Srpski film by Srđan Spasojević

[lou benny]

cripe javi kad bude ta projekcija o kojoj pišeš

[crippled_avenger]

Johne, verovao ili ne, ali na potpuno smo istoj liniji, ja sam u razgovoru i predlagao varijantu sa redirection pointima, naravno, ili još bolje sa prevozom na undisclosed lokaciju a to je realno izakcijati sa tom cenom karte. Mislim da je u ovom trenutku, sa NEKOLIKO dobrih sala u gradu, zaista realno napraviti foru sa redirection pointima i da je to baš pravi high concept koji će u najboljem smislu stvoriti štimung za gledanje filma.

Hajde da pokušamo da to organizujemo. Ali, bilo bi dobro kada bi se ovaj entuzijazam očuvao i kad stvar dođe do realizacije, da ne bude cop outovanja posle. Možda da napravimo neku mailing listu preko koje bi se ljudi skupili ili tako nešto.

[Джон Рейнольдс]

Razmišljao sam o prevozu ali to je ipak malo preterano bez nekog oplemenjivanja enterijera vozila, što je već poduhvat. Inače, izgledalo bi kao neka ekskurzija, ja bih prvi poneo pivo i to više ne bi bilo to. 

Bolji bi fazon bila sala koja nije bioskopska već neki hangar ili tako nešto, ali i za to je potreban veći novac zbog iznajmljivanja opreme. Zato mislim da je redirecting najbolji u odnosu cena/efekat. Naravno, može i bez toga, u svakom sam slučaju spreman da izdvojim tih 666 or something dinara i možeš odmah da me upišeš gde treba. Mada bi bilo lepo da postoji i neki gimmick. Ako si u stanju da pomogneš u organizaciji ili bar šapneš gde treba, učini to.

[Meho Krljic]

Računajte i na mene.

[Mica Milovanovic]

Ako primate penzionere, računajte i na mene...

[Ghoul]

Ako primate penzionere, računajte i na mene...

stariji od 50 godina morali bi da ponesu uverenje od lekara da imaju zdravo srce i pritisak, kao i potvrdu o životnom osiguranju i potpisanu izjavu da filmmejkere oslobađaju svake odgovornosti za eventualije...

[Mica Milovanovic]

Znači, 50 je granica. Uh, jedva se provukoh. Pitanje je kako bih prošao kod lekara...

[Son of Man]

Neko obezbedjenje da se organizuje, da ne cuje ono pravo ZLO pa da bude problema...trece dete, bela kuga i ta ekipa, ne do bog nikom...

[Meho Krljic]

Meni bi bilo do jaja da SF izazove tu vrstu reakcije, pa da bude i šibanja i tako tih stvari.

[Джон Рейнольдс]

Redirecting (nažalost) služi da se (između ostalog) izbegne šibanje.

[Son of Man]

Pa najbolje da nece, ja sam posle premijere presto da pisem i izvestavam o SF na onom forumu, reko bolje da ne dzaram mechku, al ce toga biti sto posto...to je vec uigrana prica, kad nema lova na gejeve i ostale manjine pa logicno je ko je sledeci...iz fazona ako vec ne moz da dovatimo Siptare udri po ovim snuffadzijama...

[---]

računajte i na nas.

inače, bilo bi super da se pošibamo za 666 dinara, ja bih se istakao u prvi plan pa da posle možemo u javnosti dići dževu zbog nasilja nad invalidima.

[Son of Man]

taj rad, taj rad, ali da bude for real, da i mi nabacimo baklje i teleskope, necemo na ruke, necemo na fer, sto bi reko Marlon 

[Джон Рейнольдс]

Sine, oftopik, gde može da se kupi teleskop? Ne mislim, naravno, na onaj za gledanje zvezda.

[DušMan]

Razmišljao sam o prevozu ali to je ipak malo preterano bez nekog oplemenjivanja enterijera vozila, što je već poduhvat. Inače, izgledalo bi kao neka ekskurzija, ja bih prvi poneo pivo i to više ne bi bilo to. 

