Vukmir seemingly breaks the fourth wall at this moment, discussing the sledgehammer politics at work in a circuitous chicken-or-egg dissertation that establishes “A Serbian Film” as a broad statement about the genocide, political abuse and indoctrinated slavery that infects the people of Serbia. Once Milos becomes aware of an obviously non-consensual situation, he tells Vukmir that he will no longer be the star of the show. The situation becomes a bit hairier as Milos goes further down the rabbit hole, performing the same intense sessions without knowing that a child watches in the distance, cheering. Beyond the pale for the average person, though for the experienced thespian, just another day at the office.

And when his brother finds nothing in an attempt to reference Vukmir’s priors, Milos is set to drop his drawers for the camera once more.Īt first, Milos understands Vukmir’s form of pornography as transgressive in its ugly violence and button-pushing heterosex imagery, blindly entering scenarios where he is meant to employ heated, confrontational methods of seduction to ravage women chained down, restrained, unable to express themselves save for the screams of pain and anguish. A self-proclaimed artist, the diminutive, bearded showman uses endless hyperbole to excite Milos about the chance to make “real art.” But when Milos balks at Vukmir’s relative obscurity and the disquieting refusal to disclose the film’s plot or content, it takes the heftiest paycheck he can imagine to enter the fold. And he’s in line for the biggest: a chance encounter with an old friend leads him to the doorstep of filmmaker-slash-provocateur Vukmir.

Without a necessarily negative opinion of the industry (his darkest expectations of the pornographic world extend to bestiality), Milos is open to earning a bit of extra cash with a return to skin flicks, although he has no interest lest the payday be big.

A serbian film worst scenes