1944年，纳粹发起的第二次世界大战接近尾声，为了能体面地结束战争，纳粹集结巴尔干半岛的A军团北调，妄图阻挡苏联红军南下。同时纳粹推出了“劳费尔计划”，即掠夺萨拉热窝丰富的燃油资源供应装甲部队。纳粹为实现劳费尔计划，将党卫军上校芬迪特里士派往萨拉热窝，全力消灭瓦尔特（Velimir 'Bata' Zivojinovic 饰）领导的当地游击队。芬迪特里士令间谍假冒瓦尔特，在叛徒的内应下，假瓦尔特与几名真正的游击队员组成抵抗委员会，并得到游击队员名单，诱杀了众多抵抗组织成员。真正的瓦尔特由于作战需要无法公开身份，但凭借个人出色的谋略与众多英勇的游击队员终于让间谍现出了原形。为了阻止劳费尔计划，清除了内奸的游击队员们再次出击。

1944年，德军投入重兵守卫南斯拉夫境内的一座大桥，党卫军上校霍夫曼博士处心积虑防止南游击队的攻击。同一时间，游击队少校“老虎”（Velimir 'Bata' Zivojinovic 饰）接到上级命令：为阻止德军汇合，必须在七天之内找到建桥工程师将桥炸毁。老虎与老战友——爆破专家扎瓦多尼（Boris Dvornik 饰）以及他的助手班比诺、沉默寡言的战士狄希、曾参与建桥的游击队员曼纳，组成了一支行动小队。老虎从盖世太保手中救出工程师，在接近大桥的过程中与德国护卫军队发生激战，有游击队员与联络员牺牲了，但也有新的力量补充进来。在破解了德军的间谍渗入之后，游击队员们终于将大桥炸毁。

　　经营鹅毛业的波拉对另一位鹅毛商米塔的养女蒂莎一直有好感，苦苦追求，但米塔却将蒂莎下嫁给一个只有12岁的男孩。在无力满足蒂莎的性要求后，蒂莎逃婚离去；波拉想买下蒂莎，无奈米塔却不愿成人之美，皆因想独自享用蒂莎，于是蒂莎再度逃跑。后来波拉找到蒂莎并将她接回家与妻子儿女共住；蒂莎日久生厌，又一次出逃前往贝尔格莱德。途中蒂莎还与货车司机勾搭上，翻云覆雨一番。波拉得知蒂莎最终又回到了养父身边时勃然大怒，在与米塔纠缠打斗后，开枪打死了米塔；等到警察赶来，波拉早已逃去。

1943年圣诞节，两名美国飞行员因为轰炸机被击落，于是来到了一个塞尔维亚村庄。他们受到了当地切特尼克（南斯拉夫祖国军，一个抵抗德军的游击队）的欢迎。一名游击队少校带着德军追捕美国飞行员的消息来到村庄。他提议接走美国飞行员，但游击队拒绝了，因而挑起了血腥冲突，导致少校丧生。游击队害怕德军袭击，于是解除了飞行员的武装并拘捕他们，但飞行员成功逃脱了。惊慌失措的游击队决定杀死少校的两名随从，将他们的尸体伪装成美国飞行员交给德军。然而事情终会败露，而残酷的游击队领导也将无法安抚愤怒的民众。

How easy is it for desperate youngsters to become dangerous gangsters in a decaying society washed all over by the blood of war? Fairly easy indeed. Rane shows incidents, probably somewhat facts, that took place in Serbia of the war era. Things similar to what you see on this film could happen virtually everywhere, but this film gives a very Yugoslavian feeling to everything. Yugo style mafia, Yugo style murder, and all that. Revolting politicians and their greed are to blame, not only the desperate young men who lose their reasoning while trying to be someone. The film and the casting is overall successful, and it's so very Serbian. I recommend it to anyone who.. well anyone who likes a good film. But don't expect anything American style on this one, as I say it's Yugo to the bone.

