Dom za vesanje (1988) Poster

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Movie of my life
ereinion3 January 2006
There is no other movie that has made such a big impact on my life as this one. I remember well the anticipation and excitement I felt when I sat to watch it for the first time, that grey day in March 1989. Upon it's release "Dom za vesanje" was received with rave reviews in Yugoslavia, deemed as the most important movie of the Yugoslav cinema by many. And in many aspects it is. Ironically it's a gypsy movie, one of a kind in former Yugoslavia. Gypsies have been principal heroes before in important movies as "Skupljaci perja" and "Ko to tamo peva", but there never was a gypsy epic like this one before. Or after.

The story begins in Slovenia, the year is not given but since the movie "Breathless" from 1983 is shown here, it must be mid 80's. The main character is a young gypsy (we later find out that his father was a white Slovenian)named Perhan. His family consists of the wise and shaman-like grandmother Hatidza, who is played very well by Ljubica Adzovic, hard luck gambler of an uncle Merdzan and his sick sister Danira. We follow Perhan in his quest to win the beautiful Azra, girl from the neighbourhood. Since her mother thinks little of Perhan and calls him a bastard, Perhan decides to do anything to prove himself worthy. His chance soon comes in form of a big time gypsy hustler, the so called Champion Ahmed Djida. Ahmed and his two brothers, Zef and Sadam, cruise around gypsy settlements looking to recruit potential thieves and hustlers and make money on them. Perhan is chosen because he possesses telekinetic powers and his charming character falls to Ahmed's liking.

The character of Ahmed is perhaps the most interesting and complex one. First he is shown as a rogue with a heart of gold who takes Perhan under his wing and becomes like a father Perhan never had. He even offers to get Danira into a hospital and pay for her treatment. Later as we follow Ahmed and his sordid family we find out that they are nothing more than a gang of crooks looking to take advantage of the first naive youth with no money.

Perhan is soon attracted to the world of petty crime and starts enjoying its' advantages. In not too long, the poor gypsy with a less than impressive appearance is turned into a fancy-looking player and charmer. When he returns home however, his grandmother is appalled at the change she sees in her beloved grandson. He has changed and it is apparent also in the way he acts towards Azra. He suspects her of whoring after he finds out that she's pregnant, even though he had slept with her before that. The splendor of their wedding is therefore shown in a negative way. Now that he has become more than accepted by everyone in his community, especially Azra's witchy mother, he is not satisfied anymore. The dream he had has vanished.

He therefore decides to return to Ahmed, together with Azra. This is where everything goes wrong. No matter how much Azra tries to convince him that he is the father of their child, Perhan won't have none of it. "We'll make our own child" he responds harshly. All this pushes Azra over the edge and she dies after giving birth to their son in a visually overwhelming scene. Perhan casts himself into the abyss of self destruction and he doesn't even know what becomes of his son. He spends his days drinking and Ahmed shows concern, the last time we see him do this. Soon thereafter, Ahmed has a heart attack. Not long after his recovery, he vanishes and takes Perhan's share of the loot. After finding out Danira is still not cured, Perhan seeks revenge over Ahmed.

One of the most touching moments is when Perhan meets his son, named after him. Acting by Davor Dujmovic is really top notch here and it's a wonder how this 19-yearold could have displayed such maturity on screen. It is a real tragedy that Dujmovic never got the chance to build a stable acting career, instead being tossed crumb parts after this. It is a mystery and a disturbing thing that such a talent could have gone neglected since. Bora Todorovic is also marvelous as Ahmed and steals most of the scenes he's in. Sinolicka Trpkova as Azra also does a fine job as well as Husnija Hasimovic who plays Merdzan.

