The special effects are somewhat impressive.The music used during some intense scenes is decent.Though good luck finding one scene that is even remotely amusing.
A serbian film movie#
It simulates child porn and snuff films together.Ungodly downer ending, Milos and his family commit suicide only for a film crew to perform sex on their dead bodies.
A serbian film free#
A serbian film full#
Depictions of rape, necrophilia and child sex abuse obviously trying too hard to make "horror" out of shock content much like in films like Cannibal Holocaust, I Spit On Your Grave and The Human Centipede: Full Sequence which overuse gore for the sake of it.But he soon finds out 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. Milos discusses the proposal with Marija and he signs the contract. However, Vukmir neither shows the screenplay nor tells the story to Milos. Milos is introduced to the director Vukmir that offers a millionaire contract to Milos to act in a film. 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. Though the film features more than its share of abused women (and, hideously, children), its primary victim is the male lead, who is paid back for his ridiculous potency with repeated physical, mental and emotional rape.In Serbia, the retired porn star Milos is married with his beloved wife Marija and they have a little son, Peter, who is their pride and joy. Srdjan Todorovic, suffering about as much as any leading man in the movies, gives a strong performance as Milos The Filthy Stud. That baby-rapist is paid back when the hero, dosed up on horse Viagra, spears him through the eye-socket with his mighty erection, for instance, and the protagonist’s corrupt cop brother (Slobodan Bestic) pays a porn actress back for brushing him off by literally choking her with his dick.ĭirector/co-writer Srdjan Spasojevic gives the film a distinctive widescreen look and an impressive, slightly stylised use of dim lighting and art direction (the snuff sets look more like a Philippe Starck hotel than the usual reclaimed industrial site), which adds a certain distance that means the film isn’t quite the hateful ordeal its synopsis suggests it is. That said, plenty of scenes here push various envelopes, and manage to be sick-making no matter how ridiculous they are. Its worst atrocities - which include the rape of a new-born baby (less explicit in the BBFC-censored version) - are conceptually beyond the pale, but executed with a fakey glee (and obvious special effects) which put it closer in tone to The Toxic Avenger than, say, Videodrome or Lost Highway. Whether its political element is spurious justification for a cynical exercise in attention-getting taboo-busting is down to the individual viewer - but it ought to be viewers, not censorship bodies, who make that decision.Īny purpose the film might have beyond ultra-shock is compromised because its notion of extreme art-porn as a symptom of societal apocalypse is well-worn from the mainstream likes of 8MM or Vacancy. a war criminal), suggesting there is specific national meaning in what is otherwise a remorseless, well-made, horrifying descent into personal hell. This keeps dropping in lines like, “Ahh, a perfect Serbian family” (over a scene of rape, incest and murder) and briefly likens its Mephistophelean movie director to “someone you’d meet in the Hague” (i.e.