes.
A young woman's quest for revenge against the people who kidnapped and tormented her as a child leads her and a friend, who is also a victim of child abuse, on a terrifying journey into a living hell of depravity.
An unnamed doctor has always had everything he's ever wanted, but that has only made him develop more extreme and depraved needs. He kidnaps a young couple in the prime of their life ... See full summary »
As sadomasochistic yakuza enforcer Kakihara searches for his missing boss he comes across Ichi, a repressed and psychotic killer who may be able to inflict levels of pain that Kakihara has only dreamed of.
In Serbia, the retired porn star Milos is married with his beloved wife Marija and they have a little son, Peter, that is their pride and joy. The family is facing financial difficulties, but out of the blue, Milos is contacted by the porn actress Lejla that offers him a job opportunity in an art film. Milos is introduced to the director Vukmir that offers a millionaire contract to Milos to act in a film. However, Vukmir neither show the screenplay nor tell the story to Milos. Milos discuss the proposal with Marija and he signs the contract. But sooner he finds that Vukmir and his crew are involved in sick snuff films of pedophilia, necrophilia and torture and there is no way back to him and maybe it is too late to protect his family. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Banned in Norway on account of sexual representation of children and extreme violence in a fictional medium. One of the few modern day movies to be banned in the country since Ichi the Killer (2001) and Grotesque (2009). See more »
When Milos has a knife to his penis, if you look closely enough, he has cut his penis even though it doesn't "bleed". See more »
[acting in a pornographic film]
Baby, I'm gonna fuck you up.
See more »
I've written a book and some articles about film censorship, so given the controversy looming around this particular film, and its highly interesting release history in the UK (read wikipedia for more), I got my hands on a pre-release uncensored copy. What's very interesting is that apart from some suggestive shots hinting at pedophilia and the extension of the film's most gruesome, unforgettable scene, it's all there, only left to the imagination - leaving me with the question I've come up with whenever confronted with such a case: if censorship leaves certain aspects to the spectator's imagination, isn't the effect even more stimulating?
Yes, 'A Serbian Film' undoubtedly runs for the title of the yuckiest film ever. Yes, it's definitely reveling in the very muck it pretends to criticize, i.e. the complete and total moral decay of our times. I would have very much favored an incorporation of the (presumably Western) consumers of the kind of pornography it deals with, for that remains the film's weakest aspect: the social commentary is quite accurate, but not sufficiently explored.
And yet, 'A Serbian Film' is still unmistakably a piece of art. The technical specs are top-notch for such a limited budget. The acting, especially Sergej Trifunovic as psychiatrist-turned-porn producer Vukmir, is nothing short of (disturbingly) wonderful. And most important of all: the underlying anger appears to be real. I was in Serbia for a festival last year (prior to this film's release), and cannot help but remember how similar some opinions and stories I heard were to the views expressed in this film. That being said, I completely understand why Serbs were outraged at this film. Being born in Romania, which has an equal share of ethical bankruptcy, I must admit that if this had been made in Romania, and called 'A Romanian Film', I would be very very mad.
This is one of those rare pieces of celluloid which will most likely not allow for any neutral point of view, like 'Mondo Can(nibal)e', or Pasolini's 'Salo', or the collected films of Catherine Breillat. The difference for me is that I usually dislike films of this nature because of their wantonly exploitative nature serving no narrative purpose; that purpose, however, exists in 'A Serbian Film', making it all the more disturbing and relevant.
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