This movie is a feast for the eye for it contains a good deal of interesting and spectacular imagery and dream scenes which rank up with the best ever filmed. My favourite is Perhan's first dream, where he dreams about Azra and himself getting married. Some of the motifs are clearly borrowed from Tarkovski's "Andrey Rublev", yet the music and the scenery are incredible and carry a distinctive gypsy feel which is magic. That is what makes this movie a standout, for there has rarely been done a movie about gypsies in such a stunning way. Some critics have since proclaimed "Underground" as Kusturica's best work, but I have no doubts that this is where Kusturica topped. It was his last picture made in the former Yugoslavia and as such a magnificent farewell. The way this movie ends is really heartbreaking and leaves little hope to the viewer. But I guess Yugoslav movies rarely ever did.
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Powerful and moving
eilgin27 September 2004
This movie shines as an example of pure art in cinema. So powerful with symbolism and story telling, "Time of Gypsies" delivers amazing performances on acting, settings, musical scores, and overall directing.

In year 1988, this movie was one of the most awaited films in the Istanbul International Film Festival. I was one of the lucky ones who had a ticket for the film. When the show time arrived, it was obvious that there was a problem since the film did not started. A lady from the festival committee came to the stage announcing their appology and explaining what the problem was; they were expecting the copy of the film from the its distributor in USA. Unfortunately there was a logistics problem, so they had to get it directly from Yugoslavia. When the festival organisation put their Yugoslavian translators at work they did not understand which language it was! And a cleaning lady, who was an actual gypsy figured out that the movie was in Gypsy language. So it was not possible to translate it for the festival.

So they offered an apology and refund in case anybody did not want to watch it without subtitles.

Nobody left the theatre. We watched the movie without understanding a word. But, at the end there was a standing ovation at the theatre went on for a couple of minutes.
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Quite the masterpiece..
Exiled_Archangel28 August 2003
Dom za vesanje is not a movie that an average viewer can comprehend thoroughly, but this doesn't change the fact that it's a masterpiece. Emir Kusturica's storytelling requires some talent, intelligence, and flawless attention to follow and understand correctly, nonetheless it's absolutely unique and fantastic. I would never ever have thought I'd enjoy seeing the world through Yugoslavian gypsies' eyes, but it turned out to be possible so long as it's Kusturica who opens the window. Goran Bregovic's adorable tunes suit the movie perfectly fine too. This movie was one of those that strengthened my opinion which states European movies are a billion times better than American movies. Thanks to Kusturica and Bregovic for producing such a beauty. A perfect 10 for the cast as well.
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"Dom za vesanje" is not worse than "Karmelita"
Andrei Pavlov21 October 2005
In Russia we have a fine 300 minutes (without kidding) DVD release of the movie (the "director's cut"?). It has its moments. The first part is hilarious and witty. The second one is absurd and insane. The third is depressing and scary. The forth is enterprising and weird. The last one is violent and tragic. To crown it all, the only reason that this feature is an outsider (it is not in IMDb top 250) seems to be the following: not many people saw it.

It doesn't look like fiction. It feels quite gritty and has very adult topics. The Gypsies look and act like Gypsies (well, at least to my taste and knowledge). There was once a serial on Russian TV called "Karmelita", where the Gypsies were shown civilized, snobbish, stylish in their dressing, good-looking, etc. They were talking and talking (in pure Russian, of course, phonetically perfect), showing a little bit more emotion than lamas (sorry my exaggeration). Personally, very thankful to my relatives that they did not spend their precious watching that never ending fiction. The title song in that "Gypsy" serial was sung by Mr Nikolay Baskov (a real "Gypsy" with blond hair). It lasted as long as 200+ parts mixed with good portion of commercials. Instead of prolonged showing of the "epic" "Karmelita" our TV should have shown "Dom za vesanje". On the other hand, they would have spoiled the whole movie by pushing commercials into it. So, let the matter rest.

The only really bad thing about "Dom za vesanje" movie seems to be the way of its DVD presentation: after the end of each part there is a kind of sketch of the next one before the credits roll over. These spoilers are not enjoyable.

Still it also has some minor drawbacks. To me they are camera-work and the absence of powerful scenery shots, i.e. the lack of the contrast and the ability to see what happens in good detail.

