Fine Mrtve Djevojke (eng subs) [2002] Dalibor Matanic

http://bayimg.com/PaogCAAcH Fine Dead Girls (2002) Fine mrtve djevojke (original title) http://www.imdb.com/title/tt0329083/ Fine Dead Girls (Croatian: Fine mrtve djevojke), sometimes also Nice Dead Girls is a 2002 film introduced on Pula Film Festival. The film has been named one of the best Croatian movies of the last decade. It caught much attention due to its controversial, provocative themes. Olga Pakalovic ... Iva Nina Violic ... Marija Kresimir Mikic ... Daniel Inge Apelt ... Gazdarica Olga (as Inge Appelt) Ivica Vidovic ... Blaz Milan Strljic As Croatia emerges as the destination of choice for western Europeans (and some Americans) looking for a little undiscovered sand and sun, it doesn’t hurt to remember just why this gorgeous country has been off the radar for so long. The tragic Civil War that plagued the Balkans resonates, leaving profound scars, both physical and psychological, upon the region. As with any form of ethnic clash, no one really wins when things are resolved – even more so than with other forms of war, the reduction of civil conflict to any simplified good/bad or us/them organizing principle is a fool’s errand. As Croatia bravely rebuilds, both materially and spiritually, its people struggle to confront the gravity of their recent history, and the challenge of their reemergence into the global community. As an allegorical treatment of such fraught social politics, first-time director Dalibor Matanic’s Fine Dead Girls is a fairly successful piece of work. It follows the story of two young lesbians who rent an apartment in a non-descript building in working-class Zagreb, only to discover that they have entered a kind of Sartrean hell. Boasting nuanced, impressive performances, including a standout job by Jadranka Djokic as the gleefully mean-spirited prostitute who, in many ways, is at the centre of the film, Fine Dead Girls works a bit of diabolical magic on you. It is appalling, and often disgusting, but it has its reasons. As a meditation on the tragedy of a broken community, and on the viciousness of Croatia’s recent fascistic past, it is thoughtful and incisive, if unremittingly bleak.

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