Jugofilm

It could have been a great movie, but the end doesn´t fit with the rest. It is obviuos that the director made faults in the screenplay. Jugofilm is also an example how important the score for a film is.The music got on my nerves, though I really liked the story. The actors are convencing and it is especially noteworthy what the director&writer developed a complex setting. Because of all the positive sites of this little movie I was very disappointed with the last ten minutes.

This charming yet powerful film takes us into the lives of a Serb family being torn apart by the pressures of the not-too-distant war with the Croats, and addresses the fundamental question "Can love survive between political enemies?" At every moment, the film is vital, urgent, heart-warming and terribly, terribly realistic.

There are two brothers in the family and the narrator of the film is the younger of the two, recalling his experiences. It's the love of the younger brother for the elder that re-unites the family when the elder brother is missing during the war. The father in the film is openly anti-Croat, but the elder brother, who was forcibly conscripted, comes home from the war with a Croat bride!

The mother is utterly sympathetic - her best friend is a Croat who she met in college. But the father hates everything Croatian, fights often with his Croat co-workers, and even, at one point, starts waving a gun about in front of his family! He feels his son has betrayed his country and his family by marrying a Croat, and questions his manhood.

Another major theme unfolding in the movie is "What did the elder brother do during the war?" He is sullen and refuses to talk about it. But people who recognise him are saying that he committed war crimes by killing civilians. Then the younger brother notices a photo in his brother's back pocket, a photo of their mother and her Croatian best friend in college.

The only way he could have the photo in his possession is if her friend was killed! Did her son murder her best friend, on one of his missions? His refusal to talk about it makes everyone even more suspicious.

It is particularly poignant because his little brother loves him and believes in his goodness so strongly. At the opening of the film the younger brother describes a fantasy he has about his elder brother in which he is falling, then his brother swoops under him, saves him by catching him on his back, and together they fly away. You'll see why the image is so deeply significant later in the film.

It's a film to savour, a film to keep alert to, a film for noticing and enjoying every nuance and every clue. As you're watching it you tend to forget that you're looking at a film, and feel as though you're looking at a slice of someone's fascinating life. This one is definitely a ten out of ten, a virtually flawless film.

The lives of a Serb family are torn apart by the pressures of the not-too-distant war with the Croats. The film addresses the fundamental question "Can love survive between political enemies?" Led by Ninidze's mournful, perfectly measured performance, the work of the entire ensemble of actors is first-rate. Jerzy Palacz's subtle, controlled lensing contributes to the film's effective, if modestly budgeted, creation of a mood of inexorable sadness. One could fault its occasional lapses into didactic heavy-handedness, but such excesses don't obscure the voice of a gifted and resourceful young filmmaker.