Srpski film by Srđan Spasojević

[Albedo 0]

pa pokušati da se vidi u kojoj meri Rokovo delovanje komunicira sa etičkim principima zapadnog društva.

što se tiče postkomunističkih društava, mislim da je princip isti kao i u ovom tekstu, tako da može poslužiti kao svojevrstan uvod u Rokopolitiku

[Meho Krljic]

Ovo za etiku mislim ozbiljno. Roko je u neku ruku kvintesencijalni kapitalista/ eksploatator, ali s druge strane, bez UGOVORA ne bi mogao da uradi ništa, kao ni bez stalnog dotoka svežih mladih žena koje pristaju na u najmanju ruku vrlo zahtevne i ponižavajuće uslove rada. On zavisi od njih više nego što one zavise od njega jer one mogu da nađu sličan posao na mnogo mesta a Roko je bez njih nasukan.

Ili da li je? Roko je jedan od retkih muških glumaca koji je zvezda svog filma, koji je centar pažnje gledaoca, tamo gde nam je obično u centru pažnje žena. Ima malo sličnih glumaca u porno biznisu (Nacho Vidal kao očigledan drugi primer, možda Dirty Harry, pre svega na ime svoje ružnoće. Svakako Lex Steele i moguće Blackzilla, kao i Ricko Strong. Od starije ekipe svakako Ron Jeremy i John Holmes) Roko na neobičan način gradi ideju muške zvezde u pornografiji zaravnjujući u neku ruku igralište, paradoksalno, kroz eksploataciju skrećući pažnju sa eksploatacije na podvižništvo.

[Albedo 0]

Ovo za etiku mislim ozbiljno.

i ja sam shvatio ozbiljno. Al' džaba kad je smiješno

[crippled_avenger]

Moriarty stavio SRPSKI FILM među Top 10 filmova u 2010.

http://www.hitfix.com/blogs/motion-captured/posts/movies-top-10-of-2010-drews-ten-favorite-films-of-the-year

We decided to do things differently this year, and I am so pleased we did.

I grew up watching Siskel and Ebert in their various shows, and one of my favorite times of the year was the big end of the year show as they would count down their top ten.  I would be outraged in different ways by each, vindicated in some ways by each, and I found it to be a blast each and every time.

At Ain't It Cool, I always did a top ten list in print, and even though we've been playing with audio podcasting here at HitFix and I'm doing way more video interviews than ever, the idea of a video top ten never occurred to me.  It was Greg Ellwood's idea for the year, and so far, we've seen Alan Sepinwall and Melinda Newman offer up video lists for the things that meant the most to them this year.

Today, it's my turn, and I love the way Alex Dorn edited this piece.  I think 2010 was a great year of movies, and this feels like a piece that sums up what I'll most remember about this year, what resonated the most with me.  The first time I tried recording the voice-over, it was over 11 minutes long, so I had to edit on the fly as I recorded it the second time.  I thought I'd print the full text I wrote out so you can refer to the list here after you check out the video piece.

Keep in mind... I consider everything that I saw in a theater or at a festival eligible.  I have to.  Release dates are so strange, and so different around the world, that there's no way to treat it all as the same "year".  These are the ten films that meant the most to me this year as a viewer, and if something here isn't out where you are yet, then hopefully you'll get the chance to see it soon.

Here's the full list of new films that I saw in 2010.  That's everything I considered when building the list.  Here are the titles that I did not see that were released this year.  If you don't see it on those two lists, then it somehow got missed.  In any case, I'd say seeing around 250 films this year gave me a solid base to work from when building the following list, and if you want to read my original reviews for these films, just click on the title:

10. "A Serbian Film"

I'm going to predict that this probably isn't coming to a theater near you.  Ever.  And some people may dismiss "A Serbian Film" as empty shock, but I disagree.  This is an amazingly well-crafted film by director Srdjan Spasojevic, co-written with Aleksandar Radivojevic, and as angry a film as I saw this year.  I've gotten letters and messages from people outraged that I recommended the film after South By this year because they read some list somewhere of the most extreme ideas or images in the film.  I've said it before, but this film proves it as much as anything I've ever seen:  context matters.  Why you do something, how you do it, and what context it's in absolutely matters, and while I agree... "A Serbian Film" takes you places you are not going to want to go... it does so in service of a world view that is valid and real and bruised, a voice given a dark, horrifyingly funny outlet with this breathtaking bit of savagery.

