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No Man's Land

No Man's Land

No Man's Land is the pungently sly political satire that merits the writing prize at this year's Cannes Festival for director Danis Danovic.   In some ways it could be a cross between the current Behind Enemy Lines and Michael Winterbottom's Welcome to Sarjevo.  It makes some striking points on the repercussion of war and, like Behind Enemy Lines, stirs up pride in taking care of those who sacrifice themselves for their country.

Tanovic handles his debut with aplomb from his documentary credits and knowledge of the Bosnian and Serb conflicts.  No Man's Land fictionalizes an isolated point in the Eastern European war and does it more cogently than Enemy at the Gates.  This hot metaphor of a film thrusts one behind enemy lines in 1993 Yugoslavia and we come to meet a Bosnian and a Serb, in combat.

The Bosnian is Ciki (Branko Djuric) who is wounded and seems safe for the moment in a trench.  Flip Sovagovic's Cera is another Bosnian combatant critically wounded and Ciki doesn't think he's alive.

What Ciki doesn't know while in sanctuary from the Serbs is that two of them have put a "bouncing mine" under Cera's body and movement acts like a trip line.

Danovic's stark allegory has room for dark wit as it is a long day's journey visited by a French peacekeeping group led by a decent military man played by Georges Siatidis.  His Sergeant in a white tank has orders not to encroach while a TV reporter (acted toughly by Katrin Cartlidge) is about to set off another mine with worldwide scandalous offshoots.

The rest of No Man's Land never takes lightly what happened in Bosnia and gives it an urgency when it comes to terrorism and chaos in a neighboring war.  A global unrest with humanity as the victim has Danovic's scintillating aggressive satire putting chills in those vulnerable to political machinations and in depth media coverage.

 
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No Man's Land
 
 
 
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