Srpski film (2010)
★ / ★★★★
Milos (Srdjan Todorovic) was a former pornographic actor who retired early. He had some savings but since he didn’t have a stable job, his family was in a state of financial difficulty. When Lejla (Katarina Zutic), a former colleague, contacted Milos about a once in a lifetime opportunity work with an independent director, Vukmir (Sergej Trifunovic), the husband and his wife (Jelena Gavrilovic), Marija, agreed that he should accept the offer because the paycheck would allow them to be set for life. However, Vukmir’s project was incredibly top secret. Even Milos was ignorant to what he was about to do in front of the camera. Based on the screenplay by Aleksandar Radivojevic and Srdjan Spasojevic, “Srpski film” managed to take the term “torture porn” on a new level. There was a plethora of scenes that depicted women as playthings. It showed them screeching out of pain from objects thrusted inside them, being punched in the face until their faces were swollen and bloody, forcing to perform fellatio until they passed out due to a lack of oxygen, and being cut into pieces with a machete. It was ugly and it was shameless in challenging us to keep our eyes open to see what would happen next. Supposedly, the filmmakers’ intention was to parody the movies made in Serbia. They didn’t like the forced political correctness that plagued the films in their country. So, by creating something that is so far from what is expected, it is an act of standing up against the mundane movies that are constantly being financed, made, and released. I understand their intention, but I don’t quite see how this project is supposed to be a parody given that there was nothing amusing about it. I was disgusted. I was shocked. I was disturbed. But laugh I did not. I thought it was very cruel to women. For a movie that was supposed to be progressive-thinking, the final cut was backwards. And it fails with a deafening thud. Furthermore, if the filmmakers’ intentions were completely taken out of the equation, I would still consider the film to be weak. Milos wasn’t portrayed as a responsible father and husband, in the least, so how could we root for him? His family was supposed to be struggling financially, yet it wasn’t shown to us that he tried to get a job anywhere. It was mentioned that he had an education. He wasn’t old, so why didn’t he seriously consider other options before accepting a cryptic job? The movie was about a half an hour too long. There were too many scenes when Milos was drugged and looking confused. He, as well as the audiences, were left to decipher what had happened to him through millisecond flashes of images accompanied by shrill, harsh sounds. Not only were the techniques an assault to the senses, it didn’t feel like being on a journey with Milos was ultimately worth it. He lacked pragmatism; he always happened to helplessly stumble upon one bad situation to the next. “Srpski film,” also known as “A Serbian Film,” directed by Srdjan Spasojevic, is a one-note mean joke where nobody wins. I welcome transgressive movies given that their ambition and intention meet a certain level of artistry that forces me to think about the power of the movies as well as consider possibilities of unexplored territory. Pascal Laugier’s “Martyrs” is an excellent example of a transgressive film. “A Serbian Film” is cheap and execrable.