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BBFC Release more information on why A SERBIAN FILM was classified (& Trailer)

Friday 10th December Srdjan Spasojevic’s highly controversial A SERBIAN FILM gets a limited UK cinematic release. I cant comment on how bad/sickening the movie maybe but can only go with whats been said in the media but what gets me is that Westminsiter City Council (London) or for that fact British Governent probably knew already the media attention the movie was getting before it was due to be shown at Frightfest 2010, basically givien the movie more media attention encouraging curious movie fans to check the movie out ‘illegally’ online in its full. If a movie is controverisal for various reasons people should be able to judge how bad it is in its full instead of someone else been the moral highground and denying people that chance to judge themselves .

We can guess it is bad but like any movie it gets watched by the bbfc before been classified, but what I ask is when a movie is heavily cut are those parts been cut integeral to the movie are they vital scenes? On there Website BBFC have released more information on their classification for A SERBIAN FILM and be warned if your going to see the movie the information below does contain spoilers

Srpski Film – A Serbian Film is a Serbian language drama, subtitled in English. It tells the story of a retired porn star, Milos, who is lured out of retirement by an offer of money from a mysterious figure called Vukmir. Vukmir wants Milos to star in what he describes as an artistic film for the foreign market but it soon becomes clear the project will require Milos’ participation in various acts of sexual violence and paedophilia. The film was classified 18 for very strong sexual violence, sex and violence.The BBFC’s Guidelines state that In line with the consistent findings of the BBFC’s public consultations and the Human Rights Act 1998, at ‘18 the BBFC’s guideline concerns will not normally override the principle that adults should be free to choose their own entertainment. Exceptions are most likely […] where material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts […] which may cause harm to public health or morals. This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assault’. More generally, the Guidelines state that A strict policy on sexual violence and rape is applied. Content which might eroticise or endorse sexual violence may require cuts at any classification level and that intervention, even at the adult level, is more likely with sexual violence or sexualised violence which endorses or eroticises the behaviour and with portrayals of children in a sexualised or abusive context.Before awarding an 18 classification to Srpski Film – A Serbian Film, the BBFC required forty-nine individual cuts, across eleven scenes. A number of cuts were required to remove elements of sexual violence that tend to eroticise or endorse sexual violence. Further cuts were required to scenes in which images of children are intercut with images of adult sexual activity and sexual violence. It is important to stress that the film makers took precautions to avoid the exposure of the young actors to the film’s most disturbing scenes and that, in the BBFC’s view, no scene is in clear breach of the Protection of Children Act 1978.Even after cuts, the film’s scenes of very strong sexual violence remain potentially shocking, distressing or offensive to some adult viewers, but are also likely to be found repugnant and to be aversive. They are not credibly likely to encourage imitation. In some scenes Milos witnesses, or is forced to witness, acts of sexual violence, including the suggestion that a new born baby is being raped. In the cut version, the rape of the baby occurs entirely offscreen, implied only by the sounds of the baby crying and by the reactions of the onlooking Milos and Vukmir. Although all clear shots of the baby being raped have been cut by the BBFC, it is worth noting that the film makers used a prosthetic model during the filming of this scene and that no real baby was harmed. Later in the film, when Milos refuses to participate in the acts required of him by Vukmir, he is drugged and forced to continue filming against his will. As Milos regains consciousness, he begins to remember what he has been compelled to do, including decapitating a restrained woman during sex and raping his unconscious wife and son. He also recalls, with the assistance of video recordings, some of the acts perpetrated against himself and others during his period of unconsciousness. This includes one of his female friends being suffocated with a man’s penis, after her teeth have been extracted, and Milos himself being raped. Once again, the cuts required by the BBFC have removed the more explicit moments from these scenes and much of the action is now brief or implied rather than explicitly depicted. Nonetheless, the scenes remain potentially distressing and offensive, even in their cut versions. Cuts were also required to remove shots which imply that children are witnessing sexual violence, sometimes enthusiastically, or where images of children are intercut with images of sexual activity and sexual violence. This includes a scene in which images of a young girl sucking a lolly are intercut with a scene of fellatio, a scene in which the same young girl appears to lean forward excitedly as she witnesses a scene of violent fellatio, and a scene in which Milos’ brother is fellated by a woman whilst watching a family video, featuring his young nephew. All such intercutting has been removed from these scenes. In another scene, Vukmir attempts to persuade Milos to have a sex with an underaged girl. Although Milos refuses, cuts were required to remove shots in which the young girl appears to be encouraging Milos to have sex with her. In spite of the fact that care was taken by the film makers to avoid exposing any of the young actors to anything disturbing, violent or sexual, this juxtaposition of images of children with sexual and sexually violent material is a breach of BBFC policy and Guidelines.The film contains a number of scenes of very strong bloody violence, including sight of a man’s head being repeatedly smashed with a heavy object until his skull caves in, a man’s throat being torn out in close up, and a man being killed by having a prosthetic erect penis forced into his empty eye socket. These scenes considerably exceed the terms of the 15 Guidelines where Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. Srpski Film – A Serbian Film also contains a number of scenes of strong sex. This includes sight of masturbation, oral sex, group sex, and sexual thrusting, as well as simulated ejaculation onto a woman’s face. These scenes significantly exceed the terms of the 15 Guidelines where Sexual activity may be portrayed without strong detail.Srpski Film – A Serbian Film also includes very strong visual and verbal sex references, including to bestiality and paedophilia, very strong language, strong language, and strong nudity, including sight of prosthetic erections.

