The Parade, in a tragicomic way, tells the story about ongoing battle between two worlds in contemporary post-war Serbian society - the traditional, oppressive, homophobic majority and a liberal, modern and open-minded minority... The film, which deals with gay rights issues in Serbia, features footage of the 2010 Belgrade gay pride parade. The film introduces a group of gay activists, trying to organize a pride parade in Belgrade.
In this sequel of "We Are Not Angels", a highly successful Yugoslavian comedy, a former playboy must cope with his daughter's adolescence, as well as numerous boys that keep knocking at her doors. A worried father thinks she may get in type of troubles he used to cause when he was just the age of her wooers.
Love triangle story between the village gendarme Đorđe, his wife Katarina and the young disabled war veteran Gavrilo during the time between First Balkan War and World War I.
We Are Not Angels III is a Serbian film. In 1973 during a Youth Work Action, budding musician Borko Pavić (Nikola Pejaković) is disappointed to find out that the majority of his fellow young workers prefer to dance kolo to folkish harmonica sounds rather than listening to him play his acoustic guitar. Heartbroken and depressed he confides in his best friend that he read that in America the young people make the devil appear by playing the music backwards who then makes them rich and famous. He becomes the mega popular rock'n'roll superstar Dorijan. Cut to 30+ years later Dorijan is still a debauched, coke-snorting, and alcoholic superstar, except that he's now playing turbo folk instead of rock'n'roll. He lives with a silicone trophy girlfriend Smokvica and his best friend from childhood is his business manager. Despite still having his women, fame, and fortune, Dorijan is unhappy about having to resort to playing a musical style he hates in order to have all that.
After suffering a heart attack, Bill (Bill Oberst) takes his doctor's advice literally to eliminate the stresses from his life. The plan is working until his killings attract the attention of a psychotic cop (Armand Assante) who isn't sure whether he wants to arrest or join him. Complications deepen when it becomes apparent to Bill that the biggest cause of stress in his life might be his wife.
Helpless to stop a thief from stealing his father’s modest nest egg, Travis grows up blaming himself for his parents’ suicide. Becoming a priest who operates a highway confessional with his ambivalent brother, Michael, he offers sage advice to chosen sinners while raining death on unrepentant thieves. Into the world of this antagonistic duo comes Mary Francis, a deranged young woman with psychopathic tendencies who kills a thief who threatens to expose the decidedly un-holy siblings. Filled with gratitude, Travis invites the woman into their sacred world which begins a chain of carnage-laced events that threaten to destroy the brothers’ bloody, decades-long partnership.
Mladen (44) Belgrade born, is a timeshare salesman at Montenegrin Holiday resort. He is having an affair with his colleague, Sonja (40), who is married to Metod (50) the chief sales manager who learns about his wife's infidelity. He assigns Mladen the toughest client - Omer, a Bosnian war veteran, who doesn't try to hide his aversion to Mladen. Everything becomes hopeless when Omer's three year old son Svendy falls over the edge of the hotel terrace and ends up in a hospital. Grim mood that prevails among the potential buyers is about to ruin the sales. Sonja and Metod blackmail Mladen to continue the sales at the hospital while Omer and his wife are waiting for their son's operation.
Seventy-year-old teenagers running away from home. They are not running away from their parents, they are running away from the inevitable.
The burglars Sergej and Polde steal a valuable painting, Landscape No.2. By coincidence Sergej also takes a mysterious document dating back to the end of the World War II. Instructor is ordered to recover the stolen painting and the document, which triggers a diabolic mechanism of the past.
Tragedy doesn’t come any more Dickensian in tone or Shakespearian in scope than this dark social drama of the disintegration of a little family of four. A series of small debts triggers the swift domino effect that unleashes chaos on a well-meaning working class dad who has the bad judgment to speak truth to power.
After giving birth in a hospital, Ana enters a bureaucratic labyrinth whose proportions and consequences she cannot even imagine.
