"May you live in interesting times" is an ancient Chinese curse that profoundly impacted the people and countries of former Yugoslavia. The individuals who lived through those violent and turbulent times not only had to grapple with war, poverty, crime, and the complete collapse of social values but also found themselves devoid of common sense and logic. The Wounds, a 1998 Serbian drama directed by Srđan Dragojević, vividly illustrates this point through both its content and the circumstances of its creation. Partially financed by the government of Slobodan Milosević, seemingly undeterred by the film's critical portrayal of 1990s Serbia and its unflattering depiction of the regime, the film serves as a poignant reflection of a tumultuous era.
The story unfolds in 1996, amidst a major political crisis in Serbia following a significant victory by political parties opposed to Milosević in local elections. Amidst this chaos, Pinki (portrayed by Dušan Pekić), a young teenager from Belgrade and the film's main protagonist and narrator, remains largely indifferent to the unfolding events. His recollections transport us back five years earlier, to the disintegration of Yugoslavia when enthusiastic Belgrade crowds cheered on tanks en route to Croatia. Oblivious to the gravity of the situation, Pinki's mind is preoccupied with trivial pursuits such as sex and living the good life. While his father, retired Army officer Stojan (played by Miki Manojlović), struggles to make ends meet amidst crippling UN sanctions, Pinki and his friend Švaba (played by Milan Marić) find themselves drawn to Kure (played by Dragan Bjelogrlić), a small-time criminal who becomes their unlikely mentor. As they delve deeper into a world of crime, drug dealing, robberies, and murder, their ambitions soar, culminating in dreams of surpassing Kure's notoriety and appearing on a popular television show dedicated to Belgrade's legendary criminals.
Similar to Dragojević's previous film, Pretty Village, Pretty Flame, The Wounds delves into the grim realities of a country embroiled in war. However, the film masterfully weaves elements of black comedy into its narrative, offering a unique perspective on the moral and economic aftermath of the conflict. Set in Belgrade, a city largely shielded from the direct ravages of war, the film captures the struggles of young men caught between the lingering shadows of the past and the uncertain future that lies ahead. Through poignant character development, Dragojević paints a harrowing portrait of a nation adrift, where moral compasses have shattered, and societal values have been distorted beyond recognition.
Despite the bleakness of its subject matter, The Wounds is a well-directed film that marries international cinematic influences with a distinctly Serbian sensibility. Drawing comparisons to the narrative structures of Leone's [Once Upon a Time in America]https://peakd.com/hive-166847/@drax/film-review-once-upon-a() and Scorsese's Goodfellas, and stylistic elements reminiscent of Boyle's Trainspotting, the film captivates with its frenetic pace and memorable character portrayals. The ensemble cast, including seasoned actors like Dragan Bjelogrlić, Branka Katić, and Vesna Trivalić, delivers standout performances, while Dušan Pekić's haunting portrayal of Pinki, a youth adrift in a society devoid of moral moorings, remains a standout.
While The Wounds concludes on a note of despair, hinting at a bleak future for Serbia, subsequent events, such as the 1999 NATO bombing, have since altered the trajectory of the nation. The film's poignant depiction of a society in crisis, grappling with its past and uncertain of its future, resonates powerfully with audiences, transcending its immediate context to offer a timeless commentary on the human condition.
RATING: 8/10 (+++)
(Note: The original text was posted in the Usenet newsgroup rec.arts.films.reviews on July 9th, 2004)
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