Serbian Film arrived with every conceivable warning–unlike that trilogy above. Still, in the annals of my cinematic experience, none of these films can hold a candle to what I witnessed at the Alamo Drafthouse during the SXSW Film Festival. Salo in the early 90’s, Gummo a few years later and Inside just a few short years ago. No one told me that these films would ruin me or make me physically ill but all three did that at varying intervals in my life. But the buzz on each film was a low hum and certainly not apocalyptic in scope. I knew Gummo was from the writer of Kids and I knew Inside was the second film I was to about watch in the “French New Wave of Horror Cinema”. Each film had some buzz for me, I knew of Italian filmmaker Pier Paolo Pasolini from reading a Kathy Acker book in high school that featured the Director as a character. I mean, sure, I had an inkling that they were supposed to be “shocking” but no real comprehension of the horrors that would fill my screen with each passing frame. I was unprepared for what I saw when I sat down to watch them. Salo, Gummo, Inside, all of these films have one thing in common. Take that as either a recommendation or a damnation, as you will. However as I find the film to personally have no redeeming social or political or artistic value, it is my option that a 5 skull rating just for sheer audacity is both misleading and unfair to you as a viewing audience. Serbian Film is a polarizing production, one that is in many ways a work of either pure genius or absolute insanity. It is not a reflection on the physical quality of the work contained here or the execution and success of the film based on the Director’s intentions.
The reason for this decision is hopefully laid out before you in this review. This represents the most difficult decision I have ever made regarding the rating of a film. DISCLAIMER: I have chosen to give this film 1 Skull.