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。

一名工程师被派到一处灰蒙蒙的工业基地，在那里，他爱上了房东的女儿，而她是一个很有个性、崇尚自由的女子，最终造成英雄气短。导演杜山?马卡维加夫(Dusan Makavejev)，来自塞尔维亚和黑山共和国，是从心理学专业毕业的。

《核战新娘》是一部关于世界未来的幻想片，尽管剧情荒诞，却寓意深远。影片由意大利著名电影编剧柴伐蒂尼（《擦鞋童》《偷自行车的人》）创作，也是他唯一写过的一本超现实剧作，影片原名〈战争〉，在北美改名为《核战新娘》。
Director Veljko Bulajic is one of Yugoslavia's best known names (The Battle of Neretva), but Rat is a mostly tiresome mixture of well-meaning, simpleminded messages, and some really pitiful humor. The fault is almost entirely with screenwriter Cesare Zavattini, who made a name with Shoeshine and The Bicycle Thief and a couple dozen more Italian classics. The jokes are terrible and the cartoonish characterization almost non-existent. John and Maria make a nice couple and that's about it - they're both sweet, perfect and attractive.
Most of the satirical efforts are remindful of Chaplin's The Great Dictator, with pompous officials and soldiers making very harsh and ruthless decisions. The Captain accepts a dinner invitation one minute, and then the next, is following orders to have John shot. John's best friend is unemployed; the army gives him a job but he ends up on John's firing squad. The idea of keeping the country anonymous is okay, but the canned messages are thin, bleak, and predictable. War is Bad. Kids and marriage are Nice. War is Cruel. The comedy, which amounts mostly to army marching gags that wouldn't rate in an Abbott & Costello movie, is just terrible. Good images include a man wailing over his cow shot from above by jet aircraft, and the blasted couple stumbling through the rubble-strewn finale, like Adam and Eve in Hiroshima.
This is no cheapie; there was obviously full army cooperation from Tito's red brigades, and the scenes of jets strafing, etc, are fairly advanced. The ruins of the city look pretty much identical to today's news from Palestine. The special effects are primitive. One weird scene occurs when the President switches the television view to a camera attached to the nose of one of his attacking missiles. Crowds watch as the missile descends on hundreds of people in a town square - helpless victims just like 'us.'

“贝尔格莱德”电影俱乐部成员合作完成的三段式电影。
第一部分：水（导演：日沃因·帕夫洛维奇） 这是一部无对话的戏剧，故事背景是1943年。一名地下组织成员逃避警察追捕，躲在河岸的贫民窟里。在一艘废弃货船附近，睡在小艇的女孩看到了他。他们共同经历了短暂的亲切时光。女孩离开，警察杀了那人。女孩惊讶地看着警察的船走开，上面载着那人的尸体。在她身处的残酷世界中，那个是唯一待她友善的人。
第二部分：士兵（导演：马尔科·巴巴茨；共同编写对白：斯洛博丹·诺瓦科维奇） 医院里躺着两个重病的病人。其中一个睡在窗边，另一个在门口附近。他们每天接受食物，输血。靠近窗户的那个人死了，靠近门口的病人试图接近室友的空床。他现在可以看到室友告诉他的两个恋人了吗？可是，他望眼欲穿，却只看见一堵巨大的灰色墙壁……
第三部分：雨滴（导演：沃伊斯拉夫·拉孔亚茨；编写独白：杜尚·马卡维耶夫） 一个关于爱情美好和苦涩的故事，一个关于误解和责任的故事，一个关于即将逝去的亲密关系的故事。这个故事关于一个酗酒男人和他的女友日渐变坏的关系。

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。

Mimica's first modernist feature film, Prometej s otoka Visevice (Prometheus from the Island of Visevice, 1965), tells the story of a Communist official, Martin, returning from the city where he works as a director of a company to the island where he was born for a ceremony to commemorate the Partisans, of which he was a member. As he travels back, a flood of memories returns to him. First they come in no particular order-an unexplained montage of arresting and sometimes disturbing images. Gradually, the story is pieced together to reveal what happened. After the war, Martin became a Party functionary, but meets opposition from the conservative islanders for his well-intentioned efforts to introduce electric lighting, with tension gradually turning to direct confrontation. All his efforts remain without support, everyone abandons him, his marriage falls apart, forcing him to eventually go back to the city in order to start a new life with the help of his ex-war comrade.
Despite an ending obviously tacked on in order to gain official approval, the film is a critique of the rigid Communist bureaucracy and its distance from the people while never losing sympathy for the individual humans involved in the Party. The film is also notable for its strong ethnographic approach, using local dialect and trying to accurately recreate the way of life of the islanders.

Ahmet Nurudin is a dervish and head of the Islamic monastery of the Mevlevi order in Sarajevo. He is a personification of morale and dogmatic belief, everything that Muslim religion of the Ottoman rule rests on. Throughout his life, the atmosphere of the city, the relations with the judge and the mechanism of government, the image of Ottoman Empire at the beginning of the nineteenth century is being revealed. Based on a highly praised novel by Meša Selimović.

The topic of this routine, romantic drama is a little unusual - it concerns what some prisoners do when they are allowed out of jail for two weeks before their sentences are up. Rather than receiving some special dispensation, it turns out that in Yugoslavia this was the custom. Most of the time, the men here are engaged in pursuits that forward their relationships with the fairer sex, as might be expected after a long and lonely incarceration. There is nothing particularly profound about their two weeks of liberty, and no deep message in the tale.

A story about a young man tempted to kill his rival for a girl, only to find out that he may be his illegitimate son. The story is set in XIX century Dubrovnik.