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En Belgrado, Yugoslavia, durante la Segunda Guerra Mundial, un poeta, Marko Dren (Miki Manojlovic), esconde a su amigo Petar Popara (Lazar Ristovski) y a su familia en un sótano para esconderse de los nazis. Allí ocultos deben fabricar armas para la guerra. Marko los engaña para que sigan fabricando armas 20 años después de la guerra y haciéndoles creer que aún no termina y que sólo han pasado 15 años. La película está llena de simbolismos y metáforas. Por ejemplo, tras el bombardeo a Belgrado, Blaky se limpia el zapato con un gato; al final, Petar, en la búsqueda de su hijo y tras descubrir que Marko y Natalija (Mirjana Jokovic) murieron, se apoya en una cruz que tiene a Cristo invertido. Además, en medio del fuego y la destrucción, hay un caballo blanco y un ganso volando.
Avis de la communauté (5)
Powerful, disturbing, epic, challenging, surreal, absurd and captivating. This tale of Yugolsavia's history from the 1940s to the 1990s is a monumental achievement in cinema. A modern masterpiece.
By all accounts a masterpiece. Rarely do we get movies that are this fun, visually striking and intellectually stimulating at the same time. It’s a genius narrative about the repetitive cycle of history and mythmaking, a fairly straightforward allegory for the history of Yugoslavia arriving at some interesting conclusions about propaganda and political ambition leading to tragedy. It’s some of the strongest, most inspired filmmaking of the 90s, combined with excellent acting and a truly unique sense of humour. The abstract, surreal storytelling style might be challenging at first, but if you enjoy the works of filmmakers like Terry Gilliam or Jean Pierre Jeunet, this should work for you. Really loved the occasional use of a brass band, it adds a sense of chaos and tension to the tone in an interesting way. On the other hand, some of the sound effects can sound a bit cheap, in particular with the animals. It’s a small nitpitck that keeps me from giving this a perfect rating, but it is still highly recommended of course. 9/10
Apology for the Yugoslav nation.
A magical version of Yugoslav history. Kusturika's desire for expression is too strong, so this movie might be better if some subtraction was made. In Kusturika's movies, women are just a tool.
bruh. this has to be the weirdest movie I've ever seen.