La vie est un miracle!

A typical energetic work from Emir Kusturica who allures us into his bizarre world inhabited with eccentric and weird human beings. Characters as they are exposed to us seem quite unnatural but as the movie gradually absorbs one gets used to and cares about them. Kusturica harmoniously blends comedy with drama and the result is an enjoyable and entertaining movie despite being built on a dramatic theme. The landscapes in the movie are breathtaking and an offbeat music has always been an integral part in Kusturica's works. Some elements might seem repetitive from his previous movies but I would rather infer those elements as a stamp of a genius. The only thing that almost spoils a delightful experience is an actress portraying Luca's wife. I could not swallow her annoying grimaces no matter how hard I tried. Her scenes apart, the movie is a pleasure to watch.

Life is a miracle-a great title for a great movie

Kusturica has the talent to give us a film that will make the saddest person smile and think to himself that life is really a miracle, while it lasts, and we should enjoy every second...the movie transports it's viewers to a typical Kusturica world, full of music and dreamy situations. He tries to show us that life is not written in a straight line, that the most unexpected events like falling in love in the most dreadful scenario (i.e. war) can happen when you least expect it.

A film that touches the human soul, that will make you cry as well as laugh... just like real life.

This is the best Kusturica's film i have seen. I was very pleased and smiling when i got out of the cinema. It's is very nice to watch that, being always himself, the director was able to improve his style and understand the most powerful elements of each of his previous films, so this time he mixed the lightness and joy of "Crna macka, beli macor" (black cat white cat) with the seriousness and dramatic feelings of "underground".. plus a romance, which is truly explored for the first time in a Kusturica's film, and with high sensitivity i must say.

So, in this one the scenery is a typical Black cat, a almost wild village near the serbia - bosnia border, where a railroad is being built, in the middle of a feeling of pre war. Here we find the main character, this humble man with a (devily insane) wife and a son. Things move forward and he looses both when she escapes with some Hungarian and he goes to war where becomes a prisoner. Than we have the last important character showing up, Sabaha (performed by a dazzling Natasa Solak, truly beautiful). Around this context Kusturica builds a very intense psychological diary of the man, who has constantly to decide whether to save his son or stay with his love (you'll understand how when you get to watch the film), as well as to deal with his returning wife vs his new lover. Better to observe that in the film than to talk about it. Apart from that you get a lot of Kusturica elements and typical way of making laugh, such as through a mule who is constantly trying to commit suicide in the railroads or the fantastic scene in the football game. In opposition to this you have this scene where Luka (main character) desperately grabs his son foot ball and cries over it. Powerful. Mixing the beautiful Balcan's landscapes and the ambiguous, but typical and enjoyable "no smoking" soundtrack and never loosing the posture of portraying ex yugoslavia social environment (like in the references to Tito, ex dictator of the balcans), kusturica creates this romantic but also dramatic comedy, which is the most difficult thing to put in films, as far as i observe. You have in this one that strange laughing/crying effect you find in for instance La Vita e bella or in most of Chaplin's movies. You spend the movie laughing but suddenly you feel very sad, and disturbed and understand you saw something sensitive and great...

From time to time pace gets to slow and if the film was 15 min shorter it wouldn't be worst. Apart from that it's a powerful European creation. It's Kusturica for sure. 8/10

There is no film maker today to bring to screen the beauty and madness of the Balkans like Kusturica does. 'Life is a miracle' will be seen in time, I believe, as the ultimate film about the Bosnian war.

The main character Luka (played by Slavko Stimac) is a train engineer, building a railroad in a remote corner of Yugoslavia, near the Bosnian border. It's the end of the communist rule, and lingering ethnic conflicts start showing up and replace the patriarchal life. When war breaks, Luka's son will be drafted into the Serbian army and fall prisoner, while his wife runs out with a Hungarian singer. The conflict around that he tried to ignore by work, partying and booze invades his life. And still salvation is out there, the day a beautiful Bosnian prisoner (yet a neighbor of yesterday) shows up Luka will build a plan to make an exchange of prisoners between her and her son, but soon will fall in love.

Kusturica succeeds to paint in naive painters colors a world that slowly slides from normality into madness, where neighbors become enemies, and violence the rule. He is funny and exuberant, but his humor is the humor of the fool of the village, and his exuberance is the exuberance of desperation. As in many great movies it is love that redeems and brings back human feelings to where they should be. Kusturica builds a world of characters who are tragic and funny, colorful and overall avid to live a life despite of the vicissitudes of history.

Wonderful.

Life is really a miracle, or rather some miracles. And one of them is to realize that at least one director, despite of the lack of ideas, capabilities, culture and courage nowadays creeping through the modern cinema background, can still shoot such wonderful masterpieces. Kusturica perfectly draws scenes and characters, plays with music and animals, skilfully weaves the plot and cover the whole lenght of the movie with something magic that only a Jugoslavian can create. This is film obviously shows also a dramatic and harsh reality, but always relieved by a light-hearted approach to life.

I do not really understand how can someone assert that this movie is a copy or a repetition of previous Kusturica's ones. Should have any sense, for example, a critic to the great Kurosawa because some of his genial masterpieces are similar one another or since they deal always with samurai's stories?