Ja ću poneti vutru... 
Sad još samo neke ribe da nabacimo i to je to, brate...
Realno, ribe koje bi išle s nama na exkurziju zvanu "Srpski film" bi sigurno bile spremne da daju sve od sebe...

[Son of Man]

Sine, oftopik, gde može da se kupi teleskop? Ne mislim, naravno, na onaj za gledanje zvezda.

U army shopu, oko 2 hiljade kosta, mada ima i onaj duzi od 3,5 soma...

[borkes]

Evo, ja dajem i 6666 dinara za kartu, samo da pogledam film!!!

[lou benny]

ne, posle ovakve vrhunske sabornosti forumaša bi bilo krajnje lejm da se ne organizuje bar jedna takva projekcija... cripe gledam u tebe

možda da bude neka kapara - 200-300 din?

[Vampirella]

Count me in!

Viljo? Acacia?

[Bobby Peru]

Javljam se k'o obezbeđenje dok ne počne film (ako uopšte postoji entuzijazam...čuvati u strogoj tajnosti dok se akcija ne odradi)

[lou benny]

priznajem da nisam pratio temu od početka ali evo link za zvanični sajt filma

http://www.contrafilm.net/sr/pocetna

ako je neko već kačio izvinjavam se

[Kunac]

Javljam se k'o obezbeđenje dok ne počne film (ako uopšte postoji entuzijazam...čuvati u strogoj tajnosti dok se Acacia ne odradi)

Zaboga!

[Meho Krljic]

Verovatno je mislio "odredi", as in "odluči".

[Kunac]

Onda je u redu. 

[Kunac]

Inače, bacio sam letimičan pogled i sajt izgleda svetski. Glede projekcije SF-a... Posle ovolikog hajpa mislim da je pitanje časti svakog fandomaša/sagitaša da overi film... pa čak i ako bude bilo potrebno da se plati tih 666 dindži.

[Kler_Vojant]

Inace, nisu preveli stranicu NEWS na engleski...previd...a i mogli su malo da optimizuju one fotke iz galerije, takodje nema wallpapera i dzidzabidza...

[mac]

U spisku uloga ima naših slova u imenima glumaca, ali nema naših slova u nazivima njihovih uloga.

[Kunac]

Komantari na tekst koji se pojavio na B92 su, očekivano, priceless...Igranka bez prestanka.

http://www.b92.net/kultura/komentari.php?nav_id=418377

[Джон Рейнольдс]

Zasto gradjanska, suptilna Srbija ne moze da dobije podrsku da napravi film koji ce naterati druge da spoznaju onu drugaciju stranu Srbije ili jos bolje, Srbije u kakvoj bi mi voleli da zivimo, da se menja. Dosta jednostranog, prenaglasenog realizma. Hocu mastu koja mi u zadovoljstvu golica nerve. Bas sam poseban, hocu nesto drugacije.
(A: Lepota kao inspiracija, 17. mart 2010 22:22)

Peder, sto posto. 

[Melkor]

I to je legitimno, ljudi snimili SF a on bi fantasy.

[Le Samourai]

Ja cu poneti dobro raspolozhenje.

[Ghoul]

JOŠ 3 SUPERLATIVNA RIVJUA - GHOUL-CHECKED, SPOILER-FREE, SLOBODNO ČITAJTE:

Serbian Film (Srpski Film) (2009)
SXSW 2010
http://www.brutalashell.com/2010/03/film-review-serbian-film-srpski-film/