9. "Inception"

Christopher Nolan's headgame "Inception" is a great example of what happens when a director takes full advantage of the freedom offered after a monster hit like "The Dark Knight."  Nolan's big cold adventure movie across the interior of a tortured dreamscape is just weird enough that if it had tanked, no one would have been surprised.  Instead, Nolan scored another monster hit, cementing him as one of the few truly commercial auteurs in the business.  The film's effects and action are engaging the first time, but what makes "Inception" linger for me is the idea of getting lost in the guilt over a failed marriage and the struggle to do right by your children, no matter what.  That's all that really drives Di Caprio through the film, and that human-scale connection is what makes all the acrobatics worthwhile.

8. "True Grit"

The Coen Bros's rousing adaptation of the Charles Portis novel True Grit pays due tribute to the earlier film version that won John Wayne his Oscar, while still staking out its own claim on the material.  Jeff Bridges is a blustery shambling mess as Rooster Cogburn, the US Marshall engaged by the forceful, fascinating Mattie Ross to find the man who killed her father.  Hailee Steinfeld is a major discovery as Mattie, and since the film is all about her point of view and, ultimately, the nature of her character, her performance is the thing that either makes or breaks the movie.  Matt Damon is as sly and funny as he's ever been as "Lah Beeef" the Texas Ranger who keeps crossing paths with Mattie and Cogburn, and the rest of the cast shines.  What gets me, though, is the way the film paints the growing respect between this determined girl and these men, each with plenty of things left to prove.  This is one of the warmest films the Coens have ever made, and it's funny, and seeing it twice just makes me want to see it again.

7.  "Four Lions"

This feels genuinely dangerous as comedy, and equally dangerous as drama, something that's not easy, earning it a spot as number seven on my list this year.  It's been described as a slapstick comedy about London Muslim Jihadists, but it's more than that.  It is an attempt by Chris Morris to understand these people and to render them human.  There is nothing that unites us like laughing at each other, and Morris has made a film here that is not only hilarious, but most likely important. Truly savage social satire like this is something we absolutely need if we're going to stay sane, and Morris does as good a job as I've seen in recent memory of taking something incomprehensible and making us understand it utterly.

6. "Toy Story 3"

Rewatching this when it was released on Blu-ray convinced me that Pixar pulled off something very strange and almost subversive with this conclusion to one of the biggest trilogies of all time.  There are so many things unspoken in these films that add up to this emotionally powerful experience, from the fatherless world Andy's grown up in to the nursing home subtext of what happens to the toys, that by the time we reach a harrowing moment in which these characters we've been watching for fifteen years reach peace with their own deaths, silently, collectively, it's cumulative and overwhelming.  Our children are being spoiled by Pixar, and one can only hope it leads them to demand storytelling of this caliber from others as well.

5. "I Saw The Devil"

This will get a release on March 4 from Magnet Releasing, and I keep crossing my fingers, hoping for director Kim Jee-woon to have his American breakthrough.  He's a sensational filmmaker, audacious and entertaining, and this wild new ride of his stars Lee Byung-hyun and Choi Min-sik, best known for "Old Boy," a secret agent and a serial killer locked in psychological combat.  When a man loses his pregnant wife to a brutal lawless animal, it launches them both into a nightmare that plays out in a way I've never seen.  It's a revenge film, which Korea seems to specialize in, but taken further and in a much more clever and thrilling way than I expected.  This is the single best film in the genre since "Silence Of The Lambs," and honestly? I think I prefer this one.