《白桦树》(THE BIRCH TREE)的灵感来自一幅民间绘画，它讲述了一个美丽但虚弱的农家女孩Janica (Manca Kosir)的悲惨死亡，他与纤细脆弱的白桦树有着隐喻的关系。著名的克罗地亚摄影师Tomislav Pinter的精彩而美丽的镜 头。这是一幅充满悲剧、幽默和感情的农民生活的画像。

上世纪70年代，前南斯拉夫文化代表团造访中国，宣传电影《瓦尔特保卫萨拉热窝》。这部基于前南斯拉夫二战英雄：瓦尔特·佩里奇 (Vladimir Perić Valter)顽强抵抗纳粹侵略、并于萨拉热窝解放当天英勇牺牲的真人事迹所创作的故事片，在发行后迅速风靡全球40多个国家/地区，并在中国大陆取得了空前的影响。影片中主演瓦尔特的前南斯拉夫演员韦利米尔·巴塔·日沃伊诺维奇 (Velimir "Bata" Živojinović)，也由此成为新中国历史记忆中不可分割的一分子。中国民众视之为勇气和自由的新化身，其在荧幕上形象演绎，令英雄瓦尔特涅槃重生了。
时间流逝，南联盟已然化为历史名词，昔日的瓦尔特如今何去何从？
本片讲述的正是这一代代相传的真实英雄事迹。纪录片《瓦尔特》将虚构故事与真实历史相串联，在阐述影片《瓦尔特保卫萨拉热窝》的巨大成功同时，也向大众揭露了故事原型瓦尔特·佩里奇的历史足迹，和影片主演韦利米尔·巴塔·日沃伊诺维奇的幕后人生。

荒诞喜剧，由著名的大胡子Bata担任主演。
一个海龟租下了男猪脚的房子，他的“诡异”行动让男猪脚觉得他是一个企图颠覆国家政权的间谍.....

来自伊巴尔河岸边的一个年轻人参加了革命战争。这段经历对他后来的生活影响深远。战争冲突和他自己的内心冲突同时发生着。尽管对周遭事物感到种种恐惧，他还是觉得有必要以人类的方式进行思考。这就是人的内心深处的需要——对爱、理解和正义的需要。

南斯拉夫“黑浪潮”一代的经典作之一，柏林最佳导演金熊奖提名。
The Dog Who Liked Trains
(Pas koji je voleo vozove)
Screenplay: Gordan Mihic
Directed by: Goran Paskaljevic
Camera: Aleksandar Petkovic
Scenography: Dragoljub Ivkov
Music: Zoran Hristic
Editor: Olga Skrigin
Cast: Svetlana Bojkovic, Irfan Mensur, Velimir Bata Zivojinovic, Pavle Vuisic, Danilo Bata Stojkovic, Dusan Janicijevic, Boro Begovic, Katica Zeli, Gordana Pavlov, Ljiljana Jovanovic, Dragomir Cuma, Ratko Miletic.
Genre: Drama
Year: 1977
Awards:
PULA: Bronze Arena for the film, Golden Arena for the best actress – Svetlana Bojkovic
BERLIN: Critics' Prize
A girl named Mika, convicted for drug smuggling, escapes from the transport train. Mika dreams of going to her brother to Paris, but without money or passport she is forced to accept the help of a former stuntman who is now touring provincial towns presenting primitive rodeo shows. On the road they pick up a boy in search of his long lost dog who was trained to jump on and off trains. When the youngster realizes that the cowboy is going give up Mika to the police, he offers her a ride to Belgrade on his motorcycle. There she attempts to get a passport with money she stole from the cowboy, but her criminal friends deceive her and the boy's bike is destroyed. In desperation, Mika tries to get rid of the affectionate boy who still wants to help her and jumps on a passing train. Trying to catch up with her, the boy injures himself and falls under the train. With the horrific scene moving further and further away from her, Mika notices the boy's dog peacefully riding her train. Goran Paskaljevic, Yugoslavia, 1977, Serbian/Subtitles: Slovenian, 83 min, fiction film, DVD-ROM
A girl named Mika, convicted for petty black-marketeering, makes her escape from the train transporting prisoners to prison. She has been dreaming of Paris for some time, and that's where she wants to go at all costs.
Her freedom, however, is illusory: without money and identity she must accept the help of a former stuntman now touring provincial towns and presenting primitive rodeo shows with "scenes" from well known westerns.
During his tour, stuntman also meets a young man, with no family and no job, who's searching for his long lost dog. He truly believes in love and friendship, unlike the stuntman and Mika, and will do anything to win their affection.

