During the ’50s Makavejev began making short films and documentaries in the Zagreb and Belgrade studios, as in Kino Klub Beograd, the center of avant-garde film and amateur activities during the ’60s in Serbia. The experimental and documentary impulse remains powerful in Makavejev’s work, as does the tendency to intercut undigested segments from other films into longer works. At the same time, those early works would be the first of many run-ins with the censors that would plague his career and, arguably, keep him from being recognized as a major postwar film artist.
Pecat / AKA The Seal (1955)
A satirical tale of a dead man who remembers his life while waiting for the commision to seal his casket. Dehumanization through bureaucracy, whose main measure of value is an official seal.
Antonijevo razbijeno ogledalo / AKA Anthony’s Broken Mirror (1957)
The vagabond Anthony is unhappily in love with a tailor’s manequin. In his imagination she returns this love… until his illusion gets shattered.
Spomenicima ne treba verovati / AKA Don’t Believe in Monuments (1958)
The travails of a lonely girl who falls in love with a bronze boy. Despite her tenderness the monument remains cold and pushes the girl into despair.
Nova domaca zivotinja / AKA New Domestic Animal (1964)
Urbanization inevitably leads to great changes in the life of the close and far surroundings of a town. One viewpoint of these changes is the motorization of the suppliers of the city from the surrounding villages, who see the car as a new domestic animal.
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