Directed by: Srdjan Spasojevic
Written by: Aleksandar Radivojevic
Studio: Contra Film
Review by: Britt Hayes
I'm going to be honest here: before SXSW, I hadn't watched a trailer for any of the films playing. Part of me wanted to avoid having any expectations going in and be genuinely surprised. But then a friend pointed out the trailer for Serbian Film. As soon as I saw the trailer, I knew this film was something special. Serbian Film would be unlike anything I had ever seen.
And I was right.
Milos (Srdjan Todorovic) is a semi-retired porn star who only makes a film when his family (wife Maria and his adorable son) is teetering on broke. Then he gets a call from his old porn partner, Layla, who has a once in a lifetime offer for him. There's a new director in town named Vukmir who is looking to make a high-art, high-concept, more "realistic" porn film, and he wants Milos for his fabled ability to get and maintain an erection without any visual or physical stimuli. Milos meets with Vukmir in a sprawling mansion-style home, where it becomes clear that Vukmir is well-connected, to say the least. Vukmir vaguely explains his concept and says that there is no script, but assures Milos that he will make so much money from this one film, that his son will be taken care of for the rest of his life. So Milos signs the dotted line.
The next morning Milos is picked up and taken to a warehouse where he is given an earpiece by his driver. A voice whispers each move in his ear, and he follows. It seems harmless and sort of banal at first, until a little girl shows up and things begin to get a bit violent with a co-star. It's here that this high-concept porn film rapidly disintegrates into something sinister. Milos decides this isn't for him (the first and probably only good idea this guy has during the whole movie), but when he tries to back out, things go from awful to...a word that hasn't even evolved in our vocabulary yet. Fucking terrible? Appalling? Disgusting? Horrifying.
Serbian Film is not for the faint of heart. You can put a disclaimer at the beginning of a film ("Keep telling yourself 'It's only a movie!'"), but more often than not people are not going to take it seriously. If anything it's a reinforcement of the old adage: tell a kid not to do something, and they're going to be more inclined to do it. We innately desire what is forbidden, and that is just one of the many ideas that the filmmakers touch on here.
I don't know much about Serbia. I know it's a nation that has been rife with conflict for a long time, but here in good ol' 'Merica, we don't usually talk about Serbia (you know, because they don't have anything we want). When listening to the filmmakers talk after the screening, they were passionate, well-spoken, and had a very clear vision and intention for the film. Serbian Film is not a piece of cinema that seeks to be obscene for the sake of obscenity, and it's not a film that's all about shock value with no merit. This is a politically, emotionally, socially, and artistically charged movie. Would I want to see some of the same content in other films? No. But I do want to see more filmmakers this passionate and fearless about their subject matter.
To say that the content in Serbian Film is rough would be a severe understatement. There are images here that no other filmmaker would dream of putting in a film, and if they did, it's a dream they'd keep to themselves. Imagine everything they would never put in a film – whether it's a horror film or not is irrelevant – and it's found its way into Serbian Film. I've heard people say that the filmmakers have crossed a line. I'm not going to argue that point because they clearly have, but I believe that in doing so they not only made their point, but they did a damn good job of it. I don't question their choices because they don't feel hollow and devoid of meaning. This is an angry film made by very angry people, inspired by their relationship as a people with their country.
There's also some interesting commentary on what it means to be a family, and what you sacrifice for their happiness only to destroy them and yourself in the process. The filmmakers explained during the Q & A that the landscape of European cinema as they know it makes it nearly impossible to get a film made. Backers want a victim, and that victim has to have a confession as to what made them a victim. Vukmir clearly represents European cinema and its need to victimize, with the client he's making the film for representing bureaucracy – there's always an asshole that's bigger, more important, and more in charge than you. There's also some commentary on entertainment and how far people in that industry will go, or feel like they have to go, to please an audience. I think this part of the commentary is universal, and it's the same kind of finger-wagging that Michael Haneke has done in the past. As an audience we are insatiable. No amount of violence or sex is or ever will be enough, and Serbian Film shows us all of those things we don't even want to consider.
As a commentary on victims and victimization, the filmmakers are almost saying "You want a victim? We'll give you a dozen of them, and we'll victimize them so bad that you'll never want a film about victims again." Some metaphors in the film are so clear that you can almost see an arrow pointing right at them. I can't get into details because I don't want to spoil the film for you, and chances are, you wouldn't want to hear about it anyway.
It's hard to recommend Serbian Film to anyone because the content is so brutal, but the message and the motivations behind it are genuine, passionate, and should be taken seriously. This is a very important film, and I know I'm not alone in saying that I felt privileged to see it. More importantly, I felt privileged to see it unedited, the way the filmmakers intended. The Fantasia Film Festival recently picked up Serbian Film as part of a trio of subversive Serbian films they'll play. I'm anxious to hear the response out of our neighbors in Canada, particularly because I don't foresee Serbian Film getting US distribution in any form. I spoke with writer Aleksandar Radivojevic last night and asked about a DVD release. He seemed rather optimistic about getting it released, and said that he's already had a few interested distributors step forward with offers.
When Tim League (owner of the Alamo Drafthouse) got up and said this was one of the most fucked up movies he had ever seen, we all knew we were in for something rough. Tim is a guy who has had a life-long mission to seek out and watch some of the most depraved pieces of cinema ever captured. If you don't think you can stomach this movie (and not many people can), then don't watch it. This film is not for everyone. But if you find that you can sit through it, you'll walk away appreciative. Even if you are repulsed by the content and disagree with the delivery of the message, you will still find Serbian Film to be ultimately important – as a piece of cinema, and as a platform. Another thing I think everyone can agree on is that the film is beautifully made. Shot on RED, it's executed perfectly and absolutely gorgeous. The music, sound editing, and actors all combine with the cinematography in one of those rarely seen but highly coveted and impeccable end results. Love it or hate it, Serbian Film is well-executed and well-played.
It's a film that I want to show to people, but not because I want them to witness such horrible atrocities. I want to show this film to people and get them talking about what it is to them, what it means, and how much it impacts them on a conscious level.



