There comes a certain point when a true fan of horror might find themselves drawn to the darker and more disturbing corners of the genre. Sometimes, as with a lot of Gen X’ers, it came with easily accessible VHS titles like FACES OF DEATH and TRACES OF DEATH in the 80’s and 90’s, or CANNIBAL HOLOCAUST (which is still credited as one of the most controversial, gnarly and gory films of all time).
In other instances, after many years of consuming too much mainstream horror, or finding themselves in a repetitive cycle of watching the same ten or twenty movies over and over again, the horror fanatic will seek out the more “perverse” elements in the landscape of cinema and literature. Looking for censored and banned media with a small word of mouth cult following.
For some it’s a matter of “paying their dues”, the idea of accepting a dare, or they just want to see if they can actually be scared by a movie. Is their internal moral compass and sense of right and wrong still in check? Are they completely desensitized or can they still feel uncomfortable or even downright grossed out while watching a horror film?
I find myself to be a hardcore fan of horror, as well as somewhat of a student on the subject, so I like to check my own gauges and compass from time to time and make sure that my brain and heart hasn’t completely rotted to the core and made me immune to feeling uneasy or disgusted after watching certain cinema. I’m not talking about snuff films or true crime scene footage here, but actual cinema (films made for the purpose of pushing boundaries).
I recently found myself watching the 2010 exploitative terror/drama A SERBIAN FILM, directed by Srdan Spasojevic. The movie was filmed and produced in Serbia, and stars Srdan Todorovic as a famous, yet down and out porn star who seeks to retire from the business to care for his wife and son and have a normal family life. However, he’s given an offer he can’t refuse by an underground filmmaker which would provide enough income to make him rich beyond imagination, allowing him to finally put the past behind.
What slowly unravels (and not to give too many spoilers in this review) is a degenerate and perverse underbelly filled with rape, pedophilia, incest, bestiality, torture, murder, necrophilia and sex slavery. Yet, somehow, deftly and with worthy performances and direction, all of this taboo subject matter is elevated to something which manages to, unbelievably, become important social commentary.
I’ll admit to not knowing what to expect. The film was originally rated X and had several minutes cut in order to receive an NC-17 classification so that it could be released in the United States. I made it to the halfway point of this film thinking “eh, this isn’t so bad”, believing that the worst was over. We then take a disgusting turn, involving a new born infant (implied and off camera), which completely catapults the narrative into the terrain of disturbing and infuriating.
The film manages to pull forth emotions and make one question not only the nature of horror cinema, but of the actual world around them. We got glimpses of this perverse and all too realistic world with films like Eli Roth’s HOSTEL 1 and 2 which, while they didn’t necessarily invent the genre, definitely redefined the idea of “torture porn”. Of course there have been many others over the years, notably with I SPIT ON YOUR GRAVE, THE HILLS HAVE EYES, or LAST HOUSE ON THE LEFT.
Yet, the most horrific thing that A SERBIAN FILM manages to do is hold up a satirical mirror upon society, revealing the cracks and scars of what’s taking place every day behind the scenes. It is both an exaggerated caricature, as well as a lifelike portrait, and that is what is truly grotesque and terrifying.
A SERBIAN FILM is just that, a film and piece of cinema. I’m not saying it deserves any awards, and it’s probably not something I’ll ever watch again. It was created with a political message and note of social commentary, and it’s completely understandable why it was banned in many countries. An utterly depressing and tragic movie that doesn’t let up, even as the final credits are rolling; a whirlwind descent into despair and the sickness of society.
It is a message of consumerism and exploitation of the weak and desperate. It’s a play on the power structure of wealth; a warning and can of worms to be dissected at viewer discretion. Subject matter not for the faint of heart or easily offended with a visceral impact that lingers on the viewer like a scab.
All that being said, it’s a trashy film in the most brilliant and despicable sense, and might be perfect for those looking for something challenging and off the beaten path. There’s a reason why this piece often shows up on lists of “most disturbing films of all time”, and serves as a sort of measuring stick by which horror fans challenge each other and themselves.
This definitely isn’t a “pop corn date” movie or one that you’d want your 12 year old kid to watch. It’s a film that demands further thought and attention, a self reflection on personal values, and that is often a rarity when it comes to horror cinema.
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Michael A. Dyer is the host of the HORROR TO CULTURE podcast and website.