4. "Rabbit Hole"

From here to the top, the order really was a struggle for me.  Number four is a film so good it could easily have been number one in another year.  That's how good 2010 has been.  "Rabbit Hole" offers up a piercing portrait of how to rebuild after a devastating loss, and both Nicole Kidman and Aaron Eckhart are as good as they've ever been, a couple desperate to figure out what comes after the death of a child.  The movie sounds like an exercise in sorrow, but John Cameron Mitchell, working from David Lindsay-Abaire's adaptation of his own Pulitzer Prize-winning play, finds the humor and the hope in this horrible situation.  I'll have much more to say in my full review tomorrow.

3.  "Scott Pilgrim Vs. The World"

There will come a point when people realize that they missed the boat on this one, and when that happens, "Scott Pilgrim Vs. The World" will finally be hailed as a classic.  Because it is.  All three of the film at the top of my list are there because no matter how much style there is, and all three are certainly stylish, they are fundamentally true.  They speak to an honest reflection of the way we behave with each other, and with ourselves.  They speak to our dreams, our feelings, our fears, our hopes.  The way we love.  The way we hate.  In the case of "Scott Pilgrim," the idea of being responsible for the feelings of others is almost alien to our culture right now, and this film's advocacy of it is a beautiful thing.

2. "Blue Valentine"

The flip side of that is the wholesale emotional destruction of "Blue Valentine," as difficult a film as I've seen in recent years.  It's amazing.  Ryan Gosling and Michelle Williams expertly chart both the exact moment two people fall in love and the exact moment that love turns to curdled poison in their veins.  It's a brutal experience, but beautiful, and writer/director Derek Cianfrance is a major new talent if this film is anything to judge him by.

1. "Black Swan"

Finally, my choice for the best film of the year should come as no surprise to anyone who's been reading along this year.  Darren Aronofsky's "Black Swan" flattened me at Toronto, and it's only grown each time I've seen it since.  It is a masterful piece about the things we do to ourselves in pursuit of our goals, and like all of Aronofsky's work, the more time you spend with it, the richer it seems to be.  Natalie Portman has redefined herself, and I'm not sure she can ever push herself further than she did here.  It's a great performance, and a great journey into this sad and broken soul.  Everything Aronofsky's done so far comes to a head in this movie, and it is the one that I feel will resonate longest and loudest from 2010.

Tomorrow, I'll have my list of the top ten runners-up this year.  We're also working on a worst of list for the site, and I'm doing some fun end of the year DVD columns as well.  Expect plenty more from us over the holidays, and thanks for making 2010 fun for us here at HitFix.  We hope we've made it fun for you as well.

[Josephine]

Ja ga ne bih stavila ni u top minus 10 filmova ikad, samo da mu ime nigde ne bi bilo pominjano.

[M.M]

Ja ga ne bih stavila ni u top minus 10 filmova ikad, samo da mu ime nigde ne bi bilo pominjano.

Odavno me neko nije ovako nasmejao. D. svaka cast .

[namsey]

Ja ga ne bih stavila ni u top minus 10 filmova ikad, samo da mu ime nigde ne bi bilo pominjano.

Ja ga ne bih stavila ni u top minus 10 filmova ikad, samo da mu ime nigde ne bi bilo pominjano.

Odavno me neko nije ovako nasmejao. D. svaka cast .

vala bas

[crippled_avenger]

Evo i Todd Brown je stavio SRPSKI FILM na listu

http://twitchfilm.com/news/2010/12/a-dozen-discoveries-from-2010.php

[crippled_avenger]

Evo i Harry pristavio SRPSKI FILM na listu

http://dobanevinosti.blogspot.com/2011/01/srpski-film-na-top-listama.html

[Josephine]

"Film" ima smešne političke pretenzije koje su trebale da mu daju ozbiljnost i proguraju ideju da predstavlja metaforu života u Srbiji. Upravo su mu te pretenzije i oduzele vrednost dobrog filma.