An 8 for this poesy of human existence in hellish surroundings will do. Thank you for attention.
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Sarah29 April 2001
I'm glad I was bored on a Friday night and decided to browse the foreign film section. I randomly picked Time of the Gypsies, and now it is my favorite. The soundtrack, as well as the movie, is amazing. This film is unique in almost every aspect. It was moving without being too gushy or fake--I highly recommend seeing it. The other commentees have said pretty much everything else about this film in an nicely eloquent way, so I feel I need not elaborate. :)
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One of my favourites
igor-2813 May 1999
This is one of my most favourite movies. I don't know if I can say it was the best movie I ever saw. It's amazing to see how talented these amateur actors are and how beautiful the mis en scene is. I always thought about Time of the Gypsies as a kind of answer to the Latin American Magic Realism. Kusturica seems to know which subject requires which specific aesthetic style.

The Gypsies in Yugoslavia live in their traditional world as they live in the bizarre modernity of European reality. The clash of these two worlds is what so many so called European auteur directors thematized since the 1960's. Kusturica seems to be very conscious of these art cinema tradition, but he knows also which people he portraits. The East European Gypsies are in a very essential way still nomads, constantly shifting between different realities:the world of dreams, their own traditions, their myths, rituals and beliefs and the hybrid spaces of European criminality. Kusturica portrays these Gypsy worlds with a story that is both modern but also almost like a fairy tale. It is this very mixture that makes this movie brilliant and a must see.
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Alice Liddel9 April 2001
'Time of the Gypsies' is a big, full movie.

It is full in the way a magic realism novel is full, with its intergenerational cast of characters; its vivid sense of place, the weather and community life, where private is always public, where joy and tragedy are inextricable; where magic, dream and delusion are indistinguishable.

It is full in the Fellini sense, with its grand, often hallucinatory, set pieces; its profusion of grotesques; its bursting compression of many plots; its general noisiness.

It is one film containing many simultaneous films (a gangster film; a surreal road movie; a romantic comedy; a rites-of-passage; a Christian allegory).

It somehow feels a little thin, like a tapestry of chunks from a massive novel. It is certainly a prime example of retrospective dating - at the time it seemed a masterpiece; over a decade on, it's pastiche Kusturica.
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sven-siegmund1 November 2006
This is the kind of movie I cannot forget. Well, to be honest, the reason why I watched it was to see my girlfriend, who suggested to watch it at her's. I wasn't really impressed by the movie and I thought it'd be another of those I'd forget about. And I wouldn't comment on it if there wouldn't be something special to it. I just keep thinking about it again and again, and I get the feeling it wasn't so boring as I thought. That's exactly what I find interesting. There are movies which you think are bad, and forget about them. There are movies where you see they are great and you never forget them. And there are movies which you think they haven't impressed you at all, but after some time you still think about them and you keep remembering them whether you like it or not. And eventually you find that they were quite good just the way they was. And so is this movie. What it wants to tell you is not the story it tells - a story which you may find uninteresting, longish, alien, of no matter to you. This film wants to give you an impression of the Gypsy way of life. And after seeing it and thinking about it, you feel like understanding the Gypsies somewhat more.
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Kusturica's ugly magic.
mifunesamurai21 January 2002
When I see a Kusturica film, I see the magic of Fellini but with a sinister edge. His characters may be crude and immorally incorrect, but interesting enough as an observation piece that represents the madness of life. All this done through an epic journey taken by the young and shy Perhan, who discovers the crudeness of live that alters his whole believes and existence. The film plays like an opera, but without the soap, making it another Kusturica masterpiece that mixes the real with the bizarre.
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Amazing movie
spewky23 November 2001
Surreal, amazing and absorbing, there are not enough words to explain how great this movie is. I watched it late night on ITV in London from 2am to 4am only to catch a train the next day to Kent, but i don't regreat one moment of it. Am not even going to bother telling you what the film is about, because it really is one of those stories thats best kept to oneslf. Its like a good memory you keep to yourself. I have not seen any of the other Emir Kusturica films, but i will highly recommend this movie for all those that love fantasy, film and a good story.

