Cinema Komunisto

Cinema Komunisto, a movie from 2010, directed by Mila Turajlić, and featuring Stevan Petrovic, Veljko Despotovic, and Velimir 'Bata' Zivojinovic, is a compelling movie that strikes a chord with history buffs and movie enthusiasts alike due to its profound exploration of Yugoslavian cinematography during the Communist era.

Set against the backdrop of the tumultuous socio-political events of the mid-twentieth century in Yugoslavia, Cinema Komunisto is not merely a movie but an insightful journey through the history of cinema in a country that no longer exists. It offers a lens into the past, providing a touching account of one of the most significant cultural phenomena in the former Yugoslavia – the revered Avala Film Studio in Belgrade, molded by the hand of Yugoslav leader, Josip Broz Tito.

The movie cleverly interlaces interviews, archive footage, and nostalgic narratives from former film insiders to bring into sharp focus the key role of film production in shaping and communicating a unified national identity. Its pivotal characters, Stevan Petrovic, Veljko Despotovic, and the veteran actor, Velimir 'Bata' Zivojinovic, bring to life the era when the Yugoslav movie industry was still in full swing.

Petrovic, known as the right hand and confidant of Tito, provides an intimate and poignant look at Tito's affinity to the movie industry, whereas Despotovic, the managing director of the Avala Studio, shares a trove of anecdotes and memories of the golden era when the studio frequently echoed with the sound of movie cameras. Equally compelling is Zivojinovic, one of the biggest Yugoslav movie stars of the time, who narrates his personal experiences and reminiscences of the places and the people who were significant in his career.

Moving beyond individual experiences, Cinema Komunisto offers a gripping narrative on how cinema served as a powerful tool for political propaganda and for the manufacturing of a grand national illusion. The movie discusses Tito's close connection to films, as he saw in them a way to communicate his vision and ideology that preached unity and brotherhood across the different ethnicities in Yugoslavia.

Cinema Komunisto beautifully captures the magnitude and splendor of the Avala Studios, which produced hundreds of films under Tito and captured the imagination of many. The studio's precipitous downfall post-Tito's death is portrayed as an allegory to the disintegration of Yugoslavia. Surprisingly, amid the ruins, one can still sense the depth of emotional connection the denizens had for the motion picture art form and the significant role cinema played in shaping their identity.

The movie's poignant shots of decaying movie reels, abandoned theatres, and crumbling film sets are symbolic of a lost era and a direct commentary on the neglect of culture and heritage post-Yugoslavia. Yet, within these mournful images, the film also instills a sense of hope while urging for the preservation of this once magnificent cradle of Yugoslav cinematic accomplishments.

In Cinema Komunisto, there's an engaging blend of political history and the history of cinema. The film's delicate balance of nostalgic anecdotes, powerful imagery, carefully curated archives, coupled with an exquisite score, make it a poignant elegy to a lost era and a fascinating study of cinema's role in a specific socio-political context.

Critic or a historian, film lover or just a casual viewer, Cinema Komunisto offers an immersive experience, timely narration, and appealing cinematography. The movie does not shy away from the emotions linked to former Yugoslavia’s cinematic glory and its decline; instead, it allows the audience to experience and appreciate a remarkable part of cinematic history which is largely overlooked and forgotten.