二战时期，希特勒命令德军对东欧地区展开大规模袭击，以防止东欧各国联合起来参展。此时的南斯拉夫处在水深火热中，最高指挥官铁托正带着部队在苏捷斯卡河谷附近和德军展开激烈的战斗。由于在武器和地势上德军都占有优势，以铁托为首的南斯拉夫解放军损失惨重。大量伤员无法得到应有的救助，同时部队又被德军包围，铁托情急之下向英国发出求助电报。
英国军人代表团一行5人来到铁托的部队。看到南斯拉夫人民在如此恶劣的条件下依然和敌人进行激烈的斗争，原本只是来“观战”的英国军人主动向英国军队提出增援，却遭到了英军以各种理由拒绝。铁托决定就靠自己的军队打赢这场恶仗。
德军下令占领高地，消灭所有南斯拉夫军人，包括随军的家属、妇女、儿童和伤员。面对敌人惨无人道的屠杀行为，铁托命令部队分两路冲出敌人包围圈，在击退敌人的同时要保证伤员们的安全。游击队队长尼古拉带着将士们冲杀在第一线，尽管他们誓死保卫自己的同胞，但南斯拉夫军队的伤亡数量还是节节攀升，这其中也包括尼古拉的女友军医维拉。维拉身负重伤，在没有麻药的情况下接受了手术，但并没有挽救她的生命。这个可爱的女战士牺牲后，留给尼古拉的不仅是悲痛，更增加了他对德国人的仇恨。
战斗越来越激烈，德军的飞机不间断地轰炸铁托率领的部队驻地，铁托本人也身负重伤。但战士们没有丝毫的退缩，一直坚守在前线，为了不丢下一个伤员，每名战士都战斗到最后一刻。正是凭借着这种力量，南斯拉夫人民解放军经过顽强抵抗最终冲出了敌人的包围圈，以弱势战胜了实力雄厚的德国军队。但此刻没有人欢呼雀跃，因为大家知道，战争的胜利是由千百名战士的生命换来的，幸存的人要做的就是完成他们的使命，让南斯拉夫人民彻底从战争中解脱出来！

二战初期，几名音乐艺术家彭比那和毕克等人浪迹天涯，为生存而奔波，在途中他们结识了女友丽丽，他们一起到丽丽姑妈家。在一次舞会当中，他们结识了一名德国军官，他们决定利用丽丽的美色让德国军官为他们开一张去南方的通行证，恰在这时，他们和游击队联络上，并且和游击队里应外合，在一场德国军官舞会上用炸弹炸死了德国军官……
“巴尔干快车”乐队的几名成员在爆炸中侥幸逃脱，但受到纳粹的追捕。他们陆续逃到另个城市，在一家名为“玛丽沙龙”的妓院隐藏了下来，他们一方面偷盗德军的军需品，进行黑市交易，为自己逃离筹措经费，另一方面利用妓院和乐队做掩护，为游击队提供德军的情报，同时搭救盟军飞行员、波兰犹太人，最后他们成功地偷盗了一架德军飞机，逃脱了纳粹的追捕，来到向往已久的卡萨布兰卡...

1941年，欧洲几乎所有地区都被德国占领了，正当欧洲人民都在梦想获得自由的时期，塞尔维亚西部城市查查克和乌日策，就好像是自由的孤岛一样。在这些自由的城市，一个女孩和一个男孩梦想着拥有更美好更光明的未来，梦想着在十年或是二十年后会发生的事情。可是，战争还是来临了，打断了他们的梦想。德军再次发动进攻，游击队又撤退了。死者仍在站岗。然而梦想不能被杀死。入围第17届柏林国际电影节。

第二次世界大战期间，南斯拉夫一个旅的游击队和野战医院被德军三面包围，唯一的通道被空军封锁。游击队派柯察金小分队去执行“柯贝行动”，他们灵活机动地突存了敌军的重重封锁线，终于在夜里偷袭了德军机场，摧毁了敌人的空军基地，使游击队和野战医院安全转移。