Dom za vesanje: Approved
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A Rare Treasure
smokeyjoe11 August 2003
A hauntingly beautiful, tragic, and ultimately spiritual movie. This is "magic realism" put to the highest use. The music is very moving. Definitely not for the usual American-Hollywood audience, but I mean that as a compliment. It has value as a documentary of the Rom lifestyle in Europe and elsewhere. There's considerable irony in the fact that Yugoslavia descended into ethnic genocide and disintegrated since this movie was made -- raising the question of what precisely is this "civilization" that feels so threatened by Gypsies.
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One of the most beautiful films I've seen
mitchmcc-215 August 1999
A friend recommended this film to me when I asked her for films dealing with death and spirituality. After seeing the film, the connections are loose, especially when compared to how sentimentally American films deal with themes of death and hardship. The landscape, the characters and just about every visual moment in the film was like nothing I'd ever seen before. What an imaginitive, gutsy guy the director is. Officially one of my favorites!
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Loss of Innocence and Direction
Seth Johnson29 May 2010
Warning: Spoilers
The film "Time of the Gypsies" is quite entertaining, but is too lacking in direction for my tastes. This movie starts out as a dark comedy starring a "bastard" misfit boy of a gypsy community named Perhan. The teenage boy is first shown as quite innocent and naive, taking everyone for their word. Throughout this film the viewer watches helplessly as Perhan changes from the young innocent boy into a conniving untrusting thug.

Perhan goes on a mission with the gypsy hustler "Ahmed" who promises he will take Pehan's handicapped sister to a doctor at his own expense. Of course Ahmed lies to Perhan and sends him through a series of transformations by forcing Perhan to join his group of gypsies that expose the young teen to acts of thievery, prostitution, and deceit. This character transformation is convincing and unfortunate, but was the only redeeming factor in this movie for me.

I usually prefer movies that don't stick to a specific genre, but instead use whatever elements of each genre to make the best movie possible. Unfortunately I didn't like the genre mixes in this film. The first 1/4 of the film is a dark romantic comedy. Perhan chases a girl and wins her heart, but when he cannot win her parents approval, he attempts to hang himself. I found this scene more disturbing than humorous which I think it was meant to be. The rest of the film is a tragedy with Perhan's spiraling downfall into a life of lies and crime. Random magical elements are introduced along the way such as Perhan's telekinesis that is only practically used once in the film.

I felt like the mixture of so many elements did not turn out as well as the director imagined they would, and it became a messy storyline that I found difficult to take anything away from. Overall, the film is entertaining, but I felt as though it didn't have enough redeeming qualities for me to recommend it to anybody.
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Magical film
beanetta11 October 2005
I was bored last night and happened to switch over to the start of this film and am glad I did , it is the kind of film you will always remember , if you were looking for a real story told with no Hollywood special effects then this is definitely for you .You really feel for the main character and his family ,and it is the kind of story that not many directors would be able to tell so eloquently, it really kept me interested and all the characters were amazing down to the little boy in it - you would never get English children acting like that! Anyway I would highly recommend it to anyone even if it is not the kind of film you would usually watch- keep with it you will be pleasantly surprised. Mel.
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Telekinetic Turkeys
tedg26 November 2010
Often, you see a film, write a comment and impressions get frozen. I revisit my comments from time to time and am often sad to see them. I remember films as a dynamic experience. The best ones are not a simple thing but an ecology of concepts and emotions that evolve in the 90 or 120 minutes that I commit to. What matters is how far from home they take me, how effectively they go under and around the blocks I set to attempt to define myself.

When I write a comment — even an engaging one — I am reducing the river to a photograph. As films are a shared experience, some readers may be able to view that photograph and recall the actual experience. But there is a sort of pain in the pretense that you have reduced a living universe to a few static phrases.