Da je radnja i ostala na agresiji, mržnji, perverzijama itd. mogao je to da bude solidan tematski film. Ovako predstavlja očajan pokušaj scenariste i reditelja da svoje, godinama skupljane, najmorbidnije ideje pretoče u vizuelno, a da ih (skoro) niko ne optuži za perverziju, umobolnost i sl.

Takođe, tvorci filma brane se od onih kritika koje ih optužuju da im je namera bila da šokiraju, i da film ne nosi dublje poruke. Pa šta i da jeste tako? Trebalo je više hrabrosti da naprave takav film, nego da ga pakuju u lažne metafore i služe se rečnikom umetnosti koja nosi društvene poruke i pouke.

[---]

a što? je l bi nam bilo toplije oko srca da je to samo glupi film bez pretenzija pun užasa?
zbog čega?

[Josephine]

U stvari, baš bi nam bilo toplije oko srca, jer film nije i ne može da bude metafora života u Srbiji. To je bio očigledan izgovor za snimanje filma.

Ali dobro je što priznaješ da bi film bez takvih pretenzija bio samo glupi film pun užasa.

[---]

otkud znaš da je bio izgovor?

[Josephine]

Ne znam. Pretpostavljam/osećam/vidim/lupetam.

[Kunac]

Rekao bih da se te političke pretenzije ne mogu eksplicitno uočiti u filmu, već da su one implicirane u priči oko filma - u intervjuima, nekim prikazima itd.

SF se najbolje  čita u žanrovskim okvirima - mada se, u krajnjoj liniji, ne mora se demistifikovati tumačenjem/tumačenjima već je bolje da se tretira kao Roršahova mrlja.

[Meho Krljic]

Kako ne mogu da se eksplicitno uoče kad je Sergejeva uloga u tome da ih obrazloži?

[Kunac]

Ti si Sergejevu ulogu doživeo u realističnom ključu? Kao nešto ozbiljno? 

[Shozo Hirono]

a šta sad, sergej kao glumio nešto. meni se učinilo da je utekao bati u buretu baruta, sišao iz autobusa koji je išao na dedinje i ušao u onu vilu.

ili su ga barem onesvešćenog tamo isporučili; kada se probudio iz kome postao je vukman... vukman... vukman...

[Mark]

Momci iz HORRORETC PODCASTa raspravljiaju i o Srpskom Filmu. Download here:

http://www.horroretc.com/

In addition to some highlighted titles, we spend some time with a few recent 2010 watches from the past week: Monsters (a low budget UK alien invasion film that focuses on the journey of characters observing the face of their new world), Skyline (a bigish budget alien invasion film that offers no engaging characters at all), Buried (the Ryan Reynolds buried alive concept film that offers up some true horror - psychological torture), Black Swan (Darren Aronofsky's cinematic assault on Natalie Portman - yes, it's about ballet...yes, it's good), and A Serbian Film.

Ok, word of warning to all listeners. If you have heard about A Serbian Film, be prepared to hear all the grisly details. If you haven't heard of this film before - be prepared for some harsh (!) descriptions. Either way, the film is openly spoiled up through the, ahem, climax. If you wish to avoid spoilers, the segment is 15 minutes to be forwarded.

[Agota]

Kako ne mogu da se eksplicitno uoče kad je Sergejeva uloga u tome da ih obrazloži?

I ja sam to tako shvatila Sergejev monolog mi je zapravo na neki uvrnut nacin obrazlozenje scenariste.
Ne cela uloga  naravno samo monolog.

[Mark]

Mark Kermode i Simon Mayo u svojoj BBC emisiji pricaju i o Srpskom Filmu!

DOWNLOAD POTRAZITE OVDE:

http://www.bbc.co.uk/podcasts/series/kermode


The Tourist, 10 Dec 10
Fri, 10 Dec 10
Duration:
95 mins
Mark and Simon review Johnny Depp and Angelina Jolie's thriller The Tourist. Also under the spotlight are Somewhere, Narnia: The Voyage of the Dawn Treader, For Colored Girls, In Our Name, A Serbian Film and Outcast.