斯姆雷斯卡· 米特里罗维察监狱监禁了一些从各地抓来的共产党员，他们计划越狱。但因出了叛徒，他们的活动受到敌人的严密监视。在一次大搜查时，从埃萨德的床下的地板搜出一台油印机。身患重病的埃萨德经受住敌人的威胁利诱，严守秘密，被隔离监禁了半个月。奥布伦、米洛什、弗里亚、托契等冒着生命危险，克服重重困难，继续秘密地挖地道。狱外一青年组织派联络员薇拉和他们取得了联系，并查清了叛徒并通知了他们。奥布伦、米洛什等人设计痛打了叛徒阿普森。监狱长只好把阿普森调离这个监房。被隔离监禁的埃萨德在敌人的折磨下，因病清恶化而牺牲。这时德军占领了南斯拉夫，换了新监狱长。他命令政治犯搬到仓库后面的房间去。即将挖好的地道用不上了，但他们并不灰心，积极寻找别的办法。在盖世太保准备全部接管政治犯的头一天晚土，32 名共产党员在狱外同志们的接应下，全部从地道逃出监狱，在黎明前到达了弗鲁什卡山，开始了新的战斗。

在一个名叫克拉古耶瓦兹的小镇上，本来他们的生活过的非常快乐，但是从德国军队来了之后，男人们有的离家去参加游击队，有的因为不与德军合作而失去工作。孩子们担负起养家的重担，他们想出各种方法谋生。比利亚克的父亲留下一封信去了游击队，照顾妈妈和妹妹的重担就落在了他的肩上。开始，他和小伙伴们到火车站帮忙拎行李，可是人们都不富裕所以很难挣到钱。于是，一群小伙伴开始了爬火车偷德国人的运煤车。这个活实在太危险了，不仅要躲避德国人的岗哨，还要在飞快的火车上爬上爬下的，不久小伙伴中就有人中弹丧命了。
比利亚克和小伙伴们自己见这个办法行不通，便又制作了擦鞋箱，干起了擦皮鞋的工作，而且生意越来越好了。不久开始有德国人来他们的鞋摊上来擦鞋了，德国人一来孩子们纷纷离开，以不给他们擦鞋来表示对他们厌恶。
一日，比利亚克和小伙伴们偷了德国人的一个箱子，里面是一具德国将军的尸体，他们用他的皮靴和制服换了一头猪，他们把猪赶到镇子上让大家分了，镇上的人们唱唱跳跳的来庆祝，好久都没这样开心过了。不久，驻扎在镇上的的德国兵遇到了游击队的袭击，伤亡惨重。他们制定了死一名德国兵要100名平民偿命，伤一名德国兵要50名平民偿命的疯狂的方式，向平民们报复，屠杀了8000小镇居民，包括这些孩子。他们以换身份证的名义把平民们集中起来，然后一批一批的放出来枪杀。

西尼沙（留比沙·萨马季奇 Ljubiša Samardžić 饰）在学校里工作了一辈子，却依然只是一个随时都有可能面临辞退的临时工，微薄的工资让买房成为了他永远的梦，如今，他和姐姐柯萨姐夫米卢廷（韦利米尔·巴塔·日沃伊诺维奇 Velimir 'Bata' Zivojinovic 饰）以及姐夫的妹妹塞卡（Ljiljana Sljapic 饰）生活在同一屋檐下。
虽然米卢廷一直盘算着将塞卡嫁给西尼沙，可是西尼沙却喜欢上了学校里的体育老师，可这段恋情却因为西尼沙没有房子而画上了句点。之后，西尼沙的学生伊万（尼古拉·科约 Nikola Kojo 饰）和他相依为命的母亲斯沃特拉娜（米莲娜·德拉维奇 Milena Dravic 饰）走进了西尼沙的生命中。

英俊的修理厂小伙子班尼不认真对待感情，使他的女朋友维斯纳未婚生子后，把儿子送给了一对德国夫妇，并签了合同。班尼知道后在朋友们的帮助下费劲波折终于找回了儿子。班尼和维斯纳也最终和好了。

