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In some eyes, after the Balkan wars of the 1990s, Serbia is still a pariah state. There is a feeling of nihilistic self-loathing that runs through the film. However, the juxtaposition of children with such exploitative imagery is itself deeply unsettling. Spasojevic clearly didn't expose these children directly to images of torture, rape and death. It's the fact that children are involved. What has proved alarming to censors isn't just the imagery. The film's British sales agent was left hurriedly trying to clear up the pool of blood.
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One US distributor fainted as he tried to leave a screening of A Serbian Film earlier this year, hit his head on the door and ended up needing stitches. What begins as a self-reflexive formal exercise veers off in another direction altogether. The problem is that the storytelling grows ever more intense. As in Peter Greenaway's The Baby of Macôn, he is using extreme imagery for polemical purposes. As in Michael Haneke's films, the director seems to be challenging the audience to question their own voyeuristic instincts. Forty years after A Clockwork Orange, audiences are surely too used to these kind of shock tactics to be affected by them – or so we might think. In the film-within-a-film, Vukmir, the psychiatrist-turned-porn director, may be striving for the ultimate realism but Spasojevic heightens the absurdity. The most notorious scenes (the rape of the new-born baby, the scene in which the star decapitates a woman and continues to have sex with her headless torso) are grotesque but very obviously contrived. The film-making is stylised and self-conscious. That, though, is not the same as saying that it is a repellent film. To compliment it as being well-crafted, which it is, doesn’t mean much when it’s unwatchable.Much of the imagery in A Serbian Film is indeed quite repellent. I saw nothing in this mean-spirited film that I cared for. The unpleasant film gets over as a pseudo-snuff film that tries to take it as close to a real snuff film as possible. Rape, incest, murder and S&M are some of the anti-social acts filling out the narrative. It seems Milos got roped into making a snuff film. The condition is that he can’t look at the script.
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He gratefully accepts a lucrative offer to be in a new artistic experimental film by sleazy Balkan director/producer Vukmir ( Sergej Trifunovic ). The former porn star Milos ( Srdjan Todorovic), known as the “Nikola Tesla of world pornography,” is out of work and is having trouble supporting his wife and kids. The revolting delights it offers cross into areas that are far worse than just bad taste, like matters of criminality. Its perverse sex and violence left me feeling cold. The exploitation pic has no socially redeeming values, even if it half-heartedly, in an ironical manner, attempts to be a voice against the cruelties of the Balkan War in the 1990s. Srdjan Spasojevic (“The ABCs of Death”) is the writer-director of this extremely violent shocker-horror pic. “ To compliment it as being well-crafted, which it is, doesn’t mean much when it’s unwatchable.” A SERBIAN FILM (SRPSKI FILM) (director/writer: Srdjan Spasojevic screenwriter: Aleksandar Radivojevic cinematographer: Nemanja Jovanov editor: Darko Simic music: Sky Wikluh cast: Srdjan Todorovic (Milos), Sergej Trifunovic (Vukmir), Jelena Gavrilovic (Marija), Katarina Zutic (Lejla), Slobodan Bestic (Marko), Ana Sakic (Jecina Majka) Runtime: 104 MPAA Rating: NC-17 producer: Srdjan Spasojevic Invincible Pictures 2010)-Serbia- in Serbian with English subtitles)