A Serbian Film is one of the newest and apparently most grotesque of the kind of protest-sparking, boundary-pushing horror films that always make waves. This particular film, which follows a retired porn star who slides back into the industry under a bizarre contract to support his family, has accumulated a particularly massive amount controversy with its premise that comes a cross as a more interesting version of Saw that exchanges violent death-traps for violent sexual-scenarios, all in service to a tortuous look at the corruption of the powerful.
We’re pleased to be one of the first to bring you the UK-specific trailer, announcing the film’s release into cinemas on the 10th of December, and on DVD/Blu-ray the 3rd of January. Check it out…
The filmmakers have also launched a new website to celebrate the film molesting its way into the UK, with plenty of materials and a big collection of reviews and articles detailing the fervor over the films’ content.
I don’t want to say I’m “looking forward” to seeing the film exactly, but I am desperate to get my hands on it. Hopefully we’ll be able to bring you a review that deeply analyzes and critiques the baby shenanigans and bedtime wonders that supposedly make up the film’s crazier moments. This is all assuming I don’t watch A Serbian Film and start to cut off my own pieces.
I wish I had more news about an American presence for the film beyond festival appearances, but alas- not yet. We’ll certainly keep you updated though… Until then, enjoy the full synopsis, enlargeable poster and stills below.
Milos (Srdjan Todorovic) is a retired porn star leading a normal family life with his wife Maria (Jelena Gavrilovic) and six-year old son Petar in tumultuous Serbia, trying to make ends meet. 
Aware of his problems, Layla (Katarina Zutic), a former co-star, introduces Milos to Vukmir (Sergej Trifunovic), a 
mysterious, menacing and politically powerful figure in the porn business who wants Milos to star in his latest project and is willing to pay him a fee that will provide financial 
support to Milos and his family for the rest of their lives. The only condition is that Milos signs a contract insisting on his absolute unawareness of the scripted scenes they are about to shoot. 

Encouraged by his wife to accept the job, Milos turns up for the first day of shooting and is immediately drawn into a maelstrom of unbelievable cruelty and mayhem devised by his employer, the ‘director’ of his destiny. 
It soon becomes apparent that Vukmir and his crew will stop at nothing to complete his insane vision. The only way for Milos to escape the living cinematic hell he’s entered and to save his family life is to sacrifice everything to Vukmir’s art – his pride, his morality, his sanity, and maybe even his own life.