SXSW Review: A Serbian Film
Posted by Landon Palmer (landon@filmschoolrejects.com) on March 17, 2010

http://www.filmschoolrejects.com/reviews/sxsw-review-a-serbian-film.php

The two midnight screenings of director Srdjan Spasojevic's A Serbian Film that have taken place so far here at South by Southwest have already flirted with a degree of notoriety, both within the fest and elsewhere. The first screening even got a write-up in the Wall Street Journal, the one where the owner of the Alamo Drafthouse, Tim League, who brought the film to SXSW, led the filmmakers and five select attendees in a special type of tequila shot in order to get energized for the screening. I was a member of the audience at this premiere screening, and if you're wondering why I'm discussing the circumstances of my viewing in the context of the screening itself, it's because my experience of seeing this film and the subsequent meaning I took from it, perhaps more so than any other film at the fest or elsewhere, was so overtly determined by the context in which I saw it, a context that needs to be transparent in order for me to write an honest review.
The film centers around a veteran porn star named Milosh who, in order to take care of his family, returns to the business to star in a progressive work of pornography by a supposedly genius filmmaker. When he shows up on his first day of shooting, he is followed by bodyguards holding videocameras and reluctantly subjects himself to a few despicable acts only under the assumption that everything he's involving himself with is staged, but he quickly finds himself in too deep in a plot by the director to manipulate Milosh into performing horrendous acts that are difficult to describe, let alone see carried out on screen. In interest of allowing those who haven't seen the film to experience its full intended effect upon first viewing, I won't give away any details regarding what happens. But I will say this: I've subjected myself to a lot of shocking films. In contrast to what was buzzed about them, I found Antichrist, Salo, and Irreversible all somewhat easy to endure. A Serbian Film, I can safely say, is, content-wise, the most shocking film I've ever seen in a movie theater.
A Serbian Film is intended as a broad allegory. I know this because the filmmakers in attendance iterated this point time and again before and after the screening. Would I have picked up on this otherwise? I can't say. Serbian Film does suggest a degree of thought going on behind the episodes of abhorrence occurring on screen, but I can't safely say that a national allegory would be what a given spectator takes away from a cold viewing.
But in seeing it within this context, the metaphorical intent is clear as the two most popular definitions of the term 'fuck' are conflated here into one. Milosh gets both fucked and fucked-over, and in turn does the same to others as, say, a corrupt government may do to its people or inspire its people to do to others. In other moments that I'll refrain from discussing in detail here, the allegory conflates these two definitions of fuck in far more disturbing ways. Thus, the film's title subversively operates as correlating a horrifying filmic product with a nation that would no doubt reject that product.
There is a lot to say about A Serbian Film, and whether or not this exercise in allegory truly works in its entirety. While I do believe that the film contains shock value not just for it's own sake, and while I give my due regard to the thought and intents put behind this challenging piece of cinema, I have two major problems with the film.
My first issue is that the allegory only works broadly, not specifically. The entire story of the film is a generally encompassing analogy of the experience of being perpetually fucked by the government, but only a few specific instances of what Milosh endures can be said to carry meaningful specifics that further inform the events within the film's allegorical correlation with the history of Serbian social reality. The events of the film were deliberately constructed with allegorical meaning, yet meaning often gets lost when considering the extensions of the allegory not within the greater scope of the film itself, but in terms of individual events and details. (Also, if this is an allegory of national oppression, then what is the purpose of the video cameras and the implied distribution of a finished film? Wouldn't the end product of the pornography being made serve as vast evidence of oppression, in contrast to the intents of secrecy typical of tyrannical government powers?)
