Jorgovani

The movie brings us a story about a marital couple of actors staring in a popular TV series. The husband gets involved with a young actrice and his wife finds out about it during a party.

Another film about actors with no real plot, in the manner of Once Upon A Time in Hollywood, which was also boring, presumably to most people who are not a part of movie industry.

Ivan Bosiljcic is as pathetic as ever portraying Igor, the main character. This has been his style for most of his parts.

Sloboda Micalovic does her job correctly, but screenplay doesn't give her much opportunity to shine.

Gordan Kicic, an annoying as he is, got a part that suits him greatly - a hypocrite director, pretentious and shallow.

Mima Karadzic playing a primitive homo nouvos with a deep pocket is like a shark in the water, in his element.

Young actrice, Igor's concubine lacks both beauty and class. I guess the author wanted it this way.

Okiljevic gave an homage to Peter Lohr's Igor, the butler of Count Dracula. Not so badly as one could expect from such an repulsive man.

The movie has a refrence to "Maratonci trce pocasni krug", when Bosiljcic says "Sad malo ona!".

All in all, the movie isn't worth the ticket money.

Directed by the young Sinisa Cvetic and penned by the even younger writer David Jakovljevic, "Jorgovani" show us the lives of two actors entangled in a long-term private relationship. As they attend an awards ceremony for the best TV series, we witness the fragility of their bond. The film also explores the intricate dynamics between directors, producers, writers, and the evening's "stars" at a seemingly ordinary industry event.

"Jorgovani" breathes fresh air into the Serbian film scene, diverging from the familiar genre. Unlike previous failed attempts at satire (remember "Munje: Opet!"), this film successfully employs humor throughout. I found myself constantly smiling, appreciating its clever critique of everyday cinematic products. The movie sheds light on how people wield authority within the film industry, not only in Serbia but through entire cinematic world which gives this film necessary artistic width.

While most of the viewers may not fully grasp the film's purpose, I believe the marketing strategy was brilliant. By capitalizing on audience expectations-built over years of exposure to certain cinematic norms and from trailer itself-the film cleverly engages viewers. The infamous scene tailor-made for social media buzz is a testament to this approach. Personally, I find it gratifying, even if it deviates from the conventional playbook. After all, this audience participation contributes to the film's success, encouraging that we want more films like this (no matter what reviews say).

My sole criticism lies with the lead roles. In my opinion the actress portraying his wife is expected to embody an older character, while Ivan Bosiljcic, whom I generally admire, doesn't quite fit the mold of a male lead. However, this minor flaw pales in comparison to the film's overall impact, and they as actors were necessary for this film to achieve its goals and profit.

In closing, I celebrate Serbia's acquisition of a film brimming with intelligent humor and skillfully executed frames-something we only see on the global stage. "Jorgovani" steers our artistic compass toward satire, a direction we've sorely missed for far too long. I'm proud on young generation that came up with this film and its idea as well as young actors who were phenomenal.

P. S.

Okanovic's transformation from fake invalid to common thief was fantastically executed.