[Albedo 0]

''exploitation trash''... prilično su ga ocrnili.

Inače, slušajte od 39. minuta, pričaju o njemu nekih 5-6 min

[Father Jape]

Ne moze se bas reci da mnogo grese.

[Albedo 0]

pa ipak, kad je jedan lupio da je valjda Mark Kermode pročitao istoriju Srbije da bi razumio film...

[crippled_avenger]

Evo jedne pesme, za koju bi se moglo reći da je inspirisala SRPSKI FILM, odnosno u kojoj je sadržan njegov sinopsis.

Očekivao sam da će Žika, kao pesnik po vokaciji prvi reagovati, ali evo ja ću kick-offovati celu stvar...

Branislav Petrović
(1937-2002)

PRILOG ZA EVROPSKU ISTORIJU

(Iz dnevnika)

Orijentisali smo se prema zvezdama
vodile nas trube i ključevi tamnica
osluškivali savete onih ispod zemlje
nismo se zaustavljali



Prvo smo otkrili kožu jedne žene
finu negovanu od mladih zmija izatkanu
zatim smo pronašli krila anđela
koja je neki vojnik izgubio



Naišli smo na selo napušteno
prepoznavali stvari iz detinjstva
dočekao nas je samo jedan starac
koji nije uspeo da umakne



Hteli smo se snabdeti pijaćom vodom
ali su bunari bili zagađeni
do vrha puni ljudi uginulih
i njihovih vernih životinja



Pa smo naišli na crkvu razvaljenu
tu smo se pomokrili
pa smo produžili sve do prve škole
koju smo zapalili da se ogrejemo



Probudio nas je školski poslužitelj
krikom neopisivim
izgazili smo ga čizmama
i bacili u pepeo



Naišao je učitelj sa đacima
zaprepašćenje ih je odalo
učitelja smo kao i poslužitelja
đake smo silovali



Ugledali smo zelenu livadu
tu smo zastali da predahnemo
klali smo se malo među sobom
ćaskali prebirali po sećanju



Onda smo krenuli dalje
za zvezdom koja nas je vodila
imali smo zadatak da nas po zlu zapamte
narodi koje posetimo



Naišli smo na čoveka bez obe ruke
i bez noge na raskršću
zahtevali smo da propisno salutira
kad nije mogao streljali smo ga



Prolazili smo kroz velike gradove
činili se nevešti
ostavljali konzerve sa epidemijama
i odlazili dalje



Naišli smo na ženu udovicu
sa troje dece u naručju
decu smo ponovo u majku vratili
a majku bacili našim psima



Pa smo krenuli dalje
ispred leleka koji nas je pratio
tako smo stigli do jednog izvora
gde smo se umili



Naišao je vlasnik izvora
i nazvao nas poganim psima
videlo se da je naš čovek
poveli smo ga s nama



Da ga proverimo
našli smo dete s jagnjetom u naručju
zubima ih je oboje zaklao
stekao je naše puno poverenje



Imali smo jednog osteljivog mladića
bez prestanka je plakao
postepeno smo ga čeličili
stvarali od njega čoveka



Sve je zadatke izvršavao
kao najbolji među nama
ali kad je svešteniku jezik čupao
urlikao je on a ne sveštenik



Davali smo mu lakše zadatke
da strelja đake po školskim dvorištima
ni to ga nije ispunjavalo radošću
oduzeli smo mu činove i ispljuvali ga



Naiđosmo na groblje zabačeno
u grobove ubacismo bombe sa suzavcem
mrtvaci su iz grobova iskakali
mi smo ih ponovo ubijali



Za nama nerazuman lelek nedostojnih
ispred nas ciljevei uzvišeni
iznad Zver koja nas vodi
putevima Gospodnjim