This ties to my second point, the fact that A Serbian Film is also a thoroughly aesthetic experience, forgoing the grittiness of documentary realist filmmaking that typically characterizes films of socio-national relevance with a particularly sleek visual and aural aesthetic. While what is seen on screen contains is intended to be reprehensible, the stylistic choices are, admittedly, aesthetically pleasing. Spasojevic and company show a remarkable ability to frame any given scene with a well-honed and consistent visual style, an impressive feat when considering that this is the debut feature for most of those involved with the production. It is in this vein that I think A Serbian Film runs an oscillating gamut never transparently admitted by the filmmakers, one which marries the shock value we seek through exploitation and (horror) genre filmmaking with the intents of national allegory. Thus, some events operate within Serbian Film through allegory, while others suggest a desire by these filmmakers to exhibit such events because they wanted to see them on film in a way consistent with how genre and exploitation typically operate.
Thus, A Serbian Film possesses the danger, in part, of justifying exploitation through genre rather than acknowledging the far more interesting (albeit uneven) union of allegory and exploitation possibly going on. Everybody in that midnight showing of A Serbian Film understood the shock value of what we were about to witness, and attended inferentially for that reason, even if the film went far beyond what we expected in terms of content, so there is an appeal towards exploitation that this film holds whether it wants to or not. I'd rather the approach by the filmmakers and within the film itself to be as transparently proud of A Serbian Film's exploitative intents as they are of the intended allegory within it. The film suggests these two elements are mutually exclusive. They aren't.
While A Serbian Film may work partly as an allegory and partly as an exercise in exploitative genre filmmaking (the awkward middle ground of the film, as I see it, lacks in both realms), it hardly works at all as a story on its own. The problem with incomplete attempts at allegory in film is that they eventually lose the story in total favor of exterior meaning. By the end of A Serbian Film, the evil intents of the director with regard to what he wants to achieve in cinema (is he seeking a greater pornographic cinema, or simply manipulating Milosh? The film never decides) are murky to the point that he surrenders being a character to becoming an object of pure symbolism. In effective allegory, characters should simultaneously be both. As I said before, there are many things to say about A Serbian Film, and in some ways its inherent contradictions and inconsistencies make it a more interesting film than it would have been otherwise.

[Ghoul]

SXSW Review: A Serbian Film
03.17.10 By: Luke Mullen
http://www.horrorsquad.com/2010/03/17/sxsw-review-serbian-film/


Context is often your most powerful ally when faced with something you don't understand. And in that vein, a little context is probably best presented before diving into a movie like A Serbian Film. Alamo maestro Tim League was disturbed and blown away by this film. Here's a guy who watches countless movies at film festivals around the globe as well as on screeners that filmmakers send him in his capacity as co-founder and head honcho for Fantastic Fest and the SX Fantastic slate that runs during SXSW. Tim's the guy who fought to get Pascal Laugier's Martyrs shown at Fantastic Fest a few years ago. The man has seen movies that have never seen the light of day in most places. And he got up on stage during this film's introduction and admitted to flinching more than once based on the explicit horrors depicted in A Serbian Film.