I'm particularly aware of that penalty in this case. I've seen most of Kustarica's other projects. They simply have too much story for me to fall into the flow: too many boats to see the water. This has a story too, about a boy, a people and the concept of justice. It helps that in this case, the filmmaker invested nothing in the story. Oh, it is engaging because the notions are simple and the characters endearing. But it just provides an excuse for a cinematic flow.

And what a flow! There are so many cinematic ideas here, so many notions of visual narrative, so many concepts of integration that you want to go over and over. The eye can gather so much information, orders of magnitude more than we can handle in the mind. The sense of sight is the only one that has evolved an extra layer or pre-mind before the brain gets things. The optical nerve is part conveyance and part processor. It has an eidetic memory that helps with dynamic composition. It is that perceptive mechanism that I think is exploited, no celebrated here.

The opening scene by itself is an introduction: a disastrous wedding, the establishment of a whole world of caprice and the selling of a soul all happen in one continuous shot. Along the way, you have some set pieces that you just do not want to leave. There is a celebration of Saint George's day on the water that you will remember all your life, and possibly relate to your first love and the creation of your child. Fire, water, languid seduction, flow and constraint.

We cross over into the world of the gypsies, here being a world where morals and laws are as elastic as anything else. From any other perspective, these people are parasites on the main engine of civilization: thieves and beggars. But from the world we comfortably inhabit in the film, they are whole and the world and values are vague. The title is not about A TIME, but the sense of time.

Sons and mothers, mothers as fathers. Perhaps there is no more common bridge among worlds, but here it is repeatedly dissolved into the background, as ephemeral as the flows of geese that are the clouds in this sky. I really have no idea how the filmmaker wrangled all these animals to behave so precisely. Even with the risky and difficult long pans there are often perfectly timed actions with animals, mostly birds.

See this, my friends. Celebrate Saint Georges day, wade in the water, remember your loves and resist the temptation to freeze it into a memory. Let it flow.

Ted's Evaluation -- 3 of 3: Worth watching.
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A visual feast.......sumptuous.....a moving human drama
nchadha_81-113 July 2006
This is the second Emir Kusturica movie I have seen,after "Underground" and I just love his style of film-making....Visually stunning , great music and a story well and completely told...."Time of the gypsies" is perhaps a shade better than "Underground" probably because i found it easier to identify with... The characters are well written and developed and show lots of shades and are therefore more believable....specially grandma and Perhan....the acting is excellent.... and for me the best part is the music ....specially towards the end....I have now seen the movie thrice and am still loving it.... go see it if you haven't seen it....its a great experience...
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A top ten film...
s_unyata23 March 2005
This film is truly excellent; not only does it provide a poetic, intense and personal journey of a story, but it is also amazing film making. The long shots with perfectly timed focus pulls constantly pull off some visual and filmic magical spells so effortlessly that you can miss them the first and second time through… in fact the film just keeps on revealing new details and subtlety on every level.

Time of Gypsies sets up and develops many of Kusturica's visual symbols like the bride, wedding and bridal veil floating or flying while remaining completely unpretentious and gritty, like it's characters.

I couldn't recommend this film more, and I place it alongside Tarkovsky's Stalker and Solaris in terms of beauty and esteem.
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The most beautiful film I have ever seen!
mopedsmurfen29 April 2000
Well, after I saw this, I didn't know what to say. I have not seen another movie that has touched me as deeply as has this masterpiece by Emir Kusturica.

I believe further comments are superfluous, except for a note on the soundtrack in the film: AWESOME! If you are at all interested in movies and/or the Gypsy culture, you just *HAVE* to see this film. It's that good. (10+/10)
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Time of the Gypsies
willied_kid9 February 2011
Warning: Spoilers
The Yugoslavian film Time of the Gypsies from director Emir Kusturica tells a truly fascinating story about a young gypsy boy named Perhan, and the ordeals he goes through trying to help his sick sister. What makes Perhan such an interesting character is his telekinetic powers, his somewhat lack of moral, and rich dreams. Not only is the protagonist a vivid character. The entire film is filled with amazingly beautiful scenes and a tremendous soundtrack.

