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Unsurprisingly, cars quickly become the cornerstone of the plot. But this doesn’t become important until much later. This clearly constitutes the second Chekhov’s gun of the movie: gang leaders who announce their plans to retire but then fail to do so because of a change in circumstances is a Hollywood trope we have all seen so many times. We find out one other important thing early on: the boss of the car thieves, Dragoslav “Car” (Dragan Bjelogrlic), has decided to retire from the business.
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It doesn’t take long for the careful viewer to figure out that cars recur so much in this movie that they are bound to prove a crucial Chekhov’s gun for the plot. The frame is immediately set.īefore long, we are also presented with the first high-adrenaline car ride (of many to follow), as Maras and his fellow thugs steal a car from a parking lot and drive it all over Belgrade in reverse gear. A few scenes later, we see a bunch of old toy cars in his room. In the first scene, we see him kart racing. Juzni vetar is no different.įor starters, Juzni vetar wastes no time in laying out the “fatal flaw” of its main character, Petar Maras, formidably portrayed by rising star Milos Bikovic: his passion for cars. What makes these movies effective – in spite of but also because of their lack of the kind of clear moral lesson increasingly expected of modern cinema – is that they are all rooted in a strong logical symmetry.
In these movies, the antihero does not undergo any moral evolution (and even if he does, eventually, like in Breaking Bad, it is too late to do anything about it).
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What, then, makes Juzni vetar a good movie? The answer lies in the same strengths that characterize some of the Hollywood champions of the cat-and-mouse genre, including, but not limited to, In the Line of Fire (1993), Training Day (2001), and more recently, the TV show Breaking Bad (2008-13). If anything, they come out of the movie as confident about their misguided ways as ever. While each character in Pored mene learns something by the time the movie is over, one can hardly say the same about the thugs in Južni vetar. And there is nothing wrong with the stereotyping: Pored mene‘s premise is that different types of people should be accepted as who they are – and the premise is successfully delivered.īy contrast, Juzni vetar carries no moral lesson whatever. There is the nerd, the attention queen, the gay guy, the macho guy (who turns out to be closet gay), the IT freak, and the nationalist. One of them is certainly Pored mene (Next to Me 2015): a movie comprised not of autonomous characters, but of deliberate stereotypes.
When it comes to the first type, Serbia has produced some great pictures. There can be good movies of the first type and bad movies of the second type, and vice versa. Having replaced the battlefield with the realm of everyday life, they can no longer escape the fundamental but inherently elusive question: what makes for a good movie?Īs Hollywood has taught us, there are two types of movies: those that moralize and those that depict reality.
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More than 20 years since the 1995 Dayton deal ended the war in Bosnia, ex-Yugoslav filmmakers are now largely free from the (self)-imposed imperative of making war movies.
Yet, Juzni vetar is much more than another “Balkan” movie that romanticizes the toxic stereotypes of our region.
Its characters are flawed, its pace is fast, and its biggest thugs are, of course, Bulgarian. This recent Serbian release provides the classic Balkan mix of crime, violence, dysfunctional families, latent homophobia, misogyny, and a ton of profanities. On the surface, Milos Avramovic’s Juzni vetar (Southern Wind) is your typical Balkan movie.
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