Naiđosmo na ženu bremenitu
koja drsko ličaše na Bogorodicu
dete iščupasmo da ga gajimo
a nju nedostojnu štakorima



Naiđosmo na ljudsko oko
oslobođeno od očne duplje čovekove
umismo se njegovim pogledima
i kretosmo dalje



Naiđosmo na ljudsku ruku
oslobođenu od nedostojnog
ta ruka nas je ko sestra milovala
i mahala nam pri polasku



Naiđosmo na mozak čovekov
izvađen iz lobanje
spoznasmo čistu misao
i upamtismo je



Naiđosmo na jedno srce
nismo znali čije je
bacakalo se oko naših nogu
htelo je u naše grudi



Bacismo bombu na to srce
isekosmo ga noževima
ali ono ne odustade
skakalo je za nama



Uhvatismo ga i vezasmo
polismo sumporom i zapalismo
ali ono je bivalo sve snažnije
žilavo neko srce



Ponudismo grudi štakora
pa zatim grudi psa
ali ono nije htelo
htelo je samo u naše grudi



Dadosmo mu grudi mladića
koga smo raščinili i ispljuvali
sa takvim srcem
mogao je sa nama



Naiđosmo na dojku dojilje
koju su odsekle naše prethodnice
klekosmo i napismo se mleka ponuđenog
i nastavismo okrepljeni



I još smo dugo putovali
iza nas lelek i štakori
ispred nas čista misao
i poruka narodima



Nepredviđeno zađosmo u neka brda
u brdima naiđosmo na bistru vodu
ugledasmo u bistroj vodi naša lica
i iznenada briznusmo u plač.


Iz knjige

MOĆ I PRAH, Dnevnik, Novi Sad, 1992.

[Mme Chauchat]

Hm... da... znam da ću sad da cepidlačim, i da ovo nije suštinski bitno, ali ipak da naglasim da je ta pesma znatno starija od '92, odnosno to izdanje od '92 je izbor već postojećih pesama; ja je znam i u SKZ-ovom izdanju od recimo '86, što će reći da je izvesno starija i od toga.
Čisto da se neko ne prevari oko istorijskog konteksta, jelte.

[Mark]

Ova pesma u izvedbi Voje Brajovica je onomad isla kao uvodna spica za Pescanik

[Mark]

THE DAY-NO SPECIAL MEANING

[Alex]

Ne znam za svet, ali što se Srbije tiče deluje mi da je Srpski film već zaboravljen.

(Lično ne znam nikog ko je gledao SF - jedan moj prijatelj je odustao posle pola sata /nije bio informisan na vreme/, a jedna moja koleginica je odustala posle par scena, a čuo sam za još slučajeva odustajanja)

Dobio je loše kritike, narod o njemu ne priča, izuzev u par reči tipa "kakvi sve ludaci postoje i šta sve snimaju", a što se tiče priče o filmovima iz prošle godine, iz ugla filmskih kvaliteta, totalno ga je "progutala" priča o Montevideo, bog te video, pa i o nekim drugim domaćim filmovima.

Po meni, ovo je totalno poražavajuće za film koji je upravo išao na jeftini šok, privlačenje pažnje i intrigiranje javnosti.

[Alex]

Pretpostavljam da su zadovoljniji odzivom na internacionalnom nivou.

[Josephine]

Zašto bi to bilo poražavajuće? Jeftin šok je zato i jeftin jer donosi poraz.

[Alex]

Valjda.

[Tex Murphy]

Srpski film je vrlo loš film.

[Meho Krljic]

To je svakako preterano. Solidna je to eksploatacija.

[crippled_avenger]

Alex, SRPSKI FILM je stigao u žižu pre godinu dana, sasvim je normalno da je u međuvremenu fokus pomeren na neke svežije filmove. Ali u svoje vreme je bio jako aktuelan i tu nema spora.

[Alex]

Alex, SRPSKI FILM je stigao u žižu pre godinu dana, sasvim je normalno da je u međuvremenu fokus pomeren na neke svežije filmove. Ali u svoje vreme je bio jako aktuelan i tu nema spora.

