Spasojevic: Mostly American film makers from the Seventies like Friedkin, Cronenberg, Carpenter, Peckinpah and even Walter Hill, lots of those guys. SJ: Could I ask you what filmmakers you have been influenced by? Movies in Serbia and that region are spending a lot of money, almost for nothing. It was just about gathering together a good crew, to know what you want to do and everything else comes into place. Spasojevic: Well actually, this film cost less than average than an average film in Serbia. Could you have done it on the sort of amount they would have given you?
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But in Serbia you cannot get your film financed unless you are financed by state funds and government, or some European funds, and they are always looking for the same, same stories, films for European festivals, and there are politics - a new European movie order, ruled by European film funds, and this is the only way you can finance your film in Serbia, and in Eastern Europe of course.ĭIY: It's an incredible, fantastic looking film, and the production levels are really high.
I'm not sure that in the near future we will see something similar, but of course if there is a chance for this to become kind of a new wave in Serbia that would be great. So those films are maybe just kind of accidents, and made by people who had a strong idea, and a strong belief that they could pull something like that off.
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Spasojevic: Lots of people ask that question, and lots of people in Serbia think there is kind of a new wave, but unfortunately I don't think so, because Serbia is not that much of a fertile ground for free cinema. I think we had a short synopsis around five years ago, and after one and half years working on the script with the screenwriter, we finished and started preparing.īH: Do you think that A Serbian Film, along with Life and Death of a Porno Gang and Tears for Sale, which I believe has the same screenwriter as A Serbian Film, are the start of a new wave of genre cinema from Serbia? So five years ago we started with this one. After that, I was working on one script that we never shot. I started in 1997 or something like that, and finished in 2001. Spasojevic: Well, I studied movie directing. SJ: So, how did you come to make this film? Spasojevic: Concerning my background there is nothing interesting, because this is my first film, first work, I never did anything before this, no commercials, no video spots, it's absolutely my first work. The morning after its UK premiere, where it played to a receptive and fascinated crowd, DIY joined the guys at Beyond Hollywood and Screenjabber, for an indepth interview with Spasojevic and his producer Nikola Pantelic.ĭIY: Could you first tell us a bit about your background in film making? When his old colleague Layla persuades him to come out of retirement for a wealthy and eccentric director determined to make cutting-edge art house pornography, he is drawn into a living hell. If you can stomach the headline-grabbing shocking moments (which you can easily find online if you want to be warned) you'll see what a compelling and striking film it actually is.Ī Serbian Film follows former porn star Milos (a haunting and sympathetic Srdjan Todorovic), now a loving husband and father to a young son. Even the United States and other countries had screened the full version.ĭirector and co-writer Srdjan Spasojevic claims his film is an allegory of the atrocities his home country Serbia has endured. Earlier this year, attendees of the annual FrightFest were not allowed to see the film uncut, thanks to Westminster council, leading it being pulled by the festival in protest. That amounts to four minutes, 12 seconds of the 99 minute-long film, and gives it the dubious honour of being the most cut film in 16 years.
It will finally get a UK release this Friday 10th December, after the British Board of Film Classification (BBFC) insisted on 49 cuts just to get an 18 certificate.
The Human Centipede tried valiantly to be this year's most controversial movie, but that title clearly falls to A Serbian Film.
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