Emir Kusturica's take on the gypsies is a most interesting one. Not only does he portray them in the dirtiest, gloomiest, and most unpleasant place in society. Even though they reside in the slum area they seem to be unaffected by their fate, and starts playing on the accordion whenever life seems unfair.

It is an interesting concept that the film both starts and ends with weddings, although perhaps not in the exact way one may expect. Both the story arch and Perhan's character arch are just as moving as they are strong. The transition Perhan goes through, from an innocent boy, whose best friend is a turkey that he seems to be able to communicate with, to a slave trader who deals with children, is very gripping. Just as the story starts out in true Shakespearian manner as a comedy, and ends in a tragedy.

There is also a reoccurring theme of betrayal throughout the story. Perhan's mother was betrayed, his uncle was cheated on for his mother's attention which went to Perhan instead, and Perhan himself was betrayed several times, which ultimately made him betray people. Emir Kusturica uses this disillusionment to show that although they are living in this world with instances of magical realism; they are humans as well, fully capable of being broken, flawed, and cruel.

Emir Kusturica creates a universe that is vast, colorful, and contains many magical things. All masterfully presented in a natural and fully believable way. Not only do we have Perhan's psychic abilities, but his grandmother possesses certain abilities as well. Perhan's relationship with the turkey, a white veil flying in the wind, and several dream sequences, one which takes place on a river, are some of the most memorable in the entire film.

This film is one of the very few made with the authentic Romani spoken language in the majority of the runtime. Just this fact alone is worthy of more attention than received. All in all it is just a phenomenal film in its own category without comparison. A must see.
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Tears of blood and song, joyful
chaos-rampant13 August 2011
In 1933 Spanish poet and theater director Federico Garcia Lorca gave a lecture in Buenos Aires titled "Play and Theory of the Duende" in which he addressed the fiery spirit, the 'duende', behind what makes great performance stir the emotions: "The duende, then, is a power, not a work. It is a struggle, not a thought. I have heard an old maestro of the guitar say, "The duende is not in the throat; the duende climbs up inside you, from the soles of the feet.' Meaning this: it is not a question of ability, but of true, living style, of blood, of the most ancient culture, of spontaneous creation."

So okay, Kusturica has mostly come and gone by now. But for a while he really tapped into a valuable duende. I don't know how much of that translates overseas as anything more than feisty craziness, but for those of us here at least he stirred passions that go back in time. He communicated something of the very fabric of our world.

So yes, a living style. Spontaneous creation. Meaning an exaggerated depiction; but one rooted in a recognizable reality, in ancient culture. Reckless people, who consume their beings with spontaneous love or song; the Balkans, meant broadly as a peoples whose common life and toll under Ottoman rule brought them so close, wrote ourselves into this worldview long before Kusturica. Like Goran Bregovic collected old folk songs into new renditions for these films, Kusturica merely translated into cultural images. But oh so well.

Τhis is why Kusturica really spoke to common people here. He reminded them, yes with so much feisty craziness, about a struggle - not a thought - about a life they instinctively have known from blood; so hard that sometimes it makes the eyes well up with tears of joy. About a woe so deep it can only be expressed with dance or a burning cigarette to the arm. About something inexplicable that turns the soul upside down.

Two paths in life then as I see it, both valuable; we should strive to be either Zorbas or Buddhas. That is to say, to either grasp life till it hurts or dispassionately let go. It's about living life fully in the flow of it, and we either vigorously swim or we observe how it all flows away. Everything else is really half-assed stuff, merely trying to stay afloat. Kusturica made films about Zorbas.

