Bosnian-born filmmaker Emir Kusturica made this farce, set in a Gypsy settlement along the banks of the Danube, where three generations of characters burst forth in manic and frenetic displays of charm, confusion, and chaos.
Garbage dump godfather Grga Pitic (Sabri Sulejman) and cement czar Zarije Destanov (Zabit Memedov), both in their 80s, remain friends even though they haven’t seen each other in 25 years. Zarije’s son Matko Destanov (Bajram Severdzan) goes to Grga for a loan. Matko is double-crossed by his partner, gypsy gangster Dadan Karambolo (Srdan Todorovic), who demands that Matko’s son, Zare Destanov (Florijan Ajdini), marry Dadan’s small sister, Afrodita (Salija Ibraimova). Continue reading
Anica lives in New Belgrade, a miserable district of tower blocks and concrete. She is mistress to Milutin, a wealthly local criminal who owns a solarium and runs a protection racket. Anica is determined not to grow old in this dump where neither love nor life seems to offer her a decent future. One grey winter’s day Anica has an idea to steal money from Milutin’s safe, get on a plane and leave the country forever. Continue reading
When history has a different script from the one in your films, who wouldn’t invent a country to fool themselves? The collapsing sets of Tito’s Hollywood of the East take us on a journey through the rise and fall of the illusion called Yugoslavia. Exploring the ruins of the forgotten film sets and talking to directors, producers, policemen and Tito’s projectionist about the state run film studios and Tito’s personal love for cinema and it’s stars, ‘Cinema Komunisto’ uses film clips to go back to the film when ‘His story’ became the official history. Continue reading
“Srce je mudrih u kuci zalosti” aka “The Heart of the Wise Lives in the House of Sorrow”
Official DVD is still not available so I have decided to upload the film to everyone hoe find it interesting. With a budget of 50-60 thousend euros is the most cheapest film in 2009 in Serbia and big part of that budget is used for 35mm film copy. One of the bizarre moment is that the film was entered in Cape Winelands Film Festival in Capetown together with most expensive Serbian film that year “Sveti Georgije Ubiva Azdahu”
Film is very free adaptation of two old testament story, about Jona and Jacob and I have made that film because I was interested to see how that biblical element will adopt in contemporary Serbian society. For me it was partly experimental and lyrical and epic in same time and I think that film is more about some deep maybe irrational emotions for which I was thinking that Serbia could be a fertile ground. Continue reading
Clip is not another ‘coming-of-age’ story about the complexities of adolescence. Miloš has made an honest and non-judgmental portrait of teenagers caught in sexual and social turmoil. Sexually explicit and emotionally disturbing, it goes beyond borders and even further.
Jasna is a beautiful girl in her mid-teens. Disillusioned by her life in a remote Serbian town with a dispirited mother and terminally ill father, she opposes everyone, including herself, and goes wild, experimenting with sex, drugs and simply killing time. But gradually, this desperate protest helps her come to terms with painful reality.
In her first feature, Maja Miloš explores the disturbing state of adolescence as bravely and honestly as her protagonist explores herself. Isidora Simijonovic, also a debutant, gives a striking and fearless performance full of contrasts. Together they create a highly dynamic and vibrant portrait of wasted youth lost in the search for identity. Continue reading
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 his past identity by the Colonel, who insists they are best friends. He’s a Major of the Military Security Agency. An inspector from the State Security Agency appears affirming that he has information on people responsible for the massacre of his family. The Major is discharged from the hospital. He tries to patch together a normal life but is confronted with emptiness and despair. His only chance of discovering his identity and the assassin of his family is to accept the game that the Inspector has set up for him. Continue reading
In the Serbian drama “White White World: The Miner’s Opera” (“Beli Beli Svet”), the characters sing, but never dance. Formulated as a modern day Greek tragedy set in the decrepit southeastern mining town Bor, the movie follows a close group of alienated locals through misguided love affairs and other brash misdeeds. But the songs feature no choreography or other stylish methods of breaking the harsh, downtrodden tableaux. It’s a surprisingly effective strategy. With his sophomore effort, director Oleg Novkovic uses musical expression to frame inner monologues that would never work in spoken form. As a result, a story exclusively populated by damaged people engaged in morally ambiguous, often depraved behavior manages to evoke sympathy for all of them. Continue reading