Sadly in todays society alot of the things that happen in the movie do happen some people will deny they happen but sadly they. The internet is a wonderfull place but is also a real dark place full of sadistic perverts and ill say is May Whitehouse will be turning her grave inside out even with this film getting released with the censorship. So are you going to see this move or have you seen the movie? There’s no chance the movie will get a release cinematiclly here in Scotland and its like going back to the days of the brown raincoat brigade who went to old style porn cinemas attracting negative attention.

So if your going to see the movie or seen fancy doing a review of it here on Cinehouse or The Peoplemovies?

heres the trailer:

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One thought on “BBFC Release more information on why A SERBIAN FILM was classified (& Trailer)

  1. This infamous debut by Srđan Spasojević has been met with profound critical disgust and moral revulsion by even the most jaded of transgressive movie fans following its US premiere in March. Reviews have tended to take the form of a listing of the films many atrocities, often followed by a lengthy disclaimer warning people to stay away and avoid a viewing experience more akin to a sustained physical assault rather then anything resembling narrative cinema in its usual form. In many ways this is a sensible response to what stands as cinemas darkest hour since Passolini’s Salo (1975).

    The film focuses on Miloš, a former Serbian porn star talked into taking part in one last film role to support his wife and son. Unaware of just what the director Vukmir has planned, the running time is taken up by Milos’s nightmarish descent into a world of necrophilia, sexual violence and incest.

    The director claims the film stands as political allegory. A response to the recent toxic history of his country of birth, but critics have instead chosen to focus on the high number of transgressive shock sequences that are likely cause a wave of nausea in the majority of the audience. Be in no doubt that sections of the film are almost unwatchable, addressing themes so disturbing that even the most hardcore horror fan is likely to turn away from the screen in disgust.

    Given it addresses such difficult subject matter it’s surprising that the film looks so beautiful. The stunning cinematography immediately bringing to mind David Lynch’s ‘Blue Velvet’ and the early 70’s work of David Cronenberg. Rather then adopt an approach of suggestion, Spasojevic insists on placing the camera directly at the heart of the action, refusing to pull away from the violence to spare the sensibilities of the audience. This approach leads us into some incredibly dark places. In fact it’s ironic to note that the UK cuts imposed may help to increase rather then decrease the apocalyptic sense of dread that runs through every frame. The full length version I watched having a number of poorly produced FX sequences more suited to a low budget exploitation film then a serious film with an art house pedigree.

    This is a difficult, occasionally beautiful study of violence, both sexual and political, with the power to stay with you far after the film has run its course. The hype surrounding its release is well justified, given A Serbian Film stands as one of the most problematic films ever made, likely to disgust and disturb the small minority of viewers brave enough to watch it.

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