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Tanović’s direction makes their hatred feel groundless and pathetic. Men of the older generations seem to hate each other for what feels like no reason sure, the dialogue drops hints at who’s communist or anti-communist, but the characters’ individual politics never factor into their motivations or personalities. Tanović, the director of the rather blunt critical darling No Man’s Land (2001), makes no effort to hide the film’s political workings. Martin falls asleep and the cat escapes through the skylight that Martin left open-for much of the runtime, Martin and Azra search together for it while the pending war creeps closer.
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Martin, obsessed with radios, sneaks back into the apartment he was just evicted from through the skylight so that he can tinker with his radios for the night. Divko Buntić (Miki Manojlović), a Bosnian expatriate in Germany, returns home for the first time in over 20 years, along with his fiancée Azra (Jelena Stupljanin) and his sickly black cat.Ī rich and sullied man, Divko immediately evicts his soon-to-be ex-wife Lucija (Mira Furlan) and his son Martin Buntić (Boris Ler), whom he has never been a father to. Though it is set in Herzegovina in 1991, just after the dissolution of communist Yugoslavia and overlapping with the Yugoslav Wars, Bosnian politics are part of the film’s main attraction. Unfortunately, its limited Bosnian audience has, for the most part, confined the title to relative obscurity. Danis Tanovićīosnian filmmaker Danis Tanović’s Cirkus Columbia is one of those hidden gems of modern Eastern European cinema that, had it been made in English, it would have been a serious contender for multiple major categories at the Academy Awards.
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Azra (Jelena Stupljanin) and Martin Buntić (Boris Ler) pause their search for the cat and go for a quick swim.Ĭinema Quarantino is an ongoing series of alternative streaming picks for the self-quarantined and the socially distanced, as selected by the film staff of Boston Hassle.