Dobro, možda sam ja u jedno smestio medije i običan svet. Obični gledaoci tek od 24. septembra, po ulasku u redovan repertoar u Srbiji, imaju mogućnost da pogledaju film i u početku se sporo probijala vest o filmu, iako su mediji obaveštavali onoliko koliko o bilo kom domaćem filmu. Više ga niko ne pominje, a kratak je to period. Čak se i o Šišanju više priča, koji je u približno vreme startovao.

Kratko je to vreme da bi se jedan "kontroverzan" film zaboravio, sem ako nije bio prihvaćen ili je naišao na opšte neodobravanje. Tu ni očajnički izmišljena priča o zabrani nije mnogo pomogla.

[Albedo 0]

Problem kod SF što on uopšte nije šokantan, osim za one koji su se potresli što je Miloš na kraju jebo sve po spisku. U stvari, film je mnogo dosadan, mislim da me je Gradić Pejton više šokirao.

Jedino što se još pitam u vezi filma je zašto je Miloš urinirao krv? Efektno jeste, ali u medicinskom smislu... zašto neko urinira krv? Kao da je zaradio polnu bolest od sina...

[Father Jape]

Da, to se cini izvesnim problemom - nekima nije uopste sokantan, a neki izlaze pr prvoj 'sokantnoj' sceni.

[Джон Рейнольдс]

Jedino što se još pitam u vezi filma je zašto je Miloš urinirao krv?

Događa se posle baš žestokog seksa. Mislim da puknu neki kapilari na sluzokoži.

[Albedo 0]

ne može od toga biti, bar meni nije logično, jer on u urinu ima krv, a to nema veze sa spoljnim povredama.

Sad guglam, spominje se

1. urinarna infekcija (urinarni trakt i bešika)
2. kamenje u bubregu

http://www.articleclick.com/Article/Urinating-Blood---Possible-Causes-and-Treatments/1072945

[Father Jape]

Ima smisla ovo sto zbori Albedo - i da je unutarnje krvarenje nastalo tokom zestokog seksa, ne bi moglo uci u urinarni vod, zar ne?

U svakom slucaju, sta se desilo sa suspenzijom neverice?

[lilit]

uvećanje prostate ili kancer, ako mene pitate.

[Alexdelarge]

milos bukvalno pusta pevcu krv.

[Mark]

Dobio je loše kritike, narod o njemu ne priča, 

Juce sam na poslu prisustvovao prilicno zivoj raspravi o filmu Lajanje na zvezde. Ono - dobacivanje replikama, urnebesan smeh i sl. Ako ocekujes da ce ljudi na taj nacin da pamte Srpski film  ... 

[crippled_avenger]

Ako uriniraš krv i boli, dobro je. Ako uriniraš krv i ne boli, nije tako dobro.

[Albedo 0]

To je u stvari porno-sokratovska majeutika, Milošev mali mozak doživljava duhovni porođaj, odatle krv i bol. Duhovni porođaj je uvijek dobar, i ne dešava se sve to džaba u Vukmirovom obdaništu.


Alex, Ghoulu se ''svidio'' tvoj komentar o SF
http://ljudska_splacina.com/2011/02/srpski-film-i-dalje-hara.html

[Alexdelarge]

lajk.

[Alex]

Hej tata, hej mama, hej deda moj,
pevajte s nama tu pesmu o njoj
Hej tata, hej mama, hej deda moj,
pričajte deci o izreči toj.

Bila jednom jedna baba
Nije znala šta da radi
Dosadan joj bio život
Leva ruka, desna ruka

Da li znate šta? Da!

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Trla baba lan da joj prođe dan
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Trla baba lan da joj prođe dan
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[Albedo 0]

Trla Gula lan

[lilit]

otkud znaš da je bio izgovor?

odgleda li ti na kraju film? i da li si pisao neku kritiku? ako jesi, bitte, link.