All this is well. But if we have perhaps invested part of ourselves in cinema, the images behind, Kusturica, especially here, is a real joy to behold. There was Tarkovsky, who inspired him so much; his stare was austere like those lean Christs we find in Orthodox icons. With Kusturica, Tarkovsky's camera becomes magical song, embodying with ardor of life the joyous sadness of a world turned upside down - so much in the film is about things askew, a house suspended in the air, a man hanging himself from a bell, the image of an inverted Christ in the end.

So one masterful touch is the cinematic flow. The other is how the flow encompasses an entire life; we have a kid who grows up to see how everything in life breaks, a grownup - as this kid - who has already resigned himself to the fact and is broken himself beyond salvation, a young mother who gives birth and dies like the dead mother who is only hearsay now, a second Perhan who will grow up with only hearsay of that young mother but with a father who came back to him. Fascinating stuff, most importantly because the symbolism is not a full circle, neat, precise, but messy, rugged with life.

This is good stuff. It is just not-important enough - in the academic sense - to be really beautiful, and just incomplete enough to allow ourselves to pour into it.
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a picturesque image of what the gypsies are like ...
deee-221 September 1999
... Emir Kusturica - it is just impossible to describe this man's ability to work with symbols ... HE IS THE GREATEST! Add Goran Bregovic and you can be sure this is not going to be a one-of-thousands movie.

The movie is a sad story of how the doom of the roma - a vicious circle - contributes to their reputation, how inescapable it is, how terrible ... entertainers as they are ... and thieves, burglars ... murders.

The main idea behind the movie's screen could probably be best expressed by a motto of the main hero: "Since i caught myself lying, i don't believe in anyone."

Shocking: depressive, impressive and expressive at the same time. Bravo to Emir, bravo to Goran!!!
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One of the best movies ever made!!!
blados16 June 2000
And believe me, I've seen a whole lot of them! This movie is genuinely sincere and direct. It is also a very emotional; in the best meaning of the word; and vacuum-packed with unforgettable scenes. What about the river-scene on St. Giorgisday, Perhan's travel to Rome, Azra's dying, Perhan's finding his sister, his revenge and so on. The list could go on and on. Kusturica has never made a bad movie but this one is truly the best one for me although "Underground" is a masterpiece as well.
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This is master peace of Balkan culture!
EasternMafia28 January 2007
This is master peace of Balkan culture!

There is each world wide culture, but this is Balkan One. Nobody knows better. To bad they don't sell DVD-s. They can make some money? But who knows who is the owner of it... time of the past. those people are spread all over...

i dint see all Kusturica movies. but this one is deeply touchable. it is very complex movie. also i had always wondering who is gypsies really? Romanians? Bulgarians? maybe the Italians? they are all similar in faces... also in some moves... there is great deal about Balkan history

this movie is my recommendation:
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Among the best films ever made.
jrfosterny6 June 2003
"Time of the Gypsies" is like a Fellini film, but it's freer and more wildly poetic. Anything goes with Kustirica, and although the culture depicted looks like anarchy, the film itself is masterfully directed, well-acted, and absolutely gorgeous. Immersing oneself into this film is to dive into a whirlpool of music, flashing lights, fire, lightning, rain, and even snow, where we and the characters are seduced together. One of the best films ever made.
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The bigger picture
Rex Michael Dillon30 May 1999
If anyone is wondering about life in the Balkans/South-Eastern Europe, this film, and other great films such as "Before the Rain," (Macedonia) "Requiem for Dominic" (Romania) and "L'america" (Albania) give an excellent picture of what it is to live in South East Europe.

We are fortunate this film was made in between the fall of the communism and the ethnic frenzy that has filled the power vacuum that exists now. I would comment that this film would never been made in current day. With the US led terror bombing, no film could be produced. Of course, Yugoslavia under Milosevic's Nationalist fervor would also make the production of this film unlikely. Equally guilty are the ethnic Albanian Kosovars (now refugees themselves) who (while the majority in Kosovo) forced Gypsies to give their children Albanian names in effort to eliminate their identity as Gypsies. For a glimpse into another seldom seen, but often maligned culture SEE THIS FILM!
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