A Serbian Film Uncut ##VERIFIED## Download
A Serbian Film Uncut Download
you’re the one going all arty and artsy on us – good on you. i reckon i’ve seen every piece of david lynch in existence and a good deal of it’s lesser brethren, so i’m pretty familiar with the artlessness of the arty approach. its a fantastic thing to do with a film, and should be celebrated. even david lynch’s best stuff has its elements of self-indulgence, its an easy way to show off one’s chops. but, however artsy you want to be, there is still a need to examine the things you’re doing – whether its to find out whether they’re actually good or not, or to express how much or how little you’ve gotten out of the film. i think the latter is the more important question. for me, this is a film without a point or purpose, its just a series of acts that the film maker has deemed worthy of being shown as part of an experience. its a beautiful film to watch, and an even more beautiful one to rewatch, but its not anything in particular – it doesnt add anything to the art/horror/genre/film-makers catalogue (or whatever). its a film, nothing more, nothing less.
matthew odonoghue it would be nice if i knew what the film means at all, but its all guesswork, nothing more. i know that much of the film has been talked about before in similar, if not identical terms, so that the film goes beyond being a shock-routine for shock-routine’s sake. but what exactly is it saying? its a beautiful (if angsty) film, but its not really saying anything, its just a (potentially shocking) film. this is not art, this is not cinema, this is a film that is merely there to be seen and enjoyed (though i expect that it will provide a lot of enjoyment). its a pity, because it would be great to see some real insight and response to the issues of the conflict, but what you have is a film that merely reflects the nihilism of the conflict and its media coverage, which is already a depressing enough thing to look at.
chris cooke i dont think its really a matter of imagination, at least not in the way youre suggesting, because to me imagination is just a tool, and a very useful one at that, but it doesnt enable you to empathise with someone else by allowing you to see them as a real human being, rather than a collection of limbs and body parts. in fact, it actually puts you in the position of the victim, not the perpetrator, because it makes you feel what the victim felt. youre not empathising with the person who committed the crime, youre empathising with the victim, and that changes the way you feel about the crime and makes it more difficult to watch. the more violent and the more shocking and the more unexpected the crime, the more real it seems to be. i wonder if the same thing happens when people watch horrific crimes in the cinema: its as if they have to watch the crime unfold in real time, as if theyre actually present at the scene of the crime (and there are some very powerful scenes of crime in this film). the reason that its hard to empathise with someone like milos, for example, is that the only way you can get a sense of what its like to be him is to think of yourself in his shoes. its hard to think of yourself as another man. i think the same applies to watching the movie. alex wynter i dont know who this film is about, its all too unclear. if its got to do with the milosevic or tudjman governments then its kind of correct in tone, but if its just a condemnation of western media coverage of the situation in the former yugoslavia then its a little too specific and paradoxically, the more specific the film gets, the less that it has to say. its not the worst film ive seen but i do think its over-long and over-sentimental. if i find it again i will watch it again. 5ec8ef588b
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