The basic setup is that Milos, a former porn star, has retired and settled down to start a family. But his savings won't last forever, so when a former co-star approaches him with an opportunity for a big payday if he'll shoot a high-concept porn film for a mysterious producer/director, he finds himself saying yes despite his numerous reservations. Milos meets with Vukmir, the mastermind behind the plan, and he signs a contract to appear in the film, despite Vukmir's refusals to tell him much of anything about it. Vukmir is obsessed with exploring the boundaries of art and film through pornography, and even though Milos is uneasy about the arrangement, the money is simply too much to pass up. With his responsibility to provide for his family weighing upon him, Milos finds himself tumbling down the rabbit hole.

This is a film that wears its metaphors on its sleeve. The subtext is so prevalent that it may as well just be text. In fact, things are so apparent that the story and the allegory are almost inextricable. The film uses pornography as its main weapon, and as such it doesn't take a huge leap to see how the screwing on the screen represents a people being screwed over through the war atrocities and government oppression that have ravished Serbia in the last twenty or so years. I'll be the first to admit that I don't know exactly what's happened in Serbia over the past two decades, but I do remember the war in that region and I can only imagine what the political fallout has been like. to my eyes, however, it's painfully obvious that the filmmakers have been through the fire. This film is their emotional response; they're angry and filled with rage; and they're sick of feeling helpless about it. It's the cinematic equivalent of standing up and screaming at the top of your lungs, desperately hoping to find a way to get a piece of your humanity back.

A Serbian Film will probably end up being labeled and pigeonholed for its extreme graphic content. And while that is certainly a part of the film, that's not nearly all that's going on. In fact, the first 35 minutes of its 99-minute running time, A Serbian Film plays like a supremely well-structured dark thriller. The producers cited a de Palma influence in their introduction, which is definitely there, but even more prevalent is the influence of David Fincher, with certain scenes very reminiscent of his 1997 film The Game. But despite its relatively tame beginnings, the story is clearly ramping up, building slowly but surely to what you know in the back of your mind must be some of the worst experiences you'll ever witness. And when the movie gets there, it delivers in spades, over and over again, crossing virtually every moral boundary there is.

The graphic content is the hinge point. Not only will it be at the forefront of most discussions of the film, but in many ways it may also be the reason most people see it. For better or for worse, A Serbian Film will become infamous for its brutal scenes. Those moments will also be the biggest criticism of A Serbian Film, with its detractors questioning the validity of including such content and asking why it's there in the first place. It makes sense to wonder if certtain horrors could have been more implied than explicitly shown, but the question of whether or not the filmmakers had to go to such extremes to get their point across is frankly moot. Obviously they felt they did have to go that far and the film must be judged on what it is and not what it might have been. As it is, it's a brutal assault on the senses that hits you like a punch in the gut.

A Serbian Film will inevitably be compared to other noteworthy genre films like Irreversible and Martyrs. It's only natural, I suppose, to discuss which film goes farther or hits harder, but I think it's relevant only inasmuch as it factors into whether or not A Serbian Film will hit you the way the filmmakers want it to -- like a brick wall. Most audiences these days, even mainstream audiences, have seen a fair bit of extreme violence and have become desensitized to a certain degree. And the filmmakers are clearly aware of that, as this issue is tackled directly in the film. But I have to say, no matter what you may have seen previously as a viewer; this film will challenge, shock, and probably even repulse you.