潘蒂奇是公司的董事,他正因为发不出员工工资而犯愁。他们曾投巨资建了一个足球场，由于经营无方,亏损200多万。因为投资失败，银行也不愿意再提供贷款援助。为了补上亏空,他把著名歌星莱帕·柏莱娜骗到小镇,说是出席剪彩仪式,其实按演唱会卖票,但事情败露,他也受到了惩罚。

南斯拉夫居然也拍过相当不错的西部片？这种题材在巴尔干电影里还真算比较少见的了。IMDB评分9.7高得出奇。
One of the greatest Yugoslav films of all time! BRAT DOKTORA HOMERA is a masterpiece made by one of the greatest Serbian directors of all time, Zivorad 'Zika' Mitrovic, who passed away this winter as 2005 was dawning.
BRAT DOKTORA HOMERA belongs to the wave of Yugoslav Westerns, films which were shaped along the aesthetic of Hollywood Western and based on events from WW/2. Mitrovic was often criticized for such approach, especially by the Communist hardliners who believed that such genre dogmatics make fun out of their revolutionary achievements. And yet, Mitrovic's unique craft remained undisputed so he ended up as one of the most respected State Directors of Tito's era.
BRAT DOKTORA HOMERA is a potent revenge tale set in 1945, in the turbulent region of Kosovo where tensions escalated in 1981 and caused the NATO bombing in 1999. Mitrovic's opus was Kosovo-obsessed. He adored its' beautiful and brutal landscape, reminiscent of John Ford's Monument Valley. He also realized the full potential of its' unresolved political and ethnic situation. By the end of 1945, Kosovo was split evenly between Serbs and Albanians. Hardliner Albanian renegades, who used to be allied with Nazis, kept raging on, long after Germany surrendered. Yugoslav authorities responded by unprecedented deployment of security forces who oppressed the whole region in order to respond to the renegade challenge. Inevitably, oppression led to excessive force and corruption. This war-torn world was an ideal setting for the Serbian brand of Westerns and Mitrovic fully utilized that potential.
At the same time, Kosovo itself contained a rich esotheric meaning. Since the medieval times, it remained the mythical cornerstone of Serbian culture and nationalgeist. Thus, just like Wild West, it is an ideal imaginary territory, quite potent setting for different genre experiments.
BRAT DOKTORA HOMERA is a story of Simon, the flamboyant son of the local judge who comes home after four years in a German P.O.W. camp. Upon arrival, he realizes that his old flame found consolation in his brother's arms and that his father was killed. Unlike his brother, Simon passionately investigates father's death and finds out that the well-known criminal who allegedly killed him actually was a patsy while the murderer is still at large. The chaotic atmosphere of gang-riddled Kosovo enables Simon to seek retribution.
Velimir Bata Zivojinovic, the greatest star of Yugoslav cinema, stars as Simon, delivering a rugged and involving performance along the lines of Oliver Reed or Lee Marvin. Mitrovic masterfully frames him and turns Simon into an engaging Western hero. Even though Simon doesn't have the mythical proportions of Leone's Blondie, this character is absolutely synchronized with the bad-asses of his era. Mitrovic's screen writing is tight and he manages to create a believable world for Simon to live in. The most important part of Mitrovic's crafty writing is the ability to turn huge melodramatic twists into plausible screen gestures.
Mitrovic's direction is as tight. He has an eye for cinematic elements. He uses the actors and locations up to the limit of their photogenic potential. Thanks to then young and prospective director of photography Branko Ivatovic, Mitrovic manages to utilize the colorful settings and add some beauty to the gritty affair he wrote. BRAT DOKTORA HOMERA was delivered thirteen years after John Sturgess' BAD DAY AT BLACK ROCK and it has such resonant atmosphere. It was released same year as Sergio Leone's ONCE UPON A TIME IN THE WEST which stood as the greatest Western achievement at that point. BRAT DOKTORA HOMERA lives through comparison with each of these titles even though Mitrovic's direction seems to be too muscular to take this title into the art-house crossover territory where both Leone and Sturgess wound up.
BRAT DOKTORA HOMERA is happy to remain the greatest Yugoslav Western and a confident programmer that keeps pleasantly surprising audience up to this day. This film also remains as a symbol of an era when Yugoslav films were able to stand any comparison with the elite Hollywood and European works, even in the world of action cinema.