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Serbian director finds way to confront dark past

Serbian film director Vladimir Perišić seems perfectly content belonging to a tradition of cinema that operates outside of the mainstream. There are no big budgets or huge audiences. But he is okay with that and can still find a cult audience across Europe that appreciates his work. “I like to work with small crews and non-actors and being in this marginal position allows me to have this artistic freedom,” he admits.

Vladimir Perišić is not intentionally trying to sound like Vladimir Putin. But the Serbian director is deadly serious when he says that “the break-up of Yugoslavia was a huge historical mistake.” He claims the six ex-Yugoslav republics – Bosnia and Herzegovina, Croatia, Slovenia, Macedonia, Montenegro and Serbia (including the regions of Kosovo and Vojvodina) – are today “all obsessed with their national histories, most of which are a total fantasy”.

April 11, 2024 - J P O’ Malley - Issue 3 2024MagazineStories and ideas

A scene from Vladimir Perišić’s Lost Country which premiered at the 2023 Cannes Festival. Photo courtesy of Kinorama film company

“The Yugoslav period was far better than what we are living through today in the Balkans,” the 48-year-old filmmaker says. “All our problems started after the fall of the Berlin Wall.” The title of Perišić’s latest film is a fitting starting point for an in-depth conversation about political tragedy, national identity and bloody history between former comrades. Released last autumn, Lost Country is set in 1996. Perišić directed it, and co-wrote the screenplay with French filmmaker, Alice Winocour.

Three generations

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