This is a brilliant film. There are no wasted scenes. From the first sequence that establishes the generational divide and the discovery of the sins of the father, each scene is note-perfect in escalating the film to a fever pitch. Content aside, on a purely technical level, this film could be released in theatres tomorrow. It's a beautiful film, amazingly well shot, with clear stylistic influences from '70s grindhouse to giallo. It is a mind-blowing, visceral experience that, days later, I still can't get out of my head. It has sparked some of the best and longest discussions on art and film of the entire festival. A Serbian Film hit me like a shot of adrenaline to the brain. Emotional, angry and intense, this is one of the best films I've seen in a long time.

[Melkor]

#2 i nije nesto superlativan.

[Le Samourai]

I want to believe.

[Ghoul]

#2 otprilike pokušava da artikuliše zamerke slične nekim mojim rezervama koje imam prema SF-u, a to je - da je taj nedvosmisleno autentičan i iskren KRIK ipak pomalo neartikulisan (kao i svaki krik, je li - inače bi to bilo pevanje a ne urlikanje).
naravno da zaplet nema mnogo veze s logikom, bukvalno posmatrano; ali, metaforički gledano, mislim da film pije vodu, i da čak i besmisao i iracionalnost tog njegovog mikro-sveta zapravo savršeno pristaju nečemu što se zove SRPSKI film...

ipak, sve ću te teze tek da razvijem u esejističkoj formi - nije to za prikaze.

[Bobby Peru]

Zato ja ne' da čitam ničiji rivju pre gledanja...za svaki slučaj...
Nego od "Igranke bez prestanka" ipak je najjače :
"Duboko se nadam da OVO nikada nece biti prikazano u normalnom bioskopu.
"Srpski film".
More, trebalo bi 'srpska motka' da radi pa nikada vise ne bi zloupotrebljavali srpsko ime na takav nacin."

[crippled_avenger]

John
Meho
Ella
lou benny
Mica
Zika
borkes
Bobby

Za sada nas je osam plus bih ja kontribjutovao, i plus imam jednu prijavu na PM, dakle 10. Jel hoce jos neko? Pa da javim koliko imamo ljudi Nikoli i da vidimo. Ali, pazite, ja sam u fazonu - u sali samo ko je platio, ne treba prihvatiti neku varijantu da damo pare a oni nas uvale na projekciju sa ekipom.

[acaciA]

zaboravio si DušMana. 

[Melkor]

Sumnjaju neki da nosi nas pogrešan tok,
jer slušamo ploče i sviramo rok.
Al' negde u nama je bitaka plam,
i kažem vam, šta dobro znam:
računajte na nas.

[crippled_avenger]

A night I can't remember
A boy I can't forget

Nisam siguran da se DušMan decidno izrazio želi li da učestvuje u tom misteriju. Možda se plaši da ga lakomo neko ne žrtvuje računajući na njegovu neiskvarenost.

Melkor je oficijelno 11. čovek.

[Milosh]

U tom slučaju ja ću biti dvanaesti (žigosan, gnevni čovek...). Sad se čeka srećni trinaesti, to može taman da bude Dušman...

[acaciA]

a, ne, ne... ako je broj 13 u pitanju, to ću da budem ja.

[lou benny]

ja mogu da nađem sigurno još jedno 3-4 ljudi ako je do broja

[Mark]

A je li postoji neki okvirni datum kada bi mogla biti ta projekcija?  Ovako na slepo tesko je reci ko sve moze da dodje ...

[Melkor]

Sat i 6 minuta pre projekcije, kripticni sms-ovi bice poslati sa anonimnog broja. Ko ne bude spreman...

[lou benny]

missed call 

[Kunac]

Treba natempirati da projekcija bude za vikend. Tako je zgodnije za većinu.

Samo, da se ne završi sve kao u Tarantinovom poslednjem filmu (ili, još preciznije, u Miloshevoj poslednjoj priči)? SF je film visokog rizika, to već sada nije sporno. Šta ako u ljudima probudi agresiju?

[Son of Man]

Zar treba da se prijavaljujemo za ovo ?  

Evo i ja se prijavljujem zvanicno...

I da, pobratim Collapse takodje, on cita ZS a ne pise, znaci 2 komada ovde...

[cutter]

hoću i ja